Built from the ground up, our recording studios are easy to work in and they sound good.
Whether you’re tackling an ambitious concept album, multimedia production, or immersive experiential design, we’ve built an environment that respects your process and a staff that champions creative thought.
2,400 sq. ft. of floor space Large live room with adaptable acoustics Three isolation booths Steinway Model B Grand Piano Comfortably spacious control room 48-channel Daking MKII Console 64 channels of Lynx Aurora (n) AD-DA conversion ATC and Neumann Monitoring Mara JH-24 2” tape machine
700 sq. ft. of floor space Intimate live room and mixing suite Baldwin Upright Piano API 2448 32-channel console 64 channels of Lynx Aurora (n) AD-DA conversion ATC and Yamaha Monitoring
Studio A
2,400 sq. ft. of floor space Large live room with adaptable acoustics Three isolation booths Steinway Model B Grand Piano Comfortably spacious control room 48-channel Daking MKII Console 64 channels of Lynx Aurora (n) AD-DA conversion ATC and Neumann Monitoring Mara JH-24 2” tape machine
Studio B
X — CLOSE
Studio B
700 sq. ft. of floor space Intimate live room and mixing suite Baldwin Upright PianoAPI 2448 32-channel console. 64 channels of Lynx Aurora (n) AD-DA conversionATC and Yamaha Monitoring
2,400 sq. ft. of floor space Large live room with adaptable acoustics Three isolation booths Steinway Model B Grand Piano Comfortably spacious control room 48-channel Daking MKII Console 64 channels of Lynx Aurora (n) AD-DA conversion ATC and Neumann Monitoring Mara JH-24 2” tape machine
700 sq. ft. of floor space Intimate live room and mixing suite Baldwin Upright Piano API 2448 32-channel console 64 channels of Lynx Aurora (n) AD-DA conversion ATC and Yamaha Monitoring
x — CLOSE
The Conservatory
FORM Music Festival Arcosanti, AZ May 2019
Open yet encompassing, this sculptural installation was comprised of flared columns of fabric with internally-lit fiberglass figureheads, illuminating the canyon at Form Music Festival Arcosanti, AZ in 2017. The sculptures created an implied boundary for participants to gather in front of the stage in the valley beneath the Arcosanti architecture. Inspired by the sculptural motifs of Arcosanti’s architect, Paolo Soleri, eight elegantly curved columns uphold ethereal translucent geometric forms composed of a hemisphere conjoined to a hemicube, each in a different state of deconstruction. When arranged together, the glowing pillars integrate the sky and the landscape to the immediate environment.
Keys & Synths Hammond B3 Steinway Model B Rhodes Suitcase 73 Wurlitzer 200AArturia Mini Brute Casio SK1 Dave Smith-Prophet 08 Korg M1 Korg Poly 61 Moog Theremin Moog Voyager Moog Sub 37 Nord Electro 2 M Audio Axiom 49 Novation Super Nova Roland CR-5000 Roland VK7 Roland Juno 60 Roland Juno 106
Electric Guitars Collings 290 Don Grosh Electric Jet Fender Stratocaster Antigua 1978 Fender Stratocaster w/ Gizmotron Fender Telecaster w/b bender Gibson Les Paul Gretsch Chet Atkins Tennessee Rose Squier Fretless Strat
Acoustics Collings Acoustic Martin D-28
Bass Ibanez Blazer Bass Series Hofner Ambassador Bass Fender Jazz Bass Fender P-Bass
Amps Aiken 30 Allen Old Flame Ampeg v4 Bad Cat 30r Bruno Underground 30 Cage Corsa Carr Mercury Cornford hurricane Divided by 13 jrt 9.15 Divide by 13 ftr 37 Fender Pro Reverb Fender Deville 212 Fender Deluxe Louis Electric Twin Master Matchless Spitfire 15 Matchless Clubman 35 Morgan Pr12 Music Man 65 reverb Tone King Imperial mk ii Tone king Meteor series ii Roland JC-120 Swart super space tone 30 Star Gain Star 15 Swart Space Tone Swart Space Tone Atomic Tone King Falcon Tone King Metropolitan Top Hat King Royal Bass Amps Ampeg b15 Hartke 3500 Kustom 200 Sunn scepter modded for bass
Pedals
Death By Audio Total Sonic Annihilation Lovetone Big Cheese Lovetone Brown Source Lovetone Flange with no name Lovetone Meatball Lovetone Ring Stinger Lovetone Wobbulator Moog Moogerfooger MF 101 LPF Moog Moogerfooger MF 103 Phaser Moog Moogerfooger MF 104 Delay Moog Moogerfooger MF 105 Murf **assorted delays, drives, and noisemakers **
Amps Aiken Invader MKII Alessandro English Alessandro Working Dog Allen Old Flame Ampeg B100R Rocketbass Ampeg Portaflex Bad Cat Black Cat 30R Bruno Underground 30 Cage Corsa Carr Mercury Carr Rambler Clark Piedmont Cornford Hurricane Divided by 13 CJ 11 Divided by 13 FTR 37 Fender Deluxe Reverb Fender Deville 212 Fender Pro Reverb Fender Tweed Princeton Louis Electric Amps TremoVerb Matchless Chieftain Matchless Clubman 35 Matchless Spitfire Morgan PR12 Star Gain Star 15 Star Sirius 30 Reverb Swart Atomic Spacetone Swart Spacetone Swart Super Spacetone 30 THD Electronics Univalve Tone King Falcon Tone King Imperial MK2 Tone King Metropolitan Tophat King Royale Victoria Victorialux Amp
EQs Chandler LTD-1 Dangerous Music Bax EQ Great River EQ-2NV Great River Harrison 32 EQ 2 Pultec EQP-500A Speck ASC-V Preamps 2 Chandler REDD 47 Pendulum Audio Quartet Sansamp PSA-1 Sonic Farm Berliner
January, 2019 Hundred Waters’ frontwoman Nicole Miglis inaugurated the Pulp Arts residency program by digging deep into work on her first proper solo album. Miglis’ diverse sonic palette was on full display during her time with us bouncing between tracking lush piano parts, experimental electronics, and writing string arrangements. Instagram
March, 2019 Luke Temple, (Here We Go Magic, Art Feynman) lent his production expertise to Florida Indie Rockers, Acoqui as they recorded the follow up to their debut album, A Heart Fills this Way.
September, 2019 DIY legends Quintron and Miss Pussycat recorded 2020’s Goblin Alert straight to tape on our Mara JH-24 during their residency. The pair used this opportunity to break from their drum machine roots and enlisted a full band to track the album alongside producer Greg Cartwright. Quintronandmisspussycat.com | Bandcamp
The Conservatory, co-presented by Pulp and Patreon, was a mobile recording studio and site-specific art installation inside Arcosanti’s Red Room at FORM 2019. The space functioned as a pop-up studio for sessions and interviews, and a refuge for artists to relax and take part in collaborative opportunities.
PULP Sessions
An ongoing series of live sessions inside Pulp Studios with various bands on tour such as Emily Reo, Mariee Sioux and UV TV.
The Conservatory, co-presented by Pulp and Patreon, was a mobile recording studio and site-specific art installation inside Arcosanti’s Red Room at FORM 2019. The space functioned as a pop-up studio for sessions and interviews, and a refuge for artists to relax and take part in collaborative opportunities.
December, 2019 Half Waif (Nandi Rose) was joined by engineer Zubin Hensler for two weeks in late 2019 to work on what would become the follow up to The Caretaker. The genesis of this residency was initially rooted in recording an EP of piano renditions of older Half Waif material, but the concept quickly blossomed into an entirely new album centered around the Steinway at Pulp. Half-waif.com | Spotify
November, 2019 Acclaimed songwriter Mutual Benefit (Jordan Lee) joined us for a residency that allowed him to dig into the process of his songwriting. Lee spent a week workshopping new material in our shipping container studios prior to working in our A room to reimagine his electronic demos with elegant acoustic treatments. Spotify | Bandcamp | mutualbenef.it
December, 2020 At the close of 2020 we had the great pleasure to host Lonnie Holley (Atlanta, GA) for an interdisciplinary artist residency. The accomplished improviser and visual artist spent his days immersed in creation, bouncing between the recording studio and crafting new sculptural and painted works in our fabrication shop. Spotify | lonnieholley.com | Bandcamp
Winston has been making music and engineering sound since childhood. Recording mixtapes from the radio as a second grader, he discovered multi-tracking by using two boomboxes. He started out engineering punk bands in warehouses in Oakland and over the last 17 years has honed his craft across professional studios in the Bay Area. His musical projects include Saything, Ted the block, and a yet unnamed modular synth project. He loves building modular synths. https://saything.bandcamp.com/ https://tedtheblock.bandcamp.com/
Nelly has been making music since she could walk. A multi-instrumentalist songwriter and producer behind post-punk projects such as Naked Lights, Surplus 1980, and most recently Smiley, she started her professional engineering career in Oakland after graduating with a degree in Sound Arts from SAE’s Expression College in the Bay Area. She loves getting drum sounds, recording to tape, and her dog Bogner (named after Ursula Bogner, minimal analog synth legend of the 1960’s). https://nakedlights.bandcamp.com/ https://smileyoakland.bandcamp.com/album/smiley
Danny cut his teeth in audio engineering as a multi-instrumentalist songwriter, producer, and artist in his own right. His musical projects include Jane Jane Pollock, Danny, and Room Thirteen. Having spent the last 6 years audio engineering live events in New Orleans and as a technical director for live productions across the southeast, he joined the Pulp team as a full-time studio engineer in Gainesville in April 2019. https://dannydanny.bandcamp.com/album/pontchartrain-beach https://roomthirteen.bandcamp.com/
Winston has been making music and engineering sound since childhood. Recording mixtapes from the radio as a second grader, he discovered multi-tracking by using two boomboxes. He started out engineering punk bands in warehouses in Oakland and over the last 17 years has honed his craft across professional studios in the Bay Area. His musical projects include Saything, Ted the block, and a yet unnamed modular synth project. He loves building modular synths.
Danny Clifton
Danny cut his teeth in audio engineering as a multi-instrumentalist songwriter, producer, and artist in his own right. His musical projects include Jane Jane Pollock, Danny, and Room Thirteen. Having spent the last 6 years audio engineering live events in New Orleans and as a technical director for live productions across the southeast, he joined the Pulp team as a full-time studio engineer in Gainesville in April 2019.
Davis Hart
Davis has been turning knobs in his father's analog home studio since childhood. In his early teenage years he spent time recording his projects and those of local bands to tape and digital formats leading him to work in a commercial studio out of high school. Hart’s years doing live sound and engineering allows for technical insight, but from his perspective, Davis’ real prowess is in his ears. He prides himself on being a keen listener and loves to offer an alternative perspective to artists. No stranger to experimentation, Davis strongly believes that recording bands is more art than science.
HL Nelly
Nelly has been making music since she could walk. A multi-instrumentalist songwriter and producer behind post-punk projects such as Naked Lights, Surplus 1980, and most recently Smiley, she started her professional engineering career in Oakland after graduating with a degree in Sound Arts from SAE’s Expression College in the Bay Area. She loves getting drum sounds, recording to tape, and her dog Bogner (named after Ursula Bogner, minimal analog synth legend of the 1960’s).
Engineers
HL Nelly
Nelly has been making music since she could walk. A multi-instrumentalist songwriter and producer behind post-punk projects such as Naked Lights, Surplus 1980, and most recently Smiley, she started her professional engineering career in Oakland after graduating with a degree in Sound Arts from SAE’s Expression College in the Bay Area. She loves getting drum sounds, recording to tape, and her dog Bogner (named after Ursula Bogner, minimal analog synth legend of the 1960’s).
Winston Goertz-Giffen
Winston has been making music and engineering sound since childhood. Recording mixtapes from the radio as a second grader, he discovered multi-tracking by using two boomboxes. He started out engineering punk bands in warehouses in Oakland and over the last 17 years has honed his craft across professional studios in the Bay Area. His musical projects include Saything, Ted the block, and a yet unnamed modular synth project. He loves building modular synths.
Danny Clifton
Danny cut his teeth in audio engineering as a multi-instrumentalist songwriter, producer, and artist in his own right. His musical projects include Jane Jane Pollock, Danny, and Room Thirteen. Having spent the last 6 years audio engineering live events in New Orleans and as a technical director for live productions across the southeast, he joined the Pulp team as a full-time studio engineer in Gainesville in April 2019.
Davis has been turning knobs in his father's analog home studio since childhood. In his early teenage years he spent time recording his projects and those of local bands to tape and digital formats leading him to work in a commercial studio out of high school. Hart’s years doing live sound and engineering allows for technical insight, but from his perspective, Davis’ real prowess is in his ears. He prides himself on being a keen listener and loves to offer an alternative perspective to artists. No stranger to experimentation, Davis strongly believes that recording bands is more art than science.
Winston has been making music and engineering sound since childhood. Recording mixtapes from the radio as a second grader, he discovered multi-tracking by using two boomboxes. He started out engineering punk bands in warehouses in Oakland and over the last 17 years has honed his craft across professional studios in the Bay Area. His musical projects include Saything, Ted the block, and a yet unnamed modular synth project. He loves building modular synths.
Danny cut his teeth in audio engineering as a multi-instrumentalist songwriter, producer, and artist in his own right. His musical projects include Jane Jane Pollock, Danny, and Room Thirteen. Having spent the last 6 years audio engineering live events in New Orleans and as a technical director for live productions across the southeast, he joined the Pulp team as a full-time studio engineer in Gainesville in April 2019.
David is an engineer hailing from Ft. Lauderdale, FL with over 15 years of experience in music recording and performance. He earned a BD in Music Engineering with a Minor in Electrical Engineering and Jazz Bass Performance from the University of Miami. Upon graduation, David moved to Gainesville, FL, where he formed the bands Dikembe and Young Hookers, applying his skills to DIY-focused record production from converted garages and storage spaces. Since planting his roots in the small college town, he has produced several records for Florida-based acts including Expert Timing (ORL), Dryspell (ORL), Southpaw (GNV), and Sports Reference (GNV).
