20 Years of Cowboy Technical Services

It’s been 20 years since Eric Ambel, aka Roscoe, first opened his recording studio in South Brooklyn with his musical partner Tim Hatfield. Since then they’ve moved shop several times, and today are located at 231 Norman Avenue in Greenpoint under the name of Cowboy Technical Services (CTS).

Though it appears to be a fairly simple room, Ambel states, “We’ve got everything you need to make a great record.” CTS differs from other studios in that it doesn’t have an isolated control room. Ambel explains, “We’d been hearing about how producers like Daniel Lanois (whose approach can be heard on Bob Dylan’s ethereal Time Out of Mind) had been working this way. We really liked how not having a control room affected the work flow. It gave a better vibe and communication with musicians.”

Ambel continues, “The one room thing makes a lot of sense in New York City where space is tight, and you can’t spend a lot of money on buildouts. Instead of chopping everything up, we like to all be in the same space. In typical recording studio, a lot of time is spent setting up drums. I don’t want to be sitting in some cramped room because of that. Here we have a nice big room good for capturing the band and mixing.” However, isolation can be achieved from cabinets or by instruments being plugged directly into the console, and CTS does have a vocal booth.

With 17-foot-high ceilings, acoustically tuned paneling, and state-of-the-art equipment including CTS a handmade Neotech Élan console (used by the likes of Steve Albini, the Beastie Boys, Todd Rundgren), CTS can capture top-notch sound.

And the proof is in the pudding. Ambel has recorded many of the best in the Americana music world including Steve Earle, The Bottle Rockets, Los Lobos, Debby Harry, Marah, Marshall Crenshaw, Ryan Adams, and countless others.

As a sideman-guitarist Ambel has worked and toured extensively with Joan Jett, The Del Lords, The Yayhoos, and many more. In 2000, Ambel became lead guitarist in Steve Earle’s band the Dukes, appearing on such projects as Earle’s acclaimed Jerusalem album, and the Grammy Award winning record The Revolution Starts…..Now.

Ambel lends his expertise as a musician to attain sparkling tones from the studio’s ample selection of guitars and amplifiers and works closely with Dr.Z, manufacturers of some of the most highly rated guitar amplifiers in the US.

With the help of engineer Mario Viele, CTS often combines old and new technologies by recording first to digital, mixing down to analog tape, and then sending it back to digital for mastering. This provides the precision of digital with the warmth of analog. One of their secret weapons is the BURL Mothership converter, “which gives a heavier sound”, says Ambel. “It’s probably the most exciting piece of digital equipment that I’ve ever heard. A higher-quality converter just sounds better.”

As a producer, Ambel helps bands with preproduction work like developing arrangements, guitar lines, and harmonies. He describes the initial process as follows.

“I’m a producer, not an engineer. I always like to hear the demo tape first. I want to hear a stripped-down version of song, preferably just the singer and their guitar. That way I can add something. I think the arrangement is the key to really good recordings. That’s how I did it on the last record I produced with Girls on Grass.”

Ambel is also involved in other interesting projects. “I’m partners in the Solo Sounds label with Scott Ambrose Reilly and the people from Sony Orchard. It’s a label devoted to solo instrumental versions of classic records old and new. There’s one with Ben Hall, a young guitar player from Nashville, who did Nirvana’s Nevermind album in the style of Chet Atkins. There are over 70 titles available.”

New York bands continue to be the backbone of what they do. “Jack Grace had Norah Jones come in for a session. She nailed it in one perfect take. It was incredible.” But national touring acts also come to CTS while in town. “We have all the gear you want, and instruments can be inspirational. Los Lobos came in here to do a song for a PBS children’s special. David Hidalgo saw our cheapo electric sitar, and never let go of it.”

In closing Ambel states, “Coming up, I saw a lot of time being wasted by the process being engineer-dominated as opposed to being creative-dominated. I learned a lot from negative example. We’re set up to start working on your music quickly with a streamlined approach. People will come in and be amazed that they can get a track cut before lunch. We have a lot of pride in that.”

Whatever bands may need, CTS offers a superlative recording experience. For more information see their website: www.cowboytechnical.com.