analog bkny: passion in dynamic sound!
They don\'t like music, they don\'t like dancing.
The headache is the rudeness and disrespect at the door (
If you don\'t give up hundreds for the sake of bottled service, or have a \'in \')
But there is also a headache from the sound of the pounding once inside literally.
When you are much younger, these are all the youth adventures you have to go through, after all, everyone else in your age group is going through, right?
Enter the analog BKNY and exit the headache of \"noise\" from the inside and outside
Young and old.
The owners, Michael Bruno and Craig \"Shorty\" Bernabeu, have lived their entire lives near the nightclub in New York, in many ways --
Working as a security guard, DJ, working with the promotion guys, designing the sound, you name it, they \'ve done or participated, throughout the 80 s, 90 s and 2000 s the most determined period of dance music.
So it\'s not surprising that decades later they started running and running the analog BKNY, one of the most hidden nightclub gems in the world. Guess where?
Yes, Brooklyn, New York!
On a quiet Friday afternoon, just as the bartender prepares the bar for the bunker X sound trough for the upcoming night: Adam X, Dasha rush, orphx & Patrick Russell later that evening I caught up with both of them and listened to the depth of their unique twist, why less than a year of analog BKNY offers one of the best sound systems in North America.
Yes, I have a test.
Needless to say, my ears were welcomed and then, later that evening, my body re-examined their space and experienced--
In the sea of people (
Mainly playing in the middle of the dance floor)
I don\'t even like this type of music.
But somehow I didn\'t find myself leaving until more than 4a?
Let\'s blame this on their voice. Q.
What separates this sound space from countless other spaces in New York or the world?
Michael Bruno: What is the sound of this venue separate?
Everything is wise and goes down from the door.
As soon as you entered the door, you were not rudely spoken by the security guard.
Everyone is called like an adult, like a person, in a respectful way.
So your experience started there and I firmly believe that experience started at the door.
OK, once you open the door to the dance floor, not only the sound, but also the combination of the lights and the internal staff, even the people who serve you.
You know it\'s different. you know we\'re not in trouble.
We have no policy of banning video.
Here, you know, we have nothing to hide.
In fact, we want to show the room, we want to show the world, why should we hide this?
Everything we have together is unique. Q.
So, you\'re not going to continue this exclusive culture of practice, which is typical and normal for many clubs?
Bruno: No, no.
Oh no this is a living room this is home.
This is our home and yours. Thus the house.
That\'s what we really want, you know, for people to experience.
You know I\'m tired.
I have been in business for 20 years.
I have been working in management for five years and I am responsible for safety work for many large nightclubs, you know, I am very famous.
That\'s why children and customers are here.
I call them kids now because I\'m forty years old. five (he laughs).
I was working on all these doors and I saw the failure and all these venues failed. . .
I mean, look, because we\'re all people, you never get a happy customer base of 100%.
But that\'s fine. I welcome you all.
I welcome criticism, I welcome everything you know, it makes you grow, but I have no grandiose attitude towards what you know
\"I\'m not the bottle service Avenue, we didn\'t come in and everything was so strict.
What are people looking for when they come to a venue?
They are looking for happiness away from work, their work --week.
They may have anything from quarreling with their spouse to having a bad day with their children. . . Q.
Or lost a job! ?
Bruno: That\'s right.
Music is healing.
This is proved by science. Cures ailments.
You know, it improves the endorph inside the brain.
It will only let you go.
We want this, we want to give those who experience the right way and stimulate them from all the angles you know, and we strive to make everything unique.
You know, the lights, especially the sound.
You know, one of the things I hate the most over the years?
I see that people don\'t wear earbuds anymore, and now I\'m going to work at the door, do security guards, and someone comes, \"Ah, do you know where I can get earbuds ? \"? !
Craig \"Shorty\" Bernabeu: I saw recently at a local club in Brooklyn that the bartender was wearing a shooter
Protect their hearing.
Bruno: Yes, shooter.
Muffs in the nightclub! ?
Shorty: I mean it\'s really bad.
Bruno: It\'s a pure digital sound, something behind the digital sound. . .
Do you know what a binary number is?
Then you take out the binary numbers and they are removed directly.
So the compensation for the ears is even greater, so what happens is that every binary number is actually hitting (
Clapping his hand hard and hitting his hand repeatedly)
Hit your eardrum!
That\'s why these kids need earplugs.
Now, we are more efficient in terms of energy, because we are running analog sound, which is almost a real copy of your actual sound.
Shorty: so everything here is the SBS Slammer system, it\'s a system of manual simulation. Sound System.
The amplifier is-
Handmade cabinets are one.
Off and hand-made, the processor is-
We use a vacuum.
Warm 2 processing here-
Rich and textured music. Q.
This is not common in most nightclubs, right?
No, no one uses this.
Bruno: everyone else has all these digital rack drives, digital rack drive processors that are connected to all these amplifiers.
And the sound board installed on the amplifier is rubbish.
You know, you went through it all just to get here (
Do the action by hand).
It\'s ridiculous. Q.
Is it that people don\'t want to make that effort, or does it come down to the fact that these other nightclubs really don\'t have that knowledge?
Bruno: I think people are losing contact with old knowledge and trying to build old knowledge. . .
I\'m not saying the numbers are bad, you know?
But everyone is attracted to you.
They kind of don\'t look back at the old one, you know, look at the numbers and see what\'s wrong with it --
Its advantages and disadvantages.
They just went to the numbers and continued to work with professionals and didn\'t see the shortcomings I was thinking about.
I feel like the old stuff is like people trying to re-invent the wheel.
There is no need.
You know that the previous simulation system works, it runs efficiently and works well.
We\'ll give you a test drive in a moment, and I\'ll put you in the middle of the dance floor.
I will give you the music of your choice, but you will feel the difference between warmth and sound.
People forget that they are lost.
So, looking back, I walked into the room and looked around the room.
This is Brooklyn, the old American national oil company that later became sunkeith Brooklyn. Both places.
Very good, National Security Agency. he\'s closed himself.
When the Brooklyn area of Sankey came in, they tried to turn it into an underground music venue in three and a half weeks.
Yes, they also had financial problems a few weeks ago and the place was destroyed when I came in.
Graffiti was everywhere, lights were everywhere, the sound system was pulled out and the sound in the bathroom was broken, you know the noise was too loud.
Now, I feel like everyone is worried about the visual effects on the wall and everything else, you know, aesthetics.
But not dancing.
So what I do is take about 10 gallons of black paint, use the spray gun and go to town (he laughs).
Even outside the building.
The reason is that two things happened.
I want to get married between the sound in the center of the floor and the lights in the center of the floor.
You know, there\'s no outside interference.
Everyone is very important in the face of D. J.
You know, they\'re our people. that\'s great.
But you know, they forgot how it all started.
Soul Train, for example.
What is the big shock of the Soul Train?
You never saw a DJ on the Soul Train.
Everything is about dance, everything is about music, everything is about sound.
We came together and brought this back.
You know, we focused on it.
Dance, action, atmosphere.
Shorty: It\'s all about delivering a brute force.
Fi, sonic experience you can\'t get anywhere else without breaking eardrum or hearing fatigue.
You can stay here for hours and you can\'t even feel like you\'re in a nightclub. Q.
For ordinary people, should people know the difference between sound simulation platforms and other platforms?
They will feel it, you know.
When we open this for you, you will feel it.
Without ears, you will immediately see all the different bandwidth belowfatigue.
You know, you\'ll notice that in most nightclubs people usually try to run out of the dance floor!
After a while, they want to leave, whether you believe it or not.
Mentally speaking, this is what is called protection.
The body does three things: it protects, corrects, and protects itself. All right.
It sends a signal to the brain and says, \"Okay, get-away -from -
This is really happening!
Here you come in and the system is on and you don\'t leave the floor. It\'s a magnet. Q.
As a designer, are you asked to set up, install and plan any one-
In terms of analog sound, turn off the event?
Bruno: We were asked many times, especially after we opened the venue.
But we want to leave it at home.
You know, I mean, why are you going somewhere else?
You know, let people in, but we\'re open.
Shorty: of course, we are willing to take risks by bringing the product elsewhere as a permanent fixture, but we are not a mobile sound system.
Yes, but when we open a new place, we open the purchase product to the nightclub for permanent installation. Q.
Working with many different artists, by simulating BK, they may not fully appreciate or take advantage of the ideal sound of space, is there any challenge?
Bruno: No, not at all. No, not at all.
I mean, from the moment they came in, every artist we hired here. . .
First of all, he designed the booth (
Point to Shorty)
You know, he\'s a DJ, and I\'m a DJ myself. We did Q. & A.
We will ask, are we comfortable at this booth?
You know, it\'s easy from rubber on the floor to joints, everything is done, etc.
We also want to make sure there is a sofa in the back.
Like a mini.
Apartment, we will stick the refrigerator to the back in a few weeks. Q.
So, for space reasons, this whole sound quality thing is very unique, just like there is no other place, does this sometimes bring talent in?
If they have no experience.
Bruno: you will see it if you have a rookie here.
It has already happened.
You know you don\'t usually know, but you still welcome them, they all learned, we all know, you know --
Everyone needs a break.
Come in, you know take a picture in the big room here and actually we work with them.
We work with everyone.
We work with many of the major promoters in the city as well as abroad and the DJs want to go there and experience it.
So it\'s really refreshing.
You know it\'s good, knock on the fake wood (he laughs)! Q.
We \'ve all been to crazy festivals, vibrant shows and impressive shows
What is your ultimate acting experience or memory here?
Bruno: all, all, I can\'t say one night has passed, do you agree?
Shawty: Yes, I mean, I think every artist has his own way of doing things.
Bruno: when they were here, they all pulled the best foot forward.
They are all very memorable.
Shorty: you have the top failing party, you have David Morales, Louis Viga, and we just can go ahead before we have Kerry Chandler, Harry Romero.
We can remember it now, just like the first day of our opening (March 6, 2016).
We started doing one.
But as a nightclub Weekly, we are in May (2016). Q.
I know in particular that the roots, dubbing and sound systems of the 1970 generation Jamaica have shaped a lot of electronic music today.
I think you have experienced several generations of different waves in the trend, culture and movement of music.
What is really exciting this time?
Shorty: that\'s true --
This is the foundation.
First of all, it\'s ours now.
We created beer.
Bruno: Not only is this ours, but the exciting thing for me is the grid that\'s going on right now.
At that time, it was very divided and very separated.
It is either young or old, and even in different houses, it has a lot of differences in the genre (music)
Now, almost everyone is out and it\'s a big community.
You know it\'s not separate, it\'s not separate, I like that, I like the fact that everyone is together, you know they\'re communicating now because there\'s no better term, you know, in a space. Q.
What do you think is the main catalyst, just time or your idea?
Bruno: To some extent, we are no longer afraid of race and society has improved.
We no longer fear each other, or we no longer regard each other as human beings because of fear?
You know, whether it\'s race or whatever.
So merge, that bridge.
You know, each of us came together under one roof.
I mean, yes, I \'ve seen the episodes here, thank God, we\'re the melting pot of the world in New York.
God bless New York City!
But we are united by sound and by music.
This was discovered again and again.
When I was on the floor, it was great to see a person coming down from Connecticut, meeting and connecting with people from Jersey, meeting and exchanging ideas and ideas.
Shorty: the people who flew from Britain, Germany, and Montreal are here to meet.
It\'s amazing how all of this came into play.
Brooklyn has always been a neglected area.
I mean, when it\'s a National Security Agency, I actually do security work here, and I\'m in charge of security work here.
I told the building owner addon that you have a dream boat here and you just don\'t know yet.
We were here a few years later. Q.
You talked about the positive now.
About the music scene or sound of yesterday, what special things did you miss or lose that didn\'t exist today?
Shorty: SBS Slammer today (he laughs)!
Bruno: Well, voice.
As far as the track itself is concerned, everyone is using synthetic instruments rather than live instruments in the recording.
I think it\'s lost.
Shorty: Louis Viga implemented a lot of live instruments in his recording, so it still exists.
Bruno: Yes, it\'s still out there, but it\'s too little and it\'s still in the middle.
Now anyone with a laptop, headphones and programs can make it, which is a bit too easy.
You know, it doesn\'t have any work and value, and I mean, you have real musicians to join in, (pauses)
That\'s what it is.
We appreciate everything here.
Everyone should admire for their progress.
It takes courage just to make progress.
It takes a lot of money to stand behind that Booth. Q. What about non-
Electronic music, for artists/genres interested in analog sound, is there some kind of movement or lane, or even performing at this venue?
Yes, yes, absolutely. yes.
A marriage is under way.
You have a lot of people who combine live instruments with electronic sounds.
They have a drum machine with a synthesizer but have a live guitar.
So it\'s like a rock/electronic/mixed type deal, and then there are different people coming here to do live music or modern chamber music, set up the instrument and our stage, set up the microphone, we run it directly through the analog system, and the replication above is amazing.
We\'re almost ready, you know.
We don\'t get a lot, but what we get is some shows like Andy Stott, dendike Segal.
One is technology, the other is the environment, people like it! Q.
If, if you could name two artists who define this venue or simulate sound, who would they be?
Bruno: every artist, big or small, makes this definition.
I can\'t give you one or two.
I can tell you that we appreciate and love everyone here.
You know, to be honest, I can never answer and I love them the same way.
Music is universal and it has been forgotten.
We\'re not close yet.
If you stick to a style, you\'re not a place and you don\'t like music either.
I thank everyone, every day, everyone.
Big or small because they have become a step-
Learn and learn different sounds and let us experience different sounds through this sound system.
Shorty: as long as the voice is loud, the mentality of the club owners has always been their concern.
Let\'s take some flat-screen TVs, stock bars, etc.
We do the opposite, I don\'t like to be loud, I care about definitions, I want clarity, I want dynamics, imaging.
From the time you walk into that door, we \'ve taken everything we can to make sure they\'re dynamic and they\'re just attracted to space.