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The Sound Factory
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The Sound Factory
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The Sound Factory (also known as Sunset Sound Factory) is a recording studio in Los Angeles, California.

Key Information

The Sound Factory was built in the 1960s on Selma Avenue in Hollywood. At the time, it served as the home of Moonglow Records and the Moonglow Recording Studio.[1] In 1969, former RCA recording engineer and Warner/Reprise producer David Hassinger purchased the Moonglow Records/Studio building and renamed it The Sound Factory.[2] The studio became one of the most popular recording studios in Hollywood, which led its owner to open a second Sound Factory studio in West Hollywood. The West Hollywood studio was eventually closed.

In November 1981, Sunset Sound Recorders owners Paul and Tutti Camarata purchased the famous studio.[2]

The Sound Factory has been used by many top music artists including Linda Ronstadt[2] (who recorded most of her career-defining hits there), Marvin Gaye, Gram Parsons and the Flying Burrito Brothers[2] (in early 1970, for their 'no nonsense' country album; some of these tracks surfaced on Sleepless Nights), Ringo Starr, Dolly Parton, Sheena Easton, Oingo Boingo, Brian Wilson, the Jackson 5, Red Hot Chili Peppers, Borchardt, Keziah Jones, Lostprophets, Jinx Titanic, the Vines, Tally Hall, Belle and Sebastian, Glen Campbell, Kris Kristofferson, T-Bone Burnett, Elvis Costello, Paul McCartney, Crowded House, Hiroshima, Harry Chapin, and Jschlatt.

References

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The Sound Factory

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The Sound Factory was a groundbreaking after-hours in that operated from 1989 to 1995, serving as a central hub for the scene and a sanctuary for the LGBTQ+ community. Located at 530 West 27th Street in , it was renowned for its state-of-the-art sound system designed by Richard Long, which delivered unparalleled audio clarity and bass, elevating the dancing experience to legendary status. The club operated without alcohol sales, focusing instead on a members-only, one-night-a-week format that emphasized music, community, and spiritual immersion on the dance floor. Founded by DJ , promoter Christina Visca, and partners Phil Smith and Richard Grant, The Sound Factory evolved from earlier underground parties like Bassline at 21 Hudson Street in , which had outgrown its space by 1988. Vasquez, the resident DJ, crafted marathon sets blending , garage, and influences, often using three turntables and dramatic lighting to create a church-like atmosphere that attracted a diverse, predominantly gay crowd, including celebrities like and . Other notable DJs, such as , held residencies, further cementing its influence; Knuckles' six-month stint in 1990–1991 helped bridge with New York's emerging sound. The club's significance extended beyond New York, inspiring global club culture and prompting producers to tailor tracks specifically for its system, as seen in hits like Jaydee's "Plastic Dreams." It hosted memorable events, including a poignant tribute to Larry Levan following his death, featuring a moment of silence followed by an uplifting disco set. However, by 1995, shifting demographics, overcrowding, internal disputes, and Mayor Rudy Giuliani's "Quality of Life" crackdown on nightlife led to its closure on January 12, 1995. A brief revival occurred around 2000 at 618 West 46th Street in Hell's Kitchen, but it did not recapture the original's mythic aura.

History

Establishment (1989–1995)

The Sound Factory was founded in March 1989 by Christina Visca, DJ , Phil Smith, and Richard Grant, who converted a at 530 West 27th Street in Manhattan's Chelsea neighborhood into an after-hours . The venue emerged as a direct successor to the , which had closed in 1987, aiming to capture its spirit by prioritizing immersive and garage music experiences for dedicated enthusiasts, particularly within the LGBTQ+ community. Without a initially, the club focused on a no-alcohol policy to extend operations beyond standard closing times, fostering an underground vibe that emphasized sound quality and communal dancing over commercial excesses. Operations began with doors opening around 10 PM on Fridays and Saturdays, extending well into the next day—often until noon on Sundays—to cater to night owls and early-morning arrivals seeking prolonged sessions. The space held a capacity of approximately 1,000 patrons, with entry fees starting at $10 and rising to $15 as demand grew, providing access to extended sets in a raw, industrial setting equipped with advanced audio systems. Among the inaugural highlights were the debut DJ sets by in 1989, which quickly attracted former regulars displaced by its closure, drawing crowds eager for his innovative mixing of house tracks and vogue elements. By 1990–1991, the club's popularity surged, solidifying its status as a premier weekend destination in New York's nightlife scene, where lines often formed hours in advance outside the nondescript warehouse amid Chelsea's gritty industrial backdrop. This growth reflected broader shifts in the city's club culture, with The Sound Factory becoming a magnet for diverse dancers, from voguing performers to purists, and hosting events that blended theatrical flair with relentless beats. The venue's emphasis on extended, music-driven nights helped it eclipse earlier spots, though mounting external pressures around licensing would later prompt a relocation in 1995.

Relocation and Later Years (1995–2004)

Following the closure of the original Sound Factory on January 12, 1995, due to internal ownership disputes, Richard Grant, a co-founder of the initial venue, independently reopened the club later that year at a warehouse space located at 618 West 46th Street in Manhattan's Hell's Kitchen neighborhood. This relocation marked a new chapter for the venue, preserving the name and its after-hours house music ethos while transitioning to Grant's sole proprietorship, free from the previous partners who repurposed the original site as Twilo. Grant's management emphasized operational resilience amid New York City's tightening nightlife regulations in the post-1995 era, particularly under Mayor Rudy Giuliani's "" initiative, which enforced cabaret laws prohibiting unlicensed dancing, cracked down on noise and drug-related issues, and heightened police oversight of clubs to curb urban disorder following the AIDS crisis and broader public health concerns. These adaptations included navigating cabaret license requirements and maintaining a no-alcohol policy to sustain after-hours operations, allowing the club to host extended events centered on programming. By the late 1990s, the relocated Sound Factory had solidified its role in the city's electronic dance scene, drawing crowds with resident DJ Jonathan Peters and occasional guest appearances that highlighted evolving styles, though it catered to a more mixed, less exclusively demographic than its predecessor. The venue thrived during this period as part of a vibrant club ecosystem, but into the early , it encountered mounting pressures from escalating commercial rents driven by and intensified competition from established spots like , which had become a global hub for and international talent at the former 27th Street address. These economic strains, compounded by ongoing regulatory hurdles, gradually eroded the club's viability, leading to its eventual cessation of operations in 2004. The original Sound Factory at 530 West 27th Street faced escalating regulatory pressures in the mid-1990s, culminating in its closure on January 12, 1995 due to licensing problems, internal ownership disputes, and repeated police interventions for noise violations, drug possession, and unlicensed operations. These actions were part of Mayor Rudy Giuliani's aggressive "" campaign, launched after his 1994 election, which intensified scrutiny on nightlife venues through fire department raids and investigations into drug trade activities. The city's laws, requiring special permits for dancing in unlicensed spaces, were weaponized during this era to shutter after-hours clubs like Sound Factory, contributing to a wave of closures across New York City's club scene. The club's relocation to 618 West 46th Street in offered temporary respite, but legal troubles resurfaced nearly a decade later. On March 7, 2004, federal and city authorities raided the venue, arresting owner Richard Grant, 61, along with security directors Ronald Coffiel and Randell Rogiers on charges of operating a drug den under a prohibiting the provision of premises for narcotics distribution and use. The raid exposed "open and flagrant" drug dealing, including undercover purchases of Ecstasy, and followed two patron deaths from overdoses at the club. Although the site had been temporarily padlocked in 2003 for building code violations before reopening under , the 2004 incident prompted leaseholder Metropolitan Lumber Hardware and Building Supply to revoke the lease in April 2004. Grant was acquitted of all charges by a federal jury on June 9, 2005, after testifying that he had actively worked to curb drug activity despite the challenges of monitoring a large after-hours crowd. However, the lease revocation and accumulated violations ensured the venue's permanent closure, effectively ending Sound Factory's operations amid the lingering effects of Giuliani-era policies on New York . The financial strain from the year-long shutdown during the trial further eroded the club's viability, marking the definitive end of its run.

Venue Descriptions

Original Location (West 27th Street)

The original Sound Factory operated from a converted at 530 West 27th Street in Manhattan's Chelsea neighborhood, a gritty industrial area between Tenth and Eleventh Avenues, from March 1989 until early 1995. The space retained much of its raw warehouse character, transformed into a cavernous venue centered on a massive main dance floor, which allowed for an expansive, immersive environment during peak hours. An elevated DJ booth was positioned centrally above the dance floor, providing commanding oversight of the room. The decor emphasized with industrial elements, including exposed brick walls, dark bare surfaces, and structural pillars, accented sparingly by a large single mirror ball suspended overhead and weekly fresh floral arrangements at the entrance to set a welcoming yet stark tone. The venue's sound system was a standout feature, featuring a custom installation designed by Richard Long, celebrated for its exceptional clarity, power, and deep bass response tailored to music's rhythmic demands. This setup included four giant speaker stacks integrated into the space, delivering a relentless, enveloping audio experience that defined the club's reputation. Atmospheric elements contributed to the hypnotic intensity, with synchronized lighting that produced random flashes and beams, often building tension in harmony with the music, alongside the reflective glow from the central mirror ball. The layout began at street level with a straightforward entrance leading directly into the core space, bypassing extensive barriers to prioritize flow toward the dance floor; amenities included a juice bar for non-alcoholic refreshments and a dedicated chill-out lounge area, offering a secondary multi-level retreat for patrons seeking respite amid the high-energy main room.

Second Location (West 46th Street)

In 1995, following the closure of its original venue, The Sound Factory relocated to a warehouse at 618 West 46th Street in Manhattan's Hell's Kitchen neighborhood, operating there until 2004. This second location featured a cavernous, two-story layout with steel pillars supporting the structure and a high DJ booth elevated on one wall, creating an intimate yet expansive feel compared to the original site's horizontal sprawl. The central dance floor served as the heart of the space, surrounded by four large speaker stacks integrated into the floor at the corners, while a overlooked the main room, and private VIP areas offered secluded spots for patrons. The venue underwent notable upgrades to its audio and visual systems to enhance the immersive experience. The sound system delivered loud, clear audio with precise highs ideal for garage house tracks and enabling dynamic effects like sweeping jet-plane sounds across the room. enhancements included a vast mirror ball suspended above the dance floor for reflective, swirling patterns, complemented by strobes that simulated and synced with the music, all managed by lighting operator Steve Revlon to amplify the club's pulsating energy. Atmospherically, the space emphasized vogueing and performance elements, with one side of the dance floor repurposed as an informal runway or catwalk by drag performers and voguers, particularly after 7 a.m. when the crowd's intensity peaked. Entry was tightly controlled by a door picker amid long lines stretching across the street, reflecting heightened security measures in response to the surrounding neighborhood's concerns. Accessibility was bolstered by its proximity to the Hudson River piers, which facilitated seamless transitions to late-night after-parties, though street parking remained challenging in the area. The overall ambiance shifted toward a more mixed, energetic vibe with a diverse Black, Hispanic, and gay clientele, maintained spotless by constant cleaning crews. The Sound Factory Bar, a smaller offshoot of the main nightclub, opened in 1992 at 12 West 21st Street in Manhattan's Chelsea neighborhood, serving as a pre-game lounge for patrons heading to the primary venue. It hosted casual events such as tea dances and themed parties, including the Underground Network gatherings led by DJ Louie Vega, attracting a dedicated crowd until its closure in 1997. The bar was operated by promoter Phil Smith, who also managed the main Sound Factory, fostering operational ties through shared staffing and cross-promotions that bundled entry to both spaces for select events. In 1997, the same location at 12 West 21st Street reopened as the nightclub, maintaining elements of the Sound Factory's branding and vibe amid the evolving club scene. operated until 1999, hosting sets by DJs like Merritt, who had previously performed at the Sound Factory Bar, thus preserving some continuity in the musical lineup. Following the main club's 2004 closure, former staff and affiliated DJs organized occasional pop-up events in warehouses to evoke the original Sound Factory experience and sustain its legacy among longtime attendees.

Music and Performers

Resident DJs

served as the flagship resident DJ at The Sound Factory from its opening in 1989 until its closure in January 1995, where he was renowned for his marathon 12-hour sets that often ran from 1 a.m. to as late as noon on Sundays. His performances blended rhythms with hypnotic basslines and loops created using samplers, building crescendos that defined the club's intense, immersive atmosphere, while incorporating diva vocals to heighten emotional peaks. Vasquez co-founded the venue with promoter Christine Visca and refused to play elsewhere during this period, solidifying his role in curating a dedicated following. Frankie Knuckles held guest residencies at The Sound Factory from 1990 to 1991, spanning at least six months, where he infused the space with Chicago house roots characterized by melodic, soulful tracks. Known as the "Godfather of House," he often featured his seminal productions, such as "Your Love," which underscored the genre's emotional and disco-inflected origins during his extended appearances. Following the original club's closure, the revived Sound Factory at West 46th Street from 1995 to 2004 featured residents such as Jonathan Peters, who performed on Fridays from 11 p.m. to 11 a.m. and Saturdays from 11 p.m. to 1 a.m. in the late 1990s. The DJ selection process at The Sound Factory prioritized LGBTQ+ performers who could sustain the club's inclusive, high-energy environment, often drawing from the local community to align with its predominantly patronage. Regulars benefited from no-cover policies on certain nights, fostering and allowing seamless access for dedicated dancers without financial barriers. This approach, combined with the venue's advanced sound systems, enabled residents to experiment freely with extended mixes and genre fusions.

Musical Style and Innovations

The Sound Factory's musical style centered on , defined by deep basslines, infectious piano riffs, and gospel-influenced vocals that created an emotive, uplifting atmosphere on the dancefloor. This sound drew from New York's underground traditions, blending soulful elements with rhythmic drive to sustain long, immersive sets. Over the club's run, the style evolved from the raw, energetic mixes of its early years in to more polished remixes in the , incorporating smoother production and layered textures that heightened the emotional crescendos. Key innovations at the club included the use of acapella overlays and live percussion, techniques pioneered by resident DJs such as to dynamically extend tracks well beyond 10 minutes—often stretching individual songs to over 40 minutes through loops, samplers, and suspenseful builds. These methods allowed for seamless, narrative-driven performances that kept crowds engaged during marathon sessions. The Sound Factory also contributed to the popularization of subgenres like , particularly by 1993, with rhythmic conga breakdowns and hypnotic percussion patterns adding primal intensity to the garage foundation. The club's equipment practices reinforced its raw, authentic vibe, relying exclusively on vinyl mixing until around 2000, which emphasized tactile transitions and the warmth of analog sound. This approach influenced track releases on labels like , where many cuts—often unreleased dubs—were specifically crafted or premiered for the venue's demanding energy. Event-specific sounds further defined the experience, such as sunrise sets beginning at 4-5 AM, which transitioned from pounding bass and vocal peaks to ambient closers featuring spacey garage dubs for a reflective wind-down.

Cultural Impact

Role in House Music Scene

The Sound Factory played a pivotal role in bridging the raw, soulful sound with New York's emerging garage and tribal styles during the early 1990s. Resident DJ , often credited as the "Godfather of House," brought his Warehouse-honed techniques to the club from 1990 to 1991, infusing sets with deep, melodic grooves that resonated through the venue's massive sound system and helped evolve local tastes away from remnants toward a more percussive, underground aesthetic. This integration was evident in pivotal events like Knuckles' marathon sessions, which drew crowds seeking an authentic experience and solidified the club's status as a trans-regional hub for the genre's maturation. The venue significantly influenced New York's burgeoning house record labels, serving as a testing ground where resident mixes and exclusive edits shaped releases on imprints like and Nervous Records. Junior Vasquez, the club's primary resident from 1989 to 1995, crafted bottom-heavy, tracks tailored to the space's acoustics, many of which transitioned into commercial hits that defined the era's sound—examples include productions echoing the tribal hypnosis of DJ Pierre's Wild Pitch style. By the mid-1990s, the club's lounge and after-hours vibe had become a networking epicenter for producers, with key figures like Louie Vega and Kenny "Dope" Gonzalez of producing tracks tailored to its sound and contributing to the garage-inflected remixes that energized the scene. By 1992, The Sound Factory's reputation had achieved global reach, attracting international crowds eager to experience New York house firsthand and inspiring European venues to adopt its immersive model. The club's ranking as number one in Mixmag's "100 Things to Do in Your Clubbing Life" underscored its worldwide allure, with promoters citing its single-DJ, music-focused format as a blueprint for spots like . However, its 1995 closure amid lease disputes and shifting demographics marked a turning point for the scene, as the rise of commercial superclubs diluted the underground intimacy it championed, though its emphasis on extended, communal sets endured in subsequent illicit parties and loft raves. By the mid-1990s, the crowd had shifted toward younger, whiter, and straighter demographics influenced by changing drug scenes, altering the club's original inclusive vibe.

Influence on Ballroom and LGBTQ+ Culture

The Sound Factory served as a pivotal downtown venue for integrating Harlem's houses into mainstream nightlife, with the and prominently featuring their members in performances that bridged uptown traditions with the club's high-energy atmosphere. Voguing balls began gaining traction there in 1990, showcasing categories such as "," which rewarded authentic passing in everyday scenarios, and "Face," emphasizing striking facial expressions and poise. These gatherings elevated 's competitive spirit, allowing houses to compete in structured presentations that fused performative flair with community bonding. Amid the 1980s and 1990s AIDS crisis, the club emerged as a vital safe haven for LGBTQ+ individuals, offering a family-like communal space where patrons could affirm through and expression despite widespread loss. By 1993, it hosted body-positive events in collaboration with organizations like Body Positive, including on-site health resources such as free condom distribution to promote safer practices and reduce stigma around . The venue's predominantly and Latino LGBTQ+ patronage, almost exclusively gay, underscored its role in fostering inclusivity through policies that welcomed diverse expressions without overt . The club's fashion and performance innovations further shaped drag culture, encouraging runway walks synchronized to house beats that transformed the dance floor into an improvisational catwalk, influencing extensions of the scene depicted in documentaries like Paris Is Burning. Social events such as Sunday afternoon "Tea Dances" provided daytime recovery spaces for exhausted revelers, blending partying with by creating low-pressure environments for HIV-positive individuals to connect and access support. These initiatives not only sustained community resilience but also amplified 's emphasis on and collective empowerment during a time of profound vulnerability.

Legacy

Revivals and Modern Tributes

Following the closure of the revived Sound Factory at 618 West 46th Street in 2004, efforts to honor its legacy have included musical tributes and archival projects within the house music community, preserving its influence on New York City's nightlife. In 2013, the Music Academy's New York program featured lectures, workshops, and oral histories exploring the city's club scene, with references to The Sound Factory as a pivotal venue for underground and drug-fueled after-hours culture. DJ T's 2015 compilation Strictly DJ T.: 25 Years of served as a tribute to the label that defined much of the era's sound, tied to the broader New York house scene, including performances by residents like that shaped garage house innovations. Archival recordings of 1990s DJ sets from the club, including performances by and , have been digitized and shared through platforms dedicated to preservation, allowing contemporary audiences to experience the original sound systems' impact. In recent years, tribute events have revived the club's spirit. As of 2025, the Soundfactorynyc initiative hosts parties in , such as rooftop events featuring DJs like Jonathan Peters, honoring the original music and nightlife legacy.

Depictions in Media

The 1990 documentary Paris Is Burning, directed by , captured the underground ballroom scene in late 1980s , portraying voguing balls as epicenters for Black and Latino LGBTQ+ expression. The Sound Factory Bar, opening in 1992, later became a key venue for voguing and house balls, hosting events with participants from houses like Xtravaganza. In music, the Sound Factory influenced mainstream hits, notably Madonna's 1990 single "Vogue," which drew direct inspiration from voguing performances observed by the artist and her collaborators at the club's weekend events. Producer incorporated elements of the house ballroom style into the track's rhythm and themes, bridging underground club with pop accessibility. Literature and journalism have depicted the Sound Factory as a pivotal post-Paradise Garage institution in Tim Lawrence's 2003 book Love Saves the Day: A History of American Dance Music , 1970-1979, framing later venues like it as an evolution of inclusive, music-driven party spaces from the 1970s era. A 2015 obituary for Richard Grant, the club's co-founder, eulogized the Sound Factory as a transformative after-hours haven that defined 1990s New York nightlife, crediting Grant's vision for fostering a diverse, euphoric amid the AIDS . Television portrayals evoked the club's after-hours vibe through implied references in 1990s episodes of Sex and the City, such as Season 3's "Escape from New York," where characters navigate Manhattan's late-night club scene reminiscent of Sound Factory escapades. The 1998 documentary Party Monster: The Shockumentary, available on Netflix, explores New York club kids culture, positioning the Sound Factory as an influence on the era's outrageous fashion and party scene. Digital media preserves the club's legacy via YouTube uploads of archival DJ sets from 1989 to 1995, including Junior Vasquez's marathon mixes, introducing younger audiences to the venue's pioneering house sound. These recordings, often sourced from cassette tapes, feature tracks blending gospel vocals and tribal rhythms, sustaining interest in the Sound Factory's innovative DJing style.

References

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  3. https://www.standardhotels.com/culture/le-bain-junior-vasquez-birdcage
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  10. https://www.nytimes.com/2005/06/10/nyregion/owner-of-west-side-club-is-acquitted-of-drugden-charges.html
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  34. https://www.vice.com/en/article/dj-t-pays-tribute-to-new-yorks-house-music-history-with-25-years-of-strictly-rhythm/
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