Oktaven Audio is a recording studio in Yonkers, New York specializing in classical, jazz, and acoustic music recording. With a 1,000 square-foot live room, a stunning Hamburg Steinway D 9’ concert grand, a world-class collection of microphones, preamps and outboard gear, and a variety of amps and instruments, Oktaven Audio offers a comfortable and sophisticated atmosphere in which to record.
The control room houses a 36-channel Studer 903 mixing console; a Pro Tools HDX system with Burl, Cranesong, and Apogee AD / DA conversion; full analog capability with a 24-track Studer A800 MKIII multitrack machine and Ampex and Otari 2-track decks; and monitoring by PMC and Focal.
The studio also provides a lounge and a library with a wide selection of musical scores and urtexts, music books, and rare facsimile editions.
Oktaven is 25 minutes from midtown and easily accessible to the tri-state area. Located in downtown Yonkers just two blocks from the Yonkers Metro North station and the Hudson River waterfront, there are a number of excellent restaurants, cafes, and bars within blocks of the studio.
Engineer and Co-owner Ryan Streber is a Juilliard-trained composer (BMA 2001; MMA 2003). His broad knowledge of classical and contemporary music repertoire, history, and theory and years of experience working as a composer and engineer with some of NYC’s most talented and exciting artists and ensembles drives Oktaven’s particular focus on classical, jazz, and art music as well as its emphasis on maintaining a continuity between the technical and artistic sides of the recording process.
Co-owner, Studio Manager, and Assistant Engineer Jessica Slaven is trained as a visual artist (BFA 2001, The School of the Art Institute of Chicago; MFA 2005, University of Pennsylvania). Jessica’s knowledge of the visual arts, design, and art theory bring spatial and visual capabilities to the studio’s offerings.
Oktaven (German for octaves) gets its name from Brahms. From about 1863 through the final years of his life, Johannes Brahms wrote entries in a small notebook which is now known as Oktaven und Quinten (Octaves and Fifths.)
Written purely for his own study and never intended for publication, Brahms’ basic purpose in assembling this manuscript was to document interesting and often subtle occurrences of parallel fifths and octaves (which are famously forbidden by the conventions of classical voice-leading) in the music of great composers before him.
Rather than marking Brahms a pedantic academic concerned with policing other composers' offenses, this little book is a document of Brahms’ obsession with musical craft, technique, and structure, illustrating his attention not only to problems of compositional tradition and practice, but also to questions of form, hierarchy, and hearing. (It’s no coincidence that Heinrich Schenker edited the 1933 facsimile edition of the manuscript.)
Brahms’ dedication to the continual advancement of his musical understanding and sensitivity, to the perfection of his craft, and also his humility and reverence before the achievements of those who preceded him are evidenced in Oktaven und Quinten, and this remains an inspiration to Oktaven Audio's goals and intentions.
Oktaven Audio’s name pays tribute to this model.