We started Newvelle Records to foster a community of artists and their audiences. Because we view every album as a unique work of art, we create them with painstaking detail – from the way the vinyl is pressed to the artists we feature on the cover.
At a time when music can be consumed anytime, anywhere, we give people a rich, engaging experience with incredible music in their own living rooms.
From recording to pressing, we set out to create the highest quality work for our artists and their allies to take pride in. We put the credit, profit, and rights into the hands of the people who made it. They are our inspiration. We are their vehicle.
Whether it’s at one of our events or in your own home, Newvelle sets out to foster deep conversations — about art, about craftsmanship, about the human condition.
Whether it’s the music that drives you, the poetry that speaks to you, or the artwork that moves you, we craft objects and experiences meant to bring beauty into your home.
Newvelle Records. Bring art home.
Our records are carefully recorded with extremely high quality and mostly vintage analog equipment by our experienced and accomplished staff of recording, mixing and mastering engineers.
We record at East Side Sound in New York City where 5-time nominated and 3-time Grammy Award winning recording and mixing engineer Marc Urselli uses mostly vintage and some tube microphones, all analog and some tube pre-amps and all the inputs are run through and summed through an entirely analog console (a Harrison Series Ten B) that has no AD’s or DA’s anywhere. We strive to keep our signal chain as short and clean as possible.
“The medium of the recording is Pro Tools HDX with the latest HDX converters and we never record less than 24bit 88.2kHz. For mixdown I use uniquely the analog console, which is fully automated and digitally recallable so that we have the best of both worlds available: analog sound and digital automation and recall. This means we can save the mixdown files and moves of a mix but the sound is never converted to digital within the mixing console, which also serves as the summing. I use an analog spring reverb and on occasion a Lexicon 480 reverb. At no point do we use digital in-the-box summing.”
“The mastering is helmed by Alex DeTurk of Masterdisk in New York, who takes my high resolution 24bit 88.2kHz mixes and runs them through his signal chain to cut the lacquer for the pressing plant.” –Marc Urselli
“The sound is beautifully crisp…” –The New York Times
“Clean, realistic, well-balanced, and tonally alluring sound.” –Absolute Sound
“One of the better-sounding recordings I’ve heard in some time. The perspective is up front and personal -- in a good way -- and the recording oozes texture and tonal truth…” –The Audio Beat
“The crystalline acoustics feature crisp pedal sustain, and the high register notes are almost piercing in their clarity. This is contemplative music, highly percussive, rhythmic, with deeply felt emotion.” –Audiophile Audition
“Listeners will feel and experience the breath on the tenor reed, the woody timbre of the bass, and the snap of the drum stick on the snare. You are there with a front and center seat.” –Audiophile Audition