The Lightship 95 website tells us about the lightship's current use:
Professional recording studio on a 550 tonne ship, permanently moored at Trinity Buoy Wharf, East London.
Large purpose designed live room and control room, API console, excellent range of microphones, outboard, vintage amps and drums.
Relaxed and unique working environment, parking, American Diner and Café on site, lounge and kitchen facilities, natural light in the studio areas.
We also provide Mastering and Mobile Recording services and the ship is available as a Shoot Location.
For recent sessions, equipment additions, on-going construction developments, music industry articles and bands we like take a look here.
The same website also tells us why:
After four years of searching and struggling without success to find somewhere to convert into a studio (an old auction house, a 19th century Morgue, a church, a slightly less--inspiring ex tool hire shop) I decided to look for an alternative space. In some way or another I was determined to bypass as much as possible: the constraints, seemingly unnecessary expense and encumbrance of conventional tenancies, solicitors, surveyors, planners, local authorities etc.
I wanted to build a traditional studio in a new way -- create a space with character where people would feel comfortable and inspired to do the work they came to do; a functional and focused environment without the clinical 'doctors surgery' feel that many new studios have. I knew that in today's climate providing a space like this would either require a vast throwaway investment or a new approach. I didn't have the former so I decided on the latter.
Looking initially at decommissioned cargo ships it quickly became obvious that a vessel like this would provide a large amount of space for a very reasonable price compared to a similarly sized building. If a mooring in London could be found the value of this saving would be that much greater.
I noticed the Lightship for sale while viewing a 1950's, 140ft coaster at a mooring in the river Medway in Kent. At the time I knew very little about Lightships but I was immediately taken by its visual impact and intimidating construction.
The Lightship posed a considerably more daunting task to convert than a cargo ship. Below decks there were many bulkheads, endless ducts, pipes and lifting beams, redundant machinery and the bow and stern compartments were filled with over 100m3 of spray foam (from when the ships were automated in the
1980s).
The conversion began in September 2008.
The process of turning a large floating steel structure into a studio had not been documented before and the advice from acousticians, architects and studio professionals was; don’t do it, it won’t work. Research material was non existent, I had to adapt existing studio construction principles, combining them with mechanical isolation methods used in the manufacturing industry to achieve the sound reduction required for a professional studio.
Undeterred by the sceptics, brave or insane, Lightship95 is now one of the busiest studios in London.
The Lightship 95 website also tells us about the ship's history:
…Pray for those who were in ships, and
Ended their voyage on the sand, in the sea’s lips
Or in the dark throat which will not reject them
Or wherever cannot reach them the sound of the sea bell’s
Perpetual angelus.
T.S. Eliot
(The Dry Salvages)
Lightship 95 spent most of her life marking the South Goodwin Sands, part of a series of sandbanks in the English Channel feared by seafarers of all nations. The Goodwin Sands have claimed hundreds of ships and thousands of lives.
Trinity House, formed by Henry VIII in 1513 is one of the worlds oldest companies and possibly the most respected maritime institution in history. Initially setup to collect light dues for lighthouses (a form of tax) from vessels coming into English waters, Trinity House later developed the Light Vessel as a floating warning to mariners nearing sand banks or shipwrecks.
LV95 was in service until 2003. Where most ships would alter course or stay in harbor during bad weather Lightships were left to face anything with no choice but to remain at anchor. As a result they were heavily built to high and exacting standards and maintained without regard for cost. Their purpose and their exposure to such harsh conditions led both the ships and the crews to be highly revered and respected by other mariners.
The website also tells us about the conversion to a recording studio:
Lightship 95, originally commissioned by Trinity House (a 500 year old company started by Henry VIII) was built in Portsmouth in 1939. It is one of the finest and possibly one of the last examples of an all--riveted steel ship beautifully made to withstand all weather conditions and frequent collisions. The ship is classed as a heritage vessel and one of only a few left in the world. More information can be found on the History page.
Before any work could start on the studio or accommodation build, a serious amount of steel had to be cut out and removed. Although gruelling and heavy going this period of time allowed for the extensive research and planning to develop ready for the next stage.
The control room was originally a huge diesel tank, made of 10mm plate, bigger than the average living room, surrounded by piping, walkways and a 1940's Lister engine used to power the hydraulic capstan. The live room was the original engine room, later divided into three compartments by two double storey bulkheads. In the two main studio areas alone we cut and hand winched out over 12 tonnes of steel.
The studio design constantly evolved as the space opened out. Problems were solved and replaced by further problems. The shape of a ship and the complete lack of any level to work from made forward planning very difficult and while the principles of the construction were in place early on the methods were developing weekly. Every aspect had to be bespoke and while serious injury was avoided it was not through want of trying.
Structural loading was not the issue it can often be with studio conversions in existing buildings as the Lightship is so heavily over engineered; more than double the weight of a similarly sized cargo ship. However while the inch thick, extremely rigid steel hull is great at preventing airborne sound transmission, the resonance and mechanical transmission could only be overcome by both the control room and live room being entirely independent floating structures. Both rooms are supported/hanging on neoprene mounts and the results are excellent; the drum kit cannot be heard in the cabins situated immediately behind the live room and nothing can be heard outside on deck. Most of the conversion was carried out in the Medway and then completed once in London; a little over a year and a half in total.