PatchWerk Recording Studios has long been a cornerstone of Atlanta’s music scene.
Its reach is so broad that in 2024, King Willem-Alexander and Queen Máxima of the Netherlands toured the facility while Dutch artists Frenna and Rotjoch were recording.
For Curtis Daniel III, who co-owns the studio with Mike Wilson, moments like these reflect how far the space has come since its beginnings.
The roots of PatchWerk go back to 1993, when former NFL offensive tackle Bob Whitfield financed a demo for his high school friend, rapper Ras Kass. That project quickly grew into a record label and later a full-fledged recording facility.
By 1995, the first PatchWerk studio opened in Atlanta, drawing producers from Organized Noize, So So Def, and LaFace Records. Five years later, the studio relocated to its current home on Hemphill Avenue, expanding into a 10,000-square-foot complex that would host legends like Outkast, 2Pac, TLC, Nas, Beyoncé, and Lil Wayne.
Daniel recalls that the foundation was built on friendship and trust. “For us, it started kind of like family,” he said on The Bridge Podcast. “I’ve been walking in and out of Bob’s house since the sixth grade, and Ras [Kass] still goes to my mama’s house. Our families know each other.”
That sense of community carried into the business. When Whitfield went through a divorce, Daniel and Wilson stepped in to buy the studio outright, ensuring it stayed alive.
What sets PatchWerk apart, Daniel says, is an unwavering attention to detail and genuine care for artists. “We used to have a tagline, PatchWerk Recording Studios, where we care about your music more than you do,” he explained. “That’s still true, because we’re paying attention to details that a lot of artists didn’t even care about back in 1995 and 1996. That’s why their songs still sound good 20 years later.”
Beyond music, Daniel has expanded the studio’s mission into education and outreach. Through master classes, workshops, and the “I Do Music” program, PatchWerk introduces kids to the wide range of careers available in the industry—beyond the stage. His vision includes raising funds so that underprivileged students can tour the studio for free.
As PatchWerk turns 30, Daniel sees its legacy not only in the platinum plaques on its walls but also in the generations it inspires. “I always tell people this is like an institution,” he said. “The success of its alumni is the real measure of its value.”