![]() ![]() “We love the console it has a cleaner sound than some vintage consoles, but you can also get a vintage sound out of it, and it has a ton of headroom,” Goodreau states. The studio credits the new AXS with having a classic sound, combined with modern functionality. “The white EQs from the A&M console were from the early 1970s and truly have the classic API sound,” says IGA’s VP/head of studio operations, Ed Goodreau, who worked as a recording engineer at A&M Studios from 1988 to 1992 and recalls working on Studio C’s white API in 1991 to record some of Jakob Dylan’s initial demos. During this historic era at A&M, a wide range of artists recorded some of the most iconic albums of the period using these EQ modules. Although the custom consoles are no longer owned by A&M, these modules stayed in the company’s possession and they were sent to API to be renovated and installed in the new console, endowing the new studio with a sense of history and continuity. This was one of two custom-colored API consoles purchased for A&M in the mid-1970s. Perpetuating a long tradition of API soundboards at the A&M stable, the API AXS is fitted with 16 white vintage API 550A EQ modules (together with 16 modern 550As) reclaimed from an API console that previously resided in A&M’s Studio C. The 17,000-square-foot facility provides the record label and its artists with eight recording studios, a soundstage and several digital content creation suites. Universal Music Group’s Interscope Geffen A&M has chosen a 32-channel API Legacy AXS console for Studio 1 of its new, multi-room facility that’s been designed and constructed over the past three years.
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