STUDIO A HISTORY

Studio A was the largest room at 48,000 cubic feet. It had tracking, overdub and remixing capabilities. Among the artist recordings to come from Studio A are:

"We Are the World" by USA for Africa
Herb Alpert remixed his Fandango album and recorded Blow Your Own Horn
Joan Baez's Diamonds and Rust album
Jeffrey Osborne's self titled album
Lani Hall's Es Facil Amar album was mixed in Studio A
Stan Getz's Apasionado

According to the defunct A&M Studios web site, artists entered Studio A through its control room. The control room was about 19' by 22'. (All dimensions are approximations because the studio complex contained many walls that were set on angles.) On the left side of the control room was a vocal ISO booth. Two more ISO booths were on the right side of the studio. One was about 16' by 20' and the other was 20' by 26'. The control room windows looked out into the main recording room with its 20' ceiling. The main area was about 38' by 39'.

AIR MONTSERRAT CONSOLE

This console was one of the last three designed by Rupert Neve for the Neve Company. Producer Sir George Martin developed the specifications for the desks that were to be used in Air Studios. Engineer Geoff Emerick also added his specifications. This console got its name because it was installed in the Air Montserrat Studios. While at Air, it was used to record The Police albums Ghost in the Machine and Synchronicity.

In 1987, A&M Records bought the console.

The console featured 52 channels with:
40 Remote Preamps in a 4 x 10 channel system
44 x 31106 Eq and 41-44 have mic preamps inside the 31106 case
8 x 1081
4 x 32088 Eq's
44 x 32436 Aux Routing Modules
8 x 1974 Routing modules
Flying Faders
TT Patch Bay
remote-controlled microphone preamps and toroidal transformers,
integrated circuits

STUDIO A EQUIPMENT

CONSOLE:

Custom Neve Model 4972 52/24/32
with 44-31106 Modules and 08-1073 Modules
Flying Faders Automation

TAPE MACHINES:

Two Studer A800 Multitracks
Studer A820
Ampex ATR-102 two-tracks
Two TimeLine Lynx synchronizers

MIXDOWN/REFERENCE:

A&M proprietary A-to-D and D-to-A
converters
Sony PCM-7010 Timecode DAT
Panasonic SV-3700 DAT
Phillips CD player
Tascom Model 122 Mk III cassettes

MAIN MONITORS:

Custom A&M/Van Haaff systems with
Pioneer/TAD components

NEAR FIELD MONITORING:

Yamaha NS-10Ms

OUTBOARD EQUIPMENT:

Compressor/Limiter:

Fairchild 670
UREI LA-2a, LA-3 and 1176
dbx Model 160 and Model 160x
Neve 32264a

Equalizers:

Pultec EQP-1A3, EQP-1A and EQH-2
GML Model 8200

Reverb/Effects:

Eventide H-3500
Lexicon 480L, PCM-80 and PCM-70
AMS RMX-16
Yamaha 990, Rev 5, Rev 7 and SPX-90

Delays/Effects:

AMS DMX
Lexicon PCM-42
Roland SDE-3000 (with AES Trig.)
TC Electronics 2290
Eventide 949

Gates/Proc.:

Drawmer DS-201 gates