Professional Sound - December 2017 - Page 27

“The past and present are diverging in many ways, but also coming back together in many ways,” Moore muses, simul- taneously speaking about Metalworks and the music production industry as a whole. Moore and his bandmates in heralded Canadian rock trio Triumph founded Design Staging, the sound company and record- ing studio that would become Metalworks Studios the following year, in the fall of 1977 with the dual purpose of being able to record and rehearse together and also welcome other artists and clients as a com- mercial facility. Metalworks forged its reputation as a top-tier studio on the then-bustling Canadi- an recording landscape quickly, outputting platinum-selling projects by the likes of Triumph, Tom Cochrane’s Red Rider, Platinum Blonde, and Haywire in its first decade of business. Before long, it was an international- ly-known destination studio, welcoming the likes of Prince, David Bowie, Guns ‘N’ Roses, Rush, Tina Turner, and dozens more of the world’s top-selling recording artists. Over that time, the facility expanded and evolved in tandem with industry trends, eventually moving into mastering, audio post-production, surround mixing, and video editing and authoring. When Metalworks opened, it was one of fewer than 10 large-scale commercial facili- ties in Toronto and its surrounding area, and the term “project studio” didn’t mean much to anyone. Four decades later, that landscape looks quite different, and yet, not without its challenges, Metalworks has kept pace with it all. “I never found it frightening or intim- idating, really,” Moore says about the para- digm shift in the recording industry nearing the turn of the millennium that eventually saw several of Metalworks’ competitors in Toronto and across Canada close their doors for good. “The industry has changed and will keep on c vr'WBv^( fRv2&VV&RFFB( ФFW&W7Fvǒ'BbFR&V6&P&VƖWfW2WFv&22&VV6&W6ƖV@F&VvWBFR6V6BbbG27F'0FR&WWFFBFWfVVBfW"FRf'7B( vPfR'&BFBVR&V6v旦RFB&WЧ&W6VG2WGv&bCV'2bW662&GV6W'2VvVW'2&V7G2B6( Ф'WB&wV&ǒFR7B6vf6Bf7F ffV7FrWFv&>( vrw&wF@7V66W722FR( W66V677FV( 7W'FV@'G2F&VRFf63FR7GVF2ƗfRWfV@( vVBWFv&2BFRF&VR&2bFP6BWfW&vRWfW'Fpv^( fRV&VBV6RF7G&VwFVFRFW'2( Х5ETD4E$$Х5ETD"4E$$Ц6B66( vR7F'FVB27GVFB&V6&Fr7GVF2&V6&Fr7GVF0&V6&Fr7GVF( 62&R( 'WBW"BЦVr2&FW"VVR( B6( ФgFW"FW"fVBBrFVgV7@&vRf&B7GVF2FB6RWBWFЧv&26FR'W7FƖruD&V6&Fp&WB&7FVBWVǒ&W76fRf6ƗFW2W'6VB7&VFG2'WB7VffW&VBV6FffW&VBfFW2( ĒFv^( &RVG&FFFR6V6PFBvVBWFv&2BFPF&VR&2bFR6BWfW&vPWfW'Frv^( fRV&VBV6RF7G&VwFVFRFW'2( ffW'2&R( FRVGV6F6FRf"WRv^( &R&PF&WFBbVW&vrFV6vW2@v&vFVf7GW&W'2B6gGv&RFRЧfVW'2FBfRFW&W7BFW&7FpvFF6RVrVRFB6ffW"ЧWEvFWBFR&VVF6Rbv&rFP'W6W72f"#3CV'2"vFWFЧv&5&GV7Fw&Wv^( &R67FFǐ&RF&V6V7BvF'F7G2F&VvFV ƗfRWfVG2B'&rWr&V7G2&6FFR7GVF( ХFN( 2W7B"bWW22&VǒFR'GVFW2f"WW&V6RFV2@&W6W&6W2F76RF&Vv&RFP5ETD"ĕdR$Цf6WBbFR'W6W72&Rf'GVǒVFW72vV&RFVfW2FFW"bF6PWW2( 2&WBrt7GVFVG2w&BЧVFW2B7G'V7F'2VF6RFPWfWFbFR7GVF>( 6v62@v&fw2( 2FN( 2vVFRF67W766gG0g&f7W6r&&ǒFR7BFFP&W6VBBgWGW&R( BbW"F&V7FFR7GVF2W6VBF6R6Vǒg&W"VvVW&r7Ffb@&GV6W'2( &RF֗G2( rv^( &R6FƶrFW"7G'V7F'2BFƶrFw&BЧVFW2v&RWBv&rFW"7GVF0BvFFW"'F7G2FffW&VB'G2bFPGW7G'( Ф&66ǒFRFV2FBFR&vvW"FPWGv&FR&RW'7V7FfW2FW&R&RF66FW"G&^( 2vF&V6&FrVvVW"V6F7G&R2WFv&27FGWFRw&GVFR( Ć^( 2&VVfW"FRv&BFFW 7GVF2( 62&R6RvffW&r&RWRb&vW"66WBvP6F7G&RFW2V6b2v&vFG&PBFRWFVFVBdf֖ǒBWFv&0( 27V6f6ǒFR&V6VFǒ&VfFVB7GVF"( 2( V6WFW2&V6&G2G&RRХ$dU544TB( "#