Professional Sound - October 2017 - Page 42

historic “Mrs. Mills” 1905 Steinway Vertegrand Model K upright, which was used in many Beatles recordings including “Penny Lane,” “Lady Madonna,” and “With a Little Help from My Friends.” All pianos were in perfect tune – the studio hires piano techs to come in weekly – except for the Mrs. Mills Steinway, which is tuned in a particular way that makes EMI TG12345 MKIII vintage console on display in Studio 2 it sound out of tune, but in a good way, like an old, beaten up 1969, the studio was named after the label saloon piano. We did take advan- that owned it, EMI. Before that time, every tage and recorded one song that won’t be new piece of gear that came in the studio featured on the record called “Good Men was thoroughly inspected, tested, and, if Fall,” written and preformed by the band’s necessary, modified to EMI’s standards. The guitarist, Matt, about his uncle who unex- studio literally has hundreds and hundreds pectedly passed away last year in a tragic of microphones to choose from, stacked in snowmobile accident. shelves and cases, most of which are still used today because of their history and age. PS: How would you describe the sonic Testing famous microphones out, like their character of Studio 2’s live room, and vintage Coles 4038, which was used to track how did it specifically shape the sound Paul McCartney’s bass during the recording of this record? of Sgt. Pepper as well as Pink Floyd’s album PS: How about instruments? Did the band put any of the hallowed pieces housed within the studio to use for this album? AKB: There was also a lot of gear available just sitting around the studio. Some of the instruments included two Hammond or- gans, a Challen Studio Upright Piano, along with a Steinway Model D Grand and the IOV set up to record in Abbey Road Studio 2 live room AKB: Once everything was set up and we began tracking, you could really get a sense of how the room sounded. The height of the room was about 25 ft. by about 40 ft. and it seemed to bring out stronger mid-range tones. I found it to be more of a short reverb for such a large live room. Having such an un- usual tone, the studio actually prohibits any sampling being done. The studio room itself was very flexible in terms of its acoustics with wrap-around drapes that could be drawn back in several different amounts as well as the bass trap panels on the walls, which eas- The Piper at the Gate of Dawn, was a pretty surreal experience. ily handles the measure of reverb necessary for orchestral r Xܙ[\[\H[ܙBXZ[X[H܈[ Έ^[ۙH[H]][Y][HH[YKX\ۛ[]HY[][YH[[\œڙX [Y[H[] BXܘ][ۏRЎ[H\]Y H\HܙY]YB\[[Y\Έ\\\XZ[[[Y\\[HܚYۈXܙ]][X\^H[Y\\[\\\\[ ][]\ œ][]HZ\وH\X[ۚ^\[[Y\ˈو[H\H\BۛYXXH[X\Hܚ[ۙYB\[H\ˈ\[H[وۙBوH[XZH[[[H]BH[\Y[[\\H[H\B[ۋX\[ܙYXH[]\][Y[\HH[^\[[B]\X[[[HZYHوH[\ܚXY[]HH[[\\ܞKΈ[YHX]][H[^][HY[Y\[\\\[ۋ[[X][H[ž[x&[[ۙH[Y[X\X]\™^\Y[ORЎY\[[\]X[YH\HYXܙ[\K[HZ\^K][[[ZH]X[YHHYXHو[KH[[HۛHY[[[Y\HܚY]XYH\Y[\][H]YB\[\[YH\KH[Y[X\[X] B[\X\\Y[]H\[وY\Z\[\\\]]\[ۙB[Y Y\Z[ۙH\[\[HY[Z[[HXY\\X\[Y[YH[Z][܂\]YHZ[HYݙ\\\KB\[[\HY]YˈYHY[B\^H^\Y[H]X^HYY[[ۙHܙ ][]HH8'\X[\X˸'B]\][H^Z[X]\ۙۂHXX[X[^H\HXY]H\ܚX[]\YXܙ[\HX][H[\XH]H]BYK[و]\[X^[˂[][\HY]܋Z[PYYوٙ\[ۘ[[