AKARSH SHEKHAR
THE TWO GREATEST
STUDIO CONSOLES AND
THEIR IMPACT ON MUSIC
Although the first “ready-made” console manufacturers emerged in the 1960s, a studio’s console gave its
rooms their own distinctive sound due to its unique circuitry and components.
Cher’s sixth album was recorded at Muscle Shoals,
“Kodachrome,” the number two Billboard Hot 100 lead
single from Paul Simon’s third solo album, 1973’s There Goes
Rhymin’ Simon, were all cut there. And not to forgot, there
was Lynyrd Skynyrd, who put Southern rock on the map with
their platinum-selling 1977 breakout album Street Survivors.
Muscle Shoals Sound Studio: Universal Audio 610
When the Rolling Stones rolled into Muscle Shoals, Alabama,
for three evening sessions in December at Muscle Shoals
Sound Studios, the story of the “burlap palace” was barely
up to the task. The recording studio, with its burlap-
covered ceiling and acoustic-tile wall panels, had a 1-inch
8-track Scully tape machine, no outboard equipment,
and a sonically excellent but basic Universal Audio 610
tube console. It had 10 inputs with simple fixed-frequency
low- and high-shelving EQ. But that didn’t stop the Stones
from making what would become timeless music.
The Rolling Stones recorded three tracks at Muscle Shoals
Sound: “You Gotta Move,” “Wild Horses,” and “Brown Sugar.”
Released as the first single, the opening track, “Brown Sugar,”
shot up to number one in the United States of America and
number two in the UK. So what brought so many artists to this
bare-bones recording studio tucked away on the Alabama/
Tennessee state line? It was the Muscle Shoals Rhythm Section,
lovingly referred to as the Swampers, with a distinctive, organic
sound and infectious grooves that drove hit records by Aretha
Franklin, Otis Redding, Wilson Pickett, and other singers of
that era. It was Jimmy Johnson (guitarist/engineer), Barry
Beckett (keyboards), David Hood (bass), and Roger Hawkins
(drums) that drew artists from far and wide to work in this tiny
“burlap” studio at 3614 Jackson Highway. When they purchased
the modest property with financial backing from Atlantic
Records’ Jerry Wexler in early 1969, they never suspected they’d
soon be hosting the Greatest Rock ’n’ Roll Band in the World.
After the Rolling Stones worked there, Muscle Shoals
Sound Studios became THE recording destination for
artists of all genres. But let’s not forget that before
that, it was the Muscle Shoals Rhythm Section that
attracted the attention of artists and producers.
Abbey Road Studios: TG12345
In the 1960s, EMI Studios London had a staff of innovative
technical engineers and racks of the best gear available at
the time, much of it either designed from scratch or heavily
modified by EMI technicians. The Beatles were the most famous
beneficiaries of EMI’s technical prowess. In the beginning,
they recorded on EMI REDD.37 valve consoles built by EMI
Central Research Laboratories in the late 1950s, although the
updated REDD.51 captured their 60s creativity even better.
Other musicians whose music was shaped by Abbey
Road’s TG consoles include a veritable who’s who list of
rock royalty: Sir Paul McCartney, John Lennon, George
Harrison, Ringo Starr, Wings, Pink Floyd, the Hollies, Al
Stewart, the Shadows, the Raspberries, the Buzzcocks, XTC,
and more. Abbey Road’s increasing success with record
projects overshadowed the fact that their Studio One was
the world’s largest purpose-built recording studio and had
been hosting full symphony orchestras since the 1930s.
During the mid-’70s, the studio was moving away from large
orchestra recordings and by 1979, management was considering
a plan to break up Studio One, which would give them another
smaller “rock” studio, as well as expanded parking. Then
fate intervened. A company called Anvil Post Production
approached them with a partnership deal that would make
Abbey Road a major player in the film scoring business.
The
Score Magazine
highonscore.com
43