A&M STUDIOS
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A&M STUDIO HISTORY
In April 1967 A&M Records began construction on its studios at its headquarters on the old Charlie Chaplin Studios at 1416 N. LaBrea Avenue in Hollywood, CA. There were two soundstages on the property. A&M kept the newer soundstage and turned the older one into its studio complex.
By late 1967, two of A&M's studios were in operation. Original plans called for only two studios but the artist roster grew enough that a third studio was added and opened in early 1968. Even the first versions of these studios were, according to Larry Levine, "developed to provide a creatively conducive atmosphere" with drapes, incandescent lighting, and specially selected chairs instead of the typical fluorescent lights and folding chairs. A&M also included moving ceilings to create different sonic moods. The original studio equipment was from 3M, Scully and the Holzer HAECO-CSG sound system. Howard Holzer also designed, built and installed the custom constructed recording and mixing consoles in each of the new studios.
HAECO was the acronym for Holzer Audio Engineering Company. CSG was Compatible Stereo Generator which collapsed stereo sound for monaural record players. Billboard reported that "the unit allows sound information to pass through from the right and left channels, but places a hold on the center channel information whose amplitude is doubled when it is combined into a single monaural source for radio broadcasting." Billboard also reported in January 1968 that A&M's first monaural single to use the system was by Lee Michaels and Claudine Longet would be first stereo use, however the singles by these artists released around that time were not marked as HAECO-CSG. The first records from A&M marked as HAECO were released starting in September 1968.
A&M Studios added mixing/cutting rooms and reverberation chambers in 1969.
The first A&M album with recording credit at A&M Studios was The Fool on the Hill by Sergio Mendes and Brasil '66.
Herb Alpert hired Larry Levine as the first engineer in 1967. Before joining A&M, Larry Levine was an engineer at Gold Star Studios, Alpert's preferred place to record. Alpert based the construction of A&M's Studio B on the Gold Star studio. While at Gold Star, Levine engineered sessions for A&M artists including the Tijuana Brass, Chris Montez, Brasil '66 and Ike and Tina Turner.
Alpert and Moss nurtured the studios and the engineers. Not only were fine acoustics a priority, only top recording engineers, mastering engineers and technical engineers graced the studios. The technicians built and refurbished equipment. A&M album covers tell the evolution of recording at A&M from four-track to eight-track to 16-track to 32 then 48-track to digital mastering.
A&M STUDIO HISTORY
A&M told Billboard in 1970 that it had invested over $1M in three 16-track studios, two mastering rooms and three mixdown rooms.
Following are two photos from an A&M Studios ad in Billboard from late in 1977.
In 1985, Herb Alpert and Jerry Moss hired Shelly Yakus as A&M Records' chief engineer and VP of A&M Recording and Mastering Studios. One of his first responsibilities was to rebuild the studios. In 1995, at the end of his contract, Yakus told Billboard, "I really miss being in the control room. It's a chance to be creative in a different way, and it's most natural for me."
Ron Rutledge began working at A&M Studios on October 10, 1994. Rutledge continued working at the studios after the merger with Universal and the sale of the studios to The Henson Company.
By 1997, A&M Studios had a staff of 40 people supporting five studios with eight live chambers, a remix/mixdown suite and the Chaplin/A&M Soundstage. From the day it opened until it was closed by Universal Music Group in 1999, the term most often associated with A&M Studios was "world class."
Three examples of the equipment hint at the dedication to creating and maintaining a top recording facility. First is the Neve 4872 Console in Studio A. This was the last board built by Rupert Neve in 1978. It was originally owned by George Martin and AIR Studios and was installed at the Montseurrat facility. Alpert and Moss bought the Neve in 1986 and continued to enhance it until they sold A&M Records. The second is the classic microphone collection. There was a perfect choice to enhance the sound of any artist. Finally, A&M owned an extensive catalog of outboard equipment. Full lists of the mics and outboard gear appear on each studio's page and the Equipment page.
A&M STUDIO HISTORY
The engineering staff was a Who's Who of the best people in the field. Larry Levine, Henry Lewy, Ray Gerhardt and Dick Bogert came to the studios in 1967. Larry Marks and Bernie Grundman started with A&M in 1968. Levine as an engineer, Marks as a producer and Grundman founded A&M's Mastering Division and managed it until 1982 when he opened his own studio. Henry Lewy became a producer with A&M in 1970. Karl Bischof arrived in 1971 to design, redesign and maintain the equipment. Also in 1971, Tom (Beno) May, became the head of the Studios. All told, he would have more than 20 years experience in mastering. The second chief engineer was Tom May, Sr. His son, Tom "Beno" May also came to A&M and was known in his own right. Roger Young, Don Hahn, Roy DuNann, Tommy Vicari, Bruce Botnick, Bruce Swedian, Stewart Whitmore and Ron Rutledge who continued to manage the studios after the lot was sold to the Jim Henson Co. ...just a few of the many talented A&M Engineering Staff.
The A&M Studios were an immediate hit with the label's own artists. Although A&M allowed artists to record in any studio in the world, A&M, Ode, Dark Horse, I.R.S., Windham Hill and Word artists all recorded at A&M. Here are just a few names:
| Joan Armatrading |
Joe Cocker |
Billy Preston |
A&M STUDIO HISTORY
Other A&M artists chose to record in studios other than A&M but had their work mastered in A&M Studios. When Windham Hill Records beecame an A&M affiliate, it asked that only Bernie Grundman master its recordings.
The studios were not only home to many A&M artists, they were rented by artists on other labels. More than 100 artists have albums noting they were recorded or mixed at A&M Studios. Among the most famous:
| Paul Anka |
Foreigner |
Carly Simon |
Billboard reported that Universal Music Group closed A&M Studios on October 2, 1999.
A&M STUDIOS STAFF
Thank you to all of the very talented members of the A&M Studios family.
If your name does not appear in the list below, please send an e-mail and let us include you in the credits. Photos for the A&M Family Photo Album are always welcome! When you write, please include the years you worked at A&M and your job title or the name of the department where you worked. This information is also used to validate your registration for our Employee Discussion areas--a forum available exclusively for A&M artists and staff.
| A - G | H - O | P - Z |
|---|---|---|
| John Aguto Roland Alvarez Robert Appere Tom Banghart Stephen Barncard Mike Baumgartner Karl Bischoff Roy Bittan Chuck Blackburn Dick Bogert Niko Bolas Bob Borbonus Bruce Botnick Fred Bova Ellen Burke Milt Calice Jim Cassell Bart Chiate David Chow Roy Cicala Hank Cicallo Dave Collins Bryan Cook Richard Cottrell Robert de la Garza Frank DeLuna Marc Desisto Michael Douglass Derek DuNann Roy DuNann Bill Dooley Benny Faccone Michelle Forbes Larry Forkner Ray Gerhardt Greg Goldman Ed Goodreau Bernie Grundman Mike Guzauski |
Don Hahn Mark Harvey Efren Herrera Howard Holzer Jimmy Iovine Dave Iveland Robbie Jacobs Andrew Johns Glyn Johns John Beverly Jones Clyde Kaplan Steve Katz Norm Kinney Ed Korengo Kathy Kurasch Larry Levine Henry Lewy Jonathan Little Bito Mann Gary Mannon Tom May, Sr. Tom "Beno" May Caryl McGowan Mark McKenna Paul McKenna Eric Moore Bill Morgan Mike Morongell Todd Montgomery Gary Myerberg-Lauter |
Elizabeth Palmer Thom Panunzio Rick Porter Alex Reed Brian Reeves Ron Rutledge Doug Sax Brian Scheuble Bill Schnee Geoffrey Schulman Karen Shane John Sisti Ellis Sorkin Ed Stasium Randy Staub Patricia Sullivan David Tickle James Tindle Mark Tindle Duane Tornquist Chuck Tranel Linda Tyler Tommy Vicari Bob Vogt Tom Watson Doug Wilson Randy Wine Howard Wolen Shelly Yakus Alan Yoshida Roger Young |
A&M RECORDS STUDIO A
SOURCES:
Photo of Larry Levine in Studio A is from the A&M Records promotional album Odyssey from Altec.
Some photos on this page originally appeared on A&M Records web site in 1996 and are copyrighted by and used with the permission of Stephen Barncard.
For Mr. Barncard's extensive information on the studio please visit A&M Recording Studios.
Equipment lists appeared on A&M Records web site in 1996 and in A West Coast Phenomenon the Studio That Charlie Built: Former A&M Studios, Hollywood: A state-of-the-art facility with a colorful past, and an emphasis on vintage technology by Mel Lambert, November 1997.
AIR MONTSERRAT CONSOLE
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 which 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 56 channels with:
- 48 Remote Preamps in a 4 x 12 channel system
- 44 x 31106 Eq
- 8 x 1081
- 4 x 32088 Eq's
- 52 x 32436 Aux Routing Modules
- 2 x 1974 Routing modules
- Flying Faders
- TT Patch Bay
- remote-controlled microphone preamps and toroidal transformers,
- integrated circuits
Studio A had tracking, overdub and remixing capabilities. Among the famous 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'.
STUDIO A EQUIPMENT
| Console: |
Outboard Equipment: |
A&M RECORDS STUDIO B
Richard and Karen Carpenter in the original A&M Studio B Control Room
John Sisti dumping tape in A&M Studio B Control Room
A&M Studio B Control Room
A&M Studio B Recording Room
A&M Studio B crystal
A&M Studio B lounge
A&M Studio B Console
A&M Studio B with Tom Watson Photo courtesy of Tom Watson
A&M Studio B Control Room Photo courtesy of Tom Watson
A&M Studio B Control Room Photo courtesy of Tom Watson
A&M Studio B Control Room Photo courtesy of Tom Watson
A&M Studio B Control Room Photo courtesy of Tom Watson
SOURCES:
The photos on this page originally appeared on A&M Records web site in 1996 and are copyrighted by and used with the permission of Stephen Barncard.
For Mr. Barncard's extensive information on the studio please visit A&M Recording Studios.
Equipment lists appeared on A&M Records web site in 1996 and in A West Coast Phenomenon the Studio That Charlie Built: Former A&M Studios, Hollywood: A state-of-the-art facility with a colorful past, and an emphasis on vintage technology by Mel Lambert, November 1997.
With tracking and overdub facilities, this is the studio Herb Alpert patterned after Gold Star. Studio B was accessed through an 18' by 19' control room. It had two small ISO booths, one on each side of the control room. The main recording room was 20' by 30'.
Carole King recorded her Tapestry and Music albums in A&M Studio B. Among other artists to mix albums in Studio B are Bruce Springsteen's Unplugged and Melissa Etheridge's self-titled album.
Karen and Richard Carpenter filmed their video of "Hurting Each Other" in Studio B.
Studio was completed by a private lounge and a very large crystal that Herb Alpert found.
STUDIO B EQUIPMENT
| Console: |
Outboard Equipment: |
A&M RECORDS STUDIO C
SOURCES:
The photo of Herb Alpert, Howard Holzer and Jerry Moss is courtesy of Susie Singer Carter.
The other photos on this page originally appeared on A&M Records web site in 1996 and are copyrighted by and used with the permission of Stephen Barncard.
For Mr. Barncard's extensive information on the studio please visit A&M Recording Studios.
Equipment lists appeared on A&M Records web site in 1996 and in A West Coast Phenomenon the Studio That Charlie Built: Former A&M Studios, Hollywood: A state-of-the-art facility with a colorful past, and an emphasis on vintage technology by Mel Lambert, November 1997.
Studio C was the smallest with just a control room and main recording area measuring 14' by 21. It served as A&M's multichannel mixing and pre-mastering studio. Crosby, Stills and Nash used Studio C as did Dave Koz for his Off the Beaten Path album.
STUDIO C EQUIPMENT
| Console: |
Outboard Equipment (1996): |
STUDIO D
Richard Carpenter at the second console used in Studio D. Photo from "Only Yesterday" video.
Herb Alpert with first digital recording equipment in Studio D in 1979. Photo from Billboard.
A&M Studio D view from ISO booth to control room
A&M Studio D
A&M Studio D Control Room
A&M Studio D Control Room
A&M Studio D Photo courtesy of Tom Watson.
A&M Studio D Photo courtesy of Tom Watson.
A&M Studio D Photo courtesy of Tom Watson.
SOURCES:
The photos on this page originally appeared on A&M Records web site in 1996 and are copyrighted by and used with the permission of Stephen Barncard.
For Mr. Barncard's extensive information on the studio please visit A&M Recording Studios.
Equipment lists appeared on A&M Records web site in 1996 and in A West Coast Phenomenon the Studio That Charlie Built: Former A&M Studios, Hollywood: A state-of-the-art facility with a colorful past, and an emphasis on vintage technology by Mel Lambert, November 1997.
A&M RECORDS STUDIO D
For the television show "Solid Gold," Studio D was used to produce tracks for Dionne Warwick, Frank Sinatra, Gladys Knight and the Pips, Roy Clark and Joe Piscopo.
A&M RECORDS STUDIO D
Tracking and overdub capabilities. Enetered through a 20' by 21' control room, two isolation chambers were set off on the left side. The main recording room was 28.5' by 34' with an 18.5' ceiling. Behind the main room were two more ISO booths, one 14' by 18' and the other 16' by 18'. Studio D also had a private lounge and bath.
Carpenters filmed two of their videos in Studio D, "Only Yesterday" and "All You Get from Love Is a Love Song."
Studio D was chosen for the 3M multi-track tape machine installed February 6, 1979. Herb Alpert tested the new equipment when he recorded his Rise album in 1979. He also recorded his Magic Man album in D.
STUDIO D EQUIPMENT
| Console: |
Outboard Equipment: |
STUDIO H
Herb Alpert recorded My Abstract Heart here and Lani Hall used Studio H to record her vocals.
STUDIO M
M for Mixing, mixdown and remix in this dedicated suite. The control room measured 14' by 18' and its lounge/overdub booth was 9' by 10'.
STUDIO M EQUIPMENT
| Console: |
Outboard Equipment: |
A&M SOUNDSTAGE/CHAPLIN SOUNDSTAGE
A&M SOUNDSTAGE/CHAPLIN SOUNDSTAGE
Parts of the Tijuana Brass television specials were filmed on the soundstage. Alpert would later record with Hugh Masekela The Main Event Live album here. In the early 1970s, George Harrison, Billy Preston and the Maharishi Orchestra rehearsed for their tour on the soundstage. It was also used for the quadrophonic version of Rick Wakeman's Journey to the Center of the Earth album. The Carpenters with the Overbudget Orchestra (Los Angeles Philharmonic) recorded "Don't Cry for Me Argentina" in front of an audience of music journalists. The size of the soundstage and its versatility lent it to tour rehearsals. Probably the most famous tour rehearsal was Joe Cocker's Mad Dogs and Englishmen . The soundstage also hosted countless listening parties for new A&M products as well as other events. Many A&M promotional films and music videos were shot on the soundstage. Among the promotional films, the earliest Carpenters performance videos, "Every Breath You Take" by The Police in 1983, Jeff Beck's "Ambitious" and Michael Jackson's "Liberian Girl."
A&M STUDIOS MICROPHONES | ||
|---|---|---|
|
5 AKG C12 1 AKG C24 2 AKG C28 1 AKG C28C 2 AKG C414 1 AKG C414B-ULS 5 AKG C414EB 1 AKG C451 7 AKG C451E 4 AKB C451EB 7 AKG C452EB 5 AKG C460B 1 AKG D1000E 1 AKG D112 2 AKG D12 1 AKG D124E 3 AKG D12E 1 AKG D140E 1 AKG D160E 1 AKG D190E 1 AKG D224E 1 AKG N12 2 AKG S10 1 AKG C451E 1 ALTEC 21-B 1 ALTEC 633A 1 ALTEC 633C 1 Audio Technica ATM31 1 Beyer M101 2 Beyer M160C 2 Beyer M160N 1 Beyer M201 1 Beyer M260MC 1 Beyer M88 1 Beyer MC740N 1 Beyer M88 |
1 Beyer MC740N 2 Bruel & Kjaer 404 2 Crown PCM-30GPG 1 E-V 1710 1 E-V 1711 1 E-V 1751 1 E-V 635A 1 E-V 666 1 E-V C090 1 E-V PL95 9 E-V RE 16 1 E-V RE 20 1 Milab VIP50 1 Milab XY82 1 Neumann HITLER MIC 1 Neumann KM54A 1 Neumann KM83 1 Neumann KM83i 2 Nuemann KN84 4 Neumann KM84i 3 Neumann KM86 2 Neumann KM86i 1 Neumann KMi 1 Neumann M249C 2 Meumann M250B 7 Neumann M269C 1 Neumann M49 1 Neumann M49B 1 Neumann SM69 6 Neumann TLM 170 3 Neumann U47 1 Neumann U47 FET 3 Neumann U47FET 2 Neumann U48 6 Neumann U67 21 Neumann U87 |
3 NORELCO C12A 4 RCA 44BX 7 RCA 77DX 2 RCA JR Velocity 13 Sennheiser MD 421 1 Sennheiser MD 421U-2 4 Sennheiser MD 441-U 1 Sennheiser MD421 7 Sennheiser MKH 405 1 Sennheiser MKH816 2 Shure 300 3 Shure 546 1 Shure SM33 1 Shure SM56 18 Shure SM57 3 Shure SM58 3 Shure SM7 2 Shure SM77 1 Shure SM98 2 Shure SM58 1 Sony 64P 2 Sony C 535-P 2 Sony C37A 4 Sony C37P 1 Sony C38 2 Sony C38B 1 Sony C500 1 Sony C535P 1 Sony C536P 2 Sony ECM-16 6 Sony ECM-22 2 Sony ECM-50 1 Telefunken 950EC 3 Telefunken ELA M251 2 U.I. Sound Dpt. Church Mic 2 Yamaha MZ204's |
A&M STUDIOS OUTBOARD GEAR
| CATEGORY | MODEL |
|---|---|
| Digital Reverbs & Delays | AMS DMX Digital Delay Bel Electronics BD 240 Delay EMT 250 Reverb Eventide 1745 Delay Eventide FL201 Instant Flanger Eventide 949 Harmonizer Eventide 910 Harmonizer Eventide H3500 Effects Processor Eventide H3000SE Effects Processor EXR EX-4 Aural Exciter Korg SDD-2000 Delay Lexicon PCM-42 Delay Lexicon 122 Digital Marshall Time Modulator Delay MXR Audio Flanger Quad Eight RV 10 Reverb Roland SDE-3000 Delay Roland SDF-325 Flanger SST Space Station 282 Analog Delay TC Electronics 1210 Spatial Expander Yamaha Rev 1 Reverb |
| Compressors/Limiters & Gates | APA 521 DBX Model 160XT Model 165a Model 160 and 160x Drawmer DS-201 Gate Novonics 201 Neve 2254a and 32264 Teletronics LA2 and LA2a UREI 1176 UREI LA2a Valley People TR804 Valley People Gain Brains Marc Electronics MX1 Neve Model 33609 Fairchild 670 and 660x comp/limiters |
A&M STUDIOS OUTBOARD GEAR
| CATEGORY | MODEL |
|---|---|
| Other Signal Processors | A&M Design eight-channel Direct Boxes Aphex 4B1 BG Model 20 Crossover Boulder Jensen Twin Servo Mic Pre-Amp Dolby A301 and Dolby Labs 361 Noise Reduction Dynaflex DX2 Noise Reduction George Massenburg Mic Pre-Amp Groove Tubes Guitar Pre-Amp Palmer PDi-03 Speaker Simulator Simon System RDB 400 Direct Injection Sunrise Tube Interface Mic Pre-Amp Systems TCB M10001 MIDI Controller Universal Audio 565 Filter UREI 962 963 and 964 Digital Metronomes White Instruments 4400 third-octave Room EQ White Instruments 4000 Room EQ Wendel Labs Ltd. Wendel Jr. Sample Trigger |
| Equalizers/De-Essers | Aphex Type B Aural Exciter API 560 EQ Lang PEQ 4 EQ Neve racks of eight Model 1073 mic/fine EQ Neve BCM 10 10-channel Console NTI EQ-3 equalizer Orban 621B and 622B Parametric EQ Orban 536A and 526E De-essers Pultec EQH-2 EQ Pultec HLF-3C filter Pultec EQP-1A3 Program EQ Pulec 1A3 EQ Pultec MEQ-5 Midrange EQ Pultec EQP-1A EQ and UREI 527A Graphic EQ |
SOURCES
1. Equipment lists appeared on A&M Records web site in 1996 and in A West Coast Phenomenon the Studio That Charlie Built: Former A&M Studios, Hollywood:
A state-of-the-art facility with a colorful past, and an emphasis on vintage technology by Mel Lambert, November 1997.
2. A&M Is Creating Sutdios in Tune with Creative Artists. Billboard, November 11, 1967.
3. 2 Studios of A&M Roll--3d Put in Gear. Billboard, December 21, 1968.
4. Former A&M Studios website. Stephen Barncard. October 25, 1996.
5. A&M Recording Studios by Stephen Barncard.
6. Photo of Herb Alpert, Howard Holzer and Jerry Moss courtesty of Susie Singer Carter.
7. Photo of Larry Levine in Studio A by A&M Records.
