Building a recording studio from the ground up is certainly no mean feat, but when two great visions come together, the results can be spectacular. We discover how a rural facility in the North of England has produced just that.

Joss Worthington’s Distant City Studios reopened in 2017 after a year of refurbishment. Despite its locale and appropriate titling, however, Distant City – which has been in its current setting for nearly 25 years – is still within close proximity to big cities like Leeds and Manchester. For a number of years, local bands have brought the area’s strong folk music scene to Worthington’s doorstep, choosing to record their material at his facility.

Worthington, who took over the studios around 20 years ago, has in fact been putting out his own material for the last four years as Postcards From Jeff, including an EP and an album. “I’ve got some background in film and have done a bit of soundtrack work, so the music I produce is quite cinematic,” says Worthington. “This actually helped draw some attention to the studios, including that of Blackpool four-piece band The Membranes. I did their album in 2015, which was rather well received.”

It turns out that Worthington’s ownership of Distant City came about somewhat accidentally. While visiting the studios on a regular basis as a musician, he quickly formed a partnership with its previous sound engineer, whose role he eventually assumed.

“I just got more and more involved with the scene as time went on, and as a result of that I began to realise some of the acoustic problems that the studio had,” he recalls. “There’s quite a bit of industry in this little village now and it has become a bit of an issue. I’d always dreamed about doing things from scratch in my own way, and was very keen to build the studio with my own vision in mind.”

John Holmes, Studio People’s technical solutions manager, adds: “Joss first got in touch with us after he found our website and at the time, we were on projects along the M62 corridor between Manchester and Hull so an initial on-site visit was arranged swiftly and proposals starting appearing from that point onwards.”

“When I got talking to Studio People,” continues Worthington, “I soon realised that this was a once in a lifetime thing to do on such a grand scale, and to do it all at once. I wanted to integrate the downstairs areas as much as possible and that’s when the crazy ideas started coming.”

Raising the roof

Perhaps the craziest idea of them all was a motorised acoustic drop ceiling that Studio People specified to allow for a double-height drum room, which according to Holmes “appeared very early on in the process as our acoustic consultant Chris Smout’s way of maximising the volume of the drum room within the given footprint.”

Yet there were a number of considerations with regards to health and safety for the new ceiling, which has several microphones installed within it: “We came up with a failsafe mechanism in the control room that means we can record at different heights to hear the change in sound,” Worthington remarks. “It sounds absolutely fantastic – better than I had imagined. I think it is definitely something rather unique about what we offer here.”

Worthington’s other primary brief was for the control room to be as flexible as possible to allow for any producer to come in and apply their workflow to the studio’s gear, so it was eventually decided that lots of careful, complex consideration should go into the patch bay layouts and cabling infrastructure in particular: “Each room has mic, line, instrument, speaker and data tie lines to it, including the stairwell, store room, chill out area and even outside,” Holmes reveals. “If Joss wants to record an instrument in an area, he can. Integrating his 24-track Otari MX 80 tape machine to the system was fun too, enabling him to track to tape, mix from tape, or a hybrid combo of tape and Pro Tools.”

“We worked intensely together over the space of a year so would certainly consider them [Studio People] friends now,” Worthington adds. “All the building and wiring guys were fantastic and there were very few things that were turned down as completely crazy. It’s a very versatile space now, utilising every room as a recording environment.”

New heights

A major problem that was discovered just weeks into the build, though, was the state of the roof, which on a building over a century old in a high-risk flood area was a big concern. Following the strip-out, Studio People’s structural engineers forcibly advised the roof to be repaired as the joists and purlins were in quite bad condition.

“This inevitably put a hold on the studio build element but did allow us to design a new steel-based support structure to gain a little more height on the first floor, and revealed the building previously had skylights so these were re-instated too to allow plenty of natural daylight into the first floor,” says Holmes. “So it did have benefits over the shock of the initial uncovering of the issue!”

Three weeks after installing the new roof there was another bout of bad flooding which caused extensive damage in the area, proving the decision was the right one at the right time: “It was a big problem but I think it was dealt with in a very smart way,” says Worthington. “The new control room looks out onto the picturesque village, giving it a particular country vibe, while lots of wood finishing lends it a very natural, homely feel.”

The personal touch

Worthington has spent the last couple of months remixing a synchronisation album which is going out on EMI production music, while he also plans to welcome back The Membranes to use the new drum room: “I think that’s got a lot of people excited, especially local bands, and they’re looking forward to getting in there,” he notes.

An SSL AWS 948 Delta desk is being used in the control room, which Worthington praises for its hands-on approach and ability to integrate seamlessly with Pro Tools, while in the speaker department there are Neumann KM120s with a KH810 sub, and Genelec 1037s with 1091A subs.

The studio’s collection of outboard gear includes Teletronix LA2As, Universal Audio 1176s, Neve 1073s, as well as a whole host of API preamps and 550/560 EQs. Recording options include a Telefunken U47 – the most frequently used in Worthington’s arsenal – along with a Neumann U87, Royer 121s, and AKG 414s and 451s. For writing and MIDI-based composing he uses Ableton software, while for mixing and analogue recording he sticks with Pro Tools.

“Joss knew exactly what he wanted from the space and has a great design eye, so our design team found working with him to be very straightforward and focused,” says Holmes. “This place does not look like any other Studio People studio, and everywhere you look you can see Joss’ input.”

While Distant City Studios’ unique selling point is irrefutably its innovative new drum room, many new possibilities have been unearthed with regards to the new layout and collection of gear. “I think the whole vibe of the place is pretty unique and I’ve had lots of comments about it already,” Worthington concludes. “While there are some great studios in this part of the country and it’s a difficult industry, I’m just trying to do my own thing. I couldn’t really want much more with the space I’ve got now.”

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Plugin Alliance has unveiled the new 50 Series from Lindell Audio, designed to transform DAWs into an analogue mixing console.

The Swedish brand’s new plugin range has been engineered to capture the sound of API consoles, preamps and EQs. Users can choose between three classic EQs – the  semi-parametric 50A EQ for three-band processing, the 50B for four bands, and the 60 as a precision graphic EQ for significantly  reshaping sounds.

Meanwhile, the VCA compressor models API’s 2500 series compressor with additional controls. Furthermore, the included FET compressor has been designed to replicate the tone and ease of use of the original 500 series as it is modeled after the acclaimed API 525 compressor.

In addition, there are 72 different TMT channel emulations in one plugin; three switchable EQs modeled after the 500 series lunchbox designs; two switchable compressors; classic API noise gate and expander emulation; classic API preamp tone capture with automatic gain compensation; continuously variable THD (Total Harmonic Distortion) and virtual GAIN controls to add saturation and/or simulated analogue noise independently or globally; and scalable UI (User Interface) to adapt to different screen sizes and workflows.

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API Audio president Larry Droppa pulled a sheet off a mysterious object in the middle of the API booth at the AES Convention yesterday, revealing the company’s new 2448 recording and mixing console.

Intended as a middle ground between API’s 1608 and AXS consoles, the 2448 is a compact, dual-signal path analogue recording console. Available in 24, 32 and 40 channel frame sizes, the 2448 typically sports 24 channels for multitrack recording and 56 channels for mixing.

Features include dual inputs on each channel, four stereo returns and optionally, API’s new cross-platform Final Touch fader automation system.

The model has already sold eight desks prior to the show, with the first going to producer/engineer Dave Trumfio of Kingsize Soundlabs (pictured above) and cult 90s synth act Pulsars. He will use the new 32-channel desk at his newly constructed facility within Los Angeles’ Gold-Diggers club/hotel/studio complex.

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Building a hybrid mixing set up offers a substantial "return on investment”, in spite of the high costs involved.

That’s according to audio engineer Simon Allen, who investigated the market for hybrid mixing systems for a special focus feature in this month’s issue of AMI.

“Hybrid mixing systems hold their place in the market where modern workflow is vital," he continued. "Thanks to the developments from manufacturers in this field, we have some very smart solutions. Perhaps one of the biggest attractions for anyone building their own hybrid facility is the return on investment.

In the feature, Allen looks at how the digital and analogue worlds have come together in light of hybrid product offerings and developments, specifically focusing on the console market, with analysis of the current offerings from SSL, AMS Neve, Allen & Heath, API and Audient.

“There’s a surprisingly short list of hybrid mixing systems developed as off-the-shelf products," he added. "I believe this is partly due to the customisable nature of working in this fashion, with each producer/mix engineer choosing a different tool set.

“The rarity of these all-in-one consoles simply has to be down to supply and demand. Successful hybrid mixing systems, in the sense we have discussed them here, tend to be relatively expensive.”

Read the full feature here.

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The first API Legacy AXS console for Japan is to be installed at Tokyo’s newest recording facility, Tanta.

Studio A will house a 48 channel fully-fitted Legacy AXS console – first launched at AES 2016 – while studio B will utilise a 32 channel automated 1608 console, both of which will be delivered in early 2018 with an opening shortly after.

The sale is being handled by API’s exclusive Japan distributor Mix Wave, headed by Mr. Hiro Saika.

The Tanta studio – located in the Shibuya area close to Japan’s national public broadcasting organization NHK – has been in planning and construction for over three years. The building is seven stories high, with spaces for rehearsal and performance, high end dining and parking, and more.

The Legacy AXS console’s frames range from 32 to 80 channels, with each channel offering dual input capability and access to two API 200 Series module slots.

One key aspect of the design is a return to the traditional 1.5in module width standard, which allows for the use of API 500 Series equalizers on a per-channel basis. The console also features a complete centre section that includes six automated stereo echo returns with motorised faders, 5.1 surround monitoring and a built-in 2500C stereo bus compressor, along with onboard or remote patch bay facilities to complete the system.

“Following the successful placement of two 64 channel API Vision consoles at NHK in Shibuya, Tokyo, we’re excited for the opportunity of placing two additional API Consoles in the first new ‘from the ground up’ studio built in Japan in many years,” said Dan Zimbelman, API director of sales. “Tanta’s Studio A with the first Legacy AXS console delivered to Japan, as well as the 32 Channel 1608 for Studio B, is going to give the music scene in Japan a new, exciting alternative for super high quality audio recording."

https://www.apiaudio.com/

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An iconic recording facility in the heart of Hollywood reopened its doors at the start of the year following a complete renovation, but to what extent has it preserved its incredible legacy and secured its creative future in doing so? Colby Ramsey investigates.

The new Aftermaster Studios Hollywood breathes life back into a landmark made famous by Crosby, Stills and Nash – one that was originally constructed by the latter almost 40 years ago in the former production offices of legendary director Alfred Hitchcock. Since it was first completed in 1978, it has been a recording and production facility for many of the music scene’s greatest talents, including The Eagles, Jackson Browne, B.B. King, and in later years, diverse artists such as Tupac, Fleetwood Mac and Good Charlotte.

The renovation team led by co-founders Larry Ryckman and Shelly Yakus has completely modernised the facility’s seven recording and mastering studios, future-proofing it for a new generation of artists and marking it as the fifth recording studio that Aftermaster Inc. operates at the historic Crossroads of the World compound on Sunset Blvd., originally built in 1936.

“It was a difficult decision,” Ryckman reveals. “Recording studios are closing down all over the world because of the ease and low cost of computer-based music production.” Yet it was the studio’s size, location and impressive 40-year history that ultimately won the Aftermaster team over: “We wanted to renovate and reimagine a true Hollywood studio and build a legacy facility that will hopefully be around for many more decades,” adds Ryckman.

The team, which includes a unique and very diverse group of engineers, producers, mastering engineers, artists and audio hardware specialists, has cumulatively produced, engineered and mastered more hit music than any audio company in the world, according to Ryckman: “The team behind Aftermaster are all purists that have come together in a never-before-seen (or heard) collective in the audio world,” he remarks. “The reason I raise this point is that the acoustics of the rooms were paramount, and it was very difficult to get so many great ears to agree on what sounded just right.”

Ryckman and the team ended up adding large amount of sandstone and proprietary acoustic materials so that the rooms met their audio requirements, yet like most projects, “it took more time, more resources and more effort than any of us expected.” The studio wiring, patch panels and the deterioration of the materials covering the walls proved especially challenging, along with the task of changing every work surface to reflect a modern recording environment. The control room features stained glass windows and specially designed acoustic walls, while the expansive live room is equipped with new bamboo floors, stone-accented walls and includes both a piano room and a vocal booth.

“We retained every piece of wood that was in the original studio, so it has a vintage and comfortable feeling,” Ryckman reveals. “Indeed, the ‘bones’ that Graham Nash built in the studio are very strong and provided an incredible basis for us to work with.”

Since its recent opening, the studio has been booked out daily. The Aftermaster team held the first open house for producers and engineers on 1 June and were met with ‘fantastic’ feedback, according to Ryckman: “Our studios have always been “closed studios” and are only rented out occasionally as we need to use them for Aftermaster’s technical needs.”

Some initial projects undertaken at Aftermaster Studios Hollywood include recording, mixing and mastering for Austin Mahone, Sofia Reyes, DNCE, Wiz Kid, Ty Dolla Sign and Emile Hirsch, as well as mastering for hit TV show Empire.

Carving a niche

What is it then that makes Aftermaster different from the competition? Ryckman is keen to make it one of the most seasoned audio technology companies in the world, by developing both its services and own technologies: “The studios and our professional mastering services set us apart from other audio companies as they keep us in the music game whilst still allowing us to develop products,” he says. “It’s been phenomenal watching the incredible changes taking place. I can remember talking to my partners Jimmy Lovine and Shelly Yakus 30 years ago about how there could never be a computer-based recording and mixing system that could get close to the real studio experience. Obviously, we were very wrong.”

In fact, Ryckman believes there were only about 15,000 recording artists in the USA back then, as music could really only be created by renting studio time and a production team. Times have of course changed with millions of artists now completing high-level productions at home: “Having said that, I personally don’t think there will be a time when a computer can replicate the emotion and magic that occurs when a group of artists are all playing their music in a great sounding room through a console and real hardware in the chain,” Ryckman continues.

“We are confident that the renovation of such a legendary studio at Aftermaster Studios Hollywood will result in one of the most important recording studios in the world,” concludes Ryckman. “The studio renovation and reopening is an important part of creating a new dawn for the music recording industry in Hollywood.”

On the kit list

At the heart of Aftermaster’s newly renovated control room sits an 80-channel SSL 4000 G+ recording console – originally built by NBC for Saturday Night Live – along with five racks of state-of-the-art gear built into the wall. This includes a ProTools 12 rig made up of a Prism Sound ADA-8XR interface, Apogee Symphony I/O, and Antelope Trinity and 10MX.

Along with a host of UAD, Waves and Antares plugins, a broad range of mic pre amps are available, from vintage Neve 1073 pre’s to Rupert Neve Designs’ Portico ll. Compressor/limiters and EQs from the likes of Teletronix, Neve and API are also in abundance.

Monitoring options include both Dynaudio M3XE speakers and Lipinski Custom 18” speakers backed up by Lab.gruppen PLM 12k44 amps, a combination that is somewhat unique to North America says Ryckman, “as we use both Dynaudio and Lipinski mains in our studios.” Near-field monitoring is carried out on Dynaudio MB5 and LYD 7 monitors, as well as Lipinski L-70s and the more commonly used Yamaha NS10s.

A plethora of musical instruments are also on offer, while recording can be carried out via one of the many microphones in the studio’s collection, which includes models from Telefunken, Neumann, AKG, Shure, Electro-Voice, Sennheiser and Audio-Technica.

http://www.aftermaster.com

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Walters-Storyk Design Group (WSDG) has announced the completion of Beijing’s 55TEC Recording Studios, which it says ‘represents a new level of production sophistication for China’.

The studio was created by WSDG, and saw studio owner and Golden Melody Award-winning recording engineer Li You join forces with Wu Yongheng, (AKA Bei Bei, a well-known drummer and record producer in China) and leading pro audio exec Lizzy Zhou to address the country’s rapidly expanding desire for pop and rock music.

“With China now acknowledged as the world’s second largest economy, we have seen a huge increase in the market for popular music. Over the past ten years a number of major artists have developed tremendously loyal followings here. China’s appreciation of recorded music is enjoying phenomenal growth," said Li You. "As our discretionary income increases, and as talented new artists create music that appeals to large numbers of fans, this time in our history appears ideal to establish a recording studio and record label to meet this demand.”

With the aim being to create the highest quality recordings possible, Lizzy Zhou reached out to WSDG. “Founding partner, architect/acoustician John Storyk, has a global reputation for outstanding studio design,” Zhou remarked. “WSDG studios are exemplary, from Jimi Hendrix’s historic Electric Lady in 1970 to NY’s Jungle City and Paul Epworth’s amazing The Church Studios in London, both of which are highlights of WSDG’s 11 TEC Award-winners list, [and] made them our only choice.

“WSDG partner/project manager Joshua Morris did an excellent job of coordinating this international project. His experience and professionalism helped make a complex process extremely efficient and gratifying. WSDG partner/director of design Renato Cipriano traveled from Brazil to perform the final room tuning, and the speakers in our control rooms sound absolutely incredible. We could not be happier with our beautiful new recording studio."

Ensconced in the basement of a residential building in one of Beijing’s most exclusive quarters, the 5,000 sqft 55TEC complex is structured to meet the most sophisticated recording requirements.

WSDG partner Sergio Molho reports that the Studio A control room has been precisely tuned to provide ‘a superlative listening environment,’ fabricated with extensive perforated wood and slotted metal wall and ceiling panelling, and highlighted by a custom rear wall diffuser. A striking glass-framed image of a vintage Teletronix compressor/limiter tuning knob is positioned on the wall to the left of the console and opposite the soundproof window into the 500 sqft live room (pictured, above).

The 55TEC management team’s technical expertise enabled them to outfit their studio with equipment such as an API 1608 console; Quested Q412D, QSB118 and Barefoot MM35 speakers; Burl B80 Mothership; Pro Tools HDX and a host of outboard gear housed in a custom-built desk (pictured, above).

Built for mastering/post, Studio B’s 230 sqft control room and 150 sqft iso room meet the same exacting acoustical standards. Studio B (pictured, below) features an Apogee Symphony 64, Grace Design M905, Meyer Sound HD-1 and B&W Nautilus 801 Speakers and Jeff Rowland Amplifier.

“We were honored to have been selected to design this important new studio, and to have had the opportunity to make a meaningful contribution to China’s thriving pro audio industry,” Sergio Molho said. “Li You, Bei Bei and Lizzy Zhou, have impressed us with both their enthusiasm and their realistic business plan. They have built a world-class studio, and they are developing an incredible group of artists. They share a deep affection for music, and they are fully committed to creating a meaningful place in China’s (and the world’s) musical community. We will watch their success with great interest and pride in having helped them create their wonderful new studio."

http://www.wsdg.com

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Following "the biggest transformation since it was founded in 1931," a pair of new studios have officially opened their doors at Abbey Road this week, alongside a state-of-the art Mix Stage for post production.

The Gatehouse and The Front Room are designed to make Abbey Road’s legendary facilities accessible to "all recording artists, from emerging songwriters and groups to established musicians." The result of renovating and transforming the main townhouse front room and garage area, the new studios remain part of the fabric of Abbey Road Studios’ core facility.

Featuring a ‘multi-surfaced’ live space, The Gatehouse (pictured) offers a combination of classic analogue gear and digital audio workstation (DAW) integration. Equipment includes a 16-fader AMS Neve BCM10/2 Mk2 recording console, support for Pro Tools HDX2, Logic X and Ableton music production software and an outboard lineup featuring Universal Audio, API, Neve, Chandler and Bricasti hardware.

Meanwhile, aimed at catering for smaller recording projects and music production, The Front Room offers the same audio setup as The Gatehouse, but instead features a SSL 24-fader Duality delta recording console.

Both studios will sit alongside the existing Studio One, Two and Three recording facilities, as well as a new mix stage with Dolby Atmos Premier Studio Certification.

The new Mix Stage promises to take Abbey Road’s movie score recording capabilities to the next level with Dolby Atmos Premier Studio Certification and IMAX audio compatibility. The new post production suite will allow it to offer a service to film makers encompassing all elements of movie sound for the first time – scores, sound effects and dialogue.

Isabel Garvey, managing director at Abbey Road Studios, said: “The opening of the new studios is one of the biggest events in Abbey Road Studios’ unique history. It shows our commitment to quality recording, the creative environment and our belief that combined with our award-winning expertise, we can attract a whole new generation of artists through our doors.

“We are investing in our core business to ensure we maintain Abbey Road as a vibrant recording studio, with the two new studios designed to expand our appeal to a wide range of music creators."

http://www.abbeyroad.com

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A year after it came under new ownership, Colby Ramsey headed over to The Park Studios in Wembley to find out how it is building on its identity and setting itself apart within the UK recording scene.

As a music production studio based in London, maintaining a competitive edge in such a crowded market can sometimes prove to be an ongoing battle. The Park Studios, based around Wembley Park in North West London, has achieved this and more since a new owner and head engineer relaunched the business just over a year ago, however.

Tobin Jones, an experienced sound engineer who had been based at Metropolis Studios at the time, worked on sessions at The Park for five years prior to taking the reins and assuming responsibility of the studio’s day-to-day running in January last year. Originally from Dorset, Jones began his audio career with a local PA company and ended up working with live crews on festivals in the West Country. After moving to the capital ten years ago, Jones completed his degree in audio engineering and subsequently worked at Metropolis in a number of capacities.

“It’s been hard work but it’s gone really well and has definitely been worth it,” says Jones. “There was a lot of support from the music community that I’m involved in when I relaunched the business. Last year was the busiest year I’ve had working in audio.”

Jones is proud of the community vibe that he has established at The Park in terms of the artists that record there as well as the studio itself, and while there is quite a bit of competition in terms of other music studios in this part of London, Jones says he makes sure to maintain very good artistic relationships with everyone he works with, using the studios as an extension of his particular interests and his passion for the industry.

“Because of that I work in quite creative, experimental types of music like electronic, rock, psychedelic, and a lot of noise-based music,” he remarks. “People will come here to do pop or hip hop music, but might request something a little bit more experimental or edgy in the sound. We do have a bit of a niche here as returning clients tend to be from certain labels or independent scenes.”

The priority for Jones is to ensure people feel comfortable enough to express their creativity at The Park, and feels that it is important to make sure they do not feel like they are entering an office or business environment. “Artists have to feel relaxed and inspired to produce the best recordings. I think that’s a big part of the whole ethos of this studio – It’s somewhere people will want to hang out,” he adds.

A Busy Year

Jones’ notable projects from last year include a record on XL Recordings for Powell, who he describes as a genre-breaking artist with a very unique sound. After collaborating on a very well received piece of work, Jones will be teaming up with Powell again in 2017.

Jones also in November finished working on a ‘psychedelic noise’ record for a band called Swedish Death Candy, for which he tried a few unusual things with some everyday instruments to give a psychedelic edge. Around half of that particular record was recorded downstairs in The Park Studios’ lounge room, which is acoustically very different from the live room, utilising a number of reflective surfaces for a more raw, unrefined sound.

“It’s nice to have the flexibility especially when working with artists who are keen to do something slightly different to the norm,” Jones explains. “It’s always quite exciting when you do something like that with an artist because it gets everyone quite invigorated and the creative juices flowing.”

Jones tries to make sure that he is truly versatile as sometimes he will handle engineering and production, whereas other times someone will come in to produce and he will take more of a backseat role. “I think a big part of this is being approachable and mouldable to whatever the session may be,” he adds.

Tobin’s Tech

In the main control room Jones uses a Solid State Logic AWS 900+ SE desk, which he says integrates very well with his Pro Tools 10 HD and HD 5 rig. For monitoring, there are Dynaudio M3s and Yamaha NS10Ms with a Bryston 3B amp, as well as KRK Rocket 8s for nearfields. Jones also has a whole host of preamps in his arsenal, including Neve 1073s, API 550b EQs and a number of vintage Telefunken pres.Meanwhile, some familiar recording options are available, including Neumann U87s, Coles 4038s, AKG’s C414B XLS, Sennheiser MD421 and a recently acquired Placid Audio Carbonphone, which Jones describes as a carbon granular microphone with a warm, gritty sound.

A more unusual piece of kit that can be found in The Park’s main studio is an Analogue Systems RS8500 modular synthesizer (pictured, below). According to Jones, only four of these configurations have ever been made, and this particular unit is similar to the one that was originally built for Jonny Greenwood of Radiohead.

“The person who actually built this studio is from Cornwall and grew up on the same street as the guy who built the synth so that’s how we’ve ended up with it,” Jones recalls. “The beauty of the modular is that I can work my way around it, but it’s never the same. I can leave the patch after a days work and the next day it will sound different. I’m definitely discovering new things every single time I use it. I find it quite exciting when a studio has a few quirky unique bits of kit that are hard to find elsewhere, so I like the fact that we’ve got a few bits like that.”

Community Spirit

In terms of the studio itself, Jones is keen to build on its already strong foundations, and continue to be engaged with the music community as an active member of the creative scene. He believes that it is vital for the survival of music studios for people to have somewhere to go to be creative rather than just sitting at home mixing, which is gradually becoming a more common occurrence.

Despite only being in charge for a year, Jones already has plans to build another production studio at The Park. While two bands use the rear rehearsal room downstairs three or four times a week to write music, Jones is looking to build another space that can be dry hired to someone who could “be included as part of our hub.”

“My assistant Lucas is a budding engineer and fantastic musician himself,” Jones remarks. “There’s a music college down the road in Kilburn and I know quite a lot of students there through the local music community. It’s about nurturing and being supportive of local talent. What’s good is that it’s all been natural growth all achieved through word of mouth.”

While it remains a rather uncertain time for the music industry, Jones is excited about the constantly evolving landscape. “We’re a big enough studio to attract some fairly big artists but we’re small enough to keep our overheads lower than that of the bigger studios,” he explains. “In this sense we can cater to people whose budgets might be dropping and we can still survive.”

In terms of business, Jones sees this as being more sustainable in the long term for studios, and enjoys seeing a lot of young artists who are trying to be really creative with their music come through the door.

“As a studio I feel like we really need to continue to build on our identity within the music industry, being progressive within the creative community and maintaining our niche,” concludes Jones. “I don’t think there’s ever been a better time to make music; how you make that work as a living is the difficult part.”

http://www.theparkstudios.com

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API has announced that it is accepting submissions for its tenth annual scholarship award, the Saul Walker Memorial Scholarship.

Formerly known as the API Visionary Scholarship, the award honours the late API co-founder Saul Walker, who lent his expertise to several institutions and shared his passion for audio through teaching for many years.

API says it believes that academic excellence in sound training can be facilitated by using high quality analogue equipment in the audio lab. The API Saul Walker Memorial Scholarship is offered as a way to give back to the audio community, and encourage audio students to work with analogue gear early on in their education.

The scholarship application consists of several short essay questions, and a submission of the applicant’s best audio work. Applicants must attend a higher education facility with an API console in order to qualify for the scholarship. Past years have brought in applications from around the world, with musical selections ranging from classic rock covers to original orchestral compositions, and many varieties in between.

API will accept all applications postdated before the 1 May deadline, and winners will be announced by 30 June. More information regarding the scholarship, as well as the application forms and a complete list of qualifying schools can be accessed via API’s website.

https://www.apiaudio.com/

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