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Stu\u00addio One\u2019s recent ren\u00ado\u00adva\u00adtions have added major tech\u00adni\u00adcal inno\u00adva\u00adtions in the con\u00adtrol room. A\u00a020<\/span>-year old 72<\/span>-chan\u00adnel Neve record\u00ading con\u00adsole has been replaced with an 84<\/span>-chan\u00adnel upgrade. With each of the play\u00aders or instru\u00adments miked indi\u00advid\u00adu\u00adal\u00adly, engi\u00adneers are grant\u00aded even greater flex\u00adi\u00adbil\u00adi\u00adty dur\u00ading the final mix\u00ading process. Hav\u00ading access to stems of each instru\u00adment gives the cre\u00adative team flex\u00adi\u00adbil\u00adi\u00adty to edit dif\u00adfer\u00adent cuts of score much more eas\u00adi\u00adly if a\u00a0scene is trimmed or extend\u00aded in the final\u00a0cut.<\/span><\/p>\n \u201c<\/span>The more stuff we do sep\u00ada\u00adrate\u00adly now \u2013 record\u00ading strings sep\u00ada\u00adrate\u00adly from brass, per\u00adcus\u00adsion \u2013 that helps in the edit\u00ading process, because you can make edits work,\u201d Dud\u00adman explains. \u200b\u201c<\/span>You can steal stuff from oth\u00ader cues to make the edit\u00a0work.\u201d\u00a0<\/span><\/p>\n Stu\u00addio One is capa\u00adble of hold\u00ading a\u00a0100<\/span>-piece orches\u00adtra or choir at any one time, and the increase in record\u00ading chan\u00adnels avail\u00adable now means that, more often than not, each play\u00ader is indi\u00advid\u00adu\u00adal\u00adly\u00a0miked.\u00a0<\/span><\/p>\n \u201c<\/span>One of the nice things about the stu\u00addio is that you can do things sep\u00ada\u00adrate\u00adly, put them back togeth\u00ader and no one would know,\u201d enthus\u00ades Bar\u00adton. \u200b\u201c<\/span>That\u2019s often such a\u00a0crit\u00adi\u00adcal fac\u00adtor in what we do. In the dub, if the brass is inter\u00adfer\u00ading with the dia\u00adlogue for some rea\u00adson and you can\u2019t under\u00adstand a\u00a0line because there\u2019s some French horn thing over it, rather than pull down the whole music fad\u00ader and get rid of it all, you can just take out the offend\u00ading piece, as it were, or duck it\u00a0down.\u201d<\/span><\/p>\n \u201c<\/span>There are times where you know in advance that stuff\u2019s going to change,\u201d Dud\u00adman adds. \u200b\u201c<\/span>The com\u00adpos\u00ader has writ\u00adten to one ver\u00adsion of the pic\u00adture. They\u2019re already four ver\u00adsions down, but there\u2019s no time to re-score it.\u201d As a\u00a0result, whole sec\u00adtions of music may be record\u00aded to include what\u2019s known as an arti\u00adfi\u00adcial stop halfway through a\u00a0musi\u00adcal cue, fol\u00adlowed by an arti\u00adfi\u00adcial start . \u200b\u201c<\/span>That gives you a\u00a0clean out and clean in,\u201d he con\u00adtin\u00adues. \u200b\u201c<\/span>Then you might just do a\u00a0patch sec\u00adtion that will work for the lat\u00ader cut and the music edi\u00adtor will join them all togeth\u00ader. That\u2019s a\u00a0much more time effi\u00adcient way of doing things.\u201d<\/span><\/p>\n While Stu\u00addio One\u2019s con\u00adtrol room has seen sig\u00adnif\u00adi\u00adcant changes, very lit\u00adtle has been altered in the live room itself. In order to pre\u00adserve its sig\u00adna\u00adture 2<\/span>.3<\/span>\u00a0sec\u00adond reverb and rich sound favoured by com\u00adposers and direc\u00adtors alike, the 4<\/span>,844<\/span>\u00a0ft room has seen its Art Deco walls remain large\u00adly untouched, save for being washed. Unwill\u00ading to risk impact\u00ading the acoustics, its floor has been sand\u00aded and re-oiled as var\u00adnish\u00ading it would have altered the sound too\u00a0much.<\/span><\/p>\n \u201c<\/span>I\u2019ve always thought of the acoustics and sci\u00adence of record\u00ading as sort of part sci\u00adence, part voodoo,\u201d Bar\u00adton adds. \u200b\u201c<\/span>What we did\u00adn\u2019t want them to change was the voodoo, which is work\u00ading very nicely.\u201d<\/span><\/p>\n As well as retain\u00ading the son\u00adic qual\u00adi\u00adties that have made the space so desir\u00adable, Abbey Road also acts as a\u00a0tech\u00adno\u00adlog\u00adi\u00adcal time cap\u00adsule of sorts. Mod\u00adern mix\u00ading desks and equip\u00adment are opti\u00admised to utilise old micro\u00adphones and equip\u00adment, some of which are as old as the build\u00ading itself.<\/span><\/p>\n \u201c<\/span>We nev\u00ader throw any\u00adthing away,\u201d Dud\u00adman states. \u200b\u201c<\/span>The Neu\u00admann U87<\/span>s, we\u2019ve got maybe 30<\/span> of those and they\u2019re all from the 80<\/span>s\u2026 Then you\u2019ve got all the clas\u00adsic valve micro\u00adphones, which are 70<\/span>\u00a0years old \u2013 the U47<\/span>s that were used on Bea\u00adt\u00adles vocals. We now use those on brass and solo vocals. The rest of the chain has improved so much that when those were first invent\u00aded, you did\u00adn\u2019t hear how good they were\u2026 We\u2019ve also got the old mix\u00ading con\u00adsoles, so depend\u00ading on what kind of vibe you\u2019re after, you can move the desk into Stu\u00addio One and stick 16<\/span> mics through it if you want. Noth\u00ading\u2019s fixed in that respect.\u201d<\/span><\/p>\n The use of old\u00ader record\u00ading equip\u00adment can some\u00adtimes be neces\u00adsi\u00adtat\u00aded by the time peri\u00adod in which a\u00a0par\u00adtic\u00adu\u00adlar project is set, as was the case dur\u00ading Barton\u2019s work on an episode of the<\/span> 12<\/span> Mon\u00adkeys<\/i> tele\u00advi\u00adsion series set in 1944<\/span> that required source music that sound\u00aded \u200b\u201c<\/span>authen\u00adti\u00adcal\u00adly old\u201d. The pri\u00ador\u00adi\u00adty first and fore\u00admost, how\u00adev\u00ader, is always qual\u00adi\u00adty above all\u00a0else.<\/span><\/p>\n \u201c<\/span>Ulti\u00admate\u00adly, we\u2019re always just try\u00ading to make stuff sound good,\u201d Bar\u00adton con\u00adcedes. \u200b\u201c<\/span>It\u2019s not nec\u00ades\u00adsar\u00adi\u00adly about sound\u00ading real\u00adis\u00adtic. It\u2019s often hyper\u00adre\u00adal. Some of the old micro\u00adphones have this real\u00adly inter\u00adest\u00ading thing where their high fre\u00adquen\u00adcies aren\u2019t as pro\u00adnounced. We often use words that don\u2019t real\u00adly mean very much, but they mean some\u00adthing to most engi\u00adneers. We often say audio sounds \u200b\u2018<\/span>warm\u2019 \u2013 because of the way that the ear\u00adly tech was designed, it tends to have those pleas\u00ading things that are part of the sound of what we\u00a0like.\u201d<\/span><\/p>\n There is, of course, an unde\u00adni\u00adably myth\u00adic qual\u00adi\u00adty to the hal\u00adlowed stu\u00addio spaces that remains per\u00adhaps Abbey Road\u2019s biggest draw \u2013 even to those who might not be aware of\u00a0it.<\/span><\/p>\n \u201c<\/span>That\u2019s one of the things peo\u00adple say, they walk in and it does\u00a0<\/span>do<\/i> some\u00adthing,\u201d Bar\u00adton enthus\u00ades. \u200b\u201c<\/span>Yes, it\u2019s the old equip\u00adment and the com\u00adbi\u00adna\u00adtion of the cut\u00adting edge as well, but the walls do a\u00a0<\/span>thing<\/i>. There\u2019s a\u00a0thing there, and you can\u2019t quite put your fin\u00adger on it. We had a\u00a0fas\u00adci\u00adnat\u00ading ses\u00adsion a\u00a0few years ago with a\u00a0chil\u00addren\u2019s choir in Stu\u00addio One\u2026 The moment they start\u00aded singing, their direc\u00adtor was like, \u200b\u2018<\/span>I haven\u2019t heard them sing this well\u2019. I\u00a0think it just has that effect. You walk in and you have to bring your a\u2011game. Peo\u00adple just do so instinctively.\u201d<\/span><\/p>\n<\/div>\n