Stories Archives | Audiomovers

Abbey Road has been cutting discs on-site since legendary engineer Alan Blumlein invented the custom cutting head in 1931.

Alan Blumlein pioneered explorations in the creation of stereo sound, sound recording and many telecommunications devices and his first invention was the moving coil cutting lathe, designed to replace Western Electric Corporation’s older model. Before Blumlein’s invention, a large royalty fee was paid to Western Electric for each record released. Naturally EMI management wanted to put a stop to it.

In the image above you can see Alan Blumlein’s moving coil wax cutting machine. The wax cutting process was carried out in rooms next to each studio and stayed this way for more than three decades.

The basic process of cutting vinyl is to get the master tape onto the disc with as fair a representation as you can, so the record can sound as close as it can to the master tape. Disc cutting is still just as prevalent today at Abbey Road Studios, where their four trusty Neumann VMS 80s carry out the responsibilities. One of the four lathes has also been modified for half-speed mastering, which is used by mastering engineer Miles Showell.

On the topic, Miles explains how these lathes have stayed relatively unchanged since the ‘80s:

“No one’s made a new lathe for 35 years since the mid-80s. The latest one they made was Neumann VMS-80. It was revolutionary when it came out in the way that the groove spacing computer can work out the shape and size of the grooves and shoe horns everything close together. Although that had been done previously it was a lot more steam-powered, this was very high-tech for its time.”

Watch mastering engineers Miles Showell and Geoff Pesche demonstrate the process of cutting vinyl at Abbey Road.

Due to the strong popularity of these lathes, Abbey Road Studios teamed up with Waves Audio in 2016 to create the Abbey Road Vinyl plugin, to as faithfully as possible, reproduce every stage of the vinyl production and playback process. You can choose between the sound of a pure acetate (lacquer) cut or the print master vinyl pressing from the factory, play the records on two distinct turntable types with a choice of three classic cartridges, and even add the EMI TG12410 mastering console on the path into the vinyl lathe.

You can also add vinyl noise and crackle, apply a gradual slow-down/stop turntable effect, and add wow and flutter effects for extra analog warmth. Take a look here.

Want to discover more of Abbey Road Studios’ legendary gear? Recap the series so far on our blog, or head back next week as we reveal another piece from their rich treasure chest.
You may have seen the film The King’s Speech, but did you know that the microphones used in the film weren’t just props, but in fact the exact same ones originally designed for the Royal Family and part of Abbey Road’s collection of over 800 microphones? Having captured the sounds of the historic microphones used in the film, Waves Audio worked alongside Abbey Road Studios to deliver The King’s Microphones plug-in collection.

The microphones were designed by EMI and used by the Royal Family for speeches of great importance and dated back to the early 1920s. Each one was designed for the particular reigning monarch which included: King George V, King George VI and Queen Elizabeth.

Recording engineer, Peter Cobbin, who worked on the creation of the plugin with Waves, said: “I had the fantastic opportunity to use the microphones built for the British Royal family whilst recording the score for The King’s Speech. I am proud that the combined efforts of Abbey Road Studios and Waves have produced a wonderful authentic plugin that captures the very essence of these beautiful and rare microphones.”

HM King George V model

H.M. Queen Elizabeth model

Mirek Stiles, Head of Audio Products at Abbey Road also mentioned: “Ornately designed and decorated with gold, silver and chrome adornments bearing the royal coats of arms (the official coat of arms of the British monarch), each is a one-of-a-kind aesthetic masterpiece with its own distinctive sonic character”.In true Abbey Road style, the engineers love using them to create unique synth and guitar layers, but they also sound just as great on drums.

Discover the plug-in here, and check back next week as we’ll be diving into another piece of gear from the studios’ rich arsenal.
The focal point of Abbey Road’s mastering rooms is the EMI TG12410 console. The first solid-state consoles to be designed within EMI, they were custom built by EMI’s research department in Hayes, Middlesex, beginning in the late ‘60s.

Improvements on the consoles have never stopped thanks to the legendary Abbey Road technical engineers. A recent project, which was developed entirely in-house, ensured the consoles are a mainstay in the mastering rooms for many more years to come. In the latest versions of the TG consoles, the technical engineers have essentially modularised the original TG module. By doing this, you can allow new, modern-day equipment to be placed between the TG modules. This also allows the mastering engineer to bypass and monitor any effect in their chain.

The TG brings something special to any master — heard on records including Pink Floyd’s The Dark Side of the Moon, Nirvana’s In Utero, Radiohead’s OK Computer and Ed Sheeran’s +.

In 2018, Abbey Road Studios teamed up with Waves Audio and developed the TG Mastering Chain plugin – a modular mastering chain plugin modeled after the Transfer Console. You can use the Abbey Road TG Mastering Chain to create custom processing chains with a flexible flow and the TG magic on the master bus, or on individual tracks/groups in a mixing session.

And in the same year, Chandler Limited Founder/Chief Designer, Wade Goeke, conceived the TG Microphone. A solid-state, large diaphragm condenser microphone, featuring the legendary TG sound, a Dual Tone voicing system and NAB/IEC Tape Equalizer facility, repurposed from historic EMI TG12410 consoles and re-engineered for microphone duties.

The TG12410 is one of Abbey Road’s finest pieces of equipment, and through the collaborative work with the likes of Waves Audio and Chandler Limited, the legacy of the consoles is being kept alive for the next generation of music makers to utilize and enjoy. In our next installment of The Gear Behind Abbey Road Studios, we’ll be diving into the Neumann VMS-80 cutting lathe.
The frontman of the Baltimore-based quartet, Samuel T. Herring reminisced on the remote mixing process for the band’s 2020 album ‘As Long As You Are’ and how the band continues to use LISTENTO

Despite the positive reception from critics and fans alike, Future Islands were disappointed with their 2017 ‘The Far Field’. Catapulted by the commercial success of their renowned single ‘Seasons (Waiting On You)’ and their relentless touring schedule, the band rushed themselves back into the studio, completing ‘The Far Field’ in a three-week slot before heading straight back onto the road for more shows. With ‘As Long As You Are’, they were determined to do things differently.

Discussing their writing process with Mixdown Magazine, Herring explained how the band took the deliberate approach to explore new sounds, whilst returning to writing lyrics from a point of truth – drawing from sentiments and ideas he truly stood behind. They finished recording the record at the start of 2020.

With the lockdown restrictions interrupting the mixing process, Herring shared how LISTENTO aided their remote sessions. Using the plugin in conjunction with Zoom, they were able to lock in and make quick decisions more effectively than if they were in the room together.

Before long, they began to experiment with the limits of the software. With three-quarters of the band in Baltimore and one of their members in Sweden, they decided to attempt a remote jam session. Here’s how they did it:

We used AudioMovers to send the music over the internet (bass keys & drums were in the same room), and Sam called in via zoom. Surprisingly the zoom audio linked up with no lag. Still doesn’t make sense to us that it worked so well…
— Future Islands (@futureislands) November 30, 2020

Dive into the record on Spotify to hear Future Islands at their best.
Doc Coyle; the guitarist for heavy-metal quintet Bad Wolves, opened up about how he was able to have virtual songwriting sessions with guitarist Max Karon for their 2021 album ‘Dear Monsters.’

Behind every great band, there are often other musicians, songwriters and producers behind-the-scenes that help them towards bringing their vision to life. For Bad Wolves, this person was Max Karon.

Even as early as their debut album ‘Disobey’, Karon was an integral part of the band’s sound, with a huge portion of the instrumental for that album being written between him and drummer John Boecklin.

Three years later ‘Dear Monsters’ was no exception to this. Chatting with the team at Guitar World, Coyle broke down how he and Karon were able to bounce riff ideas between each other remotely using the LISTENTO app, with many of the demos made in the sessions subsequently making the final record.

Since this album, Karon has become a permanent member of the band. In the official announcement, posted to their Facebook just two weeks ago, they stated that the decision was “a no-brainer decision. There is no other person on this earth that would be a better fit for Bad Wolves than Max.”

Outside of Bad Wolves, Coyle also hosts his podcast entitled Ex-Man which you can check out for free here.
Multi-platinum Mixer and Recording Engineer Bainz discloses how he was able to continue mixing ‘Ski’ by Young Thug & Gunna remotely, while away from his studio in LA.

For those in the Atlanta rap scene, Bainz needs no introduction. After graduating as valedictorian from Full Sail University in 2006, he built a name for himself working with artists such as Juice WRLD, Sia, Mac Miller and MGK, to name a few. In 2016, he moved his studios to LA and began working with Young Thug a year later.

When discussing his mix for ‘Ski’ with Sound on Sound Magazine, he explained how he began the mixing process in Atlanta, using LISTENTO in order to stream the audio through his studio set-up in LA, using Teamviewer to control his rig.

This process allowed him to complete his mix remotely utilising a set-up he knew and was comfortable with using. You can hear the end result for yourself here:
UK artist and producer Sigala recently gave a glimpse behind the curtain, sharing the plugins he has used to create some of his biggest tracks to date.

Producing hit songs has become second nature to Sigala. Exploding on to the scene in 2015 when he grabbed a Jackson 5 sample and created Easy Love with it, Bruce Fielder cemented himself as one of the biggest artists/producers in the UK with his debut album Brighter Days. With features from the likes of Craig David, Paloma Faith and Kylie Minogue, it’s no surprise that half of the albums songs hit the UK top 10.

Sigala used his recent interview with Music Radar to impart some of his production secrets with their readers.

Despite being frequently inspired by new plugins to push himself to experiment, Fielder admits that there are a few plugins that never fail him. He discussed plugins such as XFer Records Serum which he uses to make his synths cut through in his mixes as well as Waves’ Vocal Bender.

Eventually, LISTENTO made its way into the conversation. He described LISTENTO as his means for collaborating remotely over lockdown and beyond.

Sigala’s second album is expected to be released at some point in the summer of 2022, no doubt with much of the album featuring the use of LISTENTO among Sigala’s favourite plugins.

Check out the music video for Melody, the first single from the album.
The Hawkins Brothers: Dan Hawkins (Left), Justin Hawkins (Right)

Producer, guitarist and backing vocalist for The Darkness Dan Hawkins reveals their process for completing ‘Motorheart‘ entirely remotely.

Any experienced vocalist will tell you that the key of a song can make all the difference. With lead vocalist Justin Hawkins’ falsetto-led vocal performance being a staple to the bands sound, this is something that the Hawkins brothers knew all too well.

With Justin living in Switzerland and Dan working from a horse-stable turned studio in the Sussex countryside, the brothers needed a creative solution when they began writing for what became Motorheart during the height of lockdown restrictions, Hawkins shared in an interview with Mix Online. This is where LISTENTO entered the equation.

The software enabled the brothers to freely experiment with melodies and lyrics, remotely in real-time. Acting the moment inspiration struck, as if they were in the same room. The record was widely referred to as “The Darkness’ silliest album yet”. However, all publications agreed that it was an escape from reality that many needed during the hardest of times.

Check out the full album on Spotify and let us know what you think.
Aaron Dessner (Left), Taylor Swift (Right).

Did you know that Taylor Swift’s vocals for Folklore were all recorded from her home in LA? Producer and co-writer Aaron Dessner reveals how.

Folklore was the highest-selling album of 2020, selling over 1.2 million copies and going beyond 1.1 billion streams worldwide. Described by Swift as “a collection of songs and stories that flowed like a stream of consciousness”, the album deals with themes of escapism and nostalgia through fictional characters and narratives.

In an interview with Sound on Sound Magazine, producer and co-writer (as well as a member of a little-known band called The National!) Aaron Dessner shared how he and Swift utilised LISTENTO in combination with Zoom to run remote vocal sessions, with Taylor recording her vocals from her makeshift studio in her Los Angeles home.

Know any other amazing albums made using LISTENTO? Get in touch with us on our Instagram and let us know about them.
Bring Me The Horizon frontman Oli Sykes recently shared the moment the band were inspired to write and record an entire EP without ever being in the same room using Audiomovers.

For anyone who has followed the alternative rock scene in the UK over the last decade, BMTH need no introduction. Emerging in the mid 00’s on MySpace, Bring Me The Horizon have used each release to expand their sound, venturing further and further away from their deathcore roots. Their latest release has proved no exception, with the Sheffield-based quintet branching into a post-apocalyptic, cyber-punk aesthetic, inspired by the state of the world, amidst the pandemic.

At the height of the pandemic, for so many in the music industry productivity—and with it creativity—ground to a halt. Unable to work together as they were used to, BMTH started to dip their toes into working on bits of songs remotely, sharing ideas and rough demos.

In an interview with SiriusXM, Sykes reveal how the band initially began using LISTENTO as a means for creating demos whilst in lockdown. However, they quickly realised that the tool was powerful enough they were all they needed to create a full-length 9-track EP and began turning those demos into fully-fledged songs. The results speak for themselves. Check out the interview below:

The end result was Post Human: Survival Horror, an EP that encapsulated the feelings of anger and confusion that many felt during that time. However, Sykes revealed that it was exciting to create the EP remotely, stating that doing so was summative of the EP’s message.

Abbey Road has been cutting discs on-site since legendary engineer Alan Blumlein invented the custom cutting head in 1931.

Watch mastering engineers Miles Showell and Geoff Pesche demonstrate the process of cutting vinyl at Abbey Road.

The focal point of Abbey Road’s mastering rooms is the EMI TG12410 console. The first solid-state consoles to be designed within EMI, they were custom built by EMI’s research department in Hayes, Middlesex, beginning in the late ‘60s.

The frontman of the Baltimore-based quartet, Samuel T. Herring reminisced on the remote mixing process for the band’s 2020 album ‘As Long As You Are’ and how the band continues to use LISTENTO

Doc Coyle; the guitarist for heavy-metal quintet Bad Wolves, opened up about how he was able to have virtual songwriting sessions with guitarist Max Karon for their 2021 album ‘Dear Monsters.’

Multi-platinum Mixer and Recording Engineer Bainz discloses how he was able to continue mixing ‘Ski’ by Young Thug & Gunna remotely, while away from his studio in LA.

UK artist and producer Sigala recently gave a glimpse behind the curtain, sharing the plugins he has used to create some of his biggest tracks to date.

Producer, guitarist and backing vocalist for The Darkness Dan Hawkins reveals their process for completing ‘Motorheart‘ entirely remotely.

Did you know that Taylor Swift’s vocals for Folklore were all recorded from her home in LA? Producer and co-writer Aaron Dessner reveals how.

Bring Me The Horizon frontman Oli Sykes recently shared the moment the band were inspired to write and record an entire EP without ever being in the same room using Audiomovers.