The 24 Track Studio

Rip It Up, Issue 45, 1 April 1981, Page 16

The 24 Track Studio

Annlouise Martin

Harlequin "A sound hotel" in Albert Street. With deep red carpet, and potted palms it exudes a feeling of luxury, but Doug Rogers still plans a sauna, and games room upstairs, along with a new, small studio for commercial production to complete the ‘‘state of art" concept. Harlequin started off with a 4 track TEAC recorder underneath a shop in Mt Eden. The new studio opened last year after 3 years research, and much deliberating by Rogers on design and equipment purchase. He settled on an American formula, and commissioned two US designers to see it was executed properly. "It has to be good for our clients, but it’s also for our own benefit so we can work in pleasant surroundings. The most important ingredient of all is the acoustics, and that’s why we decided to spend so much money, ($500,000) because it's futile recording in an inaccurate environment.” The studio offers instruments for hire, and includes a computerised 24-track mixing desk, and recorder, not to mention a host of other devices. The whole area is wired, ready and waiting for video. It costs S6O p/h to record at Harlequin in what is known as Zone 1 for mainly commercial work. SSO p/h is the rate for the second zone which stretches from 5 pm to midnight, and is used mostly for album work. It’s $35 p/h for the midnight to dawn special. "This helps us maintain contact with local bands, and ensures those people have a chance to do an album. It breaks even for us, and most come back and do more substantial projects.” Harlequin has 5 engineers: Steve Kennedy, Lee Connelly, Paul Streekstra, Simon Alexander and Doug Rogers. The studio has been recording the sound track for the Scarecrow movie; singles with Techtones, Newmatics, Regulators, Warning, Valentinos, Screaming Meemees and Flying Doctors and Blams and Furys EPs “The biggest problem we have here is developing artists, and in New Zealand, if you’re a musician it’s not a lucrative business to be in. So the stability factor works against most bands. They stay together three to six months, when you may need two years to develop a good musical relationship. In May, Harlequin is running a recording school in conjunction with the Queen Elizabeth II Arts Council. 45 young musicians will take

part in seminars over a 10 week period, and finally sit an exam recognised in both Australia and the United States. Mandrill Using egg cartons for insulation, Glyn Tucker and Dave Hurley began a part-time demo studio in Customs Street in 1974. They were an alternative for people wanting cheap recording. Street Talk and Split Enz were among those who used the studio in its early days. After 6 months they were kicked out, and moved to the present Mandrill One site in 1975. Tucker calls it a pioneering era for musicians' demos. “We wanted to make records to an international standard, but we couldn't match what was coming from the States. I think we’re there now, but it’s been a struggle.” The Mandrill Two 24-track studio in York Street, Parnell, will soon have its second birthday. The design is clean, and extremely functional. Studio Two has a live (echo), and dead room, with separate isolation areas. There’s the 24 track gear, with a digital reverb unit, a recreation room, and producers/conference room. Mandrill charges a flat rate of $65 p/h. 16 track facilities at Mandrill One are SSO p/h. There are 5 engineers Graham Myre, Dave Hurley, Glyn Tucker, Bruce Lynch, and Peter Maclnnes. The studio has been host lately to Hammond Gamble, the Knobz, Dave McArtney and the Pink Flamingos, and Lip Service. Frank Gibson Junior has been laying down a few tracks with visiting jazz people. Roxy Music stopped off for rehearsal after their holiday, and before Sweetwaters. Aussie band the Reels recorded a “heavy metal" EP. Little River Band overdubbed the guitar and lead vocals for the Honky Took Freeway soundtrack.

“I’m supremely optimistic about the state of the industry at the moment. Radio air time, and the charts are far healthier with local music than they have been for a long time. We’re fast getting into the situation where the next Split Enz will do it direct from New Zealand." New bands are welcome, but Tucker says he prefers them to have a little experience before they go in to record. “Usually one of our engineers will help out in a production sense because there might be elementary details they don’t understand, like getting a headphone balance. But the first rule * in the studio is that there are no rules. Still, you only get out what you put in. It's not magic.” Marmalade Rocky Doche is in charge here. The studio was burnt out of its original Ghuznee Street residence in 1977, and in early 1978, Marmalade opened in the World Trade Centre. It has served as a recording base for Jon Stevens, and Sharon O’Neill. The Tigers, Knobz, and Cathy and the Cucumbers have also been working there, but commercial work provides the company’s bread and butter. The facilities include a 3M 24-track recorder, and Quad 8 desk. Instruments can be hired, and there's a recreation room for replenishing concentration. $69.50 for 24-track recording is the going rate at Marmalade, although Doche says he’s always open for negotiation, and there’s a discount for block bookings. There are two staff engineers and two on contract. Marmalade is currently forming its own record label, tentatively called Toast. This may mean a swing to more local recordings. Doche feels young bands often expect too much from the studio, and have misconceptions about its purpose. “Some bands charge into it too quickly. People tend to lose sight of the fact that a great group with an inferior song will still come out of the studio with an inferior song, and after all, it is the song the public buys, not the band.” Stebbing Recording Studios Next time you’re watching the teev, listen carefully to that commercial, because more than likely it was recorded at Stebbing Studios, Jervois Road, Herne Bay. Managing director Eldred Stebbing has been at it since 1945, originally recording in the basement of his house. In those days artists cut straight onto disc. Stebbing moved to 4 track in 1965, graduating to 8, 16, and finally

24 track in 77. Stebbing engraved his name on the industry with Ray Columbus, and 'She’s a Mod’, with the La De Das, and of course Hello Sailor, earning Album of the Year, Single of the Year, Producer of the Year, and Recording Engineer of the Year in 1978. The 24 track studio can hold a 60 piece orchestra. The control room houses a Quad 8 computer desk, a visual display unit which screens technical data, and gives a sound reading of various mixes. Two new studios are being built next door, one for commercial work, and a 16 track for smaller jobs. Stebbing charges S6O p/h for 24 track, and $45 for demos. The studio employs three fulltime engineers Vaughan Stebbing, Tim Field, and Tony Moane. The bulk of the work is television commercials, but in the future Stebbing hopes to attract overseas recording artists, and expand into video and film. Stebbing claims the local artist isn't overlooked. “I’m not picking on professional groups for recording, but I won't record rubbish, and unless you can put a lot of time into a band, and follow every lead you just can’t do it. However we’re getting into it more this year. Broken Dolls and the Teddy Boys have recently been working with us.”