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lemonade kid Posted - 29/06/2020 : 13:59:38
Studio Stories: Sound Techniques

Tales from studios that changed musical history

Studio Stories/By Matt Frost

John Wood in the Sound Techniques control room, 1974.

In the summer of 1965, a new recording studio opened its doors in London's soon–to–be hip district of Chelsea. For a decade to come, this bijou ex–dairy would produce some of the finest British recordings of the era.

...The early '60s was a time when the majority of studios in London had a reputation for being stuffy and oppressive: manned and administered by scientists in brown lab coats, who had little interest in the 'nasty' guitar music that had so rudely thrust itself upon them. But by the middle of the decade, these studios' dominance was being eroded by a handful of hip new young independents, bristling with young, enthusiastic engineers and producers with as much passion for popular music as the musicians they were recording. By the end of the '60s, Sound Techniques had firmly established itself as one of London's finest studios, drawing in anyone who cared about the quality of their recordings. Just take a listen to Nick Drake's Bryter Later or Judy Collins' In My Life and you'll know exactly what we're talking about when we refer to the unique 'Sound Techniques sound'.

more here:
Studio Stories: Sound Techniques


The actual writing of a song usually comes in the form of a realisation.
I can't contrive a song. – GENE CLARK
3   L A T E S T    R E P L I E S    (Newest First)
lemonade kid Posted - 29/06/2020 : 14:12:42

And these of course...the big three by Nick Drake.


The actual writing of a song usually comes in the form of a realisation.
I can't contrive a song. – GENE CLARK
lemonade kid Posted - 29/06/2020 : 14:10:24
The first great album to be recorded at Sound techniques...

In My Life is an album by American singer and songwriter Judy Collins, released in 1966. It peaked at No. 46 on the Billboard Pop Albums charts in 1967.[2]

Working with arranger Joshua Rifkin, many of the songs on the album featured dramatic orchestral arrangements, a departure from Collins' previous albums, which had all been more straightforward folk music. The album included work by Leonard Cohen, The Beatles, Bob Dylan and Richard Farińa. Collins' version of the song "Suzanne" is considered to be the recording that first introduced Leonard Cohen's music to a wide audience.[3]

Allmusic stated "Judy Collins was already an accomplished interpretive singer before recording this album, but In My Life found her widening her horizons and revealing an even greater gift than one might have imagined;'s a superb album and still one of her best."


The actual writing of a song usually comes in the form of a realisation.
I can't contrive a song. – GENE CLARK
lemonade kid Posted - 29/06/2020 : 14:08:03
Sound Techniques beginnings...

Joe Boyd (born August 5, 1942) is an American record producer and writer. He formerly owned the production company Witchseason Productions and Hannibal Records. Boyd has worked on recordings of Pink Floyd, Fairport Convention, Sandy Denny, Richard Thompson, Nick Drake, The Incredible String Band, R.E.M., Vashti Bunyan, John and Beverley Martyn, Maria Muldaur, Kate & Anna McGarrigle, Billy Bragg, 10,000 Maniacs, and Muzsikás.[1]

In 1964, Boyd paid his first visit to Britain, returning the following year to establish an overseas office of Elektra Records.[5] In 1966, Boyd and John "Hoppy" Hopkins opened the UFO Club, a famous but short-lived UK Underground club in London's Tottenham Court Road. He worked with UFO regulars Pink Floyd, and produced their first single, "Arnold Layne" and recordings by Soft Machine.[6] Boyd worked extensively with audio engineer John Wood at Sound Techniques studio in Chelsea. In this studio, Boyd and Wood made a succession of celebrated albums with British folk and folk rock artists, including the Incredible String Band, Martin Carthy, Nick Drake,[7] John Martyn, Fairport Convention and Richard Thompson. Some of these were produced by Boyd's production company, Witchseason.

Boyd returned to the United States at the end of 1970 to work as a music producer for Warner Bros.


The actual writing of a song usually comes in the form of a realisation.
I can't contrive a song. – GENE CLARK

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