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March 2014 l 37


studiofeature


there’s a genuine interest out there. It’s like someone discovering a band from the ’60s or ’70s – but you wouldn’t have been able to try this equipment up until about five years ago when this all began to kick off.” Just as sampling quickly grew


out of trying to be authentic and became an exciting departure for something new, re-modelled signal processing can – and perhaps should – be a different kind of path: one to new horizons rather than ancient landscapes. “It’s also a chance for Abbey Road to keep the legacy alive,” adds Stiles, “otherwise this equipment might well be completely forgotten about.” NAMM saw a joint announcement with Waves that Abbey Road’s fabled Artificial Double Tracking (ADT), a technique so favoured by John Lennon, is to appear as the Reel ADT plug-in. “It’s never really been done before,” says Stiles, “firstly because nobody’s had access to the gear and secondly because nobody’s had access to the definitive guide to how Abbey Road used to do it. It’s such an important effect that Abbey Road created – Ken Townsend, of course – and it’s finally going to be available to everyone. I’m really excited about that because it’s been misunderstood so many times over the years.” Abbey Road clients might be


forgiven for asking to try the original units so well preserved in the racks and walls of the building, as opposed to enquiring about copies. This market is not about providing studios with attractive replicas – at least not yet. But could a mid-range market open up if the replicas become alluring enough to justify populating a room with a rent- able brace? The originals won’t last forever and, if their legacy is indeed secured, it’s the replicas that will have to carry the market. “It could be a more efficient


use of studio space,” adds Keith Andrews, “if it was for signal processing only. The traditional recording space is essentially redundant, once you’ve finished the overdubs.” No wonder one ‘Nils F’ recently posted on the US-based Vintage King web site: “Guys, I wish you had an office here in Europe. We also deserve a Vintage King! Looking forward to all future business with you guys. Thumbs up! ” Like I said, the blogs are agog.


SNAP DECISIONS


According to Marco Pasquariello, engineer-manager at London’s Snap Studios (right), theres a real case for the re-make that adds something new rather than simply replacing something old. “I’d say they were modern re-creations as opposed to replicas,” he says. “Our Retro Instruments 176 is a new take on the


UA 176, and I think it does something quite unique. Plus the originals are so hard to come by and quite hard to maintain, so it made sense. We also recently got a modern version of the Urei 1176 the WesAudio Beta76 and I think it’s great. It sits next to an original Revision D and Revision F but it offers something different. It’s


a lot smoother and it’s cheap – we’re not snobs!


“The people who use our studio are familiar with this gear and expect it, especially the older generation of engineer. But the guys who come from computer backgrounds can be introduced to something that’s a similar take on the vintage gear but


Marco Pasquariello


with a modern twist different functionality. The originals have been developed, not just copied.”





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