Abbey Road Studios

Profile:

Recording and mastering studios, originally established by The Gramophone Co. Ltd. in 1931, located in London, England, UK.
Operating as EMI Studios.

Also appearing as:
· Abbey Road
· Abbey Road, London
· Abbey Road Studio, St. John's Wood, London
· Abbey Road Studios, London
· Abbey Road (Studio 2)
· Abbey Road Studio 2
· No.1 Studio, Abbey Road, London
· No.2 Studio, Abbey Road, London
· Studio 2, Abbey Road Studios

The studio complex consists of three main studios (Studios One, Two, Three) plus The Penthouse (since 1980) and the Gatehouse and Frontroom studios (since 2017) with respective control rooms.
There also are four vinyl mastering, half-speed mastering and lacquer cutting rooms ("Room 5", "Room 6", "Room 7" and "Room 30"), each equipped with modified Neumann VMS 80 lathes.
Additionally, there are two mastering / remastering rooms, a.o. for Dolby Atmos Music ("Room 35") and for enhancement/restoration ("Room 13"), plus many more rooms for production, mixing, and post-production.

Until the early 1990s, the studio also had high-speed cassette duplication facilities.

In June 1984, Abbey Road was the first UK studio to offer DMM technology by installing a Neumann VMS 82 lathe in "Room 5" (at that time lacquers were also cut on a VMS 70 with SX-74 cutter head). Copper cuts are marked with a stamped D.
All lathes were later replaced by VMS 80.

Current and former engineers employed by Abbey Road include: Hazel Yarwood.

Parent Label:

Virgin Records Ltd.

Sublabels:

The Penthouse

Info:

Abbey Road Studios
3 Abbey Road - St. John's Wood
London, England NW8 9AY UK

tel: +44 (0)20 7266 7000
fax: +44 (0)20 7266 7250

Links:

Wikipedia , abbeyroad.com , soundonsound.com , cambridgeaudio.com , web.archive.org , Facebook

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  • beasley564's avatar
    beasley564
    Why isn't Hazel Yarwood included in the long list of EMI mastering engineers in the above Abbey Road entry? She was a pioneer, being the first female mastering engineer at EMI/Abbey Road Studios. Her EMI classical LP cuts are outstanding.

    She also cut the mono -5 /-5 Parlophone pressing of the Beatles - Rubber Soul in early 1966 considered one of the best sounding mono cuts of the album.