Originally Posted by sunrobot
I was wondering if you'd ever worked at the "Studio des Dames"?
Referring to an earlier post on this thread, I believe it is the studio where the bulk of Gainsbourg's Melody Nelson was actually recorded.
It would be great to find out more about this place as I'm told it was one of the best studios in Paris until it closed 15 years ago.
Also, I read your bio on your website and it would be great if you could tell us more about experiencing the changes in sound recording at the turn of the eighties for instance as well as your views on the standard of modern recordings vs 30 years ago?
So many questions to ask, don't really know where to start!
Thanks again for posting on gearslutz!
Yes I did.In the eighties,I recorded a french metal rock group in.
It was a very good studio,with fair acoustics,but it was very difficult for the free lance engineers like me to work on the Polygram desks,which were designed by Polygram (Philips) team for the inquiries of the Studio des Dames engineering team…The automation system was not very clear,the overall feeling of the desk was very german,I mean more broadcast oriented than the Neves ,API's and MCI's desk we loved.
I think it is true that Serge Gainsbourg had done a lot of vocal tracks there.
As the studio belonged the the Polygram group,every session should have been recorded there
excepted when artist,producers and A&R decided differently.
They had an incredible set of microphones, at least 10 U47
and U67 and all the others,mainly because they
were doing a lot of orchestra recordings due to the studio 1 size.
The technical team was very strong,Polygram was very serious with quality,so all the Studer recorders were lined up 2 times a day,always repaired on the spot in few minutes and so.. A lot of EMT 140 and 240 plates,that we loved to kick in
in the basement to make big noise the headphones of artists we did not like…
Yes we free lance were punk too...
The main change that I have experienced in the beginning of the eighties was the arrival of the SSL 4000 era.
The automation system was so good and the "total recall" such an innovation that all the studios on earth were dreaming to have one.
It really changed our way of working because we had for the first time a desk with eq,compressors and gates on each
channel,compressor on the mix bus,automation on all faders and mutes and the ability to come back two days later and do a fix on a mix ,retrieving all the settings were they were left at the end of the mix.
(if your assistant engineer wrote the recall files properly….)
All this ended with the beginning of an sound uniformity coming in the