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The
famous EMI REDD recording\mixing desks
Much of the recording
and mixing equipment used at
Abbey Road was actually designed, fabricated, tested and
refined on premises. There were very few pre-built, off
the shelf retail recording desks available in the 1950's and
60's. Most studios had to come up with their own
custom built gear. The EMI had a large developing department and the REDD desks used to record the greatest band in history bears
this out. EMI continued to manufacture their own desks well
into the 1970's. As the years went by, microphone technology
progressed remarkably thus allowing studio techs far more
latitude in mic placement and channel alignment when
recording artists to say nothing of obtaining much better
balance between all the instruments and amplifiers. Not
surprisingly, with more mic latitude, came advancement in
recording consoles with more features such as more channels.
By the mid 1950's, mixer design entered into a golden era of
wide experimentation and fabrication with EMI leading the
way. This would have a distinct and profound effect on the
sound of the Beatles.
REDD series all tube design desks:
EMI started experimenting with stereo separation as
early as 1954. When this started, all the engineers knew
that entirely new equipment and technology would be needed.
Abbey Road Technical Engineer Len Page was tasked with
establishing a new department with this mandate. He
established a design team known as REDD: Record
Engineering Developement Department. Finally
launched in 1955, REDD set about to address all of EMI's
technical needs and to look into the future and anticipate
future needs. After numerous experimental desks, REDD came
up with the REDD. 17 Desk. It was the first recording
console that would resemble what we now know and consider a
proper recording desk. The brain behind this "advanced" desk
was a German named Peter Burkowitz who was stationed at EMI
Electrola in Germany. REDD worked closely with Burkowitz and
the result was the first World Class recording console in
history, REDD.17.
REDD.17:
This remarkable mixing desk included a row of faders, bass
and treble EQs on each channel and many other modern
accoutrements. It quickly became the standard EMI desk. It
was also very portable. Burkowitz designed it using a
modular theme such that it could be broken down and
reassembled easily. EMI loved it.
During most of the Beatles era, the centerpiece of each and
every control room was of course, an EMI recording desk.
These were all "valve" units (vacuum tube) and served all
the artists, including the Beatles, remarkably well over the
years. Built is extremely limited numbers, these REDD desks
now represent the "HOLY GRAIL" of Beatles recording
equipment.
In 1957, Telefunken four-track machines were emerging from
Germany and making a huge impact on the recording world. EMI
immediately saw the benefit of four tracks and sought to
built their own units. EMI committed to this concept as well
as the idea that EMI studios would have ONLY EMI built gear
installed. As such, REDD eventually came up with the REDD.37
Desk.
REDD.37:
This desk was basically an updated extension of the
REDD.17 desk utilizing the same V72S amps with similar
construction and features. The REDD.37 was a futuristic four
track recording console that also mixed the sound and
contained far more extensive EQ availability on each
channel. EMI originally wanted eight of these desks to be
built. The final number came to three. One desk wound up as
a prototype serial #58070A and found a home at Kingsway
Hall, another EMI recording facility. The other two were
slightly upgraded models of the prototype and became actual
production models. They landed at Abbey Road; #58121A went
to Studio ONE while #58121B was installed into Studio TWO.
By the time the Beatles arrived at Abbey Road in 1962, the
now famous REDD.37 Desk was already getting quite a name for
itself. Thus, all of the group's material prior to 1964 was
recorded on this 750 pound console. Then, on January 17,
1964 EMI replaced the REDD.37 console in Studio TWO with
the brand new and upgraded REDD.51 Desk.
REDD.51:
This brand new and much sleeker desk was a marvel
of engineering at the time. The primary functional
difference between the two consoles was the amplification:
The REDD.51 Desk used the brand new REDD designed REDD47
Power Amplifier instead of the Siemens V72S amp that EMI had
been using for years. Studio THREE actually got a REDD.51
Desk in mid 1963 but since the Fabs hardly ever recorded in
that room, they didn't realy make use of the REDD.51 until
it was installed into Studio TWO in January 1964.
Interestingly, Studio ONE held on to its REDD.37 for the
rest of the 1960s.
Serial numbers for the desks were as follows: REDD.51 in
Studio THREE was #59090A while the REDD.51 installed in
Studio TWO was #59090B. EMI authorized the construction of
a total of six REDD.51s to be built but only four were
actually constructed. Oddly, these desks were authorized and
designed in 1959 and for reasons STILL unknown, not
installed until 1963 and 1964. Weird.
Trivia:
While the REDD.37 Desk has gotten the reputation as "The
Beatles' Recording Desk," that was really not the case. As
we have seen, it actually got the least amount of time with
the FAbs. The Beatles' first album was recorded and mixed on
the REDD.37 desks in Studios TWO and ONE. However, much of
their second album was mixed on the new REDD.51 Desk in
Studio THREE and beginning in 1964, most of their recording
and mixing would take place on the REDD.51 Desks installed
in Studios TWO and THREE. In total, about 85% of the total
Beatles recording was done on the REDD.51 Desk. More than
half of the Beatles' material was recorded and mixed
soley on the REDD.51. Aside from occasional orchestral
overdubs in Studo ONE, few recording sessions with the
Beatles after 1963 used the REDD.37. The striking exception
to all of this was the "LET IT BE" LP:
Some of you might recall the disaster/joke "recording"
console that the village idiot "Magic" Alex "built" for the
Beatles in the basement of the their then new studio in the
basement of 3 Saville Row. It was a big piece of garbage
that didn't do anything. In a rush, the Beatles asked to
borrow equipment from Abbey Road. Abbey Road agreed and lent
the Beatles the original REDD.37 from Studio Two as well as
the REDD.51 that replaced it. Thus, each song on LET IT
BE was recorded through a combination of both desks.
After the end of the LET IT BE sessions, the
REDD.37 was moved to Kingsway Hall where it replaced the
original REDD.37 that was there. The REDD.51 made its way
back to Abbey Road where it was installed in Room 4, a
mix-only adjunct room. Phil Spector would go on to use that
very desk to mix the final tracks for LET IT BE in
1970.
The REDD division was disbanded by cost cutting accountants
in the late-sixties. Len Page returned to Abbey Road and
watched as his beloved REDD.51 desks were eventually all
replaced by new generation TG Desks that EMI introduced in
the late 1960s.
*Studio ONE's REDD.37 Desk is now owned by
Lenny Kravitz. None of Abbey Road's three REDD.51's have
surfaced. But, the REDD.51 that went to Italy was found and
now resides in a private collection. Don't forget, Abbey
Road had a virtual "fire sale" of old gear in the early
1970's. They got rid of much of the recording equipment the
Beatles had recorded on.
For all your questions and
inquires please contact us at:
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tel: +48 666 11 333 0
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