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SwayStones
Hello!

First of all,pay no attention to my poor english..I'm french...

I would like if it's possible to discuss about the Rolling Stones Studios .
We've all heard about the Mobile Studio,I've found this link you may have seen before:




[www.arcavitsystems.com]

And during 1971 they found it very expensive to own a mobile studio like this. Deep Purple rented it and drove it to a little Swiss town, Montreaux, that is.
Machine Head was recorded with this studio equipment.
You all know how the lyrics goes in Smoke On The Water..

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skipstone


They've worked at Pathe the most (it seems), with Olympic next, as well as Nassau, Bahamas. Perhaps another question to add to this one - how many studios - houses included - have they recorded at/in? There are the two houses, Mick and Keith's, and didn't they do VL demos at Ronnie's or did they actually record at Ronnie's? I can't recall that one.

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jlowe
An interesting list would be where they HAVEN'T recorded:
-Nashville; New Orleans; San Francisco; Toronto; Netherlands (their tax base);Florida
not sure where / what is regarded as the "premier" studios today - I guess they have chosen more for the feel of the place (oh, and tax reasons naturally)

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Trident Studios
St Annes court is a street in the entertainment district of Soho in London.

This short street is home to one of Londons most legendary studios, many different artists have used this recording studio to record a multitude of famous tracks. Among famous artists and hits recorded at Trident are:...# The Rolling Stones

* Get Yer Ya-Ya's Out - May 1970
* Sticky Fingers - July 1970

...

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By Christopher Walsh
Publication: Billboard
Date: Saturday, June 29 2002
ROLLING: Like Paris itself, Studios Guillaume Tell, located just outside the city proper in Suresnes, reflects the elegant and cultivated sensibility of that most beautiful of European cities. A former theater, the expansive, atmospheric Studio A at Guillaume Tell recalls an age before multitrack recording and sound processing, when an artist's performance, by necessity, stood solely on its own merit.


It seems a superb venue, then, for the archetypal rock'n'roll band, the Rolling Stones, to spend a month performing, as a unit, while the team of engineer Ed Cherney and producer Don Was captured it all from the adjacent control room.

Tracks recorded at Guillaume Tell, some of which are destined for an upcoming collection, are part of a blitz from the storied band that includes a world tour and the Aug. 20 release of 22 remastered Stones albums on hybrid Super Audio CD (Billboard, June 8). Rough mixes of these new tracks are, in Cherney's words, stupendous.

"It is one of the best-sounding rooms I've ever recorded in," Cherney says, "and I've recorded in lots of rooms. It was a theater, and obviously when they built it they had paid some attention to what it would sound like. I think the biggest thing they did was for intelligibility. You could go out in the room and listen to them play and go into the control room and it was intelligible. I was getting through the speakers what was going on in the room, which was great. It was just the right amount of ambiance, just the right amount of air around stuff. The way the floor shook, where it resonated, was really sweet. I think I cut some of the best tracks I've ever cut."

A guitar-based band, the Stones recorded their tracks to 2-inch analog tape on Guillaume Tell's Studer A820 multitrack recorder, though in order to capture every sound generated in the live room, a Pro Tools rig, operated by Nick Brophy, was additionally employed. "Keith [Richards] will be playing, and somebody else will wander out, [and] somebody else will wander out," Cherney explains, "and pretty soon everybody is out there and they're playing a song. So if there was anybody making noise out there, we ran the Pro Tools."

Cherney used Royer R-121 ribbon microphones on Richards' and Ron Wood's guitar amplifiers and tracked through Studio A's Solid State Logic 9000 J Series console. "Usually, if I'm using SSLs—and most production consoles—I'll use outboard microphone preamps," Cherney says. "But I brought stuff up through the [console's] preamps to hear what it sounded like and ended up using all the preamps on the console for everything. I was really surprised."

Guillaume Tell's Studio A is complemented by Studio B, a mix room outfitted like Studio A for surround mixing and featuring the world's first Sony OXF-R3 "Oxford" digital