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The EMI TG Series.
The EMI TG12345 Console went through four variations and was the first solid-state recording console to be manufactured by EMI. TG consoles in various configurations were used in Studio 3 from 1970 to the end of 1974, Studio 2 from 1969 to mid 1983 and Studio 1 from 1970 to March 1984. The new technology was designed not specifically for the sound quality but to be able to build a console of such size as to meet the demands of the ever increasing number of tracks and on board facilities required by the new generation of pop and rock artists.
The first desk, the Mk I, was installed at the end of 1968, and was use on the final album recorded by the Beatles, ' Abbey Road'. The Mk I desks were followed shortly by modified versions, leading up to two TG12345 Mk IV consoles, one installed in Studio Three in December of 1971. Three years later in November 1974 it was moved to Studio One, until it was decommissioned in December 1983.
Dark Side of the Moon.
Alan Parsons began his career as a staff engineer at EMI Studios and was soon working on the Beatle's 1969 album, Abbey Road. Possibly his most enduring work was as engineer on Pink Floyd's The Dark Side of the Moon having previously engineered Atom Heart Mother. The album was recorded over a total of 38 days in the studio spread over seven months. Being a staff engineer, apart from the career boost, Alan Parsons received his normal engineer pay of £35 a week for doing the album.
May 1972 - Pink Floyd
Dark Side of the Moon.
Recorded in Studio Two with overdubs in Studio Three.
The Equipment used.
EMI TG Mark IV Consoles.
16-track Studer A80s . The initial tracks were recorded at 15ips onto 2" tape, non-Dolby. To make more tracks available, tracks were bounced down onto a second Studer 16 track, this time with Dolby A.
Bass - Although a Hi-watt amp was set up in the studio area for Roger Waters, and screened off to help with the spill, a mic wasn't actually used. Instead the bass was DI'd and compressed through a Fairchild Limiter. The Fairchild was also used for vocals and sometimes on the mix.
Dave Gilmour used a Hi-Watt DR103 100 watt head through WEM Super Starfinder 200 cabinets with 4×12” Fane Crescendo speakers. The set up was mostly closed miced. Other gear included : A Bison Echorec II, silicon transistor version of the Dallas Arbiter Fuzz Face, a Colorsound Powerboost and a Univox Uni-Vibe.
All addition recorded delays on the album were done with tape machines
Nearly all the reverb was produced with one EMT Plate.
Extra eq. with the EMI 'Curvebender'.
|'On The Run' is often quoted as a classic EMS VCS3 track but it's actually an EMS Hi-Fli. This was used on most of the album.|
EMI - Neve Consoles
With the ever increasing number of tracks required by the pop producers and musicians, the recording consoles grew in size to the point where it was felt that the TG design was simply too large for Studio 3. In 1974 EMI decided on a policy of replacing its own TG desks in its studios throughout the world with new Neve consoles, designed in consultation with its own engineers. The initial order was for six desks, five going to export and one for studio 3 at Abbey Road. All were to be 36 input 24 output.
In1975 Abbey Road went 24- track.
1976 - Equipment list.
Two EMI TG 44 into 16 consoles.
Two EMI TG 24 into 16 consoles.
Neve 36 into 24 ( studio 3 )
Two Studer 24 Track tape machines
Three 16 track tape machines
Sixteen 8 Track machines
Fifty six 2 track tape machines
Six cutting Lathes.
Seven Plate reverbs
Three natural chambers
1986 installed a Calrec UA8000 in Studio Three