equipment list - Phase One Studios

I
BY JEFF TOUZEAU PHOTOS COURTESY OF PHASE ONE
This summer will mark a milestone in Canadian recording history. It is the 35th anniversary of the
legendary, Toronto-based Phase One recording studios. Since 1974, Phase One has hosted the biggest
names in rock: Kiss, Alice Cooper, The Guess Who, Harry Chapin, Keith Richards, and the list goes
on. Phase One’s Studio A has left its sonic imprint on many of rock’s most enduring records and has
attracted the industry’s leading producers. The facility’s walls have the gold and platinum records to
prove it.
Phase One’s original owners, Paul Gross and Doug Hill, built the business when the record
industry was thriving and craving for more high-quality recording environments — especially in Canada.
With the advent of 16-track recorders and large-format consoles, artists required high-quality spaces to
accompany the pristine audio they were now capable of capturing. Phase One quickly found itself in the
sweet spot of the powerful recording wave that would continue well into the ’90s.
It wouldn’t take long before the industry began to run out of steam. The market became
somewhat saturated and could no longer support what was a seemingly non-stop growth pattern. Also,
the onset of digital audio didn’t help things. Gross and Hill decided to sell the business, perhaps thinking
that their best days were already behind them.
Barry Lubotta, who transplanted himself to Toronto from Montreal in 1976, knew all about Phase
One. He knew the successful acts that had passed through, and realized what a special environment
it was all along. Lubotta describes his initial infatuation: “From 1976 on, when you used to talk about
studios, Phase One was always at the forefront. It was almost like a palace.” Sonically, Phase One had
already sealed its reputation. “First and foremost, it was the sound of Studio A. It was the first and
largest big room in Toronto at 1,500 sq. ft. and is still the best-sounding room in the area.” Needless to
say, Lubotta saw things from a fresh perspective and firmly believed its best days were ahead.
He had big plans for Phase One, recognizing not only its unique past but also its tremendous
26 • PROFESSIONAL SOUND
potential for the future. He purchased the studio and in 2000 began a renovation that would not only
set the stage for lucrative future business prospects, but also bring the studio to a level where it could
be proud of its unique heritage.
It is now clear, despite market gyrations and cataclysmic shifts in recording studio models,
that Lubotta and his well-assembled team of professionals have succeeded — and then some. They
have navigated through a minefield of opposing forces: the home studio explosion, the upheaval of the
traditional music distribution model, and, indeed, the shrinkage of record company recording budgets.
Phase One’s “round-two” success was not a happy accident. Lubotta and company made careful
decisions that helped the studio evolve from a legendary rock n’ roll dinosaur of the 1970s to a more
nimble, services-oriented company that was able to offer not only pristine audio quality but also client
comforts. One of their first decisions was to invest in the renovation process – which was massive
and all-consuming.
Lubotta, who was no stranger to the Canadian studio scene, having owned a studio prior to
Phase One, knew that he had to be careful and deliberate about the renovations. After all, Phase One
is nothing short of a Canadian recording institution — you can’t just go at it with a crowbar and a
chainsaw. He also knew that it needed an extreme makeover and some basic redesign if it was to live
to see the next decade.
Studio A
Phase One’s “crown jewel” is indisputably its Studio A, where most of the action took place over the
course of the last three decades. The room, which is a massive 1,500 sq. ft., was designed by none
other than George Augspurger. Augspurger’s work is legendary not just in the world of facility design,
but in the world of monitor design as well. Since the room already sounded fantastic — according to
the opinion of literally hundreds and hundreds of artists — one of Lubotta’s first decisions following his acquisition of Phase One was to
leave the acoustics alone in Studio A.
Although the room still sounded great, the scars of its rock n’ roll past (cigarette stains, worn carpet, and chipping paint) were
painfully obvious. It would be refreshed and renewed. Studios B and C, which were both considerably smaller, would experience more
drastic renovations and upgrades.
In Studio A, which has a “live” area and a “dead” area, Lubotta had the floors replaced and re-carpeted (certain parts of the floor
are hardwood and other parts carpeted); however, he left the acoustical tiles on the ceiling alone. He also added a producer’s desk so he
could comfortably accommodate more people in the control room.
The vibe of Studio A, says Lubotta, is very “’70s” and its décor is very open and very simple. In addition to the large recording space,
it has three isolation booths: two of which were added during the renovation phase. One of the isolation booths is often used to record
drums, and another, which is often dubbed “The Chimney,” is suitable for single performers or instrumentalists.
Lubotta describes the essence of what makes Studio A special: “The live room just happened to have a great sound to it, which it has
to this day. The acoustics are very flattering to just about any instrument, particularly drums. It has that kind of sound that when you walk in
and start talking, you think, “Boy, my voice sounds good.” He remains convinced that leaving the acoustics of Studio A alone was among the
top decisions that were made. “Of all the things we’ve changed in the studio, we have left the acoustics alone in Studio A, including the same
tiles that were there 30 years ago,” he says. “We didn’t want to mess with what is acknowledged to be a wonderful-sounding room.”
Studio B
In the Phase One’s previous life, Studio B was often used for mastering. Lubotta and his crew, however, felt that it wasn’t usable, at least
in the state it was purchased in; therefore, a complete redesign was in order. “The ceiling was low and the room was confined,” recalls
Lubotta. “It didn’t feel like any kind of serious recording room. We had our designer, Martin Pilchner, come in and he suggested we move
the walls of the room back, and we also moved the ceiling higher.” The result was a spectacular mix and overdub room with an expanded
footprint, complete with a new API Legacy console. Since Studio B was essentially redesigned and rebuilt from scratch, it was among the
more difficult tasks of the renovation and spanned a course of several months.
Studio C
Studio C, which now houses Phase One’s SSL Duality and also features a small adjacent overdub booth, was not much more than an office
space in its previous life and was essentially built from scratch. “Studio C came about because my studio manager, Donny DaSilva, said we
should put a studio there. He duct-taped it off on the floor, and we ended up building a studio exactly along the lines he suggested. That’s
the studio that is there today, and it happens to be a beautiful studio — all new from the bottom up.”
When it was constructed, Studio C featured the latest isolation and acoustic building techniques and also featured “room within
room” construction.
ABOVE: STUDIO A CONTROL.
BELOW: STUDIO A LIVE FLOOR.
Studio D
A fourth space, Studio D, would be by far the smallest in the facility but — pound for pound — one of its most productive. As DAW technology
was quickly becoming pervasive and commonplace, Lubotta knew that he needed a room that could serve as an edit and production suite
that could take care of various tasks associated with digital audio. “Studio D was basically a small office,” he recalls. “We knew we had
space there, so we went ahead and got the guys to do something with it. It’s not as elaborate as our other three studios, but it is filled
every single day and it’s working.”
Studio D, which features a Digidesign Control 24 console, is smaller than the other rooms by comparison, but is a critical piece in
Phase One’s integrated business model just the same. It also provides Phase One’s budget-minded clients a less expensive alternative.
At Home In Both Analog & Digital Domains
Phase One’s customers seem to be gravitating more and more towards digital gear — Lubotta says this is mostly out of convenience, and
that perhaps clients forget how good analog gear actually sounds. While the several analog decks in Phase One tend to get used less as
time goes by, Lubotta doesn’t plan on ditching them anytime soon. “The odd person will want to come in and still want to record to tape,”
he says. “We get excited when they do, because every time you put up that tape and play it back, you say, “Now that’s music.” Phase One
PROFESSIONAL SOUND • 27
JOE CHICARELLI ON PHASE ONE
keeps several 2" decks on hand including a Studer A800, an A820, and an A827 as well as several
½" decks including the coveted Ampex ATR 102.
For the most part though, he says that most of his clients want to record to Pro Tools – sessions
tend to go faster and the convenience factor simply can not be beat. Phase One therefore provides Pro
Tools HDIII Accel systems in each of its rooms, along with Apogee conversion. Lubotta seems wistful
about how analog is gradually finding itself on the sidelines. “If we think that there is somebody who
can afford analog and they want to go that route, it is great, but is really the exception these days. Even
big-name groups come in here and insist on going digital.”
Lubotta, who has his own record label called Marshmellow Records, always records at least part
of his own projects on analog: “I always record the bed tracks on analog, then I quickly put the tracks
through our high-quality converters and bring them into digital,” he says. “Even in the digital domain,
they sound superior because the converters have captured 80 per cent of the analog sound.”
Grammy Award-winning producer Joe Chicarelli is a regular client at Phase One, most recently
working on the alternative breakthrough act Stars. He says that Phase One has so much to offer
and that if working in Toronto, it is the obvious choice. “Phase One offers a fantastic combination
of both new and old. We mixed the Stars record there because I love its API Legacy console.”
“The tracking room (Studio A) has a sound and character that you can hear in the record.
The consoles sound great, and the staff runs it like a studio should be run.” Chicarelli says that
Phase One’s gear selection is a key differentiator: “There is a great selection of tube mics and
plenty of exotic, custom-made gear including these custom opto limiters that sound really great. I
also like the D.W. Fearn preamps.”
Chicarelli notes that Toronto is currently thriving as a scene for independent and
alternative music. “10 or 20 years ago, when I worked with Tom Cochrane and Red Rider, the
music scene was very scattered. The music coming out of Toronto is now very cutting-edge
and much more inventive. The scene is very healthy, with bands like Metric, Stars, and Broken
Social Scene.”
STUDIO C CONTROL
EQUIPMENT LIST
Studio A
Console
80+ input Neve 8026 Series (1973) (54 faders, 24
inputs on monitor section, 8 buses) with Optifile VCA
automation, (4) Neve 2254 compressors. Console
includes (24) 1084s & (18) 1073 mic preamps & EQs
and (4) filters.
Recorders
Studer A800 Mark III 2" analog 24-track, Studer A820
2" analog 24-track, 24-channel Dolby SR (floater),
Alesis ML9600 Masterlink CD recorder, Apogee AD1000
converter, Universal Audio 2192 AD/DA converter,
Studer A-80 1/2" 2-track recorder, Dolby SR 2-channel
(modified).
Pro Tools
Digidesign ProTools HDII, (2) 192s, (1) Apogee A/D-16,
SYNC I/O, Mac G5 with dual 2.0 Processors, two LCD
19" monitors. Plug-ins include Antares Auto-tune,
Focusrite D2 & D3, Amp Farm, Bomb Factory, Waves
Platinum Bundle, etc.
Outboard
Alan Smart stereo compressor
(2) Empirical Lab EL8 Distressors
Pultec EQP1
Pultec EQP1A
(4) Geoff Daking 91579 compressors
(4) Daking 52270 mic pre/EQs
(2) Compex F760 X-R Limiters
Universal Audio 2-1176
Urei 1176N
Teletronix LA2A
Tubetronix TM-2A compressor/limiter
(2) DBX 902 De-essers
Avalon VT737 mic pre & EQ
Manley Massive Passive stereo EQ
TL Audio Dual Valve Preamp Compressor
Focusrite Red Stereo Compressor
(2) UREI LA-3A Compressors
(2) Lynx time align synchronizers
Effects
Genelec 1031s, Yamaha NS10s (with subwoofer),
Auratones , B&W 600, Kranis Custom main monitors.
EMT 140 Tube Plate
Lexicon 480L
Lexicon PCM-41
AMS DMX 15 Digital Delay
AMS DMX 16 Digital Reverb
TC Electronic multi-tap delay
Preamps
Video Monitor
Speakers
(24) Vintage NEVE 1084s on console
(20) Vintage NEVE 1073s on console
(4) Daking 52270 mic pre/EQs
Avalon VT737 mic pre & EQ
DW Fearn VT-2 Dual Vacuum Tube Preamp
Demeter VTMP-2B 2-ch Tube mic pre
(4) API Preamps
(2) 4-input Ampex Classic AM10 Preamps
Sony WEGA 36"
Instruments
Yamaha C7 Disklavier Grand Piano
Hammond B3 with Leslie Cabinet
Studio B
Console
64-input API Legacy (1998) with moving fader
automation, (3) API compressors, (8) mic preamps,
(1) instrument direct input, (2) filters.
Tape Recorders
Studer A827 2" analog 24-track, 24-channel Dolby
SR (floater), Alesis ML9600 Masterlink CD recorder,
Universal Audio 2192 converter, Ampex ATR102 1/2"
2-track recorder, Dolby SR two-channel (modified).
Pro Tools
Pro Tools HD3 Accel System with 48 outputs plus
Apogee A/D 8000, SYNC I/O, Mac G5 Dual 2.5 processors, two LCD 19" monitors. Plug-ins include Maxim,
Antares Auto-tune, Focusrite D2 & D3, Amp Farm, D-FI,
Joe Meek, Bomb Factory, Maxim, SansAmp, Virus,
Waves Platinum Bundle, etc.
Speakers
Spendor SA-300s, Genelec 1031s, Yamaha NS-10s,
Mission 751s, Kranis Custom main monitors.
Outboard
(2) Pultec 1A3
(4) Geoff Daking 91579 compressors
(4) Daking 52270 mic pre/EQs
(2) Empirical Lab EL8 Distressors
(2) Urei 1176N
Teletronix LA2A
Summit DCL200 dual compressor
Drawmer DL251 Spectral compressor
(2) Aphex 661 Expressors
(4) DBX 903 compressors
Urei LA-22 Dual compressor
Alan Smart stereo compressor
Crane Song STC-8 stereo compressor
Avalon VT-747SP
GML 8200 stereo EQ
(2) Shep 4-band 2-channel stereo mic pre/EQ
Drawmer DS404 quad gate
Drawmer MX50 dual de-esser
(2) Dolby A model 361
SPL Vitalizer
SPL Transient Designer 4
Chandler TG1 – EMI/Abbey Road Special Edition
Compressor & Limiter
Effects
EMT 140 Plate
Lexicon 960
Lexicon 480L
Lexicon PCM-41
Lexicon PCM-60
Eventide H3500
Ensoniq DP-4
Klark Technique DN780
Yamaha SPX-990
Yamaha Rev-7
Video Monitor
Sony WEGA XBR 32"
Studio C
Console
SSL DUALITY 48 inputs with Total Recall & DAW Control.
Recorders
Pro Tools HDIII Accel System with 48 outputs (2"
Analog multitrack can be wheeled in to accommodate
sessions), Alesis Materlink 9600 CD Recorder, Apogee
PSX 100 AD/AD converters, Universal Audio D/A & D/A
2-track converters, Ampex ATR 102 ½" Tape Machine.
Compressors & Limiters
Chandler TG1 – EMI/Abbey Road Special Edition
Compressor & Limiter
Avalon SV747
(2) Universal Audio 1176s Blackface
(2) Empirical Lab EL8 Distressors
(2) Geoff Daking Compressors
Teletronix LA2A
Drawmer Six-Pack 5.1 Compressors
Pendulum ES-8 Mastering Compressor
WAVES L2 Maximizer
STUDIO B CONTROL
Console Chemistry
Yet another thing that makes Phase One unique is the combination of consoles that are available.
It combines the best of vintage and new technology and offers three of the best names in classic
recording consoles: Neve, API, and SSL. “The fact that we have the three most sought-after consoles
in the industry is a plus,” says DaSilva. “We have people from all over the world coming to work on the
API Legacy, for example. Same thing with the Neve.”
Studio A, which is primarily used as a tracking room, offers a vintage Neve 8026 from the
early ’70s that has 24 channels of 1084 preamps and 20 channels of 1073 preamps. “Those are the
preamps people think of when you say ‘Neve,’” observes DaSilva. In total, the console, which is actually
a combination of early Neve models, has over 80 inputs in total — making it, according to Lubotta, the
largest Neve in Canada.
The 56-channel API Legacy console in Studio B, which has accommodated recent projects by
Bono and Bruce Cockburn, is equally as attractive, both sonically and functionally. Lubotta says the B
Equalizers
Avalon AD2077 mastering EQ
(2) Lang PEQ Equalizers
(6) Geoff Daking EQs and preamps
(2) NEVE 33129 EQs and preamps
(2) MANLEY PEQs
Effects & Reverbs
TC Electronic System 6000
TC Electronic M5000 w/2 machines
TC Electronic 2290 Digital Delay
Lexicon 300 Digital Effects
Lexicon PCM80 Digital Effects
AMS RMX16 reverb
Roland SDE 2500 delay
Yamaha SPX 90
Speakers
Kranis 1s,
Audio Hardware Armadilos
Yamaha NS-10s
Dynaudio Air Series 5.1 Monitoring System
Genelec 1031s
Tannoy System 800a’s
Spendor SA-300s
Auratones
Other
SPL Transient Designer 4
(2) Dolby A 362
Demeter STDB-1 Stereo Tube Direct
Z-SYS Z-16.16 Digital De-tangler Pro
Pro Tools
ProTools HD III Accel , SYNC I/O, (2) Digidesign 192s
fitted with 32 outputs and an Apogee DA-16 with 16
outputs – 48 outputs all normalled into the console,
Apple Mac Pro Quad processors, 22" LCD monitor.
Plug-ins include McDSP Emerald Bundle, DINR,
Maxim, Antares Auto-tune, Focusrite D2 & D3, WAVES
Platinum bundle, WAVES SSL bundle, Amp Farm, etc.
Mastering
SADiE Artemis Mastering Digital Audio Workstation w/
Sony 900e CD writer and EXABYTE 8mm Tape drive for
DDP tape creation.
Studio D
Console
Digidesign Control 24
Tape Recorders & Converters
Apogee PSX100 converter, Ampex ATR100 1/2" 2-track
recorder, Dolby SR 2-channel (modified).
Pro Tools
Pro Tools System
Speakers
Spendor SA-300s, Genelec 1031s, Yamaha NS-10s,
Mission 751s, Kranis Custom main monitors.
Outboard
Avalon VT-737SP
(2) Neve 33129 preamps and EQs
Demeter Stereo mic pre
Video Monitor
LG 42" HDTV Plasma
room is used equally for mixing and overdubs, and features an acoustically dry iso booth that measures
approximately 20' x 14'.
Phase One’s newest console addition is its SSL Duality, which was purchased just one year
ago. DaSilva explains: “We used to have an SSL 4000, and we had some clients that wanted the recall
capabilities a pure digital set-up offers — they still like working on a console, but want to recall stuff
instantly. SSL was very easy to work with and said it would love to help us put one in.” While Studio
C is a strictly “digital room” that runs Pro Tools, one of Phase One’s analog decks can be wheeled in
as requested.
Outboard, Monitors, & Studio Techs
In addition to its world-class recording consoles, Phase One has all the vintage equipment you might
expect. There is a generous selection of both new and old gear in each of its rooms. There are plenty of
LA2s and 1176s and Pultecs to go around, and you will also find an outstanding collection of gear from
modern classics like Geoff Daking, Chandler, Avalon, and D.W. Fearn.
The studio’s custom monitors are made by Audio Hardware, a Toronto-based company, and
powered by Bryston, another Canadian-based company. DaSilva notes that having Audio Hardware close
by can be very convenient should a mishap occur: “If a speaker goes down, they are here within 24
hours to replace the driver and recalibrate it. Its service is second to none.”
While many other commercial studios take infrastructure maintenance for granted, Phase One
takes great pride in its ability to resolve technical problems quickly. “We are the type of studio that if
something goes down, we are back up and running by the afternoon. It has always been that way at
Phase One. It means everything to us and to our clients,” says DaSilva. Phase One not only resolves
problems quickly, it also proactively improves its infrastructure: “We are always upgrading and making
things better,” DaSilva says. “This is a very up-to-date, modern studio and on any given day, 99.9 per
cent of it is working.”
Making It Count In The Digital World
As Lubotta mentioned earlier, many clients expect to achieve more in less time than ever before;
therefore, the types of bookings have adapted accordingly. “Where we are, there is just no such thing
as a big, long, lockout anymore. People don’t give you a lot of lead time these days, and many of our
sessions will be three to four days of tracking. People want to get in, then they want to get out.” He
says it is obviously a plus when the studio receives an extended booking. “We love it when we get
longer bookings; not just from a financial point of view, but also because of the nice flow it brings to the
sessions. You get into a rhythm, and people get to know each other. Problems tend to be resolved more
quickly because everyone is working in tandem with one another. Everything becomes more familiar.”
Lubotta misses the routine mix of clients Phase One used to bring in on any given day. “It has
changed over the nine years I have been here. From 2001 to 2005, when the industry was stronger than
it is today, we would have all three control rooms going at the same time,” he says. “They would be
filled with clients who didn’t know each other; you would have a rap group passing a Jewish traditional
artist in the hall, for example. It brought all kinds of people together and it felt like a village.”
These days, the fact that more and more people want to try the home recording route is unavoidable. Lubotta remains hopeful, however: “To compete on the big stage, you have to go to the people who
do this 365 days a year. Everyone has fallen for the ‘I can do this at home’ philosophy, but I believe
people are finally realizing that most of these efforts do not turn out so well.”
■
Jeff Touzeau is a regular contributor to Professional Sound. His most recent
books are Artists On Recording Techniques and Careers In Audio, both on
Cengage (2008).
PROFESSIONAL SOUND • 29