Professional Sound’s sister publication Canadian Musician recently interviewed Bryan Adams on how he built his studio, the Warehouse Studio, and some of his best recording experiences:
After recording so many albums and working in some of the best recording studios in the world you must have learned a great deal about what makes a studio great. How did you incorporate this experience into the design of your facility?
Bryan Adams: My “role model” was the 1980s Power Station in NYC (before it changed). All the isolation booths, the style of desks (SSL and Neve), live chambers, informal atmosphere and a really top technical staff. But most of all … the location. I wanted my studio to be in the centre of the city where all the action is, not tucked out in the middle of nowhere. Musicians want to party and have a little bit of a life. You don’t get that with most studios because they are normally tucked away in industrial complexes or in the rural countryside! Who wants to work in place like that? Not me. I want a little interaction with the world.
When you didn’t own your own studio what considerations were taken into account when choosing a studio to work in? How did you know when a studio was right for you?
BA: That was mostly a decision Bob (Clearmountain) and I would make. We ended up recording in my house a lot before the studio was built downtown [Vancouver, BC]. We’d just rip whatever place we were at apart until we got what we wanted.
What do you think are the major pitfalls in the traditional commercial recording studio?
BA: You’ve got to have someone that really cares about studio life if you want it to work. A lot of the best studios are run by people who were either engineers or producers at one point, or they are technically minded. My studio was designed and is run like a battleship by Ron Vermuelen, who has worked with me since the mid-’80s. I’d have no studio if it wasn’t for him.