by Paul Freudenberg
This is a tale: A tale of passion, technology, art, and curiosity.
I entered the Los Angeles studio scene as a young technician/engineer around 1982. Early in my career, I had the good fortune to land a job at one of the label-owned recording studios in town. It was an amazing and magical place. There were three recording rooms of various sizes, all outfitted with exactly the same equipment: two 24-track analog machines, two 2-track/4-track machines, and a 40-input console with moving-fader automation. Outboard gear racks and patch bays were also identical. There were even six live reverb chambers. And to top it all off, there was a mastering studio with a Neumann lathe, a Telefunken mastering desk, and companion machines.