Miloco https://milocostudios.com Mon, 14 Oct 2024 15:03:31 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.10 https://milocostudios.com/wp-content/uploads/2021/11/cropped-Favicon-BW-32x32.png Miloco https://milocostudios.com 32 32 Sonic Vista: sanctuary and inspiration in equal measure https://milocostudios.com/2024/07/sonic-vista-sanctuary-and-inspiration-in-equal-measure/ https://milocostudios.com/2024/07/sonic-vista-sanctuary-and-inspiration-in-equal-measure/#respond Tue, 16 Jul 2024 15:16:24 +0000 https://milocostudios.com/?p=18825 Situated in a 400 year-old villa on the green hills of Ibiza, boasting breathtaking views of the Mediterranean Sea, there are few places quite like Sonic Vista Studios for artists looking for quiet sanctuary and creative inspiration in equal measure. When L. Henry Sarmiento II opened Sonic Vista in 2004, he did so with the […]

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Situated in a 400 year-old villa on the green hills of Ibiza, boasting breathtaking views of the Mediterranean Sea, there are few places quite like Sonic Vista Studios for artists looking for quiet sanctuary and creative inspiration in equal measure.

When L. Henry Sarmiento II opened Sonic Vista in 2004, he did so with the idea of creating a getaway where creatives could zone in on their artform with laser focus. As well as stunning surroundings, the studio offers a high end equipment range that blends old and new, while Sarmiento himself is highly experienced when it comes to recording, mixing, mastering, studio production and live sound. He prides himself on catering exactly to artists’ needs.

That combination of environment, equipment and expertise has brought some of the world’s biggest names to Sonic Vista over the past 20 years, including Lady Gaga, 50 Cent, David Guetta, Akon, Ne-Yo, Satori, Ms.Dynamite, James Blunt, Johnny Depp, Carl Cox, Swedish House Mafia, and many more.

We caught up with Sarmiento to get a feel for what makes Sonic Vista so special…

 

Tell us about yourself and Sonic Vista…
I started as a roadie at 16, and was professionally mixing at 19. I moved from New York to California with $200 in my pocket when I was 17. I’m 52 years old now, so I’ve been in music for a long time and it’s been full power, 24/7. 

I’ve been lucky enough to work with musos, A-game artists and super talents. I ran Herbie Herbert’s studio in San Francisco for many years. He’s a very famous manager responsible for hundreds of millions of records sold by the likes of Journey, Mr Big, Steve Miller and so on.

In 2004, 20 years ago this year, I moved to Ibiza because I wanted to start a new studio, which became Sonic Vista. My whole intention was to create a sanctuary where artists could come and be super focused on their artform. Sonic Vista Studios is located in a 400-year old villa on a hilltop overlooking the Mediterranean Sea. Once you pass through the gate, this is a place of creativity and inspiration. If you want to hang out and party, go anywhere else in Ibiza – this is where A-game artists come to make music for the people of the world.

I have multiple studios here, even though I only show one on the website, for privacy reasons. It’s not your traditional studio. Each studio has a different purpose. I can do writing camps, I do a lot of recording, mixing and producing myself out of Studio A; Studio B, C, D, E  are production and writing rooms.

There’s a lot of culture and heritage here, and super inspiring vibes. There aren’t any 400 year old buildings in New York City or California! This place is very inspiring and the only distraction is yourself. People instantly get into the zone here to create music from the heart and soul.

 

What stands out from a technical point of view?
I have a lot of equipment – the best of digital meets the best of analogue – and a range of 23 guitars and basses. There’s a live room with drums and piano, and even a 400 year old well that has lines direct to Studio A, so you can send snare drums or vocals to it, or you can record at the well itself. It’s so inspiring: you open a door and you have this echo chamber. That really gets artists out of their comfort zone. I like to get creative and record differently: I’ve done vocals on the roof of the villa with the view because an artist wanted to sing to the Mediterranean Sea. 

It’s all about thinking outside the box to capture the magic. That’s the important part. There have been so many songs written by the pool! I put a keyboard, some speakers and a microphone there and people are like, ‘Wait, we can do it outside?’ Yes! You can be anywhere on the premises. Wherever makes you feel good. I’m also a big fan of lighting. I ask artists, ‘What colour are you feeling today?’ and I can change the lighting to match the vibe they want. It’s all about vibe, great equipment and getting to work. I have many pairs of studio speakers, over 20 pairs of studio monitors. So I can set up a creation station anywhere.  It’s all about infrastructure and facilitating whatever hallucination an artist has.

 

You’ve hosted so many big names over the years. What have been some of the highlights for you?
In 2009, Lady Gaga came with RedOne to finish up on Alejandro. She’s great. She’s so talented and in the zone. She had a gig that night and she left 30 minutes before it started. You wouldn’t believe how many phone calls she got panicking that she missed sound check. But she was in the zone! 50 Cent was amazing also. Super full powered, and he has a great team. David Guetta is a great guy with great vibes; Becky Hill was here last year with a writing camp, amazing talent and people; I did some of vocal recording for James Blunt’s album last year. He’s super talented, and lives on the island when he’s not on tour. He loves Sonic Vista and working with me because we both work fast.

I believe in two styles of music: great music and the rest. I’ve worked in every genre. It’s all about talent and getting the vibe to create magic. These are moments in time that are going to influence pop culture and people’s lives. I commit 200%, and am grounded, supportive and honest with artists. There’s no ego here. I just know how to get the artist to where they want to be.

 

You’ve worked with artists for a long time. Have their needs changed over the years when it comes to studios, generally?
I feel like we’re in much more of a global situation now. People want something exciting. They understand that life is short. They want to get outside the box. I get requests from people on the other side of the world. They have no idea about Ibiza but they see the studio and think, ‘This looks different’. So often, artists land at the airport, drive straight to the studio, and stay working  for the whole time. They aren’t interested in the pop culture of Ibiza, they just want to come here and get in the zone. As I said, the house is 400 years old – we have an olive tree at the front that is 1,000 years old! It has a cave underneath it! You can’t make this up! So, when people get here, they instantly connect with the vibe. When you go to a modern place, it might have everything in terms of features but lacks soul. It takes time for character to grow.

 

What’s coming up for you that you’re able to talk about?
I work closely with an artist called Satori. He’s a global artist, he spends more time on a plane than he does on the ground. I am his mixer and producer, so that keeps me busy. I also just started a new album with an amazing band called “My Baby”, they are super epic and mega talented; and I’m in the middle of some writing camps that have been going on throughout the spring and the summer… Some artists like to come in the winter rather than the summer so I’m always busy!

 

For more info on Sonic Vista, click here. 

For enquiries, email bookings@miloco.co.uk

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Artistic Palace: bespoke design with musicians in mind https://milocostudios.com/2024/04/artistic-palace-bespoke-design-with-musicians-in-mind/ https://milocostudios.com/2024/04/artistic-palace-bespoke-design-with-musicians-in-mind/#respond Thu, 04 Apr 2024 14:03:32 +0000 https://milocostudios.com/?p=18672 Artistic Palace is a space designed from the ground up to meet the needs of modern musicians. Situated in Paris’ 18th arrondissement, not far from the famous artistic quarter of Montmartre, the studio’s founder Pierre Guimard, opted to build the facility as a number of great sounding, smaller rooms with great acoustics. His thinking? That […]

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Artistic Palace is a space designed from the ground up to meet the needs of modern musicians. Situated in Paris’ 18th arrondissement, not far from the famous artistic quarter of Montmartre, the studio’s founder Pierre Guimard, opted to build the facility as a number of great sounding, smaller rooms with great acoustics. His thinking? That it would appeal to musicians who needed a great sounding space to plug their laptops into.

With 14 high-end studios ranging from 15 to 80m2, the Artistic Palace complex can adapt to the needs of artists looking to compose, record, mix, film, showcase, playback or host promo events.

We spoke to Pierre to understand his vision for Artistic Palace and hear about some of the studio’s highlights since it opened its doors.

 

How did Artistic Palace come to be?

Pierre Guimard: Artistic Palace is a project that I’d had in mind for many years. Just after the pandemic, and after a lot of reflection, I decided to put energy into making it happen. Finding a place to build the studios was the first step. Then, it was a case of working on financing, designing and building. It took a year of construction and development, and getting the team and the gear together.

 

What was your vision?

PG: I come from a production background, but more on the artistic rather than technical side. I’ve been producing, composing and arranging for artists and bands for almost 20 years now. I’d also had two previous experiences of building or creating recording studios, having refurbished or redesigned existing studios. The first was a single studio in Paris’ 18th district, and the second was the much bigger Les Studios Saint Germain. I actually saved Les Studios Saint Germain from being shut down and replaced by a sports complex. I refurbished and ran it with some friends. Artistic Palace is the culmination of all of that. It’s the first time I’ve created something from scratch – and it’s twice the size of Les Studios Saint Germain. 

I also run a label on the side, developing different types of artists. I’m really into creation and business.

 

What specifically did you take from those previous experiences to inform Artistic Palace?

PG: I think the main thing is that I have sized the studio differently, compared to the others. I wanted to have more rooms but of smaller size. I’ve found that, these days, people work in groups of two or three with a computer and a bit of gear – a very good pre-compressor, a mic, that’s it. In the end, I built 14 rooms that could accommodate speakers, a computer and some writers. So I bet against the type of studio that was popular in the 60s and 70s, with big rooms, and instead focused on a studio that suited modern music, which is produced more with computers. We have one big studio where you can use acoustic instruments like drums and a piano, and the rest are more for working with a computer. 

Artists are coming with their own computers, most of the time. They plug into the studio speakers. What I provide is a nice space that sounds very good, with access to a nice lounge and kitchen area where they can meet other people. This is really a place where people can connect and work together. Some musicians know each other from Instagram but not real life – so this is where they can come and meet.

 

What have been the highlights since opening your doors?

PG: The first was a writing camp organised by Sony Music France during Paris Fashion Week. They rented all the rooms and put stations in each one. So it was 14 studios for six days and nights. Lots of great artists came and it was really special. 

Then we had Nigerian artist Rema come and make a video for his hit Calm Down for Deezer. The video’s really cool, and has had a lot of views. He was the first international artist we had here. After that, we’ve had people like Kid Cudi, David Guetta, Central Cee, and lots of big French artists.

 

What’s coming up on the horizon?

PG: Sony is hosting writing camps with us on an annual basis, and they’re going to do something really big with us in June. We also have a special beat making project with a famous sports brand around the Olympic Games – it’ll mean a lot of bookings across two months. We are the only recording facility in Paris that can handle the amount of sessions and events that we do. So we are unique in that way.

 

For more info on Artistic Palace, click here.

For enquiries, email bookings@miloco.co.uk

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DAFT: your creative home from home? https://milocostudios.com/2024/03/daft-your-creative-home-from-home/ https://milocostudios.com/2024/03/daft-your-creative-home-from-home/#respond Thu, 28 Mar 2024 16:03:29 +0000 https://milocostudios.com/?p=18642 DAFT Studios, located in the stunningly serene Belgian Ardennes, is more than just a recording studio; it’s a creative residence that provides a home-like atmosphere for artists, with boss Stijn Verdonckt believing that, as a destination complex, providing a unique atmosphere is just as important as high end equipment.  Not that technical specification is a […]

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DAFT Studios, located in the stunningly serene Belgian Ardennes, is more than just a recording studio; it’s a creative residence that provides a home-like atmosphere for artists, with boss Stijn Verdonckt believing that, as a destination complex, providing a unique atmosphere is just as important as high end equipment. 

Not that technical specification is a secondary thought: DAFT’s main space, for example, is one of Europe’s largest recording rooms, spanning an impressive 200 square meters with an 8-meter-high ceiling. Sitting alongside four isolated booths, each with their own distinct characteristics, and with a Rupert Neve Designs 5088 Shelford Edition console at the heart of its 70m2 control room, it’s ideally suited for capturing the grandeur of drums, orchestras, and film scores, as well as more compact sessions for rock, pop or jazz projects. DAFT also offers up to 10 writing rooms, making it an ideal location for anything from writing camps, to rehearsal and demo sessions, to recording and mixing, and even tour pre-production.

But that’s not all. Taking full advantage of its unique location, surrounded by dense forests and rolling hills, DAFT also offers musicians (and the public) a fully functioning hotel with bar, cinema, pool and sauna – alongside more than 5,000m2 of gardens, campfires and glamping.

We spoke with Stijn Verdonckt about how DAFT came to be, and why hospitality has become just as important to the studio’s offering as equipment, backline and acoustics.  

 

Could you take us through a short history of Daft?

SV: I started in the early 2000s as a tea boy, then assistant through to being an engineer at La Chapelle Studios, which was another residential studio, founded in 1979. I climbed the ladder there until I was an in-house engineer. Then, throughout the 2000s, the business became harder and harder – this was before the DSPs so there was a lot of piracy. Studios ended up going broke. I became a freelance engineer and worked at several studios before I got the opportunity to take over La Chapelle Studios before it went broke. I had some ideas about how it could be managed better and so took the leap in 2008 – that’s when we became affiliated with Miloco. 

We rebranded the studios to ‘Daft Music Studios’ because we wanted to make it clear that it was a new era and we were doing things differently. We ran the studios in the old buildings until 2015, when we started building our facility here. We opened the new building and the hotel here in January 2015.

 

What were some of the things you did differently as far as managing the studio is concerned?

SV: I think one of the first things is that when you market yourself as a residential or destination studio, you need a good room, good equipment and a crew that is highly skilled, and next to that is the vibe. You need to have a good vibe, which is something that hadn’t been given much attention to before I took over. You need everything to be top level but you also want people to come in and feel good and feel at home – because people can stay for months. There’s a psychological aspect to the studio stay that we pay a lot of attention to.

We also realised that the studio world was changing. The sessions aren’t as fragmented as they used to be. At the beginning of the 2000s, bands would rehearse, record, mix and master. Now it’s become one hybrid, fluid process where the first rehearsals could be recorded and end up on the final thing. There isn’t that big a differential between a writing session and a recording session, a recording session or a mixing session. We work with that and have a creative writing room approach to the studio where you can quickly switch between composing and writing to recording. We really think about that workflow and how we can make it faster and more efficient.

Then, speaking about diversification, we constantly think about how we can do things and make it work in a constantly changing industry.

 

Tell us about the hotel you run alongside the studio. It caters to the public as well as artists, right?

SV: Yes. We are a real hotel! We always give priority to music, however, and fill the gaps with tourism. We have Belgium’s F1 race track nearby, and this is a beautiful nature region, so we have quite a lot of tourists but they usually book their stays with little advance, while the recording sessions are booked further ahead – so they work well together.

That’s the first thing that makes us different to other studios. We’re a real destination, and the hotel is an integral part of the studio. It helps to be able to land, stay here and think about nothing else other than the music you want to work on. We have catering, wellness with the sauna and swimming pool, it’s a beautiful place and the hotel adds to all of that.

 

What have been some of the highlights for you over the years?

SV: Artist-wise, we’ve had Sigala do some of his debut album here, and that went on to become a huge record. He’s a really great artist and producer, and it was a really great session. We did a session with a Belgian band called Novastar, who had all British session musicians including producer Mikey Rowe, who plays keyboards for Noel Gallagher’s High Flying Birds and has produced for Oasis; Skin Tyson, a guitarist who plays with Robert Plant; Andy Britton, who plays with Amy Macdonald; drummer Keith Prior who plays with David Gray,… That was a really great session musically, and the record was a success, but it was also another example of a session where we tried something different because the band wanted a live vibe to the album so we brought in a small audience of around 20 people during a couple of the session nights. We organised something special for the super fans of the band. They stayed over at the hotel and attended the recording sessions at night. We did that for three nights. It was great for the band to have people to play for.

We do quite a lot of film scoring. The biggest project so far has been The Other Side Of The Wind, a movie that’s on Netflix. It’s the last film that Orson Wells made in the 80s, but he died before the film went into post-production. We did an orchestral score for the film with Michel Legrand and more than 70 musicians for a movie, which is something we are quite proud of.

 

Was the hotel always part of the plan with the new hotel premises?

SV: The idea came about because productions got bigger and we didn’t have enough accommodation for whole crews. TV productions like The Voice or Got Talent, if they’re doing things like workshops that aren’t happening in the studio, then they’d come and film here and bring 30 people. That’s why we wanted to make more accommodation than we used to have in the old studio. We also have a lot of artists come over just to write, rather than record. The hotel is a solution for that because they don’t need to rent the studio. We have some rooms that can be used as writer’s rooms, allowing us to have a bigger capacity with artists writing while others are recording in the studio. The hotel fits with that hybrid way of working. When we started building here, writing camps really exploded. We do a lot of writers camps now and the hotel allows us to answer that demand. We can host 30 – 40 people and nobody needs to leave the premises. You can eat, sleep and work here.

 

And you have a creative agency as part of your business as well…

SV: Yes we have a 12 person crew here at Daft, with three people working on the creative agency. We try to build bridges between brands and artists. We have a unique approach in that market because we have different links with artists than a traditional marketing agency. We have a knowledge of music that is a real added value when it comes to finding an identity for a brand. 

We have an ongoing talent support programme with Pepsi Max in Belgium and a partnership with national radio. Pepsi supports young artists and they get airplay on the radio and studio time. Pepsi in return gets some of the video content shot at the studio and does interviews with the young talent. It’s a win-win: the artist gains from the visibility and it’s the right audience and authentic content for Pepsi.

Last year we launched the BMW i5 in the studio and composed and recorded a Dolby Atmos soundtrack and show around it. Every night BMW invited 100 people to come and experience the release of the car with the Dolby immersive show, which was another win-win because it was a creative, impressive way of showcasing the car.

We no longer see ourselves as solely a recording studio. We call ourselves Daft Music Studios now because it’s more like a creative hub. We’re always eager to meet creative people and get to work with them.

For more info on DAFT, click here

For enquiries, email bookings@miloco.co.uk

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Elektrobank – Leroy Street’s Underrated Gem? https://milocostudios.com/2024/03/elektrobank-leroy-streets-underrated-gem/ https://milocostudios.com/2024/03/elektrobank-leroy-streets-underrated-gem/#respond Mon, 11 Mar 2024 10:54:23 +0000 https://milocostudios.com/?p=18443 Miloco’s HQ is home to plenty of spaces that have made a big name for themselves in one way or another, whether it’s the luxury of The Bridge, the vastness of The Pool or the enviable spec of the Red Room. But there’s one space at Leroy Street that has developed a far more understated reputation, […]

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Miloco’s HQ is home to plenty of spaces that have made a big name for themselves in one way or another, whether it’s the luxury of The Bridge, the vastness of The Pool or the enviable spec of the Red Room. But there’s one space at Leroy Street that has developed a far more understated reputation, a quiet favourite for many big names over the years for almost intangible reasons, that often flies under the radar.

Previously known as The Toyshop, Elektrobank was home to The Chemical Brothers for an extended period during the 90s, during which they recorded their first record, Exit Planet Dust. In the years that followed, the space was consistently used as a private, long-term let by a number of sought after and successful producers including Steve Dub, Mike Spencer and Jewels & Stone.

In 2019, the room underwent an extensive refurbishment that saw the Miloco team with producer Richard X pack it with great gear including a state of the art Pro Tools HDX rig fully loaded with soft synths and plugins, Neve 1073 mic pres, distressors and monitoring from Genelec and Adam. 

The studio was then opened as a commercial space once more and was named after a track on the Chemical Brothers’ classic album Dig Your Own Hole, in recognition of the A-list duo that put it on the map. Elektrobank maintained its status as a go to space for those looking for a versatile and capable production and demo room that is ready to go at a moments notice. 

Then, in late 2022, it got a further refit to install a 7.1.4 Dolby Atmos rig using Neumann monitoring, alongside some small but effective acoustic changes which really elevated the space into an incredibly versatile room for all kinds of projects. 

We spoke to Miloco’s Operations Manager Pete Hofmann and, one of Elektrobank’s most regular clients, Grammy-winning engineer and mixer Sam Harper, about what makes the space so special. 

 

What is it about Elektrobank that makes it so popular?

Pete Hofmann: Elektrobank is one of those unexpectedly great rooms. Certainly back in the day it might have seemed like quite a small, pokey place, but it has a nice vibe. It’s been surprisingly well treated. When it was built in the 80s, they put quite a lot of work into getting the bass trapping right, in particular. I think that’s why a number of producers have fallen in love with it and rented it out for long periods of time on an exclusive basis.

Sam Harper: To be completely honest, the reason I started using Elektrobank was actually because it was often the last studio to be booked at Leroy Street. But the more I used it, the more I fell in love with it. About a year and a half ago, I was transitioning to more mixing work, and I just needed a space. I was used to working in large studios with big desks, but I grew to appreciate the coziness and intimacy of Elektrobank. It’s like having a small, personal space with just my computer and speakers. It became my personal sanctuary. I love the size, the sound, and the location. It has a small booth for reamping or tracking, and I like that it doesn’t have a large mixing desk.

 

Pete, what triggered that refurbishment?

PH: It needed refreshing after being privately let to producers for several years. In 2019, we relaunched it as a commercial studio, going all white with colored lighting, allowing users to customize the space. The refurbishment was done to make it more plug-and-play. Then, in late 2022 we did another refurbishment which consisted of an Atmos install and some changes to the acoustics of the room to complement that, which has had a really positive impact on the sound of the room overall.

SH: The sound feels direct, which I attribute to the size but also, as Pete says, when it was refurbished about two years ago, the acoustic treatment and decoration make it a lovely and peaceful place to work in.

 

Take us back through the history of the place and some of the artists that have worked at Elektrobank, because it’s got a history of big names…

PH: It used to be called the Toyshop, and it was where The Chemical Brothers transitioned from The Dust Brothers and recorded their debut album Exit Planet Dust. They later built their own studio upstairs. When they left, we named the upstairs studio the Toyshop and needed a new name for the original room. We found an old DAT tape with ‘Elektrobank’ on it, a single from the second Chemical Brothers album, and thought it was a fitting name. 

Steve Dub, who worked a lot with Chemical Brothers, was the first person to rent Elektrobank for an extended period; Mike Spencer also rented it for two to three years and worked on significant projects like Newton Faulkner, Alphabeat and Uncle Jam there. More recently we’ve had producers Jewels & Stone rent it for about a year, working on the Steps album What The Future Holds around 2020. They’ve also done remixes in there for Jess Glynn recently – but they’ve used the space for decades now. 

It seems to suit those who want something for a long time. It’s a professional spec but at an affordable rate. It’s a small, manageable space that you can just walk into with a laptop and get started. It’s all set up ready, and you can do everything in one go.

SH: There are some A-listers who want huge rooms with private lounges and massive speakers, but I think most artists nowadays use smaller rooms. Many up-and-coming artists start their careers making music in their bedrooms, and the transition to a huge studio doesn’t always yield the results they want. So they return to smaller rooms, which tend to be better for their creative process.

 

Tell us about some of the records you’ve worked on recently at Elektrobank…

SH: I mixed J Hus’ album, which went to number one and was nominated for multiple awards. I’ve also just finished some songs for WizKid and have been mixing for Tion Wayne. So, again, these are really big artists being mixed in a room that’s smaller than my bedroom. It works for huge artists and small artists. It doesn’t matter, the end result is the same.

There’s one artist that books it as much as me and that’s Skrillex. I think, like me, he just loves the sound. He books multiple rooms – he’ll have the Red Room as well as Elektrobank, for example. We often have to coordinate our bookings, which has become more challenging since he bought a house here. 

PH: He booked it for three months last year and loved it. I think because it looks really good for all the stuff he does on social media, and I think he likes being part of the community here as well.

 

Sounds like you two should work together, Sam…

SH: We’re trying to. At some point we’ll work together and it will be a nice little Elektrobank reunion.

 

For more info on Elektrobank, click here.

For enquiries email bookings@miloco.co.uk

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JBJ Studio: The story of London’s premier residential https://milocostudios.com/2023/11/jbj-studio-the-story-of-londons-premier-residential/ https://milocostudios.com/2023/11/jbj-studio-the-story-of-londons-premier-residential/#respond Wed, 29 Nov 2023 14:44:11 +0000 https://milocostudios.com/?p=18354 Having started life as a small operation in Uxbridge, JBJ Studio suddenly became one of the UK’s most sought after residential studios, when the team was given the chance to expand into a second property on Portobello Road in the heart of Notting Hill. From the slide linking the master bedroom and the live room, to […]

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Having started life as a small operation in Uxbridge, JBJ Studio suddenly became one of the UK’s most sought after residential studios, when the team was given the chance to expand into a second property on Portobello Road in the heart of Notting Hill. From the slide linking the master bedroom and the live room, to the Quested Q 412 monitors from Abbey Road studio 3, the five-storey house (formerly owned by X Files star Gillian Anderson) is as full of creative character as it is premier recording equipment.

As a result, JBJ’s Notting Hill facility has become a go to place for some of the biggest names in music including Stormzy, Skrillex, Fred Again, Liam Payne, Sigrid and Charli XCX; as well as being the preferred destination for many major record labels looking to host listening sessions in an inspiring, photogenic environment drenched in natural daylight.

We sat down with Head Engineer James Brown to find out more.

   

Can you give us a brief history of JBJ?

James Brown: JBJ began as a very small operation based out of my business partner’s garden in Uxbridge. It was very basic, not much high end gear. Initially, we catered to low key, local bands for modest fees. Our big break came when a local band we worked with, Bloxx, ended up doing quite well and got a major deal with Sony. I was their producer, and this success led to more significant projects. We were attracting quite big names but when they realised we were a small operation out in Uxbridge, we ended up losing quite a few projects. 

A client of mine had this unused, five-storey house on Portobello Road in Notting Hill. He was a musician, big into music, so he could see what was happening, the buzz and the growth in the business. He suggested we do it in the house, at which point I thought, ‘Oh shit. This is a game changer!’ Having access to five big floors of cool, aesthetically designed spaces was a real upgrade. 

There were no residential recording studios in London – they tend to be retreats out in the country. The idea being that you can have an idea at 4am and start recording. We ended up establishing this luxury residential recording facility in central London.

We’ve got unique creative features in every room – there’s a slide connecting the master bedroom to the live room, which is pretty fucking cool! You can be sitting in the bath on the fourth floor, listening to someone mixing your track in the basement.

 

What was the timeline for this transition?

James Brown: The shift to Notting Hill happened right in the middle of Covid. Peak lockdown. Interestingly, the pandemic conditions, like the requirement for quarantine, worked in our favor. People would come from abroad and quarantine at our studio. We were really busy.

 

Can you talk about some of your clients and the studio’s unique aspects?

James Brown: Our first client was Skrillex, who stayed with us for a month. He was only meant to stay with us for two weeks but kept extending. The album he made here has just come out actually, which is exciting.

Our first booking with Miloco was Stormzy, who stayed with us for three months. Then we’ve had Olivia Rodrigo, The 1975, James Arthur, and Calum Scott. Big, top tier clients.

 

The studio is known for some of the listening sessions it’s hosted, tell us about that…

We’re very close to the major labels in terms of location, and we’ve got the kinds of spaces that really suit those kinds of events: big spaces, loads of natural daylight. The building itself is really photogenic. There have been a lot of films shot here. The house used to be owned by Gillian Anderson – the actor from the X Files – she put all of this weird and wonderful stuff in here and we’ve kept a lot of it. Combine all that with top tier equipment and it’s really special.

 

How has the studio adapted to changing artist expectations?

JB: These days I could put a laptop in a room and call it a studio – and a lot of people do that. That’s great and means there are a lot of people making records. But in this day and age, there or there abouts is nowhere near. You have to go above and beyond. 

Now, a studio is more than just a place for recording; it’s about offering a complete creative and lifestyle experience. We cater to high-profile clients and, when we have an artist in, it’s just them in the building. They have the entire building during their stay. We’ve incorporated features like on-site catering and a basement with a nightclub vibe. 

A lot of the time, artists bring content people with them as well. They’re not just there to record, they’re filming, taking pictures, doing interviews… so, again, having such a photogenic place is a real plus.

We also have a lot of unique equipment with historical significance, like monitors from Abbey Road Studio 3 and Pink Floyd’s Studer A80 tape machine. Our focus is on creating an environment that’s not just about recording but also conducive to filming, interviews, and music videos.

 

What’s coming up for you?

JB: We’ve got Disney coming in to do some filming; John Summit, Dave, Ne-Yo… We do a fair few emerging artists too, as well as a lot of philanthropic projects – we’ve got a gospel choir coming in to do something for a Grenfell charity soon.

 

For more info on JBJ, click here

For enquiries, email bookings@miloco.co.uk

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Black Bay: from Nottingham to the Outer Hebrides https://milocostudios.com/2023/10/black-bay-studio-interview/ https://milocostudios.com/2023/10/black-bay-studio-interview/#respond Tue, 03 Oct 2023 15:52:45 +0000 https://milocostudios.com/?p=18299 Billed as a residential recording studio ‘on the edge of the world’, The Outer Hebrides’ Black Bay Studio stands as an unexpected sanctuary for musicians looking for a great live sound completely detached from the trials and pressures of everyday life.  Established in 2016 within a former crab factory, the unique facility redefines the concept […]

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Billed as a residential recording studio ‘on the edge of the world’, The Outer Hebrides’ Black Bay Studio stands as an unexpected sanctuary for musicians looking for a great live sound completely detached from the trials and pressures of everyday life. 

Established in 2016 within a former crab factory, the unique facility redefines the concept of creative seclusion. With three purpose-built acoustic rooms, a comprehensive array of equipment, and accommodation for up to nine occupants, the studio offers a blend of artistic freedom and serene isolation.

And, despite the popular cliches, Black Bay is more accessible than you might think – with daily flights to the island’s main town Stornoway from Manchester, Glasgow, Edinburgh and Inverness, and several ferry sailings each day from both Ullapool and the Isle of Skye. The studio also has moorings for arrival by sea and a helipad! 

We sat down with Pete Fletcher, the mastermind behind Black Bay Studio, to uncover the journey that led him from Nottingham to the shores of the Isle of Lewis.

 

I suppose the obvious starting point is: A studio in the Outer Hebrides? How did that come about?

Pete Fletcher: I had a studio before this in Nottingham, and it was always a lifelong dream to have a studio by the sea somewhere – a residential. Then the opportunity to move to the Hebrides came up through my wife’s work, and I looked at some properties up there and realised we could make it happen. We weren’t planning on going to the Hebrides exactly. But that’s what’s ended up happening!

 

And that was 2016, right?

PF: Yeah, we moved nine years ago. It took a couple of years to find the property and then to renovate the building.

 

Give us a sense of your surroundings up there…

PF: We’re on the Isle Of Lewis, which is the northern part of Lewis And Harris, the largest island of the Outer Hebrides, just off the West Coast of Scotland. To get here, you go up to Ullapool in Scotland and then it’s a two and a half hours on a ferry to Stornoway, which is quite a big town for the Hebrides – it’s the only town! There’s a supermarket, a hospital and all the things you might expect from any small town, but then the rest of the island is very sparsely populated with huge areas of moorland, stunning beaches, mountains and miles of coastline – there’s incredible wildlife like white tailed eagles, otters and whales, as well as great surfing, swimming, fishing, climbing and, of course, the ancient and rich history/heritage of the island and its communities. It’s a big island. It’s two or three hours to drive across, with distinct regions. 

 

What kind of clients do you get coming to the studio? What kind of things are they looking for that they find at Black Bay?

PF: I guess it’s a bit of an adventure. It’s something different, something that folk can write a story about. It’s great for videos and photos… All the things that go alongside just making a record at the moment. 

For me, an album recording is an artistic experience, so it’s good to be able to properly indulge in that process. I think it’s quite an artist-focused way of working – to really separate yourself off from management, the label, the industry, and just be like, ‘This is my record, and I’m going to go and make it somewhere weird. Just really lose myself in that process.’ For our album clients, it’s about that. For producers, I think it’s nice for them to have a holiday, basically. Somewhere that they’ve not been before, or just something that’s completely different from their day-to-day. It’s an interesting place to come to. A lot of people come for the adventure at first, but then they find a really great studio. They come back for that.


Tell us more about that. What does your studio offer aside from the location?

PF: We’ve got a really big space, particularly for the budget level that we’re at. You get a lot more space, and a lot of equipment, for your money. Our live room, our main one, is a really, really big space with high-vaulted ceilings and fantastic drum sounds. You can work quickly and get a lot done because you can put up some mics, and things sound really good. You don’t have to work very hard to get great sounds. 

We have a lot of equipment ready to go as well. We have all our pedals and keys set up all the time. It’s just a very creative space that sounds really good no matter what you do.

 

What have been some of the highlights for you since you’ve set up?

PF: I did a record with a band called Silver Moth, which is Stuart Braithwaite from Mogwai and others. They hadn’t worked together before, it was like a collaboration project. They came in not knowing what was going to come out of that and ended up with a really good album.

 

Thinking about the studio sector more broadly, what are the main challenges that you are facing at the moment?

PF: A big one at the minute, although not very exciting, is just energy prices. They’re up threefold on what they used to be. We pay more in electricity than I pay myself! That’s an extra cost we hadn’t really imagined a few years ago. But I think, generally, things seem pretty positive at the moment. We’re getting busier and busier.

We’re always trying to do very high quality work for people who maybe haven’t got the budget that they used to have to work residentially. We try to give people that experience of a really top live studio, but without having to pay through the nose for it. It seems to be working for us.

We don’t get any walk-through trade, obviously. For us, that’s a big challenge, as it means we don’t have any of those little jobs that fill up the calendar between the bigger bookings. We’re just about the bigger bookings, so we’ve got to work quite hard to keep them coming in.

 

How do you see things progressing more generally for your part of the industry over the next five to ten years or something?

PF: I guess, in terms of styles of music, I think the bedroom style of production is taking hold even more. It seems to be that there are maybe fewer bands, fewer venues… That definitely means a potential risk for a studio that’s really geared around people playing live together. But, at the same time, I think what we’re trying to create is that experience for the artist. If you’re not coming here with a full band, we have lots of solo artists coming out as well, and we do the whole production for them with session musicians or between myself and my assistant. We have a surprising amount of solo artists coming who just want something a bit more authentic than what they’re doing at home or what they’re doing in the local studio with click tracks and so on. But I do think that general trend in music could have an impact.

 

Do you see AI as an extension of that progression? 

PF: A lot of those tools are super useful for us as well, but I think it’s about the connection with the humans making a record, making those decisions about the sound, the inspirations and all the ideas coming together. Those are the important things. That’s really what studios offer – an environment for people to interact with each other and some great equipment to help put those ideas into action. Perhaps that equipment is just the latest drum machine or whatever AI offerings there are at the moment, but it’s the interactions between the people and the inspiration to create.


What’s coming up for the studio that’s particularly interesting?

PF: We’ve got a lots of album projects in for the rest of the year, including Tor Maries’ (Billy Nomates) new project which we’re very excited about. We’ve got quite a big sample pack company, that I can’t announce at the minute, coming to sample all of our drum kits and rooms to create some new packages for that. That’s the flip side of what I was saying earlier, I guess: we’re actually getting some work off the back of the bedroom guys – we’re looking at and developing our own sample packages.

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Dan Jenkinson talks Atmos, AI and what’s next for Forever Audio https://milocostudios.com/2023/08/dan-jenkinson-forever-audio/ https://milocostudios.com/2023/08/dan-jenkinson-forever-audio/#respond Tue, 01 Aug 2023 10:13:26 +0000 https://milocostudios.com/?p=18246 Award-winning audio post production house, SNK Studios and specialist audio agency, Red Apple Creative have rebranded to Forever Audio. This consolidation unifies their unique range of audio post-production and creative services – including voice casting, recording, creative sound design, audio branding, mixing and music production. With an impressive track record in global ad campaigns, long-form […]

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Award-winning audio post production house, SNK Studios and specialist audio agency, Red Apple Creative have rebranded to Forever Audio.

This consolidation unifies their unique range of audio post-production and creative services – including voice casting, recording, creative sound design, audio branding, mixing and music production. With an impressive track record in global ad campaigns, long-form content and handling sensitive film and TV content, Forever Audio solidifies their position as industry leaders, delivering exceptional audio solutions for clients worldwide.

Studio Manager and Senior Producer, Dan Jenkinson has been with the company for nine years. He began his career as a sound engineer before moving into project coordination and studio management.

Here, he talks about the breadth of work that Forever Audio is involved in, exciting projects on the horizon, the growing influence of Dolby Atmos, and how AI is impacting his sector… 

 

Could you outline some of the specialties that Forever Audio brings to the market and your own role within the company?

DJ: Personally, I have a background as a sound engineer, having worked on voiceover projects, corporate promos, and audiobooks.

In terms of the companies themselves, SNK Studios specialised in audio for commercial, sonic branding and ADR (dialogue replacement in movies and TV shows) – as well as lots of Dolby Atmos and 5:1 mixes. Meanwhile, Red Apple Creative focused on writing and producing creative advertising campaigns across all digital audio and broadcast platforms, podcasts, long-form audio adaptations, interactive digital experiences on audio platforms such as Spotify and specialist audio media planning and buying. Being able to bring all of that together in one place as Forever Audio is quite powerful and unique in the industry. 

We’ve also started moving into Dolby Atmos across other formats such as adverts and audiobooks. We’ve been working with some very well-known audiobook brands on some very famous titles. 

 

How has the industry changed over the years, and how has your work evolved to meet new demands?

DJ: Over the years, I’ve witnessed a lot of changes within the business. As far as our company is concerned, we’ve expanded our staff, facilities, and areas of expertise. We’ve moved into what you might call future-proof forms of home entertainment: more one-to-one audio, video streaming services, audio drama and podcasts.

In terms of the wider industry, we’re grappling with the growing use of AI, which presents ethical considerations that are causing a healthy debate. We’re still exploring that and what it means. I don’t think anyone has grasped the full scale of what it could turn into. Certainly, from our perspective, we have a few AI tools that improve our efficiency and time scales. It’ll be interesting to see how that evolves. 

 

Which parts of your work do you think AI won’t be able to disrupt?

DJ: It’s worth mentioning that we’re one of, if not the only, recording house that has a creative team within the same building. I feel that there isn’t really any way of replacing human creativity and understanding. There’s a difference between improving efficiency and completely automating things. Understanding how sound impacts people isn’t binary – being in touch with that is a very human thing that is difficult to replace. Sound professionals bring a unique perspective and emotional understanding to projects, which AI cannot replicate.

 

How do you see the influence of Dolby Atmos expanding in various creative industries, and what do you think its future holds?

DJ: Dolby is a well-established brand – a household name – and Dolby Atmos has become more accessible across different platforms and devices, from TVs to cars… I can even get a version on my phone now. 

We installed Dolby Atmos capabilities in our own facility a few years ago, anticipating the growing demand. As the technology becomes more prevalent, we expect Dolby Atmos to continue growing and becoming a standard across various creative industries. It will likely become a part of everyday audio experiences.

 

What’s coming up for Forever Audio?

DJ: We’re excited about our involvement in Dolby Atmos and have been involved in some huge titles with our friends at Audible. The roll out as a platform for audio dramas is still in its relative infancy and we anticipate significant growth in that area. Additionally, we’ve been working on a new cartoon series for a major network, which features A-list celebrity comedic talents. We’re also continuing to build on our long term partnerships – scripting, casting and producing projects for global brands such as Starbucks, Sprite, and Chevrolet.

 

For more info on Forever Audio, visit their studio profile, here.

For enquiries email bookings@miloco.co.uk

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A day of free workshops to empower women in music https://milocostudios.com/2023/07/a-day-of-free-workshops-to-empower-women-in-music/ https://milocostudios.com/2023/07/a-day-of-free-workshops-to-empower-women-in-music/#respond Thu, 06 Jul 2023 14:38:45 +0000 https://milocostudios.com/?p=18224 Music Production for Women (MPW) have announced a full day of music masterclasses in London for female and non-gender confirming musicians on the 8th of July. The event, titled “Master Your Music – Live”, will be held at the University of Westminister. It will feature sessions with the likes of MPG award-winning vocal producer, Ramera […]

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Music Production for Women (MPW) have announced a full day of music masterclasses in London for female and non-gender confirming musicians on the 8th of July.

The event, titled “Master Your Music – Live”, will be held at the University of Westminister. It will feature sessions with the likes of MPG award-winning vocal producer, Ramera Abraham, Ableton Certified trainer and Youtuber, LNA, MPW’s award winning founder and CEO, Xylo Aria and more teachers to be announced. 

To ensure accessibility, the event, backed by Sonnox, Distrokid, Neumann, Kilohearts and the University of Westminster, will be free for anyone to attend until tickets are exhausted.

This year’s event was organised due to popular demand after the same event last year attracted almost 200 artists to it. 

After attending the event last year, event attendee Alieksandra Kritskaia said, “Amazing knowledge sharing! I obtained more knowledge during these hours of (the) “Master Your Music” event, than during the last few months!”. 

The day will run from 9:30am to 4:30pm and will feature 6 in-person workshops on a variety of topics that many independent artists today need to know such as the basics of music production, sound-design and mixing, as well as music marketing, PR and songwriting workflow. This will be followed by a networking session where attendees will have the opportunity to connect with 10 fellow musicians over an hour.

“When you’re new to the music production space, it can often feel overwhelming to know where to start and how to start building a network”, says Xylo. “We designed this day to be that perfect first step where artists, particularly women, can get a taste of music production, while making new friends in a safe and encouraging space”, she adds.

One lucky attendee will also take away the event’s grand prize which includes, Neumann NDH 20 Studio Headphones, a Focusrite 2i2 Interface, SE X1S Mic Bundle, Kilohearts Ultimate Bundle and 10 Hours of Studio time with Pirate Studios with a total value of over $2,000 USD. 

MPW, an organisation began three and a half years ago and has since been included on the Top 50 Innovators of East London list in 2020, named a finalist in Australia’s Business xCellence Awards and earned Xylo a place on the She Said So Alt Power List. It has run workshops and courses to over 7,000 musicians from over 120 countries and continues to grow steadily.

The organisation was created with the aim of empowering women in music technology and prides itself on not only providing practical and actionable educational content, but also on harbouring a safe and encouraging space to learn in.

Free tickets for the event will be available here until the venue capacity has been reached: http://musicproductionforwomen.com/master-your-music

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An open session with Jeremy Schultz https://milocostudios.com/2023/05/an-open-session-with-jeremy-schultz/ https://milocostudios.com/2023/05/an-open-session-with-jeremy-schultz/#respond Wed, 17 May 2023 14:43:22 +0000 https://milocostudios.com/?p=18090 To mark Mental Health Awareness Week, we’re pleased to announce an open session with Miloco’s resident counsellor, Jeremy Schultz, on the 4th July. Engineers and assistants are subjected to constant pressures; whether it’s a lack of sleep, the expectation to always be one step ahead, or often being at the end of an artist or […]

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To mark Mental Health Awareness Week, we’re pleased to announce an open session with Miloco’s resident counsellor, Jeremy Schultz, on the 4th July. Engineers and assistants are subjected to constant pressures; whether it’s a lack of sleep, the expectation to always be one step ahead, or often being at the end of an artist or producer’s frustrations, so it’s important that we recognise these and identify strategies which can help us manage those stresses.

As a specialist consultant in mental health to the creative industries, Jeremy works with Miloco’s staff on a regular basis to do just that, and we’d like to extend the invite to you all, with a safe circle session that will allow you to talk openly and share your experiences of the industry, so that we can all be aware of and learn from them, either as an employer or an employee.

“As someone who’s had their fair share of trauma and difficult experiences I welcome the chance to host a session at Miloco with our resident counsellor Jeremy Schultz” – Pete Hofmann

A safe circle is a carefully moderated environment to talk openly and share experiences so we can all be aware of them, whether as an employer or employee.

Jeremy has experience as a musician, songwriter and music producer and is a specialist consultant in mental health to the creative industries.

“Counselling provides a confidential, safe place in which to explore difficult feelings and experiences. It aims to help artists make sense of whatever is preventing them from living life to their full potential.”  – Jeremy Schultz

If you would like to take part, please email events@miloco.co.uk. Places will be limited, and a questionnaire will be sent out for completion prior to the event. Refreshments will be provided, and the event will last approximately 2 hours. We hope to run one session in the morning and another in the afternoon, so please let us know if a morning or afternoon session is preferred.

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Five new London studios join the roster https://milocostudios.com/2023/03/five-new-london-studios-join-the-roster/ https://milocostudios.com/2023/03/five-new-london-studios-join-the-roster/#respond Tue, 14 Mar 2023 15:11:11 +0000 https://milocostudios.com/?p=17986 Five new London studios have joined the roster since the start of the year, taking our total to 169 worldwide! London’s premier residential recording studio, JBJ; Ten87’s flagship recording and production room, The Club; the world-class commercial studios at The Qube’s creative hub; Tileyard London’s flagship studio TYE London; and The Shelter – a former […]

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Five new London studios have joined the roster since the start of the year, taking our total to 169 worldwide!

London’s premier residential recording studio, JBJ; Ten87’s flagship recording and production room, The Club; the world-class commercial studios at The Qube’s creative hub; Tileyard London’s flagship studio TYE London; and The Shelter – a former bomb shelter turned tranquil mixing and writing studio in West London, are now represented by Miloco, with bookings already underway.

“We are delighted to welcome these new studios to the Miloco family! We’re always on the lookout for quality studios that can bring something new and unique to the roster and these studios do exactly that. We’re very excited to start representing them and can’t wait for our clients to start using them.” Sam Rudy, Studio Manager – Miloco Studios 

More info below:

 

JBJ

Based on the iconic Portobello Road in Notting Hill, JBJ has firmly established itself as one of the most unique recording studios in the world, and regularly attracts the industry’s biggest names. Recent clients include Skrillex, Olivia Rodrigo, Stormzy, Burna Boy, Sigrid and Liam Payne. It is the first London-based residential studio on Miloco’s roster, and has been built by leading acoustician Nick Whittaker. The combination of the recently installed Quested Q412s (ex Abbey Road), ATC SCM25a’s, NS10s and perfectly calibrated Trinnov ST2 Pro system makes the control room one of the most accurate monitoring spaces in the country.

Read more: milocostudios.com/studios/jbj-studio/

 

The Qube

Built for the future of production, recording and mixing, The Qube’s studios feature state-of-the-art equipment, next-gen mood lighting, and exceptional acoustics thanks to their Munro Acoustics design. Studio A is a spacious room suitable for a wide range of recording projects, whilst Studio B is an excellent production/writing/programming space.

Outside of the commercial studio space, The Qube is a first of its kind venue and community for creative professionals to connect and collaborate.

Read more: milocostudios.com/studios/the-qube/

 

The Club 

The Club sits at the centre of Ten87’s flagship site on Markfield Road in Tottenham. It is the largest of three studio complexes, comprising a total of 50 long-term let studio rooms with a community of 150 of some of the UK’s most well-known artists, producers and engineers. With 1,000ft2 of recording space, lofty ceilings, precise acoustic design from Nick Whittaker, cutting edge modern interiors and a studio spec to match, The Club is one of London’s most exciting new studio projects. It is an ideal setup for full band tracking, and is large enough to comfortably seat a 10-piece ensemble. The space can also be scaled back to cater to intimate writing and production sessions; the beautifully designed live room suits filming and live streaming projects perfectly, and its impressive control room offers a perfect backdrop for interviews and BTS studio sessions.

Read More: milocostudios.com/studios/the-club/

 

The Shelter

Built on top of a WW2 bomb shelter (which now houses the machine room and mic collection), The Shelter is a tranquil writing and recording space in North London, offering a superb mix environment thanks to its ATC monitoring and a wealth of outboard. Designed by Kahle Acoustics in collaboration with A-Zero architects, the studio is bathed in natural light. Its live room is comfortably big enough to house drum kit, and includes an excellent upright piano alongside an extensive collection of synths, guitars and other instruments. Since its completion just over a year ago, the studio has already welcomed a wealth of artists and projects including Jon Hopkins, Palace, Brian Eno, Katie Melua, Maya Youssef, Anna Meredith, Nick Mulvey, David Rowntree (Blur) and Hayden Thorpe.

Read more: milocostudios.com/studios/the-shelter/

 

TYE London

Situated in industry-hotspot, Kings Cross, TYE London is a first-rate writing, recording and production studio, providing state of the art facilities and a relaxed atmosphere. Founded by Tileyard resident and collaborator, Sean Hargreaves, the studio was designed by Chris Walls (Abbey Road, British Grove). The studio is completely self-contained, with a dedicated reception area and green room/lounge. The green room features its own workstation, as does the studio’s 5.5m² iso booth, providing a total of 3 separate spaces in which to work on projects simultaneously. Outside the studio, clients can benefit from the range of amenities offered by Tileyard London, from cafes and food stalls to event space and even a wellness centre.

Read More:
milocostudios.com/studios/tye-london/

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