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Old 4th May 2009
 
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Quote:
Originally Posted by carlheinz ➡️
I heard Command Studios England in 1972 was inside of a theater.Would anyone know the gear that was in there?My guess it was a Studer 16trk 2 inch meets something along the lines of a nice big buttery Neve....or Trident A range or Helios..?.Does anyone have info?

...Thanks a bunch.
Dear Carl,
This article is three time longer so I edited out all of the finance infomation, if you want the complete article I can mail it to you

Best Regards,

Tony.
Tony Arnold (Director)
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Command Studios RIP Part-1

by
John Dwyer
After four years of troubled business, Command Studios finally ceased operations late in 1974. The background to both the setting up and the subsequent activity is not easy to trace and describe clearly, but may prove a cautionary tale.
COMMAND WAS TO have been one of the largest studio complexes in central London. When the company was formed, money was easy to come by, especially for projects in the booming entertainment business, and it is difficult to avoid the conclusion that much of the sorry tale was the result of baffling financial incontinence.
The story ended with 1974 when its equip­ment was sold piecemeal last December.
By the end of the sixties Jacques Levy was no longer associated with Levy studios in Bond Street, which had been bought by CBS, and he wanted to start another studio. Denis Comper had outgrown his studio in Putney and felt he wanted to be involved in something bigger. He and Levy got together and decided to embark on a joint project more ambitious than either could manage separately, and for which Comper said he would try to find a quarter of a million.
John Mosely was brought in at this stage, partly because of his reputation as an engineer. One man I spoke to recalled his first meeting with Mosely, who had come in with a classical recording he had produced: `I was introduced to this bloke who was dressed like a stockbroker -pin-striped suit, the bowler hat and all that business. He had with him a transfer that had been made from a 71 and it was brilliant, it really was. It sounded a lot better than a lot of recordings I'd heard at 15.' But in any case Mosely had a number of rich friends, one of whom was Michael Gampell, a solicitor in the firm of Ashurst, Morris and Crisp and Partners and a renowned tax expert.
other interests were recounted in Diary in the July 1973 issue of Studio Sound.
I have edited the Diary page as most information is the RIP Story
AT THE TIME of writing, Command have almost completed the sale of their studios to as yet unknown buyers. I understand that the price was around £145,000. Whatever it was, it was well above what bidder Monty Babson (who came second) said he thought reasonable considering that the lease had'only another three and a half years to run: it expires on Christmas Day, 1976.
Command's story goes back to 1970. They had just formed and were looking for premises when the BBC decided to close all their outside studios for economic reasons, a process which continues. So Piccadilly One went up for grabs and Command grabbed.
Jacques Levy resigned from Command in February 1971. Around then Command put in quadraphonic equipment: four pan pots on each of the three control desks as well as extra speakers in the control rooms. Each control room was then equipped with a 24J24 Auto­mated Processes desk, an 8/16 track Scully tape machine convertible to 24 tracks, and two Scullys to provide one to four track facilities.
In July 1971, Command secured an overdraft of £10,000 from Barclays Bank, again by mortgaging their assets. This brought their capital to £260,000.
In November, Command opened their Rock Box in the old Studio Three. The idea was that each instrument of a rock group would have virtually infinite separation, yet the musicians could play together in the middle of the studio floor. John Mosely had seen the idea in the United States and had persuaded the other directors that it would be a good idea to con­vert their rehearsal studio. After using the Rock Box, rock musician John Jones described it to STUDIO SOUND as a `great step forward'.
. Those first 18 months, when they were setting up, were almost bound to cause a loss. But business was not as good in the second year as it should have been: because of technical problems such as control room peculiarities and frequent equipment breakdowns according to some sources; a wrong attitude to the recording business on the part of the management according to others.
Command RIP to be Continued