A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
The saxophone is a family of woodwind instruments. Saxophones are made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Although most saxophones are made from brass, they are categorized as woodwind instruments, because sound is produced by an oscillating reed, traditionally made out of woody cane, rather than lips vibrating in a mouthpiece cup as with the brass instrument family; as with the other woodwinds, the pitch of the note being played is controlled by covering holes in the body tube to control the resonant frequency of the air column by changing the effective length of the tube. The saxophone is used in classical music, military bands, marching bands and contemporary music; the saxophone is used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists. Since the first saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s, saxophones have been produced in a variety of series distinguished by transpositions within instrument sets and tuning standard.
Sax patented the saxophone on June 1846, in two groups of seven instruments each. Each series consisted in alternating transposition; the series pitched in B♭ and E♭ soon became dominant and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch saxophones tuned sharper than the A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F never gained acceptance; the modern saxophone family consists of instruments in the B♭ - E♭ series and experimental instruments notwithstanding. The saxophones with widest use and availability are the sopranos, altos and baritones.
In the keyed ranges of the various saxophones, the pitch is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, thereby frequency, of the air column within the body tube. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the fundamental frequency, leaving the first harmonic as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B♭ with all keys closed; the highest keyed note has traditionally been F two and a half octaves above low B♭, while the keyed range is extended to F♯ on most recent performance-class instruments. A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four octaves on alto. Music for most saxophones is notated using treble clef; because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature; this process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, euphonium, string bass, trombone, or tuba. This can be useful if a orchestra lacks one of those instruments; the straight soprano and sopranino saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. The interior of the tube is called the bore. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bell upward and a curve in the throat of the bell directing it forward.
The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and sopranino saxes are sometimes made in the curved style. The baritone and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece; the left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument; the left thumb operates the octave key. With soprano and smaller saxophones weight tends to be borne by the right thumb while a neckstrap provides security for the instrument. Keys consist of the cups, and
Backing vocalists or backup singers are singers who provide vocal harmony with the lead vocalist or other backing vocalists. In some cases, a backing vocalist may sing alone as a lead-in to the main vocalist's entry or to sing a counter-melody. Backing vocalists are used in a broad range of popular music, traditional music and world music styles. Solo artists may employ professional backing vocalists in studio recording sessions as well as during concerts. In many rock and metal bands, the musicians doing backing vocals play instruments, such as guitar, electric bass, drums, or keyboards. In Latin or Afro-Cuban groups, backing singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, the backing singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones; the style of singing used by backing singers varies according to the type of song and the genre of music the band plays.
In pop and country songs, backing vocalists may perform vocal harmony parts to support the lead vocalist. In hardcore punk or rockabilly, other band members who play instruments may sing or shout backing vocals during the chorus section of the songs. Alternative terms for backing vocalists include backing singers, backing vocals, additional vocals or in the United States and Canada, backup singers or sometimes background singers or harmony vocalists. While some bands use performers whose sole on-stage role is performing backing vocals, it is common for backing singers to have other roles. Two notable examples of band members who sang back-up are The Beatles; the Beach Boys were well known for their close vocal harmonies with all five members singing at once such as "In My Room" and "Surfer Girl". All five members would sing lead, although most Brian Wilson or Mike Love would sing lead with guitarists Carl Wilson and Al Jardine and drummer Dennis Wilson singing background harmonies; the Beatles were known for their close style of vocal harmonies – all Beatles members sang both lead and backing vocals at some point John Lennon and Paul McCartney, who supported each other with harmonies with fellow Beatle George Harrison joining in.
Ringo Starr, while not as prominent in the role of backing singer as his three bandmates due to his distinctive voice, can be heard singing backing vocals in such tracks as "The Continuing Story of Bungalow Bill" and "Carry That Weight". Examples of three-part harmonies by Lennon, McCartney and Harrison include "Nowhere Man", "Because", "Day Tripper", "This Boy"; the members of Crosby, Nash & Young and Bee Gees all each wrote songs and sang back-up or lead vocals and played various instruments on their albums and various collaborations with each other. Former guitarist John Frusciante and current guitarist Josh Klinghoffer of the Red Hot Chili Peppers sing nearly all backing vocals singing some parts without accompaniment from lead vocalist Anthony Kiedis; the band's bassist Flea filled in for additional vocals. Frusciante sang one song by himself during concerts. Another example is "No Frontiers" by The Corrs, sung by Sharon and Caroline. Other backing vocalists include rhythm guitarist Sebastien Lefebvre & bass guitarist David Desrosiers of pop punk band Simple Plan, guitarist John Petrucci of Dream Theater, lead guitarist Kirk Hammett & bass guitarist Robert Trujillo of Metallica, guitarists Zacky Vengeance & Synyster Gates and of heavy metal band Avenged Sevenfold.
In the recording studio, some lead singers record their own backing vocals by overdubbing with a multitrack recording system. A multitrack recording system enables the record producer to add many layers of recordings over top of each other. Using a multitrack system, a lead vocalist can record his or her own backing vocals, record the lead vocal part over top; some lead vocalists prefer this approach because the sound of their own harmonies will blend well with their main vocal. One famous example is Freddie Mercury of Queen singing the first part of "Bohemian Rhapsody" himself by overdubbing. Patrick Stump of Fall Out Boy, Tom DeLonge of Angels and Airwaves, Wednesday 13 in his own band and Murderdolls, Ian Gillan of Deep Purple, Simon Le Bon of Duran Duran and Brad Delp of Boston recorded lead and backing vocals for their albums. With the exception of a few songs on each album, Dan Fogelberg, Eddie Rabbitt, David Bowie and Richard Marx sing all of the background vocals for their songs. Robert Smith of the Cure not only sings his own backing vocals in the studio, but doesn't perform with backing vocalists when playing live.
Many metalcore and some post-hardcore bands, such as As I Lay Dying, Haste the Day and Silverstein feature a main vocalist who performs using harsh vocals, whilst the backing vocalist sings harmonies during choruses to create a contrast. Some bands, such as Hawthorne Heights and Finch have the backing singers do harsh vocals to highlight specific lyrics. Pop and R&B vocalists such as Diana Ross, Ariana Grande, Mariah Carey, Michael Jackson, Janet Jackson, Beyoncé Knowles, Faith Evans, D'Angelo, Mary J. Blige and Amerie have become known for not only recording their own backing vocals, but for arranging their own multi-tracked vocals and developing complex harmonies and arrangements; when they perform live, they may have backing vocalists. Some bands use backing vocals in order to contrast with the lead singer who may be performing an unusual vocal technique. For example, Brian "Head" Welch, the lead guitarist of the band Korn, performed backin
Pete Zorn was an American multi-instrumentalist, a longstanding member of Richard Thompson's backing band. He was a member of Steeleye Span, The Albion Band, Driver 67; as a member of Thompson's backing group, Zorn played acoustic guitar, saxophone and tin whistle and acted as a backing vocalist. He was a bass guitarist. Zorn performed on Thompson's albums Hand of Kindness, Sweet Talker, Dream Attic, he was one of two credited bass guitarists on the 1982 Richard & Linda Thompson album Shoot Out the Lights. Although he toured with Thompson, Zorn had played with many other singers and groups including Arizona Smoke Revue, formed by older brother Bill Zorn, Show of Hands, the Phil Beer Band, Elaine Paige, Thomas Anders, Gerry Rafferty, Barbara Dickson, Chris Rainbow, his band WAZ, which features Steve Tilston, he appeared in the UK top 10 in 1979 as part of Driver 67 with his brother-in-law Paul Phillips on the single "Car 67". He and Phillips met when Zorn came to London with Fishbaugh and Zorn, a three-piece folk rock band signed to CBS Records in London.
Because of his talent on so many instruments and his vocal range, Zorn became a staple of many sessions produced by Phillips in the early and mid-seventies. After the hit with Car 67, they made. Bill and Conrad Zorn played. In 1988 Zorn played the saxophone to the theme song of the British children's television series TUGS with the series' composers Mike O'Donnell and Junior Campbell composing the music. In 2009 Zorn joined Steeleye Span on the spring section of the band's 40th anniversary tour, replacing Rick Kemp, absent for health reasons, he replaced Kemp on the American and Australian legs of the tour. Kemp returned for the winter leg of the tour, but Zorn stayed with the band as a guitarist and multi-instrumentalist due to various strains on the band, he played on the albums Now We Are Six Again and Wintersmith and appeared on all Steeleye tours until spring 2015, when he left the band. Zorn died on April 2016, following a battle with cancer, his death was announced by Zorn's family, by Thompson, on their respective Facebook pages.
Shoot Out the Lights Hand of Kindness Sweet Talker Two Letter Words Semi-Detached Mock Tudor Dream Attic Live at the BBC Live at Rockpalast Snakes and Ladders North and South Over My Head An Evening With The Albion Band Now We Are Six Again Wintersmith Facebook post by Zorn's family, announcing his death
The bass flute is the tenor member of the flute family. It is in the key of C, pitched one octave below the concert flute; because of the length of its tube, it is made with a J-shaped head joint, which brings the embouchure hole within reach of the player. It is only used in flute choirs, as it is drowned out by other instruments of comparable register, such as the clarinet. Prior to the mid-20th century, the term "bass flute" was sometimes used in Great Britain, to refer to the alto flute instead. In 1910 Abelardo Albisi invented a bass flute known as the albisiphone, used in scores by Mascagni and Zandonai among other composers during the first half of the 20th century; the instrument's sounding range is from C3, one octave below middle C, to C6, two octaves above middle C. Bass flute music sounds an octave lower than it is written, the typical concert flute range. Notes written above A6 are not used as they are difficult to produce and have inferior tone; because manufacturers do not taper the flute body through the curve, intonation of all notes beginning with written D6 and higher tend to be sharp.
The player can use alternative fingerings. Bass flutes have a C foot rather than the B foot common to other flutes; the shorter tube reduces acoustic resistance, which quickens the response and makes the tone brighter and more resonant. The shorter tube makes the instrument somewhat lighter and less fatiguing for the player to hold. Bass flutes are most made with silver-plated bodies and head joints. Most basses come with trill keys which allow the player to stabilize some otherwise unstable middle register notes as well as trill between otherwise impossible notes. Kotato basses have addressed the weight problem of bass flutes by designing a graphite rod that screws onto the underside of the instrument and rests on the chair seat between the player's legs. Adjustable rods have been developed by Jeff Amos. Other manufacturers have added a left hand thumb support called a crutch, which helps some players with physical control of the instrument. Dutch flute maker Eva Kingma has created a vertical design for the bass flute which allows the weight of the instrument to be supported by the floor.
Many composers are beginning to write more pieces for the bass flute. These include Katherine Hoover's Two for Two, Bill Douglas's Karuna, Sophie Lacaze's Archelogos II, Mike Mower's Obstinato and Scareso, Gary Schocker's A Small Sonata for a Large Flute, Lorenzo Ferrero's Ellipse and Shadow Lines, Sonny Burnett's Stone Suite, Catherine McMichael's Baikal Journey and Ennio Morricone's Secrets of the Sahara. Other important works include Tristan Murail's Ethers for solo bass flute and small ensemble, Brian Ferneyhough's Mnemosyne for bass flute and tape, Mario Lavista's Lamento a la muerte de Raúl Lavista for solo bass flute, Michael Oliva's Moss Garden for bass flute and tape, John Palmer's Inwards for bass flute and live-electronics, She Cried by Shiva Feshareki, Marc Tweedie's Zoli, written for renowned flautist Carla Rees. Studies and concert etudes are beginning to appear that address the instrument's many challenges. Peter Sheridan has commissioned and arranged new compositions in this area, including a set of'Etudes for Low Flutes' by Hilary Taggart.
The sixth movement of Claude Bolling's suite for Flute and Jazz Trio,'Versatile' has the soloist playing the opening melody on a bass flute. Morton Feldman's composition "Crippled Symmetry" has a part for the bass flute, as does John Cage's late work "Seven2". Hans Pfitzner's 1917 opera Palestrina features an early C bass flute part. Another piece featuring the bass flute is John Mackey's "The Frozen Cathedral" in two separate sections of the piece. For an extensive list of repertoire for bass flute and contrabass flute see Repertoire Catalogue for Piccolo, Alto Flute and Bass Flute by Peter van Munster. Selected repertoire graded into ability levels with short descriptions and information about basses can be found in The Alto and Bass Flute Resource Guide published by Falls House Press, specialist low flutes publishing company Tetractys has a growing catalogue of works for bass flute. A handful of jazz musicians have used the bass flute, including saxophonists Henry Threadgill, Brian Landrus, James Carter, drummer Ronald Shannon Jackson who played bass flute as a second instrument.
Hubert Laws features the bass flute on his recording of "Amazing Grace," in which he plays the first verse on bass flute, the second on alto, the third on soprano. In electronic music, Jack Dangers has sometimes used bass flute as the leader of the Meat Beat Manifesto. A bass flute is heard throughout George Bruns' score for The Jungle Book and the original Pirates of the Caribbean attraction; the best-known work to feature the bass flute is the album Wave by Antônio Carlos Jobim. Http://Lowflutes.com https://web.archive.org/web/20101104012435/http://www.hogenhuis-flutes.com/pages/bassflute.html Bassflute Jelle Hogenhuis
Angel Recording Studios
Angel Recording Studios Limited is a British recording studio based in the eponymous recording and mixing complex in Islington, London. The company was incorporated by James Warren Sylvester de Wolfe on 5 December 1978; the building was constructed as a Congregational chapel in 1888, is now Grade II listed. The premises were acquired by library music specialists De Wolfe Music in the late 1970s and opened in 1982. Since the studio has been used to record both commercially successful work such as Adele's 2011 album 21 and numerous classical recordings The studio is based on the corner of Upper Street and Gaskin Street in Islington, adjacent to St Mary's Church; the nearest tube station is Angel. The building opened as the Islington Chapel in 1888, a Congregational chapel designed by architects Paull and Bonella and replacing an earlier chapel constructed in 1815 and redesigned in 1847–1848; the building has been Grade II listed since 1972 and features a large number of original features inspired by Ancient House and the work of Richard Norman Shaw.
It is constructed from Flemish bond red brickwork with stone dressing. The oriel windows feature cast iron glazing made by the St Pancras Iron Work Company; the 1888 construction date can be seen in a panel at the top of the building. The chapel's early 18th-century style organ made by Henry Speechly and Sons remains in situ, in working order; the chapel closed in 1979, the building was purchased by De Wolfe Music. A major refurbishment and conversion project was undertaken, recording began in 1982; the Cure and Siouxsie and the Banshees recorded at the studio the following year. By 1986, the complex could mix to 35 mm and 16 mm. A third studio was added at the complex in 1987. Studio One received major refurbishment in 2001. Angel Recording Studios has been used by a number of popular recording artists over the years, including Grammy Award winning albums from Adele and Sam Smith. Other bands and artists to use the studios include: Rush, One Direction, Emeli Sandé, Little Mix, Gary Barlow, Plácido Domingo, Liza Minnelli and the Machine, Kylie Minogue, Karl Jenkins, Robbie Williams.
The studio's orchestra room has been used by Éric Serra who scored Léon: The Professional and the James Bond film GoldenEye there. George Fenton used the studio to record scores for natural history shows The Blue Planet and Planet Earth, while other projects have included Maury Yeston for Nine, Craig Armstrong, who scored Moulin Rouge! and Romeo + Juliet, Anne Dudley for The Full Monty and Poldark. The studio has been used to record the soundtracks to film The English Patient, The Crying Game, Memphis Belle and Prejudice, The Lion King, Jackie. Television programmes to use the studios include The Night Downton Abbey. Citations Sources Official website Historic England archive notes on the Islington Chapel