CREATIVE CRIBS: Abbey Road Studio Two

i'm really proud of spitfire audio and how we've kept going during this difficult period in fact there's not much that we haven't been able to do but there's one thing i've really missed and that is going into other people's creative spaces in our series creative cribs well we're back and not in just any creative space the creative space our avalon where the soundtracks of our lives have been forged the hallowed turf of abbey road studio two i've worked here many times but it's always good to be back this is myrick you've been here for a while haven't you uh yeah just over 20 years now i think yep you know every nook and cranny yep i try my best for people who are watching who don't know about the kind of why we have reverence for this place do you want to give us a quick rundown of of what's been made here well studio two i would say is probably the most famous studio in the world 95 of the beastle's recordings were done in this room now before the beatles came here a lot of was recorded and then a lot's been recorded since but i mean yeah when people think of studio 2 they think of the beatles and quite rightly so um but i mean this studio has been here since aviary opened in 1931 it was kind of like the i guess the pop studio at the time although what pop music became they couldn't even fathom that back in 1931 but um think of like big bands like joe lost jack hilton that sort of thing like the swing bands i guess at the time so it was it's like a smaller version of studio one you see one's the big huge orchestral room big uh reverberant sound this is a bit more kind of controlled a bit more toned down the thing that always gets me whenever i come back is is actually how how big it is so so what is the floor space here so it's 10 meters by 18 meters right um so yes i mean it's by any stretch of the imagination this is a big recording studio it's not as big a studio i suppose so if you were to get an orchestra in here how many could you squeeze in a push you could probably squeeze about 40 or 50 in here might be a little bit uncomfortable i mean okay most sections you see in here pretty more like sort of 30 odd i mean the room is originally designed for kind of smaller chamber ensembles as well or larger chambers i should say yeah it was designed with strings in mind if you like okay should we have just kind of a little kind of wonder around is the the look of the studio as it was originally or pretty much i mean the shape the floor the walls pretty much as it was in 1931 when the studios opened it was if anything that had the reverse of the problem they had the studio one studio one was too dry right this room was too reverberant okay so in some of those early recordings um i think they used to like draw a massive curtain across the room to sort of divide the room up okay but in the early 50s they start experimenting with the sound of the room just to sort of tone it down a bit so uh the drapes you see here which are now probably like probably one of the most recognizable parts of studio two right so they started hanging drapes they're originally filled with um like cabot's quilt which i think was a form of seaweed or type of seaweed um highly flammable apparently so some bright spark worked out in the eighties that it was this is like a massive fire hazards they tore it down and replaced it with as close as they could um but yeah they added um bass traps so you can see a base trap up there just to sort of just try and you know control the room a bit more i think it was a little bit out of control in the early days so sort of toned it down a bit so booth i don't remember that being here is that new um the booze were added about four or five years ago right yeah because i mean unlike studio three and studio one as well there's no there was no isolation in this room pretty much i mean they added these screens in 1961 right to sort of try and be able to divide the room up a little bit more but apart from that there's no like solid isolation so we decided to add these boovs um there's a smaller booth here up on the left as well that was actually the original control room oh right okay if you look at like really early footage i mean there wasn't much going on control room wise in the early days it would like be someone in a white lab coat with a cutting lathe and a very small maybe four channel mixer that was it so it you know control rooms were a lot smaller and it's when you know the gear became more elaborate more tape machines and bigger mixing consoles that sort of thing so they moved the control room up to the next floor up in the uh in the late 50s okay i'm just just trying to get this space so it was this it was this configuration when the beatles recorded him yes yeah yeah even the big swing out screens um were installed before the beatles started recording here and apparently the engineers um went away on a friday night came back on a monday and the screens were installed without really anyone knowing um and the um one of the patched patch plates for the microphones they couldn't get to the oh no they couldn't get to the microphones anymore so they cut a hole in the left hand side there um so people can actually get to the pathway i recognize these pianos yes the charon piano right and mrs mills steinway virtual grand we've we've sampled yeah and this is the really tacky sounding pub piano [Music] so makes extraordinary so the the hammers are lacquered aren't they yeah lacquered so it's an engineer guy called stuart elfin who was one of the first sort of generation of pop engineers here if you like and they're he was just always looking for new sounds um so i mean the virtualgram was originally designed to be like a small grand piano believe it or not but yeah stuart elfin was like he wanted the hammers lacquered okay to get more of like a harder percussive sound and he had the strings slightly detuned like harmlessly harmoniously detuned but just to sort of get that chorusing sort of sound okay it's like an effect really and so you've got is that as a concert d d yeah and these kind of will float between the vera studios weren't they concert d won't float around anywhere that's a big beast but these two guys yeah yeah i mean they sort of float around so i see you've got a so there's a yamaha and a steinway and then then the studio have one have a slime as well yeah studios got stoneware yeah brilliant stuff so these screens when someone like you know i know that radiohead have recorded here and yeah a lot of the bends was recorded in here yeah oasis yep nick covered the bad seeds and muse and wow what how do they kind of do they kind of set up little kind of segments and screens and stuff like that how does it work because it's a massive room yeah i mean it's a great thing to witness actually you know when a band sort of digs in if you like yeah for maybe a week or a couple of weeks yeah the room sort of gets divided up like a drum area and maybe guitar area and piano area and it sort of it becomes like you know the the band's home for you know for those you know a couple of weeks of recording and i guess their techs work in those different zones yeah yeah i mean it can get pretty busy in a room like this sometimes there's just gear everywhere since guitar pedals you know it's it's a great thing to witness it really is and a great collaborative space yeah yeah i mean it's very inspiring space to be in i think absolutely and do people still use the screens yeah yeah yeah i've seen screens pulled out and maybe drums we put in one corner and it's just a way of dividing the room up a little bit if it just feels too big amazing now i believe there's a very interesting room through here isn't there yeah well the echo chamber yeah i'm very excited about this so this this is before they invented uh like plate reverbs and stuff they used this yeah i mean so obviously i mean i i grew up around digital reverb as i'm sure you did as well and so i mean we take reverb for granted i suppose um but before digital reverb devices there were what they call plate reverbs in the late 50s yeah uh released by a company called emt so that was like a large piece of sheet metal and you know they were they were sort of playing music down the sheet of metal effectively the transducer down one end and a couple of pickups down the other end echo chambers were like the first way of creating um reverb if you like okay sort of like before um before echo chambers there was really no way of changing the sound of your recording sure you completely relied on the room you recorded in you had no options really to sort of change that sound afterwards so with an echo chamber what you've got effectively is like a tile room with um sort of pipes if you like or anything to diffuse the sound speaker down one end of the room cover the microphones down the other end of the room and it's kind of like sort of far from tiles or vibes it's like a it creates reverb that's incredible and incredibly short as well yeah the chambers are notoriously short i mean unless you used to deal one of the echo chambers now amazing it's not great smelling here is it no it smells like it's been flooded or something there's been some down problems over the years it's got a certain charm to it amazing now something that um is famous about abbey road is the mic cupboard yes and this is to do with uh the ownership of emi and stuff like that is that correct um i mean avira has been open since 1931 and just since 1931 we've been collecting microphones effectively and never really got rid of any so but there were more emi studios so the collection has has grown over the years from from some of those closures and yeah some of them are harmed me down actually so um uh pafe moriconi studios in france so that was an emi studio and i think when that closed down we inherited a load of microphones right even more recently i think with uh olympic studios where the olympic studios closed down we inherited more so microphones keep keep arriving um but uh yeah i mean we've got i think something like uh over a thousand of microphones that's incredible so and you've got some out here for us to look at yeah so these are m50s is that correct yeah these are yeah m50s you've got to check because some of the there's the m49 and the m50 yeah so the m49 um they were both released um around 1952. okay but it was just confusing so they're called m50 would have thought in 1995 it's all a bit confusing but um [Music] yeah i mean the m49 was the microphone that allowed you to um change the pickup pattern gotcha so you could go from figure of eight to cardioid to omni-directional um the m50 was set to car to omni-directional right even though it's slightly darker on one side now apparently the recording engineers didn't find the m50 particularly useful they preferred the m49 because it was more flexible right so by about the sort of um mid 50s there were like 30 plus m49s here in the building and only like five or six m50s whereas now it's strangely it's sort of like the reverse of that like the m50 is the microphone of choice i mean the m50 is famous for the deku tree yes yep so we'll we'll see those in in a three-foot configuration usually yeah yeah yeah so left center right and uh like a famous configuration um what devised in deck studios in the early 50s can i be really uncouth i i understand these are very valuable aren't they m50s they are yeah are you allowed to say what kind of value i mean i don't i mean if you could find an m50 second hand you'd probably be looking at about 10 grand i imagine but maybe like an abbey road one i don't know i don't know how you put price on that and do you know how many you have of these m50s we've probably got about ten fifties i would have thought because they've i mean there is an m150 which is a new thing but these it's something very special about these original designs isn't it yeah i mean the the capsules the valves uh the capacitors the resistors you know i mean yeah there is there is a reissue but people just prefer the original mics i mean they've got certain sounds than the original mics and i guess what's really exciting about these mics is is the people that have sung into them over the years so you're suddenly presented with a mic that maybe eartha kitt has sunny into or something like that yeah i mean yes so these mics have been here since you know since the 50s 60s 70s and yeah i mean who knows who sung into them over the years but i mean yeah i mean chances are maybe this u-47 down here which we're sort of shamelessly hiding down here let's just get it out shall we you know i mean maybe the beast was recorded into this microphone or the hollies or siller black you know i mean these were these were the workhorse microphones in the day really exciting isn't it yeah so here is this is an m sorry a u47 because there's u48s and u47s so the u40 um they've got different polar patterns basically right and some are taller than others apparently like um a couple of years later they changed some of the resistors and managed to get get it more sort of condensed um so there's tall ones and shorter ones and i guess every mic sounds different doesn't it because of the age and because of the the the tlc it's that they've had yeah i mean every mic is different even every um model is different like so serial numbers are different yeah um so i mean i remember um i was assisting um john bryan on a fiona apple massive fan of his and i mean i was kind of shocked at the time but he came in and he said to me look can you get all your valve microphones out and put them out on this floor here and there's a lot of our microphones and i was just like oh my god lester so much work um but what he did was effectively he would um he had a pair of headphones on and he sort of walked down the line and just spoke into every single microphone um so all the m50s all the m49s all the u67s all the c12s and i um i would note down the ones you liked like serial numbers because they all sound slightly different and they've all got slightly different characters and it's a very personal thing i suppose um what you might consider your favorite serial number may not be what i consider my favorite serial number but the point was that um you know john wanted to get a collection of serial numbers that he thought were the best ones to use for his recording probably the most sort of sought-after microphone in the world is the u47 um the thing is it's like i mean part of the sound is is is the valve the valve itself inside the microphone um and it's probably like probably one of the most rarest was probably the rarest valve there is because they stopped making um it's the telefunken vf14 um they start making them probably in like the mid 50s neumann had a problem from the get-go basically but uh you know if you found a vf-14 valve now they're pretty about 3000 pounds um just for a single valve and it's because like you know once they go they go like the valves don't last forever as you know um so the problem is is like you know we've got we've got we've got a stash of them here at abbey road if you like so we're going to be right for like the foreseeable future but um you know u47s won't be around forever with the original valve in um so yeah i mean just little things like that kind of make you know old gear is great if you've got someone to look after it and maintain it yeah and we're very lucky here at you know we have a fantastic technical team um so this stuff it bears like a sense of uh responsibility if you like to sort of maintain this older gear yeah and keep it up to scratch amazing the m49 the capsule with an m49 is actually quite a big capsule it's the m7 capsule which is the same capsule that's in the u47 so if i just open it up here it's quite a chunky capsule yeah okay that's the m7 capsule um so which is you know it's a large diaphragm microphone at the end of the day right um but if you look inside the m50 it's actually which always well it surprised me when i first found out but it's actually quite a small capsule is it you'd imagine it to be like a big it looks like a big capsule microphone right um because it's the same size as the m49 um but if you open this guy up you'll see what i mean here we go we've done this before so yeah it's actually a really small capsule wow encased in like plastic casing um which is actually the same capsule as a km53 so it looks like a large diaphragm microphone but it isn't but um it gives a big sound yeah amazing well should we see where that big sound goes yeah the control room so i'm quite nervous watching you do this i've never actually seen it i'm nervous they're doing it don't mess this up now okay great so we got it cool okay excellent yeah so massive loads of tie lines yeah i mean the room the floor can get pretty busy yeah i mean yeah there are loads they're everywhere aren't they yeah there's a lines and b lines um so it's all doubled up um then of course like fall back with musicians of course headphone feeds that sort of thing and just other tie lines you can never have enough tie lines as well as i'm concerned it's like you know really useful brilliant stuff oh this is exciting oh it's good to be back you've worked in here right yeah i've done a couple of scores in here and um yeah it's it's it's not the biggest control room is it it's not it's not the biggest controller it's all about down there too yeah yeah um you know ideally you'd have a bigger control room but i mean we actually did extend it about four or five years ago we sort of went back a bit right um but you know yeah the controller can get busy but you know it's part of the charm in working studio too absolutely so neve 88 r yep yep neve 88 oh yeah 60 60 channel i believe yep 60. and bmw they're all all over abbey road these bmw speakers aren't they yeah i mean these are actually the brand new ones um we literally got these delivered like a week ago two weeks ago uh atc's as well yeah there's a lot of a lot of bmw speakers they look like a they're off official speaker partner okay and that's why and there's bmw surrounds as well yeah yeah amazing that looks absolutely incredible what is it it is the red 17 mixing console 1958 uh emi design uh was designed uh in collaboration with emi german i mean emi had factories and you know scientists all over the world so this was a collaboration between london and emi germany a guy called peter berkovitz designed it um it's it's essentially what you're looking at is probably the first incarnation of what we imagine a mixing console to look like and what i mean by that is like faders and eq on every single channel mixing consoles before this tended to be like a series of dials in front of you right um like the um you know the old universal audio desk for example you know that sort of thing so faders was like you know it was quite a big step forward i suppose um an all valve um it's all powered by v72 power amps so even like the echo send goes through like a valve power amp it's just wow heavy very warm um in terms of heat i'm talking about here as well it sounds warm as well but um it generates a lot of heat basically but i mean yeah i mean it's built like a tank it's just i mean it still works it's still used it's got a beautiful sound to it and the eq is just absolutely lush um fixed you know 10k 100 hertz you can't do anything fancy with it it just is what it is but it just adds this sound this sparkle how many channels is it so it's eight channels this is stereo desk only okay so the red 37 was designed for four track this was designed before full track was even a thing wow um so straight stereo or mono or twin track i think that's what the duo is for right before four track tape machines they had what they called twin track where they record like the backing track on one track well the left track if you like and then uh that would leave them another track like the right track to do vocals or all that stuff that's why a lot of those early beatles albums when they say stereo you've got all the music panned on one side and all the vocal panels because it was actually designed to be mixed in mono you know of course yes now i've heard like those it's terrible those mixes when you hear them in a pub where you're next to one speaker and the right speakers at the other side of the room yeah kind of all you can hear is the drums and but this is like it's this is not a relic this was really a workhorse it was used on so many records wasn't it this this model of desk yeah i mean this this one was designed for believe it or not this is considered a mobile desk um it splits into three sections but yeah the red 17 was like the mobile stereo version the road 37 the red 51 which was slightly bigger they were the four track versions but yeah i mean pretty much every record recorded um in abbey road from the late 50s to the late 60s was done for a red desk and beyond in some cases the transistorized desks arrived abbey road in 1968 the uh the tg so this is all valve and then the new thing was transistorized disks was it was actually a problem for the engineers because they were used to working with with valve um circuitry if you like they were used to like you know really pushing the levels i see oh yeah if you did try to do that on the transistor desk things start to break up so they had to i think that's like really rethink their way of working in a way and you've got i mean there's some usual suspects in your outboard i can see a and amazing teletronics but there's some stuff that i've not seen before particularly this stuff down here yes so that's that's the emi tg gear that's the transistorized gear so this is stuff that's been lifted from the mixing console this is actually from the transfer console the mastering console so when the tg desk was designed by mike batchelor in the late 60s eventually by the mid 70s they decided they wanted like versions of that to use in the cutting rooms and the mastering rooms yeah so that's what this is this is actually from the mastering room so you've got eq um spreader um like sort of mastering techniques you know spreading the sound out sort of phase related that sort of thing uh filters and um compressors and limiters uh but that i mean the tg gear i mean the compressors are really aggressive if you're right and they've got certain sounds and people love them um the eq is really musical it's uh all the frequencies are based around the key of c and um they just they're just lovely lovely eqs ah that's i didn't i didn't know that that makes total sense but it's not i never knew it's so lovely to see the mixture of the old and new so you've got that the tg stuff and then you've got a uh brocassi and i guess that's the spirit of abbey road isn't it yeah but best of all in the usa i mean we're really lucky to have the latest cutting-edge gear yeah but we can also pull out mics from the 30s and more console from 1958 and just yeah you just kind of you know mix and match and get different flavors and that's part of the attraction isn't it's why people like oasis come to record here because of it's the real deal it's not an imitation it is actually what people have used over the decades yeah i mean i think abbey road is unique especially i mean unfortunately a lot of studios have closed down a lot of the classic studios that are no longer with us but when you come to every road you've got a big room to play with you've got older gear to play with if you want to you don't have to you've got the latest cutting edge recording gear to play with um all of that you know with you know the teams here at abbey road it kind of creates like a unique flavor i think heritage isn't it that's i guess what it is i've never seen these these look absolutely beautiful this is the rs-124 compressor these are a bit of an oddity really i mean these were described as the secret weapon of the recording engineer back in the 60s and effectively what they were was one of the first pop engineers here guy called peter baum he was in correspondence with another emi studio capital studios in la quite a lot and they would get like the latest gear from america obviously they were based in america and they recommended to peter this altec compressor so off the back of that recommendation abby road took delivery of like you know five or six of these altec compressors and um the it's quite normal back then or standard policy back then for the um the techies any new piece of gear that was non-emi that came through the doors they'd open it up and sort of see what's going on before they even allowed you to plug it in you know because this is from an outside source because what's in there all that sort of stuff um anyway um people like um bill livy lempage mike batchelor they they opened this thing up and they were just like this did not like what they saw whatsoever really they changed all the vowels because they thought the vowels were too noisy they changed them for quieter valves uh resistors capacitors were changed to be more in spec with what they thought were you know better capacitors and resistors um they added um the original altec just had a volume control input control so they added like an output attenuator they added recovery like a release time so basically the only thing that was recognizable was the meter the outtake meter everything else is completely changing totally completely different yeah completely pimped completely different beast so they were unique to abby road they just didn't exist anywhere else and they just happened to be used on very famous recordings and had this this certain sound to them if you compare it to like a fair child which has got super super fast attack time yeah like 0.2 milliseconds um these guys sort of some they're all different as well so some had about attacked on about 30 milliseconds 50 milliseconds but the point is you know if you put a bass guitar through there the initial transient of the note would actually get through and then it would grab the sound um so it had quite a sort of a sort of um sort of punchy sound if you like gotcha they actually weren't used for a long time a lot of this gear fell out of favor in the mid 70s you know newer gear was coming through 80s as well well into the 80s this stuff no one was interested in it um and um luckily a lot of it was kind of hidden away in cupboards and whatnot um some of it got trashed unfortunately or went to archives and then got donated to charitable causes like hospital radio stations that sort of thing i mean we found a tape an old btr valve tape machine that used to belong to abbey road we found it in the university university contacted us southampton university and said did this used to belong to you and we looked at the serial numbers like yeah it did how did you get they had no idea how they got it but we think it was donated to them through archives you know because it's like a charitable thing to donate to a university so it kind of makes sense when you think about it so a lot of gear was lost some of it was trashed but some of it was um kind of kept and stored away in cupboards and all that sort of stuff so um these didn't these were stored away until like early 2000s it was john breiniggen actually okay um he was just like you guys got the rs24s and i had never heard of these before it's like i know i'm only mine lester smith okay asked lester if he had any rs124s i don't know anything about him he's like yeah see what i can find and he came back you know an hour later with an rs24 plugged out i was like oh my god that's the sound you know it's that's amazing and i guess that's what's so interesting about the the relationship between the studio and the artists is that you you you are dealing with the demands of the artist and that's why where you get this lovely cyclism because of their own personal heritage and taste that they've made from stuff they've listened to in their past yeah yeah yeah well it all ends up these days in pro tools but you've got a absolutely wonderful looking tape machine yeah so this is the uh the j37 i mean this is it this is the full track tape machine that that was used on quite a few famous recordings uh i think i just think that we have to like we have to talk about the beatles and their seminal records were recorded on four track by and large yeah which if you i don't know think of a song like a day in the life right that's a pretty complicated production recorded on four tracks i think is like quite impressive really and these are not stereo tracks these are four mono tracks for my tracks yeah so what they're what it is mind-blowing i mean if you said to a band now you're going to record your album using only four tracks i think they just run a mile right yeah like freak everyone out four track tape machine you know maybe track one is like drums and bass and maybe guitar overdub and piano and maybe some hand claps or percussion or whatever they would take those they would take another bring in another four track tape machine into the into the into the control room and put those four tracks down onto one track mix it down like a pre-mix onto one track of a second tape machine so that would be like the backing track yeah yeah so that would leave you then three more tracks to overdub on um then they'd fill that one up and then they'd do another bounce they'd do it like four or five times maybe right um so like you imagine if you're doing your final mix on your four tracks and you decide the snare drum's too quiet there's nothing you can do about it like that is the mix um so quite often you they would overdub more they'd do another snare overlap because the original snare had been lost in all the sort of in the premixes um it's very committed it was a very committed way of recording whereas now everything's spread out everything's got its own track and hundreds of plugins and yeah yeah you don't have to make i'm not saying this is bad but you don't have to make a decision necessarily now until the very last moment whereas back then you had to make decisions like this this is going to be the volume for the drums this will be the volume from the base and we're now going to commit that and then start adding more tracks on top of it you know so you were having to sculpt it as you as you as you went along and i guess that what makes me so amazed like retrospectively just actually looking at this and imagining working like that is that they were still so and certainly with george martin so adventurous with the recording techniques and they really pushed the boundary there where surely playing it safe would have been the the most sensible way of going about things yeah i mean it was pretty rock and roll yeah at the end of the day um yeah i mean these machines were abused a lot of the gear was abused and what i mean by that is it was used in ways that was never designed to be used the concept of a tape machine is to capture a piece of music or a recording as purely as possible right but you know they started to do things like we know what if we like really drive the input signal going into the tape machine and sort of like crunch it up like you know distort it if you like things like taking the tape off do a recording take the tape off turn it upside down and press play and it's effectively playing backwards uh things like you know even like putting your thumb on the on the um over the spool as it's playing to sort of slow the tape up you kind of get phasy effects and flanging effects and all that sort of stuff um using the very speed control to sort of speed the machine up and slow it down and play things at half speed and just like any any way of like you know manipulating sounds with what was very limited equipment yeah um yeah i mean waving this box of my tape around um the emi tape is like it's the only tape i've ever experienced that doesn't need to bait okay so like if you take a tape from like the 70s or the 80s even to like you know 90s into 2000s chances are if you put it on a tape machine and press play the oxide will come off onto the tape heads and the tape heads will gunk up and you have a process called baking where you put it in an oven at a very very low temperature for like three or four days and then you've got like a period like a window of like maybe 48 hours to get it and transfer it digitally okay emi tape never needs to be baked i don't know what they used to put in this stuff but like probably highly illegal now arsenic probably god knows um but yeah never needs to be baked there's like over 50 odd valves in this tape machine yeah it's pretty crazy do you want to look inside oh yes please i think i think it just pops open like a bonnet in the car you know he says here we go oh yeah it's pretty it's a bit of a beast um let's see the capsule motor moving around okay the only lubricant we can find that is actually fine enough to keep that running around is um what uh watchmakers use um we get it imported from switzerland i think yeah it's like it's i mean it still works do people use it yeah yeah yeah i mean it's well we used it for the the strings um it still works still got a great sound especially when you use it with original enemy tape um it's just got that sound to it now we're talking about people being working with you know restrictive technology but it's it it wasn't restrictive in the day because they didn't know what was coming this would have been really ultra high tech back in the day this was like yeah obviously cutting edge at one point i mean even before this generation of four track abbey road before that were using telefunken four tracks which were like bigger it sounds silly but that was a problem because you had to have the um the tape up in a separate room so there's like a communication problem um when these came out they were small enough to actually just sit in the back of the control room and they weren't too noisy and that just like and instantly communication improved like just like that and that meant everyone could be more creative like the bands themselves would start you know manipulating the tape and playing around with the tape and all that sort of stuff whereas before it was all sort of like tucked away yeah yeah yeah yeah that sort of thing yeah um so even little things like that it sounds silly but i think made a massive difference to the creative process right wow oh that's a real career end of that take your fingers off yeah that's happened almost a few times brilliant stuff well listen merrick thank you so much for affording us this time and you know to have a peer and a poke around it's been just absolutely mind-blowing thank you so much absolute pleasure so if you have any questions about today's crips do put them in the comments down below we do have a look at them and i'll endeavor to answer and maybe forward you the odd uh query as an as and when they're arriving okay well let's see what turns up shall we they're nice they're nice this lot one of these for merrick if you haven't subscribed to the channel already please do so and remember to ding that bell to be notified the next time we put a video up lots of really exciting stuff coming up with abby road too absolutely brilliant stuff thanks for watching till the end and see you next time you

Channel: Spitfire Audio

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Id: 5QskQHxvB_Q

Length: 35min 17sec (2117 seconds)

Published: Thu Dec 16 2021