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RIP Le Studio; the building has been demolished


blueschica
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No need for recording studios any more.

 

Everyone records from their home.

 

That’s why so many rock records these days sound like absolute ass.

 

That's debatable because Billie Eilish's album When We All Fall Asleep, Where Do We Go?, was recorded at her siblings home as noted here.

 

The album won multiple Grammy Awards including Album of the Year and Best Engineered Album, Non-Classical.

 

It's not a rock record, but there's crappy sounding pop records as well.

 

There are some people who feel those multiple Grammys were overkill, Ellish is overrated IMHO. I agree the studios have a richer sound and that is hard to reproduce in home studios.

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After "Le Studio" was in the process of being rebuilt, It's been a shame, and sad that it was torn down by a new owner, but at least, a new studio is being built in the spring of next year in 2021. Edited by Derek19
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An update posted on Rushisaband.com here.

 

Some people will disagree, but I think it looks better now with just the land and the lake, than with a half burned studio. I hope it doesn't turn into condos or something.

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Just some thoughts on the demolishing of LeStudio Morin Heights and some sentimental value it had for me and maybe some Rush or music fans of artists that recorded there? Yes all good things must come to an end is what I have always believed and you cant live in the past or beat the dead horse, you move on with change .There are many special places all over the world with a story that are long gone. As a kid there was always something intriguing about the 3 rush videos and seeing that LeStudio sign in the background .It made me curious about what was special about that place for the band who produced so many great albums out of there and reading linear notes and album sleeves and listening to their interviews about the studio and stories of so many other bands going up there to record music .In its day it was one of the most unique premier facilities of its kind . Technically (the trident& ssl console, superb personnel recording engineers etc ), Acoustically ( natural wood ambiance of the studio rooms. having amps put outside to capture reverb from the mountains-cannot duplicate some of these natural sounds - ) and one of the best tranquil places to record in the world- many report the sessions were great there and for many years that Rush called home.The uniqueness of this facility, was a big part of their abilities to jam or record in that environment to play volleyball,relax,drink,ski (who knows) and produce arguably some or even their best material which in this day an age cannot be duplicated again in someones basement Having visited the property in 2014 was cool. It felt like Rush sacred grounds and imagined what it could have been like standing in the very spot Neil had his drums and looking on to Lac Perry where the red tama poster was photographed was inspirational and fulfilling Realizing back then the facility served its purpose since 1974 and so much great music was recorded there, shortly after vandals got at it and a fire happened destroying 1/2 of it. The place deserves to be noted as one of the most notable recording facilities of its time but soon demolished for safety reasons in hopes of using the site for a music museum site of sorts. I never supported and remain skeptical of the LeStudio rebuild campaign by who by all accounts put in a gallant effort to save it but at the end of the day appears to just a huge Rush fan with sentimental ties to the history of the studio until the wrecking ball crew came in recently.

As a Rush fan- I will always consider LeStudio sacred grounds and hope the property will become something meaningful.

As a fan of the Studio -it had a lot of roots, a Canadian gem of its time-thanks Andre Perry- some of the best bands and material that came out of that place - A piece of history

As far as it being gone - all good things must come to an end -not gonna lose much over it (I was lucky to see it) Oh if those walls could talk . - It was a special place at the right time when the stars of Morin Heights perfectly aligned to pull off those songs from albums such as MP,PeW, and the list goes on

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From MusicRadar.

 

Classic interview: Stewart Copeland on his Police career

 

Every Little Thing She Does Is Magic: That had a very different story from all the others. Sting had spent some time in Montreal at Le Studio. Rush country. There’s a French Canadian pianist, Jean Roussel, a very enthusiastic and gifted musician and they did some songs. This was one of them.

 

"That’s the other of two (songs) where somebody else plays on a Police album. We tried everything. We deviated from the demo to the extent it’s not a hit anymore.

 

“I had an epiphany overnight. I come in to the studio and said, ‘F*ck it, just put on your demo and show me the changes and count me through!’

 

"One take, one morning, and that was it. That’s the drum track. Sting was standing over me, grumpily conducting me through it, which is how I made all the changes. Quite a complex song with a lot of different pieces. I was angry at the time, which is where a lot of the energy of the performance comes from.”

 

Wrapped Around Your Finger: “I thought that lyrically, this track really took itself too seriously. The teacher and the student becoming the master. It was all a little bit artsy. It would have made a great Rush track! (laughs) I say that with love in my heart for Rush and Sting!”

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From MusicRadar.

 

Classic interview: Stewart Copeland on his Police career

 

Every Little Thing She Does Is Magic: That had a very different story from all the others. Sting had spent some time in Montreal at Le Studio. Rush country. There’s a French Canadian pianist, Jean Roussel, a very enthusiastic and gifted musician and they did some songs. This was one of them.

 

"That’s the other of two (songs) where somebody else plays on a Police album. We tried everything. We deviated from the demo to the extent it’s not a hit anymore.

 

“I had an epiphany overnight. I come in to the studio and said, ‘F*ck it, just put on your demo and show me the changes and count me through!’

 

"One take, one morning, and that was it. That’s the drum track. Sting was standing over me, grumpily conducting me through it, which is how I made all the changes. Quite a complex song with a lot of different pieces. I was angry at the time, which is where a lot of the energy of the performance comes from.”

 

Wrapped Around Your Finger: “I thought that lyrically, this track really took itself too seriously. The teacher and the student becoming the master. It was all a little bit artsy. It would have made a great Rush track! (laughs) I say that with love in my heart for Rush and Sting!”

 

If you are ever interested, there is another great interview with Stewart Copeland, done by TRF's own Rod from Toronto! I really enjoyed listening to it.

 

https://www.sonicperspectives.com/interviews/interview-with-stewart-copeland/

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If you are ever interested, there is another great interview with Stewart Copeland, done by TRF's own Rod from Toronto! I really enjoyed listening to it.

 

https://www.sonicper...ewart-copeland/

 

I've heard that Sonic Perspectives interview that Rod did with Stewart Copeland.

 

Funny enough earlier on today, I emailed Rod the recent MusicRadar interview with Stewart Copeland, which he replied was EPIC.

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