The Padded Cell studio lies just one mile west of Heathrow Airport, upon the enterprising Poyle Industrial Estate. Run by its owner engineers, Messrs Ray Hedges and Mark Emmitt, this new facility is a Godsend, not only to southern based bands but to record and publishing companies who prefer to record their acts on low budgets before mastering.

The premises were constructed (October '84 to December '84) by Ray and Mark to their own specification inside an old disused laboratory building and, after three months hard labour, they were 'rewarded' by holding an opening Christmas party for local bands on the premises, thereby ruining the carpets on the first day. However, this proved to be a slight technicality and Padded Cell commenced trading in January '85 as a first class eight track using a 1" Brenell Mini 8 machine with a Soundcraft desk. Brisk business followed them into the New Year as word of this quality sound went around the 'biz', and with cash coming in our lads ploughed it back into improving the outboard and running equipment. Within four months they were doing so well that a move up to the happy position of 16 track became inevitable.

Ray and Mark go back some six or seven years together when both were playing in local bands. A songwriting partnership emerged, resulting in the two of them buying some recording gear and experimenting with it to the point of obsession. This in turn led them to assisting others with a Portastudio/Outboard Set-Up and at this point such was the affinity between them that both decided to quit the obligatory 9-5 existence in search of an ideal recording base. Having settled upon the Poyle premises, the construction began; Mark looking at the structural problems whilst Ray commenced wiring the entire place, working solely from circuit diagrams. They made enquiries to notable studio authorities, Andy Munro and the APRS amongst others and, having been refused verbal assistance, returned to the drawing board; relying upon their own initiative and making use of the printed word: studio sound, and yours truly (IM + RW).

Now having reached a standard by which all other eight and 16 tracks shall be judged, would a move to 24 track become inevitable?

Ray: "Possibly, yes, but we want to get better as a 16-track because we get more excitement out of people that are really pleased with the results and we know that if we spend more money on outboard gear and better running equipment, we will obtain even better productions. People get lost on the fact that they need 24 track and they tend to forget about the music because all they do is go for that bigger desk. When they do, they look around and realise they've no outboard to back it up. There's such a quality gap between the top 15 studios and the rest it's just unbelievable!"

Mark: "We'd rather be in the position of having a superbly equipped 16 track studio then all we have to do is 'up' the machine and desk if ever we feel we need it."

Ray: "When we were eight track we didn't want to carry on with a poor machine, so we made sure we had everything we needed. Even at eight track the backup was already there. I think it's less of a struggle that way. Of course, there's still lots of bits and pieces we need like any studio. I mean we'd really like an aural exciter... one day we'll have the gear... until then, we'll work a damn sight harder with what we have!!"

Entry to Padded Cell is via two narrow doorways, a little awkward if you've 28" bass drums, but I'm reliably informed that Yamaha Baby Grands are used with ever increasing frequency. In the studio the walls are lined with dark red bricks — the long wall having simulated prison windows on it (bars an' all) creating, to me, a pleasing relaxed atmosphere (home from home?), whilst the control room wall is a unique crescent shaped affair. The drum area is raised one foot above the main floor, providing fine communication with playing area and the facing control room. It is separated by BBC-style screens and is punctuated with various frequency traps. Leading off the main floor to the right of the drum riser lies a small corridor which is used for guitar sounds (hard and loud). An additional 'live' area is available at the entrance to the premises: a truly cavernous hallway, creating a deafening noise. One recent customer to take advantage of this was Garry Stevenson of Go West, sampling snare sounds into his PPG.

The control room, a cosy affair with seating for six people, contains the following gear: an Allen and Heath 24 input control desk ("really underestimated," says Ray), a Sony 701 series digital mastering machine, TEAC 85 16B 1" tape machine, Tannoy Little Red monitors, a Bel digital delay with CV interface enabling pitch change of keyboard samples, a Lexicon PCM60 (exceptional reverb) topped off with Drawmer gates, limiters, compressors and a mike range from AKG, Neumann and Shure. The five piece Premier kit with Zildjian/Paiste, Linn MK3 and Jupiter 6 come with the package.

In conclusion, The Padded Cell is the most important addition to hit the recording biz in recent times. Go visit.

THE PADDED CELL (Contact Details)