2025-04-03T14:36:01.000Z

LONDON (AP) — In the renowned Studio One at Abbey Road, even the slightest alteration, such as a lick of paint, could jeopardize the studio’s integrity. This historic recording space is not only famous for hosting iconic artists like Adele, Harry Styles, and U2, but it has also been the birthplace of scores for cinematic masterpieces including “Star Wars,” “Harry Potter,” and the theatrical hit “Wicked.” Additionally, it has lent its sonic qualities to the soundtracks of blockbuster video games such as “Call of Duty,” “Halo,” and “Final Fantasy.” Notably, it was within these walls that Ryan Gosling delivered his unforgettable performance of “I’m Just Ken” for the movie “Barbie.”

Opened nearly a century ago, Studio One recently underwent a six-month, multimillion-pound refurbishment. However, the primary goal of this extensive renovation was not to modernize or update the space aesthetically, but rather to preserve one crucial aspect: the sound itself.

“What we don’t want to do is change the acoustics,” explained Sally Davis, the managing director of Abbey Road Studios. “Every minute detail in the room has been conserved and preserved so the sound doesn’t shift.” The studio’s distinctive reverb, measured at 2.3 seconds, has been expertly maintained to match the acoustics of the 1970s. As a result, no major redecorating efforts were undertaken, and the original Art Deco wall panels remain untouched, emphasizing the studio's historical significance.

“We have simply washed down the walls to preserve that sound,” Davis added. The floor, while re-sanded and oiled, was intentionally not varnished to further maintain its acoustic properties. Most of the upgrades during the renovation were technological enhancements made in the control room, ensuring that the magic of sound recording can continue without disruption. “This room is just about preserving that magic,” Davis stated enthusiastically.

A pilgrimage for countless music fans from around the globe, Abbey Road opened its doors in 1931. Originally a nine-bedroom house on a grand suburban street in London’s St. John’s Wood neighborhood, it has since become the world’s first recording studio and was the place where stereo sound was invented. Every year, over a million visitors make a pilgrimage to the iconic zebra crossing outside, many striving to recreate the famous album cover of The Beatles’ “Abbey Road.” This number may swell even further with the upcoming Sam Mendes biopic that features Paul Mescal, Barry Keoghan, Harris Dickinson, and Joseph Quinn portraying the legendary Fab Four.

While John Lennon, Paul McCartney, George Harrison, and Ringo Starr are primarily associated with Studio Two, they made history in Studio One as well. It was here that they performed the world’s first global live television broadcast of “All You Need Is Love,” which beamed to millions of viewers worldwide in 1967. Even before The Beatles graced its halls, Studio One had already established its legacy, with British composer Sir Edward Elgar recording his iconic “Land of Hope and Glory” there alongside the London Symphony Orchestra. The studio has also welcomed illustrious talents including Maria Callas, Igor Stravinsky, Daniel Barenboim, Fats Waller, and Glenn Miller.

Due to its expansive size—more than twice that of Studio Two—Studio One is capable of accommodating a 110-piece orchestra with a 110-person choir simultaneously, making it an ideal venue for recording film soundtracks. This unique feature explains why an astonishing six to seven out of every ten Hollywood films are scored at Abbey Road.

Standing on the balcony that overlooks the 40-foot-high (12-meter-high) room, Davis pointed out the original screen that showcased “Raiders of the Lost Ark” (1981) while musicians recorded the film’s soundtrack live. Since that time, the studio has been the creative hub for soundtracks of major films, including “The Lord of the Rings” trilogy, Marvel’s “Black Panther,” and “Guardians of the Galaxy.” For the recording of “Barbie,” all participating musicians were asked to bring something pink, whether it was an instrument or a piece of clothing.

Oscar-nominated composer Daniel Pemberton, who has been recording at Studio One since 2009, affectionately refers to this space as his “creative home.” He describes the studio as a “spectacular space,” noting, “Outside, it just looks like a normal house. And then you come in and you find this space in it that’s almost the size of a football pitch. In fact, I have played football in there once,” he chuckled.

Pemberton is well-known for composing soundtracks for films such as “Spider-Man: Across the Spider-Verse,” “Ferrari,” and “The Trial of the Chicago 7,” as well as creating the theme music for “Slow Horses” and “Strange Game” in collaboration with Mick Jagger. He expressed excitement about the potential of Studio One, stating, “What’s so exciting about a room like Studio One is that what happens on the day is what happens for the rest of time. It’s like history is being made, whether it’s good history or bad history, you’re making a moment then.”

He also reflected on the multitude of stories, both personal and musical, that have unfolded within the studio’s walls, proclaiming, “The ghosts are insane in there.” Davis concurred, highlighting how the rich history contributes to the studio’s enchanting atmosphere. “You walk into this room and you can feel it. There is a magic in the sound. It sounds phenomenal. There is a spirituality in who has been here, who has performed here. So when we see artists come through, you know that immediate reaction of, ‘Oh my gosh. I’m in Studio One.’”

To celebrate the reopening of the studio this week, Abbey Road Studios presented an innovative art form for the space: a dance performance that incorporated Pemberton’s scores, expertly remixed by resident artist Jordan Rakei and choreographed by Joseph Toonga. “It kind of threw me back a bit like, wow, it really is big,” Toonga said, reflecting on his first impression of the studio. He channeled that feeling into a dynamic dance performance blending elements of hip-hop, krumping, and ballet.

Looking ahead, the first client to record in Studio One since its refurbishment remains a closely guarded secret, hinting at exciting projects on the horizon. However, Abbey Road is filled with mysteries, one of which includes Pemberton’s plan to capture the unique rattling sounds of the newly installed railings for an upcoming movie soundtrack. There was initial concern that the hollow Art Deco-style bars might disrupt the studio’s acoustics, leading to contingency plans that involved filling them with sand should they interfere with the reverb. Fortunately, the bars have been allowed to remain, as Pemberton is thrilled with the sounds they produce when keys are run across them—a unique auditory experience that will ultimately resonate within theaters worldwide, enriching the film scores crafted in Studio One.