The Abbey Road Studios XLR Connector Paperweights return with the Studio Three Edition

The Abbey Road Studios XLR Connector Paperweights return with the Studio Three Edition

15th November 2022
The Studio Three exclusive edition includes 53 Three Pin XLR Connector Paperweights and 145 Push Button XLR Connector Paperweights. Each paperweight is handcrafted within the UK, encased in flawless resin and individually engraved as a limited edition, with a crystal clear, meticulous finish. The UV filters within the resin will stop any colour fading and carefully preserve details of the connector.

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Abbey Road Studios Three Pin XLR Connector Paperweight

Abbey Road Studios Three Pin XLR Connector Paperweight

Abbey Road Studios Push Button XLR Connector Paperweight

Abbey Road Studios Push Button XLR Connector Paperweight

 
 
This XLR connector has been part of Abbey Road history for decades. Installed in Studio Three circa 2001, its purpose was to carry shielded, balanced audio signals, making the cable attached to it less susceptible to interference from external electromagnetic induction. The result delivered audio signals of superior sound quality, created within the most celebrated recording studio in the world.
 
 
This iconic room has featured in the recording of countless classic albums such as Florence + the Machine - Ceremonials, Frank Ocean’s - Blonde, film scores such as Hanna and Ghostbusters (2016) and soundtracks including Skyfall, 1917, Rocketman and Bohemian Rhapsody. Often used to carry signals from vocal microphones, the Studio Three XLRs would have been used on sessions by such iconic artists as Paul McCartney, Lady Gaga, Amy Winehouse, Ed Sheeran, Brockhampton, Anderson .Paak, Fontaines D.C., Dua Lipa, Liam Gallagher, Adele, Griff and The 1975.

Originally built for chamber music, accommodating small orchestral ensembles, Studio Three is the smallest of the three original recording spaces at Abbey Road and in many ways became the blueprint for the modern recording studio. It was designed to be a flexible space, giving artists the ability to shape their sound. Hinged wall panels could be moved to offer a cloth surface, for a drier sound, or varnished wood for a more live acoustic. The live room’s high, double height vaulted ceiling was popular with artists, allowing them to experiment with close, tight sounds and a more expansive, ambient acoustic, which proved particularly effective when recording small string sections and drums.
 
 

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