Designed with precision and craftsmanship, the Studer J 37 features four channels of pristine analogue recording, allowing for a rich, warm sound that digital formats struggle to replicate. Its robust build and meticulous attention to detail ensure consistent performance, making it a favourite among audio engineers and producers who seek the ultimate in sound fidelity.
The Suder J 37’s enduring legacy is highlighted by its use in creating timeless classics. The Beatles utilised this remarkable machine during the recording of albums like Sgt. Pepper’s Lonely Hearts Club Band, contributing to the unique and enduring sound of their music. (More below)
Whether you are a collector, a studio professional, or a music enthusiast, the Studer J 37 Tape Recorder offers a tangible connection to the golden age of music recording. Embrace the heritage of Abbey Road Studios and experience the unmatched audio quality of the Studer J 37.
Thanks to its modern design (for 1964) and meticulous manufacturing, the Studer J 37 studio tape recorder met all the needs of a contemporary recording studio. This machine stands out for its exceptional quality, versatility, and ease of use.
The “building block principle” at the heart of the recorder’s design allows for easy access to any part of the machine, making the replacement of faulty components a matter of seconds. The machine’s wiring is arranged to facilitate adaptation to new requirements, simply by using the appropriate amplifiers and head blocks. This design minimises maintenance and servicing needs.
Using one-inch (25.4 mm) wide tape, the quality of each of the four channels is comparable to that of a quarter-inch full-track machine. The built-in sync-playback amplifiers allow individual tracks to be monitored in sync with existing recordings on other tracks.
The Studer J 37 and The Beatles
In 1965, two of four Studer J 37 machines were brought into use at Abbey Road Studios, with the other two used for remote recordings. Studer #2 was installed in Studio Two’s Control Room, the Beatles’ main recording space, and quickly became essential during the recording of Help! (The title song Help was the first Beatles song recorded to the Studer J 37) The compact size of the Studer J 37 made it easy to replace one of the BTR3 machines. A second J37 was set up in Machine Room 1A, replacing the T9U four-track.
For a time, both the Telefunken M10 and the Studer J37 coexisted. Jerry Boys, who joined Abbey Road in 1965, recalled how some pop sessions still used stereo or mono setups. However, by the end of that year, Studio Two primarily relied on the new J37, while Studios One and Three still used the older BTR3s. Tape Op Richard Lush recalled that everyone preferred the Studer over the unreliable Telefunken.
By the time Revolver was being recorded in 1966, Studio Three was still dependent on the four-track in the Machine Rooms. Geoff Emerick’s first session with the Beatles (“Tomorrow Never Knows”) was patched into the J37 in Room 1A. The next day, a J 37 was installed in Studio Three’s Control Room, improving efficiency for future sessions.
One of the biggest advantages of the Studer J 37 in the Control Room was the ability to perform precise “drop-ins” (or “punch-ins”), allowing the correction of individual mistakes during performances. This technique involved quickly dropping into Record mode to fix a part, preserving the material before and after the error. The process required incredible precision and clear communication between the producer, engineer, and Tape Op, but having the machines in the Control Room allowed for easier coordination.
The Studers also enabled another technique: “four-track to four-track” transfers. This involved copying full tracks to a second machine, freeing up space for more overdubs. Richard Lush noted that a second Studer would often be brought in just to perform these transfers, which were crucial during sessions for Sgt. Pepper and Magical Mystery Tour, where some songs required multiple reductions.
With the arrival of 3M eight-track machines, the J37 was used less frequently. “Come Together” was one of the last songs begun on a J 37 before being transferred to eight-track. By the end of 1969, the Studers were largely replaced, though some engineers were dissatisfied with the sound quality of the new machines. Several Studer J 37s were kept for playback of old tapes, and two were sold at Abbey Road’s Sale of the Century in 1981, complete with provenance from the Sgt. Pepper sessions. Ken Townsend later reflected on the J 37, saying it remained one of his favourites alongside the BTR2.
