Record Plant Recording Studios

Location: Hollywood, CA

Founded: 1968


When record producer Gary Kellgren left Mayfair Studios to set up his own shop, his impressive roster of clients went with him: The early success of the Record Plant is due in large part to the support of artists like Frank Zappa. Chris Stone supplied the business know-how to the new enterprise, and Revlon heiress Ancky Johnson put up the cash. By the grand opening, the studio was booked three months in advance.

Notable Products

  • Audio recording
  • Mixing
  • Tracking
  • Feature film scoring


What to Expect

Jimi Hendrix cut the first album in the Record Plant’s original New York studio in 1968; in the following years, The Eagles cut Hotel California, Bruce Springsteen laid down Born to Run, and John Lennon recorded Imagine. Paul McCartney jammed with his fellow former Beatle for the last time in an all-night session at the Hollywood studio in 1974—the roster of artists is iconic. Despite the decline in CD sales and proliferation of home recording studios, the Record Plant has managed to hold steady in its place of one of the premier houses for professional audio services.

The Manhattan studio was sold off and subsequently closed in the 1980s, but the Hollywood location is still alive and well. In 2009, Lady Gaga recorded her Fame Monster album there, and Jay-Z put down The Blueprint 3. The facility houses four Solid State Logic studios—SSL 3 features a 5.1 surround system—as well as the Digiplant room, with a DigiDesign D-Control, and a video suite that includes an Apple Power Mac G5 running Avid Media Composer and ProTools HD 3 Accel. The company also has one of the largest selections of on-site rental gear available, everything from rare and vintage tube microphones to ATR 102 analog recorders. It’s an engineer’s dream lab.

Openings at one of the music industry’s most illustrious establishments do not come about often, and the company receives hundreds of résumés every year from those vying for a job. College graduates with degrees in recording arts or music production can and do find work as part-time receptionists, assistant engineers, and equipment repair technicians—favor is given to those with proven technical skills, an advanced ear for mixing, and unbridled passion. To avoid falling into the massive pile of unread applications you may have to take the big step and ship out to Los Angeles; immerse yourself in the local music scene, network with other engineers where you can, and look for opportunities to develop contacts with those working at the studio. It might be a risk, but you’ll never know if you don’t try.


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