In an episode of this season’s MTV hit series The Osbournes, the man for whom OzzFest is named roams the halls of his palatial Los Angeles home asking visitors, “Do you want to see my studio?” It’s not Ozzy Osbourne obsessing. Rather, it’s the singer’s way of reveling in what is, after a career spanning four decades, his very first personal studio.
“I have to tell, you, Ozzy was very, very emotional about this,” says David Frangioni, president of pro audio design, sales, and service company Audio One and Osbourne’s designer of choice for this project. “It was actually kind of touching. Here is a guy who helped define an entire genre of music, who’s recorded in the finest studios in the world, and for the first time he’s going to be able to bring together all of his experience and vision into one space. You can see why it was emotional for him.”
Technology & Monitoring
The core technology for the studio is Pro Tools, an HD3 Accel system with 48 channels of input and output. Osbourne personally specified Neve modules for the signal chain. All wiring is Monster Cable, using Neutrik Black Gold connectors. All signal — analog, digital, and word clock — is routed through the custom-made patch bays. Pro Tools is controlled using a Digidesign Control 24 built into an Argosy console enclosure.
“Ozzy is in touch with technology but he goes by what he hears, and his ears are amazing — he knows a great performance when he hears one,” says Frangioni. “He definitely likes the sound of analog, but he’s worked enough with Pro Tools to know that he can make it sound as analog as he needs it to.”
Initially, monitoring was going to be solely nearfield, with Yamaha NS-10Ms paired with Bryston 4B amplifiers as the core system. A second system comprising Genelec 1032 speakers and a 7070 sub was added. “But Ozzy wanted it louder,” says Frangioni. “So we went first to KRK V88 speakers, then to Genelec 1038B monitors on stands with a 7071 sub. Now, it’s loud.” Other tech touches include Lexicon 960L and TC Electronic System 6000 multichannel processors, Digidesign PRE 8-channel mic preamps, Brent Averill-modified Neve mic pre/EQs, and a closet full of Shure, AKG, and Neumann microphones.
The final touch was, fittingly, Ozzy Osbourne’s: the choice of a red and black color motíf to complement the interior design by the Jonathan Barnett Design Group. “They’re also colors found in Ozzy’s paintings,” notes Frangioni. “He’s a great artist, which I didn’t know about until I met him. And every great artist needs a great studio.”