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Harrison Audio's New 32Classic Mixing Console

In 1977, the Village Recorder installed Harrison Audio’s new 3232C mixing console, with its revolutionary inline channel design and world’s-first 32 multitrack buses, in two of the studio’s three rooms. Over the following three years, projects recorded at the Village — Steely Dan’s Aja album (1978) and “FM (No Static at All)” single (1979), and Supertramp’s Breakfast in America album (1980) — consecutively won the annual Grammy Awards for Best Engineered Recording – Non-Classical.

Fast-forward to 2024 and Harrison has begun shipping its new 32Classic console internationally. The 32Classic supports traditional or modern hybrid workflows, combining the brand’s renowned 32C four-band parametric EQ with variable high-pass and low-pass filters and 32 transformer-balanced Harrison mic preamps with 64 channels of built-in, high-end AD/DA conversion, 7.1.4 immersive monitoring and a Dante AoIP interface.

Harrison 32C: The first inline design for multi-track recording
The 32C, introduced in 1975, was the manufacturer’s first console to offer company founder Dave Harrison’s innovative inline design, featuring both an input and a monitor return path through each channel module, and was the world’s first desk with 32 multitrack buses. At the Village in 1977, a Harrison 3232C (with 32 inputs) replaced an MCI console in Studio A, Steely Dan’s favored room, while a 4032C (40 inputs) was installed in place of a Quad Eight in Studio B. Clients and the studio’s engineering staff were quick to take advantage of the novel inline functionality and large number of output buses on the new Harrison consoles.

 
“I remember how easy the Harrison was to use and the inline monitoring capability,” says Lenise Bent, who was hired in August 1976 and was one of four women among the six assistant engineers at The Village. She assisted engineer Roger “The Immortal” Nichols for over 10 months in Studio A during the tracking of Steely Dan’s Aja, followed by early sessions for the band’s next album, Gaucho (which also won the Grammy Award for engineering, in 1982), before joining engineer/producer Pete Henderson for Supertramp’s monthslong Breakfast in America recording dates in Studio B.
 
“I liked the fact that there were four ways one could choose to record, either inline or all on faders, and you could switch the mic and monitor functions,” Bent continues. “Also, I liked creating the subgroups and stereo pairs, making one track the master — so easy to mix. This was all quite innovative back then. And I don't recall anyone using any other preamps or EQs other than the ones on the console.”
 
”The fact that the EQ was parametric, the board had VCA automation and it had 32 buses was so much nicer than the old boards,” adds Hernán Rojas, an engineer and assistant engineer at the Village around the same time as Bent. Rojas worked on the Harrison consoles on numerous projects, including remixes of some of the singles from Fleetwood Mac’s Rumours album, alongside engineers Ken Caillat and Richard Dashut, and a string of disco releases for Butterfly Records.