home studio in the outskirts of Minneapolis. Prince continued to use the facility to lay down Camille and parts of Sign O’ The Times throughout 1986 and The Black Album in 1987, flitting between here and his Gaplin Blvd. Another lonely Christmas and Manic Monday were also recorded at Sunset Sound, in 1984, as was Old Friends 4 Sale and much of the Parade album during April 1985. Key tracks he recorded here include Moonbeam Levels in 1982 and 17 Days and Electric Intercourse in 1983, and Roadhouse Garden 1984 – some outtakes from these sessions were later included in the Graffiti Bridge album of 1990. Even once his Kiowa Trail home studio was operational, Prince kept to this practice, mixing his subsequent albums 1999, Purple Rain and part of Around The World In A Day at Sunset Sound also. Most of Prince’s extended versions of the period were mixed here also.
The first sessions Prince did here was for the Controversy album during August 1981 when he recorded Private Joy, as well as used the facility to mix the final touches into that album. Prince liked the studio’s console so much he had a replica built to the same specification and installed into his home studio at Galpin Blvd, Minnesota. There are additionally two similar sized vocal and isolation booths. There is a smaller piano room 15ft by 9ft housing a 1906 Steinway B7 grand piano which Prince adored. Its adjoining control room is equipped with a Frank DeMedio custom API-550 console, this room measures 21ft by 16ft and is 10ft high. Studio 3 is formed of five rooms – the largest, the performance space, is 38ft by 18ft and has a height of 12ft. An avid basketball player, Prince often took advantage of the hoop out in the studio’s yard. It was her who during the 1999 sessions got Prince to lay down his vocals in the control room instead of the studio, so that he could mix his voice himself (he did this ever since). Prince was most active at Sunset Sound between 19, spending much of the year here recording in long sessions that routinely began at mid-morning and continued right into the early hours of the next day, aided by Peggy “Mac” McCreary as his LA recording technician of choice.
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