"The atmosphere in the studio as well as in the city of Miami."

Criteria Studios: Layla and Other Assorted ... Albums

Criteria Recording Studio was established in 1958 as an outgrowth of founder Mack Emerman's hobby. Originally a trumpet player, Mack's jazz leanings led him to begin recording in his home and later on-site. Criteria was the first in the Southeast with monaural disc mastering and stereophonic recording in 1954. The purchase of the original building in '58 saw the beginnings of a business in earnest. The facility quickly became a haven for technology advancements.

The original building housing Criteria was constructed in 1956. Purchased in 1958, acoustic modifications were completed and the history began. Since it was the only room at the time, there was no need for a studio designation. That however, was soon to change. In 1966 work was begun on the first building designed and constructed as a recording Studio from the ground up in the Southeast. Completed in January of 1967, this massive room comfortably held a 72 piece orchestra. By the end of 1969 and 1970, both studios were booked around the clock and months in advance. With the monster success of projects including James Brown's "I Feel Good", Aretha Franklin's "Young, Gifted and Black", Derek & the Dominoes "Layla" and Brook Benton's "Rainy Night in Georgia" it was almost impossible to get in the doors. In early 1971 construction began on Criteria's third recording space: Studio C.
In early 1972 Studio C was completed. The next ten years were a succession of chart topping musical landmarks. From Eric Clapton's "461 Ocean Blvd.", (where Golden Beach's Mayor now lives) Fleetwood Mac's "Rumors", Black Sabbath's "Heaven & Hell" to the Bee Gee's "Saturday Night Fever". The most recent renovation was completed in 1997. A complete control room overhaul was coupled with an incredible sounding new console: an API Legacy. just in case you were wondering; the muses are still there...

Studio manager Trevor Fletcher talks about the Beatles, Tom Down, Bob Marley, Eric Clapton, and James Brown.

Interview by Michael Limnios

Which is the most interesting period in Criteria’s “life” and why?
That really depends on what you mean by interesting. Probably the height of the 1970’s rock era. To go from one room with Black Sabbath, to another with Crosby Stills Nash, then bump into Eric Clapton in the hallway was pretty epic.

Which of historical music personalities would you like to meet and recording?
Since the question mentions historical, I would have to say it would have been great to have recorded with the Beatles. I mean how much more iconic then that can you get. There is an in-studio urban myth that says Criteria was being considered for a Beatle album at one point. But obviously, that never happened…

                                                                                                  Photo by Terry Townsend

Of all the people you’ve meeting with, whom do you admire the most?
Tom Dowd. Period.  If you haven’t seen the documentary “The Language of Music”-order it right now!

Tell me about the beginning of Criteria studios. How did Mack Emerman’s choose the name and where did it start?
Criteria started in the same location we’re currently at. He purchased a one room freestanding building that was a former warehouse for a candy company I believe.  It all evolved form there. With respect to the name, I believe Mack chose it because it defined what he wanted it to be. THE benchmark for recording excellence.

Why did you think that CRITERIA STUDIOS continued to generate such a devoted following?
The sound of the projects recorded here, as well as the commercial success of those projects. The atmosphere in the studio as well as in the city of Miami. We’re NOT NYC, LA, Nashville or London.  Sometimes it is the difference that you need to inspire something better.

What was the secret of the CRITERIA studios?  
If I told you, I’d have to kill you.

What characterizes the sound of Studio?
That really depends on the era. Early on the acoustics were very good. I think that in the early days of the science of acoustics it was a bit hit & miss. We were fortunate enough to have a room where it was ‘hit’.  As we continued to build rooms for expansion (6 now) that was a very important consideration. Much effort was put into making it sound as good as it could within the structural limitations. As musical tastes continued to evolve the 1970’s saw a critical mass for a ‘dead or dark’ sounding rooms. Those spaces originally design then were reflective of that.  Much the same we saw the demands for control room size beginning to expand in the 1980’s and so on.  Essentially, there has not been a defining ‘sound’ of the facility throughout the 54 years, but rather just the ability to provide high-quality, acoustically correct environments for professionals to create their vision.

What are some of the most memorable recordings in studio?
Depends on your specific tastes. One of the things I am most proud of is the diverse legacy of the studio. You can hear all kinds of styles ranging from our first gold single James Brown’s “I Got You (I Feel Good)”, to Eric Clapton’s 461 Ocean Blvd, to the Eagles- Hotel California, Lil Wayne’s Carter IV, Justin Timberlake Sexy Back, Mana’s-  Amar Es Combatir, to the Bee Gee’s Saturday Night Fever,  Julio Iglesias – Momentos,  to  Bebo Valdes’  We Could Make Such Beautiful Music Together’  and on

Do you have any amusing tales to tell from studio?
Sure do. But I figure I’ll have to write a book one day, so don’t want to give away too much…

What is the strangest desire that you have requested someone in the recording?
Strange as in “I don’t like the color of the carpet in the studio, please change it?” or “we need hookers and blow”?

How has the music business changed over the years since you first started in music?
Too many ways to go into detail. Basically the record industry changed into the Music Business.  It became less about the creation of someone’s musical vision and more about making money: selling a commodity.  The technological developments in the last 25 years has also made for dramatic changes- perhaps more the anything. They’ve altered how music is made and by who. How music is monetized; how it’s listened to. And in my humble opinion, not necessarily for the better.

Would you mind telling me your most vivid memory from studio?
One strikes me immediately. In 1979 or so I recall being 14 and walking into the lobby. At the time there was a spiral staircase going into one of the lounges. On the base of the staircase sat Bob Marley. The combination of the mass of dreadlocks and a joint the size of a tree trunk was a little intimidating.

                                                                            Photo by Michael Ochs Archive / Redferns

What the difference between CRITERIA and other studios, what sets it apart from the others?  
I really believe that is up to our clients to say.  Every client brings their own expectations, standards and desires.  What I can say is we’ve been doing it incredibly successfully for over five decades. Come record with us and see for yourself.

What advice would you give to aspiring musicians & producer, thinking of pursuing a career in the craft?
Study Dentistry!  Seriously, just understand that it’s the music BUSINESS. It’s a cutthroat world that a lot of people desire to enter based on emotional considerations. It’s not lucrative, it’s not always the excitement you envision and it’s not conducive to healthy stable long-term relationships. But if you’re driven and dedicated, and it’s something you have to do. then be prepared to sweat, and sacrifice to succeed.

Criteria Recording Studios