Terry started his career in the 1960s at the UK’s legendary independent studio, Olympic, under the direction of Keith Grant who proved a great teacher. At that time Olympic was located just off Baker Street in London’s West End.

On the day Terry started his new adventure The Animals’ ‘House of the Rising Sun’ was being prepped for the mastering room and the first Rolling Stones record had recently been completed – things were seriously happening for Olympic.

Terry spent the first few months learning studio etiquette and making a lot of tea and coffee – typical UK studio training. But he also learnt the art of studio set-up, microphone placement and running a tape machine that had no RTZ or clock to let you know where you were. During this apprenticeship he shuffled tape for some very successful young artists and was a part of the team that recorded hits for The Troggs, The Moody Blues, Marianne Faithful, Spencer Davis Group, Donovan and Barbra Streisand to name but a few.

The next step was engineering. This came quite unexpectedly when Keith’s car broke down en route to the studio. Terry, the only person available, got the session off and running, successfully capturing the sound of a big band, rhythm section and horns.

This marked the first big step and it wasn’t long before TB was tackling rock projects. One of the first was the recording and mixing of The Who’s ‘Substitute’ under the direction of Pete Townsend. The trend continued until it was time to move on to a new studio and continue the learning curve, this time under the watchful eye of Adrian Kerridge at Lansdowne Studios, Holland Park.

“At Lansdowne, although engineering sessions from the beginning, one of the first memories I have was of leadering up Dave Clark’s new album — 12 songs, none of which could have been longer than two minutes and thirty seconds! Many of the tracks were, of course, huge radio singles.

Shortly afterwards I recorded the ‘Homburg’ single for Procol Harum and then ‘Mellow Yellow’ for Donovan with Micky Most and worked on the Bonzo’s first record with Gerry Bron. One of the in-house production team at Lansdowne was Monty Babson and, with partner Barry Morgan, they approached me to help them put together a new studio to be named Morgan Studios.”

As the construction of Morgan went ahead, Terry moved once again. This time to the new Olympic studios, a considerably more upscale affair on the south side of the Thames in Barnes. With two studios running round the clock it seemed as if this was where the pop scene began and ended…

The Rolling Stones, Eagles, Jimmy Hendrix, Procol Harum, The Small Faces, Manfred Mann, the luminary list was endless… Then, as if out of nowhere, a group of Canadians breezed into town to record a pool of beer spots for Canadian radio. Under the leadership of Mort Ross and Doug Riley they recorded non-stop for a week, sessions refreshingly up-beat though nothing to do with British pop.

At this point Morgan Studios were ready to open the doors and begin recording with a Scully 8-track recorder, the first CADAC console and a young hopeful called Andy Johns hired in as tape-op. Terry, meanwhile, was recording ‘The Doughnut in Granny’s Greenhouse’ with The Bonzos and Gus Dudgeon producing, ‘Feeling Alright’ with Traffic and mixing Joe Cocker’s ‘With a Little Help from my Friends’ with Denny Cordell… Morgan was off to a flying start.

“It was then that the ‘Canadian Connection’ began to take shape via a phone call with Doug Riley. It was a social call but it saw me heading out to Toronto during a quiet week to record more beer spots. Beer! Still, I could think of worse reasons to head to North America.

We recorded all week but I still got a feel for the local music scene which, though small, was vibrant. Recording studios were few and far between and even then had very little of the equipment I had become accustomed to using. But once back in London I missed the Canadian gang so we hatched a plan to build a studio/label to operate out of Toronto and to open in the fall of ’69”.

Terry had to convince his wife Linda that this was a good thing to do. This duly done, the appropriate papers were obtained, personal effects were packed and flights booked – it was going to happen. And happen it did.

The first band was Motherlode and the first hit was ‘When I Die’; then came Dr. Music, a 15 piece big band and a national hit with ‘Sun Goes By’. Terry engineered sessions for April Wine, The Stampeders, Michel Pagliaro, Moe Koffman – (the theme for “As it Happens” is still on CBC), and recorded the music for a number of TV shows including Sonny and Cher and Ray Stevens while consulting the audio on the Kenny Rogers series among others.

At this point Terry started to take production more seriously. He began a long relationship with Rush, cut three albums with Klaatu and as many with Max Webster. The 80s saw a Billboard #1 with ‘I Just Died In Your Arms’ from Cutting Crew, Toronto went gold with ‘Head On’, ‘Tom Sawyer’ from ‘Moving Pictures’ pushed Rush over the edge and ‘Try’ was the big hit for Blue Rodeo’s ‘Outskirts’ album.

As the 90’s rolled over Terry produced Fates Warning’s ‘Parallels’ and ‘A Pleasant Shade of Grey’ albums, mixed the singles for Moist for EMI Music Canada, the radio singles for the Killjoys and Matthew Good and produced ‘Angel Rat’ for Voivod.

Which brings us into the new millennium and a new studio venture with engineer/producer Russ Mackay. A wonderful 2K sq.ft. room with lots of wood which made for a stunning drum sound with a long decay mmm… I can hear it now ! And then, more recently.