Kenwood (Demo Studio)
- Solo Beatles Studios
- Mar 28
- 20 min read
Updated: 19 hours ago
History of the Kenwood Demo Studio
The Kenwood demo studio was room in John Lennon's house "Kenwood" where he wrote songs, recorded demos, experimented, and listened to music. And while it's perhaps not hugely significant from a released music standpoint, it was where John (and Paul) wrote many songs that would ultimately become Beatles classics. For that reason alone it is quite significant.
And that's not to say there were no official releases recorded at Kenwood either. John and Yoko's infamous experimental album Unfinished Music No. 1: Two Virgins was recorded in the demo studio at Kenwood in May of 1968.
History
John and Cynthia bought Kenwood on the St George's Hill Estate, Weybridge, Surrey on 15 July 1964. According to Cynthia, they lived entirely on the top floor/attic of Kenwood for the first nine months while the rest of the house was being renovated. The top floor was set up as a completely independent apartment at that time.
After the rest of the house was finished being renovated, the entire attic was gutted and renovated at which time the attic kitchen became the demo studio. Based on a careful examination of photographs, various floorplans, and online sources, I believe that the studio was very likely the room at the far south-east corner of the top floor.
Below are several images illustrating where this room is. On the left is an architectural drawing from the house's construction in 1913, center is a 1967 photo of the south-east side of the house, and on the right is a 2006 floor plan from the sale of the house. I suspect that the lavatory in the 2006 floor plan was not part of the studio, but added after John's time there. Judging by the architectural drawings, I estimate that the studio room measured approximately 20 feet by 10 feet.
Every publicly available photo of the demo studio that I am aware of was taken on the same day. On 29 June 1967, photographer Leslie Bryce and Beatles Monthly/Beat Instrumental editor Johnny Dean visited Kenwood for an article that eventually became "John's Music Room" which appeared in the October 1967 issue of Beat Instrumental. I've found other small bits of information in books, but almost all the information comes from the Leslie Bryce photos and the Beat Instrumental article.
In her book John: A Biography, Cynthia Lennon recounts the condition of the studio as typically being in a state of disorder. "In another room in the attic a basic recording studio had been thrown together. It was usually in complete disarray—records strewn among beanbags, scribbled lyrics all over the room, recording equipment everywhere." (Lennon, 2005, ch. 12). Several times in the book she describes John spending countless hours in the attic studio writing and recording.
In several interviews, Paul recounts writing frequently in the attic at Kenwood. For example, Paul recounts that most of the Help! album was written in the attic "The songwriting for the album [Help!] was done mainly at John's place in Weybridge... I remember us all sitting round trying to think, and John getting the idea for the title track. I helped with the structure of it and put in little counter melodies. When we'd finished, we went downstairs and played it to Cynthia and Maureen Cleave, and they thought it was good. We'd got it then, that was it." (The Beatles Anthology, 2000, p. 171)
I'm having trouble pinning down exactly when John finally left Kenwood for good. There are photos of him there as late as December 1968, so a rough estimate as to when the demo studio was active would be sometime in 1965 or even 1966 to late 1968. Thanks to real estate listings, we know that Kenwood was for sale by January of 1969.
As mentioned above, unfortunately all the information that is publicly available about the Kenwood Demo studio essentially comes from one single day. There were almost certainly other instruments and recording equipment that John used at Kenwood from 1965 to 1968, but as of now that information remains a mystery.
Instruments & Recording Equipment
Alto Saxophone (unknown make/model)
In the below photo we can see John goofing around with what looks like an alto saxophone. This saxophone was more of a prop/decoration than anything, however. According to the "John's Music Room" article in Beat Instrumental the sax had no mouthpiece. For what its worth, John is said to have "played" sax mouthpiece on "Helter Skelter". Inquiring minds wonder if he ever joined the two.
Brenell Mark 5 Type M (3)
John had three Brenell Mark 5 Type M tape machines at Kenwood. The Mark 5 M's are 1/4", 1.875ips - 15ips, analog tape recorder/reproducers. I believe that there were 1/2-track mono and 1/4-track stereo configurations available, but I am unsure which John's were. Possibly a combination of both.
In his book Eight Arms To Hold You, author Chip Madinger specifically identifies the Brenell's as the decks John used to record Unfinished Music No. 1 saying "This cacophony [Two Virgins] was recorded onto John's Brenell tape machines with a single mic into the wee hours of May 4th." (P. 19)
I've read that all four Beatles had Brenell Mark 5 decks and I've been able to confirm that John, Paul, and George all definitely did. Ringo may have as well, but I just haven't been able to confirm that with photos or other evidence. Paul acquired his Mark 5's through The Beatles publisher Dick James' son Stephen James, so it's probably a fair bet that the others came through him as well.
Paul actually specifically mentioned the Brenell's when he inducted John in to the Rock And Roll Hall Of Fame on 19 January 1994: "After that I set up a couple of machines. We used to have these Brenell recording machines that I set up a couple of them. And they stayed up all night and recorded Two Virgins on that. But you took the cover yourselves – nothing to do with me."
Farfisa Combo Compact
"Combo" organs were a type of portable electric organ that became wildly popular in the 1960s due to the explosion of so-called "combo bands". The Combo Compact uses a filtered sine wave to create sounds and is in that way is a kind of synthesizer emulating an organ.
Rocker switches selected between its nine voices: Bass 16', Strings 16', Flute 8', Oboe 8', Trumpet 8', Strings 8', Flute 4', Piccolo 4', and Strings 4'. There are also controls for Bass Volume, Vibrato, Reverb, and Multi-Tone Booster. The Multi-Tone Booster adds a filtered (high passed) pulse wave to the sine wave and is part of what gives Farfisa's their distinctive sound.
By 1967, when the below photo was taken, John was no stranger to Combo Organs. In 1965, he played the Vox Continental in the studio - a similar sounding Combo Organ - on The Beatles "I'm Down" and likely on "Think for Yourself" as well. The Continental was taken on the road in '65 and '66 for performances of "I'm Down" including the Ed Sullivan Show in '65. The most famous (or infamous) of these appearances is undoubtedly the Shea Stadium concert on 15 August 1965 which found Lennon wildly pounding on the Continental to the point that it was unusable for the next performance in Toronto.
Fender Stratocaster
In this article about John's Gretsch 6120, his cousin David Birch mentions a blue Strat being in the studio at Kenwood. That would almost surely be John's Sonic Blue1961 Fender Stratocaster. When John and George decided they wanted Strats, they dispatched their confidante and roadie Mal Evans who returned with the nearly identical second-hand Strats.
Some have speculated that the Strats were bought in 1964 after seeing a photo of John playing one at a soundcheck on 22 December 1964. However, I believe that it was probably a borrowed Strat that John used after damaging the neck of his Rickenbacker 325 the previous night. I think that the more commonly cited date of February 1965 is probably correct.
While little specific information about John's Strat is known, George's is well documented and so some things can be inferred about John's.
A date-stamp on George's indicates that it was manufactured in December of 1961.
The back of the headstock had a decal that read "Grimwoods - The music people - Maidstone and Whitstable". The music stores Mal normally shopped at for The Beatles were Sound City, Selmer, and Drum City, all in Central London. It seems unlikely Mal would have driven over an hour to Maidstone or farther to Whitstable. I think that it's more likely that the guitar had been sold at Grimwoods in the past and that Mal bought them in London.
John used his Strat in the studio at least through 1967, perhaps nowhere more famously than the solo for "Nowhere Man" which he and George played in unison. The guitar's whereabouts after 1968 become a little murky. My personal theory is that John replaced the neck and eventually gave it to George. For more information on that, check out the Strat section here.
Ferrograph Model 424
The Ferrograph Model 424 is a 1/4" valve tape recorder/reproducer that, from what I can tell, can record in half-track, but play back both half-track and quarter-track tapes. It records at 3.75ips or 7.5ips in mono or stereo.
It achieves the 1/2 and 1/4 track playback by using a single quarter-track playback head that can be moved vertically. Thus when the head is in the down "half-track" position it is aligned to play back half-track spacing but still using a quarter-track head to do the playback. Not exactly a recipe for high fidelity reproduction, but perhaps a useful feature for a consumer/portable deck.
Ferrograph Series 6
The Ferrograph Series 6 is a series of valve tape recorder/reproducers manufactured in England from 1966 to 1969. There are two versions, the 632 half-track and the 634 quarter-track. From what I can gather both versions look essentially identical so it's impossible to tell which version John had from this photo.
The Series 6 decks are in many respects very similar to the above Model 242 without the moving head mechanism. They are 1/4", valve-based, stereo decks with very similar controls for operation. Series 6 decks can run at 1.875ips, 3.75ips, and 7.5ips.
Framus “Hootenanny” 5/024 12
Serial Number 51083. Although I don't have direct proof of John's 1964 Framus “Hootenanny” being in the attic studio at Kenwood, it was photographed in the main house so I think there is a very good chance it was used in the attic, however briefly.
The Framus “Hootenanny” 5/024 12 is a 12-string acoustic in natural finish with a spruce top, mahogany sides and back, a maple neck, and rosewood fretboard. John acquired the Hootennany in 1964 and used it on Help! and Rubber Soul. It can be heard on “Help!,” “It’s Only Love," “I’ve Just Seen a Face,” “You’ve Got to Hide Your Love Away,” “Girl” as well as George’s parts on “Norwegian Wood (This Bird Has Flown).”
In late 1965 John gave the Hootenanny to Gordon Waller of Peter & Gordon, who then passed it on to a manager. It languished in an attic for 50 years before being found and then sold at auction in 2024 for a whopping $2.85 million. See the auction listing here.
Left: John with the Hootenanny downstairs at Kenwood on 27 March 1968 - Photo: Henry Grossman. Right: The Hootenanny in 2024 - Photo via Julian's Auctions
Gibson J-160E
Serial Number 64309. This J-160E was actually John's second, a replacement for the J-160E that was stolen from the 1963 Christmas show at the Finsbury Park Astoria Theatre. It was manufactured in early 1964 and was identical to John's first J-160E except for two slight cosmetic differences. The new J-160E had a slightly different rosette design around the sound hole, and an orange label visible inside which the first guitar did not. It originally had a sunburst finish, just like the first.
As was de rigueur with the Beatles in 1967, John decided to have his J-160E painted in psychedelic fashion by the Dutch artists collective, The Fool. He also had the pickguard removed and moved the pickup from the neck side of the sound hole to the bridge side. John debuted the guitar's new look on 24 June 1967 at EMI Studios for a rehearsal for the broadcast of "All You Need Is Love" (though he ultimately decided not to play guitar for the broadcast). It is this version of the guitar we see in the below photo from the attic which was taken just four days after the "All You Need Is Love" broadcast.
As was de rigueur with the Beatles in 1968, John had the J-160E sanded down to the bare wood, moved the pickup back to the "neck" position, and had a pickguard put back on. In May 1969 in Montreal, John etched and then inked in caricatures of himself and Yoko into the the guitar to commemorate the "Bed-Ins For Peace." John used the guitar to record "Give Peace a Chance" on 1 June, the last day of the Montreal Bed-In.
There isn't much evidence of John using the J-160e after 1969, but John did hang on to it. It is still owned by his estate and is frequently loaned to museums and exhibits around the world.
Gretsch 6120 Chet Atkins Nashville
Serial number 53940. According to the Gretsch website, a serial number in the 53,000s dates this guitar to early 1963. Its not quite clear when John actually obtained the 6120, but we do know that he used it on April 1966 to record "Paperback Writer" at EMI Studios. Some sources say that it was also used on "Rain" and possibly some Revolver tracks as well. Regardless of the specific songs, there's no evidence that the guitar was ever used again on a Beatles session.
But, John did take the guitar home and and it was in the studio at Kenwood in November of 1967 when his cousin David Birch visited. "I was just cheeky enough to ask John for one of his spare guitars." recalled Birch. “I had my eye on a blue Fender Stratocaster that was lying in the studio but John suggested the Gretsch and gave it to me as we were talking.”
Birch hung on to the guitar for nearly fifty years before he put it up for auction in 2014. The guitar is now part of the Jim Irsay collection. Click here to see the guitar's page on the Jim Irsay Collection website.
Grundig TK 140
This Grundig TK 140 tape deck was purportedly from the attic studio at Kenwood, though it is not in the 1967 photos. The provenance of this deck is strong though, having been lent to the 2009 “White Feather: The Spirit of Lennon” exhibit at the Beatles Story Museum by Cynthia and Julian Lennon.
Compared to the other tape recorders in the Kenwood Demo Studio, the Grundig TK 140 is quite basic in many respects. It is a solid-state deck that records in quarter-track mono and runs at one speed only, 3.75ips. It has DIN inputs and outputs and would have come with a small dynamic mic with DIN connection.
However, it's small size and relatively light weight make it much portable than the other larger valve decks that John had in the attic like the Brenell Mark 5 Type M's or the Ferrograph's. This is a deck he could have easily carried around if he wanted to record elsewhere in the house.
Mellotron Mark II
John likely saw a Mellotron for the first time on 9 August 1965 when he was producing a track at IBC Studios in London. John almost immediately purchased a Mellotron Mark II which was delivered to Kenwood on 16 August. The Mellotron Mark II purchased by John was a rare black model, one of only six made.
According to Philip Norman's book John Lennon: The Life, the Mellotron was abandoned on a landing at Kenwood for at least some period of time after its delivery. "A Mellotron organ which proved too difficult to manhandle up the final narrow stairs, stood on a half landing below [the demo studio]" (Norman, 2008, p. 383). John can be heard playing the Mellotron in demos believed to be from Kenwood in the summer of 1966, indicating that it had likely been moved to the top floor demo studio at the latest by that time.
Though he did use it for Unfinished Music No. 1: Two Virgins and various demo recordings, John's Mellotron is often erroneously identified as the Mellotron used to record "Strawberry Fields Forever" and other Beatles songs through the Magical Mystery Tour album. In actuality, the Mellotron that was used for those sessions was a Mark II hired by EMI (Abbey Road) Studios from the Mellotron office in London according to Recording The Beatles.
In 1968 EMI purchased their own Mellotron, a modified Sound Effects Console model, which the Beatles used on their sessions from then on. That Sound Effects Console is now owned by Paul McCartney.
John's Mellotron followed when he moved from Kenwood to Tittenhurst Park in 1969. Julian Lennon recalls the Mellotron working at Tittenhurst. But at some point between 1969 when they moved in and 1971 the Mellotron became unplayable. Moody Blues keyboardist Mike Pinder was brought in to play it on an Imagine session in 1971, but when he arrived, it wasn't in working order. The tapes inside had become tangled after the Mellotron had been put on its back.
According to Engineer Jack Douglas in this interview, John's Mellotron came with him when he moved to the United States in 1971 and was stored in a vault in the basement of the Record Plant building along with other equipment and artifacts John owned. Other sources seem to confirm this such as George Small who says the Mellotron was still in the Record Plant basement when he auditioned for Double Fantasy in 1980.
At some point, the Mellotron was apparently acquired by Jimmy Iovine and Ted Field of Interscope Records. In this gearspace.com thread, Nine Inch Nail's collaborator Brian Liesegang says that the band was lent the MKII by Ted Field and used it on their EP Broken in 1992. Numerous articles (like this one) since the '90s make reference to the Mellotron being displayed in Iovine's office at Interscope. In 2009, Streetly Electronics posted on Facebook that they restored the MKII and gave the original damaged tapes to Paul McCartney.
Post Script: In recent years, the Rock and Roll Hall Of Fame in Cleveland, Ohio has a
Mellotron on display that they claim to be Lennon's. That Mellotron however is a Mahogany Mark II. As previously stated, John's MKII was a rare black model which is corroborated by sources including the very trustworthy Recording The Beatles, the Imagine John and Yoko book (an official book compiled by Yoko) as well as this website, and this website. I can't find any information to verify that the MKII at the RRHOF truly had any association with John.
Microphone (unknown make/model)
I can't pin down what this microphone is. It kind of looks like a Beyerdynamic m260 to me, but that is just a guess. It's also not totally dissimilar from a Shure SM58 or a host of other dynamic and ribbon "vocal" microphones.
Another possibility is that it came with one of the tape recorders, but I can't find a Brenell, Ferrograph, Grundig, or Phillips microphone that even looks remotely similar. If anyone can identify it for sure, please email me at solobeatlesstudios@gmail.com.
Philips EL3541
After much searching I'm fairly sure the tape deck in the below photo is some variation of the Philips EL3541. There were a bunch of different versions of the EL3541 manufactured for different countries, but several of them look essentially like what we see in this photo.
Like the Grundig TK 140, the EL3541 is a might lighter and portable tape machine compared to John's Brenell's and Ferrograph's. Unlike the TK 140 however, the EL3541 did use valves. Otherwise it was fairly similar. It is a 1/4" quarter-track mono deck that ran at 3.75ips with a 4 inch 2.5 watt internal speaker.
José Ramírez Guitarra de Estudio classical guitar
Like the Framus “Hootenanny” I don't have direct proof of this guitar being in the attic studio at Kenwood. However, because it was frequently photographed in the house I believe it is likely that it was in the studio at some point.
Several sources online say that John owned a Ramírez 1A, but I'm pretty sure that the guitar that is in photos in 1965 and 1968 is actually George's (via Klaus Voorman) Ramírez Guitarra de Estudio. Ramírez seems to confirm this on their Facebook page.
George and Pattie Harrison visited the Lennons at Kenwood on 27 March 1965 with a photographer who captured George playing his Guitarra de Estudio. Is it possible George left the guitar there that day? After a very quick search, the latest instance I can find of George playing classical on a Beatles song is "You've Got To Hide Your Love Away" which was recorded on 18 February 1965, so I think it is possible.
An extensive history of this specific guitar can be found on the Ramirez Guitar website.
Left: George with the Guitarra de Estudio at Kenwood on 27 March 1968 - Photo: Henry Grossman. Right: John with the Guitarra de Estudio at Kenwood in December of 1968 - Photo: Ray Green.
Rickenbacker Model 1996
Serial number DE519. In December 1964 during the "Another Beatles Christmas Show" run at the Hammersmith Odeon, John dropped his Rickenbacker 325 and cracked the neck where it meets the headstock. The official UK importer of Rickenbacker, Rose-Morris, wasted no time getting a model Model 1996 to John so that he could finish out the run of shows.
The "1996" was Rose-Morris's catalog number for the 325 and was in all respects the same guitar as the 325. However, the 325 changed a little over the years so the 1996 was slightly different from John's 325. The most obvious difference is that the 1996 was in Fireglo (sunburst) finish and the 325 was in Jetglo (black) finish. The other major difference is that the 1996 had a f-hole while the 325 had a solid top.
The 325 was repaired after the Christmas shows and the 1996 was seemingly relegated to Kenwood. I can't find any evidence of John using it live (or in the studio) with The Beatles again. Interestingly, it is the only electric guitar we can see in the 1967 Kenwood studio pictures.
John gave the 1996 to Ringo after he (Ringo) left The Beatles briefly during the The Beatles (White Album) sessions in August 1968. Apparently, this was in an effort to encourage Ringo's burgeoning songwriting efforts. Ringo held on to the for many years and it was even used on the 2005 track "Satisfied". The 1996 was sold at auction in 2015 for $910,000 when Ringo auctioned off much of his property. The below photos are from that auction. You can see the listing here.
Speakers (unknown make/model
At either side of the studio we can see large speakers. Admittedly, I'm not a 60's speaker expert and haven't been able to identify the make or model of these speakers. The grills make them even harder to identify. It does appear that they have metal badges/logos on them though, but I can't make out the name.
The speakers were mounted on the wall on mounts that swiveled. In the photos of the studio - which were all taken on the same day - we can see the speakers pointing in different directions in different shots. An interesting detail is that John had a photo of him and Paul from a David Bailey photo shoot attached to the side of the left speaker.
Speakers in the studio at Kenwood - Photo: Leslie Bryce
Turntable (unknown make/model)
John not only spent a lot of time in the attic studio writing and recording music, but also listening to it. Below the right speaker we can see what I'm pretty sure is a turntable. It looks to be pretty large, perhaps some kind of radio/turntable combo with integrated speaker. Unfortunately its nearly impossible to make out any real detail.
Upright Piano (unknown make/model)
I've been trying to find the make and model of this piano for months to no avail. It looks to me to be a "studio" size piano rather than a full upright (a studio piano is 44-47 inches tall while a full upright is 48-60 inches tall).
They are hard to make out in the 1967 image, but the piano has some ornate wood adornments on the front giving it a more distinctive look than most standard upright pianos. I have reached out to a handful of piano experts and despite the uniqueness of the design I have still been unable to identify the make.
The piano viewed from different angles in the studio at Kenwood in 1967 - Photos: Leslie Bryce
When John and Yoko moved to Tittenhurst Park in 1969 he took the piano with him and placed it in right in their bedroom (below left photo). According to the official Imagine John Yoko book, it was on this piano that John composed one of his most beloved songs, Imagine.
The piano again traveled with John and Yoko when they moved to the United States of America in 1971. In the below right image, we can see John playing the piano at the Dakota on 7 April 1975 for a French TV interview. I think there is a very good chance that it was on this piano that John recorded the demos for "Free As A Bird", "Real Love", and "Now And Then", which of course were eventually used for the finished songs, as well as "Grow Old With Me" which as officially released on Milk and Honey.
Left: the piano in the bedroom at Tittenhurst Park circa 1971. Right: The piano at the Dakota in New York City in 1975.
Violin (unknown make/model)
Like this Alto Sax, this violin was largely a prop/decoration. The "John's Music Room" article in Beat Instrumental describes the violin as having "...only one string hanging loosely along its body."
Vox AC30
We can see a Vox AC30 on the floor under the tape machines. I believe that this could be one of the AC30's John used with The Beatles, specifically his second. Although the AC30 might seem like a lot of amp for a bedroom studio, The Beatles probably would have considered them rather puny (at least post 1963).
John received his first AC30 around April 1962 when Brian Epstein negotiated an endorsement deal between The Beatles and Vox that replaced his AC15 Twin. In July 1963, The Beatles visited the Vox factory and John and George both received new AC30s. Their original AC30s were returned to Vox at this time.
John and George's new AC30s, like their first AC30s, were AC-30/6 Twin non top boost versions with factory added top boost circuits. The AC30 came in "Treble", "Bass" and "Normal" normal versions which used different value capacitors in the tone voicing circuit, though the differences between these versions were very small. I'm not sure if its known which versions John and George had (if you do, drop me a line).
It became apparent very quickly that the AC30s were not loud enough to overcome audiences as Beatlemania exploded in 1963. Starting with the Christmas show run on 24 December 1963, John and George both started using Vox AC50 heads and AC30 Super Twin speaker cabinets. This started an almost constant run of new amps with ever increasing wattage that the Beatles used until their live retirement in 1966.
This means that John's second AC30 would have been used live for five months at most. Photos show that the AC30s were used sparingly in the studio in 1964 and 1965 and probably not at all in 1966 and 1967. All that is to say, it is very conceivable that in 1967 John was keeping his AC30 at home and that it would have been in fairly good condition like the one we see in the photo.
Unidentified Equipment
I can't identify the equipment in the photo below. This could be one item, but I'm thinking its two. The top item looks like it could be some kind of meter bridge or remote for a tape machine. It looks to have six or seven knobs, some switches and a VU mater.
I'm wondering if the bottom piece is some kind of mixer or integrated amplifier. John would have needed something to route the tape machines, turntable, radio ect... to the speakers as well as something to power the main speakers.
There's also a third, smaller item partially obscuring the bottom piece. At first I thought this might be John's "Nothing Box" - a useless box with blinking lights built by "Magic" Alex Mardas - but I don't think the shape matches.
As I've said elsewhere on this site, I'm not particularly well-versed in hifi equipment. If anyone knows what any of this is, please reach out at solobeatlesstudios@gmail.com.
SOURCES & NOTES
"John's Music Room." Beat Instrumental, October 1967, pp 38-39. I'm fairly sure this article was written by Johnny Dean who was the editor of Beat Instrumental as well as Beatles Monthly.
https://kenwoodlennon.blogspot.com/ - Obviously lots of information about Kenwood here.
Recording The Beatles - by Kevin Ryan and Brian Kehew - This book is the bible when it comes to, well, recording The Beatles! It is a constant reference for me. Unfortunately it has been out of print for many years now.
Eight Arms to Hold You: The Solo Beatles Compendium - by Chip Madinger and Mark Easter. An encyclopedia of dates and information regarding solo Beatles recording sessions through the year 2000. Very detailed. The book can be purchased as an E-Book here.
This site is for educational and research purposes only.
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