Recording Studio

Apollo x8p’s, Thunderbolt 3 Audio Interfaces, UAD DSP / UAD-2 Satellite OCTO Core  

Two Universal Audio Apollo x8p’s each with 16-in/22-out for a total of 32-in/44-out. UAD-2 Satellite Thunderbolt 3 OCTO Core with eight SHARC processors to deliver a massive level of DSP. Pack mixes with the world’s most authentic analog emulation plug-ins. DSP accelerator’s Thunderbolt 3 connectivity gives it sub-2ms latency and enough bandwidth to build massive daisy chains of Thunderbolt-equipped devices. Elite-class AD/DA conversion supples an ultra-pristine signal path with 129dB dynamic range and -118dB THD+N. Dual Crystal clocking supplies a low-jitter environment for pure, artifact-free recording and solid stereo imaging.

Legendary Preamps with Unison Technology

The Apollo x8p’s Unison preamp technology goes far beyond traditional software modeling and emulations. Unison is a bidirectional communication between the Apollo x8p’s mic preamp and a Unison-capable plug-in. The plug-in adjusts the preamp circuit, including parameters such as impedance, analog gain structure and much more. When you adjust the Apollo x8p’s preamp gain knob and physical controls, the plug-in adjusts the preamp’s behavior to match the target preamp. You’re not simply filtering your audio to approximate the character of a famous preamp, your microphone is now interacting with the Apollo x8p’s input the same way it would behave with the “modeled” preamplifier.

UAD plug-ins astounded the recording world with their incredible ability to sound like analog processors, eliminating the need for large racks of gear in the studio. Unison preamp technology does the same thing for mic inputs and DI boxes eliminating the need to collect and maintain expensive hardware preamps just for sonic variety. Unison preamps allow for tracking through models of the industry’s most legendary hardware. Selectable +24 dBu operation for easy integration with our high-end studio gear. Ultra-fast Thunderbolt 3 connectivity provides less than 2ms of latency and ample expandability to track and monitor with no latency through our Neumann 3-way monitors and Avantone CLA-10’s.

Calibration & Measurement – Apollo, Studio Monitors, Room Acoustics, Sound Proofing, Acoustic Absorption Panels, Bass Traps

The control room monitors and headphones are seamlessly integrated between the Universal Audio Apollo’s and the Neumann monitoring system, including Surround, DTS, Dolby Atmos and Apple Immersive Spatial Audio monitoring . The frequency response of the room and speakers was measured with Sonarworks SoundID Reference Measure and microphone to create a calibration profile. The location of the acoustic sound absorption panels on the walls, ceiling and vocal booth were placed specifically with the use of a calibration and measurement microphone. The acoustic sound absorption panels are covered with fireproof, acoustic insulation fabric, specifically designed for sound absorption. The  acoustic sound absorption panels are filled with Rockwool and the bass traps are filled up to the ceiling with layers of triangles made of this material. Rockwool replaced “Owens Corning 703” fiberglass acoustic insulation for sound absorption in major recording studios. Rockwool insulation, also known as stone wool or mineral wool, is primarily made from natural rocks like basalt, but it can also include recycled slag and other materials. The manufacturing process involves melting these materials at very high temperatures, then spinning the molten rock into fine fibers, which are then compressed to form the insulation.  Rockwool, made from rock or slag, offers better fire resistance, moisture resistance, and sound absorption than fiberglass. 

Studio Monitor Isolation Stands

The Ultimate Support MS-90 monitor stands are designed for professional monitoring, tightening the bass response and improving the focus of the stereo image. Made of rugged 6000-series aluminum, the MS-90’s three internal channels allow proper threading of the speaker cables. The stands are filled with sand for increased stability. 

Acoustic Isolation Pads

The Gator Frameworks GFW-ISOPAD-SM isolation pads sit between the studio monitors and the studio desk, absorbing all of the extra vibration that would normally transfer from the speaker to the desk. The results are an accurate and focused bass that clears up the midrange dramatically. Also the monitors can be more accurately aimed at the audio engineer’s listening position.

Subwoofer Acoustic Sound Isolation Riser

The Auralex SubDude II Subwoofer Sound Isolation Riser decouples the subwoofer from the floor or speaker cabinet, improving bass response, room acoustics and frequency balance. It is an incredibly effective device that is used to float a subwoofer and yields nearly total acoustic sound isolation.

Studio Monitors

Neumann KH 310 3-way Active Studio Monitors

Active studio monitors with exceptional performance and outstanding quality. Powerful, efficient Class AB amplifiers pump clean power to each of its drivers. Mathematically Modeled Dispersion (MMD) waveguide helps this loudspeaker sound great in a variety of environments. Specially-designed waveguide gives you a wider sweet spot, sealed cabinet design gives you exceptional low-frequency performance, acoustic controls let you fine-tune for your room. Neumann developed a Mathematically Modeled Dispersion (MMD) waveguide giving you smoother off-axis response and a wider sweet spot, greater consistency and accuracy as you move around your mix position. Smoother off-axis response lets your acoustic treatment do its job better because any reflected sound will be well-balanced.

Rock-solid low-frequency response, three-way design and sealed cabinet. Sealed cabinets eliminate standing-wave resonances which equates to accurate low-frequency reproduction. A bonus of the sealed design is superb transient response giving you better control over your mixes dynamics. Four-position controls for low, mid, and high frequencies help tailor your room or personal taste. No matter what type of room you’re mixing in, or where you place the monitors, it’s easy to get a balanced sound. The one piece front panel reduces diffraction and improves frequency response. Powerful Class AB amplifiers give you high headroom and fast transient response.

Specifications: 

Acoustics

Free Field Frequency Response: 34 Hz to 21 kHz ±3 dB

Pass Band Free Field Frequency Response: 36 Hz to 20 kHz ±2 dB

Self-Generated Noise (Input Gain Set to 0 dB, Output Level Set to 100 dB SPL): < 20 dB(A) SPL at 10 cm

Total Harmonic Distortion: < 0.5 % at 95 dB SPL at 1 m > 85 Hz

Max. SPL in Full Space / Calc. in Half Space at 3 % THD at 1 m, Averaged Between 100 Hz and 6 kHz: 110.3 dB SPL / 116.3 dB SPL

Bass Capability

Max. SPL in Half Space at 3 % THD at 1 m, Averaged Between 50 Hz and 100 Hz: 104.5 dB SP

Max. Short Term SPL with IEC-Weighted Noise (IEC 60268-5) at 1 m, in Typical Listening Conditions: 108 dB(C) SPL

Max. Short Term SPL with Music Material at 2.3 m, in Typical Listening Conditions (Pair): 100 dB(C) SPL (Full Range), 107 dB(C) SPL (with Subwoofer)

Max. Long Term SPL with Pink Noise at 2.3 m, in Typical Listening Conditions (Single/Pair): 93/99 dB(C) SPL (Full Range), 94/100 dB(C) SPL (with Subwoofer)

Electronics

Woofer Class AB Amplifier, Continuous (Peak) Output Power: 150 W (210 W), THD and Noise <0.1% with Deactivated Limiter

Midrange Class AB Amplifier, Continuous (Peak) Output Power: 70 W (90 W), THD and Noise <0.1% with Deactivated Limiter

Tweeter Class AB Amplifier, Continuous (Peak) Output Power: 70 W (90 W), THD and Noise <0.1% with Deactivated Limiter

Controller Design: Analog, Active

Crossover Frequencies; Crossover Slope: 650 Hz, 2.0 kHz; 24 dB/oct., 4th Order

Acoustical Controls:

Bass: 0, -2.5, -5, -7.5 dB

Low-Mid: 0, -1.5, -3, -4.5 dB

Treble: +1, 0, -1, -2 dB

Protection Circuitry Excursion Limiter: Low

Peak Limiter: Low

Thermo Limiter: Low, Mid, High

Overheat Protection: Amplifiers

Infrasonic Filter Frequency; Slope: 15 Hz; 6 dB/oct.

Analog Input:

Input Type: XLR, Electronically Balanced

Input Impedance, XLR Balanced: > 13 kW

nput Gain Control (Sensitivity): 0 dBu to -15 dBu

Output Level Control: 94, 100, 108, 114 dB SPL

CMRR: > 56 dB, 100 Hz to 15 kHz

Maximum Input Level: 24 dBu (Analog), 18 dBu (Analog Delayed)

Neumann KH 750 10-inch Powered Studio Subwoofer

The KH 750 has a unique and flexible onboard 2.0/0.1 Bass Manager that allows for it to be used in many different system configurations. The rear panel is equipped with both analog and digital inputs and outputs, four routing modes, fourth-order DSP crossovers, and acoustical controls for seamless system and room integration. Decreases harmonic and intermodulation distortion of main monitors and increases maximum SPL, Reproduces LFE channel; sub signal of a bass-managed multichannel source, Ideal for Plane Wave bass array system, Full functionality access via Neumann Control software, Onboard 256 W amplification; 105 dB SPL Frequency response: 18 Hz–300 Hz.

Specifications: 

Acoustics

Free Field Frequency Response: ±6 dB 16 Hz, 800 Hz

Free Field Frequency Response: ±3 dB 18 Hz, 750 Hz

Sine Wave Output with a THD < 0.5 % at 1 m in Half Space: 95 dB SPL (>70 Hz)

Bass Capability; Max. SPL in Half Space at 3% THD at 1m (Averaged Between 50 Hz and 100 Hz): 105.0 dB SPL

Self-Generated Noise at 10 cm (with Input Gain Set to 100 dB SPL for 0 dBu): < 20 dB(A) SPL

Electronics

Controller Design: Digital; Active

Crossover Frequency: 80 Hz Fixed or 60 Hz, 100 Hz via Neumann.Control

Crossover Slope: 24 dB/oct; 4th OrderEqualization: Low Cut 30 Hz; 0 dB, -12 dB

Phase: 0, 45, 90, 135 and 0/180 deg

Output Level Control (Output Level at 1 m Based on 0 dBu Input Level): 94; 100; 108; 114 dB SPL

Analog Inputs & Outputs:Analog Inputs: 2 x XLR; Analog Electronically Balanced

Analog Outputs: 2 x XLR; Analog Electronically Balanced

Analog Input Impedance: > 13 kO

Max. Input Level: < +24 dBu

CMRR: > 56 dB @ 15 kHz

Crosstalk (1 kHz), Level Matching: < –90 dB, ±0.1 dB

Analog Dynamic Range; THD+N: 119 dB(A); < 0.003% (-90 dB)

Digital Inputs & Outputs:

Digital Inputs BNC (75 O): AES3; S/P-DIF

Digital Outputs BNC (75 O): AES3

A/D Converter:

Resolution Design: 16-bit, 24-bit DAC

Sampling Rate: 22.05, 24, 32, 44.1, 48, 64, 88.2, 96, 176.4, 192 kHz

Dynamic Range A-D-A: > 120 dB(A)

Dynamic Range D-A: > 123 dB(A)

Avantone Pro CLA-10 Active Studio Monitors

Best studio monitor of all time is reborn with the Avantone CLA-10 Active Studio Monitors, a homage to the golden age of music production. Avantone Pro collaborated with platinum studio engineer Chris Lord-Alge to re-create the “white cone” studio monitor. It has been a staple of world-class recording studios for over 45 years and the sound of hits. Not known as the world’s best speaker for casual listening, but instead known for being the world’s best reference monitor for mixing.

Through meticulous research into the originals and unwavering attention to sonic detail, those iconic monitors have been recreated for a new generation of audio purists as the CLA-10 Active. Encased in a sleek black box with that unmistakable white woofer, the CLA-10 Actives deliver the unforgiving mid-forward frequency response that lets you focus on the most mission-critical elements of your mix, particularly vocals. If you can make a mix sound great on CLA-10s, it will sound great on any speaker.

As the supply of aftermarket components for vintage white-cone speakers dwindled, Avantone Pro stepped in to fill the void by drawing upon their decade of experience in driver construction. The result is a near-identical reproduction of both drivers and the classic crossover that all stay true to the original specifications. The AV10-MHF tweeter dome underwent rigorous engineering to arrive at the exact phenolic resin doping required to replicate the original’s performance curve. The AV10-MLF woofer boasts custom-tooled mechanical parts that faithfully mirror its predecessor. Collaborating closely with one of the original vendors, Avantone Pro ensured that the stiffness and weight of the cone matched the original’s behavior flawlessly. The only departure from the original design is the use of a pressed cone, instead of a lapped one, allowing for superior matching, ushering in a new era where matched pairs are now readily available.

The CLA-10 Actives have a “VTPC” knob (Variable Tissue Paper Control) allowing you to simulate the high-frequency dampening trick often used on the original speakers — covering the tweeters with tissue paper. VTPC allows you to simulate anything from the vertical M model to the horizontal Studio model. Avantone Pro decided to stay traditional with a linear power supply, implementing a massive, old-school toroidal transformer to maintain the legacy sound. The CLA-10 Active uses a monolithic Class AB amplifier. At low power, THD is a phenomenal 0.005%; at rated load it is 0.1%, yielding excellent performance compared to class D amps. The system yields a rock solid 200W RMS.

Active re-creation of the iconic “white cone” speakers, trusted by world-class engineers for decades. Sonically identical to the original design, VTPC gives you variable control over the tweeter response; simulating the old tissue-paper trick. Precisely-matched frequency voicing ensures that your mix translates across any speaker and high-grade components ensure a longer lifespan.

Specifications: 

LF Driver Size: 7″ woofer

LF Driver Type: 18cm Cone

HF Driver Size: 1.3″ tweeter

HF Driver Type: 3.5cm Soft Cone

Total Power: 200W Class AB

Frequency Response: 60 Hz-20 kHz

Maximum Peak SPL: 104 dB

Input Types: 1 x Combination XLR 1/4″ (balanced), 1 x RCA (unbalanced)

Features: Variable Tissue Paper Control

Enclosure Type: Sealed

DI Boxes

A good DI Box must provide a wide distortion free frequency response and the dynamic range to handle today’s powerful instruments.

Radial J48 1-channel Active 48v Direct Boxes

Active direct box that has been specifically designed to work around the limited current that is available with 48-Volt phantom power. Delivers pure and natural sound of the instrument. A unique switch-mode supply steps up the internal rails to allow an input signal of up to 10V without any noticeable distortion. Welded I-beam construction makes it impossible to torque the PC board. Eliminates cold solder joints – the No.1 cause of system failure in the field, Innovative slide-in-place XLR trace makes it possible to use I-Beam girder construction, Digital switching power supply steps-up the internal rail voltage to 9-Volts, J48 will not choke like other DI’s when hit with large transients, Military-grade PC board is employed for maximum wear and tear in abusive environments. Welded steel standoffs ensure the PC board will not shift, -15dB pad allows super hot inputs such as that from a CD player to be connected and balanced for long runs, Momentary 48V Check LED will flash once when the 80Hz filter is depressed to tell you phantom power is present, Merge function turns the input & thru into ‘left & right’ inputs to mono mix at the XLR output. This handy function saves valuable inputs on the mixer, Input is connected to the instrument, Thru-put is connected to the instrument amplifier, High input impedance to reduce loading, Book-end design creates a protective zone around the switches & connectors for best protection, Heavy-duty baked enamel finish for excellent durability and great looks for years! 100% 14-gauge steel construction, 600 Ohm balanced XLR out is mic level to properly match concert splitters – will drive 1000 feet without appreciable noise, Polarity reverse switch flips the polarity from the AES standard Pin-2 to Pin-3 on the XLR and is used when combining sounds that may be out of phase, 80 Hz low-cut (high pass) filter gently reduces excessive bass for more headroom and clarity, Eliminates run-away resonant feedback from acoustics, Ground-lift disconnects the ground path to the transformer at the XLR output. This is used when a ground path is made at the input side such as with a keyboard, No slip full bottom pad reduces mechanical vibration, improves electrical isolation and keeps the J48 from moving around on busy stages.

Radial Reamp JCR 1-channel Passive Re-Amping Device

Passive re-amping device that allows you to send pre-recorded tracks through guitar amps and effects pedals. It’s based on the original Reamp circuit designed by John Cuniberti and includes a custom US-made transformer. The JCR is designed to preserve the original recording’s detail while optimizing it for use with amps and pedals, offering a way to experiment with mic placement and amp/pedal settings without limitations.  Balanced line level input and a custom USA-made transformer that converts your signal impedance for use with guitar amps, three-position filter switch, 180-degree polarity reverse to bring your signal into phase, and ground lift options for noise-free operation. 14-Gauge steel welded I-beam construction, Ground lift switch that is recessed to prevent accidental use, Phase inverter, Mute switch, Tone control, XLR and TRS inputs, TS output.

Radial ProAV2 2-channel Passive A/V Direct Box

Passive 2-channel multimedia DI stereo direct box specifically developed for audio and video integration. A variety of stereo inputs greatly simplifies signal management and eliminates the need for various adapters. A Swiss Army array of connections are provided including 1/4″ for instruments, RCA and 1/8″ connectors for consumer electronics and computers, and a +4 dB XLR Outputs for professional systems. Front panel connectors can also be used as thru-puts to allow multiple patch points. Custom wound transformers are employed that are able to withstand exceptionally hot levels while maintaining linearity from 20 Hz to 18.5 kHz. Transformer isolation adds the benefit of eliminating ground loops that cause audio hum and buzz and video hum bars or snow. A -15 dB pad is provided to tame hot signals and the ground lift eliminates hum and buzz caused by ground loops. 

Cables

Mogami has been the top choice for wiring professional recording studios for decades. Recording engineers have come to depend on Mogami’s superior sound quality, clarity, silent background, and consistent quality.

Mogami Gold DB-25 – XLRM Multichannel Audio Cable Snake, Gold Contacts

Mogami Gold DB-25 – XLRF Multichannel Audio Cable Snake, Gold Contacts

Mogami Gold Studio Microphone Cable, XLR Male-XLR Female

Mogami Gold TRS-XLRM & TRS-XLRF – These balanced patch cables with gold-pin/black body ¼” TRS and XLR connectors are a popular choice for powered speakers. Mogami Gold TRS-XLRM uses Neglex™ Studio. 

Quad cabling, legendary for clarity and freedom from noise/RF interference. Neglex type Quad cables are designed for the highest quality recording applications where maximum definition is critical.

Headphones

Sony MDR-7506 Closed-Back Professional Headphones

Professional studio monitoring headphones with large diaphragm, closed-back design, providing outstanding reduction of external noises. Neodymium magnets and 40 millimeter drivers for powerful, detailed sound and a frequency response of 10 Hz to 20 kHz.

AKG K240 Studio Professional Over-Ear, Semi-Open HeadphonES

Professional studio headphones with advanced 30 mm XXL transducers and patented Varimotion diaphragms delivering a wide dynamic range, increased sensitivity and high sound levels. The semi-open design provides a solid bass range and extremely clear highs. Impressive accuracy, clarity and a frequency response of 15 Hz to 25000 kHz have made these headphones a standard for recording settings.

AKG K141 Studio Professional Over-Ear, Semi-Open Headphones

The K141 balances qualities of both open and closed-back headphones. It has a semi-open design, providing the “airy” sound of open headphones while maintaining the bass response of a closed model. Uncolored, natural, clear sound with a frequency response of 18 Hz to 24,000 kHz.

Neumann NDH 30 Open-Back Studio Headphones

High-precision monitoring for critical sonic decisions. The NDH 30’s incorporate state-of-the-art 1.5-inch drivers with high-gauss neodymium magnets for high sensitivity and minimal distortion. This allows you to hear the pure audio signal without coloration. Neumann made sure the mechanical construction of NDH 30 headphones met the company’s high standards. Linear Sound balance is similar to Neumann’s studio monitors. Extended 12 Hz–34 kHz frequency response, Solid state imaging and transparent sound with high resolution, Sound and mixing compatibility with calibrated Neumann KH Line studio monitors.

Neumann RIME Immersive Monitoring Software

Binauralization software for monitoring stereo, surround and immersive audio formats up to 7.1.4 with Neumann NDH 30 Open-Back Studio Headphones. You no longer need a dedicated speaker setup to create immersive audio content. Instead, you only need a pair of Neumann headphones and Reference Immersive Monitoring Environment (RIME). This groundbreaking software for mixing and mastering in multichannel formats uses Neumann technology, AMBEO algorithms and a purpose-built studio space to create a jaw-dropping 3D audio image.  AMBEO groundbreaking audio algorithms guarantee razor-sharp imaging with breathtaking realism. RIME is free from the unwanted coloration and “phasiness” of competing solutions. With AMBEO’s breakthrough virtual acoustics algorithms integrated into Neumann RIME, you create rich, immersive soundscapes. It can also be used for stereo playback to ensure that your mixes sound great not only in Atmos but across all other playback systems. RIME also supports OSC-compatible head tracker devices, so you can tailor a personal listening environment that responds to your own individual head movements. The basis for binauralization is a speaker setup measured with MA 1 using Neumann KH speakers in a studio room, which was recorded with the Neumann KU 100 artificial head. These impulse responses are then used for binauralization and can be adapted to the listener’s head within certain limits and the degree of room influence can also be fine-tuned. 

Supperware Head Tracker

USB head tracking for audio professionals, MIDI over USB, Best-in-class latency of less than 20 ms, Six 3-axis sensors for high precision and stability, Accurate to a fraction of a degree, OSC bridge support.

Presonus HP4 Discrete 4-Channel Headphone Amplifier

The PreSonus HP4 headphone-distribution system is louder than you’re ever likely to need for a recording. Sound is clear and clean with a wide dynamic range. 4 screaming-loud (130 mW per channel) stereo ¼-inch headphone outputs (front panel).

2 balanced ¼-inch line outputs (monitor outputs), 2 balanced ¼-inch line inputs, Headphone level control for each channel, Mono summing switch for each channel, Monitor level control and mute switch, Daisy-chain multiple units via monitor outputs.

Microphones

Warm Audio WA87 / Neumann U87 Large-diaphragm Condenser MicrophonE

Large-diaphragm Condenser Microphone with 3 Switchable Polar Patterns, Highpass Filter, 10dB Pad and Shock Mount. Use on anything with world-class results. It’s great for vocals and makes drums sound huge. It’s a must-have for adding a bit of room to complement a close dynamic or ribbon on a guitar cabinet. It’s an ideal choice for any acoustic instrument — strings, brass, woodwinds, percussion and kick drum. It’s equipped with an 80Hz highpass filter that’s useful for killing low-end mud and rumble. Three polar patterns further increase this microphone’s already impressive versatility.

Three switchable polar patterns — Cardioid, omnidirectional and figure-8, give you immense flexibility when it comes to exploring the sonic possibilities offered by different recording techniques. Figure-8 (bi-directional) is perfect for capturing face-to-face recordings such as two background singers on one mic. This pattern also features aggressive side rejection which makes it a useful option for miking backline amps and speaker cabinets. With two of these superb mics, you can implement stereo techniques such as Spaced Pair (A/B), XY (including Blumlein), ORTF  microphones set to omni.

Built with premium all-discrete components: Custom reproduction of the renowned K-87 dual-diaphragm/dual-backplate capsule used in vintage ’87s. Premium parts and meticulous design deliver a superior-sounding microphone: 3 Switchable Polar Patterns: Cardioid, Omnidirectional, Fig-8, Designed After Classic, Studio-Standard Large-Diaphragm FET Condenser Mic, Incorporates a Faithful Reproduction of the Original Vintage 87-Style Circuit, WA87-B-50V Capsule Reproduction of the Vintage Dual-Backplate K87, Exceptional Build Quality with Premium, All-Discrete Components, NOS Fairchild Transistors, WIMA/Nichicon Capacitors, Custom CineMag USA Output Transformer, Nickel-Plated Brass Body; 10dB Pad; 80Hz Highpass Filter, Diaphragm: 6 micron, 1-in. Gold-Sputtered Membrane, Frequency response: 20 Hz–20 kHz; Noise: -117 dB, SPL (.5% THD): 132 dB (Pad Engaged), 125 dB (Pad Disengaged), 24k Gold-Plated, 3 Pin XLR (150 ohms).

Warm Audio WA-47 / Neumann U47 Large – diaphragm Tube Condenser Microphone

Large-Diaphragm Tube Condenser Microphone with 9 Polar Patterns, External PSU, Shock Mount. Nine polar patterns — cardioid, omni, and figure-8; plus six in-between patterns — gives you ample flexibility when it comes to exploring different recording techniques. Cardioid, with its moderate side and near-total rear rejection, is useful for just about any studio task. Omni is great for capturing room ambience along with your source. Use a figure-8 technique to overdub a sax with natural slap or record two singers on one mic (just be sure of the balance). Stunning on vocals, acoustic guitars, double bass, electric guitar, bass cabs, piano, drums, percussion, strings, brass, woodwinds and any other source you’d care to throw at it.

Built with premium all-discrete components:  Custom reproduction of the vintage ’47-style k47 capsule, designed with the same hole configuration and frequency response: TAB-Funkenwerk (AMI) USA Output Transformer, JJ Slovak 5751 Vacuum Tube, Wima and Solen French Polystyrene Capacitors, Polar Patterns: 9 Patterns — Cardioid, Omni, Fig-8, and 6 Mixed Patterns, Self-Noise: 11 dBA, Dynamic Range: 130 dBA Maximum SPL: 140 dB (<0.5% THD), Frequency Range: 20 Hz–20 kHz, Output impedance: 200 ohms, Rated Load Impedance: 2k ohms, S/N Ratio: 82 dBA, Equivalent Noise: 10 dBA (IEC651), External IEC Grounded PSU, Gotham 5-Meter GAC-7, 7-Pin Tube Microphone Cable.

Warm Audio WA-84 / Neumann K84 – Multi-Pattern Small – Diaphragm Condenser Microphone Stereo Pair

Multi-Pattern Small-Diaphragm Condenser Microphone with Cardioid, Omnidirectional Capsules and 10dB Pad – Stereo Pair, Shock Mounts. Ideal choice for piano, vibraphone, marimba, congas, strings and woodwinds. Makes snares and tom toms sound huge. It’s great for drum overheads, capturing cymbals with warmth and vibrancy. They’re perfect for adding a bit of room to complement a close dynamic or ribbon mic on a guitar cabinet. Engage the pad and move the mic right up on the speaker grille. Use them on a Leslie speaker cabinet rotary horn. The small diaphragm cardioid microphone KM 84 was built until 1992 and remains one of the most popular Neumann classics. Its even frequency response and consistent pickup pattern make it a sought-after microphone for all genres.

Built with premium all-discrete components: Vintage Reproduction Capsule, CineMag USA Transformer. Cardioid Polar Pattern, Fully Discrete Signal Path, Vintage Reproduction Capsule, 48V Phantom Powered, Frequency Range: 20 Hz–20 kHz, Sensitivity: -39 dB or 11mV/Pa @ 1 kHz, Output Impedance: 200, Rated Load Impedance: 1k, Switchable Pad: -10 dB, Maximum SPL: 123/133 dB @ 1 kHz, 0.5% THD, 0/-10 dB, S/N Ratio: 78 dBA (IEC651), Equivalent Noise: 16 dBA (IEC651), Dynamic Range: 107 dBA (IEC651), Connector: 3-Pin Gold-Plated XLR.

Shure SM58 / SM57 Cardioid Dynamic Vocal & Instrument Microphones

The SM58 and SM57 microphones are both based on the same cartridge design. The main difference is in the grille. The SM58 was designed for vocal applications and the SM57 for instruments. The SM58 is the most popular handheld dynamic microphone in the world. Stick one in front of any vocalist and most instruments to get excellent results. It’s best known for near indestructibility and amazing sound. The SM58 and SM57 mic’s sound has a critically tuned frequency response, cuts out low-end rumble and adds a noticeable rise in the upper-mid frequencies. This deliberate presence peak adds warmth and clarity to your vocals and lets you get the most out of a wide range of sources including guitar cabinets, brass and many other instruments. Cardioid pickup pattern isolates the main sound source, minimizes background noise and provides high gain before feedback, Internal pneumatic shock mount system cuts down handling noise, Unidyne III cartridge is famous for withstanding shocks, drops, and neglect, Effective, built-in spherical wind and pop filter reduces breath noise and plosives.

Rode NT1-A Cardioid Condenser Microphone

The NT1 is the world’s quietest studio condenser mic, backed by a minuscule 4dbA of self-noise and a low-noise Revolution Preamp to ensure your signal stays as clear as possible, preserving what you want to hear and eliminating what you don’t. Its cardioid polar pattern and large diaphragm, 1-inch gold-sputtered condenser capsule delivers your audio tracks with studio-grade warmth and precision, thanks to the NT1’s extended frequency range. Its sensitive engineering handles high sound pressure levels with no problem and converts analog to digital signals with 192kHz of high-resolution strength and stunningly unclippable 32-bit float digital output. 

The NT1 is a true workhorse of the studio. A world-class large-diaphragm condenser microphone that excels on vocals and a wide range of instruments. It offers a detailed midrange response coupled with silky smooth high frequencies and warm, round bass, making the NT1 an absolute standout in its class. Large-diaphragm (1-inch) Gold-Sputtered Capsule, Cardioid Polar Pattern, Ultra-Low Noise, Wide Dynamic Range, Internal Capsule Shock Mounting, Shock Mount.

Blue Microphone Bluebird

Large-diaphragm condenser microphone with a cardioid polar pattern, high-frequency clarity, smooth mid frequencies and rich lows. Record electric guitars with presence and acoustic guitars with incredible detail. Excellent off-axis rejection with a tight cardioid polar pattern. High pass filter minimizes mud and rumble with a -20 dB pad effectively handling loud sources. Great workhorse mic for any studio delivering accurate presence and transparency for any voice or instrument. Frequency Response of 20 Hz-20 kHz, Maximum SPL of 138 dB, Output impedance of 50 ohms, 48V Phantom Power, Shock Mount.

Talkback Microphone & Mute / Talk Switch

Audio-Technica U855QL Cardioid Dynamic Gooseneck Microphone

Rolls Pro Switchable Microphone Mute/Talk Professional Microphone Switch

Shotgun Microphone

AT897 Line + Gradient Condenser Microphone (Short Shotgun Condenser Microphone)

Lavalier Microphones

Sennheiser EW1142P Lav System-Lavalier Microphones

OLM-2 Lavalier Microphone with 3.5mm Connector for Sennheiser

Pop & Wind Screens

Stedman XL 6 inch Metal Pop Filters w/Gooseneck

Winds Screens-Studio and Outdoor Recording

Boom Combo Mic Stands & Poles

Hex Base Studio Booms

On-Stage MS7920B Bass Drum / Boom Combo Mic Stand

K-Tek KE-89 7 ft 6 in Avalon Boom Pole-Boom Pole with Cable inside

Wireless Transmitters

Sennheiser SK100 G3 B Band Mic Wireless Transmitter-G3 B Band

EW100 SKP100 G3 Wireless Bodypack Transmitters B: 626-668 MHz

Sennheiser SKM 100-835 G3 Wireless Handheld Microphone

Wireless Bodypack Receivers

Sennheiser EK100 G3 B Band Mic Wireless Bodypack Receivers-G3 B Band 

Portable Professional Recorders

Zoom H6 Handy Recorder with Interchangeable Microphone System & Remote

Zoom H4n Handy Recorder with Interchangeable Microphone System & Remote

Keyboard & Pad Controllers

Novation Impulse 61 MIDI Controller

Akai Professional MPC Studio Drum Pad Controller

Yamaha KX88 Controller Keyboard – Set the global standard for master keyboards. 88 key piano-touch keyboard, single and dual split modes for controlling A/B 2 series MIDI data. Many devoted users still consider the KX88 as having the most realistic piano-touch of any master controlling keyboard.

Alesis Nitro Electronic Drum Kit – 5-piece includes a trio of 8-inch dual-zone tom pads, an 8-inch kick tower, and a substantial 10-inch dual-zone snare pad. 

ADAT Converters

ULTRAGAIN PRO-8 DIGITAL ADA8000 – 8 Channel A/D &  D/A Converter

8 IMP “Invisible” mic preamps with switchable +48 V Phantom Power and audiophile-grade 24-bit A/D – D/A converters with incredibly detailed, pristine performance. Signal conversion takes place at your choice of 44.1 or 48 kHz with full 24-bit resolution. The ADAT Inputs and Outputs can be operated independently, as long as you use an identical word clock signal. ADA8000’s operating frequency range is an ultra-wide 10 Hz to 24 kHz at 48 kHz sampling rate. 

Ultra-low noise, high-headroom IMP “Invisible” mic preamps have been praised by audio professionals all over the world. These studio-grade mic preamps offer 130 dB of dynamic range with a bandwidth that extends below 10 Hz to over 200 kHz. Perfectly matched to every conceivable microphone with up to 60 dB gain and a +48 V phantom power supply. Armed with outstanding mic preamps, the ADA8000 provides exceptionally transparent and crystal clear sonic performance.

Computers

Control Room

Apple MacBook Pro 16 Inch Computer

HYPER HyperDrive Power 9-in-1 USB Type-C Hub

ACASIS 10 Ports 60W USB 3.0 Data Hub

Samsung 4TB T7 Touch Portable SSD’s

Vocal Booth

Apple MacBook Pro 16 Inch Computer

HYPER HyperDrive Power 9-in-1 USB Type-C Hub

ACASIS 10 Ports 60W USB 3.0 Data Hub

Samsung 4TB T7 Touch Portable SSD’s

Digital Audio Workstations

Avid Pro Tools Ultimate

Universal Audio Luna

Apple Logic Pro

Ableton Live Suite

Camera, LED Professional Monitor Video Displays & Lighting

Samsung Professional Video Monitor Displays

Samsung – 27″ View Finity S8 4K UHD IPS Monitor with HDR

Samsung – 50″ Class 7 Series

Samsung – 24” UN24M4500AF (Vocal Booth)

Lighting

Built-in professional video LED lights dimmable from the wall switch (3000k Indoors – 5000K Daylight). Control Room has six LED lights in the ceiling and the Vocal Booth has one LED light. Extra lighting can be brought into the recording studio from our Green Screen Room. The rows of LED lights lining the studio walls and ceiling are controlled by remotes located in the Control Room and Vocal Booth. A variety of colors, timing arrays and moods can be achieved, from calming to wild and in sync with audio playback. 

Green Screen & Backdrops

Green, White and Black Backdrops

Soft Light Boxes, Fluorescents (3000k Indoors – 5000K Daylight), Diffusers, Umbrellas

Zoom Q8n-4K Ultra High Definition Handy Video Recorder with Bluetooth & Remote

Audio Playback – JBL LSR308 Studio Monitor & JBL LSR310S 10” Powered Subwoofer – Both Synced to Camera & Video Display

Comfortable, Soundproof Environment

The recording studio Control Room and Vocal Booth are both soundproof, quiet and comfortable. Central air & heating ducts are routed through sound boards surrounding the central unit, acoustic diffusers, sound traps and three layers of Rockwool in the ceiling. 

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