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Studio Recording
A boutique service for capturing highest-quality recordings
of solo instruments and voice. Also
for small bands wanting to record digitally using analog
front-end equipment that is among the best worldwide. Equipment list is below.
Listen to raw tracks from previous sessions.
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Vintech 273
Recommended applications:
vocals, drum machines, synths, guitar cab/amp simulators, woodwinds |
I used
to record in a studio with a Neve console, which opened my eyes to how stunningly good recordings can get. After
hunting for "that sound" for years, I found the Vintech
preamp: the closest thing to the old Neve 1073 preamp (the
gold-standard in vocal & instrument preamps... just Google "Neve
1073" & "vocals"). Since no more Neve 1073s are being made, Vintech
duplicated the circuitry using contemporary components and
custom output transformers. Two channels,
hi and low shelving EQs on each input; microphone XLR or Hi-Z
instrument inputs for keyboards, guitars, bass DI, etc.
Current Vintech users: Jim
Gaines (Santana, Stevie Ray Vaughn), Chuck Ainlay (George Strait,
Trisha Yearwood, Mark Knopfler), Eddie Kramer (Jimi Hendrix, The
Rolling Stones), Levon Helm (the Band), Peter Frampton, and Dan Shea
(Jennifer Lopez). |
Recommended applications:
electronic music mixes, acoustic drums, amplified guitar & bass, acoustic string & brass instruments
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Two channels of legendary API 312 preamps (among the most-praised preamp designs of the late 1990s, used on countless
hit records) with a world-class ADC (Analog to Digital Converter)
outputting sample rates from 44.1 to 192kHz. Get
several sounds out of one mic: raising the input level slowly saturates
the transformer, creating that glorious classic API sound (even when
running hard the sound remains noise-free). Accepts microphone XLR and
Hi-Z instrument inputs.
API user:
multi-Grammy winner Joe Chiccarelli (Elton John, Beck, U2, Melissa
Etheridge, Tori Amos, Oingo Boingo, Rufus Wainwright, Carole King, The
Cult, Bon Jovi) who recently recorded The Shins entirely through an API
console for their album "Wincing the Night Away". |
Analog Compressor
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SPL DynaMaxx compressor/limiter/gate
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Unobtrusive, transparent and musically accurate compression
& limiting. Signal-dependent automation�and two excellent THAT 2181
VCAs�in
a differential mode for maximum transparency, dynamics, and lowest
distortion values. Great for taming transients and volume swings during
recording without adding color to the performance.
"Always sounds great,
musical and perfectly natural... whether�it's vocal tracks, drums,
(bass) guitars, pianos or Hammonds."
- Patrick Sanders, Midimix
Recording Studio, Belgium
"Beats dbx 1066, Drawmer DL241, and LA Audio GCX20"
- TOOLS4Music magazine |
Microphones
(w/ outboard power supply)
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M-Audio's
design team worked with recording engineers in side-by-side listening
tests to come up with a design that emulates�the best features of the
world's finest vintage large diaphragm tube mics with the low noise and
reliability of modern components. In particular, the Sputnik exhibits
the coveted low and low-mid qualities of the Neumann U47 and the
upper-mids and highs of the AKG C12. This combination occurring in one
mic is a holy grail, and makes it ideal for faithfully recording male
or female vocals and acoustic instruments. Cardioid, omni, figure eight
patterns, 20Hz - 20kHz +/- 1.5dB, -10dB pad and 80 Hz hi-pass filter. |
Studio Projects C4 (pair)
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Excellent for
drum overheads. If you're recording in a room that is acoustically less
than stellar, the C4's can help smooth out the edges. In that way, the
C4 works well to tame some of the harsh transients coming off of
cymbals. The C4's sound almost
valve-like, or like the color you'd get running through transformers.
Maybe even a little like you're recording to analog tape. There's some
kind of old-school thing going on with these mics. Condensor with
interchangeable omni/cardioid capsules, 40Hz - 20kHz. Switchable -10dB
pad / high pass filter. |
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Ultra-accurate
hypercardioid condenser handles loud or quiet signals, always revealing
the subtle details. Highly directional, it is ideal for getting a
natural sound with balanced off-axis rejection of unwanted room sound.
Ruler-flat frequency response. A powerful tool for broadcast and vocal
production. 30Hz to 30kHz |
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Sounds great inside or outside the kick drum. One-piece solid aluminum body designed for
low-frequency capture. Dynamic cardioid, 30Hz - 15kHz, 144db max. |
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Much better than an SM57; handles sound pressure above 140 dB; silky smooth on percussion and strings.
Dynamic cardioid, 50Hz - 16kHz |
Digital Conversion for PC Recording, Mixing & Monitoring
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Sample rates:
44.1kHz, 48kHz, 96kHz; Near-zero-latency monitoring; 8 balanced line
inputs & outputs; digital in/out via SPDIF. The RME Multiface II
uses a custom computer interface surpassing USB 2.0 and FireWire 400 performance.
RME
technologies are used by: Kraftwerk (4 Multiface units), Clawfinger
("After I got the RME Multiface,�clearly the soundcard was the
problem... if only RME made guitar strings with the same quality"), and
Seeed (using RME devices during all stages of pre-production and
mixdown), Apoptygma Berzerk, and MTV Video Music Awards. |
Active Near-Field Monitor Speakers
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Bi-amped monitors matching the amazing A.R.T.
folded ribbon tweeter with a 6.5" woofer that uses a new cone material
(Rohacell / Kervlar sandwich) combining high rigidity & high
internal damping with low weight, resulting in an extremely accurate
monitor. 46Hz - 35 kHz
"I was stunned by the sound of the Adam monitors: firm bass,
gorgeous high end, and an impressive midrange. The clarity they
produced throughout the frequency range was remarkably consistent, with
no bumps or drop-offs anywhere in the spectrum. The high end on the A7
is absolutely gorgeous, with none of the shrillness that makes mixing
on some monitors extremely fatiguing."
- Gary Eskow (composer and
journalist) |
Active Mid-Field Speakers ("the club speakers")
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These
are among the top 3, if not the best, 12" 2-way active speakers in the
world. High output, extreme resolution active, compact, full-range
speaker system; on-board speaker system management including
equalization, time correction, crossover filters, amplifier overdrive
protection, system set-up and output level controls; Wide dispersion
(80� horiz. x 40� vert.)
"The EX 12's will blow
most of the 15" 2-way cabinets out of the water. You'd be hard pressed
to find a more powerful or more accurate speaker"
- Bill Cronheim,
Owner, Entertainment Systems Corporation |
Active Subwoofer
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Bipolar sub featuring a pair of 8-inch woofers fed from a 150 watt amplifier with adjustable electronic crossover. Very
quick, well defined bass that blends well with small monitors. The
bipolar nature of the sub woofer causes it to just disappear into the
music, with no sense of directionality. |
Contact |
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