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Our Carriage House Recording Studio
The home of Realgrey Records
The Studio
Studio and Gear

Studio and Gear

A comprehensive listing of studio gear with specs and photos

Mics

2 REALISTIC HIGHBALL DYNAMIC MICS (1978)

These were some of the first mics in my HS mic locker
Purchased in 1978 at Radio Shack

Push the button to talk
Push the button to mute
That is all

1 AEA R84 RIBBON

Microphone Type: Ribbon
Ribbon Type: 1.8-micron Aluminum (4.7mm x 59.7mm)
Polar Pattern: Figure-8
Frequency Response: 20Hz-20kHz
Max SPL: 165dB
Output Impedance: 270 ohms
Connector: XLR
Weight: 3 lbs.
Included Accessories: Case
Manufacturer Part Number: R84

1 AVANTONE PRO CV-12 - TUBE MIC

Type: Tube-Type True Condenser Microphone
Capsule: Dual-sided 32mm center-terminated gold-sputtered Mylar (6 micron)
Polar Patterns: 9 patterns selectable at PS-12 power supply
Frequency Response: 20Hz - 20kHz +/- 3dB
Output Impedance: 250 Ohms / transformer isolated
Maximum SPL: 136dB (0.5% THD @1000Hz) 146dB with pad engaged
Equivalent noise level: 17dB
S/N Ratio: 78dB
Sensitivity: -35dB
Output Connector: Male XLR 7 pin w/ special power supply and cables
Tube Type: 6072A
High-Pass Switch: 80 Hz 6dB/octave Switch
Attenuation Switch: -10dB Switch
Power Requirements: Dedicated PS-12 Power Supply w/ selectable 115/230 VAC capability
Finish: Polished Nickel trim / Metallic Cabernet Red Body
Weight: .8 kgs / 1.8 lbs
Dimensions: 237mm x 46mm / 9.5” x 1.8”

3 SENNHEISER MD421 II

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 30Hz-17kHz
Output Impedance: 200 ohms
Color: Black
Connector: XLR
Weight: 0.85 lbs.
Included Accessories: Mic clip
Manufacturer Part Number: 000984

4 SHURE SM58 DYNAMIC

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 50Hz-15kHz
Output Impedance: 150 ohms
Color: Black
Connector: XLR
Weight: 0.66 lbs.
Manufacturer Part Number: SM58-LC

4 SHURE SM57 DYNAMIC

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 40Hz-15kHz
Output Impedance: 150 ohms
Color: Black
Connector: XLR
Weight: 0.63 lbs.
Included Accessories: Mic clip
Manufacturer Part Number: SM57-LC

2 SHURE SM7B

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 50Hz-20kHz
Output Impedance: 150 ohms
Color: Black
Connector: XLR
Weight: 1.69 lbs.
Included Accessories: Windscreen
Manufacturer Part Number: SM7B

2 RODE NT5

Microphone Type: Condenser
Polar Pattern: Cardioid
Diaphragm Size: 0.5” (12.5mm)
Frequency Response: 20Hz-20kHz
Max SPL: 143dB
Output Impedance: 100 ohms
Signal to Noise Ratio: 78dB (A weighted)
Self Noise: 16dB (A weighted)
Connector: XLR
Weight: 0.22 lbs.
Manufacturer Part Number: NT5

1 AKG PERCEPTION 200

Cardioid: (18 mV/Pa; 50 to 20,000 Hz)
Pad: -10 dB (Via Switch)
Filter: -12 dB/oct @ 300 Hz (Via Switch)
Capsule Dimensions Impedance SPL/Noise:
Diaphragm diameter: 25mm
200 Ohms (Low) Max SPL: 145 dB
Self-noise: 16.0 dB(A)
Weight Length Max Diameter Interface(s): 525g (18.52oz) 160mm (6.30’‘) 53mm (2.09’‘)
3-pin XLR male (1)

Read more

1 AKG D112

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 20Hz-17kHz
Output Impedance: 210 ohms
Color: Black
Connector: XLR
Manufacturer Part Number: 2220X00040

2 AUDIO-TECHNICA AT4050

Microphone Type: Condenser
Polar Pattern: Cardioid, Omni, Figure-8
Diaphragm Size: 0.84” (21.4mm)
Frequency Response: 20Hz-18kHz
Max SPL: 149dB (159dB w/10dB Pad)
Output Impedance: 100 ohms
Signal to Noise Ratio: 77dB
Self Noise: 17dB
Low Cut Filter: 80Hz (-12dB/octave)
Pads: -10dB
Color: Black
Connector: XLR
Weight: 1.12 lbs.
Included Accessories: Shock Mount, Dust Cover, Carry Case
Manufacturer Part Number: AT4050

2 AUDIO-TECHNICA PRO37

Microphone Type: Condenser
Polar Pattern: Cardioid
Frequency Response: 30Hz-15kHz
Max SPL: 141dB
Output Impedance: 200 ohms
Signal to Noise Ratio: 65dB
Connector: XLR
Weight: 0.1 lbs.
Manufacturer Part Number: PRO37

1 ROYER R101 RIBBON

Acoustic Operating Principle: Electrodynamic pressure gradient
Polar Pattern: Figure-8
Generating Element: 2.5-micron aluminum ribbon
Magnets: Rare Earth Neodymium
Frequency Response: 30 -15,000Hz +/- 3dB
Sensitivity: -48dB (re. 1v/pa)
Output Impedance: 300 Ohms @ 1kHz (nominal)
Maximum SPL: 135dB @ 30Hz
Rated Load Impedance: 1500 Ohms (or greater)
Output Connector: Male XLR 3-pin (Pin 2 Hot).
Dimensions: 200mm L X 36mm W (7.9” L X 1.4” W)
Weight: 483g (17 oz)
Finish: Matte Black
Accessories: Shock mount, carrying case, mic sock
Optional Accessories: Pop screen
Microphone Warranty: Lifetime to original owner (repair or replace at Royer’s option)
Ribbon Element Warranty: One Year

2 SE 2200A II LARGE DIAPHRAGM CONDENSER

Microphone Type: Condenser
Polar Pattern: Cardioid
Diaphragm Size: 1” (25.4mm)
Frequency Range: 20Hz-20kHz
Max SPL: 125dB SPL, 145dB (with pad)
Output Impedance: 50 ohms
Signal to Noise Ratio: 82dB (A weighted)
Self Noise: 12dB (A weighted)
Low Cut Filter: 80Hz, 160Hz (6dB/octave)
Pads: -10dB, -20dB
Color: Black
Connector: XLR
Power Source: 48V phantom power
Included Accessories: Shockmount
Manufacturer Part Number: SEE-2200

2 MOJAVE MA-201 FET

Microphone Type: Condenser
Polar Pattern: Cardioid
Diaphragm Size: 1” (25.4mm)
Frequency Response: 20Hz-20kHz (+3dB)
Max SPL: 125 dB SPL (0.5% THD @ 1kHz)
Output Impedance: 550 ohms
Sensitivity: -39 dB re. 1V/pa
Self Noise: 14dB A weighted
Color: Vintage Gray
Connector: XLR
Power Source: 48V phantom power
Dimensions: 7.6” x 2”
Weight: 1 lbs.
Manufacturer Part Number: MA-201VG

Complete Details from Mojave’s website

2 NEUMANN KM 184

Microphone Type: Condenser
Mono/Stereo: Stereo Pair
Polar Pattern: Cardioid
Frequency Response: 20Hz-20kHz
Max SPL: 138dB
Output Impedance: 50 ohms
Signal to Noise Ratio: 81dB (A weighted)
Self Noise: 13dB (A weighted)
Color: Matte Black
Connector: XLR
Weight: 0.18 lbs



Drawing inspiration from some of yesterday’s most revered microphones (specifically the Telefunken 251), TECHNICAL GRAMMY® Award-Winning microphone designer David Royer has created a thoroughly modern tube microphone that features an original new old-stock 5840 tube, 251-style capsule, and custom designed transformer built by Coast Magnetics. The result? A sweet, airy top end, “you-are-there” realism in the mids and an accurate yet authoritative bottom end.

The Signature Series has been exhaustively field tested against microphones often costing $20K or more – universally evoking the same “Wow” response usually reserved for only the most prized vintage mics. Push up the fader and say “Ahhh!” With performance, reliability, and quality like this, we are sure you’ll agree that Mojave’s new Signature Series microphone is a New American Classic.

Features:
Original new old-stock 5840 tube
251-style capsule
Custom designed transformer by Coast Magnetics
Remotely controlled, continuously variable polar
pattern selector, located on power supply
Switchable 15dB pad
Switchable Bass Roll-off
Internal switchable power supply voltage
American Classic Design
Comes with Sling-Shock® licenced from Royer Labs
Premium Cable made with Mogami Cable
and Neutrik connectors

Recommended Applications:
Vocals and Voice-overs
Broadcast
Acoustic Instruments
Piano
Drum Overheads, Drum Rooms
Orchestral Recording
Choral Recording


TECHNICAL DATA
TRANSDUCER TYPE: Externally polarized, pressure gradient capacitor - double diaphragm.
DIAPHRAGM: 1-inch diameter, gold sputtered
DIAPHRAGM THICKNESS: 3-microns
POLAR PATTERN: Continuously variable from omnidirectional to figure-eight.
FREQUENCY RESPONSE: 20 Hz to 20KHz ∓3 dB
SENSITIVITY: Omni -37.5 dB, Cardioid -36.0 dB, Figure-8 -34.0 dB re. 1V/pa
MAXIMUM SPL: 120 dB with pad off, 135 dB with pad on.
DISTORTION: < 1% @ 117 dB SPL , < 3% @ 125 dB SPL with pad off
< 1% @ 132 dB SPL, < 3% @ 140 dB SPL with pad on
SELF NOISE: 14dB nominal, not to exceed 16dB (A weighted)
PAD: 15 dB
BASS CUT: 6 dB per octave below 100 hertz.
IMPEDANCE: 200 Ω
POWER REQUIREMENT: 6 VDC @ 150 mA. 125 VDC @ .7 mA
(from dedicated power supply)
DIMENSIONS AND WEIGHT:
Carrying case with microphone, power supply, shock mount and cables: 13 lbs. (5.9Kg)
Microphone: 7 5/8” X 2” (194mm x 51mm), 1 lb. (0.45Kg)

IO

2 Otari MTR 90 MKII Tape Machine

2” Tape
24 track
Remote
Auto Locator
Mid 80’s

PATCHBAY CONFIGURATION

==============================================
PATCHBAY (A)EROSMITH
==============================================
TOP: Tielines from Live Room
—NORMAL TO—
BOTTOM: Midas XLR input

==============================================
PATCHBAY (Z)APPA
==============================================
TOP: Midas Channel Insert Sends
—NORMAL TO—
BOTTOM: Midas Channel Insert Returns

==============================================
PATCHBAY (B)OSTON
==============================================
TOP: Midas Channels Direct Outs
—NORMAL TO—
BOTTOM: Apollo A-D converter inputs

==============================================
PATCHBAY (C)RANBARRIES
==============================================
TOP: Apollo D-A converter outputs
—NORMAL TO—
BOTTOM: MTR-90 Tape Machine inputs [RECORDING]

==============================================
PATCHBAY (D)EVO
==============================================
TOP: MTR-90 Tape Machine outputs [PLAYBACK]
—NORMAL TO—
BOTTOM: Midas MIX Channels

==============================================
PATCHBAY (F)OGHAT
==============================================
TOP & BOTTOM: Access to off board gear

1 MIDAS VERONA 480 CONSOLE

Total # Of Inputs: 48
Mic/Line Inputs: 48 Line: 1/4” Phone
48 Mic: 3-pin XLR
Stereo Line Inputs: 4 Stereo: L/R 1/4” Phone
In-Line Inputs/Returns: No
AUX Sends: 4 Aux Sends: Balanced XLR Male
AUX Returns: Nzo
Inserts: 48 Line: TRS 1/4” Phone
8 Group: TRS 1/4” Phone
2 Stereo Out: TRS 1/4” Phone
BUS (Group) Outputs: 4 Group Outputs: 1/4” Phone
2 Trk Master I/O: Main Outputs: Left / Right / Mono (sub) Balanced 3-pin XLR
2Trk In: L/R RCA Phono
2Trk Out: L/R RCA Phono
ALT I/O: No
Monitor Outputs: Monitor Out: L/R 1/4” Phone
EQ Section: Hi Pass Slope: 12dB/Oct
Hi Pass Frequency: 80Hz
Treble Gain: +15 to -15dB
Treble Frequency: 12k
Hi Mid Gain: +15 to -15dB
Hi Mid Frequency: 400Hz to 8kHz
Hi Mid Bandwidth: 1 Oct. (Q=1.4)
Lo Mid Gain: +15 to -15dB
Lo Mid Frequency: 100Hz to 2kHz
Lo Mid Bandwidth: 1Oct. (Q=1.4)
Bass Gain: +15dB to -15dB
Bass Shelving Frequency: 80Hz
Solo/Mute: Mute / PFL on all channels
Channel Level Control: Faders
Trim/Gain Control: Rotary Potentiometers
Phantom Power: +48V Phantom Power (all mono channels)
Metering: peak meters
Frequency Response: 20Hz to 20kHz
Dynamic Range: Not Specified By Manufacturer
Signal-to-Noise Ratio: Summing Noise -90dBu
Total Harmonic Distortion (THD): Typ. 0.0007%
Power Supply: External EPS 1200 External Power Supply
Dimensions (WxHxD): 71.30 x 9.15 x 30.76” (1811 x 232.34 x 781.25mm)
Weight: 165.34lbs (75kg)

1 JOE MEEK VC1 CHANNEL STRIP

MICROPHONE INPUT: XLR input 3kohm approx. to suit 200 ohm microphones. Current Sense Impedance matching. Switchable 48V phantom. Input level from-70dB to 0dB.

LINE INPUTS: 10K I/O impedance floating balanced. Instrument input 150K impedance unbalanced. Mix input 10K impedance unbalanced.

OVERLOAD MARGIN: 30dB on mic and line inputs in normal operation.

GAIN: Line in -6dB to 24dB
      Instrument in 0dB to 35dB
      Mic in 15dB to 70dB
      Insert gain 0dB
      Mix in gain 0dB

NOISE: Line in 80dB below operating level
        Mic in 125.5dB below input at 50dB gain 20Hz to 20khz.

HARMONIC DISTORTION: Generally within 0.02% rising to approx. 0.14% at 4dB above nominal output level. 2nd harmonic predominant.

AMPLITUDE FREQUENCY RESPONSE: Line in 6Hz to 20khz within 0.5dB
              Mic in 8Hz to 20khz within 1dB
              High pass filter 3dB down at 25Hz, 12dB per octave.

FILTER: High pass filter switch. Operates at 25Hz at 12dB per octave.

OUTPUTS: High level balanced 50 ohm + 4dBu for 0VU (variable)
            Max. Output approx. + 26dBu XLR Low level TRANSFORMER balanced 200 ohm -20dBu Insert, Tip and Ring jack socket. 400 ohm -10dBu output 22K ohm input.

COMPRESSOR: Photoresistive servo operated
                Ratio minimum approx. 1.5 to 1
                Ratio maximum approx. 8 to 1 variable.
                Attack time 1mS min. 7mS max. (variable).
                Release time 200mS min 3.5S max. (variable).

ENHANCER: Performance details not released.
POWER: 3.4 Watts. IEC socket for power cable.
HOUSING: 2U rack mounting totally enclosed aluminum case.

2 WARM AUDIO WA76 (1176-ISH)

Number of Channels: 1
Controls: Input, Output, Attack, Release, Ratio (Buttons)
Ratio: 4:1, 8:1, 12:1, 20:1
Frequency Response: 20Hz-20kHz
Inputs: 1 x XLR, 1 x 1/4” TRS
Outputs: 1 x XLR, 1 x 1/4” TRS
Rack Spaces: 2U
Power Source: Standard IEC AC cable
Height: 3.5”
Width: 19”
Manufacturer Part Number: WA76

1 FOCUSRITE SCARLETT 2I4

Supported Sample Rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz

MICROPHONE INPUTS:

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 111dB (A-weighted)
THD+N:

<0.0012%

Noise EIN: -128dB (A-weighted)
Maximum Input Level: 9dBu (at minimum gain)
Gain Range: 56dB
Impedance: 3kΩ

LINE INPUTS 1-2 (VARIABLE GAIN):

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 110.5dB (A-weighted)
THD+N:

<0.002%

Maximum Input Level: 22dBu (at minimum gain)
Gain Range: 56dB
Impedance: 60kΩ

LINE INPUTS 3-4 (FIXED GAIN):

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 110dB (A-weighted)
THD+N:

<0.002%

Maximum Input Level: 18dBu (at minimum gain)
Impedance: 44Ω

INSTRUMENT INPUTS:

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 110dB (A-weighted)
THD+N:

<0.03%

Maximum Output Level (0 dBFS): 12.5dBu (at minimum gain)
Gain Range: 56dB
Impedance: 1.5MΩ

LINE/MONITOR OUTPUTS:

Dynamic Range (Line Outputs): 108dB
THD+N:

<0.002%

Maximum Output Level (0 dBFS): 15.5dBu
Impedance: 430Ω

HEADPHONE OUTPUTS:

Dynamic Range: 104dB (A-weighted)
THD+N:

<0.002%

Maximum Output Level: 7dBu

Impedance:

<1Ω

1 FOCUSRITE ISA428 PREAMP (DESIGNED BY RUPERT NEVE)

Gain range = 0dB to 60dB in 10dB steps.
EIN (equivalent input noise) = -128dB measured at 60dB of gain with 150 Ohm terminating impedance and 20Hz/22kHz bandpass filter.
Noise at main output with gain at unity (0dB) = -97dBu measured with a 20Hz/22kHz bandpass filter.
Signal to noise ratio relative to max headroom (28dBu) = 125dB
Signal to noise ratio relative to 0dBfs (+22dBu) = 119dB
THD at medium gain (30dB) = 0.001% measured with a 1KHz -20dBu input signal and with a 20Hz/22kHz bandpass filter.
Frequency response at minimum gain (0dB) = -0.25dB down at 20Hz and –3dB down at 120kHz.
Frequency response at maximum gain (60dB) = –2.5dB down at 20Hz and –3dB down 120kHz.
CMRR at full gain (60dB) = 80dB

ISA 428 SOS Review

2 BLACK LION B173 500 MIC PRES

1—GAIN (stepped, 12-position switch): clockwise rotation yields an increase in input signal amplitude, counterclockwise rotation yields a decrease in input signal amplitude
2—48V: engage to turn phantom power on, disengage to turn phantom power off
3—PHASE (Ø): engage to adjust input signal polarity by 180°, disengage to leave input signal polarity unchanged
4—OUT LEVEL: clockwise rotation yields less attenuation, counterclockwise rotation yields more attenuation (for beginners, it’s best to leave the output level fully clockwise and increase Gain as needed so as not to saturate the input transformer)
5—Hi-Z: engage to select faceplate TS jack as input source, disengage to select XLR input jack on 500 series rack as input source (GAIN does not adjust signal level, however, OUT LEVEL does attenuate the signal)

Preamp Type: Solid State
Number of Channels: 1
Frequency Response: 10Hz-30kHz (bandwidth)
Phantom Power: Yes
Polarity Switch: Yes
Analog Inputs: 1 x 1/4” (Hi-Z)
Module Slot Size: Single
Height: 5.25”
Depth: 6.5”
Width: 1.5”
Weight: 1.2 lbs.
Manufacturer Part Number: B173500

2 BLACK LION AUTEUR MKII 500 MIC PRES

1—GAIN: clockwise rotation yields an increase in input signal amplitude, counterclockwise rotation yields a decrease in input signal amplitude
2—48v: engage to turn phantom power on, disengage to turn phantom power off
3—PHASE (Ø): engage to adjust input signal polarity by 180°, disengage to leave input signal polarity unchanged
4—PAD: engage to reduce input signal amplitude by 13dBu, disengage to leave input signal amplitude unchanged
5—Hi-Z: engage to use front panel Hi-Z IN as preamp source, disengage to use 500 rack XLR input as preamp source

Preamp Type: Solid State 500 Series
Number of Channels: 1
Phantom Power: Yes
Pads: -13dB
Polarity Switch: Yes
Analog Inputs: 1 x 1/4” (Hi-Z)
Module Slot Size: Single
Power Usage: ±16V DC, 60mA
Height: 5.25”
Depth: 6.5”
Width: 1.5”
Weight: 0.8 lbs.
Manufacturer Part Number: AuteurMK2500

1 TC ELECTRONIC M350

Processor Type: Multi-FX
Number of Channels: 2
Presets - Factory: 255
Presets - User: 99
Analog Inputs: 2 x TRS
Analog Outputs: 2 x TRS
Digital Inputs: 1 x S/PDIF (Coax)
Digital Outputs: 1 x S/PDIF (Coax)
MIDI I/O: In/Out
Rack Spaces: 1U
Height: 1.75”
Width: 19”
Depth: 4.2”
Weight: 3.3 lbs.
Manufacturer Part Number: 965200011


Preamp Type: Solid State
Number of Channels: Single channel
Frequency Response: 22Hz-22kHz
Phantom Power: Yes
Polarity Switch: Yes
EQ: Variable Highpass Filter, Silk/Texture Control
Module Slot Size: Single
Power Usage: ±16V DC
Manufacturer Part Number: 511

1 UAD APOLLO SILVER CONVERTER

Key Features
• Worldwide standard in professional A/D and D/A conversion for music production
• Onboard UAD-2 QUAD Core DSP allows Realtime UAD Processing — record through plug-ins from Neve,
Lexicon, Studer, Marshall, Ampex, and more*
• 4 Unison-enabled mic preamps for tracking through preamp emulations from Neve, API, and Universal Audio*
• 18 x 24 FireWire audio interface for Mac and Windows
• Cascade two Apollos for 16 analog I/O channels and 12 digital I/O channels
• Includes “Realtime Analog Classics Plus” UAD plug-in bundle with 610-B Tube Preamp & EQ, Raw Distortion, Softube Amp Rooms, legacy LA-2A, 1176, and Fairchild compressors, Pultec EQs, and more
• Upgradeable to Thunderbolt via Thunderbolt 2 Option Card (sold separately)
• World class UA analog design, superior components, and premium build quality
* All trademarks are recognized as property of their respective owners. Individual UAD Powered Plug-Ins sold separately.

Audio Interface
• Sample rates up to 192 kHz at 24-bit word length
• 18 x 24 simultaneous input/output channels:
• Eight channels of analog-to-digital conversion via mic, line, or high-impedance inputs
• 14 channels of digital-to-analog conversion via:
• Eight mono line outputs
• Stereo monitor outputs
• Two stereo headphone outputs
• 10 channels of digital I/O via:
• Eight channels ADAT Optical I/O with S/MUX for high sample rates
• Two channels coaxial S/PDIF I/O with sample rate conversion
• Two FireWire 800 ports for daisy-chaining other FireWire devices Microphone Preamplifiers
• Four high-resolution, ultra-transparent, digitally-controlled analog mic preamps
• Front panel and software control of all preamp parameters
• Switchable low cut filter, 48V phantom power, pad, polarity, and stereo linking
• UnisonTM technology for deep integration with UAD preamp and pedal plug-ins

Monitoring
• Stereo monitor outputs (independent of eight line outputs)
• Digitally-controlled analog monitor outputs maintains highest fidelity
• Front panel control of monitor levels and muting
• Two stereo headphone outputs with independent mix buses
• Independent front panel analog volume controls for headphone outputs
• Front panel pre-fader metering of monitor bus levels
• S/PDIF outputs can be set to mirror the monitor outputs

1 UAD APOLLO 16 MKII CONVERTER

Key Features
• Next-generation Apollo A/D and D/A conversion for professional music production
• 16 x 16 analog I/O via DB-25 connectors — ideal for pairing with mixing consoles, outboard preamps, etc.
• Onboard UAD-2 QUAD Core DSP allows Realtime UAD Processing
• 18 x 20 Thunderbolt 2 audio interface with powerful Console 2.0 software control
• Cascade up to 4 Apollo interfaces and 6 UAD devices total over Thunderbolt
• Includes “Realtime Analog Classics Plus” UAD plug-in bundle
• World class UA analog design, superior components, and premium build quality

Audio Interface
• Sample rates up to 192 kHz at 24-bit word length
• 16 x 18 simultaneous analog input/output channels:
• 16 channels of analog-to-digital conversion via line inputs on dual DB25 connectors
• 18 channels of digital-to-analog conversion:
• 16 line outputs via dual DB25 connectors
• Stereo monitor outputs via dual XLR connectors
• Adjustable reference levels for all analog I/O (+4 dBu or -10 dBV)
• Two channels of AES/EBU digital I/O with optional sample rate conversion on input
• Front panel pre-fader metering of analog signal input or output levels
• Two Thunderbolt 2 ports for daisy-chaining other Thunderbolt devices

Monitoring
• Independently-addressable stereo monitor outputs (in addition to 16 line outputs)
• Digitally-controlled analog monitor outputs maintains highest fidelity
• Front panel control of monitor levels and muting
• Front panel pre-fader metering of monitor bus levels
• Digital AES/EBU outputs can mirror the analog monitor outputs

1 FOCUSRITE OCTOPRE MKII DYNAMIC CONVERTER

MIC
• Frequency response: 20Hz - 20kHz +/- 0.1 dB.
• Maximum input level (Gain at Minimum): +16dBu.
• THD+N: 0.001% (measured at 1kHz with a 20Hz/22kHz bandpass filter).
• Noise: EIN > 125dB (128dB analogue to digital): measured at ~60dB of gain with 150 Ohm termination (20Hz/22kHz
bandpass filter). LINE
• Frequency response: 20Hz - 20kHz +/- 0.1dB.
• THD+N

< 0.001% (measured with 0dBFS input and 22Hz/22kHz bandpass filter).
• Noise: -90dBu (22Hz/22kHz bandpass filter).


INSTRUMENT
• Frequency response: 20Hz - 20kHz +/- 0.1dB.
• THD+N: 0.004% (measured with 0dBu input and 20Hz/22kHz bandpass filter).
• Noise: -87dBu (20Hz/22kHz bandpass filter).

DIGITAL PERFORMANCE
• Clock sources: Internal clock.
Sync to word clock Input.
Sync to ADAT Input (ADAT 1 input only).
• A/D dynamic range 110dB ‘A-weighted’ (all inputs).
• D/A dynamic range 110dB ‘A-weighted’ (all outputs).
• JetPLLTM PLL technology providing superb jitter reduction for class leading converter performance.
• Clock jitter

< 250 pico seconds.
• Sample rates: 44.1kHz to 96kHz.
• Sample rate clock accuracy: +/-20PPM.


ANALOGUE INPUTS
• Mic / line inputs on XLR combo with auto-switching between mic (XLR) and line / instrument (TRS).
• Mic / line / instrument 1 & 2: 2 x XLR Combo on rear panel.
• Mic / line 3-8: 6 x XLR combo.
• Instrument: As above, switched to instrument (inputs 1 & 2 only).
• Mic gain: +10dB to + 55dB.
• Line 1-8 gain: -10dB to +36dB.
• Instrument gain: +10dB to +55dB.
• Phantom power switched in 4 channel groups on mic 1-4 and 5-8.
• Mic and instrument maximum input level +16dBu.
• Line maximum input level +26dBu.

COMPRESSORS
• Threshold range: -44dBFS (Max setting) to -4dBFS (Min setting).
• Compression ratio: Normal - 2:1, More: 4:1.
• Auto make-up gain: 4dB (min setting), 18dB (max setting).
• Attack time: 1.2ms, release time: 28ms (-3.5dB method).
• Compression curve: classic focusrite soft knee.
• THD+N (maximum at any compression threshold, input < +16dBu, gain at minimum): < 0.18%
13

ANALOGUE OUTPUTS
• Line level 8 x 1/4” TRS Jack.
• Nominal output level 0dBFS = 16dBu, balanced.
• Frequency response: 20Hz – 20kHz +/- 0.2dB.
• THD+N < 0.0010% (-100dB) (measured with 0dBFS input 22Hz/22kHz bandpass filter, un-weighted).
• Switching to enable monitoring of A/D inputs or ADAT inputs with ADDA switch.

DIGITAL I/O
• ADAT Out 1 & 2: 8 channels (44.1 / 48kHz), 4 channels SMUX (88.2 / 96kHz, 8 channels total).
• ADAT In 1 & 2: 8 channels (44.1 / 48kHz, ADAT 1 only), 4 channels SMUX (88.2 / 96kHz, 8 channels total).

POWER
• Internal universal input PSU. FRONT PANEL INDICATORS
• Metering of analogue inputs (channels 1-8), 5 segment (-42, -18, -6, -3 and 0dBFS).
• 4 sample rate LED’s (44.1k, 48k, 88.2k & 96k).
• 3 sync source LED’s (Internal, Word Clock and ADAT).
• ‘Lock’ indicator LED.
• ADDA switch for analogue output source selection (A/D’s or ADAT inputs).


Processor Type: 500 Series Stereo Buss Compressor
Number of Channels: Stereo
Controls: Threshold, Ratio, Attack, Release, Blend, Gain, Filters, Variable Release
Threshold: -20dB to +20dB
Ratio: 1.5:1 to 10:1
Frequency Response: 20Hz-20kHz (±0.11dB)
Sidechain I/O: 1 x 1/4” (key input)
Side Chain Inserts: 60Hz, 90Hz, 120Hz, Boost Mode, Slope Mode
Features: Quad VCA Gain Reduction
Bypass: True bypass
Module Slot Size: Double
Power Usage: ±16V DC
Manufacturer Part Number: SB4001

2 EMPIRICAL LABS EL8X-S DISTRESSOR

Unique Compression Curves

All eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.

Distortion (Color) Modes

Another large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors & limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.

Go Stereo

For many Distressor owners, one is never enough – in fact, one extremely successful engineer has twelve of them! For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together. If you want the Brit Mod and Image Link options, an EL8X-S package is also available.

British Mode - EL8-X

The concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.

Image Link - EL8-X

The original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer/engineers want to maintain absolute left/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options – the original “phase” link, the new Image Link and the combination of the two, phase and image linking – something never before offered on any compressors or limiters.


Number of Channels: 2
Controls: Ratio (Button), Input, Attack, Release, Output
Ratio: 1:1 to 20:1 (And “Nuke”)
Frequency Response: 2Hz-160kHz (-3 dB)
Inputs: 2 x XLR, 2 x 1/4”, 2 x 1/4” (Stereo Link)
Outputs: 2 x XLR, 2 x 1/4”, 2 x 1/4” (Stereo Link)
Rack Spaces: 1U
Height: 3.5”
Depth: 10”
Width: 19”
Manufacturer Part Number: EL8X-S

1 UNIVERSAL AUDIO APOLLO X8

Computer Connectivity: Thunderbolt 3
Form Factor: Rackmount
Simultaneous I/O: 18 x 24
A/D Resolution: 24-bit/192kHz
Built In DSP/FX: 6 x UAD DSP Cores
Number of Preamps: 4 x mic, 2 x instrument
Phantom Power: Yes
Analog Inputs: 4 x XLR (mic/line), 2 x 1/4” (Hi-Z), 8 x 1/4” (line)
Analog Outputs: 2 x 1/4” (monitor), 8 x 1/4” (alt/7.1 surround)
Digital Inputs: 1 x Coax (S/PDIF), 2 x Optical Toslink (ADAT/SMUX)
Digital Outputs: 1 x Coax (S/PDIF), 2 x Optical Toslink (ADAT/SMUX)
Headphones: 2 x 1/4”
Thunderbolt: 2 x USB-C (Thunderbolt 3)
Clock I/O: In/Out (75 ohm termination switch)
Software: HEXA Core UAD Plug-in processing, Unison Preamp Emulations, Realtime Analog Classics Plus Plug-ins
OS Requirements - Mac: macOS 10.12 or later, Quad Core i7 Processor or higher
OS Requirements - PC: Windows 10 64-bit Anniversary update or later, Quad Core i7 Processor or higher, Thunderbolt 3 port required
Rack Spaces: 1U
Power Supply: 12V DC power supply
Height: 1.75”
Width: 19”
Manufacturer Part Number: APX8


Type: FET Limiter
Number of Channels: Single channel
Controls: Attack, Release, Mix, Input, Output
Ratio: 4:1, 8:1, 12:1, 20:1
Inputs: 1 x XLR
Outputs: 1 x XLR
Other I/O: 1 x RCA (stereo link)
Rack Spaces: 2U
Power Source: Standard IEC AC cable
Manufacturer Part Number: Bluey


Number of Slots: 8
I/O Connections: 8 x XLR (in), 8 x XLR (out), 1 x DB-25 (in), 1 x DB-25 (out), TT/Bantam patchbay
Module Power: 16V DC 400mA per slot (1.6A per rail, 1.8A noncontinuous), +48V DC 140mA
Power Supply: 100-240 VAC operating voltage
Height: 5.25”
Width: 19”
Depth: 12.9”
Manufacturer Part Number: PBR8


Preamp Type: Solid State
Number of Channels: 1
Frequency Response: 20Hz-40kHz (±0.5dB)
Phantom Power: Yes
Pads: -20dB
Polarity Switch: Yes
Module Slot Size: Single
Power Usage: ±16V DC, 55mA
Height: 5.25”
Depth: 6.75”
Width: 1.5”
Weight: 1.5 lbs.
Manufacturer Part Number: 312

1 Warm Audio WA-2a Compressor

Warm Audio’s WA-2A set its target high: the most iconic tube compressor in history. How does Warm do it? Through economies of scale, mostly. They don’t cut corners on components (the WA-2A employs a custom optical photocell and genuine US-made Cinemag transformers), but they do order parts and build in quantity, which helps to keep costs down. Like the original classic unit, the WA-2A gives you a completely discrete signal path and the same arrangement of controls. And yes, it replicates the original’s coveted warm sound and forgiving nature. Elevate your studio to the next level with the Warm Audio WA-2A.

Type: Tube/Optical
Number of Channels: 1
Controls: Limit/Compress, Output Gain, Peak Reduction, Gain Reduction
Frequency Response: 15Hz to 20kHz
Inputs: 1 x XLR, 1 x 1/4”
Outputs: 1 x XLR, 1 x 1/4”
Rack Spaces: 2U
Height: 3.5”
Depth: 7”
Width: 19”
Weight: 12 lbs.
Manufacturer Part Number: WA2A

Monitors

2 TANDY 4” AURATONE STYLE MONITORS

Tandy 4” Auratone style monitors

2 ALESIS MONITOR ONE MK2

Enclosure Type: Superport vented
Powered/Unpowered: Unpowered
Frequency Response (Hz-kHz): 45 Hz-18 kHz
Sensitivity (dB): 88 dB
Crossover Frequency (kHz): 2.5 kHz
Woofer Size/Type: 6.5” polypropylene cone
Tweeter Size/Type: 1” silk dome
Magnetic Shielding: Yes
Cabinet Dimensions (HxWxD in inches): 15x8.5x10
Weight (lbs.): 15

1 PRESONUS TEMBLOR T10 10” POWERED STUDIO SUBWOOFER

Powered: Yes
Speaker Size: 10”
Driver Type: Glass Composite Cone
Total Power: 250W
Frequency Range: 20Hz-200Hz
Crossover Frequency: 50Hz
Maximum Peak SPL: 113dB
Input Types: 2 x XLR, 2 x 1/4”, 1 x Dual RCA Stereo
Output Types: 2 x XLR (L/R), 1 x XLR (sub out), 2 x 1/4” (L/R)
Other I/O: 1 x 1/4” (sub bypass footswitch)
Height: 15.75”
Width: 12.60”
Depth: 15.75”
Weight: 39.46 lbs.
Manufacturer Part Number: T10

2 TANNOY REVEAL 601A

Frequency Response (-3dB) (1): 60Hz - 30kHz
Rated Maximum SPL (2): 111dB
Distortion:

<0.5%

Dispersion (-6dB): 90 degrees
Drive Unit LF/ Mid: 130mm (6”) multi fibre pulp paper cone
Drive Unit HF: 25mm (1”) soft dome with neodymium magnet system
Magnetic Shielding: No

Notes:
(1 ) ± 3dB measured at 1m in an anechoic chamber.
(2) Peak SPL at mix position for 1 pair driven.
Electronic Section

Input Impedance:
XLR balanced & unbalanced/dd>
Jack 10 kOhms
Input Sensitivity: 0.775V RMS for full output
Crossover Frequency: 2.3kHz
Amplifier Output Power: LF 60W RMS, HF 30W RMS
User Controls:
Power On/ Off, Input Sensitivity/dd>
HF Trim ± 1.5dB
Power Supply:
100- 120V, 200- 240V/dd>
Switchable, 50 “ 60Hz
Power Consumption: 180W Maximum
Fuse:
100- 120V, T800mAL 250V/dd>
220- 240V, T400mAL 250V
Cabinet
Low Frequency Alignment: Optimized front reflex loaded
Cabinet Construction: MDF cabinet with injection molded
front baffle
Cabinet Finish: Black fine texture
Cabinet Dimensions (H x W x D): 13.4” x 8.3” x 10.7”, (340 x 210 x 272mm)
Cabinet Weight: 17.5lb. (7.9kg)
Shipping Dimensions: (H x W x D): 18.4” x 11.9” x 14.4”, (466 x 302 x 366mm)
Shipping Weight: 19.6lb. (8.9kg)

4 HEAR TECHNOLOGIES HEARBACK MIXERS

A basic Hear Back system consists of a Hub and personal Mixers connected using standard CAT5E cables. A single Hub supplies signal and power to a maximum of eight Mixers. That’s one for you and everybody in the band. If that’s not enough, the Hubs can be daisy-chained using the HearBus In and Out for virtually unlimited system size. The Hear Back Hub can accept analog input signals from audio mixers, auxiliary, matrix, monitor, and/or direct outputs. The ADAT input can come from digital audio workstations, digital recorders, or digital mixers. For front of house or remotely located digital mixers, we also have the Extreme Extender ADAT In/Out that converts ADAT optical, which has very limited distance, to the HearBus for transmission of up to 500 feet.

1 DANGEROUS MUSIC MONITOR ST

Input Channels: 8
Output Channels: 8
Analog Inputs: 2 x XLR, 1 x DB-25
Analog Outputs: 1 x XLR (cue amp out), 1 x XLR (slate out), 1 x DB-25
Headphones: 1 x 1/4”
Other I/O: 1 x Ethernet (remote)
Talkback: 1 x 1/4” (remote mic), 1 x XLR (TB remote)
Form Factor: Rackmount
Height: 1.75”
Width: 19”
Depth: 9.5”
Weight: 16 lbs.
Manufacturer Part Number: MONITOR ST

2 JAMES EMB1200 ACTIVE SUB

Frequency Response
20-120Hz +/-3dB

Sensitivity
92dB 2.83V/1m

Amplifier Power
Built in 600W

Woofer
(2) 12” Active/Passive

Enclosure
MDF (Medium-Density Fibreboard)

Finishes
Studio Black

Width
14.96 in (379.98 mm)

Depth
20.55 in (521.97 mm)

Height
15.59 in (395.99 mm)

Review on the EMB-1200

2 FOCAL SOLO 6 MONITORS

Powered: Yes
Power Configuration: Bi-amped
LF Driver Size: 6.5”
LF Driver Type: Cone
HF Driver Size: 1”
HF Driver Type: Inverted Dome
LF Driver Power Amp: 150W
HF Driver Power Amp: 100W
Total Power: 250W
Frequency Range: 40Hz-40kHz (-3 dB)
Maximum Peak SPL: 113 dB
Input Types: 1 x XLR
Enclosure Type: Ported
Height: 13”
Width: 9.44”
Depth: 11.44”
Weight: 24.2 lbs.
Manufacturer Part Number: #FOPRO-SOLO6BE

2 FOCAL TWIN6 BE MONITORS

Focal Twin6 Be 6.5” Active 3-way Studio Monitor Features:
Focal’s best-selling studio reference monitor
Hallmark-Focal inverted-dome tweeter, for high efficiency, precision, and energy
Employs a rigid Beryllium tweeter, for Focal’s best-in-range tweeter performance
“W” composite sandwich cone permits optimization of the frequency response curve


Focal Twin6 Be 6.5” Active 3-way Studio Monitor Specifications:

Frequency response: 40Hz-40kHz
Maximum SPL: 115dB SPL (peak @ 1m)
Input Type/Impedance: symmetrical/10 kOhms
Input Connector: XLR
Sensitivity: Adjustable, +4dBu or -10dBV
Bass/mid-range: 2x150W rms, BASH technology
Treble: 100W rms, AB class
Electric supply: 230V (2A fuse), 115V (4A fuse), Removable IEC supply wire
Input-sensitivity selector
Mid-range speaker selector (right/left)
Adjustable tweeter and woofer levels by potentiometer
Power on/off
Voltage selector
Power on LED
Woofer: 2x6W4370B Focal “W” composite sandwich cone 6-1/2” (16.5cm) speaker
Tweeter: TB871, Focal inverted dome tweeter in Beryllium
Transducer shielding: Integral through cancellation magnets or by magnet design
Box: 7-1/2” (19mm) MDF panels
Finish: Dark red natural veneering side panels, black body
Dimensions (HxWxD): 9-13/16 x 19-11/16 x 13-3/8 ” (250x500x340mm)
Weight: 30.8lb (14kg)

Computing

MAC PRO 2-7 GHZ 12 CORE INTEL XEON E5

Model: Mac Pro
Operating System: MacOS Mojave
CPU: 2.7 GHz 12 Core Intel Xeon E5
Graphics/Video: 2 x AMD FirePro D500 GPUs
Maximum Resolution: 4K
Memory: 64GB DDR3 ECC
Memory - Max: 64GB (4x16GB)
Storage - Included: 256GB PCIe-based Flash storage
Thunderbolt Ports: 6 x Thunderbolt 2
USB Ports: 4 x USB 3.0
Video Ports: 1 x HDMI 1.4 UltraHD
Ethernet: 2 x Gigabit Ethernet
WiFi: 802.11ac
Bluetooth: Bluetooth 4.0
Audio Outputs: Combined optical/digital audio output/analog line out minijack; Headphone minijack with headset support
Height: 9.9”
Width: 6.6”
Depth: 6.6”
Weight: 11 lbs.
Manufacturer Part Number: MD878LL/A

1 IMAC 2010

Processor and memory
3.06GHz Intel Core i3 processor with 4MB level 3 cache; supports Hyper-Threading
4GB (two 2GB SO-DIMMs) of 1333MHz DDR3 SDRAM; four SO-DIMM slots support up to 16GB

Size and weight
Height: 17.75 inches (45.1 cm)
Width: 20.8 inches (52.8 cm)
Depth: 7.42 inches (18.85 cm)
Weight: 20.5 pounds (9.3 kg)1

Connections and expansion
One FireWire 800 port; 7 watts
Four USB 2.0 ports
SDXC card slot

Communications
AirPort Extreme 802.11n Wi-Fi wireless networking;2 IEEE 802.11a/b/g compatible
Bluetooth 2.1 + EDR (Enhanced Data Rate) wireless technology
10/100/1000BASE-T Gigabit Ethernet (RJ-45 connector)

Audio
Built-in stereo speakers
Two internal 17-watt high-efficiency amplifiers
Headphone/optical digital audio output (minijack)
Audio line in/optical digital audio input (minijack)
Built-in microphone
Support for Apple iPhone headset with microphone

Environmental Status Report
iMac is designed with the following features to reduce its environmental impact:
Arsenic-free display glass
BFR-free
PVC-free3
Highly recyclable aluminum and glass enclosures
Meets ENERGY STAR 5.0 requirements
Rated EPEAT Gold4

1 MACBOOK PRO (RETINA, 15-INCH, MID 2014)

2.2 GHz Intel Core i7 / 16 GB 1600 MHz DDR3 /  Intel Iris Pro 1536 MB

1. POWER: engage to turn unit on, disengage to turn unit off
2. DISPLAY CONTRAST: engage to dim display, disengage to brighten display
3. FREQUENCY (kHz): rotate three clicks at a moderate speed to unlock and cycle through output frequencies as indicated on the display

The Micro Clock MKIII XB is the most accurate word clock Black Lion has developed to date. With only 0.6pS RMS of jitter at the BNC outputs, it has less than one third of the jitter of the standard Micro Clock MKIII. It boasts incredibly accurate crystal oscillators and superior quality galvanic isolation, both of which contribute to the extraordinarily low jitter measurement.

Jitter:
0.6pS RMS (BNC outputs)

Outputs:
6 BNC, 1 XLR AES, 1 RCA S/PDIF, 1 Optical S/PDIF (recommended max. cable length = 1,000ft of high quality, 75Ω coaxial cable)
BNC: 75Ω, 5V unterminated
RCA S/PDIF: 75 Ω, unbalanced
AES XLR: 110 Ω, balanced

Clock Frequencies:
BNC (kHz) – 44.1, 48, 88.2, 96, 176.4, 192, 352.8, 384
RCA S/PDIF & AES (kHz) – 44.1, 48, 88.2, 96, 176.4, 192
Optical S/PDIF (kHz) – 44.1, 48, 88.2, 96

Instruments

HAMMOND C2 WITH 122 LESLIE

Model C2 style cabinet with variable vibrato (V1, V2, V3, C1, C2, C3) with a 122 Leslie.  Tonewheel organs generate sound by shaped mechanical wheels, that rotate in front of electromagnetic pickups. Each tonewheel assembly creates tones with low harmonic content, close to a sine wave. Inside the coil is a permanent magnet. As the profile of the tonewheel pass by, the strength of the magnetism changes—when the highest part is closest to the tip of the magnet, the magnetism is strongest. As the magnetism varies, that induces an alternating current (AC) in the coil, which becomes one of the frequencies used in harmonic synthesis.

EPIPHONE GOTH LES PAUL STUDIO ENL1PBBH

Body Type: Solidbody
Body Shape: Les Paul
Left-/Right-handed: Right-handed
Number of Strings: 6
Body Material: Mahogany
Body Finish: Satin
Color: Pitch Black
Neck Material: Mahogany, Set
Neck Shape: C
Radius: 12”
Fingerboard Material: Rosewood
Fingerboard Inlay: XII (12th Fret)
Number of Frets: 22, Medium Jumbo
Scale Length: 24.75”
Nut Width: 1.6875”
Nut Material: Plastic
Bridge/Tailpiece: Tune-o-Matic/Stopbar
Tuners: Sealed
Neck Pickup: Alnico V Humbucker
Bridge Pickup: Alnico V Humbucker
Controls: 2 x volume, 2 x tone, 3-way pickup selector
Strings: D’Addario, .010-.046+
Manufacturer Part Number: ENL1PBBH1

SV1 KORG KEYBOARD

Number of Keys: 73
Type of Keys: Weighted
Presets: 36
Polyphony: 80 Notes
Effects: Yes
Audio Inputs: 2 x TS
Audio Outputs: 2 x TS, 2 x XLR, 1 x TRS (Headphones)
USB: 1 x Type B
MIDI I/O: In/Out/USB
Pedal Inputs: 3
Height: 6.1”
Width: 45”
Depth: 13.66”
Weight: 38.5 lbs.
Manufacturer Part Number: SV173BK

KORG O1/W PRO X WORKSTATION

Korg’s 01/W workstation synthesizer debuted in 1991 as the follow-up to the popular M1. The 01/W was the second chapter in Korg’s workstation legacy, which goes on to this day with the Triton and Oasys series. The 01/W was geared towards beginning home studio enthusiasts that wanted to take a step further into a more professional realm. Compared with the M1, the 01/W featured many enhancements including a more dynamic 16-track sequencer (the M1 only had 8-tracks), 254 real world sampled instruments to the M1’s 100, polyphony was doubled from 16 to 32 voices, and greater overall control.

1 NOVATION IMPULSE 61 MIDI CONTROLLER

Number of Keys: 61
Type of Keys: Semi-weighted
Aftertouch: Yes
Pads: 8
Other Controllers: 9 x Assignable Buttons, Mod, Pitch wheels
Encoders/Pots: 8
Faders: 9
Dedicated Transport Control: Yes
Pedal Inputs: 1 x Sustain, 1 x Expression
MIDI I/O: In/Out/USB
USB: 1 x Type B
Hardware Requirements - Mac: Dual Core processor or higher, 4GB RAM minimum
Hardware Requirements - PC: Dual Core processor or higher, 4GB RAM minimum
OS Requirements - Mac: OS X 10.7 or later
OS Requirements - PC: Windows 7 or later
Power Supply: USB Bus Powered, AC-DC USB Adapter
Height: 3.94”
Width: 40.24”
Depth: 13.07”
Weight: 14.33 lbs.
Manufacturer Part Number: AMS-IMPULSE-61

1 EarthQuaker Devices Dispatch Master V3 Delay and Reverb Pedal

Pedal Type: Reverb, Delay
Analog/Digital: Digital
Max Delay Time: 1.5 seconds
Inputs: 1 x 1/4”
Outputs: 1 x 1/4”
True Bypass: Yes
Power Source: 9V DC transformer-isolated power supply required (sold separately)
Power Usage: 60mA
Height: 2.25”
Width: 2.5”
Depth: 4.75”
Weight: 1.1 lbs.
Manufacturer Part Number: EQDDMV3

Facility

CONTROL ROOM

The Control Room is host to a 48 channel Midas console, a 4 bay rack behind the engineers seat and a set of Focal Solo 6’s.  Photo by Stewart Hilton

LIVE ROOM

Our current live room has a 13’ sloped ceiling and measured roughly 21’ x 11’.  It’s suitable for up to 4 musicians.

TAPE MACHINE ROOM

Home to our Otari Mtr 90 MKII 2” 24 track tape machine

KEYBOARD & MIDI ROOM

Next door to the studio is a century home where we have lines run underground from the living room to the control room.  We use this space for recording the hammond and occasionally vocals, any part requiring isolation.  We use closed circuit video monitors to tie the experience together so musicians in the studio have visual reference with those in the house.

EXPANSION PLAN

COVID has been a challenge, but it’s also offered a good time to move ahead with studio expansion.

1—The attachment of the house to the studio (Breezeway), currently in progress, will provide shared space between the house and studio.
2—Converting the live room into a Carl Tatz PFS control space (shown above).  Our hope is to have that in place spring of 2021.
3—Convert the current control room to a space conducive for vocals, acoustic and electric guitars.

OUR CARRIAGE HOUSE RECORDING STUDIO

Our Carriage House Recording Studio is the production home of Realgrey Records.

Originally located on the back of the property in 1914, the carriage house was moved to it’s current location.  Our guess is that all shook down around the mid 1950s when it was used as a garage and storage.  When we converted this century building into what is known as “Our Carriage House Recording Studio”, we went to great lengths to preserve all the century timbers and reused them.  We wanted the “work horse” genesis of the building to be maintained.  The ethos of providing an inspirational space for artist seems to have been enhanced since moving into the our updated recording facility.

Our Carriage House Recording Studio —Brief History

1914
They moved “Our Carriage House” ... said an 85 year old little girl, who announced, “I was born in this house.” Her father “Mr. Steel” originally built the carriage house on the back of the property and used it as a workshop while building the house.  It provided shelter for the horse and buggy, his daily driver of sorts.  According to Mr. Steel’s daughter, the carriage house was moved to it’s current location by a subsequent owner.  Our guess is, that all shook down around the mid 1950s when it was used as a garage and storage. 

2014
100 years later,  we converted this century building into what is known as “Our Carriage House Recording Studio” ... we kept the name too and went to great lengths to preserve all the century timbers.  We wanted the “work horse” genesis of the building to be maintained.  The ethos of providing an inspirational space for artists seems to have been enhanced since moving into the our updated recording facility.