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Classic 1970's AMPEX master tape recorder.
Custom refurbished by Audio Village in Palm Springs CA, this beauty was modified for 1/2" tape, 30 IPS high speed operation, new Nortronics heads, new capstan and transformerless input option. The resulting sound is marvelously predictable; warm, smooth, pleasantly phat and just generally nicer sounding. The perfect final mix solution for bringing life to sterile digital recording.
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Yamaha upright piano ! It's beautiful, with warm tones, plenty of definition, records beautifully and it's very much in-tune. Synthesizers be damned ! ; )
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Soundcraft Ghost ANALOG mixing console (with classic British EQ and automation). Not to be confused with older outdated Soundcraft designs, this ultra-modern desk sounds very much like vintage Neve consoles without the huge pricetag. THIS is why Catalyst Recording mixes are so rich, full and fat... however, if you're music requires it (ie classical or minimalist reference recordings), we can always mix digitally in our DP equipped Mac (see below).
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Mic preamps from Manley (TNT - tube and SS), Earthworks (very clean), True (neutral, discrete), Sytek (Russian/American, Class A, very fast), TL Audio (British, tube), Presonus (with limiters and digital outputs), ART (tube, optical, surprisingly good).
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Microphones (condenser, tube, ribbon, stereo and dynamic) from Neumann, AKG, AEA, Sennheiser, Beyer, EV, Shure, Rode, Audio Technica. Including AEA R92 ribbon mic (a very sweet top end), Neumann TLM 103's (the world's quietest condenser), Neumann KM184's (smooth off-axis), AKG C422 (a stereo C414!), AKG Solidtube (warm up some vocals), AKG D12 (Motown bottom baby) and D112 (today's standard), Sennheiser MD421 and MD504's (tom tom heaven), Beyer M201 (better than a 57 on snare), Rode NT1A (a serious newcomer), A-T 4033SE (electric guitar perfection)... no cheap "budget" condensers here, because mics really matter more than anything else..
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Digital editing via Digital Performer 5.12 running on OS X Tiger, very much like ProTools (far and above their affordable LE version, and in some ways STILL cooler than even their 7.0). This workstation allows the ability to achieve today's "over-manipulated" sound common to pop records, or just simply to allow absolute precision control during final mixing. Not all computers (or software) are created equal ... we use a dual processor Mac Pro that is loaded to the gills, WAVES mastering plug-ins and the UAD-1 from Universal Audio (simply the best), this is the RIGHT STUFF.
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Computer interfacing via MOTU's popular 2408 (both a Mk2 and a MK 3). This allows recording at up to a 96 kHz sample rate with its increased clarity and transparency. Can actually get 24 tracks of audio in and out of the computer at the same time, way more convenient than typical ProTools LE hardware.
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CD Mastering with the EL7 Fatso from Empirical Labs (vintage ANALOG compression, limiting, saturation and transient smoothing). Plus, digitally, Waves heralded "Masters" mastering software and the UAD-1 UltraPak from Univesal Audio. Incredible dynamic EQ control that is surgical and completely transparent. Not for recordings that require "color" or "texture" (that's for the Fatso), this is invisble linear phase control.
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Analog mixdown, of up to 48 digital tracks, to high resolution - 24 bit/96 kHz hard disc recorder, with digital conversion from Apogee's UV22 process... Ampex 1/2" tape (please see Ampex above).
Processing from Chandler, Universal Audio, Empirical Labs, Lexicon, TL Audio, Yamaha, Valley, Symetrix, Behringer, Alesis, Antares and others. Compression and dynamics from Waves, MOTU, Brooks Siren (BSS), Symetrix, dBX, Behringer, Valley, FMR and ART.
The EL7 (The Fatso) from Empirical Labs. Ultra high end, digitally controlled analog, mastering grade stereo dynamics/emulation processor ! (whew) Whether applied to the mix buss, utilized in mastering or even on individual tracks like bass and vocals esp, this thing sounds classy. It can really warm up harsh tracks and even does a nice job on difficult anomolies like sibilance and over-modulated peak transients.
Monitoring from JBL with Room Mode Correction (including 15" powered subwoofer - most studios can't even reproduce these low frequencies). Headphone monitoring from AKG, Fostex and Sennheiser via high powered amps from Behringer and Fostex (up to 5 separate mixes). In-ear monitoring for drummers (this is THE future of monitoring), isolation from drums and amplifiers (using iso boxes) allows lower monitoring levels, clearer mixes, less fatigue and therefore better performances.
A multitude of guitar amps from Rivera, Marshall, Fender, Mesa Boogie, Univox, Roland, Peavey, Chandler and Crate. Active guitar splitting for multi-amp recording setups. More guitar pedals than you could ever use including pedalboard/9V supply/patchbay, switchless wah, Big Muff Pi, multiple distortion boxes, modulation and rack-mount guitar processors too. Guitars from Paul Reed Smith, Taylor (great recording acoustic),Fender hollowbody Telecaster (gorgeous feedback heaven) and a personal fave "Frankenflame" for drop tunings.
Bass rig includes SWR400S amp with tube preamp and powerful sweepable/graphic EQ, ADA preamp with crazy bass distortions and speakers from JBL. Basses from Kubicki (an "original" Factor - incredible for recording), Fender, Godin (fretless) and others.
MIDI and sampling gear from Ensoniq, Alesis, Boss and Korg (including drum triggering). Catalyst Recording has synchronizationgear that allows your sequences to lock up to our audio using MTC, SMPTE or ADAT sync.
All cabling from Monster Cable, Mogami and Canare. From studio to control, from mic pres to tape, from top to bottom. Patching from ADC TT bays, utilizing all Mogami cables and silver solder for superior conductivity and low capacitance. (No budget Hosa stuff here).
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Above photo is Rob with Bryan, Paul and Rachael of Angwish.
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