Equipment

Out of the thousands of different mics out there only a small handful have achieved iconic status. There can be no doubt that the holy grail of mics has to be the legendary Neumann U47 tube microphone. More info here.

With its distinctive egg shape, the AKG D112 has become one of the most popular kick drum microphones ever made. A descendent of the earlier D12 dynamic microphone, AKG set about engineering a tougher and more modern sounding kick drum mic with a specially engineered diaphragm to create a solid and powerful response below 100 Hz and a narrow band presence rise at 4 kHz to help the kick punch through dense mixes with little or no added EQ. Fore info here.

A modern and historic favorite among ribbon microphones, the Coles 4038 is still manufactured with the same quality that it has been manufactured with for 40 years. Characterized by it's incredibly smooth sound reproduction, the 4038 has become a massive favorite with famous recording engineers for everything from rock and roll applications like drum overheads, and electric guitars, to jazz applications including brass and upright bass, to classical orchestral applications. More info here.

The Gefell M300 combines the natural sound and detail of a gold evaporated 16mm diaphragm with pace-age advancements in mechanical and circuit design. It's is very versatile, exhibits very low self-noise, and is extremely stable and linear at all temperatures making it an ideal choice for critical recording and location sound for film and television production.Compact condenser with gold sputtered diaphragm; transformerless circuit for exceptional dynamic range and wide, natural response. A slight presence rise at 7kHz adds detail, making the M300 ideal for instrument and voice recording while the precise pattern control allows the M300 to also be used in film and live sound where noise may be a problem.

The KAT System is the first hot-swappable microphone capsule system of its kind to incorporate a matrix connection that will accept both the Neumann style center contact and the AKG style floating diaphragm. More info here.

The R-122 is the worlds first phantom powered, active ribbon microphone. It's unique electronics package gives the R-122 greater output than standard, non-powered ribbons, and places a perfect impedance load on the ribbon element, greatly expanding the number of preamps the mic operates well with. More info here.

The R-122V is the pinnacle of Royer's R-Series line, a world class tube ribbon microphone exhibiting unparalleled richness, depth and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best. More info here.

The 441 is acknowledged as one of the most accurate and versatile dynamic microphones available. It has a nearly textbook perfect supercardioid pattern, a five-position low frequency contour switch, a two-position high frequency switch, a critically dampened internal shock suspension, and a hum bucking coil. With its distinctive coffin shape and two tone chrome/vinyl finish the 441 is another really great and distinctive mic from Sennheiser. More info here.

Large diaphragm dynamic microphone that came out originally in the early 60s and quickly became known as a really good sounding robust mic that could handle high spls. It can handle just about anything from vocals to brass but has established itself as a microphone that is great for toms and bass instruments but it's also fantastic on rock guitars. It has a 5 position bass roll of and a unique mic clip. More info here.

The SM57 is a dynamic microphone with a cardioid, directional pattern. It doesn’t need phantom power and it records what you point it at and rejects stuff from the side and from behind. It's great on drums particularly the snare and toms and it can do this without a pad, where a condenser mic's sound would break up with distortion. More info here.

The SM7B is a large diaphragm dynamic microphone with a smooth, flat, frequency response designed primarily for speech and particularly voice-over work where it has become the industry standard. More info here.

The one with the cool looking built-in suspension.

The Chandler TG Channel is a recreation of several classic circuits and combines a TG2 pre amp section with an equalizer that was redesigned from an equalization circuit used in the TG12410 Transfer or mastering console. The mastering counterpart to the original "Beatles desks". This version has been remade using original design information and circuit board drawings as provided by Abbey Road to ensure extreme authenticity. More info here.

The Legendary Helios has resurrected with much anticipation and patience, the 69 Series as used by the Beatles, Rolling Stones, Bob Marley, Led Zepplin etc. More info here.

A brilliant recreation of the original German designed Telefunken / Siemens amplifier module used in many European broadcast and recording desks. More info here.

The EMI TG12345 Curve Bender is the ultimate TG equalizer issued in celebration of the 75th birthday of Abbey Road Studios. The Curve Bender was conceived by Chandler Limited designer Wade Goeke and Abbey Road senior engineer Peter Cobbin and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd. More info here.

The Tone Control uses active and passive EQ circuits in combination with the Germanium amplifier developed for the Germanium Pre and incorporates the versatile Feedback and Drive controls as well. All bands use inductors for the fattest smoothest tone possible. The passive low frequency section is selectable between "Pultec/Lang" interactive curves and more standard low frequency with pass filter for maximum flexibility while the Treble and Presence bands are active and designed to sound like your favorite British eq’s from yesteryear. More info here.

5ch mono tube mixer. With eq and four preamps. Very Motown-esque!

The TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late 60's. The TG Limiter was originally designed to be like the Fairchild 660/670 which was loved by many EMI engineers, including Geoff Emerick, but ended up with a very special sound all its own. These rare pieces were never commercially available and only EMI owned studios had access to them. This version has been remade from the original design information and circuit board drawings as provided by Abbey Road and EMI to ensure extreme authenticity. More info here.

Everyone loves the La-2a. The original was immediately acknowledged for its natural compression characteristics. A unique electro-optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion – an accomplishment at the time, still appreciated today. More info here.

The original LA-3A Audio Leveler made its debut at the 1969 NY AES show and marked the departure from the tube design of the Teletronix LA-2A Leveling Amplifier. The LA-3A incorporated components and design concepts from the Putnam-designed 1176LN Limiting Amplifier. Immediately embraced as a studio workhorse and still widely used today, the LA-3A remains a favorite of engineers and producers worldwide for its unique compression characteristics and sonic signature. More info here.

The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology ' the first true peak limiter with all transistor circuitry offering superior performance and a signature sound. Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters, the 1176LN retained the proven qualities of these industry leaders, and set the standard for all limiters to follow. More info here.

The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. More info here.

Record your killer drums, hammering guitars or beautiful vocals at maximum bandwith on this analogue monster tracker, operated into a Studer A800. This one's a true beauty. For more info check here.

ProAc Studio 100 studio monitors w/ATC SIA2 – 150 stereo integrated amplifier

Installed in the live room using the Neve VR60L's SLS-function. This enables talkback without headphones or you can just listen to the take you just did.

Used for echo/ADT, has the remote for vari-speed. Or you can use this for mixing down to 1/4".

22x14 kick, 16x16 and 13x9 toms

18x16 kick, 10x6,5, 12x7,5 and 14x14 toms. 14x5 snare. Thin stave construcion shell made from birdseye maple. Beautifully hand made.

3mm brass, very heavy.

With wood hoops.

A classic!

20x20, 10x8 12x8, 14x12 Floor Tom, 16x13 Floor Tom, 13x7 snare drum.  Pearl White + Tama Rockstar 14x 6  snare drum

With new hammer tips, this baby is ready to go!

Modified with a new low-noise amplifier and extra shielding, perfect for studio use.

Eric Clapton signature model. A beauty.

Silverface with new 8 inch speaker from Weber.

30th Anniv. Edition from 1990 in white.

Similar to the Marshall Silver Jubilee 2555

Vintage blackface amp head