Here is some of the kit we have inhouse:
I have to admit to being something of a microphone obsessive, which is why I have such a good range.
Neumann U87 ai – a studio classic large diaphragm condenser and worth every penny.
sE Electronics Gemini III – another classic. The Gemini II is a twin valve cardioid LDC mic with a beautiful sound. The III is a limited edition multi-pattern version of it.
Neumann TLM 193 – a cardioid LDC with a darker character than many of my other mics.
Aston Spirit – A modern multi-pattern LDC unusual for it’s industrial appearance and the fact that it was made as well as designed in Britain. Fast becoming a favourite of mine.
JZ Microphones Vintage 11 – The makers of this, the latest mic in the studio, say it’s for anyone who “wants something better than all known studio standards”. Bit of a big claim there, but we’ll see how it pans out – update, it’s a decent, very usable mic and I’m glad to have it but it’s not the best mic I have.
Rode NT-SF1 – Oh, now this is something special. It’s an ambisonic mic, and can handle full surround sound recording, but that’s not the reason I’m excited by it. You can take a live recording and afterwards at mixdown decide which types of mics you used, cardioid, figure-of-8, whatever, and the directions they were pointing. This is going to be so, so useful for live work.
Sontronics Sigma – an active ribbon mic with a smooth vintage character that is lovely with the right voice or instrument, my go-to for higher female voices.
Neumann KM184 – a matched pair of really excellent small diaphragm condensers, beautiful on guitar and also very nice on location recording in ORTF or co-incident arrangement.
Rode NT5 x 2 – a matched pair of this fine small diaphragm condenser mic, I also have omni capsules for them.
Rode NT4 – a stereo mic that is essentially two cardioid NT5’s held as a coincident pair. a nice mic for guitar.
Earthworks QTC-1 x 2 – A matched pair of omni mics with a staggering flat frequency range from 40hz to 40khz. Beautiful mics for the right job, I’m inspired by these!
Sure SM58 – I believe that in law no studio is permitted to operate without at least one of these cardioid dynamic mics to hand.
Digital Audio Workstation
Apple iMac Pro octo-core computer.
Logic Pro X – recording and editing software, extended with a wide variety of third party plug-ins such as Melodyne and UAD.
UAD Apollo interfaces -multiple UAD interfaces aggregate automatically and function like one large interface. I have an Apollo 8 Duo, an Apollo Duo and an Apollo Twin which together provide me with 10 digitally controlled preamps plus a considerable amount of DSP grunt to run the excellent UAD plugins both during tracking and mixdown.
Mackie Control Universal Pro – moving fader control surface with extender for a total of 16 channels.
Softube Console 1 – another control surface oriented around plugins that complements the MCU very well.
Naumann KH120A – active nearfield monitors provide the main monitoring facility.
Avantone Mixcube – A single monitor provides “grotbox” and phase checking of mixes.
Genelec 8030a monitors provide sound for the artists.
Drawmer MC2.1 – provides monitor control for the studio.
AKG K702 headphones for mixing, several pairs of AKG K55 headphones for tracking.
Tascam DR680 – A solid state recorder with very good preamps capable of recording up to 6 tracks simultaneously, I use this for location recording and then transfer the tracks to Logic for mixdown on return to the studio.
Yamaha P-115 digital piano – A high quality musical instrument linked into the rest of the studio via both audio outputs and MIDI. It can thus be recorded as a piano or used to drive one of the synths listed below via MIDI.
Roland Handsonic HPD15 – I am not geared up to record live drums but this electronic hand drum can be used to provide many percussion effects.
Roland JV1080 synth – (with assorted expansion cards). An old studio classic.
Korg MS20 Mini – A modern recreation of a classic late ’70s analogue synthesiser.