recording

Jordan Weaver is a great singer and I’m having a fun time recording him for the next Biola King’s Men CD.

In this exclusive video, producer / engineer Val Garay explains how the Aphex Vintage Aural Exciter® helped shape the sound of hit records for artists like Linda Ronstadt, Neil Diamond, The Four Seasons, and James Taylor.

Shooting and interview by Brian Petersen for Waves at the Village Studios in Los Angeles. Assisted by the legendary Phil Towne.

Related plugin: Waves Aphex Vintage Aural Exciter®

Read more: http://www.waves.com/content.aspx?id=11701#ixzz1NXoWf5Xa
http://www.waves.com/content.aspx?id=11701

Trevor Gomes recording sessions. Engineered by Brian Petersen.

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

Jack Joseph Puig is among the most sought-after producers and mixing engineers in the music industry.

Jack Joseph Puig is world-renowned as a producer, mixer, and engineer, blending the sounds of the past three decades to create a unique contemporary aural tapestry. As one of the industry’s most in-demand engineers, Puig has manned the controls for a veritable who’s who of major artists.

Recently, Jack Joseph Puig collaborated with Waves on The JJP Analog Legends, which features four precision-modeled plugins based on rare gear from his own studio. Here are some photos of a recent session with Jack as he explains the front and back end of the plugins.

Check out his plugins
http://www.waves.com/Content.aspx?id=7306
Read more: http://www.waves.com/content.aspx?id=2327#ixzz17TnrjKyH

About JJP Analog Legends

JJP Analog Legends is the result of an ongoing Waves research and development project that has lasted over 3 years.

Fairchild compressors are among the very rarest pieces of recording gear; it’s rumored that less than 50 were originally manufactured. One of the first things we discovered when testing Fairchilds is that each model sounds different. In fact, even within the same stereo module, each channel can sound and behave differently! Only a few fortunate studios in the world have multiple units, with the opportunity to compare the subtle differences between them. And so, our quest for the best sounding Fairchild led us to producer/mixing engineer Jack Joseph Puig, well-known in audio circles for his enviable collection of hard-to-find gear.

Jack loaned us his very best sounding unit, and we painstakingly analyzed and modeled its every attribute, replicating its sound and behavior to the point where the software was virtually indistinguishable from hardware. Jack was an indispensable part of the development process, greatly assisting the Waves team by testing and fine tuning the software models of his hardware, as well as contributing an extensive library of his personal presets.

So when you fire up the PuigChild, it’s almost as if you were working together with Jack Joseph Puig in Ocean Way studios. Better yet, it’s as if he loaned you a Fairchild. And not just any Fairchild; his BEST Fairchild.

Read more: http://www.waves.com/content.aspx?id=7665#ixzz17TpKxhKD

Among his clients:
The Rolling Stones, U2, Black Eyed Peas, Green Day, Fergie, John Mayer, Sheryl Crow, Klaxons, Panic At The Disco, Weezer, Counting Crows, Pussycat Dolls, Goo Goo Dolls, The Black Crowes, Switchfoot, No Doubt, Mary J. Blige, and more.

Puig has produced hits for the Verve Pipe (“Freshmen”) and The Black Crows (“Good Friday”), among others. Calling Ocean Way his home, Puig has spent time both as an engineer and as a producer and sees the duality as a plus when dealing with today’s Top 40 rock acts, many of whom ask him to mix their albums as well. He has also mixed albums for Hole, Collective Soul, Green Day, Mick Jagger, Lisa Loeb, and others.

Puig’s Picks

The vintage hardware modeled in the JJP Analog Legends are among the rarest, most coveted pieces in the audio world. The PuigChild 660, PuigChild 670, PuigTec EQP-1A, and PuigTec MEQ-5 are based on these acclaimed units.

About Fairchild: Among gear aficionados, the stereo Fairchild 670 is considered the most coveted of all compressors, not only because of its pristine sound, but also its rarity and price: 670s routinely go for tens of thousands of dollars on the vintage market. (They originally cost less than $1000.) With 20 vacuum tubes and 4 hand-wired transformers in a hefty 6 rack-space chassis, these hard-to-find units weigh in at a robust 65 lbs.

Designed by Estonian-born Rein Narma in the early 1950s, both the stereo 670 and its mono counterpart the Fairchild 660 use single push-pull amplification stages with extremely high control voltages. Both variable-mu limiters are unique in that they use tubes for gain reduction as well as amplification. Compression takes place directly in the audio path, rather than being routed to a separate circuit.

Prior to the 660 and 670, Narma’s Gotham Audio Developments had built consoles and components for such luminaries as Rudy Van Gelder and Les Paul. Shortly after Paul asked Narma to build a limiter, Sherman Fairchild caught wind of the project, licensed the design, and hired Narma to come onboard as the company’s chief engineer. After his stint at Fairchild, Narma relocated to the San Francisco Bay Area and became vice president of Ampex, pioneers of multitrack recording equipment.
About Pultec

Custom-engineered and built by hand, the original Pultecs have long been a top choice of leading recording and mastering engineers. Pultecs are renowned for their ability to accentuate individual frequency ranges without significantly altering other frequencies.
In 1951, Gene Shenk and Ollie Summerland of Pulse Techniques Inc. introduced the first passive program equalizer, the EQP-1. Using equalization circuit designs licensed from Western Electric, the initial Pultecs suffered the gain insertion losses typical of passive filters. So, they added a gain makeup stage, using a push-pull design with multiple vacuum tubes. The result is the classic we’ve come to know as the EQP-1A.

Conceived and created for broadband equalization, the EQP-1A features four low boost/cut frequencies, three high-cut frequencies and seven HF boost points, along with a bandwidth control for shaping the high boost curve. The EQP-1A and the MEQ-5 together comprise one of the best known equalization chains in audio history.

More about Jack Joseph Puig

Jack Joseph Puig is a Grammy Award-winning music engineer and producer with a long track record of successful productions, beginning with the mid 1990′s production of Tonic. Following this breakout success, Puig went on to work with Hole, Jellyfish, The Black Crowes,^[1] John Mayer, Weezer, Fiona Apple, Green Day, The Counting Crows, No Doubt, Klaxons, Panic at the Disco, Stone Temple Pilots, U2, and many others. Puig has shared Grammy Awards with The Goo Goo Dolls, Sheryl Crow, Vanessa Carlton, John Mayer, Fergie (Black Eyed Peas), U2, and No Doubt. In 2006 Jack Joseph Puig became a E.V.P. atInterscope-Geffen-A&M Records. He has signed Klaxons and Charlotte Sometimes. As a A&R man he works with Shirley Manson, Ashlee Simpson, Klaxons, Charlotte Sometimes, The Counting Crows, Puddle of Mudd, and The Like.

Prior to his mainstream music production successes Puig rose to prominence as an engineer in the Contemporary Christian music scene of the mid-eighties. He worked mainly on Myrrh Record releases. He engineered for Christian acts sych as Amy Grant and Russ Taff. Some of the records he engineered were Grammy-award winning works such as Grant’s landmark 1985 LP Unguarded.

Partial discography

• Semisonic – Feeling Strangely Fine (1998) m
• Robbie Williams – I’ve Been Expecting You (1998) p/m
• John Hiatt – Stolen Moments (2005) e/m
• Bette Midler – Some People’s Lives (1990) m
• Jellyfish – Bellybutton (1990) e/p
• Bette Midler – For the Boys (soundtrack) (1991) m
• Jellyfish – Spilt Milk (1993) e/p/m
• The Grays – Ro Sham Bo (1994) p
• The Black Crowes – Amorica (1994) e/p/m
• Tonic – Lemon Parade (1996) e/p/m
• Weezer – Pinkerton (1996) e/m
• The Black Crowes – Three Snakes & One Charm (1996) e/p/m
• Talk Show – Talk Show (1997) m
• Big Wreck – In Loving Memory Of… (1997) m
• Hole – Celebrity Skin (1998) m
• Goo Goo Dolls – Dizzy Up The Girl (1998) p/m
• Sparklehorse – Good Morning Spider (1999) p/m
• Stone Temple Pilots – Revolution (1999) m
• The Counting Crows – This Desert Life (1999) m
• Beck – Nicotine & Gravy (1999) m
• No Doubt – Return of Saturn (2000) m
• Green Day – Warning (2000) m
• Collective Soul – Blender (2000) m
• Five For Fighting – Easy Tonight (2000) p/m
• Shelby Lynne – Bridget Jones’ Diary, original soundtrack (2001) m
• Tricky – Blowback (2001) m
• Remy Zero – The Golden Hum (2001) e/p/m
• The Rolling Stones – 40 Licks (2002) m
• Phantom Planet – The Guest (2002) m
• Sheryl Crow – C’mon C’mon (2002) m
• Vanessa Carlton – Be Not Nobody (2002) m
• Vanessa Carlton – A Thousand Miles (2002) m
• The Counting Crows – Hard Candy (2002) m
• Switchfoot – The Beautiful Letdown (2003) m
• Stereomud – Every Given Moment (2003) m
• The Ataris – So Long, Astoria (2003) m
• Stereophonics – You Gotta Go There to Come Back (2003) m
• John Mayer – Heavier Things (2003) e/p/m
• No Doubt – The Singles: 1992-2003 (2003) m
• 311 – Greatest Hits ’93-’03 (2004) m
• Sum 41 – Killer Queen(2005) e/p/m
• Aqualung – Strange and Beautiful (2005) m
• Son Volt – Retrospective 1995-2000 (2005) m
• Black Eyed Peas – Monkey Business (2005) m
• The Rolling Stones – A Bigger Bang (2005) m
• The Rolling Stones – Biggest Mistake (2005) m
• The Pussycat Dolls – PCD (2005) m
• Mary J. Blige – The Breakthrough (2005) m
• John Hiatt – Chronicles (2005) e/m
• Goo Goo Dolls – Let Love In (2006) m
• Dashboard Confessional – Dusk and Summer (2006) m
• Fergie – The Dutchess (2006) m
• The Academy Is – Santi (2007) m
• Macy Gray – Big (2007) m
• U2 – Instant Karma: The Amnesty International Campaign to Save Darfur (2007) p/m
• Lifehouse – Who We Are (2007) m
• Queen Latifah – Trav’lin’ Light(2007) m
• Puddle of Mudd – Psycho (2007) p/m
• Klaxons – Golden Skans radio remix (2007) m
• Eric Clapton – Complete Clapton (2007) m
• Panic at the Disco – Nine in the Afternoon (2007) m
• Charlotte Sometimes– Waves and the Both of Us (2008) p/m
• Jack Savoretti - Harder Than Easy (2009) m
• Kylie Morgan (country artist) 2010

From a harp recording session by Brian Petersen with a piece written by Trevor Gomes on November 20, 2010.

Miced with a Neumann TLM 49 cardioid directional large-diaphragm studio microphone running to a UA LA 610 into Pro Tools LE8 running Waves Mercury Bundle.

People may ask, “How do I record a harp?” A couple rules always apply for any recording. I use a nice large room with high ceilings, a good player, good charts, and a good producer and engineer. I used two mics in with one pointing at the soundboard and the Neumann is bit higher aimed at the strings. I loved the result and will use this in the future.

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

The legendary Ted Blaisdell at Westlake Studios. Visit his site at http://tedblaisdell.com/

Ted Blaisdell
c/o Host Pro Media
10866 Washington Blvd #442
Culver City, CA 90232
Email:info@tedblaisdell.com

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

This digi 002 portable pro tools rig was used to track an album and pitch vocals while the main HD rig was mixing in P1 at the Westlake Studios in West L.A.

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

Mic pres during a drum recording session by Brian Petersen.

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

From a string recording session at Grace EV Free for the Isaiah worship CD coming out in September.

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

Church live sound recording using Pro Tools, Yamaha M7, and Waves

Many people wonder how they can record live worship in their church sanctuary using affordable gear to get the job done right. Here is a basic setup using Pro Tools LE 8, a Yamaha M7, and Waves plug ins.

Design by Brian Petersen at Grace EV Free, La Mirada.
Gear and installation by Steve Prado and Jeff Clark at ELS

Signal flow
- Inputs come from the stage to the snake at Front of House (FOH).
- XLR snake lines then plug into to the back of the mixer, a Yamaha 48 channel M7
- The M7 mic pres set the gain for the mixer channel and the direct out
- direct outs from each mixer channel is routed to an output card on the M7
- 2 installed analog cards on the back of the M7 go to a Digi 003+rack
- Inputs come into a Digi 003+ rack running Pro Tools LE 8
- The Digi 003+ rack connects via firewire 400 to the iMac
- 8 other outputs from the board are run into a ADAT lightpipe interface connected to the Digi 003+ via lightpipe providing 16 total analog inputs to Pro Tools

- The tracks are then recorded in Pro Tools 8 on an older iMac with no active plug ins
- The files from the worship services are moved to another computer.
- The 16 tracks are then mixed using SSL, Masters, and the Diamond Bundle of Waves plug ins.
- The audio mix is then manual sync to the recorded camera feeds in Final Cut Pro

Inputs:
2 flown room mics at 20ft. facing the congregation
1 wireless Shure Beta 87 for lead vocal
1 wireless Shure lav W185 mic for preaching pastor
1 wireless Shure Beta 87 for announcements
2 wired Shure Beta 58 for female lead and background vocals
1 Audix D6 for kick drum
1 Sennheiser e604 for snare
1 Sennheiser e604 for toms
1 Shure KSM 106 for drum overhead
1 Rapco DI for electric bass
1 Shure SM 58 for electric guitar
1 Radial DI for acoustic guitar
2 Shure KSM 109 for grand piano (only 1 channel goes to pt)
1 Shure KSM 27 for violin/fiddle

Waves Plug-ins
Waves SSL G-Master Buss Compressor for main mix buss
Based on the renowned master buss center compressor of the SSL 4000 G console, the Waves SSL G-Master Buss Compressor captures the unique sound of the original’s IC input and twin VCA gain-reduction amplifier design.

Waves L2 Ultramaximizer for main mix buss
For mixing, mastering, and more, the L2’s legendary combination of look-ahead brickwall peak limiting, level maximization, and ultra high resolution give you the power and extra gain you need with crystal-clear results every single time.

Waves S1 Stereo Imager for main buss before the compressor
Ideal for stereo tracks as well as full mixes, the S1 is a unique and powerful set of tools that uses psycho-acoustic spatial imaging techniques to enhance and alter stereo separation.

Waves SSL E-Channel for most channel EQ and compression
The SSL E-Channel delivers the incomparable sound of the Solid State Logic 4000-series console’s all-discrete design and its Class A, VCA chip.

Waves Renaissance Compressor
Featuring a streamlined, optimized interface, the Renaissance Compressor delivers classic warm compression and expansion utilizing technologies from our renowned C1 Parametric Compander and the legendary L1 Ultramaximizer™.

Waves Renaissance Axx for bass
Engineered especially for guitar, Renaissance Axx is the ideal compressor for musicians and engineers who need to dial in dynamic levels quickly. With its three efficient controls, Renaissance Axx features a fixed ratio curve, automatic release value, and an output limiter to prevent clipping.

Waves H-Delay for main vocal and electric gt delays
From real old school PCM42-style effects like filtering, flanging, and phasing, to slap-back echo, ping-pong delay, and tempo-sync with modulation, H-Delay delivers the goods, controlled by a super intuitive interface that lets you get right down to business.

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

String players on a recording session for “So Much Joy” at Grace EV Free in La Mirada.

Arrangements by William Gearhart
Engineering by Brian Petersen

Session signal path

Neumann M 149 Tube microphone
running into a Great River ME-1NV preamplifier
Digi 002 Mixer with firewire 400
Digidesign Pro Tools

Studio Projects LSD-2 stereo microphone
going into a Universal Audio 2108 preamplifier
Digi 002 Mixer with firewire 400
Digidesign Pro Tools

Neumann TLM 49 microphone
Universal Audio LA-610 Tube pre / T4 Optical Compressor
Digi 002 Mixer with firewire 400
Digidesign Pro Tools

Full size image at
“>http://www.flickr.com/photos/bpbp/4589559727/

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses to this image.

Here and Now. Live worship music with lyrics from Grace EV Free Church on 3 7 2010.
Mondsel/Harrah ©2010 Seedsower Music ASCAP

Here and Now (Live 3 7 2010) from Grace EV Free on Vimeo.

Media

Download the sheet music here: Here And Now by Walt Harrah
Download the MP3 file here: 01 Here and Now (live 3 7 2010)
Download the AAC file here: 01 Here and Now (live 3 7 2010)

Musicians

Music: Walt Harrah
Vocals: Marla Bustad, Mindy Price, & Walt Harrah
Drums: Nate Warne
Bass: Andrew Braine
Electric: Dale Bryson
Acoustic: Drew Brokke
Piano: Walt Harrah
Live Sound: Erik Bergen
Live Lyrics: Philip Massey
Recording, Mix, & Master: Brian Petersen
All the Glory: Father, Son, and Holy Spirit

Recorded on Pro Tools 8 using Waves SSL, Renaissance, and Mastering Plug-Ins.

http://www.graceevfree.org/
http://www.waltharrah.com/
http://www.songsofgrace.org/

Lyrics

Here And Now
Mondsel/Harrah
©2010 Seedsower Music ASCAP

Worship the Lord
in the beauty of holiness,
Bow down before Him;

Gold of obedience
and incense of lowliness
Bring and adore Him.

Enter his courts,
Christ has opened
the way for us,
Sing praises to Him;

Now at the side of the Father
to pray for us,
Bring thanks that’s due Him.

Lead us
beyond mere formal duty
Show us
your captivating beauty

Till we, in awe
and reverence, humbly bow.

As we rehearse
redemption’s story,
Show us the wonders
of your glory;
Unveil it here and now.
Unveil it here and now.

Our sins were paid for when death
died at Calvary,
God’s mercy sought us;

Tell how, adopted,
we’re His for eternity,
God’s love has bought us.

Join with the angels and sing,
praise His majesty,
The Lamb is worthy;

Power and wealth, wisdom,
strength, praise and honor be
Now and forever.

Lead us
beyond mere formal duty
Show us
your captivating beauty

Till we, in awe
and reverence, humbly bow.

As we rehearse
redemption’s story,
Show us the wonders
of your glory;
Unveil it here and now.

Studio E is a beautiful mixing suite equipped with a 72 input SSL 9000J console and an extraordinary amount of outboard gear. Studio "E" has a roomy luxurious private lounge with many creature comforts including Internet access and dining facilities. The studio is also equipped with ISDN lines for Global Recording.

Console:
Solid State Logic 9072J Super Analogue Console

Monitors and Video:
Westlake HR1-X Mains
Sony 42” Flat Panel Plasma Display
2 Sony WEGA 20” Flat Panel Displays

Size:
Control Room 375 square feet
Vocal Booth 52 square feet

Isolation:
One Standard Isolation Area – One Variable Decay Isolation Area

Multitrack Tape Machines :
Digidesign Pro-Tools HD System with an Apple 21” Cinema Display and latest Power Mac.
Studer A-827
Sony PCM-3348 or 3348HR

Two Track Machines:
Ampex ATR-100
Panasonic SV-3700 DAT
HHB CDR850 Compact Disc Recorder
Apogee PSX1000 series AD/DA Converters

Outboard Gear – Time Based Effects
AMS-RMX 16
AMS-DMX 1580 DDL
EMT 140 Analog Plate
Eventide DSP-4000
Eventide H3500
Lexicon 480L & 960L
Lexicon PCM 70 (2)
Lexicon PCM 91
Lexicon PCM 42 (2)
Quantec QRS-XL
Roland SDE 3000 (2)
TC M3000
TC D-TWO
Yamaha SPX 90 (2)
Yamaha SPX 900

Outboard Gear – Dynamic Effects
Avalon 737SP
dbx 165A (2)
dbx 160x (3)
dbx 902 de-esser (1)
Drawmer DS-201 Gates
Emperical Distressors (2)
GML 8200 St. EQ’s (2)
Manley EQP-1A
Neve 33609 Stereo Comp
Summit MPE-200 EQ
Summit EQP-200A St. EQ
Summit 200 St Comp (2)
TubeTech LCA 2B St EQ
Tubetech PE 1C EQ (2)
Urie 1176
Waves L2 St Maximizer

Westlake Recording Studios
7265 Santa Monica Blvd
Los Angeles, CA 90046
TEL (323) 851-9800
For booking availability, rates or any additional info
please contact Sara Clark or Steve Burdick
Email: bookings@thelakestudios.com

An electric guitar session with a Royer 121 ribbon mic on a Fender guitar amp.

I had a blast engineering this a cappella album for the King’s Men at Biola with Walt Harrah.

Session signal path included:
Neumann TLM 49 microphone
Universal Audio LA-610 Tube pre / T4 Optical Compressor
Digi 002 Mixer Digidesign Pro Tools

Produced by Walt Harrah
Engineering by Brian Petersen
Mixed and Mastered by Brian Scheuble and Nolan Sipe
This album was recorded at Grace EV Free in La Mirada.
Mixed at the Village in West L.A. on a HD pro tools rig.

Members: Drew Brokke, Trevor Gomes, Arnold Geis, Matt Gould, Kevin Krogstad, Dan Rigall, Matt Sanchez, Jordan Tolentino
Released by Biola.

Here is an article about the CD.
http://www.biola.edu/news/articles/2009/091216_kingsmen.cfm

The King’s Men, Biola University’s a cappella student singing group, recently released their second CD titled No Turning Back. The CD features the group’s newest music alongside traditional hymns and worship songs, proving to be a unique listening experience.

Drew Brokke, a senior music and worship major and member of The King’s Men, was challenged to grow as a musician through the recording experience.

“Working on this album was simultaneously one of the most frustrating and rewarding experiences of my life,” said Brokke. “I was never so aware of my faults as a musician as then, but the rewards for working through them have been more than worth it. I feel so privileged to have been a part of it.”

Since 1986, The King’s Men, have performed and provided a unique style of music ranging from classical works by Morten Lauridsen to popular works arranged by M-Pact, Glad, and Walt Harrah. Though the members change each year, The King’s Men still continue to remain strong and their desire is that God be extolled through their talents.

Walt Harrah, the producer of No Turning Back, believes the experience was invaluable for the group.

“It was a tremendous growing experience for the singers, both in their respect of each other’s talent, as well as respect for the process of making a recording,” Harrah said.

The King’s Men can be found performing at various community and Biola-sponsored events.No Turning Back is available for purchase through the Conservatory of Music and at the Biola Bookstore.

Written by Lauren Kermelis, Media Relations Intern. Jenna Bartlo, Media Relations Coordinator, can be reached at (562)777-4061 or through email at jenna.l.bartlo@biola.edu.

Ted Blaisdell mixing the album, “So Much Joy,” in Studio E at the Westlake Studios

Produced by Walt Harrah
Engineered by Brian Petersen
Mixed by Ted Blaisdell at the Westlake Studios
Mastered by Robert Hadley at the Mastering Lab
Album design by John-Mark Warkentin

tedblaisdell.com/

Grace EV Free Choir and Orchestra during the 2009 Christmas Concert
Will Gearhart is conducting
Marla Bustad with the solo
Produced by Walt Harrah

Erik Bergen is on sound
Marlin Gramenz is running visuals
Thatcher Kelly is shooting video
Brian Sterling is taking still photography
Brian Petersen is the technical director

Studio E is a beautiful mixing suite equipped with a 72 input SSL 9000J console and an extraordinary amount of outboard gear. Studio “E” has a roomy luxurious private lounge with many creature comforts including Internet access and dining facilities. The studio is also equipped with ISDN lines for Global Recording.

Westlake Recording Studios
7265 Santa Monica Blvd
Los Angeles, CA 90046
TEL (323) 851-9800
For booking availability, rates or any additional info
please contact Sara Clark or Steve Burdick
Email: bookings@thelakestudios.com

Console:
Solid State Logic 9072J Super Analogue Console

Monitors and Video:
Westlake HR1-X Mains
Sony 42” Flat Panel Plasma Display
2 Sony WEGA 20” Flat Panel Displays

Size:
Control Room 375 square feet
Vocal Booth 52 square feet

Isolation:
One Standard Isolation Area – One Variable Decay Isolation Area

Multitrack Tape Machines :
Digidesign Pro-Tools HD System with an Apple 21” Cinema Display and latest Power Mac.
Studer A-827
Sony PCM-3348 or 3348HR

Two Track Machines:
Ampex ATR-100
Panasonic SV-3700 DAT
HHB CDR850 Compact Disc Recorder
Apogee PSX1000 series AD/DA Converters

Outboard Gear – Time Based Effects
AMS-RMX 16
AMS-DMX 1580 DDL
EMT 140 Analog Plate
Eventide DSP-4000
Eventide H3500
Lexicon 480L & 960L
Lexicon PCM 70 (2)
Lexicon PCM 91
Lexicon PCM 42 (2)
Quantec QRS-XL
Roland SDE 3000 (2)
TC M3000
TC D-TWO
Yamaha SPX 90 (2)
Yamaha SPX 900

Outboard Gear – Dynamic Effects
Avalon 737SP
dbx 165A (2)
dbx 160x (3)
dbx 902 de-esser (1)
Drawmer DS-201 Gates
Emperical Distressors (2)
GML 8200 St. EQ’s (2)
Manley EQP-1A
Neve 33609 Stereo Comp
Summit MPE-200 EQ
Summit EQP-200A St. EQ
Summit 200 St Comp (2)
TubeTech LCA 2B St EQ
Tubetech PE 1C EQ (2)
Urie 1176
Waves L2 St Maximizer