API

THE BOX 8

API's The Box 8 uses the same circuitry and components as all other API consoles (including the Vision and Legacy AXS), and provides the signature analog sound and performance users have come to expect from API.. 

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24 channels of pristine analogue audio circuitry with 8 channels of loaded API 500 format slots, The Box 8 is unrivalled for width, depth, and clarity of mixing.

We have loaded our console with world-class EQ:

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KII THREE

MONITORS

Kii Audio's flagship model has been touted as the best loudspeaker in the world. 

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Almost everything about them represents the peak of speaker innovation. Sure, it's a box with round diaphragms driven by voice-coils in magnetic fields, but beyond that, it embodies a design philosophy that originated in pro audio and uses modern digital signal processing (DSP)

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Perfect accurancy from 20Hz to 20KHz, their transparency ensures there is no better near/mid field monitoring tool to ensure mixes and masters are perfect every time.  

CHANDLER

TG1

The Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late '60s.

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The Limiter/Compressor features an all discrete circuit with transformer balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to a Fairchild 670 set to stun, is very audible and squishy sounding while maintaining its clarity and high frequency response.

NEVE 33609

One of the World's Finest Audio Compressors, Bar None. The Neve 33609 Stereo Compressor offers comprehensive limiting and compression facilities for music recording, mastering, post production and broadcast applications.

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Since 1969, the Neve 33609 stereo bus compressor has been a studio mainstay. Its smooth character coupled with its ability to be transparent or extremely colorful have made it a workhorse limiter not only for music production, but also mastering, post, and broadcast applications.

CRANESONG STC-8

The STC-8 is a high quality compressor that delivers consistent gain control without sacrificing musical definition or harmonic richness. It utilizes a remarkably dependable peak limiter that provides overload protection that is critical to digital recording and broadcast transmitters.

The STC-8 is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates analog and tube-like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds.

MANLEY ELOP OPTO

One of the World's Finest Audio Compressors, Bar None. The Neve 33609 Stereo Compressor offers comprehensive limiting and compression facilities for music recording, mastering, post production and broadcast applications.

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Since 1969, the Neve 33609 stereo bus compressor has been a studio mainstay. Its smooth character coupled with its ability to be transparent or extremely colorful have made it a workhorse limiter not only for music production, but also mastering, post, and broadcast applications.

BRICASTI M7

The Bricasti Model 7 is a modern high resolution digital design, utilising a stunning array of the latest DSP processors, provides a platform for the long overdue next step in reverb processing algorithms. A separate fully differential analog section and dedicated transformer based linear power supply provide the finest analog specifications of any product of its kind.

In short, it's the best reverb in the world. No more needs to be sai

AMS 

15-80s

AMS began producing their DMX delay and RMX reverbs in 1979, and continued manufacturing until about 1985. These two products were a huge hit in the pro audio industry, and were used on thousands on huge hit records. The sonic quality trounces any Protools plug in out there -- there's something about these units that just sounds incredibly good.

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The AMS DMX 15-80S is a true stereo microprocessor controlled digital delay line. Originally designed to meet specifications laid down by the British Broadcasting Corporation for equipment to  be supplied to them, it offers two completely independently delayed channels with precisely controlled delay times. The delay times are adjustable without any sacrifice in the 18kHz bandwidth which remains constant irrespective of the amount of decay selected. A total delay of over thirty two seconds is possible with this unit, plot over the two channels.

DW FEARN

VT-4 EQ

The D.W. Fearn VT-4 is a single-channel equalizer that uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1/ VT-2 mic preamp design, so the equalizer has much the same sonic character as the preamps.

The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control. The input is line-level, transformer balanced-bridging. An active vacuum tube input section has adjustable gain to accomodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps.

A-DESIGNS

HAMMER

One of A-Designs most lauded sound sculpting creations is the HAMMER 2, a dual-mono, three-band equalizer that's most at home on the main mix outputs, but is also an outstanding tool for tracking. It's one of a very select few audio tools that enhances sound simply by running signal through it, thanks in part to an ingenious filtering system that passes musical 2nd order tube harmonics while eliminating unwanted noise - just the heating blanket your DAW needs.  

It's also ideal for adding "air" to vocals, carefully crafted punch to instruments or just the right texture to an overall mix; plus, a major benefit of its innovative design is the ability to push it as hard as you like - it's nearly impossible to make it sound bad.