Monitoring:
Quested S6R III
Compact self-powered 2-way active monitor is the ideal choice where space is at a premium need; the magnetic shielding also facilitates its use in close proximity to CRT monitors.
The sonic performance of the Quested S6R belies its size, the low frequency response being more than adequate for many applications, however, when an extended bass response is required the infinite baffle cabinet design facilitates perfect integration with a sub-woofer which will extend the frequency response down to 20Hz.
Focal Alfa Twin Evo
Alpha Twin Evo is characterised by excellent dynamics, neutrality in the tonal balance and amazing dispersion to preserve an identical sound signature across a wide sweet spot. This monitor boasts a 1” (25mm) aluminium tweeter and two 6.5” (16.5cm) woofers with a Slatefiber cone, made in France in the Focal workshops.
With its exclusive technologies and multiple features, this studio monitor is extremely versatile. It will meet all the needs of producers seeking high volumes and sub-bass extension, as well as being perfectly suited to film score composers who need a high level of precision across the full spectrum.
Alpha Twin Evo is positioned horizontally; you can choose which speaker driver will produce the midrange frequencies, using a switch located on the rear plate (we recommend you keep the midrange speaker driver on the inside, so to the right for the left loudspeaker, and vice versa).
Focal Shape 50
Shape is the versatile monitoring loudspeaker par excellence. This monitor can be used from 30″ away (80cm), and it has very extended low end frequency response (50Hz)
considering its compact design.
The monitors are made in France and integrate five innovations to maximise acoustic transparency. Designed to meet the needs of nearfield monitoring, Shape monitors combine an ingenuous design and numerous settings optimised for the acoustics of small listening rooms.
These innovations provide remarkable acoustic transparency. These new work tools distinguish themselves through the wide and extremely precise stereo image. The bass register is articulated and controlled. The lower mid-range and mid-range benefit from extreme neutrality, and without any masking effects, making equalisation of these essential registers much easier. Finally, the new tweeter is what’s at the source of the very high definition. It efficiently reveals any hissing, and it’s also very precise in the very high end.
Focal Sub One
HIGH-EFFICIENCY PROFESSIONAL SUBWOOFER
For producers and sound engineers with higher demands in the sub-bass, Focal offers Sub One, a subwoofer that delivers power of 200W RMS trough 2 x 8 ” (20cm) woofers with Slatefiber cone made in France.
Thanks to its precision and very low distortion, this long-excursion, high-efficiency subwoofer ensures ideal coupling with the Alpha Evo line but also the Shape line of monitors.
The speaker drivers boast an exclusive double-skinned Slatefiber cone: the two cones affixed against each other offer even greater rigidity, ideal for a subwoofer. Finally, with its large vents located on the front panel, Sub One is very easily and discreetly positioned along a wall or under a desktop as it takes up less depth
Audio-technica: ATH - PRO 500
Audio-technica: ATH - M50x
Converters:
Antelope Discrete 4
The Antelope Discrete 4 is a compact Thunderbolt/USB Audio Interface with advanced Synergy Core processing technology.
This built-in DSP allows the Antelope FPGA effect library to be operated from within the interface itself, taking the load off your computer.
This means you can run multiple Plug-Ins simultaneously without worrying about latency problems.
Regarding Plug-Ins: on board are 36x Synergy Core FX, which were modelled after well-known hardware originals.
With parallel FPGA calculation capabilities and industry-standard combined DSP performance, Synergy Core takes the load off your internal CPU and processes effects with extremely low latency. You can expect to reduce buffer size, record with a millisecond or less of latency and monitor in real time.
Best-in-Class AD/DA:
Instead of recycling obsolete technologies, Antelope strives to use the latest innovations. With up to 121dB dynamic range and sampling rates up to 192kHz, AD/DA converters ensure that your precise performance is captured with the highest possible signal quality. Combined with a state-of-the-art pre-amp design and renowned clocking technology, it takes any recording to a new level.
Discrete Pre-Amplifier Architecture:
The Discrete 4 features unique, discrete 6-transistor pre-amps for console sound quality. The circuit is the result of an extensive study of legendary Microphone pre-amps that have shaped the sound of countless records. The interface was designed with Antelope's Edge & Verge family of modelling Condenser Microphones in mind. Their features, perfectly complemented by the pre-amp design and Synergy Core technology, take Microphone recording to a new level.
Hardware:
SPL Iron
SPL IRON High End Mastering Compressor, the advantages of the High Dynamic 120 V operating voltage combined with the Variable Bias Tube Compressor.
Thanks to the especially conceived Mu-Metal iron transformers, the signal of each channel is split across two different twin-triode tubes. The combination of the different response curves of both tubes results in a transparent and musically pleasant compression. Additionally, peak signals of the control voltage are limited by a feed-forward resistive vactrol-opto-isolator. Thus, the output signal remains lively even with a high gain reduction. The compression is only noticeable with extreme settings.
The Attack and Release parameters have six different settings ranging from Slow to Fast. The times are not constant, they vary according to the Rectifier circuit selected: There are six different Rectifier settings available with different diodes (germanium, silicon, LED, mixed). The Sidechain EQ is yet another option to adjust the Iron to the signal being processed in an optimal way. It allows you to choose between an external EQ or one of the four internal EQ presets.
The EQ presets have a complex frequency response and have been conceived with different program material in mind.
Only the control signal is affected, not the actual audio signal. In the Off position, the Sidechain EQ is inactive. After the compression stage, the signal can be boosted or attenuated up to +/- 12dB with the Output Gain, which makes the Iron easy to integrate into any signal chain. All functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer, making it easy to replicate exact settings
120V Rail Technology:
120V Rail Technology is developed and manufactured to run on an operating voltage of 120 volts, which corresponds to twice that of discrete operational amplifiers and four-times that of semiconductor operational amplifiers. Technically especially in terms of dynamic range and headroom and sonically especially in reproducing the finest details and delivering a totally relaxed sounding audio experience. Music sounds absolutely natural and hearing fatigue is drastically reduced.
Solid State Logic (SSL) - The Bus +
If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor.
From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has alwIf there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor.
From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch.
THE BUS+ incorporates a host of advanced processing tools including the new Dynamic Analogue Equaliser (D-EQ).
The D-EQ is a powerful 2-band Dynamic EQ that can be placed before or after The Bus Compressor. Many engineers are familiar with Dynamic EQ plug-ins inside the DAW but analogue Dynamic EQs are few and far between.
A Dynamic EQ is a more 'intelligent' form of EQ that changes the gain of an EQ band proportionally in response to the signal level once above a set threshold. It allows you to modify the contrast between background material (under threshold) and forward material (above threshold).
For all this and many more, nowadays is cataloged as:
"One of the best compressor in the world"
Solid State Logic (SSL) - Fusion
Six analogue colours and limitless sonic flavours from the masters of analogue.
Fusion is an all-analogue 2U stereo outboard processor created for the modern hybrid studio. Fusion introduces six completely new analogue colouration tools designed to bring the perfect combination of added tonal character, weight and space to your mix bus or stereo stems, with the detail, warmth and finesse that only real analogue circuits can provide.
The SSL sonic legacy is built upon a much-emulated collection of analogue audio processing tools that have featured in generations of studio consoles; pristine mic pre’s, classic Channel EQ & Dynamics, the legendary Stereo Bus Compressor, the Listen Mic Compressor, and the unique SSL summing bus. Fusion takes SSL into a new era with the introduction of a suite of new analogue processing tools that offer exceptional tonal character and versatility. Fusion expands the processing palette for hybrid studio owners and is a superb partner for the SSL Stereo Bus Compressor.
SSL has also always been known for clever connectivity and features that streamline and accelerate production workflow.
Fusion fits right in with a collection of workflow enhancing features including: +/-12dB Input and Output Trim controls, an Input overload LED, large peak-hold metering, a front-end 3rd order High Pass Filter with three selectable cut off frequencies, and tri-colour status indicators for the Vintage Drive and HF Comp/LMC sections.
A set of XLR connections can be used either as a Stereo Insert for stereo mix bus processing or switched to function as a Mid-Side (MS) circuit enabling separate compressors or EQ to be applied to the middle (centre) and sides of a stereo signal.
In Stereo Insert mode the insert point can be switched to pre-Violet EQ, when in MS mode the insert can be switched to pre-Stereo Image controls. Input and Output connections are via XLR.
DRAWMER 1973 - Multiband FET Compressor
The award winning 1973 is a multi-band compressor with the versatility, control and ability to shape sound that no full band compressor could ever provide and at an affordable price.
Expanding on the renowned range of dynamics processors Drawmer introduce an affordable Three Band Stereo FET Compressor that every engineer will completely appreciate - the 1973. The culmination of 30 years of development and experience, the 1973 combines the functionality and control of the world class Drawmer S3 with the familiarity and quality of the illustrious 1960 and 1968, providing three bands of transparent, intuitive compression for the price of a conventional single full band compressor.
How does the 1973 differ from a full band compressor? In essence, the 1973 comprises a set of crossover filters that splits the audio signal into three frequency bands, each split signal then passes through its own compressor and is independently adjusted, after which the signals are recombined and the final Wet/Dry mix and levels can be adjusted. The advantage is that one band's compression has no affect on the others.
What's so good about a three band compressor anyway? The 1973 can pull off amazing feats that a single-band compressor could never accomplish. For example, it can easily prevent an acoustic guitar, cello, or double bass from sounding boomy on low notes without thinning the highs.
In a mastering situation, having independent control over each band can resolve a problem mix, pulling out individual instruments, brightening the brilliance/air or making the bottom end of a mix sound huge while simultaneously avoiding "pumping" or "breathing" artifacts and increasing headroom.
Klark Teknik -EQP (2 Units)
The Klark Teknik EQP-KT is a single channel 2-band tube EQ based on the legendary Pultec EQP-1A.
While vintage audio processing pioneer devices are extremely rare and expensive, the EQP-KT is amazingly affordable and designed for the 21st century.
First produced in the early 1950's, the Pultec equalizers were appreciated for their smooth musical sound and were used by sound engineers at all stages of the recording process - from tracking to mastering.EQP-KT owes its characteristic warmth to a series of high-quality, hand-selected 12AX7 and 12AU7 tubes.
This proven combination offers an extremely low-noise analog output with the ideal balance between narrow, warm bass, silky mid-range and brilliant, airy treble The integrated, customized input and output transformers from MIDAS, which are renowned for their award-winning mic preamps, provide high-quality audio reproduction in live and studio environments in the EQP-KT.
GAME CHANGER - Plasma Rack
GAME CHANGER
It turns your audio signal into a rapid series of electric discharges in a Xenon-filled tube.
These powerful discharges (up to 5500 Volts) then get picked up by a specially designed electromagnetic receiver and turned back into audio-level signal.
This process results in a large amount of punishingly heavy distortion, and also saturates the sound with a wide range of harmonics and overtones.
In essence – you are playing a ray of electricity, and the electrical discharges produced by your instrument or audio, are instantly converted back into an analog audio signal, producing a quick, responsive, and extremely heavy distortion with TONS of unique character.
The way PLASMA Rack reacts with different instruments and sound sources simply cannot be recreated with any other analog machine, plugin or by digital sound modeling.
In short words, it's a ray of light in your music.
HERITAGE AUDIO - Baby Ram
The Heritage Audio BabyRam is modeled after large studio consoles and is fully geared to their signal quality and accuracy.
The controller works completely passively and influences the audio signal in the least possible way: Heritage Audio guarantees a difference between left and right channels of no more than 0.1dB.
This is achieved by a rotary switch with 24 positions instead of the usual stereo potentiometer, which naturally allows for much better electrical values.
The BabyRam can be connected to 2 stereo signals on both the input and output side, which can be switched between balanced (studio monitors) and unbalanced (household electronics) by means of a switch.
The switches for mono, level reduction and mute provide classic monitoring functions at the push of a button and also allow the user to listen in as if he were at a high-end mixing console.
Even comparative listening with 2 pairs of monitors is no problem with the Heritage Audio BabyRam.
Acoustic Treatment
• Around 22 MSA Absorbing Acoustic Panels
(Thickness (mm):100)
• 4 t.akustik Highline CBT1 Silver Spruce
(Corner Bass Traps)
• 2 Big Bass Traps of 1m x 50cm
(Total Control on Sublow)
• 8 Auralex Acoustics Diffuser Single Panels
(To control echoes & reflections)
• 4 t.akustik Professional Mobile Acoustic Treatment Walls
(120 (mm) Thickness / 190 (cm) height each one)
• 17 t.akustik WAS-7 Absorbers
( Acoustic Foam)
• Sonarworks SoundID Ref Measurement Microphone and Software
(Acoustics Calibration System)
