We started the day with the confirmation of some beautiful new additions to the studio. After a chat with KMR Audio and a very generous discount for such a large order we decided to order the following items for our studio upgrades. We have spent the past 3 – 4 days building our new desk from scratch. Perfectly built for our studio needs and studio gear.
We opted for the ATC monitors after using these loud speakers in many different studios and loving how detailed and revealing they sound.
- Compact very high performance active 2-way studio monitor
- Ideally suited to:
– critical near-field listening applications in all control rooms
– LCR surround monitoring in small-to-medium control rooms
– surround channels in medium-to-large contol rooms
- Proprietary ATC 150mm/6” Super Linear Mid/Bass Driver
- Proprietary ATC 25mm/1” Dual Suspension Super Tweeter
- Discrete MOSFET class A/B bi-amp pack with 200W/50W
continuous power output
A compressor we’ve loved using in the past and the perfect compliment to our Elysia API 500 series rack. We currently have in this rack the Elysia 500 series Eq and Transient Designer. The addition of the compressor add the perfect combination of Elysia 500 series units in a rack.
The xpressor 500 is an extremely versatile stereo compressor available in API’s 500 series format. With its many unique features taken from our flagship products, you not only get great compression, but an amount of control on processing which is hardly ever experienced elsewhere.
No matter if you want to set and forget or plunge deep into the secrets of compression, the xpressor 500 is for you. Its discrete audio path running in constant class-A mode provides a superior audio quality which combines a clear and open sound with a good lot of punch. Stereo buss compression, processing single signals, approaching dynamics in creative ways – the xpressor 500 shines in many different applications. Best of elysia? You got it!
The Dangerous Bax Eq is an eq we’ve been using for a while now in digital form by Universal Audio. Have loved working with it and makes it into every digital master. By adding this into the analogue chain for mastering will allow for accurate shaping of the bottom end and high end of each master.
The World Class Hi-Fidelity Tone Control Equalizer.
Borrowing seeds of inspiration from Peter Baxandall’s legendary 1950’s tone control that has graced hundreds of millions of hi-fi systems, the Dangerous design team has sculpted a unique sonic signature for the 21st century that gives you a whole new tool for tracking, mixing, and mastering.
- Phase Coherent
First utilize the high and low pass filters: Cut 12 Hz to eradicate infrasonic content that devours headroom and achieve more dynamic range. Remove 70 kHz to take the brick wall filter burden off the converters and feel more air.
Then craft broad, open curves and gentle sloping dips for effortlessly musical tracks.
- Stepped Controls Throughout for Accuracy and Repeatability
- Broad Q Shelving for a Natural, Open Character
- 7-position High Pass and Low Pass Filters on Relays for Phase Coherency
- 8-position High and Low Frequency Select
- 5dB Cut and Boost Controls in 1/2dB Step for Precise Control
- Track, Mix, & Master, Never Overwhelms the Source Material
The minimized phase delay design provides broad tonal control that will not alter the intrinsic sonic character of the source: instrument, recording path, stereo buss or final mix. For example, in tracking applications, add shimmer to a vocal without disturbing the character of the artist, microphone and preamp. On the stereo buss, tighten up the low end while accentuating the air. For mastering, craft sheen and punch without sacrificing phase accuracy.
Please welcome the BAX EQ to your tools for success – no radical sonic signature to overshadow the music… just your music: neater, richer, sweeter.
We opted for the Maselec MPL-2 for many reasons for our peak limiter. Pairing this unit with our Maselec MLA3 multiband mastering compressor will not only look and sound amazing but will also give us the added benefit of using the peak limiter as a de-esser for vocal tracks in the mix and taming any harsh frequencies we may not want on drums.
The MPL-2 is a brick-wall and high frequency limiter. It can be used to achieve high subjective levels and reduce unwanted high frequency levels (de-essing). The MPL-2 is also used to ‘smooth’ and give digital recordings a more ‘analogue’ character.
The Uad 2 quad was bought purely because we are about to purchase 3x $300 plugins from UAD’s store and by purchasing a custom card you are given 3 plugins of your choice. This means we will be able to purchase the final 3 plugins we require without actually having to pay for them. In theory by purchasing a custom card we will receive 3 plugins we would have paid full price for at $900 for around $200. We also wanted to add an additional 4 DSP chips to our existing 8 DSP chips in our octo card, giving us 12 DSP chips for mixing and mastering projects.
From serious home recordists to multi-platinum mix engineers, UAD Powered Plug-Ins have been winning over audio professionals for more than 10 years. The reason is simple. No other plug-ins so faithafully capture the sound and behavior of classic analog equipment — from rare compressors and equalizers, to vintage reverb processors and tape machines.
The UAD library features over 90 plug-ins, co-developed with the biggest brands in audio. These plug-ins can be purchased with UAD-2 hardware from retailers as part of bundled packages, or you can buy UAD plug-ins à la carte from UA’s Online Store.
We ordered the Universal Audio Apollo Quad for many reasons. This interface will not be used in our mixing and mastering setup but will be used in our production setup. UAD have an amazing deal on up until March where by ordering a quad apollo you will receive 4 free plugins 610A, EMT140, NEVE 88RS and STUDER A800 plugins. By owning all these plugins already UAD have agreed to give you a coupon to the value of these plugins. Which means by purchasing this interface we will receive around £800 in coupon to buy future plugins. Which is great news as now we will own every UAD plugin available.
An extremely high-end fully-fledged 18-in/24-out 24-bit 192kHz FireWire 800 Audio Interface, available in two models: containing the internal DSP power of either a UAD Duo or UAD Quad, with the unique ability to place UAD plug-ins on live incoming audio, hearing the results in real time (2ms latency).
Sample rates up to 192 kHz at 24-bit word length
18 x 24 simultaneous input/output channels:
Eight channels of analog-to-digital conversion via mic, line, or high-impedance inputs
14 channels of digital-to-analog conversion via:
Eight mono line outputs
Stereo monitor outputs
Two stereo headphone outputs
10 channels of digital I/O via:
Eight channels ADAT Optical I/O with S/MUX for high sample rates
Two channels coaxial S/PDIF I/O with sample rate conversion
Two FireWire 800 ports for daisy-chaining other FireWire devices
32-bit and 64-bit device drivers
Four high-resolution, ultra-transparent, digitally-controlled analog mic preamps
Front panel and software control of all preamp parameters
Switchable low cut filter, 48V phantom power, 20 dB pad, polarity inversion, and stereo linking
Stereo monitor outputs (independent of eight line outputs)
Digitally-controlled analog monitor outputs maintains highest fidelity
Front panel control of monitor levels and muting
Two stereo headphone outputs with independent mix buses
Independent front panel analog volume controls for headphone outputs
Front panel pre-fader metering of monitor bus levels
S/PDIF outputs can be set to mirror the monitor outputs
Onboard UAD-2 Processing
DUO and QUAD models featuring two or four SHARC processors
Realtime UAD Powered Plug-Ins processing on all of Apollo’s analog and digital inputs
Same features and functionality as other UAD-2 products when used with DAW
Can be combined with other UAD-2 devices for increased mixing DSP
Includes UAD Powered Plug-Ins “Analog Classics” bundle
Complete UAD-2 Powered Plug-Ins library is available online 24/7