Gretsch Catalina Maple, 6 pieces fusion drumset with various heads.Headphones: 3x Sony MDR-7506, 2x AKG K-44, AKG K-240, Audio-Technica and Yamaha headphones.Behringer Powerplay HA-4700, 12 outputs headphone amplifier.Behringer Powerplay 16, digital 16 channel personal monitoring for 5 musicians.2x Behringer UL2000B, wireless UHF lavalier or headset microphone.3x Audix F-90 clip microphones for drums.2x AKG SE-300B with CK-93 capsule (condenser hypercardioid).
#Rnc stereo master Patch#
MOTU Midi Time Piece AV, Tape-MIDI-WordClock synchronizer and MIDI patch bay.Revox A-77, 2 track 1/4" 7-1/2 ips vintage tape machine.Fostex R8, 8 track 1/4" 15 ips tape machine.If you have a D&R Cinemix, click here for something you might be interested in. Various modern and vintage analog stomp boxes: MXR Phase 100, EHX Small Stone, EHX Memory Boy, etc.Roland Chorus Echo RE-501, vintage tape echo machine with spring reverb and BBD chorus.Roland GP-8, vintage analog guitar multi-effect.Alesis Midiverb IV, digital multi-effect.Lexicon MX-400, digital quad multi-effect.TC-Electronic M-One XL, digital dual multi-effect.TL-Audio 5013, valve dual 4-band parametric EQ.Elysia Xpressor, class A stereo buss compressor.FMR RNC, stereo VCA (THAT 2181) compressor with digital control.2x D&R Compressor Limiter half rack format.2x Summit Audio TLA-50, Tube Limiting Amplifier.Drawmer DL241, VCA based stereo compressor, gate, and limiter.Universal Audio 1176LN, FET Class A limiting amplifier.Custom built Studio MMC and SMPTE Display with Recording light and DAW control surface with motor-fader and motor-pots.Digital computer based FFT Spectrum Analyzer.
#Rnc stereo master pro#
Computer: Windows computer with Cubase 7.5, Cubase Pro 8, Wavelab 7.Digital recording: Antelope Orion 32 (32 in, 32 out).Near-field monitors: pair of ADAM A7x, pair of YAMAHA HS-50M, one 10" 250W Subwoofer (down to 32 Hz).Mixing desk: D&R Cinemix, 32 mono + 4 stereo modules, 72 total inputs on mix, 10 aux sends, 24 buss, VCA automation with ALPS motorfaders, surround 5.1 mixing, dynamics on first 24 channels.Sequential Circuits Pro~One, a Yamaha DX7, and other vintage and modern keyboards and effects.
#Rnc stereo master plus#
While the recording room monitoring system is based on the new astonishing Behringer Powerplay 16.īut the strength point is the presence of a gorgeous and great sounding Hammond organ model A100 from 1963 equipped with a Leslie 147 and a Leslie 145.Īnd that's not all yet! Other fine instruments are a vintage Rhodes piano Seventythree Mark I from 1978, perfectly tuned and balanced, plus a The control room monitoring system is based on a pair ofĪdam A7x studio near field monitors plus two Yamaha HS-50M for more mid-range clarity, The computer is a powerful Windows based machine running The digital recording is based on a Antelope Orion 32ģ2 simultaneous tracks for recording, and 32 outputs for analog (OTB) mixing. Mixing as it has a 6 channel master output and every mono input can be used with traditional L&R panning or LCRS sound positioning, or can be assigned to one of the two XY joysticks. This console has been conceived for surround 5.1 Sound and a powerful digital routing system, it has 32 mic inputs and a total of 36 channels which double to 72 inputs on mix. The new heart of the studio is a D&R Cinemix, a really fascinating analog console with a clean and transparent Is mainly focused to jazz and pop recordings with small bands. With many light spots, mini-bar and air conditioning, it's a nice place to stay for a long working day with music.Įquipped with great modern and vintage gear, offers the necessary versatility for covering a fairly large number of different recording situations, but it Painted with warm and relaxing colors, bright, airy and comfortable, It was originally born as a home environment mainly for quiet computer works. That’s probably not true…I just haven’t discovered a reason to turn the thing down.The GSi Studio can be defined as a modern "professional home studio" I don’t think I have ever dropped the input gain below unity. Same here!!! I wouldn’t have complained if they made this permanently +4. I almost always have this on the highest input setting:) That’s what the vari-variable stands for…right? The response continuously re-adapts to incoming signal? Using the input section to add some grit is just amazing. It is very much like riding a volume fader instead of what you usually hear in a compressor.
Once I have it under control, I start mashing with the compressor.
#Rnc stereo master full#
With mine I crank the front end to kingdom come so it hits whatever the hell is inside there full steam. The reaction of it is so different then any DAW compressor I’ve used. It took a while for me to get the hang of it. It is equally good tracking as it is on buss duties. Yes I am a huge fan of the manley vari mu.