Our way of working
Our studio is fully equipped with top-quality gear… and we know how to use it! We’re not going to bore you with an endless list of gear, but we do want to highlight the most important details.
The talent
Americans like to call the artist “the talent” – and we like that! The most important thing for a good result is you.
That is why our main concern is that you are always comfortable, relaxed and with a good sound that inspires you. We are always ready to record a magical moment.
There is no autotune! We have an infallible method to get everything in tune: record another take. Everything works out better if things are sung and played well.
The source
It is vitally important that the sound source we want to record sounds good. That is why we are equipped with world-class backline and instruments, all at your disposal.
- Drums Yamaha Recording Custom. Cymbals Zildjian K-Custom Dark. Snare Ludwig Black Beauty 14 × 6.5
- Piano Yamaha U1. Organ Hammond A100 (B3) with Leslie 147. Electric piano Wurlitzer 200.
- Amplifiers Fender, Marshall, Vox, Supro, Divided by 13, Ampeg and more
- Our extensive collection of classic and boutique guitar pedals. Tape echoes Fulltone and WEM Copicat.
The room
Our room was designed from scratch by the prestigious acoustic engineer Imar Sanmartí . Its acoustics, from frequency response to reverberation time, are designed to record both an entire group at once and a single instrument.
A large room always sounds better than a small one, so we only have one space, optimized for both recording and mixing. In our studio we work without booths, with all the musicians in the same room, and direct communication with the technicians and producer.
The Capture
We have a wide selection of condenser, dynamic and ribbon mics, carefully chosen to capture each instrument with the best possible tool. Some of our favorite microphones :
Neumann U67 reissue
Probably the most famous tube mic in the world, U47 notwithstanding. Unbeatable for vocals and just about anything you put in front of it.
Neumann KM84
We have a vintage pair of the best small diaphragm condenser microphone ever made. When Neumann invented it in 1966, they also invented phantom power to make it work. There is nothing better for acoustic instruments. Not to be confused with the KM184; the KM84 was discontinued in 1992.
Vanguard V44S (stereo)
This large diaphragm condenser microphone is permanently attached to our drum overhead spot. It has impressive clarity and it is very versatile for any stereo or mono application.
Stager SR-2N
We love ribbon mics, and the Stager SR-2N (we have a couple) is great for recording piano, electric guitar, stereo room, etc.
Dynamic microphones
We have many classics that we like: Shure SM7, various versions of the Sennheiser MD409, Electro Voice 635A, Audio Technica ATM-25, etc.
Microphone preamps
Of course, we have an excellent selection of preamps, and we know what the right combinations are for each instrument. The star of the show is the pair of Tree Audio The Branch II (tube preamp with EQ and compressor). We also carry several varieties of Neve and API style preamps, and four channels of DAV preamps, designed by the Decca Recording Company.
Processing
Our studio is hybrid: we work with hardware and software. Our racks are full of very special equipment, with highlights such as the Black Box Analog HG-2 master processor (valves and transformers); the Retro 2A3 (Stereo Pultec) and A-Designs Hammer 2 tube equalizers; and a collection of all compression styles: vari-mu (valves), optical (LA3A), FET (1176), VCA (SSL).
The other “crown jewel” is the Bricasti Design M7 digital reverb, the best in the world, ubiquitous in all recording studios since its launch. It has a processing power equivalent to 15 computers, so there is no plugin that sounds like this.
We also have a huge collection of (original) plugins with everything you might need for a mix. Our favorite is Softube with its Console 1 controller and its SSL, Neve, API and Summit emulations.
Listening
And finally, it is not possible to make decisions if the listening environment misleads you, as it usually happens in home studies (and some not so humble studios). Our APS Aeon monitors offer a flat ± 2 dB frequency response from 30 Hz to 30 kHz. The acoustic design of our room avoids all kinds of standing waves and frequency problems. And calibration with Sonarworks Reference gives the last touch so that the audio has perfect fidelity.
We also have high-quality mono monitoring: the classic Tivoli Audio radio and the Avantone Mixcube to check the mid-frequencies.
What you hear in the studio is the same as what you are going to hear at home, or anywhere. No surprises. No more listening to mixes in the car… except for enjoyment!
