Three UAD-2 Apollo Quad Thunderbolt Audio Interfaces (all plugins) 54 inputs and 72 outputs TOTAL
8chn Dual-Path Tube/Solid State Preamplifiers
Audiophile 18×20, 24-Bit/96 kHz USB Audio/MIDI Interface with Midas Mic Preamplifiers
Crane Song HEDD 192k A/D and D/A converter
HEDD, short for Harmonically Enhanced Digital Device, is a technological breakthrough in signal processing. It is engineered to provide musically pleasing sound with the capability of generating tube/analog sounds in the digital domain. HEDD gives any user who works with digital the ability to sound less digital and more analog.
* High-quality 24-bit A/D and D/A Convertors
* 24-bit Processing
* Adjustable Triode, Pentode and Tape sounds
* Digital I/O, AES and S/PDIF
* External WC Sync Input and Output
* 22 Element VU Metering
* Analog Tape Compression
HEDD has transformerless balanced analog inputs and outputs, transformer isolated digital inputs and outputs, and uses separate power transformers and supplies for the analog and digital sections. The HEDD-192 will operate at sample rates from 44.1K to 192K.
Applications include: CD preparation, work station input and output, DAT machine A/D and D/A convertor replacement and effects generation (warming or changing sounds in the digital domain). HEDD can be used in tracking, mixing, and mastering.
Dangerous Music D-BOX+ controller and summing mixer
The Dangerous D-BOX+ is a ground-up dramatic redesign of the award-winning controller and summing mixer that provided countless studios the superior sound and versatile control of an analog mixer, all in just one rack space. The newly designed 8-channel summing mixer and D-A stereo converter provide Dangerous Music’s bold and clear sound, while newly added features like Bluetooth connectivity and an app for remote control of all major functions unleash a cutting edge feature set that puts the D-BOX+ far ahead of the competition. As with all Dangerous Music products, the D-BOX+ is proudly made to exacting audiophile standards in the USA.
HeadAmp6PRO is a six-channel stereo headphone amplifier
The ART HeadAmp6PRO is a six-channel stereo headphone amplifier that includes a six-channel auxiliary input section that can be used to provide the popular “More-Me” function on each headphone mix. Each output channel also features a dual function BALANCE control which will pan between LEFT & RIGHT sides of the main signal bus, or vary the MIX between the main signal bus and the AUXILIARY input for that respective channel.
emagic amt8 Active MIDI Transmitter
The AMT8 (Active MIDI Transmitter) is the ideal MIDI interface for the versatile “tape-less” studio. Digital audio and MIDI are recorded and edited in one computer by software such as Logic Audio. Video is internally synchronized using QuickTime or AVI. Additionally, the AMT8 is the right choice with which to expand existing Unitor8 systems.
ROLAND A-880 MIDI PATCHER/MIXER
Classic stand-alone buffered Midi signal router with 5-Dins 8 inputs and 8 outputs.
The A- 880 allows to route incoming signal from 8 inputs to any of the 8 outs.
Samson PL1602 – Rackmount Line Mixer
Radial JD6 6-Channel Passive Direct Box
The Radial JD6 is a rackmountable DI with six of Radial’s JDI boxes, considered by many to be the world’s finest direct box, in one unit. The JD6 provides six channels of passive DI that employs a custom-made Eclipse isolation transformer for optimum audio performance offering outstanding linearity at all frequencies, combined with extraordinary level handling without introducing distortion. Being completely passive, the plug & play JD6 does not require any power and has the unique advantage of eliminating 60-cycle ground loops.
The Phoenix N8 8 Channels of Class A active DI
Mission-critical 8-channel Class A DI
The proprietary Class A direct injection circuit in Phoenix Audio’s DRS Series mic preamps is so popular that the company has made it available in an 8-channel 1RU chassis, the N-8 DI. As electronic instrumentation has skyrocketed over the last decade or so, high-quality DIs have become mission-critical. Whether you rock an elaborate synth rig, laptops, loop-stations, or just want a great-sounding DI for tracking your electric bass, the N-8 DI is an ideal choice. With its unique gain architecture, Phoenix Audio’s Nice DI technology handily delivers a broad tonal palette, elevating direct signals to the level of artistry we have accorded working with mic signals.
A-Designs REDDI V2 Dual Mono Tube Direct Box
“Quite simply, there is no better sounding way to convert an instrument, or line level signal, to XLR. And the new REDDI V2 faithfully brings the exact same warmth, transparency and clean, airy high end to the rack, with the added benefit of featuring two separate 6N1P tube-driven mono channels for stereo devices,” says A-Designs Audio president Peter Montessi.
The REDDI V2 is not a high-gain device, instead offering a gain structure engineered for optimum sonic quality. Inspired by the sound of the Ampeg B-15 tube bass amp, the REDDI V2’s 6N1P-driven amplifier feeds signal directly into a custom output transformer by Cinemag, a key component to providing its tone.
The REDDI V2’s wide frequency range (20Hz to 60kHz) prevents in-band phase shift, resulting in detail and realism. Another benefit of its wide bandwidth is the prevention of LF phase shift by maintaining a linear response extending below the audible bass range, ensuring a full, natural sound.
Louder Than Liftoff Silver Bullet DRBILL’S STEREO TONE-AMP
The Silver Bullet drBill’s Stereo Tone Amp, to give the product its full-length title, is LTLO’s first 19-inch rackmount device. It was designed by McGowan in close collaboration with industry veteran, musician, composer, producer and studio engineer William (Bill) Pearson, whose achievements include a Grammy award and writing additional music for the Academy Award-winning documentary Twin Towers.
So What Is It?
Since werewolves are conspicuous by their absence (even in London), perhaps the simplest way to think of the Silver Bullet (from hereon SB) is as a two-channel analogue stereo mixing console that’s designed to sit at the centre of a hybrid analogue/DAW recording and mixing system. Functionally, the SB is split into three sections — a stereo microphone preamplifier; its ‘Mojo’ stage, made up of two stereo gain blocks (the A and N Tone Amps), each with gain and output level controls; and a two-band Baxandall EQ with additional, switchable options.
ELYSIA Karacter stereo saturator
The Elysia karacter is a box full of vibrant colors. It covers a complete spectrum including mastering-grade saturation, tube-inspired distortion and glorious destruction. Gone are the days when only racks full of outboard gear could achieve these elusive and highly desirable styles of tonal coloration.
This all-in-one solution offers two separate channels which can be set up for dual mono, linked stereo or linked and unlinked M/S operation. Integrated mix stages for parallel signal processing and the unique Color Control add to its remarkable flexibility.
An amazing special feature of the rack version is its CV capability: By feeding external Control Voltages into the karacter you can modulate or recall its Drive and Mix parameter settings. Create the most organic and vivid sounds out of plain and static sources!
The entire unit is designed with discrete Class A topology, so even the most lo-fi sounds will benefit from the karacter’s high-end touch. Enhance your tracks or decimate everything – It’s a matter of karacter.
L2A Passive Reamp
The L2A is a rugged single-channel, sonically transparent re-amplifier that just happens to be an excellent piece of general-purpose studio gear. The L2A multiplies the sonic possibilities of your recording setup by letting you plug the output from your computer, mixer, or tape machine into your guitar amps and effects pedals. Suddenly, all of your guitar gear becomes another set of tools for adding excitement, depth, and harmonic saturation to your pre-recorded audio.
SB2 16×2 Summing mixer
The SB2 is an 8/16×2 passive summing mixer in a ultra-compact format. Using minimal, completely passive circuitry, it sums 8 or 16 balanced line inputs down to a single set of stereo mic-level outputs. the sound produced by this summing box is amazing! Zero latency and zero phase shift are a direct function of the fully passive signal path devoid of capacitors. The sonic image produced is large imparting analog flavor to your mix.
Korg made these units in the late 70’s around the time when digital delays were becoming popular. Unfortunately, as a result, these units did not sell very well and are pretty rare to find. These tape echos borrow a lot of their design from the Roland Space Echo. Korg however, improved on many things. The direct drive capstan motor is infinitely more reliable than the Roland competitor. This tape echo has 3 record heads that can be activated by the push of a button. You can engage any combination of the 3 heads at once. What I love most about this unit is the variable speed control. You can adjust the motor speed with the knob thus controlling the tape speed and delay time. This unit also features an onboard spring reverb. A function unique to this unit is the ability to have the delay signals(repeats) only be wet reverb. It’s unusually cool.
Maestro EP-3 Echoplex Tape Echo Delay
Possibly the most famous and important piece of recording gear in modern music history from 1959 until today. Used by The Beatles, Pink Floyd, Led Zeppelin, countless others….and contemporary artists such as the Black Keys, Lady Gaga, etc and found in only the best professional recording studios! This Echoplex sounds incredible! THere’s nothing quite like an original EP3 to get those tape delay tones!
Apple Mac Pro (2019)
HYVE Zeus Remote DSP Servers
allows for a greater number of Audio Plugins to be ran simultaneously.
a plugin host that allows for offloading the DSP processing of audio plugins to remote computers. The DSP code of the loaded plugins are executed on the server machine and the plugin UIs are streamed over the wire.
3x Intel NUC 11
the Intel® NUC 11 Extreme Kit (code-named “Beast Canyon”), a highly modular desktop PC engineered to provide a phenomenal experience for gaming, streaming and recording. With the latest 11th Gen Intel® Core™ processors, support for full-size discrete graphics cards and a full range of I/O ports, the Intel NUC 11 Extreme Kit delivers high performance gameplay and smooth, immersive visuals.
KEYS, SYNTHS, INSTRUMENTS ETC..
Roland Super JV-1080 Synthesizer
The Roland JV-1080 was one of the hottest and most iconic digital synthesizers ever to come from Roland. Incredible sound quality capable of emulating any instrument imaginable plus totally fat analog synth type sounds and loads of percussion! It has 64 voices of polyphony and 16 part multitimbral, it’s no wonder this is part of almost every Film Score Composers set-up as well as many more artists and hobbyists!
Throughout the ‘90s, the JV-1080 helped shape the sounds of R&B, pop, hip hop, and rock, and was regularly heard in film and TV scores. Originally designed to mimic acoustic instruments, many of these sounds became so widespread they’re now part of our collective musical vocabulary. Some say it’s the most recorded sound module in history, and modern artists are still utilizing these sounds in new and creative ways.
Nord Electro 2
You’ll think the Nord Electro 2 Seventy-Three Stage Piano/Organ is the best emulation of traditional electromechanical keyboard instruments ever. 73 velocity-sensitive semi-weighted waterfall keys, only 21 lbs.
The organ in the Electro 2 is based on the digital simulation of the mechanical tone wheels of the B-3 organ and it offers a number of very innovative solutions to mimic the typical B-3 sound. Such innovations include: complex digital modeling of the original B3 chorus and vibrato scanner, simulation of the individual random contact bounces for each partial, and simulation of the unique frequency characteristics of the built-in preamplifier which forms the body of the B-3 sound. The drawbars are represented by up/down buttons and LED bar graphs. So when you change presets, the correct drawbar settings are shown immediately by the LEDs, avoiding the need for trial and error.
The piano section comprises several carefully multi-sampled electric piano instruments. As a bonus, it also includes an acoustic grand piano. The piano sounds are built up by a vast number of multisamples to catch every nuance from soft to hard hits. USB interface for quick and easy download of new piano sounds. Very flexible effects section including a rotary speaker simulation.
Roland Juno-60 61-Key Polyphonic Synthesizer
Among the first in Roland’s amazing Juno family! Six analog voices of polyphony and patch memory storage!! The Juno-60 includes 56 patches of memory storage. The Juno-60 is still popular due in part to opinions that it sounds better (punchier) than the Juno-106. The Juno-6 and 60 are very rich sounding synthesizers and are great analog machines as long as you can withstand the absence of MIDI control. The JSQ-60 sequencer is an external sequencer controller for the Juno-60 and is usually worth acquiring. Of course nobody can deny that the wooden side panel look is a true sign of Vintage status! Junos have been used by Enya, The Cure, Sean Lennon, Faithless, Astral Projection, Vince Clarke, Rabbit in the Moon, Men at Work, Flock of Seagulls, Olive, Dee-Lite, Howard Jones, Locust, Eurythmics and Add N to (X).
The Juno-60 can have 76 patches. By pressing down nr 5 and 1 or 2, at the same time, you get access to patch 57 to 76.
To access patches 80 to 98, (dead-patch) plug a cord into the PATCH SHIFT connector. Now you can access the test-programs 80-98: Keep 5 down and press 3 for bank 8, 5 and press 4 for bank 9.
Fire the Juno up with the KEYTRANSPOSE button pressed and the arpeggio mode-switch up to enter MONO-MODE. All 6 voices will be assigned to the last key pressed.
E-MU Emax I SE Synthesizer with Lotharek upgrades
OLED & HXC SD Floppy Drive Emulator allowing libraries to be loaded and stored via USB (every library released over 2500 libraries!)
The Emax II which was released in 1989 brought the Emax series up to modern specs with 16-bit sampling, 16-voice polyphony, 16 MIDI channels, stereo samples, 1MB RAM expandable to 8MB, SCSI, 8 assignable outputs and the SE’s synthesis functions. And finally, the Emax II Turbo came with 4MB RAM standard and a 4MB hard disk. Whichever Emax you choose, they’re all classic machines still capable of professional quality results when used in making the music of today. It has been used by U2, Orbital, Astral Projection, Skinny Puppy, Meat Beat Manifesto, Nine Inch Nails, Mouse on Mars, Alphaville, Beastie Boys, Clock DVA, Die Krupps, Faith No More, Richard H Kirk, KMFDM, Steve Roach, Richard Barbieri, Wolfgang Gartner and Depeche Mode
Waldorf Microwave Synthesizer
Designed for the high-end synth market, the Wave represented the pinnacle of Waldorf and PPG’s wavetable synth technology in its time. However, the success the Microwave found among “every-day” musicians was not lost on Waldorf, leading them to release the much more common yet inferior Microwave II in 1997. The mkII did offer improved features in terms of effects and processing, however it was a fully digital DSP-driven machine and thus, lacked the warmth and character of the original Microwave. Microwaves have been used by Nine Inch Nails, Hardfloor, Jimmy Edgar, Vangelis, and Crystal Distortion.
Roland MC-202 MicroComposer
This is an analog synthesizer/sequencer. It sounds very much like the TB-303 and SH-101 bass synths. Sometimes considered the “poor man’s 303”. It has a very evolved form of TB-303 like programming (more like the MC-4) and SH-101 like controls of the VCO, VCF, VCA, LFO, Envelope and Mixer sections. The LCD display is a great feature too.
The MC-202 was sort of a next-generation TB-303. So the idea was to program sequence/patterns into it internally which would give you those 303 basslines that we’ve come to love. But programming the MC-202 is a bit too intense and over done for the simple monophonic bass line. However you can control it externally by hooking up a MID-CV/Gate converter. Then you basically have yourself an SH-101!
The sequencer is actually a 2-channel CV/gate sequencer, with both channels being capable of driving a separate external synth. It’s a very useful unit, also, for its DINsync capabilities; it can receive on one port, and send over two, and also can ‘split’ DINsync to branch a sync signal out to multiple devices.
This machine is best for those who want to get 303-like patterns (it has accent just like the 303) and basslines with an SH-101 sound. If you can handle programming the notes into its sequencer you can have a lot of fun. It is used by Autechre, Future Sound Of London, Coldcut, The Human League, Underworld, Aphex Twin, LFO, Jedi Knights, Plastikman, Astral Projection, Sabres Of Paradise, Freddy Fresh, Jimmy Edgar, ProtoType 909 and Taylor 808
Roland TB-303 Bass Line Synthesizer Module
Made between 1982 and 1984, the Roland TB-303 is an analog bass synthesizer capable of producing sequenced bass lines. Originally intended to accompany studio musicians in place of a bassist, it soon found a different use providing the squelching bass lines of acid house music, particularly due to its transistor-based resonant low-pass filter. With a DIN Sync24 input, CV/Gate functionality, and a unique step sequencer with slide, swing, and accent functions, the Roland TB-303 creates an unforgettable and unique bass sound
Acidlab Drumatix Analog Drum Machine Synth TR-606 Clone
with additional sounds and parameters.
The Drumatix sounds fantastic. It can sound like the TR-606, but can go much further into TR-808 territory. The Dramatic has 2 bass drums, two snares, toms, open and closed Hi-hats, hand clap, rim shot and cymbal. The sequencer is very easy to use and there are individual outs for each sound.
Jomox Air Base 99 Analog Drum Synthesizer
Tr-808 Tr-909 Cr-78
The AirBase 99 is based on the XBase 09, but is much better. It has the same great TR-909 sounds and much more but comes in a 1-unit rack-mount MIDI module rather than a table-top drum sequencer like the latter. Its front panel is extremely bare, with just 2 knobs and a few buttons and LEDs. The AirBase is designed for use as a Drum Tone Module with your sequencer. Programming is easiest through MIDI control of the parameters. Otherwise, prepare to page through data screens on the small 2-line LCD display.
The AirBase features the same sounds and parameters as the XBase 09 and adds increased polyphony (9 voices) and Tom Toms. The AirBase emulates 808, 909 and CR-78 sounds with excellent quality. Kick, Snare and Toms are analog and feature various tune and envelope controls. Hats, cymbals, clap and rimshot are samples but can still be tuned and reversed!
Korg MS-20 Mini Semi-modular Analog Synthesizer
Just like the original, only smaller and cleaner
It’s no secret that technology’s gotten a lot smaller since the late ’70s, so when Korg decided to bring the MS-20 back, they decided to drop down the scale, making the MS-20 Mini exactly 86% the size of the original. Best of all, they did it without changing any of the core components, with the exception of the voltage controlled amp (VCA), which they tweaked to be less noisy. They even shrank down the MS-20 Mini’s patchbay, trading the 1/4″ phono jacks for 1/8″ mini jacks to make extra room.
The Moog Minitaur analog synth module is the ultimate bass module for any analog synth nut! The Minitaur is a freakishly powerful yet compact tabletop analog bass synthesizer module based on Moog’s widely popular Taurus 3. It gives you the full convenience of both MIDI and CV control, yet its monophonic audio signal path is 100 percent analog. If you love to tweak your sounds, then you’re going to feel right at home with the Minitaur. It gives you complete hands-on control over every aspect of your sound. There are no screens to squint at or menus to lumber through – just a knob-and-button playground that’s totally intuitive. Between its oscillators, envelopes, and other analog goodies, the Minitaur provides you with the whole range of Taurus bass tones. And thanks to its compact design, the Minitaur is the perfect addition to your studio or live keyboard rig. Whether you perform live electronic music or create new soundscapes in your studio, you’ll love creating sounds with the Moog Minitaur analog synth module!
The Evolver is a true analog synthesizer that incorporates many of Dave and Sequential’s old secrets, circuits and technologies. It’s monophonic with four oscillators – two analog DCOs and two digital – it’s a true analog/digital hybrid synth. The analog oscillators feature multiple classic waveforms plus pulse-width modulation and hard sync, and they sound really nice and big. The digital oscillators feature FM synthesis, Ring Modulation and 96 wavetables straight out of the Prophet VS (plus 32 user wavetables, loaded via MIDI software editors such as Motu Unisyn).
Evolver also features two Curtis voltage-controlled analog low-pass filters which are fully resonant and switchable for two- or four-pole operation, two digital highpass filters and real analog VCAs. Modulation capabilities are handled by four LFOs and three ADSR envelope generators (for the filter, the amp, and one is user assignable). There are dedicated onboard effects (feedback, delay, distortion, glide, etc.). Stereo audio inputs let you process external audio through the Evolver’s filters, envelopes, LFOs and effects.
One of its coolest features is the MIDI-syncable 16-step, 4-parameter, analog-style sequencer (with each patch able to store its own sequence) which really brings the Evolver to life with animated evolving sounds. The LFOs, step sequencer, and three separate delays can all be synced for massive, rhythmic, time-based effects in stereo. As for programming and tweaking all these functions, Evolver’s easy-to-navigate matrix-style interface allows for quick editing and real-time control of 8 parameters simultaneously.
Behringer PRO-1 Tabletop Synthesizer
The Behringer Pro-1, quite obviously, will look familiar. As you can no doubt decipher based on its name, looks, and overall appearance, it is largely a reproduction of the Sequential Circuits Pro-One analog mono-synth, which came out in 1981 and became a favorite of many young programmers and bands alike. Behringer’s version of the famous instrument is said to be an exact replica of the internal analog circuitry—they even managed to recreate the original typeface used on the front panel. Interestingly, Behringer’s team did add a few new tweaks that significantly expand what the Pro-1 can do.
The original Pro-One was famous for its “complex” modulation matrix, where three sources could be routed to five destinations either directly or through the mod wheel. This is recreated exactly in the Pro-1, and using it is where some of those more idiosyncratic sounds will come from.
One improvement over the original is that Behringer have made the Pro-1 duophonic. Each oscillator can be triggered to play a separate pitch by flipping up the somewhat confusingly-labeled “Poly” switch on the front panel, though both oscillators share the same envelope and filter settings. Setting the glide to Automatic, as opposed to Normal mode, allows for legato sounds when several notes are held down at once.
Further improvements over the original include the fact that the Pro-1 is now MIDI-fied, both with full size MIDI input and thru jacks, and a USB connection which effectively functions as a MIDI interface.
KeyStep is a new breed of portable musical tool combining the functionalities of a keyboard controller with a polyphonic step sequencer to control both analog and digital devices
Isla Instruments S2400 sampling drum machine
If vintage samplers butter your muffin, Isla Instruments have got a full afternoon tea for you.
The legendary E‑mu SP‑1200 sampler was released in 1987. It boasted a whopping 384 kilobytes of sample RAM which offered about 10 seconds of sampling time. It was a successful product, but should have faded into irrelevance during the late 1990s when computers were widely adopted and hardware samplers were abandoned en masse. However, something about the SP‑1200 endured. In the 35 years since its release, it has become a classic. Hip‑hop and house producers have clung to it for its intuitive workflow and chunky, lo‑fi sound.
Isla Instruments have taken the SP‑1200 as inspiration for their latest product, the S2400. It is a spiritual successor, taking the revered sonic characteristics and workflow as a starting point and adding modern conveniences that the OG could only dream about.
AKAI PROFESSIONAL FORCE
Standalone, grid-based, production and performance instrument
The Akai Pro Force eliminates the boundaries separating DJ performance and music production technologies. This performer-centric unit combines sampling, clip-launching, synth engines, and step sequencing with state of the art tactile surface control
AKAI Professional MPC X
Standalone Drum Machine and Sampler With 10.1-inch display, Beat Pads, Synth Engines and CV Gate Outputs
Akai MPK 49
a high-quality 49-key semi-weighted keyboard with aftertouch and 12 genuine MPC drum pads. 48 total pads are accessible via 4 pad banks. The pads feature the heart and soul of hip hop—the MPC Note Repeat and MPC Swing. The MPK49 even has a built-in arpeggiator for creating quick, creative riffs in seconds.
Akai APC 40
In 2009, Akai Professional collaborated with the creators of Ableton Live, a powerful music performance and production software environment, and introduced the original Ableton Performance Controller—APC40 Ableton and Akai Professional worked in a joint partnership to make the APC40 the perfect Ableton Live control surface. Whether you are an electronic-music performance artist and Live is your canvass, a DJ using Live to mix tracks, or a traditional musician using Live on stage or in the studio, the APC40 is designed for intuitive, powerful control. Ableton selected Akai Professional as a partner because of its leadership position in great-feeling controllers that are rock solid, rugged, and precise.
Amps & Fx pedals
LittleLabs Multi Z Professional Instrument Pre-amp / DI / Re-amp