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Technical
I now own quite a wide selection of high-end pro recording gear and microphones, not to mention a plethora of specialist accessories. Because of the highly variable nature of the work, and also the fast moving pace of technology in the industry, I often also hire in what I regard as the best available equipment for the job, if i do not have anything suitable. I strive to achieve the absolute best results within a given budget and recording scenario, which means whoever you are and whatever your budget, you can be assured if you chose L.A. you will get the best possible results. |
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Microphones
We use a large selection of microphones, from Sennheisers, to DPA to Schoeps, plus various other specialized microphones. Microphone choice is a very subjective thing, and often clients have specific requests. We can either operate within a particular remit, or we can advise the client based on our knowledge and experience, and according to their budget. |
DPA 4061 high sensitivity miniature omni |
Sennheiser MKH800 "..the most revered microphone in the world." |
Portable stereo/4 track recording Tascam HD -P2 Edirol R4 Pro Sound Devices 744T
*Space allowing I prefer to use the preamps of the i88x, fed to the line input of one of the Tascams, as they are of exceptional (DM2000) quality. See photograph on right.
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The Vortex Jazz Club 2008. |
Multitrack recording
HD24RX Tascam X-48 Yamaha DM1000 HHB Portadrive Focusrite Platinum Octorpe (pre-amps) XTA DS800 | DM1000 | Portadrive | | DS800 | | Platinum Octopre |
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Studio - (this section is a bit bare as I have not had time to develop it.. the studio is now open after the refurbishment.. photos coming soon)
Mixing
Pro Tools Factory 003 digital console
Yamaha 01x (mLan) digital console
Yamaha DM1000 (surround) digital mixer
Allen and Heath WZ3 12:2 (analogue)
Software
Wavelab 6
Cubase 4
Pro Tools LE 7.4 (+DV Toolkit 2; expanding LE it to 48 tracks)
| Cubase | Wavelab | Pro Tools LE |
Plug-Ins
Waves - various
Sonalksis - various
Voxengo - various
AudioEase Speakerphone
AudioEase Altiverb
| Waves | Sonalksis | Voxengo| AudioEase |
Media delivery
Standard burn
In line with our promise to provide you with the best possible quality we use exclusively HHB CDs and DVDs. For standard LWS burns from our computer disc drive, there is a set charge of £15 for the first disc. This is to cover set up time and P&P. A further £5 will be charged for each disc thereafter.
High-resolution CD
a high-resolution real time CD can be burned with up to 24bit/96kHz BWF files from the CR500, for import into Post Production studios or transfer to your computer. This method gives unrivaled sound quality, ensuring you end up with world class results. We will charge an extra £15 (in addition to the above charges) for this service.
File transfer
We can now ftp files of any size to our own dedicated server.
We are also happy to use third party file transfer systems of your choice.
Monitoring
Reference monitors - I have, following the refurbishment, replaced our monolithic custom built Jordan cabinets with a pair of PMC TB2+.. and I am very happy with them indeed. This also means the studio is more 'in tune' with the larger,high-end, pro studios in terms of monitoring, most of whom use PMC/Bryston combos.
Amplification - are now powered by a Bryston 3B ST amplifier, and Chord Epic screened speaker cables
We also have a pro-system monitoring set up with a Renkus heinz TRX829, powered by an MC2 T500 (mono), and at the other end of the scale we use the active mix cubes, for 'radio referencing'.
Studio EQ / switching - XTA DP226
Headphones - Sony MDR7509HD, Sony MDR7506, Sennheiser - HD25
| PMC TB2S+ | Bryston 3BST | XTA DP226 | T500 | Chord Epic | Sony Cans | HD 25 | Mixcube |
Cables
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A chain is only as strong as its weakest link Kingsley, 1856 |
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The quality of cables is something most engineers, recordists and studios, even professional ones, overlook or have little knowledge of, but is something that can have a marked difference in the quality of both the final outcome, and the mixing/monitoring process. Think of cables as audio lenses.. get the wrong lens or a cheap lenses and you fail to see the full detail of the image.. the same is true of sound! Borrowing from my knowledge of the high-end hi-fi market, I use exclusively Chord Company microphone cables, instrument cables, interconnects and speaker cables. This ensures the utmost signal integrity at every stage of any work I do, both on location, and in the studio.
Microphone and interconnect cables are all Chameleon Silver + Digital interconnects are all Prodac. Speaker cables are Odyssey or Epic Instrument cables are Cream Instrument Cable | Odyssey | Chameleon Silver + | Cream Instrument | Chord Epic | |
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Sound System
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TRX 151 click image to enlarge
TRX 82 click image to enlarge
click for more info on XTA Audiocore |
We have a modest, but very high-quality PA system which can be used in various combinations and for either FOH or monitoring purposes. As with anything we do, if we don't have the equipment necessary in-house, we can easily hire in anything to spec.
Speakers 2 x Renkus Heinz TRX 151E - high-end passive 2 way 15" cabinets with Renkus Heinz CCH technology. 1 x Renkus Heinz RFX 15S - a passive twin 15" sub unit. 3 x Renkus Heinz TRX82 - high-end passive low profile wedge monitors. (these can also be used as main speakers mounted vertically on stands, for smaller, more discreet applications that require outstanding sound quality)
Amps 2 x MC2 T2000 - power amps 1 x MC2T1500 - power amp 1 x MC2 T500 - power amp
Speaker management
I use an XTA DP226 as our crossover/limiter and EQ. This is an exceptionally high quality unit, usually found only in the highest grade large-scale PA systems, and though it may seem overkill for our modest set up, the results speak for themselves and we think it was worth the investment. It does, of course mean we can maintain consistency and quality when we hire in more complex set up for larger events.
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