The Liquid Channel is a revolutionary professional channel strip that can emulate any classic mic-pre and compressor. Combining radical new analogue preamp technology with Dynamic Convolution™ techniques, The Liquid Channel fuses cutting-edge analogue design with lightning fast SHARC DSP. Augmented by fully digital controls and optional remote software, The Liquid Channel provides the ultimate fluid vintage collection.
The ISA 430 MKII represents the pinnacle of Focusrite’s analogue channel strip technology, bringing together all the classic designs in one comprehensive production tool. Augmented with additional features and flavours, alongside unmatched internal routing and connectivity, the ISA 430 MKII enables today’s recording professional to enjoy the unique sonic contribution of these heritage designs within one extremely versatile processor. Focusrite’s iconic status as the leading manufacturer of channel strips remains unrivalled.
TLA 5052 and Focusrite Session Pack
The ISA 220 Session Pack provides all you need to record your session with precision and Focusrite sonic performance. It features many of the original circuits of the flagship ISA 430 Producer Pack along with some new features of its own. It also features the same digital option as the ISA 430, providing you with a high quality digital route direct from the 220 into your digital recording system.The 5052 provides everything you would expect from a high quality ‘channel strip’ product, and then doubles it - making it the ideal system front end and the perfect stereo mixdown and mastering device. While most channel strip products provide a single mono channel made up of preamp, dynamics and EQ stages, the 5052 provides two channels of each with independent stereo linking of the compressor, EQ and limiter sections. Recording a mono or stereo source to multitrack through the 5052 becomes simplicity itself, yet when it comes to mixdown the 5052 comes into its own by offering full stereo linked EQ and dynamics - allowing unparalleled processing of the stereo buss while mixing.
Avalon
The Avalon VT-747SP combines a creative STEREO tube-discrete Class A spectral-opto-compressor with a musical six band program equalizer, L-R output level and gain reduction metering and internal regulated power supplies in a 2U space. Ideal for high performance DAW input signal conditioning, stereo buss compression-EQ, stereo keyboards and analog mastering applications.
Yamaha DM2000
It took a while, but at long last the seminal standard of digital sound - 16 bits at 44.1 kHz - has seen its day ... at least on the production front. We've seen bit depths of 18, 20, and 24 at sampling rates of 48 kHz, and sometimes higher, come and go, but now the entire industry has its sights set on one formula that is the future of digital sound: 24 bits at 96 kHz.
The DM2000 is much more than simply a high-performance digital mixer, it is a total production tool that also offers 96-kHz effects, advanced surround production facilities, extensive integrated DAW and machine control, computer and memory-card based data management, an extraordinarily flexible bus system with digital patching, inserts, and much more.
Neumann and DPA
It is difficult to imagine a professional audio studio without a Neumann microphone. For decades, Neumann has been regarded worldwide as the standard-setting, leading manufacturer of studio microphones. Many products introduced in the history of the company have become milestones of professional audio technology. It is no accident that when listing their equipment, audio studios almost always put Neumann microphones at the top of the list – they are a recognized sign of a highly professional operation.
The DPA Type 4006 is without doubt the most popular Standard Microphone in the Series 4000 Microphones and has since its release in 1982 earned a status as being the worldwide studio standard. It is an omnidirectional condenser microphone with an extremely linear frequency response from 20 Hz to 20 kHz, high sensitivity and a low noise-floor. The 4006 is phantom powered (P48), which together with the extended range of acoustic pressure equalisers and different protection grids turns the 4006 into an extremely cost effective solution. All in all the Type 4006 can be changed into 7 different microphone versions acoustically. The 4006 has gained its reputation through its total transparency in both the near-field and in the diffuse field. A must for any studio.
EMES – CYAN
major wall mounted monitor system” This system was specially brought in from Germany to feature in studio A as the main monitor system for precise mixing applications. Studio A also has a JBL 15” and bi-radial horn large monitor system which has long provided a good reference and tracking system but the new EMES Cyans provide a superior mixing alternative for studio A.
EMES – BLUE HR Active midfield design
EMES’s most powerful 2-way system, the BLUE HR active is designed as a D'Appolito configuration.
The Tweeter is used in the BLUE's is a little unusual, it can go as low as 1000 Hz, and is supported by a molded Horn element (part of the EMES “liquid baffle design”). Using two identical woofers per box doubles the power handling, and also brings the lower System cut off frequency down to astonishing 35Hz (-3dB)! Trevor Carter has chosen these mid-field monitors for use in studio C. We think these are the best sounding midfield design in the world! They are truly amazing monitors.
EMES – KOBALT
The Kobalt is another 2 way bi-amplified near field Monitor, specially designed to meet the best performance at a more reasonable price point. This design has proved to be a great choice for studio D which is mainly involved in audio for multimedia purposes.
Emes Monitors
EMES – BLACK HR nearfield design
The Black tv HR active is a very versatile Monitor! Excellent imaging as a nearfield monitor. Due to the chosen coaxial principal (2 way driver were both coils are centred at all 3 dimensions) you get a physically ideal single point source Monitor. Another benefit of the single point source reproduction is, no matter how close or far you are the BLACKs don’t change their tonal characteristics!
Studio 52 has chosen these monitors as our principal nearfield monitor for studio A & B. In studio A the Amber HR sub-woofer is also used in conjunction with the Blacks making them a perfect full range monitor.
EMES - AMBER HR Sub-Woofer
A Compact Sub – that can deliver really good low end down to 28 Hz. The perfect matched sub for the Black’s system.
EMES - VIOLETT HR high-resolution nearfield monitor
With its amazing sonic capabilities and the compact size, the VIOLETT HR active is ideal for recording and mastering and as a personal reference monitor. Trevor Carter has chosen these nearfield designed monitors for use in studio C.
Raindirk
16 channels of the highest quality, nicest sounding Mic Pre’s from renowned UK console manufacturer Rainderk. Individual low-noise microphone amplifiers with simple ‘all you need’ input eq and compression control. Drawn from the Symphony range of recording consoles, well known for its audio excellence and low noise. This Mic/EQ/Comp module is wonderful as the front end for our digital recording setup in studio B. The microphone amplifiers offer low noise and a wide frequency range with a higher than average input impedance - less loading presented to the microphone, giving more brilliance to the mid and high frequency response.
RME
Studio 52 use the ADI-8 PRO 8 channel analog to digital and digital to analog converters to attain excellent quality within digital recordings and when interfacing between analog and digital equipment. They have several outstanding features, like Intelligent Clock Control (ICC), SyncCheck, SyncAlign®, TDIF/ADAT converter and Bit Splitter. AD- and DA-circuit automatically operate independent or linked. Newest 24 bit converters achieve more than 110 dB real dynamic. All digital inputs and outputs operate in full 24 bit resolution.
RODE Classic II
The Classic II is RØDE’s top-of-the-line studio condenser microphone.
Classic by name and nature. Featuring a custom spec 1” dual diaphragm capsule feeding a vintage twin triode (New old stock) GE JAN-6072 valve and custom Jensen output transformer. The result? Classic warmth and richness on both vocals and acoustic instruments.
SE microphones
All sE mic capsules are entirely built by hand. Even the chassis and flight cases are built in-house. In fact when you own an sE microphone you can be confident that every aspect of both the mic and its accessories has had the same unrivalled level of care and passion right throughout its design and manufacture. Even to the level that every single microphone that leaves the facility has undergone a personal listening test rather than simply being put through a machine - and it shows.
TC Electronic 6000 Series Reverb
Containing the entire Reverb and Delay palette of TC Electronic, Reverb 6000 is a four engine monster for professional film and music production. It delivers the finest, wildest and most research-intensive spatial effects of the audio industry today. Reverb 6000 contains the entire family of award winning VSS reverbs for mono, stereo, LtRt, 5.1 and 6.1 formats, the best algorithms and presets from M3000 and M5000 plus unique Reverb 6000 preset banks such as Halls of Fame and the Skywalker Sound Collection. Presets can be further adjusted with numerous parameters to make them just the right fit for any sound image you may be working on.
