Monitors

(2) Roland DS-90A
The DS-90A is actually the world's first 24bit digital monitor. It has digital inputs for hiss-free performance. The DS-90A is also bi-amplified for accurate reproduction of the frequencies.

Front End Processors

(2) Avalon Vt-737sp
The Vt-737sp is a vacuum tube preamp, compressor and EQ adding warmth and transparency to any signal without unwanted coloration.

Manley Vari-Mu Compressor/Limiter

Found in the best mastering houses throughout the world, many engineers would consider this piece a 'must-have' for both mastering and tracking. An all-tube design makes for a very natural and warm sound. It is the sonic glue that holds the mix together.

Avalon AD2055 Mastering Equalizer

The AD2055 has all the precision of the 737sp, but with a cleaner more polished tone due to 100% solid state circuitry. It is the main EQ in my analog mastering chain and works on anything from hip-hop to rock n' roll and everything in between. Not only is this unit an invaluable mastering tool, but it can also be combined with two mic/line signals to create uncompromising input chanels for recording applications.

(2)Apogee PSX-100 A/D-D/A

In an increasingly digital world, a little analog warmth goes a long way, but an analog signal is only as good as the digital converter that is bringing it into your DAW. The transparency and stereo imaging of the PSX-100 is unparalleled. These units process all of my critical tracking and mastering signals.

True Systems Precision 8

When recording a CD no step in the signal chain is more critical to obtaining professional results than the microphone preamplifier. The pure sonic accuracy and detail that the Precision 8 provides has made it an invaluable tool for both studio and live applications.

DBX 376

The best of old and new. This channel strip features tube preamplification with EQ, compression and de-esser. The 376 also has DBX Type IV A/D conversion for flawless translation into the digital domain.

Microphones

Front end processing is far more effective with some serious contenders at the source. Here is a list of our microphone selection.

Condenser Microphones

B.L.U.E. Blueberry
The Blueberry is an award winning condenser mic featuring ultimate in clarity and true tone. Just sing one note into this classic and you'll agree it sounds twice as good as it looks.

Groove Tubes GT-66
The GT-66 is reminiscent of the vintage tube mics of the past. For those of you want that coveted tube warmth, right from the start. The GT-66 sounds great on vocals, acoustic instruments and just about everything.

(2) Vintage Sony C-38b
They just don't build them like this anymore. With multiple polar patterns as well as high and low pass filters there aren't many jobs that these two can't handle.

(2) Octavia 0C-112
Although extremely versatile condenser mics, if find my self using these primarily on the cymbals. I have yet to find a mic that can reproduce the crisp, clear highs as well as the Octavia.

(2) Shure Axis-4
Another reliable workhorse condenser from our friends at Shure Bros.

AKG C-2000B
A large diaphragm condenser mic that's great for backing vocals, percussion and a variety of other applications.

Dynamic Microphones

AKG D112
The D112 is the quintessential kick drum mic. Featured on more hit albums than you can imagine, nothing does a better job of capturing a fat, juicy kick.

Audix D-Series
The D Series is Audix's line of instrument-specific, low profile dynamic microphones. Here is our inventory with their respective characteristics.

D-1
Although it is designed for the snare drum, the D-1 works great on a guitar cabinet.

(2) D-2
These are designed to capture the tom toms and a variety of other percussive instruments.

D-3
The D-3 is perfect for the ride and other cymbals. It also does a great job of capturing the string nose produced by a bass guitar cabinet.

D-4
With an ultra low frequency response, the D-4 works wonders on floor toms, kick drums, congas and other low end percussion.

(2) Shure SM-57
The SM-57 is to snares as the D112 is to kicks. Does anyone not have at least two of these in their studio?

Sennheiser e845
The e845 is a high output stage microphone from Sennheiser's evolution series. It features a low frequency response which makes it a handy studio piece as well.

(2) Shure SM-58
Another industry standard from Shure Bros.. The SM-58 is the common choice among engineers for stage vocals.

Audix OM-2
Another versatile product from the Audix family is welcomed in both studio and stage application.

(2) Audio-Technica ATM41a
The ATM41a is a high quality unidirectional microphone that is great on vocals and electric guitars.

(Not Pictured)
Audio-Technica ATW3141
This handheld wireless mic operates on UHF frequencies which are far less susceptible to radio interference. Works great on stage or in the studio.

Headphones
It's hard to record if you can't hear what you're doing. The following headphones are mainstays in studios across the land.
(4) Sennheiser HD280pro
AKG c240
Sony MDR-V700