Coming soon to the studio... these super rare Neve 2252 Compression Amplifiers. They are Germanium transistor based and Funky Junk have told us they have that 'creamy' EMI sound. We can't wait to try them out on a session soon!
We have a nice “new” pair of Revox M3500 - 600 ohm version of the Beyer M202.
Juicy little mics!
Check out this great video of Andrea Bignasca recording his debut album here at Snap, back in 2015!
From Eccentric at Funky Junk:
Some of you will know Wallace amps but I suspect most won’t.
This is the latest addition to the Eccentric gear collection, destined for SNAP! Studios. I had been looking for a Wallace amp for years and finally found one courtesy of Andy Fernbach, the former owner of legendary Jacobs Studios.
Ted Wallace hand made amplifiers in his Soho basement workshops for thirty years before retiring in the mid 1970’s. Highly prized by session musicians, especially bass players (John Paul Jones has a large collection), Wallace amps were respected for offering full bodied sound with extremely low residual noise – they were hand wired and over-engineered to the n-th degree.
Ted made a couple of amps for me in the late 1960s when I was gigging around the universe. In particular I commissioned a 2 x 12 combo (Goodmans Speakers) – one of only three he ever made; the other two were for Elton John and Procol Harum. Sadly my precious combo disappeared with Roy Harper (who I managed) in the early 1980s; if Roy is perchance reading, please can I have it back? (fat chance…)
This fabulous amp has been serviced by tech guru Neil Perry of Raw State in Bath, probably the world’s leading Wallace specialist, ready to go up to SNAP! Studios, where it will be available for sessions as part of our amazing back line rig.
Although one of the most iconic mics in broadcast history, very few Marconi remain for the simple reason that it was BBC tradition to gut and gold plate these mics to award to retiring announcers and staff. The result is that not many still exist and even fewer remain in working condition.
In the studio, the BBC AXBT Marconi microphone really excels on loud and bright sources such as drums and electric guitars.
The only comparable mic that springs to mind is an RCA 44BX, but this AXBT is much fatter sounding... It has a huge bottom end, but it doesn’t get all flabby.
The mid range is punchy and powerful and it is fat and tight sounding.
I love them on overheads. It sounds absolutely massive. Or a mono overhead, and one on a guitar cab (from a distance!) sounds awesome.
I’m yet to try it on brass, but I would imagine it would sound immense on a loud brass section or baritone sax!
We’ve recently been upgrading and improving our console and here’s one of the latest additions...
Grace Designs M905
Regarded as the world’s finest monitor controller, it completely replaces the 1970’s centre section in our Neve 5316, delivering pristine reproduction of audio from multiple sources, along with speaker switching and reference quality headphone amps.
The perfect addition to our room, whether tracking or mixing.
We can’t believe the difference it’s made already!
Last week I put one of our newest (and rarest!) microphones - The Brüel & Kjær 4040 to the test on a few acoustic sources including piano, acoustic guitar and clarinet.
The 4040 is a special edition microphone (only 100 were made!), which has a large diaphragm and separate preamplifier outputs offering both tube and transistor stages.
It is very interesting and unusual, and is B&K’s flagship microphone.
Out of everything I tried it on, it particularly shone on acoustic guitar - as I had expected it to...
I was recording our Epiphone El Dorado - fingerpicked, and found the tube stage of the 4040 to be incredibly smooth and big sounding, but not at all flabby in the low end - and with enough sparkle to sound really special.
Switching to the transistor output, the tone was much similar to that of other cardioid B&K / DPA’s such as the 4011, but much bigger and richer.
Hopefully I’ll get to try it on cello at some point soon as I think it should sound amazing.
In short... It is a lovely mic, and possibly my new favourite for fingerpicked acoustic.
Give it try next time you record with us!
Yesterday we said goodbye to our trusty old 368 Windows 2 machine which has been replaced by a much more modern and fancy system to run our updated Flying Faders 2 system.
There’s nothing like mixing with faders, and having rock solid automation on a 1970’s Neve is a real luxury!
We have recently upgraded the studio with Lifx LED smart lights, which have a vast combination of colours and tones - illuminating both the live area and the control room.