Recording Platform:
Nuendo 4 (virtually capable of any form of cross platform file import & export)
Wavelab 6 (Audio Editing and Mastering Suite)

Server Grade PC running Window 7 Pro w / 2TB of Memory
Intel Xeon CPU @ 2.8 GHz w / 2 GB of RAM.

Operating System: Windows 7 Professional w / 2 TB of memory
Capable of 80 plus tracks of Digital Audio @ 96k
Motu PCI-424 card w / 32 channels of Motu ADDA conversion

- Waves Plugins
- API Plug Ins
- Sony Oxford Plugins
- SSL Plugins
- Speaker Phone Plugin
- The Rig Plugin
- The Grand
- Digital Clocking – Apogee Big Ben
- Global digital data transfer capabilities.

Monitoring:
Tannoy DMT-II System 12 speakers
Brought to factory spec by Peter Lanzilotta (Double Take Audio New York)
Powered by a 700b Phase Linear Amplifier.

SLS-8R’s powered by a Bryston 4bst Amplifier.

Speakers by-wired using Kember cable

Optional Speakers Available on site:
- Mackie HR824
- Yamaha NS-10m
- Event BAS 20/20
- Auratone 5C

Room EQ – Meyer CP-10 Parametric EQ modified by Bob Hodas.

Monitoring Board:
Mackie 32-8 Rev B series “Factory Proto-Type” hand-wired w/ gold internal connectors.
This board was completely manufactured in the USA and easily exceeds the factory specifications.

Headphones:
- Sennheiser HD 650
- Sony
- AKG
- Koss
- Beyer

Pre-Amps & EQ:
2 x 9098 Neve mic-pre w / eq
2 x Focusrite ISA 430 Mrk 1 (Producer Pack modules w/ digital interfaces)
1 x Foscusrite 428 w/ 4 mic-pre’s and 4 DI’s
2 x TC Gold Channels
1 x Avalon U5
1 x 1969 Fender Rhodes Pre w/ tremlo
1 x Line 6 POD XT pro
1 x Langevin Graphic EQ

Effects Processors:
1 x TC 3000
1 x Lexicon PCM 80 (w / pitch card)
1 x Lexicon LXP 15
1 x Lexicon LXP 5
1 x Lexicon LXP 1
1 x Yamaha SPX 90
1 x Digitech IPS 33b
1 x Aphex  Big Bottom
1 x BBE 422a Sonic Maximizer
1 x TC Finalizer Plus 96K
1 x Dynacord DLS 223 (Leslie Simulator)

Compressors:
1 x Tube Tech CL-1B
1 x Stereo Neve 9098
2 x Distressor EL8X (British Mod)
2 x Focusrite Opto compressors ISA 430 Mrk 1 (Producer Packs)
2 x DBX 163 modified by Jim Williams w / new op-amps very much like the 165’s

Keyboards & Controllers:
1 x 1959 Hammond C-3 with two 122 Leslies (1 stock and 1 modified)
2 x  Fender Rhodes Piano’s, (1 x 1969 very modified) (1 stock 70’s vintage)
1 x 1971 Hohner D6 Clavinet (w / wiring upgrade)
1 x Hohner Pianet
1 x Wurlitzer 200a
1 x Mini Moog midied w / Roland MPU-101 interface
1 x Korg Wavestation EX
1 x Roland A90EX (Piano module & Controller)

Rack Sound Modules & Samplers:
1 x Studio Electronic’s Midi Mini
1 x Roland D550
1 x Roland MKS-20 (w / 1969 Rhodes Pre-amp w / tremolo)
1 x Korg M1 REX
1 x Voce DMI Mrk II
1 x Voce Micro B
1 x Voce V-3 w / midi drawbars
1 x Yamha TX 802 (2 x DX7)
1 x Akai Z4 Sampler
1 x Akai S5000 Sampler
1 x Akai S2000 Sampler
1 x Akai S1000 Sampler
1 x Akai S1000PB Sampler
1 x Roland 760 Sampler
1 x E-mu Proteus 1 (Invision 4 meg expansion) Sample Playback
1 x E-mu Proteus Orchestra Sample Playback

Drum Machines:
1 x Alesis HR16
1 x Alesis HR16B
1 x, Alesis D4
1 x Alesis SR16
1 x Roland R8m (w/ TR-808 Card & Brushes Card)
1 x Roland DR-55

Effects Pedals etc.
1 x Late 60’s Original Thomas Organ / Vox Cry Baby Wah Pedal
1 x Early 70’s MXR Phase 90 (original)
1 x Maestro Phase Shifter (1971)
1 x Echo Plex Tape Delay (various brands of tape loops available)
1 x Roland CE-3 Stereo Chorus Pedal

Microphones:
2 x AKG 460b
2 x AKG C414 B-ULS
1 x AKG D124E
1 x AKG D224E
1 x American Clipper DZT
1 x Audio Technica AT805b
1 x Beyer M-88 TG
1 x Beyer MCE-80
1 x Beyer M-130N (Ribbon)
1 x CAD E-300
1 x De Almond Guitar Pickup
1 x Electro Voice PL-78
1 x Electro Voice RE-10
1 x Electro Voice RE-20
1 x Electro Voice RE-55
1 x Groove Tube MD1A
2 x Neumann KM-184
1 x Neumann M49 (1956 – Klaus Heyne Modified) N52a Power Supply
1 x Sennheiser 441
3 x Sennheiser MD421
1 x Sennheiser MKH-40 P48
1 x Shure 546 (vintage)
3 x Shure SM57
2 x Shure SM58
4 x Shure Beta 57a

Instrument Amplification:
1 x Fender Pre-CBS 1959 Bandmaster Top and Bottom (Blue Jenson’s)
1 x Roland KC-500 Keyboard Amp
4 x EAW FR122 extension speaker cabs (modified w / Altec 12” speakers)
1 x Fender Blues Junior

This facility was created with two things in mind

- The creative needs of the client
- Cost effectiveness

You will not find a game room, a television (one is available only by demand) or any other man made distraction that will hinder creativity and the making of music. The atmosphere is low-key while still maintaining a high professional standard. It is a seamless synergy between what the client wants and what he actually needs to create at the highest level.

Accommodations:

- Should accommodations be required there are an abundance of Bed and Breakfast facilities and Hotels / Spas at various levels of luxury within a short distance.

- At an extra cost to the client various different levels of catering can be arranged upon request.

The Recording Facility:

The Studio facility was built upon the “site adapted” principles and concepts of studio designer Neil Grant of Harris, Grant Associates of London. The adapted design was primarily based on a facility designed by his firm, which was to be built in Amsterdam, the Netherlands prior to finding this much more preferable site. Neil Grant is responsible for the design of Peter Gabriel’s studio “Real World”, The “Hit Factory”, New York, “Starstruck”, Nashville and Chateau du Pape, Hamburg Germany. The facility was acoustically treated and tuned by Bob Hodas. His list of credits includes the room tuning of Abbey Road, London, A&M Studio’s, Los Angeles and Sony Studio’s, Japan.

The Studio is virtually a totally self-contained 900 sq.ft (or +/- 300sq. meter) control room. It was “purpose” built to be a very large and “relaxing” living room, which instead of furniture has recording equipment. To add to the relaxed creative atmosphere, floor to ceiling 17^th Century Stained-Glass panels are featured in the Sunrise and Sunset corners of the room. While primarily configured for mixing and overdubs the room can as well be configured to deal with almost any manner of recording that may be required. The “Flexibility” and simplicity of the design allows you the ability to have personal contact with each other at all times. Mix magazine has featured newly constructed studios in both Nashville and Los Angeles that have been built using virtually this same concept, as it is both cost effective to the builder and to the client, without any loss of quality in the recording process.