Mark's Studio

	Mark's Studio
	"The equipment list is too numerous to mention it all but, I'll give the main highlights: I'm running Cubase Pro 11 and 12. I used to have a Mackie Control Universal Pro and two Extender Pros for 24 moving faders of mixing (unlimited if you factor in the layers), but the faders went and they wouldn’t support it...so I switched to a Slate Digital Raven MTI2 as my controller (virtual console). As cool as Raven is, I missed the feel of moving real faders, so I changed to an icon QCon Pro X and two icon QCon Pro XS for 24 motorized faders. They are AWESOME and it really feels like I’m mixing on a real console. I have a Softube Console 1 MK II and I love it. I now have it on all my channels and mixbus. I’m usually using the American Class A (API) console (LOVE the transient designer), but also use the SSL (both 9000 and 4000), from time to time, as well as the Neve. With my Sunset Sound Tutti and CAPI FD312 mic preamps... both Frank DeMedio designs... using the API EQ and virtually putting everything in Sunset Sound, using the IK Sunset Sound Studios Reverb (vocal iso booths, studio live rooms, chambers and plates), it’s like I’m recording in Sunset Sound, using the spaces and mixing on the custum Console with DeMideo designed preamps and API EQ. I own almost all the Acoustica Audio, IK Multimedia, Softube, Waves and UAD plugins ( I have a UAD-2 Quad and Octo card, so I have plenty of processing power). I subscribe to Slate, Plugin Alliance, and Kush, so I’m never at a loss for plugins (in fact, I often forget which plugins I own, because there are so many). I record, virtually, as I would have with real gear in the past. I have analog front ends. Once the track is recorded, I put it through an environment, a console and Multi-Track tape plugin (usually the MCI JH-24 in IK’s Tape Machine, but will sometimes use Slate VTM), then I render the track, as though it was recorded to tape. Now I add a console, EQ, compression, delays, reverbs, etc., and mixdown. I always have an Ampex 2-track (IK Tape Machine, VTM or UAD) and a couple of compressors (Plugin Alliance Townhouse and Slate Focusrite Red, as well as Console 1 compression) on the mixbus. For Reverbs... I have UAD Capital Chambers and Plate 140...I am loving the IK Sunset Sound Studios Reverb. I use it all (iso booths, live rooms, Chambers and plates). I use it on everything! I also have Altiverb 7, East West Spaces Abbey Road Chambers and Plates, IK Fame Studios, UAD Hitsville, IK Farm Stone Room and Acustica Silver...and a ton of other Reverbs and delays. I have many virtual instruments by Toontracks (SD3), East West, Native Instruments, Ivory, Garritan, IK Multimedia, Pianoteq, Sonic Reality, fxpansion,...too numerous to mention them all. In the Hardware Rack, among other things, I have an Antelope audio Orion Studio 32+ gen 4 (recording at 96k). I have a Stam Audio Stamchild 660 (Fairchild 660 compressor clone) and a Stam Audio Pultec (with NOS transformers and the midrange section added) on order and will post pictures later. I have numerous stand alone mic pres, but my main hardware microphone preamps are: A Sound Techniques A Range Channel Strip-Sunset Sound Limited Edition (only 25 made)...this unit sounds AMAZING and it's a piece of Rock history (and Danny White, owner of Sound Techniques is a really great guy), Dizengoff D4 and Type 47 (EMI REDD 47 console mic pre clones), Dizengoff type 124 (EMI RS124 compressor clone), Revive Audio modified Warm Audio Pultec tube EQ, Retro Doublewide Vari Mu Compressor, three H2 Audio 2128 mic pres (Olympic Studios Helios type 69 console mic pre), two Sunset Sound Tutti mic pres (Sunset Sound Studios custom DeMedio console mic pres), 6 CAPI FD312 (including two of the new MK II versions, all DeMideo console designs), two Revive Audio modded Warm Audio WA-412 (API clone) 4 channel mic pres (for a total of eight channels), Warm Audio WA-73 (Neve 1073 and WA-273 mic pre clones), Presonus Digimax DP88 8 channel mic pre, A-Designs P1 (Quad Eight mic pre), Vintech 573 (Neve 1073 mic pre), Universal Audio LA-610 Channel Strip, Golden Age Pre73 (Neve 1073 mic pre) modded by Zen Pro Audio (Warren is GREAT, my pre had the knobs broken in shipping and he replaced them free of charge), three CAPI V26 mic pres (vintage API console mic pre clones), Daking mic pre one (Trident mic pre), stock Golden Age Pre73 (which I use for one bass channel), two ART MPA II Pro with Sylvania NOS tubes (one I used to use for my Cascade Vin jet ribbon mics for drum overheads, but I switched to a pair of Joly modded NT5 pencil mics for the overheads...now using Slate modeling pencil mics ). M-Audio DMP3 modded by JJ Audio, Joemeek VC1Q (which I use for my other Bass DI) and a Focusrite Platinum Twintrack Pro. For outboard effects I have (among others) a Kurzweil Rumour, a Lexicon MX200, two Behringer V-Verbs and a Rocktron Intellifex

Stam Audio SA67

Pearlman TM-47

WA87, TM47,WA14

Slate Digital VMS

mike

U87 Clone

Custom built J.J. Audio U67 clone

Custom built J.J. Audio U87 clone

My main vocal mics are a Stam Audio SA67 (U67 clone...sounds AMAZING!), Pearlman TM-47 (U47 clone...another amazing sounding mic), A modified Warm Audio WA87 (Neumann U87 clone...an awesome sounding mic, Warm Audio did a GREAT job!) and a Warm Audio WA14 (vintage AKG 414EB clone...I used the vintage 414EB mic on the first two Ruby Topaz albums in the 80s...this Warm Audio mic sounds identical to it!) The TM-47 is hand built in the USA by Dave Pearlman. It's a recreation of the Neumann U47. It has a K47 capsule, steel Telefunken ef12 tube, paper and oil caps and historically correct BV8 transformer. It sounds huge, full and present. It's a great mic and Dave is great to deal with. I cannot recommend this microphone more...Same with the Stam Audio SA67. Hand built with quality components to be an exact U67 clone. It's my go to vocal mic

I also use the Slate Digital ML1 VMS (Virtual Microphone System) for some things. It’s made up of an ultra clean large diaphragm condenser microphone, an ultra clean microphone preamp and software that, very accurately, reproduces many classic tube mics (the AKG C12 alone is worth the price). It really is an amazing piece of gear. This goes directly into the interface (as opposed to the three mics above that go into the hardware mic pres and compressors).

I use four Slate ML2 small diaphragm condenser mics on the drums (overheads, hihat and ride cymbals) and this allows me to chose what mic model sounds best it the tracks.

The SA67 goes into the Sound Techniques A Range channel strip - Sunset Sound limited edition. I have a Stam Audio SA-2A (LA2A clone) in the fx loop of the Sound Techniques and then into a Revive Audio modified WA-76 (1176 clone), then into the Orion 33+ gen 4.
My TM-47 goes into the Dizengoff Type 47 or D4 mic preamp (both EMI REDD 47 clones), into a Stamchild 660 compressor/limiter (Fairchild 660 clone), into a Revive Audio modified Warm Audio Pultec (soon to be replaced by a Stam Audio MEQP-1 Pultec with NOS transformers), into a Dizengoff Type 124 (EMI RS124 compressor clone), then into the Orion 32+ gen 4.
The WA87 (and sometimes, the WA14) goes into the A-Designs P-1, which is a recreation of the mic preamp from the Quad Eight Pacifica Console (The WALL by Pink Floyd, MORE THAN A FEELING by Boston and mostly everything by The Carpenters), from there they go into a Warm Audio WA76 (an incredible clone of the Urei 1176 FET compressor, with Cinemag Transformers...the company that sprang from the original manufacturer of the transformers in the vintage 1176).

I mic my guitar cabinets with two Royer R10 ribbon microphones going into two H2 Audio 2128 Helios mic preamps .

I also have mics that have been custom built for me by J.J. Audio. Langston, who is the sales liaison to Jim, is GREAT to work with and I consider him a close friend. When we start talking gear...forget it, it's a never ending conversation. Jim built me a U87 clone with a NOS vintage transformer from a U87. I run it through my Vintech 573 and it is magical. He also built me a U67 clone. This used to be my main vocal mic. It is custom built for me and was the second one of that model that he ever built. It doesn't even have a serial number. It's an early custom built Jasper prototype. I ran it through my Daking mic pre one (which took a dive from the top of my rack and Dave from Daking personally fixed it for me...what a great guy!) or I use the mic through my Universal Audio LA-610. I also use a Shure SM7 for screaming vocals. Jim also modded a pair of my C1 mics, they sound great.

I have many mics. They include an AKG 414, two Studio Projects C1 mics, an Audio-Technica 4060 tube mic, 3 Cascade fathead II ribbon mics and a pair of Cascade Vin-Jet ribbon mics that I used to use for drum overheads, 5 Nady RSM-4 and RSM5 ribbon mics and various Shure, AKG, Rode and Audio Technica condenser and dynamic mics. I'm a Heil mic endorser and have numerous PR30 and PR40 mics...great guitar cab mics!!!


	Mastering and Video computer

Mark's Gear