The control room is a pie shaped segment 10 feet in the front and 16 feet in the back with the glass window on the
right side to avoid reflections in the listening area. The front half of the room is covered with absorbent foam by Aurlex while the back wall is reflective with diffusion and bass traps.
The main recording format is digital using a Digidesign ProTools HD3 Accel system using 2 192 I/O interfaces providing 24 channels in and out at up to a 192K sample rate. The system runs on a Mac G5 and the word clock is driven by an Apogee Big Ben.
Twenty four track analog is available on a MCI JH24 2 inch analog machine and sixteen and eight track provided by a Scully 288B 2/1 inch recording deck. The latest addition to analog is a half inch two track Otari MTR10. I bought it as a four track from Terry Lessig Sound and converted it to half inch two track with help from John French at JFR Magnetics.
The console is a custom design with OPA2604 and 990C op amps powered on plus and minus twenty four volt rails providing low distortion and plus twenty seven dbm head room. The equalizer is a four band parametric with in/out on two band pairs. The compressor, gate and solo functions us a Aphex 1001 voltage controlled amplifier for low distortion and high slew rate. The summing busses use 990C op amps by John Hardy and summing ground is a star configuration.
Five pair of custom speakers and two custom subwoofers provide mono, stereo, and 5.1 surround monitoring. The
speakers are driven by a bank of six Hafler amplifiers and 3 Rane crossovers.
The entire studio is powered by 100 amp balanced transformer by Equitech. This provides the studio with well
filtered balanced power lowering the noise floor and extending the life of all the gear in the studio.