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Post by javamad on Sept 5, 2016 8:48:32 GMT -6
Hi All, Well, I am lucky enough (I can hear you all laughing already  ) to be planning to set up a studio in Dublin, Ireland. It will be around 1000 ft 2 in a detached industrial unit. A simple build of a control room and a large live room. I am looking at getting an analogue console to be at the heart of the workflow and I have pretty much settled on the SSL XL Desk because of the ability to add a variety of 500 series to get different sounds as you record and mix and those 4 busses for the mixdown with parallel processing. I have had a look around and have come up with what I think is an OK list but I am sure the wider group with more experience than I could name a few more for consideration. My basic thoughts are to add EQ to channels 1-8 and compression to channels 9-16 (with perhaps 1 mastering EQ) Channels 1-8SSL 611 EQ x 2 API 550A x 2 Neve 551 x 2 JoeMeek meQ 500 x 2 Channels 9-16 Dbx 560A x 2 Elysia expressor 500 Shadow Hills Dual Vandergraph Elysia x-Filter 500 (master eq) Thoughts? |
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Post by wiz on Sept 5, 2016 14:59:34 GMT -6
I didn't get on with the 551 I sold it. It was a bit "zingy" in the high end for me.
there is a sale on at zenpro, 2 560A's for 199USD
cheers
Wiz
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Post by Martin John Butler on Sept 5, 2016 16:49:31 GMT -6
Never liked Joe Meek stuff, but admittedly have only heard a couple of pieces. Maybe a 500 version of an LA2A or STA-Level would be very useful for cutting a lead vocal.
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Post by jcoutu1 on Sept 5, 2016 18:09:29 GMT -6
Hi All, Well, I am lucky enough (I can hear you all laughing already ) to be planning to set up a studio in Dublin, Ireland. It will be around 1000 ft 2 in a detached industrial unit. A simple build of a control room and a large live room. I am looking at getting an analogue console to be at the heart of the workflow and I have pretty much settled on the SSL XL Desk because of the ability to add a variety of 500 series to get different sounds as you record and mix and those 4 busses for the mixdown with parallel processing. I have had a look around and have come up with what I think is an OK list but I am sure the wider group with more experience than I could name a few more for consideration. My basic thoughts are to add EQ to channels 1-8 and compression to channels 9-16 (with perhaps 1 mastering EQ) Channels 1-8SSL 611 EQ x 2 API 550A x 2 Neve 551 x 2 JoeMeek meQ 500 x 2 Channels 9-16 Dbx 560A x 2 Elysia expressor 500 Shadow Hills Dual Vandergraph Elysia x-Filter 500 (master eq) Thoughts? Will this be your only outboard or do you have a bunch of rack gear that you're complimenting? What genre do you typically work in? |
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Post by javamad on Sept 6, 2016 2:28:11 GMT -6
Hi All, Well, I am lucky enough (I can hear you all laughing already ) to be planning to set up a studio in Dublin, Ireland. It will be around 1000 ft 2 in a detached industrial unit. A simple build of a control room and a large live room. I am looking at getting an analogue console to be at the heart of the workflow and I have pretty much settled on the SSL XL Desk because of the ability to add a variety of 500 series to get different sounds as you record and mix and those 4 busses for the mixdown with parallel processing. I have had a look around and have come up with what I think is an OK list but I am sure the wider group with more experience than I could name a few more for consideration. My basic thoughts are to add EQ to channels 1-8 and compression to channels 9-16 (with perhaps 1 mastering EQ) Channels 1-8SSL 611 EQ x 2 API 550A x 2 Neve 551 x 2 JoeMeek meQ 500 x 2 Channels 9-16 Dbx 560A x 2 Elysia expressor 500 Shadow Hills Dual Vandergraph Elysia x-Filter 500 (master eq) Thoughts? Will this be your only outboard or do you have a bunch of rack gear that you're complimenting? What genre do you typically work in? This will be the beginning of my outboard. I have an Apollo 8 and an ASP800. I plan to get more preamps, a hardware reverb, some other bits and bobs ... I will mostly do Pop and Rock but I would be open to doing anything. I have a healthy UAD plugin collection and I'm looking for the analogue console to up the game in tracking and then also to use it for summing (which is why I love the 4 mix buses on the XL desk) |
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Post by jcoutu1 on Sept 6, 2016 4:26:20 GMT -6
Will this be your only outboard or do you have a bunch of rack gear that you're complimenting? What genre do you typically work in? This will be the beginning of my outboard. I have an Apollo 8 and an ASP800. I plan to get more preamps, a hardware reverb, some other bits and bobs ... I will mostly do Pop and Rock but I would be open to doing anything. I have a healthy UAD plugin collection and I'm looking for the analogue console to up the game in tracking and then also to use it for summing (which is why I love the 4 mix buses on the XL desk) So tracking with the hardware going in and mostly mixing ITB? It just seems like a lot of budget is going into the SSL, which seems pretty limited. The idea of a console that doesn't come with EQ is hard for me to grasp. You could grab an APB, Audient, used Midas Heritage/Legend, a couple 10 space 500 series racks, and a patch bay, still have 8 or more busses, full EQ, and even more 500 slots. That said, if the SSL name will bring in business OR if you're skipping full EQ intentionally because recall is a bitch, I totally understand. With that out of the way, I had the x-filter and wasn't wow'd by it. I would prefer to have a pair of Pultec style eq's for tracking and the mix buss. I would absolutely grab a pair of Tonelux TX5C compressors for the drum buss too. |
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Post by javamad on Sept 6, 2016 7:19:36 GMT -6
This will be the beginning of my outboard. I have an Apollo 8 and an ASP800. I plan to get more preamps, a hardware reverb, some other bits and bobs ... I will mostly do Pop and Rock but I would be open to doing anything. I have a healthy UAD plugin collection and I'm looking for the analogue console to up the game in tracking and then also to use it for summing (which is why I love the 4 mix buses on the XL desk) So tracking with the hardware going in and mostly mixing ITB? It just seems like a lot of budget is going into the SSL, which seems pretty limited. The idea of a console that doesn't come with EQ is hard for me to grasp. You could grab an APB, Audient, used Midas Heritage/Legend, a couple 10 space 500 series racks, and a patch bay, still have 8 or more busses, full EQ, and even more 500 slots. That said, if the SSL name will bring in business OR if you're skipping full EQ intentionally because recall is a bitch, I totally understand. With that out of the way, I had the x-filter and wasn't wow'd by it. I would prefer to have a pair of Pultec style eq's for tracking and the mix buss. I would absolutely grab a pair of Tonelux TX5C compressors for the drum buss too. HI, That is what an engineer/producer buddy of mine is saying too. However there is a certain method to my madness ... The XL-Desk has direct outs for all channels and buses and so to take a mix snapshot you just play it through and save the stems into the daw. Then to recall, you zero the desk and play the tracks back from your recovered session, or just the bus stems .. and make your tweaks and make a new snapshot. That I think is very important and useful. Secondly the XL Desk has all its connections out on d-sub at the rear so you can break the whole thing out into patch-bays and, for example, use the 500 series slots for other things or patch any thing into any track or bus. Lastly, I really like the way the 4 buses can work together to allow parallel processing On the desk not having EQ ... I think you have to just price it in with the EQ you need. The cheaper list price is just to get headlines but its not realistic. (that said someone with lots of outboard *could* get the bare desk and patch in their outboard when tracking and mixing, not my case though) |
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Post by joseph on Sept 6, 2016 9:46:38 GMT -6
Hi All, Well, I am lucky enough (I can hear you all laughing already ) to be planning to set up a studio in Dublin, Ireland. It will be around 1000 ft 2 in a detached industrial unit. A simple build of a control room and a large live room. I am looking at getting an analogue console to be at the heart of the workflow and I have pretty much settled on the SSL XL Desk because of the ability to add a variety of 500 series to get different sounds as you record and mix and those 4 busses for the mixdown with parallel processing. I have had a look around and have come up with what I think is an OK list but I am sure the wider group with more experience than I could name a few more for consideration. My basic thoughts are to add EQ to channels 1-8 and compression to channels 9-16 (with perhaps 1 mastering EQ) Channels 1-8SSL 611 EQ x 2 API 550A x 2 Neve 551 x 2 JoeMeek meQ 500 x 2 Channels 9-16 Dbx 560A x 2 Elysia expressor 500 Shadow Hills Dual Vandergraph Elysia x-Filter 500 (master eq) Thoughts? 550as are great, especially vintage ones which are smoother. Sound great on guitars, snares, vocals. The overlapping frequencies are extremely useful. 560bs sometimes on kicks. CAPI offers an inductor style eq with 550a points, and is coming out with all discrete 550a clone that should sound better than the current API, which is a bit harder than vintage ones. Is the Vandergraph your bus eq? Not flexible enough IMO. I would consider Smart CL1A, Obsidian 500, SSL G, a good clone like TK or Serpent audio. Also I would leave the serious eqing for your channels and mastering engineer and drop the x-filter which is boring, instead get 2 500 series pulse pultec eqs for the bus. The Neve 551s (assuming they're like Shelfords which I've used) have a good 8khz shelf, e.g. for snares. Otherwise as Wiz says, highs not like euphonic like 1084 (I wouldn't say scratchy exactly) but highs aren't everything. They are more phase coherent than 1073/84, have good control over mids (with q option), both peaking shelving plus hpf for low band. The mid band has a nice vibe. Unless you can fit 2x BAE 1073D. Those are great. Heritage 1073 eq doesn't have a high pass filter, which is very useful to balance out low shelf, and AMS Neve 500 series isn't that well reviewed. Instead of 560as, get SSL 611 dynamics. Also check out Avedis E27s. If you don't have already, I suggest you get a couple good 1176s, like Mohogs, and maybe a pair of distressors. Also get at least one great opto compressor, like a Cl1B or LA2A or 3A. |
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Post by jin167 on Sept 6, 2016 10:10:28 GMT -6
Hi All, Well, I am lucky enough (I can hear you all laughing already ) to be planning to set up a studio in Dublin, Ireland. It will be around 1000 ft 2 in a detached industrial unit. A simple build of a control room and a large live room. I am looking at getting an analogue console to be at the heart of the workflow and I have pretty much settled on the SSL XL Desk because of the ability to add a variety of 500 series to get different sounds as you record and mix and those 4 busses for the mixdown with parallel processing. I have had a look around and have come up with what I think is an OK list but I am sure the wider group with more experience than I could name a few more for consideration. My basic thoughts are to add EQ to channels 1-8 and compression to channels 9-16 (with perhaps 1 mastering EQ) Channels 1-8SSL 611 EQ x 2 API 550A x 2 Neve 551 x 2 JoeMeek meQ 500 x 2 Channels 9-16 Dbx 560A x 2 Elysia expressor 500 Shadow Hills Dual Vandergraph Elysia x-Filter 500 (master eq) Thoughts? 550as are great, especially vintage ones which are smoother. Sound great on guitars, snares, vocals. The overlapping frequencies are extremely useful. 560bs sometimes on kicks. CAPI offers an inductor style eq with 550a points, and is coming out with all discrete 550a clone that should sound better than the current API, which is a bit harder than vintage ones. Is the Vandergraph your bus eq? Not flexible enough IMO. I would consider Smart CL1A, Obsidian 500, SSL G, a good clone like TK or Serpent audio. Also I would leave the serious eqing for your channels and mastering engineer and drop the x-filter which is boring, instead get 2 500 series pulse pultec eqs for the bus. The Neve 551s (assuming they're like Shelfords which I've used) have a good 8khz shelf, e.g. for snares. Otherwise as Wiz says, highs not like euphonic like 1084 (I wouldn't say scratchy exactly) but highs aren't everything. They are more phase coherent than 1073/84, have good control over mids (with q option), both peaking shelving plus hpf for low band. The mid band has a nice vibe. Unless you can fit 2x BAE 1073D. Those are great. Heritage 1073 eq doesn't have a high pass filter, which is very useful to balance out low shelf, and AMS Neve 500 series isn't that well reviewed. Instead of 560as, get SSL 611 dynamics. Also check out Avedis E27s. If you don't have already, I suggest you get a couple good 1176s, like Mohogs, and maybe a pair of distressors. Also get at least one great opto compressor, like a Cl1B or LA2A or 3A. Couple of corrections to be made. 1. Dual Vandergraph is a stereo compressor. 2. Heritage 1073 does have a HPF. www.heritageaudio.net/product-2-1073-500.php |
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Post by Deleted on Sept 6, 2016 10:29:57 GMT -6
If I was you, I would be seriously thinking how an analog console is a dreaded nightmare for running an actual business. Even running a summing device with a few bits of outboard became a nightmare when you're doing drums for a client one day, vocals for a different client and bass for yet another client all in a week. All this going on while I'm mixing and mastering during the day. If however running a business is not the primary concern I would fill it with with comps from IGS (all stepped, easy to recall, sounds great) and I would probably load it with some of the SSL EQs as well.
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Post by NoFilterChuck on Sept 6, 2016 10:32:43 GMT -6
Why don't you stuff some CAPI gear in there? Are you not considering DIY kits?
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Post by schmalzy on Sept 6, 2016 11:55:44 GMT -6
If I was you, I would be seriously thinking how an analog console is a dreaded nightmare for running an actual business. Even running a summing device with a few bits of outboard became a nightmare when you're doing drums for a client one day, vocals for a different client and bass for yet another client all in a week. All this going on while I'm mixing and mastering during the day. If however running a business is not the primary concern I would fill it with with comps from IGS (all stepped, easy to recall, sounds great) and I would probably load it with some of the SSL EQs as well. This is worth a few thoughts. I got a cheaper console to use as an opportunity for injecting analog into my very digital setup. It's turned into, basically, preamps and EQ during tracking, special channels to print things back into the session, and some channels that stay locked at line level and +0 on the faders for summing. I also have a passive summer that I run back into the box through my CL 7602s with little or no EQ adjustment. I've learned recall is both annoying and somewhat touchy - especially if you're the kind of person who has to jump back and forth between projects. Now I understand why all those big-name guys have so much analog gear and they never touch it: recalls are annoying if every parameter is changing every time. I think I'd be in better shape if I had a better method for managing recall "sheets" (or their digital equivalents) but so far it's been a rough go. |
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Post by joseph on Sept 6, 2016 15:42:26 GMT -6
How is 1 a correction? I know that, that's why I suggested stereo bus alternatives. Vandergraph has preset attack and release, depending on ratio, so less flexible than an SSL type. For example, you can't do 30ms at 4:1 with auto release. Think it's better to go with the proven SSL type, or perhaps a 2264. On point 2, the one slot heritage EQ (not the 1073/500 3 slot preamp/eq), which is what I was talking about, doesn't have a highpass filter. www.sweetwater.com/store/detail/HA73EQjrThe BAE 1073D has 1084 shelving options of 10khz and 16khz, in addition to the 12khz standard 1073, so it's a little more flexible than the heritage 3 slot, eq-wise. Which is why I mentioned it. But it's also 3 slot, which may rule it out. |
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Post by Deleted on Sept 6, 2016 16:09:03 GMT -6
If I was you, I would be seriously thinking how an analog console is a dreaded nightmare for running an actual business. Even running a summing device with a few bits of outboard became a nightmare when you're doing drums for a client one day, vocals for a different client and bass for yet another client all in a week. All this going on while I'm mixing and mastering during the day. If however running a business is not the primary concern I would fill it with with comps from IGS (all stepped, easy to recall, sounds great) and I would probably load it with some of the SSL EQs as well. This is worth a few thoughts. I got a cheaper console to use as an opportunity for injecting analog into my very digital setup. It's turned into, basically, preamps and EQ during tracking, special channels to print things back into the session, and some channels that stay locked at line level and +0 on the faders for summing. I also have a passive summer that I run back into the box through my CL 7602s with little or no EQ adjustment. I've learned recall is both annoying and somewhat touchy - especially if you're the kind of person who has to jump back and forth between projects. Now I understand why all those big-name guys have so much analog gear and they never touch it: recalls are annoying if every parameter is changing every time. I think I'd be in better shape if I had a better method for managing recall "sheets" (or their digital equivalents) but so far it's been a rough go. Have you looked into the obvious plugin suspects like NLS, VCC, VTM? If you haven't, I highly recommend them and like them a lot. If you're looking for something in the analog world my favourite is the Rascal Tonebuss with a good bus comp, I'd imagine for the price of the XL Desk you could get the Shadow Hills Mastering Compressor and a Tonebuss and still have leftover for even a 1/2" Mara Machine or something like that and I would guess that all this gear would impart more colour and vibe onto your work than the XL Desk which if it's similar to the rest of their newer stuff is a little on the clean side. |
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Post by ericn on Sept 6, 2016 18:10:43 GMT -6
I'm a big console guy, but the XL desk always leaves me scratching my head, take a hard long look at the features and ask yourself if SSL wasn't written on it would you pay that much for this thing ? As far as SSL sound well most are thinking 4K !
Their are a lot of great consoles all over if you wait you will find something for a lot less that will do more and if you think being an SSL room is going to get you work this one is not going to get those customers .'
If you really want a Smaller SSL think used AWS!
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Post by Deleted on Sept 6, 2016 18:15:08 GMT -6
I'm a big console guy, but the XL desk always leaves me scratching my head, take a hard long look at the features and ask yourself if SSL wasn't written on it would you pay that much for this thing ? As far as SSL sound well most are thinking 4K ! Their are a lot of great consoles all over if you wait you will find something for a lot less that will do more and if you think being an SSL room is going to get you work this one is not going to get those customers .' If you really want a Smaller SSL think used AWS! I agree and would go further and say that even the AWS is a bit of a waste of time. |
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Post by jin167 on Sept 6, 2016 18:59:21 GMT -6
How is 1 a correction? I know that, that's why I suggested stereo bus alternatives. Vandergraph has preset attack and release, depending on ratio, so less flexible than an SSL type. For example, you can't do 30ms at 4:1 with auto release. Think it's better to go with the proven SSL type, or perhaps a 2264. On point 2, the one slot heritage EQ (not the 1073/500 3 slot preamp/eq), which is what I was talking about, doesn't have a highpass filter. www.sweetwater.com/store/detail/HA73EQjrThe BAE 1073D has 1084 shelving options of 10khz and 16khz, in addition to the 12khz standard 1073, so it's a little more flexible than the heritage 3 slot, eq-wise. Which is why I mentioned it. But it's also 3 slot, which may rule it out. 1. Is the Vandergraph your bus eq?2. You are comparing a 3 slot preamp+EQ unit to a single slot EQ unit? Why? |
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Post by ericn on Sept 6, 2016 19:27:43 GMT -6
I'm a big console guy, but the XL desk always leaves me scratching my head, take a hard long look at the features and ask yourself if SSL wasn't written on it would you pay that much for this thing ? As far as SSL sound well most are thinking 4K ! Their are a lot of great consoles all over if you wait you will find something for a lot less that will do more and if you think being an SSL room is going to get you work this one is not going to get those customers .' If you really want a Smaller SSL think used AWS! I agree and would go further and say that even the AWS is a bit of a waste of time. Yeah but I get the AWS! & AWS gives you recall, if it had better integration of their modular dynamics it would be a killer little ssl! |
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Post by joseph on Sept 6, 2016 20:21:00 GMT -6
How is 1 a correction? I know that, that's why I suggested stereo bus alternatives. Vandergraph has preset attack and release, depending on ratio, so less flexible than an SSL type. For example, you can't do 30ms at 4:1 with auto release. Think it's better to go with the proven SSL type, or perhaps a 2264. On point 2, the one slot heritage EQ (not the 1073/500 3 slot preamp/eq), which is what I was talking about, doesn't have a highpass filter. www.sweetwater.com/store/detail/HA73EQjrThe BAE 1073D has 1084 shelving options of 10khz and 16khz, in addition to the 12khz standard 1073, so it's a little more flexible than the heritage 3 slot, eq-wise. Which is why I mentioned it. But it's also 3 slot, which may rule it out. 1. Is the Vandergraph your bus eq?2. You are comparing a 3 slot preamp+EQ unit to a single slot EQ unit? Why? Would you mind getting off my case a little? These are only my opinions, which I think I explained pretty clearly. The Vandergraph is a stereo bus compressor, like you said earlier. I have heard it in use. Sounds very good on drums. So I would use on drum bus occasionally and 2bus on certain rock songs, but I personally would not recommend it for general 2bus duties over a proven performer like an SSL/Smart type, the full fledged Shadow Hills Mastering Comp, Foote, 2264/33609, etc. This does not mean that the Vandergraph won't work on the 2bus. Something at least with controllable release is what I prefer, which the Vandergraph does not have. It only has ratio dependent preset attack and release settings, and no auto release, and it is also pretty colored, which will make the lack of these adjustments more noticeable; therefore it's less flexible for program material. I'm not saying the Vandergraph is a bad bus compressor, only that an SSL type bus compressor is a classic that will work pretty well on almost any mix, so that's what I'd recommend first. And the new versions are even more transparent and flexible. That is my reasoning, feel free to disagree. I just clarified 2). I was not initially directly comparing the BAE to the Heritage, but rather what I meant is that as far as 500 series ONE SLOT 1073 type eqs go, the Heritage does not have a high-pass filter, which I think is a big minus. Likewise the AMS ONE SLOT eq is not generally well liked because it doesn't actually sound as colorful as a 1073, unlike the Heritage actually. I realize why that was unclear, but again I just clarified it above. I mentioned the BAE as an example of a 1073 type that I know is good through extensive personal use, but unfortunately 3 slots, and he may not want to accommodate that (like I said) or need preamp. But again since you brought it up, I would still recommend the 3 slot BAE over the 3 slot Heritage 500 series because of the extra 1084 type high band options at the same price point. 16khz is very useful on vocals, and 10khz on drums. The are both quality pieces, only one is a little more flexible. Is that clear enough? |
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Post by Deleted on Sept 6, 2016 20:55:34 GMT -6
There's a guy in the UK currently selling a nice Neotek 32 channel board for 8,000. Personally i would purchase this over any 500 series board.
I could also add some BAE or AMS 1084's in a rack with the extra change and build some CAPI modules with the extra money - all for tracking..
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Post by Randge on Sept 6, 2016 21:23:00 GMT -6
RTZ 1549 eq pair
Capi 526 pair
Elysia X-pressor
Neve 543 pair
Compex F765 pair
Capi VP-28's for summing
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Post by javamad on Sept 7, 2016 2:59:10 GMT -6
Thanks all for the input so far. Some good 500 gear mentioned which I will be checking out.
I have to say that I am not heart set on the XL ... but I really, really liked the mix snapshot idea. That said, I was looking at the specs and manual for the Audient 4816 (I love the ASP880 I have) and I think I could do 16 stem snapshots on that ... so its starting to firm up as a more budget-conscious contender.
It's very interesting to hear about all the analogue gear left on the sidelines (give it to me! .. I'll use it :-) ) and I suppose that is true at mix down. However I think the stem-snapshot idea is an interesting option to get around that. I suppose it will only become clear when I actually try to do it. At best it will be a great way to use outboard ... at worst it becomes a summing station for mixdown.
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Post by jcoutu1 on Sept 7, 2016 4:36:10 GMT -6
Thanks all for the input so far. Some good 500 gear mentioned which I will be checking out. I have to say that I am not heart set on the XL ... but I really, really liked the mix snapshot idea. That said, I was looking at the specs and manual for the Audient 4816 (I love the ASP880 I have) and I think I could do 16 stem snapshots on that ... so its starting to firm up as a more budget-conscious contender. It's very interesting to hear about all the analogue gear left on the sidelines (give it to me! .. I'll use it :-) ) and I suppose that is true at mix down. However I think the stem-snapshot idea is an interesting option to get around that. I suppose it will only become clear when I actually try to do it. At best it will be a great way to use outboard ... at worst it becomes a summing station for mixdown. So you mention stem snapshots to alleviate recall issues. This isn't so much the case. When mixing, you'll still need to mark down ALL of your settings on the board and outboard gear. If the band wants the snare down and the lead vocal up on the next revision, you still need to recall the settings for your 8+ drum tracks and entire vocal buss. At this point, you make the change and you hear that the mids on the lead guitar are masking the the vocal a bit and need to be scooped. Now you need to spread the guitar back out across the board. The idea of having the printed stems is handy for sure, but won't save you as much recall effort as you might expect. A |
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Post by Johnkenn on Sept 7, 2016 6:34:43 GMT -6
I know I sound like a broken record - and I have no endorsement with CAPI (Jeff is a friend, though) - but man, his LC24/40s or BT50s are phenomenal and half the price of other products. Same with the FC526. Absolutely amazing compressor. Basically an 1176 with thickness and zero pinch. Ultimate tracking comp.
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Post by mhbunch on Sept 7, 2016 9:45:03 GMT -6
I know I sound like a broken record - and I have no endorsement with CAPI (Jeff is a friend, though) - but man, his LC24/40s or BT50s are phenomenal and half the price of other products. Same with the FC526. Absolutely amazing compressor. Basically an 1176 with thickness and zero pinch. Ultimate tracking comp. When are those new EQs coming out? Reallllly want to get a pair of the BT50s |
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) to be planning to set up a studio in Dublin, Ireland. It will be around 1000 ft2 in a detached industrial unit. A simple build of a control room and a large live room.
