TOPSOIL Studio Gear List

MICROPHONES
LDC
(2) ADK A-51
(2) AKG C414B/ULS
(1) AKG C4000B
(1) Audio-Technica AT3035
(1) MXL V77
(1) Peluso 22 47
(1) Peluso 22 251
(1) Red Type B w/ Geffel M7
(1) Studio Projects C1
(2) Studio Projects B3

SDC
(2) AKG C451E
(2) AKG C1000S
(2) Audio Technica 4041
(2) Josephson C42
(2) Peluso CEMC6 (cardioid and omni caps)
(1) Shure 849

LDD
(2) AKG D112
(2) Electro-Voice RE20
(1) Red5 Audio RVD1
(4) Sennheiser MD-421 II
(1) Shure SM7
(2) Shure Beta52

SDD
(2) Audio-Technica ATM29HE
(2) Audix D2
(1) Audix OM6
(1) Audix OM2
(2) Electro-Voice RE15
(12) Shure SM57
(2) Shure SM58
(2) Shure Beta57A
(1) Shure Beta58A

Ribbons
(1) Beyer M260
(1) Fostex M88 or something
(1) Royer 121


PREAMPS & CHANNEL STRIPS

(1) A-Designs MP2A
(1) Altec 1567A
(1) Ampex 351
(1) Aphex 107
(1) API 3124
(1) DBX 376
(1) DBX 385
(1) Joe Meek VC1
(1) Joe Meek VC3Q
(2) Rupert Neve Portico 5012


COMPRESSORS

(1) Altec 436C
(2) ART ProVLA
(1) DBX 160A
(1) DBX 161
(1) Drawmer DS201 Gate
(2) Empirical Labs Distressor EL8X
(1) Empirical Labs Fatso
(4) FMR RNC
(1) Joe Meek SC2.2



EFFECTS

(1) DeltaLab Effectron II
(1) Ibanez DM1000
(1) Kurzweil Rumour
(1) Lexicon PCM60
(1) Line6 Echo Pro
(1) Roland SRE555
(1) Roland Rhythm Arranger
(1) TC Electronic M3000
(1) Yamaha SPX900
Lots of pedals by Boss, Ibanez, Dunlop wahs


RECORDERS

Alesis HD24
Digidesign ProTools
CarverTD1400 cassette deck
Fostex CR300 CD-R
Fostex D-10 DAT
HHB CD830+ CD-Recorder
MCI/Sony 1" analog 8-Track
Sony TC600 1/4" analog tube 2-track
Tascam Portastudio cassette 4-track
Tascam 122MkII master cassette recorder
Teac 1/4" analog 2-track


CONVERTERS

Digidesign ADAT bridge
(2) RME ADI-8 DS
(1) RME ADI-2 192


ANALOG CONSOLES

Allen & Heath GL3300-824A
Kelsey/DMI 16+3
Studiomaster Classic 8 24+16 channel
TAC Scorpion 24 channel
Yamaha PM1000 16 channel


MONITORING

CR:
Dynaudio BM15A
Yamaha NS10
Alesis M1
Samson Control C matrix

Headphones:
(2) AKG K240
(1) AKG K271
(1) Extreme Isolation
(1) Grado SR225
(1) Grado SR80
(5) Sony MDR-V600

-reserved space-

-reserved space-

-reserved space-

Thoughts on A-Designs MP-2A Audition


I got into the new A-Designs MP-2A recently and though I'd post some impressions of it in the wake of an indie rock session.


The MP-2A is the newest version of the MP-2 and MP-2r (higher gain for ribbon mics), which have been very well regarded tubed mic preamps. In both cases, the "2" represents the 2-channel version (the single channel version is, of course, the MP-1/A). The new "A" version makes a few additions--it adds a "tone" switch on top of the impedance switch on the old version. The new switch appears to be a low-pass filter. The A also has a 20db pad and a polarity switch, giving it further flexibility for various sources, mic techniques and subsequent mixes. I came away with a great impression of the old MP, my only real gripe being that it didn't have quite enough gain for ribbon mics, necessitating the higher gain "r" version; however, the new "A" made this ragamuffin happy by offering 60db out--enough for a ribbon.


In a recent session, I used the MP-2A on guitars--an SM57 on a Marshall cab and head, and a Sennheiser MD-421 II on the same cab but with a Peavey head. I also made good use of the MP-2A's 1/4" DI ins, which are on the face of the pre where they should be IMO. The DI sounded very nice with a Fender American P-Bass straight in, and also worked well for a Novation synth. The LPF tone switch was fery useful with the synth because it took care if a layer of unwanted high-end tizz, while helping it to hang back in the mix where we wanted it.


In all cases I would describe the sound of the MP-2A as being clean for a tube pre--this isn't a tube pre that darkens the sound nor is it bright--but still imparts the harmonic richness and bloom assiciated with quality tube gear. This is the same conclusion I drew of the original MP-1 that I heard last pring, which suggests to me that A-Designs has managed to keep the sonic signature of the preamp while adding more useable gain and greater sonic versatility via the new "tone" switches should you want to tailor the sound further. Finally, setting the gain...the great thing about this pre is at "normal" settings--with the VU meter staying in the -5 to 0 range--you get that beautiful clean sound with the smooth high end sparkle--or, if you want a little adventure, you can crank that level knob more. When you get the level well into the red, instead of harsh clipping you hit the tube harder and get that nice phat tube compression/harmonic distortion going on and it's just tits in the right application. Try it on guitars! Just be careful not to "pin" the needle past the red for any prolonged period--this can physically damage the meter. Oh, and speaking of that level pot--users of the old MPs may have found the level pot a little odd in its nonlinearity. The new "A" addresses this--the gain increases much more predictably along the level knob's travel clockwise (though to be clear, the old pot never really bugged me, but I did find it functionally a bit unusual).


Peter Montessi of A-Designs (who I might add is one hell of a good, personable fellow and graciously willing to feild questions about his products) cautioned me that the MP-2A's tube could have a tendency to ring--an intended design parameter and the nature of the particular tube type--and as such, should be kept reasonably well isolated. Also, like any tube preamp, the MP-2A dissipated its share of heat and care should be taken to give it sufficient ventilation in the rack. I have mine racked up in an ATA style shock case with plenty of space above and below, and have had no problems with ringy tube.


This MP-2A's build quality is, like my three ATTYs, exemplary. The fit and finish are excellent and the preamp has a solid feel all around, with good connectors and gorgeous back-lit VU meters for each channel that are not only serious eye candy, but highly functional. I always prefer a good classic VU to a glitzy led display--not only aesthetically, but functionally. For some reason, I have an easier time setting gain with an old-skool VU. Something about that needle dancing about must get just the right mix of chemicals going in my brain!


I'm pleased with the MP-2A. It has more than addressed some niggling details about the old version while retaining a sound that it is in my opinion not only very lovely sounding, but unique in a time of preamp makers trying to make their products sound like someone else's. I applaud A-Designs' efforts to this effect!


As I use this preamp more on subsequent sessions I will add more thoughts on this piece here in this thread.

Here's a wee smattering of color film pics from Ronan's studio at the end of January...



A whole bunch of A-Designs EMs and Pacificas...




Ye obligatory console and rack shots




The HRBC test kit (mic'd with Shure KSM32s, Beta52, SM57, Pearl front mic; eventually put a Coles there, and I think there was a Geffel across the room)



The abbreviated S.S. Bozzio...





Murphy. Richards. Bozzio.







*End of Roll*

...and here's some black & whites! (How I love Neopan )



Here's Ronan teachin us a thing or two...



This is Albert, a HRBC student from Iceland...



Ye obligatory console shot (black&whitey; styley)



Here's the HRBC test kit, a Tama pictured with Shure KSM32s overhead, SM57 on snare, Beta52 on kick, and a coles 4038 out front...



...and this is the abbreviated S.S. Bozzio, as delivered! (filled an entire extended length cargo van)

I saw a thread a while back that you busted out the Kelsey mixer and were having some good experiences with it...care to elaborate further? I'm kinda interested.

The Kelsey does what it does. It definitely has that...I dunno..."vintage" old-skool sound to it. It's not clean like the A&H; but it's good for effect--particuarly the crankability of the channel gain. I get get a really crunched sound out of the channels particularly on kick/snare/drum room tracks before hard clipping takes over and ruins the party. I've rather enjoyed playing with cassette 4-track demos on the Kelsey as well. Definitely an old school lo-fi adventure! The fixed-band EQs can be very amusing or real unfortunate as well


All in all, this board was well worth the hundred bucks I scored it for, and has been amazingly reliable--it's survived -20*F temps in winter storage back when I had nowhere else to put it and keeps on tickin. I suppose I should locate a couple extra channel strips before my luck runs out...

So...it's officially been over a year, here, buddy...you can't tell me you've been doing NOTHING this whole time...

Nosir, in fact lots of changes have been made over the last year! Went from my own little basement studio into a much better, shared space. We just made some changes there and once my current project is winding down, I'll be overhauling this journal.

Stay tuned for a much longer gear list, better rooms, a RAWK CR, some pics and a bunch of gear babble!

Alright, updated out gear list at Topsoil, a sort of collective of gear belonging to me and two other guys. There are couple more engineers from the area who work out of the space but don't contribute any gear, and we make ends meet by renting out the studio as rehearsal space during the week.

The space is in a very old building; we have a nice hardwood/high ceiling live room, a dead iso booth, a good sized well treated Control room, and plenty of very groovy house instruments which I have yet to list...highlights include an assortment of Fender and Gretsch guitars, a late 1930's Hammond Model E organ and 60's Leslie 22R, Vox Jag andsome funky analog synths, some cool old Gibson and Magnatone amps and a bunch more stuff!

Pics etc to come later!

Do you mind telling me what you use those AKG C1000S for? I hate those things!

A few words about Fatso please?

quote:

Originally posted by nbarts:
Do you mind telling me what you use those AKG C1000S for?

Nothing. I don't dig em. They don't belong to me although I suppose it's nice to have a couple spare sdc/mdc around...for...that...um...possible...situation...in which...451s, 4041s, CEMC6s C414s or C42s may not work better.

On a side note, a C1000s was my first condenser. Actually wasn't bad on a mando and couple ukes a former studio mate had...IIRC...when I moved on to better mics I sold it for enough to get some sweet stickyicky and a burrito. Both were tasty.

quote:

A few words about Fatso please?

Me like. I've only used it on the 2-track. It can be used to color a signal and I've also used it to compress very slightly too. Lots of color options, fat, sweet, fat and sweet etc--LOL. The "warmth" thing can sweeten up and/or smooth over the high end. If I want to crank up some high shelf on tracks on the console, the warmth settings can help smooth over some edge. The Tranny can be nice on some tracks, especially thinner or lighter mixes, for improving the bass through smaller speakers. Other times it can make the bass freqs worse but it's worth experimenting with. Bunch of simple compressor configurations, but I haven't tried tracking with it yet. Can get a little more oomph to the right mix or kinda pull things together with careful and conservative comp settings on the mix bus. The comp is like the warmth settings where a little goes a long way, and I've mostly only used the Buss comp. You know how Empirical Labs stuff can be--gotta tweak just a little and listen, tweak a little more and listen, so on & so forth. Their gear is musical enough that you can overdo things before you know it!

When I need to compress on the way in it's usually a vocal or bass and I default to a Distressor. Ah lubs mah Distressors. I've noticed from the way he sometimes leaves it set that the engineer that owns the FATSO uses it for tracking pretty commonly. Gotta try it out on a session where I have more time to fiddle around! You know how clients can get impatient!

Session Pics

Here are some pics from a few sessions at Topsoil this year. All the bad puns you can handle!


Who doesn't like to play with their organ sometimes, eh?










Drumming up business...










I get big kicks out of drum mic'ing...






Stoopid tip #4,763,936: give tired, crabby clients some kind of crazy concertina to play with!






A look at the lower end of things...








Ode to wreckchording:

















More to come later...I'm still sorting out photos!

Sweet jeebus - is that a 'shared space' or a music store showroom?

Shared space...although that pic with all the hand drums on the wall was a location session at Oshkosh Rhythm Institute, so that's their stash of drums....but yeah, Topsoil is a shared space with three main contributors of gear. I'm one of 'em. We have us some stoopid fun toys, and a great selection of grubby pedestal RAWK ashtrays though no smokin' in the CR or when studio mics are up.