Equipment
At Heavy Soul Studio, our sound engineer works with physical faders, which enhance the creative experience and speed of work by leveraging the warmth of physical circuitry with total digital recall.
From production to recording, mixing, and mastering, we combine the power of Pro Tools HDX on Apogee Symphony MKII ADDA converters with an analog front end based on a Ruper Neve 5088 console, analog outboards, and a wide range of plug-ins.
Explore our Equipment or download the full list.
Explore our Equipment or download the full list.
OUTBOARDS
MICROPHONES
MONITORING
BACK LINE
SOFTWARE
MICROPHONES
AKG C451B
AKG D12 (1968)
AKG D707 (1975)
Aston Martin Spirit
Beyer Dynamic M160
Calrad Merecedes (1970)
Electro Voice N/D 868
Electro Voice RE20
ETL Edwina
ETL Myrtle
Gefell PM750
JZ BH2
Lewitt LCT 450
Neumann KM183
Neumann U47
Neumann U67
RCA K11
Royer Lab 121
Sennheiser MD21
Senneheiser M441
Senneheiser MD421 Mark II
Sennehiser MD421 N
Shure 516
Shure 520 DX
Shure B52A
Shure SM58/57
Shure SM7
Solomon Sub Kik
Telefunken ELAM 251 E
Telefunken M 60
Telefunken M82
AEA R84
Introduced in 2003 as a modern reinterpretation of classic broadcast ribbons, the AEA R84 is a passive figure-8 ribbon microphone designed to capture body and space with a full, smooth response.
Sonic character:
Warm and rounded, with dense midrange and a strong sense of material presence. High frequencies are controlled and never brittle, while the low end is full, with a pronounced proximity effect typical of figure-8 ribbons.
Our use:
Vocals, electric guitars, brass, strings, percussion and room miking. In matched pairs, it excels as a stereo room microphone or drum overheads when the room contributes positively. Less suitable when a very open transient response is required or in problematic acoustic environments.