Recording Hardware

Mixer: I use a Mackie 1604, essentially just for monitoring off of the computer and occasionally for routing computer tracks to analog processors. Generally, when recording, I bypass the mixer and record directly through a mic preamp into the computer. I do all mixing inside the computer, and haven't done an analog mix since 1994. I don't miss it!

Monitors: Alessis Monitor 2's: I've had a pair of these for about 4 years, and, while I can recognize their shortcomings, I've got no pressing desire to upgrade them. They have a really sweet low-end, I have no problem listening to them all day, and mixes I do here seem to translate well to other systems. Dave Storrs, one of my longtime mastering clients, mixes on Genelecs, and brings his mixes here to master. Power is from a Hafler XL-280 I've had since the mid-80's.

Recorders: Tascam DA-20 DAT, Tascam 32 reel-to-reel, Yamaha/La Cie 8424 CD Burner.

Pre-amps and Effects:

ART Dual MP Tube Mic Preamp. This is a great-sounding, low cost preamp. I don't find it sounds particularly "Tube-like," but it's very clean, has a wonderfully transparent high end, and none of the harshness I've found in similarly priced preamps. The ART sounds particularly wonderful on Rhodes piano.

FMR Audio RNC Compressor:"RNC" stands for "Real Nice Compressor," and it's aptly-named. It's a very basic but awesome-sounding compressor, at an unbelievable price.

Joe Meek C2 Compressor: Some people love the Meek stuff, others hate it. I'm not fond of their preamps I've used, but this compressor is the sh*t for guitars, aggressive drums, and anything with an "Edge." Sounds terrible on bass, though.

Symetrix SE-400 Stereo Parametric EQ: I've had this EQ for over 10 years, and it's one of those great "character" processors. It's not clean, it's definitely not transparent, but just about everything you run through it sounds better.

DBX 120XP Subharmonic Synthesizer: My friend Doug Looney, a brilliant live soundman who runs Live Sound Services, turned me onto this box. When you feed it a signal with any frequencies below 120 Hz, it synthesizes new lower tones 1 and 2 octaves below. It's great for subtly warming up the low end of a mix, adding bottom to a weak kick drum, or fattening a bass guitar or synth bass (this thing is essential for dub). It's very easy to overuse, though.

Lexicon LXP-1, LXP-5 & MPX 100: I'm a big fan of the lower-end Lex effects. The MPX has great-sounding reverbs and delays, is simple to use, and cheap. I have its SP-DIF output usually routed directly into the computer, and it's almost as easy to use as a plug-in, without the processor overhead. The LXP series, despite their age and limited bandwidth, just sound great. The LXP-5, under external control from either an MRC or Peavey PC-1600, is great tweaking tool.