SSL Origin
The centerpiece: a Solid State Logic analog console, with eight channels of PureDrive front end.
The room, piece by piece
Every channel here has already cut charting records. This is the same signal path the gold record ran through, and it is what your session runs through too.
SHOT IN THE ROOM · SAND CITY STUDIO, NORTH MYRTLE BEACH
CONSOLE & PREAMPS
Neve 1073
The original British preamp. The most recorded vocal sound in history, straight from the source.
API 512
Punchy American 500-series pre. Drums love it.
BAE 1073
The 1073 circuit built to the old spec. Weight on anything you run through it.
Phoenix Audio DRS-1
Two channels of discrete British class-A. Huge and smooth.
Chandler Germanium
Attitude and color when clean is boring.
Neve Portico
Rupert Neve's own modern preamp and compressor in one channel.
Universal Audio LA-610
Tube front end into T4 opto. Silk for vocals.
Daking Mic Pre
Two channels of Geoff Daking's class-A design. Fast, open, honest.
Warm Audio WA273
More 1073-style channels, for when the whole band tracks at once.
DYNAMICS
Universal Audio 1176
The fastest FET limiter ever made. On everything you love.
Empirical Labs Distressor
The modern classic, a thousand records deep.
dbx 165A
The VCA compressor behind a generation of drum sounds. Grabs a kick and does not let go.
dbx 160
The simplest box in the rack and the one that ends the argument. Instant snare.
Manley Vari-Mu
Tube glue for the mix bus.
SSL G-Bus
The “finished record” button.
Purple Audio MC77
The 1176 lineage, hot-rodded.
Audioscape Opto Compressor
An LA-2A-style tube optical. Vocals sit without ever sounding squeezed.
Black Lion Audio Seventeen
A 500-series FET limiter. Grit on demand.
Black Lion Audio Bluey
A blue-stripe 1176 recreation. Slower and dirtier than the standard, which is the whole point.
MICROPHONES
Neumann U87
The reference vocal microphone since 1967.
Audio-Technica AT4050
Multi-pattern condenser. Rooms, overheads, and voices that want a modern top end.
Audio-Technica AT4033
A pair of them. Honest, uncolored, and hard to make sound wrong.
Beyerdynamic MC 930
A matched pair of small-diaphragm condensers. Acoustic guitar, strings, overheads.
Shure SM7
The broadcast standard that became the vocal standard.
Shure SM57
Five of them. Snares, guitar cabs, and anything that has to survive being pointed at loud.
Shure Beta 52
Kick drum. Put it in the hole and the low end is already there.
Sennheiser MD 421
Toms, cabs, and everything loud. A studio staple since 1960.
Sennheiser e609
Two flat-profile cab mics. Hang it over the grille and go.
Audio-Technica AT3035
Large-diaphragm condenser. Detail without hype.
Roswell K87
A boutique 87-style condenser. The other vocal option in the locker.
Roswell K47
A matched pair. Drum overheads, rooms, and acoustic instruments in stereo.
Audix D6
The modern kick microphone. Fast, scooped, ready.
Audix D4
Floor toms and low cabinets. Weight without mud.
Audix i5
Snare workhorse, for when the 57 is too familiar.
Warm Audio WA-14
A pair of large-diaphragm condensers. Overheads, rooms, and horns.
Hear it on your record
Text 843-580-3057 and tell Ty what you are making.
Catalog photos are representative of the models in the room, not our exact units. The rack shots up top are the real thing. Come hear it all in person.
Catalog photography via Wikimedia Commons: Katie/Flickr, Hens Zimmerman, Franz Schuier, Justin De La Ornellas, Nir Yaniv, Oscar, John Tuggle, The Midnite Wolf, PJ, spacedust2019, Will Fisher, Kreuzschnabel, Erkaha, Jud McCranie, Mr Rabbit8 (CC BY / CC BY-SA / CC0).