The gear list

People ask what we have before they ask what it costs, so here it is. The list changes slowly: we buy something when a session needs it and keep it if it earns its place. Everything below is in the price of the room it lives in, and the engineer will tell you honestly which of it matters for your record, which is usually less of it than you think.

In the control room: a 32-channel analogue console with eight channels of outboard preamps, compressors and equalisers in a rack, two pairs of monitors (one accurate, one cheap), and a mix machine with the plug-ins most engineers expect. Forty microphones: large-diaphragm condensers for vocals, ribbons for guitar amps and room, dynamic workhorses for drums, a matched pair of small condensers for overheads and acoustic guitars, and a couple of oddities kept for character.

In the live room: a Gretsch kit with three snares (a bright one, a fat one and a vintage one), Paiste and Zildjian cymbals, a Fender Twin and a Deluxe, a Vox AC30, an Ampeg bass rig, an upright piano tuned monthly, a Rhodes, and a handful of guitars and basses for when the one you brought is not the one the song wants.

In the podcast suite: four broadcast dynamic microphones on boom arms, three 4K cameras, soft panel lights, a streaming encoder and a screen. In the booth: a large-diaphragm condenser, a ribbon for warmth, and the picture screen. If you need something not on the list, we hire it in at cost and say so in the quote.

What is included

• A 32-channel analogue console
• Forty microphones, condensers to ribbons
• A rack of preamps, compressors and EQs
• Kit with three snares, cymbals, amps, bass rig
• An upright piano tuned monthly and a Rhodes
• Specialist hires at cost

What it costs

All of it in the room price. Nothing on this list is charged on top. Specialist hires (a particular tape machine, a Hammond with a Leslie) arranged at cost. The rates page has every room and cap side by side; the book page works out a session and shows what is free today and tomorrow.