Music Audio Studio Recording Engineer Editing Mixing -
Chris Murphy
Outboard Gear


Recording System

Mixing

Microphones

Microphones

Credits

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CUBASE 6



DANGEROUS
    MUSIC



APOGEE




Washington DC
  Virginia
    Maryland



MILLENNIA



DYNAUDIO
    ACOUSTICS



DEMETER



API



NEVE



FOCUSRITE



NTI



TC ELECTRONICS
    M5000



HOUSTON



EARTHWORKS



SCHOEPS



ORCHESTRAL
    SOUNDTRACKS



30 YEARS
    EXPERIENCE



LOCATION
    RECORDING
         and MIXING

NEW ADDITIONS! (Even in these tough economic times!)
API
In my office mixing suite, I am now using the Dangerous Music 2Bus LT for analog buss summing
of mixes. Doing DAW mixing through an analog summing amp preserves stereo imaging and width,
prevents loss of punch and sonic detail, and noticeably improves the overall sound quality when compared
to "mixing in the box." This incredible sounding unit has 16 inputs summed down to a stereo output,
and allows me to do additonal analog processing to a mix. You will hear the difference.



Millennia HV-3D
Here is another great addition to my collection of high quality mic pre-amp's - a Millennia HV-3D.
It features eight fully matched microphone channels of uncompromising sonic character and stunning clarity,
optimized towards capturing the subtlest detail of music and ambience. You will find these in use by organizations
such as The Metropolitan Opera House / Lincoln Center, The New York Philharmonic, and
The National Symphony Orchestra and Kennedy Center in Washington DC.

With all my mic pre-amps, I connect the signal output directly to the input
of the recording device, bypassing any other amplification or signal processing.
This allows the cleanest, punchiest, most dynamic signal possible to be recorded.
When you route a signal through a recording console, it passes through multiple
gain stages and amp sections, adding unwanted noise and dimishing the sound quality.


API
My collection includes six channels of legendary API 512c mic pre amp -
one of the most sought after and emulated mic pre's in recording.
Crushing punch, loads of headroom, big bottom, silky top end -
what's not to love? Use them a couple of times and you see why
most big time studios have a rack of them in the control room,
or save the trouble of patching them in and just buy a whole API console.

API 512c Mic Pre Amp


Demeter Vacuum Tube Mic Pre VTMP-2

I own the first production model of the stereo Demeter VTMP-2 (Vacuum Tube Mic Pre-amp,) which was originally manufactured in 1986. I bought this one when they first came out (serial #237,) but I have replaced the stock tubes with vintage Telefunken "smooth plate" tubes, and it really makes a wonderful improvement in this already great sounding mic pre.


Earthworks LAB 102

This is the Earthworks LAB 102 stereo solid state mic pre. As close to the audio purity of solid wire as a mic pre can get, but this thing has gain! Frighteningly clean and accurate. Great alternative to the Demeter. Does absolutelty amazing things to an upright bass! Check out the "Little Bill" audio clips on the credits page.


Focusrite Red 1

I also have a Focusrite Red 1. This 4 channel mic preamp was designed by the legendary Rupert Neve. The sound is revealing and accurate, and yet has a smooth character to it. It is a wonderful complement to the other mic pre's that I have in my collection.


Neve Portico 5012 Stereo Mic Pre Amp

Following Rupert Neve through his audio equipment design and manufacturing career, I have added a Neve Portico 5012 to my rack of mic pre's. This unit is another wonderful sounding option. Loads of headroom, clean and quiet, with a "Silk" switch to add in a little extra top end sheen to emulate the older Neve console mic pre's.


You can see a listing of some of the components in my mobile digital recording system
on the RECORDING page. There is additional gear I use listed on my MIXING page.




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