The Royer R-121 is a ribbon microphone, suspending a superthin filament of metal in a magnetic field to produce its sound. Royer's new approach to this classic design shines particularly on electric guitars, horns, piano and vocals.
The Soundelux U99 tube microphone is a contemporary American classic built by the foremost US manufacturer of large-diaphragm mics. This is an original U99, now out of production. It's been custom fitted with a vintage NOS Mullard EF86 tube from 1959.
The Aurora GTQ2-MKIII is the creation of Geoff Tanner, a former Neve factory engineer of fourteen years who has started a new career building new products based on the Neve touchstone. The GTQ2-MKIII is a fantastic mic-pre/EQ whose heritage shines through on the front panel and in the quality of sounds it delivers.
Shown here and at left is our Focusrite ISA 115HD stereo microphone preamplifier and equalizer. Designed by Rupert Neve in the mid-1980's, the ISA 115 (long out of production) incorporates two input channels from the legendary Focusrite Studio Console, and delivers the flawless, seductive sound quality that marked all of Mr. Neve's original Focusrite designs. It's renowned for its exquisite combination of world-class audio performance and incredibly powerful eq, fitted into an efficient, one-rack-unit space. Ours is further enhanced by a series of modifications wrought by Bob Alach of Boston's Alactronics.
serves as the interface between recording mics and the line-level equipment (recorders, compressors, etc.) that receive the signal from those mics. It's a key component of any recording's sound. We have collected some of the world's best external preamps, some of which are featured in this section....
In the 1970's Britain's Rupert Neve built recording consoles which even today set the world standard for sound quality. The 1084 mic preamp/eq represented the pinnacle of that art. We feature two 1084's, removed from an early-70's-vintage console and meticulously restored for us by Jamie Sutton at Valley Audio in Los Angeles.
Rupert Neve (now Sir Rupert) is still an active and very influential force in pro audio design. His Portico 4053 Compressor and 4032 True Tape Driver became instant classics, and occupy places of pride here at Studio Dual.
Years of experience in a range of studios has proved to us that the quality of recording equipment has an enormous effect on the quality of recorded sound. Meticulous selection of equipment results in the clarity and punch that mark the very best recordings.
Over the past several years Studio Dual has concentrated on collecting some of the world's most respected and sought-after components. Equipment from Germany, Austria, Denmark, Great Britain, America and Japan. From the 70's to the 90's. Equipment chosen to make a real difference in the quality of your recordings.We're proud to highlight a small selection from our inventory of vintage, high-end and collectable equipment.
are highly regarded for their sonic attributes, providing high-quality sound without the "edge" perceived in much solid-state gear. Some of our vacuum-tube based equipment is featured here.
define the quality and character of every voice and instrument they record. Studio Dual's mic collection is carefully selected, comprehensive and still growing.
Here are some of our finest-
A pair of 70's-vintage Neumann KM-84's which Klaus Heyne transformed into warm but lightning-fast transducers of cymbals, acoustic guitars and classical ensembles.
Just added! The hot new
Chandler Germanium preamp: a remarkably flexible single-channel preamp with a talent for color. It has mucho mojo.
We love this stuff!
This unassuming little box is the Chandler TG2 preamp. Built in the wilds of Iowa, the TG2 replicates the circuitry, components and vintage construction techniques of the TG12428 amplifier from EMI's 70's-era TG Series boards: EMI's very first transistor console. The TG was used for The Beatles' Abbey Road, Pink Floyds' Dark Side of the Moon' and many other legendary records of the early seventies.. The sound that results quickly catapulted the TG2 to "must have" status in the recording community. Needless to say, we have one.
A child of the 70's: the UREI Teletronix LA-3A compressor. This solid-state followup to the well-known LA-2A features the optical compression which made its predecessor famous, and couples it with discrete solid-state circuitry to impart a particular and wonderful edge to all sorts of recordings. We currently have two of these powerhouses in the studio- shown here with their vintage NOS faceplates installed. (These are original LA-3A's: not the recently-introduced replicas.)
The tube-based B.L.U.E. Bottle Mic is radical- probably the largest mic in production, larger even than the venerable RCA 44, with a system of interchangeable capsules offering an immense range of sonorities, all great. (We offer the B6 and B7 capsules: think C12 & U47...)
We've recently complemented this gorgeous collection with the Red Type B: a solid-state Class A mic body which also uses our B6 and B7 capsules, greatly adding to session flexibility and power.
Here's a 1975 Mesa Boogie amplifier, built to order for us way back when, at Randall Smith's shop, when you called them up and dealt with Randall and Rayven directly.
Below you'll see vacuum tubes deployed at recording's front-lines.
Our new pair of Microtech-Gefell M930's are diminutive large-diaphragm monsters with superthin 3-micron 1-inch diaphraghms, a spec usually only available on rare hand-modified mics. These are great overall mics which shine in a variety of applications. Their tiny size is a real plus when space is tight.
API is another well-known firm with a long, respected history in professional audio. We feature two of their classic mic preamps, the 3124m & 3124+, giving Studio Dual eight channels of API's famous punchy and present sound. We also use API's famed 2500 Buss Compressor on mixdowns.