My studio is a fairly minimal setup built around equipment I have gradually collected over the years. I have always had a soft spot for Solid State Logic, so it is probably not surprising that SSL gear has found a permanent place at the center of it.
Audio
My main interface is an SSL 18. I am not currently using it anywhere near its full capabilities, but having the front-panel volume control manage my entire speaker setup has become indispensable. My monitors are currently configured in an LRCS, or 3.1, arrangement due to space constraints.
The SSL 18 feels like a piece of equipment I can continue growing into rather than something I will need to replace in a few years. Even when I eventually need more inputs and outputs, the SSL Alpha 8 looks like a very tempting way to expand it.
The interface feeds three Adam Audio T5V monitors and an Adam Audio T10S subwoofer. For the price, I think the T5Vs are some of the best monitors available. They have served me extremely well, especially for scoring, mixing, and general production work. And yes, I have them upright Adam Audio!
I also use a stereo pair of Avantone MixCubes powered by a Samson Servo 120a amplifier. Those run through an Audient iD4, with the volume controlled by a Mackie Big Knob. There is no particularly technical reason for that arrangement, since the iD4 already has a perfectly usable volume control. I simply prefer the feel of the Big Knob.
All of the speakers currently sit on Gator Frameworks isolation pads. At some point, I would like to replace those with IsoAcoustics stands for the monitors and a proper isolation platform for the subwoofer.
While I appreciate a good piece of outboard gear, most of my processing happens through VST plugins. The main exception is microphone processing. I use several dbx 286s channel strips, which give me a simple and reliable front end when recording.
I also have a collection of older rack equipment that is not always patched in or being actively used. Some of it mostly collects dust, but it is still interesting gear to have around:
- Behringer Ultracurve Pro DEQ2496 rackmount EQ
- Behringer MDX1400 dynamics processors ×4
- Behringer MDX2100 dynamics processors ×4
- Behringer MDX2000 dynamics processors ×4
Everything is routed through a Bittree B96DC-HNIIS patchbay, which gives me plenty of flexibility when moving signals around the studio. I will readily admit that I am not using it to the full extent of its capabilities, but it leaves me with plenty of room to expand. A modular synth may eventually find its way into the setup.
I have noticed its rather a pain to label patchbays effectively. I found PatchCAD is definitely the best tool to use for this.
Computer
I have always enjoyed building things myself, and my computer is no exception. I am obviously not manufacturing the individual components, but assembling the system myself gives me complete control over what goes into it and the freedom to upgrade it as my needs change.
The current build includes:
- AMD Ryzen 7 7800X3D
- NVIDIA GeForce RTX 5070
- 8TB of hard-drive storage
- 4TB of SSD storage
- 64GB of RAM
It is a slightly unconventional machine for a music studio, particularly with its emphasis on gaming and graphics hardware, but it suits the range of work I do. It comfortably handles large sample libraries, demanding production sessions, software development, and just about anything else I throw at it without becoming a bottleneck.
The computer is connected to a three-monitor setup consisting of two BenQ 1080p displays and an ASUS 2160p ultrawide. The extra screen space makes a noticeable difference when working with large sessions, especially when I need to keep the arrangement, mixer, plugins, and video visible at the same time.
Alongside the main system, I also keep a MacBook Pro running Pro Tools. It serves as a secondary workstation and gives me access to a more traditional post-production and studio workflow when a project calls for it.
Instruments and Controllers
My main keyboard controller is a Novation Launchkey 49 MK3. It is compact enough to fit comfortably into the studio while still giving me enough range for composing, arranging, and working with orchestral libraries.
For guitars, I have an ESP LTD 400 electric guitar, an Epiphone Les Paul 100, and a Gretsch Rat Rod. Together, they give me a fairly broad range of sounds, from heavier and more aggressive tones to cleaner, warmer textures.
I also use a couple of pieces of custom MIDI hardware that I built and programmed myself. The first is a dedicated MIDI CC controller, designed to give me more direct and tactile control over expression, dynamics, volume, and other parameters while working with virtual instruments.
The second is a custom breath controller intended primarily for wind and orchestral instruments. I do not use it in every session, but it can be useful when I want phrasing and dynamics to respond more naturally than they would through a fader alone.
I may write up some stuff on these if there’s an actual interest in that sort of thing. Let me know!
My DAW of choice, to probably nobody’s surprise, is Steinberg Cubase. I have worked in Ableton Live, FL Studio, and Logic Pro over the years, but Cubase is the one that feels like home. Its workflow fits the way I compose, particularly when working with large orchestral templates, MIDI-heavy sessions, and picture.
Microphones
My microphone collection has grown gradually over the years and now covers a fairly wide range of uses. The current lineup includes a Shure SM58, SM57, PGA181, Beta 52A, Sennheiser e604 and e609, an Audio-Technica AT2040, and a Neumann TLM 103.
The TLM 103 is my main large-diaphragm condenser and usually comes out when I want something detailed and polished. The AT2040 handles spoken-word and close vocal work well, while the SM57, SM58, e604, e609, and Beta 52A cover most of the practical instrument, amplifier, percussion, and live-style recording duties.
I also have several custom-built microphones that I have assembled over time. They are not necessarily the first choice for every session, but they each have their own character and are useful when I want something a little less predictable.
There are almost certainly a few other microphones tucked away in cases or storage that I am forgetting, which is probably a good indication that the collection has become larger than I originally intended.