Every pro audio person has certain gear and software they rely on when doing their daily work. These are the familiar products. They may be up-to-date, currently produced gear and software. Or maybe some well-used, vintage piece from yesteryear, but still in service because it still does the job.
- I have my own set of audio tools I use for product evaluations. Some of them recent; others are ancient in terms of electronic age, but still useful.
- Alesis MasterLink — Yeah, I know. It’s out of date — needs a DVD burner and a larger hard drive — but it is so easy to use, records at 96 kHz, and it has one of the best displays in the business.
- Audio Control SA-3050 Analyzer — Its bigger than those digital handheld devices made today, but it is indestructible, versatile and accurate. The 3050’s SPL display can be read from 25 feet away. Great for setting up surround speakers.
- Macintosh G4 1 GHz desktop — I can’t let it go. The mirrored-door G4 tower may not be the fastest, but its ability to use software from System 9 and 10, and its plethora of connections make it hard to donate to Goodwill.
- Lynx L22 PCI Card — It wasn’t cheap, but this AD/DA 192-kHz and D/D 96 kHz card is about as good as the PCI stereo option gets.
- BIAS Peak 4 Editing Software — I have been using Peak since the 1990s. Peak 4 came out about four years ago and has been replaced by the more powerful 5. I use both, but I like the simpler GUI of 4, especially with the old G4.
- TASCAM HD-P2 Flash Recorder — I can’t gush enough about the HD-P2. It has become my go-to high-resolution portable recorder.
- Digital Domain FCN-1. Designed and built by noted mastering engineer (and occasional PAR reviewer) Bob Katz, this box was a major problem solver in the days of 44.1 kHz/48 kHz-only digital audio. It could take S/PDIF to AES/EBU or vice versa and strip out status bits such as SCMS. I only wish Bob would bring out a 96 kHz or 192 kHz version.
- Ultrasone HFI 2000 Headphones — Now called the HFI 2200, the German-made HFI 2000 is a great open headphone with accurate, spacious soundstage that lacks the zingy high-mids/low treble emphasis of many of today’s headphones.
- Legacy Focus 20/20 Speaker — Big audiophile speaker for my mastering/reference final listen system. They look like fine furniture and produce incredible image and detail accuracy. The bass extend to 20 Hz without a sub.
- Paradigm Servo 15 Subwoofer — Made in 1997, this sealed 15-inch sealed driver sub with a Class A/B 600 watt amp was an incredible buy back then and still is. Good output down to 22 Hz.
- Bryston 14B SST Amplifier — A neutral-sounding, high-powered Class A/B amp that is not affected by the load of any stereo speaker system. I have a ton of amps; this one gets used the most. Hence, all the scratches on the black paint.
- Mackie MS-1402 VLZ Pro Mixer — Back when they were Made-in-USA, this mixer with its 60mm faders and excellent preamps embarrassed many expensive mixer mic preamps. If you have AC, the 1402 is a perfect companion for the TASCAM HD-P2 out in the field.
- NightPro PreQ3 Mic Preamp — Whatever happened to these guys? They were pushing this high-quality mic preamp with “Air Band EQ” that gave a gentle broad boost to the treble that was never harsh with any mic. I am still impressed with the preamp versus many high-end units still made.
- Studio Projects C1 Microphone — I don’t know if it is my sample, but my Chinese-made C1 cardioid condenser is an incredible FET mic! It works for vocals, guitar or anything you want to try. I wouldn’t sell this one for 500 bucks. (It only costs $200.)
- Audix SCX-25 Microphone — The Made-in-USA, lollipop cardioid stereo pair is my go-to setup when recording stereo acoustic guitar. They gently flatter the acoustic’s high-end that results in a very sweet, but not hyped sound character. Also good for piano, woodwinds, brass and overheads.