1964 Fender Twin Reverb (pre CBS)...this amp is in everyone's top ten list of great amps.

1964 Fender Vibro Champ

1961 Ampeg B15N... THE bass sound on countless records

Divided by 13 FTR37... probably my favorite amp. hand built by Fred Tacone in LA.

Bad Cat Hot Cat 30... high gain with attitude

Top Hat King Royale... a Vox AC-30 clone

Dr. Z Carmen Ghia... two knobs, volume and tone. What else could you need?

2003 Bogner Shiva... Marshall-like tone but clear and solid on the low end.

Victoria 45410... an exact replica of a Fender '59 Bassman.

1996 Ampeg Super Jet

Mesa Boogie Mark IV

Orange PPC412 Cabinet... 4-12 cabinet will make your Marshall sound better.

Tech 21 Trademark 60...this is my only solid state amp...

Ashdown EVO 500... bass amp

Euphonix CS2000 with CS3000 software, 56 channels, 16 channels of Euphonix ES108A dynamics, MultiMax for 5.1 monitoring, Euphonix MC Control for DAW control

Monitoring

ADAM S3-A’s (in the LCR positions) Genelec 1038’s in the soffits, Genelec 1030’s for rear (LS, RS positions), Genelec 1031’s for alternate rear (LS, RS positions), Genelec 1031 Overhead (IMAX format), Genelec 7071 subwoofer (2), NS-10M’s powered by a Bryston 3BST, Auratones powered by a Bryston 2B, Avantone MixCubes (nearfields on a Sound Anchors motorized lift), JBL 4311’s for studio playback

Recorders

Pro Tools HDX with two HD I/O interfaces loaded with 24 channels of analog inputs and outputs, one HD Digital I/O, Ampex MM-1200 24-track recorder with additional 16-track and 8-track heads, Tascam DV-RA1000, Sound Devices 788T, Tascam DA-45HR DAT, Tascam 122 MkIII cassette, Fostex E-2 30 IPS 2-track with Dolby A/SR.

Mic Preamps

Euphonix (56), Massenberg 8302, Grace 801 (8), John Hardy M1 (6), Universal Audio 2-610, Avalon 737sp (2), Avalon AD 2022, A Designs Pacifica, TL Audio, Vintech Audio X73 (2), Millennia TG-1, AEA RPQ

Dynamics

Euphonix ES 108A (16), Universal Audio 1176LN, UREI LA-4 (2) modified by Alactronics, Thermionic Culture Phoenix, API 2500, DBX 160xt (4), TF Pro P8, Alan Smart C2, Empirical Labs EL8 Distressor (2), Empirical Labs EL7, Orban 424A, SPL Transient Designer, Symetrix 522

Effects

t. c. electronic 6000, Bricasti M7, Lexicon PCM 80 (2), Yahama SPX900, Millennia NSEQ-2, Manley Massive Passive

Direct Inject

Millennia TG-1, Radial JD-7, Countryman Type 85, BSS AR-133 (2), Sescom DB-1

Microphones

Neuman M 149, KM184 (2), Neumann KM86i, Manley Reference, Gefel UM 92, AKG 414B-ULS (4) modified by Audio Designs, Holophone H-2 Pro (7.1 mic w/DPA 6010 capsules), Electrovoice RE 20, Audio-Technica AT 4033, Audio-Technica ATM25 (3), Sennheiser MD 421 (3), Josephson e22S, Shure SM57 (5), Shure SM58, Shure 51, Shure SM81 (2), Schoeps CMC 5 w/MK4, Crown PZM 30RG (2), Royer 121, Royer SF-12, Coles 4038, AKG D112, DPA 4011 (2), Heil PR40, AKG 451 B (3), Sennheiser MKH 416, Beyerdynamic M422, Beyerdynamic MCE 86N, Shure SM7A, Earthworks T30K (2), Earthworks QTC-1 (2), Nady VHM-7, Yahama Subkick, Copperphone, Reem novelty mic

Miscellaneous

Headphones by Fostex, AKG, Sennheiser, Sony and UltraPhones (12 pairs), Furman headphone system, Crown D75 (second headphone system), Tube Traps (8), Taytrix Stack-It Gobo system, Denon DN-C680 CD player with Benchmark DAC1, 7’ Screen with Sharp video projector, Sony UW-1800 Beta SP and Sony DSR 40 DV-CAM

The Studio - live to the left, dry to the right.

My studio was designed by Rosati Acoustics (Boston, MA). The control room features ADAM S3-A’s in the LCR position (for 5.1 of course!) and Genelec 1030’s for the rears (upper) and 1031’s for the alternate rear (lower). Overhead is a Genelec 1030 for IMAX projects. This is all bass managed with dual Genelec 7071 subwoofers. The soffits house a pair of Genelec 1038’s. The room was tuned by acoustician Mike Chafee. Yeah, we got NS10’s and Auratones too on a Sound Anchors powered lift.

Separate machine rooms isolate the noisy equipment from the mixing area. I have a set of ASC Tube Traps and Taytrix StackIt gobos.

The studio features a live area that is all red oak and stone. It’s very quiet. A separate vocal booth doesn’t have to be for vocals. It actually sounds good for drums! Tons of mics, tons of pre’s, tons of fun.