Here at the Fish Tank studios we take our recording equipment choices and acoustics very seriously. Actually, the physical properties of our studio were well thought out and designed by award winning designer Jeff Hedback (formerly of Auralex), who specified that we use recycled bluejeans within our walls! We have been painstaking about our attention to accuracy in our listening environment, and choice of studio equipment. Avid HD Native, Universal Audio Octo Ultimate plugin suite, every plugin known to man, fantastic microphones and vintage outboard gear are not what make the Fish Tank Recording studios great. It is it’s engineers that make it great! Chief engineer Josh Lewis has worked with a who’s who list of current recording artists like Lil Wayne, Madonna, Shakira, Ricky Martin, and many others. Our engineers have been through countless arduous major label recording sessions, and have paid there dues with years of apprenticeship, and a boat load of very expensive education (Full Sail)! Their ears and abilities, their mastery of their craft are 90% of the value you get at the Fish Tank. Without them our $100k in equipment would be useless! Come book a [intlink id=”7″ type=”page”]recording session in miami, fl[/intlink] today!!!
What preamps and output gear are available for use and what sources would you use the most? We have a whole pallet of preamps. SSL VHD Preamps, we have a rack of those, some Neve Clones, APIs, we have some Earthworks Preamps, which are really super, super clean and clear. Let's see, Rupert Neve designs, 517, we have a bunch of 500 Series Preamps as well. We also have 500 Series EQs and compresses, API EQs, Purple EQs, a bunch of stuff. We have a Bettermaker EQ as well, which is a pultec model, which sounds fantastic. We also have SSL EQs and compressors, we have racks of these X-Rack compressors, so the actual compressors and EQs from the consoles we have racked. The choice of outboard stuff is pretty much limitless. What about the preamps models of [inaudible 00:01:11]? Oh, that's right. Okay. Also, on our actual interface we have modeling of preamps. The actual preamps is really clean but they've also introduced a way of imparting the sound of API, Neve, and a bunch of other brands so you get that vintage sound, as well. We have a huge pallet. Okay, great.
What would you say makes Little Fish Audio special? I think Little Fish Audio is special because we are a small company that is trying to do big things. We deal with a lot of high-end recording equipment that a lot of people locally don't even know about and could really benefit from. This is a place where you can come try these things out so you don't have to take the expense or the risk of ordering it and then maybe trying to return it. You can just come here and take your time and also talk to people who have used the gear before and see if it's really the best bang for you book. A lot of times someone will come in with an idea of what they think they need and we end up recommending something that is much more cost effective and may give them a lot more.
What made the mix process easy when you were here? The mixing process here was great because our mixing engineer Paul Garcia, he wasn't limited to what plugins he could use, I would say that was one major benefit because Little Fish Audio has every plugin you can think of fully authorized, he could just pull up whatever UA compressor you want to throw on there or EQ and not only that he could pick whichever one he wanted, but he could put as many as he wanted. Some sessions we had like 90, 100 UA plugins running all at the same time and that's because we have the quad and the Apollo and then we have the OCTO card down below. Aside from that, the room, the control room is very well treated and the listening position has the clouds over it and the bass traps in the corners. It just gives you a very true perspective of your mix. Aside from that, the monitoring was very helpful. The atoms, the S2X's were what Paul used most to simulate that wall sound and to give him what his mix was going to sound like. Then when we wanted to hear what the bass was going to sound like in the car, in another kind of stereo, we would switch to the general x which were not paired with the sub, but give you a more well rounded mix, including the bass, so we're able to […]