2008
The "analogue difference within the digital difference", was the studio from 2005 to 2010. On Olympic, neighboring J.J.Abrams building, it was the sound and music facility within a digital picture house.
Now there are 2 HUI's integrated into the Harrison 3232 C which came from the Village Recorders’ D room - Gaucho was mixed on it. Here it is used for simultaneous analog and digital mixing. The big screen hides a gigantic THX mix room (with THX plaque) acquired from the old Atlantic Records building in West Hollywood. Now installed into this tiny room it sounds bombastic.
The racks feature Focusrite Red2EQ, TubeTech Multiband Compressor, Lexicon 300, PCM 90 & 80, EMS VCS 3 on top of it. Mini Moog D sits on top of a Roland Space Echo RE201. Micro Lynx controls 24 track and video in the invisible machine room behind. And the beginnings of a MOTM modular on the left.
Last but not least: a Scully record lathe I acquired from A&M records in 1999 finally set up and running. This is the machine from their mastering room #1 and is essentially Bernie Grundmans' old lathe that produced masters for Police, Janet Jackson, Sergio Mendes, Herp Alpert, etc.
It's the best of technological achievements from 4 decades of record mastering: a Scully Lathe (#480) from the 1960's with a Capp's computer from the 1970's, a Neumann head assembly from the 1980's and a brand new cutter head from the 1990's. There is a microscope on the left to inspect the grooves after you cut them and the cylinder mounted to the wall on the right is the "chip" container that catches the tiny little strings of vinyl that are cut from the blank thru a vacuum system. beware: you need a "hazardous waste permit" to cut master vinyl records.