Recording & Mixing

Rimshot is all about capturing great performances – everything has been designed and geared around recording musicians performing live.

To this end, the live room is a throwback to studios of a bygone era: it’s a large, acoustically designed, open-plan space with a high ceiling – whether we’re recording vocals, solo piano, rock ’n ’ roll drums or a string section, this room is versatile, but also has its own sonic character: warm and rich and full-sounding.

We back this up with really good infrastructure: great monitoring (individual headphone mixers), excellent sight lines and communications between the live room, booth and control room, lots of daylight (one wall is floor-to-ceiling windows), a well-stocked mic locker and some wonderful instruments.

Recording takes place through our 1960s Decca valve console or Solid State Logic AWS900+ analogue console using a combination of Telefunken valve mics, AEA ribbon mics and Neumann and AKG mics.

Given the choice, we work on analogue tape – both for sonic and production reasons.

However, we also have Pro Tools HDX with audiophile Burl converters.

When it's time to mix, the control room is accurate-sounding and comfortable. We have a great monitoring system, and (most importantly) mixes translate outside the room really well.

Depending on the size of the project, mixes can be done entirely on the Decca valve console or using a combination of the Decca and SSL AWS 900+ to provide a finished track that reaches its full potential.

Keeping with the analogue theme that runs through Rimshot, mixes are often captured on our Studer C37 valve 1/2" tape recorder. This sixty-year-old machine contains twenty valves and a forty-watt light bulb, yet has a frequency response of 7Hz to 35kHz!

Our outboard equipment has been selected over many years and includes vintage and modern gear from Esoteric Audio Research, EMT, DBX, Lexicon, TC Electronic, Focusrite, Urei and Funk Logic.

For more information on the techie side, see the “Equipment” menu.