Classic mics from brands including Shure, Neumann, AKG, Audio-Technica, SE Electronics and even Fender!

A classic bass and bass drum mic as used by my favorite drummer, see Mitch Mitchell's AKG D25 from the Jimi Hendrix band of Gypsies and Joy Division's studio producer Martin Hannett.

In memory of this sonic pioneering genius, we acquired Martin Hannett's own AKG D25 from a source in Manchester. This AKG mic was probably used to record Joy Division, OMD, The Stone Roses, John Cooper Clark, A Certain Ratio, New Order, Happy Mondays or Psychedelic Furs..and even the young U2.

Evolving mic list..


1x D25 vintage 1970s bass and drum mic (similar capsule to D12 and D20)


2x SM57

2x SM58

1x Vintage 1951 'Green Bullet' 520 Harmonica

Shure Green Bullet


1x U47 Fet

1x KM 54 Tube Small condenser

The KM 54 is the smallest and lightest mic ever produced from by Neumann from 1954 to 1969 and features the legendary Telefunken AC701k tube. We asked Neumann to date our microphone and they were pleased to inform us that our KM54a with serial number  281 was manufactured in 1955. It came from a great studio near Manchester and before that the BBC. (PDF INFO)


3x AT4040

1x Stereo boundary mic

SE Electronics

2x Z3300A (Neumann U47 FET).

1x Z5600A with 1950s Tube from GE (Triple Mica Blackplate Fat D getter 6072/12AY7) - Very close to a Tube U47 sound!


2x 676s (Jim Morrison mics)

1x Fender M80 Small diaphragm Electret 1980s

1x Rode NT3

3x Tom clip-on mics

1x Aputure V-Mic D2 super-cardioid


A Classic mastering and recording machine, the Studer A-807 is king of reel to reel recorders.

Record your song onto 1/4inch 15ips Ampex Quantegy 406 or RMG SM911 Mastering Tape through our pure 'analog' chain.

When it comes to the final master analogue tape is so massively superior to any digital format that the difference can be immediately spotted. Quarter inch tape has that appealing musicality that digital lacks. Tape compression will keep the dynamic range of the song, help your master achieve better general levels and remove the need for dithering back to 16 bit when going back to lower quality digital formats such as wav or mp3.

Welcome to the Ariege,

A place where the city's noise pollution is no longer a problem, sit down, relax, breathe and get ready to create with a professional engineer/producer by your side.. let's make wonders together..


You can find the studio near St Girons, just over an hour away from Toulouse Airport and City Centre. A few hours drive from Marseilles, Montpellier, Madrid or Barcelona and six hours from Paris.

Near the studio, you have access to Andorra (1h30), Guzet Neige ski resort (30mn), Massat, Seix, Oust and the surrounding rivers, lakes and mountains..

An album full of Summer vibes and Winter warmth..

Listen Here

Not to be confused with the TMC, the TSC uses optical gain control and has 4 tubes for gain staging and amplification. This makes it very flexible and can be made to sound clean or warm and remain gentle either way. It's fast, certainly mastering grade and can be ordered with Elma gold switches (which I like a lot).

The Fairman TSC Tube Stereo Compressor is a very high quality and warm sounding Tube Amplifier, were the gain is controlled by the light-sensitive input potentiometer.

The circuit design is based upon an LED illuminated high-speed resistor. This light-sensitive resistor is in fact part of an optical controlled potentiometer rather than a VCA. The result is absence of any distortion in the gain-controlling device at any compressor/limiter level. The Tube amplifier does not change gain, and therefor does not change Sound during compression. Compare it to as the compressors “moving Fader”.

The unique developed detection circuit delivers a clean and very fast control voltage to the optical device. This avoids the often seen problem of many comps, where the compressed low frequencies are “modulated”, especially when fast attack and release times are used. The benefit therefor is the extremely high linearity and thigh sound also at the lowest compressed frequencies.

Besides being a Compressor, the Fairman TSC is also a very high quality Tube Amplifier recommended as Recording Input Amplifier.

With its gain range of +/- 15 dB and when the Threshold is set at zero, the Fairman TSC provides the Level Adjustment Facility for many different analog sources before going on track. The Fairman TSC will also with excellent result “Warm Up” on all ready-recorded material.


  • Input and Output standard transformer balanced
  • Frequency response 10 Hz / 46 KHz -1.5 dB
  • Noise floor lower than -98 dB
  • Distortion lower than 0.03 %
  • Headroom + 28 dB
  • Compression 1:1.2 Limiter 1:20
  • Timing Attack @ Norm 10 ms – 2 sec.
  • Timing Attack @ Fast 0.4 ms – 1 sec.
  • Timing Release @ Norm 8 ms – 2.5 sec.
  • Timing Release @ Fast 1.2 ms – 0.85 sec.
  • Factory set for 115 Volt / 60 Hz or 230 Volt / 50 Hz.
  • Unit weight 7.5 Kg. Shipping weight 10.5 Kg.
Following a memorable night in aid of Syrian Refugees in France and beyond, the Volvestre Collective presented no less than 20 Artists from everywhere, who filled the room with warm and generous sound gifts. The public was great and gave plenty (the bar profits went to the cause!) Thanks again to everyone involved in this surprise.
The improvisational piece below is a one-man live composition using nearly 200 tuned strings and a handful of cymbals. A cultural attempt to harmonise east and west, where two Persian santoors tuned in two complementary but different scales. Reflecting both points of a journey through space and time.
A mandolin, a 12 string guitar and two acoustic guitars are used to bridge the scales of the lead santoors into a conversation, add cymbals and ornaments crashes and beats to symbolise the accidents on the path of exile.
A gift to go with the sounds a Persian Sufi poem..

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