The Blog


Mastering Compressor


The IRON mastering compressor is not a copy of a classic unit, but rather an original concept in itself. Our goal was to conceive a compressor that provided a pleasant, melodic-sounding, transparent compression, inspired on the vintage compressors of the radio era. And we wanted it to be versatile enough to adapt perfectly to the needs of modern mastering studios.

Gretsch Blond Maple 6.5/14 16lug uit '74

New Gear: Fender '63 Tube Reverb

Effect Lesson Fender Tube Reverb Tank Unit with Jazzmaster

The famous all-tube Fender Reverb unit has been a staple of virtually every surf performance and recording since the early ’60s; blues and experimental players love it too. The reissue ’63 Fender Tube Reverb can be used with any amp, with features including one Groove Tubes® 6V6, one 12AX7 preamp tube, one 12AT7 tube, on-off footswitch and controls for dwell, mix and tone.

The Yamaha NS-10 is a loudspeaker that became a standard nearfield studio monitor in the music industry among rock and pop recording engineers. Launched in 1978, the NS-10 started life as a bookshelf speaker destined for the domestic environment. It was poorly received but eventually became a valuable tool with which to mix rock recordings. The speaker has a characteristic white-coloured mid–bass drive unit.


Madison 16+16 Channel MADI Interface

Vandaag zang opgenomen met Stef Classens met mijn nieuwe Vintage Neumann M49 ;). Wat een sound!!


The Neumann M49 was a multipattern large-diaphragm tube microphone with an important new innovation: the mic’s pickup pattern could be adjusted remotely, by a dial on the power supply.

Another new innovation was that the mic maintained nearly equal sensitivity and output level across patterns — unlike the U-47, for example, which was 5dB hotter in Cardioid than Omni.

NOS PHILIPS EL3710 Tube Preamps



Sommerfeld Vleugel (Mike Roelofs)

The M 260 is a hypercardioid ribbon microphone.

The current production version, called the “M 260.80,” has a reduced low-end frequency response; the “.80” suffix denotes a fixed high-pass filter at 80Hz, implemented within the mic’s output transformer. This filter is not switchable. It is designed to reduce the natural proximity effect of the ribbon transducer to improve its utility for close-miking applications.


Ribbon Mics:

3* COLES 4038

1* Royer R 121

1* Royer R 101

1* AEA A 840 


Studer Heritage: Mixing Consoles

MOON's Studer Family

NEW: Welcome Studer 904 32/8 channel Mixer