RECORDING

Analog

Ampex MM1200:  2″ 24-track (1981)

Ampex ATR-102:  1/4″ 2-track (1984)

Digital

 Logic 9 or ProTools 9

 28 channels of RME conversion

 Universal Audio UAD-2 Quad Core card

with comprehensive plugin package

CONSOLE

Trident 24

28 mic/line preamps with 4-band sweep EQ

24 busses

8 aux sends

4 dedicated echo returns

“Split” 24-track monitor section

All possible patch points represented

Flexible routing

Last of the classic Tridents (1992)

well-maintained and sounds great

OUTBOARD

Preamps

Altec 1567A (x2), No Toasters Nice Pair, EH 12AY7, Tube PAC

Compressors

DBX 160 (x2), Urei 7110, FMR RNLA, Fat Man, DBX 166, DBX 163 (x2), Boss CS-3

Equalizers

ELI Li’l FrEQ (x2), Orban 622B, Urei 537

Multi-effect Units

Alesis Microverb, Digitech 3.6 sec, Line 6 DL-4, Boss Harmonist HR-2

Real Tape Delay

Otari MX-55 (varispeed), Roberts 770X (tube 3-speed with feedback control)

Reamping

Reamp v2, Pigtronix Keymaster

D.I.

Available on Altecs, Fatman, Tube PAC, and Li’l FrEQs

MICROPHONES

Large Diaphragm Condensers

•  CAD E300 (x2), Shure KSM27 (x2), AKG C414E, EV Cardinal

Small Diaphragm Condensers

•  AKG C451E (x3) with cardioid/hypercardioid/omni capsules (x2) elbows (x2) and shotgun head, Tascam PE-120 (x2) with cardioid/omni capsules, Crown PZM-30D (x2), Radio Shack PZM

Large Diaphragm Dynamics

 •  AKG D112, Sennheiser MD421, Heil PR30, and a 40mm headphone driver in an Elvis Mic housing

Small Diaphragm Dynamics

•  Shure SM57 (x2), AKG D202 (x2), EV 623 (x2), Beyer M81, STC “Ball and Biscuit,” Altec “Saltshaker,” Fairchild 8000, Lafayette 99-4603, Shure PG58, and The L-C-R Shitty Drums Mic

Other

•  Cascade Fathead Ribbon (x2), Shure Slim-X 777 (crystal), and a 4″ speaker mic for kick

MONITORING

Control Room

Mackie HR-824s

Yamaha NS-10s with Adcom GFA-545 amp

Laptop simulation speakers

Sennheiser HD-280 circumaural headphones

Studio

Six discrete headphone mixes via Aux sends

Sennheiser and Sony headphones

Loudspeaker or headphone talkback

AMPLIFIERS

Ampeg Reverberocket

Ampeg V4B

Fender PA100 (Blackfaced and hotrodded)

Fender Super 60

Kalamazoo Model Two (with Drive mod)

Lowrey EL84 organ amp (custom build)

Mesa/Boogie Studio Preamp

Montgomery Ward 807 PA (custom build)

Webster-Chicago 166 (overdriven, Weber speaker)

Leslie Model 100 (Line-input reamping tool)

Speaker Cabinets

Weber 1×10

Jensen 2×12

Eminence 2×15

Sunn 1×15 (JBL D130)

Elka 610 (Leslie 122 clone, varispeed)

DRUMS

Ludwig Natural Kit (1969)

22″ kick, 16″ 13″ 12″ toms, 14″ Acrolite snare

Ludwig Clear Vistalite Kit (mid-1970s)

22″ kick, 16″ 13″ 12″ toms, 14″ snare

Slingerland Large Sizes Kit (1940s-1970s)

26″ kick, 18″ 14″ toms

Zildjian Cymbals (1950s-1970s)

22″ ride, 20″ crash ride, 17″ crash, 12″ hats

Miscellaneous

•  Slingerland 18″ kick, Dynasty double marching snare, Ludwig 10″ quads tom

•  DW7000, DW9000, and Ludwig Speed King pedals

•  Comprehensive hardware for any complicated kit

•  Sleighbells, bear bells, and Boxing bells in B/C/D.  Mallets, sticks, brushes, shakers, maracas, indigenous percussion, etc.

KEYBOARDS

Sherman Clay Baby Grand Piano

Hammond A-100 Organ with Leslie Model 147

Hammond Chord Organ

Farfisa VIP300

Audion Wind Organ

Elka Model X55

Five- and two-octave Oxygen MIDI controllers

Two-octave MIDI organ footpedals

RENTAL

All in-house equipment at Shipwreck is available for use during your session, at no additional fee.

If we do not own a particular instrument, microphone, effect, or crucial piece of outboard gear that would be the icing on the cake, let us rent it for you.  Short term equipment rental from any of several Bay Area sources can be surprisingly affordable.