What's wrong with you guys? Where the hell are the slutty pics??

[Rick Sutton]

Originally Posted by Count Dz

Well yes the price was a little high but the 1073 is an original Neve and the first 2 in the rack are either Brent Averill 1084's or these are originals that he rebuilt this I am not sure about...... Anyone know how to tell ? They don't have his signature front panel. Also, the price included the 8 channel rack and powersupply of course. Looking to fill this bad boy up that's for sure but I'm a lil' strapped on cash at the moment as one can imagine. But all great pre's are worth it, right guys? Right guys? Guys?

Looks like you paid a fair price if it is in as good a shape as the pictures make it look. The 1084's are probably Averill's. Look at the back of each module where the multipin connector is and see if there is an original Neve metallic sticker with model # and serial #. If it's original Neve it will have that. Otherwise it's probably an Averill. Also Averill will usually put the little neve logo on if it is an original Neve (like on the 1073 but missing from the 1084's)
Figure (used) $4500 for the pair of repro 1084's ($5400 new)and $3000 for an original 1073 and that leaves $1500 for the rack and supply (equivilant is $1950 new on Averill's site). You paid a fair price. Keep them in good shape, use and enjoy them and someday you'll probably be able to sell it for more than you paid for it. How many things can we say that about in this business? Not very many.

[Count Dz]

hey thanks for the info....the 2 1084's are Brent Averill with a surprising low sn,1003 and 1009, they sound excellent but I do have to say there is a definite difference between them and the 1073, which is original. Not saying they're bad cause I'm definately not. It's just a difference...This of course is before any eq. Either way originals or BA's I love my purchase .. Now I just hope my second mortgage goes through..just kidding.

[pan60]

seldom is buying quality gear ( or anything for that matter ) a bad purchase.

[max cooper]

[Reptil]

nice behind

[Ruphus]

I like those professional espresso machines!

Ruphus

[Peter Weihe]

My 1976 Helios Console,

former Island Records Studios, London.
Bob Marley and...

I have already posted a view from the left hand side and the original brochure in the thread under the following link at the bottom of the page.

http://gearslutz.com/board/showthrea...t=12293&page=5

[not_so_new]

Originally Posted by Peter Weihe

My 1976 Helios Console,

former Island Records Studios, London.
Bob Marley and...

I have already posted a view from the left hand side and the original brochure in the thread under the following link at the bottom of the page.

http://gearslutz.com/board/showthrea...t=12293&page=5

WOW... way cool!!

[Peter Weihe]

And some guitar porn

[pan60]

nice!

[WEAPON_X]

hi Peter,

i big big welcome !!! there was a time when i bought cds because you played on them, and to lift off some licks. something like dissant learning sessions then.
always wanted to tell you, but your work is just stunning and amazing. it looks like you are producing more now ?

[pan60]

Peter which one is you favorite?

[Peter Weihe]

[PHP]Hi WEAPON_X,

thank you very much for the compliment.
I really feel honored. It's nice to hear that somebody listens to the tracks that we play on other peoples records.
I still play a lot of sessions. Today I just finished some additional guitar tracks on the new Christina Stürmer LP. I am in the middel of writing a Rhythm Guitar book and recording the CD for it with tons of rudiments for rhythm guitar. Unfortunately I completely underestimated the amount of time that it takes. As soon as I will have finished it, I will start to produce records again.

Originally Posted by pan60

Peter which one is you favorite?

They all have their character and their place for different styles, sounds and arrangements but the ones that I really love for my personal playing are
( from front to rear)1959/60 ES 335, 1958 Les Paul Standard, 1955 Les Paul allgold, 1962 Stratocaster and the 1953 Telecaster.
Among these both of the Les Pauls and the Strat are my favorite ones for solo playing.

Best Peter

[pan60]

Originally Posted by Peter Weihe

[PHP]Hi WEAPON_X,

thank you very much for the compliment.
I really feel honored. It's nice to hear that somebody listens to the tracks that we play on other peoples records.
I still play a lot of sessions. Today I just finished some additional guitar tracks on the new Christina Stürmer LP. I am in the middel of writing a Rhythm Guitar book and recording the CD for it with tons of rudiments for rhythm guitar. Unfortunately I completely underestimated the amount of time that it takes. As soon as I will have finished it, I will start to produce records again.



They all have their character and their place for different styles, sounds and arrangements but the ones that I really love for my personal playing are
( from front to rear)1959/60 ES 335, 1958 Les Paul Standard, 1955 Les Paul allgold, 1962 Stratocaster and the 1953 Telecaster.
Among these both of the Les Pauls and the Strat are my favorite ones for solo playing.

Best Peter

i love tele's
i have a decent collection of mostly G&L ASAT's
i will post some photos when i get a chance to take some.
i want a copy of the book when it is done!

here is the only Gibson i have left.

[europa78]

Originally Posted by RoundBadge

Well ...OK then.
These are what I record through lately..
Theres some vertical Dakings and Aurora GTQ's on top of the chandler as well
stike

...so you record at jimmy sloan's studio or do you actually own some of this gear? just curious.

[Stanley Cole]

Originally Posted by Tetness

Soon to be moved into my studio under construction.

Where did you get the furniture, it is beautifull !!!

[DONNX]

Originally Posted by DrShann

Hey all...FYI I found some information about this exquisite piece of gear from 'Nashville Skyline'.... off the shelf it is not...

"by Rick Clark | Mar 01 '05


I was at a crazy East Nashville art gallery party last Halloween, taking in the collective nuttiness when a buddy of mine (and fine singer/songwriter), Warren Pash, came over and began raving about this new studio that was opening called Sixteen Ton . Not a guy to loosely bandy about praise, Pash described the studio like it was some fantastical creation for those who yearned for a place that embodied the spirit of those legendary studios where great music was captured through consoles with big knobs and meters and the warm glow of tubes was everywhere. While Pash continued visualizing how it would be this incredible place to cut great rock 'n' roll, I became very intrigued.

I asked a few other seasoned session folks around town about their knowledge of this place and no one had heard of it. Just when I was about to chalk up Pash's enthusiasm to some pumpkin-induced hallucination, I bumped into someone who told me that engineer/producer Chad Brown was beginning work on Cerys (pronounced Karas) Matthews' second solo album at Sixteen Ton and, before the night was over, I was in the art deco-ish control room looking at a gorgeous console unlike any other I've seen in Nashville — or anywhere else, for that matter.

Sixteen Ton, the brainchild of Danny White and his father, Bill White, is clearly a very personal labor of love. Danny White, who once owned a studio in Phoenix called Formula One, put in his share of years as road warrior bassist for Roger Clyne & The Peacemakers before deciding to move closer to home to be with his family and get off the gig grind. “I left the band and jumped into this project,” he says. “It was a dream of my dad, who was a singer, and I to do this studio, and he, as well as the rest of my family, helped to get this done, whether it was demolition, painting, drywalling, framework — whatever was required. My father and mother did all the tile work in the control room, fireplaces and restroom,” says White.

The attention to detail and quality is clearly evident thoughout Sixteen Ton. You get a feeling that everything mattered in the realization of this dream. Then I found out that this very personalized environment also had a heartbreaking tragedy toward the end of its completion.

“My dad and I were very close during this project, and a week before we had our open house in September, he passed away suddenly and didn't get to see it done,” says White. “So I guess this whole thing has taken on another dimension entirely for me and has made me work harder than ever to provide a great place to work and to make it successful. That's about as good an answer as I can give about why I did it and why I am still doing it. It certainly isn't to become rich or famous. My dad loved great songs and great-sounding recordings, and so this is a part of his legacy as far as I am concerned.

“We could have put the studio in a lot of other areas around town, but we wanted to be on the Row,” White continues. “Music Row has had some tough times over the last few years and we want to be a part of reinvigorating all the great things about Music Row in any way that we can.”

At the heart of Sixteen Ton's control room is a visually stunning, custom-built console, inspired by the Art Deco era. Sitting in front of the board almost feels like being in the cockpit of some classic WW II — era B-52. “We even went to the point of finding new old-stock Bakelite knobs from the late 1940s for the controls,” enthuses White, adding, “The curved mahogany legs are also very 1940s and the perfect complement to the control surface.”

The guts of the console, which took three years to design and build, feature pure Class-A discrete tubes on the input side, and the monitor section is Class-A discrete transistor, based around the John Hall — designed (Langevin, Altec, etc.) SPA 690 amp block. There are more than 130 of these blocks in the console! The inputs employ 6072A tubes on the input and output stages, balanced by custom-wound transformers by Tom Reichenbach of Cinemag Inc. (Los Angeles). The design and electronic topology was done by Ian Gardiner of Boutique Audio and Design and Steve Firlotte of Inward Connections, also in L.A. The console is driven by a tube power supply designed by Steve Barker in L.A. “The design philosophy was minimalistic: straight-ahead hi-fi tube/transistor hybrid with minimal signal path, all hand-wired to boot,” says White.

The control room was designed by Michael Cronin, who did a fantastic job throughout, and the woodwork is by Rick Perry. The room was tuned by Carl Tatz of Carl Tatz Acoustics in Nashville.

Even though Sixteen Ton has barely been open six months, there have already been some great initial projects, including Robert Reynolds and Scotty Huff of The Mavericks, Steven King (Keith Urban) and Tony Newman (David Bowie), as well as Howard Livingston.

All of this leads me to engineer/producer Brown, his production partner, Kevin Teel, and the very distinctive artistry of Matthews, the folks who connected the dots in my search for Sixteen Ton. Matthews was once the lead singer of Catatonia, a very popular band from Wales that enjoyed some sizable hits in the UK. After leaving the band, she set out on a musical/spiritual journey that eventually led her to Nashville and producer Bucky Baxter. The result was a critically acclaimed, mostly acoustic record called Cockahoop , an old English term for “over the moon.”

“I came here mostly on a whim, but it also had some sort of logic to it,” says Matthews. “I had a huge collection of old folk tunes and I didn't want them to have that British folk flavor. I wanted to put them in a different environment, so I fancied following them across the sea and I ended up in Nashville because it was close to the Appalachian mountains from where these songs originated many years ago. That was really the romantic idea behind it.” Cockahoop did very well overseas and Matthews remained in town, setting up residence in East Nashville.

For the latest outing (which is co-produced by Brown and Teel), Matthews, Brown and Teel wanted to get as much tracked live as possible, but be more electric guitar — oriented in nature. “Teel plays these beautiful flourishing electric parts, so a lot of that will be based around him,” Brown says. “It will be a bit more lush in that respect.”

Matthews also feels that the new material reflects the grounding she has experienced since settling in Nashville and having a child. “There was a lot of change that was going on in my life at the time of my last album, so there was a lot about oceans and movement — there are a lot of ship references and stuff,” remarks Matthews. “On this one, it is more to do with being rooted in one place and getting settled and there are a lot of things about trees and plants and seeds and things. It just seemed to happen that way.”

Part of Sixteen Ton's appeal was also the large, homey lounge space that allows Matthews to work and be a comfortable space for her daughter and husband to spend time on occasion. “This is all about the musician and the song at the end of the day, and we are proud of being a musician's kind of studio — nicely done but still feeling like home,” says White.

Seth Carolina, who is Matthews' husband and also head of A&R for Rough Trade (Matthews' label in the States), shares White's sense that the studio dignifies the creative process. “Sixteen Ton is a place where you want to stay a month or two and make the best thing you've ever worked on,” says Carolina. “When I first got there, I thought, ‘This isn't just a place to go record music. It is where you go record something you really feel passionate about expressing.’ It's a great vibe.”


I can't find a website for 16 ton, if anyone knows the address (if there is one) then post it up - I'd love to check it out.

This has to be the one of the greatest consoles on planet earth!!! Just got off the phone with Steve F. Never knew it existed until he told me about it. MY GOD!!! I want one someday!