4 Pieces of Iconic Analog Gear at Decoy Studios

Every studio has its own arsenal of usual culprits and secret weapons ready to tackle a track. Decoy Studios is a world renowned facility based in the heart of Suffolk, in the UK, home to award winning mixing engineer Cenzo Townshend. The studio houses an astonishing collection of analog gear which Cenzo is fortunate enough to use everyday. Here are just a few of Cenzo’s favourites and what to use them on. See if you can spot any of these units on Decoy Studio's website.

Analog Tube AT-101

The AT-101 is a brilliant rendition of the classic Fairchild 670. Built with the heritage of the original Fairchild in mind, Analogue Tube have gone the extra mile by using modern components to achieve a modern-sounding classic. 

The unit brings out the best in a track, especially when used on the mix buss, Cenzo tells us - 'At Decoy, it's my go to compressor for finalising a mix', he adds. This particular compressor design has a unique way of pushing the sound forward, bringing it to the foreground. The AT 101 is particularly great on individual sources, making instruments sit 'up-front' in the mix. 

In creating the unit, Analogue Tube uses the newly developed 6386 triode tubes, silver mica capacitors and point-to-point wiring throughout, making the AT-101 an extremely robust yet thick sounding compressor. 

GML 8200

Arguably the archetype Stereo Parametric Equaliser, model 8200 can be found in most major studios across the world and finds its place generally on the master bus. Historically, one of the first EQ models to feature an adjustable bandwidth or Q setting for each of its five broadly-overlapping frequency bands, the 8200 provides 15dB of boost or cut. The unit is preferred in mixing or mastering applications for its pristinely crystal-clear sound, its extraordinary resolution, high precision and generous headroom space.

Cenzo mentions it is also great for surgical interventions on individual sources although he confirms ‘it really shines across the entire mix’. Apart from opening up a mix another great use for the 8200’s top end is adding air to a vocal – check out Lungs by Florence + the Machine for reference.

We recommend checking out the story behind the model 8200 and the ’72 AES paper on Parametric Equalisation on the company’s website – they are both interesting reads.

SSL 6000G

Every studio needs a centre piece – in Decoy’s case, it is the SSL 6000G Series console. ‘The mixer works as a hub for all my outboard analogue gear; on top of that the onboard compressor and VCAs sound fantastic!’ Cenzo adds.

Indeed the SSL buss compressor is a true masterpiece of electronics. It is great for gluing a mix together, works well in a parallel setup and can also tame the dynamics of any individual source. The VCA also add an extra layer of ’true analog’ sound to your tracks. But it doesn’t stop there – the 6000G series’ superb channel EQ modules are great for sculpting sounds in broad strokes or limiting frequency ranges wherever the material requires this treatment.

What’s more, you can also get creative with the board – we recommend running a parallel chain through one of its channel and using the input gain to clip the signal. Added back in with the original can really bring some ’crack’ to a snaredrum or a different kind of fizz to a bass guitar. Experimentation is key, and there is no better place to try that than Decoy Studios, where you can process your tracks through the board that glued U2’s records together.

Neve 33609

Neve have had a history of brilliantly designed musical-sounding electronics. One of their flagship units found in world-class studios including Decoy Studios is the 33609 Compressor/Limiter.

The original unit, which Neve has now discontinued was often called the ’metal knob’ for obvious reasons, was in fact an adaptation of the Class A/B 2264, 32264 and 33314 (broadcast version) compressor/limiter console modules. It’s successor, model C had a more robust power supply and different IC-based amplifiers as opposed to the all-discrete circuitry found in the original unit. Another design difference between the two is the transformers used – while the original model featured Maranair/St.Ives, the 33609C housed Belclere transformers. Together, these improvements added more headroom and allowed for a faster release time after clipping – a feature considered important in the world of broadcasting.

After discontinuing the model C unit, Neve had designed a newer model to cater to the Japanese market – thus, model J was created. In terms of its components, model J was also non discrete, similar to the 33609C. Taking into account feedback from their users, AMS Neve soon changed model J to J/D which stands for ’Japan Discrete’. This new rendition added the classic amplifier found in the original unit allowing for an all-discrete signal path once again.

Cenzo is fortunate enough to have all 3 versions of the Neve 33609 Compressor/Limiter and has a particular role for each of them.