Technical Details
All external equipment is wired to a large digital mixing console which was custom built by AMEK and the German Company Mega Audio according to Michael Cretu's preferred working procedures. This console is physically small but it has 160 inputs to collect most signals coming from any midi source, computer or microphone without the need of any patch bay. This is possible because all active components are located outside in some huge racks in the machine room. This keeps all noise and unnecessary heat out of the control room and reduces physical size.
All recording is done on a Protools system hardware and Emagic's latest version of Logic Audio Platinum software. Software samplers as Samplecell, Steinberg's Halion and the PC-based StudioSampler are all linked and sync-ed together on demand. There are several racks full of external Midi modules and hardware samplers as well as a selection of reverb systems as the Lexicon 480 and 960 as well as some more exotic reverbs like the vintage Yamaha REV1, REV7 and REV9, the Eventide DRP9000 and the Dynacord DRP20. Integrated is Michael's old Waveframe 1000. This was the machine that made Enigma happening in the first place in 1990. It was the first real fully professional digital "Studio-in-a-box". Its constant sampling rate system is brilliant and the sample editing and archiving feature is still unmatched. The monitoring system was especially designed and built by Quested Acoustics.
From the credits of various albums, it is known that Michael Cretu uses or has used the Waveframe 1000, Audi Frame Workstation, MIDIMoog, PPG System, Korg M1, C-Lab Notator, Takamine 6 and 12 String, Tom Anderson Electric Guitars, Otari DTR-900, Akai 900, Linn 9000, Prophet 2002, X-Pander, EMS Vocoder, DX-7, and Roland MKS-80 "Super Jupiter", Roland V-Synth, Korg OASYS, Korg Karma.
Read more about this topic: A.R.T. Studios
Famous quotes containing the words technical and/or details:
“Where there is the necessary technical skill to move mountains, there is no need for the faith that moves mountains.”
—Eric Hoffer (1902–1983)
“There was a time when the average reader read a novel simply for the moral he could get out of it, and however naïve that may have been, it was a good deal less naïve than some of the limited objectives he has now. Today novels are considered to be entirely concerned with the social or economic or psychological forces that they will by necessity exhibit, or with those details of daily life that are for the good novelist only means to some deeper end.”
—Flannery O’Connor (1925–1964)