AKG C414 EB

The C414 EB was made in 1976 in Austria by AKG. The ones at Legacy Studio have very early serial numbers. The EB revision introduced a 3-way high pass filter and added a -20dB option. Both 414's come with the original brass CK-12 capsule.

The mic is incredibly versatile, acoustic guitars, cymbals, overheads, piano, vocals, strings, all can be recorded using the 414.

Neumann U47Fet

This is the phantom-power FET version of the U47 tube mic. Legacy's U47Fet uses the wonderful M7 capsule. This microphone was released in 1969.

This mic is in all kinds of setups. It works very well for rock/metal guitars, but it can also be used for a vintage kickdrum approach. We used it on acoustic guitars, brass, bass, etc.

Lomo 19A9

This mic was built in Russia in 1969. It's a tube microphone with a 33mm gold plated diaphragm which came out in the early 1950's. This Lomo gives a fairly accurate representation of the sound, the mic has a great low end.

It's a great mic for everything: guitars, strings, drums, symphony orchestra's, but it's also excellent for vocals. Legacy Studio has a matching pair of these Lomo 19A9 mics.

Neumann U87

A great modern condenser microphone. Originally it was released in 1967 as a solid state version of the U67, Legacy has a later matching pair. It's a large dual-diaphragm condenser mic with three directonal patterns.

This mic can deal with pretty much every studio task around, but it's most famous for use as a vocal microphone. Legacy also uses this mic as drum overheads, strings and as a room mic.

Sony C47

This mic is the FET successor of the Sony C37. It was a rare find for Legacy.

This mic can be used for a wide range or recording demands. Vocals, guitars, brass, etc. It's excellent to tame very dynamic sound sources without damaging the tone.

Neumann U67

This was Legacy's first vintage microphone, the one that started a fine collection of vintage mics. Neumann built this microphone in the mid 1960's as a 'close up' mic. It was a genuine attempt to create a tube mic that could withstand sufficient levels to really allow close-miking without some of the problems that could occur.

The U67 has a beautiful, warm Neumann sound that is very complementing to both male and female vocals and does very well on acoustic guitars. It can also be used for high-output instruments like brass, amped guitars and drums. Pairs up perfectly with our V76 preamp

Neumann U47

The Legendary U47 tube mic. This was the first post-war mic made by Neumann in West-Berlin. The mic is designed around the VF14m tube. The mic has a very agressive sound making it an excellent choice for many rock applications. The U47's sensitivity greatly enhances details in every recording. Legacy Studio houses two.

This mic is incredible on male vocals (Frank Sinatra, John Mayer, Michael Buble, James Blunt), but it also has a wide array of female users (Aretha Franklin, Lisa Loeb, Macy Gray, Patti LaBelle, Lady Gaga, Katy Perry). Very warm Neumann tube sound. Also does an amazing job as drum overheads!

AKG C12

AKG introduced this mic in 1953. It is considered "the holy grail" of microphones for it's beautiful three-dimensional vocal quality. It houses the CK12 capsule. An external box switches between 9 different polar patterns.

This mic is well known for it's quality on female vocals (Whitney Houston, Celine Dion, Kelly Clarkson), but it's great with male also (Stevie Wonder, Andrea Bocelli, Josh Groban). It's also used on Paul McCartney's bass amp for his Beatle recordings.

Neumann M49

Legacy Studio has a pair of these beauties. It uses the same capsule as the U47, but with the completely different housing and the triode electronics the sound is very distinct. The mic debuted in 1949 and was in instant success in German broadcasting.

This mic is great on vocals (BB King, Tony Bennet, Rod Stewart, Billy Holliday, Barry Gibb, Barbra Streisand, Etta James, Celine Dion, LeAnn Rymes), but worked wonders as drum overheads. It can be used widely for all kinds of recording needs.

Neumann TLM103

The TLM103 is described by Neumann as a "universal cardioid mic" without any pattern selects or pads. The mic handles high levels of audio with extremely low self noise. It is very sensitive and will pick up ambient sounds perfectly.

This mic can handle most recording situations, it shines as a vocal mic with pleasing coloration in the high freqencies, a near perfect proximity and extra bass without being overhearing. Sounds great on instruments with a complex sound like accordeon and percussion instruments.

Audio Technica AT4050

The AT4050 is large diaphragm condenser microphone has a 10dB pad and a cardiod, omnidirectional and figure 8 pattern select. Clean and clear sounding mic.

This mic can be used for just about anything, but it works great as overheads, kick drum (does great inside the kick for metal projects), snare bottom, guitars, fluits.

Western Electric/Altec 639A Birdcage

As seen in the movies. This general purpose magnetic microphone is in perfect working condition. In combination with our vintage preamps you'll get a wonderful blast from the past. The mic came out in 1938. Initially this mic was used for motion picture soundtracks, but it was also used extensively for radio recordings in the 1950's.

RCA 44-BX

Considered the Grandfather of all ribbon microphones. This Iconic RCA ribbon came out in the 1930's, it does wonders even in the digital age. It's unique sonic properties can give you the "Nashville sound" from the 1950's and 1960's in an instant. If you get closer than 2 meters from the 44 the bass is boosted. This was considered a problem in the early days, but is a very desired effect these days.

This is a musician's microphone, users praise it's incredible true to source sound. You can be 4 meters away from this mic, it will sound as if you're standing right in front of it. 'cause of it's bass boosting this mic is great for upright bass, string bass, horns and guitars. But this mic is awsome on vocals as well. Instant vintage with this great ribbon mic! Legacy Studio has two of these.

RCA 77-DX

The RCA 77 was introduced in 1932. It houses a ribbon which gives it a wonderful, vintage sound. It has a very smooth top-end. It's a superb overhead mic for a natural sound and a taste of the past.

This mic works best on everything that needs to sound like it has been around for a long time. Excellent for brass, vocals, guitar, bass and string instruments.

RCA 74-B

This microphone has been used by broadcasters for years. It's considered the small version of the RCA 44-BX. It came out in 1940. It was designed for more close-miking

We use this mic for brass and horns, but it can be used on vocals, guitars and bass very well.

Royer Labs R-121

The Royer R-121 is a more modern ribbon mic. Exceptional midrange detail, low self-noise and excellent transient response.

Does wonders on string instruments and saxophones, but it's tough enough to handle guitars and bass as well. Combined with a Shure SM57 it's the world's standard for micing guitar amps. Very good on percussion as well.

Turner 33D

This dynamic microphone was recommended for amateur, public address and instrument pickup applications in the late 1940's and 1950's.

This mic is very usable for blues harps and vocals.

Stromberg Carlson 22X

Philips EL-6020

This mic was available in the US under the name DuoTone. It's a shock proof, multi-purpose mic with very nice vintage looks and sound characteristics.

Philips EL-6030

Dutch design, a perfectly working vintage Philips EL630 from the 1950's. It's shock proof and very suitable for the tropics (max. temperature is 75°C). A wonderful Hyper-cardioid moving coil microphone.

This mic was used in Anastacia's "I'm outta love". Sarah Vaughan used it on-stage.

Schoeps M 221

The Schoeps M 221 was built first in 1955. Legacy's is a M 221 built for Telefunken. This mic is identical in dimensions and specifications. It came with two capsules: the MK254 hypercardioid and the M934C omni/cardioid.

This mic is perfect for accoustic guitar and cymbals, but can be used in many different applications. Switching capsules make it a whole different mic.

Sony C37

In the early 1950's Japan didn't manifacture any condensor mics. Seeking a domestic alternative for Neumann's U47 Sony was the first to came up with a good alternative. Sony based it on the first available Mylar diaphragms. The mic was released in 1955, but debuted officially in 1958 on the LA Hi-Fi show.

Works great on vocals and electric guitar, picking up the sound without loosing clarity or feel too bright. other applications include horns, acoustic bass, strings, guitar, banjo, mandolin and drum overheads. The C37a was used on recordings for Bob Dylan, Bono and Peter Gabriel.

Shure SM7

A no nonsense piece of equipment introduced in 1976. 3 versions came out, Legacy has the original version. It loves both female and male vocals and has the tendency to 'fatten up' vocals. Since this doesn't pick up a lot of ambience this mic is particularly suiteble for live recording sessions. It's piercing sound quality makes it very useful for vocals in (heavy) rock and metal.

Users of this mic include Bruce Swedien for Michael Jackson's Thriller album, James Hetfield (Metallica), Sheryl Crow, Red Hot Chili Peppers and 3 Doors Down. It's also frquently used on hihats. The SM7 is used in many broadcasting studios.

Telefunken MD421

This mics were produced for Sennheiser for Telefunken in around 1960. The mic is the same except for the logo. It's a true allround dynamic microphone.

The mic works great on just about every sound source, from kick drums to toms, but also for vocals. It has a very nice mid range.

AKG 451E

AKG produced this microphone starting in 1969 up to 1994. This was AKG's first FET conderser mic. Legacy has this mic fitted with a CK-1 cardioid capsule.

This is the recommended mic for cymbals, percussion and acoustic guitar.

Neumann KM184

This mic was released in 1993, Legacy obtained a matched pair on opening it's doors in 2006. It is a transformerless FET pencil condenser mic with a cardioid pickup pattern.

It's a great mic for picking up cymbals, but we worked wonders with this on bass amps.

Sennheiser MD441-U

Released in 1971 this mic has a very accurate signal response and low distortion, even with high sound pressure levels. It's unchanged since it's introduction.

Legacy Studio uses this to get an amazing snare drum sound, but it can be used on a wide variety of musical instruments and voices. This conderser-like dynamic microphone is a favourite of many recording engineers worldwide.

Shure SM57

The legendary SM58 is a low cost, but very effective microphone that no studio can afford not to have. Production started in 1965 and it's still in production today. Originally 'SM' meant studio microphone for sure, but this mic made it on stage as well.

Does great on snare drums, rock vocals and rock guitars.

Shure Beta57

The Beta57 is the supercardioid brother of the SM57 and was released in 1989. The Beta is a bit louder (4dB) than an SM57 and has a completely different capsule. It employs a neodynium magnet which provides a high signal-to-noise ratio.

The mic works well on drums, guitar amplifiers, brass, woodwinds and vocals.

Shure SM58

The Sure SM58 was released in 1966 and is perhaps the most widely known vocal microphone in the world. It is still in production today. It is based around the same capsule as the SM57, but the grille houses a foam blast filter which reduces the bass boost the SM57 has.

This mic was said to be used by Freddy Mercury and Bono amongst others.

Shure Beta58

The Beta58 is to the SM58 what the Beta57 is for the SM57. 4 dB more output, wider freqency range (extends in the lower and the higher frequencies). It has a humbucking coil and no transformer. This mic was released in 1989 along with the beta57.

We use this mic a lot on vocals. And not only for guide vocals. It's a very pleasing mic on some vocals.

Beyer-Dynamic M201

The m201 is a hypercardioid microphone with exceptional qualities. It can be used for a wide variety of applications. Although sensitive and natural sounding it can also handle high sound pressure levels.

A true workhorse and for many a favourite on snare and acoustic guitar.

Audio-Technica AE3000

This is a large diaphragm electret condenser mic with a fixed cardioid pickup. It is intended as an instrument mic. It can withstand an awful lot of noise, so it's particularly usefull on drums.

We use this mic a lot on drums, toms in particular, but it's great as overheads and on electric guitars.

AKG D12

This mic came out in the 1960's. It's a dynamic microphone with a cardioid polar pattern. The dynamic transducer with it's special bass chamber is handmade. The bass chamber boosts the lower frequencies in the 60 to 120 Hz range, which is picked up perfectly by the large diaphragm. Rich, undistorted bass even at high levels.

The unique sound of this mic established the D12 as the world's standard for bass drum and bass instruments. Does great on trombone, tuba or flügelhorn.

Audio-Technica AE2500

This microphone houses both a dynamic and an electret capsule, mounted side by side. This idea behind that is that both these techniques have a different sound character and offering both in one package enables the possibility to blend their qualities to help capture the desired kick drum sound... without phase problems.

This mic was designed for kick drums, but is has many other applications.

Shure Beta52A

This is a supercardioid dynamic microphone, designed specifically for kick drums and bass instruments.

This kick mic is very usable for modern and tight rock kicks. Lots of low, lots of high.

Electro Voice N/D868

This mic is advertised as able to do one thing, but doing that really well. That one thing is close-micing a kick drum.

This is the mic of choice for metal kicks, where a high punch is requeired, placed a little differently it provides a very natural kick drum sound.

Shure Beta91

The Beta91 is specifically designed for kick drums and bass instruments. It's a large condenser microphone which pics up a lot of lows and is very acurate.

This mic can be placed inside the kick drum. It produces a very agressive kick sound. Many recording engineers combine the Beta91 with other kick mics to brew a great sounding kick drum.

Neve 2254E

This compressor was designed in 1969. It is racked as a stereo/dual mono compressor/limiter. It's built up with all analog components. These are some of thickest and heavy sounding compressor/limiters out there, it's great for thickening up and tightening tone. Works great on the stereobus as well.

This works on alot of things: vocals, guitars, bass, brass, you name it. It adds a beautiful warm edge to any recording.

Focusrite ISA428

The Focusrite 428 Pre Pack houses 4 preamps and an 8 channel AD-converter. The sound is tight. This is a flexible device, selecteble input impedance, filtering and a wide range of gain. It has little if any sonic coloring, which can be very usefull.

We use this on modern sounds, tight rock sounds and poppy things. Expect no vintage audio from this device.

Altec 1591A

This vintage Altec Lansing 1591A preamp/compressor adds punch to your sound.

A greattool to get that edgy tone. Very usable on electric and acoustic guitars, drums and bass.

Neve 1073

A Legend. Legacy has 4 of these classic preamp/EQ's. The Neve 1073 is without a doubt the most desired preamp out there. It was launched in 1970 and derived from Neve consoles such as the 8014. The 1073 is famous for adding otherwise unattainable sheen and clarity to music tracks. The 1073 is considered by many to be the very essence of the Neve sound!

The big, punchy sound of the 1073 complements any musical genre. We use this on just about anything that needs to sound big. Does an outstanding job on kick and snare, guitars, brass & vocals.

Collins 356A-1

A fine peace of American tube preamp history from the early 1960's. These are considered by many the answer to the European Siemen's V72's, but this unit is much more than that. A unique, warm tone, a lot of tube is added using these preamps. Legacy has 4 of these racked with phantom power, padding and phase. Collins is known for building almost all of the NASA communication systems. They built super high quality equipment.

The collins 356A-1 is great on warm vocals and acoustic guitars. Adds a lot of tube to the sound, so when you need that this is the amp of choice!

Neve 1073DPD

This is the modern capture of Neve's legendary 1073 (elsewhere on this page). It lacks the EQ circuit of the 1073 and is therefor less flexible, but it does have the very distinctive Neve sound. The 1073DPD also has a very high quality AD converter. Hand-crafter and hand-wired by Neve!

We use this a lot to get a punchy Neve sound.

AKG BX10/II

Stereo in/out spring reverb in a 19" box. A little different from a guitar amp spring reverb, the BX10 is true stereo reverb from the 1970's, designed for superior performance. It provides decay time adjustments, high and low frequency eq and reverb/direct mix. Reverbtime: 1 to 3.5 s. This is an extraordinary reverb with an extraordinary sound.

Urei 1176 revision D "Blackface"

This came out in 1972. The LN module from revision C was no longer used. The circuit board of the unit was redesigned to accomodate the LN circuitry on the main board.

Urei 1176 revision F

This is from 1973. Legacy has two of these units. Rev F means the output amplifier changed to a push-pull configuration from the original class-A design. It provides more output drive

Urei 1176 Revision H

The revision changes are mainly cosmetic. Legacy has 3 of these great sounding units. A real work-horse on drums, adds a lot of punch to everything you put through it.

Urei 1178

The studio houses two 1178's. This were built by Urei in the 1970's. The sound is similar to the Urei 1176, but this can be used to compress a stereo signal (or as dual mono). Great on overheads or on stereo room, especially for drums.

Federal AM-864-U

This unit is from around 1954 and built for the American Army. It's a vari mu tube limiter with a particular sound which makes transients stand out. Great on vocals and guitar for a surprisingly modern rock sound.

It's the only piece of equipment we own that specifically describes how to demolish the unit when it's in danger of falling into enemy hands.

Collins 26-U2

A very rare unit. Better known is the Collins 26U-1 vari mu limiter. This is the stereo/double mono version from 1958. The 26_u uses the famous 6386 valve. Very nice warm sound. And since this is the rare stereo model it can be used as a bus limiter as well.

Gates Solid Statesman

Gates is widely appreciated for their quality tube equipment. This solid statesman is a successful attempt to go for a solid state design. A relatively unknown unit from the 1970's which is in many ways like a 1176, but with a twist. Great to get those in-your-face vocals.

Universal Audio 175-B

This unit is a legend on it's own. Bill Putnam designed the 175 limiter, which formed the base for the later 1176's. It was built in the 1960's.

This particular unit was bought from Rich Costy who obtained it from the legendary Indigo Ranch studios, who hosted Neil Young, Bob Dylan, Motley Crew, the Beach Boys, Van Morrison, Marvin Gaye, Pearl Jam and Sting. Rich Costey used it for the vocals of the grammy winning album of the Foo Fighers, he also did work for Franz Ferdinand, Muse, Rage and Against the Machine to name just a few. This grammy winning unit, who added it's magic to a lot of legendary vocals, was bought from Rich in 2010. Early 2011 Legacy obtained a second one of.

Gates SA-39B

Gates built this SA-39B in the 1950's. The sound of this unit is great, quit and with a power and authority and a little audible distortion when it dips hard, very nice, very warm, very tube, very vintage!

Does wonders on vocals and bass.

Tubetech CL1B

A new classic. The CL1B is considered by many to be the number one tracking compressor for vocals, bass, acoustic guitars and sounds superb on snare, kick and keyboards. Plug in a Fender bass and plug it in the renowned Nashville recording bass chain of a Neve 1073 preamp, CL1B compressor and the Pultec EQP-1 EQ.

Legacy has two CL1B's, which are chained up to enable stereo use as well.

Altec 436C

The Altec was designed in the 1960's for automatic level-control applications for broadcasting and public address systems. Now it made it's way into the recording studio. It is said to be the 'poor man's Fairchild', with it's all valve signal path that works on the same vari mu gain reduction system as found in the legendary Fairchild 660 and 670 compressors.

It works well on bass guitar and vocals. We use this unit a lot on guitars, but we also used this to make a digital keyboard sound as an analog one.

Pultec EQP-1A

Tube-tech SMC 2B

This is part of our 'standard' mastering chain, along with the EQP1's. The Tube-tech SMC 2B is an all tube stereo mutiband compressor that brings the music back in your mix. But it can also be used as a de-esser or a filter

Neumann W491

The Neumann W491 is a big EQ in a small package. A 3 band EQ, 11 EQ points per band as well as a broad/sharp or Hi Q per band. The sound is smooth, a little character, but not over powering.

It's initially designed as a mastering EQ, but this does very well in your recording or mix track. Legacy has a pair of these.

Neumann W492

This is the big brother of the w491. It has a 4 band EQ instead of 3. Part from that the same subtile sound of the W492.

A pair of these are racked with a pair of w491's.

EMT 266

An old broadcast limiter from the 1970's. It does a very nice job of not reveiling itself untill you switch it off. It's very subtile, but adds a richness to an end mix.

Tube-Tech MEC1A

This unit is a complete recording channel in one package: A MP1A microphone preamp, EQ1A equalizer and a CL1B compressor/limiter in one housing. Designed and hand crafted to deliver warmth and vintage quality.

Collins 12Z

The 12Z was introduced in 1946. It's a 4 channel remote amp which was used for remote broadcasts. It's a tube amp/mixer. Legacy has 2 of these units, great in combination with our vintage mics. Instant 'old' sound. The gain is an impressive 90 dB.

TAB/Telefunken V72

The Siemens V72 was developed by the NWDR (North West German Radio) in 1949 as a microphone and main studio amplifier. It uses the 'modern' advancements like Noval glass tubes. The V72 has a fixed gain of 34dB, by 1955 this was the standard preamp in German radio stations.

TAB/Telefunken V76f

The V76 basically is two V72 modules cascaded in series with additional control features. Is is capable of achieving 76 dB of gain and driving a signal farther with little to no loss compared to the older units. The unit came with a switchable input pad. This allows the user to change in gain in 6 dB steps, much more control than the V72. Additionally the V76 comes with a shelf EQ.

RCA BA-21a

Legacy has 2 of these vintage tube preamps racked in one unit. It's a tube preamp version of the BA6A. Very warm sounding units, useful as line amps as well, to fatten things up.

RCA OP-6

This word has been used before on this page, but the OP-6 is considered the holy grail, of ribbon mic preamps in this case. A massive 90 dB gain in a remote amp from 1932. This amp together with our RCA 44BX ribbon mic makes a beautiful vintage chain that delivers clarity and warmth at the same time.

Gregg Labs 2530

A triband limiter from the late 1970's. It's a piece of radio and recording history. This unit was part of a radio station's back up signal chain.

Lexicon PCM70

This is the right firmware version (2) from 1986. Today this solid state reverb is considered to be somewhat of a classic. Great unit with mono input/stereo output.