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I can then begin to apply processing, sometimes crunching up the drums or bass - often with outboard or sometimes just plugins. If it’s outboard I will print it when I like it, and have it sat under the inactive original in the session. I try to leave fader automation off until I have a good general clean balance of things. This is partly because the non HD version of Pro Tools doesn’t have a trim function (even though there are ways around it). I tend to leave fader moves and mutes off until I know I have my sounds right.
The console is definitely one of the biggest drawing points of the studio. The mic pre/EQ modules are based on the legendary 1081, and are considered by many to be one of the finest modules that Neve ever made. It has a really smooth and musical EQ, which just sounds fantastic. People love what they get from it. And it’s not just for singing either — these portable booths also work great for voice acting, narration, podcasts or really anything that involves voice (or even acoustic instruments too), and can be taken anywhere you need to record. Here are the best portable recording booths, some of which include panels and other accessories to set up your remote studio. 1. Snap Studio Voice BoothOne of the few portable “full-body” booths available out there, this soft setup can accommodate singers up to 6’8″ tall, and still provide enough room inside, 5.5 square feet, to be comfortable. The frame is lightweight and easy to install, yet still sturdy, and you can even detach the acoustic Pro Sound Pad insulation blankets and use them on your studio’s walls (or double up with an extra set to make the booth extra quiet). The live area in Snap Studio 1. The control room in Studio 1 is based around a vintage Neve console. Not only is Snap full of rare outboard processors and effects, but it also features a real echo chamber. A pair of Pye limiters and two Decca compressors, which came from a mastering console in Nigeria. Rare outboard at Snap includes a pair of blue Allotrope mic preamps, two Rosser EQs which once belonged to Mayfair Studios, and an LA2A copy which came from Moulin Rouge in Paris. Studio 2 is suitable for editing and overdubbing, and it also hosts an impressive synth collection, including a Yamaha CS80 (left). Snap is home to a number of desirable microphones, including a Neumann U47 that was used for recording Miles Davis by the previous owner.Snap Studios opened in early 2011, and in its short yet extremely busy history, its success shows that he, studio manager Marco Pasquariello and their staff must have made a lot of right decisions. Their work has garnered accolades including a Music Producers Guild Studio Of The Year award in 2013. More Than Meets The Eye Recommended Portable Vocal Booth — Featured by Rolling Stone Magazine as the “best portable vocal booth”, Snap Studio’s pioneering 360 booth is the ultimate pop up voice box for singers, podcast, voiceover and rap artists who demand premium studio-quality sound. Record clear, professional vocals from the comfort of your home, without breaking the bank.
We have a gorgeous Bosendorfer 225 grand piano, plus Fender Rhodes, Wurlitzer, Hammond C3 and some nice vintage synths. Also a few great drum kits like our 80s Sonorlite and 1971 Ludwig Super Classic.
Frequently Asked Questions
The great thing for us is that we have artists and producers that keep returning to work here. We’ve made friends and built great relationships with our clients, and it’s really pleasing to see them wanting to return to work at the studio with us. What is your equipment set up, and why did you choose this? The 360-degree Acoustic Isolation Shield has a 6'8" (203cm) internal height (6'11" external height), with a footprint of 33"x33" (84cm), giving plenty of space in case you get a little pumped up while recording. It uses proper acoustic pads for the walls, which are twice as heavy as moving blankets and are designed specifically for sound absorption, featuring an 80% noise-reduction coefficient to cancel reverb. The best part? You can lay down pro vocals without the hassle or added expense of renting studio time. Some of the better known names would be Kate Bush, Stormzy, Craig David, Clean Bandit, FKA Twigs and Liam Gallagher. Liam’s album was his debut record, and it went straight in at Number 1! We were really proud of that one. It’s usually quite a straightforward process because I work in Pro Tools on all my rigs, so really it’s just the I/O settings will need to be tweaked for the setup I’m using. If it’s something I’ve recorded at Snap then the main considerations are that the sessions leave the studio in a good shape before I take them to work anywhere else. This involves proper labelling, annotation on takes, comment-box notes for anything that might need attention as well as colour labelling of regions which I might need to refer to. The colours of the regions can be really important when building comps – especially if you’re going through lots of takes of something.
Funky Junk’s Mark [Thompson] already had a great collection of some of the best vintage gear imaginable, and we wanted to give it a home in a space that was accessible and within people’s (rapidly shrinking!) budgets. Personal information that we process for any purpose or purposes shall not be kept for longer than is necessary for that purpose or those purposes. For over 10 years now, Snap Studios has welcomed a host of heavyweight artists and musicians through its doors, from the likes of Liam Gallagher, FKA Twigs, Clean Bandit and Coldplay among others. Studio manager and resident engineer Marco Pasquariello has been integral to the studio's success story from the very beginning, having himself constructed a noteworthy body of work featuring Club Kuru, Paloma Faith, Craig David and Bill Fay to name just a few. Marco's diligent nature coupled with an easy-going disposition and impressive knowledge of the craft (and gear) has provided Snap with a solid foundation upon which it's built an enviable reputation as one of the top recording facilities in London. No mean feat. The whole studio is powered by a sophisticated balanced mains supply which provides an ultra-low noise floor for all the gear. But gear aside, the main thing about Snap for us and many of our clients is the environment and vibe.Do you have any tips for managing (and maintaining) the balance between the creative 'vibe' and the more analytical process of mixing/engineering?
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