Griffin Jennings

Our fanciest, do-everything tube mic. Hi-Fi and detailed without being harsh. #1 choice for vocals. Variable polar pattern from omni to cardioid to figure 8.

Industry-standard exceptional mic for bass instruments.

Allaround multipattern staple. What it lacks in sex appeal it makes up for in use cases.

Modern, boutique clone of the most sought-after brass capsule 414 model.

A hi-fi soviet tube microphone that rivals Neumanns, used on vocals and drums by Steve Albini on In Utero.

Bright, detailed SDCs, ideal for drum overheads or pianos.

Modern SDC with fast transient response and switchable cardioid / hypercardioid capsules.

With the cardioid capsules. Good allrounder SDC.

Modern descendant of the Thriller mic. Nowadays they’re seen on every podcast, but excels on vocals, toms, and guitar amps alike.

The handheld version of the venerable 57. The Beta version is supercardioid and more full-frequency.

The living legend. Somehow we broke one but we still have 4.

These have become our favorite little guys. I swear they sound just a little better than a 57. Please believe me!

The best dynamic mic ever? We have some old black ones and some older off-white ones, which sound sweet but are slightly noisier. Always being placed on guitar amps, toms, or vocals.

A big boy with the beef. My favorite for bass cabs, also very cool on a kick drum.

Dynamic mic with lots of low end. Staple for kick drums, but usually requires some EQ to de-honk.

Modern successor to the D12, this is a more than fine mic.

A figure 8 pattern dynamic with big, beefy proximity effect. Nice for vintage kick drum sounds.

Used on snare regularly, the hypercardioid 201 gives you a bit more detail than a 57.

Very clear sounding dynamic with not much proximity effect. Nice for capturing transients on snare drum or detailed guitar amp sounds.

Designed for guitar amps, also sounds really good on drum overheads and rooms.

Smooth and sultry big ribbon. Not for every vocalist, but for every piano or percussion instrument? I think so.

Uses some arcane horsehair-labyrinth technology to create different polar patterns (seriously). Not as warm and sexy as a Coles, but gives you a nice midrange thwack in front of a drum kit.

If no one is using a m160 on a session, I am dead. Top choice for guitar amps, hi hats, overheads, kick batter. The vintage ones can’t handle as much spl.

The working stiff’s console Steve Albini made famous. Great sounding preamps that can be driven and versatile EQs.

The 500 Series version of BAE’s fancy through-hole Neve 1073 clones, complete with EQ, HPF, DI, and switchable 1200/300 ohm impedance.

More modern 1073s, this time built by Geoff Tanner who used to work for Rupert himself during the golden age of Neve consoles. Less exhaustive but still useful EQ and hpf. Starts immediately overdriving with the output trim under 12 o’clock. Cool! More top end than the BAEs (?)

Does the Neve thing!

The dual stage version of CAPI’s fantastic modern API builds. Stepped controls and hpf at 80/160hz. These have the Louder than Liftoff Rogue One opamps.

We like these punchy pres made by former API designer Paul Wolff. Has a nifty tilt EQ built in.

Fancy fancy Abbey Road-inspired pres. Super nice on guitars, and everything else.

For when you want another 2 octaves of bass, but be careful, that feedback is super sensi.

Built around some old Neve 1272 line amps.“But they were never intended to be used as a preamp!”‍ ‍Well, it sure seems like it does preamp things to me.

Gooey tube pres, modded by Kevin McMahon for 4 transformer-balanced direct outs. You can also still use the master out for the famous baxandall EQ or crushing purposes.

The toob goodness. Racked with a pad and DI added.

Iconic American console EQ.

500 Series solid state Pultecs! Some people say these sound even better than the real thing! Not me, but some people! They do sound great, though.

The most famous compressor of all time, recreated by Chilean clone builder Stam. Sounds as fat and tubey as you’d like, and ours is upgraded with NOS Telefunken tubes.

A hammer of a compressor, these babies can do it all from FET crushing to Opto-style smooth limiting.

The most popular, all around applicable 1176 revision made by Seattle’s Hairball audio.

Iconic vintage smacky VCA compressor. Just a flick of the indicator LED can work wonders on kick or snare.

Like a La-2a on gear, this 500-series tube unit will pin your vocal or bass down with an iron grip.

Classy stereo optical tube compressor with a elegant, soft quality.

Jakob Erland of Gyraf Audio set the standard for SSL G Comp bus compressor clones. This one sounds supercharged and 3D.

An under the radar PWM compressor that imparts a very unique smack. We have 4 channels of em!

Over the top, pumpy limiting action.

The one with just echo, no reverb. Sounds absolutely perfect though.

The prettiest, most plate-sounding spring reverb you’ve ever heard.

The second prettiest spring reverb you’ve ever heard.

That 80’s BBD.

Mainly used for its quick and dirty radio vocal sound.

That 90’s Reverb.

4×10 combo from the most iconic Fender era. Blisteringly loud and clean with watery reverb.

In the late 50s and early 60s, Fender made a couple amps with harmonic tremolo, the sound heard all over Blake Mills and Big Thief records. The sound is throbby and chewy, and the brown amps are mid-forward in a way that is unique amongst Fender designs.

Boxy, clean sounding little wonder with gooey tube-biased tremolo.

The heaviest amp! The loudest speakers! The wettest reverb!

I built this! It sounds how it’s supposed to - saggy, chimey, Neil Young-y.

Like a garage rock 60’s Deluxe!

Can be used like a pedal or a 2.5 watt amp driving a speaker. A sound-gooderizer that can go from crystal clear to a little hairy, to completely fuzzed out.

Shake the room.

A more portable version of the iconic solid state amp with always-satisfying analog stereo chorus.

The GOAT bass amp.

Surprisingly loud and deep, equally useful for bass, guitar, or pedal steel.

Mini bass amp head with teeth.

A must have. Ours sounds uniquely good, if I do so say myself.

All the analog goodness, none of the presets. The stereo chorus is noisy in the best way.

Modern digital mellotron with aftertouch and lots of routing options.

Actually so sick.

It might be a glockenspiel, sue me.