Ranging from the full on tape processed analog mix to analog processing of individual tracks (premix) via reamping and analog mastering we have a service for all your needs, and budgets.
Abroad customers are most welcome as we would very much like to broaden our client base to world wide. We speak fluent english and payment via PayPal or int. bank transfer is fully supported.
Please don’t hesitate to contact us. We’ll be glad to answer any questions on our services.   


Amix1
To tape, via mixing desk and outboard processors:
Gives you the sound of top class analog gear at the hands of a highly skilled mixing engineer. The tracks are sent from Pro Tools HD, where necessary editing is done, and then to the 24-track tape machine. Then the mixing is done old school on the API mixing desk with lots of old and new outboard gear at hand.

A hybrid of analog and digital mixing might be needed as larger and more complex mixes sometimes demand the precision of plugins; equalizers, gates, limiters etc. All of the tracks will still pass through tape and will be mixed on the desk but the processing might be done in a different order than described above.

When the mix is done it is bounced to the 1/2″ stereo tape recorder as the final step in the mixdown. The output from the tape recorder is then brought back to digital, ready to master. If you like to have an all analog signal from mix to final Vinyl record there are a few mastering studios that provide mastering from 1/2″ tape. In that case you will have to buy a reel of tape that will be sent to the mastering studio.

All mixes will be delivered as a digital stereo file plus a number of separate stereo submixes or ”stems”. The stems could be ex drums, vocals, backing vocals, percussion, piano and guitars, all the elements of the mix summed down to a number of stereo tracks. The stems can be very usefull since the analog mix can’t be recalled as easy as a mix made in Pro Tools/Logic/Reaper etc. This way you can slightly alter the levels and dynamics afterwards or in mastering and you can also make different versions of the song like a vocals up mix or an instrumental version.
The analog mix is the most expensive option we provide here but also the most rewarding.

B
Via mixing desk and outboard processing:
As above without the tape processing.

Amaster
To tape via analog processing:
Your mix is send from the digital domain out to a Lyrek TR-55 ½” stereo tape machine and then to a series of analog processors. All to give your mix that final analog polish thats so hard to get with just a computer and plugins. The final step though is via a digital plugin limiter ensuring your levels will match the competition. All digital conversion is made with apogee and benchmark converters.

This can be a very cost effective way to get an analog sounding record.

B
Analog processing:
As above without tape processing

Abandaren
To tape via mixing desk and outboard processors:
This is a feature called PreMix made for you who want to create your own mixes but need help getting all the tracks to sound its best, and more importantly, getting the tracks to sound great together as a finished mix.
This way you can be more creative with effects and focus more on the exciting elements of the mix as you don’t have to spend a lot of time getting the general sound.
Before we start we will find a sound that will suit your tracks and what to aim for soundwise. Hard driven, soft, compressed, dynamic, bright, warm.

How it’s done:
The individual tracks are sent to the 24-track tape machine for tape saturation and then to the API mixing desk. There the tracks are mixed to good levels, general eq:ing and compression is added to whatever needs it. Ex getting the vocals to sit well in the mix, making sure the kick drum and bass guitar is working together. compressing the snare etc etc. The final step will be to get the tracks digital again. Here the channel direct outputs of the mixing desk is used, recording the processed tracks back into Pro Tools as individual files. When you import the tracks to your computer software you will have a balanced mix with all the channel faders at unity (default) level.

This will not provide a finished mix, you will need to pan the tracks, add reverb, delays etc yourself and also do the final mix adjustments and automations, but you will have a great sounding foundation to start from. Think of this service as a kick start for your mix. Getting you an easier and more fulfilling job mixing your song and of course it also will give you a better sounding mix.

If you want a real LOFI sound we can use a different formula of tape that the machine is not calibrated for. That will roll of a lot of the high frequencies and adding lots of low end. Not the audiofile way but VERY “analog” sounding. For an extra charge we can give you both versions for you to decide what needs what. Lofi drums with saturated vocals, bass? or the other way around. We’ll send you back all the files with the same starting point as the originals you sent us so you can pick and choose. There are some limitations with using both types in the same mix. Generally something that’s been recorded with more than one microphone should be all digital or all analog, not mixed.

B
To tape:
As above but without the mixing. The tracks are sent to the tape machine and then back to Pro Tools via the mixing desk but no compressors, eq, etc are used. A more cost effective alternative but it will give an obvious analog sound to the tracks. Making them fit better with each other and so simplifying and improving your mix. Before we start we decide how hard to drive the inputs of the tape machine and what formula of tape to use. The harder they are driven the more saturation they will add. From a very gentle tape sound to a more aggressive saturation/distortion. See above for what a “wrong” tape formula can do to the sound.

C
Via Mixer:
Like but without the tape processing. An alternative if the tracks are already recorded via a tape Recorder.

Atrumset
Reamping of lined instruments:
If you’re having a hard time getting the sound you want recording bass, guitar, synthesizers, keyboards etc a reamp can be the best solution. Record via a line box or the HiZ/instr input of your sound card and let us figure out the sound.
We will route the tracks to an amp, or a combination of many, and record it back into Pro Tools. The studio has LOTS of different amps, boxes, cabinets, microphones and preamps. It will sound GREAT! Apart from the actual quality of sound we also record each pass with a set of room microphones giving you the option of a natural ambience to your tracks not possible at home or in the rehearsal room.

Bstarkare
Giving dry recordings a natural ambience:
Apart from above this reamping has nothing to do with guitar/bass amplifiers. Say you have recorded drums at home or in a rehearsal room. The natural ambience in such spaces are most often limited and/or bad sounding. Reamping them, playing them up in loudspeakers in a large studio room and recording the ambience, will give new life to the tracks. A drum kit has the most to gain from this procedure but it will give a uniqe vibe to anything. Try it on vocals and you’ll hear the singer in the room with the rest of the band, or on synthesizers and you’ll get a sound that will fit the guitars and drums way better.
A natural ambience works as a sort of glue in a mix and will make it easier fitting stuff together. It can make a drum kit sound HUGE if you compress the ambience tracks hard or just more natural if treated more conservative.

C
Lofi reamping:
If you can’t get the Lofi, distorted, warm, edgy sound you want for a specific track then a reamp is most
often a great solution. We’ll send the track to whatever piece of equipment that messes it up the best and record the result.
Like above but NOT very audiophile. If you’re having trouble getting the vocals to sit well in a heavily compressed/distorted mix then reamping the vocals through a distorted guitar amp or similar and then blend that in with the original clean track. Works every time and we have the gear and experience to do it here. Can be a very cost effective solution for an otherwise VERY time consuming mix sittuation.

Digital: emil
-Protools HD3 accel, DAW hardware/software
-Aurora Lynx 16, 16ch AD-DA converter
-Apogee DA-16X, 16ch DA converter
-Apogee AD-16X, 16ch AD converter
-Benchmark ADC-1, 2ch AD converter

Tape Recorders:
-Lyrec TR532, 24 track 2″ tape recorder
-Lyrec TR55, 2 track 1/2″ tape recorder
-Tandberg Model 72, 2 track 1/4″ tape recorder

Mixer:mix2
-API 2488, Beautiful vintage mixing desk
from ca 1976.
Api Modules:
-2x API 525, F.E.T Compressor / limiter
-1x API 560, Graphical eq
-2x APSI 559, Graphical eq
-2x JLM LA500, Optical compressor
-24x Classic API LC53, Equalizer

Monitoring:
-Focal Twin6 BE, Loudspeakers
-B&O M75, Loudspeakers
-ATC SCM 10, Loudspeakers
-Yamaha NS1000M, Loudspeakers for reamping

Outboard Processors:korridor
Preamps/channelstrips:
-2x Vintage Design M73, Neve 1073 style preamp
-2x Vintage Design M81, Neve 1081 style preamp
-4x custom built 1073, Custom EQ for above
-2x Quad Eight MM403, Vintage Preamp/EQ
-Telefunken V76, Vintage tube preamp
-2x Telefunken V74, Vintage tube preamp
-2x Disa, Vintage tube preamp
-TAB/Funkenwerk V78, Tube preamp
-Great River, Stereo Preamp
-Forsell SMP-2, Stereo Preamp

Compressors:
-3x ADM 1320, vintage VCA compressor
-Gyraf Gyratec X, stereo Vari-Mu compressor
-2x UREI 1176A Clone, F.E.T compressor
-2x Purple Audio MC76, F.E.T compressor
-Stereo UREI 1176G Clone, F.E.T compressor
-2x Soundskulptor CP 5176, F.E,T compressor
-Universal Audio LA-3, Vintage Opt. compressor
-Tube Tech CL2A, Opt. stereo tube compressor
-SPL 2ch transient designer, Transient processor
-DBX 165, Vintage VCA compressor
-2x DBX 163X, VCA compressor
-DBX 263X, VCA deesser
-Orban 418A, Vintage stereo F.E.T. limiter
-Valley People Dynamite, Vintage stereo VCA comp.
-Focusrite Compounder, Stereo VCA compressor
-2x LA-2a tube limiters, Custom tube opt. comp

Equalizers:
-2x White 4000, Vintage graphical eq
-2x Filtek MK3, Vintage equalizer

Reverb/delay:
-Plate reverb carbon steel, Vintage type plate reverb
-Plate reverb stainless steel, More modern plate
-AKAI EQ, Plate send equalizer
-EMT 144, Vintage digital reverb
-Lexicon PCM-70, Digital reverb/fx
-2x Dynachord Echoc. Super, Vintage tape echo
-Dynachord Echocord Mini, Vintage tape echo
-Fulltone Tube Echo, Tape echo
-Roland RE-301, Vintage Tape echo / reverb
-2x Fender ‘63 Spring reverb, Spring reverb

Microphones:mermik
-3x AKG C451e, Vintage condenser
-2x AKG C60, Vintage tube condenser
-AKG D30, Vintage large dynamic
-AKG D12, Vintage large dynamic
-AKG D12E, Vintage large dynamic
-AKG D12 select master, Vintage large dynamic
-2x AKG D14, Vintage dynamic
-2x AKG D19, Vintage dynamicmikar
-2x AKG D119, Vintage dynamic
-2x AKG D190E, vintage dynamic
-3x AKG D202ES, Vintage dual capsule dynamic
-2x AKG D224C, Vintage dual capsule dynamic
-2x Schoeps M221b MK26, Vintage tube condenser
-2x B&O BM6, Vintage stereo ribbon
-2x B&O BM3, Vintage ribbon
-2x B&O BM5, Vintage ribbon
-2x AEA R84, Ribbon
-Crowley & Tripp St. Vocalist, Ribbon
-2x Beyerdynamic M160, Ribbon
-Beyerdynamic M500, Vintage ribbon
-Beyerdynamic M260, Vintage ribbon
-3x Beyerdynamic M88TG, Large dynamic
-2x Beyerdynamic M69, Vintage dynamic
-Beyerdynamic M67, Vintage dynamic
-3x Beyerdynamic M610, vintage dynamic
-2x Beyer / Revox M201, Vintage dynamic
-2x Coles 4104, Vintage Ribbon
-2x StudioMöllan Ribbon, Custom Ribbon
-Reslo AM-69, Vintage Ribbon
-2x Pearl DC-63, Vintage condenser
-2x Pearl DC-73, Vintage condenser
-Hosiden Echo Microphone, Vintage LOFI dynamic
-6x Electrovoice E105, Vintage dynamic
-Electrovoice Slim Air, Vintage dynamic
-Kent Slim Air, Vintage dynamic
-Shure Sm57, Dynamic
-Shure Sm57 SModified, Dynamic modified
-Shure Beta57, Dynamic
-Shure Sm77, Vintage Dynamic
-2x Shure 535 unidyne, Vintage Dynamic
-2x Shure Unidyne pistol, Vintage Dynamic
-Flea U47 Tiersch PVC M7, Tube Condenser
-2x Reissmann MR51, Vintage tube w. M7-capsule
-Neumann U89, Vintage condenser
-Neumann SM69Fet, Vintage stereo condenser
-2x Neumann U87 clone, Cond. w. Peluso K87 capsule
-4x Neumann U67 clone, Tube. cond. w.Beesneez K67
-2x Neumann U47 clone, Tube. cond. w. Thiersch M7
-2x Sennheiser e509, Vintage dynamic
-Sennheiser e609, Dynamic
-Sennheiser e602, Large dynamic
-4x Sennheiser MD421, Vintage dynamic
-2x Sennheiser MD441, Vintage dynamic
-Sennheiser MD21, Vintage dynamic
-Sennheiser/Labor W-MD4, Vintage (very old) dynamic
-8x Mymex 802d, Vintage swedish dynamic

Amplifiers:
-2x Fender Bassman 100, Vintage Bass/guit. head
-Fender Bassman, Vintage 2×15″ cab
-Fender Hotrod deluxe, Guitar amp
-Fender PRO Junior, Guitar amp
-Fender Quad Reverb, Vintage 4×12” guit. amp
-Fender 75, Vintage 1×15” guit. amp
-Fender ’63 spring reverb, Spring reverb unit
-Champ style head, Custom Champ 10w head
-Marshall 18w SMade, Custom 18w clone 1×12”
-Marshall 1960, Vintage 4×12” guitar cab
-Rivera Quiana, 4×10” guitar amp
-Leslie 760, Rotating speaker
-12″ cab, Celestion Greenback
-12″ cab, Vox Blue bulldog

FX for guitar/bass reamping:pedaler
-Fulltone Clyde Wah, Wah Wah
-Fulltone GT500, Overdrive
-Fulltone OCD, Overdrive
-Fulltone Ultimate Octave, Octave fuzz
-Jen Fuzz Wah vintage, Vintage fuzz wah
-Vox Wah vintage, Vintage Wah wah
-Roland Hiz volume pedal, Volume pedal
-Roland Loz volume pedal, Volume pedal
-Ernie Ball volume pedal, Volume Pedal
-Colorsound Fuzz Wah, Vintage fuzz wah
-Boss OD-1 vintage, Vintage overdrive
-Boss DS-1 vintage, Vintage distortion
-Boss RE-20, elay echo
-Fender Blender Fuzz, Octave fuzz
-Moody tremolo, Tremolo
-Moody Fuzz, Fuzz
-Moody Hjärtmöller, Bass overdrive
-Moody Baby Box, Filter/delay/dist/etc etc
-T-Rex Tremster, Tremolo
-T-Rex Fueltank, Power supply
-T-Rex Fueltank XL, Power supply
-Spiros Morningstar, Custom overdrive
-Way Huge Angry Troll, Booster / overdrive
-Ibanez vintage TS-9, Vintage overdrive
-Ibanez vintage SD-9, Vintage distortion
-Ibanez vintage AD-9, Vintage analog delay
-Ibanez vintage FL-9, Vintage flanger
-Radial ABY, Splitter
-Radial Tonebone Hot British, Tube overdrive
-Seymour Duncan Twin Tube, Tube Overdrive

 

This is the gear that’s relevant for the services at Tape/Run for a complete gear list check out www.studiomollan.com

 

 

 

 

All services at Tape/run will be done within a 1-2 week timeframe from booking and will, if not otherwise agreed, be done without the client prescent.

All Prices are for one song but discounts are generally given, most often generous, for albums/EP:s. Please send us an e-mail for a discounted price estimate. We will need to hear samples of the songs/tracks that are to be worked on.

Mixing:
A. Analog mix with Tape:
270€ / song
B. Analog Mix:
220€ / song
Very track heavy songs will cost more. Editing of tracks is not included. If needed please contact us for info. 

Mastering:
A. To tape via analog processing:
60€ / song
B. Analog processing:
45€ / song

PreMix:
A.
To tape via analog processing: 
110€ /song
B. To tape:
45€ / song
C. Analog processing:
75€ SEK / song
Very track heavy songs will cost more. Editing of tracks is not included. If needed please contact us for info. 

Reamp:

Prices here cant be given in a per song basis as the amount of work varies depending on how many reamps you need in a song. The prices below are per performance, ex the lead vocals from one song OR the drums. Both will be two performances. Discounts will be given for albums or for many reamps in one song as it is easier and less time consuming when we have the gear set up for reamping. 

A, B, C. 
ca 45€ for one performance. Please send us an e-mail for more exact priceing. Ex for an album with a uniform sound it will be a lot cheaper.

 

All prices excluding Swedish moms (VAT)