Fullwave Studios Captures Classic Sound With RND Orbit

A desk loaded with outboard gear and pro audio equipment, including a computer screen that says Fullwave Studios.

Producer, songwriter, and engineer Richard Carrasco has his work cut out for him. With a backlog of requests to create instrumental music for a sync library, all Richard needed was a quiet space to write, a powerful analog front-end that delivers legendary sound, and time.

With the help of Vintage King Audio Consultant Michael Carnarius, Richard outfitted the newly-built Fullwave Studios with a new Rupert Neve Designs 5057 Orbit summing mixer and Master Buss Processor to help recreate the sound and workflow of recording to analog tape.

We recently caught up with Richard to hear how the new gear is working out and how the sync library is coming along. Continue reading to learn more about Richard's go-to gear for recording and mixing, his approach to songwriting, and how his workflow has changed over the years.

Tell me a bit about your studio and the work that you do there.

I'm located about 40 miles East of downtown Los Angeles. It’s a studio that I just constructed. July was the grand opening—it’s been operational for about a year. I created this studio through a recommendation from Vintage King. Gavin Haverstick was recommended by VK to design the acoustics here in this studio. It took about two years to construct it.

The original plan was to record bands and that's what I've been doing. But during the construction phase, we ran into some issues. I met a new group of people who are doing sync music for TV, film, and ads. Since then, my role has changed. Now I work as a songwriter, producer, and engineer, creating compositional songs and instrumentals for a sync library.

The majority of my time here is spent working on songs and instrumentals in whatever style the sync library asks for. It's pretty much a one-man show right now. Every once in a while, I collaborate with other producers and artists to create music for the sync library.

What's some of your favorite gear that you've picked up from Vintage King over the years?

Recently, I bought an UnderTone Audio MPDI-4 four-channel preamp from Vintage King. That preamp is great. It's very flexible and can do clean sounds or dirty sounds. Plus, you can turn the transformers off and on for different sounds. I've been recently using that a lot over the last two months or so.

Prior to this was the Rupert Neve Designs Orbit 5057 summing mixer. That has been a great addition to the studio. I originally started working on tape machines and over the years, you kind of get trained to that. So when I was working in the box, something was missing that I couldn't figure out. It kind of felt like it was in a boundary, kind of like squashed a little bit.

So when I talked to my VK rep about it, they recommended the Orbit summing mixer. That box has changed a lot of things about how I do my mixes, because it sums 16 channels into a stereo channel. Just the fact that it's able to do that, rekindled the sound that I was searching for. It was a good addition to my studio here.

I also have a Rupert Neve Designs Master Buss Processor. That one, I use for my mastering chain. That's also a great box. I'm always looking for ways to make things more efficient or sound better. As I'm doing stuff, I'm always catching these little things that slow me down. So I try to find hardware or solutions to help me be more efficient. Some of these items that I've recently bought have helped me save a lot of time. They’re great additions.

A rack of outboard gear at Fullwave Studios, including a Rupert Neve Designs Master Buss Processor.

What are some of your favorite features of your new RND 5057 Orbit summing mixer?

Well, the sound is a given, right? That’s the Rupert Neve sound. One of the things that I love about it is that it has pretty much no buttons. There's very little tweaking. I just send audio to it. It has the Silk feature and a trim pot to cut back and attenuate the sound. I like the simplicity of it, honestly.

The other feature that's super awesome is that it has that -6 dB option on the back where you can actually push a higher level of audio into it and then it comes out -6 dB lower, which makes it more colorful. Like I said, I like the fact that it's a one-rack unit with fewer options and buttons. You just send audio to it and it comes out great. That’s a little feature that I love—it's "set and forget."

What are some of your favorite features of the new RND Master Buss Processor?

That one is pretty good. I don't use that one for my tracking, but I use it for my mastering chain. The versatility of it, and obviously the sound, is really hard to replicate.

One feature of the Master Bus Processor that I like is that it's dual mono. I like having the ability to use channel A and channel B for different things. You still have two compressors, but you can link them to only have one compressor. It also has a built-in limiter, which is awesome, plus the Red and Blue Silk features.

The thing that’s a little bit more unique about the MBP is that it has that side SFE port. It's called Sound Field Editor and it's kind of like a mid-side feature but it focuses on the low and high end. You're able to create width and depth out of it. It also has a feature to do mid-side compression. Channel A becomes a mid compressor and Channel B becomes a side compressor.

So I use those features depending on what type of songs I'm doing. If it's more rock songs compared to acoustic songs; I vary between the two, based on what sounds good. It's also a stereo field widener at the same time. It's a great box.

Have any of your new acquisitions from Vintage King changed your workflow?

Yes, the Orbit was the one that changed the most for me. Previously, I was doing a lot of things out of the box. What I do now is, whenever a recording is finished, I send all of my busses to the Orbit, which has 16 mono channels or 8 stereo channels.

I usually send 6 to 8 stereo channels into the Orbit. I presently go through an external bus comp compressor, and then an EQP-1A, which is a tube equalizer. That's then back into the Master Bus Processor. Then I go into the BURL B2 Bomber, which I got from VK as well.

Then the signal goes back into my box. The Orbit is the one that started all that. The ability to push those signals outside and use electronics and hardware to do your mastering is spot on. That changed my workflow for sure.

What was it like working with Michael Carnarius and Vintage King during your upgrades?

The majority of all my high-end equipment that I have here at the studio, I bought through Vintage King. I worked with a few different people at VK while building the studio. The times that I worked with Michael, he was very responsive to the reaction times that I needed. I email him and he always responds back right away. He's been very helpful.

The recommendation of the Orbit was part of his. Michael worked with me quite a bit to fit things within my budget and deliver things on time. It's been a great experience working with Vintage King.

A desk loaded with outboard gear and pro audio equipment, including a computer screen that says Fullwave Studios.

What monitors are you using?

I ended up purchasing the ATC SMC25A Pros. Those were also bought through VK. There's a funny story about that. When I first wanted to get these monitors, they were beyond my budget. My VK rep contacted me to say, “Hey, I have this producer in LA who's selling his because he wants to buy a new one. Would you be interested?” And I did that transaction all through VK.

They did a huge discount on the ATCs, which was about the same price that I got the ATCs for used. So working through VK, I just swapped them out for new ones, because they're about the same price and they just paid the difference. The ATCs are spectacular speakers. VK really helped me build the studio the way that I wanted it to be built.

Which microphones do you find yourself using most often?

Well, it obviously depends on what you're doing, but the Shure SM57 gets used for a lot of things. Second to that would be the Royer R-121 ribbon mic. I also use the Royer because I bought the Royer SF-24, which is a stereo mic. I use those three mics about 70% of the time.

For vocals, I use the three U47 tube mics the majority of the time. Unless it's a screamer rocker, when I'll use a dynamic like an SM58 or an SM7B. Those are the main ones that I go to.

On a different side of things, how do you feel about plug-ins?

A few years ago, I had an issue with them. But I would say that plug-ins have become very good over the last few years.

When it comes to the plug-in preamps and stuff like that, I tend to go hardware all the way. But once I have the source in the box, plug-ins are the way that I craft and clean the mixes. I use the typical: EQ, compressors, clippers, reverb, delays, and panning plug-ins. I tend to use plug-ins during the composition, creation, and mixing stages. Once it's mixed and ready to go, that's when I go out and experience the Orbit, using my external audio.

I'm all for the idea of using plug-ins because some of the hardware is super expensive, right? So getting a plug-in, which I can use multiple times, is great. I'm using quite a lot of plug-ins on my mixes, like the FabFilter Pro-Q 3 and the Soundtoys plug-ins, for sure.

The SSL Channel Strip plug-ins are awesome, too. Those are the ones that I mainly use. The good thing about recording with hardware is that once it's in the box, I use very few plug-ins after that—only to craft and clean.

For most of the tracks, I start with an SSL channel strip just to get that sound, and then the EQ to clean it up. If I recorded the song too dynamic, then I use compressor plug-ins like the 1176 or LA-3A to control the dynamics of it. I also use a clipper sometimes to match the transient.

Do you have a go-to signal chain that you use for recording? Or do you use something different every time?

I do have go-tos for specific things. For example, when mixing and mastering, I start with the Orbit 5057. Then I go to the Warm Audio BUS-COMP. Then the Audioscape EQP-1A. Then to the RND Master Buss Processor.

For guitars, my go-to is either an SM 57 or a beyerdynamic M 201. Sometimes, I put a ribbon in parallel with that. Those usually go through a BAE 1073 or 1084 preamp, into an API 550A EQ, and then to an 1176 to fix the transients. I usually go through a Chandler Limited REDD.47 preamp into an LA-2A type of compressor—I use the Warm Audio WA-2A.

For voice, I use a FET 47 into a BAE 1084 and then either a 76A or an LA-2A compressor based on how hard you want the song to sound.

For drums it's either, the API preamp or the UnderTone Audio preamp. I always use the M 201 from beyerdynamics, for the top of the snare with an SM57 on the bottom. Overheads I tend to use the Royer SF24. If I don't, I use pencil condenser mics.

For room mics—the way my studio is set up, there are multiple rooms—so for a room mic, I'll use the C47 in another room that's already set up for vocals. I just turn it on. Sometimes I use a Royer 121s for room mics as well, so it just depends.

The Distressors and the 1176s are for sure always on my drums, and a kick or snare. It certainly varies, but those are generally my go-to’s for drums.

Richard Carrasco standing at a desk full of outboard gear in Fullwave Studios.

What’s a typical day in the studio like for you?

Well, it's a lot of lonely time. It's only me by myself, but I have a regular day job. I'm an electrical engineer, so I do that in the daytime.

My work schedule is pretty flexible, so I can go in any time I want. It gives me a lot of freedom to do studio work. Usually, the days, evenings, or weekends are typically spent in my studio. The studio is in my backyard now. It's a house fully constructed for it to be a sound isolated.

On typical days, I wake up in the morning, make coffee, and walk outside into the studio. Sometimes you get direction from what type of songs to write for a library. For example, right now, I'm being tasked to write pop-punk songs. I have to create these albums, so I just sit here in my room, listen to some music, and try to come up with ideas for composing songs. Usually, the instrumentals are two or two and a half minutes long.

I just sit here writing and composing by myself. My family and my kids are here, so sometimes they visit me. It's great to have that family life embedded with my studio life.

When I collaborate and record bands they come here, they book it, they book a day, and I record them and produce them. But most days it's just me by myself in this room composing music for a library.

Are you working on any exciting projects right now that you’re able to talk about?

Yeah. Right now I have a backlog of requests to create instrumental music for a sync library. I basically have time as my only enemy, right? I just need to find time to do it. I have to create and compose Latin percussion, instrumental rock anthems, rock, pop, pop-punk, as well as more mellow acoustic piano, atmospheric type of music that you hear in the background a dramedy.

In the sync world, you have to create the music first and then pitch it or send it to the library. So I’m in a very lucky situation right now that people request the songs and I just write them.

One of the other exciting projects that I'm working on is trying to build this educational community here in the area that I live in, which is close to Los Angeles. When I first started doing music, there was nothing really available. As time went on, you saw these educational YouTube videos on songwriting or recording.

This year, I'm creating educational clinics and courses at the studio that teach people how to start and finish ideas. How to compose a song with recording in mind, to make things easier on yourself when it's time to record. We'll also do clinics on songwriting, how to record drums, how to record piano—things like that. We have our first clinic scheduled for next week!

The control room of Fullwave Studios, including stacks of amps, racks of outboard gear, a desk full of pro audio equipment, and several guitars. The vocal booth at Fullwave Studios with a condenser mic on a stand. The live room of Fullwave Studios, including a fully miked drum kit, a piano, and several guitar amps. The back wall of the control room at Fullwave Studios showing the custom acoustic paneling. The pool and palm trees outside of Fullwave Studios.

If you’re interested in purchasing any of the gear mentioned in this blog, we can help! Contact a Vintage King Audio Consultant via email or by phone at 866.644.0160.