When iconic drummer Ash Soan moved to the British countryside 17 years ago, he never imagined that a broken-down windmill would become the foundation of a world-class recording operation. Today, from his unique Norfolk studio, Ash delivers drum tracks for world-famous artists and producers, all while serving as the touring drummer for Snow Patrol.

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A Legendary Career Built on Groove

Ash Soan’s journey began in London’s vibrant 90’s music scene, but it was his work with Del Amitri that first put him on the map. From 1994-97, the band supported some of the biggest acts in rock history – The Rolling Stones, REM, Bon Jovi, Van Halen, and Oasis – culminating in performances at Woodstock ’94 and Wembley Stadium.

This early success opened doors to session work with an extraordinary roster of artists. Ash has played with Robbie Williams, Sheryl Crow, Sinead O’Connor, Marianne Faithfull, James Morrison, Seal, and Squeeze, while working alongside legendary producers Trevor Horn, Steve Lipson, and Mark Taylor. His most notable recording credit remains Adele’s “21” album, and he currently serves as touring drummer for Snow Patrol. Ash reflects:

“I was just very fortunate that the music business in the late 90’s and early 2000’s was still in pretty good shape.”

The Windmill Transformation

When Ash became a father 17 years ago, he left London and moved with his family to Norfolk. That decision that opened the door to a revolutionary approach to drum recording. The historic windmill on Ash’s property was “just a lovely old, broken down historic ruin” until a family friend who specialised in green builds suggested a creative solution.

The idea was simple: transform the windmill into a soundproof practice space where Ash could play without “annoying the sheep in the next field.” Using straw bales, lime render, reclaimed wooden boards, and careful insulation, they created what was intended to be just a personal rehearsal room.

But when producer Mark Taylor heard a test recording from the space, everything changed. He immediately recognised the windmill’s potential as a professional recording environment. That’s when Ash’s recording journey began.

Remote Recording Evolution

Ash was one of the first drummers to recognise the potential of remote recording, becoming a specialist in delivering world-class drum tracks from his own studio. He began his technical journey with Pro Tools and four Neve 1073LB preamps in lunchbox format, methodically developing his knowledge and recording techniques over time.

As his expertise grew, so did his collection – adding 88RLB preamps (the same preamps he’d seen in Abbey Road’s 88R console) and the versatile 1073OPX unit to create a comprehensive 14-channel Neve recording chain. Alongside the preamps, Ash built an extensive microphone collection based on what he’d observed in professional studios during his session work, combined with his own experimentation.

Social Media Pioneer

With his recording capabilities evolving, Ash then pioneered multi-microphone drum recording on social media. His Instagram posts showcasing the Windmill Studio attracted hundreds of thousands of followers, who watched as he demonstrated professional recording techniques and shared behind-the-scenes glimpses of his sessions.

This dual approach – leveraging both his established industry reputation and growing social media audience – created something unique in the session world. Ash now receives work from both traditional music industry channels and his engaged online fanbase. Ash explains:

“Now I’m in a space where people come to me and ask me to do remote recordings because of my reputation before and now.”

The COVID pandemic accelerated this trend dramatically, forcing the entire industry to embrace what Ash had been pioneering for years. Remote recording has evolved from alternative approach to standard practice, with artists and producers recognising the quality and convenience it offers when executed at Ash’s professional level.

The Neve Foundation

At the heart of Ash’s windmill setup lies his collection of Neve preamps, which form the backbone of his professional sound. As Ash puts it:

“Every single recording I’ve ever done, some aspect of the drums has gone through a Neve. Neve, to me, is an integral part of my sound.”

The 1073OPX has become particularly valuable in Ash’s setup for its reliability and integration capabilities. “You don’t have to spend five grand on an interface for it to work,” Ash notes, highlighting how the units connect seamlessly with affordable ADAT interfaces while maintaining world-class sound quality. “You just turn it on and it works. And in my world, that really does take the stress out of it.”

The Complete Recording Setup

Ash’s windmill studio centres around two distinct kick drum setups, permanently plumbed in to give him instant access to completely different characters. His main kit features a vintage Sennheiser 421 on a Kelly Shu shock mount for the inside sound, paired with a Solomon LoFreq on the outside – both feeding separate Neve preamps (1073LB and 1073OPX respectively). The secondary kit uses a single Solomon LoFreq through the 1073OPX, providing a significantly different kick sound without any re-miking or overdubs.

For snare, Ash runs a classic combination of Shure SM57 on top through the 1073LB, with an SM58 underneath going to the 1073OPX. He particularly loves driving his Bermuda Sand fifties snare through the 1073LB, creating what he describes as a “hip hop” character when pushed slightly into saturation.

The hi-hat setup showcases Ash’s preference for ribbon microphones, using a Beyerdynamic M160 through the 1073LB. This choice provides the warm, crunchy character he loves while remaining gentle on harsh frequencies that might bleed from the snare.

Overhead duties are handled by legendary Coles 4038 ribbon microphones, positioned with their iconic Star Wars figurines on top (“that’s part of my sound,” Ash jokes). These feed into the 88RLB preamps – the same units Ash has seen in Abbey Road’s consoles. The combination captures the kit’s overall character with that distinctive Coles warmth.

For toms, Ash keeps things straightforward with Sennheiser 604 clip-on microphones on both rack and floor toms, both running through 1073OPX preamps. Despite being “cheap as chips,” these mics have earned his loyalty over the years for their reliable, no-nonsense performance that works perfectly in conjunction with the overhead mics.

The room sound comes from a single Shure microphone positioned controversially close to the wooden ceiling, also feeding the 1073OPX. This placement captures reflections off the wood that add character and dimension to the overall mix – another example of how the windmill’s unique construction contributes to its distinctive sound.

Real-World Results

This isn’t just a hobby setup – Ash’s windmill studio handles serious commercial work. Recent projects include sessions with Dua Lipa and the new Lion King soundtrack with Elton John. As Ash confirms:

“The files are going to world-class producers around the world, and so far there’s been no complaints.”

From an old windmill to a cutting-edge remote recording facility, Ash Soan’s journey represents the evolution of modern music production. With Neve preamps as his recording foundation and decades of experience guiding his choices, he’s created a unique space where tradition meets innovation – proving that world-class remote recording is possible.

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Experience the Windmill Sound for Yourself

Follow Ash Soan’s journey: Connect with @ashsoan on social media to see his latest multi-microphone drum recordings and behind-the-scenes content from the windmill studio

Watch the full studio tour: See Ash demonstrate his complete setup in our exclusive windmill studio video

Bring Neve to your setup: Explore the complete range of Neve outboard preamps, from the versatile 1073OPX to the classic 1073LB and 88RLB units that power Ash’s legendary drum sounds

Join the conversation: Share your own studio setups using #NeveSound

Ready to elevate your sound? Whether you’re building a home studio or upgrading your existing setup, Neve’s professional-grade preamps deliver the legendary sound that icons like Ash Soan rely on. Contact your nearest Neve dealer today to discover how 14 channels of pure Neve magic can transform your recordings.

Legendary songwriter Guy Chambers (Robbie Williams, Kylie Minogue) and his chief engineer Simon Todkill (Post Malone, Holly Humberstone) reveal how the 1073OPX has become the cornerstone of their new studio setup.

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Legendary songwriter Guy Chambers has built a new home studio, Sleeper South, nestled in a quaint national park village in East Sussex.

From this space, Guy is working with chief engineer Simon Todkill on new projects, from original albums to soundtracks.

Their relationship began through Moloko, the studio agents, where Simon was working as an engineer. As Simon explains, their collaborative approach focuses on efficiency and results:

“What I love about working with Guy is that we don’t mess around. We’re here to work, and we work quick and at the end of the day, we leave with something done. I think that’s the powerful thing with music, to not be messing around with ideas but completing them.”

A History with Neve

Guy’s relationship with Neve stretches back to the 1990s, when he was at the height of his career working with Robbie Williams. Back then, Neve VR consoles were his preferred choice. As Guy recalls:

“In the 90s, when I started making records, you’d pick a Neve. It would be Neve VRs back then. So all the Robbie records, pretty much, were recorded on Neves.”

Even when he was offered an EMI console from Abbey Road for his own studio, Sleeper Sounds, Guy maintained his connection to Neve: “I always had Neve outboard. Even when I had the EMI board, I always had the 1081s,” he says.

Simon’s introduction to Neve came through working with the Neve 88R at a large studio in Sydney, Australia. As Simon remembers:

“I always say to people, it was the most flexible console I’ve ever worked on, in that it was really hard to mess up getting sounds. It has headroom for days, and the EQ is incredibly musical.”

The Evolution of Sleeper Sounds Studio

Guy’s original Sleeper Sounds studio in London, established in 2002, houses 25 years’ worth of carefully curated equipment.

As Guy explains: “It’s got an amazing array of gear. And, it sounds really great and people love it. I’m really pleased that it’s used by such an array of different musicians, from Frank Ocean to Jack Antonoff to 1975. You know, it’s an amazing alumni of people who have used it.”

However, success brought its own challenges. As Guy notes: “As its reputation has grown, it’s become increasingly difficult for me to get into my own space because people block book it. I needed somewhere else. And that’s why I’m here.”

Building Sleeper South

The new studio presented unique challenges. Located in a national park, planning restrictions meant the building had to blend in with existing architecture.

As Guy describes: “It’s got a bit of a chapel feel, but I also wanted it to be multi-use, so it’s got a stage. I do little gigs in here with about 20 people in the audience. It’s also a nightclub if you take everything out, which I did the other day for a big party. So it’s got three different uses. A studio, venue and a nightclub.”

The 1073OPX Decision

When it came to choosing the recording chain for Sleeper South, both Guy and Simon knew they needed something reliable and familiar. As Simon explains: “The brief was to keep it simple. We don’t have all the extra instruments filling up a room here. It’s about the space being clean and quick. We wanted to get that top quality front end, and the Neve 1073OPX had just come out and checked every box.”

The two 1073OPX units they chose provide 16 channels of classic 1073 sound, with each 8-channel unit delivering the familiar character they’ve worked with throughout their careers. Simon notes the importance of having reliable equipment:

“Without that high quality front end that’s reliable and familiar, you start to guess the sounds instead of being able to listen to something you know and trust.”

Modern Neve, Classic Sound

What impressed both Guy and Simon most about the 1073OPX was how it delivered the familiar sound they knew. As Simon recalls: “The moment we put them in here and did the test recordings, everything sounded familiar. Immediately, it was like okay, these are doing everything I would expect from a classic 1073 or 1081, but with the clarity of a modern Neve.”

The practical benefits are just as important as the sonic ones. As Simon notes, the 1073OPX offers features that other high-end units don’t:

“Beyond the recall element, which no one else has on a top quality front end unit, it’s the fact that we can then access everything from the front panel.”

The recall functionality means they can set up their preferred settings and return to them instantly, while the front panel gives them immediate access to the full range of inputs and controls without running additional cables around the space.

The Sound of Success

For Guy and Simon, the 1073OPX represents reliability and familiarity in their workflow. As Simon puts it: “They just work. And that’s the highest compliment I can pay to the design. You plug them in and on everything you’re like, that’s great, it works, no question.”

Guy Chambers and Simon Todkill’s journey continues to evolve. With the 1073OPX at the heart of Sleeper South, they’re ready to create the next chapter of their partnership. As Guy concludes: “I’ve made a record here, we’ve done a whole album here, so I’ve been doing that and I plan to do more of that.”

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Experience the 1073OPX for Yourself

• Watch our video with Guy Chambers and Simon Todkill to see the 1073OPX in action at Sleeper South
• Learn more about Guy Chambers’ work and projects at guychambers.co.uk
• Discover Simon Todkill’s engineering expertise and portfolio at simontodkill.com
• Explore the Neve 1073OPX and bring eight channels of legendary sound to your studio
• Join the conversation with #NeveSound and share your own studio setups

Ready to elevate your recording setup? Neve’s professional-grade equipment delivers the sound that legends trust. Contact your nearest Neve dealer today.

Why Conversion Quality Matters In An Audio Interface

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Audio interfaces have become the backbone of home and mobile recording, but while most engineers focus on preamp specifications, the real game-changer lies in conversion technology.

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Bus-powered interfaces have revolutionised professional recording, enabling artists and engineers to capture sound anywhere: from home studios to concert halls, remote locations to artist bedrooms. High-end devices have now entered this space to provide premium, studio-quality portable sound. Portability has democratised high-end recording, but while most discussions focus on preamp quality, a crucial partner to the preamp is conversion technology. This often-overlooked circuit determines whether your portable setup delivers professional results.

The best preamps in the world cannot rescue poor conversion, yet this critical stage of the signal chain remains misunderstood. When professional engineers choose an interface, they are seeking conversion quality that maintains the sonic integrity inherently present in the analogue domain through to the digital audio workstation.

This is particularly important when using high-fidelity analogue equipment, microphones and preamps, for example. True translation must be afforded by the ADC chips if absolute professionalism is required.

The Foundation of Professional Portable Recording

Analogue-to-digital and digital-to-analogue conversion serves as the crucial gateway between the acoustic world and digital processing. Every signal entering your system passes through an ADC, while everything you monitor flows back through a DAC. This is not merely about capturing levels; it is about preserving the three-dimensional spatial information and harmonic complexity that separates professional and mediocre recordings.

Budget interfaces often compromise on converter chips to meet price points, using basic components that prioritise cost over performance. These may capture signal adequately but reveal their limitations when audio undergoes digital signal processing. As we heard in our recent video with recording engineer Tony Draper, superior conversion means “anything I track through Neve conversion, however you want to process it later, it will take it really well and do it naturally.”

Lesser converters develop a flat, compressed quality under manipulation, losing the spatial depth and harmonic richness that defines professional sound. The difference becomes particularly apparent in complex mixes where multiple elements compete for sonic space.

Engineering Excellence in Portable Form

Modern technologies such as the top-of-the-line ESS Sabre 32 chips that “are not commonly used on a lot of audio interfaces” due to their demanding specifications and higher costs, are premium components to choose when designing an ADC/DAC circuit. These converters deliver over 120dB of dynamic range, ultra-low distortion, and built-in jitter elimination. However, ADC/DAC chips are merely one part of the conversion circuit; the analogue input and output stages to and from these components must also be carefully considered to complement the I/O of the chips and allow for true translation at either side of the conversion equation.

The technical design capabilities honed over decades by our dedicated engineers translate into equipment that professionals describe as exceptional, producing three-dimensional imaging and natural sound character.

Our 88M and 1073SPX-D bring professional conversion technology to home and mobile studios.

Professional Validation

The proof lies in professional adoption. Tony Draper, with over a decade of experience on flagship Neve consoles, is spoilt for choice in his studio when it comes to AD/DA conversion and found the 1073SPX-D‘s conversion performance exceeded all of his high-end alternatives: “I did not expect it to be the very best I have got. Now it is my main mix conversion for hundreds of professional projects annually.”

This performance consistency extends beyond controlled studio environments. For engineers working across multiple facilities, this reliability is essential. As Tony notes: “I took the 88M to the Liverpool Philharmonic and recorded their Steinway Model D with it. The preamps and conversion in tandem give you such a deep soundstage.”

The investment in superior conversion pays dividends throughout the production chain. Whether capturing delicate acoustic performances or processing complex electronic arrangements, exceptional conversion preserves the sonic characteristics that distinguish professional work.

Tony describes the result: “It’s 3D all day long. The depth is absolutely amazing.” This three-dimensional quality allows instruments and voices to occupy distinct spatial positions rather than competing in a flat soundscape.

In an industry where technical standards continue rising, conversion technology represents the foundation upon which everything else builds. While preamps capture the initial sound and processors shape the final result, it is the converters that determine whether the essential musical information survives the journey from microphone to master. That’s why every Neve interface includes conversion technology that delivers the three-dimensional depth and natural character professionals demand.

Learn more about the 88M and 1073SPX-D.

Hear the 88M and SPX-D in action in our video with Tony Draper.

Interested in purchasing? Find your local dealer.

Bringing professional studio sound to home recording has always been challenging, but Neve’s latest compact units are changing the game. Recording engineer Tony Draper demonstrates how the 88M, 88C and 1073SPX-D deliver console-quality results in a domestic setting.

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Recording engineer Tony Draper (Ibibio Sound Machine, Peter Perrett, Emilíana Torrini) recently welcomed Neve into his home studio. With over a decade of professional experience, Tony demonstrated how outboard gear like the 88M, 88C and 1073SPX-D can transform a domestic space into a professional recording environment. From tracking piano to mixing final productions, his workflow reveals how these compact Neve units deliver studio-quality results without the need for a large facility.

Tony’s journey began as a musician, first a pianist, then a guitarist, before discovering his true passion at the intersection of technology and creativity.

“I realised that I don’t really want to be a performer. I was more interested in working on other people’s music from a technological standpoint… I loved that marriage of the technology and music together.”

After formal education and training, Tony spent 11 years at Liverpool’s Parr Street Studios, where he first encountered the Neve VR console. This experience shaped his understanding of what audio equipment could deliver.

“My first real introduction to Neve was working on that console… I got to know the VR very well and how classic it sounded.”

Tony’s experience with Neve consoles expanded when he began working with another studio that installed a Neve 88R. He was present for the installation process, even visiting the Neve factory to meet the team and learn more about what goes into the consoles. As Tony explains, the 88R was a real step up.

“We used to use the VR quite a lot for its preamps, but then the 88R was a massive step up in clarity and bandwidth and all of these sorts of things. It’s just a gorgeous sounding preamp.”

 

From Console to Compact

For Tony, the 88M interface represents a revolutionary development in audio technology – bringing the pristine sound of Neve’s flagship 88R console into an accessible, portable format.

“With the 88M, you can take those same quality preamps that we were all blown away with in the 88R console, the huge format analogue console, and take it home with you or out on the road… and get that same quality of sound, that crucial input stage, in a super affordable little box.”

Tony demonstrates this by recording his Yamaha U1 piano using a pair of Neumann KM184 pencil condensers running through the 88M at 96kHz sample rate.

Throughout the session, Tony emphasises that no amount of post-processing can compensate for a poor initial recording:

“The preamps are really important for that initial capture. If you don’t capture something well in the first place… whatever you do afterwards is not going to help. That initial capture is absolutely crucial.”

This philosophy guides Tony’s approach to recording, making the quality of the 88M’s preamps essential to his workflow.

The Converter Advantage

While many focus exclusively on preamp quality, Tony highlights another critical aspect of the 88M that often goes unnoticed:

“People don’t talk about Neve converters enough. They are incredibly good, really strong, really natural sounding… It’s 3D all day long. The depth is absolutely amazing.”

He explains that quality conversion means the audio can handle subsequent processing without degradation:

“Anything I track through Neve conversion, whatever you want to do to it later—distort it, EQ it, compress it—it’ll take it really well and do it naturally.”

The 1073SPX-D: A Mixing Hub

After recording piano with the 88M, Tony moves to his mixing area where the 1073SPX-D serves as the centrepiece of his setup. It provides not only the classic Neve preamp sound but has become his primary digital converter:

“When the 1073SPX-D arrived and I plugged it in… I didn’t expect it to be the very best I’ve got. Now it is my main mix conversion. Everything I mix in here—hundreds of tracks a year—all of it is monitored through the SPX-D.”

The 1073SPX-D’s digital option also allows Tony to reprocess previously recorded tracks, as he explains:

“If a vocal needs a bit of help, we can flow straight out of the computer into the Neve through its conversion, through its line amp and EQ, do a little shaping through its transformer goodness and then straight back into the computer again.”

Adding Character with the 88C

For the final touches, Tony experiments with the 88C compressor on his piano recording. Like the 88M, the 88C brings the classic compression characteristics of Neve’s large-format consoles into a compact unit.

“I’ve set it quite subtle, only 1.5 to 1 gain reduction, but the threshold is quite low, so it’s grabbing a lot of the signal but just squeezing it very gently… adding density to the sound and really pinning it to the front of the mix.”

Tony concludes by reflecting on what Neve equipment brings to recordings:

“There’s a real lushness to stuff that goes through Neve… It feels big and weighty and clear, which sound like opposites. How can it be weighty and also clear? But it is… It sounds classic. You just know it’s quality when you plug into it.”

From recording the Liverpool Philharmonic’s Steinway grand piano to tracking overdubs in his home studio, Tony Draper demonstrates how Neve’s portable solutions – the 88M, 1073SPX-D, and 88C, bring world-class audio quality to any environment.

With these compact yet powerful units, that signature warmth, clarity, and depth can now be achieved in any space.

Tony’s Key Points:

• The 88M delivers the same preamp quality found in Neve’s high-end 88R console in a portable format
• Neve’s converters provide exceptional depth and clarity that holds up through processing
• The 1073SPX-D serves as both a preamp and high-quality conversion hub for mixing
• The 88C compressor adds density and presence while maintaining a natural sound
• This compact Neve setup enables professional recording quality in any environment

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Experience the Neve Sound for Yourself

• Watch Tony Draper’s full demonstration video to see the equipment in action and learn his recording techniques
• Learn more about Tony’s work and projects at tonydraper.com
• Explore the complete range of Neve’s professional home recording solutions including the 88M, 1073SPX-D, and 88C
• Download the stems from this session here
• Join the conversation on socials with #NeveSound and share your own home studio setups

Ready to elevate your home recording setup? Neve’s professional-grade equipment is now more accessible than ever. Contact your nearest Neve dealer today.

5 Reasons to Upgrade to the Genesys G3D for Dolby Atmos

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Dolby Atmos is changing the way music and sound are made – and the Neve Genesys G3D console upgrade gives Genesys users the tools to mix in full 3D without leaving the desk. In our latest film with composer and mixer Carlos Rodgarman, we talked about why the G3D system is the best way to step into immersive mixing, with no compromise on sound or workflow.

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1. Dolby Atmos Is Here to Stay

With Apple Music, Tidal, Netflix and Amazon all supporting Dolby Atmos, immersive audio has gone mainstream. Whether you’re working on records, soundtracks or sync, Dolby Atmos is quickly becoming a standard delivery format.

“Atmos has opened up a new market for me… It’s changed everything.”

2. Mix Directly from the Console

The Neve Genesys G3D is the world’s first object-based analogue console system. You can control up to 118 objects directly from the Genesys surface, automate via the touchscreen or touch encoders, and mix Dolby Atmos in real time – just like you would with a stereo mix:

“I can do both mixes at the same time… stereo and Atmos. That saves hours,”

3. No More Stems or Print Passes

Traditional hybrid Dolby Atmos workflows often rely on exporting stems, bouncing passes, and revisiting old sessions. With Genesys G3D, you can make changes once and hear them in both stereo and Dolby Atmos mixes simultaneously – saving time and reducing risk of error.

“There are no more missed tweaks or hours spent redoing things. It all just happens together.”

4. Smooth Recall and DAW Integration

The Genesys G3D system is tightly integrated with your DAW. Plugin-based automation lets you draw object movement right into your session, while the console maintains its full analogue character. You can also recall sessions easily using onboard software.

For Carlos, it’s the best of both worlds.

“It’s the speed and flexibility of a DAW, with the tone of an analogue console.”

5. The Legendary Neve Sound

Upgrading to Genesys G3D doesn’t change the heart of what makes a Genesys special. You still get classic Neve preamps, EQ and dynamics – with the added power of object-based mixing, all in one surface.

When asked to describe the sound of the Neve Genesys G3D, Carlos smiled and said,

“The more you add to a mix, the bigger it sounds. That’s the Neve difference.”

Thinking about the upgrade?

As immersive audio continues to grow across music, film and games, the Genesys G3D upgrade is the next logical step for Genesys owners – and for studios looking to stay ahead of the curve. By combining iconic analogue sound with modern Dolby Atmos workflows, the Genesys G3D removes the need for complex rerouting, extra controllers or out-of-the-box compromises. As Carlos highlights in our recent video, it’s now possible to mix stereo and Dolby Atmos together, with full recall, full resolution, and full Neve character. It’s all in the desk – no workarounds needed.

Learn more about the G3D by visiting the product page here. 

You can follow Carlos on Instagram here.

Interested in purchasing the Genesys G3D? Reach out to our team using the Contact Page.

Carlos Rodgarman’s LA studio delivers world-class sound in a compact space. With the Genesys G3D console at the heart of his setup, he delivers high-end stereo and Dolby Atmos mixes without compromise.
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Carlos Rodgarman is a GRAMMY-nominated engineer, Latin GRAMMY-nominated songwriter, and musical director. From his LA-based RG Studios, Carlos produces high-end recordings and Dolby Atmos mixes, with the Genesys G3D at the heart of his setup.

In the early days, Carlos began building his setup piece by piece. But as projects grew and sessions became more complex, the need for a central hub became clear:

“At first, I bought a great-sounding piano. Then I needed better mics. Then mic pres. Then compression… before long, I had this pile of incredible gear, but it was disconnected and slow to manage. That’s when I realised I needed a console.”

That decision led Carlos to the Neve Genesys Black console—giving him world-class analogue sound with DAW integration. As immersive formats like Dolby Atmos became more prominent, Carlos searched for a way to adapt without sacrificing the sonic quality and speed of his current setup. That’s where the G3D upgrade came in. “When I saw the G3D console at NAMM, and that it was an upgrade for my console, it was a no-brainer,” he recalls.

The G3D system allows Carlos to mix both stereo and Atmos at the same time, directly from the console surface. Without the hassle of extra monitor controllers, patching delays and stem printing.

“I’m mixing both stereo and Atmos at the same time. I just stay in the sweet spot, automate whatever I need, and keep going. It saves hours.”

With everything integrated—from object panning to outboard routing—Carlos is free to focus on creativity. Even in a compact space, the results speak for themselves.“I’m now at the point where I track drums in here, and even though it’s a small room, the sound is huge. It sounds like I did it at EastWest.”

Ask Carlos to describe the Neve sound, and he smiles:

“I don’t think you can describe it. You just feel it. It’s the dimension, the size… the more you add to a mix, the bigger it sounds.”

For Carlos, the G3D upgrade has turned his already powerful setup into a future-proof studio that keeps pace with the demands of modern production. Whether he’s tracking live instruments, arranging full orchestras, or mixing in immersive formats, the Genesys G3D gives him the tools and confidence to deliver world-class sound—without compromise. In his own words: “It’s more than gear. It’s the sound I’ve always chased—and now I have it at my fingertips.”

Learn more about the G3D by visiting the product page here. 

You can follow Carlos on Instagram here.

Interested in purchasing a G3D? Reach out to our team using the Contact Page.