In an increasingly corporate, money-driven music business, Snap certainly proves that a small, independent venture can succeed by virtue of the skills of those involved and their belief and passion rather than money and marketing muscle, and that’s something we’re really proud of. What about the industry climate? Has this affected you and if so how? We reviewed CAD’s A77 mic here, but even with an excellent mic and talented vocalist, capturing the best possible sound quality depends heavily on what’s around you. If you don’t have a designated vocal-booth type setup at home, or want the option of recording wherever inspiration strikes, the Acousti-Shield AS34 is a practical and portable solution at under six pounds. This is constructed from high quality perforated metal, instantly cutting down on echoes and unwanted room reverb thanks to the 35mm high density micro cell acoustic foam. Attach this to just about any mic stand and you’re good to start recording crisp, clear vocals ready to be mixed in your DAW of choice.

There’s certainly been a revival for more traditional recording over the past few years, and we fit in perfectly for that. What are your hopes and plans for the studio in the future? Before you disclose to us the personal information of another person, you must obtain that person’s consent to both the disclosure and the processing of that personal information in accordance with this policy Do you have any tips for managing (and maintaining) the balance between the creative 'vibe' and the more analytical process of mixing/engineering? 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. Needless to say, the outbreak of Coronavirus has had a devastating effect across the industry, and the creative sector has arguably been one of the hardest hit; the ramifications of which have forced artists to perform from home, driven engineers to adapt to remote solutions and, for those businesses less fortunate - forced them to cease operating altogether. Whilst this is an undoubtedly unnerving time, one of the saving graces for many of us is the accessibility to professional recording equipment in the home environment. We sat down with Marco to discuss how he manages to translate his workload between the Pro recording environment at Snap Studios and his carefully designed home rig. Can you explain a little about how you go about juggling studio projects between your home setup and Snap Studios? What’s considered when preparing/translating mixes for home use?

Comfortable. Compact. Portable.

Lorem ipsum, or lipsum as it is sometimes known, is dummy text used in laying out print, graphic or web designs. The passage is attributed to an unknown typesetter in the 15th century who is thought to have scrambled parts of Cicero's De Finibus Bonorum et Malorum for use in a type specimen book. Join us for a LIVE Q&A with Marco on Friday, where we'll be taking a closer look at engineering from home, essential gear and more. Got a question? Let us know on Facebook. 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? I’ve worked with the old Lynx Aurora’s for years and made a few records with them and always thought they were decent quality, but when I tried out the Aurora (n) I was absolutely blown away. The stereo image, depth and speed grabbed me instantly.

Yeah, the Aurora (n). I love it! I had been using a Prism Orpheus for about 8 years, but upgrading my Mac meant that I needed to upgrade my converters too because the Firewire conversion was too buggy. I’ve been using them on my mix rig at home for about 5 years or so now. I absolutely love them. I wanted a small pair of speakers which I could use as a main near-field pair, and I demo'd a few sets of monitors within my budget but the Neumann’s were clear winners for me. I’d already heard them in Snap when a few producers had brought them in for referencing so I knew what to expect, but when I put them in my room they just sounded right. I love the mid-range on them. It’s really forward and the low mids sound full and rounded. I always think the mids are like a posh NS10, but with extra smoothness. They’re an exciting speaker to listen to, even at lower volumes. They work great for most types of music, and I would say I probably spend 80% of my time working on them. Do you find they each offer something the other doesn't? Running a studio involves a lot more than just the recording. There’s maintenance, upgrades, and general upkeep to consider too. Snap was never intended to be a money making venture at all, but money always has to be considered, of course. We’ve also got loads of top outboard including Urei 1176s, LA2A, EAR 660, Pultec, Lang and Decca EQs, Decca limiters, Roland Tape Echoes as well as EMT plates and a unique tile room echo chamber.

Invented By A Grammy-Nominated Producer

The rooms feel comfortable to work in, and sound great. We’ve taken a lot of care with the decor and lighting, and the space is really conducive to working creatively and efficiently. What are some of the biggest challenges you have faced in recent years? Recycling? I’ve been doing this with a passion for decades. I never imagined it would grown into a multinational business, though.