A SPACE BUILT FOR MUSIC
CAPTURING THE MOMENT.
Recording, mixing, mastering, lacquer cutting and immersive listening. All stages, all formats, all in one place.
SIGNATURE EQUIPMENT
TOOLS THAT CAPTURE THE MOMENT.
SSL 4000 G+
Total Recall and THD-Labs Tangerine VCA Automation.
STUDER TAPE COLLECTION
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3× A820 24-track
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2× A820 stereo
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2× A80
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2× C37
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A812
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B67
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10 Studer/Revox cassette decks.
LACQUER CUTTING
Neumann AM32B Cutting Lathe.
MICROPHONE COLLECTION
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Neumann M50, U47, U67 and U89
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Sennheiser MKH 800 TWIN
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Austrian Audio
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beyerdynamic M130 and M160
SIGNATURE INSTRUMENTS
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Steinway D-274
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Hammond C3 with Leslie
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Rhodes MK8 and original Mark III
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seven drum kits
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selected amplifiers
IMMERSIVE SOUND
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Neumann 9.1.6 Dolby Atmos Monitoring
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Fohhn Immersive Audio
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Active Acoustics
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SSL 4000 G+ 48-channel console
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24× E-Series 242 equalizers
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24× G-Series 292 equalizers
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40× G-Series microphone preamplifiers
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8× E-Series Jensen-transformer microphone preamplifiers
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SSL G-Series Master Bus Compressor
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SSL Total Recall
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THD-Labs Tangerine Automation Interface
MONITORING & IMMERSIVE AUDIO
RECORDING & MIX STUDIO
LIVE ROOM
ALMOST LIKE HOME
The Live Room is more than a recording space. It carries the acoustic DNA of two remarkable studios. In 1994, both the former TYROLIS Studio in Eschen and Peter Wolf’s Little America studio in Weiler, Austria, were designed by Swiss-born, Los Angeles studio architect Peter Grueneisen and studio bau:ton.
When Little America closed, LITTLE Konzett saved its ceiling clouds, doors and acoustic elements and brought them to Eschen. Only years later, the original plans revealed that both studios had been conceived by the same designer. Together with Dirk Noy and WSDG, these elements were recalculated, tuned and integrated into the Live Room.
Today, two walls lined with more than 80,000 records create a unique, variable acoustic surface. Automated curtains reveal or cover the collection, allowing the room to adapt to the music.
This exceptional natural acoustic is currently being complemented by an immersive Fohhn system and active acoustics, developed in collaboration with Fohhn, beyerdynamic, Neutrik and Tom Ammermann of New Audio Technology. Sixteen beyerdynamic MM 1 measurement microphones and real-time processing allow the perceived size and reverberation of the room to change at the touch of a button.
A room with history, precision and soul—created so musicians can feel at home and simply perform.
EQUIPMENT
Fohhn Immersive Audio System
Fohhn Active Acoustics
beyerdynamic MM 1 measurement microphones (16×)
Real-time acoustic processing
OUTBOARD GEAR
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Avalon M5
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Oram Octasonic 8
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Aurora Audio GTP8
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Chandler Limited Germanium
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Neve V-Rack preamp and dynamics modules (3×)
MICROPHONES
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M 50 tube microphone
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U 47 with VF14 tube (3×)
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U 67 Tube Reissue
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U 47 FET (2×)
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U 89 (3×)
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U 87
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TLM 170 (2×)
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KM 84 (3×)
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KMS 104 (3×)
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KU 100 Dummy Head
INSTRUMENTS & BACKLINE
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Steinway & Sons D-274 concert grand
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Hammond C3 organ with Leslie cabinet
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Rhodes MK8
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Original Rhodes Mark III
Equipment availability may vary by session. Please contact us regarding specific technical or instrumental requirements.
CONTROL ROOM
ANALOG SOUL. TOTAL RECALL.
At the heart of the Control Room is a legendary SSL 4000 G+ console, surrounded by three Studer A820 2-inch 24-track machines—72 tracks of analog tape, synchronized for live recording and real-time mixing.
The console’s original Total Recall is paired with the THD-Labs Tangerine Automation Interface, capturing every move of the SSL’s VCA faders. This means an analog mix performance can be recorded, recalled and precisely refined at any time. Even detailed mix edits remain possible without leaving the analog signal path—combining the sound and tactile experience of classic analog mixing with modern flexibility.
For mix capture and analog mastering, two Studer A80 master recorders form a dedicated tape-to-tape chain. One machine plays back while the other captures the final master through a carefully curated mastering chain featuring the Manley BACKBONE, Massive Passive, Variable Mu, Dangerous Music BAX EQ, Langevin limiter and other hand-selected analog processors.
This is analog without compromise: recorded in the moment, fully recallable and always open to refinement.
EQUIPMENT
Dynaudio Acoustics M3 main monitors
Yamaha NS-10M
Auratone monitors
BSS FDS-360 active crossover
Chameleon amplifiers for Dynaudio monitors (2×)
Crown D-75 power amplifiers (4×)
FLOOR PLAN
Designed by architects acoustic consultant studio bau:ton Los Angeles www.bauton.com. Studio Eschen is a 5,000 square foot facility for the exclusive use. It features a 50’x50’ live room with 12’ ceiling and special acoustic paneling, 4,000 cubic foot control room with cement walls and 2 iso booths plus extra recording room. Undisturbed space for recording. The studio is situated on the first floor reachable via a heavy transport elevator for 2.200 pounds. Daylight in all rooms. The studio is fully air conditioned.
MASTERING SUITE
TRUST WHAT YOU HEAR
Designed by Dirk Noy of WSDG, the Mastering Suite combines precisely controlled acoustics with an elegant and focused environment. Carefully calculated room proportions, low-frequency membrane absorbers and specifically positioned diffusers create a transparent and reliable listening space—built for confident final decisions.
FLOOR PLAN
THE MAGIC ROOM
The Magic Room at LITTLE BIG BEAT is a sumptuous listening space with stereo and multi-channel audio-visual systems, a vinyl cutting lathe, tape machines and an amazing collection of nearly 50,000 LPs. It’s where we check test pressings, evaluate mixes in a more domestic setting, entertain guests, listen to records (for fun!) and cut lacquers.
From day one, we wanted LITTLE BIG BEAT STUDIOS to be more than just a link in the production chain, we wanted to think outside of the box that is “record, mix, move on”. Besides our live studio sessions – each one a unique event with the artists performing surrounded by the audience – the Magic Room stands as one of the best examples of our mission to unite all aspects of music making and enjoyment under one roof.
A total of 19 Neumann loudspeakers are installed in the Magic Room.
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2× Neumann KH 420 – Left und Right
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1× Neumann KH 120 – Center
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12× Neumann KH 80 DSP – Surround und Height
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4× Neumann KH 750 DSP – Subwoofer
THE MUSIC SYSTEMS
THE STUDER TAPE MACHINES
Analogue technology is alive and well at LITTLE BIG BEAT, as evidenced by a number of Studer reel-to-reel tape machines. We have two A820s (2”, 24 channels), one A800 (2”, 24 channels), one A80 (¼”, stereo/mono), one C37 (¼”, stereo) and one A812 (¼”, stereo) at our disposal which can be wheeled into the Magic Room if required.
The acquisition of a vintage Neumann AM-32b cutting lathe enabled us to cut our own lacquers. Lacquer cutting is the very first step in getting recorded sound onto vinyl records: the audio signal is “engraved” into a nitrocellulose layer on an aluminium disc which is later copied to make the stampers that press the grooves into vinyl records. Our lathe is from the early 1960s, but it has been lovingly restored, is in great shape and a useful tool at LITTLE BIG BEAT.
THE NEUMANN CUTTING LATHE
HISTORY
When LITTLE BIG BEAT STUDIOS moved to the current premises in Eschen in 2013, we had the luxury of being able to choose between two control rooms. The smaller one was more practical and became home to our SSL console and Studer tape machines; the larger room turned into a storage space – and a rather unglamorous back-stage area.
Years later, in 2021, Little Konzett was sitting in the middle of the large room, in-between a bunch of cardboard boxes and a huge pair of Tannoy speakers, when inspiration struck: couldn’t he make better use of this space by turning it into a dedicated listening area, with a vinyl-based music system, comfy lounge chairs and thousands of books? From playing drums in front of bookcases, he knew that masses of paper can have a positive effect on acoustics.
Little relayed his plans to Arthur Gassner, a music lover and friend of the studio’s. Arthur was intrigued, and when he stopped by a few days later he said, “Look, I’ve amassed so many LPs that my listening room is bursting at the seams. How about I lend you part of my collection for this project?”
Little loved the idea! After some considerations of feasibility and extensive planning with architect Thomas Burtscher, construction began under the working title “Magic Room” (obviously, the name stuck). Custom-made LP shelving with HUE®-controlled LED lighting from Austrian LED Works was installed covering almost the entire wall area. Beautiful solid oak flooring was laid and various music systems and loudspeakers were installed. Then, over the course of several days, nearly fifty thousand LPs from Arthur’s collection were hauled into the building.
Considering that, among other things, the room was meant to be used as a “serious” listening space, an acoustician told us that walls lined with thousands of LPs would never work. But Little had a gut feeling that it would! Complemented by concealed absorption, bass traps and ceiling diffusors, Arthur’s vinyl collection provides great acoustics and a wonderful setting to relax, browse LPs and delve deep into the music.
Even before the finishing touches were completed, the Magic Room became a natural extension to all of the other facilities at LITTLE BIG BEAT. It instantly felt right, as if it was always meant to be there. We use the Magic Room every single day to check test pressings, listen to masters, cut lacquers, or simply chat with guests and enjoy some music. A large, sound-proof window looks into our main recording area, so a pane of glass is all that separates the art of music production from the tradition of music reception. The Magic Room is where all of our work at LITTLE BIG BEAT comes full circle.
THE ARTHUR GASSNER COLLECTION
The charm of the Magic Room at LITTLE BIG BEAT stems, in large part, from a massive collection of vinyl records. On loan from Liechtenstein entrepreneur Arthur Gassner, nearly 50,000 LPs adorn the walls of the Magic Room, lending the purpose-built listening space both an inviting atmosphere and great acoustics.
Arthur started buying records as a teenager, fuelled by a voracious appetite for music and, to some degree, obsession! Decades later he is still at it, which thankfully means that we are able to house a large part of his musical treasure in the Magic Room.
The collection comprises a multitude of styles and genres, from classical box sets pressed during the heyday of LP production in the 1960s to rock and pop staples from the 1970s onwards to recent titles and, of course, all of our own productions on the loEnd Recs label.
In the summer of 2022 we started the gargantuan task of cataloguing the collection with plans to open a virtual or brick-and-mortar records shop.
Stay tuned!