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Recording & Mix Studio

Recording & Mix Studio

Live Room


With a large, high-ceilinged tracking room, two impressive control rooms and a spacious lounge, it's a natural choice for musician to record at Studio Eschen. For high-end analog recording studio offers a state-of-the-art C.L.A.S.P. (Closed Loop Analog Signal Processor) system connected to a fully serviced Studer A820 for 24 analog multitracking. Patented by Chris Estes, the CLASP design bridged analog and digital recording techniques by seamlessly integrating the tape machine into Pro Tools.

The result is the ability to record to tape while maintaining the speed and flexibility of a DAW, delivering real-time analog monitoring with zero-latency through a mastering grade audio signal path. Just like we each like different genres of music, some engineers like plugins, and thats fine. But when it comes down to it, we like the sound of using the real thing any day over a simulation.  And why not use the real thing if you can?  A real tape machine running in the studio is always way more inspiring than a plugin any day.

Control Room


The control room offers a flagship SSL 4048 G+ in perfect condition. Pro Tools 10 and the I/O configuration consists of high-end Antelope Audio Converters. For analog tracking we offer 3x Studer A820 2" 24 track machines with Dolby SR inbuilt, perfectly synchronized to Pro Tools providing 66 tracks on tape.


The studio has also it's own STEINWAY & SONS grand piano Model D274 (274cm), a very beautiful sound and a real touch of class.


The SSL G series has been stalwarts supporter of studios around the world for the past 25 years, and legend has it that more platinum records have been mixed on G Series desks, than on any other type of console. The biggest positive of having a G4048 - apart from its great sound - is the flexibility it gives to the studio. A compact design packs great preamps, EQ and dynamics into every channel and provides an amazing central core to the studios setup. In conjunction with the growing outboard rack of preamps, dynamics processors and FX toys the desk catapults the studio into a sonic realm.


  • 48 channels, left hand patchbay, right hand producers desk

  • 24x E-Series (242) Equalizers

  • 24x G-Series (292) Equalizers

  • 40x G-Series Microphone Preamplifier

  • 8x E-Series Jensen Transformer Microphone Preamplifier

  • G-Series Master Buss Compressor

  • Tangerine Audio VCA Automation System with Total Recall




  • BSS-FDS-360 Active Crossover

  • Chameleon Dynaudio Amps (2x)

  • CROWN D-75 Power Amp (4x)

  • PRO TOOLS HDX Ultimate up to 64 audio tracks @ 48/96/192 kHz

  • Orion HD3 Multi-Channel AD/DA Converter (2x)

  • Apple MacPro Dual Quad 3,46 GHz 6-Core Intel Xeon “Westmere” (12 Kerne)

  • STUDER A820 - 2" 24 Track (3x)
    All three machines with Dolby SR in

  • STUDER A800 MK2 - 2" 24 Track

  • STUDER C37 - 1/4" 2 Track

  • STUDER A80 - 1/4" 2 Track (2x)

  • STUDER A812 - 1/4" 2 Track

  • Neumann AM32B Lathe: 1962
    Vinyl Cut Table

  • C.L.A.S.P. System Endless Analog

  • UREI 1178 Stereo

  • UREI 1176 LN (2x)

  • DRAWMER 1960


  • FOCUSRITE Rack ISA 130 (2x)

  • NEVE V-Rack 3 preamp - dynamic modules

  • NEVE V-Rack 3 equalizer modules

  • FOCUSRITE Rack ISA 110 (2x)

  • Sennheiser HD 280 (140x)

  • AMS RMX-16

  • AMS DM 2-20 Phaser

  • EMT 246

  • EMT 256

  • MXR Stereo Flanger




  • LEXICON 480 L

  • LEXICON Super Prime Time



  • ROLAND SDE 3000

  • ROLAND SDE 2500

  • ROLAND SVR 2000



  • KORG SDD3000


  • STEINWAY & SONS grand piano Model D274 (274cm)

  • Fender Rhodes Mark II (Vintage)

  • HAMMOND M100 with Hammond Leslie

  • LUDWIG Drum Kit 22" 1964

  • LUDWIG Drum Kit 22" 1965

  • LUDWIG Drum Kit 20" 1965

  • DW Maple Shell Set 22" 1990

  • DW Maple Shell Set 24" 1989

  • LUDWIG SD Supraphonic (2x)

  • LUDWIG SD Jazz Festival (2x)

  • LUDWIG SD Acrolite

  • Fender Super Reverb

  • Fender Bassman

  • Peavey Classic 30

  • AMPEG SVTII Bass Amp


  • Oram Octa Sonic 8


  • Chandler Germanium



  • OC 818 Stereo Set (2x)

  • OC 18


  • M 50 Tube

  • U-47 Tube VF-14 (2x)

  • U-67 Tube Reissue

  • U-47 FET (2x)

  • U-89 (3x)

  • U-87

  • TLM 170 (2x)

  • KM 84 (3x)

  • KU 100 Dummy Head

  • MKH 800 Twins (4x)

  • KSM 104 (3x)



  • MD 421 (4x) black

  • MD 421 (4x) grey

  • MD 441 (2x)

  • E965 (3x)



  • C-12 Tube

  • C-24 Tube Stereo

  • C-34 Stereo

  • C-414 ULS (4x)

  • C-414 EB (6x)

  • C-414 XLII

  • C-414 XLS

  • C-214

  • D12 VR (2x)

  • D12 Vintage (2x)

  • C-460 B (8x)

  • C-460 B CK3 (2x)

  • C-452 EB + CK 1

  • C-451 C

  • C-452 E CK6

  • C-567 C

  • D-224 E

  • C-535 (7x)

  • D5 (3x)

  • D7 (2x)



  • SM 58 (3x)

  • SM 57 (10x)

  • SM 7



  • RE-20


  • 4011



Designed by architects acoustic consultant studio bau:ton Los Angeles 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.

photo by Anna Salcher 10_edited.jpg

Mastering Suite

Mastering Suite

Recording Room


In the live room, WSDG supplied comprehensive acoustical engineering. This room offers a unique ambience acoustic atmosphere specified for recording applications such as drums & percussion tracking and well as all kind of overdubs like vocal and/or audiobook projects or intensive loud guitar/bass amplifier rig capturing. The overall acoustic response time is 0.4 milliseconds. Therefore the room offers a classy warm sound.


The various acoustic design panels also employed Helmholtz resonators on the walls and several fabric layers plus a large acoustic cloud on the ceiling. You will be amazed by the sound of this room. Full scale double acoustic glasses from the bottom to the top with clear, open sightlines between control room and live room. Needless to mention, all rooms fully based on floating floors.

Control Room


A facility created to support musicians by providing a unique recording experience with the top-of-the-line production tools in an upscale and comfortable environment. The studio hosts musicians from all levels around the world, ranging from world renowned GRAMMY winning artists to undiscovered musical talent. 


We love music and it's our passion!


We'd be pleased to be in service also for you!



  • Pro Tools ULTIMATE HD

  • Sound Blade HD

  • WAVES and all you can think of


  • Neumann M149 tube

  • Neumann KM 184 Stereo

  • Shure SM57 

  • Brüel & Kajer

  • Sennheiser 906

  • Sennheiser 604

  • Sennheiser MD 421

  • Sennheiser MD 441

  • AKG D25 Bass Drum

  • Manley Voxbox Pre

  • Manley Vari MU Stereo Compressor

  • Manley Massive Passive EQ

  • Manley BACKBONE Mastering Insert Switcher

  • Lagevin Stereo ELOP

  • Crane Song Avocet

  • Chandler TG1 Stereo Limiter

  • Chandler Pre Germanium

  • Avalon M5 PreAmp

  • Oram Octasonic 8fach Preamp

  • Tonelux OTB 16 Summing

  • Telefunken Preamps (3)

  • Telefunken Compressor (2)

  • Tube Tec LCA 2B

  • Avid Omni

  • Universal Audio 2196 Stereo Wandler

  • Lavry Blue 4496-4

  • Quested VS3208a and VS1115b

  • Yamaha NS 10

  • Auratones Cubes Vintage

  • Mama's Kitchen Radio

  • Hafler Amps

  • Personal Monitor System


  • Ludwig Drum Kit 1964

  • Various Snares, Spraphonic 6,5“/14“

  • Ludwig 5“/14“, Ludwig Maple White

  • Marine Pearl 5“/14“, Pearl 6,5“/14“

  • Ampeg SVTII Bass Amp

  • Fender Super Reverb

  • Peavey Classic 30

  • Fender Rhodes Mark II


The live room offers a superb acoustics and elegant aesthetics. Little Big Beat Weiler is a 400 sq. ft, state-of-the art recording/mixing studio housed in a new, ground-up separated building attached to the home-base. Although hardly the norm in residential construction in this area, the addition was built with a decoupled concrete floor system, created for optimal isolation. The complex includes: live room, sound lock to be used as an extra isolation booth with sightlines to control room/live room and the control/mixing/mastering room; fully digital and analog signal processing. And, a full complement of microphones, preamps, instruments, amplifiers and vintage outboard gear. 

WSDG project manager Dirk Noy reports the studio design is based on a combination of optimal room proportion, membrane absorbers used for critical low frequency room respons, and specifically placed diffusers (in some instances transparent), for high frequency reflection control. Allowing the studio suite to relate to the home and to the beautiful surroundings was very important and to the final design. WSDG was on the mark throughout the process. We couldn’t be more pleased with the results.

The Magic Room

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.

The Magic Room is equipped with a custom version of the Bauer Audio dps turntable, fully balanced amplification from Ayre Acoustics and Bauer Audio LS 3g three-way sealed-box loudspeakers, serving as a high-quality domestic-style music system.

For a more analytical take on things as well as mastering we use a pair of Neumann KH 420 monitors, a pair of KH 750 active subwoofers and nine KH 80 auxiliary loudspeakers. Multi-channel duties are fulfilled by a Marantz receiver with Dolby Atmos and flexible channel-routing capabilities.

Cabling is supplied by Klotz of Munich and Neutrik, the latter based just down the road from us in Schaan. From time to time we have other audio products “in residence”, for example in cooperation with Lehner Akustik.

If you are interested in a demonstration or purchase of products from our partners, please get in touch with us at:


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

cutting lathe


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!

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