Top 5: Garth Richardson

PMC6-2 STUDIO MONITORS
When I was first introduced to PMC speakers by Dave Schiffman, I had no idea how dramatically they would change my life in the studio. I’ve worked with different speakers over the years, but nothing compared to what these speakers offered. They’ve completely transformed how I hear, create, and mix music.
One of the most significant changes I’ve noticed since switching to PMC is the clarity in the detail. It was like opening up a whole new dimension in sound. For example, while revisiting some of my older projects, I could hear the guitar movement on the first Rage Against The Machine album in a way I’d never noticed before. Every subtle nuance, every little shift in tone, every movement I made during the recording was suddenly laid bare. It was a surreal experience, like rediscovering the album all over again.
Overall, PMC speakers have truly transformed my work. They’ve brought a new level of depth and clarity that allows me to create with greater precision. Working in the studio feels like a whole new experience, and I can’t imagine going back. If you’re serious about your craft and looking to take your mixes to the next level, I can’t recommend PMC speakers enough.
















NEVE 1081 MIC PREAMPS
The Neve 1081 mic preamps are a classic in the world of recording, and it’s easy to see why. I’m  such a fan of them, especially at The Farm Studios. These preamps have a rich history, being used by countless legendary bands and engineers across decades of music production. Introduced in the early 1970s, the Neve 1081 was originally designed for the A88 console and became famous for its impeccable sound quality and versatility. Known for their warm, yet transparent character, Neve preamps capture intricate sonic details while adding a subtle harmonic richness that engineers love. It’s no wonder iconic albums across rock, pop, and countless genres feature the unmistakable tone of the 1081.
Many legendary bands and producers have relied on Neve consoles outfitted with 1081 preamps, including bands like Fleetwood Mac, Nirvana, and Radiohead. Engineers like George Martin and Chris Lord-Alge have used Neve preamps to shape unforgettable records. With such a deep legacy, it’s only natural that at The Farm Studios, the Neve 1081s would be at the heart of the recording process, bringing out the best in any session. You must love the history and sonic pedigree that these preamps bring to your studio work, knowing that you’re working with gear that’s shaped the sound of music over the decades.



FOCUSRITE REDNET
When it comes to professional audio production, few tools have revolutionised my workflow like Focusrite RedNet. This digital audio networking system not only provides pristine sound quality but offers the kind of flexibility that allows me to explore new creative spaces within my studio. One of the most exciting possibilities has been converting my steam room into a natural echo chamber, and RedNet’s seamless integration has made that a reality.
At the heart of RedNet is its ability to transmit high-quality audio over long distances without a hitch. My steam room is 400 feet away from the main recording space, which could pose a challenge for many systems. However, RedNet’s use of the Dante protocol for audio networking means I can place microphones and monitors in the steam room without worrying about signal degradation or latency. The audio fidelity remains immaculate, even at such distances.
With RedNet, I can position mics at various points inside the steam room to capture the complex, rich reflections that occur naturally within its tiled, steamy environment. This would have been nearly impossible with traditional analogue systems due to the signal loss that typically comes with long cable runs. RedNet ensures that the signal maintains its integrity, giving me ultimate creative freedom.
Another aspect I love about RedNet is the ease of integration. The system works flawlessly with my DAW, and its modular nature means I can expand or reconfigure my setup as needed. RedNet’s software control allows me to manage everything from mic preamps to routing and monitoring from one central interface. This makes it easy to experiment with different mic placements in the steam room and tweak settings on the fly without having to physically be in the room.
RedNet has become an indispensable tool at The Farm Studios, providing the perfect balance of performance, flexibility, and creativity. Whether I’m using it for traditional recording or pushing boundaries with unconventional setups, RedNet continues to impress. For anyone serious about audio production, especially in larger or more complex studio environments, RedNet is a gamechanger.

















Garth’s steam room cum echo chamber, made possible thanks to RedNet












GBX 95 GUITAR SPLITTER
There’s an interesting story behind this. In 1981, my father, Jack Richardson C.M. (producer of The Guess Who’s ‘American Woman’, Bob Seger’s ‘Night Moves’, and Alice Cooper’s ‘Love it to Death’), wanted to run more than two amps simultaneously during recording sessions. At the time, most pedals only had two outputs, which limited what could be done. Enter Kirk Elliott, the studio tech at Phase One Studios in Toronto. He built a small 9V switcher box that allowed one guitar to feed four amps. The only downside was that as the battery ran low, the sound would begin to degrade, forcing you to stop and replace the battery. Kirk wasn’t satisfied with that, so he went back to the drawing board and created the GBX 95 Guitar Splitter.
This unit was truly exceptional. Only about eight to 10 were ever made, and Joe Barresi even owns two of them. Radial later tried to replicate it with the JD-7, designed by the late, great John Vrtacic, but it sounds entirely different, adding coloration to the guitar sound, which the GBX 95 does not. The closest comparison today is the Little Labs PCP Box, but even that only has three outputs. The GBX 95 Guitar Splitter has been a cornerstone of my guitar sound for many, many years.



TELEFUNKEN ELA M251
The Telefunken 251 mic has become one of the most essential tools in my recording arsenal. As a producer, I’m always looking for gear that allows me to capture the purest and most expressive performances from artists, and the 251 consistently delivers just that. This microphone is more than just a piece of equipment; it’s the foundation of how I approach recording vocals and acoustic guitars and any other acoustic instruments. The warmth and clarity it provides is unparalleled, giving each performance a sense of depth and presence that other mics just can’t match. Whether I’m working with a vocalist pushing emotional boundaries or an acoustic guitarist bringing out intricate melodies, the 251 picks up every subtlety and breathes life into the recording.
What really sets the Telefunken 251 apart for me is how it complements the artist’s performance without imposing its own character. It brings out the natural qualities of the voice or instrument, capturing them in a way that feels both honest and enhanced. It’s become my go-to because I know that, with this mic, I’m getting exactly what I need to take a track from good to extraordinary. The Telefunken 251 has played a significant role in defining the sound that comes out of my studio. It’s a microphone that I can always trust to deliver – no matter the project, no matter the artist. It’s not just about technical excellence; it’s about creating recordings that feel timeless, full of emotion, and true to the music.










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