Engineer Helik Hadar used the Inward Connections all-tube 820 mic-pre/comp/EQ (shown in photo, and is sonically identical to the Tree Audio Roots console) on Herbie’s Grammy-winning Album of the Year for 2009, “River: The Joni Letters."Herbie Hancock Helik Hadar Tree Audio clients
Helik, again, used the Inward Connections all-tube 820 mic-pre/comp/EQ for Melody Gardot’s album, “My One and Only thrill” (Verve), which is nominated for a 2010 Grammy Award in the Best Engineered Album, Non-Classical category – Helik Hadar and Al Schmitt, engineers.
Bobby Lurie, owner of Mavericks Studio, New York City, NY: "It's like buying the ultimate sexbot, and getting the Swedish volleyball team to come over and put her together," said Bobby Lurie about Ian Gardiner and Steve Firlotte of Tree Audio coming to install his new Tree console. Photo: Caitlin McCaffrey
Ryan Hewitt, Recording Engineer/Mixer/Producer - worked with the following artists: Red Hot ChiliPeppers, Johnny Cash, Bob Dylan, The Avett Brothers, Harry Connick jr, Sheryl Crow -said about his Tree Audio Branch: "Stunning on vocals. Got probably my best acoustic guitar sound ever with a 67 into this thing. No EQ necessary... "
"I LOVE my Branch. It's my go-to for a huge vocal sound, whether recording or mixing. Great for recording acoustic guitar. Fantastic bottom end for mixing bass. I can get a photo next time I break it out, which will be soon!" RH
Alex Richardson, Engineer/Producer:
"As the first owner of the Roots Tube Console I feel incredibly honoured to be a part of history in the making. The console itself is a work of art and a sound not to be reckoned with. The module itself strikes me as warm, very true to the original sound (from the lowest to the highest frequency) and versatile. I love the summing section too. The combination of the double tube modules and the spa690s means a super-wide, polished and punchy sound that can only be described as musical and creative in its own right. It's really hard to make stuff sound bad through this thing. Sometimes I even run vocals through the modules 2 or 3 times to give it that extra glow and richness. The mic pres are always my first preference until I run out of channels and it's my summing mixer for final mix-down." Photo: Nik Harrison
An excerpt from Hannes Bieger's Branch review in Sound on Sound Magazine-
"In stark contrast to the kind of entry-level devices that scream 'tube sound’ from the off, The Branch offers the sort of effortless elegance and openness that can only be achieved with classic tube circuit designs. In the 1950s, equipment designers weren’t concerned with adding a certain amount of distortion to infuse character. Rather, they tried to keep the coloration of the technology at bay, aiming for a signal path that was as clear and as true to the source as possible. The Branch, like The Roots from which it is derived, is very much built in this tradition. It sounds as big and open as one could wish, but with a silky sheen that seems to suit all kinds of signals very well. The preamp remains very true to input signal, conveying the character of the source and the mic in a beautiful fashion, but without sounding at all ‘over coloured’, it sounds as huge and warm as you’d hope, striking a very satisfying balance between, on the one hand, solidity and density, with ever so slightly rounded edges, and on the other, the clarity that’s needed if the unit is to work well for a wide range of recording tasks."
"... The Branch offers ample facilities to shape a signal. It proves an invaluable tool for tracking duties, of course, but its feature set also makes for a fantastic vocal‑processing strip when mixing. The only thing I found I was really missing was a high‑pass filter in the signal path to help get rid of unwanted rumbles at the very bottom of the frequency range: the unit boasts precisely such a filter inside the compressor side‑chain, but not in the main signal path, which I find surprising. But this minor criticism excepted, The Branch appears to me to be just perfect for a very wide range of applications — which is just as a true console input channel should be. Those qualities make The Branch an ideal centrepiece for any recording chain, and in my view it can hold its own against units that cost twice its price. In fact, the Tree Audio channel strip is not only a superb recording front‑end by absolute standards — at this price, if you’re working professionally, I’d also consider it a steal!"
Roots owner, Lawrence Greenwood (Aria nominated Producer, Songwriter and musician), said about his new Tree Audio console:
I've worked with a lot of consoles ranging from ugly back-yard jobs to the classic legends. What strikes me about all of the classic consoles is that they all have a unique flavour that is truly one-of-a-kind.
The Roots console is no exception.
Quite simply, it's the best console for me. I could compare it to an API, SSL or a Neve, but it would not apply. This is a desk that despite it's size, is biggest sounding of them all. It's like a world opens up and everything becomes so much more believable and coherent. It's a gorgeous.
The preamps are open while being simultaneously thick. They're strong while being silky smooth. The best part is that they not only amplify the microphones signal, but they seem to capture feeling in a way that shocks me every time.
All this vibe, and such low noise is almost too good to be true.
I want to work on this desk for the rest of my life, and it makes me look forward to going to my studio every day. Photo: Lawrence Greenwood.
Steve Vai talks about his Tree Audio designed custom console (at about 8 mins), while giving a tour of his studio. (Click image to watch video)