These are exact text reviews from our customers whose full details
can be revealed on request

StoneRoot Studios



“I should probably thank John, above anyone else for creating the "heart" of my studio.

As an artist, I had the opportunity to work on numerous studio consoles, but when i decided that I would build my own recording studio, the choice was tough.

I wanted something big and warm for sure, but at the same time exotic, versatile and classy.. While I was searching, a friend of mine(an excellent keyboard player I might add) bought an 8 channel 8t for his home studio. He called and said I should give it a listen. I was impressed by the sound from the beginning but as soon as he engaged the classic eq into the circuit..
I was totally blown away..
Next day I emailed John. We went through all the details about the desk.. John made the process so easy for me.. He is a wonderful person and he is very passionate about music, sound and life in general.. 3 months later my ORAM desk came. So far, the console is reliable and sturdy. Whenever I have a question, I send a message to John and he replies in no time.. The preamps are big and warm with a tight bottom and silky smooth highs. The classic eq., well... There is a reason that it’s been around for decades.. You can’t get more musical than this.. But there is one more thing that made a huge impression on me and I believe it should be mentioned. The console compliments anything you throw at it.. An ORAM desk makes a Chinese low priced condenser microphone sound like  "pro", even before any processing applies.. Same goes for external hardware use.. A budget friendly compressor will sound amazing through the console etc... I don’t know how John achieved this but i don’t want to find out either..

All I know is that John’s creations kept him in the music industry for 6 decades and still going.. If you own an ORAM desk, it’s easy to see why... ”

When asked to make this review with a picture, our customer said:

“My dear John, sorry for my delayed response but I am touring all over Greece and I will return in my studio monday morning.. It will be a great honor to be featured in your website.. I will send you a photo and a detailed comment on Tuesday if it’s ok with you and I am not running too late.. 

  As far as the console.. Well it is safe to say that we are still blown away by the musical eq., the warm preamps and the potential of this beauty, both me and my clients.. One of the things I discovered along the way is that it compliments everything that I throw at it.. I mean that it makes a dbx 160a for example sound like it is the most expensive compressor in the world 😂 or it can make a chinese made condenser sound like a much more expensive mic.. I believe that this is one of the most important features of the console and it should be mentioned publicly.. ”

Sincerely yours,  Sozos Lymperopoulos

For studio details call:  +30 697 271 6003

We do get busy in the studio and we want to hear from you so please leave a message on our voicemail  

We’ll call you back

StoneRoot Studios

Here’s a review from Russ Long, a Nashville-based producer/engineer, owns the Carport recording studio. He is a regular contributor to Pro Audio Review.

The 8T-8 is a quality analog desk that provides a great sound at an extremely reasonable price. After much use of the Series 8T over the past two months, I’ve concluded that the board simply sounds good.
The preamps are quiet and punchy. I’ve used them on kick, snare, toms, overheads, hi-hat, vocals, plus bass guitar, electric and acoustic guitar; and in every instance they sounded quite good.
The bottom end is punchy and tight, while the top end is smooth and warm (unlike many lower-priced consoles that tend to get harsh and brittle with higher-frequency signal).
The EQ is extremely smooth; the top end opens up when boosted without getting the least bit edgy or piercing.

In addition to a fine recording console, the 8T is an obvious choice for DAW summing, which it also does quite well. I split a Pro Tools mix through three stereo pairs and two mono channels (1-2: kit, 3: bass, 4: vox, 5-6: band, 7-8: backing vocals and effects) and was surprised at the nice analog coloring I was able to attain with this console.

The 8T, coupled with the optional meter bridge and classy wood trim, is a mighty impressive looking little desk, easily upping the ante both visually and sonically of most project studios. The single rack space power supply easily tucks away in the most cramped recording space.

The console’s manual is well written, thorough and easy to understand. I found the metering to be accurate and helpful. Visually, I like the fact that the meter bridge conveniently hides all connections and cabling from view. Unfortunately, it makes the already-cramped patch area even more difficult to access. If I installed the console in my studio, I’d make sure that I had a patchbay so I wouldn’t have to constantly fight with the console’s tight patch space.

Where the 8T’s 100 mm faders are smooth and have a professional feeling.


The 8T-8 is a quality analog desk that provides great sound at an extremely reasonable price. Its abundance of ins and outs makes it perfectly adaptable to most any situation, and its intuitive layout makes it easy to use. Anyone looking for a small-format console should give this 8T serious consideration.

(Original review: December 2007 when released as a Trident product, exactly the same board as now marketed under the ORAM brand)

Here’s a review of the same T-Series, but in the 16 channel version from ProSound Review, USA

I recorded a bunch of acoustic guitar/vocal tracks mixed straight to two-channel high resolution PCM. Using several microphones, including my trusty Audix SCX-25s, a pair of Heil PR-40s and Shure KSM 32s. I routed the main outputs of the desk to the Benchmark ADC-1 converter, set at 24-bit/96 kHz, which then fed either an Alesis Masterlink or TASCAM DV-RA1000.

When recording to the two-track recorder via the stereo mix busses, I not only routed audio to the main recorder at 96 kHz from the main stereo buss, but I simultaneously fed a second digital recorder running at 44.1 kHz from one of the other stereo outputs. This enabled me to make CD sample rate compatible references of the same recording without later having to sample rate convert from the reference 96 kHz. The 8T is a great board for feeding different sources. I also tracked to the recorder via the direct outputs and the track busses.

So how does it sound? The stereo bus output tracks that were recorded with the Audix SCX-25s on Martin and Guild acoustic guitars, plus voice and a electric Gibson L5 jazz guitar, recorded with Shure KSM-32s, were all very good to excellent sounding. From the stereo buss, the 96 kHz stereo recordings were very accurate and clean with a touch of that analog warmth but not so warm that the dynamics and transients were lost. Stereo imaging was quite good as well.

The direct channel outputs, as expected, produced the most transparent recording with slightly more transient energy and less warmness, but the summing buss acquitted itself quite well.

As a testament to good design, this board is really quiet, with nary any hiss — even with the controls cranked way up. It is super clean with plenty of headroom.

On the pair of Heil PR-40 microphones, a great dynamic with extended bottom end response, I used the EQ to add some top end and air to a Martin D35, and the EQ delivered audibly pleasing results with out adding harshness. Just what you want in an EQ.

I believe those who do a lot of tracks are going to want the optional meter bridge. It contains so much more level information about multiple inputs and outputs versus the VUs. However, the meter bridge does make it more difficult to plug into some of the connections. The headphone jack and direct outputs, for example, were a bit of tight reach since they are the furthest in.


The T-Series T-16MB is a quality, pure analog console that bridges the gap between the low-buck utility recording mixer and the high-end, without much compromise in audio quality of the latter. Its logical, easy-to use layout and plethora of I/Os and adept monitoring and routing flexibility make it well suited for all kinds of recording tasks: studio, live recording, etc. Clearly a best buy console in my book.