These are exact text reviews from our customers whose full details
can be revealed on request
“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
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Here’s a review from Russ Long, a Nashville-
The bottom end is punchy and tight, while the top end is smooth and warm (unlike many lower-
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-
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-
Where the 8T’s 100 mm faders are smooth and have a professional feeling.
(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-
I recorded a bunch of acoustic guitar/vocal tracks mixed straight to two-
When recording to the two-
So how does it sound? The stereo bus output tracks that were recorded with the Audix SCX-
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-
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.