What do you all think about this?

Jon Atack

Well-Known Member
May 29, 2001
A fellow studio owner called me today. He needs to sell his newly-reconditioned Amek Mozart and wants about $20k. That seems like a lot of desk for the price to me.

How do you all like the Amek Mozart? The sound, the automation, the EQs, the summing bus, the maintenance reputation?

* 40 channels, in-line (40 large faders and 40 small faders)
* 24 buses
* 16 aux sends/returns
* 4-band fully-parametric EQ on each channel
* Patchbay
* Supertrue automation on large and small faders and on fader/eq/aux mutes

I was thinking of leasing a recent 4k G+, but maybe this is interesting. FWIW my main gig in this room is mixing rock/rapcore, jazz, and hip hop albums for the labels here in France.

I'd like to hear your informed opinions! Thanks for the help!



Well-Known Member
Feb 17, 2001
Tampa Bay, FL
Go for the G+ if you are in a financial position to do so...but don't do it if you will be eating beans and franks for the next 7 years because of it :p . I think the G+ will generate significantly more business on its own merit than the Amek.

How is your room? Make the room pro (at least 1300 sq feet + lounge and office) before you get the board and stick with whatever you have for the time being. I think its easier to sell a good room with ok gear than a small room with excellent gear. Give us more info on your situation.

Nathan Eldred
Atlas Pro Audio, Inc.

Dave McNair

Well-Known Member
Mar 6, 2001
IMO, the Mozart will stomp a G+. I didn't think this would be true until I mixed an album recently,(The String Cheese Incident, Outside Inside"), and my end of tracking roughs ended up sounding far superior to mixes done after on a G+. This was not just cause of the "vibe", but I had a very tough time making the SSL get up and dance. Sure, it was a tad cleaner, but the Mozart mixes had so much more carbonation and slam. But goodluck trying to convince possible clients of that. As further info for those interested, after much ^#$%ing around, I bypassed the SSL master section, used a subgroup as a master fader, and used the exact same bus compressor as on the roughs,(Daking). The SSL was also fitted with Ultimation, meaning I didn't use VCA mode. I also ended up running the console in Record status, which limits routing flexibility, but removes a lot of $*^t from the signal path. I hope this info is helpful to anyone.

Jon Atack

Well-Known Member
May 29, 2001
Thanks Nathan and McSnare,

The Mozart in question has the nice RN (Rupert Neve) EQ sections and pres on all channels. The automation is pretty cool, and 16 auxes are great to have.

But I've been hearing that there are real maintenance issues with bad switch contacts all over the board (the PITA solution being to replace all of the 100s of these cheap little hard-to-get-to switches) and with the tightly laid-out electronics overheating (the solution being to add custom ventilation fans in the back of the desk).

Also, the Supertrue computer in this Mozart is the old Atari one, not the newer IBM ones. No dynamics on this one, but I have loads of high-end comps in the room anyway.

The sonics seem to be fine, but the maintenance issues are scaring me off.

Anyone have experience with these issues?

Hell, just for kicks and shock value I'm gonna call up SSL France and get a quote on a new 4056 G+.

Keep it comin,

Jon http://www.capitolstudiosparis.com

Blindside Music

Hey Jon..

Let us know what the G+ quote comes in at.

For some (me for instance), it's nice to dream..or is that cream ;)