I was able to use the STT-1 in a variety of normal recording tasks using most configurations of the mic pres and processing stages. I used it for kick, snare, vocals, direct bass, and in line as a processor for mixing. I loved using the all tube path with little EQ cuts and miniscule amount of peak control for recording kick and snare especially. I realized how really cranky and buzzy and sort of awful my old Fender Precision really sounded when I went direct through the solid-state path. I was confronted with too much sonic reality. Too many frequencies. I had to tone it down with the transformer coupling and hit it hard to get the hair that I was used to. Fun. With vocals, I used a tube mic through the tube path and used a little bit of compression (2:1, slow attack, medium release, 2 or 3dB GR) and was able to get scary detail. The only complaint that I have is that with my AEA R92 ribbon on a medium loud source, I wasn’t able to get enough gain. I have been told that there is an option to get an extra 10dB of gain on each preamp with a phone call when you order the unit. I would recommend this option.
To sum up what I think of this powerful piece of gear is easy. This is a deep box that takes time to get to know. Once you learn your way around the various ways to make this box sing, you will have a hard time going back to anything else you’ve been using. The palette of sonic colors (and non colors) that are available is extensive and finding ways to fit this tool into a session is satisfying. The way that you can change back and forth between elements, and stack elements, and then remove some to shape sound either going in or coming out in the mix stage is very cool.
Whether you are looking for a front end piece of gear for your DAW to increase your input quality or an unique addition to a collection of mic pres and such in your professional facility you will find this flexible, ultra-high quality recording channel to be everything that it’s cracked up to be. It’s an excellent sounding box.