Top 5: Stefan Boman
Stefan Boman is a producer and the in-house mix engineer at Atlantis Studios in Stockholm. Since launching his career in 1995, Boman has worked with artists such as Def Leppard, Alice Cooper, Backstreet Boys, Roxette, The Cardigans, Avicii, and Opeth and more.
By Joe Matera
8 April 2025
RERUN-CUSTOM SPRING REVERB
This is my favourite reverb ever! This is one of my default reverbs that I’ve used on pretty much every mix I’ve done since I got it about 10 years ago. It adds so much character without getting too mushy. It’s a custom stereo spring reverb built by this German guy called Rerun. It has four spring tanks so you can choose between two different lengths or have them combine. All tube driven, passive EQ and true stereo. I’m a huge fan of spring reverbs as many more lush reverbs can get so blurry and too slick and this particular spring is truly awesome with just the right amount of ‘boing sound’. I’m usually not a fan of nice and ‘pretty’ reverbs. I’d much rather prefer some wonky-ness, unpredictability and character. One of my greatest finds ever and it looks fantastic in the rack!


RCA BA-6A COMPRESSOR
This compressor is a classic for a reason. Talk about a vibe machine! I use this all the time when I want to add character or bring something to the front of the mix. It is fantastic on vocals, acoustic guitar or bass. It always come out thicker, with more heft and grit to it. Sometimes I hit it really hard and smash the meter and get some of that nice tube distortion but another time the needle may barely move but it still sounds a lot better going through that thing. I just love that colouration from the tubes and transformers. It’s hard to go wrong with this one as it’s quite forgiving and can handle most things you throw at it. And it is built and looks like a tank!
CALREC PQ 1253-8 PREAMP
I’ve been using these preamps since the mid-1990s as we had a large Calrec console in one of the studios at Polar Studios which was my first employment. They’re really solid preamps, with fantastic EQ that really grabs stuff and distorts really nicely in a crunchy way. Also, the filters seem to be last in the chain, which is awesome when you do heavy distortion with these and are able to roll of some harsh high end. I bought these super cheap and I still think they give enormous value for its price even today, and in my opinion, they hold their weight against classic Neve modules but at a fraction of the price. I always bring my rack of these four preamps to sessions as they are a really reliable Swiss army thing.


AVID S6 MIXING CONSOLE
I grew up mixing on large analogue consoles and couldn’t comfortably adapt to just mixing with a mouse and keyboard. I can’t get the same flow that way as I like an intuitive and tactile way of mixing. I believe that muscle memory, when mixing, is as important as with any instrument. I know where all my EQ or compression knobs will be regardless of a plugin that lets me just tweak settings in the same way as on an analogue console. In my mix session template, I have about five different reverb sends that I have on every track just like you’d have on an analogue console back in the day. It is just so much more convenient to have like five of your favourite reverbs of different characters and lengths, ready to go instead of having to scroll through an endless list of plugins deciding what to choose from. Of course, I use other reverbs than those five, but at least I have my basic needs covered this way. I have a 32-fader S6 and that is a sufficient size for me, as I can balance a mix quite fast and still be in the sweet spot the whole time. It’s much more inspiring mixing in this tactile way and having fun, which is such an important component of being creative!
PYE COMPRESSOR
I just love these guys on drums! I mean, they are great on a lot of stuff but the way they can breathe life into drums that are lacking some energy is just fantastic. Sometimes it’s like it’s a different take when you insert them and all of a sudden, you have a drummer that is really feeling the song. I think they have a unique sonic ID and I use them all the time for either overhead or room mics. It grabs what comes in really nicely. They’re also great on acoustic guitar. It’s very rare that I don’t like what I get out of these compressors, it’s just a question of how hard you want to push them.


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