This is simply to gorgeous to pass: “The Spiritland mixer is a physical manifestation of Spiritland’s core beliefs – excellence in creativity, simple, elegant design and the pursuit of audio perfection. Designed by Spiritland in collaboration with Isonoe, Felix de Pass and Pentagram, this unique mixer has been carefully developed over a two year period. The Spiritland Mixer is a tangible and substantial piece that connects all the guests that play at Spiritland.”

“We choose brass as the main material to help us tell this story – it ages beautifully and with every touch it changes and pattinates over time – everyone that plays will leave their mark.

The vapour-blasted 20kg, 10mm thick solid-brass front panel is hand-machined in the uk by a machinist with over 50 years experience, with signage design by Luke Powell and Jody Hudson-Powell at Pentagram. 
We worked closely with Justin Greenslade from Isonoe to design and build a ‘completely unique’ mixer with the purest single path, using the best hand selected components he could source. Isonoe have previously built bespoke mixers for demanding audiophile DJs including Dixon, Floating Points and Soulwax.

We collaborated with Felix de Pass, an experienced product designer, to develop the completely bespoke knobs from scratch, milled on a five-point axis machine at a facility generally used for making parts for Formula One engines
A perfect example of its technical credibility is channel offness: on many mixers, if you crank up the master, you’ll hear the cueing record. It’s very rare to see a rotary mixer with more than 90dB of fader cut – the Spiritland mixer has 120dB of cut (+/-2dB). This means that when a channel is faded down, it really is silent – absolutely silent. No mixer we’ve seen gets anywhere near this.

Almost impossibly, it is capable of delivering +22dBm (power ratio in decibels ) at <0 .0003="" distortion="" harmonic="" hz="" otal="" p="" thd="">

This means distortion is below what can be measured with most analysers, even when all faders at maximum, with the outputs driving headphones, not amps. This means the mixer has an ‘elastic’ sound, whereby – to all intents and purposes – it’s impossible to distort. For example, with a Bozak, the hotter the channel fader, the fuzzier the sound. With this mixer, you can hit any fader as hot as you want and distortion will still be in the realm of mastering monitor controllers.

20Kg solid-brass front panel, hand-machined by machinist with over half a century of machining experience
Bespoke, billet-machined brass knobs
Twin-layer 3mm alloy / 2mm steel enclosure
Hand-selected, close-tolerance components throughout
Swiss-made illuminated switches
All signal switching via inert gas relays, ensuring shortest possible signal path
All preamps on individual mono PCBs, separated internally from mixer electronics in their own enclosure
Swedish-made Lundahl Output Transformers
12 inputs on 4 channels
4 phono stages, 4 line inputs and 4 balanced 
XLR inputs
2 x aux sends on every channels
Subtle bass and treble ‘tweaking’ controls on each channel
200W External Linear Power Supply
50KG weight