Audient ASP8024-48PB
Within this I will be explaining in detail the full rage technical specifications of what equipment I have decided to put and use in my studio. And I will also be explaining why I have chose to use such equipment.

For the mixing desk I have chosen to go with Audient ASP8024 “Each of the input channels features Audient’s impressive Class A preamp and 4 band EQ – a combination so versatile that many ASP8024 equipped studios no longer find the need for outboard preamps and EQ. The console features 24 bus routing, 12 auxes, 2 dedicated cue sends, 4 stereo returns, stereo bus compressor and a comprehensive monitor section.”

Frequency Response
Mic input to Mix output <+0,-0.3 dB 20Hz-20kHz @ 6-40 dB gain.
Line input to Mix output <+0,-0.3 dB 20Hz-20kHz @ 0 dB gain.

T.H.D. and Noise at +20 dB Output
Mic XLR input to any output <0.005% at 1kHz
Line input to any output <0.005% at 1kHz
Tape input to any output <0.003% at 1kHz

Noise
Mic EIN (20-20kHz, 150R source) <-127.5 dBu
Bus noise (no inputs routed) <-93 dBu
Bus noise (36 inputs routed) <-78 dBu

Mic C.M.R.R.
70 dB (Min gain) 75 dB (Max gain)

Crosstalk and Mute Attenuation at 1kHz
Short fader Mute >90 dB
Long fader Mute >90 dB
Mix assign >90 dB
Bus assign >90 dB

Maximum Input
Mic >+21 dBu (min gain)
Line >+30dBu (min gain)
Insert return >+21dBu

Maximum Output Into 2 kΩ
Mix output >+26 dBu
Bus output >+26 dBu
Aux output >+26 dBu
Insert send >+21 dBu
Monitor, Studio, F/B outputs >+21 dBu

Dimensions (mm)
ASP 8024-24 24 channel console 1470 x 1065 x 990
ASP 8024-36 36 channel console 1930 x 1065 x 990
ASP8024-36PB 36 channel console with patchbay 2390 x 1065 x 990
ASP8024-48 48 channel console 2390 x 1065 x 990
ASP8024-48PB 48 channel console with patchbay 2850 x 1065 x 990
ASP 8024-60 60 channel console 2850 x 1065 x 990

Apple mac pro two

One 2.8GHz Quad-Core Intel Xeon "Nehalem" processor
8GB (four 2GB) memory
Two 1TB hard drives
Mac OS X Server unlimited-client license
ATI Radeon HD 5770 with 1GB GDDR5

Software
Console application:
Enables real-time UAD Powered Plug-Ins processing
DSP mixer for real-time monitoring and tracking Remote control of all Apollo features and functionality
Console Recall plug-in:
Saves Apollo configurations inside DAW sessions for easy recall
Enables control of all front panel parameters from within the DAW
VST, RTAS, and Audio Units plug-in formats
UAD Meter & Control Panel application:
Configures global UAD-2 and Powered Plug-Ins settings and monitors system usage
Price: £2,129.00

Samson S-Patch Plus 48 Point Patch Bay
Fully balanced, extremely durable 48-Point Patchbay
Normal, Half-normal and Through Mode operation 3-way Front Panel Mode Switches

1/4" TRS Connectors
19" Rack Mount Chassis
Price: £101.22

KRK 10S
KRK 10S main features include:
Protective Steel front Grill provides protection
Power LED provides visual indication of unit’s status
Bypass footswitch allows for checking mixes with and without subwoofer
Integrated crossover matches any main speaker system
Ground lift switch tames ground loops
Scientifically designed front firing port reduces wall coupling and port turbulence
Powerful bass reinforcement with KRK’s trademark yellow-cone glass-aramid woofer
Ground-lift switch
Bypass footswitch
225 Watt (peak) Powered Subwoofer for Studio Use
SPL: 110dB Music and 113dB Peak
10” High-Excursion Glass Aramid Composite Woofer
Frequency Response: 34Hz – 50Hz to 130Hz Variable (+/- 1.5 db)
Variable and Sweepable Low Pass Filter
80Hz High Pass Filte

price: £319.99

MOTU 828MK3 Hybrid firewire audio interface
Audio interface
Hybrid FireWire/USB2 connectivity — connect to your computer via either bus-powered FireWire or hi-speed USB2.
CueMix FX™ — flexible 28 input/16 bus mixer with on-board DSP effects, including reverb with sends/returns, plus EQ and compression on every input and output.
28 inputs / 30 outputs (at 44.1/48 kHz) — there's no channel sharing in the 828mk3, the mic inputs, S/PDIF I/O, headphone out and main outs are all handled as separate channels.
Front-panel control — access any setting in your entire 828mk3 mix directly from the front panel.
Stand-alone operation — program your mixes at the studio and then bring the 828mk3 to your gig - no computer needed. Need to tweak the mix? Do it on site using the back-lit LCD and front-panel controls.
Multiple CueMix FX mixes — for example, create different monitor mixes for the main outs and headphones. Or add send/return loops for outboard gear - with no latency.
Two front panel combo jacks provide hi-Z 1/4 inch guitar input or low-Z XLR mic input with phantom power, pad and plenty of gain.
Mic/guitar instrument sends — add your favourite outboard EQ, preamp, reverb or other processor to the two mic/guitar inputs, before the signal goes digital.
Clip protection — Mic/guitar input limiter prevents digital clipping and distortion from overloaded signal levels up to +12 dB over zero.
Eight 24-bit 192kHz analog inputs and outputs on balanced/unbalanced 1/4 inch TRS jacks
Precision Digital Trim™ — Digitally controlled analog trim on all analog inputs (mic/guitar inputs + quarter-inch TRS inputs) provides accurate adjustements in 1 dB increments. Fine-tune the balance of your analog inputs and then save/recall trim configurations.
Flexible optical I/O — 16 channels of ADAT lightpipe, 8 channels of SMUX (96 kHz) or two pairs of stereo TOSLink. Mix and match formats between the two banks.
Sample-accurate MIDI — connect a MIDI controller and/or sound module with no separate interface needed. MIDI I/O is sample-accurate with supporting software.
Expandable — add additional interfaces for more I/O as your needs grow.
Separate XLR main outs and front-panel headphone jacks, each with independent volume control.
Stereo 24-bit 96kHz S/PDIF in/out
Word clock in and out
SMPTE in and out
Includes 32- and 64-bit native drivers for Mac OS X and Windows 7/Vista/XP, including ASIO, WDM, Wave, Core Audio, and Core MIDI. Supports all popular Mac and Windows audio software.
100% compatible with all host-based effects processing in today's popular audio programs.
Includes AudioDesk full-featured sample-accurate workstation software for the Macintosh with recording, editing, mixing, real-time 32-bit effects processing & sample-accurate sync.
Plug-and-play operation with your Mac or PC via FireWire or high-speed USB 2.0.
Front panel volume control for monitoring. Stereo, Quad, 6.1, 7.1 and user-defined surround monitoring setups available.
Two front panel headphone jacks with independent volume controls.
Front panel meters or activity LEDs for all analog, digital and MIDI I/O, plus SMPTE sync tach and lock LEDs.
Dedicated front panel clock status LEDs.
International 100-240V, 50-60 Hz autoswitching power supply.
Chassis dimensions, excluding rack ears and front and back panel knobs and connectors: 19 x 7 x 1.75 inches (48.26 x 17.78 x 4.45 cm). Knobs and connectors extend up to 0.5 inch (1.27 cm) from front and back panels, adding 1 inch (2.54 cm) to depth. With rack ears attached, fits standard 19 inch (48.26 cm) rack at 1U high
Price: £639.00

MICROPHONES

I have chosen to go with AKG D112 microphone, as this is good for recording the kick drum on a drum kit. Below I have listed all the specifications and the price of the AKG D12 microphone.

Polar pattern: Cardioid

Frequency range: 20 to 17,000 Hz Sensitivity: 1,8 mV/Pa (-75 dBV)

Max. SPL: Outside measurement range

Equivalent noise level: 73 dB –A
Impedance: 210 ohms

Recommended load impedance: >=600 ohms
Connector: 3-pin XLR

Finish: Dark gray metallic enamel

Dimensions: 150 x 70 x 115 mm / 5.9 x 2.8 x 4.5 in.
Net weight: 380 g / 13.4 oz. Shipping weight: 990 g / 2.2 lbs.
 Price: £129.00

For the bass drum I could also use the AKG D112, but I have gone for the Electrovoice RE2O as it also good for recording the bass drum. Also I have gone for this microphone because it is good for recording good rap vocals.

Transducer: Dynamic
Polar Pattern: Cardioid
Frequency Response: 45 Hz - 18 kHz
Signal-to-Noise Ratio Hum Pickup Level, typical (60Hz / 1 milliOersted field) : -130dBm
Power Requirements: Dynamic, No Phantom or Battery Power required
Output Impedance: 150 Ohms
Output Connectors: XLR-3M Type
Dimensions: 216.7 x 54.4 mm
Weight: 737 g

Price: £451.23

To record a snare drum the best microphone that is recommended would be a Shure SM57. I have lasted all the specifications below.
Contoured frequency response for clean, instrumental reproduction and rich vocal pickup
Professional- quality reproduction for drums, percussion, and instrument amplifier miking
Uniform cardioid pickup pattern isolates the main sound source while reducing background noise
Pneumatic shock- mount system cuts down handling noise
Extremely durable under the heaviest use
Frequency response: 40 to 15,000 Hz
Price: £79.99

For the toms I have chosen to go with the sennheiser MD 421, because it is good to record in the studio and also on a live stage. Below are the features and specifications.

Sennheiser MD 421
Features:
Glass composite housing and hardened stainless steel basket—rugged and durable
Five position bass roll-off switch—compensates for proximity effect
Effective feedback rejection
Clear sound reproduction
Easy handling due to pronounced directivity
Acoustic components enclosed in inner chasis—reduced sensitivity to dust and humidity
Internal bass tubes—accurate low end response
Handles exceptionally high sound pressure
Specifcations:
Pick-up pattern: Cardioid
Sensitivity in free field, no load (1kHz): 2 mV/Pa +- 3 dB
Nominal impedance: 200 Ohm
Min. terminating impedance: 200 Ohm
Dimensions: 215 x 46 x 49 mm
Frequency response (microphone): 30 - 17000 Hz
Weight: 385g
Supplied Accessories: 1 lock-on stand adapter MZA 421
Price: £319.00
For the hi hat I think using the AKG 451 B small would be best for the recording and producing the best sound out of it. Below are the features and specifications. the AKG 451 B small

Features:
Identical acoustics of the legendary CK 1.
Rugged construction.
Ruler-flat on-axis frequency response.
Precise, nearly frequency independent cardioid.
Extremely accurate signal transfer.
Transformerless output stage for minimum distortion at low frequencies.
Protected against electrostatic and magnetic interference.
Selectable 10-dB and 20-dB preattenuation pads.
Switchable high pass filter (75 Hz or 150 Hz, 12dB/octave).
Operates on phantom power to DIN/IEC between 12 V and 48 V.
Complete with SA 40 stand adapter and W 90 windscreen.
Each microphone comes with its own individual frequency response plot.
Specifications:
* Polar pattern: Cardioid * Frequency range: 20 to 20,000 Hz * Sensitivity: 9 mV/Pa (-41 dBV) * Max. SPL: 135/145/155 dB (0/-10/-20 dB) (k=0,5%) * Equivalent noise level (CCIR 468-3): 29 dB * Equivalent noise level: 18 dB-A * Signal/noise ratio (A-weighted): 76 dB * Preattenuation pad: 0 dB, 10 dB, 20 dB selectable * Bass filter: Flat, 12 dB/octave at 75 or 150 Hz, selectable * Impedance: <200 ohms * Recommended load impedance: >1000 ohms * Supply voltage: 9 to 52 V phantom power to DIN 45596 * Current consumption: <2 mA * Connector: 3-pin XLR * Finish: Satin nickel plated * Dimensions: 19 dia. x 160 mm / 0.75 dia. x 6.3 in. * Net weight: 125 g / 4.4 oz. * Shipping weight: 760 g / 1.7 lbs.
Price: £324.96
SE Electronics Ribbon Large Microphone
For the cymbals on the drum kit I have chosen to use the Ribbon microphone and below are the features and specifications.
The main features of the sE R1 Ribbon include:
The sE Ribbon R1 comes complete with shockmount
1.8 Micron pure aluminum ribbon element
Large ribbon geometry design
Rare Earth Neodymium Magnet
VOX – Velocity Optimized Extension for superior sensitivity / output
Warranty includes 3 Ribbon replacements
Recommended for: Electric Guitar, Overhead Drum micing, Brass Instruments, Vocals, Horn Sections, Woodwind Instruments, String Sections, Broadcast
Specifications:
Operating Principle: Electrodynamic pressure gradient (velocity Microphone)
Polar Pattern: Figure-8
Transducer Element: 1.8-micron aluminum ribbon - 45mm/1.77" tall, 4.5mm/.177" wide
Magnets: Rare Earth Neodymium
Frequency Response: m30 -15,000 Hz +/- 3dB
Output Sensitivity: > -52 dBv Re. 1v/pa
Output Impedance: 300 Ohms
Rated Load Impedance: 300 Ohms
Maximum SPL: >135dB over rated frequency response (more over 1K…)
Powering: Not needed or recommended. Tolerant of properly wired phantom power through a good cable.
Output Connector: Male XLR 3 pin
Dimensions: 168mm L, 40mm W
Weight: 450g
Finish: Mesh grille: satin nickel, Body: matte gray

The Neumann U 87 Ai Features:
Variable large diaphragm microphone
Pressure-gradient transducer with double membrane capsule
The studio microphone classic
Three directional characteristics: omni, cardioid, figure-8
Switchable low frequency roll-off
Switchable 10 dB pre-attenuation
Ideal as main and as support microphone in the most differing recording situations
Advanced Output Circuitry - Although the microphone features the original capsule, the U 87 Ai features improved output electronics that provide higher sensitivity and improved signal-to-noise ratio * Specifications:
Acoustical operating principle: Pressure gradient transducer
Directional pattern: Omnidirectional, cardioid, figure-8
Frequency range: 20 Hz - 20 kHz
Sensitivity at 1 kHz into 1 kohm: 20/28/22 mV/Pa*
Rated impedance: 200 ohms
Rated load impedance: 1000 ohms
Equivalent SPL CCIR 468-3: 26/23/25 dB*
Equivalent SPL DIN/IEC 651: 15/12/14 dB-A*
S/N ratio CCIR 468-3: 68/71/69 dB*
S/N ratio DIN/IEC 651: 79/82/80 dB*
Maximum SPL for THD 0.5%: 117 dB (cardioid)
Maximum SPL for THD 0.5% with preattenuation: 127 dB
Maximum output voltage: 390 mV
Dynamic range of the microphone amplifier cardioid DIN/IEC 651: 105 dB
Supply voltage: 48 V ± 4 V
Current consumption: 0.8 mA
Matching connectors: XLR 3F
Weight: 500 g
Diameter: 56 mm
Length: 200 mm
Price: £1,999.00