NUENDO

NEUMANN

ROYER LABS

SCHOEPS

EARTHWORKS

APOGEE

DYNAUDIO
    ACOUSTICS

API 512C

DEMETER

FOCUSRITE

LOCATION
    RECORDING
        MIXING

30 YEARS
    EXPERIENCE

ORCHESTRAL
    SOUNDTRACKS

Microphones may be the most important link in the audio chain. It is the point where acoustic energy changes into electric energy. And what comes out of the back of a mic into the wire will probably be as good as it gets. I have an ever growing collection of mics, but here are a few of my finest. Although they are among some of the best ever made, you won't see these in most studios.

These are vacuum tube powered SCHOEPS 221B's from the early 1960's. I have a pair of them, and they have recently been refurbished by Tracy Korby, who is considered one of the leading tube microphone specialists in the US. They are stunning on acoustic instruments when you are looking for detail, and they have that "tube warmth" that is so desirable. These Schoeps capsules have both cardioid and omni settings, so they can be used in a wide variety of recording applications.

I also have a pair of the more modern Schoeps CMC-5 microphones. These wonderfully accurate, solid state microphones have a very neutral sonic character. If transparent is what you are looking for, these will serve your purpose. Very quiet mic with a lot of output. I have both the cardioid and omni capsules, and a pair of -10 dB pads, so there aren't many situations where these mics won't do an outstanding job. I have owned this pair of Schoeps for about 14 years, and use them almost everyday. Ideal for piano, harp, acoustic guitar, hammered dulcimer, etc. As I say, "Anything struck or plucked!" Check out how they work on an upright bass in the audio clips from the "Little Bill" show.

There is no name more synonymous with high end condenser microphones than Neuman. This legendary German company has been manufacturing condensor mics since 1928. I have a matched pair of KM-184s which I use for orchestral percussion, drum overheads, acoustic guitar, piano, strings, and more. They are a nice complement to my pairs of Schoeps and help me add some more sonic colors to my recording projects.

The Royer Labs R-122 is a compact, monaural, phantom powered ribbon microphone - the first ribbon microphone of its kind. Its ability to withstand high SPL's makes it ideal for applications that were previously considered off limits to ribbon microphones. Ribbon mics impart a warmth and smoothness to sounds, and is another way to avoid harsh digital tones in your recordings. I have a pair of these mics which I use for many purposes - drum kit ambience, amplifier mics, vocals, acousitc instruments, more.

My collection includes several Earthworks microphones. Among them are a "matched triad (3)" of omni pattern QTC-1's so I can do "Decca Tree" recording for orchestras. This is a 3-mic technique that was developed by Decca Records back in the 1950's for stereo recording, and is still used in orchestral sessions today. I also have a matched pair of Z30XL's which are the "hyper-cardioid" models. These have a very tight pick up pattern, but still retain that magnificent open and accurate sound that Earthworks microphones are famous for. Earthworks has recently discontinued making this model, and I'm lucky that I got a pair of them. They have amazing isolation characteristics.

I have a matched stereo pair of AKG 451 B microphones. This is one of the newest mics in the AKG line. It's design is based on the legendary C 451 with some noteable improvements. The vintage design had switchable mic capsules to vary the pick up patterns, and you had to have the 10dB/20dB accessory pads to use these mics in a wide variety of situations. Now, the cardioid capsule (by far the most popular one) is a permanent fixture on the mic body. The 10dB/20dB pads are built in, along with selectable low end roll off controls. This new version combines the classic sonic qualities of the vintage model with modern flexibility and control of signal padding and low end contouring. After doing loads of sessions with these mics, I think AKG collected the best attributes from the various stages of this legendary microphone's history and put them together in on great package.

This is my Milab DC96. These mics are made in Sweden, and it is surprising to me that so few US studios have them in their mic closet. They are amazing sounding microphones. Milab DC96s can capture punch and transients with a transparency that will surprise you. While using this mic, other engineers have walked through the control room, stopped, listened, and then asked, "Wow! What mic is THAT?!?!?!" When it comes to recording acoustic instruments, this is one of the best microphones available. Guitar, mandolin, piano, whatever! Stunning clarity with lots of punch! Physically, it is a rather small microphone (only about 5 1/2 inches tall,) so it can get in close without being a big obstacle to work around.

I have a pair of Audio Technica AT 4040's. This large diaphragm cardioid condensor microphone has smooth, natural sonic characteristics. Exceptionally low noise, wide dynamic range and high-SPL capability enables it to work well in a wide variety is acoustic situations. Transformerless circuitry virtually eliminates low-frequency distortion and provides superior reaction to transients. It's a great choice for warm vocal sounds.

I also have collected various other microphones. I recently acquired several Electro Voice PL6 mics. It is one of the best mics for kick drum ever made - even out performing it's big brother, the EV RE/PL 20 (which I also own.) These were discontinued in the mid 1980's, and are a rare find these days. I have 3 Shure Beta 87A hyper cardioid mics (killer rack tom and floor tom mics, and of course, vocal) a Sure Beta 87C cardioid, and a Sure Beta 57A. I have an old AKG D12 which is one of the most desired "low end" mics. I also have the newer version, the AKG D112. Adding my collection of mics (and mic pre's and outboard gear) to the existing gear available at the studio you choose gives us a wider selections of sonic options.