Recording Gear
For close to 30 years, I’ve been collecting high-quality microphones and recording gear. And I’ve used it to record everything from school, college, and music camp solo auditions, to orchestral recording for television broadcast. Here is a list of most of my microphones and mic pre-amp’s. Whether I’m recording in a home, a studio, or on location during a live performance, I use the same gear for every session.
Microphones
First of all, microphones may be the most important link in the recording gear audio chain. Mics convert acoustic energy into electric energy. Therefore, what comes out of the back of a mic into the wire will probably be as good as it gets. High quality mics produce better sounding recordings. With that in mind, I’ve built my microphone collection to rival or surpass what most studios have.
- 2 Schoeps CMC-5 (cardioid & omni capsules)
- 2 Schoeps 221B Tube Mics
- 2 DPA 4011 Cardioid
- 2 Neumann KM-184
- 1 Neumann U87
- 2 Royer Labs R-122 Ribbon Mics
- 2 AKG MKH 800 Multi-pattern Condensor Mics
- 2 AKG 451-B
- 3 Earthworks QTC-1 Omni
- 2 Earthworks Z30XL Hyper-cardioid
- 2 Audio Technica AT-4040 Cardioid Mics
- 2 Mercenary Audio KM69’s
- 1 Milab DC-96
- 1 AKG D112
- 3 Sennheiser 604’s
- 1 Electro Voice PL20
- 3 Shure Beta 87 A’s
- 1 Shure Beta 87 C
- 1 Shure Beta 57A
- Shure SM 57’s and SM58’s
Mic Pre-Amp's
With all my mic pre-amps, I connect the signal output directly to the input of the recording device, therefore bypassing any other amplification or signal processing. This allows the cleanest, punchiest, most dynamic signal possible to be recorded. Whenever an audio signal is routed through a recording console, it passes through multiple gain stages and amp sections. This diminishes the sound quality while adding distortion and system noise.
- API 512-c (6 channels)
- Chandler TG-2-500 (2 chns)
- Millennia HV-3D (8 chns)
- Focusrite Red One (4 chns)
- Neve Portico 5012 (2 chns)
- Demeter Tube VTMP-2 (2 chns)
- Earthworks LAB 102 (2 chns)
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