K a s t n i n g

I have received various inquiries regarding my studio life. When I am in a recording studio, here is what I use and why.

Microphones

Of late, I have been doing some recordings in mid-side (M/S) configuration, but the vast majority of my recorded output has been with the mics in a setup known as coincident stereo pair. Using that mic'ing technique, I get a lot of control over the stereo field at mix time; plus the Gefells are just unsurpassed in detail, resolution, and accuracy. My usual coincident pair consists of the Gefell M-930 and the Gefell M-295; my last three or four albums were tracked using that pair on myself. However, I have also been using the M-930 paired with a Shure KSM44. The mics listed here are the ones which see the most use.

Gefell M-930
If I had a favorite microphone company, it would be Microtech Gefell of Germany. I do have a favorite mic; it is the Gefell M-930. This has been my main mic on all recordings since the sessions for "Bichromial" in 2004. Very, very accurate and imparts a larger-than-life aura. It is huge and extremely detailed; never muddy or ill-defined. And the self-noise is very low at 7 dB. The workmanship is German precision at its finest. I know that long established studio dogma dictates that small-diaphragm condensors (SDC) are the accepted gold standard for recording acoustic string instruments, but my favorites are all large-diaphragm condensors (LDC). And of all the LDC mics I've ever used over the years, the M-930 exceeds any of them. Cardioid pattern.

Gefell M-295
The Gefell M-295 is a rare and unusual mic, in that it utilizes a nickel diaphragm in the capsule. Currently, the Gefell M-29x series are the only nickel-diaphragm mics in the world. The detail, clarity, and accuracy of this mic never fails to amaze me. It adds nothing, and takes away nothing. The upper frequencies are sparkling without ever being harsh or brittle. The 295's frequency response is built upon a long slope from 0 hZ up to about 500 hZ, where it levels off to just about perfectly flat until around 3kHz, where it exhibits a slight 1 dB rise from around 4kHz of up to about 2 dB at 10kHz. This gentle low-end slope greatly reduces any of the cardioid pattern's proximity effect when used in close-mic'ing, which is precisely how I use it. Cardioid pattern.

AKG C 414 B-XLII
Another mic from Germany, the 414 is the Swiss Army knife of the recording studio. I remember one of the early recording sessions I did as a studio musician in the late 1970s; the recording engineer set up a 414 in front of me, and I've liked them ever since. Unlike the older four pattern versions of the 414, the XL-II has five patterns; as well as much lower self-noise than the previous versions (7 dB vs. ~15 dB). Hanging a pair can make an ideal M/S or Blumlein configuration.

Shure KSM-44
The KSM-44 is truly an under-rated LDC mic. Built by Shure Brothers in Illinois, this is the flagship of their KSM series. In cardioid, it tends to sound surprisingly close to the Gefell M-930. It makes for a great second mic in a coincident stereo pair along with the Gefell M-930. The 44 also has very low self-noise at only 7 dB, and has the usual Shure tank-like build. It makes a wonderful M or S mic in a M/S setup, too. Three patterns.

Neumann TLM-103
More German microphone precision. The 103 is a very accurate and clean LDC instrument mic. Very crisp and defined without being harsh or brittle; also with very low self-noise.

Peluso P-Stereo
This Peluso model is a stereo LDC. I've been using it as a M/S mic, and am rather impressed with it. Sonically, it is very accurate and doesn't really impart any of it's own character on the source. Well-made with good build quality. Also good for Blumlein and X/Y, too.

Outboard

Millennia HV-3D
My favorite microphone pre-amps. A very transparent mic pre. The triple gain range makes dialing in gain much more accurate, and Millennia's gear has a military-grade heavy build quality, with loads of precision and attention to detail at every turn. Millennia has been very good to me; John LaGrou has gone above and beyond for me on more than one occasion. I'm listed under their Critical Acoustic Music Recording section, too.

Bricasti M7
Absolutely the most incredible reverb I have ever heard outside of Boston Symphony Hall. Beautiful; smooth; dense; accurate, with no grain in the tails. Very flexible; very programmable; very pure. The depth is stunning and the realism unsurpassed. Every record of mine from Resonance forward was mixed using the M7. I'm proud to be an artist endorser for Bricasti.

Ephemera

Enhanced Audio M-600
I have a pair of these, and love them. David Browne of Ireland's Enhanced Audio has invented a true modern classic. Here is my endorsement of them on the Enhanced Audio website. Thanks, David!

Mogami / Gotham / Neutrik / Hakko
I make all my own mic and patch cables for the studio. I use only Neutrik connectors and either Mogami Neglex 2534 or Gotham GAC-4 raw cable. I'm also rather fond of the Hakko 936 soldering stations.

Emeco 1006
For me, these are the perfect recording chair. The Emeco 1006 provides an ideal playing posture with support, and since it's a one-piece design with no moving parts or nothing to loosen over time, it never creaks or squeaks, which can ruin a take. Handmade in Pennsylvania from recycled aluminum.

No EQ | No Compression | No Limiting | Ever.