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Brandon is a producer, audio engineer, multi-instrumentalist, and senior writer at Higher Hz, where he covers microphones, studio monitors, audio interfaces, and recording techniques.
Coming from humble beginnings, Schock began recording psychedelic bedroom pop with nothing except for GarageBand and the built-in microphone on his laptop as a teenager.
While he's since upgraded his recording setup, Brandon still has a proclivity to work through the confines of limitation.
His music is spasmodic, distorted, and restless, often taking inspiration from artists such as Cornelius and The Beach Boys.
Over the years, he's gained a vast amount of experience recording, writing, and performing with local groups and fellow artists such as Petty Walker, and Windy 500.
When it comes to gear, Brandon has a particular fondness for several models and series of studio gear. He usually records through his Focusrite Clarett 8Pre, aided by his Beyerdynamic DT 770 Pro for tracking.
For microphones, the Electro-Voice RE20, Neumann KM 184, the AKG SE300 B (particularly when using the CK91 capsule), and Coles 4038 are worked to their limits in his studio.
He also has a soft spot for Adam Audio studio monitors, which he has been using for years.
In terms of preamps, Brandon has two favorites: the clean and transparent Focusrite ISA One and the warm and colorful Universal Audio Solo/610.
However, even though he has his mainstays in his arsenal, he's incessantly researching and trying to find hidden gems.
Still forever passionate about music, Brandon has recently dedicated himself to writing about the latest innovations in audio technology, while keeping busy with his own projects and passions.
Acoustic guitar is a delicate instrument, and require a microphone that’s capable of capturing that nuance and subtlety of your performance.
Below is a list of what I consider to be the best microphones for recording acoustic guitar, giving you a good sense of what to look for when trying to capture the perfect sound from your guitar.
AKG’s Perception line was introduced back in 2006, offering a solution to home-recording artists who were looking for quality microphones, but at a lower price than AKG’s more time-honored studio mics.
In this review, I’ll be taking a look at the P420, the line’s flagship model.
If you’re interested in recording music, you’ve probably watched documentaries and behind-the-scenes footage of your favorite bands.
You’ve noticed the giant desks with knobs and faders, and the little metal boxes with inputs and outputs.
What are they, and what’s the difference? The terms “mixer” and “audio interface” get thrown around, but you might not know what they mean.
Very few instruments possess the vibrant history and cultural weight of the banjo. From its origins in North Africa and the Caribbean to its prominence in contemporary folk and indie rock, the banjo has played a vital role in structuring the soundscape of American music.
Behind this legacy, of course, are the virtuosos and champions of the banjo who pushed the boundaries of the instrument, reimagining what was possible and inspiring future generations.
When it comes to vocal production, oftentimes the most important decision is which microphone to use.
While the perfect candidate depends largely on the singer and the style of music, my personal experience has shown that there are a handful of microphones I consistently rely on and trust for their exceptional performance in the recording studio.
Understanding the differences between various types of microphones is crucial for choosing the right one for your recording needs.
Dynamic, condenser, and ribbon microphones are the three main types, each offering unique characteristics and strengths.
In this article, I’ll take a deeper look into these microphones and their subtypes, explaining how they work and comparing their performance in various applications to help you make an informed decision.