NEAL CAPPELLINO

GRAMMY-WINNING ENGINEER / PRODUCER


Nashville, TN - USA

Producer/Engineer Neal Cappellino has called Nashville home for more than 20 years. With a degree in music and a B.S. in Electrical Engineering he has built his career on empathy for both sides of the glass, helping guide platinum artists as well as emerging independent talent with a solid understanding of the creative and technical.

A multiple Grammy® Award recipient, most recently for engineering on Alison Krauss & Union Station's ‘Paper Airplane’, his credits also include Brad Paisley, Vince Gill, Darius Rucker, Avicii, Willie Nelson, The Del McCoury Band, Joan Osborne, Dolly Parton, and The Gabe Dixon Band. Upon moving to Nashville in 1992, Neal built and operated his own recording studio for several years. He now maintains a private facility, The Doghouse, which is home base for his work.


NEAL & THE REFLEXION FILTER®

How do you use your Reflexion Filters?

I first saw a Reflexion Filter in use in a demo session at an AES show. Now I've got the RF Pro and RF Space.

I’ve used them on vocals and instruments alike where I either need more isolation from other sounds/instruments in the room, or I don’t like the character of the room and I’m trying to minimize the amount of room sound pulled into the mic. For instance on upright bass in a particularly bright room, I’ve used RF SPACE to block some of the room sound from the back of a ribbon mic with a figure 8 pickup pattern.

An RF Pro, RF Space, and RNR1 set up for guitar recording on an Alison Krauss & Union Station session.

How would you describe the difference they make to the sound?

The Reflexion Filters always help to isolate the source I want to capture by eliminating extraneous, non-essential sounds, be they room reflections or other sound sources. In some cases depending on placement you can alter the character of the microphone you’re using.

Do they make your recording process easier? Faster? If so, in what way?

The Reflexion Filters can assist in situations where you may not have control over the placement of instruments or the acoustics of the room, but you need to alter what the microphone is picking up.

In summary: what is the main reason someone should consider using a Reflexion Filter?

You can never have enough tools and tricks to get the job done. This is exactly the kind of tool that, once you have it you’ll use it over and over.


GEAR
TIPS & TRICKS

Reflexion Filter: "Try two of them, one each on a tightly spaced pair of room mics to get extreme stereo spread."

LINKS