Los Angeles, CA USA
'The Wolf of Wall Street'
'The Secret Life of Walter Mitty'
'Jack Reacher: Never Go Back'
'The Man in the High Castle'
Could you please tell us a bit about your background?
I grew up in Northern Nevada, where I spent most of my time playing trumpet and skiing up around Lake Tahoe. I went to college on a trumpet performance scholarship, and started DJing to make extra pocket money. I eventually decided that I didn’t want to practice trumpet 6 hours a day to barely make a living, so I went to recording school and eventually got a job at Westlake Audio.
At Westlake, I got to work with every great producer and engineer you can name. I left Westlake in 1994 to start working with Glen Ballard. Later that year, we started work on (Alanis Morissette's) Jagged Little Pill, and from there I just stayed busy. I transitioned into film scoring in 1999, which was for me perfect timing because the music industry was in flux. Since that transition, I’ve done about 125 major scores, but I still do some album work here and there.
So how did you become familiar with sE Electronics?
I was looking for a modern large-diaphragm tube and a friend of mine mentioned the Gemini. So I reached out, tried the mic and immediately loved it.
What sE gear have you tried out thus far?
The Gemini II is the only mic I’ve ever tried on a timpani that requires no, or very little EQ. It’s huge but still present. It's the best timpani mic I've ever used, and I typically used well-maintained 47s or 49s. Really great."
How have you been using the gear? What sources/artists/projects?
For orchestral recording, I use Gemini II exclusively on timpani.
I use the mic quite a bit on vocals as well. It’s been used on Sharon Jones, Childish Gambino, and several lead vocals in film scores I’ve recorded. It was also used on the vocal in the main title for the new Amazon show 'The Man in the High Castle'.
Is there something in particular you like about it? What makes it work for you?
The Gemini II is the only mic I’ve ever tried on a timpani that requires no, or very little EQ. It’s huge but still present.
The first time I ever tried it on vocals, it was for a lead gospel vocal in the movie 'The Campaign'. It killed my 251 and the house C12.
The T2s sounded exactly like I hoped they would. Punch and beef on toms was the number one criteria, and they delivered. Just slight EQing in my API 560s and they were perfect.
Any more general information / advice / words of wisdom?
Go with your gut, and drink lots of water.