Titanic, Avatar, Skyfall, Celine Dion, Michael Jackson
Los Angeles, CA - USA
"I always knew what I wanted to do. At 13, I was pretty certain that I wanted to be producing records and doing film scores, and I just headed that way from 13 onwards, and I’ve been lucky enough to continue doing what I love."
"During the ‘The Amazing Spider-Man’ scoring sessions I was sent a pair of the RNR1s for trial; they instantly became my favorite ribbon mics in the entire world. I bought them after the first day. Nothing’s come close since. It’s my favorite piano microphone. A pair of those on a Steinway is about as good as it gets.
They’re wonderful on brass and strings, electric guitar cabinets sound huge through them…they have that lovely extension on the top end that normal ribbons don’t have, but still have all the characteristics that I love.
I’ve even used them for singers when I needed a classic sound or there’s an edge in the voice that the RNR1 can smooth. They sound luscious."
"After my experience with the RNR1’s, I immediately trialed a pair of RN17’s with the capsule set when they were released. Once again they were an instant hit. The RN17 has become my desert island microphone. If there was one microphone I knew I could take with me that would get me out of trouble, it’s this.
We just recorded a film score in Los Angeles; I and a very famous engineer did a blind test between this and the usual suspects: the RN17 won. He said, 'Please don’t send this back.' The RN17 can handle pretty much anything and sound great. I use this especially when we’re recording acoustic guitars. We did a lot of work with one of LA’s top session guitarists, and he loved the sound of this. Woodwinds, percussion, all sound fabulous.
The clarity and the detail I get from the RN17 is wonderful. This is a perfect sampling microphone, because it has that reality that you need with low noise, but it also has just a little bit of extra something. I love that I can change the capsules to get the sound I want and, of course, the Rupert Neve transformer gives something really special to the sound.
This is probably my favorite microphone that I’ve bought in the last few years. I’ve used multiples for detailed choir recording, solo strings, guitars, low and high percussion, pretty much anything.”
"If I didn’t have the money for the RN17s, I’d get - and I still do own - a pair of 4400a's, and these have been very, very good workhorse microphones. They’re very much the sort of thing you can put on overheads for drums, and they work even as a vocal mic very well."
ON THE RF SPACE:
"I usually get to record in the finest of studios, but recently I had to record vocals with a loud male singer in a small, bare, square, spare bedroom, one of the worst of spaces to get a great vocal sound. Having once had to record a famous opera singer singing into his clothes cupboard with a duvet thrown over the doors, I thought there had to be a better way. I went online and after checking out the reviews, I bought the RF Space.
When it arrived, the first thing I noticed was that the thing was built to last; professional, heavy-duty hardware. The second and most important thing was that the vocal sound I got was great - really. I placed the singer about 18 inches from the deeply special microphone I use for vocals and the boxiness and pinging from the room disappeared. Across a whole album the room ceased to be an issue; everything sounded as though it had been recorded in a decent vocal booth."
"My mix engineer never commented on the recording quality once - apart from an initial compliment. The bottom line is that I paid for the RF Space, and it exceeded all my expectations. It made a $0 an hour bedroom into a professional recording space. The RF Space is an answer to one of the biggest problems in getting a great sound; it will help a microphone work the way it should do, even in the worst of rooms."