What's New

Here's updated content on what I have been working on,  learning, and developing.

Recording the Symphonic Winds Ensemble at Capital University - November 10th, 2023

On November 3rd, I began pre-production with my team.  Assigned as the backup recording engineer, my job was to have a backup of the entire concert in the event that something went horribly wrong with the Dante rig.  I prepared my notes; I would use two separate computers running Logic Pro and FL Studios, respectively, and each would be recording a different stereo mic pair.

Here are some details about the concert!

Ensemble: Symphonic Winds

Date: November 10, 2023

Time: 7pm (Call Time: 4pm)

Location: Mees Hall

Director: Ishbah Cox

Studio Recording Location: Studio A

For the AKG spaced pair, I set them up about 6 feet off the balcony and tilted them toward the center of the stage.

For the Shure X/Y pair, I set them up, again, about 6 feet off the balcony and had them tilted halfway between the edge of the symphony and the center of the stage on each side.

Using the Behringer might have been overkill, but it sounded great!  And since it was much heavier than the 2i2, I didn't have to precariously watch it to make sure it didn't get swallowed by the seat cushion.

I used my Behringer Xenyx 1832fx to record the X/Y pair, and my Scarlett Focusrite 2i2 for the spaced pair.  Space was quite limited, so I ended up balancing the 2i2 on my jean jacket to help weigh down the balcony seat.

Overall, this ensemble was super fun to record and experience.  I loved the guest conductor/composer, Andrew Boysen Jr., that they featured, particularly his piece Song for My Children.  Everyone in the audience was curious as to what I was doing, so I also enjoyed getting to talk to people about the Music Tech program and the process of recording.  See below for a couple of my mixed pieces from the concert.

Recording Laugh, Clown in Studio F

My friend Madison Easton and I recorded local Columbus band Laugh, Clown.  Huge thanks to the band for taking a Saturday morning/afternoon to help us out!

I'm Dante certified!

Fuzzy, Nostalgic, or Just Plain Vanilla? (but vanilla like the ice cream, because if we're being honest vanilla flavor is really good, just lacking in cool little bits like chocolate chips and cookie dough)

Studio F Preamp Shootout

I compare 4 different preamps from Capital University's Studio F.  Hope this helps you figure out which preamp to use in all your fun recording endeavors.  But, let's be honest, the cheapest preamp on this list is almost $700, so good luck affording any of this gear!

For this post, I conducted a shootout on four different preamps located in Capital University’s Studio F.  The purpose of this study was to explore the sonic differences between highly variable preamps, using the exact same microphone, mic placement, acoustic guitar, and guitar player.  Speaking of the guitar player, I got my dear friend Madison Easton to come lay down a few bars of sweet stringy sensations.  Let’s get into it!

I began with some research on appropriate mic placements for acoustic guitar.  For most of my college career, I had stuck with the typical “point it somewhere close to the intersection of the body and neck” trick, which has seemed to work fine for me, but I was curious as to whether professionals in the field had any other ideas.  Mike Senior of Sound on Sound refers to this position as “vanilla” (rightfully so), and that some professionals think that it does not put enough emphasis on the resonance of the body.  Although in some instances I agree, I think the Royer R-122 that I chose to use for this shootout employed lots of ambient room sound, allowing the resonance and energy of the guitar to cut through.  However, if you want to learn more about guitar miking techniques, I highly recommend Senior’s article.  Find it here.

I also wanted to research other people’s opinions on good preamps to use for acoustic guitars.  In all honesty, it’s difficult for me to hear the difference between most preamps, but in theory I know what Studio F’s preamps are “supposed” to be used for.  Out of curiosity, I looked up whether people thought using a tube preamplifier would be acceptable for an acoustic guitar, and the results were what I imagined them to be.  Most agree with Eric from Fuel Rocks in his article “Should You Use a Tube Preamp for Acoustic Guitar?” when he states that it really is up to personal preference.  Taste-wise, you can choose whether or not to use one, but he notes that tube preamps are more expensive and require more maintenance.  Read Eric’s article here.

The four preamps I used to conduct this experiment were as follows:

Let’s spend a minute listening to each of these recordings and tuning our ears to any differences we hear.  Take a peek at the audio files below.  Have you listened to them all? Awesome. Let’s talk about it.

The Focusrite is picking up more of the low end compared to the other preamps, and I predict that this is because it has a very flat frequency response.  You are picking up the “boominess” of the guitar’s body, which is how an acoustic sounds in real life!  It’s crisp, it’s clear, and there is little to no coloration.

The Daking tells a slightly different story.  Although still  maintaining that clarity of the Focusrite, the Daking doesn’t pick up as much of the low end, instead focusing on the mids.  In addition to this, it seems like the higher frequencies are not as present as they are with the Focusrite.  Because of this reason, if I were to choose a preamp that lacks coloration and promotes clarity, I would go with the Focusrite.

The Vintech is next, and this is where things get fun.  With a pretty even frequency response between the highs and mids, the Vintech does offer an attenuation of the lower frequencies.  In some ways, I find this less distracting and actually more natural sounding than a preamp with frequency responses that can hit that low end.  Perhaps this is because I am picking up the sound as if I were sitting across from it, rather than it playing right next to my ear.  The Vintech is airy, dreamy, and has just the smallest bit of fuzz to it.

The Shadow Hills preamp also has a sort of vintage feel to it, and follows a frequency response similar to that of the Daking.  I chose to use the discrete setting on it for this particular study, but I wish that I would have recorded a bit of all three settings.  All in all, the Shadow Hills preamp is vanilla in its own right, but I’m sure there is much more it can be used for.

With all this research, I’ve quickly concluded that the Vintech VA573 mic pre by far exceeds the others as a personal preference.  I was not aware of how much my ears appreciate a little bit of coloration and fuzz compared to preamps that simply translate sound without doing anything to it.  The Vintech was warm and nostalgic.  My second choice would have to be the Focusrite, as I can always appreciate a straightforward, vanilla preamp.  It offers the ability to change more of the sound if every element is there from the start.  I almost do not like the Daking and the Shadow Hills preamp equally, but if I had to choose last place, it would have to be the Daking, simply because of my perceived attenuation of the high end frequencies.  All in all though, these preamps would certainly work wonders for anyone that wishes to record acoustic guitar!



This post is approved by Madison Easton and brought to you by Snyder's honey mustard flavored pretzels, which happened to be my dinner as I completed this project.  Be well everyone!

Works Cited:

Eric. “Should You Use a Tube Preamp for Acoustic Guitar? – FuelRocks.” Fuel Rocks, 16 Oct. 2022, www.fuelrocks.com/should-you-use-a-tube-preamp-for-acoustic-guitar/.

Senior, Mike. “How To Record A Great Acoustic Guitar Sound.” Sound on Sound, 1 Feb. 2023, www.soundonsound.com/techniques/how-record-great-acoustic-guitar-sound.

Moog actually has an audio gear empire, and other research done by me

Studio A Gear Research

I dove into a few pieces of gear featured in Capital University's Studio A.  Hope you enjoy!

Audient Console Preamps

Released in 1998, few large mixing consoles from that time are still in production and virtually unchanged from the original product.  This is clearly a testament to its design and prowess above many other consoles, and this is evident in its many features, but let’s dive into its preamp design for now.


There is no other way to say that these were built to be unnoticed.  Providing clarity and transparency in its output, these transformerless class A preamps have a ton of headroom (60dB range).  Being part of a larger console means that they are meant to be used on a range of instruments and sounds, and the Audient console achieves just that.  Its best feature? The fact that you cannot hear it in the mix!

Focusrite ISA Two Preamps

Focusrite preamps date all the way back to the 1950s, when George Martin commissioned Rupert Neve to create a no-compromise device for his channel strip.  This preamp in particular was released in 2012, and has been impressing users ever since.  With its combination of solid-state electronics and the original input transformer, four impedance settings, and up to 80dB low-noise gain, this preamp is useful in any instance.


Users describe the Focusrite ISA Two as soft and smooth, with slight compression on the upper mids and lows.  There is an ever-so-subtle hint of color as well- a warmness that brings a sort of thickness to its sound.  Many have claimed that it sounds acceptable on a variety of instruments, including vocals, acoustic and electric guitars, and drum overheads.  Named a “classic design” in the audio world, this preamp can be used across styles and genres, and although it does not have a digital output option, you can get the best from most mics with this device.

Universal Audio 2-610 Tube Preamps

Bill Putnam Sr. created the first version of this preamp, while his sons (Jim and Bill Putnam Jr., the founder of Universal Audio) aimed to improve it with the 2-610.  Not surprisingly, these upgrades came with a plethora of cool aspects to the device. The UA 2-610 Tube Preamp has variable gain and output levels, multiple impedance settings, and high and low shelving EQs.  The standout feature of this preamp are the changes made based on requests from the previous version’s users- namely, a switchable -15dB pad and an improved EQ circuit (for more “open sonics” as explained by a gearspace.com user).


The main thing to note is that if you are looking for a straightforward, transparent preamp, you should run in the other direction.  This preamp holds so much color in its sound, mostly due to the boost of lows and mids from its tube characteristic.  Because of this, you can use the UA 2-610 Tube Preamp on just about anything you want to add personality to.  Try it on vocals or guitar for some extra color, or even on your overheads for a prominent drum mix.

Fredenstein Professional Audio F600A Compressor

Fredenstein Audio, in their “About” section of their website, asks us to “[t]hink about what is sonically missing in today’s audio equipment.”  Their goal is to fill in the gaps of technology.  With the Fredenstein Audio F600A Compressor, they are achieving just that.  This device has a gain control circuit that is analog, but the sidechain is digital based on 2 DSPs.  There are three knobs, one for threshold/gain, release/attack, and ratio/high pass filter, as well as an analog VU meter.  Its best feature is its sophisticated sidechain, which uses 2 LED lights to indicate peak/RMS and hard/soft knee.


The F600A can handle extreme output levels or squash the living daylights out of your sound, making it perfect for loud, booming instruments such as drums or brass.  However, it does not take away from the “punch” of the transients (unless you, of course, wish to change that).

DBX 160A Compressor/Limiter

Since its introduction in the 70s, the 160 series has still consistently been in use and upgraded continuously, and is often regarded as an industry standard.  The 160A is one of the newer versions of the product, with the biggest difference being the switch to a more modern aesthetic across the front panel.  There are also digital versions of this hardware available as downloadable plug-ins.


With compression ratios ranging from 1:1 to infinity:1 to negative compression, to over 60dB of gain reduction available, you can get all your compression needs fulfilled with this device.  Known to be the standard compressor for drums, you’ll get that punch and “thwack” that you wish to achieve with your drum mix.  If you don’t have one of these guys, at least try out the plug-in!

Moog Analog Delay 500 Series

Although Moog is best known for their synths, the company has successfully built its empire in the world of audio gear, too.  This is not their first delay hardware, though, explaining that they took what they learned from previous devices to better this one - which meant redesigning the entire input and output circuitry.  Now, this delay does it all.  There are five knobs: input gain, output gain, delay time, feedback control, and wet/dry mix.  In addition to these, there is a switch that you can toggle for a delay-time multiplier - an exciting feature that enables even more customization for your desired sound.


With its versatility, users have utilized the Moog delay in several different ways, from using it for a pleasant, warm tonal coloration for vocals to creating a chorus effect on an acoustic guitar.  Chris Koltay, in his review on Tape Op, describes his experience with the Moog - “...during trumpet overdubs for a Frontier Ruckus album, Zachary Nichols wanted to hear a little space around his horn. We tried a few reverbs, and he kept saying, ‘Not reverb. Space!’ I set the delay time on the Moog to around 80 ms and the feedback to zero, pulled up the fader, and he exclaimed, ‘That's it!’”

Works Cited

“2-610.” Gearspace, cdn.gearslutz.com/gear/universal-audio/2-610. Accessed 29 Aug. 2023.

“About Us.” Fredenstein Professional Audio, www.fredenstein.com/about. Accessed 30 Aug. 2023.

Baccigaluppi, John. “2-610 Tube Mic Pre.” Tape Op - the Creative Music Recording Magazine, tapeop.com/reviews/gear/27/2-610-tube-mic-pre/#:~:text=This%202%2Dchannel%20tube%20mic,the%20Doors%20to%20Frank%20Sinatra. Accessed 29 Aug. 2023.

Becka, Kevin. “Fredenstein Preamp/Compressors.” Mixonline, 5 May 2015, www.mixonline.com/technology/fredenstein-preampcompressors-424495.

Edit, Mix. “Birth of a Classic: The DBX 160 Compressor.” Mixonline, 20 Nov. 2020, www.mixonline.com/technology/birth-of-a-classic-the-dbx-160-compressor.

Houghton, Matt. “Focusrite Isa Two.” Sound on Sound, 1 Sept. 2023, www.soundonsound.com/reviews/focusrite-isa-two.

Houghton, Matt. “Moog Analog Delay.” Sound on Sound, Oct. 2013, www.soundonsound.com/reviews/moog-analog-delay.

Koltay, Chris. “500-Series Analog Delay.” Tape Op - the Creative Music Recording Magazine, Mar. 2014, tapeop.com/reviews/gear/100/500-series-analog-delay/.

McDonough, Mac. “Studio Innovators: Bill Putnam: Techniques, Tricks & Legacy.” inSync, 14 July 2023, www.sweetwater.com/insync/studio-innovators-bill-putnam-techniques-tricks-legacy/#Notable-Studio-Innovations.

Robjohns, Hugh. “Audient ASP8024-HE.” Sound on Sound, 1 Sept. 2023, www.soundonsound.com/reviews/audient-asp8024-he.

Seidel, Matt. “DBX 160A.” Gearspace, 16 Jan. 2012, gearspace.com/board/reviews/717177-dbx-160a.html.

Shearer, Kurt. “ASP8024-He Console.” Tape Op - the Creative Music Recording Magazine, 2018, tapeop.com/reviews/gear/126/asp8024-he-console/.

Studios, Revolt. “Focusrite Isa Two.” Gearspace, 20 Mar. 2014, gearspace.com/board/reviews/915865-focusrite-isa-two.html.

Tacoma Recording Studio. “DBX 160A Review.” Tacoma Recording Studio - Decade Sound, 11 Nov. 2013, tacomarecordingstudio.com/dbx-160a-review/.

“Universal Audio 2 610 Tube Preamplifier.” Gearspace, gearspace.com/board/reviews/706443-universal-audio-2-610-tube-preamplifier.html. Accessed 29 Aug. 2023.

Recording and Performing with Stillcastle

A fairly new project, Stillcastle is a band that consists of Hope Selah on guitar and vocals.  Thomas Tye on bass guitar, and James Alt on percussion.  We have been performing in the local Columbus area and are searching for more opportunities to do so.  We have also already begun recording songs for an upcoming release!  Check out our Instagram for updates on where and when we play.

Beginnings in Visual Media

I have always been interested in the visual aspects of media in addition to the audio aspects, but I have only now begun to branch into the field.  I just finished up filming and editing a short film, and am in the middle of post-production for a documentary-style interview for Capital University's AES chapter.