Tony Huerta

In this in depth article and interview with Tony Huerta discussing recording and mixing a cappella, he states, "I have tried every microphone possible to find the perfect vocal kick sound and have found that microphones designed for a real kick work the best and provide the EQ I need. Specifically the Audix D6 or Beyer M88."

In this in depth article and interview with Tony Huerta discussing recording and mixing a cappella, he states, "I have tried every microphone possible to find the perfect vocal kick sound and have found that microphones designed for a real kick work the best and provide the EQ I need. Specifically the Audix D6 or Beyer M88."

In this article and interview with Tony Huerta detailing his process of recording and mixing a cappella, he shares, "I choose between several different microphones for the [vocal/beatbox] snare; usually dynamic instrument mics that I’d usually use on a real snare or on congas in a live show. I have used the Shure Beta 57, SM57, and a special SM57 with Gaff tape around the head, it changes the characteristics slightly and gets a cool body tone."

In this article and interview with Tony Huerta detailing his process of recording and mixing a cappella, he shares, "I choose between several different microphones for the [vocal/beatbox] snare; usually dynamic instrument mics that I’d usually use on a real snare or on congas in a live show. I have used the Shure Beta 57, SM57, and a special SM57 with Gaff tape around the head, it changes the characteristics slightly and gets a cool body tone."

In this article and interview with Tony Huerta detailing his process of recording and mixing a cappella, he shares, "To capture the rest of the sound coming off the artist, I use two DIFFERENT high-quality overhead condenser microphones... I use a Shure KSM 32 on one side and a Rode NT5 on the other."

In this article and interview with Tony Huerta detailing his process of recording and mixing a cappella, he shares, "To capture the rest of the sound coming off the artist, I use two DIFFERENT high-quality overhead condenser microphones... I use a Shure KSM 32 on one side and a Rode NT5 on the other."

In the attached article diving into Tony Huerta's process of recording and mixing a cappella, he shares in respect to live mixing, "I prefer vocal basses to use Shure’s Beta 58 or the Sennheiser 845/945 capsule. I NEVER use a condenser mic on [live] bass! NEVER! The capsules can’t handle the close plosives or SPL without coloring the final signal. Dynamic microphone coils can reproduce those needs sub frequencies with a more true sound."

In the attached article diving into Tony Huerta's process of recording and mixing a cappella, he shares in respect to live mixing, "I prefer vocal basses to use Shure’s Beta 58 or the Sennheiser 845/945 capsule. I NEVER use a condenser mic on [live] bass! NEVER! The capsules can’t handle the close plosives or SPL without coloring the final signal. Dynamic microphone coils can reproduce those needs sub frequencies with a more true sound."