Brandon Eggleston is a Producer/Engineer/Mixer and has worked with The Mountain Goats, Josh Ritter, Swans, Om, tUnE-yArDs, and many, many more. With plenty of experience in and out of the studio, Brandon tells us why he has come to rely on the Focusrite ISA Two.
“I started making records in Seattle in 2003. Touring as a FOH engineer came up shortly after that when bands I was recording wanted to bring my attention to sonic detail to a live setting- mainly trying to recreate those magical moments you find while deep in the creative process. So I’m mainly a studio rat but touring works out great for me because I get to listen to amazing bands exactly the way I want to and since I only agree to tour with bands whose music I really enjoy, I never get tired or bored mixing the shows. Touring keeps me on my toes and has improved the way I mix records.
I’m primarily tracking on the Trident TSM at my studio and mixing with my Apogee Symphony I/O through a Dangerous bus. That being said, I have worked all over the US in studios ranging from multi-million dollar complexes to dingy basements, so the gear I use may change from day to day.
The first thing I did with my Focusrite ISA Two was a shoot out with a couple other preamps. I recorded some vocals and guitar with the signal multed into the Trident TSM, a Vintech 73xi, and the Focusrite ISA Two. During the mix, I spent a long time really listening to the subtle differences and characteristics. The results were surprising and since then the ISA has always stood up against other lusted after preamps. I’ve even started mixing through the line inputs of the ISA Two at my home studio, patching it in just before the mix bus compressor, just to get the sound of the transformers.
I mean, Rupert Neve designed the circuit, how bad can it really be? I’ve also been using the Midnight plug-in bundle that has a very transparent compressor and smooth EQ.
It’s been nice to integrate the ISA Two’s mic pres into live show for The Mountain Goats too. We wanted to bring some great sounding preamps on the road that weren’t crazy expensive or fragile. I threw that thing in a rack and have been very happy with the sound. Those channels sound big, clear, and always noticeably better than the console pres.
If Focusrite gear didn’t sound good, I wouldn’t bother. I keep going back to it because it does sound good. My work flow is fast paced and I know when I reach for my Focusrite stuff I’ll be able to get a great sound in very little time.”