Engineer/producer, songwriter, arranger and studio musician Seth Glassman relies on Geoffrey Daking & Co. gear in his personal studio. “I have two of the original Daking mic pre/EQs and two of the original compressor/limiters,” Glassman says, who, as a session bass player, first met Geoffrey Daking many years ago when he was working as a recording engineer. “I have a lot of equipment in my studio. Some of it is very specialized and much of it is very expensive, but Geoff’s stuff is just better, and I use it much more often.”
Glassman says that he finds himself returning again and again to the Daking microphone preamplifiers when working in his studio. “I am compulsive enough when I’m producing that I try pretty much everything that I own on each artist that I work with,” he says. “When I’m checking microphones with the artist, I use Daking preamps because more often than not, it’s the preamp I’m going to wind up with. Then I’ll check all my preamps with the microphone that we’ve picked to make sure it’s the best-sounding with the singer. Almost inevitably it’s the Daking.
“The Daking compressor/limiters are equally practical,” he continues, “and are also very versatile. They can be transparent. You can put some very light compression on the stereo bus on something that’s very sensitive and get the effect that you want. Or you can use them almost as an effect and squash something amazingly hard and still make it usable.”