Assistant Professor John Fishell teaches music media and production at Ball State University in Indiana, but enjoys recording from his home. In order to get a large format sound in the small space, Fishell turned to Vintage King and the BOX console from API.
The BOX was the perfect size for Fishell’s small footprint requirement, considering his entire studio is located in the second bedroom of his apartment. However, the footprint of the console is the only thing he finds small about it.
When asked what advice he would give to others considering a BOX of their own, Fishell responded: “Brace yourself, you are playing with the big boys now. With API, there should be no such thing as puny-sounding tracks. The built-in compressor is powerful, yet easy to use and makes a difference.”
In addition to the BOX, Fishell has accumulated an API collection that includes six API 550b EQs, four JDK V14 EQs, and twelve API 225L compressors. He says his first experience with API gear was when he was a student himself at Omega recording studios in Rockville, Maryland. There he got to work with a 2488 in the B room, and he’s been a fan ever since. When he decided on the BOX himself, no other company would do.
“I was very happy with my modular API DSM system, and I knew I wanted to stay with their summing,” he explains. “The features like the built-in 550A made me lust after the BOX. I was able to seamlessly integrate API outboard gear that I already owned through inserts and patch points.”
Fishell has worked as independent engineer, producer, and musician since 1993. He has also worked full-time at James Madison University, Middle Tennessee State, University of Colorado at Denver, American University, and now Ball State.
At home, Fishell primarily focuses on rock and jazz, occasionally working on classical music as well. Even though he has only had the BOX installed for a few months, it has already recorded almost a dozen different artists such as Dave Liebman and Mike Stern.
“The BOX has the same ‘mojo’ and coloration of API’s bigger consoles, so I can compete with other pro mix facilities in the comfort of my small apartment” Fishell concludes. “It does a great job – better than mixes that stay in the ‘digital box’. Even classical and jazz projects benefit from the ‘muscle’ that API gear provides.”
