I first heard the Geofón in late 2019 and from the first moment I’ve been charmed by what I think is it’s a most recognizable attribute – how it accentuates low-end frequencies and makes you feel like you are experiencing them from the inside of the recorded subject. I thought it would be great for capturing the inner reverberations of big structures, but one of the first examples I’ve seen and heard was Richard Devine applying it to a much smaller scale – creating a sound space out of a waterphone instrument – and getting massive sound out of it nonetheless. It has shown me that with Geofón you don’t need to go big to get impressive results.

I first heard the Geofón in late 2019 and from the first moment I’ve been charmed by what I think is it’s a most recognizable attribute – how it accentuates low-end frequencies and makes you feel like you are experiencing them from the inside of the recorded subject. I thought it would be great for capturing the inner reverberations of big structures, but one of the first examples I’ve seen and heard was Richard Devine applying it to a much smaller scale – creating a sound space out of a waterphone instrument – and getting massive sound out of it nonetheless. It has shown me that with Geofón you don’t need to go big to get impressive results.