Long-term relationship with SCHOEPS
Throughout his illustrious career spanning Chicago, Milwaukee, Philadelphia, Indianapolis, and New York, one constant has remained: Schoeps microphones.
"I learned my craft using Schoeps mics in various locations," he reflects. "I have been using Schoeps mics through the various releases of new capsules—the MK 4 cardioids, the MK 2 and MK 2S which I dearly love, and then the newer ones like the MK 22." Rock speaks with particular enthusiasm about the MK 22 open cardioid capsule: "As people know, I feel very strongly that it is a wonderful, versatile microphone capsule. You can use it in almost any situation." This versatility has proven invaluable across the diverse recording environments Rock navigates—from the orchestra's home at the newly renovated David Geffen Hall to their summer performances in New York's parks.
The Influence of the Colette Series
When discussing the influence of Schoeps on orchestral recording, Rock often returns to the introduction of the Colette modular microphone system in the early 1970s. This innovation fundamentally changed how orchestras could be recorded, particularly for television and video productions.
"The need to have microphones that did not get in the way of the video cameras was very important," Rock explains. "Coming out with the Colette cables [KC] enabled engineers to hang mics that sounded every bit as good but were very small. It was revolutionary." The Colette series, with its interchangeable capsules and lightweight design, allowed for more flexible microphone placement and better visual aesthetics—a critical consideration for broadcast performances. "I always point to The Three Tenors as being a benchmark. It was a big road show and a big orchestra playing in stadiums. Many, many Schoeps mics, including the ones on the singers. If anybody has any question about what the Schoeps Colettes are, I say 'the Three Tenors' mics.'"
The Schoeps Sound: Capturing the Essence of the Orchestra
For Rock, the superiority of Schoeps microphones is evident in their ability to capture the nuanced sound of orchestral instruments—particularly strings.
"There's a concept of sound, of having the right balance, the amount of presence, and a sense of ambiance " he explains. "What is very important is the off-axis response of microphones because that's where you pick up all the subtleties of the ambiance of the room." While condenser microphones are known for their clarity and detail, they can sometimes sound too bright or harsh when capturing string sections. Rock notes that Schoeps has overcome this common challenge: "Schoeps has worked to make condenser mics sound warm." He emphasizes that string instruments, especially violins, represent "the Holy Grail" of orchestral recording: "Getting a sound that's warm and clear, that's not at all harsh on the high end—that's the objective. And with Schoeps mics, everyone agrees they are the best."
From Concert Hall to Parks: Versatility across Applications
As Audio Director, Rock oversees all of the New York Philharmonic's recording activities, which extend far beyond standard concert performances:
- Archival recordings of all live performances
- Radio broadcasts and digital streams
- Commercial releases for major record labels
- Outdoor summer concerts in New York City parks
- Special projects and cross-genre collaborations
The demands of each setting can vary dramatically, particularly for the Philharmonic's beloved summer concerts in the parks, where acoustic challenges multiply. For these events, Rock deploys a selection of 32 Schoeps microphones, primarily MK 4s and MK 22s, to create a coherent sound that can be projected through large PA systems while maintaining the orchestra's natural tonal balance. "Having that many mics of that quality—it sounds wonderful, it sounds marvelous," he notes with evident satisfaction. "You don't want to put 32 mics out that don't cooperate."
Durability for Decades
While sound quality remains paramount, Rock also values the exceptional longevity and durability of Schoeps microphones. In an environment where recording equipment is constantly transported, set up, and taken down, the resilience of these microphones has proven remarkable. "Many of the ones we have are 40 years old, and they still work just fine," he states with clear appreciation. "Schoeps happen to be extremely durable. They get knocked around, and they just keep working. It's great to know that when you open your locker, the mics will work."
When maintenance is occasionally needed, Rock praises the Schoeps’ responsive support: "Another hallmark of Schoeps is their service. Any kind of repairs, mechanical problems from somebody dropping it or something—the service is quick, it's reasonable, and they make a new mic out of it for you. Again, it's like none other, the service."
Innovation Continues: Embracing New Technologies
While Rock maintains a deep appreciation for his vintage Schoeps microphones, he continues to embrace the latest innovations. The New York Philharmonic has recently incorporated the newer CMC 1 microphone amplifiers, which offer even more compact dimensions than their predecessors. "With a CMC 1 and a right-angle connector and this discreet stand, it happens to blend in perfectly with the new music stands that we have because they're black and round," Rock explains. "It's marvelous, and they're wonderful sounding. We just need to get more of them."
