Christoph Kissel “Colón” has studied percussion and Caribbean music with the best Cuban percussionists. Among his teachers have been Mililian Galis, Ramón Márquez, Oktavio Rodriguez, Juan Bauste and El Panga. He has performed together with outstanding musicians and groups such as Folklórico Cutumba, Son de Buena Fe, Septeto Santiaguero and Martha Galarraga (Conjunto Nacional de Cuba).
Colón stands out for his extraordinary musical creativity and the precision of his performance. He has participated in important theater productions and frequently offers very successful cajon workshops. He has been an endorser with Schlagwerk since 2010.
That´s easy to answer: well thought-out instruments with an excellent sound for professional use, which are fun and yield the best possible results in the most varied situations, from studio work to large stages down to the smallest club.
Cajon la Perú and Fineline Mocca!
Son & salsa, flamenco, Latin pop, Latin jazz, German pop music, world music, Latin gipsy music
Menino, Menino-Jam: Latin pop, Brazil pop, world; Absalon Quartett: new German pop music; I Gitanos: gipsy Latin; Sincero: Latin pop; Manos: flamenco caribeño
…oh yes.. percussion, cajon, mics and technicians… that´s a ticklish matter. But in the meantime I have found a good solution.
Here are my recommendations and suggestions:
In live situations, a Shure Beta 98 h/c is attached to the uppermost point of the sound hole of the cajon with the capsule set to slope obliquely upwards. This small high-quality condenser mic works great in any situation provided that the sound engineer has enough dexterity and experience: increase the treble frecuencies, and decrease the midrange and bass frequencies. You should never use it without a pop filter. Addionally, in case you have enough space in front of the cajon and also the wherewithal to pay for it, you can position a Neumann KM 184 set up at a distance of about 30 to 40 cm / 12 to 16 “. and directed upwards at an angle of about 45 degrees from the upper edge of the playing surface of the cajon – also in combination with a Shure Beta 91 boundary layer positioned on the bottom inside the cajon.
In studio situations, I use a Neumann U87 ai with a pop filter, a tube preamplifier and high-cut attached behind the sound hole. Up front, I position a Neumann TLM 102 plus tube preamp, low-cut, all of them connected with a vovox cable, at a distance of about 30 to 40 cm / 12 to 16 “ and at an angle of 45 degrees. This, of course, is quite expensive but the sound is absolutely sensational – which you need if you want to have great mixing options. Sometimes I add a boundary layer mic.