Josh Rogosin has a storied history in the audio industry, from his pivotal role as the lead audio engineer for NPR’s iconic Tiny Desk Concerts to his current ventures with Ghostlight and Global Sound.
Since leaving Tiny Desk, Josh has launched these exciting new projects, continuing to redefine the art of live music recording. His work has become synonymous with intimate, in-studio live recordings and has inspired countless series that aspire to the same level of authenticity and creativity.
Known for his unique ability to capture the magic of live performance in unconventional spaces, Josh’s work reflects both technical mastery and artistic vision. As a long-time Soyuz Microphones user and a personal friend of ours, he’s been a collaborator in pushing the boundaries of what’s possible in live recording. Read below as we dive into his methods, tools (like the 013 AMBISONIC microphone) , and the inspirations behind his projects.
Origins & Inspiration
1. First off, congratulations on the release of your first Ghostlight concerts! How did Ghostlight come to life, and what inspired you to create concerts in such unique spaces?
I grew up performing in my parent’s regional theatre playing lead roles in rock and roll musicals, and I’ve always been fascinated by how the acoustics of a hall affect performance. Using an ambisonic mic to transport the audience to venues all over the world is a dream I’ve had for a long time, and now I’m finally making it happen.
2. Global Sound takes listeners across borders, from Mexico City to Chile, with Istanbul on the horizon. What’s been the most exciting location you’ve recorded in so far, and how do you plan to choose future artists and venues for the project?
I loved recording at Parque Quetzalcóatl in Mexico City. The acoustics were amazing, and André Beltrán’s music fit the vibe perfectly. I’m in Santiago, Chile right now where I held a contest to find talent, and I’m super excited to record the 4 winning artists. What’s wonderful about this journey is learning along the way—15 locations since March 2024, and I’m just starting to think about publishing.
3. From NPR’s Tiny Desk to Ghostlight and now Global Sound, you’ve got a knack for making unconventional spaces shine. How do the challenges compare between these projects?
The biggest challenge is always thinking quickly on my feet to solve technical issues. Knowing how to get what I need in the moment and communicating with musicians in a way that makes sense, so they trust me with their art—and respect mine.
What's wonderful about this journey is learning along the way...
TOOLS & TECHNIQUES
4. Soyuz microphones have been part of your toolkit for a while. How’s the 013 Ambisonic fitting into your workflow for Ghostlight and Global Sound, and what’s been the most surprising result from using it in your mixes?
I’ve learned to embrace the bleed, so having a badass mic I can manipulate in post is essential. I usually like a lot of ROOM in my recordings, and I was surprised at how much LIFE entered the mix the more ambisonic I added.
5. Ambisonics can be intimidating for some. Was there a learning curve for you, or did it feel natural right away? Do you recall the moment Ambisonics first clicked for you?
It felt natural right away, like with any mic. I don’t pay too much attention to the “rules”—I just use my ears to decide where the parameters should be set.
6. Both Ghostlight and Global Sound embrace the vibe of the space as much as the music. How do you choose the perfect venue, and how do you ensure the narrative of a performance or location shines through in both the audio and visuals?
I tell people I’m looking for spots that make you think, “WOW, where the hell is that?!” Then I know I’ve found the right place. Visually, I made a decision to only shoot with one camera, floating around the musicians. I want the audience to feel like they’re in the scene, discovering the space and the music in real time.
7. What’s your method for capturing audio in non-traditional spaces? How do you prepare your gear and your team for the unexpected?
I ask musicians to get in a circle facing each other, then I stand in the middle and just listen. After some adjustments, I replace my body with the 013 ambisonic mic and add individual lines as needed.
8. Tell me about your experience with the Soyuz plugin for the 013. How does it help you shape the sound of your recordings or room?
I fiddle with the parameters until it sounds good and don’t overthink it.
9. You’ve been using Soyuz mics for a while now. Whether it’s the 013 Ambisonic, 1973, or 013 FETs, what types of recordings or instruments do you find these microphones particularly excel at in your projects?
I used the 013s to replace my aging MKH 40s—they sound amazing on the soundboard behind an upright piano and on congas and bongos. The 013 Ambisonic is my go-to room mic now. And the 1973 is great on double bass, vibes, and guitar cabinets.
I don’t pay too much attention to the “rules”—I just use my ears to decide where the parameters should be set ... I want the audience to feel like they’re in the scene, discovering the space and the music in real time.
CHALLENGES & MEMORABLE MOMENTS
10. Your work often involves high-stakes situations with notable bands. Has there ever been a time when something went completely wrong and couldn’t be fixed?
Oh yes. I didn’t arm an audience track a few times and had to fake stereo from a mono recording. Another time, I missed an electric guitar track and had to patch the solo from a two-track backup mix. The fun part is figuring out how to save these “unsavable” moments. Or I’ll just ask the artist, “Can we do that again? I fucked up.” The key is knowing when to ask.
11. How do you handle unexpected challenges, like environmental noise or technical glitches, when recording in the field? What does your mobile setup look like to keep things running smoothly?
- Like everyone else—thank God for Izotope RX! But seriously, test your gear beforehand and pack everything you need. Know if you’ll have power or need to bring your own. Always have backups. My mobile rig is light:
- Sound Devices MicPre6 II
- Sound Devices 788t eight-channel recorder
- Soyuz 013 Ambisonic
- 2x DPA 4060
- 2x Ear Trumpet Lab Delphina + clips and fur
12. You’ve been in some intimate spaces with artists. What’s been the most magical moment you’ve experienced during a recording session, where everything just came together perfectly?
I keep going back to that recording in Mexico City with André Baltran. It was raining, and I wanted to shoot outside. We walked into the park for maybe 20 minutes and found this incredible space with the perfect reverb tail and natural beauty.
The fun part is figuring out how to save these “unsavable” moments.
Philosophy & Storytelling
13. You’ve spent years perfecting your craft. Is there a piece of advice you wish you could give your younger self about audio recording—something that would have saved you time or frustration early on?
Capture the moment. Don’t strive for perfection—it doesn’t exist.
14. Both Ghostlight and Global Sound feel deeply personal. How do you preserve the authenticity of raw performances while creating immersive listening experiences, and what do you hope audiences take away from these projects?
I like capturing performances as a journalist rather than just an audio engineer. The recordings need to POP but still feel authentic. I want everyone who watches a concert to feel like part of a global network of creative people, celebrating diversity through music and place. These shows are a reminder that our common connection to music can rise above the noise of intolerance.
15. What role does storytelling play in your audio work? How do you ensure the narrative of a performance or location shines through?
I tell people I’m looking for spots that make you think, “WOW, where the hell is that?!” Then I know I’ve found the right place. Visually, I made a decision to only shoot with one camera, floating around the musicians. I want the audience to feel like they’re in the scene, discovering the space and the music in real time.
16. If you could design your dream space to record in, no limits, what would it look like? Or do you prefer the excitement of facing a new challenge every time? On the flip side, is there a non-ideal situation you hope to avoid based on past experiences?
I love the challenge of new spaces. It’s all about finding that perfect balance of performance and ambiance. Too much of one, and it falls flat. The trick is lucking out and finding that sweet spot—but you only find it by trying stuff. That’s the magic.
17. If you could host a session anywhere in the world, with any artist—living or dead—who, where, and why?
Bossa Nova in Rio. Love the sounds. Love the look. It’ll happen. Stay tuned.
Capture the moment. Don’t strive for perfection—it doesn’t exist.
18. How do you ensure that the technical aspects of recording don’t overshadow the emotional impact of a performance?
By listening first and letting the emotion guide the technical decisions. If the performance feels right, the technical part falls into place naturally.
19. What’s next for you and your projects? Any exciting plans on the horizon?
I’m planning more international recordings and collaborations. The idea is to keep pushing boundaries, finding new spaces, and connecting with artists worldwide. Stay tuned for more from Global Sound and Ghostlight!
I want everyone who watches a concert to feel like part of a global network of creative people, celebrating diversity through music and place. These shows are a reminder that our common connection to music can rise above the noise of intolerance.
Follow Josh Rogosin and discover more:
Subscribe to the Global Sound Concerts YouTube Channel and spread the word: www.youtube.com/@globalsoundconcerts
Josh Rogosin
instagram.com/joshrogosin
https://www.linkedin.com/in/joshrogosin/
@joshrogosin @globalsoundconcerts and @ghostlightconcerts
Learn More about the Soyuz 013 AMBISONIC HERE
