Mobile Production/Studio

From Ash:

Ash Toshiro Produtions is run out of my apartment, so to adapt to this environment, I have built my "studio" build around being as mobile as possible. This means an easy and portable interface system, neat and organized cable management, lightweight/rolling amps, and a creative microphone setup for tracking live drums, amps, and/or vocals.

Because my setup is different than what most artists may be used to, I pride myself on creativity, adaptability, and as I work on more and more projects, I hope to add quality to this list. Below, are links and images to a lot of the gear that I use for my studio/mobile studio setup!

Focusrite Scarlett 4i4 4th Gen

I use the widely popular Focusrite Scarlett 4i4 4th Gen that a lot of bedroom artists use, mainly for guitar and vocals. The two-input allows me to have two mics on an amp, where I will typically capture high to mid frequencies with one mic and lower frequencies with another.

Focusrite Scarlett 18i20 4th Gen

I use a Focusrite Scarlett 18i20 4th Gen in a portable/lightweight rack mount for doing live drums. It has 8 inputs that allows me to have a nearly full mic setup, even though recently I have only been using 4-5 of the 8 inputs.

Shure SM57 (x2)

My favorite mic out of all of the mics I have - the Shure SM57. For a lot of my scratch tracking, I will use an SM57 for EVERYTHING and sometimes a lot of what I track with the SM57 ends up staying in the master. They are very, very durable and great sounding mics, especially for guitar amps.

I often use an SM57 as a drum overhear behind the players shoulder, along with an SM57 in the sweet spot of a snare; having both in a mix keeps the overhead mids sounding crisp but not too bright.

AKG D112

The AKG D112 is one of my newer mics, but I have used it just as creatively as I have my SM57's. The D112 is mostly used for kick drum, which is what I use it for on a kit. I will also use the D112 for tracking live bass rather than solely DI bass, since it really lets a live amp's feeling pull through.

The latest idea I've had is to use it to gather the low end of my guitar amps as the secondary mic alongside an SM57. Having the SM57+D112 pair gives the guitar tracks a nice thickness.

Audio-Technica AT2040

While it is technically a podcast mic, I use an AT2040 for tracking live bass amps, specifically for the high end. Occasionally, I will use the mic for tracking clean vocals.

Audix CX-112B

The Audix CX-112B is a Cardiod microphone that I record a majority of my clean and harsh vocals with. When EQ'd correctly, it can produce a very clear track that sits well in the mix.

Lewitt 040 Match

The Lewitt 040 Match is a great pair of condenser microphones that I recently acquired for getting high quality recordings from drum overheads. They tend to be easy to EQ and are very clear microphones.

Fender Tone Master Twin Reverb

The Fender Tone Master Twin Reverb is currently my personal-use amp. Paired with a Telecaster, it is a perfect twinkle-riff machine!

Vox AC30S1

The Vox AC30S1 is my most recent acquired amp. As of 2026, it has been the main recorded amp primarily for crunchy tones. Paired with a compressor pedal, this amp produces some of the clearest recordings of tapping and/or arpeggio riffs.

Marshall Origin 50 (Stack)

My first big budget buy is a Marshall Origin 50 stack. I occasionally use this amp with hot pickup guitars (humbuckers, mini-hums, etc.) for heavy and wide rhythm. It is a very warm sounding setup and is perfect for a Title Fight / Citizen vibe and tone.