Category Archives: May 2020

People: Hires and Promotions in the Audio Industry for May 2020

Trisha Matulewicz
Trisha Matulewicz

Group One Ltd.

Group One Ltd., the Long Island, NY-based U.S. distributor for Avolites, Calrec, DiGiCo, KLANG, Solid State Logic and several other professional audio and lighting manufacturers, has promoted Trisha Matulewicz to the newly created position of chief financial officer. Matulewicz’s previous role was financial controller, a position she had held since joining the company nearly two years ago. Before coming to Group One, she served as the vice president of finance at NYC-based Medical Knowledge Group, a professional services organization specializing in medical communications, healthcare consulting and data analytics. Prior to that, Matulewicz spent time in public accounting, where she managed audits of hedge funds, broker dealers and 401(k) plans. Matulewicz holds an MBA from Baruch College’s Zicklin School of Business, as well as an undergraduate degree in accounting and marketing from Pace University in New York City.

Amy Luley
Amy Luley

Meyer Sound

Meyer Sound has promoted two managers to key high-level management positions: Amy Luley has been named director of U.S. sales operations and Mary Molnar has been appointed technical services manager, Americas. Both will report to senior vice president of sales and marketing John McMahon.

In her new position, Luley assumes direct responsibility for managing Meyer Sound’s team of 15 sales managers and sales engineers throughout the United States. Account management, dealer contracts and dealer relationships will be under her direction. Since joining Meyer Sound in 2014, Luley has served as administrator, sales operations manager, and sales and business development project manager.

Mary Molnar
Mary Molnar

Meanwhile, Molnar assumes overall responsibility of Meyer Sound’s newly integrated design services and technical support teams throughout the Western Hemisphere. Molnar joined Meyer Sound in 2018 as strategic projects manager. For the 25 years prior to that, she held key management and sales positions at San Francisco rental partner McCune AVL, overseeing company logistics and managing major projects.


Anne Philipp
Anne Philipp

DHD Audio

DHD Audio, a manufacturer of professional mixers and audio devices, has promoted Anne Philipp to general manager. She reports to managing directors Joerg M. Deubner and Sven Hoffmann. Graduating in 2006 with a business administration degree from the University of Leipzig, Philipp joined DHD in January 2007 as an executive assistant responsible for materials procurement and accounting. She later also took on production planning duties. She left the company to work on public tender preparation for a municipal organization in 2010 but returned to DHD in 2016, resuming her former roles within the company and adding supervision of DHD’s human resources department.

Lin Buck
Lin Buck

MSE Audio

MSE Audio, parent company of SoundTube Entertainment, Soundsphere, dARTS, Phase Technology, Induction Dynamics, SolidDrive and Rockustics, has appointed Lin Buck to director of U.S. sales and global business development. Buck brings more than 20 years of sales experience to MSE Audio in the professional audio video markets. Previously, Buck worked as an independent manufacturer’s rep and then worked directly with Bosch (Electro-Voice), Harman Professional and Adamson Systems. Buck began his professional music career at age 13, which led to his career in pro audio. Based in Kansas City, MO, Lin has a home recording studio and enjoys writing, playing and producing music, spending time with his three children, cooking and building things.

Peter Fong
Peter Fong


Clear-Com has brought on Peter Fong as director of sales for the Asia-Pacific region. Fong will be responsible for developing and implementing sales strategies and ensuring his team is supported and meets their sales goals. He brings global technical sales experience to the role, with more than 20 years in sales/marketing and business development for technology companies. In his last position, he worked for Net Insight as head of sales, APAC. Prior to that, he worked at Globecast Group as sales director (APAC) and at Netia as head of sales (APAC). In these roles, he became familiar with the nuances of the market and what is required for sales in the area.

David Fisk
David Fisk Copyright Lifetouch Inc. 2020


Beyerdynamic has expanded its North American team by hiring David Fisk as sales manager for consumer products and Chris Norris as sales manager for communications products. Norris is an experienced audio professional. In addition to having worked in Korg USA’s educational division, he most recently was the key account manager for a major DJ and music technology product manufacturer. He is based in Long Island, NY.

Meanwhile, Fisk started his audio career as a 2001 graduate of DePaul University with a bachelor of science degree in sound recording technology. He has since attained a background in professional audio retail, post-production sound, field recording, game development, sales and manufacturing. He is based in Nashville, TN.

From left, Joe Cota, Justin Hall and Mitchell Ho
From left, Joe Cota, Justin Hall and Mitchell Ho

Point Source Audio

Point Source Audio has named Joe Cota as its customer education specialist; Justin Hall has been named key account manager; and Mitchell Ho has become account manager, Western U.S. Cota is a professional singer and musician by trade, while Hall is a seasoned account manager who has served customers, managed projects and dealt with international distributors for much of his career. Ho’s new position as account manager is his first job outside of minor league baseball, although he has been around professional audio his entire life.

Jimmy Yap
Jimmy Yap


Lectrosonics has appointed Jimmy Yap as its technical representative for the Asia-Pacific Region. Based in Cambodia, Yap will represent Lectrosonics by supporting dealers, end users and future customers throughout the region, which includes China, Japan, India, South Korea, Australia, New Zealand, Singapore, Indonesia, Malaysia, Myanmar, Nepal, the Philippines, Taiwan, Thailand, Vietnam, Laos, Cambodia and Bangladesh. Yap has a background in technical engineering, distribution and sales, having held executive positions at his own company as well as at a variety of industry manufacturers. Since 2012, he has been the owner of AV Designs & Consulting Engineers, and has held product specialist and technical consultant positions in the region at manufacturers including QSC and Coda Audio.

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Lara Downes: Reinterpreting Freedom Songs

Lara Downes
Lara Downes

Pianist Lara Downes has become well known for her cross-genre renditions of the American songbook, past and present. Her extensive discography, which also seamlessly blends traditions and cultures, includes celebrations of the likes of Billie Holiday, Leonard Bernstein and Aaron Copland.

Yet she hasn’t neglected her own roots, memorializing her visits to the concert halls and conservatories of Europe in her early teens through interpretations of classical music by Johann Sebastian Bach, Sergei Rachmaninov and Béla Bartók. Her latest album, Some of These Days, a 14-song collection released April 1, is her most personal statement yet.

Downes’ parents met at a sit-in in San Francisco in the late 1960s. “He was a black man from Harlem and she was a Jewish girl from Akron,” she writes in the new album’s liner notes. Some of These Days includes many of the freedom songs of the civil rights movement her parents sang, such as “Hold On” and “We Shall Overcome,” many of them with roots in the hymns and spirituals of the pre-Civil War era. The collection also includes pieces by celebrated early 20th century African-American women composers such as Margaret Bonds and Florence Price.

This latest project, featuring collaborations with a handful of guest artists, was co-produced by Downes with engineer and co-producer Adam Abeshouse. All but two of the songs were recorded at the two-time Grammy winner’s Abeshouse Studios in Pelham, NY.

On choosing songs

My entry point to this project was from two separate ends. I think that there’s all this buried memory. For me, as a musician, there’s all of this stuff that is truly in my DNA and I keep running into it over and over again.

For the last few years, I’ve been really interested in this one particular point in musical history when the African-American tradition and the European concert tradition came together, which happened twice. Right around the turn of the last century, in 1892, [Czech composer Antonín] Dvořák came to America. That sent concert music in this country on a certain path. It happened again in the 1930s with composers like Florence Price and Margaret Bonds really taking an extra step and integrating their traditions. This is all related to the Great Migration and the redefining of American cities. Everything changed.

I thought I was going to make a recording of works by Price and Bonds that I had come across, but I realized in the process that what was really speaking to me, and what I found the most compelling, was their investigations and their reimaginations of spirituals. Then everything exploded and there I was, making an album.

Spotify link: Listen to Downes’ recordings of Florence Price songs


For personal and emotional reasons, there’s been a lot of resonance for me in this music, running back into my parents’ story and realizing that all of these things are connected. I never wanted this album to be a historical document because all of these questions of freedom and justice are so starkly relevant in the time that we’re living in now. We still haven’t gotten that quite right.

On the album’s opening track, “Sometimes I Feel Like a Motherless Child”

It’s an archival field recording from the Library of Congress, from the 1939 [John and Ruby] Lomax field recording trip through the Southern states. That recording was made in a women’s penitentiary in Raiford, FL, in the Jim Crow era. It takes us back to the origins of the music, to all the tragedy, the reality of where it comes from. The intention in that moment is very clear. This was a song about family separation in the slave trade. At the same time, we’re having children separated from their mothers at the border today. It’s this circle that just continues.

It puts a lot of things into focus. I guess the lesson is that progress isn’t consistent. I keep touching base with my mom about this. She was there on the ground in the ’60s. She keeps reminding me this is not a march forward; this is a march forward, then back, then forward again.

Music, Etc.: Gloria Gaynor

On working with Adam Abeshouse

This is our fourth or fifth album together. I think we started working together in 2015. I’ve worked with a handful of producers, but it’s just such an amazing thing when you get into this rhythm where you have the trust and unspoken communication.

Most of the album was just Adam and me at the house. It’s really wonderful to be able to know Adam’s piano as well as I do. It’s really good to feel at home when you record.

I have this version of “Nobody Knows the Trouble I’ve Seen,” and Adam said, “I want to try to play this.” This was one of the most moving moments of my life so far as a musician. Adam is a fine violinist, but he’s had problems with arthritis for a few years. He said, “Let’s get the violin out.” And all of this stuff came through. He lost his father about two years ago. There was a lot of pure emotion flowing through our reading of this piece. Of course, he couldn’t man the controls, so his wife, Maria, had to press start and stop.

Lara Downes album "Some of These Days"

On the current coronavirus lockdown

As terrible and as terrifying as this is right now, clearly we will come out of this differently. I think it’s making us realize that we are all one community and we’re all really dependent on each other and connected.

We have some tools that we haven’t taken advantage of yet. Maybe this will make us look at our mechanisms and our distribution streams just the way we do our business. We can certainly do things more efficiently.

I’ve gone around feeling guilty and embarrassed about not knowing more than I know about the technical side of things. Maybe this is my chance to educate myself.

Lara Downes •

Instagram @laradownesmusic

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When Will the Gigs Come Back?

How are you? These days, that’s a welcome and yet loaded question. If you’re reading this, you’re still above ground and that’s not a bad start. I say that only partially in jest though, because let’s face it—there’s not a lot of room for kidding around these days.

As I write this, we’re a little over a month into the U.S. COVID-19 pandemic, with essential businesses across the country either still closed or getting by with employees working from home. For recordists, that means taking on any work they can scrape up and tackle alone in private/home facilities. Many post audio pros are likewise working from home with mixing rigs taking over their living rooms. Senior content producer Steve Harvey caught up with numerous professionals for his cover story and other tales recounted in our Recording and Post/Broadcast sections—stories that highlight the frustration of the times and the sparks of ingenuity that overcome obstacles in our way. Some of the solutions shared are admirable and others are just plain amusing, but they all illustrate the human capacity to persevere in hard times.

How Pros Are Livestreaming During the Pandemic, by Clive Young, April 22, 2020
Audio Post Perseveres Despite Pandemic, by Steve Harvey, April 20, 2020
Software Tech: Livestreaming in the Age of Pandemic, by Craig Anderton, April 17, 2020 

The segment of pro audio most visibly hit by the pandemic, however, has been the sound reinforcement industry, with thousands of live sound pros out of work overnight, with no gigs ahead for the foreseeable future due to tours put on pause, shuttered venues and bans on large gatherings. With high-profile squabbling between politicians on when and how to reopen the country (and the occasional pandemic expert trying to get a word in edgewise), it’s hard to tell when gigs will grace stages again.

Venues are closed not only for the safety of audiences but the crews as well, though it’s a tough pill to swallow when the bills are piling up. That said, I’ve talked to a number of live sound pros over the last month who either contracted COVID-19 or knew someone who had, and the general consensus is that a pile of bills is a comparative luxury to being at death’s doorstep. I recount one such story as an example in our Sound Reinforcement section this month.

At this moment, the mayors of New York, Los Angeles and New Orleans have stated they don’t want any big events—major league games, concerts and the like—held in their cities until 2021, while Harvard’s T.H. Chan School of Public Health is now suggesting that fall 2022 might be the earliest that large events return if we don’t find a vaccine before then. Harvard cites that as a worst-case scenario, but the thought of 18 months without arena-packing, shed-swelling tours is enough to send a shiver down the spine of the most tour-hardened road warrior (not to mention the audio manufacturers who keep them armed with gear). No cities or states have actually said they are banning large gatherings that far down the line—but that’s only as of mid-April as I write this.

Roadie Rescue Aims to Aid Pros Who’ve Lost Gigs, March 19, 2020
Live Nation to Aid Concert Production Pros, by Clive Young, April 3, 2020
Recording Academy Establishes COVID-19 Relief Fund, March 18, 2020

With scant information currently available to the public and the lack of any stated (much less agreed upon) plans for reopening the economy, for now it looks like non-essential businesses will start to go back to work in stages across the summer, which means well before a vaccine is available—so COVID-19 and the brutal statistics it engenders will still be with us. Nonetheless, that means live sound vendors who have diversified with system design, installation and AV integration divisions will be able to at least partially go back to work.

It’s also a fair bet that bans on gatherings and events will slowly be lifted with increasingly larger headcounts allowed as we measure the cause-and-effect of doing so, which means local and regional live sound providers will probably be the first to come back online, tackling small gigs, weddings, corporate events and the like. While everyone is aching to stop sheltering and start having fun again, will the public feel safe enough to go out? Will it actually be safe enough? That remains to be seen. When will the gigs come back? Not a second too soon—except it might be.

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Tracks – May 2020

Welcome to Tracks, our monthly look at the recording process behind 10 new releases by artists across the musical spectrum, running down who’s using what gear where.

Click on the photo gallery below to see what’s new.


Chicano Batman, “Invisible People” The Jacks, “Remember You” Siaosi, “5:55” Nobody’s Girl, “Nobody’s Girl” Armored Dawn, “Viking Zombie” (Deluxe Edition) Olivia Bandy, “Here to Home” BIC Featuring Snoop Dogg, “Bow Wow” Goldspace, “Drop Like Flies” Bassel & The Supernaturals, “Smoke & Mirrors” Wyldlife, “Year of the Snake”

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