Tag Archives: Recording

Music, Etc.: Russell Jamie Johnson – Finding the Path Forward

Russell Jamie Johnson
Russell Jamie Johnson

You may have seen Russell Jamie Johnson working as an archer, knife thrower and stunt double if you’ve watched Aquaman, Robin Hood (2018) or the TV series Elementary, Sneaky Pete or Orange is the New Black. But those roles just pay the bills.

Growing up in the Midwest, Johnson learned archery almost before he could walk, thanks to his father who started an archery business, hand-crafting bows and arrows, after leaving the Navy. But when his dad died in a plane crash while Johnson was still in his teens, the die was cast for him to—eventually—pursue a career in music.

Johnson, 27, who played in bands while at school but never expected music to be a career, is now working toward his first full-length record. To that end, he’s been dropping the occasional track, most recently releasing “Tenth and Canal.” It follows close on the heels of “Put Me Out,” about a relationship Johnson had while living in Boston, where he graduated with a bachelor’s degree in songwriting from Berklee College of Music.

Via Zoom from his home in Brooklyn, Johnson talks about his career and recording at local studio Conveyor, owned by fellow Berklee alum Andrew Sheron.

On the Path to a Music Career:

Within a year after my dad died, I was in military boarding school. Two years later, I went to Berklee. If my dad hadn’t died, I never would have gone to Culver [Military Academy]; I never would have met my music teacher, who never would have suggested Berklee College of Music; and I wouldn’t be a songwriter now. I didn’t know what I wanted to do with music. I wrote my first song after he died, and I just kept doing it. When I think about it now, it’s a powerful image in my head, that you’re the sum of every moment in your life.

My sister is a classical pianist. My mother was an old hippie that joined the Navy; I was hearing James Taylor from her. My dad loved big band. And my brother was a songwriter for a while. So I was exposed to a lot of different things. When I was 16, I wanted to be the Beatles; when I was 18, I wanted to be the Stones. But then I started getting into lyrical writers. I had the background of listening to Bob Dylan—who’s a better lyric writer than him? The stories behind the songs were what really got me. One of the albums that really inspired me was Ryan Adams’ Heartbreaker. Gillian Welch is a hell of a songwriter and I also got heavily into Jason Isbell; I love his lyrics—and he’s a hell of a guitar player.

On the Path to a Full-Length:

I’m working with my violinist, Chase Potter, and I met a British duo, the Ruen Brothers [Harry and Rupert Stansall]. They moved to Brooklyn; their first record was produced by Rick Rubin. Rupert heard one of my tracks and said, “I’d love to help you out.” When I write songs I’m more lyric-based, but Rupert has these amazing ideas. Like on “Put Me Out,” which has a very Americana vibe; it has a mellotron in the background, which I never would have thought to use.

“Tenth and Canal” started as an acoustic track, very much in the Heartbreaker vein. A friend of mine spotted a 1967 Princeton Reverb; I bought it and was so excited to use the thing. I said, “Why don’t we play it faster and make it into a rock song?” I plugged straight into the Princeton with my Strat; no pedals, just cranked the reverb and cranked the volume to get that crunch, and that was it.

I’m very blessed to know really great players. Danae [Greenfield] plays keys; she just played on John Legend’s album. The slide part is my favorite part. That’s my friend Charlie Kendall; he plays all the lead parts on my songs and gets such a great tone.

I would have loved to get a full band together and record an album in a few days in a studio; that’s the way I’m used to doing things. But with the pandemic, it became a little slower than I hoped.

Original Resource is ProSoundNetwork.com

Canadore College Launches New Recording Program

Canadore College is using a new SSL Origin analog in-line mixing console to teach students.
Canadore College is using a new SSL Origin analog in-line mixing console to teach students.

North Bay, ON, Canada (June 16, 2021)—Canadore College, an applied arts and technology school 180 north of Toronto, is using a new SSL Origin analog in-line mixing console to teach students the similarities and differences between music production hardware and software.

“A lot of our students are used to using the computer and have never worked on a console; they’re not familiar with what a console is capable of,” says Ben Leggett, professor and coordinator on the new two-year Recording Engineering – Music Production program at Canadore College. Leggett is a Juno Award-nominated producer, engineer and mixer working in music production and film post production, and also has his own recording studio in North Bay.

“I wanted to get the Origin because of the EQ on each channel, and how you can shape the sound with the four bands, just like you can in the computer,” he says. “So we’re able to show students how to apply EQ manually with a physical piece of equipment. Another big thing is getting students to understand how the routing works, and how it’s very much the same in a DAW and a console, and having that lightbulb go off.”

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For a generation of students that has only ever worked on a computer, the console also enables faculty members to highlight some of the differences between analog and digital audio processing. “Sonically, you can crank the console’s EQ knob all the way and it still sounds good, as opposed to digital, which sometimes doesn’t do the same thing,” says Leggett.

Plus, he says, “The sonic quality that the console will add when you push a signal into it is different. Depending on what you’re going for, you can push the signal louder into the SSL console and it will give you a different sound than pushing it into a computer program.”

The Origin was part of a complete studio package supplied by Studio Economik in Montreal, including an SSL Fusion processor. Leggett and other faculty members at the college installed, integrated and commissioned the new music production studio shortly before the program launched in September 2020. The new control room is housed in a former television broadcast studio on the campus that the college enlarged during summer 2020 to provide space for the recording engineering program.

Solid State Logic • www.solidstatelogic.com

Original Resource is ProSoundNetwork.com

The Record Co. Takes Different Approach to Boston Studio Scene

Boston-based recording services provider The Record Co. (TRC) opened a new facility in January encompassing four recording studios and 15 rehearsal rooms.
Boston-based recording services provider The Record Co. (TRC) opened a new facility in January encompassing four recording studios and 15 rehearsal rooms.

Boston, MA (June 16, 2021)—Boston-based recording services provider The Record Co. (TRC) opened a new facility in January encompassing four recording studios and 15 rehearsal rooms.

Founded in 2010 by Berklee College of Music graduate Matt McArthur, TRC is a 503(c) non-profit enterprise dedicated to offering an affordable and equitable music workspace and providing space and resources to the entire spectrum of the city’s music makers. The new 12,500-square-foot space in Boston’s Newmarket Industrial District is expected to host upwards of 1,000 sessions and rehearsals per month, running 16 hours a day. The various studios and rehearsal rooms are outfitted with Focusrite preamplifiers and interfaces as well as Novation MIDI controllers.

McArthur says the concept of TRC came to him a decade earlier as he was looking for a business model that would allow the greatest number of users to access a highly flexible facility that could accommodate music producers of any genre and virtually any skill level. “It needed to be a shared resource that no one really owns, a community resource,” he says. “We would need space, gear, a good attitude, and an open mind about how the space is used and who uses it. A non-profit was the way to go.”

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Focusrite solutions in use at TRC include the Red 16Line 64-In / 64-Out Thunderbolt 3 and Pro Tools | HD-compatible audio interface; the ISA 428 MkII and ISA 828 MkII devices; the RedNet A16R 16-channel analogue I/O interface; and a number of interfaces from the Scarlett Range, deployed in some of the 15 rehearsal studios in the new facility.

McArthur also realized that the nature of how recording studios are utilized now had changed significantly in recent years, with the large battleship consoles of yore giving way to a plethora of software applications and digital control surfaces. “Music makers today all have their own ways of working, their own preferred software and plug-ins,” he says. “That makes RedNet and the other Focusrite technology we selected the best fit for a facility like TRC this because of its expansive interfacing options and compatibility with almost any DAW.”

In partnership with The Boston Foundation and more than 500 donors, TRC has distributed more than 750 low-barrier COVID-relief grants to local musicians, producers and engineers experiencing lost income as a result of gig cancellations due to COVID-19. To date, it has distributed more than 750 grants totaling more than $160,000

Focusrite Pro • http://pro.focusrite.com

Original Resource is ProSoundNetwork.com

Fuse Releases VREV-666 Freebie Plug-In

Fuse VREV-666 Freebie Plug-In
Fuse VREV-666 Freebie Plug-In

Duesseldorf, Germany (June 14, 2021)—Fuse Audio Labs has released VREV-666, a new, free reverb plug-in.

VREV-666 is based on a Sixties-vintage spring reverb originally built for the BBC, serving up bouncy and unpredictable vibes in its take on an electromechanical reverb. While Fuse Audio readily suggests that the results may not always be entirely faithfully representative, stating in its notes that “VREV-666 values character above realism,” the plug-in is nonetheless intended to provide an edgy, dirty vibe to audio.

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The original hardware featured a single effect gain control, but the VREV-666 adds an Effect Mix stage, a Pre-Delay of up to 150 ms, and a Tone EQ that attenuates the resonance of the spring system in the bass range. Meanwhile, an Effect Limiter built around a light bulb helps to tame peaks.

Fuse Audio Labs CEO Reimund Dratwa notes, “While the few available hardware units remain much cherished gems inside the studios of spirited artists and producers, we’re delighted to make the original vintage character of this juicy reverb available for everybody’s DAW absolutely for free.”

The VREV-666 plug-in is offered for free to anyone who creates a free account on the Fuse Audio Labs website.

Fuse Audio Labs • www.fuseaudiolabs.com

Original Resource is ProSoundNetwork.com

Music Collaboration Platform Groovesetter Debuts

Groovesetter is a real-time, multichannel audio collaboration platform for streaming, performing and recording over high-speed internet.
Groovesetter is a real-time, multichannel audio collaboration platform for streaming, performing and recording over high-speed internet. Groovesetter

Los Angeles, CA (June 11, 2021)—Musicians have wanted to collaborate online with no syncing issues as long as the internet been around, and the latest service looking to conquer that challenge is Groovesetter, a real-time, multichannel audio collaboration platform for streaming, performing and recording over high-speed internet.

Noting that it offers “ultra-low latency, the service allows its subscribers to connect and interact from up to eight remote locations, allowing music creators to play, stream and record together from any location and capture digital data of the music production.

Groovesetter lays out simple interactive visual routing of audio signal flow and flexible connection settings. Optional virtual channels allow for cable-free, multi-channel connection between DAWs and OBS, all in the same session. With the low latency solution, it allows users to create combined interactive experiences on platforms such as Twitch, Facebook Live, & YouTube Live. Groovesetter’s metadata module makes the capture of information for each music session possible at the source of its creation.

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Rouslan Ovtcharoff, CEO and co-founder, noted, “We’ve simplified a very complex connection process to an intuitive username and password experience and built useful tools into the platform that every creator will appreciate.”

A core team from Groovesetter’s technology partner BULPROS developed the platform. “We are excited to partner with Groovesetter and bring our deep technology expertise in the software development and the cloud infrastructure field to the creation of such an amazing audio platform for the music industry. I am thrilled with the fast and wide adoption of the Groovesetter platform by professionals and enthusiasts in the music field alike,” says Ivaylo Slavov, CEO of Bulpros.

Groovesetter • https://groovesetter.com/

Original Resource is ProSoundNetwork.com

Browner Sound Unveils Zurich 69 Swiss Equalizer

Browner Sound Zurich 69 Swiss Equalizer
Browner Sound Zurich 69 Swiss Equalizer

Hialeah, FL (June 9, 2021)—Boutique pro-audio manufacturer Browner Sound has introduced its new Browner Zurich 69, a 500 Series-format EQ that takes inspiration from Swiss and British consoles of the 1970s and 80s. The EQ comes in three different flavors—Modern, Classic and Discrete.

The “Modern” version of the Browner Zurich 69 EQ is said to place a focus on clarity and transparency. The unit leverages the same op-amps found in well-known UK consoles, and is intended for use in tracking, mixing and mastering.

Meanwhile, the “Classic” is fitted with the same op-amps found in the Swiss consoles of the 1970s, created with an aim toward delivering smooth and warm tones, and softening high-end brashness. Browner Sound founder Omar Garcia suggests it’s appropriate for mix-bus and individual tracking when a vintage vibe is preferred.

Also available is the “Discrete.” Loaded with custom 2520-style discrete op-amps, it is intended for use in bringing mixes forward in high-impact tracking, mixing and mastering.

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All three include a selectable high shelf (8 kHz, 10 kHz and 12 kHz settings), a selectable low shelf (20 Hz, 60 Hz and 120 Hz), and a sweepable mid-range swinging from 150 Hz to 7 kHz. Each band offers +/- 15 dB gain and all versions include a 45 Hz lowcut filter.

“As a gear head, I decided to build modern versions of classic equipment so engineers, myself included, can own coveted units that are either unavailable or unaffordable,” says Garcia. “Over the next year, we expect to offer new versions of classic pieces, including units inspired by vintage TASCAM, MCI and Studer reel-to-reels, preamps influenced by Quad-Eight, Opamp Labs and Auditronics, as well as original designs.”

Browner Sound • www.BrownerSound.com

Original Resource is ProSoundNetwork.com

Have Genelecs, Will Travel

Grammy-winning mastering engineer Gavin Lurssen
Grammy-winning mastering engineer Gavin Lurssen

Natick, MA (June 9, 2021)—Grammy-winning mastering engineer Gavin Lurssen has made Genelec’s 8341A monitors a centerpiece of his portable reference setup, which he uses to do much of his preliminary work.

Lurssen, whose credits include Queens of the Stone Age, Ben Harper and Robert Plant & Alison Krauss, notes, “I started in the early ‘90s working for the late Doug Sax at The Mastering Lab, and recording engineer George Massenburg was a regular client of Doug’s for lots of his projects; through him, I was first exposed to their 1031A and 1030A monitors. I was particularly taken with the 1030As after hearing them in a mix room at what was then Ocean Way Studios in Hollywood, so Doug surprised me with my own pair, which I still own.”

In fact, says Lurssen, “[A]fter all these miles, I just had them re-coned and the amps rec-capped, but kept the original bulletproof tweeters. Like most mastering engineers, I own multiple sets of monitors, but the Genelec 1030As have been an important reference for me over the years, especially when it comes to a mobile environment.”

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Fast-forward to a few years ago, before the pandemic: “I enjoyed going to these weekly lunches and meetups in Burbank with professionals in the audio industry; it’s a great way to see friends and colleagues and to stay on top of the latest tools and trends as well. I usually interact with the manufacturer reps that are there, and so it’s no surprise that I gravitated toward the new technology from Genelec! So that began my journey with the 8341A Smart Active Monitor,” he says.

He notes, “There are various ways in which a near-field monitor can be useful to a mastering engineer, and one of the most useful things is to be able to go mobile, while still being able to listen to and evaluate mixes and give feedback to clients with confidence, no matter where I am set up. Accuracy is the name of the game. The Genelec 8341As provide me with very, very accurate playback, even if I’m in a compromised environment.

“When you have something like 8341s, if you put them in the road case and take some computer gear with you, you can actually set up a pretty accurate listening environment. You can travel around and evaluate things that way—so if I’m traveling, I can take them with me.”

Genelec • www.genelec.com

Original Resource is ProSoundNetwork.com

View From the Top: Philippe Depallens, VP/GM, Ultimate Ears Pro

Philippe Depallens, VP/GM, Ultimate Ears Pro
Philippe Depallens, VP/GM, Ultimate Ears Pro

“Music has always been part of my life,” says Philippe Depallens, vice president and general manager of Ultimate Ears Pro. Music and the fundamental understanding of its importance—emotionally, culturally and economically—was always present in the small Swiss city where he grew up, as it was home to the famed Montreux Jazz Festival. Great artists from around the world would travel there to create intimate musical moments for rapturous audiences. Perhaps it was only appropriate then that years later, Depallens would champion Ultimate Ears Pro’s in-ear monitors (IEMs)—products intended to both help musicians create those live moments, and imbue even casual listeners with that same sense of aural intimacy.

Fascinated tinkering with audio gear at a young age, Depallens went on to apprentice in electrical engineering before eventually earning an engineering degree and heading overseas. “Moving to the U.S. right after school continued my exposure to the diversity and richness of a global perspective,” he feels. While he joined Logitech—itself a Swiss entity—in the 1990s, it wasn’t until the consumer electronics powerhouse acquired Ultimate Ears in 2008 that Depallens finally began working in pro audio.

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“When I joined Ultimate Ears Pro, I was able to combine my passion for music, my engineering knowledge and everything that I had previously learned at Logitech about creating meaningful and impactful experiences around our products,” he says today. “This was well before the global headphone revolution was underway, and way before the dominance of true wireless. Actually, this was during the early stages of the smartphone, when everyone was predicting the imminent death of the PC. I volunteered to oversee the acquisition because I knew that I could retain Ultimate Ears’ pro-audio roots and heritage while helping commercialize the core in-ear technology that is now ubiquitous today.”

Since then, both Depallens and Ultimate Ears Pro have re-envisioned the company’s approach to custom IEMs; whereas once it focused almost exclusively on product specs, today, the brand takes a larger view of the customer experience, and has put considerable effort into simplifying and accelerating the customization process. Early on, that meant creating mobile demo stations that allowed users to discover their preferred sound signature. Later, the company pioneered 3D scanning and 3D printing for custom in-ears—a move that reduced lead times from weeks to days. All the while, Ultimate Ears Pro continued to evolve its product designs based on user feedback, aiming to make its in-ears as reliable and sweatproof as possible.

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With Ultimate Ears Pro well-established in the live sound industry, Depallens looked to put that brand awareness to use. “We fostered very different types of partnerships to expand the market and to cater to the needs of more pro audio segments,” he recalls. “We were the first to partner with Capitol Studios to address the needs of recording engineers. Inevitably, we helped expand the idea that in-ears are for everyone, not just for top touring musicians.”

Of course, bringing a product to “everyone” means being accessible to them; in that regard, Depallens notes, “We are lucky to be based in Southern California, very close to our customers and partners; that helps us stay grounded and connected. We also have the luxury of being part of Logitech, a multinational team with a huge global footprint that provides access to technology, engineering capability and operational competencies around the globe. By combining these two aspects, we are able to organize around obsessing over the customer and their experiences, no matter where they are located.”

The latest result of the company’s fixation is its new UE FITS true wireless instant fit custom earbuds line for consumers, which Depallens cites as an example of the brand’s focus on continuous process improvement. Meanwhile, for pros, the company now offers a line of premium UE CSX custom-made earphones that include an at-home Fit Kit to capture the user’s earprint in a few minutes. Taking custom-fitting processes created for pro IEMs and adapting them to a consumer experience for the UE FITS and CSX lines is part of a larger remit to ultimately help raise the bar—and consumer expectations—for all listeners when it comes to in-ear audio experiences. “Just like how Mercedes invests in Formula One to push the limits of performance, safety and technological advancement for all cars, we see a very clear parallel in what we do for experiencing music,” says Depallens. “The developments pioneered onstage radiate out for all music lovers.”

Original Resource is ProSoundNetwork.com

A Renaissance for Rudy Van Gelder’s Studio

Legendary albums like John Coltrane’s 'A Love Supreme,' Lee Morgan’s 'The Sidewinder' and Horace Silver’s 'Song for My Father.'
Legendary albums like John Coltrane’s ‘A Love Supreme,’ Lee Morgan’s ‘The Sidewinder’ and Horace Silver’s ‘Song for My Father.’

Englewood Cliffs, NJ (June 7, 2021)—Van Gelder Studio—the legendary facility of renowned recording and mastering engineer Rudy Van Gelder—is starting a new lease on life following a recent renovation. The Englewood Cliffs, NJ facility was once described by DownBeat magazine as “a chapel-like space with a 39-foot-high ceiling made of cedar with arches of laminated Douglas fir, which created a natural reverb.”

“All the rooms where important records were made—Columbia’s 30th Street, Media Sound, RCA, A&R—are all gone,” says Perry Margouleff. A studio owner as well as a producer, engineer, songwriter, guitar collector and classic car restorer, Margouleff has been helping owner and engineer Maureen Sickler revamp the venerated facility.

The building was designed by architect David Henken—a Frank Lloyd Wright acolyte—and Van Gelder, opening in 1959 with a single, large live room. (Previously, Van Gelder worked out of his parents’ house, which was custom-built to accommodate his record projects.) In the 1970s, Van Gelder added four iso rooms to better suit the sonic signature of Creed Taylor’s CTI label, which he worked for often.

The Van Gelder Studio under construction in 1959.
The Van Gelder Studio under construction in 1959. Rudy Van Gelder

With the revitalization of the studio, a new generation of artists has an opportunity to record in the space that birthed such milestones of modern jazz as John Coltrane’s A Love Supreme, Lee Morgan’s The Sidewinder and Horace Silver’s Song for My Father. “Jazz is really having a renaissance, and I think there’s a huge community of young people for whom the popular music that people manufacture is not appealing,” says Margouleff.

Sickler met Van Gelder in the early 1980s, when her musician and producer husband Don was working often at the studio. She became Van Gelder’s engineering assistant, working with him for over three decades, and inherited the building when he passed away in 2016, age 91. In recognition of his lifetime achievements, Van Gelder was honored by the National Endowment for the Arts (in 2009), the Recording Academy (2012) and the Audio Engineering Society (2013).

“Rudy always was on the side of the artist,” Sickler says, and was happy to go the extra mile even when record labels had limited budgets. “Many times, we mixed with an artist present but billed the session as if he wasn’t there. And many times, Rudy spent hours fixing, editing and refining tracks that he knew he wouldn’t be paid for, but knew needed to be done for artistic reasons.”

On one of her first sessions, she recalls, she complained about the volume from the four studio monitors. Van Gelder suggested she go and listen in the live room. “It was unbelievable out there, the volume; not like music but just noise. In the control room, it was controlled and beautiful. I learned an important lesson.”

Van Gelder was a pioneering adopter of technologies such as the Fairchild compressor, EMT plate reverb and Neumann microphones. Margouleff has brought the studio’s current complement of equipment, including vintage U 47 and KM 54 mics and a Neve 8024 desk, back to full working order. The 24-input inline 8024, launched in 1972, offers limited bussing but has a direct output from every channel.

“The desk is working perfectly and sounds really great. It’s just spectacular to put a mic up in that room and listen to it. The studio has the magic combination: the right desk, the right acoustics and a good complement of microphones,” says Margouleff.

Van Gelder fully embraced digital audio technology in his later years, recording to RADAR. To better match today’s client expectations, says Margouleff, “I installed a new Pro Tools rig with an Apogee Symphony Mk II [converter]. And I want to get a 24-track analog tape machine back in there.”

Margouleff, who worked with Weezer on its new Van Weezer, recorded the Metropolitan Opera Orchestra’s woodwinds, strings and brass for the album at Van Gelder’s studio last year. And in November 2020, the Sicklers, with producer Phil Coady and talent agent Sam Kaufman, launched Live from Van Gelder Studio. The live streaming series has presented jazz luminaries such as Ron Carter and Joey DeFrancesco.

Margouleff has also been helping the Sicklers to add the studio to the National Register of Historic Places. “What happened between those four walls was pivotal for the jazz community and Black America,” he says.

Original Resource is ProSoundNetwork.com

New Detroit Studio Launches

Mike (left) and Robin Kinnie of Audio Engineers of Detroit.
Mike (left) and Robin Kinnie of Audio Engineers of Detroit.

Detroit, MI (June 2, 2021)—Audio Engineers of Detroit has opened a new recording studio offering commercial voiceover, podcast, music recording, stereo, surround and immersive mixing, audio restoration, location sound and audio-visual services, with a 32 channel Neve Genesys Black console as its centerpiece.

“Some years ago, I had the pleasure of mixing on a vintage Neve console and fell in love with the sound,” says Mike Kinnie, founder and vice president of Audio Engineers of Detroit. “We wanted that Neve sound for the new studio and we also wanted a console that had DAW control, so it made sense to us, after researching different consoles, to choose the AMS Neve Genesys Black console.

“It does make life easier, and it makes a difference knowing that you have options in terms of the way you want to work — traditional or in the box. Most of our clients prefer ‘in the box’, but it is great that we can give them a choice. Having this console will also help our students develop their engineering skills — I know it has already helped develop mine.”

Kinnie, who began his career in live sound before moving into studio recording, runs Audio Engineers of Detroit with his wife and company president, Robin Kinnie. The company also offers an education program that teaches students the skills and techniques needed to follow a career in professional audio.

Robin Kinnie regularly speaks on amplifying diverse voices and serves as the Detroit Chapter head of Soundgirls.org. Motor City Woman Studios, of which Robin is also President, aims to amplify the voices of women and tackle themes of diversity and inclusion.

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The couple opened their first studio in 2016 after realizing the need for a quality internet broadcasting voiceover facility that was both affordable and accessible. “The studio started as a digital radio station and has now expanded to producing podcasts, audiobooks and voiceovers,” Robin explains. “We also offer digital courses, workshops and partner with the community.”

Audio Engineers of Detroit is a separate venture that has taken six years to bring to fruition. Choosing equipment for the new studio required careful thought because it had to fulfil two functions – commercial and educational. The Kinnies were guided by Dave Malekpour of Pro Audio Design, who advised them throughout the project.

“Working with Dave and his team has been a pleasure,” Mike says. “They have achieved and exceeded our goals by helping us to purchasing the right equipment for our needs. I first came across Dave in 2003 when I read an article, he wrote on how to set up a recording studio. We didn’t actually meet until 2018 and it was only when we began putting this studio together that I ran across that article and realized the Dave that I was working with was the same man who wrote the article that was so inspirational to me.”

AMS Neve • www.ams-neve.com

Original Resource is ProSoundNetwork.com