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Audient Integral to Recording Live Orchestras In Caribbean

by FOH Staff • in
  • International News
• Created: June 11, 2018
Dominant Seventh Calypso Jazz Band

TRINIDAD & TOBAGO – Kevin Sones of Earsightmusic chooses Audient’s iD22 & ASP88o for recording live bands and orchestras throughout the Caribbean, including Dominant Seventh, the National Steel Symphony Orchestra of Trinidad & Tobago as well as the National Philharmonic Orchestra of Trinidad & Tobago.

More details from Audient (www.audient.com):

“It doesn’t make any sense to have great mics or a powerful computer if you have a poor interface with sub-standard preamps and A/D converters. Every part of the signal path has to be pristine,” says Kevin Sones of Earsightmusic, who swears by his iD22 from Audient. “This is why I trust iD22 to be at the centre of my system.”

Kevin utilises the iD22’s ADAT expandability to his advantage, by connecting it to his 8-channel mic preamp from Audient, ASP880 and giving him access to up to ten inputs. Together the two Audient units are integral to his work recording live bands and orchestras around the islands of the Caribbean, including Dominant Seventh, the National Steel Symphony Orchestra of Trinidad & Tobago as well as the National Philharmonic Orchestra of Trinidad & Tobago.

Kevin has been delivering training courses for Earsightmusic as a part of their installation and equipment sales packages. In 2017 Earsightmusic launched its Live Sound Engineer Training Workshop Series in the Caribbean region delivering theoretical knowledge as well as hands-on experience in live sound engineering. One of the modules Live Sound Recording, specifically focuses on multitrack as well as stereo recording principles and techniques. “To accomplish this, we set up a full sound system with ancillary equipment for the participants to interact with. This includes playback and recording devices such as the iD22 which we set up as part of the system,” he explains.

The second level of the Live Sound Engineer Training series kicked off at the end of March and travels to five Caribbean countries, following great success with the initial ‘Headroom – Live Sound Engineer Training (Level 1)’ course debuted in January last year. “Both workshops will be introduced in five additional countries this year,” adds Kevin.

“High quality sound is the main thing that separates me and my work from other engineers,” he continues, insisting on using his iD22 in the training sessions as well as his recordings. “It gives me the unquestionable quality I can rely on. Many companies do a good ‘on paper’ presentation of their product, but what speaks to me is the actual quality of the end product, i.e. my mix. That quality is indisputable and sets Audient products apart from many others.”

With a full list of workshop dates available on the Earsightmusic website, and a number of recording assignments already in the diary after this set of courses, Kevin is keeping very busy.

Audient wishes him all the best!

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