Archive for November, 2011
Old Lyme, Conn. – November 30, 2011 –
Pentatonix, seen here singing into Sennheiser SKM 5200 wireless transmitters with MD 5235 capsules, took top honors in season 3’s The Sing Off.
On Monday night, NBC presented the “Live Finale: Top 3 Finalists” of its hit show The Sing Off
featuring not only the final three group contestants, but over 100 Sennheiser
microphones on stage. The Pentatonix were elected champions of season 3, and music mixer Randy Faustino was on hand to ensure the audio quality was outstanding until the very end.
Faustino, a multiple Emmy award-winning music mixer and CEO/President of Creative Sound Solutions, has been responsible for mixing not only The Sing Off, but other top national prime time programs including The Voice, American Idol and others. Whether he is faced with a live broadcast or an in-studio production, Faustino depends on Sennheiser transmitters and capsules to achieve a great sound. For “Live Finale: Top 3 Finalists” he used over 100 Sennheiser SKM 5200-II transmitters, each coupled with Sennheiser MD 5235 capsules.
Faustino prefers the MD 5235 capsules because of its clear sound and versatility: “It seems to work for everybody, and I never seem to have a hard time getting a great sound,” he says. “Sometimes I have people eating the microphone, other times I have performers more than a foot off the mic — it has to perform equally well in both scenarios.”
Since each performance is a ‘once in a lifetime’ career opportunity for the contenders, Faustino needs to ensure that the mix is the best it can be for whichever group approaches the mic. He says that the Sennheiser MD 5235 mic capsule helps facilitate this: “The technology has to be plug and play,” he says. “I get that one shot at putting a live mix together, and then you have to move on. I have very little EQ on those mics, and they sound fantastic across a range of vocal types — that is the beautiful part of these MD 5235 capsules.”
“You have to have a good, clear sounding capsule so you can pick out the voices and have them defined in the track,” observes Thom Salisbury, Western Regional Sales Manager for Sennheiser. “On a program like The Sing Off, you not only have a variety of frequencies coming into the vocal track, but also tonal and volume differences. The MD 5235 is very sensitive and has a very smooth frequency response — I believe this is why it is our most popular capsule for television and touring.”
Predictable and reliable RF performance
In the case of a live programming scenario such as “Live Finale: Top 3 Finalists” where audio is being broadcast to millions of television viewers, the audio quality needs to be synchronous with solid and reliable RF performance. In the middle of Los Angeles — one of the most difficult RF environments in the world — the challenge can be daunting, especially considering the massive lighting rig and number of microphones operating on the stage at the same time.
Dave Bellamy of Las Vegas-based Soundtronics Wireless was in charge of ensuring that the RF for Monday evening’s performance — and indeed the entire preceding season — was flawless. “In a show like this, ‘pretty good’ isn’t going to get you there,” Bellamy observes. “This is a very demanding and exacting business, and in an extremely overcrowded RF environment, Sennheiser gives me predictable reliability.” Bellamy used Soundtronics’ Phoenix system antenna system in combination with dozens of Sennheiser EM 3732-II wireless receivers to ensure that the audio was free of any RF interference.
How does mixer Randy Faustino manage to stay cool in such a technically challenging and intense production environment? “I have to stay two steps ahead of everything, but I feel secure in the fact that Sennheiser always works. We’ve never had a failure and have always had great product support from Thom Salisbury if we ever need anything.”
––Custom-Designed Truck Creates High Visibility Branding For Rental Partners––
In order to create maximum impact among the many trucks thundering along the Italian Autostrada, the new All Access sound production consortium has created high-impact custom livery for one of its semis, specifically to promote its new MLA (Multi-cellular Loudspeaker Array) rig and the Martin Audio brand.
In addition to adding value to the groundbreaking array system, it will enable them to sub-rent the rig in conjunction with its own dedicated truck.
The idea was floated by one of the partners, Electra Service owner Roberto Buttarelli, and soon All Access was modifying an existing 52 foot semi which is purpose-designed to hold at least a 112-enclosure system comprising MLA tops and MLX subs.
All Access received full support from Martin Audio’s Italian distributor, Audiosales, who funded the truck’s customization sensing that this could be a big opportunity to advertise both the MLA system and the Martin Audio brand. “We knew the truck would be regularly travelling around Italy and have high visibility during the shows and festivals,” stated Audiosales owner, Stefano Rocchi.
The new MLA semi will be based at Electra Service HQ in Viadana (MN) where all the audio components and accessories are warehoused (including the variable speed chain hoists by Lodestar JJ Varistar, with automation and motion software control by Fulling & Partner GmbH).
The new truck has already enjoyed high usage since the All Access consortium invested in their first 72 enclosures this spring for the Subsonica tour.
In addition to the Subsonica dates, it has also been seen this summer at the Upper Park Festival in Bologna, Traffic Festival in Torino, Summer Festival in Lucca, as well as two Elton John Italian shows, Ricky Martin at the Verona’s Arena, Radio Bruno tour, Independent Day in Bologna, Litfiba tour and with DJ Tiësto in Reggio Emilia.
For more about Martin Audio, please click to www.martin-audio.com.
About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.
With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.
MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.
MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio
network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.
Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.
MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.
By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.
About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.
Duality combines analogue techniques with digital workflow for all-inclusive educational experience
RALEIGH, NC – Living Arts College has invested in a Solid State Logic Duality SE to support its comprehensive degree program in audio engineering, production and promotion. The North Carolina-based college prides itself on offering a unique combination of technical expertise and creative freedom to prepare students for real-world employment. Located in Studio B2R, Duality was chosen to be the backbone of the degree program, giving students the opportunity to experience high-level analogue sound quality and signal routing using an industry standard control surface, while controlling DAW software. more
Celebrations Rock Legendary Memphis Recording Studio
Pictured during celebrations at Ardent in Memphis is the studio staff surrounding founder John Fry. Photo by Tommy Bridwell.
Ardent Studios, founded by John Fry, is celebrating 45 years as a center of unforgettable music emanating from the heart of Memphis, Tennessee.
Capping off a year of celebration, friends and the extended family of Ardent producers, engineers and musicians gathered for a gala reunion gathering and a toast to the next era of the famed studio.
Ardent Studios began its rich history with early classics by Sam & Dave, Led Zeppelin, Isaac Hayes, Leon Russell and The Staples Singers, then scored hits in the 70s, 80s and 90s with such artists as James Taylor, ZZ Top, REM, George Thorogood, The Allman Brothers, Bob Dylan, and Jimmie and Stevie Ray Vaughan.
21st Century stars continue to walk through the doors: Three 6 Mafia, Cat Power, North Mississippi Allstars, Three Doors Down, White Stripes, a reunited Big Star, Bob Dylan, John Hiatt, the Raconteurs and Smashing Pumpkins, among many others. Ardent’s passion for the music has translated into more than 75 gold and platinum albums and singles — and still counting.
The Ardent story began when the teenage John Fry built a studio in his family’s garage, where he recorded his first Ardent Records 45s. “In 1966, I was done with school and my family sold our house,” he recalls. “I felt it was time to make a career commitment to recording music.” He found a new store building on Memphis’ National Street, which he shared with a bookshop.
The original equipment came from the garage operation: Altec tube console, Ampex 2-track, Pultec EQ and Neumann mics — some of which are still in use today. The legendary Tom Dowd was consulting with Auditronics on an early multitrack console for nearby Stax Records, and Fry ordered the same input modules for his second board. Next came a Scully 4-track, the first EMT plate reverbs in the area, and the beginnings of a world class collection of gear.
As a young studio owner, Fry was fortunate to get the overflow work from Stax Records. Walking through the Ardent doors came Isaac Hayes, Booker T. and the MGs, The Bar-Kays, Johnny Taylor, Rufus Thomas, and Albert King, as well as Leon Russell and artists on his Shelter label. “It was great to have the chance to work with all these great artists and producers,” Fry says, “We were amazed that they would take a chance on a bunch of young kids.” Top artists came back, and brought their friends.
Ardent became home to young producers and engineers such as Jim Dickinson, Terry Manning, Joe Hardy, John Hampton, Paul Ebersold, and later, many other successful figures who are part of the Ardent family circle, which includes Skidd Mills, Jeff Powell, Jason Latshaw, and Pete Matthews.
In 1971, Ardent Studios moved to its present location on Madison Avenue, followed by the acquisition of 24-track recorders, bigger consoles and more gear. During this 45th Anniversary year, the famed Studio C control room was completely torn down and rebuilt, while the venerable vintage Neve console was repackaged as a sidecar for the newly installed SSL Duality desk. “It was time to bring Ardent into the 21st Century world of recording, yet keep the legacy intact,” added the studio’s founder and first engineer, John Fry.
Fry cites several reasons for his continued success in a business which has few survivors from the early days. “We’re flexible and we’ve always strived to adapt to the changes in the recording industry. We’ve also been fortunate to have so much talent on our staff, and long term relationships with successful artists and producers. Also, having a production company, a record label, and a publishing business has allowed us to be one of our own best clients.”
For information about Ardent Studios, visit: http://www.ardentstudios.com
Andover, MA–Funk legend Bootsy Collins has incorporated Fishman’s Fission Bass Powerchord FX Pedal into his effects rig and is using it on tour and in the studio.
Asked about Fission, Bootsy commented, “I love it when the band is playing a power riff together with stacked harmonies, add 5ths & octaves, man, it doesn’t get any funkier. Now the next best thing is playing by myself with the Fission Bass Powerchord FX pedal. It makes me feel like I am playing with my band in the upper room standing in the balcony of your mind. Feel the power of the One and check it out today baba!”
Using Fission’s intuitive set of controls and footswitches, four unique voicings pitch-shifted above the root note can be combined to produce power chords or octave-up effects, which make it ideal for Collins’s one-of-a-kind style.
Four footswitch LEDs provide visible indication of the selected harmony. When the effect is off, the LEDs dim, which make it easy to set up a harmony before playing the chord. Fission Bass also offers an adjustable noise gate, overdrive, tone and effect level. Available voicings are: Octave up, Octave up with 5th above, Octave up with 4th above, or octave / 5th / octave above. This power-effect combo provides expressive creative control over anything from subtle octaves to thick, grinding effects that even your guitar player will envy.
For more about Fishman, please click to www.fishman.com.
** Photo: Mogan Standard Omni Earset Microphone **
Buena Park, CA – November 2011… Hosa Technology, the leading innovator of analog and digital connectivity solutions for the modern musician and audio/video professional, is pleased to announce the introduction of Mogan Microphones, a new brand of subminiature microphones. The first offering under the new brand is the Mogan Standard Omni Earset Microphone. Offering solid performance and unbeatable value, the new Mogan Standard earset microphone is designed to deliver high-quality audio at a price that will appeal to budget-conscious presenters. The new Mogan Standard earset model is a terrific choice for educators, lecturers, business presenters, and church worship leaders.
The heart of any microphone is its capsule. The new Mogan Standard earset microphone features a 3.0 mm Omni-directional capsule with -45 dB nominal sensitivity that is designed to be positioned near the corner of one’s mouth. Delivering full-frequency audio performance, this microphone enables presenters to achieve good audio levels and deliver natural, resonant sound. more
Architectural/Acoustical Design Firm Sees International & Domestic Growth
NEW YORK: “2011 has been a watershed year for the Walters-Storyk Design Group,” notes company co-principal Beth Walters. “We are extremely fortunate to maintain a project schedule that doubles as a magnet for attracting high-end assignments. And we are fully aware of the contributions our associates make to our ongoing success. In recognition of the invaluable roles they play in our efficiency, bottom line and esprit de corps, three key team members, CFO Nancy Flannery, a 21-year WSDG veteran, and Project Managers, Romina Larregina (10 years) and Joshua Morris (7 years) have been named partners in our growing firm.”
Completion of Ann Mincieli’s instantly iconic Jungle City Studios, a major new Oven Studio complex for Alicia Keys, and Village Studios an important production complex in Guangzhou, China, coupled with a series of high-end personal studios including: Cynthia Daniels’ MonkMusic in East Hampton, and elegant project studios in Connecticut and Vermont illustrate continuing strength in both the home and facility-for-hire sectors.
On the domestic education front, WSDG completed five additions to The Art Institutes’ on-going national teaching studio expansion program (twenty and counting). The firm is also developing a significant number of technology rooms for the Berklee College of Music’s largest-ever teaching studio expansion, a 12 story building in Boston and a major new international campus in Valencia, Spain (spring, 2012). WSDG Latin America recently completed multiple high technology suites for the Artes Building, a seven-story addition to The Vatican’s Javeriana University in Bogota, Colombia.
The scale and complexity of WSDG’s international workload vividly reflects the firm’s array of capabilities. Dirk Noy and Gabriel Hauser of the Swiss office recently completed a significant acoustic upgrade for the KKL Luzern Concert Hall, and a compelling design for Symphonic Studios, an elegant three-room studio 30 minutes from Zurich (featuring a striking interior design by Beth Walters). Current Swiss projects include: Little Big Beat Mastering in Austria, (with WSDG Brazil’s Renato Cipriano); and the development of a new audio system for Switzerland’s Cathedral St. Ursen, including full broadcast inter-connectivity. The Swiss and Brazil offices are also collaborating on four auditoriums and a full-scale theater for The Tehran Book Garden. Longer than six football fields laid end-to-end, this will be one of the largest structures ever built in Iran.
Sergio and Sylvia Molho of WSDG Buenos Aires report an equally prodigious project schedule. Assignments include: Mexico’s recently completed world-class Artco Recording Studios; Disney’s new 15000 sq. ft. Panamericana Studios, TV production complex in Buenos Aires; and, acoustic consulting for Uruguay’s Hilton Garden Inn. Earlier this year WSDG BA created MTV Networks’ Latin America Studio Complex and, an elegant studio for Buenos Aires-based Roma and Romma Record label.
WSDG Brazil chief Renato Cipriano has enjoyed an equally extended period of exceptional assignments. Highlights include numerous acoustic and A/V projects including an innovative acoustic treatment for the pool house of a luxurious villa in Belo Horizonte; and a major production/post production complex for TV Globo the world’s 2nd largest TV broadcast company. WSDG Brazil is currently developing the critical audio and video systems designs for three major soccer stadiums: Known as the ‘World Temple of Soccer,’ Maracanã Stadium in Rio is Brazil’s largest sports ground, with seating for 82.238 fans; Mineirão Stadium will be Brazil’s 2nd largest soccer arena (75.783 seats); and, the Independência Stadium is currently being retrofitted as a polo training facility for FIFA’s 2014 World Cup.
“We are extremely proud to maintain this demanding international schedule, and that our new offices in Spain and Germany are now contributing to our whirlwind of worldwide activity,” John Storyk concludes. “With forty + years of experience and 3000+ projects in our portfolio, we have also built a world-class cadre of designers, project managers, and systems installation experts. Every assignment presents its own idiosyncratic challenges and rewards. Our system of pooling the creative design, system integration and project management assets of all our offices is a textbook example of international cooperation. For us, the art of collaboration is a key element of our design work, and we are privileged to be associated with so many high profile clients.”
PHOTO: (l-t-r) WSDG Project Managers Joshua Morris and Romina Larregina, and company CFO Nancy Flannery have been named partners in the growing architectural /acoustic design firm. Photo by Matthew Ballos.
Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio, private studios for Goo Goo Dolls, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith; Green Day, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a six-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.
Musicians Count on the Company’s A-16II Personal Mixers during Multi-city Tour
WEST CHESTER, PA, NOVEMBER 29, 2011 — Aviom Personal Mixers are improving setup and sound on Jared Anderson’s Hear Us from Heaven Tour, in which the popular Christian singer and musician has been traveling throughout the country, visiting churches and other venues for a night of prayer, worship and music. Although the tour takes Anderson and his band to a variety of venues, each with its own unique audio and equipment setup, the Aviom A-16II Personal Mixers ensure that each musician’s monitor mix remains the same, night after night.
Recently performing at churches and college venues in Alabama, Florida, Louisiana, Mississippi and Oklahoma, the Hear Us from Heaven Tour has been supplied with sound by Sight & Sound Technologies, a company that specializes in equipment sales and training in the areas of sound lighting and video in churches. For this tour, Sight & Sound Technologies chose to provide the band with the Aviom A-16IIs because they needed a way to address monitoring quickly and easily. They also sought the ability to allow musicians to save and recall their personalized monitor mixes during the hectic setup stage.
Photo Credit: Christian Schultz
“The Aviom system has been a real lifesaver on this tour,” says Kris Johnson, chief operating officer of Sight & Sound Technologies and the audio engineer for the tour. “The A-16II is really helpful for the guys in the band, as they can use the same mixers every night, save their mixes, then recall those mixes—regardless of the sound system we’re plugging into, which is huge for us. All of the guys are just raving about the consistency that they’re getting from the Aviom system.”
Johnson works on a variety of different consoles, depending on what is available at each venue, and he’s handled everything from a Behringer EURODESK mixer to a Midas Pro3 digital console. By using an Aviom AN-16/i-M Mic Input Module, he is able to provide a monitor feed directly to the Aviom Personal Mixers, while also plugging into the existing set of inputs to the main sound system available at the church or venue. This allows the band to get consistency in their monitor mixes and Johnson to integrate quickly into the house sound system without additional gear or hassle. All five members of the band have their own A-16IIs that they use with IEMs (in-ear monitors), with the exception of Anderson, who runs his through a powered speaker.
No matter what the venue or setup, Johnson knows the Aviom A-16IIs will see him through the performance, especially when it comes to monitoring. “We’re in churches that have every type of equipment you could ever want, from mega churches like Bethany World Prayer Center in Baton Rouge, Louisiana, all the way down to much smaller churches that don’t even use a regular drum kit,” he notes. “We see a lot of different types of setups, so Aviom literally saves the day when it comes to monitoring. Otherwise, my drummer is on some sort of headphone amp or a little hotspot speaker, and neither of those are any good to hear over his drums.”
As for the Aviom AN-16/i-M Mic Input Module, Johnson appreciates that its Thru feature is not dependent on the head amp’s volume. “The Thru feature is just a straight pass through, not like some systems, where if you adjust the gain or head amp, it adjusts your signal going to the board. The Aviom AN-16/i-M Mic Input Module doesn’t do that. It’s a straight pass through, allowing me to get the gain I need at front of house, but I can also adjust the gain going to the guys’ in-ears with the head amp. I really like the versatility the Aviom equipment provides.”
Sight and Sound Technologies was started in 2007 by Kris Johnson and his wife Tara. The business quickly grew and the duo began running the company fulltime in 2009, helping new and existing churches implement audio, video, lighting and portable staging systems. From start-up systems for new church plants and multi-site campuses to designing building systems for existing churches, Sight and Sound Technologies is happy to handle single item purchases all the way up to complete audio, lighting and video systems. For more information, visit http://www.sightandsoundtech.tv.
Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net®, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.
Katy Perry’s “Teenage Dream” and Black Eyed Peas’ “The Beginning” Nominated
Pictured at Hollywood's Bernie Grundman Mastering are Brian "Big Bass" Gardner (left) and Chris Bellman. Photo by David Goggin.
Bernie Grundman Mastering engineers Chris Bellman and Brian “Big Bass” Gardner are nominees for Outstanding Creative Achievement in the 27th Annual TEC Awards. Gardner mastered Katy Perry’s “Teenage Dream,” which is a nominee in the categories for Record Production/Single and Record Production/Album. Bellman mastered the Black Eyed Peas’ The Beginning, a nominee in the Record Production/Album category. Voting deadline has been extended to December 15.
The awards for Creative Achievement recognize the producers, engineers, sound designers and editors, studios, tour companies and others behind the sound of diverse entertainment media. Nominations were made by a panel of more than 160 audio professionals who voted among a wide variety of projects released during the eligibility period of July 1, 2010 to August 30, 2011.
The TEC Awards ceremony will be held at the NAMM Show in Anaheim, CA on Friday, January 20, 2012. Co-presented by the TEC Foundation and NAMM, the TEC Awards is the professional audio industry’s most prestigious recognition of outstanding achievement in product innovation and sound production.
For more information about the TEC awards, visit: http://www.tecfoundation.com
For more information about Bernie Grundman Mastering, visit: http://www.bgmastering.com
EGG HARBOR TOWNSHIP, N.J.—ACIR Professional (Egg Harbor Township, N.J.) recently hosted a demonstration of the new Axient wireless mic line by Shure Microphones at the Atlantic City Hilton Casino Resort.
The Axient system of products is Shure’s latest and most advanced professional wireless microphone system to date, featuring complete spectrum management, interference detection and avoidance, advanced power management, transmitter remote control, frequency diversity, and new Wireless Workbench 6 software.
The Shure demos, attended by regional audio professionals, also included PSM-1000 and PSM-900 IEM systems, “micro body pack”, “Wireless Workbench 5” (the latest version of Shure wireless management software), and rechargeable battery technology including Shure’s rack-mountable charger.
For Shure’s audio production, ACIR provided a Yamaha LS9-16 digital console, Yamaha DSR115 Speakers, and a 4-channel rack of Shure UR series wireless (both handhelds and body packs with lavaliers) used by presenters and for Axient wireless product comparisons.
For more information, visit www.acirpro.com.
PHOTO ID: Shure’s Bill Ostry
PHOTO CREDIT: Digital Warmth
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