Most people know that Nashville is the home of the Grand ol’ Opry as well as the world headquarters of Gibson Guitars, but what you may not know is that a little company called Equation Audio has been quietly revolutionizing the professional audio market with a line of superbly engineered, innovative, and remarkably affordable headphones and microphones. Led by CEO Bruce Forbes, this Nashville company is turning heads internationally with a commitment to excellence in engineering at highly competitive pricing.

While Equation Audio is still a young company, Forbes and the core team at Equation are not newcomers to the game. In the mid-nineties, a small startup known as CAD turned the microphone industry upside down overnight with the introduction of a highly affordable line of microphones that compared favorably to units that were only to be found in professional studios.

The rapid acceleration of computer technology and performance (as well as the advent of the VHS based ADAT 8-track digital audio recorder) during the 90’s led to a parallel revolution in the cost of home recording studios. With affordable processors and hard-drives capable of multi track digital recording, it was no longer necessary to invest in large consoles and tape machines to create quality recordings. Home studios started cropping up in every neighborhood, and the demand for professional quality microphones at amateur prices was strong. Bruce Forbes, then Vice President of product development at CAD was keenly aware of this, and realized that the market volume was present to change the supply demand curve of professional audio forever. Forbes and his colleagues at CAD were responsible for some of the most innovative microphone designs in the past 20 years.

Like nearly every classic rock and roll story, Forbes and CAD parted ways due to “artistic differences,” and after a brief hiatus, he returned to the fray with a newfound commitment to take the rapidly changing beast of global manufacturing by the horns and push it in the innovative design-centric directions that CAD did in her heyday. Like Steve Jobs’ role in Apple Inc., Forbes has a focused vision for nearly aspect of the product design, quality control, material integration, logistics, and marketing. Like his Cupertino analog, he doesn’t hesitate to move in radical directions with the design process, taking a holistic approach to be sure that a synergy exists between conception and consumer. Forbes grew up in his family’s music stores in the south, played music all of his life, and happens to love the intricacies of innovative electronics. Understanding both sides of the sound equation: the musical, psycho acoustical side and the scientific aspects, seems to be a major factor in the spirit of product development.

Before the formation of Equation Audio, Forbes acquired some very special intellectual capital from a close friend, Fred Cameron. Cameron is known in elite circles for producing some of the most sought-after microphones in the recording industry. The consensus is that Fred Cameron was a man who had both impeccable ears and the technological knowhow to take a stock Neumann or Sennheiser, rebuild it, and impart it with a unique and highly musical sonic signature. Fred’s career resulted in many revolutionary innovations in microphone engine design, tube biasing, integration of materials and beyond. That proprietary wisdom is carried on by his son, and now via the Equation Audio label.

Equation Audio has had some surprising success stories already with their initial line of products. Not to be limited to the Microphone industry, their first smash hit was in the headphone market. The RP-20, and now RP-21 headphones have met with astonishing critical praise for design, quality, and a price point that had many pro’s scratching their heads and asking, “why didn’t you price these higher?” In fact, the success of the RP-21 headphones kick started a cult-following (including the legendary Vinnie Colaiuta) that expanded into their line of highly affordable drum microphones.

Originally conceived as a value-line of drum mics for the semi-professional market, the Alpha Series started to crop up on tours with professional acts like Poison, the Moody Blues, Grand Funk Railroad, and many others. Professionals in the field have said that Equation had basically out-engineered themselves and produced a line of value-priced drum mics that sound so damn good, who needs the expensive paperweights?

The next move was into the highly competitive handheld microphone market, previously dominated by the 800 lb gorilla Sure, AKG, and Audix. In 2005, EA launched the Dominion line that began with the DS-V7, and has since expanded to the DS-V9 handheld condenser, and the latest model: DS-V10. In 2007, rumors started circulating that the DS-V9 was going to be nominated for the coveted TEC Awards. Instead, popular demand from engineers led to the selection of the newer handheld dynamic: the DS-V10.

For a young company to already have a TEC nomination is a huge honor, and the accolades are likely not over: the flagship series of studio condensers inspired by Fred Cameron are going to hit the shelves in late 2007.

One evening while stopping by my favorite meeting place in East Nashville, The Family Wash, I overheard an interview being taped for NPR about the East Nashville music scene. There was talk of a new compilation being released that showcased some of the best and brightest from the 37206 zip code. Family Wash owner and music guru Jamie Rubin verified this information, and added that his own project, Circus Dog Serenade had made it onto the upcoming two-disk compilation.

Out of town engagements kept me from attending the packed the CD release parties, but fortunately I was able to get my hands on a copy. The CD is truly impressive, and confirms all the hype about East Nashville being a major epicenter of musical talent. “The Other Side: Music from East Nashville” walks the walk after so much talk from regional and national press about East Nashville’s Music scene.

The compilation was produced and directed by Eric Brace, frontman for one of Nashville’s finest acts, Last Train Home. Eric recently talked with us about his latest brainchild and his Record Label, Red Beet Records: (more…)

Behind and beyond the curtain: Nashville producer Loney Hutchins talks with Ernie Gray about the role of Nashville in modern culture, the collapse of Tower Records, his Cleft Music label, and how bad radio causes school shootings.

EG: You were raised in Middle Tennessee, went to school for film production and subversion in Florida, and were the only one from your graduating class that didn’t head to LA or California. What brought you back to Nashville?

LH: First off, I’ve always found Nashville to be a very friendly city. In my own experience, and in watching others, I’ve found it to be a very welcoming community and, if people seem standoffish, it’s usually because they’re socially awkward… and then they end up being really interesting/creative people.

My motivations were half practical and half creatively inspired. The practical side had to do with my family being so close and also the idea that the film industry seemed like a hellish rat race I wanted no part of. It seemed rather daunting to a freshly graduated film schooler.

EG: Not necessarily a hotbed of the American film industry..

LH:We do have an independent film presence, but I was more inspired by the city’s independent music scene. I didn’t expect there to be such an eclectic community here. I started seeing out of town bands play at the Springwater. I remember seeing a Tallahassee band I knew, Syrup, play there and everyone knew the words. This made me happy.

Around the same time, I caught Lambchop and Yo La Tengo at the Belcourt. I was hit with such a strong sense of community at that show. It’s even become one of those shows where people now say things like, “ohhh you were there, too?” (more…)

Richie Kirkpatrick is pacing back and forth on the concrete floor of the ‘charming’ porch area of The Springwater Supper Club, his thin hand lifting a cigarette to just below his handlebar mustache. Kirkpatrick is dressed in a dapper black suit, dark silk shirt and red tie this evening - appropriately maniacal attire for the foreboding Springwater on a cold and rainy October night.

After months of shows on many stages around the country with Bobby Bare Jr’s Young Criminal’s Starvation League, you would think a performer would be over the jitters, but tonight is not a normal performance for Ghostfinger. I fail to notice at first that no other members of the band are present. Onstage is a guitar, a chair and a kick drum. Tonight it will be Ghostfinger in its rawest form - just the pure unadulterated wit and genius of Mr. Kirkpatrick flying solo. (more…)

Nashville has a bad habit of ignoring her best and brightest children; Nashville culture produces an artistic endeavor that is truly original, even revolutionary, and nobody who “matters” in music city seems to pay any attention.

Luckily, Nashville has a great aunt of sorts named London. She takes our wayfaring children under her wing, invites them in for tea and crumpets, and even offers to let them stay as long as they like, or until they get on their feet and make a few quid. (more…)

East Nashville has seen a dramatic transformation in the past decade. Historically the east side of the river has always been more progressive than the other parts of Nashville, and today it is a hotbed of what just might be an artistic renaissance… especially if you are involved with music performance and production.

There is something about East Nashville that attracts musicians and artists. That something might just be other musicians and artists, but it also could be the relatively affordable housing, the best coffee shop in Nashville (Bongo Java), the hip music-friendly clubs (Radio Cafe, The Family Wash, The 5-Spot), as well as an overall hometown-within-a-city vibe. You might just forget you’re in Nashville if you stay for a spell. (more…)

So the Nashville Scene prints a huge cover story on The Features dramatic drop by 800 lb gorilla, Universal Records: the article chronicles how the poor lads had to choose between covering a Beatles song for a credit card commercial and losing their record deal. They chose to get dropped and keep their credibility. Everyone gasps and pats them on the back, their EP is released, and a month later I see a CityBank commercial with a cover version of “All You Need is Love.”
“Catchy tune…” (remember Val Kilmer’s Jim Morrison when he sees a cheesy Ford commercial using Light My Fire?) (more…)

Nashville-Based The Comfies are lead by former Feeble Weiner bassist Ben Harper. Bringing along some of the infectious pop sensebility of the Murfreesboro / Nashville breakthrough band that had everyone jumping up and down and screaming “Weiner!” over the past few years, The Comfies extend that with a somewhat less campy, yet just as melodically deft pop sensibility. They have been compared to “The Posies or Velvet Crush, with a dash of Bowie and big sprigs of Mersey.” (more…)

If you like the feelgood 70’s philly-esque sound of Josh Rouse, you will undoubtedly dig the latest release by Nashville’s Curt Perkins, titled Get Something Started. Several friends recommend that I check out Curt live, and I have to admit, it was a phenomenal show. The music has a great vibe: Part R&B, part rock, all right. The record is even better, with outstanding production and solid song craft.

This stuff is portable sunshine…

The similarities to Rouse are not a coincidence; Perkins has worked with Rouse for years, as a multi- instrumentalist and co-writer. Their hits have hit the top-30.

(more…)

The one and only Reeves Gabrels has been appearing every Sunday down at the Family Wash with “Loud Night,” backed by a revolving group of fantastic musicians from East Nashville and beyond. Gabrels is considered one of the most revolutionary guitarists working today, having worked with Bowie, Tin Machine, Public Enemy and many others.

Sets consist of a variety of Gabrel’s original material: mostly straight-up rockers penned by the virtuoso guitarist featuring intelligent arrangements and sharply crafted lyrics. Of course, you can also expect extended improvisations with Gabrel’s experimenting with digital toys, in particular a (Korg?) tone pad that allows him to dramatically bend and modulate his signal using a touchpad. Guitarists and rock fans alike shouldn’t miss this opportunity to see Reeves in such an intimate environment! (more…)