Well everyone really liked it a lot. It was nonstop visits to see the star-child RM1, most being a rave of love for what they heard in the Sony cans and what they saw in its distinctive design. And it didn't hurt to have it playing through the Best Preamp in the World, the DW Fearn VT2. The show-buzz via the artists and producers and engineers and studio owners had reached the other mic manufacturers so by show-end I had visits from representatives and even owners. They looked, listened, asked questions ("...I'm sorry; that's a trade secret...") and many, so sweet and generous, gave me a complement or two and welcomed me into "the club". Very touching and by the time the show closed I was full of encouragement and enthusiasm, no more stage fright. It all looked good.
Here are some stories, such a pleasure to write about the next day:
Big handsome guy comes up; an artist for sure; puts the cans on and (I gotta tell ya) goes "wow" and gives the experience a giant gush-rating. I'm talking about a full 5-star review with fanfare and fireworks. Plus he loves how it looks. Turns out it's producer Tony Shepperd. The guy has a totally beautiful speaking voice, clear, resonant. I ask if he does voice-overs (some). We talk, he listens some more, we talk some more, we shake hands (solid, a real strong but real sincere handshake) and he leaves, brings more colleagues back, leaves again and before the show ends brings a couple of CD's he's produced with artist Sheléa. You know if this was my only visitor for the entire show, it would have been more than worth it. A very sincere and instantly likeable man, such a pleasure. Click on his link above, you'll get a good idea. Here's Tony having a dialog with my boy the RM1:
I got a bunch of visits from Dr. Fado deConsolo, this time with author ("Recording the Beatles") and Who keyboardist Brian Kehew (apparently on a break from an ongoing tour). Fado, all wide-eyed, telling Brian "you gotta see this" . I think he actually said "hear this" too; he knows. Brian listened, said "it sounds great" and we chatted. Brian a very engaging and delightful guy to talk to. He tells me "you know, there was another RM1 microphone and it was made strictly for the use of the Beatles, another ribbon mic". I didn't know what to say. Luck? Am I somehow connecting with the ghost of rock and roll past? Who knew? Anyway, here's a Kodak moment with Fado and Brian, and our star-child the New RM1:
That's Fado on the left. He's been in this biz a long time. Some of you may know him with a different name. Hey, we were in a band together, he did FOH. Maybe he change the name to escape some guy who thought we stole his CM chain motor, I don't know. It's all good.
Producer Amir and his colleague and voice-over artist Marissa (all the name I got) came by. "Marissa; want to hear your voice over the RM1?". She was all for it. Here's her reaction:
Think she liked what she heard? Delightful, engaging young woman, really great to talk to.
Heidi Robichard came to visit, said "Steve Greeley told me to come by and say hi". Steve is my songwriting partner in our original band "Big Red Sun" in Boston. I fell out. You never know who's going to show up.
Doug Fearn and I had more of the endless conversation about theoretical physics and microphone phasing. Dave Royer joined us, a real treat for me and we waxed Ribbonesque. Allen Sides (Ocean Way Recording) came by again, put the cans on, turned the knobs a bit, said "this sounds real good, nice piece of work" and said "leave the knobs where I set them for the demo". No epoxy around to pour on the knobs, so I memorized their positions. When this guy sez stuff, I'm all over it. Allen will get one of these soon, followed by, no doubt, a giant list of all the good qualities and every single wart on the mic. Great stuff.
That's it. I'm full-up, elated, exhausted and full of encouragement and hope for the future of Cliff Mics. Can't wait. Thanks thanks thanks everyone for being so supportive and generous with your time and advice. See you all soon is my fondest wish.