AMT Microphone Used: S25B
New York City native Gregory Ryan has established himself as an in-demand sideman on
both acoustic and electric bass. His big supportive sound, swinging style, and complete
understanding of harmony and his role on the bandstand combine to create his ability to make even the most complex modern composition swing in the tradition of the great bass players.
At home in a variety of musical worlds — accomplished in Brazilian, Cuban, funk, and
mainstream jazz styles — he performs in festivals and concerts worldwide. Mr. Ryan has
appeared with pianists James Williams, Mulgrew Miller, and Benny Green; guitarists Jim
Hall and Pat Martino; vocalists Karrin Allyson, Peter Cincotti, and Dena DeRose; and
numerous jazz luminaries including Regina Carter, Wycliffe Gordon, Billy Harper, Tom
Harrell, and Joe Locke, among others. Mr. Ryan’s growing Latin Jazz credits include
performances with the Lincoln Center Afro-Latin Jazz Orchestra, the Chico O’Farrill Afro-
Cuban Jazz Orchestra, Arturo O’Farrill, Papo Vazquez’ Pirates Troubadours, and Bobby
Sanabria’s Quarteto Aché.
Gregory Ryan co-leads Grupo Yanqui with Bennett Paster. Calling the band “one of New
York’s best kept secrets, ” Jazz Review (UK) critic Fred Grand cited their 2008 release,
Grupo Yanqui Rides Again, among the top ten CDs of 2008. In Jazziz, Ed Kopp wrote “once
again, Paster and Ryan have seamlessly melded jazz chops with accessible Latin forms, ” and
that “Ryan more than meets the challenges confronting a Latin-jazz bassist, building a solid
foundation on every track.” In his 4.5-star review, Michael G. Nastos of All Music Guide
concluded, “No matter the criteria, this wonderful music would be difficult to nitpick, for it is
not copped, derivative, or clichéd on any but the minutest levels. Given that many artists in
recent times have mixed the Latin and jazz genres, Grupo Yanqui are not only riding high,
but also streaking ahead of similar groups.” Their 2001 self-titled debut CD skillfully
balanced original compositions by Ryan and Paster with Cuban and latin-tinged standards,
drawing from Afro-Cuban, Brazilian and American traditions and influences. All Music
Guide praised the disc’s “involved arrangements, passionate solos, and vigorous,
spontaneous interplay, all with a melodic and cosmopolitan Latin funk touch.” Grupo Yanqui
has made concert and clinic appearances from New York to California since its inception in
1998. A quartet edition of Grupo Yanqui toured as part of the U.S. State Department and
Jazz at Lincoln Center’s The Rhythm Road: American Music Abroad program in 2006,
performing and conducting workshops in Sweden, Russia, Estonia and Serbia-Montenegro.
Invisible Horizon, Mr. Ryan’s 2006 recording as a leader, is the second collaborative project
with pianist Bennett Paster and drummer Keith Hall. “There’s no wasted motion, with an
effortless, clean, smooth dynamic throughout, ” All Music Guide says of the album. The
record features original compositions by all three musicians as well as a few choice
standards. Tenor saxophonist Chris Cheek joins the trio on three tracks. This trio enjoyed
critical acclaim of their debut CD, Skyline, described by Allaboutjazz.com as “a beautifully
melodic effort, start to finish, ” praising the trio’s “relaxed, optimistic, vivacious” sound;
Modern Drummer states that the trio “radiate[s] warmth, vitality, robust melodicism, and an
Gregory Ryan uses AMT acoustic bass microphones.
Applied Microphone to release first ever Dual Receiver Wireless system that includes both a custom instrument microphone with their famed clip-on transmitters AND a hand held microphone. Use both microphones at once into the same receiver. Separate outputs for different EQ settings for each microphone.
The “5C” systems are available now with the microphone specific for each instrument. The 5C systems include the Wi5IIC clip-on wireless system creating a belt pack free operating environment. Now, it’s possible to add a hand held wireless to the same setup without having to carry a second receiver.
If you do not need a hand held, you can add another clip-on transmitter allowing two AMT microphones / transmitter combinations to work with the same receiver!
Look for more information on www.appliedmicrophone.com soon!
Thanks to Tom Puwalski for creating a couple audio files to show just how true sounding the AMT WS really is. Like the complete line of AMT microphone, the WS double clarinet microphone really does capture the instrument’s true sonic qualities.
This is with the shure 300 ribbon mic. My normal studio mic into AEA ribbon pre into apoggee ensemble into logic.
The Same recording using my new Applied Microphone Technologies Clairnet microphone. This is exactly the same performance take as the one that I was using a Shure 300 ribbon microphone for, I just output the AMT performance. I new this mic was going to be a winner for live performance but I think It sounds great for recording. I don’t hear and key “Thumping” or “clicks’. I’m playing on a New Grenidilla Backun Protege clarinet. It’s easier when you have a great Mic on a great clarinet.
“If music be the food of love, play on.” During my 20-year tenure with the U.S. Army Field Band, much of it as Principal Clarinetist, I was able to perform in some of the most diverse (okay bizarre) setting imaginable. From concert halls to cow palaces across the US and around the world, music is something that connects us all. People want to be engaged by the music they are listening to and actively participate in the experience.
As with performing, teaching is an important aspect if my passion for music. I have written instructional books (such as The Clarinetist’s Guide to Klezmer”) as well as conducted master classes and workshops on a clarinet performance because I believe music should be as fun for others to perform as it is for me. Whether they are from the Beijing Conservatory, the Armed Forces School of Music in Virginia, or anywhere else imaginable, my students and I have a blast learning to “play” in the moment and to be open to hearing what music has to teach us.
Recently I have had the pleasure to work with Backun Musical Services, Antigua Winds, and Legere Reeds in the design and testing of clarinet products that make playing easier and more fun.
Speaking of having fun, I am always forging new creative collaborations and playing with a variety of talented musicians; most recently I have been performing all around the world my klezmer band “The Atonement.” I have also had the pleasure of performing on numerous recordings with the U.S. Army Field Band, Lox & Vodka and have arranged and recorded music for documentaries on Jewish life including, “And Half A Day On Sunday” and “The Old Days.”
Thanks for visiting. Please let me know how I can share my joy of music with you today. Email me: firstname.lastname@example.org
The AMT S26I is Applied Microphone Technology’s microphone 2nd generation tail piece mounting system for acoustic bass. Designed, manufactured by hand, and distributed by AMT in the USA. The system is intended to quickly clamp onto the tail piece of a bass allowing the player to move the microphone from instrument to instrument quick and easily. Designed small for the travel, the mounting system still allows the head of the microphone to be placed in a variety of depending on the players choice.
The Tail Piece systems incorporate the same proven sonic quality that AMT Bass systems have been known for. The S26i setup is intended for the player that travels using rental basses, needs a fully adjustable gooseneck system, and is looking for something compact yet maintains the highest sonic quality of sound possible.
AMT Acoustic Bass systems are the # 1 choice for top professionals that look for the most natural sound reproduction possible from a clip on microphone. The microphones include AMT’s D.C.T. (Disconnect Cable Technology) feature which allows the cable to be removed and or replaced easily if ever needed.
The systems are an electret-condenser microphone that has been designed specifically for acoustic bass. All of the parameters that are problematic for the double bass have been addressed. In order to get the most gain before feedback it uses a very tight pattern to give a high rejection to surrounding noise, at the same time reproducing accurately the subtleties of the bass.
As placement is especially important with an instrument that has a fine finish and varying dimensions, this microphone’s attachment mechanism is designed to secure the mic to the tailpiece tightly taking only seconds to attach.
Manufactured with lightweight aluminum to keep the mass low yet extremely strong, this microphone will remain durable through many years of use. The flex arm, unlike any other microphone system on the market, is easy to position yet retains it’s placement throughout the most active of performances.
This S26i system utilizes a complex circuit that is tailored for the needs of an acoustic bass player playing in live sound applications with instruments such as drums and acoustic pianos. The system requires 1 XLR mic level output. The pre-amp for the microphone is rugged anodized aviation aluminum, which houses the electronics that can be placed on the floor.
Kenneth Whalum – http://kennethwhalum.net/
A remarkable bandleader, composer, arranger, and tenor saxophonist, New York City-based jazz musician Kenneth Whalum has set a new direction in music that can be described as creatively engaging, intense, and artistically real, to push the conventional boundaries of contemporary emerging artists. Whalum fuses together straight-ahead jazz, pop, soul, gospel, R&B, blues, and country—creating Picasso-like colors and brimming textures, of even richer musical hues.
His music creates a soundscape of lyrical cities—towering sounds of romance and love, ornate acoustic funky rhythms, bridging emotion and melody, song and dance, wonder and faith. And it is within that eternal city, in the depths of our hearts, where we dream, we cry, and we laugh, but altogether never forget the transforming sensibility of music. Whalum’s sax playing makes us feel our vital aliveness. Catch Whalum in a performance, and at once, he will pull down his dark shades, grab his tenor sax, and transform the room into a sacred space, our believing ground of warmth and beauty, tragedy and hope; we follow him as he plunges into our private moments–sweat brimming from his forehead–he gets inside the music.
READ MORE by clicking HERE!
If your attending NAMM, please stop by the booth and see all the new designs and products.. BOOTH 4318 HALL C.
New in 2013:
HR3R – The music industries only Harmonica Microphone specifically designed to clamp onto a neck brace.
S18 and S25 series cello and acoustic bass microphone systems receive a new model that attaches quickly to the tail piece with a spring loaded clamping system. Meant for the player who requires removal of the microphone system after performance. The clamp can be attached with one hand and still allows for placement of the microphone in many positions from under the bridge to the F hole.
Wi5II – The Wi5II is added to the line of wireless systems with a 99 channel DUAL receiver, allowing the user to perform with two micro clip-on transmitters and two microphones into one receiver. Or, use Side B of the receiver to run a separate line / signal to another source like in-ear monitors or a completely separate monitor mix.
5C Systems – The 5C systems include the new WI5IIC wireless as well as the microphone of your choice selected for each individual instrument. IE.. P800-5C, VS-5C, P808-5C…
Wi5IIC & Wi5IIB – Clip on and Belt pack Systems sold separately for existing customers that already own AMT microphones.
Great concert from 2012 featuring Marcus Miller, Sean Jones, and Alex Han using there AMT microphones.
Marcus uses the AMT BCS (Bass Clarinet System)
Sean uses the AMT P800
Alex uses the AMT LS and Ta2
Joe on the AMT site:
Joseph Salvatore Lovano was born in Cleveland, Ohio on December 29, 1952 and grew up in a very musical household. His dad, Tony, aka Big T, was a barber by day and a big-toned tenor player at night. “Big T, ” along with his brothers Nick and Joe, other tenor players, and Carl, a bebop trumpeter, made sure Joe’s exposure to Jazz and the saxophone were early and constant.
Joe’s mom, Josephine, and her sister Rose were serious listeners, as well, His Mom remembers hearing Big T play opposite Stan Getz and Flip Phillips when they were engaged. And Aunt Rose went to hear Jazz at the Philharmonic with Ella Fitzgerald when they came through Cleveland.
Not surprisingly, Joe began playing the alto at five, switching to the tenor a few years later. By the time he got his driver’s license at sixteen, Joe Lovano was a member of the Musician’s Union, Local 4, and working professionally. He started playing club dates (sometimes subbing for his dad), and Motown cover bands, eventually saving enough money from these gigs to put himself through college.
“My dad was a fantastic saxophone player with a really deep passion for the music. I grew up with his record collection and when I was a teenager, he’d bring me around to rehearsals and jam sessions”
The AMT LS is Applied Microphone Technology’s flagship woodwind microphone system. Designed, manufactured by hand, and distributed by AMT in the USA. The system is intended to clip onto flanged bell instruments.
The LS is the # 1 choice for top professionals that look for the most natural sound reproduction possible from a clip on microphone. All versions of the LS now include updated features including D.C.T. (Disconnect Cable Technology) with the ability to connect the Wi5IIC creating a belt pack free wireless system.
The LS in it’s stock configuration is the perfect choice for the player that needs a hard wired (non wireless) belt pack style setup. The LS ships in five models. (LSi, LS, LS Studio, LSW – AMT / Shure / Sabine / Line 6, LSW – AMT / Sennheiser) All of the microphones are identical and all can also be used wirelessly. The decision between the versions comes when one would choose between wireless, hardwired, and / or require both.
The latest LS updates allow the player to easily change to and from AMT’s different preamps while also allowing for direct connections to the Wi5IIC, Shure, Sabine, Line 6 or Sennheiser wireless systems. With a change in a cable, convert your LSi, LS or LS Studio from a wired belt pack / DI style preamp over to a wireless setup quickly and easily or choose the LSW which ships without a preamp and includes the cable ready for the chosen wireless. Cables sold separately.
The AMT LS is an excellent choice for soft to loud music for a principal artist, ensemble setting, or as a soloist. The microphone is suspended in a 4 point isolation ring reducing key and handling noise. Phantom power or 1 AA battery required for hardwired / beltpack use. (BP45) Phantom power required for use with the LSi models. (Inline preamp). Phantom power or 9 volt battery required for the Studio model. The LSW models are powered by the wireless transmitters that they are connected to.
AVAILABLE MODELS: (LSi, LS, LS Studio, LSW) (See optional models for more information.)
The LSi comes complete with the Inline preamp, carry pouch, and AMT disconnecting cable technology to allow the microphone to be used wireless with the AMT Wi5IIC, Shure Line 6, or Sabine Wireless. Sennheiser cable sold separately.
The LS comes complete with the BP45 belt pack style preamp, case, and AMT disconnecting cable technology to allow the microphone to be used wireless with the AMT Wi5IIC, Shure or Sabine Wireless. Sennheiser cable sold separately.
The LS Studio comes complete with the AP Studio preamp, case, and AMT disconnecting cable technology to allow the microphone to be used wireless with the AMT Wi5IIC. Shure, Sabine, and Sennheiser cables sold separately.
The LSW comes complete with microphone and cable for direct use with the AMT Wi5IIC wireless system OR for AMT, Shure, Line 6 and Sabine or Sennheiser. Choose for wireless system to be used.