Boyette Gets REDDI - ProSoundNetwork.com

Boyette Gets REDDI

Los Angeles, CA (January 13, 2009)--Bassist for Michael Jackson, Stevie Nicks, Lionel Richie and The Pointer Sisters, Don Boyette has added an A-Designs Audio REDDI tube D.I. unit to his signal path, both for the stage and studio.
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Don Boyette with his A-Designs
Audio REDDI tube D.I. unit.
Los Angeles, CA (January 13, 2009)--Bassist for Michael Jackson, Stevie Nicks, Lionel Richie and The Pointer Sisters, Don Boyette has added an A-Designs Audio REDDI tube D.I. unit to his signal path, both for the stage and studio.

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Boyette learned of the REDDI through two fellow friends and session players--drummer Ricky Lawson and bassist Reggie Hamilton; based on their enthusiastic recommendations, Boyette bought one for his West Hollywood recording studio.

"When I first plugged into the REDDI and did some tracking with it, I was seriously amazed," says Boyette. "I mean, here I've got some of the best outboard gear you can buy--Neve, Chandler, Universal Audio, you name it--and when I heard how my bass sat in the track and how well it cut through, I was stunned. It sounded a bit like my 1073s, but even better. I had never heard my bass sound that good before. And I thought, 'Whoa, this is ridiculous! Why am I just now getting this thing? Why didn't I already have it?'"

Aside from laying down his own tracks in his studio, Boyette also frequently engineers and produces other projects there. Intermittently since the spring of 2007, he has been working on an album for Detroit-based Patrick Davy, who is managed by Scooter Weintraub (Sheryl Crow). Since adding the REDDI, the D.I. has become a part of that recording as well.

Boyette's typical signal path in the studio is to patch one of his vintage basses into the REDDI, which feeds to a Neve EQ, Chandler mic pre, and A/D converter before ending up in his computer. "I have a pair of nice '64 Fender P basses and a couple of '62 Jazzes, but I tell you, my early-'70s Gibson Ripper, in particular, sounds absolutely unbelievable through this setup. Although I used to think that I got a fairly decent sound through that path without the REDDI, having it in there really refines the tone. What the REDDI does to both the lows and highs--especially that silky, warm top end--is nothing short of amazing. But it's still so transparent at the same time. The product doesn't color the sound to the point where it doesn't sound natural. It's so completely appropriate, useful and perfect. I have to give it up to Peter [Montessi, A-Designs' president]; he just totally nailed it. How does he do it?"

A-Designs Audio
www.adesignsaudio.com