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New York, NY (April 26, 2011)--Phillip Scobee has joined Electro-Voice as Product Manager, Electro-Voice Concert Sound.

New York (April 26, 2011)–Phillip Scobee has joined Electro-Voice as Product Manager, Electro-Voice Concert Sound.

Best-known as the designer of touring sound systems for artists such as Kenny Chesney and Sugarland, Scobee brings experience and an end-user’s perspective to his new position, where he will be responsible for both new and existing Electro-Voice concert product lines.

Scobee’s connection to Electro-Voice equipment dates back to his early-career involvement with installed sound and has continued into his work in tour sound, most recently as Director of Operations for Morris Leasing in Murfreesboro, TN. In his 11 years with Morris, Scobee engineered on tour for Alabama and put together touring systems–typically built around Electro-Voice X-Line arrays–for high-profile acts including Chesney, Sugarland, Gretchen Wilson, and Big and Rich.

“I’ve designed large-scale touring rigs for many different artists,” Scobee says, “and I’ve used a lot of EV equipment over the years. We chose EV for those tours because we believe so strongly in the quality of their products, which is the same reason that I’m now going to work for the company. I’m thrilled at the chance to be actively involved in developing and representing the EV concert sound line.”

Scobee was already directly involved in the refinement of several of Electro-Voice’s live sound technologies, including both IRIS-Net control software and FIR-Drive DSP filtering. “EV has always had an engineering staff that is willing to work with you,” he says. “They aren’t just trying to tell you how to do it, they’re willing to make changes to accommodate what you need.”

In his new position, where he will report to Brian Divine, Business Line Manager, Electro-Voice, Scobee will himself be actively involved in defining new products and supporting existing lines.

“I expect to be a voice inside the factory for everyone who’s out there doing concert sound,” he says. “Having been on the front lines for so long, I’ve got a first-hand understanding of the issues that concert sound professionals face. My job will be to help give them what they need from us in order to provide the best possible concert experience for both artists and audiences.”