Filipetti Takes A-T To Motown

Grammy Award-winning producer Frank Filipetti is working as the co-producer, editor and mixer for the album for the Broadway hit show Motown The Musical, using a kit filled with Audio-Technica microphones, including the new AT5040 Cardioid Condenser Studio Vocal Microphone.
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Multiple Grammy Award-winning producer, engineer and mixer Frank Filipetti, with Music Supervisor, Arranger, and 2013 Tony Award Nominee Ethan Popp in the background.
Stow, OH (November 26, 2013)—Grammy Award-winning producer Frank Filipetti is working as the co-producer, editor and mixer for the album for the Broadway hit show Motown The Musical, using a kit filled with Audio-Technica microphones, including the new AT5040 Cardioid Condenser Studio Vocal Microphone.

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Motown The Musical officially opened earlier this year at the Lunt-Fontanne Theatre and features songs such as “What’s Going On," "Ain’t Too Proud To Beg," "Baby I Need Your Loving," “My Girl,” "Dancing In the Street" and "I Heard It Through The Grapevine."

Filipetti recorded the album at Right Track Studios in Manhattan, and along with co-producer Ethan Popp (musical director for Motown The Musical) and executive producer Harry Weinger, he edited and mixed it at his own The Living Room Studios in West Nyack, NY (all in close collaboration with Motown Records Founder and Rock & Roll Hall of Fame inductee Berry Gordy). Filipetti, who has earned Grammy Awards for his Broadway cast album work for shows including The Book of Mormon, Spamalot and Wicked, worked with Gordy, Popp and Weinger to choose from among the 72 songs in the show for the cast album, which also includes four new songs composed by Gordy.

On Motown The Musical, Filipetti used the new AT5040 for the first time. “I placed it in the vocal booth with Brandon Victor Dixon, who plays Berry Gordy in the show, and it instantly sounded fantastic,” Filipetti recalls. “The vocals just came alive. When Bryan Terrell Clark, who plays Marvin Gaye in the show, heard it, he said he just had to sing through it, too.”

In addition to the AT5040, Filipetti also used other A-T microphones on the recording. These included the AE5100 Cardioid Condenser Instrument Microphone on the snare drum and the AE2500 Dual-element Cardioid Instrument Microphone on the kick, as well as the ATM350 Cardioid Condenser Clip-On Microphone on toms.

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