KC: You were one of the pioneers of equalization…ĭon: At Altec, I constructed a seminar program in 1968 to show people how to equalize systems. They bought up the rights to the best Western products for pennies on the dollar and then proceeded to make themselves wealthy men. ![]() When Altec was formed after the dissolution of Western Electric in the late 1930s, a lot of the Western personnel came on board. So in the background was Western Electric, and you went out and tried to find people that fit that mold. ![]() It was his integrity, and that of Western’s gear, that did it. Nate was probably the first guy to make himself a millionaire in audio. Don leading a session in the early days of SynAudCon.Īfter a while he didn’t really have to be too involved with the bidding process, because if they wanted it done right, they came to him. Are you happy with the work?’ And, of course he got most of them on board as permanent customers. He’d say ‘hello, I’m Nate Reese and I was high bidder on your project. But then he followed up with these same customers a bit later, knowing that most would be unhappy. It was said that during his first couple of years in business, he lost almost every job he bid on. Nate Reese in Detroit is a good example of this. They were superbly trained people and quite used to top-of-the-line equipment – a piece of Western Electric equipment cost more than anything else, yet they invariably got all the better jobs. I enjoyed this role a great deal, and in the process, I worked with some of the “old-time” guys who had been Western Electric contractors. This led to doing a little bit of everything. So my job was to go out and identify potential contractors, and then to set them up as dealers and make sure they were supported, providing any encouragement possible. A guy named Mo Morris had seen the vision that sound contracting was a viable thing, that it was a good way to move inventory out of the factory and into the warehouses of the contractors, and that it was a good way to respond quicker to needs. Just at the time I joined the company, they decided to set up their own distribution with sound contractors. Prior to this point, Altec Lansing products were distributed through Graybar, and major installations were often headed up by the Altec Service Company, the theater service division. We weren’t exactly sales reps, but more comprehensive in scope. I was a field rep based in Chicago serving a big chunk of the Midwestern U.S. Keith Clark: Don, I understand you worked with Altec Lansing prior to the founding of SynAudCon.ĭon: I worked with Altec from 1959 through the early ‘70s, marketing and, really, managing mostly. So without further adieu, let’s roll tape and simply say, “go”. Frankly, I didn’t have to interject much as the two shared the fascinating tale of their lives in pro audio. Like many long-married couples, they have the endearing trait of often finishing each other’s sentences or interrupting to take the conversation in new directions. ![]() Now “retired,” they continue to travel extensively, staying in touch with an ever-growing network of friends and exploring new places. Our conversation was fascinating, spanning a wide range of topics and touching on crucial historical landmarks that lend perspective and understanding to the current state of the industry. They were gracious enough to travel to meet me, with the warm and at times reverential reception they received from attendees standing as a testament to the tremendous respect they’ve tirelessly earned in service. I had the privilege of spending an afternoon with Don and Carolyn while attending a SynAudCon seminar and workshop in southern Indiana. Now consider that these accomplishments just scratch the surface of their crucial role in leading the industry to its current modern era… Their book, Sound System Engineering, originally published in 1973 (and since updated), remains a standard audio and systems resource.įounders of SynAudCon, Don and Carolyn established the industry’s pre-imminent and most respected (and independent) educational resource, teaching thousands the essential concepts of audio and acoustics that in turn has led to remarkable advancements in systems and sound quality that we all enjoy. When noting the contributions of Don and Carolyn Davis to the professional audio industry, it’s hard to know where to even start. Go here to read more about his work, with Carolyn, in professional audio. Editor’s Note: This article was first published about 20 years ago, and we’re featuring it now in tribute to Don and Carolyn Davis, in light of Don’s recent passing.
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