Supersonic Blues Machine is the magic merger between drumming legend Kenny Aronoff, bassist/producer Fabrizio Grossi, and the award-winning guitarist/lead singer Lance Lopez.
The band was born in 2012, when Lance Lopez was planning a visit to Los Angeles to record a new album and producer Fabrizio Grossi suggested they hook up and work on some ideas. The day-and-a-half studio whirlwind that followed resulted in three songs that became the foundation of an exciting new supergroup.
In his prolific career as a producer, mixer, and bass player, Fabrizio Grossi has worked across a wide, eclectic array of styles with some of the finest musicians around today, running from Steve Vai to Tina Arena and from Nina Hagen to Alice Cooper, as well as Glenn Hughes, Dave Navarro, George Clinton, Joe Bonamassa, Leslie West, Zakk Wylde, Ice-T, Slash, and Paul Stanley, to name just a few.
Fabrizio Grossi: "The blanket is off with these mics! There are a lot of good microphones out there: especially for recording or live performances, you have those standard names and workhorses that everybody likes to use. Don’t get me wrong, I like to use them too. But if you have to rely only on one of those usual suspects, the first thing that comes to my mind is when you’re talking dynamics: they’re not necessarily detailed. They’re sometimes dark, sometimes muffled, not really open – like having a blanket that kind of limits your head room or the frequencies that you’d normally capture under different circumstances by using a different microphone. The MTP 550 DM, on the other hand, just became my favorite microphone: obviously, it’s a dynamic microphone, but it has the clarity and the range as well as the smoothness, and it’s also sturdy. In other words, when you’re using those high-end microphones that can handle huge ranges of frequencies, they’re kind of delicate, very touchy – you just kind of move it a little bit, and all of a sudden, it’s Armageddon. These LEWITT mics, on the other hand, have the same workhorse-qualities but are easier to use, easier to position, and easier to handle than the usual suspects, and they give you sound definition, clarity, and headroom that you’d otherwise only find in way more expensive – generally, condenser – microphones. For me, that’s a major plus, along with the fact that they sound very natural."
As a young Texas guitar prodigy, Lance Lopez shared the stage with the likes of Johnnie Taylor, Lucky Peterson, and Buddy Miles. And as a guitar-slinging solo artist, he’s gone on to create a whole slew of fire-breathing, post-SRV-meets-Hendrix blues-rock albums.
Lance Lopez: "I love to bring my MTP 550 DM with me everywhere I go. It’s my go-to microphone for lead vocals, and it just captures everything that my voice is supposed to deliver. It’s been such a phenomenal microphone, I’ve gotten a lot of comments from lots of front of house engineers when I’ve shown up at festivals or big venues, and whenever live engineers are there, I always tell them: “No, I have my own vocal mic,” and when I put the MTP 550 DM up and they hear it, they’re like, “Wow!” So I’ve seen many sound engineers who’ve been really impressed by the sound of that mic. That’s one thing that assures me that the LEWITT MTP 550 DM is just a phenomenal microphone that delivers everything that it’s supposed to."
The third part of the band’s core is Indiana native drummer Kenny Aronoff, who brought along his experience working with a huge collection of artists such as John Mellencamp, Smashing Pumpkins, Meat Loaf, Brandon Flowers, John Fogerty, Red Hot Chili Peppers, Joe Cocker, and a host of others.
Kenny Aronoff: "I’ve been using the MTP 440 DM on my snare. Both in the studio and live the engineers love it – so it’s really my favorite mic, too! I think LEWITT definitely has a very innovative paradigm going, and they’ve carved out a special niche for themselves in the recording business!"