We are honored to be included as a stop on Daniel Bell's "Beyond" tour. A true maestro of texture and groove. Daniel Bell has been delivering impeccable long form sets across the globe for decades now, and for many of us in the world of rave, he is an immense inspiration a spiritual force. Absorbing influences of Chicago and avant garde minimalism Daniel Bell took it upon himself to create a sound that changed the course of electronic music. A reaction to the rave music of the time, where over the top stage shows and style had started to reign over substance, Bell looked back to the finer elements in sound and composition to produce what became to be known as, minimal techno. Tune in to the work he released under the DBX moniker and you’ll be hip to what the true sound of the genre was formed on; a solid, maddening level of groove. Since his early days as a producer and part of the burgeoning empire of Hawtin’s Plus 8 label, Bell has gone on to play roles both on and off stage. Whether that was from his studio, imparting a new sound on the techno world with 1994’s ‘Losing Control’ or from his business role, behind the formation of some of the most influential labels in electronic music’s history. With both Shake’s Frictional and Dopplereffekt’s Dataphysix imprints - Bell sent shockwaves through the system and he’s been at the heart of some of the most exciting and influential music in electronic history. None of this magic we speak of would be possible without a powerful and well-tuned sound system, looked after by discerning and wise sound tech. We were hyped to see our beloved tech Jason Silpher get a shout out from Dan on the tour promo feature for the night. Here's an unabridged version of the Q&A with Silpher: Name: Jason Silpher Experience: I started my sound reinforcement journey in the 90's Oregon Underground Rave scene. Every summer, raves found freedom outdoors, provided logistical issues could be solved at a moment's notice. Sure, I learned the fundamentals in warehouses, roller rinks and bowling alleys, but the wilderness rave honed my ears, knowledge base and instincts. In addition to Process PDX, I’m still outside every summer, installing and managing sound for festivals like Canyon Vibration and Osmosis in the Trees. What is your overall philosophy and approach to sound? An event's sound is its foundation. Disruptions or quality issues can distract a performer and fatigue dancers, causing an energy rift between the booth and floor. Conversely, the better the sound, the stronger that bond, the better the event. I lovingly refer to DJs and Live Production acts as “Junior Sound Engineers”. They need the freedom to create through sound without having to consider too many restrictions. My job is to transparently oversee this process. What makes Process PDX's system unique? We have a 4-point Danley Sound Labs system installed and tuned to minimize phase cancellation throughout the room. It’s loud enough to feel, but clean enough to be able to talk to someone without screaming in their ears. Producers love to test their new tracks on it, as the clarity illuminates necessary production tweaks. I’ve been using Tom Danley's products since ServoDrive / Sound Physics Labs, non-exclusively, but this particular system and I have been buddies for the 4 years preceding its install. I know its quirks, but the versatility still surprises me. Equipment used ( not necessary to divulge trade secrets): All Danley: 4x SH50 - tops, flown in a 4 point configuration 6x TH118XL - horizontal subwoofer cluster 2x SM80 - booth monitors 2x TH115 - booth subs 2x GO2 8CX - upper fills to encourage dancers closer to the booth, out of range of the SH50. 2x Cube - bar fills 3x DNA 20K4 PRO - Class D amplifiers, which are insanely efficient. ...and a QSC amp for the bar fills.