Guitarist, engineer, producer, and guitar tech Allan Cannon has come a long way since his boyhood years in Montreal. A fixture in the Hamilton, Ontario, music scene, his best-known client is award-winning producer/performer Daniel Lanois, for whom he has served as guitar tech, but he has built a broad and deep client list in an impressively short time.
“Four years ago, I started seriously learning to record so I could release my own material,” Cannon relates. “As it turns out I have been too busy helping out musicians and bands to concentrate on my own music!” In the past three years, he has recorded a wide variety of live and studio performances. Cannon’s recording of Jack de Keyzer’s Corktown Sessions Live recently won a Juno for Blues Album of the Year, and he has also recorded such artists as Folkalarm, featuring guitarist Kevin Breit (Norah Jones); Ontario legend Harrison Kennedy (The Chairmen of the Board); Sven Gali (with former Billy Idol drummer Gregg Gerson); and Rock ‘n’ Roll Hall of Fame bassist Prakash John (Alice Cooper, Lou Reed, George Clinton Parliament-Funkadelic). He also has served such local clients as The City Of Hamilton and the Halton Blues Society. (Note to independent producers and engineers: don’t overlook potential clients such as nonprofit organizations, businesses, and government agencies!)
And of course, Cannon has relied on PreSonus gear for all of his best work. “I have been using multiple PreSonus FirePods for the past three and a half years,” says Cannon. “They have worked flawlessly throughout my many recordings. I’ve used them in bars, arenas, theaters, churches, bedrooms, and basements—everywhere that I needed to capture music, theater, and other types of audio. I like the FirePod’s ease of use and the clean, full sound. In addition, I do a lot of live recording, so portability is crucial, and with my FirePods, I only need about four square feet to set up. PreSonus’ service has been fantastic as well.”
Cannon did a lot of research before purchasing his PreSonus units. “The ability to link multiple units together, the ease of use, and mostly the Class A, high-gain preamps were the features that got me to spend the money,” he explains. “I wanted clean, full sound, and the PreSonus Class A preamps deliver it. Once people hear the results, they are always impressed—even the skeptics. I also like the 32-bit, 48 kHz recording features; I often shoot live video while tracking audio, so it’s hard to watch the recording every second of the show, and by recording at 32-bit, I get the extra headroom needed to ease the worry of a drummer hitting the snare really hard and clipping the signal while I’m working with the camera.”
Concludes Cannon, “PreSonus interfaces are affordable and powerful. It’s the best money that I have spent!”