Reedsburg.
The most differentiated film you could own. No pro-audio brand has shot a slow industrial portrait of its own American manufacturing. Yours is already written, hiding on an About page nobody reads twice. We move it from paragraphs to image.
A quiet building in Wisconsin where things are built to not fail.
Founded 1998 by four ex-Shure engineers. Designed, assembled, and supported in one place since. The dignity is in the slowness.
An office above a paint shop. Engineers on cots. The name found on a shipping box.
Matt Anderson's twenty-fifth-anniversary essay is good writing waiting to be a film. Hand-wound transformers. An angel investor. Long nights and a refusal to ship something that fails in the field. It reads like a screenplay and it sits there as a wall of text.
We do not narrate that story over stock footage. We shoot the bench it actually happened on, the hands that still do the winding, the room at dawn before anyone arrives.
Four engineers, one room.
Matt Anderson, Brad Lovett, Jon Tatooles and Jim Koomar leave Shure and start building in Reedsburg.
The recorders that mixers trust.
The 744T, 788T and 664 earn Cinema Audio Society Technical Achievement Awards. The cart standard gets set.
On the world's best sets.
The gear rides on features people argue about for years. The 633, 970, Scorpio and MixPre line keep the awards coming.
Audiotonix, and Matt stays.
Acquired by the group behind DiGiCo and SSL. Matt Anderson remains CEO and Chief Engineer. The bench does not move.
Astral, JH Audio, the next bet.
The Astral wireless platform wins Best of Show at ISE and the AMPS Excellence Award. JH Audio brings in-ear monitoring and live touring.
The proof is third-party. The story is first-person.
CAS, AMPS, ISE Best of Show. Other people vouch for you, on the record, for decades. That credibility is the foundation a heritage film stands on. We do not have to claim the precision. We show the room where it happens and let the awards speak for themselves.
How we shoot itThe film no Audiotonix sibling has, and no competitor can make.
A bench in Wisconsin is a real place with real access requirements. We are straight about what it takes, because a heritage film is worth doing right or not at all.
Access on your terms
We shoot inside a working facility without slowing it down. A small crew, clean coverage, scheduled around production, not the other way around.
Your people stay your people
The subjects are the engineers who actually do the work. No actors, no recreations. The faces on screen are the ones on the badge wall.
A moat, not a one-off
DiGiCo, SSL, Calrec, Allen & Heath. None of them can show a twenty-five-year American manufacturing origin. This is the one story the group cannot copy.