By Clive Young. Berklee Online has announced its first-ever graduate degree programs, including a new Master of Music in Music Production.
By Steve Harvey. After 30 years of owning studios in Manhattan, resilient recorder Dave Amlen had to close MSR (formerly Right Track) in Times Square. Now he’s back with a new multi-room facility, Sound On Sound, nearby in New Jersey.
By Steve Harvey. Elijah “Lij” Shaw, owner and operator of The Toy Box Studio in East Nashville and the man behind Bonnaroo’s Hay Bale Studio, has filed a lawsuit against Nashville Metro Council’s ban on business owners receiving clients in their homes.
Mixer, producer and session musician “Bassy Bob” Brockmann’s career has taken him through music production’s biggest turning point, as it went from analogue to digital. In the process, Brockmann (whose discography ranges from Mary J Blige and Brandy to Faith Hill, Sheryl Crow and the Dixie Chicks) watched as record productions became denser, with the number of tracks steadily expanding as digital recording platforms offered seemingly infinite space. That, in turn, led him to Focusrite’s Clarett 8Pre 18-in/20-out audio interface.
Like many musician/engineers, Richard Devine is comfortable in the digital realm, creating music, sounds, patches, remixes, you name it, with the gear in his studio. But while he prefers mixing in the box, lately he's been eschewing plug-ins in his mastering set-up, favoring the sounds of numerous vintage EQs he owns, as well as a modern-day Manley Massive Passive.
Independent Audio recently supplied a significant quantity of Merging Technologies’ Horus and Hapi networked converters and Pyramix Native Pro workstations to the Hugh Hodgson School of Music campus in Athens, GA.
Nashville-based recording engineer and mixer Ryan Gore recently used BAE Audio’s 1073 to cut lead vocals on two hit country singles, Old Dominion’s “No Such Thing As A Broken Heart” and Jon Pardi’s “Heartache On The Dance Floor.”
Jon Castelli, Los Angeles-based record producer, mixing engineer, songwriter and owner of The Gift Shop studio, recently recorded a friend’s improvisational a cappella singing session in a barn, backed by a jazz trio, with support from DPA Microphones’ Gabriel Antonini.
By Steve Harvey. When Sally House, executive director of The Hit House, and her husband, creative director Scott Miller, realized that clients were no longer attending sessions, they decided to relocate the business to their home, cutting out three hours of daily commuting. Initially, Miller and composer William Hunt worked out of a pair of backyard cabins, but earlier this year moved into permanent production facilities in a newly constructed extension to the couple’s house in a quiet neighborhood in Torrance.
Malvicino Design Group recently completed planning and integration of six new recording studios at Mexico's Monterrey Institute of Technology and Higher Education, utilizing Sommer Cable's new MC-Mistral analog/digital combo cable throughout.
By Strother Bullins. Twenty-five years ago, R.E.M.’s eighth studio album—the monumental Automatic For The People—was released. On November 10, Craft Recordings will reissue the classic 1992 album in a variety of remastered formats, the most elaborate of which—the Deluxe Anniversary Edition—features four discs of previously unreleased material, a 60-page book, and a remix of the entire original album in Dolby’s Atmos format.
Rural England might not be the first place you’d expect to find an outfit that knocks out music for Hollywood films and TV shows like Saturday Night Live and Top Gear, but that’s where Dan Gautreau set up shop with his private studio, First Cut Music, a facility based around a Solid State Logic AWS 948 Delta hybrid analog console.
It’s always been said that going to college opens up new vistas for students, but recently in the University of Surrey’s case, it opened up a new Vista, singular. In other words, the school purchased a Studer Vista 1 console.
By Steve Harvey. Sunset Sound Recording Studios hosted the inaugural Csaba Petocz Master Class Scholarship at the end of August, where GRAMMY Award-winning producer and engineer Joe Chiccarelli led a two-day advanced audio workshop focusing on the essentials of tracking, mixing and production. The event was created to honor the legacy of the beloved producer and engineer by Audio-Technica; the Recording, Radio and Film Connection (RRFC); and specialized marketing and public relations agency Clyne Media.
Located in Hamburg Altona, near the city’s Reeperbahn, Chefrock Studios is a commercial facility housed on the top floor of an old industrial building, featuring a main control room equipped with an analog Neumann console and a range of analog outboard equipment. Also on-hand are a large recording room, a vocal booth and a client lounge.
By Steve Harvey. Nearly 30 years ago, commercial recording studio owners in Los Angeles banded together and tried to close down the city’s dozen or so home-based facilities for dodging business taxes and operating with improper zoning. Three decades later, home studios now feature prominently in L.A. real estate listings. Dave Newton, founding member and one of two principal songwriters of U.K. jangle pop band the Mighty Lemon Drops, opened Rollercoaster Recording behind his house shortly after relocating to Los Angeles in 1995. “I was in a band for a while; we had some label interest,” he says. “I didn’t have a job and didn’t know what to do. We [Newton and his wife] had this nice place and this two-car garage which we weren’t using, and I said, it would be great to have a studio.”
By Strother Bullins. Thursday afternoon, in an important Special Event, “Producing Across Generations: New Challenges, New Solutions," a panel led by New York University's Nick Sansano, Director of Production Studies/Co-Director of Musicianship, and featuring audio pros (including George Massenburg), addressed the elephant in the room-or, as the AES explained it in event promotional materials, "...music professionals continued to make records for a living. How are they doing it? How are they getting paid?...How can we expect to see any income from streaming royalties when artists aren't even getting any?"
By Strother Bullins. Thursday morning, a packed special event, "Bearing Witness: The Music of Star Wars, Archiving Art and Technology,"featured Skywalker Sound's Leslie Ann Jones and Dann Thompson as they detailed their efforts for Sony Classics' re-release of soundtracks from the iconic film series, Episodes I through VI. Morphing into an archival and restoration mission for the first six films, this process was, in fact, a journey through the various recording platforms from 1977 to 2005.
By Steve Harvey. Leslie Ann Jones, a recording and mixing engineer for over 35 years and currently director of music recording and scoring with Skywalker Sound, nearly turned down the invitation to speak at this year's Richard C. Heyser Memorial Lecture. "I haven't written any great papers, haven't invented any technology; heck, I haven't even had a top-10 record," she said.