GREATER NYC AREA: We’re all over the local and musical map in this month’s epic Session Buzz, as we trace recordings by the likes of Yoko Ono, Talib Kweli, John Zorn, MGMT, Wale, Hole, Okkervil River, The Joy Formidable and more back to their studio sessions. Find out where several busloads of notable artists have been recording, not to mention film scores and Broadway Cast Albums, and who’s all engineering and producing these sessions. Below.
Warner Bros artist Wale has been working on his upcoming LP out of Daddy’s House Recording Studios in the SSL G series Room. Daddy’s House also hosted sessions with French Montana, tracking and mixing his upcoming album with Steve Dickey and Duro CEO, Bad Boy artists such as Machine Gun Kelly, Cassie, Red Café, Los, and Megan Nicole, and sessions with Fabolous, Wacka Flocka, Q-Tip, DJ Khaled, T Pain, Jose Feliciano and more.
Nearby at Area 51 NYC, Jordin Sparks and Ryan Beatty recorded a song written and produced by Artie Green (Ashanti, Ja Rule…), with engineer and studio co-owner Roey Shamir at the console, and rapper/producer Doug E. Fresh on hand. The song is being used on an album to benefit Hip Hop Public Health and The Partnership for a Healthy America/Let’s Move initiative. Area 51 co-owner Tony Drootin is a board member of HHPH and is a co-executive producer on the album.
In other Area 51 sessions, A$AP Rocky and A$AP F3RG were working on songs from their upcoming records with Bad Boy engineer Steve Dickey at the controls; and Derek Trucks, Warren Haynes, and Galadrielle Allman (Duane Allman’s daughter) were in recording a radio interview to promote the Duane Allman box set being released on Concord Records.
Uptown at David Kutch’s studio, The Mastering Palace…it was a “tale of two Justin’s” this winter – with Justin Timberlake in to put final touches on The 20/20 Experience with Kutch, and Justin Bieber’s new Believe (Acoustic) LP mastered only days before its release in January. Some other big albums Kutch has mastered of late…Bruno Mars’ Unorthodox Jukebox, Alicia Keys’ Girl on Fire and the new album by The Strokes, Comedown Machine.
Meanwhile, Mastering Palace engineer Tatsuya Sato has been working closely with Sony Mexico, mastering for artists Los Daniels and Aleks Syntec. And Michelle Mancini just completed mastering the Deb Oh & The Cavaliers EP and a new artist Josh Franklin who’s album was executive produced by Peter Wade (MNDR, WonderSound).
Urselli also tracked vocals for three different all-star collaborations with Italian pop star Jovanotti, along with a new acoustic song for a movie soundtrack; recorded a few new songs with Wilco guitarist Nels Cline for his Nels Cline Singers band; tracked and mixed four new albums for John Zorn featuring guests such as Bill Frisell, Thurston Moore, Joey Baron, Kenny Wolleson and John Medeski; and produced/engineered a new album by former Luca Carboni musical director and keyboard player Fabio Anastasi for an upcoming solo release on TempoPirata Records.
And at Germano Studios in the East Village…singer/songwriter Loren Benjamin was in mixing in Studio 2, with Steve Jordan producing and Dave O’Donnell engineering, and the artist Moxie recorded piano and vocals in Studio 1 with Freddy Wexler & Pheenix producing and Wexler engineering. Sara Bareilles recently recorded vocals at Germano for her upcoming album, being produced/engineered by John O’Mahony, and Gavin Degraw was in to record some new material with Ryan Tedder producing and engineering.
Germano Studios also hosted sessions with singer Paloma Faith – writing and recording in Studio 1 with John Legend producing and Dave Rowland engineering; Trace Adkins recording the Harlem Gospel Choir in Studio 1 with Frank Rogers producing and Richard Barrow engineering; Yoko Ono recording vocals with Sean Lennon producing and Kenta Yonesaka engineering; John Legend recording with Dave Tozer producing and Jason Agel engineering; and Fred Armisen cutting basic tracks in Studio 1 for Saturday Night Live, with Kenta Yonesaka engineering.
Meanwhile at Terminus Recording Studios in Times Square, actor Michael Cera and Kelis were shooting an awkward recording studio scene for Cera’s upcoming short film, Brazzaville Teenager – for the new YouTube-based Jash Network. While Studio A was being prepped for filming, the team also recorded a vocal for Kelis’ song that appears in the film in Studio B.
Also at Terminus, DJ Khaled tracked vocals for his upcoming album, Suffering From Success, with engineer Ben Diehl. Guest vocalists included Akon, Anthony Hamilton, Meek Mill, Jeremih and Vado. Maino and The Mafia also cut vocals for two new tracks – one, “So Cold,” featured CashOut, and the other, “Real Recognize Real” was, according to studio manager Christian Rutledge, “released on XM Satellite Radio on the night it was tracked, showing up on Rap Radar and lighting up the blogs by the next day.” The Maino and The Mafia sessions were run by Terminus staff engineers Justin Rodrigues and James Yost.
Jumping over to Jersey for a minute, the two-studio Union City facility housed in an old sewing factory, Kaleidoscope Sound, has been hosting recording sessions for improvisational jazz violinist Regina Carter, with engineer Joe Ferla manning the API. And Kaleidoscope recently completed the 25th Anniversary Cast Recording for Nunsense.
Several other Cast Albums were recently tracked at MSR Studios in Midtown Manhattan, including that of the new Cinderella: The Musical with engineer Todd Whitelock, Cyndi Lauper’s Kinky Boots with engineer Bill Whitman, Sh-K-Boom! Records’ Dogfight with engineer Lawrence Manchester, Giant: The Musical with engineer Joel Moss, and Pippin (engineered by Lawrence Manchester), and Natasha and the Great Comet with producer/engineer Dean Sharenow, and Kathy Lee Gifford’s Scandalous (produced by David Lai, engineered by Isaiah Abolin).
And some other recent action at MSR includes…Producer Salaam Remi working with Jennifer Hudson on material for her new RCA record, with engineer Gleyder “G” Disla, and MSR assistant Gloria Kaba; Engineer Todd Whitelock mixing new releases from Mack Avenue artist Kenny Garrett and Nonesuch recording artist Audra McDonald, assisted by Brett Mayer and Fred Sladkey; and the recording and mixing of David Sanborn and Bob James’ forthcoming follow up to their 1986 Grammy Award winning album Double Vision with engineer Ken Freeman with MSR assistant Brett Mayer.
Nearby, the landmark Avatar Studios played host to a couple of big film score sessions – composer Howard Shore’s score for director Arnaud Desplechin new film Jimmy Picard (starring Benicio Del Toro), with engineer Sam Okell, assisted by Tim Marchiafava and Tyler Hartman, and composer Teddy Shapiro’s score to The Secret Life of Walter Mitty (directed by and starring Ben Stiller), engineered by Chris Fogel assisted by Marchiafava.
Audra McDonald also recorded out of Avatar’s Studios A, B and C with producer Doug Petty and engineers Todd Whitelock and Roy Hendrickson assisted by Bob Mallory and Mike Bauer. And Depeche Mode, Jonatha Brooke and Thompson Square were also recently in session at Avatar.
In SoHo, SweetSounds welcomed Brooklyn’s own Talib Kweli into the studio for some vocal tracking and sampling in the Crosby Room. Head engineer Brian Cid manned the room’s Neve 5088 console for the session as Kweli recorded in the studio’s windowed Live Room. And Crosby resident engineer Jason Finkel also tracked a full-on session with Brooklyn psychedelic chamber-pop band Friend Roulette. The tracking sessions included two drum kits recorded simultaneously, violin, bass, clarinet, electronic wind instruments and vocals.
In other Sear sessions, German actress and chanteuse, Ute Lemper, recorded an album with Chris Allen at the Sear/Avalon console and Todd Turkisher and Lemper producing. The tracks were mostly Spanish and French traditional songs utilizing an array of exotic percussion instruments; Tracks for a new film directed by George C. Wolfe, You’re Not You (Hilary Swank) were recorded with Ted Tuthill piloting the Neve 8038 and Todd Kasow producing; Jazz singer Gregory Porter recorded his new album with large string and wind ensembles – Brian Bacchus produced and Jay Newland engineered; Yoko Ono and Antony continued recording at Sear with Allen engineering, and Yoko producing; and Mack Avenue Records tracked and mixed a new album for the jazz pianist Alfredo Rodriguez with James Farber engineering, Al Pryor producing in Studio ‘C’, and Esperanza Spaulding singing and playing bass.
Masterdisk worked on a number of notable projects, including The Great Gatsby soundtrack for Interscope – produced by Jay-Z, and mastered by Tony Dawsey, assisted by Tim Boyce; a new album by The Brian Blade Fellowship Band, Landmarks, for Blue Note – mastered by Andy VanDette and mixed by Chris Bell; and Linda Thompson’s new first album since 2007′s Versatile Heart, mastered by Scott Hull and produced/mixed by Ed Haber.
Also mastered at Masterdisk recently…Darcy James Argue’s Secret Society’s Brooklyn Babylon for New Amsterdam, mastered by Randy Merrill, mixed by Brian Montgomery and produced by Beth Morrison Projects, and Kermit Ruffins – ‘We Partyin’ Traditional Style’ for Basin Street Records – produced by Tracey Freeman, recorded and mixed by Chris Finney, and mastered by Vlado Meller.
All the way downtown at Engine RoomAudio…alt-rock band The Joy Formidable (Atlantic) filmed a live recording session of their song, “Silent Treatment” with engineer Ben Lindell. Also at Engine Room…Anthony Daniel mixed Kat Dahlia’s (Epic) debut EP, Gangsta, 50 Cent mastered his latest single, “We Up” (feat. Kendrick Lamar) with Mark B. Christensen, and Austin band Boyfrndz mastered their new Ikey Owens-produced album, Natures, with Dan Millice.
Producer/engineer John Agnello mixed three new albums at Fluxivity in Williamsburg, including Kurt Vile’s new Walkin on a Pretty Daze. In keeping with John and Kurt’s appreciation of analog sounds and following on the mixes made at the studio for his last record Smoke Ring For My Halo they returned to mix on the Neve 80 series console, and as before, the mixdown masters were recorded on ATR Magnetics tape using the studio’s Ampex ATR-102 tape machine.
Agnello also mixed the new Okkervil River album at Fluxivity, as well as the new record by Canadian band Your Favorite Enemies Between Illness and Migration, the tracks for which were recorded in the band’s studio in Quebec, and brought to New York for John to mix through the collection of vintage gear in the Fluxivity mix room.
Mastering engineer Joe Lambert recently mastered a new Moby album at Joe Lambert Mastering in DUMBO, which by the way recently added a Buzz Audio REQ 2.2 Mastering EQ to its arsenal. Other new albums recently mastered at Joe Lambert Mastering include the latest album from Washed Out, mixed by Ben Allen; the new Deerhunter record, Monomania; and some Kronos Quartet songs composed by Bryce Dessner of The National.
Down the block at Saltlands, disco band Escort recorded with engineer Nick Stumpf; Aussie singer/songwriter Scott Matthew recorded his latest with engineer Augustus Skinner; model-turned-singer Hannah Cohen spent a couple days writing and recording new songs with producer Thomas Bartlett (Doveman) – the producer of her debut, Child Bride – and engineer Jon Altschuler; and Audioms – a new (coming soon) “indie rock licensing company” tracked music with Shannon Ferguson from Longwave. Audioms founder Kevin Mazzarelli produced the sessions, with Jesse O’Connor engineering.
Back in Williamsburg, Grand Street Recording has been busy with a number of album projects, including Jared Saltiel’s upcoming The Light Within – an album of “magical realist” songs weaving layered instrumentals with “elaborate orchstrations and clever, Beatles-esque production” and featuring musical contributions from a talented lineup of players, including Max Moston, Rob Moose, Olivier Manchon, Clark Gayton and Rich Hinman. The album was engineered by Ken Rich and Tomek Miernowski, mixed by Rich, and mastered by Greg Calbi at Sterling Sound.
In other Grand Street sessions, Diane Birch was in recording stripped down piano and vocal sessions with Miernowski engineering; Bluegrass artist (fiddler) Michael Barnett (The Deadly Gentlemen, Tony Trischka) tracked the basics for his upcoming album with engineers Dave Sinko (Edgar Meyer, Bela Fleck) and Miernowski, mandolinist Dominick Leslie, and Punch Brothers members Paul Kowert & Chris “Critter” Eldridge laying down basics; John Andrews (Nena, PeterMurphy, Botanica, Morley) brought in his rock band, Loudboy for a week to track the basics for a new release (13 songs in a day and a half) with Ken Rich engineering and Jake Lummus assisting; and Rene Lopez recorded his latest album with a world-class rhythm section including Bill Dobrow, Brett Bass, Daniel Sadownick and Avi Bortnick. Working in tandem with producer Daniel Collas (the Phenomenal Handclap Band) and Miernowski engineering, the group was able to track 15 songs in 4 days, with overdubs to follow.
In gear related news, Grand Street has added a matched pair of Coles 4038 Ribbon Mics, a Placid Audio Copperphone, 1965 Ampeg Reverberocket II, and a Danelectro Series D amp from the 50′s (on loan from friend and tech John Charette).
Adds owner Ken Rich: “We’ve also expanded our studio to include a “B Room” Pro Tools rig that can be used for light tracking/overdubs and editing. We’re running Pro Tools 10 with an Apogee Duet 2 and can offer clients last minute time slots at a significantly reduced rate (50% off!) while still offering access to our extensive mic and amp collection. In addition, we’re also revamping our FX Rack, and have acquired some classic reverbs and delays including a Lexicon PCM 42 delay unit as well as PCM 60 and PCM 70 reverbs.”
Nearby at GaluminumFoil in Williamsburg, producer/engineer Jeff Berner was juggling a bunch of records, including finishing the new album by Naam, Vow, that’s due out on TeePee Records on 6/4. Berner produced, engineered and mixed the record, tracking to GaluminumFoil’s Sony/MCI JH24 2″ machine and transferring to Digital Performer for overdubs and mixing), and added some additional guitar/synth/percussion/backing vocals along the way. The record has been mastered by Alex DeTurk at Masterdisk, and was “co-produced by X-Box the dog and many strong pots of coffee.”
Berner also recently engineered and mixed Dead Stars’ new EP, “High Gain” (also mastered by DeTurk and due out – via Uninhabitable Mansions – on 6/4; co-produced and engineered the new full-length album by Gunfight!, Stripes, which will be released later this year; and recorded new material by Weird Owl. “They came in super-prepared and finished four tracks in less time than it took to get a snare drum sound in 1987,” Berner noted of the session, which took place last weekend. Really excited to mix these great tunes in the forthcoming weeks!”
Meanwhile over at producer/engineer Matt Boynton’s Vacation Island Recording…sessions have been steady going. Most recently, Carsick Cars recorded and mixed a new record with Pete Kember (Spacemen 3) producing and Boynton engineering.
Over the last few months…Boynton also engineered sessions with MGMT – tracking vocals for their new album – and Andrew Vanwyngarden (one half of MGMT) recording and mixing songs for a movie; Bad Girlfriend – tracking basics with Aaron Phenning (Chairlift) producing; Kurt Vile tracking for waking on a pretty daze; Free Blood finishing mixes; Zachary Cale, tracking and mixing new material. Jolie Holland also tracking basics at Vacation Island for a new record with Doug Jenkins engineering.
Mastering engineer Julian Silva has worked on a number of new releases out of his Greenpoint studio, On Air Mastering. Silva’s recently mastered products for Bennett Jackson – “Texana” – Noah Lamech/ Jazz Cafe, and Heyerdahl, and all the “Live at Braund Sound” series, featuring Fall of another year, Lazer Cake and Tim Daoust.
And finally, it just makes sense to end at The End – also in Greenpoint – where The Daptones recently tracked new music with engineer Rocky Gallo, and Dirty Projectors and Holy Ghost! have been rehearsing for their upcoming sets at The Governor’s Ball in June. Also at The End…engineer Chris Boosahda has been busy working with Shakey Graves to track their album, finishing up mixing on Liam Finn‘s new record and Monogold’s upcoming new album. Boosahda’s also been recording demos for Kevin Devine’s new record.
And we know there’s so much more going on out there! If you’d like to be featured in “Session Buzz,” please submit your studio news to firstname.lastname@example.org.
GREATER NYC AREA: New works by David Bowie, Vampire Weekend, She & Him, Azealia Banks, John Scofield, Common and more have been in production all over the city – in the studios highlighted below. Where’s everyone recording? And who’s working with who? Here is our neighborhood-by-neighborhood guide to recent NYC studio sessions…
Mixed by Brooklyn-based engineer James Brown, the album was recorded on the legendary Sound City Neve 8028 at Grohl’s studio and features the various performances captured for the film, including Stevie Nicks, Trent Reznor, Josh Homme and Paul McCartney. The album comes out on Roswell Records on March 12 – pre-order it on iTunes and download the first single, “Cut Me Some Slack” (featuring McCartney).
Also at The Lodge, Vampire Weekend mastered their anticipated new album Modern Vampires of the City – produced by Rostam Batmanglij and Ariel Rechtshaid – with Lazar and LaPorta. The record is due out May 7 on XL Recordings. Superstar DJ Armin van Buuren returned to The Lodge to master his new album for Armada Records. The album was produced by Armin van Buuren and Benno de Goeij and mastered by Lazar and LaPorta. And finally, LaPorta recently mastered the new Cold War Kids album, Dear Miss Lonelyhearts – produced by Lars Stalfors and Dann Galluci and due out April 2 on Downtown Records.
Nearby at SweetSounds, indie folk ensemble Miko and the Musket tracked a new EP in the Crosby Room – Brad Fisher produced and engineered, assisted by Josh Giunta and James Gill. The band tracked through the Neve 5088 console over a five-day session that SweetSounds owner Dinesh Boaz calls “epic and awesome.”
“To create a very big sounding record, six different room mics were employed at different times as well as an SPL Transient Designer to customize the sense of space on the drums,” says Boaz. “Acoustic, electric guitars, bass, and vocals on six songs were also recorded, comped, and prepared for mix. The last day ran for 16 hours straight, where vocals, guitar, re-amps, and bass were recorded for 3 of the songs without break.”
Another epic session wrapped recently at The Magic Shop (as we previously reported) – David Bowie’s new album, The Next Day, had been in production there for two years, with Tony Visconti producing, Mario McNulty engineering and Brian Thorne assisting. The album, Bowie’s first in a decade, comes out in March.
In other Magic Shop sessions… She & Him tracked and mixed their new album, Vol. 3, with producer/engineer Tom Shick, assisted by Kabir Hermon…studio owner Steve Rosenthal and staff engineer Ted Young worked with Sony Legacy’s Rob Santos on the upcoming Elvis record Aloha from Hawaii via Satellite: Legacy Edition, mixing the dress rehearsal from the original multitrack tapes… Kurt Vile‘s upcoming release Wakin On Pretty Daze was produced and mixed by John Agnello with Ted Young… Engineer/producer Alex Newport tracked Grandfather‘s upcoming release In Human Form… Lloyd Cole recorded for his new album with engineer Geoff Sanoff… and Lily and the Parlour Tricks recorded for an upcoming EP with producer Wilson Brown, and Young engineering.
With the departure of mastering engineer Warren Russell-Smith for Los Angeles, mastering engineer Jessica Thompson is now working out of the Blue Room while Sean Gavigan, Doug Bleek and Matt Zedolik continue restoration work out of the Red Room. Thompson recently mastered Balkan Arts Series - a collection of 1960-1970s field recordings of traditional folk dances, restored from vinyl - The Lake Reflections, an album of genre-defying piano improvisations by Boyd Lee Dunlop, produced/engineered by Allen Farmelo; and a new record of Irish tunes for Chris Byrne‘s (Black 47) new band The Lost Tribe of Donegal.
Next, up to Avatar Studios, where singer/songwriter Jonatha Brooke has been recording an upcoming project in multiple rooms with co-producer Patrick Rains and Roy Hendrickson engineering, and where Ben Harper and Charlie Musselwhite have been recording new material with producer Dave Einstein, and engineer Anthony Ruotolo.
Also at Avatar… Cirque du Soleil mixed their Zarkana cast album in Studio A with producer Nick Littlemore, and engineer Roy Hendrickson assisted by Mike Bauer…MTV shot live performances for their Artists to Watch series with Gold Fields and Hunter Hayes – produced by Dan Weissman and Allyssa Agro with engineer Ryan Jones assisted by Bob Mallory…the Wayne Shorter Quartet and the Orpheus Chamber Orchestra recorded together in Studio A with producer Rob Griffin and engineer Todd Whitelock… up-and-coming band Basic Vacation recorded with producer David Kahne, and Hendrickson at the controls…And fresh off his performance at the Grammy Awards, Kenny Garrett recorded with co-producer Al Pryor and engineer Joe Ferla.
Also worth noting, 10 Grammy Award winning records (and 21 nominees) were recorded at Avatar (Paul McCartney, Anita Baker, Chick Corea, etc.). Check out the full list here.
A few blocks away at Sear Sound…Phil Ramone produced tracks for a new Broadway Show, I Will, I Can – based on Sammy Davis, Jr.’s autobiography – with Frank Filipetti engineering on the Avalon/Sear custom board; and actor and singer/songwriter Jesse Lenat recorded new material with engineer Chris Allen and producer Loren Toolajian for Sandblast Productions.
As usual, Sear hosted a number of jazz sessions, including pianist Gerald Clayton tracking a new album on the Neve 8038 with Ted Tuthill engineering and Ben Wendel producing… Sophie Millman recording with producer Matt Pierson and engineer Chris Allen…John Scofield recording his latest with engineer James Farber…and Kris Bowers tracking a new album with producer Chris Dunn and Allen engineering. Finally, Ten Dragon Films was at Sear tracking a score for their documentary, In The Magic of the Green Mountains – Allen engineered with Micah Burgess producing – and the “Flamenco Queen”, Buika, returned to Sear to mix her new album with Tuthill engineering and Eli Wolf producing for Warner Bros. Spain.
Back downtown at Germano Studios, Joan Jett & The Blackhearts were back to record more material for an upcoming album with Kenny Laguna and Jett producing, and Thom Panunzio and Kenta Yonesaka engineering.
And in other recent sessions at Germano…Harlem-bred rap ingénue Azealia Banks recorded vocals for a new record with Ric McRae producing and engineering…John Legend recorded and mixed for his upcoming record with Dave Tozer producing and Jason Agel engineering…French hip-hop band IAM recorded and mixed their new album with Prince Charles Alexander mixing (and Dave Rowland recording)… Passion Pit recorded and shot video with Dillon Francis producing…Isa “Machine” Summers recorded piano for the artist LP with Yonesaka engineering …and Japanese artist AK recorded and mixed with Yonesaka again at the controls.
Meanwhile, Roc Nation artist/producer J. Cole has been working out of Premier Studio B, with Mez on the controls; G-Unit rapper Kidd Kidd was in tracking with Premier engineer Kevin Geigel; the whole Pro Era crew (Joey Bada$$, etc.) has been locked into Studio F working on upcoming albums and mixtapes with Big K.R.I.T., Smoke DZA, A$AP Rocky, Sha Money XL and many more; Shontelle was in Studio E working on new material with songwriter Corey “Chorus” Gibson, producer Reo and Angelo Payne engineering; and Trey Songz was back in the studio working on new material with Premier engineer Anthony Daniel.
Masterdisk finished some pretty major albums of late, including the 2-disc vinyl set of the aforementioned Bowie album, The Next Day, for Columbia Records. Alex DeTurk was the cutting engineer. CoCoRosie brought their new Valgeir Sigurðsson-produced album, Tales of the Grass Widow to be mastered by Scott Hull for City Slang Records. French Montana’s new single, “Freaks” (feat. Nicki Minaj) was mastered by Tony Dawsey, and assisted by Tim Boyce. The track was produced by Rico Love.
Vlado Meller mastered Harry Connick, Jr.’s new album Smokey Mary, produced/mixed by Tracey Freeman for Columbia Records. Meller was assisted by Mark Santangelo. And Randy Merrill mastered the new Jangeun “JB” Bae record, mixed by Aaron Nevezie at The Bunker in Brooklyn for Inner Circle Music / Gimbab Records.
Some heavy hip-hop production sessions have gone down at The Brewery in Williamsburg recently: For one, producer Dot Da Genius linked up with the producer 88 Keys and Common to work on new material. Dot has also been in the studio working with Def Jam artist Logic.
Meanwhile, Dot’s partner in The Brewery, engineer/mixer Andrew Krivonos has been working with Las Vegas-based hip-hop artist Sean Rose – splitting time between Brooklyn and L.A. and “rocking the Brewery’s completely upgraded Pro Tools rig.”
Krivonos has also been engineering sessions at The Brewery with Universal’s recent hip-hop signing, Mr. MFN eXquire, with Bryan Lampe mixing; and has been tracking drums/bass/guitar and vocals for the hip-hop band Downbeat Keys’ upcoming EP, Memory Chrome – taking advantage of the re-worked acoustics in The Brewery’s new live room. And songwriter Corey Chorus and the Philly Phatboi’s were at the Brewery working with Krivonos on some records for the Columbia artist, RaVaughn.
Mastering engineer Drew Lavyne, who blogged about the loss of his Breezy Point studio in Hurricane Sandy, has been cranking on projects out of his new studio in Bay Ridge. The first two albums he mastered, in fact, were back-to-back #1 records: Kim Walker-Smith‘s album Still Believe made #1 on the iTunes Christian and Gospel Chart (and hit #4 on the iTunes Top Albums) and Jesus Culture’s album Live From New York with Martin Smith hit #1 on the iTunes Christian and Gospel Chart.
Other recent projects since Lavyne re-located his A.L.L. Digital include mastering for Exile Parade, Cari Fletcher, Arianna feat. Pitbull, Walk The Moon, Two Door Cinema Club, and Antigone Rising.
Over at GalumniumFoil in Williamsburg, producer/engineer and guitarist Jeff Berner was working on a bunch of records, including producing/engineering Naam’s second full-length LP for TeePee Records; engineering and playing on Psychic TV‘s new limited edition vinyl-only release, Silver Sundown Machine/Alien Lightning Meat Machine for Vanity Case Records; producing/mixing and playing on Heliotropes‘ debut full-length for Manimal Vinyl/Frenchkiss Records, due out in the spring; tracking basics for Dead Stars‘ new EP, live to tape; and engineering and mixing The Glorious Veins‘ new LP, Savage Beat.
All records were tracked to GaluminumFoil’s 32-channel Neotek Elan console, using their Sony/MCI JH-24 2″ tape machine – with a good majority of them mastered by Alex DeTurk at Masterdisk. (Why?, says Berner, because he’s awesome.)
Nearby at The Fort in Bushwick, producer/engineer James Bentley has been working on a few albums – most recently he’s been tracking and mixed an LP for surf-punk band, Trash Tide; wrappingup overdubs/mixing on an EP he’s producing for local “sci-fi rock band” Lord Classic, finishing mixes on an LP for pop/rock band Aquadora, and filming a session for a new video series called “Behind the Glass“.
And we know there’s so much more going on out there! If you’d like to be featured in “Session Buzz,” please submit your studio news to email@example.com.
GREATER NYC AREA: It’s been a minute since our last Session Buzz, but things have been busy all over town. Sandy, of course, had her effect on business, leaving many in lower Manhattan and Brooklyn scrambling for weeks after the power came back on, but by and large…folks are back in action. Some, better than ever.
That is, Strange Weather Recording in Williamsburg opened their brand-new facility this week. The epic build-out – chronicled in Marc Alan Goodman’s Building Strange Weather blog – finished just in time for inaugural sessions this week with garage rockers Total Slacker tracking and mixing a new full-length over seven days with producer/engineer Daniel James Schlett. Goodman also noted that Ben Greenberg (Zs, Hubble) will be in next week to mix his band the Men.
Meanwhile at Germano Studios in Manhattan…Lauryn Hill recorded basic tracks with Graham Marsh engineering, Yoko Ono Plastic Ono Band recorded vocals with Sean Lennon and Yoko Ono producing, and Kenta Yonesaka engineering, Common recorded vocals with J.Period and No I.D. producing and Jason Agel engineering…John Legend recorded and mixed new material with Dave Tozer and Kanye West producing, Jason Agel and Noah Goldstein engineering…Alicia Keys was in for writing and recording sessions with Frank Ocean, with Malay producing and Ann Mincieli engineering…and James Brown mixed the new We Are Scientists record, produced by Chris Coady.
Also writing, recording and mixing new material at Germano were…Pharrell Williams with Andrew Coleman engineering…J.Cole with Curtis “Sauce” Wilson engineering…Meek Mill with Wayne Harelwood engineering … Justin Bieber with Josh Gudwin producing and engineering, AK-69 with Rimaji Kato engineering, and Pitbull with Danny Mercer producing and Dave Rowland engineering…
Over at Flux Studios in the East Village…Fab Dupont has been busy making a record with South African pop duo The Arrows - producing, recording and mixing the album. Dupont is also mixing the new DJ Collette album.
Meanwhile, OK Go lead singer/guitarist Damian Kulash spent some time in Flux’s Revolution room, writing for the upcoming OK Go album. And Big Boi stopped by for a vocal session with producer Frans Mernick for this Decoded feature on Jay-Z’s Life and Times blog. Also at Flux…Teddy Geiger tracked drums for his upcoming album, Bebel Gilberto recorded vocals for the new UN Women anthem and Jukebox The Ghost tracked piano with producer Dan Romer for an upcoming film.
Also, coming up early next year, Flux’s Dangerous Room will be home to a vintage 1970s Neve console! Stay tuned for more on that!
In Midtown, MSR Studios hosted Edie Brickell tracking new music with producer Steve Gadd and engineer Andy Smith (assisted by Fred Sladkey). The team recorded rhythm section and vocals for an upcoming film soundtrack. And Robert Randolph has been recording, editing and mixing in all three rooms at MSR, working on various projects including the New York Knicks theme song for Madison Square Garden. Randolph produces on these sessions, working with engineer Alex Venguer.
Russ Elevado mixed Eric Krasno’s (of Soulive and Lettuce) new EP in MSR Studio C, assisted by Mike Layos. And producer/engineer Don Hunerberg worked with music director Milton DeLugg out of A to record and mix full orchestra and ensemble/lead vocals for the Macy’s Thanksgiving Day Parade.
Across town at Masterdisk…recent albums mastered include: Frank Ocean’s Channel Orange (up for “Album of the Year” Grammy) – mastered by Vlado Meller, produced by Frank Ocean, Malay, Om’mas Keith and Pharrell Williams for Def Jam; The Weeknd’s Trilogy (a three-CD set + vinyl) – mastered by Mark Santangelo, produced by The Weeknd, Doc McKinney and Illangelo, mixed by Illangelo for XO/Republic; and a Rage Against The Machine 20th Anniversary set (vinyl, CD and DVD) – mastered by Vlado Meller and executive produced by Rick Rubin for Sony Music, with lacquers cut by Mark Santangelo.
Also mastered at Masterdisk…Jay-Z Live In Brooklyn EP, mastered by Tony Dawsey and mixed by Young Guru; Rod Stewart’s Merry Christmas Baby – mastered by Meller, produced by David Foster, and mixed by Jochem van der Saag for Verve; Tom Wopat‘s new album and a Debby Boone EP – both mastered by Randy Merrill and mixed by Roy Hendrickson; and the four-LP set, Dave Matthews Band Live Trax Vol 1 – mastered by Scott Hull.
Over in the Film Center Building, at John Kilgore Sound & Recording, composer Claire Van Kampen was recording her score for an as-yet-untitled feature film directed by Christian Camargo; Drew Gasparini was tracking a new album – produced by Charlie Rosen and engineered by John Kilgore; Halle Petro recorded vocals for a new album, produced by Michael Gomez, and recorded/mixed by Kilgore; and tracking and mixing sessions were held for Annie Kozuch’s new album, with producer Frank Ponzio.
Kilgore also mixed Brian Landrus‘ new self-produced album, tracked at Sear Sound by Chris Allen, and mastered by Alan Silverman of ARF Digital; and worked on float music for the Macy’s Thanksgiving Day Parade, produced by Bill Schermerhorn and Wesley Whatley.
Speaking of Sear Sound…Andrew Wyatt (of Miike Snow) mixed his new album at Sear, with Ted Tuthill engineering, and Yoko Ono continued sessions there for her upcoming record with Chris Allen engineering, Sean Lennon, Yuka Honda and Yoko Ono producing. Spanish chanteuse Buika also tracked new music for Warner Bros/Spain with Eli Wolf producing and Tuthill engineering.
And jazz artists James Maddock, Dave Holland and Etienne Charles all worked on new music at Sear recently. Maddock recorded in Studio A with Matt Pierson producing and James Farber engineering; Charles tracked with Chris Allen engineering; and Holland mixed his new album with Farber at the controls.
Across the river at Joe Lambert Mastering in DUMBO… Lambert recently mastered the new solo album by the aforementioned Andrew Wyatt (Miike Snow) – called Descender (recently covered in Rolling Stone), as well as Youth Lagoon’s upcoming album on Fat Possum – produced by Ben Allen; Eleanor Friedberger’s latest for Merge – produced/engineered by Eric Broucek; and Beach Fossils new album for Captured Tracks – engineered by Ben Greenberg.
Additonally at JLM, Roman Vail mastered the new album by singer/songwriter and composer LiLi Roquelin, Beautiful Sun. It features Askold Buk on guitars and bass, strings by the Wandering Cellist and Christopher Marion, and was mixed by Marc Urselli.
Down the block to Saltlands…Engineer Jim Smith recently finished tracking a new EP with Warp artists My Best Fiend, recording live in the studio to tape and using Saltlands Ampeg B-15 on bass with their own vintage Music Man amps on guitars for ample vintage-rock sonics. Click for more details. And coming up this weekend, Smith will be tracking Sharon Van Etten vocals, with Jonathan Meiburg producing.
In other recent Saltland sessions…musician/comedian Reggie Watts was in Studio A recording with singer-songwriter and engineer Dawn Landes; PT Walkley and Eli Janney were in working on a new project; Producer Doveman was with the perennials, and Hannah Cohen before that; And engineer/producer Ted Young tracked with rock band Morningside Lane.
At Grand Street Recording in Williamsburg…Zach Jones recorded a Ron Sexsmith cover song for a Hurricane Sandy benefit (download/donate here); Chris Kuffner (Regina Spektor), Elliot Jacobson (Ingrid Michaelson) and Lelia Broussard (The Voice) tracked for an upcoming project with Broussard and Kuffner – engineered by Ken Rich; and Amy Lennard completed her latest album with Andy Stack on guitars, Tony Tino (Gavin DeGraw) on bass, Dan Vonneget on drums, Keith Cotton (Joan Osborne) on keys, Jerry Marotta (Peter Gabriel) on drums and percussion, and John Graboff (Willie Nelson) on pedal steel. Rich recorded and mixed Lennard’s album, which was mastered at Sterling Sound by Greg Calbi and is due out in early Spring.
Also at Grand Street…Adam Levy worked on his new record with producer Aaron Lee Tasjen and Tomek Miernowski engineering; and Michelle Citrin recorded and filmed a music video for a Hanukkah song. (pictured) Players include Dan Rieser on drums, Chris Morissey on bass, Itaal Shur on keys, Debra Kreisberg on sax, Tomek Miernowski on guitar, and Jared Saltiel on vibraphone. The song was tracked, filmed, mixed and mastered all in one day by Ken Rich.
At Blackler Mastering in Bushwick…Kevin Blacker mastered a couple notable jazz records for High Note, including a duet album with bassist Harvie S. and pianist Kenny Barron, and an upcoming album for Miles Davis’ protege Wallace Roney. Blackler also mastered an Afro-Cuban / electronic album for artist Chico Mann (aka Marcos Garcis of Antibalas) for SoundWay Records out of London; and an album by Kendra Morris for Wax Poetics, which hit #2 on the iTunes R&B charts. He also mastered a Kendra Morris B-side featuring a Pink Floyd cover which is to-be the title track of an upcoming film, starring Collin Farrell.
Out at The Barber Shop Studios in Lake Hopatcong, NJ….Dream Theater’s Mike Mangini recorded for Hudson Music’s Drum Guru App – with Zak Rizvi engineering; Oh No Fiasco! worked on their upcoming record with producer Kato Khanwala and engineer John D’Uva. And Khanwala and D’Uva also worked with The Pretty Reckless whose new single, “Kill Me” was also mixed at the Barber Shop – check it out here. Prroducer/engineer Kevin Kumetz has been in the studio with up-and-coming artist Lacey Caroline – their collaboration recently produced her first single, “Can You Feel It”.
And we’ll leave you with Paul McCartney recording a Christmas classic at Avatar Studios…
And we know there’s so much more going on out there! If you’d like to be featured in “Session Buzz,” please submit your studio news to firstname.lastname@example.org.
GREATER NYC AREA: For recording studios, this past summer had its typical ups and downs. But heading into Fall, bands like The Killers, The Vaccines and OneRepublic as well as artists like Tony Bennett, Kurt Vile, Sean Lennon, Rufus Wainright and more had been in NYC-area studios cranking on new and upcoming releases.
Starting in Murray Hill, Electracraft Music Works @ The Fireplace Penthouse hosted sessions with Mark Foster, of Foster The People, recording vocals for “Polartropic” – a soundtrack song for Tim Burton’s new film, Frankenweenie. Warren Babson engineered the session.
Also at Electracraft…Jack Antonoff and Andrew Dost of the band FUN were in to work on some new material, with Matt Morales engineering…Melanie Fiona came through to record some live acoustic tracks for Cricket Mobile, with Sam Katz engineering…hip-hop artist Outasight recorded with producers The Elev3n and Morales engineering, and Liz Gillies (of Nickelodeon’s Victorious) recorded some new music with Babson engineering.
Downtown, The Killers recorded and mixed their new album Battle Born over the summer at Germano Studios – with Alan Moulder mixing (various producers). OneRepublic has also been recording their latest at Germano – tracking guitars, keyboards and mandolin with singer/producer Ryan Tedder producing and engineering
And in other Germano sessions… The Goo Goo Dolls were in writing and recording new materials with John Shanks producing and Dan Chase engineering… Chris Shaw mixed an Ozzy Osbourne live DVD release, with Bruce Dickinson producing…Robin Thicke recorded vocals with Paul Falcone engineering, as did Mary J. Blige (also with Falcone)… Singer Jessica Sanchez (American Idol) recorded vocals and programming with Harvey Mason, Jr. producing and Andrew Hey engineering…and tracking sessions for a new John Legend album (recording guitars, vocals, piano, harp, keyboards in Studio 1 & Studio 2) with Dave Tozer producing and Jason Agel engineering.
The Killers went from recording and mixing at Germano, to The Lodge Mastering where Emily Lazar and Joe LaPorta mastered Battle Born. The Lodge’s mastering engineers Lazar, LaPorta and mastering engineer Heba Kadry have also recently mastered records by Dum Dum Girls, Imagine Dragons, Negramaro, Jeff Wayne’s The War Of The Worlds, James Iha, The Sea and Cake, …And You Will Know Us By The Trail of Dead and Sarah Blasko.
Also at MSR…Jazz artist/bassist Christian McBride has been mixing two upcoming albums – with Joe Ferla on the Euphonix System 5 in MSR’s Studio B, assisted by Brett Mayer…the cast album for Broadway’s Bring It On was tracked in Studio A by engineer Derik Lee and composer Alex Lacamoire for Sh-K-Boom! Records, and then mixed by engineer Tim Latham…and Derik Lee also recorded some cues for the film Greetings from Tim Buckley.
Sean Lennon brought his Ghost of the Sabre Tooth Tiger project to Sear Sound last month. Tom Schick mixed the album – for Lennon’s label, Chimera Records – on Sear’s Neve 8038 to ½” 2-track on the ATR-102 machine.
Also at Sear Sound…Rufus Wainwright tracked new material on Sear’s Steinway “C” grand piano for Verve Records, with Sear’s Chris Allen engineering…jazz bassist Dave Holland and his ensemble tracked a new album with James Farber engineering…Ron Saint Germain produced and engineered a new recording by classical pianist Tania Stavreva on the Steinway “D” concert grand…and vocalist Keiko Lee tracked via the custom Avalon/Sear console in Studio C with Jay Newland engineering and producing for Sony/Japan.
Tony Bennett was back at Avatar Studios – this time to work on his Latin duets project, in Studio A. Bennett recorded vocals with Juan Luis Guerra, Romeo Santos and Ana Carolina. His son Dae Bennett engineered and produced the sessions, assisted by Aki Nishimura and Charlie Kramsky.
In other recent Avatar sessions…The Young Presidents tracked with producer /engineer Rob Fraboni, assisted by Bob Mallory and Tyler Hartman…Jennifer Hudson recorded for NBC’s Smash with producers Marc Shaiman and Harvey Mason, Jr., and engineer Andrew Hey…Bobby McFerrin recorded with producers Linda and Gil Goldstein assisted by Charlie Kramsky…and Esperanza Spalding was videotaped for ASPiRE TV with producer Nicole Bentley assisted by Aki Nishimura.
And all the way downtown at Engine Room Audio, 50 Cent was in the studio working with mastering engineer Mark B. Christensen to master his latest single, “New Day.” The track – released on iTunes on July 31 – features Dr. Dre and Alicia Keys, and was mixed by Eminem.
Christensen also recently mastered NYC alt-rock band Weep‘s new album, Alate, and the new Trey Songz album, Chapter V, which came out in August and hit #1 on the Billboard 200 chart in its first week.
Meanwhile In Brooklyn…
Yuka Honda (Cibo Matto, Yoko Ono) booked time at Joe McGinty’s Greenpoint synth studio, Carousel Recording, to record keyboard overdubs for Martha Wainwright’s new album, Come Home To Mama, which she is producing. Keyboardist Jared Samuel recorded on Carousel’s Moog Modular, Rhodes, Yamaha Organ and Hammond during these sessions.
DJ/producer Kid Koala collaborated with composer/producer/engineer Joel Hamburger on music for a new animated series and puppet show – both developed by Jhonen Vasquez – at Hamburger’s Park Slope studio, GödelString. For the animated series, Kid Koala (aka Eric San) and Hamburger worked off of a theme composed by Vasquez, and for the puppet show score, improvised recording sessions with James McNew and Amy Posner of Dump on guitar and keyboard.
“For me, the thrill was in working as fast as possible to set up and capture the moment and then being able to enjoy the magic of having these sketches being transformed into fairly complete pieces and soundscapes,” said Hamburger. “I also got to break out some of the great vintage keyboards we have at the studio.”
At the new Degraw Studios in Gowanus, rock band The Skins recorded and mixed an upcoming release with producer/engineer Ben Rice. Rice also mixed a new EP for Elliot & The Ghost – produced by Jared Dodd, and recorded/mixed new material for indie-rock band Chainwave.
Out of his Glassfactory studio in DUMBO, mixer/engineer Alex Aldi co-produced and mixed a Passion Pit song for the upcoming Twilight movie, Breaking Dawn – Part 2. Aldi also worked on the radio mix of The Hundred In The Hands’ “Come With Me” off their new album on Warp Records.
And back in Williamsburg, hip-hop artist K.Flay spent two weeks at The Bunker, writing and recording tracks for her upcoming RCA record – with Justyn Pilbrow producing, and Chris Mullings engineering. Singer/songwriter and pianist Johanna Cranitch also brought her band project Johanna and the Dusty Floor to The Bunker to track and mix a full-length album – with Chris Berry on drums, Rob Gentry and synths/programming, and Aaron Nevezie producing and engineering.
And in other Bunker sessions… Nevezie engineered a “monster tracking session” for a 30-minute piece called “Drummer’s Corpse”, led by drummer/bandleader Mike Pride and featuring seven drummers and multiple other musicians and vocalists…and 11-piece Afro-beat band Zongo Junction tracked their new full-length album live to the Bunker’s 24-track Studer machine over two days with Nevezie engineering.
Meanwhile, engineer/producer Matt Boynton has been busy at his Williamsburg studio, Vacation Island. Over the summer, Boynton mixed a track for Rainbow Arabia, a project that continues there this month, and finished the new Vietnam‘ record – coming out early next year on Mexican Summer. Free Blood and Wild Yaks also mixed their latest with Boynton. Fred Nicolaus of Department of Eagles mixed his solo release with Boynton as well.
On the recording front, Boynton recently tracked and mixed two new songs for Hospitality and recorded (with Rob Laasko) a new song for Kurt Vile. Most recently, Boynton tracked a new song for UK artist Amy Studt, and The Vaccines came through while in Williamsburg between shows to track and mix a new song.
Also in Williamsburg, Grand Street Recording (<– new website) recently hosted the 8-piece indie-pop band, Sky Pony – led by Kyle Jarrow – to record and mix their new EP with engineer/producer Ken Rich.
Also at Grand Street, acoustic punk band The Narrowbacks recorded a full-length record with Tomek Miernowski…Noe Venable has been constructing an acoustic album “filled with unexpected sounds and compelling arrangements” – recorded by Ken Rich, and featuring Mathias Kunzli and Todd Sickafoose…
I’m In You finished mixing and mastering their third full-length release with Rich…and TV On The Radio‘s Kyp Malone stopped by to record vocals with Emily Long & Velta on their latest record, with Miernowski engineering and mixing.
Grand Street also recently added a pair of Mohog MoFET76 limiting amplifiers and an AKG D30 to its ever-growing collection of vintage microphones. In drum-land, the studio added a 1959 Ludwig WFL Badge 6 ½” x 14″ Snare that still has the original Ludwig calf-skin resonant head – serviced by John Fell over at Main Drag Music.
GREATER NYC AREA: This month’s buzz finds a typically colorful spread of artists recording, mixing and mastering new works around town. The Beach Boys and Animal Collective, Empire of the Sun and Tiësto, Kurt Elling, Beirut, 50 Cent and Amanda Palmer – just to mention a few – have all been working on new releases in NYC-area studios. Which producers and engineers have been tracking, mixing and mastering these projects? And where? Read on…
First up, Grammy-winning jazz singer and songwriter Kurt Elling tracked his latest album for Concord Music Group at Sear Sound on the custom Avalon/Sear 60-input console in Studio C. Producer and Concord senior director A&R Chris Dunn produced with engineer Chris Allen at the controls. Elling’s band on the album includes Kendrick Scott on drums, Lawrence Hobgood on piano, John McLean on guitar and Clark Sommers on bass.
Chris Dunn also recently produced a “Concord Jazz All-Stars” album at Sear featuring Christian Scott on trumpet, Ben Williams on bass, Jamire Williams on drums, Matt Stevens on guitar, Gerald Clayton and Kris Bowers on piano, Logan Richardson and Walter Smith III on saxes – with Ted Tuthill engineering.
Also at Sear…electronic music duo Empire of the Sun tracked for their upcoming album in Studios A and C with Nicholas Littlemore producing and Tuthill engineering – Sear’s original Bob Moog / Walter Sear Moog modular synthesizer (Moog #2) was programmed and recorded for the album… Composer Bill Ryan recorded new music with a large percussion section and a string/woodwind ensemble, and Silas Brown engineering…and soulful singer/songwriter Amos Lee tracked vocals for the Zac Brown Band, with Allen at the controls.
Italian rap group Club Dogo (Universal Music Group) have been mixing and mastering their upcoming album at Engine Room Audio in lower Manhattan. The group’s DJ/beatmaker Don Joe and engineer Andrea “db” Debernardi flew in to work with head engineer Mark B. Christensen. Their latest single ‘Cattivi Esempi’ has reached #2 on the Italian music charts. The single, along with the rest of the album was mixed and mastered at Engine Room.
Also at Engine Room…Christensen mastered 50 Cent’s latest “Gangsta Grillz” mixtape – assisted by Benoit Holliger and Gabe MG, and Trey Songz’s new single “Heart Attack” – produced by Benny Blanco and Rico Love. The track is the first single off his upcoming album Chapter V, and the first track that has been ‘Mastered for iTunes.’ Christensen also mastered the new dance track by Jersey Shore’s Pauly D for G-Note Records.
Brooklyn rock band VietNam has been finishing up a new record with Matt Boynton at his Vacation Island Recording in Williamsburg. Boynton is mixing the album for the Brooklyn vinyl label Mexican Summer. Beirut has also been back at Vacation Island – where they mixed their ’11 album The Rip Tide – to mix their new EP with Boynton.
The Beach Boys stopped into Avatar Studios during their 50th Anniversary Tour for a vocal recording session in Studio C with producer Joe Thomas (Brian Wilson’s Imagination), and engineer Mike Czaszwicz, assisted by Tim Marchiafava.
Also at Avatar…Composer Teddy Shapiro’s film score for Great Hope Springs – directed by David Frankel and starring Meryl Streep and Steve Carell – was recorded in Studio A. Shapiro produced, and Chris Fogel engineered the tracking sessions. And source music for the film Killing Them Softly was performed and produced by Wynton Marsalis, and recorded by Jeff “Jedi Master” Jones. Bonnie Raitt recorded a live performance for World Cafe… The Young Presidents tracked new material with producer/engineer Rob Fraboni, assisted by Bob Mallory… Jimmy Fallon and the Roots recorded a comedy album, Blow Your Pants Off, with Lawrence Manchester engineering…Jon Hamm recorded a voiceover for the NFL Network…And Kurt Elling recorded a big band production of the Sinatra classic “The Best Is Yet To Come” for the Breeders Cup, with Steve McCabe and Neil Jason producing, and Roy Hendrickson engineering.
Next, the new Animal Collective album is finished – Joe Lambert just mastered it at his studio in DUMBO. Due out on Domino Records, Centipede Hz was recorded at Sonic Ranch in Tornillo, TX, and co-produced by Ben H. Allen, who co-produced, engineered and mixed Merriweather Post Pavilion. Allen mixed the record at Maze Studios in Atlanta, GA.
Meanwhile, The Lodge‘s Emily Lazar, Joe LaPorta, Sarah Register and Heba Kadry have been busy mastering a host of new records, including Alanis Morissette‘s brand new album Havoc and Bright Lights – produced by Guy Sigsworth and Joe Chiccarelli and mixed by Chiccarelli – Neon Trees’ Picture Show, Santana’s new album Shape Shifter, Jimmy Cliff’s new album Re.Birth, produced by Rancid’s Tim Armstrong, Shiny Toy Guns’ new album, mixed by Tony Maserati, and The Mars Volta’s album, Noctourniquet – produced by Mars Volta guitarist Omar Rodriguez-Lopez and mixed by Lars Stalfors
Other projects recently mastered at The Lodge include…Oneida drummer Kid Millions’ new album as Man Forever; Australian pop star Guy Sebastian‘s new single “Gold”, mixed by Manny Marroquin; Mexican rock band Fobia‘s new album on Sony Music Mexico, mixed by Jason Carmer; Tiësto’s remix of Kanye West’s “Lost In This World” off My Beautiful Dark Twisted Fantasy; and the new album by Lotus Plaza – the solo project of Deerhunter’s Lockett Pundt – which was mixed by Chris Koltay.
Also at Germano… Paul Falcone has been engineering sessions on some new material by M.I.A., with Missy Elliott and Danja producing…Mike Fraser mixed a Nickelback live album with songwriter/producer Gordini producing…Ryan West mixed Slaughterhouse… Kid Cudi recorded guitars and vocals with Dot da Genius producing, and Bill Sullivan engineering…Alicia Keys was in working with Mark Ronson, with Ann Mincieli engineering… Steve Perry was in to record vocals and keyboards with engineer Dave Rowland… TV boy band Big Time Rush were in writing and recording with producers Claude Kelly and Sandy Vee…and Isa “Machine” Summers (of Florence and the Machine) was working on a remix, with Pete Hanson engineering.
Brit rockers Bloc Party recorded their new album, Four, at Stratosphere Sound with Brooklyn-based producer/engineer Alex Newport, assisted by Atsuo Matsumoto. Check out the album trailer (featuring session footage) below. Also at Stratosphere…spoken word artist and singer/songwriter The Floacist and Raheem DeVaughn recorded with producer Nolan Weekes and engineer Arjun Agerwala…and Louis CK returned to track music for the new season of his F/X show Louie, with engineer Adam Tilzer.
Dance-pop duo Chromeo have been tracking vocals for their new album via the AKG C12 at Flux Studios in the East Village. Lawson White has been engineering the sessions in Flux’s Dangerous Room, with Dan Cherouny assisting.
Also at Flux…Mack Avenue jazz band The Hot Club of Detroit spent several days tracking live in the Dangerous Room and then moved operations into the Fabulous Room to mix their upcoming record – with engineers Todd Whitelock and Damon Whittemore…Whitelock and Whittemore also engineered new recordings by Tia Fuller, with Dianne Reeves…Fab Dupont mixed the new album by Nigerian-American rapper ElDee, and has been producing the upcoming record by French jazz singer Cyrille Aimee. Aimee and band have been at Flux for rehearsal and pre-production, and will track the full band recording in Dangerous, and then mix with Fab in the Fabulous Room.
You’ve probably heard about Amanda Palmer‘s amazing million-dollar-Kickstarter campaign? Well, the artist brought her fan-funded “Amanda Palmer and the Grand Theft Orchestra” two-LP set to Masterdisk to be cut on vinyl. Scott Hull cut the reference discs (pictured).
Also at Masterdisk…Hull mastered the 35mm Cast Recording – produced by Dean Sharenow and Ryan Scott Oliver for Sh-K-Boom Records; Tony Dawsey mastered the new Corey Jon album, Galactic Soul, which was recorded and mixed by Steve Dickey at Daddy’s House Recording; Vlado Meller mastered Kerrie Roberts’ new album Time For The Show (also mastered for iTunes); Andy VanDette mastered Mother Mother’s latest – produced by Ryan Guldemond and Ben Kaplan for Last Gang Records; Randy Merrill mastered the new Allison Weiss album Say What You Mean, which was produced by Chris Kuffner and mixed by Ross Petersen; and Matthew Agoglia remastered Craig Wedren’s album Baby plus some demo tracks.
Singer/songwriter Sean Wood has been working on an LP with producer/engineer Mario McNulty. The session has had them working at Studio G and Magic Shop in Brooklyn and Incognito Studios in lower Manhattan where McNulty is mixing the record.
Bell Biv Devoe were in NYC working on new material at Area 51 with producer Bink Dawg and engineer Alberto Vaccarino. Also at Area 51…Ice T & CoCo were in with DJ Dehasse working on a project for Reach Global Music in sessions engineered by Michelle Figueroa…RCA Records teen sensation Jacob Latimore has been working on his upcoming LP with producers Joe Boom and CJ. And Universal Records artist Paypa has been finishing work on his upcoming album release with Figueroa.
Also notable: Area 51 recently upgraded its North Room to Pro Tools 10HD, and added a mastering room – run by engineers Roey Shamir and Rob Murray.
Also at Grand Street…Christian Gibbs’ (of Lucinda Black Bear) new band Motherwell Johnston recorded basics for their debut album with Ken Rich engineering and Jake Lummus assisting…Trumpet player Shareef Clayton (Stevie Wonder, The Roots, Wynton Marsalis) recorded basics for his upcoming album with Rich engineering and Bobby Mosier assisting…Rich is mixing the full-length debut by Sara Syms, which was recorded at Dreamland and features Andy Stack on electric guitar, Nick Africano on acoustic guitar, Brett Bass on bass, Spencer Cohen on drums, and Misty Boyce on keys…Williamsburg rockers, Velta completed a video for the song “Cheat On Me” which was recorded and mixed by Tomek Miernowski.
Also at Excello, Jamie Block recorded with producer/drummer Dean Sharenow and engineer Hugh Pool; Brooklyn garage-rock duo Twin Guns tracked an album with producer Lase Salgado, and Pool recording to 2” tape; jazz guitarist Joel Harrison has been recording with engineer/mixer Oliver Palomares, rock band Pale Moon Gang was in to track on 2” tape with guitarist Richard Dev Green producing and Pool engineering; and singer/songwriter Lorraine Leckie has been working on an album based on the prose of art-critic Anthony Haden-Guest, with George Jackson producing, and DeChants engineering.
Also at Rough Magic, Kyp Malone’s new Rain Machine LP is still under way…Rough Magic chief engineer Alby Cohen has been tracking the LP; Kieran Hebden aka Four Tet has been mixing up a storm between Neneh Cherry’s ”Dream Baby Dream” and “Nova”, his new collaboration with London dubstep artist Burial; and Jest.com shot and recorded their “50 Shades of Grey read by Gilbert Gottfried” spot.
Our first interview in the Power Sessions series featured Chris Lord-Alge in a conversation with NYC artist/engineer Erica Glyn. With Glyn asking the questions, we captured a wealth of inspiring and instructive information for mixers and music professionals of every stripe.
But perhaps as illuminating was the creative collaboration that happened behind the scenes between CLA and his interviewer.
Impressed by Glyn’s 2011 album Static, Lord-Alge proposed he have a go at remixing a track or two – resulting in an ongoing dialog about music and audio and mixing styles that began at AES where the two met, and continued through the “Power Sessions” interview at Avatar to the completion of some new mixes for Glyn’s songs.
Here, we turn the tables, and CLA interviews Glyn – depicting the full-circle evolution of their connection and process…followed by the debut of Glyn’s music video for “Beautiful” featuring CLA’s mix. Enjoy!
CLA: So Erica, everyone’s heard all about me with our interviews. Let’s turn the tables - now it’s my turn to grill you. How did you get involved in music?
EG: I’ve always been very drawn to and curious about music; singing, songwriting, record making. So I just started poking my head around places and hanging out with people who were doing these things – trying to learn as much as I could.
My first step into the record business was an internship out in LA at Cherokee Studios. It was also the first time I experienced debilitating sexism and put the recording world on hold for a couple of years… I was a bit turned off from it. Then when I moved to NYC, I had a couple more experiences like that until I ended up assisting Bob Power.
You are a triple threat: singer/songwriter, producer AND audio engineer. How in the world do you balance wearing all those hats?
It’s actually very natural – I can’t imagine doing one without the other two. I enjoy the process of creating sound and knowing how to engineer allows me more options in developing my music. When I’m producing, if I have something in mind that I can’t quite perform myself, I can fake it enough until I find someone who can do it “for real.”
Writing my first microphone review in December helped me to realize that my knowledge of audio engineering has been essential for me as a singer/songwriter.
That microphone review was my first introduction to you. I read it and was impressed, which is actually why I sought you out. What did you think when I approached you?
I thought, wow, I must actually know a little bit about this music stuff…
I asked you if I could remix a song or two off of your record STATIC and you were reluctant. Not to sound cocky, but I was quite surprised at your lack of enthusiasm at my offer.
Ha – yes, I was reluctant. I had written, recorded, produced and mixed the record myself and was happy with the end result. I didn’t think it needed another pass at it. Also, I was familiar with your Top 40 hits and I didn’t think your style necessarily fit with mine.
I persisted but you were still reluctant.
Yes, well, I already had had a couple of people take a crack at it before which was what led me to realize that mixing it myself was something I needed to do. I had such a clear vision of how it should sound and had spent a lot of time with the music and didn’t think it needed anything else. Plus, I was busy working on other projects, was protective of my music and just wanted to push forward and move on. I was happy with STATIC.
But I don’t take no very easily and I really believed in your music. I felt if you just gave me the opportunity to remix one song and prove myself that I could make it better than it already was. And yes, it was pretty darn good to start with.
Well, knowing that you have mixed a couple of tunes in your time… I decided “what the hey?” I was curious to see what choices you would make, how the mixes would differ. Would the essence of my intention remain while sonically becoming more interesting and exciting? Yes, I was worn down and convinced. What could it hurt to send you the files?
I listened to the entire STATIC album and out of all of the songs I felt like “Beautiful” grabbed me the most. We had a little back and forth with different edits and choices I made. What was your initial reaction?
I have to say I was really surprised. The song “Beautiful” has particular weight and significance to me, so it was a particularly sensitive choice. The essence of my intention for the song WAS intact but there was something more exciting about your remix.
At that point, the edited intro and end refrain didn’t matter to me because the heart was still there and that’s what mattered most. And my vocals sounded amazing! They were more present, vibrant and alluring.
Watch the new “Beautiful” music video, featuring CLA mix (video by Laia Cabrera):
Which led me to ask for more songs.
Yeah, that was really cool. It turned into a fun and interesting exchange. You asked for the files for “All I Wanna Do” which was sort of an obvious choice as it’s a 3-minute song with a strong hook, but then I came back at you with “The Animal”. I was testing you a little with its fluid start and instrumental ending. It’s a song I really like and was curious to hear how it would sound CLA’ed. Plus, I had some challenges mixing it as there are a lot of instruments sitting in the same frequency range – I was having a difficult time getting them all heard.
Throughout the process, I learned a tremendous amount about the hierarchy of instrumentation, about carving out niches and balance. Once I recovered from my initial hesitation, it was exciting to see someone of your aesthetic sink into my music – which is maybe a little left of center from where you sit – and hand it back to me with the left of center still intact.
Who are your musical influences?
Oh it’s so hard, cuz there’s so much I like, but if I had to name names…. I’d say Clinic, Can, Tortoise, The Mamas and the Papas, Liz Phair, Bjork, Portishead, Air, The Kinks, The Troggs, Pink Floyd… oh the list goes on and on…
So what’s next for Erica Glyn?
Currently I am teaching, engineering, and producing, composing and performing with the multimedia installation/performance project Shifting Gaze. I look forward to performing STATIC in the near future as well as getting started on the next record. What I find most exhilarating is never quite knowing what’s next.
The band wields energizing rock grooves, inventive guitar work, arresting rhythms, and an intelligent edge with their distinctive brand of rock. See this show tonight! This show is unequivocally recommended.
The Commuters are releasing their debut album, Rescue, today, April 17th via Communal Records. The album was recorded here in NYC at guitarist Uri Djemal’s Madpan Studios, and was mastered at Fred Kevorkian’s suite in Avatar.
Here’s some more info on The Commuters and their new record, straight from the band:
“As their name suggests, The Commuters have traveled through a lifetime of musical influences, but it’s their own personal global journeys that have guided the foursome to something universally intimate.
“Before forming the band in 2010, Canadian-born but Philippines-raised front man, Zeeshan Zaidi, spent numerous years working in the Music Industry. Producing and engineering Grammy-nominated artist Ryan Leslie’s first demo, as well as working in the marketing department of major labels on the likes of OutKast and Cee Lo Green, Zaidi was just getting started.
“When the time arrived to put his own abilities as a songwriter and performer front and center, he immediately contacted Philippines childhood friend and NYC producer, Uri Djemal. The two got to work co-producing the album at Djemal’s Madpan Studios in Manhattan.
‘Uri’s studio was a few blocks from my apartment and he was telling me for years to come work on my songs there. One day – when I knew it was time – I just walked over with a dozen demos and we started,’ explains Zaidi.
With Zaidi and Djemal on guitar, French-raised Ben Zwerin (bass) and Italian-American Paul Amorese (drums) joined the two to complete the current lineup.
Signed to Zaidi’s New York based label, Communal Records, The Commuters have already seen great success having their video for hit single “As I Make My Way” added to mtvU’s rotation, as well as receiving extensive airplay on many major college radio stations, such as KCSS, WLJS, WONY, WAKE, and WRDP, among others. The band has established themselves at notable hometown venues such as Arlene’s Grocery, Lit Lounge, Spike Hill, with this release only leaving room for more. Lead single “As I Make My Way”, has it all: an unforgettable hook, roomy guitars and a grounded rhythm section that anchors the track’s precise tension. The whole album is tied together by Zaidi’s poignant lyrics, focusing on transparently human experiences and emotions.
While every band aims to last, The Commuters’ unique combination of its members’ personal histories and creative backgrounds leading up to this moment foreshadows a longer and brighter future than most. ‘Our hope and our goal is to be around for as long as possible,’ says Zaidi. ‘We want to build this over time – the first album is just the start.’”
WHAT: THE COMMUTERS CD RELEASE SHOW!
WHERE: FONTANA’S | 105 ELDRIDGE STREET | NEW YORK, NY
WHEN: APRIL 17TH | 8PM
Hear their first single, “As I Make My Way”.
“I had to do things I don’t normally do,” Lord-Alge describes, “Push things over the edge and then kick them down the hill…which means when you think you’ve gone far enough, you haven’t gone far enough at all. And then make it more about the vocal.”
In the segment below, hear how CLA dealt with the pressure to raise the bar on this project and help evolve the Daughtry sound from his previous albums.
Then get some advice on how to break through as a mixer, hear about the making of his namesake plug-ins, and find out what’s up next for CLA. Also, learn who makes the cut in CLA’s dream band/super group, and what is his desert island studio tool!
WILLIAMSBURG, BROOKLYN: Joel Hamilton has some priceless advice for any studio owner contemplating a move to a larger space.
Actually, the co-proprietor of Studio G can break the action items for this complex operation into two simple steps: “First you cry,” Hamilton explains, “then pull the plug on the bottom of your bank account, and watch it drain all over town!”
Still interested in expanding? Well, obviously, there’s a lot more to it than that, and when pressed for details Hamilton – one of the planet’s most excitable talkers when the topic is recording – is more than happy to share. Alongside of Studio G co-founder Tony Maimone, Hamilton has been overseeing his facility’s ongoing transition from the one-room shop where it was born in 1993 to a 5,000 sq. ft. recording complex operating clear on the other side of Williamsburg – an often painful process, but one that’s been a long time coming.
“We’ve been pulling back the slingshot for the last 10 years!” Hamilton laughs. “A one-room facility with two engineers has a limited lifespan. You just step on each other’s toes too much of the time. The only way to grow from there is to make another studio with two rooms.”
And what a pair of rooms they are, each adding their own wrinkle to the plethora of options available to artists recording and mixing in NYC. Starting in Studio A, Hamilton goes to work on the faders of a 48 in/96 out [at mix] x 24 x 4x 2 SSL 8048 G+ (“like an SSL 4000 with SSL 9000 routing, including the 4 stereo ‘A-B-C-D’ busses”) , while visually monitoring the spacious 560 sq. ft. live room via an expansive floor-to-ceiling window that puts most other control room/live room portals to shame.
Meanwhile in Studio B, which is in its final stages of construction, the guys are flying the beloved Neve 5316 (40 x 8 x 2) from Studio G’s classic location (which continues to remain open for business for the time being). The compact Neve is connected to a slightly smaller live room that measures 525 sq ft, endowed with three big iso booths to Studio A’s two.
Locating the Ideal Studio Space in Brooklyn
Hamilton and Maimone found the new Studio G space, a former Brooklyn Industries/Triple 5 Soul warehouse that lives on a quietly humming industrial block just off of McCarren Park, after an exhaustive search of available Brooklyn real estate.
“Finding a 2500-5000 sq. ft. space that’s zoned commercial is really difficult, because it’s what everyone else also wants,” Hamilton points out. “Once we made the site selection, the actual space dictated the build. We had originally thought we would build modest rooms – just replicate the first Studio G with side-by-side studios and a hallway slit down the middle – but instead we threw away the spreadsheets of our original plan and did this: leaping into the early ‘90’s with a Neve in one room and an SSL in the other.”
They had their new studio space in hand in May 2011, when the pair sculpted their plans from the best practices their careers had exposed them to. For Hamilton, that comprises a globetrotting portfolio that includes co-producing Blakroc with the Black Keys, Pretty Lights, Matisyahu, Elvis Costello, Sparklehorse, Tom Waits, Dub Trio, Talib Kweli, Soulive, Lettuce, and countless other indie/major label artists. Maimone’s notable travels began as the bassist for Pere Ubu, then evolved into producing/engineering for the likes of Ani DiFranco, Destronauts, Peg Simone, and his own supergroup collaboration Book of Knots (of which Hamilton is also a member), to name just a few.
“Going back to Pere Ubu, Tony knew the places he loved making records,” says Hamilton. “And I knew the places that I thought worked the best. So this place is an amalgamation of a pretty large pool of experiences between Tony and me, rather than being designed by an architect who had his own ideas about how the space should be.”
In the large Studio A control room, warm woods and carefully culled fabrics surround the SSL 8048 G+, a pristine console which previously enjoyed a privileged existence at NFL Films in Mount Laurel, NJ. Averse to summing boxes (“its kind of the MP3 of consoles”), both Maimone and Hamilton were thrilled to finally locate an affordable, commercial grade mid-size board from the relatively rare SSL 8000 G+ series. Mix in the fact that this 8048 G+ had been rigorously maintained on a broadcast TV schedule, and pouncing on the console was a no-brainer for the Studio G team.
What may be less clear is why Hamilton – hailed far and wide as an indie recordist’s recordist – would opt for an SSL, and all of its platinum associations. So allow him to explain his decision.
“Having a dogma attached to a piece of gear is bullshit,” Hamiltion states. “I own a Neve! I don’t see them (SSL and Neve) as mutually exclusive. That’s a flawed premise. This SSL answers a lot of questions when you mix, just like the Neve answers a lot of questions when you have Marshall amps in the live room and the band is ready to rock.
“I find the SSL to be incredibly flexible, very natural, and we have a lot of color that we can add from the outboard gear in the racks. Michael Brauer really felt that his SSL 9000 was the first time that he could have this channel sound like a Distressor, this one sound like a Tri-Tronics, and then have the next channel sound like a different compressor. This board sounds like nothing until you put a thing on it. It’s up to you. There’s nothing automatic-sounding for every channel. So if you have a vision of how you want things to sound, this is a great tool. It’s worth mentioning that we still keep a ton of Neve channels and cool vintage pre’s in the rack behind the SSL.
“Feeling like a Neve console, or tape, helps to make things turn out great is valid, but in this case, with the SSL, you’re steering it – we have the luxury of patching in a channel that people may find colorless or not. We could do an Erykah Badu record one day, AC/DC the next, and a purist jazz recording right after that. That flexibility, to me, is part of the new breed of thinking that this generation of engineer has, rather than staying tied to a way of thinking about a particular piece of equipment.”
When it comes to those sound-shaping tools, Hamilton and Maimone made the seemingly counter-intuitive decision to begin migrating the outboard gear to the new G that they tended to use the least at the old location. “(The classic) Studio G will keep rocking until the B room is completely done,” says Hamilton. “We started here with the equipment that we didn’t want to pay to put in a storage space – it’s literally the least of what we have, and it’s all the weird stuff. This DaviSound two-channel optical compressor is a great example: It’s like a freakish LA-3A that I love, with meters that just flop around and mean nothing, but the line amps add a great color right when you patch it up.”
Live from Studio A
All the better to focus on getting the sounds right on input from the studio A live room, a sizable 25’ x 28’ main live space — complete with a 1908 Bosendorfer grand piano and two iso booths — that provides a transporting experience upon entry.
“I wanted a big, very live space with lots of cubic volume and a linoleum drum room, like in Avatar’s Studio A and C, which I love,” Hamilton says. “The main space is really balanced, for the same reason that theaters and churches work so well acoustically without any trademark diffusors. The angle between the top of the iso booths and the ceiling makes that whole area a trap, and that grabs a lot of the low mids. Tracking strings has been amazing in this room.”
One of the best expressions of the Studio G artist-centric philosophy lies neither in A’s live room or the control room, however, but in that aforementioned 8 ft. x 8 ft. span of glass in between them. “There’s something about floor-to-ceiling glass that doesn’t feel disconnected – it feels like something you could walk through, instead of dividing us,” observes Hamilton. “There’s a connection between the two rooms, energy-wise, but with acoustic isolation. I’m a fan of the people I record, and with this design I can be more supportive in that role.
“You can actually be there for the people on the other side of the glass in a very literal way,” he continues. “Your presence is clear – you’re not checking email when they’re tracking. Instead, this is part of giving the artist the sense that what they’re doing matters. It’s the foundation of what we do. How can it not be? My experience of being on the other side of the glass, and Tony’s too, guides everything. The whole thing is to serve the musician.”
Being Studio B
Meanwhile, the facility’s Studio B is fast approaching completion, and should provide the perfect counterpoint to the SSL-based 21st Century Temple of Sound. “Studio A is more like a studio, while B feels more like a repurposed French farm house living room that just happens to be on floated floors,” he says. “The control room is a little smaller than in A, but the Neve is smaller than the SSL, so it fits the room in the same way. B also has the three iso spaces, plus an airlock, so you can have up to four things happening at the same time with complete isolation.”
Complementing the Studio G options is the presence of bassist/engineer Jeff Hill’s (Brazilian Girls, Rufus Wainwright) private production suite, a space that feels amazingly lived-in for the short time that it’s been in operation. “Jeff’s room has its own personality,” says Hamilton. “You can tell someone is in there.”
The last near-future addition on the agenda is a reverb chamber that will be constructed in the building’s basement. “For the chamber we’re making a weird, flopped-on-its-side, industrial shower room,” Hamiltion enthuses. “It’ll be a slab with a six-foot ceiling, plaster on the side, speaker, and microphones. We already have a conduit going down there, so we’re psyched, because we got addicted to having a real acoustic chamber in the mix at our original location.”
“It’s a huge part of the workflow! Because with a lot of things that people give me these days, the vocal is recorded in a hotel room, while the guitar might be recorded in a bedroom. The 2% that’s missing, you can put back in the mix with a chamber and pull it all back together, instead of sounding like it was made all over the world — a real acoustic chamber can put ‘eye contact’ back in the performances.”
A Community-Based Approach to Recording
In its expansive new guise, Studio G emphasizes the communal approach that drives its founders to not just make outstandingly expressive music with their clients, but to bring as many interested people as possible in on the process – whether it’s at their studio or any other on the planet.
“It’s about an inclusionist aesthetic – because when everyone collects together and works as a team, things get better for everybody on that team,” Hamilton says. “A family of studios that share a common aesthetic all get business when we all start talking about each other. Enthusiasm – the love of recording and the process of making records – is infectious.”
On the other hand, Mssrs. Hamilton and Maimone most assuredly are realizing a personal expression – and maybe even an obsession – with this 5,000 sq. ft. statement in the artistic heart of Brooklyn.
“I need to make stuff within these walls,” Joel Hamilton says. “I keep heading toward a vision, which is why this place is dripping with intent. It’s what Studio G is all about, and I would hope that’s how it reads when you walk in: Whoever built this place really gives a shit about making records.”
– David Weiss
Our Power Sessions interview continues! In Part 4, Chris Lord Alge and artist/engineer Erica Glyn discuss some of the realities facing musicians, mixers and producers in the modern age of singles and MP3s.
“I don’t think I’ve changed my style since my first mix back in the late 70s,” says CLA. But in what ways does he feel the “lost art of the long listen” has changed the game? And what would he change about today’s music industry? Watch Part 4 below…
And in Part 5, CLA takes us downstairs from Studio G to the legendary Avatar Studio A, where he makes a very special phone call to get an insider’s look at some of the studio’s lesser-known features. This is a must see!
And tune in next week for the final segment of our Power Sessions interview with Chris Lord-Alge. Thanks for watching!