Stadiumred Launches “Masters Series” On 10/28 with Composer Chance Thomas of Avatar: The Game

NYC studio Stadiumred is beginning The “Masters Series” of expert audio panels, feature panels and presentations by industry “Masters” working in Music, Video Game Audio, TV/Film Audio and more. The series, held at the facility, will also include top engineers, mixers, masterers, producers, composers, managers, agents and business executives.

For the first installment, famed video game composer Chance Thomas will give a presentation about creating the music and sound for Avatar: The Game. This talk is a Stadiumred East Coast exclusive, having only ever been given twice before on the West Coast. Thomas’ discussion on Avatar premiered at this years GDC (Game Developers Conference), standing as the highest rated talk of hundreds given at the conference.

Additional details on the full presentation are here.

Full Coordinates:

Stadiumred Masters Series Presents
Avatar: The Game Music Score Postmortem By Chance Thomas

Thursday, October 28th, 7-9PM

$40 Admission (Online) / $50 (At Door)
$20 For G.A.N.G Members and for SonicScoop readers. Promo Code: scoopsonic

PURCHASE TICKETS:
WWW.STADIUMREDNY.COM/TICKETS

Stadiumred Studios
1825 Park Ave, Sixth Floor
New York, NY 10035
www.stadiumredny.com
Sponsored by: Huge Sound, Blue Sky, G.A.N.G, Stadiumred

Rich Lamb — Nomad Engineer: The Favorite Studios of an NY Freelancer (Part I)

TRIBECA/CHINATOWN, MANHATTAN: Rich Lamb is a studio nomad. He’s an NYC audio hired gun who works in studios and recording situations that span the region – turns out, Lamb has a lot of favorite local places to work, and he’s going to share them with us right here.

Based in TriBeCa/Chinatown, Lamb (pitchie@earthlink.net) is a professional audio engineer – period. His freelance recording and mixing practice can take him clear across NY state or to the next door down, and the flexibility has paid off: Today Lamb’s discography includes  The Brecker Brothers, They Might Be Giants, John Cale, Antony and the Johnsons, The Asylum Street Spankers, Debbie Deane, Ian Hunter, Willie Nile, Cherish the Ladies, and Joan Osborne.  Allmusic.com has more.

Lamb was 18, living at home on Long Island and driving to college one day, when he saw a life-changing sign for an audio school.  “Eventually I dropped out of college and pursued a 30-week program with complete dedication,” he recalls. “After some time out of college, which included interning at a local studio in a basement with quite a bit of impressive gear — Ampex 2, API board, etc… I got a degree at Berklee College of Music, taking their Music Production and Engineering major.”

Shiny new diploma in hand, Lamb started by assisting at Skyline Studios, followed by the Power Station [now Avatar] before forging out on his own.  He scored his first semi-steady gig doing house audio for Blue Man Group, and “My career has been a combination of studio, live, and corporate audio ever since.”

When we met at the Massey Plugins mixer at Lakeside Lounge, I enjoyed hearing your philosophy on how you work as an engineer. What do you find so fulfilling about a freelance career where you’re on call to go anyplace and record or mix?
Not that it was intentional, but I guess the most stimulating thing about freelancing in audio is that there’s rarely a dull moment if you’re always in different rooms. You have to remember different layouts, different patch bays, what mics are available, what drawbacks and strengths there are to each room, and how to adjust your ears to different monitoring situations — from control rooms to large venues, different PAs, indoor or outdoor.  Either way, you have to mix differently when you have an outdoor gig and you’re used to the studio, and vice versa.

For example, you begin to understand EQ as something to enhance or sculpt — like in the studio — versus it being used more for damage control or feedback attenuation, when working live.  Same with compression.  Being able to juggle different types of gigs really enhances your troubleshooting reflexes too, though someone who works just one room could argue that he’s fast because his knows his room cold.

But my approach to my career is about doing whatever it takes to advance myself through great projects that I get to record and mix.  Ideally each great album gets me recommended to someone new, or hired back.  If it pays the bills and I enjoy it, I’m not too worried about whether it’s going to “go anywhere.”  I don’t work on spec.  Even if it’s a close friend, which can be a blast, I have to charge something fair, otherwise I’ll put off working on their stuff.

When it comes to projects that are dear to me, including projects where I have a say on where we track or what musicians we should use, even if I’m not technically producing, my first choice is to do a large chunk of work in any of the studios where I work at the most.  If they can’t afford the expensive one, we go to a more affordable place, work within our limitations, forego the real piano and the awesome acoustics, and get the job done well either way.  I’m drawn to producers and studios that generally make music I’m into.  How else can you improve at your craft than get to practice on the styles you like?  The more work feels like play the more aligned you are with your purpose, and you’ll probably live a longer and healthier life.

By the way, in fairness to top-dollar studios and musicians, they aren’t always more expensive in the end.  Professionals get the job done faster AND the results are better, saving you time in editing or even recutting tracks later, and you’re happier with your tracks.

Why did you like the idea of telling us about all the different places you work in, in and around NYC?

Because this information should be shared.  I want to know more NYC rooms, while alerting my peers to the places I work at.  Everyone wins when more artists and producers are hip to several studios, and comfortable at all these places.

Therefore, in no particular order, here we go.  In fact I’m starting with the one I hardly work at nowadays:

Water Music Recorders, 931 Madison St., Hoboken NJ 07030, 201-420-7848

This is probably where I did my first freelance sessions.  Owner Rob Grenoble, a gregarious storyteller with a HUGE knowledge of the biz, respected me just because I was a Skyline alumnus.

Huge live room with concrete floors, for more of a sustained reverb, particularly nice for horns or strings, plus a big Neve/Studer control room, where the Augspurgers sound like the NS10s, only bigger, making for a smooth transition.  The North Room is interesting in that it’s affordable though a little funky, yet you get a lot of the same acoustics.

Working at Water Music, I feel like I’m closer to Woodstock for some reason.  Maybe because it’s a residential studio!  I’d love to be someone like John Agnello and just put in long days with the band and then crash in the duplex, having no commute the next day.  Tons of indie rock albums are done at Water Music, they have a very impressive client list.  And I’m impressed with any studio that lasts in this day and age.  Go there if you want a great near-NYC rock studio with residency.

Mark Dann Recording, 59 Franklin St., NYC 10013 212-941-7771

Mark Dann is an accomplished musician, especially on bass, and he has had a facility in a TriBeCa loft for 20 years.  I started bringing work there in 1994.  He is the man to go to if you have any technical questions, especially regarding Apple or Pro Tools, and if you have drum tracks that need replacing or vocals that need to be tuned.

His way of working is extremely organized, he’s a great editor, and he mixes and masters with a keen ear and perpetual student’s inquisitiveness.  His enthusiasm for the craft of recording and technology is such that he’d rather talk about plug-ins than anything!  But lots of us get that way!

In Woodstock he runs an identical PT system — allowing projects to work between the two rooms – in a nice tracking space with a piano and B-3.  Where a lot of studios always fall by the wayside, here and in the Woodstock area, Mark has hung in there and even thrived.  Hiring Mark to do your album is quite a bang for the buck.  More people should know about both of his rooms.  His Mac is decked out with every plug-in you could ever want.  There are also some nice preamps and a great DDA console.  Check out his site, too.

Before I continue I want to mention two other colleagues I’ve worked with or for: A.T. Michael MacDonald and Tom Durack, both fellow alumni from Skyline.  Michael MacDonald has done a lot of stunning jazz albums — Fred Hersch, McCoy Tyner, Roy Haynes – and is a superb mastering engineer, running his own studio in DUMBO, called AlgoRhythms which has a fantastic combination of analog and digital gear, plus Dunlavy monitors.  I like bringing my work to a place where I can hear much more detail than I can at home — that’s the whole point!  Michael has taught me so much about mastering — I used to work for him — and audio in general…he’s my mentor more than anyone else.  The ultimate piano recording for my money would be Michael engineering at Ambient Recording in Stamford, CT.

Tom Durack has been an inspiration ever since I met him at Skyline, which he had ‘graduated’ from, to working there as Nile Rodgers’ engineer.  Sitting in on the razor blade editing of the single release of “Love Shack” was a trip.  I have always been struck by Tom’s abilities to track and mix albums that sound as good as you could imagine.  He’s been great to run mixes by, plus he is now a co-worker of mine at Trinity, and one of my closest friends.  He too has impeccably mastered a few of the albums I’ve mixed.

Next up, Trinity Church Wall Street/St. Paul’s Chapel, Broadway at Wall Street, NYC

An old friend who was working at Trinity recommended me for this gig, which has gone from doing house sound for services and concerts, to now streaming for the church’s large Web audience, plus field audio, Pro Tools editing, outdoor concerts and live conferences that transmit to sister Episcopal churches around the world.  It’s the gig that keeps giving, and it’s quite educational.

And Trinity Church is never going to go away.  How many studios stick around for over 200 years?  The church itself provides the constant challenge of knowing how to function while basically working inside an echo chamber.

Systems Two Recording Studios, 117 Ditmas Ave., Brooklyn NY 10018, 718-851-1010

Of all the places where I have put in a lot of hours as a freelancer (post-Skyline and Power Station), Systems Two is easily the most glamorous, and the place I’ve gotten the most work from since 2002.  Over 30 years in business, making thousands of clients happy, mostly in jazz, it’s basically a mom-and-pop business with none of the huge overhead of payroll that weighed down the Manhattan places I remember.

Between the two of them, husband and wife owners Joseph and Nancy Marciano wear the various hats of chief engineer, assistant, manager, bookkeeper, and general maintenance!  The other main engineer is Michael Marciano, brother of Joseph.  There’s an assistant engineer who now engineers a lot, and myself, I’m brought in around twice a week for much of the rest, lots of evenings and weekends.  I’ve had this gig for nine years, it’s my one long commute, but that’s what books and iPods are for.

Their famous Steinway is from Carnegie Hall, their C3 and drum kit are also legendary, one of their ribbon mics is John Coltrane’s, etc.  Nice big room with a short reverb which works for just about everything. Their main bread and butter comes from being a top-notch, word-of-mouth jazz studio, even though they sometimes do everything else, including orchestral, choral, metal, etc.  Their discography is staggering.  They have two Pro Tools rooms and one mastering room.

Way out there, but only yards from the F train.  I love these people and I love this place — I open up a mic and it always sounds good.  When I come in it always looks like I’m doing the first session of the day, even if a big band just finished up an hour ago. Work there is effortless: no wrestling with acoustics, monitoring, or a finicky patch bay.  It’s my first choice for any client that can afford to work there.

Next week, come back for Part II of Rich Lamb — Nomad Engineer: Going to the Fab Faux, Maxing Cable Access, and Hitting the Poconos. Write Rich at pitchie@earthlink.net to join his Song of the Week email list!!!

Endless Analog Demos Its Dream-Come-True CLASP at Avatar

MIDTOWN MANHATTAN: Nashville-based producer/musician/inventor Chris Estes demonstrated his revolutionary Endless Analog CLASP system in Avatar’s Studio G on Monday. The session featured ace-of-bass and producer Jerry Barnes laying down some of his thick, low-end goodness to Pro Tools HD via 2” tape and the CLASP.

Since the CLASP is such a newfangled, first-of-its-kind product, there’s a lot to understand about what it does and how it works. There are several great reviews and testimonials on the system here and plenty of information to answer any and all questions you may have. But here’s the gist:

CLASP (Closed Loop Analog Signal Processor) consists of a hardware unit that is installed between your mic pre’s, DAW and tape machine (pictured), and the native Bridge plug-in (RTAS and VST), which you open on any track in your DAW session and use to control the tape transport.

These days, most recordings being done to tape are then dumped into the digital realm for editing and mixing. CLASP allows for a totally hybrid workflow, where analog recording and overdubs are done in real time, controlled with the speed and efficiency of digital, and all audio is stored in your DAW, minimizing tape usage. You can use one reel of tape to record an entire record, or several records for that matter.

CLASP essentially allows the tape machine to be used like a plug-in. You control the tape machine and switch between tape speeds stored in the CLASP right from your DAW. And you can monitor analog in repro mode. [See the CLASP connection diagram here.]

The elevator pitch to engineers via Endless Analog’s website: “CLASP provides sample accurate tape synchronization with zero latency analog monitoring while delivering a true analog front end recording solution for Pro Tools.”

Seeing the CLASP in action, its functionality seems instantly essential. It totally streamlines a process that needs streamlining and will allow so many more people to utilize analog tape as part of their production.

At Avatar, the CLASP hardware unit was connected via MIDI to the Pro Tools HD rig and through an Endless Analog proprietary cable to the 24-track Studer A800. Once the tape machine was aligned and synchronized to the Pro Tools session at both 15 ips and 30 ips recording speeds via CLASP, Barnes tracked a bass line and then monitored off the repro head to select his preferred speed.

During playback, Estes pointed out: “Being able to monitor in repro is a really great thing for getting drum sounds, for example, because you can make judgment calls about what tape speed you want to use for a particular song.”

“You can have it on whatever speed and then have the drummer play, mute his headphones, and then listen off the tape in Pro Tools. And you can make decisions about levels and EQ and things like that based on what you’re hearing.

“You can have the tape rolling while the drummer’s playing and, starting with the kick drum, you can bring the level up to find the sweet spot — right where we get just the right amount of tape compression — and dial it in so when you go to do your recordings, there are no surprises.”

CLASP stores information for up to three different recording speeds. Estes relayed to the group: “In a lot of sessions we’ve done so far, people will record the drums at 30 ips, then they’ll go back and re-cut the bass at 15. Then they’ll cut electric guitars at 7½, which sounds really great if the machine is aligned properly. With this [A800] machine, you’d vari-speed it down as far as you can get it and then do an alignment for that.”

“And if you wanted to use varispeed to overdub just a Tom Fill at 15IPS and have the rest at 30?” engineer Roy Hendrickson asked.

“You’d use the sync I/O in Pro Tools and vari-speed Pro Tools up,” says Estes. “So to make the toms sound bigger you’d vari-speed Pro Tools up and do the tom fill, put it back normal, and then the toms would be huge.”

Estes also points out you can daisy-chain up to three CLASP hardware interfaces and synchronize three 24-track tape machines for a total of 72-channels of recording. You can use CLASP with 24, 16, 8 or even 2-track machines, you can combine different machines and tape speeds for different tones. In addition to Pro Tools, CLASP also works with Nuendo and Cubase.

But there’s even more to know…here’s Estes on-the-spot rundown of CLASP’s main functions and features:

1) First of all, the CLASP is a precision measuring instrument, which functions as a sample-accurate synchronization device, so it’s able to profile the tape machine, analyze the ballistics of the machine, calculate to the sample what the latency of that machine is — taking into consideration the transport, the flutter, etc. Then, it’s telling Pro Tools to change the time stamp of the audio that’s coming into the converters.

So, while you’re recording, the meters are actually late but then when you watch the wave forms as they’re going down, Pro Tools is drawing them in relationship to the grid in the correct time. So it’s an actual time stamp, you can take the session to another studio and you don’t have to have the CLASP. You only use the CLASP when you’re cutting tracks.

2) The CLASP is seamlessly controlling the tape transport for you invisibly in the background. It works a lot like the Quick Punch mode — it looks at the track-arming status and as soon as you have tracks armed and you start the Pro Tools transport, the CLASP, analog machine and Pro Tools Quick Punch all start recording simultaneously in the background. It’s extrapolating from the Pro Tools transport and track-arming status. So even though you might have punched in late, you can peel back audio with tape now. Which is impossible otherwise.

3) You don’t have to rewind the tape until you reach the end of the reel. In this case, it’s counting down from 30 minutes (@15 IPS), so you’d only have to rewind every half-hour or so.

4) You now have latency-free analog monitoring. We’re monitoring here through the master-grade analog hardware of the CLASP, not Pro Tools.

5) CLASP compensates for the converter delay times. If you’re using Apogee 16X converters with Pro Tools, for example, that’s 62 samples of converter latency at 44.1, so you simply type in 62 samples in the offset and then everything you play is perfectly in time with where it’s supposed to be when you play it back.

After the demo at Avatar, engineer Roy Hendrickson shared his impressions with us:

“I think what Chris has done here is quite brilliant. The fact that he is getting Pro Tools to record these files into the DAW with an adjusted time stamp is genius.

“And once you’re finished using CLASP and you go back to using Pro Tools normally, there are no side effects, there’s nothing you have to change about your workflow. You don’t have to move your files and it does all those little tweaks that you’d normally have to do — like re-compensating for things like delay manually — this takes care of all that for you in a really elegant manner so you don’t have to worry. You can concentrate on the performance.”

On the Endless Analog website, Chris Estes and Endless Analog VP Amy Becker Estes ask us to: “Imagine experiencing analog tape recording as fast, effortless and timesaving as Pro Tools.” The CLASP system, which Estes started developing out of his garage in Nashville over five years ago, makes this idea – once Estes’ daydream – a reality.

Endless Analog’s CLASP system is available now from Vintage King for $7,495.

Visit www.endlessanalog.com and www.vintageking.com/Endless-Analog-Clasp for more information!

Gig Alert: Tatiana Moroz CD Release Party Saturday, 6/26 at The Bitter End

Singer/songwriter Tatiana Moroz will be rolling out her debut album, Tatiana, at the Bitter End on Saturday, June 26,  at 8:30 PM.

Straight outta Jersey, Moroz puts a subtly sultry spin on her blues/pop/rock explorations. From smokey to sweet to just plain pissed off, her many moods and new collection of songs create a cohesive musical journey.

Recorded, mixed and mastered 100% in the NYC area, SonicScoop gives Ms. Moroz a thumbs up for being 100% home-grown. Among the studios used to record Tatiana were Avatar, Chung King (RIP), Quad Studios, and Big Fat Suite. Mastering was by Angelo Montrone of Majestic Music Factory.

All mixes were by Chris Conway, except “Release In You” by LB Dorsey and “Look Like Honey” by Andros Rodriguez. “Evolution” was mixed by LB Dorsey and Chris Conway.

Congratulations and props to SonicScoop compadre Tatiana!! Party with the best of ‘em at The Bitter End!

Avatar Studios Hosts Paul Simon, Moby, O.A.R. and More

Paul Simon recently spent time recording at NYC’s Avatar Studios, working with producer Phil Ramone, engineer Andy Smith and assistant engineer Justin Gerrish.

Moby‘s also recently recorded in Studio A, with engineer Scott Norton and assistant engineer Rick Kwan.

Meanwhile, roots rock quintet O.A.R. recorded in Studio C with producer Matt Wallace and engineer Mike Landolt. Other acts that recorded in March include Teddy Thompson, Proud Simon, and The Script.

From the jazz world, the Christian McBride Big Band recorded in Studio A with engineer Joe Ferla, while woodwind specialist James Carter recorded in Studio B with producer Michael Cuscuna and engineer Jim Anderson, assisted by Fernando Lodeiro. Other notables were Michel Portal and The Don Friedman Trio, both of whom recorded in Studio C with their producer/engineer teams.

Studio A recently hosted several TV and theater projects as well. Vince Giordano and the Nighthawks recorded music for the upcoming HBO series Boardwalk Empire with producer Jim Dunbar and engineer Stewart Lerman. Also, the cast of Broadway’s Million Dollar Quartet recorded with producer Hank Neuberger and engineer Chris Steinmetz.

And finally, the music for Life Begins At 8:40, a 1934 Harold Arlen / Ira Gershwin / Yip Harburg musical revue, was recorded in Studio A with producer Tommy Krasker and engineer Bart Migal.

For more information on Avatar Studios, visit their website at avatarstudios.net.

On The Record: Producer Jim Keller On Demander’s Future Brite

EAST VILLAGE, MANHATTAN: NYC rock trio, Demander, officially release their second full-length record, Future Brite, today. This bad-ass East Village band has a refreshingly hard-edged, melodic rock sound, combining the sweet (Kathleen Hanna-meets-Karen O) punk-rock-howl of lead vocalist/bassist, Karen Kanan Correa, the thunderous rock drumming of Sivan Harlap and chugging, post-punk guitar varieties by Dave Kurutz.

Future Brite was produced and engineered by Jim Keller (Franz Ferdinand, Mastodon, Franz Nicolay) between studios in Manhattan and Brooklyn.

“I met Sivan on a flight — it was one of those random things that I guess is somehow just supposed to happen,” says Keller. “She gave me a copy of Demander’s first record.  I thought they had some great ideas and I felt like I could help them expand on them.

“I went to see them live a couple of times and they were just having a blast on stage…actually smiling and looking like that was exactly what they wanted to be doing at the time.  That was great to see!  I knew that getting a solid sound behind some well-honed songs would make a good record.”

Keller began working with the group in rehearsals prior to recording. “All of the songs were pretty far along by the time I came in,” he recalls. “We mostly concentrated on song structure.  We took out some sections, used other sections more and just made sure that the mechanics of the songs were working.  Dave and I came up with guitar parts in the studio and they all came together really quickly, which was a treat.

The group recorded drums and electric guitars at Manhattan’s Madpan Studios and bass and vocals at Keller’s own private studio in Brooklyn. “We also did a day of strings at Avatar,” adds Keller. “There are times when you need a solid, commercial room and string dates are certainly one of those times!”

Keller mixed the bulk of the record at Electric Lady in Studio A, and a few songs at his place. John Agnello mixed ‘Math’ at Headgear in Williamsburg.

“For mastering, I went to Randy Merrill at Masterdisk,” Keller adds. “ Randy and I were on staff at Avatar together and I really trust his judgment when it comes to mastering.”

What’s Keller favorite track on Future Brite?

“Definitely the title track. It’s dynamic in every sense.  We spent a long time on the middle section and it really makes the whole track.  It’s a breakdown followed by a great build.  Franz Nicolay (The Hold Steady) came in and just nailed the piano part for the section.  We were also fortunate to have some really talented string players for that section as well.  It’s just a cool song!”

Check out “Future Brite” on Demander’s Myspace, and the album single, “Math,” here!

Avatar Hosts The Strokes, Mary J. Blige, Moby, The Dirty Pearls & David Kahne

Avatar Recording Studios hosted a number of sessions this past month, with high-profile artists, producers and engineers.

Studio A and its famed live room saw the likes of The Strokes, recording with producer/engineer Joe Chiccarelli, assisted by Justin Gerrish. Moby was recording there with engineer Scott Norton, assisted by Rick Kwan, while Vince Mendoza tracked in the room with engineer Jim Anderson, again assisted by Rick Kwan. A Latin version of “We Are The World” was recorded with Taboo of the Black Eyed Peas in Studio A with producer Emilio Estefan and engineer Roy Hendrickson, assisted by Fernando Lodeiro.

In Studio B, the Bill Charlap Trio recorded with producer Todd Barkan, along with engineer Katherine Miller assisted by Aki Nishimura. Oud player Joseph Tawadros was in B with engineer Jon Rosenberg, assisted by Bob Mallory.

Mary J. Blige was in Studio C overdubbing with producer Ron Fair, and engineer Anthony Ruotolo, who was assisted by Charlie Kramsky. Also in C were Nikki Yanofsky, working with producers Phil Ramone and Jesse Harris, along with engineer Tom Schick assisted by Bob Mallory. The Dirty Pearls were in C recording with producer David Kahne, engineer Roy Hendrickson, and assisted by Justin Gerrish. On the jazz tip, Mark Johnson was in Studio C recording with producer Eliane Elias, while engineer Joe Ferla was assisted by Rick Kwan.

Last but not least, indigenous Australian musician Gurrumul Yunupingu was in Studio G recording with producer Michael Hohnen, engineer Anthony Ruotolo, and assistant Aki Nishimura.

Arctic Monkeys, Franz Ferdinand & Finian’s Rainbow Record At Avatar

Arctic Monkeys, Franz Ferdinand, and the cast of Finian’s Rainbow are just a few of the many recording sessions that recently went down at Avatar Studios.

Arctic Monkeys recorded a live performance for WRXP Sessions at Avatar’s Studio A. Matt Pinfield, DJ of NYC’s WRXP “The Rock Show” with Leslie Fram, produced the session. Claudius Mittendorfer engineered the session with the assistance of Justin Gerrish and Fernando Lodeiro.

Franz Ferdinand was at Avatar to record the song “The Eyes of Mars” to promote the Christian Dior fragrance, “Lady Dior.” The song features the current fact of Dior, French actress and singer, Marion Cotillard. The track was produced by Franz Ferdinand’s Alex Kapranos and engineered by NYC-based producer/engineer Jim Keller.

Avatar also hosted film score recording sessions for Remember Me, and the cast album recording of Finian’s Rainbow for PS Classics.

Finian’s Rainbow, which had its final performance on January 17, 2010, recorded with producer Tommy Krasker and engineer Bart Migal, assisted by Bob Mallory, Lodeiro and Gerrish. The album is available for pre-order through the production’s site.

And, Brooklyn rock band Motel Motel recorded their self-produced project in Avatar’s Studio B with engineer Rick Kwan assisted by Aki Nishimura.

Other recent recording sessions at Avatar include: 15 year old Canadian jazz-pop singer Nikki Yanofsky, music for a GEICO commercial, and a City of Hope benefit by famed Opera singer Placido Domingo.

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