CMJ Music Marathon Adds CMJ Play Music and Gaming Conference to Lineup

CMJ has announced the addition of CMJ Play to the lineup of the CMJ Music Marathon. The event, a celebration and exploration of the intersection of music and gaming, will take place Wednesday, October 20, at NYU’s Kimmel Center and is in conjunction with NYU’s Music Video Game Research Project at NYU Steinhardt.

CMJ Play seeks to be the primary venue for cross-pollination between the vibrant cultural forces of music and gaming. Details on CMJ Play speakers and panels will be announced soon. CMJ Play is open to all CMJ Marathon badge holders. A specially priced CMJ Play Pass for the one-day event can also be purchased. The Play Pass includes admission to the interactive exhibit area, CMJ Music Marathon Exhibitors’ Lounge and evening showcases on October 20.

To register for CMJ Play, visit here.

For more information on registration and CMJ Music Marathon & Film Festival events, visit www.cmj.com/marathon.

Beat 360: Much More than Just a Music Studio for Mark Saunders

HELL’S KITCHEN: Dig Art Deco? Most definitely, and we could always do worse than to be in the majestic polychromed lobby of The Film Center Building on Ninth Avenue – especially if we’re visiting Beat360.

Evolution is the solution at this extra-comfy facility founded by the busy English music producer Mark Saunders in 1997. He was in town then to produce Cyndi Lauper’s Sisters of Avalon, and never really left. With a production/mixing/programming discography that includes The Cure, Neneh Cherry, Shiny Toy Guns, David Byrne, Tricky, and A-Ha, Manhattan has been more than happy to take him.

The addition of Ollie Hammett as Director came in 2007, and Beat360 has grown out beyond just being a great place to track and mix. Today, this flexible sound concern takes on everything that touches artists and producers – management, synch, publishing, distribution and more. Corporate clients have been attracted too, including Nike, Reebok, L’Oreal, Chevy, Motorola and Microsoft.

With all that going on, they seem as eager as any of us to see what’s next, as Hammett made abundantly clear in a recent convo.

What kind of group are you and Mark working with at Beat360?
It’s essentially just the two of us, and we have a pool of assistants who help with the day-to-day running of projects. As a small team we cover as much as we can in-house and for larger projects we outsource to additional engineers as and when needed.

Mark came up in the industry as an engineer, producer and mixer. Recently he has been establishing a name for himself as an exceptional co-writer working with artists/writers such as Teddy Geiger, Cathy Dennis and PNAU (production duo behind Empire Of The Sun).

My time is equally split between studio work as an engineer/mixer and project management/business development. Projects I’ve worked on include Idris Elba’s High Class problems v1 (engineer/mixed), The Sounds’ Crossing the Rubicon (engineer), A-Ha’s upcoming Farewell single (engineer & additional production), and So So Glos‘ self-titled debut album (mix engineer).

That’s a small but diversified and accomplished core team. From there, how would you explain Beat360 as a business today? Is it a recording facility? Mix facility? Producer/songwriter haven? All of the above, or is it something else entirely?
I would say we’re all of the above. We market ourselves as a “full service music and audio solutions company.” It was originally established as a private recording, production and mixing facility for Mark’s projects. We now work with a whole array of different clients – bands, brands, digital interactive agencies, management companies, record labels — less and less — and independent artists more and more.

While diversifying, it’s really important for us to continue to try and bridge the artist development gap we now see in the music industry, so I think this is something that’s integral to everything we do. We’re always looking for opportunities for the artists we work with through our network of contacts and relationships.

I’ve had a couple visits to your studio HQ in the landmark Film Center Building, and it seems like a very productive place to work. Can you fill us in on the design philosophy, plus the hardware and software goodies?

Beat360 is a 2000 sq. ft. facility with two mix/production suites, one live room, a kitchen, lounge and chill out area. Our philosophy is for artists/clients to feel as comfortable and creative as possible.

Our main production/suite is a hybrid system – no mixing board in sight. The main DAW is an Apple Quad Core/Logic/Apogee symphony system with X series converters, and a Mackie Control. We have a Dangerous 2-Bus summer and a selection of outboard gear that can be integrated into Logic sessions as insert plugins. We both use Pro Tools but prefer Logic so we have a Pro Tools LE system for converting projects that come to us in that format.

We have software, hardware and musical instrument toys in serious supply. See the full list here. But here’s a taste: Logic 9, Waves Platinum v7 bundles, Sonnox plugins, Arturia Collection, a Ludwig 1968 Drumkit, Soundelux U95S, Neumann U67 (1960’s), Telefunken SM2 stereo (1960’s), Urei 1176, Manley ELOP leveling amp/compressor, Night Nt3 mastering EQ, Telefunken V72 (2 channels) racked by Dave Marquette, John Hardy M-1 (4 channels), Neve 33122 (2 channels), Neve 33115 (2 channels) and API 312 (5 channels) racked by Brent Averill.

Ooooo, tasty. So what niche does Beat360 fill in the NYC spectrum of facilities? And globally for that matter, since you’re doing international services like FTP mixing.
I would characterize our studio as a full-service professional recording, production and mixing facility. In addition to the hiring the studio and services out to NYC clients, we also offer remote mixing and mastering solutions for independent artists all over the world through www.beat360-master-mixing.com.

Clients upload sessions to our server and we mix/master the tracks working closely with them on revisions to make sure they’re 100% happy with the end results. More than just an online service, it’s an artist development vehicle. A number of these artists we have gone on to help find management, legal representation, sync placements, TV show appearances, etc…

Our niche is that we are centrally-NYC-located with a great-sized space by today’s standards, have a diverse client base and work with both high-profile established clients, as well as helping to build the careers of indie artists.

I think that sounds like a real indication of where “music companies” are going. The model is comprehensive but light on its feet. But would you say you’ve been high-profile or under the radar? Is this by accident, by design, or a little bit of both?

I would say we’re in the process of establishing ourselves. As of September, I will be managing a small producer/writer management division of a new international music group, rocketmusic.com. The starting roster in the US is Mark Saunders, Dan Romer and a couple of others to be determined — if you’re the next Quincy Jones feel free to get in touch! This exciting new venture will be integrally linked to BEAT360 and will no doubt help to put us more on the radar. I think the next few years should see our business become a more visible part of the New York studio facility and music production landscape.

Ambitious – we LIKE. Can you tell us a few projects you’ve got in the hopper right now?

We have been working with phenomenal talent Teddy Geiger for the last few months, Mark is producing his new album. I can’t tell you how excited I get when I hear his work. It reminds me why I followed a career in music. He really is a prodigious talent.

Mark is in the process of mixing music in surround sound for a forthcoming Luc Besson film. We’re beginning production of French singer/songwriter Emilie Gassin’s debut E.P this month. We’ve been recording Idris Elba’s features for several UK artists including Ty and recent XL signing Giggs. Also, we’ve been producing/recording audio assets for a multinational brand website.

That sounds like a solid spread. Would you agree you have to be a constant innovator in this business today?
Yes, I think you have to be creative with how you approach business and you have to pay attention to the market forces/technological advances that affect us all and try to stay one step ahead. Technology aside I think there’s something to be said for consistency: If you do something consistently really well, people will hopefully pay attention.

I’m a big believer in good old-fashioned customer service, the value of genuine win-win relationships and being proactive.

Aye! On the growth tip, how do you strive to publicize/promote Beat360, and successfully diversify your revenue streams?
A lot of our business is word of mouth and referrals. Luckily we get to work with some very cool talent that automatically creates visibility and awareness for what we’re doing in the right circles.

We promote our facility and services through various mediums, the obvious ones being Google/Facebook and relevant local business and directory listings. We normally attend events such as SXSW, NMS, Billboard and CMJ helping us keep up-to-date, hearing great new music and building relationships with potential partners and clients.

What or who is keeping you motivated right now?

I’m inspired that the music industry — as unstable and tough as it is seems to be – is moving towards a more transparent place where there is less room for monopolies. It’s more about passionate people doing stuff really well and building authentic relationships around it.

I’m inspired by independent artists doing it for themselves without record label backing. April Smith just made an awesome album independently and has had several significant TV placements after raising $13,000 through Kickstarter.com, and Jenny Owen Youngs has raised over $30,000 through the same platform to record her next album. Wow!!

I’m inspired by tech companies such as Pandora, Echospin and SoundExchange who create great digital services and platforms for artists and fans alike.

Some key influences for me are entrepreneurs such as Richard Branson, and Chris Blackwell who have managed to enrich lives through brilliant music and art-based ventures. Thought-provoking writers/bloggers such as Chris Anderson, Seth Godin and Bob Lefsetz help me get perspective and try to stay on top of what’s relevant to the ever-changing business we’re in.

How would you characterize the overall studio scene in NYC today? What’s making you determined to be a part of it?
It’s difficult for me to characterize the scene in NYC today, actually, but it’s certainly great to see a website like SonicScoop helping to build a community around the facilities and professionals who work in them. I just try to stay in the loop with people, companies, technologies and music that excites me.

Thanks for those props, Ollie! Last off, what makes Beat360 an only-in NYC story?
I think we’re probably one of the only 100%-British-run music studios in NYC – I could be wrong! — and as you would expect we make a killer cuppa tea!

The advantages of being in NYC surrounded by so much talent, ambition and competition is that it drives us to constantly better ourselves. The main disadvantage is that there are not enough hours in the day to stay on top of any reasonably sized to-do list.

We know how you feel, OLD CHAP.

– David Weiss

New York Summer Music Junkie Contest: Are You SuperGlued?

Concert season is here! In mid-July SuperGlued, a community that brings people together around live music, will be kicking off the New York Summer Music Junkie Contest.

The contest will bring an additional dynamic to the concert experience as music fans will be able to earn points throughout their concert experience, from buying tickets and Twitter updates, to blog reviews and media uploads. The SuperGlued leaderboard keeps track of the points and those concertgoers with the top scores will win weekly prizes throughout summer.

Prizes include CMJ Music Marathon badges and tickets to some of the biggest shows of the summer such as The XX, Morning Benders and Belle & Sebastian.

The music junkie to accumulate the most points will earn the grand prize package that includes a Brooklyn Bowl 365 pass, and a guest DJ spot on the Seaport Music Show on East Village Radio.  The Brooklyn Bowl 365 pass will provide the winner and a friend with free admission to shows at the Brooklyn Bowl for one whole year.

Founded by Rush Doshi and Tom Plunkett (CTO of Gawker) in June 2009, SuperGlued’s mission is to create a place where concertgoers can come together and share their experiences, photos and videos, as well as connect before and after a show.

22 Bands, 6 Days: Live From The Cutting Room Studios

During CMJ, The Cutting Room Studios hosted KEXP’s live-to-air in-studio performances showcasing 22 bands in six days.

Miles Benjamin Anthony Robinson (see video below), Soft Black, Chief, Surf City, The XX, Deastro, Choir of Young Believers and Alec Ounsworth were among the artists who played The Cutting Room’ Studio A for KEXP audiences listening online and via 91.5 FM in NYC.

A steady stream of new and established artists from all over the world are stopping by The Cutting Room to do in-studios for KEXP. This week, it’s Brit-pop progenitors Travis, and New Zealand’s Bang Bang Eche.

The Cutting Room’s also been busy with record projects, including the upcoming record by French contemporary jazz guitarist Marc Anotoine. Tommy Uzzo has been mixing that album in Studio A. And in the mastering suite, Tony Gillis has mastered records for The Fray, J Lo, Three Doors Down, Sean Kingston and more.

Brooklyn-based folk-rock singer/songwriter Miles Benjamin Anthony Robinson plays live at The Cutting Room Studios in NYC for KEXP’s CMJ in-studio series:

Now In NYC, KEXP Goes Live From The Cutting Room

East Village: The NYC indie music scene got a huge boost when Seattle’s KEXP DJ John Richards moved out here to broadcast part-time from Brooklyn’s Radio New York studios. His two shows, John In The Morning and To The Five Boroughs, feature in-studio interviews and performances with up-and-coming bands, recorded and mixed (and shot for webcast) at The Cutting Room Studios.

When Richards connected with David Crafa, owner of The Cutting Room, he found a kindred spirit. “I’ve been listening to KEXP online for years and have been a big fan,” says Crafa. “I was really excited when I found out John was going to be establishing an audience terrestrially here in NYC, because I’ve always been unimpressed by NYC radio programming. I wanted to get involved with KEXP, so I reached out.”

Richards saw that Crafa shared the KEXP vision. “We had the same goal — to build a community here in NYC,” Richards shares. “That’s what he wanted to do with The Cutting Room, and that’s what we’re all about at KEXP. The artists are a part of our community and we want to create the best environments for them, creatively. The Cutting Room totally goes above and beyond to do that for our artists.”

KEXP hosts a smart mix of bands for in-studios that keep listeners on their toes. From Phoenix to Phenomenal Handclap Band, …Trail of Dead to Electric Tickle Machine, you may be hearing a band without a single record release one week, and an artist you saw on SNL the next.

WHY NYC NEEDS KEXP

“NYC’s been lacking a KEXP-like station that champions up-and-coming bands,” says Richards. “Over the last five years, we’ve been coming out here to do remote broadcasts, and found that a lot of New Yorkers were actually discovering NYC bands listening to our show online. A lot of people out there don’t make it out to the smaller clubs to see bands, so KEXP has been the local music station for a lot of cities, including New York.”

In mid-September, SonicScoop sat in on Autodrone’s in-studio set at The Cutting Room. And, a true KEXP experience, it was our first time hearing the five-piece rock band from Brooklyn. After a short interview with Richards, Autodrone played a five-song set, a proper sampling of their dark and atmospheric style of noise-pop. Cutting Room engineer Anthony “Rocky” Gallo captured the performance on a Thursday, and mixed it for the following Monday broadcast of John in the Morning.

“At KEXP, there’s always been a conscious effort to cover new and up-and-coming bands, and in NYC, that’s never difficult to do,” says Richards. “There are always great bands coming out of NYC. We’ll have bands who haven’t even released music yet, which I think is important — that they get an opportunity to play in this studio setting.”

Having up-and-coming bands experience The Cutting Room is important to Crafa, too. He’s been producing records and running some form of a NYC recording studio since his dorm days at NYU. He opened The Cutting Room 15 years ago. In that time, the studio has survived radical changes in the record industry and now accommodates an increasingly artist-driven business, offering full-on recording and production and mastering services, and video production and web development for artists, labels, production companies, etc.

By donating studio time to KEXP, Crafa plays a much larger role in NYC music than just record producer or studio owner. “It feels really good to be ‘giving back’ by contributing to a community effort here in NYC,” says Crafa. “We really enjoy working with the KEXP artists, and offer them free mixing and mastering on one of their tracks, as part of the KEXP/Cutting Room experience. They’ve been thrilled to get a high-quality, mastered track out of it, in addition to the radio and online exposure, and video.”

VIDEO BUILDS THE RADIO STAR

Typically, KEXP shoots video of the in-studio sessions as well, which get posted on their own website and distributed via the featured bands. The Cutting Room works closely with KEXP’s videographer, Louis Sparre/Electric Tweed, in post-production. “These are HD videos with two or three camera angles,” says Crafa, “Lou edits them and we synchronize the audio and blast it out in like a couple hours. They really come out great.”

The Phenomenal Handclap Band – 15 to 20 (Live on KEXP) from KEXP RADIO on Vimeo.

As Richards assures, video will be a growing component of KEXP’s music coverage. “The video we produced at Bumbershoot and our SXSW sessions were incredible — we teamed with Microsoft Silverlight and shot PJ Harvey there with a five-camera HD shoot, live,” notes Richards. “Now, we’re doing a whole series at The Cutting Room, and our focus into the new year is going to be more and more video podcasting. We ultimately want to capture every one of these interviews and performances on video.”

Since working with KEXP, The Cutting Room’s also partnered with Sparre/Electric Tweed to provide its other studio clients with the super high-quality video content. “These videos come out so cool and the artists are really happy with them, and this got us thinking,” says Crafa, “Why don’t we offer this as a service? So, we got together with Lou, and we actually just finished a project with our first artist independently of KEXP, an artist called Mother Moon.”

Coming up for CMJ, KEXP will be going full-swing with live in-studio sessions with The Soft Black, Chief, The Blakes, and Alec Ounsworth, among others. All live from The Cutting Room. Check out the full schedule here!

“We’ll feature local bands during CMJ, bands who are here playing the festival, and we’ll usually mix in a few Seattle bands too,” says Richards. “These are bands we could host at an in-studio in Seattle, but there’s something about having them when they’re out in NYC playing. You capture something there that you might not capture in Seattle, a kind of cool vibe of them being out here.”

Tune in here, to SonicScoop, for regular video of KEXP in-studio sessions at The Cutting Room, starting with their CMJ coverage! And if you haven’t checked him out already, tune into 91.5 here in NYC to hear John in the Morning M-F from 9am-12pm, and To The Five Boroughs from 8-10 on Thursday nights. John in the Morning is also simulcast live in Seattle between 6am – 10am PST, and can be heard in any time zone on www.kexp.org.

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