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This month we're serving UK Alchemy with Coldplay mastering engineer.
We drop in Grammy Museum to visit with British and Japanese icons and find clarity with an Interscope producer. We visit the Young Ones at Sundance via San Francisco and look forward to seeing Oscar in Hollywood! Thanks to you we're 22,000 strong and in our 14th year of serving news from studioexpresso's community of studios, composers, arrangers, and producers.
ATCs at Alchemy Mastering
MPG Award-winner Mastering Engineer Talks Up SCM150ASL PROs
Thanks to an always-widening array of ear-bending analogue and digital technologies, the mastering process is far from simple. Mastering means bringing well-honed listening skills to the table and for Matt Colton - named Mastering Engineer of the Year at last year's MPG Awards - mastering is where his heart has been for quite some time. Indeed, time well spent mastering his craft with several tenures across London - including Porky's Mastering, Optimum Mastering, Alchemy Mastering, and AIR Studios - led to the sought-after, award-winning mastering engineer relaunching Alchemy Mastering with original owners Barry Grint and Phil Kinrade at a new Hammersmith facility where he has succeeded in becoming a master of his own destiny with his own well-stocked mastering room to boot. Here he continues to build on his growing
reputation, mastering for the likes of Coldplay, James Blake, Gary Numan, and Metronomy. Like his career, Colton's mastering CV is a long and accomplished affair.
For Colton, though, there's more to mastering than simply having access to the latest and greatest ear-bending analogue and digital technologies: "The thing about kit is that the things that are really important are the acoustics, speakers, amps, convertors, power supplies, and the wiring that connects them all together - anything that affects the sound in the room. You cannot get around that. So I would rather have a great-sounding room and a workstation with a couple of plug-ins than every piece of hardware ever made and a poor-sounding room, because - no matter how much you say you understand the room - we all react to what's coming out of the speakers and make our judgements based on how it sounds in the room. If the room is too bassy then the recording is going to be bass light - even if we know the room is too bassy, so that's fundamental."
Fundamental to Colton's current way of working is a pair of SCM150ASL PRO three-way active loudspeakers: "Having worked at AIR on a really lovely pair of hi-fi speakers, I felt I wanted to go back to studio monitoring and have something that maybe sounded a bit less polished in terms of the actual sound that's coming out of the speaker. So I'm working on a pair of SCM150ASL PROs. I'd previously worked on a pair of SCM200s many years ago, which I loved, but I think the 150 is a great speaker."
Young Ones at Studio Trilogy
Composer Nathan Johnson records the Young Ones
At Studio Trilogy is composer Nathan Johnson recording a programmable music box with two Neumann KM 84 mics in an X-Y configuration.
Innovative scoring composer Nathan Johnson ventured from his homebase in Los Angeles to work at Studio Trilogy in San Francisco on the music for sci-fi thriller "Young Ones." The film debuted with strong reviews at the Sundance Film Festival where Steven Spielberg, godfather of director/screenwriter Jake Paltrow, attended the screening.
In addition to recording strings with San Francisco's Magik Magik Orchestra at Trilogy, Johnson recorded one of the film's themes with a music box he programmed. "The music box was less programming and more just punching holes in a paper strip with a hole puncher. In this version it essentially only has the white keys of a piano, so I wrote the melody for that and then wrote the rest of the music around it. I worked with the string ensemble, but then there are also synthesized elements. The music for this film is very melodic, but mostly horns and strings are the lead instruments."
The film stars Michael Shannon, Elle Fanning, Nicholas Hoult and Kodi Smit-McPhee. A hybrid of Western and sci-fi genres, Paltrow's second film is a tale of revenge set in the future when water is scarce and many have fled a barren land in search of a better life. Johnson also leads a sprawling band/art collective called The Cinematic Underground
, writes and performs in the band Faux Fix
, and runs a small record label
FET III Daking Compress Limiter Fan Letter
"Mr Daking, I have been a fan of your work for quite some time now. Just wanted to drop a line saying how much I love and appreciate what you've done for the audio world. I own a pair of 52270B Pre/EQ's and use them quite often. They have become staples in my studio. The amazing sonic clarity in the pre and razor sharp precision EQ are unprecedented and unmatched. I've used your gear to record for such artists as Rod Stewart, Zac Brown, Ani Difranco, Better Than Ezra and Dr John just to name a few. I actually even used the 52270B to record tracks for the Grammy Nominated Steve Riley and The Mamou Playboys record last year. Please keep up the great work and wonderful contribution to the forward advancement of a higher standard in the art of recording. Please feel free to use my name in your list of professional users. I'd be honored to have my name associated with your products and fine work. "
----Jack Miele Producer/Engineer (Fudge Recording Studios, New Orleans, LA)
A Zedd instagram
post says he will be performing at the iTunes Festival in Austin at SXSW on March 14 with a worldwide live stream. Raised in Germany by two classically trained parents, he began playing the piano at the age of four. Anton learned to play the drums at age 12 and began performing with the post-hardcore/metal trio Dioramic and later moved into the realm of electronic dance music. After Zedd won two Beatport remix contests, he caught the ear of Interscope A&R Dave Rene and Interscope Geffen A&M Chairman Jimmy Iovine and released official remixes for powerhouse artists such as Lady Gaga, Black Eyed Peas, P. Diddy, Swedish House Mafia and Skrillex on labels including mau5trap, Interscope, and EMI. Zedd's stellar development is undoubtedly linked to his unique and highly recognizable style of composition.
A Rolling Stone "Artist to Watch" for 2012, Zedd has appeared at major festivals, including Ultra, Electric Daisy Carnival, and Nocturnal. In 2012, he performed at Coachella and is confirmed to appear at Lollapalooza, Hard Summer in Los Angeles, and Electric Zoo in New York. Zedd was also chosen to be the only opening act for the Asian leg of Lady Gaga's world stadium-tour "The Born This Was Ball". In June he returned to the U.S. for a series of headlining shows, including several appearances at Marquee in Las Vegas. The new single released Jan 26 of this year features Matthew Koma
and Miriam Bryant
. Look for more from this musical prodigy.
Producer, Mixer, Writer, Composer Sean Beavan
(NIN, Maryilyn Manson, Slayer, Churchill) is making his television debut in the first season of docu-series, "Rock City Los Angeles" (FXX), producing its talented featured band, JAK . RCLA documents the warts & all trials and tribulations of a rock band trying to make it in LA - from obtaining management and producer, recording, promotion and so on. A PERFECT CIRCLE 's much-anticipated, Beavan mixed DVD, "Live At Red Rocks" scored #3 on iTunes.
Congrats Beavan and manager Shannon O'Shea!X in LA Yoshiki Showcase at Grammy Museum
was there to capture the preview of the worldwide Yoshiki Classical
concerts to come from the XJapan sensation in February at the Grammy Museum in Los Angeles. He performed in the museum's rooftop garden to a choice audience that include fans and producers from all over the world. He perfomed on his Kawai
Crystal II Grand Piano CR-40A which is on display in the lobby of the museum. Yoshiki Classical is a collaborations between Yoshiki and legendary Beatles producer Sir George Martin, the London Philharmonic Orchestra, the Tokyo City Philharmonic Symphony and the Quartet San Francisco. You can expect Xscale staging & excitement. Triple X
Fab three X fans: Mike Clink, Gavin Lurssen, and Rafa Sardina
photos by the C
, founded by industry veteran Brad Lunde, has quickly become the premier US importer/distributor and/or US sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm. TAG product line includes A-Designs (USA), ATC Loudspeakers (UK), Bock Audio (USA), Chameleon Labs , Crane Song, Daking Audio (USA) Dave Hill
, Drawmer, Pete's Place Audio
, Tube-Techand Sonodyne Nearfield Monitors
Pedals, Pipes & Pizza
American Guild of Organists Event features Dr. Christoph Bull
He Likes it! Over 40 piano students signed up to for a rare opportunity to hear, see and learn firsthand what it's like to play a pipe organ at the Pedals, Pipes & Pizza event on Sunday, February 23, 2014 at Camarillo United Methodist Church. They also test drove the Roland C330 2M organ ($15,000. retail) provided by Church Keyboard Center. Presented by the Ventura County Chapter of the American Guild of Organists (AGO), the event featured Dr. Christoph Bull, organ professor at UCLA and organist at First Congregational Church of Los Angeles, as well as Ventura Chapter AGO members Gary Henricksen, Fern Fay and Nelson Dodge of Keyboard Center, Pasadena.
The 2 1/2 hour event concluded with a pizza reception for all attendees. Students learned about how both pipe and digital organs work, heard a variety of kinds of music performed, and had a chance to play the organ themselves.
The free event is designed for students with at least one year of piano instruction.
Winter Olympic Colab with Dion & Ne-Yo
By now you have heard "Incredible" on the season finale of "The Voice" (NBC).
The inspiration to pair the dynamic duo came from 13-year-old son of Celine Dion, René-Charles Angelil. Yes, RC takes credit for inspiring the collaboration between Ne-Yo and his superstar mom. Listen to the song played at the 2014 Winter Olympics in Sochi
He said to "Mom, you don't even have to listen to the song. You have to do it." They recorded the song last year for Dion's new album, "Loved Me Back to Life," and reunited on Jan. 26, in Los Angeles, to shoot the music video. "Write a song for Celine Dion, check. Sing a Song with Celine Dion. check," said Ne-Yo. 2014 Winter Olympic Soundtrack. check!
The Record Theater: Meet The Beatles!
Hosted and created by Marvin Etzioni For The Grammy Museum
photos by the C
Imagine listening to an entire album (all 27 minutes) of the iconic Meet the Beatles! in mono (as originally released on vinyl in 1964). Yes, from the first song on side one, to the last song on side two. No phones. No interruptions. Lights out.
The theater screen is filled with rare photographs and the album cover of the fab four. As Chuck Berry would say "the place is packed." Indeed the Clive Davis theater was packed on February 24 at the Grammy Museum. The well-received program created by producer Marvin Etzioni (former Lone Justice founder) was part of the celebration of
The Beatles' 50th Anniversary in America.
The 200 plus attendees listened and asked questions from former President of Apple Records, Jack Oliver (l-middle and below with Claris) and co-author of "Recording the Beatles" Brian Kehew (l-left). Etzioni (l-right) moderated an entertaining and tantalizing discussion about the golden era at Apple. Oliver set the stage where people like himself and Lennon came from the London art school "....we learned to be our own people vs corporate," says Jack.
It was agreed that "making records that are works of art and contain spirit of fun," is our goal, said Etzioni.
Together the Beatles created over 240 songs, they recorded many singles and albums, made films and TV shows. Etzioni said Epstein takes credit for pushing the band to be prolific and create content.
Apple Records was officially founded by the Beatles after their return from India in 1968, as another sub-division of Apple Corps, which was established as a small group of companies (Apple Retail, Apple Publishing, Apple Electronics and so on), as part of Epstein's plan to create a tax-effective business structure. Allen Klein (manager of Sam Cook, The Rolling Stones) went on to manage Apple, by virtue of his three-to-one run Apple with support from the Beatles, Paul McCartney being the only group member opposed to his involvement. McCartney had suggested his then new father-in-law Lee Eastman for the job. Initially, Apple Records and Apple Publishing signed a number of acts whom the Beatles personally discovered or supported other artists like James Taylor (introduced by A&R Peter Asher), Ravi Shankar, Badfinger, Billy Preston, to name a few. In the revolutionary spirit of the times, Apple's utopian artist-orientated mission celebrated diversity in a friendly creative environment. Etzioni was introduced to Jack by Jeff Levine of Gold Circle Films. Look for a doc on Apple Records out soon!
By Bryan Farish
What are your goals? If you were going to build a restaurant, you'd have some type of goal or plan before construction began, right? If you were going to buy a car, you'd have some type of goal or plan as to what you wanted, how much the payments would be, what the color would be, etc., right? Well for some reason, artists never have a goal for their music (much less radio), other than to "get it out there", or to "do as much as possible". Can you imagine telling a restaurant contractor to build you "as much restaurant as possible", or telling a car dealer that you want "as much car as possible"?
When you have a numerical goal (any numerical goal), the best way to achieve that goal is to minimize anything else that might stand in the way of that goal. If your restaurant goal was to be able to sit 500 people at once, then you can get cheaper real estate and put the extra money into a larger size and more seats instead. If your goal however is to serve only expensive dinners, then you can reduce the number of seats and put the extra money into fine-dining amenities. With this in mind, here are some numerical goals you can think about...
SPINS: This is probably what most people think about when they think about radio, especially now with the "counter" on Youtube that artists always fake. A "spin" is a single play on a single radio station (or in a club). The way to maximize spins is to minimize how difficult they are to get. So, you go for college stations or web stations, or for commercial radio, you go after unrated and small market regular rotation (especially in the overnights). For college radio campaigns, 10 to 100 spins a week is common, and for unrated/small commercial regular rotation, 50 to 500 spins a week is common.
PLAYLISTS: A playlist is a list of what a single station played in one week (sometimes, one month). Even a single spin of yours on a playlist still puts you on that playlist. So you want to go after college, web, and unrated/small market commercial stations (especially tests, spikes, mixshows and specialty), and go after a LOT of them (hundreds) at once, so you can get one or two spins on as many playlists as possible. When you print all these playlists out at the end of a campaign, it is really an impressive stack. It's common to get 50 to 200 playlists in a campaign.
CHARTING: A "chart" is a weekly count of how many plays a certain GROUP of radio stations is playing you in a week; it's very similar to how many playlists you are on in a week. Radio charts, as of 2014, all are based on spins. So you simply want to maximize spins, generally by going after the smaller stations which report to the particular chart you want, and going after the easier overnight spins which count the same as the daytime spins.
LISTENS: Listens are what drive everything in the music business. A "listen" (also called "audience" or an "impression") is when one person hears a song one time. If you play your song to 5 people in your living room, you have 5 listens. If you play the same song to the same 5 people again, you now have 10 listens, although the number of listeners is still 5. Getting lots of listens is the toughest and most expensive part of radio, and the music business, because you have to maximize the number of stations, and the number of spins on these stations, and the number of listeners to each spin, simultaneously. College and web campaigns can't be used because the listenership is almost zero. Unrated/small market campaigns can commonly get 10,000 to 100,000 listens per week, for a total of 100,000 to 1,000,000 listens. Medium market station campaigns can commonly get 200,000 to 1,000,000 listens per week, for a total of 1,000,000 to 10,000,000 listens. And major market station campaigns can get 1,000,000 to 10,000,000 listens per week, and a total of 5,000,000 to 50,000,000 listens.
MARKET SIZES: Sometime an investor, sponsor, or parent wants you to be played in a large city (market) that he or she knows, and it does not really matter how many times (spins) it plays, or how many times it's heard (listens). In these cases you want to go for single spins ("tests", "spikes", "specialty", "mixshow") on the smallest stations in the biggest markets that you can get. Just being able to say "WXYZ" in BIG TOWN played you, even though it's the smallest station there, and even though it's just one spin overnight, is sometimes enough to make your next step happen.
REFERRALS: Getting a "referral" is when a station recommends that a store, newspaper, venue, or restaurant in their town for you, and tells you who at that store, newspaper, venue or restaurant you should talk to. Referrals are great because almost anyone at any station can give you one. College stations are probably the best because the kids there are unpaid but know a lot of the music scene in the their town; they can however be hard to reach. Commercial stations will always answer the phone, and sometimes even the secretary can give a recommendation. But whatever the station, when you call the person that the stations recommends, you can be sure that your call will get through much more often. And getting referrals is simple: Go after LOTS of stations.
FREE/PAID TICKETS: When a person goes to your gig, we say they got a "ticket", whether the tickets are paid or free. Maximizing tickets (meaning, the number of people who came to your gig just to see you) requires you to maximize listens and to concentrate them in particular cities. Have listens spread out around the world does you no good; all the listens need to be in a particular city so that the listeners in that city will all have heard your song enough times to want to see you live, and will all talk to each other (and to the venues there) about you, so it will appear that "everyone is talking about you" in that city. Thus, maximizing tickets in particular cities requires you to minimize the number of cites you try for.
FREE/PAID DOWNLOADS: Getting the most downloads, whether free or paid, is almost the same as getting ticket sales. The listeners need to have heard the song enough times (generally at least 10 times per person, which requires 100 plays per station), so that they and all their friends talk about it enough. Matter of fact, the cities with the most downloads will be the same ones with the most tickets (downloads will occur first). Generally for an unknown indie, it requires 10,000 listens to get one paid sale, whereas a major only requires 1,000. More known acts are somewhere in the middle.
RETAIL SALES: As of 2013, half of all sales are physical. Assuming your physical product is in physical stores (which requires a salesperson), the number of units sold will be directly proportional to the number of listens in that market. Generally for an unknown indie, it requires 10,000 listens to get one retail sale, whereas a major only requires 1,000. More known acts are somewhere in the middle.
GIGS: A "gig" is when you are scheduled to perform at a place, free or paid, for a certain number of people. Maximizing the number of gigs is done by minimizing the size of the place, and minimizing the number of people who would see you there. The smallest would be apartment gigs, where you go from door to door and offer to perform for them in their place. In one day you can do 10 of these gigs, and you really don't need any radio to do them, although there really will not be any ticket sales. As you move up the ladder, you will reach a point where the places won't talk to you unless you have lots of listens in their market. At this point you are back to maximizing ticket sales. When you maximize your demand for tickets in a town, you will get booked easily at comparably-sized venues in that town when you call them on the phone.
LABEL/MANAGEMENT/DISTRO OFFERS: Since you can't really have multiple "deals", the goals with labels, management, or physical distribution people is to maximize the number of offers you get from them, of a certain size. Doing this varies widely based on the level of person/people you are trying to get offers from. Individuals, and small labels etc, are usually impressed fairly well with playlists, whereas medium labels will probably want Billboard charting.
CONSIGNMENTS: Getting your physical product into physical stores on a consignment basis actually just requires a salesperson to do it. Any listens, playlists, charting etc is a bonus; but really it's your salesperson visiting each store that does it.
Bryan Farrish Promotion is an independent promotion company handling radio airplay promotion, and venue booking promotion. He can be reached directly at: 310-998-8305 email@example.com RIP Shirley Temple Black
April 23, 1928 - February 10, 2014
She could sing
, tap dance, play the role of a ringlet-haired moppet lifting the spirits of millions during the Depression. Shirley Temple
also was a merchandising goldmine: dolls, clothes, dishes, cutout books ...appeared in her likeness.Then she chose to retire from the big screen at 22. She married twice and gave birth to three children before venturing onto the political stage, serving as US ambassador to both Ghana and Czechoslovakia, a US representative to the United Nations and chief of protocol in the administration of President Gerald Ford. Shirley Temple Black died surrounded by family at her home in Woodside, Calif. She was 85. RIP Paco de Lucía
Dec. 21, 1947 - February 25, 2014
Paco (short for Francisco) Sanchez Gomez was best-known for flamenco.
Son of a Gypsy musician, he took his stage name in honor of his mother, Lucia Gomes. One of his recordings "Friday Night in San Francisco," with fellow guitarists John McLaughlin and Al Di Meola in 1981, helped introduce him to American audiences. Collaborations with Eric Clapton, Carlos Santana, and Chick Corea followed. Two-time Latin GRAMMY® winner Paco de LucÃa
was a renowned composer, producer. He was one of the greatest flamenco guitarists of our times. Mr. de Lucía received some of Spain's most prestigious awards, including the Gold Medal of Merit in the Fine Arts in 1992 and the Prince of Asturias Award for the Arts in 2004. In a documentary, de Lucia once said: "With the guitar I've suffered a great deal, but when I've had a good time, the suffering seemed worthwhile." Listen to Entre dos AguasOscar Is In TownFive Favorite Categories from 24 at the 86th Academy Awards
"Let It Go" from "Frozen," music and lyrics by Kristen Anderson-Lopez
Robert Lopez (left) of Ave Q
won 2004 Tony Award for Best Score which has been produced in New York, Vegas, London, Stockholm and Helsinki and on tour!
His musical version of Finding Nemo, co-written with wife Kristen Anderson-Lopez, is currently playing in Walt Disneyworld. In 2007, he co-wrote songs for a musical episode of NBC's "Scrubs." He and his brother Billy Lopez have written music for Nick Jr's "The Wonder Pets!" and Disney's "Johnny and the Sprites." Yale graduate, 1997 (B.A. in English).
"The Moon Song" from "Her," music by Karen O; lyrics by Karen O and Spike Jonze
"Ordinary Love" from "Mandela: Long Walk to Freedom," music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen; lyrics by Paul Hewson.
Indie rocker Karen O of the Yeah Yeah Yeahs will perform "The Moon Song," which she wrote with director Spike Jonze for "Her." The love story is up for five Oscars, including best picture and original song.
"Happy" from "Despicable Me 2," music and lyrics by Pharrell Williams
A cheery gospel-funk number Williams said he modeled after Curtis Mayfield, "Happy" serves in the animated movie as a means of humanizing Gru, the grumpy villain voiced by Steve Carell
. But it's also done brisk business as a stand-alone single, racking up more than 75 million streams on YouTube and an additional 45 million on Spotify
. On Wednesday it sat atop the iTunes
single chart and at No. 2 on Billboard's Hot 100.
"The Book Thief," John Williams
"Gravity," Stephen Price
"Her," William Butler and Owen Pallett
"Philomena," Alexandre Desplat
"Saving Mr. Banks," Thomas Newman
Steven Price composed the original score for one of 2013's most anticipated films, Alfonso Cuarón's Gravity, starring Sandra Bullock and George Clooney.
A recommendation from Abbey Road Studios brought him to the attention of Howard Shore, leading to Mr. Price's work with the Oscar-winning composer as music editor on Peter Jackson The Lord of the Rings trilogy.
His subsequent movies as music editor included Christopher Nolan's Batman Begins, for which he shared with his fellow music editors a Golden Reel Award nomination; and, in his first project with The World's End director Edgar Wright, Scott Pilgrim vs. the World, on which he also collaborated with the film's composer Nigel Godrich. Gravity
's score prominence - and excellence - gives Price an Oscar in his first try.PRODUCTION DESIGN
"American Hustle," production design: Judy Becker; set decoration: Heather Loeffler. "Gravity," production design: Andy Nicholson; set decoration: Rosie Goodwin and Joanne Woollard. "The Great Gatsby," production design: Catherine Martin; set decoration: Beverley Dunn. "Her," production design: K.K. Barrett; set decoration: Gene Serdena. "12 Years a Slave," production design: Adam Stockhausen; set decoration: Alice Baker.SOUND EDITING
"All Is Lost," Steve Boeddeker and Richard Hymns
"Captain Phillips," Oliver Tarney
"Gravity," Glenn Freemantle
"The Hobbit: The Desolation of Smaug," Brent Burge and Chris Ward
"Lone Survivor," Wylie StatemanSOUND MIXING
"Captain Phillips," Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro
"Gravity," Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro
"The Hobbit: The Desolation of Smaug," Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson
"Inside Llewyn Davis," Skip Lievsay, Greg Orloff and Peter F. Kurland
"Lone Survivor," Andy Koyama, Beau Borders and David Brownlow
And the Oscar goes to....Good luck all!
For updates visit 86th Annual Academy Awards
Choose your favorite nominee here
|A Song Lives. Richard A. Whiting wrote "On the Good Ship Lollipop," the signature song of the late child actress Shirley Temple. |
The lyrics were supplied by Sidney Clare. Temple first sang it in the 1934 movie Bright Eyes. The "ship" in the song is an aircraft; the scene in Bright Eyes, where the song appears, takes place on a taxiing American Airlines Douglas DC-2. It was especially popular because Temple herself had choreographed it. In the song, the "Good Ship Lollipop" travels to a candy land. There is a direct reference to an airplane in the song: "Someday I'm going to fly, I'll be a pilot, too ...". 500,000 copies of the sheet music, published by Sam Fox Publishing Company were sold, and a recording by Mae Questel (the cartoon voice of Betty Boop and Olive Oyl) reputedly sold more than 2 million copies
ON THE GOOD SHIP LOLLIPOP is and will remain a symbol of the wonderful music that came out of the Great American Songbook.
"On the good ship lollipop its a nice trip, in to bed you hop, and dream away, on the good ship lollipop...."Watch it here
Make news and share it with studioexpresso community of over 24,000 subscribers.
Music Lives & Moves...until next month,
Claris Sayadian-Dodge, Founder I Editor studioexpresso
An unconventional demonstration convinced Colton that the SCM150ASL PRO patently met his critical listening criteria: "I did a lecture at Westminster University in Harrow to over 100 people in a really big lecture hall with a massive ceiling height of 50 feet or so. Ben Lilly of ATC brought along a pair of SCM150s and I played some James Blake records with really low sub-bass - down at around 35Hz, and they just sounded glorious. It was a wonderful experience to hear those records played in that room only on a pair of speakers. So, on that basis, I've got the 150s in my mastering room - sadly, not quite as big as that lecture hall!"
With well-honed listening skills par excellence, Colton is perfectly positioned to provide honest insight into the stunningsounding SCM150ASL PRO in action at Alchemy Mastering: "They're a direct and honest pair of speakers. If the mix sounds good, then it sounds good here; if it doesn't, then it doesn't. There's no flattery on the part of the speakers, though they can be wonderful to listen to when you get it right. I'm enjoying working on them. They encourage me to work in a way that I like, and I'm very happy to be supporting ATC - a British company that works hard to make good speakers."
Roland l Rodgers I Hammond
2295 E Foothill Blvd
Pasadena, CA 91107
As a composer, producer, art director, and songwriter, Nathan Johnson's innovative film scores and hybrid media performances have consistently blurred the lines between stage, screen, music, and narrative. Best known for his unconventional work in film and music, Johnson favors modified, organic instrumentation combined with unique approaches to recording and performing.
Zedd signed to Interscope records in 2012 with debut LP Clarity
. The album's first single, "Spectrum," featuring Matthew Koma, has garnered massive global attention, climbing into the Top 10 of iTunes dance charts and holding the number one spot on Beatport Worldwide for almost three weeks. Zedd has also racked up several massive original production credits including Eva Simons' "I Don't Like You" and Justin Bieber's "Beauty And A Beat."
sneak peek at the glamorous Green Room for the 2014 Oscars
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