July 2026

We meet with an Everywhere Man, turned producer, in July. Hollywood shines with a new learning center at a historic studio, led by a Grammy-winning producer from our community. This UK-based producer's shows draw thousands. Her book spotlights women guitar heroines. His art exhibits in London. We're celebrating memory of an endless love. Learn what drew the recording industry to a playful spot under the sun and why this venue offers LA vibes featuring the best musicians on the planet. Grab an espresso & enjoy this month's serving!

Everywhere Man Producer Peter Asher

New Documentary And An Album In The Making

Producer Peter Asher in his office in Los Angeles

Peter Asher is a renaissance music man. During a career spanning over several decades, Asher has taken on music roles like that of hats and painted the pop music landscape with numerous hits and awards. He's the first to both manage and produce iconic artists like James Taylor and Linda Ronstadt. Together they produced timeless Songs like You're No Good, You've Got A Friend, Sweet Baby James, and Fire & Rain... Asher's career spanned the 1960s British Invasion, the California singer-songwriter boom, and beyond. He even dabbled in acting as an 8-year-old child (in The Planter's Wife, with Claudette Colbert). He first found fame as half of the pop duo Peter and Gordon, and is also famous for his deep, lifelong ties to The Beatles. Asher frequently discusses his incredible journey through pop culture history in his one-man storytelling and musical cabaret: A Musical Memoir of the '60s and Beyond. It features live performances of his 1960s hits alongside rare archival footage and insider stories about legends like Paul McCartney, James Taylor, and Linda Ronstadt.

Serendipity abounds in Asher's career and life. In the early days Paul McCartney who dated Asher's sister Jane, lived with Asher's family in London, writing early Beatles hits in their guest room. Peter and Gordon performed a McCarney song called A World Without Love which Paul had set aside, but the duo turned it into a huge hit. Incidentally, Peter's mom, an accomplished oboe player, counts George Martin (The Beatle's famed producer) among her private music students. Asher became the head of A&R for The Beatles' label, Apple Records after his duo broke up. Leaving Apple behind, he moved to Los Angeles to manage and produce his first signing, James Taylor. Asher is also known for being one of the first to credit musicians on the albums he produces. His meticulous production style and knack for choosing great songs helped define Taylor's sound. He introduced Taylor to Carole King and launched King's performing career. Other artists he produced over the years include Randy Newman, Cher, Neil Diamond, Morrissey, Diana Ross, Elton John, Bonnie Raitt, Robin Williams, Steve Martin and Barbra Streisand. Last year he worked with Streisand on her new album Secret of Life Partners Vol-II which received a nomination for Best Traditional Pop Vocal Album at the 68th Annual Grammy Awards.

We met up with Peter Asher via phone to learn secrets of his success, sage advice for managers and producers, and who are some of his favorite artists today.

Above:Peter Asher with Barbra Streisand in the studio in LA.



"Every good production is a co-production. My records tend to be joint efforts between me and the artist."

--Peter Asher

SE: The Big question: Why do you think all of this success in your music career? Choices, being in the right place, preparation, luck?

PA: While I was at the University studying philosophy, I never imagined that my career would unfold as it did --first becoming a pop star with a #1 Record, or signing iconic acts or making ground breaking records, or being manager for artists I admired. All separate reasons why it all happened, but in the big picture, and in each case it is my own ability: Seeing an opportunity and grabbing it with my both hands. Also being pro-active with what appeals to me and and clearly there's also a lot of good fortune involved.

SE: In the new documentary trailer for Peter Asher: Everywhere Man, James Taylor describes you as "a therapist and a musical prodigy." Robin Williams says you know how to "pick out the best bits." How has the job of a producer evolved over the years and what is necessary duties of a producer today?

PA: It varies. It's a good question. every case is different. My approach to each project is different. One thing they all have in common is the first step I always take is to be sure to listen to the artist and come to a mutual agreement. Artists, when they do their job well, they often have valuable ideas of their own. When I signed Linda Ronstadt, everyone thought what's the deal with her, because she was perceived as a vaguely difficult artist in that category, when nothing could be further from the truth. She just had opinions that basically no one was listening to, especially in that era of 'don't you worry your pretty head' attitude going down. If I did anything right with Linda was sitting down with her asking questions like:  What kind of record you want this to be? What songs are we going to do? How should we do them? Accept the fact that Every good production is a co-production. My Records tend to be joint efforts between me and the artist. 

SE: How would you describe your contribution as a producer besides agreeing on a mutual vision?

PA: It's both. It's also contributing to it. Sometimes the song is my idea. Sometimes it's a song they love. Contributions extend beyond the song. Like which guitar player should we hire, who in the band would play that best, Is this key too high? So many decisions.

SE: This brings me to your most recent project in 2025, the Grammy nominated album for Ms Streisand Secret of Life Partners Vol-II feat star-studded line up: Paul McCartney, Sting, Bob Dylan, Mariah Carey, Hozier, Laufy. What is it like working with Streisand?

PA: Fantastic! I knew Barbara socially. We met over the years many times. We did some gigs, for example, back in the day with James Taylor, Carol King and Streisand for George McGovern, which dates us all! She's astonishing and still sounds like 'knock your socks off' Barbra Streisand! I had my moments in the studio as I'm listening to her thinking how fortunate I am to work with her or any other great singer. Thinking Wow, this is really cool. I still capable of being intimidated by that, and find her to be charming, hard working, and everything one can wish. 

SE: Was her album recorded in multiple studios?

PA: We did most of the vocal recordings in LA. She and Paul (McCartney) were in the same studio together in Los Angeles.

SE: Do you have a favorite core rhythm section that you bring in to your sessions?

PA: In many cases yes. Going back all the way to the beginning, when I did James Taylor's second album, First American album for Warner Bros Records in California. I wanted to put together a small band. I found Russ Kunkel -he remains one of my favorite drummers to this day.  Russ played on Sweet Baby James. He had never played on a record before. I found him at a rehearsal for somebody else, and hired him on the spot. Russ also played on the most recent Streisand album. People I've known for decades like Russ and Lee Sklar. I had fallen in love of the demos Carol King made of her song, Sweet Baby James. Back then she was only known as a songwriter. Yes, and Danny Kortchmar (King Bees), of course. He introduced me to his childhood friend and band mate, James Taylor (The Flying Machine). Taylor became the first artist I signed to Apple Records.

SE: You and Peter Gordon had your own manager Richard Armitage. You've managed James Taylor and Linda Ronstadt. What's your best advise as an artist manager today? 

PA: Most important thing about management, by far, is the client. The secret of being a good manager is a good client. If you think about it. I was asked to speak and to induct the first two managers ever inducted into rock's hall of fame Guess what? They were Brian Epstein (The Beatles) and Andrew Loog Oldham (The Stones). If you're managing The Beatles or The Stones, as long as you're smart, organized, honest, and hard working, it's easy because everyone falls in love with them! Want to be a great manager find a great band! It's ridiculously obvious and true. 

SE: What else would you like to talk about or who would you like to work with, given your wide range of achievements in the music industry?

PA: There's so many great artists now. I've never been one of those 'they don't make artists like that anymore' or 'write songs like that anymore.' It's nonsense. Raye is one of my favorites, so is Rosalia. First time I hear Raye sing. I was like who's that? She's amazing! Whether I work with them or not, I remain a big fan. In conjunction with Walter Afanasieff, we're making another Streisand album some point this year which I'm looking forward to very much. So, there's a lot to look forward to.  

SE: Sounds like being a producer or manager starts by being a fan fist. Is that right?

PA: Yes. 

SE: You don't like to talk about the new documentary Everywhere Man. Why?

PA: I gave them permission but it's not my movie. Maybe one day I'll make my own movie of some kind. I can do part II in 50 years. I'm flattered it's about me, but it's up to those who watch it to comment.

SE: Beverage of choice?

PA: Grey Goose martini straight up with an olive!

SE: Shaken, not stirred!

Asher's "shagadelic" spy visual as a young man may have inspired Mike Meyers' Austin Powers iconic look! Read our San Francisco affiliate Janice Lee's interview with the directors of the film, Peter Asher: Everywhere Man next!

"If you're managing The Beatles or The Stones, as long as you're smart, organized, honest, and hard working, it's easy because everyone falls in love with them!"

--Peter Asher

Peter Asher: Everywhere Man

Playing In Select Theaters Now!

“Obviously, a great deal of everything is luck except there is no such thing.

The skill is in taking advantage of what does come your way.”

--Peter Asher

PETER ASHER: EVERYWHERE MAN

Documentary Film Directed by Dan Geller & Dayna Goldfine

Greenwich Entertainment WWOL Tremolo Productions

For studioexpesso

By Janice Lee

Janice Lee began her studio career at The Automatt in SF. She went on to manage producer Narada Michael Walden's Tarpan Studios into the late 90s. She has since worked with other recording & mastering studios, independent labels, and also contributes to SF NPR-affiliate radio station KALW. Her son is composer/keyboardist Matthew Wong.

Emmy-award winning filmmakers Dan Geller and Dayna Goldfine craft a gem of a film, featuring interviews and insights which shine the light on the many lives and facets of Peter Asher as artist, producer, musician, manager, record label executive, and DJ Mensa.

Whether one is familiar with Asher's amazing accomplishments and immense successes, or seeing his musical life for the first time, the documentary film Peter Asher: Everywhere Man, invites the viewer to witness and experience what a creative life can be.

Music producers hold a special place in the industry as their role(s) can be described as a range from malleable to more rigid. It can be said that the many of the more iconic, successful producers are able to move between the roles, to understand what is needed in a situation, and be able to step in or step back. For Asher, starting out as an artist and musician, this ability to be flexible opened many doors. This led to decades of musical involvement as a multi-hyphenate.

It is to be noted that Asher’s keen sense of musicality extended to not only befriending, combining and hiring of the many great session musicians since the 1960s, he also respectfully gave them credit on the record covers and sleeves. Credits which would give the listener a name connection to the talents they were hearing, and would give the musicians a career beyond just one album’s or song’s work.

Geller and Goldfine have created a film that elevates Asher’s life by showing the more glamorous highlights while also grounding his life by showing the very human aspects of it.

The filmmakers inform and fill in the time and space between the successes to truly illustrate Asher’s place in an artist’s life and the music world. Asher also possesses the confidence and curiosity to take professional chances. Humor also plays a huge part. As does a colorful wardrobe.

Photos: Courtesy of the Film: Peter Asher: Everywhere Man Movie, Directors Dan Geller & Dayna Goldfine.

Below: Asher with Paul McCartney, The Book: Peter Asher: A Life In Music, and Asher with James Taylor.

JL/SE: Eric Idle – whose idea?

Dan Geller: Peter’s. He’s friends w/ Eric, and has this connection with comedians – Steve Martin, Robin Williams. They’re smart, interesting, and maybe don’t always want to talk about music. A lot of people in Peter’s orbit will, his mind is much more expansive.

Dayna Goldfine: Peter has a great sense of humor. It’s very quiet, and he can be shy, but he is so whip smart.

JL/SE: There is so much material – when beginning this project, was there a leading goal – and did that change as the project progressed?

Geller: It started with, “can we represent/recreate that feeling that Dayna and I each had when seeing the show?” (Peter Asher’s Live Memoir show has toured since 2012) The sense of gob-smacking surprise – that joy, euphoria-inducing – to be sitting there and getting incredible stories, one after another, in all incredible directions. So that sense of excitement, of having seen this live show, we knew right away. Prime goal: can we communicate that sense of surprise and excitement and fun in a documentary.

Goldfine: These are kind of dark times. Can we give the audience a couple hours of – it’s kind of a romp – decades of pop culture, with great music, and a fabulous kind of raconteur to take us along that route.

JL/SE: Watching the film, the vastness of events, projects and relationships in Peter’s life, how did you select what would be included?

Goldfine: With Peter Asher’s story, we knew that every single chapter could be worthy of its own documentary, so that was the trick. How do you tell the audience enough about a single chapter that they get the gist of it as it relates to Peter, while also allowing them to feel free to do their own research. Like Apple Records, we could do a film about that, and there have been many made, but to get that Apple Records section down to 10 minutes, and specific to Peter and James Taylor, took a really long time.

Geller: We set out to make this film, though not an encyclopedic movie. But there is a great encyclopedic book by David Jacks titled Peter Asher: A Life in Music, which came out in 2022. It will be going back into publication in paperback this August.

Goldfine: It’s a hefty tome, close to 500 pages, maybe more. We thought we spent a lot of time with Peter to make this film. David, I think, spent 20 years. He interviewed everyone. In fact some of David’s interviews are included in the movie.

JL/SE: Was there anything about Peter’s life or career or how his process, which maybe changed your process as filmmakers?

Geller: There’s a parallel in that we have to be good listeners in making a documentary. And Peter, as he says in the movie (when working w/ Linda Ronstadt), “If I had any masterstroke genius, I think it was ‘Let’s listen to what Linda has to say.’” Peter’s take was about letting the artist come forward and embracing that. Other things are reinforced, like - kindness and loyalty. It reinforced a lot of the things we try to do and try to conduct ourselves in the world. It was really nice to see that.

Goldfine: I was very impressed by the longitudinal nature of his relationships. He is still incredibly close to James Taylor, Linda Ronstadt, Carole King, and all of the people who appear in the movie. The fact that he has these long-term, satisfying friendships helped when we reached out for interviews. “For Peter – yes.” That happened again and again. And I hope we have that same quality, that we’re still friends with our documentary subjects.

Peter Asher: Everywhere Man is playing now across the US, with a wider theatrical opening release throughout the US in July-August. Find your city and theater here: https://peterashermovie.com/ 
Those of you in Los Angeles, catch the documentary at the Laemmle Royal in West L.A. and the NoHo 7 in North Hollywood.

L-R: Reuben Cohen and Gavin Lurssen In front of their Grammy Awards & ATC speakers at Lurssen Mastering

Multi-Grammy®-winning producer Rafa Sardina in front of the new Abbey Road institute® at the historic Sunset Gower Studios, Hollywood. All photos: Abbey Road Inst

“Abbey Road Institute® Los Angeles is the culmination of a long-held dream. I want to share the invaluable professional experiences of my closest musical colleagues and myself with outstanding new generations of mixers, producers, and other music and music business professionals. I can’t wait to welcome our first students and witness the beginning of their exciting career journeys.” 
--19x Grammy-winning Rafa Sardina

Abbey Road Institute®'s newest campus in Los Angeles will be located within the iconic Sunset Gower Studios in Hollywood. Led by respected engineer and mixer Rafa Sardina, a 19-time GRAMMY® and LATIN GRAMMY® winner, the campus is launched on October 26, 2026.

Sunset Gower Studios is one of the city’s most iconic working production lots. Established in 1912 and later home to Columbia Pictures during Hollywood’s Golden Age, the studio hosted landmark films such as It Happened One Night and Mr. Smith Goes to Washington.

The historic studio complex to provide a professional, industry-driven environment where students can experience firsthand, premier music production and engineering practices within an active studio setting, having access to the legendary United Recording for selected classes and activities.

United (formerly Ocean Way and United Western Recorders at 6000 Sunset) is home to legendary artists like Frank Sinatra, Nat King Cole and Ray Charles to modern icons such as Green Day, Radiohead, and The Red Hot Chili Peppers. United Recording has played host to generations of music legends. Each of the four studios within United Recording is equipped with prized consoles that, for decades, have captured music that has sold over a billion records worldwide.

"The Abbey Road Institute® Los Angeles Diploma in Music Production and Sound Recording provides students the opportunity to learn and practice hands-on in a real-world studio environment at Sunset Gower Studios, directly connecting their education to the standards and expectations required for successful careers in the industry. Through structured access to United Recording, students further benefit from exposure to world-class recording facilities and high-level studio workflows," says

Rafa Sardina, whose extensive list of award-winning collaborations includes work with Stevie Wonder, Rosalia, Elvis Costello, Alejandro Sanz, Dr. Dre, Camila Cabello, Placido Domingo, D’Angelo, and Lady Gaga. He has designed the new campus and studio complex to provide Abbey Road Institute® students with a professional experience unique to Los Angeles. The Los Angeles campus will feature Abbey Road Institute®'s renowned curriculum, along with a distinguished faculty comprising top LA-based producers, engineers, and musicians, including Alan Meyerson, Barry Rudolph, John Boylan, Vanessa Garde, and many more.

"Abbey Road Institute® offers an intensive, immersive education for aspiring music producers and engineers in a small, focused learning environment. The program emphasizes hands-on, apprenticeship-style training to equip graduates with the skills necessary to thrive in the fast-paced music industry and forge their own career paths," adds Sardina.

Graduating students will earn a Diploma in Music Production and Sound Engineering, as well as additional diplomas in Audio Post Production for Film and TV & Music Business set to be launched in the future.

When asked about the new campus and its programs, Sardina shared: “Abbey Road Institute® Los Angeles is the culmination of a long-held dream. I want to share the invaluable professional experiences of my closest musical colleagues and myself with outstanding new generations of mixers, producers, and other music and music business professionals. I can’t wait to welcome our first students and witness the beginning of their exciting career journeys.”

Abbey Road Institute® London-based CEO, Luca Barassi, echoed this enthusiasm about the opening of the Los Angeles campus, stating: “We are thrilled to be working with Rafa and his team as we continue expanding our educational footprint in the U.S. Rafa has a strong affinity for how we teach, and an ambition to pass on his expertise to the next generation. Establishing our second U.S. campus in Los Angeles —a creative, dynamic, and globally influential city— will provide students with an immersive experience at the heart of a thriving international music scene.”

As a member of the Abbey Road Institute® board, Sally Davies, Managing Director of Abbey Road Studios®, emphasizes the impact of the Institute’s graduates: “We are incredibly proud of the success of Abbey Road Institute® graduates. Some of them have earned multiple GRAMMY® and Billboard awards, along with numerous GRAMMY® and LATIN GRAMMY® nominations. Bringing Abbey Road Institute®’s world-class education to Los Angeles will provide aspiring producers and engineers with the training they need to make a strong entrance into the music industry.”

For more information about Abbey Road Institute® Los Angeles, please contact the campus at losangeles@abbeyroadinstitute.com or visit www.abbeyroadinstitute.com/losangeles.

Rival Consoles

"Humans in general are makers.”

--Ryan Lee West (Rival Consoles)

Tour Dates

August 16 - Brushy Street Commons in Austin, TX

August 20 - 1015 Folsom in San Francisco, CA

August 22 - Teragram Ballroom in Los Angeles, CA

August 25 - Lincoln Hall in Chicago, IL

August 27 - Elsewhere in Brooklyn, NY

August 29 - MUTEK in Montreal, QC

For studioepresso

By London Robinson

London Robinson is a Loyola Marymount University graduate whose passion lies in songwriting, singing and producing. His style ranges from The Beatles to Kid Cudi to Lana Del Rey. For the last year, London has been working as an agent assistant at High Road Touring. 

Rival Consoles is the musical project of London-based producer and composer Ryan Lee West. West started this project in the late 2000s and quickly established himself as one of the most distinctive voices in the modern electronic music scene. He has released nine critically-acclaimed albums through the independent label Erased Tapes, earning recognition for his ambient textures and immersive sound design. He has also provided his composition skills to numerous films and television shows, such as Netflix’s Black Mirror and The Figo Affair. With each release, Rival Consoles continues to redefine contemporary electronic music through thoughtful experimentation and deeply evocative soundscapes.

He is currently touring his latest project “Landscape from Memory on Erased Tapes”, presenting it as an audio-visual experience that includes songs from the new album along with his work from the past fifteen years, connecting pieces from throughout his catalog into a continuous narrative. Next month, he’ll perform in various cities, including New York, Chicago and Los Angeles.

West will present material from across the last 15 years of his career and beyond. From deep ambient works to his unique version of techno, and traversing the vast spectrum in between, the show is presented with visuals co-created and performed live by Sky Ainsbury. “This music feels like one of the most intuitive things I have ever written," says West.

Enjoy Rival Consoles video (filmed in Kyrgyzstan) for Gaivotas, demonstrating West's touch with elaborate percussion programming. A film by Vincent Duluc-David in studioexpresso video spotlight.

New ATC High-Output In-Wall Subwoofers

SCS140iW PRO 2”x12” AND SCS240iW PRO 2”x15”

Building on ATC’s acclaimed SCS70iW Pro and SCS120iW Pro designs, the new dual-driver models deliver significantly higher output and performance for today’s stereo, surround, and immersive studio environments.

Powerful Performance for Professional Studios

The SCS240iW Pro is designed for larger control rooms and immersive setups, engineered to pair seamlessly with ATC’s SCM300A main monitors. The SCS140iW Pro, meanwhile, matches the SCM200A and excels as a dedicated low-frequency effects (LFE) solution for formats such as Dolby Atmos^®. Both models deliver extended low-frequency response, exceptional headroom, and accurate monitoring for demanding professional spaces.

 Each subwoofer is powered by a pair of R1-300 Pro 300 W Class A-B amplifiers in a remote-mount 7U-rack format. The amplifiers provide flexible installation, multiple crossover options (including 80 Hz and bypass), polarity and phase adjustments, and mute control with daisy-chaining capability.

“These powerful in-wall subs are now available via your ATC dealer," noted Brad Lunde founder and president of TransAudio Group. “ATC continues to meet and exceed market demands for power, pure sound and flexibility.” 

ATC has introduced the new SSM Series, a line of slim, wall- and ceiling-mount passive studio monitors designed for modern control rooms and immersive audio setups. The launch includes two models – SSM12i Pro and SSM25i Pro – along with the new R4-150 Pro, a four-channel power amplifier built to pair perfectly with the SSM speakers. The SSM Series is designed for studios where space is limited. Both models feature very shallow cabinets that mount flat to walls or ceilings and can be installed vertically or horizontally. A pivoting mount allows precise aiming toward the listening position for accurate imaging.

The enclosures are reinforced for safe professional installation and include safety tether points, making them suitable for overhead mounting. “ATC keeps examining the market, evaluating trends in studio design, and then creating products to meet those needs. The speaker lineup is beyond compare,” says Brad Lunde, president and founder of TransAudio Group

The SCS120 Pro uses ATC’s newly developed 15-inch carbon-paper composite driver, hand-built in the UK. The driver combines a short-coil/long-gap motor system with optimized airflow for low distortion, extended response below 20Hz, and improved cooling. The subs achieve deep, accurate bass through high-quality drive-unit engineering and a slightly larger cabinet. The subwoofer is powered by ATC’s hand-built 300W Class AB amplifier, featuring balanced inputs and output for pass through, analogue 4th-order Linkwitz-Riley low-pass filtering (including an 80Hz option and bypass), adjustable phase and polarity, and precise level control. A footswitch-operated mute circuit allows multiple subs to be muted together.

The SCS120 Pro pairs naturally with ATC SCM100/110/150A Pro monitors, and multiple units can be used for larger rooms or with main monitors like the SCM200/300A Pro. The increased dynamic capability makes it particularly suitable for immersive audio and post-production environments with demanding LFE content. ATC recommends using the Dolby Audio Room Design Tool (DARDT) for Atmos room system design. Noted Brad Lunde, president and founder of TransAudio Group, “Rarely do you find a company that values creativity, musicality, and performance with precision engineering."

The SCS120 Pro is available now. For more details visit here

TAG is founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. TransAudio’s skilled team of in-house and field representatives provide dealers and end users with product expertise and support far beyond the norm).

ATC speaker subs playback with SonoruS Tapes and Analog Tape Player at East West Studios on January 16. Trans Audio Group's pre-NAMM preview for select production community and guests. Below Brad Lunde with guests, and host Candace Stewart of East West and Claris Dodge of studioexpresso. Photos: studioexpresso

East West's legendary Studio One (Sinatra, Elvis Presley, Rolling Stones) is booked for variety of sessions from single voice to 70-piece symphonic orchestra. Brent Fischer Orchestra recorded in one with a 56-piece ensemble.

Spanning over 61,000 cubic feet with a vibrant sound, the iconic studio comes complete with a spacious isolation booth and a beautiful Bechstein D-280 Concert Grand Piano. The control room features an 80-channel Neve 8078 Console, the largest in the world (originally commissioned for Michael Jackson's best-selling album, Thriller). Each room at East West is equipped with a DB Technologies db4496 A/D-D/A Converter and ATC SCM25 Pro Mk2 house monitors along with NS10/ProAc speakers and are set up with Pro tools HD.

Right: Grammy-winner producers Brent Fischer and Dave Reitzas in studio one control room during a VIP event hosted by Source Connect

Below: Evergreen studios Hall of Fame. photos: by the C

Top Left: Jeff Greenberg, owner and CEO with Snoop Dogg at The Village

Housed in 1920s Medinah Temple, the historic landmark studios, for almost six decades, The Village has recorded hundreds of legendary Grammy Award-winning albums and Academy Award-winning movie soundtracks. One of the studio's Grammy-winning, staff engineers, Alex Williams, used ATC 25s on the Jon Batiste We Are sessions, as well as the award-winning Odessa sessions. He also worked with Lukas Nelson & Promise of the Real, Regina Spektor, Perry Farrell and many more. Noted Williams, “The quality of ATC’s design and construction is apparent upon opening the box. From recording to mixing, the ATCs perform flawlessly on rock, pop, hip-hop, jazz, or orchestral. I know what I’m hearing is what I’m getting. I’m thrilled that The Village is outfitting three studios with the new ATC SCM25A Pro Mk2s.”

“Choosing ATC SCM25A Pro Mk2s for Village's main studios is an incredible validation of this product’s excellence,” says Brad Lunde, president and founder of TransAudio Group.

Left: Mastering engineer Natalie Bibby at Air with ATCs

In 2018 the studios started by Beatles producing genius George Martin added a full-range of speaker monitoring system with two ATC P2 PRO Dual Mono Power Amplifier additions.

Invest in Good Speaker Stands. Why? While looks can be deceiving, you must have seen concrete blocks and other DIY configurations used in some project studios. Watch this 19-minute video by Colt Capperrune @ColtCapperrune where he compares $20 block stands with professional stands ranging from $140 Gators to $1,200 Sound Anchor stands. Can you guess which one performs the best? check it out here

Sound Anchor adjustable monitor stands allow you to adjust the position of the monitors (height, angle and tilt) so you can place the monitors where they need to be for the highest quality sound.

Sound Anchors and Redmount products are designed and manufactured in Palm Bay, Florida U.S.A. using American parts and skilled American labor. click here for Sound Anchor dealers in USA

Starstruck Entertainment, the parent company of Starstruck Studios was founded in 1988 by Narvel Blackstock. Located on Music Row, Starstruck Studios is considered one of the top iconic Nashville recording facilities, and recently chose an ATC 7.1.4 Dolby Atmos configuration and paired it with their SSL System TS-500 console for their Dolby Atmos room.

"ATC 7.1.4 Dolby Atmos system is cited as the speaker system of choice for the growing number of multichannel immersive sound studios.

Manufactured and designed in the UK to the highest engineering standards, it was only natural ATC could develop this solid niche," says Brad Lunde of Trans Audio Group.

ATC models:

SCM25As

SCM45As,

SCM50ASLs

SCM100ASLs

"ATC monitors are something you have to experience," says Brad Lunde, President of Trans Audio Group

"Like the original SCM25A, the new upgraded Mk2 is a compact 3-way high-performance active studio monitor loudspeaker, based around the hand made proprietary ATC 3”/75mm soft mid-dome driver and 6.5”/164mm bass driver loaded in a 25-litre vented cabinet," says Brad Lunde, President of Trans Audio Group. Models range from $5,000 to $50,000 per pair and all share a very similar sound. For larger rooms and midfield, applications check out the SEM45 with dual 6.5-inch drivers and the fantastic SEM150 with a 15-inch woofer and 350 Watts of power. More info here

24 July – 6 September 2026

At Gibson Garage London

61-62 Eastcastle Street, London, W1W 8NQ

Music icons The Kinks changed the face of music around the world. But their story started with Ray and Dave Davies; two brothers playing music in their parents’ North London living room.

Over 60 years on from The Kinks forming, Ray and Dave Davies are uniting for an art exhibition in collaboration with painter Christian Furr at the Gibson Garage London, from 24 July – 6 September 2026

The Kinks became vital influences for Blondie, The Jam, The Ramones, The Clash, Black Sabbath, The Doors, The Pretenders, and Van Halen.

The Who’s Pete Townsend once described The Kinks influence: “The Kinks invented a new kind of language for pop songwriting that influenced me from the very beginning.”

To celebrate the exhibition, Gibson and RedHouse Originals are dropping free limited edition prints in three secret London locations linked to the band’s history. While all paintings are signed by Ray, Dave, and Christian, a small number of signed, limited-edition prints will also be signed by Dave Davies and Christian Furr and available to fans on a first come, first served, basis at the exhibition opening on 24 July.

Above: studioexpresso and Trans Audio Group presented "Atmos-ize Your Music" at NAMM on Thursday January 23, 2025. Below: Speakers for the session: l-r: Cam O'Bi, Brad Lunde of Trans Audio Group, Ryan Ulyate, Eva Reistad, Brent Fischer, Harry Weinger of UMG, and Claris Sayadian Dodge of studioexpresso.

studioexpresso and Trans Audio Group have featured many producers, and musicians over the past ten years of TEC Track's history at NAMM

Curt Bisquera (Sarah McLachlan, Elton John), Kenny Aronoff (Smashing Pumpkins, John Mellencamp, Sting), Greg Penny (Elton John, KD Lang), Cam 'Obi (J Cole, Chance the Rapper), Niko Bolas (Neil Young, LeAnn Rimes), Eddie Kramer (Jimi Hedrix, Kiss), Matt Wallace (Maroon 5, Faith No More), Cheche Alara (Christina Aguilera), Kim Bullard (Elton John, Kelly Clarkson), Cristina Abaroa (Celine Dion, Enrique Iglasias), Brady Leffler (Hot Chelle Rae, Justin Beieber), Al Schmitt (Diana Krall, Paul McCartney), Alex Acuna (LA Phil, Beck), Teddy Campbell (American idol, The Tonight Show w Leno), Ellis Hall (Ray Charles, Tower of Power), Jacob Armen (Prince), Peter Asher (James Taylor, Linda Ronstadt), Larry Klein (Joni Mitchell, Melody Gardot), Manny Marroquin (Bruno Mars, Alicia Keys), Dave Schiffman (Adele, Limp Bizkit), Gregg Field (Sinatra, Pharell), Sylvia Massy (Tool, Johnny Cash), CJ Vanston (Toto, spinal Tap), Dame Gail Dorsey (David Bowie, Gwen Stefani), Jenny Mason (The Mrs), Neal Pogue (Outkast, Andre 3000), Eva Reistad (Dune 1,2, Alien, Sherlock Holmes), Leland Sklar (Phil Collins, James Taylor), Moogie Canazio (Sergio Mendes, Sarah Vaughan), Rafa Sardina (Lady Gaga, John Legend), Daniel Seeff (KJazz, Herbie Hancock Institute of Jazz), James Torme, Zev Feldman of Resonance Records (Sarah Vaughan, Bill Evans, Nat King Cole), John Wooler of Mood Media (Flying Lotus, Elton John, Miles Davis), David Benoit, Harry Weinger (Marvin Gaye, Bob Marley, Frank Sinatra), Matt Wong, Ryan Ulyate (Tom Petty & The Heartbreakers), Ian Charbonneau (Mana, Neil Young, Jake Owen), Steve Genewick (Spinal Tap, Martina McBride, Michael Buble) David Reitzas (Weeknd, Madonna, Luis Miguel), and Grammy^®-winning Brent Fischer (Usher, Elvis Costello, Symphonic Prince).

Bettermaker Mastering Limiter 2.0 Convenient, easy-to-use plug-in control and instant recall.

“From Grammy-award winners, to top international recording artists, home and free-standing recording studios, the original Mastering Limiter is that piece of go-to gear that adds that particular dynamic edge and significant touch towards the end of the recording process.

The Bettermaker Mastering Limiter 2.0 has faster release time, a lowered noise floor and the same 100% analog signal path with the ease of digital plug-in control and recall. This one is a superstar product,” adds Brad Lunde, president, and founder of TransAudio Group

Watch Vlog review by DJ, Producer, Jon Sine of the new Bettermaker Mastering 2.0 here

The Bettermaker Mastering Limiter 2.0 is priced at $3,500 in USA and is now available for shipping.

Above at 2025 NAMM Bettermaker Booth 10302 in Hall A, is the legendary Stevie Wonder checking out the game-changing accessibility of the new Bettermaker VSPE which allows for seamless control of Bettermaker hardware and plugins using voice commands, using its cutting-edge open source AI technology (created in partnership with The MIDI Association’s Music Accessibility Standard Special Interest Group MASSIG as well as real-time speech feedback for accurate parameter adjustments.

"The Daking Mic Pre 4T, nominated for a TEC Award 2023, will elevate any recording offering unique solutions to common problems," say Brad Lunde (click top left image for a video presentation by Brad Lunde). The “low-distortion” Jensen input and output transformers offer more linear low-end performance under super dynamic conditions. Daking’s own variable high-pass filter dials out the low-frequency mud that can be subsonic and will decrease available headroom. Built in the USA, Daking uses only high-end parts like Jensen input and output transformers in a high-end design using all-discrete transistor Class A circuitry. Unusually high 24dB of headroom and easy to read twenty segment meters make proper gain staging easy and forgiving under a wider array of conditions.

Auratone Celebrates its 50th anniversary, Auratone and its US distributor, TransAudio Group, introduced the first-ever Active 5C, nominated for TEC Awards at NAMM 2023.

A careful R&D process has been implemented to maintain the original characteristics of the 5C, utilizing the same amplifier design from the NAMM TEC Award winning A2-30 amplifier.

“We were happy to get boutique Polish manufacturer Bettermaker together with Alex Jacobsen, owner, and grandson of founder Jack Wilson, for the perfectly matched A2-30 amplifier. Now, the two companies have collaborated to get a mono amplifier that contains the guts and soul of the A2-30 into each chassis for the active version,” says Brad Lunde, founder, and president of TransAudio Group.

The Auratone Active 5C is now shipping • MAP: $749/pair

Like the other 5C variants, the Auratone ACTIVE 5C is made in the USA.



Trans Audio Group -- The Recording Studio Equipment Experts. Call to order from their trusted brands:

A-Designs (USA), ATC Loudspeakers (UK), Auratone, Bettermaker, Daking Audio, Drawmer, Hakan, Latch Lake, Mojave Audio, Mutec, Pete's Place Audio, Sabra-Som, Subwoofer Pros, and Tube-Tech 

Questions- pricing, availability and dealer locations please email sales@transaudiogroup.com

Inspired by the legendary ‘Motown EQ’ sound, Drawmer created two new 500 series EQs. Each unit offers 7-band proportional Q equalizers with EQ curves akin to the renowned ones used in the illustrious Detroit studios of the 1960s. These 100% analog units feature sevens bell curves, each having a variable cut/boost of ±10dB and set at the beautifully musical frequencies of the original.

The MQ-1 offers a single channel Mono 7-band EQ, with the highly regarded ‘CRUSH’ feature present on the Drawmer 1971 Dual 4-Band Parametric Equalizer rack unit. When you activate the crush circuit, get ready for some pleasing harmonic saturation and that classic analog warmth that adds a ton of character to any signal passing through the unit. CRUSH fattens up the bass, adds presence to the mids, and brings a delightful shimmer to the top end. The harder you drive the EQ the more crush you’ll get! The MQ-1 is a single-slot 500 series module. The MQ-2 offers the same EQ curves, but in full stereo, and is far more than an equalizer. It also incorporates a program-dependent, single-knob compressor that adapts its envelope to the characteristics of the signal. The order of the EQ and Compressor in the signal path can be swapped according to your requirements. The MQ-2 also has the same integrated ‘CRUSH’ feature that warms up your mix with harmonic saturation, and additionally includes comprehensive metering. The MQ-2 is a 2-slot 500 series module.

Visit Drawmer at TransAudio Group for more details.

Pricing: MQ-1 $349.00 • MQ-2 $539.00

The new Drawmer 1971 4-band parametric EQ, available in the U.S. from TransAudio Group.

Trans Audio Group introduces Drawmer 1971 4-Band Parametric EQ. This new edition to the Drawmer 70s series of FET-based gear offers two channels of fully featured 4-band parametric EQ and a new CRUSH button with the ability to deliver a myriad of unique musical applications on each bandwidth.

Noted Brad Lunde, president and founder of TransAudio Group, “Widely popular, the Drawmer 70’s series has received many industry awards, and this new EQ is sure to follow. The features embodied in the 1971, plus the amazing new CRUSH button, allow for fine-tuned tactile tone sculpting. CRUSH is a dramatic tool. Engineers and producers will love the diverse and subtle creative options. Drawmer gear is designed and handmade by Drawmer in the UK – no small feat for a pro audio manufacturer.”

Now Available. Price: $1799.00 Details here

Above: Julia Lunde and studioexpresso's Claris Dodge With RIGT Co-chair Gavin Lurssen and his team (left) with KMD organizer Karen Dunn.

For studioexpresso

by Julia Lunde 
Julia Lunde is the Marketing & Client Relations - LA at TransAudio Group. She has a major in screenwriting from UCLA.

I had expected Santa Clarita to be hot- the particular, relentless heat it’s known for in late June. Instead, when I arrived at Sand Canyon Country Club, at the invitation of a media sponsor, studioexpresso, the day had decided to be kind. We would be preparing expresso martinis, naturally, and an array of little treats for the golfers. We were shaded under a tree with spectacular views, and a breeze that felt almost ocean-like. None of the punishment I had prepared myself for.

The occasion was the 11th annual Recording Industry Golf + Poker Tournament, patiently shepherded by Karen Dunn of KMD Productions, whom I first met that morning behind the registration table.

At some point during the day, I told Karen that my mother plans tournaments for her own golf group, so I understood at least a little of what she was going through. She gave me the look of someone who appreciated and felt recognized. I’m sure event production is one of those jobs where if everything appears to be going smoothly, it is usually because someone is absorbing every problem before the rest of us have a chance to notice it.

From where we were sitting, the day appeared to be going beautifully. The familiar guard was well represented: the always-friendly tournament co-chairs, Gavin Lurssen and Evanna Manley; the impeccably fashionable Paula Salvatore (formerly of Capitol/UMG studios); and studio Queen Candace Stewart, holding court from a chair with a broken foot. Candace had decided to replace the actual story of how she broke it- which she described as “stupid,” “lame,” and “embarrassing”- with a far more glamorous version involving a swimming pool and her husband. By the time this article appears, Stewart, the longtime studio manager at EastWest, will be heading toward a very well-earned retirement in North Carolina.

There were newer faces, too- or at least people who were new to me- including engineers, producers, musicians, assistants, studio owners, and a surprisingly large number of very young people. In an industry where conversations about decline, consolidation, and an aging guard feel like an ever present, looming cloud, their presence felt invigorating.

For someone still relatively new to the business myself, it was also a wonderfully good place to be. Nearly every corner of the industry had gathered in one spot, briefly coaxed out of its studios and control rooms to spend a day talking, laughing, drinking, and occasionally playing golf- sometimes very well, and sometimes with results so unexpected they became impressive in an entirely different way.

That spirit extended beyond the course. Upstairs, the poker tournament was underway. Uhlone, honorary chair and sponsor of said Poker Tournament, spoke of how important it was to for everyone just to be together-- "The Recording Industry Golf + Poker Tournament isn’t just about the cards—it’s about community! In an industry built on collaboration, this event brings together artists, engineers, and creatives in a space where connections are made, stories are shared, and friendships are forged."

The club bar had attracted its own unofficial contingent of people who had come without any apparent intention of playing golf nor cards. Among them were Rafa Sardina and his second, content simply to hang out and be part of the day.  

They weren’t alone. Plenty of people seemed to treat the tournament less as a competition and more as a chance to get out of their rooms and just be people for a little while. "Vets On Set had the absolute privilege of participating in the 2026 KMD Productions Recording Industry Golf Tournament hosted at Sand Canyon Country Club. We brought out three incredible U.S. Marine Corps veterans and paired them up with the phenomenal Stuart Goetz, an industry veteran and music editor who stepped up as a mentor for the day. But this wasn’t just about practicing swings on the golf course. The real magic happened at the after-golf dinner, where the conversations kept flowing, introductions were made, and even more doors and opportunities swung wide open for our veterans.

"Huge thanks to KMD Productions for having us, and to Stuart Goetz for sharing his time, knowledge, and network. Such an unforgettable, high-energy day, says Vets On Set (VOS) founder Dave Rosen. VOS offered a nice video montage that captures the day's spirit here.

This year’s tournament also marked a new partnership with Education Through Music–Los Angeles (ETM-LA), a nonprofit that works to bring sustained music education into historically marginalized schools and communities across Los Angeles.

I actually had the opportunity to meet Victoria Young Lanier, though I did not know at the time that she was the organization’s founding executive director. She wandered over to our table and stayed for a while, speaking so easily about the schools and communities she serves- particularly Compton, Inglewood, and the surrounding area- that I assumed she was one of the people working directly within the districts.

She told me about her earlier life as a professional violinist and how, after becoming a mother, she began to feel pulled toward doing something different with her life. She spoke passionately about the importance of music and the arts during a child’s developmental years, but never in a way that felt like a pitch. Mostly, she seemed incapable of talking about the children without making you understand how deeply she cared about them.

At some point, as we watched the golfers pass through, I began explaining what was happening, drawing on the highly specialized golf knowledge I had absorbed through my mother. Victoria admitted that her only previous experience with the game had been on her honeymoon, where she apparently outplayed her husband largely because he kept hitting his ball into the ocean, which I continue to find hilarious.

In exchange for my expertise, she offered me a violin lesson. I fully intend to collect. Or I did. It was only later, while trying to find her contact information, that I discovered she had not merely joined Education Through Music–Los Angeles—she had founded it. She also had quite the résumé, none of which she had apparently felt any need to mention, and all of which has made collecting on said violin lesson feel slightly more intimidating than it did at the time and actively requires me to maintain courage.

That conversation felt, in retrospect, like a small version of what made the tournament work. I had arrived expecting heat, golf, and a table full of expresso martinis. I left having met people across generations and corners of the music world, learned the story of an organization supporting music in Los Angeles schools, and somehow negotiated a violin lesson from its highly accomplished founder. 

Golf may have provided the reason for everyone to be there, but it was hardly the whole point. For an afternoon, the industry came out of its rooms. People caught up with old friends, made space for younger ones, told ridiculous stories, hit golf balls in occasionally baffling directions, and allowed themselves to be people together in the sunshine.

Above : RIGT Media sponsor, studioexpresso's Claris Dodge with ETM-LA founder Victoria Young Lanier

Below: With RGT co-chair Gavin Lurssen and company, and with Vets On Set' founder Dave Rosen and players at sponsor hole: Desert 1 at Sand Canyon Country Club.

For over two decades (70s and 80s), Grammy-winning producer, arranger and musician James Anthony Carmichael shaped the R&B and pop landscape with music that resonates today.

Born in Alabama, James Carmichael came to Los Angeles to become Motown's secret weapon. The label was moving beyond its Detroit hit-factory era and building a broader Los Angeles-based sound: more album-oriented, more cinematic and more polished. Carmichael became a crucial bridge between classic Motown and the sophisticated crossover soul that carried the company into a new decade supporting hits by Gladys Knight & The Pips, and The Jackson 5 but was most noted for his career-changing partnership with the Commodores. As producer and arranger for the group, Carmichael helped guide the Commodores’ full evolution, both as a hard funk outfit and as a group that over time became equally known for dance jams and love ballads. With the group, he shaped a string of hits including Just to Be Close to You, Easy, Brick House, Three Times a Lady, Sail On, and Lady (You Bring Me Up).

Lionel Richie's second solo album produced by Carmichael, Richie and David Foster, Can't Slow Down (left) sold 20 million copies worldwide, making it Richie's best-selling album

When Lionel Richie left the Commodores, Carmichael continued with him, helping create one of the most successful solo runs of the 1980s. Their work together included charting songs Truly, All Night Long, Hello, Stuck on You, Dancing on the Ceiling and Say You, Say Me. Carmichael also co-produced Richie’s monumental duet with Diana Ross, Endless Love. In 1985, Carmichael and Richie won the Grammy for Producer of the Year, and Carmichael shared in the Album of the Year Grammy for Richie’s blockbuster Can’t Slow Down.

Outside of Motown, Carmichael helmed the boards for the imperial run of Atlantic Starr, including the iconic hits Send For Me, Am I Dreaming and Circles. 

According to his family, Carmichael chose to take a break from music in the 90s. His family surrounded him at the time of his death last month on June 4, 2026. He's survived by his wife Iris and his children Ishar and Kendra. 

We met up with Recording and Mixing Engineer and Dolby Atmos Specialist Ralph Sutton (Stevie Wonder, Lionel Richie) who was there as a young assistant engineer to witness Mr Carmichael's genius.

"He (James Carmichael) always brought me back to the same foundation: The groove, the rhythm section, the arrangement, and the sound are all there to support the song."

--Ralph Sutton, Recording and Mixing Engineer and Dolby Atmos Specialist

SE: You knew James Carmichael and his nephew Lloyd Tolbert when they were working with Lionel Richie. Talk about how you met.

RS: I first met James in 1982, when I was a young staff engineer at Motown Hitsville in Los Angeles. I was assigned to work with James and recording engineer Cal Harris on Atlantic Starr sessions. The Atlantic Starr album on which my work is documented is Yours Forever.

In 1983, I was assigned to assist Cal during the Hitsville sessions for Lionel Richie’s Can’t Slow Down album. That began a relationship with James that grew from producer and young engineer into something much deeper. James became like an uncle to me.

As my career developed, I moved from assisting Cal to becoming James’s and Lionel’s recording engineer. We worked together for many years, including Lionel’s Time album, which I recorded and mixed, and we continued working on other projects afterward. James was my producer, mentor, friend, and family.

SE: Share a fond memory with James.

RS: One of my fondest memories is how seriously James took my development. He made it his business to teach me song structure and how to approach each recording.

He always brought me back to the same foundation: the song is the most important thing. The groove, the rhythm section, the arrangement, and the sound are all there to support the song.

James did not merely give me instructions for a session. He taught me a way of thinking. That lesson remains at the center of how I approach recording and mixing today.

SE: You also lost your friend (James' nephew) songwriter/arranger Lloyd Tolbert in 2019. How do you remember Lloyd?

RS: I remember Lloyd with great love and affection. He was a dear friend, and losing him was deeply personal.Lloyd was an exceptionally gifted musician and an important part of the creative family surrounding James and Lionel. We spent many hours together making music. He understood that keyboards, programming, arrangements, and technology should never overshadow the song.

I remember his musical gift, his presence, and the bond we shared. He will always be part of some very important years in my life and career.


SE: How would you describe James and his production style?

RS: James was musical, disciplined, patient, and completely centered on the song. He understood melody, lyrics, groove, orchestration, and emotional direction at the highest level.

His arrangements could be rich and expansive, but they were never created simply to impress. Every instrument had a reason for being there. He knew how to make a record feel large while keeping the singer and the song at the center.

James could hear the finished record while it was still being built, and he guided everyone toward it with quiet authority. Much of the way I approach recording and mixing comes directly from what James taught me.

With more than 80 million albums sold across the globe, Foreigner is considered to be one of the most popular rock acts in the world. Audio and video streams of Foreigner ’s hits are approaching 20 million per week.

Primary Wave Music, the leading independent publisher of iconic and legendary music in the world, announced its partnership with the legendary Mick Jones of Grammy nominated band Foreigner. The new partnership includes Jones' publishing and recording catalogs, as well as name, image, and likeness and touring of Foreigner. Access to Primary Wave’s marketing team and publishing infrastructure will be provided with plans for all teams to work closely with the band's new marketing, branding, digital, and synchronization opportunities, as well as film & television projects.

Guitarist and founder Mick Jones' catalog sports hits like Juke Box Hero, Waiting For A Girl Like You, Cold As Ice, Feels Like The First Time, Urgent, Say You Will, and I Want To Know What Love Is.

Mick Jones said of the partnership, “Larry Mestel has created a unique company that focuses on heritage artists and develops them with incredible success. I am personally thrilled that he and his team of professionals will be working alongside my long-term friends and managers, Phil Carson and Stewart Young, to build upon the awareness of Foreigner and our songs. Over twenty years ago, I reformed the band with the finest musicians I could find. This year, we will celebrate the 50th Anniversary of the 1977 New York founding with a live album and movie that features original members Lou Gramm and Al Greenwood joining Foregner for a magnificent concert on Ellis Island. I can’t think of a better home for this and Foreigner's future than Primary Wave.”

Larry Mestel, Primary Wave's CEO & Founder, said, “Mick Jones is one of the most prolific songwriters of all time, and Foreigner is one of the few remaining super groups that continue to provide an amazing live experience. We are honored to partner with Mick, Phil Carson, Stewart Young, and the band to help take their songs and brand to even higher levels.” 

Primary Wave’s Eric Baker adds, “Foreigner’s music has become part of the fabric of global culture, and we are honored to welcome this legendary band and song catalog into the Primary Wave Music family.” 

Listen here

The city of Santa Monica has partnered with Goldenvoice, the group behind Coachella Valley Music and Arts Festival and Stagecoach Festival, to produce a first-of-its-kind music festival on Santa Monica Beach on Saturday, Sept. 26, and Sunday, Sept. 27.

With the Santa Monica Pier framing the main stage, Ocean Way Festival brings together rock, soul, indie and beyond across two stages for an all-ages, day-into-night experience on the sand.

The Festival will feature a main stage with five acts per day, a second stage offering a more intimate setting, and thoughtfully designed gathering spaces. The grounds blend standing room and open blanket areas, designed for the way people naturally spend a day at the beach.

Festival hours are noon to 11 p.m. on Saturday and noon to 10 p.m. on Sunday.

For official Ocean Way Festival information and to register for tickets, click here.

Music gives us a great escape by helping us relax, connect, and lift our mood. Music clubs are the lifeline for musicians and their fans. The much loved Bel-Air Vibrato Grill supper club founded by the legendary Herb Alpert doubles as a high-end jazz venue.

When it comes to the LA vibe, there's only one spot for jazz and it’s spelled V-i-b-r-a-t-o!

The club sits at the top of Mulholland Drive between Beverly Hills and "the Valley" and is the kind of place where you get a UCLA-adjacent sophisticated crowd that keeps a low profile, along with your garden variety celebrities.

The room is very hip with lots of modern paintings and sculptures (done by Herb Alpert himself).

The indirect lighting is complementary for the hipsters and influences. The stage is a half-circle and BIG accommodating 20+ musicians. Before the artist is introduced, Alpert's recorded voice fills the room, welcoming everyone and asking guests to minimize conversations during the show (plus there are table signs asking guests to speak softly during the show). "Hope you enjoy the music as well as the food. Thanks again for coming tonight." says the former A&M label boss and Tijuana Brass Band founder turned philanthropist.

The stage sound and lighting are all first class. The menu is California steakhouse. The shrimp cocktail and the lamb lollypops in a creme sauce with pomegranate seeds are out of this world and paired with their nice selection of wines and cocktails, now we got your attention!

The staff here are most accommodating, giving you a top-tier Michelin dining experience paired with a high-end theatrical performance.

On a given night the club hosts some of the top music talents in the world. We were there on a Tuesday night on July 21 to hear The Brent Fischer Orchestra which treated the full room with their Summer Salsa, Funk & Jazz party featuring special guest singers.

The Fischer Orchestra program stayed on point with high octave salsa, funk and jazz and selections from their recordings of over 75 original compositions. Maria Puga Lareo sang the Fischer standard, Una Mañana (Morning in Spanish) from their Voices...And Sometimes Instruments album backed by the Fischer Latin Jazz Group. Vi Jordan mellifluous voice embraced The Butterfly Samba (from the Intenso album) accompanied by the orchestra's colorful flute section, fluttering like butterflies in the end.

Chanteuse Deborah Silver sang on the Irvin Berlin classic I Got My Love To Keep Me Warm arranged by Brent Fischer. Hannah Rose Lewis' voice brought out the funky side with Fischer standard Funquiado.

The big band performed Machaca (along with Funquiado) by Clare Fischer, from their 2012 Grammy-winning album Ritmo. The band played a lesser known Fischer original, The Greek (written and dedicated to the composer's father-in-law) and George Gershwin's Soon, again, arranged by Brent.

We also heard the hard-hitting funk and jazz tune Refuse to be Saved from an unusual collaboration with Elvis Costello and The Roots, on their album for Blue Note, Wise Up Ghost, here arranged by Brent Fischer for the big band.

The BRENT FISCHER ORCHESTRA has appeared live and on numerous recordings with Brent Fischer producing and arranging for ensembles of 5 to 70 musicians, and for iconic artists including: Michael Jackson, Sheila E, Prince, D'Angelo, and Usher. This year the orchestra appears on The Psycodelics new single Middle Man released last month and was also featured on Matt B's album: Alkebulan II (winner of Best Global Music Album at the 67th Grammy Awards).

Fischer Orchestra players are handpicked from a choice pool of musicians you hear on albums, concerts (Billy Childs, Billy Joel, Poncho Sanchez...), shows, and films. Partial credits: Jeremy Lappitt, Will Vargas, Brian Clancy, Brandon Wilkins, Tim McKay, Ken Fisher on reeds. Jason Colby, Nate Johnson, Roger Garcia, Kris Berg on Saxes. Aidan Richie, Ido Meshulam on trombones, and all backed by a solid rhythm section featuring: Marcelo Carelli, drums; Ken Wild, Basses (electric and upright), and Adam Hersh, piano.

They are skilled players appearing on the world stage with their prized instruments (baritone and base saxes, contra bass clarinets, etc) often ready to perform after just one rehearsal. Their energy and musical expression are like a modern wall of sound that envelopes and helps develop our listening skill. The magic happens when you find your present moment and walk away charged, wanting to come back for more!

The band leader, Brent Fischer announced the celebration of his father, Dr Clare Fischer's centennial in 2028. And that's something for us listeners to look forward to.

Below: The Brent Fischer Orchestra Featuring Singer Maria Puga Lareo on July 21,2026 photo: studioexpresso

Until next month,

Express your love for music and support artists direct, live or in the studio. We're listening. Tell us about your new release, upcoming event, or reach out for music production services. Until next month, 


Music Lives and Moves!

Claris Sayadian-Dodge, founder/publisher

claris@studioexpresso.com

with Recording Project's Ian Charbonneau at Vibrato on July 21