June 2026

Independence Day celebrations in the US are lighting up souls and skies and we got music to go with it from a South Carolina band and their self-produced sophomore album. We listen to a curated set by a DJ turned creator in Hollywood, and take you to the windy city where dreams of a recording campus are born with an award-winning studio designer. A label boss is on the road with his band. Another label is expanding. See if you recognize these two musicians in a NoHo studio, and more...Get your golf and poker game on, and meet us on the the green this coming Monday on June 29 (you can still sign up)! Then grab an espresso & enjoy this month's serving!

Psycodelics Release Only Takes Forever

Self-Produced Album Features The Brent Fischer Orchestra

The Psycodelics (take out the H and put in the O in Psychedelics) are a South Carolina-based funk and soul super group known for what they call Modern Black American music.The band skillfully blends rhythm and blues, jazz, and disco with fresh funk rock. Formed in Charleston in 2019, the Psycodelics released their first single, Middle Man on May 29 of this year from their sophomore album, Only Takes Forever. The album shows reverence for American culture and music. It's modern with hints of retro that takes you to chill places.

Middle Man pulsates with rhythmic-fireworks, just in time for your Juneteenth & July 4th playlist and celebrations. Like in a good conversation, the strings for the song provide harmonic colors while the rhythm section featuring keyboardist Noah Jones, drummer Sean Bing, Chris Barnwell on Percussion, guitarists Whitt Burn and Jim Rubush, and Cameron Wescott on bass and lead vocals, drive the groove.

Feel Like Making Love is a modern take on Eugene McDaniels classic made-famous by Queen of Soul Roberta Flack (originally recorded in1974). The minute-long funky intro opens the song followed by lush and chill strings, reminiscent of Prince, and Chaka Khan, courtesy of the arranger, Brent Fischer (D'Angelo, Usher, The Roots, Elvis Costello).

Wescott's voice is chill and pulls the listener in backed by the right amount of tension and release created by the strings (violins, violas, cellos), at times playing counterpoint to Wescott's highly expressive voice, with a delicious independent melody weaving in, and out.

The Psycodelics recorded two tracks featuring The Brent Fischer Orchestra with engineer Matt Brownlie at One on One studios in North Hollywood. The album offers nine tracks with titles: You’ve Got To Know, Lonely - Interlude, Haudidwegitheer, Delic Nation - Interlude (here the weeping Fender guitars bring back Jimi Hendrix’s blistering, feedback-heavy rendition of The Star-Spangled Banner), Charge It To The Game and the title track, Only Takes Forever.

The group's dynamic Five-piece lineup consists of songwriter and lyricist Noah Jones (keyboards), and producer Cameron Caminator Wescott (lead vocals, bass) who shares mixing credits with engineer Matt Zutell. The band include members: Whitt Burn (guitar, vocals), Sean Bing (drums, vocals), and Chris Barnwell (percussion/drums).

The band released their acclaimed debut album Please Keep Off the Grass, and were the subject of an award-winning documentary.

Top: The Psycodlics (official photo courtesy of artist)

Above L-R: Cameron “Caminator” Wescott, Whitt Burn, Manager Max Becker, Chris Barnwell, Noah Jones, and Brent Fischer at One on One, North Hollywood

Photo: studioexpresso

Song: Middle Man

Artist: Psycodelics

Arranger/Orchestra Producer: Brent Fischer

The cover art for the first single Middle Man, by The Psycodelics from their upcoming record Only Takes Forever released on June 19, is illustrated by the concept artist Ronald Root @ron_route

Above: The Psycodelics with Grammy-winning Orchestra arranger and leader Brent Fischer Photo: studioexpresso

The Psycodelics Album Only Takes Forever



You’ve Got To Know

Lonely - Interlude

Haudidwegitheer

Delic Nation - Interlude

Middle Man

Don’t Want You No More

Feel Like Makin’ Love

Charge It To The Game

Only Takes Forever

The album was mastered by Grammy Nominated mastering engineer Ryan Schwabe.

The Psycodelics roll up funk, rock, and jazz into a hot burrito and serve it for your summer concert experience. The band has plenty of live gigs under their belt with a loyal following. They have shared the stage with artists such as Neal Francis, The Fearless Flyers, and Durand Jones and the Indications, performing at festivals like Peach Fest, Joshua Tree Music Festival, and Jam Cruise. You can find them performing at intimate venues like their NPR's Tiny Desk submission, The Sugarshack Sessions (FL) or bigger theaters like the Greek in LA.
Don't miss the band at the Echo, LA on July 9, 8PM at . Tickets here.

Music has been a part of Cameron's life since the day he was born. Raised on the Sea Islands of Charleston, SC his musical career started by playing drums in church starting at the age of 3. He quickly became known as one the most talented drummers in town not only amongst his peers his age, but the entire music community. 

Cameron graduated from the Charleston County School of the Arts in 2019. Where he studied percussion and performed in the jazz orchestra. During the pandemic of 2020 Cameron first started to release music under the name Caminator.

In 2023, he released his first EP Is This Real? where he wrote, produced, performed and mixed the entire album on his iphone under the name Caminator. His debut album The World Needs Haters which he also wrote, produced, performed and mixed on his iphone.

Cameron started his professional touring career with Stop Light Observations in 2022 and currently tours with the band he founded with Keyboardist Noah Jones (they met in high school) The Psycodelics and Caminator, both of which have garnered attention nationwide.

We met up with the producer Cameron Caminator Wescott for this studioexpresso interview. 

"We believe that the music is a psychedelic experience that’s hard to put into words...it’s more-so a feeling. Combine that with our love and inspiration from Funkadelic and how crazy our live show can get..."

--Cameron “Caminator” Wescott of The The Psycodelics

SE: The Psycodelics first formed in 2019 as a four-piece band--keyboardist Noah Jones, drummer Sean Bing, guitarist Whitt Burn and you on bass and lead vocals. List other musicians that appear on the new album

CW: The album also features Chris Barnwell on Percussion and Jim Rubush on Guitar.

SE: You recorded Middle Man and Feel Like Making Love from the new album in LA with Brent Fischer - how did this collaboration come about and what can you say about your experience working with him?

CW: I’ve been a fan of Brent for many years, and am especially fond of his work with both Prince and D’Angelo. This compelled me to reach out to Brent and see if he would be interested in arranging strings for the new album. The arrangements ended up becoming an integral part of the songs and I couldn’t imagine the songs without them!

SE: What's behind the band name The Psycodelics?

CW: We believe that the music is a psychedelic experience that’s hard to put into words; it’s more-so a feeling. Combine that with our love and inspiration from Funkadelic and how crazy the live show can get, and you have The Psycodelics. (thinking proactively, the decision for us to drop the “H” was for us to easily track Metadata)

SE: How would you characterize your overall sound. Define what you call "Modern Black" music? your music inspirations or influences? 

CW: It’s hard to describe our sound but If we had to, it’d be a culmination of Funk + Rock + Pop. Modern “Black American Music” is a term coined by Brian Alexander Morgan (SWV, Faith Evans, Nas) that refers to the music made by African-Americans, and encompasses all genres. We have plenty of influences, such as Parliament Funkadelic, Michael Jackson, Prince, and OutKast just to name a few. 

SE: What brands would the band feel comfortable endorsing?
CW: We’d love to be endorsed by Fender, considering all the guitarists in the band play either their guitars or amplifiers any given night.

SE: Any hobbies or other passions besides music you/your band want to share?

CW: Fitness has become a hobby for some of the members of the band, with most of the guys working out whenever they can during our busy schedule. We’ve also taken a liking to Chess.

SE: Favorite beverage?

CW: Unanimously, Water!

SE: Any secret hand shakes or tradition before going on stage?

CW: We always take a moment to pray before we go on-stage. We ask that God allows us to give the most spectacular performance we can possibly give and that we have fun while we’re up there.

Psycodelics new album Only Takes Forever offers bright colors and puts you in flow state where you're completely immersed in the now and feel like moving (sans taking the psychedelic). Try it for yourself!

Follow the band : @thepsycodelics


Watch Cameron Caminator Wescott exploring creative possibilities and giving a sneak-peek of his vocal process with recording engineer Matt Zutell of Coast Records. Featuring Only Takes Forever , the title track from The Psycodelics’ new album here

"My most important tool is my extensive harmony and orchestration vocabulary. It’s what allows me to differentiate my sound and never worry about getting writer’s block. Fresh ideas always abound!"

--Brent Fischer

A multi-instrumentalist (bass, vibes, keys, drums), Brent Fischer moves easily between genres - Jazz, Pop, Latin, R&B, Symphonic and more. His credits appear on over 30 million albums for iconic artists including Usher, Michael Jackson, Elvis Costello & The Roots, Raphael Saadiq, and D'Angelo (won Grammys® for Best R&B Album and Song for "Really Love" from his album  "Black Messiah" -- where Fischer is credited as arranger and producer) and in 2025 for Matt B and his album: Alkebulan II (Best Global Music Album) at the 67th Grammy Awards.

The BRENT FISCHER ORCHESTRA has appeared live and on numerous recordings with Fischer producing ensembles 5 to 70. His big band and Latin Jazz ensembles have performed worldwide



Coming up in July, The Brent Fischer Orchestra plays Salsa, funk and jazz with 15 horns plus special guest singers Maria Puga Lareo, Deborah Silver, Vi Jordan and more on Tuesday July 21, 7:30 pm Tix @ Herb Alpert's Vibrato, Los Angeles.

We met up with Brent Fischer regarding his collaboration with The Psycodelics in June:

SE: Psycodelics are calling their music "Modern Black American Music" How do you define modern music?

BF: Ideally, as is the case with the Psycodelics, modern music acknowledges and draws from all that which transpired before. It uses elements from many different eras and philosophies to blend into a new aesthetic. 

SE: You worked on Feel like Making Love, and Middle Man on their new album: Only Takes Forever- what was your approach to these songs and what can you say about the band?

BF: These fine gentleman are masters of their craft. Because of the influences they showed on the songs I arranged orchestra for, I was inspired to include subtle quotes from classic hit songs. My approach is always to further bring out the emotion in the music by using the orchestra to support and texturize what the vocalists and band is doing. 

SE: How did the band cross paths with you and where did you record these songs? 

BF: They told me they had been following my career going way back to my work for The Roots, D’Angelo and others. That was a great honor for me to know they were so aware of what it is that I do. We recorded at One On One Studios in LA, which is where my Dad, Clare Fischer, and I had done a lot of work for Prince and many others in the past. 

SE: Any advantages to handling all the orchestra production yourself vs just writing the arrangement?

BF: Totally. When I’m writing for players that I have selected especially for the session, I can get things done very efficiently with maximum impact. My creative vision becomes a part of the artist’s creative vision seamlessly.

SE: Brent Fischer Orchestra has been featured on numerous albums. How is your approach different or similar when you work with majors vs independent artists?

BF: I am always committed to being of service to the music first. It used to be that a large orchestra was needed to get a good sound but the players I have found in the last 10-15 years are so highly skilled that I can still get a huge sound from a small group when needed. 

SE: Your orchestra plays live - coming up on July 21 at Herb Alpert's club, Vibrato. What can you tell us about your set and your musicians?

BF: Brent Fischer Orchestra is a philosophy more than a fixed group. It has been anything from 5 string players to a full ensemble including brass and woodwinds. For my July 21st concert, we have 15 horns plus rhythm section AND special guest vocalists. The styles we’ll hit on that night include Salsa, Funk and Jazz, all done in Fischer style including plenty of classics from my dad’s amazing catalog. 

SE: Is there a genre of music that you haven't worked with or would like to?

BF: Progressive Metal and Progressive Rock. I have plenty of experience in that as a musician but never written orchestral or horn arrangements for any artists in those genres…yet. Having said that, even though I can be “typecast” sometimes as a jazz/R&B guy, I have actually enjoyed working in an amazing variety of styles. 

SE: Where do you do your writing (on the piano, in your head, in the car...) and what is the most important tool in your tool box?

BF: All of the above and more. Great ideas have come to me in the shower, in my dreams, on airplanes. My most important tool is my extensive harmony and orchestration vocabulary. It’s what allows me to differentiate my sound and never worry about getting writer’s block. Fresh ideas always abound!



DJ Khalil + Friends JUST KREATE

Curated Live Set by The Producer At The Gibson Guitar Center

DJ Khalil

DJ Khalil + Friends came together to JUST KREATE — an invite-only live performance experience at the Gibson Showroom in Los Angeles on June 3, 2026.

Universal Audio, Gibson, and WAVS joined KRK, celebrating its 40th Anniversary for an evening with artists, producers, and for a rare and intimate celebration of performance, storytelling, and sound.

The live creative session and real-time sonic showcase featured musicians and collaborators Tamuz on drums, Dan Seeff on bass, Josh Mease on guitar, Al Keith on percussion, Paul Cornish and Havier Santiago on keys. After introducing the band to a packed room, the band played a curated set by DJ Khalil. The live session was transformed into a limited-edition 40-piece sample pack, personally chopped and curated by Khalil himself, then released on WAVS — giving fans and creators around the world access to a piece of this iconic moment.

LA based 5XGrammy® award-winning producer, songwriter, and DJ Khalil's sound has helped shape some of the most influential hip-hop and crossover records of the last two decades.

Khalil first emerged as one half of the acclaimed underground duo Self Scientific before catching the attention of Dr. Dre, who brought him into the fold as an in-house producer at Aftermath Records — a pivotal chapter that sharpened Khalil’s studio discipline and launched his work with artists including 50 Cent, G-Unit, and Jay-Z. From that foundation, Khalil has built a world-class production career spanning landmark collaborations with Eminem, Kendrick Lamar, Kanye West, Drake, Anderson .Paak, Logic, Pink, A$AP Rocky, Nipsey Hussle, Benny The Butcher, and Celine Dion, among many others. His credits stretch across major albums and defining records, including work connected to Eminem’s Recovery and The Marshall Mathers LP 2, Kanye West’s Donda, Kendrick Lamar’s Mr. Morale & The Big Steppers, Big Sean’s I Decided., Anderson .Paak’s Malibu, Logic’s Everybody and Bobby Tarantino II, Nipsey Hussle’s Victory Lap, and Eminem’s Revival.

DJ Khalil introduces the band for JUST KREATE at Gibson showroom on June 3, 2026 photo: studioexpresso

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

Third Coast Music to transform the former Stockyards Bank Building in Chicago. Rendering of the Scoring Stage by nonzero\architecture's Peter Grueneisen.

"This project will have a huge impact on the Back of the Yards neighborhood, which is an emerging community on the south side of Chicago...With its new Scoring Stage and learning center to help young people gain exposure to the multitude of jobs associated with the recording industry."
--Gary A Pachucki of IBT Group

In the movie, Field of Dreams, an Iowa farmer (played by Kevin Costner) hears a mysterious voice in his cornfield whispering, "If you build it, he will come," prompting him to construct a baseball diamond. Since then, the slightly altered line: "If you build it, they will come" has become a cultural staple. That sentiment appears to be the mantra for the visionaries, Susan Chatman, Katherine Hughes, and Rich Daniels, behind Third Coast Music in Chicago.

Award-winning lead architect for the firm nonzero\architecture Peter Grueneisen is on board. His latest book Where Dreams Are Born (right) offers the renderings he did of the Scoring Stage, commissioned by Third Coast Music (a nonprofit focused on the city’s music culture). The historic Stock Yards Bank & Trust building was purchased from the city of Chicago for $1.9 million.

The facility will allow film composers to produce scores locally, a capability largely absent in Illinois despite a $600 million annual film and television production spend.

Chicago is rich with recording history. The legendary Bill Putnam comes to mind. He came to Hollywood from Chicago's Universal Recording Corporation which he co-founded in 1946. During the 1950s, his operation was widely considered the "grand palace" of independent studios, laying the foundation for modern recording techniques and equipment in US and abroad.

"The conceptual design consists of a scoring stage for at least one hundred musicians, complemented by choral and observation balconies and isolation booths. Control and mix rooms will also be built, along with the necessary infrastructure to run and service a major facility of this scale, such as edit bays, mastering rooms and production offices. The facility will broaden the scope of available opportunities for the large, diverse and talented pool of musicians and film makers in the city, while providing educational programs for youths and the public," adds Grueneisen.

"Peter is an amazing architect with a tremendous amount of experience in designing world class recording studios, and we are so fortunate to have Peter leading this project," says Gary A Pachucki, the founder and Principal of IBT Group, a 25-year-old full-service development and advisory firm that has led the way with award winning projects in Chicago.

"We are thrilled to be part of this project and look forward to seeing it become the foundation of an expanding community. This project will have a huge impact on the Back of the Yards neighborhood, which is an emerging community on the south side of Chicago. Not only the approximately $80 million investment in the historic Stockyards Bank building and new Scoring Stage but the ability to have a learning center to help young people gain exposure to the multitude of jobs associated with the recording industry," adds Pachucki

Planning and construction of this magnitude requires time, funds and patience. "About eight years after conceiving of a hypothetical scoring stage for Third Coast Music in Chicago, and after helping to secure a development site with a customized building design, nonzero\architecture and studio bau:ton have begun the schematic design process for the project," said Peter Grueneisen in a post.

The nonprofit’s plans call for a 31,700-square-foot building to be constructed that would house an 8,000-square-foot recording studio for orchestras, choirs and ensembles of up to 100 people, plus post-production facilities.

Third Coast Music would develop an impressive campus for music production at 4150 South Halsted Street in Canaryville, bridging a critical gap in the city’s “booming” film and TV industry.

City of Chicago’s Ciere Boatright and Third Coast Music’s Susan Chatman with 4150 South Halsted Street in Chicago (Google Maps, City of Chicago, Third Coast Music)

"Currently, the rendering materials developed...are being used for fundraising purposes, while we are in the process of refining the designs further.”

--Peter Grueneisen of nonzero\architecture

On nonzero\architecture official site it says: nonzero\architecture (nz\a) explores the potential of architecture to enrich and enhance people’s lives.

What's behind the firm's name nz\a?

“The founders of game theory […] made a basic distinction between ‘zero-sum’ games and ‘non-zero-sum’ games. In zero-sum games, the fortunes of the players are inversely related. In tennis, in chess, in boxing, one contestant’s gain is the other’s loss. In non-zero-sum games, one player’s gain needn’t be bad news for the other(s). Indeed, in highly non-zero-sum games the players’ interests overlap entirely”.

Successful examples of non-zero sum games can be seen in collaborations, international trade, business partnerships, R&D and the Third Coast Music collaboration.

Enjoy this interview with nz\a architect Peter Grueneisen.

SE:Chicago wants to take a leading role in entertainment industry (Illinois brings in $600 million in film revenue) and Third Coast Music brought you on board to realize their vision. Who do you credit for this vision and what was it like working with them?

PG: The project was started more than 8 years ago by Susan Chatman and Katherine Hughes, they initiated the idea and asked us to come up with a hypothetical design for a scoring stage. They are both professional musicians with ties to Chicago and felt the time was right to support the community with a facility like this. Rich Daniels, who is deeply involved in the Chicago music scene, joined the team a few years later, the three of them now form the group of directors guiding the project. With the help of an experienced developer, Gary Pachuki, the project is now moving forward in full swing.

SE: Expand on your role with the site development and building customizing of Thrid Coast Music (TCM). Good things take time and patience!

PG: After a long search for the right location, TCM identified a site in the City of Chicago that was available to developers if they could make a case for the right use. The old Stockyard Bank Building was the chosen site, and it included an empty lot across the street, ideal for a ground-up scoring stage construction. Nonzero was able to program and design a building that complemented the bank and contained the scoring stage and various other post-production uses. The designs and renderings were used to petition the City for the use of the site and resulted in a successful bid. 

Based on the concepts developed by nonzero and TCM during that stage, TCM was granted the right to develop the property. Currently, the rendering materials developed for both the interiors of the stage and the exterior building during that phase are being used for fundraising purposes, while we are in the process of refining the designs further.

SE: What was the most acoustically challenging aspect of this project? 

PG: Building a highly sensitive recording space in an urban setting with traffic noise and vibrations is always a challenge, but being able to build a ground-up facility makes it easier to account for all those issues. In addition, having an experienced team of acousticians and studio architects working together closely is the best way to overcome any challenges. We are confident this project will conform to the highest acoustic standards anywhere in the world.

SE: I understand this new scoring stage has support of the Federation of Musicians and the award-winning Chicago Symphony - what were the top 3 requirements that went into your design besides accommodating 100 musicians?

PG: Besides the requirements for a superb acoustic main recording space, having a variety of secondary booths and a technically and an acoustically stage-of-the art control room were always high on the list. Adding the necessary support spaces like a mix and dub stage and plenty of edit bays and production suites was also a requirement. We are also hoping to incorporate a choral balcony to add even more functionality to the stage and to allow for a variety of recording scenarios. A second phase is planned to include an additional smaller recording studio, an ADR Foley stage as well as an Atmos mix room and more production space.

And then the non-profit aspects of the project, providing educational opportunities for youth programs and access to local users was always a primary goal of the project.

SE: You've successfully completed many composer writing/mixing studios including for award-winning composers James Newton Howard and Benjamin Wallfisch here in LA - name a few more composers you've worked with, and how is working with private projects different from commercial facilities?

PG: We have been very fortunate to work with many of the best composers in the world, starting of course with Hans Zimmer, who has entrusted us with many projects over several years. Without trying to list everyone and in the hope that nobody feels left out, I can mention multiple Oscar winner Ludwig Goransson, Teddy Shapiro, Geoff Zanelli, Jimmy Levine, Atli Orvarsson, Heitor Pereira, Charlie Clouser, Aaron Zigman, Terence Blanchard, Kris Bowers, John Debney, Toby Chu, Rupert Gregson-Williams, Henry Jackman, Matt Kajcienski, Adam Schoenberg, Philippe Sarde, Jeff Russo, Philip White, Joseph Trapanese, Greg Wells, Michael Wandmacher, Christophe Beck, arrangers Chris Walden, and William Ross, etc.

While private projects are much more tailored to the individual clients, a commercial facility has to accommodate many different tastes and uses, so it is by definition a little more generic. That doesn’t mean it has to be boring and creating an inspiring environment is crucial to all types of projects.

SE: The seamless beauty of an architectural masterpiece often completely overshadows the monumental, complex engineering required to bring it to life. What can you say about your engineering team(s) for each project?

PG: While the engineering for a project like this is certainly very complex and requires a highly skilled team of experts, the goal usually is to make the end result seem effortless and natural. A good part of the technical portions of a project like this is to make it disappear and blend into the background. We are lucky to be able to rely on a great group of in-house and regular external collaborators. Between the acoustics, the AV systems integration, the structural, mechanical and electrical systems, there is no shortage of technical complexity. But I think our job is to make all this work together flawlessly, while ending up with a project that does not wear the difficulties on its sleeve and is simply a great building with spaces that are welcoming, inspiring and pleasant to use.

SE: In your book Where Dreams Are Born there's a rendering of the scoring stage for Third Coast Music. What has been the dreamiest projects from this book and reasons why?

PG: This of course is the same old question about who is your favorite child, it can’t be answered! 

We were lucky to have been given the opportunity to design and build quite a few projects that all have their own charms and positive aspects. Having said that, the TCM scoring stage is definitely one of the very exciting and important works, not just because it is being developed right now. Due to its scope and size and the fact that it is a completely new building, that it will support a large number of people and groups, that it has community outreach built in and many other factors, it is a very important project for us.

SE: You say "Not everything gets built..." at least, not immediately. What percentage of your renderings are realized?

PG:This is also difficult to answer and depends on a lot of factors. The last few years have been impacted by the pandemic, industry strikes, tariffs and inflation, political obstacles and barriers, so it seems that a larger portion of projects end up not being built than normal. We hope that things will get back to a more balanced economy and environment, allowing more projects to go forward

While it is rewarding on its own to design buildings and spaces, the ultimate goal is always to see them realized in the physical world and become useful for their owners and users. 

SE: What are some new exciting materials or technology that you've used in the recent years in your designs?

PG: One technology we are using more frequently is 3-D scanning of spaces, which is very practical when working on existing buildings. From smaller projects that can simply be scanned with a smartphone to large spaces that require professional LIDAR scans, having a three-dimenslonal ‘digital twin’ of the physical building is a very useful tool.

We are also beginning to use more AI-based tools for renderings and other things, but it is important to be aware of the limitations and pitfalls that still exist with those systems.

SE: What does it mean to win so many awards (TEC Awards and others)?

PG: We are always happy if our work gets recognized, but completing a successful project is usually and award on its own!




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

Recording Industry Golf & Poker Tournament

This coming Monday, June 29th, 2026

Santa Clarita, CA



Join Golf Honorary Chairs, Gavin Lurssen and EveAnna Manley, Poker Honorary Chair, Uhlone and Morning Emcee, Michael Romanowski at the best hang of the summer!

Click here for more details and to Register today!

Above:EveAnna Manley, co-honorary Chair, Claris of studioexpresso and Robby Klein of Klein Media with friends golf carting at RIGT 2022

studioexpresso returns to Sand Canyon Country Club on Monday morning, June 29 as 2026 Recording Industry Golf + Poker Tournament (RIGT) as media sponsor! 

Join us on the green for uber fun under the sun. We will be serving Espresso Martinis to players!

Register today and enjoy a super chill Cali day with music and audio community.

For more events visit our calendar

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

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. 

"Go back to Detroit where I came from, be who I am, play like who I am and team up with some like-minded individuals.”

--Don Was

While Don Was counts jazz legend Miles Davis and country artist Hank Williams among his influences, he remains loyal to his Detroit blues roots. His current band The Pan-Detroit Ensembles are all elite Motor City jazz musicians. High Road Touring artist Don Was describes the Pan-Detroit Ensemble on the music agency’s website: “When the opportunity came to put together a new band, the message was clear to me: Go back to Detroit where I came from, be who I am, play like who I am and team up with some like-minded individuals.” While the Pan-Detroit Ensemble set-list ranges from Grateful Dead covers to new renditions of his previous work with Was (Not Was), the music combines a jazz-oriented approach with a distinctly Detroit character.

However, the Pan-Detroit Ensemble is only the latest expression of a career that has spanned decades. In 1979, Was’ big break was with the band Was (Not Was), which he founded with his close friend, David Weiss (later known as David Was). The band blended funk, rock, and soul elements and reached massive success in the 1980s, especially with the hit song Walk the Dinosaur, which landed in the “top ten” of the Billboard Hot 100. While performing with Was (Not Was), Don Was built a reputation as one of the most sought-after producers in the music industry, collaborating with iconic artists, including the Rolling Stones, Elton John, and Bonnie Raitt. Was went on to win a Grammy for Album of the Year in 1990 for his production work on Raitt’s Nick of Time. Currently, Was is the president of historic jazz record label Blue Note Records. Under his leadership, the label has balanced respect for its storied legacy while helping introduce jazz to new audiences by supporting contemporary artists.

While these accomplishments have established Was as an influential figure in the music industry, the Pan-Detroit Ensemble demonstrates that one of his greatest talents remains his ability to curate the perfect ensemble. The band’s members each contribute their distinctive styles to create the group's unique sound. The band includes Dave McMurray on saxophone, Luis Resto on keyboard, Vincent Chandler on trombone, John Douglas on trumpet, Jeff Canaday on drums, Mahindi Masai on percussion, Wayne Gerard on guitar and Steffanie Christi’an on vocals. Each of these musicians is tied to Detroit and brings a unique perspective shaped by the city's rich musical heritage. Their collective experience and chemistry allow the group to reinterpret familiar songs while creating performances that feel fresh, spontaneous, and distinctly rooted in the culture of their hometown.

Don Was and the Pan-Detroit Ensemble are currently touring across America. In July, they will be playing the Waterfront Blues Festival in Portland, OR on July 4th, and the High Sierra Music Festival in Quincy, CA on July 5th. In August, they will do a larger run of dates, performing at the Musical Instrument Museum in Phoenix, AZ on August 3rd, La Rosa in Tucson, AZ on August 5th, The Bridge at Santa Fe. Brewing Co. in Santa Fe, NM on August 6th, the Telluride Jazz Festival in Telluride, CO on August 7th, The Gardens on Spring Creek in Fort Collins, CO on August 8th, the Boulder Theater in Boulder, CA on August 9th, the Vilar Performing Arts Center at Beaver Creek, CO on August 10th, and the Hollywood Casino Amphitheatre at Maryland Heights, MO on August 18th.

Don Was - bass Steffanie Christi'an - vocals Dave McMurray - sax Luis Resto - keys Jeff Canady - drums Wayne Gerard - Guitar Vince Chandler - trombone John Douglas - trumpet Mahindi Masai - percussion Listen to Midnight Marauders in studioexpresso's Video Spotlight in studioexpresso's Video Spotlight here

Clive Jay Davis had a visible role as a starmaker for half a century. Legendary artists like Whitney Houston, Bruce Springsteen, Patti Smith, Alan Jackson, Dionne Warwick, Johnny Cash, Aretha Franklin and Carlos Santana were among many touched by his genius as music executive and producer.

"He discovered, mentored, and championed the greatest artists in modern music history, leaving an indelible mark on culture that will endure for generations...No matter how extraordinary his professional accomplishments, he never lost sight of what mattered most: the people he loved," said the family in a post.

He was 94.

The five-time Grammy winner held positions at several major music labels, including Columbia Records, RCA Music Group and BMG. He founded Arista Records in 1974 and served as its president until 2000 when he launched J Records and signed Alicia Keys. He helped to form LaFace Records in 1989 with L.A. Reid and Babyface and signed artists like TLC, Toni Braxton and Pink. In 1994, he teamed up with a then-relatively unknown Sean Combs for a 50/50 joint venture that led to the creation of Bad Boy Records, one of the most successful hip-hop/rap labels of the decade. Its roster included the Notorious B.I.G., Faith Evans, and Combs himself. Known as the "man with the golden ears," Davis signed countless artists who went on to become some of the biggest names in music. In 2008, he was appointed chief creative officer for all of Sony Music Entertainment.

Clive Davis's pre-Grammy Galas hosted by him were known as one of the most coveted invites in the music industry. The star-studded events routinely featured an exclusive mix of music royalty, and prominent political figures.

His death was confirmed by his longtime representative Aliza Rabinoff on June 22. She added in a statement that Mr Davis “passed away peacefully from age-related illness in Manhattan, surrounded by his family and loved ones."

"Our working lives are better for having had his constant presence in the aura and perception of Sony Music.”says Rob Stringer, Chairman, Sony Music Group

The Grammy organization is powered by 30,000 members, working songwriters, performers, producers, engineers and music professionals. It serves music people by spearheading public policy efforts to protect their rights.

Around 20,000 entries are submitted each year.

There are new Categories and rule changes in effect for the 69th Grammy Awards^®, which culminate with the 2027 Grammys^® live across ABC, Disney+ and Hulu on Feb. 7, 2027.

"2027 is going to be an amazing year for the Grammy Awards, and one that reflects the extraordinary growth we’re seeing across music,” says Grammys CEO Harvey Mason jr. “

New Categories Announced in June as follows:

Best Asian Pop Music Performance

This Category recognizes artistic excellence in Asian pop music performances originating from or widely recognized within Asian markets, including but not limited to K-pop, J-pop and C-pop, with meaningful use of one or more Asian languages. Awards are presented to the performing artist(s).

Best R&B Collaboration or Duo/Group Performance*

This Category recognizes excellence in contemporary R&B performances for works by established duos or groups, as well as collaborative works between solo artists, duos and groups. Awards are presented to the performing artist(s).

Best Traditional Pop Vocal Performance

This Category recognizes excellence in singles and tracks that consist of a type and style of song and/or performance that cannot properly be intermingled with present forms of pop music. Awards are presented to the performing artist(s).

Best Traditional Folk Album**

This Category recognizes excellence in albums of traditional folk recordings. Awards are presented to artist(s), producer(s), engineer(s)/mixer(s), and songwriter(s) of new songs, if other than artist(s), of greater than 50% playing time on the album.

Best Latin Song

This Category recognizes the achievement of songwriters for newly written Latin songs predominantly in the Spanish language (at least 51% of the lyrics). Awards are presented to the songwriter(s) of new material.

*With the addition of this new category, the Best R&B Performance Category has been revised and renamed Best R&B Solo Performance.

**With the addition of this new category, the Best Folk Album Category has been revised and renamed Best Contemporary Folk Album.

Revised category descriptions and definitions, can be found on page six of the rulebook.

Key dates for the upcoming Grammy Awards season are as follows:

Aug. 31, 2025 — Aug. 28, 2026

Product Eligibility Period

June 25, 2026 — Aug. 14, 2026

Online Entry Period

Oct. 12, 2026 — Oct. 22, 2026

First Round Voting

Nov. 16, 2026

Nominees Announced for the 69th Annual Grammy Awards

Dec. 10, 2026 — Jan. 7, 2027

Final Round Voting

Feb. 7, 2027

69th Annual Grammy Awards

Grammy winner, Rock & Roll Hall of Famer, and Songwriters Hall of Famer John Fogerty was honored with the Johnny Mercer Award at last night’s Songwriters Hall of Fame Induction and Awards Gala in New York City.

The organization’s highest honor, the Johnny Mercer Award recognizes a songwriter whose body of work has had a profound and enduring impact on American music. Originally inducted into the Songwriters Hall of Fame in 2005, Fogerty now joins an elite group of Mercer Award recipients that includes Dolly Parton, Elton John, Paul Simon, Stevie Wonder, Neil Diamond, Frank Sinatra and more.

2022 Songwriters Hall of Fame Inductee Steve Miller introduced Fogerty during the ceremony, praising his “singularly recognizable style” and “timeless contributions to our musical culture.” While accepting the honor, Fogerty reflected on a songwriting journey that began in childhood, recalling how his mother first introduced him to the writers behind the songs he loved and encouraged his early fascination with songwriting. He spoke about writing his first song at age eight, forming his first band as a teenager, and preserving the ideas that would later become classics in a songwriting notebook he still treasures today.

Fogerty’s speech also touched on the challenges that shaped his career, including years spent separated from ownership of his music and the long road to reclaiming it. “In the dark times of my life, I felt this might never happen for me,” he told the audience, reflecting on the significance of receiving the Songwriters Hall of Fame’s highest honor after ultimately regaining control of his catalog.

Following his speech, Fogerty delivered a high-energy medley alongside his sons Shane and Tyler Fogerty, performing classics including Have You Ever Seen the Rain and Fortunate Son, which had the audience on their feet. 

Three of the most successful independent record labels for indie artists are Sub Pop, Secretly Group, and Ninja Tune.

These labels provide avenues for distribution, marketing, and artist development outside of major corporate conglomerates.

Ninja Tune

An influential, artist-led London label that specializes in electronic, hip-hop, and avant-garde indie acts like Bonobo and ODESZA, Ninja Tune was founded in 1990 by musicians Matt Black and Jonathan More (aka Coldcut). Ninja Tune has been at the forefront of the independent music scene for over 30 years. Concord, the world’s leading independent music company, acquired Ninja Tune and its assets (including its publishing arm, Just Isn't Music) in March 2026.

Beyond its core roster, Ninja Tune has built an expansive ecosystem through imprints and partnerships including Big Dada, Counter Records, Technicolour, Brainfeeder and ODESZA’s Foreign Family Collective. It has championed diversity through the relaunch of Big Dada as a Black, POC & Minority Ethnic-led label, supported emerging industry talent through initiatives like the Southbank Centre’s Emerging Music Professionals Course, and invested in technological innovation, publishing, and audio-visual projects. With a global team of 70+ staff, a long history of community and activist engagement, and a commitment to helping the music industry become carbon neutral by 2026, Ninja Tune continues to shape the sound — and future — of independent music worldwide.

Visit Ninja Tune for more information.

Lito Music

Concord also announced this month partnering with Lito MC Cassidy’s Lito Music. The partnership marks a strategic step in the company’s continued expansion into the global Latin music market and a commitment to invest at the highest levels in the genre’s future.

Lito, of the iconic duo Lito & Polaco (top right), is a foundational figure in the rise of the Latin urban movement. With a career spanning over 30 years in the Latin industry, he helped define the early sound and cultural framework of reggaeton, influencing generations of artists and contributing to projects recognized at the highest levels.

The strategic partnership will leverage Concord’s global teams and capabilities alongside Lito’s vision and expertise. The focus will be on building a culturally driven, globally competitive label that prioritizes high-level execution, strategic artist development, and long-term value creation across the roster.

“This partnership reflects where I am today,” said Lito MC Cassidy. “It’s about using my experience as an artist to develop new talent the right way, while continuing to work with established artists to grow global stars and take them further into the mainstream.”

“This venture is a strong example of how Concord approaches growth: by partnering with proven cultural leaders and giving them the support, resources, and global infrastructure to build something lasting,” said Tom Becci, Chief Executive, Concord Label Group. “Lito brings credibility, creative instinct, and a deep connection to the culture, and together we’re building a label designed to develop new talent, support breakthrough releases, and expand Concord’s presence across Latin music in a meaningful way.”

The grand opening of the Obama Presidential Center in Chicago's Jackson Park featured a star-studded dedication ceremony that indeed felt like a monumental national celebration. The event, which included performances by A-list musicians, was timed to coincide with both the Juneteenth holiday weekend and the approach of the United States' 250th anniversary. Christina Aguilera, Marc Anthony, Bono, Jennifer Hudson, Eddie Vedder, John Legend, Common, The Roots, Bruce Springsteen (above with Mr Obama in the Center's recording studio) all performed. Tens of thousands of people attended the opening on June 19. The center hopes to share the joys of art, music and sports. "It's an expression of thanks to the people of Chicago," said the two-term president Obama and wife Michelle (the two met few blocks away from the center). It was attended by three former U.S. presidents—Bill Clinton, George W. Bush, and Joe Biden—alongside several prominent international leaders, including former German Chancellor Angela Merkel and former Canadian Prime Minister Justin Trudeau.

Michelle Obama spoke of "the power of choice" we can all make. President Obama spoke of the "arch of justice" referenced by Rev Martin Luther King.

The Center's Media Suite—the Steven Spielberg Studio—is a comprehensive, 150-square-foot recording studio and production control room. Designed for young beat makers and students, the space is fully equipped with hardware and software to record, produce, and collaborate on new music.

Stevie Wonder closed the show with his hit Signed Sealed Delivered (I'm Yours) with dignitaries and attendees dancing everywhere.

Illinois residents receive FREE General Admission to the Presidential Center Museum every Tuesday, 10 a.m. - 5 p.m. CT More information visit here

Until next month,

Express your love for our cherished freedoms, while choosing to support story tellers, song writers and musicians. May the forth be with you!

Tell us about your new release, upcoming event, or reach out for music production services.

Until next month, May the 4th be with you!


Music Lives and Moves!

Claris Sayadian-Dodge, founder/publisher

claris@studioexpresso.com