june 2025

June takes us to the moon and back on the green with our beloved music community. Meet an award-winning producer who captures guitar legends of the surf scene in California. We remember a Beach Boy and visit the birth place of Pet Sounds. This LA studio has gone Atmos, while a life saver is in our video spotlight. We catch up with an award-winning producer who is teamed up with a label to search top creators. We've got a book, a documentary, and a lot of prized photographs to inspire and benefit good causes. Stay well, grab an espresso and enjoy this month's serving!

studioexpresso met up with Mark Linett in June for this exclusive interview

SE: You've done lot of mixing for the late and great Brian Wilson.

ML: I mixed both Brian's "Pet Sounds Live" and "Smile Live" in 5.1, and they were both released on DVD. I've also mixed much of the Beach Boys' catalog in Atmos over the past few years.

SE: Your earlier Live work introduced you to artists like Frank Zappa, ELO, and Earth Wind and Fire. You have also worked with George Massenberg, and Lee Hershberg.

What are some lessons learned from that era and these beloved engineers?

ML: That was a long time ago 1975-78. On a good night mixing a live show can be the greatest "high" an engineer can have, and on a bad night it can be just holding on for dear life. As for studio work, I met George Massenberg when I was mixing live for Earth Wind and Fire, and he helped me get a 2nd engineer job at Sunset Sound. There I learned that being a good 2nd engineer is in many ways harder than being the 1st. You have to know everything going on in the session and be the safety net for the engineer without ever making it look like he did something wrong. My time as staff engineer at Warner Bros Amigo studio was simply fantastic. I got to work with the WB staff producers - Lenny Waronker, Russ Titleman, and Ted Templeman, and on records by Rickie Lee Jones, and Randy Newman, among others. It was the very epitome of what the music business was about in those days, and exactly why I'd always dreamed of being a part of it.



SE: What are your fond memories from more recent sessions with Brian Wilson?

ML: I did some overdubs with Brian a few years ago and a live broadcast in 2017. My fondest memories are doing the SMILE album and all the 1995 sessions I did with him and Andy Paley, who passed away last year (November 1, 1951 – November 20, 2024). Brian had just been freed from the control of quack psych Eugene Landy, and he was on an incredible roll of creativity working with Andy. While some of that material has been released over the years, much of it remains in the can and I'm hoping it will get an official release soon.

SE: What was it like to work with Brian in the studio? What kind of input did he give you when it came to mixing or tracking?

ML: I started working for Brian in 1987 and the last full project was in 2017, though I continue to manage his archives and provide material for various projects. Brian preferred to listen to a mix after I got it to the point where I considered it finished, and he would then make comments about levels, etc. He was not someone who would want to listen to each instrument as the mix came together.

SE: What can you say about the photo (above) that hangs on your studio wall - the one with you, Brian Wilson and George Martin?

ML: George Martin did an interview with Brian at my place and besides taking this picture, he was kind enough to sign copy of my book "Recording the Beatles." He could not have been nicer.

SE: You received a Grammy nomination for best engineered album 4 recording and mixing Brian Wilson's first solo Grammy in 2005 which received "Best Rock Instrumental Performance" for "Mrs. O'Leary's Cow" from his SMILE album. Any thoughts you want to share from this time or these sessions?

ML: Helping Brian finish the project he started in 1966 was an honor and I also got to record the premiere shows in London as well as recording and mixing the Smile DVD which was filmed in Los Angeles.

Brian Wilson

June 20, 1942– June 11, 2025

SE: Bring us up to date on what you've been doing including your current work at I-Heart Radio

ML: I've been the music broadcast engineer at the IHeart Theater in LA for the past eleven years, doing live video streaming shows, the last two being for the Lumineers and Keith Urban.

My live recording and mixing continues. My M&B Audio Truck "Horizon" from 2009-2025 did large broadcast shows like The Grammys and The CMAs for many years. I also have a live album coming out on July 4th "legends of Surg Guitar" on Oglio Records. it's the live recording I did in 1995 at the Lighthouse in Hermosa Beach featuring original members of 1860s groups like the Chantays and The Surfaris. Thanks to surf historian John Blair, who co-produced with me, this historic gathering is finally getting its day in the sun (Pre-order the CD (ships first week of July) here: 

SE: What's your work process like at the I-Heart Burbank studio?

ML: We have a system very similar to the one that was in my remote truck with remote controlled preamps converting around 80 inputs to MADI that feeds two protools HDX recorders, plus a 3rd "Static" prodtools system that uses an AVIID D-Control 32 Fader surface as the mixer. This allows me to do the live broadcast mix and then import the audio from the recorders for remixing with the format allowing the show to be easily exported for mix elsewhere. We also record a live video feed which can be synced to the playback. We have recently started remixing some shows in Atmos as well as stereo.

SE: What's your best advise to up and coming engineers?

ML: That is a tough one since the various aspects of engineering have become so much more integrated in the past 20 years. It used to be that live engineers didn't work in the studio, and working in TV was an entirely different business, but now engineers often work for an artist in all three areas. With major label releases (and budgets) continuing to decline, I think working for an artist might be the best avenue to follow today.

SE: Beverage of choice?

ML: A fine single malt scotch

Cheers Mark...keep up the good vibrations!



Top and R: Beach Boys then and circa 2000s photos courtesy of East West studios & studioexpresso

Beach Boys' Pet Sounds album was inspired by Beatles Rubber Soul and Beatles Sr Pepper grew out of the Beatles' admiration for Pet Sounds. You couldn't have one without the other, and the sound never gets old. When you follow the bread crumbs for Pet Sounds to find out where the sounds were recorded, it takes us back to 6000 Sunset Blvd, Hollywood, California to studio 3.

Formerly Western recorders, it went through different owners, under Allen Sides' Ocean Way, later Cello, and currently East West Studios owned by Doug Rogers.

In 2006, Rogers bought the 6000 building, equipment included, for $4.9 million. He put, what he says was at least that much again, into restoring it. He left the much-revered historical studio spaces intact, but re-imagined the lounge and public spaces, including offices for his virtual instrument sample library, East West Sounds, hiring interior and industrial designer Philippe Starck, best known for his work on hotels like the Mondrian and SLS in LA. Rogers' post-recession recovery investment has paid off in real estate alone. The adjacent Technicolor, Emerson College, and other major media companies moving to the area, have helped raise the property's market value many folds since 2006.

We met up with long-time East-West manager Candace Stewart (below R) in June for this exclusive interview.

SE: Beach Boys' Pet Sounds are among many beloved albums and artists (including Mamas and the Papas) who recorded their timeless hits in studio 3 at the 6000 building. Did you meet Brian Wilson in recent years - what was it like?

CS: I had the great privilege of meeting Brian Wilson several times, including when they did the 50th anniversary of the Beach Boys in 2013. I'm so glad I got a photo of the whole band. He was kind enough to autograph a copy of Pet Sounds as well. He told me many funny stories about his many sessions here. He came in once or twice after that as recently as 2023. Always kind, always happy to be here.

SE: Who are some of the stars of today recording at East West?

CS: We've been really blessed to do a lot of great sessions recently including working with Bekon the producer on Hozier. Also working with Jon Brion, Beck and many others.

SE: Your history goes back with visionary producer and Renaissance man Doug Rogers...how long have you been working together and how would you describe Doug?

CS: Doug and I were friends for years before I came to work for him at East West. We met when I worked at Take One (now Glenwood Place) and he was working at Encore down the street in 1986. Since I returned in 2010 Doug has allowed me to steer the ship, but we are very close and though he is fairly hands off on a day to day basis, we talk all the time. He is extremely supportive with marketing and promotion for the studio. His son Blake who was my assistant for a few years is a marketing genius. Blake is the head of Marketing For East West Sounds the parent company as well as for the Studios.

SE: I understand Doug has a personal pair of ATC SCM25As just for himself! Which room does he like to work in? Other producer/engineers who like to use your ATC mains or Atmos?

CS: Doug has always had a love of rare vintage gear and has collected some amazing pieces over the years to use on the sound libraries and so that the studios have access to these wonderful tools. The Fab Four library is amazing and has some really cool Beatles era gear on it. Yes Doug is an ATC fan through and through as am I. We have the ATC 300 mains in 3 of the studios.

Doug works in all the rooms; it really just depends on what he needs to record. Jon Brion and Greg Koller like studio 1, Bekon loves studio 3. I am so lucky that most people like all the rooms and usually move around depending on what they need to record. We don't have an ATMOS room here but we have done lots of surround sessions just using matching speakers and multi channel monitoring systems.

SE: Introduce your current key staff, including chief tech and assistants. 

CS: The staff I am so lucky to lead are the greatest folks ever.

Keith Munson, my right hand man and partner in crime along with Jake Erb who helps on all things. From the runners to our chief engineer Alfredo Oresta, we have a great dedicated crew here.

SE: Your favorite Beach Boys song?

CS: God Only Knows is my favorite Beach Boys song followed by Good Vibrations both of which I played on a cassette deck on the beach in 1997 in Hawaii when I got married to my incredible husband Brian!

Nice! Happy 28th anniversary Candace and Brian...good vibrations at work!



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

photos: by the C

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.

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

Above: Ken Caillat (l) and Claus Trelby (r) in Marshmellow Skies Studio with their KRK V-Series Studio Monitors.

Marshmellow Skies Recording Studio, recognized for its professional production and development services, recently opened as a cutting-edge recording facility equipped with Dolby Atmos capabilities.

Led by GRAMMY^®-winning Record Producer and Engineer Ken Caillat (Fleetwood Mac, Joni Mitchell, Colbie Caillat), Chief Engineer Claus Trelby, and Business Manager Nitanee Paris, the studio aims to elevate the musical experience for both artists and listeners.

In response to the increasing demand for immersive audio, the studio underwent a comprehensive redesign. “We built a new studio from the ground up, designing the control room specifically for immersive audio mixing,” says Trelby. “Our innovative setup includes KRK V8 and V6 Studio Monitors and KRK Subwoofers, which together ensure reliability across all volume levels. This allows artists to be fully immersed in the dynamics of their music as they create.” Key features of the new studio include a meticulously designed control room and a reference theater with a 7.1.4 configuration, which enables rich audio experiences during sessions. “We also have a 9.1.6 setup with the KRK V8s on the horizontal and the V6s above us, along with two subwoofer cabinets on a single channel. The KRKs are great and able to handle the demands of both low and high-volume levels,” emphasized Trelby. “Working in such a space inspires creativity and aids in the transition to immersive audio formats.”  More info see Marshmellow Skies Recording Studio.

Artist: mehro

Song: Lifesaver

photos taken by mehro, Alex Forsyth, and Michael Costa

Photos brought to life by Veo

lyrics by Callum Scott-Dyson

Mehro delivers melodic genre-defying tracks that captivate audiences, blending pop-punk hooks with searingly honest lyrics that showcase a gift for emotional storytelling.

Of the song, Lifesaver, in studioepresso video spotlight, mehro writes: “‘lifesaver,’ a breath mint. easily accessible, use it when you need it and chew it or spit it out when you’re done. Totally unaware of the memories you are making with it in your head. mmmmmm and it’s gone. i hope lifesaver is the mint you never get tired of - and brings you a little closer to the memories that you can never make again. A buoy for the lost and a treat for the found.”

The music video appears cleverly under produced, it's accessible and reminds us to be more present as we watch a single life-saver candy's journey. The song expresses angst of a generation feeling lost and insignificant. The video concept, the chorus line, and mehro's vocals are simply Minty!

The new track follows mehro’s extensive run of North American tour dates supporting indie pop/rock trio half•alive where they performed at iconic venues across the country, including stops at New York’s Brooklyn Paramount, Los Angeles’ Hollywood Palladium and Nashville’s Marathon Music Works. 

Enveloped in music from childhood, mehro initially resisted a career as a musician. That changed when the then-teenager watched the Johnny Cash biopic Walk The Line. Inspired, they picked up a guitar that night and began learning Folsom Prison Blues, eventually beginning to write their own music.

The stripped-back love song, Perfume released in 2020 has since garnered more than 79 million streams on Spotify while their powerful track Chance With You has accumulated over 112 million Spotify streams, and currently has 30x weekly spins on SiriusXM’s Alt Nation. Expect more music to come from mehro.

Larrabee Studios, in collaboration with Sony Corporation’s audio division (“Sony audio”), announces the launch of the inaugural Larrabee Studios Creator Seminar, a three-day immersive program led by 18-time GRAMMY-winning mix engineer Manny Marroquin, designed to support and elevate the next generation of music creators. Taking place August 11-15 at the legendary North Hollywood studio, the all-expenses-paid seminar will welcome up to 15 emerging music creators from across the U.S. for a rare opportunity to learn, collaborate and grow in a world-class creative environment. Powered by Sony audio, the program reflects a shared mission between Marroquin and Sony to support and empower the next generation of creators by prioritizing access, mentorship and long-term impact.

The seminar will be personally curated by Marroquin (Lizzo, Alicia Keys, Bruno Mars, Lana Del Rey).

Attendees will engage in a hands-on curriculum of workshops, real studio sessions and one-on-one mentoring designed to ignite artistic potential and sharpen technical skills. Participants will not only gain exposure to career-shaping insights and have access to professional-grade tools, but will also build relationships within a tight-knit, creatively charged setting. 

In addition to Marroquin’s guidance, several respected industry professionals will join throughout the program to lead sessions and provide mentorship. Collaborators include GRAMMY-winning songwriter and producer Jason Evigan (Dua Lipa, Troye Sivan, Benson Boone); A&R executive and manager Chris Anokute (Katy Perry, Iggy Azalea, Bebe Rexha, Muni Long); longtime A&R executive Evan Lipschutz, founder of management, publishing and record company Double Down 11; GRAMMY-winning producer and songwriter John Hill (Rihanna, Florence + the Machine, Portugal) and GRAMMY-winning producer, multi-instrumentalist and artist Terrace Martin (Kendrick Lamar, Herbie Hancock, Snoop Dogg).

“This is about more than just opening the doors to an iconic studio. It’s about opening minds and building futures. We’re bringing in creators who may not come from traditional industry pipelines—but they have the talent, the drive, and the hunger to learn. Our job is to create the kind of space where that spark can turn into something powerful," says Manny Marroquin

As a key collaborator behind the Creator Seminar, Sony audio is helping bring the program to life by providing resources with the shared goal of supporting and empowering emerging creators. Sony will provide participants access to MDR-MV1 open-back headphones and access to its 360 Virtual Mixing Environment (360VME), a spatial sound technology that replicates the acoustic environment of a professional studio over headphones. Sony is creating custom profiles for each participant using this technology, allowing them to continue mixing as if they’re still in the studio — no matter where they are. Beyond technology, attendees will also benefit from mentorship and direct support from members of the Sony’s Pro Audio team. “At Sony audio, we believe in the power of music to inspire and connect people,” said Jun Makino, VP of Personal Entertainment Business, Sony Corporation.

Applications are now open to U.S. residents aged 21 and over. Finalists will be selected by Marroquin and a panel of industry professionals. For more information or to apply, visit here            

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. Speaker stands may not be on top of your purchasing list, but this 19-minute video by Colt Capperrune @ColtCapperrune may change your mind. $20 block stands are compared 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 Adjust-ability is also important for Speakers. For optimum sound quality the speaker’s acoustical axis should be at approximately ear level for the most consistent and best sound.

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. Lets just say that you can hear details you’ve never heard before, leading you to faster, more accurate decisions in your creative process," says Brad Lunde, President of Trans Audio Group

ATC SCM 25a pro mk2 has been upgraded with ATC’s hand made proprietary SH25-76S Dual Suspension Tweeter, extending the high-frequency response with a reduction in distortion. " The best of the best rely on ATC monitoring as their main solution for tracking, mixing and mastering. 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," adds 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

TransAudio Group, U.S. distributer of the finest professional recording equipment in the world, is pleased to announce the new ATC SCS70 Pro, a compact, ultra-high performance subwoofer using ATC’s first, in-house-designed and built sub driver.

Designed by Billy Woodman and his team of engineers, this new 12-inch sub driver delivers the kind of honest and detailed low-frequency information that professionals have come to expect from ATC. “Subwoofers can be a source of distortion, making the mixing or mastering process a guessing game. Now an ATC system, complete with the one or two SCS70 subs, can deliver full bandwidth audio for any genre, enabling superior translation on any system it gets played on, from ear buds to home hi-fi to clubs and everything in-between. Other subwoofers rely on EQ and poorly implemented ports, transmission lines or passive radiators to boost low end and make their subs sound impressive," says Brad Lunde. USA List Price: $5,490.00 USA MAP: $4,990.00

October 23-25, 2025      

AES Show 2025 

Long Beach Convention and Entertainment Center 

Long Beach, California

This annual gathering unites over 10,000 audio professionals, enthusiasts, and exhibitors from around the globe. Whether you’re a seasoned expert, a novice, or a student, the AES Show provides a platform for collaboration, discovery, and learning 

Register here

Sponsor Opportunity here



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) 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

Amazon

$36.00



The venerable Record Plant recording studios with its three locations (New York, Los Angeles, Sausalito) was established in New York City in 1968. Throughout the 1970s, artists were recording their seminal works at these facilities with young producers and engineers who would soon become icons in the recording industry.

Author, photographer, music journalist, and visual artist David Goggin, aka Mr Bonzai, has been documenting life and work in recording studios for decades. His new book, co-written by fellow journalist and magazine founder (EQ, Pro Sound News), Martin Porter is published by Thames & Hudson; June 2025.

studioexpresso attended the book launch that took place at the Book Soup in Hollywood on June 18. Grammy Award-winning producer Robert Margouleff (Stevie Wonder, Devo), and former Plant assistant engineers Peter Chaiken, Dave Reitzas, and Gary Ladinsky, singer/songwriter Lisa Loeb, were among VIP attendees.

The Record Plant in Los Angeles was the place to be on Sunday nights in 1973, when owner Gary Kellgren convinced drummer Jim Keltner to host a weekly jam session called the Jim Keltner Fan Club Hour. The book takes an intimate look into the recording scene of the 70s where revered musicians like Jeff Porcaro, David Paich, Steve Lukather, Dean Parks, John Robinson (JR), David Foster (Andrea Bocelli, Celine Dion, Mariah Carey, Chicago, Madonna) and many others were regulars. In 1976 alone, three #1 albums―Stevie Wonder's Songs In The Key Of Life, the Eagles' Hotel California, and Fleetwood Mac's Rumours―were all recorded in Record Plant studios. Buzz me In is based on the memoirs and archives of studio co-founder Chris Stone, and interviews with over one hundred studio employees. Veteran studio manager Rose Mann made her 35-year career with the famed studio. She created a system and a level of customer service that propelled the studio to one of the most sought after studios in Los Angeles and later the world. In 2013, Rose was inducted into the TEC Hall of Fame at the NAMM Show in Anaheim, California. 

The book also mentions it legendary clients, music producers, and artists. Buzz Me In narrates this previously untold story of classic rock 'n' roll from industry insiders, who worked alongside the great rock stars of the twentieth century. The book offers album covers, studio posters, and Record Plant mementos like party invitations.

Businessman Chris Stone sold the Sycamore (LA) facility to Beatles producer George Martin and Chrysalis Records in 1989. There have been several owners since, including producer and label executive Rick Stevens and artist-producer Bruno Mars. Los Angeles magazine broke the news to the public of LA's Record Plant closing its doors on July 2024.

Buzz Me In, tells the story of Record Plant Studios as if its walls could talk. The book drops names at a fast pace, including the likes of Bob Ezrin, Phil Spector, Shelly Yakus, Ken Caillat, Al Kooper, Jack Douglas, Jimmy Iovine and many others. Plus enjoy the playlist on Spotify (QR code) while you read the entertaining stories told by some of the beloved music characters you'll come to love.

These pages will keep you buzzed in!

By Janice Lee for studioexpresso

What is Funk? The new documentary by Award-winning directors Stanley Nelson and Nicole London is a hip investigation into the Groove. The film is a thoughtful historical and scientific lesson, while maintaining the musical, dance-able mood keeping viewers grooving along. 

The film illustrates that while Funk music always gets the party started, it also carries with it the musical foundation built by a past based on survival, endurance, fortitude, pride, and sometimes controversy. Perhaps it is this immediate appeal of movement and dance that enables funk music to reach the core of human beings to respond on such a visceral level.

Directors Nelson and London approach the genre on a road less traveled. From insightful first-hand interviews with musicians and artists who were in the room, to the historians, scientists and writers who have all contributed to keeping the genre vital and important. The use of animation adds an appropriate and sometimes humorous angle to how Funk can be seen and heard. The connecting thread remains that the music is loved and revered by all.

The film addresses music education and its role at a time when playing an instrument was a requirement in public school programs. If it seems everyone played an instrument, and everyone could be in a band, it's because they were. People playing real musical instruments adds another facet to the connection between the music and the artist.

Funk music has been transcendent for creators and listeners alike. Now PBS's Independent Lens offers viewers revolutionary moments in the Funk music movement, captured in James Brown's dynamism, the extraterrestrial funk of George Clinton's Parliament Funkadelic, transformed girl group Labelle, Fela Kuti's Afrobeat, and other influential musicians of the genre.

Learn what James Brown called landing on the One (beat) means. The doc examines how Brown's music made you want to dance. Was it scientific, intuitive, kinetic? Whatever it was, it took over the 70s and funk became synonymous with freedom. Geographically Funk had no capital. The genre took over Detroit, New Orleans, Ohio, and of course, there's mention of much-admired Prince and his Minneapolis sound.

Watch the film – Discover your own definition of funk, and answers to the question - What is Funk?

Film is available to watch on PBS until 7/7/25. Watch the trailer here

The Music Never Ends

An Auction Benefiting Exploring The Arts Features Photographs of Legends Tony Bennett, Amy Winehouse, Madonna david Bowie, Ray Charles...

Photo credit: Kelsey Bennett

Music Never Ends is named after one of Tony Bennett’s songs and dedicated to the endurance of the arts. An auction benefiting Exploring the Arts (ETA), the nonprofit organization founded by Tony Bennett and Susan Benedetto to increase equitable access to arts education in public schools, ended this month on June 25th. ETA currently partners with over 62 schools across the US.

Exploring The Arts is now led by Tony Bennett’s granddaughter, Kelsey Bennett, marking a third-generation commitment to supporting arts education,The Music Never Ends photography auction is curated in part by Kelsey alongside music writer Julie Panebianco and creative producer Liz Vap. The auction featured limited-edition, museum-quality prints by some of the world’s most celebrated music photographers, including Mark Seliger, Danielle Levitt, Maripol, Steven Sebring, Enid Farber, Mick Rock, and more.

This initiative follows the highly successful Family Dinner benefit on April 10, 2025—the first major fundraising event since Tony’s passing in 2023—Hosted by Benefit Chair Martin Scorsese, the event brought together luminaries including Robert De Niro, Steve Buscemi, Marisa Tomei, Rosie Perez, and director Janicza Bravo to celebrate 25 years of Exploring the Arts.

The works featured in the auction that lasted two weeks included legendary musicians at their most intimate and iconic moments— Amy Winehouse and David Bowie to Madonna and Ray Charles.

“There’s never been a more urgent time to support the arts. The Music Never Ends is a testament to the endurance of artists and their lasting impact,” said Kelsey Bennett. Susan Benedetto, ETA’s Co-Founder and Tony Bennett’s wife, added, “Tony believed that no artist succeeds alone—that mentorship is key, and everyone deserves a chance to thrive, regardless of their background. I’m so proud to see his legacy live on through ETA, and I know Tony would be thrilled to see his granddaughter carrying it forward.”

More info here: https://www.artsy.net/exploringthearts 



Until next month,

Express good vibrations. Learn from the rear view mirror; and support musicians and music.

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

Music Lives and Moves!

Claris Sayadian-Dodge, founder/editor

claris@studioexpresso.com

Right: Gagosian Gallery Rareview Mirror: Paul McCartney Photograph Exhibit in June