March 2025

Marching with Women's History month. Meet producer of the year with deep love for classical music. A new music season features celebrated women composers. An international production school comes to L, helmed by a beloved producer. Take a virtual tour of a recording oasis in the heart of Burbank where hits are made, and travel to lively streets of Yerevan to meet this month's artist in studioexpresso video spotlight. Mark your social calendar with dates coming up where you can meet our music community. Grab an espresso and enjoy this month's serving!

Elaine Martone won 2025 Producer of the Year, Classical,

at the 67th annual Grammy® Awards. Martone was honored for her work on several albums, including Bartók: String Quartet No.3; Suite From The Miraculous Mandarin with Franz Welser-Möst & The Cleveland Orchestra; The Book of Spells with the Merian Ensemble; Divine Mischief with Julian Bliss, J. Eric Wilson & Baylor University Wind Ensemble; Joy! with John Morris Russell & Cincinnati Pops; Schubert: The Complete Impromptus with Gerardo Teissonnière; Stranger At Home with Shachar Israel; and three other works with Franz Welser-Möst & The Cleveland Orchestra. 

Among the nine works included in Martone’s recognition this year are four recordings with The Cleveland Orchestra and Music Director Franz Welser-Möst. “I’m very proud of those recordings, and I love working with the Cleveland Orchestra,” says Martone.

In her 29 years at Telarc as Executive Vice President of Production, Martone built the finest audio production team in the industry. She has served as producer on award-winning recordings of both classical and jazz genres, including those by the Atlanta Symphony Orchestra with Robert Spano...Read more here and enjoy the studioexpresso exclusive interview below.

SE: Producing music is your deepest love. you describe recordings as musical “photographs". Talk about your process - How do projects find you or you find projects? 

EM: What I mean by a musical photograph is that as a producer, I capture a moment in time. It’s just that—- it is the artist grappling with that work by that composer at the time of the recording. So it will not represent EVERYTHING, just the moment we captured it. I think that makes what we are doing less precious, and more heartfelt— it doesn’t have to be perfect to be good or even great. But it does have to be authentic. Projects generally find me. An artist comes to me with an idea. I am good at bringing their idea into the world. I'm not as good at coming up with that idea. I like to say I am someone who goes from small to large. Creative people are big-idea people. They need a producer who can get down to the details and execute those details. I’m that person. It is a great privilege to be with someone while they create. 

SE: You delivered a large body of work in 2024 — Many have recorded Béla Bartók's The Miraculous Mandarin (the Chicago Symphony Orchestra, the Philadelphia Orchestra, the Boston Symphony Orchestra, and the Los Angeles Philharmonic). What are some things you wanted to do differently for your recording with The Cleveland? 

EM: Oh that’s a great question! I think that Bartok’s Miraculous Mandarin in the hands of Franz Welser-Möst and The Cleveland Orchestra so perfectly captures the spirit and craziness of the work. I told Franz it was his second party piece (Strauss’s Der Rosenkavlier Suite we did the year before being his first party piece in my view). He and the Orchestra play both with such flair, wit, grace and poignancy. 

SE: Introduce your engineer (s) for your 2024 projects and any life-long partnerships you want to mention. 

EM: I have had the supreme good fortune to work with some of the finest recording engineers. During my tenure at Telarc Records (1980-2009 when the company was sold) we had a “stable” of fantastic engineers, trained in the style of recording we favored. What a blast! I loved working with Michael Bishop and Jack Renner (co-founder of Telarc), both now passed. In the 1980s, Michael and I formed the “B team” to Jack and Bob Woods (other co-founder of Telarc) and my husband's “A team”.

Michael and I were in sync on what we felt made a great sounding recording. And Robert Friedrich, who was also part of our Telarc family, was another great engineer . I still have the pleasure of working with Robert (on The Book of Spells with the Merian Ensemble), whom I call the godfather of sound.

I also have the real honor of working with Gintas Norvila in my role as Audio Producer for The Cleveland Orchestra and on other projects as well. He’s the prince of audio! Engineers are the ones who make my life easier and because of them my work and the work of the artists get properly captured. I could not do the work I do without them.  Ben Maas, Daniel Shore and Bill Maylone engineered for me in 2024 as well. Their outstanding work is heard on the recordings I produced as part of my 2024 Grammy submissions.   

SE: I understand you're a musician (played oboe) and stay in shape with competitive ballroom dancing. Your favorite dance or dancers?

EM: Favorite dance that I can do: Viennese Waltz; dance inspirations: Misty Copeland, Gene Kelly, Derek Hough

SE: We met when you were producing the Ojai Festival....How's that work different and similar from recording albums? 

EM: OOOOOOOHHHHH another great question— producing the Ojai Music Festival was like producing 40 recordings all at once—- so many moving parts!!! Producing one recording at a time is infinitely easier: I have one thing to think about! 

SE: You have a long history with Telarc and now Sonarc Music. Tell us about Sonarc.

EM: Telarc was where I learned my craft; Sonarc (son of Telarc) is the company my husband, Bob, and I started after the demise of Telarc, so that we could continue our recording work, but also include other areas of production. Bob was a fantastic producer, and has 13 Grammy Awards. He went on to do audio preservation work for The Cleveland Orchestra, and The Atlanta Symphony Orchestra, on behalf of Sonarc Music.   

SE: What can you say to artists who have their own label? Best advise? 

EM: Tough one—- it’s a hard road, having a label, but also allows you much more creative freedom. BUT do you want to be in the record business or the musician/artist business? The two are very different. I advise artists to be artists. 

SE: What are the basic skill-sets that make your job easy? 

EM: I’m super organized and I love people. I like the interesting, sometimes wacky artistic personality. I like having fun. I like making a difference. All of these skills go into producing.  

SE: Thanks for sharing your Award photo - now we see where you keep most them! 

EM: On the mantle mostly. One is upstairs in my office (makes a good Zoom call background) and one of my husband’s we can’t find. He has 13, I have 7! 

SE: Your favorite libation? 

EM: Mezcal 

SE: Best advise you can give and best advise you've received?  

EM: Best advice I give: Listen for opportunities then open your mouth and ask for what you want.

Best advice received: would have to be from Tom Morris who told me to pull for information from people not to push for it. Second best advice I received: it doesn’t matter how it feels when you perform, it’s about what you are communicating “out there”. 

SE: Favorite venue or studio to record? 

EM: My favorite concert hall is the Musikverein in Vienna, followed by the Concertgebouw in Amsterdam, Symphony Hall in Boston and Severance Hall in Cleveland. Studios—- I loved the old Avatar in NYC, and Abbey Road in London, and Capitol in LA 

SE: You've talked about "the invisible space or place" in your recordings and how it affects the audience experience. What goes in your production to maximize the audience experience? 

EM: I like to capture the sound of the orchestra, or chamber ensemble or solo artist in the space of the hall. If the hall or studio is inferior, then I have to manufacture a good sound… that’s hard. The hall or studio is the secret sauce. A great sounding space is key to great recordings.  

SE: Have you recorded in Atmos or surround sound? 

EM: Yes, we do it all the time! One of my Grammys is for producing the Best Surround Sound Album on the John Adams work On the Transmigration of Souls with Robert Spano and the Atlanta Symphony Orchestra and Chorus… I won that award with Michael Bishop, engineering, in 2010. 

Welcome to Glenwood Place Studios

A Recording Oasis Where Luxury Meets Session Comforts

Above: Glenwood Gold and Bungalow (below) Design by Criterion Acoustics Photos: Ed Carreon

Glenwood Place Studios offer musician-friendly studios in the heart of Burbank, California, with three new rooms -- Gold, Silver, and the Bungalow, transformed by David Kotch of Criteron Acoustics and studio contractor, Brad Keeler of Progressive Design Inc. 

A recording oasis where luxury meets session comforts, you can record in warm and inviting spaces with private courtyards, enjoy well-maintained outdoor spaces featuring lush greenery, comfortable seating, fire places and water features, while you contemplate on your productions or meet with your crew. 

"The new spaces are more like a living room that’s a great place to make music. The Gold and Silver studios also are fully networked, so two teams could collaborate when desired," says Kit Rebhun, Director of studio Operations. Past Clients include: Lizzo, Bruno Mars, SZA, Charlie Puth, Ava Max, Rosé, Cardi B, Nicki Minaj, and Oliver Tree. “All the flexibility with having six different rooms, plus the serene environment makes our facility unique,” adds Rebhun, who specified tasteful design ideas for the indoor/outdoor creative spaces and the beautiful courtyards.

Studio A  offers a spacious tracking room with a SSL 9000J console, two Iso booths and a large drum booth. Studio B is undergoing a major renovation that will feature a classic Neve 8068 (56 Channel) console in its large control room with a moderate-size tracking room, one booth and two amp closets.  

Studio C comes with SSL 9000J console- Large format analog mixing and production room with vocal/overdub booth. 

"Flexible small to mid-size spaces with private courtyards are ideal for writing rooms and/or long stays," says Kit who has been instrumental in directing the daily planning and booking of the world-class recording complex. Read more here

l-r: Rafa Sardina and Barry Rudolph, are among staff at new Abbey Road Institute, LA Campus

Abbey Road Institute (ARI) Los Angeles is launched by 19-time Grammy® and Latin Grammy® winner Rafa Sardina (Stevie Wonder, Camila Cabello, Alejandro Sanz, Dr. Dre, Plácido Domingo, D’Angelo, and Lady Gaga). It is set to open in August of 2025 (location coming soon), with a distinguished faculty comprising top LA-based producers, engineers, and musicians, to include Alan Meyerson, Barry Rudolph, John Boylan, Vanessa Garde. "Rafa, 19, assisted me during a Rod Steward session at Record One many years ago," says Barry Rudolph (Mick Jagger, Robbie Nevil, Jon Bon Jovi, Selena) who also has a teaching background. "I created an audio curriculum called Project Studio for Musician Institute in Los Angeles. I taught the 10-week course for seven years. It covered basic electronics and focused on how to set up your home studios," says Rudolph who has written over 2000 reviews of audio gear for various audio and music magazines. 

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

Regarding its programs, Sardina shared: “Abbey Road Institute Los Angeles is the culmination of a long-held dream. I can’ t wait to welcome our first students and witness the beginning of their exciting career journeys.” “We are thrilled to be working with Rafa and his team as we continue expanding our educational footprint in the U.S. Rafa has a strong affinity with how we teach and an ambition to pass on his expertise to the next generation," says ARI London CEO, Luca Barassi.

Abbey Road Institute Los Angeles will soon introduce one-year long Diplomas in Audio Post Production for Film and TV, and in Music Business. Email for more information.

NEMRA

Song: Nare 

Directed by Mariam Gevorgyan

NEMRA (boy's name "Armen" spelled backwards) is a folk alternative rock band established in 2012 in Yerevan, Armenia. Led by songwriter Van Yeghiazaryan on vocals and guitar, Vaspur Yeghiazaryan on bass and backing vocals, keyboardist/ backing vocalist Marianna Karakeyan, and drummer Marek Zaborski.

They have released two studio albums in English Mubla and Hmm. Nemra has received support from notable musicians to include: Serj Tankian (SOAD), and Brian May (Queen). During concerts, you can hear their synergy with their fans in memorable sing-along moments.

On November 23, 2024, Nemra collaborated with the front-man of SOAD on their song I’m Afraid of Stars.

Their song Nare, in studioexpresso spotlight, is directed by Mariam Gevorgyan and has amassed over

11 million views on YouTube.

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

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.

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

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

Tuesday, March 25, 2025, 6:00 PM PDT 

 Guitar Center Hollywood

7425 Sunset Blvd Los Angeles, CA 90046

Guitar Center and She Is The Music to celebrate Women’s History Month with “Women on Record” panel event at

GC Hollywood on Tuesday, March 25, 2025

She Is The Music and Guitar Center host a panel featuring Ann Mincieli (GRAMMY®-winning engineer & producer, Jungle City Studios owner & She Is The Music cofounder), TOKiMONSTA (GRAMMY-nominated producer, genre-blending DJ & founder of Young Art Records) and NOVA WAV (the GRAMMY-winning production and songwriting duo of Blue June & Chi), with a special guest moderator to be announced.   The event will spotlight their creative journeys, challenges, and triumphs, offering invaluable insights and inspiration to the next generation of music makers. Additionally, the Guitar Center Music Foundation will be providing a $5,000.00 musical instrument grant to She Is The Music in support of their mission and music education.  

RSVP @ media@guitarcenter.com 

Tue March 25 6-9 PM

1715 Berkeley Street Santa Monica, CA 90404 

AES-LA Presents All About Apogee with George Williams

Product Evangelist and head of Educational Initiatives for Apogee Electronics, George Williams will share Apogees’ legacy in defining industry standards for the digital revolution and describe the development of its groundbreaking products. 

The event is hosted by George Williams (Apogee) and Daniel Liston Keller (AES-LA Chair)

Social hours before and after the presentation. Refreshments will be served.

In-Person attendance limited to 40 attendees. RSVP early for this hybrid in-person and live-streamed event. Sign up for the Remote Zoom ticket if you can't join us in person. The link will be sent directly to all Zoom ticket holders.  RSVP for in-person at Eventbrite

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.

"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

Ellen Reid's opera p r i s m more than earns its 2019 Pulitzer. The story, set to a pungent and poetic text by Roxie Perkins, delves deep into the shape-shifting reality of a young woman recovering from assault.

Among Reid's works is SOUNDWALK, a GPS-enabled work of public art that re-imagines urban parks as interactive soundscapes. SOUNDWALK premiered in New York's Central Park, and continues to expand to urban parkland around the world, including Los Angeles' Griffith Park, London's Regent's Park & Primrose Hill, and Tokyo's Ueno Park.

She is known for her dynamic, lyrical film scores, and she has worked with A24, Amazon Studios, and the Duplass Brothers Productions. Her work has been featured at film festivals including SXSW, IFC Fest, TriBeCa Film Festival and the Toronto Film Festival. In 2016, Reid co-founded Luna Composition Lab with composer Missy Mazzoli. The organization provides mentorship, education, and resources for young female, nonbinary composers ages 13-18, and is the only initiative of its kind in the United States.

Gabriella Smith is a composer whose work invites listeners to find joy in climate action. Her music comes from a love of play, exploring new instrumental sounds, and creating musical arcs that transport audiences into sonic landscapes inspired by the natural world.

Her first full-length album, titled Lost Coast, was recorded with Gabriel Cabezas and producer Nadia Sirota at Greenhouse Studios in Iceland and named one of NPR Music’s “26 Favorite Albums Of 2021” and a “Classical Album to Hear Right Now” says The New York Times.

Gabriel and Gabriella, as a cello-violin-voice-electronics duo, have performed together around the world, including in Reykjavík, New York City, and Paris.

Gabriella grew up in the San Francisco Bay Area playing and writing music, hiking, backpacking, and volunteering on a songbird research project. In January 2019, her Tumblebird Contrails was performed by the Los Angeles Philharmonic with John Adams conducting. "The destruction of our biosphere is the biggest issue facing humans and all species on Earth right now, so for me it would be impossible not to address this in my work. On a more personal level, I have always loved spending time in nature, hiking and observing and getting to know the organisms around me, so it is inevitable that my music is inspired by it as well," says Smith.

Angelica Negron is a Puerto Rican-born composer and multi-instrumentalist. She writes music for voices, orchestras, ensembles and film as well as robots, toys, and plants. Angélica is known for playing with the unexpected intersection of classical and electronic music, unusual instruments, and found sounds. Angélica’s original scores include the HBO docuseries Menudo: Forever Young and You Were My First Boyfriend directed by Cecilia Aldarondo. She regularly performs a solo show and is a founding member of the tropical electronic band Balún. As an educator, Angélica has been a teaching artist with NY Philharmonic’s Very Young Composers program and with Lincoln Center Education.

Gabriela Ortiz' landmark achievement in her career came in 2025 when her portrait album Revolución Diamantina, recorded by the Los Angeles Philharmonic and Gustavo Dudamel, won three GRAMMY Awards, including Best Contemporary Classical Composition for the title track. She is one of the foremost composers in Mexico today and one of the most vibrant musicians emerging on the international scene. Her musical language achieves an expressive synthesis of tradition and the avant-garde, combining high art and folk and popular music in novel, frequently refined, and always personal ways. Ortiz has written music for dance, theater, and cinema, and has actively collaborated with poets, playwrights, and historians. Her creative process focuses on the connections between social justice, environmental concerns, technological development, and mass migrations. “My childhood was around music all the time, and my parents founded this incredible group called Los Folkloristas, dedicated and devoted to promoting the music of Mexico,” says Gabriela Ortiz, 60 whose music will be featured with the LA Phil 25/26 season. “Revolución Diamantina” was Ortiz’s first full album of orchestral works. She composed the ballet, also her first, in collaboration with her brother Rubén Ortiz-Torres, professor of visual arts at UC San Diego, and Pulitzer Prize-winning Mexican author Cristina Rivera Garza, the M.D. Anderson Professor in Hispanic Studies at the University of Houston.“Revolución Diamantina” was Ortiz’s first full album of orchestral works. Her inspiration was the ‘Glitter Revolution,’ in Mexico where women took to the streets demanding equality of rights and an end to violence against women.

Quincy Jones Symphonic is the first full-length concert dedicated to honoring the legendary Quincy Jones since his passing in November 2024. 

Held on what would have been his 92nd birthday, the evening featured the USC Thornton Symphony in a celebration of Jones’s extraordinary compositional legacy and his profound impact on film, television, music, and culture across the 20th and 21st centuries. 

The program included selections from his television programs like Roots and award-winning films like The Color Purple, and Orchestral renditions of his iconic pop and jazz hits for artists like Lesley Gore and Michael Jackson.

Anthony Parnther, Music Director of California’s San Bernardino Symphony Orchestra and conductor of film scores including Oppenheimer and Encanto, was the guest conductor for the evening.

Produced and hosted by USC Thornton School of Music Dean Jason King, the event featured musical oversight by USC Thornton’s Chair of Conducting Larry J. Livingston and original arrangements by Jazz Studies doctoral candidate

Special guest performers included:Derrick Lawrence, prize-winning baritone and USC Thornton faculty; Ledisi, Grammy-winning recording artist; Stevie Mackey, Grammy-winning recording artist, eth Parker Woods,multi-Grammy–nominated cellist and USC Thornton faculty, and Greg Phillinganes, legendary keyboardist and famed Quincy Jones collaborator.

On the 50th anniversary of Duke Ellington’s passing, a rare screening of the thrilling 1973 concert special, Quincy Jones’s television debut as music director and conductor followed by a conversation moderated by Jason King, dean of USC Thornton School of Music. The panel featured music executive Ed Eckstine, Grammy Award–winning producer Gregg Field, and award-winning musican, composer, and USC Thornton professor Patrice Rushen. watch it here

photo: Joel Barhamand

The GRAMMY Museum's^® Sonic Playground opened to the public on Feb. 14, 2025 and will serve as a vibrant community space for workshops, open mics, and educational programs.The Campaign For Music Education has recently surpassed its fundraising goal of $5 million, and with this initial milestone now achieved, the GRAMMY Museum is announcing that it has doubled its fundraising goal to $10 million, which it hopes to reach in 2026. Additional funds raised will greatly expand the Museum’s education and community programs, which have served more than 550,000 students through programs such as GRAMMY Camp^®, GRAMMY In The Schools^® and the Quinn Coleman Scholarship Fund. The Campaign For Music Education is co-chaired by some of the biggest names in music, including Billie Eilish, Dua Lipa, Bruno Mars, Shawn Mendes, and Rosalía.

The heart of Sonic Playground is the Electric Forest, a mesmerizing blend of music, lights, and technology that epitomizes the intersection of art and technology. Visitors interact with 16 immersive columns of light and sound that respond to gestures, altering the sound and intensity of an original 19-minute composition by Shaun Chasin and allowing visitors to create their own musical symphonies through movement.

“At the GRAMMY Museum, we believe that music has the power to inspire, connect, and transform,” said Michael Sticka, President/CEO of the GRAMMY Museum. “This installation is more than an exhibit — it’s an experience designed to ignite the creative spark in everyone while showcasing the endless possibilities of a career in music.”

Sonic Playground, dedicated to the legacy of Jim Long, is made possible by a gift from The Long Family Trust. Additional support provided by Roland Corporation.

The Ebell history unfolds like a love letter to art and culture. A women's club founded in 1894, It has a rich history of empowering women, hosting events, and serving as a cultural hub in Los Angeles, including the Wilshire Ebell Theatre, which has hosted notable figures like Judy Garland and Amelia Earhart-- she made her last public appearance at The Ebell.

The Ebell has been a favorite location for film and media. The historic building has been featured in over 50 movies including Forrest Gump, The Artist, and The Curious Case of Benjamin Button. It was created to bring education and arts to women at a time when both were not accessible to most women.

The Art Salon was one of the first art galleries in Los Angeles. Female artwork, both of and by, adorn the walls throughout the property. The historic Ebell Clubhouse and Theatre were built in 1927 and designed by renowned architect, Sumner Hunt. The Ebell Clubhouse and Theatre covers 83,000 square feet.

The third-floor theater, music room, and Fine Arts costume closet, holds over 800 collection of vintage costumes.The adjoining Wilshire Ebell Theatre has over 1200 seats. From hand-carved ceiling details, vintage light fixtures, metalwork, stone columns, original wood floors, and furniture, The Ebell of Los Angeles is dripping in old Hollywood glamour and grace. I have attended many weddings there by members of our music community. For 130 years the Ebell Scholarship Endowment has granted more than 5,000 scholarships to local colleges and university students. The Ebell was declared a Los Angeles Cultural Historic Monument in 1982. It was added to the National Register of Historic Places in 1994.

It has also been designated an Official American Treasure by the National Trust for Historic Preservation. Randi Jones serves as the President.

Address: 743 South Lucerne Boulevard Los Angeles, CA 90005

Membership is open to Early Career Member (ages 21-35 only) - $140. and Regular Membership is $295.

Until next month,

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Music Lives and Moves!

Claris Sayadian-Dodge, founder/editor

claris@studioexpresso.com