April 2026

April showers bring new music born in a German museum. Get immersive with a Canadian artist and inventor. The world is celebrating two music icons with their behind-the-scene collaborators. Enjoy this month's video spotlight. We're in DC protecting creator rights, and bring you label promotions, and more...

Sign up today and meet us on the green in June. Grab an espresso & enjoy this month's serving!

John Beasley's New Album Invisible Piano

Music Inspired by Surrealist Art & Piano Technology

GRAMMY-winning pianist, composer, and arranger John Beasley will be releasing his new album Invisible Piano May 8th on O Tone Music.
The album is a bold, behind-the-scenes journey into the creative mind of the artist's commissioned work by the SWR Big Band. "The first musical sketches emerged in an unexpected place: the Staatsgalerie Stuttgart Museum," says Beasley who was moved by the visual art surrounding him. Beasley began quietly singing melodic ideas into his iPhone—capturing the inspiration. Among the works he encountered was a painting by Max Ernst titled Invisible Piano. The image lingered in his mind, eventually becoming the conceptual anchor and title for the album. "These early fragments became the seeds of a deeply personal exploration into how music begins to take shape," says Beasley.

At the heart of the creative process is the Steinway Spirio, a revolutionary player piano capable of recording and reproducing every nuance of performance. As this technology merged with Beasley’s expansive musical thinking, Invisible Piano evolved into a 7:26 minute study of how musical ideas echo, mutate, and find form—not only in sound, but in shape, color, and structure.


The album was recorded between June 3-6, 2023 at SWR Funkstudio, Stuttgart, Germany, and mixed and mastered by Klaus-Peter Schöpfer. There are five original works by Beasley plus fresh takes on James Taylor and Earth, Wind & Fire. Featured instrumentation and musicians are: 
Woodwinds: flute, alto flute, clarinet, bass clarinet, tenor sax: Norbert Nagel, Matthias Erlewein, Jörg Kaufmann, Andreas Maile, Pierre Paquette; Trumpets/Flugelhorns: Nemanja Jovanovic, Felice Civitareale, Karl Farrent, Martin Auer ; Trombones: Marc Godfroid, Ian Cumming; Bass Trombone: Georg Maus Euphonium: Jürgen Neudert; French horns: Benno Trautmann, Ingo Klinkhammer Tuba: Juliane Gralle; Rhythm Section: Bass: Decebal Badila / Drums: Guido Jöris / Percussion: Rhani Krija Spirio piano, Synthesizer: John Beasley, featuring special Guest artist, Magnus Lindgren, Flute.


Beasley also serves as co-producer with Hans-Peter Zachary, alongside the SWR Big Band. 
Invisible Piano is a musical alchemy—where echoes become form, shapes become sound, and imagination becomes reality. "John’s music on Invisible Piano has an organic feel from the start, then blossoms into a full-blown expressive work. The sonic exploration, along with the very beautiful playing by all the musicians, keeps you engaged and wondering where it will go next," writes, 8x GRAMMY Winner, 2x Oscar Nominee musician and composer, Terence Blanchard in the liner notes.

Look for live dates from Mr Beasley in 2026. "This year, I’m part of five Miles Davis–related projects and two honoring Coltrane, hopefully, coming to a city near you," says Beasley of his ensemble, Unlimited Miles — a collective of curious musician-explorers living in Miles's spirit of risk and reinvention.

Look for a 12-city tour with18 shows, including a date in Toronto on Nov 7th.

John Beasley’s Tour Schedule here

Above: Justin Gray in his studio Left: At the 2026 Grammy Awards Justin Gray with co-producers Drew Jurecka and Michael Romanowski. Below: Gray with his invented and co-created Bass Veena

Justin Gray won a Grammy^® for Best Immersive Audio Album during the “Music’s Biggest Night” in 2026.

"My studio, Justin Gray Sound is a world-class facility equipped for stereo and immersive audio music production (Dolby Atmos & Sony 360RA).

As a mix engineer, mastering engineer and producer, I work with artists from around the world in a wide range of musical styles," says Gray, a Juno award-winning (Album Avataar's Worldview) bassist, composer, engineer, producer, and educator based in Toronto, Canada.

Over the years, Justin has worked with artists of diverse genres — from hip-hop with icon Snoop Dogg to pop powerhouse Olivia Rodrigo, R&B Queen Brandy to the guitar hero Carlos Santana. Home-based Canadian artists who have worked with Gray include: Arkells, The Sheepdogs, Mother Mother, and Jann Arden. He has collaborated with Blackbear, Christina Perri, Orville Peck, Peach Pit, Tanya Tagaq, and many more. His songwriting and production work appears with names like Avril Lavigne, Mariah Carey, John Legend, Luis Fonsi, and Joss Stone.

In 2010, Justin invented and co-created the Bass Veena, an instrument designed for Indian classical and contemporary world music performance. The instrument was built and co-designed by renowned Canadian luthier, Les Godfrey. The Bass Veena is a hybrid fretless bass, which draws inspiration from North Indian stringed instruments, primarily the Sarode and Rudra Veena. The Bass Veena features 4 main playing strings, 2 drone (chickari) strings, and a 10 string short-scale harp. This instrument was conceived and built during a period of time when Justin lived in Kolkata, India, studying Hindusthani classical music. Currently, Justin performs on Bass Veena with artists from around the world in traditional and contemporary settings. He composes original music for the Bass Veena, which he performs with his ensemble Justin Gray & Synthesis.

Enjoy this studioexpresso Interview with Jason Gray for our April 2026 issue

SE: Why the bass? Tell us about your music education background?

JG: I started playing bass when I was 12 to join a band with my friends. From that moment on, I knew music was my deepest passion. I was fortunate to have a dedicated and gifted teacher when I was young who taught me discipline, ear training, reading, and theory, and demonstrated a deep respect for music.

From there, I attended university for music performance at the same school where I am now a professor of audio production (Humber Polytechnic). I also pursued my master’s in composition and ethnomusicology at York University in Toronto.

Outside of my academic studies, I have been and continue to be a lifelong student of music. I have had the pleasure of studying and playing with master musicians from around the world, including time spent living in India studying traditional Hindustani classical music.

SE: Past production or mixing credits?

JG: I have had the honor of working on thousands of songs in both stereo and immersive formats over my career, and each has been an important part of my journey.

A few notable artists I have worked with include Olivia Rodrigo, Snoop Dogg, The Tragically Hip, Brandy, Nelly Furtado, Mother Mother, Blue Rodeo, Arkells, Jann Arden, Karan Aujla, Mae Martin, Marcin, Lola Brooke, and Josh Ross.

SE: Credit artists featured on your album Immersed

JG: I will highlight a few artists who made significant contributions to this music:

Drew Jurecka — Album co-producer and violinist on all songs; also contributed string arranging and engineering; Suba Sankaran — Carnatic vocalist and composer of the solkattu on Repose;

Shawn Rompré — Drummer, co-writer, and co-producer of Tapestry; Ed Hanley — Tabla player and co-writer of Pendulum; Todd Pentney — Keyboardist across the album; Derek Gray — My younger brother and drummer/percussionist on the majority of the album

For full credits, visit www.justingraysound.com/immersed

"Listen deeply. Everything in music begins and ends with listening."

-- Justin Gray



SE: How did you get into mixing or recording?

JG: My love for the recording arts began during my undergraduate studies, when I became deeply fascinated by the recording process. As I spent more time in the studio after graduating as a professional bassist, I found myself equally drawn to the control room.

At that stage, I began learning from a mentor of mine, Jeremy Darby, a legendary engineer in Toronto. Although I did not attend school specifically for audio engineering, I also do not consider myself self-taught, as I have had strong mentorship throughout my career.

I built my first studio for editing and pre-production in my basement. As I began producing more records, I built a dedicated studio in my backyard designed for mixing and mastering. I developed my skills in post-production one project at a time, while continuing to learn from mentors across the global audio community.

I am a member of the AES and the Recording Academy, and an avid NAMM attendee. Over the past 20 years, I have been involved in every stage of production: performing, recording (on location and in the studio), producing, editing, mixing, and mastering.

Additional mentors include Bob Katz, Michael Romanowski, Morten Lindberg, Jonathan Wyner, Peter Cook, and David Travers-Smith.

SE: What inspired you to work in immersive audio?

JG: I have been drawn to multi-channel audio for decades. As a listener, I have always loved experiencing music and film in surround. I go to the cinema as much for the sound as for the picture.

Through formats like DVD-A, SACD, and Blu-ray, I developed a deep connection to spatial listening. As soon as I had the opportunity to create music in surround, and eventually immersive, I fully committed. It feels like a natural extension of how I hear music.

My goal with a cinematic album experience is to place the listener inside the music, surrounded by the ensemble. The visual component was never an afterthought; it is part of the same world.

I composed IMMERSED as a 16-channel work (9.1.6), using speaker locations as compositional anchors to position sound in front, beside, behind, and above the listener.

My speakers of choice are the Lipinski L707 and PMC MB2 XBD—both exceptional mastering monitors with clarity, depth, and precise imaging.

SE: Your top two favorite tools for composing and mixing?

JG: As a mixing engineer, Pro Tools is my primary tool. After more than two decades, it has become an extension of my creative process.

As a composer, my Boomerang looping pedal is essential. I like to improvise and let ideas develop naturally, using bass, guitar, piano, voice, and looping to explore ideas over long sessions.

SE: Best advice to up-and-coming artists?

JG: Put in the work, trust the process, and never stop learning. Music is an endless ocean of possibilities.

I have been fortunate to receive many opportunities, and in each case, I was prepared because I had put in the time.

A musical life is not a sprint; it is a lifelong pursuit built on strong foundations. In many ways, I still feel like I am building mine.

SE: Best advice you’ve received?

JG: Listen deeply. Everything in music begins and ends with listening.

SE: Do you have your own studio? Favorite studios?

JG: I have my own mixing and mastering studio designed for both stereo and immersive work.

Some of my favorite studios include Michael Romanowski’s Coast Mastering, Humber College’s Gordon Wragg Recording Studio, MSM Studio in Berlin, and Abbey Road.

SE: Recent projects?

JG: I am grateful to be regularly mixing and mastering. Recent releases include:

My World Is the Sun (Dominique Fils-Aimé), Nostalgia (Mother Mother), Between Us (Arkells), A6 (Lights), Made It to the Moon (Jamie Fine), and Just Wait a Minute (Elysia Biro).

SE: Advantages of being a Canadian musician?

JG: Canada has an incredibly diverse and high-level music community. As a producer and engineer, I have the opportunity to collaborate with world-class artists across many styles, often blending different musical traditions.

SE: What do you do outside of music?

JG: Spend time with my family and my dog.

SE: Where has music taken you in the world?

JG: India — studied Hindustani classical music

Europe & USA — performing, engineering, and teaching

Mexico & the Caribbean — teaching and engineering

SE: The Bass Veena — creation process?

JG: The Bass Veena was invented by me and built by master luthier Les Godfrey. It was designed specifically to support the music I was imagining.

The process began with researching stringed instruments from around the world to understand what was possible. From there, I defined both technical and aesthetic goals and worked closely with Les to bring the instrument to life.

It was a deeply collaborative process, and the instrument remains central to my work more than 15 years later.

SE: Drink of choice?

JG: Espresso

SE: Right answer Justin and big Congrats! 

Song: Flow

Artist: Justin Gray

Album: Immersed

Video Directors: Justin Gray & Michael Fisher

Mixed by Justin Gray Mastered by Michael Romanowski

Justin's Grammy® Award–winning album IMMERSED is a cinematic album composed, recorded, and produced from the ground up for immersive audio. Featuring 38 artists from around the world, the project places the listener at the center of a 360-degree orchestra. Mixed and produced in Dolby Atmos and paired with a full-length film, Immersed synthesizes original composition, immersive audio production, and visual storytelling to reimagine how music can be experienced.

Created by Juno Award-winning bassist, producer, and engineer Justin Gray, Immersed celebrates artistry and collaboration, drawing on diverse musical influences. Video featured in April and here

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.

SCS140iW Pro – Compact Power

Featuring dual 12-inch drivers and twin remote amplifiers, the SCS140iW Pro achieves 116 dB continuous SPL and 121 dB peak SPL at 1 meter – a 6 dB boost over the earlier SCS70iW Pro. Despite its higher output, the cabinet remains compact, visually matching the in wall SCM200AiW monitor. It’s ideal for systems needing deep, controlled bass with high output.

SCS240iW Pro – Maximum Output

The SCS240iW Pro uses dual 15-inch drivers and dual amplifiers to deliver 119 dB continuous SPL and 126 dB peak SPL at 1 meter – another 6 dB improvement over its predecessor. It perfectly aligns with the SCM300AiW in-wall monitor for full-range in-wall installations or can partner with other large ATC models such as the SCM150A Pro.

Advanced ATC Engineering

Both subwoofers feature in-house-built ATC drive units, each with a 30 mm magnetic gap – the longest ever from ATC – for reduced distortion and higher excursion. These innovations ensure deep, precise response from 120 Hz to below 20 Hz, maintaining low distortion and maximum accuracy.

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," noted Brad Lunde founder and president of TransAudio Group. “ATC continues to meet and exceed market demands for power, pure sound and flexibility.” 

Both models are available to order via your ATC dealer here. TransAudio Group, 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 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.

SSM12i Pro (2-way)

The SSM12i Pro is a compact two-way passive monitor optimized for on-wall or ceiling use in smaller control rooms. It uses ATC’s proprietary 150 mm mid-bass driver and 25 mm soft-dome tweeter, along with a crossover designed specifically for boundary mounting. The result is clear, accurate sound with controlled dispersion in tight spaces.

SSM25i Pro (3-way)

Designed for medium to large control rooms and immersive formats like Dolby Atmos, the SSM25i Pro is a three-way sealed monitor offering greater output and extended frequency range. It combines a 6.5-inch bass driver, ATC’s renowned 3-inch soft-dome midrange, and a high-performance tweeter to deliver ATC’s signature clarity and neutrality when mounted close to walls or ceilings.

R4-150 Pro Quad-Mono Amplifier

The new R4-150 Pro is a four-channel, Class AB, quad-mono, rack-mount amplifier delivering 150 watts per channel. It features independent power supplies, balanced XLR inputs, and Neutrik speaker outputs. Designed for silent operation, it uses convection cooling and includes full protection circuitry, making it ideal for multi-channel and immersive studio systems.

Concluded Brad Lunde, president and founder of TransAudio Group, “ATC keeps examining the market, evaluating trends in studio design, and then creating products to meet those needs. The speaker lineup is beyond compare.”

All three products are now available.

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

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

Monday, June 29th, 2026

Santa Clarita, CA

Register today here or click on the green graphic below!

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

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

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

Miles Gersh has been promoted to Executive Vice President, A&R for Warner Records. 
Since joining the label in 2019, Gersh has discovered, championed, and developed a diverse range of talent, led by generation-defining superstar Zach Bryan. Based at the label’s Los Angeles headquarters, Gersh will continue to report to Warner Records Group CEO & Co-Chairman Aaron Bay-Schuck and work closely with EVP & Head of A&R, Karen Kwak and Gregg Nadel, President of A&R, Warner Records Group.

Aaron Bay-Schuck commented, “Miles understands that true artist development starts with a deep respect for the creator’s voice. The partnership he’s built with Zach and his other outstanding artists reflects his commitment to authenticity and his drive to help our talent win on their own terms. Miles is a vital part of the future of Warner Records, and this promotion is a testament to the key role he’s played in elevating our music, our teams, and our culture.”

Gersh said, “I’m deeply grateful to Aaron and Karen for their mentorship and for their belief in me as I take on this new role. They’ve championed a culture I’m proud to be a part of – one that consistently puts the artist first. We have a remarkable roster, backed by the incredible Warner team, and I’m excited to build on our momentum to help take our artists to the next level while bringing game-changing new talent into the fold.” 

Gersh first introduced Zach Bryan to Bay-Schuck and the label in 2020, based on the success of his independent albums, DeAnn and Elisabeth. Signing to Warner Records the following year, Bryan simultaneously topped the U.S. album and singles charts in 2023 with Zach Bryan and the Grammy Award-winning megahit, I Remember Everything ft. Kacey Musgraves. 2024’s The Great American Bar Scene landed 17 tracks on the Billboard Hot 100, and just last year, Bryan made history with a record-breaking performance at Michigan Stadium that drew the largest ticketed concert audience in U.S. history. Most recently, his superstardom was cemented by his new album, With Heaven on Top, which debuted atop the Billboard 200, marking his second No. 1 on the chart.

In addition to his work with Bryan, Gersh has been instrumental in the development of rising talent such as breakthrough artists bunii, IShowSpeed, Maddox Batson, and CJ, as well as critically acclaimed Detroit rapper Veeze, whose collaborations with heavyweights such as Lil Uzi Vert and Lil Yachty have landed him hits on the Billboard Hot 100. 

Gersh, who most recently served as VP, A&R for Warner Records, has been recognized on Billboard’s 40 Under 40 and Country Power Players lists. He began his music career in 2018 at Doug Morris’s 12Tone Music and holds a Bachelor’s degree in Entrepreneurial Studies from Syracuse University.

It's often fans, patrons, and dedicated listeners who are the primary drivers in keeping the music of giants like Mozart, Bach, and Brahms alive, transforming their works from historical artifacts into a living, evolving tradition. When it comes to modern day geniuses like Prince, the same is true. It has been 10 years since Prince’s passing and 40 years of his Parade album and Under the Cherry Moon film.
 

I-Wonder-U-40 Symposium, celebrated these landmarks in April. The Hybrid symposium took place on April 17-19, 2026 - 3 full days in both virtual and in-person exchanges with those who worked directly with his purple highness. Twelve (12) sessions, and Forty-three (43) scholars, artists, designers, filmmakers, and musicians were featured. The conversations explored Prince’s lasting impact across music, film, design, and fashion. "Over the years, we have had the honor and privilege of speaking with Peggy “McCreary” Blum, Ingrid Chavez, André Cymone, Dr. Fink, Cat Glover, Sam Jennings, Jellybean Johnson, Jill Jones, Eric Leeds, Susannah Melvoin, Morris Hayes, Paul Peterson," says moderator and organizer De Angela L. Duff, Associate Vice Provost at New York University. 
The Free event accepted donations for its 501(c) nonprofit DIVAS (Digital Interactive Visual Arts Sciences) for Social Justice, with its stated mission to empower youth living in under-served communities. "We hope to inspire youth to use technology and visual arts to advance social justice and become change makers in their communities," adds Duff who is not affiliated with the Prince estate.

We spotlight two sessions from #IWonderU40 with designer Laura LiPuma and Music arranger/composer Brent Fischer.

Laura LiPuma is renowned for her indelible design work with Prince. She met him while she was a young designer at Warner Bros. and went on to art direct many of his most iconic albums, including Purple Rain, Around the World in a Day, Parade, Sign O’ The Times, and Lovesexy, as well as numerous singles. She also art directed Sheila E.’s The Glamorous Life and Romance 1600, along with additional Prince-affiliated projects for artists such as The Family, Mazarati, and Madhouse. Beyond the Prince camp, she has created countless album covers for a wide range of artists. With deep expertise in branding, she has led in-house art departments to achieve award-winning results.

Watch the interview with Laura LiPuma here

Brent Fischer is a multi-instrumentalist (bass, vibes, keys, drums), and Grammy®-winning producer, composer, arranger (son of Clare Fischer). He moves easily between genres – Jazz, Pop, R&B, Symphonic and more. His credits appear on over 30 million albums for artists including Usher, Michael Jackson, Elvis Costello & The Roots, Toni Braxton, Al Jarreau, Raphael Saadiq, George Duke, Natalie Cole, Vanessa Williams. D’Angelo won Grammys® for Best R&B Album and Song for Really Love from his album Black Messiah, where Brent is credited as arranger and producer. Last year, Fischer received another Grammy® at the 67th Annual Grammy® Award for Matt B’s Alkebulan II. The album celebrates African culture and features the Royal Philharmonic Orchestra, and arrangement and production on select titles by Brent who carries the legacy of his legendary father, Dr. Clare Fischer.

Watch the interview with Brent Fischer here

Above: Matt Forger with Michael at Westlake Studios; the New Movie Michael. Below: Forger with Quincy Jones and Bruce Swedien at Ocean Way B (now United). Photos: Matt Forger

Michael Jackson was — and remains — the most transcendent pop-music artist since the Beatles, and Elvis Presley. The new biopic Michael from director Antoine Fuqua (Training Day) earned $39.5 million on opening day from 3,955 North American theaters. This number is estimated to rise to $200 million globally.

Jackson's music is unmistakably moving and timeless. Following the rise of the Jackson 5, Michael cuts to 1978, when Michael teams up with the producer Quincy Jones (played by Klendrick Samson) to record Off the Wall. 
Fast forward, MJJ finds the emotional space to conceive and record Thriller.

Actor Samson plays a key supporting role in the film, which features scenes of Quincy in the studio collaborating with Michael Jackson (played by Jaafar Jackson) during the creation of his most iconic albums, including Thriller and Bad. Actor David Michael Lewin portrays legendary recording engineer Bruce Swedien in the biopic, Michael. Swedien, renowned as the mastermind behind the sound of Jackson’s biggest albums, is depicted as a key creative partner to Jackson, focusing on the meticulous studio sessions that produced hits like Thriller and HIStory.

Matt Forger is a sound engineer who worked with the iconic Michael Jackson, alongside admired engineer Swedien, keyboard player and music director Brad Buxer (played by Johnny Rossa), and producers Quincy Jones and later Bill Bottrell. Forger's work with Jackson started during the production of the Thriller album and continued through Bad, Dangerous, HIStory: Past, Present and Future, Book I, and Blood on the Dance Floor:HIStory in the Mix.

Additionally, Forger helped with the E.T. Storybook Album, and was a major part of the production of Michael Jackson's Ghosts, and the 3D re-release of Captain EQ.

Michael: Songs From the Motion Picture from Sony Music highlights 13 songs showcased in the film, spanning from The Jackson 5 to The Jacksons to Michael’s chart-topping solo success with Off The Wall and Thriller. The collection from Michael: Songs from the Motion Picture, the official companion album to the MJJ biopic Michael, includes smash hits like “Billie Jean,” "Beat It," "Bad," "Workin' Day and Night," "Wanna Be Startin' Somthin'," "Thriller," "Ben (live), "I'll Be There," "Never Can Say Goodbye," Medley: "I Want You Back/ABC/The Love you Save (Live)," “Don’t Stop ’Til You Get Enough,” “Human Nature” and "Who's Lovin' You."

In the film, Mike Myers makes a cameo as CBS Records president Walter Yetnikoff.

The film Written by John Logan (Gladiator) tells the story of Michael Jackson’s life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of The Jackson 5, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world. Highlighting both his life off-stage, in the studio, and some of the most iconic performances from his early solo career, the film gives audiences a front-row seat to Michael as never before.

Michael stars Jaafar Jackson (son of Jermaine, Michael's nephew) who appears in his feature film debut. The film is directed by Antoine Fuqua, written by three-time Oscar® nominee John Logan, and produced by Graham King, p.g.a., John Branca, and John McClain.

The album was released on all formats on April 24 via Sony. Michael, the film is distributed by Lionsgate and Universal Pictures, and is in theaters now.

watch the official trailer here Click here for more details on the soundtrack.

"Michael’s great talent: You felt something when you listened to his music."

--Matt Forger

Enjoy this interview with engineer Matt Forger for studioexpresso

SE: You, Bruce Swedien, Quincy Jones and Michael worked like a dream team on so many hit albums. Talk about the talent and studios for Thriller, Bad, and Dangerous.

MF: The first album we (Michael, Quincy, Bruce, Rod Temperton and myself) worked on together was Thriller. That was all done at Westlake Studios A & B. The drums for Beat It and The Lady In My Life played by Jeff Porcaro were recorded at Sunset Sound by Humberto Gatica. There were many long days and nights.After a tremendous effort to meet the deadline, we realized the quality wasn’t up to our high expectations and took another week to completely remix the album for final mastering.

SE: Were you working on other projects during Thriller?

MF: The E.T. Storybook Album with Steven Spielberg with an orchestra for the song Someone In The Dark by Rod Temperton was recorded at Ocean Way in what’s now East West Studios. It was recorded and mixed at Westlake and the timing of that work coincided with the completion of Thriller, creating a hectic work schedule.

SE: What came next?

MF: After a year of releasing singles from the Thriller album, Bruce, Michael and myself worked with director John Landis at Westlake to deconstruct the song Thriller and reconstruct it for the soundtrack to the Thriller video.

Next we worked at Westlake with Bruce Swedien and Michael on his songs for The Jackson’s Victory album. State of Shock, the duet with Mick Jagger and Be Not Always his other contribution.

After the Victory tour Michael wrote and produced the single Centipede for his sister Rebbie Jackson, his older sister. Then came the Disney/Lucas/Coppola collaborative park attraction, the 3D film Captain EO, both of which were my responsibility to record and mix.


SE: When did you start recording BAD and when did Bill Bottrell join the team?

MF: I started recording the songs for the Bad album at Westlake Studio A and then moved to Michael’s Hayvenhurst Studio as soon as remodeling there was completed. At this point, Michael was taking much greater control over the direction, style and production of his music and career. This was done with encouragement from Quincy, he wanted Michael to have his own identity. I worked with Michael and John Barnes, as did Bill Bottrell. We started work there over a year before Michael transitioned to working with Quincy and Bruce at Westlake Studio D, we were called the “B” Team. Quincy called his group at Westlake Studio D the “A” team and rightly so, Q and Bruce did an outstanding job of completing the Bad album.

SE: What came next? Was this when Bryan Loren and Teddy Riley joined the team at Record One?

MF: When the Bad Tour ended, I began working on songs at Westlake Studio C on what was then called the Decade project and was joined there by Bill Bottrell in Studio D. After 6 months the project moved to Record One and it became the Dangerous album with Bruce Swedien on board. We all continued working for two more years, at times with additional songwriter/ producers, briefly with Bryan Loren and later Teddy Riley, whose new jack swing grooves, especially inspired Michael. Teddy worked primarily at Larrabee with engineer Dave Way.

After Michael’s Dangerous tour we were scheduled to begin a new album at Record One but on the very day we were scheduled to start, the Northridge earthquake struck. That forced the relocation of the project to The Hit Factory in New York City.

SE: I remember how the Northridge quake drove everyone to NY. You came back to LA to complete the HIStory album at Record One. Did you?

MF: Bruce, myself and a group of us worked in NY for about a year before moving back to LA to complete the HIStory album. Back at Record One we finished the album which then included some of the material (Earth Song and They Don’t Care About Us) that Bill and I had begun recording at Westlake years earlier.

SE: When did Brad Buxer join the team?

MF: Brad Buxer joined the team when we were at Westlake and the project was still considered Decade. He joined a few months after Bill and I had started and moved with us to Record One for the continuation of the Dangerous album. I worked with him on songs that Michael was writing. Brad was performing on keyboards, programing and helping Michael with arranging. That was another example of the teamwork we all shared. While on a hiatus a small crew of us including music director Brad Buxer and engineer Mick Guzauski, traveled to Switzerland and met with Michael to work on material for the Blood on The Dance Floor album. After a couple of weeks at the Mountain Studio in Montreux we returned to Los Angeles to The Record Plant to complete that project.



SE: You've since done many reissue and compilation projects for Michael.

MF: Yes. I've been working with the Sony/Legacy label on many reissue and compilation projects. That work continued with the Estate after Michael’s untimely passing.

SE: Mention any other producers/writers or arrangers that you worked with during this time who have left an indelible impression on you?

MF: There were so many, Rod Temperton of course, Steve Porcaro, David Paich, Jerry Hey, Jeremy Lubbock, Tom Bahler, Greg Phillinganes, Paul McCartney, James Ingram, Siedah Garrett, Elmer Bernstein, David Foster, Brad Buxer, Bill Bottrell, Buz Kohan, Sidney Fine, John Barnes, Steve Lukather, Teddy Riley, Jimmy Jam, Rene Moore. I’m sure there are more but so many people contributed to Michael’s music over the years it’s hard to name them all.

SE: Now I understand you were consulted for the studio scenes in the the new biopic Michael and coached the actors in the studio scenes. Where was it shot and what was that like?

MF: Significant recording studio scenes for the 2026 Michael biopic were filmed at the iconic East West Studios and on the Sony Picture lot in Culver City. Filming also occurred at Jackson's former homes, including Hayvenhurst in Encino. The actor who plays my part in the studio scenes, David Pitcher, is a great guy and handsome, as well. I was honored to meet and be portrayed by him. I worked with the crew for the shoot, back in the room where we had recorded so much music. It was like a flashback to an earlier era and a happier time. I appreciate the effort of everyone involved to tell the story of Michael’s recording with as much accuracy as could be expected. It was a different time with different technology, but the music is the same.

SE: Did the consulting work take place in person or remotely?

MF: I worked on location with the crew, set designers, property department, wardrobe department, music supervisor, audio department and director. I was involved with the scenes shot in studio settings at different points in time in Michael’s career: Young Michael at Motown, Quincy producing Michael, first on the Off The Wall album, then later on the Thriller album and recording at the Hayvenhurst home studio as well.

SE: What have you learned from the experience of working with an icon like MJJ?

MF: I’ve been privileged and honored to be part of Michael's production team on so many of his recordings. I’ve always viewed my role as being a facilitator to the creative effort. The creative intent always leads and the process follows. What’s important is the music, and the song. The role of technology is to support the artist. For me it was first understanding Michael’s vision, how he wanted the music to feel, the emotional statement he was creating or the message he was delivering. Whether it was Quincy or Michael or Bruce I was there to ensure everything worked to that end.

Of course it’s about technical stuff, but more importantly it’s about the thing that resonates with the listener. As the saying goes, “You will forget what was said to you, but you will never forget how it made you feel.” That was Michael’s great talent, you felt something when you listened to his music. He allowed it to be a personal experience that affected you at some point within your being. Not everyone experiences music the same way. Not all music does this to every person, but when the right moment happens, you know it. I believe this is why his music has such tremendous appeal. Like an international language, his music connects to people around the globe.

SE: What other books and/or films on Michael have you contributed to?

MF: Documentaries: BAD 25 by Spike Lee, Thriller 40 Documentary by Nelson George,

Sonic Fantasy by Marcos Cabotá Books: Man in the Music: The Creative Life and Work of Michael Jackson Joseph Vogel, Xscape Origins by Damien Shields, The Genius Of Michael Jackson by Steve Knopper, Dangerous, from Mark Ryden to Michael Jackson by Isabelle Petitjean, Michael Jackson, Voice Upon A Time by Isabelle Petitjean,

From Thriller To Bad by Brice Najar, On The Dance Floor by Brice Najar, Let’s Make History by Brice Najar, Michael Jackson, All The Songs by Richard Lecocq and Francois Allard, and Michael Jackson- Legend, by Richard Lecocq.

SE: What would you like to say to your team mates Michael, Quincy, and Bruce who are no longer with us?

MF: My sincerest thanks and gratitude for allowing me to be part of a remarkable achievement. As we worked on the albums we never had any idea that our work would become part of recorded history, transcend popularity and define a generation, or set new commercial benchmarks. But in reflection the work was such a team effort, such a meeting of the minds and sharing of the responsibilities I'm not surprised that it succeeded. Quincy was known for the phrase, “You leave your ego at the door.” We put that motto to good use. We were a bunch of friends to do the best we could. That was the attitude in the room. Many of the people on the team who worked with Quincy would say, “I attended the University of Quincy Jones.” It was a real pleasure to work with this group, all of them masters at their crafts.

For me one of the most significant part was the vibe in the room. Everyone was respected and appreciated for there contributions. No attitude other than, “we’re here to have a good time and in the process serve the songs and the artist.” There would be laughs and jokes, but the music was always serious business, that's for sure. I believe this attitude comes through when you listen to the recordings. The personality, the emotion, it’s all there for you to enjoy. And if one song is not your style. No problem, maybe the next track will be the one that makes you move, dance and feel good.

Recording Academy members, leaders and staffers stand in front of the steps of the U.S. Capitol during GRAMMYS On The Hill Advocacy Day 2026 on Wednesday, April 22, in Washington, D.C. Photo: Tasos Katopodis/Getty for Recording Academy. Below: L-R Sen. Lisa Blunt Rochester, Harvey Mason jr., CEO, the Recording Academy and Wayna attend GRAMMYs on the Hill Advocacy Day on April 22, 2026 in Washington, DC. (Photo by Paul Morigi/Getty Images for The Recording Academy)

The Recording Academy^®

Grammy On The Hill^®

Initiative To Protect Creator Rights in D.C. 4/21-23

On Tuesday, April 21, over 200 Recording Academy members, industry leaders and members of congress gathered at The Hamilton Live in downtown Washington, D.C., for the GRAMMYS On The Hill^® Awards, which honored Sen. Chris Coons (D-DE) and Rep. María Elvira Salazar (R-FL) for their bipartisan work to protect musicians as artificial intelligence continues to reshape the music industry.

"As we mark 25 years of Grammy On the Hill, we are reminded that music creators must remain at the center of every conversation shaping the future of the industry, especially as AI and other emerging technologies continue to transform it," says said Harvey Mason jr., CEO of the Recording Academy

The landmark legislation would establish federal protections against unauthorized AI-generated replicas of a person’s voice and likeness. In addition to saluting this year’s honorees, the night featured several performances that commemorated 250 years of American music.

“Musicians are magic makers, finding the perfect harmony for every moment from our sorrows to our joys,” said Sen. Coons. “That work—that magic— deserves to be protected. I’m proud to be spearheading efforts in Congress to safeguard your ideas and creativity because what you do cannot be replaced. As a Senator, I’ve had the opportunity to travel all over the world and have seen how American music helps people see us, understand us, and believe in our American dream. You connect us to the world, and you inspire the world. That’s what I’m going to keep fighting for. Thank you for this honor.”

“At a time of rapid technological change, protecting the voices, rights and livelihoods of artists is more important than ever. I remain committed to advancing policies like NO FAKES Act to ensure creators are respected, their work is protected, and their likeness is never exploited,” said Rep. Salazar.

This celebratory evening was followed by GRAMMYS On The Hill^® Advocacy Day on Wednesday, April 22, which brought artists, songwriters, producers, and other music advocates to Capitol Hill to meet with lawmakers and discuss one of the most pressing issues facing creators today: The Academy is advocating for policies that ensure human creators are protected, credited and fairly compensated. GRAMMY-winning and GRAMMY-nominated artists including Durand Bernarr, Grace Potter, Israel Houghton, Maggie Rose, and Molly Tuttle , met with lawmakers including Sens. Alex Padilla (D-CA), Bernie Sanders (I-VT) and Lisa Blunt Rochester (D-DE), along with Reps. Darrell Issa (R-CA), Erin Houchin (R-IN), Jason Smith (R-MO), Maxwell Frost (D-FL), Nathaniel Moran (R-TX), and Sydney Kamlager-Dove (D-CA) to discuss the importance of the NO FAKES Act, as well as the Transparency and Responsibility for Artificial Intelligence Networks (TRAIN) Act and the Copyright Labeling and Ethical AI Reporting (CLEAR) Act.

In addition to meetings with lawmakers, GRAMMYS On The Hill Advocacy Day included a roundtable briefing focused on AI and the future of music with Sens. Marsha Blackburn (R-TN) and Peter Welch (D-VT). The day concluded with a reception on Capitol Hill hosted by the Academy’s Black Music Collective, in cooperation with the Congressional Black Caucus, to honor the enduring influence of Black sound and its profound impact on American culture. The reception featured a performance by Durand Bernarr , as well as a special presentation from Amazon Music and the co-chairs of the Black Music Collective, who presented a $10,000 donation to Howard University as recipients of the 2026 “Your Future Is Now” music equipment grant.

GRAMMYS On The Hill concluded on Thursday, April 23. Future Forum will feature a keynote conversation with Harvey Mason jr. and YouTube Global Head of Music Lyor Cohen, exploring how the creative community and industry leaders can work together to face the challenges presented by artificial intelligence. Chair of the Recording Academy Board of Trustees, Dr. Chelsey Green , will lead a panel on the role of music education in preparing the next generation for the future. Other programming will include a panel presented with the Academy’s Producers & Engineers Wing^® on how artists are using AI in the recording studio, and a discussion on how music builds up cities and communities across the United States.

Since its inception, GRAMMYS On The Hill has led to several major legislative victories for the music industry, including the landmark Music Modernization Act in 2018 and more recently the PEACE Through Music Diplomacy Act in 2022. Year-round, the Recording Academy’s Washington, D.C.-based Advocacy team mobilizes Academy members and music professionals from across the country to present a powerful lobbying force that fights for music creators’ rights at the local, state and federal levels.

The Recording Academy^®’s Black Music Collective™ (BMC) and Amazon Music have announced the return of the “Your Future Is Now” Scholarship Program. The program provides five selected students with $10,000 scholarships, exclusive networking opportunities with leading music industry executives, an immersive rotational experience with department leaders from both the Recording Academy and Amazon Music, and opportunities to attend Grammy^® Week events. In addition to student scholarships, the BMC and Amazon Music will award two Historically Black Colleges and Universities (HBCUs). with $10,000 grants for equipment for their music programs.

Since its launch in 2021, the “Your Future Is Now” program has awarded a total of $170,000 in scholarships to 17 HBCU students, along with $80,000 in grants to eight HBCU music programs.

“Reflecting on the last five years and what we envisioned this program to be in 2021, the number of students we’ve directly impacted in partnership with Amazon Music is remarkable,” said Harvey Mason jr., CEO of the Recording Academy. “It underscores our shared commitment to investing in the lives and careers of HBCU students and ensuring the next generation of music leaders has the networks and resources needed to thrive. I look forward to welcoming our next cohort of scholars for another incredible year.”

Applications for the 2026 cohort are now open. Eligible applicants must be U.S. citizens or permanent residents currently enrolled at an HBCU pursuing a degree in music, music business, business administration, marketing, communications, or a related field of study. All applicants must submit a current transcript, a personal statement, a creative video showcasing their creativity, and one letter of recommendation. The deadline to apply is May 8. The selected cohort will be announced by Fall.

The application can be found here.

Tony®, EMMY®, and Five-time Grammy^®-nominated singer, songwriter, and actor Josh Groban and Grammy-nominated singer-songwriter Teddy Swims will perform at the Recording Academy^® and Grammy Museum^®’s 2026 Grammy Hall Of Fame^® Gala in a special tribute honoring Warner Records.

Groban's new album CINEMATIC, is a tribute to the grand and gorgeous world of the silver screen, is a 10-track album produced by Greg Wells and includes globally revered songs from such movie classics as The Godfather, Casablanca, The Lion King, Stand By Me, Breakfast at Tiffany's, and many more.

His label Reprise's parent company Warner is this year’s recipient of the Visionary Of Music Award, recognizing its enduring contributions to recorded music and its long history of supporting artists and recordings that have left a lasting mark on music and culture. The Gala will take place on Friday, May 8 at The Beverly Hilton in Los Angeles.

“Artist development has always been at the heart of Warner Records and remains our greatest strength,” said Aaron Bay-Schuck and Tom Corson, Co-Chairmen of Warner Records. “For more than 60 years, Warner Records has been a trailblazing force in the industry, nurturing and elevating some of music’s most influential acts,” said Harvey Mason jr., CEO of the Recording Academy. “Warner Records has been home to generations of artists whose music has left a lasting mark on audiences around the world,” said Michael Sticka, President and CEO of the Grammy Museum.

Previously announced performers at the

include Recording Academy Lifetime Achievement Award recipient and Funkadelic founder George Clinton; Heart’s founding members Ann and Nancy Wilson, both of whom are Recording Academy Lifetime Achievement Award recipients; multi-Grammy Award-winning singer-songwriter Lucinda Williams; and multi-Grammy Award-winning a cappella gospel sextet Take 6. As previously announced, multi-Grammy Award-winning singer, songwriter and pianist Norah Jones will also perform at the Gala and will be presented with the Ray Charles Architect of Sound Award. Each performance will pay tribute to one of this year’s Grammy Hall Of Fame inductees, with more performers and details surrounding specific tributes to be announced soon.

The 2026 Grammy Gala will celebrate the 2026 Grammy Hall Of Fame inducted recordings, a group of 14 titles spanning nearly a century of recorded music—from 2Pac’s All Eyez On Me to Janet Jackson’s Rhythm Nation 1814 to Radiohead’s OK Computer. Others include recordings by Alice Coltrane, Bertha “Chippie” Hill, Ella Jenkins, Eric B. & Rakim, Funkadelic, Heart, Lucinda Williams, Nick Drake, The Rouse Brothers, Selena, and The Soul Stirrers. The full list of past inducted recordings can be seen here.

Returning as host is esteemed journalist Anthony Mason. The show will be produced by former Grammy Awards^® Executive Producer Ken Ehrlich, alongside Renato Basile, Chantel Sausedo, Lindsay Saunders Carl, and Lynne Sheridan, with musical direction by Grammy and Latin Grammy^® Award-winning composer, producer and conductor Cheche Alara.

For sponsorship opportunities, reach out to halloffame@grammymuseum.org.

Few figures in jazz history have experienced the meteoric success that 26-year old vocalist Samara Joy has. Her May 16 concert with the NY Phil is sold out! So when the Grammy® winner comes to town to perform in a more intimate setting like the new Blue Note, Los Angeles, it's a real treat to hear her. 
Her 75-minute set on April 16 offered emotional depth, featuring standards and original compositions that solidified her status as a top-tier jazz vocalist, backed by a capable band. From her gospel-singing grandparents to her producer, singer, and songwriter father it's clear that Joy lives and breaths music.

She and her band played two sets to a packed house at the Blue Note this month. Joy had me with her Billie Holiday’s Left Alone. Her emotive voice worked through the deep woodwinds and piano lines, and ended on a vulnerable finale. She can bossa with Chega/No More Blues, which displays her growth as an artist who retains her impressive vocal range and mellifluous tone. 
She delivered a flawless Latin’d Beware and Flor de Lis, by renowned Brazilian singer-songwriter and composer, Djavan (Caetano Viana). She was backed by fab musicians Evan Sherman, drums; Marty Jaffe, bass; David Mason, alto sax/flute, Kendric McCallister, tenor sax, Jason Charts, trumpet, and Cameron Campbell on piano. She can hold an audience with poise and charm. This young lady has already been at places, and now the road is only widening for her with new opportunities.

Don’t miss Ms Joy at a concert near you - she's back @hollywoodbowl for the Blue Note Jazz Festival on June 14. Tix here

Blue Note, LA offers an intimate atmosphere paired with programming on par with its New York counterpart: world-class performances from celebrated icons, rising stars, and genre-defying collaborations. Designed by the acclaimed Legeard Studio, the space feels elegant with quiet luxury.

A full-service kitchen and bar complement the music, rounding out the experience. The menu — crafted by Chef Asaf Maoz of acclaimed restaurant Carmel — focuses on bold, globally inspired flavors that complement the club’s genre-spanning sound. Cocktails are inspired by jazz-era classics. You'll want to raise your glass!

"A Conductor gets 100 or so people to agree

where NOW really IS."

--Michael Tilson Thomas, Music Director of New World and

San Francisco Symphonies

Until next month,

Express joy of your MUSIC & tell us WHERE NOW IS.

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

Until next month, Joy, Peace, Love, & Music


Music Lives and Moves!

Claris Sayadian-Dodge, founder/publisher

claris@studioexpresso.com

Right: With producer Brent Fischer at Blue Note, LA.