Nov I Dec 2026

Drum roll please for new album releases, a book on vintage. Hear protocols for making music, meet a son of a dad serving the music. He flew to crossroads. This historic studio could be yours! AES bells chime in Nashville. Join studioexpresso's Creator Circle at NAMM 2027. AI is all shook up, dance to the music, and Grab an espresso & enjoy this month's serving!

Simon Phillips Releases PROTOCOL 6

World Tour & NAMM 2027 Appearance To Support New Album

PROTOCOL 6 is the new album from Grammy^®-winning drummer, composer and producer Simon Phillips, who will join studioexpresso's Creator panel on Catalog Building at NAMM 2027 on Thursday, January 28, at 3pm.

Phillips has worked on hundreds of albums (11 of his own)) as a session musician (Jeff Beck, Mick Jagger, Frank Zappa, Hiromi), as band member (Toto, Big Country, The Who), and solo artist across a career spanning more than five decades.

Now his Protocol band fans are treated to "Progressive Jazz" at its best.

Protocol 6, the album, offers seven (7) tracks, all composed or co-composed by the legendary drummer.
The band is Ernest Tibbs (bass); Otmaro Ruiz (keyboards); Alex Sill (guitar); Phillip Whack (soprano and tenor saxophones) and Phillips.

The opening track Andromeda, begins with keyboards sounding like a bell, inviting the listener to take a Journey with Sill’s soaring Allan Holdsworth-esque guitar solos. And, if you're a Intrepid Traveller (track's title) with master musicians, get ready for an adventurous voyage filled with guitar and sax solos supported by a tight rhythm section.

Next comes Unstable Grounds' jazz-funk grooves signaling change. Midway, the music opens up, offering new possibilities. The River Flows' exotic rhythms lead to an engaging dialog with Sill's guitar, Ruiz' keys and Phillips' drums. Code 4 Kryptos, the title, refers to a famous encrypted sculpture created by artist Jim Sanborn (Installed at the CIA headquarters in Langley, Virginia). Here the explosive soprano sax fills and the music ends with four beats (possibly referring to the sculpture's four hidden messages)!

Event Horizon, timed at 14.10 minutes (the longest on the album) is the most rock sounding track with high energy and distinct movements, perhaps borrowing from the classical form with an introduction, development, and recapitulation - a jazz sonata that lands on a mesmerizing melody. Protocol 6 ends with the romantic Sundown in Old Town, which calls the listener to slow down and enjoy.

Recorded at Carbonate Sound, Ojai and Otmatik Sound, Santa Clara, USA, the music has Phillips' signature sound with his articulate touch, explosive power, and flawless execution of odd time signatures. Phillips has played with the world's best - Branford Marsalis, Jeff Beck, Stanley Clarke, to name a few. Protocol started out as a Simon Phillips' 1990s live project with a variety of band line-ups that included guitarist Ray Russell, keyboardists Tony Hymas, and Jeff Babko, bassist Anthony Jackson and saxophonist Tony Roberts.

Simon Phillips' Protocol 6 is fearless, and bold inviting the listener to explore new or unknown places in music that's Jazz, fusion, progressive with solid musicianship. The band is on the road supporting the album. Tour dates in US, Germany, Belgium and Sweden... here

Enjoy this interview with Simon Phillips exclusive to studioexpresso

photo (right) Simon Phillips TAMA Drums

SE: Congrats on your new album

Protocol 6. What's your protocol when starting a new project or album?

SP: My main objective is to write material that sounds different to my last record. Hence 

why I need a good amount of time in between recording these albums.

SE: How do you come up with song titles, since there are no lyrics?

SP: That’s a very good question! I have found that in many cases instrumental titles can be “jokey” so I try to find titles that suit the vibe of the tune. It is difficult to not come off pretentious so I spend a lot of time figuring them out. Most of the names are decided well after the record is recorded and/or mixed.

SE: Protocol 6 features your quintet -- Ernest Tibbs (bass); Otmaro Ruiz (keyboards); Alex Sill (guitar); Phillip Whack (soprano and tenor saxophones), with you on drums. You're now on the heels of sold-out concerts in Europe and Japan. Any shows for your LA fans in the new year?

SP: Next February I’ll be celebrating my 70th birthday with a series of concerts at Catalina’s in Hollywood. Three nights featuring three different line ups of Protocol starting with the first touring band from 1997. Then Protocol II from 2013 culminating with Protocol 6.

SE: Any special technology or new gear used on your new album. Who mixed or mastered it?

SP: Nope. Same good old fashioned recording concepts. Jason Mariani of Carbonite Sound 

recorded the album. I mixed the album in my new Phantom Recordings room and 

Richard Dodd mastered the record.

SE: You owned a commercial studio - anything new with your studio?

SP: I sold my commercial studio (Phantom Recordings in Sherman Oaks) and used my equipment for my new home studio. I lost most of my equipment in the Thomas Fire of 2017 so I had to replace a lot of the equipment. I keep adding the odd piece of gear though!

SE: You've done many clinics. Any coming up?

SP: Actually I am in Europe now on tour with Hiromi and after the tour I will perform some 

clinics in Italy.

SE: Your favorite Toto song (with your signature contribution)?

SP: Over a period of 21 years I have had many favorite Toto songs but I would say the one 

song that displays my signature contribution is I Will Remember from Tambu.

SE: You've said tone over technique - what makes you sound different or consistently 'sounding like you'?

SP: When I started doing sessions back in 1970 we were still recording in mono. That meant one mic over the top of the kit and a kick drum mic. Around 1973 we were all recording in stereo so that meant two mics over the top of the kit. No tom mics and no hi-hat mic.This meant that one had to play with perfect balance. It also meant that the toms didn’t cut through the mix very well – especially the way we were tuning drums in those days. I tried all approaches to make the toms as loud as the kick and snare and in addition to tuning them higher than normal. I also had to figure out a way to make them cut through 

which involve changing my technique. That’s where it all started from.

SE: Best advice you've received?

SP: One artist I recorded for (BJ Robertson) once said to me “you sound different to all the 

other London drummers. Don’t ever change that!”

SE: Your advice to up and coming drummers or producers?

SP: Listen to older recordings when we used to all play together in the same room – without a click track. Not all records sounded great but some really did sound so good and I feel in many cases we’ve lost that spontaneity and feel with today’s recording. Tempo is so important to the tune and because most recording sessions (Pro Tools/Logic) are emailed between players the tempo is set by the artist or composer. The problem is that the DAW plays any tempo perfectly but humans do not! Perhaps the tempo that has been set is not the best tempo for the song. I have often changed the tempo after 

consulting with the artist or producer of course.

SE: How do you describe the sound of your new album? Who are some of your inspirations?

SP: I call it “Progressive Jazz”. My inspiration goes back to the pioneers of this style of music. John MacLaughlin (Mahavishnu), Chick Coreo (Return To Forever), Joe Zawinul (Weather Report) to name a few.

SE: Your work sounds cinematic or visual sans music videos. Is there a philosophy behind it? 

SP: I am releasing performance videos of some of the tunes on Protocol 6. In fact two of the tunes (Andromeda and Unstable Ground) are already released. The problem though is we have to re-record the music because we have solos, which will always be played differently, and I am the worst at miming!


SE: You have played with some of the best musicians on the planet - Brandford Marsalis, Jeff Beck, Toto and The Who. How has working with them influenced your music?

SP: Everyone I have worked with has inspired me or taught me something. However, my type of composition comes from writing music for Jeff Beck (There & Back) where I co-wrote four of those tunes with Tony Hymas. Jan Hammer wrote three of those tunes.

SE: How many albums have you recorded so far?

SP: If you mean solo records then 11 albums. As for records I have played on it’s in the high hundreds!

SE: Why the drums? Where did it all begin?

SP: My father used to rehearse his band at the house I grew up in and one day he hired a new young drummer. He turned up with a beautiful Ludwig Super Classic drum set and when I saw and heard it that was it – I was hooked. I was 3 years old.

SE: Your Dad was a big band leader. How did his music influence you?

SP: Playing with him gave me the most incredible apprenticeship. I was 12 years old when I joined his band and went on the road. His style of music was Dixieland/Dance music. 

Very intricate arrangements and the charts had to be played exactly as they were written – or else!!

SE. Your beverage of choice?

SP: Margarita shaken and served “up” made with Herradura Reposado, Cointreau, Real Lime 

Juice and Agave. Served in a Martini glass with a salted rim.

SE: Delicious like your new album!

Excited to present Simon Phillips at NAMM 2027 TEC Tracks --A panel on Catalog Building on

Th January 28, 3 - 4 pm

Save the date & Join us!



Song: Unstable Grounds

Artist/Album: Simon Phillips I Protocol 6

Performance Video

When you got an exceptional band, performance videos truly shine. Such is the case with Simon Phillips' track, Unstable Grounds, off of his new album Protocol 6. The live musical synergy creates an authentic, high-energy visual narrative that becomes a captivating piece of art. Watch it here

Song: IGIRIGI

Artist/Album: Matt B Alkebulan III: The Water Remembers

Music Video

Costumes, choreography, make up, location, location! Matt B's New Album ALKEBULAN III: The Water Remembers, released on August 21, 2026, is the final installment of his ALKEBULAN trilogy. The journey took Matt and wife, producer, and manager Angela V. Benson, across Ghana and Nigeria. The album brings together West African superstars Fatoumata Diawara, Skales, Goya Menor, Boy Spyce, Camidoh, The Cavemen, and the Kabusa Oriental Choir, and producer/arranger Brent Fischer

Watch it here

"My first goal is always to be of service to the music."

-Brent Fischer (D'Angelo, Usher, Michael Jackson, Elvis Costello & The Roots)

This year The Brent Fischer Orchestra has appeared on albums for Gospel artist Cory Henry's DEVOTION, Global artist Matt B's ALKEBULAN III:The Water Remembers, and Latin artist Yeisy Rojas' IMMIGRANTE. Brent also contributed to Charleston funk & soul celebrated breakout act, The Psycodelic's album Only Takes Forever, among other projects. In his works Brent weaves "Fischer DNA," (to quote Questlove) to access a rich harmonic palette that has become synonymous with his arrangements.

In 2028, Brent will be celebrating his father, Dr. Clare Fischer's centennial. He was 17 years old playing bass, in his Dad's Salsa Picante project, alongside Latin percussionist Poncho Sanchez.

Brent's compositions New Thing, Sad About Nothing Blues, and 
Son of a Dad from the Pacific Jazz Album (right) feature his big band, directed and produced by him. 
Over the years his arrangements and orchestra productions have appeared with legendary artists Michael Jackson's This Is It, Usher, Elvis Costello & The Roots (Wise Up Ghost), and D'Angelo's album Black Messiah --won Grammy® for Best R&B Album for the song: Really Love.

Brent's more recent collaboration with Matt B produced a win for the independent artist's Alkebulan II -Best Global Music Album) at the 67th Grammy Awards. On Matt B's new album, Alkebulan III, Brent Fischer arranged and co-produced several songs to include: Overboard, Fertile, Nothing, Water, O Lord - cleverly weaving orchestral sounds with African, and Calypso rhythms in IriJi - all recorded with the Royal Philharmonic Orchestra at Abbey Road Studios in London.

Fischer was among the speakers on a panel focused on the state of Big Band arranging at the American Society of Music Arrangers and Composers (ASMAC) on October 10 at Evergreen Studios, Los Angeles.

The Brent Fischer Orchestra (the big band and the Latin Jazz group) appear live in popular LA venues like LACMA and at Herb Alpert's Vibrato (save the date: February 2, 2027).

Below: Cory Henry's Devotion, D'Angelo's Grammy-winning Black Messiah album, and Matt B's Alkebulan III, The Psycodelics Only Takes Forever, Yissy Rojas' Immigrate and Matt B's Grammy-sinning Alkebulan II - all featuring Fischer arrangements.

"Brent (Fischer) gave the album another world to live in. I already knew his work and that whole musical language, especially through records I love...without taking away from what makes it gospel soul. Sput connected us. The result feels like a warm hug."



--Cory Henry on the making of his album, DEVOTION

DEVOTION is streaming now and worthy of your ears. Listen here

Below: Promotion Photo Making of Pictures At An Exhibition at Contemporary Museum of Art, Thousand oaks. Clockwise from the back: Alex Budman, Brian Clancy, Brett McDonald, and Brent Fischer. photo: studioexpresso

We met up with Grammy^®-winning composer and producer Brent Fischer for this studioexpresso exclusive. Enjoy!

SE: You have arranged, orchestrated 9 of the 10 Gospel songs on Cory Henry's new album DEVOTION . What can you say about Cory's songs?

BF: Gospel and R&B developed out of jazz so there’s always been a close relationship. Cory’s approach is funk, R&B, jazz and other styles under the umbrella of the gospel genre. He is extremely gifted and it shows in his musicianship plus his songwriting skill. 

SE: Cory had two choirs on top of his vocals on his Devotion album. What did Cory provide in terms of midi files for you to work on?

BF: The midi I got was of his keyboard voicings. I had to transcribe the choir parts to hear how it all was woven together. Then I studied the bass lines, guitar riffs, drum grooves etc. I can hear in extreme detail and that allows me to support and texturize the original parts without obscuring anything. 

SE: Speaking of Gospel, your Dad is credited as co-composer on Kirk Franklin's song Process for his album Hero. What's your memory of those sessions?

BF: My father is the only composer for the song Process. This started out as an interlude but turned into its own masterpiece. I have great memories of working with my dad for the Hero album, mostly assisting him but also arranging a few songs myself and playing the orchestral percussion. We did five songs in one day. 

SE: You're also a composer and the band leader of The Brent Fischer Orchestra. Are you the only one who has adapted Mussorgsky's Pictures At An Exhibition into a modern jazz big band work?

BF: Allyn Ferguson also did a big band arrangement of Pictures many decades ago. It’s really a swing adaptation of the melodies whereas mine keeps the original classical melodies within a loosely jazz related realm and completely harmonized in lush Fischer fashion. I’m happy it’s been performed in a few countries around the world, and yes, we recorded the album, Pictures at the Village studios.

Below: American Society of Music Arrangers and Composers (ASMAC) Panel: The State of Big Band Arranging on October 10 at Evergreen Studios, Los Angeles. L-R: Brent Fischer, Andy Farber, Lauren Elizabeth Baba, moderated by Dave Slonaker photo: studioexpresso

SE: This year you've also contributed and co-produced Matt B's Alkebulan III. This time you provided your arrangements but did not conduct the orchestra (recorded at Abbey Road). What's the difference?

BF: This is my third album with Matt B, the second time as part of a large production with many contributors. I have two different writing styles—one for sending the music to be recorded by someone else, and one for when I hand pick each orchestra member and conduct myself. In the latter case, I’m intimately aware of each musician’s strengths and can feature those in a variety of ways for intended results.

SE: Besides budget, what determines size of orchestra and how many musicians you hire?

BF: My first goal is always to be of service to the music. 

SE: This year you also worked on two other project --the Psycodelics from Charlston, and Havanah artist Yeisy Rojas. Two very different sounds. How would you describe your arrangements on these?

BF: Great ideas exist in every genre and I’ve had the pleasure of working in so many. My job is to further bring out the emotion of the sonic architecture and give it a timeless element from the acoustic instruments of the orchestra. 

SE: Your father, Dr Clare Fischer's (Prince, Paul McCartney), centennial is in two years. Together, you have over 100 original titles. What would make his celebration special?

BF: A sponsorship from an organization or arts patron that would bring this great music more worldwide attention. 

SE: Cory Henry describes your sound like a warm hug. How do you describe it in one or two words?

BF: A combination of art and science. 

SE: Ah, like good wine! What's your choice of beverage?

BF: Water 100%!



Above: The Brent Fischer Orchestra Recording Cory Henry's Devotion Songs at One On One studios, with the band leader, arranger, and producer Fischer on July 30, 2026 Photo: studioxpresso

I used to hear all studios are for sale... for the right price! Now the legendary Conway studios is on the market, and seems like a sweet deal for the listed $15 million.

Building a legacy or a recording destination where celebrated artists gather is priceless. Owners Buddy and Susan Brundo are celebrating over 50 years running the legendary Hollywood music facility located on 5100 Melrose Avenue.

The studio has hosted decades of superstar acts, including Fleetwood Mac, Stevie Wonder, U2, Guns N' Roses, Mötley Crüe, Kendrick Lamar, The Weeknd, and Daft Punk.

“I’m 83, and how long can I keep this up? It’s best to walk away while I still can,” says the owner.

Conway still attracts major acts. K-pop group BTS recorded its comeback album Arirang at the studio after its members completed military service. Taylor Swift (left) is a regular and once sparked a run on studio merchandise by wearing a Conway sweatshirt in public (owners will throw in a few of these shirts in the package, I'm sure). We hope the next owner is just as passionate about the art of recording, and City of Angels' music history.

Musician John Mayer and filmmaker McG went under contract to buy the historic Chaplin studios (formerly the Jim Henson Company Lot, and Charlie Chaplin Studios) lot in late November 2024 and officially finalized the purchase in early January 2026. Ms Swift?!

Over the years many of you producers, mixers, engineers and musicians made Conway studios your home and created music that lives and moves listeners today.

Some good news for Mr Brundo and the potential buyer. According to recent data from Recording Industry Association of America, U.S. recorded-music revenue rose 7 percent to $6 billion in the first half of this year. CDs are even making a come back, according to this report.

Here you get one full acre (54,000 sqf) of gated prime Hollywood real estate, 3 historic studios designed by the late and beloved Vincent Van Haaff, lush, tropical gardens in the center of city that feels entirely removed from the city, a basketball court and yes, ample parking!

CBRE’s Nicole Mihalka, who specializes in entertainment properties, has the listing. (323) 788-3969

Above: Conway Studio owner Buddy Brundo. Taylor Swift sporting a Conway sweatshirt.

Below: Brent Fischer Orchestra at Conway studios with Rafa Sardina at the board. photo: studioexpresso

Above: Ian Charbonneau at Eric Clapton's Crossroads Guitar Festival (L) with Producer Simon Climie and (below) with engineer Peter Gary
Photos: Courtesy of The Recording Project

Last few months have been busy for Ian Charbonneau, now having a dual recording fly-pack systems to accommodate flow of work.  In September of this year he recorded Eric Clapton's Crossroads Guitar Festival with headliners to include Buddy Guy, Gary Clark Jr, Trey Anastasio, and John Mayer. He returned to record and mix for the Live Stream of the Coachella Festival, recorded performances of the Goo Goo Dolls for 2 different 4th July TV specials, and did a special capture of shows at Red Rocks Amphitheater for Manå with the great producer Thom Russo.

While one fly pack was utilized at PBS Burbank studios for a Live telethon in November, his Recording Project’s other fly pack flew across the country with crew engineer Todd Shaffer to record the Goo Goo Dolls at the Beacon Theater for a special VR capture by META. 

"The Recording Project second fly pack is an exact duplicate of our first fly pack," says Charbonneau. "Built around Direct-Out Technology’s Prodigy MC modular converters, it's remotely controlled via Globcon software which proven time and time again to be a pristine Sonic workhorse," he adds. 

Ian can now offer two separate fly packs or one big powerful one having 128ch of Analog MicHD pre-amps and converter or 512ch of Digital Madi Inputs. "With projects often well over 64ch now, having this second fly pack will confidently open doors to new opportunities. Now the last piece of the puzzle is to fully complete my recording system by adding a new updated console for on-location live mixing," says Ian Charbonneau. 

Enjoy This Interview with Ian Charbonneau for studioexpresso

SE: In September of this year you recorded Eric Clapton's Crossroads Guitar Festival with headliners to include Buddy Guy, Gary Clark Jr, Trey Anastasio, and John Mayer.

What was different about this year 's live broadcast?

IC: For it’s 8th edition, the 2-day Guitar Festival extravaganza event was made into a free livestream accessible on Youtube as well as on a fully interactive festival website The Next Guitar with exclusive interactive features where viewers could pick and choose what to watch amongst several video feeds. For example, you could choose “hands on guitar” view or “amps & pedal boards” view. This made the live stream very unique and a first on many fronts. A voluntary donation could be made to help Eric Clapton’s Crossroads Antigua Recovery Center. Crossroads Antigua provides a safe, supportive environment for people recovering from alcohol and drug addiction, helping them rebuild their lives through treatment, recovery and community.

SE: What were the different audio formats, and did you have other teams to work with?
IC: On the Audio side, one additional option to this live stream event was that viewers could also choose from several audio formats available in addition to Stereo, an Immersive audio channel and 5.1 surround versions. The music and full production program mix was done on site at the festival using Music Mix Mobile audio trucks. The final mix was fed via fiber upstream to an engineering team in Oslo, Norway where an audio Immersive mix was assembled offsite using our Stereo mix and a fully independent additional set of immersive microphone set up in the Moody Center arena. The team in Oslo did a fantastic job in finalizing both Video and Audio to the different live stream web platforms.

SE: Who else was part of your team?

IC: As I took over the recording and broadcast mix of the (Crossroads Guitar) festival from my father, I felt it was important to assemble an audio team that had done prior Crossroads Festivals. 
I enlisted Peter Gary (top right), a great engineer who had assisted me on previous Crossroads to take over mixing the B Stage and Brian Flanzbaum as Production A1 to mix C & D satellite stages and production elements. I’m super happy with my Mix team. They all did a really stellar job in delivering the musical mixes. Also part of my team were Anthony Catalano overseeing Pro tools records and we even had “Dirty Dave” Roberts helping as A2 (both assisted at LeMobile for many years). And last not least, we had the support of the M3 Audio truck crew.

SE: The Crossroads is produced by Clapton's long-time producer Simon Climie. What can you say about working with him?

IC: Working for Simon has been an absolute pleasure as always. I am really grateful for his trust and the opportunity he gave me to handle this very large project. The process was fairly smooth and well organized. We had weekly calls for several months and having been part of the many previous Crossroads festival, I had a good sense of how to lead it to success.

SE: You started recording Crossroads over 20 years ago. How was this year special?

IC: It was difference this year. As I mentioned my dad retired last year and unfortunately we lost the great Dave May who passed away last spring. Dave was the key Producer in previous Crossroads on behalf of Rhino / Warner Music. This year Crossroads was handled all in-house by Eric’s production team and Simon Climie. When I started working on Crossroads with Le Mobile in the early 2000’s many legendary engineers would take part on capturing this event such as David Hewitt, Elliot Scheiner, Ed Cherney and my father Guy Charbonneau, all Titans of Music Recording. It was very different times in music industry and I have to say I felt like I had very big shoes to fill. I got very lucky in my career to learn from all these audio gurus. I lift my hat to all of them today. I was fortunate to be able to invite my father to come hang and visit Austin for this Crossroads. It was quite emotional as well. I spent most of my life following my dad, dreaming of some day doing what he did. He saw me doing it, and that was pretty special.

SE: Any fond memories or accomplishments you can share?

IC: Surely can’t forget the magical performances over the years with BB King or the great Jeff Beck.

It’s been another great year for my little venture “The Recording Project” and fly pack system. I was able to double my recording capacity with 128ch MicPreamps / 512 MADI inputs with the addition of a second DirectOut Prodigy MC modular converter. I can use both my MC to make a large fly pack or use as 2 fully independent systems.

In 2026, I returned to record and mix for the Live Stream the Outdoor Stage of the Coachella Festival, recorded tv performances of the Goo Goo Dolls for 2 different 4th July TV specials. Did a special capture of shows at Red Rocks Amphitheatre for Manå with the great producer Thom Russo and got to take on several other recording projects. A flying good year!

The Recording Project's Dual Recording Fly Pack Systems

New ATC High-Output In-Wall Subwoofers

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

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

Powerful Performance for Professional Studios

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

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

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

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

Finishing Your Mixes in Mastering

After spending hours on a mix, the creator or mixing engineer loses perspective. Pro engineers test audio across multiple setups—from high-end studio monitors to cheap earbuds and car speakers—preventing muddy bass or harsh highs. Experienced engineers work in calibrated rooms that reveal the true sound. Then there's preparing precise files for your streaming services, vinyl, and CDs, managing loudness penalties and technical limits without ruining dynamic range. Above all, pros catch digital artifacts, clicks, or pops and embed crucial metadata like ISRC codes for correct royalty tracking. Watch pros' take on mastering on our home page.

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

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

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

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

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

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

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.

For studioexpresso

by Julia Lunde of Trans Audio Group

Audio Engineering Society (AES) held its convention in Nashville this year for the first time in its 78-year history. The convention comfortably beat baseline expectations and brought together thousands of audio professionals, educators, students, and manufacturers at the Gaylord Opryland Resort & Convention Center from October 30 to November 1, 2026.

“That show was off the hook good,” was the first thing my dad, Brad Lunde, said to me when we got on the phone after AES. “Unbelievable.” This is particularly notable because, a week earlier, he hadn’t been planning to go at all. AES has been trying to find its footing, and its new home, in recent years. And after last year’s quieter Long Beach show, Nashville wasn’t automatically on our calendars. Then, in the week leading up to the show, the phone calls started coming in- was Trans Audio Group going to be there?

Eventually, enough people asked that we booked a last-minute ticket.

What Brad Lunde found when he arrived genuinely surprised him. The major console manufacturers, speakers, and recording brands, had shown up, but so had Nashville.

That seemed to be the part that impressed him most. There was real support from the city’s recording community—not only on the show floor, but in everything happening around it. The parties felt like AES parties used to feel. People were everywhere. Manufacturer-sponsored events stretched across Nashville, including gatherings at Blackbird Studios (owner John McBride delivering a keynote session on November 1), Gnome and Ocean Way, most within an easy drive of the convention hall. The local recording and music community seemed genuinely excited to have AES there, and excited to participate in making it work.

Stephen Earnest, Head of Pro at TransAudio and co-owner of Gnome Studios, emphasized that point. “I think people underestimate how deep the music industry runs in Nashville.”

Which is quite the statement, considering it is called Music City. But Stephen went on to tell me that the sheer number of studios and people working in the industry there is “mind-boggling.”

Nashville has always been particularly good at what happens once everyone leaves the convention floor. Stephen remembers that even during the later years of Summer NAMM, the surrounding events were still well done and well attended. 

That may be Nashville’s superpower. And that probably is what attracted AES, and the vendors, back this year.

At Ocean Way, Brad estimated that around 500 people may have come through a party he called the best he’d ever attended at a recording studio around AES—and the biggest AES party he’d seen in years. “Everybody was there.” Stephen described it simply as “standing room only.”

Stephen told me that it hit him while he was there- This is what Nashville is good at. This is Nashville.

So it may be no surprise to say, by the end of the trip, Brad was calling Nashville the best AES show he’d attended in 15 years.

That assessment carries a little extra history with it. Years ago, Brad even had his own corner of AES: Audio Underground, a row of booths he curated for smaller and independent manufacturers. It’s something I heard about quite often growing up. A piece of Brad Lunde lore, even.

After Nashville, he was talking about bringing it back. Which really says everything you need to know.

Maybe none of this should be entirely surprising. Nashville has a well-defined recording community, one that has only become more prominent within the industry in recent years. And this time, AES seems to have found a winning combination of location, exhibitors and a city willing to embrace it—something that made the show feel specifically and unmistakably about the recording industry again.

If Nashville does become AES’s permanent home, with the show settling into its late-October spot just before Halloween, this year offered a pretty compelling argument for it.

Brad, at least, doesn’t need convincing anymore. The guy who booked his flight at the last minute has already booked the next two years.

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

SAVE THE DATE!


studioexpresso & Trans Audio Group Present

CREATOR CIRCLE: Producing Catalogs That Keep On Giving!  

Featuring Award-winning Producers...more speakers to be announced  

Simon Phillips Roc.am ...    


Thursday Jan 28, 3-4 pm @ NAMM 2027


Hilton Hotel, Near Anaheim Convention Center

Below: Confirmed NAMM Speakers Simon Phillips, ROC: am

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

For studioexpresso

By London Robinson

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

Phoebe Bridgers is one of the most influential indie-rock/folk artists working right now, celebrated for her insightful lyrics, haunting melodies and beautiful harmonies. Despite her immense success and fan-base, she has only released three major solo projects, with her most recent, titled Lost Weekend, released earlier this year in August 2026. While the album retains her atmospheric instrumentals and emotional songwriting Phoebe has used previously in her work, it also ventures into new topics such as the passing of her father, her breakup with actor Paul Mescal, and the alienation she has with her newfound fame.

However, what makes Lost Weekend particularly compelling is the way Phoebe approaches these deeply personal experiences without allowing them to become overly sentimental. She instead uses her signature understated songwriting to explore the complicated relationship between grief, nostalgia, identity and the passage of time. The album’s softer acoustic arrangements are occasionally interrupted by wild chord changes, layers of distorted guitars, and sweeping vocal harmonies. Lost Weekend is masterfully produced by long-term collaborators such as Tony Berg and Ethan Gruska, along with acclaimed producers Alex G and Jack Antonoff of Bleachers.

Her current tour, like the aforementioned album, is also anything but conventional. Before the album was even announced, Phoebe played in clubs in small towns such as Lubbock, TX and Champaign, IL, as she showed up to each city with little fanfare or promotion. Despite the limited word-of-mouth, fans lined up early to each of the venues, with each one almost instantly selling out. Since Phoebe was performing unreleased music from her then-upcoming album, there was a no-phone policy for each of these shows. Despite her current Lost Tour taking place in major basketball arenas instead of small-capacity theaters, the no-phone rule stays enforced in order to bring her large community of fans together and preserve a sense of intimacy. Each stop of the tour also includes a breathtaking set design, with the main stage having an illuminated orb over her and her band, acting as both a major set piece and a screen that rotates throughout her performance. 

Her tour has had rave reviews so far; she most recently played three nights at the Intuit Dome, bringing out special guests like Muna, her band Boygenius and even Billie Eilish. Next, she will perform on Saturday Night Live on November 14th; soon after, she will bring her tour to arenas across Europe.

GRAMMY-winning pianist John Beasley visited Steinway Hall in New York City on November 4, 6pm. John performed selections from his new album, Invisible Piano. Inspiration for the album came during a visit to the the Staatsgalerie Stuttgart. While visiting the gallery, he quietly sang melodic ideas into his iPhone, later developed these ideas on a Spirio piano in New York, and finally integrated the solo piano tracks into orchestrated versions for Big Band. 

Seven of John’s improvisations have also been added to the Spirio library, allowing owners to browse and play his music on demand. And for select Steinway dealers, a synchronized video experience will bring his piano parts to life alongside the SWR Big Band concert filmed in Stuttgart, Germany, with the performance visible on the Spirio’s iPad as the piano plays.

Marciano Art Foundation x AKP Recordings x KCRW presents a Quadraphonic Vinyl Deep Listening Session of CIANI/ORKEST, the landmark live album pairing electronic music pioneer and five-time Grammy nominee Suzanne Ciani and the internationally acclaimed Metropole Orkest, conducted by Simon Dobson.

Silhouetted against MAF’s presentation of Tacita Dean: FILM, this immersive experience showcases the bold meeting of Suzanne’s Buchla electronic instrument with a 50-piece orchestra directly from the rare quadraphonic lacquer disc, providing listeners with a surround-spatial audio experience via four speakers.

The listening session is followed by a conversation recorded live between Suzanne Ciani + the album’s producer KamranV with Daniel Noah + Elijah Wood, hosts of Spectrevision’s Visitations podcast; an intimate conversation about the relationship between creative people’s lives and art.

Reserve here

Receiving a package from Grammy Award-winning music Producer Sylvia Massy (Tool, System of a Down, Johnny Cash, Prince) is like opening an early Christmas present. She co-wrote her new book on Vintage Microphones with Chris Johnson. Inside the tasty packagin, there's Sylvia's Microphone Seeds (yes, seeds! Can't wait to plant these in my garden), deck of 50 collector cards, each listing type, pattern, frequency response, value and the rarity of the mics. How rare? How about The RCA PB-31 circa 1931, The Schoeps M 201 from 1952, or the Telefunken Elam 251 from 1960, with high five stars.

Those of us who are a big fan of Massy's work know about her other books Recording Unhinged and Audio Icons Unhinged Coloring Book, both with her beautiful illustration. This book is entertaining and educational at the same time.

You'll appreciate the art, technology, and history of microphones, looking at the first 100 years since the original invention - from the 1870s through the 1970s.

Discover microphones used by major figures, including the one used by every US President since Lyndon B. Johnson, the epic microphone built for King George V, and the one used by Bruce Swedien for Michael Jackson's hits.

Sylvia Massy and Chris Johnson expertly curated hundreds of microphones, from the rare and eccentric to well-known game changers, and provide interesting tidbits relating to their use, history, manufacture, design, and more. Together they also operate Sylvia's Oddio Shop in Ashland, Oregon, manage a massive vintage microphone collection and museum, and collaborate on creative and literary projects, including co-authoring books like The Great Book of Vintage Microphones. Her new visually stunning book traces the microphone through a history that includes the Great Depression, two World Wars, and the Cold War era. It's a visual tour of vintage microphones from around the world with hundreds of original, full-color photographs. A must read for all you audiophiles and audio enthusiasts. And, perfect for your Holiday gift giving! Pre-order Vintage Microphones here Order her other books here

The owners of Elvis Presley's music catalogue are suing the artificial intelligence company Anthropic for allegedly using Presley’s songs to train their models without permission.

The lawsuit claims that “from its inception, Anthropic’s AI model, ‘Claude,’ has created infringing output of copyrighted material of virtually every song from every catalog available on the internet”.

It further accuses Anthropic of utilizing 274 of Presley’s songs to train its AI model. These works include Can’t Help Falling in Love, All Shook Up and A Little Less Conversation.

The plaintiffs are seeking $150,000 per infringed track, or about $41m (about £31m). My advise is to send an email to GlobalAIRegistry@SoundExchange.com with

opt in to receive direct licensing opportunities and opt out for your music to be used for AI "learning/training" purposes sans compensation.

American Contemporary Ballet (ACB) performs in intimate venues in Los Angeles designed to immerse audiences in ballet and live music.

ACB's choreographer Lincoln Jones offers creative programming combining classics with modern dance repertoire backed by live musicians (bass, piano, organ, violin..). ACB’s celebrated musicians have included Martin Chalifour, Principal Concertmaster of the Los Angeles Philharmonic Tereza Stanislav, Assistant Concertmaster of the Los Angeles Chamber Orchestra, world-renowned soloist Hilary Hahn, and...Michael Arrom, Ana Barreiro, Ani Bukujian, Juan-Salvador Carrasco, Stella Cho, Sérgio Coelho, Adam Floyd, Evan Hillis, Kevin Hsu, Yu-Ting Hsu, Morgan Jones, Nao Kubota, Mann-Wen Lo, Edgar López, Bingxia Lu, Chang Lu, Anastasia Malliaras, Emma McCartney, Alin Melik-Adamyan, Javier Morales, Alexandros Petrin, Strauss Shi, Naomi Sumitani, Keith Williams, and Dmitri Yevstifeev.

Church Keyboard provided a Rodgers 3-manual organ Rodgers Instruments for their October dates. Devil is in the details. You'll appreciate each season's gorgeous program books, the Audiences enjoy before-and-after reception where you meet the creatives and make new friends.

The understated costumes and minimalist stage lighting (blue wave shown here) work together to shift the audience's focus toward the performer's form, movement, and emotional depth rather than loud visual distractions.

ACB will present The Nutcracker Suite from November 28 to December 24, 2026. You may even find some snow in LA, among other surprises.

ACB's immersive wonderland is quick to sell out. Don't miss it. Order it here

Until next year support artists directly.

Share your musical expression and tell us about your new release, upcoming event, or reach out for music production services & let the Holidays begin!

Music Lives and Moves!

Claris Sayadian-Dodge, founder/publisher

claris@studioexpresso.com

With author and music producer Sylvia Massy