oct I nov 2024

Fall colors are brighter with your voices and music. A beloved executive is inviting you to experience an expanding music campus in the heart of the valley. Listen to a soulful album bridging three continents with multiple producers. She wants you to put on your dance shoes and get your party started while he has gone ancestral. Meet new music movers and shakers, learn what's new at at NAMM 2025 where studioexpresso and Trans Audio will present a stellar panel on January 23 at 1pm (save the date)! We've got a new film, tasty beats and bites. We're all treats and remain grateful to you, our valued creators, contributors and supporters. Grab an espresso and enjoy this month's serving!

Welcome to the Evergreen Enterprise Experience (EEE)!

An Expanding Music Campus with In-House Creative Talent

Above: studio 1 at Enterprise joins the Evergreen Studios. Below: Neil Portnow in the control room with ATC speakers

Here the vibe is serene. The hallways and lounges are graced with colorful modern art by local artists. The facility features a 3,000 square foot Scoring Stage/Live Room, with 3 ISO Booths, Studio A includes a newly installed Solid State Logic Duality Fuse 72 channel SuperAnalogue™ mixing console. Studio B offers a brand-new space (with 2 ISO booths), and a Dolby Atmos Dub Stage. Additional Production Building right across the street, feature 7+ Control Rooms, 5+ Office spaces, Viewing Theater, Writing Rooms, Kitchens and Lounges and much more. Enjoy California sun almost all-year-long in the facility's beautiful courtyard equipped with a grill, and yes, there's ample (50 cars) parking to accommodate film crew or an orchestra date.

studioexpresso sat down with veteran executive Neil Portnow in October to learn about what's new in his life and at EEE, for our studio spotlight this month.

Q&A with Neil Portnow

SE: With your impressive accomplishments why go back to a studio? Your favorite part of its environment?

NP: In considering options with respect to my post-recording academy long-term tenure, a number of projects and opportunities surfaced some of which were intriguing, some not so much, and some seemed like a worthwhile, productive, and enjoyable road to take. before leaving the academy, i wrote a little “motto” to try to remind me of priorities and direction which said, “continue to do good work, with people you like!”. we know of course that there’s always good work to be done, but finding situations where you can do that with people that you like, respect, and share some common goals and aspirations with can be a needle in a haystack. when a long-time family friend and colleague told me about the acquisition of the evergreen studio along with the entire city block, coupled with their determination not to tear it down and replace it with condos, but rather, to save it and re-build the legacy of such an iconic and legendary place, that immediately peaked my interest. when the conversation evolved to the point of an invitation to devise a game plan and strategy and to lead the development and management of a new music-centric entity with evergreen as its home, that resonated loudly with me, as it checked the boxes of my motto and thoughts for future plans. over the years that have followed, i’ve done everything from painting gates, planting foliage, moving furniture to developing our business plan, hiring and developing a first-rate, stellar staff, and managing various elements of the operation.

I’m not sure i could identify a “favorite part” of working in a studio environment, but spending time being close to what i call “the flame” – meaning the artists, writers, musicians, producers, composers, along with the brilliant group of engineers and technical experts is a complete joy! it’s also full-circle for me, as i spent many of the early days and years of my career which began with taking guitar lessons at the age of 7, playing in bands from junior high school all the way through college, and the experience of recording as a musician, and later as a producer for decades. so it’s like being home again.

"Being close to what I call “the flame” – meaning the artists, writers, musicians, producers, composers, along with the brilliant group of engineers and technical experts is a complete joy!"



--Neil Portnow

SE: What's new at EEE in 2025 as it relates to the studios, and/or projects?

NP: For 2025, we’re proud and excited that our brand new, state-of-the-art studio 1 will be open and operating at enterprise studios across the street. In the way that Evergreen is home to Harvey Mason Jr. (Justin Bieber, Beyonce, John Legend, Britney Spears, Ariana Grande, Justin Timberlake) and his operations.

Our growing creative content operation under the guidance of Andrea Torchia (left) continues to develop and identify talented writers and artists to bring into the fold.

Enterprise will similarly be home to producer/writer/film-maker Freddy Wexler (Billy Joel, Turn the Lights Back On; Selena Gomez Slow Down.; Justin Bieber & Ariana Grande, Stuck With U). 

In addition to doing his recording projects there, he will have offices to house his operations and projects. That said, studio 1 is available for commercial bookings and along with studio a, b, and c at evergreen, that gives us what I call the perfect size options – small, medium, large, and extra large. These rooms give us the capacity to handle any size project. Our extraordinary new Dolby-certified Atmos theater is now complete with the addition of a second desk/console, so we expect to be quite busy with projects from music artists/labels, along with mixes for feature films and Tv shows. All of the feedback we’ve received about the room bodes well for lots of activity ahead.

Above L-R: Freddy Wexler and Harvey Mason Jr working at Evergreen, Enterprise, Experience.

SE: Like your partner Harvey Mason Jr, you started as an indie musician, played bass in high school band, The Savages, got signed...what was the lesson learned from your early years?

NP: My experiences in music and the industry which actually began in earnest in high school as you pointed out all helped to shape my thinking, plans, and actions with respect to the eventual evolution of my commitment to a lifetime career in music. One early lesson learned was the importance of listening carefully, being open to ideas of others, and working as a team – or in my case, working in a band. Working in an ensemble teaches enormous skills, many of which apply to life’s work, regardless of what field or occupation one may choose. The other important lesson is while it’s important to listen and learn from others, it’s also crucial to listen to your own ideas, visions, and beliefs because it will ultimately be those factors which determine whether you become your own person and are then able to make your own unique and individual contributions to your community.

SE: What would be a dream project for you?

NP: Intending the answer to be humble, the honest response is that I feel that most of my career and all of the experiences, projects, and people involved have created one giant “dream project” of a lifetime. Almost every aspect of that career– from my first guitar lessons at age 7, to my incredibly rewarding and one-of-a-kind position as President/CEO of the Recording Academy and the Grammy’s – has been beyond any expectations and hopes I may have had and have left me feeling incredible gratitude and appreciation for such a gift.

SE: What do you like to do in your spare time?

NP: There have been some fairly long stretches of where there might not have been any spare time, but when there was – or is – I enjoy flea markets, as I’m a bit of a collector, gardening and maintaining a home, and travel whether for business or for pleasure.

SE: Are you more of a gear-head or people person?

NP: People for sure – I’m not particularly technically-oriented but have great respect for those who are, and for the gear that makes recording possible.

SE: You've been at the helm of so many music/label/publishing organizations as exec, your best advice for artists who self-publish?

NP: Today’s environment for artists and writers is more complex and of course sources of exploitation and revenue are more diverse and fragmented than ever. That really requires paying attention and understanding the business aspects of our music ecosystem; put in the time, do the homework, acquire knowledge whether through music education platforms, institutions, or reading materials.

SE: Name two folks who have been instrumental in your career?

NP: It’s tough to select just two because there have been many, but for this exercise, I’ll pick the two Clive's: Clive Davis and Clive Calder. I was fortunate enough to be hired by Davis to run the west coast operations of Arista records in the mid-1980’s during the time of explosive growth for the new label, and similarly by Calder to open a west coast office for the Zomba group of companies in the early 1990’s as its music publishing, production music libraries, and record labels – most notably Jive records – were on their way to jointly creating the world’s largest independent music operation. Whenever one has an opportunity to learn at the feet of masters, it’s critical – and smart to be a sponge to soak in all of the experience, wisdom, and knowledge possible, while at the same time, honing your own skills, strengths, and vision. Each person you meet and work with along the way becomes another building block in the development and creation of your own path and career along the way.

SE: During your Grammy years, you're credited for many successes --progress in music advocacy, growth of Musicares, the establishment of the first GRAMMY Museum, the launch of the GRAMMY Music Education Coalition, and celebration of our community's most inspiring creators. What can you say about the pressing issues that relates to artists today, and the state of our industry?

NP: Thanks for the recognition – my years and tenure at the Recording Academy represent some of the proudest and hopefully lasting contributions I’ve had the honor to be part of during my many years in the music industry. I’ve been involved long enough to know that there are always likely to be high and low points to celebrate or face up to, and there are always challenges, crusades, and battles to fight – and to win. At the academy, I had a vision of a group of industry leaders who collectively could tackle issues together, which is not an easy task given the fact that different sectors of our industry sometimes have divergent agendas and interests. Putting the CEO’s in the same room so that they could begin by at least getting to know each other personally, and to be able to dialog in private – not just public forums – was an essential step, and what became the “CEO Summit” which I had the honor of serving as chair – wound up being a highly effective forum and place for all to work together and to create common goals which all could collaborate on. The resulting music modernization act was one of a number of successful outcomes from the group effort and going forward, it’s that type of industry-wide collaboration that will provide a path and answers to the problems of the day and ahead.

SE: What's your personal taste in music? What do you like to listen to when you relax?

NP: I have very wide and diverse taste in music, so I listen to many genres regularly which of course includes the mainstream of current music, but also great interest and attention to jazz and classical music.

SE: Your most valuable procession (home or studio)?

NP: Some vintage instruments, cars, various collectables, and treasured photos from a lifetime with friends and experiences.

SE: Favorite beverage?!

NP: Nothing like a fresh squeezed organic OJ, or a cup of hot green tea!

Booking Contact: Beloved studio manager, Vicki Giordano

Above: Grammy®-nominated Matt B and producer/director Angela Benson during Q&A Premiere Screening at Regal Cinemas, Los Angeles on September 20, 2024

Grammy®-nominated Matt B and his video director wife and manager Angela Benson return with the sequel to his African-inspired album Alkebulan II. It dropped on Aug 23 with an accompanying short-film screening which premiered at the Regal Cinemas, Los Angeles on September 20. A Q&A with the artist followed. The album which is for Grammy consideration in the Global Music Category, also entered in the Billboard's top 100 album chart.

The production bridged three continents with arrangement and orchestration by Grammy®-winning Brent Fischer in Los Angeles, Recording in London at the legendary Abbey Road Studios, and filming several, soon to be released, music videos in Africa. This is the second collaboration between Matt B and Fischer who is also credited as one of the producers.

Alkebulan is believed to be the name of the continent of Africa with its ancient civilization dating back over 5000 years. The name has come to represent resilience and diversity of a nation which parallels Matt B's own dreams and ambition to record quality albums.

The sound soars with epic cinematic flavors combined with introspective spoken words.

This voyage of sound and soul was made in three continents of North America, Europe and Africa.

Producers are: Matt B, Angela Benson,

Kitt Wakeley, MB Gordy, Wabwire "B.I.T." Shedrack and Brent Fischer.

studioexpresso sat down with producer Brent Fischer in September to learn more about Matt B's new album, Alkebualn II and his contribution.

"My intent is to further bring out the emotional content of the music by supporting, texturizing and enlarging the sonic architecture."



--Brent Fischer

L-R: Alkebulan II producers: Brent Fischer, Grammy®-nominated Matt B, Kitt Wakeley, and Angela Benson at the album's companion Short Film Premiere Screening at Regal Cinemas, Los Angeles on September 20

Q&A with

Brent Fischer



SE: You're listed as one of the producers on Alkebulan II. Describe how doing work remotely was different on this album?

BF: The good thing about co producing is I didn’t have to do everything! That was a big relief so I could focus more on just the music. Matt B, besides being a great songwriter, also has a good team, so that made things go smoothly. 

I’ve been on projects before where I had to write for musicians in another city and I wouldn’t be there to conduct the orchestra. So this was nothing new. I just kept in mind that, while the orchestra may be filled with talented musicians, I don’t know them like I do musicians in the states. Because of that, I will take less risks musically. 

SE: You arranged horns and woodwinds on four titles: UHAMBO, Midnight Train, Nowahala, Purpose;  and orchestrated another: Intuition, Lost Drums, Renewal, and The Creator. Describe your process?

BF: Because the orchestra was overseas, I did not use some of the really rare orchestral instruments that usually are part of my sonic palette. Instead, I focused on unusual combinations of the more common instruments. This worked really well, especially with the clarinet choir you hear featured in places.

SE: The song Intuition comes after a chant, with a cinematic spread which blends into the next beat-driven song Lost Drums. Do you generally explore ideas with the artist before you start writing or artists like to give you some artistic freedom?

BF: Matt B is very much like most artists I work with. There's always a sense of creative freedom. While I may get instructions or suggestions from them, they trust my innate sense. They know that I know my job is to help them fulfill their creative vision by adding mine to it.

SE: You have worked with many R&B artists to include Prince, and D'Angelo How are things different when you work with breaking or independent artists, when it comes to budgets?

BF: I’ve worked with celebrities that were on tight budgets and independent newcomers that had the forethought to save up and go big. Every situation is different and I feel comfortable working within the parameters artists set. They have thought hard about this and, while I’m happy to help with suggestions, I know the final choices should be theirs.

SE: On Matt B's Alk II, how was the delivery process different from your usual "soup to nuts" approach of hiring musicians, conducting the session and recording/editing with your engineer?

BF: I love doing projects from the ground up but it’s an enormous amount of work. I also enjoy the challenge of making sure that something I write for musicians in another city can be instantly playable without having any questions. I also make a detailed set of conductor’s notes for them to refer to without the expectation that they will actually be looked at. They are just there for people that want to dig really deep into the sonic architecture. In either case, the music will still come out great.

SE: Brent Fischer Orchestra has appeared on many albums, including Matt B's first Alkebulan album. How was it different?

BF: Matt B, Prince and Robert Palmer are all part of the category of artists that have the Fischer sound on multiple tracks. When I worked on Matt B’s last album (Alkebulan I), I used The Brent Fischer Orchestra—hand picking each musician and then writing for their specific strengths—at The Village studios in West LA. Matt is great to work with in the studio—dedicated, professional and with a firm grasp of his creative vision even as I am adding something to it he’s never heard until that day. This way, the artist gets a chance to hear their music in a new light from a fan’s perspective.

SE: On The Creator the vibe is Reggae-backed orchestra. What is your intention when you orchestrate? what's at the center, the song, the artist or the listener?

BF: My intent is to further bring out the emotional content of the music by supporting, texturizing and enlarging the sonic architecture.

SE: Anything else you want to add about this project and/or the artist?

BF: Wait until you see all the music videos for each song. Amazingly done and adds yet another deep layer to this audio visual tapestry.

SE: This album is being considered in the Grammy-Global Album category. Having been a past G-winner yourself, any tips on how best to prepare when accepting a Grammy?!

BF: I have a Grammy® for Best Latin Jazz Album but I have been a part of dozens of albums over the years that have won Grammys® including Best R&B Album and some of the major pop, jazz and compositional award categories too.

My advice for winners’ acceptance speeches is simple: Say something eloquent that people will remember, keep it short and get up to the podium fast when they call your name so you don’t keep the audience waiting!

In 2024 Sheila E released her new salsa album, Bailar, mixed by Jess Sutcliffe. The Album features special Guests, Rubén Blades, Gloria Estefan, Luis Enrique, Debi Nova, Pete Escovedo.

Sheila E's Salsa album is a Latin celebration and collaboration. It's a must have for your south of the border parties, and sure to get your guests on the dance floor. Bailar (dance) exudes energy with the queen of percussion, Sheila E. Bailar is mixed by 3-time Grammy winner Jess Sutcliffe. It's for your consideration in multiple categories to include: Tropical Latin Album, Best Engineered album, Record and Album of the year, Best music video.

London-born and LA-based engineer and mixer Jess Sutcliffe has worked in a multitude of genres, with diverse and iconic artists such as Prince, The Rolling Stones, Sheila E., Toto, Agnetha Fältskog (ABBA), Eagles, Luis Miguel, Carlene Carter, Willie Nelson, LeAnn Rimes, The Fall, The Saints, Chelsea, Meat Loaf, Gavin Rossdale (Bush), Aretha Franklin, to name a few.

Read more at Sutcliffe's studioexpresso profile here

East West's legendary Studio One (Sinatra, Elvis Presley, Rolling Stones) is booked for variety of sessions from single voice to 70-piece symphonic orchestra. Brent Fischer Orchestra recorded in one with a 56-piece ensemble.

Spanning over 61,000 cubic feet with a vibrant sound, the iconic studio comes complete with a spacious isolation booth and a beautiful Bechstein D-280 Concert Grand Piano. The control room features an 80-channel Neve 8078 Console, the largest in the world (originally commissioned for Michael Jackson's best-selling album, Thriller).

Each room at East West is equipped with a DB Technologies db4496 A/D-D/A Converter and ATC SCM25 Pro Mk2 house monitors along with NS10/ProAc speakers and are set up with Pro tools HD.

Right: Grammy-winner producers Brent Fischer and Dave Reitzas in studio one control room during a VIP event hosted by Source Connect

photos: by the C

Housed in 1920s Medinah Temple, the historic landmark studios, for almost six decades, The Village has recorded hundreds of legendary Grammy Award-winning albums and Academy Award-winning movie soundtracks. One of the studio's Grammy-winning, staff engineers, Alex Williams, used ATC 25s on the Jon Batiste We Are sessions, as well as the award-winning Odessa sessions. He also worked with Lukas Nelson & Promise of the Real, Regina Spektor, Perry Farrell and many more. Noted Williams, “The quality of ATC’s design and construction is apparent upon opening the box. From recording to mixing, the ATCs perform flawlessly on rock, pop, hip-hop, jazz, or orchestral. I know what I’m hearing is what I’m getting. I’m thrilled that The Village is outfitting three studios with the new ATC SCM25A Pro Mk2s.”

“Choosing ATC SCM25A Pro Mk2s for Village's main studios is an incredible validation of this product’s excellence,” says Brad Lunde, president and founder of TransAudio Group.

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

Starstruck Entertainment, the parent company of Starstruck Studios was founded in 1988 by Narvel Blackstock. Located on Music Row, Starstruck Studios is considered one of the top iconic Nashville recording facilities, and recently chose an ATC 7.1.4 Dolby Atmos configuration and paired it with their SSL System TS-500 console for their Dolby Atmos room.

"ATC 7.1.4 Dolby Atmos system is cited as the speaker system of choice for the growing number of multichannel immersive sound studios.

Manufactured and designed in the UK to the highest engineering standards, it was only natural ATC could develop this solid niche," says Brad Lunde of Trans Audio Group.

Gavin Lurssen with Kenneth Pattengale @themilkcartonkids and Gabe Witcher @punchbrothers who stopped by to master Willie Watson’s new album

Willie Watson knows how to look into your eyes and tell you in his ragged tenor what you already know. He's the voice of middle America who may be standing on the sidelines, but needs healing as much as you and I. Watson's self-titled debut album may be offering just that.

A frequent performer at Sara and Sean Watkins’ Watkins Family Hour at Largo in Los Angeles and a regular member of David Rawlings and Gillian Welch’s Dave Rawlings Machine, Watson also built up a reputation as a traveling folk singer. he record sees him renewing his musical bonds with Punch Brothers’ Paul Klowert and Gabe Witcher as well as keyboard legend Benmont Tench.

The album is out now on Little Operation Records, released on 13th September 2024 and can be pre-saved and pre-ordered here

The first single is Real Love, with a video directed by Joseph Wasilewski and starring Watson and wife Mindy. Our video pick is Already Gone.The album is beautifully masterd at Lurrsen Mastering. Tour dates here and Order the album here

Invest in Good Speaker Stands. Why? While looks can be deceiving, you must have seen concrete blocks and other DIY configurations used in some project studios. Speaker stands may not be on top of your purchasing list, but this 19-minute video by Colt Capperrune @ColtCapperrune may change your mind. $20 block stands are compared with professional stands ranging from $140 Gators to $1,200 Sound Anchor stands. Can you guess which one performs the best? check it out here Adjust-ability is also important for Speakers. For optimum sound quality the speaker’s acoustical axis should be at approximately ear level for the most consistent and best sound.

Sound Anchor adjustable monitor stands allow you to adjust the position of the monitors (height, angle and tilt) so you can place the monitors where they need to be for the highest quality sound.

Sound Anchors and Redmount products are designed and manufactured in Palm Bay, Florida U.S.A. using American parts and skilled American labor. click here for Sound Anchor dealers in USA

ATC models:

SCM25As

SCM45As,

SCM50ASLs

SCM100ASLs

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

ABOUT TRANSAUDIO GROUP

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. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

ATC SCM 25a pro mk2 has been upgraded with ATC’s hand made proprietary SH25-76S Dual Suspension Tweeter, extending the high-frequency response with a reduction in distortion. " Like the original SCM25A, the new upgraded Mk2 is a compact 3-way high-performance active studio monitor loudspeaker, based around the hand made proprietary ATC 3”/75mm soft mid-dome driver and 6.5”/164mm bass driver loaded in a 25-litre vented cabinet," adds Brad Lunde, President of Trans Audio Group. The monitor’s combination of exceptional mid-range clarity, high-output, extended bass response and modest size make it ideal for nearfield monitoring across a wide range of critical applications. ATC of England is the insider’s studio monitor, demanded by the very top level of the music recording community. ATC designs and manufactures nearly all their proprietary components, drivers, and electronics in-house to the absolute highest quality standards. The best of the best rely on ATC monitoring as their main solution for tracking, mixing and mastering. 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. Choose the size that works for your space. More info here

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

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

USA List Price: $5,490.00 USA MAP: $4,990.00

Renowned recording artist ALOK (Achkar Peres Petrillo) and multi-Grammy®-winning mixer/egnineer and producer Rafa Sardina are inviting us to close our eyes and open our hearts for Alok's THE FUTURE IS ANCESTRAL. "Released on April 19 2024, it was recorded with 50 indigenous musicians and tribal leaders. Recognized by UNESCO, all proceeds from the sales go to support indigenous tribes in Brazil," says Sardina. Alok is one of Brazil's most well-known DJs, who uses the term "Brazilian Bass" to describe his fusion of tech-house and festival-friendly EDM. He is also the only Brazilian to make the "Billboard Dance 100" and was named in 2022 by Bloomberg Linea as one of 500 people more influential in Latin America. Alok has performed some 320 yearly shows on five continents, and is widely regarded as one of the most influential Brazilian artists of all time and is experiencing his breakout moment in the US. Music industry, including creatives from studioexpresso production community gathered on the Sony Picture studio lot in Culver City to celebrate the album (Best Latin Electronic Music Performance) in immersive audio.

Above: Tec Tracks 2024: Amplify Your Music l-r: Brad Lunde of Trans Audio Group, Brent Fischer, Ian Charboneau, Ryan Ulyate and Claris Sayadian-Dodge of studioexpresso

Save the date!

studioexpresso and Trans Audio Group Present at NAMM 2025

Thursday January 23, 1pm

Anaheim Convention Center

Atmos-ize Your Music Like Sherlock Holmes, Elton John...

Exciting panel to be announced in December

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), Rafa Sardina (Lady Gaga, John Legend), 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), Leland Sklar (Phil Collins, James Taylor), Moogie Canazio (Sergio Mendes, Sarah Vaughan), 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, Matt Wong, Ryan Ulyate (Tom Petty & The Heartbreakers), Ian Charbonneau (Mana, Neil Young, Jake Owen) and Grammy^®-winning Brent Fischer (Usher, Elvis Costello, Symphonic Prince).

Marek Walaszek, inventor and founder of Bettermaker, enjoys a glowing reputation of creating award-winning, professional grade mixing and mastering hardware and software. The new Bettermaker Valve Stereo Passive Equalizer (VSPE) is the first Bettermaker product featuring original tube technology along with new company designed and manufactured transformers.

"The vacuum tubes selected for the VSPE are military grade with very strict requirements for extremely low levels of noise and distortion," says Brad Lunde of TransAudio Group, the distributor of world-class audio equipment.

A breakthrough in audio engineering, the VSPE combines the warmth of a vacuum tube stereo EQ, with the precision of digital control and recall.

Bettermaker’s VSPE includes a DAW plugin that allows you to control and recall all settings of the analog hardware via USB. Along with standard parameter control, it provides high-quality digital HPF and LPF spectrum analyzer session snapshots, dual mono operation, audio level metering, and quantize (step) mode for all hardware knobs. VSPE filters are also adjustable by dragging handles on the EQ curve graph.

“The vintage analog sound of passive EQ’s so loved by engineers is replicated in the new Bettermaker Valve Stereo Passive Equalizer. The VSPE easily captures the musicality and tone of a performance with digital precision,” adds Lunde.

For technical specifications, go to the VSPE Product Page.

Units are Now Available. Price: $2999.00

Bettermaker Mastering Limiter 2.0 Convenient, easy-to-use plug-in control and instant recall.

“From Grammy-award winners, to top international recording artists, home and free-standing recording studios, the original Mastering Limiter is that piece of go-to gear that adds that particular dynamic edge and significant touch towards the end of the recording process.

The Bettermaker Mastering Limiter 2.0 has faster release time, a lowered noise floor and the same 100% analog signal path with the ease of digital plug-in control and recall. This one is a superstar product,” adds Brad Lunde, president, and founder of TransAudio Group

Watch Vlog review by DJ, Producer, Jon Sine of the new Bettermaker Mastering 2.0 here

The Bettermaker Mastering Limiter 2.0 is priced at $3,500 in USA and is now available for shipping.

"The Daking Mic Pre 4T, nominated for a TEC Award 2023, will elevate any recording offering unique solutions to common problems," say Brad Lunde (click top left image for a video presentation by Brad Lunde). The “low-distortion” Jensen input and output transformers offer more linear low-end performance under super dynamic conditions. Daking’s own variable high-pass filter dials out the low-frequency mud that can be subsonic and will decrease available headroom. Built in the USA, Daking uses only high-end parts like Jensen input and output transformers in a high-end design using all-discrete transistor Class A circuitry. Unusually high 24dB of headroom and easy to read twenty segment meters make proper gain staging easy and forgiving under a wider array of conditions.

Auratone Celebrates its 50th anniversary, Auratone and its US distributor, TransAudio Group, introduced the first-ever Active 5C, nominated for TEC Awards at NAMM 2023.

A careful R&D process has been implemented to maintain the original characteristics of the 5C, utilizing the same amplifier design from the NAMM TEC Award winning A2-30 amplifier.

“We were happy to get boutique Polish manufacturer Bettermaker together with Alex Jacobsen, owner, and grandson of founder Jack Wilson, for the perfectly matched A2-30 amplifier. Now, the two companies have collaborated to get a mono amplifier that contains the guts and soul of the A2-30 into each chassis for the active version,” says Brad Lunde, founder, and president of TransAudio Group.

The Auratone Active 5C is now shipping • MAP: $749/pair

Like the other 5C variants, the Auratone ACTIVE 5C is made in the USA.



Trans Audio Group -- The Recording Studio Equipment Experts. Call to order from their trusted brands:

A-Designs (USA), ATC Loudspeakers (UK), Auratone, Bettermaker, Daking Audio, Drawmer, Hakan, Latch Lake, Mojave Audio, Mutec, Pete's Place Audio, Sabra-Som, Subwoofer Pros, and Tube-Tech 

Questions- pricing, availability and dealer locations please email sales@transaudiogroup.com

TransAudio Group, the U.S. distributor of world-class audio recording gear, announces the

Drawmer 1977 – the company’s most versatile channel strip to date.

“For over 45 years, Drawmer has been on the forefront of creating and manufacturing beautiful sounding analog gear,” noted Brad Lunde, president, and founder of TransAudio Group. “With the Drawmer 1977, they combined the richness of analog sound with the functionally needed in today’s recording environments. The concept is legendary. The implementation is difficult. Yet somehow Ivor Drawmer and his team made it happen with the creation of the 1977 Channel Strip. I’m excited to bring this product to market. It’s going to meet the almost eternal quest to bring more of that ‘70s analog sound to today’s recordings.”

The Drawmer 1977 is priced at $1749 and is now available.

The new Drawmer 1971 4-band parametric EQ, available in the U.S. from TransAudio Group.

Trans Audio Group (TAG) has made its mission to deliver creative, problem-solving, and bulletproof products to recording studios around the world. This month, the U.S. Distributor for Drawmer, TAG, is introducing the all new 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.”

Units are Now Available. Price: $1799.00 Details here

John Lewis. Bobby Kennedy. Breonna Taylor. Lady Bird Johnson, Cirque du Soleil. Pete Souza.

And the latest: Luther Vandross. Historical, political, controversial, and always creative - what do these award-winning documentaries have in common? They all have been produced, directed, executive produced, by Dawn Porter (top right).

For her latest film, Luther: Never Too Much, Porter deep dives into the treasure trove of the music and vocal work Vandross is known for. His work continues to resonate with generations of music lovers - a testament to his true brilliance, and timeless talent. The film explores the life and career of Vandross, the soaring success along with some darker moments of a life lived as he chose.

Vandross first captured the spotlight in the 1970s as a sought-after backup singer, collaborating with luminaries such as David Bowie, Roberta Flack, Quincy Jones, Chaka Khan, Bette Midler, and Carly Simon. As a solo artist, he became renowned for his relatable lyrics about love and mesmerizing live performances, characterized by dynamic bands, elaborate stage designs, and striking custom costumes worn by his background singers. Vandross achieved remarkable success, charting a Top 10 R&B hit every year from 1981 to 1994 and releasing 11 consecutive platinum records, with over 40 million albums sold worldwide.The film opens nationwide November 1^st, with additional special screenings and events around the U.S. 

This month GRAMMY Museum^® announced a new exhibit celebrating the extraordinary life and legacy of Vandross, an eight-time GRAMMY^® winner, revered songwriter, arranger, producer, and performer. The exhibit opens on Weds, Nov. 20 with an exclusive screening of the feature documentary from award-winning director Dawn Porter Luther: Never Too Much, produced by Raindog Films and Foxxhole Productions for Sony Music Entertainment and Sony Music Publishing, in association with Trilogy Films. The special preview will take place in the Museum’s Clive Davis Theater before the documentary premieres on CNN, OWN: Oprah Winfrey Network, and Max in 2025. Attendees will enjoy a panel discussion with the filmmakers and a sneak peek of the exhibit. The exhibit will be on display through June 15, 2025. Tickets and more information on the exhibit click here

On October 21, film director Dawn Porter was awarded the National Arts and Humanities Medal (Class of 2023) from President Joe Biden in a ceremony at the White House. Congratulations, Ms Porter!

Thanks to our San Francisco affiliate Janice Lee at KALW / 91.7 where you will find her recent interview with Dawn Porter. Watch the trailer here

"I would say, ‘Luther, no one’s gonna know if the furs are real!!’ To which he would reply: ‘ I will know!’ That was part of the magic of Luther, his unyielding commitment to excellence. It was truly an honor to have worked with my friend and big brother, Luther Vandross.”

--- Marcus Miller.

Dr Jason King is named dean of the USC Thornton School of Music, effective July 1.

"In my new role, I will help lead the school and extend its legacy of creative and educational excellence, building on the monumental work of the program’s previous leaders and from brilliant Interim Dean Josh Kun. I look forward to meeting and working with the students, staff, faculty, new colleagues and continuing to forge connections with creative community of Los Angeles.

Before his appointment at USC, King was chair of the Clive Davis Institute of Recorded Music at Tisch School of the Arts New York University, where he also served as a James Weldon Johnson Associate Professor. He served as the Institute’s first and only Artistic Director (2006-2012); and the Institute’s Director of Writing, History and Emergent Media (2003-2020). He has also been the Institute’s inaugural Director of Global Studies, developing and program curating the international study abroad program Clive Davis Institute x Berlin: Future Pop Music Studies in Germany and the Institute’s J-Term course in Havana. King has been a longtime music journalist and internationally recognized cultural critic for publications like Pitchfork, Slate, Red Bull Music Academy, Vibe, The Village Voice, The Los Angeles Times, Spin, Billboard, BuzzFeed, Quartz, The Root and Vice. Besides writing for NPR Music, he was the host and co-producer of NPR’s flagship video documentary series Noteworthy, on the creative process of music superstars. Season One featured interviews with Alicia Keys, Maxwell, Miguel, Banks and Anthony Hamilton. King served as a guest curator for Vevo, a consultant for Spotify, and he has served on the boards of several technology start-ups. As creative director of his own entertainment company Superlatude, Jason King has consulted for record labels, branding and marketing firms; and he has served as a music marketing and branding expert in high-profile cases for artists like Drake and Jay Z, as well as Katy Perry, Timbaland, Madonna, Lady Gaga, 50 Cent, Dr. Dre and more. He is the author of The Michael Jackson Treasures, a Barnes and Noble exclusive biography on the King of Pop, which has been translated in more than seven languages. King is currently delving into directing and producing his own documentaries, and he is at work on a revisionist biography of Freddie Mercury. He is also an inaugural member of the Hip-Hop council at the Kennedy Center for the Performing Arts in Washington, D.C., the Black Genius Brain Trust, and he serves on the advisory board of the Journal of Popular Music Studies.

David Schwartz is an experienced and multi-talented individual with a passion for music, journalism, and philanthropy. He boasts an impressive educational background, having studied Industrial Engineering at Purdue University, earned an MBA in Management from Indiana University Bloomington. Schwartz has been involved in various organizations throughout his career. He is the Editor and Publisher of Algae Industry Magazine and has previously served as the Founder and Editor-in-Chief of Penton Media-Mix Magazine. Schwartz has also held prominent positions such as Former Governor at Naras The Recording Academy and Chair at Music In Schools Today. Additionally, he has contributed to other notable publications, including Electronic Musician Magazine, Hypermedia Magazine, and Mixbook.

Beyond his professional accomplishments, Schwartz has been active in various philanthropic endeavors. He previously served as the President of the New Mexico Music Commission Foundation, showcasing his passion for promoting music and art education. In 1994 he received the Most Valuable Person Award from the San Francisco Grammy chapter for his contributions to the Bay Area music community. In January 2015, David was presented the Lifetime Achievement Award by the National Association of Music Merchants.

Right: l-r: David Schwartz at NAMM 2019 with studioexpresso's Claris Sayadian-Dodge, CJ Vanston, and Brent Fischer

Q&A with David Schwartz

SE: What's new at TEC Tracks in 2025?

DS: It’s taken a few years for NAMM to get back to form since Covid, but they’re back now and it’s full speed ahead. The format has changed slightly. The main exhibit show starts on Thursday, January 23, and run through Saturday, the 25th.

The TEC Tracks sessions, as usual, are all over the pro audio map, plus AI, music sync, and a few career and legal classes on how to succeed in various parts of the music industry. The TEC Tracks pro audio and live sound panels and masterclasses will run from 10am to 6pm the three days of the exhibit show. Along with our partner A3E’s music technology sessions, there are about 70 educational sessions in all this year for music and sound folks.

SE: Talk about your studio sessions on the day before the opening of the exhibits. Who will be presenting or participating?

DS: For the first time, the NAMM Show will offer special programming for pro audio professionals on the day before the opening of the exhibits. It’s part of The NAMM Show becoming a five-day event in 2025. This programming is designed to be educational intensives and workshop sessions that go deeper into specific topics. I’m very excited that TEC Tracks is launching a day-long Recording Studio Summit, on Wednesday, Jan. 22, featuring discussions of important studio issues, ideas, and opportunities, with some of the top studio professionals.

The Summit opens with a Studio Operations panel, where they’ll be discussing the present and future as seen through the eyes of Zoe Thrall (The Hideout Recording Studios, Las Vegas, NV), Fab Dupont (Flux Studios NYC, New York, NY), Lee Bench (SteakHouse Studios, N. Hollywood, CA), David Bendeth (formerly owned and ran House of Loud, NJ), and head of A&R for RCA Records), Paula Salvatore (former Vice President of Capitol Studios and Sound City Studio Manager), and popular

YouTube music influencer, Rick Beato (Rick’s Music Production Ltd, Atlanta, GA). Moderating this panel will be the “Accountant to the Stars” Alan Friedman (CPA/Partner Friedman, Kannenberg & Co.).

Other sessions that day include Gibson’s take on New Tools and Techniques for Modern Studios; ProTools’ 2025 Updates, Tips, and Techniques; Paula Salvatore’s Session Checklist, Craig Anderton on Changing Roles and Relationships in the Studio, and Wendy Parr’s Studio Branding Toolkit workshop.

Overall, the Summit is a community resource opportunity to learn the latest, exchange ideas and make connections, and NAMM is very happy to be facilitating this special gathering. Register for the Recording Studio Summit at https://www.namm.org/thenammshow/preexhibitsessions

SE: You've been involved at NAMM since 1976. how do you see TEC Track's or TEC Awards' evolution today?

DS: Though I’ve attended NAMM since way back in 1976, I got involved with them as a program manager in 2010, when we (Mix Magazine’s TEC Foundation) moved the TEC Awards over to the NAMM Show from the AES Convention.

At about that time NAMM’s professional education director, Ken Wilson, had started the HOT Zone at NAMM, which was a variety of educational sessions on topics covering music technology, business, career, performance, and related areas. Ken asked me to take over the HOT Zone and soon thereafter NAMM rebranded it as TEC Tracks, with an emphasis on audio recording and live sound topics. This fit in with NAMM’s desire, especially after acquiring the TEC Awards, to serve the Pro Audio community at a higher level than previously.

The evolution of TEC Tracks was driven by the gap closing between studio technology and artists’ tools. NAMM had been watching this closely for many years, witnessing the “Crossroads” of art and technology, as they have put it. This evolutionary progress was helped by musical instrument and professional audio manufacturers living under the NAMM roof for aweek each year. These changes have also influenced the evolution of the TEC Awards, which grows stronger and more diverse each year, tracking the latest talent and technology in the industry.

SE: What have you learned from having such diverse interests and background? Started as a touring and studio musician, worked at studios, ran publishing and marketing establishments, and even know a thing or two about the algae industries and wine making...my description of a renaissance man!

DS: My first job out of college was as a second engineer at Wally Heider recording studios in San Francisco. That was at the high point of the “San Francisco Sound” and on any given day there might be sessions for the Jefferson Airplane, Herbie Hancock, Pointer Sisters, the Dead…sessions tapping into the rich musical culture of San Francisco and beyond. That’s where I learned to love the studio and respect – and be inspired by – studio engineers like Fred Catero, Al Schmitt, and Jim Gaines.

I started at Heider’s making $2.00 an hour. But it wasn’t about the money! I’d have worked there for free, and usually I did, as after my shift was over at 6:00, I would usually stick around til midnight or later, just soaking in the vibes of the studio and helping out if I could. And, of course, there was that moment in most every aspiring engineer’s life when the scheduled engineer on the session calls in sick and they throw the available second engineer into the deep end to see if they can stay afloat. In my case I got thrown into a Neil Young session, which scared the shit out of me! Fortunately, his producer, Elliot Mazer, was as nice and kind a guy as I could have hoped for, with tremendous chops behind the board. He knew I was a newbie and covered for my inexperience, thankfully.

In the Spring of ’73 there was an oil crisis that resulted in a recession and business dried up for the studios in San Francisco. I got laid off and resurfaced at an acoustical engineering company named Bolt, Beranek, and Newman, where I was involved for three years in noise abatement projects and sound system design and installations.

When BBN closed their San Francisco offices I stepped back into the music scene and joined a group building a jingle studio operation in Mill Valley called Tres Virgos. The evolution of that studio later became the production center for some of Narada Michael Walden’s hit records with Aretha, Whitney Houston, and Maria Carey, among other notables. But it was in the early incarnation of Tres Virgos that Penny Riker Jacob and I became friends and first discussed the idea of researching and putting together a recording studio directory to help people like us.

We had the issue, as do many studio entrepreneurs, that our studio was always under construction, and some sessions had to wait until a wall or window was installed to finish a project. It became obvious that we needed occasionally to use someone else’s studio to keep our project on track.

With studios at that time typically being low-key, anonymous operations with little information available to the public, Penny and I figured that publishing a directory of studio assets and services would be beneficial to artists, producers, and freelance engineers. So, we outlined what we had in mind and took the idea to BAM magazine, where their advertising director Bill Laski joined us in the project. We eventually spun the directory off from BAM into its own entity that evolved to become a magazine with a built-in directory in each issue. And it’s still going, under Tom Kenny’s watch, 48 years later!

What did I learn from all of this? Mainly that, as millions of people have always said: if you love what you do, you can make those incredibly long hours you need to put in to become a success seem more like play time. And, even if you fail to meet your goals, the time spent will be time you will not regret. The studio is the perfect place for this life experience to happen.

SE: You're currently the president of New Mexico Art Foundation. What are some things that are exciting at this non-profit?

DS: New Mexico is a special place with extraordinary physical beauty and is a haven for artists of all types. The musical talent is immense for the size of the state and the culture supports many performance venues and artistic programming locations.

Our New Mexico Arts Foundation here works with the NM Arts Commission to put on the annual Governor’s Arts Awards, showcasing the work of the state’s best in fine art, sculpture, dance, music, and presentation. This is the 50th year the awards have been presented and our foundation also works with the NM Music Commission to present musical education programs to students in at-risk schools in the community. We also have a pilot program to bring “oldies” performers into memory care facilities to bring a little light to people in those environments.

SE: Who or what inspired you - then and now?

DS: While I was in love with the studio since I played on my first session with my high school band at United Sound, in Detroit, there was a moment at Wally Heider’s that really put a stamp on my brain. One late night I was walking the halls between studios and heard something interesting coming through a slightly open door of Studio D. I peeked my head in and standing alone behind the console was the studio’s top recording engineer/mixer, Jim Gaines. He waived me in and after the song finished playing, I asked him what he was up to. He said it was the Jesse Winchester song Yankee Lady that he had recorded about six months earlier with the band Brewer and Shipley. He had thought at the time that it had the potential to be a top ten single, but it ended up only charting in the sixties on Billboard. So, he was critically listening to it again to see if he would have done anything differently to make it better.

Somehow just witnessing that moment touched my heart. It made it clear that recording studios were a special place for special people. It attracted those with the brains of a technologist and the heart of an artist. I suspect many of studioexpresso’s readers fall into that category. And that’s what TEC Tracks is all about – sharing stories and challenges and solutions with a group of like-minded audio professionals.

These days the source of inspiration really isn’t much different. Often, it’s seeing and hearing a young person with extraordinary talent, whether their art manifests in the studio or the control room. When it’s done to a high level of creativity and execution it somehow gives me hope for the future of mankind.

Modena, birthplace of opera great Luciano Pavarotti and home to Italy’s finest balsamic vinegar and most prized Parmesan cheese, is also home of the Italian maestro chef, Massimo Bottura, and his three Michelin-star restaurant Osteria Francescana.

Known for his innovative approach to Italian cuisine, he is also a Goodwill Ambassador for the United Nations. The 12-table restaurant he started in Modena in 1995, is widely recognized as one of the most difficult restaurant reservations in the world with waiting list than goes into the thousands!

check out the menu, in case you want to reserve a table for New Year's Eve. 10-course meals start at $500/per person. Mr Bottura also founded Food for Soul, which he believes can become a worldwide movement to combat waste and to feed the hungry. The principle of Food for Soul is inclusiveness, Bottura says, but also a kind of joy at life. He didn’t want to create a utilitarian soup kitchen. He wanted a place where people whose lives were all about being shut out could have at least one hour in a day when they could “enjoy the pleasure of a beautiful meal in a beautiful place”. Bottura’s idea reached the Vatican. Pope Francis put Bottura in touch with the parish priest in Greco, Don Giuliano, who suggested remodeling a derelict theatre next to his church as a venue, and an unlikely partnership was born – one which has led to a full-time commitment to serve Greco’s homeless and refugee population every day.



"The message I give you is to follow your dreams however crazy they may be. Just be yourself and do not be a copy of anyone else. Be authentic. Study. Read. Follow your interests whatever they are.”

-- Chef Massimo Bottura

R: Yours truly at Sony Picture Studios.

This month let's open our hearts and minds, and make our voices heard with joy, optimism, common sense, and love for music, our communities, our country and our world. And that's treats for all. Make it a fun Halloween!

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

Stay well and in touch, until next month, Vote!

Music Lives and Moves!



Claris Sayadian-Dodge, founder/editor

claris@studioexpresso.com