Sept Oct 2026

It's all treats this month for your ears, filled with devotion and your new music releases! Industry gathers to celebrate a historic studio at 70, and raise a glass to a studio Queen. Guess the mystery composer room nominated for a TEC Award. We have news of Persons of the Year, Executive promotions, and dates for your calendar. Grab an espresso & enjoy this month's serving!

CORY HENRY'S DEVOTION

New Gospel Album Featuring Stevie Wonder, The Apostle Voices, The Fellowship Collective & The Brent Fischer Orchestra

DEVOTION is the new Gospel Soul album from Grammy^®-winning keyboardist, composer and producer Cory Henry, available now via Apostle Music Group.

Henry describes Devotion as “a testimony of my life as a grown man.” He started playing the Hammond B3 organ at age 4 at his church in Brooklyn. You could say his devotion to music and the church community has grown. 
The new album sounds grown up indeed, in the tradition of Henry's heroes Aretha Franklin and Andraé Crouch who transformed 20th-century gospel music. Aretha took the sacred fire of the church and used it to revolutionize secular pop, R&B, and soul. Crouch took secular sounds—like pop, rock, and jazz fusion—and used them to modernize sacred music. They also incorporated memorable melodies and layered them with sophisticated, soul-stirring vocal harmonies. Cory's new album Devotion very much follows this musical tradition featuring The Brent Fischer Orchestra embracing nine of the ten tracks with arrangements done by Fischer (Prince, Elvis Costello & The Roots, D'Angelo). The edgy strings and expansive horns offer added harmonies and emotional depth.

On Something Happens another hero of Cory's, the legendary Stevie Wonder, offers his trademark soulful harmonica solo along with Henry’s keyboards.

Produced by Henry and recorded in Los Angeles and New York, the 10-track album brings together The Apostle Voices, The Fellowship Collective choirs with guest appearances by Fred Hammond, Hezekiah Walker, Jonathan McReynolds, Lena Byrd Miles, Lillian Lloyd, Aaron Marcellus and Jeff Bradshaw. 
The Fellowship Collective is the musical family with musicians Stanley Randolph, Sput Searight, 
Erick Walls, Jonathan Dubose, Aaron Draper, Joshua Easley, Dominique Taplin and Michael Bereal. 


Devotion, the new album, is Henry's personal expression of deep, unwavering commitment, and love for music, musicians, family and friends. The Orchestra, conducted and produced by Brent Fischer was recorded at One On One studios with Matt Brownlie engineering.

The album was mixed by Bradley Giroux with select sessions at Chaplin studios.


The lyrics on Devotion carry Henry's personal relationship with the higher power - it's his prayer, if you will, offering hope in manifesting songs: All I Need and Show Me The Way, encouraging and reassuring songs Don't Give Up, Something Happens (with the incomparable Wonder's unmistakable sound), and the catchy single, Watches Over Me. 
Spirit is just that. Spirited. It'll get you up dancing in the isles or in your living room. The Promise, the last song on the album, is epic (tissues required). Again, the general theme is about relationships and commitments, possibly a good companion for a soundtrack. I can imagine the song playing while the film's end credits roll... perhaps for Frozen III (just sayin' all you music supervisors who are listening)!
Cory Henry's songs of DEVOTION are infectious, they seek and find JOY in creativity, in silence, in hope... and the belief in Most High to align hearts with the divine beauty that surrounds us.

The former member of jazz collective, Snarky Puppy, Henry has a lot to celebrate this month. His three-month residency on Sundays at Hollywood's Blue Note began in 2026 in September, and continues on Sundays, on October 18, November 15, 11:30am and 1:30 PM and on Sat. December 5, at 9:30 PM at Blue Note, London, UK. 
Get your tickets today here.

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

Below: 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

"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 Making his album, DEVOTION

We met up with Grammy^®-winning keyboardist, composer and producer Cory Henry for this exclusive interview 
for studioexpresso. Enjoy!

SE: Your music is “Gospel Soul” It's also dance-able, filled with positive energy. Where does it all come from?

CH: It really comes from everything I grew up around. Gospel music, soul music, funk, jazz — all of it. I grew up in church, so that feeling and that energy has always been a part of me. But I also love Stevie Wonder, Marvin Gaye, D’Angelo, Aretha Franklin, all these artists who could make you feel something spiritually and still make you move. I call it Gospel Soul because I don’t really think it has to live in one box. I want the music to make you feel good, make you dance, but also give you something you can take home with you.


SE. Your new album Devotion — you say it’s your “personal talk with God.” How do you start a conversation with God?

CH: For me, sometimes it starts by just being still. A lot of this album started with me sitting at the piano at home, during what I call my secret time with God. I wasn’t necessarily sitting down saying, “I’m going to write a song today.” I was taking time, listening, playing, praying, and allowing whatever needed to come out to come out. That’s really what devotion means to me — making the time and creating that space.


SE. How did you get the name “Chief Apostle”?

CH: The name came as I was making a church joke to my friend. And right in the middle of the joke I was struck with a certain seriousness about what I was saying. It’s been a life call and a directional shift on what I think about Music and the connection to how it brings people together. The name Apostle means messenger, one who is sent out. That’s what I’ve been called to do. To share the message of Love. 


SE: Devotion starts with the funky Don’t Give Up, a hopeful message for fans no matter what age, background or situation. They don’t teach you resilience in high school. Who taught you?

CH: Life teaches you resilience. My family, church, music and the people I’ve been blessed to work with have all taught me something about it. I’ve had times when things were great and times when things didn’t go the way I thought they would. One thing I’ve learned is that you have to keep showing up. Sometimes the breakthrough comes because you stayed with something long enough to see the other side of it. That’s what “Don’t Give Up” is really about.


SE. Watches Over Me — I understand the album began with this song you wrote at the piano in your home a day before the LA fires. Your thoughts, besides “let me write a new song” — a premonition?

CH: I wouldn’t call it a premonition. I think sometimes you’re given something before you fully understand why you need it. I wrote “Watches Over Me” the day before the fires, and obviously the meaning of those words became even heavier after everything that happened. That’s one of the beautiful things about music and about faith. Sometimes you write something for yourself and then life reveals that it was meant for a much bigger moment.

SE. You’ve co-written and produced Kanye West’s Donda and collaborated with artists like Imagine Dragons and Rosalía. Your production 1, 2, 3s?

CH: Number one: serve the song. Number two: serve the artist. Number three: don’t be afraid to try something that isn’t obvious.

Production shouldn’t be about showing people how much you know. Sometimes the best production decision is adding something, and sometimes it’s taking everything away. I’m always listening for what the song needs and what makes the artist sound the most like themselves.


SE. You speak on behalf of all artists when you say the business side is not rewarding artists anymore. What’s one thing you want to see changed, and your message of hope to fans or fellow artists on the same journey struggling to make a living?

CH: I’d love to see more value come back to the actual creators. Artists are making the music, investing in the music and building communities around it, but the economics don’t always reflect that. I think ownership is important. Understanding your business is important. And finding ways to have a direct relationship with the people who support you is important.

But I would also tell artists: don’t allow the business to make you stop loving the music. Learn the business, absolutely, but protect that thing that made you want to create in the first place. Keep going, keep building, and don’t measure your value only by numbers.


SE. The Promise — the last song on the album — has a universal message: treasure relationships, be it with God, with a friend…possibly a cool song for couples getting married? Your thoughts.

CH: Absolutely. “The Promise” is about commitment. Obviously there’s a spiritual relationship in there, but I think the idea of a promise is universal. Whether it’s your relationship with God, your spouse, your family or somebody you truly love, a real relationship requires showing up for each other. If somebody wants to get married to it, I definitely wouldn’t be mad at that! [laughs]


SE. You’re on the road a lot. Your tip to stay in shape physically and mentally?

CH: I don't have many tips on staying in shape. I try to do small workouts here and there. I try to eat as good as possible. I think I found my own way to stay active while on tour. Touring is tough. It's important to go into tour being in shape. That helps a lot.


SE: “We don’t feel enough,” says therapist Marisa Peer. How do you want your fans to feel when they hear your Devotion songs?

CH: I want people to feel hope. That’s probably the biggest thing. I want you to feel joy, peace, encouragement — whatever you need in that moment. Gospel music has always had this ability to meet people where they are. You don’t have to have the same story as me or even come from the same faith background to hear something and say, “I needed that today.” That’s what I hope Devotion can do.

SE: Show Me The Way, All I Need are your “manifesting songs.” Do you always write songs at the piano or do ideas come from elsewhere?

CH: For this album, the piano was really the starting point. Every song began there at home during that private time. The piano has always been a place where I can process what I’m feeling. Sometimes an idea can hit you anywhere, of course, but with Devotion there was something very intentional about sitting down, making time for God and allowing the songs to come from that place.

SE: You list Andraé Crouch, The Winans, D’Angelo, Stevie Wonder, Ray Charles and Aretha among your musical inspirations. What do they all have in common or what have you learned from these geniuses?

CH: Truth. They all sound like themselves.

You hear Stevie and you know it’s Stevie. You hear Aretha and you know exactly who it is. Same with Ray Charles, D’Angelo, Andraé Crouch, The Winans. They’re not trying to separate soul from spirituality or technique from emotion. It’s all one thing.

That’s something I’ve learned more and more as I’ve gotten older: the goal isn’t just to be great at your instrument. The goal is to have something to say.

SE: Something Happens — featuring the legendary Stevie Wonder. What was the process of him recording the song for you?

CH: I happen to catch the legendary Stevie Wonder at a good time. Things just connected rather perfectly. I called him a few times as I was mixing this song. And everytime the song came around the solo section, I was so fixated on having him on the record. Before He played a note , I said on the demo “Stevie Wonder”. I always write songs for him to be a part of my records. This time HE HAD TIME. 

We  got in the studio and I was mesmerized by his ability to detail and not letting the job be done till he was satisfied. Stevie Wonder is the GREATEST Musician of all time!

SE: Robert “Sput” Searight introduced you to Brent Fischer. First time you worked with him and his orchestra. How would you describe his contribution to your new album?

CH: Brent gave the album another world to live in. I already knew his work and that whole musical language, especially through records I love, and Sput connected us.

I had ideas of what I wanted emotionally and sonically, and Brent was able to take those ideas and make them bigger than I imagined. He gave the record a different look without taking away from what makes it gospel soul. The result feels like a warm hug.

"Production shouldn’t be about showing people how much you know. Sometimes the best production decision is adding something, and sometimes it’s taking everything away. I’m always listening for what the song needs and what makes the artist sound the most like themselves."



-Cory Henry (Kanye West, Imagine Dragons, Rosalía)

Above: Cory Henry photo by: Justin Jackson. 
Left: The Brent Fischer Orchestra Recording Cory Henry's Devotion Songs at One On One studios on July 30, 2026 Photo: studioxpresso 

SE: What can you say about The Apostle Voices and The Fellowship Collective?

CH: The Apostle Voices are family. These are people I’ve known and made music with for years — Marcellus, Chenee Campbell, Cherub Ruth, Linny Smith, Brianna Turner and Matia Celeste Washington. Matia also co-wrote a lot of this album with me.

They weren’t just background singers. They helped shape the sound, helped with the vocal production, and we held each other accountable while making the record.

The Fellowship Collective is the musical family around the record. It’s musicians like Stanley Randolph, Sput Searight, Erick Walls, Jonathan Dubose, Aaron Draper, Joshua Easley, Dominique Taplin and Michael Bereal. There’s a fellowship in the way we make music — everybody brings something, and nobody is there just to 
show off.

SE: You have the reputation of having the “Most Joyful concerts” with residency at the Blue Note in LA. Introduce your band and anything we should know about the upcoming shows on Oct. 18 Nov. 15 in LA and Dec 5 in UK. How is this show different from the Church Experience you presented at the Miracle Theater, Inglewood?

CH: I love that — “the most joyful concerts.” That’s exactly what I want people to experience.

These Blue Note shows are the Gospel Brunch Experience, and it’s really about bringing that same spirit of The Church Experience into a different environment. Great music, community, incredible musicians and singers, and the freedom for things to happen in the moment.

The Fellowship Collective is the foundation of the band, and these are musicians I’ve built real musical relationships with over the years. The Apostle Voices bring another whole dimension vocally.

The Miracle Theatre is a larger church-experience environment, whereas Blue Note is much more intimate. You’re right there with us. But the spirit is the same: come ready to participate, not just sit and watch.

SE: I understand you like and play basketball when you’re not playing music. Your favorite player/team? Why?

CH: Basketball and Music is LIFE. My favorite player of all time is Kobe Bryant. 

My favorite basketball teams of all time are the 90’s Chicago Bulls and the 80’s Showtime Lakers. 

Kobe showed a hyper focused dedication to the game and that's what made him the greatest. The Bulls had Jordan and he's the greatest basketball player. And the Lakers I love Magic Johnson and his ability to be a STAR at passing the ball.  I hope to relive my basketball dreams soon. LOL

SE. About your sense of fashion — do you work with a stylist or just have a knack for it? Maybe discipline from wearing your Sunday Best at church?!

CH: I do have my own style. You have to know yourself first before anybody can bring something to the table. I do have to shout out to my friend and stylist Taneka Simone. She does keep me fly  :-)

SE. You’ve been called a virtuoso keyboard player. A prized instrument you have or would like to receive on Christmas? Would you say it’s 10,000 hours to get to where you are or something else?

CH: It’s definitely more than 10,000 hours at this point! [laughs]

I started very young, so playing wasn’t something I thought of as practicing toward becoming a virtuoso. It was just part of my life. Church was my first school. You’re playing all the time, listening all the time, learning how to follow singers, support a room and respond in real time.

The hours matter, but listening matters just as much. You can practice technique for 10,000 hours and still not know how to make somebody feel something.

SE. You won a Grammy for your Roots Gospel album, Church. How is this album different?

CH: Church was really connected to my childhood. When I made that record, I was thinking about the sounds I grew up hearing in church in Brooklyn. In a way, it was me reconnecting with that younger version of myself — what Cory at 12 or 13 years old would have wanted a gospel record to sound like.

Devotion is me now. It’s a testimony of my life as a grown man. It’s about my relationship with God today, what I’ve gone through, what I’ve learned, the things I’m asking for and the things I’m grateful for.

So Church was about where I come from. Devotion is about where I am.



SE:. Some of the best producers I know are good cooks. I’m coming over for lunch. 
What’s on the menu?

CH: We are ordering Soul Food! I don't cook but I know good food and Soul Food is my Favorite. Specifically Mac & Yams. 

SE: Your Beverage of Choice

CH:. Ginger Beer! 

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

Artist: Cory Henry

Song: Don't Give Up

Apostle Music Group

The video for the first single, Don't Give Up by Cory Henry from his new album DEVOTION s is in studioexpresso's video spotlight.

Watch the making of the album at Chaplin and One On One studios. 
Hear from Cory, his musicians and mixer Bradley Giroux.


Listen to the album here

Devotion Tracks

1. Don’t Give Up feat. Fred Hammond & Jeff Bradshaw
2. Something Happens feat. Stevie Wonder
3. Show Me the Way feat. The Apostle Voices
4. Already Mine feat. Aaron Marcellus
5. Most High feat. Jonathan McReynolds & Lena Byrd Miles
6. All I Need
7. Make a Way
8. Spirit” feat. Lillian Lloyd
9. Watches Over Me feat. Hezekiah Walker
10. The Promise

Above: Melody Gardot & Sheléa (below), among awad-winning artists performing @ Capitol on Sept 25 at PMC35. photos: studioexpresso, PMC & Barry Rudolph

The iconic 13-story circular tower at 1750 N. Vine Street, Capitol building, underwent a multi-million dollar renovation with extensive architectural facelift, interior decor overhauls, and infrastructure modernization, while maintaining its historic studios character designated as a Los Angeles Historic-Cultural Monument. 
On September 25, the music industry gathered to celebrate PMC's 35 years with the company's (US) president Maurice Patist showcasing its new reference monitoring systems. Co‑CEOs Oliver Thomas and Tom Loader described the project as the largest installation in their history, reflecting both Capitol’s trust in the company and the continued evolution of its monitor technology, now featuring a major new installation of over 50 of its latest loudspeakers across all six studios.
As guests of Universal Music Group and Capitol Studios, we were among the first to experience the newly redesigned facility. Sponsored by Dolby, the evening featured food, drinks, and intimate live performances by Grammy®-winning artists Sheléa , Kevin Ricard, and Melody Gardot. 
The Broadway favorite, and powerhouse singer, songwriter Sheléa was taking requests at the piano. She's best known for effortlessly belting out impromptu, show-stopping covers of iconic divas like Aretha! 
The acclaimed jazz chanteuse, Gardot, offered an emotional memory, in between songs delivered in her smoky contralto vocals. She recalled recording her two albums at Capitol with producers Larry Klein and the legendary Al Schmitt --My One and Only Thrill (2009) and Sunset in the Blue (2020). 
As a nod to Hollywood's recorded history, she offered her brilliant rendition of Moon River (from Breakfast at Tiffany's) which Al recorded for composer, Henry Mancini in 1961 while working as a staff engineer at RCA Studios (closed as a recording facility in 1977 and is now home to the Los Angeles Film School). 
Al Schmitt's star, just outside the Capitol tower, is forever shining on the Hollywood Walk of Fame. 
His sidekick engineer/mixer Steve Genewick was at the helm of the live sound, with his long-time studio manager Paula Salvatore, among the special guests.

Producers, mixers, and executives from across the music and audio community gathered to tour the legendary digs. Here the beloved echo chambers were designed by legendary guitarist and recording innovator Les Paul.

The Capitol Records Building is currently owned jointly by Argent Ventures and Universal Music Group which also holds a long-term lease for the space, housing both the Capitol Records label and Capitol Studios.

Only if the walls adorned with the black and white photographs of legendary artists like Paul McCartney, Nat King Cole, and Frank Sinatra could talk! They would reveal what happened just before or after the camera shutter clicked, the stories behind each smile, each session, and celebration frozen in time. 
You get a warm and fuzzy feeling knowing the rooms will be filled with music again. The atmosphere was electric. We were all happy for the comeback kid, Capitol studios, now marking seven decades of legendary music making.

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

Sometimes it's a thankless job. You're in charge of everything that goes in and out of a recording facility on a daily basis - people, music assets, prized gear and instruments worth in millions. When studios are humming with good bookings, everyone is happy. Do it for 20+ years and you're celebrated.

Rose Mann Cherney of The Record Plant, Paula Salvatore of Capitol, Candace Stewart of East West have all been there and can tell you stories.

Stewart (left) was wearing a crown fit for Mary, Queen of Scots at her party. She was being honored for her 40+ years in the industry at East West Studios on Friday October 2. Her colleague, Keith Munson organized the event and invited long-time clients, family and friends who have been part of her journey and part of the historical rooms at 6000 Sunset. There was food, drinks, and live entertainment.

A veteran in the field, Candace managed such facilities as Take One Recording, Red Zone, Sound Castle Studios, and Firehouse Studios before her two-decade-long stint at East West. She managed Cello Studios which was located in the same building (formerly Ocean Way) and was converted into East West Studios by new owner and innovative sound developer Doug Rogers, who hired design superstar Philippe STARCK known for his fluid, organic lines and subtle, playful details to transform the non-studio areas into what it is today.

Artists in all genres of music have kept these rooms busy from The Rolling Stones, Tom Petty, Foo Fighters, Madonna, Lady Gaga, Justin Timberlake, Pharrell, and Snoop Dogg to film composers, Jerry Goldsmith and Paul Williams. The writings on the wall, filled with notes from sessions had at East West, stand as tell-tale sign of good times.

As a manager, Candace has also seen many technological changes in the industry, but her easy-going style and outspoken demeanor kept staff in check and the rooms on the map of world studios.
Sometimes, there's a lot of gratitude when a job becomes a career. And like John Lennon says: "In the end, the love you take is equal to the love you make." There was a lot of love at East West last Friday. 

Well done Queen.

Below and above photos of East West and Candace Stewart by studioexpresso

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).

A simple DNA test set Grammy® Award-winning artist Matt B on a journey to Africa to answer a question generations of his family had carried: "Where do I come from?" 
That search ultimately traced his lineage to the Igbo people of Owerri, Imo State, and became the foundation for his new album,

ALKEBULAN III: The Water Remembers, released on August 21, 2026.

This is also the final album installment of his ALKEBULAN trilogy.

The journey took Matt and wife, producer, and manager Angela V. Benson, across Ghana and Nigeria. As a homecoming gift, MattB

was given the Igbo name Ikechukwu, meaning “Strength of God.”

ALKEBULAN III brings together West African superstars Fatoumata Diawara, Skales, Goya Menor, Boy Spyce, Camidoh, The Cavemen, and the Kabusa Oriental Choir.

Select tracks were produced and arranged by Brent Fischer in Los Angeles and recorded with Royal Philharmonic Orchestra at Abbey Road Studios in London. Songs Overboard, Fertile, Nothing, Water, O Lord, cleverly weave orchestral sounds with African, and Calypso rhythms, sometimes serving as intro in At The End of The Door (video) or coda, as in Iri Ji.  

Through themes of ancestry, remembrance, displacement, resilience, and belonging, the album asks what survives when history separates people. More than Matt’s personal story, The Water Remembers is an invitation for listeners throughout the world to look deeper into their own histories.

MattB sings primarily in Igbo, alongside Nigerian Pidgin and English, and describes reaching a point when the language began entering his dreams— "not necessarily as fully formed sentences, but as rhythmic patterns and phonetic shapes" describes the artist. For the non Igbo or Pidgin speaking listener, Matt B's music beautifully bridges the language gap, connecting directly with raw human emotion. The two recent videos released are entertaining. Directed by Benson, they take you to the ancestral land against the backdrop of elaborate costumes, masks, choreography and cinematic music that tell story of an exhaustive search for heritage and its satisfying discovery. Matt B continues to expand his worldwide impact through music rooted in storytelling, and cultural connection.

Listen to the album here

Meshell Ndegeocello has released her version of Bob Dylan’s With God Is On Our Side (watch the video) featuring Bill Callahan and Chris Thile. The track is the fourth single from Synonym, her duets album, released on Oct. 2 via Blue Note Records. 
"You don't count the dead, when God is on your side...You never ask questions when God is on your side," says Dylan's lyrics weaving a sweeping, anachronistic tapestry of human history, merging biblical figures, and historical events. The song is also a civic lesson on world wars, including birth of the young Americans.

Familiar cover songs by George Michael and Aretha Franklin to Bob Dylan invite us in, only to realize times make incremental changes at best. “Interpreting other people’s music goes back to my D.C. days, playing in go-go bands where you had to take somebody else’s song and put in a different voice or different character,” said Meshell in an interview.

In Synonym classic songs meet our times. David Gamson, who produced her first two albums, 1993’s Plantation Lullabies and 1996’s Peace Beyond Passion co-produced the new album alongside Abe Rounds and Ndegeocello.

Tour dates in Durham, NC, Nashville,TN and Berkeley, CA here
Listen to Synonym here

In April 2026, a small group of fans gathered in Los Angeles for a special first listen of Paul McCartney’s new album, The Boys of Dungeon Lane. Paul and producer Andrew Watt guiding the session reveal the stories behind the music Here 
Paul shares what influenced the songs on the album including the opening track, As You Lie There. 
Paul wrote the song Ripples In A Pond for his wife, Nancy.

In interviews you can't help but notice how McCartney has undeniably mastered the art of balancing his Beatle charm, sharp wit, and a famously grounded attitude.

McCartney released The Boys of Dungeon Lane as a Special Edition on formats including CD, and Digitally on October 7, featuring four additional recordings including a new version of Home To Us. The song is a tender, nostalgic reflection on where you come from and the people you carry with you. The accompanying video is treated with AI, from a single photograph of the two boys (Paul and Ringo) together here

The physical release with 18 tracks features stunning cover artwork adapted from a silkscreened collage by Kate Gibb, utilizing more than 100 images from Paul’s personal collection. Physical formats including a limited edition 2LP orange & blue marble vinyl featuring a zoetrope etching are available on December 9.

The album takes its title from one of its standout tracks, Days We Left Behind, a stripped-back and deeply intimate song that captures the emotional core of the project. The album continues its remarkable journey from chart-topping success to Mercury Prize recognition.

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

Spanning over 61,000 cubic feet with a vibrant sound, the iconic studio comes complete with a spacious isolation booth and a beautiful Bechstein D-280 Concert Grand Piano. The control room features an 80-channel Neve 8078 Console, the largest in the world (originally commissioned for Michael Jackson's best-selling album, Thriller). Each room at East West is equipped with a DB Technologies db4496 A/D-D/A Converter and ATC SCM25 Pro Mk2 house monitors along with NS10/ProAc speakers and are set up with Pro tools HD.

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

Below: Evergreen studios Hall of Fame. photos: by the C

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

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

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

Left: Mastering engineer Natalie Bibby at Air with ATCs

In 2018 the studios started by Beatles producing genius George Martin added a full-range of speaker monitoring system with two ATC P2 PRO Dual Mono Power Amplifier additions.

Invest in Good Speaker Stands. Why? While looks can be deceiving, you must have seen concrete blocks and other DIY configurations used in some project studios. Watch this 19-minute video by Colt Capperrune @ColtCapperrune where he compares $20 block stands with professional stands ranging from $140 Gators to $1,200 Sound Anchor stands. Can you guess which one performs the best? check it out here

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

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

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

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

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

ATC models:

SCM25As

SCM45As,

SCM50ASLs

SCM100ASLs

"ATC monitors are something you have to experience," says Brad Lunde, President of Trans Audio Group

"Like the original SCM25A, the new upgraded Mk2 is a compact 3-way high-performance active studio monitor loudspeaker, based around the hand made proprietary ATC 3”/75mm soft mid-dome driver and 6.5”/164mm bass driver loaded in a 25-litre vented cabinet," says Brad Lunde, President of Trans Audio Group. Models range from $5,000 to $50,000 per pair and all share a very similar sound. For larger rooms and midfield, applications check out the SEM45 with dual 6.5-inch drivers and the fantastic SEM150 with a 15-inch woofer and 350 Watts of power. More info here

Photos: Courtesy of Berkely Symphony

For studioexpesso

By Janice Lee

Our San Francisco affiliate and contributor Janice Lee began her studio career at The Automatt in SF. She went on to manage producer Narada Michael Walden's Tarpan Studios into the late 90s. She has since worked with other recording & mastering studios, independent labels, and also contributes to SF NPR-affiliate radio station KALW. Her son is composer/keyboardist Matthew Wong.

Music Director Laureate Kent Nagano returns to conduct the Berkeley Symphony on Oct. 18, 2026.  Nagano is a Berkeley native, and directed the Berkeley Symphony from 1978 to 2009. This will be Nagano’s first return to the podium to direct their 2026-2027 season opener, Inheritance. 

Nagano has created Inheritance, with selected works by Mendelssohn and a world premiere of Vater unser, a new work by Argentine composer Alex Nante. Vater unser takes a Bach chorale as its point of departure, transforming inherited musical material into a luminous new sound world. Nante has dedicated Vater unser to the Berkeley Symphony and Nagano.
Berkeley Symphony Executive Director Marion Atherton shares: "The program for Inheritance is based on a dramaturgy founded upon a Bach “thread.” The collection of pieces are a reflection on the idea of musical inheritance—how composers and performers carry ideas forward and transform them.

Nagano’s rich Bay Area roots, combined with lifelong musical mentors and the inter-generational histories and sociopolitical background-- being born and raised in the 1950’s - have afforded him a unique place on the podium. His position and perspective have given him the foundation and freedom to navigate the complicated and sometimes conflicted past – while achieving global musical success at the highest levels.  Musically, he proudly and stealthily can both deny and exceed expectations and define his legacy, while creating music and performances with a beautiful rebellious spirit.

Inheritance promises to be evocative of Nagano’s important past with Berkeley and the Berkeley Symphony, and also his commitment to sharing his art and creative life to the world. Even more beautifully poignant, pianist Mari Kodama will be featured on two of the Mendelssohn pieces. 

Atherton also shares these thoughts about Berkeley Symphony and the significance of its place in the community:

“For over a half a century, the Berkeley Symphony Orchestra has served as a respected cultural ambassador for the City of Berkeley, reflecting its ideals as well as its important tradition of visionary social, scientific, educational and artistic leadership. From my perspective, the concert is also an opportunity to reflect on the idea of inheritance as it applied to the orchestra itself. Kent’s return gives us an opportunity to reflect on Berkeley Symphony’s artistic history and the artists who have shaped it, while also looking toward the future. Kent served as the orchestra’s Music Director for more than three decades. Having him return now, alongside his wife Mari Kodama, feels like a particularly meaningful connection between the orchestra’s past and its next chapter."

Sunday, October 18, 2026 | 4:00pm

Kent Nagano Conducts Inheritance

Berkeley Symphony -- Henry J. Kaiser Center for the Arts

10 10^th Street Oakland, CA 94607 510-841-2800
Order tickets here

♬ Saturday 10 October 11am

Evergreen Studios Scoring Stage

Lauren Elizabeth Baba

Andy Farber

Brent Fischer

Dave Slonaker (Moderator)

Oliviana Marie (Facilitator)


A look by current band leaders at contemporary issues of leading a big band and the future of large ensemble jazz. Leading big band writers will share their thoughts about modern arranging and composing, and will discuss strategies for successful performances given limited budgets for rehearsals and gigs. Oct 7-11 @ Evergreen Studios. 
Founded in 1938, the American Society of Music Arrangers and Composers (ASMAC) is a 501(c)(3) nonprofit organization that has created a community of world-class composers, arrangers, orchestrators, music technology experts, producers, copyists, singers, instrumentalists, studio executives, and educators working in Los Angeles and around the world.Full schedule here

SAVE THE DATE!


studioexpresso & Trans Audio Group Present

A Producers Roundtable @ NAMM 2027
Thursday Jan 28, 3-4 pm

Speakers TBA


Hilton Hotel, Near Anaheim Convention Center

Above: studioexpresso and Trans Audio Group presented "Atmos-ize Your Music" at NAMM on Thursday January 23, 2025. Below: Speakers for the session: l-r: Cam O'Bi, Brad Lunde of Trans Audio Group, Ryan Ulyate, Eva Reistad, Brent Fischer, Harry Weinger of UMG, and Claris Sayadian Dodge of studioexpresso.

studioexpresso and Trans Audio Group have featured many producers, and musicians over the past ten years of TEC Track's history at NAMM

Curt Bisquera (Sarah McLachlan, Elton John), Kenny Aronoff (Smashing Pumpkins, John Mellencamp, Sting), Greg Penny (Elton John, KD Lang), Cam 'Obi (J Cole, Chance the Rapper), Niko Bolas (Neil Young, LeAnn Rimes), Eddie Kramer (Jimi Hedrix, Kiss), Matt Wallace (Maroon 5, Faith No More), Cheche Alara (Christina Aguilera), Kim Bullard (Elton John, Kelly Clarkson), Cristina Abaroa (Celine Dion, Enrique Iglasias), Brady Leffler (Hot Chelle Rae, Justin Beieber), Al Schmitt (Diana Krall, Paul McCartney), Alex Acuna (LA Phil, Beck), Teddy Campbell (American idol, The Tonight Show w Leno), Ellis Hall (Ray Charles, Tower of Power), Jacob Armen (Prince), Peter Asher (James Taylor, Linda Ronstadt), Larry Klein (Joni Mitchell, Melody Gardot), Manny Marroquin (Bruno Mars, Alicia Keys), Dave Schiffman (Adele, Limp Bizkit), Gregg Field (Sinatra, Pharell), Sylvia Massy (Tool, Johnny Cash), CJ Vanston (Toto, spinal Tap), Dame Gail Dorsey (David Bowie, Gwen Stefani), Jenny Mason (The Mrs), Neal Pogue (Outkast, Andre 3000), Eva Reistad (Dune 1,2, Alien, Sherlock Holmes), Leland Sklar (Phil Collins, James Taylor), Moogie Canazio (Sergio Mendes, Sarah Vaughan), Rafa Sardina (Lady Gaga, John Legend), Daniel Seeff (KJazz, Herbie Hancock Institute of Jazz), James Torme, Zev Feldman of Resonance Records (Sarah Vaughan, Bill Evans, Nat King Cole), John Wooler of Mood Media (Flying Lotus, Elton John, Miles Davis), David Benoit, Harry Weinger (Marvin Gaye, Bob Marley, Frank Sinatra), Matt Wong, Ryan Ulyate (Tom Petty & The Heartbreakers), Ian Charbonneau (Mana, Neil Young, Jake Owen), Steve Genewick (Spinal Tap, Martina McBride, Michael Buble) David Reitzas (Weeknd, Madonna, Luis Miguel), and Grammy^®-winning Brent Fischer (Usher, Elvis Costello, Symphonic Prince).

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

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

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

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

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

Above at 2025 NAMM Bettermaker Booth 10302 in Hall A, is the legendary Stevie Wonder checking out the game-changing accessibility of the new Bettermaker VSPE which allows for seamless control of Bettermaker hardware and plugins using voice commands, using its cutting-edge open source AI technology (created in partnership with The MIDI Association’s Music Accessibility Standard Special Interest Group MASSIG as well as real-time speech feedback for accurate parameter adjustments.

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

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

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

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

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

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



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

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

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

Inspired by the legendary ‘Motown EQ’ sound, Drawmer created two new 500 series EQs. Each unit offers 7-band proportional Q equalizers with EQ curves akin to the renowned ones used in the illustrious Detroit studios of the 1960s. These 100% analog units feature sevens bell curves, each having a variable cut/boost of ±10dB and set at the beautifully musical frequencies of the original.

The MQ-1 offers a single channel Mono 7-band EQ, with the highly regarded ‘CRUSH’ feature present on the Drawmer 1971 Dual 4-Band Parametric Equalizer rack unit. When you activate the crush circuit, get ready for some pleasing harmonic saturation and that classic analog warmth that adds a ton of character to any signal passing through the unit. CRUSH fattens up the bass, adds presence to the mids, and brings a delightful shimmer to the top end. The harder you drive the EQ the more crush you’ll get! The MQ-1 is a single-slot 500 series module. The MQ-2 offers the same EQ curves, but in full stereo, and is far more than an equalizer. It also incorporates a program-dependent, single-knob compressor that adapts its envelope to the characteristics of the signal. The order of the EQ and Compressor in the signal path can be swapped according to your requirements. The MQ-2 also has the same integrated ‘CRUSH’ feature that warms up your mix with harmonic saturation, and additionally includes comprehensive metering. The MQ-2 is a 2-slot 500 series module.

Visit Drawmer at TransAudio Group for more details.

Pricing: MQ-1 $349.00 • MQ-2 $539.00

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

Trans Audio Group introduces Drawmer 1971 4-Band Parametric EQ. This new edition to the Drawmer 70s series of FET-based gear offers two channels of fully featured 4-band parametric EQ and a new CRUSH button with the ability to deliver a myriad of unique musical applications on each bandwidth.

Noted Brad Lunde, president and founder of TransAudio Group, “Widely popular, the Drawmer 70’s series has received many industry awards, and this new EQ is sure to follow. The features embodied in the 1971, plus the amazing new CRUSH button, allow for fine-tuned tactile tone sculpting. CRUSH is a dramatic tool. Engineers and producers will love the diverse and subtle creative options. Drawmer gear is designed and handmade by Drawmer in the UK – no small feat for a pro audio manufacturer.”

Now Available. Price: $1799.00 Details here

Warner Chappell Music, the global publishing arm of Warner Music Group, announced the promotion of Gabz Landman to Executive Vice President, A&R. Based at the company’s Los Angeles headquarters, she will continue to report to Ryan Press, President, A&R, North America. 

Since joining WCM in 2022, Landman has been a fierce advocate for creative talent, cultivating an elite roster featuring standout songwriters and culture-defining stars. Her key signings include Amy Allen, Laufey, John Ryan, Madison Beer, Lizzy McAlpine, The Chainsmokers, Delacey, Andrew Wyatt, Daniel Chetrit, and Diplo, among others.

Landman works side by side with superstar songwriter Amy Allen, guiding her through a run that includes back-to-back Grammy Awards for Songwriter of the Year (Non-Classical) and pairings with artists such as Olivia Rodrigo, Tate McRae, Sabrina Carpenter, and Olivia Dean.

Ryan Press said: “Gabz is a real advocate for artists and songwriters, and a true leader helping drive Warner Chappell’s growth, both on the charts and culturally. She’s earned this, and I couldn’t be prouder to see this next step.”

In her elevated position, Landman will continue to drive creative A&R strategy across North America, remaining committed to the discovery, signing, and long-term development of top-tier songwriting talent. She will champion both breakthrough and established songwriters, while expanding WCM’s reach and unlocking new creative opportunities across the music landscape.

Landman’s promotion comes amid a wave of powerful momentum for the publisher. WCM’s genre-diverse roster continues to shape culture and lead the global charts, highlighted by John Ryan, who currently holds four songs in the Top 20 on the MediaBase radio charts. Among recent achievements, WCM writers MAG and Scott Dittrich made history this year with Bad Bunny’s chart-topping global Latin anthem, “DtMF,” while the publisher has also scored hits from Cardi B, Don Toliver, and ROSÉ, among others.

Sony Music Publishing announced the promotion of Ari Gelaw to Senior Vice President, Creative A&R. Gelaw will continue to be based out of the company’s Los Angeles office, reporting to SMP’s President, Head of US A&R Katie Welle.

In her new role, Gelaw will be responsible for leading the company’s US R&B/Hip-Hop team, spanning SMP’s New York, Atlanta and Los Angeles offices. She will also continue to drive songwriter development and discovery initiatives, while also advancing global collaboration across the company’s rosters and teams. 
Since joining Sony Music Publishing in 2022 as Vice President, Creative A&R, Gelaw has been instrumental to the company’s creative advancement and roster growth, signing iconic talent such as BigXthaPlug, Monaleo, Victoria Monet, FLO, Samara Cyn, BBYKOBE and J White, while also continuing to work closely with top hitmakers including Mustard, INK, Yeat, Leon Thomas, Camper and more.

Katie Welle, President, Head of US A&R, Sony Music Publishing said, “Ari is an exceptional A&R and incredibly skilled at supporting talent. Her sharp creative instinct and dedication to songwriters have been key to our growth, and this promotion reflects her continued impact both creatively and as a leader. I couldn’t be more thrilled to work alongside Ari as we continue to elevate the success of our roster and our team.”

Ari Gelaw said, “I’m grateful to Katie and Jon for their continued belief in me, and I am excited for this next step. There’s incredible momentum across the R&B and hip-hop space, and I look forward to working with our amazing team to build on this energy and help our songwriters reach even greater heights.”

Prior to her time at Sony Music Publishing, Gelaw served as Director of A&R at Universal Music Publishing Group, where she signed and worked extensively with prominent talent including Megan Thee Stallion, DaBaby and Coi Leray. She also spent two years at Atlantic Records working in its Urban A&R department.

Celebrating The 22-time Grammy^®Winning Band 
For Five Decades of Global Musical Achievement And Humanitarian Service + New Album Carnaval De Luz


MusiCares^® has named U2 — Bono, The Edge, Adam Clayton, and Larry Mullen Jr. — are the 2027 MusiCares Persons of the Year. One of the most acclaimed bands in modern music, U2 will be honored for their groundbreaking body of work and decades of using their reach, resources and music to support people and the fight for justice around the world. The 36th annual Persons of the Year benefit gala will be held at a new location, Peacock Theater in Los Angeles on Friday, Feb. 5, 2027, two nights before the 2027 Grammys^® at Crypto.com Arena.
"We are honored to celebrate and recognize U2 as this year's MusiCares Persons of the Year," said Harvey Mason jr., CEO of the Recording Academy^® and MusiCares. "Their impact goes far beyond the stage. Not only has their music defined generations, but they've been equally exemplary in their dedication to humanitarian work and using their platform for good. We are so excited to come together to honor their collective artistry and commitment to giving back on this special night."

In addition to these joint efforts, Bono co-founded sister organizations ONE and (RED) to pressure governments and businesses to do more in the fight against AIDS and extreme poverty, and he played a key role in persuading President Bush to create PEPFAR (President’s Emergency Program for AIDS Relief), which has saved 26 million lives to date. Following the devastation of Hurricane Katrina in 2005, The Edge co-founded Music Rising to replace instruments and equipment for musicians, schools and music programs affected by disaster. Adam Clayton, who was honored with the MusiCares Stevie Ray Vaughan Award in 2017, has spoken openly about recovery and supported efforts focused on addiction and mental health, including Ireland’s Walk in My Shoes initiative. 
Larry Mullen Jr. has brought attention to dyslexia and learning differences through his involvement as a producer of the documentary Left Behind. These efforts represent distinct areas of focus for each member while also reflecting a history of shared activism and campaigning by the band.

“Throughout their career, U2 has demonstrated the extraordinary power of music to bring people together, draw attention to urgent needs and inspire action,” said Theresa Wolters, Executive Director of MusiCares.

The event will again be produced by live event broadcast outfit Lewis & Clark, made up of Joe Lewis and R.A. Clark.

For the first time, MusiCares will open the tribute concert portion to a broader audience, giving more fans the opportunity to come together, celebrate and honor the band. Individual theater seats and gala dinner tables are now available for purchase at musicares.org/personoftheyear. For more information about the event or sponsorship opportunities, please visit www.musicares.org or email personoftheyear@musicares.org.

Peacock Theater in Los Angeles on Friday, Feb. 5, 2027, two nights before the 2027 Grammys^® at Crypto.com

U2's new album Carnaval De Luz, will be released on November 13 2026. It's the band's 16th studio album and the first album of new material from the band in nine years. A collection of 12 songs the album explores themes of spirituality, friendship, freedom and endurance. The album also sees collaborations from Brian Eno (co-writing and synthesizers on 'Go (Carnaval De Luz)', 'The Greatest Show on Earth' and 'Can't Stop Us Now'), Martin Garrix (co-writing on 'Glorify'), and Daniel Lanois (playing pedal steel on 'Torn'); with additional production from Ryan Tedder on 'Silencio'. 

'… the same imagination that brings us our creativity can also bring us monsters. So we make the drums louder. We build a bigger fire.

We make our stories wilder and funnier. We make the melodies sweeter and the songs, they better shine, because if the world is in darkness we better not be.'

--Bono of U2

Rising New York City-based band Nautics’ debut album, People Only Like Me When I'm Leaving, is out now via Bright Antenna Records. The band connected over a shared love of artists like The Strokes, Arctic Monkeys, and Bloc Party, whose art-rock approach inspired the band’s own mix of sharp guitars, dynamic rhythms, and emotionally charged songwriting. Nautics are Kenzo Repola (vocals/guitar), Van Cameron (bass), Kitt Flamer-Calder (guitar), and Levitt Yaffe (drums), the four friends first started playing together in high school, and since then have shaped a sound that blends the city’s culture and legacy while pushing the sonic boundaries of what listeners expect from an NYC band.
With this release, Nautics enter a new phase, bridging the grit of New York’s DIY lineage with a more expansive, modern, alternative sound. In conjunction, the band debuts the official video for their track, “Lie About The House.” People Only Like Me When I'm Leaving captures the intensity of Nautics’ live shows while exploring the messy realities of relationships, self-obsession and emotional vulnerability. Produced by Jasper Harris (Quarters) in his Brooklyn studio, the album showcases th eir ability to balance meticulous playing and raw songwriting, from the haunted empowerment of Wasteman (studioexpresso spotlight) to the slurred and scuzzy buzz of bum-a-cig.

TheNautics have earned a reputation for electrifying performances at legendary venues like Irving Plaza, Mercury Lounge, and Bowery Ballroom. Recently signed to independent label Bright Antenna Records, and with more tour dates on the way, Nautics are carrying forward the legacy of NYC rock while amplifying their singular sound to a global audience.

Bleachers are touring in support of their fifth album, Everyone For Ten Minutes. The new album, was released on May 22, 2026, by the band's own label, Bleachers Band Recordings and Dirty Hit. The album was supported by the release of four singles. The lead single, You and Forever, was released on February 11, 2026. The second single, Dirty Wedding Dress (with its video ) released on March 10. The third single, The Van released on April 2, and the fourth and final single, I'm Not Joking released on April 30.

Track List: Everyone For Ten Minutes

Sideways

The Van

We should talk

You and forever

Dirty wedding dress

Take you out tonight

Dancing

She's from before

I'm not joking

Upstairs at els


Visit Bleacher's store here

"I love that the gates are open.... I'm just writing for my people."

--Jack Antonoff, Bleacher's frontman, writer and celebrated producer

Best known as one of pop’s most in-demand songwriters and producers (Taylor Swift, Lana Del Rey), Antonoff brought the popular country trio, The Chicks to the Troubadour. We were there for the final night (September 15) of their sold-out five-show residency at the Troubadour in Los Angeles.

Antonoff produced The Chicks 2020 comeback album, Gaslighter.

The Chicks -- Emily Strayer, Martie Maguire and Natalie Maines-- are known for their unmistakable harmonies and Maines' powerful voice.

Together they performed an acoustic set of Bleachers classic I Wanna Get Better

And judging by the fan reaction, Antonoff's people were there for him at the Troubadour.

2027 TEC Awards: Excellence in Studio Design Nomination 
 studio bau:ton and nonzero\architecture Composer Room

Top: Composer room nominated for 2027 TEC Awards. Below: Newman Scoring Stage at Fox Turns 30. Both facilities designed by nonzero\architecture + studio bau:ton Photos: nonzero\architecture


The composer's writing and mixing room designed by studio bau:ton and nonzero\architecture have received a nomination as a finalist for the 42nd NAMM TEC Awards in 2027.

"It's the latest in over two dozen nominations we have received for the award over the years. This project is an example of how even a minimal intervention with careful planning can lead to high-performing acoustic and technical space," says the lead designer Peter Gruneisen, who specializes in high-end media production, music recording, and film scoring facilities.

studio bau:ton and nonzero\architecture also designs homes and personal theaters, and have previously won three TEC Awards. Past and recent credits include: The Mix Lab for Composer Benjamin Wallfisch, Sony Music Entertainment Japan (Tokyo, Japan), DreamWorks Animation (Glendale, California), Chicago Scoring Stage – Third Coast Music (Chicago, Illinois), The Barn Studio (Malibu, California), Choi Family Music Production Center at Occidental College (Los Angeles, California).

nonzero\architecture is also celebrating The Newman Scoring Stage (below) at Fox turning 30 this year.
"The iconic Newman Scoring Stage on the Fox lot was completely rebuilt by studio bau:ton in 1996. With a new control room located in the adjacent sound stage and with a total re-organization of the spaces and the addition of booths and machine rooms, it has become the prime example of modern scoring stage design. A remodel ten years later, to accommodate new equipment, has further established its reputation as the favorite destination for scoring big movies," adds Gruneisen. 
One of the few remaining orchestral scoring recording spaces in the US, the century-old Newman stage remains a favorite location for composers, musicians, engineers and directors who value sonic excellence and a seamless recording process.

Gruneisen is also the author of Where Dreams Are Born.
After having been selected by a panel of experts, the finalists will now be eligible for a vote by the public.

A Full Sail student works with an instructor in an immersive Dolby Atmos® production room, part of the campus’ “Mix Palace” recently outfitted with state-of-the-art 7.1.4 Genelec monitoring systems by Custom House at Guitar Center.

Custom House at Guitar Center is working with Winter Park, Florida-based Full Sail University to support the school’s expansion in immersive audio education, collaborating to equip ten identical on-campus Dolby Atmos® studios designed to give students hands-on experience with the technologies and workflows they will encounter upon graduation in today’s professional production environments. Custom House’s Davey Rieley works closely with Full Sail University and Genelec to transform existing production rooms into identical Dolby Atmos® learning environments.

The studios are part of Full Sail’s “Mix Palace,” a facility originally designed around individual production rooms that allowed students to work independently rather than sharing a single large-format studio environment. “The move to Atmos was really a necessity,” says Darren Schneider, Course Director for Advanced Session Recording at Full Sail University.

“Our goal is always to ask: What are students going to leave here and see in the real world? Increasingly, they’re going to see Atmos rooms. Beyond monitoring, the rooms were designed to accommodate students at different stages of the Recording Arts program. Students can connect their MacBook computers via USB-C through an Apogee Symphony interface and work directly with the internal Dolby Atmos Renderer. As they advance, they can move to Full Sail’s house systems and external Dolby rendering workflows, with DADman control software providing routing to the monitoring system. This allows the rooms to support everything from a student’s first introduction to immersive audio through advanced music and post-production projects."

For Rieley and Custom House, the project extended beyond supplying equipment. His longstanding relationship with Full Sail provided an additional resource as the university evaluated its immersive workflow, monitoring requirements and future direction.

“Full Sail has always been very focused on giving its students access to the tools and technologies that are shaping the professional world,” says Davey Rieley.

Rieley’s involvement with Full Sail extends beyond equipment acquisition. He has participated in immersive-audio panels and educational activities at the university and has facilitated opportunities for students to experience emerging technologies, including Sony immersive-audio profiling.

2026-27 Schedule

First Term Begins: October 26, 2026

Second Term Begins: January 11, 2027

Curriculum

Production and Music Theory:

• Introduction

• History of Production / Abbey Road

• Production Techniques – EQ / Dynamics

• Production Techniques – Effects

• Session Planning / Procedures

Audio Engineering Principles:

• Sound Theory

• Decibels

• Metering

• Basic Electronics

Audio Engineering Tools:

• The Music Production Studio

• EQ

• Dynamic Range Processing

• Effects Processing

• Cabling and Wiring

• Mixing Consoles

Digital Audio Workstations

• Pro Tools

• Logic Pro

Tuition & Fees here

For more information visit ARI-LA and follow them for upcoming virtual events visit Instagram or

 Apply to ARI-LA Now!

More than 300 emerging engineers, producers, and songwriters from across the United States applied for the 2026 Creator Series, representing a diverse range of backgrounds, musical styles, and creative perspectives. 16 creators were selected for the five-day experience.

"Getting access to these rooms in the first place is difficult, especially for songwriters. The Creator Series gave us real proximity to talented, successful people who genuinely wanted to pour into us and see us win," says St. Ciré, Los Angeles-Based Singer-Songwriter.

18-Time GRAMMY Winner Manny Marroquin (Bruno Mars, The Rolling Stones, Alicia Keys, Imagine Dragons, Lizzo) invited friends and colleagues from across the industry to share their expertise and experiences. The mentor and guest lineup brought together an extraordinary group of acclaimed artists, songwriters, producers, engineers, and executives, many of them Grammy winners and nominees, including H.E.R., Linda Perry, Jeff Gitty, Ricky Reed, Randy Spendlove, Jesse Carmichael, Bruce Flohr, Rex Kudo, Nikki Flores, Camper, and many more.

Beyond panels, discussions, and Marroquin's mixing masterclass, participants collaborated to write and record original music with producer, composer, and multi-instrumentalist Cheche Alara (Shakira, Alejandro Sanz, Jennifer Hudson, Rosario Flores, Marco Antonio Solís). 
David Silberstein and Haley Evans of Mega House Music shared insights on music publishing and building sustainable careers.

Jessica Fajfar, Senior Counsel with RafterMarsh US and Director of the CREATE Law Clinic at USF School of Law, led a discussion on AI and entertainment law, exploring what creators need to understand as technology changes how music is made, protected, and commercialized, while mastering engineer Zach Pereyra took participants through the final stage of the recording process at Larrabee Sound Studios.

The learning continued outside the studio through dinners and conversations with Marroquin and industry guests at VERSE LA and the first-ever dinner at his new restaurant, Mensano, creating additional opportunities for connection and relationship-building.

Hosted at Larrabee Sound Studios, whose rooms have helped shape recordings by artists including Michael Jackson, Beyoncé, Madonna, Rihanna, Bruno Mars, Adele, and Maroon 5, the program gave its 16 selected creators the opportunity to experience the creative process up close.

The creators experienced immersive audio firsthand in 7.1.4 and 360 studio environments through a specially produced listening session by Grammy-winning producer and songwriter Neff-U, giving participants an opportunity to hear how music and sound are evolving beyond traditional stereo environments. Participants received an exclusive behind-the-scenes look at Sony's professional sound environments, including a tour of Sony Pictures Entertainment mixing facilities, a 360 Reality Audio demonstration at Sony Audio's primary LA studio hub, and a walk through of Sony Music Entertainment studio spaces.

"Creators are at the center of everything we do," says Jun Makino, Vice President, Personal Entertainment Business, Sony Corporation of America. For Marroquin and the team behind the Creator Series, the experience reflects a simple idea: talent may be everywhere, but access isn't.

For studioexpresso

By Ralph Sutton

Ralph Sutton (Stevie Wonder, Lionel Richie) is a Recording and Mixing Engineer and Dolby Atmos Specialist with a blog on Recording techniques. This exurb is taken from Sutton's blog. He wrote the book Live Musicians In The Studio (click on the image to order)

The price of a microphone may tell you something about its construction, consistency, character, or capabilities. It cannot decide where the listener should feel positioned in relation to the musician. It cannot determine whether the instrument should feel close, expansive, restrained, intimate, powerful, distant, or surrounded by the room.

Those decisions must be made by the person listening.

The Microphone Cannot Create What the Source Is Not Producing

Before microphone placement becomes a factor, the sound already begins with the musician.

The performance, touch, dynamics, tuning, instrument, arrangement, and room all exist before the microphone enters the signal chain.

A microphone cannot manufacture a balanced performance.

It cannot create tone that the instrument is not producing. It cannot make an uncertain musician sound committed. It cannot repair poor tuning, restore missing ensemble cohesion, or give an arrangement space that was never created.

An expensive microphone may capture those weaknesses with remarkable accuracy. The better the source, preparation, room, and musical decisions are, the more useful the microphone becomes.

Microphone Placement Recording Decisions Shape What the Listener Believes

The important question is:

What should this instrument feel like when the listener hears the finished record?

That answer should guide the placement.

Microphone placement and recording decisions affect more than tone. They influence apparent size, transient impact, body, resonance, room relationship, depth, and emotional distance.

Move the microphone, and you may change what the listener believes about the musician, the instrument, and the space in which the performance is happening.

A Beautiful Sound Can Still Be Wrong for the Record

An instrument can sound impressive by itself and still be wrong for the production.

The goal is not to capture the largest, brightest, closest, or most impressive version of every instrument.

The goal is to capture the version that allows the complete record to work.

That requires understanding the instrument’s role.

Is it leading the arrangement?

Is it supporting the vocal?

Is it providing rhythm, harmonic weight, movement, atmosphere, or emotional tension?

Should the listener notice it immediately, or should its contribution be felt as part of the complete production?

Every Microphone Placement Is Also A Room Decision

The room must be evaluated according to the record being made.

In a musician-driven production, the surrounding sound may help the instruments feel connected. Reflections, room tone, and controlled microphone bleed can contribute to the sense that musicians are performing together rather than appearing as unrelated tracks.

That same room information can become distracting when it conflicts with the arrangement, timing, or intended perspective.

The decision requires listening.

L-r: Brad Sundberg, Matt Forger, Brad Buxer, studioexpresso's Claris Sayadian-Dodge (formerly manager at Record One), Bobby Brooks at Aspen Place Recoding, San Fernando, Ca. Photo by Charlie Carter @alphacharliephotos

Engineers Brad Sundberg, Matt Forger, Bobby Brooks, and arranger/music director and keyboardist 
Brad Buxer worked with the king of Pop, Michael Jackson in the 90s at Record One, among other studios. 
They came together at Aspen Recording on August 29 for a two-day seminar and took the listeners and fans directly to the King of Pop's sessions. The room was packed. Sundberg's daughter Maddie who was running the live stream, received MJ fan questions from all around the world. 
Buxer, Forger, Brooks and Sundberg worked with beloved producers Bruce Swedien, Bill Bottrell, Teddy Riley and Quincy Jones. The group worked together on the Jackson studio albums Dangerous (1991), HIStory: Past Present and Future, as well as the remix album Blood on the Dance Floor: HIStory in the Mix (1997).

It goes to show you the power of legendary music creators like MJ continue to Live and Move listeners.

Refik Anadol's art has served as a backdrop at the Grammy Awards, and now it's at DATALAND, at the world's first museum of AI arts, located at Frank Gehry’s The Grand, Los Angeles. 
The exhibit is powered by a Large Nature Model trained on over 500 million nature images from institutions like the Smithsonian and Getty, paired with 84 synchronized projectors and bio-metric tracking.

Anadol said at least for now, dreaming is just for humans. "Of course, machines don't dream. Machines are collaborators. But, it might not be too long before they can," says the artist.
The spatial ecosystem requires 250 loudspeakers. 
When asked can machines hear? Google's response is: "Yes, machines can "hear" through a process called computer audition, which uses microphones as ears and artificial intelligence to interpret sound waves."

Do machines want to get up and dance after they hear music, sans feeling or desire? 
The answer is pretty clear! 


Machine Dreams: Rain-forest is on view through January 31, 2027.

100 S. Grand Ave, Los Angeles, CA 90012 (across from the Walt Disney Concert Hall).

Until next month,

Keep up the desire to listen, and create. Share your musical expression and tell us about your new release, upcoming event, or reach out for music production services. 


Music Lives and Moves!

Claris Sayadian-Dodge, founder/publisher

claris@studioexpresso.com

With Kevin Recard who was among performers at Capitol Studios, Hollywood on September 25, 2026