Tag Archives: Engineer

Falling Tree Destroys Ronan Chris Murphy’s Studio

Noted producer/engineer Ronan Chris Murphy's studio was destroyed when a massive tree fell and cut the building in half.
Noted producer/engineer Ronan Chris Murphy’s studio was destroyed by a large tree that fell on the constructing.

Pine Mountain Club, CA (March 17, 2023)—Following days of utmost climate, the studio of famous recording, mixing/mastering engineer and producer Ronan Chris Murphy was destroyed late at night time final Friday, March 10, when a large tree fell on his home.

Murphy, recognized for his Recording Boot Camp coaching programs and work with Gwar, King Crimson, Terry Bozzio, Steve Morse, Ulver and others, in addition to video video games together with Assassin’s Creed Brotherhood, Yoku’s Island Express and Mafia III, was woke up by the crashing sound. He rapidly found that his studio had been cleaved in half by the uprooted tree and his home had been completely destabilized.

“We had a triple whammy of 5 toes of snow, then two days of heat temperatures and rain, after which 65 mile-an-hour winds,” stated Murphy, who lives in a small, unincorporated neighborhood within the mountains of Tejon Pass, about 90 miles north of downtown Los Angeles.

“The studio is the entire second ground of the home—and it was cut up in half,” he continued. One-half of the home, constructed within the Eighties solely a decade after Pine Mountain Club was initially developed as a trip retreat, was largely unaffected, he reported. “The different facet was a warzone.”

Authorities decided that the construction isn’t protected sufficient to help the crew that was ready to cowl it with tarpaulins, so it now stays open to the weather.

With the structure now deemed unsafe for crews to cover, Murphy's studio and home remains wide-open to the elements.
Now deemed unsafe for crews to cowl, Murphy’s studio and residential stays wide-open to the weather.

Much of the studio gear that Murphy amassed when he beforehand labored out of his Veneto West facility in Santa Monica CA, was destroyed by the falling tree.

“My major mastering audio system are gone,” he reported. “They have been from an organization known as FAR in Belgium; improbable, however one-of-a-kind, boutique audio system, and the man who invented them and ran the corporate is lifeless.” One-half of a pair of smaller FAR screens Murphy had as a backup was additionally destroyed.

“I misplaced all my keyboards—my Fender Rhodes and an previous organ—and all my guitar pedals,” he added, additionally noting that his cellphone, too, had been smashed and had to get replaced.

“The excellent news is that I used to be capable of get out greater than I anticipated,” he added. “I used to be capable of save numerous necessary gear.” Much of that gear is at the moment dispersed throughout the local people after neighbors helped haul away and retailer something that might be salvaged.

“The neighborhood has been superb; I’ve obtained stuff in locations throughout city,” he stated. “Everybody’s been so cool and so good—and we’ve had a number of dozen affords: ‘Hey, come keep at our place, we’ve obtained a spare bed room’ or ‘You can have our Airbnb free of charge.”

Fortunately, a pro-audio business colleague has provided his close by home as a long-term rental, offering Murphy and his accomplice with a base whereas they recuperate. “I feel in lower than a month, as soon as I get some gear changed, I’ll be purposeful and capable of make a residing once more,” he stated.

Murphy estimates that the cost of demolishing the building, which he also lived in, will cost upwards of $40,000.
Murphy estimates that the price of demolishing the constructing, which he additionally lived in, will price upwards of $40,000.

Murphy and his accomplice had home and contents insurance coverage insurance policies, which can defray a few of their prices, however there’s an extended street to restoration forward. “Within six months, we now have to demolish the constructing, which can in all probability be wherever between $30,000 and $40,000—and that’s not coated underneath the insurance coverage coverage,” he stated.

To increase some cash within the quick time period, Murphy has arrange a particular “pay-what-you-want” sale on his 12-hour drum recording course at drumrecordingbootcamp.com. His good good friend, scoring mixer John Rodd, has additionally arrange a GoFundMe. “It has the potential to have a large constructive affect on our lives and getting us again on our toes,” Murphy stated.

Alan Parsons Master Class Records, Mixes Contest Winner in Atmos

(l-r): Producer Alan Parsons, singer Brandi Rose, songwriter Jeff Morris, songwriter Steffie Antony Tjandra, engineer Noah Bruskin at the March 2023 ASSR Master Class.
(l-r): Producer Alan Parsons, singer Brandi Rose, songwriter Jeff Morris, songwriter Steffie Antony Tjandra, engineer Noah Bruskin on the March 2023 ASSR Master Class.

Santa Cruz, CA (March 15, 2023)—Learning from the professionals in any occupation is useful, however within the recording business, it’s a time-honored custom that has made recording schooling occasions like famend producer and engineer Alan Parsons’ ASSR Recording Master Classes so widespread. The most up-to-date version, held in Santa Barbara, CA in early March on the engineer’s ParSonics Studio, noticed the engineer behind numerous traditional rock albums not solely share his information but in addition report the profitable entry of a global track contest—and blend it in Dolby Atmos.

Attendees of the March 2023 ASSR Master Class listen to the mix in Dolby Atmos.
Attendees of the March 2023 ASSR Master Class hearken to the combination in Dolby Atmos.

A faculty mission by 19-year-old Full Sail Music Production pupil Steffie Antony Tjandra received the competition and have become the main target of the weekend Master Class. “I usually simply write music,” stated Steffie afterward. “This is the primary time I’ve written the melody and the lyrics as properly.”

Inspired by the rom-com What If, her moody R&B ballad “I Don’t Want To Fall” was produced for the occasion. Parsons known as it “an important track” and went on to reward TJandra’s studio etiquette after she flew to the grasp class from Orlando, courtesy of Full Sail.

A Hydrophone from Cetacean Research Technology.
A Hydrophone from Cetacean Research Technology.

“She was at all times decisive about what labored and what didn’t,” stated Parsons, “and was very delicate and complimentary to the vocal carried out by the wonderful Brandi Rose. The end result wouldn’t have been the identical with out her presence on the Master Class.”

Interview: Alan Parsons on George Martin, Dark Side of the Moon and the Art and Science of Sound Recording

ASSR’s long-established courses present attendees with perception into how records are made, with a Neve 5088 console and a dwell monitoring session aiding Parsons’ manufacturing, with Pro Tools programming expertise tackled by his studio sidekick, Noah Bruskin. The session, combined in Dolby Atmos, additionally featured ambisonic recording utilizing a Rode NT-SF1 mic and an underwater hydrophone mic from Cetacean Research Technology.

Green Room at Alan Parsons’ ParSonics Studio in Santa Barbara, CA during the March 2023 ASSR Master Class
Green Room at Alan Parsons’ ParSonics Studio in Santa Barbara, CA through the March 2023 ASSR Master Class

The track search was open to Master Class alumni spanning the occasion’s 10-year historical past, plus college students enrolled in ASSR’s on-line recording course and college students taking the ASSR video curriculum at Full Sail. In all, 84 submissions had been made, from college students to music professionals.

Legendary Punk Producer Glenn “SPOT” Lockett, Dead at 71

SPΘT, recording Big Boys "Fun Fun Fun" at Third Coast Studio, Austin Texas;March 14 1982. PHOTO: Photobill/Bill Daniel; used with permission.
SPOT, recording Big Boys “Fun Fun Fun” at Third Coast Studio, Austin Texas; March 14 1982. PHOTO: Photobill/Bill Daniel; used with permission.

Sheboygan, WI (March 6, 2023)—Glenn “SPOT” Lockett, who helmed most of the most-influential records popping out of California’s early punk scene, died March 4, 2023 in Sheboygan, Wisconsin. Diagnosed with fibrosis in 2021, Locket was awaiting a lung transplant when he suffered a stroke three months in the past from which he by no means correctly recovered. A documentarian of the nascent Nineteen Eighties Los Angeles punk world by way of his pictures and music manufacturing work, Lockett was answerable for capturing a number of the earliest efforts by now-revered acts like Black Flag, Hüsker Dü, Misfits, Subhumans, Redd Kross, Meat Puppets, Minutemen and others. He was 71.

Lockett was born July 1, 1951 in Los Angeles, the son of Claybourne Lockett, a former fighter pilot with the Tuskegee Airmen in World War II. Initially raised in Hollywood, the youthful Lockett realized guitar at age 12, and developed a ardour for jazz and improvisational music that led to his as soon as auditioning for Captain Beefheart. Moving to Hermosa Beach within the mid-Nineteen Seventies, Lockett thrust himself into the realm’s thriving arts scene, capturing all of it along with his music, digicam lens and, quickly, recording tape, as he took up engineering after serving to construct a facility, Media Art Recording Studio on Pier Avenue.

Crane Song Founder / Designer Dave Hill, Dead at 68

Steve Mackey, Alternative Rock Producer/Bassist, Dead at 56

While discovering his approach round a studio, Lockett started utilizing the pseudonym SPΘT—stylized in all-caps with a dot within the middle of the “O”—when he wrote freelance jazz document opinions for native weekly newspaper Easy Reader. Nonetheless, he primarily labored as a waiter in a vegetarian restaurant and it was there that he met fellow musician Greg Ginn. The two musicians usually jammed, and Lockett briefly performed bass in Ginn’s band, Panic, which might in the end evolve into Black Flag. When Ginn determined to start out his personal document label, SST Records, it was solely a matter of time earlier than Lockett turned deeply concerned as its in-house producer/engineer.

In the years that adopted, SPOT might frequently be discovered within the credit of the label’s releases as he recorded, combined and produced or co-produced most SST acts between 1980 and 1985. As a consequence, he had a hand in a number of the seminal punk releases of the period, together with Descendents’ debut album, 1982’s Milo Goes To College; Hüsker Dü’s acclaimed 1984 assortment, Zen Arcade; the primary three Meat Puppets albums; the primary two albums and an EP by Saint Vitus; and a half-dozen Black Flag releases, amongst others.

Most of these acts have been recorded at Hermosa Beach’s then-fledgling Total Access Recording Studios, nonetheless owned and operated at this time by producer/engineer Wyn Davis. Former Hüsker Dü frontman Bob Mould recalled the period in a Tweet memorializing SPOT, noting, “From 1982 to 1984, Hüsker Dü recorded 4 initiatives with SPOT. We labored at Total Access in Redondo Beach, CA, largely throughout the discounted in a single day hours. SPOT all the time inspired free expression and experimentation, at the same time as these recordings have been made as expeditiously as potential.” He added, “SPOT was an exquisite soul who cherished making music, documenting the scene, and unconditionally supporting all of the initiatives that bear his title. Thank you, SPOT. You gave a lot to all of us.”

While initially intently related to SST, SPOT produced, engineered and/or dealt with technical duties on numerous releases on by way of the 2000s for different labels, together with Touch And Go, Rykodisc, New Alliance, Homestead, Taang! and PVC, notably co-producing 1983’s Earth A.D./Wolfs Blood, the final Misfits album to function co-founder Glenn Danzig, which was launched on the singer’s personal Plan 9 label. Ultimately, SPOT would go on to supply greater than 100 records.

Fed up with Los Angeles, SPOT moved to Austin, Texas within the mid-Nineteen Eighties, the place he launched quite a few his personal solo, lo-fi experimental recordings through the years, earlier than ultimately transferring to Sheboygan, the place he printed a pictures assortment, Sounds of Two Eyes Opening—Southern California Life: Skate/Beach/Punk 1969-1982 (2014), amassing his work documenting the Los Angeles subscultures he ran in.

Former SST co-owner Joe Carducci introduced SPOT’s passing on Facebook, praising the producer’s recording type that he felt utilized “the primacy of dwell jazz taking part in into recording bands towards prevailing makes an attempt to melt or industrialize a back-to-basics arts motion in sound.” He added that SPOT had been writing a novel in recent times, Decline and Fall of Alternative Civilization, adapting a 10-hour on-line audio drama he had produced and narrated in 2016.

Have Genelecs, Will Travel

Grammy-winning mastering engineer Gavin Lurssen
Grammy-winning mastering engineer Gavin Lurssen

Natick, MA (June 9, 2021)—Grammy-winning mastering engineer Gavin Lurssen has made Genelec’s 8341A monitors a centerpiece of his portable reference setup, which he uses to do much of his preliminary work.

Lurssen, whose credits include Queens of the Stone Age, Ben Harper and Robert Plant & Alison Krauss, notes, “I started in the early ‘90s working for the late Doug Sax at The Mastering Lab, and recording engineer George Massenburg was a regular client of Doug’s for lots of his projects; through him, I was first exposed to their 1031A and 1030A monitors. I was particularly taken with the 1030As after hearing them in a mix room at what was then Ocean Way Studios in Hollywood, so Doug surprised me with my own pair, which I still own.”

In fact, says Lurssen, “[A]fter all these miles, I just had them re-coned and the amps rec-capped, but kept the original bulletproof tweeters. Like most mastering engineers, I own multiple sets of monitors, but the Genelec 1030As have been an important reference for me over the years, especially when it comes to a mobile environment.”

Bay Eight Changes Things Up with Genelec

Fast-forward to a few years ago, before the pandemic: “I enjoyed going to these weekly lunches and meetups in Burbank with professionals in the audio industry; it’s a great way to see friends and colleagues and to stay on top of the latest tools and trends as well. I usually interact with the manufacturer reps that are there, and so it’s no surprise that I gravitated toward the new technology from Genelec! So that began my journey with the 8341A Smart Active Monitor,” he says.

He notes, “There are various ways in which a near-field monitor can be useful to a mastering engineer, and one of the most useful things is to be able to go mobile, while still being able to listen to and evaluate mixes and give feedback to clients with confidence, no matter where I am set up. Accuracy is the name of the game. The Genelec 8341As provide me with very, very accurate playback, even if I’m in a compromised environment.

“When you have something like 8341s, if you put them in the road case and take some computer gear with you, you can actually set up a pretty accurate listening environment. You can travel around and evaluate things that way—so if I’m traveling, I can take them with me.”

Genelec • www.genelec.com

Book Review: Major Label Mastering—Professional Mastering Process

Major Label Mastering: Professional Mastering ProcessMastering is one of those corners of pro audio that everyone knows about, but doesn’t necessarily know what it truly entails. Shedding some light on the subject is Evren Göknar’s new book, Major Label Mastering: Professional Mastering Process (Focal Press/Routledge; $42.95), which breaks the topic down into understandable concepts and actionable steps that can be grasped by everyone, whether they’re students, musicians or fellow pros.

Göknar knows from whence he speaks—a Grammy winner, he’s worked more than 25 years in the mastering field, spending much of that time at Capitol Studios where he mastered everyone from Mariah Carey to the Beastie Boys in addition to putting his talents to work for TV shows like The Voice. During that time, Göknar developed the centerpiece of his book, The Five Step Mastering Process—a thorough system of considerations and procedures for crafting and implementing a mastering game plan will best serve the music. Readily acknowledging that there can be as many subjective assessments to be made (“Does this approach fit the genre?”) as there are technical ones, Göknar finds ways to help readers determine what’s necessary and bring quantifiable logic to more nebulous parts of the process.

That said, there’s plenty of straight-forward ‘how-to’ content, from best practices for documentation, to equipment sequencing, to a go-to section on advanced mastering chain tools and techniques. The book is also filled with cool gear photos, informative screenshots, useful illustrations, documentation examples and more, providing additional clarity and insight. Whether a budding engineer or a seasoned pro, readers will come away from Major Label Mastering with far greater understanding and appreciation for the newly demystified process of mastering.

Al Schmitt, Legendary Engineer, Passes at 91

Los Angeles, CA (April 27, 2021) — Al Schmitt, arguably the most successful recording engineer ever, died Monday, April 26, at the age of 91. Over the course of a 70-plus-year career, Schmitt worked with multiple generations of music superstars, capturing some of the best-known songs and albums of his lifetime. The recipient of 20 Grammy Awards, Schmitt also won two Latin Grammys and a Recording Academy Lifetime Achievement Award, was honored with a star on the Hollywood Walk of Fame (the first ever for an engineer), and had more than 160 Gold and Platinum recordings to his credit. Just some of the artists Schmitt worked with included Frank Sinatra, Henry Mancini, Paul McCartney, Barbra Streisand, Dr. Dre, Lady Gaga, Bob Dylan, Sam Cooke, Toto, Diana Krall, Steely Dan, Luis Miguel, Norah Jones, George Benson, Natalie Cole, Quincy Jones, Jackson Browne, Neil Young, Tony Bennett, Bing Crosby, The Andrews Sisters and Jefferson Airplane.

Born in New York City, Schmitt grew up around recording, often visiting his uncle’s facility in Manhattan, Harry Smith Recording, as a child. With that influence, it was unsurprising that after serving in the US Navy, he became apprentice engineer at 19, working under producer Tom Dowd at Apex Recording in NYC. Learning on the job, Schmitt was only entrusted with recording the occasional demo acetate until Duke Ellington and his big band—which included greats like Billy Strayhorn and Johnny Hodges—showed up unexpectedly to record on a quiet weekend in 1949. As the only engineer on hand, Schmitt tried to make the most of the eight inputs available, setting up mics using sketchy placement diagrams he’d hastily drawn while assisting on other sessions. He told Ellington “I’m not qualified” so often that eventually the jazz great had to calmly reassure him that he could do it.

Al Schmitt engineered some of the Peter Gunn soundtrack
Al Schmitt recorded the small combo tracks on the famed Peter Gunn soundtrack, paving the way for an extensive run of recording Henry Mancini soundtracks

After moving around New York studios for nearly a decade, Schmitt headed west to Los Angeles in 1958, initially working at Radio Recorders in Hollywood, where he first collaborated with Henry Mancini, recording small combo tracks on the composer’s 1959 The Music from Peter Gunn soundtrack. It was the start of a fruitful working relationship, as Schmitt went on to record numerous Mancini soundtracks, including Mr. Lucky, Charade, Breakfast at Tiffany’s (for which he got a Grammy nomination) and Hatari, which landed Schmitt his first Grammy Award.

Schmitt moved to RCA as a staff engineer in 1963 and was soon promoted to staff producer. While there, he produced the likes of Sam Cooke, Eddie Fisher, Ann-Margaret and Jefferson Airplane among others, but the endless 16-hour days and lack of support from upper management led to him quitting in 1966 to go independent. Over the next few years, he continued to produce Jefferson Airplane and added Jackson Browne, Neil Young, Al Jarreau and others to his discography, but found he missed engineering, as union rules of the era forbade producers from touching the console. As the 1970s wore on, he returned to mostly engineering, which he greatly preferred.

Al Schmitt Grammy Award for Aja
The 1977 Grammy Award for Best Engineered Recording (Non-Classical) went to Al Schmitt, Roger Nichols, Elliot Scheiner and Bill Schnee for Steely Dan’s “Aja”

It wasn’t a bad career decision—during the 1970s and 80s, Schmitt won a slew of Grammys for his work engineering George Benson’s Breezin’; Steely Dan’s staple Aja and stand-alone single “FM (No Static At All)”; and Toto’s comeback album, Toto IV. In the decades that followed, he would take home Grammys for work on multiple Diana Krall albums; Natalie Cole’s Unforgettable…with Love; albums with Quincy Jones, Luis Miguel, Chick Corea and Dee Dee Bridgewater; a pair of Grammys for Paul McCartney’s Kisses on the Bottom; and a jaw-dropping five trophies for Ray Charles’s 2004 album, Genius Loves Company.

In 2014, Schmitt was honored by the Hollywood Walk of Fame with his own star, located outside the iconic Capitol Records building—home to Capitol Studios, where he spent countless hours recording over the decades. In the mid-2000s, Schmitt was a founding member of METAlliance, a group of top engineers who regularly hold recording workshops around the globe; Schmitt often shared his insights and knowledge with Pro Sound News readers through the METAlliance’s recurring column.

In 2018, he teamed with Maureen Droney, managing director of the Recording Academy’s Producers & Engineers Wing, to write his autobiography, Al Schmitt On the Record: The Magic Behind the Music, which shared not only much of his technical knowledge and wild recording session tales, but also career advice on what’s required on a personal level to stay at the top of one’s game for decades. Earlier this year, he collaborated with software company Leapwing to release a signature Leapwing Al Schmitt Signature plug-in.

At press time, the cause of Schmitt’s death is undisclosed, but a Facebook memorial page has been created in his name. His family released a statement April 27, noting,

“Al Schmitt’s wife Lisa, his five children, eight grandchildren, and five great grandchildren would like his friends and extended recording industry family to know that he passed away Monday afternoon, April 26. The world has lost a much loved and respected extraordinary individual, who led an extraordinary life. The most honored and awarded recording producer/engineer of all time, his parting words at any speaking engagement were, “Please be kind to all living things.”

Loved and admired by his recording colleagues, and by the countless artists he worked with, from Jefferson Airplane, Sam Cooke, Ray Charles, Neil Young, Paul McCartney, Diana Krall, Dr. John, Natalie Cole and Jackson Browne to Bob Dylan—and so many more—Al will be sorely missed. He was a man who loved deeply, and the friendships, love and admiration he received in return enriched his life and truly mattered to him. A light has dimmed in the world, but we all learned so much from him in his time on earth, and are so very grateful to have known him.

Legendary Metal Producer/Engineer Michael Wagener Retires

Michael Wagener - WireWorld Studio - Eve Audio
Michael Wagener in his studio, WireWorld 2.0, in an undated promotional photo for Eve Audio. Eve Audio

Nashville, TN (April 26, 2021)—Michael Wagener, the ears behind some of the biggest albums in metal history, announced his retirement Sunday, April 25—his 70th birthday. More than 90 million albums sold feature his name in the credits, as he worked with the biggest names in hard rock and heavy metal, including Metallica, Poison, Megadeth, Ozzy Osbourne, Skid Row, X, Mötley Crüe, Great White, Plasmatics, White Lion, Alice Cooper, Extreme, Dokken, Stryper, W.A.S.P., Overkill, .45 Grave, Accept, Testament, Helloween, Keel and more, as well as artists in other genres such as Janet Jackson and Muriel Anderson.

Taking to Facebook to make the announcement, Wagener wrote,

I have now been active in the music business for over 50 years and I think it’s time to retire and get out and catch up on some vacations. I have sold the studio and Double Trouble Productions does no longer exist as an official company.

I had an amazing time and met a ton of wonderful people and I am thankful for having been able to work with such great musicians and create such wonderful music.

Now it’s time to see some more of the world.

This site will eventually disappear. No more mixes, productions and workshops. The studio has been sold and except for some guitars, amps and minimal studio gear there is not much left here.

I want to thank you all for allowing me to live a great life and to do what I love. I am looking at a future of lots of traveling; it has been a great trip so far.

As a teenager in Germany, Wagener was the first guitarist for the band that would eventually become Accept, but had to quit when he was drafted into the army at 18. In 1972, he began working for a Hamburg, Germany company called Stramp that produced equipment for studios and stage use; during that time, he earned a degree in electronics engineering. By the late 1970s, he had built a 16-track studio in Hamburg, Tennessee Tonstudio, where he learned studio production and maintenance. While there, he met American guitarist Don Dokken, who was touring Germany at the time, and the two became fast friends. When the self-named group Dokken was signed two years later, Wagener produced its first album, Breaking The Chains, which went gold in the U.S.

With that success, Wagener became busy over the next few years primarily as an engineer and mix engineer, as the then-burgeoning metal movement exploded. He teamed with lifelong friend and leader of Accept, Udo Dirkschneider, to form a production company, Double Trouble Productions, and during that time, also mixed debut albums for Mötley Crüe and Great White. With the U.S. hungry for metal, Wagener moved to Los Angeles in 1984, soon producing X’s Ain’t Love Grand and Stryper’s Soliders Under Command.

Yes, Even Guitars

Over the ensuing years, he mixed noted albums like Metallica’s Master of Puppets, Megadeth’s So Far, So Good…So What, Ozzy Osbourne’s No More Tears and Poison’s debut, Look What The Cat Dragged In. Meanwhile, he took on the producer mantel for Skid Row’s triple-platinum self-titled debut, Alice Cooper’s Raise Your Fist and Yell, Extreme’s commercial breakthrough Pornograffitti, Warrant’s Dog Eat Dog and others, while also netting a top-10 single with Janet Jackson’s pop-metal track, “Black Cat.”

While continuing to work with hard rock and metal acts throughout his career, Wagener moved to Nashville in 1996 and built his own digital recording facility, WireWorld Studio, which evolved to become a fully digital 5.1 surround production facility.

Evil Audio Pros are Back with ‘Sound of Violence’

Sound of ViolenceAt PSN, we’re always looking for new trends in pro audio, but one of the most surprising new ones is that audio pros are evil. Not you, of course (unless you happen to be evil). Rather, we’re talking about the ongoing trend in movies and TV where characters who are audio pros tend to be terrible, often violent people. The latest example can be found in a new indie horror flick, Sound of Violence, about an engineer over the edge.

Hitting theaters and On Demand on May 21, 2021, the film uses the audio aspect in a novel way, as indicated in the trailer’s synopsis on YouTube:

Alexis, a sound engineer, helps an aspiring musician, Josh, win the drum machine of his dreams in a competition at a mall. She mentors him and helps him find his groove to compose the winning beat. Once he submits his creation, it triggers a chain reaction revealing the competition booth to be a gruesome contraption. Through Josh’s beat and a horrific death, Alexis’ creative design comes to fruition, directing the macabre music she envisioned.

A film about killer sound design? Sure! Here’s a ‘more to the point’ Sound of Violence synopsis from the 2021 SXSW Film Festival:

A young girl recovers her hearing and gains synesthetic abilities during the brutal murder of her family. Finding solace in the sounds of bodily harm, as an adult, she pursues a career in music, composing her masterpiece through gruesome murders.

If that whets your appetite for more sound professionals doing terrible things, here’s some additional selections to cue up for your own personal audio-related horror festival:

• Shudder Network’s 2018 microseries Deadwax follows a vinyl collector tracking down an evil mastering engineer who created a record that kills anyone who listens to it.

• The creepy 2013 Scandinavian film, LFO, centers around a widowed amateur scientist who discovers that his experimental solution for tinnitus gives him total control over his neighbors.

• Also worthy of cuing up is 2012’s Berberian Sound Studio, starring Toby Jones as a horror film audio post engineer who can’t tell what’s real and what’s on the screen.

• And if you’d prefer a film where you can root for your fellow sound pro, you can always turn to Brian DePalma’s underrated 1981 thriller, Blow Out, where noble soundman John Travolta is on the run after he accidentally records evidence that a tragic car accident was in fact no accident at all.

 

Elliot Mazer, Legendary Producer/Engineer, Dead at 79

Producer Elliot Mazer in October, 1973.
Producer Elliot Mazer in October, 1973. Getty Images

New York, NY (February 10, 2021)—Legendary producer/engineer Elliot Mazer died of a heart attack in his San Francisco home on Sunday, February 7, 2021, after suffering from dementia in recent years, according to Rolling Stone. Mazer was a lifelong audio pro and inventor/entrepreneur whose interests—and their influential results—ranged well beyond the recording studio, though he remained best-known for his career-defining work with Neil Young, The Band and others. He was 79.

A producer/engineer for more than 50 years, Mazer worked with a broad cross-section of artists across a variety of genres, including Linda Ronstadt, Chubby Checker, The Dream Syndicate, Dead Kennedys, William Ackerman, Michael Hedges, Janis Joplin, Gordon Lightfoot, The Byrds, The Tubes, Y&T, David Soul, Bob Dylan, Juice Newton, Rufus Thomas, Maynard Ferguson and many more.

Born in New York City on September 5, 1941, Mazer was raised in nearby Teaneck, NJ, and got his first taste of the music business working in retail for the then-burgeoning Sam Goody record store chain. In 1962, he became acquainted with Bob Weinstock, a customer who also happened to be the founder of Prestige Records, and soon Weinstock offered the 21-year-old Mazer a runner position, tracking tapes and delivering music to radio stations. In the course of his work in Prestige’s tape library, Mazer discovered forgotten, unreleased John Coltrane tracks from a 1958 session at the famed Van Gelder Studio in Hackensack, NJ. In the intervening years, Coltrane had left the Prestige label and gone on to growing acclaim, so Mazer compiled the four tracks, which were released without the artist’s input, as the album Standard Coltrane. Soon after, the first producer credit of Elliot Mazer appeared on Dave Pike’s Bossa Nova Carnival.

Phil Spector, Producer/Murderer, Dead at 81

Throughout the early Sixties, Mazer worked with a variety of artists at Cameo-Parkway, from co-writing hits for Chubby Checker (“Hooka Tooka”) to recording the likes of Rufus Thomas and Maynard Ferguson, before moving on to work independently later in the decade. During that time, he hit the studio with the likes of Big Brother and the Holding Company, Gordon Lightfoot, Jerry Jeff Walker, Ian & Sylvia and others. His knack for recording live shows emerged during that era as well; throughout his career, Mazer would go on to capture seminal concerts by Bob Dylan, Michael Bloomfield, Lightfoot, Janis Joplin and Big Brother, It’s A Beautiful Day, Leonard Bernstein, Young and most notably, The Band’s iconic The Last Waltz.

Mazer moved to Nashville around the turn of the Seventies, where he quickly made a name for himself applying engineering techniques he had picked up recording different genres in New York City, thus offering something different from the region’s pros who had come up solely through country music. He established Quadrafonic Studios (a joke name, as it didn’t have quad capabilities), which in turn was put on the map when it became the musical birthplace of Neil Young’s landmark Harvest album.

Neil Young's Harvest
Neil Young’s Harvest, engineered and co-produced by Elliot Mazer.

The two met at a dinner party while Young was in town to appear on The Johnny Cash Show, and by the end of the evening, they’d arranged to track some songs the next day. Mazer called up some top session players—many of whom would go on to play with Young regularly through his career—and they went on to record the majority of the album at Quadrafonic. The resulting record, packed with classic rock radio staples like “Heart of Gold,” “Old Man” and “The Needle and the Damage Done,” became the biggest hit of Young’s career, going quadruple-platinum in the U.S. and becoming the top-selling album of 1972. Mazer and Young would collaborate on 10 more albums over the next 40 years.

Mazer produced and engineered throughout his career, going on to found another recording facility, His Master’s Wheels, in San Francisco, but his audio pursuits took him outside the confines of the studio as well. In the mid-Seventies, he co-developed the D-Zap, a simple device used by live sound pros to detect gear that wasn’t properly grounded, thus preventing artists and crew members from receiving dangerous, potentially fatal electric shocks.

In the late Seventies and early Eighties, Mazer was a consultant to Stanford University’s Computer Center for Research in Music and Acoustics—the team that built the first all-digital recording studio. While there, he also developed an interest in early AI technology, leading to his co-founding Artificial Intelligence Resources Inc. in the late ’80s to create AirCheck, an automated system for tracking songs’ radio airplay. Selling the company to Radio Computing Services in the Nineties, he continued AirCheck’s development through 2005. In 2011, Mazer joined the faculty of Elon University as a Visiting Distinguished Scholar in Music Technology, where he offered a series of master classes to students.

Mazer’s family has requested that all donations in his memory be given to the Recording Academy’s charity, MusiCares.

Producing the Producer: Creating Rick Rubin’s ‘Broken Record’ Podcast

Rick Rubin, producer/podcaster
Rick Rubin, producer/podcaster

As a music producer, Rick Rubin is known for stripping away the clutter and guiding artists to focus on what they do best, whether it’s Johnny Cash’s deep baritone voice, the primal energy of Danzig’s guitar riffs or Run DMC’s iconic breakbeats. Broken Record, a podcast that fosters conversations between musicians and their audiences in the way album liner notes once did, follows the same premise by keeping the setup simple.

Broken Record producer Leah Rose.
Broken Record producer Leah Rose.

“The main focus of Broken Record is the conversation,” says Leah Rose, producer of the Pushkin Industries podcast. “Because the conversations go so deep, when you do hear the music, you hear it in an entirely new context. You might hear things that you didn’t hear before, and learning about the artist’s motivation or the backstory really adds a lot to their music.”

Producing Broken Record, which bills itself as “liner notes for the digital age,” is a bicoastal endeavor led by Rubin, co-interviewer Malcolm Gladwell and host Justin Richmond, from Shangri-La Studios in Malibu, California and Pushkin Industries’ studio in Hudson, New York. The podcast’s guest list has included Industry veterans like Bruce Springsteen and Don Was, as well as newer artists like FKA Twigs, and conversations are free-format affairs that can include playbacks of recorded music and even live, off-the-cuff performances.

In a recent episode, Rubin and artist James Blake dissected Blake’s recording and creative process, and how he often records a single vocal phrase, then stacks it and manipulates the pitch while playing along on the piano. “He lays out that entire process while he’s tinkering around on a piano during the interview, which is just really special and incredible when you hear it,” she says. “It’s like all of a sudden you have this new information to hear the song with, and it makes for an incredible experience.”

Face-to-face interviews like the one used for the Blake episode, which was recorded at Shangri-La on Neumann U87s using Neve 1073 mic preamps into an API console, are typically the most productive. [Rose says Rubin has a doctor onsite who does rapid COVID testing.] The raw audio from the Blake session clocked in at two and a half hours, giving Rose plenty of material to use when building toward the final edit.

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“With Rick, nothing is linear,” she says. “As an editor, my job is to look at the entire thing as a puzzle and figure out how the pieces fit together, [to] take something that could be completely non-linear and make it linear.”

Broken Record Artwork PushkinAs the main facilitator and producer, Rose is on standby via Zoom during recording sessions to cue up recordings for the host and guest. Many of the episodes released in the last year were recorded with the guest at home, with mixed results. Sometimes they get lucky and the artist has a world-class studio at their disposal—as was the case with Springsteen—but often Rose works directly with the guests to ensure their recording setup will be up to standards. She’s even shipped gear to some guests.

After the interview is done, Rose compiles the audio files into an edit that gets reviewed by Richmond and Mia Lobel, executive producer at Pushkin Industries. Once the edit is locked in, she sends it to engineers Jason Gambrell and Martin Gonzalez for mastering.

Producing audio on behalf of one of the most successful and enigmatic producers of his generation might intimidate some, but Rose says Rubin is hands-off for most of the process. “He trusts us,” she explains. “We take the finished product, the conversation, once it’s done and then it’s really up to us to figure out the best way to present it.”

Broken Recordhttps://brokenrecordpodcast.com