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Ian Cross Picks Barefoot Sound for New Janet Jackson Album

Mobile Studio with MM27 Monitors Travels the World

Pictured in his Los Angeles studio with his vintage API console and Barefoot MM27 monitors is producer/engineer Ian Cross. Photo by David Goggin.

Leading producer/engineer Ian Cross, known for his work with Usher, Gwen Stefani, and Jessica Simpson, has embraced the Barefoot Sound MM27 monitors for his latest project with Janet Jackson. When the Barefoots are not traveling around the world to accommodate Jackson’s touring and recording schedule, they rest atop his vintage API console in Los Angeles.

“When I first heard the Barefoots,” says Cross, “I noticed how controlled the low end frequencies were, and how connected the low end was to the rest of the spectrum. It’s a speaker that does everything a near field monitor should do, but it has that extended low end and it’s not coming from a corner of the room, it’s not bouncing off everything, it’s focused and coming right at you.”

Ian Cross was born in Nepal while his parents were working for the US foreign service and the international school system. His father pioneered the introduction of radio to the remote locale, and while there Cross learned about music not through records and radio, but from local musicians. After the family moved back to Phiiladelphia when he was eight, Cross pursued a music career and as a teenager his band, Briklin, was signed to A&M Records.

The producer/engineer who worked with Cross and his band was Grammy-winner Neil Dorfsman, known for his work with such artists as Bruce Springsteen and Bob Dylan. “Neil taught me a lot and he inspired me to want to make records. He was so good at what he did, that I started to think about music in a different way.”

Fast forward to Cross’ move to Los Angeles in 2003 and his introduction to superproducers Jimmy Jam and Terry Lewis, who immediatley recognized his talent with Pro Tools for vocal sessions. “I got to sit next to Jimmy for a number of years and he was like the Ph.D. in learning how to get what you needed vocally from a singer,” Cross recalls.

Before settling in with Barefoot Sound, Cross had tried out virtually every brand of monitor in some of the best recording studios in the world. “The music I do, modern R&B music, has a lot of extended low end,” he explains. “That can really wreak havoc on what you’re doing if the studio isn’t properly tuned with the low end and the full range of frequencies. Most sub-woofers are just an afterthought in a recording studio. They absolutely just stick them in there to make somebody happy. It drives me crazy.”

Cross is presently working exclusively with Janet Jackson on her forthcoming much anticipated album, her first since “Discipline” (2008). He describes Jackson’s reaction to Barefoot Sound: “I started playing a song called ‘I Get So Lonely’ and she stopped me and said, ‘Where is the low end coming from?’ I said, ‘The speakers, that’s what you’re listening to.’ She said, ‘Those speakers are the only thing we’re listening to right now?’ I said, ‘That’s just the speakers.’ She was instantly sold.”

In addition to working with Barefoot monitors at his own studio in LA, Cross travels the world with Janet Jackson, his Barefoot monitors, and a mobile studio comprised of Pro Tools HD Omni, API Neve, API compressor, a vintage 1962 Telefunken Ela M 251, and a Tube Tech CL1B compressor.

“I feel the Barefoots give us the most accurate representation of what we’re doing at any time. It doesn’t leave me or Janet with any second guessing. There is something special when the artist you’re working with is really, really comfortable with the way their voice sounds. I can tell you Janet’s voice sounds completely marvelous on these speakers. I feel like before Barefoot there was no speaker that really presented her voice correctly, because she has so much detail, even when you’re around the 11 or 12K range that makes her voice really special. Yes, I think it’s the happiest she’s ever been. It’s certainly the happiest we’ve ever been with monitoring and listening to the music we’ve been working on.”

Read the entire Ian Cross interview and learn more at the new Barefoot Sound website:

Learn more about the Barefoot Sound MicroMain 27 monitors at :

Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second guessing , Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.

For more info visit: tel: 503. 894. 8602

Studio Trilogy Engineer Rebounds After Serious Bicycle Accident

Willie Samuels Back for Sessions with Punk Band Enemy You

Pictured (L-R) at Studio Trilogy are recording engineer Willie Samuels and Enemy You members David Jones, Ken Yamazaki, Luke Ray, and Chris Matulich.

San Francisco, CA — On the evening of Father’s Day, June 15, Studio Trilogy recording engineer Willie Samuels was found unconscious on the side of the road, presumably after being hit by a car while on his bicycle. Determined to finish a project with the punk band Enemy You, Samuels was back in the studio for sessions two weeks later on June 29.

“It’s really a mystery what happened,” says Samuels. “A good samaritan found me unconscious and I have no recollection of the accident or the following few days.” With a major concussion, his forearm broken in half and his left hand nearly separated from his arm, Samuels spent the next ten days in the hospital. After five surgical procedures, he refers to himself as “a man of steel.”

Enemy You was formed in 1997, and Samuels first worked with the band in 2003 for the album “Stories Never Told” on the Red Scare label. The project was tracked and mixed at Samuels’ Nu-Tone studio in Pittsburg, CA. The Enemy You lineup is David Jones, lead vocals, guitar; Ken Yamazaki, guitar; Luke Ray, drums; and Chris Matulich, bass guitar.

Ten years later, the label asked Enemy You to record a new song for their ten year anniversary compilation. “Initially we weren’t sure if we were going to be able to pull it off,” commented guitarist Ken Yamazaki. “It had been over ten years since we last played together, but we got together and started working on a demo at home.”

“It was a blast working with this band in the past,” said Samuels. “I was thrilled when they contacted me for their new project. I assured the band I’d be out of the hospital and ready to go because I’ve always prided myself in not canceling or rescheduling sessions,” said Samuels. “I was released from the hospital on June 25 and we were in the studio on the 29th.”

“I was a bit worried that Willie would be in pain or be uncomfortable after the serious injuries,” said Yamazaki. “I was wrong. He was fast and didn’t miss a beat. Studio Trilogy was beautiful and relaxing. The session went smoothly, Willie was awesome and all of us were happy.”

Samuels acknowledges much help from Trilogy assistant engineer Noah Kileen and the studio’s interns. “I soon realized it wasn’t easy to setup or move microphones with one arm, but we had a cool time and it was a great reunion with the band.”

Located in the creative heart of San Francisco, Studio Trilogy is a full-service recording facility that provides music recording and audio post-production services in a World Class recording environment. Designed by John Storyk of WSDG, Trilogy’s 8800 square foot facility houses three state-of-the-art control rooms, music and voice recording studios, multiple lounges, and a lush garden/bbq area. An on-site 1200 sq.ft. luxury apartment with media lounge and chef’s kitchen is also available.

Learn more at:

“Weird Al” Yankovic Has “Mandatory Fun” at Bedrock.LA

New TELEFUNKEN C12 Mic For Hit Parodies and New Originals

Pictured with a TELEFUNKEN C12 microphone at Bedrock.LA are (L-R) "Weird Al" Yankovic, Bedrock.LA partners KamranV and Phil Feinman, recording engineer Brian Warwick, and studio manager Eric Rennaker. Photo by David Goggin.

“Weird Al” Yankovic returns July 15 with “Mandatory Fun,” his 14th studio album and first since 2011′s “Alpocalypse.” The reigning King of Pop Parody chose to work at Bedrock.LA studios in Echo Park, the new creative heart of Los Angeles music, art and culture.

“This was my first visit to Bedrock,” Yankovic said. “I was impressed by how enormous it is — over a hundred rooms. It’s really a wonderful experience to be here where there’s so much art going on, so many musicians, so many people rehearsing, recording.”

Few would have guessed that “Weird Al” Yankovic, who as a shy, accordion-playing teenager got his start sending in homemade tapes to the Dr. Demento Radio Show, would go on to become the biggest-selling comedy recording artist in history with over 12 million album sales. Now in his fourth career decade, he has won 3 Grammys (with 14 nominations) and countless awards and accolades for Weird Al classics like “Eat It,” “Like a Surgeon,” “Fat,” “Smells Like Nirvana,” “Amish Paradise” and “The Saga Begins.” His 2011 album Alpocalypse (featuring the Lady Gaga parody “Perform This Way”) debuted in the Billboard Top 10, and was nominated for two Grammy Awards (Best Comedy Album and Best Short Form Video).

“Bedrock has been so accommodating,” commented Al’s recording engineer Brian Warwick. “It’s got a great vibe, like working in an old studio where you constantly have people around, where there’s always something happening. Al and I were walking around here late one night, just trying to find out who was playing the interesting music we were hearing. In a lot of the bigger studios these days, they shut down late at night, but here it’s still really, really active. And everything we’ve recorded sounds great. This room in particular is really well designed for doing vocals and overdubs.”

The “new Mandatory Fun” album features parodies of some of the biggest hits of the past year, including Pharrell Williams’ “Happy” (“Tacky”), Robin Thicke’s “Blurred Lines” (“Word Crimes”), Lorde’s “Royals” (“Foil”), Iggy Azalea’s “Fancy” (“Handy”) and Imagine Dragons’ “Radioactive” (“Inactive”). The album also features several inspired originals and pastiches (“Lame Claim to Fame,” “Sports Song,” “My Own Eyes,” “Mission Statement,” “First World Problems” and “Jackson Park Express”) along with Al’s latest accordion-fueled medley, “NOW That’s What I Call Polka!”

"Weird Al" Yankovic is seen outside Bedrock.LA's 12,000 square foot mural by the art duo Cyrcle with a TELEFUNKEN custom red, white and blue M80 dynamic microphone. "There is just nothing like the natural reverb in Echo Park," he quipped. Photo by David Goggin.

For the vocal sessions at Bedrock.LA, Yankovic chose a new TELEFUNKEN C12 large diaphragm condenser microphone. “This mic is great, with all the characteristics of the classic C12,” Warwick continued. “If anything, I feel a little more secure using this one versus a vintage C12, because you never quite know the age of the tube. You don’t know when the last time the capsule was redone or if you have the right power supply. With a beautiful new C12, it just gives you a little more confidence when you walk into the studio.”

Al added, “The equipment at Bedrock is state of the art, and the studio just feels like home. I’ve been in situations before where I felt like I was in the middle of nowhere and sequestered away. That’s another way to work, but I prefer to be around creative people and feel like I’m part of a community.”

Further in the spirit of Mandatory Fun’s bid for world domination, beginning July 14th Al began releasing 8 music videos in 8 days. Yankovic’s production partners for the world premiere videos include Nerdist Industries, College Humor, Yahoo, Funny or Die and TruScribe, as well as talented auteurs like Liam Lynch, Jarrett Heather and Tim Thompson.

Weird Al, along with his band of over three decades, has performed thousands of live rock and comedy multimedia shows throughout the world, and will be back on the road in 2015 for The Mandatory Tour.

Check out “Mandatory Fun”:

Learn more about TELEFUNKEN Elektroakustik at:

Learn more about Bedrock.LA: http://Bedrock.LA

Vintage King Welcomes Alex Oana to Community & Content Development

Industry Veteran Returns to the Vintage King Family

Pictured is Alex Oana, newly appointed in the role of Community and Content Development at Vintage King's Los Angeles headquarters. Photo by Sascha Vaughn.

Vintage King Audio, leading international dealer of modern and classic pro audio equipment and top restorer of vintage recording gear is proud to welcome Alex Oana in the role of Community & Content Development.

Alex Oana has made significant contributions to the pro audio and music communities over a 25-year career as an award-winning recording engineer and producer, pro audio journalist, musician, live sound engineer, sales rep, and product designer involved in development, manufacturing, and marketing. His most recent success was as the co-creator of the Raven Multitouch Audio Production Console from Slate Pro Audio.

“Alex’s range of talents and rare combination of experience gives him a unique voice in the world of pro audio,” commented Jason Van Doorn, Vintage King Director of Marketing. “He did a great job in his former position as Vintage King sales rep before taking on the Raven project, which is a significant feather in his cap. We welcome him back in the newly created role of Community and Content Development and look forward to him developing the relationship with our customers by creating engaging media and new opportunities for interaction.”

“Our gear-filled showrooms are a place for hands-on demos and industry gatherings,” added Oana. “It’s a great place for the community to share knowledge, expertise, and for us to support our customers. Vintage King is where we connect people to the tools and techniques they use to enhance their expression through sound. Our success comes from listening to our customers. We totally get it because we are musicians and engineers.”

Vintage King Audio is a leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals – from selecting a new microphone to designing a studio from the ground up – Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. For more information, visit:

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TELEFUNKEN Introduces New Black Diamond Tubes at Summer NAMM

Manufactured in Europe with Cryogenic Treatment in the USA

Pictured is the new TELEFUNKEN Black Diamond ECC83-TK tube, a modern version of the 12AX7, originally developed in 1947.

TELEFUNKEN Elektroakustik of South Windsor, CT, is debuting its new line of Black Diamond Vacuum Tubes at Summer NAMM in Nashville. Original German made TELEFUNKEN vacuum tubes have been the benchmark of excellence in all audio applications, both production and reproduction, for many decades. Today, this rich history continues with the introduction of the new Black Diamond series.

Manufactured in partnership with JJ Tubes in Slovakia, each Black Diamond tube is meticulously measured for all critical parameters of performance including transconductance, gain, noise, and microphonics.

In addition to rigorous testing procedures, all new production TELEFUNKEN tubes are cryogenically treated to ensure durability, and subjected to an extended burn-in period to ensure superior stability. The tubes are re-measured subsequent to burn-in, and again before final packaging, in order to guarantee that only the best, lowest noise tubes are offered.

The cryogenic treatment process is done for a number of benefits, both sonically and constructional. Cryogenically treated vacuum tubes have a lowered noise floor, less microphonics, expanded dynamic range with more tonal depth, and a more consistent tone over a longer lifespan. In guitar amps, Black Diamond Series vacuum tubes have more harmonic content and improved saturation, which result in a richer tonal quality and deeper overdrive character.

All TELEFUNKEN branded tubes are hand picked to be the best examples of Eastern European construction in the proud tradition with which the name TELEFUNKEN Elektroakustik has become synonymous. To learn more about the full line of new tubes in the Black Diamond series visit:

See the new Black Diamond Vacuum Tubes and the entire line of TELEFUNKEN microphones at Summer NAMM in Nashville, Music City Center, Booth #426.

TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside their own proprietary designs based around the distinctive tube mic sound, TELEFUNKEN has established a product line that expertly combines vintage style and sound with the reliability of a modern-day microphone design. TELEFUNKEN’s commitment to both the sonic excellence and quality of all of their products is rivaled only by their dedication to provide the best possible service to each and every one of their customers.
For more info, visit:

Vintage King Sponsors Eddie Kramer Studio Prodigy Master Class

Students Engage at EastWest Studios and Bernie Grundman Mastering

Pictured in Hollywood at EastWest Recording Studios are Eddie Kramer, Ryan Hewitt and Studio Prodigy Master Class attendees. Photo by David Goggin.

Sessions Four and Five of the popular Studio Prodigy Master Class Series were led by renowned producer/engineer Eddie Kramer. Founder of the series and Award-winning engineer Ryan Hewitt was on hand for the two-day recording and mixing sessions at Hollywood’s world class EastWest Recording Studios and also the final two days at Bernie Grundman Mastering.

Working in a recording studio is much like any other profession. With new advanced gear coming out daily, there is a constant education curve that engineers, mixers and producers must follow. With the formation of the Studio Prodigy Master Class Series, founder Ryan Hewitt has helped to expedite the education process. Sponsored by Vintage King Audio, this milestone audio recording event will be available as part of the ongoing video series.

As the leader of Studio Prodigy Session Four, Eddie Kramer needs no introduction for those on the inside track of the world of rock. Born in Capetown, South Africa, Kramer would get his start engineering two Beatles singles before moving onto work with Jimi Hendrix, Led Zeppelin and the Rolling Stones.

Kramer talked about his recording techniques on the first day while covering mixing on day two. Walking students through the operation of the studio’s expansive 80-input Neve 8078, Eddie explained in detail what it takes to capture a truly classic rock performance.

Pictured in the vinyl cutting room at Bernie Grundman Mastering are (foreground seated L-R) Chris Bellman and Eddie Kramer, (standing L-R) Ryan Hewitt and Francis Buckley, with Studio Prodigy attendees. Photo by David Goggin.

As a part of the second session, Chris Bellman and Francis Buckley teamed up for an advanced course at Bernie Grundman Mastering Studios. Bellman, whose mastering credits include Tom Petty, Neil Young, Carole King and Van Halen, has been working in the industry since the late 1970s. Francis Buckley got his start in the early 1970s, and has since worked on projects for Black Flag, Quincy Jones and Alanis Morissette.

With a focus on mastering for both analog and digital, Studio Prodigy explored the differences between the two procedures. Considering the rebound of vinyl in recent years, it’s noteworthy that mastering is a uniquely complex process. During the course, Eddie Kramer and the students each provided a mix for mastering which was then cut straight to acetate.

Other Studio Prodigy Session Four sponsors included The Recording Connection Audio Institute, Royer, Mojave, Waves, EastWest Studios, F-Pedals, Equator Audio and Deltah Design.

To learn more about the Eddie Kramer, Chris Bellman, and Francis Buckley sessions, as well as upcoming Studio Prodigy Master Classes, visit:

Trevor Morris Studios Mixer Phil McGowan Picks Penteo 4 Pro

Stereo-to-Surround Upmixer Used for Powerful “Vikings” Score

Pictured at Trevor Morris Studios is scoring mixer and studio manager Phil McGowan. Photo by David Goggin.

Phil McGowan, scoring mixer and studio manager at Trevor Morris Studios in Santa Monica has been utilizing the Penteo 4 Pro stereo-to-surround up-mixer for the past year on a number scores for both film and television, notably the hit show “Vikings.” He recently upgraded to Penteo 4 Pro, which supports Avid’s AAX plug-in format for true 64 bit processing.

Multi-tasking engineer McGowan keeps busy at TMS, oftentimes serving concurrently as co-producer, mix engineer, and Pro Tools consultant on various projects for Morris and other composers. He first learned of Penteo through GC Pro, the professional audio division of Guitar Center.

“I was looking for a new stereo up-mixer because the ones I had been using weren’t being updated and were not porting to 64 bit,” McGowan recalls. “Penteo ended up blowing away my expectations of what an up-mixer really can do — taking two track stereo material and up-mixing it into a surround field, typically 5.0 or 5.1. ”

But how was McGowan doing it before Penteo? “I used various reverbs and panned material into the surrounds. At the time, it was all very time consuming and took a lot of effort, but now with Penteo I get immediate, great sounding surround from stereo sources. A lot of the composers that I mix for will give me stereo material that has a lot of very stylized effects, delays and reverbs and Penteo handles it all. Somehow, Penteo figures out how to keep the source material in the center channel and then spreads out all those effects into surround, really well and really quickly.”

McGowan mixes on a Euphonix System 5 console, and uses Avid’s Pro Tools 11 running AAX 64-bit processing. For monitoring, the LCR or front speakers are a trio of PMC IB2′s with built-in M&K tripole surrounds and a pair of JL Audio Fathom 13 subwoofers for the LFE channel. The LCR is lightly bass managed on the monitoring end into the subs as well as for a little extra low end extension.

What type of music does Penteo handle the best? “Penteo handles everything well,” says McGowan “Our projects may be rock based scores, with lots of drums, guitars, and synths, but I frequently put orchestral samples through Penteo as well. I mix all of the surround sound stems that we send to the dub stage, and Penteo is useful in converting the stereo samples coming directly from the composers’ studios. It’s great being able to turn them into surround and wrap them around the listener. Penteo is definitely the cleanest up-mixer that I’ve ever heard and when you fold it back into stereo, every translates perfectly, and it sounds really clean.”

Penteo offers six different pre-set modes. “I generally leave it on the Penteo Music mode,” he explains. “That works 95 plus percent of the time for me. I’ve also experimented with the ‘Quad’ mode where all the energy is in the four corners, which gives leaves the center channel free to mix in dialogue. There’s also a ‘Triangle’ setting that just generates center and surround, which leaves left and right open for the original stereo sample to remain in it’s original form.”

Enter “Vikings”
McGowan recently utilized Penteo to mix the score for the second season of the hit TV show “Vikings,” which has been picked up for the upcoming third season. “It is an interesting show because not many of the cues are what you would really call traditional scoring — it’s predominantly synthetic and percussive material with some ethnic elements. We’ve been working with a Norwegian composer, Einar Selvick, who we’ve been collaborating with over the internet. He sends me a variety of stems: stringed instruments, his own vocals, group vocals, chants and percussive elements, as well as effects. Using Penteo I can get a big wide surround spread on those different sound effects and it really feels cinematic, really warm, really full. Penteo doesn’t add any coloration to the sound. With orchestral elements, we’re very careful to not color the sound too much when mixing it into surround, Penteo delivers.”

After incorporating Penteo into his workflow over the past year, McGowan is eager to share his experience. “I’ve actually introduced Penteo to a lot of other mixers,” he explains. “I’ve been calling it ‘Dark Magic’, because it’s always surprising what Penteo delivers when you feed it stereo material. I don’t know how Penteo figures out certain things, how it actually can spread reverbs separately from the dry elements. Sometimes Penteo will take delays from the front and they will pan behind you. It’s already been printed onto the stereo, but Penteo just figures it out and just unwraps it. I’m always happy with the results that Penteo gives me.”

Read the entire Interview with Phil McGowan and other industry leaders in the Perfect Surround Master Class series:

Native AAX64 Support
Penteo 4 Pro now natively supports Avid Audio eXtension (AAX) for true 64 bit processing. Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. Learn more here:

Penteo Summer Sale
Now save 20% – a $200 value – off the regular purchase price for Penteo 4 Pro! For more information, see the website or get a free trial here:

About Audiotech Digital Limited (ADL)
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by ADL, Penteo 4 Pro remains faithful to the original stereo mix; no artificial sound manipulation is used. The Penteo 4 Pro plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, crisp and discrete center-channel, and only Penteo is 100% ITU down-mix compatible to the original stereo. Penteo has been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64, RTAS, VST and AU formats. For more information, see the website:

Brian Marquis Picks TELEFUNKEN for Van’s Warped Tour

M80 Dynamic Mics for the Acoustic Basement Stage

Pictured with a Telefunken M80 dynamic mic is performer and Van's Warped Tour producer Brian Marquis. Photo by Dani Fresh.

LA-based producer/recording artist Brian Marquis has chosen TELEFUNKEN’s M80 dynamic microphone for the Acoustic Basement Stage on the Van’s Warped Tour. With more than 100 bands and artists, and stops all over the US and Canada, the Van’s Tour celebrates music from Alaska to Florida, from California to New York, culminating in the final show in Denver, CO on August 3.

“I produce the stage, book all the artists, coordinate with our sponsor, stage manage while out on the road, and also perform each day,” explains Brian Marquis. “My Full Sail University intern turned me on to Telefunken, and our FOH provided by Rat Sound takes care of all our live sound applications on the tour.”

The Acoustic Basement Stage is a venue on the tour where musicians and singer/songwriters play stripped down acoustic sets in the shade of a large 40×30 tent stage. Last year, acts included Yellowcard, Anti-flag, Sleeping with Sirens, and Chuck Ragan, among numerous other breakout artists.

“The M80 captures all the character and subtlety in my vocals that usually gets lost with other live vocal mics,” remarked Marquis. “It captures vocals so clearly that it really gives confidence to the artists on stage. The M80 is very detailed, clear, and full-bodied, and cuts through the clamor and noise of an outdoor festival. It’s a great mic – period.”

Learn more about the Van’s Warped Tour:

Learn more about Brian Marquis and his new album “Blood and Spirits”:

Check out Brian Marquis’ new video “Drink You Up”:

TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside their own proprietary designs based around the distinctive tube mic sound, TELEFUNKEN has established a product line that expertly combines vintage style and sound with the reliability of a modern-day microphone design. TELEFUNKEN’s commitment to both the sonic excellence and quality of all of their products is rivaled only by their dedication to provide the best possible service to each and every one of their customers.
For more info, visit:

Stanley Johnston Masters Historic 1974 CSNY Live Album at Bernie’s

Flawless 16-Track Analog Masters for CD, BluRay, and Vinyl

Pictured at Bernie Grundman's in Hollywood are (L-R) mastering engineer Bernie Grundman and CSNY engineer Stanley Johnston. Photo by David Goggin.

Stanley Johnston, longtime recording engineer for Crosby, Stills, Nash & Young, has mastered at Bernie Grundman’s the band’s historic 1974 tour. Recorded to 16-track analog 2-inch tape by Elliot Mazer and never released, the project collects the very best of numerous big arena and outdoor stadium dates with one of the most popular groups of the day.

“This project has been the most difficult, yet rewarding work I’ve ever done in my 50 years of recording,” says Graham Nash. “It rekindled the love I have for my partners and the music we have made together.”

“This recording has been in storage for 40 years like fine wine,” reports Stanley Johnston. “Never released, it sounds fabulous. It’s really wonderful to hear the whole loving team. I mentioned to Graham the other day that when you’ve got both Stephen Stills and Neil Young playing lead guitar on your song, it’s pretty amazing.”

Recorded at multiple venues, the band includes Russell Kunkel on drums, Tim Drummond on bass (from the James Brown band), and percussionist Joe Lala, who was in Still’s band Manassas. The Warner Bros. album will be released on CD, Blue-Ray, high-def 24-bit 192 kHz, and also traditional high-quality vinyl.

“CSNY did a tour of three-hour shows in 1974 and we’ve assembled it all into one show,” explained Johnston. “Just as the shows were presented, there is first an electric set, then an intermission, and then an acoustic set, and then a final electric set. Typically, the band would play the first electric set and then take a break and then come back and do the acoustic set, which was a combination of the two. Acoustically they’d do songs that had all four of them sometimes, maybe only three out of the four, maybe one of them alone, so they’d each have a section. Then they would return to the stage and finish the show electric.”

Crosby, Stills, Nash & Young were one of the reigning supergroups in the 70s, noted for their intricate vocal harmonies, often raging interpersonal relationships, political activism, and lasting influence on American music and culture. All four members of CSNY have been inducted into the Rock and Roll Hall of Fame twice.

“The acoustic set is really a sweet journey through a whole lot of songwriting and a whole lot of performing combinations,” added Johnston. “Sometimes it’s Steven and Neil. Sometimes it’s just Graham and David. Sometimes it’s Steven and Graham. It’s nice, a lot fun.”

Mastering engineer Bernie Grundman, who has worked with virtually every recording and distribution format, remarked, “I’m surprised at how good it sounds from way in the past and maybe that’s the reason, because of all the hard work they put into it. Nowadays, with so much digital processing, the worst sounding material is usually live recording, unfortunately. This 1974 recording doesn’t show any signs of poor recording or degraded audio. It actually sounds surprisingly good and that just contributes to the enjoyment because the musicality is still there. This is a good format, 16-track analog, and anything that’s now being done to it, is in the highest 192 sampling rate.”

Several versions of CSNY 1974 will be available July 7/8 From CSNY & Rhino, including previously pnreleased concert footage, and a limited edition set presented In a custom wood box. Learn more about this historic project at:

Learn more about Bernie Grundman Mastering at:

Pensado Awards Debuts June 28 Honoring New Breed of Music Makers

Vintage King Sponsors Live Ceremony Followed by Global Internet Broadcast

Pictured at Fairfax Recording Studios, formerly Sound City, are (L-R) Vintage King founders Mike and Andrew Nehra, "Pensado's Place" producer Herb Trawick and host Dave Pensado. Photo by David Goggin.

Over the past three years, Pensado’s Place has become one of the most watched professional audio programs on the Internet. The weekly interview show, hosted by the one-man hit-making mix machine Dave Pensado, has now spawned an annual celebration of music makers.

The inaugural Pensado Awards takes place on June 28, at The Fairmont Miramar in Santa Monica, California. With a mission of recognizing the people who make and control the sounds, the award show features a unique judging panel made up of artists, producers and engineers that will select the winners.

To recognize this new generation of non-traditional music makers, the Pensado Awards is comprised of groundbreaking categories including the OMG Mix of the Year, Game Changer Producer Award, Break Thru Songwriter, Spin Doctor DJ, and the Unique Project Studio Award.

Handling the hosting duties will be a group of mixers and producers including Chris Lord-Alge (Green Day, Prince, David Bowie), Young Guru (Jay Z, Beyonce), Marcella Araica (Britney Spears, Madonna) and singer/songwriter Lisa Loeb.

“We founded these awards to acknowledge the professionals, as well as the talented newcomers,” said Dave Pensado. “As an engineer and mixer myself, I am acutely aware that so many of the most talented people in the industry never get the recognition they deserve.”

“The hybrid music maker of today is a composer, a songwriter, an engineer and a producer,” says Herb Trawick, Pensado’s manager and co-host of the weekly show. “An entire generation of people now do it all. Our goal with the Pensado Awards is to recognize the professionals working in the non-artist sector of mainstream audio – the hugely creative producers, engineers, and educators who are reshaping the music industry.”

The brilliance and hard work of these producers, songwriters, DJs, engineers, mixers, live wizards and behind-the-scenes technicians in audio are now being given the spotlight. Over 100 leading music makers and manufacturers, representatives from 75 countries and 100 schools are active supporters and participants in the Pensado Awards. The live awards show will be followed one week later by a global online broadcast.

Committee members for the Pensado Awards include Al Schmitt, Alex Da Kid, Andrew Scheps, Brad Blackwood, Da Internz, Joe Barresi, Luca Pretolesi, Manny Marroquin, Steven Slate, Young Guru, Tony Maserati, Rose Mann-Cherney, and Greg Wells.

Supporting the awards is an important group of sponsors vital to the music industry: Avid, Vintage King, The Recording Academy Producers & Engineers Wing, Audio-Technica, Slate Digital, Blackbird Academy, Barefoot Sound, Recording Radio Film Connection, Blackout, Studio 202, and others.

Learn more about the Pensado Awards:

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