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Archive of the Album Releases Category

Rubblebucket Picks TELEFUNKEN for Stage and New Album “Survival Sounds”

M81 Dynamic for Stage — AK-47 MkII and CU-29 “Copperhead” for Studio

Rubblebucket is pictured at TELEFUNKEN headquarters in Connecticut, (L-R) Adam Dotson, Kalmia Traver, Alex Toth, Dave Cole, and Ian Hersey.

Provocative Brooklyn band Rubblebucket has completed their new album “Survival Sounds,” utilizing two large diaphragm tube mics from TELEFUNKEN: the AK-47 MkII and the CU-29 Copperhead.

Lead singer and saxophonist Kalmia Traver remarked, “We used the CU-29 & AK-47 for horns and vocals all over our new record. When I first tried the Copperhead I instantly fell in love with how my voice sounded with that hot Telefunken tube — sometimes I just practice and do vocal exercises with it just for the ego boost.”

Musical couple Alex Toth (trumpet, band leader) and Kalmia Traver (vocals, saxophone) first met at the University of Vermont where they were enrolled as music majors. They joined up with guitarist Ian Hersey, trombonist Adam Dotson and drummer David Cole to create Rubblebucket. Together they were chosen by SPIN Magazine as a “Must-hear from the 2009 CMJs.,” which was an early sign of things to come.

In 2010 Rubblebucket appeared at major events such as High Sierra and All Good Music Festival, before releasing their “Triangular Daisies” EP that included a cover of the Beatles’ “Michelle”, which Paste Magazine named on their list of 50 Greatest Beatles Covers of All Time.

In 2011 Rubblebucket released their full-length album, “Omega La La”. Among numerous performances in support of the album was an appearance on Jimmy Kimmel Live. Two EPs followed, “Oversaturated” in 2012 and “Save Charlie” in 2013.

Their new full-length album, “Survival Sounds”, was released in August 2014 and is their label debut for Communion Records. It is available on iTunes, Amazon, Rubblebucket’s webstore and anywhere music is sold. Rubblebucket is currently touring America through November on a 45-date headline tour.

Mathew Scheiner, Rubblebucket’s FOH engineer and tour manager remarked, “Kal was cycling through a bunch of different vocal mics until I suggested Telefunken’s M81 dynamic. It’s the first mic we’ve come across that allows her voice to cut through the rest of the 7-piece band without being too harsh up top, and still preserve a really healthy amount of body. It balances her voice out beautifully.”

Kalmia Traver added, “I’ve tried many different mics over the years and the M81 has risen to the top for its clarity and balance, and ability to handle the crazy overtones in my voice.”

Learn more at:

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:

Blend Host Stems of OK Go’s “I Won’t Let You Down” For Remixing

Music production collaboration network announces support for stem-only projects

NYC (October 15, 2014) - In addition to the existing support for major DAWs, Blend (, the premier platform for collaborating on music projects, now also supports the universal, multi-track stem format to share music sessions.

The first project published in this format is OK Go’s “I Won’t Let You Down” from their newly released studio album Hungry Ghosts. The track was produced by Tony Hoffer (Beck, M83, Depeche Mode) in Los Angeles. OK Go invites music producers to put their spin on the track in their DAW of choice, and the best ones will be featured on OK Go’s social media channels. The track can be heard and pulled for remixing at

Blend members have long been able to share and store their music projects in their native format such as in Ableton Live, Logic Pro, Garageband, Pro Tools, Reason, FL Studio, and Native Instruments Maschine. As of today, users can also publish (learn how) and pull stem-only projects to collaborate with other producers regardless of what their DAW of choice may be.

Once the user has pulled a stem project he can save his update directly to Blend. When the file is pulled, Blend will automatically detect the correct DAW the collaborator is using. Lastly, this new feature will allow musicians to keep their collaborators informed of publishing updates.

The collaboration with OK Go is another milestone in Blend’s endeavors to connect known artists and Blend members to create new music.

I Won't Let You Down by OK Go

About Blend
Blend ( is a Betaworks backed startup for musicians and producers to connect and share in­-progress tracks and collaborate. On Blend, users share music projects in their native (source) format. Blend supports major music software tools including Ableton Live, Logic Pro, FL Studio, Reason, Pro Tools and Garageband. For more information, please visit

Blake Mills Records “Heigh Ho” at Ocean Way

Joined by Keltner, Was, Brion, Tench, Elizondo, and Apple

Pictured in Ocean Way’s historic Studio B are (L-R) Don Was, bass; Jim Keltner, drums; Blake Mills, vocals/guitars; Greg Koller, engineer; Mike Elizondo, bass. Photo by David Goggin.

Renowned guitarist, songwriter, and producer Blake Mills has recorded his highly anticipated second album, “Heigh Ho,” at the legendary Ocean Way studios in Hollywood. The self-produced album will be released September 16th via Verve Records / Record Collection and is available for pre-order at iTunes, where those who pre-order the album will receive instant downloads of the tracks “If I’m Unworthy” and “Don’t Tell Our Friends About Me.”

“The goals for ‘Heigh Ho’ were songs, sonics, and capturing performance,” Mills said. “I love my first album and how it sounds, but since making “Break Mirrors” I feel like I’ve heard enough music that seems to be overtly ‘lo-fi’ or reverb-saturated; so I was interested in finding a combination of sounds that I hadn’t heard used together before. I was very fortunate to be able to call on this group of people to help me map some new terrain.”

To that end, Mills asked several of his musical heroes – including Jim Keltner, Don Was, Jon Brion, Benmont Tench, Mike Elizondo, and Fiona Apple (who duets on the slow-burning “Seven” and timeless sounding “Don’t Tell Our Friends About Me”) – to collaborate on what would become “Heigh Ho.” “Blake arranged the music the way that Cézanne would’ve filled a canvas,” Don Was notes of his experience playing in Blake’s band. “He’s a mind-blowingly great artist with the type of deep vision that is the hallmark of true genius. It’s so inspiring for musicians to play with a cat like that! If he asked us to play in orange, we wanted to give him a shade that burned so brightly as to blind the unsuspecting.”

Recorded in Hollywood at the legendary Ocean Way studios in a room built for Frank Sinatra and used by everyone from Bob Dylan to Ray Charles, Mills created an album that references a range of genres without really belonging to any.

“Different songs feature slightly different bands,” said Mills. “These guys are world class musicians, and also some world class record producers. That combination produced something rare; a wide open way of playing that consistently delivers the spirit of a song. It reflects the spontaneity, maturity, and tastefulness of my all-time favorite records.”

Since quietly making his debut album, “Break Mirrors,” which critics hailed as one of the best albums of 2010, Mills has been consistently busy. He’s producing the highly anticipated sophomore album for The Alabama Shakes, and has worked as a producer with a wide variety of artists, including ZZ Top’s Billy Gibbons, Sara Watkins, Conor Oberst, Sky Ferreira, and Fiona Apple, with whom he toured extensively in 2013 and 2014.

As a session player and sideman he has worked with Beck, Cass McCombs, Jackson Brown, Lucinda Williams, Moses Sumney and Neil Diamond, among others. Rick Rubin and T Bone Burnett frequently call upon his services as a guitarist, and equally enamored is Eric Clapton who recently told Rolling Stone magazine “Blake Mills is the last guitarist I heard that I thought was phenomenal.”

Additionally, today Blake Mills announced a 13 city headlining U.S. tour to take place this fall. The run of dates will kick off on September 17th at the Musical Instrument Museum in Phoenix, AZ. All fans who purchase a ticket to any of the upcoming headlining dates will receive a complimentary download of “Heigh Ho” on release day.

Learn more at:

For information about Ocean Way, visit:
Contact Robin Goodchild for all booking requests.
Email: or call 323-467-9375.

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:

WuTang Embraces Online Collaboration on Blend with New Project

Wu Tang invites music producers worldwide to create new versions of a new Wu Tang Parental Advisory song at

New York, NY – Online collaboration is gaining more and more traction in all areas, and most noticeably when it comes to music creation. Many musical styles are built on borrowing and manipulating works by other musicians; Hip Hop, Ambient, EDM, Trance, Rap and many others. Originally, DJs would physically manipulate records to isolate and loop the best breaks for rappers to perform over. Later this evolved into sampling snippets of songs and reworking those elements by adding layers of production on top. Wu Tang Clan is now taking that idea one step further, putting the raw session files of a new song online for anyone to deconstruct and reassemble as they see fit.

This new digital collaboration is part of the new Wu Tang project called Parental Advisory. “Basically we’re looking to find and nurture the next generation of Shaolin,” explains Oliver Grant, who was an executive producer on many of the group’s albums and helped create the branding and commercial empire around the music. “It’s about trying to be in touch with what’s going on in technology and marry that to the traditional methods we know.”

Wu Tang is releasing the first track from Parental Advisory on Blend, the online music collaboration network that supports Ableton Live, Maschine, Pro Tools, Logic, FL Studio, GarageBand and more, allowing music creators to find, share and collaborate on music projects in their native (source) format. Wu Tang uploaded the session files for the new song, entitled “So Many Detailz”, in the three popular formats on Blend: Ableton Live, Pro Tools and Logic. Blend members will have access to original building blocks of the track, so they can take the song in new directions. Grant explains that Wu Tang is looking for inspired remixes of their own material.

The new track features Turnpike Ike, Mc Kash and Chunky, young rappers from the neighborhood where Wu Tang was founded. The hope is that Parental Advisory will help kick start the careers of some new Staten Island born rappers, but it will also rely on platforms like Blend to reach out to a much wider talent pool. “We’re gonna go through them and pick out the best remixes to make an EP,” says Grant. “We’re looking to be shocked, whether it’s EDM, or whatever version it is. It may be Switzerland, a guy who wouldn’t be on the hip hop sites, but he’s going to be on Blend, checking out what’s new.”

Blend has been the platform for the launch of tracks by other well-known musical acts, including Moby, who recently said: “The digital present we live in, you can’t control things, can’t lock them down. The best way to make a living as musician, I find, is to set this stuff free and let the love come back to you.” Wu Tang’s Grant has a similar mindset when it comes to giving away the sessions from Parental Advisory. Rather that fighting technology out of fear, the mindset is to embrace it and tap into the collective global talent that technology helps bring together.

Visit Wu Tang on Blend 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

Glenn Kotche’s Anomaly Deconstructed for Ableton Live

Blend hosts exclusive Live sessions by Ableton Certified Trainer Josh Hogan

New York, NY – Wilco drummer and composer Glenn Kotche has granted musicians, producers and audacious fans unprecedented access to remix his seven-movement piece Anomaly on Blend (, the premier music collaboration platform. Featured on his latest album Adventureland, out now on Cantaloupe Music, Kotche composed Anomaly and recorded it with the famed Kronos Quartet.

To aid in the remixing of this adventurous multi-dimensional piece, Blend has teamed up with Ableton Certified Trainer Josh Hogan from Noisemaker Academy to deconstruct all seven movements of Anomaly into multi-track sessions that Blend members can download and remix with Live. Hogan has also filmed an informative tutorial video that take the user through his approach to laying out each movement in Live and tips on how they can utilize the software’s features to get creative with their remixes.

“We’ve had access to all of the multi-track stems from the album,” says Hogan, “I’ve broken them down into scenes and beat-matched ‘warped’ clips, which fit to Live’s transport, making it really useful for remixing, blending, and mashing up.”

The combination of the Live sessions and the video tutorial give users a powerful set of tools to work with Anamoly. “Josh has taken Glenn’s incredible compositions and given them a new dimension for Ableton Live users”, adds Alex Kolundzija, CEO of Blend. “By sharing his expert knowledge of Live in the video tutorial, producers, remixers and fans have everything they need to add their own personality Glenn’s astonishing work.”

Anomaly is available for listening, remixing and reimagining on Blend, a music collaboration platform that allows musicians to share and remix, or “blend” each other’s tracks. Hogan’s Live sets for movements I and II of Anomaly are currently published on Blend, with more to follow in the coming weeks.

Blend is currently an invite-only community and new users can use this VIP link to get instant access to the Glenn Kotche project:

To view the video tutorial, please visit:

SAE Miami Graduate Protoje Prepares Third Reggae Album for Release

SAE Institute Miami 2007 graduate Oje Ken Ollivierre, who performs under the name Protoje, is currently completing his third full-length album, which will be released in September 2014. The album is a joint venture between Kingston-based Overstand Entertainment and Protoje’s self-owned independent label Indignation Collective.

SAE Institute Miami 2007 graduate Oje Ken Ollivierre, who performs under the name Protoje, is currently completing his third full-length album, which will be released in September 2014.

“The album will be a whole new sound for me,” says Protoje. “My previous albums were more R&B-tinged, while the next one will be more dub/rock/roots-reggae. In terms of the songs’ subject matter, I’m aiming to re-establish the standard for the decaying art of socially responsible, mentally stimulating lyricism.”

SAE Institute Miami 2007 graduate Oje Ken Ollivierre, who performs under the name Protoje, is currently completing his third full-length album, which will be released in September 2014.

Protoje grew up in Santa Cruz, St. Elizabeth, which is located in central Jamaica, and attended Munro College, a prominent boarding school near his home. Both of his parents were involved in music: his mother Lorna Bennett, a vocalist, had a hit song in 1972 called “Breakfast In Bed,” and his father Scotty Bennett was a Calypso Monarch of St. Vincent and the Grenadines. Along with being of fan of such reggae stars as Black Uhuru and Buju Banton, Protoje also enjoyed the sounds of American hip hop artists as a youngster, including Slick Rick and Jay Z.

VIDEO: Protoje ft. Ky-Mani Marley – \”Rasta Love\”

In 2006, Proteje decided to pursue course work in audio engineering. He researched several leading colleges in the United States, and ultimately chose to enroll in the Audio Technology Program at SAE Institute Miami.

“SAE Miami’s location, curriculum, and facilities were the right fit for me,” says Proteje. “I appreciate the education and training that SAE provided, and I really learned a lot about the technical side of music. The experience helped me to have a disciplined approach to my work as a solo recording artist.”

After graduating from SAE Miami in 2007, Protoje returned to Jamaica to begin his recording career. He had been writing songs while studying at SAE, and in 2009, Protoje released his first single “Arguments” on Don Corleon Records. His first album, “The Seven Year Itch”, was released in 2011 and charted #2 in Canada, #3 in the U.S. and #4 in France. It included the single “Rasta Love” featuring Ky-Mani Marley, which was a major reggae hit across the globe and has garnered close to 15,000,000 views on YouTube. Protoje’s follow-up album, “The 8 Year Affair”, came out in 2013 and climbed to #5 on the Billboard Reggae Chart.

“The audio technology principles that I learned at SAE have helped me to guide the engineering and mixing of my music,” says Proteje. “I have also produced many of my songs, one of which will be featured on my new album.”

Protoje’s success has created demand for his live performances on stages across Europe, including Poland, Germany, The Netherlands, Belgium, Spain, France, Switzerland, Italy, Sweden, Slovakia, and Slovenia. He’s also gigged in the U.S., Canada, Costa Rica, French Guyana, Trinidad, Barbados, and Jamaica.

VIDEO: Take a tour of SAE Institute Miami

“For SAE students or grads who are aiming to be recording artists, my advice is to get right into it,” says Protoje. “You have very limited time to hone your craft, develop your brand, and present it to the world. However, once your pursuits as a recording artist have ended, having the engineering skills that you developed at SAE will be extremely valuable, and will always be useful.”

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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:


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