Edmeston, NY – May 23, 2013 – Mastering engineer Mike Wells recently completed a project for producer Billie Joe Armstrong, the new “Emily’s Army” album titled Lost at Seventeen (Adeline Records). The sophomore album release will debut June 11, 2013 and features the drumming of Armstrong’s son Joey; Wells also mastered the band’s first album. Engineer Chris Dugan recorded the album and worked with mixer Chris Lord-Alge and producer Armstrong to coordinate the mastering at Wells’ LA mastering studio which is all based around a Dangerous Music equipment. “Without question the centerpiece of my studio is the Dangerous ‘mastering console’ – which comprises the Dangerous Master transfer console, the Dangerous Monitor, and the Dangerous MQ for metering,” says Wells. “I bought this system right when it became available. Until that time, there wasn’t a commercial mastering console on the market, only hand-built custom-consoles. The cost of a custom console was just out of my financial reach, so when these three Dangerous Music tools were released it was fantastic. I rely on them every day.” Wells setup also features the Dangerous Liaison and BAX EQ. more

Supersonic Wide-Range Omnidirectional Mic Goes to 100kHz

Renowned recording engineer/producer Bruce Botnick recorded the orchestral score of Tom Cruise’s “Jack Reacher” with five Sanken CO-100K microphones. As the music score mixer, he worked with a 100-piece orchestra performing the music of composer Joe Kraemer at Sony’s Barbara Streisand scoring stage.

With a 20Hz ~ 100kHz range, the Sanken CO-100K omni-directional condenser microphone is the world’s first 100kHz microphone designed specifically for professional recording. Botnick utilized a Decca Tree arrangement with three CO-100Ks and two additional Sanken mics for the Surround.

“The clarity and the musicality of these Sanken mics is astounding,” commented Botnick. “You don’t need an equalizer to enhance the high end. No need to boost the 5K, or grab the 16K on a shelf and turn it up. It’s not that they are brighter, it’s just that they extend your frequency range and give more sonic reach and clarity.”

Botnick is well known for his work with The Doors as both their engineer and then producer of their final album with Jim Morrison. Botnick also worked on The Rolling Stones’ “Let It Bleed,” and produced Eddie Money’s first two albums. Botnick had a long-running association with film composer Jerry Goldsmith as his scoring mixer. Botnick first met Goldsmith on 1979′s Star Trek: The Motion Picture and they worked together on most of Goldsmith’s film projects – numbering over 100 – from the 1980s through to Goldsmith’s death in 2004.

“The music recorded for ‘Jack Reacher’ with these Sankens worked especially well with the dialogue,” Botnick continued. “The clarity and musicality of the 100k’s gave Joe Kraemer’s score great transparency, which allowed the music to emotionally enhance the film to its fullest.”

“Jack Reacher” depicts a city thrown into chaos following a shooting that leaves five dead. What at first seems like a simple case to solve becomes complicated when the accused requests that Jack Reacher be put on the case.

Sanken’s CO-100K features very fast transients with an extremely smooth response curve, resulting in great clarity and unprecedented transparency. With the ability to capture sounds in the ultra-high frequency range, the microphone also produces very rich results in the low and mid-range of the audible frequency range.

“Jack Reacher” is now available on DVD and Blu-ray.

Learn more about Sanken at distributor http://www.plus24.net or phone 323.845.1171

X Factor Finalist In Session at Bernie Grundman Mastering

Pop star and X Factor finalist ViNO ALaN has mastered his new single “My Summer” at Bernie Grundman Mastering. The artist was joined by his co-writer/co-producer Will Champlin, recording engineer Adam Berg, and mastering engineer Paul Grundman.

A musical prodigy at the age of seven in his hometown of St. Louis, ViNO ALaN was proficient as a child on drums, piano, saxophone, harmonica and numerous other instruments. After arriving in Los Angeles in 2004, he met Bob Marlette, a producer and fellow musician who helped guide his career and encouraged him to audition for The X Factor reality show, where he found a new audience and attracted world wide legions of Twitter and social media followers.

Mentored by renowned producer LA Reid, ViNO ALaN remains on the musical forefront with his distinctive voice and innovative songwriting, clearly heard in his new single, “My Summer,” from the debut album, “Painting Sunshine.”

“My Summer” is currently available for preview and download at:
http://www.vinoalan.com

Worldwide release on iTunes and popular digital outlets is May, 21, 2013.

For more information about Bernie Grundman Mastering,
visit: http://www.bgmastering.com

Jon Ginoli Reads “Deflowered” with Engineer Willie Samuels

Pansy Division founder Jon Ginoli has recorded the Audible.com version of his memoir “Deflowered — My Life in the Pansy Division.” Formed in 1991, the band was the prototypical SF gay punk band and has shared the rock stage with such acts as Rancid, The Vandals, Jimmy Eat World, Supergrass, and Green Day.

“It was great coming to Studio Trilogy to record the audio book version of my memoir,” remarked Jon Ginoli. “It was especially nice because my engineer was Willie Samuels, who recorded Pansy Division’s most recent album a few years back. We had a fun time in the studio, hooray! There may be 5 million people in the Bay Area, but it’s nice how paths can unexpectedly converge.”

Pansy Division’s sound was heavily influenced by 1960s pop and 1970s punk rock, most notably bands such as the Ramones, the Buzzcocks and early Beatles: short, catchy pop punk numbers with humorous, in-your-face lyrics that dealt with various aspects of both gay life and life in general.

In 2008, the band was the subject of a documentary film entitled “Pansy Division: Life in a Gay Rock Band,” directed by Michael Carmona. The film has been touring internationally, playing at various LGBT film festivals, and is now available as a DVD.

ABOUT STUDIO TRILOGY
Located in the creative heart of San Francisco, Studio Trilogy offers producers, artists and engineers a World Class recording environment. The 8800 square foot facility houses three state-of-the-art control rooms, four integrated isolation booths, San Francisco’s most versatile large tracking rooms, and an experienced staff.

Designed by John Storyk , Studio Trilogy features Northern California’s only 80-channel SSL 9000K mix console with Ultimation. The tracking suite is outfitted with a 32-channel API 1608 and the post-production suite features a Digidesign ICON D-Control. Included is a prize collection of microphones, plus a full complement of vintage and modern instruments. An onsite 1200 sq.ft. luxury apartment with media lounge and chef’s kitchen is also available.

Learn more at: http://www.studiotrilogy.com

San Francisco Rockers Cut Rootsy New Album

San Francisco’s Coo Coo Birds have cut their new album, “Mexican Cowboys,” at Ardent Studios in Memphis with recording engineer Adam Hill. Known for their colorful rock ‘n’ roll attitude and an era-spanning sound drawing from garage, psychedelic, and 50_s rock, the Birds came to Tennessee to record with Hill, known for his work with The White Stripes and others at the venerable studio.

“Chuck Gonzales had run into Adam,” explained fellow Coo Coo, Ryan Zweng. “We love his rootsy, raw sound and coming to Memphis brought us to the heart of Americana music. Elvis, Johnny Cash, and one of our favorite groups, Big Star came from Ardent. It was great hanging out with their former drummer Jody Stephens, who is the general manager at Ardent.”

Previous recordings by the Birds include “Don’t Bring Your Boyfriends” and “Psychedelic Warriors.” The new album was funded by the band with a Kickstarter campaign while touring and playing festivals like SXSW.

“This new album has a more robust drum sound and is definitely tighter all around,” continued Ryan Zweng. “Our earlier work had more of a garage band sound — this is a more cleaned up approach, but still has a lot of guts and is a good progression for us. We have a strong beat and an attitude in the lyrics and a playing style that speaks to the audience in a freeing way. We’re a little controversial but definitely uplifting, not self-loathing like a lot of the music these days.”

The band tours together with a posse of 12 Bohemian rock and rollers and partied at Ardent when the work was done. “We brought a keg into the atrium,” added Zweng, “and our ladies fixed up some sandwiches for everyone at the studio. What a great atmosphere here at Ardent, and they treated us great, like ragged royalty.”

See the Coo Coo birds at Ardent in this YouTube video:
https://www.youtube.com/watch?v=T1az6pjo5xI

For information about Ardent Studios, visit:
http://www.ardentstudios.com

Matt Berninger Employs U-47 For His Visceral Vocals

Top indie band The National has completed their sixth studio album, “Trouble Will find Me.” Lead singer and founder Matt Berninger picked a new U-47 large diaphragm tube microphone from TELEFUNKEN Elektroakustik for his self-described “immediate and visceral” vocals.

“The vocals are key to the maximum impact of our music,” remarked Berninger. “And we couldn’t be more impressed with the new U-47 from TELEFUNKEN. It delivers depth, warmth, clarity and a pure sound that is inspiring to record with.”

The new album follows 2010′s critical and commercial success “High Violet.” Berninger says “Trouble Will Find Me” has a directness, a coherency, and an intimacy that comes from the band’s deep belief in the new material.

Watch a music video of “Demons” from the new album at:
http://www.youtube.com/watch?v=N527oBKIPMc

In advance of the album release, the documentary “Mistaken For Strangers” will premiere at this year’s Tribeca Film Festival in NYC as the festival opener on April 17. The film, directed by Tom Berninger, follows The National on its biggest tour to date. Newbie roadie Tom (lead singer Matt Berninger’s younger brother) appears as a heavy metal and horror movie enthusiast, while his moonlighting as an irreverent documentarian creates drama on the road. The film is a look at two very different brothers and a story of their artistic aspirations.

The National was formed in Cincinnati, Ohio in 1999, and is currently based in Brooklyn, New York. The band’s lyrics, which have been described as dark and melancholy are written and sung by Matt Berninger, a baritone. The rest of the band is composed of two pairs of brothers: twins Aaron (guitar and keyboard) and Bryce Dessner (guitar) and Scott (bass) and Bryan Devendorf (drums).

The band’s first album was the eponymous “The National” (2001), followed by “Sad Songs for Dirty Lovers” (2003), “Cheer Tree” (EP, 2004), “Alligator” (2005), “Boxer” (2007), “Dark Was the Night” (2009), and “High Violet” (2010). They have also recorded songs for “Game of Thrones” and Boardwalk Empire,” among others.

“Trouble Will find Me” will be released May 21 on 4AD Records.
Learn more about The National at their website: http://www.americanmary.com/

Since its original development in 1946, the TELEFUNKEN U 47 has been the microphone of choice for generations of recording professionals. The first condenser microphone to offer selectable polar patterns (cardioid and omni), the U47 brought a new level of fidelity to the audio world, and is still considered to be one of the finest microphones ever produced. The new U47 from TELEFUNKEN Elektroakustik, houses a new BV8 output transformer and new VF-14k vacuum tube, a “plug and play” replacement for the rare VF-14M tubes found in the original.

About TELEFUNKEN Elektroakustik
TELEFUNKEN Elektroakustik produces a comprehensive line of fine microphones, ranging from meticulously engineered replicas of historic vintage microphones handcrafted in the USA, to the R-F-T series of microphones that take advantage of the globalization of technology, as well as innovative dynamic microphones for live and studio performance.

To learn more about TELEFUNKEN Elektroakustik, visit: http://www.t-funk.com

Although credited as an Executive Producer on John Legend’s new Love In the Future album due June 25th, Dave Tozer actually functions as a songwriter, musician, programmer and arranger in addition to his production work.

Tozer met Legend through a mutual friend in Philadelphia during the late 90s when Dave was working as a musician and developing his production skills and John (then known as John Stephens) was a gifted music student at the University of Pennsylvania.

The meeting marked the beginning of a successful creative partnership that has flourished over the years, with Tozer producing Legend’s first three indie albums and, in 2004, contributing to eight tracks on his Grammy award winning Get Lifted. Dave also co-wrote and produced the track “Stay With You,” which was nominated for Best Traditional R&B Vocal Performance.

Besides his work with Legend on his second album Once Again, Tozer has played and worked on tracks by Kanye West (the Grammy winning “Diamonds From Sierra Leone”) and Jay-Z (“Do U Wanna Ride” from Kingdom Come). He’s also collaborated with Heather Headley, Natasha Bedingfield, Estelle, Lizz Wright and co-produced Free Sol with Justin Timberlake, to name a few.

So it comes as no great surprise that Dave’s currently wrapping up final mixes on Love In The Future in close collaboration with Legend and Kanye West, working in Germano Studios and his own project studio in New York’s Union Square.

Considering the high-powered talent producing the album, we were curious about how the project played out. Dave confirms that he and Kanye “oversaw production for the whole album, I’m a producer on most of the songs as well and I’ve co-written and arranged many of the tracks. I’ve known Kanye since early 2001 and John is signed to his G.O.O.D. record label, but this past year is the closest I’ve worked with him and it’s been great. The record’s sounding really good. We’re all excited because Love…represents a very unique direction for John; it sounds very different.”

According to Tozer there are 15 tracks on the album and the first single, “Who Do We Think We Are,” co-produced and written with Kanye West and Bink!, was released on March 25th.

Asked to elaborate, Dave adds: “When John and I first started discussing the album, we decided on something that was less pop sounding and darker thematically. The arrangements are more adventurous than on earlier albums––I’d liken some of it to ‘Marvin Gaye meets Pink Floyd’ because I was drawing a lot of inspiration from Dark Side of the Moon during the process and combined it with Gaye’s soulfulness.

“Some of the arrangements are dark and moody, yet they speak like an individual work, not like individual songs. There are a number of tracks featuring full orchestras with strings and horns, harps, electric harpsichords and celestes, the kind of stuff you’d find on a 70s psychedelic album. I’m inspired by that era in terms of sound and atmosphere and what it meant musically and culturally.”

In fact, Dave dug very deep to make the sound of that era an integral part of the album. “One of the cool things is that we cut a lot of it to tape using the ½” Ampex ATR 102 here at Germano Studios,” he recalls. “We’d go in using tape like an effects box and come off the repro head of the tape and then back into high quality digital conversion so we still end up in digital (everything’s recorded in Logic Pro) to get the sound of the tape on the tracks. There’s something I love about the classic records from the 60s and 70s and the character that the medium imparts to those recordings. It gives it a great sheen and an almost intangible quality that’s very musical and desirable.”

As mentioned, Tozer worked between his own project facility and Germano Studios because “Troy’s place is one of New York’s go-to studios and one of the best sounding rooms in the city. I love the monitoring at Germano, it’s all very well done and works great. And Troy’s been very kind and helpful in complementing my workflow in terms of having all of the programs and plug-ins that I use, which makes it very seamless for me.

“We cut John’s vocals at Troy’s,” Dave adds, “and most of the instruments—guitars, drums, bass, keyboards, background vocalists, things like that. John and I will do a lot of the writing and the earlier stages of production in my room, then we’ll go to Troy’s when we want to take it from the 10 yard line into the end zone.”

Because he and Legend have worked together for such a long time, the process is fairly well established by now. As Tozer explains, “It all starts with John and I writing songs together. I love great songs and that’s the paradigm from which I create, especially with an artist like John because he’s a great songwriter as well. In fact, every time we get together we’re going to come out with something really strong compositionally, and that makes it much easier to produce and arrange because you have a shared vision of how it should sound. When I’m at my best, I can hear how it’s going to sound pretty much right away from beginning to end. When I don’t hear it so clearly is when I end up in trouble or have to work my way through the woods.”

And hearing the music is also important in the literal sense, which explains why Dave has a natural rapport with ADAM Audio monitors. He heard other producers and engineers talking about them years ago before experiencing them firsthand with the A Series. While at Germano Studios, Tozer was able to work with ADAM S3XV and S3XH monitors, which he “was really taken with, they really spoke to me in a very natural way.

“It’s an interesting relationship with monitors,” Dave continues, “because at the worst of times, they block you from what you’re hearing and want to feel. The ADAM monitors have a certain clarity that really tells me exactly what I’m hearing. When I heard them I thought, ‘ah, I’m home.’ I respond to the monitors in a very natural way. When we used the S3XHs, I was surprised that Troy didn’t have the subwoofer on, because of the bass response. And the tweeters are really smooth. All of it comes together in a really meaningful way that all makes sense. It’s the intangible quality, which is great because listening to the ADAMs just made a lot of sense to me.”

For more information about ADAM Audio USA, please call 516.681.0690, or click to www.adam-audio.com

About ADAM Audio: Combining extensive experience and research in the field of speaker systems with their revolutionary ART and X-ART tweeter designs, physicist Klaus Heinz founded ADAM Audio in 1999. Based in Berlin, Germany, ADAM designs and builds professional monitor systems for leading recording studios around the world as well as sophisticated hi-fi and multi-channel loudspeaker systems for the home and residential installation markets.

Grammy-nominated Former Kronos Cellist Creates New Music for Ballet

Grammy-nominated cellist and composer Joan Jeanrenaud has recorded new music for The Dance Theatre of Harlem, which is returning in April to NYC after an eight-year hiatus. The new music to be premiered was requested by renowned dancer Thaddeus Davis and recorded with keyboardist/percussionist PC Munoz and engineer Justin Lieberman at San Francisco’s Studio Trilogy.

Thaddeus Davis had heard Jeanrenaud’s 2008 Grammy-nominated Classical album “Strange Toys,” which was recorded in the same studio, and was intrigued by her rhythmic and atmospheric sensibilities. Jeanrenaud first met percussionist PC Munoz at Trilogy and since then both have collaborated on their respective individual projects. For the new Harlem Dance Theatre pieces, “Harmonic Harlem” and “Harlem Strut,” Munoz accompanies Jenrenaud’s cello with African Kalimba thumb piano and a unique miniature drum kit.

“Justin Lieberman is my main reason for recording here at Trilogy,” Jeanrenaud explained. “We first worked together at Different Fur studios here in San Francisco and then again when he moved over to Talking House, which later became Studio Trilogy. His engineering is inspired and impeccable and this studio is a pleasure to work in, as well as being a creative magnet for musicians.”

Joan Jeanrenaud plays a Deconet cello made in the mid-1700s. A native of Memphis, Tennessee, she played with the Kronos Quartet from 1978 until 1999, when, after a sabbatical, she left to pursue a solo career and collaborations with other artists. She has staged and recorded solo performance pieces, also playing the cello in tandem with electronic instruments. Her first solo album, “Metamorphosis,” was described by Greg Cahill in Strings as “visceral, hypnotic… compelling.

Founded in 1969, the legendary Dance Theatre of Harlem made its official debut on January 8, 1971, at the New York Guggenheim Museum with three chamber ballets by co-director Arthur Mitchell. During the same season the company’s repertory was supplemented with several ballets by George Balanchine and Jerome Robbins. The DTH is renowned both as the first black classical ballet company, and the first major ballet company to prioritize black dancers.

Learn more and listen to Joan Jeanrenaud at: http://www.jjcello.org

For more info about The Dance Theatre of Harlem visit:
http://www.dancetheatreofharlem.org

ABOUT STUDIO TRILOGY
Located in the creative heart of San Francisco, Studio Trilogy offers producers, artists and engineers a World Class recording environment. The 8800 square foot facility houses three state-of-the-art control rooms, four integrated isolation booths, San Francisco’s most versatile large tracking rooms, and an experienced staff.

Designed by John Storyk , Studio Trilogy features Northern California’s only 80-channel SSL 9000K mix console with Ultimation. The tracking suite is outfitted with a 32-channel API 1608 and the post-production suite features a Digidesign ICON D-Control. Included is a prize collection of microphones, plus a full complement of vintage and modern instruments. An onsite 1200 sq.ft. luxury apartment with media lounge and chef’s kitchen is also available.

Learn more at: http://www.studiotrilogy.com

Mixing/Recording Sequel to Smash 2012 “Here” Album

Acclaimed band Edward Sharpe and the Magnetic Zeroes is finishing up their third studio album at Ocean Way Recording in Hollywood. On hand for mixing and overdubbing were the group’s founder and imaginative conceptualist Alex Ebert and recording engineer Matt “Linny” Linesch.

“We’re mixing and adding some material to the album we recorded up at our studio in Ojai, CA.,” explained frontman Alex Ebert. “We’re not sure of the title, but we are thinking of calling it ‘Please.’ We originally planned a double album for 2012, but decided to break it up, so this is the second half. The first batch was somewhat subdued and this one is a bit more rambunctious.”

Edward Sharpe and the Magnetic Zeros formed in 2007 after singer Alex Ebert met fellow singer Jade Castrinos outside of a cafe in downtown Los Angeles. In 2009 the 10 member troupe released their debut album “Up From Below,” which featured the universally appealing hit “Home” as well as fans’ favorites “40 Day Dream” and “Janglin.”

Engineer Matt Linesch commented, “For the previous record that we did at our studio in Ojai, we had a Trident 80 console and we recorded digitally. We were able to make that record quite warm and open, but coming down here to Ocean Way and using this Neve 8068 is allowing the tracks to breathe a lot more, and open up even more than we expected.”

Over the past few years Edward Sharpe and the Magnetic Zeroes have been constantly touring the world while winning over audiences at festivals like Coachella, Bonnaroo, Lollapalooza, Leeds, Austin City Limits and more. With their follow up 2012 album “Here” featuring “Man On Fire” and “That’s What’s Up” released, the band toured Europe, North America and Australia.

“The first batch of songs that we tracked for this album was at a studio in Bogalusa, LA,” remarked Ebert, who provides vocals, guitar, percussion, and piano. “They had an 8068 console just like this, except it was smaller. It was heaven, and we wanted to get back to this board, basically. We checked this one out and it just feels good here. This board actually allows our music to feel like this is the color it wants to be, as opposed to the color we are trying to force into this instrument. It wasn’t a surprise but it was a pleasant reaffirmation of what we wanted to achieve. Making the album and mixing here has been amazing, just a great feeling.”

Ebert explains the origins and genesis of the band: “I always wanted to be a superhero when I was growing up, so I wrote down this idea of a superhero kid, a boy who had defects but was still a superhero. It started out as a novel about Edward Sharpe, before I started the band. Then I realized it was a great name and around the same time I was working on a system of random mathematics that I called magnetic zeroes. I put the two together.

“When people ask if I am Edward Sharpe, the character I play onstage, it’s really more oblique. Onstage I just want to be myself, as truthful as possible, the best way to roll. As far as playing a character, I am Edward Sharpe, but the whole band is Edward Sharpe. We are all that person.”

The third Edward Sharpe and the Magnetic Zeroes album will be released in June on Vagrant/Rough Trade Records. For more info, visit:
http://edwardsharpeandthemagneticzeros.com

For information about Ocean Way, visit:
http://www.oceanwayrecording.com
Contact Robin Goodchild for all booking requests.
Email: rob@oceanwayrecording.com or call 323-467-9375.

Seminal 1972 Americana Album’s First-Ever Vinyl Reissue

The Nitty Gritty Dirt Band’s seminal 1972 Americana album, “Will the Circle be Unbroken,” has been remastered from the original analog tapes for a deluxe 40th Anniversary 3LP vinyl and high definition digital HDtracks edition, released March 12 by Capitol Nashville.

Overseen by the band and including a new liner notes essay by the Dirt Band’s John McEuen, the commemorative edition features the original, Platinum-certified triple album on 180-gram vinyl, presented in faithfully restored gatefold packaging with an exclusive poster. The new release, remastered by Chris Bellman at Bernie Grundman Mastering, marks the first-ever vinyl and high definition digital audio reissue of one of Americana’s most influential recordings.

Met by international critical acclaim as a modern classic upon its release, the Nitty Gritty Dirt Band’s “Will the Circle be Unbroken” features a who’s-who of bluegrass, folk, and blues luminaries as primary and guest artists, including Mother Maybelle Carter, Roy Acuff, Doc Watson, Earl Scruggs, Merle Travis, Jimmy Martin, and others, as well as compositions by Acuff, Scruggs, Travis, Martin, Hank Williams, and Joni Mitchell, among others. The album crossed genre lines, uniting fans of country and rock music in widespread appreciation, peaking at #4 on Billboard’s Country chart and at #68 on the Billboard 200 Albums chart.

“We were all students of records coming from the bluegrass/folk/blues world, even prior to the Nitty Gritty Dirt Band’s birth in 1966,” writes McEuen in his essay for the album’s 40th Anniversary Edition. “This mysterious mix of music, culture and generations is what made ‘The Circle’ a possibility.”

Recorded live over six consecutive days at Woodland Sound Studios in Nashville, “Will the Circle be Unbroken” is a timeless feat of studio collaboration, bringing together accomplished country songwriters and musicians from two generations for a cohesive album that is both steeped in tradition and pioneering in its form, ushering in the new Americana style and remaining a font of musical influence to this day. In 2005, the album was selected for the National Recording Registry by the Library of Congress, joining an esteemed group of essential American recordings which “are culturally, historically, or aesthetically important, and/or inform or reflect life in the United States.”

“We’re so grateful for the time we got to spend in the recording studio in Nashville making music with our heroes in 1971. 40 years later it stands among the proudest moments we’ve ever had as a band,” says the Dirt Band’s Jeff Hanna.

“We recorded live to two-track,” explains McEuen, “There could be no mixing or overdubs. ‘Get it right the first time, an’ t’hell with the rest of them’ was Roy Acuff’s policy in the studio. With ‘Will the Circle be Unbroken’, we are told we all got it right.”

For more information, visit: http://www.nittygritty.com

For more information about Bernie Grundman Mastering, visit: http://www.bgmastering.com