L.A. Studios—Resurgent in 2001, by Robyn Flans. Many Los Angeles studios experienced a severe business downturn during 2000. However, not long into 2001, facilities both large and small were reporting that they were on their way to a banner year of bookings, with musicians, producers and engineers apparently deciding that both home and commercial recording environments have their pros and cons, and their time and place.

Ani DiFranco—Stretching Beyond the Periphery, by Sarah Benzuly. Ani DiFranco is a busy woman. She's just put out her thirteenth record, has been signing bands to her record label and is about to embark on yet another leg of her endless tour. Mix editor Sarah Benzuly chatted with DeFranco about the new release and what really goes on in the studio.
R E C O R D I N G - N O T E S, April 2001—On the Edge with Eddie Jobson, "Globe Music" and Beyond ... Label M: The Art of the Jazz Archive ... Everlast: The Hip Hop Star Branches Out ... Classic Tracks: Bob Seger's "Night Moves."
RaDical ReCorDing—Five Engineers Offer Tips On Adding Wild, Wonderful and Downright Weird Sounds To Your Recordings, by Maureen Droney. While there’s no Radical Recordingdoubt that in today’s generically marketed world, the arena remains wide open for those who dare to experiment. No matter what the format, instrumentation or market resistance, musical creativity and sonic inspiration always survive.
Mysteries of Mixing—Interviews with Three Renowned Mix Engineers, by Brian Knave. Music is better listened to than Chris Lord-Algetalked about, and its mysteries and pleasures simply cannot be elucidated by symbols alone. Likewise, the mysteries of mixing don’t readily yield themselves to words. For one thing, there are too many variables.
Karl Richardson—Hook, Line and Sinkered in Miami’s Audio Vision Studios, by Dan Daley. Richardson’s contributions include engineering and/or producing records for the Bee Gees (including “Stayin’ Alive”), Kenny Rogers (the multi-Platinum “Islands in the Stream” with Dolly Parton), Barbra Streisand (“Guilty”), Eric Clapton (461 Ocean Boulevard), the Ohio Players and Olivia Newton-John.

Expert Views Articles

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Frank Filipetti—Life on the Digital Edge, by Maureen Droney. A down-to-earth guy with a refreshingly honest style, Carly SimonFrank Filipetti is well-respected by his peers. He’s also an independent thinker and was one of the first engineers to embrace digital. His credits include mixes for Number One singles.
Flood Advisory, by Matt Gallapher. Michael Oster’s passion is recording common environmental sounds to create unusual, otherworldly ones. Oster is a Micael Ostermusician, recording engineer, and sound designer in Tampa, Florida. In 1993, he purchased Digidesign’s Pro Tools system, and started a recording studio that he christened F7 Sound and Vision.
R E C O R D I N G - N O T E S, March 2001—Blood on the Pavement, Marilyn Manson and Dave Sardy ... Jonatha Brooke and Bob Clearmountain, Teaming Up for "Steady Pull" ... The Doors Rock Again on the Internet, and CLASSIC TRACKS—Fine Yound Cannibals' "She Drives Me Crazy."
RUDY PEREZ -Twenty Years at the Crest of the Latin Wave, by Dan Daley. Rudy Perez is perfectly positioned to be a pivotal figure in the growing Latin-American music scene. This producer/ engineer is already responsible for tens of Rudy Perezmillions in sales with productions for Jose Feliciano, Julio Iglesias, Placido Domingo, Frankie Negron, and teen sensation Christina Aguilera’s Spanish-language, multi-Platinum recording Mi Reflejo.
Breaking the Sound Barrier—Four Top Female Audio Professionals Share the Secrets of Their Success, by Carol Keating. Women are Sound Barrierout there mixing sound, composing music, and playing around with gear, too—and in ever-increasing numbers. Following are profiles of four successful women in the music industry.
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Page last updated: Thursday, March 22, 2001 11:53:10