Jun 1, 2011,
Compiled by Sarah Benzuly
Producer/mixer/engineer Joe Barresi (Tool, Queens of the Stone Age, The Melvins) and On the Mark Media release Joe Barresi: Tracking Rock, a behind-the-scenes HD video that takes you through his process of producing and tracking a song for alt rock band Zico Chain in his private studio, JHOC (Joe’s House of Compression)....
Jun 1, 2011,
By Matt Gallagher
Anyone who has watched NBC’s Saturday Night Live in recent years has seen “SNL Digital Shorts”—the wickedly satirical, off-the-wall, manic, edgy and often risqué hip-hop/R&B/pop music videos and conceptual pieces that humorously and mercilessly skewer pop culture. These videos are the creation of The Lonely Island, a comedic and musical trio comprising SNL actors and writers Andy Samberg, Akiva Schaffer and Jorma Taccone. In May 2011, the group released its second album, Turtleneck & Chain (Universal Republic), which includes collaborations with Akon, Justin Timberlake, Snoop Dogg, Rihanna, Michael Bolton, Beck, Nicki Minaj and Santigold.
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Jun 1, 2011,
By Blair Jackson
The formation of the Tedeschi Trucks Band marks the union of two formidable talents: 40-year-old Susan Tedeschi, one of this country’s finest blues/roots singers and songwriters for the past 15-plus years; and 32-year-old Derek Trucks, who has been writing great tunes and laying down some of the most wickedly soulful slide-guitar licks ever since he was 14—in his own band, as a member of the revitalized Allman Brothers and even touring in Eric Clapton’s group for a spell. The two share so many of the same musical loves and influences—old gospel, rock, blues, jazz, classic soul and R&B—it seems only natural that they would play together in a band. ...
Jun 1, 2011,
By Sarah Benzuly
When Warren Haynes played “Save Me” for co-producer/mixer Gordie Johnson for the first time in a small rehearsal space in Manhattan, they knew they were on to something. Haynes first album in 18 years, Man in Motion (Stax Records), which he co-produced, was recorded live to 2-inch tape at Willie Nelson’s studio, Pedernales, outside of Austin. “I work out of that room so much I keep a toothbrush there,” says Johnson. “Warren and I share a love of vintage gear and Willie’s studio is a treasure chest. We have a 24-channel Neve and 48-channel SSL G+ side-by-side in the control room, every fat vintage compressor you can name and the loveliest selection of microphones I’ve ever seen.”
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May 1, 2011,
By Tom Kenny, Editorial Director
You can’t avoid “The Cloud” these days. The phrase is everywhere, from billboards advertising online banking to Amazon’s recently announced and highly publicized music locker. It’s become one of those terms that is in danger of being genericized, like organic, and enters the vernacular with a meaning that strays from the reality. As Wikipedia makes clear, if you are using your local Outlook email, you’re not in the cloud; you’re sending email over the Internet. If you are accessing your Gmail or Yahoo account, you’re in the cloud. Or to paraphrase Larry Ellison of Oracle from a few years ago, the cloud is what they do, but they used to call it the Internet. Maybe they should just change some words in their ads.
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May 1, 2011,
By Matt Gallagher
The Food Network’s Iron Chef America and Next Iron Chef have successfully repackaged Japan’s cult-classic cooking-competition series for North American audiences, offering pressure-filled, suspenseful hourlong cook-offs between the Iron Chefs of America and world-class challengers on the battleground of Kitchen Stadium. Throughout these series’ runs (nine seasons and three seasons, respectively), Los Angeles–based composer Craig Marks has scored each culinary showdown. He describes his signature musical cues as “a magic recipe of samples and live instruments.”
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May 1, 2011,
By Blair Jackson
It’s more than just a buzzword. Use of what is colloquially known as “the cloud” as a resource in producing audio seems to increase as its economic and practical benefits become more obvious to engineers, producers and musicians. It’s changing how people share information and collaborate on projects large and small, and we’re just beginning to realize the enormous potential of what really is a new way of working.
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May 1, 2011,
By Blair Jackson
She will never completely escape the Billie Holiday comparisons. She will still have her albums categorized as “jazz” despite a multitude of compelling evidence to the contrary. Madeleine Peyroux’s large and devoted fan base doesn’t see stylistic limitations, but rather appreciates the tremendous breadth of her repertoire, which seamlessly incorporates pop standards, deep blues, country, folk, French classics, distinctive and imaginative takes on songs by some of the great writers of the modern era, and, increasingly in the past few years, her own songs, which span many of those genres.
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NAMM 2011: Fairlight CMI
State of NAMM 2011