Weeks of February 1-15
Moog Synthesizer and Apple Computer To Receive TechnicalGrammy
Robert Moog (Moog Synthesizers) and Apple Computer Inc. have beennamed as recipients of the 2002 Technical Grammy® Award. TechnicalGrammy Award recipients are determined by the vote of the members ofthe Recording Academy’s Producers & Engineers Wing and presented toindividuals and/or companies who have made contributions of outstandingtechnical significance to the recording field. Formal acknowledgment ofthe awards will be made on February 26 surrounding the 44th AnnualGrammy Awards ceremony, held at Los Angeles’ Staples Center onWednesday, February 27.
“The technical and creative innovations of Robert Moog and theinventiveness and versatility of the Apple Computer are the toweringachievements of true visionaries,” said Michael Greene, RecordingAcademy president/CEO. “The products of their inspiration introducedelectronic technology into the public consciousness, put the power ofcreation in the hands of the individual, and revolutionized therecording industry.”
Robert Moog’s early development of analog electronic instrumentsmade his name synonymous with the synthesizer and ultimately helpedspawn the electronic music revolution of the ’80s and ’90s. Hiscreation — the Moog synthesizer, which was unveiled in 1965 –introduced a vast array of new sounds and fostered an entirely newcreative process of sound design. Even today, some 30 years later,Moog’s creation (a smaller version of the original synthesizer calledthe “Minimoog”) is still considered by many to be of the holy grail ofsynthesizers.
Apple Computer is considered the leading architect in bringingcomputer technology into the studio and revolutionizing the way musicis written, produced, mixed, recorded and creatively imagined. Theintroduction of the Macintosh in the mid-1980s helped launch a numberof software breakthroughs, linking technology to the creative process,thereby changing the face of the recording studio. Almost immediately,developers began creating revolutionary tools for playing, recordingand editing music, all solidly grounded in the Mac’s user-friendlyinterface. This made the Macintosh virtually synonymous with thecomputer-driven production techniques of the last decade. Over time,with a Mac and the right tools, a single person could compose, perform,record, edit and mix the instrumental portion of a song or entirealbum. Thus, the Macintosh became the touchstone of a new model forproducing recorded music.
The first Technical Grammy was awarded in 1994. Past winners includeLes Paul, Digidesign’s Pro Tools, Dr. Thomas Stockham Jr., Ray Dolby,Rupert Neve, George Massenburg, Sony/Philips, Georg Neumann GmbH, BillPutnam and AMS Neve.
In 2000, the Recording Academy established the Producers &Engineers Wing, a collection of more than 5,000 professional producers,engineers and technologists. The P&E Wing’s mission is to providean organized voice for the pro sound community, while ensuring its rolein the development of new technologies, recording and masteringstandards, as well as other critical issues affecting their craft, suchas archiving and preservation. The P&E Wing also builds on theexisting professional development activities of the Academy whichinclude workshops, forums, publications and advocacy.
For more information, please visit www.grammy.com.
ATI Group Inaugurates New Distribution Division
The ATI Group (Jessup, Md.) announced the formation of its newestdivision, ATI Group Distribution. The new arm of the company beginsoperations February 1st, handling North American distribution andmarketing responsibilities for UK-based Audient PLC.
UK-based Expotus PLC began the world marketing and distribution ofAudient’s range of products. ATI Group Distribution will be workingclosely with Martin Capp, managing director of Expotus, to launch theirNorth American distribution of the full line of Audient products,including mixing consoles, surround sound processors and graphic EQsfor fixed installations.
“We offer clients an experienced, motivated and wide-ranging networkof audio experts who understand today’s professional audio marketplace,inside and out,” said Larry Droppa, president of The ATI Group. “Theopportunity to represent Audient not only gives the new ATI GroupDistribution a head start on success, but it gives our customers thechance to take advantage of a solid, value-added line of equipment atprice points that will easily satisfy their professional needs andbudgets.”
ATI Group Distribution is based at the company’s new, expandedheadquarters facility at 8301 Patuxent Range Rd., Jessup, MA;301/776-7879; fax 301/776-8117.
SurgeX Relocates
SurgeX Corporation (Pipersville, Pa.) has relocated to largerfacilities at a brand-new industrial complex in Pipersville, Pa. Rapidgrowth and constant demands, according to the company, necessitatedSurgeX’s expansion.
The new contact information is:
6131-B Kellers Church Road
Pipersville, PA 18947
215/766-1240; fax 215/766-9202
Visit SurgeX online at www.surgex.com.
Event Electronics Promotes David Hetrick
Event Electronics (Santa Barbara, Calif.) announced the promotion ofDavid Hetrick to the national sales manager position. He was previouslya regional manager. In this new post, Hetrick will have directresponsibility for the company’s sales in all of North America,including Canada and Mexico.
For more, visit Event at www.event1.com.
TC Group Proposal To TCI Is Accepted
In December 2001, TC Group, the Danish parent company of TCElectronic, TC Works and TC-Helicon, announced a proposal to theshareholders of TGI plc to purchase their holdings in the company. Theoffer has now been accepted by the shareholders and declared whollyunconditional, and a new strong constellation of innovative companieshas been founded.
“I am very happy that the offer has been accepted,” says AndersFauerskov, CEO at TC Group. “The timing is perfect for a co-operationin technology like this, as the market of today clearly shows a needfor innovative fusions of technologies. Within the new TC Group, we nowhave the acoustics knowledge, driver technology, digital signalprocessing know-how, and amplification and power supply skills to makea major impact in the future market for integrated solutions.”
TGI plc is a holding company comprising four companies representingindividual platforms on the speaker market, including Tannoy, andMartin Audio. Also represented within the TGI plc Group is the Swedishcompany, Lab Gruppen, producing power supplies and high-end amplifiers,and GLL, producing speakers for the car industry.
Yamaha Forms Commercial Audio Division
Yamaha Corporation of America (Buena Park, Calif.) announced theformation of the commercial audio systems division, effective April 1,2002. Spearheaded by newly named general manager Larry Italia, thedivision will be dedicated solely to the high-end commercial recording,production, sound reinforcement/installed sound, broadcast and toursound markets.
“We believe that the time is right for Yamaha to intensify its focuson the commercial audio market, where we will demonstrate our increasedcommitment through product development and full utilization of ourtechnological resources,” said Mick Umemura, president of YamahaCorporation of America. “I am personally very excited at the formationof this new division and pleased that we are now positioned to betterserver this segment of the industry.”
Yamaha commercial audio internally split off from the professionalaudio department in April of 1999, forming a dedicated dealer networkand a separate sales and support team. The new division will continueto address all areas of the market through a dedicated force ofhigh-end dealers. Internal expansion is now underway in the sales,marketing, administration, order entry and customer servicedepartments.
“The intent of the commercial audio systems division is to keep aneven sharper focus on the needs of its dealers and customers,” statesItalia. “The commercial market is the largest segment within the audioindustry, and by operating as a separate division, Yamaha will furtherstrengthen its growth while better servicing our dealers, contractors,consultants, sound designers and end users.”
The division will continue to utilize the core technologiesdeveloped by Yamaha Japan in the areas of DSP, digital mixing consolesand networking. Products sold through the commercial audio systemsdivision include the PM-1D digital mixing system, M and GA Seriesconsoles, the new DM2000 digital production console, mLAN networkingsystems, DME32 digital mixing system, C and X Series amplifiers and theSREV-1 digital reverb.
For more, visit www.yamaha.com.
Core Digital Technology Invests in SSL Console
Core Digital Technologies (Tempe, Ariz.) has purchased a Solid StateLogic MT Production Digital Multitrack Console for installation in itsall-new, all-digital, dual-broadcast live truck based out of Phoenix.Core Digital chose the console for its expanded capabilities andenhanced routing, as well as its range of features that will enable thetruck to handle simultaneous high-definition and standard-definitionbroadcasts.
“We have a long-term contract with a major network to handle sportsand live entertainment, so we needed to build a new vehicle that wouldmeet all the requirements of today’s market, while providing seamlesscapability for tomorrow’s market,” said Shawn O’Shea, director ofengineering and operations for Core Digital Technologies.
Some of the audio and video gear that will accompany the MTP in thenew Core Digital truck includes the Telex RTS Adam Intercom System, andIkegami HD 12-bit CCD HK-790 and HK-79D cameras.
For more, visit Core Digital Technologies online at www.coredigitaltech.com.
Dupaix Marketing Assumes TK Group
Effective January 1, 2002, Dupaix Marketing (Salt Lake City) andConsulting Inc. assumed ownership of the TK Group, an independentmanufacturer’s rep firm located in Bountiful, Utah. The company willcontinue to do business as the TK Group, with Steve Dupaix as presidentand Sam Keiser as VP. Dupaix will also take over day-to-day operationsand focus on key corporate development opportunities. Both Keiser andDupaix will be involved in all represented lines and will providesupport and technical training in all areas of the business.
Fairlight Appoints Chris Pelzar to CEO
Fairlight ESP today announced the appointment of noted industryveteran Chris Pelzar to the position of CEO at Fairlight USA, who willbe based at the Fairlight New York office.
“Chris Pelzar’s record speaks for itself,” Fairlight ESP executivedirector Kim Ryrie said. “His experience, organizational skills,understanding of this market and his commitment to customer care willadd significantly to the value that Fairlight already brings tocustomers in the United States.”
Chris Pelzar joins Fairlight with over 20 years of experience in theprofessional audio industry. He previously held the titles ofpresident of his own independent manufacturers rep firm, actingpresident of WaveFrame Corporation, VP and executive VP of sales andmarketing at AMS Neve, and most recently, president of sales atEuphonix.
“I have been extremely privileged to work with great people andexciting technologies at my previous positions,” Pelzar said. “But thechance to lead such an excellent and intelligent team at Fairlight USA,and to work with the brand-new DREAM Series technology represents thetrue opportunity of a lifetime.”
Looking forward, Pelzar says his mission at Fairlight will be torededicate the company to its core strengths in sound design,post-production and mixing. “Fairlight USA has done a terrificentrepreneurial job over the past five years in building the brand anddeveloping the infrastructure to serve its customers. Now is the timefor us to take that program to an even higher plane and show ourcustomers in the United States the many positive ways that ourtechnology can impact their businesses,” Pelzar said. “I am verypleased to lead that effort, and I am confident that we can achieve ourgoals.”
Pelzar also said that an immediate objective of his is to expandFairlight’s sales and support center in Los Angeles and to open acenter in the Midwest. “With the DREAM Series, Fairlight has asignificant technology lead over our competition. To build on thisadvantage and to support our client base, we are committed toincreasing our presence in these markets, and we’re already receivingcalls from some highly qualified individuals.”
For more, visit www.fairlightesp.com.au.
JEMS Data Hires Joel Fosmire
JEMS Data Unlimited (Salem, N.H.), a supplier of high-performancedigital storage solutions for multimedia, prepress and imagingapplications, hired Joel Fosmire to help launch its new Audio StorageDivision.
As JEMS audio division sales manager, Fosmire will focus onbolstering JEMS reseller channels through sales and marketing programsdirected at the audio storage market.
“JEMS has always had the reputation of a ‘video storage’ provider,whose solutions crossed over into the audio side of the market,” saidMatt Goulet, sales and marketing manager for JEMS Data Unlimited. “Ourproduct line has always been viable for audio applications. Now webring to the market a true focus on application-specific solutions,years of audio experience and relationships with manufacturers thathave been forged over a number of years. We are excited to have Joel asa member of the JEMS team.”
In addition to their existing JEMINI Cougar and BLOX product lines,JEMS will release their new Custom Options Rack and Fire Vaultsolutions. The JEMINI COR is a 3U, rackmount solution that will house acombination of removable high-performance disk drives, CD burner andtape backup solutions. The Fire Vault is a removable FireWire storagesolution capable of providing transfer rates in excess of 60 MB/sec andcapacities over 220 GB in a compact, desktop footprint.
In other company news, Ed Bacorn was hired to bolster JEMS StorageArea Network Division. “Along with his years of SAN experience, Edbrings to JEMS a true understanding of the audio/video storage marketsand relationships with most of the major non-linear editing and digitalaudio workstation manufacturers,” said Goulet. It’s exciting for us toadd someone like Ed as a resource for our resellers and customers, ourdevelopment partners and the JEMS team.”
Fore more, visit JEMS online at www.jemsdata.com.
Snow Sound Celebrates 25 Years
Snow Sound Inc. (Berlin, Conn.) has just celebrated its 25th year inthe sound reinforcement industry. Founded in 1977 by Brad Snow, thecompany has become synonymous with quality reinforcement of symphonyorchestras and music festivals throughout the Northeast. Nationally,Snow Sound provides industrial reinforcement and tours with Phish andthe Trey Anastasio Band.
Snow Sound currently relies on L-Acoustics V-DOSC, McCauley EagleArray, Adamson Engineering and E-V X Array components for FOH andmonitor systems.
Snow Sound also specializes in the sales, development andapplication of installed sound systems utilizing the L-AcousticsV-DOSC, dV-DOSC and Arcs elements. Other aspects of its businessinclude rentals to the education and theater communities and the saleof professional equipment to a broad clientele.
For more, visit www.snowsound.com.
Cinema Audio Society Awards Nominees Announced
The 2001 Cinema Audio Society Awards for Outstanding Achievement inSound Mixing have been announced. The winners will be revealed at theannual Cinema Audio Society Awards Banquet on March 9, 2002. This year,the banquet will be held in the Grand Ballroom of the SheratonUniversal Hotel.
The nominees are:
For Outstanding Sound Mixing for Motion Pictures: Black HawkDown; The Lord of the Rings: Fellowship of the Ring;Moulin Rouge; Pearl Harbor; and Shrek.
For Outstanding Sound Mixing for Television – Series: CSI: CrimeScene Investigation, “Caged”; Law and Order, “Soldier ofFortune”; NYPD Blue, “Johnny Got His Gold”; Six FeetUnder, “Pilot”; and The Sopranos, “Pine Barrens.”
For Outstanding Sound Mixing for Television – Variety or MusicSeries or Specials: Bill Moyers Reports: Earth on Edge; DivasLive, Aretha Franklin; MTV Video Music Awards; WhenDinosaurs Roamed America; and Wingspan.
For Outstanding Sound Mixing for Television – MOW’s and Mini-Series:”Anne Frank, Part 1″; “Band of Brothers, Part 2”; “Jazz, Part 1”; “TheLost Battallion”; “61”; and “Uprising, Part 2.”
It is also with great pleasure that the Cinema Audio Societyannounces that it will be bestowing this year’s CAS LifetimeAchievement Award to sound designer and editor Kay Rose, whose 54-yearcareer includes sound for some of the great classics of cinema in thesecond-half of the 20th century.
Some of her credits include Mark Rydell’s film The River, inwhich Rose won the Oscar for Best Achievement in Sound Editing and BestSound Editing from the Motion Picture Sound Editors, The Rose,Ordinary People, On Golden Pond, The Prince ofTides, For the Boys, The Way We Were, TequilaSunrise, Milagro Beanfield War, Looking for Mr.Goodbar, Wrong is Right, The Professionals, TheCowboys, Paper Moon, California Split, Crimes ofthe Heart, Frances, All of Me, Where’s Poppa?,Nickelodean, Daisy Miller, Bite the Bullet, NewYork, New York, The Candidate, Cinderella Liberty,Medium Blue, The Fox, and The Pit and thePendulum.
Audio-Technica Mics at Olympics 2002
NBC Olympics, the division responsible for the U.S. broadcast of theWinter Olympics this year, working in conjunction with InternationalSports Broadcasting (ISB), the host audio/video provider, has made asolid commitment to provide the most complete and intensive coverage ofthe Winter Olympics ever. As part of that effort, NBC has selectedAudio-Technica microphones as a critical component of their extensiveaudio equipment array.
“We’re going to be using a wide selection of Audio-Technicamicrophones to capture the sound and drama of the events,” stated BobDixon, project manager/sound design for NBC Olympics. “The crisp andaccurate imaging [the microphones] offer will help us make theexperience that much more exciting for viewers.” Stereo sound will playa key role in creating enhanced realism in NBC’s broadcasts. Dixonnotes that all of NBC’s handheld field cameras will have AT-815STStereo Shotgun Microphones mounted on them. “When we cut to one ofthose cameras and open up the microphones, viewers will hear a stereoimage containing not only the left and right placements, but some ofthe depth of the action as well. We’ll also be using the AT-815STand AT-835ST Stereo Shotgun Microphones to capture stereo crowdambience,” he adds. “That really gives viewers a much better sense ofwhat it’s like to be at the venues.
“A-T microphones, with their ability to accurately image andreproduce the sounds of the events, will play a substantial role in ouroverall sound design. We’re looking forward to an exciting andgreat-sounding Winter Olympics this year,” says Dixon.
Euphonix Awards Distributor Technical Audio Group
Euphonix (Palo Alto, Calif.) presented its “Distributor of the Year”Award to Australia’s Technical Audio Group (TAG). The pro audio companysells and services Euphonix consoles and digital peripherals throughoutAustralia. The award was presented at the ENTECH 2002 exhibition inSydney, Australia.
“Alistair Dewer at TAG has done an exceptional job meeting clients’requirements and following up with great service,” commented RussellWaite, director of International sales for Euphonix. “The attention tothe broadcast market has really paid off — working with the AustralianBroadcast Corporation has brought in our largest single order forSystem 5B ever.”
TAG sold 11 System 5 consoles in 2001, 10 of which are scheduled forthe Australian Broadcast Corporation (ABC). The consoles will beinstalled in ABC’s new “Ultimo” broadcast facility and OB vans to bestationed in major cities throughout Australia. In December 2001, TAGreceived an order from the Sydney Opera House for a System 5 to beinstalled in the Opera Theater.
Additionally, TAG has aided with the installation of the first ofthree System 5B consoles at Channel 7’s brand-new, state-of-the-artbroadcast center in Melbourne, Australia.
For more, visit Euphonix at www.euphonix.com, or Technical AudioGroup at www.tag.au.com.
Euphonix Goes Private
Euphonix (Palo Alto, CA) announced on February 7, 2002, that itsboard of directors unanimously approved the filing of Form 15 with theSecurities and Exchange Commission. Filing Form 15 allows Euphonix tosuspend its obligations to file periodic reports with the Securitiesand Exchange Commission, including Forms 10-Q and 10-K. As a result,Euphonix is now a privately held company.
Euphonix also recently garnered the necessary shareholder approvalfor its $6.0 million line of credit secured in November 2001, and therestructuring of the company’s existing promissory notes, whichincluded extending the maturity dates to December 2003. The $6.0million line of credit will be used to support investment innew-product development and future operations.
Chairman of the Board, musician and filmmaker, Dieter Meierexplained the reasoning behind the new investment and the company’sgoals: “To aggressively attack the large-format post and broadcastmarket, my group of investors recently decided to commit sufficientfunds in the order of $6 million. I want to make Euphonix veryprofitable and very strong…we are in business for the longhaul.”
For more, visit www.euphonix.com.
JBL Awards Mark Gander, Announces New Hire
Mark Gander, VP of marketing for JBL, was awarded the JBLProfessional (Northridge, Calif.) “Golden Speaker Award” for his 25years of dedication to the company.
Michael MacDonald, JBL Professional president, presented the awardduring the company’s annual holiday party. “Mark is one of JBL’snot-so-secret weapons. He’s the first and last stop for audioinformation at JBL Professional. We are privileged to have him on ourteam,” explained MacDonald.
The award was a surprise to Gander, who was asked to say a fewwords: “It’s been quite a ride. I’ve been fortunate in my career at JBLto have been able to serve in a wide variety of capacities. Throughoutmy time, it’s always been the people and the products — thewonderfully dedicated people here and the innovative products wegenerate to serve our customer’s needs — that have made thedifference. I look forward to many more years of contributions atJBL.”
In other company news, Richard Ngo-Tran was appointed to theposition of music industry product manager. Ngo-Tran will beresponsible for new product development, industry research and existingproduct line support.
“We are very pleased to have Richard on our staff,” commented GeraldTschetter, director of music industry marketing for JBL. “We’reconfident that his background in many areas of marketing will provideJBL with a fresh perspective and approach.”
Visit JBL online at www.jblpro.com.
Country Music Rebel Waylon Jennings Dead at 64
LOS ANGELES (Reuters) — Hell-raising country music icon WaylonJennings, who escaped death by giving up his seat on Buddy Holly’splane and helped launch Nashville’s “outlaw” movement with WillieNelson, died on Wednesday, February 13, 2002. He was 64.
The deep-voiced Texas troubadour “died very peacefully in his sleep”at his home outside Phoenix, spokeswoman Schatzi Hageman said. Jenningshad battled diabetes and related illnesses, and last year had his leftfoot amputated. Nonetheless, he still had concert dates booked for thecoming months.
Disillusioned by country music’s slickness in the early 1970s,Jennings brought a rock ‘n’ roll sensibility to the genre and crossedover to mainstream fans. He enjoyed such hit songs as “Luckenbach,Texas,” “Good Hearted Woman” and the Grammy-winning duet with WillieNelson, “Mammas Don’t Let Your Babies Grow Up To Be Cowboys.”
His 1976 album, Wanted: The Outlaws, which also featured hiswife, Jessi Colter, Nelson and singer/producer Tompall Glaser, was thefirst country album to be certified Platinum. He also wrote the populartheme to the 1970s television series The Dukes of Hazzard.
Overall, the two-time Grammy winner (for the 1968 cover of”MacArthur Park”) recorded dozens of albums and had 16 Number Onecountry singles in a career spanning five decades. He was inducted intothe Country Music Hall of Fame last October, but was too ill to attend.Ill health had plagued him since the late 1980s, when he had a tripleheart bypass, and he was forced to use a wheelchair in recentmonths.
Jennings lived an appropriate wild life in his younger days. In thelate 1960s, he shared an apartment in Nashville with Johnny Cash aftertheir respective marriages had broken up, and the duo lived high onmethamphetamines and general destruction. After Cash remarried and gotsober, Jennings complained in 1974 that Cash had “sold out toreligion.”
Jennings, too, gave up the drugs, but as recently as 2000, he saidreligion could be “a bad crutch.”
“For Waylon, it was always about the music,” said Joe Galante,chairman of the RCA Label Group/Nashville, which was Jennings recordinghome for many years. “The only spotlight he ever cared about was theone on him while he was onstage. It wasn’t about the awards or events.He was an original and a pioneer in terms of creating his own sound.This is a great loss for the music world.”
In the mid-1980s, he and Nelson formed The Highwaymen, a “superstar”quartet that also included Cash and Kris Kristofferson.
TWIST OF FATE
Born June 15, 1937, in Littlefield, Texas, and raised on the musicof Jimmie Rodgers and B.B. King, Jennings got an early start in theindustry. He became a radio DJ at the age of 12, dropped out of highschool in the 10th grade, and befriended fellow Texan Buddy Holly aftermoving to Lubbock to work at a station there.
Jennings credited the rock ‘n’ roll pioneer with bestowing”attitude” upon him.
“He loved music, and he taught me that it shouldn’t have anybarriers to it,” Jennings once said.
Holly produced Jennings’ first album and hired him as a bass playerfor his 1959 tour of the Midwest with Ritchie Valens and J.P. “the BigBopper” Richardson.
After a February 2 show in Clear Lake, Ia., an exhausted Hollychartered a small plane to get to the next gig. Jennings gave up hisseat to the Big Bopper, who was suffering from the flu and did not wantto ride in the bus.
The plane crashed soon after takeoff in the early hours of February3, killing Holly, Valens and the Big Bopper. For years, Jennings washaunted by a joking exchange he had had with Holly, as he related inVH1’s Behind The Music.
“Buddy was leaning back against the wall in this cane-bottom chairlaughing at me. He says, ‘You’re not going on the plane tonight, huh?’I said, ‘No.’ He said, ‘Well, I hope your bus freezes up.’ And I said,’Well, I hope your plane crashes.’ I was awful young, and it took me along time to get over that.”
Jennings formed his own group, The Waylors in 1963, and developedhis own style by merging a soulful vocal with an eclectic repertoire.He was signed to RCA Records by Chet Atkins and had Top Five hits in1968 with “The Only Daddy That’ll Walk the Line” and “Walk Out On MyMind.”
He recorded several songs for the soundtrack album of NedKelly, which starred Rolling Stone Mick Jagger.
OUTLAW ROOTS
Despite his success, Jennings never fit into the Nashville’spop-influenced hit-making machine, where the songwriters and producersheld sway over the artists. He started producing his own records,hiring his own musicians and stripped the music to its honky-tonk andwestern swing roots.
Albums like Ladies Love Outlaws (1972) and Honky TonkHeroes (1973) helped pave the way for the “outlaw” movement, aninformal grouping with a fluid membership of artists who came and went.He and Nelson also recorded three duet albums.
This new form of progressive country music expanded the market forthe country genre and sowed the seeds for the country megastars whowould burst onto the scene two decades later.
By that stage, country veterans like Jennings and Cash were out offavor on country music radio, as the genre reverted to its slickstylings. Jennings’ later albums were inconsistent. His latest albumwas titled Never Say Die, LIVE.
Jennings also starred in a number of film and TV projects, includingMarried … With Children, in which he played a wizened mountainprophet, the Mel Gibson movie Maverick and a SesameStreet movie called Follow That Bird.
Weeks of February 18-28
SuperBowl Half-Time Mixed by Euphonix, Westwood One MobileTruck
Although football is the star of the day, SuperBowl Sunday is knownequally for its surprising TV commercials and lavish pre-game andhalf-time musical entertainment. This year was no exception, with PaulMcCartney warming up the audience before the game started and rockersU2 filling the gap between plays at half-time. Westwood One’s mobileaudio truck, outfitted with the Euphonix CS3000 digital control analogconsole, mixed the music for SuperBowl XXXVI’s estimated 130 millionU.S. television viewers.
“We’ve used the Euphonix CS3000 audio console for many livebroadcasts over the past five years. This audio remote truck is one ofthe busiest in the industry,” stated Biff Dawes, chief mobile engineerat Westwood One. “There’s really nothing that compares to the CS3000for complete control of a setup for analog audio. From the EQ, dynamicsand routing control to the way it sounds, it’s a fantastic livebroadcast console. And the fact that so much audio control fits intosuch a small place makes the CS3000 perfect for a remote truck.”
The Westwood One mobile truck was also used to mix Paul McCartney’spre-game musical performance, Mary J. Blige and Marc Anthony singing”America The Beautiful” and Mariah Carey singing “The NationalAnthem.”
Kirkegaard Associates Commissioned by Atlanta SymphonyOrchestra
The Board of Directors of the Atlanta Symphony Orchestra has hiredChicago-based Kirkegaard Associates as the acoustics consultants forthe new Atlanta Symphony Center.
“The new concert hall is to be a space that brings audience andperformers together in a close, shared experience of music andmusic-making,” commented Larry Kirkegaard, president and principalconsultant of Kirkegaard Associates. “[The Atlanta Symphony Center is]one that can be extraordinarily flexible in design to accomodate thelevel of inventiveness that the Atlanta Symphony Orchestra desires forits performances, and will support the full symphonic and choralrepertoire as well as yet unimagined music and performance needs forthe future.”
The vision for the new 2,000-seat concert hall was created by acomprehensive tour of existing concert facilities around the worldtaken by Kirkegaard Associates and Atlanta Symphony Orchestrarepresentatives. “The process of listening, talking with orchestramembers, management representatives and patrons in these venues wasinvaluable in helping to define a sound, feel and ambience that will beuniquely Atlanta’s own,” said Kirkegaard.
“Excellence of sound is the top priority for the new hall,” saidAllison Vulgamore, president of the Atlanta Symphony Orchestra.
For more on Kirkegaard Associates, visit www.kirkegaard.com.
Erik Papp Named New President of Summit Audio
Summit Audio (Anaheim, Calif.), manufacturer of tube-based audioprocessors, has appointed Erik Papp as its new president
Papp had his first experience with Summit Audio at the age of eight,when he helped his father and former president of Summit Audio, MikePapp, make company brochures and has since learned every aspect of thecompany by working closely with his father. Papp’s business skills werealso evident when he successfuly ran a mobile DJ company, SelectiveSounds, at the age of 14 with a partner of the same age.
“I can’t think of anyone who has a better understanding of thiscompany’s past and present, as well as a clear vision for its futurethan Erik,” commented Mike Papp, who will remain with the company as aconsultant and will lead new-product R&D. “His combination ofbusiness smarts and audio know-how, in addition to his energy andpassion, makes him an ideal choice to lead this company as it continuesto grow and expand. Also, in this business, having a sense of humordefinitely helps. The future of Summit Audio is in the righthands.”
Erik Papp’s primary focus will be on managing Summit’s day-to-dayoperations, as well as exploring new ways to develop the businessthrough strategic planning, financial management and evaluation of newopportunities. He will also work closely with Summit’s sales team,dealing directly with distributors and customers.
“I literally grew up with this company, acquiring the same valuesthat made Summit what it is today,” said Erik Papp. “I will only expandupon what I know and what I have learned, and moving up to the positionof president is not just the best step for me, but the best step forSummit Audio.”
For more, visit www.summitaudio.com.
New U.S. Audient Distributor
Audient announced the appointment of ATI Group Distribution (Jessup,Md.) to handle the U.S. sales and marketing responsibilities forAudient’s mixing consoles, surround sound processors and graphicEQs.
ATI Group Distribution, the newly formed distribution division ofthe ATI Group, officially took on these responsibilities on February 1,2002, and will work closely with Audient worldwide sales and marketingpartner Expotus to launch the U.S. territory strategy.
Gareth Davies, Audient co-founder, commented: “We have known andworked with the people at ATI for many years in some cases, and we allshare the same passions and excitement for our industry and customers.ATI is a perfect partner for Audient in the U.S. market, and we’relooking forward to working together to build on the success that hasalready been achieved there.”
For more, visit www.audiotoys.com.
Mackie D8B Mixer Used at Winter Olympics
Ed Greene, an industry veteran whose experience includes the Oscar,Grammy and Emmy Awards, was the engineer responsible for providing theaudio feed to all of the radio and television networks that broadcastedthe Winter Olympic’s Opening Ceremonies. At the center of Greene’sarsenal was a Mackie Digital 8 Bus (D8B).
“The D8B is truly a great-sounding desk,” Greene commented. “I hadoriginally set it up just to run the rehearsals, but it sounded sogreat and worked so well that I decided to leave it connected for thewhole Opening Ceremony. I fed the entire broadcast through the D8B, andit worked flawlessly. I’ll use the same setup for the ClosingCeremonies.”
“We are proud that billions of people around the world heard thesounds of the Opening Ceremonies of the Winter Olympics in Salt LakeCity through a Mackie Designs’ Digital 8 Bus mixer,” said Jamie Engen,CEO of Mackie.
For the Olympics, everything from music and live vocals to dignitaryspeeches and audience response was sent through the D8B to a massiveglobal audience. Also on hand was a Mackie 32 8 analog console. Greenesaid, “The 32 8 provided several auxiliary sources. I had a number ofproduction mics connected to it. I also used it for metering. As withthe D8B, the 32 8 worked perfectly and sounded fantastic.”
For more on the Mackie D8B, visit www.mackie.com.
Judge Hands Napster Small Win in Copyright Lawsuit
SAN FRANCISCO (Reuters) — A federal judge handed Napster a smallvictory on Friday, giving the once high-flying song swap service timeto gather evidence before ruling on a recording industry request forsummary judgement in its copyright infringement lawsuit.
U.S. District Court Judge Marilyn Hall Patel agreed with Napsterthat more time was needed to decide who owns the rights to musicalworks involved in the recording industry’s lawsuit against Napster.
She also allowed Napster to gather evidence of the record labels’alleged misuse of copyright to monopolize the digital distributionmarket, saying the potential harm to the public could be “massive.”
“Plaintiffs’ allegedly inequitable conduct is currently ongoing andthe extent of the prospective harm is massive,” Patel said in a 32-pageruling. “If Napster is correct, plaintiffs are attempting the nearmonopolization of the digital distribution market.”
The ruling follows a hearing Jan. 23 when Patel delayed issuing adecision in the lawsuit for 30 days to give both sides time to reach asettlement. That stay expired last Sunday, however, without anagreement.
Patel on Friday also ordered both sides to submit relevant documentsto a court-appointed Special Master within the next few weeks, and sheset up a status conference hearing on March 27.
Representatives of the Recording Industry Association of America(RIAA), which represents the major labels in their lawsuit againstNapster, could not be reached for immediate comment.
NAPSTER EMBRACES RULING
But Napster officials embraced the ruling, saying they wouldcontinue to fight the lawsuit while engaging in settlementdiscussions.
“We are pleased that the Court granted Napster’s request to examinetwo critical issues: the record companies’ ownership of artists’copyrights and anti-competitive behavior that amounts to misuse oftheir copyrights,” Napster general counsel Jonathan Schwartz said in astatement.
Napster, once the high-flying pioneer of online music swapping, hasbeen sidelined since last July as a result of a preliminary injunctionissued by Judge Patel in March last year, barring the trade of anycopyrighted material on its site.
The injunction came at the behest of major record labels, which suedthe company in 1999, accusing it of facilitating copyright infringementby allowing digital versions of their artists’ songs to be shared forfree, in many cases thousands of times each.
Napster last month launched a test version of its newcopyright-compliant service in a bid to get back in business, althoughit will not feature copyrighted music from major labels.
It also remains unclear how many of the some 60 million people thatNapster attracted at the height of its popularity will return to theservice, which now faces online music swapping rivals such as Morpheus,KaZaA and Gnutella.
The big recording labels arrayed against Napster include AOL TimeWarner Music, EMI Group, Bertelsmann, Universal Music and SonyMusic.
Bertelsmann has subsequently become a major investor in Napster andis working to restart the service.
Phil Ramone To Be Presented Lifetime Achievement Award
Legendary producer Phil Ramone will be honored for his contributionsto the music industry on February 28, 2002 (the night after the 44thAnnual Grammy Awards), at the Beverly Hills Hotel in Los Angeles. Knownfor his work with dozens of top artists, including Billy Joel, PaulSimon, Barbra Streisand, Frank Sinatra, Paul McCartney, Bob Dylan andGloria Estefan, Phil Ramone will be the first recipient of the LexiconLifetime Achievement Award — created to recognize and honor trueinnovators for their outstanding achievements in the recordingindustry.
By the early 1960s, Ramone had his own independent studio, A&RRecording, where he began his work with legendary jazz musicians JohnColtrane and Stan Getz. Ramone engineered the popular Getz/Gilbertoalbum, which earned him his first Grammy for Best Engineered Recordingin 1964. He then went on to work with more “pop-oriented” artists suchas Quincy Jones and Burt Bacharach. In 1975, he won a Grammy for Albumof the Year as producer of Paul Simon’s Still Crazy After All TheseYears. The Billy Joel album The Stranger earned Ramone the1977 Record of the Year Grammy for the hit single “Just the Way YouAre.” Today, Ramone’s discography reads like a “Who’s Who” of the musicindustry.
On the technical side, Ramone is responsible for many innovationsthat have changed the way music is recorded and delivered, including:first use of solid-state console for recording and mastering SolidState Records; first Dolby 4-track discrete sound with the 1976 pictureA Star is Born; first use of satellite link between a Burbank,Calif., studio and Todd-AO for A Star is Born; first Dolbyoptical system (EDNet) to record tracks in real time from differentlocations for Frank Sinatra’s Duets I & II; and the firstuse of digital live recording for Songs in the Attic, whichpaved the way for the widespread use of the CD in the pop musicworld.
Today, Ramone remains a cornerstone of the music industry and holdsthe position of chairman of the Producer & Engineer Wing AdvisoryCouncil with the National Academy of Recording Arts & Sciences.
The event is co-sponsored by Lexicon and the Harman ProfessionalGroup, with the reception being hosted by the Producers & EngineersWing of the Recording Academy.
“Film Editing” Book Now Available
Manchester University Press has published Don Fairservice’s FilmEditing: History, Theory and Practice: Looking at the Invisibile.Fairservice is an award-winning freelance film editor who has taught atThe National Film and Television School and The Northern Film School,Leeds. His credits include a number of TV movies and miniseries,including The Railway Children, Deja Vu, The ScarletTunic, The Hanging Gale, and A Very British Coup, forwhich he won the BATFA TV Award for Best Editor in 1989.
The book delves into the film-editing craft, from the beginning ofcinema to the present day, looking at not only the “hows” but also the”whys” of film editing. Fairservice explores the challenges toconvention that began in the 1960s and which continue to the presentday, including new digital technologies and the dominance of movingimages and how they relate to film editing.
Film Editing: History, Theory and Practice is distributedexclusively in the U.S. by Palgrave. List price: $29.95.
For ordering information, visit www.palgrave-usa.com.
Roger Waters Taps Mackie D8B
Former Pink Floyd member Roger Waters has come up with a new ideafor location recording and songwriting. With a little help from hisco-producer, Nick Griffith, Waters has assembled three identicalcompact recording rigs that can be easily transported and assembledanywhere in the world.
At the center of his three traveling rigs are a Mackie Digital 8 Busrecording console and an Apple Titanium PowerBook running LogicAudio.
Griffith, who has worked with Pink Floyd since the ’80s, wasfrustrated by problems he often encountered when setting upsophisticated studios in Rogers’ homes around the world: “When Rogerwas in Barbados, it could often be a problem to find technical peopleto set up and sort out problems onsite. I wanted a foolproof systemthat could be unpacked and setup by anyone. Having worked with Rogerfor years, I know his exact requirements. The Mackie D8B was our firstchoice for a mixer because it’s a very powerful tool, operates justlike a traditional desk, has fully re-settable automation and soundsfantastic. Mackie also provides tremendous support throughout theworld, which was essential.”
Water’s rigs contain a varied selection of tools including Amek/NeveRN9098 mic preamps, Apogee 888 digital I/Os, Neve and dbx compressors.For recording mediums, there are CD burners, DAT machines and Glyph 18and 80GB hard drive systems. Keyboard control is via a custom-made,fully weighted classical keyboard from Manga Music, controlling a fullyloaded Emu E4, which contains complete orchestra and band setups.
Internet Music Piracy Gets Into Swing
GENEVA (Reuters) — A ground-breaking international pact to protectmusicians and the multi-billion dollar recording industry from Internetpiracy will finally go into force in May, a United Nations agencyannounced on Thursday, February 21, 2002.
Over five years after the treaty was signed, the necessary number ofratifications for it to take effect was achieved on February 20, whenHonduras became the 30th country formally to join, the WorldIntellectual Property Organization (WIPO) said.
The treaty — the WIPO Phonograms and Performances Treaty (WPPT) –bars the unauthorized exploitation of recorded or live musicalperformances on the World Wide Web.
The international music industry regards the pact, which formallytakes effect on May 20, as crucial to plans to develop onlinedistribution of music.
“This treaty provides the first global copyright framework forrecord labels and performers in the digital era, and provides essentialtools for the industry to do business in the online world,” said JayBerman, chairman of record industry association, IFPI.
There are no consensus figures for the cost to the music industry ofInternet piracy.
But the International Intellectual Property Alliance (IIPA), a U.S.pressure group, calculated that U.S. industry lost $2 billion in 2001,up from $1.8 billion the year before, from copyright piracy of musicand records.
Together with a sister pact on protecting the copyright of authorsand publishers, due to come into force in March, the new treaty willbring “international copyright law in-line with the digital age,” WIPOsaid in a statement.
The IFPI said that the treaty would “benefit all record companiesglobally — independent and major record labels — in developing anddeveloped countries.”
Under both treaties, countries guarantee the rights of “creators,performers and recording producers to control and/or be compensated forthe various ways in which their work is used or enjoyed by others,”WIPO said.
It noted that the music business pact would also give recordingartists and record companies the right to use technology to prevent theunlicensed reproduction of their work on the Internet.
The United States was among the first states to ratify the pact,which only has the force of law in those countries that have adoptedit.
Ratification in the European Union is taking longer because thebloc’s 15 members all have to bring their domestic legislation intoline. But this process is expected to be completed by the end of theyear.
“Of course, we want all countries covered, but this is an importantpolitical statement,” said Jorgen Blomqvist, director of WIPO’scopyright law division.
New Hires at HSR Studios Open Rebuilt Rooms
Veteran mixers Glenn Navia, Henri Perotti and Bill Smith and musicdirector Andrew Knox have joined New York City-based HSR Studios. HSRStudios serves feature film, advertising, television, radio, Internet,and corporate and industrial clients.
For the new hires, company founder and CEO Howard Schwartz rebuiltfour of his 15 audio-for-video studios and has invested in threeFairlight DREAM (Digital Recording Editing and Mixing) Satellitedigital audio workstations, a Fairlight MediaLink server and aFairlight ServerSound library system, the M Soft sound effects andstock music database, two new Digidesign Pro Tools with ProControllers, and three new Soundtracs digital mixing consoles,including two Soundtracs DPC-IIs and a Soundtracs DS-3 console.
“I scouted Glenn, Henri, Bill and Andrew for a number of years,”explained Schwartz. “Now, the timing is right. Having lived throughfour ownerships, they were looking for continuity, a place where theycould count on the management. Their skills perfectly complement thoseof our other staff mixers/sound designers Fernando Ascani, Bill Higley,Roy Latham, Kevin O’Leary, John MacDonald, George Meyer, Steve Rosenand Brian Tarner. They bring a great client base that enhances our own,and they instantly fit in with our culture. The addition of thistalented quartet to our team gives HSR Studios the strongest, mostcreative staff to be found anywhere in our industry.”
Navia has taken up residence in HSR’s Studio 12. For eight years atSuperdupe, Navia lent his expertise and concentrated his skills oncommercial and promo projects for television and radio campaigns forcable networks including ESPN, HBO, MTV, VHl and Nickelodeon, as wellas advertising agencies including BBDO, Young & Rubicam, DDBNeedham, FCB and Bozell.
Today, Perotti is ensconced in HSR’s Studio B, after 23 years atSuperdupe, where he lent his talents to a wide range of television andradio campaigns for the country’s foremost advertising agencies,including BBDO, Ammirati Puris Lintas, Young & Rubicam, Kirshenbaum& Bond, Saatchi & Saatchi, Devito Verdi and DDB Needham, amongmany others.
HSR’s Studio 7 is home to Smith who, at Superdupe for the last 18years, mixed for high-end clients including Young & Rubicam, AristaRecords, BBDO and DDB Needham, among others. Smith took a five-yearbreak from mixing and worked as a producer for CBS Records CreativeServices doing commercials.
Knox has settled into HSR’s music library studio. “This is a newarea for us,” explained Beth Levy, president of HSR Studios. “WithAndrew onboard, clients can have a more personal, hands-on interactionwhen picking music and sound effects. Andrew has a thorough knowledgeof all the libraries and an intense musical background, and clients canfeel comfortable having their music needs met, whether it is from ourmyriad libraries or original compositions.” Knox joined Superdupe inNovember 1998, as music director evaluating projects and makingrecommendations for clients including BBDO, Young & Rubicam, ESPN,MTV, VH1, Deutsch, Lowe/Lintas, Sawyer Miller Group and Sudler &Hennessey.
HSR Studios is headquartered at 420 Lexington Ave., Suite 1934, NewYork, NY 10170; 212/687-4180; fax 212/697-1675.
DVD Entertainment 2002 Conference Set for August
The annual DVD Entertainment 2002 Conference & TechnologyShowcase, produced by the International Recording Media Association(IRMA) and United Entertainment Media’s (UEM) Medialine magazine, willreturn to Universal City, Calif., this coming August 21-22. Hosted atthe Hilton Universal City & Towers, the event is where the mostinfluential names in DVD entertainment learn from the industry’sleading consultants, designers, publishers and producers.
DVD Entertainment 2002 is an executive-level seminar andcomprehensive showcase of DVD technologies for studios, labels,producers and facilities involved in the creation, production anddistribution of DVD-Video, DVD-Audio and DVD-ROM entertainment titles.The show has senior management-level focus and a hands-on “how-to”approach for new creative opportunities, solving digital productiondilemmas and expanding the variety of titles available toconsumers.
For DVD Entertainment 2002 registration information, contact IRMA at609/279-1700. For sponsorship or showcasing opportunities, contactLarry Spitzer at [email protected].
49th Golden Reel Awards Nominees Announced
The Motion Picture Sound Editors (MPSE; www.mpse.org) will holdthe 49th Annual Golden Reel Awards, honoring outstanding achievementsin sound and music editorial for the year 2001, on March 23 at theCentury Plaza Hotel in Century City, Calif.
Last year’s big winners were Gladiator, which took the price forBest Sound Editing – Sound Effects and Foley, and Crouching Tiger,Hidden Dragon, which won Best Sound Editing – Dialog and ADR. ChickenRun was honored with the award for Best Sound Editing in AnimatedFeature Film – Music.
This year’s nominees are:
Best Sound Editing in Feature Film – Sound Effects/Foley
* A.I. Artificial Intelligence
* Black Hawk Down
* The Fast and the Furious
* Jurassic Park
* Lara Croft: Tomb Raider
* The Mummy Returns
* Pearl Harbor
* Planet of the Apes
* Spy Game
Best Sound Ediitng in Feature Film – Dialog and ADR
* A.I. Artificial Intelligence
* A Beautiful Mind
* Black Hawk Down
* Cats and Dogs
* The Fast and the Furious
* Ocean’s Eleven
* Pearl Harbor
* Planet of the Apes
* Spy Game
* Vanilla Sky
Best Sound Editing in Feature Film, Foreign
* Amelie
* Behind the Sun
* Enemy at the Gates
* Harry Potter and the Sorcerer’s Stone
* Lord of the Rings: Fellowship of the Ring
* Moulin Rouge
* The Princess and the Warrior
* Time and Tide
Best Sound Editing in Animated Feature Film – Sound
* Atlantis: The Lost Empire
* Final Fantasy: The Spirit Within
* Jimmy Neutron: Boy Genius
* Monsters, Inc.
* Osmosis Jones
* Shrek
Best Sound Editing in Animated Feature Film – Sound
* Atlantis: The Lost Empire
* Final Fantasy: The Spirit Within
* Jimmy Neutron: Boy Genius
* Monsters, Inc.
* Osmosis Jones
* Shrek
Best Sound Editing in Feature Film – Music, Feature
* Ali
* A Beautiful Mind
* Black Knight
* Focus
* The Lord of the Rings: The Fellowship of the Ring
* Vanilla Sky
Best Sound Editing in Animated Feature Film – Music
* Jimmy Neutron: Boy Genius
* Monsters, Inc.
* Shrek
Best Sound Editing in Television – Effects and Foley,Episodic
* Buffy the Vampire Slayer “The Gift”
* CSI: Crime Scene Investigation “35K, O.B.O.”
* The District “Cop Hunt”
* ER “The Crossing”
* Smallville “Pilot”
* Third Watch “Honor”
* UC: Undercover “Pilot”
* X-Files “Daemonicus”
Best Sound Editing in Television – Dialog and ADR -Episodic
* Alias “Doppelganger”
* NYPD Blue “Johnny Got His Gold”
* Roswell “Baby, It’s You”
* Sex and the City “My Motherboard, Myself”
* Six Feet Under “Pilot”
* Third Watch “Honor”
* 24 “12:00 AM – 1:00 AM”
* UC: Undercover “The Siege”
* The West Wing “Manchester Part II”
Best Sound Editing in Television – Effects and Foley, LongForm
* Attila the Hun
* Clubland
* Fireball From Space
* The Killing Yard
* The Lost Battalion
* Robocop: Prime Directives
* Uprising
* When Billie Beat Bobby
Best Sound Editing in Television – Dialog and ADR, LongForm
* Attila the Hun
* Bojangles
* Jane Doe
* Life with Judy Garland: Me abnd My Shadow
* The Lost Battalion
* Ruby’s Bucket of Blood
* They Call Me Sirr
* Uprising
* Wandering Souls
* When Billie Beat Bobby
Best Sound Editing In Television – Animation
* Grim and Evil
* Heavy Gear
* Invader Zim
* Justice League
* The Legend of Tarzan
* Max Steel
* The Mummy
* Spongebob Squarepants
* When Dinosaurs Roamed America
* X-Men: Evolution
Best Sound Editing in Television – Music, Episodic LiveAction
* Ally McBeal “Cloudy Skies, Chance of Parade”
* Angel “Carpe Noctum”
* Buffy the Vampire Slayer “Once More With Feeling”
* The Drew Carey Show “Drew Carey’s Rock ‘N Roll Back To SchoolComedy Hour”
* Smallville “Pilot”
* The Sopranos “Mr. Ruggerio’s Neighborhood” “That’s LifeTouched by a Biker”
* Undressed “The Showdown”
* Xena: Warrior Princess “Old Ares Had a Farm”
Best Sound Editing in Television – Music, Movies (MOWs) andSpecials
* A Colder Kind of Death
* Dinner with Friends
* Jett Jackson: The Movie
* Judgment
* The Land Before Time VIII
* Life with Judy Garland – Me and My Shadows
* The Mists of Avalon
* Ruby’s Bucket of Blood
Best Sound Editing in Television – Music, EpisodicAnimation
* The Cramp Twins
* Dexter’s Laboratory
* House of Mouse
* The Legend of Tarzan
* Men in Black
* Spongebob Squarepants
* Teacher’s Pet
* The Weekenders
Best Sound Editing – Direct to Video
* The Christmas Angel – Manhattan Steamroller
* Fresh Aire VIII – Manhattan Steamroller
* Judgment
* Road to Redemption
* Scooby Doo and the Cyber Chase
* A Texas Funeral
* Tremors 3: Back To Perfection
Best Sound Editing – Made For Computer Entertainment
* Ambush
* Chosen
* Conquest Frontier Wars
* Metal Gear Solid 2
* Robert Williams Dream Detective
* Tribes 2
* X-Men 2 Mutant Academy
Best Sound Editing – Special Venue Film, Domestic andForeign
* The Human Body
* Majestic White Horses
* The Princess and the Pea
* Space
* Zinc Mining
T Bone Burnett, Al Schmitt Take HomeGrammies
At the 44th Annual Grammy Awards, held on February 27, 2002, at theStaples Center in Los Angeles, T Bone Burnett and Al Schmitt took hometheir own Grammy for Producer of the Year and Engineer of the Year,respectively.
What follows is a listing of the winners in the production andengineering categories. For a detailed look at these winners and theprojects that brought them the Grammy, check out the April issue ofMix. For a complete list of all the winners, check out www.grammy.com.
ALBUM OF THE YEAR
O Brother, Where Art Thou?, various artists. Producer: T BoneBurnett. Engineer: Mike Piersante.
RECORD OF THE YEAR
“Walk On,” U2. Producers: Brian Eno, Daniel Lanois. Engineers: SteveLillywhite, Richard Rainey
PRODUCER OF THE YEAR, NON-CLASSICAL
T Bone Burnett (O Brother, Where Art Thou?, various; DownFrom the Mountain, various; Fan Dance, Sam Phillips).
PRODUCER OF THE YEAR, CLASSICAL
Manfred Eicher (Haydn: The Seven Words; Leos Janacek: ARecollection; Hollinger: Schneewittchen).
BEST ENGINEERED ALBUM, NON-CLASSICAL
The Look of Love, Diana Krall. Engineer: Al Schmitt.
BEST ENGINEERED ALBUM, CLASSICAL
Leonard Bernstein — West Side Story Suite, Joshua Bell.Engineer: Richard King.
BEST REMIXED RECORDING, NON-CLASSICAL
“Thank You,” Dido. Remixer: Deep Dish.
