ProSound News - December 2008 - (Page 20)

[20] Marsh’s new mastering suite (www.stephenmarshmastering. com) on Cosmo Street has become a hot destination for soundtrack and score work. Marsh recently completed two soundtrack albums for Sex and the City, and mastered a third album of SATC score music with composer Aaron Zigman. Other recent soundtracks include Four Christmases and Nights in Rodanthe, and a score album for the upcoming adventure film, Inkheart. Other work at the new facility includes polishing exclusive content for the iTunes Music Store. Marsh recently completed iTunes Sessions for the Kills and the Morning Benders, and an iTunes Originals digital album for Staind. HOLLYWOOD, CA—Stephen Marsh Is Mastering Hank’s Best Yet by Christopher Walsh NASHVILLE, TN—Engineers, Jack Vad has chosen an array of PMC (www.pmc-speakers.com) AML1 5.0 active cabinets for the San Francisco Symphony’s various media productions. Vad’s 7.1-channel PMC monitoring array at his project studio comprises five IB2S cabinets for left, center, right, leftsurround and right-surround channels, plus a pair of PMC DB1S-A active nearfield cabinets for leftside and right-side channels. A pair of Bryston 4B and two Parasound A21 amplifiers power the multichannel IB2S system. IRVINE, CA—Engineer Vad Picks PMC archivists and country music fans are rejoicing at Hank Williams: The Unreleased Recordings, a box set that demonstrates the synergy of foresight, restoration technology and the artistry of audio professionals. The three-disc set from Time Life presents 54 of 143 performances Williams and his Drifting Cowboys recorded, between a busy touring schedule, for morning broadcast on Nashville’s WSM in 1951, sponsored by Mother’s Best flour. The recordings capture a jovial Williams and his band performing a huge variety of songs, providing a kind of anthology of Americana to contemporary music fans. Alan Stoker, recorded-sound and movingimage curator of the Country Music Hall of Fame and Museum, and mastering engineer Joe Palmaccio of The Place For Mastering, both in Nashville, relate that these recordings—released a decade after the 10-CD The Complete Hank Williams—feature the greatest capture of the artist’s voice. “Alan came up with a guess that seems to make sense,” says Palmaccio. “In ‘51, recording studios were not the epicenter of high tech; it was radio stations. They probably just knew how to do it better, knew how to record really well, and they did. They captured it beautifully. WSM, says Stoker, “was a 50,000-watt station and professional, so they had great mics, great engineers and great equipment. But they were basically direct-to-disc recordings. They went to a cutting lathe; they weren’t pressed. They sound better than the commercial recordings on Hank. They’re (continued on page 32) AMERICAN BUDDHA: America’s Got Talent winner Neal E. Boyd recorded at Phat Buddha Studios in St. Louis for Dick Clark Productions. Pictured at the Solid State Logic 6064 console in Studio A are (l-r): Seated—producer Chris Day and Boyd. Standing—Phat Buddha CEO Brad Goldenberg, CTO Doug Goldenberg and president Mike Landau. The Philly Sound is Gold PHILADELPHIA, PA—The ancient 1/4-inch tape winds through an old tape machine, sitting aside the SSL 4048E/G in the Augspurgerdesigned Studio A. The small tape box, list- ing a New York-based advertising agency, rests on the console. From the monitors, one very funky soul workout positively leaps out: Teddy Pender- grass, with Harold Melvin and the Blue Notes, implores listeners to “Come on up to the Kool taste.” A jingle, a long-ago banned radio or television advertisement for cigarettes, is a most unexpected and irresistible track, all present agree. This anecdote is peripheral to the business at hand, serving only to remind that the Sound of Philadelphia is quite a bit more than a slogan. Here at The Studio, a large, multi-room facility (Studio J features a 72-input SSL J Series console), owner Larry Gold continues a long and brilliant career. A Philadelphia native and onetime member of Kenny Gamble and Leon Huff’s instrumental outfit MFSB, Gold’s talent is clearly in great demand: Recently, he has arranged songs for Kanye West, N.E.R.D., Amos Lee, Ne-Yo, Justin Timberlake, John Legend, the Roots and James Morrison, among others. Indeed, The Studio is a nexus of Philadelphia’s music community. Roots drummer Ahmir Thompson, a.k.a. ?uestlove, has a personal studio onsite, while the diversity of artists represented by the gold and platinum records lining the walls mirrors the varied arrangements Gold brings to them. “Growing up in Philadelphia, I met the contractor of what eventually became the ‘Philly Sound,’ which was Cameo Parkway in those days, and whatever else was around at the time,” says Gold. A cellist and guitarist, Gold studied at Philadelphia’s Curtis Institute of Music, but was already playing gigs and sessions before he was 16. (continued on page 32) psn December 2008 http://www.stephenmarshmastering.com http://www.stephenmarshmastering.com http://www.pmc-speakers.com http://www.berlinerusa.com http://www.berlinerusa.com

Table of Contents Feed for the Digital Edition of ProSound News - December 2008

ProSound News - December 2008 Sound Business Contents Hank’s Best Yet Sound Recording Studio Showcase: Great City Productions Software Tech Tracks Sessions Anticipating Post’s Future Post Showcase: Eargasm HD Audio Post The Business of Being Creative Sound Innovations: VRsonics VibeStudio Spatial Design Suites Field Reports: Product Profiles Yes We Can Hear Obama Live Sound Showcase: Stone Temple Pilots Centerstage Soundcheck Sound People View From the Top Product Spotlight Classifieds Advertiser Index Company Index Music, etc

ProSound News - December 2008

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