DOCSLIB.ORG

Studio Action ARTISTS & MUSIC

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Studio Action ARTISTS & MUSIC Studio Action ARTISTS & MUSIC At New York's Nit Factory, Success Has Been A Family Affair BY PAUL VERNA At the time, the Hit Factory - parents that she was dropping out to NEW YORK -"Project studio" and which was located on West 48th join the studio staff. Although many "family business" are two of the last Street -needed to make a big splash parents would bristle at a child's phrases that come to mind when one to compete with the Record Plant decision to leave college, Ed was thinks of the Hit Factory. and the other top studios in New elated, and Janice was equally sup - A stroll though the studio's mar- York. Ed was counting on his friend porti re once she was convinced that ble entrance hall -lined with plati- John Lennon to deliver the goods, her daughter had made the right num awards and Grammy certifica- but Lennon decided to take a five - decision. tions- imparts a sense of awe not year hiatus in 1975. Fortunately for Asked how she keeps the Hit Fac- unlike what one feels walking into a the Hit Factory, Wonder booked tory's recording and mastering museum or jet cockpit. A ride in its three days at the studio in 1976. That rooms humming, Danielle echoes the slow- moving, wood-paneled freight booking evolved into a six-month ses- themes sounded by her brother and elevator sends a frisson of excite- sion that yielded his landmark album father. "I love what I do, and I like ment through one's veins. And a "Songs In The Key Of Life." By the every single person that comes in glance around any of its 15 state -of- time Lennon found his way back to here," she says. "They're friends to the -art rooms suggests a wealth the music business -and to the Hit me, and I try to do for them the best born of outside investments and cor- Factory-in 1980, the studio was one I can. My dad and my mom always porate partners. of the major players. told me, `We're in a service business.' However, owner /president Ed In 1981, Ed moved the facility to If a client calls at the last minute, I Germano insists that the Hit Facto- the address at 54th and Broadway do whatever I can to get them in." ry is both a family business and a that it still occupies. Since then, he While some top studios play fav- project studio. By that, he means The close -knit Germano family has run the Hit Factory since 1975. Pictured, from has steadily built the business from orites, displacing a lesser -known that the recording complex -which left, are owner /president Ed Germano, VP Danielle Germano, CFO Janice Ger- a small shop to one of the world's client if a superstar suddenly calls, he acquired in 1975 and has operat- mano, and executive VP Troy Germano. (Photo: Edward Malluk) great recording venues. the Germanos treat their customers ed with his wife, mother, and chil- Troy, 33, started hanging around equally. "You try to treat everybody dren ever since-has stayed on top recording studios when he was 8 the same way, whether it's Bob Jones of the game by devoting itself to years old and his father worked as a or Bob Dylan," says Troy. "The next recording projects rather than film rooms, and ancillary businesses, maintenance. "We have a tremen- producer in various rooms in New Bob Dylan could be Bob Jones. You post -production, commercials, or any such as its in -house label, Astoria dous maintenance staff here," Ed York. After the family bought the never know." of the other ancillary areas that Entertainment. Long situated at 237 adds. "We work round the clock with Hit Factory in 1975, Troy worked Even outside the studio, the Ger- other high -end studios have turned W. 54th St., the studio later acquired maintenance. At whatever sacred part -time at the studio while attend- manos are extraordinarily close - to for survival. a 100,000- square -foot building down moment we can get into the studios, ing high school. Upon graduation, he knit. Ed, Janice, Troy, and Danielle "When times got slow, everybody the street at 421 W. 54th St. Opened we're in there doing it." faced the momentous decision all -plus the parents and siblings of the ran to do commercials," he says. "We in 1992, the new site houses five While other studio owners and graduates face. elder Germanos -live on the same steadfastly stayed where we were, recording /mixing studios and four music industry executives have be- "Instead of going to college, I block on Manhattan's East Side. because we wanted to do album pro- mastering rooms, including a cav- moaned the softness of the business, decided to come to this college," he Although Ed says he never count- jects." ernous sixth -floor tracking room the Hit Factory is busier than ever says. He emphasizes the facility's ed on his son and daughter to join Ed's son, executive VP Troy Ger- that can accommodate up to 140 and making money every year, ac- academic aspects by noting that the business, he's delighted that they mano, adds, "The thing that I'm the musicians. cording to Ed. "every day is a learning experience." have. He beams with anticipatory most proud of is that on any given The studio's credit list is numb- "We had 29 sessions two weeks Troy built his career from the pride at the imminent birth of his day, in our 10 rooms we're doing pop, ingly star -studded: Stevie Wonder, ago in two days on a weekend," he ground up, working in the delivery, first grandchild, from Troy's family. hip -hop, R &B, jazz, rock, alternative Michael Jackson, Madonna, Bruce says. "I don't think that's ever hap- tape duplicating, and tape library Constantly stereotyped as an Ital- rock, Broadway cast albums, film Springsteen, Mariah Carey, David pened here at the Hit Factory. You departments before ascending to the ian- American family, the Germanos scores, classical music, crossover Bowie, the Rolling Stones, Paul read the articles in the papers about position of booking manager. Re- have a more complex heritage, as classical music, etc. We don't con- Simon, Sting, Aerosmith, Billy Joel, the music industry being in the dol- garding the latter job, he says, "I Janice is Austrian, Irish, and Span- centrate on one or two types of mu- U2, and hundreds of others. drums, that it's not a happening busi- thought I did a great job, but Dan- ish. However, the family members sic. We were part of 64 Grammy The pinnacle of the state of the ness right now. But I must tell you, ielle does twice as good a job as I have no ties to their ancestors. nominations this year, and over the art, the Hit Factory offers every we're busy. We have second and third did." Instead, they view themselves as past three years there have been imaginable recording, mixing, and holds on all our time." Danielle, 30, got further into a quintessentially American, embody- over 175 Grammy nominations that mastering option, from the Sony An independent producer who cut "conventional" career than her ing the dream of the self -made, we were part of-projects that were Oxford digital console and Sony 3348 his teeth working at the old A &R brother did: She attended college for mom -and -pop business -with a little recorded, overdubbed, mixed, and HR recorder in its all- digital room to and Record Plant studios in New six days before announcing to her marble to boot. mastered here." the Solid State Logic 9000 J series York, Ed was set to move to Califor- Sitting in Ed's office on a sunny board with a 959 center section for nia to go into business with another late-April afternoon, the Germanos surround -sound monitoring in Stu- producer. He changed his mind and reflected on the studio's magnificent dio 1. It also sports vintage Neve and decided to stay in New York when AA Offers Reduced 1st -Class history. Rather than gloat about the Neve VRs and a dazzling collection the opportunity presented itself to superstars who have recorded there of microphones and outboard proces- participate in a management buyout over the years -a dizzying list that sors. In short, it's the world's big- of the Record Plant from Warner Fare For Nashville /L.A. Flights includes virtually every name one gest, most impressive, and most lav- Communications, which owned it at could conjure up -the Germanos ishly appointed music studio -a the time. BY DAN DALEY The announcement comes nine kept returning to two central source of interminable pride for the Following the purchase, one of the NASHVILLE- Underscoring the months after the music industries in themes. The first was how much they Germanos, who say their relation- partners, Chris Stone, moved to Cal- importance of the recording and en- both cities reacted dramatically - love their jobs, and the second was ships and their top -notch staff are ifornia to open Record Plant studios tertainment business in Nashville after the story broke in Billboard how much it thrills them to work the keys to their success. in Los Angeles and Sausalito, leav- and Los Angeles, American Airlines Aug. 30, 1997 -to American's plans among family. "I've always said that you can ing Ed to head the flagship New announced April 30 that it had estab- to terminate its one remaining non- Besides Ed and Troy, the studio is bring a horse to water, but you can't York facility.
Load more

Recommended publications
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • An Incredible New Sound for Engineers
    An Incredible New Sound for Engineers Bruce Swedien comments on the recording techniques and production HIStory of Michael Jackson's latest album by Daniel Sweeney "HIStory" In The Making Increasingly, the launch of a new Michael Jackson collection has taken on the dimensions of a world event. Lest this be doubted, the videos promoting the King of Pop's latest effort, "HIStory", depict him with patently obvious symbolism as a commander of armies presiding over monster rallies of impassioned followers. But whatever one makes of hoopla surrounding the album, one can scarcely ignore its amazing production values and the skill with which truly vast musical resources have been brought to bear upon the project. Where most popular music makes do with the sparse instrumentation of a working band fleshed out with a bit of synth, "HIStory" brings together such renowned studio musicians and production talents as Slash, Steve Porcaro, Jimmy Jam, Nile Rodgers, plus a full sixty piece symphony orchestra, several choirs including the Andrae Crouch Singers, star vocalists such as sister Janet Jackson and Boys II Men, and the arrangements of Quincy Jones and Jeremy Lubbock. Indeed, the sheer richness of the instrumental and vocal scoring is probably unprecedented in the entire realm of popular recording. But the richness extends beyond the mere density of the mix to the overall spatial perspective of the recording. Just as Phil Spector's classic popular recordings of thirty years ago featured a signature "wall of sound" suggesting a large, perhaps overly reverberant recording space, so the recent recordings of Michael Jackson convey a no less distinctive though different sense of deep space-what for want of other words one might deem a "hall of sound".
    [Show full text]
  • MTO 11.4: Spicer, Review of the Beatles As Musicians
    Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other.
    [Show full text]
  • Christina Jefferson Brehm Resume 2016 for Web Site
    Christina Jeferson Brehm www.christyjeferson.com | christyjeferson.wordpress.com 610-462-2813 | [email protected] SUMMARY _________ Sincere, joyful & God-centered parent and music teacher aligned with Waldorf philosophy of education Accomplished and energetic music professional known for excellent people skills and positive attitude. Brings 9 years cumulative experience teaching voice, piano, & guitar lessons with focus on inspiring passionate performances as well as 9 years of solid experience as a performing singer and musician with noteworthy skills leading other musicians and planning music programs. Clear understanding of pentatonic scale and mood of the fifth music in enabling young children’s imagination that fuels their ability to realize their potential. Currently homeschooling preschool daughter in the Waldorf philosophy using Lavender’s Blue website, books on Waldorf, and relationships with other Waldorf educators at River Valley Waldorf School. Instruments: Formal training in Voice & Piano; self-taught in Guitar & Ukulele, Harmonium & Kinder Lyre SKILLS Teaching and guiding with patience, encouragement and kindness Instilling confidence in students by learning and adapting to various learning and communication styles Leading and guiding instrumentalists and vocalists of all ages Connecting music with messages, feelings and spirituality – interested in eurhythmy training Learning/trying new techniques, music and technology – great general abilities on PC and Mac EDUCATION BA in Music, concentration in Vocal Performance,
    [Show full text]
  • Recording Secrets for the Small Studio This Page Intentionally Left Blank Recording Secrets for the Small Studio
    Recording Secrets for the Small Studio This page intentionally left blank Recording Secrets for the Small Studio Mike Senior First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Mike Senior The right of Mike Senior to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Application submitted ISBN: 978-0-415-71670-3 (pbk) ISBN: 978-1-135-87950-5 (ebk) Typeset in ITC Giovanni Std By MPS Limited, Chennai, India, www.adi-mps.com To my parents.
    [Show full text]
  • The City Girls)
    March: Letter to Jatavia Johnson and Caresha Brownlee (The City Girls) Letter to Jatavia Johnson and Caresha Brownlee (The City Girls) Kyra March Journal of Hip Hop Studies, Special Issue Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Comes of Age Volume 7, Issue 1, Summer 2020, pp. 19 – 25 DOI: https://doi.org/10.34718/615a-4q59 Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 4 Letter to Jatavia Johnson and Caresha Brownlee (The City Girls) Kyra March Abstract This letter to Jatavia Johnson and Caresha Brownlee (the City Girls) argues that the rap duo’s brand, music, and videos are prime examples of Hip Hop and percussive feminism. It also explains how their contributions to the rap industry as Black womxn have inspired other Black womxn to embrace their sexuality, live freely, and disregard politics of respectability. Personal experiences from the author are incorporated to display how the City Girls are empowering and inspiring a new generation of Black womxn and girls. Additionally, critiques from the media and double standards between white and Black womxn in the entertainment industry are also confronted. Journal of Hip Hop Studies 19 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/4 2 March: Letter to Jatavia Johnson and Caresha Brownlee (The City Girls) Dear JT & Yung Miami (City Girls), All of my life, I have been taught to be a respectable (or at least what society deems respectable) young Black womxn. Whether it was being instilled in me from Bible study leaders who exclaimed that twerking and glorifying God could not coexist or obliquely from my grandmother, who, watching Nicki Minaj performing at the BET Awards, shook her head with disdain, being respectable was something that was viewed as a necessity.
    [Show full text]
  • The Backstreets Liner Notes
    the backstreets liner notes BY ERIK FLANNIGAN AND CHRISTOPHER PHILLIPS eyond his insightful introductory note, Bruce Springsteen elected not to annotate the 66 songs 5. Bishop Danced RECORDING LOCATION: Max’s Kansas City, New included on Tracks. However, with the release York, NY of the box set, he did give an unprecedented RECORDING DATE: Listed as February 19, 1973, but Bnumber of interviews to publications like Billboard and MOJO there is some confusion about this date. Most assign the which revealed fascinating background details about these performance to August 30, 1972, the date given by the King songs, how he chose them, and why they were left off of Biscuit Flower Hour broadcast (see below), while a bootleg the albums in the first place. Over the last 19 years that this release of the complete Max’s set, including “Bishop Danced,” magazine has been published, the editors of Backstreets dated the show as March 7, 1973. Based on the known tour have attempted to catalog Springsteen’s recording and per- chronology and on comments Bruce made during the show, formance history from a fan’s perspective, albeit at times an the date of this performance is most likely January 31, 1973. obsessive one. This booklet takes a comprehensive look at HISTORY: One of two live cuts on Tracks, “Bishop Danced” all 66 songs on Tracks by presenting some of Springsteen’s was also aired on the inaugural King Biscuit Flower Hour and own comments about the material in context with each track’s reprised in the pre-show special to the 1988 Tunnel of Love researched history (correcting a few Tracks typos along the radio broadcast from Stockholm.
    [Show full text]
  • The-Hit-Factory.Com-More-Music.Pdf
    www.the-hit-factory.com Imagine - John Lennon's Classic More Music 2021/04 Jump - Van Halen La Bikina - Mariachi Luis Fuentes All these songs are available for Trio / Quartet / Quintet Let It Snow! Let It Snow! Let It Snow! - Christmas Song by Sammy Cahn - Swing /custom arr. … *all songs in this column are exclusively available on www.sheetmusicplus.com – Libertango - Astor Piazolla - Tango Nuevo just click on the item to get more information and download Live and let die - Paul McCartney the sheet Live and let die - Paul McCartney Mary, did you know? - Pentatonix Style Misty - (Eroll Garner, Samba) 25 Or 6 To 4 - Chicago Music - C - (was my first love) - John Miles A Child Is Born - Christmas Jazz Waltz by Thad Jones Music (was my first love) - John Miles Against All Odds (Take A Look At Me Now) - Phil Collins My Funny Valentine - Jazz Ballad Ain't No Mountain High Enough - Diana Ross My Funny Valentine - Jazz Ballad All Blues - Kind of Blue - Miles Davis My Way - Sinatra All of me - Jazz Classic Nature Boy - Nat King Cole All of me - John Legend On Broadway - George Benson - funky All you need is love - Beatles On the sunny side of the street - Jazz Classic All you need is love - F - Beatles Rehab - Amy Winehouse Angels (C-Major) - Robby Williams Rudolph the red nosed Reindeer - Swing Angels (Db-Major) - Robby Williams Santa Claus Is Comin' To Town - Christmas Classic As time goes by - from Casablanca Send in the Clowns - Barbara Streisand Autumn Leaves - Jazz Classic - Les feuilles mortes Sleigh Ride - Easy Swing Baba Yetu - From Video Game Civilization IV Spain - Chick Corea Baba Yetu - From Video Game Civilization IV (orig.
    [Show full text]
  • 10 Second Life and the Dynamics of Revival: the Stones After 1989
    10 Second Life and the Dynamics of Revival: The Stones after 1989 victor coelho 1989 marked the end of one career and the beginning of another for the Rolling Stones. The year capped almost a decade of disharmony and uneven musical production –“Giants Enter a Deep Sleep” is how Elliott describes this period1 – and witnesses the most acrimonious chapter in the venerable Jagger/Richards partnership, one of the most creative collabora- tive musical relationships in popular music history. Although the decade began with a successful tour in 1981–82 to promote the album Tattoo You, memorialized in the pastel-heavy Hal Ashby-produced film Let’s Spend the Night Together, the animosity within the entire band continued into the mid-1980s. With Richards’ addictions and resultant legal troubles reaching a critical stage, control of the group tilted decisively (and understandably) in the direction of Jagger, who remained resolutely in charge. As producer Chris Kimsey remembers from the recording sessions of their grunge- and funk-influenced album Undercover (1983), When we got to making Undercover, that was the worst time I’d ever experienced with them ...We recorded a lot of it in Nassau [Bahamas], then mixed it in New York, at the Hit Factory. I would get Mick in the studio from like, midday until seven o’clock, then Keith from like, nine o’clock till five in the morning. They would not be together. They specifically avoided each other. Mick would say, “When’s he coming in? I’ll be there later.” After about a week, it was killing me.
    [Show full text]
  • U2/Anche Tu! – Tutti I Testi Tradotti Ver
    U2/Anche Tu! – Tutti i testi tradotti ver. 3.6 U2 Tutti i testi tradotti con note al testo Traduzioni a cura di: Abbi Pre-release in Word a cura di Paolo C. Liberatoria legale: I diritti sui testi originali pubblicati sono riservati. Il loro utilizzo a scopo di lucro è vietato dalla legge. Richiesta mia personale: Non è consentita la pubblicazione delle presenti traduzioni su altri siti web senza senza la mia autorizzazione. In caso esse venissero estrapolate dal presente documento e diffuse via e-mail vorrei che venisse citata la fonte di provenienza. Grazie! Visita il sito web “U2/Anche Tu!” Scrivimi un e-mail Versione 3.6 9 Maggio 2003 1/215 U2/Anche Tu! – Tutti i testi tradotti ver. 3.6 VAN DIEMEN'S LAND...................................77 FALLING AT YOUR FEET.......................... 155 BOY........................................................ 3 DESIRE..........................................................78 THE FIRST TIME........................................ 156 I WILL FOLLOW ..............................................4 HAWKMOON 269..........................................79 DANCIN' SHOES........................................ 157 TWILIGHT........................................................5 ALL ALONG THE WATCHTOWER...............80 AN CAT DUBH ................................................6 I STILL HAVEN'T FOUND WHAT I'M ALL THAT YOU CAN'T LEAVE BEHIND INTO THE HEART...........................................6 LOOKING FOR..............................................81 ...........................................................
    [Show full text]
  • Episode 052: Michael Prince Special If Using Any of the Below Text, Please
    The MJCast – Episode 052: Michael Prince Special If using any of the below text, please reference The MJCast and display the following podcast URL. Thank-you. http://www.themjcast.com/episode-052-michael-prince-special/ The MJCast: Can you talk to us about how important that show would have been for Michael had he been well enough to perform it? Michael Prince: To a certain extent, I can. Remember, this was my first foray into working with Michael and in the beginning, much more working with Brad and the band, and making sure all the sounds were right, all the drum sounds that we wanted, sampled for certain songs, so that when the drummer hit a snare, you would hear the snare from Bad on the song "Bad". If we were gonna do "Jam", if he hit the snare, it was gonna trigger the snare sound of "Jam". Same thing with the kicks and stuff, and sometimes on the toms. And so we were using the best technology available at that time. Michael really wanted the live band to sound as much like the record as possible. And most of that's really easy. The guitar player's dialing the same guitar tone, background singers work on singing the exact same harmonies that Michael sang. So for the first several weeks, I was fairly insulated and isolated in, I think we were at SIR, I'm not sure, and it was just the band in a room rehearsing at first. No background singers, no nothing. Just the band, then they brought in the background singers.
    [Show full text]
  • Mixing, Recording, and Producing Techniques of the Pros, Second Edition
    Mixing, Recording, and Producing Techniques of the Pros, Second Edition Rick Clark Course Technology PTR A part of Cengage Learning Australia, Brazil, Japan, Korea, Mexico, Singapore, Spain, United Kingdom, United States Mixing, Recording, and Producing © 2011 Course Technology, a part of Cengage Learning. Techniques of the Pros, Second Edition Rick Clark ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in Publisher and General Manager, any form or by any means graphic, electronic, or mechanical, includ- Course Technology PTR: ing but not limited to photocopying, recording, scanning, Stacy L. Hiquet digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, except as permitted under Associate Director of Marketing: Section 107 or 108 of the 1976 United States Copyright Act, without Sarah Panella the prior written permission of the publisher. Manager of Editorial Services: For product information and technology assistance, contact us at Heather Talbot Cengage Learning Customer & Sales Support, 1-800-354-9706 For permission to use material from this text or product, Marketing Manager: submit all requests online at cengage.com/permissions. Mark Hughes Further permissions questions can be emailed to [email protected] Executive Editor: Mark Garvey All trademarks are the property of their respective owners. Project Editor/Copy Editor: All images © Cengage Learning unless otherwise noted. Cathleen D. Small Library of Congress Control Number: 2008932486 Interior Layout: Jill Flores ISBN-13: 978-1-59863-840-0 Cover Designer: ISBN-10: 1-59863-840-8 Luke Fletcher eISBN-10: 1-59863-915-3 Indexer: Course Technology, a part of Cengage Learning Broccoli Information Management 20 Channel Center Street Boston, MA 02210 Proofreader: USA Heather Urschel Cengage Learning is a leading provider of customized learning solutions with office locations around the globe, including Singapore, the United Kingdom, Australia, Mexico, Brazil, and Japan.
    [Show full text]