DOCSLIB.ORG

The Bruce Swedien Recording Method Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Bruce Swedien Recording Method Free FREE THE BRUCE SWEDIEN RECORDING METHOD PDF Bruce Swedien,Bill Gibson | 304 pages | 16 Oct 2013 | Hal Leonard Corporation | 9781458411198 | English | Milwaukee, United States The Bruce Swedien Recording Method - Recording - Harmony Central Bruce Swedien has been the engineer of choice for Michael Jackson and his producer Quincy Jones, among many others. By the age of 14 he was spending his holidays recording all comers, and even set up his own radio station to broadcast the results to the neighbourhood! At 19 he'd already worked for Tommy Dorsey and was setting up his own commercial studio in an old cinema in his home town of Minneapolis. Go The Bruce Swedien Recording Method what it sounds like in the studio and listen to the music. Off The Bruce Swedien Recording Method go to the studio, and Quincy hands over his score to the copyists. It still gives me the chills to think about it! Don't you believe it! One slice of hindsight on the subject from Quincy Jones has always particularly intrigued me: "We had to leave space for God to walk through the room. One of the original track sheets from the Thriller albums. However, despite the busting of the 'black box' myth, there are indeed fundamental ways in which the Acusonic approach affected the sound of Thriller, and indeed its predecessor. It was just incredible. As he comments in his new book, In The Studio With Michael Jackson: "These true stereo images add much to the depth and clarity of the final production. Stereo mics are vastly overrated. I'm still waiting for the first one of those. He did that, and everybody went bananas! I'm still so proud of that recording. It's very unusual and it really works. The special effect on the 'Don't think twice! Early reflections were also an important part of the lead vocal sound on Jackson's later records from Bad onwards, where the singer was set up on Swedien's aforementioned drum riser to amplify the sound of his dancing, and then surrounded by Tube Traps the common studio nickname for ASC's tubular Studio Traps. Credit must also go to his own personal collection of classic mics, which he ferries around to all his recording sessions. See the 'Bruce Swedien's Microphones' box for more details. That's part of the secret. Given Swedien's repeated emphasis on maximising pickup of transients through mic selection and careful use of the recording medium, it makes sense that he has trenchant views on the use of compression. And no compression or limiting on any drums or percussion. Although this mode of perception is rare, he's by no means the only musician who has been touched by it. And, of course, I'll close my eyes for some of the time. When it comes to specific mixing techniques, Swedien proves tricky to pin down, but not on account of any defensiveness on his part — it's just that he feels that he doesn't actually rationalise the process, and relies as much as possible on intuition. You've got to make that separation early in your career: the technical part The Bruce Swedien Recording Method it is meaningless. There are no specific rules that you can apply. If you do you're going to be asking for trouble, because some music is different. However, he does make clear in his autobiography that he regularly refers back to his earliest rough balances while mixing, in order to remind himself of his initial gut reactions while mixing, gut reactions which he has learned through long experience to trust. Does he recommend them? You know what Quincy calls them? The Truth Speakers. There's no hype with an Auratone, and it's sad that you can't buy them any more. The Bruce Swedien Recording Method you see any Auratones on eBay, buy them! A prominent pair of illuminated VU meters also dominates the meterbridge. If you're trying to make your mixes as clear and clean The Bruce Swedien Recording Method possible, you kind of have to keep it at zero or less on the bus, because those meters are designed to resemble our human hearing, and the peaks, although they may not look like much, may be tremendous. If you're not careful, they can make mixes that sound rather ugly. And the important thing is that the audio the filters lets through is absolutely untouched. Credits on Michael Jackson's string of hit solo albums would be ample excuse for any engineer to rest on their laurels, but that's clearly not Bruce Swedien's style. The Bruce Swedien Recording Method knows? I'll give you an example. If you listen to that song it just jumps right out at you. It's so natural and so basic it's just pathetic, but it adds so much to that mix. Not only the technical quality, but the musicality, and his pitch, and the lyrics, the arrangements, and so on. He'd always been up the night before memorising the lyrics and he sang the songs from memory. And every day that we recorded vocals his vocal coach was there, and he warmed up for an hour beforehand. The Bruce Swedien Recording Method an omni condenser, and [for jazz recording] what you do is wrap the base of the mic connector in foam and put it The Bruce Swedien Recording Method the bridge of the bass so that it sticks up and sits right under the fingerboard. It wouldn't be my choice for orchestral sessions, though. Ribbon The Bruce Swedien Recording Method are great for percussion too. Hear it on In the old days it wasn't as consistent in manufacture as it is now. But the ones I've bought recently are all almost identical. I've tried miking both top The Bruce Swedien Recording Method bottom of the snare, but this can cause phasing problems. The is not overly sibilant and is often my number one choice for solo vocals. For Joe Williams, another mic would never have worked as well. Swedien's numerous recordings for Oscar Peterson between and Buy PDF version. Previous article Next article. New forum posts Re: How can I use delay like this? Recent topics How can I use delay like this? Login You may login with either your assigned username or your e-mail address. The password field is case sensitive. The Bruce Swedien Recording Method - Book + Video By Phil O'Keefe July 18, Very few engineers can claim to have had as big an impact on recorded music as Bruce Swedien. Nominated for 13 Grammy awards, Bruce has won five. Bruce Swedien's recordings have sold hundreds of millions of copies. In fact, Michael Jackson's Thriller is the biggest selling album of all time, and it was recorded by Bruce The Bruce Swedien Recording Method. Well fortunately for all us, there is a gold mine of great tips and useful information from Bruce in his The Bruce Swedien Recording Method book, The Bruce Swedien Recording Method. The information contained in this book is priceless to anyone involved with or interested in the art of recording music, making this book a must-have for all recording enthusiasts. It will be especially beneficial for those who are just getting started, but experienced engineers will also find it an enjoyable and educational read too. The fact that Bruce continues to have "no secrets", and in fact freely shares his knowledge and experience with other engineers, upcoming engineers and recording enthusiasts is highly commendable. Bruce has always been interested in making sure he "passes it on" to the next generation, and this book continues that tradition - one that I, along with countless other recording engineers have directly benefited from. The Bruce Swedien Recording Method is essential reading for anyone who records music, or who aspires to. The Bruce Swedien Recording Method of historical facts, inspirational stories, and practical techniques and advice, it has beneficial information for engineers of all skill levels. Highly recommended. In The Studio with Bruce Swedien website. There are no comments to display. Show The Bruce Swedien Recording Method categories. Followers 0. Go to reviews. Recommended Comments. Sign In Sign Up. Bruce Swedien - Wikipedia Read Sample. The Bruce Swedien Recording Method is an incredibly timely and timeless reference for anyone interested in capturing and mixing the best possible music recordings. Engineers at all levels still use Swedien's recordings as a standard by which they judge the sonic validity of their own work. In The Bruce Swedien Recording Method, Swedien explains many of the techniques he has used to get award-winning drum, bass, guitar, keyboard, vocal, string, and brass sounds. Throughout this The Bruce Swedien Recording Method, Swedien consistently pinpoints the most important considerations in the recording process, with such insights as: You don't listen to the equipment, you listen through the equipment Nobody ever walked out of the studio whistling the console The sound has to be so good to start with that it gives you goosebumps — the list goes on and on! Talking with Bruce: Part 1. Talking with Bruce: Part 2. Talking with Bruce: Part 3. Talking with Bea. Mixing with Bruce. This book and its accompanying videos really help you to wrap your mind around the genius of Bruce Swedien. Bruce spares neither detail nor his opinion when talking about his process. His passion for music and the process of recording it is second to none and incredibly contagious. Despite the credits, The Bruce Swedien Recording Method, and collaborations under his belt, Mr.
Load more

Recommended publications
  • 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]
  • Find Doc \ Bruce Swedien: in the Studio with Michael Jackson
    YJ2V6U5Q62K4 \\ Doc # Bruce Swedien: In the Studio with Michael Jackson (Paperback) Bruce Swedien: In th e Studio with Mich ael Jackson (Paperback) Filesize: 8.29 MB Reviews Here is the finest publication i have read through until now. I am quite late in start reading this one, but better then never. I am just easily can get a pleasure of studying a created publication. (Morgan Bashirian) DISCLAIMER | DMCA VT3UBYGGTLT7 ^ PDF Bruce Swedien: In the Studio with Michael Jackson (Paperback) BRUCE SWEDIEN: IN THE STUDIO WITH MICHAEL JACKSON (PAPERBACK) Hal Leonard Corporation, United States, 2009. Paperback. Condition: New. Language: English . Brand New Book. (Book). No one was closer to Michael Jackson at the height of his creative powers than Bruce Swedien, the five-time Grammy winner who, with Jackson and producer Quincy Jones, formed the trio responsible for the sound of Jackson s records records that topped the charts and shook the world. Friend, co-creator, and colleague, Bruce Swedien was a seasoned recording engineer plucked from a job at legendary Universal Audio in Chicago when he began working with Michael Jackson and Quincy Jones on the soundtrack to The Wiz, and he was the master technician who gave the records their sound as the trio progressed to Jackson s greatest triumphs, O the Wall and the iconic, history-making Thriller, which revolutionized music and video and fixed Jackson in culture as the King of Pop. In the Studio with Michael Jackson is the chronicle of those times, when everything was about the music, the magic, and the amazing talent of a man who changed the face of pop music and culture forever.
    [Show full text]
  • Michael Jackson's Gesamtkunstwerk
    Liminalities: A Journal of Performance Studies Vol. 11, No. 5 (November 2015) Michael Jackson’s Gesamtkunstwerk: Artistic Interrelation, Immersion, and Interactivity From the Studio to the Stadium Sylvia J. Martin Michael Jackson produced art in its most total sense. Throughout his forty-year career Jackson merged art forms, melded genres and styles, and promoted an ethos of unity in his work. Jackson’s mastery of combined song and dance is generally acknowledged as the hallmark of his performance. Scholars have not- ed Jackson’s place in the lengthy soul tradition of enmeshed movement and mu- sic (Mercer 39; Neal 2012) with musicologist Jacqueline Warwick describing Jackson as “embodied musicality” (Warwick 249). Jackson’s colleagues have also attested that even when off-stage and off-camera, singing and dancing were frequently inseparable for Jackson. James Ingram, co-songwriter of the Thriller album hit “PYT,” was astonished when he observed Jackson burst into dance moves while recording that song, since in Ingram’s studio experience singers typically conserve their breath for recording (Smiley). Similarly, Bruce Swedien, Jackson’s longtime studio recording engineer, told National Public Radio, “Re- cording [with Jackson] was never a static event. We used to record with the lights out in the studio, and I had him on my drum platform. Michael would dance on that as he did the vocals” (Swedien ix-x). Surveying his life-long body of work, Jackson’s creative capacities, in fact, encompassed acting, directing, producing, staging, and design as well as lyri- cism, music composition, dance, and choreography—and many of these across genres (Brackett 2012).
    [Show full text]
  • Twin Cities Funk & Soul
    SEPTEMBER 25, 2012 I VOLUME 1 I ISSUE 1 DEDICATED TO UNCOVERING MUSIC HISTORY WILLIE & THE PROPHETS BAND OF KUXL JACKIE BUMBLEBEES OF PEACE THIEVES RADIO HARRIS 99 SECRET STASH ISSUE 1: TWIN CITIES FUNK & ANDSOUL MUCH SEPTEMBER MORE 25, 2012 The Philadelphia Story (AKA Valdons) mid 70s courtesy Minnesota Historical Society. Photo by Charles Chamblis. Left to right: Maurice Young, Clifton Curtis, Monroe Wright, Bill Clark Maurice McKinnies circa 1972 courtesy Minnesota Historical Society. Photo by Charles Dance contest at The Taste Show Lounge, Minneapolis late 70s courtesy Minnesota Historical Chamblis. Society. Photo by Charles Chamblis. 02 SECRET STASH VOLUME 1 - ISSUE 1: TWIN CITIES FUNK & SOUL SEPTEMBER 25, 2012 INTRODUCTION It was three years ago that we launched Secret Stash Records. About a year and a half lat- er, we started working on what would eventually become our biggest release, Twin Cities Funk & Soul: Lost R&B Grooves From Minneapolis/St. Paul 1964-1979. What follows is our attempt to share with you some of the amazing stories, history, and photos that have been so gracious- ly shared with us during the course of producing a compilation of soulful tunes from our hometown. ..... R&B, soul, and funk music in the Twin Cities of Minneapolis and St. Paul, Minnesota went through dra- matic changes during the 1960s and 1970s. Predating these changes, a vibrant jazz scene beginning in the 1920s laid the groundwork with several players being instrumental in helping teach young local R&B mu- sicians how to play. However, many of the early R&B pioneers, including Mojo Buford, Maurice McKin- nies, and Willie Walker, came to Minnesota from other states and brought the music with them.
    [Show full text]
  • Bruce Swedien: in the Studio with Michael Jackson Free
    FREE BRUCE SWEDIEN: IN THE STUDIO WITH MICHAEL JACKSON PDF Bruce Swedien,Quincy Jones | 194 pages | 28 Jul 2009 | Hal Leonard Corporation | 9781423464952 | English | Milwaukee, United States In the Studio with Michael Jackson by Bruce Swedien With a title Bruce Swedien: In the Studio with Michael Jackson reads, "In the Studio with Michael Jackson," one would expect interesting and new anecdotes about the singer. But instead, you get NONE of that!! That is the honest truth In the Studio with Michael Jackson. Bruce SwedienMichael Jackson. No one was closer to Michael Jackson at the height of his creative powers than Bruce Swedien, the five-time Grammy winner who, with Jackson and producer Quincy Jones, formed the trio responsible for the sound of Jackson's records records that topped the charts and shook the world. Friend, co-creator, and colleague, Bruce Swedien was a seasoned recording engineer plucked from a job at legendary Universal Audio in Chicago when he began working with Michael Jackson and Quincy Jones on the soundtrack to The Wizand Bruce Swedien: In the Studio with Michael Jackson was the master technician who gave the records their sound as the trio progressed to Jackson's greatest triumphs, Off the Wall and the iconic, history-making Thrillerwhich revolutionized music and video and fixed Jackson in culture as Bruce Swedien: In the Studio with Michael Jackson King of Pop. In the Studio with Michael Jackson is the chronicle of those times, when everything was about the music, the magic, and the amazing talent of a man who changed the face of pop music and culture forever.
    [Show full text]
  • |FREE| the Bruce Swedien Recording Method
    THE BRUCE SWEDIEN RECORDING METHOD EBOOK Author: Bruce Swedien, Bill Gibson Number of Pages: 304 pages Published Date: 16 Oct 2013 Publisher: Hal Leonard Corporation Publication Country: Milwaukee, United States Language: English ISBN: 9781458411198 Download Link: CLICK HERE The Bruce Swedien Recording Method Online Read Generally speaking, jazz may be treated in a similar way to classical music. Posted on September 22, Celebrating over 50 years of audio excellence worldwide, Audio-Technica is a leading innovator in transducer technology, renowned for the design and manufacture of microphones, wireless microphones, headphones, mixers, and electronics for the audio industry. The range of instantly recognizable vocal personality is astonishing. Good choral recorded sound is best achieved by using as The Bruce Swedien Recording Method microphones as possible, with the singers placed well back from the microphones. Delicate timbral shading is easily accomplished by a well-trained vocalist, as well as an amazingly wide dynamic range. April 26, The singers The Bruce Swedien Recording Method from 6 inches or less to 2 inches or more from the mikes. Forzato Submitted 10 months ago The Master of Mixing If you want to know how to not only mix properly write down to the science it all starts on day 1 at the recording stage. As a rule of thumb, you can figure four or five singers require two mikes and ten singers, five mikes. Talking with Bruce: Part 2. Rated 4. Bruce Swedien has been the engineer of choice for Michael Jackson and his producer Quincy Jones, among many others. Hearing those excellent vocalists sing in good acoustical surroundings The Bruce Swedien Recording Method my ear a benchmark that has been impossible for me to ignore.
    [Show full text]
  • Michael Jackson and Electrocompaniet
    Michael Jackson and Electrocompaniet. How is it possible for some guys from a small Norwegian HiFi manufacturer to get their names on one of the best selling albums of all times? Because it is a fact that Electrocompaniet AS gets a Special Thanks for their technical support on the album HIStory by Michael Jackson. The background for this is Michael Jackson’s long co-operation with the legendary composer and producer Quincy Jones and the recording engineer Bruce Swedien. This co-operation goes all the way back to 1978 when Michael did his first film “The Wiz” with Diana Ross. Quincy Jones was arranging the film's musical score and Bruce Swedien was the recording engineer. This was the first project they did together and the next one was the album “Off the Wall” that really started Michael’s solo career. After this Michael and Bruce Swedien worked together on albums like: Thriller, Bad, Dangerous, HIStory and Invincible. Electrocompaniet was established in 1973 and in 1976 the company got an international breakthrough when the Audio Critic named The Two-Channel Audio Power Amplifier ”the world best sounding amplifier”. After this Electrocompaniet won lots of awards and amplifiers from a small company in Norway was sent to all corners of the world. There were scarce resources to spend on advertising and marketing and many amplifiers were sold on recommendations from customers and by ”Word of Mouth Marketing”. It was important to get a good relationship with the professional music community and one way of getting this was to lend out amplifiers to musicians, producers and recording engineers.
    [Show full text]
  • Downbeat.Com April 2021 U.K. £6.99
    APRIL 2021 U.K. £6.99 DOWNBEAT.COM April 2021 VOLUME 88 / NUMBER 4 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • A Rhetorical Take on Productivity Aids in Audio Engineering Software
    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 5-6-2019 Programmed 'Treasuries of Eloquence’: A Rhetorical Take on Productivity Aids in Audio Engineering Software Thomas Breideband Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Breideband, Thomas, "Programmed 'Treasuries of Eloquence’: A Rhetorical Take on Productivity Aids in Audio Engineering Software." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/english_diss/219 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PROGRAMMED ‘TREASURIES OF ELOQUENCE’: A RHETORICAL TAKE ON PRODUCTIVITY AIDS IN AUDIO ENGINEERING SOFTWARE by THOMAS BREIDEBAND Under the Direction of George Pullman, PhD and Prof. Dr. Alfred Hornung ABSTRACT This project examines the influence of productivity aids in digital audio production software on matters of professional expertise, user experience, and workflow. The research is based on both the public reflections of 25 leading audio engineers about the state of the craft and the field as well as close content analyses of the most widely used software solutions for music mixing. Using the practical tenets of the fourth canon of rhetoric, memory, as a heuristic lens and emphasizing its role as an arbiter of professional expertise, this study contextualizes memory as both recollection strategy and programmed practice. It examines the extent to which embedded productivity aids take over the work of audio engineers and what effects this has on the craft and its community of practitioners.
    [Show full text]
  • The Mixing Engineer's Handbook
    The Mixing Engineer’s Handbook THIRD EDITION Bobby Owsinski Course Technology PTR A part of Cengage Learning Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States The Mixing Engineer’s Handbook, © 2013 Course Technology, a part of Cengage Learning. Third Edition ALL RIGHTS RESERVED. No part of this work covered by the copyright herein Bobby Owsinski may be reproduced, transmitted, stored, or used in any form or by any means Publisher and General Manager, graphic, electronic, or mechanical, including but not limited to photocopying, Course Technology PTR: Stacy L. Hiquet recording, scanning, digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, except as permitted under Section Associate Director of Marketing: 107 or 108 of the 1976 United States Copyright Act, without the prior written Sarah Panella permission of the publisher. Manager of Editorial Services: Heather Talbot For product information and technology assistance, contact us at Senior Marketing Manager: Cengage Learning Customer & Sales Support, 1-800-354-9706 Mark Hughes For permission to use material from this text or product, submit all requests Acquisitions Editor: Orren Merton online at cengage.com/permissions Further permissions questions can be emailed to Project Editor/Copy Editor: [email protected] Cathleen D. Small Technical Reviewer: Brian Smithers All trademarks are the property of their respective owners. Interior Layout Tech: MPS Limited Cover Designer: Mike Tanamachi All images © Cengage Learning unless otherwise noted. Indexer: Indexer Name Library of Congress Control Number: 2011XXXXXX Proofreader: Sue Boshers ISBN-13: 978-1-285-42087-5 ISBN-10: 1-285-42087-X Course Technology, a part of Cengage Learning 20 Channel Center Street Boston, MA 02210 USA 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]
  • Howard Weitzman
    Howard Weitzman Attorney for the Estate Of Michael Jackson, Santa Monica, CA Phone (310) 566-9811 Fax (310) 566-9871 [email protected] November 11, 2010 Statement regarding authenticity of “Breaking News” I am writing you in response to your questions regarding “Breaking News,” and your reports of fan comments and concerns. There is nothing more important to the Estate than Michael’s music, his legacy and his fans. I hope the information below is helpful and responsive to your concerns. As the Michael album was being put together, it was decided to bring Teddy Riley on board to work on several songs, including “Breaking News,” a song Michael recorded with Eddie Cascio and James Porte in late 2007 while living at the Cascio family home with his children. Riley produced and submitted “Breaking News” to Sony for inclusion on the album. At that time, no one ever mentioned that the vocals we heard on the Cascio songs, which were basically in demo format, might not be Michael. It was known, however, that the background vocals were a combination of Michael and James Porte. After the tracks were submitted to Sony, three of these Cascio songs were selected to be on the album, and “Breaking News” was one of the three. The day after the submission and selection of the album tracks, for the very first time, the authenticity of Michael’s vocals on the Cascio tracks was questioned. Because of these questions, I was immediately asked by co-Executors John Branca and John McClain to conduct an investigation regarding the authenticity of the lead vocals on the Cascio tracks.
    [Show full text]
  • Guericke Christopher Royal VITA 201910
    Guericke Christopher Royal, D.M.A. 201910 CURRICULUM VITAE _____________________________________ HOME ADDRESS 8402 Tahona Drive Silver Spring, Maryland 20903 Phone: (202) 236-7058 Email: [email protected] OFFICE ADDRESS Howard University College of Arts and Sciences Department of Music 2455 6th Street, N.W., LVC 3038 Washington, D.C. 20059 Office: (202) 806-7082 (202) 806-5366 (Lab) Email: [email protected] BIOGRAPHICAL DATA Birthdate: August 31, 1959 Place of Birth: Greensboro, North Carolina Citizenship: United States of America EDUCATION May 2018 Doctor of Musical Arts in Trumpet Performance University of Maryland College Park Dissertation: Selected Works of Composers Associated With Howard University May 1992 Master of Music in Jazz Studies, emphasis on Jazz Arranging Howard University Washington, D.C. May 1985 Bachelor of Music (cum laude) in Jazz Studies Howard University Washington, D.C. August 1978 to December 1980 B.M. Trumpet Performance Program Peabody Conservatory of Music Johns Hopkins University Baltimore, Maryland 1 August 1977 to May 1978 B.M. Trumpet Performance Program Oberlin College Conservatory of Music Oberlin, Ohio ADMINISTRATIVE APPOINTMENTS 2008 to 2012: Department Chair Department of Music Howard University Washington, D.C. Oversaw successful reaccreditation processes: - National Association of Schools of Music (renewal to 2020) - American Music Therapy Association (renewal to 2015) - Howard University Academic Renewal and restructuring of all music degree programs ACADEMIC APPOINTMENTS 2007 to Present: Associate Professor with Tenure- Jazz Studies Howard University Washington, D.C. Jazz Arranging I and II, UG and Graduate levels Jazz Theory I and II UG Music Technology I and II, UG and Graduate levels 2001 to 2007: Assistant Professor- Jazz Studies Howard University Washington, D.C.
    [Show full text]