Tribeca Flashpoint College
RECORDING ARTS DEPARTMENT 2016-2017
WELCOME TO RECORDING ARTS! 2
YOUR RECORDING ARTS CLASSES 3 MASTER CLASSES 3 WATCH US WORK! 3
STUDIO FACILITIES 4
AUDIO ENGINEERING SOCIETY 4
HEADPHONE PURCHASING GUIDE 6
GET TO KNOW YOUR FACULTY 7 YURI LYSOIVANOV – DEPARTMENT CHAIR 8 JEFF KLIMENT – FACULTY 10 PAUL RODGERS – FACULTY 11 JAMES TEITELBAUM - FACULTY 13 TIM RUSIN – FACULTY 15 DYLAN OAKLEY – RA TECHNICIAN 17
RECOMMENDED LISTENING 19 YURI LYSOIVANOV 20 JEFF KLIMENT 21 PAUL RODGERS 22 JAMES TEITELBAUM 23 TIM RUSIN 24 DYLAN OAKLEY 25
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Welcome to Recording Arts!
Audio Engineering is a dynamic and exciting industry. We are a small, highly trained, and tightly knit group of professionals that dedicate our lives to making beautiful music, running unforgettable live shows, and creating the effects and soundscapes that make us laugh, cry, and jump out of our seats.
We have been teaching recording arts at Tribeca Flashpoint for almost a decade. Our graduates work in recording studios, on film sets, at venues large and small and just about anywhere else that needs sound. We take pride in the work that we do and the education that we provide – and we hope the bug that infected us to fall in love with audio and to pursue it as a career also infects you.
At Tribeca Flashpoint College you will develop your skills in three major areas of audio: Music Engineering, Live Sound, and Sound Design. As the music, film, advertising, and video game industries continue to evolve, we feel it is important that today’s audio professional has a diverse set of skills and will be ready for many different opportunities that may come his/her way. Furthermore, we also make sure that a strong fundamental knowledge of acoustics is an integral part of your audio education.
We chose audio – but it’s equally true to say that audio chose us. We love what we do and expect our students to approach their work with the same enthusiasm and high set of standards. On your first day of class, you’re not just students – you are also our peers and professional colleagues.
It is our hope that you make the most of your time at Tribeca Flashpoint College. Listen to everything you can, record as much as you are able to, make good friends and ask lots of questions. Most importantly, be on time and be hungry to learn!
We look forward to sharing this journey with you.
Sincerely,
The Recording Arts Department (from left to right) Paul Rodgers Tim Rusin Yuri Lysoivanov James Teitelbaum Jeff Kliment Dylan Oakley (not pictured)
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Your Recording Arts Classes
RAR103: Digital Audio Workstation
RAR116: Live Sound I
RAR117: Studio Recording I
RAR118: Fundamentals of Sound + Acoustics
RAR119: Sound Design for Visual Media
FLM127: Production Module I
RAR213: Studio Recording II
RAR215: Live Sound II
RAR229: Flashpoint Studios
RAR245: Advanced Topics: Sound Design + Post-Production
RAR247: Advanced Topics: Music Engineering + Live Event Production Master Classes
In addition to the required course material, the Recording Arts faculty will offer a variety of master classes throughout the school year. Watch us work!
On occasion, we will make arrangements with our clients to do professional work with us in our facilities at Tribeca Flashpoint College. These sessions are open for students to observe and/or participate.
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Studio Facilities
Music Studio: The music studio is where we teach Studio Recording I and where Tribeca Flashpoint students record musicians for Advanced Topics classes and outside projects. The studio has three large live rooms and a vocal booth tied to a central control room.
Access: 2nd year students, plus 1st year students that have passed Studio Recording I and successfully completed the studio proficiency exam.
Post-Production/Foley Suites: Our post-production suites are designed for audio work in visual media and are set up for both stereo and surround mixing. The Foley room is the quietest room in the building and is ideal for recording sound effects and voice.
Access: 2nd year students only.
Mini-Suites: Our mini-suites are small rooms perfect for the editing and mixing of both music and sound design. Additionally, mini-suite 4 has a small booth attached to it for voice recording.
Access: All students, after completing mini-suite training.
Synthesis/Sound-Design Suite: A sound design suite focused on synthesized sound and software.
Access: 2nd year students only.
The following microphones are limited to 2nd year students only:
Neumann TLM67 Neumann KM184 Mojave MA-200 Bock 195
Studio Strike Policy*: Failure to comply with studio procedures and rules will result in:
First Strike: Warning Second Strike: One-week hold Third Strike: Two-week hold Fourth Strike: Unlimited hold
*Certain behaviors will result in an unlimited hold on first offense. See the Equipment Office Handbook for more information.
Audio Engineering Society www.aes.org
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Audio Engineering Society (AES) is the professional organization for the recording industry. They serve as a central resource for students, professionals, educators, and manufacturers in our industry.
Every year, AES hosts a convention in one of our coastal cities. This year’s convention will be in Los Angeles from September 28th to October 2nd. Some Tribeca Flashpoint faculty and several students will be in attendance.
Tribeca Flashpoint College has an AES Student Chapter. The faculty advisor for this year is Jeff Kliment. Tribeca Flashpoint students run the group and leadership is chosen by a confidential student vote.
Our student chapter runs several events a year and often includes companies and professionals from the audio industry. Some previous AES events have featured:
Shure Audio-Technica DPA microphones Steve Albini and Greg Norman from Electrical Audio John Hardy (Hardy mic preamplifiers) TC Furlong, Inc. KAM microphones Field trip to Pritzker Pavillion
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Headphone Purchasing Guide
Considerations:
• Sound quality! o Bring some music that you are familiar with and do a lot of listening before selecting your headphones. (Note: DJ-style headphones are not acceptable because the bass response is hyped.)
• Comfort o You will be wearing these headphones for hours at a time. They should fit your ears and head comfortably. Everyone is different; choose what is right for you.
• Isolation o Your headphones must be enclosed, with earpieces that completely cover your ears, to ensure that you don’t hear others and that others won’t hear you.
• Connectors o You will need adaptors to plug your phones into BOTH 1/4” and 1/8” jacks.
• Cabling: o Cables that are “curly” or wound tend to get tangled. Many professional models feature straight cables.
Purchasing headphones:
Recommended Makes and Models (prices are estimated): o Sony MDR 7506 $99.00 o Audio Technica ATH-M40x $99.90 o AKG K 240 $70.00 o Fostex T 40RP $160.00 o Sennheiser HD280 Pro $99.95 o Beyer Dynamic DT 770 Pro $150.00
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Get to Know Your Faculty
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Yuri Lysoivanov – Department Chair
Yuri Lysoivanov is a composer, music producer, recording professional and pianist. He has written original music and sound design for commercials, short films, trade shows and musical theater; and has produced songs for artists in Chicago, New York and Boston.
In the audio world, Yuri specializes in recording classical music (his first love) and working with singer/songwriters as a producer and engineer. Additionally, he maintains a dedicated interest in signal processing, sound synthesis, music theory and economics.
Yuri has been teaching at Tribeca Flashpoint College since 2009.
Education: Bachelor of Music, Music Synthesis, Berklee College of Music Bachelor of Arts, Economics, Loyola University Chicago
Five great books on sound, music, and everything else
Behind the Glass, Volumes I & II – Howard Massey
Zen and the Art of Mixing – Mixerman
Miles, the Autobiography – Miles Davis
Surely You’re Joking, Mr. Feynman – Richard Feynman
Candide – Voltaire
Favorite audio gear to use:
DPA 4006A Microphones in a stereo pair Schoeps CMC6/MK2 Microphones in a stereo pair Shure SM7B Microphone Audient ASP880 8-channel Preamp Hardy M1 Preamp UREI/Universal Audio 1176 Compressor (black) Universal Audio LA-3A Compressor Nord Keyboards and Synthesizers Applied Acoustics Tassman Synthesis Software Yamaha Pianos
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Advice for success at Tribeca Flashpoint College:
Surround yourself with classmates and peers that will challenge you to get better.
Developing audio skills such as EQ and Compression takes time and training. This is true of any skill and there are no shortcuts to doing it well. People love to talk about Mozart’s musical genius, but less so about how he practiced harpsichord and violin for 8 hours a day.
Don’t be arrogant. There is always somebody better than you.
Advice for success in the audio industry:
Listen to everything you can and train your ears.
Listen to all styles of music, but especially classical music and jazz music; they are the foundations of just about all the other music you listen to. Listen to bird song. Listen to car horns, trains, machines, animals and people. Pay attention to any and every sound you hear until all those things are a part of you. Pay attention to how the human voice changes and moves so you can pick up on emotional cues and become a better listener and communicator.
If you don’t know how to play a musical instrument, pick one up. It’ll pay dividends over a lifetime.
The audio industry is competitive. Be honest, be modest and be patient. Take the small jobs that come your way and do great work. It will compound into better small jobs and will eventually compound into better big jobs.
Don’t mistake confidence for competence. The two are not related.
Learn something new every day.
Develop skills that are not audio-related: Microsoft Excel, customer service, money management, organization, writing skills, speaking skills, etc… be ready to offer something more than what’s required.
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Jeff Kliment – Faculty
Jeff Kliment is a proven leader and innovative educator with a deep background in audio and media production. His professional career started in the 1980’s at Russian Hill Recording in San Francisco, where he helped establish and maintain the studio’s reputation as a world-class post-production house. Engineering credits include worldwide releases with recording artists such as The Bobs, Jefferson Starship, and Rob Wasserman, and major motion pictures by Chris Columbus, Francis Coppola, and Philip Kaufman, among many others.
After a fifteen year stretch at Russian Hill, he moved to LucasArts, where he managed the Sound Department and created award-winning soundtracks for classic video games such as Grim Fandango and Star Wars: Episode I Racer.
Jeff’s academic career began in 2005 at the San Francisco Art Institute, where he served for two years as Director of Instructional Resources and Media Services, while also teaching audio production classes at City College of San Francisco. Jeff has been with Tribeca Flashpoint since 2008.
Education:
Master of Arts, Art Education, School of the Art Institute of Chicago Bachelor of Arts, Broadcast Communication Arts, San Francisco State University
Five great books on sound, music, and how listening can change the world:
The Mysticism of Sound and Music by Hazrat Inayat Khan Bridge of Waves by W. A. Mathieu How Music Works by David Byrne Perfecting Sound Forever by Greg Milner The Audible Past by Jonathan Sterne
Five great guitar records:
The Guitar and Other Machines by The Durutti Column Good Dog, Happy Man by Bill Frisell Rosewood by Bill Nelson Heartcore by Kurt Rosenwinkel Slow Circle by Alex DeGrassi
Advice for success at Tribeca Flashpoint College:
Show up early and stay late, always do your best, ask questions, avoid excuses. Choose your friends wisely.
Advice for success in the audio industry:
See above.
10 Paul Rodgers – Faculty
Paul is a Columbia College, Chicago grad with a B.A. in Communications / Sound Engineering. After graduation, his audio career began at the famous Chicago Recording Company (CRC), working as a post-production assistant and engineer. While there he created and managed SFX databases, and his session work included national radio and TV spots with an array of agencies and products, such as Cap N' Crunch cereal, Cadillac, Kroger, McDonalds, and Miller Beer.
Paul eventually moved on to the audio division of Avenue-Edit, another well-known Chicago editorial post house. As a senior engineer for 13 years, some of his work there included ad campaigns for Sears, Aquafina, Payless, JC Penney, Corona, Disney and Wisconsin Lottery. His work load also featured the recording, designing and mixing for many short films, TV episodes, and documentaries, and several of those have gone on to successful runs, including HBO, PBS, Sundance, SXSW, Chicago Film Festival and acclaim through Rolling Stone magazine. His work also includes several award winning ad campaigns and shorts.
After his lengthy stay at Avenue-Edit, Paul returned to CRC in late 2008 to continue his involvement in corporate advertising and indie films, working with a variety of clients and projects, including Hidden City, Disney, and Chicago’s bid for the 2016 Olympics.
In 2012, Paul transitioned to the world of education, settling in at Tribeca Flashpoint College as a Recording Arts faculty, teaching post-production for film and video. He currently teaches classes in sound design and film sound.
Education:
Bachelor of Arts in Communications, Columbia College, Chicago Specialization: Radio and Sound Engineering
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Recommended Films: (for sound)
Wizard of Oz 1939 Fantasia 1940 Psycho 1960 2001: A Space Odyssey 1968 The Godfather 1972 The Conversation 1974 Star Wars: A New Hope 1977 Apocalypse Now 1979 Jurassic Park 1993 Saving Private Ryan 1998 The Incredibles 2004 No Country for Old Men 2007 Wall-E 2008 The Revenant 2015
Favorite audio gear to use:
DAW – Pro Tools or Steinberg Nuendo Focusrite mic pre Neumann U87 mic Sennheiser Shotgun mic Isotope RX Software Waves Software Genelec speakers
Advice for success at Tribeca Flashpoint College:
The three C’s - Communicate consistently and constantly. Use your resources – the faculty and studios. Learn how to listen critically. Don’t procrastinate – do the work when it’s assigned. When in doubt – always ask questions.
Advice for success in the audio industry:
Be attentive. Be detailed. Be polite. Be persistent. Be passionate about your work. Use your ears. Treat all clients the same. Put in 110% effort regardless of the budget, product or broadcast medium, and people will notice.
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James Teitelbaum - Faculty
James has been recording music since 1984, and has made this his career since 1989. In 1993, he moved to Chicago, where he has recorded hundreds of artists at legendary Chicago studios such as Chicago Trax, Streeterville, CRC, Metropolis, and elsewhere. James also branched out into the live sound industry, touring internationally with Ministry, Pigface, Royal Crown Revue, Gary Sinise, and engineering 700 shows at Chicago’s Park West Theater. In 1997, he began teaching classes in recording technology, part-time. Upon being hired at Tribeca Flashpoint in 2008, he decided to devote his energies to education full-time, while continuing to record music whenever possible. James has also written several books and dozens of articles for magazines and web sites.
Education: BA, NEIU.
Recommended books:
All of your textbooks. We chose them for a reason. They form the core of an excellent recording arts reference library. Read them all, even the bits that aren't specifically assigned for a class.
Also:
Principles of Digital Audio - Ken Pohlman (deep digital nerdery)
How Music Works - David Byrne (amazing essays on the music biz)
Mastering Audio - Bob Katz (advanced audio wizardry)
Big Stone Head: Easter Island and Pop Culture - James Teitelbaum (1999)
Recording Voiceover: The Spoken Word in Media - Tom Blakemore
The Musician's Guide to Reading and Writing Music (formerly titled Introducing the Dots) - Dave Stewart (music theory made easy)
And:
Richard Dawkins, Carl Sagan, Jared Diamond, Stephen Hawking.
Any interview / lecture / article by Brian Eno that you can find.
Tape Op magazine: subscribe for free on their web site. Best source for recording tips, tricks, history, and ground-level indie perspective that you will find.
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Favorite audio gear to use:
Good musicians in a good sounding room after I have had a good night's sleep. That's all I need. If all of this is in place, the equipment is secondary. When I walk into a studio, I look around and think "this is what I have available to me today. I am going to make the best record I can with these tools". A good engineer will use what's around, and make it work.
Advice for success at Tribeca Flashpoint College:
Show up. Do the work. Don't be afraid to ask questions. Understand that everyone you meet is part of your professional network and may help you in the future. Especially if you've helped them. Help them. Show up. Do the work.
Advice for success in the audio industry:
Show up. Do the work. Don't be afraid to ask questions. Understand that everyone you meet is part of your professional network and may help you in the future. Especially if you've helped them. Help them. Show up. Do the work.
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Tim Rusin – Faculty
Tim’s interest in recording/producing music began back in 1997 when he purchased his first 4-track cassette recorder. He began recording his own music and fell in love with audio recording. He decided to enroll at Columbia College Chicago and was very involved in their recording programs. Timothy graduated with his Bachelors degree in Audio recording/producing music in 2004.
Tim landed a Chief Audio Engineer position at JBTV studios one year later in 2005 and began producing several records out of this facility. From there he became a big part in building the JBTV HD soundstage and dove more into live recording of artists that would then be featured on the JBTV television show. He walked away with three Emmy Nominations from that show for his audio work.
In October of 2011, Tim was presented with an opportunity to do something that he had been wanting to do for years. Teach Audio. Tim taught studio recording and audio production classes through out the fall and winter of 2011 at Tribeca Flashpoint College. He continued to do so on through the spring and summer of 2012. He was offered a full-time position as "Faculty in Recording Arts" in the fall of 2012. Tim gladly accepted and has now begun the next chapter in his audio career.
Education: Bachelor of Arts, Music Recording, Columbia College Chicago Associates in Applied Science, Prairie State College
Recommended books:
Behind the Glass, Volumes I & II – Howard Massey
The Daily Adventures of Mixerman – Mixerman
The Sound Reinforcement Handbook – for Yamaha by Gary Davis and Ralph Jones
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Favorite audio gear to use:
Neumann U47 Microphone Neumann TLM103 Microphone Neumann KM184 Microphones in a stereo pair Shure SM57 Microphone Chandler LTD1 microphone preamp Universal Audio 610 microphone preamp Steven Slate plug-ins Rational Acoustics SMAART V7 room tuning software Yamaha digital mixing consoles (CL and QL series) Izotope Ozone mastering software Fender and Gibson guitars
Advice for success at Tribeca Flashpoint College:
When talking about any kind of success, it always begins with the notion of showing up and putting in the work. Show up to your classes every time, on time, and do the work. Don’t just do the minimal amount of work either. Put your heart and soul into every project regardless of how “cool” you may or may not think it is; this is how experts are born when it comes to any kind of craft.
Advice for success in the audio industry:
Never say no to a gig. If you have the basic skills required to perform a task but you feel it may be slightly out of your comfort zone, go for it anyway. You may stumble, but you will also learn a lot and greatly enhance your confidence as an audio engineer. Not to mention make connections; this business is all about networking. Meet as many people as you can while upholding a professional and polite persona with everyone. You never know whom you may be working for next. Don’t burn bridges before you even get to cross them. Before you know it, they may be working for you. Just like anything else you want to get good at: PRACTICE PRACTICE PRACTICE!
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Dylan Oakley– Studio Technician
Starting music at the age of 5, and diligently pursuing Percussion at the age of 9, Dylan has a strong, 14+ year background in music performance. At the same time he also possessed deep passions for STEM related topics, finding the time to tinker and pursue knowledge in areas such as Physics and Electrical Design. He was ecstatic to combine these skills and passions to become an Audio Engineer.
Graduating from Tribeca Flashpoint Media Arts Academy in 2014, Dylan quickly embedded himself in the Chicago audio scene. Scooping up two assistant engineering gigs with top engineers, and consulting on the construction of new facilities. Since then Dylan has worked almost any type of gig you can imagine. Everything from studio production, behind the scenes support for prominent electronic artists, consultations on studio design and equipment, he has even helped recorded a funeral! Working part-time in the Tribeca Gear Office to fill out the gaps between gigs, Dylan eventually settled into the position of Studio Technician, where he can help you with all your audio difficulties.
In his free time Dylan can be found in one of three places: Working in his studio on two new electronic music projects, tinkering at his workbench on Eurorack modules and electronics, or spending time with his fiancee Hannah. Education: Associates, Focus in Studio and Live Event Production, Tribeca Flashpoint Media Arts Academy
Recommended books:
The Art of Electronics– Paul Horowitz, Winfield Hill Not for the faint of heart, industry standard electronics textbook
Making Music: 74 Creative Strategies for Electronic Music Producers – Dennis DeSantis Great for getting out of creative ruts
Principles of Orchestration - Nikolai Rimsky-Korsakov Old book, but gives you the tools to make great music
How to Win Friends and Influence People - Dale Carnegie If you read any of these, read this one
Anything physics! Try to learn some physics, it will change your life and help you understand the world around you. At the very least read something by Carl Sagan!
AllAboutCircuits.com KahnAcademy.com CodeAcademy.com
Favorite audio gear to use:
17 Learn the gear you have available to you and don’t obsess about having this piece or that piece. These are all tools like a chisel or a hammer. If you can’t use a hammer, why would buying a better one make a difference? Trying to be the best engineer you can be with the tools available to you, and at the end of the day you’ll be having fun making great sounds. That being said:
As an Engineer: Hardy M1 Preamp Empirical Labs EL8-X Distressor Universal Audio UAD Systems Apogee Symphony I/O Maag EQ4 Mics from Telefunken
As an Artist: Ableton Push 2 Ableton Live Max 7 MSP/Reaktor 6 Eurorack Modular Synthesizers Make Noise Teenage Engineering Vinyl and Cassette
Advice for success at Tribeca Flashpoint College:
Show up and do the work, it is that simple. Ask for help, and always try to surround yourself with people who know more than you
Advice for success in the audio industry:
Learn how to learn/educate yourself without schooling. If you can do that no skill or insight is out of reach, no job to tough. Fields that used to require masters level education can now be learned easily with a little bit of discipline.
If it sounds good it is good! Don’t get held up on how you are going about doing something, just focus on how it sounds and what it needs.
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Recommended Listening
19 Yuri Lysoivanov
Best recorded/mixed albums:
Artist Album Year Engineer/Mixer Michael Jackson Thriller 1982 Bruce Swedien The Wallflowers Bringing Down the Horse 1996 Tom Lord-Alge Deftones White Pony 2000 Terry Date Jonatha Brooke Steady Pull 2001 Bob Clearmountain Diana Krall The Look of Love 2001 Al Schmitt Ray Charles Genius Loves Company 2004 Al Schmitt Imogen Heap Ellipse 2010 Imogen Heap Yo-Yo Ma, Chris The Goat Rodeo Sessions 2011 Richard King Thile, Edgar Mayer, Stuart Duncan Daft Punk Random Access Memories 2013 Mick Guzauski
….And so many, many more
Favorite video game sound design:
Studio Game Year Naughty Dog Uncharted series 2007 - present Microsoft/Turn 10 Forza series 2005 - Present Visceral Games Dead Space series 2008 - 2013 Irrational Games Bioshock 2007 Frictional Games Amnesia: The Dark Descent 2010 EA DICE Battlefield: Bad Company 2 2010 Rockstar Games Red Dead Redemption 2010 ThatGameCompany Journey 2012 Naughty Dog The Last of Us 2013
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Jeff Kliment
Listen to the world around you. As you go about your daily activities, start tuning in to your surroundings at a deeper level. You will discover rich soundscapes wherever you happen to be. Take a walk outside and listen to your neighborhood. How many sounds can you identify? How do the things you hear affect the way that you feel? The world is filled with sounds, some pleasant, others less so. Listen with a curious mind, always seeking, always open. Can you name the birds that you hear? Go further… Can you start to discern what the birds are saying?
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Paul Rodgers
Recommended Films: (for sound)
Wizard of Oz 1939 Fantasia 1940 Psycho 1960 2001: A Space Odyssey 1968 The Godfather 1972 The Conversation 1974 Star Wars: A New Hope 1977 Apocalypse Now 1979 Jurassic Park 1993 Saving Private Ryan 1998 The Incredibles 2004 No Country for Old Men 2007 Wall-E 2008 The Revenant 2015
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James Teitelbaum
Whenever I see lists of the best-engineered records, the results usually seem to be ones that are pristine sounding, but which also inevitably feel rather sterile, scrubbed of all the grit and sweat that mark them as the results of human beings performing amazing music. Most of Steely Dan's catalogue springs immediately to mind, as do any number of records made in the 1980s (many of which I love, even in their sterility). Is it worthwhile to risk sabotaging a great performance for the sake of a little more sonic clarity? Probably not. Sound engineering that calls attention to itself is not a success. Perhaps the engineers that have made truly great records are the ones that stayed out of the way and let the players do their thing, capturing a powerful performance for all of us to enjoy. Subsequently, these engineers' work may be subtle to the point of invisibility, and is thus difficult to recognize. My favorite records, engineering-wise, are the ones where I don't notice the engineering (good or bad) and can thus be completely drawn in by the music. So, making a list of the records where the engineer exhibited proper restraint in service of the musical performance seems a bit futile. I do suggest that you all investigate the work of Alan Lomax.
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Tim Rusin
Best recorded/mixed albums:
Artist Album Year Engineer/Mixer Led Zeppelin Led Zeppelin IV 1971 Andy Johns Michael Jackson Thriller 1982 Bruce Swedien INXS Kick 1987 Bob Clearmountain Pink Floyd The Division Bell 1987 Andrew Jackson/Chris Thomas Nirvana Nevermind 1991 Butch Vig/Andy Wallace The Smashing Gish 1991 Butch Vig/Doug Olson Pumpkins Weezer Pinkerton 1996 Shawn Everett/Jack Puig John Mayer Continuum 2006 Manny Marroquin/Michael Brauer/Jared Robbins/Will Hensley Daft Punk Random Access 2013 Mick Guzauski Memories
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Dylan Oakley
Best recorded/mixed albums:
Some of these are the best engineered in my opinion, others hold more significant artistic value. Some are both, you decide.
Artist Album Year Engineer/Mixer Daft Punk Random Access 2013 Mick Guzauski Memories Holly Herndon Movement 2012 Holly Herndon DefTones White Pony 2000 Terry Date/Scott Olson NERO WELCOME TO 2011 NERO REALITY+ Rage Against The Rage Against The 1992 Steve Sisco/Andrew Wallace Machine Machine Rush Moving Pictures 1981 Paul Northfield
Arca Xen (????? Edition) 2015 Arca Pretty Lights Color Map of the Sun 2012 Derek Smith/Joel Hamilton
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