June 2014

SF’s Studio Trilogy and Ocean Way Nashville Linked By Source-Connect

Pictured in San Francisco are (standing L-R) Studio Trilogy engineer/co-manager Willie Samuels, business operations mgr Cindy McSherry, Ocean Way Nashville’s director of operations Pat McMakin, and (seated) Trilogy’s chief engineer/co-mgr Justin Lieberman.

Pictured in San Francisco are (standing L-R) Studio Trilogy engineer/co-manager Willie Samuels, business operations mgr Cindy McSherry, Ocean Way Nashville’s director of operations Pat McMakin, and (seated) Trilogy’s chief engineer/co-mgr Justin Lieberman.

San Francisco, CA, April, 2014 — Attendees at this year’s recent G.A.N.G. (Game Audio Network Guild) Game Developer’s Conference in San Francisco enjoyed a premiere event at Studio Trilogy: the live synchronized recording of a performance by a 30-piece orchestra from Ocean Way Recording in Nashville, Tennessee.

The live session was co-sponsored by Source Elements, whose software Source-Connect locked the Pro Tools rigs from each location together while sending the hi-resolution live orchestra feed from Nashville to SF. Source-Connect also allowed talk back capability between the two studios. Minutes into the session, the walls and distance disappeared and people on both ends communicated seamlessly.

“We also utilized a live camera feed from Nashville,” explained Justin Lieberman, Trilogy’s chief engineer. “We watched and listened in real time to the orchestra in Nashville while recording to our Pro Tools timeline. We have the capability to lock picture on both ends or just record to existing tracks and we can provide feedback on the performance and interaction with both the Nashville engineering team and the conductor from our studio in San Francisco.”

Composer David Shipps conducted the Nashville musicians while the visiting game composers and producers on the San Francisco end could check out the impressive facilities at Ocean Way Nashville and listen to talented orchestral musicians contracted by Nashville Music Scoring’s Alan Umstead, while in the pristine listening environment offered at Studio Trilogy.

“This was not only an exciting event during the SF conference,” remarked Pat McMakin, Director of Operations, Ocean Way Nashville Recording Studios. “It was also the premier of our new strategic partnership with Studio Trilogy, which offers composers and their music production teams a convenient way to take advantage of the terrific studios and musicians in Nashville while working in the comfort of one of California’s finest studios.”

“We believe this transcontinental partnership opens up a huge opportunity for San Francisco / Bay Area-based gaming and film companies to utilize the amazing Ocean Way Nashville orchestra and studio without ever leaving SF,” added Trilogy’s Justin Lieberman. “We can then edit and mix in surround and stereo right here in SF as soon as the session in completed.”

Both Studio Trilogy and Ocean Way Nashville are active in the film, TV, advertising, and game scoring industries. Composer Nathan Johnson recently scored at Trilogy “Young Ones,” which debuted at this year’s Sundance Festival. Upcoming is his score for “Don’t Kill the Messenger,” directed by Michael Cuesta (“Homeland”). Games scored at Trilogy include “Infamous 2” for Sony Playstation and “BioShock Infinite” with composer Jim Dooley for 2K Games.

OWN has scored major games for Sony Playstation as well as the music for several of the nominees and winners at this year’s prestigious G.A.N.G. Awards, including “Thieves In Time,” composed by Peter McConnell, and “Last Of Us,” scored by Academy Award-winner Gustavo Santaolalla, which took home the top prize at the G.A.N.G. Awards.

The Source-Connect event was co-sponsored by Studio Trilogy, Source Elements, and Ocean Way Nashville. In addition to witnessing the historic recording session, there was a patio BBQ for attendees to catch up on the days events at the Game Developers Conference.

The system provided by Source-Connect enables audio connections between digital audio systems anywhere in the world, allowing direct-to-the-timeline recording with real-time, broadcast-quality audio using only an internet connection.

The Game Audio Network Guild (G.A.N.G.) is made up of composers, sound designers, voice over directors, game designers, producers and other associates and executives within the greater interactive entertainment industry. http://www.audiogang.org/

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Nathan Johnson Scores “Young Ones” at Studio Trilogy in SF

Pictured at Studio Trilogy is composer Nathan Johnson recording a programmable music box with two Neumann KM 84 mics in an X-Y configuration.

Pictured at Studio Trilogy is composer Nathan Johnson recording a programmable music box with two Neumann KM 84 mics in an X-Y configuration.

San Francisco, CA, February, 2014 — Innovative scoring composer Nathan Johnson ventured from his homebase in Los Angeles to work at Studio Trilogy in San Francisco on the music for sci-fi thriller “Young Ones.” The film debuted with strong reviews at the Sundance Film Festival where Steven Spielberg, godfather of director/screenwriter Jake Paltrow, attended the screening.

In addition to recording strings with San Francisco’s Magik Magik Orchestra at Trilogy, Johnson recorded one of the film’s themes with a music box he programmed. “The music box was less programming and more just punching holes in a paper strip with a hole puncher. In this version it essentially only has the white keys of a piano, so I wrote the melody for that and then wrote the rest of the music around it. I worked with the string ensemble, but then there are also synthesized elements. The music for this film is very melodic, but mostly horns and strings are the lead instruments.”

The film stars Michael Shannon, Elle Fanning, Nicholas Hoult and Kodi Smit-McPhee. A hybrid of Western and sci-fi genres, Paltrow’s second film is a tale of revenge set in the future when water is scarce and many have fled a barren land in search of a better life. Those who’ve stayed behind manage as best they can, but easily turn on each other.

As a composer, producer, art director, and songwriter, Nathan Johnson’s innovative film scores and hybrid media performances have consistently blurred the lines between stage, screen, music, and narrative. Best known for his unconventional work in film and music, Johnson favors modified, organic instrumentation combined with unique approaches to recording and performing.

“I worked with the Magik Magik Orchestra previously on the film “Looper,” but this was the first time I worked at Studio Trilogy,” Johnson explained. “It was perfect — not only a great studio, but great musicians and recording engineer Justin Lieberman did a really fine job, making it a really smooth session. In addition to all of that, the studio has a nice apartment and it’s so comfortable when you’re in a different city working on a project that you don’t have have to think about all that. You just wake up and walk across the hallway to the studio and then at the end of the day you head back and hit the sack.”

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STUDIO TRILOGY: Recording Oasis in Downtown SF

Pictured (L-R) is the February addition cover photo for Mix Magazine and the Studio Trilogy “Mix Regional: SF Bay Bay Area” article by Blair Jackson.

Located smack dab in the heart of San Francisco’s ultra-creative and growing SOMA (South of Market) district, on the edge of downtown, Studio Trilogy is exactly the type of recording and production facility that mirrors the city’s changing face as a hub for all sorts of different types of artistic expression. Whereas in the past, some of the “hot” studios in The City have been focused primarily on music recording or commercial production/post work, Studio Trilogy revels in its eclectic approach, offering a one-stop shop for almost any audio project imaginable.

“San Francisco is really vibrant right now,” says chief engineer Justin Lieberman, who, with senior engineer Willie Samuels and business operations manager Cindy McSherry, are the trio who run the multi-room complex. “There’s a lot of work being done in a number of different creative sectors we’re trying to accommodate—from small gaming to large gaming, to rock and jazz and hip-hop, advertising, post work. It’s very diversified, but we’ve figured out a way to make it all work in this space.”

“Between the three of us we’ve had experience in all these different market sectors,” adds McSherry. “This was built as a music studio originally, and the rooms were designed with music recording in mind, but as we started to develop Trilogy, beginning in April 2010, we realized there were these other markets out there that needed servicing, so we’ve been able to accommodate those. For instance, the percentage of post work we do here has grown steadily every year,” and now makes up about 30 percent of Studio Trilogy’s business.

The facility started life as Talking House Productions in 2006, in a former warehouse space that was transformed by noted studio architect John Storyk, with plenty of input from Jack Leahy (of local Russian Hill Recording and Crescendo Studios fame) and others on the original studio team.

At the heart of the facility is Studio A, with its spacious control room featuring an 80-input SSL 9000K (the only one in Northern California) and bounteous top-of-the-line outboard gear, and a large, wonderful-sounding tracking space that can accommodate everything from small groups to orchestras. Control Room B is anchored by a 32-channel API 1608 console with custom EQs. Then there’s the smaller Control C—designed primarily (but not exclusively) for post work, with a 16-fader Avid D Control as its primary work surface. A large assortment of high-end monitors—Genelecs, Dynaudios, Yamahas and others—are matched to each control room. Additionally, there are four iso booths, each of which can be connected to any of the control rooms.

You’d never know it from the nondescript exterior on busy Bryant Street, but the studio also boasts an elegant and well-appointed apartment, lounges, media room, conference room, full kitchen, dining area and more—even a private rooftop patio.

The three principals all have deep roots in Bay Area recording: McSherry worked at Russian Hill and Crescendo before signing on to be director of operations at Talking House when it opened; Lieberman started at Toast Recording, and later worked at Different Fur, SF Soundworks, Fantasy Studio in Berkeley and various other spots in his pre-Talking House days; and Samuels co-founded (and still co-owns) indie favorite Nu-Tone Studios, in the East Bay town of Pittsburg, and arrived at Talking House originally as a freelance engineer and producer.

Studio Trilogy also has what is known in the sports world as a “deep bench”—i.e., a strong and diverse group of creative partners who often work out of the facility, including top-flight music engineers such as Howard Johnston, David Frazer and Tyler Crowder; post engineers Chris Konovaliv, Eric Eckstein, and Matt Wood; and advertising specialist Sam Pond.

It’s no wonder there’s such a variety of clients coming to Studio Trilogy. “You never know what you’re going to be doing,” Lieberman notes, “whether it’s a voiceover or an eight-piece jazz band or, the other day, a 15-piece string section. Willie is currently working with a local artist, and then we have a British producer and artist staying in the apartment for two weeks. They did some work in the UK, they’ll be finishing up vocals in our API room and then I’ll be mixing six songs for them in the SSL room.”

“This weekend we have a corporate video shoot in our live room and gallery,” McSherry adds.

It’s quite a juggling act, they acknowledge, “and more than ever,” McSherry says, “pre-production is key—really getting the story about what someone needs before they walk in the door, because everyone has different needs nowadays.” Lieberman: “Some people know exactly what they’re after when they come in, but there are also more novice artists, who need more coaching about being in the studio and maybe even hiring musicians. We have connections with a lot of musicians who can help out on different kinds on projects.”

As for the future, McSherry reveals, “We’re in the process of launching an original music production division for scoring for film and television, called Track Attic. We’ve been developing this for the past year, contracting with various composers to produce material to promote this, and we’ve hired a marketing rep. Our goal is to provide top-level production quality.”

For more information on this article visit MIX online at: http://shar.es/PQsI9

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Rodrigo y Gabriela Record at Studio Trilogy for “Morning Becomes Eclectic”

Pictured at Studio Trilogy are (L-R) Rodrigo Sanchez, producer/engineer Justin Lieberman, and Gabriela Quintero.

Pictured at Studio Trilogy are (L-R) Rodrigo Sanchez, producer/engineer Justin Lieberman, and Gabriela Quintero.

San Francisco, CA, October, 2013 — Celebrated Latin guitar duo Rodrigo y Gabriela recently performed live at San Francisco’s Studio Trilogy for broadcast via ISDN on LA’s KCRW “Morning Becomes Eclectic” radio show. Trilogy producer/engineer Justin Leiberman recorded and mixed the performance, and radio host Jason Bentley interviewed the duo, who also previewed three new songs in advance of their World Festival appearance at the Hollywood Bowl.

Rodrigo Sanchez and Gabriela Quintero grew up in middle-class families in Mexico City. Their parents listened to flamenco, jazz, and rock music, but they were also exposed to and inspired by heavy metal rock music and other genres. They met as teenagers at the Casa de Cultura (House of Culture) in Mexico City, where Rodrigo’s brother was Director.

The musicians later gained notoriety by playing on the streets of Dublin, Ireland, and gained a cult following. To date, Rodrigo y Gabriela have sold in excess of 1.2 million albums. In 2011, they collaborated with Hans Zimmer on the “Pirates of the Caribbean: On Stranger Tides” soundtrack, as well as contributing to the soundtrack for the Shrek prequel “Puss in Boots.”

They regularly dismiss being classified in any one particular genre of music, preferring to say they play a fusion of many influences. Both Rodrigo and Gabriela play Yamaha NX series electro nylon string guitars exclusively. Rodrigo plays the slimmer neck NTX1200 and Gabriela plays the more traditional sized NCX2000 and NCX1200.

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SF Post Pro Eric Eckstein Teams Up With Studio Trilogy

Pictured is audio post-production engineer Eric Eckstein at the Digidesign D-Control console in Studio C at Studio Trilogy.

Pictured is audio post-production engineer Eric Eckstein at the Digidesign D-Control console in Studio C at Studio Trilogy.

San Francisco, CA, October, 2013 — San Francisco audio post leader Eric Eckstein has returned to the workforce as an associate engineer at Studio Trilogy.   Eckstein is known nationally for his audio engineering expertise in the fast-paced world of advertising and entertainment.

Originally from New York, Eckstein established himself as a leading sound engineer working on high profile national advertising campaigns with an extensive stable of loyal clients.  After moving to the Bay Area, he quickly became the “go to guy” for major agencies in San Francisco.  Eckstein co-founded One Union Recording Studios, where he continued to expand his client roster, both as an engineer and as an executive at the highly regarded studio.

Eckstein eventually departed One Union to try his hands at “a few different things” including raising his daughters and developing his music.
Click on this comical spoof of a radio spot Eric created at Studio Trilogy to find out more:

Eckstein’s return to the business also signals his first collaboration with another San Francisco audio post veteran, Studio Trilogy’s business operations manager, Cindy McSherry, who co-founded and ran Crescendo Studios and Russian Hill Recording, former rivals of One Union Recording.

Says McSherry, “I am so thrilled to finally be working with Eric!  We first met back in the 1990s when I was running Russian Hill (pre-Crescendo) and we really hit it off. I have been following his career with great admiration and now I couldn’t ask for a better collaborator to help with the continued growth of Trilogy’s post business.”

An energetic leader with the highest professional standards, Eckstein prides himself on seeing the “whole picture” while focusing on each detail in post-production, delivering on time with imagination and striking results. “My goal in the studio is to deliver the client’s creative vision, in an environment of collaboration and comfort.  I couldn’t ask for a more creative environment than the one here at Studio Trilogy.”

A short list of Eckstein’s past clients includes Anderson DDB, BBDO, Leo Burnett, Foote Cone & Belding, J Walter Thompson, Ogilvy & Mather, TBWA / Chiat Day, Grey Advertising, MTV, Polygram Records, United Way, Disney, Nickelodeon, Pixar, Jim Henson Associates, and Warner Bros.  Brands that have benefitted from Eckstein’s touch include Budweiser, Mercedes Benz, the California Milk Board (“Got Milk?”), Ebay, Toyota, Ford, Honda, Porsche, Nike, McDonald’s, Nintendo, AT&T, and Amazon.com.

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Landmark “Salsa De La Bahia” Completed at SF’s Studio Trilogy

Pictured at Studio Trilogy while recording “Salsa De La Bahia” are (L-R) recording engineer Gary Mankin and producer/trombonist Wayne Wallace. Photo by David Goggin.

Pictured at Studio Trilogy while recording “Salsa De La Bahia” are (L-R) recording engineer Gary Mankin and producer/trombonist Wayne Wallace.
Photo by David Goggin.

San Francisco, CA, September, 2013 — “Salsa De La Bahia,” the much anticipated celebration of San Francisco’s vibrant and vital Salsa/Latin/Jazz scene has been completed at Studio Trilogy. The project was helmed by producer and celebrated trombonist Wayne Wallace, and recorded by Gary Mankin.

The new album is the musical companion to the upcoming film documentary “The Last Mambo,” directed and executive produced by Rita Hargrave, which traces the 60+ year evolution of the West Coast Latin sound, a potent gumbo of Afro-Cuban rhythms, jazz harmonies and funk infused grooves. “Rita and I chose the songs with the idea of this CD being a dance record that showed the musical diversity of what the Bay Area scene has to offer,” explained Wallace.

Wayne Wallace’s credits include being musical director of the Pete Escovedo Orchestra, John Santos & The Machete Ensemble, and Conjunto Cespedes as well as sideman gigs with luminaries like Tito Puente and Manny Oquendo & Libre.

The musical spectrum of “Salsa De La Bahia” shows the kaleidoscope of Afro-Latin musical colors seen and heard around the Bay Area. Complimenting this rich collection are three original pieces recorded at an all-star session at Studio Trilogy. “Everyone understood that this was an opportunity to make a collective musical and artistic statement about the music we have played for years,” commented Wallace. “We spoke of the lineage of Cal Tjader, Carlos Federico and the many musicians who helped create this music.”

“It is significant to remember that this music is an essential part of the forward-thinking Bay Area community,” added Wallace. “In the early 50s, the San Francisco mambo/salsa scene pre-dated the integration of the 60s and welcomed a diversity of races and cultures at the nightclubs and concert halls. Without this musical and cultural phenomenon you wouldn’t have had a Santana and the Latin rock scene.”

“Not only did we have a festival of great musicians at Studio Trilogy, we had the support of a studio staff that is top drawer,” commented recording engineer/producer Gary Mankin, whose discography is a who’s who of Bay Area luminaries. “The ambience at the studio was perfect for this project, family style where everyone felt comfortable and at home, but always very professional.”

To view sessions at Studio Trilogy for “Salsa De La Bahia” and learn more about the film project “The Last Mambo,” visit: http://thelastmambo.com/store

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Cascada de Flores Recreates Classic Radio Show at Studio Trilogy

Cascada de Flores is pictured in session at Studio Trilogy, (L-R) Saul Sierra-Alonso, bass; Steve Savage, producer/engineer; Jorge Liceaga, guitars; Arwen Lawrence, voice, guitars, dance; Brian Rice, percussion; Marco Diaz, trumpet, piano. Photo by David Goggin.

Cascada de Flores is pictured in session at Studio Trilogy, (L-R) Saul Sierra-Alonso, bass; Steve Savage, producer/engineer; Jorge Liceaga, guitars; Arwen Lawrence, voice, guitars, dance; Brian Rice, percussion; Marco Diaz, trumpet, piano. Photo by David Goggin.

San Francisco, CA, August, 2013 — Cascada de Flores, the fiery ensemble exploring Mexican and Caribbean music and dance, has recorded “Radio Flor” at San Francisco’s Studio Trilogy. The project is described by the band as “a musical love letter to the Golden Age of radio, when songs reigned and a melody grabbed your heart for a lifetime.”

Cascada de Flores features Arwen Lawrence, who provides the distinctive vocals, guitar and dance alongside luminary musicians of the San Francisco traditional music and Latin jazz scene. The album’s motif explores heart-wrenching bolero, raucous Cuban guaracha, earthy Mexican dance traditions, all presented in energetic arrangements spiced with a bit of chilango humor.

Recording engineer Steve Savage, a mainstay of the SF music scene, explains: “In keeping with the radio broadcast theme, everything was recorded live in the studio, including vocals. The result is a totally unrestrained and expressive album that captures the band at their best. I used all pencil condensers for their smooth off-axis response, except for Neumann M269’s on vocals and a few dynamic mics on bongos and cajon.”

Lead singer Arwen Lawrence commented, “Our time at Trilogy was precious, the perfect setting for making this emotional music with the spontaneity that it deserves.”

Savage added, “Cascada de Flores strikes such a lovely balance between outstanding musicianship, emotional commitment and a willingness to put the song first in their musical approach. Everything about Trilogy supports creative work — all the amenities are there, all the technical requirements are covered at the highest level, and everything works, but even more important is the warm atmosphere. The sessions were intense, but it was also a pleasure from beginning to end to be working with such wonderful musicians in an ideal studio environment.”

To hear “La Chuparrosa,” a traditional dance piece from the Afro-Mexican culture in Oaxaca, and the first single from the album, visit:

To learn more about Cascada de Flores, visit: http://cascadadeflores.com

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Post Production Pro Matt Wood At SF’s Studio Trilogy

Pictured is Post Production Engineer Matt Wood at Studio Trilogy's Digidesign D Control console in control room c.

Pictured is Post Production Engineer Matt Wood at Studio Trilogy’s Digidesign D Control console in control room c.

San Francisco, CA, June, 2013 — Audio post engineer Matt Wood is now available for sessions at San Francisco’s Studio Trilogy. Wood’s past credits include sound design/mixing for national commercial campaigns, as well as film projects such as “Alambamento,” which has won multiple international film festival awards. His recent audio mixing at Trilogy includes Internet videos for Audi and Google+, and for “Freefall,” an independent film by SF Ballet dancer Luke Willis.

“I’m really thrilled to to work with Matt again, as we continue to grow our post production business,” commented Cindy McSherry, business operations for Studio Trilogy. “His sound design and mix experience really rounds out our current offerings to our post production clientele. He’s extremely talented and such a really nice guy, too.” McSherry was the founding operations manager of Crescendo Studios from its inception in 1996 up until her departure in 2006. Crescendo recently closed after a 16-year run in the San Francisco audio post market.

While at Crescendo, Wood engineered a wide variety of projects including sound design for multiple Google projects including Google + and Google Doodles (the logo on Google.com that changes every day), as well as sound design for the official Halo 4 website, and sound design and mix for Kelly Moore, Sprint, Nike and Visa commercials, and the feature length documentaries “This is Noise Pop” and “Wine From Here: Natural Wine in California.”

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Pansy Division Audio Book Recorded at SF’s Studio Trilogy

Pictured during recording sessions at San Francisco’s Studio Trilogy for the audiobook “Deflowered” are (L-R) Pansy Division founder Jon Ginoli and engineer Willie Samuels.

Pictured during recording sessions at San Francisco’s Studio Trilogy for the audiobook “Deflowered” are (L-R) Pansy Division founder Jon Ginoli and engineer Willie Samuels.

San Francisco, CA, May, 2013 — Pansy Division founder Jon Ginoli has recorded the Audible.com version of his memoir “Deflowered — My Life in the Pansy Division.” Formed in 1991, the band was the prototypical SF gay punk band and has shared the rock stage with such acts as Rancid, The Vandals, Jimmy Eat World, Supergrass, and Green Day.

“It was great coming to Studio Trilogy to record the audio book version of my memoir,” remarked Jon Ginoli. “It was especially nice because my engineer was Willie Samuels, who recorded Pansy Division’s most recent album a few years back. We had a fun time in the studio, hooray! There may be 5 million people in the Bay Area, but it’s nice how paths can unexpectedly converge.”

Pansy Division’s sound was heavily influenced by 1960s pop and 1970s punk rock, most notably bands such as the Ramones, the Buzzcocks and early Beatles: short, catchy pop punk numbers with humorous, in-your-face lyrics that dealt with various aspects of both gay life and life in general.

In 2008, the band was the subject of a documentary film entitled “Pansy Division: Life in a Gay Rock Band,” directed by Michael Carmona. The film has been touring internationally, playing at various LGBT film festivals, and is now available as a DVD.

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Future Youth Born at San Francisco’s Studio Trilogy

Pictured in session at Studio Trilogy’s SSL 9000K console are (L-R) programmer Chris Scanlan, Future Youth director/producer Jason Wall, and recording engineer Willie Samuels. Photo by David Goggin.

Pictured in session at Studio Trilogy’s SSL 9000K console are (L-R) programmer Chris Scanlan, Future Youth director/producer Jason Wall, and recording engineer Willie Samuels. Photo by David Goggin.

San Francisco, March, 2013 — Future Youth Records, the new non-profit label based in the SF Bay Area, has begun a series of sessions at Studio Trilogy. Founded by producer Jason Wall, the label is the first full-service, non-profit record label dedicated to helping youth 12-17 years old write and release original music.

“A lot of the positions in the recording industry that were once held by top music veterans are now gone,” Jason Wall remarked. “Many new artists need guidance because they pay the costs of recording, manufacturing and promoting their music, only to have to give it away for free or at a big loss.”

By taking the profit out of recorded music, Future Youth Records has created a new business model for youth to learn about professional recording and the realities of today’s music industry. The goal of the label is to give kids of all socio-economic backgrounds the opportunity to write and record while at the same time learning about the nature of well-recorded music.

“I want to level the playing field for talented young musicians,” Wall explains. “We’ve got some top mentors onboard and these kids might be getting the chance of a lifetime. And to get their start at Studio Triology is a great place to begin — great acoustics, great equipment, and a smart and friendly staff.”

To learn more about Future Youth Records, visit:

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Joan Jeanrenaud Records at Studio Trilogy for Dance Theatre of Harlem

Pictured in session at Studio Trilogy’s SSL 9000K console are (L-R) chief engineer Justin Lieberman and cellist/composer Joan Jeanrenaud with her dog “Jack.” Photo by David Goggin.

Pictured in session at Studio Trilogy’s SSL 9000K console are (L-R) chief engineer Justin Lieberman and cellist/composer Joan Jeanrenaud with her dog “Jack.” Photo by David Goggin.

San Francisco, CA, March, 2013 — Grammy-nominated cellist and composer Joan Jeanrenaud has recorded new music for The Dance Theatre of Harlem, which is returning in April to NYC after an eight-year hiatus. The new music to be premiered was requested by renowned dancer Thaddeus Davis and recorded with keyboardist/percussionist PC Munoz and engineer Justin Lieberman at San Francisco’s Studio Trilogy.

Thaddeus Davis had heard Jeanrenaud’s 2008 Grammy-nominated Classical album “Strange Toys,” which was recorded in the same studio, and was intrigued by her rhythmic and atmospheric sensibilities. Jeanrenaud first met percussionist PC Munoz at Trilogy and since then both have collaborated on their respective individual projects. For the new Harlem Dance Theatre pieces, “Harmonic Harlem” and “Harlem Strut,” Munoz accompanies Jenrenaud’s cello with African Kalimba thumb piano and a unique miniature drum kit.

“Justin Lieberman is my main reason for recording here at Trilogy,” Jeanrenaud explained. “We first worked together at Different Fur studios here in San Francisco and then again when he moved over to Talking House, which later became Studio Trilogy. His engineering is inspired and impeccable and this studio is a pleasure to work in, as well as being a creative magnet for musicians.”

Joan Jeanrenaud plays a Deconet cello made in the mid-1700s. A native of Memphis, Tennessee, she played with the Kronos Quartet from 1978 until 1999, when, after a sabbatical, she left to pursue a solo career and collaborations with other artists. She has staged and recorded solo performance pieces, also playing the cello in tandem with electronic instruments. Her first solo album, “Metamorphosis,” was described by Greg Cahill in Strings as “visceral, hypnotic… compelling.

Founded in 1969, the legendary Dance Theatre of Harlem made its official debut on January 8, 1971, at the New York Guggenheim Museum with three chamber ballets by co-director Arthur Mitchell. During the same season the company’s repertory was supplemented with several ballets by George Balanchine and Jerome Robbins. The DTH is renowned both as the first black classical ballet company, and the first major ballet company to prioritize black dancers.

Learn more and listen to Joan Jeanrenaud at: http://www.jjcello.org

For more info about The Dance Theatre of Harlem visit: http://www.dancetheatreofharlem.org

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Vintage King and Friends Rock AES at “Afterglow” in San Francisco

Pictured at Studio Trilogy during the Afterglow are (L-R) Shevy Shovlin, Vintage King’s Director of Partner Marketing & PR.; Cindy McSherry, Justin Lieberman and Willie Samuels, Studio Trilogy managers; Neil Dorfsman, Ryan Hewitt and Elliot Scheiner, award-winning engineer/producers.

San Francisco, AES 2012 — Vintage King, Studio Trilogy, The Recording Academy ® Producers and Engineers Wing ®, Gearslutz, and Focal Press proudly hosted the triumphant return of Afterglow, the premier recording industry after-party during the 2012 AES Convention. More than a thousand attendees mixed and mingled with industry professionals at the event.

Afterglow was held at San Francisco’s Studio Trilogy, the state-of-the-art recording studio where 500 guests got a sneak peak into the world of cutting-edge recording gear and a rare chance to speak informally with many industry leaders and luminaries, getting insights straight from the experts.

“This year’s party was a huge success and extra special for Afterglow. The Grammy P&E joined in for the first time, truly making this the must-attend social networking event during AES,” commented Shevy Shovlin, Afterglow organizer and Vintage King’s Director of Partner Marketing & PR.

Afterflow will return again next year in New York City at the 135th AES Convention on Saturday, October 19, 2013. Stay tuned here: http://vintageking.com/afterglow

To learn more about the supporters of Afterglow at AES 2012, visit:

Vintage King Audio
Grammy P&E Wing
Studio Trilogy
Focal Press

Located in the creative heart of San Francisco, Studio Trilogy offers producers, artists and engineers a World Class recording environment. The 8800 square foot facility houses three state-of-the-art control rooms, four integrated isolation booths, San Francisco’s most versatile large tracking rooms, and an experienced staff.

Designed by John Storyk , Studio Trilogy features Northern California’s only 80-channel SSL 9000K mix console with Ultimation. The tracking suite is outfitted with a 32-channel API 1608 and the post-production suite features a Digidesign ICON D-Control. Included is a prize collection of microphones, plus a full complement of vintage and modern instruments. An onsite 1200 sq.ft. luxury apartment with media lounge and chef’s kitchen is also available.

Learn more at: http://studiotrilogy.com

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