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The article focuses on the recording process and creative environment behind Mike Campbell & The Dirty Knobs' album "Vagabonds, Virgins & Misfits." Topics include the unique challenges and charm of Campbell's studio, Hocus Pocus, the recording techniques used, and the album's production process, highlighting both the technical aspects and the personal dynamics involved.

The article focuses on the technical and creative process behind remastering musician, Peter Frampton's "Do You Feel Like We Do" into Dolby Atmos format. It describes the collaboration between Peter Frampton and mix engineer Chuck Ainlay, detailing the challenges they faced, such as differences in tape speeds, mastering issues, and technical adjustments necessary for the Dolby Atmos mix.

Producer Ian Brennan has been making music since he was 20, giving voice to marginalized communities worldwide. His recent project involved recording 16 inmates at Mississippi's Parchman Prison, resulting in the album "Parchman Prison Prayer." The success of this project led to a follow-up recording, "Another Mississippi Sunday Morning," showcasing the inmates' talents and stories. Brennan's minimalist recording setup and approach aim to capture the raw emotions and experiences of the participants, highlighting the potential for growth and redemption through music. [Extracted from the article]

The article focuses on the development and production of Maroon 5 band's breakout hit "This Love," which was added to their debut album "Songs About Jane" after its initial demo. Topics include the production process led by record producer Matt Wallace; the changes made to the song's structure; and the final mixing adjustments that contributed to its success.

The article focuses on Future Youth Records' collaboration with Julian Lennon and the White Feather Foundation, aiming to raise funds for the environment. Topics include the formation and mission of Future Youth Records, the reimagining of Lennon's "Saltwater" by young artists from different countries, and the challenges and successes of recording at United Studio A in Los Angeles.

The article offers information on the release of the A Charlie Brown Thanksgiving soundtrack after 50 years, including remixing and remastering by Terry Carleton and Vinson Hudson. Topics include the collaboration between Peanuts and Vince Guaraldi, the original recordings featuring Seward McCain, Mike Clark, Tom Harrell, and Chuck Bennett, and the involvement of Sean and Jason Mendelson as music producers.

The article delves into Ryan Ulyate's immersive Atmos remixes of Tom Petty's classics, notably "Free Fallin'," showcasing how Ulyate meticulously recreates the essence of these beloved tracks. Topics discussed include Ulyate's approach to capturing the original mix fidelity, the placement of elements in Atmos space, and his emotional connection to Petty's music during the remixing process.

The article discusses that music recorder Ellis Sorkin's journey into audio engineering began when his father secured him a spot in A&M Studios' apprenticeship program. He became an indispensable assistant to industry legends like Hank Cicalo and Al Schmitt, eventually finding himself working alongside engineer Henty Lewy on Joni Mitchell's iconic album "Court and Spark," where meticulous attention to detail resulted in the legendary clarity of tracks like "Free Man in Paris."

The article informs that Red Hot Chili Peppers have reassembled and reignited, creating a new thread in their identifiable string of magic that defies a label, yet encompasses all styles. Josh Klinghoffer was the guitarist back in mid- 2019, before the Covid-19 pandemic, when the group started working on material for a new album. By January 2020, the guitarist was in a private rehearsal studio with his former bandmates, jamming and playing the old tunes.

The article presents an interview with artist/pianist Clifford Lamb, recording producer Jeffrey Weber and recording engineer Clark Germain. Among the issues they discussed include their experience of working for the live-to-two-track recording of "Blues & Hues," the superiority of live two-track recording over multitrack recording, and a standard jazz go-to mic setup for drums.

The article discusses that David Paich released his first solo work, "Forgotten Toys," and a focus track, "Willibelongtoyou," on the Mascot Label Group on August 19, 2022. Most of the songs on Forgotten Toys came from pieces of material Paich had worked on at various points in his career. Joseph Williams, the lead vocalist of the band, did some co-producing, co-writing, singing, and engineering, basically helping to steer the ship.

The article presents an interview with Rock and roll singer Linda Ronstadt who is being considered the most successful female artist of the 1970s, by the early '80s. Topics include about scaring of her to be on her own after The Stone Poneys splitting up; on some of the clips in "The Sound of My Voice" the documentary about her, appearing like she singing live in the studio with the band; and biggest challenge of her in the studio.

The article focuses on Narada Michael Walden who must have felt while producing a project for Aretha Franklin the Queen of Soul and receiving a phone call from Arista Records A&R rep Gerry Griffith asking him to drop that record to work with an unknown 19-year-old singer. It mentions that he had discovered by the name of Whitney Houston for her self-titled debut album.

The article focuses on Michael Nehs, co-owner of Periscope Post and Audio in Chicago, was contemplating opening a facility in the Los Angeles area. Topics include the industry friends make sure he brought his no-bullshit Chicago attitude with him and not to get sucked into the game playing, asskissing mentality of the Hollywood contingency, and the Chicago mindset of his accounts for integrity and directness, which Periscope general manager Ben Benedetti confirms.

The article reports the experiences of American guitarist and songwriter, Danny Kortchmar with his band of musicians while working on his upcoming album, "Honey Don't Leave LA." Topics include his interactions with veteran musicians in the industry including guitarist, Waddy Wachtel, and drummer, Russ Kunkel.

The article offers information on the Jeff Saenz, owner of Modern Electric in Dallas whose life changed when on June 1, 2021, he came in contact with a fallen power line in his backyard and woke up in the hospital almost two weeks later—to be told by his fiancé that doctors were forced to amputate his left hand. It discusses that how he has added a lot of outboard gear and preamps, including four vintage Neve 1073s, two vintage Neve 1063s, two vintage Neve 1080s after that.

The article focuses on producer David Kershenbaum, whose remix of "Hungry Like the Wolf" and indeed the entire Side One of the group sophomore album, Rio—ignited the British band's ascent up the American charts in 1983. Topics include considered the success came after a year of the band music not getting radio play in the States, even as the group was scaling new heights of success at home.

An interview with American musician, songwriter, record producer, Larry Klein is presented. Topics discussed include his views on his nomination for Producer of the Year at the Grammy Awards for the third time; his thoughts on some albums produced by him such as "All These Things," "Anthem," and " The Book Of Longing;" and his views on working with Hailey Tuck.

The article focuses on Producer Jacknife Lee never once spoke to the artist during the making of Bamanan. It mentions that he was riding out the early stages of the pandemic nestled in his Topanga Canyon home studio, near Los Angeles, while Rokia Koné was on the other side of the world in Mali, West Africa, where, besides also dealing with Covid restrictions, an actual coup d'état took place on August 18, 2020.

The article focuses on the professional relationship between singer Cyndi Lauper and record producer Tony Brown for creating the country music album Detour. It states that Brown appointed drummer Chad Cromwell, bassist Willie Weeks, keyboard player Steve Nathan and guitarist Tom Bukovac for creating music for the album. It presents views of Lauper on the band members appointed by Brown.

The article focuses on views of the members of the rock band "Toto" related to their studio album "Toto XIV." Topics discussed include returning of bassist David Hungate for tracks, departure of Mike Porcaro after the release of album "Toto IV," Steve Porcaro and David Paich being keyboard experts, Universal 6176 being the main mic preamp which is used for vocals and the M50 headphones for sound tracking.

The article reports that Frank London addresses complex association in his latest release, Ghetto Songs, which includes music that spans centuries, from the 1600s to the 1970. Topics include examines that seeds of the project began five years ago when London was invited to Venice by Beit Venizia, a group wishing to shine light on the 500th anniversary of the first ghetto in Italy.

The article highlights the significant events that led to the development of The Bakery mastering studio in Los Angeles, California owned and operated by Eric Boulanger. Topics covered include career and accomplishments of Boulanger, the closing of The Mastering Lab recording studio in Los Angeles, and brief information on Boulanger's colleague Jett Galindo.

The article offers information on the recording studios including the Record Plant, Village Recorders and Sunset Sound, and sessions at the studios in Los Angeles, California. Topics discussed includes jam sessions of drummer Jim Keltner organized at the Record Plant by the owner Gary Kellgren for fans, money spend by record companies for nurturing artists, and a statement of guitarist Dean Parks on the same.

The article focuses on the sound editor Michael O'Farrell, who is known for his work both recording and touring in the music industry. It highlights O'Farrell's style in keyboarding to maintain the sound control with nuage and nuendo. It also cites the different interfaces of the audio equipment manufacturers with the capabilities in producing music.

The article presents the experiences of several famous friends and affiliates of drummer Mitch Mitchell with him, as well as their expressions regarding Mitchell's influence on Jimi Hendrix. Several of these personalities include Carmine Appice, Vinnie Cilaiuta, Jason Bittner and Chad Smith. They emphasize the expertise of Mitchell as a drummer, and his influence in the music industry.

An obituary for drummer Buddy Harman is presented.

An interview with the drummer Oscar Seaton, also known as "Seatpocket". When asked about how he learned to play drums, he said that he learned it from listening to Gospel music since he was 5 years old. Seaton mentioned how he learned the other genres of music and evolve on his own by just using his ears. He spoke of his success and how he was able to play with famous artists. He suggests that young drummers should commit themselves, and feel the music that they make to achieve good music.

An interview with Jazz At Lincoln Center Orchestra drummer Ali Jackson is presented. He relates that Max Roach was his first major influence in drumming because of his unique style and melodic concept about playing the instrument. He adds that his Roach gave him lessons and talked about the history of drums, different influences and styles, and the concept of using rudiments. He also comments on playing with the jazz band which needed experience and leadership.

The article presents an interview with Roy Burns, a groundbreaking drummer and drum industry mogul who had one of the most diverse careers in the history of drumming in the U.S. It includes background information on Burns and his careers as a musician and as a businessman, as well as his most notable musical credits. Burns also shares his views on playing the drums and making music.

An interview with session drummer Trevor Lawrence Jr. is presented. He relates how his mom and his dad influenced him to become a drummer. He reveals that he had lessons from jazz musician Ralph Penland. He describes his experience in working with singer Stevie Wonder. He relates his experience in touring with rap artist Snoop Dogg.

An interview with Maná drummer Alex González is presented. González recalls that seeing the band The Beatles perform on television influenced him into playing the drums. He narrates how he got the role of drummer for the Mexican band Sombrero Verde at the age of fifteen. González adds that he does pilates as well as hired a personal trainer for him to be able to keep in shape for his band's tour.

An interview with drummer Marvin McQuitty is presented. According to him, he got started with the drums because he grew up watching his father play the instrument in church. McQuitty reveals that he had formal drum lessons after he graduated high school when he studied at the Detroit School of Music. He claims that his music influences include Bill Maxwell and Joel Smith.

An interview with drummer Vinny Appice is presented. He describes how his drumming has changed since joining Black Sabbath in 1980. He claims that Black Sabbath plays very heavy riffs. He reveals that he likes to play the Black Sabbath song "After All." He recalls his experience of working with singer John Lennon during the 1970s.