October 2022

We're here with treats - it's October! Meet an award-winning film composer who lights up the silver screen and mixes with music icons. Immersive stretches to the South of France where music meets rosé wines. We drop in two LA sessions where legends re-unite and are celebrated. AES was in session in the Big Apple where a beloved MD premiered his symphony with two young collaborators. Listen to new music, order books, learn about advocacy, copyrights, and new executives promotions.
It's almost Halloween..Join us at a golf par-tee!
Remain grateful to you, our valued readers and supporters. Thank you!

Artist's Gateway To The World's Top Music Makers
Benjamin Wallfisch
Meet Award-winning Composer of Hidden Figures, The Invisible Man, and Thirteen Lives

studioexpresso Exclusive Interview
The Mix Lab's adjacent writing room is home to Golden Globe, BAFTA, 2x Grammy and Emmy nominated composer Benjamin Wallfisch. Ben has collaborated three times with Pharrell Williams, including a live performance at the 2015 GRAMMY Awards where he arranged Adel's 2017 GRAMMY performance of George Michael's song Fast Love.

You know him from the soundtrack of 80+ beloved feature films --SHAZAM! , THE INVISIBLE MAN, BLADE RUNNER: 2049, he has composed, including the recently completed score for Ron Howard's Thierteen Lives.
" It was a unique privilege to collaborate with Ron Howard on this movie - a totally life affirming story of unimaginable heroism and bravery. I was also lucky enough to work with some amazing Thai musicians in Bangkok to find ways of incorporating their musical traditions into what turned out to be quite an experimental score," says Wallfisch who was recently nominated as 'Film Composer of the Year' in the World Soundtrack Awards for the second consecutive year.
To date, the movies Wallfisch has scored have made over $2.5 billion in worldwide box office receipts, and in 2019 Variety inducted him into their ‘Billion Dollar Composer series. Wallfisch's music offers a unique narrative that embarks on a journey that's emotionally super charged. On one hand, it's a familiar journey of senses, telling the story of longing, uncertainty, tension, rage, beauty, and mystery. His passionate arrangements for strings, horns, percussion and the rest, all showcase cross-cultural instruments we've heard over and over again, yet somehow it's all new with Wallfisch's unique musical expression.
Above: Award-winning composer Benjamin Wallfisch's studio offers the First Dolby-Certified Atmos Stage in California with ATC Speakers.
Designed by nonzero\architecture founder and multiple TEC Award-winner Peter Grueneisen, it's where Billie Eilish's Happier than Ever and Ron Howard's Thirteen Lives were mixed.
Right: L-R: Composer Benjamin Wallfisch with director Ron Howard at the opening of Thirteen Lives from Amazon and MGM Studios; and with Pharell and friend and mentor, Hans Zimmer.
photos: courtesy of IMDB and The Mix Lab

Ben's passion for film began early.
First he entertained the idea of being a camera man with a deep passion for film making. Benjamin talks about how music breaths and the majesty and freedom it represents, what he calls "an attitude." It's perhaps this new attitude that audiences have embraced.
When writing scores, he delves into big questions like how do you define the soul or humanity? How do you represent light and shadow musically? Melancholy and joy, all familiar to us, yet spoken in a musical language that expresses it in volumes of musical shades.   

With over 25 albums of his music released to date on labels including Deutsche Gramophone and Epic Records, Benjamin has performed live in over 100 concerts worldwide, leading orchestras such as the London and Los Angeles Philharmonics, Los Angeles Chamber Orchestra and the Sydney Symphony at venues including the Hollywood Bowl, Sydney Opera House and Royal Festival Hall. He has collaborated, recorded and performed his music with artists including Lang Lang, Herbie Hancock and Yuja Wang, and has over 50 concert music commissions to his name.

studioexpresso sat down with Wallfisch in October for this exclusive interview

SE: You conducted the St John Orchestra in a recording of Escape Velocity- your brilliant composition. Was this a commission? How and when did it come together?

BW: Many years ago, back in 2003, I was lucky enough to become associate composer of the Orchestra of St John's for a few years. An incredible group of musicians based in the beautiful St Johns' Smith Square concert hall in central London, founded by John Lubbock. Back then I was writing mainly concert music and having that ongoing relationship with an orchestra meant I could be super experimental – it was a really fun time to be doing that in my early 20s. 'Escape Velocity' was actually a commission from the BBC Proms, and the recording is of the live performance which I was fortunate to conduct

SE: How do you navigate the two different worlds of classical music and film music. How are they different or similar?

BW: About seven (7) years ago I made the decision to take a semi-permanent break from the classical music world and focus entirely on film music, as honestly it became too difficult to navigate both worlds logistically. As much as I miss those incredible moments conducting orchestras in different parts of the world, and the inspiring journey you go on with all the artists in the orchestra as we rehearse and find unique ways to present the music, the scheduling became impossible to navigate. Concerts are often confirmed three or four years in advance, and film projects can sometimes come along with 24 hours notice, with the need to finish only a few weeks later. Also I was tired of spreading myself too thin - I really wanted to focus on just one thing, and film music has honestly been what's inspired me the most since I was a kid, growing up in the 80s completely obsessed with the music of John Williams like so many of us.

SE: You have a unique narrative when it comes to telling a story with music. How would you characterize or describe your sound?

BW: Thank you! I have a rule which is to never try and describe my own music – I can only find what's wrong with it, and how it could be improved! But I do try to write in a very direct way, and try to get straight to the heart of things – and also try to give the musicians who record it all something I hope they'll enjoy playing. I also love spending a lot of time crafting melodies, iterating and chipping away until you have the simplest DNA of an idea, on top of which you can start building and developing. But as a piano player, everything for me starts with harmony, and I love to throw in little harmonic surprises into even the most innocuously simple melody. It's something I've been experimenting with since I was a kid messing around on the piano for hours making up crazy chord progressions, and exasperating all my piano teachers in the process who would much rather I was practicing my scales!

SE: Which tools of your trade or technologies excite you and explain why?

BW: I've been a gear head/nerd for as long as I can remember, and it's a never ending thing. I'm currently very excited about getting into modular synthesis (something I've never attempted before) and combining that with some pretty extreme experiments in Dolby Atmos. You never know - there might be a concept album that comes out of it.

SE: Cool! If you could have dinner with one or two composers (from any era) who would they be and what would be the topic of your dinner conversation?

BW: Wow - only two?? That's tricky! I think it would have to be JS Bach - how did he manage to a) write literally perfect music whilst b) have time to be a father to 20 kids. And Beethoven – he changed absolutely everything and it would be just fascinating to sit down and get to know the man personally - he's like a God.

SE: Having worked in some of the best studios in the world, what were one or two objectives to achieve when you decided to create your own space?

BW: I was so lucky to have the opportunity to build a space like The Scoring Lab/The Mix Lab. The main thing was to have the whole building function like one massive rig - with all the rooms speaking to each other seamlessly, and to future-proof the technology as much as possible, to enable the 'laboratory' mindset. I love to try and push technology until it breaks, just to see where it might lead. It's a total nightmare for my technical team, but it means we can have this super creative environment where no ideas are off limits. My hope is that anyone who hires the Mix Lab for one of their projects feels like they are in an environment where anything is possible.

Read the rest of the interview here

Thirteen Lives
Music by Benjamin Wallfisch

Watch it in this month's
The score composed by Benjamin Wallfisch for Ron Howard’s survival drama Thirteen Lives was mixed at The Mix Lab. The film is based on a true story from 2018 Tham Luang cave rescue, and available for streaming on Amazon Prime Video in more than 240 countries and territories worldwide. The feature from MGM, Bron Creative, Imagine Entertainment, Storyteller and Magnolia Mae recounts the incredible story of the tremendous global effort to rescue twelve boys and their soccer coach who were trapped in the cave filled with water following a horrific monsoon in Thailand.

The gorgeous soundtrack by Benjamin Wallfisch matches the film's sweeping cinematography of spectacular scenes. " It was a unique privilege to collaborate with Ron Howard ...and work with some amazing Thai musicians in Bangkok to find ways of incorporating their musical traditions into what turned out to be quite an experimental score," says composer Wallfisch.
The Marvelous Miraval, France!
The Latest Atmos Studio Powered by ATC Loudspeakers in The French Countryside
photo: Miraval.com The largest fully integrated Dolby Atmos system in Europe powered by ATC Loudspeakers, France

Miraval winery in the south of France is best known for its rosé wines. It's also one of the latest destination studios newly designed with ATC Atmos configuration, just five hour drive from Paris.
Actor Brad Pitt and French producer Damien Quintard (Brian Eno, Parcels, Teodor Currentzis) reopened the completely redesigned and refurbished studios under the name Miraval Studios in October 2022.
Multiple award-winning producer Quintard has engineered, managed studios, produced huge events and helped broadcast massive festivals. Pitt, who has a passion for architecture, and Quintard met in Paris and share a common vision "for a recording studio that feels just like home."
Singer Sade is one of the first artists to record at the newly-opened Miraval. Red Hot Chili Peppers bassist Flea, has been seen unwinding ahead of the band’s current worldwide tour.

Beloved French pianist and composer Jqcques Loussier owned the property and studio in the late 70s. Today, Loussier’s granddaughter, Noémie Loussier, is the studio’s communication manager, working closely with Miraval GM Roland Venturini. The building contains three editing booths for video and sound, production offices, a room housing Quintard’s collection of 170-plus microphones, the original SSL console (used by Roger Waters), a recording studio and a live room known together as Studio One, a reverb room, a kitchen with private chef, an artist salon, two beautifully decorated guest suites, a 115-foot saltwater pool and a rooftop that offers a 360-degree view of the estate. Here you're surrounded by gardens, stone terraces, fountains and a forest of white oak and evergreen. One of the studio's first additions will be a console with hybrid analog and digital capabilities, the largest fully integrated Dolby Atmos system in Europe powered by ATC Loudspeakers, and all the technology needed to pre-mix for film and television projects.

Pitt has also recently announced his “genderless” skin care line, Le Domaine . Le Domaine is founded with the Perrin family, Miraval’s vintners — using the estate’s antioxidant-rich grapes. "We're open for bizzness," says Pitt who wants artists of multiple disciplines to gather at the marvelous Miraval and feel inspired to work or play.

History 1850- 2022s
Originally, the property was constructed in the 1850s by the estate’s original owner, Joseph-Louis Lambot. The 900-acre property has produced wines and olives since the 13th century.
In 1977, the estate's then-owner, French pianist and composer Jqcques Loussier, and sound engineer Patrice Quef built a state-of-the-art recording studio on the property, the Studio Miraval. Loussier began by recording his own work, mainly for films, and then started taking on French artists such as Maxime Le Forestier and Pierre Vassiliu. Pink Floyd came there in 1979 to record part of their album The Wall. Subsequently, equipped with one of the first SSL mixing consoles in France, Miraval recorded AC/DC, Judas Priest, The Cranberries, The Cure, Muse, Sade, Steve Winwood, Yes, UB40, and many others. In 2000s Courtney Love spent a few weeks in the estate.


TransAudio Group, U.S. distributer of the finest professional recording equipment in the world, is pleased to announce the new ATC SCS70 Pro, a compact, ultra-high performance subwoofer using ATC’s first, in-house-designed and built sub driver.

Designed by Billy Woodman and his team of engineers, this new 12-inch sub driver delivers the kind of honest and detailed low-frequency information that professionals have come to expect from ATC and, without the use of EQ or porting, still delivering deep bass down to 20Hz. The ATC SCS70 Pro is the perfect partner to ATC’s legendary line of active monitors and can be deployed as a single, in pairs, or larger multiples to suit a huge range of rooms and applications/formats. ATC SCS70s can be daisy-chained for scalable performance and any number of them can be muted with a single footswitch. Flexible gain, and multiple low-pass frequencies allow users to optimize the ATC SCS70 in any room with any ATC monitor, as well as universal application with other brands of monitors.
“Billy and his team have meticulously engineered this sub from the ground up, including a brand-new driver with a neodymium motor and matched amplifier to give the active ATC SCS70 the same kind of brutal honesty in the sub frequencies that ATC is so famous for in the midrange,” said Brad Lunde, founder and president of TransAudio Group. “Engineers are dealing with greater and greater demand from artists for more sub output and they need accuracy down low. Subwoofers can be a source of distortion, making the mixing or mastering process a guessing game. Now an ATC system, complete with the one or two SCS70 subs, can deliver full bandwidth audio for any genre, enabling superior translation on any system it gets played on, from ear buds to home hi-fi to clubs and everything in-between. Other subwoofers rely on EQ and poorly implemented ports, transmission lines or passive radiators to boost low end and make their subs sound impressive. These ideas are audibly appealing, but they give audio professionals a cloudy impression of what’s going on down there. Just as engineers have come to trust ATC’s full-range monitors for translation, the new ATC SCS70 will do the same in the sub frequencies.”

Both the acoustic and electronic properties of the ATC SCS70 are designed to deliver uncompromised performance and sub bass fidelity. The new 12-inch SS75-314SC neodymium sub driver is housed inside a sealed cabinet (i.e., an infinite baffle) that is deliberately heavy to minimize cabinet interaction (the entire 18 x 22 x 20-inch box weighs in at 97 pounds). Consistent with other ATC designs, the driver uses a short coil inside an exceptionally long magnetic gap to produce high sound pressure levels with remarkably low distortion. A new Grounded Source MOSFET based Class A-B convection-cooled amplifier is expressly designed to work with this sub driver and accepts balanced input from either mono or stereo sources. Buffered and unfiltered balanced throughputs provide connection to additional ATC SCS70 subwoofers and/or full-range monitors.
The ATC SCS70 Pro is replete with features that allow it to merge seamlessly into any coupled room-loudspeaker scenario. These features include 21dB of gain control, four low-pass frequencies, and a polarity reversal that, together with 180-degrees of continuously variable phase, allow complete 360-degrees of continuous phase shift. The four low-pass frequencies are set at 50, 65, 80, and 320 Hz (off) and delivered via a fourth-order Linkwitz Riley filter. The 320 Hz (off) setting allows users to implement their own external processing. Fault monitoring protects the ATC SCS70 in the event of extreme temperature or amplifier dc offset, and an ATC Active FET Momentary Gain Reduction protection limiter prevents amp overload. Users can toggle an entire system of ATC SCS70 Pros on or off via a daisy-chained single latching footswitch (without affecting the thru jacks to the full-range monitors). Two LEDs on the front panel indicate power on, limiting, and mute/unmute. Maximum sound pressure is 110dB continuous, 116dB peak, and total output power is 300W into 8 Ohms. Amplifier total harmonic distortion plus noise is less than 0.003%.
USA List Price: $5,490.00 USA MAP: $4,990.00
Introductory pricing good through August 18, 2022: $4,490.00.

TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

ATC models:

"ATC monitors are something you have to experience to really grasp how different they are from everything else. Lets just say that you can hear details you’ve never heard before, leading you to faster, more accurate decisions in your creative process," says Brad Lunde, President of Trans Audio Group.

Models range from $5,000 to $50,000 per pair and all share a very similar sound. For larger rooms and midfield, applications check out the SEM45 with dual 6.5-inch drivers and the fantastic SEM150 with a 15-inch woofer and 350 Watts of power. Choose the size that works for your space. More info here
Like Ulyate's room, Air Studios is among countless high profile studios in the world equipped with ATC speakers

Sound Anchors and Redmount products are designed and manufactured in Palm Bay, Florida U.S.A. using American parts and skilled American labor. Next time that you need to purchase high quality stands or mounts please consider Sound Anchors. click here for Sound Anchor dealers in USA
Steakhouse Studio in North Hollywood opened in 1986 and specializes in music production, offering 24-track analog recording and HD digital capabilities. The 1974 EMI/NEVE Custom QUAD console was originally built for EMI Records is and is the largest one still in operation. It has 56 Flying Fader-equipped input channels, 48 of which have 1064 Class A EQ. The console can route 92 inputs (80 with NEVE EQ) to the four-track bus with very sophisticated routing options.
Chief engineer Sam Madill explained, "We added the Telefunken drum pack to simplify and speed up our work with drummers, and to complement our comprehensive mic collection. Steakhouse is known for tracking drums and we have 30+ year history with some of the greatest drummers ever recorded."
The DC7 Drum Pack includes an M80-SH, three M81-SH's, an M82, and a matched pair of M60 FET condensers with mounts and right angle cables in a hard-shell case.
Producer Gregg Field Supervises Session For Mancini's Peter Gunn Featuring John Williams, Quincy Jones, Herbie Hancock...And MDs Norman Lear TV Special - 100 Years of Music and Laughter
L-R: John Williams, Gregg Field, Herbie Hancock at Warner Bros Scoring Stage During Recording of Henry Mancini's Peter Gunn
photo: Courtesy of Gregg Field
Beloved film, TV and Record composer Henry Mancini's (Pink Panther, Moon River) centennial will be celebrated around the world in 2024. Producer Gregg Field (Michael Buble, Pharrell, Alejandro Sanz, Frank Sinatra) supervised an epic studio session this month. Handful of giants in the music industry gathered on the Warner Bros Scoring stage to record Henry Mancini's Peter Gun. Oscar, Emmy and Grammy-winning musicians included: John Williams, Quincy Jones, Herbie Hancock, Arturo Sandoval and fifteen of LA's top players were featured on the recording. According to Field, CBS Sunday covered the session and highlights from the session will air in a few weeks. "Quincy conducted, John (Williams) reprized his original piano part, Herbie played piano as well and solo'd on synth and Arturo blew the roof off," says Field in a post. In the planning, there's a concert tour, both in the U.S. and abroad, as well as a new documentary and other events yet to be announced.
"Everyone there recognized the historic moment of these giants gathering together to make music. The pure joy, love and amazement was like nothing I had ever experienced," says Field who also music directed Norman Lear-100 Years of Music and Laughter earlier in September. "Kelly Rowland and Michelle Williams from Destiny's Child, The Jefferson's Movin' on Up and Ledisi blows the roof off bringing Ray Charles' America the Beautiful," says Field who joined band members: Greg Phillingaines, Randy Waldman. Reggie Hamilton, Luis Conte and Tariqa Akoni.
Directed by James B Merryman The Lear TV special taping honors the life and legacy of the remarkable storyteller, activist and philanthropist Norman Lear; featuring an impressive lineup of celebrity guests and musical performances, celebrating his 100th birthday.
Erik Zobler Tracking At Sunset Sound For Tommy Davidson
Supported by Earth Wind & Fire Rhythm Section and Producer Greg Manning
Photo Courtesy of Erik Zobler: L-R Tommy Davidson Zobler and Verdin White at Sunset Sound

Actor Comedian Tommy Davidson (In Living Color) was at Sunset Sound for the making of a new album. Erik Zobler who mixed his recent Single, I Know, was on board with high profile musicians. " I’ve been doing some production with Davidson but in this case I was just engineering for him and Greg Manning, writer/producer," says Zobler. The musicians included: Tommy Davidson on vocals, featuring the great Earth Wind & Fire rhythm section with John Paris on drums, Verdine White on bass, Serg Dimitrijevic on Guitar, and producer Greg Manning on keys.

Multi-Grammy winner engineer, Erik Zobler, has worked with many great artists in Jazz and R&B over the last three decades. His credits include legends such as Miles Davis, Al Jarreau, Jeffery Osborne, Gladys Knight, Natalie Cole, Sarah Vaughn, George Duke and Whitney Houston.

Bettermaker builds boutique signal processors worthy of worship in their own right, but then they level-up their incredible products with convenient, easy-to-use plug-in control and instant recall.
The new Bettermaker Stereo Passive Equalizer replicates that proven formula to bring the famous and deeply-loved sound of the classic passive EQs to modern high-end workflows. No more snapping pictures or relying on misplaced recall sheets to preserve settings. Bettermaker makes recalling settings easy and reliable with unlimited memory via the associated DAW plug-in. Engineers will find the controls on the Bettermaker Stereo Passive Equalizer familiar: low boost or cut at four possible frequencies; high boost at ten possible frequencies with bandwidth control; and high cut at three possible frequencies. Bypass, output gain, and reset round out the controls. But, of course, the real magic of the Bettermaker Stereo Passive Equalizer is its sound, which includes two perfectly matched channels, and comprehensive plug-in control and recall. “The 100% analog signal path of the new Bettermaker Stereo Passive Equalizer has all the heft and ethereal air of the vintage passive EQs that are so loved by engineers,” said Brad Lunde, founder and president of TransAudio Group, the U.S. distributor of all Bettermaker signal processors.
 The Bettermaker Stereo Passive Equalizer is now available and shipping – and is priced at USA MAP $1999
TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.
Introducing The Daking Mic Pre 4T
Soulful Circuitry Meets Proprietary Problem-Solving Features
Above: Brad Lunde with Geoff Daking
Perfect for studio, live, and broadcast audio recording, the Mic-Pre 4T features 4 high end pre-amps in 1U of rack space, Jensen input/output transformers, and has now added variable high pass filters on each channel.
The new Daking Mic Pre 4T is designed for the widest possible range of inputs, from vintage, low-gain ribbons, to high-gain modern condensers, and instruments via the DI. Avoiding clipping and distortion is critical for error-free capture of that once-in-a-lifetime magical performance. Daking’s variable low pass filters make it possible to have a different low-filter setting on each of the four input channels, preventing unwanted over saturation of the transformer. "The Instrument DI passes through the ultra linear Jensen output transformer for one of the best DI’s around. The Daking Mic Pre 4T is the one pre-amp that’s right for many different sources, rather than the costly “different pre-amps for different sources” approach," says Brad Lunde. Watch the YouTube interview with Trans Audio Group's Brad Lunde, where Geoff Daking goes into great detail on the design and features of the new Mic-Pre 4T. Daking Audio gear is built in USA and distributed by TransAudio Group.
Built in the USA, Daking uses only high-end parts like Jensen input and output transformers in a high-end design using all-discrete transistor Class A circuitry. How's that for Soulful circuitry meets proprietary problem-solving features? Order yours today!

Watch the interview with Brad Lunde with Geoff Daking here
Trans Audio Group -- The Recording Studio Equipment Experts. Call to order from their trusted brands:
Questions- pricing, availability and dealer locations please email sales@transaudiogroup.com

Anyone who has ever perused glossy glamour shots of famous studios, past or present, has seen the unmistakable six-inch Auratone 5C Sound Cubes atop meter bridges, safely guiding engineers down the narrow and rocky path to mid-range nirvana. Indeed, its involvement in innumerable hits earned the 5C Sound Cube a NAMM TEC Hall of Fame Award in 2016.
In celebration of its 50th anniversary, Auratone and its US distributor, TransAudio Group, introduced the first-ever Active 5C at NAMM 2022, June 3-5 in Anaheim, CA. The mono amplifier is designed and built in Europe in collaboration with the famous hardware manufacturer, Bettermaker. A careful R&D process has been implemented to maintain the original characteristics of the 5C, utilizing the same amplifier design from the NAMM TEC Award winning A2-30 amplifier.
“Auratone has been receiving requests for an active version of their flagship sound cubes for a long time. We were happy to get boutique Polish manufacturer Bettermaker together with Alex Jacobsen, owner, and grandson of founder Jack Wilson, for the perfectly matched A2-30 amplifier. Now, the two companies have collaborated to get a mono amplifier that contains the guts and soul of the A2-30 into each chassis for the active version,” says Brad Lunde, founder, and president of TransAudio Group.
Like the other 5C variants, the Auratone Active 5C is made in the USA. It delivers 50W into its internal 8ohm load via a balanced combo XLR/TRS input. Like the passive version, it reproduces between 80 and 15,000 Hz via a 4.5inch driver with a signal to noise ratio in excess of 100dB. In addition to an input, the rear of the box provides an on/off switch and power LED. The active 5C has Integrated overcurrent, overheated, and short protection in the rare event of electrical trouble.
The Auratone Active 5C is now shipping • MAP: $749/pair
Review units are available: Contact Aleks Bars at TransAudio Group
Monday October 31st, 9:30 Registration, 11am Tee Time!
Celebrat the egacy of Ed Cherney and Al Schmitt, founders of Recording Industry Golf & Poker Tournament

Sand Canyon Country Club
27734 Sand Canyon Road, Santa Clarita, CA 91387

studioexpresso is pleased to be a Media sponsor again this year
Let's meet and raise friends and funds for a good cause - costume or no costume! Trans Audio Group joins us with swag bags, baby!
Sign up with KMD Production's Karen Dunn here!
l-r: studioexpresso and Trans Audio Group are back hosting guests with VIP swag bags!

Remembering Two Beloved Audio Giants - Al Schmitt & Ed Cherney
It's with great love and reverence that we celebrate the memory of RIGT founders Al Schmitt and Ed Cherney.
Their passion for sound excellence, support of the music community and sense of FUN is evident in their work and legacy. They remain forever young in our hearts and minds.
Multi-Award winning engineers and producers Al Schmitt and Ed Cherney have a special place in the hearts and minds of pro audio community. They each sported over 10,000 hours of jaw-droppingly-beautiful recording sessions under their belts. Yet today, Al and Ed are remembered for touching lives and careers of so many, and for their vision and creation of many audio industry organizations. Along with his good buddy, Ed Cherney, Al organized the Recording Industry Golf tournament. Both were partners in METAlliance with Chuck Ainlay, Elliot Scheiner, Frank Filipetti, George Massenburg. Niko Bolas recently joined. Ed conceived the idea for what became the producer/engineer wing of NARAS. Al still has a his special seat at the Audio Lunch Bunch where he held court for years. We miss their sincere talks, jokes and frankness! So, let's get together, and celebrate Al & Ed on October 31 at RIGT 2022.
Al & Ed remain an inspiration not just for having the longest and most celebrated careers in audio/music history but for being humble, genuine men and unforgettable mentors to so many of us. Thank you Sirs. With LOVE.

Rhythm & Groove at AES 2022
The Met Alliance Panel on Pro Recording Techniques + New Book: Recording & Mixing Drums
The METAlliance (Music Engineering and Technical Alliance) presented a special one-hour free workshop at AES 2022 on October 19 in NYC. AES Convention participants were able to interact with the METAlliance members, composed of award-winning audio engineers/producers Chuck Ainlay, Niko Bolas, Frank Filipetti, George Massenburg, and Elliot Scheiner. The session followed a book signing of Recording & Mixing Drums.

Save the Date: METAlliance Academy in Nashville January 28 & 29, 2023 in Nashville at the famed Blackbird Academy. Amenities include catered lunches and various handouts. Pictures with the members will be taken. Extremely limited attendance to the entire weekend of all four sessions guarantees an intimate, personalized setting. Cost: $1500.00
Purchase tickets here
Qualified students can apply for a discounted price.
L-R: Above: METAlliance members George Massenburg, Niko Bolas, Chuck Ainlay, Elliot Scheiner and Frank Filipetti
The METAlliance debuted their new book: Recording & Mixing Drums at AES 2022. The book offers contrasting techniques from seven lifetimes of recording experience. 

“METAlliance Recording & Mixing Drums is the Holy Grail of a century’s worth of drum recording knowledge, gleaned from seven of the all-time greatest engineer/producers. Take the accumulated wisdom contained in this tome, burn it into your soul and then use the knowledge to create your own singular sound,” says widely-respected artist, record label boss (Blue Note) and in-demand producer Don Was in the book's Forward.
Buy The Book for $69.95 here
What The Music You Love Says About You
Subject of Susan Rogers' New Book and Her Keynote at AES 2022
The 153rd AES New York 2022 Convention took place as usual at the Jacob Javits Center, October 19–20, with pre-and post-show activities on the 18th and 21st. The in-person show featured a comprehensive selection of workshops, panels, demonstrations, training, research presentations, student-focused sessions, in addition to the exhibition floor featuring the latest gear in audio.
The show will continue online October 26–27. Members $99, students $49. Non-members $224. Register here

One of the highlights of the show was multi-talented producer, engineer, mixer, and educator Susan Rogers (top) who shared her insights and explorations in audio cognition and perception in her AES Convention Keynote address “This Is What It Sounds Like: A New Model of Music Cognition.”
Rogers, a professor of cognitive neuroscience with a doctoral degree in experimental psychology from McGill University, is widely known for her work with Prince during the height of his career in the mid-1980s, along with a roster of artists including David Byrne, Barenaked Ladies, Geggy Tah, Nil Lara, Robben Ford, Tricky, Michael Penn and Jeff Black. Her Keynote address explored the ties between musical and aesthetic dimensions of our listening, as well as the science behind our musical preferences and what may be inferred about us as creators and consumers of audio.
Rogers’ impact on the industry continued through her professorship at Berklee College of Music, where she taught psycho-acoustics and record production in the department of Music Production & Engineering, and she became the first female recipient of the Music Producers Guild Award for Outstanding Contributions to U.K. Music in 2021.
Most recently Rogers has coauthored a book with neuroscientist Ogi Ogas on her keynote topic: This Is What It Sounds Like: What the Music You Love Says About You at $38.95 from Penguin Randomhouse available here
SSL Introduces Origin at AES 2022
Senior VP Phil Wagner On Board With VIP Guests
Photo: Phil Wagner

Solid State Logic's booth at AES 2022 brought together familiar faces which included producers/mixers (top right): Rafa Sardina, Dave Reitzas, Chris Lord Algee, Bob Clearmountain, and Brauer. "We have a new baby - meet Origin, the first SSL analog in-line console to be introduced in 25 years," says Phil Wagner, who's back with Solid State Logic after a 10-year hiatus. Phil Wagner (right) started his career as a recording engineer. He is currently Senior Vice President of Solid State Logic, Inc. (SSL), a wholly owned subsidiary of Audiotonix. "When Audiotonix purchased SSL, I was eager to be involved with this dynamic organization which includes Digico, Calrec, Allen & Heath..," adds Wagner, a respected business development executive with a long history operating US professional audio companies -- SSL, Focusrite Novation, Apogee Electronics amongst others.
Phil is an ardent supporter of Audinate’s Dante ‘Audio over IP’ technology having pioneered Dante’s market development while with Focusrite. He continues to implement Dante at SSL for music, broadcast and live market applications. Phil worked for many years with The Recording Academy Producer’s & Engineers wing to develop High Resolution Audio delivery protocols. He has extensive experience with surround sound technology for professional and consumer markets and is an actively involved with Dolby’s Atmos initiatives. Mr. Wagner is a consummate professional with a strict ‘make it happen’ mantra.

TransAudio Group, the U.S. distributor for Drawmer, is introducing Ivor Drawmer's all new 1972 Dual Mic/Line and Instrument Mic Preamplifier. The unit distinguishes itself with its flexibility, unique feature set and simple operation, and is at home in both professional studio and live sound applications. As with all Drawmer products, the 1972 is hand-crafted in the UK with an all-steel chassis for bullet-proof reliability. Noted Brad Lunde, president of TransAudio Group and the U.S. distributor of Drawmer. “As usual, Drawmer studied the marketplace and engineered an affordable dual mic pre with one-of-a-kind features to meet today’s intricate recording issues and live sound applications. The 1972 is destined to be a staple piece of gear in every audio rack.”
The 1972 Dual Mic/Line and Instrument Mic Preamplifier sports two identical channels of analog pre-amplification in a 1U rack chassis. Key to the 1972's versatility is the Select input source switch. It has six switch positions to cover the 1/4-inch front panel Instrument input jack for guitars, basses, or electronic keyboards, and five more positions covering separate rear panel XLR input jacks for microphones with or without 48-volt phantom powering or Line level input sources. Other switch positions are provided to match microphones with 200, 600 or 2,400-ohm impedances. Low impedance passive ribbon microphones sound best when impedance-matched correctly.
Up to 66dB of ultra-clean gain in 6dB steps is provided by THAT Corporation technology using a 12-position rotary Gain switch. The switch's detents make it easy to recall settings from previous sessions – perfect for rapid changeovers in live recordings – when there is no time to reset record levels. Input levels are monitored on a simple, five LED color-coded meter directly above the Input Gain control and a compact analog VU meter monitors the final Output level.  
Front panel controls continue with a Phase reverse button and the switchable Lo and HiCut filter section that also works as a very smooth bandpass filter. The LoCut section is switchable in/out and is a 12db/octave filter with the ability to sweep any frequency between 15Hz to 350Hz. Having a fully-adjustable LoCut filter means you may fine tune and negate just enough low-frequency rumble, stage vibration – even traffic noise without affecting the natural, musical bass frequencies. The HiCut or low-pass half of this filter ranges from 1.5kHz to 20kHz and is also a 12dB/Octave design. It works great to remove system hiss or even sibilance. Either section can be used separately.
Unique to the 1972 is Lift a low-level, upward expander. When switched in, Lift adds gain to input signals below a level of -30dB and continues adding gain until a level of 0dB is reached. Furthermore, starting at -30dB, the amount of added gain is gradually reduced as the average level approaches 0dB. Lift is the ultimate, smooth, automatic, gain-riding tool. You will never have "under recorded" audio again with this natural sounding feature. It’s useful for studio, TV sound, conferences, and public address system recordings. Off-mic and poor microphone techniques are all helped with Lift. Another standout feature of 1972 is Shape, basically used as an instant sonic fixer. It is comprised of two separate, fixed-frequency tilt or see-saw equalizers both centered at 500Hz. Low Shape will provide up to a 2.5dB boost at 40Hz and, at the same time, attenuates -2.5dB at 10kHz. Conversely, Hi Shape reduces by 2.5dB at 40Hz and, at the same time, boosts up to 2.5dB at 10kHz. With both low and high Shape buttons engaged, a pleasant and very useful "scoop" centered at 500Hz is generated. Great for a harsh and "honky" sounding overall music mix.

MSRP: $1149 • The Drawmer 1972 is now available.
TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.
studioexpresso and Trans Audio Group have featured many producers, and musicians over the past nine years of TEC Track's history at NAMM
Curt Bisquera (Sarah McLachlan, Elton John), Kenny Aronoff (Smashing Pumpkins, John Mellencamp, Sting), Greg Penny (Elton John, KD Lang), Rafa Sardina (Lady Gaga, John Legend), Niko Bolas (Neil Young, LeAnn Rimes), Eddie Kramer (Jimi Hedrix, Kiss), Matt Wallace (Maroon 5, Faith No More), Cheche Alara (Christina Aguilera), Kim Bullard (Elton John, Kelly Clarkson), Cristina Abaroa (Celine Dion, Enrique Iglasias), Brady Leffler (Hot Chelle Rae, Justin Beieber), Al Schmitt (Diana Krall, Paul McCartney), Alex Acuna (LA Phil, Beck), Teddy Campbell (American idol, The Tonight Show w Leno), Ellis Hall (Ray Charles, Tower of Power), Jacob Armen (Prince), Peter Asher (James Taylor, Linda Ronstadt), Larry Klein (Joni Mitchell, Melody Gardot), Manny Marroquin (Bruno Mars, Alicia Keys), Dave Schiffman (Adele, Limp Bizkit), Gregg Field (Sinatra, Pharell), Sylvia Massy (Tool, Johnny Cash), CJ Vanston (Toto, spinal Tap), Dame Gail Dorsey (David Bowie, Gwen Stefani), Jenny Mason (The Mrs), Neal Pogue (Outkast, Andre 3000), Leland Sklar (Phil Collins, James Taylor), Moogie Canazio (Sergio Mendes, Sarah Vaughan), Laura Dickinson (Frozen II, Lady and the Tramp), Daniel Seeff (KJazz, Herbie Hancock Institute of Jazz), James Torme,
Zev Feldman of Resonance Records (Sarah Vaughan, Bill Evans, Nat King Cole), John Wooler of Mood Media (Flying Lotus, Elton John, Miles Davis) and Brent Fischer (D'Angelo, Elvis Costello and The Roots).
Trans Audio Group Booth NAMM 2022
Jon Batiste's American Symphony Premieres at Carnegie Hall
Debuts For His Young Collaborators, Matt Wong & Glenn Alexander II
L-R: Matt Wong, Jon Batiste and Glenn Alexander II at Premiere of Batiste's American Symphony Sept 22 at Carnegie Hall Photo: Matt Wong

The world premiere of Jon Batiste’s American Symphony took place at Carnegie Hall on Thursday, September 22 at 8 PM to much fanfare. Batiste's latest opus is a culmination of more than a century of Black music history -- including some of his musical influences from throughout the African diaspora to the infectious sound of his home, New Orleans.

Batiste's orchestrator, Matt Wong (top lef) and conductor Glenn Alexander II (top right) launched into the piece, little over 90 minutes of music. Batiste paid salute to musical visionaries—such as Duke Ellington, James Reese Europe, Mahalia Jackson, and Nina Simone—who once stood on the very stage upon which he concludes his perspectives series.

The Oscar-winning composer, musician, bandleader, and cultural ambassador Jon Batiste defies all categories. From his signature “love riot” community performances to his compositions for orchestra and a variety of ensembles, he creates history on television and film, as well as in the recording studio.

"American Symphony ...combines orchestral music with big band and instrumentation based on the marching band tradition. It’s the biggest large- form work I’ve ever written. It is really something that encompasses what it means to be within the ideal of Americanism. The question at the center of this new composition is whether or not we are up to the task of democracy," Batiste said in an interview.

Batiste collaborated with discovery musicians on the scene today. Glenn Alexander II is a Doctoral student in orchestral conducting at the Manhattan School of Music under George Manahan and is a Fellow in the Chicago Sinfonietta’s renowned Project Inclusion Freeman Conducting program. Matt Wong also attended Manhattan School of Music, and is a frequent collaborator with Adam Theis/Jazz Mafia projects. Wong also works for GRAMMY Award-winning composer/producer Brent Fischer as a music orchestration, production, and archive assistant.

Chris Spencer was the master of ceremonies for the evening. The acclaimed stand-up comedian kept the crowd in good spirits before Batiste walked on stage to accompany his 64-piece ensemble. The diverse musical program was anchored by its two-bar melody motif that reemerged throughout the evening.

A triumphant evening of celebration by Batiste who is inspired by the past, optimistic about the future, and clearly communicates the importance in diversity, democracy and his love for American culture and music.

American Symphony is commissioned by Carnegie Hall.
New Album X from Michael Marquart and A Bad Think
Album Release Event at Apogee Studios
Photo by studioexpresso: Michael Marquat Release Event for X with Dave Way and Bob Claremountain at Apogee Studios
Michael Marquart and a Bad Think’s 10th studio album, X is a rollicking and upbeat offering with all the finely executed production values that have always characterized his music. Clearmountain mixed the album in Dolby Atmos. Guests were invited to Apogee studios on September 22 to hear the exclusive playback event for the album release. “I start these songs and try not to guide them. I just let them go where they want to go. Some of my songs are country-ish, classical, pop and heavy. I just kind of let them go where they want to go. It's all me, so it's all my style. It sounds like my sound, so even if I drift into another genre like country, it still sounds like me. It's not like it's sounding from outer space out there or something. The hardest thing about that is staying out of the way," says Marquart who co-produced the 11 tracks on the album with Dave Way. The album was mastered by Bob Ludwig (Stereo) and Brian Lucey (Atmos).
The California Copyright Conference 

The CCC event was co-presented by Association of Independent Music publishers, Los Angeles at LACM, Pasadena on September 29th. Among the vendors were BMI, The Guild of Music Supervisors, MLC (Mechanical Licensing Collective), and Music Law Pro. Attendees enjoyed Ask An Expert session with songwriter Thomas Mizer (The Marvelous Mrs Maisel) led by Michael Crepezzi, AVP Distribution & Admin, BMI. The CCC is committed to keeping its members up to date on the ever changing landscape of the music industry, as well as providing opportunities for networking with a diverse group of industry professionals and leaders. Since 1953, the CCC, a non-profit, has been committed to serving the music and entertainment communities. monthly panels from September to May feature:Top industry professionals, Analysis of current events and news related to the music and entertainment industries, Dynamic discussion with diverse viewpoints on current issues impacting the music and entertainment industries, Expert commentary with respect to the Music, Media, Film and TV industries, A unique opportunity to network with other industry professionals and MCLE credit for attorneys.
Membership ranges from $35-250 per year. Coming up on 11/09 enjoy a Zoom Webinar (free for members, $5 for non-members) on Level Up Your Knowledge! An Exploration of the Various Usages of Music in Video Games

NARAS District Advocacy Meets Online
Team Captains Welcome Rep. Brad Sherman and Attendees
Recording Academy's District Advocate meeting was held on Zoom on October 6 led by Qiana Conley and LA Chapter Board Governor Michelle Lewis. "We are excited as Team Captains to have a great conversation with our member of Congress, select voices from the district and the engagement of everyone in our group," says Conley. CA District 30 - Rep. Brad Sherman attended the meeting that was moved from an in-person meet at LARRABEE STUDIOS to online.

In its seventh year, District Advocate is the Recording Academy's annual grassroots activation. Each year, the Recording Academy mobilizes thousands of members to advocate their respective members of Congress on issues that impact both the creative community and society as a whole, including fair protections for music creators, a safe return for music performances, and meaningful social change. Specifically, Recording Academy members will urge their representatives to continue providing COVID-19 relief for all music creators, discuss policy proposals that will help bring music back to recording studios and sustain live venues, and advocate for equitable access to small business loans and unemployment benefits for the music community and underserved communities.  
Specific Pieces of Legislation include: The Mixed Earner Pandemic Unemployment Assistance Act 2020 -- This bill allows states to provide pandemic unemployment assistance to individuals who earn a combination of regular wages and a minimum of $7,250 of self-employed annual income (1) instead of regular unemployment compensation if they are otherwise eligible, or (2) if they are still employed at their regular-wage job, but unable to earn self-employed income due to circumstances related to COVID-19
Under current law, individuals earning such mixed income are only eligible for pandemic unemployment assistance if they are not eligible for regular unemployment and unable to work due to COVID-19.

Photo Credit: Matthew Furman
Music industry leader Julie Greenwald has been elevated to Chairman & CEO of the newly created Atlantic Music Group. In her new post, Greenwald oversees Atlantic Records – including the Atlantic, ATCO, Big Beat, and Canvasback labels – as well as 300 Elektra Entertainment, which encompasses 300, Elektra, Fueled By Ramen, Roadrunner, Low Country Sound, DTA, and Public Consumption.
Greenwald and Craig Kallman will continue to jointly lead Atlantic Records, with Kallman as Chairman & CEO. Under their leadership, Atlantic has consistently ranked at the top of the industry. This June saw the creation of 300 Elektra Entertainment, the supergroup of indie-spirited brands led by Chairman & CEO Kevin Liles. Today, Atlantic Music Group ranks as the No. 1 streaming label group in the U.S. year-to-date for 2022.
Since joining Atlantic 18 years ago, Greenwald has built a reputation as an artist development powerhouse and inspirational mentor. She has been integral to the careers of emerging talent and superstars alike, including top artists such as Cardi B, Kelly Clarkson, Coldplay, Cordae, GAYLE, Jack Harlow, Lil Uzi Vert, Lizzo, Charli XCX, NBA YoungBoy, Gucci Mane, Bruno Mars, Ava Max, Janelle Monáe, No Cap, Kodak Black, Panic! at the Disco, Paramore, Charlie Puth, Roddy Ricch, Ed Sheeran, Shinedown, Tiësto, Rob Thomas, Twenty One Pilots, and Wiz Khalifa, among many others, as well as award-winning projects such as the Original Broadway Cast Recordings of Hamilton, Dear Evan Hansen, and Jagged Little Pill.
Greenwald has been widely recognized not only for her creative and commercial expertise, but for her down-to-earth, super-motivating approach. She has been chosen five times as Billboard's Women in Music Executive of the Year — more than any other person — and appeared multiple times on the Variety 500 index of the world's most influential business leaders. Greenwald has also been featured as one of The Hollywood Reporter's "Power 100 Women in Entertainment," Forbes' "Power Women to Watch," and on Newsweek's "Women in Leadership" roster.
Julie Greenwald said: "I love nurturing the next generation, contributing to culture, and building vibrant communities for our artists. We have the most fantastic talent at Atlantic, 300, and Elektra, from superstars to baby bands, from expert execs to young people just starting out in the business. I want them all to feel that this is the best place to do bold, brave, creative work, and build real careers. I'm so proud to be in it with them, shoulder to shoulder, every day. I'd like to thank Craig and Kevin for being my partners, Max and Steve for their leadership, and our allies across the industry who help us bring great music to the world."
Max Lousada said: "Julie's a force of nature – a fearless champion of original talent, a mentor to countless artists and executives, and the visionary behind game-changing moves, such as Atlantic's early embrace of streaming and the spin-off of the Elektra Music Group. She's made artist development an artform in its own right, by combining passion and intelligence, gut sense and strategic thinking, the big picture and the smallest detail. This new role only hints at the full scope of her influence and impact across our industry, but it's still much deserved recognition of her dynamic leadership at our company."
He added: "Julie's strengths, combined with Craig's extraordinary creative talents, make them one of the outstanding partnerships in the history of music. We're all extremely fortunate to be working with them as they write the next great chapter in the Atlantic story."
Greenwald, a New York native, began her music career in 1992 at Def Jam Records. Six years later, she was charged with overseeing the entire marketing department of the newly formed Island Def Jam Music Group (IDJ). Greenwald was named President of Island Records/EVP of IDJ in 2002, becoming one of only three women holding that title at a major record label.
Swift's Midnights Break Records & Delight Fans
To swifties, Taylor Swift fans, their pop phenom knows a thing or two about how to spin stories, make them intimate, yet accessible and how to make fans anticipate her 10th album. At 32, Ms Swift is talk of the world, not just town, and she's all about breaking records. Her new album of 13 songs, Midnights was released at midnight to fans who immediately consumed it to the tune of Spotify’s most-streamed album in a single day on October 21. And that's Spotify history with184,695,609 streams. According to the artist, this album is inspired by thirteen sleepless nights throughout Swift's life. She even released a 20-track deluxe edition, subtitled 3 am, just three hours after the 13-song standard edition came out! Why not?!!
She has 10 million followers on Weibo alone, China’s answer to Twitter.
You might ask yourself what's behind all of this? Sure, it's her reputation, she can sing and the production is flawless with imaginative videos (her concepts) and lyrics (all hers). As for guest artists, she's got them too. Lana Del Rey contributed as both a co-writer and vocalist on the dreamy Snow on the Beach. Swift gives Cinderella a new spin in a star-studded video for her song, Bejeweled. The video features members of the rock band HAIM, actress Laura Dern, burlesque dancer Dita Von Teese, makeup artist Pat McGrath, and singer and producer Jack Antonoff (Lorde, Lana Del Rey, St Vincent, The Chicks), who has broken out as one of the most in-demand architects of modern hits. She wrote on Twitter: "Midnights is a wild ride of an album and I couldn’t be happier that my co pilot on this adventure was @jackantonoff."
According to Billboard, Midnights earned more than 1.2 million equivalent album units in the U.S. through its first three full days of release, with traditional album sales (digital album downloads, CD, vinyl...). It's not clear what was the budget for this album, but it's a lesson in marketing and promotion. At the time of release, all her song lyrics were made available online so fans could sing along! Swift Karoke or genius?! Well, you know Grammy nominations are next! And of course, there's mucho merch for all you swifties! Above all, Ms Swift knows the power of what Prince called "Controversy." Well, she does that too, swiftly!
Freedom of Expression And Copyrights
Lynn Goldsmith VS Andy Warhol

Andy Warhol and Prince both reached top commercial Pop status during their lives. Now photographer Lynn Goldsmith who took the Prince photo that has become one of Warhol's iconic images has filed a counter-suit for copyright infringement.
And the Supreme Court is listening. It's the millions of dollars that Warhol's works have generated that's at the center of this case.

When Vanity Fair commissioned Lynn Goldsmith’s photograph in 1981 for an article on Prince, the magazine did not inform her that Warhol would be separately commissioned to turn that image into a silkscreen - some 15 works based on that image that would become known as Warhol's “Prince Series”. The magazine paid Goldsmith $400 in licensing fees then and promised in writing to use her image only in this one Vanity Fair issue. After Prince's death, Condé Nast (VF's parent company) paid Warhol roughly $10,000 so it could use the Orange Prince for a tribute cover and published Warhol’s visual work without any credit to Goldsmith. When Goldsmith complained, the Warhol Foundation sued her in 2017, to prevent her getting the chance to file a copyright infringement lawsuit first, claiming that she was attempting to “shake down” the organization. In 2019 the judge wrote: "Each of Warhol’s Prince works is immediately recognizable as a ‘Warhol’ rather than as a photograph of Prince - in the same way that Warhol’s famous representations of Marilyn Monroe and Mao are recognizable as ‘Warhols,’ not as realistic photographs.” The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, "transformative" because his artistic rendering is very different from Goldsmith's original photo. In 2021 the judgement was reversed. Warhol’s portrait cannot be considered fair use.

Fair use is any copying of copyrighted material done for a limited, non-commercial and socially beneficial activity, such as criticism, comment, parody, news reporting, teaching, or research.
The Warhol Foundation argues that the paintings were transformative enough to be considered new works and, therefore, to be consistent with the definition of fair use under U.S. copyright law.
Goldsmith, on her side, accused the Warhol painting of being an infringement of her photo, and filed a counter-suit for copyright infringement. The Supreme Court’s decision will likely hinge on whether the justices view Warhol’s use of Goldsmith’s image as “fair use,” as the Warhol Foundation has argued.

Many new works are born somewhere between inspiration and appropriation. Can the law allow for freedom of expression and support rightful ownership at the same time? What would Prince say?
Winning Battle of Bands And A Nobel Prize!
Tom Morello Congratulates her band mate, Bored of Education Keyboard Player, Carolyn R Bertozzi for her Nobel Prize in Chemistry

Music and creativity go together and take you to places you dream. Tom Morello (Rage Against The Machine) and Nobel Prize Winner Carolyn Bertozi are two good examples. Bertozi is a Stanford University professor who was honored with a Nobel Prize for developing chemical techniques used to study cancer, immune disease, and pathogens.
Morello is best known for his unique and creative guitar playing style, which incorporates feedback noise, unconventional picking, and tapping, as well as heavy use of guitar effects.
Bertozzi played keyboards at Harvard with Tom who congratulated her in an Instagram post: "Congrats to my former ⁦@Harvard⁩ bandmate ⁦@CarolynBertozzi⁩ on her ⁦@NobelPrize⁩ in chemistry!
We won the Ivy League Battle of the Bands in 1986 with our rockin’ group Bored Of Education, with her on keyboards & me in spandex. "Thanks Tom! Maybe we can get the band back together someday “Ve-Ri-Loud” @Harvard," she replied.
Weezer’s Rivers Cuomo studied at Harvard, dropped out to play music, dropped back in again and graduated cum laude in English, and alongside the likes of Barack Obama and David Duchovny is a member of the Phi Beta Kappa Society – the oldest academic honor society in America. Art Garfunkel and Alicia Keys both attended Columbia. Huey Lewis read engineering at Cornell, later dropping out in 1969 and the rest is history.

Bored of education or not, musicians are creatives who realize dreams. Perhaps "Quiet Quitters" should take note. The term has become popular in '22. It means doing what's required of your job - nothing more. Sounds boring.
Music and creativity require us to do more. It's worked well for Tom and Caroyln.

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