SPARS Speed Counseling with Experts
Mentoring Answers for Your Career
Location – Jacob Javits Center
Saturday, October 31, 2015
12:30 pm — 2:00 pm
SPARS once again is hosting speed mentoring sessions at the 139th AES Convention being held in Los Angeles, October 29-November 1, 2015. The Ask SPARS mentoring sessions will take place on Saturday, October 31, 2015. These mentoring sessions feature recognized industry professionals in the fields of Studio Production, Post Production, Gaming, Live Sound/Live Recording, Mixing and Studio Business. The mentors will meet with participants face to face in small groups to offer advice, share their experiences and answer questions about the industry and careers.
Who should attend:
Current students, recent graduates and recording professionals who are seeking answers to questions, guidance in their careers and networking opportunities with established industry professionals. Mentoring is a life long process. SPARS believes members of the recording community should seek mentoring opportunities at every stage of their career.
This year’s categories will be:
As of today, the following mentors are registered to attend in the below categories:
More being added…
Acknowledged for his skills at both engineering and producing, Neil Dorfsman has been honored with an armful of trophies including a Grammy for Best Engineered Album (Dire Straits’ Brothers In Arms) and Grammys for Producer of the Year (Nothing Like The Sun by Sting, Scenes From The South Side by Bruce Hornsby). His engineering contribution to Sting’s Brand New Day earned him another Grammy in 1999. The year he won the TEC Award for Engineer of the Year he was also nominated for the TEC Awards’ Producer of the Year.
Neil started at a small voice-over studio called Judrac in New York in 1977 and then left a year later to assist at Electric Lady Studios. There he worked with Eddie Kramer on Kiss (Kiss Alive 2 / Love Gun) and Foghat (Stone Blue) and with other free-lance engineers on Billy Cobham, Stanley Clarke and Roy Ayers.
“I did a project with Eddie Kramer that ended up getting mixed at the Power Station. I went to help out with the mixing and was asked by Bob Walters to stay on,” says Dorfsman.
Neil’s first full record as engineer there was Bruce Springsteen’s The River. He stayed on staff at The Power Station until 1984, working on albums for Jim Steinman, Weather Report, Michael Mainieri, Meco, Jon Bon Jovi, Gary U.S. Bonds, Full Force and a variety of disco, pop and rock artists.
Neil became a freelance engineer/producer in late 1984 and has been fortunate enough to get to work with Dire Straits, Sting, Paul McCartney, Bob Dylan, Bruce Hornsby and many other brilliant musicians. He still considers The Power Station (now Avatar) his “home” and tries to work there whenever possible.
Joel Hamilton is a producer, engineer, mixer, and musician based in Brooklyn, New York. Along with former Pere Ubu bassist Tony Maimone, Hamilton co-founded the analog-outfitted recording house Studio G. He is an adventurous collaborator, working with artists from diverse genres. In his twenty-year career, he has produced music with Elvis Costello, Tom Waits, Justin Timberlake, Sparklehorse, Blakroc, and many others.
In 2010, Hamilton was invited to travel to South Africa, where he produced recordings for the TRIAD Trust, an AIDS awareness foundation. He frequently lectures at conferences for the recording arts, and his sonic secrets can be found in columns for the audio engineering publications EQ Magazine and Tape Op. Joel Hamilton mixed and mastered OneBeat tunes at the Atlantic Center for the Arts in New Smyrna Beach, FL, and in Studio G in NYC.
Unique and Diverse is how John Rollo would describe his career up and through to the present. Working with Ray Davies and the Kinks was a highlight, with a lesson never forgotten, that you can always do better and take a creative thought, develop it in many ways, while searching for the best solution. Back-tracking 10 years to date, he has been responsible for successfully managing a company in India, handing business contract negotiations. He has solved labor issues without strikes or slow downs with compassion and strength. Prior to his recent business experience John had been involved in Record Production and Engineering where h participated in two albums which received Grammy Awards, recorded multiple artists whose records achieved gold and platinum status, He has served as Recording Engineer in charge of managing and supervising various studios in The USA and UK, spearheaded a start-up record company that discovered well-known artists who still had a live following.
Artists have included The Kinks, Southside Johnny, Joe Cocker, Gutter Boy, Quarter Flash, Jimmy Cliff, George Benson, Little Steven And The Disciples Of Soul, Bonnie Tyler and Cool and the Gang.
Anthony Schultz is owner of Big T Productions and is AES VP of the Eastern Region, US/Canada. Anthony Schultz has been an audio engineer, music producer and composer for over twenty-five years as owner/operator of Big T Productions (est. in 1989). He served three consecutive two-year terms as the Chair of the Boston Section of the Audio Engineering Society and was elected as AES VP of the Eastern Region of the US/Canada in the summer of 2014.
He is an Assistant Professor at The New England Institute, where he has taught since 1997, specializing in MIDI and Audio Technology.
Originally from the Chicago area, Tony attended Berklee College of Music in Boston where he received a Bachelor’s degree in Music Production & Engineering in 1988. He received a Masters Degree in Music Technology in 2007 through an online program from the University of Newcastle in Callaghan, Australia.
He has presented at a number of colleges including Berklee College of Music, Harvard University and the Royal College of Music in London. Past clients include; RCA Records, Mercury Records, Virgin Records, WFNX, Filene’s, Home Inc., EF Education, Schneider & Associates, Softskull Press Inc., Brand X Filmworks, Dudnyk Healthcare, Teatro de Marionettas de Venezuela and NAHB Production Group.
Tony is also founder of Tonedog Publishing (ASCAP) and is writing a book about his journey in the music industry. He is also a member of SPARS and NARAS.
Jamie Baker is a top, freelance, post production sound editor and mixer with award winning credits and nominations for Foley editing on films such as Hugo and The Life of Pi, and mixing credits from numerous television networks such as MSNBC, Food Network, Oxygen, ABC News, PBS, Animal Planet, and more. Originally she ventured into the realm of audio engineering as a musician that wanted to record her own original songs and make music recording her profession. Along her career path she accidentally stepped into the world of post production audio and never turned back! Her career began with entry level positions at a small record label and a handful of jingle houses while she played in a touring punk-pop band and recorded songwriter demos in her home studio. She honed her craft, networking and learning as much as she could. One day she was thrilled to be invited to sit in to observe a mix by a seasoned music engineer, and when she arrived at the mix she learned that he was not mixing music but he was mixing a film! Jamie had never even thought about creative audio engineering for anything other than for music or live theater. This new-to-her concept of mixing audio for a film was so very intriguing. It presented exciting new audio challenges that she could not resist! The dialogue needs to sound natural, the sound of footsteps has to be put in its proper place in the sonic landscape, the radio playing in the next room needs to get louder and less reverberant as we approach… This enlightening moment discovering the magical realm of sound-for-film led her to pave a path crossing over into the post production audio world with the goal of becoming a film mixer. Not having a clue how to get there, she sought out advice of a top film mixer in NY, and he recommended she start at the bottom, “carrying cans” as a messenger at a film house. She was hired as a messenger at the late, great Sound One, and from there she gradually made her way over to being one of the freelance foley editors on the Oscar winning sound edit team at C5, Inc. Along the colorful road from messenger to editor and mixer Jamie has had the opportunity to put on many different audio hats, performing multiple types of post audio jobs; Sound Supervisor, Re-recording Mixer, Recordist, Editor, Sound Designer, ProTools Tech Support, and more. Each job is an important cog in the storytelling wheel. Jamie continues to wear multiple hats and use her post audio skills to help the storytellers get their points across. Highlights of 2013 works include freelancing regularly at MSNBC and Food Network mixing promos, sound editing and mixing a season of “Extreme Catch: Off the Hook” for Animal Planet, and a few feature film foley edits at C5, Inc.
Bill Higley is an independent audio mixer with over 30 years experience in the industry. Specializing in adr and original dialog recording for animated feature films, Bill has worked on numerous feature films and well known television shows, as well as television and radio advertising. He is the President of Adrman Inc, and recently returned to Soundtrack, NY with whom he originally worked in 1987 after moving to New York from Chicago. He spent almost two decades with Howard Schwartz Recording in NYC and 5 years with Universal Recording in Chicago. He graduated from the University of Wisconsin Oshkosh with a Bachelor of Music Suma cum Laude.
Eric Johnson is VP of Post + Sound with Trailblazer Studios. Eric began playing music professionally at the age of 16 playing in a local R&B band in his hometown of Winston-Salem, NC. In 1986, while attending North Carolina State University’s School of Design, Eric founded his own company, Johnsound Productions. Eric’s early work included composing, writing, and recording jingles for local and regional clients. Eric also did studio production for artists seeking recording contracts. One of his first clients was Tyka Nelson who is the younger sister of Grammy Award-winning artist Prince. Eric helped write and arrange Tyka’s first single, Marc Anthony’s Tune which made Billboard Magazine’s Top Forty chart during the summer of 1987.
In 1988, Eric began to move away from producing artists and began to concentrate on music for advertising as well as soundtracks for non-broadcast corporate video and film projects. In January of 2003, Eric joined Trailblazer Studios to launch the music and sound department providing custom music, sound design, and mixing for film, video, radio, television, theatrical, and multimedia presentations. Clients include commercials for Travelocity, Nationwide Insurance, Chevrolet, Sherwin Williams, and Cracker Barrel as well as television projects for Discovery Channel, TLC, OWN, HBO, National Geographic, PBS, and DIY/HGTV. Trailblazer has also provided sound for a number of gaming clients including Virtual Heroes, Red Storm Entertainment, and Codemasters.
Born in Japan, Jun Mizumachi has been composing electro-acoustic music and creating sound design for film, theater, dance and art installations.
In September 2005, the International Computer Music Conference awarded his electro-acoustic piece “Machine Game” and invited him to perform at their annual conference in Barcelona. Again in August 2008 ICMC awarded his piece “PF-20” to premire in Belfast and the piece “Location 2” was played in Trieste, Italy for CIM 2012 (Colloquium on Music Informatics). An earlier work, “745-Bit Cycle,” premiered at University of Minnesota and ran at the University of Cincinnati as part of the Electric Music Collective.
He began designing sound installations in 1987 at Documenta 8, and in 2004 he was commissioned by the Singapore Museum to design a sonic landscape for the building’s new wing. Currently he has been working on sound design for the Hayden Planetarium at The Museum of Natural Museum.
His music and sound design have been featured in works at the New York and Venice Film Festivals, where his credits include Robert Longo’s “Arena Brains” and Mitchell Lichtenstein’s “Resurrection.” He has collaborated with feature film directors including Martin Scorsese (After Hours), the Cohen Brothers (Blood Simple and Raising Arizona) and Wim Wenders (David Bowie introduces).
He was the sound designer on major ad campaigns including Nike, Pepsi, AT&T, IBM, Miller Lite, GMC and Saab, and he has worked on projects with broadcast clients such as CBS News and Sports, ABC News, MTV, ESPN, Discovery Channel, Nickelodeon, and HBO’s station IDs.
Leslie Mona-Mathus is currently Senior Audio Engineer for ABC News Advertising and Promotion, Leslie is an Emmy award winning Audio Mixer / Sound Designer/ Producer. In her 30+ year career she has earned two Grammy nominations, six Emmy nominations, multiple Clio and Promax awards, an Independent Music Award, a Gold Record and a BAFTA.
Leslie began her career as staff engineer at Automated Sound Studios, and set out as a freelancer at the age of 23, branching out to work at top tier recording facilities in New York. In addition to working with major recording artists, her client base included premier music production companies and ad agencies.
Her extraordinary experience in music and advertising production allowed her to seamlessly cross over into the audio post-production arena. She became a staff engineer at HSRNY, and then went on to freelance as a post-production engineer.
Now, in addition to her full time job at ABC, Leslie frequently contributes as a guest speaker for several university and secondary school programs. She enjoys the opportunity to educate and mentor future generations of audio professionals. Her love of her craft, strong work ethic and commitment to the highest standards of the recording industry, drive her career and artistic endeavors forward, allowing for continued success in an ever-changing industry.
Winifred Phillips is an award-winning game music composer with more than 11 years of experience in the video game industry. Some of her famous video game credits include six games in the LittleBigPlanet franchise (including LittleBigPlanet 3), Assassin’s Creed Liberation, Total War Battles: KINGDOM, The Da Vinci Code, God of War, Speed Racer, Shrek the Third, and Spore Hero, among many others.
Phillips is the author of the acclaimed bestselling book, A COMPOSER’S GUIDE TO GAME MUSIC (The MIT Press), which won a GMA Book Award Gold Medal from the Global Music Awards, a National Indie Excellence Book Award for the genre of Performing Arts (Film, Theater, Dance & Music), a Nonfiction Book Award from the Nonfiction Authors Association, and an Annual Game Music Award from Game Music Online in the category of “Best Publication.” Phillips’ book was described by The Boston Globe as “the first book designed to help experienced musicians brave the transition to the world of game composing.” Her book was hailed by Sound on Sound magazine as “partly educational and partly inspirational… a great introduction to this specialist art.” Music Connection Magazine added that “Phillips’ hands-on insights and advice make this one a keeper,” and Film Score Monthly praised the book as “a touchstone academic achievement.”
As a game music composer, Phillips has received an Interactive Achievement Award / D.I.C.E. Award from the Academy of Interactive Arts and Sciences, three Hollywood Music in Media Awards, six Game Audio Network Guild Awards, three Global Music Awards, an IGN Best Score Award, a GameSpot Best Music Award, a GameZone Score of the Year Award, a GameFocus Award, and three Gracie Awards from the Alliance of Women in Media.
She has released fifteen albums. Her soundtrack album for the Legend of the Guardians video game was the first video game soundtrack album released by WaterTower Music, the world famous film music record label of Warner Bros. Pictures.
Phillips has been profiled in books such as Keeping Score by Tom Hoover, Cash Tracks by Jeffrey P. Fischer, and in Music Connection Magazine, which described her as a “Superstar of video game music.”
MTV VMA nominated composer Tom Salta is one of the most versatile and prolific music artists/producers working in film, television, advertising and video games. Renowned for crafting emotionally engaging soundtracks for multimedia, Salta has received widespread industry acclaim for his world-class produced scores featured in video game titles such as Halo: Spartan Strike, Halo 2 Anniversary, Halo: Spartan Assault (G.A.N.G. Best Original Soundtrack Award), HALO: Combat Evolved Anniversary, Ghost Recon: Future Soldier, From Dust, Prince of Persia: The Forgotten Sands, Red Steel (IGN Award for Best Original Score), Tom Clancy’s Ghost Recon: Advanced Warfighter and Tom Clancy’s H.A.W.X series. In addition to these scoring assignments, Salta produces music for commercials, Hollywood film trailers and the world’s #1 dance game series Just Dance.
Director of Innovation, Heavyocity Media/Heavy Melody Music & Sound – George is an Audio Director, Sound Designer and Composer with over 10 years of PC, console, and mobile video game audio development experience. He has worked on AAA titles at both Blue Fang Games (Microsoft Game Studios) and Tencent Boston (Tencent Boston) and is well-versed in advanced audio engines and interactive audio design techniques.
George joined Heavyocity Media as Senior Product Manager, Composer, and Sound Designer in 2012 where he helped design and develop the award-winning virtual instruments: AEON, DM-307, Master Sessions, and GRAVITY. In his current role as Director of Innovation he is responsible for anticipating new trends in game and film audio and successfully integrating those trends into the Heavyocity product line.
George is also Composer and Sound Designer for Heavyocity’s sister company, Heavy Melody Music & Sound. His work can be heard on major motion picture advertising campaigns for films such as The Martian, Sicario, In The Heart of The Sea,Interstellar, Mad Max, Godzilla and more. Lastly, he is an accomplished electronic music producer and DJ, performing under the name “George Vala” for EMI Records, Roush, KD Music, Suara, and Terminal M Records.
Gina Zdanowicz is an award-winning sound designer & composer and owner of Seriallab Studios. Her sound can be heard across multiple platforms on over 65 game titles ranging from award winning AAA titles to casual games such as Bioshock2, XCOM, CrimeCraft, Motion Explosion for Kinect, Web (ESPN Arcade, Nick.com & B.E.T), Wii, DS, iOS, OUYA, Android & Film & TV.
Gina started her passion for video games at an early age and her two passions merged when she graduated Berklee College of Music, with a BM in Music Synthesis. She keeps her technical abilities sharp by taking on producer, level design and audio integrator roles. Her varied experience in the game industry gives her in-depth knowledge of all aspects of the production cycle from start to finish, which allows her to greatly contribute to the overall process.
In addition to her work in the game industry, Gina is an Instructor of game audio at Berklee Music online. She continues to score independent films, which have won awards at film festivals throughout the world and have premiered on networks such as Comedy Central. She is also a member of the Game Audio Network Guild and I.G.D.A. Outside of Games, Gina has scored feature films and is an instructor for Berklee College of Music’s online Introduction to Game Audio course.
Scott Adamson a musician/producer/engineer who works mostly as a FOH mixer for the music industry. His resume includes many artists who span a large range of touring size. Scott has mixed in every type of venue from small, intimate rooms to major festival stages and large arenas, and enjoys doing all of them. As co-owner of Semaphore Recording in Chicago for many years, he has brought an understanding of studio techniques to the live shows he mixes, which in today’s touring industry is increasingly pertinent.
New York City is home for Scott, but he loves traveling the world as part of the vibrant touring industry. When at home he works with many different clients to bring great sound to a large variety of concerts around the city.
Jeremy Lemos is an American sound engineer and musician living in Chicago. He currently is a touring sound engineer for many bands including Sonic Youth, Pavement, Iron & Wine, and The Shins. He began as the house “sound guy” for the legendary punk club the Fireside Bowl. He has mixed 1000 bands in venues ranging from basement shows with one mic to The Hollywood Bowl to headlining Coachella.
Lemos also ran the Chicago recording studio Semaphore Recording for over ten years, and recorded records for Smog, Stereolab, and Jim O’Rourke. Involved in many musical projects, his main outlets have been White/Light, a duo with guitarist Matthew Hale Clark and Acteurs, a duo with singer Brian Case of Disappears. White/Light has performed at The Cartier Foundation in Paris, The Museum of Contemporary Art Chicago, and many other venues around the world.
He is currently obsessed with modular synthesis, coffee & traveling.
Matt Rifino is a two-time Emmy winning music mixer with more than 15 years experience. He specializes in live 5.1 Surround Sound mixing for television and for the last 9 years he has been the broadcast music mixer for the NBC Today Show. His time at the Today Show has afforded him to work with a venerable who’s who of the music industry. On average he works with well over 100 different artists a year, mixing artits from Aerosmith to the Zac Brown Band and everyone in between. Whether it’s rock, pop, country or rap, he looks forward to the challenges that come with working with a variety of genres.
Matt’s experience in live television has conditioned him to work at a very fast pace while still getting studio quality results. This has contributed to his style of mixing and translates to working fast in the studio as well. Having the pressure of mixing live to millions of viewers everyday he has learned the management skills required to deliver a great mix in any situation. He is just as comfortable working in a million dollar control room, a mobile truck, a makeshift studio in a house, and pretty much any environment that you can fit a Pro Tools rig or a console.
Chris Mara is a producer and engineer and owner of Welcome to 1979. Chris moved from Northern Wisconsin to Nashville when he was 19 years old to intern at a recording studio called “The Recording Club”. After his internship the studio hired him as the house assistant engineer, and over the next 5 years Mara moved up through the ranks in the “traditional” manner. After several years of being a freelance engineer/producer Mara decided to buck the trends and open a retro, all analog studio in Nashville aptly named “Welcome To 1979”. Mara also restores and sells MCI analog tape machines through his company called “No Brainer Audio”, and hosts “Tape Camps” and other events at Welcome To 1979, each catering to the analog recording enthusiasts’ curiosities of analog recording and sense of community. Chris also writes his own biographies for these types of things, and humbly asks for your apology after reading this short and disjointed bio.
Barry Rudolph is a recording engineer/mixer with over 30 gold and platinum awards to his credit. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, The Corrs, and Robbie Nevil. Barry has his own futuristic music mixing facility in North Hollywood, CA; he is the ‘New Toys’ columnists for Music Connection Magazine, a contributing editor for Mix Magazine, and teaches recording engineering classes at Musician’s Institute in Hollywood, CA.
Chuck Zwicky is a NY based mixing engineer who has earned several gold and platinum records in his nearly 30 year career, working with artists as diverse as Prince, Jeff Beck, Reggie Watts, Dead Prez, Soul Asylum and the Jonas Brothers.
Visit his sun-soaked mixing HQ, and you’ll see he takes his own unique approach to mixing, evident from the gear he selects and the plugins he personally designs. The results he achieves speak for themselves (and you’ll find plenty of examples below), but its the way this mixmaster goes about his craft that increases the inspiration. Equal parts audio artist and scientist, Zwicky is more than happy to tune you into his techniques.
David Amlen started as a freelance musician before founding his first studio, Sound On Sound Recording. SOS grew into one of the top recording facilities in New York within ten years, catering to rock, jazz, pop, and hip hop artists including David Bowie, Roger Daltrey, Branford Marsalis, Dave Grusin, Mariah Carey, Beyoncé, Puff Daddy, and Jay-Z. Between the studio and David, as both engineer and producer, the facility garnered more than 65 gold and platinum album awards resulting in sales of over 50 million units worldwide.
SOS merged with competitor Right Track Recording (home to many stars including Elton John, Billy Joel, James Taylor, Carly Simon, Whitney Houston, and producer Phil Ramone) in 2005 to create Legacy Studios. Building on the previous successes of both facilities, Legacy also catered to Broadway, Hollywood, and classical music projects including Wicked, The Producers, South Pacific, The Secret Life Of Walter Mitty, Wynton Marsalis and Michael Brecker.
David’s current facility, MSR Studios is the result of David buying out his partners in 2009. David and MSR continue to cater to top names and recent projects include If/Then, Kinky Boots, Sting, Aretha Franklin, Renee Fleming, and The Roots (Jimmy Fallon and The Tonight Show) with Elvis Costello.
The combined histories of the facilities have yielded over 150 gold and platinum albums and worldwide sales over more than one hundred fifty million units. Dave Amlen is also a Past President of SPARS (2002-2003).
Fred Guarino, is the owner/engineer of Tiki Recording Studios, Inc, Glen Cove, Long Island, NY.
He began the studio business 37 years ago in 1978 and has recorded thousands of projects. At an early age he was mentored and influenced by his father, Fred Sr, who was a Director of Photography at EUE Screen Gems in NYC.
Fred always believed in recording a wide diversity of projects and clientele, rather than the “flavor of the week”. He felt different types of work would provide a more bullet proof economic model for the studio. If music jobs slowed down, industrial voice overs and editing or jingles could be up, etc. This provided for a constantly busy schedule.
Over the years, he has seen many waves of technical and economic changes take place in the industry. The studio rode them all out. In 2004 he followed his instincts and decided it was time to downsize the operation. He sold his building and equipment to recording artist Alicia Keys who ran it as The Oven until recently, generating numerous hits.
Fred’s retained his company name and clientele. His new operation is more streamlined and fits into the work load of today’s recording demands. Interestingly, he still has a handful of the same clients from over 35 years ago! Loyalty is a wonderful thing.
When Dave Hampton attended California State University, Dominguez Hills in the 1980s, the Los Angeles native, who was building missile guidance systems for Hughes Aircraft, was merely exploring his interest in music and recording.
An audio engineer and designer of studios and touring rigs, he has worked with some of the biggest names in the music industry, including Prince, Herbie Hancock, Chicago, and Marcus Miller, whose 2001 album, “M2” won Hampton a Grammy Award.
After his early training in electronics at Los Angeles Trade Tech College and CSU Dominguez Hills, Hampton worked at Oberheim Electronics, where he acquired his in-depth knowledge of analog synthesizer technology. During this period he began striking out on his own as an independent engineer, technician, and sound editor, and left the company after five years to start his own business, MATK Corporation.
Besides designing, consulting, writing, and lecturing, Hampton is currently working on producing original audio and visual projects with his company. He also sits on the steering committee of the Producers and Engineers Wing of the National Academy of Recording Arts and Sciences, which is the organization that bestows the Grammy Awards. The former technical director of high-profile studios including Paisley Park in Minneapolis and Hancock Music in Los Angeles, Hampton has chronicled experiences in his two books, “So, You’re an Audio Engineer” and “The Business of Audio Engineering.”
In 1975 after working as an engineer for several New York based companies, Howard started Howard Schwartz Recording, Inc., with one studio, one engineer (himself) and a receptionist. A year later, he was turning down enough work to warrant the addition of a second studio and a second engineer.
For the next 38 years, Howard grew HSRNY to become one of the largest Recording Studios and Post Production Audio Facilities in New York City. Commercials, TV Shows, Motion Pictures, Animated Feature Films and Record Albums were all recorded and mixed by the fantastic members of the HSRNY staff in the beautifully designed and technically advanced 25,000 square foot home above Grand Central Terminal.
HSRNY recorded hit records, famous bands and musicians and posted sound for top TV Shows, Motion Pictures, Animated Features and Radio and TV Advertising. The vast client list included Dreamworks, Blue Sky, Fox, Disney, Pixar, Warner Brothers, Paramount, Oprah, ABC, NBC, CBS, FOX, PBS, VIACOM, ESPN, HBO, MTV, VH1, WPP, Y&R, JWT, McGarry Bowen, O&M, Grey, Saatchi, Droga5, Publicis, Digitas, EuroRSCG, Kaplan Thaler, McCann Erikson and thousands of recording studios and ad agencies around the world.
From the Rolling Stones’ “Tattoo You” to Tony Bennett’s “Duet’s”, from Disney’s “Beauty And the Beast” to Blue Sky’s “Ice Age 1, 2, and 3”, and from “Life Styles of the Rich and Famous” to “The Cosby Show” and “Spin City” and “House Hunters International”, HSRNY and Howard Schwartz have always had a leadership position in the audio industry.