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SPARS Speed Mentoring – Mentoring Answers for your Career
Moscone Center – Room 132
Saturday, October 27, 2012
3:30 PM – 5:30 PM
SPARS will once again be hosting speed mentoring sessions at the 133rd AES Convention being held in San Francisco, October 26-29, 2012. The Ask SPARS mentoring sessions will take place on Saturday, October 27th from 3:30 pm to 5:30 pm in room 132 (Note: time change) These mentoring sessions will feature recognized industry professionals in the fields of Gaming, Live Sound/Live Recording, Manufacturing, Mastering, Sound for Picture and Studio Production. The mentors will meet with participants face to face in small groups to offer advice, share experience and answer questions about the industry and careers.
The Ask SPARS sessions are made possible with the support of AES, the Game Audio Network Guild (GANG), Manhattan Producers Association (Manhat Pro) and the Women’s Audio Mission (WAM), as well as the cooperation of our talented line up of mentors.
SPARS will be offering complimentary exhibit passes to members and supporters in the days leading up to the convention. More information on all AES activities including SPARS events will be announced in upcoming issues of the SPARS newsletter, SoundBytes. To stay informed regarding these activities as well as other SPARS news, subscribe to SoundBytes.
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:
* Gaming <<Register>>
* Live Sound / Live Recording <<Register>>
* Manufacturing <<Register>>
* Mastering <<Register>>
* Sound for Picture <<Register>>
* Studio Production <<Register>>
As of today, the following mentors are registered to attend in the below categories:
Elise Baldwin, Audio Director, Electronic Arts/Maxis, Inc.
Elise Baldwin currently serves as Audio Director at Electronic Arts/Maxis. She holds a BFA in Film/Video production from UCSC and an MFA in Electronic Music from Mills College. She has spent much of the past two decades working as a sound designer, audio director and recording engineer on gaming, broadcast and educational projects for Electronic Arts, MTV.com and Purple Moon, among many others. Active in the experimental music and electronic art community, she focuses on intermedia performance, solo music ventures and building her own software instruments for live performance. She has designed sound and created musical compositions for many theater and film productions, and had the good fortune to collaborate with many talented Bay Area performers, dancers, and theater companies such as Gigi Otalvaro-Hormillosa, Sini Anderson, Fresh Meat, and Campo Santo. Recent performances include the SoundWave Festival 2010, SF Cinematheque, New York Electronic Arts Festival, Electronic Cinema, ResBox, San Francisco Electronic Music Festival, Edgetone Music Festival and the CalArts CEAIT Festival. She has received numerous awards, including Experimental Television Center and CESTA residencies in 2008, a Harvestworks Artist in Residency, and the Frogs Peak Award for Experimental Music.
Paul Lipson, Music/Audio Director, Microsoft
An award winning Composer and Audio Director, Paul entered the game industry in the late 90‘s and quickly made an impact working with AAA properties. He has composed and worked with a dazzling array of “A-list” clients like Microsoft Game Studios, SEGA, 343 Industries, Ubisoft, LucasArts, 2K Games, Sony Computer Entertainment, EA, Hewlitt-Packard, Harmonix, etc.. Recent AAA game credits include Halo Combat Evolved Anniversary, Kinect Disneyland Adventures, Microsoft Flight, Infamous 2, Halo:Waypoint, 5th Cell’s Hybrid, Rocksmith, Bioshock 2, Iron Man 2, Lego Indiana Jones:The Adventure Continues, and many more. Paul won the BEST INTERACTIVE SCORE and BEST USE OF LICENSED MUSIC awards at the 2012 GANG Awards, and the BEST AUDIO – OTHER Award at the 2011 GANG awards/GDC for work on the Halo Universe. Paul was also awarded the GANG. DISTINGUISHED SERVICE AWARD at the 2006 GANG Awards/GDC for his wide-ranging work in interactive audio.Paul currently serves as Music/Audio Director at Microsoft and is the Vice Chairman of the Board of Directors of the Game Audio Network Guild (GANG), the world’s largest organization of game audio professionals. He has conducted panels, lectures, and master classes at the Massachusetts Institute of Technology, Yale University, Berklee College of Music, Musician’s Institute, SIGGRAPH, GDC, GameSoundCon, Pyramind Studios, AES Conference, New England Conservatory, Art Institute San Francisco, GRAMMY Soundtables and More.
Paul holds a BM and MM with summa/highest distinction from the world-renowned New England Conservatory of Music in Boston. He is a member of the International Game Developers Association, The Music Educators National Conference, The Academy of Interactive Arts and Sciences, BMI, The Recording Academy P&E Wing Advisory Council, and the Game Audio Network Guild.
Dren McDonald, Sound Designer, Composer, nerdtracks.com
Dren McDonald (nerdtracks.com) has most recently worked as Audio Director at Loot Drop developing the titles Ghost Recon: Commander (Ubisoft) and Pettington Park (Zynga), where he worked closely with well known game designers John Romero, Brenda Garno Brathwaite, and Tom Hall. Previously he was audio lead at 6Waves/LOLapps on hit titles such as Ravenwood Fair, and Ravenskye City. In both of these roles Dren was responsible for writing/producing all of the music, creating ambient environments, sound design, directing voice talent and in some cases, designing the sound system. Dren was also principal sound designer on the forthcoming indie title “Skulls of the Shogun” (17 Bit/Microsoft) which will break new ground as a title available to play continuously (and asynchronously) across XBOX, Windows 8, WinPhone and Surface. Dren also serves on the Game Audio Network Guild as the Community Manager and News Editor.
Tom Salta, Game and Movie Composer
Tom Salta is one of the most versatile and prolific music composer/producers working in multimedia including film, television, advertising and most notably video games. Renowned for crafting memorable, emotionally engaging music for the medium, Salta has garnered widespread acclaim for his distinctive, world-class produced scores featured in blockbuster franchises including: HALO ANNIVERSARY, FROM DUST, PRINCE OF PERSIA: THE FORGOTTEN SANDS, RED STEEL 1 and 2, TOM CLANCY’S GHOST RECON ADVANCED WARFIGHTER 1 and 2, TOM CLANCY’S H.A.W.X 1 and 2. Recording under the artist name “Atlas Plug,” tracks from his album “2 Days Or Die” grace many television shows on ABC, CBS, MTV, NBC as well as national commercials. His Atlas Plug music can also be heard in the soundtracks to hit games such as CRACKDOWN, THE FAST AND THE FURIOUS: TOKYO DRIFT and PROJECT GOTHAM RACING 3. Salta’s music for Hollywood movie trailers and promos include SPIDER-MAN, TOY STORY, HARRY POTTER, ASTRO BOY, and CORALINE.
Live Sound/Live Recording: <<Register>>
Deanne Franklin, Live Sound Mixer
Deanne Franklin is a 30 year veteran of professional concert sound and recording. She has mixed FOH world tours for Tom Waits, David Byrne, Sonic Youth, The Breeders, Ke$ha, Pink, Beck, Cyndi Lauper, Natalie Merchant, Angelique Kidjo, Mike Patton (in a few incarnations) and many more, logging thousands of shows all over the world. When she returns to San Francisco she is a staff engineer at the legendary San Francisco Fillmore now as a journeyman in Local 16, and has previously served as staff engineer at the Warfield and Production Manager/Engineer at Slims. She has also been a monitor engineer on tours for Tom Waits, Tracy Chapman, the Pixies and Primus.
Deanne began her career as an assistant engineer for Ron Fair in Los Angeles. She Then moved to San Francisco where she found just the right vibes about getting real work as an engineer in recording studios. Live sound grew out of studio work and was originally just a way to make some quick cash. As she found herself getting more and more live work, the studio fell away. These days though, with so much live recording, Deanne is getting the chance to combine those talents both on the road and here at home in San Francisco where she lives with her long time companion Jumbo the great dane pitbull mix.
David Hewitt’s engineering career started at Bob Lifton’s Regent Sound branch in Philadelphia in 1970. He moved on to Roy Cicala’s Record Plant New York to work in the Remote division, becoming Director by 1974. Hewitt designed and built the legendary “Black Truck” in 1978 and formed Remote Recording Services in 1979 for independent Engineering projects and equipment rental, eventually buying the Black Truck from Record Plant NY to add to RRS’s expanding capabilities. 1990 saw the construction of the “Silver Truck”, a ground up custom Tractor Trailer. In 2003 Hewitt sold the Company, but remained as President and constructed a new Digital facility, “The White Truck”. In 2009 Hewitt left the Company to form Hewitt Remote Services, LTD.
David starts his fifth decade of engineering Live Broadcasts, Records and Audio for Film and Video this year.
Lauretta Molitor, Film Sound Recordist
Bob Skye, Skyelabs
Bob Skye founded Skyelabs in 1975 as a company specializing in location sound recording as well as acoustical and system design of recording and broadcast facilities. Since then, Bob has earned recording engineering credits for Gold and Platinum records and Grammy Awards that include AC/DC Live and Tribute to Miles.
“Rover”, Skyelabs’ mobile recording unit for over 20-years, was built to offer the finest in mobile acoustic environments and equipment for live concert recording, remote broadcast, audio for picture, and in-house recording. From live to multi-track, Rover delivered clean, accurate recordings and broadcasts. Rover became the core of Skyelabs’ business model.
Along with Skyelabs, Bob owned and operated The Plant Recording Studios in Sausalito, CA, but is recovering nicely.
Closing in on 40 years experience in the audio industry – consulting on electro/acoustics and recording techniques, Bob works with clients in many aspects of sound. Bob’s recording credits range from AC/DC to the San Francisco Opera, U2 to Herbie Hancock, and Van Morrison to Chick Corea.
• Audio Engineering, Mixing, and Producing
• Voice Over for Radio, Television and the Web
• Expert witness in audio, video and acoustical forensic issues
• Archival and Restoration – Analog Tape and Vinyl Transfers
• Musician – Harmonica, Percussion, Vocals
Chris Estes, Endless Analog
Chris Estes is a Nashville-based producer, mixer, songwriter and inventor. He is the founder of Endless Analog and the inventor of its critically acclaimed flagship product CLASP® (Closed Loop Analog Signal Processor), a hardware and software system that has reinvented analog / digital hybrid recording. Last year, CLASP was nominated for a TEC Award.
In founding Endless Analog his vision was simple: to create a revolutionary technology that would, for the first time in history, bring user-friendly real analog tape processing to every studio environment around the world. CLASP boasts a star-studded list of users, some of whom include Aerosmith, Lenny Kravitz, Johnny Depp (Unison Music), Green Day, Peter Frampton, John Shanks (Bon Jovi, Melissa Etheridge, Keith Urban), England’s Abbey Road Studios, Nathan Chapman (Taylor Swift), Beck, Michael W. Smith, Denis Savage (Celine Dion), Butch Walker (Panic at the Disco, Pink, Avril Lavigne), Dave Cobb (Shooter Jennings, Jamey Johnson), Chuck Ainlay (Mark Knopfler, Dire Straits) and John Fields (Jonas Brothers, Miley Cyrus, Switchfoot), among others.
As a musician and producer over the past 10 years, Estes’ clients have included former Elektra Records artist and renowned songwriter Billy Mann (Sting, Celine Dion, Teddy Geiger, Jessica Simpson), Ryan Tedder (One Republic, Beyonce, Kelly Clarkson), Major Bob Music (Garth Brooks, Lane Turner), Krystal Myers (Sony), Michael Tait (EMI), Universal Music Group, Nate Sallie (Curb Records), EMI/CMG, TVT Records and Dreamworks Nashville. The Gospel Music Association has presented Estes with two consecutive Dove Award nominations for his work as a producer and songwriter.
Dave Hampton is a 30+ year veteran of the audio recording industry. His company MATK Corp is trusted and called on to create and provide custom solutions for various artists and companies. He has served as Technical director for Herbie Hancock’s Hancock Music in Los Angeles, and Prince’s Paisley Park Studio in MN. In addition to engineering, Dave still consults with manufacturers on new technology, lecturers on survival in the industry, and mentors new recording professionals. His latest book, The Business of Audio Engineering is mandatory text for several audio programs around the country. Other clients include Marcus Miller, George Duke, Justin Timberlake, Maxwell, Lady Gaga, and Babyface.
Andrew Hollis, Service Engineer, SSL
Andrew Hollis is a service engineer at Solid State Logic in New York, where he is responsible for the preparation, installation, and training on large format audio consoles in broadcast and music studios. Prior to SSL, he held positions at the New World Symphony in Miami Beach; as assistant to mastering engineer and author Bob Katz; and as a recording engineer at the Aspen Music Festival and School. While a student he was the winner of the 2003 Audio Engineering Society stereo classical recording competition. Andrew credits his early AES student membership and participation with getting him thinking about professional opportunities in the real world, and he hopes he can help you too at the SPARS event! Andrew holds a Bachelor of Music and minor in electrical engineering from the University of Miami. He also plays guitar in the Serious Theatre Collective, a 2012 New York International Fringe Festival Overall Excellence Award winning independent comedy theatre group.
Chris Spahr, Northeast Marketing Manager, Sennheiser
Richard Warp, Leapfrog
Richard Warp is an award-winning composer, sound designer and interactive music curriculum developer based in the San Francisco Bay Area. With a body of work ranging from traditional chamber ensembles to conceptual works using live electronics, field recording, tape and scientific instruments, as well as a wide variety of commercial projects, his broad exposure has given voice to a unique aesthetic that belies his roots in both classical and contemporary styles, as well as his keen interest in the intersection between music, technology and science.
Originally from England, Warp moved to the US after obtaining his Masters in Music Composition in 2006 from Goldsmiths College, University of London. Since moving to San Francisco he has been working as a full-time composer and sound designer for educational toymaker Leapfrog. Beyond commercial production, he is also active as a composer on the vibrant Bay Area new music scene, with a portfolio of works ranging in scope from solo performance to large ensembles. His work has been recognized with awards from the American Composers’ Forum, the Zellerbach Foundation and the New Spectrum Foundation.
In addition to ‘traditional’ composition, Warp’s practice touches on recent developments in cognitive neuroscience to further extend the boundaries of musical perception, working with the scientific communities of UC San Diego and UC Berkeley to develop new Brain-Computer Musical interfaces (BCMIs) for musical expression.
As an independent music producer, Warp is actively involved in recording and production for new music events, including true surround sound recordings of contemporary artists and ensembles under the New York-based New Spectrum label. He also writes about new music for examiner.com.
David Glasser, Chief Engineer, Airshow Mastering
David Glasser HAS OVER 30 YEARS OF EXPERIENCE in audio engineering and has mastered thousands of records, including more than 80 Grammy nominees. A three-time nominee himself, he has earned two Grammy awards for mastering and restoration of the culturally significant Anthology of American Folk Music (1997) and Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton (2002). David began his audio career with the Boston Symphony, followed by eight years of recording and production for NPR. Founding Airshow in 1983 to offer location recording services, he shifted to full-time mastering in 1990 with a modest studio in Springfield, Virginia. Expanding the company to Boulder, Colorado in 1997, David has grown Airshow into one of the largest mastering facilities in the country.
A 28-year veteran mastering engineer and the owner of Masterdisk studios in NYC, Scott Hull started his career in 1983 and has mastered hit records and classic albums in every genre, as well as many Grammy-winning titles. Scott is consistently listed in the top 10 of the Top 100 Professionals list at albumcredits.com. He is widely regarded as an expert in vinyl mastering. Recent clients include Donald Fagen, Sting, Dave Matthews and Glenn Frey as well as the Sh-K-Boom, Tzadik and Luaka Bop labels.
Piper holds a Bachelor of Fine Arts in Performing Arts Technology–Media/Sonic Arts Concentration from the University of Michigan, where she worked as a resident Student Engineer for the U of M recording studios. Piper supplemented her experiences in Michigan with a Graduate Studies Certificate in Music Production and Recording from the University of Stavanger, Norway. There, she had the opportunity to work with MemNor Sound Archival Service, and she also worked as an Apprentice to Thor Legvold at Sonovo Mastering. In 2009, Piper worked as the mixing engineer and mastering assistant to Bob Katz at Digital Domain in Orlando, Florida. In 2010, Piper served as the Senior Audio Associate at The Banff Centre in Alberta. Piper began operating her own location recording business in Michigan, and this business has traveled the world along with her. Piper is also an active member of the Audio Engineering Society. Piper hopes to use her experiences in recording, mixing, and mastering as she embraces the San Francisco soundscape.
Michael Romanowski is the owner and chief mastering engineer at Michael Romanowski Mastering in San Francisco, California. He started his audio career as a live sound engineer in Nashville, Tennessee, and quickly went from that to recording, mixing and producing. In 1994, he moved to the San Francisco Bay area and started his mastering career at Rocket Lab, with Mastering Engineers Paul Stubblebine and Ken Lee. Michael helped start the mastering room at Sausalito’s Plant Studios in 1999, where he was the chief mastering engineer. In 2001, Michael reunited with Paul Stubblebine in Paul’s mastering room at Hyde Street Studios – the famed Studio C. In 2003, Michael and Paul built two state of the art 5.1 mastering rooms at the Coast Recorders building, where he continues to work today. With Two Mastering Rooms and now the rebirth of Coast Recorders, the facility is a thriving hotspot of creative energy.
Michael is President of the NARAS Board of Governors, and is the Chairman of the chapter’s Producers & Engineers wing. In addition to his service in music community, Michael teaches at San Francisco State University, and is an active panelist at conferences such as TapeOp, AES, CES, VSAC and NAMM . He is a co-owner of a music label, with Paul Stubblebine and Dan Schmalle, The Tape Project, which only releases direct copies of original analog masters on ¼” and now ½” analog tape. And, he continues to record, mix, produce and perform..
Sound for Picture: <<Register>>
Steve Horowitz, Music Composer, Sound Designer
Steve Horowitz is a creator of odd but highly accessible sounds and a diverse and prolific musician. Best known for his original soundtrack to the Academy Award-nominated film “Super Size Me.”, Steve also composed the music for MTV’s hit reality show “I BET YOU WILL” and Spike TV’s “Casino Cinema.” Steve has worked extensively with Nickelodeon Digital, where his groundbreaking work in interactive entertainment has garnered him both Webby and BDA awards. Horowitz also has a Grammy Award in recognition of his engineering work on the multi-artist release, “True Life Blues: The Songs of Bill Monroe [Sugar Hill].” Best Bluegrass Album” (1996). Year round, Steve records and tours with his band The Code International and has release sixteen albums of mind altering original sounds to date. Steve studied composition with Morton Subotnik, Mel Powell and Stephen “Lucky” Mosko at the California Institute of the Arts and has received performance underwriting and commissions from numerous ensembles and organizations. You can view his full profile at the American Music Center http://www.amc.net/SteveHorowitz or for more info and music clips, please visit http://www.thecodeinternational.com.
Eric began playing music professionally at the age of 16 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 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 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 for clients such as IBM, Caterpillar, Golden Corral, Nortel, Burroughs Wellcome, Hardee’s, and North Carolina State University. In January of 2003, Eric joined Trailblazer Studios to launch Blazing Music + Sound, the dedicated custom music and sound division of Trailblazer Studios. Blazing Music + Sound provides custom music, recording, mixing, and sound design for advertising agency, film, television, and video game production clients. Blazing Music + Sound currently handles audio post for TLC’s top rated shows Jon & Kate Plus 8 and 18 Kids and Counting. Other clients include advertising agencies McKinney( Travelocity, Quest, NASDAQ), McCann Ericksson (General Motors), television clients National Geographic/Nova, Fine Living Network, The Tennis Channel, and Animal Planet, and gaming companies Virtual Heroes, Red Storm Entertainment, and Codemasters.
Kyrsten Mate, Sound Designer and Sound Effects Editor at Skywalker Sound
Kyrsten Mate has been working in feature film post production since graduating from San Francisco State University with an B.A. in the Broadcast and Communication Arts. From her early time at Saul Zaentz Film Center, she has experienced all aspects of audio post production; including sound effects recording, sound editing, sound design, and the final mixing process. Many luminaries in the directing world have crossed her path during her long career, including those as diverse as Anthony Minghella, Francis Ford Coppola, and John Waters. Working in the world of sound effects in a labor of joy for her; Kyrsten truly believes in the power of carefully designed audio as a means to shape the perception of a film. She has worked on over 60 features, has won several Motion Picture Sound Editors Guild awards, and is currently a sound designer and sound effects editor at Skywalker Sound in Marin, California.
Leslie Mona-Mathus, Senior Audio Engineer for ABC News Advertising and Promotion
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, five 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. A few of the major artists she worked with include Jim Brickman, Suzanne Ciani, Art Garfunkel, Janis Ian, and Steely Dan. Additionally, her work with premier music production companies and ad agencies encompassed countless high profile campaigns; Budweiser, Coke, Chevy, McDonalds, Pepsi, and Volkswagen, to name just a few.
Her extraordinary experience in music and advertising production allowed her to seamlessly cross over into the audio post-production arena. As a staff engineer at HSRNY, Leslie worked on Disney and Dreamworks projects, shows such as Sex and the City, The Simpsons, The Foxbusters, and, again, numerous, prestigious ad campaigns, and television programming. As a freelance post-production engineer, she went on to add ABC, HBO, USA Network, Howard Shore as well as several award winning independent filmmakers to her client base.
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.
Shawn Murphy, Scoring Mixer
Scoring Mixer SHAWN MURPHY has recorded and mixed over three hundred-fifty feature films during a thirty year career in film. With degrees from San Francisco State University (B.A.) and Stanford University (M.F.A.) Mr. Murphy has worked variously in Live Sound Production and Mixing, Radio, Television, and Theatrical Lighting, Sound and Technical Direction. Additionally, Mr. Murphy acts as consultant for the Boston Symphony and Chicago Symphony Orchestras in the areas of audio recording, production and reinforcement. He has received an Academy Award, Grammy Award and Emmy Award for his work in sound production and recording.
Studio Production: <<Register>>
Chris has been in the recording studio for the last 18 years working on records like Erykah Badu’s “Mammas Gun”and The Eagles #1 record “Long Road Out of Eden”. His resume includes studio time with Destiny’s Child, Fuel, The Polyphonic Spree, Earth Wind, and Fire, remixes for Peter Gabriel and Death in Vegas. Most recent projects include Don Henley being released this fall, Erykah Badu’s “Amerykah PT1 and PTII”, Kirk Franklin “Hello Fear”. Chris was nominated for a Grammy award in 1998 for “Best Engineered Album, Non-Classical.” Elected to the Texas Chapter Board of Governors of the Recording Academy, serving in roles from Governor, President, and Trustee.
David Bowles, Producer/Engineer, Swineshead Productions, LLC
Producer and engineer David v.R Bowles formed Swineshead Productions, LLC in 1995. His recordings have been GRAMMY-nominated (Classical – Best Orchestral Performance) and won the “Classical Orchestral Album” prize from Just Plain Folks Awards. Other Bowles-produced and engineered releases have been named “Record of the Month – Editor’s Choice” from Gramophone Magazine and Opera News; also “Record of the Year” from the New York Times, the New Yorker, Miami Clásica and Classical Candour. As an educator, Mr. Bowles has been Visiting Professor of Recording Arts at Indiana University’s Jacobs School of Music. He has been guest lecturer at New York University’s Tonmeister Seminar (Steinhardt School of Music), at the Banff Centre and at The Peabody Institute.
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.
Pat McMakin, Director of Operations, Ocean Way Studios, Nashville
In over 30 years in the music industry, Pat McMakin has worked successfully as a recording engineer, record producer, songwriter, GM of Sony Tree Studios, and GM Tree Productions (Sony/ATV’s music production/ artist development company). He has worked with a wide variety of artists including Ray Charles, Dolly Parton, George Jones, Brooks and Dunn, Lonestar, Brenda Lee, N’Sync, Steve Martin and countless other artists, producers and songwriters. McMakin has produced and engineered in a wide variety of musical genres including country, rock, pop, jazz and classical music. He was employed at Sony/ATV for over 25 years. In March of 2008 McMakin assumed the leadership of Belmont University’s Ocean Way Nashville Recording Studios where he currently serves as Director of Operations.
Since 1980, Mark Rubel has made about a thousand recordings at his Pogo Studio in downtown Champaign IL, for various wonderful artists including Hum, Alison Krauss, Rascal Flatts, Fallout Boy, Adrian Belew, Luther Allison, Jay Bennett, Ian Hobson and Henry Butler, and such clients as RCA, Capitol, Warner, Jive/Zomba, Volition Games, Electronic Arts, The BBC, Smithsonian, and many more.
Having taught audio to thousands of students since 1985, Prof. Rubel teaches recording, music business, music technology and the history of rock, and is the Audio Director at Eastern Illinois University’s Doudna Arts Center. He is on the national board of SPARS (the Society of Professional Recording Services) and belongs to NARAS, AES, ASCAP, MEIEA, EARS, and numerous other acronyms.
Mark serves as a workshop presenter, consultant, beta tester and legal expert witness. He writes occasionally for recording magazines, especially Tape Op for whom he interviewed Les Paul, Terry Manning and others. Bassist in the thrash oldies rock band Captain Rat and the Blind Rivets for 32 years and counting, Mark plays many instruments badly and sings worse. He is ridiculously happy cultivating songs, artists, students, and cats, along with his saintly wife, Nancy.