#Power Station at BerkleeNYC

[reubenhernandez]

Grammy Award Nomination for Dynamic Maximum Tension

Congrats to Darcy James Argue’s Secret Society for their fourth Grammy Award nomination for Dynamic Maximum Tension in the Best Large Jazz Ensemble Album category! Reuben directed both the behind the scenes video for Dynamic Maximum Tension and the music video for “Dymaxion”, the opening track on the album. We’re so honored to have worked on this project and you can watch both videos below. The Grammy Awards will take place Sunday, February 4, 2024.

[apureniallsource]

electracraft: IN THE STUDIO: What a thrill to work with @niallhoran again, this time taking an intimate show for super fans at @powerstationatberkleenyc iconic Studio A and creating a wonderful 11 track live album. Thanks to @jen.ashworth at @capitolrecords, @lucylough and Vic Trubowitch for having the vision to follow through on the album idea. Thanks to @jakecurranguitar and all of Niall’s great band and team, @jbcubicle from Power Station, to my amazing team and of course to Niall. #producer #wgmix

TRACKING STUDIO: Power Station at BerkleeNYC

TRACKING ENGINEER: Neal Shaw

MIXING STUDIO: Power Station at BerkleeNYC

MIX ENGINEER(S): William Garrett and Carl Bespolka

MASTERING STUDIO: Zampol Productions

MASTERING ENGINEER: Oscar Zambrano

PRODUCER(S): William Garrett, Jake Curran

RECORDING ASSISTANT(S): Michael Hickey and Matthew Sullivan

[sonyclasica]

BANDA SONORA ORIGINAL

BANDA SONORA ORIGINAL DE ALMOST FAMOUS: THE MUSICAL

Sony Masterworks Broadway, junto con los productores Lia Vollack y Michael Cassel, anuncian el próximo lanzamiento de Almost Famous - Original Broadway Cast Recording el 21 de abril de 2023. Ya disponible el single adelanto “1973″.

Reserva el álbum AQUÍ

Escucha “1973″ AQUÍ

El álbum ha sido producido por Scott M. Riesett, Tom Kitt y Cameron Crowe, y cuenta con música original de Kitt con los productores ejecutivos Scott Farthing y Vollack, y presenta música original de Kitt con letra de Crowe y Kitt. Fue grabado y mezclado por Roy Hendrickson, con grabación adicional de Ian Kagey, en noviembre de 2022 en Power Station at BerkleeNYC, Nueva York, NY, y en febrero de 2020 en Sear Sound, Nueva York, NY.

Junto con el anuncio de la reserva se estrena el nuevo tema "1973", interpretado por Casey Likes, Emily Schultheis, Anika Larsen y compañía. "1973" es el número de apertura del musical y el quinto sencillo disponible de la próxima grabación original del reparto de Broadway de Almost Famous, tras el lanzamiento de "No Friends", "Morocco", "The Night-Time Sky's Got Nothing on You" y "Everybody's Coming Together".

ALMOST FAMOUS (ORIGINAL BROADWAY CAST RECORDING)

TRACKLIST DEL CD

1.        1973

2.        Who Are You  With?

3.        Ramble On

4.        Fever Dog

5.        Morocco

6.        It's All  Happening

7.        Everybody's  Coming Together

8.       The Night-Time  Sky's Got Nothing on You

9.        No Friends

10.     Something Real

11.     Tiny Dancer

12.     Stick Around

13.     Elaine's  Lecture

14.    It Ain't Easy /  It's All Happening (Reprise)

15.     Listen to Me

16.     The Wind

17.    Lost in New York  City / River

18.     The Real World

19.     Goodbye / New  Day Coming

20.     Finale:  Everybody's Coming Together

21.     Fever Dog Bows

22.    He Knows Too  Little (And I Know Too Much) (Bonus Track)

 TRACKLIST DIGITAL

  1973

  Who  Are You With?

  Ramble On

  Fever Dog

  Morocco      

  It's All Happening

  Everybody's Coming Together

  The Night-Time Sky's Got Nothing on You

  No Friends

  Simple Man

  Something Real

  Tiny Dancer

  Stick Around

  Elaine's Lecture

  It Ain't Easy / It's All Happening (Reprise)

  Listen to Me

  The Wind

  Lost in New York City / River

  The Real World

  Goodbye / New Day Coming

  Finale: Everybody's Coming Together

  Fever Dog Bows

  He Knows Too Little (And I Know Too Much) (Bonus Track)

  Anything's Possible (Bonus Track)

  Almost Famous se estrenó en Broadway en el Bernard B. Jacobs Theater de Nueva York el 3 de noviembre de 2022 y se mantuvo en cartel durante 30 funciones de preestreno y 77 representaciones. Su última representación tuvo lugar el 8 de enero de 2023.

Almost Famous (Casi famosos), el nuevo musical con guion y letra de Cameron Crowe, ganador de un Oscar® y un Grammy®, basado en su icónica película, cuenta con música y letra de Tom Kitt, ganador de un Tony, un Grammy, un Emmy y un Pulitzer®, dirección de Jeremy Herrin, nominado a los premios Tony y Olivier®, y coreografía de Sarah O'Gleby.

La producción estuvo protagonizada por Chris Wood, la nominada al premio Tony® Anika Larsen, Solea Pfeiffer, Drew Gehling, Rob Colletti y presentó a Casey Likes. La compañía incluye a Matt Bittner, Chad Burris, Gerard Canonico, Julia Cassandra, Brandon Contreras, Jakeim Hart, Van Hughes, Jana Djenne Jackson, Katie Ladner, Danny Lindgren, Erica Mansfield, Alisa Melendez, Kevin Trinio Perdido, Andrew Poston, Emily Schultheis, Daniel Sovich, Libby Winters, y Matthew C. Yee.

El equipo de diseño de Almost Famous incluía al ganador de dos premios Tony® y un Emmy® Derek McLane (diseño escénico y de proyección), al ganador de dos premios Tony® David Zinn (diseño de vestuario), a la ganadora de siete premios Tony® Natasha Katz (diseño de iluminación), al ganador de un premio Tony® Peter Hylenski (diseño de sonido), a Tom Kitt (orquestaciones y arreglos), Bryan Perri (dirección musical), AnnMarie Milazzo (diseño vocal), Luc Verschueren (diseñador de peluquería, pelucas y maquillaje), Lorenzo Pisoni (coordinador de movimiento físico), Jim Carnahan (director de casting), Sue Wagner, John Johnson, Jillian Robbins, Devin Keudell (productores ejecutivos) y Bespoke Theatricals (dirección general).

SINOPSIS DE ALMOST FAMOUS, EL NUEVO MUSICAL

Es el año 1973 y pasan muchas cosas. Led Zeppelin es el rey, Richard Nixon es presidente y un idealista William Miller, de 15 años, es aspirante a periodista musical. Cuando la revista Rolling Stone lo contrata para salir de gira con una banda prometedora, William se ve empujado al circo del rock and roll, donde chocan su amor por la música, su anhelo de amistad y su integridad como escritor. Almost Famous es un animado relato sobre los fans, la familia y los inolvidables personajes que conocerá por el camino. ¡Sube el volumen!

 CONECTA CON ALMOST FAMOUS

PÁGINA WEB | FACEBOOK | INSTAGRAM | TWITTER | YOUTUBE

  CONECTA CON MASTERWORKS BROADWAY

PÁGINA WEB | FACEBOOK | INSTAGRAM | TWITTER | YOUTUBE

[citylifeorg]

Inside Power Station @BerkleeNYC To Premiere On NYC Life Channel, November 25 at 9:00pm

Inside Power Station @BerkleeNYC To Premiere On NYC Life Channel, November 25 at 9:00pm

NYC Media’s Flagship Channel to Air Original Series About Iconic NYC Recording Studio The Mayor’s Office of Media and Entertainment (MOME) is proud to announce the premiere of Inside Power Station @BerkleeNYC, a 12-episode series featuring interviews about and performances from New York City’s legendary Power Station recording studio. The series will premiere on NYC Life (WNYE-TV/Channel 25),…

[maxattack-powell]

Say hello to the Power Station Recording Studio at BerkleeNYC!

With heavy modifications, courtesy of PixelBerry. 😋

[vinylanswer]

It’s a good day when I get to spend the morning visiting a place as cool as Studio A in Power Station at BerkleeNYC. Chic, Bruce Springsteen, Madonna, Lady Gaga, Bruno Mars, Herbie Hancock, Bobby McFerrin, Paul McCartney, the Rolling Stones, Dire Straits, John Mayer, Robert Palmer, Bryan Ferry, Diana Ross, Esperanza Spalding and of course The Powerstation are just a handful of the acts that recorded there. 


[projazznet]

All I Can Do is the soulful British vocalist Polly Gibbons's third album on Resonance. Captured in front of a live audience at Power Station at BerkleeNYC Studio in June of 2018 with Polly’s U.S. band featuring Tamir Hendelman, Richie Goods, Mark McLean, Paul Bollenback and Shedrick Mitchell, All I Can Do showcases her signature mix of blues, jazz, pop and soul songs from Nina Simone’s “I Want A Little Sugar In My Bowl” and to the Prince hit “Nothing Compares 2 U.” "A voice that is to Jazz what Adele's is to Pop: rich, powerful, soul baring!" (London Evening Standard).

CD AND DIGITAL FORMATS AVAILABLE ON APRIL 19, 2019.

[ryanmuir]

Portraits for Musician’s Friend with Hank Shocklee of the Bomb Squad, talent buyer Jake Diamond, formerly of Arlene’s Grocery, and Stephen Webber of Avatar Studios/Power Station at BerkleeNYC.

[reubenhernandez]

Darcy James Argue's Secret Society - Dynamic Maximum Tension - Behind the Scenes

Take a look behind the scenes of the making of 'Dynamic Maximum Tension,' the new album by three-time Grammy Award nominated Darcy James Argue’s Secret Society, due September 8 on Nonesuch Records. Directed by Reuben Hernandez Music composed by Darcy James Argue Filmed on location at Power Station at BerkleeNYC

[apureniallsource]

electracraft: IN THE STUDIO: What a thrill to work with @niallhoran again, this time taking an intimate show for super fans at @powerstationatberkleenyc iconic Studio A and creating a wonderful 11 track live album. Thanks to @jen.ashworth at @capitolrecords, @lucylough and Vic Trubowitch for having the vision to follow through on the album idea. Thanks to @jakecurranguitar and all of Niall’s great band and team, @jbcubicle from Power Station, to my amazing team and of course to Niall. #producer #wgmix

TRACKING STUDIO: Power Station at BerkleeNYC

TRACKING ENGINEER: Neal Shaw

MIXING STUDIO: Power Station at BerkleeNYC

MIX ENGINEER(S): William Garrett and Carl Bespolka

MASTERING STUDIO: Zampol Productions

MASTERING ENGINEER: Oscar Zambrano

PRODUCER(S): William Garrett, Jake Curran

RECORDING ASSISTANT(S): Michael Hickey and Matthew Sullivan

[nyslovesfilm]

Post-Production in New York Adds Magic to Mary Poppins Returns

Walt Disney Pictures’ Mary Poppins Returns, the sequel to the Oscar-winning 1965 classic, recreated the original film’s magic thanks to the magic and talent of New York’s post-production industry.

A host of talented New Yorkers from various post-production companies brought their expertise to the film.   Those companies included:  Harbor Picture Company, Goldcrest Films and the Soundtrack Group, responsible for some of the ADR recording; C5 Sound, Inc. , a contributor  to the sound editing and Foley recording; Warner Bros Sound, which handled the final sound mix; Germano Studios, responsible for the final mix for the score; Power Station at BerkleeNYC, which completed  the soundtrack mix; PowerHouse VFX, which provided some of the VFX; and Trevanna Post, which handled the post accounting.

Sixteen19 completed the dailies, produced the AVIDS and provided the editorial and post-production offices over an 18-month time period.  Throughout post-production, the filmmakers screened the film, as well as reviewed visual effects in Sixteen19’s digital intermediate (DI) screening rooms. Having the entire post-production team and the ability to screen at a moment’s notice made the post-production process extremely smooth for the filmmakers. Sixteen19 Managing Partner Peter Conlin said, “Working with the entire Mary Poppins Returns team was an incredible experience for all of us at Sixteen19,” and thanks to expanded facilities and infrastructure,  “we look forward to working on more projects of this size and shape in the future.” Technicolor PostWorks provided the film’s DI, which is  the assembly and the final color correction of a movie and is the last stop before release. Prior to the tax credit, there were very few companies capable of executing any DI work, but that has changed. New York is now home to approximately 25 DI theaters, and Technicolor PostWorks has increased their number from one to four.  Clark Henderson, Technicolor PostWorks Senior Vice President, Theatrical Services adds that at one time, “ big productions such as this may have done their picture cutting here, but would have gone to L.A. for their DI work. Now we are capable of taking on major productions, resulting in considerably more post work in New York.” 

[citylifeorg]

Power Station at BerkleeNYC Officially Reopens with Celebratory Event Featuring Music, Art, and Reflection on the City's Premier Recording Facility

Power Station at BerkleeNYC Officially Reopens with Celebratory Event Featuring Music, Art, and Reflection on the City’s Premier Recording Facility

Power Station at BerkleeNYC, formerly known as Avatar Studios and The Power Station, officially reopened on the evening of Wednesday, October 27 with a celebration of music, art, and reflection on the historic recording facility. The event showcased a $15 million renovation to the space, including high-end video capture, professional lighting, 360 cinematic virtual reality, and spatial audio and…

[velveteenau-blog1]

Is Your Song Record-Ready?

Reading Time 7-8 Minutes

5 steps to check yourself before hitting the studio.

What does Record-Ready mean?

Much like all things in music and art, there are many ways to describe this concept. Personally, I would describe record-ready material as being effective in intent, emotive in nature and thus ready to be completed in the studio and released out into the world for your audience to receive.

You wrote it, so it should express something you’d like it to express. It’s art, so it should also elicit some sort of response from people (positive or negative, engagement is never a bad thing), and not just “It’s amazing!” from your Mom (Hi Mom!) or best friend.

Before going any further, the answer is YES. The question (in the back of your mind) is to do with overthinking things and just recording the material:

Of course there are times when the music just courses through you; when the muse and the elements align to send you songs that are already perfect. Realistically however, 98% of the music that 98% of us write could do with a once-over, or one last look before your studio sessions. That is, there is often still some necessary and important work to be done.

Do you have a Good song or a Great song?

The difference between art that is good and art that is great is miniscule, to be honest. Some songs are just hits from the moment they are conceived, and the reasons can vary from trendiness to your artistic image. One unmistakable trait of a truly great song is that it consistently continues to attract listeners.

This point is a lot to do with honesty, with/to yourself and from others. You should be prolific with your writing (or your band’s writing, as it may be) because it’s statistically impossible for every song you write to be great. You need to write consistently and often because songs #49 and #50 are going to be objectively much better than song #11. Hand in hand with that, you should not be reclusive: art is a constant feedback loop, and at a certain point everyone needs an outside perspective to bounce ideas off.

Whether it’s another artist friend, a collaborator or co-writer (You don’t do that? Then get into it) or even a mentor (Don’t have one? Then get one), you have to be able to open up to someone comfortably, and that someone must be one whose opinion you value and trust. This person (or people) has to be 100% truthful without sparing your feelings at times. They should be able to tell you that the main hook for your Tropical House track is 100%  the 2nd chorus to Pippin (Hey, it could happen) or derivative somehow without you getting defensive. That way, when they tell you that this latest song is probably the best you’ve written, you can take it at face value.

Is the song in the correct key (for the Vocalist)?

Let’s be real: if you write songs that feature vocals, that will be the central focus of the listener’s experience. Thus, doesn’t it make sense to spend some (or a lot) of time working on something as fundamental as the key of the song to make sure that it’s in as perfect a spot as possible?

Depending on your own workflow, there are a couple of ways to approach this:

If you are the singer and also an instrumentalist, move the chord changes around and get a feel for what the different sections sound like in various parts of your vocal range. Some sections will be mellower, lighter or more vulnerable, while others will be gritty, maybe more aggressive or emphatic. Figure out (or remind yourself) what your intent is with the song, and what is most effective and emotive in getting your message and emotions across.

If you are a producer or songwriter, or a singer/songwriter with some technical facility, make basic MIDI demos of your songs. Whether you are using the stock instruments in the DAW of your choice, or your favourite sample libraries and an arsenal of gear, you have the ability to transpose keys for complete arrangements in no-time so as to workshop the song with your vocalist(s).

If you play an instrument, you probably have favourite keys or positions you write or play in (Guitarists, I know how much we all love riffing in E), and that’s not a bad thing. Just consider that writing, recording and performing music is a team effort, with your vocalist’s instrument playing a vital role in your overall success, and for that purpose you may need to stretch out and explore unfamiliar (to you) keys for those killer riffs.

Think of this: “Hotel California” is an iconic song, it’s safe to say. It once used to be a good song that Don Felder wrote on guitar. After Glenn Frey and Don Henley crafted some great melodies and lyrics to it, they found that the original key (E minor) was not in a great range for Don Henley’s voice. They chose to work at it in the studio, lowering the key progressively down to B minor where the vocal felt the best and the rest, as they say, is history.

Does the song get your message across?

I know, I know, your song transcends earthly trappings and art is all subjective anyway.

However, there must be something that compelled you to write the material, correct? And when you sing/perform there must be some place that you draw your emotions and energy from.

There is some reason or compulsion that makes you do what you do, whether it’s introspection, self-examination, criticism, joy etc., and an effective song gets through to your audience with some of that feeling. Whether you like to spell things out, or leave much to the listener’s imagination, a great song will be something that your audience relates to and relates to you through.

You should expect that your audience (or a listener) can get the jist of your material on the first listen. If that isn’t the case, don’t fret; there may be something you can do that makes your song simply more effective at getting through to people.

Don’t despair: Getting ideas through effectively to people is a mystery and art in itself, and we can only get better at it by creating more often. Read through the lyrics - could they be streamlined in any way? Can you place or shift emphasis on certain words or ideas? Maybe that third verse could actually be the opening verse. Are all of the musical/melodic elements supporting the lead vocal? Could there be too many elements fighting for the listener’s attention at crucial times in the song? Is your chorus clear and concise?

There are many reasons why the intent of your song could become lost within the process. Ask yourself some or all of the questions above and move ahead.

Does it elicit a response from listeners?

The above point dealt with the specifics of your art and the nuances of creative expression. This is titled “...eliciting a response”, and not “...the correct response” since audiences express their sentiments differently.

What you should be doing at this point (presuming that you have gone through the previous items) is getting your music in front of people so that you can see what they do in response to it. You should play people a demo (Oh yeah, demo your songs, and often!) and watch them. I mean it: look at them while they listen to your song. Do it in an unobtrusive and non-creepy way so that they can relax and sincerely connect with the music itself.

Do they nod their head? Tap their feet? Does their breathing change? Do they smile or frown? These may seem like obvious things, but being able to gauge another person’s response is invaluable to your process. Think of this as using a focus-group, as is done routinely in advertising. If you play in a rock band, throw a new song into the middle of a set and see if the audience is responsive. If you are an acoustic performer, playing demos for people might be the best approach. If you write EDM or any music that is supposed to get people moving, get your DJ friend (don’t have one? Make one!) to spin your track and see if the dance floor erupts when the drop hits.

The point is not to change what you do and who you are based on audience feedback (or the above suggestions), but to make sure that who you are and what you do always comes through in your art and in the way that you intend it to.

Keep Writing, Make Decisions & Move on.

Hopefully the above points have, at the very least, been food for thought, or inspired you to actually look over your last batch of songs and get them ready to track and release.

The best thing you can do as an artist is to keep creating. The more consistently you do it, the better you will be at it. Use the the above steps as part of your process if you wish, but always keep moving forward!

ABOUT THE AUTHOR:

Arjun is a Producer, Recordist & Mix Engineer currently based in Canada and Director Of Education at Power Station At BerkleeNYC.

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[sayurishimada]

Recording at Power Station at BerkleeNYC.

Stay tuned for more!!