Tuesday, April 23, 2019

Music Notes

  • Wednesday, Apr. 17, 2019
Universal Production Music, Killer Tracks partner with Abbey Road Studios to launch production music catalog
SANTA MONICA, Calif. -- 

Universal Production Music and sister company Killer Tracks, two of the world’s leading production music brands, have partnered with Abbey Road Studios to launch a new production music catalog, Abbey Road Masters.

Abbey Road Masters will create and curate original music, all of which will be recorded, mixed and mastered at the iconic Abbey Road Studios and adhere to the studios exceptionally high recording standards. The initial slate of releases include Indie Soundtrack, Contemporary Score, Alternative Pop Voices, Indie Rock Noir, The Fantasy Orchestra and Cinematic Piano.

All tracks are available immediately for licensing exclusively through Killer Tracks in the USA and Canada, and Universal Production Music in the rest of the world.

“We are walking in the footsteps of all the great recordings and soundtracks produced at Abbey Road and are committed to the exceptional quality of music that is the standard here,” said Ross Sellwood who is overseeing the Abbey Road Masters project through his role as managing director of Universal Globe’s Soundtrack & Score division. 

“Abbey Road is synonymous with remarkable music. Ross and his team have created an amazing concept and executed it brilliantly,” said Michael Sammis, president of Universal Publishing Production Music Worldwide. “We are thrilled to be working with them on this truly unique musical offering and delivering this extraordinary music to our clients.”

With live recording at the heart of all its releases, Abbey Road Masters has forged relationships with top composers, musicians and artists including award-winning British film and television composers Michael Price (Sherlock), Rob Lane (John Adams), Samuel Sim (Emma) and Christian Henson (Black Death), alongside British indie legends Andy Bell (Ride/Oasis) and Tom Furse (The Horrors). 

“Creating outstanding music for film and television is such an important part of the Abbey Road story and we are delighted to be working with Ross to develop the Abbey Road Masters catalog with our shared commitment to authenticity and quality,” said Isabel Garvey, managing director, Abbey Road Studios.

“We have amazing frontline talent, but we also have a strong A&R commitment to finding and developing new discoveries,” noted Sellwood. “We see the potential in next generation artists and give them access to these amazing studios, engineers and players, and it is resulting in remarkable and innovative music for picture.”

Abbey Road Masters has access to all of Abbey Road Studios’ recording facilities. Studio One, the world’s largest purpose-built recording studio, was home to 75 musicians over two days for the recording of The Fantasy Orchestra album. Other albums were recorded in the legendary Studio Two and Three, sites of historic recordings by the Beatles and Pink Floyd and recent releases by Brockhampton, Lady Gaga and The 1975. 

“We work with the studios’ in-house engineers, who are among the best in the world,” said Sellwood. “We have every type of recording gear at our fingertips, including the vintage microphone collection, a vast array of original outboard gear and cutting-edge digital technology. We are recording great music in the best way possible and we’re really excited about getting it out there to film, TV and advertising creatives.”

Abbey Road Masters have finished recording material for a further six albums which are based on themes including vintage synths and string ensembles, sampling and remixing live players, large-scale cinematic indie and close-up acoustic recordings--to be released in 2019.

  • Monday, Apr. 15, 2019
ECDs Kvasnosky, Kotler join Butter Music and Sound
Butter Music and Sound Los Angeles ECD Tim Kvasnosky (l) and New York ECD Aaron Kotler

Butter Music and Sound has expanded its in-house creative offerings with the addition of two new executive creative directors, with Tim Kvasnosky taking the helm in Los Angeles and Aaron Kotler in New York. The newly appointed ECDs will maintain creative oversight on all projects going through the L.A. and NYC offices, managing workflow across staff and freelance talent, composing on a wide range of projects, and supporting and mentoring in-house talent and staff. Kvasnosky and Kotler both bring extensive experience as composers and musicians, with backgrounds crafting original music for commercials, film and television. They also maintain active careers in the entertainment and performance spaces. Kvasnosky recently scored the feature film Jeremiah Terminator LeRoy, starring Kristen Stewart and Laura Dern, awaiting its theatrical debut in April 2019 after a successful launch at the Toronto Film Festival. Kotler continues to perform and record regularly with groups such as the avant-garde big band “The Awakening Orchestra,” Ethel & the Chordtones, and Jeremy Bass. 

Kvasnosky and Kotler will work closely with Butter’s NY-based CCO Andrew Sherman and managing director Ian Jeffreys, and Los Angeles-based EP Annick Mayer.

Kvasnosky is a composer and music producer with extensive experience across film, TV, advertising and recording. A Seattle native who studied at NYU, he worked as a jazz pianist and studio musician before composing for television and film. His tracks have been licensed in assorted television shows and films, and his house music work garnered three Top 5 Billboard club mixes in the late 2000s. Kvasnosky has been a producer and remixer on releases for Warner Brothers Records, Verve Records, Om Records, Stone’s Throw, Reprise Records, Atlantic Records, EMI and Universal Music. He has scored commercial campaigns for advertisers including Nike, Google, McDonald’s, Amazon, Target and VW.

Along with Detroit based music producer Waajeed, and singer Dede Reynolds, Kvasnosky formed the electronic group “Tiny Hearts.” Their debut 2013 EP “Stay” premiered on the Boiler Room music series and was featured on NPR, BBC1, Pigeons and Planes and Vice/Noisey.

Native New Yorker Kotler holds a Bachelor of Music from Northwestern University School of Music and a Masters in Music from Manhattan School of Music, both in Jazz Piano Performance. He began his career as a performer and studio musician, playing in a variety of bands, genres including neo-soul, avante-garde jazz, funk, rock and more. He also music directed “Jihad! The Musical” to a month of sold-out performances at the Edinburgh Fringe Festival. Since then, he has composed commercials, themes and sonic branding campaigns for a wide range of brands such as AT&T, Coca Cola, Nike, Verizon, PlayStation, Samsung and Honda. He has also arranged music for “American Idol,” The Emmys, and scored films that were screened at top film festivals, as well as co-produce Nadje Noordhuis’ debut record. In 2013, he teamed up with Michael MacAllister to co-design and build Creekside Sound, a recording and production studio in Brooklyn.

  • Thursday, Apr. 11, 2019
Nipsey Hussle becomes face of downtown LA on day of memorial
Guests file into the Staples Center to attend the Celebration of Life memorial service for late rapper Nipsey Hussle, whose given name was Ermias Asghedom, on Thursday, April 11, 2019, in Los Angeles. (Photo by Chris Pizzello/Invision/AP)

Nipsey Hussle's face was everywhere outside the Staples Center on Thursday, where a mood of festival and celebration stood in contrast to the somber memorial inside .

The late rapper's image was on T-shirts, on buttons, on the side of passing vans, airbrushed on the back of jackets, etched on shoes, and printed on banners and flags along with his name and years of life, 1985-2019.

A painter, Gift Davis, created a portrait of Hussle surrounded by clouds in acrylics on a canvas on the sidewalk, as a crowd gathered and snapped photos. Many spoke of their admiration for the way he tried to lift his neighborhood as well as his music.

Those lucky enough to get one of about 21,000 tickets in the few minutes they were available earlier in the week formed a giant line around the side of the downtown Los Angeles arena, where Hussle never headlined in life.

"This is the Nipsey Hussle show today. This is his show," said rapper Master P, a friend and occasional collaborator as he looked at the crowd outside Staples. "If he were here he would be trying to figure out how to help someone. He's up there smiling right now, looking down on us, and saying, 'Please keep up the work.'"

The ages of those outside ranged from small children to the elderly, with a few suits and formal dresses mixed with those in T-shirts and hoodies who created a sea of black, white and blue.

"We're not just here to get off work, we're not just here to take selfies outside Staples, we can do that anytime," said Wutup Levy, 27, of Long Beach, California, as he looked for a friend who had a ticket for him. "We're here for a great man. We're all here for big Nip. It wasn't his time."

Many pleaded for any help they could get to enter. One man shouted "I have one ticket!" and grabbed the hand of a woman who cried, "Could I get it?" just as he walked in the door.

Hours later, after the memorial, a hearse with Hussle's body slowly snaked along a 25-mile route through the city. The car was draped in multicolored flowers and followed by a parade of police motorcycles and private citizens on bikes and ATVs, some of them doing wheelies.

A huge crowd thronged the streets and sidewalks at Slauson Avenue and Crenshaw Boulevard where the procession paused at The Marathon, Hussle's clothing store that he had hoped would become a community hub. He was gunned down as he stood outside the store March 31.

"Nip put his heart and his soul on Crenshaw and Slauson," Hussle's brother Samiel Asghedom said during the memorial. "He stayed and he died on Crenshaw and Slauson."

Onlookers got inventive in their efforts to get a look, or a smartphone shot, of the hearse carrying Hussle's body, with some climbing traffic lights or heading to rooftops to get a better view. Footage from local TV station KTLA shows at least a dozen people standing atop an empty Los Angeles police car with "NIPS IN PARADISE" spray-painted on its side.

Some Hussle fans traveled hundreds of miles to be at the memorial.

Montana Corbett, 30, and two friends drove from Sacramento Wednesday night and were joined by a fourth woman from Los Angeles. One of them had snared tickets after all four tried online.

Their day started at 5 a.m. at The Marathon, then made their way to Staples.

"We had to be here," Corbett said. "We had to pay our respects. We all cried when we heard. We were devastated."

Andrea Wash drove down from Oakland.

"I used my sick hours today," she said. "I've been following Nip for almost 10 years now. I'm here for my brother. I hate that this is the reason I'm here. I just saw him perform in June at the Warfield in San Francisco and he lit it up."

Hundreds who could not get tickets stood outside, there just to be part of the scene, where activists with microphones shouted about the systemic problems Hussle's death represents and others just danced to his music as it blasted out of their phone.

Several news helicopters hovered over the arena to capture the scene, where for several blocks in every direction, vendors sold T-shirts and bandanas made for the occasion.

Associated Press Writer Amanda Lee Myers contributed to this report.

  • Thursday, Apr. 4, 2019
Dan Liebermann promoted to EP at The Elements Music
Dan Liebermann

The Elements Music has promoted Dan Liebermann (formerly Lentaigne) to executive producer in the UK after two years as head of new business, UK.
Liebermann has worked alongside Andy Carroll, partner and head of the The Elements Music’s London branch, on winning work from brands such as Nike, Toyota, Samsung, Porsche, Dyson, and Mercedes-Benz. Liebermann’s new role will expand her duties further into production as she continues to help build the company’s client base in Europe. Lieberman said becoming an EP “feels like a natural fit to be more involved in fostering the creative process with our clients, composers, and artists.”
A singer/songwriter herself, Lieberman began a career in advertising unexpectedly when she sang a version of Peggy Lee’s “Fever” for a FIFA World Cup Mastercard campaign in 2006. That rendition became beloved, which led to a career as a session singer, and eventually into the production side of music for advertising. Collaborating with artists and producers throughout her career, Liebermann sung Ian Brown’s Ivor Novella winning track F.E.A.R. and performed with him on the pop culture TV music show Top of the Pops. 
J Bonilla, The Elements Music co-founder based in Los Angeles, said, “Dan is an A-Player. She brings a blast of energy into everything she touches. It’s a no-brainer for us to put her into a position where she can directly contribute to our creative output as well as our continued overall growth.”

  • Tuesday, Apr. 2, 2019
One Union Recording Studios relaunches with 5 studios
John McGleenan, president and owner, One Union Recording Studios

One Union Recording Studios, a provider of postproduction sound services in the Bay Area, has completed a total rebuild of its facility in San Francisco. The finished site features five all-new, state-of-the-art studios designed for mixing, sound design, ADR, voice recording and other sound work. Each studio offers Avid/Euphonix digital mixing consoles, Avid MTRX interface systems, the latest Pro Tools software PT Ultimate, and robust monitoring and signal processing gear. All studios have dedicated, large voice recording booths. One is certified for Dolby Atmos sound production. The facility’s infrastructure and central machine room are also all brand new.
One Union began its reconstruction in September 2017 in the aftermath of a devastating fire that affected the entire facility. “Where needed, we took the building back to the studs,” said One Union president and owner John McGleenan. “We pulled out, removed and de-installed absolutely everything, and started fresh. We, then rebuilt the studios and rewired the whole facility. Each studio now has new consoles, speakers, furniture and wiring, and all are connected to new machine rooms. Every detail has been addressed and everything is in its proper place.”

During the 18 months of reconstruction, One Union carried on operations on a limited basis, while maintaining its full staff. That included its team of engineers, Joaby Deal, Eben Carr, Andy Greenberg, Matt Wood and Isaac Olsen, who worked continuously and remain in place.

Reconstruction was managed by L.A.-based Yanchar Design & Consulting Group, a specialist in design and engineering for sound facilities. The rebuilt studios conform to the highest industry standards and are equipped with top quality components. All five studios feature Avid/Euphonix System 5 digital audio consoles, Pro Tools 2018 and Avid MTRX with Dante interface systems. Studio 4 adds Dolby Atmos capability with a full Atmos Production Suite as well as Atmos RMU. Studio 5, the facility’s largest recording space, has two MTRX systems, with a total of more than 240 analog, MADI and Dante outputs (256 inputs), integrated with a 9-foot Avid/Euphonix console. It also features a 110-inch, retractable projection screen in the control room and a 61-inch playback monitor in its dedicated voice booth. Among other things, the central machine room includes 300TB LTO archiving system.

Along with employing top-of-the-line gear, the facility was rebuilt with an eye toward avoiding production delays. “All of the equipment is enterprise-grade, and everything is redundant,” McGleenan noted. “The studios are fed by a dual power supply and each is equipped with dual devices. If some piece of gear goes down, we have a redundant system in place to keep going. Additionally, all our critical equipment is hot-swappable. Should any component experience a catastrophic failure, it will be replaced by the manufacturer within 24 hours.”

McGleenan added that redundancy extends to broadband connectivity. To avoid outages, the facility is served by two 1Gig fiber optic connections provided by different suppliers. Wi-Fi is similarly available through duplicate services. “Service interruptions are not an option,” McGleenan said. “We can operate with every room functioning at maximum capacity without stressing our resources and horsepower.”

One Union Recording was founded by McGleenan, a former advertising agency executive, in 1994 and originally had just one sound studio. More studios were soon added as the company became a mainstay sound services provider to the region’s advertising industry. In recent years, the company has extended its scope to include corporate and branded media, television, film and games, and built a client base that extends across the country and around the world. Recent work includes commercials for Mountain Dew and carsharing company Turo, the television series Law and Order SVU and Grand Hotel, the podcast series Root of Evil and the game The Grand Tour.

  • Saturday, Mar. 30, 2019
Jackson, Nicks enter Rock and Roll Hall of Fame with encouragement for women
Janelle Monae, right, presents a trophy to inductee Janet Jackson at the Rock & Roll Hall of Fame induction ceremony at the Barclays Center on Friday, March 29, 2019, in New York. (Photo by Evan Agostini/Invision/AP)

Stevie Nicks, who became the first woman inducted twice into the Rock and Roll Hall of Fame, and Janet Jackson, the latest member of the Jackson clan to enter the hall, called for other women to join them in music immortality on a night they were honored with five all-male British bands.

Jackson issued her challenge just before leaving the stage of Brooklyn's Barclays Center. "Rock and Roll Hall of Fame," she said, "in 2020, induct more women."

Neither Jackson or Nicks were around at the end of the evening when another Brit, Ian Hunter, led an all-star jam at the end to "All the Young Dudes." The Bangles' Susanna Hoffs was the only woman onstage.

During the five-hour ceremony, Bryan Ferry of Roxy Music thanked multiple bass players and album cover designers, the Cure's Robert Smith proudly wore his mascara and red lipstick a month shy of his 60th birthday and two of Radiohead's five members showed up for trophies.

During Def Leppard's induction, Rick Allen was moved to tears by the audience's standing ovation when singer Joe Elliott recalled the drummer's perseverance following a 1985 accident that cost him an arm.

Jackson followed her brothers Michael and the Jackson 5 as inductees. She said she wanted to go to college and become a lawyer growing up, but her late father Joe had other ideas for her.

"As the youngest in my family, I was determined to make it on my own," she said. "I was determined to stand on my own two feet. But never in a million years did I expect to follow in their footsteps."

She encouraged Jimmy Jam and Terry Lewis, producers of her breakthrough "Control" album and most of her vast catalog, to stand in Brooklyn's Barclays Center for recognition, as well as booster Questlove. She thanked Dick Clark of "American Bandstand" and Don Cornelius of "Soul Train," along with her choreographers including Paula Abdul.

There was some potential for awkward vibes Friday, since the event was being filmed to air on HBO on April 27. HBO angered the Jackson family this winter for showing the documentary "Leaving Neverland," about two men who alleged Michael Jackson abused them when they were boys. Jackson never mentioned Michael specifically in her remarks but thanked her brothers, and he was shown on screen with the rest of the family.

Jackson was inducted by an enthusiastic Janelle Monae, whose black hat and black leather recalled some of her hero's past stage looks. She said Jackson had been her phone's screen-saver for years as a reminder to be focused and fearless in how she approached art.

Nicks was the night's first induction. She is already a member of the hall as a member of Fleetwood Mac, but only the first woman to join 22 men — including all four Beatles members — to have been honored twice by the rock hall for the different stages of their career.

Nicks offered women a blueprint for success, telling them her trepidation in first recording a solo album while a member of Fleetwood Mac and encouraging others to match her feat.

"I know there is somebody out there who will be able to do it," she said, promising to talk often of how she built her solo career. "What I am doing is opening up the door for other women."

During her four-song set, she brought onstage a cape she bought in 1983 to prove to her "very frugal" late mother that it was still in good shape, and worth its $3,000 price tag. Don Henley joined her to sing "Leather and Lace," while Harry Styles filled in for the late Tom Petty on "Stop Draggin' My Heart Around."

David Byrne inducted Radiohead, noting he was flattered the band named itself after one of his songs. He said their album "Kid A" was the one that really hooked him, and he was impressed Radiohead could be experimental in both their music and how they conduct business.

"They're creative and smart in both areas, which was kind of a rare combination for artists, not just now but anytime," he said.

With only drummer Philip Selway and guitarist Ed O'Brien on hand, Radiohead didn't perform; there was a question of whether any of them would show up given the group's past ambivalence about the hall. But both men spoke highly of the honor.

"This is such a beautifully surreal evening for us," said O'Brien. "It's a big (expletive) deal and it feels like it. ... I wish the others could be here because they would be feeling it."

The Cure's Smith has been a constant in a band of shifting personnel, and he stood onstage for induction Friday with 11 past and current members. Despite their goth look, the Cure has a legacy of pop hits, and performed three of them at Barclays, "I Will Always Love You," ''Just Like Heaven" and "Boys Don't Cry."

Visibly nervous, Smith called his induction a "very nice surprise" and shyly acknowledged the crowd's cheers.

"It's been a fantastic thing, it really has," he said. "We love you, too."

His inductee, Trent Reznor of Nine Inch Nails, recalled ridiculing the rock hall in past years because he couldn't believe the Cure wasn't in. When he got the call that the band was in, he said "I was never so happy eating my words as I was that day."

Def Leppard sold tons of records, back when musicians used to do that, with a heavy metal sound sheened to pop perfection on songs like "Photograph" and "Pour Some Sugar on Me." They performed them in a set that climaxed the annual ceremony.

Singer Joe Elliott stressed the band's working-class roots, thanking his parents and recalling how his father gave them 150 pounds to make their first recording in 1978.

Besides Allen's accident, the band survived the 1991 death of guitarist Steve Clark. Elliott said there always seemed to be a looming sense of tragedy around the corner for the band, but "we wouldn't let it in."

"If alcoholism, car crashes and cancer couldn't kill us, the '90s had no (expletive) chance," said Elliott, referring to his band mates as the closest thing to brothers that an only child could have.

Roxy Music, led by the stylish Ferry, performed a five-song set that included hits "Love is the Drug," ''More Than This" and "Avalon." (Brian Eno didn't show for the event).

Simon LeBon and John Taylor of Duran Duran inducted them, with Taylor saying that hearing Roxy Music in concert at age 14 showed him what he wanted to do with his life.

"Without Roxy Music, there really would be no Duran Duran," he said.

The soft-spoken Ferry thanked everyone from a succession of bass players to album cover designers. "We'd like to thank everyone for this unexpected honor," he said.

The Zombies, from rock 'n' roll's original British invasion, were the veterans of the night. They made it despite being passed over in the past, but were gracious in their thanks of the rock hall. They performed hits "Time of the Season," ''Tell Her No" and "She's Not There."

Zombies lead singer Rod Argent noted that the group had been eligible for the hall for 30 years but the honor had eluded them.

"To have finally passed the winning post this time — fantastic!"

  • Saturday, Mar. 30, 2019
1980 motion picture soundtrack for "Prom Night" scheduled for May release
"Prom Night" cover art

Perseverance Records will present the long awaited official release of the original motion picture soundtrack from the 1980 cult classic Prom Night. Perseverance worked closely with Carl Zittrer and Paul Zaza to locate and unearth the original masters and all music recorded for the film including unreleased disco songs and score not used in the final production, never heard before anywhere.

This marks the first official and complete CD release of the Prom Night soundtrack. The release is scheduled for May 10. While the songs themselves have made appearances on a notorious Japanese LP and eventual bootleg recordings sourced from it, there was no official release of the songs--partially because the movie was made in the waning days of the disco fever. 

This soundtrack features four different aspects of the music. First it opens with a re-creation of the score as it appears in the film--or as close to it as it could be assembled from the separate elements. Next is the score that wasn’t used in the picture. Then come the disco songs in approximate order--but omitting the Blue Bazaar songs that were not featured in the movie and were used only as filler for the bootleg Japanese LP. The last portion of the album is dedicated to the songs that don’t appear in the picture yet are as intrinsic to the sound of Prom Night as the songs that made it.

“I remember seeing Prom Night during its release in 1980, when disco was still the craze. I was determined to obtain a copy of the soundtrack and to play the theme song at my senior prom only to find that it was never released. I spent years looking at the audiophile catalog at Tower Records hoping to find a release date but no luck. Now, after almost 40 years, my dream has now become a reality! Fans alike are now able to enjoy the soundtrack,” said producer Silvio Barretta.

Prom Night is a 1980 cult classic horror thriller directed by Paul Lynch (RoboCop, Xena: Warrior Princess, Poltergeist: The Legacy, Star Trek: The Next Generation) and stars Jamie Lee Curtis as Kim Hammond and Leslie Nielsen as Mr. Hammond. The movie focuses on four middle school children, Kelly Lynch, Jude Cunningham, Wendy Richards, and Nick McBride, who hide the truth of what happened six years ago to 10-year-old Robin Hammond the day her body was found near and abandoned convent. They swore never to tell anyone of how they taunted Robin, backing her into a corner, frightened, when falling to her death while standing on a window ledge. But on that day, six years ago, someone else was there, watching, and now seeks revenge on prom night.

  • Thursday, Mar. 28, 2019
Butter spreads into licensing

International music shop Butter Music + Sound has expanded its portfolio to include boutique music licensing of indie artists for commercials, TV and film. The Butter Music + Sound Sync Division will curate top emerging indie artists currently making their way through the national and international touring circuits for licensing, as well as original compositions, in a one-stop-shop sync service package ranging from master recording to publishing. 

Butter’s artist signings include: L.A.-based indie group Neil Frances (Marc Gilfry and Jordan Fellerto); U.S./U.K. modern dance-pop duo BOII (Joshua Hoisington and Adam Welsh) on behalf of the Sofi Tukker label “Animal Talk”; rock band The Cowboys; and dance/electronic artist Rumtum (John Hastings). Butter already has established a relationship with Neil Frances whose “Show Me the Right” was featured on the HBO comedy hit Silicon Valley; another track graced a Toyota spot.

  • Thursday, Mar. 28, 2019
Nylon stretches into Melbourne
Nylon Melbourne
MELBOURNE, Australia -- 

Cross-pacific music and sound boutique Nylon Studios has expanded with a new custom-built studio in Melbourne, Australia.

The 2,800 square foot space includes two new state-of-the-art post suites equipped with recording booths, with 5.1 and cinema sound capabilities. The current full-time staff includes EP Ceri Davies, composer Lydia Davies, head sound designer Paul Le Couteur, sound designer Ramsay Demarco and producer Alice Vanderwey.

The new studio further expands and diversifies Nylon’s global network, with the Melbourne shop sharing work across existing studios in New York and Sydney.

Nylon global EP Hamish Macdonald originally hails from Melbourne and felt it was essential to hire artists who are native to the local market.  Further extensions are underway to build a customized suite to support the work of in-house composer Davies as well as visiting composers from other markets to increase the Melbourne scope to three post suites and one composition suite.


  • Wednesday, Mar. 27, 2019
Composer Austin Shupe joins SHINDIG
Austin Shupe
PLAYA DEL REY, Calif. -- 

SHINDIG Music + Sound, approaching its two-year anniversary, has brought aboard staff composer Austin Shupe, a former colleague from HUM. Along with its in-house composers, the Playa del Rey-based SHINDIG taps into a large pool of freelance talent to find the right match for each project.

Additionally, SHINDIG’s mixing capabilities have been amped up with a newly constructed 5.1 audio mix room and vocal booth that enable sound designer/mixer Daniel Hart to accommodate VO sessions and execute final mixes for clients in stereo and/or 5.1.

SHINDIG’s exec team includes creative director Scott Glenn, EP Debbi Landon, head of production Caroline O’Sullivan, and Hart.

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