Podcast appearances and mentions of Eddie Kramer

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If you don't know John McDermott, he's been the guardian of Jimi Hendrix's musical legacy for nearly 30 years. He's the kind of guy with stories you can't Google, insights you can't fake, and a lot of passion for preserving one of rock's greatest icons. We talked about everything from Hendrix's unreleased gems to their upcoming Experience Hendrix tour coming to the Fox Theatre on March 22nd. The Magic of the Fox Theatre First, McDermott talked about his upcoming concert at the Fox Theatre. John said it's one of the best places to perform. "We've played the Fox five times, and the crowd's energy is just incredible, it's not like playing a generic performing arts center where it's just another stop on a subscription series. These fans are passionate. They show up because they love the music." A Lifelong Journey with Jimi Now, how exactly does one become the catalog director for Jimi Hendrix? I asked John, and he dove right in. It started in 1992 when he co-wrote a book called Hendrix: Setting the Record Straight with Eddie Kramer. A year later, John helped produce a tribute album, Stone Free, which raised scholarship funds in Jimi's name through the United Negro College Fund. In the mid-1990s, John helped the Hendrix family win a long legal battle to regain control of Jimi's music. "When they finally won the rights, they asked me to manage the catalog," he explained. "Our first release was in 1997, and I've been doing it ever since." From curating historic releases to creating documentaries, John's helped make sure Hendrix's music remains timeless. How Many Hendrix Songs Are Still Unreleased? Every Hendrix fan has wondered: Is there anything left in the archives? According to John, the answer is, "Yes, but not as much." Over the years, his team has dug deep to release unreleased tracks, documentaries, and live sessions. "We're definitely closer to the end of the archive than we were 20 or 25 years ago," he admitted, "but every now and then, something new surprises us." Case in point? A few years ago, they uncovered a never-before-heard 1967 recording of Hendrix at the Hollywood Bowl. Want to know how early this was? It happened before Are You Experienced? It even dropped in the U.S. That's serious history right there. Why Hendrix Still Resonates When I asked about Hendrix's lasting legacy, John said, "Every generation rediscovers him." From Prince to Stevie Ray Vaughan to John Mayer, Hendrix's influence is woven into the DNA of music. "Jimi's music is timeless," John said. People hear it in movies, commercials, or even on the radio and are driven to find out more. His music speaks for itself—you don't have to hard-sell it." Even in pop culture, Hendrix's impact is everywhere. Quick example? Hulk Hogan famously strutted into the ring to "Voodoo Child." And John lit up when I threw that out there. "Yeah, that's a great example! And people like Paul McCartney still tell stories about their friendship with Jimi on stage. It's amazing how his influence just keeps going." The Experience Hendrix Tour Here's the part you need to know about—the Experience Hendrix tour. If you're even remotely into guitar legends, this is the show for you. John explained why it's such a hit. "It's not just a loose jam session," he said. "It's collaborative. You'll hear the Hendrix songs you know and love, but you'll also discover new artists who bring their own energy to the legacy." The lineup is stacked—think Zakk Wylde, Eric Johnson, and Marcus King, just to name a few. "These artists come because Jimi inspired them in different ways," John added. "It's a common denominator for audiences. People might come in because they're fans of one artist, but by the end of the night, they leave blown away by others." Oh, and if you happen to be at the Fox Theatre on March 22nd? Keep an eye out for surprise appearances. John flat-out said they love throwing unexpected guests into the mix. Hendrix Memorabilia: What's Left? John said Jimi was more of an "off-the-rack" kind of guy when it came to guitars. "He usually had a black Strat, a white Strat, and a Flying V," he shared. "Sometimes a Gibson Les Paul Jr. for blues numbers." Many of Jimi's personal items and stage gear now reside in museums, including the Museum of Pop Culture (MoPOP) in Seattle and the Rock & Roll Hall of Fame. Seeing them up close makes Hendrix feel real. "His dad, Al Hendrix, wanted these items shared with fans," John said. "It's incredible to see someone connect with a piece of Jimi's history in person." What's Next For The Hendrix Estate? John said the Electric Lady Studios project has been a big focus, "If we find more material that deepens fans' appreciation of Jimi, we'll explore ways to share it." If you're in Detroit on March 22nd, do yourself a favor and Experience Hendrix (literally) at the Fox Theatre. Trust me, this tour isn't just a concert—it's a celebration of a legend. See you there!

This week we continue our journey to the Great White North! This is the triumphant finale of our celebration of an amazing power trio from Toronto that has been largely forgotten in the pantheon of rock n' roll: TRIUMPH! From classic hard rock & metal to proggy AOR, this is a band that rarely gets the praise they deserve! This episode is rooted in our Should Have Been category. This is a band that Captain Content has mentioned before as a band he would love to dive into deeper. While not the most obscure band we've ever covered (they have multiple platinum and gold albums in the US and Canada), they have been largely forgotten as the rock giants they once were. We think they should be remembered as titans or rock and thus: Huge-er-er!!! Eh?Songs this week include:Triumph - “Time Goes By” from Thunder Seven (1984)Triumph - “When The Lights Go Down” from Stages (1985)Triumph - “Mind Games” from Stages (1985)Triumph - “Play With Fire” from The Sport Of Kings (1986)Triumph - “Carry On The Flame” from Surveillance (1987)Triumph - “Edge Of Excess” from Edge Of Excess (1992)Triumph - “I Live For The Weekend” from Live At Sweden Rock Festival (2008)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

(S4-Ep 9) The Jimi Hendrix Experience- Are You Experienced (Polydor in the U.K. and Reprise in the U.S.)  Released May 12, 1967 Recorded October 23, 1966, to April 4, 1967  Are You Experienced, released on May 12, 1967, is regarded as one of rock history's most influential debut albums. With Jimi Hendrix at the forefront, the album blends blues, psychedelia, and experimental rock, introducing his signature guitar techniques that would reshape music. Songs like "Purple Haze," "Hey Joe," and "The Wind Cries Mary" are not just iconic tracks but also showcase Hendrix's revolutionary use of distortion, feedback, and other effects. The album's US and UK releases featured different tracklists.  The Jimi Hendrix Experience—composed of Hendrix, Mitch Mitchell, and Noel Redding—provided a groundbreaking sound driven by Mitchell's jazz-infused drumming and Redding's bass playing. Produced by former Animals bassist Chas Chandler and engineered by Eddie Kramer, the album's innovative studio techniques set new standards in rock production. Are You Experienced became a commercial success and remains a cornerstone of rock music, establishing Hendrix as a true musical genius. Signature Tracks "Purple Haze,"  "Hey Joe,"  "Wind Cries Mary" Playlist YouTube Playlist  Spotify Playlist  Full Albums Full Album YouTube  Full Album on Spotify

Eddie Kramer er nafn sem allir KISS aðdáendur þekkja, og reyndar mun fleiri til enda á hann alveg ótrúlegan feril að baki. Burt séð frá störfum hans með Led Zeppelin, The Beatles, Jimi Hendrix og þeirri staðreynd að hann var sá sem hljóðritaði Woodstock hátíðina árið 1969 þá gerði þessi maður meira en margur fyrir okkar menn í KISS. Hann tók upp fyrstu demoin í Electric Lady Studios, hann tók upp ALIVE!, ALIVE II, ALIVE III, Rock And Roll Over og Love Gun með okkar mönnum og fleiru til með Ace (s.s Ace solo album 1978). Hér er Eddie "Fokking" Kramer í einkaviðtali við KISS ARMY ICELAND PODCAST. Ótrúlega skemmtilegt viðtal við þennan áhrifamann af blaðsíðu eitt í rokksögu heimsins. Það snerti okkur afar djúpt að fá að tala við þennan mæta og merka mann, njótið vel. Hosted on Acast. See acast.com/privacy for more information.

Send us a textExperience a heartfelt conversation with Steph Paynes, the trailblazing founding member of Lez Zeppelin, an all-female band that's passionately captured the essence of Led Zeppelin's iconic music. Steph's journey began in 2004 amidst skepticism and challenges in a predominantly male rock scene, and she recounts how Lez Zeppelin overcame doubts to win over diehard fans with powerful performances. Her stories illuminate the dedication and meticulous preparation that propelled the band to success, offering a glimpse into the perseverance and musicianship that have defined their enduring legacy.Step into the legendary Electric Lady Studios as Steph describes the serendipity and excitement of working with producer Eddie Kramer on their Led Zeppelin tribute album. Imagine the creative sparks flying as they experimented with updated sounds while honoring classic rock techniques, like Kramer's famous left-right speaker effects. Personal anecdotes reveal unexpected sound discoveries and nostalgic reflections on their musical influences. This chapter is a celebration of the classic rock era, shedding light on the magic of capturing Zeppelin's spirit while forging a unique musical identity.From the pressure of performing at Madison Square Garden to the unexpected spotlight at Bonnaroo, Lez Zeppelin's journey is filled with exhilarating highs and unanticipated opportunities. Steph shares the emotional rollercoaster of playing before icons like Jimmy Page and the media frenzy that catapulted the band into the headlines. The episode wraps with dreams of collaboration and artistic fulfillment, capturing the essence of a band committed to honoring a legendary legacy while crafting their own musical path. Join us for a captivating exploration of artistry, dedication, and the shared love of rock and roll.LinksJay Franze: https://JayFranze.comSteph Paynes: https://lezzeppelin.com/ Support the show

John McDermott is a writer, producer and, for nearly three decades, the Catalog Director for the Jimi Hendrix family company Experience Hendrix, L.L.C.. Together with Jimi Hendrix's sister, Janie Hendrix and legendary engineer Eddie Kramer, McDermott has co-produced every Jimi Hendrix CD and DVD release, including 1999's Grammy Award-winning Band Of Gypsys, 2014's Emmy Award-winning Hear My Train A Comin' and the recent Grammy nominated Music, Money, Madness: Jimi Hendrix In Maui. John & Maggie discuss his latest project is Electric Lady Studios: A Jimi Hendrix Vision the new feature-length documentary film chronicling the creation of Electric Lady Studios (directed by John) Rising from the rubble of a bankrupt, Greenwich Village nightclub to the state of the art recording facility inspired by Jimi Hendrix's vision and becoming the first ever, artist owned commercial recording studio. Contained on the five vinyl LPs or three CDs in the Electric Lady Studios: A Jimi Hendrix Vision box set are 39 tracks recorded by Jimi and his band—consisting of bassist Billy Cox and drummer Mitch Mitchell—at the studio within the last four months of the guitarist's life. Hendrix was hard at work creating First Rays Of The New Rising Sun, the ambitious double album that would follow his 1968 masterwork Electric Ladyland. Inspired by the possibilities of the new studio, the Experience built classic fare such as “Night Bird Flying,” “Freedom,” and “Dolly Dagger” from the ground up. The set offers a comprehensive look at the work Hendrix undertook during that fruitful summer of 1970Source: https://ajimihendrixvision.com/Source: https://www.sonymusic.com/legacy/documentary-box-set-electric-lady-studios-a-jimi-hendrix-vision/Source: https://www.jimihendrix.com/music/electric-lady-studios-a-jimi-hendrix-vision/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

In our misspent youth, almost everyone had a copy of Led Zeppelin II in their collection. And later? They also had the CD, right? Is that just us? This week we delve into why Led Zeppelin's second record was such a game changer! We feel that the case is made here. As often happens this discussions sparks a bigger album argument inspired by a RRHOF all-time list! We all have our "entry story" when it comes to Zeppelin. The second record brought a ton of new fans, and marked the beginning of Eddie Kramer working with Page and the boys in the studio. As we said we'd do in the episode, here's the info we have on the studios used to record Led Zeppelin II, which was was done in multiple studios in the U.S. and the U. K., including: Olympic, Morgan Studios: London, England A&M, Quantum, Sunset, Mirror Sound, Mystic Studios: Los Angeles Ardent Studios: Memphis, Tennessee A&R, Juggy Sound, Groove, Mayfair Studios: New York City R&D Studios: Vancouver, British Columbia As always, thanks for downloading and listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

In our misspent youth, almost everyone had a copy of Led Zeppelin II in their collection. And later? They also had the CD, right? Is that just us? This week we delve into why Led Zeppelin's second record was such a game changer! We feel that the case is made here. As often happens this discussions sparks a bigger album argument inspired by a RRHOF all-time list! We all have our "entry story" when it comes to Zeppelin. The second record brought a ton of new fans, and marked the beginning of Eddie Kramer working with Page and the boys in the studio. As we said we'd do in the episode, here's the info we have on the studios used to record Led Zeppelin II, which was was done in multiple studios in the U.S. and the U. K., including: Olympic, Morgan Studios: London, England A&M, Quantum, Sunset, Mirror Sound, Mystic Studios: Los Angeles Ardent Studios: Memphis, Tennessee A&R, Juggy Sound, Groove, Mayfair Studios: New York City R&D Studios: Vancouver, British Columbia As always, thanks for downloading and listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's guest, Guy Pelino joined Rockabilly Greg In the Flamingo Lounge on October 7, 2024. Guy has been a music lover all his life and started banging the ivories at about 5 1/2 – and loved the magic of Mozart. But, then came the Beatles, Stones and Kinks and got himself a Stratocaster. A '52 Les Paul replaced that beautiful guitar soon after.    He has been gigging in bars and clubs and other venues since he was 15 and has had the honor of playing with some incredibly talented folks from coast to coast.    In late 1981 I came off the road and pitched some original tunes to his old friend from the sixties, Bruce “Could Be” Moser. Bruce connected Guy with Terry Sullivan and he joined the band that became the Edge first and then The Restless. We each signed a 10 album contract with Mercury/Polygram and recorded our first record with producer Eddie Kramer who brought us Jimi Hendrix and so many others.  Bruce and Doug, of Could Be Wild, made a lot of great things happen including an outstanding session with the incomparable Ed Stasium.   Guy played with The Enemies from 2000-2024 concurrently with The Evictors and several  other bands.  

Legendary producer Eddie Kramer shares the history and legacy of Electric Lady Studios, the revolutionary space built for Jimi Hendrix's creative genius - from its groundbreaking design, Hendrix's final sessions, to the incredible impact this iconic studio had on rock music history. Topics Include: Electric Lady wasn't just a studio; it was Jimi Hendrix's creative sanctuary. Back in the ‘70s, having your own studio as a rock artist was unheard of—Jimi changed that. They transformed a basement nightclub into a cutting-edge studio, unlike anything else at the time. Jimi lived just blocks away—he'd walk over with his guitar and just dive into creating. The vibe at Electric Lady was pure Jimi—his vision made it an extension of himself. Eddie and the team prepped the studio for 24-tracks, even though it started at 16. The studio had custom innovations, like seating designed to keep friends out of sightlines. Hendrix loved working fast, and Electric Lady let him capture that energy in every session. Hendrix recorded there for four months before heading to Europe—and never returned. The documentary gives a glimpse of that magical time, full of outtakes and alternate mixes. Kramer talks about how they audited tapes and recorded new songs, blending old and new ideas. Fun fact: The round windows in the studio doors? Jimi's idea. He loved to keep things unique. The Village was Jimi's playground—he could walk around without being bothered. Eddie recalls marathon sessions with Jimi, cracking jokes between takes, always keeping it light. Hendrix was a master at balancing creativity and fun—there was always laughter in the room. Eddie mixed a lot of iconic music at Electric Lady, including tracks from David Bowie and Zeppelin. Hendrix wanted to expand his sound with strings and horns—his musical vision kept growing. The final sessions at Electric Lady were intense, but full of joy and excitement. Electric Lady still has the same vibe, with a layout that's barely changed in over 50 years. The five LP box set coming out captures the magic of those original sessions—essential listening. Hendrix built Electric Lady to be his personal space, and it became a landmark for music history. Order the movie and 5-LP boxset here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Director John McDermott's Electric Lady Studios: A Jimi Hendrix Vision  chronicles the creation of the groundbreaking recording studio, Electric Lady Studios. Rising from the rubble of a bankrupt Manhattan nightclub to becoming a state-of-the-art recording facility inspired by Hendrix's desire for a permanent studio, Electric Lady Studios was the first ever artist-owned commercial recording studio. Hendrix had first envisioned creating an experiential nightclub, inspired by the short-lived Greenwich Village nightspot Cerebrum, whose patrons donned flowing robes and were inundated by flashing lights, spectral images, and swirling sound. Hendrix enjoyed the Cerebrum experience so much that he asked its architect, John Storyk, to work with him and his manager, Michael Jeffery, to transform what had once been the Generation Club into “an electric studio of participation.” Shortly after acquiring the Generation Club lease however, Hendrix was steered from building a nightclub to creating a commercial recording studio. Electric Lady Studios: A Jimi Hendrix Vision includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel” and “Dolly Dagger” by recording engineer Eddie Kramer. In addition to Kramer the film also includes appearances by John Storyk (Architect, Electric Lady Studios), Billy Cox (Band of Gypsy bassist), Mitch Mitchell (Experience drummer), Steve Winwood  (Spencer Davis, Blind Faith), and Blues legend Buddy Guy. Director John McDermott joins us to talk about Jimi Hendrix's burning desire to create music and provide a welcoming space for musicians to thrive. Electric Lady Studios has become the creative home to artists such as Stevie Wonder, The Rolling Stones, John Lennon, David Bowie, Beyoncé and some of the most celebrated music of all time. For more go to: ajimihendrixvision.com Or go to: abramorama.com/electric-lady-studios To watch, go to: ajimihendrixvision.com/showtimes

Charlamos sobre el disco ‘Back in Black' de AC/DC, con Richard Royuela [El podcast de Rockzone] como invitado. Richard Royuela ha ejercido como crítico musical, periodista, mánager, productor y promotor de conciertos y jefe de producto discográfico. Como crítico y periodista, escribió para la revista ‘Popular1' y fundó las revistas ‘RockSound' y ‘RockZone' junto a Jordi Meya, con quien presenta ‘El podcast de RockZone'. En este primer episodio sobre 'Back in Black' (publicado originalmente en septiembre de 2023) comentamos: La muerte del cantante Bon Scott y su sustitución casi inmediata por Brian Johnson. El espectacular sonido de ‘Back in Black' bajo la producción de Mutt Lange. La leyenda de las ‘demos' de ‘Back in Black' grabadas con Bon Scott. La trayectoria anterior de AC/DC y la producción de sus primeros discos a manos de George Young —hermano de los guitarristas Angus y Malcolm— y Harry Vanda. La entrada de Mutt Lange como productor en ‘Highway to Hell' y el fiasco con Eddie Kramer. La imagen de «tipo duro» de Bon Scott en contraposición con la de Brian Johnson, un ‘frontman' accesible para un público más amplio. La irrupción definitiva de AC/DC en el mercado estadounidense y el estrellato mundial. Y por el camino nos encontramos con los Rolling Stones, Jimi Hendrix, Barón Rojo, Motley Crue, Tesla, David Bowie, Slade, Sweet, Queen, Elton John, Arnold Schwarzenegger y el fantasma digital de Bon Scott. Si quieres participar en la elección de los discos que tratamos en el podcast, ¡visita discoprestado.com y date de alta en mi lista de correo! La música original de 'Disco prestado' forma parte de mi EP 'The Entertainer', disponible en todas las plataformas y marcaliana.com/musica Contacto: discoprestado@proton.me ¡Salud y buena música! Marc Aliana marcaliana.com

Though AC/DC are one of the most revered and successful bands in the history of rock n roll, in 1979 they hadn't cracked the Top 100 in the US. The killer riffs laid down by Malcolm Young had gained them a strong following in Europe and their native Australia but they had yet to breach the great big U-S-of-A. So in 1979 they brought in a new producer, Robert John "Mutt" Lange to give them an edge. And though they were all skeptical after giving Eddie Kramer a shot, once Mutt showed them he knew how to sing, how to get the most out of Angus's guitar and how to put together songs, they were all on board. However, though this would be their big breakthrough in America with Highway To Hell reaching the Top 20, the celebration wouldn't last as lead singer and primary antagonist Bon Scott would soon die while living that rock n roll life. But before he left he gave us some of his patented sexual innuendo (Walk All Over You, Love Hungry Man, Touch Too Much) and his description of his lifestyle in the title track. Cliff Williams had settled in on the bass after Powerage and the live album If You Want Blood You Got It and Angus Young came of age with the help of Mutt Lange in the studio. The result is some of their greatest riffs (Highway To Hell, If You Want Blood (You've Got It), fan favorites (Girls Got Rhythm, Shot Down In Flames) and controversy (Nightprowler). It marked the end of an era with Bon Scott but the start of working with Mutt Lange who would help their next album become the 2nd biggest selling album of all time. This is a fun one that all hard rock and heavy metal fans love!!! Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a Text Message.The Voice Of Autograph, Steve Plunkett Talks New Long Awaited Second Solo Album,"Straight Up"#singersongwriter #autograph #steveplunkett #newalbum #straightup The year was 1984, the year of the cassette boombox and the Sony Walkman, and the year when a little band from Los Angeles invited the world to “Turn Up The Radio.” That band was Autograph, fronted by the fiery-haired powerhouse vocalist Steve Plunkett, and their single became an immediate smash hit from the debut album Sign In Please and was featured in numerous films and TV shows of that era.But as big as Autograph was, it could not contain the creative energy of Plunkett. He soon found a new career as an in-demand songwriter for bands such as The Go-Go's, Edgar Winter and Vixen as well as doing production work for Cyndi Lauper and Graham Nash. He released his first solo album in 1991, an album that showed Plunkett's growing confidence in both his own songwriting and studio techniques. Now, more than 3 decades later, Plunkett is ready to release his second solo album, a smokin' hot collection called Straight Up.This 10-track all-killer, no-filler album cranks up the volume knob to 11 and shows that Plunkett hasn't lost an ounce of the passion and power that made him a hard rock hero! Just check out the album's first single, “Rock Machine,” which kicks off with a driving guitar lick and chanted lyric that lunges straight at the listener's jugular. It's a powerblast of pure, unfiltered rock mania as only Plunkett knows how to deliver.Stream/download the single: https://orcd.co/steveplunkett_rockmachineReflecting on the album, Plunkett declares, “With Straight Up, I wanted to get back to rock basics. No parameters or targets – just the kind of real rock that got me excited back in the day. Fast, fun and loud!”Stream/download the single: https://orcd.co/steveplunkett_rockmachineThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!

Though AC/DC are one of the most revered and successful bands in the history of rock n roll, in 1979 they hadn't cracked the Top 100 in the US. The killer riffs laid down by Malcolm Young had gained them a strong following in Europe and their native Australia but they had yet to breach the great big U-S-of-A. So in 1979 they brought in a new producer, Robert John "Mutt" Lange to give them an edge. And though they were all skeptical after giving Eddie Kramer a shot, once Mutt showed them he knew how to sing, how to get the most out of Angus's guitar and how to put together songs, they were all on board. However, though this would be their big breakthrough in America with Highway To Hell reaching the Top 20, the celebration wouldn't last as lead singer and primary antagonist Bon Scott would soon die while living that rock n roll life. But before he left he gave us some of his patented sexual innuendo (Walk All Over You, Love Hungry Man, Touch Too Much) and his description of his lifestyle in the title track. Cliff Williams had settled in on the bass after Powerage and the live album If You Want Blood You Got It and Angus Young came of age with the help of Mutt Lange in the studio. The result is some of their greatest riffs (Highway To Hell, If You Want Blood (You've Got It), fan favorites (Girls Got Rhythm, Shot Down In Flames) and controversy (Nightprowler). It marked the end of an era with Bon Scott but the start of working with Mutt Lange who would help their next album become the 2nd biggest selling album of all time. This is a fun one that all hard rock and heavy metal fans love!!! Ugly American Werewolf in London Website Ugly American Werewolf in London Store - Get your Wolf merch and use code 10OFF2023 to save 10%! Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 15th episode of Rock Camp: The Podcast, the official podcast of Rock 'n' Roll Fantasy Camp, hosts David Fishof, Britt Lightning, and Miles Schuman do a deep dive inside the vault and unveil never before heard content from Joe Elliott, Eddie Kramer, and more! Don't miss it! Brought to you by Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

AI is reshaping industries, but how is it affecting audio outside of Voice Replication? This week, we're diving deep into this "can of worms" on the latest episode of the Pro Audio Suite podcast! Join us as we host a riveting discussion with MPA from WAVES as we unpack: AI's role in enhancing creativity rather than replacing it.  WAVES AI investment strategies. • The potential risks of letting AI scrape and replicate without human creativity. The balance between traditional mixing and AI's edges in audio engineering. Perspectives on the rise of AI voices in media.   We're not looking for a future where AI spits out a Taylor Swift song on command. Instead, we're all about how AI can serve as the ultimate assistant in the studio, ensuring creativity and passion remain at the heart of production. Don't miss this nuanced conversation on the future of AI in pro audio.

En esta ocasión tengo el placer de que escuches una de esas obras ya realizadas hace años ,y para muchos seguidores del heavy metal es su obra cumbre en este disco hay grandes canciones que han pasado a la historia del HEAVY METAL : DISFRUTALO.... PONLO MUYY ALTO DE VOLUMEN........ Future World es el segundo álbum del grupo danés de hard rock/heavy metal Pretty Maids. Fue publicado por CBS en 1987. En 1990, el álbum había vendido 300.000 copias en todo el mundo. En Estados Unidos alcanzó el número 165 de la lista Billboard 200. Future World fue producido por Eddie Kramer, que fue despedido durante las sesiones de grabación porque se quedó dormido en la mesa de mezclas, según el guitarrista Ken Hammer. La banda terminó el álbum con el ingeniero Chris Isca, que fue acreditado como coproductor del álbum. Las tareas de mezcla se repartieron entre Flemming Rasmussen, productor de Metallica, Rainbow y Morbid Angel, y Kevin Elson, conocido por producir álbumes multiplatino de Journey, Mr. Big y Europe. 1. "Future World" 5:24 2. "Loud 'n' Proud" 3:51 3. "Love Games" 4:14 4. "Yellow Rain" 5:28 5. "Rodeo" 4:14 6. "We Came to Rock" 4:30 7. "Needles in the Dark" 5:02 8. "Eye of the Storm"" 4:55 9. "Long Way to Go" 3:26 COMPONENTES: Ronnie Atkins – lead & backing vocals Ken Hammer – guitars Allan Delong – bass guitar Phil Moorhead – drums Alan Owen – keyboards INVITADOS: Graham Bonnet - backing vocals (tracks 2, 5) Philip Hart - backing vocals (tracks 2, 3, 5, 6) Released 20 April 1987 Recorded October 1986 - February 1987 at Bearsville Studios, Bearsville, New York, United States; Easy Sound Studio, Copenhagen, Denmark Length 41:04 Label CBS Producer Eddie Kramer, Chris Isca ALTAMENTE RECOMENDADO DALE VOLUMEN!!

Eddie Kramer, engineer, producer and reknown audio guru, shares some memories of Jimi Hendrix, Led Zeppelin, KISS, discusses vinyl records, analogue recordings, use of AI in music, the latest recordings of the Hendrix archive & more. Topics include; Interview start New Jimi Hendrix recording from 1967 Will Eddie use AI for Hendrix recordings? Continually mining the Hendrix archive The story of Hendrix at the Hollywood Bowl Does Eddie still listen to records? Why does vinyl sound better than digital formats? The story of the Led Zeppelin II RL Ludwig master Memories of “Band of Gypsies” album Jimi bringing Eddie over to New York The partnership of Eddie Kramer and Jimi Hendrix Rumoured tapes of Jimi Hendrix and Frank Zappa Working with Zappa family and archive Rumoured recording of Jimi, Jim Morrison and Janis Joplin Continually finding new Hendrix recordings Projects Eddie unfortunately missed Working with KISS on “Alive” Working with AC/DC for “Highway to Hell” demos The story of Led Zeppelin into to “Black Country Woman” Interview wrapup Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

 Experience Hendrix & Legacy Recordings released Jimi Hendrix Experience: Hollywood Bowl August 18, 1967.  This live concert performance was captured just five days before the US release of Are You Experienced, their album debut.  Amazingly, not a single second of this two-track live recording has ever been released before in any capacity, either via official channels or otherwise.During their set, The Jimi Hendrix Experience (Jimi Hendrix, Mitch Mitchell, Noel Redding) blazed through originals such as “Purple Haze,” “The Wind Cries Mary,” and yet-to-be-released classics “Foxey Lady” and “Fire,” as well as their own re-imagining of favorites Bob Dylan (“Like a Rolling Stone”), The Troggs (“Wild Thing”) and Muddy Waters (“Catfish Blues”). Having already conquered the band's UK base as well as Continental Europe over the previous ten months, the vast majority of the 17,000 plus Los Angeles concert goers were there to see headliners The Mamas & The Papas and were caught off guard by Jimi Hendrix's electrifying musicality and showmanship.John McDermott is the director, writer and producer who has long been associated with the legacy of Jimi Hendrix.  He has served as the Catalog Director for the Jimi Hendrix family company Experience Hendrix, L.L.C. for nearly three decades.  Together with Janie Hendrix and Eddie Kramer, McDermott has co-produced every Jimi Hendrix CD and DVD release, including 1999's Grammy Award-winning Band Of Gypsys, 2014's Emmy Award-winning Hear My Train A Comin' and the recent Grammy nominated Music, Money, Madness: Jimi Hendrix In Maui.   His most recent project is Jimi Hendrix Experience: Hollywood Bowl August 18, 1967. Source: https://www.jimihendrix.com/music/hollywood-bowl-august-18-1967/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

WAVES director of training and development Michael Pearson Adams (Gomez to his Aussie mates) joins us in part 2 of a chat about plugins for Voice Actors.  A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite     George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson    In this episode of The Pro Audio Suite, we dive into part two of our discussion with Michael Pearson and Adams Gomez. We kick off by tackling the prevalent issue of hearing loss, exploring how it affects professional audio and the struggles people face in finding headphones that suit their hearing capabilities. Pearson expresses his ambition to build a chain for monitoring, specifically for those with hearing loss. We also delve into audio tools like the C Four Multiband Compressor and F Six Dynamic EQ, discussing their features, capabilities, and best applications. The conversation emphasizes the importance of tailoring preset tools to individual preferences, supporting efficiency in producing quality and personalized sound._QMARK #HearingLossSolutions #ProAudioSuite #TechForHearingLoss   Timestamps (00:00:00) Intro: The Pro Audio Suite (00:00:39) Building Hearing Loss Monitor (00:07:36) Volume & Monitors in Mixing (00:11:29) Multiband Compressor vs. Dynamic EQ (00:12:12) Development of C Four Plugin (00:14:01) The F Six: Parametric EQ & Music Dynamics (00:17:16) Discussing Presets (00:22:10) Quality of Presets (00:28:24) Podcast Recording Technique: Source Connect & Voodoo Radio Imaging   Transcript Speaker A: Y'all ready? Be history. Speaker B: Get started. Speaker C: Welcome. Speaker A: Hi. Speaker C: Hi. Speaker A: Hello, everyone to the Pro audio suite. Speaker C: These guys are professional and motivated with tech. To the VO stars, George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, Austrian audio making passion heard source elements George the tech Wittam and Robbo and AP's international demo. To find out more about us, check ThePro Audiosuite.com line up. Speaker A: Learner. Here we go. : And don't forget the code. Speaker C: Trip a P 200. : That will get you $200 off your Tribooth. Now, this is part two of our conversation we had with Michael Pearson, Adams Gomez, if you like, from waves. This week's discussion kicks off in a different place. We're talking about hearing loss. Speaker B: I don't know. I don't want to take this off the rails too far, but something that's come up in the last couple of weeks, more than once. So it seems to be. Well, I wouldn't say maybe it's a coincidence, but maybe it's just the sign of the times and the fact that my clients are all getting older, but people are having a hard time finding headphones that work well for them anymore because of hearing loss. The topic came up. One person asked me about having their hearing aids tuned for professional audio. Another person asked me about just choosing headphones that are better for their hearing. And nothing that they tried worked well, probably because they have severe hearing loss. : I was going to say Friday, but normally ice cream, right? Speaker B: So what I'm getting at is I've been starting to want to build a chain for monitoring, specifically, especially for those with some hearing loss. And I'm wondering what other tool set you think might be useful. Like, if I was going to build a studio rack for a monitoring chain, is it just EQ or. I'm actually looking at compression and EQ together, because if you've lost some hearing in a certain band and you boost the bejesus out of that band, that could be bad too, right? Speaker A: Two syllables. F sIx. Speaker B: F six. Okay. Speaker A: F six. : Six. Speaker A: Floating bands of multiband equalizing compression gives you the ability to choose the threshold on each and every one of them, move them around, and actually decide how each of those bands is compressed or expanded based on the reaction of the voice coming into it. To me, that would be the best starting place for you to create a chain like that would be that plugin. Speaker B: Because it's obviously the only person that can decide if it sounds right is the listener. Like the person that has a lot. So the way I would have to do it would be to log in remote source, connect in remote into their screen, load the plugin, put it into a chain, and then just hide everything. Speaker A: And give them the macros and name the macros appropriately. Speaker B: Yeah, well, yeah, that would be the end result. Exactly. But to have that ability for them to sculpt the sound of their own headphones in a way they never could before, this sounds like the right tool to attack that. I want to start looking into building those chains for people because hearing loss is an issue. Speaker A: There is a risk there as well. And I talk about this in a completely different way for this than I would if this was music. So, for example, in the music world, we have the lowest latency, as in zero latency vocal tuning, plugin, wavestune, and Wavestune live. And there's always been a lot of stigma about, oh, you can't have tuning. It's like one of the best things a tuner can do, if it's used properly, is give the singer confidence. Not fix them, but give them confidence. So if it's on in the monsters, it gives them confidence to remember that they are good and they can do a great job. And that in itself, that confidence minimizes any sharp or flat notes because they're not nervous. Now, on the other end of that spectrum, George, is in a voiceover world, the first thing that comes to my mind as a concern by creating a chain that lets them hear it properly is making sure that they're not hearing. To use an analogy, to make sure that they don't think they're in a Porsche when they're in a VW, as far as other equipment, because audio processing can make you sound amazing, but it also could hide multiple issues with the track that you're recording if what they're monitoring isn't what's being sent to the client. Speaker B: I would never recommend someone who has loss of hearing loss unless they are an actual engineer with years of training. I would never suggest that they go into this thinking that they're going to fix their own monitoring themselves without the ears of another engineer or an engineer with good hearing or trusted hearing that can make a judgment, help judge them on where those settings should be. I know they could dig themselves into a heck of a big hole. It cannot be a replacement for everything else that we talk about. Proper acoustics, noise, floor mic technique, et cetera, et cetera, et know. : Well, usually with hearing loss, it's the upper frequencies that go first. So my idea would be to talk to Yamaha and get them to build headphones that sound like NS ten s. Speaker B: Well, the headphones that you have, you're still using the Austrian Audio 55s, right? The X 55s, yeah. Remember when I reviewed those with you and I thought they were too mid range forward? Right. I didn't like the way they sounded. Yeah, correct. But for you, they were a great match. Right? Yeah, that's the thing. And so headphones are, again, extremely subjective, but it can be a maddening process to try out a lot of different headphones. Like this client of mine. : What was the headphone that rang out your ear from the inside? And then I tried your curve. How did that work? Speaker B: They were really uncomfortable. Yeah, really? They had in ear plugs that plugged into the inside of your. Like, they literally went into your ears. And then they had a surround cup that went around the outside of the ear. : It was a little. Speaker A: That sounds horrible. : They sound like my in ear, like. Speaker B: The one they're called Noritones or Nora something. I can't remember what they were called. I returned them. But the idea there being that, yeah, you can make corrections to a point and then eventually your hearing loss is going to be too poor. : Well, also, you can't correct it when you can't hear at some point. Speaker B: Right. : So just cranking it up, you just end up with feedback through your hearing. Speaker B: That is true, yeah. Well, I mean, my friend is an optometrist or optimist. My friend is an audiologist. And they said the danger is if you do continue to boost, let's say four K, two K, whatever the frequency band, you're still subjecting that SPL on the eardrum or more, you're continuing to cause damage. So it's a tricky situation. But thanks for the F Six recommendation. I'll look at. Speaker A: So there's a couple of things about that while we're talking about it. I just want to mention briefly, for all you lovely people out there, quick analogy. On my phone, I have a setting on my phone, just in the basic phone settings that limits the loudness that is allowed in my headphones on my phone. And I can change it to whatever DB I want. And I have it set fairly conservatively because I value my tool. That makes me money, my ears. But then on top of that, I also have a pair of very large monitors here in the studio that I have a mark on the output knob on the audio interface that I do not go above because at that point I know that I'm damaging my hearing. So my advice is always get used to listening as low as possible, because you can, and this is something that Jeff Thomas told me Robbo, years ago when I was his student, was if you can hear everything at a low volume, then it'll sound great loud. If you hear everything when it's loud, you won't hear everything at a low volume. : You do have to stay at the right place when you're mixing within the Fletcher Munson curve to make sure that you're know if you're listening too low and you don't ever check it out up there for just a moment. And I'm not talking about hearing damage level, but you'll just lose the bass in the high end. It's just sort of the way the ear at lower levels loses the outer extremities first. : I think like anythinG, though, I think checking your mix on different monitors. I mean, I always check at different volume levels. I mean, different levels. Yeah. The dim button is regularly used for me. I'll listen to it in a pass and then I'll dim it and switch monitors and have a listen that way and just flick around. I mean, you could muck around with a mix forever, I guess. But I think they're the two essential things is volume and different monitors. : I'm constantly surprised when I think back when I was living in Sydney and in excess had Rhino Studios, rhinoceros, and I was there for. They were recording. I think I was there for Kick and X. I can't remember. No, it was definitely kick. Speaker A: It was kick, yeah. : So I was in there for Kick and I remember sitting there when they were recording and stuff and it was. Speaker A: Chris Thomas English showing our. : Know and then someone, oh, we're just doing a playback of one of the songs I think was going to be the single. I can't remember. Come and listen. So we're into another room to listen to the playback. It was so fucking loud. I don't even know what the song was. I have no idea. I don't know what they were hearing because I couldn't hear anything. : It's probably what you need. The first single was it? : Probably. : I hate it when people, when you're in a room and it's really loud and you're just like, I don't want to be in here and you got to get out. But not. You really shouldn't go above 80 or you should keep that at maybe the top average. Speaker B: Average. Yeah, maybe peaks of 90 to 100, maybe. It is amazing. The iPhone has the ability now to monitor your surroundings. And it will actually. Or the watch, I think, more so. And that's almost like a reason to get the watch. I keep trying to not buy the damn freaking Apple Watch. I'm like, I don't want another addictive gadget, but the fact that it does monitoring the noise levels around your environment and lets you know, yo, you were in an unsafe noise level environment, just so you very. Speaker A: That's cool. Speaker B: It's a really good idea. I mean, it's almost a reason to get one of those things. : Tipto can't hear what you're hearing in your headphones, unfortunately. Speaker B: No, it can't do anything for headphones. No, you're absolutely right. Absolutely right. : I wanted to ask a question a little bit more if Gomez is here. So I love the C Four, and I use it like an EQ, and I use it like a compressor, and it's my deesser, and it's just like, whatever the hell you want it to be. And the F Six is kind of a dynamic EQ. The C Four is a multiband compressor. You see how the different frequency bands work, essentially, like, you're able to tune the F six more precisely. That is very true. But what are the other kind of differences between, say, a multiband compressor and a dynamic EQ? Speaker B: Oh, boy. : What uses. : Wow, that's a can of worms. Speaker B: This I want to hear. Speaker A: Okay, so firstly, let's talk about the C Four, right. The C Four was a plugin that we developed, not for studios, but we developed it for live. And it kind of was a mixture of. Okay, so let's deal with something that gives you compression, expansion, bit of limiting dynamic EQ, normal EQ, and then has this one floating band, which we honestly didn't think anybody would use. And then everybody lost their shit over the floating band of the C Four. Sorry, not the C Four. So when we updated it, when we went to the C Six, we put the floating band in because people are. : Like, that's so funny. Do you know what? I lost my shit over in the C Six? What was the individual key per band? That's so awesome. It's like, automatically duck it. But you don't have to duck the whole music. You can just sort of carve out some frequencies for the voice, and it doesn't sunk the music, like, fell out of nowhere. Speaker A: Well, the beautiful thing about it is it lets you apply per band, compression, expansion, upward expansion, and to a point, dynamic EQ. This was a tool that, again, is still very much a broadcast person and live person tool. And we found a lot of studio people, not all studio people. I'm not going to generalize, but we found a lot of them were like, we just can'T work out the use case for this. : Deesser. Yeah. Why have a Deesser when you can just have a multiband compressor with little compression on the high end? Speaker A: Because it's not the way you're thinking with your broadcast and your post production hat on. Not your music production hat on. So now let's go to one of my favorite products, the F Six. The F Six is literally, okay, so everybody loved the floating bands in the C Six, so let's just give them six floating bands. What we did was we took our best code of parametric EQ and let you boost, cut, define change the thresholds, cues, everything on it, so that your EQ basically flows with the music dynamics. And it's not just a static boost or a static cut. One of the best things that you can do with the F Six is go, okay. Right. So use it as an EQ if you want, but then if you actually, then choose. Okay, cool. So on this one I'm going to make this a mid or a sides processing channel, and on this one I'm going to use this one with an external side chain. So you can have all of these things going on. And every single one can have a different side chain if you want to. : The F Six has a separate side chain for each band. Speaker A: Yes. : Very sick. I kind of think of one of the differences as being the multiband approach where you have the filters that are always going to trade off with the next frequency band. Sort of keeps you in line, keeps you more flat, and you're kind of doing more general sculpting. Whereas the F Six being you got bandwidth, you can overlap things, you can poke a hole in this and not in that. Speaker A: I use it for poking a hole in the mix all the time. : I'd say that it's much more possible to get lost in the F Six and it's possible to, obviously with the C four you can do crazy stuff as well, but just that nature where the bands don't overlap and you're always dealing with sort of an equal amount across the board. Speaker A: Having the crossovers and the visualization of the crossovers between these plugins has helped people a lot, but I actually find more people in user land for us get confused when they're talking to me about, okay, so talk me through the C Four. And this comes down to development and research and design as well. It's like C Four, I find, confuses people on getting the best out of it. Way more in 2023 than the F Six. The F Six, they look at and go, oh, okay, cool. All right. I understand it because we made it feel and look more like an EQ than compression, but it's both. Speaker B: Yeah. I really like the design of that. I'm going to start exploring it more. I've played around some others, and this one looks more powerful and more flexible. And to be able to set up a deesser that's really precision and de harsher and do all that dynamically, that's very compelling. I can set that up in a chain. Speaker A: Yeah. I love this plugin. I really do. : It's the go to plugin in my template, to be honest with you. Speaker A: Thank you. : Oh, really? Speaker A: Thank you. : Hey, I want to throw one at you, and you could maybe dispel a bit of an argument that I've had with a few people. I want to talk about presets for a minute, because the presets that come with wave stuff are usually very good. There's no arguing with that. But I come across two schools of thought. I come across the people who basically go, I love the such and such preset on this plugin. So I put the plugin on the track and I turn it on and now don't really play with it. My argument would be that, yes, it's a great preset and it sounds good, but it's designed around someone else's voice. A different instrument. A different sounding instrument. Whatever the case may be, it's always going to need some tweaking. Would you agree? Speaker A: Firstly, when we're talking about presets, I feel like this year, well, actually, in the last two or three years, we've kind of moved across a big bump of discussion, and we've gone from presets are bad, it's like it's cheating and all this kind of crap to presets are great. Thank God these software companies put so many of them in. Let me just take you through for a second. So everybody knows how these presets come about and how much time goes into them. So one of the first things that happens is the product manager and the team at Waves, or whichever other company I'm going to guess they do roughly the same. Clearly not as good, because we're awesome, but it's like the person who knows the plugin best is usually the product manager. And so a lot of those initial presets will come from the product manager, because the average plugin he's in charge of it through development. And that could be up to five years sometimes of living with that tool and working through development, QA testing, beta testing, going back, fixing things back into it again. So you get to know this tool intimately, and through that, you get to create presets because of your intimate knowledge of that specific plugin. But then what we do is we have an artist relations department run by a mate of mine by the name of Gitai. Barack and Gitai will take these software tools, these plugins, and he'll reach out to all of our artists that are waves endorsed to artists, everybody from like the Chris Lord Algis, Tony Maseratis, Eddie Kramer's, through to Manny Marrican and Andrew Shepp's and all the others, Armin Van Buren, Dead Mouse, anybody that's. But he will reach out to the ones that are relevant for the kind of person that will use this specific plugin, and we then ask them to create their own presets. And that's where you end up with the categories of different artists names in those plugins. So in that case, yes, you are dealing with that person working on presets in their room. So if it says Andrew Shepps, it's done in the ceiling space of his cottage in Worcestershire. It's a lovely sounding space. He's got really nice setup. He's got PMCs. The room sounds amazing. That's where those presets come from. And a lot of people will say, well, it's Andrew Scheff's preset. Must be amazing. Yes. For him. For you, it's a starting point. It's a starting point. Take that great starting point from that dude with a lot of experience, and then save as your name and tweak the hell out of it so that it works perfectly for you. They are a starting point. They are a shortcut. They save you hours upon hours of working out how to get what somebody else has already done for you. Speaker B: Yeah, I tell my clients that, get my custom presets made, this is a starting point. You can use this happily for many years, and some do that clients come back five, six, seven years still using that preset you made or that stack or whatever. I'm like, really? I wasn't a very good engineer back then, but whatever. If you're booking, that's great. But, yeah, I tell people, if you're only going to do one thing, get one preset that's eqed to you, everything's dialed into you, and now you have an awesome stepping off point. To copy or make a duplicate from and go crazy. Now you can always return to home and get back to a starting point that works well. So these presets that you guys have designed. Speaker A: Yeah. Speaker B: They're not custom to tuned EQ or whatever exactly to that, to your voice, but you're knowing that the parameters and the ranges of the parameters and such are in musical or tasteful know. : Yes, perfect. I couldn't put that better myself. I'm going to use that on my next Facebook argument, George. Speaker A: So we create these presets, and by. Speaker B: The way, let me say, Michael, not everybody does good presets. I can tell you a very big company whose daw I use, and their presets are horrendous. So you guys really do put in the effort. Sorry, go ahead. Speaker A: We really do. But what we try and do is we try and make sure that we're giving people a starting point that saves them time. And also take into account presets are there to give you an idea of what the potential power of the plugin is. So a preset might not, if you go through the presets, it might not be what you're after right now, but if you use the preset browser and just flick through them, you're going to find that, oh, my God, it can do that. Fantastic. Save that for later. I save presets that I want to get back to with my initials and that way I can go through them and I can type in MPA and it brings up and it goes, okay, cool, I need to get back and mess with that one or that one or that idea. : It's funny, isn't it? We talk about presets and things, but it's also choices of microphones and preamps as well. I was doing a session this morning and I said, what do you want? You want me to use a large diaphragm mic with 1073 or do you want me to use 41 six with a grace? And they're like, oh, 41 six with a grace. So it's kind of like an analog preset, if that makes any sense. Speaker B: Yeah, as long as you know what you used. Like, if you have to come back to that project again, if you've got more than one chain, you do have to do the extra documentation as a voice actor to make sure that. : Do you know what, though? You don't, George. Because that bloody 41 six, there's no way you're going to miss that one. Speaker B: Well, no, that mic is distinctive, but, yeah, no, the more chains you have to remember and preset and store the little bit more of a responsibility. You're going to have to keep track of that later down the road. You got to pick up that a year later. Having two distinct options is smart. Having 17 variations, maybe too much to keep track of. : Sorry about that. Speaker B: To have this mic and preamp as a combo you use, I have clients that have two mics, two preamps, or three mics, two preamps. What do they want to do? Well, they want to hear every combination of those three mics and those two. I'm like, no, you don't. You don't need to hear and use all three combos of every permutation. Once you have two chains or three chains maybe, that are like, go to. Just go to it. : You just find things that you like that work, that are convenient, like, they technically work together, they sonically work together, they're packaged right. Speaker B: There's gear. FOMO, man. It's FOMO. People are like, there's something new, there's something new. What can I make it better? I'm like, I get it. Speaker A: And this is kind of why, obviously, we've talked about creative access subscriptions from waves before. One of the beautiful things about a subscription is if yoU're on, say, for example, the essential, you've got 110 plugins that you can mess with. And then rather than actually buying them, if you decide, no, I don't need those plugins, then cancel the subscription and go and buy two or three of them instead. It's totally up to you. Speaker B: Like a mega demo. Yeah, pretty much the ultimate demo of every plugin. Yeah. Speaker A: There is a very good argument for having an overwhelming amount of tools and finding that it degrades your work because you can't think about what to use at the time. A perfect example is, and I'll take this back to, this is 2008. 2008, I get a phone call from a mate of mine, Brian Gold, who owns a post production studio house in Detroit. Detroit. : I know him very well. He's a great guy. Speaker A: Yeah. And he rings me and he goes, mate, we need Mercury bundle for all the rooms. I'm like, I'm happy to help. How many rooms you got right now? And he goes, 13. So he had 13 rooms at Gold Sound. At that point in time. He had just put in decommands, icon consoles, plus HD, six protools. : Was this when the Mercury Bundle had the TDM pricing? And then the native get. Speaker A: Don't spoil my story. And Brian says to me, he goes, so I'm going to need mercury bundles for all those, I said, mate, for that I will personally fly in, install them all, give you a huge hug, and then get you drunk. So Brian then drops the bill on this, which is at that time, TDM Mercury was $13,450 each. And he bought 13 of them. And then he rang me and said, give me another one. I'm going to have a floating one. So there's 14 times 13,000. You do the math. So I go into the studios, and by this time, I'd known him and his team for a while. Lovely people. Brian's still a really good friend of mine, and I go in and I install all these mercury bundles and I go, okay, I'm going to come back in three months. I come back in three months. These guys, after I've taken them through all of these plugins before, they were still using the four plugins that they were used to, that they'd been using for the last two or three years. So there is a point where you have to look at this and go, okay, how many tools do I need and which ones am I going to use? And is too many degrading my work or improving my work? : You're going to use the ones that give you the sound you want, the sound that you want, and the sound that you like. Speaker A: Yeah. : Okay, so I get one plugin, and the plugin would be Gomez Avox. Speaker A: That's it. Arvox. It's one of the most epically simple and productive plugins you can buy for a simpleton. : I want to go simple. Speaker A: Well, that was fun. Is it over? Speaker C: The Pro audio suite with thanks to Tribut and Austrian audio Recorded using Source Connect, edited by Andrew Peters and mixed by Voodoo Radio Imaging with tech support from George the Tech Wittam. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic, or just say, good day. Drop us a note at our website, theproaudiosuite.com.

No matter how good a band or artist is, a producer can make or break them. A good producer can elevate mediocre material, and a bad producer can turn great songs into sludge. This week we're talking about some of the GREAT producers, those geniuses who work magic in the studio. We mention Eddie Kramer, Giorgio Moroder, Steven Wilson, Bob Ezrin, Brian Eno, Daniel Lanois, Trevor Horn, Quincy Jones, Nile Rodgers, Martin Birch, Steve Lillywhite, and a plethora of others. And Stephanie Seymour shares her experiences of her band The Aquanettas working with different producers.  We know we couldn't possibly cover all the great producers, and we will likely do a Part 2 at some point (and a Part 3 -- listen to find out!). Did we miss someone that you find significant? Let us know! Drop us a line at modernmusicology1@gmail.com or leave a comment wherever you find our episode and let us know! And don't forget to rate us on your favorite podcast app!  Find us on Facebook: https://www.facebook.com/ModernMusicology Check us out on Instagram: https://www.instagram.com/modernmusicologypodcast/ Follow us on Twitter: https://twitter.com/ModrnMusicology Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCk-MlcGy5u3fK1j4bVty1Kw Modern Musicology is part of the ESO Podcast Network. https://esonetwork.com/ Find more about us: The Spirit of Rush: http://www.reverbnation.com/thespiritofrush4  Rob Levy: https://kdhx.org/shows/show/juxtaposition Stephanie Seymour: www.therearebirds.com  R. Alan Siler: www.kozmiccreative.com  Anthony Williams: https://watchers4d.podbean.com/ 

This week Tom & Zeus breakdown, discuss and rank all the Producers of the KISS albums. Bob Ezrin, Ron Nevison and Eddie Kramer are not just well known producers in the KISS Army but in all of music. What about the other producers of the KISS studio albums, Michael James Jackson, Vini Poncia and more? Well Tom & Zeus break down the 14 separate producers of the KISS studio albums (1978 solo albums included) and discuss each of their albums. They breakdown the pros and cons of their efforts. As SIOL always does, the guys then rank the 14 producers and debate their merits. Be sure to catch the beginning of the episode and hear about the possible SIOL Xmas merchandise and toys. Look out there's also a new "IT" couple looking to take the throne of SIOL's favorite handsome couple! For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard Royuela (de RockZone) nos presta ‘Back in Black' de AC/DC. Richard Royuela es un veterano del mundo de la música. Nacido en Barcelona, ha ejercido como crítico musical, periodista, mánager, productor y promotor de conciertos, jefe de producto discográfico… pero, por encima de todo, se considera un fan de la música. Como crítico y periodista, escribió para la revista ‘Popular1' y fundó las revistas ‘RockSound' y ‘RockZone' junto a Jordi Meya, con quien actualmente presenta ‘El podcast de RockZone'. Además, Richard ideó y participó en el guion de ‘Parchís: El documental' (que está disponible en Netflix) y colabora con el festival de cine documental In-Edit. En el episodio de hoy, entre otras cosas, Richard y yo hablamos de: La muerte del cantante Bon Scott y su sustitución casi inmediata por Brian Johnson. El espectacular sonido de ‘Back in Black' bajo la producción de Mutt Lange. La leyenda de las ‘demos' de ‘Back in Black' grabadas con Bon Scott. La trayectoria anterior de AC/DC y la producción de sus primeros discos a manos de George Young —hermano de los guitarristas Angus y Malcolm— y Harry Vanda. La entrada de Mutt Lange como productor en ‘Highway to Hell' y el fiasco con Eddie Kramer. La imagen de «tipo duro» de Bon Scott en contraposición con la de Brian Johnson, un ‘frontman' accesible para un público más amplio. La irrupción definitiva de AC/DC en el mercado estadounidense y el estrellato mundial. Y por el camino nos encontramos con los Rolling Stones, Jimi Hendrix, Barón Rojo, Motley Crue, Tesla, David Bowie, Slade, Sweet, Queen, Elton John, Arnold Schwarzenegger y el fantasma digital de Bon Scott. Podéis mandar vuestros comentarios a discoprestado@proton.me 'Disco prestado' en Instagram: @discoprestadopodcast 'Disco prestado' en Facebook: @discoprestadopodcast 'Disco prestado' en YouTube: @discoprestadopodcast Transcripciones y lista de correo en discoprestado.com La música original de este podcast forma parte de mi EP 'The Entertainer EP', que podéis encontrar en marcaliana.com/musica y en todas las plataformas digitales. ¡Salud y buena música! Marc Aliana marcaliana.com

This week Tom & Zeus breakdown, discuss and rank all the Producers of the KISS albums. Bob Ezrin, Ron Nevison and Eddie Kramer are not just well known producers in the KISS Army but in all of music. What about the other producers of the KISS studio albums, Michael James Jackson, Vini Poncia and more? Well Tom & Zeus break down the 14 separate producers of the KISS studio albums (1978 solo albums included) and discuss each of their albums. They breakdown the pros and cons of their efforts. As SIOL always does, the guys then rank the 14 producers and debate their merits. Be sure to catch the beginning of the episode and hear about the possible SIOL Xmas merchandise and toys. Look out there's also a new "IT" couple looking to take the throne of SIOL's favorite handsome couple! For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Nothing Shocking Podcast 2.0 reboot episode 191 with our guest Astrid Young Canadian singer-songwriter and musician.  Formerly of Sacred Child, iST, she has worked with her brother Neil Young, Nancy Wilson, and more!  In this episode we discuss her new single Lay Me Down, and recording new music for a double vinyl release of her solo album One Night at Giant Rock, with producer Eddie Kramer.  We also discuss her journey in the wine business, being an author, her dad Scott Young, and more!.     For more information visit:  https://www.astridyoung.net/ Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com   Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org 

From - Brent James Ain't nobody got time to read this shit but here we go anyway. Started playing music in front of people in high school. Sophomore year to be exact. Had a few beers and let it fly. Felt like magic. Got addicted to hands clapping and whistles. Been screwed with the songwriter bug ever since. Played in a couple bands after high school. Moved to NYC from my hometown of Frankenmuth Michigan when I was 23. Sang in a band. Toured many years in a van and trailer up and down the east coast. Got into another band. Did a record that Eddie Kramer mixed. It rocked. We broke up. Started doing a solo songwriter/rock and roll thing. Signed a publishing deal with Primary Wave/BMG/Skiddco. Did the record in Nashville with Skidd Mills and the Contraband boys. Had a single. Called it “Moment of Silence”. Went to #51 on Billboard. Kept playing shows the whole way. Toured/played shows with Ted Nugent, Alice Cooper, Daughtry, Cadillac Three, Candlebox, Uncle Kracker, Eric Church, Dierks Bentley, Huey Lewis and countless others. Moved to Cincinnati. met the Vintage Youth boys. Put out a few EP's and a full length. Finishing another now. Out soon in 2020. Never stopped playing shows. Thanks for getting this far. Until next time folks!   Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey it's Arroe and this is Pod-fest Episode 35 Three back to back conversations with real people of entertainment, politics, science, medical or cooks in their own kitchen. Pod-fest 35 features my 2016 conversation with the front man of Duran Duran Mr. Simon Le Bon. Then we'll into some really funny bantering with actor comedian Dusty Slay before wrapping things up with a legendary music engineer the one and only Eddie Kramer as we celebrate Jimi Hendrix. This is Pod-fest 35

Hey it's Arroe and this is Pod-fest Episode 35 Three back to back conversations with real people of entertainment, politics, science, medical or cooks in their own kitchen. Pod-fest 35 features my 2016 conversation with the front man of Duran Duran Mr. Simon Le Bon. Then we'll into some really funny bantering with actor comedian Dusty Slay before wrapping things up with a legendary music engineer the one and only Eddie Kramer as we celebrate Jimi Hendrix. This is Pod-fest 35

MUSIC & ART COLLIDE   Frankie Vinci's Rock 'n' Roll journey has led him to create the Pop Art he's so passionate about today. These raw-colorful Pop Art / Mixed Media pieces are reflective of his years as a troubadour and his Rock 'n' Roll experiences performing in the iconic clubs and concert halls from NYC to LA , all of this has become part of his tapestry as a Pop Artist.  Frankie is a Multi-Platinum songwriter / recording artist and has shared the stage and or worked in the recording studio alongside iconic names such as : Aerosmith, Van Halen, Alice Cooper, Meat Loaf, Lynyrd Skynyrd, Tim McGraw, Roberta Flack, Dino Danelli & Gene Cornish (Rascals), Wally Bryson (Raspberries), Ricky Byrd (Joan Jett, Roger Daltrey), Robert Lamm (Chicago), Phil Ramone, Eddie Kramer, etc...  Frankie's also had a successful career as a composer / producer in NYC advertising. He composed / produced national jingles for some of the biggest brand names internationally. A pinnacle of his career was composing The Super Bowl Theme for CBS that also aired on the "NFL Game of the week" for 10 years. Frankie's Pop Art is inspired by music, fashion, film and the vintage billboards that have been distressed by weather and time. The multi-layered backstage passes, concert posters covering the dark alleys and backstage walls in Rock clubs like CBGB's, all add fire to Frankie's creativity. Frankie's artful eye sees the beauty in subway graffiti, random paint drips, metal rust, torn paper, combined with detailed painting and carefully composed layouts. His flair for color combinations and the placement of iconic images over his canvases is creating a buzz in the art community.  With a name like Frankie Leonardo Vinci what else would you expect but a modern day renaissance man capturing his life and times on canvas.Mark your calendars for Frankie's  opening on 7/13/2023 , 6-9pm at D Colabella Fine Art Gallery , 446 Main Street , Ridgefield, Ct. , Check out my new pieces, including “FIRE” , a tribute to my favorite guitarist Jimi Hendrix . Also in the exhibit is the talented guitar craftsman Tim Sway and the amazing artist Greg Cohan. See you there !! Show runs until September 11!https://www.vincipopart.com/

Andreas hälsar på hos Toontrack i Umeå och pratar med Ulf Larsson, Ulf Edlund och Magnus Melcherson. De pratar om deras gitarrvänliga produkter, att jobba med Eddie Kramer och en massa annat nördigt! Mycket Nöje!  

Welcome back to After The Sun Goes Down, our Baywatch Nights watch-a-long podcast. This week Mitch and the gang provide us with some Payback and Pack up in episodes 13 and 14 of Season 1. In episode 13, Ryan gets wasted, we still have no idea who the hell Griff is, and we get some wonderful guest casting by none of other than Geraldo Rivera. And in episode 14, we finally get a true crossover with actual characters from Baywatch, other than Mitch & Garner, when Eddie Kramer and Michael Newman are involved in the suspicious death of a drowning victim…oh and randomly Lou is back for no real reason.  --- Support this podcast: https://podcasters.spotify.com/pod/show/bmoviebreakdown/support

Episode 513. Today's guest is Michael Frondelli… he goes back as far as the first Neil Bogart KISS press showcase introductions at the NFE Theater, the old Fillmore East, with Bill Aucoin and Sean Delaney. Then working later at Electric Lady with Eddie Kramer. Michael shares many early stories related to KISS, as well as stories about many […]

Maggie LePique's longtime producer and music journalist Jerry Ough celebrates Jimi Hendrix's 80th Birthday with Jimi's sister, Janie Hendrix and longtime producer and Archivist John McDermott. Jerry, Janie and John discussThe Jimi Hendrix Experience – Los Angeles Forum: April 26, 1969, legendary 1969 performance includes “Purple Haze” and an incendiary 17-minute medley of “Voodoo Child (Slight Return)” and Cream's “Sunshine Of Your Love.” The Jimi Hendrix Experience – Los Angeles Forum: April 26, 1969, released on 2LP vinyl, CD and all digital platforms, was recorded in the spring of 1969 before a raucous, sold-out audience. This captivating performance of the original lineup (singer/guitarist Jimi Hendrix, drummer Mitch Mitchell, bassist Noel Redding) has never before been released in its entirety.Jerry, Janie and John also discuss the new book, JIMI, the ultimate tribute to the greatest guitar player in rock and roll history, celebrating what would have been Jimi Hendrix's 80th birthday on November 8, 2022. This comprehensive visual celebration is an official collaboration with Jimi's sister, Janie Hendrix, and John McDermott of Experience Hendrix L.L.C. JIMI significantly expands on the authors' previously published titles, including An Illustrated Experience, and features a new introduction by Janie, extensive biographical texts, and a trove of lesser known and never-before-published photographs, personal memorabilia, lyrics, and more. Additionally, JIMI includes quotations by legendary musicians, such as Paul McCartney, Ron Wood, Jeff Beck, Lenny Kravitz, Eric Clapton, Drake, Dave Grohl, and others who have spoken about Hendrix's lasting influence.Janie L. Hendrix is the president and CEO of Seattle-based Experience Hendrix L.L.C. and Authentic Hendrix L.L.C., the family companies of Jimi Hendrix, which were founded by James "Al" Hendrix in 1995, as a means of keeping Hendrix's legacy alive. Janie ushered the companies into the 21st century with the dream of her father and brother in mind.John McDermott is the director, writer, and producer who has long been associated with the legacy of Jimi Hendrix. He has served as the catalog director for Experience Hendrix L.L.C. for nearly three decades. Together with Janie Hendrix and Eddie Kramer, McDermott has coproduced every Jimi Hendrix CD and DVD release, including 1999's Grammy Award–winning Band of Gypsys, 2014's Emmy Award–winning Hear My Train A Comin', and the recent Grammy-nominated Music, Money, Madness: Jimi Hendrix In Maui.Source: https://www.jimihendrix.com/music/los-angeles-forum-april-26-1969/Source: https://www.authentichendrix.com/product/Y3AMJI122Source: https://www.chroniclebooks.com/products/jimiThis episode is from an archive from the KPFK program Profiles adapted for podcast.Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

Catch up with the Emmy Award-winning real-life duo of Julie Pinson and Billy Warlock in The Locher Room. The couple met in 1999 but reconnected on NBC's Days of Our Lives where they played Billie Reed and Frankie Brady. The couple wed in 2006.Julie made her daytime television debut on Port Charles playing Eve Lambert. In addition to Eve and Billie, Julie went on to play Janet Ciccone on As the World Turns where she earned a Daytime Emmy Award for Outstanding Supporting Actress. She also played the part of Shiloh on The Young and the Restless in and appeared on River Ridge as Kimberly Reeves.Billy Warlock made his television debut on the 10th season of the ABC hit comedy, Happy Days. He then went on to play the lifeguard Eddie Kramer on the first three seasons of Baywatch. Billy joined the cast of Days of Our Lives in 1986 and in 1988 he won a Daytime Emmy Award for Outstanding Younger Actor. In addition to Frankie, Billy played A.J. Quartermaine on General Hospital, Ben Hollander on The Young and the Restless, Ross Rayburn on One Life to Live and as Anthony Blackthorn on As the World Turns working with Julie. Original Airdate: 2/10/2022

Joshua is a Christian hard rock/AOR band that formed in 1980 and is centered on guitarist Joshua Perahia. Despite being based in Los Angeles, CA they are probably best known outside of the United States.The band's first release was entitled The Hand Is Quicker Than the Eye, which referred to Perahia's guitar skills and songwriting ability, was released by Enigma Records in 1983. The single "November Is Going Away" was the band's biggest hit, achieving No. 1 status in Japan. Perahia had a religious experience at a Hal Lindsey–lead Bible study in 1983, and converted to Protestant Christianity from his Greek Orthodox upbringing.Perahia put together a new band for his 2nd album, Surrender, which included singer Jeff Fenholt. Surrender was released in 1985. Lyrically, the album marked a change in the band's style to lyrics which were evangelical in nature. Rob Rock was involved with their third album on RCA Records, Intense Defense. In 1988, Intense Defense, which was recorded at Dierks Studios and produced initially by Eddie Kramer and then Dieter Dierks (Scorpions fame) was characterized by the editor of HM Magazine as being "probably the best AOR melodic metal album in the universe." It sold well worldwide, but not in the United States. In 1995, the group re-formed and they released one album under the name M Pire, Chapter One, though it was never released in the US. The band then expanded its name back to Joshua Perahia. The addition of Joshua's last name was to avoid confusion as so many bands were using the name Joshua at the time. The band lacked a permanent vocalist and hired Alex Ligertwood of Santana to fill the spot on the follow-up Something to Say in 2001. However, while in production, the band recruited Jerry Gabriel and re-recorded the vocals. As a result, the album (except four tracks) contains Gabriel's lead vocals, and Ligertwood's vocals are available on a re-release. One song, "The First and the Last", appeared in the Larry Buchanan–directed movie The Copper Scroll of Mary Magdalene in 2004.2012 saw the release of the band's latest work, entitled “Resurrection” and featured vocals from Mark Boals (Yngwie Malmsteen, Ring of Fire, Shining Black, etc.). While Joshua still writes music today for a possible future release he has shifted his focus to his son and their passion for vintage muscle cars and exotic cars as well. It's a passion that was ignited when Joshua was just 13 years old. The fact that Joshua still writes music means that fans can be hopeful of seeing a new recording in the future but for now please enjoy this episode of The Jersey Guys Podcast!

On today's episode, Scott interviews Joey DeMaio, a recording engineer, guitarist, and owner of Shorefire Recording Studios in Long Branch, NJ. He started playing guitar at nine years old, studying with Jon Herington from Steely Dan, and jazz great, Tal Farlow. He has worked besides two of the most respected recording engineers of all time, Andy Johns, and Eddie Kramer, and has engineered at Abbey Road Studios in London, England. Joey has worked with or recorded at Shorefire Recording Studios with iconic artists that include Blondie, Bon Jovi, and Bruce Springsteen, just to name a few. In addition, he plays lead guitar in the tribute band, “Pure McCartney”. This multi-talented recording engineer, guitarist and entrepreneur certainly GOT CHOPS! Follow Joey/Shorefire Recording Studios on Website: http://www.shorefirerecordingstudios.com/ Instagram: https://www.instagram.com/shorefirerecording/ Facebook: https://www.facebook.com/ShorefireRecordingStudios Twitter: https://twitter.com/shorefireNJ Follow Pure McCartney on Website: https://www.puremccartneynj.com/ Instagram: https://www.instagram.com/pure_mccartney/ Facebook: https://www.facebook.com/puremccartneynj YouTube: https://www.youtube.com/channel/UCH5fC45ioMw05sbXRT1wNbg Follow Got Chops on Instagram: @gotchopspodcast Listen to Got Chops Podcast on - Spotify: https://open.spotify.com/show/6Pjh7tC3aTpeMFEhmn4fp4?si=699ae5b84e544cb5 - Apple Podcasts: https://podcasts.apple.com/us/podcast/got-chops/id1587699754 - Anchor: https://anchor.fm/gotchops - YouTube: https://www.youtube.com/playlist?list=PLp5wwP8DvMPkqI4VM2VMlcufn6a-CzlHM Follow Scott on Instagram: @scottgrimaldimusic Twitter: @GrimaldiMusic Website: www.grimaldimusic.com --- Send in a voice message: https://anchor.fm/gotchops/message

Guest: legendary music producer and sound engineer Eddie Kramer, who has worked on countless albums for the likes of The Beatles, Led Zeppelin, Jimi Hendrix, David Bowie, Kiss, to name just a few. Born in Cape Town, Kramer is still working on a number of projects at the age of 80. See omnystudio.com/listener for privacy information.

Eddie Kramer is a british recording producer and engineer. His credits include Jimi Hendrix, The Beatles, David Bowie, The Rolling Stones and more. Check out Eddie's website: http://www.eddie-kramer.com/ Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/ 

Eddie Kramer is a british recording producer and engineer. His credits include Jimi Hendrix, The Beatles, David Bowie, The Rolling Stones and more. Check out Eddie's website: http://www.eddie-kramer.com/ Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/ 

durée : 00:32:00 - Les Nuits de France Culture - En 1990 dans l'émission "Jimi Hendrix : les albums d'un visionnaire", Bruno Feller dit son admiration pour Hendrix et analyse ses albums. Eddie Kramer se souvient de la participation du musicien dans le mixage de ses disques et des archives de la Radio Suédoise nous font entendre sa voix. Combien ont-ils été, ceux pour qui la première écoute de Hey Joe par Jimi Hendrix fut l'un des grands émois musicaux de leur adolescence à la fin des années soixante ?  * Auteur d'un Jimi Hendrix aux éditions Albin Michel, ancien de Rock&Folk, Benoît Feller fut de ceux-là, comme il le racontait dans le troisième volet de la série qu'en 1990 Le rythme et la raison consacrait à Jimi Hendrix.  Une émission dans laquelle on pouvait entendre Jimi Hendrix dans deux des rares interviews qui nous restent de son passage météorique sur cette planète. C'était en 1967 et 1968, pour la présentation des albums devenus mythiques, Are You Experienced et Electric Ladyland quand, avec à ses côtés le bassiste Noel Redding et le batteur Mitch Mitchell, ils formaient The Jimi Hendrix Experience.  On pouvait également découvrir le travail de création de Jimi Hendrix en studio, grâce au témoignage de l'ingénieur du son et producteur Eddie Kramer. En 1967,  Jimi Hendrix disait à propos de l'album Axis: Bold As Love :  Le titre signifie l'axe de la terre. Il change et quand il change, il change toute la face de la terre, ça se passe tous les mille ans. C'est comme l'amour entre les êtres humains, si on tombe profondément amoureux, on change totalement et cela change toute notre vie.  Avec Benoît Feller (journaliste et critique musical) et Eddie Kramer (ingénieur du son et producteur) - Avec des extraits d'entretiens de Jimi Hendrix.  Par Gérard Tourtrol Réalisation : Chantal Barquissau Le rythme et la raison - Jimi Hendrix, 3ème partie : les albums d'un visionnaire  1ère diffusion : 12/12/1990 Indexation web : Sandrine England, Documentation sonore de Radio France. Archive Ina-Radio France

The Black Moods are a modern classic rock band from Tempe, Arizona. Their last album “Sunshine” spawned 4 songs in the top 30 billboard rock charts. Their latest album “Into the Night” is out June 3rd and sounds killer. We discuss the new album in detail, plus singing with Robby Krieger of the Doors, their stellar cover of “Old Man Down the Road”, giving cupcakes to the radio stations, shredder's anonymous and more! 00:00 - Intro00:57 - Cheech & Chong & Spinal Tap02:15 - Sunshine 03:55 - Cupcakes to the Radio Stations 05:45 - Whatcha Got Video 07:02 - Producer Johnny K. & Home 08:25 - Recording New Record "Into the Night" 09:20 - Producer Eddie Kramer 11:30 - Youth Is Wasted On The Young 12:45 - Hollywood & Big Time 14:25 - Competition & Making Music 16:05 - On & On And Junkie Excuses 19:20 - The Cure & Album Title 21:30 - Two Kinds of People 22:40 - The Gin Blossoms 23:22 - Shows 24:45 - Robby Krieger of The Doors 26:20 - Old Man Down The Road 27:30 - Upcoming Shows & Scott Stapp29:35 - Shredding Video 30:35 - New Album & Music Video 33:40 - Joybus Charity 34:43 - Outro The Black Moods website:https://theblackmoods.comThe Joy Bus charity website:https://www.thejoybusdiner.comChuck Shute website:https://chuckshute.comSupport the show

In this episode I talk to Sacra Victoria from the USA about her guitar playing, her influences, working with Eddie Kramer, guitars, her skull fracture  plus lots more. Youtube Interview   Sacra's Socials: Instagram Youtube Channel Facebook Twitter Bandcamp Website   If you are enjoying the podcasts and would like to donate to the show where you will receive a thank you on the podcast please click the donate now button. Every little donation helps with keeping the podcast going to bring you great guests and interviews. Donate Now   If you are interested in hearing my playing click Roach & Weyden album   Thank you to my sponsors: Arnaud Krakowka Custom guitar picks   To download my online guitar course and all other contacts visit my website:  https://becomeaguitaristtoday.com

This week Eddie Kramer joins Jay Jay for his second time on the podcast - the legendary engineer & producer is joined by his friend & business partner, producer/director John McDermott. This episode concentrates on the work that Eddie and John did on the audio restoration & transfer of the music for the Grammy award winning dvd's "The American Folk Blues Festival 1962-1966." The music and performances embodied on these dvd's are not only some of Jay Jay's favorite musical gems, they are an important historical legacy of American Blues music that must be kept in the conscience of anyone (especially musicians) who seek to learn about the very foundations of what was to become the bedrock of Rock n Roll. Eddie, John & Jay Jay also discuss Jimi Hendrix, their mutual deep love for the Blues, and some of their ongoing projects that are in store for 2022. Don't miss this insightful interview, and be sure to check out the documentary "The American Folk Blues Festival 1962-1966, Vol. 1." Produced & edited by Matthew Mallinger

This week Tom & Zeus open their 4th season by reviewing the 1977 classic KISS album, Love Gun! This was KISS' 6th studio album and maybe the peak of their career. KISS was just named the most popular band in America in a Gallup Poll, beating out The Eagles, Led Zeppelin and Aerosmith. The album was shipped platinum and was KISS' first album to reach the top 5 on Billboard 200, reaching number 4.The legendary album cover was painted by Ken Kelly who had painted the album cover for Destroyer. There was also the infamous cardboard cutout LOVE GUN included in the packaging. The band continued their winning formula with Eddie Kramer, who produced this album. KISS also received co-producer credit for the first time.This platinum album was the first album to feature all 4 members of the band handle lead vocal duties, when Ace Frehley sang his signature song, Shock Me. The opening riff of I Stole Your Love, the legendary opening piano/keyboard of Christine Sixteen and the title track, Love Gun which Paul Stanley called "quintessential KISS" and many of the KISS Army's favorite deep cuts make this album review one of a kind.As usual the guys breakdown and analyze the tracks and rank the songs SIOL style. As always they then rank the album and the album cover against the previous KISS studio albums reviewed.So don't be a Hooligan and make us pull out our Love Gun!Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:SIOL Patreon Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

This week Tom & Zeus open their 4th season by reviewing the 1977 classic KISS album, Love Gun! This was KISS' 6th studio album and maybe the peak of their career. KISS was just named the most popular band in America in a Gallup Poll, beating out The Eagles, Led Zeppelin and Aerosmith. The album was shipped platinum and was KISS' first album to reach the top 5 on Billboard 200, reaching number 4.The legendary album cover was painted by Ken Kelly who had painted the album cover for Destroyer. There was also the infamous cardboard cutout LOVE GUN included in the packaging. The band continued their winning formula with Eddie Kramer, who produced this album. KISS also received co-producer credit for the first time.This platinum album was the first album to feature all 4 members of the band handle lead vocal duties, when Ace Frehley sang his signature song, Shock Me. The opening riff of I Stole Your Love, the legendary opening piano/keyboard of Christine Sixteen and the title track, Love Gun which Paul Stanley called "quintessential KISS" and many of the KISS Army's favorite deep cuts make this album review one of a kind.As usual the guys breakdown and analyze the tracks and rank the songs SIOL style. As always they then rank the album and the album cover against the previous KISS studio albums reviewed.So don't be a Hooligan and make us pull out our Love Gun!For all things Shout It Out Loudcast check out our amazing website by clicking below:www.ShoutItOutLoudcast.comInterested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:SIOL Patreon Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

Maggie & John discuss the celebration of the 50th anniversary of the release of the Jimi Hendrix Experience masterpiece Electric Ladyland, Experience Hendrix, L.L.C. and Legacy Recordings, the catalog division of Sony Music Entertainment,  releasied the Deluxe Edition box set on November 9. Available as either a 3CD/1 Blu-ray set or a 6LP/1 Blu-ray set, both packages include the original double album, now newly remastered by Bernie Grundman from the original analog tapes. For the LP set, Grundman prepared an all analog direct to disc vinyl transfer of the album, preserving the authenticity. Also included is Electric Ladyland: The Early Takes, which presents demos and studio outtakes from this period in Hendrix's career, plus a new 5.1 surround sound mix of the entire original album by Hendrix's original engineer Eddie Kramer. This marks the first and only time this has been done with a Hendrix studio album, and gives listeners the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio.Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68, part of Experience Hendrix's Dagger Records official bootleg series, is another exclusive component. The never before released recording captures the band and the mounting excitement that took place just weeks before the release of Electric Ladyland. The Blu-ray also includes the acclaimed, feature length documentary At Last… The Beginning: The Making of Electric Ladyland.Lastly, Electric Ladyland Deluxe Edition includes a full color, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never before published photos from the recording sessions that were shot by Eddie Kramer himself.Date first available: August 15, 2018Source: https://www.jimihendrix.com/electric-ladyland-50/This episode is from an archive from the KPFK program Profiles adapted for podcast. Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994. Support the show

This week Tom & Zeus review the 1978 Ace Frehley solo album by KISS. This is the 3rd of the 1978 solo albums reviewed so far and the 13th KISS studio album reviewed so far. This is the biggest seller of the 1978 solo albums and included the highest charting single as well, New York Groove. Ace grabbed legendary producer Eddie Kramer to produce the album. The result was an album that far exceeded everyone's expectations and possibly was the beginning of the end of the original KISS.As usual the guys breakdown and analyze the tracks and rank the songs SIOL style. As always, they then compare the album and the album cover and rank it against the previous studio albums reviewed.See who thinks the album is overrated and who will make the #AceCult happy or mad and find out how Arnold Schwarzenegger makes an appearance.ACK!!!Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:SIOL Patreon Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

Our final Jimi Hendrix special has Christian join three rock n rollers to discuss what the man means to them. First up is Bassist and perhaps oldest collaborator Billy cox, followed by percussionist Juma Sultan and finally with Hendrix re-creator Jimy Bleu, guitarist for Kiss the Sky.Billy CoxBilly Cox is best known for performing with Jimi Hendrix. Cox is the only surviving musician to have regularly played with Hendrix: first with the experimental group that backed Hendrix at Woodstock (informally referred to as "Gypsy Sun and Rainbows"), followed by the trio with drummer Buddy Miles that recorded the live Band of Gypsys album, and, lastly, The Cry of Love Tour trio with Mitch Mitchell back on drums. Cox continues to perform dates with the Band of Gypsys Experience and the Experience Hendrix Tour. As well as sitting in with Kiss the Sky several times.Today, Billy Cox owns a video production company. He has produced numerous blues and a myriad of gospel shows. He co-authored the books Jimi Hendrix Sessions and Ultimate Hendrix with John McDermott and Eddie Kramer. He released Old School Blue Blues in 2011, and continues to tour with "The Experience Hendrix Tour" each year and his own Band of Gypsys Experience. http://www.bassistbillycox.com/Juma SultanJuma Sultan (born April 13, 1942) is a jazz musician, most often recording as a percussionist or bass player. He may be best known for his appearance at the Woodstock festival of 1969 at Bethel, New York, playing with Jimi Hendrix. He currently plays in the African performance group Sankofa, the band Sons of Thunder, and with the Juma Sultan Band.Sultan was born in Monrovia, California on April 13, 1942. In 1969, he performed at the Woodstock festival in Hendrix's band, Gypsy Sun and Rainbows and on The Dick Cavett Show and at a special show in Harlem, New York several weeks later. He was interviewed extensively for the documentary films, Jimi Hendrix and Jimi Hendrix: Live at Woodstock. He appears on approximately 12 of Jimi Hendrix' posthumous releases.www.jumasarchive.org.Jimmy BleuKiss the Sky, who you will see performing at the Historic Bearville Theater in Woodstock New York is fronted by virtuoso guitarist and former Columbia recording artist, Jimy Bleu, and backed by a cast of world-class touring musicians from the NYC metro area. KTS musicians are so 'EXPERIENCED' that all 3 of Jimi's remaining former bandmates and living legends (Billy Cox, Juma Sultan and Jerry Velez) have each played on stage along side KTS performers. Most especially, Jimy Bleu, is the longest running Jimi tribute specialist in the world and even tours with former Hendrix Bassist, Billy Cox and his Band of Gypsys ExperienceJimy Bleu actually met Jimi Hendrix in 1968 while at Warner/Reprise records and a member of the official Hendrix fan club that got Hendrix to address an assembly at his high school of the Performing Arts in NYC. The very next year at Woodstock, Bleu was thrown one of the guitar straps Hendrix used in that famous performance and through this direct musical lineage, Jimy Bleu has carried the figurative baton of the Jimi Hendrix guitar showmanship legacy ever since. Jimy Bleu attended Berklee College of Music on the recommendation of Hendrix himself and went on to become a Columbia/Def Jam recording artist. A Hendrix historian, Bleu has given lectures on radio, TV and college campuses about the musical, spiritual and political importance of Hendrix. His musical talents and Hendrix stage show expertise has even landed Bleu a touring member spot with former Jimi Hendrix bassist, Mr. Billy Cox's band ... The Band of Gypsys Experience! Like Jimi Hendrix...Jimy Bleu is also one of the only lefthanders in the guitar biz... bringing even more authenticity to the concert re-creations he now performs in...KISS THE SKY!https://www.kisstheskytribute.com/about.html