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She grows bigger everyday.

Pre-pro.

Une idée de sortie à Lyon ? LA MAISON DE LA DANSE | Découvrez le spectacle de danse classique et contemporaine, E. GAT / J. PECK / B. MILLEPIED CREATIONS MONDIALES EN RESIDENCE par le L.A. DANCE PROJECT BENJAMIN MILLEPIED. Réservez vos places !

Today marks the world premier of the ballet set to Bryce Dessner's Murder Ballades, in Lyon, France. It is choreographed by Justin Peck and performed by LA Dance Project. I recorded and mixed the piece in Chicago with Eighth Blackbird.

#eighth blackbird #justin peck #bryce dessner #la dance project

Camped in Joshua Tree during the Twin Sister Fall 2012/Fun Fun Fun Fest Tour

#Joshua Tree #Twin Sister #fun fun fun fest

First single off of Double King's "Premonitions" due September 24th. Available for Free Download Credits: Written by Ryan Dieringer, with help from Andrew Lappin. Presented by KTMSGR. Recorded by Andrew Lappin at Sound Machine Studios in Manhattan, NY. Asst. Engineered by Chris Connors. Produced by Double King. Mixed by Jonathan Low at Miner Street Recordings, Philadelphia. Mastered by Alan Douches at West West Side Music. Artwork by Gracie Pizzo. Ryan Dieringer - Vocals, Guitar Andrew Lappin - Guitar etc. Alex Goldberg - Drums, Percussion, Synthesizer Sam McDougle - Bass, Wurlitzer, Percussion Taja Cheek - Backup vocals

#SoundCloud #Double King #Rock & Roll #groove #breezy #lovesong

Electric Lady Studios

#electric lady

Happy is a '52 Goldtop

#gibson #les paul #goldtop

A track I produced off of Sore Saints’ upcoming 10” ‘Generous Lover’.

#sore saints

2014: Trombone choir on everything.

New work mate.

Download this ingenious 99-cent app by local musician and sound designer Michael Kiley, and stroll around Rittenhouse Square while listening on your iPhone or iPod Touch. Your location (as determined by your phone's handy GPS) triggers the original compositions and soundscapes that Kiley wrote for the different areas of the park. A whole new 21st-century way to appreciate our 100-year-old gem.

I produced the track that Mike Kiley's app is based around. It's a huge honor to be awarded "Best of Philly" app for the year. The entire concept of the project is to use technology in a way that doesn't detach you from your surroundings and other people. It definitely achieves it and in my experience made me appreciate Rittenhouse more than I ever had before.

She’s arrived.

#eventide #h3000

#Vimeo #hopalong #sistercities #weathervanemusic #shakingthrough #minerstreetrecordings #brianmctearandpeterenglish #brianmctear #studiologicsound #audioengineeringassociates #johnnybrenda’s #pizzabrain #narragansettbeer #ingramengineering

Last week I had the pleasure of recording Chicago based sextet, eighth blackbird, at the Museum of Contemporary Art Chicago. For two nights leading up to the recording, the ensemble premiered in the US, Murder Ballades by Bryce Dessner, along with compositions by Nico Muhly and Philip Glass. Murder Ballades consists of seven movements of traditional folk songs. I arrived on the second night of the performance which was a good introduction to the piece and the room where I would end up recording, even though the PA and a couple hundred bodies in the room wouldn't help me get a feel for how my mics would hear things. For this trip I didn't bring much besides my 500 series lunchbox, everything else was rented in Chicago. The recording setup was fairly minimal, as expected for musicians of this caliber in a great room. We were in the Edlis Neeson Theater of the MCA, which itself is quite a neutral sounding space. It wasn't particularly live especially with the adjustable wall panels flipped to their absorptive sides, but large enough that you got a good sense of space around six acoustic instruments. A close XY pair of AKG 414's were placed at the front of the stage which could easily be the bulk of the mix and a pair of Shure KSM32 were placed about a third of the way into the theatre for rooms. These went into my API 512 and Purple Biz pres respectively. The close mics were a combination of Schoeps CMC6's, Neumann KM184's and KM105's, 414's and a Shure Beta 56 on the concert bass drum. They were all fed into a Behringer X32 digital console. Behringer, really?! Yeah, but the functionality of this thing was incredible. The 16 channel stage breakout box could be daisy-chained a couple times just with a single CAT-5 cable and the console fed 40 channels of IO over Firewire. From there, Pro Tools was acting purely as a tape machine. Anyway, even with Behringer (I mean Midas) pres and conversion it all sounded great. When it comes to mixing, Bryce and I have discussed taking a more heavy handed approach, which really excites me. Instead of just documenting a straight up classical performance, we'll see how far we can get with accentuating the performance and arrangement with the mixing process. The end result will accompany a ballet premiering later this Fall.

Dreamland's API. West Hurley, NY

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