KMG’s Jack Miele Engineers new John Oates Album

by admin | 20thMay 2013

John Oates Sticks Around Post JazzFest To Work With KMG’s Jack Miele at Fudge Recording Studio

 

Hall and Oates, a big draw on closing day, played Jazz Fest for the first time this year. “It has been at the top of both me and Daryl’s wish list for many years and it finally came to pass,” John Oates said. “It was well worth the wait … one of my career highlights for sure. Love, love, loved it!” He loved it enough to stick around post-Fest in Fudge Recording Studio as part of his Good Road to Follow digital singles project. Lose it in Louisianawas written with Craig Wiseman and cut in Nashville, but Oates came to New Orleans to give it a different feel. “It turned into a whole other song.”

“I felt that if I came to New Orleans and played it with the local cats it would come alive in a different way, and it did.” Chad Gilmore helped organize it, and George Porter, Jr. and Shane Theriot played on the track. With Porter on bass, “That’s about as close to The Meters as I’ll ever get,” Oates said. “I’ve always wanted to record in this city, and this was the perfect song to do.” He also cut “We’ve Got a Different Kind of Groove Sometimes,” co-written with Jim Lauderdale while I visited the studio. As he travels from city to city working with his favorite writers and musicians, “It’s freeing for me and I’m very lucky to be in that position. I don’t take it for granted.” His next festival appearance is Bonnaroo, where he’ll serve as musical director for the Superjam ’70s Soul Revue, with a rhythm section of Larry Graham on bass and Joseph Modeliste on drums.

The beat, from New Orleans outward, goes on. (Read Full Article Here)

 
John Oates at Fudge Recording Studio in New Orleans

 

 

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King Music Group’s Jack Miele Wins Silver Telly Award

by admin | 01stMay 2013

Jack Miele wins a Silver Telly Award for his production on a song called “Louisiana’s Own” for New Orleans’ FOX Affiliate WVUE-TV

 

WVUE New Orleans’ Louisiana’s Own campaign began with music and lyrics created by General Manager Joe Cook.“I know general managers are supposed to be logical, bottom-line oriented,” Cook says, “and I am, but I also wanted to do something to lift the emotions of this area for all it’s been through since Katrina.”

It’s unusual for a general manager of a TV station to suggest to the creative services director that the station do a ‘feel-good’ music image campaign. Rarer still for a GM to bang-out the lyrics for it. And it’s really unheard of for a GM to actually come up with the music, too.

But then again, I guess we shouldn’t be that surprised, this all happened in New Orleans.

“I hummed the melody for him over the phone,” said Joe Cook, the general manager of Fox affilaite WVUE, describing how he called a musician friend, Jack Miele of Fudge Recording, to get him started on the music for what would become Louisiana’s Own.

Miele says Cook called and told him he had this idea for a song.

“He said he wanted it to be a minute long, and for it to be slow and lazy, with a ‘floating down the river’ kind of feeling.”

Miele says he told Cook to hang up and call him back so he could record Cook humming the melody on his phone. Several phone calls later, the team had collaborated the timing, the chords, the keys and lyrics before Miele brought in some musicians to record a rough cut with Miele doing the singing.  

“I know general managers are supposed to be logical, bottom-line oriented,” Cook says, “and I am, but I also wanted to do something to lift the emotions of this area for all it’s been through since Katrina.”

Once the music was fully produced, it was up to WVUE’s promotion manager, Blaine Strawn, to add the images. Strawn, a former news photographer, says he listened to the song a hundred times to visualize what those images should be.

“Everything except the talent shots was shot on the fly,” Strawn says. “I knew what I wanted to shoot and where to go, but some shots were just dumb luck.”

Using a Canon Mark III 5-D camera, Strawn says he shot a street car scene from the sun roof of his car (someone else was driving) and stopped on the causeway on his way home from work to capture a pelican lifting off from a piling. The shots of people sitting around eating were taken at the annual station crawfish boil.

“We’re locally owned [by Louisiana Media Co.],” Strawn says, “so we wanted something that reflected our home and the pride people have for it.”

Check out Jack’s song HERE.

Original Story By Paul Greeley
TVNewsCheck, 
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Miles Walker mixes Laura Jansen’s “Elba”

by admin | 12thMarch 2013

Miles Walker mixed Dutch pop/indie sensation Laura Jansen’s “Elba.”  The title track “Queen of Elba” was just released in the U.S. to much critical acclaim.

http://www.directcurrentmusic.com/music-news-new-music/laura-jansen-elba.html

http://www.laurajansen.com/music

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Check out this great review on Youth Lagoon’s “Wondrous Bughouse” engineered and mixed by Jason Kingsland

MusicTech Magazine spotlight on KMG’s Miles Walker

by admin | 03rdMay 2012

Great article featured in MusicTech magazine recently spotlighting Miles Walker and his craft…

 

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The Cee-Lo / Graham Marsh / Manny Marroquin Interview with Electronic Musician

by admin | 03rdMay 2012

The January 2011 issue of EQ profiles Cee Lo Green’s The Lady Killer. Here, Cee Lo and engineers Graham Marsh and Manny Marroquin elaborate on everything from studio sessions to Serge Sainsbourg. (full article here)

Cee Lo, on his influences…


My relationship with women, I had never really spoke on in any expounded way. The few times I dealt with women were things inspired by or directed toward my now ex-wife, a singular approach of being in love with this one person. But now that I’m single, I get a chance to generalize it a bit. On The Lady Killer, I’m the lover of, and torn between, so many. The Lady Killer is a representation of being smooth and rough, streetwise and sophisticated at the same time, and how a balance of them both is always a comfortable place to be. I find this in many who inspired me—definitely Barry White, and I’m very fond of my French teacher, Serge Gainsbourg.

On the evolution of his studio…


I still have my home studio, Inner Space, at the ranch, but it’s now more a sentiment than somewhere I work regularly. At the time I put it together, it was practical, as I was a newlywed, a father, and I wanted all these ducks in a row where they were convenient and nothing would suffer. I used to work with the [Korg] Trinity and [Akai] MPC when I was doing post-production there, because I don’t need much to be an idealist. But now Logic and all these things aid us quite a bit, and Graham has a vast amount of sounds, samples and nuances to work with. So I like to be in a studio where we can pull anything up and flesh it out. Sometimes we’d have a plan of attack, and sometimes we’d have no plan at all, which gave space for something magical and improvisational to happen. Other times, I’d take things home, write on them, then I’d go down a checklist in the studio.

Graham Marsh on Lady Killer’s musical references…


This record has an old-school soul vibe, but did not want it to sound “old.” We wanted to take soul into the future, not rehash what has been done. So yes, there are some things we referenced—Barry White, definitely, Sly Stone, The Dynamic Superiors, The Ohio Players, Black Sabbath, the Allman Brothers—but sonically, we wanted to make sure that this album was recorded in 2010. We also referenced MGMT, the low end on Lil Jon records, The Gorillaz.

On tracking Tommy Lee and Robin Finck, who appear on “The Lady Killer Theme (Outro)”… 


I used a pretty minimal drum/mic setup with Tommy, which was atypical for him. But Tommy was so great to work with, and was up for anything. We used a five-piece kit—421s on the toms, josephson E22 on snare top, 57 on snare bottom, FET 47 on the kick, U47 and 251 in the room, mono overheads. We were going for a “vintage” sound. But it all starts with the person behind the drums. When you have a great drummer, playing great drums, my job becomes pretty easy. We tracked on a SSL 9000 J, with TONS of outboard. We tracked at Tommy’s home studio, The Atrium. It was such a privilege to work with him there. He’s just the best.

Robin is a tone freak! He brought his guitar tech, guitars, pedal board, a Fender twin, and Gallien-Krueger cab. He dialed in the tone he wanted (which was absolutely amazing), and I threw up a 57 and a 421 and let him go to town. Again, it starts with the player. I’m not going to tell Robin Finck shit! I’m going to let Robin be Robin! My job in these situations is of course to get great sounds, but really be able to manage the flow in the studio and capture the magic when it happens. And watching those two play together was magic!

Manny Marroquin on mixing for mastering…


The problem is now we can get it as hot as we want without distorting it, where before we didn’t have those tools. So it’s not that we’re trying to master it, but in the tape days there would be more hiss than actual level of the music; the signal-to-noise ratio was so high, so they’d master it and it would be a million times better when it’s cranked with a limiter. It seemed like new life; there was this perception of level. But now we can get it that hot, so everyone makes it all to sound “better”—producers, everyone. Everyone thinks louder is better, so we have to compete. You can have a really good rough that’s super hot, so you’re as good as your rough. But what was great with the Cee Lo album was, it wasn’t just taking roughs and making them “better.” He said, “Go with what you feel.” It was a green light to push it, though you couldn’t just go left. You had to hold the integrity of the song. I wasn’t meant to completely remix it into my own vision. We’re the interior designers, not the builders.

On his studio set-up…


I’ve been in the same room for 12 years. I mix on NS10s, Yamahas, and I have Augspurgers with TAD components for my mains, so my ears are accustomed to a set-up and that adds continuity to the sonics. Then I have a little iPod docking station that I kind of reference mixes on, since I know people will hear songs on laptop speakers. Between those three, I’m pretty much covered.

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Telefunken Article highlighting KMG’s Graham Marsh on recording Cee-Lo’s first solo album

by admin | 03rdMay 2012

Here’s an oldie but a goodie interview with Graham Marsh about using the classic Telefunken Ela M 250 microphone on Cee-Lo’s first solo album. (full article here)

Pictured with the new TELEFUNKEN USA Ela M250 tube microphone is Cee-Lo Green and engineer Graham Marsh.

Pictured with the new TELEFUNKEN USA Ela M250 tube microphone is Cee-Lo Green and his engineer Graham Marsh. Photo by Samuel Thomas.

Hip Hop-Funk-Soul-R&B star Cee-Lo Green is recording his forthcoming solo album in Miami with recording engineer/mixer Graham Marsh. For vocals, Green is exclusively using the new TELEFUNKEN USA Ela M 250, faithful reproduction of the classic microphone originally marketed in 1959. The first single from the Atlantic Records album is due out this summer.

“Cee-Lo truly has a unique voice, the closest we have today to an Otis Redding or a Marvin Gaye,” says engineer/mixer Graham Marsh. “He is a true soul singer, but he can get a bit nasally at times, which is his trademark. I used to work on that in the box because the 2K material can be sonically harsh at times, but the new Ela M250 takes it and rounds it off, softens it up just right.”

Marsh is known for his work with such artists as Natalie Cole and Lionel Richie, and as producer of tracks for Leona Lewis, Novel, and Ludacris. He also recorded and co-mixed “The Odd Couple” by Gnarls Barkley (Dangermouse and Cee-Lo).

“Cee-Lo sings with a lot of dynamic range,” Marsh continues. “He sings softly one moment and then really belts it out. The 250 stood up to that like the Great Wall of China. When he heard his voice with this mic he immediately knew it was the right microphone. Cee-Lo has great mic technique and knows exactly where he needs to be to get the sound he wants.”

Marsh explained that he uses a John Hardy M-1 microphone pre-amp and a Universal Audio 1176 compressor/limiter with the Ela M250. He sometimes utilizes Manley EQ to “boost a little bit of the 8 to 10K range, just to give it a little airiness.”

Originally sold in 1959 by Telefunken of Germany, the new Ela M 250 is a two-pattern (cardioid and omni) version of the famous Ela M251, and shares the same sonic performance and circuitry as one of the most sought after of vintage tube microphones. The TELEFUNKEN USA Ela M 250 comes complete with a new CK12 dual membrane capsule, custom wound Haufe transformer, vintage style power supply, 10 meter Gotham Audio cable, locking leather bound flight case, wooden microphone box, owner manual, and a fully transferable lifetime warranty.

 

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Producer’s Corner with Universal Audio featuring Jay Sean’s “Hit the Lights,” Mixed by Miles Walker

by admin | 02ndMay 2012

Posted on uaudio.com by Miles Walker on 4/25/11 5:07:46 PM PDT

Miles Walker

Miles Walker

Miles Walker mixes and produces records for some of today’s most successful pop acts. Getting his start at Silent Sound Studios in Atlanta, GA, Miles worked alongside songwriter and producer Sean Garrett for acts like Beyonce, Usher, Enrique Iglesias, and the Pussycat Dolls. He moved on to work closely with the amazing production duo Stargate, with whom he mixed #1 records from Rihanna, Katy Perry, Wiz Khalifa, and more. Still based in Atlanta, Miles works from his studio at Parhelion Recording using a UAD-2 QUAD DSP Accelerator — the perfect pop vocal production setup for many of today’s hottest acts. 

Hey everyone, I’m going to be looking at a mix I did for Cash Money artist Jay Sean called “Hit the Lights,” one of the lead singles off his new upcoming album, Freeze Time. I love Universal Audio’s “Producer’s Corner” articles, and wanted to share some of the vocal mixing techniques and ideas I use when approaching a song for an album.

As background, this record was Jay Sean’s return to the radio after his mega-hit “Down,” so I wanted to pull out all the stops and really make it work for club and radio. The record was produced by OFM, consisting of Jeremy Skaller and Bobby Bass, the same amazing production duo that whipped up “Down” for Jay Sean a few years back. With all these elements in mind, I set out to maintain a great clean sound on Jay’s vocals, while putting in some spicy mix effects to create the ear candy that I love in today’s pop records.

I’m mostly going to focus on the vocal settings and approach here, though I can tell you that the rhythm elements of the track would not have been bumping without some help from the UAD-2 QUAD card as well.

So you can check it out for yourself, here’s the video for “Hit the Lights” by Jay Sean – http://www.youtube.com/watch?feature=player_embedded&v=U18gtNpUOMA

Want it on your iPod? Here’s a link to buy it off iTunes!

There are several great things about the vocal performance on this song that made this record fun to mix. Jay killed the performance, which is a mixer’s dream because all I had to do was clean it up and give it some shine and effects, instead of trying to inject energy into the performance. (Hey UA, that’s the next UAD plugin you should make, “Lazy Vocalist Energizer!” I’m pre-ordering it right now.) Also, the arrangement was good; there were great transition vocal parts and good harmonies to create the mix from. With those lucky numbers off my checklist, I was able to focus on just adding space and delay on the track, as well as a bit of clarity and presence to make the record ring out. To accomplish this, there were a few key UAD plugs that made this mix rock. Let’s take a look at the sections of this song….(read full post on Uaudio.com)

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Miles Walker: Technology, Tracking Hits with Apogee & the Importance of Tuning

by admin | 01stMay 2012

Here’s a recent showcase Apogee did on KMG’s own Miles Walker. You can see the full article at http://www.apogeedigital.com/artists/miles-walker.php.

At no slower pace than full, Grammy-Winning recording engineer and mixer Miles Walker has been accruing credits on a proliferating chain of chart-topping albums over the past few years. Artists like Rihanna, Usher, Beyonce, Enrique Iglesias, Ludacris, Bow Wow and Katy Perry have recorded their hits with Miles, including current records like the iTunes #1 album, Loud, by Rihanna and Katy Perry’s Teenage Dream.

Mainly a ProTools user, Miles relies on his Apogee Big Ben, Duets, Rosetta 200s and 800s and now his Symphony I/O so he can toggle back and forth easily between Pro Tools, Logic, and any other application he has to work on. Regardless of where he is- at Roc Da Mic in NYC or at his room at Parhelion Studio in Atlanta- he stays armed with his Apogee gear, even taking them with him on the plane to have at every session he does. “My Apogees are so easy to patch in,” Miles explains. “They are always in my vocal chain.”

Though born in Waterville, Maine, Miles considers himself a Southern man after spending many years jostling between South Carolina, Nashville and his current home, Atlanta. After graduating with a degree in music production and Engineering from the prestigious Berklee College of Music, he engineered for artist and producer Sean Garrett (Usher, Destiny’s Child, Ciara, Janet Jackson) which inevitably opened the door for his own career as a recording engineer. For the past few years, Miles has teamed up with Stargate, the Norwegian producing/songwriting duo Tor Hermansen and Mikkel Eriksen, in NYC at Jay-Z’s Roc Da Mic studio, with whom he collaborated on Rihanna’s Loud and other massive albums.

“Capturing the fidelity of the source is what’s crucial and Apogee allows me to get clean recordings with accuracy.  I won’t record anything, especially vocals, without my Rosettas.”

Why do you use Apogee?


“Capturing the fidelity of the source is what’s crucial and Apogee allows me to get clean recordings with accuracy. I won’t record anything, especially vocals, without my Rosettas. I take them with me everywhere I go. If I could buy out the rest of the Rosettas, I would.

“I also use Apogee for the extra features and sonics I feel they have over their industry parallels. For example, the soft limit on the Rosetta 200 is amazing, as well as the superior image and detail I get using the Big Ben versus a Digi Sync I/O. In addition to that, I feel its main function as converters are just better and give me a cleaner signal to work with… on the way in, and on the way out.”

You said you mainly work in Pro Tools but taught yourself Logic for when you need it. How does Apogee fit into your studio setup needs?
“Before getting Symphony I/O, I typically would work with different Apogee products for my Logic usage. I would use my Rosettas with Pro Tools because of the X-HD card. Since it was already set to go, I would rarely swap out cards (Firewire or Symphony cards) because it would kind of be a pain. Instead, I used my Duet mainly for monitoring purposes and would do most signal recording with the Rosettas in Logic land. Now with my Symphony I/O, I can easily switch back and forth between programs based on my needs.”

Rayza Soundz from “Clubba Langg” and Miles have also recently worked together on a few projects, such as “How Do You Sleep” for Jesse McCartney as well as a number of other pop records including Raven Simone on Hollywood Records. Miles also worked with producer YG for CLubba Langg Productions on the single “Energetic” for the Korean artist BoA. He recorded “What’s my name”, “S&M” and “Only Girl in the World” on Rihanna’s current album, Loud, as well as “Firework” and “Peacock” on Katy Perry’s Teenage Dream record, all with his Apogees.

Why did you choose to get Symphony I/O?


“Growth…with the Symphony I/O, I can meet all my current studio needs, but have room to add additional I/O from the same box. Aside from all the other benefits, being modular is really what appealed to me. I see my gear as an investment. I’m never getting rid of my Apogee stuff!”

Any recording tips or tricks for novice engineers?


“Make sure the source is right first before anything else. If your guitar isn’t tuned correctly (which needs to happen often), then it will never be right. Tune, tune and tune again.”

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