THE S&V INTERVIEW

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Mike Mettler Posted: Jun 11, 2014 0 comments
Photo by Maureen Clark

There are blues legends and there are blues masters, and then there’s John Mayall. Long acknowledged as the father of the British blues scene that emerged in the heyday of the ’60s and the man who helped school the guitarslinging likes of Eric Clapton, Peter Green, Mick Taylor, Coco Montoya, and Buddy Whittington, the 80-year-old Mayall shows no sign of slowing down anytime soon. “You have no other choice, really,” he says matter-of-factly. “You set your feet on your path, and that’s what you stick with. It’s the only thing that you know to do.” His latest album, A Special Life (Forty Below), carries on the rich blues tradition, thanks in no small part to Mayall’s rapport with his band, led by a Texas-born guitar ace (Rocky Athas) and anchored by a Chicago-bred rhythm section (bassist Greg Rzab and drummer Jay Davenport). “Never plan to fade away,” Mayall sings in the title track. Dear John: We’re going to hold you to that.

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Mike Mettler Posted: Apr 02, 2014 0 comments
Photo by David McClister

“I’m basically what is known as a talented illusionist.” So says piano wizard Leon Russell, but the Oklahoma native is being more than somewhat modest. His C.V. is as impressive as they come: First-call member of the legendary ’60s L.A. studio collective known as The Wrecking Crew, co-founder of Shelter Records in 1969 with Denny Cordell, spearhead of Joe Cocker’s infamous 1970 Mad Dogs and Englishmen tour, and beneficiary of a revived recording career by teaming up with Elton John on 2010′s T Bone Burnett-produced The Union. On his just-released Life Journey (UMe), Russell comes full circle to show his mastery of the form on tasty covers like his piano-vamp stab at Robert Johnson’s “Come on in My Kitchen,” a slip-slidin’ romp through “Fever,” and a swing-sational full-orchestral take on Duke Ellington’s “I Got It Bad and That Ain’t Good.” Here, Russell, 72, and I discuss his ever-unique recording technique, what it’s like being “out on the edge,” and his time in the studio with Frank Sinatra. Face it, Brother Leon: You’re a one-man Wrecking Crew unto yourself.

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Mike Mettler Posted: May 28, 2014 1 comments
“We were united for the best sound we could get, and that was it. That was what we were chasing.” Is Linda Ronstadt revealing her high-end hopes for Hasten Down the Wind? Actually, that’s her assessment of the main goal she had for the 15 songs on her new compilation, Duets (Rhino). The ace song interpreter simply soars on songs like the tender but tough “I Never Will Marry” with Dolly Parton, the special intuitive blend she gets with James Taylor on “I Think It’s Gonna Work Out Fine,” and the complementary vocal halo she sets for Frank Sinatra on “Moonlight in Vermont.” Ronstadt has since retired from singing (in 2013, she revealed she has Parkinson’s disease), but that hasn’t stopped her from appreciating the sound of a good mix or a stellar vocal — or gently trilling a few lines of her favorite songs while we talk. Here, Ronstadt, 67, and I discuss her hi-fi proclivities, when not to use echo, how the right vocal texture tells the right tale every time, and how she learned about spotting hollow fifths.
Darryl Wilkinson Posted: Dec 21, 2007 6 comments

<I>Trying to build the perfect home theater isn't easy, but it sure is worth it.</I>

Nancy Klosek Posted: Aug 28, 2007 0 comments
What's possible these days—and how much or how little money does it take?
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Jamie Sorcher Posted: Nov 30, 2012 0 comments
At Home Theater, we’re all about the gear, but our systems would mean nothing without the memorable films we watch on them. Barry Sonnenfeld has had a hand in a good many of those. A 1978 alumnus of New York University Graduate Film School, Sonnenfeld broke into the biz as cinematographer for 1982’s Academy Award–nominated documentary In Our Water.
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Mike Mettler Posted: Dec 10, 2014 0 comments
When Mark Rivera isn’t splitting his time being Music Director for Ringo Starr or serving as a versatile multi-instrumentalist with Billy Joel (the latter for 32 years and counting), he’s doing what any good audiophile would — dropping the needle on some fine, fine wax. “The warmth of vinyl is like nothing else,” Rivera reports. “It really is. To me, it feels like it embraces you. It simply surrounds you.” Earlier this year, Rivera also found the time to put out his first solo album, Common Bond (Dynotone/Red River), and he’s patiently been overseeing having 1,000 copies of it pressed onto vinyl. “I couldn’t be more enthusiastic and more pleased about that,” he says. Here, Rivera, 62, and I talk about Common Bond‘s core production values, vintage gear and favorite LPs, and the ways music resonates over one’s lifetime. Ok, fine, we admit it — we just can’t get enough of that vinyl stuff.
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Mike Mettler Posted: Sep 24, 2014 0 comments
And then there were… five? The above photo is no trick of the tale, for you’re indeed seeing the five key members of Genesis — from the top of the stairs down, Phil Collins, Tony Banks, Steve Hackett, Peter Gabriel, and Mike Rutherford — together again for the first time in many years. No, they’re not reforming, but rather have come together to celebrate the career-spanning documentary Genesis: Sum of the Parts airing on Showtime October 10 (and expected to see home release sometime in November), as well commemorate the September 30 release of R-KIVE (Rhino), a 37-track, three-CD box spanning 42 years of both band and solo material. “I know, who’d have thought there’d be all of this activity at my age?” laughs Mike Rutherford, a mainstay of the band through all of its incarnations. “But when you see all these songs side by side, like ‘Turn It on Again’ with [Collins’] ‘In the Air Tonight,’ [Gabriel’s] ‘Biko,’ and [Mike + The Mechanics’] ‘The Living Years’ — you go, ‘Wow, that’s a great body of songwriting.’ ” Full-bodied, you might even say. Recently, Rutherford, 63, and I talked about the band’s impetus for sound quality, why tracks like “Supper’s Ready” still endure, and what might come next. Play me my song, o musical box.
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Chris Chiarella Posted: Feb 14, 2013 1 comments
Spin a few of sound re-recording mixer Greg P. Russell’s movies on a proper 5.1 or 7.1 system, and you’ll soon realize that this guy loves home theater. Having worked on more than 200 movies, including every Michael Bay opus since The Rock (although he freely admits “Armageddon was over the top”), Russell has crafted some of the most thrilling soundtracks of our generation.
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Mike Mettler Posted: Nov 13, 2013 1 comments
“You always think your voice will never end, of course,” observes Jon Anderson, the unmistakable alto tenor fronting indelible Yes classics like “Roundabout,” “And You And I,” “Going for the One,” and “Owner of a Lonely Heart,” to name but a scant few of their progressive gems. About 5 years ago, Anderson’s golden voice was threatened with a health scare, but after a necessary recovery period, his singing voice is back, and stronger than ever.
Adrienne Maxwell Posted: Feb 23, 2007 0 comments
Home Theater's second annual peak behind the Grammy curtain.
Kim Wilson Photography: Mark Schafer and Marc Stewart Posted: Jan 18, 2010 0 comments

Homeowners love what technology provides but many prefer to keep its presence at a minimum. Such was the case in this beautiful Southern California home in the upscale Pacific Palisades area. "This project had a good sized budget of $100k to provide whole-house distribution of audio, video, phone and data," said Mark Schafer, President of Custom L.A. "Still we all encountered a few challenges such as the family room, where the client wanted a completely invisible Home Theater in a wide open space".

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Steve Guttenberg Posted: Oct 28, 2005 Published: Sep 28, 2005 0 comments
Gabriel talks about his new dvd play, technology, and why ipod won't take over the music world.

Peter Gabriel's career got off the ground when he fronted one of Britain's top prog-rock bands, Genesis. He went solo in 1975. For this interview, we focused on his groundbreaking videos and his lifelong fascination with technology.

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Mike Mettler Posted: Oct 22, 2014 0 comments
“It’s a very common name. Back of $20 bills, that’s me.” Producer Andy Jackson is being typically self-effacing as he leans back in a chair across from me in front of the massive Neve 88R console that dominates the control room in the Astoria, the grand houseboat recording studio moored on the Thames somewhere near Hampton, Middlesex in England. It’s late August 2014, and it was my distinct honor to be summoned across the Pond to partake in an exclusive listening session for The Endless River, which has been deemed the final Pink Floyd album. (River will be released worldwide by Columbia on November 10.) After a rousing listening session in a place where much of the music I heard was either created, recorded, and/or mixed, I sat down across from Jackson exclusively to discuss the genesis of River, the costs and benefits of mixing in both analog and Pro Tools, and what may (or may not) be in Floyd's future.
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Mike Mettler Posted: Aug 06, 2014 0 comments
Sagacity, definition: Exhibiting acute perception, foresight, wisdom, and sound judgment. Tenacity, definition: Holding together tough and firm, with a tendency to stick or adhere. Two words could not better describe Saga, the longstanding Canadian progressive collective that continues to up its game with every release. To wit: Sagacity (earMusic/Eagle Rock), which crackles with confident energy, from the heavy propulsion of “Go With the Flow” to the anthemic uplift of “I’ll Be.” As an added bonus, Sagacity includes a second disc, Saga Hits, where the band muscles through nine of its best-known songs during a set recorded at the SWR1 Rockarena in Ludwigshafen am Rhein, Germany on June 22, 2013 that includes the perennial powerhouses “On the Loose,” “Humble Stance,” and “Wind Him Up.” Lead vocalist Michael Sadler (with arms folded in the above band photo) and I recently got together to discuss modern-day recording logistics, the fine art of mixing, and some surround-sound wishes. As you’ll soon see, when it comes to having Sadler talk about harnessing great sound, once you wind him up, he can’t stop.

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