Village

Andrew Scheps on the Waves Masters Tour at the Village Studios on March 13, 2011.

Visit Andrew’s site at http://www.scheps.com/

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

After graduating from the University of Miami’s music school, Andrew Scheps worked for Synclavier. Following that he toured with both Stevie Wonder as a keyboard tech and Michael Jackson as a mixing engineer. Eventually Andrew began concentrating on recording, and he found himself engineering for some of the most successful producers in rock: Don Was, Rob Cavallo, and Rick Rubin.

Andrew has recorded such diverse artists as Audioslave, Green Day, Johnny Cash, Jewel, Neil Diamond, Limp Bizkit, Alanis Morissette, The Rolling Stones, and Linkin Park. Artists such as U2, Red Hot Chili Peppers, Justin Timberlake, Jay-Z, and Camp Freddy featuring Scott Weiland have taken advantage of Andrew’s talents as a mixing engineer.

Read more: http://www.waves.com/content.aspx?id=3545#ixzz1ItJYDgGL

Andrew Schep’s Discography
 

From a photo session for Waves by Brian Petersen with Tony Maserati in Studio D at the Village Recorder in West L.A.

The man behind the sound of the Black Eyed Peas, Jay-Z, Mariah Carey, Puff Daddy, Beyoncé, Usher, John Legend, Alicia Keys, Jason Mraz, Macy Grey, Mary J, Blige, Rob Thomas, Sting, David Bowie, Tupac Shakur, Ricky Martin, Notorious B.I.G.

Read more: http://www.waves.com/Content.aspx?id=8873#ixzz13PWelf3l
Visit Tony’s site at http://tonymaserati.com/

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image. © 2010 Brian Petersen

About Tony Maserati

Widely regarded as the principal architect of the legendary New York Sound, Tony Maserati is one of the world’s most respected mixing engineers. In a dazzling career with countless hit records for superstars ranging from Sting and David Bowie to Macy Gray and Alicia Keys, Tony has done more than simply make the songs sound great. He has played a major role in redefining the aesthetics of R&B, hip-hop, and pop.

After completing his studies at Berklee’s program for production and engineering, Maserati got his start at the legendary Sigma Sound Studios in New York during the mid-’80s, hooking up with early rap legends like Heavy D and Brand Nubian. Working closely with Bad Boy Entertainment’s roster of heavyweight talent—including Mary J Blige, Faith Evans, Notorius B.I.G. and Lil Kim—he helped create what became known as the sound of New York hip hop. It wasn’t long before he was leaving his mark on smash pop hits including Ricky Martin’s “She Bangs”, Marc Anthony’s “I Need to Know”, and R. Kelly’s “I Wish”.

Today, as an active producer / mixing engineer as well as instructor at Tisch School of the Arts / New York University, Tony mentors up-and-coming engineers and artists. He’s won two Grammy® awards, one for Beyonce’s “Crazy In Love” and one for Sergio Mendes’s Timeless, and is the recipient of a 2006 TEC Award. He is an active member of The Recording Academy, and this year received his seventh Grammy nomination, for Jason Mraz’s We Sing. We Dance. We Steal Things.

Maserati says “I’ve been using Waves from the beginning. From dynamics and EQs to special effects, most of the tracks I’ve mixed have Waves on them. Waves did an amazing job turning my personal processing chains into custom plug-ins.”

Selected Discography

• Marc Anthony: “I Need To Know”
• James Brown: JB (Best of the Best)
• Mariah Carey: “Honey,” “The Roof”
• Destiny’s Child: “Survivor,” “Bootylicious”
• R. Kelly: “Like a Real Freak,” “TP-2″
• Jennifer Lopez: “Play,” “Ain’t It Funny,” “I’m Real”
• Ricky Martin and Christina Aguilera: “Nobody Wants To Be Lonely”
• Maxwell: “Fortunate”
• Mýa: “Best of Me”
• Notorious B.I.G.: “Mo Money Mo Problems”
• Puff Daddy: “Been Around the World”
• The Simpsons: The Yellow Album
• Jessica Simpson: “Sweet Kisses”
• Tupac: “Changes”
• Vitamin C: “I Know What Boys Like”
• Anouk: “Hotel New York” Album
• Jason Mraz: “We Sing. We Dance. We Steal Things.”

Photography by Brian Petersen at www.brianapetersen.com
Email Brian Petersen for licenses regarding this image.
© 2010 Brian Petersen

In 1978 Yamaha first introduced the NS-10 design with the iconic white woofer. At that time they were marketed as home audio compact bookshelf speakers. And they did a terrible job at it. Long listening sessions proved fatiguing to the ear, due to tweeter-woofer alignment/phasing issues and the harsh quality of the tweeter, when used with the original crossover.

However, a couple of well known mixing engineers revealed by word of mouth that some of their recent multi-platinum productions had been mixed on NS-10s, instead of the Auratone cubes that were the untouched standard at that point. For a good reason, most purchases and decisions in the audio world are made according to what the more experienced and successful use, and how they use it. So, by word of mouth, more and more engineers started using them in their studios. They were the only speaker design with a contrasty white woofer on a black enclosure, so they were easy to spot and recognize in any control room.

But the tweeter was indeed too harsh, and some engineers started modding their NS-10 with some paper or cloth over the tweeter, to absorb and phase cancel the high frequency output, or even performing after market crossover modifications. (See also: “The tissue phenomenon”)

Yamaha, confused that engineers were more interested in their home speakers than home users grabbed the business opportunity and started catering to that new target market. – The NS-10M STUDIO monitors were born.

Engineers were using the speakers laying on their side on a console, and complaining about the harshness, so they addressed those modifications in a new revision, NS-10M STUDIO (M standing for Monitor). These had an improved crossover circuit with slightly less tweeter output, and were designed to be placed horizontally, with the logo turned 90 degrees and the tweeter shifted to one side (always in the top-outer corner).

And now they were selling like candy. Engineers were discussing about the best amplifiers to use with their passive NS-10M, and later even adding subwoofers to compensate for lack of low frequency response. The white woofers were being used as kick drum mics, and due to the fragility of the tweeter, prone to burnouts, replacement parts are constantly being traded on eBay.

Thousands of albums were made using the NS-10M nearfields as the main source of monitoring. Virtually every well-known mixing engineer in history (people such as Andy Wallace, Terry Date, Brendan O’Brien, the Lord-Alge brothers, Charles Dye, Dave Pensado, Ben Grosse, you name it) used them to make some of the most amazing production works ever. In 2007, they were awarded the Technical Grammy® Award.

But in the new millennium Yamaha started having trouble finding the wood pulp to make the white woofer cones, and they weren’t yet prepared to release a new model. Quickly they put together a new line of active black-woofer monitors, the MSP series. They were well built and great for mixing, but sounded smoother, and people were missing the NS-10 raw feel of present midrange – the “Yamaha NS-10 sound and looks”.

So why not do things right? Why not release a redesigned line of white-woofer, active nearfields, with improved technology and lower price for home studio affordability? That’s exactly what Yamaha did in 2006.

The Facts: why NS-10M became the standard
I love hearing the “little experts” bashing the NS-10 based on a 5-second listen, even more than I love hearing the clueless followers claiming that they sound “amazing and flat”. They’re both right and wrong. But they don’t know why, or how.

Myth: “The NS-10M have a flat frequency response.”
False. Their 2 kHz bump of + 5 dB and low frequency drop starting at 200 Hz is part of what made them a studio workhorse. Far from being flat, they “open” the frequency range with a midrange-based response that exposes the most problematic and worst-sounding frequencies. In your consumer hi-fi, the EQ preset that makes most music sound “better” (”Loudness”, “Rock”) is exactly the NS-10 frequency response, flipped upside down… Coincidence?

Myth: “The NS-10M sound plastic, harsh and ugly.”
That’s because you’re either speaker-spoiled, listen to bad mixes, or don’t know how to mix. They boost the uglier frequencies and hide the comfortable ones. They’re like the mixing version of Simon Cowell on American Idol. If you can’t mix, they will tell it like it is. If you’re too childish to accept that, you’ll probably leave the room cursing the speakers and promising to someday become successful and show them they were wrong! And that’s what happens to a lot of people. Similar situation, same effect.

Myth: “The NS-10M sound great!”
Well, they are defined in the midrange (see above) and very analytic – good if you’re used to clinical listening. But I wouldn’t use them in a living room to play jazz records at the fireplace.

The explosive popularity of the Yamaha NS-10M speaker system for near- field monitoring in professional sound studios throughout the world has resulted in the development of the NS-10M STUDIO model. The NS-10M SUTDIO maintains the quality and performance of the original NS10M, but has been refined and redesigned specifically for professional applications. To begin with, you can throw away the tissue paper. The high-end output of the NS-10M STUDIO has been modified – on the basis of extensive testing and feedback from the field – for optimum balance in the studio control room.

The NS-10M STUDIO retains the unique sheet-formed white-cone 18cm woofer of the original NS-10M, but employs a redesigned 3.5cm dome tweeter to achieve high-end response that is more suitable for studio use. Optimum woofer/tweeter matching and careful crossover design ensure smooth, natural transition between frequency ranges with minimum phase variation. Frequency response is remarkably flat from 60 Hz right up to 20 kHz, and superior transient response delivers crisp, transparent sound. The exceptionally tight, clean reproduction and precise overall response of this system is a must for accurate sound evaluation and image positioning.

While the original NS-10M was primarily a vertical design, the NS10M STUDIO has been remodeled to facilitate on-console horizontal placement. Overall construction is more rugged to withstand the rigors of nonstop professional use.

FANPAGE FOR YAMAHA® NS-10M
www.ns-10.net/category/history/

Brian Scheuble
Producer / Audio Recording / Mixing Engineer

Online Mixing available email for details: bscheuble@mac.com
homepage.mac.com/bscheuble/disco/Personal18.html

See another pic here
flickr.com/photos/bpbp/2742195121/

Brian Scheuble – Audio Recording / Mixing Engineer / Producer Credits

Need To Breathe – Record & Mixing (upcoming releaes)

Crosby Loggins – Record & Mix (upcoming release)

Dave Matthews “Live” – Mix (upcoming release)

“Yes Man” Jim Carrey – Mix – New Movie (upcoming)

Brett Dennen – Record & Mix (New record)

Serena Ryder – Record & Mix (upcoming release)

Tyler Hilton – Record & Mix (upcoming release)

Lenka – “Knock Knock” – Single Mix – New Record

Robbie Robertson – Mix

Ben Lee – Record & Mix

A Fine Frenzy – Record & Mix

Sheryl Crow – Record

Aimee Mann – Record & Mix

(Magnolia soundtrack) & Bach. #2

Matt Nathanson – Recording

Rachael Yamagata (new record) – Record & Mix

Bethany Dillon – Record & Mix

Edie Brickell (new record) – Recording

Brendan James – Record & Mix

I Nine – Record Strings

Trevor Hall – Recording & Mixing

John Mayer Live – Mixing

New Found Glory -Recording

Dave Matthews – Record & Mixing

Meika Pauley – Mix

Stone Temple Pilots “Revolution” – Record

Liz Phair – Recording & Mixing

Five For Fighting – Record

Eric B. & Rakim – Mix

The Last Goodnight – Record

Michelle Branch – Record

Kate Voegele – Record

Ryan Shupe & The Rubberband Band – Record

George Stanford – Record & Mix 2 songs – new record

Train -Record

Lisa Marie Presley – Record

Year Long Disaster – Mix

Megan McCauley -Record & Mix Song on, Dr Phil Show

Chantal Keziazuk – Record

Stage – Record

Dishwalla – Record & Mix

Elton John – Record

MC Solaar Live – Record & Mix

Fiona Apple “TIDAL” – Record

Amy Carriea “Carnival” – Record & Mix

Stevie Nicks (soundtrack) – Record

Five For Fighting “America Town” – Record & Mix

Jeremy Toback – Record & Mix

Liz Phair (single) – Record & Mix

Crash Test Dummies – Record & Mix

Wallflowers (Godzilla soundtrack) -Record

Wallflowers (Virgin) – Record & Mix

Ringo Starr & The All-Starrs – Mix

Marilyn Manson – Record

Nine Inch Nails – Mix

Butthole Surfers – Mix

Ice Cube – Record & Mix

Don Henley “End Of The Innocence” – Record & Mix

Tom Petty & the Heartbreakers – Record

X – Record

Wild Colonials “This Can?t Be Life” – Record

John Hiatt -Record & Mix

Mel Torme “Joe’s Garage” Soundtrack – Record & Mix

Wayne Shorter “High Life” – Record o/d’s

Barbara Streisand Rehearsal

Charlie Haden/Hampton Hawes – Mix

Beth Nielsen Chapman – Record & Mix

Soul Mission – Record & Mix

Robben Ford “Handful of Blues” -Record

Lili Haydn – Mix (2 songs)

Paul Thorn – Record

3 Mile Pilot – Record

Jon Bon Jovi “Blaze of Glory” – Mix & co-record

Fantasia “American Idol” – Record

Otep – Record & Mixing

Backstreet Boys – Record

Dandy Warhols (new record) Mix 1 song

Teddy Thompson (new record) – Recording

honeybird – Mix

ALSO-Recording & Mixing – iTunes Originals

Death Cab For Cutie

Liz Phair

Melissa Etheridge

Under The Influence Of Giants

Papa Roach

CONTACT INFO:

Management: Jim Phelan & Jerimaya Grabher @ GPS | Global Positioning Services

3435 Ocean Park Blvd., Ste. 107-191

Santa Monica, CA 90405

Tel – 310.828.1350

Fax – 310.828.1352

A wonderful horse carriage on a road in a small rural city in Romania.

horse carriage in Romania, originally uploaded by bpbp Brian Petersen.