Music and Recording Features

Mike Mettler talks with Burton Cummings and Randy Bachman about The Guess Who's new reunion tour, why they were early proponents of releasing stereo singles, which one of them loves vinyl and which one prefers CD and digital, and how the eternal hit that is "American Woman" was born out of an improvised riff during a live show.

Since founding Ojas in the 1990s and applying the name to his audio components, Devon Turnbull has mined a young audience that the traditional hi-fi industry has struggled to reach. Those who know about him receive his speakers, amplifiers, and turntables as if they were gifts delivered from on high.

If not for the skill level of the producers and engineers who ensure recordings are able to get to the finish line, we may never have heard some of the best music of the past century-plus sound as good as it does. In Part 3 of our three-part Studio Confidential interview series, Mike Mettler talks with Elliot Scheiner, who has worked with Eagles, Steely Dan, Van Morrison, and many, many others, about what made him want to become a producer, his favorite album of those he’s worked on (it'll probably surprise you), and how he views surround-sound mixing.

If you really want to know how your favorite albums came to be, you can't go wrong talking with the men and women who are in the studio day in and day out with the artists—i.e., the producers and engineers. So we're doing exactly that. In Part 1 of our Studio Confidential interview series—there will be three parts this week, with perhaps more to follow—Mike Mettler talks with Chuck Ainlay, who has worked with Peter Frampton, Mark Knopfler (and Dire Straits), George Strait, and many, many others—about his production philosophy and who inspired him to get behind the board in the first place.

Was it something in the air, something in the water? Cosmically inspired by the stars and the moon? Or maybe the devil was finally claiming his own as rock music in all its variants was unassailably ascendant.

If there's one word that best describes the sound of the Boston-bred alt-rock quartet known as Pixies, it has to be "dynamics." It's a musical milieu Pixies have deftly presented for 37 years and counting, right from the outset of the sinister janglefest known as "Caribou," the opening track on their inaugural September 1987 EP on 4AD, Come On Pilgrim.

From there, short, sanguine, sweet, succinctly titled songs like "Debaser," "Velouria," "Monkey Gone to Heaven," "Gigantic," "Here Comes Your Man," "Gouge Away," and "Where Is My Mind?" have all served to cement the bedrock of Pixies' planet of sound. Chief Pixies songwriter and vocalist/guitarist Black Francis—born Charles Thompson—recently described it in an interview for Stereophile as this: "Let's be quiet. Now, let's be loud. Let's be whispering. Now, let's be explosive." That's a precise four-sentence descriptor not only of their entire prior CV but also of Pixies' latest, and ninth studio album, the forebodingly titled The Night the Zombies Came, which was released by BMG in October 2024.

From May 4 through August 18, 2024, the San Francisco Museum Of Modern Art (SFMOMA) staged the largest multisensory installation cum performance art exhibition in its history. Entitled Art Of Noise, the multi-room show, which occupied 14,000ft² on the museum's seventh floor, drew an estimated 140,000 visitors, boosting museum attendance by over 33% from the same period in 2023. Even accounting for postpandemic attendance declines, that's an impressive figure.

The exhibit, designed to celebrate "pioneering designs shaping our music experiences," was the creation of two visionaries: Museum Curator Joseph Becker, 40, and New York–based audio salon host/entrepreneur/system and fashion designer Devon Turnbull, aka Ojas, 45.