Roadrunner United was a project organized by American heavy metal record label Roadrunner Records to celebrate its 25th anniversary. It culminated in an album released worldwide on October 11, 2005,[1] entitled The All-Star Sessions. Four "team captains" were chosen to lead 57 artists from 45 past and present Roadrunner bands, and produce and oversee the album's 18 tracks: then-Slipknot drummer Joey Jordison, Trivium frontman and guitarist Matt Heafy, Fear Factory guitarist Dino Cazares, and Machine Head frontman and guitarist Robb Flynn. The project was the brainchild of Roadrunner UK general manager Mark Palmer and Roadrunner USA VP of A&R Monte Conner. The album project was coordinated by Lora Richardson and was mixed by Colin Richardson and Andy Sneap. The All-Star Sessions spawned one single and music video ("The End"). The DVD included with the CD purchase is a documentary of the "Making Of" the songs. It features the sessions of the four team captains making their songs.[2]
sessions with joey l torrent
As a cub official, Joey found the veteran refs difficult to please. They nurtured him with negativity, so he makes it a point now to be positive with the referees he guides. He remembers walking into a locker room and being nearly brought to tears by Joe Gushue after a torrent of criticism. He still names Gushue as a hero.
Finally, we give you support and feedback through an exclusive members community and live practice group sessions with other members. This focused approach to learning guitar will help you bust through the beginner basics, break out of the intermediate plateau, and level up your playing.
Although the next Toto albums were less successful than Toto IV, Lukather was (co-)writing more than ever and appeared to be more and more selective in his session work. "We did the sessions for a long time but we're not doing that anymore. It kind of bugs me that people still go, "Oh yeah, those studio guys." I'm tired of that label. I'm proud of a lot of the work I did and I'm ashamed of some of the other work. You know, sometimes you have to polish a turd. That's the bottom line. That's what it is, man - get out the brown polish, man, here we go. I just didn't want to do that anymore. I wanted to play music that I liked with people that I respected." (Lukather, 1993).
"I haven't really spent much time with Billie or Finn. I met them before we did the EP together, because they wanted to get to know me, and we had some discussions about me and about what they wanted. But really, we quickly got to the point where they just send sessions to me, and they know what they're going to get from me. I know they want the low end to be massive, but also not overwhelm other things, they want the vocal to be super-present, and I found out that any unusual things in their sessions tend to be deliberate. For example, the song '8' came in with a kick that was off-centre, and I made it mono and centred it. Initially they liked this, but then Finn asked me to put it back where it was. On the song 'Xanny' there was a debate that possibly the chorus vocal was too distorted, which was intentional by Finn, but I managed to find a happy middle ground, blending a clean vocal in with the distorted vocal. They know what they want.
Leaving small differences aside, the structure of the mix sessions for 'Bury A Friend' and 'Bad Guy' is almost identical. According to Kinelski, his mix approach for each of the songs on the album was indeed very similar, with similar plug-ins on many of the tracks, identical master bus chains, and also, very few plug-ins in general.
"You can probably count all the plug-ins I use on two hands. I like to keep it simple. I get new plug-ins when clients give me sessions with plug-ins I don't have, and I then buy them to see what they do. Also, because all the vocals are one person with one mic, after I had dialled in Billie's vocal chain on the first song for the album that I mixed, I did not change it any more, but just tweaked the settings on that chain, as required. Everything that Finn sent me was super-consistent, so I also kept my approach consistent, and that meant that the entire album has a consistent sound. The beauty of what Finn gives me is also that all transitions between sections are already built in. All dynamics are there from the way he stacks his productions. The sound effects in particular create many of the dynamics and transitions and the rest is loop-driven, which is really hip-hop."
"I decided to study at the SAE Institute in New York, and after that I set up my own studio in New Jersey. I did well, but never felt I was doing anything that would attract major-label interest, so I joined Sony Music Studios in New York, started as a general assistant and eventually became an assistant engineer. I assisted on Beyoncé's second album B'Day [2006], and that's what opened many doors for me. All of a sudden, I was in a lot of high-profile sessions. After Sony Studios closed [in 2007] I worked freelance in New York for two years, mainly cutting demos for songwriters. In 2009, I moved to LA and started working with Roc Nation management, which is how I connected with No ID. I worked with him for four years, during which time we worked with some incredible artists, including Big Sean, Nas and Common." 2ff7e9595c
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