Slau takes you behind the scenes at BeSharp, a recording studio in New York City. Listen to excerpts from sessions, gear reviews and equipment shootouts.

I received an audio comment from James Clausen with some questions about microphone preamps. James inquired about my recent purchase of several Grace Design M101s and wonders how they compare with the Millennia Media HV-3D. As I mentioned in the previous episode, I won a bid on the M101s in an auction of gear from a studio going out of business. I wouldn't have gone out of my way to look for the M101s but they are very nice for the price and especially at the auction price at which I purchased them. I would have probably preferred the John Hardy pres that were originally housed in the studio's racks but, alas, they were gone before the auction even began… I sent the pres to Grace Designs for a +10 dB gain modification so I didn't have time to do a proper shootout. However, when I did bring the pres to the studio, I plugged them in just to make sure they were in working order. I did viagra a very brief comparison to the HV-3D just to see if they were at least as clean. I have to say, they were awfully close. I detected only a perceivably higher noise floor, perhaps 3 dB or so. Otherwise, they really were comparable. The front panel Hi–Z input and high pass filter are welcomed features not available on the HV-3D. I do wish they had an easier option for rack mounting but, with a rack shelf, a drill and two #10 machine screws, it's not a big deal. James asks about how the Grace and Millennia pres compare with some other offerings from Focusrite, Manley and Avalon. The thing is, some of the pres he mentions are more along the lines of channel strips that include compression and/or equalization in addition to amplification. Rather than comparing them to the HV-3D, I'd sooner compare them to something like the Millennia Media Origin STT-1. The Origin is a full recording channel although it also has a feature not found in too many preamps which is a twin topology design that allows for discrete solid–state and tube paths for the preamp, compressor and EQ sections of the unit. I had to break the news to James that, when recording a drum kit, one could, indeed, easily use tens of thousands of dollars in preamp channels. Of course, one probably wouldn't find that kind of arsenal in a home studio but it's par for the course in commercial facilities and higher–end project studios. Think about using 8 channels of a vintage Neve console to mic a drum kit—with a price tag of several hundreds of thousands of dollars, what would you say is the per–channel cost of the signal chain? Yeah, I know, it seems almost depressing, doesn't it? But why? It shouldn't be depressing at all! One can get fantastic results with simple, straight amplification of signals right into a DAW. In fact, that's what some engineers began doing in the 80s and 90s with preamps going straight into analog multitrack recorders and bypassing the console altogether. These days, it's possible to find great multichannel preamps with plenty of clean gain to help get several tracks of high–quality audio into your recording platform of choice without totally breaking the bank. If you do a little searching, you'll find that Rob Hunter (Branford Marsalis's engineer/producer) often uses Millennia preamps. What you probably won't find out is that, depending on the client with whom he's working and their budget, he sometimes uses the PreSonus DigiMAX. The DigiMAX is a wonderful 8–channel preamp with plenty of nice, clean gain. I've used it on a couple of projects as well and I think it's great. I've also used the preamps on the Focusrite Control|24 as well as the OctoPre. Apart from lacking a little extra gain for the many ribbon mics I often use, they're perfectly fine preamps for a wide range of applications. A recent episode of Ronan's Recording Show featured a review of several preamps in the $500 range. Among the contenders, Ronan appears to like the True Systems P-Solo which, incidentally, my buddy, Allen (Big Al) Wagner, just won in a Sweetwater Sound Twitter promotion.

Direct download: SWS015-Pre_Post.mp3
Category:Podcast -- posted at: 7:17pm EST

Yeah, I know, I know—it's been a long time. Trust me, it bothers me more than it might bother you. Thing is, I could either cancel sessions and work less often, make less money and then I'd have more time to podcast! Oh, wait… maybe not. I did have a last minute cancellation which was quite welcomed, given my cold and so I did have an unexpected window in which to record this episode—a kind of "catch up" in the studio. I have to say, when I started this podcast series, I figured that I would do a few such "catching up" episodes but now I'm thinking I might rather do it in blog form. Hmm… maybe I will. We'll see. Sooooooo– since last time, I did go to Atlanta for Dragon*Con which was a complete blast. I met so, so many people who were so friendly and were fans of the podcast. It didn't hurt that I was hanging with George Hrab ( and Donna Mugavero (@MsInformation) most of the weekend. I was invited to be on two panels in the podcasting track. It was so nice to finally meet derek & Swoopy from the Skepticality podcast. ( I couldn't visit Atlanta and not give my friend, Brian Stevens ( a call. We went to lunch at one of those Brazilian steak joints. Wow! I like to call our little meet up a "meat up" because, man—bacon-wrapped chicken, bacon-wrapped beef, bacon-wrapped bacon… It was fabulous to meet Brian in person and I really enjoyed the conversation. Hey, Brian: c'mon, let's have another episode of the Music Pro Show! (Like I should speak about getting a show out…) A couple of weeks ago, I flew out to San Francisco for a meeting at Digidesign. I've been working with them over the course of a few years to make Pro Tools compatible with the VoiceOver feature of Mac OS X. It's been a long road and we still have a little way to go but we can definitely see the finish line. For more information on the accessibility of Pro Tools for blind users, please visit As usual, I did attend the AES show in New York. I must say, although they tried to spin it in a positive light, the show is so much smaller than it used to be. Hey, I'm glad it's still around and I'm confident that it'll grow once again but it really did seem quite a bit smaller than in previous years. I tried to attend as many workshops as I could. Of course, there are so many good ones that are scheduled at the same time—it's impossible to see everything one wants to see at these conventions. One of the panelists with which I was quite impressed was David Josephson of Josephson Engineering. ( David was so thorough in his explanations and so confident that it made me want to just go out and buy a Josephson microphone. David's an impressive and knowledgeable man with high standards. . No wonder he's chair of the AES Standards Committee. I did get to see a bunch of friends and colleagues—some old, some new. I met Sydney Galbraith who came down from Toronto for the show. I know Sydney through Twitter (@sydneygalbraith)—really nice guy with, I'm sure, a bright career in front of him. Speaking of bright careers, I got to meet the legendary Bruce Swedien. Wow, what a warm and gracious person he is. I think of him as the Walter Cronkite of the audio world. Man, what a giant in the industry and he couldn't be nicer. There were a couple of people I didn't get to see in person and I was bummed about that. I stopped in at the A–Designs booth to see Ronan Chris Murphy of Ronan's Recording Show ( but he wasn't around. I stopped in again the next day and missed him again and it appeared that he wasn't checking Twitter so I didn't get to meet up with him this time. Also, John Grant of Granelli Audio Labs ( had a whirlwind of a day on Sunday (his only day at the show) but I had to leave early and missed him. Next time…

Direct download: SWS014-The_Didge.mp3
Category:Podcast -- posted at: 7:10am EST

Most of my clients come to me by word of mouth, which is great. Even better, I often get sidemen on sessions who have their own side projects and, having worked with me, often approach me about recording their stuff as well. I was working on a project featuring fairy tales and silly songs, aptly titled, "Fairy Tales and Silly Songs." The author of the stories and songs collaborated with a musician named Shay Salhov. He wrote the music for the tunes and did some incidental music for the stories. Shay came in a few days before the main session to lay down piano for the tunes. He was OK on piano but nothing special. In all fairness, I've worked with some extraordinary pianists and, let's just say, I wouldn't necessarily put him in their league. Everything went well during the piano tracking session and at some point Shay said, "Hey, I have a trio and I'd love to have you record us. I live in the neighborhood and I feel comfortable working with you. Would you be interested?" I said, "Sure, that would be great." So I thought nothing more of it because I get inquiries like that all the time from musicians and, until they "book the hall," it's all talk. But a few months later I got a call from Shay wanting to book a session. "OK, a trio session. So, piano, bass, drums? Piano, bass, guitar?" I asked. Shay quickly interrupted me, "No no no—my main instrument is saxophone. I just played piano for that children's project out of necessity but I'm a sax player." I told him that I really enjoy sax trios and that I was looking forward to the session. The setup for the session was really straightforward: a pair of upgraded Cascade Fat Heads  in a Blumlein configuration as drum overheads, an AKG D 112  on the kick drum and a Shure SM57 on snare. For the acoustic bass, I chose a Heil Sound PR-40 and for the sax, a Mojave Audio Ma200. I set up some acoustic screens to isolate each musician a little bit while maintaining line-of-sight between the players. The guys arrived and started warming up and, wow, they sounded way better than I expected. The drummer, Ronen Itzik, was great, the bass player, Gary Wang, was great and shay was an amazing sax player. Here I was, practically writing him off as a mediocre pianist and the guy was a phenomenal sax player and fantastic musician. Anyway, I quickly adjusted the mics on the drums and sax while the guys were rehearsing. When I squatted down in front of Gary, the bass player, he said, "Uh, are you sure that mic is positioned right? Isn't it supposed to be facing up?" Apparently, he wasn't familiar with the Heil PR-40. It's a moving coil mic that looks an awful lot like a condenser and one might assume it's a side-address mic but it's not. The mic even ships with a paper around it saying, "Note: This is an end-address microphone." Anyway, I said, "No, it's an end-address dynamic mic and it's supposed to face this way," and he says, "A dynamic mic? Hmm, interesting." I'm thinking to myself, "What does he mean by that?" I inquire and he says, "I've always seen guys use a U 87." Now, one can use almost anything on an acoustic bass, of course, but the most popular choice has traditionally been an Electro-Voice RE-20, a Sennheiser MD421—moving coils, for sure. I happen to like the PR-40 on bass because it's a little brighter and helps pick up a little more attack. Anyway, I assured him that a moving coil dynamic was a very standard choice for acoustic bass, especially in a jazz combo setting. As I buy cialis adjusted the mic to face the f-hole at about 10 inches away, Gary says, "Is that where you're going to leave the mic?" Now I'm thinking he feels it's going to be in his way or something. I asked him, "Are you in the position you'll be playing in?" He says, "Yeah." And I say, "Well then, it's right where it needs to be." And he says something like, "Hmm, interesting, alright, whatever." So now I'm really wondering what's he thinking? I ask why and he says, "Well,

Direct download: SWS013-Dont_Be_Shay.mp3
Category:Podcast -- posted at: 11:54pm EST

I know so many people that have either met or dealt with Stevie Wonder in some capacity. I had the pleasure of meeting him once, many years ago (almost 20), at a pro audio retail shop in Manhattan. We spoke briefly and I mentioned the fact that I was legally blind which didn't seem to make a big impression on him. I guess he meets blind musicians all the time. oh well. The coolest part of the whole encounter was when I walked around to the keyboard opposite where Stevie was trying a new Ensoniq sampler and I got to hear him singing quietly while playing the keys. Without copper, electrons or speaker cones between us, it was the most incredible thing to hear him move the molecules of air that separated us, only a few feet apart. I'll never forget it. So, it was with great interest that I unzipped the file that "Big Al" from the Project Studio Network ( sent me a while ago. It was a set of WAV files from the multitrack master for "Superstition" by Stevie Wonder from his  "Talking Book" ( album released in 1972. It was a 16-track recording that featured mostly Stevie singing as well as playing drums and keyboards along with some horn players. The original recording didn't sound all that spectacular to me. I guess, for that time, it sounded alright but, by today's standards, well, let's say it wouldn't win the grammy for best engineered album. The track list is: 1. kick drum 2. drums (left) 3. drums (right) 4. vocal 1 (final take) 5. vocal 2 (unused) 6. keyboard delay 1 7. keyboard delay 2 8. clavinet 2 mic 1 9. clavinet 2 mic 2 10. clavinet 1 mic 1 11. clavinet 1 mic 2 12. clavinet 1 mic 3 13. clavinet 1 mic 4 14. horns (left) 15. horns (right) 16. synth bass If you dig around the "InnerTubes" you'll find these multitrack files along with other ones from various artists. I absolutely love going through multitrack masters and checking out the individual tracks. It's fun to piece together what happened, trying to imagine what the engineers were thinking, what production decisions were being made, etc. Most of all, what strikes you is that all one needs to do most often is simply bring up the faders and there's the song -- no automation, no plug-ins -- it's just all there. I think multitrack masters, especially ones by some of the legendary acheter viagra artists and bands from the 60s and 70s, should be used extensively in audio education. Actually, not only should they be used in audio programs in schools but they should also be made widely available to those aspiring to learn the craft of engineering and producing. I could just hear the RIAA preparing the documents for the lawsuits... "Superstition" engineered by Austin Godsey and mastered by George Marino

Direct download: SWS012-Superstition_Multitrack.mp3
Category:Podcast -- posted at: 5:07pm EST

I recently posted something on Twitter that seemed to strike a chord, judging from how many retweets it seemed to generate. I said, "Sorry for the generalization but, microphones are to audio engineers what shoes are to women." It's an analogy that seems to work on several levels. Well, you can say I have a mic fetish but, I say, "What good engineer doesn't?" I think I should start my own brand of esoteric, boutique mics called Fetish and the flagship model can be The Stiletto. (Shhh -- don't tell anyone. It'll be our exclusive little mic.) There are some mics you don't necessarily reach for all the time and there are the work horses. You've got your Manolos of the mic world like the Neumann U 47 and then you have your 9 Wests like the SM57, MD421 and fat Heads. So, in my search for the "black pump" of tube condensers, I happen to call Dae Bennett (Tony Bennett's son), owner of bennett Studios ( in Englewood, New Jersey. I had heard some good things about the Audio-technica AT 4047 and, specifically, that it was used on all of the vocals on Tony's "Duets" album. Now, I know it's not a tube mic, but I was considering buying it but simply had to confirm that this mic was used on all of the vocals on that album. I had my doubts because I know that some of the vocalists on that recording like Sting and Stevie Wonder happen to use the Sony C800G a lot of the time. Dae confirmed that the AT 4047 was, in fact, used on all of the vocals except one. Turns out, what I heard was true -- Bono always seems to use a Shure SM58 Beta in the studio. Anyway, during our conversation, Dae mentioned the Apex 460 ( I hadn't heard much about the mic so, when I learned that someone had modified a pair for him, I was intrigued and began researching the mic. I was amazed at the differences of opinion this mic caused. I wish I had known about ( at that point. It probably would have saved me a lot of surfing time. Matthew McGlynn does an amazing job with his Microphone Database ( It has tremendously useful links to the manufacturers' web sites, spec sheets, owner's manuals, etc. At a certain point, I found Dan Richard's side-by-side comparison ( of the R-F-T Telefunken M16 and the Apex 460 on ( Turns out that, apart from three resistors, the mics are identical. Of course, the $1,400 price tag for the M16 seemed a little steep as compared with the $229 cost of the 460. Telefunken re-released the mic as the M16 Mark II with the same price tag but allegedly upgraded components. So, further research revealed that the Apex 460 was just a rebranded Alctron HST-11A ( which is a Chinese-made multi-pattern tube condenser that seemed to appear under many names including Nady and Carvin, among others. There seemed to be a number of modifications that some folks were doing like transformer swaps, changing the capsules, capacitors and tubes. There were some guys like Dave Thomas, whose company, Advanced Audio (, offered highly modified versions of the HST-11A and branded them with their own names like the CM12 ( In some cases, third party "mic moders" were using the Peluso CEK-12( as an upgrade from the stock capsule. Further, I discovered that Peluso themselves offered a similar mic known as the P12 ( All of these mics were essentially based on the legendary AKG C 12. Not being in a position to justify the cost of a vintage C 12, I found the Apex 460 at Full Compass Systems (

Direct download: SWS011-The_Fetish_Stiletto.mp3
Category:Podcast -- posted at: 8:08pm EST

Think about how worked up we get as engineers and musicians over which mic to use, placement, the acoustics, etc. Think about how much time and energy is exerted in these endeavors. Now, imagine multiplying that by a factor of 60 to record an orchestra. That's where I was about 15 years ago when I was asked to record an orchestra for the first time. I had recorded several ensembles up to that point but nothing at all on the scale of 60 or so musicians. Like any good engineer would do, when asked if I could handle such a project, I naturally said, "Of course, no problem, piece of cake." Man, was I ever flying by the seat of my pants.To be completely honest here, as is often the case, I was referred to the executive producer by a mutual friend and the only reason I got the gig was because the orchestra we were going to record was located in Kiev, Ukraine and, since I'm fairly fluent in Ukrainian, I got the gig. Late last year, I got another one of those phone calls informing me that another orchestral project was coming up. I can't tell you how excited I get whenever these projects come up. First of all, they really take good care of me, make all the arrangements, book the flights and hotels, provide meals, transportation—I essentially have nothing to worry about except capturing the performance of the orchestra. Further, it is an enormous challenge but I love that challenge and I have a team of people to rely upon to get the job done. It's really a completely different sensation to be involved on a project with a hundred people than one with a few people in a room. In the past, we used to record these orchestras at the Dovzhenko Film Studio, the largest film lot in Europe. It's a very old and sort of run-down place that served the purpose, I suppose but, this time around, we were going to be using a state-of-the-art facility in the heart of Kiev known as DZZ, short for "Deem Zvukozapis" which means house of sound recording. Allow me to give you a brief explanation about the purpose of these recordings. You see, there's a dance ensemble in Edmonton, Alberta, Canada named "Shumka," ( which means whirlwind. This year is their 50th anniversary. This ensemble used to tour with a live 30-piece orchestra. In the late eighties and early nineties, it became prohibitively expensive to tour with a live orchestra. So they decided to use recordings of orchestras for playback in the venues where they were performing. Thing is, these recordings didn't seem to sound all that great in the large venues where they danced. In my discussions with Michael Sulyma, the producer of the Shumka tours, I explained to him that the main problem was that the recordings they were using probably had natural or synthesized reverberation in the mix and, when being played back in a large venue, the auditorium itself was imparting reverberation, resulting in a wash of unfocused, muddy sound. I explained that the recordings needed to be as dry as possible and, in addition, the individual tracks for spot mics needed to be delayed to compensate for microphone distances according to the speed of sound. All of this, of course, made sense to Michael and I'm sure I impressed him with my knowledge and confidence. what he didn't know was that I was essentially talking out of my ass. Well, not exactly, but most of what I was saying was theory and I had no actual proof or experience. Oh well, I guess I was taking a huge risk and could've failed miserably but, honestly, based on my experience thus far and my research (and imagine: I didn't have Internet access back then!), I was confident that I could pull it off. Anyway, in the end, as you might have gathered, I did, in fact, pull it off quite successfully, such that I've been invited back to do it several more times. This time around, it was to record several pieces for their 50th anniversary show to be held in Edmonton. As I mentioned before,

Direct download: SWS010-Orchestral_Recording.mp3
Category:Podcast -- posted at: 1:57pm EST

I’ve used a few different vocal mics on George Hrab over the years. Most often, I’ve turned to the Audio-Technica AT4033/SE. Now that we’re in the middle of recording his sixth album, I figured I’d do a little vocal mic shootout and thought it might be fun to get some opinions of the listeners. Now, of course, in this mp3 of the podcast, the differences between the mics will be less pronounced but, for those who wish to download and import files into their DAW, 24-bit WAV files can be downloaded below. They’re all in sync so one can just line them up and A-B. In alphabetical order, the mics featured are: AKG C-1000S, medium diaphragm condenser Apex 460, large diaphragm tube condenser (modified) Audio-technica AT4033/SE, large diaphragm condenser Cascade C-77, ribbon Heil PR-40, large element moving coil Mojave Audio MA-200, large diaphragm tube condenser Neumann TLM-103, large diaphragm condenser Oktava MK-219, large diaphragm condenser (modified by Oktavamod) If you’d like to play along at home, the individual WAV files are available on this page: We’ll tally up the results of listeners’ preferences and announce them on next week’s Geologic Podcast. In the meantime, if you’d like to know the identities of each microphone, I’ll post a comment revealing them in the next few days.

Direct download: SWS009-Geo_Vocal_Mic_Shootout.mp3
Category:Podcast -- posted at: 9:22pm EST

The Nady RSM-3 is a ribbon microphone sort of, kind of, almost resembling, well, very much resembling the legendary Royer R-121 ribbon microphone. It's now discontinued but, while it was on the market, Royer was compelled to send Nady a "cease & desist" letter due to its uncanny resemblance to the R-121 and its incorporation of the R-121's asymmetrical polar pattern response. I found a pair of RSM-3s on EBay for around $99 each and decided to have them modified by Michael Joly at Oktavamod ( He re-tensioned the sagging ribbons and swapped out the stock transformers for Lundahl 2912s. The results were quite impressive. I mentioned the fact that it's sometimes possible to hear a sagging ribbon touching the mesh in a damaged microphone. I neglected to say that this is true only when wearing headphones. To test a microphone for such a symptom, plug the mic in and turn up the preamp gain. While monitoring through headphones, gently sway the mic back and forth on axis. Normally, you should hear nothing more than a low-level rumble from air movement. If you hear a metallic clanging, chances are you have a sagging ribbon. It is, of course, possible to remove the grill and protective material to examine the ribbon visually. Of course, one should be extra careful when undertaking such an inspection. Take extra care to avoid the slightest blast of air and keep the ribbon motor and magnets clear of any surfaces that might contain dust or iron particles. BTW, although the RSM-3 is no longer available from Nady, they can certainly still be found on EBay. The original RSM-3 with the offset ribbon (yielding the asymmetrical frequency response) came in a wooden box. Nady later changed the design to be symmetrical and shipped in a plastic box. Currently, the RSM-5, which is the same as the RSM-3 but with a different body, is still available from Nady. Oktavamod offers a modification for the RSM-5 as well. Keep in mind, Royer offers an extraordinary warranty on their products which come at a premium but, nevertheless, they are phenomenally great microphones. With Nady, well, let's just say that one should check the product immediately to verify that it works. Yeah, it's pretty much hit or miss some of the time. I believe Nady has a policy of replacing defective microphones within a limited time (possibly 90 days or so). In my opinion, however, if the intention is to obtain a Nady ribbon mic and have it modified by Michael Joly, well then, a sagging ribbon need not be of concern. If you can afford an R-121, by all means, go for it. If you're on a tight budget, a modified ribbon microphone might just be the ticket for you. The RSM-3 product page from Nady: The R-121 product page from Royer:

Direct download: SWS008-Nady_RSM_Mod.mp3
Category:Podcast -- posted at: 11:34am EST

I tore myself away from Twitter long enough to put this one together... (tweet, tweet)

My dear friend, George Hrab, called me to book a quick session to record a song called, "Far." This was an expanded version of a jingle that he had been asked to write for the 365 Days of Astronomy Podcast. We banged the whole thing out in a few hours and he subsequently made a video of the tune which you can find either on YouTube at: or on Blip.TV at:

Belated special thanks to a few people on the show: Donna Mugavero of Sheerbrick Studio (a.k.a. Ms. Information) for designing the Sessions With Slau banner and for insisting that the site be neat and clean. You can find her on Twitter at @MsInformation or check out her blog

David Jackson of Cooler Websites for helping me put together the podcast through his Podcast Fast Pass program which allows me to concentrate on just creating the content and slowly get my feet wet with the whole WordPress and RSS universe.

Tony Corso for his voice-over on the podcast intro. We recorded a bunch of stuff so I'm sure you'll hear more of him in the future.

Audrey Farolino (my lovely wife) for doing the "Sessions With" tag at the end. She insisted that I let her do another take but, I swear, her first take was perfect.

Thanks so much for the comments and e-mails. You can always reach me at: slau { at } sessionswithslau { dot } com and you can often find me tweeting by following @slaubesharp

Watch the George Hrab Video "Far"

Direct download: SWS007-George_Hrab-Far.mp3
Category:Podcast -- posted at: 2:10am EST

I was looking around for a new vocal microphone for myself. Of course, anything I'd buy for my own purposes would undoubtedly benefit my clients as an extra option when acheter cialis recording them. I always wondered whether it would be worth a $10,000 investment to find a used Neumann U 47 or something in that class of mics. Would it be impressive? Without question, it most certainly would be. Would it sound better than what I already had at my disposal? Hmm... I guess you'll have to listen to the episode to get an idea. I booked some time at Legacy Recording (which has since closed its 37th Street location). We recorded 7 mics into a Pro Tools HD system through a Millennia Media HV3D. The tracks were unlabeled and I had the engineer make a list of the tracks and their respective mics on a piece of paper. I didn't know the results of the shootout until having heard the tracks at the end of the session. Back at BeSharp, I added a few mics to the shootout using the same accompaniment track and recorded the additional mics through an Hv3D. So, the second round of mics weren't recorded in the same room (actually, a bigger room than at Legacy) but it was all done in relatively close proximity in cardioid mode on all mics. The lineup: Neumann U 47 Neumann U 87 Sony C-800G AKG C-12VR Rode Classic II Audio-technica AT 4047 Mojave Audio MA-200 Rode K2 Apex Electronics 460 Studio Projects T3 Cascade Microphones Elroy Yeah, it's a little "apples & oranges" but I was just curious how a $1,000 mic would stack up against something ten times the price. Very interesting... Hey, believe it or not, I'm finally on Twitter. If you'd like to follow me, search for slaubesharp I promise I won't tweet too much -- just studio and audio-releated stuff.

Direct download: SWS006-Shootout_at_Legacy_Recording.mp3
Category:Podcast -- posted at: 8:53pm EST











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