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In Remembrance: How Michael Bishop Captured The Magic Of The Symphony

Michael Bishop

Jordin Althaus/WireImage for XM Satellite Radio

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In Remembrance: How Michael Bishop Captured The Magic Of The Symphony

GRAMMY-winning classical engineer Michael Bishop understood that the grandeur of the orchestra comes not just from the instruments, but the vibrating air between them

GRAMMYs/Apr 19, 2021 - 10:30 pm

Most people with even a cursory understanding of recording grasp the need for isolation. If the musicians aren't contained in separate, soundproof booths, the guitar bleeds into the bass, the bass is in the vocal mic, and the cymbals seep into everything. What does this mean for classical music, where dozens of musicians are together in the same space? 

For Michael Bishop, it was simple: Embrace the bleed.

"I let leakage be my friend," the jazz, pop and classical engineer, who won 10 GRAMMYs in the latter category, said in Bobby Owsinski's 2004 book The Recording Engineer's Handbook. "I learned how to work with the leakage in the room and make it a pleasant experience instead of something to be avoided." 

By letting the air molecules between the musicians vibrate naturally, Bishop made sure the majesty of the symphony orchestra translated to your home listening system. But what about a string quartet as opposed to a massive ensemble?

"It's pretty easy to present this huge instrument which is an orchestra because just the size and numbers can give a good impression almost no matter what you might do," he added. "But a string quartet is really difficult because you can hear every little detail and the imaging is critical, particularly if you're working in stereo." Still, Bishop's surgical attention to detail meant the subtle details of catgut made it to the grooves.

Bishop, who won GRAMMYs over the decades for Best Engineered Album, Classical; Best Surround Sound Album, Best Choral Performance and various other categories, unexpectedly passed away March 29 of an unspecified cause. He was 70. 

For those unaware of his contributions to the classical sphere, dig deep into his innovative miking technique via The Recording Engineer's Handbook—and turn up his music to behold his aural architecture.

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ReImagined At Home: Watch Ant Clemons Croon The Cosmic Blues In Performance Of Bill Withers' "Ain't No Sunshine"

Ant Clemons

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ReImagined At Home: Watch Ant Clemons Croon The Cosmic Blues In Performance Of Bill Withers' "Ain't No Sunshine"

Singer/songwriter Ant Clemons puts his own spin on Bill Withers' immortal "Ain't No Sunshine" in an exclusive performance for ReImagined At Home

GRAMMYs/Jun 15, 2021 - 08:13 pm

Why has Bill Withers' immortal hit, "Ain't No Sunshine," endured for decades? And, furthermore, why does it seem set to reverberate throughout the ages?

Could it be because it's blues-based? Because it's relatable to anyone with a pulse? Because virtually anyone with an ounce of zeal can believably yowl the song at karaoke?

Maybe it's for all of those reasons and one more: "Ain't No Sunshine" is flexible

In the latest episode of ReImagined At Home, check out how singer/songwriter Ant Clemons pulls at the song's edges like taffy. With a dose of vocoder and slapback, Clemons recasts the lonesome-lover blues as the lament of a shipwrecked android.

Giving this oft-covered soul classic a whirl, Clemons reminds music lovers exactly why Withers' signature song has staying power far beyond his passing in 2020. It will probably be a standard in 4040, too.

Check out Ant Clemons' cosmic, soulful performance of "Ain't No Sunshine" above and click here to enjoy more episodes of ReImagined At Home.

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EDC 2019: Alison Wonderland, TOKiMONSTA, Deadmau5, Above & Beyond, Tiësto, More

Alison Wonderland

Photo: Mauricio Santana/Getty Images

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EDC 2019: Alison Wonderland, TOKiMONSTA, Deadmau5, Above & Beyond, Tiësto, More

The world-renowned EDM fest has released the lit roster of over 240 artists for its 23rd annual event, set to return to its ninth year in Las Vegas from May 17–19

GRAMMYs/Mar 28, 2019 - 04:55 am

Today Insomniac, which hosts the now-global Electric Daisy Carnival and other major EDM events, announced the highly anticipated lineup for its flagship Las Vegas fest, set to take place May 17–19 this year. EDC 2019 is positively stacked, featuring GRAMMY winners Diplo, David Guetta and Tiësto, plus GRAMMY nominees TOKiMONSTA, Paul Oakenfold, Deadmau5, Above & Beyond and Kaskade.

Deadmau5 will be making his first return to the fest since 2010, bringing his new "Cube 3.0" stage setup, and Guetta will be back for his first time since the 2012 event. Australian singer/songwriter DJ/producer extraordinaire Alison Wonderland, plus GRAMMY-nominated rave icons Steve Aoki, Armin van Buuren will also bring fire to the three-day event.

Unlike a typical music festival lineup, EDC lists theirs alphabetically by day, giving way to a treasure hunt to the many gems across the lines of names. Underground techno queens Charlotte De Witte, ANNA and Amelie Lens will all perform at the event, which has eight(!) stages, along with fellow techno heavy-hitter Adam Beyer.

South African DJ/producer and underground house legend Black Coffee will also perform, as well as fellow house heavyweights Green Velvet, Patrick Topping and GRAMMY nominee Eric Prydz. Green Velvet will be offering two sets, one as Get Real, his project with Detroit legend Claude VonStroke.

Several artists will be hopping on the decks together, including Topping, who will be doing a B2B set (a.k.a. back-to-back, or collab set, for those not up on the rave lingo) with fellow British DJ Eats Everything. U.K. dubstep stalwarts Skream and Rusko are on the lineup for an "old skool dubstep set," which, as Your EDM put it, is "absolutely unheard of."

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But wait, who are the headliners? Pasquale Rotella, CEO and co-founder of Insomniac, believes that headliners are everyone that attends the festival, spreads the love and makes all the magic possible.

"Being a Headliner means looking at the world a little differently, and seeing beauty and inspiration everywhere you look. It’s about lifting up the people around you and making time for your family and friends. This is a journey we all take together—always connected and committed to one another," Rotella said in a statement on Insomniac's website.

If you want to get your dance on and check out the carnival rides, interactive art and plenty of lights and lasers with EDC in Vegas, you're in luck; tickets are still available. Check out EDC's website for more info.

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Recordings By Janet Jackson, Louis Armstrong, Odetta & More Inducted Into The National Recording Registry

Janet Jackson

Photo: Christopher Polk/Getty Images

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Recordings By Janet Jackson, Louis Armstrong, Odetta & More Inducted Into The National Recording Registry

Selections by Albert King, Labelle, Connie Smith, Nas, Jackson Browne, Pat Metheny, Kermit the Frog and others have also been marked for federal preservation

GRAMMYs/Mar 25, 2021 - 02:37 am

The Librarian of Congress Carla Haden has named 25 new inductees into the National Recording Registry of the Library of Congress. They include Janet Jackson’s “Rhythm Nation 1814,” Louis Armstrong’s “When the Saints Go Marching In,” Labelle’s “Lady Marmalade,” Nas’ “Illmatic,” Kool & the Gang’s “Celebration,” Kermit the Frog’s “The Rainbow Connection” and more.

“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Hayden said in a statement. “We received about 900 public nominations this year for recordings to add to the registry, and we welcome the public’s input as the Library of Congress and its partners preserve the diverse sounds of history and culture.”

The National Recording Preservation Board is an advisory board consisting of professional organizations and experts who aim to preserve important recorded sounds. The Recording Academy is involved on a voting level. The 25 new entries bring the number of musical titles on the registry to 575; the entire sound collection includes nearly 3 million titles. Check out the full list of new inductees below:

National Recording Registry Selections for 2020

  1. Edison’s “St. Louis tinfoil” recording (1878)

  2. “Nikolina” — Hjalmar Peterson (1917) (single)

  3. “Smyrneikos Balos” — Marika Papagika (1928) (single)

  4. “When the Saints Go Marching In” — Louis Armstrong & his Orchestra (1938) (single)

  5. Christmas Eve Broadcast--Franklin D. Roosevelt and Winston Churchill (December 24, 1941)

  6. “The Guiding Light” — Nov. 22, 1945

  7. “Odetta Sings Ballads and Blues” — Odetta (1957) (album)

  8. “Lord, Keep Me Day by Day” — Albertina Walker and the Caravans (1959) (single)  

  9. Roger Maris hits his 61st homerun (October 1, 1961)

  10. “Aida” — Leontyne Price, et.al. (1962) (album)

  11. “Once a Day” — Connie Smith (1964) (single)

  12. “Born Under a Bad Sign” — Albert King (1967) (album)

  13. “Free to Be…You & Me” — Marlo Thomas and Friends (1972) (album)

  14. “The Harder They Come” — Jimmy Cliff (1972) (album)

  15. “Lady Marmalade” — Labelle (1974) (single)

  16. “Late for the Sky” — Jackson Browne (1974) (album)

  17. “Bright Size Life” — Pat Metheny (1976) (album)

  18. “The Rainbow Connection” — Kermit the Frog (1979) (single)

  19. “Celebration” — Kool & the Gang (1980) (single)

  20. “Richard Strauss: Four Last Songs” — Jessye Norman (1983) (album)

  21. “Janet Jackson’s Rhythm Nation 1814” — Janet Jackson (1989) (album)

  22. “Partners” — Flaco Jiménez (1992) (album)

  23. “Somewhere Over the Rainbow”/”What A Wonderful World” — Israel Kamakawiwo’ole (1993) (single)

  24. “Illmatic” — Nas (1994) (album)

  25. “This American Life: The Giant Pool of Money” (May 9, 2008)

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Press Play At Home: Watch Dodie Perform A Morning-After Version Of "Four Tequilas Down"

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Press Play At Home: Watch Dodie Perform A Morning-After Version Of "Four Tequilas Down"

In the latest episode of Press Play At Home, singer/songwriter dodie conjures a bleary last call in a hushed performance of "Four Tequilas Down"

GRAMMYs/Jun 24, 2021 - 07:38 pm

"Four Tequilas Down" is as much a song as it is a memory—a half-remembered one. "Did you make your eyes blur?/So that in the dark, I'd look like her?" dodie, the song's writer and performer, asks. To almost anyone who's engaged in a buzzed rebound, that detail alone should elicit a wince of recognition.

Such is dodie's beyond-her-years mastery of her craft: Over a simple, spare chord progression, she can use an economy of words to twist the knife. "So just hold me like you mean it," dodie sings at the song's end. "We'll pretend because we need it."

In the latest episode of Press Play At Home, watch dodie stretch her songwriting muscles while conjuring a chemically altered Saturday night—and the Sunday morning full of regrets, too.

Check out dodie's hushed-yet-intense performance of "Four Tequilas Down" above and click here to enjoy more episodes of Press Play At Home.

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