"WHAT THEY SAY"

Perhaps the most deeply ambient of Spotted Peccary's expanding catalog J. Arif's debut with this innovative label is a hauntingly gorgeous journey into dimensions far beyond anything we've known. Superbly detailed, flawlessly executed, awesomely imagined, A Vision Beyond Light takes us into the hyper-imagined realms of ambient realities, lucid dreams of angels in flight past chromatic stars of shocking beauty. J. Arif is an engineer as well as a composer and multi-instrumentalist, he uses state-of-the-art MIDI guitar synthesis, aeolian wind harps, keyboards and acoustic guitar, to create a totally unique musical expression that is exotically atmospheric and pungently impressionistic. A Vision Beyond Light is music made to be listened to with headphones or a really good stereo, though played as background to meditation or massage works well also. Given that, I want to emphasize that this is accessible music that is truly lovely to listen to, offering generous glimpses into spacious domains beyond, far beyond, mere light. Favorite tracks include the hedonistic, sensuous distillation of "From Extension Fields," the lovely, etheric "In Lucid Dreams," the high-flying, planet-chasing "An Embryonic Breath," and the peaceful, expansive serenity of "World Mind." The fabulous art work by Greg Klamt, a Spotted Peccary trademark, is gorgeous as always. For fans of heart-opening ambient textures that fill the mind with A Vision Beyond Light, J. Arif's new opus is a must.

-Steve Ryals

Po Box 789, Ukiah, CA 95482

Verner's A Vision Beyond Light features a wide array of acoustic and electronic instruments held together by Verner's impressive grasp of state-of-the-art technological wizardry. Lush textural guitar builds from floating sequencer parts with aeolian wind harps, synth melodic motifs and other dreamy sounds. Spacial, atmospheric and ambiant - a musical elixir.

-Lloyd Barde

418 Tamal Plaza, Corte Madera, CA 94925

Spotted Peccary can always be relied on to produce high quality, mainly electronic music, with superior production values, and striking cover artwork. All of the above apply to A Vision Beyond Light by a new artist J. Arif Verner, who uses acoustic, electric and MIDI guitars along with airy synthesizers, drifting electronic strings, sparkling chimes, and the rare Aeolian harps to explore the realms of deep space. The compositions are free-floating and impressionistic, with timbre and texture used as elegant, if elusive sky-painting tools. Tracks like “In Lucid Dreams,” “Above Empty Clouds,” “Through Eon Clusters,” and “An Embryonic Breath” expand, morph and dissolve, leaving only shimmering space and opened minds in their starry wakes.

-James Haig

Real to Reel 85 Libertyship Way, #207 Sausalito, CA 94965

Atmospheric elements play a prominent role in this 11-song collective of inventive instrumental compositions. On some tunes, such as the brief but enchanting “Floating Feather.” aeolian harps, which like backyard wind chimes use natural breezes to generate sound, are utilized to wonderful effect to create inviting tinkling tones, while on other works more allegorical zephyrs are employed, as in “Through Eon Clusters,” where solar winds seem to drive synthesized noises comprised of both electronic and percussive worlds. Electric and acoustic guitars are present throughout the disk, helping to further establish a milieu where the listener drifts from familiar terrestrial notes to unusual and unearthly artificial sounds. Each selection has something worthwhile to offer, presenting the skilled sonic spacefarer numerous opportunities to explore entrancing aural and astral destinations.

-Jeff Berkwits

P.O. Box 6210, Evanston, IL 60204

The perfect musical elixir, this first release by multi-instrumentalist Verner is a pure listening delight from start to finish. The eleven tracks--recorded in upstate N.Y. and Encinitas, CA.--feature a wide array of acoustic and electric instruments all held together by Verner's impressive grasp of state of the art technological wizardry. As close as you can get to musical nirvana without leaving the planet, Verner's Spotted Peccary debut is bound to create much critical praise from knowledgeable fans of New Age and ambient electronic music.

304 Mulberry St. #4-A, New York, NY 10012

This is a highly evocative and splendid recording, full of space, vision and emotiveness. In fact, there is a real sense of the cinematic to ‘A Vision Beyond Light.’ Track titles, such as "Aeolian Atmospheres", "In Lucid Dreams" and "Through Eon Clusters" point the way.

Verner’s vision is cohesive, muscular, yet sensitive and full of understanding of how spatial music should work. Standout tracks, despite all being excellent, include "Imagination Point" and the title track, "A Vision Beyond Light."

Of interest are the Aeolian Wind Harps in use on two songs, designed and built by Charles Bremmer. Their inclusion add an organic reality to an otherwise digital repertoire.

P.O. Box 417, Waterloo, Sydney, NSW 2017 Austalia

J. Arif Verner creates full, spacious, atmospheres on his first CD release, ‘A Vision Beyond Light.’ Most cuts are dominated by synthesizer, although guitar, non-drum percussion and sampled nature sounds add important accents. The music is consistent with the sound produced by the Spotted Peccary label. Indeed, several of the label’s artists appear in the credits, including Paul Lackey, Deborah Martin and Jon Jenkins, the later providing especially effective chime-like percussion on "Through Eon Clusters." My favorite edits are the pieces featuring acoustic guitar, "In Lucid Dreams", and "A Distant Memory." I also found "From Extension Fields" very compelling, with a minimalist background reminiscent of early Mark Isham, and other instrumentation similar to Richard Burmer’s first releases. Many of the tunes on ‘A Vision Beyond Light’ are quite changeable, changing melody, pace, and mood. This album will appeal to the fans and programmers of space and new age music. It is excellent contemplative music for quiet night-time hours.

52 Executive Park South, Suite 5203, Atlanta, GA 30329

Two new releases on the Spotted Peccary Music label have been frequent flyers on our CD-player lately. J. Arif Verner’s ‘A Vision Beyond Light’ is a majestic textural exploration that journey’s from drifting synth atmospherics to aeolian wind harps and ambient acoustic and electric guitars. Its stream-of-consciousness compositional style keeps the listener wondering what delightful musical vista will appear next.

Island Publishing Co., Box 701, Providence, RI, 02901

Another wonderful Greg Klamt watercolor (cover art) brings attention to this exceptionally involving space music outing that combines acoustic and electric guitars and synthesizers with psaltery, Aeolian harps, and percussion to marvelous effect. Gentle electronic raindrops and reverberating wind voices usher us "From Extension Fields", into a field of dreams where sparkling chimes rejoice in the sunshine and breathy testural waves elevate us into the balmy atmosphere.

"In Lucid Dreams," Verner’s softly stroked six-strings and cocooning synth layers make a cozy bed of sound in which to lie, relaxed and completely at rest, as visions begin to appear out of the mist of imagination. Hazy, pastel-hued sonic colors flow from Verner’s palette, yet the production is crystalline in every facet and note, giving the listener the best of both worlds: an entrancingly mild and welcoming environment presented in perfectly clear detail.

-PJ Birosik

1300 N. State St., Suite 105, Bellingham WA 98225

Atmospheric textural guitar, picked acoustic guitar, Aeolian wind harps and soft synth meolodies are the basis for this release by Spotted Peccary’s newest artist, J. Arif Verner. Eleven cuts in all, most are ambient in feel, that dissolve from peice to piece, creating an almost continuous work. Verner’s original analog synth sounds blend well with the occassional acoustic parts, adding a great deal of integrity to his stream-of-consciuosness style. ‘A Vision Beyond Light’ is dreamy and spacial, ambient and atmospheric, yet excellent for meditation, massage or relaxation.

4650 N. Port Washington Rd., Milwaukee, WI 53212

Multi-instrumentalist J. Arif Verner's new release A Vision Beyond Light has been an extremely difficult album for me to pindown. It works in such a way that repeated listenings will invariably evoke new and unique reactions. At worst, I felt as though I were only getting the audio track from what would probably be quite an impressive movie. At best I became lost within my own pictures produced within my mind, moved by the emotion and sweeping themes of ambient ju-ju juice.

Blending pristine, almost William Ackerman-like guitar patterns into an unmistakable synthesized core of keyboard textures makes for an enjoyable audio version of cloud-surfing. While full of sounds, it feels vast and expansive like an open sky. Even some of the song titles "Above Empty Clouds," "Floating Feather," "An Embryonic Breath" suggest the ongoing theme of space, sky, wind, and this is how it moves.

While not as sonically challenging as most of the ambient works I have reviewed, the beauty and freedom of movement kept my attention. Almost too much. The act of 'zoning out' became not an option so much as a pre- destined condition to being an observer. So remember kids...NO OPERATING ANY HEAVY MACHINERY WHILE UNDER THE INFLUENCE OF RELAXING MUSIC!

- coLeSLAw

http://www.serv.net/cosmikdebris/

Verner's synthesizer based music skirts at the edges of light, with an airbrush whisper and peripheral glances. This is chamber space music that floats on clouds of aether.

-John Diliberto, Echoes Syndicated Radio Program, Author

Box 224, Eagle, PA 19480

Your album is fantastic!! One of my favorites for late night Net hacking background music. Although it is a little mellower than most of the pieces I play on my program, the response has been very positive.

-Paul Bourque, WWUH FM

I was absolutely sonicly swept into the stream of visual sound on A Vision Beyond Light. People called to ask where they could buy it and we cranked it so it filled the whole studio with its swirling song of distance and nearness. Wow!! Deep Sonic Tonic! In fact I am playing it on all of my shows and will feature it on Planetary Prismatic Psonics as a full play.

-Mitchell Mendys, WKNH FM

Kimberly Haas hears J. Arif Verner's Electronic Impressionism.

KH: For most synthesizer composers, the passion for new equipment can be ex- pensive. But J. Arif Verner has come up with a solution - he reviews equipment for trade magazines.

AV: Since I do a lot of tech writing, I need to keep up with what's available. As I get products in my studio for review I play them and if I'm inspired I record them. It's convenient to be able to incorporate it into the music. A lot of times the gear will create an inspiration for some thing and you'll just run with it - something will just come out from the different sounds and different processing.

KH: The results of Verner's product reviews can be heard on his CD, "A Vision Beyond Light." It's a sophisticated blend of sound design and atmospheric compositions. Although Verner has lots of equipment at his disposal, the philosophy of his sound can be found in the simplest instrument used on the album - an Aeolian wind harp.

AV: Yes. I have a friend in Upstate New York. He lives on a farm way out in the middle of no where. He's a sculpturor and makes these things, they're just incredible. The harps are around twelve feet tall and there's about ten strings or so on them. He has them way out on top of a field. As you sit there the wind starts blowing and then the wind harps start singing and chiming and it just radiates through the air. It's incredible - so mesmerizing.

KH: The simplicity of the windharp underlies J. Arif Verner's music. He thinks of sound as an environment, moving through space.

AV: I guess you could say I'm an ambient composer but really there's two things that I'm concerned with. One obviously is the music composition but also within the music you have the timbres of the sound that actually can be breathing and alive. Okay, so if you can get this interacting with the music then you can create a kind of three dimensional sound stage.

KH: You'd never know from listening to these compositions that J. Arif Verner actually started out as a guitar player. In fact, in the mid 1980s he put out an album called "Clear Colors" that was centered around his guitar compositions.

AV: I wasn't doing electronics at that time. I had other people doing that. I was just just playing acoustic and electric guitar. The recording fidelity on the album isn't up to today's standards. However, I like the material and I'd really like to redo it.

KH: Even in this early music you can hear the core of a J. Arif Verner's sound developing with his environmental, painterly approach to music. He still plays guitar, but he's been seduced by synthesizers

AV: Well, the fact is that you have so much power. When I work with synths, I do a lot of programming. And the idea that you can go in at the gut level and change sounds, bend things, stretch them and come up with stuff that no one's ever come up with before is an incredible experience. And then the idea that you can do this stuff in a computer. You can layer it into a sequencer and make your own compositions. It's just wonderful!

KH: Now Verner plays a guitar synthesizer that triggers' electronic sounds and samples.

AV: The MIDI guitar is primarily a vehicle for inputting data into the computer. I also use keyboards. But I don't really consider myself a keyboard player although I can get around on keyboards. MIDI guitar tends to be kind of temperamental but if you're a guitarist you don't have a lot of choice. I've also used an instrument called a ZTAR. It looks like a guitar but instead of having strings, it has buttons on every fret - so it's kind of a combination between a synthesizer and a guitar. You push the buttons on the fret board and it triggers the sound.

KH: Despite all his technology and button pushing, J. Arif Verner never forgets the pure simplicity of sound that he loves in the Aeolian harp. His compositions include many acoustic touches like the Finnish zither. On the piece, "In Lucid Dreams" he lays the main themes on the strings of an acoustic guitar.

AV: I'm attracted to the idea of a merging of opposites - acoustic and electronic, structure with improvisation, realism with abstraction and orchestral sounds with synth sounds. I think all of this is really embodied in that piece.

KH: J. Arif Verner is currently working on a new album. His latest release is "A Vision Beyond Light" on Spotted Peccary Records.

For Echoes, I'm Kimberly Haas.

Copyright 1996 Pennsylvania Public Radio Associates, Inc.
Used with permission by Pennsylvania Public Radio Associates, Inc.

Guitar synthesis is alive and well at Infinite Sound Studio. Nestled in the Finger Lakes region of Upstate New York, Infinite Sound is owned and operated by J. Arif Verner. In addition to producing outside audio projects (and occasionally writing for this very magazine), Verner has found time to release a solo album called A Vision Beyond Light.This new album on the Spotted Peccary Music label (see Roland Users Group v14/2) was conceived almost entirely on Roland guitar synths.

"I'm a guitarist who loves synth sounds, so guitar synthesis is a perfect fit," states Verner. "On this album we used acoustic and electric instruments. percussion, synths, samplers and even Aeolian Wind Harps. The Wind Harps were great. We recorded them on a farm out in the middle of the boonies! We brought the DAT tapes back to the studio and mixed the Harps in with the music. Some of the parts on the album were sequenced and other parts were performed live. Stylistically, I guess you could call this genre of music ambientatmospheric."

Verner's instruments of choice are Roland guitar synths. "Is there any other choice," he smiles. "On this project, I used the GR­50, GR­0l and the GR­09. Roland has been making guitar synths longer than any one else and they continue to improve the technology. The sounds on my GR­50, GR­0l and GR­09 are really different. They work great together. The GR­50 has a more electronic feel while the GR­O l and GR­09 are more sample­playback oriented. We installed the GR9E­1 Expansion Board in the GR­09, which is definitely worth having. I have to admit, if it weren't for Roland guitar synths. this album would not have been possible."

"Another workhorse in the studio is our Roland JD­990. This synth is gorgeous. We've souped it up it with the Roland World Expansion Board (SR­JV80­05) and three JD­990 sound cards Modern Sonics. Oz Perspectives and Modern Masters. The problem with most commercial sound cards is that they try to be all things to all people. In the end, there is little which is usable for anyone. Personally, I like sounds that have a creative twist to them-something different. And these cards do it. The usability ratio is very high. As for the World Expansion Board, it's awesome. I'm still finding sounds that I didn't know existed.

Verner also used the Roland S­760 Digital Sampler on his album. "The S­760 handled most of our orchestral samples-woodwinds, strings, brass and the like. The amount of quality samples available for the Roland format is staggering. And the sound quality on the S­760 is absolutely pristine. Also, I like the fact that you can work with the S­760 from a monitor screen-not just the LCD."

What's next for J. Arif Verner? "I'm currently working on a follow­up album for Spotted Peccary. I hope to have it finished shortly. However, the production work at Infinite Sound Studio has been real busy. so if we could only kind a few more hours in each day. we'd be all set." In the meantime, check out the Infinite Sound Web Site at http://www.infinitesound.com/.

RECORDING MAGAZINE PLAYBACK CD: MIXING CLINIC

J. Arif Verner "Above Empty Clouds"

Thoughts on mixing electronic sounds: an interview with Howard Givens

By Lorenz Rychner

Howard Givens is a partner, CEO, Producer, and Engineer at the Spotted Peccary Music label in Southern California. He mixed J. Arif Verner's CD "A Vision Beyond Light", from which we selected a cut for a mixing clinic on Playback 11. "Above Empty Clouds" is all synths and samplers, with the addition of a processed electric guitar. We asked Howard Givens to elaborate on his techniques and his label.

R: Tell us about Spotted Peccary Music?

HG: [laughs] A peccary is a fascinating wild pig from Arizona-we made up the "spotted" part. But our label's focus is to put out mainly instrumental music by artists living in North America, reflecting feelings and impressions theyhave about North America, especally the Southwest, themselves, or whatever. That doesn't mean that we can't have instruments or ideas that came from outside the United States, but we don't want to just copy from Celtic or African or other cultures like that.

R: You produce and mix most of your artist's project in­house. Much of that music is heavily synth based. How do you deal with that many electronic sounds in a mix?

HG: Synths and samplers tend to be problematic in the I or 2KHz range where the harshness comes from. And there are electronic noises and artifacts to deal with, where we often need extra outboard eq to get rid of specific narrow frequencies. Layering synchs and reverbs with their mostly broadband sounds quickly adds up to thick mud; we have to eq each sound carefully, and we return all the effects to channel strips in stereo where we can eq each return separately again.

R: Why not use built­in effects and stereo outputs on all those synths and samplers?

HG: I prefer mixing synth parts recorded in mono and without processing. Most synth patches and even samples are mono anyway and only become "stereo" at the instrument's output stage. Once such a sound has been tracked in stereo, I'm limited in the way I can place it in the mix. And the built­in effects are rarely as good as what I would use in the mix, particularly the sustain and decay portions of reverbs. In music of Arif's genre they're really important

R: How do you go about eq­ing parts?

HG: I find that we rarely need to add, usually we have to subtract To start with, there's always too much going on in the lower midrange, so we look to cut the extra frequencies that let us sweeten the sound. Then we look for other problem areas-I subtract gain and sweep to find what frequency needs reducing. It gets tricky with lots of stereo signals and effects. And I listen for phase coherency in low frequencies-it is very important, that's where a lot of the money goes on highend consoles, to keep the low end tight

R: Do you go first for individual reverbs, or for a global reverb?

HG: We don't use global reverbs very often, just individuals tailored to the different sounds. In Arif's case we made an exception-you'll hear it on your Playback CD.

R: Right, we'll list the exact frequencies and dB numbers as we go through the mix on Playback Meanwhile, tell us about the label's production method and output.

HG: To date [Aug. 96] we have ten releases out, three more are scheduled for this year, eight for next year. Arif recorded much of his project himself before bringing it here-but usually we might have an artist come just with sketches or MIDI files but not much more-we like to do all of the production here.

R: Are you encouraging submissions from our readers?

HG: Well, we're not really looking, but if there's somebody out there who's really good we'd like to at least check out what they're doing, if they're coming from the ambient or classical side of this electronic/acoustic music, as opposed to being jazz or rock/pop based.

R: In your view should a demo be fully produced or as simple as possible?

HG: Both can be the right approach, depending on the genre of music and what the demo is trying to achieve. If you're the songwriter shopping a song, don't produce it so it's a CD-ready, you'll only limit your chances because you're forcing the A&R people to hear it a certain way, whereas the song might lend itself to an entirely different treatment for different artists if it were presented more simply. Sure, make it a quality presentation, even hire a good singer if needed, but keep it simple and stripped down. The again, if you're trying to sell yourself as an artist or a band, your production should reflect your own performing style.

R: You've had people bring you partly finished projects. What are some pitfalls.

HG: Printing with effects can really lock you in, robs you of choices at mixdown. MIDI volume is another problem. We suggest that MIDI volume and continuous controllers be sequenced on separate tracks, because while MIDI volume shuts down sound sources it x

leaves all output circuits wide open, so you get the residual noises-they can quickly add up. You can't just put all faders up to unity gain and simulate an automated mix by using MIDI volume to change the volume of each synth- it's maybe 'the poor man's automation' but it just lets way too much noise come through to the board. If you can control the VCAs and faders, not the synths, with MIDI volume, then you're in good shape.

R: What about monitoring?

HG: It's absolutely crucial to listen on different systems. For close­field referencing, we listen to the KRK 7000B speakers that match up well with the Hafler Trans*nova 9303 amp because of that amp's exceptional midrange definition: then we have soffited JBL 4412 for the bigger sound. For mastering we use Genelecs, we find tham less musical but awfully precise.

R: What do you print and what gets sync'd?

HG: We integrate the Alesis ADATs with MOTU Digital Performer, through an Al 2 interface that Timeline built for Alesis-it takes the place of the BRC for sync'ing the sequences to the ADAT. We print mainly the obvious-any acoustic instruments like percussion, guitar, drums. But we also print synth sounds when we use more patches from within a synth than that synth has outputs for. We need to have the sounds separated, so we can eq them individually at mixdown. The same happens with the samplers--good samples take up lots or all of the sampler's memory, so we print to tape, free up the sampler's memory, and load a different sample rather than compromise on memory and on sharing outputs. Our console is a Tim Spencer modified Soundcraft 6000. We also have a MIDI preproduction room, and ProTools for digital projects.

Spotted Peccary Music, P.O. Box 2029, Encinitas, CA 92023. Phone (619) 942­1694.
[Editor's note: For single copies of Playback 11 which contains the track by­track mixing clinic mentioned above, call Nicola Ferrell at Music Maker Publications, 303­516­9118. For Playback subscriptions call 619­7386671.]

Recording Magazine, Music Maker Productions Inc. 5412 Idywild Trail Suite 100 Boulder, CO 80301
Used with permission by Recording Magazine

RECORDING MAGAZINE: THE BUSINESS OF RECORDING - MAKING IT PAY

Interviews by Lorenz Rychner.

(The following article, "The Business of Recording - Making it Pay," is an excerpt from the August 1997 issue of Recording Magazine)

According to our latest reader survey, a hefty percentage of you are turning a profit from your studios. For the benefit for those who would like to be in that position - and for everyone else, who would like to be turning more of a profit - we set about answering the obviuos question: How are you doing it?

So we're going to be featuring a number of reader's studios in upcoming issues, looking at how they make it pay.

Meanwhile, we spoke to several professional engineers and producers with whom we've worked in the past - most prominently on our Playback CDs - and discovered that many of them have taken unusual routes to get where they are. Here's what they had to say.

J. Arif Verner
Infinite Sound Studio, Ithaca, NY

Did you always have you own studio?

Not for a long time. I was a gigging guitarist, both acoustic and electric. I recorded my own music, but went to pro studios to finish and mix them. I graduated from one of the first Teac “sound-on-sound” 2 tracks in the early 80s to the 4-track Tascam, and I also got a Roland GR-50 guitar synth, while still working with 2-inch analog at 30 ips.

I took community college classes in recording, and I began writing for music magazines, which enabled me to get my hands on gear and software that I normally would not have access to - a great learning experience.

As soon as the first ADATs rolled off the production line, I got my hands on one.

Did going digital change your life?

To my surprise, I began getting calls from people who wanted to do projects with me on one of these new machines.I had no intention of going “commercial.”

One of the calls came from electronic composer David Borden. He had a major label release coming up, so I engineered, produced and mixed the album, “Cayuga Night Music.” It received excellent reviews from the media. Several years later, we did his next album, “Places, Times and People.” All thanks to the ADAT.

Recent Infinite Sound projects include working with film composer Ron Riddle on numerous television program mixes. These feature shows have been for Disney, Audubon, Animal Planet and the Discovery Channel.

Anyone interested in television soundtrack work should be able to work under excruciatingly tight deadlines and cranky TV producers!

Have you moved from digital tape to hard disk?

We now have Pro Tools 4.0, a great DAW with the automation of the TDMs and the new Audiosuite architecture. Actually, I like going back and forth from digitial tape and hard disk. Each has its own advantages and disadvantages.

On-going work includes the digital editing for Calcante Recordings Ltd., a record label specializing in classical organ music. It’s always a challenge to glue together a dozen takes into a final “masterpiece.” Other digital editing projects have been for contemporary classical composer, Henry Brandt and traditional jazz performer Sol Yaged.

Infinite Sound has also recorded, mixed and digitally edited several acoustic World music albums. These include CD projects for Ugandan musicians Samite (Zenophile/Shanachie Records) and ethnomusicologist, Dr. James Makubuya (through a grant from the Massachusetts Institute of Technology).

j Wonderful sessions using traditional African instruments, most of which were very, very difficult to tune with one another!

Any live recording?

Infinite Sound is strong at mixing projects, MIDI production, acoustic recording and digital editing. While we’ve recorded concerts, outdoor festivals and individual performances, our forte is in the studio. Decide on your studio’s strong points and work in those areas.

It’s also important to have an impeccable reputation in the music community - your career depends on it! Go that extra step to do great work. And networking is important. You need to have people who you can call and ask questions, lend and borrow gear and exchange professional services.

Is there still room for your own work?

The greatest rewards comes from working on my own material. Stylistically, I’m interested in combining acoustic and electronic music. Electronic instruments provide an unlimited palette of sounds whereas acoustic instruments provide intimacy and life. That’s a hard combination to beat.

I signed a record contract with Spotted Peccary Music and have released one album with them: ‘A Vision Beyond Light.’ A second one is in the works.

My goal is threefold: to compose and record music without any restrictions, work on outside projects with other artists and write magazine articles about music technology. That’s what Infinite Sound Studio is all about. It’s been great!

(Recording Magazine, Music Maker Publications Inc, 5412 Idylwild Trail, Suite 100, Boulder, CO 80301-3523. Used with permission by the author.)