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Longtime Cleveland resident and CDPUG member Jeff Poplar has been creating commercial art for almost 45 years. His main passion is illustrating (both traditional and digital) but he also excels at fine art drawing and painting. In addition to his extensive career as a designer and art director for ad agencies and in-house corporate marketing departments, he is also a successful freelance designer, mainly for the retail industry.
His latest venture, 2nd Wind Studio, is an e-commerce store that showcases a variety of unique and nostalgic Cleveland-themed products such as T-shirts, mugs, prints, and note cards. His one-of-a-kind products are the perfect gift or souvenir for locals and tourists alike. Visit https://www.2ndwindstudio.com/ to see a full catalog of products, and then share this link freely on your favorite social media sites. Let’s make Jeff Poplar art more popular!
Come celebrate as CIA unveils some of the best work created by students of all levels working across fifteen majors. An opening reception will take place on Tuesday, April 23 from 6:00 p.m. to 8:00 p.m.; a student runway show begins at 7:00 p.m. in the Jack, Joseph
Register now to attend a free book launch of the new memoir about this determined and successful Cleveland architect. Meet authors Bob Madison and Carlo Wolff, and get a signed first edition at a special event price. You must RSVP before April 11. Hors d’ oeuvres are included. Additional food and beverages are available for purchase. For more information about Madison’s life and work, visit http://designingvictory.com/. You can also pre-order the book through PayPal.
If you are in the mood for a dark supernatural novel, then listen to CDPUG member William Cohen-Kiraly’s, “Something That Will Not Let Go,” a story about evil, avenging angels, and demons. The book is read by the author and is partly inspired by the song, “Bury My Lovely,” by American pop rock band, October Project. The story contains graphic content that may not be suitable for everyone. You can also visit www.befuddledmuse.com for more information about the book.
by Jinni Fontana, with Erica Brenner
When I listen to classical music, I initially feel it in my brain; but the GRAMMY® award-winning, Apollo’s Fire “Songs of Orpheus”, immediately fired up my heart. It is visceral, stirring, and passionate, and the way producer Erica Brenner has captured all of these ethereal qualities is beyond exceptional. The album was the well-deserved winner of this year’s Best Classical Solo Vocal Album at the 61st GRAMMY® awards ceremony. I encourage readers to get the CD at https://apollosfire.org/cds-shop/, or at your preferred music retailer. Apollo’s Fire has also released at least twenty-five other albums to much acclaim.
Apollo’s Fire “Songs of Orpheus”, Winner of the Best Classical Solo Vocal Album at the 61st GRAMMY® Awards
I could go on for hours about the immense talent of Cleveland’s own Baroque orchestra— Karim Sulayman’s soul-wrenching vocals, Jeannette Sorrell’s artistic direction, and the impact the music
Erica started out at world-renowned Telarc International in 1989 as an audio editor, eventually moving up to the Director of Audio Production. GRAMMY® award-winning producer Elaine Martone (her friend and collaborator at Telarc) gave Erica a job there where she worked until 2009 after the company was sold to Concord Music Group. At that point, she said that it was an “inevitable transition for me to become an independent music producer.”
Over the years, Telarc won more than fifty GRAMMY® awards. However, while three of Erica’s recordings were GRAMMY®-nominees when she was at Telarc, “Songs of Orpheus” is her first nomination and win as an independent producer. As a producer, she is responsible for many more aspects of a project that formerly had a company infrastructure behind it. She says that rather than working with a team of co-workers under one roof, she now works with a team of co-collaborators that include the artists, the audio engineers, the stage and production crews of the ensemble or concert hall, and the record labels and manufacturers. Oftentimes she manages all aspects of the project from concept through manufacturing, scheduling, recording, artwork, mixing, and mastering.
“Songs of Orpheus” was recorded live in August of 2017 at St Paul’s in Cleveland Heights, where the church was transformed into a private recording studio for four days. Over the following five months, the recording was edited, mixed, mastered, and then released in April 2018 on the Avie label.
Erica worked with recording engineer Ian Dobie—a protégé of the late Tom Knab, the longtime recording engineer for Apollo’s Fire. Ian captured everything on a series of strategically placed microphones. There were two sets of main mics picking up the entire ensemble from the front: one pair of AEA ribbon mics, and one pair of Schoeps tube mics that Tom Knab always used. Other spot mics were placed as needed within the ensemble, with three of them used on Karim’s voice alone. This placement gave Erica three different options to choose from during mixing.
While there the spot mics help clarify the instruments within a classical ensemble, not every instrument needs to have an individual mic. The goal is to recreate the ensemble’s sound capturing the natural balance of the instruments and voices in a more acoustic, concert hall atmosphere, rather than a highly produced studio sound. There is typically no overdubbing in the studio, so everything has to be captured in real time during the sessions.
Erica explained how the space around the instruments is an instrument itself — the way the sound transmits into the room, bounces off many different surfaces, and then reflects back into
Ian recorded the session directly into the Pyramix Digital Audio Workstation (DAW), a Merging Technologies product that is the preferred choice of pro audio engineers, especially for classical music. His analog to digital converter was the HAPI, also by Merging. This project (as are most classical music projects) was recorded at a minimum of 96K at 24 bits. Converting down to CD specs can be handled by several sample rate converters, but Pyramix has an excellent one built right in.
Erica had used a Sequoia v10 DAW for over fifteen years, but recently, made the transition to Pyramix in order to streamline the interface with the engineers. However, “Songs of Orpheus” was edited in Sequoia v10; and while an older version, it is still a great workhorse. Once the editing was finished, she bounced out the multitrack edit as individual tracks and then handed them off to Daniel Shores, the engineer who mixed and mastered the final album.
Many classical music editors and engineers prefer the editing capabilities and flexibility of Pyramix and Sequoia to Pro-Tools. While both of those systems are PC-based, Erica has successfully used both systems on her MacBook Pro by running Boot Camp, allowing her to use the Mac for the PC-based pro audio programs. In fact, she still uses a MacBook Pro 2009 model to run Sequoia—the Mac side is no longer supported or upgradeable, but the PC partition works like a tank. If it ain’t broke…!
During editing, Erica monitors the audio through a Lavry DA11 stereo digital-to-analog converter, using either Sony MDR-7506 headphones or through a set of PMC result6 speakers. These speakers are a great solution for a small studio as their dynamic range and precise clarity of the finer details is crucial for listening and editing.
All audio source files are stored on external hard drives during editing. Only the program is stored on the internal hard drives. Sound EDL files (Edit Decisions List) and any effects files are also stored on external drives and a safety backup is made for each project. If all the audio files are backed up on two different hard drives, and the editor and engineer are using the same DAW, the EDLs can be passed back and forth easily without having to send large files. This system greatly streamlines the workflow. It’s the equivalent of keeping .tif graphic files on a hard drive and passing the InDesign .indd files back and forth to a designer. In the end, only the mixed-down audio files (usually .wav or .mp3) are uploaded and reviewed through the cloud. Once the final edits, mixes, and masters have been approved, the mastering engineer creates final DDP files (Disc Description Protocol) for manufacturing and digital delivery.
As a natural progression from audio production, Erica added video production to her services as well when she became an independent producer. She recorded a video of the Songs of Orpheus performance that took place the week before the church recording sessions. She needed a good quality camera that could shoot continually for a long period of time, up to one hour or more. She discovered that the Panasonic GH4 was a DSLR-style camera (technically a Micro Four Thirds) that didn’t stop recording after a 20-minute file was written. The quality of the video, especially using Lumix lenses, was an outstanding choice for concert videos. She owns one GH4 with a 35-100 Lumix lens, but routinely rents additional GH5 cameras through Cleveland Camera Rental. She credits them for “improving the quality of my video presentations over the five years I have been renting from them.”
Erica uses Final Cut Pro X v10.4 for video editing and loves the program. She has had the benefit of learning Final Cut Pro without the baggage of former versions or knowing the interface of Adobe Premiere. She highly recommends Final Cut Pro as a powerful tool that can significantly cut down editing time once the interface is fully understood and embraced.
Erica invites you to visit her website, although she was quick to say, “a few things need to be upgraded and added.” She added, “Another challenge of the independent producer is one always works on the client’s project before one’s own!”
The new Phix Cafe is located in the MidTown Tech Hive at 6815 Euclid Ave. There is has an immediate need for artwork to hang on the walls around the cafe for the month of March. You must have enough installation-ready works to fill the space. There are already silver rails, hooks, and wires in place; you are responsible for hanging the artwork. Call or email Jackie Larkins for more details: 216-906-9743, Jackie.larkins@digitalC.org
This year’s parade and anniversary celebration
If you want to participate in the parade, you are invited to join the FREE workshops and learn the basics of parade design and construction. Group representatives and individuals interested in learning parade skills or discussing their ideas are encouraged to attend any or all of the six Tuesday-evening workshops held on March 5, 12, 19, and 26; and on April 2 and 9, from 6:30–9:00 p.m., at the West 25th Street Lofts on the corner of W. 25th and Church Ave., Cleveland, https://goo.gl/maps/yQpjFxkuB4C2. Free parking is available in the lot on W. 25th Street and Church Ave.
For more details on the parade, workshops, and registration, visit http://www.clevelandart.org/events/special-events/parade-the-circle/participate
The Rocky River Ladies Lunch & Networking (a fast-growing Cleveland network group) invites you to attend the 2nd Annual Women’s Business Expo on March 26, 2019, from 11 a.m. through 7:00 p.m. Bring your business cards to enter raffles from each of the vendors, or if you would like to become a vendor yourself, visit here to secure a space now.
Guest entry is free, and food and beverages will be available for purchase from food trucks. All attendee parking is $6 from the Burke airport driveway off North Marginal Road, and immediately east of the USS Cod and near the Lean Dog boat. For more information, contact Heidi Hooper at HHooper@UltimateAirShuttle.com.