Acknowledgments
I am indebted to and appreciative of the many talented, hard-working colleagues and studio management staff who glimpsed potential and initiative and supported opportunities for me to work, learn, develop, and thrive for 30 years in professional audio. An exalted category of gratitude is reserved for the artists and musicians who have trusted me with their most precious and deeply prized possessions—their music and recordings. By working with them to understand and help achieve their artistic vision, I have been enriched as a Mastering Engineer and trust that my work has exceeded their expectations for the final mastered result of their recordings.
Ultimately, this book would not exist without the many associates and colleagues over the years who contributed to my professional audio career and daily mastering work.
Rude Stude Recording (1990–1993)
Rudy Guess (ad astra) and Lorna Guess both for their welcoming encouragement, Rudy for mentoring the 23-year-old Evren, and outlining basic methods for successfully running a recording session from basics to overdubs to mixdown, and for enlisting me to co-engineer the recording of Carole King’s “Colour of Your Dreams” album (1993).
Paramount Recording (1989–1995)
Adam Beilenson and Michael Kerns for successfully keeping their studio facility humming through the Los Angeles riots (1992), the Northridge earthquake (1994), and the home studio revolution. But most of all for allowing me to sneak into the studios from my post in the office and learn recording from the existing engineering staff aka the cats! Michael Schlesinger (ad astra), Barry Conley, Jamie Seyberth, Keith Barrows, Stoker, Geza X, Voytek Kochanek, Michael Melnick, Michael Becker, Anne Catalino, and Lou Hernandez for being brothers/sister in arms and sharing recording approaches in the days of 2-inch analog tape while we never backed down from sessions with a midnight downbeat!
Capitol Studios and Mastering (1995–Present)
Executive/Management/Office/Administrative
Michael Frondelli for hiring me and supporting my transition to mastering, Robin Bechtel for a character reference to M.F. Pete Papageorges for allowing me drop off my résumé and supporting my transition to mastering. For friendship and years of session booking and administrative support: Cassandra Spunbarg, Beatrice Olsen, Rob Christie, Cathleen Weinrich, Talin Titizian, and Jordan Koppelman. Greg Parkin and Matt Graber for embracing independent artists/producers as important clients and standing by the engineering staff. Pat Kraus, Kevin Reeves, Roey Hershkovitz, Ryan Simpson, and Paula Salvatore for keeping Capitol Studios and Mastering running like a Swiss watch and managing the legendary facility with care and consideration.
Colleagues/Engineers/Technical Staff
The following Whiz Kids who kept or keep all systems functioning: Jeff Minnich, Tom Ketterer, Bruce Maddocks, Tom Schlum, Denny Thomas, James Goforth (ad astra), Dave Clark, Assen Stoyanov, Peter Gonzales, and Bryant Lewis. Colleagues past and present who shared/share in running recording sessions or completing the label’s workflow: Scott Lechner, Jeff Rach, Odea Murphy, Kevin Hayunga, Jay Rannellucci (ad astra), Christina Paakari, Leslie Ann Jones, Chandler Harrod, Steve Genewick, Nick Rives, Jeff Fitzpatrick, Charles Cosin, and Mike Jones. David McEowen and Perry Cunningham, known respectfully as ‘the palominos’ for their status executing asset preservation, for meticulously archiving and cataloging priceless analog tapes in high-resolution digital.
Capitol Catalog/Independent Catalog Producers
I’ve worked regularly with these past and present producers who mine the Capitol and affiliated label catalogs for under-represented gems for remastering and re-release from the archive: Greg Ogorzelec, Cheryl Pawelski, Frank Collura, Matt D’Amico, Michael Murphy, Christian Johnson and Kevin Flaherty. Marty Wekser and I worked tirelessly on the Varese Sarabande catalog, and David Tedds and I went back to original analog source tapes for the Grand Funk Railroad, Queensrÿche, and Pat Benatar catalogs.
Mastering
The Capitol inner sanctum of mastering past and present: Kevin Reeves, Wally Traugott (ad astra), Bob Norberg, Ron McMaster, Kevin Bartley, Robert Vosgien, Ian Sefchick, and Mark Chalecki. With a bullpen like this, there’s bound to be a friendly skirmish here and there; fortunately, mutual respect prevails at Capitol.
California State Polytechnic University Pomona (2014–2015)
I must acknowledge Professor Arthur Winer, head of Audio Technology in the Music Department, and Dr. Iris Levine Chair of the Music Department for enlisting me to teach the mastering class at CSPUP. This experience kindled my passion for teaching and inspired me to write this book.
International Brotherhood of Electrical Workers (IBEW) Local 45
Capitol Studios is one of the rare recording facilities whose studio employees are under a collective bargaining agreement. A unique harmony pervades and Elaine Ocasio, Victor Marrera, Lupe Perez, and formerly Rick Rogers consistently find the common ground so that the audio engineers can continue to focus on making exemplary recordings.
Routledge/Taylor & Francis Group/Focal Press
I’m grateful to the detailed work and focus from my publisher including Hannah Rowe, Shannon Neill, and beginning with Lara Zoble. The book benefited from their high standards and patience in receiving the manuscript.
My Family
My remarkable and loving family: brilliant wife Dr. Luna Merve Göknar, force-to-be-reckoned-with son Milas Göknar, and effervescent-sunbeam daughter Esma Göknar. Throughout this entire intense writing process, they never wavered in support.
My Parents
I credit any steadfastness and fortitude of my own to my parents Dr. Meral Ülker Îli Göknar and Dr. Mehmet Kemal Göknar. Their example of perseverance was relied on continually to complete Major Label Mastering: Professional Mastering Process.