Remote Recording has been busy this year capturing concerts and events all over North America. Click on any press release below to learn more about projects that Remote Recording has worked on in the past few years.


01/10/08 New Year, New Met - Remote Recording Kicks Off Season

06/03/03 Benefit for Live Jazz at Lincoln Center

05/20/03 Remote Recording soars with The Eagles

01/28/03 Remote Recording rolls with The Stones

11/06/02 Lenny Kravitz Live DVD

10/29/02 Remote Recording is ''Movin' Out''

07/26/02 Boy Sets Fire Live EP

07/25/02 Ozzfest Live

05/20/02 Live at The Apollo Michael Jackson

05/16/02 Harrison Ford’s Latest Film- K19

03/26/02 And the Oscar Goes to…Remote Recording

12/21/01 Sting at The Beacon

11/05/01 Silver Studio records VH1's Concert for NY

New Year, New Met
Remote Recording Kicks Off Season

January 10, 2008, New York, NY – Remote Recording has begun work on their 30th year with the Metropolitan Opera. The season begun with “Romeo and Juliet”, followed by “Hansel and Gretel”, and is now in the midst of “Macbeth”. Last season the Met begun hi-def broadcasts in theaters country wide, and continues with that format this season.

Remote Recording’s owner/manager Karen Brinton said, “We’re thrilled with what’s been happening at the Met. Last season was such a success they’ve added two shows to this season. Having Tom Holmes by our side on the video truck makes it that much better.”

The Met has made significant upgrades to their technical infrastructure. David Hewitt, Remote Recording’s chief engineer said, “It’s exciting to see what Peter Gelb has accomplished in such a short amount of time. The sets, costumes, and HD element have really brought new life to the opera.”

Remote Recording will continue the series with “Peter Grimes”, “Tristan Und Isolde”, “La Boheme”, “Fille Du Regiment, as well as a gala this spring.

For further information, please contact Remote Recording at, and phone 212-759-0141.

Contact: Karen Brinton
Remote Recording
P.O. Box 20489
New York, NY 10017-9993
212-759-0141 phone
212-759-0143 fax;


Benefit For Live Jazz At Lincoln Center, Remote Recording Records Event

June 6, 2003, New York, NY – Live Jazz at Lincoln Center held its 2nd Annual Benefit on Monday, June 2, 2003, at the historic Apollo Theater. Laurence Fishburne, along with Wynton Marsalis and his septet, hosted the gala. Artists performing along with them included Carrie Smith, Audra Mc Donald, Eric Clapton, Willie Nelson, BB King, and Ray Charles.

Remote Recording was brought in by Sam Berkow of SIA Acoustics to record the event. David Hewitt, Chief Engineer for Remote Recording, recorded on the Silver Studio’s Neve VR to their Studer D-827. Berkow also recorded the show on his Nuendo rig. Berkow had this to say, “One of the missions of Jazz at Lincoln Center is to document their events. Trying to capture the energy of an event featuring artists of this magnitude is hard under any circumstances. Remote Recording helped to create a great sounding recording, clearly showing the roots of Jazz in the blues, and the wide influence of the blues. I’m so glad I chose David Hewitt, and Remote Recording, they made a great sounding live 2-track recording, as well as a full multi-track backup easy, and fun! Which, when you consider the music being played, seems dead on target. Also, watching Karen shake her booty wasn’t so bad either.”

The show moved at a great pace, and was a tremendous success. Hewitt said, “The wonderful thing about this show was that all these great musicians were there to support a musical genre that they love, with no thought of monetary reward. Where else are you going to hear Willy Nelson play “Milk Cow Blues” with Wynton Marsalis Septet? It was a GALA in capital letters. Most fun I’ve had mixing a live to tape show in years!”

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Remote Recording Soars With The Eagles, Records Live Single With Elliot Scheiner

May 20, 2003, Ft. Lauderdale, FL – Remote Recording Services, and Elliot Scheiner headed down to Ft. Lauderdale, to record the Eagles “Farewell I” show on May 16th, and 17th, at the Office Depot Arena. Scheiner, who’s worked on several projects with the Eagles over the past 9 years said, “ When I got the call to record the Eagles in Florida, I immediately called Remote Recording to work with me. I like it when I know that a remote crew is going to have everything ready for me to go, and not make me worry about many of the details. David’s always come through for me.” Scheiner’s also had a relationship with Remote Recording for over twenty years, and has worked on numerous projects with David Hewitt.

The goal of the project was to capture a live single of their new song, “Hole In The World”, but of course the complete show was recorded each night. Remote Recording’s David Hewitt said, “We had tremendous help from the Clair Brothers Sound Reinforcement crew. Long time Eagle’s FOH Mixer J.D. Brill and Crew Chief Chris Fulton made the interface smooth and trouble free, not to mention great sounding. Elliot’s rapport with the Artists and deep understanding of Live Music Recording just elevates every one else’s performance, so it was a pleasure all around!"

Scheiner mixed the show on the Silver Studio’s Neve VRM console, along with Studer 961 Submixers, to Studer D-827 Digital 48 Tracks and 24 Tracks of Sony PCM-800s.

The Eagles plan to release the live single later this summer.

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Remote Recording Rolls With The Stones, records Live Broadcast at the Garden

January 28, 2003, New York, NY – Remote Recording Services met up with Ed Cherney, and the Rolling Stones to record a show at Madison Square Garden on January 16th, and 18th. The Saturday show was also a live broadcast on HBO. Cherney, wno’s been the Stones engineer of choice for the past decade, always brings Remote Recording along for the ride.

Cherney said, “I’ve used Remote Recording Services dozens of times, and never missed a note of music.”

“We have worked on every Stones tour since 1981, and gone through 3 remote trucks in the process. These guys are hard to keep up with. It’s always amazing to watch them play. I think there’s every bit as much energy to their performance at Madison Square Garden, as it was 20 years ago”. It was a real pleasure working with Ed Cherney, who has done the last several albums, and tours. It’s also great to work with Robbie McGrath, and Chris Wade-Evans (better known as Wevans). I’m sure this won’t be the last tour, and we look forward to working with them again.”

Cherney will be mixing the show in 5.1 for a DVD, to be released later in the year.

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Lenny Kravitz Live DVD, Remote Recording Records Last Night of Tour in Toronto

November 6, 2002, Toronto, Canada – Lenny Kravitz wrapped up his marathon tour on September 16, 2002. Remote Recording was brought in to capture the show for a live DVD. Other dates were recorded eariler in the year in Germany, and San Diego.

Matt Knobel was in the “Silver Studio”, for what proved to be a great ending to a great tour. Knobel said, “Working with the gang from Remote Recording was a lovely experience. Making “Lenny Live” was made an easy task with the help of Dave and company.” Knobel tracked the show on the Remote Recording’s Neve VRM console, with Genelec 1031 monitors to Studer D-827 48 track digital recorders. Lenny used AT-4054 vocal mics, and AT-4050’s on his guitar cabinets.
Knobel then transferred the show to ProTools, and hooked up with Ed Cherney at the Hit Factory in New York, for the 5.1 mix.

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Remote Recording’s “Movin’Out”, records Cast Album

October 29, 2002, Chicago, IL – “Movin’ Out” is a new musical conceived, directed, and choreographed by Twyla Tharp, based in the songs and music of Billy Joel. The pre-Broadway world premeire engagement was at the Shubert Theater in Chicago.

Producer Mike Berniker brought in Remote Recording, and Engineer Ed Rak to record the cast album over two nights in August. Rak recorded the show on the Silver Studio’s Neve VR.

When asked about his involvement, and experience with the project, Rak had this to say, "As the owner and chief engineer of Clinton Recording Studios in New York, I very rarely accept projects outside my well known, well controlled environment of Clinton. When I venture out into hostile recording environments, I require lots of planning and preparation.

The Billy Joel “Movin’ Out” show was a project I was very interested in, and understood that it would be best represented by capturing it totally live. The moment the highly challenging idea of recording a Broadway show in a theater in Chicago was mentioned, the image of the “great silver truck” came into my head. For me, live recording equals moutainous problems. Remote Recording represents instant solutions. Having first worked with Billy Joel on “The Stranger” album with Phil Ramone in the 70’s, I anxiously hoped I would do justice to that and the rest of Billy’s fine body of work as performed in the show.

I am thrilled not only with the quality of the recording I came away with, but it was exactly what I knew I had in the truck. This made for a fun and creative environment which instilled my confidence in the artist and the producer as well. We all agreed that we may still have a future in this business!"

Dave Hewitt, the master, can solve the known, unknown, AND the unknown unknown problems. He, Karen, and Phil are scientists, sociologists, and the best servicemen to the arts I’ve ever known. Their long history, depth of experience, and leading edge awareness maintains an environment I am thrilled to say I have experienced.

On the applause during the final curtain of the last show we recorded, I turned to Dave and said, "oh yeah... this is why I’m here and this why all those kids want this chair!" Berniker, and Rak then headed to Clinton Recording to do the final mix for the cast CD.

The producers on the project, Tommy Byrnes and Mike Berniker felt that this musical situation was a rarity in the history of recording original cast albums. “We knew that the spontaneity and fire of Michael Cavanaugh and the band could only be captured by having Michael and the band interact with the audience at the Shubert Theater in Chicago. Also, the band was extremely cohesive and anxious to record in this way. Another factor leading us to the live recording was the incredible sound on stage designed by Peter Fitzgerald and Brian Ruggles. The sonic conditions were almost perfect for us in the Remote Recording Services truck. Dave Hewitt and Ed Rak translated the acoustics of the theater and stage into one of the most ideal recording events we've ever witnessed. The spirit within the band was extraordinarily high; you can hear the joy between the players.”

Remote Recording’s Karen Brinton said how much she enjoyed working on this project. “We were so excited to be working with Mike, and Ed. The comradery we had in Chicago was tremendous. Seeing everyone enjoying the work, that’s what makes it all worthwhile.

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Boy Sets Fire Remote Recording Tracks Live EP

July 26, 2002, Amboy, NJ – Wind-up record band, Boy Sets Fire, recorded their first live EP at Club Krome in Amboy, NJ. When given the task of finding a remote truck for the project, Victor Murgatroyd, VP of A&R, contact Remote Recording Services.

Murgatroyd said, “The sonic integrity and ferociousness of “Boy Sets Fire” was flawlessly captured by Remote Recording Services “Silver Studio”, and Karen’s chocolate chip cookies were great!”

Engineering the project was Brett Eliason. Eliason had this to say about Remote Recording Services; “I had the opportunity to work with Dave, Karen, Phil, and the rest of the crew of Remote Recording. We set-up, and recorded over the duration of one day. It could not have been easier. Everyone with the truck were total pros. Set-up was smooth, and methodical, and we were rolling right on time. The crew was very personable, making the band and myself feel welcome and right at home.” Eliason recorded the performance on the “Silver Studio’s” Neve VR to their matched pair of Studer D-827 48 Track Digital machines. The tapes were taken that evening to Right Track, were they were transferred to a hard disk, which Eliason took home with him to Seattle, where he edited the show on his Pro Tools system.

Remote Recording Services Karen Brinton said, “It was wonderful working with Wind-up. Not only were they organized and professional, but the band sounded great too!”

Wind-up’s Manager of A&R Administration, Monique Augusta said, “Working on the live recording from inside a huge semi was better than being a Teamster! The staff is professional and courteous, and we had a lot of fun working with them on the project. The label is very pleased with the result.” The live EP will be released on September 10, 2002.

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Ozzfest Live Remote Recording and Record Plant Remote

July 25, 2002, Mansfield, MA – Given the recent popularity of “The Osbournes”, it was extremely appropriate that Columbia record Ozzfest. Thom Panunzio, Producer, hired Remote Recording Services, and Record Plant Remote to cover the two stages. The recording took place over two days in July at the Tweeter Center, in Mansfield, Massachusetts. There were 20+ bands recorded on Remote Recording’s Neve VR, and Record Plant Remote’s API.

Panunzio left the live engineering in the hands of David Hewitt, and Kooster McAllister, two of the finest live recording engineers in the industry. Panunzio said, “When I knew we were going to record Ozzfest, David Hewitt was the first person I thought of. He’s my Guru, and I was honored to have him there. Kooster and I are buds from way back. We grew up together, and he’s the only person I’ve brought into this business. It was like old home week. It was great working with everyone!”

Remote Recording’ s David Hewitt had this to say about the Ozzfest experience. “It was great fun to work with our old friends Thom Panunzio, and Kooster McAllister. We all used to to work together at Record Plant Studios in New York. Having recorded Ozzy at live shows from Black Sabbath in the 1970’s, through his solo career, it was interesting to see him as the Patriarch of a whole new generation of musicians. Ozzfest had some extraordinary bands.”

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Live From The Apollo, Remote Recording Records Michael Jackson

May 20, 2002, New York, NY
– On April 24, 2002, the Democratic National Committee held a fund-raiser at the historic Apollo Theater in Harlem. Headlining the show was Michael Jackson, with a 30 minute set which left everyone standing. Other performers included Ruben Blades, Tony Bennett, KD Lang and The Harlem Boys Choir.


Remote Recording Services was initially brought in to record Jackson only, but as things progressed it was decided that RRS would record the entire show. David Hewitt, President and Chief Engineer for RRS, was behind the “Silver Studio’s” Neve VR console.

“We really enjoyed seeing politicians focusing on music for a change. Everyone seemed to enjoy the show, even though President Clinton declined to play his sax”, said Hewitt.

Brad Buxer, Jackson’s Musical Director, was on the truck checking out all that RRS had to offer. Buxer said, “Dave Hewitt is the best in the business, he has the nicest remote recording truck I have ever seen. RRS made sure everything was perfect!” Michael Prince, who also works with Jackson came on board for a tour.

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Harrison Ford’s Latest Film- K19 Remote Recording Services Records Kirov Ballet Orchestra

May 16, 2002, Washington, DC – Remote Recording Services was on hand at the world famous Constitution Hall to record the score for the Intermedia film “K19: The Widowmaker”, starring Harrison Ford and Liam Neeson, due to be released July 16, 2002.

Engineer Alan Meyerson hired Remote Recording Services, to do the honors.” When I found out I was going east to do a remote, my first phone call was to Dave Hewitt” says Meyerson. The score was composed by Klaus Badelt and performed by the Kirov Orchestra, which was on tour in Washington at the time.
Both the film’s director, Katherine Bigelow, the editor Walter Murch, and the composer, were on hand for the sessions.

Meyerson: “Trying to turn a 100 year old national concert hall into a recording venue was a massive and fun undertaking. I think the end results were worth it.”
Hewitt said, “Recording film scores has become a niche for Remote Recording Services over the years. We were thrilled to have the opportunity to work with Alan Meyerson, and very pleased with the results.”

Meyerson used Remote Recording Services Studer 48 trk digital to for tracking, transferring to Pro Tools for editing

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And the Oscar Goes to… Remote Recording

March 26, 2002, Hollywood, CA – Remote Recording Services just returned from their eleventh consecutive year working on the 74th Annual Academy Awards. Remote Recording's "Silver Studio" is the most highly acclaimed remote recording truck in the country. Multi-T.E.C., and Grammy Award winning David Hewitt, President and Chief Engineer of Remote Recording, is also one of the most respected live recording engineers in the business.

For the Oscar's, Remote Recording provided the audio mix for the orchestra, working along side Ed Greene. Greene said, “It’s always a pleasure working with Remote Recording Services. Always very smooth, and a marvelous sound (often under stressful conditions). I can’t wait to work with them again!”

"The crew is a well-oiled machine", said Karen Brinton, Studio Manager for
Remote Recording Services. "Everyone knows what they need to do, and they
just do it. When you've only got one take, and it has to be right, there's
no room for error. It's an honor, and a pleasure, to work with such a
professional group of people."

With a client roster and recording credit list that reads like a "who's who"
of pop and rock music, Hewitt and company have over 50 years combined
experience in this very specialized field. Other projects that Remote
Recording Services worked on this year include the Opening Ceremony for the
2002 Winter Olympics in Salt Lake City, Utah and the film score for the
upcoming Harrison Ford Film, "K-19", recorded on location in Washington,

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Sting at the Beacon
WPLJ Celebrates 30th Anniversary in Style

December 21, 2001, New York, NY – ABC Radio’s flagship FM radio station WPLJ, celebrated their 30th anniversary on December 6, 2001 at the Beacon Theater. Legendary artist Sting provided the evenings entertainment. The two-hour performance included many of Sting’s solo songs, along with some vintage Police numbers.

The show was broadcast live on radio stations around the country including XM Satellite Radio. “We were pleased and honored to work with such pros”, said David Hewitt, President, and Chief Engineer of Remote Recording Services.

WPLJ’s Director of Engineering, Kevin Plumb was tasked with pulling off the broadcast engineering component of this project. Plumb turned to Remote Recording Services for the onsite live broadcast/audio production needs. When asked why he chose Remote Recording Service Plumb stated “RRS gave me cost effective yet flexible options which allowed WPLJ to reach its goals and stay within budget. Most importantly RRS was able to deliver our listeners and affiliates a high quality radio program that has been the talk of our industry”

Engineer, Simon Osborne was on Remote Recording Services “Silver Studio” for the live broadcast mix, as well as a 48 track digital recording of the show. Osborne used the truck’s Neve VR console for the broadcast. The show was also recorded using a Studer D-827. Osborne used Quested VS2108 powered monitors. Osborne had this to say about Remote Recording Services, “When I was looking for a mobile to mix Sting’s show live to air from the Beacon Theater in New York, I chose Remote Recording Services. They have all the right gear, a Neve console, Studer tape machines, and much more. Added to that a great and friendly crew!”

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Remote Recording Makes History
Silver Studio Records VH1 Benefit Concert

November 5, 2001, New York, NY – On October 20, 2001, an historic event took place. VH1’s Benefit Concert for New York City was held at Madison Square Garden. Remote Recording Services was on hand for the event. The live broadcast lasted nearly six hours, and was recorded for CD and DVD. Proceeds from the event went to the Robin Hood Foundation.

The evening’s line up was of epic proportion. Opening the show was David Bowie, followed by acts such as The Who, Paul Mc Cartney, Elton John, Bon Jovi, and Mick Jagger to name but a few.

Mixing on Remote Recording Services Silver Studio was none other than Bob Clearmountain. Clearmountain commented, “When Columbia Records asked Chuck Plotkin and I to work on the ‘Concert for New York’ project, they asked us to choose the mobile recording facility we preferred. As we knew this was to be an incredibly complicated project, we needed a truck that both sounded great and was well equipped, along with a crew that had the most experience with large, multi-artist shows. So we chose Remote Recording Services ‘Silver Studio’. No one has more experience than David Hewitt and his crew, Phil Gitomer and Sean McClintock. Both the live broadcast and the multi-track recording went incredibly smoothly, as have other past projects we've all been involved in, such as ‘Live Aid’, and ‘Woodstock ‘94’.” Producing the project were Chuck Plotkin, and Don DeVito. DeVito said, “Working with Remote Recording Services is always great, and under the circumstances (time, logistics, etc.) it was better than ever!”

"This was a once in a lifetime opportunity to work on such a worthwhile project, with such an amazing line up", said Karen Brinton, studio manager for Remote Recording Services. She continued, "We were honored and delighted to donate our services to such a worthy cause."

The CD set was released on November 27, 2001, and the DVD will follow shortly.

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