Skip to main content
 
  • Recording Academy
  • GRAMMYs
  • Membership
  • Advocacy
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
GRAMMYs
  • Advocacy
  • Awards
  • Membership
  • GRAMMYs
  • News
  • Governance
  • Jobs
  • Press Room
  • Events
  • Login
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
  • More
    • Governance
    • Jobs
    • Press Room
    • Events
    • MusiCares
    • GRAMMY Museum
    • Latin GRAMMYs

The GRAMMYs

  • Awards
  • News
  • Recording Academy
  • More
    • Awards
    • News
    • Recording Academy

Latin GRAMMYs

MusiCares

Advocacy

  • About
  • News
  • Issues & Policy
  • Act
  • Recording Academy
  • More
    • About
    • News
    • Issues & Policy
    • Act
    • Recording Academy

Membership

  • PRODUCERS & ENGINEERS WING
  • SONGWRITERS & COMPOSERS WING
  • GRAMMY U
  • More
    • PRODUCERS & ENGINEERS WING
    • SONGWRITERS & COMPOSERS WING
    • GRAMMY U
Log In Join
  • SUBSCRIBE

See All Results
Modal Open
Subscribe Now

Subscribe to Newsletters

Be the first to find out about GRAMMY nominees, winners, important news, and events. Privacy Policy
GRAMMY Museum
Membership

Join us on Social

  • Recording Academy
    • The Recording Academy: Facebook
    • The Recording Academy: Twitter
    • The Recording Academy: Instagram
    • The Recording Academy: YouTube
  • GRAMMYs
    • GRAMMYs: Facebook
    • GRAMMYs: Twitter
    • GRAMMYs: Instagram
    • GRAMMYs: YouTube
  • Latin GRAMMYs
    • Latin GRAMMYs: Facebook
    • Latin GRAMMYs: Twitter
    • Latin GRAMMYs: Instagram
    • Latin GRAMMYs: YouTube
  • GRAMMY Museum
    • GRAMMY Museum: Facebook
    • GRAMMY Museum: Twitter
    • GRAMMY Museum: Instagram
    • GRAMMY Museum: YouTube
  • MusiCares
    • MusiCares: Facebook
    • MusiCares: Twitter
    • MusiCares: Instagram
  • Advocacy
    • Advocacy: Facebook
    • Advocacy: Twitter
  • Membership
    • Membership: Facebook
    • Membership: Twitter
    • Membership: Instagram
    • Membership: Youtube

GRAMMYs

GRAMMYs

  • Awards
Al Schmitt 56th GRAMMY Awards

Al Schmitt at the 56th GRAMMY Awards show

Photo: Frazer Harrison/Getty Images

News
Remembering Al Schmitt, GRAMMY-Winning Engineer remembering-al-schmitt-20-time-grammy-winning-producer-engineer-and-recording-academy-obit

Remembering Al Schmitt, 20-Time GRAMMY-Winning Producer, Engineer And Recording Academy P&E Wing Co-Founder

Facebook Twitter Email
Producer and engineer Al Schmitt earned 20 GRAMMY Awards throughout his career and co-founded the Recording Academy's Producers & Engineers Wing
Jennifer Velez
GRAMMYs
Apr 27, 2021 - 2:28 pm

Al Schmitt, the 20-time GRAMMY-winning producer and engineer behind music from Ray Charles, Bob Dylan, Paul McCartney, Diana Krall, and more, has died. He was 91.

Schmitt's death on the afternoon of April 26 was confirmed by his family.

"The world has lost a much loved and respected extraordinary individual, who led an extraordinary life," the family shared in a statement to GRAMMY.com. "The most honored and awarded recording producer/engineer of all time, his parting words at any speaking engagement were, 'Please be kind to all living things.'" 

Al Schmitt, Dr. John And Chris Finney

Chris Finney, Dr. John and Al Schmitt at a P&E Wing event in New Orleans 

The man born Albert Harry Schmitt on April 17, 1930, in Brooklyn, New York, was an influential figure and leader inside and outside the studio. He had 36 GRAMMY nominations and took home 20 GRAMMY Awards throughout his career —winning GRAMMYs in six consecutive decades since his first win in 1963 for Mancini's Hatari soundtrack.

His last win in 2014 was in the Best Surround Sound Album category for Paul McCartney's Live Kisses. In 2006, the Recording Academy honored him with a Trustees Award.  

Outside of the studio, Schmitt helped found the Recording Academy's Producers & Engineers Wing. In 2021, the P&E Wing celebrated its 20th anniversary.

Harvey Mason Jr., the Recording Academy Chair & Interim President/CEO, honored Schmitt's legacy and work for the Recording Academy.

"An ingenious producer and engineer, a 20-time GRAMMY® winner, a Recording Academy® Trustees Award recipient, and so much more, Al Schmitt was a true legend," Mason said. "His incredible work in the studio brought us iconic pieces of work from many artists, including Ray Charles, Bob Dylan, and Diana Krall, leaving an indelible mark on the recording industry. We are forever grateful for his contributions as a founding member of the Recording Academy's Producers & Engineers Wing® and to the art and craft of recorded music. We send our love and condolences to his family, friends and collaborators."

His friends and family will remember Schmitt for love, friendship and legacy.  

"Al will be sorely missed. He was a man who loved deeply, and the friendships, love and admiration he received in return enriched his life and truly mattered to him. A light has dimmed in the world, but we all learned so much from him in his time on earth, and are so very grateful to have known him," his family said.

Schmitt is survived by his wife Lisa, his five children, eight grandchildren, and five great-grandchildren.

Revisiting One Night Only: Producers & Engineers Wing 20th Anniversary Celebration 2021 Recap

ebonie smith promo

Ebonie Smith 

News
Atlantic Records’ Producer Ebonie Smith On Craft atlantic-records-producer-engineer-ebonie-smith-talks-craft-moving-conversation-interview-masterclass

Atlantic Records’ Senior Producer, Engineer Ebonie Smith Talks Craft, Moving The Conversation Around Gender Forward With Nonprofit Gender Amplified

Facebook Twitter Email
Ahead of her GRAMMY U Masterclass, engineer and producer Ebonie Smith talks paying it forward, her journey to behind the board and why she began a nonprofit providing tools for women and non-binary engineers
Lily Moayeri
Membership
Jun 25, 2021 - 12:03 pm

Ebonie Smith always has her finger on the record button. As the in-house senior engineer and producer for Atlantic Records, headquartered in New York City, Smith is constantly at the ready for any of the artists that step through the studio’s hallowed doors. A former governor of the New York Chapter of the Recording Academy and current member of the Producers & Engineers Wing, Smith has worked on GRAMMY-winning albums Hamilton (Original Broadway Cast Recording) and Sturgill Simpson’s A Sailor’s Guide to Earth. She also worked on the GRAMMY-nominated albums Dirty Computer from Janelle Monáe and Invasion to Privacy from Cardi B—just a few standouts from her impressive CV of credits.

GRAMMY U Masterclass With Ebonie Smith

Smith is also the founder and president of the nonprofit, Gender Amplified, supporting and championing women and non-binary individuals in the music production space. Smith started Gender Amplified during her undergrad days at Barnard College, before receiving her master’s degree in music technology from New York University. Smith will continue paying her education forward in her GRAMMY U Masterclass featuring Memphis-based funk duo, The PRVLG in collaboration with the Recording Academy’s Black Music Collective and Powered by Mastercard on June 30th on the Recording Academy’s YouTube and Facebook platforms.  

Smith spoke with GRAMMY.com via email about her craft, creating space for women and non-binary creatives through Gender Amplified and gives 

How did you first get into mixing and production?

I always had the desire to make records and be a music producer. I was a college sophomore, and I had a campus job as an audio/visual tech when I first bought some equipment and started to experiment with GarageBand. I realized there was a world out there where musicians and producers made the backing music and also curated the sounds, which is the path I decided to go down. Once I purchased my microphones, computers, cables—the whole nine yards— got it home and plugged it all up, I realized the things I was making didn't sound very good. That took me down the path to try to professionalize my sound, which is where mixing came in. I wanted everything to sound as great as it did on the radio, so mixing became a priority with respect to making sure the music sound polished and finished.

Do you feel your graduate degree in music helped in your career in a way that being self-taught might not have?

I tell people all the time: the only way to learn how to make records is to make them. However, being successful in the music business, in particular, requires networks and being a part of a cohort, understanding how to navigate studio culture and industry environments. That's definitely something I learned at NYU, in addition to learning the fundamentals and basics of signal theory on digital signal processing, acoustics and the overall underlying sciences pertaining to engineering, specifically audio engineering. I also met quite a few of my collaborators there and some of those collaborators have gone on to earn GRAMMYs and become very successful. I was able to identify my tribe in graduate school as well, which was another very important aspect of my education.

Did you do any apprenticeships or internships in the recording field while you were in school?

The audio/visual campus job at Barnard College, even though it wasn't specifically an internship, gave me access to equipment, microphones, mixers and a lot of the technology we use in the studio. Even though I did not intern specifically for a corporation or a label or a commercial studio, I interned with individual producers and I did a number of apprenticeships that helped me develop my skills and also gave me a vision for the future that I wanted to have, and a sense of how to professionalize myself.

What was your first engineering and/or production job upon graduating?

It actually took about three years to get my first official job, which was at Atlantic Records in 2013. Before that, I was working as a freelancer for different producers: engineering, mixing, editing. I also worked for DJ school where I was doing everything from managing teachers to helping teach some of the classes myself.

https://www.instagram.com/p/CPr04mhja47

GRAMMYs

Content Not Available

How did you get started at Atlantic Records?

The job at Atlantic basically came about as just an audio posting online. I submitted through the traditional routes on the internet and then I networked as a means of finding a way to get the interview. I got an interview and then I did another interview, and the rest is history.

In addition to being studio-savvy, you are also a musician and singer/songwriter. How important do you feel it is to your studio approach that you also have an understanding of the craft from the creator standpoint?

It's extremely important because it's important for me to understand what the musicians are experiencing. Little things like knowing, for example, the problems that could arise as a guitarist is playing guitar. There's a technical experience of what it means to mechanically play an instrument and to have a sense of that so I know what the musician is feeling.

Also, understanding what a musician needs when it comes to the headphone mixes. If you've never been on the other side of the glass, you're always guessing what that experience is like. But when you have had the experience of being a performer or being a musician and working in the live room and less in the control room, you know exactly what the musician may need and you can preemptively anticipate their needs. I think it keeps me one step ahead as a technician and as a producer.

How important do you feel it is to stay updated with changes not only in technology but also in music styles? What do you feel is the best way to stay current?

The best way to stay current is to have a sense of what's happening at the moment and to try to build your sound in a way that is in conversation with that, but it's also reaching farther ahead of it. To make a song that sounds exactly like what's on the radio is in some ways a great exercise, but it might not necessarily give you a competitive edge. It's very important to know what aspects of production are timeless. For example, great songwriting, great imagery in the lyrics, great sound quality, a great groove, a great feel, and a record that's relatable.

There are some timeless characteristics that work across genres and eras in music. But with respect to style, taste and tone, that changes with the wind. The most important thing is originality and authenticity and carving out a signature voice for yourself.

As far as the technology is concerned and staying current with that, it's very important for the sake of understanding what tools are at your disposal as a producer. How to engage them to help you reach your own musical best and to help you along your artistic pursuit.

Who are some women you looked up to in the studio and recording space?

DJ Cocoa Chanelle, DJ Diamond Kuts, DJ Jazzy Joyce, Wendy Carlos, Terry Lyne Carrington. There are contemporaries like WondaGurl, Nova Wav, Erin Tonkon, Rachel Alina, Divinity Roxx. I really can't name them all, but there are so many I look up to, past and present.

https://www.instagram.com/p/CQRbU0_JKdU

GRAMMYs

Content Not Available

Who have some of your mentors been and how did they guide you?

Some of my mentors include people who I've never met. Al Schmitt, his book, On The Record, was very influential. Jac Holzman, the founder of Elektra Records. Clive Davis—his documentary, The Soundtrack of Our Lives was very inspiring. There are athletes I really look up to. Tamika Catchings who is a long time WNBA icon. I watched her career for close to 25 years from being an amateur to a pro. One of the things that really inspired me about her is her level of dedication to her craft, her fiery competitiveness, and also her focus on faith and Christianity as being the source of her power and prowess, both on and off the court.

What were some of the key turning points in your career?

Working on the Hamilton cast album was a major turning point because it was such a huge record. But also, it taught me that it was very possible to make work that was commercially viable and also made a difference socially and from a justice and an equity perspective. It also helped to change the culture of arts in our society.

As a mentor yourself, what would you like your impact to be?

I'd like my impact to be as someone who was able to use her influence to really change the state of the music business for the better, in an equitable way, in an intellectual way and in a musical way.

What motivated you to start your organization Gender Amplified? Can you describe the organization and your goals with it?

Gender Amplified was an idea that started off as a senior thesis project when I was at Barnard. I decided to do a festival and conference to compliment my senior thesis, which was all women in music production, specifically working in hip-hop. I did an ethnography on the women in the New York area that were influencing hip-hop as producers and engineers. My university gave me the funding and the support to bring the women to campus for a day of celebration, as well as academic discourse around the state of women in music. That really kick-started everything. There was such a power around doing that event back in 2007. Over the years, as my career continued to progress, I continued to do events. It just made sense to professionalize and legitimize what I was doing to really give it organizational body and turn it into a business entity.

What has the feedback been on how this has encouraged women to enter the recording space?

We do our part to inspire the next generation to consider the craft and to look at the framework of making audio, using audio as a means of self-expression and music production as a means of self-liberation. The feedback has been tremendously powerful in the work that we've done over the years, our festivals, our digital programming, our panels, our social media accounts, our blog and the scholarship program that we recently started at Barnard college. In our way, we've been able to move the conversation forward. Our goal is to do more and more of that in the future.

What are you planning on presenting and teaching in your GRAMMY U Masterclass? What do you hope viewers get out of your presentation?

I plan to talk about the fundamentals of recording drum and bass from a studio perspective. The ways to work with artists and musicians to get the best quality recordings. I hope the viewers will pick up a handful of techniques they find useful in their recordings, no matter where they record. If it's a commercial studio, if it's a project studio, that they have the tools, the fundamentals, to understand how to process signal, how microphones work and how the process of recording works.

Why is it important to you to share your knowledge with the next generation of producers and engineers?

They are going to be the keepers of the American heartbeat. The music we make is our most important and fundamental export. All across the globe it carries our personality, our ministry and our mission as a nation. Music is the thing that characterizes us as a powerful nation. What we say in our music, not just the lyrics, but also in terms of the musicality, is very important. To nurture the next generation to make sure they understand the magnitude of that is quintessential to ensuring that we continue to be a leader in music consumption, and that they know the impact of what they're doing really matters.

What are some missteps you would warn people who are trying to get into your field about making?

I would say putting too much value into the "noes" you hear. You will hear a lot of "noes" from people, but we only need one solid "yes." The "noes" are just stumbling blocks along the path.

The Recording Academy And EBONY Launch Collaborative Podcast Series: H.E.R., Jimmy Jam & Terry Lewis, Ledisi, And More Confirmed As Guests

Remote (Controlled) Pt. 2

 

 

Courtesy of The Recording Academy on Facebook

 
News
How To Record Music Remotely With An Engineer remote-controlled-recording-academy%E2%80%99s-guide-recording-music-remotely-producer-engineer

Remote (Controlled): The Recording Academy’s Guide To Recording Music Remotely With A Producer & Engineer

Facebook Twitter Email
On the second installment of the three-part webinar series, recording engineers demonstrate the best use of remote communication and collaboration
Morgan Enos
GRAMMYs
Feb 4, 2021 - 2:39 pm

COVID-19 may have changed our day-to-day lives, but it hasn't stopped music-makers from doing what they do best: creating. The Recording Academy Producers & Engineers Wing’s new virtual webinar series, Remote (Controlled), which premiered on Jan. 28, tackles the ins-and-outs of recording while socially distanced for those not ready to get back in the studio or who can't travel to one location. 

The second episode, hosted by the senior managing director of the P&E Wing, Maureen Droney, and with appearances from Los Angeles Chapter P&E Wing Committee Co-Chairs Jon Yip and Cheche Alara, hones in on the challenges of working remotely with a producer or engineer. Tips from guest panelists, GRAMMY-winning engineer Rafa Sardina, Village Studios owner/CEO Jeff Greenberg and Former Studio Director at The Palms and engineer Zoe Thrall, can help creators avoid everything from technology breakdown to games of telephone to out-and-out personality clashes. Here are some of the gems from the second episode, which can be watched in full below. 

Prepare, Prepare, Prepare

Sardina, Greenberg, and Thrall have three words for viewers: Prepare, prepare, prepare. "The reason for all this prep is to avoid the problems that may come up if something goes wrong," Thrall says in the clip. "Many times, you’ll only have a certain amount of time with the artist, so you need to optimize the time and capture the performance, and not be worried about having all the elements of the session during the session."

Communication Is Key

Greenberg stresses that using videoconferencing will go a long way in communicating small stuff like mic placement. "You want to be able to see where the mics are on the kit or on the piano or something like that," he says. “You have to communicate with them if you’re not getting a clear or great-sounding signal to move mics from time to time." Greenberg advises to have several options ready in case one fails: "It’s great to have anything—FaceTime, Zoom, any other way—you want to have as much redundancy in front of you as you possibly can, so if one goes down, you can keep going."

Once you have your system ready, tests are key for achieving good sound. Look out for feedback loops to avoid an ear-splitting disaster. "Especially if you’re using monitors in your setup,” Thrall instructs. “Otherwise, you can use a reliable pair of headphones that you feel are accurate enough to judge the recording." This way, along with having all the necessary adapters and chargers at hand, you can stop problems before they snowball.

In 2021, the routes to recording remotely are nearly infinite. As Thrall points out, one can even use remote-access software to control the producer’s screen when need be. But with that, the potential mounts to step on others’ toes. Greenberg stresses the importance of clearly establishing the chain of command to bolster efficiency. “The engineer should be the captain if the producer’s not present,” he says. “And if it’s a technical problem, the engineer should be in charge. Everybody else should stand by until there’s a solution found." It's the engineer's job to delegate tasks "because if you start getting five or six people interacting on one problem, it can turn into a situation where you take way too much time.”

Read More: Remote (Controlled): The Recording Academy’s Guide To Making Your Livestreams Look And Sound Good

Watch A Live Example

While this “Remote (Controlled)” episode has much wisdom to share, it won't leave music-makers hanging. It ends with a live demonstration of how to produce remotely—in this case, with a team 5,000 miles apart. GRAMMY-nominated composer John Beasley joins in to help by playing several takes of “Reverie,” a solo piano piece he wrote 25 years ago for his daughter. Sardina, who is engineering the track, guides you through the take.

"You’re going to be sending me your audio via AudioMovers; you’re running your own Pro Tools session from your laptop; the microphones in the studio are connected to some preamps [and] they’re going straight to your interface,” Sardina says. After Beasley’s takes, he offers feedback about mic placement: "I hear everything leaning a little bit toward the left and the lower notes… I think it has to do with moving both microphones toward the higher notes of the piano."

Beasley adds some advice: "Just like in any session, you have to be patient and kind of move with the flow. Anything can happen, as we well know. You’ve done enough prep work to where it’s not going to get in the way of you coming off with a good take and a good performance."

See below for a list of remote recording recommendations and best practices.

HOW TO BE READY FOR ANYTHING: PREPARATION IS THE KEY

PRODUCER / ENGINEER / COMPOSER

  • Recording Preparation: Prepare beforehand and send the session, preferably the day before (NEVER immediately before)

    • Arrangements – Have them in the original format (Logic, Finale, Sibelius, etc.) on a separate computer, and in PDF format.

    • Scores – Have them in the original format (Logic, Finale, Sibelius, etc.) on a separate computer, and in PDF format.

    • Lyrics – Typed out and double-spaced

    • Samples

    • Audio or song references
       

  • Have redundant audio & communication methods

    • For audio transmission

      • Audiomovers over Ethernet connection

      • Nicecast or similar over WIFI connection

      • SourceConnect over a separate WIFI connection

      • As an EMERGENCY OPTION, have a regular Zoom, Skype, FaceTime, WhatsApp option set up (in the control room or in the recording room, or both)

    • For communication

      • Zoom over Ethernet connection

      • WhatsApp over phone line connection

      • Skype or FaceTime over WIFI connection

      • Direct phone line if nothing else is available
         

  • Test the audio & communication methods by transmitting to yourself using a separate device (computer, phone, iPad, etc.)

  • Test the system so you avoid any kind of audio loop/feedback. If you need to use speakers to monitor and listen to the session, test how you will communicate. If not, try using a reliable set of headphones, ones that you feel comfortable judging the session with.

  • Talk with all the parties involved bout the contingency plan if anything goes wrong and someone in the team gets disconnected.

    • Who has the authority to continue with the session, AND MORE IMPORTANTLY what part of the session should anyone continue with?

    • One piece of music or song vs. another based on the relevance of who is still connected, importance of the music, deadline, etc.

  • Slate all the takes and agree on the playlist numbers management.

  • Try to send the recording of a take as a Pro Tools session. Always time allowing & preferably during a break of the session.

  • Try to have the same session open at the non-recording end. Just to be able to follow song structure or other changes

  • How to share computer access to assist your artist technically during a session, even riding the session from your end.

ARTIST / TALENT

  • Send beforehand ANY recording recommendations to the self-recording artist or remote engineer.

  • Explain how to maximize existing gear, and how to maximize efficiency…

    • …by avoiding excessive setup changes. Explain how to get multiple setups ready from the get-go. Including how to document and recall preamp gain/EQ settings.

    • …by preparing the paperwork (music charts, song structures, lyrics, musician splits) before the session starts.

    • …by agreeing to what breaks to take, how often, and how long.

  • Send a copy of your recommended audio & communication methods to the artist/talent, and explain your preferences (AS EXPLAINED ABOVE). 

    • And explain how to self-test the system before the session.

How Do I Record My Own Music? The Recording Academy's Brand-New "Remote (Controlled)" Series Is Here To Help

Mixing desk inside Nevo Sound Studios in London

Mixing desk inside Nevo Sound Studios in London

Photo: Rob Monk/Future Music Magazine/Future via Getty Images

News
P&E Wing Shares List Of Safety Tips For Studios recording-academys-producers-engineers-wing-shares-list-safety-measures-studios

The Recording Academy's Producers & Engineers Wing Shares List Of Safety Measures For Studios Preparing To Reopen

Facebook Twitter Email
The safety measures, which were compiled through interviews and conversations with recording studio owners, engineers and other professionals around the country, cover a range of concerns and precautions related to limiting the spread of the coronavirus
John Ochoa
GRAMMYs
May 30, 2020 - 2:25 pm

The Producers & Engineers Wing, a membership division of the Recording Academy that focuses on the technical and professional matters of the recording industry, has released a detailed list of potential safety measures for studio owners, engineers and other recording professionals looking to reopen their physical locations and recording studios. 

The safety recommendations come as states across the country are beginning to reopen and physical business locations are starting to welcome customers through their doors once again after the coronavirus pandemic shut down many U.S. regions and severely shuttered the international live concert and events industry. 

The safety measures, which were compiled through interviews and conversations with recording studio owners, engineers and other professionals around the country, cover a range of concerns and precautions related to limiting the spread of the coronavirus in a studio setting, including: social distancing in recording studios, complexes and rooms; protective gear, like face coverings and disposable gloves; limitations to studio access, control rooms and/or performance spaces for personnel and visitors; routine cleaning and disinfections of frequently touched surfaces, such as workstations, and commonly used and shared equipment, like microphones; and more. 

Read: Recording Academy And MusiCares Establish COVID-19 Relief Fund

In a letter accompanying the list of safety measures, Maureen Droney, Sr. Managing Director for the Producers & Engineers Wing, addressed the ongoing challenges and effects the recording industry faces as a result of the COVID-19 pandemic. 

"The Producers & Engineers Wing, like its membership, is resilient," she wrote in the intro letter. "The Wing has been a resource for the recording community for nearly 20 years, and will continue its work with you long after this crisis has passed. We hope this information is helpful, and wish you and your loved ones good health and safety as we navigate this crisis. 

"Knowledge about the COVID-19 pandemic is constantly evolving, and, as always, we are open to, and grateful for, comments and suggestions from others in our recording community, so please feel free to contact us at pe.wing@recordingacademy.com."

The letter also recommends those looking to reopen their studios and physical locations to regularly consult the guidance provided by national, state and local government agencies, including the guidance for businesses and employers from the Centers For Disease Control And Prevention (CDC). 

David Messier, owner of Same Sky Productions, a recording studio in Austin, Texas, and Leslie Richter, a Nashville-based engineer, instigated this project, which also included thoughts and suggestions from Ivan Barias, Ann Mincieli, Michael Abbott and many others. 

The list of potential safety measures, the names of the project's contributors and Maureen Droney's letter are available in full on the Recording Academy's website.

Learning In Quarantine: 5 Virtual Music Industry Conferences To Enhance Your Career 

Photo of GRAMMY trophy
News
Why Is It Important To Vote For The 64th GRAMMYs? importance-voting-64th-2022-grammys-awards-leon-bridges-monica-kany-garcia-taylor-hanson-kah-lo

Why Is It Important To Vote For The 64th GRAMMY Awards? Here's What Leon Bridges, Monica, Kany Garcia, Taylor Hanson, Kah-Lo & Other Recording Academy Members Have To Say

Facebook Twitter Email
The Recording Academy made good on its promise of transparency, instituting major changes surrounding the GRAMMY Awards voting process. That's why it's more important than ever to vote this season, these artists say.
Morgan Enos
GRAMMYs
Nov 3, 2021 - 2:57 pm

Editor's Note: The 2022 GRAMMYs Awards show, officially known as the 64th GRAMMY Awards, has been rescheduled to Sunday, April 3, at the MGM Grand Garden Arena in Las Vegas. The below article was updated on Tuesday, Jan. 18, to reflect the new show date and location.

Recording Academy CEO Harvey Mason jr. stresses a few company values in particular, but one feels especially timely right now: transparency. Hence, GRAMMY nominations will now be determined by a majority, peer-to-peer vote of Recording Academy voting members.

It's now more crucial than ever for voting members to get involved this year to make this system work and lend their support to fellow musicians and creators.

To cap off the window of First Round GRAMMY Voting, which determines the nominees for the annual GRAMMY Awards and this year runs from Friday, Oct. 22, to Friday, Nov. 5, Recording Academy voting members are taking to social media to express all the reasons why it's important to get out and vote for the upcoming 64th GRAMMY Awards.

If you're a Recording Academy voting member and need an extra burst of motivation to get involved in the process, check the #Vote4GRAMMYs hashtag on Instagram and Twitter and listen to firsthand testimonies from fellow Recording Academy members about the importance of GRAMMY Voting below.

Learn More: The 64th GRAMMY Awards: Everything You Need To Know About The 2022 GRAMMYs Awards Show & Nominations

https://twitter.com/RecordingAcad/status/1453069663999389697

Why is voting for the #GRAMMYs important?

🎶 First-round voting is now open.

🗳 If you’re a #RecordingAcademy voting member, don’t forget to vote.

🗓 October 22-November 5.

🗣: @MonicaDenise pic.twitter.com/oZpQiTm6z4

— Recording Academy / GRAMMYs (@RecordingAcad) October 26, 2021

In her message, GRAMMY-winning R&B singer/songwriter Monica expresses that the value of GRAMMY voting is twofold to her. 

"Voting for the GRAMMY Awards is not just important to me because I'm an artist; it's important to me because I'm a writer and composer," she says. "That means the most to you — to be acknowledged at the greatest height the music has to offer."

Taylor Hanson of "MMMBop" stars Hanson made a heartfelt video on the subject.

"The GRAMMYs is all about artists and music makers voting for projects they believe in," the three-time GRAMMY nominee says. "To me, it's a great way to highlight projects that should be recognized."

https://twitter.com/RecordingAcad/status/1455623183801798658

✨ The reason the GRAMMY is music’s highest honor is because it’s music’s only peer-voted award.

🎶 #RecordingAcademy voting members, round one is open until Friday, November 5. #Vote4GRAMMYs pic.twitter.com/Pv3fVFPDkH

— Recording Academy / GRAMMYs (@RecordingAcad) November 2, 2021

Heavy music is represented by way of Troy Sanders, a five-time GRAMMY nominee and the leader of GRAMMY-winning metal heroes Mastodon. "There's no one more qualified to recognize music's best than you," he says in an Instagram clip. "So, I encourage each of you to set some time aside and become as knowledgeable as you can."

A representative from the classical world has spoken up, too. As Deborah Pae, the cellist in the Formosa Quartet and a Governor of the Recording Academy's Chicago Chapter, puts it, "Voting allows us to make our voices heard, so this is our chance to advocate for artists that we feel are doing incredible work and are bringing something unique and important to the table."

https://twitter.com/RecordingAcad/status/1455575231079206919

🎶 The prestige of the GRAMMY comes from the wisdom of our membership.

✨ Voting Members of the #RecordingAcademy are uniquely qualified to pick the winners for the #GRAMMYs. First-round voting is open—October 22 - November 5. pic.twitter.com/TMNMkcB8Dt

— Recording Academy / GRAMMYs (@RecordingAcad) November 2, 2021

Country singer/songwriter Lainey Wilson echoes Pae's sentiments, noting "the hours, the blood, the sweat, and the tears" that musical creatives pour into their art.

"Collaboration in music does not stop on the day it was created," Wilson stresses. "It truly is a nonstop collaborative effort in supporting each other, and one of the best ways to support other creators is through GRAMMY voting."

GRAMMY-winning soul singer/songwriter Leon Bridges contributed his own video to Instagram: "This is our opportunity to give back to some of the artists that shape our lives with their music," he says. "It's a moment to celebrate the producers and studio musicians and songwriters that really help bring these albums and songs to life."

Four-time GRAMMY-nominated salsa singer Víctor Manuelle also offers a passionate message about the importance of voting.

"Why is it important for me to vote for the GRAMMYs?" he asks in Spanish. "Because it gives me an opportunity to have a voice and to demand recognition of the music that represents us Latinos. We have a very big opportunity in our hands to decide which music we want to be awarded and nominated … So for me, it is very important to have a voice and a vote in the GRAMMYs."

And three-time GRAMMY-nominated Puerto Rican singer/songwriter Kany Garcia agrees.

"The artist sees the spotlight and is the center of attention, but there are all of those people behind the scenes that for years have been working to create a perfect, or almost perfect, sound in each of those songs," she says, also in Spanish. "That is why voting is important."

https://twitter.com/RecordingAcad/status/1455272341726896129

#RecordingAcademy Voting Members, your voice becomes part of the music community’s collective celebration on Music’s Biggest Night. 


✨ First-round voting—October 22 - November 5. #Vote4GRAMMYs pic.twitter.com/ZSmhFKlC4G

— Recording Academy / GRAMMYs (@RecordingAcad) November 1, 2021

Last but certainly not least, GRAMMY-nominated Nigerian singer/songwriter Kah-Lo is right there with them.

"Make sure that who you feel should be recognized for their incredible work over the past year is honored the way they should be," she says. "Now, more than ever, everyone's voice counts because it's completely down to us. We have to do our part and make sure that after all this change, everything is worth it."

Keep checking back on GRAMMY.com and on the Recording Academy's social media channels for more important info and updates about GRAMMY voting and the upcoming 64th GRAMMY Awards!

64th GRAMMY Awards: Everything You Need To Know About First Round GRAMMY Voting

Grammys Newsletter

Subscribe Now

GRAMMYs Newsletter

Be the first to find out about winners, nominees, and more from Music's Biggest Night.
Top
Logo
  • Recording Academy
    • About
    • DEI
    • Governance
    • Press Room
    • Jobs
  • GRAMMYs
    • Awards
    • News
    • Videos
    • Events
    • Store
  • Latin GRAMMYs
    • Awards
    • News
    • Photos
    • Videos
    • Cultural Foundation
    • Members
    • Press
  • GRAMMY Museum
    • COLLECTION:live
    • Museum Tickets
    • Exhibits
    • Education
    • Support
    • Programs
    • Donate
  • MusiCares
    • About
    • Get Help
    • Support
    • News
    • Events
  • Advocacy
    • About
    • News
    • Issues & Policy
    • Act
  • Membership
    • Chapters
    • Producers & Engineers Wing
    • Songwriters & Composers Wing
    • GRAMMY U
    • Events
    • Join
Logo

© 2022 - Recording Academy. All rights reserved.

  • Terms of Service
  • Privacy Policy
  • Cookie Policy
  • Copyright Notice
  • Contact Us

Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.