Frank is a Video Game Audio Director, Composer and Sound Designer best known for his work for scoring Command and Conquer. He has a created a video presentation that describes what he does, how he got into the video game industry and how RME gear has made his studio more efficient to create music in his studio.

He uses the RME 12 Mic and FireFace UFX+ and Total Mix FX

Janine is a super talented songwriter, producer and multi-instrumentalist.
She is also a self-sufficient artist who has created her own artwork and directed music videos. But, her greatest weapon: an ethereal and devastatingly beautiful voice

Born in New Zealand, Janine dedicated herself to music almost as soon as she could walk, recording herself singing her favorite tunes on a double cassette player at the age of five. At the age of fourteen, she began performing her original songs with a guitar at open mics, mostly held at bars she wasn’t technically allowed into.
In 2013 Janine released her first EP, “Dark Mind EP” which scored a sync on Love and Hiphop Atlanta and ended up going to the top of the R&B charts in the US and ended up getting her singed to Atlantic Records. She went on to release her second EP. “XXEP” which landed her the 2015 New Zealand Music R&B Album of the year. In 2018 she released her debut album “99.”
In 2019 Janine and Atlantic Records parted ways leading her to go back to her roots and what her fans loved the most as an Independent, DIY artist. Writing, producing, playing instruments, creating artwork and music videos Janine loves the whole creative process.

Inspired at a young age by the film scores of “Chariots of Fire” and “Last of the Mohicans,” musician and 2019 RME NAMM booth artist Adam Barber took his dream to become a Hollywood film composer and made it a reality. After working with some of the biggest names in the business, including composers Hans Zimmer and Christopher Young, and with his RME MADIface XT by his side, Barber has racked in film composer and musician credits in many major motion pictures, including music programmer for “Ghost Rider” and “Spiderman 3” and composer for “Last Shift” and “London Fields.”

“I love the creative storytelling that film composing affords me in such an abstract way,” Barber says. “It’s not storytelling in the traditional sense, but instead in a much more multi-teared fashion. Film compositions support the narratives — whether it’s long or short — and that’s always been magical to me.”

Before Barber even breaks out his MADIface XT, he first reads the movie script to better understand the nuances of the story and then sits down with the film’s writer and director to discuss their vision for supporting the narrative musically.

“It’s great because it’s basically like sculpting something out of clay — you have the dialog there, and you can ask, ‘where do we want to take it?’ And you start molding it from there,” Barber explains, adding that he usually starts the creation process while the film is in primary shooting to insure he has enough time to create the perfect masterpiece. “The evolution never really stops. The film’s editor will usually get involved from there as you continue to produce this musical sculpture.”

From the occasional set visit to continued meetings with the writer and editor, Barber begins recording music immediately as well as contacting musicians when the score calls for a full orchestra.

“Whether it’s pencil and paper, or in the computer, I’ll start sculpting the sonic pallet after the first meeting,” he explains. “I might start with a few easy scenes — 30 seconds here, 30 seconds there. I’ll map out the project in a protagonist and antagonist timeline or emotional high and low points, then I’ll send those ideas back to the editor to share with the director. This is in addition to your typical spotting session — when you sit down with the director and possibly a few other people to discuss the musical journey of the film.”

An avid user of RME products since his days working alongside Hans Zimmer, Barber’s entire studio now revolves around an RME backbone — from his HDSPe RayDAT multi-channel PCIe interface to his much-loved Digiface Dante to RME’s proprietary mixing and routing software TotalMix.

But possibly Barber’s favorite piece of RME equipment is his MADIface XT which serves as his main interface. Whether it’s at his home studio or a dubbing stage, Barber reaches for his MADIface for its 394-channel count.

“I route everything into my MADIface thanks to its high channel count,” he explains. “From there, it goes into my main Mac where I do all my writing then the mix goes back up to the MADIface and gets shot into a Pro Tools rig. The Pro Tools session then goes to the engineer for mixing.”

Using a Dante network, Barber converts all of his analog gear using a Ferrofish A32 converter — RME’s fellow Synthax-distributed brand — which then get put into the MADIface XT which gets connected to Pro Tools over MADI.

“While there are only a few other options on the market that do what the MADIface does, there’s no solution that comes even close to it when it comes to portability,” Barber says. “It’s half-rack space size is really handy when I go the dub stage. I can just throw my MADIface and my laptop in a computer bag and go.”

In addition to its high channel count and portable size, Barber loves working on TotalMix’s flexible platform.

“I can’t do what I do without TotalMix,” Barber says. “The elegant concept I really like about TotalMix is I can have my Pro Tools playback machine coming into the MADIface and at the same time have my Logic machine going through the MADIface XT and with the push of a preset button, I can check and make sure my stemming is correct. I can go from the Pro Tools machine right back to the Logic machine and make sure what I’m hearing on the Logic machine is correct without physically changing computers. It’s a really elegant solution to a real-world studio problem — making sure what you created is getting put to tape.”

Barber used his MADIface XT on both of his most recent film compositions, including the 2018 horror film “Extremity” and 2018’s mystery black comedy/crime noir “London Fields.”

“My RME gear covers a ton of bases and helps me do what I do,” Barber says. “My studio won’t function without my MADIface XT.”

Adam will share how he uses RME products in his day-to-day process as well as guide listeners through his workflow on Thursday, Friday and Saturday of the show at 10:30 a.m.

It was working with Carlos Santana that put the jewel in the crown of JB’s LA years. A longtime disciple of Carlos’ sound, JB considered Santana to be the first and greatest proponent of what is now called ‘world music’, having created a successful hybrid of true Afro-Cuban percussion and authentic rock & roll. First playing onstage with Santana during his tenure with WAR, JB soon found himself in close collaboration with the hero of his youth. Along with top latin pop producer KC Porter, JB worked on Carlos’ 1999 smash comeback album Supernatural, which re-established Carlos as a rock icon and went on to sell 25 million copies worldwide and win several Grammys, among them Album of the Year. For JB, the highlight of this relationship was the song ‘One of These Days’ from Santana’s 2002 Shaman album. The track, on which JB was lead vocalist, co-writer and co-producer along with Porter, was dedicated to African music luminary Fela Kuti and featured LA latin funk band Ozomatli. At Carlos’ invitation, JB performed ‘One of These Days’ along with Santana and Ozo at the Hollywood Bowl.

Since then, JB has searched for his own voice as an artist, leaving LA for the more grounding environs of Mexico, Vancouver Island and Portland, Oregon. He has remained active as a producer in every genre from folk-rock to flamenco, as well as composing the musical score for the South African feature film Cape of Good Hope in 2004 and co-producing the recording return of Lonnie Jordan, his mentor from the WAR days, on 2007’s War Stories. But now, having sat at the feet of masters and developed his personal vision in the studio, JB is sharing his most honest, adventurous and searching music with the world. Prepare to be unprepared.

Leff Lorber is a Grammy Award Winning keyboardist, composer, record producer who won his first Grammy Award on Jan. 28, 2018 for Best Contemporary Instrumental Album for Prototype by his band The Jeff Lorber Fusion.

Many of his songs have appeared on The Weather Channel’s Local on the 8s segments and on the channel’s compilation albums, The Weather Channel Presents: The Best of Smooth Jazz and The Weather Channel Presents: Smooth Jazz II. He was nominated for a Grammy Award for his album He Had a Hat.

His first group, The Jeff Lorber Fusion, released their self-titled debut album The Jeff Lorber Fusion in 1977 on Inner City Records. Supported by a revolving cast of musicians, including drummer Dennis Bradford, he recorded five studio albums under this moniker. These early albums showcased a funky sound influenced by other jazz fusion practitioners such as Herbie Hancock, Weather Report, and Return to Forever, the latter’s Chick Corea appearing on several songs. Like his contemporaries, Lorber performed on multiple keyboard instruments, including piano, Rhodes piano, and analog synthesizers, often favoring the Minimoog and Sequential Circuits Prophet 5. The Jeff Lorber Fusion’s 1980 album, Wizard Island, introduced saxophonist Kenneth Bruce Gorelick, better known as Kenny G.