John Kliner entered the recording engineering profession in Fort Wayne, Indiana in 1974 with his first entry level position in a small 8 track recording studio (SoundTrac studios), owned by Rob Ashe.  (Ampex AG 440 1″ machine, 16 input Neotek console).  Being a full time student at Hillsdale College, Hillsdale, Mi, John would commute to Fort Wayne on weekends to work on sessions.
In 1979, John made his way to Los Angeles and landed in Hollywood at the world renowned Record Plant Recording Studios at the old historic facility at 3rd and LaCienega. (4 SSL Rooms) As a runner, Johns job was very exciting because it gave him the opportunity to interact personally with some of the biggest names in recording history; including Fleetwood Mac, Tom Petty, Ozzy Osborne, Kiss, John Travolta and the industry’s biggest producers and engineers.
John left Record Plant and moved on to Room 335 Recording Studios owned by legendary guitarist Larry Carlton. (MCI 636, JH24 2″ 24 Track) “I consider Larry to be one of my mentors”. He taught me how to align a 2″ machine and familiarized me further with the whole process of recording.  “This was a fabulous experience in which I got a more hands on training”, assisting Larry’s engineer Hal Saks and getting a chance to work closely with Larry.  Sessions worked on include “Against All Odds” Soundtrack, Bill Withers LP and countless sessions with LAs top musicians.  John was also equipment manager for Larrys 1981 “Friends” tour which played the East/West coasts and points in between.  After 2 years with Larry, John was hired on at Westlake Audio and began rigorous formal training from Chief engineer Rick Butz. John quickly became a full fledged staff 2nd engineer. Westlake Audio had 2 facilities in Hollywood.  (3 harrison Consoles, 1 API)  Westlake was enjoying huge success with the production of Michael Jacksons  ”Thriller”, recorded in Westlake Audio Studio A at the Beverly Blvd facility.  John Stayed at Westlake for 2 more years working with Michael Jackson, Donna Summer, Barbara Streisand, Billy Crystal and Stevie Nicks.  “Working with Michael Jackson and just being around him was one of the highlights of my career, as well as being able to look over the shoulder of veteran engineer Bruce Swedien and legendary producer Quincy Jones.”   After leaving Westlake John landed another staff 2nd engineering gig at Total Experience Records, a division of RCA. (1API console, JH24Track).  The Gap band was this labels only major artist and was experiencing extreme financial woes and eventually closed its doors.  John continued on to another high profile studio, Cherokee Recording. (4 studios, 4 Trident ARange consoles.)  Artists worked with here included Cheryl Lynn, Rod Stewart, Billy Preston, Laura Branigan, Mel Brooks (Film:SolarBabies).
John moved on to Roxx Studios in North Hollywood (Trident 80-B, Trident DI-An).  John Spent 3 years here and honed in on his skills. “I was very fortunate to work with two engineers who I consider to have had the most influence on my career, Alan Hirschberg and Bill Smith. Both of them gave me the confidence and support to become successful”. “It was here that I engineered my first record,” Los Romanticos” by Los Caminantes,  I was so excited!”  John eventually went on to become chief engineer of the studio and recieved his first gold and platinum records for his work on the 80s Pop sensation Tiffany.  Roxx Studios was also a favorite for Jazz artists and had a steady clientele of high level artists such as Keiko Matsui, Grant Geissman and Scott Henderson.  Working with Keiko Matsui in the studio opened up doors for John to tour with Keiko Matsui ,David Benoit and George Benson as her FOH mixer and equipment tech.
In 1989, John moved to Nashville which was quite an adjustment.  John eventually became a staff assistant for Randy Scruggs at Scruggs Sound Studio and worked independently for Bob Solomon at Air Studios in Hendersonville, Tn.   John recieved another gold record for his work on Sawyer Browns “The Boys are Back”
In 1989 John met Tuscaloosa, Al. businessman Kenny Smithermann.  Kenny was interested in opening a commercial studio and brought John in as a consultant and chief engineer.  The studio which the two opened was a 24 track studio, KOS. (MCI 400 series console, ATR 24)  KOS Studios stayed open for 2 years but eventually closed.  Through this time period John continued networking with Bob Solomon in Nashville and was eventually recruited back to Nashville accepting a staff engineering position at Woodland Digital. (NEVE VR 72, NEVE 8068)  Artists worked with include Shania Twain, Al Kooper, Charlie Daniels, Lynyrd Skynyrd, Pam Tillis, Patty Lovelace…almost all recieving platinum and gold status.  John also worked independently with session guitarist Biff Watson at his private home studio. 
After a really great 2 year run at Woodland Digital, John moved back to Tuscaloosa.  It was Johns will to open his own private studio (Renilkmusic) and return to school to complete his undergraduate degree at the University of Alabama.  As luck would have it, in 2000 John was hired by the University as an Audio/Video Tech for distance education which allowed him to finish his undergraduate degree (BA) in Communications in May 2011 and plans to continue on to grad school in fall 2012 to pursue a Masters Degree in Interactive Technology. “I have since married the love of my life Debbie and have 4 wonderful daughters and now a new grandbaby to keep me in line, well, at least they try.” 
Renilk music has managed to stay busy over the years with continuous clients and a steady stream of new clients.  As of Sept. 2011, the studio is currently undergoing an upgrade of equipment and personnel and is moving to a new facility which will most likely be called “The Moose Lodge” but still be under the RENILKMusic umbrella, Stay tuned for updates.