Music Connection's August 2012 Issue

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the digital revolution is not only here,

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The Fishman SA220 Because a musician’s most important piece of equipment shouldn’t be his friend’s cargo van. Performers want to move audiences, not gear. So now there’s the Fishman SA220 Performance System. It’s more than just a P.A. Think of it as a 220 watt, six foot tower of acoustic power. A sleek design hides a line array of speakers designed for extra-wide dispersion and deep penetration. It’s like having a P.A. and an amp in one − so no need for separate wedge monitors. And an enhanced low end eliminates the need for a sub. It’s really the one piece of equipment you need. And yet it weighs only 25 lbs and easily packs up into its own durable travel bag on wheels. Heck, it’s so easy you might even start writing happier songs.

fishman.com

contents

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Cover Stories

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Flo Rida

One of today’s most vibrant and recognizable stars, an international icon and history-making hip-hop artist, the No. 1 selling Flo Rida talks to MC about his unique career path, including a stint in college, one that has led to an astonishing 56 million singles sold worldwide.

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By Daniel Siwek

A megahit songwriter for decades, including the Friends theme, the colorful Willis recounts her decision to finally get onstage.

COVER Â PHOTO Â AND Â INSIDE Â BY: Â CHAD Â GRIFFITH Â /ABOVE Â BY:ALEX KIRZHNER

Rehearse It Right!

By Albert Vega

Performing live is a crucial aspect of any artist's career these days. You must be able to excel onstage, no excuses, and this unique MC article goes way beyond the basics to deliver expert, road-tested advice on how to get your act together—for any situation you may encounter. By Andy Reynolds

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Directory of Rehearsal Studios Only Music Connection brings you an updated, nationally focused list of rehearsal studios from nearly every state in the nation. Rates, equipment specs and more are provided in detail.

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Close Up Assignments New Toys Book Store Up Close Studio Mix Business Affairs Signing Stories Song Biz Film/TV/Theater Mixed Notes

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Compiled By Denise Coso

CD Reviews New Music Critiques Live Reviews

Directory of Equipment Rental/Cartage & Tech Services

MC delivers a nationwide list of companies that rent and transport musicrelated gear. And the “tech services� category offers experts in audio equipment, musical instruments, lighting & FX, coach transport and more.

Compiled By Denise Coso

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Producer Crosstalk: John Fryer..................................................................By Rob Putnam Exec Profile: Scott Lee............................................................................By Andy Kaufmann Songwriter Profile: Robopop..................................................................By Dan Kimpel Tip Jar: Make Serious Money Through Private Music Lessons...........................By Tim Guille

Be Sure To follow Music Connection on Facebook and Twitter. Check out our AMP Social Space and online magazine for up-to-date music news.

The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information. 4

August 2012

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Audix Introduces the Band Pack

BP7 PRO 1 -­ D6 kick 3 -­ i5 snare/guitars 2 -­ OM2 vocals 1 -­ OM5 lead vocal

SEVEN ESSENTIAL MICS EVERY BAND MUST HAVE.

Now there is a mic pack for the entire band. Four different models offer the selection and price point needed to equip your band with the essential dynamic microphones required for vocal and instrument miking. Audix is the industry leader in drum and percussion microphones and was the first to introduce professional mic pack assortments to the market. It is within this spirit of innovation that Audix is proud to launch four more unique packs.

BP5 PRO 1 -­ D6 kick drum 1 -­ i5 snare 2 -­ OM2 vocals 1 -­ OM5 lead vocal

BP7F

BP5F

1 -­ f6 kick drum 3 -­ f5 snare/guitars 3 -­ f50 vocals

1 -­ f6 kick drum 1 -­ f5 snare 3 -­ f50 vocals

All Audix mic packs include a high quality aluminum carrying case.

©2012 AUDIX. All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation

PUBLISHER E. Eric Bettelli GENERAL MANAGER/ ADVERTISING DIRECTOR E. Eric Bettelli ericb@musicconnection.com

ASSOCIATE PUBLISHER/ SENIOR EDITOR Mark Nardone markn@musicconnection.com

OPERATIONS MANAGER Denise Coso denisec@musicconnection.com

ART DIRECTOR Cesare Perrino artdirector@musicconnection.com

MARKETING/ADVERTISING MANAGER Brian Stewart brians@musicconnection.com

DIRECTOR OF ONLINE OPERATIONS Mukul Chauhan webmaster@musicconnection.com

SENIOR ACCOUNT EXECUTIVE Hillorie McLarty hillorier@musicconnection.com ADVERTISING ART DIRECTOR Gary J. Stephens garys@musicconnection.com ARTIST & READER RELATIONS Mira Abas mira@musicconnection.com NEW TOYS Barry Rudolph barry@barryrudolph.com DIRECTORY EDITOR Denise Coso mcdirectories@musicconnection.com EDITORIAL INTERN Nick Schneider intern@musicconnection.com

ASSOCIATE EDITOR Andy Mesecher andym@musicconnection.com CONTRIBUTING EDITOR Bernard Baur bbatmc@aol.com SONG BIZ Dan Kimpel dan@dankimpel.com FILM, TV, THEATER Tom Kidd prespak1@verizon.net FEATURE WRITERS Andy Kaufmann andy.kaufmann@comcast.net Rob Putnam toe2toe6@hotmail.com

CONTRIBUTING WRITERS Jessica Aves, Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley, Gary Graff, Eric A. Harabadian, Oscar Jordan, Andy Kaufmann, David Kershenbaum, Tom Laurie, Kim Mack, Josè Martinez, Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Daniel Siwek, Matt Schild, Laurier Tiernan, Albert Vega, Catherine Veit, Bryan Wallace, Jonathan Widran, Ellen Woloshin. PHOTOGRAPHERS Jessica Aves, Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Kevin Estrada, Jennifer R. Grad, Oscar Jordan, David Klein, Merry Kotte, Tom Laurie, Thomas Long, Kim Mack, Cindy Miley, Dean Moore, Paula Muñoz, Anne O’Neary, Jessica Pace, Scott Perham, Rob Putnam, Lisa Elaine Scott, Daniel Siwek, Dave Stone, E. H. Tiernan, Albert Vega, Bryan Wallace. Member of: Manufactured and printed in the United States of America, Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 14654 Victory Blvd., Van Nuys, CA 91411. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/ two years. Outside the US, add $25 (US currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright © 2012 by E. Eric Bettelli. All rights reserved.

Founded by: J. Michael Dolan / jmichaeldolan@gmail.com Corporate Headquarters

14654 Victory Blvd. Van Nuys, CA 91411 Office: 818-995-0101 Fax: 818-995-9235 Email Address: contactmc@musicconnection.com Website: http://musicconnection.com Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com

Subscribe to MC NOW! musicconnection.com/store/subscriptions/

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August 2012

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THE AFFORDABLE

PROFESSIONAL ADVANTAGE PROFES-

5PVS 5FTUFE $PNQPOFOUT t (BVHF 4UFFM (SJMMFT % VSBGMFYTM 'JOJTI t 4POJD (VBSE TM )' 1SPUFDUJPO Tour Tested Components t 18 Gauge Steel Grilles TM We’ve tdesigned the new passive Sonic Guard HFPRX400 Protection Duraflex TM Finish speakers to provide the sensitivity, frequency NeutrikŽ Combination Connectors t Comfort Grip response and power handling needed for almost t FOHenvironment. Handles t Suspension Points audio or Monitor Position any professional With three 2-way and an passive 18� subwoofer, PRX400 We’ve designed the designs new PRX400 speakers to speakers are perfect for musicians, DJ’s, House provide the sensitivity, frequency response and power of Worship, public any address or even suspended handling needed for almost professional audio a commercial environment school environment. inWith three 2-way designs like anda an 18" or nightclub. And are because ourfor sister company subwoofer, PRX400 speakers perfect musicians, DSP into the front end of theiroramplifi ers, DJ’s, House builds of Worship, public address even you can experience enhanced performance suspended in a commercial environment like a school you power a CrownŽ XTi2 or nightclub. when And because ourthem sisterwith company builds amplifi er. DSP into the front end of their amplifiers, you can experience enhanced you power PRX400 is performance about keeping itwhen simple: great sound, them with a CrownŽ XTi2 amplifier.

PRX400 is about keeping it simple: great sound, great looks, great prices and built to last a lifetime. Stop by any authorized JBL dealer and get the professional advantage.

-FBSO NPSF BU KCMQSP DPN 139

Š 2012 Harman International Industries, Incorporated

CLOSE-UP

Steve Brain, General Manager

By Jonathan Widran

C

enterStaging (http://centerstaging.com) is L.A.’s premier rehearsal and backline facility, specializing in production and technical support for TV and live performances. It currently offers 10 state-of-the-art rehearsal studios—including a brand new dance-specific studio complete with mirrored walls, a 16 channel mixer, an 8,000 watt sound system, and Harlequin Liberty sprung dance floor—as well as a range of services that include an extensive array of backline, an instrument repair center, storage lockers, cartage services, and Lunchbox Gourmet, an onsite cafe and catering facility. CenterStaging works closely with notable production companies who produce some of the most watched and anticipated live events, such as the Grammy Awards, American Music Awards, Billboard Awards, American Idol, The Voice, America’s Got Talent, Country Music Awards, the Coachella and StageCoach Music Festivals, numerous Presidential Inaugurations, the Olympics, talk shows ranging from Ellen to Jimmy Kimmel Live, and many others. When it comes to television, “If it involves a music performance segment, then we most likely have a hand in it,” says Kerry Jensen, CenterStaging production support manager. The approximately 150,000 square foot campus located near the Burbank Airport in Burbank, CA, also houses an artist relations complex for some of the top musical manufactures in the world, including Fender, Roland, PRS, Zildjian, Gen 16, JH Audio, Steinway & Sons, Bearcom, Vic Firth and Jan-Al Cases. They also have an in-house piano moving and turning team, making CenterStaging the ideal one-stop venue for any musical need. Since Mitch Clark and Scott Scovill acquired the company in October, 2009, they invested heavily in new equipment, personnel and improving and updating the studios. CenterStaging has increased its superior suite of services while maintaining the decorum, privacy and discretion clients expect. Clark states that the real investment of acquiring CenterStaging was in the employees. “Fresh paint and new carpet are only part of the change,” he says. “The real story is the pride and dedication demonstrated by the CenterStaging employees.” Working with General Manager Steve Brain and veterans like Johnny Lord, Brent Dannen, Kerry Jensen, Jan Parent and AJ Soldo, their clients have the support of years of experience with production services and their years of relationships with the biggest names in the music business to ensure every part of their production will be looked after to save budgets and be a seamless transition from advance to performance. According to show department manager Johnny Lord, “I define television production as a small idea that snowballs into an amazing conglomeration of detail, hard work, long hours and a family atmosphere that all come together to pull off a piece of content that an audience enjoying it could never imagine what actually went into making it.” While building its reputation and high-end clientele through the early ‘90s when the facility moved to its current location, CenterStaging began its evolution into the powerhouse it is today when it expanded across the street and built another six rehearsal studios, ranging in size from 1,000 square feet to over 3,000 square feet, and built a new warehouse housing audio, keyboard, drum and guitar departments, for what has become one of the largest and most up-to-date inventories of backline gear in the world. The team of professionals at CenterStaging are courteous and knowledgeable of client needs. “Music is what we do, and rehearsal is, without a doubt, a very important part of a show,” says Brent Dannen, CenterStaging Studio Manager. “We love to give new clients a sense of our history and the ongoing commitment CenterStaging has to making their time with us a state of the art experience,” says Brain, who took his position at CenterStaging recently after years in high level executive positions at numerous major TV and film companies. “We truly go above and beyond to service our clients and make them happy, and they’re never going to hear us say ‘no.’” CenterStaging is as flexible as their clients need them to be. With countless national and international production contracts, the company has no intention of slowing down. Contact CenterStaging, 818-559-4333

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August 2012

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ASSIGNMENTS

John Johnson

Jasen Wright

LAN

POIZNER

Associate Director Sony Music Nashville John Johnson has been named Associate Director, A&R, Sony Music Nashville—it was announced by Jim Catino, VP, A&R, and Lisa RamseyPerkins, Sr. Director A&R, Sony Music Nashville. Johnson is based in Nashville, TN and will begin his new role immediately. “John has built great relationships with all the artists, producers and managers that we work with, and is extremely helpful with getting all the tools we need for approval on our records,” explains Catino and Ramsey-Perkins. A Louisiana native, Johnson holds a Bachelor of Business Administration degree from Belmont University in Nashville. He was most recently Manager, A&R for Sony Music Nashville. For more, contact ann.inman@sonymusic.com.

Adam Zelinka

Sr. VP Marketing & Product Dev. UMG Distribution Universal Music Group Distribution (U MGD), the sales and marketing division of Universal Music Group, has appointed Adam Zelinka to Senior Vice President of Marketing & Product Development. In this role, Zelinka will spearhead the company’s direct-to-consumer, direct marketing, consumer relationship marketing and product development initiatives. He will work closely with UMGD’s owned and associated label groups to drive and support their consumer directed marketing and e-commerce strategies. Zelinka has a wide variety of experience in digital and consumer marketing and has held executive positions at various labels, including GRP and Zomba/Jive. Contact grant.pavolka@umusic.com.

Director of Licensing Warner Music Group Warner Music Group (WMG) has announced the appointment of Jasen Wright to Director of Licensing, Consumer Products and Brand Licensing Department. Wright will focus on helping to expand the company’s activities in non-traditional areas of business and guiding the marketing of new products created in co-operation with WMG’s wide-ranging roster of talent. In addition, he will be responsible for growing relationships with domestic and international licensees and identifying new merchandising and retail opportunities with existing partners. Prior to joining WMG, Wright served as Director of Licensing at The Beanstalk Group. Contact Jason Elzy, 818238-6220, jason.elzy@wmg.com for further details.

Joe Tessone

Audio Engineering Consultant Sensaphonics Sensaphonics, an in-ear monitoring technology leader, has announced the hiring of Joe Tessone as the company’s new audio engineering consultant. In his role as Sensaphonics Sound Guy, Tessone will advise customers on the implementation of in-ear monitoring, handling questions ranging from the basic to the highly technical, helping ensure a positive IEM experience. Tessone is a 2007 graduate of the Audio Arts and Acoustics program at Columbia College Chicago, with specialties in Audio Design and Production. In addition to his duties at Sensaphonics, he owns a commercial studio, Mystery Street Recording Company, and is the Audio Archivist at the Old Town School of Folk Music in Chicago. Email jack@sensaphonics.com.

Neeta Ragoowansi

Saul Zonana

VP of Bus. Dev. & Legal Affairs TuneSat Audio monitoring service TuneSat has named Neeta Ragoowansi as its Vice President of Business Development & Legal Affairs. Ragoowansi was previously Director of Artist-Label Relations at SoundExchange, the not-for-profit organization designated to collect digital performance royalties on behalf of recording artists and record labels. She also is Legal Counsel and VP of Women In Music, serves on the Governing Committee of the American Bar Association’s Forum on Entertainment and Sports Industries and is their Sponsorship Chair, and is a member of the Board of Governors of the National Academy of Recording Arts and Sciences (the Recording Academy/NARAS), NY Chapter. Contact laurie@jaybirdcom.com.

Greg Groeper

Owner and Chief Consultant WAVNet Prism Sound has announced the appointed WAVNet as its newest representative in the US. WAVNet will help promote sales and provide application support and training for Prism Sound’s range of class-leading audio test and measurement instruments, including the revolutionary dScope Series III audio analyzer. WAVNet’s Owner and Chief Consultant Greg Groeper will be responsible for managing the Midwest/Great Lakes states of Minnesota, Nebraska, Iowa, Kansas, Missouri, Wisconsin, Illinois, Indiana, Kentucky, Michigan and Ohio. Groeper has 25 years of Audio Test and Measurement sales and support experience in the region. Contact wavggg@attglobal.net.

Artist Relations Manager Auralex Acoustics, Inc. Auralex Acoustics, Inc., a leading brand of acoustical treatments and soon to celebrate its 35th anniversary, has appointed noted singer-songwriter, producer and multi-instrumentalist Saul Zonana to the position of Artist Relations Manager. In his new capacity, Zonana will spearhead a new artist relations program, with a focus on expanding and maintaining brand equity within the community of accomplished and emerging artists, engineers, producers and musicians. The announcement was made by company founder and president Eric Smith and is part of Auralex’s long-term strategic business plan, which includes providing Auralex dealers and end users additional personnel in the field. For more info, contact info@clynemedia.com.

Mark Engebretson Engineering Consultant VUE Audtiotechnik

VUE Audiotechnik has announced the addition of Mark Engebretson, to the company’s San Diego, CA-based engineering leadership group. In his role at VUE Audiotechnik, Engebretson will work as an engineering consultant, overseeing development and patent efforts for several advanced audio technologies slated for deployment throughout the VUE Audiotechnik line over the next 24 months. “I’m excited about what I see happening behind the scenes at VUE Audiotechnik,” commented Engebretson. “There’s a powerful combination of passion, experience, and a commitment to exploring all options to drive innovation forward.” Email kritland@vueaudio.com. August 2012

www.musicconnection.com

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NEW TOYS

—BARRY RUDOLPH barry@barryrudolph.com

Line 6 Mobile Keys 25 & 49

ZT Amplifiers’ Junior

Line 6’s new Mobile Keys are not only super portable, but they are as small as a keyboard controller with full-size keys, a modulation and pitch bend wheel can get. Both the Mobile Keys 25 and 49-key versions are slim keyboards powered directly by either the included USB or the 30-pin docking cable used to connect to an iPod Touch (3rd and 4th gen), iPhones: 3GS, 4, 4S, and iPad 2 and iPad (3rd gen) models. The Mobile Keys controllers work with any iOS app that supports the CoreMIDI standard, including Apple GarageBand and numerous drum machines, synthesizers and virtual instruments. It also works the same with any class-compliant USB MIDI input device for modern MACs and PCs. Gone and in my rear view mirror are those pesky drivers I had to install and/or keep updated. Here and now is the collection of good and musical iOS apps that get better, more powerful and lower priced every day. I received the Mobile Keys 49 and it worked as soon as I hooked it up to my Mac’s USB running Pro Tools HD 10.2 (OS 10.6.8). I did nothing but call up an instrument track and I was playing—this cannot be any easier. I then played a bass guitar patch on my SampleTank® Free app in my iPhone 4S and it worked the beauty. I like the advance features offered by holding down the Shift function button and pressing certain keyboard keys. Mobile Keys has 1/4-inch rear mounted jacks for expression and sustain pedals and the MIDI volume and pan pots are positioned left of the keyboard. Both these controllers use minimal power from your iOS device to keep you “jamming” longer—a smart design just like the octave up/down buttons that only light up when the keyboard is out of standard range. The Mobile Keys 49 controller is about 32-inches long and 7-inches in depth—I expect to see more of these (or the even shorter 25-key version) sticking out of the backpacks of my music/engineering students. The Mobile Keys 25 sells for $149.99, and Mobile Keys 49 is $199.99. See more at http://line6.com/mobilekeys/features.

At about 2/3 the size of the original ZT Amps Lunchbox guitar amp, the new ZT Amps’ Junior is just as amazing. Not a practice amp at all, the Junior weighs just 5 pounds and puts out 35-watts RMS/80-watts peak and has just three control knobs: Volume, Tone and Gain. Instantly audible is the ability to distort the pre-amp section and use any Volume setting. I found, with my stock Strat pickup switch set to the second position, the amp’s Tone knob straight up, and the Junior’s Gain control anywhere from about 3/4 up to full, the Junior produced a warm overdriven sound. I like using the new Junior in the studio with an SM57 aimed midway between the dust cover and the edge of the 5-inch, specially designed speaker. I put the mic as close as possible and get a fat tone yet at a low overall volume level. The Junior is capable of 117dB SPL at 1 meter and is completely portable just in time for impromptu summertime jams outside. That’s because it can also be powered by any 12-volt DC source—like your car’s cigarette lighter socket. I also like the thoughtful 9-volt regulated DC output jack (500mA) that’ll run stomp pedals. ZT will soon be offering both a cigarette lighter adapter cable and a battery pack as accessories. There is an 1/8-inch headphone/line level output jack, speaker on/off switch for practicing on headphones plus a 1/8-inch aux input jack for mixing in backing tracks from your portable music player. But unlike the original Lunchbox, there is no 1/4-inch speaker output jack for connection to an external speaker cabinet. ZT Amps’ Lunchbox Junior retails for $199 and $149 MAP. For more, visit http://ztamplifiers.com/products/junior.html.

Three New GoGo Clip-On Tuners AKG’s Perception Headphone Series AKG’s new line of Perception Headphones shares the same goals as their cost-effective yet good-sounding Perception Live Series microphone line. All three, the K44, K77 and K99 (pictured) in the new Perception headphone collection are over-the-ear designs that include comfortable leatherette ear pads and self-adjusting headbands for extended wear. I like that these phones come with a 3-meter straight cable hard wired plus a convertible plug that changes instantly from either a 1/4inch or mini plug. They are ready to go at any time from listening at home, to the studio, and then straight for use with your portable music player/iPhone. In the recording studio, I prefer straight cables on headphones—they usually never catch on edges, don’t knot up like curly-cords, lie flat on the floor and seem to last a lot longer. The circumaural, semi-closed design of the K44 Perception phones have a solid low frequency response and are fine for music enthusiasts on a budget. Next are the stylish K77 Perception Headphones; they are a different look for semi-closed headphones and have good bass and sound. I received a set of K99s for evaluation and they are a semi-open design with large, 40-mm drivers. These drivers produce sufficient bass for musicians and singers who want to feel their music while recording or just grooving. The K99 Perceptions are very lightweight and a pleasant fit on my head for long sessions. They sounded great connected to my Aphex Systems Model 454 HeadPod headphone amp. For more about the new Perception Headphones, check out http://akg.com. 10 August 2012

www.musicconnection.com

GoGo’s signature “Green you’re in, Red you’re out” yes/no tuning system used in their GoGo stomp pedal chromatic tuner works just as well in their three clip-on tuners: the TT-1, Caliber and the Tiki tuner for ukuleles. All three tuners clip to the headstock of your instrument to read the vibrations of any well-made musical instrument. The rubberized clip allows for a secure (yet non-permanent) grip for accurate detection that nullifies interference when tuning on loud stages. All three tuners are powered by a single, 3-volt CR2032 watch battery, have backlit displays, and the TT-1 and Caliber have a switch for detecting pitch using either the internal mic or the vibration sensor. The pitch reference ranges from 430Hz to 450Hz in 1Hz steps if your music is NOT referenced to standard A=440Hz. Both the Caliber and TT-1 have 360-degree swivel mounts, automatic power off, 0.5 cent tuning accuracy over a wide range from A0 (27.5Hz) to C8 (4186Hz) and switchable to chromatic tuning. The TT-1 and Caliber tuners have bass, violin and viola tuning ranges and the Caliber has an extra heavy rubber black case. The smaller Tiki tuner is especially designed to tune ukes in the key of C or D and chromatic. I like these tuners because they work simply, offer features usually only available in more expensive tuners but, more importantly, keep a musician’s focus more on music making and less on tuning exactitude all the time. GoGo tuners show whether your instrument is in tune: yes or no. The three tuners sell in a price range of $17.99 to $29.99. For much more, see http://gogotuners.net.

DISTORTION DIRT GRIT CHUNK FUZZ OVERDRIVE GRIND…

0[ NVLZ I` THU` UHTLZ HUK JVTLZ PU THU` ÅH]VYZ >P[O ]PU[HNL WLKHSZ OV^L]LY ÄUKPUN [OH[ Z^LL[ ZWV[ PZU»[ ZV LHZ` @V\ OH]L [V KLHS ^P[O UVPZL ZPNUHS SVZZ HUK [VULZ [OH[ JHU JOHUNL ^P[O IH[[LY` SPML VY ^OLU [OPUNZ OLH[ \W VU Z[HNL :VTL VM [OVZL VSK .LYTHUP\T WV^LYLK LMMLJ[Z HYL TVYL ZLUZP[P]L [OHU H [YHPU JHY VM UP[YV ;LJO »Z HSS HUHSVN JPYJ\P[Y` \UPÄLZ YPNO[LV\Z ]PU[HNL [VULZ HUK TVKLYU KLWLUKHIPSP[` <[PSPaPUN [OL ILZ[ PUKP]PK\HSS` ZLSLJ[LK OHUK IPHZLK KPZJYLL[ JVTWVULU[Z LHJO \UP[ KLSP]LYZ H ^LHS[O VM OV[ KYP]LU [VULZ ( WV^LYM\S )VVZ[ M\UJ[PVU RPJRZ PU \W [V K) VM JSLHU IVVZ[ ^OPJO JHU IL \ZLK PUKLWLUKLU[S` MYVT [OL LMMLJ[ 0[ PZ H [Y\L WVZ[ IVVZ[ [V W\UJO \W [OL ]VS\TL VM [OL [VUL `V\ KPHSLK PU UV[ [V ZPTWS` ZTV[OLY P[ PU L_JLZZ KPZ[VY[PVU .P]L `V\Y WLKHSIVHYK H IVVZ[ ^P[O ZVTL [HZ[` ]PU[HNL KPZ[VY[PVU KPY[ NYP[ JO\UR M\aa V]LYKYP]L NYPUK

BOOST DISTORTION

BOOST OVERDRIVE

BOOST FUZZ

BOOST BASS FUZZ

Hey, remember the ‘80s? A lot of bad clothes perhaps but some way-cool, aggressive distortions. Tight, muscular grind with buzz-saw harmonics never went out of fashion and the Boost Distortion delivers that fast punchy tone. It features its own unique SAG control that adds an expressive,tube-like response to every pick stroke.

Putting an overdrive pedal in front of a hard-pushed amp has been the secret weapon for generations of guitarists wanting to punch up the midrange and add sustain. The Boost Overdrive is packed with voluminous amounts of screamin’ tone. Just hit the Boost switch to go bigger and badder. The unique SPARKLE control adds upper harmonics for an open, snappy sound.

Vintage pedal hounds know that germanium fuzz sounds are way sweeter than silicon fuzz…but only when the temperature is just right and doesn’t spike. The Boost Fuzz solves that problem by nailing that creamy germanium tone, consistently all night long. This SAG control allows notes to bloom and sing at your command, for dynamic, organic performances.

When you need a huge, 360-degree, room-filling bass tone, step up to the Bass Boost Fuzz. Get the fat, gritty sounds of the ‘60s fuzz bass and put some musical rage in your low-end. When you need more focus and edge, dial in the +CLEAN control to add just the right amount of direct tone to your mix.

Designed and Manufactured in the U.S.A. www.tech21nyc.com

11

NEW TOYS

—BARRY RUDOLPH barry@barryrudolph.com

Eventide’s Blackhole

The Ladder 500 Series Filter

Blackhole™ Native plug-in for AAX, AU or VST is a new effect plugin from Eventide based on their popular stomp box pedal. By design, stomp pedals are easy to use, intuitive and instant—turn a knob, punch a button—achieve a sound without thinking about it too much. Both the Blackhole pedal and the plug-in version use the underlying algorithm(s) from Eventide’s DSP4000 and H8000 effect units. Selling at $99, Blackhole has 19 automatable reverb parameters—all the usual suspects along with the cleverly designed Gravity control that combines reverb decay time, density and reverb type. Gravity ranges anywhere from very beautiful reverbs with high densities and smooth decays to parallel universes of reverse/inverse reverbs. I like the way I can adjust the up to two seconds of pre-delay time available either in milliseconds or using Tempo mode to sync’d beat subdivisions either by typing them in or using the mouse. The virtual Ribbon Controller is borrowed from early synths and mimics touching and moving a finger over a large swipe strip that runs the entire width of the GUI. With RC, any number of selected parameters will change value within a pre-determined range and direction all at the same time. Hotswitch is for selecting a single set of pre-arranged parameter settings instantly—“on the fly.” This is like having two Blackholes running and switching between them instantly—all controls knobs slew to new positions instantly. Hotswitching is useful for guitar solos or other standout craziness I would like to dramatize at certain moments in my Pop music mixes. Since it has an automatable bypass button, the exact settings of the Hotswitched parameters are changeable as I progressed to the conclusion of the song’s mix. In terms of live interaction with any reverb plug-in, Hotswitch and RC are as good as it gets. The Kill button mutes the input signal to Blackhole so that the reverb tail decays out as programmed and the Freeze mode is reminiscent of the Infinite mode in the Lexicon PCM70 hardware reverb from the mid‘80s. Freeze puts the reverb’s tail in suspended animation but (unlike the PCM70) disallows any new audio from entering Blackhole for as long as your mouse stays clicked on the Freeze button. New audio entering the event horizon of Blackhole is subsumed into the singularity of the Freeze’s Higgs Field. Much more about Blackhole is available at http://eventide.com.

The Ladder Filter is based on Bob Moog’s Ladder filter designed and patented in the late 1960s. The Ladder is now available as a single channel module for owners of the popular 500 Series outboard processor racks. Although originally designed as a synthesizer filter, Ladder is now ready to process any line level analog audio source. Each filter has a choice between a two-pole (12dB/octave) filter or a four-pole (24dB/octave) filter with resonance. There is also a choice between high pass or low pass filters but not both at the same time. I love using the built-in envelope follower to track or trace the dynamics of incoming audio and change the cutoff frequency of the filter. The Amount control will dynamically raise the cutoff frequency and create a new sound treatment for snare or percussion instruments. When the Amount control is turned to the “-” side, the cutoff frequency is lowered and is equally useful. All sorts of filth from nasty transistorized fizz to realistic frequency/amplitude dependent distortion are possible and the multi-colored input Level LED is useful to set the amount. The Envelope LED indicates the Ladder’s dynamic operation and is good for recalling your favorite front panel setups for all the best filter treatments. You may stereo link two Ladder filters with an internal linking cable and link resonance and envelope follower functionality. This feature enables external side chaining where an external source could be processed in one Ladder filter and linked to a second Ladder that is processing another audio track. I’d love to see a double wide 500 version of two Ladders and this intriguing linking feature and the Moog Filter Coupler included. The Ladder Filter from Moog is currently at a street price of $769 each and is an analog dream to use. I’ve enjoyed a pair of them for about a month now and insert them both into my mixes whenever I can. Much more than any EQ or filter, The Ladder filter is not just another filter effect because it is so useful in many subtle ways as well. See http://moog music.com/products/500-series/500-series-ladder-filter.

Platinum Samples’ Real Country MIDI Groove Library Platinum Samples, along with John Emrich, have a brand new Real Country MIDI Groove Library. From current modern country styles to the most arcane and traditional country beats, there are over 1,000 grooves in a wide variety of tempos formatted for all the popular virtual drum sample players such as: BFD2, BFD Eco®, EZDrummer®, EZplayer®, Superior Drummer 2.0®, Addictive Drums®, SSD4, and Cakewalk™ Session Drummer. General MIDI data versions of all grooves are also included—directly available in any GM compatible drum software or hardware drum machine. You get two-beats, waltzes, shuffles, train beats, ballads, bluegrass, country swing, country rock and Wailin styles with natural-sounding fills recorded and performed by John Emrich on a Yamaha DTX900 electronic drum set. Especially effective for songwriting, Platinum Samples Real Country MIDI Groove Library is perfect for getting the shape of a new song idea quickly when it’s not practical to hire a session drummer. Real Country was produced by John Emrich and is available now as a download from Platinum Samples’ website and includes all formats for $29.00. Visit http://platinumsamples.com for more. 12 August 2012

www.musicconnection.com

SuperBeam Cans SB-805B Andrea Electronics Andrea’s SB-805 SuperBeam CANS is the big brother to the set of SB-405s previously reviewed here. The SB-805B is the next step in their line of boom-free USB stereo headphones that use Andrea’s patented Adaptive Beam Forming Technology. The two microphones built into the SB-805’s left & right drivers provide a super-narrow focus on the wearer’s voice so all surrounding background noises that normally interfere with speech intelligibility are virtually eliminated. This is ideal for making VoIP calls (Skype, iChat), using any speech recognition software or having fun—video chatting and online gaming. The new 805’s use a circumaural design to further improve isolation from external noise by covering your entire ears with soft cushions encasing 50-mm speakers that provide a full sound with solid bass. I use mine when riding the subway to and from school, They are lightweight and go louder than my ear buds connected to my iPhone 4s—plenty of level. Since the microphones have their own stereo output jack, you can use them to record in stereo—actually binaural stereo—the way us humans hear sound. Playbacks are threedimensional sounding and stereo recording is possible at the same time as you’re listening to music. The USB adapter plugs in-line with the headphone’s cable for plug n’ play recording/playback with Macs and PCs. I use Audacity for my Mac and I talk on my cellphone using the Mobile Adapter cable ($9.95). The SuperBeam SB-805B CANS retail for $179.95. Visit http://shop.andreaelectronics.com. MICRO-­BIO: Barry Rudolph is a recording engineer/producer/mixer with over 30 gold and platinum RIAA awards to his credit. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie Nevil. Barry has his own futuristic music mixing facility and also teaches recording engineering at Musician’s Institute, Hollywood, CA. http://www.barryrudolph.com

13

BOOK STORE

The Studio Builder’s Handbook

IT ALL STARTS HERE.

By Dennis Moody and Bobby Owsinski, (paperback) $39.99 This guide details the most cost-effective ways to improve the sound of a studio in simple, innovative steps. Including advice from expert studio designers, producers and engineers, this book is essential for anyone looking to make a great-sounding studio on a limited budget. A DVD is included. Owsinski has also co-authored the recent Ziggy Stardust book with renowned producerengineer Ken Scott (Beatles, Pink Floyd, David Bowie).

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Losing My Brotherhood By Bobby Long (paperback) $15 The critically acclaimed UK singer-songwriter, whose second album will be released by ATO in the fall, produces his first book of poetry. The title stems from Long’s realization of what he left behind when he abruptly moved from London to New York to pursue his music career in 2010. “I left my family and my friends, and I just went and didn’t really say goodbye to anyone.”

Vocal and Stage Essentials for the Aspiring Female R&B Singer By Terri Brinegar (softcover) $22.99 Seasoned pro Brinegar zeroes in on what is actually needed to succeed in this challenging market. Areas covered in the book: musicianship, gigging, working within a band, stage performance techniques and much more. Two included CDs provide exercises, both for warm-ups, developing your voice and for incorporating R&B riffs into your style.

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14 August 2012

www.musicconnection.com

Revolver - How the Beatles Reimagined Rock’n’Roll By Robert Rodriguez (softcover) $19.99 More than even Sgt. Pepper and Pet Sounds, Revolver’s influence could be heard everywhere: from the psychedelic San Francisco sound (Jefferson Airplane, Grateful Dead); to the first wave of post-blues hard rock (Sabbath, Zeppelin); through movie soundtracks and every generation of guitarbased pop music and even heavy metal. Revolver was the game-changer, and this is the detailed telling of its storied recording and enormous impact.

Welcome to the Music Business

By Alfred Publishing Staff (softcover) $39.99 Written mainly for producers or aspiring producers, this intro to the inner workings of the industry focuses on the business and marketing side. It specifically covers the digital boom and overwhelming role the Internet plays in today’s musical landscape. The book is intended to navigate you through all the complexities of music distribution and promotion in an altered playing field many in the industry are still trying to figure out.

Uncompromising Americana and friends

Cardo - Mitch - Alex - John

“I love Cardo’s record. It’s in my top 10 I’ve produced. A real storyteller with great songs.” David Kershenbaum

The album’s fifteen tracks are a mixture of rootsy, bluegrass-style storytelling and straightforward rock textures in the flavor of Johnny Cash, Leonard Cohen and Robbie Robertson. Recorded in L.A., “Cardo and Friends” brings together two musical worlds: on one hand a bluegrass, americana oriented group of players from West Texas who mixed up with a team of rock-oriented LA session musicians including Mitch Perry on Guitar, Jorgen Carlsson and John Payne on bass, Denny Fongheiser on Drums, Doug Pettibone on pedal steel, and JT Thomas on keys. Website: http://www.CardoandFriends .com Look for Cardo and Friends on Facebook, Youtube and Twitter.

UP-CLOSE UP-CLOSE

Audio Engineering Associates By Jonathan Widran

UNIVERSAL MASTERING STUDIOS

W

es Dooley was active on the Southern California audio and recording scene even before launching his company, Audio Engineering Associates (http://ribbonmics.com), in 1964. Among other endeavors, he had designed and built broadcasting equipment for radio stations (including KSPC at Pomona College) and worked on the sound systems at such legendary venues as The Troubadour, Ash Grove and Ice House. Running his own recording studio, he took on jobs around the world. It inspired him to design his own equipment, which he began retailing to other recording engineers—including multi-channel microphone arrays, MS stereo processors, stereo phase displays and microphone stands. After RCA shut down its microphone manufacturing in the mid-‘70s, Dooley became known as “the ribbon mic guy� for his pursuit of excellence Wells in microphone ElectroByribbon Jonathan Widrantechnology. AEA became a dealer for ColesMike acoustics, distributing ribbon microphones in North America. After nearly fter 23 years in San Francisco, CA—and 15 years launching two decades of representing and servicing the BBC 4038,after he began to his world-renowned mastering facility—Mike Wellsresponding relocated to the Los experiment with his own ribbon microphones. In 1998, Angeles, year,RCA where he continues to putAEA his powerful finishgrowing scarcityCA, of last vintage ribbon microphones, re-introduced ing popular sonic touch the R44.on recordings from major labels (EMI, Warner Bros.), indie labels Chords) and thousands of indie artists Les (Subpop, Paul toldAdeline, Dooley Fat thatWreck AEA’s who was record from Southern R44 hiseverywhere favorite microphone and California to Barbados and Europe. Located in the oldsuch Kingas Sound Studios in North Hollywood, CA, the engineer/producers Bruce Mike WellsKevin Mastering suite contains an Swedien, Bacon(http://mikewellsmastering.com) and Shawn array ofroutinely hand-picked and often Murphy use AEA’s R44.modified Over pieces of gear from proven analog innovators Dangerous Music, Service Co., GML, Manley, API, Tube half of the movies scored in LosATR AngeTech, SPL, Crane Song, Lavry Engineering, Weiss and Thermionic Culture, les have a 44 somewhere on the scoramong others. room runsDooley’s ATC SMC-150 audiophile reference monitors ing stage. OverThe the decades, in a finely tuned room. The signal path has been meticulously designed to loyal clientele has included Billy Gibminimize noise maximize available bons, Eddie Vanand Halen, Rambin’ Jack headroom with system calibration reviewed daily. TheHarris. vibe of the studio is relaxed, with a focus on creativity Elliot and Emmylou and comfort; include guest lounge, Wi-Fi, and a full kitchen. Building offamenities the success of thea R44, “Mastering is a different business in 2002 AEA began designing its ownthan when I started out, and over the last decade the gain structures have changed wildly,� says Wells. “The pheline of original ribbon microphones, nomenon we contend with is loudness. One of the challenges in handling including theall award-winning R84, modern mixessays, and delivering the results which, Dooley “has the same Big that clients expect is meeting their loudness requirements while still maintaining musicality and not diminishing Ribbon element, 16.5 Hz tuning and the overall sonic transformer for a quality. quarter of the cost.� re-emergence of vinyl As “The no affordable preamps werethese madepast 10 years creates a unique dilemma for want a viable sound for CDs and digital distribution,� with thethose needwho of aalso ribbon microphone hemind, adds.in“Records have real-world, physical limitations to gain structures of Wes Dooley in 2005 AEA created the TRP: a mix. The way signal path and the workflow of my masterThe Ribbon Pre.I’ve Itscreated use onmy Grammy ing service, I canleddeliver for CDsfor and digital at condenser the same time as winning projects to the masters RPQ, a version ribbon and microvinyl without incurring two separate mastering costs.� phones. The RPQ with Curve Shaping and the TRP are economically priced Wells also offers integration of metadata and coding information into the without sacrificing the purity of signal that is traditionally the domain of mic mastered disc to make the distribution process easier and more transparent pre’s costing thousands of dollars more. for the client. Included with all masters is the UPC (barcode), ISRC code, Dooley’s groundbreaking work with ribbon microphones earned him the CD text and online metadata submissions. Wells has been a pioneer in the Audio Engineering Society (AES) Silver Medal Award in the fall of 2003. integration and education of modern metadata initiatives into the mastering This award, established the AES lectures in honorand of Alexander Graham Bell, lifecycle via trade articles,byseminars, project integration. Emile Berliner and Thomas Edison, is given in recognition of outstanding He also has an online repository of client tools to help maximize the masdevelopment or achievement the field of tering experience: bi-monthlyinseminars toaudio assistengineering. the regional audio comIn addition to his work with mics and preamps, Dooley has achieved recmunity; fiscal sponsorships of local and regional music events (Noise Pop, ognition in Tidal such Wave, diverseetc.) areas expert contributions witness audio design Blue Bear, andas ongoing to forensics; audio engineering and wiring of studios Stevie Wonder’s Wonderland; and recording organizations (AES, including NARAS, etc). both in-studio and on-location including the L.A. Phil at the Hollywood On the customer service side, Wells—whose background includes Bowl. music Suchand experiences have led Dooley to design products which help resolvea theory performance/writing in numerous rock bands—has created problems commonly encountered by recording engineers. His portable unique approach to meet the mastering needs of today’s artists via rehis cording tools include Session multi-channel microphone arrays, MS stereo procesunique Groundwork process. sors, stereo phase displays and verywith tall microphone “Anyone who books a session me gets thisstands. introductory session AEAhe has an extensive Product includestomany popular free,� says. “We work Mic on one tuneSystem before that we commit the whole remodels. KU4’s unidirectional supercardioid is the only mic cording The for aAEA simple reason: to establish a perfect pattern line of communication that combines the warmth and sonic ease of the classic RCA KU3A. Using between the artist and me. One of my challenges is to understand the vision aofracing metaphor, active A440 “a supercharged classic like the artist, and to Dooley interpretcalls the his emotional language they may use to explain ait.customized 32 Deuce Coupe.� The quietest ribbon mic ever produced, thea The Groundwork Session provides an opportunity to create a bond and A440 combines all the warmth and of the 44,they bothcan sonically common language to work from. Webeauty work on the classic song, and take it and a hot signal requiring littleknow EQ. how Otherthe products include and visually, listen in but all ofwith their environments, so they rest of the projthe which combines the award-winning soundthem of the R84 the ect A840, will sound. Doing this up-front will not only save time andwith money, flexibility of phantom-powered sleek Blumlein but guarantee they are gettingelectronics; the results the theyever-popular, desire.� R88, optimized forto natural frequency precise ethics stereo and imaging; Wells adheres an original core response philosophyand of quality, comand the R92, which quality featuresinreduced proximity bass and munity. He defines many facets––from theboost quality of excellent a client’s wind blast protection that make suitable forfinally close the micing (6-12 inches) of experience with his services to itresults, and feedback he has reguitar vocals and percussion. ceivedamps, from previous clients. The mastering engineer sees ethics as a set asked what his future plans are, consistent, Dooley replies, “There’s always of When principles demonstrated by his facility’s measured processes, something that someoneinhasn’t thought want towithin be the ones honest communication defining what of is yet. and We isn’tjust possible masterwho thinkthe of itsetting first.� of It’srealistic obviousexpectations from the man’s and varied careerwith in ing, and and long respectful interaction audio that he is an expert re-invention, andhis one who has been very succlients, regardless of theirat career status. As website states: the concept cessful at it. of “community is meaningless unless action stands behind it.�

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REFINE YOUR CREATION WITH US Â?Â?ĂŠ ÂœĂ€Â“>ĂŒĂƒĂŠUĂŠ ˜>Â?Âœ}ĂŠEĂŠ ˆ}ÂˆĂŒ>Â?ĂŠf™™Ê‡Ê Â˜ĂŒiĂ€Â˜iĂŒĂŠ >ĂƒĂŒiĂ€ÂˆÂ˜} Clients Include: -BEZ (BHB t 3FE )PU $IJMJ 1FQQFST "TIMFF 4JNQTPO t 8JMM * "N t $FMJOF %JPO t ,BOZF 8FTU 4UFWJF 8POEFS t # # ,JOH t $ISJT #PUUJ t 'MP 3JEB t 8FF[FS -JM 8BZOF t /FJM %JBNPOE t "FSPTNJUI t 5IF 3BDBOUFVST

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Contact AudioMike Engineering Associates, 800-798-9127 Contact Wells Mastering, 323-363-3693 2012 16 July 2012 16 August

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August 2012

www.musicconnection.com 17

STUDIO MIX HATEBREED BEGIN WORK ON NEW STUDIO ALBUM: Hatebreed are currently in the studio self-producing their upcoming fulllength release with co-producer assistance from world-renowned metal producers Josh Wilbur (Lamb of God, Avenged Sevenfold) and Chris “Zeuss” Harris (Suicide Silence, All That Remains, Shadows Fall). When describing the new songs, frontman Jamey Jasta relayed, “This album is so heavy, it’s irresponsible.” Visit http://hatebreed.com for more details.

ALIEN ANT FARM TEAM WITH JOHNNY K: Alien Ant Farm have entered Groovemaster Studios in Chicago, IL to begin work on their fourth album, which will be released early 2013 on the Executive Music Group label. The Southern California band’s original line-up will record new songs together for the first time since 2003 with Grammy Award nominee Johnny K (Disturbed, Staind), as well as other producers. Check out http://alienant farm.com.

// Shannen House-Hunts Malibu Studio //

Studio Malibu, a recording studio located on a 2-acre estate above “Billionaire’s Beach” in Malibu, CA, has been bridging the gap between TV & film post-production and music production. Recently Shannen Doherty (pictured with studio owner David Levy) came in to track voice-over work for the TV show Celebrity House Hunters. See http://studiomalibu.com.

“Close your eyes and listen. Just press play.”

–Ross Hogarth,

producer-engineer (Van Halen, Mellencamp, Sick Puppies).

Interviewed in MC June 2012

// Scotland’s Castlesound Upgrades To SSL //

// Philadelphia Studio Forges On //

David Goggin

Orland, PA’s Forge Recording has been keeping busy. Greg Sover came through to work on his upcoming Hero and the studio is also finalizing an updated promo CD due out this fall. Pictured is lead engineer Ron DiSilvestro (the Shakers, Tony Chimmel). See http://forgerecording.com for a full gear list.

Scotland-based Castlesound Studios has installed a Solid State Logic AWS 948 Hybrid console/controller. The new console was used to complete music tracks featuring Gaelic singer, Julie Fowlis, to the soundtrack for the Pixar feature Brave. Replacing an original AWS 900, the AWS 948 provides Castlesound with an expanded channel count and new features to adequately handle larger productions. Pictured is Castlesound owner Stuart Hamilton.

// Vintage King Opens Sunset Showroom // Vintage King Audio, a high-end boutique and vintage recording equipment company, has opened VKLA, a private Los Angeles showroom and demo studio on Sunset Boulevard. Pictured at Vintage King’s new VKLA headquarters are (l-r): Producer-engineer Ryan Hewitt; Jeffrey Ehrenberg, West Coast Sales Manager; Tom Menrath, Strategic Development; and Shevy Shovlin, Director of Partner Marketing/PR. 18 August 2012

www.musicconnection.com

// Hoobastank Bring Down The Hammer // Hoobastank has put the finishing touches on its new record, Fight or Flight, which will be released in late August. Nearly two years in the making, the record was partially tracked at Woodland Hills, CA-based studio The Lighthouse, owned by Hoobastank drummer Chris Hesse (pictured), who found frequent opportunities to use his A-Designs Hammer equalizer and new Nail compressor.

STUDIO MIX

//

—ANDY MESECHER andym@musicconnection.com

The Producer & Engineers Wing Goes From Mic To Mix With AKG JBL & Lexicon: The Recording Academy P&W Wing co-sponsored an event along with Harman at the world-class Conway Studios located in Hollywood, CA. The main event featured two-time GRAMMY-winning engineer Nathaniel Kunkel manning the board in Studio C’s 5.1 surround-outfitted control room. Attendees observed as he live-mixed two sets by the soulful Elaine Faye, who performed on stage in Studio C’s live room with her five-member band. Attendees (pictured below) enjoyed live music and heard the latest recording products and technologies from AKG, JBL and Lexicon.

// Jackie Kulas and producer-engineer Chris Lord-Alge.

Producer Cliff Brodsky, EastWest Studio Manager Candace Stewart, triple Grammy-winning producer Peter Asher, and Conway studio owner and host Buddy Brundo.

AKG Technician Bob Katz, Grammy-nominated engineer Tom Rogers and Capitol Studios engineer Bruce Monical.

Producer CJ Vanston and Director, Recording and Broadcast at JBL Professional, Peter Chaikin.

Focusrite President Phil Wagner and wife Cathy of Apogee along with producer-engineer Skip Saylor.

Producer Mike Clink and Sr. Executive Director/ P&E Wing at The Recording Academy, Maureen Droney.

Producer-engineer Nathaniel Kunkel, Ellis Sorkin of SRS and Producer John Potoker "Tokes.

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www.musicconnection.com 19

PRODUCER CROSSTALK

By Rob Putnam

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roducer, engineer and mixer John Fryer hopped headlong into his career when he started with London’s Blackwing Studios (a former church) in his early 20s. Timing was on his side as his friends were recording at the studio and someone there needed an assistant. He walked in, asked for the job and started on the spot. He stayed for nine years and has since produced, mixed and/or engineered a cross-section of artists including Nine Inch Nails (he produced the band’s multi-platinum Pretty Hate Machine), White Zombie and Depeche Mode. He was a member of goth outfit This Mortal Coil and is currently kicking it with DarkDriveClinic. He lives and works in Oslo, Norway. Fryer enjoys working in a range of The three most important musical styles, which has made for things he’s learned in the business are: a varied and diverse career. For him, producing for a wide spectrum of art- @V\»]L NV[ [V IL HU LNV THZZL\Y" ists has been a choice as opposed H RPUK VM RPUKLYNHY[LU [LHJOLY to a happy coincidence. “I don’t limit [V KLHS ^P[O [OL IHUKZ ;OL`»YL myself to only doing pop, rock or am- Z[YHUNL ILHZ[Z :VTL[PTLZ P[»Z [OL bient,” he explains. “I like to do it all, JH\Z[PJ H[TVZWOLYL ^OPJO THRLZ as long as it’s interesting. There are [OLT ^VYR always elements of one style that you can translate to another. It’s like tak- (S^H`Z HWWYLJPH[L WLVWSL WSH`PUN ing square pegs and putting them in ^OL[OLY [OL`»YL NVVK VY IHK 0[»Z round holes. It helps to give a slightly [OLPY Z[`SL HUK ]VPJL @V\ OH]L different sound to what you’re doing.” [V THRL [OL ILZ[ VM ^OH[ [OL`»YL For a time, Fryer had his own label KVPUN called Something To Listen To. But like many forays spawned in recent 7H[PLUJL years, it gave way to the current economic realities and the state of the industry in general. “I wanted to recreate, in my own way, the ethos of the ‘80s indie labels,” he says of the venture. “That ethos has disappeared. It went from having A&R meetings where we’d talk about making records. The record companies now seem to be run by number crunchers and lawyers and they talk about ‘product’ and ‘units.’ I started the label because I was working with bands that were worthy of having their records released. If they’d been around in the ‘80s, they’d have been snatched up straight away. The way the industry was in 2000, they couldn’t get arrested. That’s why I started the label: to put their records out; because of my love of music.” For people joining the industry today, Fryer sees many obstacles, chief among them making money. “There are no real budgets left and there are so many people with studios at home where they do everything themselves,” he observes. “Much of the stuff I do these days is mixing other people’s projects. A lot of people record and mix their own record and then wonder why it doesn’t sound like a record. They’ve worked out that there’s an art to mixing. “The Internet is great for music but bad for business,” he continues. “I don’t know where it’s going or how it’s going to work. What is the future of the music industry? I’m not quite sure. The problem for a young band is finding money to go on tour. One of the plusses of being signed was that you had tour support. Now you don’t. It’s hard enough to find a record deal but it’s even harder to find a promoter for your shows.” His biggest challenge has been melding the human side of music with the technological. “Working with man and machine and making it work together and sound organic isn’t easy,” he asserts, “even though it’s half machine and half live. Working with Stabbing Westward on their Wither Blister Burn & Peel album was one of my best achievements.” These days Fryer is busy mixing for both L.A. band Pink Side Of The Moon and Prague’s Bruno Ferrari. He’s also writing DarkDriveClinic’s next album and preparing to jump on the road to promote the band’s current record Noise In My Head. The tour kicks off in Germany and has several US dates booked. He’s a longtime devotee of Logic Pro. Contact Shannon O’Shea / SOS Management, 928-308-8422, sos@sosmanagement.com

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Music Connection Ad Proof Ad Rep: HR Code: A Design-Montessi 3rd-square #08-2012

Visit  our  booth  at  the  LA  Industry  event:  â€œRecording  a  Hit  Vocalâ€? August  19th  -­-­  1  to  5  PM Limited  Seating  -­  please  rsvp   http://recordhitvocals.eventbrite.com

August 2012

www.musicconnection.com 21

EXEC PROFILE

—ANDY KAUFMANN

Owner

Crimson Management / Shook Clothing Sound Rink

JEREMY SAFFER

Years with Company: 1 - 20 Address: PO Box 471, Newburyport, MA 01950 Phone: 888-609-6622 FAX: NA Web: http://soundrink.com, http://metalandhardcorefestival.com, http://crimsonmgt.com, http://myspace.com/crimsonmanage ment, http://shookclothing.com E-mail: scott26lee@gmail.com Clients: The Acacia Strain, My Children My Bride, Vanna, A Loss for Words, Legend, To Speak of Wolves

BACKGROUND: When it comes to hardcore and heavy metal in the New England region, there are few people more integral to the scene than Scott Lee. Originally from Springfield, MA, he co-created the New England Metal & Hardcore Festival, which just completed its 14th edition this April 20 - 22 at Worcester’s Palladium. His involvement in the industry also extends to booking, management and a unique, rockoriented clothing line. His latest creation, Sound Rink, offers fans

um and moving things around. I was just helping out a friend and I’m still doing it to this day. Partnering: I have partners on everything. My management company partner is Leah Urbano. My clothing company partner is Nick Holman; he also works for the management company. I have partners with Sound Rink, Cody Delong and Jason Mageau. I also book smaller punk rock, metal and hardcore shows in Holyoke at the Waterfront Tavern.

It’s a 14-year-old festival that has a great name attached. Who wouldn’t want to play it? We’re trying to make dreams happen. A Better Way: The festival started off with me going to another festival and seeing how bad it was and getting treated like crap. It was a bad aura. It was very dirty. The staff was treating people like they were lucky to be there instead of the other way around. I’m not saying my festival is the most stellar, but we try to make sure ev-

“Cody and I saw these other companies and it was basically like, we can do this and make it better.” the opportunity to purchase backstage packages that grant them intimate, one-on-one interaction with the artists they love. A Good Start for Sound Rink: We’re probably four months old right now, but we’re a year-and-a-half idea. A good friend of mine, Cody Delong from the Kenmore Agency, came to me with this idea. I was like, this is great. Let’s do it. Then we got Jason Mageau involved and we launched. It’s been going really well for us. We’re going to be out of the red with all of our investments by the end of April. Basically, we’re starting out with winning. Helpful Beginnings: I started by helping some friends move their gear and doing small, VFW shows, hanging out in clubs with my friends when they were playing shows. I met some people and just got involved and started booking my own shows. I started working with John Peters. We were working at this place called Pearl Street in Northampton. That’s where I really cut my teeth and got going with the booking. John took me under his wing. When we left there, we started MassConcerts. I’ve been working with him, I think, 18 years now. I helped him book the Palladi22 August 2012

Managing Eleven Bands: Eleven times six, that’s 66 people you have to manage. Leah and I do it together. We work with very good people. It’s really exciting watching a band grow from playing in a garage to playing in front of 5,000 people. It’s one of the best things in the world. Meeting Artists and Selecting a Roster: We find them, they find us. It’s a thing that happens. People know who you are. You hear tips and things from different people. If a band approaches me on Facebook, I won’t listen to it. I have to see a band. I have to be hyped, because that’s how it is. I’ve got to know somebody a bit before working with them or it’s got to be somebody I’ve worked with before. There’s no theory or formula for it. Different Scenarios for Different Acts: Sometimes, [our management acts] already have a label and we pop in on it. All of our bands are on independent labels. They’re distributed by major labels or major distributors. Sometimes, [we put our bands in the festival]. This year we’ve got a few. It’s not like we’re trying to push our bands; it sometimes just happens that way. There have been years that we haven’t had any bands on it.

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erybody has a good time. People keep coming and bands keep wanting to play it, so I think we’re doing something right. Building a Set List: That’s one of the hardest things in the world to do. It’s basically who’s the bigger band and it comes down to pecking order: who’s done what, how a band has grown and how they sound. Family Vibe: We definitely have a good time. A lot of people get to see people they don’t see all the time. There are people who come religiously every year, who mark their vacation around it. A lot of the bands hang out and meet people. It’s kind of an extended family. The Creative Advantage: There are other companies out there that do [what Sound Rink does]. Cody and I saw these other companies and it was basically like, we can do this and make it better. We took other people’s thoughts and brought in our own ideas. I think we’re a bit more creative. As corny as it sounds, your concert experience should be the best it can be. When somebody pays money to get extra items, meet the band or whatever, you want to

make sure they get their money’s worth. We don’t want them slapped in a line and then somebody says get out. We want them to be able to chat, do something, have interaction with them. That’s one thing we’re really mindful about. We’re trying to get into people’s faces and make them say, oh, they’re really cool at their job. We feel good about this. Nobody’s dropped the ball on anything. It was a good experience. One-of-a-Kind Opportunities: You’re basically paying to meet your idols, people you look up to or want to be. If you’re in a garage band and want to meet the guys in Chelsea Grin, this is the way to do it. You can have a one-on-one with them and ask questions. When I was a kid, if I’d had the opportunity to meet Scott Ian [of Anthrax], I would have been like, here’s a hundred dollars, no problem. And then you get a t-shirt and novelty items and cool things with it. I get excited just thinking about it. Not Just Hardcore: We’re doing a small tour with the band Moving Mountains which is a pop-punk, indie type band. We want to do everything under the sun. We acquire everybody and we will take on any takers. As long as it’s not bad, we’re good. Hip-hop, anything. There’s no specific genre. Shook Clothing: My partner, Nick Holman, and I thought about doing a clothing line for a while. We want to do stuff that we like and feel people would like. It’s about a year old. We’re sponsoring the Chelsea Grin tour right now. We have a web store, (http://shookclothing.com), and are having a really good time with it. Right now, it’s breaking even and we get to work with some really great artists. It’s exciting. A Place in His Heart: I don’t know if I’m that good at what I do, but I’m someone who wants to work and keep myself going and pushing. I don’t want to work in a factory. I love my job with all my heart and soul. I wouldn’t do anything else. I’m lucky—I’m 40 years old and I do something I love. The Right Reasons: Keep following your dreams and start making it happen for yourself. Do it for all the right reasons, because you want to express yourself. And don’t do it for the money because you’re going to be a rock star—one percent of a million become stars. If you’re doing it for the money, go to school and become a lawyer or open a business, do something else, because if you’re trying to become the next Godsmack or Pantera or anything of notoriety, it’s probably not going to happen. It’s a very hard thing to do. Do it for all the right reasons.

BUSINESS AFFAIRS

M

usic Connection’s Business Affairs delivers up-to-date information about the signings of new artists, significant developments at major and indie labels, as well as news of managers and attorneys who are active in the A&R aspect of the music business. So that MC can provide the most current information possible, please send any industry news, buzz or rumors that need to be verified to BBatMC@aol.com.

ed may audition via video clips and will be featured on HRX Records’ websites and :PV5VCF $IBOOFMT. Anyone with awesome pipes can enter the contest, but entries must be received by Aug. 31st. You can send audition videos to vocalcontest @hrxrecords.com. For futher details, check out http://hrxrecords.com.

r .VTJD QFPQMF GSPN BMM QPJOUT XJMM DPOWFSHF JO /BTIWJMMF 5/ 0DU UP GPS UIF *OEFQFOEFOU .VTJD 'FTU /BTIWJMMF You can choose to perform as an artist seeking new material or singer-songwriter looking for cuts. You can visit the i.VTJD 4QFDJBMUZ *OGP "SFBTu (where 17 categories of the industry are discussed) and i1BUI 'JOEu to define your musical future. Songwriters can also participate in a i1JUDI 'FTU u Registration is open now. Simply r 5IF UI "OOVBM *OUFSOBUJPOBM visit http://independentmusicfest.org "DPVTUJD .VTJD "XBSET *"." for details and information. JT PO IAMA promotes excellence in “Acoustic Music Performance r 5IF % * : .VTJD 'BTIJPO 'FT and Artistry.â€? Acoustic artists in UJWBM JT TFU UP UBLF QMBDF BU 5IF various genres can gain radio and (MBTTIPVTF JO 1PNPOB $" PO web exposure through this com- 4BUVSEBZ 4FQU UI The festival, petition. Participating sponsors in- which was started by independent clude /FX .VTJD 8FFLMZ -PH hip-hop artist /PB +BNFT and #SJDL HJOT 1SPNPUJPO 9. 4BUFMMJUF UPZBGBDF DPN founder -FTB + , 3BEJP "JSQMBZ"DDFTT DPN /PJTZ brings together independent artists 1MBOFU 4POH6 "DPVTUJD $BGF and fashion for a full night of great 3BEJP 4IPX #SPBEKBN and 4POJD performances and amazing fashion CJET Ĺž IAMA is open to all indepen- from young, talented and ambitious dent artists and labels, and unlike artists and designers. This is an other music competitions, focuses all-ages event. Visit http://bricktoya on developing new markets for face.com. acoustic artists with or without CD releases. A panel of established art- r *U T B GFTUJWBM TP CJH JU POMZ IBQ ists and industry pros will select the QFOT PODF FWFSZ UISFF ZFBST A winners. Deadline is Nov. 9th. Go to 10-day celebration, from Aug. 10 http://inacoustic.com. to 19, will be held at )BSCPVSGSPOU $FOUSF in Toronto, Canada. This r )39 3FDPSET JT IPTUJOH B 7PDBM is the return of the world’s largest $POUFTU UP Ă OE B TJOHFS XJUI UIF multi-disciplinary, contemporary, inIJHIFTU SBOHF The winning vocalist ternational indigenous music and will receive a free recording package arts festival. Music will be provided worth over $5,000. Anyone interest- by an international assortment of

4(% &,!-).' ,)03 3-/+% *!9 : 3 7/2,$ 2%#/2$ The Flaming Lips successfully smashed the Guinness World Record previously held by Jay-Z for most concerts performed in multiple cities after a historic road trip through the Mississippi Delta, which now ranks as the mostviewed digitally driven event in Viacom Music & Logo Group history. Lips’ frontman Wayne Coyne commented, “To be published alongside the man who ate 22 pounds of his own boogers, and beside an individual who had 1,000 cockroaches stuffed into their ears... that, to me, is one of life’s absurd joys.� The band was joined along the way by a diverse lineup of artists including Jackson Browne, Grace Potter & the Nocturnals and Neon Trees. You can go to http:// flaminglips.com for more hilarity.

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The music of Frank Zappa is finally back in the hands of the Zappa Family Trust. To celebrate the event, the estate has signed a global license and distribution deal with Universal Music Enterprises to release 60 of the iconic musician’s recordings. An artist and composer, Zappa was one of the most important and influential artists in music history. He was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997. The UME deal is for the entire Zappa Catalog as it appeared on his own independent label, Barking Pumpkin Records. Fans can scope more dish at http://zappa.com.

artists including: %FSFL .JMMFS T 3PCCJF 3PCFSUTPO USJCVUF; )BOH HBJ T .POHPMJBO GPML WJB #FJKJOH, mind-blowing EJEKFUSPOJDB GSPN 5KVQVSSV, space-aged cellist $SJT %FSLTFO 5SBOTKPJL T /PSEJD UISPBU TJOHJOH NFFUT SBQ, and A 5SJCF $BMMFE 3FE T multi-media &MFDUSJD 1PX 8PX. For information and event listings, go to http://har bourfrontcentre.com/summer.

,!"%,3 s 2%,%!3%3 s SIGNINGS r 3PE 4UFXBSU IBT JOLFE B XPSME XJEF SFDPSEJOH BHSFFNFOU XJUI 6OJWFSTBM .VTJD (SPVQ As part of this multi-album deal, the twotime Hall of Famer has teamed with Grammy-winning producer, songwriter and 7FSWF .VTJD (SPVQ Chairman %BWJE 'PTUFS to record his first Christmas album. In July Stewart reunited with 4UFWJF /JDLT to reprise their acclaimed )FBSU 4PVM tour and in September he will return to his Las Vegas residency at the $PMPTTFVN in $BFTBS T 1BMBDF. See http://rod stewart.com.  r 0O 4FQU 3$" 3FDPSET XJMM SFMFBTF UIF %BWF .BUUIFXT #BOE T Away From The World, which the group recorded with 4UFWF -JMMZ XIJUF, who produced its first three studio albums. The album will be available in CD, digital and vinyl formats. Deluxe versions of the CD and digital editions—containing three exclusive new live tracks—will also be available. A super-deluxe edition will include the deluxe CD, a DVD, a 2012 tour photo book and more. Individuals who pre-order any configuration of the album will receive five bonus tracks, recorded live on DMB’s 2012 summer tour. August 2012

Visit http://davematthewsband.com for additional details. r )FOSZ 3PMMJOT XJMM CF PO UIF DBNQBJHO USBJM UIJT GBMM GPS B UXP NPOUI UPVS IJUUJOH BMM TUBUF DBQJUBMT The tour starts Sept. 6 at )BXBJJBO #SJBO T in Honolulu, HI, and wraps up on the eve of the Presidential Election at the $MVC in the nation’s capital. Titled $BQJUBMJTN, Rollins’ tour offers not so much a voting guide as an outside viewpoint, and an unflinching quest for truth. For more information and complete tour dates, go to http://henryrollins.com. r 5IF (SBUFGVM %FBE T Ă STU i#FTU 0Gu BMCVN IBT CFFO SFJTTVFE PO B OFX BVEJP Ă EFMJUZ HSBN WJS HJO WJOZM -1 When the Grateful Dead left 8BSOFS #SPT to form their own label in 1973, they delivered their first live “Best-Ofâ€? anthology, History of The Grateful Dead Vol. 1 (Bear’s Choice . The album documents the band’s February 1970 stand at New York’s 'JMMNPSF &BTU as recorded by Dead sound manager 0XTMFZ i#FBSu 4UBOMFZ (who also created i0XTMFZ -4%u—the best acid on the planet). The recording captures the Grateful Dead at what, in hindsight, proved to be a pivotal period in their career, and was the last record to feature the group’s original lineup. Intended as the first in a series of best-of sets taken from Bear’s audio journals, the album reached No. 60 on Billboard’s LP chart when it was first released. For more information, or to order the record, visit http:// audiofidelity.net. r /P 4MFFQ 3FDPSET IBT XFM DPNFE 1JUUTCVSHI JOEJF SPDL CBOE "EWFOUVSFT UP UIF MBCFM XJUI QMBOT UP SFMFBTF UIFJS EFCVU &1 www.musicconnection.com 23

BUSINESS AFFAIRS this fall. Formed in early 2012, the band is made up of Jami, Reba and Joe of Code Orange Kids (Deathwish Records), along with Kimi and Dominic who have worked together on various musical projects in the past. The group came together in Code Orange’s practice space and entered the studio soon after to record their debut for No Sleep. Stay tuned to http:// nosleeprecords.com for additional information.

—BERNARD BAUR 4DIPMBSTIJQ to attend the college’s summer program. The partnership also gives Berklee student band 3FE 0CMJWJPO the opportunity to perform at the renowned festival, and offers students an internship at ,JE[BQBMPP[B. For more information, see http://berklee.edu/news.

r 3ZBO "EBNT Live After Deaf WJOZM CPY TFU TPME PVU JUT FOUJSF SVO JO FJHIU NJOVUFT The box set features 218 tracks total (144 on vinyl plus 74 digital-only bonus r 3JWBM 4POT BSF HFBSJOH VQ GPS UIF tracks). The collection chronicles 4FQU international release of the 15-date June 2011 UK/Europe Head Down, their second album tour that marked Adams’ return to for Earache Records, XJUI UIF 64 live performance. Now, in celebrarelease to follow in /PWFNCFS tion of its one-year anniversary, Live With their blues bravado, raw riffing After Deaf provides fans a way to and unmatched mystique, the Long relive that tour—or experience it for Beach, CA quartet have received the first time. 1BY "N 3FDPSET is critical acclaim both in the US and now offering multiple configurations in Europe, where they’re currently of the set via iTunes and "NB[PO on tour. The band wrote, recorded com. You can log onto http://paxam and mixed the album in just 20 days records.com for further developwith Grammy Award-nominated pro- ments. ducer %BWF $PCC (Jamie Johnson, 4IPPUFS +FOOJOHT and Grammy r 4IB[BN IBT BOOPVODFE UIBU Award-winning engineer Vance i4PNFCPEZ * 6TFE UP ,OPXu CZ Powell (Jack White, the White Gotye is the most tagged track in 4USJQFT ,JOHT PG -FPO . For addi- IJTUPSZ It was the first track ever to tional information, go to http://rival gain over 1 million tags in a week. sons.com. In fact, it broke another milestone to become the first record to be tagged over 11 million times! That makes it the most tagged track in the USA r " QBSUOFSTIJQ CFUXFFO -PMMBQ and Top 10 in many European counalooza and Berklee College of tries, driving an estimated 1 million Music has resulted in scholar sales. Go to http://shazam.com for TIJQ BXBSET GPS UXP PVUTUBOEJOH additional details. ZPVOH NVTJDJBOT Vocalist and guitarist %BWJE 4UFXBSU is the first recip- r $JSDB 4VSWJWF BSF DVUUJOH PVU ient of the #FSLMFF -PMMBQBMPP[B the middle man. The band have &OEPXFE 4DIPMBSTIJQ, a four-year, announced the release of their full tuition award that will bring him to fourth full-length album, Violent Berklee in the fall. Singer-songwriter Waves, due out Aug. 28th. The fiveJenny Dinh has been awarded the piece rock band from Doylestown, #FSLMFF -PMMBQBMPP[B 'JWF 8FFL PA recorded and self-produced the

PROPS

LOVERBOY ARE LOVIN’ IT

DIY Spotlight: Delicate Steve N.Y.-based multiinstrumentalist Delicate Steve teamed up with We Will Make This Happen Creative Lab to unveil his interactive Positive Force album. It is a groundbreaking promotional record that is being released across the social media channels of 10 other bands, including Yeasayer, tUnE-yArDs, Ra Ra Riot, Givers, et al. Each act will host the premiere of a different song from the album on their Facebook and Twitter pages. According to “Delicate� Steve Marion, “Presenting the record to listeners are 10 of my favorite artists, who are some of my favorite people in the world. I couldn’t be more excited to have these friends be the first to share my tunes with listeners.� Last month Delicate Steve launched a public listening event where play-button devices, housing one of Positive Force’s songs, were placed in 10 locations around Brooklyn and Manhattan. One of the locations was a converted NYPD Van that served a special grilled cheese sandwich called the “Delicate Cheese.� To learn more, visit http://delicatesteve.com or http://facebook. com/DelicateSteve. Have a successful DIY strategy to share? Email bbatmc@aol.com.

11-track album earlier this year at 4UVEJP in Philadelphia and will be self-releasing it with a new directto-fan method, having previously released through Equal Vision and Atlantic Records. In conjunction with 5PQTQJO .FEJB, 5IF 6QSJTJOH $SFBUJWF and 'JSFCSBOE, Circa have built a web delivery system that will deliver the new album without a label or distributor—it will be available as MP3, WAV, vinyl and CD. See http:// circasurvive.com.

r -JWF /BUJPO &OUFSUBJONFOU BOO ounced the acquisition of leading FMFDUSPOJD NVTJD DPODFSU QSPNPU FS BOE GFTUJWBM PQFSBUPS )"3% &WFOUT  Since  its  creation  in  2007,  HARD’s  founder  Gary Richards and his team have attracted a variety of top acts to headline their shows from +VTUJDF 4LSJMMFY and Crystal Castles to some of today’s newest cutting-edge electronic artists like Knife Party and Gesaffelstein. “Live Nation has put together a r Musicians took on Walmart in -PT "OHFMFT $". Several Grammy team unmatched in the industry and Award-winning and acclaimed musi- I am pleased to its most recent addicians, including 4UFWF &BSMF 5PN tion. We look forward to working hard Morello and #FO )BSQFS, joined and developing opportunities to grow the growing effort to stop the world’s the electronic music platform on a largest retailer from opening in global level,â€? Richards stated. - " T $IJOBUPXO and expanding across the city with poverty-level MICRO-­BIO:  Voted  one  of  the  wages and business practices that “Top  Music  Business  Journalistsâ€?  hurt local businesses and commuin  the  country,  Bernard  Baur  is  the  nities. Morello kicked off the rally connection  between  the  streets  and  with his anthem for workers’ rights the  suites.  Credited  with  over  1,200  i6OJPO 4POH u Both Morello and features  in  a  variety  of  publications,  Harper played at the rally in front he’s  a  Contributing  Editor  at  Music  of a massive banner that read Connection. i8BMNBSU 1PWFSUZ u Earle, adding

THE BIZ

For more than three decades, multiplatinum Canadian rockers Loverboy have been lovin’ every minute of life and have announced the upcoming worldwide release of Rock ’N’ Roll Revival via Frontiers Records. The album is set for an Aug. 14 release in the USA and Canada, and features nine newly re-recorded Loverboy hits, as well as three brand new songs. All the original band members reunited at Bryan Adams’ Vancouver studio The Warehouse, with original engineer, legendary producer Bob Rock. The band’s founder/ guitarist and producer of the album, Paul Dean, commented, “The new songs on this album are in the same spirit as our classic material.� For additional information, check out http://loverboyband.com. 24 August 2012

www.musicconnection.com

his thoughts, said, “I’ve never known of Walmart to be a good neighbor in any town it’s ever moved into.�

“I Got a $ix-Figure Indie Label Deal Because I Joined TAXI” Jenna Drey – TAXI Member – www.jennadrey.com

My name is Jenna Drey.

That’s me sitting next to TAXI president, Michael Laskow. For as long as I can remember, I’ve wanted to be a recording artist. I’ve studied music my whole life. I’ve read all the books. I’ve been to the seminars. In short, I’ve done all the same things you’re probably doing.

Who Hears Your Music? I’ll bet you’ve also noticed that no matter how much preparation you’ve done, it doesn’t mean anything if you can’t get your music heard by people who can sign on the dotted line.

A Record Deal With Lots of Zeros! Seven months after joining, TAXI connected me with a great Indie label that’s distributed by Universal. The president of the label heard my song, “Just Like That,” and just like that, I was offered a record deal, and that song became my first single. Madonna, Bowie, Jagger, and me! The icing on the cake? The label hired legendary producer, Nile Rodgers (Madonna, David Bowie, Mick Jagger, and the B-52s) to produce it! All these amazing things happened to me because I saw an ad like this and joined TAXI.

I found out about TAXI a few years ago, and have kept an eye on it ever since. The longer I watched, the more I became convinced it was the vehicle I needed for my music. When my demos were done, I joined. And guess what – it worked!

1,200 Chances to Pitch Your Music It seems like all the serious artists and writers are hooking up with TAXI. Where else could you find more than 1,200 high-level opportunities for your music every year? You’d hire an accountant to do your taxes. Doesn’t it make sense to hire the world’s leading independent A&R company to make all the connections you need? Do you have the time to do all the leg work yourself?

It Worked for Me TAXI doesn’t take a percentage of anything, and it will probably cost you a lot less than the last guitar or keyboard you bought. Think of TAXI as the most important piece of gear you’ll ever need. It’s the one that can get you signed. If you’re a songwriter, artist, or composer who wants to succeed in the music business, then do what I did and make the toll-free call to TAXI right now.

The World’s Leading Independent A&R Company

1-800-458-2111 www.taxi.com

August 2012

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SIGNING STORIES

Obey the Brave Date Signed: June 2012 Label: Epitaph Type of Music: Metalcore Band Members: Alex Erian, vocals; John Campbell, guitar; Greg Wood, guitar; Miguel Lepage, bass; Stevie Morotti, drums. Management: Carl Severson/Good Fight Entertainment, carl@goodfightentertainment.com Booking: Amanda Fiore / The Pantheon Agency, amanda@thepantheonagency.com Legal: Patrick Leyland Publicity: Jessica Giordano, jessica@epitaph.com Web: http://obeythebrave.com A&R: Tom Osborn

C

anadian metalcore act Obey the Brave’s mantra is simply, “Not trying to reinvent the wheel. We keep it simple. We keep it real.” But it was enough to land them a deal with Epitaph Records alongside the likes of Weezer, Rancid and Motion City Soundtrack. Before January 2012, Obey the Brave were a nameless group of musicians who’d played in different bands (Despised Icon, Blind Witness, Darkness Rites) and shared song ideas via text. Then when they posted an introductory video on Facebook with a clip from their first single, “Live & Learn,” from the Ups & Downs EP, and gained 14,000 Facebook fans in two weeks, record labels came knocking. Vocalist Alex Erian sums up the sudden success as just “the right band, right timing and right music.” The comfort zone found at Epitaph is due, in part, to Erian’s own admiration for the label as an adolescent reared on Rancid and Pennywise.

Cris Cab Date Signed: May 2011 Label: Mercury/Island/Def Jam Type of Music: Reggae/Pop Management: Dan Solomito, Daniel Glogower / March Management, crsicab mgmt@gmail.com, 201-755-0683 Booking: Samantha Kirby / WME, skirby@wmeentertainment.com, 212-903-1149 Legal: Alison Finley / Boyarski Fritz, LLP, 212-920-4925 Publicity: Beau Benton / 42West, beau.benton@42West.net, 646-467-9055 Web: http://criscab.com A&R: Tom Lee

ineteen-year-old singer and guitarist Cris Cab launched his career when he posted several videos to YouTube. Cab’s cover of Wiz Khalifa’s N “Black and Yellow” has earned nearly two million views. His channel has

received nearly seven million. Those are the kinds of metrics that attract label interest. In Cab’s case, it landed him meetings with a number of major labels and ultimately resulted in a deal with Mercury Records. When the views started to build, labels started to notice and contacted his manager. Early in his career he recognized the power of having one. “It’s important to have someone on top of the game and with ideas about how to make a project bigger and better,” Cab says. “We were proactive; we did everything ourselves. That’s another reason the labels were so impressed. A friend had a brother in the music business. He turned out to be my current manager.

“My mentor Pharrell Williams told “Now I’ve got the opportunity to me that the most important thing is do what I love and actually make a to always play live.” living off it.” “Epitaph has shown that it’s not just a hype label; it’s a reputable label. All we want to do is play and be on the road. I’m confident that Epitaph will give us that opportunity,” Erian says. “All I can say about the Epitaph deal,” he adds, “is I’ve never seen that much money in my life. I’ve been fucking struggling for the past 10 years just paying rent or eating. At least now I’ve got the opportunity to do what I love and actually make a living off it.” Record label or no, the band members keep their hands dirty in the business aspects. They continue to rely partially on themselves for promotion, and Erian co-manages the band. “It’s encouraging to have people helping out, but we keep a lot of control. It’s important for us not to be puppets,” he says. Starting July 28, Obey the Brave will make their first extended visit to the United States on the All Stars Tour. The release of their debut LP, Young Blood, which combines melodicism with heavy riffage, will follow on Aug. 28th. ——Jessica Pace 26 August 2012

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“We soon had attention from all the majors,” he continues. “We sat down and decided which one was best for us. I chose Mercury because they let me do my own thing and they understood who I was. They were able to give us the most of what we were looking for.” Being signed doesn’t mean an end to posting videos. “You always have to have an online buzz and keep your fans engaged,” Cab says. “Nowadays it’s all about social media and online presence. You need that connection with your fans.” Cab owes a lot to YouTube, but he hasn’t neglected performing. “I was always doing live shows,” he explains. “My mentor Pharrell Williams told me that the most important thing is to always play live and to get those [videos] up.” The singer’s first single, “Good Girls (Don’t Grow On Trees)” featuring Big Sean, dropped on June 14th. Cab is currently recording his complete album and expects an early fall release. In the meantime, he played a New York show on July 12 and a Miami show on July 26th. His free mixtape, Echo Boom, has been released online and has had more than 300,000 downloads. ——Rob Putnam

ASHLEY M AILE

SIGNING STORIES

Young Guns

MONUMENTS

Date Signed: May 7, 2012 Label: Wind-up Records Type of Music: Rock Band Members: Gustav Wood, vocals; Frasier Taylor / John Taylor, guitar; Simon Mitchell, bass; Ben Jolliffe, drums. Management: Andy Snape & Craig Jennings / Raw Power Management; Mark James / Back To Back Management Booking: Steve Kaul / The Agency Group (US); Ralph James / Adam Sylvester / The Agency Group (Canada); Sean Goulding / The Agency Group (Rest of World) Legal: Penny Ganz / Ganz Legal Publicity: Michael Moses / BWR Public Relations, mmoses@bwr-la.com Web: http://weareyoungguns.com A&R: Alan Galbraith / Wind-up Records

Date Signed: March 2012 Label: Century Media Records Type of Music: Progressive Groove Metal Band Members: John Browne, guitar; Olly Steele, guitar; Adam Swan, bass; Mike Malyan, drums; Matt Rose, vocals. Management: John Giulio Sprich / The Euroblast Collective, management@thisismonuments.com, +4915146445588 Booking: Marco Walzel / Avocado booking, marco@avocado-booking.com (EU) +498995447361; John Giulio Sprich / The Euroblast Collective, management@thisismonuments.com, +4915146445588 (rest of world) Legal: Dean Marsh / Creative Law & Business, dean@creativelaw.eu, +441273823770 Publicity: Nikki Law / Century Media Records, nikki.law@centurymedia.com Web: http://facebook.com/thisismonuments A&R: Steve Joh

B

ritish alt-rockers Young Guns had already built a following in Europe on the back of their 2010 full-length debut, All Our Kings Are Dead. They’d signed a deal with PIAS (aka Play It Again Sam), building buzz playing the Reading and Leeds Festivals. They were heard on Zane Lowe’s Radio 1 show. A flurry of magazine covers underscored their popularity. They were yet, however, to penetrate the North American market. That opportunity came their way when indie label Wind-up caught wind of their rising star and began chatting with their management. The label’s honchos made a trip to Nottingham to witness the London-based newcomers up close. Although several offers presented themselves, the group were particularly impressed by Vice President Alan Galbraith’s intimate grasp of their artistic vision.

J

ohn Browne, guitarist with London-based metal band MONUMENTS, was in the US performing with a side project when he was introduced to A&R rep Steve Joh. Browne passed along MONUMENTS’ demo and, just like that, the band was signed to Century Media Records. Sounds easy enough, but for MONUMENTS it represents years of hard work, a longgrinding search for a lead vocalist and a bit of luck. After a seven-month global search, Matt Rose was added as MONUMENTS’ new vocalist. With Rose in place, the band have spent the last several months finishing the album, which Rose feels showcases their unique metal sound. “It’s a stamp of approval for a young band to get signed,” he says. “It’s great to be working with Century Media, which is a label that really knows metal.”

“There was a sense that the record had “Working with professionals been studied and thought about.” makes the whole recording process enjoyable.” “There was a sense that the record had been studied and thought about,” muses Gustav Wood, Guns’ soft-spoken vocalist. “We were excited that their roster is so strong and they have a fantastic record with music going out to radio, which is something we would like to capitalize on.” The group also played a few dates with one of Wind-up’s most popular acts, Seether, who served up a positive review. Contract negotiations went quickly. For their part, the Guns were content allowing their legal representatives to hash out the details of the four-album agreement. “We went back and forth about the finer details,” says Wood, “but it wasn’t terribly complicated because we both had a similar idea of what we wanted to achieve.” Journeying to Thailand to record their second album, Bones, due out Sept. 4, they crafted a sound they specifically hope will appeal to American listeners, backing up their commitment with a recent trip to Los Angeles for a video shoot. “America’s a big place,” marvels the singer. “We’re a band from the UK, but we don’t want to be defined by that,” he adds, stating, “Wind-up genuinely seems to be a company that’s doing things the right way. We are really honored. To be given a shot to tour the states is a big deal for us.” ——Andy Kaufmann

Rose expects that the signing will provide exposure for the band and help create more opportunities to play live. “Live shows are what are most important for a new band,” he explains. “You need to get out and be heard by as many people as possible.” When asked if getting signed was a path to quick success, Rose, who has experience with several bands, says, “You shouldn’t get into the music business expecting to become big quickly. When you’re young, you think everything comes easy, but the truth is that it’s very hard work. You can’t rest on your laurels. Getting signed is just the beginning.” Rose just completed the album’s final vocal production at Fortress Studios in London. He had the opportunity to work with veteran producer and engineer Dan Weller. “The experience at Fortress with Dan Weller was excellent," says Rose. "Working with professionals makes the whole recording process enjoyable.” What’s next for the band? “We look forward to coming to the US and proving ourselves,” the singer says. MONUMENTS’ Gnosis will be released in North America on Aug. 28th. ——Steve Harr August 2012

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SONG BIZ

ASCAP GOES TO PICTURE

BMI HOSTS PANEL AT COMIC-CON

The annual ASCAP Film and Television Awards were held in Beverly Hills, CA, and featured a spirited performance by hot rock band GroupLove. Pictured at the event (l-r): John LoFrumento, ASCAP CEO; Trevor Rabin, ASCAP Henry Mancini Award recipient; and Paul Williams, ASCAP President and Chairman.

Harold Payne: Getting Brave with Womack Hot on the heels of his collaborations and tours with Gorillaz, Bobby Womack is back with a vengeance: the soul legend has released The Bravest Man in the Universe co-produced by Gorillaz mastermind Damon Albarn and XL Recordings owner Richard Russell. For Los Angeles, CA, singer-songwriter Harold Payne, who collaborated on the majority of the songs, it marks a long string with Womack reaching back to “Daylight,” a hit in 1976 (and rerecorded by Kelly Rowland). Samples by artists including Snoop Dogg, 50 Cent and G-Unit recast the Payne/Womack collaborations into marquee hip-hop hits. Payne, who currently performs over 200 concert, club and custom song events a year, is known as an originator of what is now defined as the Positive Music movement. With a steady string of genre-defining CD releases to his credit, Payne’s songs have been cut by a roster of over 100 artists that includes Rod Stewart and Patti Labelle. Surrounded by modern beats, Womack’s latest project resurrects a classic singer with a slate of inspired tracks. Speaking to Echo magazine, Richard Russell praised Payne as “…the hero of

this project.” Find out more about Harold Payne at http://haroldpaynemusic.com.

BMI Heats up Chicago BMI will present the performers on its 2012 Lollapalooza stage. Running Aug. 3-5 at Grant Park’s Hutchinson Field in Chicago, IL, BMI’s stage will kick off performances at 12 p.m. each day, setting the pace at the behemoth music festival. Festival-goers seeking rising stars and a bucolic respite from the Chicago heat flock to the BMI Lollapalooza stage, known for emitting soulinflected sounds, acoustic balladry and pop-rock rhapsodies from a slew of singer-songwriting acts. Performers on this year’s BMI stage range from the moody melodies of Ambassadors to the sassy swagger of Dev; the budding rock iconoclasts the Sheepdogs; and the expressiveness of siren Yuna. The lineup will provide a blend of sounds, reflecting Lollapalooza’s wide-ranging approach in offering attendees performances that are unique and remarkable. Additionally, BMI has partnered with recognition-and-discovery company in8 Mobile to offer music enthusiasts an opportunity to win tickets to the festival and gain exclusive access to the BMI-sponsored stage. Beginning July 5, BMI will release details via Twitter hashtag

HEARTS OF DARKNESS: SINGER-SONGWRITERS SHINE Three seminal singersongwriters are the subjects of a captivating new book, Hearts of Darkness: James Taylor, Jackson Browne, Cat Stevens, and the Unlikely Rise of the Singer-Songwriter. Author Dave Thompson focuses on the inward journeys of this prolific trio and the ways that their artistry impacted and mirrored the ‘70s. From Backbeat Books (now a division of Hal Leonard). See http://halleonoardbooks.com.

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BMI and White Bear PR presented “The Character of Music” panel at the Comic-Con International 2012 in San Diego, CA. BMI’s Anne Cecere moderated “The Character of Music” with panelists (l-r): Arrow composer Blake Neely; Arrow exec. prod. Marc Guggenheim; Supernatural composer Christopher Lennertz; Supernatural exec. prod. Todd Aronauer; TRON: Uprising composer Joseph Trapanese; TRON: Uprising exec. prod. Charlie Bean; Looper composer Nathan Johnson; and Looper exec. prod. Rian Johnson. #BMIlollaStage and http://bmi.com/lollapalooza about the contests.

Sony/EMI Deal Closes An investor group led by Sony has closed its $2.2 billion acquisition of EMI Music Publishing. The deal will give Sony control over a catalog of more than two million songs and a global market share of about 31 percent, nine points above that of Universal, its closest competitor, according to an estimate by the trade publication Music and Copyright. Sony’s new catalog will include the 750,000 tracks—including 251 by the Beatles—that are controlled by Sony/ATV, the company’s joint venture with the estate of Michael Jackson. It will also include 1.3 million from EMI, with Motown hits, chestnuts like “Have Yourself a Merry Little Christmas” and songs by contemporary performers such as Norah Jones, Kanye West and Amy Winehouse. Sony’s deal will also reunite Martin N. Bandier, the chairman of Sony/ATV, with the EMI publishing catalog, which he built over 17 years until he left the company for Sony in 2007. While Sony/ATV and EMI will be separate entities, Bandier made it clear in an interview that he intended to run them as one collection of songs. Read more at http://emimusicpub.com.

MILESTONES: FRANCES PRESTON Frances Preston, a music industry pioneer and former president and chief executive of BMI, died in Nashville, TN. Preston was a driving force in music spanning six decades as she fought for songwriters’ rights and for her company’s growth in representing a diverse roster of talent.

SONG BIZ

—DAN KIMPEL dan@dankimpel.com

BERN BABY BERN

SONGWRITERS FETED @ ASCAP FILM-TV

A ARON K ATTER

Dan Bern headquarters announces the release of two new recordings showcasing the American roots music that has made Bern one of the most compelling singer-songwriters of his generation: Drifter, a vagabond’s journey through Bern’s musical universe, and Doubleheader, an 18-song tribute recorded at Bob Weir’s TRI Studios in Marin County, CA. For more details, contact Susan Martin, MartinMPR / susan@ martinmpr.com. Pictured (l-r) at ASCAP Film and Television Awards, Top Television Series: winners John Adair, Toby Gad and Lindy Robbins, composers and songwriters of Disney Channel’s Jessie and Alisha Davis, ASCAP Associate Representative of Film & TV Membership.

ASCAP’s Sill Songwriters Workshop The 2012 ASCAP Foundation Lester Sill Songwriters Workshop is now accepting submissions. Geared toward advanced songwriters, the Workshop will take place at ASCAP’s Los Angeles office beginning in November for a series of eight sessions. Exact dates will be announced closer to the submission deadline. Renamed in 1995 to honor ASCAP’s late Board member and industry pioneer Lester Sill, the Workshop will feature prominent guests from various facets of the music business and is designed to enrich participants’ knowledge of the industry, help them establish contacts and confidence, and expand their collaborative partnerships. Past guests have included Sir George Martin, Don Was, Rick Nowels, Glen Ballard, Greg Wells, Jackson Browne, Linda Perry, Billy Steinberg, John Shanks, Kara DioGuardi, Michelle Shocked, Ben Harper, Jonatha Brooke, Matthew Wilder and numerous others. Songwriters interested in applying are required to submit the following: Two recent, original songs that represent your songwriting ability. These must be in a digital format readable by iTunes (MP3, AAC, WAV, AIFF). Please limit the file sizes to 10 mb per song. CDs and other

physical media will not be accepted. Lyrics for the two songs (must be MS Word or PDF format). A brief resume or bio (MS Word or PDF format). A brief written explanation as to why you would like to participate in the Workshop (MS Word or PDF format), email, telephone number and city of residence. A link to a website where ASCAP staff can hear more of your music (optional). Please submit all materials to lestersillwork shop@gmail.com. All entries must be received at the above address no later than Friday, Sept. 7, 2012. No exceptions.

WCS Conference Sept. 8 - 9 For 32 years, the West Coast Songwriters Conference has been enlightening, educating and connecting songwriters with the music industry. The event will be held on Sept. 8 and 9 at Foothill College in Los Altos Hills (near Palo Alto) and will feature a wide array of industry from L.A., Nashville and Northern California. Breakfast and lunch are included with registration, and the leafy campus is a beautiful setting for creative connections. Noontime concerts, a Sunset Concert featuring special guests, plus pitch, performance and song evaluations make this preeminent event for songwriters and recording artists at all levels of their careers a must-attend.

Creative Nation Checks Pulse Pulse Recording and Creative Nation have announced the formation of an exclusive partnership between the two companies, solidifying a creative collaboration between these prominent hubs for both talent and songwriting. This relationship underlies the importance of integrating two of music’s most important cities— Nashville and Los Angeles—formulating a new breed of pop and country artists with multiple levels of crossover potential. Creative Nation’s Barry Dean is the first songwriter to be signed to this new partnership. Discover more at http://pulserecordings.com and http://creativenationmusic.com.

MICRO-­BIO: Dan Kimpel’s new-­ est book, It All Begins with the Music, is penned with legendary A&R exec Don Grierson. Hear Dan’s audio interviews worldwide on Delta Airlines.

DON GRADY: FAVORITE SON AND SONGWRITER Television audiences grew up with him as Robbie Douglas in My Three Sons, but the music industry respected him as a prolific and accomplished songwriter-composer. Don Grady, who penned the theme for The Phil Donahue Show and music for the Blake Edwards film Switch and the popular Las Vegas extravaganza EFX, a showcase for Phantom of the Opera star Michael Crawford, died in Los Angeles, CA, at age 68.

TEAL MOSS

PAT PATTISON: SUCCINCT SONGS AT SESAC

Highly recommended. Check out http://west coastsongwriters.org for details and registration information.

SESAC hosted a special songwriting seminar in Los Angeles entitled “Phrasing: The Body Language Of Your Song.” Featuring author and Berklee College of Music professor Pat Pattison, the SESAC seminar gave valuable insight and advice on how writers can better craft their songs. Pictured (l-r): Pattison and James Leach, SESAC’s Vice President, Writer/Publisher Relations/West Coast Operations. August 2012

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SONGWRITER PROFILE

A ARON K ATTER

SONG BIZ

By Dan Kimpel

I

t is the sound of the summer: the song “Payphone” by Maroon 5 featuring Wiz Khalifa. For Dan Omelio—who writes and produces under the non de plume “Robopop”—it is the latest in a string of smash co-writes that includes “Stereo Hearts” by Gym Class Heroes with Adam Levine as well as that band’s “Ass Back Home” featuring Neon Hitch. Growing up in Stroudsburg, PA, near the Delaware Water Gap, Omelio relates that his town was a hotbed of jazz players. With a musician father who he describes as “…a hard working Italian dad who played drums,” it was understandable that he would gravitate to the vocation as well. Omelio explains the genesis of his multi-instrumentalist inclinations. “One of my teachers (at Syracuse University) said, ‘Wear a lot of hats.’ I started out on trumpet, I sang, played guitar and of course drums. I grew up wanting to be as proficient as possible, so I can play over chord changes on guitar, or lay down a drum-beat or whip out the trumpet. All of the guys around me were these amazing players, who made me want to be a better musician.” With additional experience both teaching and performing in drumlines, Omelio was a quick and thorough student of his craft. He describes himself as a “sponge,” and scrutinizing such monumental drum masters as Elvin Jones and Tony Williams revealed invaluable musical lessons. “My drum teacher, Marko Marcinko who is an amazing guy, would say, ‘Listen to them, take a little of what they do and put it in your repertoire.” According to Omelio, the jazz world and the songwriting cultures are comparable. “They are both close knit. Obviously, the songs are different, but the people who co-exist in those worlds are very similar.” And authenticity is a requirement. “Not to sound stupid, but I try to be as real as possible, not cut and pasted and auto-tuned.” Originally, Robopop was a duo of Omelio with songwriter-producer Brandon Lowry. The pair was behind the board for Lana Del Rey’s “Videogames,” the song that launched the artist’s recording career. Omelio refers to this track as, “…a glorified demo. In the indie world those things work. It’s not like straight-up pop where things have to sound a certain way.” When the team parted ways, Omelio retained the Robopop moniker while Lowry transformed into “Sterling Fox.” As the line between songwriting and production is often indistinct, Omelio links these endeavors. “When you’re producing a session, nine times out of 10 there might be some writing or melodic changes made. If you’re in a songwriting session and you’re laying down a rudimentary track then that could be production. It’s a big melting pot,” he says. As a songwriter, Omelio believes his greatest strength is melody, with concept a close second. “I grew up singing with a lot of ear training and honing my ear into harmonies and counterpoint melodies,” he explains. “Payphone” and “Stereo Hearts” were penned with collaborators including Ammar Malik. Omelio journeyed to Virginia, where Malik lives, to collaborate on what was to become “Payphone.” The track was then sent to producer Benny Blanco (whom Omelio lauds as “The best producer in the world”). “When Ammar and I get together the melodies and concepts flow. If someone who had never seen a songwriting session were to observe us, they’d think we were crazy! But when the moment happens and we know something is magic, it’s a special feeling. “In reality, we just try to write great songs,” continues Omelio. “Obviously, if we’re working with an artist we cater to them, but we try to conceptualize ideas and create something unique; not some bland song.” As a component in the bigger picture, Omelio notes that it is a cumulative chemistry that is driving his songs to the top of the charts. “To have the team is amazing. Maybe I’m a soppy Italian family guy, but that is one of the reasons I love what I do.” Contact David Silberstein, Laneview Music Group, david@laneview.net

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U/6U/ / , Available on Blu-ray for the first time Aug. 14 is one of the most influential motion pictures of all time, Jaws. The fully restored 1975 classic features an improved picture, expanded sound mix and the unforgettable Oscar-winning score by John Williams. Jaws is available wherever Blu-rays are sold. For more information, contact Erika Somerfeld for USHE, 310-980-0639 or slv4beauty@aol.com.

Dave Stewart

DROPS When choosing a location to debut his new documentary, The Blackbird Diaries and the Ringmaster General, British singer, songwriter and guitarist Dave Stewart chose Nashville, TN, where the film was shot during two, five-day recording sessions at John and Martina McBride’s Blackbird Studios. The film will have its premiere Aug. 22 at the city’s Belcourt Theatre, with a limited number of general admission tickets to be made available to the public. Each ticket now available at http://belcourt.org includes a free limited edition vinyl copy of Stewart’s forthcoming album The Ringmaster General which is set for release Sept. 4 in the US and Sept. 3 in Europe. For more information visit http://davestewart.com or contact Marcee Rondan at MSO PR, marcee@ msopr.com. Emmy-winning composer Geoff Zanelli has the music to Disney’s The Odd Life of Timothy Green, opening Aug. 15th. Zanelli was invited to Hans Zimmer’s studio in 1994, and holds the record of 18 years at Zimmer’s Remote Control Studios. The only composer who has been there longer is Zimmer. Along the way, Zanelli has contributed music to many blockbusters working alongside Zimmer, and composers John Powell, Harry Gregson-Williams and Steve Jablonsky. For more information, contact Emilie ChanErskine at CW3PR, 323-476-1050 or emilie@ cw3pr.com. Geoff Zanelli

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Nashville-based 41 Entertainment will be announcing the launch of Bronco Roads, a documentary-style television series hosted by Texas filmmaker, singer-songwriter and author Stacy Dean Campbell. The series will follow Campbell as he travels across the American west in his vintage 1974 Ford Bronco, searching for unique, historical folklore and destinations. The series airs throughout Texas. Visit http://bronco roads.com or http://aristopr.com.

Coming to The MET Theatre in Los Angeles, CA, Aug. 17-Sept. 9, is the musical Xanadu. Based on the cult film of the same name, this Tony-nominated and Drama Desk awardwinning musical follows the efforts of a magical Greek muse named Kira who descends to Earth to help a struggling artist achieve his dream of opening a roller disco. The musical features a book by Douglas Carter Beane (The Little Dog Laughed) and a score full of chart-topping tunes (“Magic,” “Suddenly,” “Evil Woman”). For tickets, contact DOMA Theatre Co. at The MET Theatre, 323-465-0693 or visit http://domatheatre.com. This summer, celebrate the era of Motown with Sparkle: The Original Motion Picture Soundtrack, available July 31 from RCA Records. Featuring the final recorded performances from the late music icon Whitney Houston, the 13-song soundtrack also includes tracks from pop

Emmy and Golden Globe Award nominee Annie Potts (Designing Women) and Emmy Award winner Richard Thomas (The Waltons) star in Hallmark Channel’s first movie musical, The Music Teacher, Saturday, Aug. 11, 9 p.m. EST/PST featuring original songs and lyrics composed by Alan Ett. Potts plays a high school music teacher on the brink of losing her beloved after-school program who learns the lasting bonds she’s made with her students has not only touched their lives, but forever changed hers. Contact Pal Slay at Crown Media, 818-755-2480 or pamslay@crownmedia.com. Lincoln Center for the Performing Arts has partnered with Queens Library in the launch of a new initiative—Lincoln Center Local—to bring free music, dance and theater to local communities beyond Lincoln Center. Seven different programs have been announced at seven different Queens Library branches this summer, with performances continuing through Sept. 15th. Check the schedule at http://about.lincolncen ter.org/lclocal. Contact Marian Skokan at Lincoln Center, 212-875-5386 or mskokan@lincolncen ter.org.

Whitney Houston

superstars Jordin Sparks and Cee Lo Green. A remake of the 1976 classic, the film stars Sparks and Houston under the direction of Salim Akil (Jumping The Broom, Soul Food). Sony Pictures will release Sparkle in theaters nationwide Lamb of God have released the first trailer for on Aug. 17th. For more information, contact Tom their projected 2013 feature film, As The Palaces Muzquiz at RCA Records, 310-272-2638 or tom. Burn. The film, directed by documentary filmmak- muzquiz@rcarecords.com. er Don Argott and produced by 9.14 Pictures (Last Days Here, Art of the Steal, Rock School), Lamb Of God examines the impact that music and particularly heavy metal music has made on people around the globe. Embedded in the trailer is the video for the band’s second single from the Resolution CD, “Desolation.” The video was shot at shows in South America and Mexico and is the follow up to the animated video for the track “Ghost Walking.” The link for the trailer and video for “Desolation” for North America can be found at http://youtu.be/ fjQYlPnwdcE. For complete information, contact Adrenaline PR and Maria Ferrero at 732-4624262 or maria@adrenalinepr.com.

U/6U/ / ,

—TOM KIDD prespak1@verizon.net

Masterworks Broadway has the release of the complete New Broadway Cast Recording of Evita, the first complete English language stage recording of the show since the original 1979 Broadway cast album. The two-CD set, produced by Andrew Lloyd Webber and Nigel Wright, with Tim Rice as Executive Producer, and features performances from Grammy-winning superstar Ricky Martin, Olivier Award winner Elena Roger and Tony Award winner Michael Cerveris. For further information, visit http://master worksbroadway.com or http://evitaonbroadway. com. For complete information, contact Beth Krakower at CineMedia Promotions, 212-533-6864 or beth@cinemediapromotions.com. Kasabian have their first-ever standalone DVD release Live! Live at the O2 now in stores. Filmed at London’s renowned O2 Arena this past December, this concert features a blend of hits and new tracks from their latest album Velociraptor!, including “Fire,” “Where Did All The Love Go?” and many more. For more information, contact Carol Kaye at Kayos Productions, 212-366-9970 or carol@kayosproductions.com. Pentatonix, the season 3 winners of the NBC a cappella singing competition series, The Sing Off, have released their debut EP, PTX Volume 1, on Madison Gate Records via iTunes. The group’s standout style mixes influences from several eclectic musical genres, including dubstep and electronic. Their debut album includes unique a cappella covers including “Starships” and “Love You Long Time” as well as two original tracks “The Baddest Girl” and “Show You How To Love.” For complete information, visit http://ptxof ficial.com or contact Ken Phillips Publicity Group, 323-308-5912 or 323-512-9106. Pentatonix

OutTAKE

by Sun Life Financial and Infiniti, the show is written and directed by Jamie King, and features more than 60 dancers, musicians and acrobats. See http://ticketmaster.com or 1Ɓ800Ɓ745Ɓ3000. For additional information, visit http://cirqueduso leil.com/MichaelJackson. Europe’s Red Fang is completing work on a documentary that was shot by the band’s resident director Whitey McConnaghy. McConnaghy followed the band while they were on the road in Europe with label mates Black Tusk. This short film is being sponsored by Converse and will be released in the coming months. For more information, contact Jon Freeman at Freeman Promotions, 336-509-8377 or freeman@freeman promotions.com.

OPPS The Uncontrolled TV Show is searching for indie artists with videos to add to their host-less programming. To be considered, send a YouTube link for one video only along with biography, name, contact information, and any other pertinent details. See http://powerhouseshow.com. To submit a video link or for more information, contact powerhouse502@gmail.com. Out of New York, The Jimmy Lloyd Songwriter Showcase, a nationally syndicated TV program on NBC that is compared to Inside the Actor’s Studio for up-and-coming musicians, is opening their doors to new artists. To be considered to appear, send a link of your music to songwritershow case@jimmylloyd.tv.

PROPS Due to the success of the show in January, Michael Jackson The Immortal World Tour returns to Los Angeles, CA, from Aug. 14-15 at Staples Center, for two performances only. It combines Jackson's music and choreography with Cirque du Soleil creativity to give fans a unique view into the spirit and passion of the late artist. Sponsored

Michael Jackson The Immortal World Tour

MICRO-­BIO: In a 20-­year career that includes extensive experience as an artist, producer and performer, Tom Kidd has promoted, marketed and developed Emmy-­ and Oscar-­winning composers. He is President of Pres Pak Public Relations.

Seth Stachowski Music Director, Iris Email: contact@cirquedusoleil.com Web: http://cirquedusoleil.com/Iris, http://seth stachowskimusic.com Latest: Cirque du Soleil’s Iris

A

s Music Director for Cirque du Soil’s Iris, the large-scale show created specifically for its permanent home at Hollywood’s Dolby Theatre, Seth Stachowski finds himself daily having to hit a moving target. Scenes change, getting longer or shorter. Performers change. As with any live performance, sometimes not everything goes according to plan, even a show like this that has taken some three years to develop. Stachowski wouldn’t have it any other way. Having been a band leader, he moved to Los Angeles like so many do with a goal to have a career in music. Stachowski was seeking an interesting performance venue and a regular schedule that also provided variety. Those requirements might have encapsulated any number of stage performances, but Stachowski never pursued a career on Broadway. Instead, he went for something out of the box. He pursued Cirque. “We try to do so many things,” he says of his role with Iris. “The Cirque signature in the early years was their mix of world music and electronic elements. Hopefully we’re charting new territory.” That new direction includes indie rock elements and the hiring of Danny Elfman as composer. The score is lighter than the dark-toned scores Elfman is most known for. To make what is a film-score-played-live as flexible as needed, the music is in modular sections. This allows Stachowski to lengthen or shorten various sections depending on what happens on stage or to jump to completely different sections of the Iris score if the performance calls for it. Each performance is a challenge. “Music has to change and evolve,” Stachowski notes. “At the end of the day, we’re always dealing with the same 12 notes. There are no crazy ideas. We are supporting emotion and elevating it.”

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MIXED NOTES SIGNING STORIES Hosted by deejay Jim Ladd, the emotional weight brought by comedian, actor and author Richard Lewis; author Joseph Mattson (Eat Hell, Empty The Sun); actors Julian Sands (The Girl with the Dragon Tattoo); Jake Weber (Medium, Meet Joe Black); and Doors drummer John Densmore held the audience in rapt silence, captivated for hours listening to Sugerman’s spellbinding comingof-age tale and the influence and guidance provided by his idol/mentor/friend. —Barry Rudolph

PEN CENTER USA/PHOTOGRAPHER: CASEY CURRY

A RIVETING REOPENING OF THE DOORS: PEN Center USA hosted dramatic readings of excerpts from Danny Sugerman’s classic, Wonderland Avenue: Tales Of Glamour & Excess, at the Hollywood Forever Cemetery. Late author William Burroughs once said of the book, “Danny Sugerman spent his youth in Hollywood’s rock & roll fast lane, following the example of his mentor and idol, Jim Morrison. Although he crashed at age 21, Sugerman ultimately survived and has given this savagely engrossing account of his wild misadventures.”

L.A. DRUMMER REALITY CAMP: The Third Annual Drummer’s Reality Camp took place June 27-30, 2012 at Los Angeles Music Academy College of Music (LAMA). Sponsored by LAMA, DrumChannel.com and Guitar Center, drumming legends led a four-day camp of workshops, lessons, master classes, special performances, autograph sessions and a DW Drums factory tour. Clinicians and instructors included Marco Minneman, Gil Sharone, Uli Frost and LA Music Academy’s own Ralph Humphrey (pictured), Joe Porcaro, Gary Ferguson and Tony Inzalaco. Neil Peart, Doane Perry and Jim Keltner gave a roundtable discussion as well.

YOU ROCK GUITAR WINNER: Showing off his new You Rock Guitar, Omega Studios School student Nicolas Rodriguez takes a break from his composing and studying to show off the school’s new gear. Omega is located in Rockville, MD. The contest was made possible by the generous folks at You Rock Guitar (http://yourockguitar. com). And as a result, Omega (http:// omegastudios.com) received its own You Rock Guitar so more students will be able to experience this exciting new music production tool.

LOPEZ HIRES A GOON: Goonrock stopped by Radio Express in Burbank, CA, to promote “Goin’ In,” the new Jennifer Lopez track he co-wrote and produced. Here he is (center) with the Marketing Director Stephanie Mayhew (left) and Music Director “Mark The Shark” Brower for The World Chart Show with Lara Scott.

TODD STANFORD FILMS VIDEO: Main Street Records premier country artist, Todd Stanford, recently filmed a video for the single “I Don’t Know You Well Enough To Miss You When You’re Gone” (written by Jimmy Hunter and the late Brian Naughton) at The Cowboy Palace in Chatsworth, CA. Pictured (l-r): Mark Indictor, fiddle; Jeff Zimmerman, slide guitar; Dean Restum, guitar; Stanford; Madison Aplanalp, model, actress; Bobby Giannetti, bass; Robin Taylor, piano; and Jimmy Hunter, drummer, CAZADOR Recording owner, and producer of the band's new CD, Gettin' There. The video was directed by Khoa Bui. 34 August 2012

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MIXED NOTES SIGNING STORIES

C ELEBRATING

—ANDY MESECHER andym@musicconnection.com

PARKER STOPS BY NMS 2012: Sean Parker, Executive General Partner, Founders Fund, made a surprise appearance at NMS 2012 for a Q&A session with NMS Founder/Executive Director, Tom Silverman in the Grand Ballroom at Webster Hall in N.Y.C. Addressing the shift in music ownership versus streaming, Parker spoke to a packed audience, “The idea of ownership never goes away, it only gets redefined.”

1977– 2012

35 Years

TODD OWYOUNG

Tidbits From Our Tattered Past

JIM DONNELLY

JERED SCOTT

VANS WARPED TOUR 2012: Warped Tour vets Anti-Flag took to the main stage in Irvine, CA, and rallied their Underground Network for an exciting set. Chock-full of classics and a few new songs, as usual the seasoned performers asked the crowd to participate in the “largest fucking circle pit this tour’s ever seen.” They cautioned, however, to pick up anyone that falls down, because that’s what family is all about.

MxPx CELEBRATE 2X @ HOB: Punk rockers MxPx played two sold-out shows at House of Blues Anaheim and House of Blues Sunset, both located in Southern California, to celebrate 20 years of being a band. Pictured in the Sunset HOB Green Room is (l-r): MxPx drummer Yuri Ruley, lead singer and bassist Mike Herrera, Good Charlotte’s Benji Madden and MxPx guitarist Tom Wisniewski.

1988—MASSER/WHITNEY––(Is.10): Hit songwriter-producer Michael Masser (Natalie Cole, Dionne Warwick) was the focus of an interview in this issue, where Masser recounted his first meeting with Whitney Houston. "She was about 19 and unknown. I walked into a jazz club in Manhattan and thought, 'I think I'm hearing one of my songs.' She was singing 'The Greatest Love of All' and it touched me and we talked afterward." They later struck gold with "Saving All My Love For You." "I never had a record label want to release my ballads," Masser continued. "A&R guys all want uptempo songs."

DAVID K LEIN

SLASH HONORED WITH HOLLYWOOD STAR: Grammywinning guitarist and Rock and Roll Hall of Fame inductee Slash was awarded his own star on the Hollywood Walk of Fame. His five-pointer is located directly in front of the Hard Rock Café on Hollywood Blvd. in Hollywood, CA. Film producer Robert Evans, Charlie Sheen and radio host Jim Ladd were guest speakers at the fan-packed ceremony. Afterward, Slash and bandmate Myles Kennedy treated fans to a private acoustic performance and exclusive Q&A.

1990—NEW EDITION––(Is. 15 ): As the members of R&B act New Edition were peeling off to do successful solo albums, MC explored what was being done to keep the band together despite complications. Johnny Gill recounted the issues he faced as the replacement for Bobby Brown. "I felt a bit of tension at first," he said. "It's just that New Edition had grown up together in Boston and now here was this guy from D.C. stepping into the family. But we're family now, and nobody can mess with that." The issue also features profiles of Faith No More, Kelly Willis and Capitol Records promo exec, John Fagot.

LAMA PRO PANEL: The Los Angeles Music Awards Showcase at the Whisky a GoGo in Hollywood, CA, presented a panel of music industry professionals to a packed house. Panelists pictured (l-r): artist developer Jonathan George; Liz Rodriguez, EMR Media; LAMA Founder Al Bowman; Mikey J., Exec. Prod. at A.I. Music Awards; and Music Connection Marketing Mgr. Brian Stewart.

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36 August 2012

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Written by Daniel Siwek Photo by Chad Griffith

T

ramar Dillard’s moniker may immediately suggest he’s the ambassador for the Sunshine State, but the confident and affable Flo Rida is busy traveling the world, either performing for stadium-size crowds or on millions of television screens. His breakthrough song, “Low,” is still a staple at Bar Mitzvahs, sweet 16’s, and strip clubs everywhere, and the title track to his latest, Wild Ones (Atlantic Records), is the inescapable song of this long hot summer; it’s Top 10 on several different Billboard charts, from the Hot 100 to Rap Songs. Which points to another reason why his career is on fire—he doesn’t care on which charts his music shows up, so long as they’re hits.

Music Connection: You’re going from one international airport to another. How do you keep the pace? Flo Rida: Yeah, I’ve been traveling nonstop. I’m off to London in a couple of hours, too. I’ll tell you, the fans and the support they give me is the helium that keeps my balloon going. MC: What comes to mind when you think of your Groundhoggz days? Flo Rida: I remember the anticipation of waiting to get out of school and go to the parking lot of my projects, where I would sit down to try to come up with lyrics and music. I remember getting ready for the shows we had to perform; you know, the whole hunger factor of getting out there and trying for a record deal. I also remember the first time I heard my voice in the studio, which made me nervous because it was new to me and it sounded weird. But I worked hard and their support helped me through the process of trying to become the Flo Rida that I am today. MC: Can you tell us about your connection to 2 Live Crew? Flo Rida: It’s an amazing story: I was out performing with the Groundhoggz and 2 Live Crew’s Fresh Kid Ice felt that I had what they were looking for in a hype-man, and so I took the gig and I got to go to Hawaii with them! What makes it even better is that I recently headlined a show with 2 Live Crew playing right before me; they’re still inspiring my music today. MC: How did you get a manager? Flo Rida: Fortunately, my manager Lee “Freezy” Prince is a guy who I worked with every morning unloading freight trucks. That was a great way for me to get money for studio time, but more than that, every time I would come back with a demo he’d be like, “Wow you really got something.” His brother Eric “E-Class” Prince started Poe Boy Entertainment and he would always tell him about me. MC: Relationships is what it’s all about sometimes, right? Flo Rida: Relationships can be like business or family or both. I can’t lie; it’s definitely a hard process to find a manager, because a lot of people may not have your best intentions. You have to read up, and I recommend having good relationships with other artists so they can help you through tough decisions. MC: What do you have to say about handling rejection? Flo Rida: You have to know that you will make it. You can’t have one doubt in your mind that you’re not the biggest superstar in the world. I was rejected by some labels too, but that didn’t detour my thoughts or anything like that because I always knew. A lot of people want to enjoy the icing on the cake, but can’t appreciate the whole process of making it; but you know what they say––no pain,o gain. MC: Your music appeals to fans of hip-hop, pop and club music; do you see yourself melding genres? Flo Rida: Correct. You know, growing up on music in the ‘80s, I loved watching the “Walk This Way” video with Run-DMC and Aerosmith. They showed how you can cross over into different genres and still come up with hot music to inspire people. Every time I create an album, such as Wild Ones, I’m always trying to fuse hip-hop with different genres, because I love to watch people’s reactions when I perform them in front of thousands of people. MC: How do you stay true to hip-hop? Or does that even matter? Flo Rida: I mean, it matters to the point that I couldn’t even be creative if it weren’t for that first element of hip-hop. But as far as hip-hop goes, I couldn’t create this magic without it; only I’m trying to take this music to a whole ‘nother height. And it feels good when people like Jim Jones, Jadakiss, and 50 Cent congratulate me for taking the music to another level and staying true to my creative side.

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MC: You’ve appeared on American Idol and The Voice, which probably introduced you to millions of people, but do you worry at all about overexposure? Flo Rida: Not at all. What’s amazing is that I went from being a fan of American Idol to performing on it. I was so nervous when I had to perform with J-Lo; I mean, it’s one thing to watch it on television but another thing to be there with all those people in the audience. And I do big shows with 50 and 70 thousand people, but knowing this is going out live, and you take a step back and think, “Wow I made it. I’m this big superstar people look up to.” I was really nervous, but everything worked out perfect. MC: Do you notice a bounce in sales after one of these high profile appearances? Flo Rida: Oh yes, a lot of times you look at the numbers on iTunes, you perform on American Idol and you see the change. I remember when I was on The Howard Stern Show and I was really nervous, but I wanted to connect with different people. I was very nervous because you know how wild it could get on Howard Stern. But again, everything worked out fine. MC: Aren’t you also promoting and marketing yourself through giveaways? Flo Rida: Oh yeah, I went to the Apple Store and told the fans that the first people to make it down will get iPhones and iPads. I mean it was just crazy. It was amazing to see their faces because it was like they couldn’t believe it was really me standing there and giving these things away. I like doing things on the spur of the moment. As much as I miss the days when we just watched tons of videos on MTV and everything, having a social network definitely opens up other avenues of promotion, getting the fans amped up and in touch, and supporting your career. I’m always on Facebook, Twitter, just letting the fans get to see things they wouldn’t get to see, like, the whole creative part of me in the studio. MC: But you’re going beyond the occasional contest, tweet or blog. We saw that you’re giving out your cell number, and randomly calling up your fans? Flo Rida: Some may see that as just another form of promotion, but I call that just being grounded. I recalled how I was a fan of other people, and thought about how amazing it would have been if I had the chance to have a moment with my favorite artists. So most of the time it’s just me trying to put myself in my fans’ shoes. I know that I wouldn’t get to do these things without them, so when people text me I’ll call them back if I have

“You can’t have one doubt in your mind that you’re not the biggest superstar in the world. I was rejected by some labels too, but that didn’t detour my thoughts because I always knew.” time. If I’m really getting into it we’ll Facetime, or I’ll call them up in the middle of the night, anything to show them my love and support. MC: Back in the day it was all about selling tapes out of the trunk. What’s the new car trunk? YouTube? Flo Rida: Selling CDs out of the trunk was very important, because you were literally handing people your music. I miss those days, and that’s why I take it to the next level by giving out my cell phone number. I think it’s very important to let the fans know that you’re in tune with them, and it’s not as easy as just coming up with music; you must be inspired and working every day and every moment. I agree that today YouTube is the new car trunk. I’m always excited to go on YouTube and watch new artists, nowadays; that’s the best way to find new artists to sign. MC: Speaking of finding artists to sign, you’re the CEO of your own imprint now, right? Flo Rida: Yeah, IMG, International Music Group. So far I’ve signed a couple of acts: I have a young R&B artist, Tyler Medeiros from Canada, who just came off the Pitbull tour with me. There’s also a hip-hop artist named Whyl Chyl. You know, I’m trying to offer an outlet for these guys, because I remember the days when I needed it. More than that, the label really started out of necessity, as an extension of my charity Big Dreams for Kids. You see, a lot of my friends wanted to donate their music for me to use for a compilation album for the charity, so that created a need for me to start IMG. MC: How could an up-and-coming producer get a beat to you? Flo Rida: A lot of people like to reach out to me on social sites and then shoot me an email, or when I’m just walking around or partying, people will just walk up and hand me a CD. And some people even text me. But I’ve got a lot of friends who’ve been sending me beats since early on. MC: How do you know when you found the perfect beat? Flo Rida: It’s always great when you have a great A&R staff. It makes it easier when you have

° The Floridian studied business management ° Nominated for many stateside awards, in at UNLV for two years before dropping out to 2009 his “Low” (with T-Pain) won a People’s devout his life to music. Choice Award for “Favorite Hip-Hop Song.” ° His label IMG’s first signing is not a hiphop act, but rather a Canadian teen pop artist named Tyler Medeiros, who’s already a YouTube sensation. ° Wild One’s first single, “Good Feeling” featuring the recently departed Etta James, hit No. 1 on Billboard’s US Pop Songs chart, and has also topped the charts in seven other countries from Austria to the UK.

° “Right Round,” a track featuring Ke$ha and based on the hit by Dead Or Alive, broke the record for most digital one week sales in the US. With 636,000 sold, Flo broke the record he set previously with “Low.” ° Flo Rida took it from the stage to the ring – almost – when he and Heath Slater shared a segment at WrestleMania XXVIII.

° Flo Rida’s final message to you? “I love all ° Flo Rida’s charity, Big Dreams for Kids, was my fans, you can always hit me up at 305-528set up to help educate and provide support for 2786; that’s my cell phone number! You can also hit me up on Twitter @ official_flo.” underprivileged kids from the inner city and their families. 38 August 2012

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people who are perfectionists in those areas of picking great productions. MC: Can you walk us through your approach to writing lyrics? Flo Rida: First and foremost, I have to be inspired by the track. I like to follow melodies before I start writing lyrics. On the new record, with 50 Cent people can hear me singing, so you can get that side of me as well. But it’s important when you’re rhyming that people can follow melodies. It goes back to the nursery rhymes; when you have a great melody people can’t help but fall victim to it. It also helps when you have great lyrics on different subjects. That’s also what a lot of labels are looking for in new artists, people who feel like a breath of fresh air with their subject matter. I feel that I’ve been creative when it comes to choosing the right choruses and the right subject matter. MC: What should we know about your new album, Wild Ones? Flo Rida: It’s really a good-feeling record. I wanted to give a message about having a positive attitude and believing in yourself, even when nobody else believes in you. You can accomplish a lot of things in life, you know; no one would expect me to do a record with Ms. Etta James, Sia from Australia; or working with 50 Cent, Lil Wayne, LMFAO. I mean, it also shows that I’m a versatile artist and I’m not stuck in one way of making music. I want music that stands forever and crosses barriers. MC: What makes some collaborations work while others seem forced? Flo Rida: A lot of times people are on a record just to be on a record, but I know it’ll work when I listen to someone’s record and I get goose bumps. When that happens, then I want them on my record as well, and I took that approach on every collaboration. The fact that I’m so versatile means that it’s always going to be a great match-up, especially if it’s with Latin artists like Jennifer Lopez, Pitbull, or anything with rhythm; coming from Miami really helps with that being comfortable with different styles. MC: You’re working with artists from around the world, what can you tell other bands and artists about approaching foreign markets? Flo Rida: I wasn’t familiar with the whole international music business, but my first record took me across the world. Then I had to sit back and say hey oh wow, it’s bigger than me just putting a record out nationally––you can take your music around the world now. I mean, I’m performing in places that most people never heard of, and for me it’s a two-for-one: I get to perform in front of fans that I love and I get to see the most beautiful places. It’s all about loving your craft and doing everything to be the best that you can be. MC: Are you trying to give kids some music history by wearing those t-shirts with icons like Jimi Hendrix, etc.? Flo Rida: Yeah, yeah! And even with my tats! My first tattoo was Jimi Hendrix. I got James Brown, Ray Charles, Tina Turner; I even got miss Billie Holiday, and Sammy Davis Jr. You now, we have to shoot the video for a song called “Let the Good Times Roll” where we’ll do a Rat Pack thing. I’m just thinking about it now, but I love my Sammy tattoo and, you’re right, these are the legends so I love to pay homage to them when I’m out. It gets me all amped up. Contact Catharine.McNelly@atlanticrecords.com

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Save Time, Money... And Embarrassment By Andy Reynolds Above Photo By Weston Hodges

xperienced international tour manager and audio engineer Andy Reynolds has worked with some of the biggest artists in the world, including the White Stripes, All American Rejects, Squarepusher, Roots Manuva, House of Pain and Super Furry Animals in every challenging situation imaginable. Along the way he’s amassed a world of experience, which he has recently gathered together in The Tour Book: How To Get Your Music On The Road (from Course Technology). In the following feature article, Reynolds gives you surefire ways to take your act from rehearsal to performance—just like the pros do. 40 August 2012

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So You Think You Know All About Rehearsing? “Practice makes perfect.” I’m sure you are familiar with the phrase and, especially with the increasing importance of performing live, the relevance could not have escaped you. So of course you need to practice. You therefore book a rehearsal room, turn up, play your tunes over and over until you know them backwards and then hit the stage, right? Well, actually, no. Rehearsing is not just about learning your songs. Rehearsing is a process that should lead to your musical success. It is a given that you should be able to play your songs or perform your DJ set properly. But there is a difference between practicing your instrument and rehearsing. The analogy I always use is that actors learn (practice) their lines, but they rehearse the show. When the actors are confident with their individual parts they are then brought together by the director or producer to work up the parts as an ensemble piece, with each actor working together to create the show. The same is true for you, as a musician, laptop artist, turntablist or singer—learn your parts and then rehearse the show. Before you rehearse the show, however, you should examine what you are trying to achieve. Yes, you are practicing and rehearsing, but for what purpose? Well, every show you perform should: r Impress the audience. Make them want to pay to see you perform live in the future. r Make them want to buy any merchandise you may have for sale at the event. Impressing your audience is the most important reason for performing live in the first place. r Impress the promoter. You need the guy to book you again, hopefully for more money or at a bigger venue. r Impress the A&R, publishing, artist management, bloggers, other bands and tastemakers that may be at your show. These are the people who are ultimately going to assist your career.

Most rock-type rehearsal studios are businesses run by musicians themselves. They will try to sell you blocks of rehearsal time with discounts for paying in advance. Is that relevant to you? Ask yourself: how much of the practicing, arranging and programming can be done at home, for free? If you do need a rehearsal room to practice, then work out how much time you are really going to need in this environment. Book sessions of two to three hours, but allow time on both sides for arrival and setup/breakdown of equipment. Even then, plan your time, and how you spend your money, wisely. You can end up saving a lot of cash by only booking a couple of sessions before a show or event if you can do “acoustic” rehearsals at home, for instance. Further research should find out what floor the rehearsal rooms are on, what access there is, and what time constraints, if any, there are for picking up or dropping off your equipment. Rooms that are locked after a certain time, or studios that have lots of stairs, quickly lose their appeal—imagine lugging your gear into a cold, dark rehearsal studio situated up four flights of stairs at three o’clock in the morning after playing a show. At the other end of the scale, rehearsal rooms with state-of-the-art sound systems usually have better access and 24-hour availability. They also have state-of-the-art rental prices. If these luxuries are not necessary to your project, then do not waste your money on these types of facilities. Think about what you need from a technical point of view and stick within those parameters. If your backline equipment is in reasonable shape, you should not need to amplify your instruments; you will only need some way to amplify your vocals. The room you rent should therefore have a small PA (publicaddress system) of 300 watts to 500 watts, consisting of a mixer, an amplifier (or a combination mixer amp), speakers and microphones. This should be just enough to amplify the vocalists, while the rest of the band plays through their guitar amps, bass amps, and so on.

You should always ask to “audition” the sound system in the rehearsal space before you make a booking. Budget studios have budget equipment; you will often find that the high-end frequencies—top end or treble—are missing from the PA speakers. This is because the components that produce those frequencies have been destroyed through misuse or lack of maintenance. If this is the case, you are in for a miserable rehearsal experience. Without the high-end in the speakers, there will be no vocal clarity. This means you will not be able to hear yourself sing very well, and you will often end up shouting or overstretching your voice, limiting your potential rehearsal time, and maybe causing permanent damage to your vocal cords. You may be in a band using electronic instruments that have no amplification source of their own or are working to playback sources, such as iPads, computers or DJ mixers. In this case, the rehearsal room mixer or mixer/amp should have enough line-level inputs (usually 1/4-inch jacks) to accommodate your needs. You will also need direct injection (DI) boxes if the mixer or mixer amp only has XLR inputs. In this case you will need to check with the rehearsal room to ensure that they can provide enough DI boxes for all your equipment. Many rehearsal rooms sell strings, picks/ plectrums, cables and sticks on site. This is very convenient if you break a string, for instance, during rehearsal. It is also expensive. Small rehearsal rooms will only carry a limited supply of the major brands of musical consumables, and will not be able to buy in bulk. This means they will have to charge you, the customer, more than the equivalent item from a large music store. Make sure you have spares with you in rehearsal, just as you would for your show. Buy in advance and in bulk if possible; save yourself money.

Storage As a live, gigging band you may accrue a substantial amount of equipment over the years—equipment that is big and heavy. You

With this in mind, you can rehearse smarter, and save yourself time, money and embarrassment!

First Steps Because practicing and rehearsing your show are two distinct activities, you must decide how you are going to approach each one. Is it necessary for you to book a rehearsal space or crowd into a garage when all you need to do is learn your material? Singers, rappers, singersongwriters, turntablists and laptop artists only need to hear themselves and their instrument/ equipment in order to be able to practice their craft. So don’t waste money on a rehearsal space or travel to a band member’s house when you can instead sit in your home studio or bedroom and really get your chops down. Remember, you are practicing your songs, not rehearsing the show at this point. Make the most of your free time and the fact you don’t have to spend any money!

Rehearsal Venue You might need to spend money on renting rehearsal space if you are a band. However, as with everything, you should do research before you part with your cash. Good research should investigate the cost, location, access, facilities and storage of any rehearsal room.

Always ask to “audition” the sound system in the rehearsal space.

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may not need this equipment all the time, and therefore you will need somewhere to keep it all. Most professional rehearsal rooms offer you storage—and will charge you for the privilege.

There are many franchised chains of storage facilities these days; they are often a great deal more accessible and convenient than rehearsal rooms. Storage of personal belongings and equipment is a big business at the moment— our newfound pastime of Internet shopping and bargain hunting means we do not have enough room in our homes, and the need for offsite storage has increased. You should therefore be able to rent a 35-to-50-square-foot space for about $60 per month. (That square footage is the equivalent of a full equipment van; 50-75 square feet is the equivalent of a room in an apartment.)

Practicing Comfort So, after much research, you have booked a space in order to practice playing your music. This should be an enjoyable and inspirational experience for you and your group, so make sure everyone is confident and relaxed with the material and that you are capable of giving the best performance you can. When practicing in the rehearsal space, set up in a circle so that everyone has eye contact with everyone else. Remember, this is the time for concentrating on the music, not necessarily the show. The singer(s) should be standing opposite the drummer. This positioning prevents the sound from the drums being picked up by the vocal microphones; drums are loud enough anyway without the vocal microphones amplifying them through the PA. Other band members should then complete the circle, bass players being next to the drummer and brass or string players being next to the vocalist. Do not worry about how you are going to set up onstage for the show; the positioning is not important right now. You need to get your music arranged and practiced. Once your positions are arranged, you should all set levels for the vocal PA and on your individual instruments. Start by listening to the drums on their own and adding in vocals through the PA until the voice sits comfortably over the volume of the drums. Then bring up the level on the guitar amps one at a time, adding bass amps, keyboards, and so on until everything can be heard, but nothing is too loud or distorted. The singer should take this preparation stage to warm up his or her voice. Advice from the numerous vocal coaches with whom I have worked indicate that at least 20 minutes of vocal exercises are necessary for a decent vocal performance. Don’t skip this exercise when practicing! Set some loose objectives, i.e. “today we are going to practice songs A, B and C, take a break and then tackle X, Y and Z.� That way everyone has a clear idea of what you are all 42 August 2012

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CHRISTY BORGMAN (WWW.LAWOMANPHOTO.COM)

Consider this cost carefully before parting with any cash, however. If you will be rehearsing regularly (and by this I mean at least three times a week, every week), then yes, you should consider en-suite storage. The added time and money involved in picking up and dropping off the equipment for every rehearsal will be far greater than the storage costs. However, if you are only using the rehearsal room a couple of times a week or less often, then you should consider storing your equipment at home or in some other free, secure place.

Rehearse for every situation you might face, such as a tight, small stage trying to achieve and will be less liable to start jamming or noodling away. Don’t try to accomplish too much, though; two hours of constant playing is about the limit of concentration for most people.

From Practice to Rehearsal Okay, so you’ve practiced your songs. Now it is time to rehearse the show. Remember, you have three objectives for every show you perform––impress the audience, impress the promoter and impress the “taste-makers.� Can you do this? Ask yourself and your band how you are going to achieve and exceed your own expectations, as well as those of your audience.

Watch Yourself The first step in rehearsing the “show� is for you to watch yourself in a mirror while practicing or, even better, film yourself. You can set up a Flip, iPhone or professional video camera, then perform your set—either in rehearsal or at a show—and film it. Do not watch the tape immediately after you have captured it, however. Wait a couple of days or even a week. Then sit down (with the rest of the band if you are not a solo performer) and view the video. Be warned though––that initial viewing will be agony. And, if you find it painful to watch your own show, then think about how your potential audience will view your performance. Watch the video and study your performance. Then concentrate, and rehearse, on turning your songs into a compelling show!

The Performance Space You should also prepare for the performance setting when rehearsing for the show. Think about the environment you will be performing in and try to emulate that in your rehearsal space. For instance, you may end up supporting/opening up for a larger headline band. You may also find that by the time the headline band has set up its touring PA, lights, backline and power distribution, the stage is full of black boxes. You will almost certainly end up with a thin strip across the front of the stage, onto which you have to try to set up all your equipment and find somewhere to stand while performing. My advice is to anticipate this situation by rehearsing with all musicians in a straight line across the front of the stage, with your drummer either far left or far right of the stage. You can therefore get used to interacting with your band colleagues while positioned in a different format.

Elements of a Show Audiences expect a professional and entertaining experience. You can rehearse various elements of your show to make sure you do appear professional and entertain your audience. These elements are: r 4FU MJTU BOE TPOH PSEFS r *OUSP XBML PO NVTJD r *OTUSVNFOU DIBOHFT r 4QFFDI r #BDLVQ QMBOT Let’s examine each of these points in turn.

A good set-list makes a concert—and a bad one will ruin it.

Set List and Song Order Talk to any established musician, manager, or agent about live song order, and they will usually agree that although it is one of the hardest things to get right, a good set list can make a concert––and a bad one will ruin it. Set-list order also causes the most arguments backstage between band members. You not only have to decide in which order you are going to present your material, but which material you are going to perform.

You are practicing and rehearsing to be able to put on a great show every time you play out. However, in the excitement of your performance, it is sometimes difficult to remember that a modern concert stage (and your rehearsal space) can be a potentially dangerous place. With this in mind, be aware of the following: r /FWFS OFWFS OFWFS QVU ESJOLT PO UPQ of amps, combos or speakers, even if they are in sealed bottles or cans. Vibrations and human error will almost certainly cause those drinks to spill. The resulting mix of sugary liquids and electricity will be expensive, fatal, or both. r -PPL VQ 8PSLJOH BT QBSU PG B NPEFSO concert means that you will see lots of equipment “flown�—that is, suspended in the air. Get in the habit of looking up when you first get on the stage, and try not to stand under flown PA speakers. r -PPL EPXO "T XFMM BT OBTUZ HSFBU big monitor wedges, there will also be raised stage sections with sharp corners and lots of cables. r 5BQF EPXO ZPVS DBCMFT CVU POMZ BGUFS you are sure everything is plugged in and working. Apply short sections of tape across the cable run––perpendicular, not along it. r %PO U HP PO TUBHF FJUIFS CBSFGPPU PS wearing sandals. There are sharp corners, big boxes and cables everywhere on a stage. r 8BUDI ZPVS CBDL -JGU HFBS GSPN ZPVS knees, keeping your back straight. Hold heavy gear from the bottom, with both hands. r /FWFS DBSSZ ZPVS ESJOL XJUI POF IBOE and your gear with another. Put the drink down (somewhere safe), carry the gear, go back to your beverage, pick it up, and drink it—in that order. careful up there and you will have *anBeamazing show!

I would advise rehearsing a set that opens up with at least three of your “best� songs. Any audience has a short attention span, especially if they are seeing you by “accident,� i.e. you are opening up for another band. Traditionally, bands save their best, most popular songs until last in the set, usually for the encore. However, you are not going to get an encore when opening up for someone else, and I would say that when you are starting out, you run the risk of your audience returning to the bar before you even get to the end of your set. Work out a set that’s going to hit ‘em right between the eyes, and rehearse it!

Intro/Walk-On Music Playing a piece of pre-recorded music or sound at the top of the show creates an atmosphere and can divert the audience’s attention from the singers and musicians walking onstage, picking up instruments, fiddling around with microphone stands, and so on. You should decide (and hopefully agree on) a suitable piece of music to use as this “intro� music. Once decided, rehearse your set using this music. Decide at which point in the piece you are actually going to start to walk onto the stage and rehearse this entrance in the rehearsal room. You may find it takes longer to walk on, strap on your bass and tune up than it does for the track to play out––leaving you standing on stage, a bit embarrassed, still setting up and in awkward silence. This will unnerve you and make the audience restless, so rehearse these entrances.

Instrument Changes During the course of your performance, you may need to change instruments. This may be a swapping of guitar (such as Fender for a Gibson) for one song in order to vary the tone, for instance. Try to keep these changes simple and always rehearse them. The theatre analogy still holds true here––a theatre cast will have a technical and dress rehearsal after many a run-through to make sure they can incorporate all the prop, scenery, and costume changes and still get onstage in time to deliver their lines. Similarly, it is no good planning a guitar change for the last song in your set if it means keeping the audience waiting for five minutes. So, rehearse the best way to perform your material without too much swapping of instruments; if you must have

“Plan the breaks between songs while rehearsing your show. That way, all the band members will know when the vocalist (or whoever) is going to talk. Every pro band I work for has this kind of planning.� —Andy Reynolds

changes then rehearse the best way to perhaps distract the audience while this is happening. Can the lead singer talk or introduce the band while you are changing guitars, for instance? Think about it—this is why you are rehearsing. If you really do need planned guitar changes to favor different tonal characteristics, then rehearse grouping songs in the set by the guitar involved—for example, all the Fender Strat songs together, followed by the songs that need the Gibson guitar.

Speech Speech from the stage should be treated as a part of the performance. I am constantly amazed at seeing the most natural, gifted and articulate stage performers come up to an open microphone during a break in the performance and talk utter drivel. Or a lead singer making an impassioned speech, only to have the drummer and bass player launch into the next song halfway through the speech, completely drowning her out. Rehearse your in-between-song banter and keep it as short as possible. Plan the breaks between songs while rehearsing your show. That way, all the band members will know when the vocalist (or whoever) is going to talk. Every pro band I work for has this kind of planning on their set list.

Backup Plans Things can and do go wrong in the gig situation, so anticipate any potential problems and how you will handle them, and plan them during your rehearsals. Agree that, if there is a major problem, you will leave the stage. It is far better to simply walk off and leave the crew, technicians, or responsible musicians to fix the problem than to stand there looking aimless and lost. Make an announcement such as, “We are having some technical difficulties and will be back in five minutes,â€? and then exit. When all is fixed you can walk back on, looking like champions. If the problem cannot be fixed, you have at least made a dignified exit well ahead of time! miniBio: Andy Reynolds has worked as an international concert tour manager and audio engineer for more than 20 years, doing on an average of 200 shows a year. Reynolds has worked for All American Rejects, House of Pain, Machine Head, Nightmares On Wax, Pavement, Roots Manuva, Super Furry Animals, Skunk Anansie, Squarepusher and the White Stripes and has worked with bands on tours by such acts as U2, Whitney Houston, Manic Street Preachers and the Foo Fighters. His touring experience encompasses stadiums, arenas, theatres, pubs, bars, clubs, outdoor festivals, rooftops, subway stations, cruise ships, mountain sides and very, very muddy fields. Reynolds teaches live sound production and concert tour management at Buckinghamshire New University. His latest book is The Tour Book: How To Get Your Music On The Road. Learn more about him at http://live musicbusiness. com.

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ARTIST PROFILE

By Albert Vega

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Detroit, MI native, Allee Willis has had a colorful career in the entertainment industry. Having lived in Los Angeles, CA for over three decades now, the 64-year-old has amassed an array of songwriting credits. From her work as a solo artist, to hits with Earth, Wind & Fire and the Pointer Sisters, to “I’ll Be There for You” (the Friends theme) and collaborating with the likes of James Brown, Herbie Hancock and Patti LaBelle, Willis has made her mark in a variety of genres. She also coauthored the musical version of The Color Purple and owns the world’s largest documented collection of kitsch (opening The Allee Willis Museum of Kitsch in 2009). She is also a painter, sculptor, animator and designer. But despite her successes, Willis’ time as an onstage performer was curiously short-lived. She imparts that while on tour promoting her 1974 solo debut, Childstar (Epic Records), she jumped off the stage halfway through a concert in Ohio and did not return. “I never enjoyed being on stage,” she says. “I never got over my fear. I thought, ‘I’ll just get myself together and in a year, I’ll come back.’ Well, it turned out to be 37 years.” Aside from a short stint providing background vocals for Bonnie Raitt, Willis had not gotten on stage in close to four decades. Last summer, however, she accepted an invitation to perform a handful of songs, at the request of composer Charles Fox. Having turned him down years prior, Willis finally decided to face her fears. “I was sick of being scared, so I just said yes last year. I got up there with just a piano, my songs and these insane stories about them. I had a ball. I could see out into the audience and see people singing and laughing and realized this is a whole other thing than people not knowing who you are. Now, I’ve got these songs in my arsenal, so I just decided it was time.” Armed with renewed confidence, Willis decided to take the idea of hosting a large party to the stage (she is also renowned for her ability to create and host gala events). So last October, in North Hollywood, CA, she put on her first concert since fleeing the stage in Ohio. According to Willis, it was the “worst night of [her] life.” “Every conceivable technological failure that could’ve happened— happened. I’m a multimedia artist, so my show is very dependent on technology, and nothing worked. I had to ad-lib for two hours. It was very traumatic.”

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Willis, however, was not deterred. Instead, she regrouped and learned from the experience. She hired professionals (rather than rely on friends) and implemented structured rehearsals (which as a self-proclaimed “spontaneous artist,” she never does). Her reformed presentation ultimately became a two-night sold-out concert at King King in Hollywood this past May. Billed as the “Super Ball Bounce Back Review,” Willis went about filling two hours with her music, accompanying art pieces, selections from her kitsch collection, sing-a-longs, games, prizes and films. In short, Willis aimed to bring her life and various talents to the stage. So much so, she began each show with an animated short recounting her nightmarish debut from a few months prior. “I understand that the things that go wrong, in retrospect, are the funniest things. So I just made a four-minute horror movie that spotlighted the highlights from that disastrous show. The message of my show is that from lemons, comes the best lemonade.” To further illustrate the playful nature of her performances, the songwriter describes one of the prizes as a foot massage that lasts the entirety of the concert. She adds, however, that she can quickly swing to speaking about The Color Purple in her show (a socially important milestone in her career) and provide a dynamic that goes from the silly to the sublime. “It’s that incongruity about everything I do, including cutting my hair, that’s given me this incredible life and career. I love polar opposites of things, so it makes it very interesting to combine very high levels of art, with very low levels of art.” She goes on to add that the “Super Ball Bounce Back Review” were two of the most spectacular nights of her life and plans to continue performing as time and money permits. With attendees approaching her afterwards to tell her she impacted their perspectives on life, Willis’ previous stage fright seems to have vanished. “If I can change people’s outlook, which is my goal with all my art, on a nightly basis, then I will have fulfilled my mission. I sure want to do more of it.” Allee Willis will perform Sept. 21 & 22, at North Hollywood Performing Art Center in celebration of Earth, Wind & Fire’s song “September,” written by Willis. Tickets are available at BrownPaperTickets.com starting at $19.99. Contact Hunter Scott, LaFamos PR & Marketing, hunter@lafmos.com

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CD REVIEWS In order to be considered for review in the CD Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

Shovels and Rope

O’ Be Joyful Shrimp Records Producer: Michael Trent

LMNOPQRSTUV

Charlestonian country/folk duo Michael Trent and Cary Ann Hearst elevate their musical relationship with this alluring compendium of ballads that evoke images of dusty roads and mason jars brimming with sun kissed tea. Pobucker lyrics expressed through mahogany vocals sit atop rhythms plucked from the barnyard playbook. Their austere approach, mining magic from extreme recording limitations, epitomizes the hayseed hipster mentality made ubiquitous by artists like Jack White. But just as they’ve limited themselves, the results serve an exceedingly tiny audience, one receptive to their idealistic vision of a rugged Americana thriving against our increasingly globalized 21st Century dystopia. ——Andy Kaufmann

Fortune packs everything from electrodub-step and dance anthems to seductive R&B grooves. Standout track “Don’t Judge Me” brings forward a soft-spoken Brown pleading for his new love to look beyond his questionable past. He returns to his roots with a ‘90s hip-hop/R&B feel on “Mirage,” a pleasant deviation from his high-energy club singles to which Nas lends his classic flow. “End of the World” is typical Brown repertoire—an overly sexual, R&B “baby-maker.” So what’s really new here? Chris Brown Content-wise, not much—he’s shaking Fortune off the haters, sexing up the ladies and RCA Records hyping up the clubs. This 23-year-old Producers: The Underdogs, Fuego, may be on his fifth album, but lyrical Polow Da Don, The Runners and musical growth here is minimal at ——Mira Abas LMNOPQRSTUV best.

Joe Jackson

The Duke Razor & Tie Producer: Joe Jackson

LMNOPQRSTUV

From new wave, pop and adult contemporary to jump blues and classical music, Joe Jackson’s done it all—and all is what he brings to this frequently clever, often infectious yet sometimes obtuse and definitely schizophrenic tribute to Duke Ellington. Because it’s all over the map stylistically, it takes a few listens to appreciate Jackson’s diverse artistry. Fortunately, the rewards (like Sharon Jones’ brilliantly soulful turn, Jackson’s piano romps and sizzling spots for violinist Regina Carter and Iranian vocalist Sussan Deyhim) outweigh the oddities (including ones that use Iggy Pop and Steve Vai). Like the Duke, Jackson seems happy to be as much the bandleader as artist. Unique, but have patience. ——Jonathan Widran

Guitarist Mark Tremonti of the groups Creed and Alterbridge steps out in the spotlight with his debut solo release. The Grammy Award-winning six-stringer has always had a progressive and metallic edge to his sound. But on his maiden voyage as frontman he significantly ups the ante. Tremonti is loud and proud, with a powerful and industrial-strength presence. Many of the tracks feature double-time drumming and rapid-fire riffage. But what separates the men from the boys are the leader’s brilliant arrangements and Tremonti passionate lead vocals. “New Way Out” All I Was is one such tune that has this balance. Fret 12 Records If All I Was is an indication of where Producer: Michael “Elvis” Baskette heavy rock is headed, then we are in LMNOPQRSTUV good hands! ——Eric A. Harabadian 46 August 2012

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Just Like Vinyl

Black Mass Superball Music Producers: Just Like Vinyl

LMNOPQRSTUV

Com Truise

In Decay Ghostly International Producer: Seth Haley

LMNOPQRSTUV

Jimmie Van Zant

Feels Like Freedom CYA Records Producers: Kent Wells, Jimmie Van Zant

LMNOPQRSTUV

Flobots

The Circle in the Square Shanachie Producers: Flobots

LMNOPQRSTUV

From math-core to hard rock, in 2010 former Fall of Troy creator Thomas Erak set his sights on a new adventure. With Jake Carden of the Filthy None, the two recruited bassist Henry Bates and Jay Beaman on sticks to create Just Like Vinyl. While this isn’t math-rock, make no mistake, this prog quartet will tear your eardrums and punch your brain with sporadic hardcore vocals and impressive riffage (see “ATM”). Black Mass’ first single “Bitches Get Stitches” displays the band’s effort to not be pigeon-holed by their past: a metalcore intro riff followed by punk-rock palm mutes, a straight-up rock hook and a post-hardcore breakdown. FOT faithful would be wise to check “Sucks To Be You.” ——Andy Mesecher No, Risky Business this ain’t gonna be. It’s not that Com Truise (or Seth Haley, as they call him in NJ) didn’t take in his share of the greatest electronic soundtrack outfit known to Ubermensch—he definitely absorbed their flair for building seductive synthscapes perfect for that climactic scene on the metro; but they’re so European, and despite the euro-trash influences, he’s so all-American. His ‘80s avatar is like so many horny suburban boys who discovered TD while the cable box heated up to a “Skinemax” flick. But Tangerine Dream never fucked up a beat like he does, and they never made you feel like you were at a Detroit basement party on Uranus and watching Videodrome. ——Daniel Siwek The latest from vocalist Van Zant has him surrounded by the cream of Nashville session players and songwriters. It’s a symbiotic and exciting combination where the singer stays true to his southern rock roots while mixing in a healthy dose of traditional country. Perhaps Van Zant’s biggest strength lies in his storytelling. When addressing wanderlust and leaving the past in “Chasing Shadows” he puts himself in the first person. And the manner in which he shifts from tales of outlaw rockers to depictions of an alcohol-ravaged marriage shows empathic range. Van Zant infuses each song with heavy emotional weight. And like some skilled method actor he makes each word spring off the page. ——Eric A. Harabadian If you couldn’t tell it’s political season, there’s an election coming to a town near you. Of course, Denver’s Flobots know this already because it’s always raining socio-political bullet-points in their hybrid hip-hop band. Think Fishbone backing Michael Franti opening up for a more annoyed than enraged Rage Against the Machine. They proselytize the pompatus of peace, love and Occupy Wall Street. Jonny 5 and Brer Rabbit trade emcee duties, and share vocals and harmonies with Mackenzie Gualt (adding a female counter balance and a rich viola). The title track may be their call to arms, but it’s when Flowbots let down their guard, with the emotional “Loneliness,” that they really show their ——Daniel Siwek potential.

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For over 60 years, the AES has been the largest gathering of audio professionals and enthusiasts on the globe, attracting delegates from over 100 countries worldwide. Workshops, tutorials, technical papers and the exhibition floor provide attendees with a wealth of learning, networking and business opportunities.

3FDPSEJOH t #SPBEDBTU 4USFBNJOH 1SPKFDU 4UVEJP t 4PVOE GPS 1JDUVSF -JWF 4PVOE t (BNF "VEJP "DPVTUJDT t /FUXPSLFE "VEJP BOE .6$) .PSF for more information visit

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NEW MUSIC CRITIQUES Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 5 denotes an average, competent artist. For more information, see Submission Guidelines on next the page.

Morgan Distortion

Production Lyrics Music Vocals Musicianship

9 8 8 9 8

Noah Gabriel

Contact: morgandistortionxx@ hotmail.co.uk Web: http://myspace.com/morgan_distortion Seeking: Label Style: Electronic Pop Username: Morgan Distortion

Contact: 630-267-8610, noah@noah gabriel.com, 630-220-5912 Web: noahgabriel.com Seeking: Label, Film/TV, Booking Style: Americana, Roots Username: Noah Gabriel

K artist Lauryn Graves is a powerhouse singer who marries stanU dard pop-soul craft to a dubstep and

hicago area artist Noah Gabriel has multiple albums to his credit C and it's clear he revels in the studio.

edm framework for some exciting, cinematic songs. With its huge, woolly synth-bass line, "The Exorcist" pushes all the right club-music buttons while remaining accessible, thanks to Graves' soulful reminiscent of Annie Lennox. Perhaps "Aim to Kill" is even more user-friendly. And if its bullseye hook line, "I aim to kill," doesn't make you think "Bourne/Bond flick," hang it up. Graves is a top-notch act, perfectly produced.

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B-Pos

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TOMOKO MATSUSHITA

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"Peg-leg Killer Jonez" is eerie and elegaic, as the artist's brooding voice is accompanied by compelling sonic touches. "Austin Bound" lightens the mood, a song with lots of rural feel thanks to crisply recorded mandolin, banjo and a soaring echoplexed harmonica. "Poor Flat Bastard" has folk/ bluegrass undertones with attitude and shows Gabriel's liking for vivid yet oblique lyrics. All in all, material is solid, treatment is inspired.

PK

Contact: Nicole, Ballin PR, 323-651-1580 Web: bposmusic.us Seeking: Booking, Vid Game Lic., Film/TV Style: hip-hop Username: BPos

Contact: wearepk@gmail.com Web: pkband.com Seeking: NA Style: Rock, Post Punk, Pop Username: pk

istinctly from the SF Bay area, hiphop collective B-Pos (Be Positive) D have a foot in the past but an eye to

ne wishes PK were as original as they are proficient. "London" and O "Innocence" tingle with irrepressible

the future, delivering tracks that are proudly for tha headz, not for the hits. We like how each voice is distinctive and contributes to, rather than competes with, the ensemble. Their best, kind of a group anthem, is "B-Pos Unite Tonight," featuring jazz-funk bass trickery that's part of a complex fabric. The hooky "Super Hero Pool Party" makes good use of a sexy female vocal and jagged beats. B-Pos is most definitely real-deal hip-hop.

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optimism and infectious vitality. "Wolves of the East Coast" is more contained, composed and intimate. All are vibrant pop-rockers with a Brit feel that, on the downside, is just so darn familiar. Still, kudos go to the band for their disciplined arrangements and the innate good sense to not clutter up the works with unnecessary noise, yielding recordings that have clarity and space. We'd love to hear a creative breakthrough from this band.

K-Divas

Ann Myra

Contact: kdivas@gmail.com, 310-409-9939 Web: reverbnation.com/kdivas Seeking: Label, Mgmt, Production Deal Style: Pop/R&B, Hip-Hop, Soul Username: k-divas

Contact: annmyra@gmail.com Web: annmyra.com Seeking: Reviews, Film/TV, Radio, Booking Style: Singer-Songwriter, Alt-Folk Username: annmyra@gmail.com

wins Kameena & Khalilah have a uniquely sweet, sibling vocal blend. T "Unstoppable" packs a strong mes-

ew England artist Ann Myra captures poetry-based lyrics, simple N acoustic guitar and husky vocals

sage and a powerful presentation, with good dynamics. It is on "Call Me," however, that the girls shine. This sexysmooth tune, with a nod to Jill Scott's neo-soul, has an irresistible chorus. The "old phone tones" motif in the keyboard is a nice touch, too. "No Wind My Last Rain" is a mashup of covers where the girls show their creativity with classic material. We advise this pair to decide who sings lead—one of them is flatting on her solos.

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in a bedroom-style recording vibe that conjures a compelling intimacy. "Moment" is a relationship song, an expression of longing and bittersweet sadness. A cello flavors "Strings," an oblique, spooky tune that underscores an affected Brit-flavored diction that suggests a PJ Harvey influence. "Johnny Boy" shifts gears to a playful, brisk-paced song with downbeat lyrics about a forbidden love. We're left intrigued by this quite alternative artist.

NEW MUSIC CRITIQUES The Mason Affair

Rezrection & Hitman

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Contact: rezandhitman@gmail.com Web: soundcloud.com/rezrection-and-hitman Seeking: Label, Booking, Film/TV, Producers, Distribution, Management Style: Hip-Hop/Rap Username: rezandhitman

Contact: contact@themasonaffair.com, 323-252-9875 Web: themasonaffair.com Seeking: Label, Booking, Film/TV, Mgmt. Style: Funk/Soul/R&B Username: themasonaffair

ip-hop duo demonstrate prodigious skill behind the glass with H deftly recorded tracks imaginatively

he raspy, raw-voiced Mike Mason fronts this talented, funky bunch, T who are seasoned players firing all the

arranged. The club-pop side of the rap/ hip-hop game is the pair's strength, as the dancey, Daft Punk/LMFAOinfluenced "Look In Your Eyes" makes clear. "Lyrical Warfare," however, an attempt at hard-ass gangsta rap, has a robotic flow that doesn't cut it as credible. R&H get back to their meat with "You," whose sweet acoustic guitar, mellow/melodic Linkin Park-like flow, and even a violin part amounts to a track that's hard to resist.

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ammo—snapping basslines, stabbing horns—in the funk/soul arsenal. "All Night" is a lively cut on which everybody in the house gets busy on the vocals. Instrumentals such as the easy-does-it "Spend Some Time" and "Balls Deep" allow bassist Jon Olmstead and keysman Jake Smith to impress with a myriad of tasty tones. While the material here is average and servicable, there's no question this outfit could blow a roof off live.

Ryan Harris & Co.

Farehaven

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Contact: torsion12003@yahoo.com, 513-923-6273 Web: farehavenrocks.com Seeking: Label, Mgmt, Film/TV Style: Alternative Rock Username: farehaven

Contact: ryanharrisandco@gmail.com Web: ryanmakesnoise.com Seeking: Booking, Label, Festivals Style: Americana Username: ryan harris

ronted by singer-guitarist David Sizemore, rock triad Farehaven F deliver smoldering alt-rock that, in

n overall tight, buoyant-sounding ensemble, Harris & Co's "Cheers A to the Wind" enters with a very nice

"Caught In Your Trap," "Black Heart," and "Going Nowhere," dwells on failing relationships, with Sizemore's brooding plea an effective constant. While the band is hampered by production that's flat and overcompresed, the over-riding handicap of this otherwise talented act is the lack of dramatic impact in each song's climactic moments—there simply is none; each song flatlines when it should explode with a knockout punch.

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jazzy horn section whose gust of optimism sets the tone for what follows. Highlights include the humorous, country-folk "Purple Smile" and the downcast "Ashes of Me" where we notice the impressive upright bass chops of Bob Kling. While Harris fronts this eponymous project, he curiously chooses to allow his vocals to be held back in the mix. And his acoustic guitar simply does not take a leadership role. Step up and front your band, man!

Surf Project

Thomas Hornig

Contact: sid.trea@wgn.net, 818-891-7895 Web: myspace.com/jeffjanning Seeking: Film/TV Style: ‘60s Surf Rock, New Age Surf Rock Username: Surf Project

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forth with a primitive theme and tasty guitar tone. "Bikini Line" is similarly clean, simple and authentically toned, and even adds some unexpected whistling. "Pipeline Euphoria" harkens back to the surf classic, deploying a stouter guitar tone and pizzicato strings that yield a nice, glassy sheen. As authentic as the guitar is in these catchy themes, this artist's next step should be to replace the synth bass and drums with the real thing.

BILL CUNNINGHAM

he Ventures, Chantays and Centurions come to mind in this project T from Jeff Janning. "Anaconda" slithers

Contact: booking @thomashornig.com Web: thomashornig.com Seeking: Film/TV, Publishing Style: Pop-Rock Username: thomas_hornig ntimate and real describe this artist, a quality that's reinforced by miking his Ivoice extremely close (too close for our Production Lyrics Music Vocals Musicianship

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taste) on this collection of thoughtful, personal tunes. The result, in a song like "Change Your Mind," shows an Iron & Wine influence. "Every Single Day" has echoes of Tom Petty, though Hornig's vocals, while okay in the verses, lack punch in the choruses. The artist's best track is "Choices"; his singing fares strongest here and the pedal steel and acoustic guitar-picking serve what is ultimately a pretty solid chorus.

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to http://musicconnection.com/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. August 2012

www.musicconnection.com 49

LIVE REVIEWS

Lightspeed

I Rock Nightclub Detroit, MI

Material: Diversity is the order of the day with this modern rock quartet from the Motor City. It is a mature and well crafted sound tempered with elements of prog, metal, punk and a bit of the blues. Their all-originals set consists of stellar songs such as the anthemic U2-inspired “United,” the militaristic and driven “In Country” and the cool atmospheric closer “Smoke and Mirrors.” While their overall catalog is very succinct and polished, there is an appealing edge of rawness that gives the material a riveting sense of urgency. Musicianship: Each member of this collective works together for the common good and that creates an exciting, unified synergy. But, while they blend in a very holistic manner, they also stand out as unique individuals. Lead vocalist Mitch Range serves a song with what it needs; whether conjuring a caterwauling wail or something more articulate and subtle. Guitarist Chris Tweedie reacts in kind with a similar approach to the six-string—he also employs a smooth use of echo and delay a la Andy Summers or the Edge. Dan Marschner is a meat and potatoes bassist but fills in between the notes nicely when called upon. And Donald Murphy locks it all down, with

ERIC A. HARABADIAN

Contact: mrange523@gmail.com, 734-560-2280 Web: http://lightspeedmusiconline.com The Players: Mitch Range, vocals; Chris Tweedie, guitar; Dan Marschner, bass; Donald Murphy, drums. Username: lightspeed

Lightspeed: A pure and unadulterated modern rock show with classic touchtones. some exceptional snare work as evidenced on the aforementioned “In Country.”

cerebral presence that anchored things with a calculating backdrop.

Performance: The challenge when you go to a Lightspeed show is trying to focus on who to follow. Range darted all over the stage, balancing eye contact between his bandmates and the audience. Simply put, he was an exciting showman who had a natural theatricality. And he seemed to embody the lyrics he was belting from the stage. On the front line, Marschner was Range’s partner in crime, bouncing erratically on the bandstand and throwing his entire body into each note he played. Tweedie seemed to provide a somewhat

Summary: Lightspeed are a fun band to experience. Though the songs seem to come from a familiar place, the quartet have their own sound and are not run-of-the-mill. Visually the performance is quite entertaining and keeps the gimmicks to a minimum. What you get is a pure and unadulterated modern rock show, with classic touchstones that should be easily accessible and recognizable to a number of audiences. ——Eric A. Harabadian

Ninefinger

Saddle Ranch Chop House Universal City, CA Contact: info@ninefinger.com, 213-804-7975 Web: http://ninefinger.com The Players: Mike Winney, lead vocals; Joshua Picard, guitar; Cristian D’Sturba, bass; Buddah, drums. Username: ninefinger

Musicianship: Most of the songs are rooted in classic rock chord progressions, at times veering off into adventurous key changes. Ignoring a typical jab at the sound guy, the drums could probably use tuning or new heads. Their bassist Cristian D’Sturba, all the way from Argentina, solidly holds a tight groove with the drummer. Vocalist Mike Winney has hair like a young Peter Frampton and wears denim jeans like the Boss. Surprisingly, his vocal cords hold up for the entire set, making him sound as strong at the end as he did at the beginning. He even adds a guitar to various tracks. Speaking of strings, Joshua Picard’s use of effects is reminiscent of the Edge. Performance: Ninefinger gets 10 out of 10 for being entertaining. Winney spent almost half of the

JESSICA AVES

Material: Ninefinger have taken an early ‘00s numetal sound and given it a classic rock makeover. They’re not one of the countless indie groups that have flooded the music pool, but one of the neo metal bands who experiment with focusing on vocals and guitar. Headbanging is optional, but they are to be enjoyed in a crowd and preferably with alcohol. They sound like the amalgamation of Theory of a Deadman and Shinedown. Ninefinger: Giving an early ‘00s nu-metal sound a classic rock makeover. show on stage; the other half was running around the dining area (while singing at full volume). He jumped on chairs, on tables, on the bar. He took a sip from glasses of adoring male and female listeners, holding the hand of another, and even got on his knees—like when he sang praise to Saddle Ranch’s Assistant General Manager Misty in “Speed Queen Deluxe.” Sometimes the guitarist went with him on these little trips, but mostly the rhythm section was happy to stay up on the riser and do over-exaggerated poses like playing behind their heads. It gave viewers something else to look at besides the restaurant’s signature three-foot-tall cotton candy dishes dotting the tables. Ninefinger also did their best to turn the room

into an impromptu karaoke night by covering “Hey Man, Nice Shot” by Filter and “Ace of Spades” by Motörhead. Summary: Ninefinger are off to a great start, but as with all young bands, they need a bit of polishing which will come with time and experience. However, they really understand that putting on a show means more than just grabbing a microphone or plugging into an amp. Time will tell if they rocket to radio fame, but already people are putting faith in them: K·Swiss shoes just stepped up as a sponsor and the band recently did a showcase for Interscope records. ——Jessica Aves

GET YOUR ACT REVIEWED: See musicconnection.com/amp. Please DO NOT mail a package; we no longer accept them. 50 August 2012

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LIVE REVIEWS

Bohème

The Mint Los Angeles, CA

Material: This singer’s sound is both classic and contemporary, engaging the listener and making the audience feel at once completely comfortable and connected. A vibrant, positive energy pumps out of the music and the artist. The song “Blind Spot” is an example of how Bohème utilizes multiple influences with a tough, gritty and soulful Gov’t. Mule verse, shifting drastically to an early ‘70s Eagles smooth ride in the chorus with beautiful use of melody and harmony. She presents a wide and original range of perspective, if not at times dizzying, joining creative sensibilities of classic ‘70s pop-rock with a current Americana/ roots sound to form a Nashville-meets-L.A. package. Style and craftsmanship in the writing and arranging is meticulous and clean, paying homage even to a young, fun Madonna circa “Holiday” with the intro to “Even the Mistakes.” Again, there is an effort to keep the music uplifting and positive, as well as both organic and polished. Musicianship: The musical sensibility of Bohème is evident in the music itself, and her ability to execute the melodic and rhythmic intricacies of her music is a joy to observe. The band that has been assembled to create the sound and energy is a list of young professionals in the top tier of today’s music industry. Regardless of their resumes, they

TIM REID, JR.

Contact: Jackie Stroud, 212-337-1406 ext. 18, jackie.planamedia@gmail.com Web: http://bohemeartist.com The Players: Bohème (Cassidy Catanzaro), lead vocals, songwriter; Brian Chiusano, guitar; Andy Alt, guitar, William Grammling, keys; Vivi Rama, bass; Craig Macintyre, drums. Username: cassidy@akacassidy.com

Bohème: Exudes an easy, fun, warm energy that leaves no question of ability. demonstrate what separates skilled professionals from everyone else. Not one of them outshines another, but together they allow Bohème to be completely free, human and expressive without any potential for distraction or concern. Performance: The intimate setting of The Mint provided the perfect opportunity to enjoy the music and art of this caliber. The care and professionalism of creating a special “show” atmosphere, despite the casual club setting, was refreshing and appreciated as all pre-set “fuss” was extremely minimal. The band started vamping to bring Bohème on the stage, making a dramatic and appropriate entrance to both soundcheck and set opener: a fun, warm arrangement

of James Taylor’s “Don’t Let Me Be Lonely.” The bar between entertainment professionals and everyone else is best recognized in the intimate clubs where the audience is made to feel special and at ease, and the band can entertain while sorting out their own personal comfort level efficiently and discreetly. Summary: Bohème exudes an easy, fun, warm energy that leaves no question of ability and creates a perfect space for a spunky, charismatic personality to live, breathe and emote. Together with a stellar group of musicians, this is a fantastic show. ––Tim Reid, Jr.

All New Episode

Dispatches from the Underground Stage at Governors Island New York, NY Contact: olivia@iampragency.com Web: http://facebook.com/allnewepisode The Players: Nicole “Noko,” vocals; Sean T., guitar, backup vocals; Gary, bass, backup vocals; John Tosches “Tosh,” drums. Username: All New Episode

sets up a nice musical dialog trading off on intros. On bass, Gary keeps the groove consistent and locked in. Sean and Gary contribute background vocals with full-voiced shouts echoing the melody lines and rounding out the vocal landscape.

in one style or niche and this group take full advantage of that. At the same time, it’s a fine line between that versatility and having a signature sound or song. A bit more tweaking in that direction would work in the band’s favor.

Musicianship: Lead singer Noko’s alto voice is not overly powerful, but still has the right tonality to cut through the band. She jockeyed easily between styles and sits back when the music calls for it. If she had chosen a different musical outlet, such as pop or hard rock, her voice would lend itself to those genres equally well. In general, the band display technique and showmanship. Tosh on drums and Sean on guitar

Performance: The band effortlessly grabbed the spotlight, putting forth an energetic and engaging set. Noko’s no nonsense delivery was direct and her persona was open and extroverted, steering clear of the more brooding and introspective vibe that punk can sometimes impart. She made every attempt to connect with the audience and did that successfully. An eclectic musical approach is often vastly more interesting than being entrenched

Summary: All New Episode are a hard working band adept at capturing listeners with their outgoing and good-natured spirit. They offer an audience-inclusive experience with a diverse musical statement successfully fusing several styles. All that’s needed is one big memorable song that fans can associate with them. ––Ellen Woloshin

MARK SHIWOLICH

Material: Billed as a blend of punk, ska and alternative rock, All New Episode traverse these genres not only from song to song but within the songs themselves. They tap into more of the straightforwardness and driving rhythmic energy of third wave ska while thematically sidestepping its darker underbelly. In “Take a Ride,” the band starts out at fever pitch tempo and then surprisingly breaks into a reggae interlude which serves as a hook of sorts and a landing place for the listener. It is a welcome musical respite before they revert back to the earlier frenetic tempo. The remainder of the set is a display of compositional versatility and evenness with no one song overshadowing another. They also cover “Say It Aint So” by Weezer.

All New Episode: A diverse musical statement that successfully fuses multiple styles.

August 2012

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LIVE REVIEWS

Norwegian Arms Johnny Brenda’s Philadelphia, PA

Contact: norwegianarms@gmail.com Web: http://norwegianarms.bandcamp.com The Players: Brendan Mulvihill, vocals, mandolin; Eric Slick, percussion, synthesizer. Username: norwegian arms Material: Nestled in the hub of the City of Brotherly Love, Norwegian Arms generate a minimalist yet highly expressive folk sound. The duo of Mulvihill and Slick express themselves through a mandolin, a stand-up tom and a synthesizer. The result is buoyant and optimistic music whose simplicity yields a tranquil listening experience. A comparison would be Mumford & Sons, minus the stadium sound, harnessing a quaint yet charming living-room experience. Musicianship: Mulvihill’s alternative alto voice has a distinct and intermittent quiver. His mandolin is the driving force of the duo as the speed and tone of the songs follow willingly. The most effective segment of Norwegian Arms’ live act is Slick’s synchronization with his tom drum and the synthesizer. As he blasts rapid rhythms with the cloth-covered tom and the rim surrounding it, he sustains a sturdy background of synth. The only criticism would have to be their hollow sound, but that is what you get with a lack of a propulsive bass force. Performance: Norwegian Arms presented a mysterious act rather than a highly communicative one. There was little interaction between artists and audience besides quick banter by Mulvihill in between a few songs. The movement of both members was also minimal, but taking into

Norwegian Arms: A minimalist yet highly expressive folk sound. account the instrument multi-tasking, it seemed justified. Clubgoers accustomed to a more kinetic, sensational presentation will be unsatisfied by this duo; but those thirsting for a more introspective and cerebral experience will be rewarded.

in the sonic void of no drums, bass or guitar, are two connoisseurs in their own right—Mulvihill with his vocals and mandolin, and Slick with his tom and synth. ––Bryan Wallace

Summary: One gets a refreshing sense of comfort from a band like Norwegian Arms. Filling

Bang OK Bang The 5 Spot Nashville, TN

Contact: contactbangokbang@gmail.com Web: http://facebook.com/bangokbang The Players: Ben Lowry, vocals, guitar; Abby Hairston, drums. Username: Bang OK Bang

Musicianship: Bang OK Bang have two outstanding things about them. One, as a former rhythm section, Lowry and Hairston can add a groove, a rough-hewn feel to their self-proclaimed “sludge rock” which would otherwise just sound like noise. Second, Lowry and Hairston have a chemistry that’s more visibly evident than describable—it’s difficult to imagine Hairston’s drumming alongside anything other than Lowry’s fuzzed-out riffs and scratchily hypnotic voice. Performance: For the release of their four-track EP Chemicals (which can be downloaded as a name-your-price through their website), Bang OK Bang was third to take the stage at the grungy East Nashville dive. The crowd was part built52 August 2012

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JESSICA PACE

Material: One half of former hard rock foursome the 1-10s, Bang OK Bang formed just this year and released an EP of junky but highly melodic songs. Minus the expressive, Chili Peppersesque bass lines of the 1-10s (delivered by Ben Lowry, who took up guitar and lead vocals for this band and seems to be right at home), Bang OK Bang are a stripped down, minimalist duo that carry out their low-fi sonic assault in the style of grizzled late-‘70s punk, metal aggression and an ageless hard, classic rock.

Bang OK Bang: Slashy, junky, balls-out extension of “Nashville garage.” in, part there specifically to see the band. Little emotion registers in the faces of some Nashville crowds like this one, but they stood at attention as Lowry and Hairston literally banged and crashed their way through the set. A large part of Bang OK Bang’s charm was stage presence and handling of their instruments, particularly in the drummer’s case. Hairston can always be counted on to brutalize her drum kit, and she didn’t disappoint; with hair flying and drum skins

trembling, she was like a clichéd reincarnate of some ‘80s metal god. Summary: Bang OK Bang are a slashy, junky, balls-out extension of “Nashville garage.” The sound is ramshackle for sure, but drummer Abby Hairston is incredible to watch in all her frenzied glory. As part of a two-piece band, her skills get the limelight they deserve. ––Jessica Pace

LIVE REVIEWS

Haley and Michaels Hotel Café Hollywood, CA

Contact: wendy@hellowendy.com Web: http://haleyandmichaels.com The Players: Shannon Haley, lead vocals, acoustic guitar; Ryan Michaels, vocals, acoustic guitar; Mike Kopulos, electric guitar; Aaron Bishop, bass; Bob Matthews, drums. Username: haley & michaels

Haley and Michaels: Polished performers who appeal to lovers of multiple music genres.

Musicianship: While both Haley and Michaels play acoustic guitar, the musical focal point of the duo is their singing. Haley’s UCLA opera trained voice emits well-controlled power. When she belts it is effortless and impressive, especially when juxtaposed by a lighter pianissimo use of her high register, as heard in “Hate Myself for Loving You.” Michaels adds an edge to the duo’s sound with his rock-oriented baritone, which has no problem keeping up with Haley’s powerhouse pipes. For the most part, the melody and instrumental lines are simple and straightforward, leaving room for their beautiful blend to be showcased.

Performance: The duo performed a heartfelt set of mostly original songs, trading off melody lines. Both are polished performers who interacted well with the audience and with each other, despite some slightly awkward, seemingly forced stage chemistry. By removing prolonged gazes into each other’s eyes from their act, the duo would connect better with the audience. It wasn’t until mid-set that Haley demonstrated the striking range of her voice, which pushed the performance to the next level. Meanwhile, the band shined in “Something’s Missing,” with its more prominent drum and bass lines, adding a harder sound in

KAREN EMMERT

Material: Haley and Michaels are a newly formed pop/rock duo comprised of seasoned singersongwriters, Shannon Haley and Ryan Michaels. Their music reflects a mutual Nashville residency with gentle hints of the country genre resounding in the harmonies and effected guitar riffs. The pair’s songs possess light lyrics, full of familiar observations about love and relationships. The radio-ready, soon to be first single, “Price I Pay,” brilliantly showcases the tight, well-blended harmonies that are close to constant in their music.

contrast to “Slow Burn,” which was performed by just Haley and Michaels to close out the show. Summary: Haley and Michaels are a pair of skillful singer-songwriters who complement each other well. Their ability to appeal to lovers of multiple music genres, and an incredible vocal blend, have laid the groundwork for what promises to be a successful duo whose stagecraft will likely improve with each performance. ––Karen Emmert

The ThrowDown Band The Rosebud Bar & Grill Somerville, MA

Contact: throwdowntheband@gmail.com Web: http://throwdownband.net The Players: Eric Savoie, vocals; Stan C., guitar; John Peresada, bass; Dylan Jack, drums. Username: throwdowntheband@gmail.com

Musicianship: Singer Eric Savoie’s soul-drenched wailing gets the job done, but it’s his hair metalinspired screeching that makes for an interesting twist. Drummer Dylan Jack’s skills are more than competent, evidenced particularly on a brief but satisfying solo. Bassist John Peresada dutifully feels out the low end, but it’s their prodigal guitarist that brings home the bluesy crown—he’s possibly the greatest undiscovered player I’ve ever witnessed. Performance: While singers in most bands provide the focal point, the ThrowDown Band’s axe man is clearly their primary feature. Comfortable playing off stage as well as on, much of his time was spent interacting with the audience, grimacing, posing and generally gifting listeners with an in-your-face presentation. Savoie’s singing exudes a confidence that can’t be faked, amiably

ANDY KAUFMANN

Material: Savory, electrified blues in the classic roadhouse tradition, volume cranked up to ear-splitting decibels, is what you’re in for with this Boston Blues Society winner for “Best SelfProduced CD.” Mixing traditional numbers with originals, the most obvious influence is Stevie Ray Vaughn, guitarist Stan C. doing his level best to dethrone the genre’s beloved master. Their set features an SRV cover, as well as a scorching version of “Hoochie Coochie Man.”

The ThrowDown Band: Savory, electrified blues in the classic roadhouse tradition. joking with the crowd and interfacing with the group. One only wishes he had taken efforts to preface a few songs. It also would have been nice to see some form of branding. Summary: Together since 2009, the ThrowDown Band display a unity of purpose that most acts never attain, but their greatest strength, Stan

Blues Junior’s jaw-dropping shredding, seems to have fostered a subtly lax attitude among the others. On the other hand, they know where their strengths lie and wisely avoid stepping on them. Once they sharpen their presentation and work on their originality, they could be rubbing elbows with other blues legends. ––Andy Kaufmann August 2012

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28

th Annual Directory of Rehearsal Studios

Download This Directory From Our Website

www.musicconnection.com/amp

Download This Directory From Our Website: www.musicconnection.com/amp

Compiled By Denise Coso

N

owhere but in Music Connection magazine will you find such a comprehensive list of rehearsal facilities. Updated and expanded for 2012, this nation-wide guide will help you hook up with the studio that suits your needs and fits your budget.

Arizona

MUSICIANS CHOICE REHEARSAL STUDIOS Hourly and Lockout 2155 E. University Dr. Ste. 101 Tempe, AZ 85281 480-96-MUSIC Web: musicianschoicestudios.com Basic Rate: Please call or email for more info. Additional locations: 7 additional lockout and hourly studios throughout Southern California. PERFECT TIMING ENTERTAINMENT 617 N. 7th St., Ste. C Phoenix, AZ 85006 623-206-5097 Web: www.perfecttimingentertainment.com Basic Rate: please call for info SCOTTSDALE STUDIOS 9445 E. Doubletree Ranch Rd. Scottsdale, AZ 85258 480-767-3777 Web: www.scottsdalestudios.net Basic Rate: please call for info SER SOUNDWORKS 190 E. Corporate Pl., Ste. 3 Chandler, AZ 480-649-8074 E-mail: rockstar@sersoundworks.com Web: www.sersoundworks.com Basic Rate: please call for info

California (Northern)

ANNEX REHEARSAL STUDIOS 2554 Grant Ave. San Lorenzo, CA 94580 510-908-5126 E-mail: info@annexrehearsalstudios.com Web: www.annexrehearsalstudios.com Basic Rate: please call for info

AdditionalAd location: usic Connection Proof d Rep: HR 2254 American Ave. Code: hartman/abc 8th-horiz #7-2011 Hayward, CA 94546 510-908-5126

HOUSE OF HITS REHEARSAL STUDIOS 2751 Academy Way Sacramento, CA 916-923-2525 E-mail: hoh@rehearse.com Web: www.rehearse.com/sacto JACK LONDON REHEARSAL STUDIOS 632 2nd St. Oakland CA, 94607 510-759-8857 Web: www.jacklondonrehearsal.com LENNON REHEARSAL STUDIOS & MUSIC SERVICES 271 Dore St. San Francisco, CA 94103 415-575-3636 E-mail: lennonstudios@yahoo.com Web: www.lennonstudios.com Contact: studio mgr. Basic Rate: please call for rates Special Services: Rooms for rent by the hour and by the month, centrally located

California (Southern)

ABC REHEARSAL STUDIOS 2575 San Fernando Rd. Los Angeles, CA 90065 323-874-3427 E-mail: pmcinla@gmail.com Web: www.abcrehearsals.com Contact: Argel Cota, onsite manager Basic Rate: please call for information and specials Rooms: over 50 studios, onsite parking, monthly rentals only. High-quality durable walls. Services: onsite manager Clients: signed and unsigned bands Additional location: 7413 Varna Ave. N. Hollywood, CA 91605 323-874-3427 E-mail: pmcinla@gmail.com Web: www.abcrehearsals.com Contact: Chris Pendleton, on-site mgr. ALLEY MUSIC STUDIOS 5066 Lankershim Blvd. N. Hollywood, CA 91601 818-980-9122 Contact: Shiloh Web: www.Alleymusicstudios.com Basic Rate: please call for info

Additional location:

AMP REHEARSAL 5259 Lankershim Blvd. N. Hollywood, CA 91601 818-761-2670 E-mail: owners@amprehearsal.com Web: www.amprehearsal.com Services: First all-inclusive rehearsal and recording studio Basic Rate: $15-30/hour

3920 Cypress Dr. Ste. E (Monthly only Lockout) Petaluma, CA 94954 707-762-2984 RDM2 STUDIOS 6651 Brisa St. Livermore, CA 94550 925-443-7362 E-mail: info@rdm2studios.com Web: www.rdm2studios.com REHEARSE AMERICA INC. P.O. Box 6553 Oakland, CA 94603 510-326-5881 Fax 510-569-7075

ANNEX STUDIOS 6 Valley Locations, 1 Anaheim 818-753-0148 818-481-6937 Contact: Wynnsan Moore E-mail: help@3rdencore.com Web: www.annexstudiosla.com Services: Third Encore’s Annex Studios are 150 Premium 24hr lockout studios

located in 6 buildings located in Sherman Oaks, North Hollywood and 1 in Anaheim. All studios are fully air conditioned (a/c controls in each room) and new construction with multiple layers of drywall and soundboard between each room. Band, drum and Pro Tools rooms available. AWESOME AUDIO 5725 Cahuenga Blvd. N. Hollywood, CA 91601 818-753-7563 Fax 818-753-7963 Contact: James Basic Rate: call for rates BOMB SHELTER REHEARSAL STUDIOS 7580 Garden Grove Blvd. Westminster, CA 92683 714-240-7345 E-mail: britt@bombshelterrehearsal.com Web: www.bombshelterrehearsal.com Contact: Britt Trace Basic Rate: call or see website Rooms: 6, including a large Showcase Room with stage, sound and lights. All rooms have a P.A. system. Rooms are set up to your preference, let us know what you need. Equipment: Mackie, QSC, Sonor, Audix, Ampeg, Marshall, B-52, Yorkville, Traynor, Pro Tools, Trident, Universal Audio, Rode, etc. Clients: Runner Runner, Hed PE, Evans Blue, National Product, Limbeck, The Dares, The Start, Dirty Heads, Bert Susanka, Takota, Bobby Alt, Supe, Great Glass Elevator. Services: Rehearsal rooms, recording and audio production, voiceover, editing, overdubs, jingles, radio, sequencing and midi, location recording, record your rehearsal, guitar repair and maintenance, cd duplication and graphic design, cd mastering, free wifi, music lessons BEDROCKLA (Rehearse, Rent, Record, Relax) 1623 Allesandro St. Los Angeles, CA 90026 213-673-1473 Web: www.bedrockla.com Basic Rate: $16-25/hr, two hr/min. Services: Fully backlined/air conditioned hourly rehearsal studios, monthly lock out rehearsal studios, retail store, backline/ event rentals/cartage, full recording studios, 5.1 surround mix studio, guitar, bass, & drum repair, amp/electronics repair, event/film location BOOBIE FLOCK REHEARSAL STUDIO 5019 Venice Blvd. Los Angeles, CA 90019

$295 First Month

Special

24 Hour Lock-Outs 180 Spaces

No. Hollywood + L.A. (Los Feliz / Silverlake)

323-874-2408

www.abcrehearsals.com 54 August 2012

SHARK BITE STUDIOS 632 2nd Street Oakland, CA 94607 510-663-8346 E-mail: mail@sharkbitestudios.com Web: www.sharkbitestudios.com Basic Rate: please call for info

MUSIC SPECTRUM 43 Bay St. San Rafael CA 94901 415-459-2259 E-mail: john@musicspectrum.net Web: www.musicspectrum.net Basic Rate: $15/hour

ABC REHEARSAL STUDIOS

E-mail: information@rehearse.com Web: www.rehearse.com Basic Rate: please call for info

www.musicconnection.com

TREAT YOUR MUSIC WITH Exp: July 31st 2012

The solution for all your room’s needs! Mention Music Connection ad and receive 10% off your first order! Visit us at: lasoundpanels.com info@lasoundpanels.com 424-262-0622 Exp: Sept. 30th 2012

Download This Directory From Our Website 323-939-4606 Contact: Rudy CASCADE STUDIOS 6611 Santa Monica Blvd. Hollywood, CA 90038 323-461-3800 Web: myspace.com/cascadestudios Basic Rate: please call for info Services: a professional rehearsal studio complex located in the heart of Hollywood. Cascade Studios offers 12 premium hourly rehearsal studios with sizes ranging from 10’ x 15’ to 35’ x 45’. All hourly rehearsal studios are air-conditioned, fully-equipped with a complete backline. We have studios ranging in size and hourly rates to meet various needs of small local bands and touring musicians alike. Advance reservations are not required, however it is highly recommended up to 2 days in advance for evening hours after 5 p.m. daily. Cascade Studios offers full range of backline equipment rentals from top manufacturers. A full (printable) equipment & price list will be available online very soon. CENTERSTAGING 3407 Winona Ave. Burbank, CA 91504 818-559-4333 Fax 818-848-4016 E-mail: Brent@centerstaging.com Web: www.centerstaging.com Contact: Brent Basic Rate: call for rates CHICAGO STUDIO COMPANY LLC 4711 Exposition Blvd. Los Angeles, CA 90016 888-654-4457 Contact: Tom or Susan Basic Rate: monthly rates, please call for info CIDE SHOW REHEARSAL STUDIOS 18205 S. Broadway Gardena, CA 90248 310-324-4056

E-mail: info@cideshow.com Contact: Brian/Sherman Basic Rate: call for rates Services: Lockout Bldg. DD MUSIC COMPLEX 11123 Burbank Blvd. N. Hollywood, CA 818-762-3737, 818-693-3700 Web: www.ddmusiccomplex.com Contact: Pat Ashby D.O’B. SOUND 8531 Wellsford Pl., Suite I Santa Fe Springs, CA 90670 562-464-9456 E-mail: dobsound20@yahoo.com Contact: Larry Ramirez, Derek O’Brien Web: www.dobsound.net, http://facebook.com/pages/DOBSOUND/13373579358 Basic Rate: Rehearsal Rates from $16-$18 per hour, Recording $45 per hour, call for block rates Services: Full recording, Mixing and Mastering Studio, 5 fully equipped rehearsal rooms and guitar repair shop. DOWNTOWN REHEARSAL 1000 S. Santa Fe Ave. Los Angeles, CA 90021 213-627-8863 Fax 213-614-8633 Contact: Mike Basic Rate: please call for info Rooms: Sizes ranging from 12x19 to 22x24. 12’ ceiling. All studios have ceiling fans, carpeting and phone jacks. Studios are secure, private, and clean. Clients: Numerous label and unsigned bands. Services: We have 62 studios at Santa Fe location and 212 at 7th Street location. Additional location: 2155 E. 7th St. Los Angeles, CA 90021 323-263-2561 Contact: Chris

www.musicconnection.com/amp ELECTRIC JUNGLE PRODUCTIONS Fullerton, CA 714-738-6271 Basic Rate: $195 to $1000 30-day lockout Rooms: Call for more information ELEVATED AUDIO 14677 & 14651 Aetna St. Van Nuys, 91411 818-909-9029 E-mail: elevatedaudio@gmail.com Web: www.elevatedaudio.com Contact: Fran Basic Rate: $19/hr. EXPOSITION REHEARSAL & RECORDING STUDIOS 9214 Exposition Blvd. Los Angeles, CA 90034 310-287-1236 Fax 310-287-1406 E-mail: contact@expositionstudios.com Web: Expositionstudios.com Studio Specs: 6 rooms ranging from 14x16 to 28x15. Rates: Ranging from $20/hr to $25/hr. FRANCISCO STUDIOS P.O. Box 58684 4440 District Blvd. Los Angeles, CA 90058 323-589-7028 E-mail: francisco.studios@yahoo.com Contact: Yul Basic Rate: call for monthly or hourly rates. Rooms: Over 100 Monthly Lockouts, private parking, Free Wi-Fi, Freight elevator, 24 hour Video Surveillance, 5 miles from downtown LA Services: monthly lockout hourly, recording, guitar and drum lessons; free wifi. Additional locations: Phoenix, AZ 602-229-1250 E-mail: fstudios02@yahoo.com

August 2012

Tucson, AZ 520-623-8066 Contact: Frank GEMINI STUDIOS 714-545-2289 Fax 714-545-2276 Web: www.geministudios.com Basic Rate: $625 for 200 square feet; $555 for 150 sf; $475 for 100 sf Services: Gemini Studios has been serving Orange County musicians, performers and bands since 2001. We offer clean and affordable 24-lockout rehearsal studios located in central OC. We have two locations all close together and we are dedicated to providing the best private monthly music studios available. Check out our website, which allows you to reserve your studio online or get on the waiting list. Whether you’re a solo musician looking for a spot to jam or a band needing a practice/rehearsal studio of your own or to share, Gemini has the studio solution to fit your needs. Practice Well. Clients: Thrice, Atreyu, Saosin, A Static Lullaby, Beautiful Mistake, Hello Goodbye & many more. GLENDALE STUDIOS 1239 South Glendale Ave. Glendale, CA 91205 866-714-3229, 818-550-6000, 818-317-7887 E-mail: info@glendalestudios.com Web: www.glendalestudios.com GROOVE WORKS STUDIOS 310-257-4949 E-mail: rodneysmusic@hotmail.com Web: http://www.facebook.com/ grooveworksstudios Contact: Rodney Basic Rate: call for rates GUITAR CENTER STUDIOS 6400 Owensmouth Ave. Woodland Hills, CA 91367 818-883-4GCS E-mail: info@gcstudios.com Web: http://woodlandhills.gcstudios.com

www.musicconnection.com 55

Download This Directory From Our Website HOLLOWAY PRODUCTIONS 9541 Santa Fe Springs Rd. Santa Fe Springs, CA 90670 562-941-5949 E-mail: hollowayproductions@gmail.com Web: www.myspace.com/ hollowayproductions Contact: Edward Holloway Basic Rate: $16/ $18 HOTHOUSE REHEARSAL STUDIOS 11823 Slauson Ave., Unit 41 Santa Fe Springs, CA 90670 562-945-1300 Web: www.hothousestudios.com E-mail: studio@hothousestudios.com Contact: Richard Morales Basic Rate: $12-$20/hr. Room Specs: Studio A 20’ x 28’ Studio B 16’ x 16’ Studio C 16’ x 16’ Studio M 17’ x 21’ Auditorium 20’ x 31’. All studios acoustically designed. Special Services: Video prod. and recording capabilities, live video streaming, website promotions, ground level parking in front and back, cater to special events. Equipment: Each Studio: 2 Marshall half stacks, Ampeg bass rig, Pacific DW maple drum kit with cymbals, concert grade PA system with microphones and stands, power amps, mixing boards, keyboard amps. Clients: Jessy J., Little Willie G and Thee Midniters, Mike Portnoy, Dramarama, Johnny Vatos Boingo Dance Party, Neal Morse, When in Rome, Alex Lopez and Suicide Silence, Jasmine Trias, DW3, Ricky Lawson, Ian Mitchell, Aaron McLain, Aggrolites, Psycho Realm. JC SOUND STAGES 6670 Lexington Ave. Hollywood, CA 90038 323-467-7870 E-mail: jcinhollywood@hotmail.com Web: www.jcsoundstages.com Contact: JC Basic Rate: $300/day for The Cove -

rehearsal rates for the new location tba Rooms: “The Cove” Hollywood Hills recording location currently under construction. Call for more information. KOOS REHEARSAL STUDIOS 1300 S. Beacon St., Ste. 101 San Pedro, CA 90731 310-765-9022, 888-360-KOOS E-mail: studios@koos.org Web: www.bandrehearsalstudios.com Basic Rate: $50 - $75 per day MARTIN’S REHEARSAL STUDIOS 6115 Lankershim Blvd. N. Hollywood, CA 91606 818-763-9263 Fax 818-763-9263 Contact: Frank Martin Basic Rate: $150-$950/month, 24hr lockout MATES REHEARSAL & CARTAGE 5412 Cleon Ave. N. Hollywood, CA 91601 818-762-2661, Cartage 818-769-4613 818-779-0009 E-mail: matesstudio@yahoo.com Web: Matesinc.com Contact: Bob Brunner Basic Rate: please call for info Rooms: Studio A & B 28x25 (stages 28x16) soundstage 50x60 (stage 50x24 monitor specs. Available upon request. Private bathrooms, lounge, easy load-in, plenty of parking. Also new soundstage, 41x23 private lounge, production office, bathroom. Very private, isolated location. Services: cartage, worldwide freight, rentals Equipment: List available upon request. MDM MUSIC REHEARSAL STUDIOS 4524 Brazil St., Ste. B Los Angeles, CA 818-241-5015 Fax 818-241-5017 Contact: Arbin or Robert E-mail: info@mdmmusicstudios.com Web: www.mdmmusicstudios.com Basic Rate: call for rates

Hollywood Hills Post-­Production, Editing and Recording Studio Building

FOR SALE

Upstairs -­ Main mixing stage has 2 iso-­booths w/airlock doors & double-­paned viewing windows Downstairs -­ 2nd mixing stage has ADR/Foley room, 2 editing bays Extra Amenities -­ reception area, full kitch., dining hall, bthrm w/shower, parking LOCATION LOCATION LOCATION For more info contact David Spangler (818) 402-­1989 or email david@strategicrealtyla.com

56 August 2012

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www.musicconnection.com/amp Services: Upscale rehearsal studios with a full backline. Great acoustics, no feedback! MUSICIANS CHOICE REHEARSAL STUDIOS - HOURLY 3727 Robertson Blvd. Culver City, CA 90232 310-836-8998 Fax 310-836-8932 E-mail: shovelhead66@hotmail.com Web: musicianschoicestudios.com Basic Rate: Please call or email for more info. MUSICIANS CHOICE REHEARSAL STUDIOS - HOURLY 16200 Hawthorne Blvd. Ste. A Lawndale, CA 90260 310-214-0330 E-mail: shovelhead66@hotmail.com Web: musicianschoicestudios.com MUSICIANS CHOICE LOCKOUT STUDIOS - MONTHLY Lemona Ave. Van Nuys , CA 310-836-8998 Fax 310-836-8932 E-mail: shovelhead66@hotmail.com Web: musicianschoicestudios.com Basic Rate: Please call or email for more info. Additional locations: Las Flores Ct. W. Los Angeles, CA 90034 310-836-8998 Fax 310-836-8932 E-mail: shovelhead66@hotmail.com Web: musicianschoicestudios.com Basic Rate: Please call or email for more info. Selma Ave. Hollywood, CA 310-836-8998 Fax 310-836-8932 E-mail: shovelhead66@hotmail.com Web: musicianschoicestudios.com Basic Rate: Please call or email for more info.

LAX Arborvitae St. Los Angeles, CA 310-836-8998 Fax 310-836-8932 E-mail: shovelhead66@hotmail.com Web: musicianschoicestudios.com Basic Rate: Please call or email for more info. 16200 Hawthorne Blvd. Ste. D. Lawndale, CA 90260 310-214-0330 E-mail: shovelhead66@hotmail.com Web: musicianschoicestudios.com Culver City, CA Culver City, CA 90232 310-836-8998 Torrance, CA Torrance Blvd. 90501 310-836-8998 MUSICIANS PERFORMANCE STUDIOS, INC. 9650 Ninth St. Ste. C Rancho Cucamonga, CA 91730 909-944-0100 Fax 909-944-0116 Contact: Keith Jones E-mail: info@musiciansps.com Web: www.musiciansps.com Basic Rate: $8-22/hr two hr/min. Services: Full Line Store, Equipment Storage/Rentals, Recording, Video Recording, Guitar, Bass, & Drum Repair and Custom Building, We Offer Repairs on all Electronics. NATIVE AMERICAN STUDIOS 123 S. McClay St. Santa Ana, CA 92701 714-836-5670 Contact: Jane Gentry Basic Rate: please call for information NIGHTINGALE LOCKOUT STUDIOS - N. HOLLYWOOD 10623 Magnolia Blvd.

Download This Directory From Our Website N. Hollywood, CA 91601 818-562-6660 Fax 818-562-1932 E-mail: info@nightingalestudios.com Web: www.nightingalestudios.com Contact: Mike Basic Rate: $575/month Rooms: 8 studio lockouts, clean, acoustically designed, about 400-500 sq. ft., central A/C. You will get your money’s worth. Services: we can supply drums, guitar and bass rigs, storage, and only the best P.A.s. Just tell us what you need! Clients: too many to list NIGHTINGALE STUDIOS - BURBANK 156 W. Providencia Ave. Burbank, CA 91502 818-562-6660 Fax 818-562-1932 E-mail: info@nightingalestudios.com Web: www.nightingalestudios.com Contact: Mike or Jay Basic Rate: $15/hr., $600/month Rooms: 33 studio rooms. Video screening studio with 12’ x 7’ HD projector and screen. Most studios linked into central recording control room allowing convenient rehearsal and recording capabilities from your studio. Acoustically designed fully equipped studios from 100 sq. ft. up to 800 sq. ft. We have monthly lockouts, drum rooms, affordable showcase stage, weekly, and daily arrangements. We provide top security, and a clean “vibey� atmosphere. You will get your money’s worth! Services: Full Pro Tools rig with very qualified engineer for live and session recordings, Community Showcases, We rent guitar and bass rigs, P.A. systems, and storage. Just tell us what you need! Equipment: PA systems have all been recently updated with new state of the art QSC, Spectr Audio, Yamaha, and Electrovoice equipment. What sounded great before, is now off the charts Clients: too many to list PASADENA REHEARSAL STUDIOS 2016 N. Lincoln Ave.

Pasadena, CA 91103 626-296-0310 E-mail: alan@pasadenarehearsal.com Web: www.pasadenarehearsal.com Contact: Alan Dyer Basic Rate: $16 - $22/hr. PM STUDIOS 3311 Winona Ave. Burbank, CA 91504 310-213-8584 Contact: Patrick Web: http://pmrehearsalstudios.com/ Home_Page.php Basic Rate: please call for info Additional location: 6115 Lankershim Blvd. N. Hollywood, CA 818-763-9263 Contact: Frank PRODUCTION COMPANY MASTERING, RECORDING & REHEARSAL STUDIO 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: rockzionrecords@hotmail.com Web: www.rockzion.com/productionco.html Basic Rate: please call for rates R2 STUDIOS 13143 Saticoy St. N. Hollywood, CA 91605 818-255-5502 E-mail: r2studios@sbcglobal.net Web: www.myspace.com/kingbaby Contact: R2 Studios Basic Rate: monthly lockouts

www.musicconnection.com/amp SOUNDCHECK STUDIOS 11736 Vose St. N. Hollywood, CA 91605 818-823-8774 323-627-5766 E-mail: info@soundcheckstudios.net Web: www.soundcheckstudios.net Contact: David Lee Basic Rate: call for rates SOUND MATRIX STUDIOS 18060 Newhope St. Fountain Valley, CA 92708 714-437-9585 Fax 714-437-9877 E-mail: info@soundmatrix.com Web: www.soundmatrix.com Contact: Scott or Chris Basic Rate: $50-75 per hr. SOUND STREET STUDIOS 7025 Canby Ave. Reseda, CA 91335 818-609-9972 E-mail: info@soundstreetstudios.com Web: www.Soundstreetstudios.com Basic Rate: $13 - $28/hr. STAGE ONE 23092 Terra Dr. Laguna Hills, CA 92653 949-367-9693 Web: www.stageonestudios.com Contact: studio mgr. Basic Rate: please call for rates STEREOTRAIN REHEARSAL AND RECORDING STUDIOS 2720 N. Ontario St. Burbank, CA 91504 818-842-2255 E-mail: stereotrain@gmail.com Web: www.stereotrain.com Contact: Sebu Basic Rate: call for info

SOUNDBITE STUDIOS 1975 Riverside Dr. Los Angeles, CA 90039 Music Connection Ad Proof 323-666-1609, FAX 323-666-2104 STUDIO INSTRUMENT RENTALS Ad Rep: MA E-mail: service@soundbitela.com (S.I.R.) Code: daugherty #12-2008 Web: www.soundbitela.com 6465 Sunset4th-vert Blvd. Basic Rate: call for rates Hollywood, CA 90028

323-957-5460 Fax 323-461-7120 E-mail: lainfo@sir-usa.com Web: www.sirla.com Contact: Fred Rose or Joey Yarmoluk Rooms: All rooms come complete with 8 mixes of EAW monitor systems and stereo sidefills, Soundcraft SM-12 consoles, new consoles all Midas, Crest Amplification and Shure mics. Lighting available upon request. Room sizes vary from 27’x36’ to an 80’x50’ show stage. All rooms come with stage and air conditioning. Services: Showcases for major labels, event services, etc. Equipment: Backline, audio, lighting and drum rentals. Clients: Snoop Dogg, KISS, Limp Bizkit, Liz Phair, Patti La Belle, Smashmouth, American Idol, John Mayer, Susan Anton, Green Day, Hillary Duff, Weezer. SWING HOUSE REHEARSAL, RECORDING, RENTALS & CARTAGE 7175 Willoughby Ave. Los Angeles, CA 90046 323-850-4990 Fax 323-850-4992 E-mail: info@swinghouse.com Web: www.swinghouse.com Contact: Melanie Barker Basic Rate: see website THAT BRITISH PLACE 1551 16th St., Unit B Santa Monica, CA 90404 310-880-7941 Contact: Gaz and Zoe Jones E-mail: info@thatbritishplace.com Web: www.thatbritishplace.com THIRD ENCORE 10917 Vanowen St. N. Hollywood, CA 91605 818-753-0148, 800-339-8850 Fax 818-753-0151 E-mail: help@3rdencore.com Web: www.3rdencore.com Contact: Lynn Watson Rooms: 5 air conditioned studios from

Does your rehearsal studio

SUCK? we can help

If you’ve never seen Downtown Rehearsal before, you’ll be amazed at the quality of our construction, the cleanliness of our facility, the view from individual rooms, the parking, the ease of loading and the superior security.

That definitely does NOT suck!

(323) 263-7381 August 2012

www.musicconnection.com 57

Download This Directory From Our Website 1,700-2,400 sq. ft., each including a private production office, and full 8 mix PA. Fullservice, professional facility. Quiet, safe, clean and very private. Great parking. Hourly (4 hr. minimum) or daily, weekly or monthly lockout rates available. Services: Full instrument and backline rental, featuring large selection of Mesa Boogie, Yamaha, DW, and Roland gear. Private storage lockers, cartage services. Equipment: All rooms come with a 8 mix PA system (additional mixes may be added). Each Studio includes a 32 or 40 channel Midas or Soundcraft mixing board, Compact Tri-amped wedges, JBL, EV or Radian side fills and subs, Crown amps, and Yamaha or Lexicon effects. Additional locations: See Annex Studios Listing for 6 additional Valley lockout locations and 1 Anaheim lockout location. THUD STUDIOS I 5430 Vineland N. Hollywood, CA 91601 818-378-8162, 818-506-4648 E-mail: info@thudstudios.com Web: www.thudstudios.com Contact: Jeff Abercrombie Services: 24 lockout facilities THUD STUDIOS II 11320 Burbank Blvd. North Hollywood, CA 91601 818-378-8162, 818-506-4648 E-mail: info@thudstudios.com Web: www.thudstudios.com Contact: Jeff Abercrombie Services: 24 lockout facilities T.K. PRODUCTIONS - FULLERTON 1129 E. Elm Ave. Fullerton, CA 92831 714-680-3036 E-mail: tkprod1@aol.com Web: www.tkprod.net

www.musicconnection.com/amp

Contact: Mike Basic Rate: $325-$700/month Additional locations:

Basic Rate: $16-$20/hr. Fully equipped Rehearsal rooms Friday/Saturday & Sunday book 2 hours get 3rd hour free (any room) Live Rehearsal Demo for only $25.

T.K. PRODUCTIONS - WEST L.A. 1939 Pontius Ave. West Los Angeles, CA 90025 310-876-9666 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Boom Basic Rate: $325-$1200/month

UNCLE REHEARSAL STUDIOS 6028 Kester Ave. Van Nuys, CA 91411 818-989-5614, 818-571-7398 E-mail: uncleesca@sbcglobal.net Web: www.unclestudios.com Contact: Scott Walton Basic Rate: please call for info

T.K. PRODUCTIONS - ANAHEIM 1391 Hundley Ave. Anaheim, CA 90254 714-680-3036 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Mike Basic Rate: $350-$660/month

URBAN AUDIO STUDIOS 3210 Central Ave., Ste. 5 Duarte, CA 626-301-0221 E-mail: urbanaudio@earthlink.net Web: www.urbanaudio.bz Basic Rate: $25/hr. 3 hr.min

T.K. PRODUCTIONS - N. HOLLYWOOD 12003 Vose St. N. Hollywood, CA 91605 310-876-9666 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Boom Basic Rate: $290-$700/month T.K. PRODUCTIONS - LAS VEGAS 3311 Meade Ave. Las Vegas, NV 89102 702-680-3036 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Tina Basic Rate: $325-$700/month TRU-ONE RECORDS & REHEARSALS 2100 E. Howell Ave., Ste. 208 Anaheim, CA 92806 714-634-4678 E-mail: truonerecords@aol.com Web: www.truonerecords.com Contact: staff

Basic Rate: P.A. only: $13-$23/hr. Fully Equipped: $13.00-$26.00hr. Rooms: 7 rooms, AC, newly refurbished from $10.00-21.00/hr. including P.A. and mics. Add full backline for $5.00/ hr. more in any room Services: Rehearsal, rentals, sales, repair, advice, laundry, BBQ’s, and the best coffee anywhere. Equipment: Mackie, JBL, Crowne, EV, Bagend, Fender, Behringer, Yamaha, GK, Mesa boogie, etc. Clients: We respect the privacy of all of our clients. For over 19 years of serving our clients, many of who are now our friends. We have a friendly and helpful staff whose number one goal is to create an environment that nurtures your musical creativity.

Colorado

VALLEY CENTER STUDIOS 5928 Van Nuys Blvd. Van Nuys, CA 91401 818-989-0866 E-mail: info@valleycenterstudios.com Web: www.valleycenterstudios.com Contact: Siavash Basic Rate: call or see Web

COLORADO REHEARSAL STUDIOS 2200 Larimer St. Denver, CO 80205 720-956-0148 Web: www.coloradorehearsalstudios.com Basic Rate: $100-400/month Services: 24 hour availability; monthly rentals

VICIOUS REASONING REHEARSAL STUDIOS 5634 Santa Monica Blvd. Hollywood, CA 90038 323-461-5599, 323-443-4142 E-mail: viciousreasoning@hotmail.com Contact: Zoom Zoom Zammy Basic Rate: month to month

DOG HOUSE MUSIC 525 Courtney Way Lafayette, CO 80026 303-664-1600 E-mail: contact@doghousemusic.com Web: www.doghousemusic.com Basic Rate: From $45/hour for equipped studios; $400-450/month for empty studio lease

WEST L.A. STUDIO SERVICES 2033 Pontius Ave. Los Angeles, CA 90025 310-478-7917 Fax 310-479-5961 E-mail: ricky@westlastudios.com, billp@aldini.com Web: www.westlastudios.com RPstudios_ad_r1.pdf Contact: Any W.LA. staff

EREBUS MUSIC Denver, CO Web: www.erebusmusic.com

1

SOUNDSTRUCTURE STUDIOS 3131 Walnut St. Denver, CO 9:43 80205PM

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Los Angeles Studio Company is looking to purchase / acquire hourly rehearsal studios and lockout rehearsal studios. Contact: studio.group.inc@gmail.com 58 August 2012

www.musicconnection.com

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Download This Directory From Our Website 303-291-0602 E-mail: jam@soundstructure.com Web: www.soundstructure.com Contact: Sam Basic Rate: please call for further information

Connecticut

RVP STUDIOS 221 Bull Hill Ln. West Haven, CT 203-934-7579 E-mail: rosie.rvp@gmail.com Web: www.rvpstudios.com

CROSSOVER ENTERTAINMENT GROUP 1310 Ellsworth Industrial Dr. Atlanta, GA 30318 404-352-3716 Fax 404-352-4403 E-mail: xover@mindspring.com Web: www.crossover-studios.com Basic Rate: please call for info

Hawaii

Florida

BLACKSTAR STUDIOS 12187 S.W. 132 Ct. Miami, FL 33186 305-235-5043 E-mail: sing@blackstarstudiomiami.com Web: www.blackstarstudiomiami.com Basic Rate: please call for info SOUTH FLORIDA REHEARSAL STUDIOS 1885 N.E. 149th St., #100 North Miami, FL 333181 305-949-5303, Fax 305-947-3030 Contact: Glenn Wexo E-mail: info@sfrs.net Web: www.sfrs.net

Georgia

ATLANTA ROCKSTAR REHEARSALS (partnered with Avatar and Thunderbox Studios) 255B Ottley Dr. Atlanta, GA 30324 770-296-5530 Web: www.atlrockstar.com, http://www.facebook.com/ATLRockstar Music Connection Ad Proof Basic Rate: please call for info

Ad Rep: HR

Additional Code: location: west la studio

728 Ralph McGill Blvd. Atlanta, GA 30308

8th-horiz

VIBE ASYLUM 1008 Kawaiahao St. Honolulu, HI 96817 808-591-2334 E-mail: benny@vibeasylum.com Web: www.vibeasylum.com Basic Rate: please call for info

Illinois

FAB SOUND REHEARSAL 2113 W. Walton St. Chicago, IL 60622 773-227-1619 E-mail: fabienvander@aol.com Web: www.fabsound.info Basic Rate: please call for info MUSIC GARAGE 345 N. Loomis St. Chicago, IL 60607 312-997-1972, Fax 312-267-0712 E-mail: themusicgarage@gmail.com Web: www.musicgarage.com Basic Rate: please call for info OLD CHOCOLATE FACTORY MUSIC 4710 W. Augusta Blvd. Chicago, IL 60651 773-287-7700 E-mail: ocf@ameritech.net Web: www.chicagomusicrehearsal.com Contact: Studio mgr. Basic Rate: please call for info #11-2008

STUDIO SERVICES

REHEARSAL STUDIOS

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(310) 478-7917

www.musicconnection.com/amp REDLIGHT STUDIOS The Karlov 367 N. Karlov Ave. Chicago, IL 60624-1804 708-485-0010 E-mail: rentalmanager@rehearsehere.com Web: www.rehearsehere.com Basic Rate: please call for info Additional location: Ukrainian Village 1648 W. Kinzie St. Chicago, IL 60622-6396 SUPERIOR ST. 2744 W. Superior St. Chicago, IL 60612 773-227-5550 E-mail: info@superiorst.com Web: www.superiorst.com Basic Rate: please call for info

Indiana

MUSIC GARAGE 6828 Hawthorn Park Dr. Indianapolis, IN 46220 317-576-9643 E-mail: info@mymusicgarage.com Web: www.mymusicgarage.com

Louisiana

KEY OF SOUND STUDIO Baton Rouge, LA 225-810-6406 E-mail: tim@keyofsoundstudio.com Web: www.keyofsoundstudio.com Basic Rate: hourly rates THE MUSIC SHED 929 Euterpe St. New Orleans, LA 504-412-9995 E-mail: info@musicshed.net Web: www.musicshed.net Basic Rate: hourly rates

SOCKIT STUDIO 10379 Mammoth Ave. Baton Rouge, LA 70814 225-216-0167 E-mail: dkirkpatrick@sockitstudio.com Web: www.sockitstudio.com Basic Rate: call for rates STUDIO 101 1001 S. Broad New Orleans, LA 70125 504-237-5404 Web: www.studio101nola.com Basic Rate: hourly rates TIPITINA’S FOUNTAINBLEAU REHEARSAL 4040 Tulane Ave. New Orleans, LA 70119 504-486-2227 Contact: Amy Kennedy E-mail: amy@tipitinas.com Web: http://fountainbleaustorage.com Basic Rate: call for availability Services: Rehearsal, Equipment Storage, Music Office Co-Op. TIPITINA’S MUSIC STORAGE & REHEARSAL/SHREVEPORT 700 Texas St. Shreveport, LA 71101 318-934-0000 Fax 318-934-0100 Contact: Mr. Christopher E-mail: chris@tipitinas.com Web: http://myspace.com/ shreveportrehearsal Basic Rate: call for availability Services: Rehearsal, Equipment Storage, Music Office Co-Op TIPITINA’S MUSIC OFFICE CO-OP/ ALEXANDRIA 321 DeSoto St. Alexandria, LA 71301 Contact: Todd Souvignier E-mail: todd@tipitinas.com Web: http://tipitinasfoundation.org/coop Basic Rate: email for availability

Thud Studios “World Class Studio Down to Earth Rates�

Music  Production  Room  Lockouts 24 hour lockout facility in the NoHo Arts District of N. Hollywood, CA. We offer Musicians, Artists, Producers, & Production Companies a clean, vibrant, and creative environment which encourages maximum productivity.

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Free amenities to our Monthly Clients: Wi-Fi internet, bottled water, coffee, kitchenette commons area, outdoor patio with conversation bar and ample parking.

Visit us on the web at: www.thudstudios.com 7KXGVWXGLRV#\DKRR FRP ‡ ‡ August 2012

www.musicconnection.com 59

Download This Directory From Our Website Services:Â Rehearsal, Equipment Storage, Music Office Co-Op Â

Maine

MY THRILL STUDIO 46 Blueberry Hill Rd. Winterport, ME 04496 207-223-5082 E-mail: mythrill@mythrillstudio.com Web: mythrillstudio.com PRIME ARTIST REHEARSAL STUDIO P.O. Box 27 Thompsons Point Industrial Park Portland, ME 04102 207-415-7762 E-mail: info@primeartistportland.com Web: primeartistportland.com

Maryland

BAND REHEARSAL 239 N. Franklintown Rd. Baltimore, MD 21223 443-831-2263 E-mail: info@bandrehearsal.net Web: www.bandrehearsal.net Services: Full recording services available Additional locations:

Additional location: 14 Teal Rd. Wakefield, MA 01880 339-219-027 E-mail: wakefield@jamspot.com MUSIC STUDIOS OF ARLINGTON CENTER 399 Massachusetts Ave. Arlington, MA 02474 781-646-0243 E-mail: info@arlingtonstudios.com Web: arlingtonstudios.com Basic Rate: please call for info

1310 Franklin Ave. Essex, MD 21221 ORION SOUND STUDIOS Baltimore, MD 410-646-7334 E-mail: info@orionsound.com Web: www.orionsound.com

Massachusetts

BRISTOL STUDIOS 169 Massachusetts Ave. Boston, MA 02115 617-247-8689 E-mail: info@bristolstudios.com Web: www.bristolstudios.com Contact: Jason Basic Rate: call for info CHARLESTOWN REHEARSAL STUDIOS 50 Terminal St., Bldg. 1 Charlestown, MA 02129 617-241-0016 Fax 617-242-0457 E-mail: info@charlestownmusicstudios.com Web: www.charlestownmusicstudios.com Basic Rate: please call for info JAMSPOT INC. 111 South St. Somerville, MA 02143 617-666-PLAY (7529) E-mail: somerville@jamSpot.com Web: www.jamspot.com Basic Rate: please call for rates

Nevada

DK PRODUCTIONS 4850 W. Oquendo Rd. Las Vegas, NV 89118 702-227-1777 Fax 702-227-1781 Web: www.dkproductions.com Basic Rate: please call for info MDV ENTERTAINMENT 4131 W. Oquendo Rd., Ste. 2 Las Vegas, NV 89118 702-736-4635 E-mail: mdventertainment@gmail.com Web: www.mdventertainment.com Basic Rate: please call for info

PRIORITY MUSIC COMPLEX 1071 Main St. Hanson, MA 02341 781-820-1294 E-mail: prioritymusicauctions@gmail.com Web: www.prioritymusiccomplex.com Basic Rate: please call for info

STEVE BEYER PRODUCTIONS 133 N. Gibson Rd. Henderson, NV 9014 702-568-9000 Fax 702-568-9090 E-mail: info@sbeyer.com Web: www.sbeyer.com Basic Rate: please call for info

Additional location:

T.K. PRODUCTIONS LAS VEGAS 3311 Meade Ave. Las Vegas, NV 89102 702-680-3036 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Tina Basic Rate: $325-$700/month

356 South Ave. Whitman, MA 02338

Michigan

DETROIT SCH. OF ROCK & POP MUSIC 1109 S. Washington St. Royal Oak, MI 48067 888-988-ROCK (7625) E-mail: info@detroitschoolofrockandpop.com Web: www.detroitschoolofrockandpop.com Basic Rate: please call for info

4501 E. Fayette St. Baltimore, MD 21224

www.musicconnection.com/amp

HIVE COLONY 22727 Nagel Warren, MI 48089 586-531-1458 E-mail: info@thehivecolony.com Web: www.thehivecolony.com Basic Rate: please call for info

Minnesota

TAYLOR SOUND 2921 N. Second St. Minneapolis, MN 55411 612-208-2864 E-mail: info@taylor-sound.com Web: www.taylor-sound.com

Missouri

STUDIO CITY KC 615 E. 6th St. Ste. 123 Kansas City, MO 64106 816-474-5920 Fax 816-474-3410 E-mail: restes@studiocitykc.com Web: www.studiocitykc.com SKY RECORDING 9 W. 19th St. Kansas City, MO 64108 816-283-8795 Fax 816-283-9796 E-mail: libby@skykc.com Web: www.skykc.com

New Jersey

FRANKENSOUND REHEARSAL 832 Ridgewood Ave. N. Brunswick, NJ 08902 732-745-2778 E-mail: fsrehearsal@frankensound.com Web: www.frankensound.com Basic Rate: please call for info METRO MUSIC REHEARSAL AND RECORDING STUDIOS 9 Butler Blvd. Bayville, NJ 08721 732-606-1590 Web: www.metromusic.org/rehearsal Basic Rate: please call or see Web REDBANK REHEARSAL 60 English Plaza Red Bank, NJ 07701 732-530-8794 E-mail: info@redbankrehearsal.com Web: www.redbankrehearsal.com Basic Rate: please call for info BLEEDING EARDRUM REHEARSAL STUDIOS 15 -17 South Ave. Long Branch, NJ 07740 505-504-6663, 732-571-8999 E-mail: deaf@bleedingeardrum.com Web: www.bleedingeardrum.com

New York

BAND SPACES NYC 208 6th St.

L.A. Sightsinger

www.musicconnection.com

353 Ten Eyck St. @ Morgan Brooklyn, NY CARROLL MUSICAL INSTRUMENT RENTALS, LLC 625 W. 55th St., 6th Fl. New York, NY 10019 212-868-4120 Fax 212-868-4126 E-mail: irent@carrollmusic.com Web: www.carrollmusic.com Basic Rate: please call for info FUNKADELIC STUDIOS INC. 335 W. 35th St., 3rd fl. New York, NY 10010 212-696-2513 E-mail: FunkadelicStudios@gmail.com Web: www.funkadelicstudios.com Basic Rate: call or see website MICHIKO REHEARSAL STUDIOS Roberto’s Winds 149 W. 46th St., 3rd Fl. New York, NY 10036 888-767-6SAX, 212 302-4011 646-366-0240 E-mail: info@robertoswinds.com Web: www.robertoswinds.com Basic Rate: please call for info MUSIC GARAGE, THE 177 S. 4th St. Brooklyn, NY 11211 718-218-9127 E-mail: rehearse@musicgarage.com Web: www.musicgarage.com Basic Rate: please call for info SMASH STUDIOS 307 W. 36th St., 18th Fl. New York, NY 10018 212-244-9066 Fax 212-244-6268 E-mail: studiomanager@smashny.com Web: www.smashny.com Basic Rate: please call for info STUDIO, THE 251 W. 30th St., Ste. 3WR New York, NY 212-967-6124 E-mail: music@thestudio.org Web: www.thestudio.org Basic Rate: please call for info ULTRA SOUND REHEARSAL 251 W. 30th St., 4th, 5th, & 6th Fls. New York, NY 10001 212-714-1079 E-mail: booking@ultrasoundrehearsal.com Web: www.ultrasoundrehearsal.com Basic Rate: please call for info

Close to beautiful Rehearse at the premier rehearsal studio when your band comes to South Florida.

60 August 2012

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Brooklyn, NY 11215 646-657-8345 E-mail: spaces@bandspacesnyc.com Web: www.bandspacesnyc.com Basic Rate: please call for info Additional location:

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Download This Directory From Our Website North Carolina

DYNAMIC REHEARSAL STUDIOS 241 Horizon Dr. Raleigh, NC 27615 919-848-6666 E-mail: info@dynamicrehearsal.com Web: www.dynamicrehearsal.com Basic Rate: please call for info

Ohio

FIRE FLY STUDIOS Toledo, OH 419-350-6454 E-mail: fireflystudios@roadrunner.com Web: www.firefly419.com, www.myspace.com/firefly419 ROCK & ROLL CITY STUDIOS 5500 Walworth Ave. Cleveland, OH 44102 216-651-1020 E-mail: thestudio@rockcitystudios.com Web: www.rockcitystudios.com Contact: Studio mgr. Basic Rate: please call for info SAX ENTERTAINMENT REHEARSAL STUDIOS Cleveland Professional Park 6029 Cleveland Ave. Columbus, Ohio 43231 614-259-3220 E-mail: saxrehearsal@gmail.com Web: saxentertainment.net Basic Rate: please call for info

Oklahoma

THE DOWNTOWN MUSIC BOX 535 N. Ann Arbor Oklahoma City, OK 73130 405-232-2099 E-mail: info@downtownmusicbox.com Web: www.downtownmusicbox.com Contact: Tony Curzio

Oregon

ROCK AROUND THE CLOCK PDX 2329 N.W. 23rd Pl. Portland, OR 97210 503-241-2609 E-mail: rockaroundtheclockpdx@gmail.com Web: www.rockaroundtheclockpdx.com Contact: David Wall Basic Rate: please call for info

Pennsylvania

E-mail: info@crs1020.com Web: www.crs1020.com/dirs.html Basic Rate: please call for info SLAP STUDIOS 230 N. 2nd St. Philadelphia, PA 19106 215-627-7899 E-mail: slapcracklepop@gmail.com Web: www.slapstudios.com Basic Rate: please call for info SURREAL SOUND STUDIOS 2046 Castor Ave., 2nd Fl. Philadelphia, PA19134 215-288-8863 Web: www.surrealsoundstudios.com Contact: Joseph Lekkas Basic Rate: please call for info

Tennessee

DIAMOND SOUND STUDIOS 240 Cumberland Bnd Nashville, TN 615-244-BAND (2263) E-mail: josh@dsstudios.com Web: www.diamondsoundstudios.com Contact: Josh Diamond Basic Rate: please call for info S.I.R. NASHVILLE 1101 Cherry Ave. Nashville, TN 37203 615-255-4500 Fax 615-255-4511 E-mail: tninfo@sir-usa.com Web: www.sir-usa.com Basic Rate: please call for info SOUNDCHECK 750 Cowan St. Nashville, TN 37207 615-726-1165 Fax 615-256-6045 E-mail: info@sounndchecknashville.com Web: www.soundchecknashville.com Basic Rate: please call for info

Texas

ABSOLUTE REHEARSAL STUDIOS 2607 Walnut Hill Ln. Dallas, TX 75229 214-724-9678 Web: www.myspace.com/ absoluterehearsal Contact: Michael Roth, Director Basic Rate: $14/hr.; $100/day; $300/month

AURUM RECORDING 116 Shurs Ln., Ste. B Philadelphia, PA 19127 215-487-2588 Basic Rate: please call for info

AUSTIN MUSIC ROOMS Austin, TX 512-663-2808 E-mail: kirk@austinmusicrooms.com Web: www.austinmusicrooms.com Basic Rate: Hourly and Monthly Rates

COLUMBUS REHEARSAL STUDIOS (CRS) 1020 N. Delaware Ave., 3rd Fl. Philadelphia, PA 19125 215-427-1020

FRANCISCO STUDIOS 2300 Mckinney St. Houston, TX 713-225-3112 Basic Rate: please call for info

www.musicconnection.com/amp JAMSTATION REHEARSAL STUDIOS 3420 Ave. K, Ste. 317 Plano, TX 75074 972-943-9824 Basic Rate: please call for info MUSICIAN EXCHANGE REHEARSAL STUDIOS 11526 Grissom Ln. Dallas, TX 75229 972-488-9123

SEATTLE DRUM SCHOOL 12510 15th Ave. N.E. Seattle, WA 98125 206-364-8815 E-mail: info@seattledrumschool.com Web: www.seattledrumschool.com Basic Rate: $35 per half hour and $65 per one hour lesson Additional location: 1010 S. Bailey Seattle, WA 98108 206-763-9700

MUSIC LAB STUDIO 57 500 E. St. Elmo Austin, TX 78745 512-326-3816 E-mail: Elmo@musiclab.net Web: www.musiclab.net Basic Rate: please call for info

SEATTLE REHEARSAL 2424 1st Ave. S. Seattle, WA 98134 206-287-1615 E-mail: jodiopitz@yahoo.com Web: seattlerehearsal.com Contact: Jodi Basic Rate: please call for info

Additional location: 1306 W. Oltorf Austin, TX 78704 512-707-0560 E-mail: oltorf@musiclab.net PRO REHEARSAL & RECORDING 3150 Iron Ridge St. Dallas, TX 75247 214-634-3433 E-mail: rooms@prorehearsal.com Web: www.prorehearsal.com Basic Rate: please call for info RHYTHM ROOM REHEARSAL STUDIOS 1410 Brittmoore Rd., Ste. A Houston, TX 77043 713-465-6122 E-mail: info@rhythmroomrehearsalstudio.com Web: www.rhythmroomrehearsalstudio.com Basic Rate: please call for info

Washington

CHOPHOUSE STUDIOS Seattle, WA 206-206-227-4592 Contact: Doug Wilkerson E-mail: info@chophousestudios.com Web: www.chophousestudios.com Basic Rate: please call for info EVOLUTION STUDIOS 13212 N.E. 16th St. Bellevue, WA 98005 425-641-3626 E-mail: eden@bandrehearsal.com Web: www.bandrehearsal.com Contact: Eden Basic Rate: please call for info

SPOTLIGHT STUDIOS 17802 134th Ave. NE #19 Woodinville, WA 98072 425-402-3700 E-mail: schedule@JamAcademy.com Web: www.spotlightstudiosnw.com Services: Hourly rehearsal rooms equipped with backline gear. We sell strings, picks, drumsticks, cold soda & snacks. Some off-site equipment for rent as well. STUDIO SEVEN 110 S. Horton St. Seattle, WA, 98134 206-286-1312 E-mail: info@studioseven.us Web: www.studioseven.us Basic Rate: please call for info.

Wisconsin

TBC STUDIOS 10201 W. Appleton Ave. Milwaukee, WI 53225 414-536-7337 E-mail: info@TBCStudios.com Web: www.tbcstudios.com

SUBSCRIBE NOW

ROY’S PLACE REHEARSAL STUDIOS & RECITAL HALL 4926 196th St. S.W. Lynnwood, WA 98036 425-425-9790 E-mail: info@roysplacestudios.com Web: www.roysplacestudios.com Contact: Eddie Basic Rate: please call for info

August 2012

www.musicconnection.com 61

10

th Annual Directory of Equipment www.musicconnection.com/amp

Download This Directory From Our Website

Rental/Cartage & Tech Services Download This Directory From Our Website: www.musicconnection.com/amp

Compiled By Denise Coso

T

he following directory of companies has been fully updated and expanded for 2012. All information has been provided by the listees themselves. If you would like a free listing in this or any other MC directory, simply contact denisec@ musicconnection.com.

Alabama

HOLT AV 401 28th St. S. Birmingham, AL 35080 800-322-4658, 205-328-5231 E-mail: info@holtav.com Web: www.holtav.com Additional location: Huntsville, AL 35805 E-mail: dick.finnorn@holtav.com 256-682-8641 KENNEDY RECORDING & PRODUCTIONS 15308 Elk River Mills Rd. Athens, AL 35614 256-232-0600 or 256-777-4108 E-mail: info@kennedyrecordings productions.com Web: www.kennedyrecordings productions.com

Alaska

ACTION VIDEO PRODUCTIONS 430 W. 7th Ave. Ste. 100 Anchorage, AK 99501 907-277-8115 Fax 907-274-5287 E-mail: actvid@alaska.net Web: www.actvid.com TALKING CIRCLE MEDIA 5630 B St. Anchorage, AK 99518 907-245-3209 Fax 907-245-3339 E-mail: info@talkingcirclemedia.com Web: www.talkingcirclemedia.com Contact: Jonathathan Butzke

Arizona

AGGRESSIVE MEDIA 3370 N. Hayden Rd., Ste. 123-135 Scottsdale, AZ 85251 480-926-6733 Fax 480-452-0837 E-mail: info@goaggressive.com Web: www.goaggressive.com AUDIO RESOURCES (AVR) 4323 E. Cotton Center Blvd. Phoenix, AZ 85040 877-643-4204, 602-643-4200 Fax 602-643-4270 E-mail: rentals@avrinc.com Web: www.avrinc.com MP&E 16585 N. 92nd St., Ste. B104 Scottsdale, AZ 85260 480-596-6699 Fax 480-596-0004 E-mail: phoenix@hdgear.tv Web: www.mayovideo.com QUICK AV RENTALS Phoenix, AZ 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com VER Video Equipment Rentals 2680 S. Industrial Park Ave.

62 August 2012

Tempe, AZ 85282 800-403-9567, 480-557-5777 Fax 480-557-5888 E-mail: info@verrents.com Web: www.verrents.com

Arkansas

LITTLE ROCK ENTERTAINMENT P.O. Box 4364 Little Rock, AR 72214 501-568-0774, 501-772-4104 E-mail: info@littlerockentertainment.com Web: www.littlerockentertainment.com

California (Northern)

AUDIOVISTA 1130 Suffolk Ct. Los Altos, CA 94024 650-428-1854 E-mail: info@audiovista.com Web: www.audiovista.com Contact: Jim LaForest

BLACK CAT SOUND SERVICE Grass Valley, CA 95949 530-268-1620 Fax 530-268-3267, 530-277-3020 E-mail: chrisc@nccn.net Web: www.blackcatsoundservice.com Contact: Chris Christensen GUITAR SHOWCASE RENTALS 3090 S. Bascom Ave. San Jose, CA 95124 408-377-2544 E-mail: info@showcaseswapshop.com Web: www.guitarshowcase.com, www.showcaseswapshop.com Contact: Bert McIntyre McCUNE AUDIO/VISUAL/LIGHTING 101 Utah Ave. S. San Francisco, CA 94080 800-899-7686, 650-873-1111 Fax 650-246-6702 E-mail: pmorris@mccune.com Web: www.mccune.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no Additional locations: 222 Ramona Ave., Ste. 1 Monterey, CA 93940 800-372-3611, 831-372-6038 Fax 831-372-0513 168 E. Liberty Ave. Anaheim, CA 92801 800-486-7686 714-578-1900 Fax 714-525-6002 PRO AUDIO REPAIRS 400 Treat Ave., Unit H San Francisco CA 94110 415-401-7828 E-mail: info@proaudiorepairs.com Web: www.proaudiorepairs.com

www.musicconnection.com

RENTAL EXPRESS VIDEO 2225 Palou Avenue San Francisco, CA 94124 415-255-9883 Fax 415-255-0139 E-mail: info_desk@expressmedia.tv Web: www.rentvideo.com STUDIO INSTRUMENT RENTALS 520 Townsend St., Bldg. B San Francisco, CA 94103 415-957-9400 Fax 415-957-9470 E-mail: sfinfo@sir-usa.com Web: http://www.sir-usa.com/ VER Video Equipment Rentals 410 E. Grand Ave. S. San Francisco, CA 94080 866-680-0250, 650-837-9480 Fax 650-837-9488 E-mail: info@verrents.com Web: www.verrents.com

California (Southern)

ABSOLUTE RENTALS 2633 N. San Fernando Blvd. Burbank, CA 91504 818-842-2828 310, 560-2372 Fax 818-842-8815 E-mail: misty@absoluterentals.com Web: www.absoluterentals.com Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes ADVANCED MUSICAL ELECTRONICS 8665 Venice Blvd. W. Los Angeles, CA 90034 310-559-3157 E-mail: advancedmusical@ca.rr.com Web: www.advancedmusical.com ALL-TECH SERVICE 25571 Jeronimo Rd., Ste.17 Mission Viejo, CA 92691 949-951-5502 Fax 949-951-4703 ALTA LOMA MUSIC 8615 Baseline Rd. Rancho Cucamonga, CA 91730 909-989-5757 E-mail: info@altalomamusic.com Web: www.altalomamusic.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional location: 650 E. Parkridge #115 Corona, CA 92879 951-735-5924 AMETRON PRO-AUDIO/VIDEO SALES & RENTALS 1546 N. Argyle Ave. Hollywood, CA 90038 323-466-4321 E-mail: info@ametron.com Web: www.ametron.com AMP CRAZY AMP REPAIR Hollywood, CA 323-654-4908 E-mail: ampcrazy@aol.com Web: www.ampcrazy.com AMP SHOP/BASSEXCHANGE 13701 Ventura Blvd. Sherman Oaks, CA 91423

818-386-5500 Web: www.bassexchange.com ANDY BRAUER GUITAR, BASS AND AMPLIFIER REPAIR & MUSICIAN SERVICES 5437 Laurel Canyon Blvd. N. Hollywood, CA 91607 818-631-3777 or 818-760-0637 E-mail: andy@andybrauer.com www.myspace.com/andybrauer Services: Full range of guitar equipment, advice and service to musicians, studios and producers. Accepting amplifiers, effects pedals and all types and brands of stringed instruments in need of maintenance, repair, modification and restoration. *Note: Open Daily 9:30 a.m. - 7 p.m., by Appt. ASTRO AUDIO VIDEO LIGHTING 6615 San Fernando Rd. Glendale, CA 90201 818-549-9915 Fax 818-549-0681 E-mail: jorger@astroavl.com Web: www.astroavl.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: no AUDIO DESIGN AND SERVICE, INC. 10764 Vanowen St. N. Hollywood, CA 91605 818-754-0467 Fax 818-754-0495 E-mail: info@audiodesign-service.com Web: audiodesign-service.com AUDIO PERCEPTION INC. Los Angeles, CA 818-693-0134 E-mail: Info@audioperception.com Web: www.audioperception.com Technical Services: Yes Studio Equip: Yes Musical Equip: No Lighting Equip: No FX Equip: No Stages Equip: No Cartage Equip: No Special Services: Studio design, install, acoustics and wiring. Custom cables patch bays and panels. Audio and DAW tech support, upgrades, and instruction. AUDIO RENTS INC. 1541 N. Wilcox Ave. Hollywood, CA 90028 323-874-1000 E-mail: info@audiorents.com Web: www.audiorents.com Studio Equip: yes Musical Equip: no Lighting: no FX: yes Stages: no Cartage: no AUDIO REPAIR SPECIALISTS 6603 Independence Ave., Ste E Canoga Park, CA 91303 818-346-3762 E-mail: info@arsrepair.com Web: www.arsrepair.com BEATOLOGY MUSIC 909-843-5673 Web: www.beatologymusic.com, http:// www.myspace.com/beatology Contact: Gordon “Stealth” McGinnis Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes

Download This Directory From Our Website Stages: yes Cartage: yes BERTRAND MUSIC ENTERPRISE, INC. 13179-5 Black Mountain Rd. San Diego, CA 92129 888-780-1812 Web: www.bertrandmusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional locations: 12439 Poway Rd. Poway, CA 92064 858-668-3244 910 E. Highland Ave. San Bernardino, CA 92404 800-696-5338 23851 Via Fabricante 202 Mission Viejo, CA 92691 949-455-4163 BRETT ALLEN STUDIO RENTAL N. Hollywood, CA 818-506-5568, 323-253-2277 Fax 818-506-5581 E-mail: brettallen@earthlink.net Web: www.brettallenstudiorental.com Studio Equip: no Musical Equip: yes Lighting: No FX: no Stages: no Cartage: yes Special Services: The most extensive collection of guitars, amps, effects and tuners in L.A. Los Angeles’ finest in studio guitar tech service, intonation and setup specialist. BROADCAST STORE, INC. 9420 Lurline Ave, Unit C Chatsworth, CA 91311 818-998-9100 Fax 818-998-9106 E-mail: sales@broadcaststore.com Web: www.broadcaststore.com *Note: pickups by appt. only CALIFORNIA STAGE & LIGHTING INC. 3601 W. Garry Ave. Santa Ana, CA 92704 714-966-1852 Fax 714-966-0104 E-mail: sales@calstage.com Web: www.calstage.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes CANOGA SCHOOL OF MUSIC 7361 Canoga Ave. Canoga Park, CA 91303 818-340-4021 Web: www.canogaschoolofmusic.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no CAPITAL AUDIO RENTAL Burbank, CA 818-953-9099 Fax 818-953-9119 Web: www.capitalaudiorental.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no CASCADE STUDIOS 6611 Santa Monica Blvd. Hollywood, CA 90038 323-461-3800

Web: cascadestudios.net Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes CENTER STAGING 3407 Winona Ave. Burbank, CA 91504 818-559-4333 Fax 818-848-4016 E-mail: Brent@centerstaging.com Web: www.centerstaging.com Contact: Brent Basic Rate: call for rates CLASSIC EQUIPMENT RENTALS 6050 Sunset Blvd., Hollywood, CA 90028 800-446-3278, 323-664-3278, 818-9523278 E-mail: ed@classicequipment.com Web: www.classicequipment.com Contact: Jason Cropper Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: no DAVID O. BROWN AUDIO TECHNICAL SERVICES 30473 Mulholland Hwy., Ste. 56 Agoura, CA 91301 818-874-9895 E-mail: recordingdoc@aol.com Web: www.audiotechnicalservices.com, www.microphonerepair.com DESIGN FX AUDIO P.O. Box 491087 Los Angeles, CA 90049 800-441-4415, 818-843-6555 Fax 818562-6978 E-mail: tony@dfxaudio.com Web: www.dfxaudio.com Contact: Tony Pinnick Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: yes DIGITRON ELECTRONICS, INC. 7801 Telegraph Rd., Ste. D Montebello, CA 90640 323-887-0777 Fax 323-887-0891 E-mail: repairs@digitronelectronics.com Web: www.digitronelectronics.com DRUM DOCTORS Glendale, CA 818-244-8123 E-mail: info@drumdoctors.com Web: www.drumdoctors.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes DRUM PARADISE 11803 Vose St. N. Hollywood, CA 91605 818-762-7878 E-mail: info@drumparadise-la.com Web: www.drumparadise-la.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes FRET HOUSE, THE 309 N. Citrus Ave. Covina, CA 91723 626-339-7020 800-BET-FRET Web: www.frethouse.com Studio Equip: no Musical Equip: yes Lighting: no FX: no

www.musicconnection.com/amp Stages: no Cartage: no

HOLLYWOOD SOUND SYSTEMS 1541 N. Wilcox Hollywood, CA 90028 323-466-2416 Fax 323-460-2676 Web: www.hollywoodsound.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes

FUTARA SPECTRUM AUDIO 665 S. Manchester Anaheim, CA 92802 714-535-6201 E-mail: service@futara.com Web: www.Futara.com GARDS MUSIC 848 S. Grand Ave. Glendora, CA 91740 626-963-0263 E-mail: info@gardsmusic.com Web: www.gardsmusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no

HOOK - THE STUDIO MICROPHONE RENTALS Woodland Hills, CA E-mail: mike@thehookstudios.com Web: www.thehookstudios.com Contact: Mike Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no Tech Services: no

Additional location: 215 W. G. Street Ontario, CA 91762 GATES SOUND 8542 Kendor Dr. Buena Park, CA 90620 714-826-7955 Fax 714-908-7150 E-mail: mail@gatessound.com Web: www.gatessound.com Live Sound: yes Equipment Sales: yes GEARWORKS PRO AUDIO 4150 Lankershim Blvd. N. Hollywood, CA 91602 818-753-0083 E-mail: info@gearworksaudio.com Web: www.gearworksaudio.com Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: yes GPS ELECTRONICS 13045 Tom White Way, Ste. I Norwalk, CA 90650 562-802-0840 Fax 562-802-0846 E-mail: gpselectro@yahoo.com GREGG BUCHWALTER 818-785-8611, 323-960-4358 E-mail: greggbuchwalter65@hotmail.com Web: www.buchwalterb3svc.com Hammond and Leslie specialist Clients: Ray Charles (miss you!) Eric Clapton, the Who, Procol Harum, Alanis Morissette, House of Blues (W. Hollywood), S.I.R., many churches and studios in Los Angeles and Orange County. “Because God is listening!” Recording studio and production available. Dedicated to the fine art of great audio. GUITAR CONNECTION, THE 633 Rose Ave. Venice, CA 90291 310-396-3009 E-mail: theguitarconnection5@gmail.com Web: www.theguitarconnection.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no GUITAR MERCHANT, THE 7503 Topanga Canyon Blvd. Canoga Park, CA 91303 818-884-5905 E-mail: theguitarmerchant@yahoo.com Web: www.guitarmerchant.com HIT N RUN SOUND Cartage and Tech Service N. Hollywood, CA 818-679-1827, 818-505-1007 Tech / Cartage Service since 1988 Local and long distance. Licensed and insured. Awesome references

August 2012

INSTRUMENTAL MUSIC INC. 1501 Thousand Oaks Blvd. Thousand Oaks, CA 91360 805-496-3774 Web: www.instmusic.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Addition locations: 3171 E. Main St. Ventura CA 93003 805-648-9388 3328 State St. Santa Barbara, CA 93105 805-569-5055 JC SOUND STAGES 6670 Lexington Ave. Hollywood, CA 90038 323-467-7870 E-mail: jcinhollywood@hotmail.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes KEYBOARD CONCEPTS & DAVID L. ABELL FINE PIANOS 5539 Van Nuys Blvd. Sherman Oaks, CA 91401 818-787-0201 Fax 818-787-1219, 800-22-PIANO E-mail: info@keyboardconcepts.com Web: www.keyboardconcepts.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional locations: 104 E. Thousand Oaks Blvd. Thousand Oaks, CA 91360 805-379-9888 3232 Santa Monica Blvd. Santa Monica, CA 90404 310-586-5588 2866 El Camino Real (Between Best Buy & Home Depot) Tustin, CA 92782 714-544-0088 Agoura Design Center 28501 Canwood St., Unit B Agoura Hills, CA 91301 805-379-9888 LA FX RECORDING SERVICES P.O. Box 827 N. Hollywood, CA 91603

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Download This Directory From Our Website 818-769-5239 E-mail: info@lafx.com Web: www.lafx.com Contact: Dan Vicari Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no L.A. SOUND COMPANY INC. 9001 Canoga Ave. Canoga Park, CA 91304 818-772-9200 Fax 818-772-9977 E-mail: rentals@lasoundco.com Web: www.lasoundco.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no LON COHEN STUDIO RENTALS N. Hollywood, CA 818-762-1195 Fax 818-762-1196 E-mail: office@loncohen.com Web: www.loncohen.com SKYPE: loncohen Studio Equip: no Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: yes Special Services: Temperature controlled equipment storage, on-site guitar repair services. We also rent full back lines of vintage and modern guitars, drums, keyboards and basses. Clients include Billy Gibbons, Paul McCartney, Black Eyed Peas and Christina Aguilera. We also do major film, TV and commercials. MATES REHEARSAL & CARTAGE 5412 Cleon Ave. N. Hollywood, CA 91601 818-762-2661 Fax 818-762-5742 Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes McCABE’S GUITAR SHOP 3101 Pico Blvd. Santa Monica, CA 90405 310-828-4497 Fax 310-453-4962 E-mail: mccabessm@aol.com Web: www.mccabes.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no *Note: Rentals are limited to instruments $500 or less. No day rentals McCUNE AUDIO/VISUAL/LIGHTING 168 E. Liberty Ave.

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Anaheim, CA 92801 714-578-1900 Fax 714-525-6002 800-486-7688 Fax 650-246-6702 E-mail: lalexander@mccune.com Contact: Leland Alexander Web: www.mccune.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no

Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: yes

Additional locations:

MORNINGSTAR PRODUCTIONS, LLC 41145 Golden Gate Cir. Murrieta, CA 92562 951-677-4443, 888-409-4810 Web: www.msmp.com Studio Equip: no Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: no

San Francisco HQ 101 Utah Ave. S. San Francisco, CA 94080 800-899-7686, 650-873-1111 Contact: Pat Morris E-mail: pmorris@mccune.com Monterey McCune Office 222 Ramona Ave., #1 Monterey, CA 93940 800-372-3611 831-372-6038 Contact: Vince Hucks E-mail: vhucks@mccune.com MEE Music Equipment Rentals Glendale, Ca 602-955-3750 E-mail: meerental@gmail.com Web: www.meerentals.com Contact: Sam DeMarco

Additional location: 2466 Fender Ave., Ste. E Fullerton, CA 92831 714-870-6716

MUSICIANS CHOICE STUDIOS 3727 S. Robertson Blvd. Culver City, CA 90232 310-836-8998 E-mail: shovelhead66@hotmail.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: yes

METZGER ENTERPRISES INC. (Now VideoCam) 1261 S. Simpson Cir. Anaheim, CA 92806 888-772-8226 E-mail: info@videocam.net Web: www.videocam.net/site.html Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: yes Cartage: no

Additional locations:

MICWORKS INC. PROFESSIONAL AUDIO ENGINEERING & SUPPLY 17791 Mitchell N., Ste. D Irvine, CA 92617 949-660-7070 Fax 949-660-7201 E-mail: rentals@micworks.com Web: www.micworks.com Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: no

MUSICIANS CHOICE STUDIOS - L.A. 3774 Las Flores Ct. W. Los Angeles, CA 90064 310-420-8622

MIKE KAHRS KEYBOARDS P.O. Box 2166 Crestline, CA 909-338-9682 E-mail: info@ sound-management.com Web: www.sound-management.com

www.musicconnection.com

MUSICIANS CHOICE STUDIOS CULVER CITY 3825 Willat Ave. Culver City, CA 310-836-8998 MUSICIANS CHOICE STUDIOS LAWNDALE 16200 Hawthorne Blvd., Ste. A Lawndale, CA 90260 310-214-0330

MUSICIANS CHOICE STUDIOS - VAN NUYS 7799 Lemona Ave. Van Nuys, CA 310-420-7706 MUSIC MAKER RETAIL STORE 5701 E. Santa Ana Canyon Rd. Anaheim, CA 92807 714-974-0830 Fax 714-974-0727 E-mail: info@musicmakerinc.com Web: www.musicmakerinc.com Studio Equip: no Musical Equip: yes Lighting: no FX: no

Stages: no Cartage: no MUSICTEK AUDIO SERVICES 3129 W. Burbank Burbank, CA 91505 818-506-4055 NIGHTINGALE STUDIOS - BURBANK 156 W. Providencia Ave. Burbank, CA 91502 818-562-6660 E-mail: nightingalesound@sbcglobal.net Web: www.nightingalestudios.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional location: 10623 Magnolia Blvd. N. Hollywood, CA 91601 818-562-6660 NORTHSTAR MOVING 9120 Mason Ave. Chatsworth, CA 91311 800-275-7767 Fax 818-727-7527 E-mail: info@Northstarmoving.com Web: www.northstarmoving.com Cartage: yes OCEAN WAY Technical Services 6050 Sunset Blvd. Hollywood, CA 90028 323-467-9375 Fax 323-467-3962 Web: www.oceanwayrecording.com PAUL JAMIESON STUDIO RENTAL 10929 Chandler N. Hollywood, CA 91601 818-762-5759, 818-209-6590 E-mail: paulbjamieson@hotmail.com Contact: Paul Jamieson Studio Equip: yes Musical Equip: yes Lighting: no Storage: yes Cartage: yes PETE’S MUSIC AND GUITAR SHOP 2060 S. Euclid Anaheim, CA 714-534-7383 Web: www.petesmusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional locations: 29800 Bradley Rd., #107 Sun City, CA 951-301-8088

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Download This Directory From Our Website 28780 Old Town Front St., Ste-A4 Temecula, CA 951-308-1688 PLATINUM AUDIO RENTALS Hollywood, CA 818-563-1176, 310-428-8022 E-mail: info@platinumProAudio.com Web: www.platinumaudiorentals.com Contact: Pete DiRado, Bryan McCurry Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes PRO PIANO, LOS ANGELES warehouse only (not open to the public) 310-474-2216 Fax 310-633-1207 E-mail: info-la@propiano.com Web: 800- 538-3031 Studio Equip: no Musical Equip: yes Lighting: no Cartage: yes

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E-mail: sales@prosound.com Web: www.prosound.com RACK ATTACK AUDIO RENTALS P.O. Box 10698 Burbank, CA 91510 818-251-9800 Fax 818-602-4057 E-mail: support@rackattackrentals.com Web: www.rackattackrentals.com Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: no

310-453-1928 E-mail: sales@santamonicamusic.com Web: www.santamonicamusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no

E-mail: info@soundcheckaudio.com Web: www.soundcheckaudio.com Contact: Naftali Finkel Studio Equip: no Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: yes

Additional location:

SOUND-MANAGEMENT 2466 E. Fender Ave., Ste. E Fullerton, CA 92831 714-870-6716 E-mail: info@ sound-management.com Web: www.sound-management.com Contact: Mike Kahrs Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes

Culver City Music Center 10862 Washington Blvd. Culver City, CA 90230 310-202-6874 E-mail: sales@santamonicamusic.com

Additional location:

Hollywood, CA Rentals 323-851-9000 Service RAL AUDIO SERVICES Success 21025 Arminta St.

SEQUOIA SOUND SERVICES 5183 Inglewood Blvd. Los Angeles, CA 90066 310-397-4826 Fax 310-391-1191 E-mail: sequoiasnd@aol.com Contact: Teri Cray Live Sound: yes Technical Services: yes Lighting: no FX: no Stages: no Cartage: no

Canoga Park, CA 91304 818-886-4002, 866-455-3997 Fax 818-886-4012 E-mail: contact@ralaudio.com Web: www.ralaudio.com Additional locations: Contact: Richard % % % % % Studio Equip: yes 85 Jane St. Musical Equip: yes New York, NY 10014 % % % % % % Lighting: yes 212-206-8794 Fax 212-633-1207 FX: yes 800-367-0777 % % % % % Stages: yes E-mail: info-ny@propiano.com % % % % % Cartage: no 760 Tennessee St. % % % % SAN DIEGO SOUND AND San Francisco, CA 94107 MUSIC REPAIR 415-641-1210 Fax 415-641-1870 Free Recording And Mic Placement Advice 6563 El Cajon Blvd. 800-256-3054 San Diego, CA 92115 E-mail: info-sf@propiano.com 619-582-8511 E-mail: jmaxwell@sdsmr.com PROSOUND, INC. PROFESSIONAL Web: www.sdsmr.com SOUND AND MUSIC Musicians Repair Service SANTA MONICA MUSIC CENTER 4593 Mission Gorge Pl. 1901 Santa Monica Blvd. San Diego, CA 92120 Santa Monica, CA 90404 619-583-7851 Fax: 619-583-0965

We Rent EVERYTHING For Your Recording Needs

SINGER MUSIC 1217 N. Hacienda Blvd. La Puente, CA 91744 626-917-9300 Fax 626-917-9302 E-mail: singermuzik@aol.com Web: www.singermusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no

www.dfxaudio.com

SOUND CHECK AUDIO Los Angeles, CA 90036 323-939-7777 - By appointment only

SOUND STREET STUDIOS 7025 Canby Ave. Reseda, CA 91335 818-609-9972 E-mail: info@soundstreetstudios.com Web: www.soundstreetstudios.com Contact: Ed Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no Additional location: 7429 Varna Ave. N. Hollywood, CA 91605 818-982-3336 SOUND-TECH STUDIO 24300 Country Rd.

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August 2012

Just Rent It!

www.musicconnection.com 65

Download This Directory From Our Website Moreno Valley, CA 92557 951-243-6666 E-mail: soundtechstudio@yahoo.com Contact: Allan Johnson Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: no SRS Synthesizer Rental Service 2268 Ben Lomond Dr. Los Angeles, CA 90027 323-660-4065, 818-768-7476 E-mail: info@2SRS.com Web: www.synthesizerrentalservice.com, Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: yes SST, INC. Synthesizer Systems Technologies, Inc. 10907 Magnolia Blvd., Ste. 425 818-907-7780 E-mail: sst.shop@yahoo.com Web: www.4sst.net Services: Synthesizer & Computer rental Additional location: Nashville, TN 615-327-3500 E-mail: sstnash@bellsouth.net STUDIO 116 CORP. 4720 San Fernando Road Glendale, CA 91204 323-274-0220 Fax 323-345-5016 E-mail: rental@studio116corp.com Web: www.studio116corp.com Studio Equip: yes Musical Equip: yes Lighting: yes

FX: no Stages: no Cartage: no Services: We are an Event production company. We rent sound, lighting & projection for all kinds of events. STUDIO INSTRUMENT RENTALS 6465 Sunset Blvd. Los Angeles, CA 90028 323-957-5460 Fax 323-464-7120 E-mail: lainfo@sir-usa.com Web: www.sirla.com Contact: Fred Rose Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes Additional locations: 74830 Velie Way, Ste. E Palm Desert, CA 92260 760-340-4864 Fax 760-836-0252 E-mail: psinfo@sir-usa.com Web: www.sir-usa.com 4620 Santa Fe St. San Diego, CA 92109 858-274-1384 Fax 858-274-1906 E-mail: sdinfo@sir-usa.com Web: www.sir-usa.com STUDIO WEST OF SAN DIEGO 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497, Fax 858-592-9580 E-mail: jesse@studiowest.com Web: www.studiowest.com Contact: Jesse Maxon, Studio Manager Studio Equip: yes Musical Equip: no Lighting: no FX: yes Stages: no

www.musicconnection.com/amp Cartage: yes Tech services: yes SWING HOUSE REHEARSAL & RECORDING 7175 Willoughby Ave. Los Angeles, CA 90046 323-850-4990 Fax 850-4992 E-mail: info@swinghouse.com Web: www.swinghouse.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: yes Cartage: yes TECH SHOP, THE 3940 Laurel Cyn Blvd. #228 Studio City, CA 91604 818-508-1070 Web: www.recordingstudiowiring.com Services: Wiring & Installations, Gear Repair, Acoustical Consulting and Design. THIRD ENCORE 10917 Vanowen St. N. Hollywood, CA 91605 818-753-0148, 714-606-1973 E-mail: john@3rdencore.com Web: www.labacklinerentals.com Contact: John Hoik Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes TIM JORDAN RENTALS 11320 Chandler Blvd., Ste. D N. Hollywood, CA 91601 818-755-9011 Fax 818-755-9012 E-mail: rod@timjordanrentals.com Web: www.timjordanrentals.com Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no TREW AUDIO 3325 Cahuenga Blvd. W. Los Angeles, CA 90068 888-293-3030, 323-876-7525 E-mail: info@trewaudio.com Web: www.trewaudio.com VALLEY SOUND MUSIC TECHNOLOGIES 5527 Cahuenga Blvd. N. Hollywood, CA 91601 818-755-2801 Fax 818-755-8718 E-mail: stretch@valleysoundla.com, zita@ valleysoundla.com Web: www.valleysoundla.com VIDEO RESOURCES 1809 E. Dyer Rd., Ste. 307 Santa Ana, CA 92705 800-261-7266, 949-261-7266 Web: www.videoresources.com

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Studio Equip: yes Musical Equip: no Lighting: yes FX: no Stages: yes Cartage: no Additional location: 110 Campus Dr. Marlborough, MA 01752 508-485-8100 VINTAGE STUDIO RENTAL N. Hollywood, CA 818-994-4849 Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes VIRTUAL SOUNDS TECHNOLOGY 1270 Lincoln Ave., Ste. 1000 Pasadena, CA 91103 626-794-8196 Fax 626-794-0340 E-mail: sales@vstservice.com Web: www.vstservice.com WESTCOAST SOUND, INC. 3030-A S. Fairview Ave. Santa Ana, CA 92704 714-850-0471 Fax 714-850-9972 Web: www.westcoastsound.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no WEST L.A. STUDIO SERVICES 2033 Pontius Ave. W. Los Angeles, CA 90025 310-478-7917 Fax 310-479-5961 E-mail: ricky@westlastudios.com Web: www.westlastudios.com Contact: Rick or any W.L.A.S.S. Employee Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no WILDFIRE STUDIOS 640 S. San Vicente Blvd. Los Angeles, CA 90048 323-951-1700 Fax 323-951-1710 Web: www.wildfirepost.com Studio Equip: no Musical Equip: no Lighting: no FX: no Stages: yes Cartage: no Additional locations: 245 W. 55th St., Ste. 1108 New York, NY 10019 917-793-1051

Download This Directory From Our Website 2505 Jefferson St. N.E. Albuquerque, NM 87110 323-951-1700

Colorado

CEAVCO AUDIO VISUAL 6240 W. 54th Ave. Arvada, CO 80002 303-539-3500 Fax 303-539-3501 E-mail: solutions@ceavco.com Web: www.ceavco.com Additional location: 5078 List Dr. Colorado Springs, CO 80919 719-636-2866 Fax 719-636-2857 FAV Ford Audio-Video 4230 Carson St. Denver, CO 80239 800-654-6744, 720-374-2345 Fax 720-374-2344 E-mail: logah@fordav.com Web: www.fordav.com F/VESCO DENVER Film/Video Equipment Service Co. 800 S. Jason St. Denver, CO 80223 800-776-8616, 303-778-8616 E-mail: dschneider@fvesco.com, sforbes@fvesco.com Web: www.fvesco.com Contact: Dean Schneider or Scott Forbes IMAGE AUDIOVISUALS 2130 S. Dahlia St. Denver, CO 80222 800-818-1857, 303-758-1818 E-mail: rentalsales@imageav.com Web: www.imageav.com SHAPED MUSIC, INC. 3800 Weicker Dr., Ste. 1 Fort Collins, CO 80524 970-221-2315 Fax 970-224-2326 E-mail: randyc@shapedmusic.com Web: www.shapedmusic.com Services: Shaped Music, Inc. is your sound, lighting, and backline production company serving all of Colorado including Denver, Boulder, Colorado Springs, Fort Collins, Grand Junction, Telluride, Aspen, Vail, Steamboat Springs, Keystone, Copper Mountain, and beyond. We also serve all of Wyoming, Nebraska, Utah, and New Mexico. *Note: National touring & festivals also available. Pro Audio sales.

Northglenn, CO 80233 303-875-5678 E-mail: events@sssproductions.net Web: www.sssproductions.net

Connecticut

M COMMUNICATIONS P.O. Box 4630 Stamford, CT 06907 877-287-4697 Fax 203-324-9482 E-mail: rentals@mcommunications.com Web: www.mcommunications.com

Delaware

MIDDLETOWN MUSIC 4380 Summit Bridge Rd. Middletown, DE 19709 302-376-7600 E-mail: middletownmusic@verizon.net Web: http://saxyduo.pages.qpg.com

District Of Columbia (DC)

CONNECTING POINT MULTIMEDIA, INC. Washington, DC 888-434-8880, 703-527-8220 E-mail: info@cpmmonline.com Web: www.cpmmonline.com

QUICK AV RENTALS Washington, DC 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com VER Video Equipment Rental Washington DC 866-583-7837, 301-731-9560 Fax 301-731-9570 E-mail: info@verrents.com Web: www.verrents.com

Florida

A.A.V.I.D. Automated Audio Video Integration and Design 4421 Commons Dr. E., Ste. 120 Destin, FL 32541 850-502-4154 E-mail: info@aavidps.com Web: www.aavidps.com

www.musicconnection.com/amp 321-783-5232 Fax 321-799-1016 E-mail: info@cciflorida.com Web: www.cciflorida.com CP COMMUNCATIONS See Florida listing GREAT SOUTHERN STUDIOS, THE 15221 N.E. 21st Ave. N. Miami Beach, FL 33162 305-944-2464 Fax 305-944-9920 E-mail: info@gssmiami.com Web: www.greatsouthernstudios.com MIDTOWN VIDEO 4824 S.W. 74th Ct. Miami, FL 33155 800-232-4564, 305-669-1117 E-mail: info@midtownvideo.com Web: www.midtownvideo.com QUICK AV RENTALS Ft. Lauderdale, FL 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com STUDIO INSTRUMENT RENTALS 12200 N.E. 14th Ave. N. Miami, FL 33161 305-891-3350 Fax 305-891-3550 E-mail: miinfo@sir-usa.com Web: www.sir-usa.com Additional location: 3400 Rio Vista Ave. Orlando, FL 32805 407-826-1374 Fax 407-826-1364 E-mail: orlinfo@sir-usa.com TAI AUDIO 5828 Old Winter Garden Rd. Orlando, FL 32835 800-486-6444, 407-296-9959 E-mail: info@taiaudio.com Web: www.taiaudio.com

VER Video Equipment Rentals 1611 Cypress Lake Drive Orlando, FL 32837 888-582-0350, 407-582-0350 Fax 407-582-0370 E-mail: info@verrents.com Web: www.verrents.com

Georgia

ATLANTA SOUND AND LIGHTING 1400 Vijay Dr. Atlanta, GA 770-455-7695 E-mail: aslscott@mindspring.com Web: www.atlantasoundandlight.com CONCERT AUDIO Atlanta, GA 770-434-2437 E-mail: andrew@concertaudio.com Web: www.concertaudio.com FRESH TOUCH MINISTRIES, INC. P.O. Box 1465 Griffin, GA 30223 770-228-2307 678-688-3406 E-mail: requests@freshtouch.org Web: www.freshtouch.org LIGHTNIN’S 2555 University Pkwy. Lawrenceville, GA 30043 770-963-1234 Fax 770-338-4151 E-mail: mpruehs@lightnin.net Web: www.lightnin.net PC&E ATLANTA Production Consultants & Equipment 2235 DeFoor Hills Rd. Atlanta, GA 30318 800-537-4021, 404-609-9001 Fax 404-609-9926 E-mail: marketing@pce-atlanta.com Web: www.pce-atlanta.com PRESENTATION RENTALS 1640 Roswell St. S.E. #A

BUDGET VIDEO RENTALS 1825 N.E. 149th St. Miami, FL 33181 800-772-1111 E-mail: rentals@budgetvideo.com Web: www.budgetvideo.com

SPECTRUM AUDIO VISUAL 351 W. 45th Ave. Denver, CO 80216 800-477-4752, 303-477-4456 Fax 303-477-0114 E-mail: info@spectrumav.com Web: www.spectrumav.com

CCI HD 7980 N. Atlantic Ave. Cape Canaveral, FL 32920 321-783-5232 Fax 321-799-1016 E-mail: info@cciflorida.com Web: www.cciflorida.com

S.S.S. PRODUCTIONS 11165 Clarkson St.

COMMUNICATIONS CONCEPTS, INC. 7980 N. Atlantic Ave. Cape Canaveral, FL 32920

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Download This Directory From Our Website Smyrna, GA 404-768-4699

Cartage: yes Tech services: yes

QUICK AV RENTALS Atlanta, GA 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com

MCS Midwest Conference Service 35 N. Garden Ave. Roselle, IL 60172 888-MCS-EXPO, 630-351-EXPO 863-602-6659 E-mail: danderson@mcsexpo.com Web: www.mcsexpo.com

SMARTSOURCE 2144-G Hills Ave. Atlanta, GA 30318 404-352-0900 Fax 404-352-8240 Web: www.ascr.com TECH RENTALS Norcross, GA 30093 800-967-2419, 770-457-0966 E-mail: av@techrentals.com Web: www.techrentals.com VER Video Equipment Rentals 2105 Nancy Hanks Drive Norcross, GA 30071 770-300-0401 Fax 770-300-0341 E-mail: info@verrents.com Web: www.verrents.com

Hawaii

MYSTICAL SOUNDS PRODUCTIONS P.O. Box 75152 Honolulu, HI 96836 808-947-3115 Fax 808-947-3115 E-mail: mspdjs@gmail.com Web: www.mysticalsoundsproduction.com

Illinois

ANDY’S PRO HIRE 3139 N. Elston Chicago, IL 60618 773-267-1222 Fax 773-267-1333 E-mail: ken@andysprohire.com Web: www.andysprohire.com Contact: Ken AV CHICAGO 619 W Taylor St. Chicago, IL 60607 312-229-4100, Fax 312-943-9688 Web: www.avchicago.com CHICAGO HD CORP. 1 E. Erie St., Ste. 350 Chicago, IL 60611 312-951-9610 Fax 312-951-9612 E-mail: info@chicagohd.com Web: www.chicagohd.com DANCE ALL NIGHT! INC. 1340 Woodland Lane Riverwoods, IL 60015 877-940-9788, 847-940-9788 Fax 847-940-7557 E-mail: bruce@danceallnight.com Web: www.danceallnight.com Studio Equip: no Musical Equip: no Lighting: yes & Video Projection FX: yes Stages: no

68 August 2012

NOVATOO AUDIO VISUAL 120 Easy St., Unit 3 Carol Stream, IL 60188 630-871-2222 E-mail: novatooinfo@sbcglobal.net Web: www.novatoo.com Contact: Tim Novak, rentalsales Mgr. QUICK AV RENTALS Chicago, IL 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com ROOSTER A/V SERVICES CORP P.O.Box 515 Homewood, IL 60430 708-206-0935 Fax 708-206-0938 E-mail: info@roosterav.com Web: www.roosterav.com SMS PRODUCTIONS P.O. Box 1554 Plainfield, IL 60544 630-742-4408 E-mail: smsprod@sbcglobal.net Web: www.smsprod.com SOUND CORE MUSIC & VIDEO 122 S. Illinois Ave. Carbondale, IL 62901 618-457-5641 Fax 618-457-0280 Web: www.soundcoremusic.com STUDIO INSTRUMENT RENTAL 3052 W. Montrose Ave. Chicago, IL 60618 773-478-8500, 773-478-8555 E-mail: chinfo@sir-usa.com Web: www.sir-usa.com SWING CITY MUSIC 1312 Vandalia Collinsville, IL 62234-5307 618-345-6700 or 314-421-1558 E-mail: swingcitymusic@ameritech.net Web: www.swingcitymusic.com Additional location: 244 S. Buchanan Edwardsville, IL 62025-2109 618-656-5656 VER Video Equipment Rentals 3810 N Carnation St. Franklin Park, IL 60131 847-671-4966 Fax 847-671-4936 E-mail: info@verrents.com Web: www.verrents.com

www.musicconnection.com

www.musicconnection.com/amp ZACUTO 401 W. Ontario, Ste. 250 Chicago, IL 60610 888-294-FILM (3456), 312-863-FILM (3456) E-mail: patty@zacuto.com Web: www.zacuto.com

Indiana

SOUND COMPANY, THE 51535 Bittersweet Rd. Granger, IN 46530 574-277-0032 Fax 574-277-4279 E-mail: cpaluzzi@nkn.com Web: www.thesoundcompany.com STUDIO ONE INC. 25833 SR. 2 South Bend, IN 46619 800-888-9700, 574-232-9084 Fax 574-232-2220 E-mail: info@studioonesb.com Web: www.studioonesb.com

Iowa

PRATT AV 333 S.W. 9th, Ste. N Des Moines, IA 50309 800-427-3339, 515-280-9800 Fax 515-280-3338 E-mail: info@prattav.com Web: www.prattav.com Additional location: 5010 Brady St. Davenport, IA 52806 800-798-1825, 563-359-1825 Fax 563-359-7104 RIEMAN MUSIC 6501 Douglas Ave. Urbandale, IA 50322 515-278-4685 800-962-3658 E-mail: websales@riemans.com Web: www.riemans.com Contact: J.C. Wilson Additional locations: Des Moines - East 800-372-6051 515-262-0365 Ames, IA 50010 800-234-4203, 515-233-4203 Mason City, IA 50401 800-397-4606, 641-423-6563 Fort Dodge 800-362-1627 515-576-2189 Creston 800-947-9139 641-782-5121

Kansas

THE EVENT LINE Kansas City, KS 888-254-6535 E-mail: info@theeventline.com

Web: www.theeventline.com Additional locations: Atlanta, GA Warehouse 770-562-0318 (Atlanta) 205-572-4599 (Birmingham) 615-724-3422 (Nashville) St. Louis, MO Warehouse 314-255-2882 (St Louis) 618-307-0030 (Metro East) 217-718-3908 (Springfield) Kansas City, MO Warehouse 816-659-7600 (Kansas City) 785-422-3605 (Topeka) 573-234-6610 (Columbia) Chicago, IL (entire region) 312-473-3779 LIGHTS ON KANSAS CITY 1720 Merriam Ln. Kansas City, KS 66106 800-229-5876, 913-362-6940 Fax 913-362-6958 E-mail: kansascity@lightson.com Web: www.lightson.com

Louisiana

PERKINS PRODUCTIONS 101 N. Magnolia Dr. Covington, LA 70433 800-467-6004, 985-867-8889 Fax 985-867-8789 E-mail: sales@perkinsvideo.com Web: www.perkinsvideo.com THE PINNACLE GROUP Lafayette, LA 800-524-7462, 337-593-1149 Web: www.pingroup.com Additional locations: Baton Rouge, LA 225-767-1148 Lake Charles 337-477-7469 Houston,TX 337-802-1916 VER Video Equipment Rentals 3000 Lausat St. Metairie, LA 70001 504-831-6966 Fax 504-834-7537 E-mail: info@verrents.com Web: www.verrents.com

Maine

AV TECHNIK LLC. 76 Darling Ave. South Portland, ME 04106 207-699-0115 E-mail: info@avtechnik.com Web: www.avtechnik.com

Download This Directory From Our Website E-mail: info@pureenergyentertainment.com Web: www.pureenergyentertainment.com

STARBIRD MUSIC 525 Forest Ave. Portland, ME 04101 207-775-2733, 207-828-0888 Web: www.starbirdmusic.com

Maryland

CPR MULTIMEDIA SOLUTIONS 7812 Cessna Ave. Gaithersburg, MD 20879 301-590-9400 E-mail: info@cprmms.com Web: www.cprmms.com DSL SOUND, INC. 67 W. Baltimore St., Ste. 101 Hagerstown, MD 21740 800-966-1070, 301-797-1070 Fax 301-797-3009 E-mail: info@dslsound.net Web: www.dslsound.net

QUICK AV RENTALS Boston, MA 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com RULE BROADCAST SYSTEMS, INC. 1284 Soldier’s Field Rd. Boston, MA 02135 800-785-3266, 617-277-2200 Fax 617-277-6800 E-mail: answers@rule.com Web: www.rule.com SOUNDVISION 7 Lincoln St., Ste. 200-A Wakefield, MA 01880 781-245-9655, 800-547-4343 E-mail: sales@svav.com Web: www.svav.com

Additional locations:

Dover, DE 302-697-7515, 302-241-9068 800-4888-4197

TELECAST FIBER SYSTEMS, INC. 324 Clark St. Worcester, MA 01605 508-754-4858 Fax 508-752-1520 E-mail: telecast.sales@belden.com Web: www.telecast-fiber.com

VER Video Equipment Rentals 4390 Parliament Pl., Ste. B Lanham, MD 20706 866-583-7837, 301-731-9560 Fax 301-731-9570 E-mail: info@verrents.com Web: www.verrents.com

Massachusetts

ALL TECH SOUND & PRODUCTION SERVICES, INC. P.O. Box 606 Avon, MA 02322 508-583-4000 Fax 508-583-1378 E-mail: info@alltechsound.com Web: www.alltechsound.com Services: Provides sound, backline, lighting and stages for concert and corporate events ATEL 514 Dorcester Ave. Boston, MA 02127 800-426-6852 781-383-2227 E-mail: info@a-tel.com Web: www.a-tel.com

VER Video Equipment Rentals 226 W. Cummings Park Woburn, MA 01801 866-255-4837, 781-937-7612 Fax 781-937-0682 E-mail: info@verrents.com Web: www.verrents.com

PURE ENERGY ENTERTAINMENT 300 Andover St., P.M.B. 333 Peabody, MA 01960 978-646-9226

ZASCO PRODUCTIONS, LLC 340 McKinstry Ave., Ste. 400 Chicopee, MA 01013 800-827-6616, 413-534-6677 E-mail: info@zasco.com Web: www.zasco.com

Additional locations:

Additional location:

Kansas City: 816-254-6535 Metro-East: 618-208-1033 Metro-West: 636-412-0090

Detroit Kim Jones kim@alphavideo.com 734-761-8755

FAZIOS 15440 Manchester Rd. Ellisville, MO 63011 888-687-4200, 636-227-3573 E-mail: info@faziosmusic.com, james@faziosmusic.com Web: www.faziosmusic.com

EMI RENTALS 4719 42nd Ave., N. Robbinsdale, MN 55422 800-832-5174, 612-789-2496 E-mail: info@EMlaudio.com Web: www.emirentals.com

Nebraska

MIDWEST SOUND & LIGHTING, INC. 4318 S. 50th St. Omaha, NE 68117 800-981-9521, 402-731-6268

26 Yrs. Pro Attorney / 35 Yrs. Pro. Musician

JEFF MOON PRODUCTION SERVICES 2716 Balsam Way Dr. Sterling Heights, MI 48314

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EVENT LINE, THE St. Louis, MO 888-254-6535, 314-255-2882 E-mail: info@theeventline.com Web: www.theeventline.com

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Missouri

ALPHA AUDIO & VIDEO 7711 Computer Ave. Edina, MN 55435 952-896-9898 800-388-0008 E-mail: info@alphavideo.com Web: www.alphavideo.com

IN TUNE RENTALS, LLC P.O. Box 200 Novi, MI 48376 248-735-0000 E-mail: info@intunerentals.com Web: www.intunerentals.com

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VER Video Equipment Rentals 21304 Hilltop St. Southfield, MI 48034 248-304-9749 Fax 248-304-9926 E-mail: info@verrents.com Web: www.verrents.com

MUSIC ATTORNEY

GEARHOUSE CREATIVE Dearborn, MI 48124 734-469-4630 E-mail: info@gearhouse.net Web: www.gearhouse.net

Post a free ad seeking musicians Find jobs with working bands Thousands have used us since 1969!

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TOTAL MUSIC SERVICES 2300 Myrtle Ave., Ste. 115 St. Paul, MN 55114 800-779-7368, 651-644-7102 Fax 651-644-8240 E-mail: info@totalmusic.com Web: www.totalmusic.com Contact: Billie Kahle Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes Tech services: yes

RUSSELL VIDEO 4528 Concourse Dr. Ann Arbor, MI 48108 734-213-0500 Fax 734-213-0100 E-mail: inbox@russellvideo.com Web: www.russellvideo.com

LIGHTS ON MINNEAPOLIS 61 Bedford St. S.E. Minneapolis, MN 55414-3553 800-336-6620, 612-331-6620 Fax 612-331-6601

Michigan

KLONDIKE SOUND COMPANY 37 Silvio Conte Dr. Greenfield, MA 01301 413-772-2900 Fax 413-772-2199 E-mail: info@klondikesound.com Web: www.klondikesound.com

E-mail: minneapolis@lightson.com Web: www.lightson.com

586-254-4540 Fax 586-254-4766 E-mail: moonjeff@aol.com Web: www.moonproduction.com

Minnesota

TALMAS BROADCAST EQUIPMENT 145 California St. Newton, MA 02458 617-928-0788 800-941-2446 E-mail: info@talamas.com Web: www.talamas.com

Baltimore, MD 410-522-2061, 800-966-1010

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Free Email & Phone Consultation: Call or Email Anytime: 805-557-0660 chris@chrisolsenlaw.com www.chrisolsenlaw.com August 2012

www.musicconnection.com 69

Download This Directory From Our Website E-mail: info@mwsound.com Web: www.mwsound.com Additional location: 2425 ‘O’ St. Lincoln, NE 68510 800-617-4298, 402-474-4918 PRATT AV 4509 S. 96th St. Omaha, NE 68127 402-592-6970 800-228-5837 E-mail: info@prattav.com Web: www.prattav.com Additional location: 221 Sun Valley Blvd. Lincoln, NE 68528 402-474-1100 800-869-0369

Nevada

AVD Audio Video Discount Las Vegas, NV 702-566-1210 E-mail: info@audiovideodiscount.com Web: www.audiovideodiscount.com AV VEGAS PRODUCTIONS 4375 S. Valley View, Ste. C Las Vegas, NV 89103 702-878-5050 Fax 702-878-5052 E-mail: sales@avvegas.com Web: www.avvegas.com D A V PRODUCTIONS 711 Pilot Rd., Ste. F Las Vegas, NV 89119 702-795-8805 E-mail: info@davproductions.com Web: www.dav-productions.com LEFCO VIDEO SERVICES 600 W. Sunset Rd., Ste. 103

Henderson, NV 89015 702-566-1770 Fax 702-566-1798 E-mail: info2@lefco.com Web: www.lefco.com LEVY PRODUCTION GROUP 5905 S. Decatur Blvd., Ste. 1 Las Vegas, NV 89118 702-551-4178 E-mail: crystle@levyproductiongroup.com Web: www.levyproductiongroup.com QUICK AV RENTALS Las Vegas, NV 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com STUDIO INSTRUMENT RENTALS, INC. 4760 Polaris Ave. Las Vegas, NV 89103 702-382-9147, 702-384-5638 E-mail: ivinfo@sir-usa.com Web: www.sir-usa.com VER Video Equipment Rentals 3855 West Harmon Ave Las Vegas, NV 89103 877-837-8342, 702-895-9777 Fax 702-895-7377 E-mail: info@verrents.com Web: www.verrents.com

New Jersey

SHADOWSTONE One Entin Rd. #2 Clifton, NJ 07014 973-458-9550 Fax 973-458-1550 E-mail: info@shadowstone.com Web: www.shadowstone.com Additional location: Washington, DC 202-635-9400 Fax 202-635-0045

www.musicconnection.com/amp WESTFIELD AUDIO VISUAL 1012 Greeley Avenue Union, NJ 07083 908-838-9090 212-776-3300 E-mail: info@westfieldav.com Web: www.westfieldav.com

New Mexico

AV SYSTEMS, INC. 551 Cordova Rd., Ste. 303 Santa Fe, NM 87505 505-982-6300 Fax 505-983-5652 E-mail: avsweb@avsystems.com Web: www.avsystems.com ELLIOTT LOCATION EQUIPMENT 3120 Blake Rd. Albuquerque, NM 87105 505-328-0909, 505-247-2511, 310-915-1744 Web: www.elliottlocationequipment.com FIELD & FRAME 107 Tulane S.E. Albuquerque, NM 87106 505-265-5678 Fax 505-255-2735 E-mail: fieldandframe@yahoo.com Web: www.fieldandframe.com

New York

CARROLL MUSICAL INSTRUMENT RENTALS, LLC 625 W. 55th St., 6th Fl. New York, NY 10019 212-868-4120 Fax 212-868-4126 Web: www.carrollmusic.com COLLEGIUM SOUND, INC. 35-41 72nd St. Jackson Heights, NY 11372 718-426-8555 E-mail: soundman@computer.org Web: www.minstrelrecords.com Contact: Don Wade CP COMMUNICATIONS 200 Clearbrook Rd., #148 Elmsford, NY 10523 814-345-9292, 800-762-4254 Fax 914-345-9222 E-mail: kurt.heitmann@cpcomms.com Web: www.cpcomms.com Additional locations: 777 American Dr. Bensalem, PA 19020 215-633-1000, 800-208-6825 Fax 215-633-1085 E-mail: Jim.anderson@cpcomms.com Web: www.cpcomms.com 3506 St. Valentine Way, Unit #6 Orlando, FL 32811 407-843-4226, 800-373-6827 Fax 407-843-4921 E-mail: Kevin.OBrien@cpcomms.com West Coast: Brian Starkey Brian.starkey@cpcomms.com 800-762-4254 DJ PRO AUDIO 343 Broadway Williamsburg, Brooklyn, New York City 888-826-1299 Web: www.djproaudio.com DREAMHIRE LLC 36-36 33rd St., Ste. 102 Long Island City, NY 11106 800-234-7536, 212-691-5544 E-mail: info@dreamhire.com Web: www.dreamhire.com Studio Equip: yes Musical Equip: yes Lighting: yes-LED for parties, weddings, etc FX: yes (reverbs, delays, etc) Stages: no Cartage: only our own equipment Tech services: supplied with our equipment as required E C PROFESSIONAL VIDEO 253 W. 51st St. New York, NY 10019 212-333-5570, 212-586-6156

70 August 2012

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Download This Directory From Our Website E-mail: info@ecprovideo.com Web: www.ecprofessionalvideo.com FINGER LAKES AUDIO VIDEO RENTAL P.O. Box 621 Penn Yan, NY 14527 888-353-3562 E-mail: info@flavr.biz Web: www.flavr.biz FUNKADELIC STUDIOS, INC. 335 W. 35th St. - 3rd Fl New York, NY 10001 212-696-2513 Fax 212-696-0192 E-mail: funkadelicstudios@gmail.com Web: www.funkadelicstudios.com, HELLO WORLD 118 W. 22nd St. New York, NY 10011 212-243-8800 Fax 212-691-6961 E-mail: rentals@hwc.tv Web: www.hwc.tv INS & OUTS 60 Jansen Rd. New Paltz, NY 12561 845-256-0899 Fax 845-256-1484, 914-388-4920 E-mail: sfxone@aol.com Web: www.insandoutssound.webs.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes INTERACTIVE VISION SOLUTIONS Audio Visual Equipment Rental in NYC 248 W 35th St. New York, NY 10001 212-729-4305, 866-877-9855 E-mail: info@audiovideonyc.com Web: www.audiovideonyc.com KEYBOARD INSTRUMENT RENTALS 1697 Broadway, Ste. 504 New York, NY 10019 212-245-0820 Contact: Danny Brill LENTINI COMMUNICATIONS 54 W. 21st St. New York, NY 10010 877-LENTINI 212-206-1452 E-mail: info@lentinicommunications.com Web: www.lentinicommunications.com LIMAN VIDEO RENTAL 341 W. 38th St. New York, NY 10018 800-251-4625, 212-594-0086 Fax 212-594-0786 E-mail: lvrusa@lvrusa.com Web: www.lvrusa.com LLOYD SOUND, INC. 3915 Highland Rd. Cortland, NY 13045 607-753-1586, 607-423-1251 E-mail: john@lloydsound.com Web: www.lloydsound.com Contact: John Lloyd LONG ISLAND VIDEO ENTERPRISES 110 Pratt Oval Glen Cove, NY 11542 516-759-5483 E-mail: info@longislandvideo.com Web: www.longislandvideo.com MAGIC HAT FILMS Albany, NY 718-569-8318 E-mail: info@magichatfilms.com Web: www.magichatfilms.com MINERVA AUDIO VISUAL, INC. 56-32 59th St. Maspeth, NY 11378 866-843-0300, 718-366-0600 718-366-1148 E-mail: customerservice@minervaav.com Web: www.minervaav.com Contact: Chris Roach Studio Equip: yes Musical Equip: yes Lighting: yes

FX: yes Stages: yes Cartage: yes Tech services: yes PERCEPTION AUDIO-VISUAL SERVICES 424 West 33rd St., Ste. #LL30 New York, NY 10001 212-239-8187 Fax 212-631-0343 E-mail: info@perceptionav.com Web: www.perceptionav.com PRIMALUX VIDEO PRODUCTION, INC. 30 W. 26th St., Ste. 700 New York, NY 10010 212-206-1402 Fax 212-206-1826 E-mail: info@primalux.com Web: www.primalux.com PRODUCTION CENTRAL 873 Broadway, Ste. 205 New York, NY 10003 212-631-0435 E-mail: info@prodcentral.com Web: www.prodcentral.com Contact: David QUICK AV RENTALS New York, NY 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com

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RSA AUDIO SERVICES 100 Executive Dr., Ste. B Edgewood, NY 11717 631-242-8008 Fax 631-242-8056 E-mail: rsaaudio@aol.com Web: www.rsaaudio.net Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: no SLD LIGHTING 318 W. 47th St. New York, NY 10036 800-245-6630, 212-245-4155 Fax 212-956-6537 E-mail: sales@sldlighting.com Web: www.sldlighting.com SMARTSOURCE 120 Broadway, Suite 906 New York, NY 10001 212-255-4666 E-mail: info@smartsourcerentals.com Web: www.smartsourceav.com STUDIO INSTRUMENT RENTALS (SIR) 475 10th Ave., 2nd Fl. New York NY 10018 212-627-4900 Fax 212-627-7079 E-mail: nyinfo@sir-usa.com Web: www.sirny.com ULTRA SOUND REHEARSAL STUDIO 251 W. 30th St., 4th, 5th & 6th Fls. New York, NY 10001 212-714-1079 Fax 212-244-4136 E-mail: booking@ultrasound rehearsal.com Web: www.ultrasoundrehearsal.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no VER Video Equipment Rentals 620 12th Avenue, 3rd Floor New York, NY 10036 866-483-7692, 212-206-3730 Fax 212-206-9154 E-mail: info@verrents.com Web: www.verrents.com VISUAL WORD SYSTEMS, INC. 35 W. 36th St., 8th Fl. (btw. 5th & 6th Ave.) New York, NY 10018 212-629-8383 Fax 212-629-8333 E-mail: Tony@visualword.com Web: www.visualword.com

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August 2012

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Download This Directory From Our Website WIZDOM A/V, INC. NY Metropolitan Area 877-723-1800, 718-381-6055 E-mail: avhelp@wizdomav.com Web: www.wizdomav.com

Additional location:

North Carolina

AAV EVENTS 800 Briar Creek Rd., Ste. EE 206 Charlotte, NC 28205 704-339-0030 Fax 704-339-0506 E-mail: cbobby@aavevents.com Web: www.aavevents.com Additional location: 1101 Copeland Oaks Dr. Morrisville, NC 27560 919-361-1151 Fax 919-405-2380 E-mail: mmurphy@aavevents.com BACKLINEPRO Charlotte, NC 704-400-6875 Fax 704-366-7011 E-mail: backlinepro@bellsouth.net Web: www.backlinepro.com Contact: Brent Moore CAROLINA BACKLINE P.O. Box 7072 Charlotte, NC 28241 704-575-9020 Fax 440-575-9021 E-mail: edtaylor@carolinabackline.com Web: www.carolinabackline.com NORMAN SOUND & PRODUCTION 912 Central Ave. Charlotte, NC 28204 866-766-7626 704-334-1601 866-766-7626 E-mail: nsp@normansound.com Web: www.normansound.com

North Dakota

HB SOUND & LIGHTS 3331 S. University Dr.

Fargo, ND 58104 877-235-3695, 701-235-3695 Fax 701-280-9332 E-mail: chris.demaster@hbsound.com Web: www.hbsound.com

1515 Demers Ave. Grand Forks, ND 58201 888-775-1150, 701-775-1150 RENTALL 3201 32nd St. S. Fargo, ND 58104 701-893-1900 Fax 701-893-1902 E-mail: FARGO32@rentallusa.net Web: www.rentallusa.net Additional locations: 1001 Basin Ave. Bismarck, ND 58504 701-250-1123 E-mail: Bismarck@rentallusa.net 1--2 25th St., S Fargo, ND 58103 701-234-1900 E-mail: Fargo25@rentallusa.net 619 s. 47th St. Grand Forks, ND 58201 701-772-1605 E-mail: Forx@rentallusa.net 1116 Main Moohead, MN 56560 218-233-1559 E-mail: Moorhead@rentallusa.net

Ohio

BACKLINE CLEVELAND 11509 York Rd., N Royalton, OH 44133 440-582-5678 E-mail: russ@backlinecleveland.com

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72 August 2012

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www.musicconnection.com/amp Web: www.backlinecleveland.com Contact: Russell Kotts Studio Equip: no Musical equipment: yes Lighting: no FX: no Stages: yes Cartage: yes Tech services: yes CSR Colortone Staging & Rentals 5401 Naiman Pkwy. Cleveland, OH 44139 440-914-9500 888-287-3728 E-mail: info@colortone.com Web: www.colortone.com Additional location: Pittsburg, PA 15220 412-400-9643 MARK STUCKER PRODUCTIONS Cincinnati, OH 513-325-4943 Fax 413-669-0801 E-mail: mark@markstucker.com Web: www.markstucker.com MEDIA MAGIC PRODUCTIONS 4504 Rt. 46 S. Jefferson, OH 44047 440-294-2431 E-mail: mail@mediamagicproductions.com Web: www.mediamagicproductions.com SWEET SPOT AUDIO 3800 Lakeside Ave. E. Cleveland, OH 44114 440-342-8625 E-mail: info@sweetspotaudio.com Web: www.sweetspotaudio.com Additional location: 403 Harris Avenue Pittsburgh, PA 15205 412-620-3287

WOODSY’S 135 S. Water St. Kent, OH 44240 800-468-1525, 330-673-1525 E-mail: woodsys@woodsys.com Web: www.woodsys.com Additional location: 110 W. Liberty St. Medina, OH 866-545-8575, 330-725-8575 E-mail: greg@woodsys.com

Oklahoma

FAV Ford Audio-Video 4800 W. Interstate 40 Oklahoma City, OK 73128 800-654-6744, 405-946-9966 Fax 405-946-9991 E-mail: logah@fordav.com Web: www.fordav.com Additional location: 8349 E. 51st St. Tulsa, OK 74145 918-664-2420

Oregon

CINEMAGIC STUDIOS 6705 NE 79th Ct. Ste. 6 Portland, OR 97218 503-233-2141, 503-708-3319 Fax-503-233-0076 E-mail: Joe@cinemagicstudios.com Web: www.cinemagicstudios.com MALAND PRESENTATIONS 11918 N.E. Sumner St., Ste. D Portland, OR 97220 866-434-4923, 503-234-0210 E-mail: eseifert@mpportland.com Web: www.mpportland.com

Download This Directory From Our Website Additional location:

Philadelphia, PA 800-695-5943 Web: www.audiovisualrenting.com

2401 Utah Ave, S., Ste. 295 Seattle, WA 98134 800-218-0110, 206-384-4620

CSR Colortone Staging & Rentals 651 Holiday Dr. Ste. 300 Foster Plaza 5 Pittsburgh, PA 15220 412-928-2059 E-mail: info@colortone.com

Tacoma, WA 253-238-1224 PICTURE THIS 2223 N.E. Oregon St. Portland, OR 97232 503-235-3456, 503-445-7877 Fax 503-236-2302 E-mail: sue@pixthis.com Web: www.pixthis.com Contact: Sue Spry

GOURMET P A SYSTEMS Cranberry Industrial Park 3020-C Unionville Rd. Cranberry Township, PA 16066 724-776-2766 Web: www.gourmetpa.com

QUICK AV RENTALS Portland, OR 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com STUDIO INSTRUMENT RENTALS, INC. 7131 NE Presscott St. Portland, OR 97218 503-282-5583, Fax 503-282-5584 E-mail: orinfo@sir-usa.com Web: www.sir-usa.com TIDEPOOL AUDIO Portland, OR 503-963-9019 E-mail: sales@tidepoolaudio.com Web: www.tidepoolaudio.com

KEYSTONE PICTURES, INC. 1314 Alter St Philadelphia, PA 19147 215-667-6645 Fax 215-667-6655 E-mail: sales@keystonepictures.tv Web: www.keystonepictures.tv QUICK AV RENTALS Philadelphia, PA 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com VIDEOSMITH INC. 200 Spring Garden St., Ste. C Philadelphia, PA 19123 215-238-5070 Fax 215-238-5075 E-mail: info@videosmith.com Web: www.videosmith.com

Pennsylvania

AMP AUDIO VISUAL 204 Turner Industrial Way Aston, PA 19014 610-859-0860,877-287-7676 E-mail: rentals@ampav.net Web: www.ampav.net

Rhode Island

AUDIO VISUAL RENTAL SERVICES 4039 Comly St.

AMBIENT, INC. 75 New England Way Warwick, RI 02886 401-941-8500 Fax 401-732-5368 E-mail: info@ambientsound.com Web: www.ambientsound.com

www.musicconnection.com/amp ECLPS East Coast Lighting & Production Services 1300 Jefferson Blvd., Ste. D Warwick, RI 02888-1000 888-467-9070, 401-467-8780 Fax 401-785-2299 E-mail: info@eclps.com Web: www.eclps.com RHODE ISLAND RENTALS 111 Plan Way Warwick, RI 02886 800-873-6888, 401-738-9731 Web: www.rirental.com

ALLSTAR AUDIO SYSTEMS, INC. 602 Swan Dr. Smyrna, TN 37167 615-220-0260 888-440-4881 E-mail: info@allstaraudio.com Web: www.allstaraudio.com

South Carolina

NEW PRO VIDEO 3546 Admiral Dr. North Charleston, SC 29405 800-462-8895, 843-554-7811 E-mail: holler@newprovideo.com Web: www.newprovideo.com SHOW SERVICES INC. 365 Red Cedar St., Ste. 201 Bluffton, SC 29910 843-815-3731 E-mail: alex@showservicesinc.com Web: www.showservicesinc.com

South Dakota

OUTSOUND PRODUCTIONS 47830 271st St. Harrisburg, SD 57032 605-212-4603 E-mail: info@outsoundproductions.com Web: www.outsoundproductions.com PRATT AV 502 Soth Norbeck Vermillion, SD 57069 800-888-2576, 605-624-6220 Fax 605-624-6256 E-mail: info@prattav.com Web: www.prattav.com

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Tennessee

ALLPRO ELECTRONICS 800 18th Ave. S. Ste. B Nashville, TN 37203 615-259-9963 E-mail: sales@allproelectronics.com Web: www.allproelectronics.com

Additional location: P.O. Box 541964 Merritt Island, FL 32954 321-455-2202 Fax 321-455-2224 BLACKBIRD AUDIO RENTALS 2805 Bransford Ave. Nashville, TN 37204 615-279-7368 E-mail: info@blackbirdaudiorentals.com Web: www.blackbirdaudiorentals.com BLEVINS AUDIO P.O. Box 100903 Nashville, TN 37224 615-202-8669 E-mail: Themciguy@aol.com Web: www.blevinsaudio.net Contact: Steve Sadler BRANTLEY SOUND ASSOCIATES INC. 115 Duluth Ave. Nashville, TN 37209 615-256-6260 E-mail: CCussick@brantleysound.com Web: www.brantleysound.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no

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August 2012

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Download This Directory From Our Website Stages: no Cartage: no Tech Services: yes

Stages: yes Cartage: no CHRISTEC MEDIA P.O. Box 218042 Nashville, TN 37221 615-973-1825 Web: www.christecmedia.com Contact: Larry Repasky

STEVE SADLER 500 Napoleon Ave. Nashville, TN 37211 615-242-0599 E-mail: mcijh@aol.com Contact: Steve Sadler

DR&A, INC. 45 Willow St. Nashville, TN 37210 800-440-9945, 615-256-6200 Fax 615-256-6236 E-mail: drice@griptruck.com Web: www.griptruck.com Contact: Doug Rice, Founder/CEO

STUDIO INSTRUMENT RENTALS OF TN, INC. 1101 Cherry Ave. Nashville, TN 37203 615-255-4500 Fax 615-255-4511 E-mail: tninfo@sir-usa.com Web: www.sir-usa.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes

GAULT & ASSOCIATES, INC. 3545 Probasco Pl. Chattanooga, TN 37411 800-424-2858, 423-756-6128 Knoxville area: 865-690-5101 Nashville area: 615-771-9096 E-mail: avfred@aol.com Web: www.gaultav.com

TENNESSEE CONCERT SOUND 4958 Hwy. 70 E. Brownsville, TN 38012 731-772-2292 E-mail: tnconsound@aol.com Contact: Stewart Tritt

MIDSOUTH VISUAL, INC. Nashville, TN 37219 615-500-5953 E-mail: info@midsouthvisual.com Web: www.midsouthvisual.com NASHVILLE PRODUCTION RENTALS 3401 Ambrose Ave. Nashville, TN 37207 615-775-7609 Fax 615-230-8658 E-mail: mail@nashville productionrentals.com Web: www.nashvilleproductionrentals.com Contact: studio mgr. Studio Equip: yes Musical Equip: no Lighting: yes FX: no

THOMPSON MUSIC RENTAL Nashville, TN 615-210-2120 E-mail: markthompson@comcast.net Web: www.thompsonmusicrental.com TREW AUDIO 220 Great Cir. Rd., Ste. 116 Nashville, TN 37228 800-241-8994, 615-256-3542 E-mail: info@trewaudio.com Web: www.trewaudio.com VER Video Equipment Rentals

August 28-31, 2012 Full Moon Resort, Big Indian, NY The first of its kind, this music immersion week focuses on female musicians! Located near Woodstock, NY, the Women’s Music Summit invites players of all instruments and levels to come together to learn, perform, and connect. Learn and practice by day. Perform, jam, and socialize by night! All levels may attend and participate, from beginner to advanced!

www.womensmusicsummit.com info@womensmusicsummit.com Kaki King, Meshell Ndegeocello, Melissa Auf der Maur (Smashing Pumpkins, Hole), Bibi McGill (Pink, Beyonce), Marnie Stern, Malina Moye, and more.

74 August 2012

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www.musicconnection.com/amp 1854 Air Lane Dr., Ste. 17 Nashville, TN 37210 615-316-9000 Fax 615-316-900 E-mail: info@verrents.com Web: www.verrents.com THE VIDEO COMPANY NASHVILLE 1805 Hayes St. Nashville, TN 37203 615-320-3200 Fax 615-320-3272 E-mail: info@tvcnashville.com Web: www.tvcnashville.com

Texas

ACAV Action Computer & Audio Visual Corporate HD 8524 Hwy. 6 N., #131 Houston, TX 77095 866-475-6825, 281-550-7955 E-mail: sales@actioncomputerand audiovisual.net Web: www.actioncomputerand audiovisual.net DAVID BARROW PRODUCTIONS 3633 North Hills Dr. Austin, TX 78731 512-345-7106 512-799-8468 E-mail: david@davidbarrow.com Web: www.davidbarrow.com FAV Ford Audio-Video 13375 Stemmons Fwy., Ste. 200 Dallas, TX 75234-5755 800-654-6744, 972-241-9966 Fax 972-241-9007 Web: www.fordav.com Additional locations: 1340 Airport Commerce Dr., Ste. 470 Austin, TX 78741 512-447-1103 4500 S. Pinemont Dr.

Houston, TX 77041 713-694-0555 LONESTAR AUDIO VISUAL 25531 Little Brook San Antonio, TX 78260 210-722-2845 E-mail: info@lonestarav.com Web: www.lonestarav.com MOPAC MEDIA 1812 Walnut Ave. Austin, TX 78702 512-478-1812 E-mail: feedback@mopacmedia.com Web: www.mopacmedia.com MP&E 17819 Davenport Rd., Ste. 125 Dallas, TX 75252 972-931-3880 Fax 972-931-3882 E-mail: dallas@hdgear.tv Web: www.mayovideo.com OMEGA BROADCAST GROUP 817 W. Howard Ln. Austin, TX 78753 512-251-7778 Fax 512-251-8633 E-mail: sales@omegabroadcast.com Contact: Bart McNeil, Sales Web: www.omegabroadcast.com OMEGA PRODUCTIONS P. O. Box 606 Palacios, TX 77465 214-891-9585 Fax 214-722-1442 E-mail: getinfo@omegalive.com Web: www.omegalive.com ONSTAGE SYSTEMS 10930 Petal St. Dallas, TX 75238 972-686-4488 E-mail: inquiry@onstagesystems.com Web: www.onstagesystems.com

Download This Directory From Our Website PINNACLE GROUP, THE Houston, TX 800-524-7462, 337-802-1916 Web: www.pingroup.com QUICK AV RENTALS Dallas, TX 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com RESOLUTION MEDIA Houston, TX 77042 Web: www.resmedia.com VER Video Equipment Rentals 1414 Walnut Hill Ln. Irving, TX 75038 877-920-9020, 214-260-1295 Fax 214-260-1300 E-mail: info@verrents.com Web: www.verrents.com

Utah

TV SPECIALISTS, INC. 180 E. 2100 S. Salt Lake City, UT 84115 888-486-5757, 801-486-5757 Fax 801-486-7566 E-mail: mikeb@tvspec.com Web: www.tvspecialists.com WEB AUDIO VISUAL COMMUNICATIONS 3020 South West Temple Salt Lake City, UT 84115 801-484-8567, 877-908-8567 E-mail: info@webbav.com Web: www.webbav.com Additional location: 247 24th St. Ogden, UT 84401 801-866-5534 E-mail: pauls@webbav.com Contact: Paul Stevens

Vermont

SHOW WORKS P.O.Box 219 East Barre, VT 05649 802-522-5294 E-mail: sales@showworksonline.com Web: www.showworksonline.com SOUNDVISION 310 Hurricane Lane, Suite 1 Williston, VT 05495 802-862-2309 E-mail: sales@svav.com Web: www.svav.com

Virginia

AAV EVENTS 2862 Hartland Rd. Falls Church, VA 22043 703-573-6910 Fax 703-573-7776 E-mail: rmathews@aavevents.com Web: www.aavevents.com AVIVA RENTALS 1609 Rhoadmiller St. Richmond, VA 23220 877-564-9143, 804-353-9212 E-mail: john@avivarentals.com Web: www.avivarentals.com CONNECTING POINT MULTIMEDIA, INC. P.O. Box 986 Arlington, VA 22216-0986 703-527-8220, 888-434-8880 Fax 703-527-5220 E-mail: info@cpmmonline.com Web: www.cpmmonline.com

Washington

AV RENT Seattle, WA 206-575-7771 E-mail: sales@avequipment.com Web: www.avrent.com

www.musicconnection.com/amp Additional location: 576 Industry Drive (Headquarters) Tukwila, WA 98188 (South Center) QUICK AV RENTALS Seattle, WA 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com STUDIO INSTRUMENT RENTALS 3631 Interlake Ave. N. Seattle, WA 98103 206-782-6800 Fax 206-782-6862 E-mail: wainfo@sir-usa.com Web: www.sir-usa.com VER Video Equipment Rentals 12610 Interurban Ave. S., Ste. 110 Tukwila, WA 98168 206-242-3860 Fax 206-242-3859 E-mail: info@verrents.com Web: www.verrents.com

Web: www.quavisuals.com Contact: Tim Stoll

Wyoming

SHAPED MUSIC, INC. Serving all of Wyoming, Nebraska, Utah and New Mexico 970-221-2315 Fax 970-224-2326 E-mail: randyc@shapedmusic.com Web: www.shapedmusic.com WILD BUNCH VIDEO PRODUCTIONS 244 N. Beverly Casper, WY 82601 307-267-6377 E-mail: ssterrett@wildbunchvp.com Web: www.wildbunchvp.com/about/ about%20us.html

Wisconsin

FULL COMPASS SYSTEMS, LTD. 9770 Silicon Prairie Pkwy. Madison, WI 53593 800-476-9886, 608-831-7330 800-356-5844 E-mail: rentals@fullcompass.com Web: www.fullcompass.com INTELLASOUND PRODUCTIONS 416 Venture Ct., Ste. 2 Verona, WI 53593-1821 608-845-5683 Fax 608-845-3299 E-mail: mail@intellasound.com Web: www.intellasound.com QUA 2625 S. Lenox St. Apt. #3 Milwaukee, WI 53207 702-556-7969 E-mail: qua@quavisuals.com

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By Tim Guille

Make Serious Money Through Private Music Lessons Most musicians teach private lessons at some point in their career, either to supplement their income or as their main gig. But it’s pretty rare to find someone who makes as much as a doctor or a lawyer by teaching private lessons. Tim Guille, one of Los Angeles’ top-paid music teachers and the creator of Music Money Formula, has done exactly that. He says the secret is to focus on clients who will pay you a high rate, and keep those clients engaged long-term. Here are his tips on how you can maximize your private lesson business.

Tim Guille instructing a student.

1. Teach kids.

I was working 18 hours a day, and was still living in poverty––until I discovered that if I focused on teaching kids (instead of college students and wannabe rock stars) that parents will pay top dollar for anything to do with their kids’ education. Parents are used to setting regular schedules for their kids and this means they will be able to maintain regular lessons each week. And most kids are beginners, so it’s likely you will keep them as a student for years.

2. Know who your REAL BUYER is.

You may be teaching kids, but the parents will be paying for it. So you are selling your service to the parent. But you have to make sure your lessons are fun, so the kid still wants to see you every week. Keep in mind that you can positively affect a child’s life through music. And THAT SHOULD be your goal. You should not only be teaching them music, but also be a positive role model for them. Imagine you have a child… Now be the teacher you would want for your kid. If you can accomplish this, then the “REAL BUYER” will spend boatloads of cash to keep you coming back and they will tell all their friends about you too.

3. Teach popular instruments. (As many as possible!)

The most popular instruments for private lessons are guitar, piano, drums, voice and bass. If you can teach three or more of these instruments, you will have a much easier time getting new clients. And keep in mind that guitar and piano are the most popular instruments in the US, so you’re missing out on a ton of lessons if you don’t teach both of them. If you can teach all five of these instruments, you will have a huge advantage over most other music teachers.

4. Focus on the rich. (i.e. Be exclusive.)

Wealthy people can afford to have regular lessons and they will be able to pay you top dollar for your time. The best way to be exclusive enough, so only the wealthy will want you... is to charge a lot! You can also put every new student on a waiting list for a couple of weeks (even if you have the time to teach them). This will make the student’s parents think you are THE ABSOLUTE BEST, simply because you are not immediately available.

5. Charge more.

The number one mistake most music teachers make is charging too little... When you don’t charge enough, you are basically telling everyone that you are not very good. When I first started teaching in Los Angeles, I charged $25 for half-hour lessons and $40 for an hour. Because of my low rates I only attracted students who could barely afford lessons… This resulted in a ton of cancellations and a high student turnover. The only research I did to find out what to charge was looking at other teachers on Craigslist and then I charged what everyone else was charging... HUGE MISTAKE!!! 78 August 2012

www.musicconnection.com

What happened when I doubled my rates? The perception that people had of me went from “hack” to “pro” overnight. And my business improved dramatically.

6. How to get wealthy clients.

In the beginning, I tried everything... flyers, craigslist, paid ads in local papers, paid ads online... and more. But it wasn’t until I realized that my ideal clients (wealthy people with kids) find new services by asking people they know and trust for recommendations. So I put all my energy into finding people who would connect me with my ideal clients... That’s when my business went through the roof! So you should create an affiliate program. An affiliate is someone who also services your ideal clientele and who is motivated to help you grow your business by referring you to their clients... For instance, if you teach guitar, you could approach basic education tutors, Hebrew tutors, piano teachers, drum teachers, etc... and get them to refer you to their clients.

7. Don’t overbook yourself.

In order to truly do what’s best for your students, you must take care of yourself first. Then you will have the energy and focus to take care of your clients. So set a maximum amount of lessons you are willing to teach each day. If you try to take on too many, you will run out of energy and do a disservice to everyone. Tell your clients that you don’t overbook your lessons, so they get the very best experience ... And by limiting your availability, you can charge a premium for your time.

miniBIO: Tim Guille is the owner of All Play Music, a Los Angeles, CA-based lesson company, and the creator of Music Money Formula, an educational service for music teachers. Visit http:// musicmoneyformula.com for free information on how to make top dollar as a private music teacher.

August 2012

www.musicconnection.com 79

PreSonus™ AudioBox™ 1818VSL. The thoroughbred USB 2.0 interface that’s more than just a one-trick pony.

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Because the 1818VSL’s Virtual Mixer has a whole StudioLive Fat Channel of EQ, compression, and limiting plus reverb and delay effects, you can use it live on stage as a one rack space StudioLive mixer with iPadŽ control!

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AudioBox 1818VSL’s 26 x 8 Virtual StudioLive Mixer with Fat Channel effects. “ ‌I haven’t had this much easy sucess with low-latency effects on an interface in recent memory.â€? Recording Magazine August 2012 (reviewing the 1818VSL’s smaller sibling, AudioBox 44VSL)

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The interface you can also use as a live performance mixer. 2Q \RXU ODSWRS VFUHHQ WKH 96/Ĺ‚V [ 9LUWXDO 0L[HU ORRNV D ORW OLNH 96/ RQ D 6WXGLR/LYH GLJLWDO PL[HU $QG LW LV &RPSOHWH ZLWK VFHQH VDYH DQG UHFDOO DQG VLJQDO SURFHVVLQJ SUH VHWV 1RZ ZLWK $% 96/ 5HPRWH IRU L3DGÂŽ D IUHH GRZQORDG IURP WKH $SSV 6WRUH \RX FDQ PL[ OLYH ZKLOH DGGLQJ ERWK HIIHFWV DQG VLJQDO SURFHVVLQJ WR \RXU 3$ DQG PRQLWRU *HW IXOO LQIR RQ RXU ZHEVLWH DQG WKHQ YLVLW \RXU 3UH6RQXV GHDOHU VRRQ

Virtual StudioLive, our remote *control program for Mac and PC. Š2012, PreSonus Audio Electronics, All Rights Reserved. XMAX, FireStudio, StudioLive, and AudioBox are trademarks of PreSonus Audio Electronics. www.musicconnection.com 80 August 2012

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