July 2021 by Music Connection

The hybrid SSL studio Add the perfect balance of Fusion’s six analogue processors on 2-bus or stems, command your creative session with UF8 Advanced DAW Controller, or apply SSL Native processing like you’re piloting an SSL console with UC1 Plug-in Controller. Solid State Logic has taken its renowned legacy in studio workflow and ergonomics and combined it with the latest forward-thinking production tools to create the hybrid SSL studio.

Fusion

Bus Compressor

UF8

UC1

SSL Native Plug-ins

500 Series

#WhatWillYouCreate www.solidstatelogic.com July 2021

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16/06/2021 20:05

CONTENTS 36

Informing Music People Since 1977 July 2021 • Vol. 45 • No. 7

Jackson Browne In our exclusive interview, the legendary singersongwriter discusses his song-development process, the life-long struggle to develop his vocal technique, and how it all factored into his new album, Downhill From Everywhere.

By Harvey Kubernik Photos: Dylan Coulter

46 42

Royer R-10 Ribbon Mic & dBooster By Steve Sattler

Departments

Studio Managers on COVID, Clients and Connecting

By Rob Putnam

56 Directory of U.S. Recording Studios Compiled By Denise Coso

08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 24. The Legal Beat 26. Signing Stories 28. Song Biz 32. Film•TV•Theater 34. Mixed Notes

Reviews 48. Album Reviews 50. New Music Critiques 52. Livestream Reviews

Be sure to follow Music Connection on Facebook and Twitter.

20. Producer Crosstalk: Justin Niebank . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Maureen Droney, Recording Academy P&E Wing . . . . . By Rob Putnam 30. Songwriter Profile: Brian Tyler. . . . . . . . . . . . . . . . . . . . . . . . . . By Andrea Beenham 47. Industry Profile: Smile Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann 78. Tip Jar: (For Women) How to Work With Men in Music . . . . . . . . By Angela Predhomme

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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.

THE CENTER OF YOUR

CREATIVE UNIVERSE

LYRA

ULTRA-HD MULTIMODE USB MICROPHONE Whether you’re podcasting, making videos, live streaming, or recording your next big hit, easily do it all and sound like a pro with the AKG Lyra ultra-HD, multi-mode USB microphone. For over 70 years the world’s greatest recordings and performances have been captured through AKG microphones, now it’s your turn. Simply plug Lyra into your PC, Mac, phone or tablet and you’re ready to go. FIND OUT MORE AT WWW.AKG.COM

© 2019 HARMAN. All rights reserved. AKG is a trademark of AKG Acoustics GmbH, registered in the United States and/or other countries. Features, specifications and appearance are subject to change without notice. www.akg.com July 2021

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

Denise Coso OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com

Steve Sattler BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com

Hillorie McLarty

ADVERTISING / MARKETING

hillorier@musicconnection.com

Ray Holt DIRECTOR OF DIGITAL MARKETING rayh@musicconnection.com

Jessica Pace FILM / TV / THEATER j.marie.pace@gmail.com

Mark Nardone

SENIOR EDITOR / ASSOCIATE PUBLISHER

markn@musicconnection.com

John Curry ART DIRECTOR artdirector@musicconnection.com

Joseph Maltese ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER

josephm@musicconnection.com

Barry Rudolph NEW TOYS

barry@barryrudolph.com

Andrea Beenham SONG BIZ

drea@dreajo.com

Glenn Litwak THE LEGAL BEAT gtllaw59@gmail.com

Brett Callwood BUSINESS AFFAIRS

brettcallwood@gmail.com

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com Daniel Siwek danielsiwek@roadrunner.com Editorial Interns

Derrick Duverger • Luana Papaiz intern@musicconnection.com

CONTRIBUTING WRITERS Heather Allen, David Arnson, Andrea Beenham, Bobby Borg, Kara Bradford, Pierce Brochetti, Brett Bush, Alexx Calise, Brett Callwood, Miguel Costa, Gary Graff, Eric Harabadian, Andy Kaufmann, Glenn Litwak, Andy Mesecher, Kurt Orzeck, Jessica Pace, Rob Putnam, Adam Seyum, Daniel Siwek, Brian Stewart, Jonathan Widran, Ellen Woloshin

A reeection of Alan’s immersive style, ParSonics studio is situated atop his secluded Tres Vientos Ranch in the hills above Santa Barbara. This state-of-the-art studio is now available to you, for your projects.

PHOTOGRAPHERS Heather Allen, David Arnson, JB Brookman, Brett Callwood, Alexx Calise, Daren Cornell, Miguel Costa, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Alex Kluft, Heather Koepp, Tony Landa, Dave Long, Thomas Long, Charlie Meister, Scott Perham, Garrett Poulos, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Joshua Weesner, Ellen Woloshin

MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. 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 © 2021 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com

CORPORATE HEADQUARTERS

ParSonics.com 6

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beautifully honest

“For me, the best speakers have to sound great without hiding a thing. Amphions do exactly that.” Finneas O’Connell

One12

One15

One18

Two15

Two18

– JONATHAN WIDRAN

HANS DEKLINE MASTERING hansdeklinemastering.com Mastering Big Names and Indies For Over 15 Years: Since veteran mastering engineer Hans DeKline was last profiled in MC in 2013, there have been two significant changes. First is the shift from calling his Los Angeles-based mastering studio Sound Bites Dog (a reference to a lyric he wrote as the frontman of indie band Maypole) to the more straightforward Hans DeKline Mastering. There’s also his designation as “Grammy Winner” for his work on Lisa Loeb’s Feel What U Feel, which won in 2018 for Best Children’s Album. Yet after mastering thousands of recordings––including 10 for Loeb––and averaging some 1,200 songs per year, he simply says, “If you do this at a certain level every day of your life for this long, something’s bound to stick.” Though his history includes major names like U2, Pixies, Matt Nathanson, James Fearnly (The Pogues) and Veruca Salt, he estimates that 90 percent of his clients are indie artists and bands. Dedication to Customer Service: With a combination of high-end analog and digital technology, a JCF Custom Console, various comps, EQs and amps, DeKline has designed a studio that artfully balances fidelity and function, offering state of the art, affordable mastering done now exclusively via the internet. Every sonic decision is made based on his answer to the question: “Does it sound good? Is it musical?” Yet just as important to the success of his largely referral based business is his focus on flexible scheduling and highly personalized customer service. “If you want to be great at any business, the first

July 2021

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lesson is that you’re in customer service,” DeKline says. “You have to talk to people and find out what they want—not what you want to do to their music but what they want from their music. I pride myself on having real relationships and caring.” A Veteran Musician Connecting With Musicians: DeKline’s extensive background as a musician and artist helps him connect and empathize with his clients in a way that strictly tech-oriented mastering engineers cannot. He started experimenting with 4-track machines as a teenager and secured a record deal after graduating with a graphic arts degree from the University of Arizona. After four years of touring, which segued into mixing and producing, he started mastering tracks at home for friends who found pro studios too expensive. “Nobody fawned over my work as a producer or mixer, but when recording engineers heard my mastering work, they loved it, and it made sense to shift gears,” he says. “Understanding the language musicians speak is important. It’s not always technical. If somebody says they’re not feeling it or asks you a question, you need to be able to decipher and answer the how and why without beating them up with overly technical jargon. Having been a professional musician who attended many mastering sessions without knowing anything about it at the time, that was important to me then and now.” Contact Hans DeKline Mastering, 310-621-1896

Harvey Mason Jr. President/CEO Recording Academy

Roderick Scott

VP, Marketing Strategy Republic Records

The Recording Academy’s Board of Trustees has appointed Harvey Mason Jr. as the Academy’s President/CEO. Mason has been in the position on an unpaid, interim basis since January 2020, prior to which he was Chair of the Academy’s Board. During Mason’s tenure, the Academy has improved the transparency of the GRAMMY Awards process, made important changes to voting procedures, and has made strides towards ensuring a more diverse and inclusive membership body. Additionally, the Academy launched a new Songwriters & Composers Wing and the Black Music Collective. Contact lourdes.lopez@recordingacademy.com for more information on the appointment.

Republic Records has promoted Roderick Scott to Vice President of Marketing Strategy. In his new role, Scott will continue to envision, actualize, and oversee integrated marketing campaigns and rollout strategy for a dynamic roster of GRAMMY Award-winning multiplatinum global talent, including Lil Wayne, Nicki Minaj, Kid Cudi, Black Thought, Coi Leray, and many more. He notably joined Republic Records in 2020 as Director of Marketing Strategy. Prior, Scott spent eight years at Warner Bros. Records in publicity and lifestyle marketing, handling strategy for releases from Andra Day, Jason Derulo, Bebe Rexha, including various imprint ventures. To learn more information, contact sydney.feinberg@umusic.com.

Søren Høgsberg

Jamila Thomas

DPA Microphones has announced the appointment of Søren Høgsberg as Executive Vice President of Sales and Marketing. A graduate of the Aarhus School of Business, Høgsberg most recently served as Vice President of International Sales at Demant A/S, an international health care company focused on hearing aids, audiology and communication. Høgsberg also previously held senior positions at Vestas Wind System A/S and GN Store Nord A/S, which is among the top 20 traded companies in Denmark. With DPA’s background also rooted in the hearing aid industry, Høgsberg’s knowledge of audio devices will prove useful in managing DPA’s sales and marketing teams. For more, contact vanessab@dpagan.com.

Motown Records has announced that music executive Jamila Thomas has joined the label’s marketing leadership as Vice President, Artist Marketing. In this role, Thomas will oversee marketing strategies and campaigns across Motown’s roster of artists and partners. In addition, she will serve as a thought leader for the label and lead marketing initiatives for Motown’s newly relaunched historic spoken word imprint, Black Forum. Thomas will also continue her work as co-founder of the global initiative #TheShowMustBePaused. Most recently, Thomas served as Senior Director of Marketing at Atlantic Records, as well as Head of Marketing at Asylum Records. Contact moniquesowinski@livenation.com for more.

Kevin Holiday

Nicki Farag

Kevin Holiday has been promoted to Executive Vice President of Black Music Promotion at Atlantic Records. In his new post, Holiday will oversee Atlantic’s Black Music radio promotion strategy and campaigns, as well as head the label’s Black Music promo teams. Holiday joined Atlantic in 2004 and was most recently Senior Vice President of Urban Promotion. Holiday spent his entire career with Warner Music Group, starting at Elektra Records in 2000 and then moving to Atlantic when the two labels merged in 2004. Over 17 years, Holiday has been a driving force behind the break-out success of numerous artists, such as Cardi B, Lizzo, Roddy Ricch and Silk Sonic. For more, contact sheila.richman@atlanticrecords.

Def Jam Recordings has announced veteran Nicki Farag has been promoted to Executive Vice President and General Manager. As EVP and General Manager of Def Jam, Farag will oversee the label’s day-to-day operations, working with artists, managers and staff to develop strategies and execute plans on behalf of the label’s diverse roster of global superstars and emerging talent. Farag, a widely respected 18-year veteran of Def Jam, previously held the title of Executive Vice President of Promotion, the first female executive to hold that title in the label’s history. Farag is multi-year Billboard “Women In Music” honoree, and a 2020 Variety Hitmakers honoree. For more information, contact g.t@umusic.com.

Jeff Rosica

Thomas Ripsam

Boston Arts Academy Foundation, an independent 501(c)(3) nonprofit organization that raises funds for Boston Arts Academy (BAA), has announced the election of Avid Technology CEO and President Jeff Rosica to Board Chairman. Rosica has served on the BAA Foundation Board since 2018, helping to raise awareness and support for the school from the media and entertainment industry. That same year, Avid Technology licensed all Boston Arts Academy students to use its music and audio creation software, Pro Tools, and in late 2020, donated state-of-the-art equipment to help outfit BAA’s new school building. For more information on the appointment, contact dtanklefsky@thecastlegrp.com.

C.F. Martin & Co. has named Thomas Ripsam as the company’s new Chief Executive Officer, succeeding longtime Chairman and CEO, Christian Frederick Martin IV. An experienced growth strategist and leader, Ripsam has a deep passion for companies with a strong heritage and legacy. He is a trusted advisor and business partner, having guided numerous boards of directors to shape strategies and deliver results. His expertise in development, digital/technology deployment, and continuous improvement will ensure the continued growth of the 188-year-old company. Ripsam holds an MBA in Strategy & Finance from Columbia Business School and Business Administration and Management degrees from Germany and the U.K. Contact kate@richlynngroup.com.

EVP, Sales and Marketing DPA Microphones

EVP, Black Music Promotion Atlantic Records

Board Chairman Boston Arts Academy Foundation

VP, Artist Marketing Motown Records

EVP, General Manager Def Jam Recordings

CEO C.F. Martin & Co.

July 2021

musicconnection.com

– BARRY RUDOLPH barry@barryrudolph.com

VOCOPRO DYNAMIC DUAL RAVE LIGHT SYSTEM VocoPro has a new lighting system with two matching multi-effect rave lights for both sides of the stage. This system comes with two tripod stands for the lights and enables you to position the lights nearly six feet above the floor. The kit includes all the AC power cables plus an extra long DMX cable to synchronize these two powerful 30-watt rave lights. They each have five built-in effects, UV lights, and also green and red lasers. I tried them 30-feet apart and they worked to create a club feeling immediately in my living room. Each rave light automatically cycles through water wave, moonflower, strobe light, and UV effects. In addition there is a laser that projects hypnotic graphics across the room. Both lights have microphones that can pick up sound from your stereo or EDM rig. Only when music is playing, the lights will turn on and off based on a set volume level. When connected via the DMX cable, the secondary unit will sync to the main unit and they track together except for the laser graphics that project through a free-running image wheel inside the unit. I turned my Tones 4 $ Studios into a mini rave club by setting up the lights on my desktop behind and hidden by my large computer monitor. I aimed them at the left and right side walls. Spectacular! I used the included handheld remote control for enabling the Auto mode—a collection of fast changing lighting effects. You can control most operations from the remote. I like to surprise my mixing clients during playbacks by switching them on unexpectedly during big and loud playbacks! The VocoPro Dynamic Dual Rave Light System is an excellent addition to my recording studio just for the vibe it sets up—even if the music is not always EDM. It sells for $499 MSRP and it is great way to light up any room. I like the choices of colors and effects—the watery wave is dreamy!

vocopro.com

LOLLAR ELDORADO HUMBUCKER Jason Lollar’s latest creation is the Eldorado humbucker that features 12 magnetic slug pole pieces inside a pair of coils that are encased in a matte-black vulcanized fiber called forbon. Forbon is the material Leo Fender first used for the Stratocaster, Telecaster and Precision Bass instruments back in the day. The Lollar Eldorado humbucker sounds as good in split coil mode, as it does in full humbucking mode yet, it is a drop-in replacement for any standard size humbucker pickup! The Eldorado is a true convertible pickup with the rich and full tone of a humbucker along with the sparkle and clarity of a single coil. You get a combination of percussive, fast attack with chime-like tone and a wide frequency response. It is said to retain more volume than a regular PAFstyle humbucker when split to get a more musical and glassy tone. Hand-made in the USA, the Lollar Eldorado Humbucker sells for $200 MSRP. Available in both neck and bridge models, and comes in matte black only. lollarguitars.com/lollar-humbucker-pickups/eldorado-humbucker

SOLID STATE LOGIC UF8 ADVANCED STUDIO DAW CONTROLLER SSL’s UF8 controller is their latest 8-channel DAW controller that is expandable for up to 32-channels using 4 units inter-connected with USB cables. It works with all major DAW platforms with customized workflows by way of five banks of 8 assignable user keys per UF8 and three, programmable quick keys. All eight of the UF8’s channels are each equipped with an endless rotary encoder and there is a large notched Channel encoder that has several functions. Channel mode banks DAW tracks one at a time, while Nudge mode moves audio in the selected Nudge value, and the Focus Mode turns the control into a mouse wheel for adjusting parameters in plugins. On first glance, the “stars” of this show are the eight, touch-sensitive 100-mm motorized faders and the eight hi-res color displays all arranged ergonomically perfectly on the brushed anodized surface. But the UF8’s supporting “cast” of features makes it irresistible because of its powerful software. The UF8 uses SSL’s 360° Control software that easily manages control of up to three different DAWs simultaneously—you can switch between numerous sessions “on the fly” using the Layer keys. Many music makers might prefer Apple’s Logic Pro for programming, Ableton Live for loop creation, and Pro Tools for the final mix. The UF8 will use HUI for Pro Tools with SSL’s Channel and Plugin Modes added and then MCP/MCU for Logic, Cubase, Nuendo, PreSonus Studio One and Ableton Live. Just from my 10,000-foot overview, this is the best controller I’ve seen so far at this price level and I plan to have one in the near future. Anyone who writes, records, and mixes music using all the popular DAWs would be crazy NOT to have one of these. The UF8 sells for $1,299 at dealers and includes SSL’s Native Vocalstrip 2 & Drumstrip plug-ins. solidstatelogic.com/UF8 10

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TO DAW

TASCAM’s newest line of USB audio interfaces – the US-HR Series – oﬀers three models for every type of home studio environment. Whether you need one or four inputs, the US-1x2HR, US2x2HR, and US-4x4HR provide a variety of great-sounding versatile I/O options for producers, engineers, podcasters, live streamers, and musicians of all skill levels.

When creativity strikes, you don’t want frivolous technology to get in the way. But you also want a powerful easy-to-use multitrack than can do the job. That is the concept of a TASCAM Portastudio. Choose from the powerhouse DP-32SD or DP-24SD, to the compact but tactile DP-03SD eight track, to the portable DP-08EX or DP-006.

or, not to daw DP-24SD

DP-32SD

DP-08EX

DP-03SD

DP-006

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– BARRY RUDOLPH barry@barryrudolph.com

NUGEN AUDIO STEREOIZER ELEMENTS PLUGIN Nugen Audio offers streamlined versions of their three powerful plugins that make up the Focus bundle. The first released is called Stereoizer Elements, a stereo width plugin that adds depth to stereo and mono mixes and individual tracks. Most importantly is that mono compatibility is always maintained even with extreme settings. Compatibility means your music mixes will hold up on any playback system even over live sound systems—often mono only. I have reviewed the original Stereoizer3, and Elements gives a path to its basic functionality at a lower cost and less CPU usage. The same algorithms are used under the hood just without individual controls over many deep parameters that are already pre-optimized. Inter-aural intensity difference and inter-aural time difference—the two main ways humans locate sounds within a stereo field are adjusted together by a single control. Stereo audio tracks are adjustable anywhere from mono to wide stereo. Stereoizer Elements maintains the Analysis feature that shows stereo spread relative to frequency. Stereo balance is a simple adjustment with readout display with is a -100% to +100% Linear Width control plus the Mono button collapses stereo down to mono. I found Stereoizer Elements to work great in music mixing for controlling how much stereo space and width sustaining pads, pianos, drum kits, choirs will occupy. Manipulating stereo imaging is as important to me as any other processors I use in music mixing. Stereoizer Elements also does a pretty convincing stereo conversion from mono sources. On a mono guitar track, at about 40% width, I could start to hear certain frequencies “shuffled”—spread out left and right. The Focus Elements plugins are available for both Windows and Mac OS in 64-bit AAX, VST3, AU and AudioSuite formats. Nugen Audio Stereoizer Elements is available for $49 USD download. nugenaudio.com/focus-elements

PSP AUDIOWARE INFINISTRIP VER 1.2.1 PLUGIN InfiniStrip is so named because it is a nearly infinitely configurable channel strip and has super low latency making it useful for mixing, tracking or live streaming. It is commendable that PSP keeps improving their products and InfiniStrip ver 1.2.1 is their latest “work in progress,” but it’s ready now to work with this free upgrade for registered users. InfiniStrip has 26 independent processor modules available for designing your own unique channel strip. Looking like a 500 series outboard rack, the 26 are divided into 8 types of modules. There are multiple choices of preamps, EQs, compressors, limiters, gates, expanders, ducker, de-esser, filters, and saturators. Seven slots are designated for certain processors and two insert slots (X & Y) are for using any module you like. You may drag and drop the modules in any signal chain order. Other new thing: an improved preset system with sort-by-category, Undo/Redo functionality, improved A/B, and over 60 new presets for this rich and deep plugin! This new version adds ReactivEQ, a dynamic equalizer I tried in slot Y and in Mini View mode. I liked ReactivEQ for problem solving as gently as possible. It is good for singers who have certain peaky moments that will spoil whatever flattering EQ and compression settings you already have set up. It also works well for de-popping vocals because you can set a very narrow Q that lowers only the p-pop’s frequency only. Good stuff! PSP Audioware InfiniStrip ver 1.2.1 has so much going on, and it keeps getting better with all the improvements and bug fixes. The operation, analog look and modular feel of this system are cool. So upgrade now! New users can buy PSP InfiniStrip edition for $199 as a download. pspaudioware.net

OEKSOUND SOOTHE2 soothe2 is called a dynamic resonance suppressor that automatically identifies resonances—sudden jumps in audio level for reduction using a specialized equalizer system. Resonances at certain frequencies and moments that can spoil a great mix if not dealt with properly. soothe2 is a necessity for modern music producers and uses four overlapping EQ frequency bands plus both high and low cut bands—all sections have adjustable frequencies, Q, and band types with peaking, high/low shelves, band reject and tilt shapes. soothe2 arrests sibilance, low frequency p-pops (wind), bass guitar pops, any peaky electric guitar sounds, and low mid-range frequency buildups encountered in music mixing. The GUI looks like an equalizer except moving a frequency node vertically up/down with the mouse, increases/decreases the processing for problematic frequencies. soothe2 has both Soft and Hard modes along with a Depth control knob that automatically rescales either mode. Soft mode is useful for minimally intrusive and more natural-sounding control over audio. For more serious problems, use Hard mode. Using both the Selectivity and Sharpness controls further defines the exact frequency ranges and amount of reduction. Hear what you’re reducing by clicking on the Delta button. I liked using soothe2 on problem vocal tracks when meticulously crafted automation moves do not sound good to me. The stereo mode works great when there is a problem only on one side. Stereo mode can also unlink and operate in dual-mono or as a Mid/Side processor. BARRY RUDOLPH is a recording engineer/mixer who soothe2 proves itself as a professional level processor with features like 2X oversampling for has worked on over 30 gold and platinum records. He increased resolution, Attack and Release time controls for the reduction process, side-chain abilities, has recorded and/or mixed Lynyrd Skynyrd, Hall & Wet/Dry control, and a Bypass button for A/B comparisons that keeps soothe2 in circuit with CPU usOates, Pat Benatar, Rod Stewart, the Corrs and more. age, delay compensation and Wet/Dry functionality. Barry has his own futuristic music mixing facility in North A good read is the manual to make the most efficient use of soothe2. It’s the best repair tools you Hollywood called Tones 4 $ Studios. He is a lifetime can own and have at the ready and it is money well spent at $219 MSRP download; upgrade is $59. Grammy-voting member of NARAS and a contributing oeksound.com/plugins/soothe2 12

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editor for Mix Magazine. barryrudolph.com

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BOOK S T ORE Where Dreams Are Born

Rock Me On The Water

Architect, studio designer, Nonzero Architecture’s founder and multiple TEC Award-winner Peter Grueneisen celebrates his company’s 30th year with this elaborate coffee table tome. Its 300+ pages include interviews with notable clients such as composer Hans Zimmer and producer-engineer Bruce Botnick, but the real “stars of the show” are the full-page color photographs of the many residential, commercial and public spaces and media facilities realized by his firm between 2003 and 2019. Meaningful conversations are interspersed with extensive architectural diagrams and project descriptions. Swiss-born Grueneisen explains: “Our designs address the human desire for both the beauty and functionality of surroundings, whether at home or at work, at leisure or in the public realm.”

There have been some terrific books written about key years in the music world, but in Atlantic magazine senior editor Brownstein’s engrossing new book, he focuses on the politics, film, television and, of course, music, all of which coalesce in Los Angeles in fascinating, transformative ways in the year 1974. Great sections in all categories. We especially dig the book’s Jackson Browne material, which offers singular work-ethic choices that should be inspirational to all aspiring artists.

By Peter Grueneisen (hardcover) $68.99

By Mercy Fontenot (hardcover) $27.00

A hip-hop and reggae urban comic novel full of colorful characters, Edmund’s book begins in the Bronx, NY, as two feuding music stars––one a woman, the other a man––discover they have an enemy who has secretly orchestrated their feud. Now needing to team up as he grows more dangerous to them, they’ve got two choices, ride or die! Edmund’s novel is a briskly written, indiepublished page-turner.

The Blueprint

Two Steps Forward, One Step Back

By Bamutiire Jerry Edmund (paperback) $7.00

By Frank Demilt

(hardcover, Kindle) $20.00

Here’s a terrific primer on how to be a successful artist today, from A to Z. And since the author is a professional sound engineer as well as an experienced A&R representative, he spends considerable space on the ins and outs of the entire recording process, from pre-production to mastering. All in all, the book gives excellent insights and advice on all aspects of the music industry–– including distribution, marketing, touring, label submissions–– particularly for up-andcoming artists. musicconnection.com

Permanent Damage: Memoirs of an Outrageous Girl Written just prior to her death in 2020, Permanent Damage shows us the wild world of the 1960s and 1970s music scenes through the eyes of the author, who was part of the now legendary Haight-Ashbury scene before moving to L.A. where she became a member of the notorious Zappaproduced all-girl band The GTO’s before transitioning to the ‘70s punk rock world. Jimi Hendrix, Charles Manson, Alice Cooper, Al Green, Darby Crash and many others are encountered.

Rappers & Toasters

14 July 2021

By Ronald Brownstein (hardcover) $29.99

By Miles A. Copeland III (paperback) $22.95 The son of a CIA operative, manager of the Police and founder of IRS Records (R.E.M., GoGo’s, Cramps) Miles Copeland’s book has plenty of hard-earned intel for artists and their handlers looking to gain an edge in the music business. Copeland takes us from his early days promoting Wishbone Ash and Climax Blues Band all the way through his peak years in the punk, New Wave eras and beyond. The chapter on rockabilly wildman Hasil Adkins is priceless.

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– JONATHAN WIDRAN

RADIAL ENGINEERING radialeng.com Three Decades of Innovative Sound Solutions: Founded in 1992, British Columbia-based Radial Engineering has developed a longstanding rep for bringing reliable and ultra-durable problem solving tools and systems to concert stages and studios worldwide. As the creator of state-of-the-art pro audio gear—including revolutionary direct boxes, splitters, switchers, guitar pedals and audio interfacing devices—Radial’s products have been used by everyone from Rush, U2 and Bruce Springsteen to AC/DC, Billy Joel, Paul McCartney and legendary engineer-producers Elliot Scheiner and Al Schmitt, among others. One of the company’s swag items was a T-shirt listing 150 bands who used their products. Breakthrough and Growth: Fascinated by the sonic possibilities of Jensen Transformers and the way he had observed techs using scrap aluminum to build homemade direct boxes, Janis began manufacturing off-theshelf products in this arena. Radial’s first direct box, the JDI remains one of the most popular DI boxes of all time. Radial boasts in-house research and development, and engineering and production departments where all the products are Canadian-made. An extensive network of dealers and distributors makes Radial products available throughout the world. The JDI and the J48: Radial Engineering is responsible for what are arguably two of the best direct boxes on the market, the JDI and the J48. The Radial JDI is a passive direct box designed to handle extreme signal levels without distortion of any kind. It employs the world-class Jensen JT-

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DC-EPC audio transformer, which delivers a smooth and warm sounding Bessell curve, reminiscent of the finest vintage gear, resulting in the pure natural sound of the instrument. The J48 is a high performance active direct box for live concert touring and pro recording studio applications, able to handle extreme transients without distortion while delivering the natural sound of the instrument. It uses a unique switching power supply that raises the internal rail voltage, resulting in improved signal handling and greater headroom. The HDI: Radial Engineering Product Manager Jay Porter calls their latest product the HDI “the most premium direct box we’ve ever built, able to be very clean and not affecting the sound while turning up the color and drive to offer a full amplifier-like sound.” The HDI has an elegant set of controls that allows users to dial up a record-ready sound with a minimal amount of tweaking. The Level control drives the inputs of the HDI with instant visual feedback from the responsive front panel meter, while the Color knob provides seamless blending between an ultra-clean tone and amp-style distortion and saturation. Other Products: Beyond their famed direct boxes, Radial Engineering offers a dynamic array of state-of-the-art audio products, including splitters, interfaces, reamp, studio tools, isolators, power conditioners, switchers, instrument preamps, load box and amp sims, effect pedals and their 500 series racks and modules. Contact Radial Engineering, 604-942-1001

June 2021 May 2021

5 musicconnection.com 11 musicconnection.com

DAVID GOGGIN

Delta Goodrem at United Recording United Recording in Hollywood hosted tracking and overdub sessions for Delta Goodrem just before Los Angeles issued its Safer at Home order. Since then, post-production and mixing/mastering has been completed to coincide with a dual album release and Goodrem’s first-ever book, Bridge Over Troubled Dreams. Pictured in United Recording’s iconic Studio B are (foreground, l-r) Delta Goodrem and songwriter Marla Altschuler; (standing, l-r) are producer Mark Rankin, guitarist Matthew Copley, United engineer Wesley Seidman, and drummer Aaron Sterling.

Emme Offers Light in the Darkness Emme Lentino’s new single “Peter Pan” aims to shed a beam of light strong enough to shine through anyone’s darkness. Following the shock passing of Lentino’s husband, it was music and family that became her protected sanctuary. Her full EP Light in the Darkness will be available worldwide for purchase. All proceeds will be donated to Hands of Grace-Rae of Light, a suicide prevention program.

ScaryPoolParty in L.A. Damon Sharpe's Latest Pop Project: SHAB Grammy-winning producer Damon Sharpe, who is behind Jennifer Lopez and Ariana Grande’s biggest hits, has recently worked with pop artist SHAB. Her new album INFINITE LOVE and single “What I Do” are topping both American and U.K. Charts, with steady rotation on MTV and over two million YouTube views and streams. The Iranian refugee and mother of two is now living in America, and has captured the attention of girls around the world.

Former American Idol runner-up, Alejandro Aranda, performs as Scarypoolparty, and is pictured working alongside Emmy-and Tony Award-winning composerproducer Rob Mathes (Bruce Springsteen, Sting, Weezer, Panic at Disco, P!nk) at L.A.’s Capitol Studios. The recordings will appear on Scarypoolparty’s forthcoming album on Hollywood Records later this year. Mathes composed the orchestral arrangements, while Scarypoolparty recorded and produced the tracks in just nine days. The album is his most ambitious to date and follows his 2021 EP, LOS ANGELES. This summer, he’ll embark on a 16-show acoustic tour, with appearances at Summer Camp, Bonnaroo and Outside Lands.

Producer Playback “I’ve always created from my heart. I don’t chase trends, sounds or styles. That’s the best way to create because you give an artist your heart and soul. –Amadeus (50 Cent, Trey Songz, Chris Brown)

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– JOSEPH MALTESE josephm@musicconnection.com

Brett Hellings at Sonic Ranch Brett Hellings is currently recording at Sonic Ranch studio in El Paso with an all-star band. For his first solo album, his notable players, who were impressed by his music and wanted to join him to create this record, are Billy Sheehan (Steve Vai, David Lee Roth) named “Best Rock Bass Player” by Guitar Player magazine five times, Kenny Aronoff (John Mellencamp, John Fogerty, Billy Gibbons) on drums, Buck Johnson (Aerosmith, Hollywood Vampires) on keyboards, Rich Fortus (member of Guns N’ Roses) guitarist, Tommy Henriksen (Alice Cooper) on guitar and serving as musical director. The album is being produced by Rob Fraboni who has worked with greats including Bob Dylan, The Band, Eric Clapton, The Rolling Stones, Bonnie Raitt, to name a few.

Rachel Lark: The Pandemic Sessions Queer feminist singer-songwriter/multi-instrumentalist Rachel Lark, wellknown for her biting political commentary and fearless authenticity, brings her hilarious and often raunchy wit to her newest offering, COMING SOON: THE PANDEMIC SESSIONS. Based in Oakland, CA and pursuing music full-time, her passion for activism has remained a part of her life, advocating for asylum seekers at the border. Lark is pictured at Zoo Labs in Oakland.

Jesse Marchant at Woodstock Jesse Marchant is pictured playing piano by candlelight, prepping and adding touches to his latest release, Antelope Running. The album, to be supported by an EU/U.K. Tour this Fall, was created and recorded in the tranquil Adirondack Mountains and Isokon Studio in Woodstock, NY.

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PRODUCER CROSSTALK

– ROB PUTNAM

JUSTIN NIEBANK

ustin Niebank played bass and keyboards in bands as he grew up in Chicago and was even signed to a label for a time. But after he’d sampled life on both sides of the glass, he realized that he was happiest in the engineer’s seat and decided to pursue the craft full time. During the days, he toiled on advertising jingles, while at nights he thrived at Alligator Records. He learned his craft on the job and now divides his time mostly between his home space just outside of Nashville and Studio F of Blackbird Studios. He’s engineered with the likes of Bob Seger, Patti Smith and Bon Jovi, although logs time largely with country bands, notably Old Dominion. Niebank’s background as a musician who rose through the ranks has been a decided asset to him in the studio. “It allows you to have the communication with musicians that a lot of the time is non-verbal,” Niebank observes. “It helps the flow. One of my favorite things about making records is using momentum to your advantage so people can sort of think outside of themselves.” The pandemic has had little effect on his output. Indeed, he’s been busier now than in pre-COVID times although he’s avoided remote recording, for the most part. “That trend had started before the pandemic and it will probably continue,” he says. “There are advantages and disadvantages to any workflow or technology. So many musicians now have a small studio rig. Every one of them I know has a laptop with a UA [Universal Audio] Apollo or something.” These days, the bulk of Niebank’s engineering is with country bands, and . . . lessons he’s learned as a he finds that there are subtle differences and engineer are: in the way that the work evolves in the studio. “With a lot of country artists, the • If you have the right people in big dynamic difference is that [records the room, you can elevate the are made] with session musicians,” whole to where it’s greater he explains. “That’s one of the biggest than the sum of its parts. reasons that I moved to Nashville—be• If something’s wrong, don’t cause you can walk into a room with be afraid to start over. Great some of the world’s greatest players artists are totally willing and, within one or two run-throughs, to scrape the oil off of the it’s a record; it’s done. I don’t suggest canvas and start again. that that’s better or worse than any pop record, but that’s one of the reasons I’m • Technology is a vehicle to drawn to Old Dominion: because I get to get someplace but it’s not work with an actual band in a room and a crutch. Sometimes I don’t develop it that way.” need it at all and I have to be One of the key things he’s seen over comfortable knowing when the years is that listening in all ways that’s necessary. is crucial. Not just to the music, but to the words that artists use… and more importantly, to what they mean. “The number one thing as a producer or engineer is not taking what people say at face value,” he asserts. “You have to learn how to interpret what they’re saying. Ninety percent of what people say and what they mean are two different things. You have to be patient enough to figure it out. Often times they’re focused on the vocal. They might describe something else in the mix or the arrangement being the issue, but what they really mean is that the vocal’s not right. Trying to talk someone into something is a pain in the ass [so] a listen is worth a thousand words and the fix is usually a lot simpler than you think.” When Music Connection spoke with Niebank, he was in the midst of records with Old Dominion, Thomas Rhett and rising pop country band King Calaway. He’s worked at noted creative spaces across the world—Capitol and Abbey Road—but San Francisco’s Broken Radio Studios remains one of his favorites. Contact justinniebank.com

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soothe harshness, save time

read more at

oeksound.com

transient control, oek-style July 2021

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– ROB PUTNAM

Maureen Droney

on doors all over San Francisco before I got the job that I did. George said that now it’s two million to one because there are so few studios that have those entrylevel jobs, since everyone can engineer now, supposedly. Terry Winston who runs Women’s Audio Mission in San Francisco has helped girls and young women get into audio technology since 2003. She’s got a lot of support from the local tech companies because one of the things she does is bring women into audio engineering. These days there are a number of avenues: podcasts, soundtracks and other things. People have diversified a lot; there are all sorts of hybrids. There’s been a lot of change, but there are still a good number of opportunities. You’ve really got to want it, though. It’s a calling.

Senior Managing Director of the Recording Academy’s Producers & Engineers Wing Years with Company: 15 Address: 3030 Olympic Blvd., Santa Monica, CA 90404 Phone: 310-392-3777 Web: producersandengineers.com Email: N/A BACKGROUND Droney began her career in music as a busker on the storied streets of San Francisco. It soon fell to her to record her bands, which led, ultimately, to work with Whitney Houston, Aretha Franklin and Santana. She also has a background in studio management, teaching and music journalism. Indeed, in 2018 she co-authored Al Schmitt on the Record: The Magic Behind the Music, a book about the late and legendary 20-time Grammy-winning recording engineer. Among her many duties with the Recording Academy is the formulation of audio recommendations––metadata, for example.

“Just because parts of the industry are thriving now, it doesn’t always trickle down to the creators.”

Joining the Academy It was kind of a unique job description that fit me. It uses all of my skills plus a whole lot more. We do things like advocacy in Washington, D.C. and the Academy is strong on campaigning for the rights of music creators and has been since it first formed. We have a big annual event in D.C. called “GRAMMYs on the Hill,” which is sort of life-changing because you get to go to Congress people’s offices, talk with them and realize that they have to listen to you. We also have “District Advocate Day” where thousands of people around the country go to their representatives when Congress is out of session and lobby for the things for which we work.

A Typical Day Yesterday I had a call with recording engineers George Massenburg and Jeff Balding. They’re among the original creators of one of our most well-known sets of white papers: Recommendation for Delivery of Recorded Music Projects. It started in 2004 when people began to realize that what was getting delivered to labels as a final product was inconsistent. The best example is the infamous “Holiday Inn hard drive,” which was an unlabeled hard drive in a cardboard box wrapped in a Holiday Inn towel with no notes. That’s the epitome of what was happening. There was also a time when people tried to deliver thumb drives to labels. We have another paper on how to record high-resolution audio. This year Spotify will begin to accept CD and what they call “HD” quality music. We work together with the labels to make sure that the product gets delivered in the way artists intended. Challenges in the Industry One of the big problems we still face is recording metadata and getting that right. That’s coming into focus through something 22 July 2021

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we lobbied for: The Music Modernization Act. There was also the formation of the MLC [Mechanical Licensing Collective] so that songwriters and publishers have all of their information included and [information about] who needs to get paid. To make that work, people have to ensure that their metadata is correct at the start. There’s still a big gap in getting that information collected properly and disseminated. There are several entities working on that and we’re getting there. Challenges in Her Position What my colleagues and I do is protect and nurture artists. Advocacy and MusiCares are pillars of our work and on my side it’s education about the best practices in the recording arts. Those are all challenging because in the digital age music and music creators were devalued. Just because parts of the industry are thriving now, it doesn’t always trickle down to the creators properly for all sorts of reasons. People had become dependent on touring and their incomes have fallen in the digital world. We need to figure out solutions to have more equity for the creators. That’s one of the ultimate challenges that we face. Challenges for Emerging Audio Professionals In one of our videos, George Augspurger, who was a Technical Grammy recipient in 2020, was so optimistic. He said that if you like to know how things work and you love music, you can have an awful lot of fun with audio. It’s true that those typical studio jobs aren’t as plentiful as they used to be. Somebody said to me once that it was always a million-to-one shot to get a job at a recording studio. In fact, I knocked

Academy Chapters The Academy has twelve chapters around the country and some are regional. We have quarterly meetings with the chairs, which are great because we’re in touch with the grassroots people who make music; the people who actually do the work in the studio and make the records. We did a series of panels for a while called “Songs That Changed My Life” and for one of them [famed engineer] Bob Clearmountain brought in “Delta Lady” by Leon Russell. That was the song that made him want to be in the studio where people were making recordings.

The Future of Audio Remote recording won’t go away. In fact, it will get better. I spoke with a company recently that’s got a product coming out that will address latency in a real way. It will allow musicians to do higher-quality online recordings. Again, Spotify has plans to go with CD-quality music soon and that will change the way people listen. Things will get better in terms of hearing music in the way artists intended it to be heard. Immersive audio will also be important. Certainly the labels are putting money into immersive mixing. That’s one of the things our committees do: keep things working well for the creators and the studio people as well as for the inventors of the technologies. We try to keep it in line so that technologies don’t become competing formats that kill off each other or put a burden on creators because they didn’t sort out how users would work with it. Projects on Her Horizon The biggest thing is the revamp of the delivery recommendations. Iron Mountain Entertainment Services is a partner of ours and they have the Prince and Bob Dylan libraries. They plan to archive Dylan’s material in Tulsa, Oklahoma. Bob was amenable to that because Woody Guthrie’s archives are also housed there and [Dylan] has a strong affinity for him. That kind of work will be a focus for us this year. We’re also represented on the National Recording Preservation Board and we both got a lot of press this year, notably because of inductions of Jackson Browne and Janet Jackson records. There was a lot of other uplifting stuff inducted this year and not just music: spoken word, baseball games and so forth.

– BRETT CALLWOOD

Apple Music wants an Assistant, A&R. As an A&R assistant at Apple Music Group, you will build and refine your A&R skillset while assisting and training under two A&R executives in Los Angeles. In this role, you will develop the fundamentals of A&R as well as learn intimate knowledge of how an A&R department at a major record company functions. You will have an opportunity to develop a meaningful voice in the creative process, including what artists the label pursues as well as what songwriters and producers the artists work with. Apply at Careers at Apple. Amazon is looking for a Music Business Affairs Executive. Ideal applicant is extremely organized, flexible, and has a positive attitude. Applicant must have a passion for music and the industry. Pending applicants performance, Amazon hopes to eventually evolve this role into a day to day position strictly on the artist side. Apply at LinkedIn. MIXhalo needs a Head of Event Marketing. The role will focus not only on educating fans about Mixhalo, but getting them to show up to events with the app (either Mixhalo or a host app featuring the Mixhalo SDK) already downloaded and headphones in their pocket. Additionally, the Head of Event Marketing will take on an industry relations role, working to educate artists, managers, and tour and production personnel about Mixhalo and how it can unlock never-before-possible experiences for their fans. Apply at salary.com.

DIY Spotlight Singer and songwriter Kara Connolly has been writing songs since she was a little kid. She doesn’t necessarily remember doing it, but an old friend recently presented her with some of the lyrics she wrote in second grade. “She’ll be like, do you remember this song? And she’ll text me some lyrics,” says Connolly. “I instantly can remember the melody. In my head, I’m thinking it’s by some sort of one hit wonder, or a jingle for a commercial, and she’s like, ‘You wrote it. Don’t you remember?’ I don’t have a recollection of writing it but I remember the song. I can sing the song. So I guess I’ve been writing since second grade.” Classroom boredom in high school encouraged her to keep writing, and she kept it going

Soundcloud wants a Senior Manager, A&R. Working directly with top-tier talent, managers, agents, lawyers, labels and producers to develop SoundCloud’s creator services relationships within the industry with a strong background in A&R, product management, deal flow and business development. The ideal candidate will be a clear, confident communicator with deep music industry knowledge and experience in deal negotiations, distribution deals, publishing deals, DSP marketing and artist development. Apply at geebo.com. For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.

LABELS•RELEASES SIGNINGS

Jax Anderson Goes Solo

Death-sludge duo Melancholia has signed to Brutal Panda Records. The group formed in 2018 and has so far released three EPs. The first for their new label is Static Church, which they describe as “a meditation into the void of sonic darkness and esoteric philosophy …an immense journey through life, death, and what lies beyond.” Contact freeman@freemanpromo tions.com for more info. Katlyn Nichol has signed to Cmnty Culture Recrds and Republic Records. The Black-ish and American Soul star is also a singer and songwriter, and her debut single for her new team is “Liar.” North Carolina-born and L.A.-based, Nichol has been singing since she was two years old. She would sing backing vocals on her dad’s recordings, and actually

Detroit indie artist Jax Anderson, formerly of Flint Eastwood, has released two songs about feeling cloudy: “Can’t Get Me High” feat. PVRIS and “She Don’t Love Me” feat. Lauren Sanderson. These follow the songs she released last month, about feeling hopeful. worked with Mary J. Blige at a very early age. Blige signed her to Matriarch/Def Jam when she was just 12. After making her name as an actress, her music career is on the rise again. Contact marisa. bianco@umusic.com for more info. African singer and songwriter Tyla has signed to Epic Records. The artist came to the label’s attention when she pulled in over two million views as an independent artist. Her debut single for Epic is “Getting Late” featuring Kooldrink. “This really is a dream come true,” said Tyla in a press release. “I had no plan B, so this is something I invested my everything into and I could not be more satisfied to be welcomed into the Epic family like this, it’s such an honor, I’m so

grateful for everyone who believes in me… Sylvia and Epic share our vision, we want to make great art and bring the world’s attention back home to Africa. I cannot wait to share what we have with the world.” Contact melissa.victor@ epicrecords.com for more info.

PROPS

The Vogue Multicultural Museum is opening its first exhibit, the Pink Floyd Exhibition: Their Mortal Remains. The exhibition will highlight Pink Floyd’s music and the impact the band had on art and culture. “I feel very proud to have the opportunity to introduce a new era of cultural exhibitions for the city of Los Angeles, especially with the timeless and legendary

KARA CONNOLLY while attending USC for acting. When she wasn’t going from one audition to another in L.A., she was making music. “People started to pay attention to it,” she says. “Doors started to open in that area pretty organically and naturally. So I started to walk down that path. I still act, I still consider myself an actor, because I do have that background, but I’m doing so much music lately from writing for other artists to writing for myself. I’m doing vocal producing. It’s become such a big part of my life. I guess it really did stem from that moment of being a kid writing those little songs.” Connolly says that she’s inspired by many different styles of music, but eventually nails down her sound as “alternative pop.”

“It’s ‘90s-flared alternative pop,” she says. “That’s the easiest way I’ve found to describe it. I feel like it’s a lot of personal narrative with lots of guitars. Guitar based, with some modern sounds. Retro, organic instruments with a bit of a modern sound, all from personal experience. I almost feel like genres are defunct these days.” The artist says that most indie musicians are DIY these days. “I know that I am in the sense that I’m wearing every single hat,” she says. “I’m marketing, I’m branding, I’m styling myself, I’m coming up with the photoshoot and music video ideas. I have help in certain areas, but I’m oftentimes doing my own press. I’m basically wearing whatever hat I need to in the moment to get it done.”

BETSY NEWMAN

OPPS

Visit karaconnolly.com for more. July 2021

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– BRETT CALLWOOD Pink Floyd, a band so inspirational to myself and millions of fans all around the world for generations,” said L.A. event promoter Diego Gonzalez. “This exhibition will be a really exciting opportunity for people to come together to experience music, culture, design and innovation, all principles that Pink Floyd represent in their music.” Contact aloynes@solters.com. The Apollo inducts Mary J. Blige into its historic Walk of Fame. Nine-time Grammy winner and two-time Oscar nominee Mary J. Blige’s May induction ceremony included remarks from Ms. Blige, Apollo Theater Executive Producer Kamilah Forbes, and Apollo Theater Board Chair Charles Phillips and Billy “Mr. Apollo” Mitchell. After that, a permanent plaque was unveiled. Contact press@apol lotheater.org for more info. The Who have been honored with a commemorative U.K. coin. The U.K. Royal Mint and Bravado announced in May that the British rockers would be appearing on a beautifully printed and packaged silver coin. “It’s an honor to have a coin produced to celebrate The Who’s musical legacy,” said

The LEGAL Beat

Roger Daltrey in a statement. “The coin’s design captures the true essence of the band and what we represent.” “I am delighted that the band’s work is being recognized by this fantastic range of coins from The Royal Mint,” added Pete Townshend. Contact communica tions2@umusic.com for more info. Death Row Records has launched a virtual gallery to celebrate the label’s 30th anniversary. Created by Flux88 Studios in partnership with TillaVision, the retrospective is open to the public now. Albums by the likes of 2Pac, Snoop Dogg, Dr. Dre and more are available, and new features will be added the 30th of every month. Visit the free gallery at deathrowexperience.com BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

Michael Mayo Spreads the Love L.A.-born, New York-based Michael Mayo has released his debut album Bones via Artistry Music/Mack Avenue Records. “In many ways, this album is a letter to myself,” Mayo said in a press release. “I was in the closet for years, lying about who I truly was and felt. This album affirms you can live authentically, and not be afraid to express it.”

The Sound Engineer Contract

BY GLENN LITWAK out, you can consider entering into a simple written contract. The contract should include the following provisions: 1. All parties should be clearly identified with their addresses and contact information. 2. The agreement should be a “Work for Hire” Agreement. This means the artist will own the work product of the engineer to utilize as

7. Assignment: The engineer should assign all rights (including copyright) to the artist. Any credit for the engineer can be at the discretion of the artist. 8. Boilerplate provisions: These are contractual provisions typical in many contracts. For instance, the state law that will apply, whether there will be binding arbitration of disputes, and that any revisions

“Does the engineer have experience in your genre? This article will discuss a contract between a recording artist and a sound engineer for the recording or mixing of masters. Many unsigned artists will at some point want to hire a sound engineer. Before you consider entering into a contract with a sound engineer, you should research the experience and reputation of the engineer. Does the engineer have recent experience in your music genre? Who else has the engineer worked with? Also, does the engineer appear to be someone who will be easy to communicate and work with? If all that checks

Who else has the engineer worked with?”

he or she pleases. 3. I would suggest a provision that states the engineer will use a full-service professional recording studio using modern equipment and procedures. 4. You must identify the master recordings the sound engineer will be working on. 5. Compensation: Usually this will be a flat fee as full and final payment. You should specify when the engineer will be paid. 6. You should specify when the work will be done and what studio will be used.

to the agreement must be in writing and signed by the parties. I like to include the following provisions in many of my contracts: Final Agreement: This Agreement constitutes the final understanding and agreement between the parties with respect to the subject matter hereof and supersedes all prior negotiations, understandings and agreements between the parties, whether written or oral. This Agreement may be amended, supplemented or changed only by an agreement in writing signed by both of the parties.”

Email Signature, Etc.: This Agreement may be executed in multiple counterparts and delivered via facsimile or email transmission, each of which shall constitute an original and all of which together shall constitute one instrument.” 9. Consider if you want to provide that the prevailing party in any litigation or binding arbitration will be entitled to reasonable attorney’s fees and costs. 10. The Agreement must have signature lines and dates for the parties. There are many benefits to having a signed written agreement with your engineer. It can be valuable proof in the event of a dispute. Also, it can prevent honest misunderstandings. GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail. com or visit glennlitwak.com.

This article is a very brief overview of the subject matter and does not constitute legal advice.

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– BERNARD BAUR

I Quit My Day Job Because I Make More Money From My Music. Matthew Vander Boegh, TAXI Member

hat’s every musician’s dream, isn’t it —quitting your day gig because you make more money with your music. Well, that’s my life now, and here’s how I did it…

I joined TAXI. Looking back, I wish I’d joined years earlier. TAXI taught me how to create music that people in the industry actually need. Then they gave me 1,200 opportunities a year to pitch my music!

My income keeps growing exponentially, and my music keeps getting better because it’s my full time gig now! Here’s the ironic part… I live in Boise, Idaho, not Hollywood, yet my music is on TV nearly every day. My studio is in a glorified tool shed in my backyard, and my gear setup is so quaint other musicians ask, “Really? That’s it?!” I’ve got a computer, monitors, a few mics, and a cheap little interface. No fancy outboard gear, no rack-mounted anything!

My Two Secret Weapons Targets and deadlines are my secret weapons. Knowing who needs music and when they need it motivates me to get things done. It’s changed my life! Actually, TAXI changed my life.

I’m getting paid for my music now instead of sitting on my couch dreaming about it. I’m my own boss, and some day my music will probably pay for my retirement, a vacation home on an exotic beach, and some umbrella drinks!

Don’t wait until you’ve built a catalog… Join TAXI now and let them help you build the right catalog! Be patient, be persistent, and you’ll hit critical mass like I have. My income keeps growing every year! I’m all the proof you need that a regular guy can make enough money with his music to quit his day job! Do what thousands of other musicians have done to become successful—join TAXI. You might never have to work another day gig in your life!

It Didn’t Take That Long I promised myself I’d quit my job as a college professor when my music income became larger than my teaching income. I reached that goal in less than five years because of TAXI. The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com

July 2021

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TEX CRICK

GOLDPARK

Date Signed: April 21, 2020 Label: Hazel Street Records Type of Music: Indie Rock Band Members: Wes Hunter, Andrew Smith, Kyle Neblett Management: Brad Parker - TBD Management Booking: N/A Legal: Matt Cottingham - Ritholz Levy Fields LLP Publicity: Ashley White - Ashley White PR Web: goldparkband.com A&R: Bruce Kalmick - Hazel Street Records

hen Wes Hunter started writing “Morning Light” from his apartment in Madison, TN, he had no idea that his indie-rock song was going to help lay the foundation for what would become the inaugural single for an upstart indie label, one year later. But unpredictability has become the underlining norm for the lead singer of Goldpark and his bandmates. Upon moving to Nashville in 2019, Hunter met guitar player Andrew Smith and percussionist Kyle Neblett. The newly formed trio made a demo so impressive it attracted the attention of Bruce Kalmick and Laura Bender from Hazel Street Records. The two signed Goldpark to a record deal in April of 2020, despite the fact that no one had ever seen all three members play a live show together. “The move to sign with Hazel Street was almost a no brainer. From day one their mission was to launch a rock & roll band and we couldn’t say no,” says Hunter. “Getting to have a personal relationship with Bruce (CEO) and Laura (General Manager) from the start definitely helped form our confidence that this was going to be a partnership. The initial plan was to make a record and tour for the foreseeable future until we felt we were ready to

“We had to figure out how to build a band without the road.” go to radio. Once the pandemic hit, though, we really had to regroup and figure out how to build a band without the road. I couldn’t be more grateful to Hazel Street for committing to us in such an uncertain time." In lieu of a traditional developmental phase and a nation-wide tour, Hazel Street Records decided to release a slew of fresh content from their new band. Although Covid-19 temporarily derailed the indie label’s plans for a rollout, it didn’t stop them from enhancing Goldpark’s searchability online with a strong social media push and three music videos. Goldpark’s most recent release is an alternative rock song called, “Desperation.” The band’s third single release with Hazel Street will be a track titled, “Running.” – Miguel Costa 26 July 2021

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Date Signed: Sept. 10, 2020 Label: Mac’s Record Label Type of Music: Singer-songwriter Management: N/A Legal: N/A Publicity: jim.pitchperfectpr@gmail.com Web: texcrick.net A&R: N/A

ustralian singer, songwriter and multi-instrumentalist Tex Crick was visiting Japan with his girlfriend when the lockdown went into effect, so he’s pretty much been living there for the past year. It’s funny the way things work out, and Japan is a long way from the coastal town of Coledale in New South Wales, Australia. That’s where it all began for Crick, who started playing classical piano on a Suzuki as a child. “I ended up quitting because I thought it wasn’t very cool,” Crick says. “I started playing guitar, then eventually it came back around. I thought it was cool again. I kept that up and in high school, I figured out how to use GarageBand. I started recording anything on that, making any kind of music. I loved making as many recordings as I could after school. I was going to a lot of shows in the city and meeting a lot of people there.” That’s how he met and started playing with Kirin J. Callinan, the “enfant terrible” of the underground Australian rock scene.

“I’m not really professional–– I just fell into it and it just feels like a hobby for me.” “He was looking for a band for his Embracism album,” Crick says. “I think he just liked what I was wearing at the time. He asked if I played any instruments and I said I played bass and keys, but I wasn’t very good. It was too late for him to find any other band members so I joined the band and I grew into it. I wasn’t ready for it, but I learned the songs and it had to happen. I kept practicing and got better, learning about music on the road. I’m not really professional––I just fell into it and it just feels like a hobby for me.” Crick’s sound incorporates elements of jazz and soft rock, led by his deft piano work. He says that the Japanese word “natsukashii,” meaning “nostalgic,” describes his style nicely. It can be heard on his debut album Live in… New York City, released on Canadian artist Mac DeMarco’s label, which is imaginatively called Mac’s Record Label. “I met Mac years ago on tour, and we just kept in touch,” Crick says. “When I had an early mix of the record, I just sent it out to a few people and he offered to mix it right away. That sounded like a pretty good offer to me, so I went with that. Then we just mixed it for ages, running it through gear and stuff. Then he just asked if he could put it out on his label.” The album is great––understated, sweet and emotive. It was recorded with basic gear, off the cuff, in New York and it benefits from the simplistic approach. Looking ahead in 2021, there’s more to come. “I’m just trying to write music,” he says. “There are pretty crazy lockdowns here in Japan at the moment. I can’t really play shows or go anywhere. But I just set up a little studio in the attic and it’s nice and cozy.” – Brett Callwood

SEBASTIAN JAVIER Date Signed: October 2019 Label: Elektra Records Type of Music: Latin Pop Management: Kristopher Christie Legal: Avi Dahan - Boyarski Fritz, LLP Publicity: Collin Citron - collincitron@elektra.com Web: sebastianjavier.com A&R: Caterina Nasr

y the time Sebastian Javier moved with his mom from Argentina to Toronto, Canada, he was already in love with music. At the age of 10, he was taking vocal lessons and doing a bit of theater. “When I moved to Canada at 12 is when things slowly started to kick off on Youtube, filming covers, and I started to do shows at 15,” he says. “It’s been a gradual progression. I’ve gotten more into music and now, I’m really deep into the songwriting aspect and everything else. It’s been very progressive but it’s been fun.” Today, he describes his sound as a glorious fusion of pop, R&B and Latin music. Living in two countries has obviously aided that blend. “When I was 12, my mom and I just moved here all on our own,” Javier says. “Obviously there are a few different reasons. My mom was looking to study and grow her opportunities. I really wanted to try to take music seriously. Even when I was 12, being young, I believed that being in Canada could be a really great place for me to grow. I had some family that had moved here in the year 2000, so we came to visit two years before we moved and we really fell in love with Canada and it felt like we wanted some change. That was definitely a good time to make it happen.”

“Everything from there became possible. An Instagram DM started it.” Things really took off recently when Javier received an Instagram DM from L.A. industry insider Gina Rodriguez. “She DM’d me on Instagram when I was in L.A. with my manager maybe two years ago,” Javier says. “She had asked if I was signed and if I wanted to meet the head of Atlantic Records. I didn’t really believe it whatsoever, but we took the email and then got on the call, and Craig Kallman answered––the CEO of Atlantic. He told us that Elektra felt like a special place for me and it felt like a better fit. From there, we got to meet the team at Elektra, including Caterina who is my A&R now. Everything from there became possible. An Instagram DM started it.” Javier’s debut release for Elektra is the single “Bad for Me,” which he says reflects on the bad decisions that we as humans often can’t seem to help gravitating toward. “The song represents any habits or anything that we do in our daily life,” he says. “Even habits like going on social media too much or friendships with people you’re connected to that might actually be bad for you. We kinda gravitate towards those people and those habits. That’s where the question came to be––why do we do things that are bad for us. ‘Bad for Me’ is for me and hopefully for the listeners a wake up call. If people think about what in their life is actually bad for them, any friendships that you think you should cut off or any habits they should change. Make your life better.” – Brett Callwood

REXX LIFE RAJ

Date Signed: March 2020 Label: Empire Records Type of Music: Rap / R&B Management: Ari Simon - ari@empi.re Booking: Victoria Gutierrez - vgutierrez@icmpartners.com Legal: Joey Seiler - Loeb & Loeb, jseiler@loeb.com Publicity: Mikaela Duhs - Shore Fire Media, mduhs@shorefire.com Web: rexliferaj.com A&R: Nima Etminiam - Empire Records

n the heels of his fifth EP, California Poppy 2, following four fulllength albums and four tours in 2018 and 2019 respectively, Rexx Life Raj is primed for even more momentum in the coming year. His latest signing with Empire Records covers a royalty percentage–– leaving Raj the majority of streaming sales income—and is a 30-song commitment with an open timeline: the perfect example of Raj’s belief in artful negotiation. Raj began writing poetry in elementary school, recorded his own music with beats on a Casio keyboard, and was making and selling CDs by middle school. Playing offensive tackle for Boise State in 2010, he kept a music studio set up in his room to record, explaining, “music was always the priority; football was a detour.” Returning home in 2013, he worked in his parents’ shipping business while his writing started to take form.

“The first offer is only the first offer.” By 2014, a friend managing Raj’s music shared it with Ari Simon, a radio show host at the time. Seeing potential, Simon became his manager and released Raj’s first two EPs. The Father Figure distribution deal followed when Simon began interning at Empire Records. Raj says he learned a lot from online interviews with icons like Nipsey Hussle and Chance the Rapper. “Learn to negotiate and learn from whoever you can,” says Raj. “The first offer is only the first offer.” His track, “Moxie Java,” did very well and led to bigger performances, and streaming sales of follow-up single, “Handheld GPS” surpassed all expectations, leading to Father Figure 2: Flourish in 2017 and Father Figure 3: Somewhere Out There in 2019. “Every once in a while you find talent and ethics united in one person, and that’s what I appreciate about Raj,” shares CEO and VP of Operations of Empire Records, Nima Etminiam. “His music makes you think and makes you laugh at the same time. He’ll throw you a deep line about mental health and societal pressures, followed by him telling you he’ll smack the shit outta you if you act goofy.” – Andrea Beenham July 2021

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CCS Signs With Blue Ant

Publishing and rights administration company, CCS Rights Management (CCS), has signed an exclusive worldwide publishing agreement to represent music from global content producer, distributor and operator, Blue Ant Media (whose networks include Love Nature, Look Mom, Saloon Media, Cottage Life, Makeful and Animalogic). This latest CCS partnership follows a catalog rights management deal with Spin Master (owner of the PAW Patrol franchise) earlier this year. See ccsrightsmanagement.com/news.

Westcoast Songwriters Conference

Concord Has Everything Concord Music Publishing has signed British art-rock/experimental-pop group Everything Everything to a multi-year worldwide publishing deal covering all future music. The band is set to tour in Spring 2022.

Justin Tranter on the Range Range Media Partners has signed producer-songwriter Justin Tranter to a pub deal. With millions of sales and online streams, Grammy and Golden Globe nominations, and 15 BMI Pop Awards (two for “Songwriter of the Year”), Tranter now has film, TV and theater projects in development.

Funny Faye Genre-bending folk-pop artist Faye Webster’s latest album I Know I’m Funny ha ha—including track, “Better Distractions” (on Barack Obama’s 2020 favorites playlist)—is out now via Secretly Canadian, following her 2017 selftitled and 2019 Atlanta Millionaires Club albums. A tour is set for the Fall. 28 July 2021

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Mark your calendar for the WCS 41st anniversary, celebrating the longest-running conference of its kind in the world as an organization that hosts over 15 volunteer-run events each month. The 2021 Conference takes place September 10 and 11, and attendees can network with fellow musicians and industry leaders and participate in seminars, workshops and intimate mentoring sessions. Sessions cover songwriting and legal information, industry standards, vocal coaching, sound quality, stage presence, lyricism and more, and participants will have an opportunity to present to industry professionals and perform at showcases. Full details at westcoastsongwriters.org/ conference.

Hipgnosis Gets Little

The complete catalog of Grammywinning songwriter, musician and producer Joel Little has been acquired by Hipgnosis Songs Fund Limited. With multiple

awards for his projects with Taylor Swift (“Me!”), Khalid (“Young Dumb & Broke”), Imagine Dragons (“Whatever It Takes”), Little is best known for his work with Lorde, producing and co-writing her debut EP (The Love Club)––with hit single “Royals”––and first album (Pure Heroine), and co-writing her second album (Melodrama). Little’s music streaming count sits at over 15 billion. He also co-wrote or produced four songs for The Hunger Games: Mockingjay, Part 1, including lead single “Yellow Flicker Beat.”

BMI Gospel Award Winners

BMI congratulates all the winning gospel creators from the 2021 BMI Trailblazers of Gospel Music Awards, with Gospel Song of the Year going to Donald Lawrence and Sir the Baptist (his first) for “Deliver Me (This Is My Exodus),” spending 99 weeks on the Billboard Gospel Charts, Songwriter of the Year to Kanye West for “Hands On,” and Kobalt Music named Publisher of the Year, with 20 of this year’s top gospel songs on their roster. This year’s awards included performances by The Clark Sisters with J. Drew Sheard II, Todd Dulaney and Koryn Hawthorne, 59 first-time Pop Award winners, with first-time winners including Renee Spearman, J. Drew Sheard II and Zacardi Cortez. Details at bmi.com/award-shows/ trailblazers-2021.

The Virtual ASCAP Experience

Rolling out as a fully virtual format this year, the annual ASCAP Experience kicked off with Grammy-

Warner Signs Solis Warner Chappell Music has signed influential Mexican singer-songwriter Marco Antonio Solis to an exclusive three-year deal covering the majority of his 300 song, 30 album catalog, and rights to future works. Solis holds five Latin Grammys, 18 Lo Nuestros, a Billboard Lifetime Achievement Award, and more.

– ANDREA BEENHAM

winning Producer Greg Kurstin in May. Free, bi-weekly virtual sessions covering artistic skill development, songwriting, the inner workings of the music business, how to get your music heard, and the next steps for your music career continue through 2021. More at ascapexperience.com.

Durrett Gets Loud

Big Loud Publishing and Warner Chappell Music have joined forces to sign a co-publishing deal with musician-singer-songwriter Jacob Durrett. Having made a big impression on Nashville since signing his first pub deal in 2015 as a student at Belmont University, Durrett has already penned music for Zayn, Diplo, Bren Joy, Nelly, Tyler Rich, Ernest, Mackenzie Porter and Devin Dawson. He was co-writer on “Big, Big Plans” (Chris Lane) and co-wrote and produced Morgan Wallen’s Dangerous: The Double Album.

AIMP LA Liker Scholarship Award

The second annual Linda Komorsky Liker AIMP Scholarship has been awarded to Cal Poly Pomona Senior, Justine Hawelu. Pursuing a Bachelor of Science in Music (with an emphasis in Music Industry Studies) and minoring in Marketing Management at Cal Poly, Hawelu will be awarded $5,000 to help continue her education. Interning as a Floor Director at The Den, she was also named the 2021 NAMM President’s Innovation Award winner, and was a panelist at NextGen (NAMM) and Vibe Movement.

Award namesake, Linda Komorsky Liker was a respected music publishing executive known for handling the administration of Steve Miller’s music catalog, founding International Music Services and serving as its President for five years. Continuing her career with posts at EG Music, BMG Music Publishing, and Dimensional Music Publishing, and working with artists including Sting, Graham Nash, Jennifer Warnes, Michael McDonald and others, she served as the President of AIMP and the Secretary of the California Copyright Conference.

MIME Pens Owens and Levingston

Made in Memphis Entertainment (MIME) Publishing has signed an international co-publishing deal with producer Stacey “SOS” Owens and producer-songwriter Nathaniel Levingston for representation of both catalogs. Owens has produced music on projects for Trey Songz, Ne-Yo, Shawty Lo and others, and has worked with BET, CW Network and Nestle, while Levingston his written and produced music for over 10 years with credits including work with Nas, CeeLo Green, DJ Khaled and Lil Wayne.

London’s Ghetto Songs For the 500th anniversary of the Jewish Ghetto of Venice in 1516, trumpetercomposer Frank London releases “Ghetto Songs,” performing 500-year-old songs in multiple languages, genres and styles, and including collaborations with Grammy-winner Karim Sulayman and Yaakov Lemmer.

ANDREA BEENHAM (aka Drea Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadian-raised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com

Nancy Wilson Symphony Following her first solo EP release, You and Me, Heart co-founder Nancy Wilson is set to perform via livestream this month with the Seattle Symphony, along with an Amazon biopic in the works and rumored upcoming tour date announcement.

Kezia Shares Claire Tanzanian-American Bay Area-based R&B pop artist Kezia releases their debut EP Claire that touches on being a biracial woman and navigating mental health, love and spirituality.

Somi Tribute to Makeba Grammy-nominated singer, songwriter, playwright and actor Somi releases Zenzile: The Reimagination of Miriam Makeba this month, a tribute to South African songwriter-activist Miriam Makeba. Guests include Angelique Kidjo, Seun Kuti (Fela Kuti’s son), Ladysmith Black Mambazo, Gregory Porter, and others. July 2021

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SONGWRITER PROFILE

– ANDREA BEENHAM

Brian Tyler

Inspired Emotional Connection

here has never been a time that Brian Tyler wasn’t writing music. Known today as an accomplished film composer and multi-instrumentalist, he took to music early as a form of self-expression through a process he still loves, best described as an inspired creative download. Tyler’s talent was first uncovered when he was found performing a piano concerto from memory, later teaching himself to play 30 instruments by emulating the music he heard. While he received some formal training, and had mentorship along the way, the majority of his abilities unfolded innately. Tyler explains that creating music as a boy came from being inspired by novels and other reading, sharing that the process is still about hearing music in his head and then finding a way to present it. With a hardwired understanding of music theory, it wasn’t until college (UCLA and Harvard) that Tyler took formal classes to facilitate orchestral work. As he puts it, “In every culture, a person will look at a tree and know what it is, but we might each call it something different.” Inherent ability notwithstanding, Tyler’s voracious reading and consumption of sound—along with a close observation of conductor techniques—make him a lifelong student committed to self-evolution. “You are an amalgam of everything you’ve learned,” he shares. “I think it's really important to listen to what you love, but [also] to try to expand your boundaries.” With experience in full orchestral scoring, programming and sampling, and electronic and pop music, Tyler’s versatility and reputation have grown to include theme and logo songs, artistic collaborations and symphonic performances, as well as performing under the moniker Madsonik. When writing music or working on a record, he records, produces and plays all parts himself. For orchestration, he writes it all out, with results coming together during rehearsals, wanting each project to “enhance and represent the emotional tone and support the narrative of whatever I am scoring.” Says Tyler, “The human element is the ‘lightning in a bottle.’ The idea of what makes things beautiful is the imperfections—you would never auto-tune Etta James.” There have been numerous full-circle moments—including the Children of Dune soundtrack in 2003. Writing the opening piece as a child dreaming of making orchestral music after reading the Frank Herbert series, his melody was ultimately performed by the Czech Philharmonic. Recently scoring a tragic love story as a violin concerto inspired by Gil Shaham (a violinist he has admired since childhood), Shaham ended up as the featured violinist after reading the sheet music. Referencing Stephen Hawking, Tyler said of both instances, “I was standing on the shoulders of giant influences—they are part of me.” Tyler’s ideology has led to his latest project, Are We Dreaming. Explains Tyler, “It's the story of human beings endeavoring to unite humanity and about living every day as if it were your last, choosing joy and enjoying life.” Learning visual effects to complete the entire project himself, and performing live nightly with hopes to expand the “existential experience” in coming years, Tyler says, “The challenge of starting from the bottom again and learning something completely new is important to me.” Tyler’s accolades include 32 BMI Awards, 5 ASCAP Awards, 12 Goldspirit Awards, 2 World Soundtrack Awards, induction into the Musical Branch of the Academy of Motion Picture Arts and Sciences (2010), a Cue Award for Film Composer of the Year (2014), SoundTrackFest Award (Best TV Score) for Yellowstone (2018), and Oscar-shortlisting for Crazy Rich Asians. An Emmy and BAFTA nominee, Tyler is now the 9th highest grossing film composer of all time. Recent projects include Those Who Wish Me Dead, F9 and Escape Room: Tournament of Champions. “Never close yourself off to something new—it’s vital,” emphasizes Tyler. “In music, it’s important to pick the thing you know the least about and dive deep into it. It's those shades and the differences that actually in the end come together to make you more of an artist and a better musician.” Contact Jeff Sanderson, Chasen & Company, jeff@chasenpr.com Experience Brian Tyler at briantyler.com

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July 2021

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DROPS

A biopic is in the works with Universal Pictures on the life and career of musician, actor and fashion icon Cher. The as-yet untitled film will be written by Oscar-winning writer Eric Roth, who worked with Cher on the film Suspect, and produced by Judy Craymer and Gary Goetzman, both of whom worked on Mamma Mia! the Movie and Mamma Mia! Here We Go Again, as well as Cher herself. Cher made the announcement in May on Twitter on the eve of celebrating her 75th birthday. For further details, contact Liz Rosenberg at liz@ lizrosenbergmedia.com. Sergio Mendes & Friends: A Celebration, a tribute to the Brazilian producer, composer, keyboardist, vocalist and Oscar-nominated

THE SPARKS BROTHERS

SERGIO MENDES songwriter, made its world premiere as part of special programming on PBS stations in June. The program, created for PBS, was derived from the forthcoming feature documentary Sergio Mendes: In the Key of Joy by filmmaker John Scheinfeld. A Celebration features both Mendes and many of his friends and collaborators, including Lani Hall, Herb Alpert, Quincy Jones and John Legend. One of the most internationally successful Brazilian artists of all time, Mendes began his career in the 1960s in his group Brasil ’66, which was key in popularizing Brazilian music around the world. He is a three-time Grammy winner. Contact Lauren Mele at lauren@beachwood.la. Chance the Rapper’s new concert film out this summer, Magnificent Coloring World, marks the artist’s big screen debut. The Jake Schreierdirected film celebrates the five-year anniversary of Chance’s groundbreaking mixtape Coloring Book. The artist made history in 2017 when he became the first independent artist to win a Grammy for a mixtape, earning a trio of awards for Best New Artist, Best Rap Performance and Best Rap Album. The film is the first project from Chance to be released through AMC, the country’s largest theatrical exhibitor, and he is self-distributing the film through House of Kicks, marking the first time an individual recording artist has distributed a film through AMC Theatres. Contact Rhett Usry at rusry@ id-pr.com for details. 32 July 2021

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Focus Features released The Sparks Brothers in theaters in June. Directed by Edgar Wright and produced by Wright, Nira Park, George Hencken and Laura Richardson, this documentary tells the story of Ron and Russell Mael of the pop-rock duo Sparks, a band described as at once successful, underrated, influential and overlooked. The film features commentary from celebrity fans including Flea, Jane Wiedlin, Beck, Jack Antonoff, Jason Schwartzman and Neil Gaiman. Contact Erin. Reilly@ginsberglibby.com.

and put on a live performance in just 30 days. A renowned roster of music industry experts drop in weekly to prep the artists for their big debut, including producer Kosine, choreographer Aliya Janell, songwriter Elijah Blake and vocal coach Cynnamyn. Contact Jesse Metres at jesse@ strategicheights.com.

Season 2 of Netflix thriller Who Killed Sara? launched this spring, again scored by award-winning Colombian composer and tripleplatinum music producer David Murillo. In a teaser video, Murillo says the second season offers a deeper look into who Sara is and he uses “a cacophony of sounds and unsettling textures” to explain that the character isn’t what she seems. Contact Ray Costa at rcosta@costacomm.com for more information.

The motion picture soundtrack to Citizen Penn, scored by Hall of Fame-inducted singersongwriter, producer and composer Linda Perry, is out now along with the film. Shot in the wake of the 2010 earthquake in Haiti, the film was directed by Don Hardy (Pick of the Litter) and looks back at a decade in the life of actor Sean Penn, who worked to bring aid to the Haitians after the disaster. In addition to Perry’s score, the soundtrack features a track co-written and produced with Bono titled Eden: To Find Love, featured during the film’s end credits. Contact Brad Taylor at brad@ bigmachineagency.com.

BET has brought together nine solo artists and girl groups from the 1990s and 2000s to form the ultimate R&B supergroup in the new original series, BET Presents The Encore, which debuted in June. Shamari DeVoe, Irish Grinstead, LeMisha Grinstead, Nivea Nash, Felisha King, Fallon King, Pamela Long, Aubrey O’ Day and Kiely Williams all signed on to the one-of-a-kind music experiment in which the artists move in together, write new music, learn choreography, record an album

Recent MC cover boy Jacob Collier has a new song, “Flow Freely,” with pianist Justin Kauflin. “Flow Freely” was written by Collier and Kauflin for a new documentary film that premiered at the Tribeca Film Festival, called Reflection: a walk with water. Collier was inspired to contribute to the film due to its alignment with his ethos regarding the climate crisis, and the importance of bringing awareness to this issue on a global scale. Check out jacobcollier.lnk.to/flowfreely.

– JESSICA PACE j.marie.pace@gmail.com

OPPS

The Virtual Burlesque Hall of Fame Weekender, will be held Aug. 6-8 this year and is free to view, thanks to funds raised from donations and sponsorships. The weekend event gives viewers a chance to see performances by the best in burlesque. To learn more about the event and learn how to get involved, visit bhofweekend. com. U.K. label Domino is seeking a candidate with at least 10 years’ experience to lead its U.S. Creative Synch team, based either in L.A. or New York. The Senior Director of Creative Synch would oversee the company’s synch department, and develop strategies JON BATISTE for marketing work from the client roster for use in film, TV, ads, video games and other media. For more information, visit dominomusic.com/news/us/job-opportunitysenior-director-creative-synch. The 2022 Oticons Faculty International Film Music Competition, which aims to discover and showcase the work of talented film composers, will open for registrations on Sept. 1. The annual contest entails three composing assignments, such as composing a theme or scoring a scene from a real, indevelopment film, with winners receiving awards as well as mentoring, network and career development opportunities. To learn more, visit faculty. oticons.com.

PROPS

My Name Is Lopez won the AmDocs21 Special Jury Award for Best U.S. Documentary this spring after premiering at the 2021 American Documentary and Animation Film Festival (AmDocs2021) earlier this year in Palm Springs, CA. Honoring the life of legendary Mexican American recording artist, guitarist and actor Trini Lopez, the film was directed by P. David Ebersole and Todd Hughes and produced by Joan and Gary Gand of Gand Band, which backed Lopez during the latter part of his life. The film includes never-beforeseen archival performance footage of the singer whose hits included “If I Had A Hammer,” “Lemon Tree” and “La Bamba.” It also includes

portions of interviews with Lopez conducted by Ebersole and Hughes prior to the singer’s death due to COVID-19 last year. Contact bobmerlis@ bobmerlis.com for more details. The 2021 ASCAP Composers Choice Awards were held as a four-day virtual celebration in May, with Film Score of the Year: Soul going to Jon Batiste and Trent Reznor. Now with more categories, the event recognizes winners chosen by ASCAP’s composer and songwriter community. New categories included Documentary Score of the Year, which went to Steven Price for David Attenborough: A Life on Our Planet, and Television Theme of the Year, which went to Philip Glass and Paul Leonard-Morgan for Tales from the Loop. Additionally, Raphael Saadiq was honored for Television Score of the Year for Lovecraft Country, and Video Game Score of the Year went to Gustavo Santaolalla for The Last of Us Part II. This year’s ASCAP Screen Music Awards also includes new category, Top Streaming Films, and more awards for streaming series. Contact Kelly MacGaunn at kelly@bobbimarcuspr.com. Triller, the AI-powered short video platform, and Universal Music Group recently announced expanded worldwide licensing agreements that span recorded music and publishing. Under this partnership, Triller’s users gain access to UMG’s full catalog of music from the company’s record labels and recording artists, as well as the songwriters and catalogs represented by Universal Music Publishing Group for use on Triller. A spokesperson for UMPG said licensing with platforms like Triller ensures their writers are fairly compensated. Contact Chris Day at cday@ triller.co for further details. JESSICA PACE is a music journalist-turned-newsreporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

Out Take

Kerry Brown

Founder, Rolling Live Studios Web: rollinglivestudios.com Contact: Crystal Henderson, crystal@ thepresshouse.com Award-winning artist manager and producer Kerry Brown founded Rolling Live Studios––a company that produces live virtual events––in 2020. The inspiration, like so many artistic projects in the pandemic era, was necessity. “I had just opened the doors to a new studio in Laurel Canyon, then the Governor says, ‘Everyone, go home.’ I had just hired employees. So I told everyone to go home with their computers and we’ll just figure out how to take everything online,” Brown says. Since it began, Rolling Live Studios has produced over 50 live virtual events and helped raise more than $15 million for charitable organizations like Chrysalis. But possibly the most ambitious and celebrated project Rolling Live has produced so far was a three-hour David Bowie tribute concert early this year, featuring a heavyweight cast that included Trent Reznor, Macy Gray, Billy Corgan and Peter Frampton. “We just called everyone we knew, and everyone said yes. We had so many artists who had some kind of connection to David,” Brown says. Because a live, in-person performance wasn’t an option for artists, Rolling Live turned each cover into its own visual, cinematic piece. “As a result, we got a whole new insight into David’s life from all these artists he had touched in some way.” Brown says Rolling Live is planning a dozen similar, large-scale events to take place over the next year, with the intent of providing a platform for artists, incorporating unique visual elements into the productions, and collaborating with charitable nonprofits to give back to the music and arts community. “If you’re just looking for a job, there’s always the money gig. But if you follow your passion and trust your intuition, in any field, that’s what ultimately gets you where you want to go,” Brown says. “I had a moment a few days before the Bowie event where I thought, ‘I hope people like it.’ But I knew I’d made something I wanted to see, which means there would be other people who also want to see it. So just go with your gut and make content you’d like to see.” •

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Pink Floyd Exhibition: Their Mortal Remains The Pink Floyd Exhibition: Their Mortal Remains, the critically acclaimed retrospective of Pink Floyd, has now taken residency in L.A. The U.S. is the fifth country to host the exhibit highlighting the legendary rock group’s music and impact on art and culture. Following its hugely successful debut at London’s Victoria and Albert Museum in 2017, over 350 artifacts will be on display, offering an audio-visual journey through more than five decades.

Juice WRLD Live Free 999 Fund Jarad “Juice WRLD” Higgins’ Live Free 999 Fund announced a formal partnership with Crisis Text Line to make it possible for anyone who needs it to get easy access to confidential crisis counseling. People who need help are encouraged to text LF999 to 741741 to get access to free mental health support 24 hours a day, seven days a week. “There’s not a day that I don’t think of Jarad,” said Carmela Wallace, Juice WRLD’s mother who created the Live Free 999 Fund. Juice WRLD died of an accidental drug overdose in 2019 at the age of 21.

Billy Dawson, Seniors and Songwriters Country artist Billy Dawson has teamed up with Meridian Senior Living in Bethesda, MD to create the video series, Seniors & Songwriters. This show brings songwriters to different Meridian Senior Living facilities across the country, where they play music and tell the stories behind their songs, and in turn, the seniors get to share their life stories and sing along as well.

Dr. P. Miller Hip-hop icon and business mogul Master P received an honorary doctorate in human letters from Pennsylvania’s HBCU, Lincoln University. “I guess I got to change my name to Dr. P. Miller,” he says. “From the projects to getting a Doctoral degree from Lincoln. Don’t be afraid to change, grow and educate yourself. I did it! You can do it.” Master P was one of several prominent African Americans bestowed with honorary doctorates, including Gloria Carter, Jay-Z’s mother and co-founder of The Shawn Carter Foundation. 34 July 2021

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– JOSEPH MALTESE josephm@musicconnection.com

Tidbits From Our Tattered Past

1991–Gerardo–#9

Epitaph Signs Teen Punks The Linda Lindas The Linda Lindas—two SoCal sisters, a cousin, and a pal ranging in age from 10 to 16—landed a label deal with Epitaph Records, following a now-legendary set performed in an L.A. Public Library. Ten-year-old drummer Mila de la Garza wore a Bikini Kill T-shirt, and guitarists and vocalists Eloise Wong (13), Lucia de la Garza (14) and Bela Salazar (16) repped other female punk icons. The highlight of their 40-minute set was a barbed original, “Racist, Sexist Boy,” that drew on an upsetting encounter at school. “A little while before we went into lockdown, a boy came up to me in my class and said that his dad told him to stay away from Chinese people,” Mila said, introducing the song (the band members are Asian American, Latin American or both). “After I told him that I was Chinese, he backed away from me.”

Universal Hip-Hop Museum Mayor Bill de Blasio, hip-hop legends Nas, LL Cool J, Fat Joe, Bronx Borough President Ruben Diaz Jr., New York State Assembly Speaker Carl Heastie, City Council Member Diana Ayala, numerous city agencies, and music industry luminaries took part in the official groundbreaking event for the first phase of Bronx Point, unveiling the East 150th Street future home of the Universal Hip-Hop Museum.

Rossi Griffin with Genelec Monitors Music Connection’s weekly Friday Freebie giveaway allowed for a major gear upgrade with a prize of high-end Genelec 8020D Raw Active Studio Monitors. The winner, Rossi Griffin of Loganville, GA, is pictured showing off the monitors in his home studio, Big Stuff Productions, LLC.

The Latin rapper, who blew up with his huge hit single “Rico Suave,” told MC about the song’s development. “They said to do it all in English, but I stuck to my guns and did it half Spanish and half English. If I had taken the Spanish out of it, it would be another song.” The issue also includes interviews with producer Eddie Kramer and artist Boy George.

2003–Massive Attack–#10 The British duo’s 3D (Robert del Naja) spoke to MC about their creative methods. “The problem with a lot of electronic music is that the material ends up feeling very processed. That’s why I like to collaborate with people who write songs that feel very real.” Elsewhere in the issue is a Club Review of Sara Bareilles when she was an up-and-comer.

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ince his eponymous 1972 debut album, Jackson Browne has been hailed as one the Greatest Songwriters of All Time by Rolling Stone. Known for era-defining hits like “Running On Empty” and “The Pretender,” as well as personal ballads like “These Days,” Browne’s catalog has sold more than 18 million records in the U.S. alone. He’s an inductee in both the Rock and Roll and Songwriters Hall of Fame. Throughout his 15 albums and over his storied career, Browne also regularly threaded activism into his life and songs, raising funds and awareness for social, political, and environmental efforts. Downhill From Everywhere is Browne’s first new album in six years. Released by Browne’s own Inside Recordings label, it was recorded at Groove Masters in Santa Monica, CA. It was produced by Browne, recorded and mixed by Kevin Smith. Mastering was by Gavin Lurssen and Reuben Cohen at Lurssen Mastering in Burbank, CA. Downhill From Everywhere was cut with a core band that included guitarists Greg Leisz (Eric Clapton, Bill Frisell) and Val McCallum (Lucinda Williams, Sheryl Crow), bassist Bob Glaub (Linda Ronstadt, CSNY, John Fogerty), keyboardist Jeff Young (Sting, Shawn Colvin), and drummer Mauricio Lewak (Sugarland, Melissa Etheridge). Downhill From Everywhere houses expressions of doubt, connection, purpose and longing, all while maintaining a defiant sense of optimism that seems tailor-made for these chaotic times. Environmental and socio-political themes are explored: Human existence, clean air, fresh water, racial equity, democracy, and border concerns–– topics examined on occasion in his illustrious catalog. Music Connection: Many decades ago you wrote songs on piano or guitar, and the lyrics on some paper, or typewriter before computers. But on this new album, much of the writing process took place in the recording studio. Not demo to master steps. Jackson Browne: To me, I am continually discovering any number of things or any number of decisions are interesting and valid and you can pursue them. You just have to be open to what you are feeling and what you are hearing. It’s all trial and error for me. I don’t really have a dogma that I approach or adhere to. Keep your ears open. Songwriting is a mysterious thing. Sometimes it feels a bit like consulting the oracle. As a songwriter, you want to catch people when they’re dreaming. You want to find a way into their psyche when they don’t see you coming. On the new album it changed a little bit. I write on a legal pad with a pencil. And at a certain point I used to write the whole song out line for line to see what I had. What I found out a couple of albums ago was that it would be really great to see it typed. And it would be easier to see what was there, instead of my terrible handwriting. I read a lot, and to read it typed out double spaced helps me see what the lyrics got. I rarely start writing out the song on a word processor until it is pretty much half-written or if I got something. I use my phone now, the Voice Memo to my phone, and sometimes put the Voice Memo on and record whatever. Not think about it. Then I’ll have a series of these voice memos that contain the search. “Right! Voice Memo 395.”

I’ll write that. Let me figure it out. I didn’t start doing that until the last album. As a matter of fact, the song I started to do that on was “Minutes to Downtown.” That was a song I started a few years ago. And when I started looking for the thing, I was looking in the wrong year for this initial voice memo. There it was. One of the first Voice Memos on my phone. I’ve actually written stuff one track at a time and shaped it. The long way around. From the beginning I used to use a cassette player. In the beginning I had cassettes I wrote with. After cassettes I started using Minidiscs, and they stopped making the damned MiniDiscs (laughs). I have boxes. What I liked about the MiniDiscs was that they had ID’s. You could actually label things and go right to them looking for a song. Now with the voice memo, it is perfect for me. MC: Tell me about working and bringing your songs to fruition with band members in the studio. Browne: I rely on the players I’m playing with to uncover what is in the song. It’s always been that way. The music is informed by the way that everyone interacts with it in the room, and there’s this journey of exploring and cutting and re-cutting that can lead you to places you never would have ended up at on your own. In the studio, I very often record a song that is not finished. All the lyrics might not even be there. But I want to know what the song can do. Before I finish the lyrics. That happened a long time ago. I’d written a song by myself with a guitar in a room in Spain. And what you do to make a song finished with one instrument is develop the lyrics. So I get back to go play it with my band and I realize that I don’t want to hear a second verse, I want to go right to a chorus. And I have to throw that verse away. And that changes everything about the song. But it’s clear that I don’t want to hear the band play two verses and then go to a chorus. I wish I had that information. It goes back to “The Pretender” where I realized a song that I thought was finished was still malleable. I could make a change in the structure of the song not in the studio. To me that was hair-raising at the time, because in those days it was more formal. The idea of calling a session on the people that you have there and the amount of time you had to work in and what you are paying them was more imposing. In the case of “The Pretender,” Jeff Porcaro and Craig Doerge played something that meant I needed another line. I had a two-line phrase and if they did that it needed another vocal line. And Jon Landau, who was producing that record, said, “This is great.” [I said] They are doing this dynamic thing “but you know I’m gonna have to add another line…” Jon looked at me and laughed. “Well, you’re a writer.” It was easy. So much happens in the studio that it would be all right to go into the studio with a song that was not quite written. MC: You have clear-sounding vocal performances on this new album. Did you change your diet? There is such clarity and direction, almost Indian guide-like precise vocals on the navigation. Browne: [Laughs]. I don’t mind telling you, but I started working with an APP from the

wonderful singer Arnold McCuller [vocal trainer], who has worked with James Taylor for all the years. This APP has given me a way to train my voice and listen to my voice. It’s a bunch of exercises. When I first started I could do it okay, a few simple sessions. And I’ve been doing that. I kind of came into my voice. I just kind of go ahead and learn how to sing at the end of my career. What the hell. (Laughs). That experimenting with my voice and the palate was something that went on during the making of this new record. And that is as much a part of developing the songs as writing them. I’ve always done the best I can with what I’ve got. But I wish I had known at the beginning of my career how I could develop my voice. I’ve always tried to be a better singer, but that sometimes resulted in me trying too hard. If I listen to the way I sang on Late For The Sky, on that whole album I hold notes embarrassingly long. I sing too strongly at times when I could have sung something much quieter. MC: Let’s further discuss Downhill From Everywhere. Browne: What I think that this album comprises is a record of the search. Each case and each song represents an individual journey or subjects. The dreamers I started writing many years ago and I had the music, but the subject of immigration was a hot button subject a long time ago. You had the vigilantism on the border. And I was gonna try and write about that. It could get very hard to try and tell the story. I thought I could sing about somebody who has a job here and a family there. On “A Human Touch,” I started out wanting to talk about the conflict on the border, but the only way to talk about the conflict is to talk about the people living it, so it became about Lucina, a young woman Eugene and I both know. But the person who sees “enemies” everywhere is also a human being, and what I sing has to be true for that person, too, because I’m not talking about them, I’m talking to them. Even if they don’t like me singing about a girl who came to this country illegally, I want them to care about her. There are songs, like “Love Is Love” and “A Human Touch,” they represent embracing a subject more than finding a way of talking about it. All of these songs are in the present tense, which has not really happened in one of my records before. I realize they are an attempt to, in the present, come to terms with an issue that is important to me. On the song “Downhill From Everywhere” I wanted the song to be a great track that you didn’t have to listen to, or if you did literally for five seconds you’d get something from that, the juxtaposition of images. That represented a more cubist or abstract way of putting imagery together. Yet there is an overarching sense being made hopefully. Each of these songs represents a search to uncover––to answer––a question for myself. There’s a deep current of inclusion running through this record. I think that idea of inclusion, of opening yourself up to people who are different from you, that’s the fundamental basis for any kind of understanding in this world. I think racial and economic and environmental justice is at the root of all the other issues we’re facing right now. Dignity

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and justice are the bedrock of everything that matters to us in this life. Then there is also the fact that there is the challenge we face as a country to try and solve the problems that have been with us since its conception. We’ve got a deep flaw in our DNA as a people that we have to address. I see the writing on the wall. I know there’s only so much time left in my life. But I now have an amazing, beautiful grandson, and I feel more acutely than ever the responsibility to leave him a world that’s inhabitable. MC: Los Angeles, California and Barcelona, Spain are central topics and perhaps at the core of this new work. Like “Minutes to Downtown” and “Song For Barcelona.” Browne: Yes. I’d say Barcelona is a city that I really love and I inherited a kind of apartment there that’s cheap to keep it year round and go there whenever I could. It’s sort of a city that I grew to have a history with. I wrote the song part there and part in Los Angeles. I always assumed I was going to record it there. I even booked a studio and set a recording date and then I couldn’t go. Actually did that twice. And each time I had to cancel those plans and realized practically speaking I had to record it in L.A. But I also realized it was more appropriate to record it with my band because we all love Barcelona. It was more appropriate to be a person from California singing a tribute to Barcelona. “Minutes to Downtown” is a darker song, even when it comes in with a minor key. On the surface, it’s about living in Los Angeles, but it’s really a metaphor for life itself. I adore this city, but I’ve been trying to leave since around the time I finished my first album. You can love and appreciate and depend on a life as you know it, but deep down, you may also long for something else, even if you don’t know what it is. MC: Guitarist Val McCallum. The weaving he does with bassist Bob Glaub and Greg Leisz is wonderful. Browne: I’ve got some great players to work with. It’s pretty thrilling to work with someone like Greg Leisz, who’s a multi-instrumentalist, and to decide with him what instrument he’ll play or talk about the register. Val is unique. Very little words can do to describe what he does. He is the guy who is willing to go out on a limb and crash and burn. He is so thrilling and he plays something different every time, of course. What is going on between Val and Greg is amazing; they really listen to each other. It’s like there in duet. They are over there on the same side of the stage; they play next to each other so they really hear what the other is doing. And of course they are playing the song, and I’m pretty much playing the same thing all the time; what varies with me is maybe the emotional charge or the degree which I almost never change the melody or the phrase that I’m singing. They’re the ones who put this fresh music together each time a song is played. And they listen to each other intently and are also cracking each other up, because they both are so good. They support each other. We go through and designate who is gonna solo on a particular place, but that’s only the beginning of the story. They wind up accompanying each other sonically in terms of register. Sometimes with Greg, where I do shows and he is my only solo accompanist August 2020 musicconnection.com July musicconnection.com April musicconnection.com 38 musicconnection.com JulyFebruary 202020212021 musicconnection.com

and sometimes we forget what different instrument he’s gonna play, we discover something in the song or just the tunings that he uses. It’s a very fertile environment to be playing in a band with these guys. I don’t know how to talk about music. I just notice the most fundamental things. At one point we did a particular gig with this band and I hadn’t played with Bob in many years. And the combination of him and Mauricio Lewak was really distinct to me. Wow. He really changed what Mauricio was doing. Bob plays a particular way. I’ve done songs with Mauricio and we’ve cut them with some other drummer a few times. Or I called Jim Keltner who took it to another place. MC: You’ve worked with some terrific engineers over the decades, including Al Schmitt and Greg Ladanyi.

Browne: Early on I produced myself and worked with an engineer. They were rare occasions where I used a producer. Those were maybe learning experiences, to work with someone whose job it is to chart a course and co-navigate a song. I don’t involve myself that much in the miking of drums. That’s an engineer’s job. And in some cases what I’m deciding about is the register of an instrument or what goes on with the players. MC: You have some scheduled tour dates for 2021. How do you select a concert repertoire or pick a set list? Does management make suggestions or does the playlist come from band members or even fan mail? You have this body of work, and there are obligations to play hits as well as deep catalog. Browne: I’ve tried every which way and any way you can possibly try it. I’ll give you an idea of some of the approaches. No set

list. Or just call a song if you are playing by yourself or with one other person who knows your songs really well. And you can just say, “You know, we’re not really doing a set.” Or I’ll let the audience know early there is really no set list. .... I’ve done that, and after a while my audiences are expected to call for some songs, but you start to feel like a juke box, so maybe that is not the best way, either. For a long time I thought I had to play all my new songs. I’d make an album and go out there and play, but I had a good friend tell me, “That is not a good idea. Some people are there to hear what they already love. You can’t just play them a bunch of new material. You gotta give them a chance.” And he said “we never play more than two new songs. Never. Think about it.” That was Scott Thurston of [Tom Petty and] the Heartbreakers. That is a useful example to me. I love the Heartbreakers and when I’d go see them and they are playing songs from their entire body of work and those two new songs. And that was a very influential teaching moment. A learning moment for me from Scott. Also, when it comes to picking, very often I’m not the best judge of how the songs go together. ‘Cause I think in terms of getting from one song. The guy who is most helpful to me in that is Val McCullum. He is super-opinionated about what should come next and what should be included in the set and very eager to interact with me and help plan the set in recent years. And he’s really right about a lot of things. It’s all intuitive, you know. What do you want to happen next? Not everybody cares. It matters sometimes whether or not you can set up, getting from one instrument to the next. I’ve got to reach for this guitar so I can’t do those two songs next to each other, putting a song in between. That’s a practical consideration. It does matter. Or I’ll be thinking stuff like I don’t want to do two songs with the same tempo back to back. It’s a mysterious thing. I enjoy getting everybody involved and everybody gives you feedback. If you do a particularly great set, “That one really works when we went from that song to that song.” It’s a band and everybody expresses an opinion about it. MC: What are your 2021 plans and any projects in motion? Browne: I’m working as a producer with a director on a film about playing the drums. I’ve had the great fortune to play with some of the great drummers in rock & roll: Jim Keltner, Jim Gordon, Russ Kunkel, and Jeff Porcaro. So I appreciate them deeply. I don’t understand them, so I don’t really know that much about it. But I rely on them, though I don’t know exactly what I’d like to know. I’m a good sort of collaborator for a film on that subject ‘cause I deeply want to know. That’s something that is quite a departure for me and a lot of new terrain. .… There are plans for touring, which is a major thing and to be able to play again. Contact sonny@missingpiecegroup.com Jackson Browne will be on tour this summer and fall with James Taylor. Additional Jackson Browne dates will be announced soon. For more information, visit jacksonbrowne.com For further Q&A with Jackson Browne, see musicconnection.com

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Sarah Hamilton Studio: Chicago Recording Company

Clientele: The Smashing Pumpkins, Rihanna, Chance the Rapper Web: chicagorecording.com Sarah Hamilton began her career in studio management as a recording engineer. She spent her first six post-graduate years at various Nashville studios including East Iris and Paragon. When the opportunity to work at Chicago Recording Company (CRC) arose, she grabbed it. Hamilton interned for a few months, transitioned quickly into management and has been there since 2008. Established in 1975, CRC produced a number of commercial jingles early on, but now has three Chicago locations with a total of 11 rooms. Much of The Smashing Pumpkins’ diamond-certified Mellon Collie and the Infinite Sadness was recorded there. What sets CRC apart from other studios? It’s our longstanding reputation and our facilities. There aren’t many places anymore that have five full music rooms. We have a

homes, they expect lower rates. We make sure they understand how much more we can offer. For our music side, most of our business comes to us by word-of-mouth and our reputation. With all of the music festivals in Chicago, Spring through early Fall is our busy season. Because of those experiences with us, artists often come back to do full albums. Chris Shepard had been our general manager for decades and also runs American Mobile Studio, a service that records festivals around the country. That’s a nice connection for us.

What’s the biggest challenge you’ve ever faced as a studio manager? You work with a lot of clients. Some of them are serious, some are less serious, so we can have sessions that go awry. Sometimes they aren’t following protocol, being disrespectful of the studio or bringing too many other unnecessary people. Those are the times when we have to shut it down. It doesn’t happen often, thankfully. Maybe once every two years. Any issue we’ve ever had has never been connected to the artists themselves. It’s always the friends.

What’s an ideal client for you? It’s always best for us to have at least a twoweek notice. Typically, we book-up about 48 hours in advance, but currently I have bookings all the way till November. We have a lot of clients who book large projects far in advance, especially during the Summer or Fall. Our ideal clients love to work. There are always the people who want to come in and hang around with their friends in a studio and maybe get some work done.

What does the future hold for studios? We’ll continue. We have a lot of gear that many people can’t afford to have in their homes so the need for big studios won’t go away anytime soon. People can hear the difference between a record made in a professional studio and one that was made at home. There’s also a lot to be said for the support system: being surrounded by people who’ve done this countless times before with great results.

What’s one of your favorite studio anecdotes? Not long after I started here, Sting’s management called. He wanted to record some video interviews while he was traveling. It turned into this thing where he brought in Christian McBride and they booked-out the studio just to jam. What kinds of things did you do to survive the pandemic? Still allowed clients to come in? We shut down for a few months toward the beginning. But immediately we set up all of our post engineers with home studios so we never truly halted work completely. We’ve put a max capacity on the number of people allowed to attend sessions. We have three live rooms [at the primary location] with a control room in the center. They open up to each other, but we’re also able to close them off so we can further isolate people. We’ve been able to record some great bands and some classical stuff because of that extra isolation.

Sarah Hamilton

“People can hear the difference between a record made in a professional studio and one that was made at home.” vast collection of old gear––great AKG C12s and Neumann mics––as well as all of the latest plug-ins and software. We’re malleable to clients’ budgets and different types of projects. If people want to come in and do a mostly analog session or all-digital, we can accommodate that. What are some of the biggest challenges that face studios today? The struggle is always getting in new clients. We have a great client base, but we’re always looking for new ones. We have such a high standard that our rates can be on the higher side. With so many people working out of their

Final thoughts? We’re all going to make it through. Things will go back to normal. They’re already starting to. I look forward to all of the cool projects that were written during the quarantine. •

Candace Stewart Studio: EastWest Studios

Clientele: Rihanna, Elvis Presley, Lady Gaga Web: eastweststudio.com South Carolinian Candace Stewart segued into studio management through her three older brothers who were all engineers at Los Angeles’ famed Record Plant. She moved to L.A. when one brother launched Take One where she began to learn about

Do you enable remote work in any way? It’s less common on the music side versus post-production. For post, we still have engineers working from their homes. We do most of our sessions via Zoom, Audiomovers and Source-Connect. Has the pandemic caused the industry to change permanently or do you foresee a full return to the studio, ultimately? For music, I foresee a full return. It’ll take a while but we’ve always been an industry that a good part of the work has been done out of people’s homes. We’ve been battling that since the push towards digital decades ago. We’ll bounce back. [As of mid-May] we’re back to about 70 percent of our pre-COVID levels. People still appreciate being able to go into a professional working environment versus working out of a house. What are the best ways for artists to save money in the studio? Be prepared. Put in the time to rehearse and make sure that your songs are written completely. Walk into the studio knowing your game plan. It’s important to be aware of your budget from the beginning. Our bigger rooms are more expensive, but our smaller ones have the same Pro Tools systems. If your budget doesn’t allow for full mixing time in the large rooms, we can switch you to one of our smaller cheaper ones.

Candace Stewart

“A lot of artists make the mistake of self-producing. That’s an error because you’re too close to it. ” July 2021

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studio etiquette and setting up sessions. But Stewart soon realized that her interests lay in helping in other ways, such as marketing. She’s worked at various L.A. studios and at EastWest through its various incarnations––it was Cello for a time and became EastWest in 2006 when relaunched by Doug Rogers. It was originally part of famed engineer Bill Putnam’s United Western Recorders. What sets EastWest apart from other studios? The history, the acoustics and the staff. When I was at Cello, we had five techs. Now I have just one chief engineer: Lawrence Malchose. A lot of our gear was designed right in this building by Bill Putnam.

change permanently or do you foresee a full return to the studio, ultimately? I’ve already seen a return to the studio. Music is going to get heard and creators will create. People have used the time wisely to write a lot of music, so there’s plenty that needs to be recorded. What are the best ways for artists to save money in the studio? Be well-rehearsed; be prepared. We’re like a hotel with technology. If you need more time, that’s good for me, but I don’t like to see anyone be inefficient or get upset. A day is 12 hours.

What’s one of your favorite studio anecdotes? Paul McCartney once sang “Happy Birthday” to me, thanks to Dave Grohl, who’s one of our favorite clients. I loved having Chris Cornell, Scott Weiland and Cheap Trick here. When you do something long enough, your personal and professional lives intertwine. All my friends are engineers and I’m a champion of the craft. What kinds of things did you do to survive the pandemic? At first I told my staff that they’d have to go on unemployment. But Doug [Rogers] called and said that wouldn’t happen. He kept them all employed. We were completely shut down from mid-March to mid-May. But thanks to our clients, we re-opened on May 20th of last year. Financially, it’s been devastating so it’s been important to make people be safe. In L.A., we’re all competitors, but we’re all friends. We had Zoom meetings early on with all kinds of people. I took the county and CDC guidelines and came up with a plan and we’re still using many of those protocols. The main thing we did was look at the size of our spaces and reduce the allowable per-person room limits drastically. Studio One can hold 70 pieces and we reduced it to 20. Do you enable remote work in any way? We’ve used Source-Connect for years but 99 percent of what we do is real-time, in-person recording. Has the pandemic caused the industry to 42 July 2021

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Final thoughts? For rising engineers, there are a lot of places that need your skills: live music, sporting events. Practice your craft so that when you come to a place like EastWest you can use your time wisely. I love Music Connection. I used to Xerox your directories. It’s how I networked and got people to come into the studio. Lastly, people need to remain hopeful. I’d like to see less polarity and more unity, regardless of politics and opinions. Use music as a connecting voice. •

Phil Spallina Studio: Jungle City Studios

What are some of the biggest challenges that face studios today? Rates haven’t gone up in probably 25 years and equipment has gotten more expensive, as has real estate. So one of the challenges is to keep it profitable. This isn’t a high-margin business. If you’re lucky, maybe you’ll hit 10 or 15 percent profit, which is pretty low. But the sound library company [Eastwest Sounds] is very successful––we’re two separate companies–– and we’re a tool for them. People think they can record in their homes. While artist empowerment is grand, you can’t do the same thing in your home as you can in a place like EastWest. I don’t like it when professional studios close, because I take it as a bad indicator of our industry. What’s an ideal client for you? It’s great if a client knows what they’re doing, what they want and doesn’t grind me too much on the rate. But it’s our job to lead people, too. It’s also important that they’re respectful to the staff. People are excited to be here and they’re usually happy because this is where they want to be.

enough that it makes a difference. Few people can do a 60-piece recording date in their house.

Clientele: Alicia Keys, Kanye West, Beyoncé Web: junglecitystudios.com

Phil Spallina

“I like having a diverse clientele. I don’t believe that you can survive off of one genre.” Portion it accordingly. And have a producer. A lot of artists make the mistake of self-producing. That’s an error because you’re too close to it. You need an outside, objective voice to rein you in. An engineer can help with that, too. What’s the biggest challenge you’ve ever faced as a studio manager? When Cello closed. But I also remember when a movie was being filmed outside of here on Easter Sunday. They ran into a fire hydrant and it exploded. Thousands of gallons of water came into the building. You can still see some of the stains on the wall and a lot of stuff got damaged. Fortunately, Sony Pictures had good insurance. I think we’d all agree that none of us knew what a challenge was until the pandemic hit. One of the most important things to come out of this is the realization of how important it is to be healthy, take care of your family and to do what you love. What does the future hold for studios? There will always be a place for facilities like EastWest. They’ll remain relevant because the acoustic space enhances the production

Phil Spallina started at Jungle City in late 2012, 18 months after the studio’s launch. Like many in the business, he started as a runner: cleaning, making coffee and so forth. His entrée to the studio came through his aunt, Grammy-winner Ann Mincieli, who happened to engineer for Alicia Keys and is the studio owner and operator. He soon found that he loved the environment. His passion fueled his performance and it wasn’t long until he became the manager. Interestingly, Jungle City was designed by noted studio architect John Storyk, whose first commission was Jimi Hendrix’s Electric Lady Studios. What sets Jungle City apart from other studios? Since 1995, Ann’s [Mincieli] vision for Jungle was to make it the best studio possible, sonically. So she brought in John Storyk, who’s one of the strongest studio designers. She worked alongside him to build this, along with a five-star hotel vibe. She wanted to make the room sound as good as possible, but also to make the artists and clients as comfortable as possible. She wanted anyone who came in here to make Jungle City their base. What are some of the biggest challenges that face studios today? COVID-19 threw a curveball into everyone’s plan, especially in New York where we were doing great in the years leading up to 2020. The challenge now is to pick up where we left off. We want everybody to know that they can come here, it’s safe and we’re putting health first. What’s an ideal client for you? I like having a diverse clientele. I don’t believe that you can survive off of one genre. Studio etiquette is something that’s important to us. Fortunately, we haven’t had clients who have come through and destroyed the place. Everybody treats Jungle with a lot of respect and I’m grateful for that. What’s one of your favorite studio anecdotes? I love the diversity that we have going on. We can have Madonna in one room, Depeche Mode in another and Rihanna in a third, all at the same time and they may never cross paths. I come into work and know that I’ll be a part of a creative experience and that’s more than rewarding. I’ve also seen paparazzi accidentally drive their scooters into the front door.

Jungle also has a lot to offer in terms of gear, whether it’s vintage or the newest synthesizers. Rarely do I have to rent anything. It’s a nice workflow when you can go into the storage [room] and grab a U47 [microphone], a Prophet-6 [synthesizer] or one of our more than 30 vintage guitars. We’re most proud of the EMI TG12345 Mark IV console that used to be in Abbey Road Studios. Before we even had a studio, Ann wanted that piece of gear. It’s her prized piece. •

Tina Morris Studio: The Village

Clientele: Madonna, The Rolling Stones, Nelly Web: villagestudios.com

Tina Morris

“Fifty percent of our sessions daily are remotely monitored. Prior to the pandemic, it would happen maybe twice a year.” Do you enable remote work in any way? Even before the pandemic we did remote work. Often, the artist would be in New York and the producer would be in L.A.. They’d either Skype in or use Source-Connect. Remote work for us didn’t increase during the pandemic. Has the pandemic caused the industry to change permanently or do you foresee a full return to the studio, ultimately? People will return to the studio because they’re eager to get back to a sense of normalcy. I believe they’ll always be conscious of what took place over the last year or so. Social distancing is huge, as is washing hands. I don’t think our generation will ever forget these guidelines; they’ll be more conscious moving forward and hopefully forever. What are the best ways for artists to save money in the studio? Get to work. No playing around. Come in and get your work done. What’s the biggest challenge you’ve ever faced as a studio manager? The pandemic. When we were forced to close, that was the toughest thing that I had to explain to our employees and clients. Some don’t take no for an answer: they wanted to get in and create stuff. We’re coming out of it, though, and we have a solid schedule. We’d be nothing without our dedicated employees. What does the future hold for studios? The studios that are reliable and consistent will always have a niche. There will always be a place for artists to get work done. Many of them have home studios, but they still value working in a professional one. You’re not going to fly in three producers from California to work in a home studio.

Upon graduation from Berklee College of Music with a degree in music production and engineering, Tina Morris worked at various Boston studios. Shortly after getting married, she and her husband moved to Los Angeles, partly because of the enviable number of studios in operation. She started as a runner at The Village in 2006, moved into tech and later into engineering. When the previous studio manager left, owner Jeff Greenberg offered her the job, which she’s held since 2008. Some of Morris’ favorite artists she’s worked with are Elton John and Coldplay. She also loves when film scores are booked. What sets The Village apart from other studios? The hospitality. Everybody has Pro Tools and an 88R [Neve]. It’s also the sound of the rooms. T Bone Burnett called Studio D an instrument that he likes to play. We have a lot of variety; different flavors for different artists. Jeff [Greenberg] comes from a livesound concert background. He worked with Nederlander [Concerts] and ran The Greek Theater for years. We have a concert mindset. “Showtime is now; fix it now.” We don’t want clients to have to wait. We like to treat this like the Four Seasons: everyone is welcome and treated the same. Studio D was built for Fleetwood Mac and they recorded Tusk in it, although the days of full-on lockouts have gone by the wayside, mostly. What are some of the biggest challenges that face studios today? The use of technology brings a wave of people thinking they can do it themselves. They go back to a home studio or rehearsal space and realize that it’s cooler and more productive to work in a room with professionals. I’ve seen that wave a couple of times. To keep up and adjust to it is a challenge. It’s costly sometimes, but to be able to do that allows us to switch from a film score in the Moroccan Room to a hip-hop session in Studio D. What’s an ideal client for you? Somebody who communicates what their needs are, even if it’s challenging. An awareness of what we go through is also helpful. There are different levels of professionalism that we experience. Someone like Elton John or Dave Matthews is here to work and not to prove themselves; there aren’t a lot of egos going on. Someone who just got a record deal and feels that he or she needs to throw their weight around makes it challenging for us.

What’s one of your favorite studio anecdotes? I’m thankful for how comfortable people are here. About six years ago we’d done Sara Bareilles’ record and she’d invited Jeff to her Grammy after-party. A few days later, he came in and talked about how great she was. At that exact moment, Sara walked in to say hello. You couldn’t have written that better. What kinds of things did you do to survive the pandemic? We were closed for two months––March through May 15. About a week into the shutdown, all of the studio managers got together and came up with a united front; we worked together. Even though we’re competitors, it made me realize what a cool community we have. Do you enable remote work in any way? When we shut down, my biggest stress was how to take care of our guys and to keep them working. I’ve been through a studio shutdown before and I knew that there would be a life after it. I had a shower-thought to do a “virtual village.” So I worked with my staff and considered all of the scenarios we might face. We figured out how to run sessions remotely, did a lot of major-label releases and even vocal sessions for TV shows. A portion of our proceeds went to MusiCares to show our appreciation that we were able to keep running. Has the pandemic caused the industry to change permanently or do you foresee a full return to the studio, ultimately? Right now we’re fully booked. We just opened Studio Z and I still need another room. I think what will permanently change is the remote access to monitoring sessions, because we’ve come up with such a great way with Zoom and different plug-ins to have high-quality audio streams. There’s a market for having a reason not to fly from New York to L.A. to be here for one session. Fifty percent of our sessions daily are remotely monitored. Prior to the pandemic, it would happen maybe twice a year. What are the best ways for artists to save money in the studio? Being prepared. If you’re rehearsed, it’s not going to take you 20 takes to get the right one. It’ll take five or six. Do a lot of pre-production so you’re not experimenting so much and know what your needs are. What’s the biggest challenge you’ve ever faced as a studio manager? Scheduling and working with people’s needs. I call it “scheduling Tetris.” I can move people around when I have to. I hate bumping clients and sometimes people get mad. It’s not a money thing. I like to err on the side of creativity. Yes, business has to be a consideration, but it’s people’s hearts and souls that they want to get recorded. What does the future hold for studios? There will always be a place for them. We have to be wise about what technologies are out there and how to still be versatile. If The Village stayed just a rock studio, we wouldn’t still be here. What I love now is that we’ve got a lot of young talent and labels are starting to open the purse strings, because they’ve finally discovered how to make money off of streaming and the internet. Vinyl’s also making a comeback and that makes me happy. •

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all of the guidelines. We had a lot of tentative sessions that we had to cancel because the artists couldn’t fit into the state [COVID] requirements. But people really figured out we were here, because of the pandemic, since we’re so isolated. What’s an ideal client for you? We’re pretty easy-going here and are about as quintessentially Vermont as you can get. We like anybody and are open to any type of music or clientele. The person who gets it here is someone who wants quiet. If they want to go out to a bar at two in the morning–– we’re in southern Vermont, things shut down [early]. People want to come here to record and experience nature. Those are our ideal clients––someone who comes up from the housing through the woods to the studio. Artists who are used to the city sometimes take a few days to adjust. Also, anyone who checks out our mic collection and is blown away.

Cindy Larsen

“We were ranked in the BBC’s 10 most stunning places to make music.” Cindy Larsen Studio: Guilford Sound

Clientele: Ryan Montbleau, Valerie June, Ruth Garbus Web: guilfordsound.com Guilford Sound was established in rural Vermont in 2011. Cindy Larsen has been its manager since day one. But she used to make her home in San Diego where she managed and booked tours for bands and also scheduled for two night clubs. Larsen moved to Vermont where her husband did stonework for Guilford as it was being built. She connected with the owner Dave Schneider, still loved music and was invited to manage the freshly minted audio abode. As a residential studio, Guilford offers overnight accommodation to artists, endless hiking trails and boundless privacy. What sets Guilford Sound apart from other studios? We’re a green studio. We have full solar panels, a whole HVAC system with ground pumps and a wood-fired boiler. We try to minimize our carbon footprint, have Passive House certification and are working toward net zero. The sound part of our studio was designed by Francis Manzella and we’ve got a great gear selection that rivals any studio. And where we are is so private. We’re on 600 acres and the scenery is stunning. We’re surrounded by hiking trails. What are some of the biggest challenges that face studios today? COVID was a huge one, obviously. But we were lucky enough to have a reserve to see us through. The hardest part was trying to follow 44 July 2021

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What’s one of your favorite studio anecdotes? We had artists in from New York and the U.K. a few weeks ago and they saw a bear with its cubs cross right in front of their car and stand up on its hind legs. It was even funnier because one of them had asked if she was likely to see bears here. That was about a quarter of a mile from the studio. It’ll probably end up in a song. What kinds of things did you do to survive the pandemic? We shut down completely for about three months. After that, we opened slowly and were able to do a lot of local stuff. What was interesting about COVID was that people were looking for recording studios and Vermont was known nationally for having the lowest infection rate, in part because people are spread out and because our governor was so strict. People wanted to come here, but the restrictions prevented that. That was tough. But even if a client isn’t vaccinated, they can still come here and record as long as they wear a mask and maintain social distancing. Luckily, we have four iso booths. That’s how we’ve gotten around some of the restrictions. Do you enable remote work in any way? Not really. Our tracking room is really big and we have great sound. We have had producers work remotely, but we haven’t done remote engineering. Has the pandemic caused the industry to change permanently or do you foresee a full return to the studio, ultimately? I see a full return for us, unless there’s another COVID variant. We’re residential and weren’t allowed to house anyone for a while, so we filled in with a lot of local musicians such as Roger Clark Miller. We’re busier than we’ve ever been and are booked-up almost though Thanksgiving. What are the best ways for artists to save money in the studio? We’ve had some come here for two weeks and be fully rehearsed; they were ready to go. That’s the biggest thing: be ready to record when you come in. But some people have the budget to be open-ended and that’s always fun. What’s the biggest challenge you’ve ever faced as a studio manager? Getting the word out that we’re here. In 2017 we were ranked in the BBC’s 10 most stunning places to make music. You can advertise, but

it’s more word-of-mouth. That took a while for us to build. We’d hired a publicist and that helped a little. The pandemic also spurred people to find us, because nationwide Vermont was known as a safe place to be. Our story is probably a little different from other studios. It can be tricky for people to understand what we have here. They kind of think that Vermont is a hobbit world and in some ways it feels that way. But we rival any other studio and people are beginning to discover that. What does the future hold for studios? I hear all the time of studios going under. It is really tricky for bands without a big budget to record in a high-end facility. We’re also really careful not to undercut the smaller studios who can’t offer what we do. The smaller ones probably have a hard time making ends meet because people can do things on their own. •

Pat McMakin Studio: Ocean Way Nashville

Clientele: 3 Doors Down, Beck, Dolly Parton Web: oceanwaynashville.com Nashville native Pat McMakin got his start in studio management as an undergraduate at Belmont University in the late ‘70s. While there, he oversaw the student studio and in 1982 moved on to Tree Publishing. Ocean Way Nashville––now owned by Belmont University––was opened by Allen Sides and Gary Belz in 1996 as something of an extension of Los Angeles’ storied Ocean Way. As an engineer, McMakin worked on Vern Gosdin’s Chiseled in Stone as well as with Ray Charles, Tammy Wynette, and Steve Martin on his 2009 bluegrass record The Crow: New Songs for the 5-String Banjo. What sets Ocean Way Nashville apart from other studios? Our amazing staff and our service-oriented attitude. We make it familiar and friendly. I give as much care and attention to a newbie who’s never recorded as I do to Bob Seger. The biggest differentiation for us is the room. Our A room is in a beautiful, 120-year-old church sanctuary with 30-foot ceilings. We do orchestras there and can seat 80 people. We also do a lot of scoring for film and video games there including Call of Duty and Fortnite. The video game industry is so rich right now and they can easily add $200,000 [for music] to a project. What are some of the biggest challenges that face studios today? Home studios. The technology has gotten so good that you can record pretty credibly anywhere now. That’s been tough to compete with. There was a time when the cost of entry was quite high. Now it’s not. A lot of people mix in private studios. That’s why about 10 years ago I started to look at orchestras––something we could do better than everybody else. Incidentally, Waves Audio contacted us recently about doing a plug-in. So now there’s an Nx Ocean Way Nashville plugin that’s a model of our control room. When you mix at home, it gives you all the spatial information that you’d have if you were sitting in our room. It even has a head-tracker. As you turn your heard, the perspective of the speaker changes, just as if you were sitting in front of a pair of speakers. People who mix on headphones love it. There’s an Abbey Road equivalent and I believe we’re outselling it.

we had to be closed. Once we reopened, we picked up some clients. Do you enable remote work in any way? Yes. Chris Lennertz, a composer who does the music for Lost in Space, can’t fly out to us, so he connects with Audiomovers. Sometime in the two years prior to the pandemic we’d invested in a pretty extensive video installation for this purpose. We have a four-camera feed with the conductor, two shots of the orchestra and a timecode bar. That’s transformational for a business like ours, because it takes a scoring facility that’s in the flyover part of the country and makes it a global business. I’ve done remote sessions for producers in London, L.A. and Tokyo.

Pat McMakin

“I’ve done remote sessions |for producers in London, L.A. and Tokyo.” What’s an ideal client for you? Our A room books farther out. Studio B is a little easier to get into. But if you can give a twomonth advance notice, the odds of you finding a band and a studio that you like that all line up are much greater. As you start carving down from two months, people and studios start to get booked.

Has the pandemic caused the industry to change permanently or do you foresee a full return to the studio, ultimately? If anything, the pandemic has solidified what recording is: something that’s done as much in a private facility as in a commercial one. An area I like to talk about is to know when you need which. I love the idea that I can sit in a studio and not worry about a clock and it’s comfortable. I get those advantages. But there’s a moment when it’s easier to rehearse your band, rent a studio and a good engineer and knock out five songs. Then if you want to take a month and finish those songs at your producer’s studio, that’s great. You’ll get a better result if you do and will thank yourself for it. Track in a commercial studio. If you don’t, the social and human aspect is stripped away a bit. What are the best ways for artists to save money in the studio?

Pre-production. When I produce, that’s a place where I really spend the time. Make sure you’ve got the material, that you’ve got it charted and you know all of your transitions from verse to chorus. That makes it go fast, because the band isn’t working on the arrangement as much. What’s the biggest challenge you’ve ever faced as a studio manager? It’s always financial. Since streaming is what it is, a lot of the money goes to the label and not the artist, so the money they’d allocate to a recording budget will be tight. Budgets are lower, costs of doing business have increased, but the effective studio rates haven’t changed in about four years. Keeping a balance to what you can charge versus your cost structure is an age-old business equation. What does the future hold for studios? I fear that it will continue to be whittled down to a few in the city. But there will always be a class of people who will want pro studios. It’s a proven model that has value. If I were in the equipment business, I’d be looking forward to the time coming up [because] recording is becoming more ubiquitous. There’s a rapper who records everything on his iPhone. The bottom line is that breaking even is about all you’re going to do. You might have years that are profitable, but you’ll end up reinvesting that money. We need to have people who are willing to invest the money and the studio will have value to them beyond the rental income. We see a lot of studios that are sitting on real estate plays. There’s a little one in town and where it sits is zoned for 24 stories. It’ll sell when the right developer comes along.

What’s one of your favorite studio anecdotes? One day we had Joe Bonamassa in one studio, Keb’ Mo’ in another and a third client in B who was using Pino Palladino on bass. I made a point of getting them all in the same room and just sat back and watched as these guys hugged and laughed and generally had fun. What kinds of things did you do to survive the pandemic? The first thing that happened was that Belmont [University] called on March 15th and told me to shut down the studio. We had sessions booked for that night. They allowed those, but then we had to cancel a lot of stuff, which annoyed several people. They kept us closed for three months. But we used that time; our tech crew never took a day off. They worked straight through and did repairs. We reopened in June. Violin players wore masks until last week but with brass, that was an issue. But I did some research and learned that brass instruments don’t spew any aerosol. We bought a UVC light so that we could disinfect the studios each night. A month later, we learned that surface-born [infection] wasn’t a huge issue. We’ll still use the UVCs during cold and flu season just because it’s good health. Companies like Netflix and Apple with all those shows ready to go needed scores. We could have picked up a ton of clients during that period. But we had to be closed for the time that July 2021

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PRODUC T PROFILE

– STEVE SATTLER

Royer R-10 Ribbon Mic & dBooster E

arly ribbon microphones, such as the ones made by companies like RCA, were for years a mainstay in studio broadcast recording. They sounded good, but they were fragile and were for the most part used exclusively in studio environments. Modern designs like those pioneered by David Royer, founder of Royer Labs, offer less fragile ribbon elements and robust construction that greatly expand the ribbon microphones’ practical use, including miking louder instruments and utilizing the mikes in live situations. The Royer R-10 is currently the most affordable ribbon microphone Royer offers. The R-10 is hand assembled at Royer Labs in Burbank, CA, and is on par in quality and construction with any other microphone in the Royer product line-up. The R-10 has a figure 8 polar pattern and features Royer’s patented offset ribbon technology, which keeps the ribbon in its sweet spot when recording high SPL (sound pressure level) instruments like the electric guitar and trumpet, two instruments the R-10 excels on. It utilizes an imported Royer-designed metal grill, which helps keep the cost down. The R-10 comes with a swivel mount as opposed to a shock mount, but the ribbon transducer is internally shock-mounted so vibrations are controlled without need of an external shock mount. The ribbon in the Royer R-10 is a thin (2.5-micron) strip of corrugated aluminum (the same as in Royer’s R-121) suspended between two magnets, which generates an electrical

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signal in response to sound. What makes the Royer R-10 unique is its shock-mounted transducer and protective three-layer windscreen system, which protects the ribbon element from wind blasts and also cuts down on proximity effect (the bass buildup you get when close miking an instrument or singer). Its price also sets this mic apart from the rest of the usually moreexpensive Royer line. The Royer R-10 can handle extremely high SPLs, up to 160 dB SPL @ 1 kHz, so placing it in front of a guitar amp at very high volume is no problem. The Royer R-10 is built rugged enough so that you will not be afraid to take it to your next live gig or tour date––it was the only mic used on Dave Grohl’s guitar cabs on the last 2-year Foo Fighters tour, so it can handle LOUD. The R-10, while an extremely durable microphone, still needs to be protected against excessive wind, shocks from drops, etc. In use, the R-10 sounds extremely natural on electric guitars––the recorded sound is very much like what you hear at the guitar amp, and you can blend in an SM57 to get more bite if desired. It’s also great on brass instruments, drums and other high-volume instruments. Combined with Royer’s dBooster (for extra gain) it sounds really nice on almost all acoustic instruments and even on some vocals. Royer dBooster The Royer dBooster is a passive in-line signal booster that has two settings, 12 dB and 20

dB, allowing you to dial in different amount of gain when using passive ribbon or dynamic microphones. Combining Royer’s R-10 with their dBooster solves the low output level problem common to passive ribbon and dynamic mics. The Royer dBooster is a perfect companion for the Royer R-10, functioning not so much as a pre-amp, but rather a signal booster that adds gain to the overall signal to create a usable recording or stage level. The dBooster is designed to be used in-line with lower output mics for sound sources like acoustic guitar, ukulele, vocals, etc. The Royer dBooster works great with the Royer R-10, as well as with just about any dynamic microphone, like the SM7 or stage and handheld models. The Royer R-10 has a warmth and openness you will have to hear to appreciate. It’s a great microphone for live and studio applications and makes a great addition to any home or professional studio environment. It is not the cheapest alternative, but for the price the Royer R-10 offers a step up to a premium microphone you will not run out of uses for. The Royer dBooster only adds to the microphone’s overall versatility and value. With a little common sense, you can use the R-10 as your go-to microphone in just about any live or studio situation.The Royer R-10 is available for $499 on the street, or $1,048 for a matched pair. The Royer dBooster is available for $179. Find out more at royerlabs.com/r-10/ and royerlabs.com/dbooster.

– ANDY KAUFMANN

Smile Records

Two Decades of Bringing Smiles To Artists and Fans

ony Valenziano, lead singer of power-pop band The Stand, faced a crossroads. His act had been dropped and Epic Records wasn’t going to release their recently recorded album. As part of their exit agreement, he acquired the masters. All he needed to get the muisic out there was a label. Why not create one? “I was going to call it Smash Records, but some New York company had [the name],” he says. He’d been calling the band Smile, so he got around the naming barrier by switching them around. Smile Records was officially born in 1995. The first artists he signed were discovered at an L.A. festival called International Pop Overthrow, formerly known as Poptopia. It was brimming with power-pop bands that complemented Valenziano’s musical style. “I saw unbelievable talent,” he remembers. “I was like, is this genre having a resurgence? I started to pick and choose [artists] from there.” Musicians who’ve called the label home include The Negro Problem, Wondermints, Carla Olson and Supremium. Another act, The Oranges, is a Japanese band that sings in English, even though the members are not conversant in the language. Another international possibility was Sweden’s The Merrymakers. Despite being mentioned in the label’s first piece of advertising, that deal was never finalized and the group never released anything with Smile. Most notably, The Knack has an intimate history with Smile Records. Recently, Valenziano put together a compilation of unearthed material from Doug Fieger, the classic band’s guitarist. The label founder was originally going to release a conventional mix of greatest hits from the “My Sharona” hit makers. Unfortunately, Fieger’s sister, who was controlling his estate at the time, had already struck a deal with another label. That spurred a dive into the archives, which included an album of Hank Williams covers as well as work with Cars guitarist Elliott Easton. There were also solo songs recorded during a brief Knack breakup under the moniker Doug Fieger’s Taking Chances. Those demos hadn’t been heard in four decades. As someone who views himself primarily as a producer, Valenziano enjoys bringing old

material into the now. He breathed new life into the Chances tracks, which he describes as sounding very ‘80s. “The fun part about that was I got the 2” tape and remixed it,” states the late artist’s friend. “I kept a lot of that [‘80s] vibe, because if Doug was sitting behind me listening he’d want to keep the record as such.” Playing the cleaned up version for Feiger’s sister elicited a highly positive response. “I’m really interested in repurposing older

poppy sounds that are his stock and trade, Smile is open to all types of music. “I have records that are rockabilly. I have records that are Americana. I have a Christmas album that’s swing,” he declares. “I just like good.” Musicians curious about joining forces should contact him via email. Smile artists commonly sign a 50/50 split with the label. There is a non-recoupable distributor fee and then the rest of the profit gets divided evenly. The label owns nothing and musicians retain all their publishing. Smile takes care of everything from manufacturing to art production, marketing and getting music onto streaming sites. Deals typically last for three years. The pandemic has had an adverse affect on the label. Valenziano claims that, because artists have been unable to perform live, his savings have been reduced to a third of what they once were. “I did an album with The Babys,” he tells, referencing the British rock group popular in the late ‘70s. “We re-recorded all their hits and added a couple new tracks with today’s lineup. I got that done in August of 2019.” When COVID-19 hit, it prevented the band from touring and properly promoting itself. The upside to the viral situation is that Valenziano has been busy amassing material. Expect an onslaught of releases once restrictions have been lifted. Facing adversity, however, isn’t new to Smile. It’s woven into the label’s origin story. A trio of debut releases had been set to receive an inaugural kick via a show at L.A.’s House of Blues. Supremium and The Andersons were ready to support headliners The Knack at the performance planned shortly before 9/11. After the disaster occurred, there was a period of uncertainty during which nobody knew whether the gig would happen. Ultimately, the nation resolved to not cower in fear of terrorism and the show went on as scheduled. “It was sold out,” Valenziano states, beaming with pride. “We got a lot of accolades about standing up and doing your stuff. That was kind of the groundwork of, okay, that’s what this label’s got to be.”

“I’m really interested in repurposing older bands with things that have never been heard.” – Tony Valenziano bands with things that have never been heard,” explains Valenziano. He has a strong affinity for tracks with intriguing histories. By way of example, he mentions songs whose fame arrived only after having been covered by another artist. “I like those stories,” the label founder confesses. He’s currently in the process of reissuing the majority of his catalog as part of a celebration honoring Smile’s twentieth anniversary. Each release is slated to include previously unheard tracks. Valenziano isn’t exclusively interested in older, power pop artists. While the label has a reputation for the sort of harmony-focused,

Contact smilerecords@gmail.com See liberationhall.bandcamp.com July 2021

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Art of Time Ensemble Ain’t Got Long

Mare Wakefield & Nomad No Remedy

Art of Time Recordings Producer: Jonathan Goldsmith

Maresie Music Producer: Nomad Ovunc

Formed by Russian-born Andrew Burashko in 1997, Art of Time Ensemble is a non-profit Canadian collective of symphonically attuned musicians steeped in classical and jazz. Despite this orientation, they constantly color outside the lines. Past live presentations, for instance, have featured reinterpretations of Frank Zappa and The Beatles. For their sixth album, they deliver wooly takes on familiar tunes from Joni Mitchell, Radiohead, Paul Simon and more. Like an elegant candle, their sound burns slow, so have patience and keep listening. Once it clicks, their sound will warm your soul. – Andy Kaufmann

The critically acclaimed Americana husband and wife duo offers emotionally transformative yet playfully up-tempo charmers and graceful ballads that balance extraordinary romantic expressions and passionately rendered narrative portraits of loved ones and family members both living and passed on. The blend of Wakefield’s soulful and heartfelt vocals, Nomad’s colorful array of instruments and their deeply penetrating yet fully relatable musical narratives rolls like an intimate invitation into their innermost thoughts about life, relationships, each other and much more. – Jonathan Widran

Tai Verdes

Grace Pettis

Working Woman

Artista Records Producer: Adam Friedman

Mpress Records Producer: Mary Bragg

TikTok/MTV star Tai Verdes’ debut fulllength TV is strung together with summery sing-alongs, clever wordplay and laid-back guitar. What works against the overall effort is the album lacks cohesiveness. Tai is perhaps too ambitious with his eclectic influences. Songs range from bubblegum pop, to cool hip-hop, to sexy R&B jams to acoustic diddies (“fake prophet,” “momma told me imma be”) and the Spanglish “Solamente.” Props to Verdes for his versatility––singles “DRUGS,” “A-O-K” and opener “rEaL WorLD” are solid. Using his realm of TV, it feels like we are flipping through the channels without truly getting a sense of the show. – Joseph Maltese

Grace Pettis is true to her convictions. She titled her album Working Woman because, not only does that define her role in life, she wanted to make a statement about the female work force in this country. And it’s a powerful rave-up of a song, indeed! In fact, the entire album was solely produced, engineered and musically staffed by women. Pettis is a master storyteller and partners with heavyweights like the Indigo Girls, Dar Williams and Ruthie Foster on tunes “Landon,” “Any Kind of Girl” and “Pick Me Up,” respectively. She also finds time for humor, with the spousal lament “I Ain’t Your Mama.” – Eric Harabadian

Mr. Bungle

Son Volt

The Night They Came Home Ipecac Records Producer: Jack Bennett

Electro Melodier

Thirty Tigers Producer: Jay Farrar

Faith No More’s Mike Patton reformed with Slayer’s Dave Lombardo and Anthrax’s Scott Ian and turned Mr. Bungle into a bonafide metal super-group. Last year, they released The Raging Wrath of the Easter Bunny, a modern version of their widely shared early demo. To celebrate, they shattered eardrums with this livestream event. Now, it’s been preserved on CD, DVD, Blu-ray and (for the old-school) VHS, complete with opening performance from stand-up comic Neil Hamburger. For Bungle fanatics, this singular event made surviving 2020 possible. – Andy Kaufmann

A founding member of Uncle Tupelo, one of alt-country’s defining acts, Jay Farrar has been massaging eardrums with Sun Volt since his seminal band fell apart in 1994. According to the singer/multi-instrumentalist, Electro Melodier is less political than 2019’s Union. Still, songs like “War On Misery” and “The Levee On Down” are awkwardly pointed. A few tracks are stunning reveries, yet the majority of this collection feels out of step, particularly the shockingly jejune “Living In the USA.” Despite the talent on display, too many of these tracks lack emotional resonance. – Andy Kaufmann

Will Lyle

Modest Mouse

LA Source Codes Will Lyle Music Producer: Will Lyle

The Golden Casket

Epic Records Producers: Dave Sardy and Jacknife Lee

Considering Lyle’s expansive resume, it was perhaps only a matter of time before the Berklee educated, SoCal bred bassist found a way to bridge past and present in creating this eclectic and effusive, hard swinging yet eminently sensual and sometimes exotic debut. Lyle’s unique concept finds him joining forces with three generations of musicians via three distinct ensembles to manifest his belief that bebop, traditional and Latin Jazz are the musical “source codes” kept alive by the dynamic creativity and flow from the older generation to the younger that he now entrusts himself with. – Jonathan Widran

It’s been six years since alternative art rockers Modest Mouse’s last release, 2015’s Strangers to Ourselves. A lot has changed between then and now. Maybe that’s why The Golden Casket, lyrically speaking, emphasizes technology’s increasing societal impact. Regardless, lyrical themes are less important than the way a recording makes you feel. This one’s like a warm bubble bath, churning with complex instrumentation and otherworldly effects. For any postmodern dreamer, it’s an introspective journey worth taking. – Andy Kaufmann

To be considered for review in the Album 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.

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Karin My

Tide-Eye

Contact: d@explorata.net Web: karinmy.net Seeking: Film/TV Style: Electronic

Contact: tideeyeband@gmail.com Web: linktr.ee/tideeye Seeking: Distribution, Booking, Film/TV Style: Psychedelic Rock

Swedish electro-chanteuse Karin My creates songs that are ghostly and evocative, the kind of stuff that goes well with glowing candles and perhaps a vampire or two in the shadows. The song “Winter Tree” begins with a heartbeat intimacy as My’s sweet, whisper-infused voice blends with synthesizers that are both solemn and shimmering. A rapturous xylophone effect helps conjure a child’s music box vibe on the atmospheric “The Silence,” while on “Letter” the artist addresses an estranged lover: “I’m not giving in.” Karin My is most effective when she presents her alluring voice front and center in the mix, and is a sure bet to impress film/TV music supervisors.

Tide-Eye is spearheaded by Danny Lyons, who captures his authentic-sounding psych-rock songs with lo-fi abandon. Reverb? There’s tons of it here, and it creates a cavernous space for his layered vocals to soar. “Freedom” is a good example of that, a tune that’s fueled by a great bass groove and an all-out chant “Take back your freedom!” that transports you to a protest rally in 1960’s San Francisco. “Sunrunner” is a misstep, brought down by too many ideas and vocals that sound ragged. The lengthy opus “MK Ultra” is his best, a saga with a strong riff and a terrific organ that swirls and swings. Authentically retro and live-sounding, Tide-Eye could be a good fit for a period film soundtrack.

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Zarbo

John Salaway

Contact: alex@stargatesound.com Web: linktr.ee/zarbo Seeking: Label, Film/TV Style: Pop, Electronic Pop, Pop-Rock

Contact: johnsalaway@gmail.com Web: johnsalaway.com Seeking: Film/TV Style: Pop-Rock, Singer-Songwriter

Newly remixed recordings by Alexander Zarbo are polished, updated and remastered versions of songs recorded in the‘80s with his Toronto-based bands, giving the tunes a modern-electro sheen. Both “Correction In Direction,” with its driving beat and cavernous reverb, and “Get Up And Dance” with its insistent pace and call-and-response vocal command to club-goers are solid examples of the form, well-mixed. And it certainly helps that Zarbo’s voice can sometimes seem like Sting and sometimes like English Beat/Duran Duran. Zarbo ditches the club scene on “Save Your Money,” delivering electro-pop/hip-hop flavors and social commentary. These tunes could enliven the right film/TV project.

This talented artist has the ability to channel a healthy amount of Beatles-ish pop-rock into his work, making music that is ubercatchy and hyper-melodic. Definitely an artist who’s ripe for film/TV placements. The easygoing “Only Love Can Save Us Now” has a light, bright, airy mood topped off by Salaway’s voice, which possesses a strong likeness to Harry Nilsson, along with an occasional shade of John Lennon. Salaway downshifts to a sombre tone for “Bless Your Heart” while maintaining a consistent sweetness in his message. He rocks out on “Shine” with guitar licks and edgy vocals countered by a softer bridge section. Power-pop fans of classic acts like Big Star will want to seek out Salaway.

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Zero Theorem

Ra Mack Fire

Contact: ed@npmprandmarketing.com Web: zerotheoremband.com Seeking: Label, Booking, Film/TV Style: Alternative Metal, Hard Rock

Contact: ramackfire@gmail.com Web: youtube.com Seeking: Label, Booking, Songwriting Style: Rap, Hip-Hop, Trap

Zero Theorem attacks with relentless, expertly crafted songs spearheaded by a singer who can really bring it, including a paint-peelin’ scream. The “Threat” remix turns their radio metal into a bit of a throwback synth-wave + nu-metal vibe, which is pretty clever. Cleverness continues with the bee swarm that opens “Swarm.” The singer has hurricane-force pipes and handles his vocals well... so why not put him more front and center in the mix and just go full radio rock? “Joke” is the most “metal” song, but may not be as accessible. Overall, our metal headz agree that tweens would eat this up. Zero Theorem are not only a good fit for Ozzfest, but with their sci-fi aesthetic could add to a videogame or film/TV soundtrack.

Ra Mack Fire, a female emcee from Westchester County, NY, lets her lyrics and voice lead the way. An exceptional track from full-length album The Eye of Ra, “Soul On Wax,” is driven by a hyperpitched voice and piano sample of an old soul record. The mix is sparse, allowing for Ra Mack Fire to wow us with hard bars about her songwriting. “Offended (Remix)” features another R&B sample as the base of the track, while her flow grows more and more ferocious through to the end. “Smoke” is her most polished production, and more typical of the genre, with dark melodies and minor chords. Ra Mack Fire is an emcee who delivers with high energy and a dramatic attack.

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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 6 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page. 50 July 2021

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Chase Paves

Trace the Sun

Contact: peter@redbloominc.com Web: Instagram @chase_paves Seeking: Label, Distribution Style: Hip-Hop

Contact: tracethesunmusic@gmail.com Web: tracethesun.com Seeking: Label, Booking, Film/TV Style: Jazz, Fusion

Born and raised in the San Fernando Valley, Chase Paves is an artist of substance, whose passion for music makes him worth a listen. A background in drumming and composition, with a music degree and training from USC and Berklee, Paves approaches songwriting with acuity. “I’ve been working so damn hard,” Paves declares in lead single “AFTERWORK.” The song is jazzy with excellent production elements, and Paves shines with a fast, melodic flow, before crooning up and down octaves. “TRIUMPHANT” and “LA Anthem” are fun and upbeat, driven by synth horns that fit perfectly as sounds of victory; the latter should be a contender for a Lakers theme song—complete with nods to “Kobe.”

With no intent to overpower the listener, this trio (spearheaded by co-vocalists Niki and John) succeed in knocking it out of the park with duets that examine the dimensions of love relationships. Simply great vocal chemistry. The easy-breezy “Be The One” revels in the bliss of a couple in love. The exceptional chord progression of “Chestnut Street” helps to express the qualms and concerns that can haunt a pair of lovers whose once-eternal bond has somehow weakened. While “Love Just Comes Naturally” is not quite so remarkable as the previous songs, its simple arrangement benefits from exceptional vocal turns. Trace The Sun might want to create some sort of theatrical piece.

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Sonic Rebel

ASNT

Contact: judikerr@judikerrpr.com Web: sonicrebelmusic.com Seeking: Distribution Style: Electronic Rock

Contact: christinacbaldwin@gmail.com Web: asnt.rocks Seeking: Label, Booking, Film/TV Style: Dark, Hard Rock

Drummer Tammy Hurt spearheads this project, based out of Atlanta, GA, and she infuses her array of electro instrumentals with glitch, dub and trap elements. “Run” starts as you might expect, with a strong, insistent beat, and keeps you interested by introducing a new section every 32 bars. “Reign” is upbeat, catchy and funky, and it transitions to different sections flawlessly. Finally, the composer changes the mood to pensive and mysterious for the downtempo themed “This Vibe,” and we gotta say we found it to be mostly plodding and dull. Nevertheless, Sonic Rebel has enough flair and finesse to make the case that Tammy Hurt could certainly enhance the right film scoring project.

Christina and Bruce Baldwin are ASNT, a duo whose recordings pack a healthy amount of heavy rock guitar and driving drum beats. What we hear in each of their recordings, though, is a mismatch between Christina’s sweet, composed voice and the aggressive, forward-leaning music. On “In Summation” her voice (overdoing the sustain/vibrato) is nudged to the side by the fuzz and crunch of the riffing guitar and pounding drums. “In Place of Breathing” is an upbeat gallop on which the lead vocal again does not match the music’s energy. Great guitar shredding continues on “The Dark Stain,” convincing us that Christina would be a better fit with more ballad-friendly material. Or record live, with her in the room?

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Waves of Distortion

Simon Jewell

Contact: wavesofdistortionband@gmailcom Web: wavesofdistortion.com Seeking: Label, Booking, Film/TV Style: Hard Rock

Contact: simjewell@gmail.com Web: bandcamp.com Seeking: Label, Review Style: Acoustic, Indie, Folk

Quartet Waves of Distortion have mounted a hooky, high-quality, radio-friendly, hard-rock attack that deserves attention. On “R.A.T.,” singer Josiah Fox impresses at every turn, whether singing or screaming over the band’s punishing, unrelenting beats. (They seem to like 3/4 waltz time and somehow make it work for metal.) The stickwork is terrific but the guitarist staying in the pocket on “Original Sin”––a ballad without a chunky solo? What gives? But hey, Staind, Mudvayne and all those bands didn’t really do solos either, so maybe Waves’re looking more to that market. All in all, the production does so well at keeping everyone at the right level, particularly Fox, whose voice connects at every turn.

Want an example of how much can be accomplished with just a voice and a guitar, nothing more—then check out these recordings by probing, moody singersongwriter Simon Jewell, whose voice has a tonal quality that’s an ideal fit for his material. Right away, on “Breaking All The Rules,” his rich, full-bodied acoustic guitar, draws you in as he imparts his solemn but ultimately optimistic feelings (“You’re inside my mind”) for a lost lover. Jewell shows finesse, dexterity and more aggression on guitar with the uptempo tune “Splashy Little Sea.” Finally, Jewell’s best outing, “Flickering Flame,” really impresses us with terrific fingerwork as he sings “All I want to do is be your fire.” Folkies, check him out!

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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 musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. July 2021

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Livestream • Club Passim

Cambridge, MA

Contact: rasastringquartet@gmail.com Web: rasastringquartet.com Players: Maura Shawn Scanlin, violin; Kiyoshi Hayashi, violin; Claudia Do Minh Ramons, viola; Eunghee Cho, cello; Delfina Cheb Terrab, vocals Material: Meeting as students at the New England Conservatory of Music, Rasa String Quartet formed two years ago. Their classical pedigree is reflected in their sound as well as their choice of instruments––viola, violin and cello. The material they play, though, is far worldlier than simply Bach and Mozart. Their repertoire hails from many cultural backgrounds, including Celtic, Indian and Iranian. For this show, beamed from Cambridge’s legendary Club Passim, many of the compositions were Argentinian in origin, giving the evening a distinct Latin flavor. Musicianship: Graduates of America’s oldest independent conservatory, Rasa’s players are highly skilled. They took first place in both the Music Teachers National Chamber Competition and the Chamber Music Yellow Springs Competition. Suggesting they know their way around their instruments remains an understatement. Performance: Classical music is like the art gallery of the music world. Sounds are to be respectfully observed rather than elicit an audience response. Therefore, Rasa’s presentation is appropriately understated. They offer nothing by way of visual allure or extraneous gimmickry. Each member

RASA STRING QUARTET commanded the mic between songs, comfortably offering insight into the evening’s musical selections. This helped compensate for their inherent lack of showmanship. Singer Delfina Cheb Terrab graced the second half of the hour-long showcase. Her first appearance with the quartet, Terrab is a natural with a truly stunning voice. Although she did not sing in English, her magnetic delivery clearly suggests she understands every lyric. A unified bow closed out the set.

Summary: The classical world is hindered by stuffiness and tradition. Rasa String Quartet leaps over this hurdle by reinterpreting compositions from exotic lands. The novelty of these creations takes them far. Those craving modern sounds are bound to be disappointed, but contemporary approval isn’t part of this young association’s mission. Rather, their focus is a respectful ride that plunders global sounds and re-contextualizes them into something both new and old. Few players can match their instrumental abilities and respectful beauty. – Andy Kaufmann and choice of notes and phrases, maintaining perfect composure as Linder dances and tapdances to a very appealing tune. Performance: These performers at the Ojai Underground Exchange brought top quality skills with them. There’s something truly satisfying about watching seasoned pros play music, bouncing ideas off of each other while they play. Linder delivered a very pleasant surprise when, in a little solo turn of her own, she tap-danced into the audience’s hearts.

GANG OF NANNIES

Livestream Ojai, CA

Web: cryoncue.com Contact: blspinout@gmail.com Players: Bernie Larsen, guitar/vocals; Kevin Mario Calire, drums; Cassidy Linder, tap dance/ percussion Material: This was a one-song performance–– but what a song! “Rise in Love” draws emotion from every pore in the body and makes you want to get up and dance. Can one song possess all imaginable genres on the planet? This one does. You can hear country, rock, 52 July 2021

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blues and reggae emanating from every plucked string and every sung note. The rhythm of this tune is a serious time machine that all the other instruments gravitate to, and melt with. Musicianship: The “Gang” are top-notch musicians, both from the studio and on the road. Larsen's voice oozes sultriness and confidence while he holds down rhythm guitar duties. The rhythm section is super-tight. McCormick and Calire have fun and it shows in their solos. Sullivan dishes out some juicy jazz/blues licks. His solo makes you “wow” at his tone

Summary: Gang of Nannies is a remarkable group. McCormick alone, having had production duties with Jackson Browne and Melissa Etheridge and many more, is most impressive. Sullivan is a multi-instrumentalist (banjo, electric slide guitar, lap steel guitar) with a nice voice, as well as many credits under his belt. Calire is best known for his work with The Wallflowers and Ozomatli, and his list of freelance drumming is remarkable. Linder is a dance instructor who graduated from Cal State Channel Islands. Last, but certainly not least, is Mr. Larsen, whose musical mastery has set the world afire. Having recorded, toured and produced with Rickie Lee Jones, Lucinda Williams and Public Enemy, and being a regular member of David Lindley’s band, Larsen has written hundreds and hundreds of songs, many of which have gone on to receive Grammys and Grammy nods. Don’t miss “Rise in Love.” – Pierce Brochetti

morning. Although she lacks the power of a Whitney Houston or Tina Turner, she maintains a solid handle on her craft. Her backing band, heavy on keys, sprinkles listeners with warm, familiar tones. Part of the Joy Sounds podcast copresented by Music Connection, host Chris Sampson dominated the livestream with his gentle questions. Subjects included her love of Hawaii, surviving thyroid surgery, and the origin of her musical handle. Three songs, “Water,” “Beach of My Own” (released the day of the livestream), and “My Favorite Place,” were performed.

MUSIC CAROLYN

Livestream • Joy Sounds

Contact: carolyn@music4scenes.com Web: musiccarolyn.com Players: Carolyn Owens, vocals; Jared Oluwa, keyboards, synthesizer; Candice Williams, keyboards; Keith Williams, drums Material: Carolyn Owens, known professionally as Music Carolyn, is a jazzy vocalist with a neo-soul heart. Her radio-friendly singing fits

Alex’s Bar

snugly within her adult contemporary style. You wouldn’t guess it, but she plays clarinet and blossomed into the performer she is today as part of a soul-fried hip-hop duo. Named musical influences include Sade, Jill Scott, and D’Angelo. She recently released her debut album, Fireworks and Ocean Waves. A followup is currently in the works. Musicianship: Music Carolyn’s voice is as pleasant as a spring rain on a Sunday

Performance: It’s difficult to judge an artist after hearing so little, yet it’s clear that the Texas native loves to sing. Sampson’s casual interrogatories revealed Carolyn’s amiable nature and overall positivity. Unfortunately, music’s greatest legends tend to embody a willingness to step on others that she evidently lacks. Although hearing Carolyn's exchanges with Sampson was enlightening, it would have been great to witness the vocalist’s ability to command an audience. Summary: Music Carolyn is a lovable performer who beams good vibrations and positivity. Her musical bent slides comfortably into an artistic niche that’s brimming with commercial potential. Perfect for mainstream consumption, her style does not challenge or break down walls and that’s okay. Check her out if you’re looking for sounds to accompany a cocktail party on a breezy summer night or a quiet romantic evening with your partner, snuggling by the fireplace. – Andy Kaufmann

Long Beach, CA

Contact: thefrankmeyer@gmail.com Web: facebook.com/thefrankanddinoshow Players: Frank Meyer, vocals, guitar; Dino Everett, bass; Geoff Yeaton, sax Material: Frank Meyer is well known to rock & roll fans in Southern California and beyond. As well as being an accomplished author, he’s in a gazillion bands. His main concern has long been riotous rockers the Streetwalkin’ Cheetahs, but he’s also in the Dobermen with members of GayC/DC and Pansy Division, and Spaghetti & Frank alongside Supersuckers man Eddie Spaghetti, to name just two. Then there’s the Frank & Dino Show, a mostly acoustic outfit formed to accommodate casual, outdoor and socially distanced gigs during the year of hell that we’ve just been through. His partner, Dino Everett is a fellow Cheetah, and they’re joined at this Long Beach show (as they regularly are) by sax man Yeaton. The gig is a riot because they allow themselves to play pretty much whatever they want. That means a few originals, including a song Meyer only recently penned about ‘80s cult sci-fi movie Trancers. But there are a ton of covers, blasted through with reckless joy. Iron Maiden’s “Sanctuary” is given an acoustic makeover, but in these hands it still rocks. Elsewhere, we get tunes originally by Johnny Thunders, Sylvain Sylvain, Hanoi Rocks, Ramones and Van Halen. FRANKly, it’s a blast. Musicianship: These are accomplished musicians who have backed up the likes of

THE FRANK & DINO SHOW Dead Boys man Cheetah Chrome and the Stooges’ James Williamson. They know what they’re doing. Yeaton learned of the set list shortly before going on stage, but you wouldn’t know it. Meyer and Everett’s chemistry is tangible. They all know each other, and it shows. Performance: Meyer is a natural frontman. It makes sense that he’s working with Eddie Spaghetti, because both men share that hootin’ and hollerin’, rock & roll evangelical frontman vibe in the Reverend Horton Heat realm. So, any gig that he’s involved with will absolutely

not be dull. Meyer jokes with the crowd and his bandmates, engages in call-and-response moments with the audience, and generally has everyone in the palm of his hand. Summary: As the world starts to open up, and we see more and more concerts on the calendar, as things move indoors again, it’ll be important to remember that the likes of Frank & Dino kept things ticking over with outdoor gigs like this. The Streetwalkin’ Cheetahs, and all of the other bands these guys are in, deserve your support. Check them out. – Brett Callwood July 2021

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The Mint

Hollywood, CA

Material: Canadian-born country singersongwriter Kimberly Dawn returned to the stage, for the first time since before the lockdown, to build momentum for a new album, set for release this Summer. Performing crowd favorites “Nashville” and “’93,” along with new singles “Warrior,” which was written for her daughter and “The Bottle,” an anthem to overcoming depression and loneliness, and covers of Tom Petty’s “Free Fallin’” and Fleetwood Mac’s “Landslide,” Dawn delivered a relaxed 13-song show dotted with alto and falsetto harmonies and evocative storytelling. Musicianship: Clearly experienced, Lauren Jones lent solid support on backing vocals and guitar throughout the evening. Jones’ vocal harmonies were especially strong on “’93,” “Nashville” and “Let The Girls Play.” Dawn delivered lovely melodies throughout the set, offered captivating lyrics and warm alto lines on “Boys & Girls,” and showcased her gentle, inviting vibrato on “Front Porch.” Lyrical refrains in “’93” (a radio favorite in Canada) and “Nashville,” and the upbeat, award-nominated “Slow Danc’n In The Dark,” kept the crowd

KIMBERLY DAWN

engaged and happy, as they clapped and sang along with the duo.

clear that she loves to sing and possesses a genuine passion for performing.

Performance: The crowd seemed to enjoy themselves and the atmosphere was warm and supportive, despite a few technical problems. Engaging the crowd loosely between songs and giving brief overviews of her material and the story behind her lyrics, Dawn delivered all the right information, coming across as a comfortable performer, though seeming somewhat nervous vocally on occasion, perhaps from the long hiatus since her last live performance. Nonetheless, she still made very

Summary: With a clear penchant and talent for writing, Kimberly Dawn delivers lyrics that are inspired and artful and she is committed to sharing her love of human connection and working to help dissolve stigmas around mental health. Her melody lines and delicate vibrato invite the listener in and she has a gentle presence that makes her easy to love on stage. Overall, Dawn’s music provides a supportive, comfortable backdrop to a fun night out with the girls. – Andrea Beenham

TONY SHIBUMI

Contact: Kelly Springer, Kelly K PR, kellykpr@yahoo.com Web: officialkimberlydawn.com Players: Kimberly Dawn, vocals; Lauren Jones, backing vocals and guitar

The exuberant and ever-optimistic “Fire,” one of the two singles, is the catchiest of the set, as Cook drives home the hook with its constant repetition, making it hard to resist singing along: “The only way that I wanna survive is breathing in the smoke living in your eyes/ Don’t matter what the darkness brings/ We have all the light we’ll ever need/ You set my heart on fire, you set my heart on fire.” Musicianship: Cook’s rich, full tone can be likened to that of Darius Rucker, but breaks from that mold with his belt in the upper range. This is where he hits his sweet spot, which works especially well with the more angst-laden songs. Occasionally, he overshoots the pitch, but that’s not due to lack of skill, rather his total emotional commitment to the moment. His backing band is sympatico with him, providing instrumentation and harmonies that enhance the overall sound.

DAVID COOK

Livestream

Nashville, TN

Contact: monica@sideways-media.com Web: davidcookofficial.com Players: David Cook, vocals, guitar; Thomas Branch, drums; Mike Ball, bass; Jeffrey Scott, lead guitar, keys Material: Winner of the 2008 season of American Idol, David Cook has continued his musical journey, creating new material, touring, and recording. Celebrating the release 54 July 2021

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of his new EP, The Looking Glass, which has delivered two singles, the pop-rocker's songs deal with his anxiety after winning the coveted music prize, and reflections on the pandemic. In Strange World, Cook attempts to make sense out of a year that has affected us all in different ways, but is nonetheless one in which we are forever changed: “Watch the outside burn like an effigy/ We could live right here like a memory/ Let’s forget about the strange world for a minute/ Yeah the city lights are in our heads/ But we don’t have to leave this bed.”

Performance: Hosted by the Mandolin platform, the set is performed in a professional setting, where the backdrop suits the mood of Cook’s music. Sticking to the songs on the new EP works well for streaming, as the set duration is only 30 minutes. Considering the shorter set, the ratio of banter to music is longer on the inbetween song repartee side, but it does reveal Cook’s personable style. Summary: One can only imagine the impact of winning a contest with such high visibility. To his credit, Cook has dealt with the personal struggles that ensued, while still pursuing his music. He has an inner sense of how a set should flow, and tightening up some of the anecdotes will further pull the show together. Cook expects to be back on the road by September. – Ellen Woloshin

July2021 2021 January February June2021 2021 April 2021

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Annual Directory of

Recording Studios

Now expanded for 2021, this is an exclusive list of professional recording studios. All information below is verified by the listees. To receive thousands of free industry contacts, visit musicconnection.com/industry-contacts. ALABAMA DAUPHIN STREET SOUND 651 Dauphin St. Mobile, AL 36602 251-378-8028 Email: info@dauphinstreetsound.com Web: dauphinstreetsound.com Basic Rate: Call or email for rates FAME STUDIOS 603 E. Avalon Ave. Muscle Shoals, AL 35661 256-381-0801 Email: info@famestudios.com Web: fame2.com Format: Pro Tools and vintage analog Basic Rate: please call for info RIVERLAND RECORDING STUDIOS 509 Talucah Rd. Valhermoso Springs, AL 35775 256-778-4050 Format: Alesis HD 24, Pro Tools LE Basic Rate: $65/hr to $80/hr. Contact us SOUND CELL/SMITH MUSIC GRP, INC. 601 Meridian St. Huntsville, AL 35801 256-539-1868, 800-933-2688 Email: soundcell@soundcell.com Web: soundcell.com Format: Pro Tools Basic Rate: please call for info SOUND OF BIRMINGHAM RECORDING 3625 5th Ave. S. Birmingham, AL 35222 205-595-8497 Email: don@soundofbirmingham.com Web: soundofbirmingham.com Contact: Don Mosley Basic Rate: please call for info

ALASKA 10TH PLANET P.O. Box 10114 Fairbanks, AK 99710 907-488-8658 Email: 10planet@mosquitonet.com Web: 10thplanet.com Contact: R. Ford or P. Fitzgerald Format: digital Basic Rate: please call for info SURREAL STUDIOS 355 W. Potter Dr. Anchorage, AK 99518 907-562-3754 Email: surrealstudiosak@gmail.com Web: surrealstudios.com Contact: Kurt Riemann Format: digital Pro Tools Basic Rate: please call for info THE WILDERHOOD RECORDING STUDIO P.O. Box 1076 Kasilof, AK 99610 907-262-1098 Email: info@thewilderhood.com Web: thewilderhood.com

ARIZONA 1ST CHOICE STUDIO 650 N. 157th Dr. Goodyear, AZ 85338 818-246-6858 Email: info@billkeis.com Web: billkeis.com/producer Contact: Bill

Format: digital Basic Rate: call for rates ALLUSION STUDIOS 248 W Elm St. Tucson, AZ 85705 520-622-3895 Email: contact@allusionstudios.com Web: allusionstudios.com BRICK ROAD STUDIOS 7944 E. Beck Ln., Ste. 160 Scottsdale, AZ 85260 480-788-3573, 480-251-5791 Email: scott@brickroadstudio.com Web: brickroadstudio.com Contact: Scott Leader, Mark DeCozio Format: call for info Basic Rate: $450/day, $85/hr., or flat rate for larger projects COSMIC SOUP RECORDING Phoenix, AZ 480-331-7687 Email: mail@cosmicsouprecording.com Web: cosmicsouprecording.com, facebook.com/cosmicsoupaz Contact: Jeremy Daniel Studio: ProTools. Equipment available on website. Studio Rate: Contact for more information. EPICENTRE RECORDING STUDIO 104 E. Pierce St. Phoenix, AZ 85004 480-270-2221 Contact: Joe Bauman, Owner Email: joe@epicentre-recording.com Web: epicentre-recording.com Format: 24 Track Hybrid for digital and analog audio FACTS OF MUSIC PRODUCTIONS P.O. Box 11145 Prescott, AZ 86304 818-888-8266 Email: philippe@factsofmusic.com Web: factsofmusic.com, facebook.com/ factsofmusic Contact: Philippe Willems Format: digital and analog, infinite tracks, New MacPro, great sounding plug-ins, mics, special musical instruments Basic Rate: varies, $100-$200 FULL WELL RECORDING STUDIO 1718 N. 17th Ave. Phoenix, AZ 85007 602-367-1342 Email: bolenbach@gmail.com Web: fullwellrecording.com Contact: Mike Bolenbach Format: Pro Tools HD, 24 track 2 inch analog Basic Rate: please call for info LUNA RECORDING STUDIO 4500 E. Speedway Blvd., Ste. 86 Tucson, AZ 85712 520-260-7576 Email: producer@lunarecording.com Web: lunarecording.com Contact: George Nardo Format: Pro Tools HD Basic Rate: Please contact us SALTMINE STUDIO OASIS, THE 48 S. MacDonald St. Mesa, AZ 85210 480-220-4007 Email: info@thesaltmine.com Web: thesaltmine.com Contact: Don Format: digital and analog

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ARKANSAS BLACKWATER RECORDING STUDIOS Cabot, AR 72023 501-424-9017 Email: blackwat@blackwaterstudios.com Web: facebook.com/ BlackwaterRecordingStudios Contact: Michael Sharpe Basic Rate: call for rates BLUE CHAIR RECORDING STUDIO 159 Ray Sowell Rd. Austin, AR 72007 501-605-8489 Email: darianbluechair@gmail.com Web: bluechairrecording.com CRYSTAL RECORDING STUDIOS 2307 Brandon Rd. Bryant, AR 501-681-7935 Email: ray@crystalrecordingstudios.com Web: crystalrecordingstudios.com Basic Rate: please call for info EAST HALL RECORDING 4210 N. Salem Fayetteville, AR 479-582-3278 Email: info@easthall.com Web: easthall.com, facebook.com/easthallrecording Basic Rate: $250/4hr., $400/8hr. RANEY RECORDING STUDIO P.O. Box 17 110 S. Front St. Drasco, AR 72530-9282 870-668-3222 Email: jonr@raneyrecordingstudio.com Web: raneyrecordingstudio.com WOLFMAN STUDIOS 26 Flag Road Little Rock, AR 501-812-8071

Email: wolfmanrecordingstudios@gmail.com

Web: wolfmanrecordingstudios.com Basic Rate: $35/hr. weekend, $25/hr. weekly, $40/hr. remote

CALIFORNIA / NORTHERN 25TH STREET RECORDING 25th & Broadway Oakland, CA 510-788-4089 Email: info@25thstreetrecording.com Web: 25thstreetrecording.com ALIEN PRODUCTIONS STUDIOS 4100 Wayside Ln., Ste. 120 Carmichael, CA 95608 916-483-9988 Email: jknorthrup@gmail.com Web: jknorthrup.com Contact: Jeff Northrup Format: digital recording, mixing, mastering and music production Basic Rate: $40/hr., $300/8hr. block BAY RECORDS 3365 S. Lucille Ln. Lafayette, CA 94549 925-284-7797 Email: mcogan@bayrec.com Web: bayrec.com, bayrec.com/gallery Contact: Michael Cogan Format: 24-track analog and Pro Tools HD Basic Rate: Call or Email BLUE SEVEN AUDIO Central Fremont Fremont, CA 94538

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650-766-7212 Email: csc@bluesevenaudio.com Web: facebook.com/bluesevenaudio Contact: Chris Format: Pro Tools HD3 Basic Rate: call for rates DIFFERENT FUR STUDIOS 3470 19th St. San Francisco, CA 94110 415-628-4060 Email: differentfurinfo@gmail.com Web: differentfurstudios.com Format: SSL 4048e, Protools 10, Studer A827 Basic Rate: please contact for rates THE DOCK STUDIO Sacramento, CA 916-403-1018 Email: book@thedockstudio.com Web: thedockstudio.com Format: See website for equipment list THE GRILL RECORDING STUDIO 4770 San Pablo Ave. Emeryville, CA 94608 510-228-1000 Email: info@thegrillstudios.com Web: thegrillstudios.com GULCH ALLEY STUDIO 1407 Bush St. San Francisco, CA 94109 415-747-4488 Email: gulchalley@gmail.com Web: gulchalley.com HYDE STREET STUDIOS 245 Hyde St. San Francisco, CA 94102 415-441-8934 Email: info@hydestreet.com Web: hydestreet.com Format: digital and analog, 24 tracks Basic Rate: call for info LIGHTRAIL STUDIOS 672 Toland Place San Francisco, CA 94124 415-964-0264 Email: info@LightRailStudios.com Web: lightrailstudios.com PYRAMIND STUDIOS 2727 Mariposa St., Suite 200 San Francisco, CA 94110 415-896-9800 x 226 Contact: Greg Gordon, Nick Romero Email: info@pyramind.com Web: pyramind.com LAUGHING TIGER 1101 E. Francisco Blvd, Suite A San Rafael, CA 94901 415-485-5765 Email: ari@laughingtiger.com Web: laughingtiger.com PRAIRIE SUN P.O.Box 7084 Cotati, CA 94931 707-795-7011 Email: info@prairiesun.com Web: prairiesun.com SANTA BARBARA SOUND DESIGN 33 W. Haley St. Santa Barbara, CA 93101 805-965-3404 Email: dom@tekmstr.com Web: santabarbarasound.com Contact: Dom Camardella Format: digital and analog, 192 tracks Basic Rate: please call for info

Download at musicconnection.com/industry-contacts SKYLINE STUDIOS 5427 Telegraph Ave., Suite M Oakland, CA 94609 510-984-2484 Email: bryan@skylinestudios.com Web: skylinestudios.com SKYWALKER SOUND P.O. Box 3000 San Rafael, CA 94912 510-984-2484 Email: info@skysound.com Web: skysound.com Contact: Leslie Ann Jones STUDIO CIRCLE RECORDINGS 863 Woodside Way San Mateo, CA 94401 650-328-8338 Email: info@studiocirclerecordings.com Web: studiocirclerecordings.com/index TARPAN STUDIOS 1925 E. Francisco Blvd. Suite L San Rafael, CA 94901 415-485-1999 Contact: Narada Michael Walden Email: kimrea@tarpanstudios.com Web: tarpanstudios.com

CALIFORNIA / SOUTHERN 17TH STREET 1001 W. 17th St. Costa Mesa, CA 92627 949-680-6568 Email: 17thstrecords@gmail.com Web: 17thstreetrecordingstudio.com 4TH STREET RECORDING 1211 4th St. Santa Monica, CA 90401 310-395-9114 Email: info@4thstreetrecording.com Web: 4thstreetrecording.com Contact: Kathleen Wirt Format: digital and analog, 24 tracks Basic Rate: $60-100/hr. Gear: API 3224 Console, Protools Ultimate HDX, Studer A827, Protools HD3, (4) Neve 1066, (4) Focusrite, (2) Telefunken V72, (2) Maag PreQ4, (2) Maag EQ4, (8) Wardbeck, (2) UREI 1176, (2) LA3A, Genelec 1031s, Yamaha NS10s, Lexicon, Yamaha, DBX, Drawmer, Mics: Neumann U-67, (2) U-87s, (2) AKG 414s, (2) Coles 4038s, Royer, Shure, Sennheiser. Special Services: Pro Tools and analog recording. Superb sound design, Yamaha C7 grand piano, Hammond organ w/ Leslie. Great drums too. Clients: Weezer, Muse, Charles Hamilton, Kesha, M.I.A., The Neighbourhood, Vintage Trouble, The Beach Boys, SZA, K-Flay, Chris and Rich Robinson, George Clinton, Incubus, No Doubt, Fiona Apple, Nelly Furtado, Bryan Ferry, Jack’s Mannequin, Jim Carrey, Steve Martin, Weird Al Yankovic, Deezle, Anthony Hamilton, Ben Harper, Tom Freund, Solange, Andrew McMahon, Kali Uchis, Betty Who, Tom Freund, Ben Harper, Billy Joe Shaver Comments: Right off 3rd Street Promenade and the ocean. 26 hotels within walking distance. “Top 10 US Studios Under $100/hr.” Performing Songwriter Magazine. “One of LA’s 17 Temples of Sound,” Hollywood Reporter

Los Angeles, CA 90048 323-655-0615 Email: jimmy@jimmyhunter.com Web: jimmyhunter.com Original Music Web: jimbojamz.com Contact: Jimmy Hunter, owner/producer/ engineer/drummer/vocalist/vocal coach Format: State of the Art Pro Tools 10 HD6 Basic Rate: Call for a free consultation Clients: Todd Stanford, Brian Barnhouse, Bobby Barth, Stacey Evans, Ben Forat, Crimson Crout RIP, Savannah Phillips, Carl (Cix Bits) Summers, Dee Archer, Steve Warnick RIP, Dr. Gary Abrams (Dr; Alias), Ivy Lite Rocway, Carol Casey, In collaboration with Nick Turner AB AUDIO VISUAL Southern California 562-429-1042 Email: abaudio01@me.com, Erik. ABaudio@gmail.com Web: abaudio.com Contact: Arlan Boll, Erik Lapporte ABET MUSIC 411 E. Huntington Dr., Ste. 170-372 Arcadia, CA 91006 626-303-4114 Email: info@abetpublishing.com Web: abetmusic.com Contact: Aeron Nersoya Format: digital and analog, 96 tracks Basic Rate: $355/hr. ACDC—AUDIO CD & CASSETTE 606 Alamo Pintado Rd., Ste. 3-281 Solvang CA 93463 818-762-2232, 805-245-5503 Email: steve@acdc-cdr.com Web: acdc-cdr.com Contact: Steve Mitchell Basic Rate: Please call for info. ADAMOS RECORDING 5811 Westminster Ave. Westminster, CA 92683 714-897-8886 Email: adamos.recording@verizon.net Web: adamosrecording.com Format: digital and analog Basic Rate: please call for info ADVENTURES IN MODERN RECORDING West Hills, CA 310-709-9645 Email: amrdaniell@gmail.com Web: adventuresinmodernrecording.com Contact: Daniell Holcomb Format: Digital/Analog hybrid, Pro Tools Basic Rate: call for rates AFTER HOURS RECORDING CO. 1607 Victory Blvd., Ste. F Glendale, CA 91201 818-246-6583 Email: arecording@netzero.net Contact: Bill Format: digital and analog, 16 tracks Basic Rate: $35/hr. AFTERMASTER RECORDING STUDIOS HOLLYWOOD 6671 Sunset Blvd., Suite 1520 Hollywood, CA 90028 Phone: (310) 657-4886 Email: info@aftermaster.com Web: aftermaster.com Contact: Erin Alden (818) 404-8583

21ST CENTURY STUDIO Silverlake, CA (near Satellite) 323-661-3130 Web: 21stcenturystudio.com Contact: Burt Levine Format: Digital/Analog Basic Rate: call for rates

ALLIED POST 1642 17th St. Santa Monica, CA 90404 310-392-8280 Web: alliedpost.com Contact: Woody Format: digital and analog Basic Rate: call for info

AAA JIMMY HUNTER’S CAZADOR RECORDING OF HOLLYWOOD, CA A top producer’s private facility ready to serve you! Great live drum room with a world class in-house drummer / Neumann mic / 5000 song experience since 1986

AMERAYCAN RECORDING STUDIOS 5719 Lankershim Blvd. North Hollywood, CA 91601 323-465-4000 Email: info@paramountrecording.com Web: paramountrecording.com

Format: digital and analog, 96+ tracks Basic Rate: call for daily lockout rates ANDY CAHAN-DEMO DOCTOR Cathedral City, CA 818-489-4490 Email: andycahan@gmail.com Web: allentertainment.net Contact: Andy Format: digital and analog, 24+ tracks Basic Rate: please call for info ARDENT AUDIO PRODUCTIONS 22122 S. Vermont Ave., Unit E Torrance, CA 90502 310-782-0125 Email: rwenzelaap@gmail.com Web: aap123.com Contact: Rich Wenzel Format: Pro Tools Ultimate Basic Rate: call for rates ARTIS MUSICAI / Artis Cine 5.1 17412 Ventura Blvd. Ste183 Encino, CA 91316 747-224-9842 Email: gussie@gussiemiller.com Web: gussiemiller.com,facebook.com/ artismusicai Contact: Gussie Miller Format: digital, unlimited tracks Basic Rate: please call for info ATOMIX STUDIOS Highland Park, CA Email: atomixmedia@mac.com Web: facebook.com/AtomixStudios Contact: Tom Format: Analog and Digital Basic Rate: inquire for rates ATRIUM MUSIC P.O. Box 2627 Pasadena, CA 91102 626-529-3066 Web: facebook.com/atriummusic Contact: Josh Young, Darian Cowgill Format: digital HD, video-online offline/ audio/mixing/mastering 5.1 Basic Rate: call for info AUDIOLOT STUDIOS Los Angeles, CA 90068 512-686-2899, 818-276-0005 Email: info@audiolot.com Web: audiolot.com/studios Contact: Joshua Aaron Format: Pro Tools HD Basic Rate: $125/hr., $475/half-day, $750/full-day AUDIO MECHANICS 1200 W. Magnolia Blvd. Burbank, CA 91506 818-846-5525 Web: audiomechanics.com Contact: John Polito Format: digital and analog, 24 tracks Basic Rate: please call for info BG2 STUDIOS @ BEAT GARAGE 6860 Farmdale Ave Los Angeles, CA 91605 818-358-0099 Email: scott@beatgarage.com Web: beatgarage.com Contact: Michael Barsimanto Services: Experienced, professional engineers. Live recording and overdubs. Music Video Production. Podcasting. Equipment list available on website. Studio Rates: Starting at $30/hr. Available by appointment only. Contact for more information. BALBOA RECORDING STUDIO 3129 Verdugo Rd. Los Angeles, CA Email: danny@balboarecordingstudio.com Web: balboarecordingstudio.com BANG ZOOM STUDIOS 1100 North Hollywood Way Burbank, CA 91505 818-295-3939 Web: bangzoomstudios.com

Additional Locations: 4720 W. Magnolia Blvd. Burbank, CA 91505 1150 W. Olive Ave. Burbank, CA 91506 BARBER’S BASEMENT RECORDING SERVICES, THE 5717 North Figueroa Street Highland Park, CA 90042 213-446-1423 Email: ed@barbersbasement.com Web: barbersbasement.com/ Contact: Ed Donnelly, Lead Engineer Format: Pro Tools HD Basic Rate: Please email for hourly, daily or flat rate projects BASS KING MUSIC 13012 Haas Ave Gardena, CA 90249 323-309-5145 Contact: Rudy Campbell, Charles Weathersby Email: basskingmusic@gmail.com, Charles@basskingmusicproductions.com Web: basskingmusicproductions.com Format: Pro Tools Clients: Christmas in Compton, Gordon (Levert) Lisa Fisher, Ava Cherry, Marques Houston, Mc Eiht, Shock G of Digital Undergound, Roscoe, kurupt, Mr.Tan Basic Rate: please call or send an email Services: record production, producing, film, and production deals. We accept unsolicited materials. See website for demo submission for information. BEDROCK RECORDING 1623 Allesandro St. Los Angeles, CA 90026 213-673-1473 x4 Email: record@bedrock.la Web: bedrock.la/recording Basic Rate: call for rates BERNIE BECKER RECORDING & MASTERING Pasadena, CA 626-782-5703 Email: hello@beckermastering.com Web: beckermastering.com Contact: Ryann Fretschel Format: digital, analog, Atmos Basic Rate: email for info BIG CITY RECORDING STUDIOS 17021 Chatsworth St. Granada Hills, CA 91344 818-366-0995 Email: paul@bigcityrecording.com Web: bigcityrecording.com Contact: Paul Format: Digital with analog processing Basic Rate: call for info BIG SCARY TREE North Burbank Adjacent 213-680-8733 Email: info@bigscarytree.com Web: bigscarytree.com Format: digital and analog, 64 tracks Basic Rate: please call for info Gear: 2” Analog 24 track plus Pro Tools HD 24 in and out, comfortable large control room, large tracking room plus 4 iso booths, large format console over 30 channels of class A mic pre’s and compressors, very large mic locker both vintage and new, the biggest nicest vintage guitar and amplifier collection in town all available for tracking. Services: Specializing in recording organic musicians and bands in a great space utilizing an amazing gear collection all for an affordable day rate BIG SURPRISE MUSIC 16161 Ventura Blvd., Ste. C #522 Encino, CA. 91436 818-613-3984 Email: info@carmengrillo.com Web: bigsurprisemusic.com

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Annual Directory of Recording Sudios Contact: Carmen Grillo Format: digital, 128 tracks Basic Rate: $75/hr. BIG SWEDE STUDIOS 46225 Verba Santa Dr #21 Palm Desert, CA 92260 213-447-6007 Email: bigswede@bigswedestudios.com Web: bigswedestudios.com Contact: Big Swede Format: digital and analog, 256 tracks Basic Rate: call for info BILL CORKERY STUDIOS Studio for Creative Audio 1660 Hotel Cir. N., Ste. 107 San Diego, CA 92108 619-291-8090 Email: bcorkery@bcproductions.com Web: bcproductions.com Contact: Bill Format: digital Basic Rate: please call for info BLUE RECORDER WEST 1709 Wilcox Ave. Hollywood, CA 90028 424-259-3519 Email: theblueroomwest@gmail.com Web: bluerecorders.com/west Basic Rate: $160/hr/$1500/day room rate only (engineer not included) BLUE RHODE STUDIOS 10626 Magnolia Blvd. North Hollywood, CA 91601 323-842-0269 Email: studioblue12@gmail.com Web: bluerhodestudios.com Contact: Andrew De Lucia Format: Pro Tools HD, Logic *Email or call for free tour/consultation

THE BLUE ROOM RECORDING WEST 1709 Wilcox Ave. Hollywood, CA 90028 424-259-3519 Email: theblueroomwest@gmail.com Web: bluerecorders.com/west BNM RECORDING STUDIO Los Angeles, C.A, 91342 323-421-4037 Email: bnmrecordingstudio@gmail.com Web: bnmrecordingstudio.com Contact: Les Danglar Format: Digital/Analog Basic Rate: Refer to website or contact through provided channels BOLEN SOUND PRODUCTIONS 4026 Tilden Ave Culver City, CA 90232 310-594-6507 Email: bolensoundproductions@gmail.com Web: bolensoundproductions.com Contact: Brian Bolen Format: Pro Tools Basic Rate: $65 per hour; including engineer. BOMB SHELTER REHEARSAL 7580 Garden Grove Blvd. Westminster, CA 92683 714-240-7345 Email: britt@bombshelterrehearsal.com Web: bombshelterrehearsal.com Contact: Britt-Marie Trace, Owner/ Manager Format: Pro Tools Basic Rate: For detailed rate information please see our website Rooms: Total of 6 studios. This includes a large Showcase Room with black curtains, stage, drum riser, lighting and couch. All of our rooms offer a PA system and a backline of drums, bass amp and guitar amp if needed.

Showcase Room is also a large tracking room with 18” ceilings, that is tied into our recording studio with a SSL AWS900+ mixing console, Pro Tools Ultimate and high end pro gear. Video Production 4 + Cameras is also done in our Large Showcase Room. Equipment: We offer popular gear by industry standard manufacturers. SSL, Pro Tools, Apogee, UA, Neumann, AEA, Shure, Rode, QSC, Soundcraft, DW, Orange, Ampeg, Marshall, Audix, PDP, Aquarian, Soultone, Blackmagic. See website for detailed list. Services: Rehearsal. Recording. Video Production. Practice your Music and play LOUD in our rooms! Solo rehearsal, vocal rehearsal, full band rehearsal, pre-tour rehearsal. Full audio/recording production. Tracking, Overdubs, Editing, Mixing, Mastering. Voice Over. Location Recording. Live Sound. Avid Pro Tools Certified Operator. 4-plus camera Video Production. Live Streaming Events. Band Promo Content. BREWERY RECORDING STUDIO 1330 W 12th Street Los Angeles, CA 844-717-BREW Email: booking@breweryrecording.com Web: breweryrecording.com BRODSKY ENTERTAINMENT Beverly Hills, CA Boston, MA Meriden, NH Email: cliffbrodskyent@gmail.com Web: brodskyentertainment.com/studios Format: Digital Performer, Logic CAPITOL RECORDING STUDIOS 1750 N. Vine St. Los Angeles, CA 90028 323-871-5001 Email: booking@capitolstudios.com Web: capitolstudios.com Format: digital Pro Tools and vintage analog Basic Rate: please call for info CHALICE RECORDING STUDIO 845 N. Highland Ave. Los Angeles, CA 90038 323-957-7100 Fax 323-957-7110 Email: sandra@chalicerecording.com Web: chalicerecording.com Format: digital and analog Basic Rate: please call for info CHAMPION SITE+SOUND 3229 Casitas Ave. Los Angeles, CA 90039 323-254-4300 Email: booking@champion.biz Web: champion.biz Format: digital, 24 tracks Basic Rate: please call for info CHARLES LAURENCE PRODUCTIONS 19002 Los Alimos St. Northridge, CA 91326 818-368-4962 Email: charles@aol.com Web: clpstudios.tripod.com Contact: Charles Laurence Format: analog and digital, 24 tracks Basic Rate: please call for info CLEAR LAKE RECORDING STUDIOS 10520 Burbank Blvd. N. Hollywood, CA 91601 818-762-0707 Email: contact@clearlakerecording.com Web: clearlakerecording.com Contact: Eli Smith - Manager/Eric Milos - Owner Rates: From $60 per hour. Call for a personalized quote For more affordable rates ask about recording in Studio B Format: Full band tracking with Pro Tools HDX or 24 Track Studer A827 Gear: Vintage Microphones, Vintage Trident 80b Console, Yahama C7Grand

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Piano, Hammond B3, Full Drum Kit, Selection of Amps and Guitars, Large Selection of outboard including: Neve 1073 sidecar, 5 Pultec Eqp3a, 3 UREI 1176, LA2A, Distressors, Tube Tech, Manley Labs Comments: With our impeccably tuned control room, large tracking room, first class facilities, and industry leading staff, we are the high end LA studio for the masses. COCKPIT STUDIO Avil Music Productions 21226 Ventura Blvd #208 Woodland Hills, CA 818-397-9849 Email: record@thecockpitstudio.com Web: thecockpitstudio.com THE COMPOUND STUDIO 2698 Junipero Ave. #117 Signal Hill, CA 90755 Signal Hill, CA Email: compoundstudio@gmail.com Web: thecompoundstudio.com COMP-NY Glendale, CA 91201 323-989-1176 Email: info@companyhq.com Web: comp-ny.com Contact: Be Hussey Format: Analog/Digital, Pro Tools Hd (24 in/32out). Large Format Neotek recording console. 2” analog. 1/4” analog. Basic Rate: Contact for day rate CONWAY RECORDING STUDIOS 5100 Melrose Ave. Hollywood, CA 90038 323-463-2175 Email: Stacey@conwayrecording.com Web: conwayrecording.com Format: digital and analog Basic Rate: please call for info COSTA MESA STUDIOS 711 W. 17th St., Ste. D Costa Mesa, CA 92627 949-515-9942 Email: nick@costamesastudios.com Web: costamesastudios.com Format: digital and analog Basic Rate: please call for info CUTTING EDGE STUDIOS 22904 Lockness Ave. Torrance, CA 90504 310-326-4500, 818-503-0400 Email: info@cuttingedgeproductions.tv Web: cuttingedgeproductions.tv DAVES ROOM 8321 Lankershim Blvd. North Hollywood, CA 818-925-6871 Email: davesroombooking@gmail.com Web: facebook.com/DavesRoom. RecordingStudio DAVE WATERBURY PRODUCTIONS Laurel Canyon and Magnolia Blvd. Valley Village, CA 91607 818-505-8080 Email: davewaterbury91607@yahoo.com Web: davewaterbury.net Contact: Dave Format: Pro Tools HD.2 Basic Rate: call for info DBW PRODUCTIONS Woodland Hills, CA 91367 818-884-0808 Email: info@dbwproductions.com Web: dbwproductions.com Contact: David Chamberlin Format: digital, unlimited tracks Basic Rate: $75/hr. D.M GREMLIN STUDIOS 6053 Atlantic Ave. Long Beach, CA 90805 866-334-4364 Email: studio@dm-gremlin.com

Download at musicconnection.com/industry-contacts Web: dm-gremlin.com Contact: Wendy Levin Format: digital Basic Rate: $35/hr., mastering starts at $50/hr. DIAMOND DREAMS MUSIC North Orange County Carbon Canyon, CA 91709 909-393-6120 Email: diamonddreamsmusic@yahoo.com Web: diamonddreamsmusic.com Format: digital, unlimited tracks Basic Rate: Please call us for a quote D.O’B. SOUND 8531 Wellsford Pl., Ste. I Santa Fe Springs, CA 90670 562-464-9456 Email: dobsound20@yahoo.com Web: dobsound.net Contact: Larry Ramirez, Derek O’Brien Basic Rate: call for quote Services: Full recording, Mixing and Mastering Studio, Video Production, 5 fully-equipped rehearsal rooms and guitar repair shop. THE DOGHOUSE STUDIO Dolorosa St. Woodland Hills, CA 91367 818-929-2795 Contact: Rodger Carter Email: info@thedoghousestudio.com Web: thedoghousestudio.com DRUM CHANNEL STUDIOS 900 Del Norte Blvd. Oxnard, CA 93030 866-439-7924 Email: support@drumchannel.com Web: drumchannel.com Contact: Papillon Zamprioli Format: Analog and Digital Basic Rate: Call for info

EAGLE ROCK STUDIOS Los Angeles, CA 90041 310-867-9091 Email: record@eaglerockstudios.us Web: eaglerockstudios.us Format: Analog and Digital EARTHSTAR CREATION CENTER 505 Rose Ave Venice, CA 90291 310-581-1505 Email: earthstarstudio@gmail.com Web: earthstarvenice.com Contact: John X Volaitis Format: see website for equipment list Basic Rate: call or email for info EASTWEST RECORDING STUDIOS 6000 W. Sunset Blvd. Hollywood, CA 90028 323-957-6969 Fax 323-957-6966 Email: candace@eastweststudio.com Web: eastweststudio.com Contact: Candace Stewart Format: Analog and Digital Rates: Call for Daily Rate or Block Bookings Gear: 80 Chnl Neve 8078, 40 Chnl Neve Custom 8028, 40 Chnl Trident “A” Range, 64 Chnl SSL G +, Fairchild 670, Bricasti, EMI REDD 47 mic pre, GT Vipre Tube mic pre, Urie 1176LN, Teletronix LA-2A, Avalon AD2044, Pultec EQP1A3, Lexicon 960L, AMS RMX16, GML 8200, AKG C12’s, Neumann U67’s, Neumann U47’s, Neumann M50’s, Telefunken ELA-M 251’s, Sony C55p’s, Coles 4038’s, Royer R-121’s. MKH800’s, AEA- 440 Clients: Lady Gaga, The Beach Boys, John Legend, Elton John ECHO BAR RECORDING STUDIO 7248 Fulton Ave.

North Hollywood, CA 91605 818-738-7320 Email: info@echobarstudios.com Web: echobarstudios.com Contact: Erik Reichers, Bob Horn Format: call for info Basic Rate: call for info ECUASOUND PRODUCTIONS 1540 N. Highland Ave., Ste. 108 Hollywood, CA 90028 323-467-0383 Email: ecuasound@ ecuasoundproduction.com Web: ecuasoundproductions.com Contact: Ivan Castro Format: Pro Tools Basic Rate: $70/hr. includes engineer EL CERRITO STUDIO P.O. Box 625 El Cerrito, CA 94530 510-776-3623 Email: contact@elcerritostudio.com Web: elcerritostudio.com ELEVATED AUDIO 14677 Aetna St. Van Nuys, CA 91411 818-909-9029 Email: elevatedaudio@gmail.com Web: elevated-audio.com Contact: Fran Format: Digital, Analog, or both Basic Rate: call for info, no walk-ins ENCORE STUDIOS 721 S. Glenwood Pl. Burbank, CA 91506 323-465-4000 Email: info@paramountrecording.com Web: paramountrecording.com/studios/ encore Format: digital and analog Basic Rate: call for daily rates.

ES AUDIO SERVICES 1746 Victory Blvd. Glendale, CA 91201 818-505-1007 Web: esaudio.com Contact: Donny Baker Format: Pro Tools and Logic, Analog Front End Basic Rate: Please call for current rates THE EVERGREEN STAGE 4403 West Magnolia Blvd, Burbank, CA 91505 747-283-1444 Email: evergreen@postgroup.com Web: theevergreenstage.com EXPOSITION REHEARSAL & RECORDING STUDIOS 9214 Exposition Blvd. Los Angeles, CA 90034 310-287-1236 Email: contact@expositionstudios.com Web: expositionstudios.com Studio Specs: Control Room 20ft x 20ft Live Room 20ft x 12ft Basic Rate: Please Call For Rates FAB FACTORY STUDIOS 7240 Fulton Ave North Hollywood, CA 91605 818-356-6092 Email: info@fabfactorystudios.com Web: fabfactorystudios.com Rate: please call for info FEVER RECORDING STUDIOS Inspired. Creative. Perfectly Private. 10520 Burbank Blvd. N. Hollywood, CA 91601 818-762-0707 E-mail: contact@clearlakerecording.com Web: feverrecording.com Contact: Eli Smith - Manager/Roxy Flo - Business Development/Eric Milos - Owner

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Annual Directory of Recording Sudios Rates: Please call to discuss a personalized quote. Format: Full featured, and private boutique recording experience. Studio A features two private lounges, private parking, and runner services. Gear: Newly installed 48 ch SSL Duality Delta Pro Station w/ custom Neve summing, Augsburger Mains with dual 18” Subs, large selection of high end outboard and microphones. Full backline including, Yamaha G5 grand piano, Montineri Custom drum set, amps, and guitars. Comments: Fever Recording Studios offer an unparalleled recording experience in a boutique and private environment. Our expertly trained staff, impeccable service, and modern luxe decor make Fever a truly 5-star destination. FITTING ROOM STUDIO Canoga Park, CA 310-717-4739 Email: fittingroomstudio@yahoo.com Web: fittingroomstudio.com Format: Pro Tools HDX Basic Rate: call for info FONOGENIC STUDIOS 7710 Haskell Ave. Van Nuys, CA 91406 818-305-HIFI (4434) Email: info@fonogenic.com Web: fonogenic.com Clients: see client list FRIDAY ENTERTAINMENT Sherman Oaks, CA 818-995-4642 Email: info@fridayentertainment.com Web: fridayentertainment.com Contact: Sam Dress Format: Digital Basic Rate: call for info Services: recording, mixing film editing, sound to picture. Great live room for jazz, folk, etc. FUEL MUSIC STUDIO 1150 E Valencia Fullerton, CA 92831 714-809-2107 Email: fuelmusic@hotmail.com Web: fuelmusicstudio.com GLENWOOD PLACE STUDIOS 619 S. Glenwood Pl. Burbank, CA 91506 818-260-9555 Email: info@glenwoodstudios.com Web: glenwoodstudios.com Contact: Kit Rebhun Format: digital and analog Basic Rate: call for info GOLD-DIGGERS 5632 Santa Monica Blvd, Los Angeles, CA 90038 323-546-0300 Email: studioinfo@gold-diggers.com Web: gold-diggers.com/pages/record GOLD STREET Burbank, CA 91504 818-567-1911 Email: avpost@goldstreet.net Web: goldstreetmusic.com Contact: Eric Michael Format: digital, 128 tracks Basic Rate: $1000/Song. GOLDEN IMPALA RECORDING STUDIO 3311 Beverly Blvd Los Angeles, CA 90004 323-622-4615 Email: info@goldenimpala@gmail.com Web: goldenimpala.com Basic Rate: $49/hr with sound engineer THE GREENE ROOM RECORDING STUDIO Van Nuys, CA 818-781-1144 Web: greeneroom.com

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GREEN STREET STUDIOS Sherman Oaks, Ca 626-552-8181 Email: RobKingGSS@aol.com Web: greenstreetstudios.com THE GROOVE LAB West Hills, CA 91326 818-903-0005 Email: olivierroulon@thegroovelab.org Web: thegroovelab.org Contact: Olivier Format: digital, 32+ tracks Basic Rate: call for rates GROOVE MASTERS Santa Monica, CA 310-393-3836 Email: contact@groovemastersstudio.com HARDSHIP RECORDS Van Nuys, CA 91405 818-780-7845 Email: HJ@hughjamesmusic.com Web: hughjamesmusic.com/studio Contact: Hugh James Format: Pro tools in studio and online services Basic Rate: variable rates: per hour / per project Format: Specializing in Grand Piano Recordings & Song Production HELL’S HALF ACRE Frazier Park, CA Email: info@stevekravac.com Web: stevekravac.com Contact: Steve Format: Digital Basic Rate: $50/hr. Services: Live tracking, mixing, and mastering with R.I.A.A. Gold Accredited producer/engineer/mixer Steve Kravac. Clients: Less Than Jake, MxPx, Blink-182, 7-Seconds, Pepper, Epitaph, SideOne/Dummy, Capitol, Atlantic, A&M, Tooth & Nail HENSON RECORDING STUDIO 1416 N. La Brea Ave. Hollywood, CA 90028 323-856-6690 Email: faryal@hensonrecording.com Web: hensonrecording.com Contact: Faryal Russell Format: SSL SL 6072E/G, 4072G+, 6056/G, 9090J, Augsperger, 8 Neve Basic Rate: call for info HIT SINGLE RECORDING SERVICES 1935 C. Friendship Dr. El Cajon, CA 92020 619-258-1080 Email: hitsingle@att.net Web: hitsinglerecording.com Contact: Randy Fuelle Format: digital and analog Basic Rate: please call for info HUMAN ELEMENT (Post Studios) 453 S. Spring St. Los Angeles, CA 90013 213-232-1193 Email: info@humanelement.tv Web: humanelement.tv Basic Rate: Call or email for information IGLOO MUSIC STUDIOS 228 West Palm Ave. Burbank, CA 91502 818-558-7733 Email: studio@igloomusic.com Web: igloomusic.com Contact: Gustavo Basic Rate: call or email for info Additional location: 931 W. Olive Ave Burbank, CA 91506 INFINITESPIN RECORDS Sherman Oaks, CA 818-384-1451 Email: info@infinitespinrecords.com

Web: infinitespinrecords.com Contact: Matt Linesch Studio: Pro Tools 12HDX, 40 channel 1972 API, 16 channel Neve, 24 track Studer A827, array of outboard gear, upright piano, Hammond B3 & Leslie, Fender Rhodes, assortment of vintage amps and guitars, lounge, kitchen, private gated parking Basic Rate: $85/hour (3 hour minimum), lock outs available (contact for pricing) JRLDRUMS Internet Drum Sessions 818-903-3690 Email: johnlewis@jrldrums.com Web: jrldrums.com Contact: John Lewis Format: digital Basic Rate: call for rates Additional location: Phoenix, AZ 480-374-3786 JUST FOR THE RECORD 8763 Lankershim Blvd. Sun Valley, CA 91352 818-448-1556 Email: mackenzie@justfortherecord.com Contact: Mackenzie Coats, Studio Manager Web: justfortherecord.com/studio Basic Rate: call or email for info KONSCIOUS STUDIOS 1655 9th St. Santa Monica, CA 90404 424-382-9155 Email: booking@konsciousstudios.com Web: konsciousstudios.com Contact: Dan or Ric Basic Rate: call or email for info KRAZY POP STUDIO North Hollywood, CA 213-293-7903 Contact: Russell Wolff Email: record@krazypopstudio.com Web: krazypopstudio.com KRIS STEVENS ENTERPRISES Calabasas, CA 91302 818-225-7585 Email: inquiry@kriserikstevens.com Web: kriserikstevens.com Contact: Christine Fletcher Format: digital and analog Basic Rate: call for info LAGUNA SOUND STUDIO 381 Forrest Ave., Ste. D Laguna Beach, CA 92651 949-395-9400 Contact: Gary Hicks, Studio Manager Email: info@lagunasoundstudio.com Web: lagunasoundstudio.com Format: Logic Pro X, Pro Tools 11 LAFX RECORDING SERVICES P.O. Box 827 North Hollywood, CA 91603 818-769-5239 Email: lafx1@aol.com Web: lafx.com Contact: Dan or Anne Vicari Format: digital and analog, 24 tracks Basic Rate: please call for info LARRABEE SOUND STUDIOS 4162 Lankershim Blvd. North Hollywood, CA 91602 818-753-0717, Fax 818-753-8046 Email: info@larrabeestudios.com Web: larrabeestudios.com Contact: Amy Burr, Studio Manager Format: digital and analog Basic Rate: call for info LITTLE BIG ROOM STUDIOS 2912 W. Burbank Blvd. Burbank, CA 91505 818-846-2991 Email: brad@littlebigroom.com Web: littlebigroom.com

MAD MUSE STUDIOS (formerly InFlight Music Group) 1015 E. 14th Street Los Angeles, CA90021 323-685-2054 Contact: Zulma Tercero, Studio Manager Email: Zulma@inflightmusicgroup.com Web: madmusestudios.com Format: Solid State Logic 8064G MAMBO SOUND AND RECORDING 2200 W. Esther St. Long Beach, CA 90813 562-432-9676 Email: steve@mambosound.net Web: mambosoundandrecording.com Contact: Steve McNeil Format: digital and analog, 48 tracks Basic Rate: call for info MARC DESISTO PRODUCTIONS Sherman Oaks, CA 818-259-4235 Email: marcdesistoaudio@gmail.com Web: marcdesistoaudio.com Contact: Marc DeSisto Format: Pro Tools HD Basic Rate: please call for info MARC GRAUE VOICEOVER RECORDING STUDIOS 3421 W. Burbank Blvd. Burbank, CA 91505 818-953-8991 Email: info@marcgrauestudios.com Web: marcgrauestudios.com Format: digital and analog Basic Rate: please call for info MARTINSOUND RECORDING STUDIOS 1151 W. Valley Blvd. Alhambra, CA 91803 800-582-3555, 626-281-3555 Email: dblessinger@martinsound.com Web: martinsound.com Contact: Dan Blessinger Format: digital and analog, 32 tracks Basic Rate: please call for info MAR VISTA RECORDING STUDIO Mar Vista, CA 310-467-0889 Email: remmusic@verizon.net Web: jerrymanfredi.com Contact: Jerry Basic Rate: Please call for information MASTER GROOVE STUDIOS / RADD SOUND Northridge, CA Nashville, TN 818-830-3822, 615-562-5329 Email: davejavu@att.net Web: mastergroovestudios.com Contact: David Morse Format: digital, unlimited tracks Basic Rate: please call for rates MAURICE GAINEN PRODUCTIONS 4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027 323-662-3642 Email: info@mauricegainen.com Web: mauricegainen.com Contact: Maurice Format: Logic Pro/Pro Tools Basic Rate: Call for info. Indie rates avail. Gear: Pro Tools Omni and HD192, Mac Intel 8 Core, Yamaha O2R Mixer, Waves Horizon, API, SSL CLA Signature, GTR Solo, JJP Signature, Kramer Tape, all Spectrasonics, Auto-Tune, Bomb Factory and many other plug-ins, soft synths and EFX. Avalon 737, ART Dual-MP, DBX 160X and other outboard gear. Neumann U47 FET and many other excellent mics, Genelec speakers w/ subwoofer, acoustic piano, 4 ADAT’s, much more. Special Services: Start to finish CD production. CD mastering, video editing. Top session players at discount rates.

Download at musicconnection.com/industry-contacts Full-band recording. Vocalist friendly, Berklee trained producer-musicianengineer. Clients: Starbucks (mastering for 185 compilations), Disney, EMI, UNI, Warner, Sony, Rafael Moreira, Alex Skolnick, Andy McKee, The Hues Corp (“Rock The Boat”), Mighty Mo Rodgers, Nori Tani, Orchestre Surreal, Angel Town Combo, Darek Oles, Chelsea E., Dale Fielder, Little Willie G, Gina Nemo with Billy Vera MAXIMUS MEDIA, INC. 2727 N. Grove Industrial Dr., Ste. 111 Fresno, CA 93727 559-255-1688 Email: ray@maximusmedia.net Web: tothemax.com Format: digital and analog Basic Rate: please call for info MEGA SOUND STUDIOS 2789 E. Main Street Ventura, CA 805-667-8100 Email: info@megasoundstudios.com Web: megasoundstudios.com MELROSE MUSIC STUDIOS (on the Raleigh Studios Lot) 5254 Melrose Blvd. Hollywood, CA 90038 818-216-5409 , 323-333-8946 Email: melrosemusic@mac.com Web: facebook.com/ melrosemusicstudios Contact: David Williams Format: analog and digital processing Basic Rate: recording: Studio A $60/ hr., Studio B $45/hr. Special prices for day rates. METROSTUDIOS San Fernando Valley, CA Email: tom@metrostudios.com Web: metrostudios.com Basic Rate: call for info MIX CITY MUSIC 19410 Kilfinan St. Porter Ranch, CA 91326 818-464-5844 Email: Matt@MixCityMusic.com Web: MixCityMusic.com FB & IG: @MixCityMusicLA Contact: Matt Pakucko Format: Pro Tools HDX, Logic X, 40 input custom analog console, 18’ ceiling live tracking room, 3 iso rooms. Yamaha acoustic piano. Gold/Platinum credits. Basic Rate: Starting at $55/hr., $600/ day, engineer incl. Project rates negotiable Services: Producing, mixing, overdubs, songwriting, vocal recording. Editing, pitch-correction. ADR for film and TV. MIX RECORDING STUDIO 539 S. Rampart Blvd.

Los Angeles, CA 90057 323-218-7475 Email: info@mixrecordingstudio.com Web: mixrecordingstudio.com Basic Rate: Fixed rate for session with an engineer $54/hr, without engineer $42/hr, and different engineers available for 30/35hr MIX ROOM, THE 2940 W. Burbank Blvd. Burbank, CA 91505 818-846-8900 Email: info@themixroom.com Web: themixroom.com Format: digital and analog, 128 tracks Basic Rate: please call for info M L E STUDIOS P.O. Box 1014 Hollywood, CA 91356 866-246-8846 Email: mail@majorlabelmusic.com Web: majorlabelmusic.com Contact: Col. Darryl Harrelson Format: digital/analog, Pro Tools HD2 Accel Basic Rate: $45/hr. or flat rate per song/project MOUNTAIN DOG MUSICWORKS 485 Ventura Ave., Ste. E3 Oak View, CA 93022s 805-649-8500 Web: mountaindogmusic.com Contact: Tim Frantz Format: digital Basic Rate: please call for info MY SONIC TEMPLE 13200 Warren Ave Los Angeles, CA 90066 310-944-1994 Email: mysonictemple@gmail.com Web: mysonictemple.com NIGHTBIRD RECORDING STUDIOS At Sunset Marquis Hotel 1200 Alta Loma Road West Hollywood, CA 90069 310-657-8405 Email: manager@nightbirdstudios.com Web: nightbirdstudios.com Contact: Angelo Caputo Format: Pro Tools HDX / Logic Pro Basic Rate: call for prices NRG RECORDING SERVICES 11128 Weddington St. North Hollywood, CA 91601 818-760-7841 Email: ayex@nrgrecording.com Web: nrgrecording.com Format: digital and analog Basic Rate: Call for details OC RECORDING COMPANY, THE 3100 W. Warner Ave Suite 7 Santa Ana, CA 92704

323-244-9794 Email: info@ocrecording.com Web: ocrecording.com Contact: Asaf Fulks (Producer/ Engineer) Format: Analog/Digital—Pro Tools, SSL, Neve, Neumann, Avalon, Manley, API Styles: All Music Genres/Post Production Services: Recording, Mixing, Mastering, Music Production, Photo/Video, Graphics Remote Services via Source Connect/ Skype Basic Rate: Please call, email or visit site OLD BOOTS RECORDING STUDIO 14947 Gilmore St. Van Nuys, CA 91411 818-785-8611 Email: greggb69@yahoo.com Web: oldbootsrecordingstudio.com PACIFICA STUDIOS 2620 La Cienega Ave. Los Angeles, CA 90034 310-559-9777 Contact: Glenn Format: Pro Tools Basic Rate: please call PALMQUIST STUDIO Los Angeles, CA Web: facebook.com/PalmquistStudios Email: info@palmquiststudios.com PARAMOUNT RECORDING STUDIOS 6245 Santa Monica Blvd. Los Angeles, CA 90038 323-465-4000 Email: info@paramountrecording.com Web: paramountrecording.com Format: digital and analog, 96+ tracks Basic Rate: call for rates PATTERN RECORDING STUDIO 4723 W. Jefferson Blvd Los Angeles, CA 90016 323-389-7759 Contact: Cole Bingham (Studio Manager) Email: PatternRecordingStudio@Gmail. com Web: PatternRecordingStudio.com Format: ProTools, Logic, Ableton, Analog Tape Clients: The War Toys, Loser Company, Trinidad James, Dream Panther, The Tens, Record Year, Chris Green, Litty Kitter, Chef Mendeff. Basic Rate: Please call or email Services: Music Production Packages, Recording, Mixing & Mastering, Production, Remote Recording, and Rehearsal Studio. We accept unsolicited materials. See website for more information.

PAWN SHOP STUDIO 14819 Oxnard St. Van Nuys, CA 91405 818-982-7763 Email: Pawnshopstudio@gmail.com Web: pawnshopstudio.com Format: API mic pres, Lynx Aurora Converters Basic Rate: call (or list your rates here) PENGUIN RECORDING P.O. Box 91332 Pasadena, CA 90041 323-259-8612 Fax 323-259-8613 Email: john@penguinrecording.com Web: penguinrecording.com Contact: John Strother Format: digital and analog, 48 tracks PERFECT SOUND STUDIOS Los Angeles, CA 323-459-8708, 323-318-0515 Email: info@perfectsoundstudios.com Web: perfectsoundstudios.com THE PIE STUDIOS Pasadena, CA 669-228-4818 Email: info@thepiestudios.com Web: thepiestudios.com PLASTIC DOG RECORDING 3815 Grand View Blvd. Los Angeles, CA 90066 310-795-1526 Email: colin@plasticdogrecording.com Web: plasticdogrecording.com PLATINUM STUDIO Van Nuys, CA 91411 818-994-5368 Email: paulhilton123@sbcglobal.net Web: paulhiltonmusic.net Contact: Paul Hilton Format: digital, 200 stereo tracks, Studer A-800 MK III 24 track studio tape machine Basic Rate: please call for info PARSONICS STUDIO 1500 Farren Road Santa Barbara, CA 93117 805.272.0159 Email: studio@parsonics.com Contact: Noah Bruskin Web: Parsonics.com Format: Neve 32 channel analog console/Pro Tools/Apogee 48 channel Basic Rate: Call or email for rates Comments: Owned and operated by Grammy award-winner Alan Parsons PPL RECORDED MUSIC COMPANY (A PPL Entertainment Group Company) Los Angeles, California (310) 962-3873 Email: pplzmi@aol.com Web: pplzmi.com Contact: Jim Sellavain Format: Analog, digital, AVID, Apple

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Annual Directory of Recording Sudios Final Cut, Pro Tools, DVD authoring Basic Rate: please call for info PRIVATE ISLAND TRAX 1882 S. Cochran Ave. Los Angeles, CA 90019 323-856-8729 Email: info@privateislandaudio.net Web: privateislandtrax.com Format: digital, Pro Tools Basic Rate: please call for info PRODUCTION COMPANY RECORDING, MASTERING & REHEARSAL STUDIO, THE 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 Email: rockzionrecords@rockzion.com Web: rockzion.com/productionco.html Format: 2-inch Ampex 16 track and Trident Mixing Console, Pro Tools and Analog Mastering Basic Rate: $50 per hour Digital Recording / Analog Mastering PYRAM-AXIS PRODUCTIONS Redondo Beach, CA 90278 310-869-8650 Email: music@pyramaxis.com Web: pyramaxis.com Contact: Jim D. Format: ProTools HD, Logic Services: world-class production, mixing, mastering, music for media Basic Rate: Project Rates - Call for details. RAINMAN STUDIOS, INC. Van Nuys, CA 818 468 5701 Email: PlatinumMixes@gmail.com Web: MultiPlatinums.com Contact: David “Rain” Banta Format: Cubase 9 wide selection of top vintage microphones, keyboards, and drum machines Clients: Bone Thugs-N-Harmony, Snoop Dogg, Tracie Spencer, The Roots, Pharcyde, Do or Die, Fox Sports, Warner Brothers Television, Capitol Records, TVOne, NASCAR, Sony Music, Epic Records Basic Rate: please call for info READY MIX MUSIC 5633 Lankershim Blvd. North Hollywood, CA 91601 818-388-2196 Email: studio@readymixmusic.com Web: readymixmusic.com Contact: Paul or Sarah Format: Pro Tools & analog tape, vintage keys & gear. Basic Rate: Call for info RECORD PLANT 1032 N. Sycamore Ave. Hollywood, CA 90038 323-993-9300 Email: Jeff@recordplant.com Web: recordplant.com Contact: Jeff Barnes Format: digital and analog Basic Rate: please call for info RESONATE MUSIC & SOUND 449 S. San Fernando Blvd. Burbank, CA 91502 818-567-2700 Email: inquire@resonate.la Web: resonate.la Format: Digital and Analog Basic Rate: call for info REVOLUTION 9 RECORDING STUDIOS 1041 N. Orange Dr. Hollywood, CA 90038 323-405-7389 Email: booking@rev9recording.com Web: rev9recording.com Contact: Daniel Balistocky Format: Pro Tools 9 and Cubase 7.5 Basic Rate: Call for rates

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SEAHORSE SOUND STUDIOS 1334 S. Grand Ave. Los Angeles, CA 90015 909-210-2317 Email: seahorsesoundstudios@yahoo. com Web: seahorsesoundstudios.com Contact: Samur Format: analog and digital, 24 tracks Basic Rate: call for rates

Web: skipsaylor.com Contact: Skip Saylor Format: digital and analog, HDX Basic Rate: call for info Gear: SSL 4100G+, Pro Tools HDX, Yamaha grand piano, Hammond B3, TAD, Lexicon 480L,PCM70, PCM42 (4), AMS 1580 (2), AMS RMX-16 (2), Yamaha, Pultec EQP1A (2), Neve, MicPre/EQ’s, API (15), EMT, Apogee, GML, Avalon, Distressors (4), Aphex, Manley, Roland, TC Electronics 2290, Fireworx, M3000, Eventide H3000, Eclipse, Instant Flanger, Urei LA2A, 1176LN, LA3A, DBX, PanScan, Ampex ATR, BASE and more. Services: Studio is located in a secluded private environment with living accommodations for bands/artists on property. Clients: Beyoncé, Rae Sremmurd, Malik Yusef, Tamar Braxton, Donny Osmond, Safaree, Master P., Travis Kr8ts, Young Thug, Flo Rida, Julian Lennon, Glasses Malone w/ Kendrick Lamar, Kevin Flournoy, Celina Graves, Eric Bellinger, Gucci Mane, YFN Lucci, Barachi feat. O.T. Genasis, Leaf McLean, Icona Pop, Pras (The Fugees), VMA awards, Art Dixie, Derek Dixie, Mindi Abair, Booker T. Jones, Vintage Trouble, Casey Veggies, John Jones, Alan Frew (Glass Tiger), Snoop Dogg, The Game, B.o.B, Michael Jackson, Faith Evans, Mary J. Blige, Pink, Goo Goo Dolls, Gary Taylor, Kevin Teasley, Malcolm-Jamal Warner, Gregg Alexander, Keira Knightley, Jonathan Butler, Mali Music, Foo Fighters, Guns N’ Roses, Santana, k.d. lang, Tupac, Ice Cube, Eminem, R. Kelly, Avril Lavigne, Bobby Brown, Bootstraps, Israel Houghton, Jonny Lang, Egyptian Lover, Rodney O & Joe Cooley, Too Short, E-40, W.C., Krazie Bone, Tyga, KRS-ONE, K. Michelle, Trey Smoov, Brian May, Boyz II Men, The Whispers, Death Cab For Cutie, Everclear, Jenni Rivera, Juan Rivera, Ana Barbara, Anja Nissen, Drea Dominique, Mila J, Common Kings, Parenthood, Private Practice, Iron Man 2, FIFA World Cup, Space Jam soundtrack. Comments: Facility features a large high ceiling tracking room and excellent mix room built/owned by a 30+year veteran of the recording industry.

SERENITY WEST RECORDING 1509 Gordon St. Los Angeles, CA 90028 323-467-6001 Email: info@serenitywestrecording.com Web: serenitywestrecording.com

SKY MILES RECORDING 1141 Seward Street Los Angeles, CA 90038 310-428-7289 Email: skymilesrecording@gmail.com Web: skymilesmusic.com

SIGNATURE SOUND 5042 Ruffner St. San Diego, CA 92111 858-268-0134 Email: info@signaturesound.com Web: signaturesound.com Basic Rate: call for info

SONIC FUEL STUDIOS 150 Sierra St. El Segundo CA 90245 310-499-9274 Email: team@sonicfuelstudios.com Web: sonicfuelstudios.com Contact: Kyrina Bluerose Format: Pro Tools, Euphonix board Basic Rate: call for information Services: Sonic Fuel Studios is a state-of-the-art, eco-friendly tracking and mixing facility specializing in film, television, and interactive media music.

ROBERT IRVING PRODUCTIONS, INC. Woodland Hills, CA 91367 818-384-7464 Email: rirving@pacbell.net Web: robertirving.com Contact: Robert Format: Digital Performer or Logic, Pro Tools Basic Rate: Flexible Notes: 3 great live rooms, Yamaha DC-7 Grand Piano, vintage mic collection Additional location: Anacortes, WA ROUND HILL MUSIC 1411 5th Ave, Suite 305 Santa Monica, CA 90401 310-451-4100 Email: info@roundhillmusic.com Web: roundhillmusic.com Format: Digital and analog Basic Rate: please call RPD STUDIOS 1842 Burleson Ave. Thousand Oaks, CA 91360 805-496-2585 Email: rpdstudios@roadrunner.com Web: rpdsound.com Contact: Randy Format: digital, 192 tracks Basic Rate: $50/hr. SANCTUARY SOUND 7053 Rubio Ave. Van Nuys, CA 91406 818-989-9997 Email: foz@barryfasman.com Web: barryfasman.com Contact: Barry Fasman Format: digital, 96 tracks Basic Rate: please call for info

SILENT ZOO STUDIOS 736 Salem St. Glendale, CA 91203 818-484-5222 Email: holden@silentzoostudios.com Web: silentzoostudios.com Contact: Holden or Patrick Format: Pro Tools Ultimate, Logic Pro, Ableton Live Rate: Call for details SKELETON STUDIOS 5629 Tunjunga Ave. North Hollywood, CA 91601 323-594-3113 Email: info@skeletonstudios.com Web: skeletonstudios.com SKIP SAYLOR P.O. Box 280010 Northridge, CA 91328-0010 818-300-0400 Fax 818-881-7092 Email: skipsaylor@gmail.com

SONIKWIRE STUDIOS Irvine, CA 949-851-9340 Email: alex@sonikwire.com Web: sonikwire.com Contact: Alex Bush Format: digital, 48 tracks Basic Rate: call for info SONORA RECORDERS 3222 Los Feliz Blvd. Los Angeles, CA 90039 213-841-0712 Email: ductape@aol.com Web: sonorarecorders.com Contact: Richard Basic Rate: call for information

SOTTO VOCE STUDIO North Hollywood, CA 91606 818-694-3052 Web: sottovocestudio.com Format: digital, unlimited tracks, albums/film/TV Basic Rate: Hourly starting at $75, and per-project. Please call. SOUND CITY STUDIOS 15456 Cabrito Road Van Nuys, CA 91406 818-304-0573 Email: booking@soundcitystudios.com Web: soundcity.la SOUND FACTORY 6357 Selma Ave. Hollywood, CA 90028 323-467-2500 Email: Management@ SoundFactoryHollywood.com Web: soundfactoryhollywood.com Contact: Cameell Hanna Format: digital and analog, 48 tracks Basic Rate: call for rates SOUND IMAGE 15462 Cabrito Rd. Van Nuys, CA 91406 805-231-5728 Email: sound_image@msn.com Web: soundimage.us Contact: Melody Carpenter Format: digital and analog Basic Rate: please call for info SOUND-TECH STUDIO 24300 Country Rd. Moreno Valley, CA 92557 951-243-6666 Email: soundtechstudio@yahoo.com Web: facebook.com/soundtechmusic Contact: Allan Johnson Basic Rate: please call for info STAGG STREET STUDIO 15147 Stagg St. Van Nuys, CA 91405-1001 818 371-1562 cell / text Email: studio@staggstreetstudio.com Web: staggstreetstudio.com Format: Pro Tools 2018 Basic Rate: please call for info STEPPINGOUT PERFORMING ARTS & RECORDING STUDIO 14545 Valley View Ave., Ste R Santa Fe Springs, CA 90670 562-929-1050 Email: info@steppingoutstudio.com Web: steppingoutstudio.com Contact: Steve Smith Format: digital Basic Rate: please call for info STEAKHOUSE STUDIO 818-485-2620 Email: kelle@linearmanagement.com Web: steakhousestudio.com Contact: Kelle Musgrave Glanzbergh Basic Rate: please call for info STUDIO 770 770 S. Brea Blvd., #218 Brea, CA 92821 714-672-1234 Email: info@studio770.com Web: studio770.com Contact: Shantih Haast Format: Pro Tools HD, Logic Pro Studio is now a tri-studio complex offering Studios A, B and C STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 Fax 818-761-4744 Email: booking@studiocitysound.com Web: studiocitysound.com Contact: Estelle Harrison, Manager Format: digital (256 tracks) and analog (24 track 2-inch) Basic Rate: $100-150/hr. STUDIO DEE 3306 Glendale Blvd., Ste. 4

Download at musicconnection.com/industry-contacts Los Angeles, CA 90039 323-662-0512 Email: hueydee1234@gmail.com Contact: Huey Dee Format: digital and analog Basic Rate: please call for info STUDIO MALIBU 22509 Carbon Mesa Rd. Malibu, CA 90265 310-571-5389, Intl. Calls: +1-310-497-8011 Email: info@studiomalibu.com Web: studiomalibu.com Format: Pro Tools Ultimate Basic Rate: call for rates STUDIO WEST OF SAN DIEGO 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497 Web: studiowest.com Format: SSL, Neve, ICON, Pro Tools HD6, Surround Sound, ISDN, PhonePatch, ADR Basic Rate: call for rates SUNSET SOUND 6650 Sunset Blvd. Hollywood, CA 90028 323-469-1186 Fax 323-465-5579 Email: traffic@sunsetsound.com Web: sunsetsound.com Contact: Phil MacConnell Format: 24 track analog & Pro Tools Basic Rate: call for rates SUNSPOT PRODUCTIONS 912 Glendon Way Alhambra, CA 91803 323-574-1110 Email: ricklawndale@live.com Web: sunspotprod.com Contact: Rick Lawndale Format: Pro Tools, 46 tracks Basic Rate: call for rate information Comments: 15 years experience THE TEMPLE BASE 814 Seward St. Hollywood, CA 90038 323-468-8889 Web: thetemplebase.com Email: Alex@TheTempleBase.com THETA SOUND STUDIO 1309 W Riverside Dr. Burbank, CA 91506 818-955-5888 (call for appt.) Email: studio@thetasound.com Web: thetasound.com Contact: Randall Michael Tobin Basic Rate: call for rates Gear: Yamaha C5 Grand Piano; Mid 60s Slingerland Maple Drum Kit; Diverse Mic Collection, Analog, Digital and Computer-based Recording/Mixing; Samplitude and Cubase DAWs; JBL, Yamaha, Auratone Monitors (see website for full gear list) Services: Audio and Video Recording/ Editing/Mixing/Mastering, Live In-studio Multi-track Audio/Multi-camera Video Recording and Post Production; Music Arranging/Production/Collaboration; Website Design Clients: Art Podell, Mel Carter, Harriet Schock, Dave Tourjé, Linda Lee, Charlie Fleischer, Constance Hauman, Steve Sharp, Debbie Montgomery, Randy Crenshaw, Susan Kohler, Bob Corff, Ray Manzarek, Harvey Kubernik, William Vendice, Jerry Sternbach, Lamont Dozier, Placido Domingo, Amanda McBroom, Amy Buccellato, Randall Michael Tobin TIMEART STUDIO Studio City, CA 818-980-2840 Email: info@timeart.us Web: TimeArt.us Format: Digital. ProTools 2021.3, Logic 10.6.1, John Hardy Stereo Mic Pre, Pro Mics.

TOMCAT ON THE PROWL PRODUCTIONS Productions, Mixing, Recording, Restoration Canoga Park, CA 818-533-8669 Email: studio@tomcatontheprowl.com Web: tomcatontheprowl.com Contact: Thomas Hornig Format: Pro Tools HDX 32 Channel Avid i/o, Lots of pristine Preamps, EQ’s and Compressors ranging from A-Designs Through Neve Basic Rate: Please email for info TOTAL ACCESS RECORDING STUDIOS 612 Meyer Ln., Ste. 18 Redondo Beach, CA 90278-5261 310-376-0404 Web: tarecording.com Contact: Wyn Davis - Adam Arnold Format: digital and analog, unlimited tracks Basic Rate: all kinds of custom project rates - call for info. TRACK ENTERTAINMENT STUDIOS 13848 Ventura Blvd., Ste. 4D Sherman Oaks, CA 91423 818-259-7244 Email: trackentertainmentstudios@ yahoo.com Web: facebook.com/ trackentertainmentstudios Contact: Alexander Track, producer/ engineer, Grammy Winner Format: 4 Pro Tools suites, music production and recording, post production, mixing and mastering, 7.1 surround sound, songwriting, composing, arranging, film scoring, commercials, live drums etc. Basic Rate: please call for info TRACK RECORD STUDIOS 5102 Vineland Ave. North Hollywood, CA 91601 323-465-4000 Email: info@paramountrecording.com Web: paramountrecording.com/studios Format: digital and analog, 120 tracks Basic Rate: call for info TRACK STAR STUDIOS 7242 University Ave. La Mesa, CA 91942 619-248-3183 Email: info@trackstarstudios.com Web: trackstarstudios.com Contact: Josquin des Pres Basic Rate: Call for rates TREBEL GIRL STUDIOS 3200 N. San Fernando Blvd. Ste. 28 Burbank, CA 91504 818-806-9337 Email: treblegirlstudios@gmail.com Web: treblegirlstudios.weebly.com TREE HAUS RECORDING Woodland Hills, CA 818-497-0664 Email: TreeHausWH@gmail.com Web: facebook.com/treehausrecording TRINITY SOUND COMPANY 751 S. Weir Canyon Rd., Suite 157-535 Anaheim Hills, CA 92808 714-881-5211 Email: info@trinitysoundcompany.com Web: trinitysoundcompany.com/ourwork/recording Basic Rate: Please call for info TRU-ONE RECORDS AND REHEARSALS Buena Park, CA 562-773-5877 Email: truonerecords@aol.com Web: truonerecords.com Contact: Robert Trujillo Format: Presonus Basic Rate: Currently Not Open To The Public

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Annual Directory of Recording Sudios UNCLE STUDIOS 6028 Kester Ave. Van Nuys, CA 818-989-5614 Email: uncleesca27@gmail.com Web: unclestudios.com Format: digital, 24 at a time 126 playback Basic Rate: $50/hr UNION RECORDING STUDIO 7051 Santa Monica Blvd, Los Angeles, CA 90038 323-615-3575 Email: info@unionrecstudios.com Web: unionrecstudios.com Rates: $23/hr/$87/$199 UNITED RECORDING STUDIOS 6050 Sunset Blvd. Los Angeles, CA 90028 Contact: Rob Goodchild, Studio Manager Email: booking@unitedrecordingstudios. com Web: unitedrecordingstudios.com VALENTINE RECORDING STUDIO 5330 Laurel Canyon Blvd, North Hollywood, CA 91607 818-308-6609 Email: valentinerecording@gmail.com Web: valentinerecordingstudios.com VENETO WEST PO Box 6363 Pine Mountain Club, CA 93222 310-591-4440, 310-200-9010 Email: rcm@venetowest.com, Liz@lizredwing.com Web: venetowest.com Contact: Liz Redwing, Ronan Chris Murphy Format: digital and analog Basic Rate: call for info VILLAGE (RECORDER), THE 1616 Butler Ave. Los Angeles, CA 90048 310-478-8227 Email: info@villagestudios.com Web: villagestudios.com Format: Digital and Analog Basic Rate: Please call or email for information. Gear: Pro Tools HDX in all rooms. Studio A - Vintage Neve 8048 Console, Studio B and D - Neve 88R Consoles and Studio F - Avid S6 Control Surface. Compressors include 1176’s, LA-2A’s, Neve and SSL Stereo Compressors as well as Fairchild 670. Vintage mics including ELAM 251, C-800, U47s, U67s, C12 and C24 as well as a large selection of standard mics as well. Clients: Fleetwood Mac, Rolling Stones, Coldplay, U2, Kesha, Snoop Dogg, Pink Floyd, Usher, Lady Gaga, Cage The Elephant, The 1975, John Mayer, Taylor Swift, Harry Styles, Elton John, Miguel, P!nk, Sara Bareilles. Films: A Star is Born, Crazy Heart, Toy Story, Cars, Oh Brother Where Art Thou?, The Bodyguard. Services: Recording, Mixing (Stereo & 5.1), Analog Archival/Tape Transfers, Technical Repair Services, ISDN/ Source Connect Remote Sessions, Live to Air/Web Sessions, Live Showcases/ Performances. Comments: The Village has produced landmark songs and soundtracks of every generation for the last five decades. WALL OF SOUND STUDIOS 1745 S. Claudina Way Anaheim, CA 92805 714-533-ROCK (7625) Email: booking@wallofsoundstudios. com Web: wallofsoundstudios.com Contact: Shannon Grillo Format: State-of-the-art, fully-equipped hourly facility: rehearsal, recording, equipment rental: Tama, Shure, Mackie,

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Marshall, Ampeg, JBL and more. Basic Rate: Call for details Additional location: Las Vegas, NV 702-371-0811 WARRIOR GIRL MUSIC Burbank, CA 818-448-6277 Email: info@warriorgirlmusic.com, gilli@warriorgirlcreative.com Web: warriorgirlmusic.com Contact: Gilli Moon Format: digital, 64 Basic Rate: call for info WESTLAKE RECORDING STUDIOS Studios A & B 8447 Beverly Blvd. Los Angeles, CA 90048 323-851-9800 Email: bookings@westlakestudios.com Web: westlakestudios.com Contact: Alexandra Burdick, Michael Verrell, or Steve Burdick Basic Rate: Please call or email for rates. WESTLAKE RECORDING STUDIOS Studios C, D, E and “The Barn” Production Rooms 1 & 2 7265 Santa Monica Blvd. Los Angeles, CA 90046 323-851-9800 Email: bookings@westlakestudios.com Web: westlakestudios.com Contact: Alexandra Burdick, Michael Verrell, or Steve Burdick Basic Rate: Please call or email for rates. WINDMARK RECORDING Santa Monica, CA 424-289-5200 Email: Samantha@windmarkrecording. com Web: windmarkrecording.com Contact: Samantha Marquart Format: Digital and analog Basic Rate: Call or email for info WOMB RECORDING STUDIO, THE Lake Balboa, CA 91406 818-414-6369 Email: haddaddrum@yahoo.com Web: davehaddad.com Contact: Dave Format: digital and Analog, more than 64 tracks Basic Rate: please call for info WOODSHED RECORDING Email: welcometowoodshed@gmail.com Web: woodshedrecording.com Contact: Richard Gibbs Clients: U2, Barbra Streisand, Coldplay, Chance the Rapper, Lady Gaga, Shawn Mendes Format: Hybrid ocean view resort/ residential recording Basic Rate: contact us by email WOODSOUND STUDIOS 120 Front St. Covina, CA 91723 626-956-7455 Email: tom@woodsoundstudios.com Web: woodsoundstudios.com WYMAN RECORDS 1908 W. Burbank Blvd. Burbank, CA 91506 818-845-8787 Email: contact@wymanrecords.com Web: wymanrecords.com/site Contact: Tip Wyman Format: digital and analog, 128 tracks Basic Rate: please call for rate

COLORADO ASPEN LEAF RECORDING 1992 S. Broadway Grand Junction, CO 81507

970-201-6166 Email: aspenleafrecording@gmail.com Web: aspenleafrecording.com Contact: Ken Dravis Format: ProTools 10 Basic Rate: contact us for rates THE BLASTING ROOM 1760 Laporte Ave. Ste. 2 Fort Collins, CO 80521 (970) 416-9292 Email: info@blastingroomstudios.com Web: blastingroomstudios.com Contact: Bill Stevenson, Jason Livermore, Andrew Berlin, Chris Beeble, Jonathan Luginbill Format: Analog/Digital Pro Tools 2021 HDX Basic Rates: Starting at $40/hr, $450/ day, Mastering $150/track CCM RECORDING STUDIOS 4214 E. Colfax Ave. Denver, CO 80220 720-941-6088 Email: info@ccmstudios.com Web: ccmstudios.com Contact: Darren Skanson Format: digital Basic Rate: please call for info CHERRY SOUND RECORDING STUDIO 700 S Vallejo st Denver, CO 80223 303-910-5359 Email: guillot3000@gmail.com Contact: Christopher Guillot COLORADO SOUND STUDIOS 3100 W. 71st Ave Westminster, CO 80030 303-430-8811 Email: colosnd@coloradosound.com Web: coloradosound.com Contact: Jess Lambert, Studio Office Manager Format: Pro Tools 12 HDX Also Remote Recording, Mastering Services, Media Labs Education, and Music Video Production DERRYBERRY RECORDING STUDIO 7380 Devinney Ct. Arvada, CO 80005 303-456-8216 Email: info@derryberrysrecordingstudio. com Web: derryberrysrecordingstudio.com Contact: Mark Derryberry, producer/ engineer Format: Pro Tools HD Basic Rate: call for rates ROCKY MOUNTAIN RECORDERS 1250 W. Cedar Ave. Denver, CO 80223 303-777-3648 Email: frontdesk@rockyrecorders.com Web: rockyrecorders.com Contact: Rachel Converse Basic Rate: please call for info STEALTHTRAXX.ONLINE Greater Roaring Fork Valley, CO Email: info@stealthtraxx.online Contact: Ralph Pitt - 970.319.0252 Rates: Please Call for Quote Web: StealthTraxx.online Services: Remote Recording, Absentee Mixing (send in your raw tracks), Remote Audio for Video, Studio Availability

CONNECTICUT CARRIAGE HOUSE STUDIOS 119 Westhill Rd. Stamford, CT 06902 203-358-0065 Email: johnny@carriagehousemusic. com Web: carriagehousemusic.com Contact: John Montagnese Format: digital and analog Basic Rate: please call for info

FIREHOUSE 12 45 Crown St. New Haven, CT 06510 203-785-0468 Email: info@firehouse12.com Web: firehouse12.com Format: see website for studio equipment Basic Rate: call for information FRESH TRACKS STUDIO 65 Deer Hill Ave Danbury, CT 971-344-1115 Email: jon@freshtracksstudio.com Web: freshtracksstudio.com Contact: Jon Lindahl Format: HD Basic Rate: call for rates POWER STATION NEW ENGLAND 215 Parkway North Waterford, CT 06385 860-326-3878 Email: powerstation@sonalysts.com Web: powerstationne.com SAGESOUND STUDIOS 549 Howe Ave. Unit 404 Shelton, CT 06484 203-922-0491 Email: info@sagesoundstudios.com Web: sagesoundstudios.com Basic Rate: call for rates STUDIO UNICORN 36 Sanford Town Rd. Redding, CT 06896-2411 203-938-0069 Email: paul@studiounicorn.net Web: studiounicorn.net Contact: Paul Avgerinos, Multi-Grammy winning Producer & Engineer Format: Pro Tools Ultimate Basic Rate: $150 / Hr. TARQUIN STUDIOS Bridgeport, CT Contact: Sandy Roberton Email: studio@tarquinrecords.com Web: tarquinrecords.com/studio TROD NOSSEL 10 George St. Wallingford, CT 06492 203-269-4465 Web: trodnossel.com Format: Pro Tools HD2/HD3 Basic Rate: call for information

DELAWARE JAMLAND STUDIO 2326 Empire Dr. Wilmington, DE 19810 302-475-0204 Email: music@jamlandstudio.com Web: jamlandstudio.com Format: see website for equipment Basic Rate: call for information KEN-DEL STUDIOS 1500 First State Blvd. Wilmington, DE 19804-3596 301-999-1111 Email: info@ken-del.com Web: ken-del.com OCCUPY STUDIO 170 East Main Street Newark, DE 19711 302-223-4441 Email: Record@OccupyStudio.com Web: occupystudio.com

DISTRICT OF COLUMBIA CLEANCUTS MUSIC 4100 Wisconsin Ave. N.W., 1st Fl. Washington, D.C. 20008 202-237-8884 Web: cleancuts.com Format: digital Basic Rate: please call for info Additional locations:

Download at musicconnection.com/industry-contacts 8403 Colesville Rd., Ste. 250 Silver Springs, MD 20910 301-495-7772c 2901 Chestnut Ave. Baltimore, MD 21211 410-467-4231 LION AND FOX RECORDING STUDIOS 9517 Baltimore Ave College Park, MD 20740 301-982-4431 Email: mail@lionfox.com Web: lionfox.com Contact: Jim Fox Format: 32 track I/O, 96k, 24bit Basic Rate: $75/hour LISTEN VISION RECORDING STUDIOS 2622 Georgia Ave. N.W. Washington, D.C. 20001 202-332-8494 Email: info@listenvision.com Web: listenvision.com Contact: Jeremy Beaver Format: Pro Tools, digital, 124 tracks Basic Rate: call for rates

FLORIDA AUDIO-VISION 13885 W. Dixie Hwy. North Miami, FL 33161 305-893-9191 Web: audiovisionstudios.com Format: Digital and Analog Basic Rate: Please Call in BAY EIGHT RECORDING STUDIOS N.M.B Commerce Center 15421 W Dixie Hwy #8 North Miami Beach, FL 33162 305-705-2405 Email: info@bayeight.com Web: bayeight.com BRICKKS HOUSE OF BEATZ 1331 West Cass St. Tampa, FL 33605 813-808-1492 Contact: Corey Jackson Email: info@dirttybeatz.com Web: dirttybeatz.com Basic Rate: call for rates CLEAR TRACK STUDIOS 814 Franklin St. Clearwater, FL 33756 727-449-8888, 866-963-3108 Email: info@cleartrackstudios.com Web: cleartrackstudios.com Contact: Marina Format: see website for equipment list Basic Rate: call for info CRESCENT MOON Miami, FL 33155 305-663-8924 Email: josem@crescentmoon.com

Web: crescentmoon.com Format: Audio/Video Suites, ISDN, Digital/Analog Basic Rate: Call for rates CRITERIA RECORDING STUDIOS 1755 N.E. 149 St. Miami, FL 33181 305-947-5611 Contact: Trevor Fletcher Formats: 16 and 24 tk analog, 48k digital, DAW’s Basic Rate: Six full-service world-class studios from vintage Neve 8078 to SSL9096J to SSL Duality. Founded in 1958 this landmark facility has produced hundreds of gold & platinum albums in every genre. Rates tailored on a per project basis. DOGMANIC PRODUCTIONS & RECORDING STUDIOS 1731-B SW 7th Ave. Pompano Beach, FL 33060 954-675-0870 Email: info@DogManicRS.com Web: dogmanicproductionsrecordingstudios.com EMERALD CITY PRODUCTIONS Walt Disney World’s Backyard Winter Garden, FL 34787 407-279-1956 Email: danny@emeraldcitypro.com Web: emeraldcitypro.com Contact: Danny Ozment Format: Podcast production only Basic Rate: call for rates EVERMORE SOUND RECORDING STUDIOS 1633 Acme St. Orlando, FL 32805 407-218-5953 Email: info@evermoresound.com Web: evermoresound.com Contact: Luke Beaulac Format: see website for equipment list Basic Rate: call or email for info GASOLINE ALLEY RECORDING STUDIOS 2202 Lake Bradford Rd. Tallahassee FL 32310 850-575-4277 Email: info@gasolinealleystudios.com Web: gasolinealleystudios.com Contact: Jerry Gaskins Format: see website for equipment list Basic Rate: call or email for info HEIGA STUDIOS 168 SE 1st St. #500 Miami, FL 33131 786-212-1591 Email: info@heigastudios.com Web: heigaaudiovisual.com PHAT PLANET RECORDING STUDIOS 3473 Parkway Center Ct. Orlando, FL 32808

407-295-7270 Email: info@phatplanetstudios.com Web: phatplanetstudios.com Contact: Ed Krout Format: Pro Tools HD, Analog 2-inch etc. Basic Rate: $110/hr. Studio A, $70/hr. Studio B LALA MANSION Tampa, FL 813-658-5747, 631-905-7466 Contact: Andrew Boullianne, Head Eng./Studio Mgr. Email: info@lalamansion.com Web: lalamansion.com LILY PAD RECORDING 226 King Street, Suite 150 Cocoa, FL 32922 321-305-6085 Email: mark@lilypadrecording.com Web: lilypadrecording.com Basic Rate: $35/hr/$50 (2hr min) LOG CABIN STUDIO Tallahassee, FL 850-567-5554 Email: kris@logcabinmusic.com Web: logcabinmusic.com Contact: Kris Kolp Format: see website for equipment list Basic Rate: call or email for info MIAMI BEACH RECORDING STUDIOS 14880 NE 20th Ave. North Miami, FL 33181 305-956-3939 Email: Pablo@mbrs.us Web: studio.mbrs.us MYPLATINUM SOUND 2727 Phyllis St. Jacksonville, FL 32205 904-612-1492 Web: myplatinumsound.com Contact: Paul Lapinski Basic Rate: call or see website for info NOISEMATCH STUDIOS 169 NW 23rd St. Miami, FL 33127 786-334-5382 Email: info@noisematch.com Web: noisematchstudios.com Basic Rate: $135/hr/$1500(12 hrs), 1/2 day/$780 SONIC RECORDING Cape Coral Fort Meyers, FL 239-898-1339 Email: bo@sonicrecording.net Web: sonicrecording.net Contact: Bo Davis Basic Rate: $65/hr STYLE-CITY MUSIC, INC 2101 Starkey Rd D15 Largo, FL 33771 727-520-2336 Email: stylecitymusic@yahoo.com

Web: stylecitymusic.com Contact: Steven “Q” Berry Format: “Style-City Music Presents” is a 29-minute music video program showcasing music videos from all over the world from both signed and unsigned artists, also provide Video Wall Rental for live events Basic Rate: 6’ x 10’ Video Wall Rental Plus Two Cameras $2,500 /Day TWENTY-FIRST CENTURY STUDIOS 1736-2 Landon Ave. Jacksonville, FL 32207 904-346-3452 Email: 21centurystudios@gmail.com Web: twentyfirstcenturystudios.com Basic Rate: call for rates UNITY GAIN RECORDING STUDIO 1953 Ricardo Ave. Fort Myers, FL 33901 239-332-4246 Email: info@unitygain.com Web: unitygain.com Contact: Bart Iannucci Format: Direct to Disk, Digital & Analog Tape, & MIDI Basic Rate: call for rates VELVET BASEMENT RECORDING STUDIO 1958 N.E. 147th Terrace Miami, FL 33181 786-252-2924 Email: info@velvetbasement.com Web: velvetbasement.com Format: see website for equipment list Basic Rate: call for info THE WADE STUDIO Ocala, FL Contact: Andrew Wade Web: thewadestudio.com

GEORGIA 5 STAR PRODUCTIONS 582 Trabert Ave NW Atlanta, GA 30309 470-355-1407 Email: bookings@5starproductions.net Web: 5starproductionstudio.com THE BLUE ROOM RECORDING 500 Bishop St., Ste. 7 Atlanta, GA 30318 678-249-0729 Email: theblueroommusic@gmail.com Web: theblueroomrecording.com DOPPLER STUIOS STREAMCUT 1922 Piedmont Cir NE Atlanta, GA 30329 404-334-0727 Email: Doppler@streamcut.com Web: dopplerstreamcutstudios.com GROOVE TUNES STUDIOS 340 Rossiter Ridge Alpharetta, GA 30022

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Annual Directory of Recording Sudios 770-842-5511 Email: eatunison@bellsouth.net Web: groovetunes.com Contact: Eric Tunison Format: Pro Tools HD/3 v. 8.0 Basic Rate: $75/hr. LEDBELLY SOUND STUDIO 243 Hwy 52 E. Dawsonville, GA 30534 678-977-6045 Email: ledbellysound@gmail.com Web: ledbellysound.com LOUDHOUSE STUDIOS 2115 Liddell Dr. NE Atlanta, GA 30324 404-963-7374 Web: loudhousestudios.com Email: info@loudhousestudios.com MAW SOUND RECORDING STUDIOS P.O. Box 45 Hiawassee, GA 30546 727-535-4560 Email: mawsound@juno.com Web: mawsound.com Format: digital and analog, Sonar recording Basic Rate: call for info PARHELION RECORDING STUDIOS 684 Antone St. S.E., Ste. 110 Atlanta, GA 30318 678-949-9119 Email: mail@parhelionrecordingstudios. com Web: parhelionrecordingstudios.com Format: see website for equipment list Basic Rate: $100/$75/hr

IDAHO AUDIO LAB RECORDING 3638 Osage St. Garden City, ID 83714 208-344-9551 Email: Steve@audiolab.org, Pat@ audiolab.org Web: audiolab.org TONIC ROOM, THE 1509 Roberts St., Ste. 103 Boise, ID 83705 208-338-8433 Email: info@tonicroomstudios.com Web: tonicroomstudios.com Contact: Jason or Chris Format: Pro Tools HD/Neve Basic Rate: $50\hr(8-12hrs) $265/half day, $65/hr(1hr)

ILLINOIS CHICAGO RECORDING COMPANY 232 E. Ohio St. Chicago, IL 60611 312-822-9333 Email: chrisshepard@chicagorecording. com Web: chicagorecording.com Contact: Chris Shepard Format: Monster Pro Tools HD systems + every format since 1975 Basic Rate: Special “lockout” day rates, call for info Additional locations: 55 W. Wacker Chicago IL 60601

PATCHWERK 1094 Hemphill Ave., N. Atlanta, GA 30318-5431 404-874-9880 Email: pwr@patchwerk.com Web: patchwerk.com Contact: Curtis Daniel III Format: SSL48-Channel Duality console, SSL J-9000 Console. Basic Rate: call for rates

205 Michigan Ave. Studio 205A Chicago, IL 60601

TREE SOUND STUDIOS 4610 Peach Tree Industrial Blvd. Norcross, GA 30071 770-242-8944 Email: info@treesoundstudios.com Web: treesoundstudios.com Basic Rate: please call for info

DEAF DOG MUSIC 2239 S. Michigan Ave. Chicago, IL 60616 312-927-4870 Email: jfo@deafdogmusic.com Web: deafdogmusic.com Basic Rate: call or email for info

TWEED RECORDING 130 East Washington St. Athens, GA 30601 706-204-9144 Email: info@tweedrecording.com Web: tweedrecording.com Contact: Andrew Ratcliffe Format: digital Pro Tools Basic Rate: please call for info

ELECTRICAL AUDIO 2621 W. Belmont Ave. Chicago, IL 60618 773-539-2555 Contact: Steve Albini, Owner and Recording Engineer Email: info@electricalaudio.com Web: electricalaudio.com Basic Rate: $400/$600 per day

HAWAII HIGHWAY RECORDING P.O. Box 25993 Honolulu, HI 96825 808-396-9771 Email: pakala@aol.com Web: highwayrecording.com Contact: P. Keat Format: digital, 24 tracks Basic Rate: $25/hr. ISLAND SOUND STUDIOS 377 Keahole St., Ste. D-03 Honolulu, HI 96825 808-393-2021, 808-352-5648 Email: gholomalia@mac.com Web: facebook.com/ IslandSoundStudios Contact: Gaylord Kalani Holomalia Format: digital and analog, unlimited tracks Basic Rate: please call for info

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CLASSICK STUDIOS 2950 W. Chicago Ave. Chicago, IL 60622 773-217-0513 Email: Book@classickstudios.com Web: classickstudios.com Basic Rate: $45/65/80 Hr (3 hr min)

GRAVITY STUDIOS 2250 W. North Ave. Chicago, IL 60647 773-862-1880 Email: info@gravitystudios.com Web: gravitystudios.com Format: Digital/Analog Basic Rate: please call

Web: mysterystreetrecording.com Basic Rate: $50-$75/hr

Format: Pro Tools HD2/HD3 Basic Rate: $60/hr (2hr min)

PRESSURE POINT RECORDING STUDIOS 2239 S. Michigan Ave. Chicago, IL 60616 312-842-8099 Email: contact@pprecs.com Web: pprecs.com Format: Digital/Analog Basic Rate: please call

LODGE STUDIOS, THE 3550 Roosevelt Ave. Indianapolis, IN 46218 317-568-0000 Email: info@thelodgestudios.com Web: thelodgestudios.com Contact: Michael Graham Basic Rate: please call for info

RAXTRAX 3126 N. Greenview Chicago, IL 60657 773-871-6566 Email: info@raxtrax.com Web: raxtrax.com Format: 2 SSL control rooms, digital/ analog Basic Rate: please call for info STONECUTTER RECORDING STUDIO 1719 S. Clinton, Floor Zero Chicago, IL 60616 312-698-9977 Email: info@stonecutterstudios.com Web: stonecutterstudios.com STUDIO 11 345 N. Loomis St. Chicago, IL 60607 312-372-4460 Email: studio11chicago@gmail.com Web: studio11chicago.com Basic Rate: $65/hr STUDIO VMR 5818 S. Archer Rd. Summit, IL 60501 708-267-2198 Email: don@studiovmr.com Web: studiovmr.com Format: Pro Tools HD3 Accel, also Hard Disk Recorders/72 Tracks Basic Rate: Call for prices TONE ZONE RECORDING 939 W. Wilson Ave. Chicago, IL 312-953-3346 Email: tonezonerecording@sbcglobal. net Web: tonezonerecording.net/index.html Format: SSL 4000G, Monitors: Genelec, Tannoy, Yamaha, AKG 240, Senneheiser TREE HOUSE RECORDS 4808 W. Wrightwood Ave. Chicago, IL 60639 847-302-6105 Contact: Matt Geiser Email: mg@treehouserecordschicago. com Web: treehouserecordschicago.com Basic Rate: $40.hr UPTOWN RECORDING 4656 N. Clifton Ave. Chicago, IL 60640 773-271-5119 Email: info@uptownrecording.com Web: uptownrecording.com Contact: Matt Denny Format: see website for equipment list Basic Rate: $75/hr

INDIANA

HANDWRITTEN RECORDING 1346 W. Belmont Chicago, IL 60657 773-472-7132 Email: Rick@handwrittenrecording.com Web: handwrittenrecording.com Format: digital and analog Basic Rate: $395 day (10hr) / $45/hr

AIRE BORN STUDIOS 4700 Northwest Plaza W. Dr. Zionsville, IN 46077 317-876-1556 Web: aireborn.com Contact: Mike Wilson Format: see website for equipment list Basic Rate: call or email for info

MYSTERY STREET RECORDING COMPANY 2827 N. Lincoln Ave. Chicago, IL 60657 773-512-2630 Email: record@mysterystreetrecording. com

AZMYTH RECORDING 5130 Brouses Ave. Indianapolis, IN 317-281-3670 Email: info@azmythrecording.com Web: azmythrecording.com

IOWA CATAMOUNT RECORDING, INC. 5737 Westminster Dr. Cedar Falls, IA 50613 319-268-1011 Email: catamount@cfu.net Web: catamountrecording.com Format: Pro Tools HD3, Otari 2-inch analog, SSL 4048E/G+ Basic Rate: call for rates TRIAD PRODUCTIONS, INC. 2120 Rittenhouse St., Suite C Des Moines, IA 50309 515-243-2125 Email: sales-studio@triadav.com Web: triadav.com Basic Rate: please call for info

KANSAS GREENJEANS STUDIOS 110 W. Harvey Ave., Ste. 2 Wellington, KS 67152 620-326-5326 Email: carter@greenjeansstudios.com Web: greenjeansstudios.com Format: ProTools HD3 Basic Rate: please call for info

KENTUCKY DOWNTOWN RECORDING 515 S. 4th St. Louisville, KY 40202 502-583-9966 Email: nick@downtownrecording.com Web: downtownrecording.com Contact: Nick Stevens Format: Pro Tools HDX, 24 Track 2-inch analog Basic Rate: please call for info DSL STUDIOS 10352 Bluegrass Pkwy. Louisville, KY 40299 502-499-2102 Email: info@dslstudios.com Web: dslstudios.com Format: digital Pro Tools Basic Rate: please call for info THE LODGE 231 6th Ave. Dayton, KY 41074 513-476-9115 Web: thelodgeky.com TNT PRODUCTIONS 6303 Fern Valley Pass Louisville, KY 40228 502-964-9616 Email: barry@tntrecording.com Web: tntrecording.com Format: digital Pro Tools HD Basic Rate: please call for info WHITE HORSE CHRISTIAN RECORDING P.O. Box 997 Nortonville, KY 42442 270-985-5548 Email: studio@wh-recording.com Web: wh-recording.com Format: digital Basic Rate: please call for info

LOUISIANA DOCKSIDE STUDIO 4755 Woodlawn Rd. Maurice, LA 70555

Download at musicconnection.com/industry-contacts 337-893-7880 Email: docksidestudio@gmail.com Web: docksidestudio.com Contact: Steve and Cezanne (Wish) Nails Format: Tracking, Mixing, Lodging Basic Rate: please call for info

207-223-5082 Email: mfrancis@mythrillstudio.com Web: mythrillstudio.com Basic Rate: please call for info

ESPLANADE STUDIOS 2540 Esplanade Ave. New Orleans, LA 70119 504-655-0423 Email: mishak@esplanadestudios.com Web: esplanadestudios.com

STUDIO, THE 45 Casco St. Portland, ME 04101 207-772-1222 Email: info@thestudioportland.com Web: thestudioportland.com Contact: Tim Tierney Format: Pro Tools Basic Rate: call for rates

MARIGNY RECORDING STUDIOS 535 Marigny St. New Orleans, LA 70117 504-475-4535 Email: info@marignystudios.com Web: marignyrecordingstudio.com Contact: Rick Nelson Format: see website for equipment list Basic Rate: call or email for info

CLEANCUTS MUSIC 2901 Chestnut Ave. Baltimore, MD 21211 410-467-4231 Email: daveb@cleancuts.com Web: cleancuts.com Basic Rate: please call for info

MARYLAND

THE PARLOR RECORDING STUDIO New Orleans, LA Email: info@theparlorstudio.com Web: theparlorstudio.com Format: Pro Tools HDX Basic Rate: email for rates

Additional locations:

STUDIO IN THE COUNTRY 21443 Hwy. 436 P.O. Box 490 Bogalusa, LA 70429 985-735-8224 Email: jay@studiointhecountry.com Web: studiointhecountry.com Contact: Jay Wesley Format: Studer 2-inch 24-track, Pro Tools HD 32 i/o, Neve 8068 analog mixing board (32 ch.) Basic Rate: $750/day including engineer

4100 Wisconsin Ave., N.W., 1st Fl. Washington, D.C. 20016 202-237-8884 Email: tetiana@cleancuts.com

MAINE BAKED BEANS RECORDING 75 Weston Farm Rd. Harrison, ME 04040 207-615-1717 Email: beans@megalink.net Web: bakedbeansrecording.com Contact: Alan Bean Format: Pro Tools Ultimate Basic Rate: $45/hour

8403 Colesville Rd., Ste. 250 Silver Spring, MD 20910 301-495-7772 Email: olya@cleancuts.com

HIT AND RUN RECORDING 18704 Muncaster Rd. Rockville, MD 20855 301-948-6715 Web: hitandrunrecording.com Format: Main DAW Cubase, 2nd DAWs Digital Performer, Pro Tools Le Basic Rate: call for rates NIGHTSKY STUDIOS 3432 Rockefeller Ct., Waldorf, MD 20602 301-910-6163, 301-374-9450 Email: aurora4dth@aol.com Web: nightskystudio.org Contact: Ron Format: Pro Tools HD Basic Rate: call for current rates

MAIN STREET MUSIC STUDIOS 379 Main St. Brewer, ME 04412 207-992-6169 Email: info@mainstreetmusicstudios. com Web: mainstreetmusicstudios.com Basic Rate: call for rates

OMEGA STUDIOS 12712 Rock Creek Mill Rd., Ste. 14 A Rockville, MD 20852 301-230-9100 Email: Shannon@omegastudios.com Web: omegastudios.com Format: Pro Tools HD and analog 24 track in all three tracking rooms. Basic Rate: Call for rates Services: Four State of the Art Rooms

MY THRILL STUDIO 46 Blueberry Hill Rd. Winterport, ME 04496

BLINK MUSIC, INC.

MASSACHUSETTS

129 Franklin St. Cambridge, MA 02139 617-225-0044 Email: info@blinkmusic.com Web: blinkmusic.com Basic Rate: call for info BRISTOL RECORDING AND VOICE STUDIOS 238 Huntington Ave Boston, MA 02115 617-247-8689 Email: info@bristolstudios.com Web: bristolstudios.com Contact: Jason Basic Rate: call for info CYBER SOUND RECORDING STUDIOS 349 Newbury St., Ste. 201 Boston, MA 617-424-1062 Email: cyber.sound@verizon.net Web: cybersoundmusic.com Format: Pro Tools HD, Digital/Analog Basic Rate: $125 per hour with Engineer DIGITAL BEAR ENTERTAINMENT 1035 Cambridge St., Ste. 17B Cambridge, MA 02141 888-844-2327, 617-522-4550 Email: info@digitalbear.com Web: digitalbear.com Contact: Jordan Tishler Format: see website for equipment list Basic Rate: $65/hr INFINITE MUSIC 50 Terminal St. Charlestown, MA 02129 617-391-0115 Email: infiniteboston@gmail.com Web: infinite-music.com Format: Pro Tools, Logic, Reason, Ableton Basic Rate: variable MIXED EMOTIONS MUSIC 11 Pine Ave Middleton, MA 01949 978-774-7413 Contact: Kenny Lewis, Engineer/ Producer Email: mixedemt@aol.com Web: mixedemotionsmusic.com MUSICMEZ STUDIO Greater Boston Area 617-529-1922 Email: mez@musicmez.com Web: musicmez.com Contact: Steven Mesropian (aka mez) Format: DAW, specializing in broadcast quality productions for songwriters, lyricists and artists Basic Rate: See website for rate NORTHFIRE RECORDING 15a Grove St.

Amherst, MA 01002 413-256-0404 Email: northfirerecordingstudio@gmail. com Web: northfirerecording.com Format: see website for equipment list Basic Rate: $60/70/hr, $550/10hr. PILOT RECORDING 1073 Main St. Housatonic, MA 01236 413-274-1073 Email: info@pilotrecording.com Web: pilotrecording.com Contact: Will Schillinger Format: see website for equipment list Basic Rate: call or email for info Q DIVISION STUDIOS 363 Highland Ave. Somerville, MA 02144 617-625-9900 Web: qdivisionstudios.com Basic Rate: Call for rate THE RECORD COMPANY 960 Massachusetts Ave. Boston, MA 02118 617-765-0155 Email: booking@therecordco.org Web: therecordco.org, facebook.com/therecordco SUREFIRE CREATIVE STUDIOS 01852 Lowell, MA 01852 978-441-0975 Email: SurefireCreativeStudios@gmail. com Web: surefirecreativestudios.com Comments: Surefire Creative Studios is an award winning audio and visual production company based outside of Boston, Massachusetts. Surefire provides its family of clients with a number of services such as music composition, video production, soundstage rental, recording studio rental, audio engineering, and brand consultation. Basic Rate: call for rates

MICHIGAN THE 45 FACTORY 120 S. Telegraph Rd. Waterford, MI 248-505-4278 Email: info@the45factory.com Web: the45factory.com Contact: Ryan McGuire Format: see website for equipment list Basic Rate: call or email for info METRO 37 RECORDING STUDIO 1948 Star Batt Dr. Rochester, MI 48309 586-549-2879 Email: metro37studio@gmail.com

July 2021

musicconnection.com

Annual Directory of Recording Sudios Web: metro37.com Contact: Kevin Sharpe Format: see website for equipment list Basic Rate: please call for info ROYALHOUSE RECORDING Detroit, MI Email: RoyalHouseBooking@gmail.com Web: royalhouserecording.com Contact: Roger Goodman Format: see website for equipment list Basic Rate: see web for info RUSTBELT STUDIOS 118 E. 7th Street Royal Oak, MI 48067 248-541-7296 Email: info@rustbeltstudios.com Web: rustbeltstudios.com THE SOUNDSCAPE RECORDING STUDIO 3323 Rochester Rd. Royal Oak, MI 48073 248-439-0499 Web: soundscapestudio.com Format: see website for equipment list Basic Rate: $65/hr WATERFALL STUDIOS 11389 S. Forrest Sideroad Dafter, MI 49724 313-570-6780 Email: waterfall@waterfallrecordings. com Web: waterfallrecordings.com Contact: Kenneth Sutton Format: digital Basic Rate: please call for info

THE TERRARIUM 607 Central Ave., S.E. Minneapolis, MN 55414 612-338-5702 Email: jasonorris@mac.com Web: the-terrarium.com Contact: Jason Orris Format: Pro Tools HD3 Basic Rate: call for rates

MISSISSIPPI MALACO STUDIOS 3023 W. Northside Drive Jackson, MS 39213 601-982-4522, 800-272-7936 Email: malaco@malaco.com Web: malaco.com/studios Format: Studer Analog, Protools HD, Nuendo, Source Connect Voice Over

MISSOURI PHAT BUDDHA PRODUCTIONS 1901 Locust St. St. Louis, MO 63103 314-231-3930 Email: booking@ phatbuddhaproductions.com Web: phatbuddhaproductions.com Format: digital Pro Tools HD2 Basic Rate: please call for info

MONTANA

MINNESOTA A440 STUDIOS Minneapolis, MN 855-851-2440 Contact: Steve Kahn Studio Manager Email: a440steve@gmail.com Web: a440studios.com Studio: Full Audio Recording with ProTools, API Neve. Full Equipment list on website. Promotional Videos (EPK) and concept for bands with up to 8 cameras and a switcher. Live Webcasts for YouTube, Facebook, Vimeo, etc. 4,000 sq. Ft. REHEARSAL SPACE for Touring Bands! BABBLE-ON RECORDING STUDIOS 5120 27th Ave. S. Minneapolis, MN 55417 612-375-0533 Email: andre@babble-on-recording.com Web: babble-on-recording.com Contact: Andre Bergeron Format: digital and analog, Pro Tools HD2 Basic Rate: $100/200 hr. THE HIDEAWAY 77 13th Ave., N.E. Minneapolis, MN 55413 Email: joe@thehideawaympls.com Web: thehideawaympls.com Format: see website for equipment list Basic Rate: email for rates CUSTOM RECORDING STUDIOS 4800 Drake Rd. Minneapolis, MN 55422 763-521-2950 Email: jpreynolds1946@yahoo.com Web: customrecordingstudios.com Contact: Jim Reynolds Format: 24 track Hi-8 Digital Tape. Basic Rate: $50/hr, call for additional rates PACHYDERM STUDIOS Cannon Falls, MN 55009 507-263-4438 Email: info@pachyderm-studios.com Web: pachyderm-studios.com TAYLOR SOUND AND VIDEO Saint Louis Park

68 July 2021

8000 Powell Rd., #100 Saint Louis Park, MN 55343 612-208-2864 Email: info@taylor-sound.com Web: taylor-sound.com

musicconnection.com

JERECO STUDIOS, INC. 627 E. Peach St., Ste. E Bozeman, MT 59715 406-586-5262 , 888-776-5582 Email: jeremiah@jerecostudios.com Web: jerecostudios.com Contact: Jeremiah Slovarp Format: digital Basic Rate: call for rates

NEBRASKA ANOTHER RECORDING COMPANY 6720 Dodge St. Omaha, NE 402-613-1369 Web: anotherrecordingcompany.com JOEAUDIO PRODUCTIONS 10850 John Galt Blvd. Omaha, NE 68137 866-JOE-AUDIO / 402-341-9153 Contact: Joe Wolf Web: joeaudioproductions.com Format: Digital Services: ProTools, ISDN, SourceConnect MAKE BELIEVE STUDIOS 825 S. 20th St. Omaha, NE 68108 402-972-6387 Email: booking@makebelievestudio.com Web: makebelievestudio.com RAINBOW RECORDING STUDIO 2322 S. 64th Ave. Omaha, NE 68106 402-554-0123 Email: audioguru@rainbowmusicmaha. com Web: rainbowmusicomaha.com Basic Rate: please call for info STUDIO 24 8601 N. 30th St. Omaha, NE 68112 402-342-9090 Email: rcb@studio24omaha.com Web: studio24omaha.com Contact: Chuck Beckler Format: digital Basic Rate: $60/HR

WARE HOUSE PRODUCTIONS, INC. 206 S. 44th St., #1 Omaha, NE 68131 402-553-8523 Email: whp@qwestoffice.net Web: warehouseproductions.net Contact: Tom or Terri Ware Format: digital Basic Rate: call for rates

NEVADA D. I. STUDIO LLC 2810 S. Maryland Pkwy., Ste C Las Vegas, Nevada. 89109 702-792-3302 Email: d.i.studio702@gmail.com Web: direcordingstudios.com Contact: Tiger Stylz Format: ProTools HDX Basic Rate: Private Studio/Call for Rates. THE HIDEOUT RECORDING STUDIO 14 Sunset Way Henderson, NV 89014 702-445-7705, 702-318-6001 Web: hideoutlv.com Format: Analog and Digital Basic Rate: Hourly and Block, call for quotes IMIRAGE SOUND LAB 15558 Linda Way Sparks, NV 89431 775-358-7484 Email: g283589503@gmail.com Web: inspired-amateur.com JAGUAR RECORDING STUDIO Las Vegas, NV 702-808-4400 Email: thad@jaguarstudio.com Web: jaguarstudio.com Contact: Thaddeus Corea Format: Logic Pro Basic Rate: Call for rates. STUDIO DMI 6839 Ponderosa Way Suite 100 Las Vegas, NV 89118 702-860-6180 Contact: music@studiodmi.com Email: Service@studiodmi.com Web: studiodmi.com TONE FACTORY, THE 5329 S. Cameron Las Vegas, NV 89120 702-301-6964 Email: info@thetonefactory.com Web: thetonefactory.com, vinniecastaldo.com Contact: Vinnie Castaldo TRIMORDIAL STUDIO LAS VEGAS Audio Graphics Web Las Vegas, NV 89104 Email: trimordial@thefaro.com Web: trimordial.com Contact: Roy Rendahl Format: Digital Pro Tools, Ozone Mastering Gear: MacBook Pro, JBL, Shure, Røde, AKG, Yamaha Services: Studio recording, song mastering, and music creation & production. UNIVERSITY OF NEVADA, LAS VEGAS 4505 S. Maryland Pkwy. Las Vegas, NV 89154 702-895-3332 Web: unlv.edu/music/beam/studio Contact: Music Department, Recording Studio

NEW HAMPSHIRE CEDARHOUSE SOUND & MASTERING P.O. Box 333 North Sutton, NH 03260-0333 603-927-6363

Email: cedarhousesound@gmail.com Web: cedarhousesound.com Contact: Gerry Putnam Format: Pro Tools Ultimate, Pyramix, SADiE and 2” analog Basic Rate: please call or email for info MOJO MUSIC STUDIO P.O. Box 536 Franconia, NH 603-348-5249 Email: mojomusicstudio@gmail.com Web: facebook.com/mojoproaudio Contact: Tony or Joe Format: Pro Tools 10 Basic Rate: call for rates

NEW JERSEY BULLETPROOF MUSIC STUDIOS 3253 Highway 35 North Chelsea Place Suite 21 Hazlet, NJ 07730 732-888-4404 Email: info@bulletproofmusicstudios.com Web: facebook.com/ BulletProofMusicStudio Contact: Steven Lance Studio: ProTools. Source Connect Pro. Foley. ADR. Equipment available on website. Basic Rate: Please contact for more information. GDPONDERROSA STUDIOS 144 Warbasse Junction Rd. Lafayette, NJ 07848 973-715-8124 Email: gdponderrosa@gmail.com Web: GDPonderRosaStudios.com, facebook.com/PonderRosaStudios Format: see website for equipment list Basic Rate: call or email for info KALEIDOSCOPE SOUND 514 Monastery Pl Union City, NJ 07087 201-223-2868 Email: info@kaleidoscopesound.com Web: kaleidoscopesound.com SOUND ON SOUND STUDIOS 1 Greenwood Avenue Suite 210 Montclair, NJ 07042 212-944-5770 Email: info@soundonsoundstudios.com Web: soundonsoundstudios.com STUDIO TO STAGE PRODUCTIONS 170 U.S. 9 Englishtown, NJ 07726 732-617-6530 Email: info@stosp.net Web:studiotostageproductions.com/ recording-studio WATER MUSIC RECORDERS 2000 West Street Union City, NJ 07087 201-420-7848 Email: rob@watermusic.net Web: watermusic.net XANTHI MUSIC PRODUCTIONS 321 Newark St., 4th Fl. Hoboken, NJ 07030 201-647-9051 Email: shep0222@optonline.net Web: xanthimusic.com Contact: Rod Shepard Format: 24 track analog, 24 trk digital, Pro Tools Basic Rate: call for rates

NEW MEXICO JOHN WAGNER RECORDING STUDIOS, INC. 8601 Lomas N.E. Albuquerque, NM 87112 505-296-2766, 505-296-2919 Email: info@johnwagnerstudios.com Web: johnwagnerstudios.com

Download at musicconnection.com/industry-contacts

July 2021

musicconnection.com

Annual Directory of Recording Sudios SANTA FE STUDIOS 1 Santa Fe Studios Rd Santa Fe, NM 87508 505-954-2400 Email: contact@santafestudios.com Web: santafestudios.com STEPBRIDGE STUDIOS 528 Jose St. Santa Fe, NM 87501 505-988-7051 Email: stepbridge@gmail.com Web: stepbridge.com Contact: Edgard Rivera Format: Pro Tools HD, Music production, audio services for film and authors. Basic Rate: please call for info TONE PALACE RECORDING STUDIO Taos, NM 575-779-1087 Email: omar@taosrecording.com Web: tonepalace.com Basic Rate: Please call for rates

NEW YORK 825 RECORDS, INC. (STUDIO & PRODUCTION COMPANY) 825 48th St. Brooklyn, NY 11220 347-240-5417 Email: mattyamendola@825records.com Web: 825records.com Contact: Matty Amendola Format: Semi-private project studio Services: Mixing & full service production ARTISAN’S LABEL RECORDING STUDIO 110 E. 25th Street New York, NY 10010 888-883-3831 Web: artisanslabel.com/category/ recording Format: digital, 128 tracks THE BREWERY RECORDING STUDIO 910 Grand St. Brooklyn, NY 844-717-2739 Email: booking@breweryrecording.com Web: breweryrecording.com Contact: Nick D’Alessandro Basic Rate: $95/hr THE BUNKER STUDIO Brooklyn, NY 929-234-8534 Email: booking@thebunkerstudio.com Web: thebunkerstudio.com BEHIND THE CURTAINS MEDIA 234 6th St. Ste. #5 Brooklyn, NY 11215 347-699-4429 Contact: Michael Abiuso Email: mike@behindthecurtainsmedia. com Web: mikeabiuso.com, behindthecurtainsmedia.com Basic Rate: Call or email for rates CUTTING ROOM RECORDING STUDIOS, THE 14 E. 4th St., Ste. 602 New York, NY 10012 212-260-0905 Email: david.m@thecuttingroom.com Web: thecuttingroom.com Contact: David MacLeod Format: Pro Tools HDX system and SSL Duality Console Basic Rate: $125/$200 per hr DOWNTOWN MUSIC STUDIOS Soho neighborhood 212-461-1889 Email: contact@ downtownmusicstudios.com Web: downtownmusicstudios.com

70 July 2021

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DUBWAY STUDIOS 42 Broadway, 22nd Fl. New York, NY 10004 212-352-3070 Email: info@dubway.com Web: dubway.com Contact: Al Houghton Format: Pro Tools, full-service, music, live band tracking, mixing. Basic Rate: please call for info EAST SIDE SOUND 150 Forsyth St. New York, NY 10002 phone 636 476 5004 Contact: Marc Urselli Email: info@eastsidesound.nyc Web: eastsidesound.nyc ELECTRIC LADY 52 W. 8th St. New York, NY 10011 212-677-4700 Email: lee.foster@electricladystudios.com Web: electricladystudios.com Format: digital and analog Basic Rate: please call ENGINE ROOM AUDIO 42 Broadway, 22nd Fl. New York, NY 10004 212-625-3467 Email: info@engineroomaudio.com Web: engineroomaudio.com Format Tracking, Mixing, Mastering and Manufacturing Basic Rate: Contact us for details EUSONIA STUDIOS 1133 Broadway, Suite 919 New York, NY 10010 212-260-7295 Web: eusoniastudios.com Contact: Steve Dalmer Format: see website for equipment list Basic Rate: call for info FLUX STUDIOS 154 E. 2nd St., Ste. #4A New York, NY 10009 917-512-3489 Email: info@fluxstudios.net Web: fluxstudios.net Format: Vintage Heart, Modern Mind Basic Rate: Call for rates GERMANO STUDIOS 676 Broadway, 3rd Fl. New York, NY 10012 212-260-6001 Ext. 1 Email: tgermano@germanostudios.com Web: germanostudios.com Contact: Troy Germano Format: SSL Duality SE 48 input analog with Total Recall Basic Rate: please call for info GRAND STREET RECORDING 455 Grand St. Brooklyn, NY 11211 718-360-9355 Contact: Ken Rich, Jake Lummus Email: info@grandstreetrecording.com Web: grandstreetrecording.com HYPERSTUDIO RECORDING 419 Maple St. West Hempstead, NY 11552 516-343-8890 Email: hyperstudiorecording@gmail.com Contact: Eitan Kantor Format: Pro Tools Basic Rate: $75-125/hr. Services: Comfortable large rooms with cathedral ceilings, creative atmosphere with windows overlooking grass & trees, musical & efficient engineers, C7 grand piano, Yamaha recording drum set and more. THE ICE PLANT Long Island City, NY Email: booking@theiceplant.com Web: theiceplant.com

Contact: Wayne Silver Basic Rate: email for rates Services: API Console, lots of analog outboard, Studer, Pro Tools HDX, live room, iso room, lounge with full kitchen and daylight, and a lot of musical instruments.

SKILLMAN MUSIC 65 Skillman Ave Wiliamsburg, NYC 11211 917-546-0961 Email: booking@skillmanmusic.com Web: skillmanmusic.com Basic Rate: please call for info

INVITE ONLY STUDIO 48 West 25th Street 10th Floor New York, NY 646-998-4524 Email: thirdparty@Inviteonly.studio Web: inviteonly.studio Services: Slate Media technology Raven Z3C, SSL Duality 48 channel, Delta, ProTools, Logic Pro, FL Studio 12, Ableton 10, Ableton 9

STRANGE WEATHER RECORDING STUDIO Brooklyn, NY 347-422-6419 Email: booking@ strangeweatherbrooklyn.com Web: strangeweatherbrooklyn.com

JUNGLE CITY STUDIOS 520 W. 27th St., Ste. 1002 New York, NY 10001 646-476-2684 Email: info@harbor-suites.com Web: junglecitystudios.com Format: SSL Duality, Euphonix S5Fusion, Digidesign’s Icon D-Command Basic Rate: please call for info JUNGLE ROOM STUDIOS Woodstock, NY Contact: Brian Tarquin Email: jungleroomstudios@aol.com Web: jungleroomstudios.com/ equipment.html Format: Trident 24 Series 28 channel 24 bus w/TT patch bay, Custom made GMPS 18 Power Supply, Otari MTR 90 - 24 track 2” Analog Tape Machine, Ampex 440c 1/4” 2 Track Tape Machine, and much more. See site for complete list. LOUNGE STUDIOS 315 W 39th St. New York, NY 212-268-8522 Contact: Walter Randall Email: frontdesk@loungestudiosnyc.com Web: loungestudiosnyc.com MARS MAGIC SHOP, THE 68 Jay St. Brooklyn, NY 11201 212-226-7035 Email: mars@magicshopny.com Web: magicshopny.com Format: Analog and Digital Basic Rate: Call for information METROSONIC RECORDING 143 Roebling St., 3rd Fl. Brooklyn, NY 11211 718-782-1872 Email: showroom@metrosonic.net Web: metrosonic.net Format: all analog and digital formats Basic Rate: Call for information MISSION SOUND 16 Powers St. Brooklyn, NY 11211 917-566-9701 Email: missionsound@mac.com Web: missionsoundrecording.com MONO LISA STUDIOS 43-01 21st St., Ste. 212B Long Island City, NY 11101 212-920-0192 Email: MONOLisaNYC@gmail.com Web: monolisanyc.com Format: ProTools HD10 Basic Rate: Available upon request SABELLA STUDIOS 49 Oakdale Road Roslyn Heights, NY 11557 516-484-0862 Email: sabellastudios@gmail.com Web: sabellastudios.com Basic Rate: $75 per hr/min 2 hrs, $350 Half Day, $650 Full Day

STUDIO G BROOKLYN 44 Dobbin St. New York, NY 11222 347-281-1226 Contact: Tony Maimone Email: booking@studiogbrooklyn.com Web: studiogbrooklyn.com/studio PENTHOUSE STUDIOS 723 7th Ave, PH New York, NY 10019 212-869-0320 Web: penthousestudiosnyc.com/contact Email: bookings@penthousestudiosnyc. com PYRAMID RECORDING 12 E. 32nd St., 3rd Fl New York, NY 10016 212-686-8687 Contact: Todd Hemleb, Founder Email: pyramidrec@gmail.com Web: facebook.com/ pyramidrecordingnyc QUAD STUDIOS 723 7th Ave., 10th Fl. New York, NY 10019 212-730-1035 Email: bookings@quadnyc.com Web: Quadnyc.com Format: Analog /digital Basic Rate: Call for info ROUND HILL MUSIC 650 Fifth Ave., Suite 1420 New York, NY 10019 212-380-0080 Email: info@roundhillmusic.com Web: roundhillmusic.com Format: Digital and analog Basic Rate: please call SEAR SOUND 353 W. 48th St., 6th Fl. New York, NY 10036 212-582-5380 Email: waltersear@aol.com Web: searsound.com Contact: Roberta Findlay, Studio Manager Format: Analog and Digital, Studio ‘A’, Recording/mix Neve 8038, Studio ‘C’, Large Recording/mix, Studio ‘D’, pre/ post room/vacuum tube console & Moog Basic Rate: call for rates THRESHOLD RECORDING STUDIOS 440 W. 41st St. New York, NY 10036 212-244-1871 Email: thresholdstudiosnyc@gmail.com Web: thresholdstudios.com Contact: James Walsh Format: Analog/Digital Services: Music Producers, Artist Development, Recording Studios Basic Rate: call for rates STRANGE WEATHER New York, NY 347-422-6419 Email: booking@ strangeweatherbrooklyn.com Web: strangeweatherbrooklyn.com Format: see website for equipment list Basic Rate: call for info

Download at musicconnection.com/industry-contacts NEW WARSAW STUDIO Brooklyn, NY 718-662-8928 Email: riley@rileymcmahon.com Web: newwarsawstudio.com VALHALLA STUDIOS NEW YORK 89 Letchworth Street Auburn, NY 13021 315-255-0370 Email: contact@valhallastudiosny.com Web: valhallastudiosny.com VINEGAR HILL SOUND 46 Bridge St. Brooklyn, NY 11201 917-688-4208 Web: vinegarhillsound.com Email: info@vinegarhillsound.com Basic Rate: $1500/day, $750/1/2 day WATCHMEN STUDIOS 5996 Snyder Dr. Lockport, NY 14094 716-439-6146 Email: watchmens@aol.com Web: watchmenstudios.com, facebook. com/watchmenstudios Format: Pro Tools L.E. Basic Rate: $35/hr, $280/8hr

NORTH CAROLINA CATALYST RECORDING Charlotte, NC 704-526-8400 Email: rob@catalystrecording.com Web: catalystrecording.com Contact: Rob Tavaglione Format: digital and 16 track analog Basic Rate: Tracking, Mac’ing & mixing at $40/hr, mastering at $25/song (6 or more) DAXWOOD PRODUCTIONCOMPANY Fayetteville, NC 910-323-2550 Email: daxwood@aol.com Web: daxwood.com Format: Pro Tools Basic Rate: call for rates DEEP RIVER SOUND STUDIO 6173 Deep River Rd. Sanford, NC 27330 919-718-0076 Email: deepriverstudios@gmail.com Web: deepriverstudios.com EARTHTONE RECORDING 8-d Wendy Ct. Greensboro, NC 27409 336-210-7107 Email: earthtonesrecording@gmail.com Web: earthtonesrecording.com Contact: Benjy Johnson Basic Rate: $50hr, two-hour minimum, $325 per day

ECHO MOUNTAIN RECORDING 14 N. French Broad Ave. Ashville, NC 28801 828-232-4314 Email: info@echomountain.net Web: echomountain.net Format: Digital/Analog Basic Rate: please call for more info GAT3 PRODUCTIONS 655 Presley Rd., Suite E Charlotte, NC 28217 704-525-5552 Email: info@gat3.com Web: gat3.com Contact: Susan Tabor MANIFOLD RECORDING P.O. Box 1239 Pittsboro, NC 27312 919-444-2350 Email: bookings@manifoldrecording.com Web: manifoldrecording.com Format: Analog and digital Synthesizers RUBBER ROOM STUDIO 508 Estes Dr Ext Chapel Hill, NC 27516 919-929-7209 Email: jerrybrownchapelhill@gmail.com Web: rubberroomstudio.com SALOON STUDIOS LIVE 313 Old West Road West Jefferson, NC 28964 Contact: Laura Jones 336-877-2374 Email: info@saloonstudioslive.com Web: saloonstudioslive.com/recordingstudio SON SET BEACH PRODUCTIONS Concord, NC 28027 505-228-8131 Email: sonsetbeach@comcast.net Web: sonsetbeach.com Contact: Bob Reynolds Format: analog and digital Basic Rate: Call for rates

Contact: Dave Kaminsky Web: studiowormwood.com

NORTH DAKOTA WHISKYSAM RECORDING STUDIO 3314 Royal Cir. Grand Forks, ND 58201 701-741-4667 Email: whiskysam@hotmail.com Web: whiskysam.com Format: Pro Tools HD 10 Basic Rate: call for rates

OHIO REFRAZE RECORDING STUDIOS 2727 Gaylord Ave. Dayton, OH 45419 937-298-2727 Email: ron@refraze.com Web: refraze.com Contact: Ron Pease Format: Digidesign Pro Tools|HD 2 Accel Basic Rate: $600/day incl. engineer, $65/hr

OKLAHOMA BENSON SOUND, INC. 5717 S.E. 74th St., Ste. F Oklahoma City, OK 73135 405-610-7455 Email: info@bensonsound.com Web: bensonsound.com Format: digital Basic Rate: please call for info CASTLE ROW STUDIOS 2908 Epperly Dr. Del City, OK 73115 405-265-6793 Email: info@castlerowstudios.com Web: castlerowstudios.com Basic Rate: Call or email for rates

CORNERSTONE RECORDING CO. 1315 Locust Ln. Edmond, OK 73013 405-848-8400 Email: info@cornerstonerecording.com Web: cornerstonerecording.com Contact: Ken Sarkey Format: Digital and Analog Basic Rate: please call for info STUDIO SEVEN / LUNACY RECORDS 417 N. Virginia Ave. Oklahoma City, OK 73106 405-236-0643 Email: cope@okla.net Web: lunacyrecords.com Contact: Dave Copenhaver Format: 2-inch 24-Track, Pro Tools & other digital formats, large playing room, tracking, mixing & mastering Basic Rate: call for rates

OREGON BIG RED STUDIO P.O.Box 66 Corbett, OR 97019 503-695-3420 Email: billyo@bigredstudio.com Web: bigredstudio.com Contact: Billy Oskay Format: 2-inch analog, vintage Trident Console, Pro Tools HD2 Basic Rate: Please call for rates FALCON RECORDING STUDIOS 15A S.E. 15th Ave. Portland, OR 97214 503-236-3856 Email: falconstudios@comcast.net Web: falconrecordingstudios.com Contact: Dennis Carter Format: digital Pro Tools Basic Rate: please call for info

SOUND TEMPLE RECORDING Asheville, NC 828-633-2149 Email: Robert@soundtemplestudios.com Web: soundtemplestudios.com Format: Pro Tools 12.5 TEQUILA SUNRISE MUSIC 112 Ann St. Gaston, NC 27832 800-537-1417, 252-537-0317 Email: tequilasunrisemusic@yahoo.com Web: tequilasunrisemusic.com Contact: Kenny Barker Format: digital Basic Rate: $45/hr. 2 hr. min. STUDIO WARMWOOD Asheville, NC 860-230-1176

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Annual Directory of Recording Sudios JACKPOT! RECORDING STUDIO 2420 S.E. 50th Portland, OR 97206 503-239-5389 Email: info@jackpotrecording.com Web: jackpotrecording.com Contact: Larry Crane Format: see website for equipment list Basic Rate: $50/hr OPAL STUDIO 6219 S.E. Powell Blvd. Portland, OR 97206 503-774-4310 Email: info@opal-studio.com Web: opal-studio.com Contact: Kevin Hahn Format: digital and analog Basic Rate: $50/hr. SPROUT CITY STUDIOS Eugene, OR 97402 541-687-0947 Email: giddy@sproutcity.com Web: sproutcity.com Format: digital Basic Rate: please call for info

PENNSYLVANIA APOCALYPSE THE APOCALYPSE 303 W. Market St. Clearfield, PA 16830 225-266-1973 Email: fred@fredweaver.com Web: apocalypsetheapocalypse.com Contact: Fred Weaver Basic Rate: $40 hr/$400 Day CAMBRIDGE SOUND STUDIOS 2003 West Moyamensing Ave. Philadelphia, PA 19145 215-465-7500 Email: jscambridge@verizon.net Web: cambridgesoundstudios.com FORGE RECORDING 100 Mill Rd. Oreland, PA 19075 215-326-9401 Email: info@forgerecording.com Web: forgerecording.com Format: ProTools HD3 Accell, MacPro 2.8 quadcore, API 1608 Basic Rate: $95/hr, $400/1/2 day, $800/day GREEN VALLEY RECORDING 590 S. Frymire Hughesville, PA 17737 570-584-2653 Email: greenvalleyrecording@ windstream.net Web: greenvalleyrecording.com Contact: Richard or Alison Rupert Format: Multitrack Digital, Analog (2 track only) Basic Rate: $30/hr MINER STREET BOOKING 128 Krams Ave. Philadelphia, PA 19127 Contact: Brian McTear Email: minerstreetbooking@gmail.com Web: minerstreet.com REPERCUSSION STUDIOS 2424 Coral St. Philadelphia, PA 19125 257-307-6648 Contact: Andrew Ha, Founder Email: repercussionstudios@gmail.com Web: repercussionstudios.com Basic Rate: $40/$70/hr RIGHT COAST RECORDING Columbia, PA 717-681-9801 Email: studio@rightcoastrecording.com Web: rightcoastrecording.com Format: 2-inch 16 + 24 track analog, 48 track 192k digital performer, automated Neotek elite console Basic Rate: call for rates

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SINE STUDIOS 127 S. 22nd St., 2nd Fl. Philadelphia, PA 19102 484-883-4343 Email: matt@sinestudios.com Web: sinestudios.com Basic Rate: $100 min. (2 hr blocks SPICE HOUSE SOUND 1514 E. Wilt St. Philadelphia, PA 19125 203-644-2129 Email: booking@spicehousesound.com Web: spicehousesound.com Basic Rate: $80/hr/$320/half day/$600 daily SURREAL SOUND STUDIOS 2046 Caster Ave., 2nd Fl. Philadelphia, PA 19134 215-288-8863 Web: surrealsoundstudios.com Format: Digital and Analog THIRD STORY 5120 Walnut St. Philadelphia, PA 19139 215-747-1200 Email: tsr2@verizon.net Web: thirdstoryrecording.com Format: Pro Tools, Digital/Analog Basic Rate: please call for rate THE VAULT RECORDING 6500 Grand Ave. Pittsburg, PA 15225 412-420-9239 Contact: Bob McCutcheon, Owner Email: bob@thevaultrecording.com Web: thevaultrecording.com Format: SSL AWS 948, ProTools II HD Native

RHODE ISLAND

STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. West Columbia, SC 29169 803-794-9300 Email: info@strawberryskys.com Web: strawberryskys.com Contact: Gary Bolton Format: Radar24 and Pro Tools Basic Rate: call for pricing TRUPHONIC RECORDING 816 St. Andrews Blvd. Charleston, SC 29407 843-619-7700 Contact: Elliott Elsey Email: Elliott@truphonic.com Web: truphonic.com

TENNESSEE 4U RECORDING 400 Union Avenue Memphis, TN 38103 901-779-2044 Email: info@4urecording.com Web: 4urecording.com Additional location: 1376 Chattahoochee Ave. NW Atlanta, GA 30318 470-541-2445 ADDICTION SOUND STUDIOS 506 E. Iris Drive Nashville, TN 37204 615-953-6243 Email: addictionstudios@me.com Contact: Jonathan Cain or David Kalmusky Format: Pro Tools HDX2 System Web: addictionsound.com/ Basic Rate: please call for info

MACHINES WITH MAGNETS 400 Main St. Pawtucket, RI 02860 401-475-2655 Email: catherine@ machineswithmagnets.com Web: machineswithmagnets.com Format: see website for equipment list Basic Rate: call for rates

ARDENT STUDIOS 2000 Madison Ave. Memphis, TN 38104 901-725-0855 Email: info@ardentstudios.com Web: ardentstudios.com Format: Pro Tools 9.0.1 and analog 24, 16, 8 and 2 trk 1/2-inch and 1/4-inch Basic Rate: please call for info

STATIC PRODUCTIONS North Kingstown, RI 401-267-8236 Email: record@staticproductions.com Web: staticproductions.com Contact: Peter LaGrasse Basic Rate: see website

ART HOUSE STUDIOS Nashville, TN Email: ahsnashville@gmail.com Web: ahsnashville.com

SOUTH CAROLINA CHARLESTON SOUND 2612 Larch Land, Ste. 107 Mt. Pleasant, SC 29466 843-216-5556 Web: charlestonsound.com THE JAM ROOM 201 S. Prospect St. Columbia, SC 29205 803-787-6908 Email: jamroomstudio@gmail.com Web: jamroomstudio.com Contact: Jay Matheson Format: Pro Tools HDX Basic Rate: please call for rates MISSION CONTROL STUDIOS 14363 Ocean Drive, Unit 13 Pawleys Island, SC 29585 509-220-1216 Email: karl@mission-control-studios.com Web: mission-control-studios.com Contact: Karl Bingle Format: Analog, digital and hybrid recording, mixing, mastering and music production. Basic Rate: $60/75/hr, block and corp to corp rates available. All major credit cards accepted.

BOB BULLOCK Cool Springs Mix Franklin, TN 615-972-8280 Email: bob@bobbullock.net Web: bobbullock.net Format: Mixing services, specializing in country, Pop and Rock, Nuendo and pro Tools. See website for details Basic Rate: Contact for Rates BLACKBIRD STUDIO 2806 Azalea Pl. Nashville, TN 37204 615-467-4487, 615-487-2509 Email: info@blackbirdstudio.com Web: blackbirdstudio.com Contact: John McBride, Studio Owner; Rolff Zwiep, Studio Mgr. Format: Digital/analog Basic Rate: please call CASTLE RECORDING STUDIOS 1393 Old Hillsboro Rd. Franklin, TN 37069 615-791-0810 Email: booking@castlerecordingstudios. com Web: castlerecordingstudios.com Format: digital and analog Basic Rate: please call CAVE STUDIOS, THE 5853 Davis Hollow Rd. Franklin, TN 37064

615-790-7578 Email: thecaverecordingstudios@gmail. com Web: thecavestudios.net Contact: Andrew Hooker Format: Pro Tools HD3 Basic Rate: call for rates DARK HORSE RECORDING 2465 Old Charlotte Pike Franklin, TN 37064 615-791-5030 Email: info@darkhorserecording.com Web: darkhorserecording.com Clients: Taylor Swift, Halestorm, Keith Urban, Hunter Hayes EAST IRIS STUDIO 518 E. Iris Dr. Nashville, TN 37204 615-777-9090 Email: info@eastirisstudios.com Web: eastirisstudios.com EASTSIDE MANOR 615-512-4059 Nashville, TN Contact: Aaron Dethrage, Studio Mgr. Email: hello@esmstudios.com Web: eastsidemanor.com Format: Neve VR48 Legend HOUSE OF DAVID STUDIO 1205 16th Ave. S Nashville, TN 37212 615-320-7323 Email: houseofdavidstudio@gmail.com Web: houseofdavidnashville.com FUNHOUSE STUDIOS 802 18th Avenue South Nashville, TN 37203 615-242-7949 Web: funhousestudios.com Email: info@funhousestudios.com Basic Rates: $40/50/hr, 3 hr block, $350/450/day, 12 hr day THE GROVE At Hope Church 8500 Walnut Grove Road Memphis, TN 38018 901-755-7721 Email: thegrove@hopechurchmemphis. com Web: hopepres.com/recording-studio JAY’S PLACE RECORDING STUDIO 1508 17th Ave. S Nashville, TN 37212 615-479-7986 Email: jaysplacerecording@comcast.net Web: facebook.com/ jaysplacerecordingstudio HILLTOP STUDIO 902 Due West Ave. Nashville, TN 37115 615-865-5272, FAX 865-5553 Email: studio@hilltopstudio.com Web: hilltopstudio.com LAYMAN DRUG COMPANY 1128 3rd Ave., S Nashville, TN 615-750-2228 Email: studio@laymandrugcompany.com Web: laymandrugcompany.com JAMES LUGO’S VOCAL ASYLUM Nashville, TN 615-540-9108 Email: james@jameslugo.com Web: jameslugomusic.com/about Contact: James Lugo Format: digital and analog Basic Rate: call for rates LOVE SHACK RECORDING STUDIOS 909 18th Ave., South Nashville, TN 37212 615-843-0019 Email: book@loveshackstudios.com Web: loveshackstudio.com

Download at musicc Download at musicconnection.com/industry-contacts MADE IN MEMPHIS 400 Union Ave. Memphis, TX 38103 901-779-2031 Email: info@mimecorp.com Web: mimecorp.com/studio MANALIVE STUDIOS 1121 Harpeth Industrial Ct. Suite 100 Franklin, TN 37064 615-538-7623 Email: studio@manalivestudios.com Web: manalivestudios.com Contact: Alex Wolaver - Manager Main Format: Pyramix DSD/DXD and ProTools Description: ManAlive Studios is a full service video and audio production. MASTER GROOVE STUDIOS / RADD SOUND Northridge, CA Nashville, TN 818-830-3822, 615-562-5329 Email: davejavu@att.net Web: mastergroovestudios.com Contact: David Morse Format: digital, unlimited tracks Basic Rate: please call for rates NASHVILLE TRAX RECORDING STUDIOS 2817 W. End Ave., Suites 126-259 Nashville, TN 37203 615-319-8616 Email: nashtrax@bellsouth.net Web: nashvilletraxrecordingstudio.com Basic Rate: call for rates OCEAN WAY NASHVILLE 1200 17th Ave., S. Nashville, TN 37212 615-320-3900 Email: pmcmakin@oceanwaynashville. com Web: oceanwaynashville.com Format: digital and analog Basic Rate: please call OMNISOUND STUDIOS 1806 Division St. Nashville, TN 37203 615-482-1511 Web: omnisoundstudios.com Format: Pro Tools HD/24 TK analog Basic Rate: call for rates PALETTE MUSIC 2491 N. Mt. Juliet Rd., #1934 Mount Juliet, TN 37121 615-681-4061 Contact: Jeff Silverman Web: palettemusic.net Basic Rate: Call for info PARAGON STUDIOS 320 Billingsly Ct. Nashville, TN 37067 615-778-9083 Email: fred@paragon-studios.com Web: paragon-studios.com Format: digital and analog Basic Rate: please call PARLOR PRODUCTIONS 1317 16th Ave., South Nashville, TN 37212 615-385-4466 Email: larry@parlorproductions.com Web: parlorproductions.com PEARL SNAP STUDIOS 1109 Woodland St. Box #60064 Nashville, TN 37206 615-434-5807 Web: pearlsnapstudios.com PRIME CUT STUDIO Nashville, TN 615-582-7307 Web: primecutstudio.com Basic Rate: call for rates

QUAD STUDIOS 1802 Grand Ave. Nashville, TN 37212 615-292-5100 Web: facebook.com/quadnashville Contact: Mark Greenwood Format: Digital and analog Basic Rate: please call THE RECORD SHOP RECORDING STUDIO 2480 Moore Way La Vergne, TN 37086 248-207-4975 Email: info@therecordshopnashville.com Web: therecordshopnashville.com Contact: Sean Giovanni ROUND HILL MUSIC 1802 Grand Ave Nashville, TN 37212 615-292-5100 Email: info@roundhillmusic.com Web: roundhillmusic.com Format: Digital and analog Basic Rate: please call ROYAL STUDIOS 1320 Willie Mitchell Blvd. Memphis, TN 38106 901-775-3790 Web: royalstudios.com Format: see website for equipment list Basic Rate: call for info THE RUKKUS ROOM RECORDING 2741 Larmon Dr. Nashville, TN 37204 615-385-4007 Email: booking@rukkusroom.com Web: rukkusroom.com Basic Rate: Call or email for rates SAM PHILLIPS RECORDING 639 Madison Ave. Memphis, TN 38103 901-523-2251 Email: samphillipsrecording@gmail.com Web: samphillipsrecording.com, facebook.com/samphillipsrecording

VAULT RECORDING STUDIOS, THE Contact: Manager 9135 Katy Rafaela Fwy., Ste.Marone, 1 Email: stationwest@gmail.com Houston, TX 77024 Web: stationwest.com 713 722-8900 Email: info@vaultrecording.com Contact: David Williams STARSTRUCK STUDIOS Basic Rate: pleaseW.call for info 40 Music Square Nashville, TN 37203 WEXTRAX MASTERING LABS 615-259-0001 McKinney, TX Web: starstruckstudios.com 214-544-1554, Contact: Janet214-585-1692 Leese Email: rob@wextrax.com Format: digital/analog Web: Basicwextrax.com Rate: call Contact: Rob Wechsler Basic Rate: please call for info STUDIO STONEBRIDGE MASTERING

Web: gsmaste Basic Rate: p

VERMONT TOP HAT RECORDING LITTLE CASTLE 2302 Rebel Rd. STUDIO 802-349-1280 Austin, TX 78704 Email: littlecastlestudio@yahoo.com 512-779-8188 Web: littlecastle.com Knoxville, TN Contact: Horace Williams, Jr. Email: mary@tophatrecording.com Basic tophatrecording.com Rate: please call for info Web:

140 Jefferson Ave. WIRE ROAD STUDIOS Memphis, 901 W. 20thTN St.38103 901-654-6491 Houston, TX 77008 Web: stonebridgemastering.com 713-636-9772 Contact: Gebre Waddell Email: contact@wireroadstudios.com Format: see website for equipment list Web: wireroadstudios.com Basic Rate: $75/single, $50/song for 2 Contact: Bill Wade or more songs Basic Rate: By request per project

LANE GIBSON TRACE HORSE RECORDING STUDIO 413 Carpenter Rd. 502 E. Iris Drive Charlotte, VT Nashville, TN05445 37204 802-425-3508 615-258-5540 Web: lanegibson.com Email: booking@tracehorse.com Web: tracehorse.com OLD MILL ROAD RECORDING Dr. Joshua Sherman THE TRACKING 316 Old Mill Road ROOM 2 Music Circle E. 05252 East Arlington,VT Nashville, TN 37203 917-312-5995 615-242-8181 Email: Info@oldmillroadrecording.com Email: mzahn@experiencemorris.com Web: oldmillroadrecording.com Web: thetrackingroomstudio.com Basic Rate: email or call

SUN STUDIO UTAH 706 Union Ave. DAVID EVANOFF Memphis, TN SOUND DESIGNS 800-441-6249, 901-521-0664 6794 Pine Knot Drive Email: nina@sunstudio.com Salt Lake City, UT Web: sunstudio.com 801-815-3202 Email: dave@davidevanoff.com SPUTNIK SOUND Web: 408 E.davidevanoff.com Iris Drive Basic Rate: please Nashville, TN 37204call for info Contact: Mitch Dane, Engineer, Vance VICK ENTERTAINMENT Powell, Engineer 10 W. Broadway, Ste. 701 Email: mitch@sputniksound.com, Salt Lake City, UT 84101 vance@sputniksound.com 801-755-9966 Fax 866-285-5008 Web: sputniksound.com Email: info@vickentertainment.com Web: vickentertainment.com TEN &Rate: TEEN STUDIOS Basic please call for info Nashville, TN Email: ten7teenstudios@gmail.com Web: ten7teenstudios.com/home

UNDERGROUND CUE RECORDINGTREEHOUSE STUDIOS STUDIOS 109 Park Ave., Ste. E 3145 StaffordVA Dr.22046 Falls Church, Nashville, TN 37214 703-532-9033 615-497-5048 Email: info@cuerecording.com Web: cuerecording.com undergroundtreehouse.com Email: undergroundtreehouse@gmail.com Basic Rate: please call for info Basic Rates: $40/hr w/eng., $400/song, demo service/Arrangements WASHBURN MASTERING P.O. Box 8217 Norfolk, VA 23503 UNOMASS STUDIO 757-524-1364 Brentwood, TN Web: washburnmastering.com unomasstudio.com Contact: Todd DougWashburn Sarrett Basic Rate: please call for info VERGE RECORDING 1218 5th Ave. North WASHINGTON Nashville, TN 37208 GLENN SCHICK MASTERING 615-320-5576 Seattle, WA Contact: Brian Exkert 206-714-7227 Web: vergerecording.com

VIRGINIA

SKYWAY STUDIO 3201 Dickerson Pike Nashville, TN 37207 615-650-6000 Web: skywaystudios.tv SOUND EMPORIUM STUDIOS 3100 Belmont Blvd. Nashville, TN 37212 615-383-1982 Web: soundemporiumstudios.com Basic Rate: call or email for rates SOUTHERN GROUND STUDIOS 114 17th Ave S Nashville, TN 37203 615-873-4636 Web: southerngroundnashville.com Email: booking@ southerngroundnashville.com SOUND KITCHEN STUDIOS 112 Seaboard Ln. Franklin, TN 37067 615-370-5773 x 225 Email: iblonder@soundkitchen.com Web: soundkitchen.com Format: Pro Tools HD & Vintage Analog - Neve, SSL, & API Legacy Basic Rate: Please call Ira Blonder, Managing Partner SOUND STAGE STUDIOS LIVE 10 Music Circles Nashville,TN 37203 615-873-1501 Contact: Nick Autry Web: soundstagestudioslive.com Basic Rate: call for rates STATION WEST 616 W Iris Drive Nashville, TN 37204 615-463-9118

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JP MASTERS Seattle, WA 704-779-1043 Email: dave@ Web: jpmaste Contact: Dav Basic Rate: p

PERFECHTE 509-242-8907 Email: info@p Web: perfecht Basic Rate: p

SYNERGY PR 958 N. 127th S Seattle, WA 98 206-364-1070 Email: jason@ Web: faceboo

WEST VIRGIN

ZONE 8 RECO 527 Main St. Morgantown, W 304-599-7332 Email: zone8r Web: zone8re Contact: Mar Basic Rate: p

WISCONSIN

FRESH COAS 818 N. 109th S Milwaukee, W 414-771-9999 Web: freshcoa Basic Rate: p

ULTIMATE AU 35 W. Liberty

Annual Directory of Recording Sudios WELCOME TO 1979 1110 48th Ave. N Nashville, TN 37209 844-679-1979 Contact: Yoli Mara Email: yoli@welcometo1979.com Web: welcometo1979.com WILDWOOD RECORDING 2201 N. Berry’s Chapel Rd. Franklin, TN 37069 615-708-6944 Email: brendan@wildwoodrecording.com Web: wildwoodrecording.com Contact: Brendan Harkan Format: Digidesign Pro Tools HD3 wit Pro Control, Otari 2-inch 24 Track Basic Rate: Call for Information WRITERS STUDIO AT HUTTON HOTEL 1808 West End Ave Nashville, TN 37203 615-340-9333 Web: writersstudiosathuttonhotel.com

TEXAS ARLYN STUDIOS 200 Academy Dr., Ste. 140 Austin, TX 78704 512-447-2337 Email: booking@arlynstudios.com Web: arlynstudios.com Basic Rate: call or email ASSEMBLY LINE STUDIOS 512-203-2446, 703-609-9047 Email: kevin@assemblylinestudios.com Web:assemblylinestudios.com AUSTIN SIGNAL 10208 Birdlip Circle Austin, TX 78733 512-656-4039 Email: Jon@austinsignal.com Web: austinsignal.com Format: Pro Tools 10, Analog BLUE ROCK ARTIST RANCH AND STUDIO P.O. Box 619 Wimberley, TX 78676 512-847-7440 Email: info@bluerocktexas.com, billy@bluerocktexas.com Web: bluerocktexas.com Contact: Billy Crockett Format: Pro Tools HD3 Basic Rate: call for rates CACOPHONY RECORDERS Austin, TX 512-771-9863 Email: cacophonyrecorders@gmail.com Web: cacophonyrecorders.com CEDAR CREEK RECORDING 5012 Brighton Rd. Austin, TX 78745 512-444-0226 Web: facebook.com/ cedarcreekrecording Format: Pro Tools 10 HD Native, Yamaha NS-10,1973 Custom 32 Input Neve CRYSTAL CLEAR SOUND 4902 Don Dr. Dallas, TX 75247 214-630-2957 Email: michael@crystalclearsound.net Web: crystalclearsound.net Contact: Michael Walter, Mgr/Owner Format: analog, digital, mastering Basic Rate: $70/hr, $500 for 8-hour block THE ECHO LAB Denton, TX Contact: Matt Pence Web: theecholab.com Email: mattpencerecording@gmail.com

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ESTUARY RECORDING Austin, TX 78751 972-672-7176 Contact: J.Michael Landon, Engineer Email: michael@estuaryrecording.com Web: estuaryrecording.com Format: Mix of Analog, Digital and Vintage Modern Recording

RECORD WITH BARRON 1701 Detering St. Houston, TX 713-225-1846 Email: barron@recordwithbarron.com Web: recordwithbarron.com/#musicians Basic Rate: 1 hr/$80, 4 hr/$280

iMIX RECORDING STUDIOS 6347 Ashcroft Drive, Ste. 6b Houston, TX 77081 832-649-4653 Email: imixhouston@gmail.com Web: imixhouston.com

SONIC RANCH 20200 Alameda Tomillo, TX 79853 915-449-3717 Contact: Tony Rancich Email: tony@sonicranch.com Web: sonicranch.com

FIREFLY SOUND STUDIO 3711 Farm to Market Rd., 484 Fischer, TX 78133 830-935-2069 Web: sffirefly.com Contact: Steve Hennig Format: see website for equipment list Basic Rate: call or email for info

SOUND ARTS RECORDING 8377 Westview Drive Houston, TX 77055 713-464-4653 Email: brianbaker@soundartsrecording. com Web: soundartsrecording.com

JOMUSIK Sunnyvale, TX 75182 972-226-1265 Email: info@jomusik.com Web: jomusik.com Contact: Joe Milton Format: digital and analog, lots of tracks Basic Rate: $60/hr, productions by mail THE KITCHEN STUDIOS 9024 Garland Rd. Dallas, TX 75218 214-321-6401 Email: thekitchenstudios@sbcglobal.net Web: thekitchenstudios.net Basic Rate: $65 per hour LUMINOUS SOUND 17120 Dallas Pkwy., Ste. 100 Dallas, TX 75248 972-331-7040 Email: info@luminoussound.com Web: luminoussound.com Basic Rate: please call for info MAGIK STUDIOS 16745 North Freeway, Ste. D Houston, TX 77090 281-880-8992, 832-305-6429 Email: magikrecording@gmail.com Web: magikrecordingstudio.com Basic Rate: $50/hr/2hr min. NEXUS RECORDING STUDIOS 8535 Fair Haven San Antonio, TX 78229 210-639-5266 Email: Jason@nexusrecordingstudios. com Web: nexusrecordingstudios.com Contact: Jason Hatch ORB RECORDING STUDIOS 9306 Ledgestone Terrace Austin, TX 78737 512-433-6301 Email: bookingorb@gmail.com Web: orbrecordingstudios.com Basic Rate: call or email for rates PLANET DALLAS P.O. Box 110995 Carrollton, TX 75011 214-893-1130 Email: planetd@ix.netcom.com Web: planetdallas.com Contact: Rick Rooney Format: please see website Basic Rate: call for pricing RAMBLECREEK STUDIO Austin, TX 512-797-7131 Contact: Britton Beisenherz Email: info@ramblecreek.com Web: ramblecreek.com Basic Rate: Call for info

SPACE REHEARSAL & RECORDING 7915 Manchaca Rd. Austin, TX 78745 512-448-9518 Web: spaceatx.com Basic Rates: $10/$14/$30 hr STUDIO 601 South Austin, TX 512-693-9465 Email: info@studio601recording.com Web: studio601recording.com STUDIO713 848 Richey St. Houston, TX 77002 713-640-5428 Email: info@713mediagroup.com Web: facebook.com/713mediagroup

WIRE ROAD STUDIOS 901 W. 20th St. Houston TX 77008 713-636-9772 Email: contact@wireroadstudios.com Web: wireroadstudios.com Contact: Bill Wade Format: Digital / Pro Tools Basic Rate: Studio A $130/Hour; Studio B $100/Hour; Studio D $75/Hour

UTAH FUNK STUDIOS 445 N. 700 W , Suite `0` North Salt Lake, UT 84054 385-424-0778 Email: funkstudiosutah@gmail.com Web: funkstudiosutah.com NOISEBOX STUDIOS 2544 W. 500 S. Provo, UT 84601 801-805-8217 Email: dave@noiseboxstudios.com Web: noiseboxstudios.com Contact: Dave Zimmerman Basic Rate: $85/hr OUTLAW MUSIC STUDIO HC64 Box 3115 Castle Valley, UT 84532 435-259-0900 Email: studio@OutlawMusic.Studio Web: OutlawMusic.Studio Contact: Fred Stone Format: Pro Tools HD/HDX, analog 1/2” and 2”-24 track Basic Rate: Please contact us

VERMONT

SUGARHILL STUDIOS 5626 Brock St. Houston, TX 77023 713-926-4431 Contact: Casey Waldner Email: fjr8660@gmail.com Web: facebook.com/SugarHillStudios

GUILFORD SOUND 561 Fitch Rd. Guilford, VT 05301 802-254-4511 Email: info@guilfordsound.com Web: guilfordsound.com Contact: Cynthia Larsen Format: Pro Tools + Analog Basic Rate: Please call Cindy.

SUNRISE SOUND 3330 Walnut Bend Houston,TX 77042 713-977-9165 Email: info@sunrisesound.com Web: sunrisesound.com Basic Rates: $139/2hr session, $259/4hr session, $479/8hr session

NORTHERN TRACK RECORDING STUDIO P.O. Box 1059 Wilmington, VT 05363 802-464-2234 Email: info@northerntrackstudio.com Web: northerntrackstudio.com Basic Rate: $60/hr

360 RECORDING STUDIO 11430 Bissonnet St. Houston, TX 77099 832-598-7348 Web: 360recordingstudio.com

OLD MILL ROAD RECORDING 316 Old Mill Road East Arlington,VT 05252 802-430-7398 Email: info@oldmillroadrecording.com Web: oldmillroadrecording.com

TIERRA STUDIOS 7502 Shadyvilla Ln. Houston, TX 77055 832-730-0040 Email: info@tierrastudios.com Web: tierrastudios.com TRINITY RECORDING STUDIO 3406 Brawner Parkway Corpus Christi, TX 78411 361-854-SING (7464) Email: webinfo@trinitystudio.com Web: trinitystudio.com Contact: Jim Wilken Format: digital, unlimited tracks Basic Rate: $30/hr. WINDY HILL STUDIO Austin, TX 512-534-9299 Email: darren@windyhillstudioaustin.com Web: windyhillstudioaustin.com Format: see website for equipment info Basic Rate: call or email for info

SOUNDESIGN RECORDING STUDIO 67 E. Town Farm Rd. Putney, VT 05346 802-257-1555 Web: facebook Email: sdesign@svcable.net Contact: Billy Shaw Format: Pro Tools 001, 2” 24 & 16 Track Sony, ADAT Basic Rate: call for rates & special TANK RECORDING STUDIO 322 N. Winooski Ave. Burlington, VT 05401 802-448-2655 Email: info@tankrecording.com Web: tankrecording.com Format: Pro Tools Ultimate 2013/2015 Mac Pro, Apogee 32 Channels

VIRGINIA CUE RECORDING STUDIOS 109 Park Ave., Ste. E

Download at musicconnection.com/industry-contacts Falls Church, VA 22046 703-532-9033 Email: info@cuerecording.com, studiomanager@cuerecording.com Web: cuerecording.com Basic Rate: please call for info DA SPOT RECORDING STUDIO 213 W Brookland Park Blvd. Richmond, VA 23223 804-649-2888 Web: daspotrecordingstudio.com INNER EAR STUDIO 2701 South Oakland Street Arlington, VA 22206 703-820-8923, 703-521-7781 Email: info@innerearstudio.com Web: innerearstudio.com Rate: $425 per day, hourly rates available MASTER SOUND Virginia Beach, VA 23452 757-373-1180 Email: rob@mastersoundva.com Web: mastersoundva.com Contact: Rob Ulsh Format: digital and vintage analog Basic Rate: call for rates

WASHINGTON BAD ANIMALS 2247 15th Ave. W Seattle, WA 98119 206-443-1500 Email: info@badanimals.com Web: badanimals.com Contact: Wendy Wills Format: digital and analog Basic Rate: please call for info

BEAR CREEK STUDIO AND MUSIC PRODUCTION 6313 Maltby Rd. Woodinville, WA 98072 425-481-4100 Email: bearcreek@seanet.com Web: bearcreekstudio.com Contact: Manny Hadlock Format: 2” 24 trk, 2” 16 trk, 1/2” 2 trk, Pro Tools HD 32 in/48 out Basic Rate: Please call for rates CLOUD STUDIOS 1101 E. Pike St. Basement Seattle, WA 98122 206-209-0977 Email: info@cloudstudiosseattle.com Web: cloudstudiosseattle.com Contact: Doug Wilkerson Basic Rate: call for rates ECLECTIC LADY LAND RECORDING RANCH, LLC 341 Mt. Dallas Rd. Friday Harbor, WA 98250 360-298-4249 Email: rikkiswin@gmail.com Format: Pro Tools & Ultra Hi-end Digital Mics - no converters! Web: EclecticLadyLandRecording.com Basic Rate: We are a retreat studio with housing on an awe-inspiring property with special project rates ELECTROKITTY 4415 Densmore Ave., N. Seattle, WA 98103 425-358-1441 Email: electrokittyrecording@gmail.com Web: electrokitty.com Contact: Garrett Format: Digital and Analog Basic Rate: call for more info

LONDON BRIDGE STUDIOS 20021 Ballinger Way, N.E., #A Shoreline, WA 98155 206-364-1525 Email: info@londonbridgestudio.com Web: londonbridgestudio.com Format: Vintage Neve 8048 / Studer A-800 MKIII 24-track 2” Analog tape deck, Protools HD3 Basic Rate: please call for rates MIRROR SOUND STUDIO 301 N.E. 191st St. Seattle, WA 98155 206-440-5889 Email: info@mirrorsound.com Web: mirrorsound.com Contact: Ken Fordyce Format: 24 track digital-analog Basic Rate: Please call for rates ORBIT AUDIO Seattle, WA 206-381-1244 Email: orbitaudio@gmail.com Web: orbitaudiorocks.com Format: Digital/Analog Basic Rate: $95/Hr, $750/day

WEST VIRGINIA JAMIE PECK PRODUCTIONS 216 Longvue Acres Rd. Wheeling, WV 26003 304-280-5086 Email: j.peklinsky@comcast.net Web: jamiepeckproductions.com Contact: Jamie Peck Format: digital Pro Tools HD Basic Rate: please call for info RHL AUDIO 703-628-3015 Email: chris@rhlaudio.com

Web: rhlaudio.com Contact: Chris Murphy Basic Rate: please call for info

WISCONSIN BLAST HOUSE STUDIOS 1117 Jonathon Dr. Madison, WI 53713 608-276-4446 Email: mike@madisonmusicfoundry. com Web: blasthousestudios.com Format: see website for equipment list Basic Rate: call for rates

WYOMING BRIDGER PRODUCTIONS P.O. Box 8131 4150 Glory View Ln. Jackson, WY 83002 307-733-7871 Email: bridgerproductions@gmail.com Web: bridgerproductions.com Contact: Michael J. Emmer, President Basic Rate: please call for info

For hundreds more contacts from Music Connection’s directories (A&R, music attorneys, producers, engineers, video production, video gear rental, vocal coaches, music schools, recording studios, everything indie, promotion, publicity, rehearsal studios, audio gear rental, film/TV, mastering studios, music publishers, college radio and more), visit: musicconnection.com/industrycontacts.

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– ANGELA PREDHOMME

Advice (For Points Women):for How to Work with Four Advice Pursuing a Men in Music – Navigating the Gender Gap, Part 2 Career in The Music Industry

fter comparing notes with some of my female music friends, I’ve come up with some pointers for women about working with male colleagues. As I mentioned in my previous article, “How to Work with Women in Music” (MC’s Feb. 2021 issue), these guidelines are based on personal experiences, and are not meant to stereotype or limit anyone in any way. In all cases, people should be viewed as individuals instead of being subject to broad generalization. That said, here are the tips I boiled it down to after speaking with some women who’ve had years of experience in music, and who shared many of my thoughts: Ignore the Status Quo I know a woman who’s a brilliant jazz vocalist and multi-instrumentalist. She has experienced roadblocks getting booked for jazz gigs because, she suspects, she does not look like what people expect “real” jazz musicians to look like. However, she’s as tenacious as she is good at her craft, and some might say she’s had to work a little harder to be able play with the big boys of the establishment. So, ladies, just because there might be very few women doing what you’re doing, don’t let that stop you! Ignore the status quo and do your thing proudly, knowing you’re on the leading edge, paving the way for your sisters tomorrow. Choose Carefully and Don’t Settle One thing that I wish wasn’t true (but is definitely true) is that you cannot change people. Oh, I’ve tried. I’ve never succeeded. If you encounter situations where men treat you in a condescending or sexist way, or try to control your creative choices because they think they know better, it’s time to keep looking. From guys who are not vocal coaches telling us how to sing, to guys assuming their musical ideas are better, some men (and probably some women, too) are too arrogant to understand their place and respect your choices as an artist. And the problem is that these people stifle your authentic creativity. It’s important that you take care of yourself and weed out the jerks. Remember that you have the right to choose carefully and insist on only working with people who make you feel comfortable in expressing your art.

They say that growth can be painful, and my first experience with asserting myself was quite uncomfortable. It was for one of the first songs that I was producing myself, and I got to a musician’s home studio. He enthusiastically told me that he had already tracked his part. I listened to it, and it was well done, but not the direction I had in mind. I mustered up the strength to say what had to be said, which was essentially, “That’s nice, but I’d like you to redo it from scratch.” To speak up like that might be easy for some people, but it wasn’t for me. I was used to being Ms. Nice. Now, after some experience, I have an easier time asserting myself if the situation calls for it. The point is that standing up for yourself gets easier the more you do it, even if you’re working with people of some prestige. Just because someone might have an impressive resume doesn’t mean that you need to bow down to them. Be Aware of Differences in Communication Style Experts in both social psychology and sociolinguistics acknowledge that women and men communicate differently. Women “hedge” more–– give more softening language, possibly to avoid potential conflict or prioritize the rapport over the issue. Men often want to look like authorities, and can approach things as black or white––you versus me––with the idea that there will be a “winner.” For some men, collaborating as equals is a foreign concept because they have a hierarchy of status or power in their mind. If you’re dealing with men who have an authoritarian or egocentered mindset, then asserting yourself is important. If honest communication or equality is problematic, then you might just need to search out colleagues with healthier attitudes. Also, what women need to be aware of is that men can get overloaded or overwhelmed easily. As I mentioned in my previous article, Part 1, to some guys, open communication is a big deal and it can freak them right out. So, my advice is to keep communication simple and straightforward if the colleague is not comfortable delving deeper. If you pour your heart out about the project and they’re not emotionally equipped to handle it, then you’re adding stress to the relationship that might work against your goal of making quality music. At the end of the day, the message is this: Don’t let anybody push you around or make you second-guess yourself. You are a competent, confident queen in your own right!

“Standing up for yourself gets easier the more you do it.”

Assert Yourself The reason that women sometimes don’t assert themselves is not because we’re weak. It’s because we value relationships, and many of us often have a default of compromising out of respect for the other person. After all, in our thinking, to keep a good rapport is better than to upset someone over a possibly trivial issue. Maintaining a positive vibe is more important than that one chord in the bridge, right? This is a mistake that I’ve made. I’ve made sacrifices I shouldn’t have in order to keep the peace with male colleagues who are used to having things their way. I listen back to some of my older songs and I’m not thrilled with some aspects, and it’s because I failed to assert myself. I was young and inexperienced. 78 July 2021

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Read “Part 1––How to Work With Women” at musicconnection.com

Singer-songwriter ANGELA PREDHOMME’s music has been heard by millions through television, film, radio and streaming. Her soulful songs have been featured in the popular Hallmark movie Christmas on Honeysuckle Lane, Lifetime’s hit show Dance Moms, commercials for ING Bank and Fiat, and more.

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Studio One Professional, Notion, and nearly all PreSonus software. But that’s just the beginning. You also get a library of masterclass videos, collaboration tools, monthly live streams, exclusive Studio One features, industry veteran-authored presets, and tons of loop and construction kit content—and we’re constantly adding more, month after month after month. No hidden fees. No additional upgrade costs. All in PreSonus Sphere. Visit presonus.com/sphere or use your phone to scan the QR code to learn more!

80 July 2021 musicconnection.com ©2021 All Rights Reserved, PreSonus Audio Electronics. PreSonus is a registered trademark of PreSonus Audio Electronics, Inc. Studio One is a registered trademark of PreSonus Software Ltd. All other trademarks are property of their respective owners.

July 2021

Articles inside

Songwriter Profile: Brian Tyler. . . . . . . . . . . . . . . . . . . . . . . . . . By Andrea Beenham

Tip Jar: (For Women) How to Work With Men in Music . . . . . . . . By Angela Predhomme

Exec Profile: Maureen Droney, Recording Academy P&E Wing . . . . . By Rob Putnam

Producer Crosstalk: Justin Niebank . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam