Music Connection's Oct 2012 Issue

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2000W TruSource™ Technology DL2 Integrated Digital Mixer

DLM12

Step up to an entirely new level of sonic innovation. Mackie DLM Powered Loudspeakers are packed with cutting-edge technology, delivering a staggering 2000 watts of power in the most compact design ever. It also features the first-ever integrated digital mixer and groundbreaking system processing. After all, you’re the one putting

DLM12S DLM8

blood, sweat and tears into perfecting your performance. Your PA had better be able to keep up. The New Shape of Sound – Mackie DLM

MACKIE.COM/DLM © 2012 LOUD Technologies, Inc. All rights reserved. “Mackie” and the “running man” are registered trademarks of LOUD Technologies. Refrain from standing on the DLM after 12 or more drinks. And by “drinks” we mean grape juice.

How can something so small be so powerful? Watch the video and find out how Mackie packed in all that sound!

contents

Cover Stories

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Gotye

In Music Connection’s exclusive interview, the international pop sensation explains how he made his career DIY style. We also learn about his winning strategy for breaking out in America, how his ingenious sampling techniques have developed into a signature style and, most importantly, what he plans to do to top the success of his megahit, “Somebody That I Used To Know.�

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By Andy Kaufmann

)BSE 3PDL )PUFMT Launching a slate of amenities for musicians, DJs and recordists, the hotel chain shows it’s not your parents’ Hard Rock anymore.

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2012 Masters of Mastering

By Daniel Siwek

Once again MC helps any music-maker get a firmer grip on the all-important last phase of music production— mastering. So before you go ahead and "wing it" at your recording and mixing sessions, listen to some golden advice from four nationally known experts.

By Rob Putnam

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Directory of U.S. Mastering Studios

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

Locating the ideal mastering facility and sympathetic engineer for your project is an important step. With MC 's one-of-a-kind list, we hope to make your mission much easier. Like all of our directories, this one has been fully updated with information provided by the listees.

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Compiled By Denise Coso

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

Engineer Crosstalk: Bill Appleberry............................................................By Rob Putnam Exec Profile: Steve Rennie.......................................................................By Andy Kaufmann Songwriter Profile: Matt Thiessen..............................................................By Dan Kimpel Artist Profile: Fallen Riviera....................................................................By Andy Mesecher Tip Jar: 9 Tactics: Move Up the DJ Food Chain!............................................By Tim Martell

CD Reviews New Music Critiques Live Reviews

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

October 2012

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at Your Fingertips ASCAP introduces improved mobile access – anywhere you may be! Free app available for all iOS and Android smartphones or on the web at m.ascap.com Your favorite ASCAP tools are now more accessible than ever before with ASCAP Mobile. Whether you are working on the road, at a writing session or in the studio, the new and improved ASCAP app and mobile website put important ASCAP information at your fingertips. We redesigned ASCAP Mobile with members in mind; now you can keep your account up-to-date and review your catalog and royalty information with ease. We also improved ACE searches for you and everyone interested in ASCAP’s vast repertory. Download this free app for your mobile device today and take ASCAP with you wherever you go.

Features: Member Access ø 9LHZ DQG HGLW \RXU FRQWDFW LQIRUPDWLRQ ø 6HDUFK DQG YLHZ \RXU HQWLUH $6&$3 FDWDORJ ø 9LHZ DQG GRZQORDG \RXU UR\DOW\ VWDWHPHQWV

News ø &KHFN RXW WKH ODWHVW $6&$3 KHDGOLQHV ø 5HDG D VWUHDP RI LPSRUWDQW PXVLF LQGXVWU\ QHZV curated by ASCAP and optimized for the device of your choice

ACE Database ø )LQG GHWDLOHG ZULWHU DQG SXEOLVKHU LQIRUPDWLRQ for ASCAP’s millions of musical works ø &RQWDFW SXEOLVKHUV GLUHFWO\ IURP WKH DSS

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

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

OPERATIONS MANAGER Denise Coso denisec@musicconnection.com

ART DIRECTOR Cesare Perrino artdirector@musicconnection.com

MARKETING/ADVERTISING MANAGER Hillorie Rudolph hillorier@musicconnection.com

DIRECTOR OF ONLINE OPERATIONS Mukul Chauhan mukulchauhan16@gmail.com

ACCOUNT EXECUTIVE/ ARTIST RELATIONS Mira Abas mira@musicconnection.com ADVERTISING ART DIRECTOR Gary J. Stephens garys@musicconnection.com NEW TOYS Barry Rudolph barry@barryrudolph.com DIRECTORY EDITOR Denise Coso mcdirectories@musicconnection.com EDITORIAL INTERN Karen Emmert intern@musicconnection.com

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

CONTRIBUTING WRITERS Jessica Aves, Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley, Gary Graff, Eric A. Harabadian, Oscar Jordan, Andy Kaufmann, David Kershenbaum, Kim Mack, Josè Martinez, Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Daniel Siwek, Matt Schild, Brian Stewart, Laurier Tiernan, Albert Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin. PHOTOGRAPHERS Jessica Aves, Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Kevin Estrada, Jennifer R. Grad, Oscar Jordan, David Klein, Merry Kotte, Thomas Long, Kim Mack, Cindy Miley, Paula Muñoz, Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Albert Vega.

Manufactured and printed in the United States of America, Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 14654 Victory Blvd., Van Nuys, CA 91411. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/ two years. Outside the US, add $25 (US currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright © 2012 by E. Eric Bettelli. All rights reserved.

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

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

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

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October 2012

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PERFORMANCE YOU CAN TRUST

Pictured

MAX SPL: 135 dB 43.5 lbs.

Your audience deserves to hear every note, every word, and every beat. PRX600 Series speakers were designed from the ground up to perform in the real world where difficult acoustical environments, high ambient noise levels or loud volumes are the norm. With four new full-range models and two new subwoofers you can tailor a system to fit your unique needs. And our 60 years of building speakers is engineered into every PRX600. Knowing that you can rely on your system to deliver gives you the freedom to deliver your very best. That’s performance you can trust.

Learn more at www.jblpro.com/PRX600

Powerful.

Rugged.

Versatile.

Š 2012 Harman International Industries, Incorporated

Sound Advice...

We are a 4-year college that takes music as seriously as you do. Learn Audio Recording for Live Performances, Movies, TV & Gaming

CLOSE-UP

By Jonathan Widran

Maor Appelbaum

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ikening his role as a mastering engineer to “the buffer between the recording artist/production and the listener,� Maor Appelbaum (http:// maorappelbaum.com) brings a wealth of experiences to his thriving one-man operation. Before moving from Israel to California, Appelbaum worked in mastering, recording, mixing, broadcasting and radio; was a renowned music journalist; a club DJ; and a live sound, video and lighting engineer. This unique experience provided him an opportunity to hear various music and recordings at many different stages of the process—from rough demo, live show to saleable finished product. Trained in a variety of forms of engineering, the veteran musician’s first long-term gig in the US was staff engineer (mixing, recording and mastering) for famed producer Sylvia Massy Shivy at Radiostar Studios in Weed, CA. Since moving to Los Angeles to open his private mastering suite, the Reseda, CA-based Appelbaum has built a thriving international clientele, working with such artists as Walter Trout, Adrenaline Mob, Sepultura, Angra, Yngwie Malmsteen, Armored Saint, Lita Ford, Seven the Hardway, Marco Mendoza, the Prog Collective and Billy Sherwood, to name a few. In addition to the work he has done for Massy’s clients, he has also mastered the recordings of well-known producers like Toby Wright, Justin Gray, Roy Z, Gilby Clark, Warren Riker, Ryan Greene, Ulrich Wild, Fabrizio Grossi, Greg Hampton, etc. Working with Billy Sherwood, Appelbaum also mastered a unique project, called the Prog Collective, that featured members of Yes and King Crimson. “For me, being a mastering engineer is the best way possible to combine my love and passion for music with my technical and artistic skills,� Appelbaum says. “I like to say that I don’t cater to the music industry but to the music and the musicians, because my services are geared strictly to their needs. I don’t follow trends, and I’m more concerned with dynamics and depth than loud fatiguing sounds at high levels. I like to let the listener control the level at which they want to listen, where they can still feel the punch, definition and depth. Being a good mastering engineer is often about the nuances.� Equipped with an array of analog tube, solid-state and digital external processors, Appelbaum’s studio aims to give clients a wide range of sounds to choose from. It can be warm, lush and crispy tones to big, tight and punchy sounds that are full of depth and impact. His studio gear is a mixture of units that are modified specifically for his taste and needs. “Every project is unique and needs its own personal touch and care. When I hear the music that comes in, I connect to it and listen to the inner layers of it in order to understand what is presented and how I can enhance that feeling or represent it in a clearer way.� Appelbaum likes to say that he’s ultimately a “listener with control,� acting as an objective listener with a fresh ear that can bring a new perspective to the whole listening experience, enhancing the vibe of the music and inviting the listener to connect better with the production of the music. Part of the job is also finding out what serves best the musical intentions of the artist. “I want my clients to be happy with the results of the mastering,� he adds. “A lot of that involves taking the project on a personal level in addition to the professional side and communicating with those involved in the process of the recording.� Appelbaum’s extensive experience working with artists from around the world gives him keen insight into the sonic differences required in working on recordings from different cultures. “Just as the sound is different depending on the era or decade, rock music from France sounds different from rock music here or in the UK, and metal in Brazil is different from metal in Sweden� he says. “Having the experience in all aspects of the music creation, production and distribution exposed me to a lot of styles from different countries and has given me good instincts about how to grab the essential sonic information to achieve the perfect dynamics and depth.� Contact Maor Appelbaum, 818-564-9276, mappelbaum@gmail.com

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ASSIGNMENTS

Sydney Alston Account Executive Disc Makers

Sydney Alston has been promoted to Account Executive for Disc Makers in its Los Angeles, CA location. Alston has 20 years of experience in all facets of the music industry which has made him an in-demand resource for artists in not only Los Angeles, but the rest of the country as well. In his new position, Alston will handle major account clients and prospects, local marketing for the Los Angeles area, host events, attend trade shows and create strategic relationships with music, film and corporate clients. Alston joined Disc Makers in 2001 as a Customer Sales Representative in the company’s New Jersey offices. Alston also has a management company that works with pop artists including Major Myjah. Contact salston@discmakers.com.

Stephen Hutton Rock & Pop Division Primary Wave Music

Continuing to increase its resources and presence in talent management, Primary Wave Music—an independent music publishing, marketing and talent management company—has confirmed that Uppercut Management founder Stephen Hutton will join the team to help build Primary Wave Talent Management’s rock and pop divisions. Hutton has been a force in the rock and pop music world, helping to build and guide artists’ careers such as Kid Rock, Big Kenny (Big & Rich), Better Than Ezra, All That Remains, the Heavy, Kill Hannah, Dom, etc. In addition, Hutton will continue to look after his roster of writers and producers, who have yielded several No. 1 singles in the rock, pop and country genres. Contact awatkins@primarywavemusic.com.

Jenny Shearin

National Promotion Coordinator Arista Nashville Jenny Shearin has been named National Promotion Coordinator, Arista Nashville, as announced by Lesly Tyson, VP National Promotion, Arista Nashville. Shearin is based in Nashville and will begin her new role in the next few weeks. Explains Tyson, “I am thrilled to bring her on board with Arista Nashville promotion and know she will be an outstanding addition to our crew.” A Northern Virginia native, Shearin most recently was Tickets & Itineraries Coordinator for Sony Music Nashville. Shearin is a graduate of The University of North Carolina Wilmington and holds a Masters degree in Business Administration from Belmont University. She joined Sony Music Nashville as an intern in May 2010. Contact ann.inman@sonymusic.com.

Jill Napier

Accounts Payable Martin, Allbee & Associates Nashville based business management company Martin, Allbee & Associates has announced their newest employee, Jill Napier, who will oversee aspects of accounts payable for all clients under the MA&A umbrella. Napier’s most recent post was as the Executive VP at Big Loud Bucks Administration and an eightyear tenure as VP of Business Affairs at Ten Ten Music Group, Inc. Her industry history includes being chosen as Administrative Director for the Nashville chapter of the Association of Independent Music Publishers; an alumnae of Leadership Music; SOURCE Foundation Award board member; and much more. For details, contact avillanueva@msopr.com.

John Shalhoup

Chief Marketing Director Yamaha Corporation of America Yamaha Corporation of America (YCA) has announced the appointment of John Shalhoup to Chief Marketing Director, a newly created position. Shalhoup’s new duties include developing and implementing new marketing strategies that ensure a cohesive Yamaha message across the company’s divisions and across all sales channels, to strengthen and elevate brand awareness. He is also responsible for initiating cross-marketing relationships with alliance partners, including The Walt Disney Company and Carnegie Hall, to further Yamaha’s marketing reach. Shalhoup joined Yamaha in 1998 as a Pro Audio and Combo (PAC) division district manager for the Mid-Atlantic region. Contact tsumner@yamaha.com.

Elizabeth Kennedy Sr. VP, Advancement The Music Center

Elizabeth Kennedy has been appointed to Senior Vice President for Advancement, at The Music Center. Previously the Vice President for Development and Marketing at the Autry National Center from November 2008 through June 2012, Kennedy was responsible for the stewardship/completion of a $185 million capital campaign. Prior to joining the Autry National Center in 2008, Kennedy was the Director of Administration at the Los Angeles Opera, a non-profit arts organization in which she worked for more than a decade, including positions as the Director of Development and the Manager of Individual Giving. For further details on this appointment, send an email to mtan@musiccenter.org.

Silvia Davi

VP Strategic Comm. and Mkting BMI Broadcast Music Inc., (BMI) has announced the appointment of Silvia Davi to Vice President and Head of Strategic Communications and Marketing. In this role, she will oversee the Corporate Communications and Marketing Department, including global public relations, branding, social media, internal communications, corporate marketing and online communications. Based in BMI’s New York office, Davi joins the organization after serving as VP and Head of Corporate Communications and Brand at professional services firm Marsh & McLennan Companies. Prior to Marsh & McLennan, she spent eight years at NASDAQ OMX. For further information on this appointment, contact Kay Clary at kclary@bmi.com.

Mira Abas

Acc. Exec./Artist & Rdr. Relations Music Connection Mira Abas has been promoted to Account Executive / Artist & Reader Relations at Music Connection. Abas began working for Music Connection as an intern in the Spring of 2011. Soon after, she was brought in to take over Artist and Reader Relations in the Fall of 2011 and has since worked her way up the ranks to Account Executive. She will report directly to Publisher Eric Bettelli. Abas has a degree in Finance from San Diego State University and has been a pivotal part in the magazine’s success since joining the company. For further information on her new role, you may contact Abas directly at mira@musicconnection.com. October 2012

www.musicconnection.com

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NEW TOYS

—BARRY RUDOLPH barry@barryrudolph.com

Jan-Al’s New Rhino ATA CL Series Cases Pictured is the first model in the new line of Rhino ATA CL Series road cases: a specially designed case for the Yamaha CL5 Series Digital Console. Jan-Al cases have always been a big hit with the top live sound companies who demand all equipment from rigging to lighting to super delicate mixing consoles to show up anywhere in the world, working perfectly. The CL Series is a premier touring case made using laminated birch wood construction. The Series have a birch/aluminum, double-hinged “doghouse” for total access to the back of the console with a special channel for holding all the interconnecting cables required. The ATA CL series includes a removable “nosecone”—the entire top separates cleanly for full and easy access and proper ventilation to avoid heat build up from modern digital and analog consoles. Jan-Al also has designed ready-to-go companion shock racks for Yamaha’s external Rio boxes (Remote I/O) that expands the CL5’s channel count up to 256 using outboard analog and/or digital input/output rack units. Jan-Al’s Rhino ATA cases are purpose-built road cases that use 1/2inch thick (where required) plywood laminated with fiberglass, ABS, aluminum and are then treated for water resistance. They have aluminum angle and tongue & groove valances, extensive foam padding and are rated at Mil-Spec 810 and have no weight limitation. Check out http://janalcase.com for case styles, sizes and pricing.

Goby Labs GBM-300 Mic Stand One of an expanding line of musical instrument care and accessory products, the Goby Labs GBM300 Mic Stand w/Boom ($97.95 MSRP) is one of the best values I’ve seen lately. Both it and the GBD-300 Short Mic Stand w/Boom ($79.95) are well-designed microphone stands that feature die-cast metal components, thick-walled, zinc alloy handles and metal-on-metal threaded couplings. In fact, there are few non-metal parts used on these all-black, powder-coated stands. I found the GBM-300’s center-mass boom design to be a better idea than other mic stands that rely on a counterweight at the end of a long boom to balance heavy studio condenser mics. With heavier microphones and when fully extended, those old boom designs add to an already precarious situation. The Goby stands use an all-metal locking grip at midpoint that easily slides forward and backward on the boom itself to achieve counter-balance. There are no small screws or knobs to lock down and the entire grip is camshaft-shaped and easy to turn without using tools. I had no problem using the GBM-300 for a solid vocal mic setup for a Pearlman 250—a large tube condenser mic that weighs somewhere around 1.5 kilograms. I like the tripod metal base because it has three stout and stable, crush-proof legs also with a larger ultraheavy, center-locking, vertical handle for added stability. The three legs lock into a stamped metal frame preventing any sideways movement no matter how rockin’ the stage gets. Goby Labs makes keyboard stands, A-Frame Guitar stands and stands for all Apple’s iPad™ models. Now exclusively distributed by Hosa Technology, Inc., check out http://goby labs. com for more accessories.

iZotope Alloy 2

Maselec MTC-1 Stereo Mastering Transfer Console The MTC-1 is an all-analog stereo signal insert routing system that is a no expense spared, modern approach for mastering engineers seeking maximum flexibility and transparent sound. The MTC-1’s 3U size is compact; it’s designed to be located directly in front of the mastering engineer’s listening position—the “sweet spot” between the stereo monitors. The Maselec MTC-1 is ideal for the production of stereo digital masters (with subsequent A/D conversion), stereo analog mastering and lacquer master discs. To enhance the artistic intent of the producer/mixer’s original stereo mix balance is the ultimate goal of any professional mastering engineer. Evaluations are based on their experience and trust in their signal processing chain(s), a repeatable, nearly scientific methodology and an accurate monitoring system they know well. The MTC-1 offers a powerful, yet flexible collection of routing and monitoring facilities with up to six stereo inserts useable at the same time. The insert routing design covers configurations such as parallel and additive processing, post output processing and the ability to audition inserted processors “swapped” in serial signal chain order. Auditioning various combinations and orders of external outboard processors to evaluate their intrinsic value (or not) is now instant, easy and repeatable. The MTC-1 also incorporates monitoring and scalable metering facilities to verify and check the (subjective) desired audible results in an (objective) accurate and empirical way. The MTC-1 exceeds all my expectations—there is no sacrifice in headroom or sound quality, no matter what configuration of any of the 6 inserts or any amount of M/S processing. I found the interrelationship and balance of all frequencies, the left/right channel balance, the phase integrity, dynamic range and repeatability of the MTC-1 astounding in its accuracy. The Maselec MTC-1 sells for $9,950 MSRP. For more information, visit http://maselec.com. 10 October 2012

www.musicconnection.com

Better than ever, the new version of Alloy unleashes six useful mixing, recording and mastering processing tools in one plug-in. The six processors are: EQ, Dynamics 1 and 2, Exciter, De-Esser, Transient Shaper and Limiter. Immediately familiar to Alloy 1 users (like me) is Alloy 2’s similar control and button configuration. What’s new is that the nearly twice as large GUI allows for even more granularity and precision with full access to all parameters at the same time. I liked that there are two identical Dynamics modules—one might be programmed as a multi-band compressor and the other, a peak stop limiter—each with a full set of controls. I also like the brief descriptions of every factory preset’s functionality and the larger GUI shows off shapes in HD-clarity such as the equalizer/filter curves and the non-linear transfer functions in the dynamic section(s). Alloy 2 has a zero-latency mode I found useful for processing realtime recordings (if your DAW allows for it) and I found the higher resolution metering essential for mastering in full 64-bit precision. Other new or updated features include the Exciter module—it uses joysticks to locate just the right sweet spots between Tube, Retro, Tape and Warm distortion coloration modeling for all three bands. The multiband Transient Shaper has larger meters and faders and a new collection of EQ types such as Baxandall bass/treble filters and HP resonant shapes are listed in pull-down menus. I like that double-clicking on any spot in the EQ curve launches another EQ section or filter ready for selecting its exact frequency, shape and boost/cut. Alloy 2 also features an internal Meter Tap, which provides an immediate visual feedback from Alloy 2 in Ozone 5’s Advanced Meter Bridge. Alloy 2 is $199 and runs in all plug-in formats with an upgrade path from Alloy 1. See http:// izotope.com/ alloy.

Master and Synch licensing available through Old Pants Publishing, Inc. Contact Robert Case for details: 719-632-0227 E-mail: rac@crlr.net To purchase Freedom Stride go to: http://cdbaby.com/cd/rockyshaw2 September 2012

www.musicconnection.com 31

NEW TOYS

—BARRY RUDOLPH barry@barryrudolph.com

Mackie DL1608 Live Sound Mixer Now running updated Master Fader App (ver 1.1), the Mackie DL1608 16 x 8 Live Sound Mixer is the hottest new live sound audio product I’ve seen in years. Any Apple iPad™ locks into the DL1608’s docking tray and provides the GUI for control, signal processing and mix of any combination of 16 microphone and/or line level analog sources coming into 16 Onyx analog mic/line pre-amps. There are eight balanced analog bus line level outputs—master stereo bus and six auxiliary outputs. The six TRS aux output jacks are useful for driving stage wedges or IEMs and are controlled on separate GUI layers with complete mix signal processing available for every channel of each auxiliary. While docked to the DL1608, your FOH mix can be recorded into the iPad in full CD-quality and saved for retrieval via iTunes® sync with your computer. Premium 24-bit Cirrus Logic™ AD/DA conversion technology is used throughout the DL1608. When undocked, all the functionality (except recording) is the same wirelessly using any standard WiFi router/hub connected to the DL1608. Ten iPads can connect (sync) and control concurrently with tiered access coming. At this high level of technological complexity, it’s amazing that all of this worked immediately letter-perfect when I connected a combination of analog line level track stems from Pro Tools HD as well as a collection of live microphones. The Onyx microphone pre-amps sound clear and the mixer have loads of headroom—nearly impossible to overload. The iPad’s Master Fader App stores all settings: fader levels, mutes, channel names, channel icons, processing settings, output bus levels, effect setting, send levels and preset modifications as nameable Snapshots within folders called Shows. This is a brilliantly thought-out live mixer system that has EQ, noise gate and dynamics processing on every channel and bus output plus a 31-band graphic EQ, great sounding stereo reverb and tempo tapped delay effects available. The Mackie DL1608 16-Channel Digital Live Sound Mixer is $1,249.99 MSRP. You can get way more information at http://mackie.com/DL1608.

Tech 21 Boost RVB Reverb Pedal Tech 21 has updated their Boost RVB analog reverb emulator pedal with the Modulation control (it replaces the Rumble knob). The new control subtly varies the length of pre-delay of the reverb for additional randomness so that it more closely approximates natural reverberation as it occurs in reality. Like the entire Boost Series pedals, besides a new look, the RVB features up to a 9dB level bump if you’re looking for a clean boost for

solos and standouts that pop. The RVB pedal has a continuously variable reverb (RT60) Time control that ranges from short, modern-sounding reverb treatments to longer, old-school style “tanks.” The Mix control blends any reverb from 100 percent dry to 100 percent wet plus the Feedback, Tone and Level controls all contribute to precision when dialing in any reverb. Also, when switching into bypass mode, the Trails function allows the reverb tail to decay out naturally or toggle Trails off to stop the reverb tail instantly. The Boost RVB is capable of emulating reverbs such as springs, plates and natural room/hall ambiences. Designed and manufactured in the US, the updated Tech 21 Boost RVB pedal sells for $245 MSRP and $189 MAP. Visit http://tech21nyc.com for further information. 12 October 2012

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sE 2200a MKII Multi-Pattern Condenser Mic sE Electronics’ sE 2200a MKII is a multi-pattern version of their cardioid only sE2200a and uses two, 1-inch capsules back-to-back to achieve cardioid, omnidirectional or figure-of-eight polar pickup patterns. The sE2200a MKII also gets a new fit and finish by way of a black, rubberized coating over the entire microphone. Said to help in damping out mechanical resonances of the metal case, I like its stealth look and the feel of its “no slip” grip—the mic, shock mount and pop screen nearly disappear in a darkened vocal booth or studio. The included sE metal pop screen is fully adjustable and attaches to the shock mount. In cardioid, I found using the proximity effect a big plus for the extra bass it adds to round out the bright and clear sound when I used it on a loud vocalists who like to get in close and “eat” microphones. The omnidirectional pattern is a big plus for recording acoustic guitars to capture the whole instrument as it actually sounds in a room. I used the figure-of-eight pickup pattern when recording two singers who wanted to face each other and blend acoustically. Other than for an overhead microphone, getting in close to drum kits would require another type of mount. The included shock mount is a bit large to sneak in on snare or toms. The low frequency roll-off works well to reduce bass frequency buildup in its cardioid pattern—without using EQ when recording acoustic guitars directly over and close to the sound hole. I got a very contemporary acoustic guitar sound on a Martin Custom D Classic Rosewood Acoustic Guitar (D-28). At $399 MSRP, with the sE 2200a MKII you’re getting a multi-pattern version of the sE2200a condenser that’ll work together with 2200a if you already have one. Now, with cardioid, omni and figure-of-eight patterned microphones, you’re set for any recording job. Check out http://seelec tronics.com/se2200a-ii-multi-pattern-mic.

Auralex ProPAD Monitor Speaker Isolation Pads Auralex’s latest product in their Instant Sound Optimizer ISO line is ProPAD™. ProPAD adds to the popular MoPAD™ line and shares its durable construction, providing superior isolation from the vibrations and resonant energies created by near field studio monitors with up to 8-inch woofers. It DOES matter that your studio monitors transmit “vibes” to your speaker stands, desktop or anything they touch—this mechanical “coupling” degrades the performance of all monitor speakers. The ProPAD prevents vibrational energy created by all conventional speaker cabinets from being transmitted into your freestanding speaker stands and/or your DAW desktop furniture. ProPADs are sold in stereo pairs and use a 3/4-inch layer of laminated black MDF (medium density fiberboard) covered with a thick layer of Auralex’s proprietary IsoPuck™ isolation material. IsoPuck is made of recycled rubber and the ProPAD kit comes with six stick-on feet made of IsoPuck for flat or angled speaker installations. ProPAD improves the performance of any small monitor speaker by letting it vibrate freely. It is useful in home/project recording studios, post-production/edit suites, mobile recording facilities, hi-fi listening rooms, home theaters or anywhere monitor/speaker isolation is needed to improve sound. For more information, visit http://auralex.com.

MICRO-­BIO: Barry Rudolph is a recording engineer/producer/mixer with over 30 gold and platinum RIAA awards to his credit. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie Nevil. Barry has his own futuristic music mixing facility and also teaches recording engineering at Musician’s Institute, Hollywood, CA. http://www.barryrudolph.com

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

fishman.com

13

BOOK STORE

focal press

Treasures of the Who By Chris Welch (hardback) $45.00 This visually impressive book takes you on the journey with the band as they conquered the world: from small London clubs to Madison Square Garden, from seven-inch vinyl releases to multimillion-selling albums, all the way to recognition as global rock gods. Author Chris Welch is an acclaimed English journalist who was close to the band, and his book is accompanied by images from many of the best contemporary photographers. There are also removable facsimiles of super-rare memorabilia from one of the biggest collections around. All in all, this attractive book, with its hardback sleeve and reproductions of vintage posters, tickets and flyers, would make quite a nice gift.

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Recording Studio Design, 3rd Edition What Are You Doing Here? By Laina Dawes (paperback) $16.95 The author is not always the only black woman at metal shows, and she’s not always the only headbanger among her black female friends. In her first book, the Canadian critic and music fan questions herself, her headbanging heroes, and dozens of black punk, metal and hard rock fans to answer the knee-jerk question she’s heard a hundred times in the small clubs where her favorite bands play: “What are you doing here?”

By Philip Newell (softcover) $89.95 Using straightforward language and practical examples, Philip Newell covers the key principles of making a successful studio construction. In this third edition, he helps you avoid disaster and create an efficient and effective acoustical environment to record and produce the finest audio.

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14 October 2012

The Science of Sound Recording By Jay Kadis (softcover) $22.95 Packed with valuable must-know information, illustrations and examples of worked through equations, this book introduces the theory behind sound recording practices in a logical and practical way. At the same time it places an emphasis on the concepts of measurement as they relate to sound recording, physical principles of mechanics and acoustics, biophysics of hearing, introduction to electronics, analog and digital recording theory and how science determines mixing techniques. www.musicconnection.com

Edited By Chris Murray, (hardcover) $34.99 Celebrates the band’s remarkable 50-year career with images captured by 20 acclaimed music photographers. Featured are more than 80 photos that document the longevity of one of the most influential, enduring, and controversial bands in rock history. Shooters include Fernando Aceves, Bob Bonis, Gus Coral, Michael Cooper, William Coupon, Barry Feinstein, David Fenton, Claude Gassian, Bob Gruen, Ross Halfin, Michael Joseph, Eddie Kramer, Chris Makos, Gered Mankowitz, Jan Olofsson, Michael Putland, Mark Seliger, Eric Swayne, Mark Weiss and Baron Wolman. Michael Joseph’s photos from the Beggars’ Banquet session are maybe worth the price of the book.

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15

UP-CLOSE

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n early 2011, veteran singer-songwriter Mike Lizarraga was tracking an acoustic project and about to mix it in his own studio space at a North Hollywood, CA, facility when he realized there were no treatments on the walls. To his surprise, there were no local places to buy acoustic panels— unless he wanted to settle for the acoustic foam. Getting creative, Lizarraga and others working on the project drove 35 miles outside L.A. to find the right materials to build their own panels. By the time the panels were up on the walls, several days had passed and the music project was behind schedule. Realizing that artists, musicians and engineers didn’t have time to waste on these kinds of searches, Lizarraga tapped into his lifelong penchant for entrepreneurial thought and launched LA Sound Panels (http://lasound panels.com). His goal was simple: create an easy, convenient and affordable option for music professionals to treat their studios. Now a year and a half old, the company has acoustic panels and bass traps in studios and other businesses (including corporate environments, video editing facilities, churches and restaurants) throughout California, Arizona, Texas and as far away as Taiwan. The Burbank, CA-based company recently opened a second location in Austin, TX. Explaining the value of LA Sound Panels’ line of products, Lizarraga says, “The size of the room, shape and height of the ceilings can change the original sound coming from the speakers. If someone mixes an album in a room with no treatment, it will bounce off the walls, ceilings and all hard surfaces in the room. You can create a perfect mix in this kind of room but when you play the recording in another stereo environment the bass will be too low or too high because the reflections in the room distort the true sound from the speakers. “When you put panels like ours on the walls,” he adds, “they absorb the bass, first reflection and second reflection points. The goal is, when you hear a sound coming from the speakers, you don’t want it to go from the speaker to your left ear and bounce on the back wall and bounce back to your right ear. Without treatment, that’s an impure sound. It also improves the stereo image of a recording, so you can better discern which sounds are coming from the left and right speakers.” The company’s flagship product is its Full-Tone Acoustic Panel, which comes in 30 colors and measures (in inches) 24 x 48 x 3. It is ideal for first and second reflection points in the room. LA Sound Panels recommends that clients begin the treatment of a room with these broadband panels, which work great for “deadening” vocal booths, home theaters, restaurants, event spaces, art galleries, music venues, rehearsal rooms and any other space with acoustic issues. Another product is the Lo-Tone Bass Trap, which helps clients achieve accurate bass levels in their mixes. These use 4 inches of Roxul insulation and are most effective under 250 Hz. The Lo-Tone Triangle Trap is perfect for bass issues, where the low end builds up in the corner of a room. The Trap, an equilateral triangle that fits perfectly into the floor and ceiling corners, when mounted at a 45 degree angle, helps smooth this out. Other products include the Universal Floor Stand, which can be used to create freestanding panels clients can place around the room as needed; the Compact Vocal Booth, which attaches to mic stands; and adjustable metal stands. LA Sound Panels also creates custom panels, with quick turnaround times that reflective the company’s attention to quality customer service. Their sound panels are constructed with a wood frame for sturdiness and wrapped tight for a professional, square look. They use an audio translucent fabric and a Roxul mineral wool insulation that has ideal sound absorption qualities. They install a wood frame on the back that leaves an air gap between the wall and insulation, improving the absorption of low frequencies. The acoustic panels will hang easily on the wall like a picture frame and can be taken down in seconds if a client wants to experiment while tracking drums, for example. Among the more prominent of LA Sound Panels’ growing clientele are Richie Ramone (drummer for the Ramones), recording/mixing engineer Allen Hessler (Avenged Sevenfold, My Chemical Romance) and producer/ mixer Ronan Chris Murphy, founder of Recording Boot Camp. Contact LA Sound Panels, 424-262-0622

16 October 2012

www.musicconnection.com

Mike Lizarraga

October 2012

www.musicconnection.com 17

STUDIO MIX BAD RELIGION ENTERS STUDIO: The visionary Los Angeles band Bad Religion has entered the studio to begin recording its 16th full-length album. The untitled release is being recorded at Joe Barresi’s JHOC studio in Pasadena, CA, and is co-produced by band members Brett Gurewitz, Greg Graffin and Barresi. The producer-engineer has worked with Tool, Queens of the Stone Age and Every Time I Die, to name a few. For studio updates, check out http://thebrpage.net/albumdiary. DEFTONES TEAM WITH RASKULINECZ: Grammy-winning rockers Deftones have announced the Nov. 13 release of their seventh studio album, KOI NO YOKAN.

The Sacramento, CA-natives recorded at Paramount Studios in Los Angeles, CA, with Nick Raskulinecz (Alice In Chains, Foo Fighters, Rush) who also produced Deftone’s previous album, Diamond Eyes. The band is currently touring the upcoming release. Visit http://deftones.com. KEANE GO ANALOG: The English band have released Upstairs At United - Vol. 5, an album captured directly to tape under the leadership of mastering engineer Chris Mara. The band recorded at Nashville, TN’s analog recording studio Welcome to 1979, then cut 12-inch EP’s at 45 RPM. See studio footage at http:// youtu.be/pOCJK1onW9Q.

er

produc

(NIN, Stabbing Westward, Depeche Mode)

“You’ve got to be an ego; a kind of kindergarten teacher to deal with the bands. They’re strange beasts. Sometimes it’s the caustic atmosphere which makes them work.� Interviewed in MC August 2012

// Producers Tag Team New Sarah Petrella Project //

// Berklee Expands To Spain //

Berklee College of Music president Roger Brown recently gave a welcome speech at the college’s new campus in Valencia, Spain. The campus offers multiple graduate degrees, a global studies program for Berklee students from Boston to study in Valencia, and more. Check out http://berkleevalencia. org/academic-programs for further details.

Accomplished producers Geza X (Dead Kennedys, Black Flag) and Paul Roessler (Nina Hagen, Josie Cotton) have teamed up for the new outing by vocalist Sarah Petrella. The engineer-producer duo worked from their Kitten Robot and CityLab Multimedia studios. Pictured: Sarah Petrella flanked by Paul Roessler (left) and Geza X, with Ben Harper rhythm section Jesse Ingalls and Jordan Richardson in the background.

// Massenburg Explains Industry’s Future // Audio engineer, inventor and all around Renaissance man George Massenburg gave an inspiring presentation about the direction of the music industry at Omega Recording Studios in Rockville, MD (near Washington, DC) recently. Pictured is Massenburg. See more at http://fb.com/ TheOmegaRecordingStudios.

Cephas Jackson

*Correction:

// Archer Hits Nail On Head In London //

Last month mentioned William Maynard giving an SSL demo at this event, that was a different event entirely. 6OL 3%04%-"%2

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18 October 2012

www.musicconnection.com

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Since joining Sarm Studios in 2005, Graham Archer (Seal, Robbie Williams, Madonna) has moved up the ranks to become one of Trevor Horn’s top in-house engineers. Archer is often found in Sarm’s London or Los Angeles studio where he uses the A-Designs Audio HM2 NAIL compressor/limiter on either the drum buss during tracking sessions or across the two-buss when mixing. Pictured is Archer at Sarm Studios in London with his NAIL compressor/ limiter, REDDI tube D.I. and 500HR rack. See http://grahamarcher.co.uk.

STUDIO MIX

—ANDY MESECHER andym@musicconnection.com

// Jr. Sanchez Gets Dangerous //

// Hinze Tracks New Single In Florida //

Kylie Hinze’s new single “Bad Addiction” was released in September, along with a new YouTube music video. Hinze worked alongside producer Matt Laplant at the Bieler Bros. studio in Pompano Beach, FL to create the single. Pictured is Hinze tracking in Biler Bros. “Bad Addiction” is available on iTunes and the artist’s Facebook page.

// Wash-House Expands To Hawaii //

EDM, R&B, rock, and pop DJ and producer Junior Sanchez has evolved from using major studios and large format consoles in New York and Los Angeles to designing and building his own high-end studio in his New York house. To get back to the sound he had mixing on analog consoles Sanchez has chosen Dangerous Music gear for mixing and monitoring. “I have the Monitor ST, the DAC ST and the 2-Bus LT. It’s changed the whole platform of how I hear.” Sanchez has worked with Morningwood, Bush, Ima Robot and Good Charlotte to name a few. See https://fb.com/JuniorSanchezOfficial.

// A&M Celebrate 50 Years //

Wash-House Music, a record label specializing in rap, reggae, hip-hop and more, has completed a new studio in Oahu, HI, featuring a Solid State Logic Duality SE console in Control Room A. Built to be the high-end recording division of its core business in San Francisco, the studio has become the creative refuge for J. Boog, among many others. Pictured are Wash-House Music business partners Jonas Teele and Brian Foster (seated).

This year UMe and label co-founders Herb Alpert & Jerry Moss are honoring the 50th Anniversary of A&M Records. As part of the celebration, UMe released A&M 50: THE ANNIVERSARY COLLECTION. A 60-track, 3-CD set curated by Alpert & Moss, the collection illustrates what an effect the legendary label is still having on contemporary popular music. The album includes Cat Stevens, Sheryl Crow, the Police, Joe Cocker, Styx, Supertramp, Quincy Jones and many more. Check out iTunes, Amazon and other online distributors for more.

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www.musicconnection.com 19

PRODUCER CROSSTALK

Stone Temple Pilots, Taking Back Sunday By Rob Putnam

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roducer, engineer and mixer Bill Appleberry started his career as a musician in the Chicago area. He found that he was doing a lot of his own keyboard programming, which evolved quickly into engineering and ultimately expanded to production. He spent several years working in Washington, DC but recognized that he was getting increasingly more work in L.A. So, with $600 in his pocket, he relocated. It took him exactly one day to find a job with A&M Records and after six months he spun out on his own. He’s since worked with artists including Stone Temple Pilots, the Used and Taking Back Sunday. He’s also jammed with bands, including keyboard The three most important The threehe’s mostlearned importantas things things a work on Kiss’ Psycho Circus. learned engineer as an arranger, producer, and In 2011 Appleberry landed the pro- he’s composer and producer are: duction gig for NBC’s singing competi- mixer: tion The Voice and has produced every r :PV IBWF UP CF PQFO NJOEFE one of the show’s contestants. How the It’s not a one-way path. It’s job came about is as much about talent important to create a partnership and experience as it is about building with your artists. I’m open to all a rapport. “I went out for it just like any ideas. other record,� he recalls. “There were multiple producers that were bidding r 5IFSF BSF OP SVMFT UIFSF T OP on it. I put a team together and after one way to do something. talking frequently to Tom [Mackay, who was integral in launching The Voice], it r 5IF NPTU JNQPSUBOU JOHSFEJFOU segued into getting the gig.� to any great recording is a great The Voice contestants commonly song. It all begins there. A good have minimal formal experience and production on an okay song still when Appleberry records them, each results in an okay song. But a is allotted an hour of studio time. “I great song can live with minimal approach everything like I’m making a production and it’s still going to record,� he explains. “I’ll get as much be great. as I can out of each of them in that hour and that’s what it’s gonna be. I’ll take the best pass and put it together. When I make records, I’ve spent whole days trying to get a verse. These kids will come in and sing it top to bottom. They’re so excited to be in a studio. It makes my job a lot easier.� Appleberry finds that many of the young contestants perform well in the studio but often get nervous once the cameras turn on. So he changes the studio energy to bring it in line with that of the show. Being supportive comprises a large part of his job. “There’s a lot of coaching, a lot of producing and a lot of keep-your-spirits-up kind of thing,� he observes. “With the ones that have some experience, it’s more about getting great performances. I’ve had kids in the studio where we’ve got it after two passes. But I have to give them the full hour so they can experience the whole thing.� TV has proven fertile ground for him. What does he view as its unique advantages? “I see a little bit of a thing going on with TV and music,� he says. “It’s a nice integration. With us, you can buy [an artist’s] single on iTunes and it’s not just taken off the show. I think we offer these kids a preparation for the record business. When they come to the studio, it’s not just recording the song. It’s about continuing to the experience of making records. Once they leave the show, they’re in the record business, not the TV business. “Working on The Voice has taught me how to make quick decisions,� Appleberry continues. “In the past, it was easy to overthink things. But in this case there isn’t a lot of time. I’m blowing mixes out in three hours.� While on hiatus from his Voice gig, Appleberry continues to write songs and mix. At interview time, he was mixing for a band slated to play Warped Tour 2012. He credits his Voice production squad for the high quality of work that they turn out. “Brian Dong, Tim Harkins, Navon Weisberg and Kevin Mills: they’re a team of assassins,� he asserts. “I couldn’t do this without them.� Contact Bennett Kaufman / The BK Entertainment Group, 818-728-8200, bennett@bkentertainmentgroup.com

October 2012

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Steve Rennie Owner Renman Music and Business Years with Company: Since mid-June, 2012 Address: Los Angeles, CA Phone: NA FAX: NA Web: http://renmanmb.com E-mail: NA Clients: Incubus

BACKGROUND: Steve Rennie earned his stripes booking and promoting shows before becoming a manager for bands like Primal Scream, Ned’s Atomic Dustbin and Stabbing Westward. As Senior VP and General Manager of Epic Records, Renman, as he’s known, met Incubus and subsequently brought the eclectic act to worldwide fame. Recently, he launched an online mentoring site that facilitates communication between industry newcomers and veterans.

An International Water Cooler: [The website’s] been up for six weeks, but we’ve been working on it for six months. We haven’t spent any money on marketing; it’s all word of mouth. What speaks to the power of the web is there are seven or eight hundred people signed up as members. They come from 50 different countries. It’s fun to have a conversation with musicians in Argentina and Poland and Croatia and the Philippines and know that they share similar interests and dreams. They’re finding a place to

And Growing: [The website is] totally free right now. When I started, we were going to do 12 webisodes. We got all those in the can, but I find myself thinking of new ways to keep adding onto the pile. My office has been turned into a home TV studio. It’s gone past just having some fun to, you know what? This might be a great idea. I know it’s been helpful for people. That inspires me. Going Live: A lot of the things that we’re doing

“If you’re an artist today and you’re not going to take a personal approach, some other artist is going to out compete you.” Infamous Incubus: They are a talented bunch of guys, but there are lots of talented people I’ve worked with. Their talent is matched by their humanity and being smart. They’re very approachable and that’s a big part of [their success]. The fact that I manage one band provides a level of focus for me and I think the band found comfort in that. There’s also, in any success in the business, a chunk of luck and good timing. Experience Helps: When I went to work at Sony, I’d had enough of being a manager, which can be a thankless gig. The reality is you’re either successful or you’re not. This ground in between is somewhat mythical. I gained a lot of experience managing other bands. Working at Sony Music was like a finishing school. It gave me an inside look at how things happen inside a label, which was very beneficial. I’d had broad experience as a concert promoter, as a manager, as somebody who’d helped put together an Internet start up [Artistdirect]. And then having that experience of working inside a major label was a huge advantage for me and the band as well. 22 October 2012

network, share stories and trade information with people of a similar mind. A Smorgasbord of Experts: We’ve been doing weekly live webcast shows where we take questions posted online. We have guests from different areas of the business. The first was with a gentleman who worked in sales and marketing at Sony, Fred Croshal. We had Nicole Alvarez, who’s a DJ at KROQ in L.A. We’ve had Max Tolkoff, who’s a big time program director for a bunch of stations in the alternative world. Soon we’ll have Mike Einziger from Incubus. We’re talking in real time with people of interest. Mantras: I have a way of sound-biting difficult, emotional issues of the business— rally cries. “Fuck the gate keepers.” “Make it personal.” “Dream it, do it.” These are mantras that people who have worked with me have been hearing for years. Mike Einziger and I have talked about how we should teach a class online. I saw him earlier and said, “Now we get to teach that class. You are the music, I’m the business.” He has some wonderful insight, not only as a musician but also as somebody who’s made a career out of this.

www.musicconnection.com

we’ve been doing with Incubus over the last two or three years. We did a bunch of live broadcasts to stay in touch with Incubus fans. I was doing little broadcasts called The Morning Briefing where kids would call in. Instead of doing a prepared video with cuts and edits, I would just hit the Livestream button. Over time, that turned into some live broadcasts with professional equipment. So I had a lot of practice. For me, it’s the easiest part of the whole thing—turning on that camera and saying, got a question? F2F: We did a promotion where if you spread the word on Incubus and did the most you got a half-hour to talk about whatever was on your mind. We’ll probably do more of those. The live show might evolve into where every week we feature an artist that we’ve preselected or qualified through some promotion. They’ll have a chance to talk to me and some other professional in the business and talk shop with folks who’ve actually been there and done it. As far as I know, there’s no other site that offers that kind of interaction. Know Yourself, Show Yourself: I jokingly refer to the community

side as the sandbox. That part of the website looks the most chaotic, but people have a way to spotlight their stuff. We spotlight a song from one of our members every week and there’s been some spectacular stuff that, as a grizzled veteran, is a testimony to what young people can do with the new digital toys and creativity. Artists today are not just writing songs—they’re getting involved in the presentation of their music, which is something that was left to the labels back in the day. And because those artists don’t have those [label] resources, they do it themselves and you find out which artists have a true sense of what they’re about. Facilitating Meaningful Connections: Real people in the business have found out about this site. Neil Jacobson, head of A&R at Universal, is a member. He actually had a meeting with one of the members that he met on the site. As my industry buddies get more involved and perhaps some of the young A&R guys, it might actually become the water cooler I had in mind where artists and people in the business are all part of a conversation about how great music finds its way in today’s world. Plan Ahead, Then Do It: You’ve got to commit to doing it. ... I encourage people to do it when you’re young, when you don’t have all the baggage of adulthood. Even if you fail, the lessons you will have learned will serve you well in whatever you do later in life. To Sign Or Not To Sign: Artists are being forced to take a more active role in their careers, because the labels are not there to provide the level of support they did in the past. The importance of initiative and taking control is definitely going to continue. Incubus is free of a major label contract. Whether we would actually sign with a major or not, if I had to make that decision today, I don’t know what I would do. And the fact that I don’t know says volumes about the record business. That’s a big change from where I started. The good news is that you now have a way to talk to fans around the world. Get Personal: Today’s audience demands more of their artists than they did when I was watching Led Zeppelin and going to Rolling Stones concerts. There was no way you were going to talk to those guys. There was no way you were hanging out unless you were some chick who was going to do the deed with them. But today’s artists have grown up in this digital world, so they’re much more used to it. If you’re an artist today and you’re not going to take a personal approach, some other artist is going to out compete you.

BUSINESS AFFAIRS

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

OPPS r Indie artists can now expose their music to the Chinese market. A new blog on the Chinese portal DianDian is being hosted by MusicDishTV and is dedicated to exposing the best in Western indie bands to China’s hungry youth “netizens.� The blog features videos on China’s most popular video portals including Youku, Tudou, Ku6 and Sohu. MusicDish founder Eric de Fontenay notes, “By carefully presenting the best videos we can find, we can open their eyes and ears to a whole new world of sights, sounds and talent.� If you would like to break into this market, artists, bands and labels can submit their videos for consideration at http://tv.musicdish. net. To check out the site, head over to http://musicdishtv.diandian.com— but you’ll need a Chinese translator.

For all details, including early-bird rates, updates on showcasing and one-on-one opportunities with top talent scouts, check out http://ascap. com. r *OEJF $POOFDU JT IPTUJOH UIF à STU HMPCBM i7JSUVBM .VTJD $PO GFSFODF "OE &YQP u Imagine going to a major music conference and connecting with music executives, service providers, artists and movers and shakers from every nook and cranny of the industry—all from the comfort of your own home or office. That is exactly what you will be able to do at the IC Virtual Music Conference and Expo, scheduled for Jan. 15 - 17, 2013. The event, titled i%FWFMPQJOH -POH 5FSN 4VDDFTT BT BO *OEJF "SUJTU,u will feature over 30 live and pre-recorded expert presentations from around the globe. Each presentation will be followed by a live chat moderated by the speaker. For more information, go to http://indieconnect.com or visit http://virtualmusicconference.com. r 6OJWFSTBM *OEJF 6* JT JOUSPEVDing the first social media collabPSBUJWF IJQ IPQ BMCVN A digital record label, UI will post a new track on its website each week for download. Artists are invited to create verses for the track. The label will then choose the three best verses to complete that song. This pattern will be repeated until 12 songs have been recorded, all of which will then be marketed and distributed by Universal Indie. Artists looking to participate can find information at http://universalindie.com/rappersget-on-the-upcoming-the-teamalbum.

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Fusion ensemble Per Se is set to drop its debut album, The Roads, via Rollin Man Records in October. Celebrating life, as well trials and tribulations, the full-length LP delivers inspirational messages amid a fusion of soul, jazz, blues, R&B, and even a bit of Salsa. Formed by Charles Whitehead and Herman Hogan, Per Se is a mainstay in the Southern California scene. Whitehead, Hogan and award-winning producer Magic Moreno produced the album at Magic Presence Studios. Based out of Long Beach, CA, the band is planning to tour in support of the record and donate a portion of all proceeds to Rancho Los Amigos Foundation. To find out more about this project, visit http:// persetheband.com.

musicians between the ages of 13 and 19 are eligible to participate. Online entry is open until Oct. 26, 2012. Bands can perform any genre of music, but songs must be original or designated as “public domain.� Throughout November, submissions will be posted on schooljam usa.com, where online voting will take place. Eight finalists will be chosen, and on Jan. 26, 2013, will take center stage in Downtown Disney during the NAMM Show in Anaheim, CA, to perform in front of professional judges and hundreds of fans r 5IF "4$"1 i* $SFBUF .VTJDu for the chance to take the title of Expo will return to the Hollywood r 5FFO CBOET IBWF UIF DIBODF & Highland complex, April 18 - to showcase their talent by “#FTU 5FFO #BOE JO UIF 64" u All 20, 2013 at the Loew’s Hollywood FOUFSJOH /".. T GPVSUI BOOVBM finalists will receive prize money for Hotel (fomerly The Rennaissance). 4DIPPM+BN 64" Unsigned teen their school’s music programs. The winning band will walk away with the grand prize, including a trip to perform at the 4DIPPM+BN 'FTUJWBM in ")::9 "/.% 0%.3 !54/")/'2!0(9 Frankfurt, Germany, a music video Bizzy Bone, a Grammy recording session on the John winning rapper and Lennon Educational Bus, $1,000 founding member of the toward the purchase of new gear multi-platinum group and $5,000 for the winner’s school Bone Thugs-n-Harmony, music program. For details, go to recently penned Inside http://schooljamusa.com. a Bizzy Mind. Born Bryon Anthony McCane, he begins r 5IFSF JT BO VOEFSHSPVOE POMJOF his story by recalling the music competition that is paymoment he chose the body ing out big money to indepenhe would inhabit before his dent musicians. Last year Togo birth. “He shows just how 6MUSBSPDL won the grand finale easy it is to fall, and how (which takes place twice a year) and tough it is to pick yourself took home $11,000. There are also back up,� says America’s monthly payouts of up to $1,000. Most Wanted host John See http://bigbigshow.com. Walsh. Bizzy is eager for fans to hear his story in his very own words. “I want this book to be about the spiritual war that has been a part of my life,� r 3JTJOH JOEFQFOEFOU SFDPSE MBCFM he explains. You can go to &MJUF30$, 3FDPSET JT DVSSFOUMZ http://insideabizzymind. seeking up-and-coming artists com or visit http:// for its roster. The label has made facebook.com/bizzybone huge changes to its operations in for more information. 2012 and is now able to offer a worldwide distribution network,

,!"%,3 s 2%,%!3%3 s SIGNINGS

October 2012

backed by a nationally known label, and use of all the tools necessary to promote music on a large scale. For additional information or questions contact submissions@eliterockrecords.com. r $JTDP "EMFS JT SFUVSOJOH UP IJT island roots on his new project. It’s his debut solo album, Aloha, which is set for release on Oct. 23 via CD, vinyl, and digital download through his own Malibu-based indie label, #BOBOBCFBU 3FDPSET. The 13-track album was produced and engineered by Adler and mixed by Shane Stoner over a six-month period last year. It follows the July digital-only release of his six-song summer EP of the same name, featuring songs that blend pop, rock, reggae and hip-hop with a laid-back summer, and post-summer afterglow. Currently Adler is on the road as the opening act for a 40+ dates with the Expendables and Iration, presented by Domination. The tour kicked off Sept. 12 in Sacramento, CA at "DF PG 4QBEFT and wraps up on Nov. 9 in Los Angeles at the Wiltern. To learn more and check tour dates, you can go to http:// backbeat.com. r "O BNB[JOH BSSBZ PG BMM TUBS NVTJDJBOT IBWF KPJOFE -FT 1BVM 5SJP HVJUBSJTU -PV 1BMMP PO B TQFcial CD/DVD tribute to the guitar master. Pallo is paying tribute to the legendary -FT 1BVM with the release of a unique CD/DVD titled Thank You Les, produced by Showplace .VTJD 1SPEVDUJPOT, and distributed in the US and Canada by the "MMFHSP $PSQPSBUJPO. The new release plays as a love letter to the iconic guitar player and recording innovator from artists who were influenced and inspired by his artistry and innovation. The www.musicconnection.com 23

BUSINESS AFFAIRS music covers styles ranging from pop and jazz, to country, rock and blues. The guest artists include guitarists Keith Richards, Billy F Gibbons, Steve Miller, Jose Feliciano, Slash, Nokie Edwards (the Ventures) Tommy Doyle and Jon Paris, as well as singers Eddie Brigati, Jr. (the Young Rascals) Blondie Chaplin (the Rolling Stones), Nicki Parrott (Les Paul Trio), Melinda Doolittle (finalist on American Idol season six) and members of the Les Paul Trio. For more details, check out http://thank youles.com.

—BERNARD BAUR also announced a partnership with BMI to streamline live performance royalties for artists. To learn more, you can visit http://artistgrowth.com.

r Environment Of People Foundation Benefit will honor Michael Klausman and Laura San Giacomo. Corporate and individual sponsorship opportunities are available for this event, which honors Klausman and San Giacomo for their exemplary work with the EOPF in support of the CSUN Music Therapy Wellness Clinic (benefiting music therapy programs for children with autism, Down syndrome and other diagnosis). You may show your support by becoming a Corporate Sponsor, attending the r 3PDL UP UIF 'VUVSF JT TVQQPSUJOH benefit awards event on Nov. 9 at music and education in Philly. Cal State Northridge or by making a Founded in 2010, Rock to the Future tax deductible donation. To donate, combines an after school music or for more information about the education and youth development event, please see http://eopf.org. For program at no cost to students. It more information about the clinic see is open to Philadelphia students, http://csun.edu/music. 9 to 14 years of age, and is the only program of its kind in the city that focuses on incorporating music education with academics. Students r ,SJBO .VTJD (SPVQ IBT BOOPVOD learn to play an instrument—their ed a partnership with TouchTunes choice of guitar, bass guitar, drums, Interactive Networks, a social platvocals or keyboards—and also form for interactive music, gaming receive homework help. To find out and entertainment in over 55,000 more, or to donate, go to http://rock bars and restaurants throughout North America. TouchTunes will now tothefuturephilly.org. make Krian artists, including VHS or r "SUJTU (SPXUI UIF NPCJMF BOE Beta and Capsula, available on its web dashboard for musicians, mobile app and across its network topped voting for “Best Music of digital jukeboxes throughout the "QQu JO UIF .57 0 .VTJD "XBSET. United States. “We are excited about the addiBy doing so, Artist Growth defeated industry juggernauts Spotify and tion of Krian artists to our dynamic Live Nation with interactive tools catalog,â€? said Vicki Saunders, VP that enable artists to be knowledge- of Music Marketing for TouchTunes. able about everything from mar- “We pride ourselves in creating a keting to booking gigs. Launched best-in-class music experience for only a few months ago, the plat- our users and in connecting music form has already been heralded by fans with every type of artist.â€? Krian Gizmodo, Business Insider, Fast Music Group is a full service indeCompany, Billboard and Amer- pendent record label based in New ican Songwriter. The company York City. Head over to http://krian

PROPS

THE BIZ

THE TREATMENT PARTNER WITH INDIE MERCH

After a great reception on the first four shows of the Kiss/Motley Crue tour, the Treatment announced that they have signed an exclusive North American deal with merchandise company Indie Merch to handle all of their merchandise on the web and at retail. The store can be found at http://indiemerch.com/ thetreatment. The band formed in 2008 when founder and drummer Dhani Mansworth was only 15 but had a clear vision of the kind of band he wanted. As a result, the Treatment are unashamedly inspired by an era when rock bands looked like rock bands and were generally intent on causing a stir‌ both onstage and off. 24 October 2012

www.musicconnection.com

* It’s been a long, interesting road for Charlie Played Cello (CPC). Formed in 2009, they’ve gone from playing cover tunes in bars to writing original material and gaining distribution from INgrooves Fontana (Universal). * Driven and ambitious, but not crazy, these DIY artists have solid day jobs to support their dream. Up until two years ago, Michael Resch, the band’s bassist had never even picked up a musical instrument. To make matters even more intriguing, Chris Wiebe (lead singer) is a dean at a high school and Resch is a fulltime attorney for an international law firm. * As they were developing and making their impact as artists, they also made sure they didn’t forget what’s important. CPC teamed up with the Amazing Day

Foundation for the Law Rocks Battle of the Bands, where they raised thousands of dollars for the foundation. * As a result, CPC has gone from shooting a video in a dingy downtown industrial building to a swanky boat off the Pacific. * The material for all three of their EP’s was recorded during Wiebe’s two-week long spring break, recording for 14 hours for 14 consecutive days each time. After two weeks as a rocker, Wiebe was back in front of teenagers espousing the virtues of semi-colons and the em dash. * They’re eyeing summer and winter breaks for an extensive regional and national tour.

For more information on Charlie Played Cello visit their site: http://charlieplayedcello.com

Have a successful DIY strategy to share? Email bbatmc@aol.com. musicgroup.com for further information.

web, mobile devices and even offline, is yet another exciting venue for artists to reach new fans and r /PLJB IBT BOOPVODFE UIF MBVODI promote their music globally.â€? of its free music streaming serWJDF /PLJB .VTJD JO UIF 64" The r "DDPSEJOH UP BO JO EFQUI service is a mobile experience that Nielsen study of consumer interprovides consumers with a simple action with music in the United way to discover and enjoy music. States, radio is still the domiConsumers can stream music from nant way people discover music a suite of over 150 exclusive play- (48 percent)—followed by tips from lists that are curated and kept up to friends/relatives (10 percent), and date by a team of US-based musi- YouTube (7 percent). But, the cologists. The playlists span a wide study also found that more teens spectrum of musical genres from listen to music through YouTube underground Detroit house tracks than through any other source (64 to New York Philharmonic favorites. percent)—followed by radio (56 perNokia Music also offers playlists cre- cent), iTunes (53 percent) and CDs ated by global artists such as Lana (50 percent). Del Rey, Lady Gaga and Rihanna. The new Nielsen report offers Music fans can also create their own insights on all aspects of music personal soundtrack by selecting the consumption including listening Nokia Music “CREATEâ€? function that and purchasing behaviors; music taps a library of millions of songs discovery; live events; the use of and generates a playlist based on, social networking and mobile music and inspired by, the artists they love. apps; as well as how the economy Rdio has increased its catalog is affecting music sales. You can to over 18 million songs via new check out all the results at http:// partnerships with TuneCore and nielsen.com. CD Baby. MICRO-­BIO:  Voted  one  of  the  â€œThis alliance is a wonderful fit “Top  Music  Business  Journalistsâ€?  given the two companies’ focus in  the  country,  Bernard  Baur  is  the  on connecting musicians with connection  between  the  streets  and  fans,â€? said Julian Groeger, Vice the  suites.  Credited  with  over  1,200  President, Marketing at TuneCore. features  in  a  variety  of  publications,  â€œRdio, with its strong focus on the he’s  a  Contributing  Editor  at  Music  social elements of music sharing Connection. and discovery, accessible via the

“We Had a Hit Single with Jesse McCartney, and it all Began with TAXI” Andy Dodd and Adam Watts – TAXI members www.reddecibelproductions.com www.adamwatts.com

Adam and Andy’s success

through TAXI is a little bit different from all the other stories you’ve probably heard. They got their biggest deal after their membership ran out! Here’s how it happened: “We joined TAXI in 2001 and found that it was a great motivator for us. We were members for two years. We learned a lot, wrote a ton of songs, and got a few film and TV placements -- some through TAXI, and some on our own. We submitted a song we wrote with Jenn Shepard called “You Make Me Feel” to one of TAXI’s Industry Listings. We didn’t hear anything back for a while and eventually our TAXI membership ran out. Thankfully, we began to get so busy with production and writing gigs that we decided to wait and renew our membership at a later date.

production/management company that was looking for material for a young, male Pop artist they were developing. Later that year, Jesse McCartney’s managers called us saying they had just heard “You Make Me Feel” on a CD they got from TAXI and wanted to have him cut the song. Although Jesse decided not to record “You Make Me Feel”, his managers asked us to write more songs for him. We wrote a handful and they ended up putting his vocal on two of the tracks we produced, “Take Your Sweet Time" and "Beautiful Soul”.

management got the song to a label executive at Disney. Soon after, Jesse was signed to Hollywood Records. “Beautiful Soul” became his first single, and we both signed publishing deals with Disney Music Publishing. Jesse McCartney’s album (entitled “Beautiful Soul”) has gone Platinum in the U.S. and Australia.

“Beautiful Soul” went to #3 on Radio and Records CHR Pop Chart, #5 on Billboard’s Top 40 Chart, #19 on Billboard’s Adult Top 40 chart, it’s a Platinum Digital Single Download, it’s on the Gold-selling ‘Cinderella “Beautiful Soul” got played Story’ Motion Picture on Radio Disney, and Jesse’s Soundtrack, the Gold-selling ‘That's So Raven’ TV Soundtrack, and the video was nominated for Best Pop Video at a 2005 MTV Video Music Awards.” All of this came about because Adam and Andy sent a song to TAXI. Call for our free information kit.

Little did we know that TAXI had sent our song to a

The World’s Leading Independent A&R Company

1-800-458-2111 October 2012

www.musicconnection.com 25 25

NIKKI EMBRY

SIGNING STORIES

Aaron Embry

Rockie Fresh

Date Signed: May 31, 2012 Label: Community Music Type of Music: Folk Management: Bryan Ling, New Community Management Booking: Tom Windish, The Windish Agency Legal: Jeff Leven, Davis Shapiro Lewit & Hayes, LLP Publicity: Amanda Pitts, Cobra Camanda Publicity Web: http://weareeachother.com A&R: Bryan Ling

Date Signed: July 2012 Label: Maybach Music Group / Warner Bros. Records Type of Music: Hip-Hop Management: Andrew Gertler / APG Music Group, agertler@apgmusicgroup.com Booking: Matt Maysonet / NUE Agency, 646-895-2799 Legal: Richard Grabel / Davis Shapiro Lewit & Hayes, LLP, 212-230-5500 Publicity: Greg Miller / Big Hassle Media, 323-456-3490, greg@bighassle.com Web: http://rockiefresh.com A&R: Dallas Martin

T

here’s something to be said for putting together a professional quality product even before you’re signed. In the case of Chicago-based hiphopper Rockie Fresh, he had a snappy video produced for his song “Into The Future” that included a Back to the Future-ized DeLorean. It was enough to attract the interest of rapper and Maybach Music Group founder Rick Ross. “Spiff TV, a member of the Maybach team, saw the video and passed it along to Ross,” Fresh recalls. “After Ross watched it, he started to research me and my music. He wanted to meet and flew me out to L.A. The day after, he said that he wanted to sign me.” Spiff TV reached out to Fresh via Twitter. Fresh was familiar with Spiff’s work and recognized the name immediately. “I knew who Spiff was,” he says. “I’m a student of the rap game. I know about all of the artists and their videographers; the important people in the industry. I let him know that I

“Have some quality in your videos. A lot of people don’t.” wasn’t signed, but that I had offers. He didn’t respond that night, but the next day he told me that Rick wanted to meet.” Prior to his deal, Fresh had self-released a number of mixtapes. They were so well received that his very first show was sold out. “We kinda hit the ground running from there,” the hip-hopper explains. “We kept touring and putting out mixtapes until somebody recognized me. That’s how the deal went down.” About meeting with Rick Ross, Fresh observes “I expected it to be a typical label meeting, but it was the complete opposite. We talked on a big-bro, little-bro level. That’s what made the relationship healthy. It was organic from the jump.” To unsigned acts, he offers this advice: “Have some quality in your videos. A lot of people don’t. Go as top-of-the-line as you can. Invest in your show.” Rockie Fresh is currently on the road with a 35-date tour. Electric Highway is slated for an October release. ——Rob Putnam 26 October 2012

www.musicconnection.com

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f your resume were comprised of writing alongside Elliott Smith and Willie Nelson and performing as part of Edward Sharpe and the Magnetic Zeros, would you be content? Well, songwriter and hired-gun Aaron Embry is not. “I was blessed to be a part of that,” explains Embry. “but now I’m learning all kinds of new wonderful things by sharing my own songs.” While on 2011’s Railroad Revival tour, serving as Ed Sharpe’s piano player, Embry spent his free time recording music on his phone. When 2012 rolled around, the seasoned veteran had finished touring and began tracking what would become Tiny Prayers, a 10-track solo-work that he recorded primarily at home. “We [recorded one song] at Box Studios with Woody Jackson—one of the oldest, unaltered studio buildings in Los Angeles—he’s kept it like it was since the ‘30s.” The remaining nine songs were recorded by Embry at his home in Ojai, CA.

“People are witnessing [my music] for the first time. It’s a raw experience. I want to be a part of as many raw experiences as possible.” Embry’s decision to sign with Community Music—run by Bryan Ling and Ed Sharp frontman Alex Ebert—showed this artist's commitment to keeping the new venture within his industry family. Embry was, however, initially worried by the label’s limitations. “I wondered, ‘who is going to carry my record in the UK,’” questioned the singer-songwriter. “But Bryan lined me up with Ben Lovett at Communion … That got me [opening for] Mumford. It’s started this really great organic road. It’s like some serious Miracle Grow.” Community Music’s grassroots approach to promotion allows fans to take part in the label, similar to street teams of the late ‘90s. Their motto: “Community Music is about collaboration, celebration, transparency and trust. We don’t look for bands to sign, but for friends to support.” In this smartphone era—taking photos/video during concerts, texting in theaters—Embry is ecstatic to be involved with an underground genre of music and music lovers. “I realized when there were probably 10,000 people standing right in front of [me as] I started to play… an hour and a half before Mumford [goes on]: … no one was holding up their phone. … People are witnessing [my music] for the first time. It’s a raw experience. I want to be a part of as many raw experiences as possible.” The singer-songwriter advises fellow musicians: “There’s something really cool about the Internet, the instant gratification of sharing one’s creativity, but on a lot of levels creativity is what you leave out of things. Holding onto things you’ve created for a while so it can become part of your inner evolution is something that I hope we can all do together, and share what we really feel is our best.” Tiny Prayers is set for a fall 2012 release. ——Andy Mesecher

CORINNE BUCHANAN

DESCRIBE THE FAUNA

SIGNING STORIES

Abandoned Pools

Blondfire Date Signed: August 2012 Label: Warner Bros. Records Band Members: Erica Driscoll, vocals, guitar, keyboards; Bruce Driscoll, vocals, guitar, keyboards, bass, drums. Type of Music: Electro-pop Management: David Bason / The MGMT Company, 818-760-7657 Booking: Andrew Simon and Kyle Wilensky / CAA, 424-288-2000 Legal: David Jacobs / Mark Music & Media Law, P.C., 646-274-3699 Publicity: Kate Cafaro / Warner Bros. Records, kate.cafaro@wbr.com, 818-953-3257 Web: http://blondfire.com A&R: Jeff Sosnow, Adam Herzog

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londfire’s signing saga is very much one born of the Internet. Landing the video for the song “Where the Kids Are” on a few blogs less than a year ago attracted a wave of interest. It wasn’t long until satellite and local radio came to call. So did management. Soon after, a deal with Warner Bros. was inked. “We had a friend do a music video and it came out really cool,” recalls Erica Driscoll, half of the brother-and-sister duo. “We didn’t have a publicist or anything so I hit up a couple of blogs. Once it went online, it took off; other blogs started to pick it up. It was surprising because I didn’t know if anyone would read an email from me, since it wasn’t from a proper publicist.”

Date Signed: November 2011 Label: Tooth & Nail Records Type of Music: Alt-Rock Band Members: Tommy Walter Management: Travis Szendrei / Visionary Artist Management Booking: Last Hope Music, ryan@lasthopemusic.com Legal: Bryan K. Christner Publicity: Jeff Kilgour / Tijuana Gift Shop, jeff@tijuanagiftshop.net Web: http://abandonedpools.com A&R: Micah Dean

I

n the 11 years Tommy Walter invested in solo project Abandoned Pools, he has been signed by labels, both independent and major, produced two full-lengths and an EP, recruited a band for the project and whittled the number back down to one. After a stint on Universal Records, which released 2005’s Armed to the Teeth, the former Eels co-founder/bassist was “burnt out” and disappointed with the label. It had ceased promoting the album, and Abandoned Pools entered a dormant period. Seven years later, Walter came back with a new record and label––Tooth & Nail Records. Sublime Currency is the fruit of Walter’s rekindled interest, which was in progress by the time his manager ran into Tooth & Nail’s A&R rep, Micah Dean, at SXSW. Dean just happened to be an Abandoned Pools fan and represent a label whose enthusiasm for Walter’s music mirrored that of Extasy Records, which released Abandoned Pools’ debut 10 years ago. That drew Walter to Tooth & Nail, in addition to a good licensing deal. “What I like about the deal, as opposed to the previous two, is that they license the 11 tracks of the album, as opposed to signing me and controlling everything I do. They just have those 11 songs, which I think is nice and

“The main breakthrough was getting picked up by “I think it still matters [Sirius Satellite Radio’s] in people’s minds, an artist being signed Alt Nation channel.” versus unsigned.”

Radio airplay followed soon after––both satellite and terrestrial. “The main thing that made us break through was getting picked up by [Sirius Satellite Radio's] Alt Nation channel,” Driscoll observes. “We got placed into regular rotation. People noticed that we were getting played next to bands like Foster the People. We also got picked up by [Los Angeles station] KROQ. Kat Corbett from [KROQ show] Locals Only has been very supportive.” The airplay drew the attention of label execs. But it wasn’t Warner Bros. that found the band, initially. It was Brooklyn-based Warner affiliate Modern Art Records. “Ben [Collins] at Modern Art really wanted to sign us, but it progressed up the chain to Warner,” Driscoll explains. “When we met with them, they got our music, as opposed to other labels we’d met with. Warner thought that we already had our sound. Other labels loved our songwriting, but seemed like they wanted to toy with our music more.” Young Heart is being mixed by Wally Gagel and is expected to be released sometime in the New Year. A California tour is being planned and Blondfire is looking to join forces on the road with another more established band. ——Rob Putnam

flexible, so I can do other stuff. I have another licensing deal with Hype, the music library that MTV does, so I can license music to them, and Tooth & Nail doesn’t have any claim over that. For all the struggles that the music industry is having, it’s kind of a cool situation,” Walter says. As with the first AP album, Humanistic, Walter took on Sublime Currency solo, doing preproduction at home and all tracking except drums. Recorded in the artist’s native Southern California, the finished project was dropped into Tooth & Nail’s reputable hands, which went to work promoting it. “They’re doing a lot of good PR, setting up interviews, like we’re doing now, and reaching out to blogs. They have a bigger reach than I have on my own,” Walter says. “Just being on that label gets Abandoned Pools attention, because the label has its own fan base, and I think it still matters in people’s minds, an artist being signed versus unsigned. That, on a very basic level, helps.” Sublime Currency dropped on Aug. 28th. ——Jessica Pace October 2012

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SONG BIZ

MARIAH CAREY: BMI ICON

HAL DAVID: LEGENDARY LYRICIST Hal David, whose lyrics to Burt Bacharach’s melodies resulted in dozens of hit songs, including “Do You Know the Way to San Jose” and “Raindrops Keep Fallin’ on My Head,” died in Los Angeles recently. David joined the board of the ASCAP in 1974 and served as president from 1980 to 1986. He was head of the Songwriters Hall of Fame from 2001 to 2011, and was Chairman Emeritus until his death at age 91.

The 12th Annual BMI Urban Awards in Los Angeles celebrated R&B and hip-hop music creators, capped with the presentation of BMI’s most prestigious honor, The Icon Award, to Mariah Carey for her songwriting. Pictured (l-r): Catherine Brewton, BMI VP; Del Bryant, BMI CEO; Mariah Carey, husband Nick Cannon.

The Sound of the Screen The Hollywood Reporter and Billboard are joining forces to deliver The Billboard/Hollywood Reporter Music Conference, a two-day seminar on the role of music in film and television. Now in its 11th year, this conference offers attendees the unique opportunity to learn from, network and expose their music directly to some of the best music supervisors, composers, directors, music editors, writers and producers in the business. The event also provides a dynamic forum for the exchange of ideas via roundtable discussions and other networking cocktail parties and sessions. The event will be held on Oct. 24 and 25 at the W Hotel in Hollywood, CA. Five-time Grammy winning singer-songwriter Christina Aguilera will deliver the keynote address. Songmiths should take note of a good number of songwriter-specific sessions including “Songwriters’ Synch Licensing Successes,” “The New Song Pluggers: Boutique Agencies” and “Who Determines The Value of a Song?” Also of special notice are in-depth interviews with composers, songwriters, music supervisors and producers, one-on-one sessions and roundtables, networking opportunities, live performances and more. For additional information, visit http://billboard events.com.

Billy Joel: Rondor/UMPG Big Shot Billy Joel has signed an exclusive worldwide publishing administration agreement with Rondor Music and Universal Music Publishing Group Worldwide (UMPG). The agreement encompasses Joel’s entire catalog of music, every song written by him since the beginning of his career more than 40 years ago, including some of the biggest hits of all time. The wide range of artists who have recorded cover versions of his songs include Beyoncé, Ray Charles, Diana Krall, Garth Brooks, Isaac Hayes, Tony Bennett, Bette Midler, Dolly Parton, Barbra Streisand, Westlife and Barry White, among many others. In the United States and Canada, where Joel’s publishing has been self-administered, the new deal with Rondor will start on Oct. 1 of this year. Outside those territories, the Rondor/UMPG arrangement will begin Jan. 1, 2013 when Joel’s current administration deal expires. Media contact is Natalie Geday, NMG Relations, 714-655-2309.

Putting the Awe in Austin At this year’s Austin City Limits Music

MARK KATZ APPOINTED AT ASCAP

SESAC INVESTED IN JON VEZNER SESAC has announced the signing of Grammy Award-winning songwriter Jon Vezner for representation. Vezner has an impressive list of credits including cuts by the likes of Martina McBride, John Mellencamp and Faith Hill among many others. Vezner also co-wrote Kathy Mattea’s classic “Where’ve You Been,” with SESAC affiliate Don Henry, which went on to win Song of the Year honors at the CMA and ACM Awards and “Best Country Song” at The Grammys. (l-r): Tim Fink, SESAC, and Jon Vezner. See http://sesac.com. 28 October 2012

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Festival—Oct. 12 -14 in Austin, TX—the work that leading performing right organization BMI does on behalf of songwriters will be represented with 15 musically diverse performances by an eclectic collection of artists. From 11:00 a.m. to 7:30 p.m. each day of the festival, in a shady corner at Zilker Park, ACL attendees will be able to beat the heat and experience a lineup of bands from across the United States and England, spanning rock & roll, honky tonk, country, indie rock, Americana and acoustic singer-songwriters. The BMI stage will feature Nikki Lane, Colorfeels, Space Capone and the Kenny Vaughan Trio, all from Nashville, TN; Lera Lynn, Patterson Hood, and Megan McCormick from Georgia; Noah Gundersen from Seattle, WA; Native Run and KishiBashi from Virginia; Royal Teeth from New Orleans, LA; Justin Jones from Washington, D.C.; Willis Earl Beal from Chicago, IL; Gardens & Villa from Santa Barbara, CA and the Dunwells from Leeds, England. Free to join, with an open-door policy for all songwriters since its founding in 1939, BMI is dedicated to supporting the rights, livelihoods and careers of all songwriters. The BMI stage at ACL Festival is an example of not only the types of inspired, gifted artists that organization champions, but also the kind of opportunities BMI strives to offer them. Get more details at http://bmi.com.

The American Society of Composers Authors and Publishers (ASCAP) has announced the appointment of Mark Katz as the organization’s new Chief Information Officer. He will be based in ASCAP’s New York office.

SONG BIZ

—DAN KIMPEL dan@dankimpel.com

BOOTS AND HEARTS = RAIN AND MUD

BMI URBAN CELEBRATES IN THE 90210

M ARGARET HOGG

When organizers named annual country music and camping extravaganza, Boots and Hearts, they likely had no idea just how much of both of those things it would take just to survive the inaugural edition of the Canadian festival. Sunny skies prevailed in Bowmanville, Ontario when Lionel Richie performed. Kev Nish, J-Splif and Prohgress of Far East Movement arrive at the 2012 BMI Urban Awards, which was held at the Saban Theatre in Beverly Hills, CA.

Songwriting in Service Ten former military servicemen and women will have a unique opportunity to share their stories with professional songwriters during the Songwriting With: Soldiers retreat at the Cedarbrake Renewal Center in Belton, TX, being held Oct. 26 - 28, 2012. The Bob Woodruff Foundation and The ASCAP Foundation have joined Songwriting With: Soldiers to present the program, initiated with the goal of providing stress relief for returning US veterans of Iraq and Afghanistan suffering from Post Traumatic Stress (PTS) and traumatic brain injuries. Program creator and Austin-based songwriter Darden Smith, along with professional songwriters Radney Foster and Jay Clementi, will be paired with veterans in a retreat setting to write songs based on their combat experience and its effect on them since returning home. The private retreat center allows for an intimate event that fosters connections and the schedule includes time for personal relaxation. All participants will be considered co-writers of their songs and will be registered as such with ASCAP. This is to ensure that, if applicable, they will share in any royalties stemming from the public performance of their work. The songs written during the retreat will be recorded on-site and distributed to the participants.

In recent years, Smith established Be An Artist, Inc., a nonprofit organization dedicated to sponsoring projects that bring arts and creativity into educational settings. Songwriting With: Soldiers emerged out of this program. For further information about the Songwriting With: Soldiers program and retreat, visit http://dar densmith.com/songwritingwithsoldiers.

Songs in the Spirit: Christian Musician Summit Taking place Oct. 4, 5 and 6, the Christian Musician Summit held near Nashville, TN, at Grace Chapel, in Franklin (in Historical Leipers Fork), will join together a distinguished roster of Christian musicians and industry folks, along with prolific and productive country music songwriters for an inspiring day of collective knowledge. The Christian Musician Summit conferences are designed for worship leaders, musicians, technicians, pastors, songwriters and independent artists to improve skill and inspire talent. These conferences feature the best musicians in the genre as workshop clinicians and performers. The CMS conferences also feature exhibits with audio/video and music companies who offer products and services for the Christian church market. These events provide a time for

SESAC GETS TOUGH

musicians and technicians of all levels to come and learn, network and fellowship. Visit http://christianmusiciansummit.com.

Westward Ho the Writers The Wild West Songwriters Festival , Oct. 11 - 14, celebrates the tradition of storytelling through song with the spirit of Deadwood’s Wild West. Performances will be held day and night at some of Historic Deadwood’s finest establishments. Among the performing songwriters and artists participating: Wayne Kirkpatrick, Jaren Johnston, Steven Brandy Clark, Tyler Hilton, Bonnie Baker, Danny Myrick, Shane McAnally, Cary Barlowe, Carl Bell (of Fuel), Emerson Hart (of Tonic), Marc Beeson, Billy Burnette, Andrew McMahon and Catilyn Smith. Visit http://dead woodmountaingrand.com.

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

EARLE’S LITERARY PEARLS Cary Goldstein, Publisher and Editor-in-Chief of Twelve, announces the acquisition of two books by legendary singer and songwriter Steve Earle. The first book will be a memoir (“The book I swore I would never write,” claims Earle) and the second a novel. See more details at http:// steveearle.com.

Dr. David Tough (at right) with Hunter Williams, Senior Vice President, SESAC, is half of the duo, Xavier & Ophelia. Tough recently produced, engineered and wrote nine original songs for the CW television show Hart of Dixie.. October 2012

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SONGWRITER PROFILE

R ELIENT K

SONG BIZ

From Relient K to the Pure Pop of “Good Time” By Dan Kimpel

I

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t is an effervescent pairing: Adam Young’s synth pop project Owl City with Canadian pop star Carly Rae Jepson. Teaming up for the frothy, charttopping hit, “Good Time,” the pair deliver a certified smash that Fuse TV dubbed the “World’s Catchiest Song.” Longtime fans of Relient K’s Matt Thiessen might find it improbable that the Christian rock band’s frontman joined Lady Gaga songwriter and producer Brian Lee and Adam Young to imagine this track. Says Thiessen, “It’s one of those things, a lot of really great people and music and timing it all connected and it all happened. And it is very cool.” Canadian-born and Ohio-raised, Thiessen now resides in Nashville, TN. “It’s a melting pot of bands and industry people, but mostly friends,” he says. “My band mates live here. It’s central, great to tour out of because there are a lot of busses. Nobody cares if you’re famous, or not famous. It’s a drinking town, too. You can go to church down at these honky-tonks.” But Thiessen has yet to commune with Music City’s fabled stable of songwriters. “I’ve been here for four years, but I don’t write many songs in Nashville. I go out to Los Angeles to write.” Prior to writing with Thiessen, his Los Angeles-based collaborator Brian Lee was a fan of Relient K. “He grew up knowing my band and listening to similar bands. He became a track guy, working with Lady Gaga, and we became friends. Mostly we write when I’m out in L.A., but he will come to Nashville also. We consider it a family—we have the same publisher who encourages us to write together.” Thiessen credits Lee for the maddeningly catchy “Woah, oh, oh, oh…” hook in “Good Times” as he observes, “I couldn’t have written that. And who knows how much of the song’s success is just on those notes. With pop music, you have to change the speed every couple of seconds. And all of these moments have to make sense together.” He notes that the collaborative nature of modern pop songs might be tied to economic trends within the business. “I think it’s because the music industry is in a place where people aren’t making as much money as they used to, so maybe they think, ‘If we stick together and write the best song possible, then our chances are better. Who cares if we have to split it up? At least we’re making something.’ I think that is causing a lot of people to let their egos deflate just a little. For me it’s new, but maybe it’s always been that way.” After a protracted break, Relient K is readying a new project. And the chemistry that Thiessen is now expanding on as a co-writing member of a larger team will also be apparent in the band’s new songs. Relient K’s legacy includes six full-length albums, three of which have been certified gold and peaked in the Billboard Top 20, but Thiessen is typically modest about this success. Still, he notes that his current co-writers were influenced by the band. “I feel like that is a part of my resume, and that I put my personality out there with the band. So maybe others might think, ‘I could work with that guy, he didn’t write that many bad songs.’” Around 2005, Thiessen was in Los Angeles when his friendship with an ambitious young pop aspirant introduced him to a new world of hit making. “I lucked into that when I was 21 or 22, with Katy Hudson who became Katy Perry. She was working with Glen Ballard, so I got to hang out in the studio a lot and pick up things from him. For me, with my little band that no one cared about, being a fly on the wall was a great experience.” Being around the culture of hit songwriters and producers, Thiessen surmises, is supremely beneficial. “I feel that’s all I’m doing, trying to get around people who write better songs than I do. That can easily turn into people thinking you have to schmooze, or pass invisible business cards, but that’s not what I’m talking about. You should learn from the best.” Contact Karen Wiessen, karen@thedooronline.com

September 2012

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U/6U/ / , Lorenz, Eastwood’s Assistant Director of over 15 years. The film is a drama about Gus (Eastwood), an aging baseball scout who goes on one last recruiting trip in North Carolina with his estranged daughter Mickey (Adams). Beltrami utilizes both subtle touches of an intimate ensemble and the powerful impact of a full orchestra to reflect the emotion of the film. Next up for the composer is the film The Sessions, which opens Oct. 26th.

Radiohead

DROPS Austin City Limits, the longest-running music show in TV history, returns to PBS for an unprecedented 38th Season this fall. The first episode will premiere Saturday, Oct. 6, showcasing the iconic British band Radiohead in a rare full-hour television performance. Check local listings for times. The upcoming season features a full roster of popular music, including Bon Iver (2012 Best New Artist Grammy winner), Bonnie Raitt with Mavis Staples, the Shins and the Civil Wars. The program is taped live before a concert audience from its new home at The Moody Theater in downtown Austin, TX. For more information, contact Maureen Coakley at coakleypress@gmail. com or 917-601-1229. The Brooklyn Brothers (Ryan O’Nan and Michael Weston) have blurred the line between fiction and reality, starring in Brooklyn Brothers Beat The Best—a new film about the heartbreaks and joys of making music—released to time with their self-titled debut album and first ever tour. Released on ATCO, an imprint of Rhino Entertainment, Brooklyn Brothers: The Album features the band’s “The Shins meet Sesame Street” sound. Presented by Oscilloscope Laborato-

ries, Brooklyn Brothers Beat the Best is available On Demand and digital platforms in over 40 million homes nationwide. For additional information, check out http://brookleynbrothersmovie.com or contact Jason Elzy at Rhino Entertainment, jason. elzy@rhino.com or 818-238-6220. The World Soundtrack Academy has announced the list of its nominees for the 2012 Awards to be presented in three categories: Film Composer of the Year, Best Original Score of the Year and Best Original Song Written Directly for a Film. The names of the winners will be announced at the World Soundtrack Awards & Concert on Saturday, Oct. 20, the closing night of the Ghent International Film Festival. The music of award-winning composer James Newton Howard will be celebrated in concert at the Awards, which will be held at Ghent’s Kuipke Events Centre. A program of his music will be performed by the renowned Brussels Philharmonic and be accompanied by select film clips. The concert will be conducted by both Howard and Dirk Brossé. Tickets for the World Soundtrack Awards & Concert are on sale at http://filmfestival.be. For more information, contact Jeff Sanderson at Chasen & Company, 310-374-4400 or jeff@ chasenpr.com. The Library of Congress has The Musical Worlds of Victor Herbert as a free exhibition now through Jan. 26, 2013 in the Performing Arts Reading Room Gallery in the Library’s James Madison Building in Washington, D.C. The show examines the multifaceted life of this influential musician who almost single-handedly moved Broadway into, through and out of its operetta phase. The exhibition also will include material about Herbert’s role as the founder of the American Society of Composers, Authors and Publishers (ASCAP). Following its closing, the exhibition will be displayed at the Walt Disney Concert Hall in Los Angeles, CA, Feb. 24 through Aug. 17, 2013.

Ryan O’Nan from Brooklyn Brothers

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Two-time Academy Award nominated composer Marco Beltrami (Hurt Locker, 3:10 to Yuma) scored Trouble with the Curve, which opened Sept. 21st. The film’s all-star cast includes Clint Eastwood, Amy Adams, Justin Timberlake and John Goodman. Trouble marks Eastwood’s first film he has starred in but not directed in nine years (In the Line of Fire) and the directorial debut for Robert

Acclaimed filmmaker Gigi Gaston’s Room 105, a new musical tribute to Janis Joplin starring Grammy-nominated Sophie B. Hawkins, takes over West Hollywood, CA’s Macha Theatre—just blocks away from Barney’s Beanery where Joplin had her last drink before her untimely death. Room 105 offers a modern retrospective on Joplin’s turbulent life, telling a story that reveals the iconic singer’s thoughts on love, sex, fame Sophie B. Hawkins and belonging. The show premieres Oct. 4, the anniversary of Joplin’s death. Tickets can be ordered at http:// plays411.com/105 or by phone at 323-960-1055. For more information, contact Sarah Allbritten at LTLA Communications, 310-274-3880 or sarah@lt-la.com.

OPPS Straight out of Nashville, and coming to a computer screen near you, is the IC Virtual Music Conference and Expo, scheduled for Jan. 15 - 17, 2013 and hosted by Indie Connect. The theme of the event is “Developing Long Term Success as an Indie Artist.” According to Vinny Ribas, CEO of Indie Connect, the three-day event will feature over 30 live and pre-recorded expert presentations from around the globe. Each presentation will be followed by a live chat moderated by the speaker. Artists and record labels will have their own interactive trade show to showcase their music and acts. Exhibitors can show their videos, link to their website, sell their music, show their EPK, add fans to their mailing list and promote their fan-funding campaign. For full information, visit http://virtualmusicconference.com or contact Vinny Ribas at Indie Connect, 615-5684736 or vinny@indieconnect.com. It’s not too late for musicians near Nashville’s Music Row to get involved with the Independent Music Fest. From Oct. 4 - 7 performers and songwriters will take to indoor stage locations along Demonbreun and Division streets from noonmidnight Friday through Sunday at entertainment venues such as Red Rooster and the Music Row Best Western Lounge with scheduled

Victor Herbert

U/6U/ / ,

—TOM KIDD prespak1@verizon.net

OutTAKE

and open-mic play opportunities. Attendees can receive hands-on advice, critiques and training in the Music Specialty Info Areas on topics such as, Radio, Video and Broadcasting. For more information, visit http://Iindependentmusicfest.org, send an email inquiry to popcorn@independent musicfest.org or call 615-424-1491. Tales From The Sunset Strip is a rock & roll Internet radio/television show, hosted by “Cultural Ambassador to The Sunset Strip” Willie Basse. Broadcasting live from legendary Canter’s Deli Kibitz Room in Hollywood, CA, every Friday at 2 p.m. PST, listeners and viewers experience live music from the house band, which includes some of rock’s most renowned musical artists. With plenty of interviews, current events, concert calendar and more, this is a great place for indie artists to get close to what’s happening. Tales From The Sunset Strip broadcasts at http://twintalkcast. com network. It is also available on iTunes and posted weekly on YouTube. For information about getting involved with this show, contact rocks cool@aol.com.

Willie Basse

PROPS Lani Ford of Kicking and Screaming Music has taped an appearance on The Sissy Gamache Show on Manhattan Channel 56 in New York City. The former member of the rock trio Stark appeared with her new Gypsy Americana group Tania & The Revolutionaries. During the halfhour program, Gamache interviewed Ford and talked about the singer’s 11-year career. To learn more about the artist, visit http://laniford.com.

Michelle Crispin Sr. Creative Director, Film & TV E-mail: michelle@mightygen.com Web: http://mightygen.com Most Recent: Katie Costello

“M Teen bands have the chance to showcase their talent by entering NAMM’s fourth annual SchoolJam USA, a national teen battle of the bands. Unsigned teen musicians between the ages of 13 and 19, with the majority of band members registered in a US middle or high school, are eligible to participate. Online entry for bands is open until Oct. 26th. Bands can perform any genre of music. Song selections must be original content or designated as “public domain.” Winners will travel to perform at the original SchoolJam festival in Frankfurt, Germany as well as a private music video recording session on the John Lennon Educational Bus. Middle and high school teens with a passion for music can help promote their schools’ music education programs, by entering the SchoolJam USA competition at http://school jamusa.com. MTV officially launched Artists.MTV, a new music initiative created by the network to showcase a range of artists both signed and unsigned, old and new, on a more advanced platform. The artist will be in complete control of his own Artists MTV page and can use it to connect with fans. MTV is accepting submissions from all artists. Learn all about how to become involved at http:// mtv.com/artists/about. More than 400 performing artists, music creators and industry representing all genres of music are expected to visit Nashville’s Music Row from Feb. 1 - 3, 2013 for the LGBT Music Festival. The Music Row Best Western will host music industry information tables, networking areas, and training sessions from 11 a.m. - 6 p.m., Friday-Sunday, on such topics as radio, video and broadcasting for lesbian, gay, bisexual and transgendered musicians and those who support them. To register and for more information about the LGBT Music Fest, visit http://LGBTMusicFest. org, or send an email inquiry to info@LGBTMu sicFest.org or call 615-424-1491.

usic supervisors are the new A&R,” says Michelle Crispin, Sr. Creative Director, Film & TV at Mighty Generation Music, a full-service music licensing and publishing company specializing in the placement of artist’s songs in all media. As with label A&R, those in film & TV take just anything that comes across their desks.

Lani Ford

The Youth Institute Digital Media Program, based out of the Weingart East L.A. YMCA, recently wrapped up its first summer class of 25 students-turned-filmmakers. The class broke into five production teams to create short films with each participant playing a different creative role (director, editor, writer, graphics and sound designer). All of the kids had to record their own music for the films. The group also released the YI magazine, which includes heartfelt stories for its local community. The studio encourages kids to run the program in order to show them future career opportunities. Pictured below (l-r): Selena Del Toro, Rosa Velez, Luz Gonzalez and Crystal Meza. For complete information, visit http://facebook. com/ymcayouthinstituteeastlosangeles.

No one knows this better than Crispin who brings to Mighty Generation a wealth of experience in the music business. The original lead singer for Fem 2 Fem, as a solo artist Crispin subsequently worked with the development team behind Christina Aguilera. Like every career artist, she eventually felt that she needed to know the administrative side of the music business. That lead to the music major’s work with Mighty Generation Music, a job Crispin describes as “So much fun.” Crispin has learned what every musician should know. “Format can hurt a song’s chances for placement if the hook is not immediate,” she says. Songs need to have short intros and long fadeouts are no help to a good song either. “Certain songs are easier to place than others,” she confirms. “The sky is the limit for source music. For that, the music needs ambiguous language. Still, the hook has to come in quickly.” Certain artists are easier to work with as well. “Some will do whatever is necessary to get a placement,” Crispin says. “Others are totally offended by it.”

The Youth Institute Digital Media Program

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

While Crispin’s desk at Mighty Generation is already overloaded with music, that doesn’t mean she’s not open to submissions. However, she is just as strict about format as are the productions she services. All submissions need to be able to stream. She warns new artists, “If I have to download, I won’t.”

October 2012

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JODY DOMINGUE

MIXED NOTES SIGNING STORIES

MORISSETTE GETS HER NAILS DIRTY: Alanis Morissette is seen creating her Rockwalk Commemorative plaque, which is now viewable as part of the renowned Rockwalk Hall of Fame in front of the Guitar Center store in Hollywood, CA. The 3D modeled plaque, designed by Meredith Day, is composed of faux granite, with bronze edge and lettering overlay with embedded imagery of the artist.

SHUTTING DOWN SUNSET: Zakk Wylde and his band of misfits, Black Label Society, took to the Outdoor Street Fest stage at this year’s Sunset Strip Music Festival (SSMF). From Aug. 17 - 19, a large chunk of West Hollywood, CA’s Sunset Strip was closed down for a celebration that included heavy metal, punk rock, hip-hop, indie and more. Performers included Marilyn Manson, the Offspring, Bad Religion, RZA, Steve Aoki, Dead Sara and many more. Get the full scoop at http://sunsetstripmusicfestival.com. For additional hot shots, see MC's Photo Blog: http://musicconnection.com. JBL SUPPORT ARTISTS FOR AUTISM: Harman’s JBL Professional recently supported the Artists for Autism benefit in Tarzana, CA, providing a VRX PA system for the day-long event. Held at live music venue Petie’s Place, the Artists for Autism event featured performances by Resurrect the Machine, Ronny North, the Back Beat Brawlers and Jeff Iftekaruddin. All proceeds were donated to the Autism Speaks foundation. Pictured (l-r): Ronny North, Becki Barabas of JBL Professional, Andre Makina and Kurt Barabas of Resurrect the Machine.

MONSTER BOOK RELEASE: Kiss and their female doppelgangers slithered to the Viper Room in Hollywood, CA, to unveil their heaviest piece of merch since the logo-emblazoned “Kasket.” One of the largest books ever made, you will need to drink a Monster (no relation despite the remarkably similar branding) energy drink to lift it, and priced at over $4,000, you may need to work overtime to afford it. Visit http://kissonline.com. 34 October 2012

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FORD, PERRY PREP CROWD FOR POISON, DEF LEPPARD: Playing to a sold out crowd at Red Rock Amphitheater and Casino in Las Vegas, NV, Mitch Perry and Lita Ford are seen in full-on shred mode, something they have done all summer on tour with Def Leppard and Poison. Once the tour concludes, Ford will do a string of California shows to be recorded for a live album. Find out more at http://litafordonline.com.

MIXED NOTES SIGNING STORIES

DIANE BONDAREFF /I NVISION FOR CASIO

MUSIC REIGNS AT PRE-EMMYS SOIREE: SCL members and the music industry community celebrated the nominees in outstanding music for the 64th Primetime Emmy Awards at the Academy of Television Arts & Sciences in Burbank, CA. Some heavy hitters involved making music for the nominated TV show are (l-r): Candace Stewart, Studio Manager, EastWest Recording Studios; Shari Hoffman, Manager, AFM & SAG-AFTRA IPRD Fund and Live Television Videotape Supplemental Markets Fund; Dan Foliart, Film Composer (Rosanne, 7th Heaven) & President of the SCL; Paula Salvatore, Studio Manager of Capitol Studios; and Russ Landau, composer for the Survivor series.

CASIO'S N.Y.C. LAUNCH PARTY: Casio threw a launch party in Manhattan to celebrate the company’s new musical line, including the Privia digital piano. Seen here is Enferno using Casio’s XW-G1 Synthesizer. The event took place at the Edison Ballroom. Get further details at http://casio.com. 5 FINGER DEATH PUNCH CHILLIN’ “BACKSTAGE”: At this year’s “Oxxfest” in Scarborough, ME, members of 5 Finger Death Punch hung out behind the scenes with Backstage Artist Lounge host Christina Martin. Pictured (l-r): Ivan Moody, Martin and Jeremy Spencer. See Backstage Artist Lounge’s next stop at http://back stageartistlounge.com.

K HRIS POAGE

KUBANDA'S EPIC SUCCESS: Artist Gabe Kubanda, Lost In Atlantis and School Boy Humor are seen celebrating a successful show at the free Six Flags Over Texas location, a stop on their summer Epic Proportions Tour. Pictured (l-r): Kubanda, Lizzy Rosowski, Tim Pinedo, Eric Pinedo, Ryan Streeter, David Allen, Anthony Evans, Phil Evans and Caleb Schultz. See post-tour coverage at http://epicproportionstour.com.

R ANDALL M ICHELSON

C ELEBRATING

—ANDY MESECHER andym@musicconnection.com

COUNTING CROWS PROMOTE THE FUNK: TELEFUNKEN Elektroakustik delivered a number of its microphones to the Counting Crows for their live touring and the recording of their new album, Underwater Sunshine. Pictured is Counting Crows founder Adam Duritz with the M80-WH mic capsule from Telefunken. At some point after the tour, Counting Crows plan to head back to the studio for their next album. KIMMEL PERFORMS THE NEWS: Huey Lewis & the News played The Greek Theatre, L.A. and welcomed special guest Jimmy Kimmel to the stage to join the sax players. Other recent Greek performers include MC cover boy Gotye, Crosby Stills & Nash, Fiona Apple, and more. Check http:// greektheatrela.com for upcoming events.

October 2012

1977– 2012

35 Years

Tidbits From Our Tattered Past

1986—Paul Simon—(Issue 22): Making a successful comeback with his Graceland album, Paul Simon spoke to MC about not only his South African musical odyssey, but exactly how it was a leap from his previous album, Heart & Bones. The issue also has reviews of Elvis Costello's four-night stand of "theme" shows at the Beverly Theatre and features a series of in-depth interviews with songwriters such as Wendy Waldman, John Dexter, Alllee Willis and Thomas Dolby, who said, "Allee writes up to 200 songs a year; I've written 30 in my career."

1991—Natalie Cole—(Issue 18): Cole was rising the success of her highly successful album Unforgettable, a tribute to her dad, the great Nat "King" Cole, when she chatted with Music Connection. Recalling her time away from the business, undergoing intensive rehab for a drug habit, Cole commented, "It was a rough time. I thought, 'Will I ever be able to sing again? Do I even have a career?'" Also, Michael Jackson, Mark Wahlberg, Amy Grant, Gary Cherone, producer John Porter, songwriter Marc Cohn, and MCA A&R representative Jill Johnson are seen in this issue.

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By Andy Kaufmann Photo by Jody Domingue 36 October 2012

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is friends call him Wally, but the name on his birth certificate is Wouter De Backer. He’s best known by his stage name, Gotye, a cheeky permutation of the French pronunciation for Walter. Born in Belgium but raised in Melbourne, Australia, the 32-year-old breakout artist has been part of indie band the Basics since 2002, but it’s the video for his infectious solo track, “Somebody That I Used to Know,” that has accumulated over 300 million views on YouTube.

This is an unusual breakthrough. He uses samples, but isn’t a hip-hop artist. He has a passion for quirky instruments, like the one-of-a-kind Winston Musical Fence located in Queensland’s outback. His influences range from Motown to world music (with arrangements that pack everything from Turkish drums to a horn break from a Taiwanese folk song). And despite his newfound popularity in the pop sphere, he considers himself a “tinkerer” rather than the world-renowned multi-instrumentalist he’s become.

CYBELE MALINOWSKI

Although the song reached No. 1 on the Billboard Hot 100, Gotye is a new phenomenon only to this hemisphere. Last year in his native land down under, he won six ARIA awards, the Aussie equivalent of the Grammy, including Best Male Artist and Producer of the Year. His latest album, Making Mirrors (Eleven), has gone gold in the UK, the Netherlands, Canada and New Zealand as well as America. Meanwhile, in France, Belgium, Poland and Australia, it’s gone triple platinum.

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Music Connection: It seems you found success all around the world before breaking into the American market. Was that by design? Had you tried to enter the American market previously? How have you approached the American market differently? Gotye: I tried to find a US label for my last album, but didn’t have a manager/label/agent so it was difficult. I ended up putting it out digitally myself. The main thing with approaching America on this new record is spending a lot of time here, playing lots of live shows, because it’s such a big place.  MC: Your music has been covered on TV shows like The Voice, American Idol and Glee. Are you surprised by the way in which you’ve penetrated the pop space? Gotye: Yes, quite surprised.

MC: Your first album was made up primarily of samples, but stylistically you’re far away from rap and hip-hop. Do you think you’d be doing the type of music you’re doing without the legitimacy of samples within the public’s mind? Gotye: People who create music using samples do it in vastly different ways, and I think the legitimacy of it in audiences’ minds varies. It doesn’t really have a bearing on me. I find sampling so inspiring as a songwriting and producing process that I would be doing it regardless of whether certain people accept it or not. It allows for certain sonic qualities and musical results that I find exciting. MC: Your approach to creating music is exceedingly methodical. Why do you feel you’re able to get better results that way rather than just jamming away?

RIGHT THEN RIGHT NOW

“I find sampling so inspiring as a songwriting and producing process that I would be doing it regardless of whether certain people accept it or not.� Gotye: I jam with samples sometimes, or on regular instruments. My approach song to song varies quite a bit. MC: What’s the importance of releasing your work on vinyl? Have you found that to be more or less popular than you expected?

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38 October 2012

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MC: You still play with your band, the Basics, even though it’s obviously taken a back seat to your current trajectory. How have you dealt with that shift in priority? Has it been awkward putting your friends on the back burner while your career flourishes?

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CYBELE MALINOWSKI

THE BIG RIBBON SOUND

Gotye: Vinyl is the best physical medium for music out there. It has longevity and sound quality (if you get the mastering and pressing right) on its side.

chestra mashup I did for my YouTube channel recently served me better in terms of goodwill and connection with fans than any advertising or celebrity tweeting about my music. MC: What is it about your DIY aesthetic that has allowed you to become as successful as you have? Would you have had the same success, do you think, if you had hooked up with a major label early on? Gotye: Learning a little bit about all aspects of releasing music has been very beneficial, from producing and writing the music, booking my own shows for a period, taking care of all press and web stuff for years. I’ve made a bunch of mistakes and had expectations that were out of step with the reality of the industry, but I think because I’ve had time to learn from those experiences and no one needed to get “a result” from me at a par-

ticular stage (earlier stages, especially), I’ve been able to just develop what I do in a very organic way. MC: Where are you going to take your music in the future? Will you be doing more with samples? Multimedia? How can you maintain your popularity yet still evolve and keep your art from getting stale? Gotye: Making pieces that consider visuals and audio together from conception interests me. Maintaining my current popularity is less important to me than trying to make better, more challenging music. If I set myself the challenge of writing songs about things other people haven’t written songs about, I think that’s a good start. Contact maggie.faircloth@umgtemp.com

Gotye: I’ve juggled both projects for over 10 years, and at different times they have supported or challenged each other. I spent two to three years working on the last Basics record and touring solidly, so I feel alright doing my own thing for a while. MC: Tell us about your relationship with the animators who’ve worked on your videos. Do you come up with the concepts or do you just trust them to do what they do best? What is the importance of attaching a visual element to your work? And how much of that decision comes from a demand in the marketplace versus an organic decision directly inspired by the music? Gotye: I just like working with visual artists whose work I find engaging. Sometimes the ideas are purely theirs, in response to the song. Sometimes we brainstorm together, or I come in with a specific concept in mind. It depends on the song and the style of production. I like it when it’s a close working relationship with the directors and animators, when there’s open and direct communication. Working through producers and production companies I find more difficult. MC: How do you keep your voice in top form while on the road? Is there a ritual with which you keep your mind and voice in the right place? Gotye: I try not to talk too much when I’m able to rest. Warming up before shows is important and sometimes throat care with things like propolis and manuka honey help get me over the line. MC: You used a 10-piece orchestra for your performance at the Graphic Festival. How did that decision come about? Was it difficult to execute? How did that inclusion impact your performance? Gotye: Ten musicians ended up being the size of ensemble I felt I needed to do those shows. There was lots of rehearsal and time management involved. MC: You gained a boost in popularity after celebs like Ashton Kutcher and Lily Allen tweeted about you. How did that promotion serve you in comparison to more traditional forms of publicity, like print ads, magazine reviews and radio interviews? Gotye: I feel the Somebodies: A YouTube OrOctober 2012

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dmittedly not the sexiest aspect of the music-making process, mastering nevertheless remains essential to the success of your music. With MC’s exclusive Masters of Mastering interviews, you get a better understanding of the mastering engineer's skill, and how it can enhance— perhaps even salvage—your recordings.

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Colin Leonard

Company: SING Mastering Clientele: Kimbra, Wale, Justin Bieber Contact: SING Mastering, 404-827-8503 Though Leonard studied classical guitar in college, he recognized limitations in that career choice so he began to work with an en-gineer friend. Moving to Atlanta, GA, he started to mix when another friend asked if he was interested in mastering. Today, Leonard maintains that in a mastering studio the rectangular ratio is the most important thing—his new studio at SING Mastering is more than 30 feet long. Recently he mastered Wale’s “Bag of Money,” which is doing well on the R&B and rap charts. The busy Leonard’s latest project is mastering Leona Lewis’ new album Glassheart. What are the best ways to prep a mix for mastering? Not too loud, obviously. Having a little room to work with is a good thing. The best masters are ones that you don’t have to mess with the balance very much. A heavy-handed approach in mastering is the wrong approach. Doing as little as possible is the best way to go. Which mix problems can be addressed in the mastering stage? Which can’t? If it’s a little too bassy or a little too bright––it needs some clarity in the midrange––that I can fix. If it’s an MP3 or distorted, I can’t fix it. Do artists ever send you MP3s? I try to stay away from the compressed formats. I ask for WAV files. I don’t master an MP3 unless that’s all a client has. Have the do-it-yourself mastering tools improved to the point that musicians can achieve a better-than-passable master at home? Some of the plug-ins are getting better but it’s still about 95 percent ear and 5 percent equipment. When you master at home, the problem is one of experience. Knowing what

you’re listening to and having an accurate environment is what’s missing. What’s the ideal format for mastering-ready mixes? 24-bit or higher and whatever sample rate the project was recorded in––no sample rate conversion. Either WAV or AIFF files.

“Mastering is still about 95 percent ear and 5 percent equipment.” —Colin Leonard

What’s your take on the Mastered For iTunes initiative? It’s a step in the right direction. I look forward to the day when you can buy a full resolution, 16 bit/44k file or higher on iTunes. They do sound better than the old iTunes format, but it’s not quite far enough. It’s merely a matter of time until we get even higher quality. What’s the biggest mastering challenge you’ve ever faced?

pending called the SING Process. It allows me to avoid using a digital limiter and get things as loud as commercial releases without distortion and saturation at the low end. What does the future of mastering hold?

There aren’t that many professional studios and people don’t often have the money for a pro engineer. So they end up with five plug-ins on every instrument. The biggest problem that’s not reversible is the stereo expander plug-ins. They screw with the phase and I can’t do much to help that.

Mastering has become more important because of home production and mixing. It’s nice to have a last step from a guy with a lot of experience and a good listening environment. Some of the indie guys are eager to improve their mixing skills so it’s fun to be able to talk through those things.

What’s the biggest technical challenge/ problem you’ve ever gotten out of?

What do you say to people starting out as mastering engineers?

I had mastered a project and it had a lot of bass. It was as loud as it was going to get without sounding bad. I was asked to make it louder. That’s when I started using this new analog-based process for which I have a patent

It takes a lot of listening, a lot of practice and trying not to do too much to a mix. I still do new stuff on different mixes all the time. Figuring out what [a mix] doesn’t need is more important than what it needs. r

“Don’t squash the mixes because it paints us into a corner. “ —David Donnelly

David Donnelly

Company: DNA Mastering Clientele: Aerosmith, Red Hot Chili Peppers, Miley Cyrus Contact: http://dnamastering.com, 818-992-4034, mastering@aol.com David Donnelly broke into the industry as a vinyl plant record presser when he was 15. He did a variety of jobs with Warner and Geffen Records, among others, and learned many aspects of the business, including quality assurance and mixing. Donnelly also attended countless mastering sessions with artists and believes his unique, well-rounded industry perspective sets him apart from other mastering engineers. What are the best ways to prep a mix for mastering? Send files that aren’t squashed or brick-walled. Don’t convert the sampling rate and do leave lots of headroom––five or six dB. Don’t squash the mixes because it paints us into a corner.

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“The bane of mastering engineers is that people bring in mixes that have been crushed.” —Pete Doell

Which mix problems can be addressed in the mastering stage? Which can’t? In mastering you’re dealing in stereo so you don’t get something for nothing. If there’s excessive low end, often the kick and the bass are within the same frequency range. Other instruments can disappear with that. Midrange too. Have do-it-yourself mastering tools improved to the point that musicians can achieve a better-than-passable master at home. The software is probably okay; I’ll use it to fix something when nothing else works. It’s difficult to trade off a piece of software for $100,000 in analog gear and 30 to 40 years of experience. The ideal format for mastering-ready mixes?

engineer is that you have a room that reveals everything.

WAV files of AIFF. Whatever sampling rate they choose to record and mix in is what the sampling rate should be for the files that I get. They shouldn’t down-sample or dither down.

What’s the ideal format for mastering-ready mixes?

Do artists ever send you MP3s? I can’t say that I haven’t [mastered MP3s] but it’s rare. I don’t recommend it. Your take on Mastered For iTunes? I’m for anything that helps increase the consumer’s perspective on music. I’m not geared up to master for iTunes yet. There’s a pitfall from the mastering engineer’s standpoint: you have to go offline to test it. If they’re serious about this, I’d like to see them come up with a box for mastering engineers. What’s the biggest mastering challenge you’ve ever faced? Dealing with old, delicate tape. You have to know how to handle it. If you get something where there’s no going back to the producer or engineer and it’s completely flat-lined, slammed and you’re painted into a corner, that’s an incredibly difficult task. What’s the biggest technical challenge/ problem you’ve ever gotten out of? I was hired years ago to remaster an iconic record. When I got the tape, there were huge pieces of oxide missing. I had to take a CD and try to match what I was doing and make it sound like the flat master. I cut in dozens of sections so I used 90 percent of the original masters to try to get a final product that sounded cohesive. What does the future of mastering hold? The challenge is to roll with the punches of the economy and scale your business to fit them. Mastering will be an important part of the process as long as it stays economical. I’m not sure about the places that are stuck with their standard costs being $700 an hour. There aren’t that many big records to go around anymore. What do you say to people starting out as mastering engineers? The last thing you should pick up is a computer. The first thing you should pick up is a book. Get the Audio Cyclopedia. It’s a horrible read but you’ve got to understand sound, frequencies and all of those things. Any final advice? Learn the basics of audio. That’s what’ll separate the new mastering engineer from the other guys. Spend time at a recording studio and working with bands for free. r 44 October 2012

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Pete Doell

Company: Universal Mastering Clientele: Rachael MacFarlane, Frank Gambale, Adam Lambert Contact: http://universalmastering.com, laphd@earthlink.net Pete Doell spent 16 years working for Capitol Records as a recording engineer before moving to Sony Pictures where he scored films. Nine years ago he moved to Universal. There he’s labored as a mastering engineer and mastered more than 100 records. He recently completed work on the new Pete Escovedo project and will soon start on Steve Lukather’s record. What are the best ways to prep a mix for mastering? Submit a 24-bit file. Bit depth is more important than the sampling rate. That gives me 50 percent more data, more depth and more full-figured sound. The bane of mastering engineers is that people bring in mixes that have been crushed with an L2 or some converter that takes away all of the dynamic range. That’s one way to make it loud but it also kills the vitality. Which mix problems can be addressed in the mastering stage? Which can’t? We often see too much or too little low end. That’s the result of mixing in a room where you can’t tell what you’re hearing. In the case of too much bottom end, it’s because you can’t hear enough of it in the mixing room so you add a lot. It’s a much easier patient to save if they come in with too much bass than if they come in with too little. If we add it here, it tends to make stuff like the voice or piano sound tubby. Have the do-it-yourself mastering tools improved to the point that musicians can achieve a better-than passable master at home? I was just working with a Kanye West project where they’d mixed it in Hawaii. They got it right out of Pro Tools and mixed with a Steven Slate digital plug-in, which is good but not as good as the [Universal Audio]. We added the metadata and sent it on its way. People can mix things now that sound “finished” but not necessarily great. The strength of going to a real mastering

A WAV file that’s 24-bit. Higher sampling rates are good. They sound like a rich, natural musical experience. Analog tape is great but no one can afford it. I use it as an insert on my console for stuff that’s mixed in the box that sounds a little brittle or thin. I can run it off the half-inch analog tape and put some meat on the bones. That’s especially effective with rock. I do that at least twice a week. Do artists ever send you MP3s? Only by mistake. It’s a terrible place to start because there’s so little data. We always send it back. What’s your take on the Mastered For iTunes initiative? We do a lot of it. We listen through the Sonnox Fraunhofer codec. You can check it in real time and hear what horrible things are about to happen to your mix. Some music passes through unscathed but sometimes we have to do stuff that’s akin to vinyl mastering. We might have to high-pass it because of issues with sibilance or extended bass. What’s the biggest mastering challenge you’ve ever faced? Meeting clients’ expectations. You know you’re in trouble when a client says “This does not have to be a loud record.” That will be the guy that wants it louder than loud. What’s the biggest technical challenge/ problem you’ve ever gotten out of? Somebody brought in a DAT once and the two channels were out of phase. We had to split it up inside a workstation and phase-reverse one side. What does the future of mastering hold? It’ll be around a long time. Many records are being made in home studios. They’ll need to be checked in a room that’s revealing; so that it can be heard in a way it wasn’t when it was mixed. What do you say to people starting out as mastering engineers? Listen to a lot of music. The great thing about being a mastering engineer is that you don’t get pigeonholed. You bring your skill set to a plethora of music. That’s fun and rewarding.

r

“The most important tool for a mastering studio is the monitoring setup.” —Ryan Smith you sure there’s nothing else you can send?” They must have made it from another format. One of the downfalls of the digital age is that people can get careless with files. If that’s the only thing available, I’ll use it.

IT ALL STARTS HERE.

Last year Apple began selling higher fidelity AAC encodes. There seems to be a lot of misunderstanding surrounding the Mastered For iTunes initiative. What’s your take on it?

Ryan Smith

Company: Sterling Sound Clientele: James Taylor, Cyndi Lauper, Beyoncé Contact: http://sterling-sound.com, 212-604-9433 Ryan Smith started as a recording studio assistant in 1995. Some years later he took a job with New York’s Right Track Recording. His career took off when he tagged along to mastering sessions and thereby broadened his repertoire. He moved to Sterling Sound in 2002 where he heard that Ted Jensen was looking for a new mastering assistant. He jumped at the opportunity. Lately he’s been remastering Aerosmith and Stevie Ray Vaughan reissues and cutting vinyl.

If fed the right stuff, their new algorithm sounds way better than what iTunes used to offer. Apple finally released the tools to hear what happens when our music gets compressed to AAC and decoded on the listening end. Songs will come off iTunes sounding much closer to the original. They’re accepting 96k, 24-bit masters and are hinting that they’ll accept even higher in the future.

Learning how to cut vinyl. It’s a different mindset than CD mastering. That’s what the older guys here, like Ted Jensen or Greg Calbi, started with. It’s a challenge to do it well but it’s very rewarding. There are many more limitations because it’s a mechanical medium.

Make sure that everything in the mix is in balance. That’s the hardest thing to change. And when we do, we’re not doing it optimally. We also like people not to overly compress their mixes. If you come to me and say, “Can you make the acoustic guitar quieter?” that’s a tough thing to do with an EQ. The bread and butter of mastering is EQ and compression.

It’s not impossible but what you can’t get at home is the listening environment. When you check something on your home speakers or Mac, you want to be sure that the content that’s there is really there. The most important tool for a mastering studio is the monitoring setup.

What does the future of mastering hold? It’s more important than ever to have good mastering. If you’re not recording and/or mixing in a real studio, this is your one chance to be heard in a professional environment and optimize your music before it’s released.

What’s the ideal format for mastering-ready mixes?

What do you say to people starting out as mastering engineers?

Most people send WAV files. Ideally, they’re the highest resolution that makes sense for the project. The higher the better – 96k, 24-bit WAV files are great. I also love to get stuff on tape but I realize that’s cost-prohibitive these days. One of the things that frustrates me is when people send 44k, 16-bit WAV files. I always have this inkling that there’s something better out there.

If you can find a place where you can tap the knowledge of people who’ve been doing it a while, that’s the best way to learn quickly. Having a relationship with other engineers was my biggest advantage.

Do artists ever send you MP3s? If I get an MP3, I always go back and ask, “Are

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What are the best ways to prep a mix for mastering?

Have the do-it-yourself mastering tools improved to the point that musicians can achieve a better than passable master at home?

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Any final advice? Sometimes people in audio can get a little dogmatic. I try not to be that way. For artists, it’s their music and it has to sound the way they want it to sound. October 2012

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ARTIST PROFILE

By Andy Mesecher Meet Fallen Riviera. Less than one year ago, they were featured as Music Connection’s top New Music Critique of 2011. Since that time the SoCal natives have recorded a song with legendary producer Ken Scott (the Beatles, Pink Floyd, David Bowie), received a substantial sponsorship from Casio that includes an MP3 giveaway, and for an upcoming release are using the same studio No Doubt, Sublime and Black Sabbath have tracked in. With winter around the corner, how exactly did this snowball of opportunity begin? “We met at Berklee College of Music,” states guitarist-vocalist and cofounder Steve Ornest. “We were in a band that had two lead singers, which meant we were doomed from the beginning. … I remember being at a party and Will [Perry] was singing and playing piano and I thought, ‘Good lord, you are a better singer than both of these guys.” When that band withered away, as most college acts do, Ornest and Perry crossed paths again at a John Mayer clinic on Berklee’s Boston, MA campus. They decided to write together. Once Berklee was in the rear-view mirror, the duo traveled back west to Ornest’s hometown, a decision that would soon pay off. “We anchored ourselves around [Total Access Studios] in Southern California,” explains Ornest, “which is owned by Wyn Davis (Dio, Great White).” The band has been in and out of Total Access for the last few years, recording and networking. Recently, that networking presented the opportunity of a lifetime—to be produced by Ken Scott. “Ken is a great friend of the studio and Wyn Davis,” explains frontman and keyboardist Will Perry. “We, as a band, went in and helped him on the book he just released: Abbey Road To Ziggy Stardust. In return he offered to produce a song for us.” Perry and company were hired as

session musicians to re-record famous songs by Elton John, Supertramp, the Beatles, etc; artists that Scott had produced over the years. The music was used as bed tracks for a television piece promoting Scott’s new book; a rather common way to save money on synch licensing. While in and out of the studio for the first quarter of 2011, Fallen Riviera joined MC at Winter NAMM in Anaheim, CA. Playing guest hosts to Music Connection’s web series in a conference notorious for “working professionals only,” the band took advantage of this unique opportunity. “Casio had just released their brand-new keyboard (the XW-P1, a performance synth) which was the first of its kind for Casio in like 30 years,” notes Perry. “We approached Casio at NAMM and said, ‘We’re going into the studio to track in a couple of days. We’d love to have a go with your keyboard to see how it will work in the studio.’ They were very receptive to our idea.” Continues Perry, “The next day we used the [XW-P1] on the recording and it was awesome. They ended up giving us a couple of keyboards to play. … Then when we started negotiations to help fund our video, the company came through and really helped us out. The video wouldn’t have happened without them.” Casio later released the Ken Scott produced track “Somebody Take Me” as part of a sweepstakes for a new keyboard—a successful promotional endeavor for any upand-coming band. With their music already “spinning” in Casio contestants’ iPod’s everywhere, Fallen Riviera are returning to Total Access to finish up what will be their full-length debut, set for early 2013.

“We approached Casio at NAMM and said, ‘We’re going into the studio to track in a couple of days. We’d love to have a go with your keyboard…’” —Will Perry

46 October 2012

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Contact management@fallenriviera.com

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DAN IEL SIW

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INDUSTRY PROFILE

By Daniel Siwek

New in-Room Programs for Bands, DJs and Recordists The Sound Of Your Stay It’s 10:30 a.m. and we’re not going to sleep the last days of summer away, no way. While on this getaway weekend at the Hard Rock Hotel in San Diego, CA, we’re gonna rock & roll all morning and party every day! And that’s easy when your hotel room is stocked with much more than just tiny liquor bottles in the minibar and condoms (or, uh, an “Intimacy Kit”) on the snack tray, right next to the Kit Kat Bar, M&M’s and Pop Tarts. Almost 30 seconds after check-in we were doing Pete Townsend-worthy windmills on a Fender Stratocaster plugged into a Fender Mustang Floor Multi-Effects Pedal which was outputting to the big-screen TV (we could have used the provided Ludacris SOUL headphones as to not keep our neighbors up, but what fun is that?). The Hard Rock Hotel & Casinos people call this rockstar treatment–– free for all guests––the Sound Of Your Stay. It’s a soon-to-be brand-wide amenities program with three main components: Tracks (the downloadable music playlists, the soundtrack to your room, that you select upon checkin); Picks (your choice from 20 Fender guitars, some apps, and access to the Hal Leonard library for some in-room lessons), and the latest addition for those looking to rock the party as much as rock the house; and Mix (a Native Instruments Traktor S2 DJ controller with an accompanying laptop). The latter is currently undergoing beta testing, and Music Connection is 48 October 2012

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more than willing to donate our weekend to science, especially if cocktails are involved. In fact, passing up the opportunity to visit the famed San Diego Zoo, we decided to instead batten-down the hatches and order-up room service; only we’re not just talking French Toast and coffee––we also swapped out our Strat for a Telecaster! When it was time for lunch we took the elevator down to Maryjane’s, a coffee shop Rick James would dig, to meet with Hard Rock’s Global Music Marketing Manager, Blake Smith, and his trusted on-site Vibe Manager, Matt DuFour. Initially it seemed as if getting in some questions would prove difficult, not because they weren’t gracious hosts, but because both were intently discussing the overhead music. Lest you think that the music you hear in this hotel is streaming from a hard drive at some remote complex, these guys are proof that from the time you check in to the time you check out, your music experience has been thoughtfully selected and curated; and when not kicking out the jams in your room, you’re being turned on to the latest bands at Maryjane’s. Which makes these hotel guys bonafide tastemakers.

Not Your Parents’ Hard Rock “The band that we’re hearing now,” says Smith, referring to the in-room music, “is a two-person group called Houses, and they’re from a suburb of Chicago. They put out a beautiful record about a year and a half ago, and

I think only a handful of people in Chicago knew about them. I remember programming them into some of our properties and then, like a year later, I heard them while shopping in a mall; and I guarantee it’s because of us. And that happens all the time; not because we’re trying to manipulate anybody, we’re just listening and putting on music we like. There’s no real process, and we don’t care about Billboard charts or labels.” DuFour agrees. “It’s more like me on the other end of the phone going, ‘Dude! Did you hear Mrs. Magician?’” While DuFour brings his own tastes to the hotel, Smith has relationships with other Vibe Managers at Hard Rock Hotels all over the world. They also handle the music programming in the lobby, the common areas and the in-room channels. “Every hotel has a different sound,” Smith confirms. “Here in San Diego, you’ll hear anything from Bob Dylan to Guided By Voices to Houses. But there’s a Matt in Singapore who I’ll ask ‘What’s good in Singapore right now?’” But our Matt’s responsibilities do not end there. “I oversee the whole Sound Of Your Stay program here in San Diego,” DuFour tells us. “That includes social media as well. And I also bring the mixer up to your room and teach you how to use it.” And that’s exactly what he did. If we wanted to, we could have loaded a 30-day demo of the mixing software onto our own laptops, but the selection of electro-house and dubstep on DuFour’s was more than enough to get the impression that we’re not in our parents’ Hard Rock Hotel. Indeed, the Hard Rock brand has gone from Van Morrison to Van Halen to Van She, and nowhere is that more apparent than when we meet up later at FLOAT, the hotel’s chic rooftop bar. Aside from a meet and greet with Marky Ramone (who was there promoting his brand of spaghetti sauce), there was nothing there to remind us of the original CBGB’s payphone on display by the elevators downstairs. “The Hard Rock may have this ‘classic rock’ connotation, but 80 percent of the music I play here is new,” offers DuFour, who guarantees the Hard Rock Hotel, by booking artists like deadmau5, never gets compared to

Margaritaville. “It’s really exciting to bring the EDM crowd into what we’re doing,” he states. And the indie-rock fans got their fix just two nights later when DuFour was the host with the most for Best Coast.

In-Room Studio Experience Back in the room there’s enough gear to make the rockers and the ravers happy. Plus, you definitely get the sense that non-musicians are totally welcome to have their “Holiday Express” magical moment (where Average Joe transforms into SpaceAce Frehley) with the professional gear in their room. We’re reminded of what Blake Smith said back at Maryjane’s: “We really want to look after musicians and people who love music the way other hotels make sure their guests have soap or shampoo in the room; we want to provide them with a music experience.” But the Sound Of Your Stay experience also has great potential for the traveling band or DJ/producer—what if they could make a track or a mix and share it right from the room? “We’re way ahead of you” assures Smith. “I can’t say much because it’s still in the works, but let’s just say very soon you can go into a Hard Rock and turn your room into a studio. Let’s leave it at that.” Let’s not. After a bit more prodding, the two elaborated on how artists could upload the track on their Facebook page that boasts an instant audience of over three million critics or new fans. DuFour is also excited with the notion that just one artist and one night’s stay can be the discovery of the next hit record or the next superstar DJ. “There are a lot of things we can do with this program once it’s rolled out all across the globe. And Traktor is already set up so that you can record your sets into the computer; so there’s a lot of cool contest things we can do. Like, ‘drop your 30-minute mix into our drop box,’ and then the winner from each hotel can compete at Hard Rock Calling [music festival].” Who knows, the winner could even get signed to the company’s new label, Hard Rock Records. But that’s another trip….

“We really want to look after musicians and people who love music the way other hotels make sure their guests have soap or shampoo in the room; we want to provide them with a music experience.” Blake Smith

—

Contact Jennifer Jackson, jjackson@zimmerman.com

October 2012

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

A Fine Frenzy

Pines Virgin Records Producer: Keefus Green

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Go Radio

Close The Distance Fearless Records Producer: James Wisner

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Craig Chaquico

Fire Red Moon Blind Pig Records Producer: Various

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Touchphonics

Destroy All Lines Elevated Press Records Producer: Touchphonics

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Pines’ lulling, feedback-ridden soundscape and cooling, feminine vocals come off as an earthier-sounding Frou Frou. The third album from Alison Sudol is as lovely, bleary and green as its title and the artist’s native Seattle, with glorious vocal harmonization and fairy tale imagery of waking up in a riverbed and flowers in her hair. Piano lays a dark foundation and acoustic guitar grounds these 13 ethereal birdsongs, which are based on the concept of a pine tree given the opportunity to make a life of its own choosing. Outdoorsy in theme and sonically dreamy, many songs stretch past the five-minute mark and almost border on droning if it weren’t for a few danceable, rhythmic outliers that break through the haziness. ——Jessica Pace

Jake Shimabukuro

Grand Ukulele Hitchhike Records Producer: Alan Parsons

LMNOPQRSTUV

Known as the “Jimi Hendrix of the ukulele” for his groundbreaking and atypical approach to the instrument, Shimabukuro’s partnership with famed engineer/ producer Alan Parsons sonically places him at the top of his game. This artist defies convention and elevates the language of the ukulele by boldly entering the arenas of country, rock, pop, new age, blues and symphonic sounds with the greatest of ease. He kicks off with an atmospheric fusion-like nod to his home state of Hawaii called “Ukulele Five-O” and delivers a heartfelt and sensitive take on Adele’s smash “Rolling in the Deep.” This four-stringed master is setting the standard by which others will be measured. ——Eric A. Harabadian Juicy? How about a hot sticky mess? And that’s not a knock, it’s just that the crooner behind the vocoder, named Tobacco, has French-pressed the rosecolored synth-pop of Air with the kaleidoscopic—and reckless—power-pop of the Brian Jonestown Massacre, and it’s dripping with psychedelic surf guitar, and oozing analog electronics. Hailing from the post-apocalyptic, postWarholian environs of Pittsburgh, PA, there’s an exploding plastic inevitable in every song, especially “Psychic Love Damage,” and “Like A Sundae,” which gets you to the space-age Euro-mod of CQ in time for dessert. Lo-fi glo-fi sums it up, but so did the Spacemen 3 when admitting to taking drugs to make music to take drugs to. ——Daniel Siwek

“Go To Hell” is the hardest hitting, most earworm-worthy track served up by this cartoonishly non-threatening “punk” band. The rest of the disc, ironically, will make you feel like you’ve actually been sent to Hell. Assuming you’re agreeable with the style of anthemic dross to which the Tallahassee quartet aspires, the hooky, righteous anger of their lead single may deserve a handful of spins, but the remaining tracks hover near the level of forgettable filler. It’s an inauspicious follow-up for a critically praised group that’s being billed as “one of the great up-andcoming bands of the current decade.” One can probably assume that most listeners won’t agree. ——Andy Kaufmann

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The former Jefferson Starship guitarist and songwriter has reached the pinnacles of arena rock and also experienced success in the smooth jazz world as a solo instrumentalist. But his heart has always belonged to blues-based rock & roll and that’s where we find him here. This is an effective cross-section of variations on that theme, with faithful covers of Muddy Waters and Robert Johnson classics, Stax-flavored ballads and biting roadhouse rockers. Hats off to Chaquico for surrounding himself with strong vocal support from touring frontman Rolf Hartley and guests Noah Hunt and Eric E. Golbach. Of note are original penned cuts like the savagely soulful “Bad Woman” and the moody title track. ——Eric A. Harabadian

Green Day’s ¡UNO! is the first in a trio of records to be released over the next four months—¡UNO!, ¡DOS! and ¡TRÉ! The difference between ¡UNO! and the band’s previous two records (American Idiot and 21st Century Breakdown) is that there’s no discernable unifying theme. It is a collection of songs that come from the same creative space that gave us Dookie. It’s still modern punk rock, but perhaps informed by the maturity of the previous records. Standouts include “Let Yourself Go,” “Loss of Control” and “Troublemaker.” Green Day Seems that there are more breaks on ¡UNO! this record that sound suspiciously like Reprise Records guitar solos. Even casual fans will dig Producer: Rob Cavallo, Green Day this record. It’s fun, it’s hard, it’s solid. LMNOPQRSTUV ¡Viva La Green Day! ——Rob Putnam

Among the “Five Elements of HipHop” it’s the DJs that get the b-boys breaking, the MCs rapping and the graffiti artists bombing. It’s all there for the learning in seminal documentary Style Wars, where our own hero on the 1’s and 2’s finds his sample sources and album title coming out of the mouth of a bodacious young tagger named Skeme. Destroy All Lines. It’s all about getting your name up on those trains, so unsuspecting passersby of all styles learn your name. It’s similar with DJ/producer Touchphonics, a selector who tags his signature to drum and bass, dubstep, ragga, and hip-hop, of course—although an all hip-hop album with guest rapper Juicy J may be in order. ——Daniel Siwek

It’s like something out of a movie. In 1973 a young unknown singer-songwriter comes to Nashville to be discovered by arriving unannounced at a famous producer’s home to pitch his songs. The producer was Bob Johnston (Bob Dylan, Johnny Cash, Leonard Cohen). Wilson wound up cutting a record for Columbia/Windfall with Johnston later that night! You’ve got some of the top Nashville musicians backing a truly inspired artist—equally at home with blues, gospel, folk and country. It’s unfortunate that Wilson died in the early ‘90s and never got his due. But his legacy lives on here for fans of Tim Buckley, Dylan, Young and poetic individualists everywhere. ——Eric Harabadian

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Black Moth Super Rainbow Cobra Juicy Rad Cult Producer: BMSR

Bill Wilson

Ever Changing Minstrel Tompkins Square/Sony Music Producer: Various

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

Alus

Production Lyrics Music Vocals Musicianship

8 8 9 9 8

Prince Charmin’

Contact: Anthony Morgan, anthony.grand reve@gmail.com, 516-439-3888 Web: facebook.com/AlusMovement Seeking: Label, Booking, Film/TV Style: Pop/Soul Username: alus

Contact: charminentertainment@gmail.com Web: reverbnation.com/charminprince Seeking: Label, Booking, Film/TV, Distr. Style: Pop/Rap/Dance Username: charminentertainment@ gmail.com

E

gift for radio-ready material oozes out of these tracks from Prince A Charmin’, whose “Way Too Many Girls”

ighteen-year-old New Jersey artist Alus has a rich, gusty voice that packs the right amount of snarl, and it works so well on the bouncy “Goodbye” and the catchy “Stilletoes” whose aggressive, cinematic stomp makes it a video no-brainer. But the winner here is “Run.” Yes, the track could use better sounds here and there, but the song’s chord changes, its confident lead vocal and gospel-chorus “Ooo’s” make this recording an exciting diamond in the rough, something one could imagine hearing on the next Beyoncé album.

Production Lyrics Music Vocals Musicianship

7 8 9 9 8

Fulcrum

Production Lyrics Music Vocals Musicianship

9 8 7 8 8

Swaré

Contact: jason.fulcrumrock@aol.com Web: fulcrumrock.com Seeking: Label, Booking, Touring Style: Rock Username: fulcrum

Contact: swaremusic@gmail.com Web: swaremusic.com Seeking: Label, Booking, Film/TV Style: R&B/Pop Username: Swaré

enver five-piece generates echoes of Anberlin and Number One D Gun with a highly polished, pristinely

arlon Dane & C.G. team up for this act whose sensual, ladiesM welcome R&B sound is exemplified

recorded batch of songs spearheaded by synth riffs and clever drumming. The sweet, AC oriented song “Until The End” finds a smooth rockin’ straightaway and cruises home. The band amps up the edge a bit with “On The Lash,” a song with an arenasized vision. The industrial-tinged “Where’s My Life” cements the group’s ability to make polished, radio-friendly music that is quite familiar, safe and formulaic.

Production Lyrics Music Vocals Musicianship

8 8 8 8 8

52 October 2012

8 8 7 8 8

by “Beautiful Way” with its smooth hip-hop interlude. Steamier and a bit hookier, too, is “She Knows”; set to a Euro-influenced beat and with FloRida/Pitbull radio-friendly elements, all it needs is a hot guest star. Instantly hooky—possibly the duo’s most commercial joint—is the disco-heaven “DJ Turn It Up.” Swaré have real potential, it’s only a matter of getting a savvy producer to give these tracks the tones and textures they need.

Questar

Friend Slash Lover

Production Lyrics Music Vocals Musicianship

alternates a catchy singing voice with quick-spit rap verses that boast “I got a degree in party-ology!” The hookfueled revelry continues with “Throwin’ A Party,” which has a graduation-type feel to it, expressing college students’ thoughts in rhyme. “Message to a Future Girlfriend” gets a bit touchy-feely, even mushy. The song’s clever hook and stellar instrumentation are pluses, though better vocal production could make a good part great.

Contact: amanda@lafamos Web: friendslashlover.com Seeking: Management, Label, Film/TV Style: Indie Rock Username: friendslashlover

Contact: jsams_emmaculate@att.net Web: emmaculateentertainment.bandcamp. com/album/and-so-it-begins-samples Seeking: Film/TV, Label Style: Hip-Hop Username: emmaculate entertainment

rtful and ambitious, this fearless foursome led by Josh Mintz dare to A write songs that tackle the big issues

ur first impression is that this is serious, educated hip-hop that O challenges with agile, high-velocity

of Life. Mid-tempo rocker “Dear God” is a morbid love/hate letter to the Man Upstairs, with vintage Eno effects that are a nice touch. “The Grey Area” is a common sense plea for a sane, rational world. Possibly the band's best, “Where Have I Been All My Life,” achieves epic altitude as Mintz ponders the profound importance of loving oneself. The band’s next challenge: to figure out how to develop this vision for a wider audience.

www.musicconnection.com

Production Lyrics Music Vocals Musicianship

8 7 8 8 8

rhyme-spitting and distinctive tracks from song to song. But after a careful listen, disappointment sets in. Yes, “Special Feature” is a winner, especially due to the catchy female singers sample that sets up Q’s verses. But for all its strengths, this project is handicapped by lyrics that lack the substance that could make this artist special. He can rhyme and his tracks are imaginative—now he needs to give his songs meaning.

NEW MUSIC CRITIQUES

Diana Chittester

The Pilgrims

Contact: diana@dianachittester.com Web: dianachittester.com Seeking: Regional Bookings, Film/TV, Distribution Style: Singer-Songwriter Username: Diana Chittester

ou can dispute our call on the recording quality of these tunes, Y but raw-fi very much suits this Vermont Production Lyrics Music Vocals Musicianship

7 8 8 7 8

band’s late ‘90s plug in and rock out mentality. Think Get Up Kids with a bit more punk in the vocals—that’s “Glue,” a ramshackle rocker that echoes the Replacements’ slash-and-burn style. “Static Signals” has a reckless abandon that holds together long enough for the hook to sink in. The easygoing “Bad Crazy” projects the ragged glory of garage punk. Probably an amazing drunken live band who are not out to reinvent the wheel.

BRYCE MILLIKIN

TAYLOR K. LONG

Contact: danbrendan@gmail.com Web: reverbnation.com/thepilgrimsvt Seeking: Label, Booking, Film/TV Style: Indie Rock Username: the pilgrims

hittester’s deeply personal material, including “Fire,” the buoyant C “Thursday” and “Waiting/Wanting” Production Lyrics Music Vocals Musicianship

7 8 7 7 8

find the artist’s untamed, occasionally pitchy voice describing her personal journey. Though she is an intelligent, articulate artist who wants to express her innermost feelings without artifice, these wordy, self-produced songs exhibit the ups and downs of the “don’t record what you can’t reproduced live” mentality. Perhaps a sympathetic producer could recraft these unevenly mixed recordings without sacrificing authenticity and vitality.

Retro Grad

Production Lyrics Music Vocals Musicianship

8 x 7 x 7

Black Heart Heros

Contact: nadnumora@yahoo.com Web: reverbnation.com/retrograd Seeking: Film/TV Style: Ambient Username: Retro Grad

Contact: jason@gorillamusic.com Web: reverbnation.com/blackheartheros Seeking: Label, Press, Film/TV, Booking Style: Partycore / Electronicore Username: Black Heart Heros

rdjan Marinkovic offers a triad of themes, all cut from the same cloth, S and all well-suited to TV commercial

prinkling your stereo with hints of Dance Gavin Dance, the Bunny S the Bear and the heavier moments

spots. “Rising” has piquant harps and heavy beats that conjure an upbeat, optimistic aura. The uber-kinetic “A Full Circle” melds bouncey keyboards and heavy beats for an IBM techie commercial vibe or videogame racecar music. “Wish” uses soothing synths as a counterpoint to bright, spry keyboard effects that scintillate. True, these tracks will certainly fit some situations, but we advise RG to develop a wider emotional palette.

Production Lyrics Music Vocals Musicianship

5 8 8 8 7

of Enter Shikari, BHH are looking to make a footprint in the partycore path. “Red Skies,” and “Jawbreaker” meld Nintendo sounds with emo-core thrash while “Saturday Smoosh” shows a more punk-rock influence in its clean vocals. Jeremy P’s guitar sets the table well for frontman Tre Savage’s screaming chops. Dudes, you need some quality recordings… This directly plugged-in guitar sound and cell-phone mic drum tones won’t cut it in the big leagues.

Desert Dragon

Production Lyrics Music Vocals Musicianship

8 6 7 7 8

Gabe Kubanda

Contact: Blue Wind Ent., desertdragon@ desertdragon.info Web: desertdragon.info Seeking: Management, Label Style: Hard Rock, Blues, Psychedelia Username: desertdragon

Contact: gkubanda@epicproportionstour.com Web: gabekubanda.com Seeking: Paid Sponsors, Booking, Mgmt Style: Acoustic Indie Pop Username: gabe kubanda

ix-piece band Desert Dragon aim for a classic-meets-contemporary S sound. The guitar and synth work

ever mincing words, Kubanda goes straight to the heart on the soulN baring “Someone,” where he laments

is certainly spot-on, lending vintage Moog tones and Floydian flights of pop-psych, but the material falls short (why do the lyrics sound like an afterthought?) and the arrangements are uneven (where are the epic drums?) resulting in songs that ring hollow. There's certainly competence from every member of this group, and acclaimed producer Ron Nevison adds interesting touches, but the overall shortage of originality is a handicap.

Production Lyrics Music Vocals Musicianship

8 6 7 8 7

his lack of a special, supportive mate. On the similar “Without You” he is again direct and genuine, though the song lacks a strong hook. With its interesting non-commercial music, “Hot Mess” has the makings of a singular piece of material, opening as it does with an unpleasant street encounter; but it fails to follow through. While we acknowledge Kubanda’s honesty and authenticity, we want to hear more “tune-ality.”

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

www.musicconnection.com 53

LIVE REVIEWS

Gabriel Kelley

Rockwood Music Hall New York, NY

Material: Gabriel Kelley has an imposing physical presence but the music that emanates from him is full of delicate, poetic musings that deal with everyday emotions and struggles. Set in a backdrop that blends Americana and acoustic, Kelley perseveres to bring us along on his personal journey. His creations are mood songs that offer emotional snapshots rather than “hooky” tracks with big choruses. On the title cut from his debut CD It Don’t Come Easy, Kelley sets the tone for the performance with its clear message of triumphing over obstacles. In “Holding Me Down” he confronts the inner frustration that keeps us from moving in the direction we desire. Set in a slow waltz tempo, it’s an introspective look at things that elude our grasp: “Love like a flower that’s just out of reach. … This is the sound of heartache that’s breaking my soul and it’s holding me down.” Musicianship: Possessing a sonorous voice that projects well, Kelley has ample access to the tools he needs for maximum effect. At times he performs a song with an almost preacher-like quality as if delivering a sermon optimizing the song’s musical impact. His guitar work complements the material as it does his voice. Kelley plays shows as a solo act, enlisting a harmonica on several selections to further impart the flavor of the genre.

ELLEN WOLOSHIN

Contact: Sharon Weisz, w3pr@yahoo.com Web: http://gabrielkelley.com The Players: Gabriel Kelley, guitar, vocals, harmonica. Username: gabrielkelley

Gabriel Kelley: A veteran troubadour who can handle an audience with ease and comfort. Performance: As an artist who tours tirelessly, Gabriel Kelley has amassed a lot of live experience. He performed with conviction and professionalism and was engaging and accessible when sharing anecdotes—making one all the more curious why he performed almost every song with his eyes closed. It was a jarring transition when he resumed singing, giving the impression that he was in a world we weren’t completely privy to. The crowd seemed receptive inspite of it, but perhaps the audience could join him even more if he further fused these performance attributes.

Summary: Gabriel Kelley has mastered the challenges of the troubadour, who with just a guitar and a harmonica can cover a lot of territory and spread the good word about his music. He has a polished voice that gets his message across and can handle an audience with ease and comfort. The material is well-suited to the genre but letting us in more while a song is in progress would really go a long way for an artist who has otherwise arrived. ––Ellen Woloshin

Reasons Be

Molly Malone’s Los Angeles, CA Contact: amanda@lafamos.com Web: http://reasonsbe.com The Players: Scotty Dickert, vocals guitar; R.E.L, guitar; Matt Gendal, drums, Anthony Starble, keys. Username: Reasonsbe

Musicianship: Dickert’s vocals can color any room, but what gives his voice character is the confidence he displays in challenging his comfort zone. He might not hit every note with the same ease when branching out to a dynamic range of guttural tones and falsettos, but the lead singer manages to execute each interval with a pleasant conviction. Keeping the duo balanced, guitarist R.E.L delivers bright and solid progressions that define each emotional attachment. His harmonies, although not always pitch-perfect, still find the right pocket to nestle into. Performance: Reasons Be’s performance was a delight. Dickert stepped on stage barefoot, with a grin from ear to ear, instantly setting positive vibes.

ALLEGRA AZZOPARDI

Material: Fashioned from a “Seeking Guitar Player” Craigslist ad, Reasons Be are a Los Angelesbased indie-pop rock duo. Like most bands in this genre, their material covers aspects of life, love and lessons learned, but what stands out is the heartfelt honesty that pours from every lyric. Clearly derived from personal experiences, each song is a ringing truth backed by catchy instrumentation and down-to-earth personalities.

Reasons Be: Heartfelt honesty that pours out from every lyric. The group’s set journeyed through an emotional ride, which included “Voice of Mount Mary,” a song Dickert dedicated to his late grandma, followed by a well placed, spirit lifting “Hands Up.” Both Dickert and R.E.L charmed the crowd with comic relief between songs and left a smile plastered on each listener’s face, and the supporting cast of musicians never seemed out of place.

passion rather than a thirst for fame, Reasons Be demonstrate what playing music is all about. Their ability to express feelings through song, without sounding too manufactured, gives their listeners something to identify with. This material will hit home for many, gaining the duo dedicated fans to follow in their journey. ——Allegra Azzopardi

Summary: Both members of this band come fully equipped with a heart that sings. Driven by

GET YOUR ACT REVIEWED: See musicconnection.com/amp. Please DO NOT mail a package; we no longer accept them. 54 October 2012

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LIVE REVIEWS

Nuroksol

The Artist Village Detroit, MI Contact: Charles Peterson, 734-686-1328, maptownusa@yahoo.com Web: http://reverbnation.com/nuroksol The Players: Marlow, lead vocals; Ant Larkin, guitar, vocals; Chef, drums, vocals; Jay Freeze, guitar; Randy Martin, bass, vocals. Username: maptownusa@yahoo.com

Musicianship: Nuroksol are a complete and unified ensemble. Everyone interacts really well and that simpatico is reflected in what is played. Lead vocalist Marlow adapts to any style and can take on an almost chameleonic presence. But whether mellow or raucous, he maintains a rich and melodic delivery. Guitarists Larkin and Freeze interchange supportive riffs and alternate rhythm duties as well. They can be heavy, but the guitars are always distinctive and round out the sound rather than distort it. Perhaps that fine line bordering rock and soul is best defined by drummer Chef and bassist Martin. They seamlessly lay down straightahead in-the-pocket fare or improvise and engage your mind as well as your feet.

ERIC A. HARABADIAN

Material: A blend of rock and R&B, Nuroksol are cut from the same cloth as Living Colour, Prince, Kings X, Lenny Kravitz and early fusion, like Automatic Man. Their songs stand alone and are strikingly individualistic. Tunes like “Colours in the Sky” and “They All Fall Down” feature superb harmonies and contain compelling and inspiring imagery. Also noteworthy are the song arrangements. While Nuroksol utilize a number of standard pop/rock conventions, the material is constructed with surprising triggers for refreshing solo breaks and atypical grooves to emerge.

Nuroksol: Rock and R&B that crosses the boundaries of funk and dance styles. Performance: The band was primed to play in front of a hometown crowd and the enthusiasm from all sides was palpable. The band’s overall energy was high and Marlow utilized mildly humorous repartee to hype the audience as he would lead into various songs. Nuroksol engaged the crowd visually, as band members moved all over the stage, with Marlow and bassist Martin leading the charge. A noteworthy point in the show was when the drummer and bassist stepped out, both individually and together, with jaw-dropping finesse.

Summary: An entertaining band, Nuroksol successfully cross the boundaries of rock and funk or dance styles. They certainly bring an ample amount of heaviness to satisfy the most avid of metal fans. But they also add smooth and grooving elements which makes them utterly fresh and unique. Tight, professional and charismatic, Nuroksol bring a ton of fun. ––Eric A. Harabadian

Orlando Napier Band The Mint Los Angeles, CA

Contact: brent@kbhentertainment.com, 818-786-5994 Web: http://orlandonapier.com The Players: Orlando Napier, keyboards, vocals; Adam Stehr, drums; Ryan Hailey, bass, backup vocals; Hugo Napier, tenor sax, backup vocals. Username: orlandonapier@hotmail.com

Musicianship: Despite being a skinny white guy with blue eyes and gingerbread hair, Orlando has an ideal voice for R&B—low and strong with a fluctuating pitch. Casual elements of rap in certain bridges are a surprising addition, but Orlando pulls it off flawlessly. Interestingly enough, there isn’t a guitarist to accompany the vocalist or his keys. This suggests that bass player Ryan Hailey’s presence is perhaps more to set a mood than to layer with Orlando’s electronic keyboard notes. Napier Senior’s saxophone playing seems rather isolated from the rest of the group, but without it that important hazy blues vibe would be absent. The band’s sound is altogether rather dramatic with the use of sweeping crescendos, changes in volume, passionate climaxes, etc.

JESSICA AVES

Material: Orlando Napier is an up-and-coming vocalist-pianist, talented enough to win a spot on The Voice—he made it through several rounds before elimination during the “battle rounds.” Think Jason Mraz without the pop elements. Around Los Angeles, Napier tours with his longtime backing band and it’s a family affair... literally—the sax player is his father, Hugo. Orlando Napier: A soulful voice accompanied by sweeping crescendos and passionate climaxes. Performance: Pretty standard. Due to the small stage, no one could move much. Orlando admitted during the performance that the set-list was constructed for people to get up and dance, but this was a small sitting & lounge type venue so that didn’t happen—he seemed mildly miffed about that. The non-aggressive music could definitely encourage parents on a night out to get up and have a shimmy. Over the duration of the performance, a single member would rest for a few bars, revealing a refreshing, less congested sound. There needed to be more of that.

Summary: Orlando has an unexpectedly soulful voice with a nice range. Although he initially joined his father’s band as a newcomer, Orlando is the one taking center stage and rising to stardom. Yes, their live show is generally good, but an apathetic audience and cluttered sound can make it rather lackluster—like this performance. The band has raw talent and television popularity to ride—why were they playing at The Mint to 30 people? ––Jessica Aves

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LIVE REVIEWS

Lydia Patritto Hotel Indigo Nashville, TN

Contact: lydia@lydiapatritto.com Web: http://lydiapatritto.com The Players: Lydia Patritto, vocals, keys. Username: Lydia Patritto

Musicianship: The pop chanteuse has years of experience handling the keys, and she’s a skilled mood-setter, using the piano as her main vehicle: happy songs flutter through the higher octaves and dour, dark melodies originate in the lower. A student of songwriting, Patritto’s songs aren’t narratives so much as artful and emotional speculations, typically about an unnamed gentleman. Her last tool is her voice—an alto that expands, retracts, reaches high and even higher in a belting style. Though sometimes wobbly, its range is wide like the artist’s melodies. Performance: The venues for music in Nashville are as diverse as the music itself; this was in the

JESSICA PACE

Material: Lydia Patritto, a Wisconsin-nativeturned-Nashville-singer-songwriter-hopeful is a piano-pop singer. Big deal, right? The dank, unknown bars, coffeehouses and the rare hotel lobby are crawling with this particular strain like a bubonic plague exclusive to Nashville. Only a few can distinguish themselves; Patritto’s pedestal is constructed on clever, very consciously pieced together rhymes Jason Mraz-style; the use of the entire keyboard for mood-changing sonic variety; girly, sparkling Vanessa Carlton overtones; and a push-pull between the artist’s pure pop inclinations, pop country influence and her own soulful singing style. Lydia Patritto: Colorful melodies spread wide both on the scale and in the room. ritzy Hotel Indigo, whose lounge area hosts a Writers Round, featuring rounds of three artists allotted three songs. Patritto’s set began with the cutting, ominous “Either Way” sung before a motley smattering of people—musicians, their supportive friends and moms. After her fellow rounders took their turns, Patritto livened up with “Love Can’t Lie” and finished with “Held My Own,” all originals. What looked like nerves fumbled the singing at certain points, but the artist pulled out of it with volume and energy in both her face and playing style.

Summary: Lydia Patritto is an alluring pop-singing guppy in a colossal musical ocean. Her piano chops are good, her melodies are colorful and spread wide both on the scale and in the room, and her vocals are an unusual but captivating project that’s as of yet unfinished. When she tightens up her voice and gets a publicist, Patritto will be able to step off the Writers Round merrygo-round. ——Jessica Pace

Kate Sikora

Harajuku Crocodile Shibuya, Tokyo, Japan

Material: Cutesy 21st century indie rock formulas with strong ‘60s roots (complete with organ and glockenspiel) comprise the majority of Kate Sikora’s repertoire. Most tracks haunt you like you’ve heard them before, but also possess enough originality to be refreshing. “Stuck” offers a blend of the gentler sides of the Cranberries and Ani DiFranco. Many songs, like “Boy With a Bird Leg,” play out like a movie script, starting with a humble narration then gradually unfolding the depths of characters and settings. “The Counting Song” reminds one of an Ida number, until the track morfs into an acoustic representation of the Breeders. Musicianship: Sikora’s vocals, guitar work and keyboard playing are all thoroughly competent and suited to her genre. On organ, backup vocals and glockenspiel, Minmin’s contributions reflect many hours of practice with her band leader. Sitting in for Sikora’s regular bassist, Naruke Shingo—while also a competent musician in his timing and tone—dishes out lines that are too repetitive, even for the genre in question. On drums, Kishida Yoshinari’s timing is so perfect that one wonders whether he’s trying to impersonate a drum machine. As with Shingo, although this music may be suited to simple 56 October 2012

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LAURIER TIERNAN

Contact: k8sikora@gmail.com Web: http://katesikora.com The Players: Kate Sikora, lead vocals, guitar, keys; Minmin, organ, backup vocals, glockenspiel; Naruke Shingo, bass; Kishida Yoshinari, drums. Username: Kate sikora

Kate Sikora: Catchy songs that could haunt one's daydreams for years to come. rhythm section parts, a little more warmth would carry the songs further. Performance: There was obvious love in and around this band. Shingo glowed, swaying through the whole set. Minmin cast adoring looks of complicity in Sikora’s direction, as she embellished the latter’s parts, and Sikora herself performed with an unmistakable love for the material she was presenting. She also interacted affectionately with her audience, who hooted and hollered in between numbers and insisted on an encore at the end of the band’s set. The complete lack of wardrobe coordination, however, stood out like a sore thumb in the

context of the splendid music. While Sikora graced the stage in a casual hipster dress that befitted her music, her supporting musicians looked like they had just walked in from their day jobs. Summary: Kate Sikora possesses the skill to write catchy pop songs, some of which would be well suited to movie soundtracks. However, a little more warmth and humanity on behalf of the rhythm section, as well as a makeover for her band as a whole, would do them a world of good. ——Laurier Tiernan

LIVE REVIEWS Middle East Cambridge, MA Contact: Patrick Teahan, patrick@ sthelenamusic.com Web: http://sthelenamusic.com The Players: Patrick Teahan, guitar, vocals; Magen Tracy, keyboards, vocals; Mike Ward, guitar; Keith Wales, bass, vocals; James Willetts, drums. Username: patrick@sthelenamusic.com Material: Like the volcanic island after which they’re named, St. Helena weave a majestic backdrop before erupting into a violent and equally wondrous explosion. Contrasting male and female vocals interlace unusual harmonies swimming in a sea of briny, electric fuzz that’s part rock & roll bravado, part introspective angst. Raw and real, the band eschew flashy, superficial tricks in favor of memorable hooks carefully nestled within delectable rhythms. Musicianship: What makes this quintet special is the seamless manner in which their instruments meld into a tapestry greater than the sum of their comparatively simple parts. Rather than allowing one performer to dominate as a primary focus, it’s the music that rises above all else. With a knack for dramatic moments height-ened by Patrick Teahan’s gut-felt vocals, Magen Tracy’s gleeful keyboard dancing infuses a twist that helps St. Helena stand out among the crowd. Performance: Playing as though the world would end tomorrow, the group went all-in for their

final show before an extended hiatus. Sporting a T-shirt with the band’s name followed by the hashtag “babieskillbands,” Teahan announced that the proceeds of the evening’s sales would go toward fighting children’s cancer. Between declaring their love for one another and announcing their upcoming EP, the band’s unpretentious style, paired with their emotional pitch and yaw, made the set bittersweet. Summary: St. Helena’s scrumptious songwriting and ultrasonic style make them a perfect fit in the alternative realm. While they’re unlikely to be tagged as musical prodigies, it’s their honest vision marked by a committed togetherness that allows the band to brush aside pedantic critiques. One can only imagine how much deeper they’ll go once a label provides the support necessary to explore the undiscovered palettes that surely lie beneath an intriguing foundation. Here’s to hoping their return comes sooner rather than later. ——Andy Kaufmann

ANDY KAUFMANN

St. Helena

St. Helena: Unusual harmonies swimming in a sea of briny, electric fuzz.

LePaige

The Joint Los Angeles, CA Contact: lepaigetv@gmail.com, 310-961-8744 Web: http://lepaigeband.com, http://facebook. com/lepaigemusic The Players: Beau Garner, lead vocals, acoustic guitar; Adrian Padua, guitar, backup vocals; Nick Banaszak, bass, backup vocals; Luke Denney, drums. Username: LePaige

LePaige: Power-pop redefined by driving ambition and professionalism.

Musicianship: A lineup change helped this band. Now, these musicians are a tight focused unit. Banaszak and Denny form an excellent rhythm section, but the most improved are Padua and Garner, who took a serious hit in the last review. Padua is a guitarist who plays with passion and finesse, while Garner has finally found his ground. His vocals are dynamic and powerful, poignant, angsty and dramatic, especially when he plays acoustic guitar. Indeed, it’s during those songs that Garner’s full potential is evident.

Performance: This performance was a special showcase organized and hosted by students from the Musicians Institute. As such, the crowd was filled with critics. But it didn’t take long for LePaige to win them over. This act’s hard work paid off, resulting in a show that was pro all the way. Garner, Padua and Banaszak all stepped up to connect with the crowd. Even Denny, from behind his kit, managed to make his presence known. By the end of the set, everyone in the house was a fan.

BERNARD BAUR

Material: This is one smart act. They were reviewed a little over a year ago. But, that review was less than stellar. Back then they had quite a few shortcomings and were even compared to a feral cat. However, unlike some acts, these artists paid attention to the criticism, worked hard to change their ways and asked for another review. And it’s a good thing they did, because this one is their redemption. Not only have they improved, LePaige have undeniable potential in a song titled “The Other Side,” which sounds like the bastard child of Green Day and the Eagles. Their songs are potent, power-pop punches loaded with attitude and so much energy they drive an audience wild. In fact, this quartet can turn a venue into bedlam—in very short order.

Summary: LePaige have vastly improved in a short period of time. Their driving ambition and professionalism are so impressive they’ve garnered some sweet gigs, like the Vans Warped Tour and county fairs. They even created a Kickstarter campaign to finance their next record. If the band continue along the same lines, they could become one of the hottest acts on the scene. ——Bernard Baur

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14th Annual Directory of Download This Directory From Our Website

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Mastering Studios

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Compiled By Denise Coso

T

he following directory of U.S. mastering studios is an exclusive list, updated for 2012, with all information supplied by the listees. Using this state-by-state list anyone can locate and engage a professional studio that suits his/her needs. For more unique directories that can be useful to any music career, visit AMP Social Space (http://musicconnection.com/amp).

Alabama

BATES BROTHERS RECORDING 3427 Davey Allison Blvd., Ste. 101 Hueytown, AL 35023 205-491-4066 Fax 205-491-4089 E-mail: bbrbates@yahoo.com Web: www.batesbrothersrecording.com Contact: Eric Bates Basic Rate: please see web for info NOMAD MUSIC STUDIO 1203 US Hwy. 98, Ste. 4E Daphne, AL 36526 251-626-9997 E-mail: barry@nomadmusicstudio.com Web: www.nomadmusicstudio.com Contact: Barry Basic Rate: please contact for info SOUND OF BIRMINGHAM 3625 5th Ave. S. Birmingham, AL 35222 205-595-8497 E-mail: marketing@soundofbirmingham.com Web: www.soundofbirmingham.com Basic Rate: 35 years exp., please call for info

Alaska

DOME STUDIOS Fairbanks, AK 907-457-1993, 907-456-6734 E-mail: domestudios@alaskajam.com Web: www.Alaskajam.com Contact: Jerry or Rif Basic Rate: please call for info FM RECORDING STUDIOS LLC 4134 Ingra St., Ste. 101B Anchorage, AK 99503-6130 907-563-0003 E-mail: digitalholdlines@GCI.net ROCK ALASKA RECORDS P.O. Box 22787 Juneau, AK 99802 Web: http://rockalaskarecords.com WILDERHOOD RECORDING STUDIOS, THE PO Box 1076 Kasilof, AK 99610 907-262-1098 E-mail: info@thewilderhood.com Web: http://www.thewilderhood.com/ contact.htm

Arizona

ALLUSION STUDIOS 248 W. Elm St. Tucson, AZ 85705 520-622-3895 Web: www.allusionstudios.com Basic Rate: please call for info PRO DIGITAL AUDIO MASTERING 6501 E. Greenway Pkwy., Ste. 103-435 Scottsdale, AZ 85254 602-292-3306 E-mail: pdamastering@yahoo.com Web: www.pdamastering.com Basic Rate: please call for info SAE MASTERING 6832 N. 24th Dr., Ste. 1 Phoenix, AZ 85015 602-242-0022 Fax 602-242-0608 E-mail: mary@saemastering.com Web: www.saemastering.com Contact: Mary Seibel Basic Rate: please call for info THE SALTMINE STUDIO OASIS 48 S. Macdonald St. Mesa AZ 85210 480-545-7850, 480-220-4007 cell/text Contact: Don Salter E-mail: don@thesaltmine.com Web: www.thesaltmine.com Basic Rate: call for Info Gear: Manley Backbone Console, Dangerous

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ST Monitor, Mytek AD/DAC, Millennea NSEQ2 Tube EQ, GML 8200 Equalizer, Lydkraft Tube Tech Mastering multi-band limiter, Neve Portico II Master Buss compressor, Prism, Waves L2, ATR 1-inch Master Recorder etc. Clients: DMX, Prong, Jay-Tee, Pandemic, Trapp Boyz, DJ Class, Mzery, Skylark and tons of local AZ artists!

Arkansas

RANEY RECORDING STUDIO P.O. Box 17, 110 S. Front St. Drasco, AR 72530-9282 870-668-3222, 870-668-3698 E-mail: kathy@raneyrecordingstudio.com Web: www.raneyrecordingstudio.com Contact: Kathy Johnson Basic Rate: please call for info

California

21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 E-mail: 21stcenturystudio@earthlink.net Web: www.21stcenturystudio.com Basic Rate: call for rates AAA CAZADOR RECORDING OF HOLLYWOOD W. Hollywood, CA area 323-655-0615 E-mail: jimmy@jimmyhunter.com Web: www.jimmyhunter.com Basic Rate: negotiable/call and we can discuss ABACAB MULTIMEDIA, INC. 245 Fischer Ave., Ste. A-9 Costa Mesa, CA 92626 714-432-1745 Fax 714-432-1770 E-mail: sales@abacab.net Web: www.abacab.net Basic Rate: please call, or see web

ARMADILLO DIGITAL AUDIO 6855 Vineland Ave. N. Hollywood, CA 91605 818-980-6700 E-mail: steve@armadillodigital.com Web: www.armadillodigital.com A SMOOTH SOUND MULTIMEDIA 6828 Valjean Van Nuys, CA 91406 818-779-1259 E-mail: smoothsound@sbcglobal.net Web: www.smoothsoundmultimedia.com Basic Rate: please call for info AUDIO-CD-MASTERING.COM P.O. Box 3027 Burbank, CA 91508 818-445-6961 (text messages only please) E-mail: help@audio-cd-mastering.com Web: www.audio-cd-mastering.com Contact: Ryan Clement Basic Rate: $175 full album, please see web for more info AUDIO MECHANICS 1200 Magnolia Blvd. Burbank, CA 91506 818-846-5525 E-mail: info@audiomechanics.com Web: www.audiomechanics.com Basic Rate: please call for info ARDENT AUDIO PRODUCTIONS 22122 S. Vermont Ave. Unit “E” Torrance, CA 90502 310-782-0125 E-mail: info@aap123.com Web: www.ardentaudioproductions.com BEAGLE STUDIOS 815 Romero Canyon Rd. Santa Barbara, CA 805-966-9882 Contact: Emmett Basic Rate: please call for info

AB AUDIO VISUAL 4212 Hackett Ave. Lakewood, CA 90713-3208 877-ABAUDIO (222-8346), 562-429-1042 Fax 562-429-2401 E-mail: info@abaudio.com Web: www.abaudio.com Contact: President, Arlan Boll Basic Rate: work with all budgets

BERNIE BECKER MASTERING 30 W. Green St. Pasadena, CA 91105 626-304-1682 E-mail: bernie@berniebecker.com Web: www.berniebecker.com Contact: Nancy Basic Rate: please call for info

ABET DISC 411 E. Huntington Dr., Ste. 107-372 Arcadia, CA 91006 866-575-0275 E-mail: sales@abetdisc.com, info@abetdisc.com Web: www.abetdisc.com Contact: Aeron K. Nersoya

BERNIE GRUNDMAN MASTERING 1640 N. Gower St. Hollywood, CA 90028 323-465-6264 Fax 323-465-8367 E-mail: leroy@bgmastering.com Web: www.berniegrundmanmastering.com Contact: Bernie Grundman, “Big Bass” Brian Gardner, Chris Bellman, Patricia Sullivan Basic Rate: please call for info

ALIEN PRODUCTIONS 4100 Wayside Ln., Ste. 120 Carmichael, CA 95608 916-483-9988 E-mail: alienproductions@att.net Web: www.alien1111.com Contact: JK Northrup Basic Rate: please call for rates

BIG CITY RECORDING STUDIOS 17021 Chatsworth St. Granada Hills, CA 91344 818-366-0995 E-mail: paul@bigcityrecording.com Web: www.bigcityrecording.com Contact: Paul Tavenner Basic Rate: please call or see web for info

ANDY CAHAN DEMO DOCTOR Cathedral City, CA 818-489-4490 E-mail: andycahan@verizon.net Web: www.allentertainment.net Contact: Andy Cahan, producer, programmer Basic Rate: $750/song

BIG FISH MEDIA 12720 Burbank Blvd, #124 Valley Village, CA 91607 818-609-8702 E-mail: gblack2@sbcglobal.net Web: www.bfmdigital.com Contact: Gary Black Basic Rate: Call for more info

ARDENWOOD SOUND & DVD 34766 Monaco Common Fremont, CA 94555-2837 510-793-7511 E-mail: ardenwood@earthlink.net Web: www.ardenwoodsnd-dvd.com Basic Rate: please call for info

BIG SURPRISE MUSIC Encino, CA 91436 818-613-3984 E-mail: info@carmengrillo.com Web: www.bigsurprisemusic.com Contact: Carmen Grillo Basic Rate: $40/song

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BOSS STUDIOS San Francisco, CA 94103 415-626-1234 Web: www.bossstudio.com Basic Rate: please call for info CAPITOL MASTERING 1750 N. Vine St. Los Angeles, CA 90028 323-871-5003 E-mail: matt.graber@capitolmastering.com Web: www.capitolmastering.com Contact: Matt Graber Basic Rate: please call for info CAPRICORN MASTERING 927 “E” St. San Diego, CA 92101 619-228-6941 E-mail: info@capricornmastering.com Web: www.capricornmastering.com Contact: Joe Goodwin CHARLES LAURENCE PRODUCTIONS Northridge, CA 818-368-4962 Web: clpstudios.com Contact: Charles Laurence Basic Rate: please call for info CHUCK EVERTS SOUND 26077 Getty Dr. Laguna Niguel, CA 92677 949-348-9423 E-mail: cesnd@pacbell.net Contact: Chuck Everts Basic Rate: call for info CLEAR LAKE AUDIO 10520 Burbank Blvd. N. Hollywood, CA 91601 818-762-0707 E-mail: contact@clearlakerecording.com Web: www.clearlakeaudio.com Basic Rate: please call for info CLOVERLAND STUDIOS Sullystone Music N. Hollywood, CA 818-503-1157 Web: www.sullystone.com CUPS ‘N STRINGS 4411 Brookford Avenue Woodland Hills, CA 91364 818-222-4600 Fax 818-286-9588 E-mail: tapetransfers@cupsnstrings.com Web: www.cupsnstrings.com Basic Rate: please call for info DAVEN THE MAD HATTER STUDIOS Los Angeles, CA 323-876-1212 E-mail: faye@daventhemadhatter studios.com Web: www.daventhemadhatter.com Contact: studio manager Basic Rate: please call for info DENOISE.COM 1501 Powell St., Ste. A Emeryville, CA 94608 866-DENOISE, 510-653-3838 Fax 510-653-3229 E-mail: info@denoise.com Web: www.denoise.com Contact: Albert Benichou Basic Rate: please call for info DIAMOND DREAMS MUSIC PRODUCTIONS North OC, Carbon Canyon 909-393-3120 Fax 909-606-5779 E-mail: info@diamonddreamsmusic.com Web: www.diamonddreamsmusic.com Contact: Raphael De Giorgeo Basic Rate: please call for info, varies from project to project DINO M 4 RECORDING/MASTERING STUDIO Torrance, CA (10 minutes south of LAX) 310-782-1440

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E-mail: dinom4@aol.com Contact: Dino Maddalone

Contact: David Donnelly, Perry Cunningham Basic Rate: special rate for indie and unsigned artists

DISC MAKERS 4425 W. Riverside Dr., Ste. 204 Burbank, CA 91505 800-468-9353 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info

EZEE STUDIOS 1523 26th St. Santa Monica, CA 90404 310-586-5586 E-mail: brian@ezeestudios.com Web: www.ezeestudios.com Contact: Brian Zamorano Basic Rate: please see web or call

DISKFAKTORY A division of Innovative Diversified Technologies 1264 Folsom St. San Francisco, CA 94103 888-464-9664 E-mail: customercare@diskfaktory.com Web: www.diskfaktory.com Basic Rate: please see web or call DNA MASTERING 19528 Ventura Blvd., Ste. 315 Tarzana, CA 91356 818-992-4034 E-mail: info@DNAmastering.com Web: www.dnamastering.com

GO BIG AUDIO 1258 Highland Ave. Hollywood, CA 818-990-4889 E-mail: info@gobigaudio.com Web: gobigaudio.com Contact: Gary Gladstone Basic Rate: please see web or call GOLDEN MASTERING 1721 E. Main St. Ventura, CA 93001 805-648-4646 Fax 805-648-4656 E-mail: april@goldenmastering.com Web: www.goldenmastering.com Contact: April Golden Format: digital and analog Basic Rate: please call for info

Additional location: 75 Rockefeller Plaza New York, NY 10019 212-275-2160 E-mail: bill@ezeestudios.com Contact: Bill Addeo

GOLD STREET Burbank, CA 818-567-1911 E-mail: avpost@goldstreet.net Web: www.goldstreet.net Contact: Eric Michael Cap Basic Rate: start at $50/hr.

FDS LABS 2550 W. Ave. N. Palmdale, CA 93551 661-267-1155, 213-383-2155 E-mail: info@fdslabs.com Web: www.fdslabs.com Basic Rate: please see web or call

GRANDMASTER RECORDERS LTD. 1520 N. Cahuenga Blvd. Hollywood, CA 90028 323-462-6136 E-mail: gmrltd@earthlink.net Web: www.grandmasterrecorders.com Contact: Alan Dickson Basic Rate: please call for info

THE GRAMMY MUSEUMÂŽ AT L.A. LIVE PRESENTS

GROOVEWORKS 1446 W. 178th St. Gardena, CA 90248 310-257-4949 Web: www.grooveworksstudio.com Contact: studio manager Basic Rate: please call for info HIT SINGLE RECORDING SERVICES 1935 Friendship Dr. El Cajon, CA 92020 619-258-1080 E-mail: hitsingle@earthlink.net Web: www.hitsinglerecording.com Basic Rate: please call or see web for info HOLLYWOOD MASTERING 888-MASTERS E-mail: master@hollywoodmastering.com Web: Hollywoodmastering.com HYDE ST. STUDIOS 245 Hyde St. San Francisco, CA 94102 415-441-8934 Fax 415-441-8943 E-mail: info@hydestreet.com Web: www.hydestreet.com Basic Rate: please call or see web

IMPERIAL MEDIA SERVICES 3202 Pennsylvania Ave. Santa Monica, CA 90404 310-396-2008 E-mail: info@imperialmedia.com Web: www.imperialmedia.com Services: Retail ready CD, DVD & Blu-ray packages ship within 24-48 Hour

ON DISPLAY THRU FEBRUARY 24, 2013

J.E. SOUND PRODUCTIONS Hollywood, CA 323-850-0765 E-mail: jesound@jps.net Web: www.jesound.com Contact: John Goodenough Basic Rate: please see web or call JOE GASTWIRT MASTERING 4750 Rhapsody Dr. Oak Park, CA 91377 310-444-9904 E-mail: joe@gastwirtmastering.com Web: www.gastwirtmastering.com Contact: Joe Gastwirt Basic Rate: please see web or call JUNGLE ROOM RECORDING STUDIOS 604 1/2 Sonora Ave. Glendale, CA 91201 818-247-1991 E-mail: info@jungleroom.net Web: www.jungleroom.net Basic Rate: please see web or call

On display September 18, 2012 – September 2013

KINGSIZE SOUNDLABS Los Angeles, CA 323-533-0022 E-mail: kingsizesoundlabsla@gmail.com Web: www.kingsizesoundlabs.com Basic Rate: Call for more info

800 West Olympic Blvd., Los Angeles, CA 90015 Mon-Fri 11:30AM – 7:30PM, Sat-Sun 10AM – 7:30PM For more information, go to WWW.GRAMMYMUSEUM.ORG GRAMMY MuseumŽ and the Museum logo are registered trademarks of the Recording AcademyŽ and are used under license.

7388_GR_GRAMMY Museum_Whitney & Beach Boys Ad_4.875x7.375_FNL.indd 1

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KEN LEE MASTERING 748 Oakland Ave. Oakland, CA 94611 510-428-9276 E-mail: kenleemastering@mac.com Basic Rate: please e-mail

KIRT SHEARER PRODUCTIONS P.O. Box 2954 9/18/12 1:23 PM

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Download This Directory From Our Website Fairbanks, CA 95628-2954 916-884-6641 E-mail: kirt@kirtshearerprodutions.com Web: www.kirtshearerproductions.com LITTLE HIPSTER MUSIC STUDIOS 14557 Leadwell St. Van Nuys, CA 91405 818-731-1043 E-mail: contact@littlehipstermusic.com Web: www.littlehipstermusic.com Contact: David Snow Basic Rate: please call for info MAMBO SOUND & RECORDING 2200 W. Esther Long Beach, CA 90813 562-432-9676 Web: www.mambosoundandrecording.com Contact: Steve McNeil Basic Rate: please call for info MAOR APPELBAUM MASTERING Woodland Hills, CA 818-564-9276, 818-745-6412 E-mail: mappelbaum@gmail.com Web: www.maorappelbaum.com Contact: Maor Appelbaum Clients: Sepultura, Rob Halford, Yngwie Malmsteen, Nekromantix, Lita Ford, The Chop Tops, Marco Mendoza MARCUSSEN MASTERING 5632 Hollywood Blvd. Hollywood, CA 90028 323-463-5300 Fax 323-463-5600 E-mail: info5223@marcussenmastering.com Web: www.marcussenmastering.com Contact: Caryl McGowan Basic Rates: please call for info MAR VISTA RECORDING STUDIO Mar Vista, CA 310-467-0889 E-mail: remmusic@ca.rr.com Contact: Jerry Basic Rate: please call for info MASTER GROOVE STUDIOS Northridge, CA and Nashville, TN 818-830-3822, 615-799-9366 E-mail: leafcake@att.net Web: www.mastergroovestudios.com Contact: Dave Morse Basic Rate: please call for info, reasonable rates. MASTERING LAB INC., THE 911 Bryant Pl. Ojai, CA 93023 805-640-2900 Fax 805-640-2901 E-mail: contact@themasteringlab.com Web: www.themasteringlab.com Contact: Doug Sax Basic Rate: call for information Services: digital and analog, 2 tracks. Also master surround sound and vinyl MAURICE GAINEN PRODUCTIONS 4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027 323-662-3642 E-mail: info@mauricegainen.com Web: www.mauricegainen.com Basic Rate: please call for info Credits: Starbucks (170 Compilations), Alex Skolnick (Testament, Trans-Siberian), Raphael Moriera (Pink, Christina, Idol), Andy McKee, The Hues Corporation (Rock The Boat) MELROSE MASTERING 5254 Melrose Ave. Hollywood, CA 818-216-5409 E-mail: melrosemusic@mac.com Web: www.melrosemusicstudios.com Basic Rate: please call for info METRO STUDIOS San Fernando Valley, CA 818-366-5588 E-mail: info@metrostudios.com Web: www.metrostudios.com Basic Rate: please call for info MICHAEL ROMANOWSKI MASTERING 1340 Mission St. San Francisco, CA 94103 415-500-2539 E-mail: info@michaelromanowski.com Web: www.michaelromanowski.com Basic Rate: please call for info MIKE WELLS MASTERING 4470 W. Sunset Blvd, #147 Los Angeles, CA 90027 323-363-2339 E-mail: info@mikewellsmastering.com Web: www.mikewellsmastering.com Skype ID: mikewellsmastering Contact: Mike Wells Basic Rate: Please call for rates MIXING AND MASTERING.COM 4804 Laurel Canyon Blvd., Ste. 351

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Studio City, CA 91607 818-795-2895 E-mail: info@mixingandmastering.com Web: www.mixingandmastering.com Basic Rate: please call for info M L E STUDIOS PO Box 93008 Los Angeles, CA 90093-0008 866-246-8846 E-mail: mail@majorlabelmusic.com Contact: Col. Darryl Harrelson Web: majorlabelmusic.com, facebook.com/ mlestudios, myspace.com/mlestudios Basic Rate: $45.00/hr or flat rate per song/ album small independent multi-room studio specializing in country, Americana and alt country genres. MOONSHINE STUDIOS 3044 Glendale Blvd. Los Angeles, CA 90039 323-913-1019 E-mail: info@moonshinestudios.com Web: www.moonshinestudios.com Contact: Steve Chevez Basic Rate: please call for rates MR. TOAD’S MASTERING 444 Townsend St. San Francisco, CA 94107 888-Mr.Toads (888-678-6237) E-mail: info@mrtoads.com Web: www.mrtoads.com Basic Rate: please call for info NEW MILLENNIUM STUDIOS P.O. Box 1070 Hollywood, CA 90078 323-962-5960 Contact: Timothy A. Simms Basic Rate: please call for info OASIS MASTERING 4109 W. Burbank Blvd. Burbank, CA 91505 818-567-0500 Fax 818-567-0599 E-mail: jamie@oasismastering.com Web: www.oasismastering.com Basic Rate: please call for info ORBIT ROOM MASTERING, THE 4411 Brookford Ave Woodland Hills, CA 91364 818-222-4600 E-mail: studios@cupsnstrings.com Web: www.cupsnstrings.com Contact: Grey D’kat, Engineer, Bruce Maddocks Basic Rate: $75/hr. Indie rate *Note: Additional online only mastering service available PEARL MUSIC Hollywood, CA 90068 323-851-2279 E-mail: pearlmusic@sbcglobal.net Web: www.pearlmusic.net Contact: Richard Zeier Basic Rate: $50/hr. PETTING:ZOO STUDIOS Rockridge District of Oakland 415-531-4671 E-mail: pettingzoostudio@gmail.com Contact: Bernhard Penzias Web: www.myspace.com/bernebase Basic Rate: Indie packages avail. PIRANHA DIGITAL AUDIO 13237 Saticoy St., Ste. 5 N. Hollywood, CA 91605 323-791-9264 E-mail: slmusicbox@yahoo.com Web: www.myspace.com/piranhadigitalaudio Contact: Scotty Basic Rate: please call for info PLANT RECORDING STUDIOS, THE 1001 Bridgeway, Ste.144 Sausalito, CA 94965 415-332-6100 Fax 415-332-5738 E-mail: info@plantstudios.com Web: www.plantstudios.com Contact: John Cuniberti Basic Rate: please call for info P.M. III PRODUCTIONS Studio City, CA 818-763-3053 E-mail: p.m.iii@sbcglobal.net Web: www.pm3prod.com Contact: Paul Moser POYEL MUSIC ENTERTAINMENT 499 N. Canon Dr., 4th Fl. Beverly Hills, CA 90210 310-926-7232 E-mail: us@poyelmusic.com Web: www.poyelmusic.com Basic Rate: please call for info PRAIRIE SUN Box 7084 Cotati, CA 94931

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Download This Directory From Our Website 707-795-7011 Fax 707-795-1259 E-mail: info@prairiesun.com Web: www.prairiesun.com Contact: studio manager Basic Rate: please call for info PRECISION MASTERING 1008 N. Cole Ave. Hollywood, CA 90038 323-464-1008 E-mail: claudia@precisionmastering.com Web: www.precisionmastering.com Contact: Claudia Lagan Basic Rate: please call for info PRIVATE ISLAND TRAX 1882 South Cochran Ave. Los Angeles, CA 90019 323-856-8729 Fax 323-965-8732 E-mail: info@privateislandtrax.com Web: www.privateislandtrax.com Basic Rate: $65/hour PRODUCTION COMPANY MASTERING & RECORDING STUDIO, THE 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: rockzionrecords@rockzion.com Web: http://rockzion.com/productionco.html Contact: Dennis Basic Rate: analog and digital, please call for info PROFESSIONAL MUSICIAN’S LOCAL 47 817 N. Vine St. Hollywood, CA 90038 323-462-2161 Web: www.promusic47.org Contact: Amie Moore Basic Rate: please call for info PYRAM-AXIS DIGITAL Redondo Beach, CA E-mail: music@pyramaxis.com Web: www.pyramaxis.com Contact: Jim D. Basic Rate: $45/song, FTP/web data, latest plugins & vintage gear, 20 yrs. exp QUALITY CLONES MASTERING, CD MASTERING & DVD AUTHORING 3940 Laurel Canyon Blvd., Ste. 405 Studio City, CA 91604 323-464-5853 E-mail: info@qualityclones.com

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Web: www.qualityclones.com Basic Rate: please call for info RACE HORSE STUDIOS 3780 Selby Ave. Los Angeles, CA. 90034 310-280-0175 Fax 310 280-0176 E-mail: duncan@racehorsestudios.com Web: www.racehorsestudios.com Contact: Duncan Macfarlane Basic Rate: please call for info RAINBO RECORDS MFG. CORP. 8960 Eton Ave. Canoga Park, CA 91304 818-280-1100 Fax 818-280-1101 E-mail: info@rainborecords.com Web: www.rainborecords.com Basic Rate: please call for info RBC STUDIOS 5723 Melrose Ave. Los Angeles, CA 90038 323-461-0800 Web: www.myspace.com/rbcstudios Contact: Bill Parris Basic Rate: please call for info REDRUM STUDIOS E-mail: info@redrumproductions.net Web: www.redrumproductions.net Contact: Simon or Boi Basic Rate: email for info RODEO PUNK MUSIC 11500 Killion St. N. Hollywood, CA 91601 818-570-1727 E-mail: carolyn.avery@rodeopunkmusic.om Web: rodeopunkmusic.com Contact: Carolyn Avery, Studio Mgr. Basic Rate: Please see web or call RPD STUDIOS 1842 Burleson Ave. Thousand Oaks, CA 91360 805-496-2585 E-mail: rpdstudios@roadrunner.com Web: www.rpdstudios.com Contact: Randy Basic Rate: please call for info RUSK SOUND STUDIOS 1556 N. La Brea Ave.

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www.musicconnection.com/amp Hollywood, CA 90028 323-462-6477 Basic Rate: please call for info SONIC VISION MASTERING & AUDIO PRODUCTION SERVICES 818-269-7087 Web: www.sonicvisionmastering.com Contact: Mike Milchner Basic Rate: please call or check website for info SONORA RECORDERS 3222 Los Feliz Blvd. Los Angeles, CA 90039 323-663-2500 E-mail: ducktape@aol.com Contact: Richard or Chad Basic Rate: please call for info SOTTOVOCE STUDIO AND MASTERING N. Hollywood, CA 818-694-3052 E-mail: info@sottovocestudio.com Web: www.sottovocestudio.com SOUND AFFAIR 2727 S. Croddy Way, Unit G Santa Ana, CA 92704 800-570-6656 Web: www.SoundAffairMastering.com Contact: Ron or Andree Basic Rate: please see web for info SOUND BITES DOG Los Angeles, CA 310-621-1896 E-mail: hdekline@gmail.com Web: www.soundbitesdog.com Contact: Hans DeKline Basic Rate: $55/song (Indie) SOUNDCASTLE INTERACTIVE STUDIOS 1334 3rd St. Santa Monica, CA 90401 310-394-6014 E-mail: soundcastle@earthlink.net Web: www.soundcastle.com Basic Rate: please see web for info SOUND MATRIX STUDIOS 18060 New Hope St. Fountain Valley, CA 92708 714-437-9585 E-mail: info@soundmatrix.com Web: www.soundmatrix.com

Contact: Brandon Forrest Basic Rate: please call or see web for info SOUNDMOVES STUDIOS Burbank, CA 818-848-3393 E-mail: michael@woodrumproductions.com Web: www.soundmovesaudio.com Contact: Michael Woodrum Basic Rate: please call for info STEPHEN MARSH MASTERING 1617 Cosmo St., Loft 106 Hollywood, CA 90028 310-598-6038 Fax 310-598-5685 E-mail: marsh@marshmastering.com Contact: Stephen Marsh or Stephanie Villa Web: www.marshmastering.com Basic Rate: please call for rates STUDIO 5109 1110 N. Western, Ste. 206 Hollywood, CA 90029 213-369-7094 E-mail: info@studio5109.com Web: www.studio5109.com Contact: Mike Wolf Basic Rate: please call or see web STUDIO A W. Los Angeles, CA 310-820-5781 Contact: David Adjian Basic Rate: please call for info STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 E-mail: eharrison@studiocitysound.com Web: www.studiocitysound.com Contact: studio manager Basic Rate: please call for info STUDIOWEST 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497, 858-592-9580 E-mail: jesse@studiowest.com Web: www.studiowest.com Contact: Jesse Maxson Basic Rate: call for more info SULLYSTONE MUSIC Cloverland Studios N. Hollywood, CA 91616

Download This Directory From Our Website 818-503-1157 Web: www.sullystone.com Contact: Billy Sullivan Basic Rate: please call for info SUN 7 MUSIC 5303 Inadale Ave. Los Angeles, CA 90043-1543 323-292-1052 E-mail: sun7@sun7production.com Web: www.sun7production.com Basic Rate: please call for info TECHNOVOICE MASTERING 11739 Ventura Blvd. Studio City, CA 91604 818-506-7893 E-mail: info@technovoice.com Web: www.technovoice.com Contact: Bob Lanzner Basic Rate: please call or e-mail for quote THETA SOUND STUDIO 2219 W. Olive Ave., Ste. 226 Burbank, CA 91506 818-955-5888 E-mail: randy@thetasound.com Web: www.thetasound.com Contact: Randy or Cyndie Tobin Basic Rate: please call for info THRESHOLD MASTERING 2114 Pico Blvd. Santa Monica, CA 90405 310-566-6677 E-mail: micheleb@thresholdsound.com Web: www.thresholdsound.com Contact: Michelle Blankenship or Peter Barker Basic Rate: custom rates for indies

Format: digital and analog Basic Rate: Call for info TOMCAT ON THE PROWL PRODUCTIONS Studio City, CA 91604 818-943-6059 E-mail: studio@tomcatontheprowl.com Web: www.tomcatontheprowl.com Contact: Thomas Hornig Basic Rate: visit website for more info TRU-ONE STUDIOS 2100 E. Howell Ave., Ste. 208 Anaheim, CA 92806 714-634-4678 Web: www.truonerecords.com Basic Rate: Rooms $16 & $20 per hr. UNITED AVG, Inc. 6855 Vineland Ave. N. Hollywood, CA 91605 800-247-8606 Web: www.unitedavg.com Contact: Steve Katz Basic Rate: call or check website for more information UNIVERSAL MASTERING STUDIOS 3400 Cahuenga Blvd. Building C Hollywood, CA 90068 818-286-6233 E-mail: nick.d@umusic.com Web: www.myspace.com/umsemastering, www.universalmastering.com Contact: Nick Dofflemyer Basic Rate: call for info

TIME ART STUDIO Studio City, CA 818-980-2840 Fax 818-760-4385 Web: www.timeart.us Contact: Darlene Basic Rate: please call for info

VESTMAN MASTERING 7556 Garden Grove Blvd. Westminster, CA 92683 714-894-4000 E-mail: info@vestmanmastering.com Web: www.johnvestman.com Contact: John Vestman or office mgr. Basic Rate: Contact us for hourly rates and package rates for sessions longer than 4 hours.

T.I.M.S. TOTALLY INDEPENDENT MUSICIAN 15925 Kittridge St. Van Nuys, CA 91301 805-340-0130 E-mail: cowboysurfer@earthlink.net Web: seedlessrecords.com/Tims.html Contact: Stu

WATERBURY PRODUCTIONS Laurel Canyon and Magnolia Valley Village, CA 818-505-8080 E-mail: info@artscenter.coolexample.com Web: davewaterbury.net Contact: Dave Waterbury Basic Rate: please call for info

www.musicconnection.com/amp WESTBOUND STUDIOS Los Angeles, CA 310-985-5509 E-mail: gelowmusic@gmail.com Web: www.westboundstudios.com Contact: Angelo Basic Rate: please call for info WESTLAKE RECORDING 7265 Santa Monica Blvd. Los Angeles, CA 90046 323-851-9800 E-mail: bookings@thelakestudios.com Web: www.thelakestudios.com Contact: Sara Clark Basic Rate: please call for info XTREAM AUDIO MASTERING 888-878-3292 E-mail: info@xtreamaudio.com Web: www.xtreamaudio.com Basic Rate: please call for info ZENMASTERING P.O. Box 231087 Encinitas, CA 92023 858-231-1541 Contact: Paul Abbott Web: http://www.zenmastering.com

Colorado

AIRSHOW BOULDER STUDIO 3063 Sterling Cir., Ste. 3 Boulder, CO 80301 888-545-9035, 303-247-9035 Fax 303-247-9037 E-mail: Andrew@airshowmastering.com Web: www.airshowmastering.com Basic Rate: please call for info Additional location: 7014-C Westmoreland Ave. P.O. Box 5692 Tacoma Park, MD 20913 301-891-9035 E-mail: janine@airshowmastering.com ASPEN LEAF RECORDING STUDIO P.O. Box 60351 Grand Junction, CO 970-201-6166 E-mail: aspenleafrecording@gmail.com

October 2012

Web: www.aspenleafrecording.com Contact: Ken Dravis Basic Rate: please call for info AUDIO PARK RECORDING 5603 Yukon St., Unit A Arvada, CO 80002 303-456-6122 E-mail: nate@audiopark.biz Web: www.audiopark.biz Basic Rate: please call for info A/V SERVICES 2432 S. Downing St. Denver, CO 80210 303-777-5950 Fax 303-765-2584 E-mail: info@av-services.com Web: www.av-services.com Basic Rate: please call for info CHERRY SOUND STUDIOS, LLC 1600 Downing, Ste. 120 Denver, CO 80218 303-910-5359 E-mail: guillot3000@yahoo.com Web: www.cherrysoundstudios.com Basic Rate: please call for info COLORADO SOUND STUDIOS 3100 W. 71st Ave. Westminster, CO 80030 303-430-8811 E-mail: colosnd@coloradosound.com Web: www.coloradosound.com Basic Rate: please call or see website GLOBALSOUND REC. STUDIO 555 Alter St., Unit 19-F Broomfield, CO 80020 303-439-7956 E-mail: lydia@globalsoundstudio.com Web: www.globalsoundstudio.com Basic Rate: please call for info QUAM AUDIO PRODUCTIONS Lafayette, CO 720-890-0230 E-mail: info@quamaudio.com Web: www.quamaudio.com Contact: Michael Quam Basic Rate: please call for info SUMMERTOWN STUDIOS SW Corner of College & Harmony

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Download This Directory From Our Website 4606 S. Mason St. Fort Collins, CO 970-377-8066 E-mail: producer@summertownstudios.com Web: www.summertownstudios.com Contact: Bob Buford Basic Rate: please call for info

Connecticut

BEANSTUDIO MASTERING Bridgeport, CT E-mail: jim@beanstudio.com Web: www.beanstudio.com Contact: Jim DeSalvo Basic Rate: please call for info

JAMLAND STUDIO 2326 Empire Dr. Kingsridge, Wilmington, DE 19810 302-475-0204 E-mail: music@jamlandstudio.com Web: www.jamlandstudio.com/

District Of Columbia (D.C.)

ONYX SOUND LAB LLC 56 Cooper St. Manchester, CT 06040 860-436-4581 E-mail: contact@onyxsoundlab.com Web: www.onyxsoundlab.com Contact: Adam Gootkin or Peter Kowalczyk Basic Rate: please call for info RVP STUDIOS 221 Bull Hill Ln. West Haven, CT 203-934-7579 E-mail: info@audiohotel.com Web: www.rvpstudios.com Contact: Marc Basic Rate: please call for info SUITE AUDIO Clinton, CT 06413 860-664-9499 E-mail: info@suiteaudio.com Web: www.suiteaudio.com Basic Rate: please call for info TARQUIN STUDIOS Bridgeport, CT 06604 203-338-0895 E-mail: tarquinstudios@hotmail.com Web: www.tarquinrecords.com Basic Rate: please call for info

Delaware

Web: www.audiovisionsonline.com Basic Rate: please call for info

AUDIOVISIONS 7 Rockford Rd., Ste. 29B Wilmington, DE 19806 302-651-7955 E-mail: info@audiovisionsonline.com

LISTEN VISION LLC 2622 Georgia Ave. Washington, D.C. 20001 202-332-8494 Fax 202-332-8495 E-mail: info@listenvision.com Web: www.listenvision.com Basic Rate: please call for info

www.musicconnection.com/amp E-mail: info@fullersound.com Web: www.fullersound.com Basic Rate: please call for rates NOISEMATCH STUDIOS 169 N.W. 23rd St. Miami, FL 33127 786-334-5382 E-mail: info@noisematch.com Web: noisematch.com Basic Rate: Call for info PROGRESSIVE MEDIA & MUSIC 2116 Southview Ave. Tampa, FL 33606 813-251-8093 Fax 813-251-6050 E-mail: info@progressivecds.com Web: www.progressivecds.com Basic Rate: project rates available - call for a quote

LAVA TRACKS RECORDING Kamuela, Big Island, HI 808-885-6564 Web: www.lavatracks.com Contact: Charles Michael Brotman, Grammy Award winner Basic Rate: call or check our website for contact info. SEASIDE RECORDING Wailuku, Maui, HI 808-242-2732 Web: http://seasiderecording.com Contact: Joel Katz Basic Rate: reasonable rates by the hour, week or job

Idaho

BIG SHOT MUSIC STUDIOS 658 Douglas Ave., Ste. 1116-1120 Altamonte Springs, FL 32714 407-788-6431 E-mail: info@bigshotmusicstudios.com Web: www.bigshotmusicstudios.com

DAN SCOTT PRODUCTION STUDIOS Atlanta, GA 770-616-0433 Web: www.danscottproductions.com Basic Rate: please call for info

AUDIO MASTERING STUDIO 2365 River Oaks Dr. Nampa, ID 83686 208-965-0621 E-mail: master@audiomasteringstudio.com Web: www.audiomasteringstudio.com Basic Rate: $75 per song (minimum two songs) [or] project discount 7-10 songs, $500

BLACK DOG MASTERING STUDIO 3837 Northdale Blvd., Ste. 271 Tampa, FL 33624 818-434-1483 E-mail: info@blackdogmastering.com Web: www.blackdogmastering.com Basic Rate: please call for info

GLENN SCHICK MASTERING 1314 Ellsworth Industrial Blvd. Atlanta, GA 30318 404-351-4655 Fax 404-474-1795 E-mail: info@gsmastering.com Web: www.gsmastering.com Basic Rate: please call for info

JAMPROSOUND Boise, ID 208-919-5770 E-mail: info@jamprosound.com Web: www.jamprosound.com Contact: Justin A. Mai, owner Basic Rate: please call or e-mail for info

CRITERIA RECORDING STUDIOS Southern Florida E-mail: info@criteriastudios.com Web: www.criteriastudios.com Contact: Trevor Fletcher Basic Rate: please see web for info

ODYSSEY STUDIO, THE 198 N. First St. Colbert, GA 30628 706-540-1076 E-mail: p_rives@theodysseystudio.com Web: www.theodysseystudio.com Contact: NA Basic Rate: $50/hr. see web for details

TONIC ROOM, THE 1509 S. Robert St., Ste. 103 Boise, ID 83705 208-338-8433 Fax 208-338-8435 E-mail: info@tonicroomstudios.com, mastering@tonicroomstudios.com Web: www.tonicroomstudios.com Basic Rate: see web for info

Florida

EMERALD CITY RECORDING, INC. 105 Dunbar Ave., Ste. A Oldsmar, FL 34677 813-814-1062 E-mail: emeraldcityrecording@msn.com Web: www.emeraldcityrecording.com Basic Rate: please call for rates FULLERSOUND INC. 3551 S.W. 116th Ave. FT. Lauderdale, FL 33330 305-556-5537 Fax 954-423-8441

Georgia

Hawaii

AVEX HONOLULU STUDIOS 377 Keahole St., Ste. D-03 Honolulu, HI 96825 808-393-2021 Fax 808-393-2021 E-mail: info@avexhonolulustudios.com Web: www.avexhonolulustudios.com Contact: Gaylord Holomalia Basic Rate: please call for info

Illinois

ARS STUDIOS Homewood, IL 708-960-0499 Fax 708-371-3958 E-mail: info@arsstudios.com Web: www.arsrecording.com Basic Rate: please call and ask about our mastering and duplication specials

Thud Studios “World Class Studio Down to Earth Rates�

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

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

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

64 October 2012

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Download This Directory From Our Website BOILER ROOM, THE 3139 N. Lincoln Ave., Ste. 214 Chicago, IL 60657 773-525-8551 E-mail: info@brmastering.com Web: www.brmastering.com Basic Rate: please call for info

Web: www.playgroundstudio.com Basic Rate: $500/day recording $85/hr. mastering

CHICAGO MASTERING SERVICE Chicago, IL 773-265-1733 E-mail: info@chicagomasteringservice.com Web: www.chicagomasteringservice.com Basic Rate: please call for info CHICAGO MASTERWORKS E-mail: chicagomasterworks@gmail.com Basic Rate: please e-mail for info DISC MAKERS 560 W. Washington Blvd. #410 Chicago, IL 60661 800-468-9353, 312-661-3450 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info

VMR STUDIO VITAL MUSIC RECORDING 9039 Monroe Brookfield, IL 60513 780-267-2198 E-mail: don@studioVMR.com Web: www.StudioVMR.com Contact: Don Griffin Basic Rate: Call for info

Indiana

APPLEGATE AUDIO VISUAL 5609 Ensenada Ave. Indianapolis, IN 46237 317-782-9948 E-mail: mastering@applegateaudiovisual.com Web: www.applegateaudiovisual.com Basic Rate: 1-10 songs $200.00 FULL PERSPECTIVE SERVICES, INC. 6902 Hawthorn Park Dr. Indianapolis, IN 46220 317-558-4850 Fax 317-579-0402 E-mail: marketing@fpservicesinc.com Web: www.fpservicesinc.com Basic Rate: please call for info

GRAVITY STUDIOS 2250 West North Ave. Chicago, IL 60647 773-862-1880 E-mail: info@gravitystudios.com Web: www.gravitystudios.com Basic Rate: Call for more info

Iowa

MAMINIDI RECORDS, INC. Chicago, IL 630-834-0766 E-mail: dirksonic@mamindi.com Web: www.maminidi.com Basic Rate: please call for info MASSIVE MASTERING P.O. Box 68143 Schaumburg, IL 60168 630-237-4393 Fax 630-233-8310 E-mail: master@massivemastering.com Web: www.massivemastering.com Contact: John Scrip Basic Rate: hourly/project rates on web PLAYGROUND RECORDING AND MASTERING STUDIO, THE Chicago, IL 312-455-8265 E-mail: admin@playgroundstudio.com

CATAMOUNT RECORDING, INC. 5737 Westminster Dr. Cedar Falls, IA 50613 319-235-6517 E-mail: catamount@cfu.net Web: www.catamountrecording.com Contact: Kitty Tatman Basic Rate: please see web for info INNER LIGHT RECORDS Iowa City, IA 319-936-1235 E-mail: info@innerlightrecords.net Web: www.innerlightrecords.net Contact: Ari Basic Rate: please call for info SKYLINE AUDIO PRODUCTIONS, LLC 6781 Hickman Rd. Urbandale, IA 50322 515-252-6209 E-mail: info@skylineaudio.com

www.musicconnection.com/amp Web: www.skylineaudio.com Basic Rate: $60/hr.

Maine

GATEWAY MASTERING STUDIOS 428 Cumberland Ave. Portland, ME 04101 207-828-9400 E-mail: staff@gatewaymastering.com Web: www.gatewaymastering.com Basic Rate: please call for info

TRIAD PRODUCTIONS INC. 1910 Ingersoll Ave. Des Moines, IA 50309 515-243-2125 Fax 515-243-2055 E-mail: staff-info@triadav.com Web: www.triadav.com Basic Rate: please call for info

Kansas

CORNERSTONE STUDIOS Wichita, KS E-mail: cornerstone@cornerstone studios.com Web: www.cornerstonestudios.com Contact: Steve Basic Rate: please e-mail for info

Kentucky

HEAD FIRST MEDIA 900 Goss Ave., Ste. 1, 3rd Fl. Louisville, KY 40217 502-637-1663 E-mail: info@headfirstmedia.com Web: www.headfirstmedia.com Basic Rate: please call for info SAINT CLAIRE RECORDING STUDIO 2640 Spurr Rd. Lexington, KY 40511 859-252-7272 E-mail: info@saint-claire.com Web: www.saint-claire.com Basic Rate: please call for info

STUDIO, THE 45 Casco St., Ste. 200 Portland, ME 04101 207-772-1222 Fax 207-775-0448 E-mail: info@thestudioportland.com Web: www.thestudioportland.com Contact: Tim Tierney Basic Rate: call for info

Maryland

AIRSHOW TAKOMA PARK STUDIO 7014-C Westmoreland Ave. Takoma Park, MD 20912 301-891-9035 Fax 301-891-9036 E-mail: studio@airshowmastering.com Web: www.airshowmastering.com Basic Rate: see web for info BACKBEAT RECORDS 16810 Federal Hill Ct. Bowie, MD 20716 301-430-0997 E-mail: backbeat@backbeatrecords.com Web: www.backbeatrecords.com Basic Rate: please call for info DISTROPHONIX LLC 517 Cathedral St Baltimore, MD 21201 443-763-3939 Fax 443-703-0510 E-mail: mastering@distrophonix.com Contact: Bryan (Head Mastering Engineer) Basic Rate: $20 a song

Louisiana

MASTERDIGITAL CORP. 2614 W. 15th Ave. Covington, LA 70433 504-236-6368 Web: www.masterdigital.com Basic Rate: please call for info

HIT AND RUN RECORDING 18704 Muncaster Rd. Rockville, MD 20855 301-948-6715 E-mail: info@hitandrunrecording.com Web: www.hitandrunrecording.com Contact: Steve Carr Basic Rate: please call for info

MUSIC SHED, THE 929 Euterpe St. New Orleans, LA 70130 504-412-9995 Fax 504-888-4666 E-mail: info@musicshed.net Web: www.musicshed.net Basic Rate: please call for info

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Download This Directory From Our Website JAM HUT RECORDS East Maryland 410-430-2707 E-mail: petebott69@jamhutrecords.com Web: www.jamhutrecords.com Contact: Pete Basic Rate: $25/hr. LION AND FOX RECORDING STUDIOS 9517 Baltimore Ave. College Park, MD 20740 301-982-4431 E-mail: mail@lionfox.com Web: www.lionfox.com/mastering.htm Basic Rate: please call for info OMEGA RECORDING STUDIOS 5609 Fishers Ln. Rockville, MD 20852 301-230-9100 E-mail: shannon@omegastudios.com Web: www.omegastudios.com Contact: Shannon Follin Basic Rate: 125/hr. (does not include tax or materials) PURE SOUND RECORDING STUDIO Odenton, MD 443-597-8584 E-mail: recording@puresoundstudio.com Web: www.puresoundstudio.com Basic Rate: please call for info STUDIO 302 554 N. Frederick Ave. #218 Gaithersburg, MD 20877 Web: www.studio302.com Contact: Jeremy Rwakaara Basic Rate: see website for rates

Massachusetts

BOSTON RECORDING STUDIO 131 W. Concord St., Ste. 1 Boston, MA 02118 857-207-2247 E-mail: record@bostonrecordingstudio.com Web: www.bostonrecordingstudio.com Basic Rate: $80/hr. M WORKS MASTERING 1035 Cambridge St., Ste. 17B Cambridge, MA 02141 617-577-0089 E-mail: studio@m-works.com

Web: www.m-works.com Basic Rate: reasonable rates! OAK GROVE RECORDING 65 Clinton St. Malden, MA 02148 781-321-3069 E-mail: joe@oakgroverecording.com Web: www.oakgroverecording.com Basic Rate: please call for info PEERLESS MASTERING 1085 Commonwealth Ave. #322 Boston, MA 02215 617-527-2200 E-mail: info@peerlessmastering.com Web: www.peerlessmastering.com Contact: Jeff Basic Rate: please call for info PILOT RECORDING STUDIOS 1073 Main Street Housatonic, MA 413-274-1073 E-mail: info@pilotrecording.com Web: www.pilotrecording.com Contact: Will Schillinger Basic Rate: please e-mail for info REAR WINDOW RECORDING SERVICE 25 Dwight St. Brookline, MA 02446 617-901-2441 Fax 617-730-5611 E-mail: milt4ps@aol.com Web: www.rearwindowstudio.com Basic Rate: please call for info RIK TINORY PRODUCTIONS P.O. Box 311 Cohasset, MA 02025 781-383-9494 E-mail: riktinory@aol.com Web: www.riktinory.com Contact: Rik Basic Rate: please call for info SOUNDMIRROR, INC. 76 Green St. Boston, MA 02130-2271 617-522-1412 Fax 617-524-8377 Web: www.soundmirror.com Basic Rate: please call for info

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www.musicconnection.com/amp SPECIALIZED MASTERING 47 Mellen St. Framingham, MA 01702 508-872-9478 E-mail: dana@specializedmastering.com Web: www.specializedmastering.com Basic Rate: please call for info

GERRY STINSON AUDIO 3720 Cooper Ave. S. St. Cloud, MN 56301 320-240-9292 E-mail: gsclockwork@aol.com Web: www.gerrystinsonaudio.com Basic Rate: please call for info

Additional location:

RARE FORM MASTERING 712 Ontario Ave. W. Minneapolis, MN 55403 612-327-8750 E-mail: info@rareformmastering.com Web: www.rareformmastering.com Contact: Greg Reierson Basic Rate: please contact for info

15438 S.W. 81st. Ave. Portland, OR 97224 503-866-8383

Michigan

BROADSIDE PRODUCTIONS 901 S. Westnedge Kalamazoo, MI 49008 269-226-0948 E-mail: studio@broadsideproductions.com Web: www.broadsideproductions.com Basic Rate: please call for info

Mississippi

MALACO MUSIC GROUP 3023 W. Northside Dr. Jackson, MS 39213 601-982-4522 E-mail: malaco@malaco.com Web: www.malaco.com Basic Rate: please call for info

WATERFALL STUDIOS 11389 S. Forrest Sideroad Dafter, MI 49724 313-570-6780 Web: www.waterfallrecordings.com Basic Rate: please call for info

Minnesota

ADVANCED RECORDING STUDIOS 710 E. 11 Mile Rd. Royal Oak, MN 48067 248-291-4029 E-mail: bill@advancedrecordingstudios.com Web: www.advancedrecordingstudios.com CRAZY BEAST N.E. Minneapolis, MN E-mail: crazybeaststudio@gmail.com Web: www.crazybeast.com Contact: Ben Durrant Basic Rate: please call for info C-SHARP PRODUCTIONS Minneapolis, MN 763-545-1969 E-mail: chad@sharpmusic.com Web: www.sharpmusic.com Basic Rate: please call for info

TAPROOT AUDIO DESIGN 355 C.R. 102 Oxford, MS 38655 662-236-2167 E-mail: info@taprootaudiodesign.com Web: www.taprootaudiodesign.com Basic Rate: please call for info

Missouri

AFTERBURN RECORDING STUDIOS 11947 Avila Dr. Kansas City, MO 64145 816-522-7718 E-mail: info@afterburnrecording.com Web: www.afterburnrecording.com Basic Rate: please call for info CD MASTERING SERVICES 4121 S. Fremont Ave., Ste. 120 #220 Springfield, MO 65804 417-880-2617 E-mail: info@cdmasteringservices.com Web: www.cdmasteringservices.com Contact: Bob Speer Basic Rate: please call for info

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Recording/Arrangement/Vocal Production Specialist Singer-Songwriters/Bands Ă€i>ĂŒĂŠ6ˆLiĂŠUĂŠ*Ă€ÂœviĂƒĂƒÂˆÂœÂ˜>Â?ĂŠ Â˜Ă›ÂˆĂ€ÂœÂ˜Â“iÂ˜ĂŒ ‡ ÂˆĂƒĂŒĂŠ,ÂœĂƒĂŒiĂ€ĂŠÂœvĂŠ-iĂƒĂƒÂˆÂœÂ˜ĂŠ*Â?>ĂžiĂ€ĂƒĂŠ Ă›>ˆÂ?>LÂ?i 7ÂœĂ€ÂŽi`ĂŠĂœÂˆĂŒÂ…ĂŠ*Ă€Âœ`Ă•ViĂ€ĂƒĂŠ >“iĂƒĂŠ Ă•ĂŒÂ…Ă€Âˆi]ĂŠ >ÀÀÞÊ,Ă•`ÂœÂ?ÂŤÂ…]

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Download This Directory From Our Website FIELD FORCE MEDIA SERVICES 13621 Wyandotte St. Kansas City, MO 64145 913-599-1888, 888-599-1888 E-mail: contact@fieldforceusa.com Web: www.fieldforceusa.com Basic Rate: please call for info

Montana

BOONE PRODUCTIONS 579 Belt Creek Rd. Belt, MT 59412 406-277-3255 E-mail: aviator@3rivers.net Web: www.booneproductions.com Contact: Dan Boone Basic Rate: please call for info RECORDING EDGE 615 E. Cameron Bridge Rd. Bozeman, MT 59718 406-388-5042 E-mail: information@recordingedge.com Web: www.recordingedge.com Contact: Edd Gryder Basic Rate: please contact for info

Nebraska

FOCUS MASTERING 14910 Grover St., Ste. 100 Omaha, NE 68144-5445 402-504-9624 E-mail: doug@focusmastering.com Web: www.focusmastering.com, www.myspace.com/focusmastering Contact: Doug Van Sloun Basic Rate: call or visit web for info STUDIO 24 8601 N. 30th St. Omaha, NE 68112 402-342-9090 E-mail: chuck@studio24omaha.com Web: www.studio24omaha.com

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Contact: Chuck Beckler Basic Rate: please call for info

Web: www.analogmastering.com Basic Rate: please call for info

WAREHOUSE PRODUCTIONS 206 S. 44th St. Omaha, NE 68131 402-553-8523 E-mail: whp@qwestoffice.net Web: www.warehouseproductions.net

DRT MASTERING 20 Vine St. St. Peterborough, NH 03458 603-924-2277 E-mail: davidt@drtmastering.com Web: www.drtmastering.com Contact: David Basic Rate: please call for info

Nevada

TANGERINE MASTERING 1801 Willow Ave., 2nd Fl. Weehawken, NJ 07086 201-865-1000 Fax 201-865-1001 E-mail: info@tangerinemastering.com Web: www.tangerinemastering.com Contact: Roger Johansen Basic Rate: please call for info

New Mexico

HGRS AUDIO Las Vegas, NV 702-236-1485, 708-305-3975 E-mail: jeff@hgrsaudio.com, gregory@hgrsaudio.com Web: www.hgrsaudio.com Contact: Jeff or Greg Basic Rate: please call for info

BEANSTUDIO CD & DVD MASTERING Wayne, NJ E-mail: jim@beanstudio.com Web: www.beanstudio.com Contact: Jim DeSalvo Basic Rate: please email for info

ODDS ON DISC 14 Sunset Way Henderson, NV 89014 702-318-6001 Fax 702-310-8007 E-mail: danap@oddsonrecording.com Web: www.oddsonrecording.com Basic Rate: please call for info

DISC MAKERS 7905 N. Route 130 Pennsauken, NJ 08110 800-468-9353, 856-663-9030 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info

VEGAS DISC MASTERING 5320 Styers St. North Las Vegas, NV 89031 702-481-1663, 702-735-4283 E-mail: info@vegasdisc.com Web: www.vegasdisc.com Contact: Tom Parham Basic Rate: call for info

ED LITTMAN MASTERING 35 Harring Ct. North Haledon, NJ 07508 201-824-7860 Web: www.edlittmanmastering.com Contact: Ed Littman Basic Rate: Available on Website

New Hampshire

ANALOG MASTERING 20 Vine St. Peterborough, NH 03458 603-924-2277 E-mail: davidt@drtmastering.com

New Jersey

HIGH FIDELITY MASTERING 13170 Central Ave. S.E., Ste. B251 Albuquerque, NM 87123 505-459-6242 E-mail: andy@highfidelitymastering.com Web: www.highfidelitymastering.com Contact: Andy Rogulich Basic Rate: please call for info THUNDER DIGITAL Albuquerque, NM 505-822-8273 E-mail: phil@thunderdigital.com Web: www.thunderdigital.com Basic Rate: please call for info

New York

COTTON HILL STUDIOS, INC. 13 Walker Way Albany, NY 12205 518-869-1968 Fax 518-869-1969 Web: www.cottonhill.com Contact: Margherita Petti Krug DALE PRO AUDIO 22 West 19th St. New York, NY 10011 212-475-1124 Web: www.daleproaudio.com Basic Rate: call for info

SILK CITY RECORDS P.O. Box 1541 Parsippany, NJ 07454 973-599-0237 E-mail: silkcitycd@aol.com Web: www.silkcitycd.com Contact: Andy Allu Basic Rate: call for info SUPREME SOUND STUDIO, INC. 86 Lackawanna Ave., Bldg. 2, Ste. 227 Woodland Park, NJ 07424-2642 973-890-1672 E-mail: info@supremesoundstudio.com Web: www.supremesoundstudio.com Contact: Brian Csencsits Basic Rate: please call for info

DISC MAKERS 16 West 18th St. New York, NY 10011-5504 800-468-9353, 856-661-3450 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info ENGINE ROOM AUDIO 42 Broadway 22nd Fl. New York, NY 10004 212-625-3467 E-mail: mark@engineroomaudio.com

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RICK ROWE MASTERING Brooklyn, NY 11220 718-492-0776 646-415-4325 E-mail: rickroweco@msn.com Web: www.rickrowemastering.com Basic Rate: please call for info

HOT SOUND STUDIOS 264 41st St. Brooklyn, NY 11232 646-552-0064 E-mail: info@hotsound.com Web: www.hotsound.com Basic Rate: please call for info

SKYELAB MUSIC PRODUCTIONS 247 W 38th St. Ste. 601 New York, NY 10018 212-789-8942 E-mail: info@skyelab.com Web: www.skyelab.com Basic Rate: please call for info

KEVORKIAN MASTERING c/o Avatar Studios 441 W. 53 St. New York, NY 10019 917-406-9147, 212-765-7500 E-mail: fkfk@aol.com Web: www.kevorkianmastering.com Contact: Fred Kevorkian

STERLING SOUND 88 Tenth Ave. 6th Fl. New York, NY 10011 212-604-9433 E-mail: inquiries@sterling-sound.com Web: www.sterling-sound.com Basic Rate: please see web

LODGE, THE 740 Broadway, Ste. 605 New York, NY 10003 212-353-3895 Fax 212-353-2575 E-mail: info@thelodge.com Web: www.thelodge.com Basic Rate: please call for info

THRESHOLD MUSIC 212-244-1871 E-mail: thresholdstudiosnyc@gmail.com Web: www.thresholdmusic.com Basic Rate: please call for info

MASTERDISK CORP. 545 W. 45th St. New York, NY 10036 212-541-5022 Fax 212-581-4093 E-mail: info@masterdisk.com Web: www.masterdisk.com Basic Rate: please call for info

TRUTONE MASTERING LABS INC. 119 Rockland Ctr., Ste. 306 Nanuet, NY 10954 845-680-6490 E-mail: sales@trutonemastering.com Web: www.trutonemastering.com Basic Rate: please call for info

MUSIC HOUSE MASTERING 5507-10 Nesconset Hwy., Ste. 178 Mount Sinai, NY 11766 800-692-1210 E-mail: info@musichousemastering.com Web: www.musichousemastering.com Contact: Michael Dominici, owner Basic Rate: $475 complete album mastering, analog and digital mastering OASIS DISC MANUFACTURING 7905 N. Crescent Blvd. Delair, NJ 08110 888-296-2747 Fax 866-929-8402 E-mail: info@oasiscd.com Web: www.oasiscd.com Basic Rate: please call for info

VAULT MASTERING STUDIOS, THE c/o Masterdisk 545 W. 45th St., Studio MD4 New York, NY 10036 212-965-0100 E-mail: info@vaultmastering.com Web: www.vaultmastering.com Contact: Kiki Barrera - studio manager Basic Rate: contact for a quote tailored to your project. XTREAM AUDIO 888-878-3292 E-mail: info@xtreamaudio.com Web: www.xtreamaudio.com Contact: Anthony Casuccio Basic Rate: call for customized quote

www.musicconnection.com/amp North Carolina

BLUEFIELD MASTERING Raleigh, NC 27606 919-859-0102 E-mail: info@bluefieldmastering.com Web: www.bluefieldmastering.com Contact: Jeff Carroll Basic Rate: please call or e-mail JP MASTERS Charlotte, NC 704-779-1043 E-mail: dave@jpmasters.com Web: www.jpmasters.com Contact: Dave Locke Basic Rate: please refer to web KITCHEN MASTERING 109 Brewer Ln. Ste. A Carrboro, NC 27510 919-929-4494 E-mail: info@kitchenmastering.com Web: www.kitchenmastering.com Contact: Brent Basic Rate: hourly and track rates available STUDIO B MASTERING 821 Louise Ave. Charlotte, NC 28204 704-372-9661 E-mail: dave@studiobmastering.com Web: www.studiobmastering.com Contact: Dave Harris Basic Rate: please call for info

North Dakota

BARKING DOG RECORDS P.O. Box 1455 Fargo, ND 58105 E-mail: coates@barkingdogrecords.com Web: www.barkingdogrecords.com Contact: Mike and Linda Coates Basic Rate: please e-mail for info MAKOCHE RECORDING COMPANY 208 N. 4th St. Bismarck, ND 58502 800-637-6863, 701-223-7316 E-mail: info@makoche.com Web: www.makoche.com Basic Rate: please call for info

Ohio

ACOUSTIK MUSIC, LTD. 511 West College St. Oberlin, OH 44074-1446 440-775-3681 E-mail: tbethel@oberlin.net Web: www.acoustikmusik.com Contact: Jimmy Pearson Basic Rate: please call for info COMMERCIAL RECORDING STUDIOS INC. 6001 W. Creek Rd. Cleveland, OH 44131 216-642-1000 E-mail: info@commericalrecording.com Web: www.commercialrecording.com Basic Rate: please call for info PACIFICA STUDIOS Cleveland, OH 216-671-2608 E-mail: byron@pacificastudios.com Web: www.pacificastudios.com Contact: Byron Nemeth Basic Rate: please call for info, uses Abbey Road plug-ins

Oklahoma

HEARTLAND MASTERING STUDIO 3912 Hatterly Ln. Norman, OK 73072 405-919-7000, 405-360-8136 E-mail: hank@heartlandmastering.com Web: www.heartlandmastering.com Basic Rate: please call for info STUDIO SEVEN/LUNACY RECORDS 417 N. Virginia Oklahoma City, OK 73106 405-236-0643 Web: www.lunacyrecords.com Basic Rate: please call for info SUNDAY RECORDING Oklahoma City, OK 405-816-3102 E-mail: salvadorpauli@gmail.com Web: http://sundayrecording.com

Oregon

CRAZY DAISY PRODUCTIONS 7889 SW Cirrus Dr.

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Download This Directory From Our Website Beaverton, OR 97008 541-517-1458 E-mail: info@crazymastering.com Web: www.crazymastering.com

Orefield, PA 18069 610-398-9590 E-mail: sfxpost@creativesoundstudios.com Web: www.creativesoundstudios.com Basic Rate: please call for info

DEAD AUNT THELMA’S STUDIO 7923 S. E. 13th Ave. Portland, OR 97202 503-235-9693 E-mail: mikem@thelmas.com Web: www.thelmas.com Basic Rate: please call for info

JEREE RECORDING 1469 3rd Ave. New Brighton, PA 15066 724-847-0111 Web: www.jereerecording.com Basic Rate: please call for info

FOSTER MASTERING 4711 S.E. 26th Ave. Portland, OR 97202 503-222-9444 E-mail: ryanfoster@freqmastering.com Web: www.fostermastering.com, www.reverbnation.com/fostermastering Basic Rate: please call for info FUTURE DISC LLC. 15851 N.W. Willis Rd. McMinnville, OR 97128 213-361-0603 Fax 503-472-1951 E-mail: steve@futurediscsystems.com Web: www.futurediscsystems.com Contact: Steve Hall or Laura Hall Basic Rate: please call for rates or more info MICHAEL COOPER RECORDING 14911 Pommel Sisters, OR 97759 E-mail: coopermb@bendbroadband.com Web: http://www.myspace.com/ michaelcooperrecording Contact: Michael Cooper Basic Rate: $70/hr. or $90/song SEPTEMBER AUDIO NW Irving & 14th Ave. Portland, OR 97209 260-456-5717 E-mail: craig@septaudio.com Web: www.septaudio.com Basic Rate: please call for info

Pennsylvania

MASTERING HOUSE INC., THE 1002 Ridge Rd. Pottstown, PA 19465 888-876-HOUS, 610-469-1050 Web: www.masteringhouse.com Basic Rate: please call for info SHIMAMOTO SOUND Philadelphia, PA Web: www.shimamotosound.com Basic Rate: see web for info SI STUDIOS 945 S. Main St. Old Forge, PA 18518 570-457-0147 E-mail: tom@sistudios.com Web: www.sistudios.com Basic Rate: please call for info SPEARHEAD AUDIO Pittsburgh, PA 15228 E-mail: mail@spearheadaudio.com Web: www.spearheadaudio.com Contact: Barak Shpiez Basic Rate: per project basis TREELADY STUDIOS 628 Brown Ave. Turtle Creek, PA 15145 412-816-0300 E-mail: info@treelady.com Web: www.treelady.com Basic Rate: please see web

Rhode Island

CREATIVE SOUND STUDIOS, LLC 5759 Kernsville Rd.

STATIC PRODUCTIONS N. Kingstown, RI 02852 401-267-8236

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E-mail: chuck@chelseamusic.com Web: www.chelseamusic.com Basic Rate: please call or see website

STUDIO J RECORDING 124 Bartlett Dr. Warwick, RI 02886 401-575-7124 Contact: studio manager, Jeff Mehrmanesh

DAVE TOUGH PRODUCTIONS Nashville, TN 615-554-6693 E-mail: dave@davetough.com Web: www.davetough.com Contact: Dave Basic Rate: $60/hr - specializing in internet mastering

South Carolina

SIT N SPIN STUDIOS 730 S. Pleasantburg Dr., Ste. 107 Greenville, SC 29607 864-430-0619 E-mail: info@sitnspinstudios.com Web: www.sitnspininc.com Contact: Matt Morgan

DIAMONDISC AUDIO 204 Still Water Cir. Nashville, TN 37221 615-662-6870 E-mail: info@diamondiscaudio.com Web: www.diamondiscaudio.com Contact: Doug Diamond Basic Rate: Mastering Package ‘D’ - $30/song

STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. W. Columbia, SC 29169 803-794-9300 E-mail: info@strawberryskys.com Web: www.strawberryskys.com Basic Rate: call for rates

DISC MAKERS 1305 16th Ave., S 1st Floor Nashville, TN 37212 800-468-9353 Fax 856-661-3450 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info

South Dakota

EUPHONIC MASTERS Arlington, TN 901-266-6075 E-mail: info@euphonicmasters.com Web: www.euphonicmasters.com Basic Rate: please call for info

PRAIRIE DOG STUDIOS P.O. Box 91016 Sioux Falls, SD 57109 605-361-0939 E-mail: topdog@prairiedogstudios.com Web: www.prairiedogstudios.com Basic Rate: please call for info SYMBIOTIC DESIGN 2108 S. Duluth Ave. Sioux Falls, SD 57105 605-331-0808 605-610-9001, 800-279-2156 Web: www.symbioticdesign.com Basic Rate: please call for info

Tennessee

CHELSEA RECORDING STUDIO 500 Wilson Pike Cir. #200 Brentwood, TN 37027 615-373-5222

FOXWOOD MASTERING 108 Foxwood Lane Nashville, TN 37069 615-297-3929 Web: www.foxwoodmastering.com Basic Rate: please call for info GEORGETOWN MASTERS AUDIO, LLC 33 Music Sq. W., Ste. 108b Nashville, TN 37203 USA 615-254-3233 Fax 615-254-3237 E-mail: info@georgetownmasters.com Web: www.georgetownmasters.com Contact: Shelley Anderson Basic Rate: please call or see web

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Download Download This This Directory Directory From From Our Our Website Website HILLTOP RECORDING STUDIOS 902 Due West Ave. Nashville, TN 37115 615-865-5272 Fax 615-865-5553 Web: www.hilltopstudio.com Contact: John Nicholson

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Nashville, TN 37204 615-383-3708 Fax 615-383-8720 E-mail: info@mayfieldmastering.com Web: www.mayfieldmastering.com Basic Rate: please call for info

www.myspace.com/wolfmastering Contact: Erik Wolf Basic Rate: $85/hr. plus masters

INDEPENDENT MASTERING 1312 16th Avenue South Nashville,TN 37212 615-425-0739 E-mail: eric@independentmastering.com Web: www.independentmastering.com

NASHVILLE RECORDING STUDIO 19 821 19th Ave. S. Nashville, TN 37202 615-327-4927 E-mail: rtl7@aol.com Web: www.studio19nashville.com Basic Rate: please call for info

AMBIENT DIGITAL Houston, TX 888-808-DISC E-mail: mastering@ambientdigital.com Web: www.ambientdigital.com Contact: Bob Boyd Basic Rate: please call for an estimate

JAMSYNC 1232 17th Ave. S. P.O. Box 120969 Nashville, TN 37212 615-320-5050 Fax 615-340-9559 Web: www.jamsync.com Basic Rate: please call for info

PARLOR STUDIO, THE 1317 16th Ave. S. Nashville, TN 37212 615-385-4466 E-mail: larry@parlorproductions.com Web: www.parlorproductions.com Contact: Larry Sheridan

MASTERFONICS 28 Music Sq. W. Nashville, TN 37203 615-515-8705 E-mail: tommy@masterfonics.com Web: www.masterfonics.com Contact: Tommy Dorsey Basic Rate: please call for info

THE PLACE...FOR MASTERING 2508 Winford Ave., 2nd fl. Nashville, TN 37211 615-686-1725 E-mail: alex@theplaceformastering.com Web: www.theplaceformastering.com Contact: Alex Rockafellar, Studio Mgr. Basic Rate: E-mail your project info to Alex for a free quote. *Note: Joe Palmaccio has 20+ years major label experience with Polygram, Sterling Sound, and Sony NYC. 3x Grammy winner. Artists include Eric Clapton, John Mayer, Edwin McCain, Jeff Buckley, James Brown. Indie artists worldwide are welcome.

ARCUBE MULTIMEDIA INC. 959 E. Collins Blvd., Ste. 123 Richardson, TX 75081 877-677-9582, 832-573-9444 Fax: 972-267-1922 E-mail: sales@arcube.com Web: www.arcube.com Basic Rate: please call for info

MASTERING STUDIO, THE Professional Audio Group LLC 501 Cornet Dr. Nashville, TN 37217 615-828-1877 E-mail: info@themasteringstudio.com Web: www.themasteringstudio.com Contact: Luke Basic Rate: please see web MASTERMIX 1921 Division St. Nashville, TN 37203 615-321-5970 Fax 615-321-0764 E-mail: slee@mastermix.com Web: www.mastermix.com Contact: Ken or Hank Basic Rate: please call for info MAYFIELD MASTERING 2825 Erica Pl.

RECORD WAY STUDIOS Nashville, TN 818-830-3822, 615-799-9366 E-mail: davejavu@att.net Web: www.mastergroovestudios.com Contact: Dave Basic Rate: call for rates WOLF MASTERING 1024 16th Ave. S. Nashville, TN 37212 615-251-9653 E-mail: erik@wolfmastering.com Web: www.wolfmastering.com,

Texas

Fort Worth, TX 76104 817- 877- 4338 Fax 817-259-1674 E-mail: info@eagleaudiorecording.com Web: www.eagleaudiorecording.com Basic Rate: please call for info FORT WORTH SOUND 306 S. Main St. Ft. Worth, TX 76104 817-922-5444 E-mail: bart@fortworthsound.com Web: www.fortworthsound.com Contact: Bart Rose Basic Rate: please call for info JO MUSIK Dallas, TX 972-226-1265 Web: www.jo-musik.com Basic Rate: please call for info MASTERPIECE MASTERING P.O. Box 2130 Wimberley, TX 78676-2130 512-289-3428 E-mail: info@legendaryaudio.com Web: www.masterpiecemastering.com, www.legendaryaudio.com Contact: Billy Stull Basic Rate: $100/hr.

Additional locations: Austin 512-689-7369 Dallas 972-267-1800 AUDIO ARTS 817-946-7539 E-mail: audioarts@me.com Basic Rate: please call for rates CROWN RECORDS 402 Peoples St., Ste. 3C Corpus Christi, TX 78401 361-882-8881 Web: www.crownrecords.com Basic Rate: please contact for info DES MASTERING 1409 S. Lamar St., Ste. 100 Dallas, TX 75215 214-428-8777 E-mail: george@desmastering.com Web: www.desmastering.com Basic Rate: please call for info EAGLE AUDIO RECORDING 911 South Main St.

M MEDIA AUDIO P. O. Box 201475 Austin, TX 78720 512-341-2500 E-mail: info@mmediaaudio.com Web: www.mmediaaudio.com Basic Rate: please call for info NEXUS RECORDING STUDIOS San Antonio, TX 210-639-5266 E-mail: jason@nexusrecordingstudios.com Web: www.nexusrecordingstudios.com Contact: Jason Hatch Basic Rate: please call for info OTR MASTERING Dallas, TX 817-909-2738 Web: www.shoutlife.com/otrmastering

wireroadstudios.com 713-636-9772

Houston

October 2012

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Contact: Jeff Lowes; Owner/Engineer Basic Rate: Please call for info

Salt Lake City, UT

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SUGARHILL STUDIOS 5626 Brock St. Houston, TX 77023 713-926-4431 E-mail: Chris.longwood@gmail.com Web: www.sugarhillstudios.com Contact: Chris Longwood Basic Rate: please call for info TERRA NOVA DIGITAL AUDIO, INC. 5446 Hwy 290 W., Ste. 270 Austin, TX 78735 512-891-8010 Fax 512-891-8014 E-mail: info@terranovamastering.com Web: www.terranovamastering.com Contact: Diane Tubb, VP Basic Rate: please call for info TOP HAT RECORDING Austin, TX 512-441-3021 E-mail: mary@tophartrecording.com Web: www.tophatrecording.com Basic Rate: please call for info VAULT RECORDING STUDIOS, THE 9135 Katy Fwy., Ste. 1 Houston, TX 77024 713-722-8900 E-mail: info@vaultrecording.com Web: www.vaultrecording.com Contact: David Williams Basic Rate: please call for info WEXTRAX MASTERING LABS McKinney, TX 214-544-1554, 214-585-1692 E-mail: rob@wextrax.com Web: www.wextrax.com Contact: Rob Wechsler Basic Rate: please call for info WIRE ROAD STUDIOS 901 W. 20th St. Houston, TX 77008 713-636-9772 E-mail: w3@wireroadstudios.com Web: http://wireroadstudios.com Contact: Bill Wade Basic Rate: By request per project

Utah

DAVID EVANOFF SOUND DESIGNS 2335 S. W. Temple

E-mail: dave@counterpointstudios.com Web: www.davidevanoff.com Basic Rate: please call for info VICK ENTERTAINMENT 10 W. Broadway, Ste. 701 Salt Lake City, UT 84101 801-755-9966 Fax 866-285-5008 E-mail: info@vickentertainment.com Web: www.vickentertainment.com Basic Rate: please call for info

Vermont

LITTLE CASTLE STUDIO 802-349-1280 E-mail: littlecastlestudio@yahoo.com Web: www.littlecastle.com Contact: Horace Williams, Jr. Basic Rate: please call for info

Virginia

CUE RECORDING STUDIOS 109 Park Ave., Ste. E Falls Church, VA 22046 703-532-9033 Fax 703-533-7956 E-mail: cue@cuerecording.com Web: www.cuerecording.com, www.myspace.com/cuerecordingstudio Basic Rate: please call for info OASIS DISC MANUFACTURING 5400 Carolina Pl. Springfield, VA 703-642-3757 E-mail: info@oasiscd.com Web: www.oasiscd.com Basic Rate: please call for info WASHBURN MASTERING 325 E. Bay View Blvd., Ste. 205 Norfolk, VA 23503 757-480-5008 Web: www.washburnmastering.com Basic Rate: please call for info

Washington

BIG CITY RECORDS Seattle, WA 206-774-8884 E-mail: webmaster@bigcityrecord.com Web: www.bigcityrecord.com Basic Rate: please call for info

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BIG MOTHER PRODUCTIONS / CRACKLE AND POP Seattle, WA E-mail: catfish_sm@msn.com Web: www.thebigmother.com

Wisconsin Download This Directory From Our Website TAYLOR STUDIOS

COUGAR MOUNTAIN STUDIOS Issaquah, WA 425-391-0570 E-mail: live@cougarmountainstudios.com Web: www.cougarmountainstudios.com Basic Rate: call for rates PERFECHTER PRODUCTIONS 509-242-8907 E-mail: info@perfechterproductions.com Web: www.perfechterproductions.com Basic Rate: please e-mail for info SEATTLE DISC MASTERING Shoreline, WA 206-368-9220 Web: www.seattlediscmastering.com SYNERGY PRODUCTIONS 16241 Cleveland St., Ste. J Redmond, WA 98052 206-364-1070 E-mail: jason@synergynw.com Web: www.synergynw.com

West Virginia

HILLTOP RECORDING R.R. 1 Box 334-A LeSage, WV 25537 304-840-2675 Web: www.hilltoprecording.com Contact: Dave Winters Basic Rate: please call for info LONE WOLF PRODUCTIONS 230 Randolph Ave. Elkins, WV 26241 304-636-7080 Contact: Founder, Harley Lynn Wood ZONE 8 RECORDING 527 Main St. Granville, WV 26534 304-599-7332 E-mail: zone8recording@yahoo.com Web: zone8recording.com Contact: Mark Poole Basic Rate: please call for info

818 N. 109th St. Milwaukee, WI 53226 414-778-0362 Web: www.taylorstudios.us Basic Rate: please call for info ULTIMATE AUDIO MASTERING 35 W. Liberty Evansville, WI 53536 608-882-6798 E-mail: uamaster@sbcglobal.net Web: www.ultimateaudiomastering.com Contact: Tom Blain Basic Rate: call for price quote

Wyoming

BALL ADVERTISING GROUP, INC. 355 N. Lincoln St. Casper, WY 82601 307-234-3472 E-mail: ken@balladv.com Web: www.balladv.com Services: digital editing INTEGRATED IMAGING 1743 E. 2nd St. Casper, WY 82601 800-780-3805, 307-266-3805 E-mail: info@iilabs.com Web: www.iilabs.com Services: video & audio duplication

Europe

XARC MASTERING The Online CD & Vinyl (Pre) Mastering Studio Gompitzer St. 108 Dresden, Saxony 01557 Germany +49 (0) 170 750 22 92 E-mail: info@xarcmastering.com Web: www.xarcmastering.com Contact: Lorenz Vauck Format: digital and analog, 2 tracks

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9

By Tim Martell

Tactics: Move Up the DJ Food Chain!

onsidering the increasing competition among DJs, you may be finding that getting the gig––or moving up the DJ food chain––has never been more difficult. Fear not, though, because Tim Martell, who at 19 proved himself as a contender in the ultra-competitive N.Y.C. nightlife world and who now shares his love for the art with his students at Scratch DJ Academy, has timely advice for you.

Be Confident: Your skills and ability should speak for themselves during a performance, but don’t forget to bring some of that confidence (with just the right amout of swagger) to your meetings. I have had gigs handed to me on a silver platter because I exuded a level of self-assurance about my capabilities as a DJ. I know it’s hard to strike the right balance, even when meeting someone for the first time, but it works! Make Friends: If you are looking to work at a club, you should get to know all of the staff, including the doorman, the manager, the music director and the owner. And make sure THEY KNOW YOU! These folks are the gatekeepers to future gigs, so be sure to make a positive impression and develop strong, lasting relationships. GO OUT: To my earlier point about making friends, your Batphone is not magically going to ring if nobody knows who you are. You need to show face and hang out at the places where you want to work. It’s a lot of time

Be Different: DON’T sound like other DJs. Don’t be afraid to test waters and play some “off the wall” tracks as long as your crowd stays dancing. Being unique makes you memorable and separates yourself from the herd. Sharing your SoundCloud profile with others is a fantastic tool for this and provides incredible insight into the breadth of your style and mixing prowess. Promote Yourself: There has always been an age-old debate in the DJ community as to whether the DJ should or should not have to bring people to a party on top of doing his or her DJ duties. After all, isn’t the DJ there to just play the music? Every DJ feels this way, but the reality of it is that the DJs who DO promote DO get gigs. How much you ring on the register is a huge part of getting booked at the best venues. It’s actually how I got my first big gig at The Tunnel in N.Y.C. in the ‘90s; I was first hired as a promoter, and it wasn’t until my boss found out that I was a DJ too that I got a chance to spin. But that never would have happened if I didn’t have my foot in the door with the club as a promoter. Dress the Part: Like any other profession, you are expected to dress “office appropriate,” whether that means a hard hat and boots or business attire. The same goes for being a DJ. Especially now that DJs are no longer just relegated to the dark hideaway of the booth and are often the focal point of the venue, it goes without saying you should be sure to look sharp. Think Big or Go Home: It’s hard to turn down your first offer when you have been dreaming of it, but don’t sell yourself short. Undercutting is frowned upon in the DJ community, and you are only hurting the system if you perform for less than you are worth. Many people won’t even hire you if you lowball yourself. Go into every gig negotiation with guns blazing; you will gain respect from your peers and potential clients along the way. Know Your Music: There is probably nothing more embarrassing than a DJ playing a song because it’s popular and NOT knowing anything about the song or artist. End of story. 78 October 2012

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and effort to master and refine the skills to be a great DJ, but it’s also critical to keep up with the lifestyle. Now that the industry has become inundated with so-called “celebrity” DJs and iPod button-pushers it’s more important than ever to go out and present yourself as the genuine article. Say Thank You: While expressing your gratitude won’t necessarily help you get a new gig, the rules around common courtesy are the same, even in a nontraditional industry like nightlife. A simple email or text goes a long way and the likelihood of getting hired back skyrockets with friendly followup. miniBIO: Originally a house and electronic music DJ, Tim Martell first hit the decks at the ripe age of 14. By 19, he held the main floor residency at New York City’s legendary Limelight. Over the past decade, he’s kept his mixing skills crisp and fluid with cross-genre mixes that truly set him apart. Martell has been a featured DJ for the Tribeca Film Festival, visited over 30 cities on the AND1 Mixtape Tour, opened for Beyoncé and Robin Thicke, performed at Shaun White’s X-Games Gold After Party and spun at MTV’s official after-party for the VMAs. Martell can regularly be found working for clients like Nike, Lacoste, Sports Illustrated, Adidas, the New York Jets, NBC and Gucci.

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wireless And tasty.

Break free from FOH confinement. With the DL1608’s seamless wired to wireless mixing capability, you can dial in the perfect mix from anywhere in the venue. Walk the room. Ring out monitors on stage. Mix from the bar. Hey, we just want you to be free. Think of it as 16 channels of digital liberation.

Lea rn mor e!

October 2012

www.musicconnection.com 79

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

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

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Monitor with natural-sounding effects and signal processing. <RXĹ‚OO PDNH GUDPDWLFDOO\ EHWWHU UHFRUGLQJV ZKHQ \RX FDQ KHDU UHDO WLPH UHYHUE FRPSUHVVLRQ DQG (4 LQ \RXU KHDGSKRQHV ZKLOH WUDFNLQJ (DV\ WR GR LI \RX KDYH D GLJLWDO PL[HU RU RXWERDUG HIIHFWV SURFHVVRUV ,PSRVVLEOH LI \RX WU\ WR UHO\ RQ \RXU '$: HIIHFWV SOXJ LQV GXH WR H[FHVVLYH ODWHQF\ GHOD\ WKDW PDNHV \RX VRXQG OLNH \RXĹ‚UH SOD\LQJ LQ D WXQQHO

*Virtual StudioLive. Our remote control program for Mac and PC.Š2012, PreSonus Audio Electronics, All Rights Reserved. XMAX, FireStudio, StudioLive, and AudioBox are trademarks of PreSonus Audio Electronics. :HDWKHU LQ %DWRQ 5RXJH DW WLPH RI PDNLQJ WKLV DG D VL]]OLQJ ij %XW QLFH E\ 6HSWHPEHU IRU 3UH6RQX6SKHUH

80 October 2012

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

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