Music Connection July 2014

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CONTENTS

Informing Music People Since 1977 *ULY s 6OL s .O

Kongos From Arizona via London and South Africa, the Kongos brothers are a unique new presence on the U.S. scene. In a Q&A that will appeal to any struggling artist, MC uncovers the key connections that led to their history-making breakthrough.

47 Pensado’s Place

By MC Senior Editor Mark Nardone

Here’s a site for anyone with a need to know the “how� and “what� of all things audio. By Rob Putnam

36 Kongos Photos: Pamela Littky

Departments

Make the Most of Your Recording Experience MC chats with personnel from six studios to find out about special rates for indie bands, ways to optimize studio time, internship programs and much more.

By Bernard Baur

40

2014 Recording Studio Survey MC presents the results of its polling of nearly 100 studios across the U.S.

By Bernard Baur

08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes

Reviews 50. Album Reviews 52. New Music Critiques 54. Live Reviews

44 58

Directory of U.S. Recording Studios If you’re looking for a special place to record anywhere in the country, you need to utilize this one-of-a-kind list, complete with gear lists, special services and more.

Compiled By Denise Coso

20. Producer Crosstalk: Nick Raskulinecz . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Ken Hays, Gathering of the Vibes . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Ricky Reed . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 46. Career Connection: J Roddy Walston/Festival Survival . . . . . . . . . . By Corey Irwin 48. Video Tips & Tools: Improve Your Audio for Video . . . . . . . . . . . . By Fred Ginsburg 78. Tip Jar: Improvise Your Way To Your Next Song . . . . . . . . . . . . . . . . By Gary Ewer 4

July 2014

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Be sure to follow Music Connection on Facebook and Twitter.

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.

www.solidstatelogic.com

Mix It With The Best.

SSL has been equipping the best studios in the world, helping make music sound great for more than 35 years. Visit the SSL Online Studio Directory to find an SSL equipped Studio that can help take your music to the next level at www.solidstatelogic.com/studiosearch

Audio Excellence. This is SSL.

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

ASSOCIATE PUBLISHER / SENIOR EDITOR markn@musicconnection.com

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

ART DIRECTOR artdirector@musicconnection.com

Andy Mesecher

Steve Sattler

ASSOCIATE EDITOR

BUSINESS DEVELOPMENT MANAGER

Barry Rudolph

steve@creativesalesresource.com

Ray Holt DIRECTOR OF DIGITAL MARKETING

andym@musicconnection.com

NEW TOYS barry@barryrudolph.com

Bernard Baur CONTRIBUTING EDITOR

rayh@musicconnection.com

bbatmc@aol.com

Siri Svay

Dan Kimpel

SOCIAL MEDIA MANAGER sirimusicconnection@gmail.com

SONG BIZ dan@dankimpel.com

Jessica Pace &),- s 46 s 4(%!4%2 j.marie.pace@gmail.com

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com Editorial Interns Jake Hansen intern@musicconnection.com, Danielle Vaughn intern@musicconnection.com Ted Jamison intern@musicconnection.com CONTRIBUTING WRITERS Carl Anthony, Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Gary Graff, Eric A. Harabadian, Corey Irwin, Ted Jamison, Andy Kaufmann, Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Corey Irwin, David Klein, Tony Landa, Dave Long, Thomas Long, Jessica Pace, Victoria Patneaude, Scott Perham, Rob Putnam, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, E. H. Tiernan, Paula Tripodi, Brooke Trout, Albert Vega, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright Š 2014 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com

NEW CORPORATE HEADQUARTERS 3441 Ocean View Blvd., Glendale, CA 91208 Office: 818-995-0101 Fax: 818-638-8015 Email Address: contactmc@musicconnection.com Website: http://musicconnection.com Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com

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MORE THAN A PEDALBOARD. IN A PEDAL. You’ve got to go, like, now. It’s a paycheck, an opportunity, maybe the

Or, you could slip the sleek Fly Rig 5 into your guitar case and hit

gig of a lifetime. When you arrive, there won’t be much time, space

your gig so chill it would make Sinatra look awkward.

or patience, but you better sound incredible. You could rent a van and bust your back trying to load a half-stack and rack system on your

The Fly Rig 5 is a complete, professional rig with mammoth Tech

own, maybe pay baggage overages so the airline can play dodgeball

21 tones in the footprint of a pixie. You get 5 “must-have” gigging

with your hard-earned gear.

pedals for 1/3 the cost at 1/3 the size. A genuine SansAmp™ with 3-band EQ, a DLA delay with tap-tempo, lush reverb, a 21dB clean boost, and our glorious Plexi distortion, all packed into a gunmetal chassis less than 12” long. A lightning rod for inspiration with nothing to program or patch. Just the essential, blistering tones you want to have for every gig. The lovable, totable Fly Rig 5 is perfect for fly gigs, fast-turnaround sessions, studio rehearsals, backup rig, or even as your main rig. Freedom never sounded so sweet.

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

– JONATHAN WIDRAN

CONSERVATORY OF RECORDING ARTS & SCIENCES http://cras.edu

W

orld Class Audio Education: With two locations, in Gilbert and Tempe, AZ, the Conservatory of Recording Arts & Sciences (CRAS) is a premier institution for audio education for those with the drive and ability to become audio recording engineers in a multitude of media. With a curriculum focused on what students need to know to begin a career in the recording arts, CRAS’ mission is to train students for entry level positions in a variety of areas of the music industry as well as game audio, live sound, broadcast and post production for film and TV.

Why CRAS Is Unique: In addition to its 36-week oncampus program, students must complete 280 hours of an internship (whose location and facility is chosen from their own wish list). All students are equipped with a Macbook Pro, Sennheiser mic and Pro Tools software with a Native Instrument audio interface. The online educational delivery system CRASconnect allows students to access their curriculum 24/7. They also have full access to 12 recording studios. CRAS graduates have won Grammy and Emmy Awards, and its lobby walls have gold and platinum albums including Adele and Drake featuring audio work by its graduates. Recent Expansion: Over three decades, CRAS’ course offerings and subject matter have centered around the skills and knowledge necessary to students’ success in the industry. With a 45,000 sq. ft. teaching space— including a 6,000 sq. ft. venue dedicated to live sound education at the Gilbert facility—the school offers 17 manufacturer supported certifications (some mandatory, some extracurricular). While the emphasis remains on music production— including laying a foundation via analog recording—students also learn about audio for film and video and commercial production (audio for radio and TV commercials). CRAS recently built out an entire control room to launch its expansion into audio for live broadcasts; they also built a 42 foot mobile broadcast unit (MBU). Both use Studer Vista consoles. Contact CRAS, 800-562-6383 8

July 2014

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Tina Hart

Rachel Yoon

Broadcast Music, Inc. (BMI), a music rights management company, has announced the appointment of Tina Hart as Executive, Writer/Publisher Relations, Europe. In this role, she will be responsible for recruiting new songwriters and music publishers; managing relationships between BMI and its affiliates; establishing and maintaining relationships with music industry executives and tastemakers; and working alongside senior executives on special projects, including the BMI London Awards, showcases and songwriter camps. Prior to joining BMI, Hart was the Deputy News Editor at Music Week, a music industry trade magazine in the U.K. For more information, contact LLupo@bmi.com.

Rachel Yoon, Ph.D. has been named Dean of the School of Performance Studies, overseeing Musicians Institute’s degree and certificate programs for bass, drums, guitar, keyboards and vocals. An active performer, Yoon was also recently appointed Executive Music Director of international media outlet Seoul Arirang, which is broadcasting a new Korean government-sponsored performance series from the Seoul Namsan Concert Hall. Since receiving a Ph.D. in Composition from UCLA, Yoon has worked with jazz-fusion legends the Yellowjackets, R&B producer Wah-Wah Watson, and a variety of film composers; while performing as both arranger and keyboardist at Disney Hall, the Hollywood Bowl and more. Contact chandra@glowmarketing.com.

Dennis Blair

Frank West

Dennis Blair has been named SVP of Promotion, RCA Records. Blair will be responsible for overseeing the promotion campaigns for Rock, Alt. and other formats at RCA Records. He will be based out of the company’s New York headquarters. Blair most recently held the title of SVP Rock Formats at Universal Republic where he helped the success of artists such as Florence + the Machine, Gotye, Of Monsters and Men, Lorde, Pearl Jam, Soundgarden, Black Sabbath, Volbeat and more. In 2011-2013, Blair helped the label see 13 No. 1 hits including Lorde’s “Royals” and “Team” as well as Gotye’s “Somebody That I Used To Know.” Contact meghan.kehoe@rcarecords.com for further details on this appointment.

QSC Audio Products, LLC has announced the appointment of Frank West to Director of Sales for the Central Region. West joins QSC with more than 15 years of experience in the professional audio/video marketplace. West’s previous role includes a stint as the Regional Director for the South Central USA, Central and South Americas with Biamp. Prior to joining Biamp, West served as Regional Sales Manager for Fast Multimedia, a video editing solutions company and with Toshiba, where he was a Retail Support Associate. West holds a communications degree from Northern Illinois University. For further information, contact margaret@ msmediainc.com.

Karl Detken

Ken Dewar

inMusic has announced the appointment of Karl Detken as the Numark Director of Marketing. In this new role, Detken will be responsible for driving the company’s marketing strategy; increasing uptake of products in key markets; and refining the company’s communication strategy, product marketing, and customer messaging initiatives. With 40+ years of experience as a DJ, producer and musician, Detken spent the last two decades in the world of DJ and pro-audio product design, development and marketing. In particular, his expertise in product marketing, artist relations and social media branding have contributed to a long track record of successfully driving business for brands like Pioneer DJ, Chauvet, and V-Moda. Contact pressrelations@inmusicbrands.com.

EAW has named Ken Dewar its new Europe, Middle East and Africa (EMEA) sales director. Dewar is now tasked with increasing sales and distribution throughout the region. His focus will be on exposing customers and distributors to the variety of loudspeaker solutions EAW offers while developing effective sales strategies to encourage market growth. Dewar brings 30 years of international sales experience gained across EMEA, APAC and America. Prior to joining EAW Dewar held senior positions at Zildjian, Soundscape, Korg, Avid, M-Audio and inMusic. His experience and business contacts in the region coupled with his passion for developing successful international distributor networks will be invaluable to EAW. Contact rob.carey@eaw.com.

Mike Gitter

Mike DeFreece

Razor & Tie has announced the promotion of Mike Gitter to Senior Director A&R. Gitter joined Razor & Tie in 2012 and has signed a variety of acts including rising rock outfit Starset and established acts such as HIM and Finch. He was also instrumental in the signing of Chiodos. Gitter continues his A&R responsibilities that encompass not only identifying talent but all-around aspects of A&R including artist relations and recording. Gitter has a rich history that includes tenures at Roadrunner and Atlantic Records. He brings a wealth of knowledge and know-how that will continue to expand Razor & Tie’s rock, alternative and metal footprint in the market place. Gitter can be reached at mgitter@razorandtie.com.

Mike DeFreece has been appointed to Director of Sales for the Eastern Region sector of QSC. DeFreece brings more than 20 years of industry experience to his new role. Most recently, he served as the Southeast Regional Manager for Biamp Systems where he was responsible for overseeing all aspects of Biamp’s business. Previously, DeFreece was a sales rep with Millar Electronics, an independent rep firm in the Southeast, as well as the VP of Operations for Don Fillers & Associates, a commercial and residential AV integrator in Knoxville, TN. DeFreece holds a business degree from the University of Tennessee-Knoxville. Contact margaret@ msmediainc.com.

Executive, Writer/Publisher Relations, Europe Broadcast Music, Inc.

SVP Promotion RCA Records

Numark Director of Marketing inMusic

Senior Director A&R Razor & Tie

Dean, School of Performance Studies Musicians Institute

Director of Sales, Central Region QSC Audio Products, LLC

Europe, Middle East, Africa Sales Director EAW

Director of Sales, Eastern Region QSC

July 2014

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– BARRY RUDOLPH barry@barryrudolph.com

FOCUSRITE SAFFIRE PRO 26 Focusrite’s Saffire PRO 26 is the company’s latest compact, multi-channel FireWire/Thunderbolt™ compatible audio interface. Count on the same high-quality audio design as the rest of the Saffire range of interfaces but in a portable, well-built desktop-sized chassis. There are a total of 18 inputs and eight outputs comprised of four award-winning Focusrite preamps (2 XLRs and 2 Combis), two instrument line inputs, two headphone outputs, six line outputs, an 8-channel ADAT input and stereo S/PDIF in/out. Saffire PRO 26 is future-proof because it connects to a Thunderbolt port via a FireWire-to-Thunderbolt adaptor (not included) or directly to a FireWire 800 port with the cable provided. Like the whole Saffire line, it comes with the Saffire Mix Control software application. The application runs on the host computer for an ultra-low-latency 26x8 DSP mixer/router that’s tight enough for live applications as well as the most strict of recording applications. It uses 24-bit/96kHz AD/DA conversion with JetPLL™ jitter reduction technology and, being Firewire or Thunderbolt connected, leaves your USB bus free for connecting drives and other peripherals. http://focusrite.com/firewire-audio-interfaces/saffire-pro-26

MAXON SEVEN FUZZ ELEMENTS Godlyke, Inc. releases seven new Fuzz Element models designed to reproduce the classic and unique sounds of the most desirable vintage fuzz pedals. The secret is to model the internal circuitry and component choices meticulously and use solid, analog circuit designs. Each Fuzz Elements model features a compact, die cast aluminum box, LED status indicator, easy-access battery door and true bypass switching. All pedals are $189 MAP unless noted otherwise. FA10 Fuzz Elements Air is the classic octave-fuzz sounds of the Univox Super Fuzz with distinct fuzz tone choices. FEA10 Fuzz Elements Earth is based on the Ram’s Head transistor fuzz circuit of the ‘70s with a loud, throaty fuzz, singing sustain and excellent note definition. The FE10 Fuzz Elements Ether adds a parametric tone section to the FA10 circuit. The FF10 Fuzz Elements Fire emulates the massive, bottom-heavy octave-fuzz sounds of the Roland Bee Baa also with two distinct fuzz sounds via the Notch footswitch. FWA10 Fuzz Elements Water adds a parametric tone section to the FEA10 circuit and sells for $199 MAP. FW10 Fuzz Elements Wind has the classic fuzz sounds of the Vox Tonebender Mk with vintage/hot gain settings and output buffer. The FV10 Fuzz Elements Void is like the Ampeg Scrambler for generating even-order harmonic overtones that are dynamic and frequency dependent to create unique Octavia/ring modulator sounds. http://maxonfx.com

DEAN MARKLEY CD30 AND CD60 Dean Markley's CD30 and CD60 tube guitar amplifiers are known for their high headroom clean channel and also their classic, warm lead channel making them popular for artists such as Eric Clapton, Alex Lifeson and Andy Summers. 2014 marks the 30th anniversary of these amps and in celebration of the occasion Dean Markley has committed to full-time production. Both amplifiers come as single 1x12 (custom Celestion) combos possessing two inputs with volume controls and separate drive and gain controls. There are treble, mid and bass controls, master volume, reverb, presence and channel switching to drive two, 6L6 power tubes delivering 30-watts RMS for the CD30 and 60-watts RMS for the CD60. The rear panel provides an AC input IEC jack, power toggle and standby switches, and a speaker selector. There is a footswitch input for channel changing and reverb on/off, a send/return effects loop with send and return level controls, and a separate pre-out. Both the CD30 and CD60 measure 20H- x 20W- x 11D-inches, weighs 42 lbs. and sell for $998 and $1198 MSRP. http://deanmarkley.com

SIMMONS SD1500KIT The Simmons SD1500KIT is a full-sized and full-featured, professional quality drum set that focuses on both sound and playing feel. The top-of-the-line SD1000 Digital Sound Module has been upgraded with a completely new custom sound library with more than 500 ultra-realistic samples of the most popular classic and modern drum kits. The Simmons SD1500KIT has 64-voice polyphony with full programmability using powerful, on-board processing. Its Variable Attack Response programming delivers the responsiveness and sensitivity necessary for a nuanced performance using alternating sample playback for realistic and natural acoustic drum sounds. The SD1500KIT is a 6-piece drum kit plus hi-hat, three multi-zone cymbals and 22 specific trigger points. Its hex-shaped blue anodized frame and die-cast aluminum hardware feature memory lock mounts for speedy setup and stability. Simmons’ exclusive multi-position hi-hat pedal and triple-zone snare pad deliver unprecedented responsiveness while its crash cymbals offer dual zone and choke capability. The new Simmons SD1500KIT sells for $999.99 MAP. http://simmonsdrums.net 10 July 2014

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M SERIES REMASTERED M20x

M30x

M40x

M50x

Online reviewers, top audio professionals, and cult followers have long agreed that the ATH-M50 is an unmatched combination of audio and build quality whether in the studio or on the go. That award winning formula is embodied in the newly remastered M-Series line, with a model perfectly suited for every discerning ear. PURE. PROFESSIONAL. PERFORMANCE.

audio-technica.com

– BARRY RUDOLPH barry@barryrudolph.com

MASTERWRITER 3.0 Grammy- and Emmy-winning songwriter Barry DeVorzon has taken MasterWriter to a whole new mobile level with MasterWriter 3.0. Now all of MW 2.0’s features as well as many improvements and additions are available anywhere, any time using a tablet, smart phone or computer Web browser and connecting to the subscriptionbased MasterWriter 3.0’s Web app. Masterwriter’s secure databases are designed specifically for song composing/editing and collaborating with other songwriters worldwide. The online app couldn't be more intuitive and easy to use. I like using the Song List section where I can name and start new song lyrics. After that, split your screen and view your lyrics in the app’s word processor (or use your own) and access the dictionaries and other tools. The resizable Words module has (filter searchable) Rhymes and Rhymed-Phrases and Phrasal dictionaries with over 100,000 entries. You get exclusive access to Synonym Finder, considered to be one of the best, plus get the American Heritage Dictionary and a searchable Bible. The very useful Word families dictionary opens up a new world of descriptive words and ideas and Alliterations is a comprehensive list of descriptive words, alliterations with various filters. The World module has over 11,000 iconic people, places and things in our world with hot links to Wikipedia for more detailed information. There are over 35,000 phrases, clichés, idioms, sayings and word combinations with the ability to “collect” them in a list for later consideration and use in your composition as the mood and music inspires you. MasterWriter 3.0 is $9.95 per month, $99.95 per year or $149.95 for two years. MasterWriter 2.0 users get 50% off a one or two-year license. http://masterwriter.com

API 565 FILTERBANK MODULE The API 565 filter bank module is a new 500-series module that fits the company’s consoles, API Lunchbox® as well as the API 1608 small-format analog console. The 565 has the same circuit as the 215 module found in API's large format consoles. I found the 565 incredibly useful with its two overlapping and continuously adjustable low and high pass filters. The low-pass filter section ranges from 500Hz to 20kHz using a switchable, -12 or -18dB slope. The high-pass filter sweeps from 20Hz to 400Hz and is also switchable between a smooth -6 or -12dB slope. Both the high and low pass filters have separate bypass switches. The variable notch filter’s operation is divided into three ranges using a toggle switch and goes from 20Hz to 20kHz. This semi-parametric notch filter is an extremely handy problem solver during both recording and mixing. The API 565 Filterbank module sells for $595. http://apiaudio.com

MACKIE THUMP SERIES POWERED LOUDSPEAKERS Mackie’s Thump12, Thump15 powered loudspeakers and the Thump18S powered subwoofer crank! The new Thump Series delivers over 1000-watts of power and that’s more than twice the power of the originals. For DJs and musicians, a pair of the full-range Thump12 and Thump15 models will cover most small to medium-sized rooms. Add more Thump15s and a Thump18S subwoofer (or two) for maximum levels and a powerful low end. Thump systems include precision crossovers, transducer time alignment and a unique 3-band EQ with a frequency sweepable mid-range control. Thump12 and 15 speakers are deployed either pole-mounted over the audiences heads or as floor monitor wedges for live stages. They have combo mic/line inputs, are lightweight yet tough, and easy-to-carry and setup. The new Thump18S 18-inch powered subwoofer has 1200-watts of power and uses a professional band-pass design for delivering high-output, deep and rich sounding room-filling bass. The Thump18S is designed to match any combination of Thump12 and/or Thump15 top boxes but you could also use them to augment any existing sound system. The Thump12 sells for $389.99 MSRP, Thump15 at $469.99 and the Thump18S at $879.99. http://mackie.com/products/thumpseries

HOSA TECHNOLOGY EDGE SERIES CABLES Hosa’s new Edge Series cable products all feature Neutrik connectors, oxygen-free Copper (OFC) conductors and world-class workmanship. Hosa Edge cables offer a unified line of microphone, guitar and speaker cables that can be used across the entire signal chain in the studio and in live sound. Hosa Edge CMK microphone cables utilize Neutrik XX-series connectors with gold-plated contacts for corrosion resistance, a zinc die-cast housing and their compression-fit strain relief system. They come in 3-ft. to 100-ft. lengths and are perfect for any studio, project or pro. Available in 5-ft. to 30 ft. lengths, the Hosa Edge guitar cables use Neutrik X-Series precision-machined plugs with gold-plated contacts, zinc housing and strain reliefs and 20-gauge (OFC) cable with 95% braided shield, Edge Speaker Cables use precision-machined Neutrik speakON NL2FX twist-lock connectors and Neutrik jumboPLUG 1/4-inch connectors featuring one-piece contacts for signal integrity and structural rigidity. The 12-gauge (OFC) conductors reduce resistance for maximum signal transfer. I found two of the 15-ft. SKT-215 Edge speaker cables perfect for connecting my Yamaha NS10M speakers to my power amp in my studio. Their PVC jacketing is durable yet remains flexible and easy to work with—much better than the heavy house wiring power cabling I had been using. BARRY RUDOLPH is a recording engineer/mixer who Depending on length and connector configuration, Hosa has worked on over 30 gold and platinum records. He has Technology’s new Edge Series cables range from $45.45 to recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs, and more. Barry has his $145.80; Edge guitar cables are priced from $46.50 to $81; own futuristic music mixing facility and loves teaching audio and the Edge speaker cables sell from $37.65 - $232.50. engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributhttp://hosatech.com/press-release/hosa-announces-newing editor for Mix Magazine. http://barryrudolph.com edge-series-cables 12 July 2014

musicconnection.com

BOOK S T ORE Women’s Road to Rock Guitar

The Bruce Swedien Recording Method

Guitarist, singer/songwriter, performer and instructor Nikki O’Neill has a unique method on how to play rhythm guitar for different rock styles using power chords, riffs, barre chords, strum patterns and more. This easy-to-understand book covers song structure, writing chord charts for your songs, the basics on amps, pedals, guitar care and also shows you how to figure out songs by ear.

From Michael Jackson to the Brothers Johnson and Natalie Cole, Swedien’s impact on pop music is undeniable. In this book, he explains techniques he used to get awardwinning drum, bass, guitar, keyboard, vocal, string and brass sounds. The DVD-ROM reveals the steps he takes to imprint his world-class sonic signature on the music he mixes.

By Nikki O’Neill (paperback) $19.99

Behind the Boards II: The Making of Rock ‘n’ Roll’s Greatest Records Revealed By Jake Brown (paperback) $24.99

CFX CONCERT GRAND

Award-winning biographer Brown takes fans inside the production of legendary rock gems, including “Should I Stay or Should I Go?” by the Clash; “Rocket Man” by Elton John; “Ziggy Stardust” by David Bowie; “Start Me Up” by the Rolling Stones; “The Thrill Is Gone” by B.B. King; “Walk on the Wild Side” by Lou Reed; such Beatles classics as “I Am the Walrus,” “Helter Skelter” and many more.

Vocal Yoga

By Heather Douglas (paperback) $18.95

VIRTUAL PIANO

SCAN HERE TO

HEAR THE SAMPLES

or visit alfred.com/Garritan

14 July 2014

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Subtitled “The Joy of Breathing, Singing and Sounding,” specialist Heather Lyle combines her exclusive singing, speech and breathing techniques with yoga, pranayama, bel canto, tai chi and more to present a unique path to better singing. The book includes 100 exercises that will give you a better understanding of your voice, and how to become one with it.

By Bruce Swedien with Bill Gibson (paperback) $39.99

Zen and the Art of Mixing: REV2 By Mixerman (paperback) $24.99

In this updated version, Mixerman turns his razor-sharp gaze to the art of mixing and gives followers and the uninitiated reason to hope—if not for logic and civility in the recording studio then at least for a good sounding record. With a firm commitment to art over technology and to maintaining a grasp of each, Mixerman outlines his own approach to recording success, based on his years mixing records in all genres of music for all kinds of artists, often under trying circumstances.

Social Media Promotions for Musicians By Bobby Owsinski (paperback) $29.95

Owsinski reveals a host of online insider tips and tricks that show artists, bands, engineers and producers the latest techniques and strategies to increase your online presence more effectively and efficiently than you ever thought possible. The book covers YouTube, Facebook, Twitter, Google+, blogs, Pinterest, bookmarking sites, websites and newsletters.

Good

Better

Hosa

Best

Hosa Pro

Hosa Edge

Choosing the right cable can’t be this delicious, but it can be this easy. Hosa guitar cables give you three clear choices. Now you can reward your ears without depriving your taste buds of a post-gig slice of cake.

For more information contact your local Hosa dealer or visit www.hosatech.com

years 1 9 8 4 - 2 0 1 4

July 2014

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15

– JONATHAN WIDRAN

ED LITTMAN MASTERING http://edlittmanmastering.com

Analog and Digital Editing/Post Production: A full service, one person operation based in in the N.Y.C. area, Ed Littman Mastering is a well established high-end mastering studio whose wide range of services include audio mastering, digital editing, stem mastering, enhanced CDs, audio restoration/forensic, vocal tuning, guitar/bass recording/reamping, vinyl restoration/archiving which includes detailing/de-clicking/ noise reduction and remastering. The facility, which Littman has operated for the past 15 years, is specifically designed for critical listening and

CD mastering. Explaining that quality analog sound surpasses digital even in this digital age, Littman uses the highest quality analog gear to process 95 percent of his work, while also embracing/ using the best digital equipment available. Simple E-mastering Process and Quick Turnaround: The way the non-attended/Emastering session works is, if it’s a full album, Littman will master the most aggressive song first and send it via his ftp server for the client’s approval on the direction, tone and final loudness level. Once the client approves, Littman will gear the whole project to that vibe. If the client has specific ideas for time spacing between songs or cross fades, he/she can email Littman or leave it to his judgment. Littman will then upload a WAV file of the CD for approval before creating a digital master, making sure the client is always in the loop! He will also supply high quality MP3s and other required file formats to the client at no additional charge. Standard turnaround time is a week for a full CD, much less time for a single track. Years of Musical Experience: Littman, who earned a Bachelor’s degree in music from Berklee College of Music, brings 30 years of experience as a recording artist, trained musician and performer to his diverse work as a mastering engineer. As a guitarist and composer, he has released several albums under his name that have received critical acclaim, and has given dozens of performances through the New York area. All of this contributes to the total commitment, deep musicality and powerful artistry he brings to every project he takes on. Contact Ed Littman Mastering, 201-824-7860

16 July 2014

musicconnection.com

(silent play)

(play without a speaker) (live or record)

July 2014

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TARINA DOOLITTLE

LIVE Build Studio, Install Duality When founding members of the multiplatinum band LIVE established Think Loud Studios in their hometown of York, PA, a 48-channel Solid State Logic Duality Analogue Console/Controller was their choice for Studio A. In addition to the band’s own projects, Think Loud Studios serves the artists on its record label, Think Loud Entertainment, and friends of the group, including Everclear. The vaulted ceilings and abundant natural light of the 53,000-square-ft. building’s fourth floor made it a natural setting for Think Loud, which was designed by Horacio Malvicino, says bassist Patrick Dahlheimer.

Set It Off Record In Los Angeles With Various Producers Set It Off are currently in Los Angeles, recording their sophomore full-length album with producers Brandon Paddock (Avril Lavigne, Christina Perri, Timeflies), Tommy English (We Came As Romans, Megan & Liz, Black Veil Brides) and Matt Appleton (Reel Big Fish, Goldfinger, Foxy Shazam). The new record is slated for a Fall 2014 release. Pictured is frontman Cody Carson laying down vocals. Get studio updated at http://setitoffband.com.

Warner Chooses Skip Saylor Recording for Miles Long Malcolm-Jamal Warner was in Skip Saylor Recording in Southern California, working on the artist’s forthcoming Miles Long CD. Pictured (l-r): Mixer Skip Saylor; Warner; producer Kevin Teasley; and session drummer Stacey Lamont Sydnor.

Glendale Community College (Arizona) Gets Serious Studio Upgrade The recording studios at Glendale Community College in Arizona got a serious upgrade with the help of Vintage King Audio. In addition to the API 1608, equipment supplied through Vintage King included a Bricasti M7 reverb, Prism Sound Maselec MEA-2 Mastering Equalizer, a stereo pair of Neumann U-87s, and a stereo pair of Schoeps CMC6s, a Shadow Mastering Compressor, Tube Tech EQ1a, and Universal 1176 and LA-2A compressor/limiters. The Audio Production Technology programs at Glendale Community College offer students an opportunity to receive training on industry-standard equipment by instructors with real-world experience and professional credentials. Pictured in the studio at Glendale Community College is Paul Paul.

More Studio News

A Family Affair At Studio City Sound Familia Negron are recording their new album at Los Angeles’ Studio City Sound in Studios A & C. Pictured (l-r): Chuck and Annabelle Negron with Engineer-Mixer Tom Weir. Band members not pictured include Charlie Negron and drummer Floyd Sneed. More details are available at http://studiocity sound.com. 18 18

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Maor Appelbaum mastering recently wrapped the mastering of the newest from YES, Heaven & Earth. Mastered by studio owner Maor Appelbaum, the record was produced by Roy Thomas Baker and mixed by Billy Sherwood. Said Appelbaum about the band, “For me to work with such a great band as YES is an honor. They are legends, pioneers and great musicians. I grew up listening to them and still do [today]. I went to see last year’s tour and it

was great, so working on mastering an album for them to me is purely awesome.” The current YES lineup featured on Heaven & Earth are: Steve Howe, guitars, vocals; Chris Squire, bass, vocals; Alan White, drums, percussion; Geoff Downes, keyboards, computer programming; and Jon Davison, vocals, acoustic guitar. Due out in July, the album will feature eight new tracks. See http:// maorappelbaum.com for further information on Maor Appelbaum mastering.

– ANDY MESECHER andym@musicconnection.com

Zwig Teams With Bianco, Sikes Once Again

LARRY NIEHUES

Singer-songwriter Adam Zwig is seen in the studio with Grammy Awardwinning producer David Bianco (Bob Dylan, U2, Johnny Cash) at his North Hollywood studio, Dave’s Room, listening to a mix of “Raising People” from Zwig’s forthcoming EP Stones, Bones and Skin. The album contains five tracks produced by Bianco and Stuart Sikes (the White Stripes, Loretta Lynn), the pair responsible for Zwig’s recent full-length Visions of the Shimmering Night. Visit http://adamzwig.com for further details.

Black Tibetans Tracked By Black Keys’ Auerbach

BRIAN A. PETERSEN

Rock & roll band, the Black Tibetans recently recorded at Easy Eye Studio in Nashville for their EP The Nashville Session. The album was produced by Black Keys frontman, Dan Auerbach. Pictured (l-r): Dinst, Tammi Tibetan and Ryan KH.

Art Podell Takes Part In Laurel Canyon Exhibit Folk icon and Laurel Canyon resident in the ‘60s-‘70s, Art Podell came to Theta Sound Studio in Burbank, CA, to record “Toni’s Poem,” a song about Podell’s musical journey from Greenwich Village, NY to Laurel Canyon in the Southland. The song became the central theme for an album, and when Art’s friend and noted photographer Henry Diltz (Joni Mitchell; the Doors; Jackson Browne) heard the music, he presented it to the Grammy Museum committee that was mounting a Laurel Canyon exhibition—which opened May 9 and runs through Nov. 30. As a result, Podell was asked to speak on the exhibit’s opening day panel in the Clive Davis Theater. Podell also donated a rare Goya guitar for use in the myriad displays that fill the 2nd floor space at the Museum. More details (and the song) at http://ThetaSound.com.

NEW!

Lord-Alge Goes Barefoot In Mix LA! Renowned music producer and recording/mix engineer Chris Lord-Alge (Goo Goo Dolls, Muse, P!nk) has chosen Barefoot Sound MicroMain27 monitors for critical listening at his Mix LA! recording studios. Pictured at Mix LA! is Lord-Alge and his Barefoot Sound MicroMain27 monitors. Visit http://bit.ly/1iAoqae.

Celebrating 20 years of design! Submit a video about your Argosy story and enter to WIN a $5K Dream Studio< package! Contest details on-­line...

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92014 Argosy Console, Inc. Argosy and Dream Studio are registered trademarks of Argosy Console, Inc. Other trademarked names are property of their respective owners. See the coolest studios in the world, visit: dreamstudioblog.com July 2014

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PRODUCER CROSSTALK

NICK RASKULINECZ

The Hold Steady, Foo Fighters, Sleeping With Sirens

By Rob Putnam

N

ashville-based producer and engineer Nick Raskulinecz’s career began in Knoxville, TN. Hungry for higher stakes, he relocated to Los Angeles in 1995 and landed a runner gig with famed Van Nuys, CA, studio Sound City. But the decided flash point in his career came when he ran into Dave Grohl in the parking lot of Mates, a North Hollywood rehearsal space. They’d worked together previously and Grohl asked if he wanted to help with One by One. Raskulinecz has since relocated to Nashville where he now runs his studio Rock Falcon. In addition to three Grammy wins, he’s been nominated for an additional 16. Bands he’s worked with include Foo Fighters, Rush and Mastodon. Last year Raskulinecz established his studio in Nashville, a city virtually The three most important synonymous with country music. But things he’s learned as a jumping genres was never his aim. producer are: “People think because I’ve moved to Nashville that I’m going to start doing s (OW TO DEAL WITH PEOPLE country records,� he explains. “Every4HAT S HALF OF ;GOOD PRODUCTION= body asks me that. But I’m still going %NGINEERING SKILLS ARE LIKE A to do rock & roll. I’m not changing my THIRD OF THIS PROCESS game at all. I didn’t tell anybody except my close friends and manager [about s 'ETTING PEOPLE TO TRUST YOU the move]. For a few years, people QUICKLY ) MEET A BAND AND thought I still lived in California.� TOGETHER WE CREATE THIS INTENSE RELATIONSHIP THAT S BASED ON The decision to return to his native TRUST -USICIANS COME TO ME state came one day while in his kitchen FOR ANSWERS ) M NOT AFRAID TO in Los Angeles. He’d heard something TELL THEM THAT ;A TAKE OR A SONG= online about music piracy and it raised COULD BE BETTER ) DON T CARE THAT the question of where he really wanted THEY RE ROCK STARS to be. He was also at a point in his career where he didn’t have to be in L.A. s "EING ABLE TO RECOGNIZE GOOD “My wife and I are both from TennesSONGS see, so it was partly a family thing,� he recalls. “At the same time, I knew that Nashville had a rich history, great studios and a great airport––the whole pro-level infrastructure; everything I needed to do my job. As soon as I saw Blackbird [Studio], I knew that there was a place I could work.� Perhaps the biggest challenge of his career was working with Foo Fighters on One by One, his first major project. “That was the record that started everything,� the producer recalls. “It’s what I’d been working for since I was a teenager; the record that would do it for me. The challenge was to prove to the world—mainly Dave’s [Grohl’s] manager and label—that I deserved a shot; that they should take a chance on somebody who’d never produced/engineered a record at that level. That got me to where I’m talking to you now.� Raskulinecz produced Alice In Chains’ 2009 album Black Gives Way to Blue, the band’s first studio record since 1995 and the death of Layne Staley in ‘06. Facing such a situation can be uncertain ground for any producer and Raskulinecz was cognizant of the inherent challenges. “There was lots of courage, lots of fear and a lot of unknowns,� he says of the album production. “That whole record was a big question mark––would the fans accept Alice in Chains with a new singer? As soon as I heard the demos, I had no doubt that people would love it. We had to make a great album. And we did.� These days he’s busy with multiple projects including the Hold Steady, Bush and relative newcomer Sleeping With Sirens. “This band is about to explode,� he asserts. Also notable is his production of Mastodon’s latest record Once More ‘Round The Sun. Meanwhile, Raskulinecz feels that his best work still lies ahead of him. “I haven’t made my Dark Side of the Moon yet,� he notes. Contact Frank McDonough, frank@mcdman.com

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The 2014 Los Angeles Tech Expo and Alumni Convention proudly hosts prominent vendors, gear manufacturers, and guest speakers in the audio and tech industry. Now in its third year, this FREE 3-day event will feature seminars that cover everything in the music industry, from songwriting, mixing techniques, mentoring sessions, to management development. You’ll get a chance to hone your skills, view demos, and get your hands on the latest gear at this annual event that aims to bridge the gap between the audio world and young industry professionals.

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– ANDY KAUFMANN Safety First It’s a cliché, but safety is our number one concern. We’ve gotKAUFMANN the Coast Guard – ANDY and police boats in the water. We’ve got our own Vibes marine unit. After that, it’s getting everyone in and settled when they arrive, going through the ticketing operation, getting their wristbands and their car searched and parked. If we get them parked and they’re smiling, we’ve accomplished our goal. Everything else from there on is a lot easier.

Ken Hays

Owner Gathering of the Vibes Years with Company: 19 Web: http://gatheringofthevibes.com Email: info@gatheringofthevibes.com Clients: Max Creek, moe., Gov’t Mule, Ratdog, the Disco Biscuits, Particle, Strangefolk, G. Love and Special Sauce, Hot Tuna, Dark Star Orchestra, Tedeschi Trucks Band, Jane’s Addiction, Bad Rabbits, Funky Meters, the Allman Brothers Band, Primus, Nas

Creating a Great Attendee Experience Bill Graham was an extraordinary individual. I feel like I can relate to him. He was really dedicated to ensuring his ticket buyers had the best possible experience. Whether that was forcing the Grateful Dead to practice or letting his ushers know to smile and shake people’s hands, it was something Bill was passionate about—the attendee experience. We have a motto— whatever it takes. That’s the bottom line.

BACKGROUND: When Jerry Garcia died, it meant the end of the Grateful Dead but not the band’s spirit after Ken Hays’ involvement with a posthumous celebration of the guitarist’s life sprouted into the fourday festival, Gathering of the Vibes. This year’s line-up boasts Widespread Panic, Ziggy Marley, John Fogerty and the Disco Biscuits, among many others, and will take place at Seaside Park in Bridgeport, CT, July 31 - Aug. 3. Tape Head I’m a big Dead Head. I’ve been to 350+ Grateful Dead shows and was always intrigued that the Dead allowed their fans to record their live shows. I found this out in 1983 and was intrigued. I started collecting live recordings of the Dead, along with a bunch of other bands. I went to school in Colorado and paid ridiculously high prices for blank tapes. Then I went into Manhattan and got unbelievably cheap prices on the exact same tapes. I figured there had to be a way that everyone could buy tapes at a consistently low price. So, in 1991, I started a company called Terrapin Tapes. We were a distributor for Maxell, Sony, TDK and then branched into the pro audio gear market with DAT machines, microphones and recording devices. We supplied blank tapes to not only tapers but bands that recorded their shows live.

“We’ve got a bunch of kids interning with us who have their fingers on the pulse of some new, up-and-coming artists.”

From Death To Rebirth Jerry [Garcia] died in August of ‘95. With the blessings of San Francisco, the Grateful Dead had a beautiful gathering in Golden Gate Park for the Deadhead community. The Grateful Dead asked Mayor Giuliani’s office if they could do a similar gathering in New York’s Central Park and they declined. So I and a couple friends, having a database of tapers, sent out postcards and flyers letting everyone know we were having a gathering to celebrate the life of Jerry Garcia and the music of the Grateful Dead. That took place Memorial Day weekend of 1996 at SUNY Purchase College. We had about 3,500 people there. We called it Dead Head Heaven: A Gathering of the Tribe. The following year, we changed the name to Gathering of the Vibes. The event doubled in size and that’s how it began. Children’s Corner From the beginning, we’ve encouraged parents to bring kids. Last year, we had 2,300 kids under the age of 15. That, by itself, differentiates Gathering of the Vibes from a lot of other festivals. Building upon that next generation and having a kids’ corner with tons of activities and a 22 July 2014

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School of Rock stage has been and always will be part of our annual family gathering. Winging It There was never any business plan. We were very much winging it from the beginning. As the crowds grew, we brought in more beer, Porta Potties, security. We expanded as needed and moved a couple times to accommodate the anticipated attendance. But there was really, truly never a business plan or a thought that Dead Head Heaven would move into something like where we are today, 19 years later. Entering the Tribe Typically, smaller acts will have their manager, agent or a friend of a friend contact us. We’ve got a bunch of kids interning with us who have their fingers on the pulse of some new, up-andcoming artists. They’ll forward me a link to their YouTube channel or audio downloads. I’ve got an amazing group of people around me. Putting together the lineup is a collaborative effort. We have a contest that we’ve run through Facebook over the last three, maybe four, years. We call it Road to the Vibes. Basically, a band provides a link to their YouTube channel or a video and their bio. Then, they have all their friends on Facebook like and comment on them and the band that gets the most likes wins a spot to perform. Outside of that, I think this year we’ve received around 2,600 band submissions with only 46 or so slots available, so it’s tough. My recommendation for up-and-coming bands is to make sure they’re well represented online and have a minimum of one video that represents the band to the best of their abilities.

All Bands Equal The headliner is treated the exact same way as the opener. It’s something my production manager from 18 years ago taught me: we’re all in this together and everyone will be treated equally. I’ll never forget that. That was Michael Potashnick, who passed away three or four years ago. He taught me a great deal.

The Vibes Hotline If anyone has any issues or concerns, they can call our hotline number. It’s staffed by about 30 volunteers. If someone had foot surgery and needs a ride or anything, call the hotline and we’ll dispatch somebody to give you a hand. Or to tell your neighbor to quiet down at 4 in the morning, whatever the case may be. That’s something that’s proven helpful and well received by the attendees—always knowing there’s someone there who can help. Staying the Course I’d like to continue the road that we’re on and the progression we’ve taken. We’ve done Gathering of the Vibes with 35-40,000 people and I don’t want to do that again. You lose the intimacy. You lose that sense of community. And I think we’ve got a really good model. About 80% of the Vibes attendees return every year. Post-event, we send out surveys. It’s 40 or so questions and people spend significant time filling it out, because they’re emotionally invested in Gathering of the Vibes and its success. There’s nothing I want to change in any material or radical way. I think we’ve got a cool thing going. I’d like to have more fun while on site, but that comes with the territory. Starting Your Own Festival It’s a busier marketplace now. Be careful. Don’t take out another mortgage on your house. Be able to sustain a financial loss at the beginning. These are risky endeavors and there’s an extraordinary learning curve. Partner up with someone who can help you navigate all the trials you need to go through, because there are a lot. Make sure everybody is going to be safe and that you’ve got a plan in place. And make sure you manage your expectations. It’s a difficult business to get into as a grassroots startup. It’s tough to do in today’s marketplace.

– BERNARD BAUR

MUSIC 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

Mach 1 Entertainment is looking for a young (18-25) rock/pop band. The act has to have the goods and a growing fan base. If you’ve got what it takes, go to http://mach1-ent.com and provide your EPK, social media sites and best material. Only top-notch submissions will be considered. Fusic, at http://fusic.com, is a brand new music platform whose app is changing the way fans interact with their music idols to create the “Ultimate Music Selfie.” This technology allows fans to step into their idol’s shoes by recording their own cover versions of their favorite songs— which are then “fused” into the singer’s music video. The app is the centerpiece that essentially turns the user’s smartphone into a mini-karaoke machine, with lyrics on top, their singing image on one side and the synchronized music video on the other. The app also uses technology that only edits the user’s most flattering performance into the music video, which can then be shared via social networks.

Compilation label Music Mosaic is looking for “world beat” drumming mixes. Examples can be heard at http://www.musicmosaic.com/ecom/drum-music. htm. Only mastered versions will be accepted. The company does not accept MP3s, but they will listen to your music online if you send a link to drumixes@musicmosaic.com. Here is how it works: Music Mosaic will license selected tracks (non exclusively) and include them in future compilation albums with international distribution that includes download stores. They will pay a royalty based on sales. Interested parties should check out http://musicmosaic.com. Mita Records is seeking artists for development deals. As a relatively new label in the U.K., Mita wants to expand its roster. Their focus is simple: They want to find phenomenal talent. According to their website, they aim to find, record and market the best artists and creators out there, regardless of musical style. MITA’s vision is based on Kevin Kelly’s concept of “1000 True Fans.” To learn more, go to http://mitamedia.com. Yes, it’s the season for music festivals, and there are quite a few cool and unusual events on the horizon. You can take a trip to Forever Never Land’s music & fun festival in San Luis Obispo, CA, on Sept. 13 and 14. It has acts such as Sublime With Rome and Everclear, along with a 200ft water slide, laser tag, zip line, food, and cocktails. Visit https:// foreverneverland.us for more information. If you want to escape the summer heat, try the Underwater Music Festival on Aug. 9. It’s

U.K. TEEN OPENS FOR SNOOP DOGG U.K. pop-hip-hop sensation Mackenzie Sol aka “Bad Kenzie” was handpicked to open for Snoop Dogg aka “Snoop Lion” in a summer outdoor concert series in Middlesbrough, England. After months of hard work the Loose Cannon Events team announced that Snoop will perform along with Bad Kenzie. The event is a huge coup, not only for the town and the company but also for 13-year-old Kenzie who just finished his debut EP with Disaster Prep Academy in Hollywood, CA and released his “Bad Actress” video featuring Selena Gomez. To learn more about this young artist, go to http://mackenziesol.com.

BETTER THAN EZRA IS ALL TOGETHER NOW Better Than Ezra will release their eighth studio album titled All Together Now via The End Records on Sept. 9. Known for their hits “Good,” “Desperately Wanting” and “Juicy,” they quickly became a staple in the ‘90s pop/rock scene following their debut album Deluxe in 1995 on Elektra Records. The band recently signed to The End Records and this marks their first release since 2009’s Paper Empire. Better Than Ezra will be hitting the road for their U.S. tour in support of the upcoming album. For the latest dates and routing, visit http://BetterThanEzra.com. a free, open-to-the-public event that offers live music via tug and barge to thousands of music loving boaters on Puget Sound near Gig Harbor, WA. All donations and proceeds go to The Melodic Caring Project––an organization that streams live concerts for hospitalized children. Go to http:// nwboatinfo.com/events for details. Lastly, if the nerd scene floats your boat, try the Orlando Nerd Festival in Orlando, FL, Aug. 7 to 11. There will not only be a series of video game activities, but there’s also an extensive lineup of over 60 performers. Festival organizers claim that it will be the ultimate nerd party. Go to http:// orlandonerdfest.com for more.

,!"%,3s2%,%!3%3 SIGNINGS

SoCal punk legends Pennywise will release their 11th studio album, Yesterdays, on July 15 via Epitaph Records. Back as frontman is Jim Lindberg. The album also includes songs written by former bassist, Jason Thirsk who passed away in 1996. The band will play the Summer Nationals tour with the Offspring and Bad Religion and the Vandals from July 29 to Aug. 31, with a festival appearance at Aftershock on Sept. 14. For more information, visit http:// pennywisdom.com. Yep Roc Records has announced that The Man Upstairs, a new album from psychedelic folk troubadour Robyn Hitchcock,

will be available on Aug. 26. The first released track is a stunning version of the Psychedelic Furs classic “The Ghost in You.” The record sees Hitchcock uniting with legendary producer Joe Boyd (Nick Drake, Fairport Convention) for one of the most unique recordings of his already idiosyncratic career. Instead of simply recording a new selection of songs, Boyd suggested that they explore part well-known favorites, part personal discoveries and part originals. The multi-tiered approach offered Hitchcock the rare opportunity to record as a performer, not just as he says, “another singer-songwriter laying their freshest eggs.” A complete North American live itinerary will be announced soon at http:// robynhitchcock.com. Two-time Grammy Award-winning Chicago rapper/actor Common has announced his signing to No ID’s Artium /Def Jam Recordings for his upcoming 10th studio album Nobody’s Smiling, set for release on July 22. The recording marks a creative reunion with his longtime friend and collaborator No I.D. (Exec. VP / Co-Head of A&R, Def Jam Recordings), who produced Common’s first three albums (via indie label Relativity). Moreover, it commemorates the 20th anniversary of Common’s breakthrough album Resurrection (1994), with his signature tracks, “Resurrection” and “I Used To Love H.E.R.” The album title was inspired by Common’s troubled hometown of Chicago. Visit http://ThinkCommon. com for more details. July 2014

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– BERNARD BAUR

Seminal Bay Area-based avantpunk psychedelic outfit Chrome have completed a new double studio album of original material, titled Feel It Like A Scientist. It is being released Aug. 5 in the United States via King of Spades Records. The new album was recorded at The Compound Studio, Half Machine Studios and Sub Machine Studios all in Santa Cruz, CA, produced by band mainstay Helios Creed and engineered by Keith Thompson. To check it out, log on to http:// facebook.com/chromechronicles.

pleasures and benefits of making music. The 2014-15 grants represent a small percentage of the NAMM Foundation’s annual multimilliondollar reinvestment into scientific research, advocacy, philanthropic giving, and public service programs related to making music. Through its partners, the NAMM Foundation fortifies programs that increase interest and participation in making music among people of all ages and stations. See http:// nammfoundation.org for additional details.

PROPS

Tony Bennett and Lady Gaga thrilled over 700 N.Y.C. high school students at Frank Sinatra School of the Arts (FSSA) on the last day of school by making a surprise appearance on site. FSSA was founded by Tony Bennett in his hometown of Astoria, Queens and Bennett usually attends graduation but this year due to his tour schedule he was unable to join. Instead, he decided to do something special for the last day of classes, so he invited Lady Gaga to join him for a master class in the school’s Tony Bennett Concert Hall. Moderated by NBC’s Lester Holt, Gaga and Bennett conversed on stage about a variety of subjects including jazz music, The Great American Songbook, creativity and also fielded questions from the students before peforming.

Multiple Grammy nominee, Nashville-based singer/ songwriter Hunter Hayes teamed up with ConAgra Foods to end child hunger and celebrate the release of his new album Storyline. And, in doing so, Hayes broke the “Guinness World Record” for “Most Concerts Played.” Hayes played 10 shows in 10 cities in 24 hours and broke the Flaming Lips world record of eight shows in 24 hours. The “24 Hour Road Race to End Child Hunger,” kicked off Friday, May 9, on Good Morning America. See http://hunterhayes.com. The NAMM Foundation has allocated a half million dollars in grants to fund music programs around the world. This year’s list includes 16 grantees from community, national and industrybased organizations that help to provide access to quality music education and promote the

THE BIZ

John Janick, President and COO of Interscope Geffen A&M announced that John Ehmann

DIY Spotlight R.I.P. KENNY KERNER

KENNY KERNER, a prominent advocate for independent artists, passed away on May 27, 2014 after a distinguished 40-year career. Kerner wore many hats in the music industry, as a songwriter, producer, journalist, publicist, manager and author, before settling into what he considered one of his most rewarding positions, a music business educator. He loved to talk about a discovery he made early in his career when he found a promo package in a box of unsolicited demos and got so excited about it he convinced Neil Bogart (founder of Casablanca Records) to sign a band called KISS. He recalled, “The demo sounded raw, like street rock & roll, but their image really got to me.” Kerner, and his partner Richie Wise, produced KISS’ first two albums and, in doing so, entered rock music history. As a producer Kerner received 18 gold and platinum records for his work with Gladys Knight, Jose Feliciano, Badfinger and, of course, KISS. Later he became a journalist and editor for several music publications, including Music Connection where he was Senior Editor and conducted interviews with musical icons Clive Davis, John Lennon and Michael Jackson. He was also the first editor to profile Nirvana, Beck, and Guns N’ Roses with cover stories. J. Michael Dolan, MC’s founder (along with E. Eric Bettelli), recalls: “As part of the editorial team, Kenny made a significant difference to the growth of Music Connection.” Bettelli, MC’s current publisher and general manager, adds: “Kenny was not only our editor for many years, he was also a good friend. He will be missed by everyone in the music community.” After MC, Kerner followed what he called his greatest ambition: he formed a Music Business Program for the Musicians Institute in Hollywood, CA, offering one of the most innovative curricula in the industry for independent artists and music business entrepreneurs. He guided and directed that program for 11 years. Recently, Kerner co-founded thecoolschool with Chris Fletcher. In February he spoke with this column about the new endeavor specifically tailored for DIY artists and his passion was evident. “I still feel the same about music and love helping artists,” he explained. “They shouldn’t have to spend thousands of dollars to learn about the business,” he noted. “At thecoolschool they can come just for a lecture or workshop that impacts their careers. And it’ll only cost them $20.” Chris Fletcher remembers Kenny Kerner as dedicated, determined and detailed. She also speaks for all of us who knew him, “Although he could be demanding, he was one of the most lovable characters I have ever known. We will all miss him dearly.” Fletcher is continuing thecoolschool with guest speakers (all industry pros) per Kerner’s wishes. Visit http://thecoolschool.biz.

Have a successful DIY strategy to share? Email bbatmc@aol.com

SINEAD O’CONNOR CALLS A DO OVER Sinead O’Connor is going through major changes. Just a few weeks before the release of her 10th studio album, the Irish singer called an audible on the LP’s title: I’m Not Bossy, I’m the Boss, set to drop on Aug. 12 via Nettwerk Records. O’Connor’s new record was originally called The Vishnu Room, but she changed it to reflect how inspired she was by Sheryl Sandberg’s “Ban Bossy” campaign (which claims that the word “bossy” prevents young girls from pursuing leadership roles). O’Connor also has changed her “look” – seriously. Previously known for her shaved head, her new promo photo makes her almost unrecognizable. For the latest, visit http://SineadOConnor.com. 24 July 2014

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has been promoted to Vice President of A&R. Ehmann came to Interscope Geffen A&M in February 2011 as Director of A&R. Since joining the company, he has signed and developed artists such as Lana Del Rey, Aloe Blacc, Cedric Gervais, and shepherded Carly Rae Jepsen’s album Kiss, with her hit single “Call Me Maybe” to the market. “John has an incredible ear and eye for talent, and I’m pleased to see him step

into a bigger role at the company,” commented Janick. “He’s an instrumental part of our team, and his commitment to his artists can’t be overstated.”

BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country. Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.

“My #1 Country Hit Started With a Phone Call to TAXI” Elliott Park – TAXI Member

Photo: Elliott (left) with publisher, Michael Martin

I

used to think that living in Clyde, Texas (Population 3,345) really limited my chances of ever having success in the music business. But all my friends and family members live here, so I’ve never wanted to move to Nashville. Although I love to write songs, I felt isolated when it came to getting them heard by anybody in the music business. Then a friend told me that TAXI would bring real opportunities for my music right to my front door.

I Used a 4-Track

I signed up and sent in songs that I demoed with my digital piano in my little home studio. The A&R people at TAXI liked my songs and began sending them off to some pretty high-level people in Nashville.

Tim McGraw, Rascal Flatts and Faith Hill Put My Songs on Hold

Over the next three years, my songs were considered by a Who’s Who of Country Music, but the “big cut” eluded me. I learned to be patient and worked even harder on my songwriting. Then, my publisher hooked me up with veteran songwriter, Walt Aldridge. Together, we wrote a song called, ‘I Loved Her First,’ and finally, I hit pay dirt!

#1 Hit on Two Charts!

The group ‘Heartland’ cut our song and released it as a single. It started out slowly, then gained

All the sudden, doors started opening. With the connections I made through TAXI, I began to have meetings with some of Country Music’s top executives, and signed a staff writer deal with a great publisher in Nashville.

momentum, and eventually made it all the way to the Number One spot on the Billboard and R&R Country charts. Could that have happened without TAXI? Probably not. Although there were many people that helped me once I signed my publishing deal, it was TAXI that made that all important first connection for me. And I didn’t have to leave my hometown to do it.

Can TAXI do the Same Thing for You?

If your music is competitive, the answer is yes! And if it’s not quite ready yet, TAXI’s A&R people will help you with that too. You’ll also get two FREE tickets to TAXI’s world-class convention with your membership. Just one ticket for some other conventions cost twice as much as your TAXI membership! Make the phone call I did, and see what TAXI can do for you – no matter where you live.

The World’s Leading Independent A&R Company

1-800-458-2111 June 2014

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TREVOR JACKSON Date Signed: November 2012 Label: Atlantic Records Type of Music: R&B Management: Tom Maffei - Primary Wave Booking: Mark Cheatham - CAA Legal: Eric Greenspan/Steve Younger Publicity: Nina Kolb - BWR, Nina.Kolb@bwr-pr.com Web: http://officialtrevorjackson.com A&R: Aaron Bay Schuck/Tom Maffei

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ow 17, the multi-talented Trevor Jackson brings a multi-faceted resumé Workshop as a singer and performer to his official upcoming debut on Atlantic Records. The campaign kicked off with the June release of its lead single, “Good Girl Bad Girl,” written by Ne-Yo and produced by Jim Jonson (Beyonce, Usher). At age 8, the Indianapolis native was cast as Young Simba in The Lion King, becoming the youngest and longest running actor to play the character on a national tour. He’s also appeared as an actor on numerous TV shows. While shooting the 2012 Disney Channel film Let It Shine, Jackson was introduced to his now-manager Tom Maffei by his friend Kenny Jackson, an assistant to the movie’s star Tyler James Williams. At the time, Jackson was simply seeking career advice––but Maffei was so impressed by Jackson’s array of talents that he signed him as a client. The singer became Maffei’s first artist client on a roster of many songwriters and producers.

“The label I signed with would become my family, so I wanted to make sure I had considered every detail.” Maffei hooked Jackson up with hitmaking producers the Underdogs (Harvey Mason, Jr. and Damon Thomas) and KC Porter to co-write and record some tracks to help shop the singer to major labels; the one produced by the Underdogs will appear on the finished album. They met with five labels that showed big-time interest in signing Jackson, including Def Jam, Epic, Universal Music and Atlantic. An offthe-cuff video Jackson made of himself singing “Superman” made the rounds at Atlantic, generating a deeper interest by Chairman/CEO Craig Kallman and VP of A&R Aaron Bay Schuck. They invited Jackson to meet with them in a hotel room in Los Angeles. He sang for them and the label execs said they didn’t want him to leave without signing. Jackson, however, took his time deciding before ultimately going with Atlantic. “The label I signed with would become my family, so I wanted to make sure I had considered every detail,” he says. “Their passion for what I was doing, and the label’s exciting history was an important part of the deal. I’m a huge fan of old-school soul and Ray Charles in particular. Atlantic artists brought incredible things to the world, and I knew they would help take me to a higher level in my artistry and career.” – Jonathan Widran 26 July 2014

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LEOPOLD AND HIS FICTION Date Signed: April 20, 2014 Label: Native Fiction Records Band Members: Daniel James, guitar, lead vocals; Shaun Gonzalez, bass; Trevor Wiggins, drums. Type of Music: Rock/R&B Management: Abby Frackman - Ramseur Booking: Jaime Kelsall - APA Legal: Pending Publicity: Judi Kerr Publicity, judikerr@aol.com Web: Leopoldandhisfiction.com A&R: Handled by band and management nly after moving from California to Texas did Detroit native Daniel James really discover himself as a musician. This transition also led to Leopold and his Fiction’s deal with the independent management company, Ramseur. The partnership came together rather naturally––the progressive rockers simply let the music speak. “We toured so much and were able to play for everyone [in the company] who wanted to see us,” James explains. “They saw a lot of promise in what we were doing, so we decided to move forward together.” Things quickly evolved into a business relationship based on nurturing trust and understanding. Leopold maintain total creative control, while Ramseur provides hands-on support. “Everything we do is very family-oriented––it’s all very personal,” James says. “We expend every ounce of energy, so we need someone who’s going to care for us the way we care for ourselves.” The guys needed an unconventional, go-with-the-flow sort of management. After 10 years and three studio albums, Leopold remain undefined as a band––and Ramseur is unconditionally cool with that. The fourth

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“Focus on the craft more than anything else.” record is already complete, and James now contemplates the potential benefits of a self-release (or perhaps even through Ramseur, which also operates as an independent record label). But he’s positive the team will encourage whichever decision prevails. “It’s still a pretty fresh collaboration––a work in progress that’s constantly evolving,” he says. “Ramseur wants to nurture artists’ talent, [let them] be creative and take their own direction. Leopold and His Fiction is not in the market of manufacturing hits so-to-say, but that’s not Ramseur’s top priority. That’s why the partnership works so well––we do what we do and they facilitate it.” The future looks promising, thanks to the “rebirth” of Leopold through Ramseur––and persistent determination: “Focus on the craft more than anything else,” he concludes. “I internalized it all and made the best product that I could. That’s when things started happening. You definitely need to push to get to the goal, dive in all the way [and] give it everything you got.” – Danica Bellini

OH HONEY

Date Signed: February 2014 Label: Atlantic Records Type of Music: Indie/Folk/Pop Band Members: Mitchy Collins, Danielle Bouchard Management: Billy Mann & Liz Baylog - Manncom Creative Booking: Mike Marquis and Jonathan Adelman - Paradigm Agency Legal: Marc Joaquin Publicity: Christina.Kotsamanidis@atlanticrecords.com Web: http://ohhoneymusic.com A&R: Pete Ganbarg

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itchy Collins, half of Manhattan’s Oh Honey, had spent quite some time in search of his musical other half. Having fallen in love with the idea of a duo in the same male-female vein of Johnny Cash & June Carter, he reached out to singers around New York and friends who may know a female vocalist to complete his vision. Danielle Bouchard was who he found. A mutual friend set up the two and since then they’ve created a name for themselves based upon their positive lyricism and a sound befitting a group from a much smaller town. “I feel like there’s enough sad songs in the world, so it’s nice to write something on the more hopeful, optimistic side,” states Bouchard. Atlantic

“You’ll get a lot of doors slammed in your face before you hear one ‘yes.’” Records, among many others, seemed to agree as they all reached out to the pair shortly after the release of their debut EP, With Love, and ultimately, it was a sense of home that brought Oh Honey to choose Atlantic. The close knit vibe they got from Atlantic’s crew was important to the pair as they declared the value in having a team genuinely interested in the music and their best interests. “We’re really fortunate to have great managers and just a great team of people,” Bouchard says. “I had known a handful of them for several years, just being around the city and whatnot and it all meshed,” Collins adds. “It all just felt safe and kind of easy, like it was the right fit.” Though the singers found their match, it wasn’t without down days, which is why they urge artists to keep the faith when times seem dire. “We’ve been at this our whole lives and you’ll get a lot of doors slammed in your face before you hear one yes,” Bouchard explains. “But if you love it and you want it, you have to keep fighting for it.” The duo are currently hard at work on their debut full-length as well as hitting the road with the Fray for the summer. With Love is available now on iTunes. – Victoria Patneaude

FINCH Date Signed: April 11, 2014 Label: Razor & Tie Band Members: Nate Barcalow, vocals; Randy Strohmeyer, guitar; Alex Linares, guitar; Alex Pappas, drums; Daniel Wonacott, bass. Type of Music: Post-Punk/Rock Management: Andy Harris Booking: Jeremy Holgerson - The Agency Group Legal: Bryan K. Christner - Counsel to William A. Berrol Publicity: Kerri Brusca - Razor & Tie, 212-598-2255, kbrusca@ razorandtie.com Web: http://finch-music.com A&R: Mike Gitter

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ith excitement spreading over their recent reunion, Finch didn’t have to search hard to get signed. This suited the band, who preferred letting their longtime manager, Andy Harris, helm the task. “Over the last year, I’ve had my head buried in the sand writing music,” imparts guitarist Alex Linares. “I trust Andrew to take care of the business stuff.” During the mid- to late-‘90s, Harris, too, was in a band and his former manager has since passed through New York label Razor & Tie’s doors. Harris naturally granted the Sony-distributed label first dibs. Happily, A&R rep Mike Gitter was a fan of the post-hardcore noise bringers. After soaking up one demo, the deal was a go. Besides good songs, Gitter recognized Finch’s solid work ethic. Linares appreciated Razor & Tie’s quirky back story and roster. The band had but one request––that they retain their European press officer.

“We weren’t expecting a truckload of money to be dropped at our doorsteps.” Having experienced life on a major, the group’s expectations were realistic. “In some ways, we were starting over,” reflects Linares. “It had been about nine years since our last release and it didn’t exactly go multiplatinum.” Still, they received a reasonable advance and avoided a 360 scenario. “We knew the industry had changed since our last deal, so we weren’t expecting a truckload of money to be dropped at our doorsteps.” They secured a royalty rate similar to or slightly better than that which they received in their first deal. Linares credits finding a home with luck and serendipity; it’s all about meeting the right person at the right time. One way to accelerate the process, he suggests, is by creating an unavoidable Internet meme via video. While he has considered that route, he confesses, “We’re way too ugly for that.” – Andy Kaufmann July 2014

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ED RODE

Department of Justice To Review Consent Decrees

ASCAP Gospel Awards The American Society of Composers, Authors and Publishers (ASCAP) honored the songwriters and publishers of Christian music’s most performed songs of the past year at the 36th annual ASCAP Christian Music Awards. ASCAP President and Chairman of the Board Paul Williams presented Amy Grant and Michael W. Smith with special awards in honor of ASCAP’s 100th birthday, and the ASCAP-commissioned Why We Create Music was screened to commemorate the organization’s centennial. Pictured (l-r): Michael Martin, ASCAP; Eddie DeGarmo, Capitol CMG Publishing; Amy Grant; Michael W. Smith; Matthew West; and Paul Williams and LeAnn Phelan, ASCAP.

BMI Honors Top Film and TV Composers

SESAC Bootcamp Returning to Los Angeles Though a date has not been set, SESAC’s Seventh Annual Songwriters’ Bootcamp plans to return to the Skirball Cultural Center in Los Angeles. This day-long event is full of information and opportunities with a wide variety

Omnivore Promotes Music Legacy

Omnivore Entertainment Group, dedicated to preserving historical, heritage and catalog music, has announced the formation of Omnivore Music Publishing. Founded in 2010 by Cheryl Pawelski, Greg Allen, Dutch Cramblitt and Brad Rosenberger, Omnivore Recordings has become a go-to place for releasing previously unissued, newly found “lost” recordings and catalog material, making them available for music-loving audiences to discover. On this past Record Store Day, the company issued previously unheard performances by Hank Williams (The Garden Spot Programs, 1950) and Jaco Pastorius (Modern American Music . . .Period! The Criteria Sessions). Its previous releases, by artists as diverse as Big Star, Townes Van Zandt, Buck Owens, Humble Pie and Jellyfish among others, have been warmly received. Spearheaded by Brad Rosenberger, former SVP of Film/ Television & Catalog Development at Warner/Chappell Music, Omnivore’s Music Publishing division has joined forces worldwide with SWside Songs. Contact Cary Baker, 323-6561600, cary@conqueroo.com.

LESTER COHEN/WIREIMAGE

Broadcast Music, Inc. (BMI) held its annual Film/TV Awards at the Beverly Wilshire Hotel in Beverly Hills. The evening saluted the composers of music featured in the past year’s top-grossing films, top-rated primetime network television series and highest-ranking cable network programs. Mychael Danna (pictured) received BMI’s Richard Kirk Award, bestowed on composers who have made significant contributions to the realm of film and television music.

Owing to a persistent conflict over songwriter royalties with online radio provider Pandora, the Justice Department has announced that that it will take a look at longstanding consent decrees that regulate how two leading music licensing nonprofits––ASCAP and BMI––operate. A number of music publishing firms believe that the online radio service is not paying fair rates to songwriters and publishers for the music it makes available on the service. The publishers believe they could negotiate higher rates with Pandora directly rather than through ASCAP and BMI, but the path is complicated. Three major publishers—BMG, Sony/ATV, and Universal Music Publishing Group—attempted to remove their digital publishing rights from ASCAP and BMI but were rebuffed after a court ruled that under the long-stand- ing consent decrees, partial withdrawals from the two groups were not allowed. ASCAP, BMI and Pandora welcomed the DOJ’s decision to review the consent decrees, which date back to 1941 and have not been reviewed in more than a decade.

of sessions covering all aspects of the industry. Event date, panelists and speakers, as well as subjects, will be announced in the very near future. The event is free for SESAC affiliates, and $50 for others. Visit http://sesac.com for updates.

Stevie Nicks: BMI Icon Broadcast Music, Inc. (BMI) bestowed the BMI Icon Award to Stevie Nicks at its 62nd Annual BMI Pop Awards. The invitation-only ceremony, held at the Beverly Wilshire Hotel in Beverly Hills, also recognized the songwriters and publishers of the past year’s most-performed pop songs in the United States. Pictured (l-r): Del Bryant, BMI President; Stevie Nicks; Barbara Cane, BMI Vice President & General Manager, Writer/Publisher Relations; and Mike O’Neill, BMI CEO. 28 July 2014

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“The Songs of Our Lives” Concert “The Songs of Our Lives” is a benefit concert showcasing award-winning songwriters performing their hit songs. This year the concert (produced by Grammy- and Emmy-winning Songwriter Hall of Famer, Charles Fox) honored Motown Legend Lamont Dozier and David Crosby. Pictured (l-r): Lamont Dozier and Charles Fox. For more information, please visit http://fulfillment.org.

– DAN KIMPEL dan@dankimpel.com

NMPA and Sony Agree on Video Royalties

The National Music Publishers Association (NMPA) and Sony Music Entertainment (SME) have unveiled a model licensing deal for music videos. The agreement provides songwriters and music publishers percentage royalty rates for their participation in revenue generated from music videos in exchange for rights related to the use of their musical works in SME’s videos. This direct deal with SME will be offered to all NMPA music publishers on an opt-in basis through the Harry Fox Agency (HFA). In addition to receiving royalties for future music videos, songwriters and publishers who opt into the SME agreement may receive retroactive payments for past use of music works in SME music videos dating back to Jan. 1, 2009. This agreement will also cover lyric videos as that market develops. Contact Amy Lee, 202-280-8816.

Blend: Collaborative Chemistry

Blend, an open online network where music creators come together to share and collaborate on tracks, has partnered with Music Marcom, a PR and marketing agency focused on the music and audio space, to grow awareness for Blend’s product and brand within its core audience. Blend was started by Alex Kolundzija and built at betaworks in New York City by musicloving technologists. With Blend, musicians and producers share

in-progress tracks and songs to connect with other musicians and collaborate or “blend” one another’s works. Blend allows musicians to showcase and promote their music, discover projects, follow other Blenders and give feedback. Visit http://blend.io.

“Happy Birthday” Blows Out Candles

“Happy Birthday” has been noted by the Guinness Book of World Records as the most recognized song in the English language. While a school teacher named Patty Smith Hill and her sister Mildred Hill are noted as the songwriters, its copyright control might be confusing as something authored so long ago still necessitates a license fee from publisher Warner/Chappell Music whenever it is publicly performed. A new lawsuit is intended to have “Happy Birthday” declared as belonging to the public domain. The proposed class action is brought by a film company that is working on a documentary about the famous song. The company claims it has “irrefutable documentary evidence, [which] shows that the copyright to ‘Happy Birthday,’ if there ever was a valid copyright to any part of the song, expired no later than 1921 and that if defendant Warner/Chappell owns any rights to ‘Happy Birthday,’ those rights are limited...”

DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.

SESAC Salutes Composers SESAC honored its roster of top film and television composers with the annual SESAC Film & Television Composers Awards Dinner. Pictured (l-r): Dennis Lord, SESAC; Jeff Beal, composer; Erin Collins, SESAC; and Netflix’s Peter Friedlander who was honored with the Visionary Award.

Odell Nabs Ivor Novello Prize Singer-songwriter Tom Odell picked up the Songwriter of the Year prize at the 59th Ivor Novello Awards, while Nile Rodgers, Christine McVie and Jeff Beck all claimed special prizes. The awards are presented by BASCA and judged by the songwriting and composing community. They have been sponsored by PRS for Music since 1974. Http://tomodell.com.

Top SESAC Pop In NY SESAC hosted its 18th annual Pop Awards at The New York Public Library. Charli XCX captured top honors at the event, taking home both Songwriter of the Year and Song of the Year for “I Love It” by Icona Pop featuring Charli XCX. Pictured (l-r): Pat Collins, SESAC; Nikhil Seetharam, composer; Charli XCX; and Richard Gottehrer of The Orchard, SESAC’s Visionary Award Honoree.

Williams IV Goes ole ole, a worldwide rights management company, has hired Leo V. Williams IV as General Manager of Creative (Los Angeles). Williams will be responsible for heading up the company’s Los Angeles Creative functions. See http://majorlyindy. com for further information. July 2014

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Ricky Reed

Snakes, Super Heroes and Dirty Talk

By Dan Kimpel

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n the cavernous gloom of a Hollywood recording studio, Ricky Reed is genial and reflective behind impenetrable dark glasses. “I have a nice handful of records that I believe are going to hit this summer,” begins Reed. “But part of what’s so insane about this industry is that you don’t have a song out until you have a song out. If I had a nickel for every time someone said they have the first single or a guaranteed smash…” But two of Reed’s recent songs, “Talk Dirty” and “Wiggle” by Jason Derulo featuring 2 Chainz and Snoop Dogg respectively, are undeniable smashes indeed for this songwriter-producer. As a recording artist, Reed gained notoriety with his raucously sardonic project Wallpaper. Songs like “#STUPiDFACEDD,” “FUCKING BEST SONG EVERRR” and “Puke My Brains Out,” were showcased by the artist on high-profile tours and in eye-popping videos, movie trailers and television placements. “When we first were placed on Jersey Shore I had to take a step back and think, ‘What are my goals? Who am I speaking to?’ And I realized my music was going to be familiar to a lot more people in Middle America, not just artsy folks in the big cities who are in on the joke.” The former Bay Area resident says that mistrust of the music business is characteristic of many NorCal creatives. “Not just the music or movie industries, but people feel that Angelenos are two-faced and shallow. Before I came down here to do a lot of work, I held a lot of the same prejudices. It’s really opened my eyes, meeting other musicians, producers and artists, and even people outside of the music business, small storeowners and others who come here to work hard. There is a cheesy pocket in West Hollywood, but there is also the Marina District in San Francisco. The music industry is the same thing: A good number of snakes and a good number of super heroes.” When Reed envisioned crafting beats for rappers he cold-called BMI and spoke with Casey Robison, formerly the company’s Director of Writer/Publisher Relations, and now at Big Deal Music. “Casey asked me, ‘Do you have a band or something?’ and I said, ‘Yeah, Wallpaper.’ He asked me to send him some CDs. I sent him 10 and a month later he called and asked if I wanted to meet with Evan Bogart (hit songwriter, manager and publishing executive at The Boardwalk Entertainment Group which now represents Reed) and Mike Caren (songwriter, producer and president of A&R, Warner Music Group) to pitch to Lil Wayne. Casey was the first guy. He’s one of the sweetest, most feeling and real dudes in this entire city. When you start with a good core of people who care about you, the branches and roots that grow from that are all part of the same tree.” “Talk Dirty” features a distinctive Middle Eastern horn line appropriated from a song titled “Hermetico” by Balkan Beat Box, a Brooklyn-based, Israeli band. Miles Beard, an A&R operative (and former KISS-FM DJ) heard the song in a club in Tel Aviv and asked Reed to “flip it,” as he remembers. This unusual track signified a 360-degree departure for Derulo according to Reed. “My impression of Jason was that he was a pop guy. Turns out, the whole world had Jason Derulo wrong. He’s musical and interesting and wants to do unique things.” As a songwriter and a producer, Reed explains that the lines between songs and sounds are often indelible. “It comes down to taste. There are a lot of big writers who may not be the greatest singers––I’m definitely not––but they know what feels good. One consistent thread of all writers I work with is that they’re feeling, sincere dudes. We talk openly and honestly and dig in before we write, sometimes as long as an hour. I think not coincidentally, those are the songs that are the most sought after by artists and A&R’s.” Reed says that this real emotion is what makes the most powerful impact. “Those guys who have those exuberant, beautiful and honest approaches are making the best records.” Contact The Courtney Barnes Group, 323-466-9300, SCB27@aol.com

30 July 2014

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DROPS

After a seven-country tour of sold-out performances, renowned composer Danny Elfman announced a Halloween show at the Nokia Theatre LA LIVE as well as a Nov. 2 show at Honda Center. Best known from appearing in the ghoulish films of Tim Burton, Elfman’s work will be performed by the 87-piece Hollywood Studio Symphony and 45-person choir and conducted by John Mauceri. Featured scores include those from Batman, Beetlejuice, Edward Scissorhands, The Nightmare Before Christmas, Charlie and the Chocolate Factory and Alice in Wonderland. Mauceri was director of the Hollywood Bowl

NASHVILLE ABC’s Nashville has made a significant bang this spring as several cast members have translated their onscreen stardom to real life with original chart-toppers and sold-out live shows; the first Nashville concert tour stars

DANNY ELFMAN Orchestra for 15 years and has worked with Elfman before, conducting the recording of the composer’s Serenada Schizophrana. To learn more about tickets, contact Albert Tello at Publicist@CostaComm.com. Multiple Grammy-nominated, platinum-selling thrash metal band Anthrax will drop live-inconcert DVD Chile On Hell on Sept. 16. Filmed at the Teatro Caupolican in Santiago, Chile, on May 10 of last year, the DVD captures an extended set featuring songs that span the band’s entire catalogue. Filmed by City Drive Entertainment Group, Chile On Hell will be available on DVD and Blu-ray. Contact Heidi Ellen Robinson-Fitzgerald at HeRFitz@Mac. com for more information.

Charles Esten, Clare Bowen, Jonathan Jackson, Sam Palladio, Chris Carmack and Will Chase. After live album NASHVILLE: On the Record dropped on iTunes in April, it quickly found its way to No. 1 on the all-genre chart. The previously released soundtracks made a jump on the iTunes Country Albums chart, while the second volume of the season two soundtrack dropped digitally in May. Now two seasons in, Nashville season three will premiere in the fall. Contact Publicity@ BigMachineMail.com. Composers Daniel Ingram and Steffan Andrews collaborated to score animated series The Littlest Pet Shop, which just completed its second season. The series has received a nomination for a Daytime Creative Arts Emmy Award, while its composers have been recognized for their work. Steffan has composed for hundreds of TV episodes as well as triple-A game titles and feature films. Ingram has been nominated for three Daytime Emmy Awards for songs scored for My Little Pony: Friendship is Magic as well as Littlest Pet Shop. Ingram also received two Leo Awards. Email Heather_ Smith@HubNetwork.com for more details.

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On June 17, Varèse Sarabande Records released the season two original soundtrack for lauded television series House of Cards as a two-disc set both digitally and on CD. Emmy-winning composer Jeff Beal scores the series, which has won both Emmy and Golden Globe Awards since its debut in February 2013 as Netflix’s first original series that released all 13 of its first season episodes at once. Featuring Kevin Spacey as a power-hungry politician vying for the oval office, the second season premiered in February of this year and will continue into its third season. Reach Beth Krakower at beth@cinemediapromotions.com for further details.

Sumthing Else Music Works, an awardwinning record label dedicated to licensing and distributing video game soundtracks, just released the original soundtrack for WWII shooter action game Enemy Front. The score was composed by Cris Velasco, the artist behind Company of Heroes 2, Mass Effect 3 and the God of War series. The soundtrack is available through Sumthing.com, iTunes, Amazon and other digital music sites. Contact Top Dollar PR at Greg@TopDollarPR.com.

– JESSICA PACE j.marie.pace@gmail.com

OPPS

Real Talk With Lee is guesting actors, producers and others in the entertainment crowd with a good story. The international radio show, recorded podcast and video webcast averages 3,500 listeners per show and airs five days a week. Learn more at http://BlogTalkRadio.com/ RealTalkWithLee and contact the show about bookings by emailing LookAtMeCasting@ Gmail.com. Internet radio show and recorded podcast Up Close and Personal targets all genres including film, television, theatre and other entertainment industry types who have expertise to offer or stories to share. The show reaches approximately 3,000 of all ages and can be found at http://BlogTalkRadio. com/TotallyDriven and booking inquiries can be directed to Jess Ragni at JessRagniTDR@Gmail.com. Filmmaker Don Matos is looking for credible film producers to handle his feature film project, No Father, Son, or Holy Ghost, an urban drama that was named Sundance Institute Screenwriters Lab Finalist. Matos got his start in producing at Columbia Pictures and has accrued other film accolades through the American Film Institute and the Eugene O’Neill National Playwrights Conference among others.

After a three-year hiatus, Jazmine Sullivan is back with a web series, The Making of Jazmine Sullivan’s Reality Show. In the series, the eight-time Grammy nominated singer/songwriter delves into the making of her forthcoming album Reality Show and talks music, family, life and love. While a release date for Reality Show has yet to be pegged, fans can find episode one of her web series at https:// Youtube. com/watch?v=MT TG6AdTKvw&feat ure=youtu.be. For further details, contact Theola.Borden@ RCARecords.com. An unlikely commonality spurred a collaboration between Emmy-winning composer (and nominee for House of Cards) Jeff Beal and director Jason DaSilva: Multiple Sclerosis. When Beal was asked to score DaSilva’s personal documentary, When I Walk, he was on board, having been diagnosed with MS in 2007. The film, which premiered at Sundance Film Festival last year, captures DaSilva at age 25 in 2006 after being diagnosed and his journey in dealing with the disease while discovering that he is still able to pursue his artistic aspirations. When I Walk aired on PBS on June 23, 2014. Contact Ray Costa at RCosta@CostaComm.com for details.

WHEN I WALK Learn more at http://DonaldMatos.com. Contact Matos at OneCineMatos@Gmail.com. Riot Grrl TV and Riot Grrl Radio are seeking unsigned hard rock, heavy metal and international musicians as well as industry professionals in those genres for interviews. Contact RiotGrrlTV@ Gmail.com for booking inquiries. NowHipHop TV is seeking hip-hop and R&B solo artists and bands to guest on the show. Interested artists should contact Blasianquita@ Gmail.com for details.

Out Take

PROPS

Two high profiles joined forces again to score an animated film sequel. Jónsi, known as the frontman of the Icelandic rock band Sigur Rós, and composer John Powell collaborated again to score How to Train Your Dragon 2, which dropped on Relativity Music Group on June 10 and follows up the original DreamWorks production in 2010. Contact Amber Crisci at Amber@BigPictureMediaOnline.com. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. pace@gmail.com.

Henry Jackman Composer

Email: Albert Tello, Publicist@ CostaComm.com Web: https://Facebook.com/ HenryJackmanComposer Most Recent: Captain America: The Winter Soldier HENRY JACKMAN says he just “got really lucky” in landing the job scoring Captain America: The Winter Soldier, though the composer had already done high-profile work on films like X-Men: First Class. “Some directors are hesitant to talk about music and don’t have the musical vocabulary to express their ideas in the way they intend,” Jackman says. “That’s what made this process such a pleasure. [Co-directors] Joe and Anthony [Russo] knew enough about music and about the style they were looking for that they could give notes that were productive and exact. We were speaking the same language, as it were, and thus we were able to create a relationship of trust where I was able to move forward on some pretty unorthodox ideas.” Composer Alan Silvestri scored the previous Captain America film, which Jackman calls “more of a period film,” and that some might be “shocked” at The Winter Soldier score. “People think of Captain America as a figure of tradition,” Jackman says, “and therefore imagine the score associated with him to be very classic, symphonic Americana. This one was different, because now Captain America has been fast-forwarded to present time, and thus this film required a modern score, not only with symphonic pieces, but also including production elements you will hear throughout the score. “I was making records in my pre-film scoring days,” he adds, “which is where I really expanded my depth in this area. I drew upon that when combining classical symphonic music with modern elements of electronic and production for The Winter Soldier. For the title character particularly, his action sequences are serious. They’re very brutal. So I wanted to make them more electronic and harsh to get an underlying feel of something mechanized and unrelenting.”

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Sonos, Pandora Present “An Evening With Charli XCX” London-based singer/songwriter Charli XCX recently took to the Sonos stage in Hollywood. The 21-year-old wrote the current single, “Fancy” (with Iggy Azalea), which recently topped Billboard’s Hot 100 chart. Charli also penned last year’s summer “it” song, “I Love It,” recorded by Icona Pop, which she is also featured on—a song that has surpassed six million global sales and a double platinum U.S. certification, landing the pop starlet a 2014 “Sesac Writer of the Year” award.

Presonus Opens New Louisiana HQ

JOE SCARNICI/GETTY IMAGES FOR SONOS

Music-industry VIPs, business-community leaders, and PreSonus employees, distributors and dealers from around the globe flocked to warm, friendly Baton Rouge, LA to celebrate PreSonus’ new headquarters. Louisiana Governor Bobby Jindal opened the ceremonies, and PreSonus Chairman of the Board Kevin Couhig, CEO Jim Mack, cofounder/Chief Strategy Officer Jim Odom, and cofounder/VP of Manufacturing Brian Smith offered their thoughts about the new building. Pictured is the PreSonus management team with Gov. Jindal in front of the new HQ. See http://presonus.com for more information.

CHRIS HOLLO

BOTTLEROCK

Jackson Surprises Nashville With Performance

BOB MCCLENAHAN

TOM HOPPA

Alan Jackson gave a surprise concert at The Stage, located on Nashville’s lower Broadway. Jackson performed numerous hits and brought up special guests Lee Ann Womack on “Golden Ring,” Kacey Musgraves on “Livin’ On Love” and Easton Corbin for “Where I Come From.” The unsuspecting fans received a unique CMA Music Fest experience. The surprise concert followed the CMT Music Awards where Jackson was honored with the first ever CMT Impact Award, for 25 years of innovative, unique and crowd-pleasing videos.

Tin’s “Calling All Dawns” at Carnegie Hall The music of composer and BMI affiliate Christopher Tin was celebrated at New York’s Carnegie Hall with a performance of Tin’s award-winning work “Calling All Dawns,” along with the world premiere of “The Drop That Contained the Sea.” This ambitious new piece features 10 movements in 10 different languages. Additionally, BMI’s own Director Film/TV Relations Anne Cecere, an accomplished Dramatic Coloratura Soprano, served as a vocalist. A recording of “The Drop That Contained the Sea” was released May 8 and debuted at No. 1 on the Billboard Traditional Classical Albums chart. Pictured (l-r): Cecere; Tin; and Sue Fink, renowned Artistic Director, Angel City Chorale. 34 July 2014

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BottleRock 2014 Comes To A Close The Napa Valley had quite the party recently as a slew of up-and-coming and established artists made their presence known in the Northern California Wine Country. Performers included Outkast, LL COOL J (pictured bottom), Weezer, Eric Church (pictured top), Matt & Kim and many more. The festival also teamed with some of the best restaurants and wineries in the area to provide audience members with something unique to the festival market. Get a full recap at http://bottlerocknapavalley.com.

– ANDY MESECHER andym@musicconnection.com

RANDALL MICHELSON

Members of Black Eyed Peas Come Together For Philippines The Greek Theatre in Los Angeles hosted an all-star concert headlined by Apl.de.ap (pictured), will.i.am and Taboo of the Black Eyed Peas (BEP) to benefit survivors of the devastating Typhoon Haiyan in the Philippines. “Rebuild the Philippines” was spearheaded by the Apl.de.ap Foundation (ADAF), the charitable organization founded by BEP’s Apl.de.ap, and the concert brought together artists from various musical genres as well as from countries from around the world, including comedian Joy Koy, dance crew Jabbawockeez, the Filharmonic, local chorale group the Philippine Chamber Singers, the vocal trio W3TheFuture and up-and-coming pop quartet, the Jazmin Sisters, among several others.

SESAC Honors Film/TV Composers

Tidbits From Our Tattered Past

2002–Weezer–#12

Performing rights organization SESAC honored its roster of top film and television composers with its annual SESAC Film & Television Composers Awards Dinner. The invitation-only event, which was held at the beautiful Casa Del Mar Hotel in Santa Monica, CA, celebrated the composers of music featured in 2013’s biggest films, primetime television shows and cable programs. Pictured (l-r): SESAC’s James Leach and Erin Collins; composer Jon Ehrlich; and SESAC’s Trevor Gale.

Music Connection featured these pop-rock superstars on our cover, with band leader Rivers Cuomo recalling their unsigned days: "We'd get comments from the industry like, 'We don't really hear these songs going anywhere, but keep writing!'" Also in the issue are interviews with producer-engineer Andy Johns (Led Zeppelin), songwriter Susaye Greene (the Supremes) and a feature article about "Music Sites That Sell."

2014 Recording Industry Golf Tournament The L.A. music community came together on June 2 for the 2014 Recording Industry Golf Tournament in Malibu, CA. Organized by KMD Productions and supported by sponsors including The Record Plant, Audio-Technica, PreSonus, Westlake Recording Studio, GC Pro, JBL Professional, AES, NAMM and Hyundai Motor America, among many others, the event hosted leading engineers, producers and mixers playing golf to raise money for the music program at A Place Called Home.

Pictured (l-r): ProducerEngineer Ed Cherney with wife Rose; Karen Dunn, KMD Productions; and producerengineer Al Schmitt.

Pictured (l-r): Paula Salvatore, Capitol Studios; Dusty Wakeman, Mojave Audio; and Sherri Tantleff, Full Sail University.

PHOTOS: PAUL LESTER

1993–Dwight–#3 In addition to interviews with Geffen A&R rep Tony Berg, Megadeth, BMG's Nicholas Firth, and a club review of Blind Melon, this issue featured West Coast country star Dwight Yoakam ("the embodiment of hillbilly cool") who told Music Connection, "All of a sudden there is a new pop audience who will buy Phil Collins, U2 and their favorite country artist."

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Kon

“It’s great to see all the pieces of the

puzzle coming together. Everybody’s

happy and in a good place right now.” That’s Jesse Kongos, drummer and

spokesperson for the band of brothers whose rockin’, stompin’, accordion-

fueled wonder, “Come With Me Now,” not only knocked Lorde’s mighty “Royals” from atop the Alternative Radio Airplay chart, but has made history as the fastest ascent to the peak of that chart by a new band. However, it was a little over one year ago, in early 2013, that the Arizona-

based Kongos brothers (Dylan - guitar; Daniel - bass; Jesse - drums, Johnny - accordion) were laboring like so many other unsigned bands––playing local gigs, recording tunes and sending them to anyone who might listen. Today, with the unique, ubiquitous “Come With Me Now” rocking a sports arena near you, and as the band gears up for festivals like Firefly, Sasquatch, Lollapalooza and a high-profile tour with fellow sibling enterprise Kings of Leon, the band is, as Jesse put it, seeing “all the puzzle pieces coming together” in a big way. In the following interview, Music Connection dissects that puzzle to understand how this distinctive band broke through. Music Connection: We’ve been following Kongos’ rise for quite some time. We recently did a Signing Story on you guys, and over a year ago, back before you were signed, we reviewed your demo, which scored high and made it into our year-end Top 25 New Music Critiques of 2013. Jesse Kongos: Yes, I remember. Good for us! MC: You guys have an unusual story, in that you came from about halfway around the world to America to make it. Yet you settle in a city, Phoenix, where your mom now lives, which is not known for a music scene that’s going to catapult anyone to stardom. Jesse: Yeah, in Phoenix there’s not really a lot going on scene-wise. So the good thing about it was we played a lot of gigs and got our act 36 July 2014

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together there. We started making singles for our next album. And we started to send them out to radio stations. A DJ from a local Phoenix station––not a very powerful station––started playing “I’m Only Joking” and really got behind it and all of a sudden we went from playing to 40 people to playing to 400-500. We saw the power of radio.

MC: Which is why you sent your music to radio stations in South Africa. Jesse: Yes, kind of simultaneously back in South Africa a DJ there picked the same song and started playing it. This was a national Top 40 station. So overnight we had an influx of fan response from there, and that pushed us to go ahead and finish our album. Once we did that we ended up playing some big shows in South Africa. MC: That had to have been strange for you guys, to suddenly be popular half a world away. Jesse: I think cracking a market like South Africa gave us the confidence that this thing could work, that our music could work in a commercial way. And it gave us all kinds of footage and stats that you need to show people that you’ve got a viable project. MC: Looking at your new success here in the U.S., if you can trace it back to a key moment, a new music connection that you made, what would it be? Jesse: In August 2013 we were playing a big South African festival, called Oppikoppi, and there was bit of a cock-up on stage where the stagehands thought we were Seether, and so there was a 45 minute delay as they had to reset the stage, and that caused Seether’s booking agent to come see what was going on and so he saw our set from the side of the stage. He really, really liked the music, and we signed with him the next day. He opened up a lot of doors for us, introduced us to our management in L.A. He got a bunch of people to come to our American showcases. It all took a year, but we were able to get in front of people.

We did some shows with them in the U.K. and they really sort of endorsed us and supported us. So we saw Corrie, did a showcase with her, really liked her and decided to sign with her. Three months later she moved to Paradigm.

MC: Speaking of showcases, can you talk about your showcasing experiences, like at SXSW? As an up-and-coming band, what did you find was most useful––what worked or didn’t for you? Jesse: Number one, the actual show is the most important thing. At SXSW in 2013 we did five shows, and three of them were totally shit. But we had two really good showcases there. And afterward, nothing really happened right away, but we knew we were now on people’s radar. There was some interest, but it would take more for any label to pull the trigger. What I would say about showcases is that it’s very unlikely that someone will see you play and want to immediately whisk your career to the stratosphere. You have to garner their interest before they come and see you. If

MC: Your manager is Marc Pollack from The MGMT Company. How did you decide to go with him and that firm as your manager? Jesse: What impressed us was the nature of the company. It has a structure and they all work together in a relatively small office, like a family, like a team. And they have people who are experts in radio, other people who are experts in online and all that. And also just Marc, we clicked with him philosophically and that made the decision relatively easy. [Pollack discusses Kongos at http://musicconnection.com/Pollackdiscusses-kongos] MC: Did he hook you up with Paradigm, the booking agency in the U.S.? Jesse: He knew Corrie Christopher, our agent. She was still at APA (Agency for the Performing Arts) when we signed with her. She knew of us through AWOLNATION’s manager and others. So Corrie was interested in us at that point. A lot of thanks go to AWOLNATION and their team.

Kongos l-r: Jesse, Dylan, Daniel, Johnny

gos you’re able to get the people into the room, then the showcase can close the deal. There’s no formula for anything; that’s the way I see it.

MC: The album ends with a six-minute song, “This Time I Won’t Forget,” a rambling, multifaceted number. It shows what you guys can bring to the table, beyond the novelty aspect of “Come With Me Now.” Jesse: “This Time I Won’t Forget,” that’s Johnny’s song, the accordian player, and like you said there’s a huge variety on the album. We never want to repeat songs––as in, create the same song twice. Each one of us writes and we each have our own sort of personal interests. As long as our music

has the essence of what we call the Kongos sound—it’s not a set of guidelines, it’s some sort of essence that we sense. As long as the song has that, it is perfectly legitimate to be on a Kongos album. MC: The song and the album it comes from indicates that you guys can go in other directions. Jesse: On that particular song, maybe Johnny would be able to explain it better to you, but he wanted to blend sort of a Moroccan folk sound with an Irish ballad type tune. It’s definitely a unique song, and it closes the album well, in my opinion, brings everything to a close nicely. It’s quite an emotional lyric. It shows some range, hopefully. That we can do the in-your-face rock songs, but we can also do something that’s more subtle.

By MC Senior Editor,

MARK NARDONE Photos by Pamela Littky

MC: Was Johnny also behind the accordion-based “Come With Me Now?” Jesse: Yeah, anything that’s super accordion heavy, (Laughs) you can probably credit to Johnny. MC: Let’s talk about steering Kongos’ career. Does everyone in the band need to be on board for a certain career idea to go forward? Or is there one leader? Jesse: With us it’s all pretty

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“[Labels] knew they already had a hit on their hands, or at least the potential for a hit. It gave us a feeling of power in that negotiation, knowing we already had an album completed and ready to go certainly helped in the negotiation, because we knew we weren’t gonna need X amount of dollars to make the record.� – MARC POLLACK (band manager) Pollack spoke with MC about seeking new artists. Read our complete interview with him at http://musicconnection.com/Pollack-discusses-kongos

democratic. We all interact with our management; we are four equals in that respect. When it comes to songwriting and the music, we like to say we’re a democracy with a temporary dictator. The songwriter is the dictator for that particular song. For the career stuff, we all share duties; we each have different skills. For a long time we handled everything ourselves. For example, Johnny is really good with web design and online stuff. I do a lot of the mixing and mastering, the technical stuff in the recording studio. Danny is excellent with photography and cameras and studio production. Dylan handles a lot of the correspondence and interaction, our social media. A lot of stuff is being handed off now to others. MC: As we understand it, the album put out by Epic was recorded before you signed with them. Did you need to do any re-recording in order for Epic to release it? Or add material, or remix it? Jesse: Epic released the album as is. We did choose to change the track order for the American release, but everything else is the same. We signed with Epic because they really showed a belief in the band. I mean, [label head] L.A. Reid took a personal interest in closing the deal. When we met with him we could see that he was acutely aware of our music, he had spent time with the album, and that meant a lot to us. We felt like there was some genuine interest in us, not just another album to put in the catalog. MC: We hear Reid really liked your video footage and the clip you made of the single, “Come With Me Now.� Is this why he felt he didn’t need to see you play live in order to sign you? Jesse: The way I understand it is that someone from the management company played him the video and he really liked it, got it, immediately took an interest in the band and took steps to make a deal. And, yes, we did close the deal before he saw us play live. I’m guessing that

“We  feel  the escalation, [more money is coming in], but at the same time the costs are going up astronomically.â€? 0WFS ZFBST PG 4530#& UVOJOH UFDIOPMPHZ 1"$,&% */50 " 4-&&, )"/%)&-% 56/&3 .",&4 5)& 4530#01-64 )%ĆŠ 5)& ĹŤ#044ĹŹ 0' "/: 56/*/( 5"4, UI PG B 'SFU "DDVSBUF 5VOJOH Ĺ° )6(& 56/*/( 4$3&&/ Ĺ° 07&3 48&&5&/&% 56/*/(ĆŠ 13&4&54 3&$)"3(&"#-& #"55&3: Ĺ° 1-":#"$, 50/& (&/&3"503 Ĺ° "7"*-"#-& .&530/0.& 015*0/ Ĺ° 64# 1SPHSBNNBCJMJUZ

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there was enough confidence in the material and seeing our live performance footage, he felt we knew how to work a crowd. MC: A year ago you were unsigned and had a ways to go yet. Now it seems suddenly that everything is working. You’re on the radio, you’re on TV, you’re playing all these shows and festivals. A lot of our readers want to know: When do you start getting paid once you’ve broken through to success? Jesse: I’m sure it’s different for every band, depending on the kind of deal. For us right now, we feel the escalation, [more money is coming in], but at the same time the costs are going up astronomically. I mean, when you talk about going up from a van to a bus, getting a full crew for the road, every aspect, there’s a piece of the proceeds that is now being taken out by a

number of different entities. I have a feeling that when we get to actually headline a run of shows, that’s when you really start to make money. MC: You’ll embark on a tour with Kings of Leon in the fall. Major band. Big venues. How did you guys get on a tour like that one? Do you approach them, do they approach you? Does your manager know their manager...? Jesse: That was arranged months ago. I believe they were looking to put a bill together and, from what I understand, they wanted a sort of “family band� vibe, you know, and our agent Corrie, she knows the promoters who are putting on the tour and she knows the band’s managers. So she submitted us and fought for us. Over the next few weeks, we worked out a deal and solidified it. We were super-excited to announce it, but couldn’t for a month or two. (Laughs) We had to sit on that news. A lot of it comes down to connections in the business. But you as a band have to bring something to the table, you have to bring something to the bill––otherwise you’re just being done a favor.

QUICK Â FACTS:

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MC: What’s the most surprising thing about being successful? Is it all the hard work that’s still to be done? Jesse: Well, we were already used to doing a lot of work before we became successful. Moving up from a van to a bus, I never realized how comfortable you could be on a bus! (Laughs) You get these cocoon bunks, really comfortable, and you wake up in a new place, well-rested every day. That’s been a real plus. It’s so helpful to be able to sleep well before the gig. MC: And the bus allows you to be creative on tour? Jesse: I think it will. When we hit our stride and get into our routines. At the moment there’s still a lot of work to be done while driving between gigs. The good thing now with the bus is that you can actually get up and walk around, sit at the table, get your computer out and answer emails or do interviews or whatever. That’s the real benefit, just having a place to go. Sit somewhere and do something––as opposed to sitting upright in a van with eight other people. MC: Are you looking forward to possibly doing some recording on the bus? Basic tracks, at least? Jesse: Yes, we definitely have those plans, because we’re going to be on the road so much, with very few days off for a whole year. You can’t go that long without having some outlet creatively. So right now we’re trying to optimize a little demo system on the road so we can at least get an idea down. We’ve got some acoustic guitars and stuff in the bus so we can get ideas down, so that’s definitely in the plans. MC: Now that Kongos is a buzz band, have you been getting gear endorsements? Jesse: I recently signed with Paiste cymbals. I’m really happy about it. They would have been my cymbals of choice regardless. Danny and Dylan are both working with Fender for guitars and amps and stuff. It’s really cool to be able to use the gear that you’ve always wanted to use, you know, with a little help from the company. It’s exciting for us because we’re all gear heads. (Laughs) We love new toys! Contact darren.baber@epicrecords.com

www.grammymuseum.org

To read MC’s April 2013 New Music Critiques review of Kongos see http://musicconnection.com/KongosKritique

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How to Make the Most of Your Recording Experience 40 July 2014

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WHETHER YOU’RE AN ARTIST, PRODUCER, LABEL OWNER or personal manager, working in a studio is part of the job. But it can also be one of the more expensive endeavors you encounter. So that you can make the most of it and use studio time wisely, Music Connection asked studio executives, including owners, managers, directors and VPs of operations, to answer a few questions. We believe that the information these professionals offer is not only useful; it could help you make the record you want at a price you can afford.

CAPITOL STUDIOS Hollywood, CA http://capitolstudios.com Paula Salvatore, VP of Operations For over half a century Capitol Studios has been a staple of the recording industry. Iconic artists like Frank Sinatra, Nat King Cole and the Beach Boys first gave life to its rooms, and to this day major icons of popular music continue to record there. As VP of Capitol Studios since the early ‘90s, Paula Salvatore is an integral part of recording sessions. Her client list includes Paul McCartney, James Taylor, Tony Bennett and Barbra Streisand, to name a few. Prior to her time at Capitol, Salvatore managed Sound City (the studio in David Grohl’s documentary) for almost 10 years. What Are Your Duties? I manage the day-to-day operations and try to make sure that everyone is happy. All projects come through me so I can determine what is needed and what the rates will be. What’s Your Biggest Challenge? The biggest challenge is balancing everyone’s interests. I act as the liaison between the studio, engineers, staff and clients to ensure that

Not being prepared is the most common one. It’s one thing to be creative and in the moment, but everyone must be on the same page to make that work. Artists who don’t have a producer sometimes don’t know how to get what they want and they go haywire. Our staff will try to help them, but it’s not the same as having a producer oversee the session. Do You Have an Internship Program? We do, but it’s being restructured by Universal. In the past we’ve used interns from a variety of schools. The most important thing they learn is studio etiquette. For example, engineers need to realize that it’s a clientbased service industry and they have to be happy with being told what to do. They need to learn when to speak and, more importantly, when not to speak.

BLACKBIRD STUDIO Nashville, TN http://blackbirdstudio.com http://theblackbirdacademy.com Scott Phillips, Studio Manager After rebuilding Creative Recording Studios in Nashville, TN, John and Martina McBride launched Blackbird Studio in

CAPITOL

everything is done to everyone’s satisfaction. I want people to have a memorable experience, so I treat every project as if it’s my only one. How Can Clients Get Good Rates? The best rates are for blocks of time––a “lockout” situation. Additionally, if a client is flexible and can be “on call,” in case of a cancellation, they’ll get an even bigger break. What Are The Most Common Wastes of Studio Time?

By Bernard Baur

What’s Special About Your Studio? Most people know about Blackbird Studio–– we’ve recorded some great records here. The gear we have available definitely gets them in the door. We have almost anything you can think of on the premises. Then the staff and the overall studio experience keeps them coming back. We take care of all the little things so that everyone is happy, satisfied and comfortable. And it doesn’t hurt that we’re in Nashville. You know it’s called “Music City” for a reason––it’s inspirational. Have You Ever Turned Down a Booking or Banned a Client? Actually, I have. People come here to record. They have fun, but it’s also a serious business. Studio time is valuable and it shouldn’t be wasted. So, if I get the impression that someone isn’t ready to go to work, I won’t book them. It will save them money and save me aggravation. Additionally, if a client treats my staff badly, they won’t be invited back. Life is too short and we will not put up with that kind of behavior. How Can Clients Get the Best Rates? Being flexible with your time is always helpful. We also have a lot of options here––there are nine studios to choose from. Because of that I can work with just about any budget. You work with me and I’ll work with you. And it doesn’t matter what kind of deal you get because everyone is treated the same way no matter

BLACKBIRD

2002. Motivated to offer the highest quality recording experience, Blackbird Studio was designed with state-of-the-art facilities and technologies, and in turn has been the studio of choice by artists ranging from Beck, Sheryl Crow, Tim McGraw and Faith Hill, to Kings of Leon, the White Stripes and Taylor Swift. Scott Phillips got his start in the industry in 1996, and has handled all the booking needs for Blackbird since 2005.

what room they’re in. It’s the Blackbird way–– we’re down home and down to earth. Do You Have an Internship Program? We have something better than that. We have a studio and live sound engineering school called Blackbird Academy. There are three months of classroom work and three months of studio time. It’s a great experience for the students, and some of our graduates even end up working here.

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AVATAR STUDIOS

STUDIO AT THE PALMS

New York, NY http://avatarstudios.net Tino Passante, VP of Operations

Las Vegas, NV http://studioatthepalms.com http://palms.com/music-venues recording-studio Zoe Thrall, Studio Director

Avatar Studios (formerly known as The Power Station) is a recording studio in Manhattan, New York City. It has won several studio industry awards over the years, including a “Les Paul Award for Special Lifetime Achievement.” The complex was renamed Avatar Studios in 1996. Its client list is so impressive, it reads like a Who’s Who in music. Recently a memorable session occurred at the studio–– rehearsals for the live event “Another Day, Another Time,” which was a concert in New York City’s Town Hall featuring music from the film Inside Llewyn Davis. How Do You Ensure A Great Studio Experience? I have very detailed conversations with them prior to booking time. In fact, it could take several conversations so that I could get as much detail about their project as possible. The reason I do that is because I want them to have the best experience they could possibly have. I not only want to meet their needs, I like to exceed them. How Can Clients Get the Best Rates? If a client is willing to come in on short notice, they’ll get a break. Sometimes there are last minute cancelations and studios open up. If a client can fill that spot, I’ll give them a great rate. Do Artists Need to Work With a Producer? I’ve noticed that the acts who do work with producers tend to be more efficient. We get both label [major and indie] and DIY acts here.

Studio at the Palms is the first state-of-the-art studio ever built in Las Vegas. It is a multimillion dollar recording studio located in the Palms Casino Resort. Its sated mission is to:“Take your vision to the highest level...” And, since the studio is part of the Resort it can provide services unlike any other studio in the world. It is sort of like a recording concierge, where one phone call can take care of your needs, whatever they may be. Isn’t Recording in Las Vegas Distracting? Not really. In fact, I’ve had people tell me that they get more work done here than anywhere else. The reason is that the studio is like a secret workspace within the casino. We honor our client’s privacy and don’t publicize who’s here. Our clients like it because, usually, their friends are not here and they can focus. Additionally, label reps and management generally don’t show up. As a result, everyone gets more work done. Do Only Superstars Record at Your Studio? It’s true that quite a few superstars record here.

the utmost respect. We like to get to know them so we can anticipate their needs and go the extra mile. We offer services that very few studios can provide. As long as it’s legal, we’ll take care of anything you want.

WESTLAKE RECORDING STUDIOS West Hollywood, CA http://westlakestudios.com Steve Burdick, President/Studio Owner This studio was founded as Westlake Audio in the early ‘70s and is credited as “one of the first big commercial efforts to produce acoustically standardized rooms.” In fact, the design became so popular that “Westlake-style” rooms spread to other studios around the world. A number of well-known artists have recorded at Westlake, including: Michael Jackson, Rihanna, Shakira, Justin Timberlake, Madonna, Dave Matthews, Kelly Clarkson, Britney Spears, Nine Inch Nails and Justin Bieber, as well as countless films, television shows and commercials. How Do You Ensure a Great Studio Experience? I like to get to know our clients. So, I speak with them on a regular basis. I want to know about their projects and what they might need. If they’re new to the studio, I’ll offer some guidance and

“We have a different rate structure for indie and DIY acts so they can record here too.” –– Steve Burdick, Westlake Recording Studios

STUDIO AT THE PALMS

WESTLAKE

And some of the DIY acts that work solo could really use a producer. Sometimes they waste a lot of time going over and over something because they don’t know how to get what they want. It’s like they’re rehearsing in the studio, which you don’t want to do.

But, we also welcome indie acts and up-andcoming artists, including those who have never been in a studio before. We know that the first time in a studio can be intimidating. So our staff will walk new clients through the process and make sure their first time won’t be their last.

help them through the process. Sometimes independent acts need a little help and I’ll suggest that they start with a written plan, sort of like a business plan. That way, when they’re here they’ll be ready to record and will be able to make the most of their studio time.

Does Your Studio Specialize in a Specific Type of Recording? We do a lot of film and TV scores here. We record a lot of big bands and orchestras. Because we have rooms that accommodate large ensembles, composers like to use this studio to record their scores. Of course, like other studios, we also have pop and rock artists who come through our doors as well. And being in New York, we see more rock acts than pop.

Does Your Studio Offer Any Special Services? When bands perform in the Pearl Theater and Palms Lounges, they can record those live shows with a touch of a button. We can send a live output directly to recorders in the studio through hotel-wide fiber optics. In fact, many acts have released in-concert Pearl/Studio albums.

Do Only Superstars Record at Westlake? Great artists record here all the time, and not all of them are superstars. We have a different rate structure for indie and DIY acts so they can record here too. We’ll work with anybody who’s serious about recording in a world-class studio.

Does What Happens in Vegas Stay in Vegas? It does at our studio. We treat our clients with

Do Artists Need to Work With a Producer? Not necessarily, but it helps. It depends on how experienced they are with the recording process

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at a professional studio. Some artists do fine and others might struggle. If a client is having problems getting what they want, our engineers often step up and help them out. We have experienced engineers available who can run a session on their own. We want everyone to have a good experience here, so we do whatever we can to make sure that happens.

runner. That led to an assistant engineering gig where I really got into the technical side of things. Eventually I became Chief Engineer. However, engineering wasn’t as rewarding as I had hoped. The style of music being recorded at that time wasn’t my favorite. So I started paying more attention to the technical and financial aspects of the studio, which led to my current position.

What Would Get Someone Banned from the Studio? Bad behavior––anything that’s threatening or violent––will not be tolerated. This is a professional facility and we expect clients to act like professionals. Generally, our clients are respectful to our staff and each other, so it’s usually not a problem.

What is The Record Plant Known For? We provide top-line services with a technical side that is on point. We go above and beyond what’s expected. As a result, we attract a lot of high-end clientele, mostly major label artists. But, although we primarily deal with major acts, we also welcome independent projects. In fact, we have a couple studios that are definitely affordable as long as you have a reasonable budget to work with.

Do You Have an Internship Program? We have a comprehensive internship program at Westlake. We get interns from several different schools. They learn studio etiquette and how a professional recording studio operates. Once they learn the basics, we give them more responsibilities. They’ll start off as a runner and work their way up to second engineer. Eventually, they might even become one of our staff engineers.

THE RECORD PLANT Hollywood, CA http://recordplant.com Jason Carson, VP of Operations, General Manager Record Plant Studios (aka “The Record Plant”) is a famous recording studio that first opened in New York City in 1968. A year later, a Hollywood studio was added, and in 1972 a

How Can Clients Get The Best Rates? We’ll work with almost any budget as long as it makes sense. One way to get a good deal is to book the whole project here––a full album from start to finish. That’s becoming rare today because it’s a producer-oriented market. There’s usually more than one producer involved in a recording, and each one may book a different studio. So, full-service projects that book a block of time will get the best rates. What’s The Most Exciting Part of Your Job? It’s exciting to work with the level of talent that records here. It’s inspiring. Many times they’ll take a break and meet each other in our atrium and end up collaborating on a song or two. In fact, I’ve noticed quite a few albums with collaborations that began over our pool table. What Does It Take to Get Hired at Your Studio? Well, we have a paid “runner” program that

MAKE THE MOST OF

STUDIO TIME

Before Booking Studio Time 1. Talk with the studio manager or director of operations about your project. They can help you determine what you need to accomplish your goals. 2. Visit the studio. Check out the rooms, gear and personnel. 3. If you’re using a studio engineer, meet with them and listen to reference recordings. 4. Consider using a producer who knows his/her way around a studio and the recording process. Note: Producers often get better rates due to repeat business. 5. If you’re in a band and not using a producer, choose one person to be “in charge” of the session. 6. Estimate the time you’ll need to record. Note: It’s common to go over time. So, add 10% to 20% to the time and your budget. 7. Work on your material, musicianship and delivery in “Pre-Production.” Get it right before you’re on the clock. Studio time is not rehearsal time. 8. Have a recording plan so that you use studio time efficiently 9. If you need a little help to record (alcohol, herb, etc), or an entourage for inspiration, let the studio know before you book the time. 10. Get everything in writing, and note how “down time” caused by equipment failure is handled.

Studio Time 1. Get to the studio early to set up. 2. Follow a recording plan. 3. If a player or singer has difficulties, move on to something else. Then go back to it later. 4. Take short breaks every now and then – especially while mixing. 5. Don’t forget to eat something and drink plenty of (non-alcoholic) liquids.

RECORD PLANT

Sausalito, CA complex completed the trifecta. The Hollywood facility is considered the main studio. The first album ever recorded at the Record Plant (in N.Y.C.) was Electric Ladyland by the Jimi Hendrix Experience. Over the years, many hit records were cut at Record Plant Studios by superstars, including Justin Timberlake, Kanye West, Pharrell Williams, Robin Thicke and Lady Gaga, to name a few. Jason Carson has a Music Production & Engineering degree from Berklee College of Music. Upon graduation, he started working at The Record Plant in 2001. You’re a Trained Engineer––How Did You Become an Executive? When I graduated Berklee I got job here as a

we fill with students and grads from major recording schools. Most runners go through a process that takes approximately one and a half to two years. From there, they become an assistant engineer and, depending on their skills and personality, they could be hired as a staff engineer. That could take anywhere from six months to six years. The reason the time period is so wide is because there are a lot of factors to consider and a lot of competition. What we look for most of all is a passion for the work and the ability to work with different people. This is a people business and there can be a lot of pressure on some projects. So, someone who absolutely loves what they do and gets along with everyone has the best chance of getting hired.

6. If you’re mixing at the studio, take mixes home and listen to them on different devices before finalizing the mix.

Afterwards 1. If your experience was great, let the studio know. Send a “thank you” note. 2. Refer other people. That can really pay off when you record there again. 3. If your experience was not so great, talk to the studio manager and see if you can get a break. 4. If you got what you want, enjoy it and reward yourself for a job well done.

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RECORDING 2014 STUDIO SURVEY RATES

RATES ARE HOLDING STEADY FOR ONLY THE second time in Music Connection’s Studio Survey history we can report that almost 100% of all the studios that responded have maintained their rates. In fact, 5% have raised them with no ill effect.

AMOUNT OF BUSINESS (COMPARED TO 2013)

100%

THE INTERNET IS ESSENTIAL

All the studios surveyed utilize the Internet to such an extent they consider its impact to be 100%. Whether it’s booking time via their websites, emailing mixes for review or remote tracking via live video feeds, studios today believe the internet is an essential tool for doing business

POP STILL POPULAR – BUT ROCK’S ON A ROLL ALTHOUGH IT IS COMMON for various areas of the country to produce different styles of music, this year we discovered a consistency we have not seen before. Though the mainstream commercial market may not yet reflect it, according to our survey respondents, pop music (which retained its lead for the sixth year in a row) is being closely followed by rock. In fact, this is the first time in many years that rock has surpassed urban music in popularity. Even Nashville, where 70% of all clients are country artists, reports that rock is challenging country and pop genres for supremacy. We also confirmed, for the second year, that EDM producers/artists are using professional studios to create and mix their work. Rather than working in their own home studios, EDM artists apparently like the high-end equipment, gear and monitors pro studios provide.

NASHVILLE REPORTS 70%

Urban music is still going strong, but has switched positions with rock at most recording facilities. Some speculate that urban producers are using private studios for tracking, overdubs, etc., and then use pro facilities for mixing and mastering.

NOTE: Aggregate percentage exceeds 100% - some studios “specialize” in specific genres 44 July 2014

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GETTING BUSINESS STUDIO BUSINESS IS THRIVING IN 2014 After years of struggle––especially during the economic downturn of 2008 and 2009––the recording studio business started to pick up a couple years ago. Now, in 2014, it appears to have completely weathered the storm and is actually thriving. Although recording budgets are nowhere near what they used to be during the glory days of the ‘80s, ‘90s and early 2000s, they’ve stopped shrinking and have remained consistent in recent years. That’s good news for studios that rely on label work. Studios that cater to independent projects often offer a different rate structure, but even they report that rates for DIY projects have remained steady. The reason appears to be the need for professional and polished productions due to increased competition in the marketplace. It seems that only Jack White and Third Man Records can get away with lo-fi recordings. Artists, producers and managers discovered that high-quality productions tend to get the deals, and the way to get that type of quality is in a pro setting. Evidence of better days is that many studios are once again offering unique services and amenities that were curtailed in the past. Clients of top-end facilities get the VIP treatment. Studio at The Palms in Las Vegas, NV (which hosted Jay Z and Beyonce recordings) is a prime example. It not only has great rooms and top-of-the-line equipment, studio personnel will also book your hotel room, secure restaurant reservations and even get you tickets to popular Vegas shows. For several years now studios have been operating as multi-purpose facilities. They’re not just used for making records anymore. Most rent their rooms out for a variety of uses, and the additional revenue generated by these activities can exceed recording budgets. This year’s survey provides a definite exclamation point for the turn-around in studio business––a change that began two years ago and has now become reality. In fact, no studio reported a downturn in business. Even small, home-pro studios had good things to say this year. And that bodes well for the industry.

MUSIC CONNECTION’S RECORDING STUDIO SURVEY collects data regarding trends and activities at commercial studios in the United States. We survey studio owners and managers across the nation, including those from major music towns. This year we received responses from almost 100 studios, with most reporting great prospects for 2014. Indeed, it appears that the recording business has finally settled down, and is actually thriving. BY BERNARD BAUR

STUDIOS CONTINUE TO BE MULTI-PURPOSE For years now, pro studios have served multiple purposes. Indeed, multi-use is the name of the game today. Some, like Blackbird Studio in Nashville, are also engineering schools (Blackbird Academy) that prepare students for careers in the recording arts. Many studios also provide rooms for corporate events, video shoots, cable TV shows, radio broadcasts, indie film productions and listening parties (for finished projects). And sometimes the rates for these activities exceed recording budgets.

TYPES OF WORK DONE

OTHER USES OF STUDIO

(photo shoots, videos, parties, workshops, etc.)

CLIENTELE VOICE-OVERS PROVIDE NEW REVENUE Two years ago we reported a new area of opportunity, i.e. song demos via publishers and publishing companies. That trend has continued, especially at studios with large live rooms for recording orchestral arrangements. Today, another area has stepped up, i.e. voice-over projects. They are providing additional revenue for many studios––with audio books, commercials and games. Voice-overs are not only easy to produce and record, they also generate repeat business.

PostProduction (TV and Film)

OVERALL ACTIVITY

33% INDIE LABELS . . . . . . . . . . . . . . . 33% INDEPENDENT PROJECTS . . . . . . 50% PUBLISHER DEMOS . . . . . . . . . . . 40% VOICE-­OVER WORK . . . . . . . . . . . . 33% FILM & TV . . . . . . . . . . . . . . . . . . 20% MIX and/or MASTER . . . . . . . . . 25% FULL SERVICE . . . . . . . . . . . . . . . 70% OTHER USES . . . . . . . . . . . . . . . . 50% PRODUCTION ROOMS . . . . . . . . . 25% MAJOR LABELS . . . . . . . . . . . . .

(Whole Project)

(Video, Parties, etc.)

(Rentals)

MAJOR AND INDIE LABELS ARE booking studio time at a steady pace. Meanwhile independent (DIY) projects are on the rise. Most noteworthy is that most studios (70%) report that they are servicing the entire project, start to finish. Quite a few studios also noted an increase in “voice-over” work (for commercials, audio books, games, TV shows etc). “Other uses” continue to account for a good portion of business as studios are utilized for special events, TV shows, films, video shoots, parties and more. All in all, based on the first six months of 2014, it looks as if the recording studio business could enjoy one of its best years in a long time. NOTE: Aggregate percentage exceeds 100% because the categories often overlap. July 2014

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– COREY IRWIN

J Roddy Walston and The Business

Surviving and Thriving at a Music Festival

P

erspiration streaming out of every pore, voices hoarse from impassioned singing and fingers raw from an on-stage beating, J Roddy Walston and the Business wear each of these as a badge of honor. For the past 10 years, they’ve spent the spring/summer months playing at music festivals across the country. In this exclusive interview with MC, the band’s singer (and namesake) gives an inside look at what it’s like to live the festival life. Music Connection: Your performances have so much energy, even outdoors under the hot sun. How do you survive the heat? J Roddy Walston: You’ve got to hydrate an unbelievable amount the night before and the day of. And, depending on what festival you’re at, they have really good rock docs. After one festival I was like, “I’m so dehydrated!” They were like, “We could have got you an IV or something.” I was like, “Damn!” MC: How much of an adjustment is it, playing a festival show compared to a regular club show? Walston: The way the monitor and sound is moving around is completely different. You’re 40 feet wider apart from each other than you’ve ever been. There are no walls around you. For us, the first couple of times it was like whoa, that did not rock at all. It’s not the same as playing a club show. MC: What other technical challenges come with playing a festival? Walston: If you’re playing in the day, a lot of people the first time get caught off guard that you can’t see your pedal lights. So tuning is really tough. If you can get by on a very simple setup, I would do that. Particularly if you’re having to rent gear or they’re making you use the back line. If you can play through a Fender Deville or something that’s very standard, they’ll have four of them. So if one of them breaks in the middle of the set, it’s pretty easy [to deal with]. MC: The crowds are different at festivals, too. In some cases, this may be their first time hearing your band. Does that come into your mind while making the set list? Walston: At [festivals] we play what has been our biggest single, “Heavy Bells,” early in the set. Because if people have heard the song but don’t necessarily know who your band is, dropping something familiar like that early on 46 July 2014

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makes them go, “Oh it’s this band! Ok, cool!” With festivals, you’re not trying to get your regular audience to come and have a good time. I mean, it’s great if they do and it helps the crowd lighten up, but what you’re trying to do is get a lot of new audience members from all over the place. MC: For the sake of grabbing attention, do you ever mix cover songs into your set? Walston: You’ve got to be careful. If the best song in your set is a cover, that can be no good. You’ve got to find that right balance. I’ve

seen some people do three or four covers and that was the most stoked that anyone got the entire set. It’s like, is that really what you want them walking away thinking about? MC: Festivals also come with extracurricular stuff—parties, sponsored events. Do you automatically say yes to any invitation? Walston: We used to say yes to these late night after-parties, but they were the night before we would play. And then we had to load in early. And then we’d have these amazing after-party shows and then just kinda terrible festival shows. Put the priority on the performance of the actual festival. If you’re not sure if you can play a 3-in-the-morning after-show and then get up the next day and do your best show, then I would say no to the after-show. You don’t want to walk away feeling like you didn’t hit a homerun. MC: What about the press? Do you have to be picky about which interviews you agree to do? Walston: Until you’re a big enough star that you don’t need press, say yes. I’m always

surprised when bands are not thankful. They’re like “Oh, this is stupid. This is not why I joined a band.” Well, if you only want to play music, stay in your basement. It’ll stay pure. You won’t have to do anything you don’t want to do, other than working a normal job. You could listen to a terrible manager at Starbucks scream at you or you could talk about yourself to somebody. My advice would just be to roll with it and have a good time. MC: I’m looking at the list of festivals your band has played—Bonnaroo, Lollapalooza, Coachella. Can you look back and see how each one has affected your career? Walston: It all becomes a broader, collective thing. Definitely every festival that we played, even if we thought the set was early or maybe we didn’t kill it, from then on there’s been people at shows where it’s like, “I saw you at this festival in Delaware!” So it is worth it. What you’re doing is getting in front of a really broad audience from all over the place. And even if they’re not acting like they love music and are basically there to drink or do drugs at a festival, there are people that paid anywhere from $300 to $800 for tickets to see bands play. That’s a pretty good pool of people to get a base of an audience. You see it in that sort of long term thing of how it affects your nationwide touring. MC: So, what’s your advice for an artist who’s getting ready to play their first festival? Walston: Be prepared. You’re going to get treated a little bit less than if it’s you’re first, unless you’re just completely skyrocketing. Be nice, be appreciative. Stick up for yourself, don’t get walked all over, but know that you will get people asking, “Who are you?” And just deal with it. MC: Makes sense. Check your ego at the door. Walston: Definitely. And I would bring a bandana or some sort of breathing, dust mask thing. Almost every festival is really dusty. I would also bring a change of clothes, because you just get really disgusting and at some point you are going to want to not smell the way you smell. J Roddy Walston and the Business are touring with Cage The Elephant this summer, while also playing at major festivals. Their latest album is Essential Tremors. Contact Joe Greenwald, jgreenwald@c3mgmt.com.

– ROB PUTNAM

Pensado's Place

Answering Audio Questions in Real Time

P

ensado's Place is a weekly mix-themed web series hosted by Grammy-winning mix engineer Dave Pensado and his best friend and manager Herb Trawick. For the past three years—comprising more than 160 hour-long episodes—the pair has hosted engineering and mixing magicians such as Ross Hogarth (Van Halen, John Mellencamp, Jewel), Chris Lord-Alge (Green Day, Bad Religion, David Bowie) and Young Guru (Jay Z, Alicia Keys) among many others. Through Pensado’s website—http://

of it presented in pretty boring ways. I wasn’t interested in doing that. Dave jumped on board and there was the impetus.� Although guests are typically at the master level, discussions are commonly steered to be of use to novice engineers. “We aim to speak on the level of the guy who’s just starting out so he doesn’t feel intimidated,� Trawick explains. “Our main focus is on building a community. We want [the site] to be a bigger thing that people can be a part of; in which they can be stakeholders.�

vids that typically clock in at five minutes address specific techniques that were raised during a show. How to widen guitars in the mix or how to mix vocals with multiple delays, for example. “They tend not to be entry-level techniques,� Pensado observes. “They’re more techniques you’d use to make a living. The show talks about why to do something. The ‘Into The Lair’ videos talk about how to do something.� Pensado and Trawick have lofty goals for the show’s future. “We aim to end 2014 with

“Where else are you going to get to ask Chris Lord-Alge or Leslie Ann Jones a direct question?� – Dave Pensado

Pictured (l-r): Pensado and Trawick

Pensado’s favorite things he’s learning from the show: s 7HEN YOU GET TRACKS OF INFORMATION NARROW IT DOWN TO OR )F YOU VE GOT TRACKS OF STRINGS REDUCE THAT TO THREE STEREO PAIRS +EEP THE SESSION MANAGEABLE 7ORK IN BROAD STROKES AND THE RESULTS WILL BE MUCH BETTER 2ON &AIR ;%60 OF 6IRGIN 2ECORDS= ONCE SAID @) VE NEVER SIGNED AN ARTIST BECAUSE ) LIKED THE SOUND OF THE KICK DRUM s $ON T SPEND TOO MUCH TIME ON A MIX -Y OPTIMUM IS TO HOURS (OWEVER NOT EVERY GENRE REQUIRES THE SAME AMOUNT OF TIME 0OP RECORDS TAKE ABOUT { HOURS HIP HOP CAN TAKE FOUR s "ECAUSE ) WAS SELF TAUGHT ) ALWAYS ASSUMED THAT ) DID A LOT OF THINGS WRONG ) VE LEARNED THAT ) DO A LOT OF THINGS EXACTLY LIKE MY HEROES BUT IN OTHER AREAS ) VE STILL GOT THINGS TO LEARN pensadosplace.tv—Pensado and Trawick’s slickly produced YouTube videos are consolidated nicely. Weekly episodes garner views ranging from 6,000 to 120,000. A segment addressing the top 10 mix mistakes uploaded in November 2012, for example, has been one of their more popular installments. With their guests, the pair offer technical tips and practical approaches to mix engineers, both rising and established. “I wasn’t interested [in making the show] unless we were going to make this compelling TV—a serious endeavor,� Trawick explains about launching Pensado’s Place. “There was already a lot of information out there, most

“We’ve created a vibe where the best of the best can feel comfortable talking about things without being labeled arrogant or egotistical,� Pensado adds. Shows are taped Wednesdays at 1:00 p.m. in a Hollywood studio and are streamed live, which allows for questions in real time. “We take anywhere from three to six questions per show,� Pensado says. “Where else are you going to get to ask Chris Lord-Alge or Leslie Ann Jones a direct question? To us, it’s one of the most important parts of the show because it provides access to people that otherwise might not have it.� On the site’s “Into The Lair� section, shorter

strategic partnerships that allow us to scale up and to take the show into some broader areas like Foley, film and TV,� Trawick says. “And we're likely to identify two or three people who are notables and create content specific to them.� “We don’t need to be top-notch mixercentric,� Pensado chimes in. “There are other things that are just as rewarding and probably require more skill. I’d also love to feature [engineers like] Rick Rubin, Andy Wallace and Serban Ghenea.� The Pensado Awards took place in Santa Monica on June 28. Categories included Mix of the Year - Pro designation for major label releases, Master of Mastering and even a nod for interns/runners. Pensado asserts that his awards show is set apart from others because it is done by and for people in the industry. “The one thing we can do better than any other [music] awards show is gather people who have a passion for audio,� he says. “The pros are there and they’re in the mood to talk to the enthusiasts.� Together Pensado and Trawick will publish a book in the fall entitled The Pensado Papers, in which they share mixing insights and secrets to success in the business. See http://pensadosplace.tv July 2014

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– FRED GINSBURG CAS PhD MBKS

Improve Your Audio for Video! A lthough you would never consider that usually is accompanied by hiss and noise recording a music session without induced by the inexpensive monitoring circuitry proper monitoring, it is shocking just found in most location recorders. how many videographers are willing to shoot The numbers you want to look for are a without the benefit of good headphone minimum of 35 ohms, but not more than 100 monitoring! So the first step in assuring that ohms. Forty to 65 ohms are ideal. Some of the your video production is going to sound as most recent professional headphone designs good (if not better) than it looks is to start with are showing lower impedances (closer to 40 a good pair of headphones. than to 80), and have been engineered not Did I forget to mention that you should to distort at those values. But those are the only shoot with a camcorder that can provide exceptions, and not the general rule (so check headphone output? Along with external Internet reviews, or test them out yourself microphone input? Because if your camera before purchasing). does not offer these critical features, then post Also look at the maximum input power it up for sale as fast as you can. They may take spec. This number represents how well the pretty pictures, or they may be compact—but headphones can survive an unexpected power they are worthless in terms of audio. crackle (hopefully while not on your head), such When you select a good pair of headphones as from a sudden connection or disconnection for your camera, here are a couple things that you should look for: Your headphones should be closed ear. In other words, the cup should surround your ear, and not just press up against it. In addition, avoid the so-called “open air” designs that feature acoustic foam pads that rest comfortably against your ear. Although they sound great in a quiet room, those pads offer no isolation from surrounding noise. Closed ear (closed back) styles envelop the ear, and hold back the ambiance. This allows you to better focus on what is being picked up by the mics, rather than the environment around you. Production headphones (aka Engineering Headphones) should be flat response—what you hear is what you get. No bass or treble enhancements, no electronic noise canceling Audio-Technica ATH-M50x (mucks with the frequencies), no concert hall added reverb of audio gear in the signal chain. These loud or spaciousness. Just straight, raw, pure audio zaps can blow out the drivers of lesser quality from the driver to your ear. headphones. Economy headphones often blow with as little as one tenth of one watt (100 mW), but higher end professional headphones can handle a full watt or higher. Examples of video production industry favorites include the venerable Sony MDR7506 and the Audio-Technica older ATH-M35 and ATH-M50. Audio-Technica recently revamped their headphone line-up and now offer the improved, ATH-M30x, ATH-M40x, and ATH-M50x series. Here are some useful tips on maintaining your headphones: Keep a supply of alcohol prep wipes in your kit. They are single use, alcohol impregnated lint-free pads normally used to disinfect injection sites on the skin. They’re available over the counter at all drug stores; no prescription needed. A box of a couple Sony MDR-7506 hundred costs only a few dollars. Use a prep wipe to clean the surface of the outside and Pay attention to the impedance value of your headphones. Too low a number, and the volume center of the ear pad. Humans sweat under their headphones, and one shudders to will be loud and easily distorted. Too high, think of what microscopic entities may take and you will not have enough volume unless up residence there. Avoid ear infections by you crank the output settings to the max, and

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disinfecting daily. Replace your earpads as needed. Don’t wait until they flake apart. Depending on use, this may be once or twice per year. You can order earpads Smokin’ Buds directly from the manufacturer: just call the Service Dept. A little known fact: replacement earpads made by Audio-Technica for their ATH-M30/35 headphones are a perfect fit for the Sony MDR7506. You don’t need 10 feet of snarly headphone cable. If your headphones offer the option of replaceable, shorter, straight cables, then go for it. If your headphones are just the standard, coiled cable types— here is a trick that was taught to me from some old Hollywood pros when I was still a tadpole soundmixer: Carefully coil up and compress the headphone cord as neatly as possible, following the original memory curves of the coiled cable. Tie a string to one end of the cable, right where the coiling begins. Thread that string through the inside of all of the compressed coils, and then tie if off at the other end. The string will prevent the coiled headphone cable from stretching out; and you can always untie one end if for some masochistic reason, you want the headphone cable to stretch out to a sloppy, unmanageable length. One final trick. If you need to record in an extremely loud environment, then purchase the best quality earbuds that you can find. Wear them INSIDE a pair of industrial noise reducing headsets that completely cover your ears. You can readily find affordable, good quality noise reducing headsets in the firearms department of good sporting goods shops or gun stores. However, I caution about wearing earbuds all the time, in lieu of headphones. Most of them do not offer the flat specs of professional headphones. And in the event of a loud crackle, a lot of energy gets directed right into your ear canal, which can damage your long-term hearing. If you do have to wear earbuds a lot, then make sure that they are vented in the back to offer a path to relieve excess sound pressure. Order high-quality earbuds from a certified audiologist (provider of hearing aids), rather than your favorite music store. An audiologist can even make acrylic housings based on moldings of your ear canals for a perfect fit.

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July 2014

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Parquet Courts Sunbathing Animal

8

Jeb Lipson Patina

8

What’s Your Rupture?/Mom + Pop Records Producer: Jonathan Schenke

Rankoutsider Records Producers: Jeb Lipson & Carter W. Humphry

Like many young bands, these Denton, TX boys have long since bit the Brooklyn bug and look what they have to show for it. This marks Courts’ third studio release and, unlike the frenzied crunch of Light Up Gold, this record will have you praising the gods of lethargy. “Raw Milk,” “Dear Ramona” and “Instant Disassembly” come off as defeated beer hymns while “What Color Is Blood” attests to the band’s ability to pick a groove and stay on it (a la Velvet Underground). Dual frontmen Andrew Savage and Austin Brown maintain vocals with untrained, almost adolescent purity. Excellent. – Ted Jamiso

Americana artist Jeb Lipson’s organic rocktinged songs are laced with harmonies and tasty guitar fills that remind us of Tom Petty, especially on “She Changed Her Mind.” With its sardonic lyric about finding the Savior, “Death Row Jesus” is fueled by a barroom swagger that shows another dimension to this artist. Best of the batch, though, is the poignant “Pocket Knife,” where the singer looks back to when his father conveyed worldly wisdom (“cut against the grain”) symbolized by the knife—the same wisdom and blade the singer now passes on to his own son. – Mark Nardone

O.A.R.

Islander

The Rockville LP Vanguard Records Producers: Marc Roberge, Nathan Chapman, Gregg Wattenberg and Jerry DePizzo

7

Violence & Destruction Victory Records Producer: Cameron Webb

7

By titling their eight studio album The Rockville LP, O.A.R. honor the Maryland town in which they formed, but this gaggle of ballads sadly amounts to an exercise in non-threatening sentimentality. Songs concerning love abound—renewed love, desired love, love of music, loving being in love—all done in the quartet’s snappy style. Sporadic moments hit their emotional marks, but it’s the grand finale, “I Will Find You,” that closes on an epic note, reminding us sometimes the heart just wants what it wants. – Andy Kaufmann

Making both Alternative Press’ “100 Bands You Need to Know” and Revolver’s “Most Anticipated Albums of the Year,” the bar is set pretty damn high for Islander’s debut LP via Victory Records. With the immediate deep chug of “Counteract,” it becomes clear these young lads grew up on the nu-metal/ heavy rock era of the late ‘90s. Standouts include “The Sadness of Graves,” “Coconut Dracula” and title track “Violence & Destruction.” This album is destined for fans missing the days of White Ponies running wild on the airwaves below the P.O.D. Satellites. – Andy Mesecher

Ronnie Earl & The Broadcasters

Sia

Good News

Stony Plain Records Producer: Ronnie Earl

10

1000 Forms of Fear

9

RCA/Monkey Puzzle Records Producer: Greg Kurstin

This album is, indeed, good news! From the uptempo rockabilly-like romp “I Met Her on That Train” to the jazzy samba-esque “Time to Remember,” Earl proves he is a master of the Stratocaster, able to assimilate many musical tones and styles. The addition of guest vocalist Diane Blue is refreshing. Her take on Sam Cooke’s “Change is Gonna Come” is magical and deeply moving while her work on Buddy Guy’s “In the Wee Hours” is indelible and haunting. Earl and company tap into the healing power of music, with a comment on the Boston marathon bombing tragedy called “Runnin’ in Peace.” – Eric A. Harabadian

With so many great song credits under her belt, it’s no surprise Sia’s sixth studio album is chock-full of future hits. From its start with single “Chandelier” to its end with “Dressed In Black,” the singer/songwriter has managed to create her best release yet. Sia’s already stellar vocals soar even higher through the 12-song effort, giving her powerful lyrics the perfect vehicle to drive themselves into the hearts of fans. Standouts include “Elastic Heart” and “Fair Game,” though it is quite hard to choose a favorite, given there isn’t a bad tune on the album. –Victoria Patneaude

The Empty Hearts

Bernhoft

The Empty Hearts

7

Islander

6

429 Records Producers: Ed Stasium and The Empty Hearts

Big Picnic Records Producer: Paul Butler

Sort of an ‘80s garage band supergroup, the Empty Hearts are veterans of the Cars, Blondie, the Romantics and Chesterfield Kings. The collective pop/punk chops come through loud and clear, and the band sound as though they have been writing and playing together for years. “I Don’t Want Your Love...” is a catchy anthem, “Soul Deep” has a good chugging drive to it, and most of the songs exude a good-hearted bounciness. More than a few lyrical clichés are employed, but overall this debut is a well-crafted, highly enjoyable bundle of snap, crackle and pop. – Brett Bush

Already a household name in Norway, Bernhoft has caught the attention of U.S. audiences and critics with his highly acclaimed live show. A master of looping, he follows suit on this release with his tasty retro but cutting edge R&B sound and palatable sonic elements. “Freedom,” with its Stevie Wonder-like vibe and hooky chorus, has an engaging shuffle feel, but he hits it out of the park with “Wind You Up” which does exactly that. Islander, however, struggles to express the magic he achieves live as a one-man wonder weaving pre-recorded tracks seamlessly into his performances. – Ellen Woloshin

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

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Paper Arrows

Minnie Birch

Contact: info@paperarrows.com Web: paperarrows.com Seeking: Label, Mgmt, Booking Style: Rock, Roots Rock

Contact: minniebirch@hotmail.co.uk Web: facebook.com/minniebirch Seeking: Mgmt, Label Style: “Dreary Pop”

Joe Goodkin spearheads this spaciously produced project, melding a thoughtful, insightful lyric touch with a soft-rock sensibility that could entice film/TV folks seeking montage music. “Why We Work” and “What Changed” are familiar singer/songwriter fare, sweetened with crafty bridges and aching, subtlely planted slide-guitar effects. (We wonder, has he ever considered adding a female backing voice to these melancholy relationships songs?) On “Sing It Out,” Goodkin proclaims his identity with a rock energy and an inspirational message that implores us all to put our cards on the table. Though we don’t hear a drop-dead hit in this batch, it’s clear that Paper Arrows is a quality act.

A thoroughly unusual artist, Birch has an artful intelligence, yielding low-key songs that can sometimes blindside you with their lyrics’ unforgiving message. “Glitter,” her most polished recording, is a perfect example as Birch’s beautiful singing voice––all dreamy vulnerability––nevertheless delivers the message that she is only interested in men less intelligent that she: himbos she can fuck and forget. “Fight Song” continues the trend as Birch depicts men who have failed to rise above their knuckledragger instincts. “Sea Shanty” (at six minutes) could be more fully arranged, but the profoundly affecting sadness in her voice might put a lump in your throat. A special artist of uncommon substance.

Production Lyrics Music Vocals Musicianship

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Tempa Don

Adrian Croom

Contact: tempa.don@gmail.com Web: reverbnation.com/tempadon Seeking: Label, Booking Style: Hip-Hop

Contact: croomer@hotmail.com Web: adriancroom.com Seeking: Film/TV, Label Style: Electronic, Indie

N.Y. artist Tempa Don is on a mission to bring hip-hop back to the streets, with a flow that is inventive, never stale. He’s a compelling storyteller on “Death Becomes Her,” tracing the rise of a “hood diva” who uses her intelligence and sexual powers to suck her hood dry. We only wish the track would climax and conclude instead of fading out. “So Cold” has great energy and a unique vocal on which the artist sets his flow to an off-kilter time signature that keeps you gripped. Set to a stabbing, skitterring beat, “Waitin’” is a standard statement/boast that, nevertheless, has a hefty amount of heart and intensity. These recordings are from an artist who’s beyond doing things by the numbers.

While a label deal might be elusive for this composer, we can certainly hear film and TV prospects, perhaps as a show composer. Suspenseful yet soothing, “Volcano” emits a steady flow of floating, ethereal synths, complete with chirps deep in the track that give the recording a rich, plush dimension a la Harold Budd. We especially like how the composition builds to its sonic eruption. In “Never Stop,” acoustic guitar, shimmering cymbals and trumpet are part of a melodic progression that evokes a mythical coastline. Synths inhale and exhale on “Airwaves” which features piano and an R&B beat. As commercial as it is affecting, Croom’s music is well-suited to film, TV and videogames.

Production Lyrics Music Vocals Musicianship

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Matthew Szlachetka

Dragondeer

Contact: mattszlmusic@gmail.com Web: matthewszlachetka.com Seeking: Label, Mgmt, Booking, Film/TV Style: Rock & Roll, Americana

Contact: info@dragondeer.com Web: Dragondeer.com Seeking: Label, Booking, Distribution Style: Psych-Blues

Known for his work in Northstar Session, Szlachetka’s new solo work has a tight, fullband, rock/Americana glow with lyrics that bare his heart and soul––in other words, perfect chick bait––and a polished sound that film/TV music supes will love. Both “And I See You Now” and “Back Into Your Heart” are soft and easygoing, yet have dynamic bridge changeups that got our attention. Backup players serve each song with good touch, lending a bit of tone and twang when necessary. The artist cranks the energy in “Threw You Away...” complete with electric guitar fills and a bluesy B3 organ to heat things up. Best of all is that Szlachetka’s voice is presented in a rich, full-bodied tonality.

Modern-edged bluesmen a la Jack White and Black Keys, this Denver-based quartet aren’t interested in retreading the past; they put their own psych-folk stamp on it. “Don’t That Feel Good” is a folk-blues outing with cool percussion choices that sound like spoons, shells and tin cans. A cover of “Messin’ With the Kid” spreads some psych-rock wah-pedal sauce, gobs of lead-vocal reverb and a dizzying guitar solo for a song that’d suit a Guy Ritchie trailer. “Castaway,” with its husky vocal, convincingly channels a midnight hobocamp intimacy. An excellent addition to any festival right now, it’ll be interesting to see how Dragondeer builds upon its alternative “shot ’n a beer (with a hit o’ acid)” vision.

Production Lyrics Music Vocals Musicianship

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Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page. 52 July 2014

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Kylie Odetta

North of Nashville

Contact: info@kylieodetta.com Web: kylieodetta.com Seeking: Label, Booking, TV/Film Style: Singer, Songwriter, Alternative, Pop

Contact: northofnashville@gmail.com Web: northofnashville.org Seeking: Booking, Label Style: Country

Two years ago this young artist was likened to Taylor Swift. Now she has moved on to a new wunderkind, Lorde. The sensual “Waiting Game” bobs and weaves with a luxuriently produced track whose arrangement has an okay radio-friendly R&B/pop vibe. The artist’s vocal style shifts to a pure vulnerability on “My Love,” and meanders far from the hook due to unnecessary complexity. In addition, the combination of loud drums with acoustic guitar is an unfortunate choice. Torch-song throwback “Bad Addiction” indicates that Odetta, while versatile, might be in danger of confusing potential fans by failing to establish––and perfect––a consistent image. We advise this artist to set a trend, not chase them.

Despite uneven results on their recordings, this Portland, ME duo emit a pristine country-folk sound with a homespun glow that’s perfect for festivals (especially the bluegrass circuit). The band’s “The Lady and the Outlaw” is an organic, acoustic, downhome song about a lonely woman looking for a thrill. The recording, however, has a problem that’s common to many unsigned bands: the lead vocal does not match the track’s vitality. “Eyes For Me” has a catchy chorus, but lead singer’s tenor can’t nail the low notes. Nevertheless, this is amiable, family-friendly material and North of Nashville, though unlikely to land on a label roster, should have no trouble securing live gigs.

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Khemmeta

Contact: imaginatorband@gmail.com Web: http://imaginator.bandcamp.com Seeking: Booking, Mgmt, Label Style: Progressive Metal

Contact: Khem, khemmeta@gmail.com Web: khemmeta.bandcamp.com Seeking: Film/TV Style: Hip-Hop

Anytime prog-metal hits MC’s review desk, half of our staff gets giddy. These Norwegian lads cut right to the chase with the opening chugs of “Cliff Diver.” The song’s keys remind us of early Filth, while the axe work holds true to more modern metal acts such as TesseracT and Animals as Leaders. Frontman Jonas Nordli holds down both solid screams and milky clean vox and is supported by three guitarists (no, we didn’t stutter). Such an idea creates an expectation for more ambitious leads, which “God Mode” and “Imaginator” do not provide. Perhaps molding one guitarist to keys would help these boys avoid falling into the live “backing track” black hole being created in today’s metal scene.

Menacing and foreboding, this doom-hop artist’s flow on the dark sci-fi “Stonehenge” and the topical, political “Money on the M.I.C.” are lengthy, murkily recorded and rhythmically monotonous. The lyrics are tortuous tongue-twisters with twists and turns way too complex for Khem to negotiate. Both songs could use more change-ups in the beat, more dynamics. “Tripsapocalypse,” however, is a whole ‘nother story as Khemmeta is joined by a couple of enthusiastic vocalists (Burt I. and FU) whose variety and energy make for a loose, transformative trio. The tune is less doomy, as well, tricked out with cool, icy synth tones and vocal effects that bring a good change of pace.

Contact: bdmcl@comcast.net Web: bulletproofsnow.com Seeking: Label Style: Rock

7

8

Imaginator

Bulletproof Snow

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Just getting their wings wet at this point, Bulletproof Snow are probably best in a live setting where the band can just plug in and go for it. On record, however, you get a sense that they’re simply not yet at home in a recording studio, unable to deliver songs that emit full-throttle sweat and commitment. “Here We Come” shows that what is suggested by the material (brash, boasting, kick-in-the-doors, Motley-on-Ritalin rock) is hampered by a demo-quality mix of sterile, watered-down performances. Thing is, these guys can play and the singer can certainly sing. Perhaps what’s in order now is a producer with the ability to draw premium performances out of these young recording artists.

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Get in the Running for MC’s Year-End

Top 25 New Music Critiques of 2014 Simply sign up at musicconnection.com/get-reviewed It’s free and takes less than 5 minutes!

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/get-reviewed. All submissions are randomly selected and reviewed by committee. July 2014

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Loaded

Los Angeles, CA

Material: If you mashed together Soundgarden and the Black Crowes you might get a sound like Colin Reid’s. He has released his own album and also performed in progressive rock band Deltanut with Nick Menza (Megadeth). Mood is central to Reid’s sound; comparisons range from the lighthearted rock of the Meat Puppets to the tremolo heavy and minor key transitions of bands like Stone Temple. “Until They're Faced” and “Another Way” in particular have a Soundgarden style and Reid performs a great cover of “Rusty Cage” for the finale when the group is joined by Brian Marshak for a fuller sound. “Head Down” is one of the catchier original songs with strong lyrics: “You're a lady heart but you really like to fight/I remember that first time and our first night … When you feel the world pushing you down/Just don't walk with your head down.” Musicianship: Mikael “Redbeard” Gustavsson nearly steals the show with his five string bass rhythms and distinct melodies from the band’s southern rock style opener to their alternative finish. Welby and Gustavsson seamlessly transition into flawless breakdowns for “Fair Weather Saint” and “So You Say.” Welby also masterfully adjusts for playback issues at the onset of the show. Reid subtly adjusts for levels and feedback, crafting melodic solos that sound so good they make his Gibson cry

Silverlake Lounge

COLIN REID

on “Another Way.” The track “Where Ya Been” features a short solo, tight repeating riffs and a standard outro. “Until They’re Faced” holds together with a solid riff but could easily be divided and written into two songs.

great on the chorus for “Fair Weather Saint,” which punched out a solid slam ending by Welby and Gustavsson. The band delivered a consistently good mix of fade outs and standard outros throughout the set.

Performance: The venue was small, the sound was over-modulated and the mic levels were too low. Despite these challenges Reid still managed to project his vocals with clarity on songs like “So You Say;” he stayed in key and enunciated all his lyrics, hitting the highs without strain on songs like “Misery.” Harmonizing would have been

Summary: Overall this is the kind of show you would expect of this venue and the band delivers a down and dirty rock performance. The breakdowns are dynamic and the melodies fresh. “So You Say” has a very contemporary sound that could be a radio hit. The band is equally capable of solid covers and original material. – Brooke Trout

JOSH BITTNER

Contact: willreid2@hotmail.com Web: http://colinreid.com The Players: Colin Reid, vocals, guitar; Brian Marshak, guitar; Mikael Gustavsson, bass; Dan Welby, drums.

Los Angeles, CA

Material: The Acetates describe their sound as “indie folk rock,” which proves pretty accurate. They structure the setlist by sandwiching their newly released EP between older songs. “Pillsoup Café” begins the set—an optimal shotgun tune and immediate head-nodder with a reoccurring, high impact guitar riff. “Drive Through Shake,” a rockabilly anthem, contrasts nicely with “Self Portrait,” a softer, folkier rambler. Most songs feature raucous choruses sung in unison, which makes for difficult intonation…but this is rock & roll right? They close with two crowd-pleasing covers, “Last Night” by the Strokes and a playful mash-up of Lou Reed’s “Walk on the Wild Side” with Tribe Called Quest’s “Can I Kick It.” Musicianship: Elbaum’s vocals bring the Lou Reed-esque “talk-singing” endemic to oldschool frontmen, giving the tunes a storytelling quality. I am all for it, though lovers of lyrics may complain, as many words are hard to understand. Cannady’s drumming sews itself into the seams of deep rock & roll pockets— clean, no loose change. He often switches 54 July 2014

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THE ACETATES between beats with sticks and beats with one stick and tambourine. Muted punctuations during “Pillsoup Café” allow plenty of room for fills, which Cannady makes good use of. Morales nicely alternates between tenor sax and his Nord Electro 2, 61-key—an admirable device that, unfortunately, barely cracks through the band’s volume except on “Dead Languages” where it adds a nice, sultry riff. Elbaum favors a jangly Rickenbacker 330 while Klein sticks with a classic Epiphone Casino, adding clear, ringing solos. Performance: The Acetates work hard. No member is exempt from the sweat indicative of an active performance. Wheaton actually

DAN KLIEN

Contact: acetatesmusic@gmail.com Web: http://facebook.com/theacetates The Players: Simon Elbaum, lead vocals, guitar, harmonica; Oren Klein, guitar, backup vocals, harmonica; Nick Wheaton, bass, backup vocals; Brian Morales, keys, sax, percussion, backup vocals; Brian Cannady, drums, backup vocals.

broke a string on his Jazz Bass during “Milk the Honey” which I have never seen. He never dropped his groove, however, improvising with the three remaining strings (seemingly amused at his ability to do so). Well done. Elbaum donned a boldly emblazoned “Who the fuck is Mick Jagger?” shirt…ironic since it seems cues from Jagger inform his own moves. Summary: Sincerity is the name of the Acetates’ game as they do not take themselves too seriously. (Wheaton and Klein even engage in a mock dance-off during introductions.) They put on no airs, taking to the stage purely as some dudes who really want to play music for you; and sure enough, you want to listen. –Ted Jamison

PETER MULVEY Joe’s Pub

New York, NY

Contact: Monica@thinkpress.net Web: http://petermulvey.com The Players: Peter Mulvey, vocals, guitar Backing band: The Blue Ribbons: James Rohr, keyboard, vocals; Jef Charland, bass, vocals; Mike Castellana, guitar; Taurus Biskis, drums, vocals; Barry Rothman, phonographs; Caitlin Canty, vocals. Material: It can be a bit of a disservice likening one artist to another which is done for clarification’s sake, but in the case of Peter Mulvey it’s extremely hard to do. His music falls somewhere in the cracks of Americana, rock

MARK SHIWOLICH

Musicianship: Fluent on vocals and guitar, Mulvey has a velvety bass voice that’s not particularly unique, but adept at jockeying between vocal styles. His backing band, the Blue Ribbons, bring considerable expertise to the table elevating the set to a richer performance experience. To round out the group Mulvey adds old phonograph needle drops to enhance the drama along with Caitlin Canty’s lovely harmonies.

and acoustic but he is truly an original. Melodically memorable is the rock driven “Sympathies,” a straightahead one-chord to the five-chord and back again on the tag line which kicks off the song and repeats after each verse. In “Trempealeau,” more of an acoustic treatment, Mulvey shows a vulnerable side as he examines the inability to come clean with feelings, asking “Why can’t you just say ‘I love you?’” A lengthy but instrumental motif sets up the witty “Copenhagen Airport,” drawing you in until it gets to Mulvey’s vocal entrance eliciting a chuckle from the audience: “Sweet bearded Jesus, the women in the Copenhagen Airport are so good looking and not a one of them is going to London.”

Performance: This Wisconsin based artist played his heart out to an enthusiastic crowd. One could describe Mulvey as a natural performer, almost as though he came out of the womb doing this. He had terrific command on stage and an easy-going rapport with the audience infused with a wry sense of humor. The sound effects provided by phonograph added just enough kitschy mood elements, though they werea bit enigmatic at times and not always clear how they related to the song. Summary: Mulvey is the thinking man’s musician—not to say that there isn’t plenty of visceral appeal—but there is a lot going on both musically and lyrically; and when you add in some of the on-stage antics the plate is full. He knows how to work a room and projects confidence-inspiring trust from the audience that he will get the job done and done well. In short, Mulvey’s creativity and experience add up to a prolific songwriter and seasoned performer who truly dances to his own drummer. – Ellen Woloshin

Simon’s After Dark Allen Park, MI

Material: Jackstand have a tag line boasting “Detroit rock….the way it was, the way it will be.” That pretty accurately describes their musical philosophy to a tee. There is the raw power of Iggy Pop and the Stooges mixed with the proto punk of the MC5. Combine that with the rock & soul of Grand Funk Railroad and the song craftsmanship of Bob Seger and you’ve got an aural travelogue of the Motor City past and present. Actually, their all-original set touches on many flavors of multi-dimensional rock; regardless of region. The metal meets country “Rodeo,” the odd-metered and danceable “Frenchie” and the hard-edged and melodic “Do it Again” are fine examples of the depth and diversity of this fine Midwest-based act. Musicianship: There is a pervasive freedom to their playing that is, at once, meticulously arranged, yet adventurous and devil-may-care. While they are a hard rock-oriented outfit, the members of Jackstand seem determined to avoid typical metal music pitfalls and clichés. DiFranco seemingly has the range to hit the upper echelon of his voice every time. However, he opts for tasteful economy in execution rather than lazy reliance on caterwauls or screams. The same could be said for Matheny’s guitar playing. He can certainly shred, but does so

ERIC A. HARABADIAN

Contact: Danny Smith, buddoctor@msn.com Web: http://jackstand.com The Players: Duane DiFranco, vocals and guitar; Brad Matheny, guitar and vocals; John Isom, bass and vocals; Danny Smith, drums.

JACKSTAND

when it serves the song. Also, his command of tones and effects blanket the sound very well. Isom and Smith are a rhythm section with a storied history, and it shows. They bring a ton of grit, muscle and heart to the mix to truly make this ensemble gel. Performance: Grace under pressure would typify their set as Jackstand maneuvered their way through a dubious monitor mix and some low-end rumble to the house. The band appeared understandably distracted between tunes as a result, yet they persevered and didn’t let it unsettle their game. DiFranco kept

some jovial rapport going with the audience and the interplay amongst the players remained consistent, engaging and dynamic. Summary: Jackstand are an exciting and entertaining band that have a familiar sound, yet are never tiresome or boring. They are a strong and vibrant unit that are classic in nature and put the emphasis on intelligent arrangements, thoughtful solos and good grooves. There is something that can be said for well seasoned and experienced musicianship. And the members of Jackstand have got that in spades. – Eric A. Harabadian July 2014

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Allston, MA

Contact: Jason Smith, manager, funkybodb@ gmail.com Web: http://bigoldirtybucket.com The Players: Sarah “Lil’ Shrimp” Seminski, lead vocals; Ryan “Funk McNasty” Green, guitar, vocals; Micah “Big Daddy Disco” Casey, MC, vocals; Brett “Reverend Bad Funk” Badolato, keyboards, effects, vocals; Joe “Dr. Thump Von Funkingtonsworth” Cesarz, bass; Dave “Trunk MacFunk” Share, drums; Rich “Big Bone the FunkoSapien” Houghton, trombone; Jim “DJ Don Funkitron” Schunemann, percussion; Matt “The Elefunk Man” Oliphant, sax; Trish “Trigger Fingers” Gately, trumpet.

BIG OL' DIRTY BUCKET

Material: Funk is less a genre for this sprawling 10-piece than a booty-shaking decree from our extraterrestrial overlords. To avoid becoming too derivative, they employ an MC, infusing their style with a hip-hop dimension. A Latin influence also permeates their sound in the form of bongos and maracas. One can even detect a dash of reggae to BODB’s alluring feel, which has garnered attention from the likes of P-Funk guitarist Michael Hampton, now slated to appear on their sophomore album.

sweet notes, but it’s guitarist Ryan Green who bends minds. His capacity for expressing the genre’s every dimension impresses, while his extended jams are proof he deserves a seat on the mother ship. Sarah Seminski’s fireball vocals provide sex appeal, but Micah Casey’s raps, although flashy, often recede among the jubilant clamor.

Musicianship: One must admire this unwieldy collective’s unity of purpose. Their aptitude for presenting a commercially palatable, cohesive sound is as polished and skillful as possible. The brass section busts out a bushel of

Performance: While having many players simultaneously on stage encumbers their movement, BODB compensate with Seminski’s joyous gyrating and Casey’s audience infiltration. Lasting nearly two hours,

The Trip

ANDY KAUFMANN

Great Scott

their divided set incorporated homages to Parliament, Jimi Hendrix and Led Zeppelin.

Summary: A high-energy supernova of badassery, BODB flatten brains with their relentless groovetasticness. Without question, they blaze a fireball of butt-gyrating heat when taking it to the stage. A slight makeover could prove beneficial, as well as some more conspicuous branding, but these faults remain minor quibbles. Hop aboard the bucket train immediately before these soon-to-be intergalactic superstars have permanently reached the outer limits. – Andy Kaufmann

Santa Monica, CA

Contact: bellerousse17@gmail.com Web: http://belleroussemusic.com The Players: Belle Rousse, vocals, guitar. Material: Originally hailing from Wichita, KS, Belle Rousse has a sound that is powered by moody, singer/songwriter angst (think Lana Del Rey and Ellie Goulding), but with some late ‘90s undertones. Like most solo artists, Rousse writes what she knows, pulling from personal battles and relationships to share her perspective on life. “Deep Blue” conveys an engaging vulnerability by virtue of its hypnotic melodies and vocals, while “IDKU” is an upbeat and lyrically well-written song that chronicles a relationship that decays and diminishes to a point where both partners are strangers. Musicianship: As a newcomer to the L.A. music scene, Belle Rousse has jumped in the deep end, playing non-stop and churning out an EP after her first year here. Regardless of the city, however, the stage is a comfortable environment for this performer who sports a relaxed demeanor during a stripped down set in which a friend or two hops up to join her on cajon and backing vocals. Though Rousse’s musicianship demonstrates her guitar skills, her technique is pretty standard and basic for a singer/ songwriter. Possibly the addition of a full band would up the ante and also add more personality to her set. As a vocalist she demonstrates a good ear for what stylistically works for her melodies. 56 July 2014

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BELLE ROUSSE

Performance: Though her stage energy lagged at times, Belle Rousse showed she has the potential to deliver a delightful and flirty set that can be consistently enjoyable to watch. The addition of a full band, for example, or at least two other players, would help generate more vitality and a clearer picture of Belle Rousse as an artist. At this live performance she earned an okay reception, but there were some dry spells in the set as some songs really did need extra support as well as more expression and

physicality from the artist. The addition of witty banter between songs will help her achieve a complete connection with her audience. Summary: Belle Rousse seems to be a driven and ambitious artist, but she still has work to do as a live performer. It is clear that some fine-tuning and conditioning are needed. That said, her artistic potential is there, and it will be interesting to see how she develops over time. – Mary Broadbent

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Annual Directory of

Recording Studios

Now expanded for 2014, this is a list of professional recording studios. All information below is supplied by the listees. To receive thousands of free industry contacts, visit http://musicconnection.com/industry-contacts. ALABAMA BIRDLAND RECORDING STUDIOS 4891 County Rd. 585 Town Creek, AL 35672 256-353-4599 E-mail: simpsonjp@aol.com, owenwbrown@hotmail.com Web: www.birdlandstudios.com Contact: Jeff or Owen Format: 32 channel Trident Analog Console, 24-48 track Alesis HD Digital Recorders Basic Rate: please call for info Additional location:

Web: http://www.fmrecordingstudio.com Format: digital Basic Rate: please call for info MIRROR STUDIOS, INC. 3700 Woodland Dr., Ste. 100 Anchorage, AK 99517 888-808-8894, 907-245-8888 E-mail: akstudio@mirrorstudios.com Web: www.mirrorstudios.com Format: Pro Tools HD3 Basic Rate: please call for info

DAWSON MUSIC AND RECORDING STUDIO 575 Hwy 95 W. Clinton, AR 72031 501-745-2025 Web: www.dawsonmusicandstudio.com Contact: Louis Dawson, owner

Additional locations: Orange County, CA E-mail: ocstudio@mirrostudios.com

1219 Fremont St. SW Decatur, AL 35601 256-353-4599 FAME STUDIOS P.O. Box 2527 603 E. Avalon Ave. Muscle Shoals, AL 35661 256-381-0801 Web: www.fame2.com Format: Pro Tools and vintage analog Basic Rate: please call for info GAT3 PRODUCTIONS 655 Pressley Road Suite E Charlotte, NC 28217 704-525-5552 Contact: Susan Tabor E-mail: susan@gat3.com Web: www.gat3.com 704-525-5552 Studio A: ProTools 10HDX, SSL 9000J 72 Input Console. Studio B: Recording and Mastering Suite: ProTools 10HDX. Equipment list available on our website. Studio Rates: Studio A $105.00 per hour, Block Rate (8 hours or more) $95.00 per hour Studio B $95.00 per hour, Block Rate ( 8 hours or more) $85.00 per hour RIVERLAND RECORDING STUDIOS 509 Talucah Rd. Valhermoso Springs, AL 35775 256-683-1740 Web: www.riverlandrecording.com Format: Alesis HD 24, Pro Tools LE Basic Rate: please call for info SOUND CELL/SMITH MUSIC GRP, INC. 601 Meridian St. Huntsville, AL 35801 256-539-1868 E-mail: soundcell@soundcell.com Web: www.soundcell.com Format: Pro Tools Basic Rate: please call for info SOUND OF BIRMINGHAM RECORDING 3625 5th Ave. S. Birmingham, AL 35222 205-595-8497 E-mail: marketing@soundofbirmingham.com Web: soundofbirmingham.com Contact: Don Mosley Basic Rate: please call for info

ALASKA 10TH PLANET P.O. Box 10114 Fairbanks, AK 99710 907-488-8658 E-mail: 10planet@mosquitonet.com Web: www.10thplanet.com Contact: R. Ford or P. Fitzgerald Format: digital Basic Rate: please call for info DOME STUDIOS 1912 Gilmore Trail Fairbanks, AK 99712 907-457-1993, 907-456-6734 E-mail: domestudios@alaskajam.com Web: www.alaskajam.com/domestudios.html Contact: Jerry or Rif Format: Tascam 16 track 1-inch analog tape Basic Rate: please call for info FM RECORDING STUDIOS, LLC 5700 Old Seward Hwy., Ste. 202 Anchorage, AK 99518 907-563-0003 E-mail: info@fmrecordingstudio.com

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EAST HALL RECORDING Fayetteville, AR 479-582-EAST E-mail: info@easthall.com Web: www.easthall.com, https://facebook.com/ easthallrecording Basic Rate: $60/hr

Washington, D.C. E-mail: dcstudio@mirrorstudios.com SURREAL STUDIOS 355 W. Potter Dr. Anchorage, AK 99518 907-562-3754 E-mail: surrealstudiosak@gmail.com Web: www.surrealstudios.com Contact: Kurt Riemann Format: digital Pro Tools Basic Rate: please call for info

PRODUCTION CO., THE 105 Hannibal St. Siloam Springs, AR 72761 479-524-4626 E-mail: theproco@cox.net Contact: Ken Flory Format: Digital 24 track Basic Rate: please call for info

ARIZONA BRICK ROAD STUDIOS 7944 E. Beck Ln., Ste. 160 Scottsdale, AZ 85260 480-788-3573 E-mail: scott@southweststudios.com Web: www.brickroadstudio.com Contact: Scott Leader Format: call for info Basic Rate: $450/day $85/hr or flat rate for larger projects FULL WELL RECORDING STUDIO 1718 N. 17th Ave. Phoenix, AZ 85007 602-367-1342 E-mail: mike@idnmusic.com Web: www.idnmusic.com/studio Contact: Mike Bolenbach Format: Pro Tools HD3 Basic Rate: please call for info LUNA RECORDING STUDIO 4500 E. Speedway Blvd., Ste. 86 Tucson, AZ 85712 520-260-7576 E-mail: producer@lunarecording.com Web: www.lunarecording.com Contact: George Nardo Format: Pro Tools HD Basic Rate: $50/hr. block bookings available SALTMINE STUDIO OASIS, THE 48 S. MacDonald St. Mesa, AZ 85210 Cell 480-220-4007, Office 480-892-6585 E-mail: info@thesaltmine.com Web: www.thesaltmine.com Contact: Don Format: digital and analog Basic Rate: please call for info

RANEY RECORDING STUDIO P.O. Box 17 110 S. Front St. Drasco, AR 72530-9282 870-668-3222, 870-668-3698 E-mail: jonr@raneyrecordingstudio.com Web: www.raneyrecordingstudio.com WINTERWOOD RECORDING STUDIOS Eureka Springs, AR 72632 479-253-2530 E-mail: winterwoodstudio@aol.com Web: www.winterwoodstudios.com Contact: Eric T. Schabacker Format: Nuendo, Cuebase, Pro Tools Basic Rate: $60-$75/hr. WOLFMAN STUDIOS Little Rock, AR 501-247-5525 E-mail: jason@wolfmanrecordingstudios.com Web: www.wolfmanrecordingstudios com

CALIFORNIA (NORTHERN) ALIEN PRODUCTIONS STUDIOS 4100 Wayside Ln., Ste. 120 Carmichael, CA 95608 916-483-9988 Contact: Jeff Northrup E-mail: alienproductions@att.net Web: www.alien1111.com Format: digital recording, mixing, mastering and music production Basic Rate: $45 per hour, $300 8 hour block. ANNEX STUDIOS, THE P.O. Box 2390 Los Gatos, CA 95031 650-328-8338 E-mail: info@theannex.us Web: www.theannex.us Contact: Tony Wentzel Format: digital and analog Basic Rate: call for info

ARKANSAS BLACKWATER RECORDING STUDIOS Cabot, AR 72023 501-0843-9522 Web: www.blackwaterstudios.com Contact: Michael Sharpe BLUE CHAIR RECORDING STUDIO 159 Ray Sowell Rd. Austin, AR 72007 501-605-8489 E-mail: darian@classicnet.net Web: bluechairrecordingstudio.com, www.myspace.com/bluechairstudio CEDAR CREST STUDIO #17 CR 830 Henderson, AR 72544 870-488-5777 E-mail: cedarcrest@springfield.net Web: www.cedarcreststudio.com Contact: Bob Ketchum Format: analog 1-inch 16-track, digital PC w/ Sony ACID Pro 6.0, Sony Vegas Basic Rate: please call for info

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CRYSTAL RECORDING STUDIOS 2307 Brandon Rd. Bryant, AR 501-847-8215, Cell 501-681-7935 E-mail: ray@crystalrecordingstudios.com Web: crystalrecordingstudios.com Basic Rate: please call for info

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AUDIO EVIDENCE MOBILE P.O Box 428 Redway, CA 95560 707-223-0506 E-mail: audioevidencemobile@gmail.com Contact: Rob Seifert Gage Format: mobile studio, analog/digital, out of the box mixing, 32 in/out, Dangerous Music Summing, Equator Audio Monitors, PreSonus StudioOne, Analog Effects and MixBus Rates: Contact for a personalized quote BAY RECORDS 3365 S. Lucille Ln. Lafayette, CA 94549 510-428-2002 E-mail: mcogan@bayrec.com Web: www.bayrec.com Contact: Michael Cogan Format: 24-track analog and Pro Tools HD Basic Rate: Call or e-mail

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BLUE SEVEN AUDIO Central Fremont Fremont, CA 94538 650-766-7212 E-mail: csc@bluesevenaudio.com Web: www.bluesevenaudio.com Contact: Chris Format: Pro Tools HD3 Basic Rate: call for rates COAST RECORDERS 1340 Mission St. San Francisco, CA 94103 415-795-1831 Contact: Sean Beresford E-mail: seanberesford@gmail.com Web: coastrecorders.com Format: ProTools HDxisystem Basic Rate: call for rates CRYSTAL IMAGE FULL BAND DEMOS P.O. Box 996 Jackson, CA 95642 E-mail: crystali2010@hotmail.com Web: www.myspace.com/the88bar Contact: John Covert Format: digital and analog, 8 tracks Basic Rate: $60 per demo (rates can vary with repeat orders or complexity of order. E-mail us with your budget) DAVID LITWIN PRODUCTIONS One Bridge Road Larkspur, CA 94939 415-924-2240 E-mail: info@davidlitwinproductions.com Web: www.davidlitwinproductions.com Contact: David Format: Pro Tools HD Basic Rate: $100/hr., $120/hr weekends. Flexible rates for longer bookings. DIFFERENT FUR 3470 19th St. San Francisco, CA 94100 415-828-4060 E-mail: Lindsay@differentfurstudios.com Web: www.differentfurstudios.com Contact: Lindsay Format: SSL 4056/48e | Pro Tools Version 10 Basic Rate: call for info FANTASY STUDIOS 2600 Tenth St. Berkeley, CA 94710 510-486-2038 Fax 510 486-2248 E-mail: jwood@fantasystudios.com Web: www.fantasystudios.com Contact: Jeffrey Wood Format: Pro Tools and analog Clients: Please check our website for examples of our extensive client list. Format: Pro Tools and analog Services: Fantasy Studios is a world-renowned recording facility located in the San Francisco Bay Area. Our facility is comprised of three legendary recording and mixing rooms and we offer an extensive selection of microphones, outboard gear, instruments and natural echo chambers. We are based in a secure media complex that offers privacy for celebrity clientele, ample parking, and load-in for large bands or crews. In addition to recording and mixing, we offer ISDN services, comprehensive media transfer work, editing, and on-site mastering. We are also available for film, video, photo shoots, live streaming, and events. Clients: Please check our website FIREWATER STUDIOS Los Angeles 310-567-1280 Contact: Billy Graziadei E-mail: info@firewaterstudios.com Web: www.firewaterstudios.com Format: Pro Tools HD4 Basic Rate: call for rates HYDE STREET STUDIOS 245 Hyde St. San Francisco, CA 94102 415-441-8934 E-mail: info@hydestreet.com Web: www.hydestreet.com Format: digital and analog, 24 tracks Basic Rate: call for info SF SOUNDWORKS SSL9000 San Francisco, CA 94103

Download at www.musicconnection.com/industry-contacts 415-503-1110 E-mail: bookings@sfsoundworks.com Web: www.sfsoundworks.com Contact: Tony Espinoza Format: digital and analog, 128 tracks Basic Rate: please call for info

Clients: Todd Stanford, Brian Barnhouse, Bobby Barth, Wes Williams, Stacey Evans, Todd Eagan, Ben Forat, Ric Lashever, Crimson Crout, Savannah Phillips, Niki Svara, Carl (Cix Bits) Somers, Dee Archer, Steve Warnick, Dr. Gary Alias, Ivy Lite Rocway, Carol Casey

SONOMA MOUNTAIN STUDIO ESTATE 369B Third St., #171 San Rafael, CA 94901 707-665-0849 E-mail: info@studioestate.com Web: www.studioestate.com/studio.html Format: Digital and Analog Basic Rate: call for info

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

THE SOUND THEORY 1141 Campbell Ave San Jose, CA 95126 408-921-1550 E-mail: record@thesoundtheory.com Web: www.thesoundtheory.com Contact: Rico. Chief Engineer/Producer Format: Pro Tools HD hydrid Analog & Digital Basic Rate: Call or visit for info

ABET MUSIC 411 E. Huntington Dr., Ste. 170-372 Arcadia, CA 91006 866-574-0275 E-mail: support@abetmusic.com Web: www.abetmusic.com Contact: Aeron K. Nersoya Format: digital and analog, 96 tracks Basic Rate: $275/hr.

CALIFORNIA (SOUTHERN) 17 HERTZ STUDIOS 5253 Lankershim Blvd. N. Hollywood, CA 310-331-8818 E-mail: info@17hertz.com Web: www.17hertz.com Contact: Jason Gluz Format: Pro Tools HD3/192 Basic Rate: call for rates Clients: Jabbawockeez 17TH STREET 1001 W. 17th St. Costa Mesa, CA 92627 949-680-6569, 949-412-3231 E-mail: 17thstrecord@gmail.com Web: www.17thstreetrecording.com Format: see website for equipment list Basic Rate: $1500/day 1ST CHOICE STUDIO 1259 Bruce Ave. Glendale, CA 91202 818-246-6858 E-mail: info@billkeis.com Web: http://www.billkeis.com/producer Contact: Bill Format: digital Basic Rate: call for rates 4TH STREET RECORDING 1211 4th St. Santa Monica, CA 90401 310-395-9114 E-mail: info@4thstreetrecording.com Web: www.4thstreetrecording.com Contact: Kathleen Wirt Format: digital and analog, 24 tracks Basic Rate: $60-100/hr Gear: API 3224 Console, Studer A827, Protools HD3, (4) Neve 1066, (4) Focusrite, (2) Telefunken V72, (2) Maag PreQ4, (2) Maag EQ4, (8) Wardbeck, (2) UREI 1176, (2) LA3A, Genelec 1031s, Yamaha NS10s, Lexicon, Yamaha, DBX, Drawmer, Mics: Neumann U-67, (2) U-87s, (2) AKG 414s, (2) Coles 4038s, Royer, Shure, Sennheiser. Special Services: Pro Tools and analog recording. superb sound design, Yamaha C7 grand piano, Hammond organ w/Leslie. Great drums too! Clients: M.I.A., The Neighbourhood, Vintage Trouble, The Beach Boys, George Clinton, Incubus, No Doubt, Fiona Apple, Nelly Furtado, Bryan Ferry, Jack’s Mannequin, Kasabian, K-Flay, Jim Carrey, Steve Martin, Weird Al Yankovic, Deezle, Anthony Hamilton Comments: Right off 3rd Street Promenade, and the ocean. 26 hotels within walking distance. “Top 10 US Studios Under $100/hour” Performing Songwriter Magazine. “One of LA’s 17 Temples of Sound,” Hollywood Reporter (2012) 21ST CENTURY STUDIO Silverlake, CA (near Satellite) 323-661-3130 Web: http://21stcenturystudio.com Contact: Burt Levine Format: Digital/Analog Basic Rate: call for rates AAA JIMMY HUNTER’S CAZADOR RECORDING OF HOLLYWOOD, CA A producer’s private facility ready to serve you Los Angeles, CA 90048 323-655-0615 E-mail: jimmy@jimmyhunter.com Web: www.jimmyhunter.com Contact: Jimmy Hunter, owner/producer/ engineer/drummer/vocalist/in-studio-vocal coach Format: State of the Art ProTools 10 HD6 Basic Rate: call for a free consultation to discuss

ACDC - AUDIO CD & CASSETTE 606 Alamo Pintado Rd., Ste. 3-281 Solvang CA 93463 818-762-2232 or 805-245-5503 E-mail: steve@acdc-cdr.com Web: www.acdc-cdr.com Contact: Steve Mitchell Basic Rates: Please call for info. ADAMOS RECORDING 5811 Westminster Ave. Westminster, CA 92683 714-897-8886 Web: www.adamosrecording.com Contact: adamos.recording@verizon.net Format: digital and analog, 64 tracks Basic Rate: please call for info ADVENTURES IN MODERN RECORDING W. Los Angeles, CA 323-375-4267 E-mail: amrdaniell@gmail.com Web: www.adventuresinmodernrecording.com Contact: Daniell Holcomb Format: digital, Pro Tools 9 Basic Rate: $50/hr. AFTER HOURS RECORDING CO. 1607 Victory Blvd., Ste F Glendale, CA 91201 818-246-6583 E-mail: arecording@netzero.net Contact: Bill Format: digital and analog, 16 tracks Basic Rate: $35/hr. ALLIED POST 1642 17th St. Santa Monica, CA 90404 310-392-8280 Contact: Woody Web: www.alliedpost.com Format: digital and analog Basic Rate: call for info AMBER SKY MUSIC PRODUCTION P.O. Box 2164 Toluca Lake, CA 91610 818-788-6840 E-mail: amberskystudio@earthlink.net Contact: Rick Kraushaar Format: digital, 48 tracks Basic Rate: $45/hr. including an engineer AMERAYCAN RECORDING STUDIOS 5719 Lankershim Blvd. N. Hollywood, CA 91601 818-760-8733 E-mail: info@paramountrecording.com Web: www.paramountrecording.com Format: digital and analog, 96+ tracks Basic Rate: call for daily lockout rates ANDY CAHAN-DEMO DOCTOR Cathedral City, CA 818-489-4490 E-mail: andycahan@verizon.net Web: www.allentertainment.net Contact: Andy Format: digital and analog, 24+ tracks Basic Rate: please call for info ARDENT AUDIO PRODUCTIONS 22122 S. Vermont Ave., Unit E Torrance, CA 90502 310-782-0125 E-mail: rwenzelaap@gmail.com Contact: Rich Wenzel Web: www.ardentaudioproductions.com Format: Pro Tools HD-3 Basic Rate: call for rates ARTISAN’S LABEL RECORDING STUDIO 2454 Fender Ave. Ste E Fullerton, CA 92831 646-663-5678

E-mail: service@artisanslabel.com Web: www.artisanslabel.com Contact: Michael Filson Format: digital, 128 tracks Basic Rate: please call for info Additional location: 40 West 38th St., 5th Fl. New York, NY 10018 ARTIS MUSICAI P.O. Box 3486 Chatsworth, CA 91313 747-224-7165 E-mail: gussiemiller1@gmail.com Web: www.artismusicai.com Contact: Gussie Miller Format: digital, unlimited tracks Basic Rate: please call for info A SMOOTH SOUND 6828 Valjean Ave. Van Nuys, CA 91406 818-779-1259 Cell 818-723-4203 E-mail: smoothsounds@sbcglobal.net Web: www.smoothsoundmultimedia.com Format: digital and analog, 32 tracks, Pro Tools HD Basic Rate: please call for info ASPEN’S PLACE RECORDING 32 channel ALL TUBE INPUTS large & live tracking rooms. E-mail: aspen@aspenandassoc.com Web: www.aspensplacerecording.com Contact: Aspen Pittman Format: Pro Tools 10 HD or Logic. Analog tape recording available. Basic Rate: $500.00 - $750.00, please call for Indie rates. Gear: 32+ channels all tube preamps w/ tube compressors, tube EQs into Pro Tools HD w/ Pro Tools 10 and Logic via 32 I/O newest Avid converters. Very large selection of vintage tube microphones and outboard gear, as well as dozens of original GT tube mics, ViPRE preamps, Glory Comp tube compressors and other assorted GT designed audio outboard gear. Clients: Join me in my new life adventure, we have just finished building our new rooms and are now open to the public. So far we’ve hosted Doyle Dykes recording his new Christmas album produced by Michael Lloyd, Eric “ET” Thorngren producing a new band project The Reflecticles, and a live concert recording by New Age artist Constance Demby before dozens of her loyal fans. We’d like to help you with your next project, give us a call! Comments: APR is tucked away 20 minutes from Hollywood or Santa Monica in the “Historic & Visionary” city of San Fernando. The uniquely large live tracking rooms are located in the original Groove Tubes tube factory. APR is owned and operated by Aspen Pittman, author of the Tube Amp Book (140,000 copies in print), the founder of Groove Tubes. He is the designer/manufacture of 1,000s of tube based mics, preamps, compressors, EQs, and over a dozen original vacuum tubes used in studios worldwide for over 3 decades, holder of 5 patents and recipient of numerous TEC nominations and awards for his work! Selling Groove Tubes to Fender in 2008, he dedicated himself and his vast vintage audio experience and resources to creating the world’s finest all tube major format tracking studio. You will find APR a comfortable Mecca of vintage vibe where recordings are done the old school way; live and direct! APR offers a band the rare opportunity to perform live and produce an LP in days, not weeks or months. There is no other studio quite like APR, and our rates are old school too. ATOMIX STUDIOS Van Nuys, CA E-mail: atomixmedia@mac.com Web: https://www.facebook.com/AtomixStudios Contact: Tom Format: Analog and Digital Basic Rate: inquire for rates AUDIOLOT STUDIOS Los Angeles, CA 90068 512-686-2899, 323-464-9900 E-mail: info@audiolot.com Web: www.audiolot.com/studios Contact: Joshua Aaron Format: Pro Tools HD Basic Rate: $750/day AUDIO MECHANICS 1200 W. Magnolia Blvd. Burbank, CA 91506 818-846-5525 E-mail: info@audiomechanics.com Web: www.audiomechanics.com Contact: John Polito Format: digital and analog, 24 tracks Basic Rate: please call for info

BACKYARD PRODUCTIONS Van Nuys, CA 91405 818-780-7845 Fax 818-780-7845 E-mail: hughjames@sbcglobal.net Web: www.backyardrecording.com, www.hughjamesmusic.com Contact: Hugh James Format: digital and analog, 48 tracks Basic Rate: variable rates: per hour & per project Format: digital and analog, recording & production BATTLE PANDA PRODUCTIONS RECORDING STUDIO 7519 Collett Ave. Van Nuys, CA 91406 316-518-5639 E-mail: battlepandaproductions@gmail.com Web: www.battlepandaproductions.com Contact: Dan or Joe Format: Apple Logic Pro 9 & X, Pro Tools 10 & 11, Mac Pro/Apogee/Onyx Setup, 44.1-192 kHz, 24bit recording. Basic Rate: $50/hr. w/engineer, $400/day w/ engineer BEACH CITIES RECORDING, LLC 2416 Amsler St., Ste. 2 Torrance, CA 90503 310-901-2490 E-mail: beachcitiesrecrording@gmail.com Web: www.beachcitiesrecording.com BERNIE BECKER RECORDING & MASTERING 30 West Green St. Pasadena, CA 91105 626-782-5703 E-mail: dale@berniebecker.com Web: www.berniebecker.com Contact: Bernie Becker Format: digital and analog Basic Rate: call for info BIG CITY RECORDING STUDIOS 17021 Chatsworth St. Granada Hills, CA 91344 818-366-0995 E-mail: paul@bigcityrecording.com Contact: Paul Web: www.bigcityrecording.com Format: digital and analog, unlimited tracks Basic Rate: call for info BIG SCARY TREE North Burbank Adjacent 213-680-8733 E-mail: bigscarytree@gmail.com Web: www.myspace.com/BigScaryTreeStudios Format: digital and analog, 64 tracks Web: www.bigscarytree.com Basic Rate: please call for info BIG SURPRISE MUSIC 16161 Ventura Blvd., Ste. C #522 Encino, CA. 91436 818-613-3984 E-mail: info@carmengrillo.com Contact: Carmen Grillo Web: www.bigsurprisemusic.com Format: digital, 128 tracks Basic Rate: $50/hr. BIG SWEDE STUDIOS 621 S. Spring St., Ste. 1208 Los Angeles, CA 90014 213-629-4940 Fax 213-629-4940 E-mail: bigswede@bigswedestudios.com Contact: Big Swede Web: www.bigswedestudios.com Format: digital and analog, 256 tracks Basic Rate: call for info BILL CORKERY STUDIOS Studio for Creative Audio 1660 Hotel Cir. N., Ste. 107 San Diego, CA 92108 619-291-8090 E-mail: bcorkery@bcproductions.com Web: www.bcproductions.com Contact: Bill Format: digital Basic Rate: please call for info BITWERX N. Hollywood, CA 818-985-8078 Contact: Eddie Rogers E-mail: eddie@bitwerxstudios.com Format: digital & analog Web: www.bitwerxstudios.com BLUE RHODE STUDIOS 10626 Magnolia Blvd N. Hollywood, CA 91601 323-842-0269 E-mail: studioblue12@gmail.com Web: www.bluerhodestudios.com Contact: Andrew De Lucia Format: Pro Tools HD, Logic email or call for free tour/consultation

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Annual Directory of Recording Studios BRIAN GARCIA PRODUCTIONS (Sonic Muse Productions) Los Angeles / Pasadena, CA 626-487-0410 E-mail: record@wt.net Web: www.briangarcia.net Contact: Brian Garcia Format: Digital / 192 tracks Basic Rate: call for hourly, daily or project rates BRIGHT ORANGE STUDIOS 7657 Winnetka Ave., Ste. 200 Los Angeles, CA 91306 818-645-1415 E-mail: jon@brightorangestudios.com Web: www.brightorangestudios.com Contact: Jon Mattox Format: digital and analog, Pro Tools and Logic Basic Rate: call for info BRODSKY ENTERTAINMENT Beverly Hills, Boston, Meriden Web: brodskyentertainment.com Format: Digital Performer, Logic BRUCE HANIFAN PRODUCTIONS 9023 Beverlywood St. Los Angeles, CA 90034 310-559-4522 E-mail: info@brucehanifan.com Web: Brucehanifan.com Contact: Jan Aldrin Web: www.brucehanifan.com Format: digital 64+ tracks Basic Rate: call for rates CALIFORNIA SOUND STUDIOS, INC. 25651 Atlantic Ocean Dr., Ste. A16 Lake Forest, CA 92630 949-855-0211 E-mail: info@casoundstudios.com Web: www.casoundstudios.com Contact: Nathan Wright Format: digital and analog, 64 tracks Basic Rate: please call for info CAPITOL RECORDING STUDIOS 1750 N. Vine St. Los Angeles, CA 90028 323-871-5001 E-mail: paula.salvatore@capitolstudios.com Web: www.capitolstudios.com

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Contact: Paula Salvatore Format: digital Pro Tools and vintage analog Basic Rate: please call for info CHALICE RECORDING STUDIO 845 N. Highland Ave. Los Angeles, CA 90038 323-957-7100 Fax 323-957-7110 E-mail: sandra@chalicerecording.com Web: www.chalicerecording.com Format: digital and analog Basic Rate: please call for info CHARLES LAURENCE PRODUCTIONS 19002 Los Alimos St. Northridge, CA 91326 818-368-4962 Contact: Charles Laurence E-mail: clpmanagement@aol.com Web: www.clpstudios.com Format: analog and digital, 24 tracks Basic Rate: please call for info CHESSVOLT STUDIOS Van Nuys, CA 91402 419-827-8411 E-mail: info@chessvolt.com Web: www.chessvolt.com Contact: Landry Malick - Studio Manager Format: Pro Tools HD Accel3 and MCI 2-inch 24 track. Vintage 48 channel Neve Console. Basic Rate: call for Indie artist specials CLEAR LAKE RECORDING STUDIOS 10520 Burbank Blvd. N. Hollywood, CA 91601 818-762-0707 E-mail: contact@clearlakerecording.com Web: www.clearlakerecording.com Contact: Eric Milos Rates: $60/hr with Assistant or $75/hr with Experienced Engineer - Block Rates Available Format: Pro Tools HD5 v10 and 24 Track Analog Tape Gear: Vintage Microphones, Vintage Trident 80b Console, Yamaha C7 Grand, Hammond B3, Large Selection of outboard including: Neve 1073’s, 5 Pultec Eqs, 3 UREI 1176’s, LA2A, Distressors, Tube Tech, Allen Smart Smart C2, and much more! Comments: With our large tracking room and high-end client facilities, we are the affordable alternative to big-budget Hollywood studios.

CONSUELO STUDIOS Hollywood Hills, CA 90068 323-876-1168 E-mail: bretlthompson@earthlink.net Web: www.consuelostudios.com Contact: Bret Thompson Format: Pro Tools HD Native 16x16 IO w/ Vintage Analog Console Basic Rate: $75 per hr with engineer CONWAY RECORDING STUDIOS 5100 Melrose Ave. Hollywood, CA 90038 323-463-2175 Fax 323-463-2479 E-mail: reception@conwayrecording.com Web: www.conwayrecording.com Format: digital and analog Basic Rate: please call for info COSTA MESA STUDIOS 711 W 17th St., Suite D Costa Mesa, CA 92627 949-515-9942, Fax 949-515-4230 E-mail: nick@conwayrecording.com Web: www.cosstamesastudios.com Format: digital and analog Basic Rate: please call for info COTTAGE, THE 365 Hollywood Way Burbank, CA 91505 818-415-5576 E-mail: tedgberg@earthlink.net Format: digital Basic Rate: call for info CROWN CITY RECORDING Pasadena, CA 626-403-6833 E-mail: booking.crowncity@gmail.com Contact: Eric Web: www.crowncityrecording.com, http://facebook.com/CrownCityStudios Format: digital with vintage and analog outboard, SSL Console Basic Rate: please call for info, block rates available DANCIN DEER STUDIO 3727 W. Magnolia Blvd., Ste. 459 Burbank, CA 91505 818-209-1326

E-mail: studio@dancindeerstudio.com Contact: Jody Web: www.dancindeerstudio.com Format: digital Basic Rate: contact through website DAVE WATERBURY PRODUCTIONS Laurel Canyon and Magnolia Boulevards Valley Village, CA 91607 818-505-8080 E-mail: davewaterbury91607@yahoo.com Web: www.davewaterbury.net Contact: Dave Format: ProTools HD.2 Basic Rate: call for info DBW PRODUCTIONS Woodland Hills, CA 91367 818-884-0808 E-mail: info@dbwproductions.com Web: www.recordla.com Contact: David Chamberlin Format: digital, unlimited tracks Basic Rate: $75/hr. DIAMOND DREAMS MUSIC North OC, Barbon Canyon, CA 91709 909-393-6120 E-mail: info@diamonddreamsmusic.com Web: www.diamonddreamsmusic.com Format: digital, unlimited tracks Basic Rate: Please call us for a quote EN RECORDERS, THE P.O. Box 2627 Pasadena, CA 91102 626-529-3066 E-mail: info@thedenrecorders.com Web: thedenrecorders.com Contact: Josh Young or Darian Cowgill Format: digital HD, video-online offline/audio/ mixing/mastering 5.1 Basic Rate: call for info DESIGN FX REMOTE RECORDING P.O. Box 491087 Los Angeles, CA 90049 818-843-6555 800-441-4415 E-mail: remote@dfxaudio.com Web: www.dfxaudio.com Contact: Scott Peets Format: API console, Pro Tools, Analog,

Download at www.musicconnection.com/industry-contacts portable rigs available Basic Rate: please call for info DIAM ENTERTAINMENT 3734 San Fernando Rd. Glendale, CA 91204 818-662-0670 Web: www.diamentertainment.com Format: digital & analog Basic Rate: call for information D.M. GREMLIN STUDIOS 6053 Atlantic Ave. Long Beach, CA 90805 866-334-4364 E-mail: studio@dm-gremlin.com Contact: Wendy Levin Web: www.dm-gremlin.com Format: digital Basic Rate: $35/hr; mastering starts at $50/hr D.O’B. SOUND 8531 Wellsford Pl., Ste I Santa Fe Springs, CA 90670 562-464-9456 E-mail: dobsound20@yahoo.com Contact: Larry Ramirez, Derek O’Brien Web: www.dobsound.net, www.fb.com/DOB.SoundStudios Basic Rate: Rehearsal Rates from $16-$18 per hour, Recording $45 per hour, call for block rates Services: Full recording, Mixing and Mastering Studio, Video Production, 5 fullyequipped rehearsal rooms and guitar repair shop. DRUM CHANNEL STUDIOS 900 Del Norte Blvd. Oxnard, CA 93030 866-439-7924 E-mail: info@drumchannel.com Web: www.drumchannel.com/studio Contact: Papillon Zamprioli Format: Analog and Digital Basic Rate: Call for info DUFFY AUDIO Sherman Oaks, CA 91401 818-530-2471 E-mail: duffyaudio@gmail.com

Web: www.duffyaudio.com Contact: Brian Duffy Format: digital, Pro Tools HD 9 Basic Rate: $35/hr. or per project EAGLE ROCK STUDIOS Los Angeles, CA 310-867-9091 Web: www.eaglerockstudios.us E-mail: info@eaglerockstudios.us Format: Analog & Digital Basic Rate: Call for info EASTWEST RECORDING STUDIOS 6000 W. Sunset Blvd. Hollywood, CA 90028 323-957-6969 fax 323-957-6966 Contact: Candace Stewart E-mail: candace@eastweststudio.com Web: www.eastweststudio.com Format: Analog & Digital Rates: Call for Daily Rate or Block Bookings Gear: 80 Chnl Neve 8078, 40 Chnl Neve Custom 8028, 40 Chnl Trident “A” Range, 64 Chnl SSL G +, Fairchild 670, Bricasti, EMI REDD 47 mic pre, GT Vipre Tube mic pre, Urie 1176LN, Teletronix LA-2A, Avalon AD2044, Pultec EQP-1A3, Lexicon 960L, AMS RMX16, GML 8200, AKG C12’s, Neumann U67’s, Neumann U47’s, Neumann M50’s, Telefunken ELA-M 251’s, Sony C55p’s, Coles 4038’s, Royer R-121’s. MKH-800’s, AEA- 440 Services: Orchestra tracking, band tracking, mixing, live performances, events in famous vintage studios. Clients: Frank Sinatra, Justin Timberlake, Rihanna, Metallica, The Rolling Stones, Madonna, Slayer, Muse, The Beach Boys, The Mamas & the Papas, Elton John, The Red Hot Chili Peppers, Michael Bublé, Iggy Pop, Bob Dylan, Whitney Houston, Nas, Frank Ocean, Justin Bieber, Faith Hill, U2, Demi Lovato, Fiona Apple, Tool, Santana, Akon, Bruce Springsteen, Stevie Wonder, Incubus, Kelly Rowland, Dwight Yoakam, Nat “King” Cole, Blink-182, Motley Crue, Rage Against the Machine, Jason Mraz, Weezer, Ella Fitzgerald, Johnny Cash, Jimmy Cliff, Jerry Lee Lewis, Garbage, Third Eye Blind, Luis Miguel, Stone Temple Pilots, Foster The People, M83, Tina Turner, Stephen Stills and Neil Young.

ECHO BAR RECORDING STUDIO 7248 Fulton Ave. N. Hollywood, CA 91604 818-738-7320 Contact: Erik Reichers, Bob Horn E-mail: erik@echbarstudios.com, bobhornmixing@mac.com Web: echobarstudios.com Format: call for information Basic Rate: call for info ECUASOUND PRODUCTIONS 1540 N. Highland Ave., Ste. 107 Hollywood, CA 90028 323-467-0383 Cell 310-666 7125 E-mail: ecuasound@ecuasoundproduction.com Web: ecuasoundproductions.com Contact: Ivan Castro Format: Protools Basic Rate: $70/hr. includes engineer ELEVATED AUDIO 14561 Aetna St. Van Nuys, CA 91411 818-909-9029 E-mail: elevatedaudio@gmail.com Contact: Fran Web: www.elevated-audio.com Format: Digital, Analog, or both Basic Rate: call for info ENCORE STUDIOS 721 S. Glenwood Pl. Burbank, CA 91506 818-842-8300 E-mail: info@paramountrecording.com Format: digital and analog Basic Rate: call for daily rates. ENTOURAGE STUDIOS 11115 Magnolia Blvd. N. Hollywood, CA 91601 818-505-0001 E-mail: guy@e51.biz Contact: Guy Paonessa Web: www.entouragestudios.com Format: digital and analog Basic Rate: please call for info ES AUDIO SERVICES 1746 Victory Blvd. Glendale, CA 91201

818-505-1007 E-mail: studio@esaudio.com Web: www.esaudio.com Contact: Donny Baker Format: Pro Tools and Logic, Analog Front End Basic Rate: Please call for current rates EXPOSITION REHEARSAL & RECORDING STUDIOS 9214 Exposition Blvd. West Los Angeles, CA 90034 310-287-1236 E-mail: contact@expositionstudios.com Web: ExpositionStudios.com Studio Specs: Control Room 20ft x 20ft Live Room 20ft x 12ft Rates: Please Call For Rates FACTS OF MUSIC PRODUCTIONS P.O. 663 Woodland Hills, CA 91365 818-888-8266 E-mail: philippe@factsofmusic.com Web: www.factsofmusic.com Contact: Philippe Willems Format: digital and analog, infinite tracks Basic Rate: varies, $75-150/hr. FIREHOUSE RECORDING STUDIOS 30 W. Dayton St. Pasadena, CA 91105 626-405-0411 Fax 626-405-0413 E-mail: jason@firehouserecordingstudios.com Web: www.firehouserecordingstudios.com Contact: Jason Format: digital and analog, 128 tracks Basic Rate: please call for info Gear: Pro Tools10 HDX-2/ 64 inputs, Avid ICON Console 48-channel, X-10 Meyer speakers with X-800 subwoofers 5.1, 16 Neve 1073 mic pre’s with EQ, Millennia HV-3D 8-channel mic pre, Avalon VT-737 mic pre/ compressor, API mic pre’s with 550A & 550B EQ’s, 4 Cal rec mic pre’s, Bosendorfer 7’4” grand piano, extensive plug-in selection. Clients: Patti Austin, Aretha Franklin, Nikki Sixx, Chick Corea, Dave Matthews, Brian McKnight, Randy Newman, Ringo Starr, Stanley Clarke, En Vogue, Natalie Cole, Chaka Khan, Donna Summer, Patti LaBelle,

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Annual Directory of Recording Studios Danger Mouse, Broken Bells, Leehom Wang, Judith Hill FOREWORD PRODUCTIONS RECORDING STUDIO W. Los Angeles 310-779-9094 E-mail: info@forewordstudio.com Web: www.forewordstudio.com Contact: Matthew Nelson Format: Pro Tools HD3 - 32 ins/16 outs (Mac Pro) Basic Rate: $45/hr. w/engineer, $350/day w/ engineer FREEDOM STUDIOS 17050 Los Alimos Granada Hills, CA 91344 818-269-7070 Web: freedomstudio.biz Format: Digital & Analog Contact: Thomas LeBlank Rates: call $40. Per Hr FRIDAY ENTERTAINMENT Sherman Oaks, CA 818-995-4642 E-mail: info@fridayentertainment.com Web: www.fridayentertainment.com Contact: Sam Dress Format: Digital Basic Rate: call for info Services: recording, mixing film editing, sound to picture. Great live room for Jazz, Folk etc. GC STUDIOS 6400 Owensmouth Ave. Woodland Hills, CA 91367 866-498-7882 E-mail: info@gcstudios.com Web: www.gcstudios.com GLENWOOD PLACE STUDIOS 619 S. Glenwood Pl. Burbank, CA 91506 818-260-9555 E-mail: kit@glenwoodstudios.com Contact: Kit Rebhun Format: digital and analog Basic Rate: call for info GOLDENTRACK STUDIO San Diego, CA 619-252-8763 E-mail: record@goldentrackstudio.com Web: www.goldentrackstudio.com, Contact: Steve Format: digital and analog, 24 tracks Basic Rate: please call for info GOLDMINE RECORDING STUDIOS 1393 Callens Rd. Ventura, CA 93003 805-644-8341 E-mail: jeff@goldminerecording.com Web: www.goldminerecording.com Contact: Jeff Cowan Format: digital and analog, 48 tracks Basic Rate: call for rates GOLD STREET Burbank, CA 91504 818-567-1911 E-mail: avpost@goldstreet.net Web: www.goldstreetmusic.com Contact: Eric Michael Format: digital, 128 tracks Basic Rate: Start $40/hr. GRANDMASTER RECORDERS LTD. 1518 N. Cahuenga Blvd. Hollywood, CA 90028 323-462-6136

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E-mail: grandmaster.recorders@gmail.com Web: www.grandmasterrecorders.com Contact: Alan Dickson Format: digital and analog, 24 tracks Basic Rate: please call for info GROOVE LAB, THE West Hills, CA 91326 818-366-1650, 818-903-0005 E-mail: olivierroulon@thegroovelab.org Web: www.thegroovelab.org Contact: Olivier Format: digital, 32+ tracks Basic Rate: call for rates HELL’S HALF ACRE Frazier Park, CA E-mail: steve@stevekravac.com Web: www.stevekravac.com Contact: Steve Format: Digital Basic Rate: $50 hr Services: Live tracking, mixing, and mastering with R.I.A.A. Gold Accredited producer/ engineer/mixer Steve Kravac. Clients: Less Than Jake, MxPx, Blink 182, 7-Seconds, Pepper, Epitaph, SideOne/Dummy, Capitol, Atlantic, A&M, Tooth & Nail HENSON RECORDING STUDIO 1416 N. La Brea Ave. Hollywood, CA 90028 323-856-6690, Fax 323-856-2712 Contact: Faryal Russell Email: faryal@hensonrecording.com Website: www.hensonrecording.com Format: SSL SL 6072E/G, 4072G+, 6056/G, 9090J, Augsperger, 8 Neve Rate: call for info HIT SINGLE RECORDING SERVICES 1935C Friendship Dr. El Cajon, CA 92020 619-258-1080 E-mail: hitsingle@earthlink.net Web: www.hitsinglerecording.com Contact: Randy Fuelle Format: digital and analog, 64 tracks Basic Rate: please call for info HOUSE OF BLUES STUDIOS 4431 Petit Ave. Encino, CA 91436 818-990-1296 E-mail: shelly@houseofbluesstudios.com Web: www.houseofbluesstudios.com Contact: Gary Bellz Format: digital and analog, 48+ tracks Basic Rate: $1,000 per day HUMAN TOUCH PRODUCTIONS STUDIO For Solo Artists, Singer/Songwriters & NonPerforming Songwriters 5066 Lankershim Blvd. North Hollywood Arts District, CA 91601 818-235-2070 E-mail: BradStanfield@gmail.com Website: BradStanfieldMusic.com Contact: Brad Format: Pro Tools HD Native Services: Affordable High-Quality Demos and Masters. In-person rate $30-$50/hr or negotiable flat rate online/by mail. Includes multi-instrumentalist producer-engineer/mixer. Live and synth instruments, pro vocalists also available. Specializing in mostly guitar-oriented music: Country/Rock/Blues/Pop, Acoustic Folk/ Amand R&B/Funk. ALSO: Adding overdubs to your recordings plus professional. Mixing, mastering and editing.

IMAGINE POST PRODUCTIONS (Recording & Mixing) 4872 Topanga Cnyn. Blvd., Ste. 406 Woodland Hills, CA 91364 310-924-7849 Contact: Chris Julian Email: info@imaginepost.com Website: www.ImaginePost.com Format: Pro Tools HD3 / Logic Rate: call for info IN FIDELITY RECORDINGS 16824 Saticoy St. Van Nuys, CA 91406 818-786-3144 Fax 818-786-3149 E-mail: david@infidelityrecordings.com Web: www.infidelityrecordings.com Format: digital and analog Basic Rate: $60/hr Equipment/Facility: Pro Tools HD combined with analog equipment, including API, Avalon, Urei, Lexicon, DBX, 1176, LA2A, Neumann and more. 1,000 sq. ft. including 16x20 tracking room, and two additional isolations. Services: We offer personalized and professional services, including recording, mixing and mastering. $600/day or $60/hour with experienced staff that treats every project with care and attention to detail. Additional: See our website for more information. Since 2002, we have worked with clients from all over the world in nearly all styles of music and at all levels of studio experience. INTIMA STUDIOS N. Hollywood, CA 310-987-3211 E-mail: omeravnimusic@gmail.com Web: under construction Format: Pro Tools 10, Tube Preamps, Neumans and nice guys. Basic Rate: $45 an hour. Comments: Its all about the people and the songs. JAGGO STUDIOS Hollywood Hills, CA 90068 323-850-1819 E-mail: studios@jaggo.com Web: www.jaggo.com/studios Format: Pro Tools HD3 Accel Basic Rate: Call us for a rate sheet JC SOUND STAGES/RECORDING STUDIOS 6670 Lexington Ave. Hollywood, CA 90038 323-467-7870 E-mail: jcinhollywood@hotmail.com Web: www.jcsoundstages.com Contact: JC Format: digital and analog, unlimited tracks Basic Rate: see website for information JEL RECORDING STUDIOS 6100 W. Coast Hwy. Newport Beach, CA 92663 949-631-4880 E-mail: shelly@jelrecording.com Web: www.jelrecording.com Contact: Shelly Guidotti Format: digital, 100+ tracks Basic Rate: please call for info J.E. SOUND Burbank, CA 323-850-0765 E-mail: jesound@jps.net Web: www.jesound.com Contact: John Format: Analog & Digital Basic Rate: Call for info

JRLDRUMS Internet Drum Sessions 818-903-3690 E-mail: johnlewis@jrldrums.com Web: www.jrldrums.com Contact: John Lewis Format: digital Basic Rate: $150-$250/song JUNGLE ROOM RECORDING STUDIO 604 1/2 Sonora Ave. Glendale, CA 91201 818-247-1991 E-mail: info@jungleroom.net Web: www.jungleroom.net Contact: Kevin Anderson Format: digital and analog, 128 tracks Basic Rate: negotiable KRIS STEVENS ENTERPRISES Calabasas, CA 91302 818-225-7585 E-mail: inquiry@kriserikstevens.com Web: www.kriserikstevens.com Contact: Christine Fletcher Format: digital and analog Basic Rate: call for info L.A. ENTERTAINMENT, INC. 7095 Hollywood Blvd., Ste. 826 Hollywood, CA 90028 800-579-9157 ext. 1 Fax 323-924-1095 E-mail: info@laeg.net Web: www.laeg.net Contact: Jim Ervin Format: digital and analog, 48 tracks Basic Rate: call for info LAKE TRANSFER RECORDING 11300 Hartland St. N. Hollywood, CA 91605 818-508-7158 E-mail: info@laketransfer.com Web: www.laketransfer.com Format: Pro Tools Basic Rate: $50. per hr LA FX RECORDING SERVICES P.O. Box 827 N. Hollywood, CA 91603 818-769-5239 Fax 818-769-7288 E-mail: lafx1@aol.com Web: www.lafx.com Contact: Dan or Anne Vicari Format: digital and analog, 24 tracks Basic Rate: please call for info Gear: LAFX Studio has a vintage API console rebuilt by Brent Averill, with 550a EQs and Neve Fying Faders. We offer Yamaha NS10s, Tannoy SGM10Bs, Genelec 1031As or Dynaudio BM15As. We have the latest Pro Tools software and offer all Waves plug-ins and others too many to list. You may use our Studer A827, Ampex 102 with 1/2-in or 1/4-in head stacks, and our extensive microphone collection. LAFX Studio has the Yamaha C7 used by Synthogy for their “Ivory Sampled Piano” software and a Hammond B3 for your tracking sessions. 5.1 setup for mixing. Services: LAFX Recording Services has successfully served the Los Angeles recording community for over 20 years. We have an extensive collection of recorders, pre-amps/ EQs, compressors, microphones, reverbs and effects available for you to rent for your studio as well as use at the LAFX studio. We offer tape baking and transfer services also. Clients: Jimi Hendrix and “Experience Hendrix,” Tom Vicari, HBO’s “The Newsroom,” The Academy Awards, Bobby Mcferrin, Grammy winner Gordon Goodwin and the

Download at www.musicconnection.com/industry-contacts Big Phat Band, Grammy winner Jose Rizo’s Mongorama and Latin All Star Band, Daniele Luppi, Starz’s “Magic City,” Robert Randolph, Wilson Phillips, Rachael MacFarlane, Cristian Castro. There are many more, too many to list after 20 busy years. Comments: Our website is LAFX.com, for booking the studio call Anne Vicari 818-7695239. LARRABEE SOUND STUDIOS 4162 Lankershim Blvd. Universal City, CA 91602 818-753-0717 Fax 818-753-8046 E-mail: info@larrabeestudios.com Web: www.larrabeestudios.com Format: digital and analog Basic Rate: call for info LAUREN ENTERTAINMENT GROUP, THE Sherman Oaks, CA 91403-3005 818-788-9784 Fax 818-788-9763 E-mail: info@laurengroup.com Web: www.laurengroup.com Contact: Len Kovner Format: digital and analog, 196+ tracks Basic Rate: please call for info LA VALLEY COLLEGE RECORDING WORKSHOP 5800 Fulton Ave. Valley Glen, CA 91401-4096 818-947-2779 E-mail: miketrombonejulian@gmail.com Web: www.thequimbyhouse.com Contact: Mike Julian Format: digital and analog, 24 tracks, Pro Tools editing Basic Rate: please call for info LITTLE BIG ROOM STUDIOS 2912 W. Burbank Blvd. Burbank, CA 91505 818-846-2991 Fax 818-846-7012 E-mail: manager@littlebigroom.com Web: www.littlebigroom.com Basic Rate: please call for info LITTLE HIPSTER MUSIC STUDIOS Van Nuys, CA 91405 818-731-1043 E-mail: contact@littlehipstermusic.com Web: www.littlehipstermusic.com Contact: David Snow Format: digital, 999 tracks Basic Rate: call for info-all instrumentation included in hourly rate. MALLEYABLE MUSIC 4950 Read Rd. Moorpark, CA 93021 805-368-1801 E-mail: mattmalley@mac.com Web: www.malleyablemusic.com Contact: Matt Format: digital, 24 tracks Basic Rate: $100/hr. MAMBO SOUND AND RECORDING 2200 W. Esther St. Long Beach, CA 90813 562-432-9676 E-mail: steve@macwestgroup.com Web: www.mambosoundandrecording.com Contact: Steve McNeil Format: digital and analog, 48 tracks Basic Rate: call for info MARC DESISTO PRODUCTIONS Sherman Oaks, CA 818-259-4235 E-mail: marcdmix@gmail.com

Web: www.marcdesisto.com Contact: Marc DeSisto Format: Pro Tools HD Basic Rate: please call for info MARC GRAUE VOICEOVER RECORDING STUDIOS 3421 W. Burbank Blvd. Burbank, CA 91505 818-953-8991 E-mail: info@fixinthemix.com Web: www.fixinthemix.com Contact: Marc Graue Format: digital and analog Basic Rate: please call for info MARTINSOUND RECORDING STUDIOS 1151 W. Valley Blvd. Alhambra, CA 91803 800-582-3555 626-281-3555 E-mail: info@martinsound.com Web: www.martinsound.com Contact: Dan Blessinger Format: digital and analog, 32 tracks Basic Rate: please call for info MAR VISTA RECORDING STUDIO Mar Vista, CA 310-467-0889 E-mail: remmusic@verizon.net Contact: Jerry Basic Rate: Please call for information MARVINBASS DIGITAL AUDIO 21801 Burbank Blvd., Unit 81 Woodland Hills, CA 91367 818-906-7712 E-mail: marvinbass@mac.com Contact: Marvin Sperling Format: Pro Tools HDX Basic Rate: $45/hr. MASTER GROOVEn STUDIOS / RADD SOUND Northridge, CA & Nashville, TN 818-830-3822 E-mail: davejavu@att.net Web: www.mastergroovestudios.com Contact: David Morse or John Prpich Format: digital, unlimited tracks Basic Rate: please call for rates, discounts to local acts, from $35/hr. MAURICE GAINEN PRODUCTIONS 4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027 323-662-3642 E-mail: maurice@mauricegainen.com Web: www.mauricegainen.com Contact: Maurice Format: digital and analog, unlimited tracks Basic Rate: call for info. Indie rates avail. Gear: Pro Tools HD, Mac Intel 8 Core, Logic Pro, Yamaha O2R Mixer, Waves Platinum TDM and Restoration, Reason, Spectrasonics, Gigapiano, Auto-Tune, Bomb Factory and many other plug-ins, soft synths and EFX. Avalon 737, ART Dual-MP DBX 160X & other outboard gear. Excellent mics, Genelec speakers w/ subwoofer, acoustic piano, 4 ADAT’s, much more. Special Services: start to finish CD production. CD Mastering. Top session players at discount rates. Full-band recording. Vocalist friendly, Berklee trained producer-musicianengineer. Clients: Starbucks (mastering for 180 compilations), Disney, EMI, UNI, Warner, Sony, Alex Skolnick, Andy McKee, The Hues Corp (“Rock The Boat”) Comments: 24 years in the same location. Comfortable and casual hard-working

environment. Consistent and dependable. Competitive rates. MAXIMUS MEDIA, INC. 2727 N. Grove Industrial Dr., Ste. 111 Fresno, CA 93727 559-255-1688 E-mail: jeff@maximusmedia.net Web: www.tothemax.com Contact: Jeff Hall Format: digital and analog Basic Rate: please call for info MELODY MAKER PRODUCTIONS 453 S. Spring St., Ste. 937 Los Angeles, CA 90013 310-283-7485 E-mail: info@melodymakerproductions.com Web: http://melodymakerproductions.com Contact: David A. Gielan Format: Pro Tools, Logic Basic Rate: Call For Information MELROSE MUSIC STUDIOS (on the Raleigh Studios Lot) 5254 Melrose Blvd. Hollywood, CA 90038 818-216-5409 E-mail: melrosemusic@mac.com Web: www.melrosemusicstudios.com Contact: David Williams Format: analog and digital processing Basic Rate: recording: Studio A $60/hr, Studio B $45/hr. Special prices for day rates. METROSTUDIOS San Fernando Valley, CA 818-366-5588 E-mail: info@metrostudios.com Web: www.metrostudios.com Basic Rate: call for info MIX ROOM, THE 2940 W. Burbank Blvd. Burbank, CA 91505 818-846-8900 E-mail: info@themixroom.com Web: www.themixroom.com Format: digital and analog, 128 tracks Basic Rate: please call for info M L E STUDIOS P.O. Box 93008 Hollywood, CA 90093-0008 866-246-8846 E-mail: mail@mlestudios.com Web: www.mlestudios.com Contact: Col. Darryl Harrelson Format: digital/analog, Pro Tools HD2 Accel Basic Rate: $45/hr. or flat rate per song/ project MORNING VIEW STUDIOS P.O. Box 4225 Malibu, CA 90265 310-457-9901 Cell 310-924-9697 Fax 310-457-5382 E-mail: sternalbert@gmail.com Web: www.morningviewstudios.com Contact: Shawn Stern Format: digital and analog, 92 tracks Basic Rate: please call for info MOUNTAIN DOG MUSICWORKS 485 Ventura Ave., Ste. E3 Oak View, CA 93022s 805-649-8500 E-mail: tim@mountaindogmusic.com Web: www.mountaindogmusic.com Contact: Tim Frantz Format: digital Basic Rate: please call for info

MR. FANTASTIC MUSIC Los Angeles, CA 718-375-4446 Fax 718-715-0346 E-mail: info@mrfantasticmusic.com Web: mrfantasticmusic.com Contact: Adam or Peter Format: digital, 128 tracks Basic Rate: project-by-project basis NEW MILLENNIUM RECORDS GROUP P.O. Box 1070 Hollywood, CA 90078 323-962-5960 E-mail: info@nmrgonline.com Web: www.nmrgonline.com Contact: Tim Simms Format: digital, unlimited tracks Basic Rate: negotiable rates NIGHTBIRD RECORDING STUDIOS At The Sunset Marquis Hotel & Villas 1200 Alta Loma Rd. W. Hollywood, CA 90069 310-657-8405 E-mail: manager@nightbirdrecordingstudios.com Web: www.nightbirdrecordingstudios.com Contact: ED Format: ProTools 10 HD6 Accel, 7.1 Surround Video: Final Cut Studio, 102-inch Projection Screen for Viewing when Mixing Audio to Picture Basic Rate: call for prices NIGHT SKY SOUND 3420 Laketree Dr. Fallbrook, CA 92028 760-731-6434 E-mail: steve@nightskysound.com Web: www.nightskysound.com Contact: Steve Donato - Owner, Producer/ Engineer Format: MOTU DP8/Logic/Pro Tools/Apogee & Studer A827 Gold analog Basic Rate: Contact us to discuss your project NRG RECORDING SERVICES 11128 Weddington St. N. Hollywood, CA 91601 818-760-7841 E-mail: casey@nrgrecording.com Web: www.nrgrecording.com Format: digital and analog Basic Rate: $1600 per 12-hr. lockout including assistant engineer and Pro Tools. OC RECORDING COMPANY, THE 3100 W. Warner Ave. Ste. 7 Santa Ana, CA, 92704 323-244-9794 Contact: Asaf Fulks (Engineer & Producer) E-mail: info@ocrecording.com, info@ hiphopbeatz.com, Web: www.ocrecording.com, www. hiphopbeatz.com, www.asafproductions.com Format: Pro Tools HD 11, Neve 1073, Sony C-800G, SSL, API, Avalon, Neumann, Manley, Tube Tech Styles: All genres specializing in pop, hiphop, R&B, electronic, EDM, reggae, rock, voiceovers and ADR Services: Recording, mixing, mastering, music production, post production and accredited audio school Rates: Please contact us OCEAN STUDIOS BURBANK 435 S. San Fernando Blvd. Burbank, CA 91502 818-955-9010 E-mail: info@oceanstudiosburbank.com

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Annual Directory of Recording Studios Web: www.oceanstudiosburbank.com Format: digital and analog Basic Rate: please call for info OCEAN WAY RECORDING, INC. 6050 W. Sunset Blvd. Hollywood, CA 90028 323-467-9375 Fax 323-467-3962 E-mail: rob@oceanwayrecording.com Web: www.oceanwayrecording.com Contact: Rob Goodchild Format: digital and analog, 96 tracks Basic Rate: please call for info OCEAN WAY’S RECORD ONE STUDIO Sherman Oaks, CA 818-788-7751 Fax 818-788-3528 E-mail: rob@oceanwayrecording.com Web: www.oceanwayrecording.com Contact: Rob Goodchild Format: digital and analog, 96 tracks Basic Rate: please call for info

11050 White Rock Rd. Ste. 150 Rancho Cordova, CA 95670 PLATINUM STUDIO Van Nuys, CA 91411 818 994-5368 E-mail: paulhilton123@sbcglobal.net Web: www.paulhiltonmusic.net Contact: Paul Hilton Format: digital, 200 stereo tracks Basic Rate: please call for info, $35/hr. PLAYBACK RECORDING STUDIO 400 E. Gutierrez St. Santa Barbara, CA 93101 805-730-7529, 917-331-0429 Web: www.playbackrecording.com P.M. III PRODUCTIONS Studio City, CA 818-763-3053 E-mail: p.m.iii@sbcglobal.net Web: www.pm3prod.com Contact: Paul Format: Pro Tools HD Basic Rate: $35/hr.

PACIFIQUE RECORDING STUDIOS 10616 Magnolia Blvd. N. Hollywood, CA 91601 818-761-8042 Fax 818-761-9277 E-mail: pacifiquestudios@yahoo.com Web: www.pacifiquestudios.com Format: digital and analog, 64 tracks Basic Rate: $200/hr.

PPL RECORDED MUSIC COMPANY (A PPL Entertainment Group Company) 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 310-860-7499, 818-506-8533 E-mail: pplzmi@aol.com Web: www.pplzmi.com Contact: Jim Sellavain Format: Analog, digital, AVID, Apple Final Cut, Pro Tools, DVD authoring Basic Rate: please call for info

PARAMOUNT RECORDING STUDIOS 6245 Santa Monica Blvd. Los Angeles, CA 90038 323-465-4000 Fax 323-469-1905 E-mail: info@paramountrecording.com Web: www.paramountrecording.com Format: digital and analog, 96+ tracks Basic Rate: call for rates PARK HILL MUSIC P.O. Box 5247 Hemet, CA 92544 951-652-8742 E-mail: galletta@parkhillmusic.com Web: www.parkhillmusic.com Contact: Eric Galletta Format: digital and analog, 48 tracks Basic Rate: negotiable call us PENGUIN RECORDING P.O. Box 91332 Pasadena, CA 90041 323-259-8612 Fax 323-259-8613 E-mail: john@penguinrecording.com Web: www.penguinrecording.com Contact: John Strother Format: digital and analog, 48 tracks Basic Rate: please call for info PETTING:ZOO MUSIC, INC. Topanga, CA 90290 310-455-4551 Studio 310-980-1193 Cell E-mail: bernhardpenzias@mac.com Web: https://www.facebook.com/ PettingZooMusicInc Contact: Bernhard Penzias Format: Pro Tools HD3, Logic Studio, Analog Cassette Basic Rate: $35/hr. PHONOCENTRIC STUDIO San Fernando Valley 818.489.1911 E-mail: michael.phonocentric@icloud.com Web: www.phonocentric.com Contact: Michael E. “Hutch” Hutchinson thingsihear.com Format: Hybrid Analog/Digital-Tube Pre’sAnalog Summing Pro Tools-Logic-Motu-Drum Booth-Vox Booth-Gtr Iso Services: mixing, mastering, recording, post, surround Basic Rate: Hourly/Daily Rates available. Call for Information PINNACLE COLLEGE 1000 S. Fremont Ave., #14 Alhambra, CA 91803 877-206-6206 E-mail: admin@pinnaclecollege.edu Web: www.pinnaclecollege.edu

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Additional location:

PACIFICA STUDIOS 2620 La Cienega Ave. Los Angeles, CA 90034 310-559-9777 E-mail: glnish3@gmail.com Contact: Glenn Format: Pro Tools Basic Rate: please call

PANGEA P.O. Box 591 Topanga, CA 90290 310-455-2356 E-mail: pangea@verizon.net Web: www.pangeaproduction.com Format: digital and analog, 48 tracks Basic Rate: please call for info

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Format: digital and analog, 48 tracks Basic Rate: please call for info

PRIVATE ISLAND TRAX 1882 S. Cochran Ave. Los Angeles, CA 90019 323-856-8729 Fax 323-965-8732 E-mail: info@privateislandtrax.com Web: www.privateislandtrax.com Format: digital, Pro Tools Basic Rate: please call for info PRODUCTION COMPANY RECORDING, MASTERING & REHEARSAL STUDIO, THE 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: rockzionrecords@rockzion.com Web: rockzion.com/productionco.html Format: 2-inch Ampex 16 track and Trident Mixing Console, Pro Tools and Analog Mastering Basic Rate: $50 per hour PYRAM-AXIS PRODUCTIONS Redondo Beach, CA 90278 310-869-8650 E-mail: music@pyramaxis.com Web: http://www.pyramaxis.com Contact: Jim D. Format: ProTools HD, Logic Services: world class production, mixing, mastering, music for media Basic Rate: $65 Hourly, Project Rates - Call for details! 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 Format: digital, 192 tracks Basic Rate: please call for info READY MIX MUSIC 5635 Lankershim Blvd. N. Hollywood, CA 91601 818-388-2196 E-mail: studio@readymixmusic.com Web: www.readymixmusic.com Contact: Paul or Sarah Format: Pro Tools Basic Rate: Call for info RECORD PLANT 1032 N. Sycamore Ave. Hollywood, CA 90038 323-993-9300 Fax 323-466-8835 Contact: Sayoko Rutledge E-mail: sayoko@recordplant.com Web: www.recordplant.com Format: digital and analog Basic Rate: please call for info RESONATE MUSIC & SOUND 449 S. San Fernando Blvd. Burbank, CA 91502 818-567-2700 E-mail: inquire@resonate.la

Download at www.musicconnection.com/industry-contacts Web: http://www.resonate.la Format: Digital & Analog Basic Rate: call for info REVOLUTION 9 RECORDING STUDIOS 1041 N. Orange Dr. Hollywood, CA 90038 323-405-7389 E-mail: danny@rev9recording.com Web: www.rev9recording.com Contact: Daniel Balistocky Format: Pro tools 9 and Cubase 7.5 Basic Rate: $550 for an 8 hour day and $750 for an unlimited day ROBERT IRVING PRODUCTIONS, INC. Woodland Hills, CA 91367 818-224-3633 E-mail: rirving@pacbell.net Web: www.robertirving.com Contact: Robert/Tim Format: Pro-Tools HD-3, Digital Performer or Logic Basic Rate: flexible Notes: 3 great live rooms, Yamaha DC-7 Grand Piano, vintage mic collection ROCK GARDEN CONSPIRACY, LLC RAW WOOD STUDIOS Acton, CA 93510 661-269-5507 Rick Tucker; Studio 203-243-6457; Cell Ed Cohen E-mail: Ed@rockgardenconspiracy.com Rick@rockgardenconspiracy.com Web: www.rockgardenconspiracy.com Contact: Ed Cohen/Rick Tucker Format: Pro Tools HD 11 surround Basic Rates: Call for rates ROCKYROADRANCH PRODUCTIONS 28111 Oak Springs Cyn. Rd. Santa Clarita, CA 91387 661-510-6408 E-mail: scotty@rrrprod.com Web: www.rrrprod.com Contact: Scotty Manzo Format: digital and analog, 64 tracks Basic Rate: call for rates

818-775-1388 Contact: Jeff E-mail: info@rourketown.com Web: www.rourketown.com Format: digital, unlimited tracks Basic Rate please call for info RPD STUDIOS 1842 Burleson Ave. Thousand Oaks, CA 91360 805-496-2585 E-mail: randy@rpdstudios.com Web: www.rpdstudios.com Contact: Randy Format: digital, 192 tracks Basic Rate: $50/hr. SAGE AND SOUND RECORDING 1511 N. Gordon St. Hollywood, CA 90028 323-469-1527 E-mail: info@sageandsound.com Web: www.sageandsound.com Contact: Studio Mgr., Bryan McCurry Format: Protools, 24 Track Basic Rate: call for info SANCTUARY SOUND 7053 Rubio Ave. Van Nuys, CA 91406 818-989-9997 E-mail: foz@barryfasman.com Web: www.barryfasman.com Contact: Barry Fasman Format: digital, 96 tracks Basic Rate: please call for info SANTA BARBARA SOUND DESIGN 33 W. Haley St. Santa Barbara, CA 93101 805-965-3404 E-mail: dom@tekmstr.com Web: www.sound-design.com Contact: Dom Camardella Format: digital and analog, 192 tracks Basic Rate: please call for info

ROSE STUDIOS El Centro, CA 760-352-5774 E-mail: info@rosestudios.net Web: www.roserecordingstudios.com Contact: Danny Berg Format: digital, 48 tracks Basic Rate: please call for info.

SEAHORSE SOUND STUDIOS 1334 S. Grand Ave. Los Angeles, CA 90015 909-210-2317 E-mail: info@seahorsesoundstudios.com Web: www.seahorsesoundstudios.com Contact: Samur Format: analog and digital, 16 tracks Basic Rate: $30/hr.

ROURKETOWN STUDIOS 17521 Rayen St. Northridge, CA 91325

SELAH RECORDING STUDIO 220 E 4th St. Santa Ana, CA 92701

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Annual Directory of Recording Studios 714-722-1937 E-mail: selahstudio@aim.com Web: http://www.selahrecording.com Contact: Dave Gehlhar Format: digital and analog, 48 tracks Basic Rate: please call for info SILVER FERN STUDIOS Altadena, CA 626-399-1573 E-mail: matt@silverfernstudios.com Web: www.silverfernstudios.com Contact: Matthew Moore Format: Pro Tools 8 Basic Rate: $40/hr.& $60./hr SKIP SAYLOR P.O. Box 280010 Northridge, CA 91328-0010 818-300-0400 Fax 818-881-7092 E-mail: skipsaylor@gmail.com Web: www.skipsaylor.com Contact: Skip Saylor Format: digital and analog, HDX Basic Rate: call for info Gear: SSL 4100G+, Pro Tools HDX, Yamaha grand piano, Hammond B3, TAD, Lexicon 480L,PCM70, PCM42 (4), AMS 1580 (2), AMS RMX-16 (2), Yamaha, Pultec EQP1A (2), Neve, MicPre/EQ’s, API (15), EMT, Apogee, GML, Avalon, Distressors (4), Aphex, Manley, Roland, TC Electronics 2290, Fireworx, M3000, Eventide H3000, Eclipse, Instant Flanger, Urei LA2A, 1176LN, LA3A, DBX, PanScan, Ampex ATR, BASE and more. Services: studio is located in a secluded private environment with living accommodations for bands/artists on property Clients: Foo Fighters, Glasses Malone w/ Kendrick Lamar, Booker T. Jones, Mindi Abair, Vintage Trouble, Snoop Dogg, The Game, B.o.B, Michael Jackson, Faith Evans, Mary J. Blige, Pink, Bootstraps, Goo Goo Dolls, Malcolm-Jamal Warner, Gregg Alexander, Jonathan Butler, Mali Music, Guns N’ Roses, Santana, k.d. lang, Tupac, Ice Cube, R. Kelly, Avril Lavigne, Bobby Brown, Israel Houghton, Jonny Lang, Rodney O & Joe Cooley, Too Short, E-40, W.C., Krazie Bone, Tyga, KRSONE, K. Michelle, Trey Smoov, Sardar, Brian May, Boyz II Men, Death Cab For Cutie, Everclear, Jenni Rivera, Juan Rivera, Ana Barbara, Mila J, Common Kings, Parenthood, Private Practice, Iron Man 2, FIFA World Cup Comments: Facility features a large high ceiling tracking room and excellent mix room built/owned by a 30+year veteran of the recording industry.

Contact: Zoran T. Format: digital and analog, 64 tracks, Neve analog mixing! Basic Rate: call for rates SONIC FUEL STUDIOS 150 Sierra St. El Segundo CA 90245 310-499-9274 E-mail: team@sonicfuelstudios.com Web: www.sonicfuelstudios.com Contact: Kyrina Bluerose Format: Pro Tools, Euphonix board Rates: call for information Services: Sonic Fuel Studios is a state-of-theart, eco-friendly tracking and mixing facility specializing in film, television, and interactive media music. SONIC JUNGLE STUDIOS 6143 Morella Ave. N. Hollywood, CA 91606 619-817-1432 E-mail: filmscores55@yahoo.com Web: https://www.facebook.com/LABongoBoy Contact: Steve Reid, Martin Delgado Format: digital and analog, 64 and 48 tracks Basic Rate: please call for info SONIKWIRE STUDIOS Irvine, CA 949-851-9340 E-mail: alex@sonikwire.com Web: www.sonikwire.com Contact: Alex Bush Format: digital and analog, 60 tracks Basic Rate: call for info SONORA RECORDERS 3222 Los Feliz Blvd. Los Angeles, CA 90039 323-663-2500 E-mail: ductape@aol.com Web: www.sonorarecorders.com Contact: Richard Basic Rate: call for information SOTTO VOCE STUDIO Sherman Oaks, CA 91423 818-694-3052 E-mail: info@sottovocestudio.com Web: www.sottovocestudio.com Contact: Shaun Drew Format: digital, unlimited tracks, albums/film/TV Basic Rate: call for rates

SLY DOGGIE PRODUCTIONS Reseda, CA Contact: Christian Davis E-mail: SlyDoggiemiddleman@gmail.com Web: www.slydoggie.com Format: digital 64 tracks plus Basic rate: check webpage

SOUNDCUBED STUDIOS 7080 Hollywood Blvd., Ste. 1017 Hollywood, CA 90028 310-880-1292 E-mail: info@sound3studios.com Web: www.sound3studios.com Contact: Myke Aaron Format: digital, HD3 Basic Rate: negotiable

SONG-HAVEN 10410 Hillhaven Ave. Tujunga, CA 91042 818-951-6345 E-mail: studio@song-haven.com Web: www.song-haven.com Contact: Steffen Presley Format: digital, 64 tracks Basic Rate: $35/hr.

SOUND IMAGE 15462 Cabrito Road Van Nuys, CA 91406 805-231-5728 E-mail: sound_image@msn.com Web: www.soundimage.us Contact: Melody Carpenter Format: digital and analog Basic Rate: please call for info

SONIC FARM PRODUCTIONS 310-402-2390 or 604-522-2646 E-mail: zoran@sonicfarm.com Web: www.sonicfarm.com

SOUND MATRIX STUDIOS 18060 Newhope St. Fountain Valley, CA 92708 714-402-7450 Fax 714-437-9877

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E-mail: chrismatrix@mac.com Web: www.soundmatrix.com Contact: Chris Whiting Format: Pro Tools HD digital, 192 tracks Basic Rate: $50- 75/hr. package deals available SOUNDMOVES PRODUCTION STUDIOS Burbank, CA 818-843-3393 E-mail: michael@woodrumproductions.com Web: www.soundmovesaudio.com Contact: Michael Woodrum Format: digital and analog, unlimited trks. Basic Rate: please call for info SOUND OASIS STUDIO Sherman Oaks, CA 818-385-1775 E-mail: info@soundoasisstudio.com Web: www.soundoasisstudio.com Contact: Lance Crane Format: digital, 200+ tracks Basic Rate: call or see web SOUND-TECH STUDIO 24300 Country Rd. Moreno Valley, CA 92557 951-243-6666 E-mail: soundtechstudio@yahoo.com Web: https://www.facebook.com/ soundtechmusic Contact: Allan Johnson Basic Rate: please call for info S.R.S./ HIT RECORDS NETWORK P.O. Box 6235 Santa Barbara, CA 93160 805-964-3035 Contact: Ernie Orosco, Greg Lewolt or Cory Orosco Web: www.members.tripod.com/tc_67 Format: digital and analog, 35 tracks Basic Rate: please call for info STAGG STREET STUDIO 15147 Stagg St. Van Nuys, CA 91405 818-989-0511 E-mail: melody@staggstreetstudio.com Web: www.staggstreetstudio.com Contact: Melody Carpenter Format: Pro Tools HD3 Basic Rate: please call for info STEAKHOUSE STUDIO, THE 5161 N. Cartwright Ave. N. Hollywood, CA 91601-4075 818-985-2620, 818-802-0732, E-mail: kelle@steakhousestudio.com Web: steakhousestudio.com Contact: Kelle Musgrave Basic Rate: please call for info STEPPINGOUT PERFORMING ARTS & RECORDING STUDIO 11405 E. Firestone Blvd., Ste. E Norwalk, CA 90650 562-929-1050 E-mail: inquiry@steppingoutstudio.com Web: www.steppingoutstudio.com Contact: Steve Smith Format: digital Basic Rate: please call for info STEWART SOUND 204 N. Broadway, Ste. N Santa Ana, CA 92701 714-973-3030 E-mail: cindy@stewartsound.com Web: www.stewartsound.com Contact: Sarah

Format: digital and analog Basic Rate: call for info STUDIO 47 817 N. Vine St. Los Angeles, CA 90038 323-993-3179 E-mail: jeff.surga@promusic47.org Web: promusic47.org/studio.htm Contact: Jeff Surga Format: digital, 48 tracks Basic Rate: please call for info STUDIO 770 770 S. Brea Blvd. #218 Brea, CA 92821 714-672-1234 E-mail: info@studio770.com Web: www.studio770.com Contact: Shantih Haast Format: Pro Tools HD Basic Rate: call for current rates STUDIO 5109 1110 N Western Ave., #206 Hollywood, CA 90029 213-369-7094 E-mail: info@studio5109.com Web: www.studio5109.com Contact: Mike Wolf Format: digital and analog, 128 tracks Basic Rate: call for rates and discount blocks Gear: Digidesign ProTools HD3 Acell, Control 24, 2 192 I/O’s with 24 Analog inputs, Sync I/O, Extensive Plug-ins, KRK V8 & V12Sub, Avalon VT737, Lexicon PCM 90, PCM 60, Studer A-80 MkIV 2” reel to reel, Also 1/2” 8-trk, and 1/4” 2-trk. Neumann, AKG, Sennheiser, Shure mics Services: live drum tracking, expert vocal tuning, mixing, mastering, SFX library, voice over, analog tape transfer to Pro Tools Clients: Sony, Epitaph, Interscope, E2 Music Group, Sanctuary Urban Music, Artists DirectRadar Records, The Ultimate Group, TVT, SST, Mark Lennon, Kim Fowley Comments: Top Pro Quality at discount prices, comfortable, FWY Close. 24/7 with secure parking. For more info see our website: www.studio5109.com STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 Fax 818-761-4744 E-mail: eharrison@studiocitysound.com Web: www.studiocitysound.com Contact: Estelle Harrison (Manager) Format: digital (256 tracks) and analog (24 track 2-inch) Basic Rate: $75-125/hr. Gear: Pro Tools HDX, Avid HD I/O’s, Otari MX-80 2-inch 24-track, Inward Connections, Tree Audio, Neve, API, UREI, ADL, Barefoot, Quested, Neumann: U47, M149s, U87s, Sony C800G, Bock 251, Royer, Coles, AKG, Yamaha C5 Grand Piano, Hammond B3 w/ Leslie Clients: Rod Stewart, Kelly Clarkson, Aloe Blacc, Rixton, Jason Derulo, Natasha Bedingfield, T.I., Warren G, No Doubt, Eric Benet, Chuck Negron, Keith Richards, Eric Clapton, Willie Nelson, Ryan Adams, Shaggy, Bootsy Collins, The Roots, Bonnie Raitt, Toots and The Maytals, Phantom Planet, Brian Setzer, Josh Freese, Weezer, Limp Bizkit, Vertical Horizon, Bella Thorne, A Perfect Circle, Quadron Services: Music Production: Tracking, Grammy award-winning mixing, mastering, producing, arranging, programming, studio musicians. Post Production: ADR, ISDN, voice overs, video editing. Mobile Recording: HD

Download at www.musicconnection.com/industry-contacts multi-camera video package capturing & live streaming in the studio or on location. Comments: Studio City Sound is a fullservice recording studio, owned and operated by Grammy award-winning mixer Tom Weir. SCS has three fully equipped studios, with a spacious tracking room, iso rooms, and a world-class blend of state of the art and vintage gear. STUDIO DEE 3306 Glendale Blvd., Ste. 4 Los Angeles, CA 90039 323-662-0512 E-mail: hueydee1234@gmail.com Contact: Huey Dee Format: digital and analog Basic Rate: please call for info STUDIO MALIBU 22509 Carbon Mesa Rd. Malibu, CA 90265 310-571-LEVY (5389), Intl. Calls: 310-497-8011 E-mail: info@studiomalibu.com Web: studiomalibu.com Format: ProTools HD10 Basic Rate: call for rates STUDIO TRILOGY 1160 Bryant St. San Francisco, CA 94103 415-558-7100 E-mail: info@studiotrilogy.com Web: www.studiotrilogy.com Contact: Cindy MSherry Format: Pro-Tools HD-3, 24 Track, Logic 9000K Basic Rate: please call for info STUDIO WEST OF SAN DIEGO 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497 Fax 858-592-9580 E-mail: hunter@studiowest.com Web: studiowest.com Web: www.studiowest.com Format: SSL, Neve, ICON, Pro Tools HD6, Surround Sound, ISDN, Phone-Patch, ADR Basic Rate: call for rates SUBURBAN SOUL STUDIOS, LLC Torrance, CA 90505 310-891-0006 E-mail: info@suburbansoulstudios.com Web: www.suburbansoulstudios.com Basic Rate: call for rate information SUNBURST RECORDING 10313 W. Jefferson Blvd. Culver City, CA 90232-3511 310-204-2222 E-mail: info@sunburstrecording.com Web: www.sunburstrecording.com Contact: Bob Wayne Format: digital, Pro Tools HD 3 and five ADATs; analog 2” 24 track and 1/4” 2 track both with Dolby SR. Basic Rate: call for rate information SUNSET SOUND RECORDERS, INC. & THE SOUND FACTORY (Studio A) 6650 Sunset Blvd. Hollywood, CA 90028 323-469-1186 Fax 323-465-5579 E-mail: mail@sunsetsound.com Web: www.sunsetsound.com Format: digital and analog, 48 tracks Basic Rate: call for rates SUNSPOT PRODUCTIONS 912 Glendon Way

Alhambra, CA 91803 323-574-1110 E-mail: ricklawndale@yahoo.com Web: sunspotprod.com Contact: Rick Lawndale Format: Pro Tools, 32 tracks Basic Rate: call for rate information SU-ZZZ PLAYHOUSE STUDIOS P.O. Box 2888 Malibu, CA 90265 310-860-7499 Fax 310-860-7400 E-mail: pplzmi@aol.com Contact: Jake Nevada Format: Analog, digital, Avid, Final Cut, Pro Tools, DVD authoring SWING HOUSE REHEARSAL & RECORDING 7175 Willoughby Ave. Los Angeles, CA 90046 323-850-4990 E-mail: info@swinghouse.com Web: www.swinghouse.com Format: digital, 24 tracks Basic Rate: please call for info TK REHEARSAL / WLA 1939 Pontius Ave. W. Los Angeles, CA 90025 310-876-9666 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Boom TK REHEARSAL / NOHO 12003 Vose St N. Hollywood, CA 91605 310-876-9666 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Boom TK REHEARSAL / VEGAS 3311 Meade Ave Las Vegas, NV 89102 702-303-4094 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Jimi THETA SOUND STUDIO 2219 W. Olive Ave., #226 Burbank, CA 91506 (mailing address - call for appt.) 818-955-5888 Contact: Randall Michael Tobin E-mail: studio@thetasound.com Web: www.thetasound.com Basic Rate: call for rates Gear: Yes... but it’s not about the gear. It’s about getting the sound you want! Services: Full service record production and engineering by Randall Michael Tobin Clients/Projects: Art Podell “From the Village to the Canyon” (featured at the Grammy Museum Laurel Canyon exhibit); Amy “Vocalessence”; Mel Carter “The Other Standards”; Ray Manzarek “The Doors: Myth and Reality - the spoken word history”; Bettie Ross “A Magical Time of Year”; Susan Kohler “Just Harold”; Yve Evans “4 JAZ C ME”; Katheryne Levin “At the Corner of God and Broadway”; Randall Michael Tobin “The Snow Queen Ballet” (Original Soundtrack) THRESHOLD SOUND + VISION 2114 Pico Blvd. Santa Monica, CA 90405 310-566-6677 Fax 310-314-3826 E-mail: todd@thresholdsound.com

Web: www.thresholdsound.com Contact: Todd Bergman Format: digital and analog, 64 tracks Basic Rate: call for info

Web: www.trackrecordstudios.com Contact: Mike Format: digital and analog, 120 tracks Basic Rate: call for info

THUD STUDIOS II RECORDING STUDIO 5430 Vineland Ave. N. Hollywood, CA 91601 818-378-8162 Web: www.thudstudios.com Contact: Jeff Abercrombie Services: Budget recording studio Basic Rate: Call for info

TRACK STAR STUDIOS 7242 University Ave. La Mesa, CA 91942 619-697-7827 Contact: Josquin des Pres E-mail: info@trackstarstudios.com Web: www.trackstarstudios.com Basic Rate: Call for rates

TIMEART STUDIO Studio City, CA 818-980-2840, Fax 818-760-4385 Web: www.timeart.us Format: Digital, Pro Tools 9, DP7 Basic Rate: $40/hr.

TRAIN TRACKS STUDIOS 213 Agostino Rd. San Gabriel, CA 91776 626-291-5100 E-mail: info@traintraxstudios.com Web: www.traintraxstudios.com Contact: Alex Truberg Format: digital Basic Rate: please call for info

TITAN MUSIC, INC. 13547 Ventura Blvd. Sherman Oaks, CA 91423 818-990-6992 E-mail: Titanrecording@yahoo.com Web: www.titanrecording.com Format: digital and analog, 64+ tracks Basic Rate: please call for info TODD-AO SCORING 2901 West Alameda Ave. Burbank, CA 91505 818-295-5300 Web: www.toddao.com Contact: dlim@toddao.com Format: digital and analog Basic Rate: please call for info Additional locations: 900 Seward St. Hollywood, CA 90038 323-962-4000 3000 Olympic Blvd. Santa Monica, CA 94040 310-315-5000 TOTAL ACCESS RECORDING STUDIOS 612 Meyer Ln., Ste. 18 Redondo Beach, CA 90278-5261 310-376-0404 E-mail: totalaccessrecordingstudio@me.com Web: www.facebook.com/Total.Access. Recording Contact: Wyn Davis - Adam Arnold Format: digital and analog, unlimited tracks Basic Rate: all kinds of custom project rates - call for info. TRACK ENTERTAINMENT STUDIOS 13848 Ventura Blvd., Ste. 4D Sherman Oaks, CA 91423 818-259-7244 E-mail: trackentertainmentstudiost@yahoo.com Web: http://fb.com/trackentertainmentstudios Contact: Alexander Track, producer/engineer, Grammy Winner Format: 4 Pro Tools suites, music production and recording, post production, mixing and mastering, 7.1 surround sound, songwriting, composing, arranging, film scoring, commercials, live drums etc. Basic Rate: please call for info TRACK RECORD STUDIOS 5102 Vineland Ave. N. Hollywood, CA 91601 818-761-0511 Fax 818-761-0539 E-mail: info@paramountrecording.com

TRINITY SOUND COMPANY 1614 S. Carlos Ave. Ste. B Ontario, CA. 91761 909-923-6640 E-mail: info@trinitysoundcompany.com Web: http://trinitysoundcompany.com Basic Rate: Please call for info TRS WEST Sherman Oaks, CA 805-876-4520 E-mail: jayruston@me.com Web: www.jayruston.com Contact: Jay Ruston Basic Rate: call for info TRU-ONE RECORDS AND REHEARSALS 2100 E. Howell St., 208 Anaheim, CA 92086 714-634-4678 E-mail: truonerecords@aol.com Web: www.truonerecords.com Contact: Robert Trujillo Format: Live rehearsal recordings for only $25 Basic Rate: please call for info TUTT & BABE MUSIC 6506 Penfield Ave. Woodland Hills, CA 91367 818-621-3181 E-mail: guymarshallmusic@hotmail.com Contact: Guy Marshall Format: Pro Tools Basic Rate: per song, no clocks, no worries UNCLE STUDIOS 6028 Kester Ave. Van Nuys, CA 818-989-5614 E-mail: uncleesca@sbcglobal.net Web: www.unclestudios.com Contact: Scott Walton Format: digital, 24 at a time 126 playback Basic Rate: please call for info UNDERCITY RECORDERS N. Hollywood, CA 91601 818-623-9998 E-mail: info@undercityrecordings.com Web: www.undercity.com Contact: Baron Bodnak Format: digital and analog, 128 tracks Basic Rate: please call for info UNISON MUSIC STUDIOS P.O. Box 4457 Valley Village, CA 91617

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Annual Directory of Recording Studios 818-505-3629 E-mail: goodman@unisonmusic.com Web: www.unisonmusic.com Contact: Mitch Goodman Format: digital and analog Basic Rate: call for info VALLEY CENTER STUDIOS 5928 Van Nuys Blvd. Sherman Oaks, CA 91401 818-989-0866 E-mail: info@valleycenterstudios.com Web: www.valleycenterstudios.com Format: digital and analog, 64 tracks Basic Rate: call for info VENETO WEST 4712 Admiralty Way, Ste. 536 Marina del Rey, CA 90292 818-415-7674, 310-200-9010 E-mail: rcm@venetowest.com, Liz@ lizredwing.com Web: www.venetowest.com Contact: Liz Redwing, Ronan Chris Murphy Format: digital and analog Basic Rate: call for info VILLAGE (RECORDER), THE 1616 Butler Ave. Los Angeles, CA 90048 310-478-8227 E-mail: info@villagestudios.com Web: www.villagestudios.com Format: digital and analog Basic Rate: please call for info VIP RECORDING 22301 Mulholland Way Calabasas, CA 91302 818-223-9600 E-mail: info@viprecording.com Web: www.viprecording.com Format: Call for info Basic Rate: Call for rates VIRLOUISE RECORDING 1631 N. Placentia Ave., Ste. K Anaheim, CA 92806 714-322-3600 E-mail: virlouise@virlouise.com Web: www.virlouise.com Contact: Bill Davidow Format: digital recording / Pro Tools Basic Rate: see website for rates WALL OF SOUND STUDIOS 1745 S Claudina Way Anaheim, CA 92805 714-533-ROCK (7625) E-mail: booking@wallofsoundstudios.com Web: www.wallofsoundstudios.com Contact: Shannon Grillo Format: State-of-the-art, fully-equipped hourly facility: rehearsal, recording, equipment rental: Tama, Shure, Mackie, Marshall, Ampeg, JBL and more. Basic Rate: Call for details WARD-WICKED ANALOG RECORDING DUDE, THE 14947 Gilmore St. Van Nuys, CA 91411 818-785-8611 E-mail: greggb69@yahoo.com Web: www.oldbootsrecordingstudio.com WARRIOR GIRL MUSIC 12115 Magnolia Blvd., Ste. 219 N. Hollywood, CA 91607 925-892-6735

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E-mail: info@warriorgirlmusic.com Web: www.warriorgirlmusic.com Contact: Gilli Moon Format: digital, 64 Basic Rate: $90/hr. WESTBOUND STUDIOS Los Angeles, CA 310-985-5509 Fax 323-933-3251 E-mail: gelowmusic@gmail.com Web: westboundstudios.com Contact: Gelow Format: ProTools HD3, Waves plug-in Basic Rate: call for rates WESTLAKE RECORDING STUDIOS Studios C, D, E Production Rooms 1 & 2 7265 Santa Monica Blvd. Los Angeles, CA 90046 323-851-9800 E-mail: bookings@thelakestudios.com Web: www.thelakestudios.com Contact: Steve Burdick or Sara Clark Format: Pro Tools HD, Logic & Analog Recording Basic Rate: $750 - $2200, please call for rates WESTLAKE RECORDING STUDIOS Studios A & B 8447 Beverly Blvd. Los Angeles, CA 90048 323-851-9800 E-mail: bookings@thelakestudios.com Web: www.thelakestudios.com Contact: Steve Burdick or Sara Clark Format: Pro Tools HD, Logic & Analog Recording Basic Rate: $1500 - $2000, please call for rates. Gear: Pro Tools HD & Logic in all studios. Recording Consoles - SSL 9072K Series, SSL 9072J Series, SSL AWS900, SSL G-Series 72 Input, Neve V Series. Large selection of vintage tube microphones and outboard gear. Clients: Michael Jackson (“Off the Wall, “Thriller,” “Bad” & “Dangerous”), Alanis Morissette (“Jagged Little Pill”), Quincy Jones, Celine Dion, Madonna, Mariah Carey, Bruce Springsteen, Britney Spears, Whitney Houston. Recent Clients: Rihanna, Alex da Kid, Chris Isaak, Marc Anthony, Akon, Jamie Foxx, Snoop Dogg, Usher, Barbra Streisand, Michael Bublé, Jennifer Lopez, Neyo, Stargate, Ryan Tedder, Metallica, Ultra Records, Robert Glasper, Jill Scott, Nickelback, Bloody Beetroots, Krewella, American Idol Comments: Westlake prides itself on making you feel right at home in the studio. Our warm furnishings, friendly staff and skilled audio engineers will keep any session creative and productive. Both convenient studio locations are centrally located and near all amenities. WOMB RECORDING STUDIO, THE 15925 Kittridge St. Lake Balboa, CA 91406 818-414-6369 E-mail: haddaddrum@yahoo.com Web: www.davehaddad.com Contact: Dave Format: digital & Analog, more than 64 tracks Basic Rate: please call for info WYMAN RECORDS 1908 Burbank Blvd. Burbank, CA 91506 818-845-8787 E-mail: studio@wymanrecords.com Web: www.wymanrecords.com

Contact: Tip Wyman Format: digital and analog, 128 tracks Basic Rate: please call for rate ZAP ZELINGER AUDIO PRODUCTIONS Santa Monica, CA 90403 310-395-9636 E-mail: zapzip@gte.net Contact: Gerald Zelinger Format: Digital and Analog, Pro Tools, classic microphones and tube pre-amps. Voice-over and archiving all analog media. Basic Rate: please call for info

COLORADO ASPEN LEAF RECORDING South Broadway Grand Junction, CO 81507 970-201-6166 E-mail: aspenleafrecording@gmail.com Web: www.aspenleafrecording.com Contact: Ken Dravis Format: ProTools 10 Basic rate: $65 per hr CCM RECORDING STUDIOS 4214 E. Colfax Ave. Denver, CO 80220 720-941-6088 Web: www.ccmstudios.com Contact: Darren Skanson Format: digital Basic Rate: please call for info CHERRY SOUND RECORDING STUDIO 1600 Downing, Ste. 120 Denver, CO 80218 303-910-5359 E-mail: guillot3000@yahoo.com Web: www.cherrysoundstudios.com Format: digital and analog Basic Rate: please call for info DERRYBERRY AUDIO, INC. 7380 Devinney Ct. Arvada, CO 80005 303-456-8216, Fax 303-254-6304 E-mail: info@derryberryaudio.com Web: www.derryberryaudio.com Contact: Mark Derryberry, producer/engineer Format: Pro Tools HD Basic Rate: call for rates HIDEOUT @ MACE’S HOLE STUDIO, THE P.O. Box 247 Beulah, CO 81023 719-485-5883 E-mail: info@coloradorecording.com Web: www.coloradorecording.com Contact: Steve or Tyler Hobson Format: digital 48 tracks w/ PC Basic Rate: $30/hr., $225 for 8-hour block MUSICMAGIC PRODUCTIONS 3692 Fairgate Ct. Highlands Ranch, CO 80126 303-346-2970, Cell 303-921-7517 E-mail: musicmagicprod@aol.com Web: www.ericroberts.org, www.myspace. com/musicmagicprod Contact: Eric Roberts Format: digital, 16 tracks Basic Rate: $50/hr. ROCKY MOUNTAIN RECORDERS 1250 W. Cedar Ave. Denver, CO 80223 303-777-3648 Fax 303-777-3923 E-mail: contact@rockyrecorders.com Web: www.rockyrecorders.com Contact: Rachel Converse Basic Rate: please call for info

CONNECTICUT CARRIAGE HOUSE STUDIOS 119 Westhill Rd. Stamford, CT 06902 203-358-0065 Contact: John Montagnese E-mail: johnny@carriagehousemusic.com Web: www.carriagehousemusic.com Format: digital and analog Basic Rate: please call for info FIREHOUSE 12 45 Crown St. New Haven, CT 06510 203-785-0468 Web: www.firehouse12.com Format: see website for studio equipment Basic Rate: call for information ONYX SOUND LAB 56 Cooper St. Manchester, CT 06040 860-436-4581 E-mail: contact@onyxsoundlab.com Web: www.onyxsoundlab.com Contact: Adam Gootkin or Peter Kowalczyk Format: digital Basic Rate: please call for info STUDIO UNICORN 36 Sanford Town Rd. Redding, CT 06896-2411 203-938-0069 E-mail: paul@studiounicorn.net Web: www.studiounicorn.net Contact: Paul Avgerinos, Grammy-nominated producer Format: Pro Tools HD 128 Tracks Basic Rate: call for information TROD NOSSEL P.O. Box 57 10 George St. Wallingford, CT 06492 203-269-4465, 800-800-HITS, 203-684-3667 Web: www.trodnossel.com Format: Pro Tools HD2/HD3 Basic Rate: call for information WHITEHOUSE PRODUCTIONS 549 Howe Ave. Shelton, CT 06484 203-400-6207 E-mail: nathan@whitehouseproductions.net Web: whitehouseproductions.net Contact: Scott White Basic Rate: $50/hr $350/8hrs

DELAWARE JAMLAND STUDIO 2326 Empire Dr. Wilmington, DE 19810 302-475-0204 E-mail: music@jamlandstudio.com Web: www.jamlandstudio.co Format: see website for equipment Basic Rate: call for information SIDE DOOR STUDIO 69 Albe Dr. Newark, DE 19702 302-738-8777 E-mail: sdseng@delanet.com Web: https://www.facebook.com/ sidedoorstudioinc Basic Rate: please call for info

DISTRICT OF COLUMBIA (DC) CLEANCUTS MUSIC 4100 Wisconsin Ave. N.W., 1st Fl. Washington, DC 20008

Download at www.musicconnection.com/industry-contacts 202-237-8884 E-mail: tetiana@cleancuts.com Web: www.cleancuts.com Format: digital Basic Rate: please call for info Additional locations: 8403 Colesville Rd., Ste. 250 Silver Springs, MD 20910 301-495-7772 E-mail: julie@cleancuts.com 2901 Chestnut Ave. Baltimore, MD 21211 410-467-4231 E-mail: Iris@cleancusts.com LISTEN VISION RECORDING STUDIOS 2622 Georgia Ave. N.W. Washington, DC 20001 202-332-8494 Fax 202-332-8495 E-mail: info@listenvision.com Web: www.listenvision.com Contact: Jerri Format: Pro Tools, digital, 124 tracks Basic rate: $60/hr. CRESCENT MOON 6205 Bird Rd. Miami, FL 33155 305-663-8924 E-mail: josem@crescentmoon.com Web: www.crescentmoon.com Format: Audio/Video Suites, ISDN, Digital/Analog Basic Rates: Call for rates DIO-VISION 13885 W. Dixie Hwy. N. Miami, FL 33161 305-893-9191 E-mail: sales@audiovisionstudios.com Web: www.audiovisionstudios.com Format: Digital & Analog Rates: Please Call in HIT FACTORY CRITERIA-MIAMI, THE 1755 N.E. 149 St. Miami, FL 33181 305-947-5611 Contact: Trevor Fletcher E-mail: info@criteriastudios.com Web: www.criteriastudios.com Format: 16 & 24 tk analog, 48k digital, DAW’s Basic rate: 6 full-service world-class studios from vintage Neve 8078 to SSL9096J to SSL Duality. Founded in 1958 this landmark facility has produced hundreds of gold & platinum albums in every genre. Rates tailored on a per project basis. PHAT PLANET RECORDING STUDIOS 3473 Parkway Center Ct. Orlando, FL 32808 407-295-7270 E-mail: info@phatplanetstudios.com Web: www.phatplanetstudios.com Contact: Ed Krout Format: Pro Tools HD, analog 2-inch etc. Basic Rate: $75/hr. Studio A, $65/hr. Studio B HART GUNTHER SOUTH BEACH STUDIOS 1200 Collins Ave. Miami Beach, FL 33139 305-673-8203 Fax 305-531-9929 E-mail: sbs@the-beach.net Web: www.southbeachstudios.com Contact: Joe Galdo

Format: Professional recording/mixing; SSL; Pro Tools HD3/v.9, Logic9, etc.; New Apple Mac Pro; lots of vintage gear. Basic Rate: Call about rates

E-mail: info@dopplerstudios.com Web: www.dopplerstudios.com Format: Digital/Analog, Full Service Facility Basic Rate: Call for information

SETAI RECORDING STUDIO 2001 Collins Ave. Miami Beach, FL 33139 305-520-6060 E-mail: matt@setairecording.com Web: https://www.facebook.com/ SetaiRecording Contact: Scott Kubrin Format: SSL C-200, DAW Control 32 Faders Basic Rate: please call for info

ELEVATED BASEMENT STUDIO, INC. 911B E. 65th St. Savannah, GA 31405 912-356-9445 E-mail: kevin@elevatedbasement.com Web: www.elevatedbasement.com Contact: Kevin Rose Format: DAW Basic Rate: $65/hr.

STUDIO CENTER 6157 NW 167 St. F-4 Miami, FL 33015 305-828-7231 E-mail: sales@studiocenter.net Web: www.studiocentermiami.com Format: Digital & Analog Basic Rate: please call for info STYLE-CITY MUSIC P.O. Box 13651 St. Petersburg, FL 33733-3651 727-520-2336 E-mail: stylecitymusic@yahoo.com Web: www.stylecitymusic.com Contact: Steven Berry Format: “Style-City Music Presents” is a 29-minute music video program showcasing music videos from all over the world from both signed and unsigned artists, on over 74 local stations. Basic Rate: $55/hr. TWENTY-FIRST CENTURY STUDIOS 1736-2 Landon Ave. Jacksonville, FL 32207 904-346-3452 E-mail: 21centurystudios@bellsouth.net Web: twentyfirstcenturystudios.com UNITY GAIN RECORDING STUDIO 1953 Ricardo Ave. Fort Myers, FL 33901 239-332-4246 E-mail: info@unitygain.com Web: www.unitygain.com Contact: Bart Iannucci Format: Direct to Disk, Digital & Analog Tape, & MIDI Basic Rate: $60-$130/hr. (based on requested services)

GROOVE TUNES STUDIOS 340 Rossiter Ridge Alpharetta, GA 30022 770-842-5511 E-mail: eatunison@bellsouth.net Web: www.groovetunes.com Contact: Eric Tunison Format: Pro Tools HD/3 v. 8.0 Basic Rate: $75/hr. HUFF RECORDING STUDIOS P. O. Box 248 Good Hope, GA 30641 770-266-5266 E-mail: info@huffrecording.com Web: https://www.facebook.com/ huffrecordingstudios Format: digital Pro Tools Basic Rate: please call for info MAW SOUND RECORDING STUDIOS P.O. Box 45 Hiawassee, GA 30546 706-896-4560, 800-535-4560 Web: www.mawsound.com Contact: Michael Wine Format: digital & analog, Sonar recording Basic Rate: call for info PATCHWERK 1094 Hemphill Ave. N. Atlanta, GA 30318-5431 404-874-9880 E-mail: curtis@patchwerk.com Web: www.patchwerk.com Contact: Curtis Daniel III

Format: SSL48-Channel Duality console, SSL J-9000 Console. Basic Rate: call for rates SONICA 500 Bishop St., Bldg. C-2 Atlanta, GA 30318 404-350-9540 E-mail: john@sonicarecording.com Web: sonicarecording.com Contact: John Briglevich Format: Pro Tools HD, Studer 2” Basic Rate: call for rates STUDIOPLEX OF CENTRAL GA, LLC, THE 377 E. Colonial Dr. Macon, GA 31211 478-737-2077 E-mail: gary@thestudioplex.com Web: thestudioplex.com Contact: Gary Branch Format: Nuendo 24/96 Basic Rate: $45/hr. TREE SOUND STUDIOS 4610 Peach Tree Industrial Blvd. Norcross, GA 30071 770-242-8944 E-mail: mali@treesoundstudios.com Web: www.treesoundstudios.com Rate: please call for info

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 Format: digital and analog, unlimited tracks Basic Rate: please call for info CARAT RECORDING STUDIO P.O. Box 12746 Lahaina, HI 96761 808-214-6910 E-mail: mail@thesongwriter.net Web: www.caratrecords.com Contact: Abbey Format: 24 track 2-inch analog tape machine. Pro Tools 2010 8.1 Hard drive recording,

VIRTUAL PRODUCTIONS Islamorada, FL 203-364-1642 E-mail: MichaelVDamon@gmail.com Web: www.virtualproductions.net Contact: Michael Damon Format: Pro Tools Basic Rate: Please call for info

GEORGIA ARCADIA PRODUCTION AND RECORDING STUDIO Atlanta, GA 30071 770-448-9992 E-mail: streetkid@arcadiarocks.com Web: www.arcadiarocks.com Contact: Knox Format: Pro Tools HD2 Accel 2-in tape Basic Rate: please call for info DOPPLER 1922 Piedmont Cir. Atlanta, GA 30324 404-873-6941, 877-883-9406

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Annual Directory of Recording Studios Lexicon, Soundcraft, JBL, Neumann, Ludwig, Korg Basic Rate: $39 per hour, 1st hour free w/ engineer. Call for special packages & rates. 500 yards from Kaanapali beach, free parking, walk to rental cars, shops, lodging and surfing.

Montgomery, IL 60538 630-897-9023 E-mail: info@callthecow.com Web: www.callthecow.com Contact: Theresa Brooks Basic Rate: $40/hour 2 hr min.

HIGHWAY RECORDING P.O. Box 25993 Honolulu, HI 96825 808-396-9771 E-mail: pakala@aol.com Web: www.highwayrecording.com Contact: P. Keat Format: digital, 24 tracks Basic Rate: $25/hr.

BOSCO PRODUCTIONS 160 E. Grand Ave. Chicago, IL 60611 312-644-8300 x601 E-mail: angelo@boscoproductions.com Web: www.boscoproductions.com Contact: Angelo Bosco Format: digital Pro Tools Basic Rate: please call for info

SOUNDS LIKE HALE RECORDING STUDIO, LLC 355 Hukilike St., Ste. 110 Kahului, HI 96732 808-877-4253 E-mail: info@soundslikehale.com Web: www.soundslikehale.com Contact: Halemanu Format: digital and analog, 192 tracks Basic Rate: please call for info

CHICAGO RECORDING COMPANY 232 E. Ohio St. Chicago, IL 60611 312-822-9333 E-mail: chrisshepard@chicagorecording.com Web: www.chicagorecording.com Contact: Chris Shepard Format: Monster Pro Tools HD systems + every format since 1975 Basic Rate: Special ‘lockout’ day rates, call for info

IDAHO OSMOSIS RECORDING P.O. Box 790 Meridian ID 83680 208-371-3509 E-mail: nathan@osmosisrecording.com Web: www.osmosisrecording.com Contact: Nathan Basic Rate: please call for info TONIC ROOM, THE 1509 Roberts St., Ste. 103 Boise, ID 83705 208-338-8433 E-mail: info@tonicroomstudios.com Web: www.tonicroomstudios.com Contact: Jason or Chris Format: Pro Tools HD/Neve Basic Rate: $500/10hr. day with engineer(s)

ILLINOIS APOCALYPSE COW 20 Pomeroy Rd.

Additional location: 55 West Wacker Chicago IL 60601 FARVIEW RECORDING St. Charles, IL 60175 630-377-6590 E-mail: mix@farviewrecording.com Web: www.farviewrecording.com Format: digital Basic Rate: Please call or email for quote GRAVITY STUDIO 2250 W. North Ave. Chicago, IL 60647 773-862-1880 E-mail: info@gravitystudios.com Web: www.gravitystudios.com Format: Digital/Analog Basic Rates: please call

GROOVEMASTER STUDIOS 1719 S. Clinton St. Chicago, IL 60616 Phone: 312-929-2811 E-mail: info@groovemasterstudios.com Web: www.groovemasterstudios.com Contact: Johnny K, Studio Owner or Crystal Olson, Studio Manager Format: 24 tracks analog 2 inch, 2 track analog 1/2 inch and Pro Tools HD3 Accel Basic Rate: please call for rates. HANDWRITTEN RECORDING 1346 W. Belmont Chicago, IL 60657 773-472-7132 E-mail: rick@handwrittenrecording.com Web: www.handwrittenrecording.com Format: digital and analog Basic Rate: please call for info IPPOLITO RECORDING COMPANY 523 Penrose Rd. Dixon, IL 61021 815-440-0987 E-mail: vince@vippolito.com Web: www.vippolito.com Contact: Vince Ippolito Format: audio & midi digital Basic Rate: call for info PILLAR PRODUCTIONS, INC. P.O. Box 35 301 Oak St. Quincy, IL 62306 217-228-7200, 888-616-1179 E-mail: record@pillarproductions.com Web: pillarproductions.com Contact: Jack Inghram Format: DA88 and DAW Basic Rate: call for rates PRESSURE POINT RECORDING STUDIOS 2239 S. Michigan Ave. Chicago, IL 60616 312-842-8099 E-mail: info@pprecs.com Web: www.pressurepointrecording.com Format: Digital/Analog Basic Rates: please call RAXTRAX 3126 N. Greenview Chicago, IL 60657 773-871-6566 E-mail: info@raxtrax.com Web: www.raxtrax.com Format: 2 SSL control rooms, digital/analog Basic Rates: please call for info STUDIO VMR 9039 Monroe Ave, Brookfield, IL 60513 708-267-2198 E-mail: don@studiovmr.com Web: www.studiovmr.com Format: Pro Tools HD3 Accel, also Hard Disk Recorders/72 Tracks Basic Rate: Call for prices

INDIANA AZMYTH RECORDING 5210 E 65 St. Indianpolis, IN 317-849-2009 Contact: Ryan Adkins E-mail: Ryan@azmythrecording.com Web: azmythrecording.com Format: Pro Tools HD2/HD3 Basic Rate: $70/hr

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LODGE STUDIOS, THE 3550 Roosevelt Ave. Indianapolis, IN 46218 317-568-0000, Fax 317-568-0021 Contact: Michael Graham E-mail: info@thelodgestudios.com Web: www.thelodgestudios.com Basic Rate: please call for info SOUND LOGIC, LLC Lafayette, IN 47909 800-732-6476 E-mail: Jeff@lafayettestudio.com Web: www.soundlogicrecordingstudio.com Contact: Jeff Anderson Format: Pro Tools, API console, 2-inch 24 Track Basic Rate: $50/hr. including engineer SWEETWATER PRODUCTIONS 5501 U.S. Hwy 30 W. Fort Wayne, IN 46818 800-222-4700 ext. 1801 E-mail: julie_doust@sweetwater.com Web: www.sweetwaterstudios.com Contact: Chet Chambers, studio mgr./producer Format: Pro Tools HD3 (3 rooms) ADAT - 2-inch Tape Basic Rate: $85/hr. includes engineer

IOWA 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, studio mgr. Format: Pro Tools HD3, Otari 2-inch analog, SSL 4048E/G+ Basic Rate: $85/hr. SKYLINE AUDIO PRODUCTIONS, LLC 6781 Hickman Rd. Urbandale, IA 50322 515-252-6209 Fax 515-251-5893 Contact: Garrett Wilson E-mail: info@skylineaudio.com Web: www.skylineaudioproductions.com Basic Rate: $75/hr, $400/8hr SOUND FARM 13709 Austin Pl. Jamaica, IA 50128 515-971-6584 E-mail: management@soundfarm.net Web: www.soundfarm.net Format: ProTools HD3 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: sales-studio@triadav.com Web: www.triadav.com Basic Rate: please call for info

KANSAS ALETHEOS RECORDING 327 S. Hydraulic Wichita, KS 67211 316-290-9732 Web: www.myspace.com/aletheosrecording Contact: Jason Kirk or Glen Lang Format: Pro Tools HD Basic Rate: $35/hr. CHAPMAN RECORDING AND MASTERING 8805 Monrovia St. Lenexa, KS 66215 913-894-6854 E-mail: chuck@chapmanrecording.com

Download at www.musicconnection.com/industry-contacts Web: www.chapmanrecording.com Contact: Chuck Chapman Format: Pro Tools & analog 2” 24 trk tape Basic Rate: see website for rates GREENJEANS STUDIOS 110 W. Harvey Ave. Ste. 2 Wellington, KS 67152 620-326-5326 E-mail: cartergreen1@gmail.com, carter@greenjeansstudios.com Web: www.greenjeansstudios.com Format: ProTools HD3 Basic Rate: please call for info

KENTUCKY DOWNTOWN RECORDING 515 S. Fourth St. Louisville, KY 40202 502-583-9966 E-mail: nick@downtownrecording.com Web: www.downtownrecording.com Contact: Nick Stevens Format: Pro Tools HD, 24 Track 2-inch analog Basic Rate: please call for info DSL STUDIOS 10352 Bluegrass Pkwy. Louisville, KY 40299 502-499-2102 E-mail: info@dslstudios.com Web: www.dslstudios.com Format: digital Pro Tools Basic Rate: please call for info REELDEMO P.O. Box 19421 Louisville, KY 40259-0421 E-mail: reeldemo@reeldemo.com Web: www.reeldemo.com Basic Rate: please call for info TNT PRODUCTIONS 6303 Fern Valley Pass Louisville, KY 40228 502-964-9616 E-mail: info@tntrecording.com Web: www.tntrecording.com Format: digital Pro Tools HD Basic Rate: please call for info WHITE HORSE CHRISTIAN RECORDING P.O. Box 997

Nortonville, KY 42442 270-985-5548 E-mail: studio@wh-recording.com Web: www.wh-recording.com Format: digital Basic Rate: please call for info

Contact: Shawn Format: Pro Tools HD Basic Rate: please call for info

LOUISIANA AUDIOPHILE RECORDING STUDIOS 61 French Market Pl. New Orleans, LA 70116 504-529-5559 E-mail: info@audiophilestudios.com Web: www.audiophilestudios.com Contact: Richard Bird Format: digital and analog Basic Rate: please call for info

MARYLAND

STUDIO IN THE COUNTRY 21443 Hwy 436 P.O. Box 490 Bogalusa, LA 70429 985-735-8224 E-mail: studiointhecountry@gmail.com Web: www.studiointhecountry.com Contact: Ben Format: Studer 2-inch 24-track, Pro Tools HD3 32 i/o and Neve 8068 analog mixing board (32 ch.). Basic Rate: $100/hr. including engineer

MAINE

DOCKSIDE STUDIO 4755 Woodlawn Rd. Maurice, LA 70555 337-893-7880 E-mail: docksidestudio@gmail.com Web: www.docksidestudio.com Contact: Steve and Wish Nails Format: Tracking, Mixing, Lodging Basic Rate: please call for info

BAKED BEANS RECORDING P.O. Box 245 Harrison, ME 04040 207-583-2923, 207-583-4312 E-mail: beans@megalink.net Web: www.bakedbeansrecording.com Contact: Alan Bean Format: Pro Tools HD3 Basic Rate: $45/hour

LIVING ROOM, THE Near Downtown New Orleans, LA 504-276-2772 E-mail: thelivingroom@hotmail.com Web: www.thelivingroomstudio.com Contact: Chris George Format: digital and analog Basic Rate: please call for info

MAIN STREET MUSIC STUDIOS 49 Main St. Bangor, ME 04401 207-992-6169 E-mail: info@mainstreetmusicstudios.com Web: www.mainstreetmusicstudios.com Basic Rate: call for rates

MUSIC SHED, THE 929 Euterpe St. New Orleans, LA 70130 504-412-9995 E-mail: rubyrendrag@musicshed.net Web: www.musicshedstudios.com Format: digital Pro Tools HD 3 Basic Rate: please call for info PIETY STREET RECORDING 728 Piety St. New Orleans, LA 70117 504-948-4968 Fax 504-948-4364 E-mail: studio@pietystreet.com Web: www.pietystreet.com

CLEANCUTS MUSIC 2901 Chestnut Ave. Baltimore, MD 21211 410-467-4231 E-mail: Iris@cleancuts.com Web: www.cleancuts.com Basic Rate: please call for info Additional location: 8403 Colesville Rd, Ste. 250 Silver Spring, MD 20910 301-495-7772 E-mail: julie@cleancuts.com 4100 Wisconsin Ave, N.W., 1st fl. Washington, DC 20016 202-237-8884 E-mail: tetiana@cleancuts.com HIT AND RUN RECORDING 18704 Muncaster Rd. Rockville, MD 20855 301-948-6715 E-mail: info@hitandrunrecording.com Web: www.hitandrunrecording.com Format: Main DAW Cubase, 2nd DAWs Digital Performer, Pro Tools Le Basic Rate: $55-$65/hr.

MY THRILL STUDIO 46 Blueberry Hill Rd. Winterport, ME 04496 207-223-5082 E-mail: mythrill@mythrillstudio.com Web: www.mythrillstudio.com Basic Rate: please call for info

LION AND FOX RECORDING STUDIOS 9517 Baltimore Ave. College Park, MD 20740 301-982-4431 E-mail: mail@lionfox.com Web: www.lionfox.com Contact: Jim Fox Format: 32 track IO, 96k, 24bit Basic Rate: call for rates

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

NIGHTSKY STUDIOS 3432 Rockefeller Ct., Waldorf, MD 20602 301-910-6163, 301-374-9450 E-mail: aurora4dth@aol.com Web: www.nightskystudios.org Contact: Ron Format: Pro Tools HD Basic Rate: call for current rates

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Annual Directory of Recording Studios OMEGA STUDIOS 5609 Fishers Lane Ste. 14 A Rockville, MD 20852 301-230-9100 Web: www.omegastudios.com Format: Pro Tools HD and analog 24 track in all three tracking rooms. Basic Rate: Call for Rates Gear: Studio A has a Neve VR Console Studio B has an SSL 4000 E/G Console Studio C has an API Console Studio D has a dual operator Icon Console A plethora of Vintage outboard gear and Microphones Services: Full Service Studio Clients: see our website www.omegastudios.com ZAMPI PRODUCTIONS 404 Ben Oaks Dr. W. Severna Park, MD 21146 410-729-1869 E-mail: mikezampi@gmail.com Web: www.zampi-productions.com Contact: Mike Zampi Format: Pro Tools Digital, Acoustic, Jazz, Rock, Christian, Folk, Blues, Classical Basic Rate: $50/hr. - $80/hr

MASSACHUSETTS CYBER SOUND RECORDING STUDIOS 349 Newbury St. Boston, MA 617-424-1062 E-mail: cyber.sound@verizon.net Web: www.cybersoundmusic.com Format: Pro Tools HD, Digital/Analog Basic Rate: $125 per hour with Engineer GOIN’ MOBILE P.O. Box 470627 Brookline, MA 02447 617-232-7969 E-mail: lbedell@goin-mobile.com Web: www.goin-mobile.com Contact: Lonnie Bedell Format: hard disk, DA88, *note this is a mobile recording truck Basic Rate: $2450/day MADDEN MUSIC STUDIO 14 Hemlock Dr. Westwood, MA 02090 781-461-6799 E-mail: tom@maddenmusicstudio.com Web: www.maddenmusicstudio.com Contact: Tom Madden Format: digital, 48 tracks Basic Rate: $45.00 an hour MUSICMEZ STUDIO Greater Boston Area 617-529-1922 E-mail: mez@musicmez.com, stevemez@ verizon.net Web: www.musicmez.com Contact: Steven Mesropian (aka mez) Format: DAW, specializing in broadcast quality productions for songwriters, lyricists and artists Basic Rates: See website for rate NORTHFIRE RECORDING 15a Grove St. Amherst, MA 01002 413-256-0404 Web: http://www.northfirerecording.com Format: see website for equipment list Basic Rate: $45/hr, $550/10hr. SANCTUM SOUND BOSTON 107 South St. - Studio C Boston, MA 02111 617-556-8090 E-mail: katii@serenityeastrecording.com Web: www.sanctumsound.com Contact: Katii Tornick Format: Pro Tools, Logic, Reason, Ableton Basic Rate: variable TINWOLF STUDIOS 22 Brook St. Walpole, MA 02081 508-653-3720 E-mail: tom@tinwolf.com Web: www.tinwolf.com Contact: Tom Tincler Format: digital, 64 tracks Basic Rate: please call for info

MICHIGAN METRO 31 RECORDING STUDIO 1948 Star Batt Dr. Rochester, MI 48309 586-549-2879 Contact: Kevin Sharpe E-mail: metro37studio@gmail.com Web: metro37.com Format: see website for equipment list Basic Rate: please call for info THE SOUNDSCAPE RECORDING STUDIO 3323 Rochester Rd.

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Royal Oak, MI 48073 248-320-670 Web: thesoundscapestudio.com Format: see website for equipment list Basic Rate: $45/hr STUDIO A RECORDING, INC. 5619 N. Beech Daly Dearborn Hgts., MI 48127-3927 313-561-7489 E-mail: marilyn@studioarecording.com Web: www.studioarecording.com Contact: Marilyn Basic Rate: please call for info WATERFALL STUDIOS 11389 S. Forrest Side Rd. Dafter, MI 49724 313-674-2740 E-mail: waterfall@waterfallrecordings.com Web: www.waterfallrecordings.com Contact: Michael Stevenson or Kenneth Sutton Format: digital Basic Rate: please call for info

MINNESOTA BABBLE-ON RECORDING STUDIOS 12 S. Sixth St., Ste. 1221 Minneapolis, MN 55402 612-375-0533 E-mail: contactus@babble-on-recording.com Web: www.babble-on-recording.com Contact: Andrre Bergeron, Greg Geitzenauer, John Lukas Format: digital and analog, Pro Tools HD2 Basic Rate: $75./hr THE HIDEAWAY 77 13th Ave., NE Minneapolis, MN 55413 E-mail: joe@thehideawaympls.com Web: www.thehideawaympls.com Format: see website for equipment list Basic Rate: email for rates THE TERRARIUM 607 Central Ave., SE Minneapolis, MN 55414 612-338-5702 E-mail: jasonorris@mac.com Web: www.the-terrarium.com Contact: Jason Orris Format: Pro Tools HD3 Basic Rate: call for rates CUSTOM RECORDING STUDIOS 4800 Drake Rd. Minneapolis, MN 55422 763-521-2950 Contact: Jim Reynolds E-mail: jpreynolds1946@yahoo.com Web: www.customrecordingstudios.com Format: Pro Tools HD3 Basic Rate: $50/hr, call for additional rates

MISSISSIPPI COWART RECORDING STUDIO 3207 Chicot St. Pascagoula, MS 39581 228-762-7205 E-mail: cowartstudio@cableone.net Web: www.cowartrecordingstudio.com Format: digital Basic Rate: please call for info STUDIO 61 CLARKSDALE 209 N. Main St. Leland, MS 38756 601-529-9495 E-mail: info@studio61.com Web: www.studio61.com Format: digital Basic Rate: please call for info TWEED RECORDING 355 County Rd. 102 Oxford, MS 38655 662-236-3902 E-mail: tweedrec@aol.com Web: www.tweedrecording.com Contact: Andrew Ratcliffe Format: digital Pro Tools Basic Rate: please call for info WILDFIRE STUDIO / CIRCUIT RIDER RECORDS 132 Tarnell Rd., P.O. Box 118 Grenada, MS 38901 662-227-9245 E-mail: wct.wildfire@gmail.com Web: http://wildfireworldwidemusic.com/crider/ crider.htm Contact: W.C.Taylor or Charles Taylor Format: digital and analog, 24 tracks Basic Rate: call for rates

MISSOURI JUPITER STUDIOS 3323 Locust St. Louis, MO 63103 314-535-5556 E-mail: jupiter.booking@yahoo.com

Web: www.jupiterstudios.net Basic Rate: please call for info MUSIC MASTERS P.O. Box 1144 Cape Girardeau, MO 63702 314-773-1480 E-mail: greg@musicmastersinc.com Web: www.musicmastersinc.com Contact: Greg Format: digital Pro Tools Basic Rate: please call for info PHAT BUDDHA PRODUCTIONS 1901 Locust St. St. Louis, MO 63103 314-231-3930 E-mail: info@phatbuddhaproductions.com Web: www.phatbuddhaproductions.com Format: digital Pro Tools HD2 Basic Rate: please call for info STUDIO CITY KC 615 E. 6th St., Ste. 123 Kansas City, MO 64106 816-474-5920 E-mail: restes@studiocitykc.com Web: www.studiocitykc.com Contact: Rick Estes Format: Digital Pro Tools HD 3 and Digital EX-3 Sony video production Basic Rate: please call for info

MONTANA BEVEL STUDIO P.O. Box 2491 Missoula, MT 59801 406-327-0097 E-mail: info@bevelstudio.com Web: www.bevelstudio.com Format: digital Basic Rate: please call for info BOONE PRODUCTIONS 579 Belt Creek Rd. Belt, MT 59412 406-277-3255 E-mail: aviator@3rivers.net Web: www.booneproductions.com Contact: Daniel Gliko Format: digital Basic Rate: please call for info HOT MIX STUDIO Big Fork, MT E-mail: jim@hotmixstudio.com Web: www.hotmixstudio.com Contact: Jim Format: digital Basic Rate: please e-mail for info JERECO STUDIOS, INC. 627 E. Peach St., Ste. E Bozeman, MT 59715 406-586-5262 E-mail: jeremiah@jerecostudios.com Web: www.jerecostudios.com Contact: Jeremiah Slovarp Format: digital Basic Rate: $50/hr., $350/day

NEBRASKA JOE AUDIO PRODUCTIONS 10850 John Galt Blvd. Omaha, NE 68137 866-JOE-AUDIO, 402-341-9153 E-mail: joe@joeaudioproductions.com Web: www.joeaudioproductions.com Contact: Joe Format: digital Pro Tools RAINBOW RECORDING STUDIO 2322 S. 64th Ave. Omaha, NE 68106 402-554-0123 E-mail: audioguru@rainbowmusicmaha.com Web: www.rainbowmusicomaha.com Basic Rate: please call for info STUDIO 24 8601 N 30th St. Omaha, NE 68112 402-342-9090 E-mail: chuck@studio24omaha.com Web: www.studio24omaha.com Contact: Chuck Beckler Format: digital Basic Rate: please call for info WARE HOUSE PRODUCTIONS, INC. 206 S. 44th St. Omaha, NE 68131 402-553-8523 E-mail: whp@qwestoffice.net Web: www.warehouseproductions.net Contact: Tom or Terri Ware Format: digital Basic Rate: $100/hr - block rates available

NEVADA AUDIOMATION Las Vegas, NV 89130

Cell 702-332-5688 E-mail: niki@liveatthestudio.tv Web: www.liveatthestudio.tv Contact: Arty Congero or Niki Congero Format: digital 64 tracks, offering unique live video web stream Basic Rate: call for rates AUDIO MIX HOUSE 14 Sunset Way Henderson, NV 89014 702-318-6001 E-mail: kellemusgrave@gmail.com Web: www.oddsonrecording.com Contact: Kelle Musgrave Format: Analog & Digital Basic Rate: Hourly and Block, call for quotes Services: Featuring Pro-Tools HD3 & SSL9000K Console, SSL Duality AUDIO TRAX STUDIO Las Vegas, NV 89117-9080 702-235-4293 E-mail: audiotraxstudio@gmail.com Web: www.audiotraxstudio.com Contact: James Sinor Format: digital and analog, 24 tracks Basic Rate: please call for info DIGITAL INSIGHT RECORDING STUDIOS 2810 S. Maryland Pkwy, Ste. C Las Vegas, NV 89109 702-792-3302 Fax 702-792-8582 E-mail: digitalinsightrecording@gmail.com Web: www.digitalinsightrecording.com Contact: Rob Devlin Format: Pro Tools HD, 175 tracks Basic Rate: $95/hr. includes engineer IMIRAGE SOUND LAB 1558 Linda Way Sparks, NV 89431 775-358-7484 E-mail: tom@inspired-amateur.com Web: https://www.facebook.com/imirage. soundlab, http://www.inspired-amateur.com Format: Analog & Digital Basic Rate: call for rates JAGUAR RECORDING STUDIO Las Vegas, NV 702-808-4400 E-mail: thad@jaguarstudio.com Web: www.jaguarstudio.com Contact: Thaddeus Corea Format: Logic Pro Basic Rate: $75/hr SIERRA SONICS 1515 Plumas Ave. Reno, NV 89509 775-786-2622 E-mail: info@sierrasonics.com Web: www.sierrasonics.com Contact: Studio Manager Format: Analog 2”- Digital Pro Tools Basic Rate: Call for rates Gear: SSL 4072G W/G3 Full W4.1 Automation, Total Recall & 16 E series E EQ’s, Pro Tools HD, Studer A 800 2-inch w/ remote Studer 827, Augsberger, Custom Monitors, Neumann, Sennheiser etc. STUDIO AT THE PALMS 4321 W. Flamingo Rd. Las Vegas, NV 89103 702-944-3400 E-mail: zoe.thrall@palms.com Web: www.studioatthepalms.com Contact: Zoe Thrall Format: digital and analog TONE FACTORY, THE 5329 S. Cameron, Ste. 103 Las Vegas, NV 89120 702-301-6964 E-mail: info@thetonefactory.com Web: www.thetonefactory.com Contact: Vinny TRIMORDIAL STUDIO LAS VEGAS8 Audio Video Graphics Web 1700 S Main St, PMB 188, Las Vegas, NV 89104 702-340-6748 Email: trimordial@thefaro.com Web: www.trimordial.com Contact: Roy Rendahl Format: Digital Pro Tools LE 32 tracks, iZotope Ozone mastering Gear: MacBook Pro, Mbox, JBL, Shure Basic Rate: $25-$50/hr. includes engineer Services: Location & studio audio recording & song mastering, music songwriting & production and live sound engineering UNIVERSITY OF NEVADA LAS VEGAS 4505 Maryland Pkwy. Las Vegas, NV 89154 702-895-3011 Web: http://www.unlv.edu/music/beam/studio Contact: Music Department, Recording Studio

Download at www.musicconnection.com/industry-contacts NEW HAMPSHIRE CEDARHOUSE SOUND & MASTERING P.O. Box 333 N. Sutton, NH 03260-0333 603-927-6363 E-mail: gerry@cedarhousesound.com Web: www.cedarhousesound.com Contact: Gerry Putnam Format: Pro Tools HD, DA-78HR, SADiE, analog 2”, 1”, 1/2”, 1/4” Basic Rate: please call or email for info DEV PRODUCTIONS 15 Oak St. N. Conway, NH 03860 603-356-3855 E-mail: tom@tomdeansongs.com Web: http://tomdeansongs.com/devpro/index. html Contact: Tom Dean Basic Rate: please call fro info DRUMLIN DOWNE STUDIOS 21 Main St. E. Kingston, NH 03827 978-360-4421 E-mail: drumlindowne@yahoo.com Web: www.drumlindowne.com Basic Rate: please call for info MOJO MUSIC STUDIO P.O. Box 187 Franconia, NH 03580 603-348-5249, 603-823-5697 E-mail: mojomusicstudio@gmail.com Web: www.makemusicatmojo.com Contact: Tony or Joe Format: Pro Tools 10 Basic Rate: $40 - $55/hr.

NEW JERSEY HANDS ON STUDIO 470 Kipp St. Teaneck, NJ 07666 201-201-446-5477 E-mail: madmike@madhands.com Web: www.madhands.com Contact: Mad Mike Format: digital multi-track Basic Rate: call for rates MACHINE SHOP PRODUCTIONS 349 Cortlandt St. Belleville, NJ 07109 862-201-3399 E-mail: studio@machineshopproductions.com Web: http://machineshopproductions.org Format: call for equipment list Basic Rate: call for rates ULTRASCENE, THE 22 Union Ave., Ste. 7 Rutherford, NJ 07070 201-306-3921 E-mail: kimon@ultrascene.com Web: www.ultrascene.com Contact: Kimon Katafigiotis Format: digital, Pro Tools Basic Rate: $35/hr. VELARDE PRODUCTIONS, INC. 270 Burgess Pl. Clifton, NJ 07011 973-922-0212 E-mail: info@velardeproductions.com Web: www.VelardeProductions.com Contact: Ray Velarde Format: digital/analog & HD video Basic Rate: $45/hr. XANTHI PRODUCTIONS 321 Newark St. Hoboken, NJ 07030 201-659-3339 E-mail: studio@xanthimusic.com Web: www.xanthimusic.com Contact: Rod Shepard Format: 24 track analog, 24 trk digital, Pro Tools Basic Rate: $50/hr.

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

E-mail: jdgeist@santafecenterstudios.com Web: www.santafecenterstudios.com SON SET BEACH PRODUCTIONS 9205 Lona Ln. N.E. Albuquerque, NM 87111 505-228-8131 E-mail: sonsetbeach@comcast.net Web: www.sonsetbeach.com Contact: Bob Reynolds Format: analog and digital, Nuendo, UAD-2 Nevana, Pro Tools, Studer, Digital Video: Canon XL, Lumix/Panasonic GH1, AVID, Adobe Premiere CS6 Basic Rate: $55/hr. tracking, mixing and mastering Avalon, Manley Labs, Neve STEPBRIDGE STUDIOS 528 Jose St. Santa Fe, NM 87501 505-988-7051 E-mail: info@stepbridge.com Web: www.stepbridge.com Contact: Edgard Rivera Format: Pro Tools HD, Music production, audio services for film and authors. Basic Rate: please call for info TONE PALACE RECORDING STUDIO Taos, NM 505-779-1087 E-mail: omar@taosrecording.com Web: www.tonepalace.com Basic Rate: $50/hr

NEW YORK AVATAR STUDIOS 441 W. 53rd St. New York, NY 10019 212-765-7500, 212-765-7450 E-mail: tino@avatarstudios.net Web: www.avatarstudios.net Contact: Tino Passante, Manager Format: digital, analog, all formats accommodated Basic Rate: please call for info BRIAN TARQUIN 917-449-8841 Nyack, NY E-mail: BhpMusic@gmail.com Web: www.jungleroomstudios.com Styles: guitar virtuoso instrumental Basic Rate: Call for Information CHUNG KING 36 W. 37th St. New York, NY10013 212-463-9200 E-mail: mail@chungkingstudios.com Web: www.chungkingstudios.com Contact: Joe Moose Format: Digital & Analog Basic Rates: Just give us a shout! COTTON HILL STUDIOS, INC. 13 Walker Way Albany, NY 12205 518-869-1968 E-mail: mkrug@fingerpaintmarketing.com Web: www.cottonhill.com Contact: Margherita Krug Format: Pro Tools Basic Rate: call for rates CUTTING ROOM RECORDING STUDIOS, THE 14 E. 4th St., Ste. 602 New York, NY 10012 212-260-0905 Fax 212-358-0041 E-mail: anthony@thecuttingroom.com Web: www.thecuttingroom.com Contact: Antony Spinnato Format: Pro Tools HD3 Accell, SSL9000J Basic Rate: negotiable DREAM MAKER STUDIO 1648 Locust Ave., Ste. E Bohemia, NY 613-319-1376 E-mail: info@dreammakerstudio.com Web: www.facebook.com/dreammakerstudio Format: call for info Basic Rate: Call for information

MULHAIR RECORDING STUDIO 3101 N. Prince Clovis, NM 88101-3829 575-763-1441 E-mail: johnny@johnnymulhair.com Web: www.johnnymulhair.com

DUBWAY STUDIOS 42 Broadway New York, NY 10004 212-352-3070 E-mail: info@dubway.com Web: www.dubway.com Contact: Al Houghton, Format: Pro Tools, full service, Film, TV, post production Basic Rate: please call for info

SANTA FE CENTER RECORDING STUDIOS 933 San Pedro S.E. Albuquerque, NM 87108 505-265-2511 Fax 505-265-4714

ELECTRIC LADY 52 W. 8th St. New York, NY 10011 212-677-1366 E-mail: lee.foster@electricladystudios.com

Web: www.electricladystudios.com Format: digital and analog Basic Rates: please call ENGINE ROOM AUDIO 42 Broadway, 22nd Fl. New York, NY 10004 212-625-3467, Fax 212-625-3496 E-mail: scotty@engineroomaudio.com Website: www.engineroomaudio.com Format: Tracking, Mixing, Mastering & Manufacturing Basic Rate: Contact us for details GERMANO STUDIOS 676 Broadway, 3rd Fl. New York, NY 10012 212-260-6001 x1 E-mail: tgermano@germanostudios.com Web: www.germanostudios Contact: Troy Germano Format: SSL Duality SE 48 input analog with Total Recall Basic Rate: please call for info GYPSY RECORDING P.O. Box 376 Oceanside, NY 11572 516-610-3254 E-mail: bk@gypsyrecording.com Web: www.gypsyrecording.com Contact: Brandon Karp Format: analog, digital, and tube gear, remote recording, full-studio Basic Rate: varies HYPERSTUDIO RECORDING 419 Maple St. West Hempstead, NY 11552 (12 min. from Kennedy Airport) 516-486-5198 E-mail: hyperstudiorecording@gmail.com Contact: Eitan Kantor Format: Pro Tools Basic Rate: $75-125/hr. Services: Comfortable large rooms with cathedral ceilings, creative atmosphere with windows overlooking grass & trees, musical & efficient engineers, C7 grand piano, Yamaha recording drum set & more. JUNGLE CITY STUDIOS 520 W. 27th St., Ste. 1002 New York, NY 10001 646-476-2684 E-mail: james@junglecitystudios.com Web: www.junglecitystudios.com Contact: James Format: SSL Duality, Euphonix S5Fusion, Digidesing’s Icon D-Command Basic Rate: please call for info MAGIC SHOP, THE 49 Crosby St. New York, NY 10012 212-226-7035 E-mail: info@magicshopny.com Web: www.magicshopny.com Format: Analog and Digital Basic Rates: Call for information METROSONIC RECORDING 143 Roebling St., 3rd Fl. Brooklyn, NY 11211 718-782-1872 E-mail: manager@metrosonic.net Web: www.metrosonic.net Contact: Peter Mignola Format: all analog and digital formats Basic Rate: Call for information MSR STUDIOS 168 W. 48th St. New York, NY 10036 212-944-5770 Web: www.msrstudiosny.com Contact: Matt Format: Digital/Analog Basic Rates: Call for more information QUAD STUDIOS 723 7th Ave. 10th fl. New York, NY10019 212-730-1035 E-mail: info@quadnyc.com Web: Quadnyc.com Format: Analog /digital Basic Rates: Call for info SEAR SOUND 353 W. 48th St., 6th Fl. New York, NY 10036 212-582-5380 E-mail: waltersear@aol.com Web: www.searsound.com/studio_d.html Contact: Roberta Findlay, Studio Manager Format: Analog & Digital, Studio ‘A,’ Recording/ mix Neve 8038, Studio ‘C’, Large Recording/ mix, Studio ‘D’, pre/post room/vacuum tube console & Moog Basic Rate: call for rates

NORTH CAROLINA DAXWOOD PRODUCTION COMPANY Fayetteville, NC 910-323-2550 E-mail: daxwood@aol.com Web: www.daxwood.com Format: Pro Tools Basic Rate: call for rates EARTHTONE RECORDING Greensboro, NC 336-273-0001 E-mail: earthtonesrecording@gmail.com Web: www.earthtonesrecording.com Contact: Benjy Johnson Basic Rate: check our website ECHO MOUNTAIN RECORDING 14 N French Broad Ave. Ashville, NC 28801 828-232-4314 E-mail: info@echomountain.net Web: www.echomountain.net Format: Digital/Analog Basic Rate: please call for more info JAMES LUGO’S VOCAL ASYLUM Raleigh, NC 818-259-0190 E-mail: james@jameslugo.com Contact: James Lugo Web: www.vocalasylum.com Format: digital and analog, 192 tracks Basic Rate: call for rates TEQUILA SUNRISE MUSIC 112 Ann St. Gaston, NC 27832 800-537-1417 E-mail: tequilasunrisemusic@yahoo.com Web: www.tequilasunrisemusic.com Contact: Kenny Barker Format: digital Basic Rate: $40/hr. 2 hr. min. UNDERGROUND SOUNDS 204 E. Vandalia Rd. Greensboro, NC 336-491-3162 E-mail: derrick@recordundgerground.com Web: www.recordunderground.com Contact: Derrick Acker Format: Pro Tools 10, see website for complete equipment listing Basic Rate: $35/hr. $300/day

NORTH DAKOTA RAPTOR STUDIOS P.O. Box 1455 Fargo, ND 58105 E-mail: coates@barkingdogrecords.com Web: www.barkingdogrecords.com Contact: Mike Coates Basic Rate: email for rates WHISKYSAM RECORDING STUDIO 3314 Royal Cir. Grand Forks, ND 701-741-4667 E-mail: whiskysam@hotmail.com Web: www.whiskysam.com Format: Pro Tools HD 10 Basic Rate: call for rates

OHIO COMMERCIAL RECORDING STUDIO 6001 W. Creek Rd. Independence, OH 44131 216-642-1000 Web: www.commercialrecording.com Contact: George Gates Format: digital Basic Rate: please call for info REFRAZE RECORDING STUDIOS 2727 Gaylord Ave. Dayton, OH 45419 937-298-2727 E-mail: info@refraze.com Web: www.refraze.com Contact: Ron Pease Format: Digidesign Pro Tools|HD 2 Accel Basic Rate: $600/day incl. engineer SOUNDCUBED STUDIOS 101 S. Main St. Basement Floor Poland, OH 44514 330-207-2470 E-mail: info@sound3studios.com Web: sound3studios.com ULTRASUEDE STUDIO, INC. 2834 Spring Grove Ave. Cincinnati, OH 45225 513-394-6427 E-mail: ultrastudio@mac.com Web: www.ultrastudio.com Contact: John Curley Format: digital (Logic, Pro Tools, Digital Performer) Basic Rate: $75/hr. engineer included

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Annual Directory of Recording Studios OKLAHOMA BENSON SOUND, INC. 5717 S.E. 74th St., Ste. F Oklahoma City, OK 73135 405-610-7455 E-mail: info@bensonsound.com Web: www.bensonsound.com Format: digital Basic Rate: please call for info CORNERSTONE RECORDING CO. 1315 Locust Ln. Edmond, OK 73013 405-848-8400 E-mail: info@cornerstonerecording.com Web: www.cornerstonerecording.com Contact: Ken Sarkey Format: Digital and Analog Basic Rate: please call for info NATURA DIGITAL STUDIOS 14540 Happy Camp Rd. Beggs, OK 74421 918-756-5230, 918-695-8992 E-mail: teegarden@naturadigital.com Web: www.naturadigital.com Contact: David Teegarden Format: Pro Tools HD Core 3 Basic Rate: $75/hr. STUDIO SEVEN / LUNACY RECORDS 417 N. Virginia Ave. Oklahoma City, OK 73106 405-236-0643 E-mail: cope@okla.net Web: www.lunacyrecords.com Contact: Dave Copenhaver Format: 2-inch 24-Track, Pro Tools & other digital formats, large playing room, tracking, mixing & mastering Basic Rate: $75/hr.

OREGON BIG RED STUDIO Corbett, OR 503-695-3420 E-mail: billyo@bigredstudio.com Web: www.bigredstudio.com Contact: Billy Format: 2-inch analog, vintage Trident Console, Pro Tools HD2 Basic Rate: $550/day plus engineer FALCON RECORDING STUDIOS 5A S.E. 15th St. Portland, OR 97214 503-236-3856 E-mail: falconstudios@comcast.net Web: www.falconrecordingstudios.com Contact: Dennis Carter Format: digital Pro Tools Basic Rate: please call for info FRESH TRACKS STUDIO 1813 S.E. 59th Ave. Portland, OR 97215 503-235-7402 E-mail: jon@freshtracksstudio.com Web: http://www.freshtracksstudio.com/Home. html Contact: Jon Lindahl Format: HD Basic Rate: call for rates NORTHSTAR RECORDING STUDIOS 13716 S.E. Ramona St. Portland, OR 97236-4444 503-760-7777 E-mail: skyradio@frontier.com Web: www.northstarsamples.com Contact: Scott Hybl Format: digital and analog Basic Rate: please call for info OPAL STUDIO 6219 S.E. Powell Blvd. Portland, OR 97206 503-774-4310 E-mail: info@opal-studio.com Web: www.opal-studio.com Contact: Kevin Hahn Format: digital and analog Basic Rate: $45/hr. SPROUT CITY STUDIOS Eugene, OR 541-687-0947 E-mail: giddy@sproutcity.com Web: www.sproutcity.com Format: digital Basic Rate: please call for info

PENNSYLVANIA APOCALYPSE THE APOCALYPSE 303 W. Market St. Clearfield, PA 16830 225-266-1973 E-mail: fred@fredweaver.com Web: www.apocalypsetheapocalypse.com Contact: Fred Weaver Rates: $30 hr/$300 Day

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FORGE RECORDING 100 Mill Rd. Oreland, PA 19075 215-885-7000, Fax 215-887-3501 E-mail: info@forgerecording.com Web: forgerecording.com Format: ProTools HD3 Accell, MacPro 2.8 quadcore, API 1608 Basic Rates: $90/hr, $375/1/2 day, $750/day GREEN VALLEY RECORDING 590 S. Frymire Hughesville, PA 17737 570-584-2653 E-mail: greenvalleyrecording@windstream.net Web: greenvalleyrecording.com Contact: Richard or Alison Rupert Format: Analog, Digital Basic Rate: call for rates JAVBOY RECORDS 408 Kingston Dr. Douglassville, PA 19518 215-285-7444 E-mail: contact@javboyrecords.com Web: www.javboyrecords.com Contact: Ben Blakesley Format: digital Basic Rate: $50/hr. LIFELINE STUDIOS & MUSIC SERVICES Coatesville, PA 19320 610-380-9729 E-mail: davekurtz@comcast.net Web: www.lifeline-studios.com Contact: Dave Kurtz Format: 16 track analog/24 track digital Basic Rate: call or email for rates

401-267-8236 Email: record@staticproductions.com Website: www.staticproductions.com Contact: Peter LaGrasse Rate: see website STUDIO BLUE 134 Penn St. Providence, RI 401-663-7871 E-mail: rick@thestudioblue.com Web: www.thestudioblue Format: see website for equipment list Basic Rate: $35/hr, $500 all day

SOUTH CAROLINA ARP STUDIO Charleston, SC 843-763-4277 E-mail: info@arpstudio.com Web: www.arpstudio.com CHARLESTON SOUND 2612 Larch Ln. Mt. Pleasant, SC 29466 843-216-5556 Web: www.charlestonsound.com THE JAM ROOM 201 S. Prospect St. Columbia, SC 29205 803-787-6908 E-mail: jamroomstudio@gmail.com Web: www. jamroomstudio.com Contact: Jay Matheson Format: Pro Tools HD Basic Rate: $55/hr. (2 hr min.)

RIGHT COAST RECORDING Columbia, PA 717-681-9801 E-mail: rightcoastrecording@gmail.com Web: www.rightcoastrecording.com Format: 2-inch 16 + 24 track analog, 48 track 192k digital performer, automated Neotek elite console Basic Rate: call for rates

STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. W. Columbia, SC 29169 803-794-9300 E-mail: info@strawberryskys.com Web: www.strawberryskys.com Contact: Gary Bolton Format: Radar24 and Pro Tools Basic Rate: call for pricing

SIGNAL SOUND P.O. Box 854 Quakertown, PA 18951 215-536-4660 E-mail: pete@signalsound.com Web: www.signalsound.com Contact: Pete Format: 2-inch analog, 32 track ADAT, 32 track Pro Tools, 3 camera HD, Steadycam, Crane, 12x26 green screen Basic Rate: from $48/hr.

CATHOUSE STUDIOS 1108 W. 12th St. Sioux Falls, SD 57104 605-728-2145 E-mail: cathousemike@gmail.com Web: www.cathousestudios.com Format: ProTools 8 Basic Rate: email us for rates

SILENT WING AUDIO RECORDING & MASTERING P.O. Box 536 Bobtown, PA 15315-0536 724-839-7292 E-mail: silentwing@juno.com Web: www.silentwingaudio.tk Contact: Mr. Dan Festog, owner Format: 8-track digital Basic Rate: $25/hr. STARCITY RECORDING COMPANY 3935 Rabold Circle S. Bethlehem, PA 18020 610-865-9455 Format: digital and analog, 96 tracks Basic Rate: call for rates THIRD STORY 5120 Walnut St. Philadelphia, PA 19139 215-747-1200 E-mail: tsr2@verizon.net Web: www.thirdstoryrecording.com Format: Pro Tools, Digital/Analog Basic Rate: please call for rate

RHODE ISLAND HIPPO Heavyweight Audio Production 27 Bank St. Warwick, RI 02888 401-521-5676 E-mail: martingleitsman@mac.com Web: www.hippostudios.com Contact: Martin Gleitsman Format: Pro Tools, sound for advertising & audio/visual Basic Rate: call for rates MACHINES WITH MAGNETS 400 Main St. Pawtucket, RI -2860 401-475-2655 E-mail: mail@machineswithmagnets.com Web: www.machineswithmagnets.com Format: see website for equipment list Basic Rate: call for rates STATIC PRODUCTIONS North Kingstown, RI

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FIRE STATION SEVEN RECORDING STUDIO 514 Mt. Rushmore Rd. Rapid City, SD 57701 605-863-2401, 605-391-4704 Contact: Scott, Jr. E-mail: scott@firestationseven.com Web: www.firestationseven.com Format: ProTools 10 24 track Basic Rate: $50/$60/hr., $75/hr on location

TENNESSEE ARDENT STUDIOS 2000 Madison Ave. Memphis, TN 38104 901-725-0855 E-mail: drusso@ardentstudios.com Web: www.ardentstudios.com Format: Pro Tools 9.0.1 and analog 24, 16, 8 and 2 trk 1/2-inch and 1/4-inch Basic Rate: please call for info BLACKBIRD STUDIO 2806 Avalea Pl. Nashville, TN 37204 615-467-4487 E-mail: scott@blackbirdstudio.com Web: www.blackbirdstudio.com Format: Digital/analog Basic Rate: please call CASTLE 1393 Old Hillsbro Rd. Franklin, TN 37069 615-791-0810 E-mail: booking@castlerecordingstudios.com Web: www.castlerecordingstudios.com Format: digital and analog Basic Rate: please call CAVE STUDIOS, THE 5853 Davis Hollow Rd. Franklin, TN 37064 615-790-7578 E-mail: thecaverecordingstudios@gmail.com Web: www.thecavestudios.net Contact: Andrew Hooker Format: Pro Tools HD3 Basic Rate: $60/hr. HOUSE OF BLUES NASHVILLE 518 East Iris Dr. Nashville, TN 37204

615-777-9080 E-mail: gary@houseofblues.com Web: www.houseofbluesstudios.com Contact: Gary Beltz Format: Digital and analog Basic Rates: Please call OCEAN WAY NASHVILLE 1200 17th Ave. S. Nashville, TN 37212 615-320-3900 E-mail: pmcmakin@oceanwaynashville.com Web: www.oceanwaynashville.com Format: digital and analog Basic Rate: please call OMNISOUND STUDIOS 1806 Division St. Nashville, TN 37203 615-482-1511 E-mail: chris@omnisoundstudios.com Web: www.omnisoundstudios.com Format: Pro Tools HD/24 TK analog Basic Rate: call for rates PARAGON STUDIOS 320 Billingsley Ct. Nashville, TN 37067 615-778-9083 E-mail: info@paragon-studios.com Web: www.paragon-studios.com Format: digital and analog Basic Rates: please call QUAD STUDIOS 1802 Grand Ave. Nashville, TN 37212 615-321-9500 E-mail: jillquadnash@gmail.com Web: www.quadstudiosnashville.com Format: Digital and analog Basic Rates: please call SOUND KITCHEN STUDIOS 112 Seaboard Ln. Franklin, TN 37067 615-370-5773 ext. 225 E-mail: iblonder@soundkitchen.com Web: http://soundkitchen.com Format: Pro Tools HD & Vintage Analog Neve, SSL, & API Legacy Basic Rates: Please call Ira Blonder, Managing Partner Services: Although we are the Southeast’s most prestigious recording and production facility and regarded as one of the finest recording studios in the country, we offer competitive rates for all indie & label demo & album projects, EPKs, private and corporate team building events, video, television & film shoots. Call to discuss how we can assist you with budgeting for all your projects. Gear: Three tracking and four mix studios; please visit www.soundkitchen.com to view each studio’s gear list. Partial Client List: Don Henley, Chicago, Taylor Swift, Carrie Underwood, Rush, Brad Paisley, Keith Urban, Dolly Parton, Sir Elton John, Bruce Springsteen, Trivium, & thousands of indie artists. Comments: The Sound Kitchen is a proud co-founder of We Are Building Lives, www. wearebuildinglives.org, a non-profit dedicated to rescuing Nashville’s homeless veterans. STARSTRUCK STUDIOS 40 Music Sq. W. Nashville, TN 37203 615-259-5400 Web: www.starstruckstudios.com Contact: Janet Leese Format: digital/analog Basic Rate: call WILDWOOD RECORDING 2201 N. Berry’s Chapel Rd. Franklin, TN 37069 615-708-6944 E-mail: brendan@wildwoodrecording.com Web: www.wildwoodrecording.com Contact: Brendan Harkan Format: Digidesign Pro Tools HD3 wit Pro Control, Otari 2-inch 24 Track Basic Rate: Call for Information ZIG PRODUCTIONS P.O. Box 120931 Nashville, TN 76012 E-mail: billyherzig@hotmail.com Web: www.zigproductions.com Contact: Billy HerZIG Format: Pro Tools Basic Rate: $60/hr. with engineer

TEXAS BISMEAUX STUDIO South Austin, TX 512-444-9885 ext 121 E-mail: tyler@asleepatthewheel.com Web: www.bismeauxstudio.com Format: digital and analog Basic Rate: $60 per hour

Download at www.musicconnection.com/industry-contacts BLUE ROCK ARTIST RANCH AND STUDIO P.O. Box 619 Wimberly, TX 78676 512-847-7440 Contact: Billy Crockett E-mail: info@bluerocktexas.com, billy@ bluerocktexas.com Web: bluerocktexas.com Format: ProTools HD3 Basic Rate: call for rates CRYSTAL CLEAR SOUND 4902 Don Dr. Dallas, TX 75247 214-630-2957, 888-237-2679 E-mail: michael@crystalclearstudios.com Web: www.crystalclearstudios.com Contact: Michael Walter, studio mgr/Owner Format: analog, digital, mastering Basic Rate: call for rates IN THE JAR STUDIOS 1510 Quitman Houston, TX 77009 713-447-2274 E-mail: sal_loya@inthejarstudos.com Web: www.inthejarstudios.com Format: all Basic Rate: see website for rates JO-MUSIK Dallas, TX 972-226-1265 E-mail: joe@joemilton.com Web: www.jo-musik.com Contact: Joe Milton Web: www.jo-musik.com, www.joemilton.com Format: digital and analog, lots of tracks Basic Rate: please call for info LUMINOUS SOUND 17120 Dallas Prkwy., Ste. 100 Dallas, TX 75248 972-331-7040 E-mail: info@luminoussound.com Web: www.luminoussound.com Basic Rate: please call for info NEXUS RECORDING STUDIOS 8535 Fair Haven San Antonio, TX 78229 210-639-5266 E-mail: Jason@nexusrecordingstudios.com Web: www.nexusrecordingstudios.com PLANET DALLAS P.O. Box 110995 Carrollton, TX 75011 214-893-1130 E-mail: planetd@ix.netcom.com Web: www.planetdallas.com Contact: Rick Rooney Format: Pro Tools 192 & 2-inch 24 track analog, remote truck for live recording Basic Rate: call for pricing STONE WALL STUDIO P.O. Box 855 Groveton, TX 75845 936-642-2142 E-mail: webinfo@trinitystudio.com Web: www.stonewallstudio.com Format: 32 tracks Tascam DA88 digital tape & 48 trx Pro Tools LE (16 live inputs) Basic Rate: $60/hr. TRINITY RECORDING STUDIO P.O. Box 1417 Corpus Christi, TX 78403 361-854-SING (7464) E-mail: webinfo@trinitystudio.com Web: www.trinitystudio.com Contact: Jim Wilken Format: digital, unlimited tracks Basic Rate: $30/hr. WACARA 184 3rd St. Maxwell, TX 78656 512-924-4070 E-mail: karasch@mac.com Web: www.JAB4you.com Contact: Robert Karasch Format: digital and analog, 24 tracks 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 Format: Digital / Pro Tools Gear: Euphonix S5 Fusion; Raven MTX; Mac Pro’s 12-core; Antelope Isochrone Rubidium Atomic Clock w/ Trinity Master Clock; Monitors: Equator Q-15, PMC IB2S w/ Bryston 7B SST, Focal Twin6 Be; DynAudio BM6; Outboard analog from Avalon, D.W. Fearn, Empirical Labs, Retro, SSL, SPL, Manley, Daking, Purple, Kush, Shadow Hills, UA, Bricasti and

Steinway Model-B grand piano and much more. Services: Full-service audio recording for music & media production, mastering services, audio clean up and restoration, and creative services including music production and arrangement as well as original music composition. Client List: SONY/Columbia & Epic, Island/ Def Jam, Atlantic, Motown, Motown Gospel, Cash Money Records, FIYA World Music, ShK-Boom Records/NYC as well as the artists Beyonce, India Arie, Joe Sample, Marcos Witt, Thalles Roberto, Smokie Norful, Ludacris, Future, Busta Rhymes, Aaron Lindsey, Pat Green Band, Kurt Carr, Israel Houghton, Mannie Fresh, Jazze Pha, Wale, BunB, Paul Wall, Slim Thug, Scarface, Chamillionaire, & Zacardi Cortez. Comments: 5000 Sq.Ft. 3-room facility designed by Russ Berger with full kitchen, lounge & outdoor patio connected with remote speakers to Studio A. Beautiful Live Room w/ 18-Ft. ceilings & large line-of-sight windows in Studio A. Dedicated Mastering Room in Studio B. Super creative composition room and economy studio in Studio D. Basic Rates: Studio A $125/Hour; Studio B $85/Hour; Studio D $55/Hour

UTAH ANNEX RECORDING STUDIO 12298 South 1840 E. Draper, UT 84020 801-597-4007 E-mail: info@annexrecording.com Web: www.annexrecording.com FIRST TAKE RECORDING STUDIO 305 West Daniel Dr. Orem, UT 84057 801-477-7763 E-mail: info@firsttakestudio.com Web: www.firsttakestudio.com Basic Rate: call for tates HIT TRACK STUDIOS / VEGAS DISC Tom Parham 128 W 400 N. Cedar City, UT 84721 800-246-5667, 702-481-1663, 702-735-4283, 435-867-4440 E-mail: TomParham@mac.com Web: www.vegasdisc.com, HitTrackStudios.com Gear: Pro Tools HDX, Neve ,SSL, Manley, Sonic Solutions, Pacific Microsonics. Services: Recording, Mastering, Duplication,Graphic Design NOISEBOX STUDIOS 1450 S. 240 E. Orem, UT 84058 801-805-8217 E-mail: dave@noiseboxstudios.com Web: www.noiseboxstudios.com Contact: Dave Zimmerman Basic Rate: $60/hr UGLIEST STUDIO IN UTAH, THE 3255 W. 7675 S. W. Jordan, UT 84084 801-938-4803 E-mail: rich@theuglieststudioinutah.com Web: www.theuglieststudioinutah.com Contact: Rich Basic Rate: please call for info WOODSHAR STUDIO Taylorsville, UT 801-685-0874 E-mail: inquiries@woodshar.com Web: www.woodshar.com Contact: Shar or Doug Wood Basic Rate: $35

VERMONT NORTHERN TRACT RECORDING STUDIO Box 1059 Wilmingon, VT 05363 802-464-2234 E-mail: info@northerntrackstudio.com Web: www.northerntrackstudio.com Basic Rate: please call for info SOUNDESIGN RECORDING STUDIO 181 Main St. Gallery Brattleboro, VT 05346 802-257-1555 E-mail: sdesign@svcable.net Web: www.soundesign-usa.com Contact: Billy Shaw Format: Pro Tools HD3 TDM, 2” 24 & 16 Track Sony, ADAT Basic Rate: call for rates & special

VIRGINIA CRYSTALPHONIC RECORDING STUDIO 946 Grady Ave., Ste. 26 Charlottesville, VA 22903 434-971-2997 E-mail: studio@crystalphonic.com Web: www.crystalphonic.com Format: digital and analog Basic Rate: please call for info

CUE RECORDING STUDIOS 109 Park Ave., Ste. E Falls Church, VA 22046 703-532-9033 E-mail: info@cuerecording.com Web: www.cuerecording.com Basic Rate: please call for info

STUDIO LITHO 348 N.W. 54 St. Seattle, WA 98107 206-632-8157 E-mail: infostudiolitho@gmail.com Web: www.studiolitho.com Basic Rate: please call for info

MAGGARD RECORDING STUDIO 219 Railroad Ave. Big Stone Gap, VA 24219 276-523-1373, 276-275-9680 E-mail: maggardsound@gmail.com Web: www.maggardsound.com Basic Rate: please call for info

STUDIO NORTH 1316 172nd St. S.W. Lynnwood, WA 98037 866-396-9174, 425-745-2642 E-mail: studionorth@interlinc.com Web: www.interlinc.com Contact: Ken Latimer Format: Pro Tools HD, 2” 24 track analog tape Basic Rate: $75/hr

MASTER SOUND Virginia Beach, VA 757-373-1180 E-mail: rob@mastersoundstudios.com Web: www.mastersoundstudios.com Contact: Rob Ulsh Format: digital and vintage analog Basic Rate: please call for info

WASHINGTON ACOUSTIC CHAMBERS 14503 S.E. 254th St. Kent, WA 98042 253-639-0896 Web: www.acousticchambers.com Contact: William C. Reedy Format: digital Pro Tools HD, Accell and 24 track analog Basic Rate: please call for info AUDIO LOGIC INC. 12047 31st Ave. N.E. Seattle, WA 98125 206-363-6505 E-mail: jay@audiologicinc.com Web: www.audiologicinc.com Contact: Jay Kenney Format: Cubase 6/Nuendo 5 Basic Rate: $40-$60/hr. BAD ANIMALS 2212 4th Ave. Seattle, WA 98121 206-443-1500 Fax 206-441-2910 E-mail: info@badanimals.com Web: www.badanimals.com Contact: Wendy Wills Format: digital and analog Basic Rate: please call for info BEAR CREEK STUDIO AND MUSIC PRODUCTION 6313 Maltby Rd. Woodinville, WA 98072 425-481-4100 E-mail: bearcreek@seanet.com Web: bearcreekstudio.com Contact: Manny Hadlock Format: 2” 24 trk, 2” 16 trk, 1/2” 2 trk, Pro Tools HD 32 in/48 out Basic Rate: negotiable depending on the session, please call or e-mail ELECTROKITTY Seattle, WA 425-358-1441 E-mail: electrokitty@comcast.net Web: www.electrokitty.com Format: SSL 9000J, Pro Tools HD, Studer 827 Basic Rates: call for more info LONDON BRIDGE STUDIO 20021 Ballinger Way N.E. #A Shoreline, WA 98155 206-364-1525 E-mail: info@londonbridgestudio.com Web: www.londonbridgestudio.com Format: Vintage Neve 8048 / Studer A827 2” Analog 24 track tape deck MIRROR SOUND STUDIO 301 N.E. 191st St. Seattle, WA 98155 206-440-5889 E-mail: info@mirrorsound.com Web: http://mirrorsound.com Contact: Ken Fordyce Format: 24 track digital-analog Basic Rate: $75/hr. ORBIT Seattle, WA 206-381-1244 E-mail: orbitaudio@gmail.com Web: www.orbitaudiorocks.com Format: Digital/Analog Basic Rates: please call for info ROGUE ISLAND ENTERTAINMENT 3200 Airport Way S. Seattle, WA 98134 206-686-5533 E-mail: Evan@Rogueisland.com Web: Rogueisland.com Format: Digital and Analog Basic Rate: Call for info

WEST VIRGINIA HILLTOP RECORDING Rt. 1 Box 334-A LeSage, WV 25537 304-840-2675 Web: www.hilltoprecording.com Contact: Dave Winters Format: digital Basic Rate: please call for info JAMIE PECK PRODUCTIONS 216 Longvue Acres Rd. Wheeling, WV 26003 304-277-2771 Cell 304-280-5086 E-mail: j.peklinsky@comcast.net Web: www.jamiepeckproductions.com Contact: Jamie Peck Format: digital Pro Tools HD Basic Rate: please call for info RHL AUDIO 703-628-3015 E-mail: chris@rhlaudio.com Web: www.rhlaudio.com Contact: Chris Murphy Basic Rate: please call for info

WINSONSIN BEAT HOUSE MUSIC 260 E. Highland Ave., Ste. 201 Milwaukee, WI 53202 414-273-1401 E-mail: jim@beathousemusic.com Web: www.beathousesmusic.com Format: Pro Tools HD System Basic Rate: call for rates BLAST HOUSE STUDIOS 1117 Jonathon Dr. Madison, WI 608-276-4446 E-mail: mike@madisonmusicfoundry.com Web: http://blasthousestudios.com Format: see website for equipment list Basic Rate: call for rates TAYLOR STUDIOS, LTD. 818 N. 109th St. Milwaukee, WI 53226 414-778-0362 E-mail: admin@taylorstudios.us Web: www.taylorstudios.us Contact: Jeffery Taylor Format: all digital recording and post production Basic Rate: $95/hr.

WYOMING BRIDGER PRODUCTIONS P.O. Box 8131 4150 Glory View Ln. Jackson, WY 83002 307-733-7871 Fax 307-734-1947 E-mail: info@bridgerproductions.com Web: www.bridgerproductions.com Contact: Michael J. Emmer, President Basic Rate: please call for info TABLE 19 STUDIOS Casper, WY Web: www.table19studios.com Format: see website for equipment list Basic Rate: $55/hr, $500/day

INTERNATIONAL ABBEY ROAD STUDIOS 3 Abbey Rd. London, NW8 9AY UK +44 (0) 020-7266-7000 E-mail: info@abbeyroad.com Web: www.abbeyroad.com Basic Rate: please call for info CANADIAN RECORDING SERVICES INC. 1867 Draycott Rd. N. Vancouver, BC V7J 1W5, Canada 604-985-0679, 866-888-6464 E-mail: info@canadianrecordingservices.com Web: www.canadianrecordingservices.com Format: digital and analog, up to 64 Basic Rate: We work with many studios and all budgets!

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– GARY EWER

Improvise Your Way To Your Next Song A

s a musical exercise, nothing beats improvising. It doesn’t just improve your playing chops – it’s a great generator of songwriting ideas. While it’s often thought of as a group activity, there are ways to improvise on your own––just you and your instrumen––that can provide you with great material for your next song. Many of the ideas listed below come from Chapter 3 of Gary Ewer’s new book, Beating Songwriter’s Block: Jump-Start Your Words and Music. The first five activities will help you create melodies, and the next five pertain to creating lyrics. Some involve singing, others will use guitar or keyboards. Most of them work as solo activities, but are fun to try with a fellow songwriter. Feel free to modify them to suit your purposes.

possible, keep that note as you cycle through the chords. When a chord doesn’t support the note, switch to singing a note that works. 5. Create new melodies by borrowing from old ones. Take an old hit (“Hound Dog�, for example), and write down the all the notes used in that melody. (“Hound Dog� uses G-A-C-D-D#-E, listed from low to high.) Now put “Hound Dog� completely out of your mind and use that tone

SOLO IDEAS 1. Play the following 4-chord turn-around: C F Dm G, or invent your own. Now‌ start singing––anything. Keep in mind that most good song melodies are comprised of repeating ideas, so try singing the same short fragment repeatedly as you change chords. The key to generating ideas is to keep things simple. 2. Detune your guitar to something other than the standard E-A-D-G-B-E. Move your B up to C, your G down to F#... that sort of thing. Now start improvising chords and melodic shapes as if you were playing a standard tuning. Why? The odd tuning will give you melodic and harmonic ideas you’d probably not have found otherwise. The best results happen when you detune your guitar randomly. Be prepared for weird sounds, but you’ll probably stumble on something that’ll get the creative juices flowing. 3. Dial up a short rhythmic/chord loop on your synthesizer and sing or play improvised melodies. Handing over part of the musical job to a synth frees you up to create ideas, both vocal and instrumental. 4. Sing a note that works. A song like Jack Johnson’s “Don’t Believe a Thing I Say,â€? or the verse of Maroon 5’s “One More Nightâ€? show us that melodies can do quite well sitting in and around one pitch. So give it a try: invent a short 3- or 4-chord progression (Am F G C, for example). Play it several times to get it in your ear. Now, start by scat singing rhythmically on one note that works with the first chord. As much as 78 70 July 2014

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first one has been done to demonstrate.): r 'PH 5IF HSFZ NVSLJOFTT UISPVHI UIF NJTUZ haze; in the cloudy haze; the soup; etc. r )BQQJOFTT r "OHFS r 5SVTU r )FME PO r )FBSUCSPLFO 8. Lyrical clichĂŠs will kill a song faster than you can say Jack Robinson. (See what I did there?) “What goes around, comes aroundâ€? is a clichĂŠ that’s not very interesting. But “What comes around is gone againâ€? has potential. Or you might change “A friend in need is a friend indeedâ€? to “A friend indeed, but what do I need?â€? Both of those examples turn the original expression around backwards, giving you something that’s a bit more creative. So for a fun improvising activity, Google “The Phrase Finderâ€? website, have a songwriting partner read one of the sayings to a rhythmic beat, and try creating something spontaneously by reversing the order of some of the words. Another example: “Every cloud has a silver liningâ€? might become “My silver lining turned a little cloudy.â€? 9. Bounce lyrical ideas off a songwriting partner. Sit facing each other, keep a beat by tapping your foot or dialing up a loop. Then one of you speaks out a line, and the other one has to immediately answer it with a line of their own. “I got you, and you got meâ€?‌ “Anywhere I’m with you is where I wanna be‌â€?

set to create an entirely new melody. As with our first idea, use lots of repeating patterns, but use only those six notes. 6. Choose a book from your bookshelf or from a blog or online news site. Open randomly to any page, or scroll to any random spot on a website, and point to the first word you see. With that word in your mind, point to a second word. Quickly invent a short line of lyric within five seconds that starts with your first chosen word and ends with the second one. Repeat. Example: You open a book and point to the word, “that,� and then you point to “more.� Possible lyric: “That is how I know I love you more.� 7. The best lyrics are not necessarily poems; they’re made of simple words whose main job is to stimulate the imagination of the listener. Take the following list of words and paraphrase them in as many different ways as you can that might work in a descriptive lyric. Work quickly. (The

10. Try brainstorming titles. Work as quickly as you can. Don’t worry about clichĂŠs, just get a list of titles written that you can consider later. Some titles may just pop into your head with no story behind them at all: “That’s the Way To Do It.â€? Others may be a bit silly: “George is Going Crazy, and His World’s a Little Hazy.â€? Later, look through your list, strum a chord, and say the titles with a considerable amount of melodrama and vocal expression. See if melodic ideas pop into your mind.

GARY EWER is a veteran music teacher, clinician, composer and arranger. His interest in the relationship between the pop and classical worlds eventually led him to write an ebook for songwriters, The Essential Secrets of Songwriting, that looks at hit songs in much the same way a classical musician would analyze a symphony. Through his writings, he shows songwriters how to take their music to a new level of excellence. He is the author of Beating Songwriter’s Block: Jump-Start Your Words and Music, published by Backbeat Books. His songwriting blog can be found at http://garyewer.wordpress.com.

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