Music Connection October 2014 Issue

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SAE Institute welcomes AES back to Los Angeles. Stay tuned for a brand new campus!

565 West Sunset Blvd. Suite 100, Los Angeles, CA 90028 tel. 323. 466. 6323

E Institute Los Angeles is accredited by the Accrediting Council for Independent Colleges and Schools. r more information about our graduation rates, the median debt of students who completed the program, and other consumer information, please visit http://usa.sae.edu/about/sae-institute-accreditation-and-regulatory-information/

CONTENTS

Informing Music People Since 1977 /CTOBER s 6OL s No. 10

36

Weezer MC speaks with the band’s Scott Shriner about all things Weezer, including Everything Will Be Alright In The End, the poprock mainstays’ new album produced by Ric Ocasek.

By Brett Bush Photo courtesy of Republic Nashville

44 DJ Cassidy This vibrant new dance music artist explains his four-year mission to rock the party. By Carl Anthony

Departments

40

Mastering Experts The information you will get from this roundtable of experienced professionals could make a crucial difference to your next record.

By Rob Putnam

56 Directory of U.S. Mastering Studios 72 Directory of U.S. College/Indie Radio Compiled By Denise Coso

20. Producer Crosstalk: Mike Del Rio . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: David Dufresne, Bandzoogle . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Mary Lambert . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 46. Industry Profile: Rdio . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Mesecher 78. Tip Jar: Execute a Successful Radio Campaign . . . . . . . . . . . . . . . By Loren Weisman 4

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

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

– JONATHAN WIDRAN

DAISY ROCK GIRL GUITARS SOUNDCHECK STUDIOS http://soundcheckstudios.net http://daisyrock.com

E. Eric Bettelli PUBLISHER

Serving Fellow Musicians: A hard rock drummer former drummotto departThe World’s Only “Girl Guitar” Company: Drivenand by its branding ment manager SIR, LeeTotally launched Soundcheck as a 24“Lighter Weight.atSlimmer Neck. Inspiring,” the VanStudios Nuys, CA-based Mark Nardone E. David Eric Bettelli hour lockout rehearsal facility in 2005. Converting an empty to Daisy Rock Girl Guitars —launched metal rock bassist Tish CiraASSOCIATE PUBLISHER /warehouse GENERAL MANAGER by / heavy a dynamic 28 room —ranging in size from small drum to rooms of 10-ft volo in 2000—is thefacility original “girl guitar” company dedicated supplying SENIOR EDITOR ADVERTISING DIRECTOR x 10-ft to full size band rooms of 20-ft x 25-ft a full showcase room, each and marketing professional-quality guitars fortofemales of all ages. Early on, markn@musicconnection.com ericb@musicconnection.com with a Ciravolo 17-ft ceiling —he developed safe environment with a when said, “The boys clubaiscomfortable, over,” she meant for everyone—from creative vibe. In addition to minimal “noisebleed” between rooms (thanks eight to 12 year old girls drawn Coso to DaisyJohn Rock’s yellow, purple, pink and to Curry Denise six inches of to airspace between two walls with sound board and blue models adult women drawn to the lighter-weight andinsulation slimmer neck ART DIRECTOR OPERATIONS MANAGER / profiles (single cutaways, double cutaways). “In 2000, when we started, artdirector@musicconnection.com DIRECTORIES EDITOR approximately four percent of the guitar playing population was female, and Andy now that’s updenisec@musicconnection.com to 25-30 percent,” she says. “It’sMesecher great to see how our guitars have inspired women Steve of all ages to play.” ASSOCIATE EDITOR Sattler BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com

Ray Holt DIRECTOR OF DIGITAL MARKETING

andym@musicconnection.com

Barry Rudolph 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

Daisy Rock Girl Guitars recently signed theWRITERS Sledge Grits Band to the company’s firstFEATURE ever exclusive artist andy.kaufmann@verizon.net endorsement agreement Rob at their Van Nuys, CA headquarters. Andy Kaufmann Putnam toe2toe6@hotmail.com drywall), theSledge North l-r: bo-Pah Sledge, Keiko Sledge, Tish Ciravolo, Ella Sledge, and Mimi

Editorial Interns

Hollywood facility has

Liza Cano intern@musicconnection.com central A/C and heat

in all rooms, secure gated parking, closed CONTRIBUTING WRITERS circuit TV monitoring and easy load in/out. Carl Anthony, Allegra Azzopardi, Bernard Baur, Danica Bellini, Brettalso Bush, Jeannie It was one of the Deva, Gary Graff, Eric A. Harabadian, Corey Irwin, Ted Jamison, Andy Kaufmann, first studios in L.A. Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Siwek, Vincent to Daniel offer free wireless Stevens, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Widran,access. Ellen Woloshin Internet The Revamped PHOTOGRAPHERS Showcase Room: Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin TheDave crown jewel of Estrada, Corey Irwin, Apple Kaufmann, David Klein, Tony Landa, Long, Thomas Soundcheck Studios Long, Jessica Pace, Victoria Patneaude, Scott Perham, Rob Putnam, Alexander G. has long beenSeyum, RoomMark #3, Shiwolich, a 30-ft x Daniel 40-ft space with a Stevens, 20-ft x18-ft Seyum, Danny Siwek, Vincent Brianstage Stewart, and drum riser. It has been used by everyone from Idina Menzel E. H. Tiernan, Paula Tripodi, Brooke Trout, Albert Vega, Ellen Woloshinto Filter as well as members of Rage Against the Machine. With a recent extensive remodeling, it has evolved into a live rehearsal and showcase room, completed with AND a fullPRINTED concertINstyle, 4-waySTATES PA system. The room MANUFACTURED THE UNITED OF AMERICA is now fit for optimal audio and video quality, with black velvet curtains wrapping around the walls Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, toInc., give theOcean sound engineer 3441 View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada A Wide Range of Fans Endorsees: The company, which launched complete control. Itrates: has and Subscription $35/one year, $59/two years. Outside the U.S., add $25 as $4.95. a subsidiary LED lights and of anSchecter avail- Guitars and is now co-owned and distributed by (U.S. currency) per year. Weendorsees are not responsible for unsolicited material, which Alfred Music, over 600 from across the musical spectrum— able Pro Toolshas rig. The must be many accompanied by return postage. All rights reserved. Reproduction in whole including up-and-comers from ages 14-16 as well as established dynamically outfitted room names like Vickyprivate Peterson Bangles (who has a Bangles Signature or part written permission of the publishers is prohibited. The opin ions of includes awithout new full from the Model), Lisa Loeb, Avril Lavigne, Suzi Quatro, Mileyreflect Cyrustheand 76-yearbathroom with shower stall contributing writers to this publication do not necessarily views of Music old Rock andfor Roll Hall of Famer Wanda Jackson. Legendary fans include and is Connection, ideal industry Inc. Copyright © 2014 by E. Eric Bettelli. All rights reserved. Jimmy Page, Robert Smith (the Cure) and Nancy Wilson (Heart). showcases. Founded by: J. Michael Dolan / michael@jmichaeldolan.com Red Grand Hot Love and Rock Candy: Ciravolo and Daisy Rock are a popular The Re-Opening: annual fixture at the NAMM show, where their exhibit sports pink fur walls, Though Soundcheck spotlights and chandeliers. Their 2014 rollouts include the Pixie Cupid in Studios has been open NEW aCORPORATE HEADQUARTERS Red Hot Love, featuring heart-shaped sound andRe-Opening. an angel flying during remodeling, it will soon be celebrating itshole Grand Lee 3441 View CAGuitar, 91208 at the “The 12th fret;Ocean the Sophomore Butterfly which818-995-0101 has a butterfly in says, building, now Blvd., moreGlendale, than ever, has a Office: musical artistic vibe. We flightainlay butterflies that fly up the neck; and two Rockroom Candy Fax:and 818-638-8015 Email Address: contactmc@musicconnection.com had graffiti artist do mural artworks on the doors of each andgraphic in our guitars (the red, and blue Super Guitar Girl andinto Skulls and Roses) new lounge area.white We Website: moved the vending machines the walls themhttp://musicconnection.com whose combination of chairs colors and avines with skulls make it the choice of selves, added and station. We ultimately want Legallounge Counsel: Christopher J.charging Olsen / chris@chrisolsenlaw.com every goth girl. Soundcheck to become a hotspot for many up-and-coming artists, and a springboard for their success.” Subscribe to MC NOW! Contact Daisy Rock 1-877-MY DAISY (877-693-2479) Contact Soundcheck Studios, 818-823-8774 musicconnection.com/store/subscribe 8 6

August 20142014 September October 2014

musicconnection.com musicconnection.com musicconnection.com

THE BOLD SHAPE OF PERFORMANCE

M U LT I P U R P O S E S E L F - P O W E R E D S O U N D R E I N F O R C E M E N T

More than just another great JBL sound system, the new EON615 is a true step forward in technology developed specifically to deliver the best sound possible regardless of its application. Completely rethinking how truly good an affordable selfcontained, portable PA system can be, JBL engineers purposely designed and built the EON615 from the ground up featuring JBL’s advanced waveguide technology, JBL designed and manufactured transducers, and convenient, wireless remote control of its onboard DSP EQ parameters via Bluetooth. This total redesign of the EON platform leverages the latest technologies in cabinet materials, acoustic science, transducer design and user friendliness that delivers the extraordinary quality of a high-end studio monitor in a fully professional, highly flexible, easy to use, portable system for today’s working musicians and sound providers.

REVOLUTIONARY WAVEGUIDES The EON615’s extraordinary performance results from a breakthrough approach to waveguide design for both high frequency and low frequency components. The result is consistent HF and LF response and high intelligibility throughout its entire 90 degree coverage pattern. These characteristics are the foundation of high-end studio monitor sound, now available for the first time in a portable, affordable system.

BLUETOOTH CONTROL

PURPOSEFUL DESIGN

© 2014 HARMAN INTERNATIONAL INDUSTRIES, INCORPORATED

Learn more at jblpro.com/EON600 TYPICAL EON615

FLEXIBLE BACK PANEL

– JONATHAN WIDRAN

QSC AUDIO PRODUCTS, LLC http://qsc.com

Global Leader In Pro Audio Solutions: Founded 46 years ago in Costa Mesa, CA, QSC is a globally recognized leader in the design and manufacture of professional audio system solutions. Its wide ranging catalog of products includes digital mixers, power amplifiers, loudspeakers and DSP systems for musicians, bands, DJs, houses of worship, production professionals, sound contractors and installers. QSC leverages these technologies to deliver products and systems that far outperform the sum of their parts to provide compelling solutions for professionally installed, portable, production and cinema sound customers worldwide. Thinking Locally While Expanding Globally: A privately held Thinking

Locally While Expanding Globally: A privately held company, QSC is unique in that it has continuously manufactured many of its products in its longtime Southern California-based facility. Located on 51,000 square feet of office space on the same campus as the manufacturing facility are the QSC Corporate Offices, Engineering, Sales, Marketing, Technical Support and Service. Additionally, QSC has offices in Boulder, CO and Hong Kong, with sales and support staff located throughout North and South America, Europe, Asia and the Middle East. QSC maintains a warehouse and distribution facility in Costa Mesa, with other facilities in Tennessee, Belgium and China. TouchMix Compact Digital Mixer: QSC has long been the No. 1 seller of live sound reinforcement products in the U.S. retail market due to its success with its K Series loudspeakers, which have created a new paradigm and raised expectations for what lightweight powered loudspeaker systems should achieve. The company recently introduced its innovative QSC TouchMix™ compact digital mixers, which are designed for musicians, production professionals and live performance venues that need the power and capability of a large “concert” mixing console in a compact, affordable and easy to use form. TouchMix™-8 and TouchMix™-16 mixers have the functionality to satisfy live sound pros, and a range of features/functions that help the less experienced user achieve remarkable results. Resetting the bar for performance and value, TouchMix gives users the ability to do a live mix in a way they never could before. Contact QSC, 800-854-4079 8

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Eddie Combs

Maria Egan

Guitar Center has announced the appointment of Eddie Combs to the position of Senior Vice President, Marketing. Combs’ extensive expertise in eCommerce, digital marketing, mobile experiences, customer loyalty and demographic targeting will allow him to drive Guitar Center’s innovative branding efforts and marketing initiatives. In his role, Combs will work closely with Christopher Ian Bennett, VP, Communications and Corporate Affairs; Dustin Hinz, VP, Brand Experience and Entertainment Marketing; and Jeff Hiller, VP, Brand Manager, to strengthen GC’s retail marketing strategy to help elevate sales and store traffic. Contact media@ guitarcenter.com for further details.

Maria Egan has been appointed President of Pulse Music Publishing. Formerly Executive V.P. at Pulse and prior to that, V.P. of A&R at Columbia Records, Egan will now oversee A&R/ Creative for the music publishing company in addition to her existing role in the continuing expansion of its producer and artist management divisions. Egan remarked, “Under Scott Cutler and Josh Abraham’s leadership, Pulse has proved to be one of the most progressive and artist friendly new companies in the music business. My first year has been one of the highlights of my career and it’s thrilling to see a boutique owned and operated by creatives go from strength to strength.” Contact gina@pressherepublicity.com for more information.

Tiffany Starr Kumar

Steve Nalbert

2101 Songs, a global music publishing company owned by multi-GRAMMY winning producer RedOne, has appointed Tiffany Starr Kumar to Senior Vice President of Creative, a new position at the emerging independently owned publishing company. Based in Los Angeles, Starr Kumar will utilize her unique background as a songwriter and publisher to build the careers of RedOne’s publishing roster, which features multi-Platinum and charttopping writers and producers. In this new position, Starr Kumar will be responsible for developing, promoting, marketing and working with the songwriters signed to 2101 Songs. For more information, email SSchmader@rogersandcowan.com.

Round Hill Music has announced the promotion of Steve Nalbert to the position of Director, Creative and Licensing. Over the last year, Nalbert has worked diligently to solidify the foundation for Round Hill Music’s licensing process and department. In this new role, he will not only continue to oversee the licensing process, but will now take a more active role in procuring creative opportunities for the company’s catalog. Nalbert first joined the company in 2013 as Sr. Manager/Creative & Licensing, after spending the last five years of his career at Cherry Lane Music Publishing and BMG Rights Management. Steve’s most recent role at BMG was Senior Manager of Marketing, Film & TV. Contact anna@golightlymedia.com.

Chris Taillie

Christy Garbinski

Sr. Vice President, Marketing Guitar Center

Senior Vice President of Creative 2101 Songs

Director of Publicity Shore Fire Media

President Pulse Music Publishing

Director, Creative and Licensing Round Hill Music

Promotion Representative Sony Music Nashville

Shore Fire Media has announced the promotion of Chris Taillie to Director of Publicity. Taillie joined Shore Fire in 2007 and was most recently a Senior Account Executive. Previously, Taillie was a label representative and artist management assistant at Velour Music Group and graduated with a B.A. in History from the University of Buffalo. Originally from Rochester, NY, he currently resides in Kensington, Brooklyn where he “enjoys exploring weird restaurants in N.Y.C., drinking beer, buying records and biking.” With offices in Brooklyn and Nashville, Shore Fire’s roster includes top musicians in all genres, non-profits, books, trade organizations, venues, technology services and more. Contact ghayes@shorefire.com.

R.G. Jones, Director, Promotion/Strategy & Analysis, Sony Music Nashville has announced the hiring of Christy Garbinski as Promotion Representative for the label group. Based in Nashville and reporting to Jones, Garbinski is responsible for promoting airplay for Sony Music Nashville artists at secondary market radio stations. A 2013 graduate of the University of Florida, Garbinski has experience with Country Radio Broadcasters and WRUF The Gator in Gainesville, FL, along with internships at CMT, Clear Channel Tampa and Entercom Communications. Garbinski’s hire is effective immediately and can be reached at Christy.Garbinski@sonymusic.com.

Jonathan Newkirk

Robert Taylor

Musicians Institute, the College of Contemporary Music in Hollywood, CA, has appointed music industry veteran Jonathan Newkirk as the Dean of Entertainment Industry Studies for the Fall Quarter of 2014. In his new position, Newkirk will oversee the school’s four industry disciplines: Audio Engineering, Music Business, Independent Artist and Guitar Craft. While continuing in his role as the Audio Engineering Program Chair, Newkirk will also help to develop a variety of curricular materials for MI’s recently announced blended learning initiatives, which pair hands-on classroom instruction with digital delivery of multimedia content. For further information on this appointment, contact chandra@glowmarketing.com.

Biamp Systems, a leading provider of innovative, networked media systems, has announced the appointment of Robert Taylor to Regional Manager, Southeast Region of North America. In his new role, Taylor will be responsible for strategic sales and support encompassing the entire Biamp product line for customers in the Southeastern United States. Taylor comes to Biamp with over 15 years of experience in pro AV design, sales and installation services, most recently as a Sales Representative for Secom, an independent manufacturers’ representative firm serving the professional and commercial audio industries. Contact amanda.roe@biamp.com.

Dean of Entertainment Industry Studies Musicians Institute

Regional Manager, Southeast N. America Biamp Systems

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– BARRY RUDOLPH barry@barryrudolph.com

MACKIE CR3 AND CR4 MONITORS THE CR3 AND CR4 are Mackie's new Creative Reference™ Multimedia Monitors that feature studio-quality design, sound and performance in small, desktop-sized all-wood cabinets. The two models have 3- and 4-inch woofers respectively and both use the same 3/4-inch silk-dome tweeter. CR monitor models have a curved high-frequency waveguide for a wide and even stereo sound that’s well supported with good bass due in part to the rear bass port. The CRs have a front panel on/off/ volume control knob that also controls the volume of headphones if plugged directly into the front of the monitors. I received a set of both the CR3 and CR4s—they are sold in pairs with one speaker containing the stereo Class-AB amplifier, master volume control, and frontmounted aux input mini-jack (for iPhones etc.) and headphone jacks. The companion passive speaker connects to the powered speaker by way of an included cable. The back panel has a master power switch and both balanced TRS and unbalanced RCA input jacks for the left and right channels. I used the CRs placed on either side of my flat panel monitor. They make a great “second opinion” comparing what my mixes sound like on smaller, more consumer-level speakers. A pair of CR3s sells for $129 MSRP and the CR4s are $199.99. http://cr.mackie.com

ZIVIX PUC WIRELESS MIDI ZIVIX’S WIRELESS LINK SYSTEM (named PUC) connects MIDI musical instruments with iOS devices. An iPad, iPhone or iPod Touch running iOS 7 loaded with music creation applications, synths or virtual instruments become “plug n’ play” wirelessly using Core MIDI over Wi-Fi with your MIDI controller or sequencer. Not only is PUC a portable wireless MIDI data transmitter system, it is an interface with a legacy 5-pin DIN connector that’ll adapt any MIDI gear to trigger iOS Core MIDI devices. The PUC system will work with Garageband, Moog’s Animoog, Waldorf’s Nave and Propellerhead’s ReBirth. I can now integrate these applications from across my control room and record them into Pro Tools using the iPad’s analog (headphone) output jack. PUC connects to your legacy MIDI controller or interface with a short MIDI cable and runs on two AA-batteries. Once I programmed the proper MIDI channel out, I then set up a Wi-Fi connection from the PUC to my iPad where IK Multimedia's SampleTank started playing immediately. I like the battery-powered portability allowing me to plug the PUC directly into the studio’s MIDI interface to play my iPad. Other uses are: conveying wirelessly MIDI controller data from drum pads, DJ controller, floor pedals or sustain pedals or basic switch closures. The PUC sells for $129.99 MSRP. http://mipuc.com

WD MY CLOUD EX4 WESTERN DIGITAL’S MY CLOUD EX4 is a personal cloud storage system that connects directly to your wireless router, giving you direct access to its content using any computer, tablet or smartphone with Internet access. As a high-performance Network Attached Storage device (NAS) with four drive bays, you’ll have shared storage on your home network and be able to remotely access content using the WD My Cloud EX4 app or any Web browser. My Cloud makes a “peer-topeer” connection so communication between mobile device and drive is direct. Enclosed in an all-metal cabinet, the EX4 I received for review has four, hot swappable drive bays each fitted with a 2TB WD Red™ hard drive setup in a RAID 5. You can buy it with just two drives and add later and you can choose RAID 0, 1, 5, 10 or select spanning and JBOD modes using the Dashboard and any Web browser. Capable of holding 16 TB of storage space, you’re not likely to run out of space, but if you do you can add more by connecting a USB 3.0 drive to one of the unit’s two rear USB ports. I found the ability to upload and download Pro Tools files quickly as archival and/or as backup at the end of a session very useful. The WD My Cloud EX4 is as periodic studio backup and for streaming music and video files locally to my clients. Once they download the free smartphone app and I set them up, I can push .mp3 or .wav mixes to their phones or laptops almost instantly. As tested, the My Cloud EX4 with four 2TB drives (8TB total) sells for $749 MSRP. My Cloud EX4 also comes 16TB, 12TB and 0TB (diskless) models. The 0TB diskless model allows for expansion as you need more storage starting with just one drive. http://wdc.com/en/products/products.aspx?id=1170

YAMAHA ACOUSTIC CONDITIONING PANELS YAMAHA’S NEW ACOUSTIC CONDITIONING PANELS (ACP) are super-thin, low-cost acoustic treatment panels for project studios, school classrooms, houses of worship, home theaters or professional recording studios and listening rooms. These attractive, almost Zen-looking panels offer a built-in balance between the absorption and diffusion (scattering) of sound in any space. Rooms with excessive absorption sound dead and lifeless and conversely, rooms that are overly reflective blur and lessen intelligibility the sound. Measuring 3 cm deep, the Acoustic Conditioning Panels are “diffsorbers,” a combination of an absorption and diffuser panel in one. Yamaha Acoustic Conditioning Panels are easy to install anywhere using the included fittings, and greatly enhance sound clearness and balance in the range of 80 Hz to 4 kHz. http://4wrd.it/SWE360655 10 October 2014

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THE TRUCK STOPS HERE. Imagine rolling up with a rig this size and knowing righteous tone has been delivered. A complete, professional rig that fits in your guitar case, leaving the hand truck free for other important things like CDs and swag. The slim, sleek, all-metal Fly Rig 5 features a genuine SansAmp™ with 3-band EQ, a shimmering reverb, a delay with tap-tempo, a thumping 21dB boost, and our soaring Plexi distortion. For fly gigs across the globe, jamming at the local hang, and last minute sessions, you’ll be the first one ready to go. Take a load off when you load-in with the fully loaded Fly Rig 5.

DESIGNED AND MANUFACTURED IN THE U.S.A.

!CTUAL SIZE vL X vW X vH s 7EIGHT OZ

TECH21NYC.COM

– BARRY RUDOLPH barry@barryrudolph.com

RETRO INSTRUMENTS OP-6 PORTABLE AMPLIFIER RETRO INSTRUMENTS’ OP-6 Portable Microphone Amplifier is a proper rendition of the classic portable RCA OP-6 tube microphone pre-amp that came out in the 1930s and was used mostly for remote on-location, live radio broadcasts—some of the greatest recordings of the past century. Retro’s OP-6 sports five, 6J7 pentode tubes in a kind of “redundant” all Class-A circuit design. It has the same size, look and 20-lb heft of the original yet is fully modernized with XLR connectors, a 1/4-inch (DI) instrument input, 48-volt phantom powering, polarity flip, 25dB pad, output level control and a VU meter ranging switch that doubles as a “tube checker” for the three amplifier stages. The Retro offers three choices of input impedance to match any microphone from vintage low impedance ribbons to modern condensers and dynamics. Purposely mismatching impedances also offers a range of tonality changes for any dynamic or velocity (ribbon) mics. I first tried my Fender Strat plugged into the DI making it sound very fat. My AKG D12 VR dynamic on a voice and kick drum with the Retro OP-6’s three different impedance choices was like having several different mic choices. Next I tried recording vocals using both ribbon and condenser mics. There is plenty of gain here if you are recording quiet singers with a low output microphone—compared to my transistorized pre-amp, the sound is thick and warm but not “dark”—more of a glow! The Retro Instruments OP-6 Portable Amplifier sells for $3,500 MSRP. http://retroinstruments.com

LH LABS GEEK OUT DAC LIGHT HARMONIC LABS HAS GEEK OUT, a portable digital-to-analog converter (DAC) with headphone amp. Geek Out solves two annoying audio problems with music playback using laptop or home computers: poor quality of the computer’s built-in DAC and wimpy-sounding headphone amp. Geek Out utilizes a version of the Da Vinci three-layer buffer 32-bit/384kHz and DSD 2 decoding engine and a Class-A (1-watt) high current output stage with two headphone jacks. Geek Out will decode either PCM or any DSD audio streams and also sufficiently drive any set(s) of headphones or in-ear monitors to maximum volume and fidelity and sufficient bass. USB 2.0 class compliant, Geek Out plugs right into your computer’s USB jack and shows up in the Mac’s Sound Preference window ready to be selected. PC users will need to download a driver. There are two 3.5mm headphone output jacks: one for driving most small headphones and ear buds and another for larger and lower impedance pro-level headphones. My Audio-Technica ATM-M50X’s sounded fine plugged into either. Suffice to say, having two jacks is an awesome feature in itself—especially when traveling with a friend. Features I also like are: the LED indicators that show the sample rate, rate multiplier (2X, 4X or 8X) and if the 3D Awesomifier is engaged. The 3D Awesomifier is useful to increase the level of center-panned lead vocals. It sells for $299. http://geek.lhlabs.com/geekout

SONY CREATIVE SOUND FORGE 2 SONY CREATIVE SOFTWARE has Sound Forge 2; it uses the same core technology as Sound Forge Pro Mac 2. It uses 64-bit AU and VST plug-in processing and plays/records up to 32 simultaneous channels of audio using up to 24-bit/192 kHz resolution. The audio editor contains Wave Hammer™, a flexible audio compressor/limiter with presets I found to work well for getting music mixes as loud as possible. I am generally concerned with editing/trimming waveforms on different audio files before I apply processing. You can jump between either interleaved or a single mono files—each file is represented as tabs that line up in queue horizontally across the top of the main Edit window. You can use Sony Creative Software’s native processes such as fade, flip, mute, volume, normalize and reverse and there is an extensive undo capability. You can save in formats: 3G2, 3GP, AAC, AIF, CAF, FLAC, M4A, MP3, MP4, OGG, SND, W64, and WAV. Sound Forge 2 is available for download from the Mac App Store for $99.99 with an introductory price of $79.99. http://sonycreativesoftware.com/soundforge2

MIX BUSS LITE 2.0 PLUG-IN MUSIC PRODUCER/MIXER Rob Chiarelli has the first in his Signature Series of DAW plug-ins called Mix Buss Lite. Designed to process the stereo output bus of your DAW mixer to increase the average loudness of your music mix, Mix Buss Lite 2.0 comes in AAX (Pro Tools), AU Macs and VST for Windows. Mix Buss Lite has simplified controls that allow you to use your ears and not fancy metering. The Input Drive fader sets the amount of loudness boost as indicated by the “Sweet Spot” meter—the orange and yellow lights will flash/glow with occasional red Sat (saturation) blinks. Mix Buss Lite offers a range of “coloration” effects. Select Fat for accentuating the upper and lower frequencies, Warm thickens mixes in the bass, Clear is full range but with less saturation than Fat, and Full is like Fat except louder. BARRY RUDOLPH is a recording engineer/mixer who I found great functionality with Mix Buss Lite beyond the has worked on over 30 gold and platinum records. He has stereo mix bus. It works great for bass guitar and stereo sub recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat groups in Pro Tools 11—stacks of backing vocals and guitar Benatar, Rod Stewart, the Corrs, and more. Barry has his own futuristic music mixing facility and loves teaching audio layers all sounded tighter and “fit” better into a big mix. engineering at Musician’s Institute, Hollywood, CA. He is a It sells for $19 as a download. lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. http://barryrudolph.com http://finalmix.biz 12 October 2014

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BOOK S T ORE

/($51 7 2

MIX /,.( 7+(

PR0S

(There’s no such thing as TMI)

Chris Stein/Negative: Me, Blondie, and the Advent of Punk By Chris Stein (hardcover) $55 Before he co-founded Blondie with Debbie Harry, Stein was an art school student who in the late ‘60s began photographing the early downtown N.Y.C. rock scene, capturing a diverse array of scenesters and music-makers, including hip-hop personality Fab Five Freddy Braithwaite, saxophonist James Chance and, of course, Andy Warhol. In both black & white and color, he photographed scenes at the Mudd Club, CBGB, and Warhol’s Factory, and in the process caught images of David Bowie, the Sex Pistols, the Voidoids, the New York Dolls and the Avengers. Stein also captured many of the very early girl bands: the Stillettos, Siouxsie and the Banshees, the Slits, Cherie Curie and Tom Tom Club, as well as fascinating early ‘80s downtown characters like Richard Hell, Stephen Sprouse, Jean Michel Basquiat and more. Stein’s “pictorial autobiography” of 250 photos is a graphic look back at a special place and time.

In the Box Music Production By Mike Collins (paperback) $59.95 Written for those who already have a modicum of experience with Pro Tools, In the Box Music Production: Advanced Tools and Techniques for Pro Tools shows how to use Pro Tools to its full potential, giving advice on studio techniques and a deep exploration of its internal capabilities. Fully grounded in real-world applications and process, this 686 page book aims to teach you how to leverage Pro Tools and make it work for you.

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By Willy Vlautin (paperback) $14.99 Singer/songwriter and Richmond Fontaine frontman Willy Vlautin has established a considerable career as novelist, and in his fourth book he once again explores the hardscrabble lives that are a mainstay of the fabric of America. As in his previous novel, the award-winning Lean On Pete, Vlautin’s stark, realist eye in The Free proves to be both warm and devastating.

The Pensado Papers By Dave Pensado & Herb Trawick (paperback) $29.99 In this warm, conversational book, Grammywinning mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and his manager Herb Trawick write about work ethic, passion, commitment and, above all, creativity. The authors convey the strong conviction that going beyond expectations will guarantee success on all levels. “To this day, if someone hires me to do something it is rare that I don’t do way more than what I’m paid to do,” writes Pensado. Both professional and aspiring sound engineers alike will have much to gain from Pensado’s philosophy.

Through the Eye of the Tiger By Jim Peterik (paperback) $16.99 Subtitled “The Rock ‘N’ Roll Life Of Survivor’s Founding Member,” this sex & drugs & rock & roll memoir traces Peterik’s work with bands the Ides of March and Survivor, recounting the various hits (“Vehicle,” “Eye of the Tiger”) and misses of his life and career. Encounters with rock greats Led Zeppelin, Janis Joplin, Jerry Garcia and Brian Wilson spice up the tale.

Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. By Viv Albertine (hardcover) $27.99 Former lead guitarist of the Slits, girlfriend of the Clash’s Mick Jones and close friend of Sid Vicious, Albertine writes candidly––and from a rare refreshingly female perspective— about her years as a member of British punk’s inner circle, and gives an in-depth account of what has happened in her life beyond the breakup of her influential band. A cancer survivor, Albertine released a solo debut album in 2012.

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– JONATHAN WIDRAN

AUDIO RENTS http://audiorents.com

Professional Studio Equipment At Affordable Rates For 40+ Years: Artists, musicians and audio professionals who think high-end equipment is something they have to wait and save up for have, for the past 40+ years, been thrilled to discover Audio Rents, which rents out recording gear for a fraction of the cost of owning. Audio Rents is the largest and oldest pro audio equipment rental house in Hollywood, CA, specializing in recording and post-production equipment. Its office is located on Wilcox and Sunset in an old film studio building that scored numerous films, including Rocky and Who Framed Roger Rabbit.

A Vast Array of Clients and Gear: Originally launched as an extension of Sunset Sound Studios, Audio Rents’ clients have ranged from record companies (Capitol, Geffen) and film studios (Universal, Fox, Sony) to major recording studios (Record Plant, The Village, EastWest). They also rent to home studios, prop masters, bands, DJs, hobbyists, sound enthusiasts and (at a substantial discount) students attending local recording and film schools. Audio Rents is a major supplier of both vintage and modern audio gear, ranging from classic RCA ribbon microphones and Fairchild compressors to cutting-edge noise reduction machines by Cedar, a full line of DOLBY surround encoder/decoders and Pro Tools HD systems. They also carry a wide range of preamps, EQs, FX boxes and compressors by top manufacturers like Manley, GML, TV, Lexicon, Jensen, Chandler, API, Neve, Grace, UREI, SSL and others. Mics-R-Us: Though Audio Rents still does business with film companies, the majority of its customers today are independent artists and recording studios—many looking for tried and tested solutions via the perfect mics and preamps for their specific needs. They confidently state that “our collection of recording microphones is one of the largest assemblies of tube, ribbon, condenser and dynamic mics anywhere—from Neumann and AKG to Royer and Shure.” Audio Rents also carries Manley tube preamps, tube mics, tube equalizers and Neve amps, as well as various vintage effects systems and digital interface systems (Apollo, for one) that allow users to adapt for mobile recording solutions. Contact Audio Rents, 323-874-1000 16 October 2014

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DAVID GOGGIN

RON BATZDORFF

Blake Mills Records Heigh Ho at Ocean Way Renowned guitarist, songwriter and producer Blake Mills recorded his second album, Heigh Ho, at the legendary Ocean Way studios in Hollywood. The self-produced album was released via Verve Records / Record Collection and is available on iTunes. Pictured in Ocean Way’s Studio B (l-r): Don Was, bass; Jim Keltner, drums; Blake Mills, vocals, guitar; Greg Koller, engineer; and Mike Elizondo, bass.

Al Schmitt Awarded Berklee Honorary Doctorate at Capitol Records Legendary producer and engineer Al Schmitt (Paul McCartney, Quincy Jones, Neil Young) was presented with a Berklee honorary doctor of music degree by the college’s president Roger H. Brown at a ceremony within Capitol Records’ famed Studio A in Los Angeles. The event also commemorated the 25th anniversary of Berklee Today—the college’s alumni magazine. The degree was awarded in recognition of Schmitt’s inspiring musical achievements, which include 22 Grammy and Latin Grammy Awards and a Grammy Trustees Lifetime Achievement. He has worked on 160 gold and platinum selling albums.

More Studio News South Africa’s Civil Twilight are currently in the studio wrapping up their 3rd album. The group teamed with producer Ben Allen (Kaiser Chiefs, Animal Collective, Gnarls Barkley) in Atlanta. For additional details, visit http://instagram.com/ civiltwilight.

Nico & Vinz Master Black Star Elephant The “Am I Wrong” duo Nico & Vinz finished mastering their full-length album Black Star Elephant at Oasis Mastering in Burbank, CA. Along with producer Will IDAP, the group went through every detail with engineer Gene Grimaldi to perfect their first full-length release. Pictured (l-r): Nico Sereba, Will IDAP, Gene Grimaldi and Vinz Dery.

Dan Korneff (A Day To Remember, Paramore) has been chosen to produce Pierce the Veil’s upcoming album. A follow-up to their 2012 release Collide With The Sky, the band is currently at Korneff’s Sonic Deris Recording Studio in New

Producer Playback “Being a producer is like being a captain of a ship. You’re the one in charge. If there are problems, you have to find a way around them.” – Stuart Epps, producer (Led Zeppelin, Oasis). Interviewed August 2014

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York writing and tracking to hit their January 2015 release mark on Fearless Records. Vocalist Vic Fuentes began working on ideas as early as late last year and began writing new material in earnest this Spring. He and the band started preproduction in May in their newly renovated San Diego home studio. In June, with 11 songs written, the band headed to New York to begin recording; nine of those songs are earmarked for the new album, and the band has written two more since. Visit http:// piercetheveil.net for updates.

– ANDY MESECHER andym@musicconnection.com

Composer Mixes Barefoot Award-winning composer/producer Anthony Marinelli (Young Guns, Time Code) has upgraded his Los Angeles studio sound by adding Barefoot MM27 monitors. Marinelli’s LS studio houses an array of choice instruments: two ARP 2600s, a Linn Drum machine, Jupiter-8, Prophet-5, Minimoog, Korg MS20, ARP Omni, Roland Space Echo, Roland Vocoder, Echoplex, Clavinet Pianet Duo and a Fender Rhodes. “My most prized instrument is a 9-foot Concert Grand handmade piano given to me by David Abell. It was the piano that was used for all the Disklavier recordings.” Visit http://barefootsound.com to read the full interview.

We Were Astronauts Fly into L.A. for Artificial Light

SUSANNA MIDNIGHT

Seen here is We Were Astronauts at Spitfire Studio in Los Angeles with producer Warren Huart (the Fray) and engineer Phil Allen (Adele), working on the band’s upcoming EP Artificial Light available now. Pictured (l-r): Chris Rando, bass; Antonio Casasanta, vocals; Steven Paddock, drums; Warren Huart, producer; Tim Corrigan, guitar; and Phil Allen, engineer.

Prism Sound Releases SadiE 6.1 Prism Sound has announced the release of SADiE Version 6.1, an update to its highly acclaimed SADiE Version 6.0.0 recording and editing software. With no dedicated proprietary hardware requirements the SADiE v 6.1 software packs are application based and focus on the core SADiE expertise of Mastering, Radio Production, TV/Film Post, Archiving and Restoration, and high level Sound Design. Prism Sound has also announced a new pricing structure for its SADiE software packs, with the entry level SADiE PRO now starting at U.K. £445.00 (plus VAT). Updates include the new WAV Master (pictured), allowing users to create WAV files for an entire album, using PQ marks to define the start and end of the WAV file for each album track. Try the software at http://sadie.com/ support/download_v6.php.

NEW!

Gelman Returns to Ojai at Midnight Natalie Gelman is back in the studio recording a full-length album at Brotheryn Studios in Ojai, CA. Producing the record is Charlie Midnight. The bulk of the record was recorded live over four days and they are planning for an early 2015 release. Pictured (l-r): Curt Schneider, Dave Palmer, Blair Sinta, Natalie Gelman, Jason Marriani, Tim Young and Charlie Midnight.

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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 October 2014

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PRODUCER CROSSTALK

MIKE DEL RIO

New York Producer Transitions To Los Angeles

By Rob Putnam

M

ike Del Rio has written and produced for and with artists including Christina Aguilera, CeeLo Green and Kylie Minogue. Some of the chart-cracking singles he’s had a hand in include Aguilera’s “Shut Up� and “Make the World Move� (featuring CeeLo Green) as well as Cheryl Cole’s “Under The Sun.� Originally from New York City, Del Rio’s relocated to Los Angeles in the fall of ‘11 after releasing a number of EPs and securing a publishing deal with Alex Da Kid’s label, KidinaKorner (they share the same management). In the first week of his deal, he wrote several songs, one of which went on to be used by Eminem and Skylar Grey. The ways he approaches a new project are as varied as the songs that he helps to create. “Sometimes I start with a beat to get inspired, sometimes The three most important I’ll wake up in the middle of the night things he’s learned as a and sing into my iPhone if I have a producer are: melody in my head,� the producer explains. “Depending on who’s in the room, usually I’ll put a synthesizer on. I s 3ELF AWARENESS /NCE YOU use [Spectrasonics’] Omnisphere a lot. UNDERSTAND WHAT YOU RE CAPABLE OF AND WHAT YOU WANT OUT OF MUSIC

That’s probably my favorite soft synth. YOU RE THEN ABLE TO HELP OTHER “I believe some songs are given to ARTISTS GET THERE 9OU HAVE TO KNOW you,� he continues. “Some people can YOURSELF BEFORE YOU CAN MAKE CALLS tap into a higher place; summon the ON OTHER PEOPLE S CAREERS spirits. The process depends on who I’m writing for. The music that I love s ) TRY TO MAKE EVERYONE THAT most—and [much of] my stuff that’s COMES INTO MY ROOM FEEL gotten placed—is usually created COMFORTABLE SAFE AND PROTECTED between 10 at night and four in the 7HEN PEOPLE ARE AT EASE THAT S WHEN THEY GET DEEP AND CAN GO morning. There’s something about TO NEW PLACES working in the middle of the night: there’s no phone ringing, there’s no s 3URROUND YOURSELF WITH GOOD Facebook or Twitter updates. It’s just PEOPLE (AVE A GREAT TEAM THAT the music and the moon.� BELIEVES IN YOU AND WILL BE Like any producer, his career has SUPPORTIVE 7ITH THAT IN PLACE

been replete with challenges. Amongst THERE ISN T MUCH YOU CAN T DO the biggest he’s faced was when, after establishing himself in New York City, he decided to relocate to Los Angeles. It wasn’t the easiest of transitions. “I came not knowing a soul and that was humbling,� Del Rio recalls. “I had to remind myself of my reasons for doing music. Paying attention to that 13-year-old kid who picked up the guitar and fell in love with writing songs was difficult for the initial 18 months. But in the first year we made close to 500 pieces of music—song ideas or beats. I was determined to take over LA. You have to have that mindset, although I may have burned myself out a bit. But being humble and self-aware—that’s the key.� With respect to changes Del Rio foresees for the industry, it comes down to equity for music creators. “It’s ridiculous that we still have the same royalty rates as we did in the ‘70s,� he observes. “The people in the creative community are the ones that are getting shortchanged. Film and television have both changed their business to fit the times. The music industry is the last to make adjustments to the way it works.� Together with bandmate Crista Ru, Del Rio is half of the pop duo POWERS. The duo is considering a number of major labels. But why in the age of DIY do they even need one? “Crista and I both work in the business and we see how labels operate,� he explains. “What a major still offers is major-label radio-power. It’s also about having a home to work from for the next 10 years or so.� Contact Ian@rebel-one.net; http://mikedelrio.com

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October 2014

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– ANDY KAUFMANN

David Dufresne

set up a player on the band’s website.

Chief Executive Officer Bandzoogle

A Solid Proposition If you compare us to other music-focused website building platforms, we’re just better. We have more themes, our technology is more modern, we have more features. In many cases, we’re more affordable. We have online support seven days a week. And we’ve been around for 10 years. We’re very stable as a company, but at the same time we’re independent. We’re not backed by big venture capitalists. We’re only two shareholders, so our business model isn’t going to change. We’re a platform you can trust won’t go away any time soon.

Years with Company: 4 Web: http://bandzoogle.com Email: david@bandzoogle.com, info@bandzoogle.com Clients: Della Mae, Dengue Fever, Sonic Boom Six, Sierra Leone’s Refugee All Stars, Enter the Haggis, Mark Dawson BACKGROUND: With over 22,000 individual clients, Bandzoogle has become the go-to service for musicians needing a presence on the Web. For a monthly fee, artists can design snazzy sites with little or no coding knowledge and even integrate with other services like Bandcamp. As CEO, David Dufresne is always seeking new ways to add functionality. A Site is Born My partner, Chris Vinson, is our CTO. He used to play bass in a grunge band in Montreal. They got signed by Aquarius Records here in Canada. They did an album, they toured. After a couple years, the band broke up and Aquarius hired Chris as a webmaster for their roster and a bunch of sub-labels. He was handling websites for dozens of artists, so he built a console that managers could use to update their artists’ websites. People started asking if they could use the console for other projects and that’s how he got the idea to launch Bandzoogle.

“There are tons of website building platforms, but very few are focused on musicians.”

A Meeting of Minds I’ve always been a music geek. I’m one of the only members of our team who’s not a musician, but I had a radio show in college and, when I moved to Montreal, I deejayed in a few bars and clubs. Then, I went into venture capital. I had a good seat to see how the Internet was disrupting the industry. I was getting ready to launch my own technology start-up in the music space when I met Chris. Virtual Office We’re about 20 employees. We’re one of those companies that doesn’t have an office. Officially, we’re based in Montreal. Four of us are based here, but everyone works from home. We have staff in Nova Scotia, Ontario, British Columbia. We have two people in California, one in Massachusetts, one in Vermont, we have one in Spain and one in the U.K. We’re one company, but we’re all over. About 80% of our customers are based in the U.S., with about 10% in Canada and 10% in U.K. and Australia. We have some customers in Indonesia, Poland and France. Just For You There are tons of website building platforms, but very few are focused on musicians. We’ve worked with thousands of artists, so all the features a musician needs we have built-in. You don’t need to fool around with plug-ins and widgets. We have music players, a blogging platform, photo galleries, band calendars and tons of other stuff specifically for musicians. The Choice Is Yours We have a mailing list management tool. You 22 October 2014

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can send either newsletters or geo-targeted email blasts. We also have a lot of commerce options specifically for musicians. If you want to sell digital music, you can do that directly from your website. You can set the price of your tracks or your album. You can give them away for free with an email sign-up or you can let [your fans] set their own price. You can also sell CDs, vinyl, merch and combine digital with physical. You can do all of that directly. And we don’t take a cut of your sales, so all of that money is going directly to you. Our plans are $10, $15 and $20 a month; there are no extra costs whatsoever. Keeping the Artist In Control The most important thing is that the artist has control. There are too many artists who allowed some developer or programmer to build their website years ago and now can’t change it, because they can’t reach that person or it costs money or they’ve given their label control. You own all of your content and your address. The underlying themes are proprietary, so you can’t copy and paste your website anywhere, but all your content belongs to you. User Feedback and Adaptability Our development roadmap is 100% based on customer requests. Each time we have a request, we log it. We have some requests that don’t really make sense, but when we see something that maybe a dozen members have requested in the last couple months we add it to our roadmap. Recently, we added things like Instagram integration. You can always paste in any widget. If you want to paste in a calendar from an external provider or a Soundcloud player, that’s easy to do. It’s Automatic A lot of our users also use Bandcamp, so instead of re-uploading their tracks they can just connect to their Bandcamp account and

Going Mobile A lot of traffic on artists’ websites comes from either tablets or smartphones, so we’ve made sure if someone visits your website from their iPhone or Android that it adapts perfectly. The design responds to the screen size, the menus adapt and everything works.

The Fan Relationship When you sell through iTunes, you have no idea who bought your album, T-shirt or CD. When they buy directly from your website, you give them the opportunity to sign up for your mailing list. That artistto-fan connection is extremely important. That’s how you’re able to remain relevant, by sending them remixes or acoustic videos. You can’t do that through iTunes or Spotify. You can only do that through your website and mailing list. User Data You have access to all your traffic. You can’t see who came to your website, but [you can] see which city they’re from. You can also see which websites send you traffic. You can see which tracks got played and which got played in full. For your mailing lists, you can see how many people opened your email, which links they clicked. It’s very important to understand your audience and traffic. It’s a mix of our own technology and Google analytics, so you can dig deep and see what pages they visit, what user flow happens. If you know what you’re doing, it’s a powerful tool. A Great Website Have amazing content, but also update often. You have to give reasons for people to come back. In terms of design, keep it simple. I like a website that has clear navigation, that fits with the band’s brand in terms of images, fonts and colors. Each page should have one role to play. Too many musicians don’t even have music on their website. That’s extremely important. Bandzoogle is very affordable, so reinvest that money into getting a professional photographer and maybe a professional copywriter. That’s going to make or break your website. Helping Artist Independence Our job is to build cool shit for musicians. We got an email last week from a guy who composes music for modern dance and yoga, saying he was going to leave his day job because now he makes enough as a composer to completely focus on it. That’s amazing to see these stories. It’s very fulfilling.

– BERNARD BAUR

OPPS

The Driven Music Conference in Atlanta, GA offers a direct connection to music industry professionals. Held Nov. 20 23 at the Sheraton Hotel, the conference presents discussions, Q&A, meet & greets and feedback from music professionals. You can even submit music for a chance to be a showcase performer. Anyone interested in music, including artists seeking a chance at career advancement, are encouraged to attend. For details and submission information, visit http://drivenatlanta.com. Steve Wozniak is scheduled to chat about innovation and creativity at the 2015 NAMM Show. Held Jan. 22 - 25 in Anaheim, CA, this year’s NAMM show will resonate with insights from entrepreneurs within and beyond the music industry including Apple co-founder, Steve “Woz” Wozniak. The engineering icon will open Saturday morning’s breakfast session, talking music and technology with NAMM’s president and CEO Joe Lamond. Wozniak and Lamond will explore innovations in business, entrepreneurship and Woz’s passion for music. “Music has always been an enormous part of my life. It plays an integral role in creating the whole person, creative innovators that will shape the future,” says Wozniak. For information, schedules and registration, go to http://namm.org. The 9th Annual Fall Joshua Tree Music Festival (JTMF) is happening Oct. 9 - 12 in Joshua Tree, CA. Merging its funky desert style with an internationally acclaimed lineup of musical artists, the three-day familyfriendly festival is a global dance

SLASH & KENNEDY ARE ON FIRE Before heading on tour with Aerosmith, Slash (with Myles Kennedy and The Conspirators) finished a headlining tour in support of World On Fire, the third studio album by Slash and the second featuring Kennedy. A two-hour set at Pechanga Resort & Casino in Temecula, CA included several Guns N’ Roses’ hits, including “Sweet Child O’ Mine,” “Night Train,” “Rocket Queen” (with a 10-minute solo during the bridge), and “Paradise City,” as well as new material from their latest record. The album, produced by Michael “Elvis” Baskette, was released in September. For further details and a tour itinerary you can visit http://slashonline.com.

experience. This fall’s lineup will feature the Colombian electro tropical band Bomba Estereo, the gritty funk and soul of Black Joe Lewis, the trip-hop folk sisters of Rising Appalachia, Morocco’s Ribab Fusion, dance master mash-up DJ Pumpkin, Junior Marvin’s Force Once (Junior was Bob Marley’s bandmate from ‘77 to ‘81), high energy Zep-esque rock and roll by the West Water Outlaws, the Italian sextet Ou, dancehall funk group Nappy Riddem, and many more. Visit http://joshuatreemusicfestival.com. Adult Entertainment site Pornhub has launched a record label. With Pornhub Records, the online adult entertainment leader is on the hunt for new talent around the U.S. and the rest of the globe. The site will actually be launching its website and first global music initiative in the coming weeks. The label’s initial release is Coolio’s new video, “Take It to The Hub.” Contact mike@phubcommunications.com. Music Gorilla looks to connect you with industry professionals. From record deals to placements, industry professionals use the site to discover artists and music for their labels, projects and soundtracks. Basic membership is free, and you can earn or buy credits to upgrade to a Pro Membership that allows unlimited submissions. If interested, check out http://musicgorilla.com. Spotify and BandPage have partnered to help artists sell directly to their fans. In addition to traditional offers such as merchandise, musicians can now tap into completely new revenue streams such as secret shows and other exclusive artist-to-fan offers. See spotify.bandpage.com.

JIMMY “GUITAR” SMITH: R.I.P. A memorial was held Sept. 13 in Los Angeles for musician/artist Jimmy “Guitar” Smith who passed away on Aug. 4. In a long career as a musicmaker, Smith wrote hundreds of songs, some of which were recorded by artists such as Donovan, Jennifer Warren and Chad & Jeremy. For complete info on his life and career, see Smith’s legacy page at http:// memorialwebsites.legacy.com/jimmyguitarsmith/homepage.aspx.

LABEL3sRELEASES SIGNINGS

Butch Walker has announced a fall tour. Walker will join friend and fellow rocker Ryan Adams for the October leg of Adams’ national tour, hitting Seattle, Chicago and St. Louis, among other cities. Walker’s recent EP Peachtree Battle achieves a perfect balance between heartfelt imagery and pop hooks. Written while coming to terms with his father’s failing health and full of emotional intensity, the record encapsulates coming to terms with adulthood. See http://butchwalker.com. Rock icon Billy Idol will release Kings & Queens of the Underground, his first new album in almost a decade, on Oct. 21. The album will be released on Idol’s own BFI Records, via Kobalt Label Services. Trevor Horn and Greg Kurstin produced the album whic will drop close to the release of Idol’s self-written autobiography, Dancing with Myself Oct. 7. Then, Idol and his band including longtime collaborator and guitarist Steve Stevens will launch a European Tour in November, the first of several legs of a World Tour that will continue into 2015. For further details, go to http://billyidol.net. Noted music supervisor and KCRW DJ, Gary Calamar, will release his debut EP, You Are What You Listen To, on Oct. 14 via Atlantic Records. Calamar’s debut as a musician and songwriter presents catchy,

sparkly, rock & roll songs filled with abundant wit and melody. The recording was produced by John Would (Fiona Apple). Known primarily as a five-time Grammy nominated music supervisor on shows like True Blood, Dexter and Six Feet Under as well as a DJ on KCRW, Calamar has always been a songwriter. In fact, none other than Iggy Pop recorded his tune “Let’s Boot and Rally.” To learn more visit http:// atlanticrecords.com. Ex-Anthrax vocalist Neil Turbin has signed with EAM Entertainment for worldwide management and booking. Turbin is fresh off his successful European “Fistful Of Metal Alive” 30th Anniversary Tour, which included performances at Dynamo in Netherlands and Headbangers Open Air in Germany, among others. Turbin was the first permanent and original vocalist of Anthrax and helped pioneer thrash metal on their groundbreaking debut album. EAM Entertainment is based in Germany, with a worldwide reach. Artists on their roster include Tygers Of Pan Tang, Steve Grimmett’s Grim Reaper, Whitecross and Rex Carroll Band. You can visit http://agentuream.de for more information. Under the moniker Los Angeles Police Department, Ryan Pollie makes the kind of homespun bedroom pop that excels in quiet intimacy. On his 11-track self-titled debut album, Pollie wrote and recorded each song in a day. Indeed, Pollie explains, October 2014

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– BERNARD BAUR

“This project really changed an important misconception I had. It was that music that wasn’t recorded in a studio with a band was illegitimate or not real for some reason.” Pollie discovered that was not the case with these 11 tracks (pared down from 30). Recorded in a house in Hollywood, CA, the record became a chronicle of personal anecdotes related to a specific time and place. To check out what the fuss is about, see https://facebook.com/LAPDmusic.

PROPS

Country Music Hall of Famer Kris Kristofferson performed an intimate solo acoustic show at Nashville’s historic Ryman Auditorium on Sept. 13, with all proceeds going to the Country Music Hall of Fame and Museum. Kristofferson ranks among the most versatile of American talents. He’s been a Golden Gloves boxer, a Rhodes scholar, a college football player, an acclaimed actor, a military officer, a helicopter pilot, a Grammy winner and an icon. He threw away a promising military career for a life he refers to as, “A songwriting bum.” Kristofferson penned classics including “Me and Bobby McGee,” “Help Me Make It Through the Night,” and “Sunday Morning Coming Down,” as well as a slew of other empathetic, incisive gems. Visit http://kriskristofferson.com. Buckcherry and the Doors’ Robby Krieger will play the

31st Annual Love Ride Charity Festival on Oct. 25, 2014. The Budweiser event will include Grand Marshall Jay Leno and an assortment of Hollywood celebrities, including Robert Patrick, Lorenzo Lamas, Willie G. Davidson and Peter Fonda. Krieger, and his band Jam Kitchen will rock the daylong festivities, along with Buckcherry, who will also play a set spanning their career including songs from their brand new EP, F#CK. Net proceeds from this year’s event will support children served by the Muscular Dystrophy Association (MDA) to help them attend a weeklong, barrier-free summer camp. MDA summer camp offers a wide range of activities specially designed for youngsters who have limited mobility or use wheelchairs. To learn more about the Love Ride, visit http://LoveRide.org. Rock and Roll Hall of Fame inductee and former KISS guitarist Ace Frehley has made history with his new album Space Invader. The record debuted at No. 9 on Billboard’s Top 200 Chart. The LP scored the highest charting position of ANY Kiss solo album ever, and marks Frehley’s first return to the Top 10 since KISS’ 1998 Pyscho Circus reunion album. Frehley’s first studio album in five years also received praise from critics. Rolling Stone wrote, “Gene Simmons claims Ace Frehley doesn’t deserve to wear Kiss’ Kabuki clown paint, but the former

SLIPKNOT GO SHADES OF GRAY Rock juggernaut Slipknot have announced the next phase of their uncompromising history—the release of .5: The Gray Chapter. The fifth studio album from the Grammy-winning group arrives Oct. 21. Meanwhile their headlining “Prepare For Hell” tour, a major North American tour with special guests Korn and openers King 810, is set to kick off immediately following Knotfest (Oct. 24-26). “We’ve been waiting a long time for this,” stated Slipknot’s Corey Taylor. “Not only do we get to tour with friends, we’ve also chosen a band that represents the fury of the future. Slipknot is coming to your town…and hell’s coming with us.” For warning dates, check http://slipknot1.com. 24 October 2014

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DIY Spotlight Jayne Ava Touring is no easy feat for any artist, even if they’ve been performing from a very young age. So when Canadian electropop artist Jayne Ava wanted to take her touring to the next level, she thought of out-of-the-box (DIY) ways to achieve her goals. She didn’t want to send out another CD and promo package to venues and bookers only to get what she always got––another gig. Instead, she had an idea for a very special kind of show. Ava sought to sell the experience of a fully produced show to venues and talent buyers. Her first step was to set up cross promotions with up-and-coming boy band Finale. That would ensure that, together, they could sell a full night to talent buyers who wanted to attract the acts’ target demographics. Using crowdfunding and multi-tiered marketing techniques as a means of both raising awareness and capital, Ava managed to arrange for an entire production team to shoot and edit a professional performance. That performance video brought the show to life so talent buyers could see exactly what they would be getting, including lighting, sound and dancers. With the ability to sell a full package and a professional performance to back it up, Jayne Ava has already garnered attention from talent buyers both in North America and overseas, including Japan and Dubai. To learn more, go to http://JayneAva.com

Have a successful DIY strategy to share? Email bbatmc@aol.com Spaceman’s first solo LP in five years says otherwise.” Visit http:// acefrehley.com.

THE BIZ

Independent label Victory Records’ publishing company, Another Victory Publishing Inc., has officially partnered up for an exclusive sub-publishing agreement with BMG Chrysalis, covering the following territories: Canada, U.K., Germany, France and more. A lucrative deal for both parties, BMG has a presence in eight core music markets and with its unique philosophy and steadfast commitment to the interests of artists, creating a truly 21st century partnership. Another Victory Publishing Inc. is becoming a worldwide operation, also partnering up with Mushroom Music Publishing (Australia, New Zealand), Fujipacifc Music (S.E. Asia) Ltd., Edicione Musicales Clipper’s S.L. (Spain, Portugal), Musou Ltd Music Publishing (Greece, Cyprus) and more. Visit http://anothervictory.com. The American Federation of Musicians (AFM) has blasted the National Football League (NFL) for its Super Bowl kickback plan. In what could be deemed the most

colossal “pay to play” push ever, the NFL has asked potential Super Bowl halftime performers if they would pay the league to play at its big game. “It’s not like the NFL and Super Bowl organizers don’t have any money and can’t afford to pay for halftime show performances, it’s about the insatiable thirst for profits at the expense of musical entertainment and those who create it. You can find schemes like this coming from unscrupulous bar and nightclub owners, but for the NFL to descend to such depths would be unconscionable,” said AFM president Ray Hair. Concord Music Group has entered into a multi-year, worldwide strategic partnership with Tom Whalley and his Loma Vista Recordings label. Under the terms of the agreement, Concord will provide funding for new talent relationships and artist development, as well as comprehensive label services for Loma Vista’s current and future artist roster. 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.

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CAROLINE ROSE

CRUEL HAND

Date Signed: April 2014 Label: Little Hi! Records/Thirty Tigers Type of Music: Singer/Songwriter Management: Mike Crowley Booking: Frank Riley - High Road Touring Legal: Jeff Colvin - Marcus & Colvin, LLP, Nashville, TN Publicity: Carla Parisi, kidlogicmedia@gmail.com Web: http://carolinerosemusic.com A&R: Kim Buie

Date Signed: April 2014 Label: Hopeless Records Type of Music: Punk/Hardcore Band Members: Chris Linkovich, vocals;; Brian Wilcox, guitar;; Seger Daily, bass;; Ryan Goff, drums. Management: Shawn Carrano -­ Royal Division Entertainment Booking: Andy Rice -­ Outliers Talent Agency Legal: NA Publicity: natalie@bigpicturemediaonline.com Web: http://cruelhand.com A&R: Eric Tobin

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aroline Rose is the epitome of a free spirit, taking a grassroots approach to her music while traveling the U.S. to perform house concerts and crashing on people’s couches. However, Rose didn’t always plan to follow a career in music. In fact, she tried several different jobs—from architect, to working at a cider distillery, and even a job on a farm—before finally deciding on her current path. “I guess what I was just thinking was that I didn’t want to play music because I didn’t want to stop loving it, so I tried to do a bunch of different stuff,” Rose says. It is abundantly clear from speaking with the singer/songwriter that Rose puts a lot of stock in being able to exercise as much creative freedom as possible, not only in writing and recording the whole thing alongside fellow musician Jer Coons, but also playing every instrument heard on the album. “I think it’s the death of creativity when you don’t have final cut over your work,” she says. “I know exactly how I want my

aving released its last two full-lengths, 2008’s Prying Eyes and 2010’s Lock & Key, under Bridge 9 Records, Cruel Hand felt it was time to move forward with another label. The Portland, ME hardcore foursome had self-funded and recorded a new album, and began seeking an alternative company to sign with last year. “We were ready to take the band to the next level,” says frontman, Chris Linkovich. “I want the band to be in a place where we don’t struggle, or set it up to be in a better place in the years to come.” Admittedly, Linkovich adds, there weren’t many options. With three years having passed since its last album, Linkovich says the band “hadn’t really gotten out there” and there weren’t many labels soliciting hardcore acts. But one brand name entity, Hopeless Records, showed interest. “Our booking agent, Andy Rice, had a relationship with [Eric] Tobin at Hopeless. I don’t remember who brought it up first, but Tobin said,

“When you work with a smaller company, obviously there’s going to be less money.”

“We weren’t afraid to step out of our comfort zone and grow as a band.”

songs to sound, they pop into my head in full form, so all the parts are there.” Rose, who earned a slot in Music Connection’s Top 25 New Music Critiques of 2013 last December, found herself signing to an imprint of Thirty Tigers, Little Hi Records, which is the brainchild of Kim Buie, exA&R for Lost Highway. The imprint currently only has one artist on the roster, which is Rose herself. “It’s really great! I have so much freedom!” Rose laughs. “It’s a wonderful company; they give the artist a good percentage and it’s very hands-on.” The artist acknowledges the downside of being on a smaller label. “When you work with a smaller company,” she says, “obviously there’s going to be less money than a major label. And that can get frustrating because the budget can limit what you can do with your art. But it’s a growing process and I’m in it for the long haul.” Rose’s label debut, I Will Not Be Afraid, is now in stores and online via iTunes. – Victoria Patneaude

‘Really? You think I should give [Cruel Hand] a call?’ [Tobin] thought we were a too-cool-for-school hardcore band and wouldn’t give him the time of day. But Andy told him we weren’t afraid to step out of our comfort zone and grow as a band.” The four-piece’s initial talks with Hopeless began in the fall of last year, which led to much discussion between the two parties. Having not been used to so much attention from its label, the outfit took time finding a comfortable middle ground with Hopeless. “[Hopeless] is ambitious and comes to the table with a lot of creative ideas, which I truly appreciate. It’s new for us having a relationship with a label where they’re so enthusiastic and want the best for us. You don’t necessarily get that with a smaller label. We took our time to settle on a deal that worked for both of us and it’s been for the best.” Cruel Hand’s fourth album, The Negatives, was released by Hopeless in September. The video for its first single, “Monument Square People,” is available now. – Albert Vega

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UNLOCKING THE TRUTH FRANCESCO YATES Date Signed: February 2014 Label: Sony Music Type of Music: Metal/Alternative Rock Band Members: Malcolm Brickhouse, guitar, vocals; Jarad Dawkins, drums, vocals; Alec Atkins, bass, vocals. Management: Alan Sacks & Kevin Jonas Booking: Agency Group Legal: Gary Adelman Publicity: Amy Sciarretto/ Atom Splitter PR Web: http://unlockingthetruthband.com A&R: Debby Dill; Jolene Cherry/The Cherry Party

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arely teenagers, the band Unlocking the Truth have already played the main stage at Coachella, performed at the AFROPUNK festival, played dates with Metallica, Queens of the Stone Age and Guns N’ Roses and performed on the Vans Warped Tour 2014. Guitarist Malcolm Brickhouse (13), drummer Jarad Dawkins (12) and bassist Alec Atkins (13) are a metal trio from Brooklyn, NY that has been steadily building a brand since 2007. Brickhouse and Dawkins kicked up their public persona a notch in March 2012 when they were finalists in an amateur talent show at Harlem’s Apollo Theater. From there they partnered with friend Alec

“We’re gonna play metal because we like it!” Atkins and gained exposure when a video of the boys busking in Times Square got over a million hits on Youtube. Their career got in gear when manager Alan Sacks came aboard. Sacks’ resume includes co-creating ‘70s sitcom Welcome Back Kotter and producing films and television for Disney and the Jonas Brothers. Sacks saw a piece online about three African American kids playing heavy metal music and immediately thought it would make a great television series. He contacted Malcolm’s parents and flew to New York for a meeting with the band. “About two months into my relationship with the boys we got another email to our website from Debby Dill who wanted to set up a showcase,” says Sacks. “When I saw she was working with Jolene Cherry—who just set up a label at Sony—I got actively involved in pushing this.” In short order the band was whisked off to Los Angeles for a showcase at the club Zanzibar in Santa Monica. Cherry was enamored with the band and offered them a multi-album deal that afternoon. What has followed includes production of a documentary on the group as well as a book deal with Penguin Books. Their debut album will be helmed by Grammywinning producer Johnny K (Sevendust, Disturbed, Megadeth). “I think the press really took to these kids because of their message,” says Sacks. “And their message is ‘we’re gonna do what we wanna do. If you want us to play hip-hop, we’re not gonna play hip-hop. We’ve been listening to metal in wrestling matches and Japanese anime since we were three years old. We’re gonna play metal because we like it!’” – Eric A. Harabadian

Date Signed: March 5, 2012 Label: Atlantic Records/21ENT Type of Music: Pop/Soul/R&B Management: Chris Smith Management Booking: Jeff Frasco - CAA Legal: Seth Lichtenstein - Hertz Lichtenstein & Young LLP Publicity: Sheila.Richman@atlanticrecords.com Web: http://francescoyates.com A&R: Aaron Bay/Schuck

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harrell Williams and Timbaland agree that Francesco Yates is a “huge pop star” ready to “shock the world.” Not too bad for a guy who signed with a manager at 14 and inked a deal with Atlantic Records just two years later. Now, 18-year-old Yates hopes to soak-up every bit of “insider” wisdom the industry can afford—while still maintaining his unique artistic integrity. “There’s a certain amount of studio etiquette that is needed,” Yates explains. “You learn to work with writers and different people, and you do that through the experience they give you. To have these people around who let me work in the highest place that I can creatively, it’s great.” Yates’ fresh, youthful vibe allows his sound to grow in a very natural, go-with-the-flow fashion. Thankfully, Atlantic has strongly encouraged such creative freedom, since Yates proved himself a strong and

“If you come in with a strong sense of identity, people will support you.” dedicated musician from the get-go. “It’s about identity,” he says. “If you come in with a strong sense of identity, people will support you with it. Atlantic helped build [my name] organically, from the ground up.” The Toronto native finds this artist development process most rewarding, especially since it is an authentic, never-ending practice. Yates explains, “I was fortunate enough that they were supportive of the direction I chose, given the many directions I tackled.” He says there’s now ample space to pursue the music he’s always wanted to create, in a team environment that supports and eventually enhances individuality. “In most cases,” says Yates, “the label expects you to be ready with your sound once they sign you. [Atlantic] takes the time, and I appreciated that during development.” So it took a few years, but after some intense self-discovery and harmonic enlightenment, the young music-maker is finally prepared to release his debut album, which includes the soul-infused single, “Call.” Yates, who played guitar on Pharrell Williams’ hit song “Gust of Wind” featuring Daft Punk, quotes his musical mentor as saying, “‘The world wants to feel good again.’ “And I want to help with that,” Yates enthuses. “There’s a movement going on, and I want to be a part of it.” – Danica Bellini

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Singer/Songwriter Competition Opens

ASCAP Centennial Honors ASCAP will confer its once-in-a-century ASCAP Centennial Awards to members Joan Baez, Garth Brooks, Billy Joel, Stephen Sondheim and Stevie Wonder (pictured). The unique presentations will take place on Monday evening, Nov. 17, at the Waldorf Astoria Hotel, in New York, at a gala party celebrating ASCAP’s historic 100th anniversary. The event will be hosted by Paul Williams and feature the Centennial Award recipients as well as the special guest artists who will perform in tribute. The event marks the first fundraiser benefiting The ASCAP Foundation and its music education, talent development and humanitarian activities. See http://ascap.com.

Sanz to Be Honored in Miami Alejandro Sanz, a 17-time Latin Grammy winner and three Grammy awards who has sold over 24 million albums worldwide, will receive the LA MUSA 2014 ICON AWARD” (PREMIO ICONO) at the LA MUSA AWARDS on Oct. 18 at the annual induction gala of the Latin Songwriters Hall of Fame. LA MUSA AWARDS will be held at The RitzCarlton South Beach in the city of Miami Beach. Tickets for the event are available via LSHOF's webpage, http://latinsonghall.com.

ole Inks Stover ole has signed hit songwriter/producer Jeremy Stover and acquired his song catalog, including several No. 1 hits on the Billboard Hot Country Songs chart. Pictured at the signing, back row (l-r): Shellien Kinsey, ole Creative Coordinator; Emily Mueller, ole Creative Manager; Gilles Godard, ole VP Business Development; Austen Adams, Dickinson Wright, PLLC; and Ben Strain, ole Creative Director. Front row (l-r): John Ozier, ole GM Creative Nashville and Stover. 28 October 2014

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Guitar Center’s Singer-Songwriter 4 competition is officially open for submissions. Aspiring singer/ songwriters nationwide can enter for the opportunity to record an EP with Grammy Award-winning producer Don Was, perform on Jimmy Kimmel Live!, take home new gear, $25,000 cash and much more. New to the program this year is Grammy Award-winning singer/ songwriter Colbie Caillat who will lend her talents as a mentor, guiding the winner through the writing and recording process. Entrants can submit an original music video at http://guitarcenter. com/songwriter. Submissions will be ranked on their social media engagement and fan growth. The top artists will be reviewed by Don Was who will then handpick five finalists to perform live in Los Angeles where one winner will be named. Deadline for submissions is Nov. 2. Go to http://guitarcenter. com/songwriter.

Durango Songwriters Expo

Limited to 200 attendees, The Durango Songwriters Expo is one of the songwriting community’s preeminent events. This year the Expo will be held from Oct. 2-4 at the Omni Interlocken Resort, Broomfield, CO, convenient to Denver and Boulder. Classes, panels, pitch sessions, listening sessions and live performances comprise this welcoming and relaxed event. Guests range from reps and writers from BMG Chrysalis, Razor & Tie Music Publishing and RCA

Records to Nashville, Round Hill Music and peermusic. Registration info is at http:// durango-songwriters-expo.com.

Wixen Publishing Signings Wixen Publishing Inc. has just signed a worldwide administration deal with The Estate of Stevie Ray Vaughan, it was announced by the company’s president Randall Wixen. In addition to the Stevie Ray Vaughan songs, Wixen Music Publishing Inc. will handle the repertoire of Vaughan’s brother, Jimmie Vaughan (including the works written for his former band, the Fabulous Thunderbirds). Recent Wixen administration signings include the Byrds’ iconic pioneer Roger McGuinn, Chicago founding member Robert Lamm, Jefferson Airplane legend Grace Slick and acclaimed ukulele virtuoso Jake Shimabukuro. With an office in Los Angeles and a sister company, Wixen Music U.K. Ltd. in London, the companies administer the song catalogs of many top artists ranging from George Harrison, the Doors, Neil Young and Tom Petty, to the Black Keys, Andrew Bird and Fitz & the Tantrums. This past April, as reported in MC, Randall Wixen issued the third edition of The Plain and Simple Guide to Music Publishing. With a foreword by Tom Petty, it contains an array of new topics pegged to the ever-changing music industry landscape including the value of music (how and why streaming yields so little income to content creators), monetizing YouTube, and the difficulty of calculating and verifying new statutory streaming rates. The book is available at all

Riptide Reps Helen Austin Riptide Music Group, a “sync-flavored” global publishing administration company with services that include the worldwide synchronization of music for advertising, movie trailers, television, film and videogames, has announced that its artist Helen Austin is the co-winner of the 2014 John Lennon Songwriting Contest’s “Song of the Year.” Austin won the contest along with her colleague Paul Otten for the song “Colour It.” For more information, see http://riptidemusic.com.

– DAN KIMPEL dan@dankimpel.com

major chains, including Amazon. Visit http://wixenmusic.com

Egan Feels Pulse

Maria Egan has been appointed President of Pulse Music Publishing. Formerly she was EVP at Pulse and, prior to that, VP A&R at Columbia Records where she signed the award winning Avett Brothers, performed A&R duties for Brandi Carlile’s acclaimed album The Story and on the pop side was also responsible for the development and A&R of the hit shows and multi-million selling soundtracks for Big Time Rush and Victorious within the Sony/ Nickelodeon partnership. Egan will now oversee A&R/ Creative for the music publishing company in addition to her existing role in the continuing expansion of its producer and artist management divisions. See http:// pulserecordings.com.

Songwriters in the Round on Television

Public television stations across the country will start airing Front and Center, two, hour-long concert specials leading up to Country Music’s Biggest Night, The 48th Annual CMA Awards. The first of the two shows will be available to public television stations beginning Tuesday, Oct. 14 and will feature a special 10th Anniversary CMA Songwriters Series celebration with CMA Award winner Dierks Bentley. Capturing the authentic in-theround experience, Bentley is joined by Jim Beavers, Ross Copperman, Brett James and Jon Randall. The second show, available to public television stations beginning Tuesday, Oct. 28, features the

Zac Brown: SESAC Signee Brown, songwriter and frontman of the three-time Grammy-winning and multiPlatinum Zac Brown Band, has signed with SESAC for songwriter representation. Brown’s most notable songwriting credits include “Toes,” “Chicken Fried,” “Colder Weather,” “Goodbye In Her Eyes” and “Sweet Annie,” all charttopping hits for the band. See http:// sesac.com.

music of CMA Award winners Lady Antebellum performed in an intimate setting. The trio will showcase their signature hits and offer a first taste of new music from their upcoming fifth studio album, 747. The group shares personal stories from the road, the writing room, and the events that inspired their music, and are joined by songwriters Rodney Clawson, Tom Douglas Josh Kear, Luke Laird and Abe Stoklasa for some special collaborations.

Everly Brothers Honored at Rock Hall

Don and Phil, the Everly Brothers, were known for their airtight harmonies over the course of their storied career. Some of the best harmonizers in the business will celebrate the duo as the 2014 Music Masters honorees at the Rock & Roll Hall of Fame in Cleveland, OH. Rodney Crowell will serve as music director for the Saturday, Oct. 25, concert that culminates a week of activities honoring Don and Phil, who died last January. Joining Crowell onstage will be Vince Gill, Emmylou Harris, Shelby Lynne, Peter Asher, Graham Nash, the Secret Sisters and others. As part of the weeklong series, the Rock Hall will hold a free session called “Songwriters to Soundmen” with Crowell and special guests at the Rock Hall’s Foster Theatre at 8 p.m. Wednesday, Oct. 22. For complete details, visit http://rockhall.com. DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.

Larkin Poe: Sizzling Sibling Synergy “Roots-rock & soul” is the chosen musical hyphenate of Atlanta-based duo Larkin Poe. As musicians, sisters Rebecca Lovell (guitar, mandolin and violin), and Megan Lovell (lap steel, dobro and vocals) have backed Elvis Costello, Conor Oberst and Kristian Bush. Their new CD, Kin, couples the pair’s sterling musicianship with powerful songwriting and stellar vocal harmonies. Listen at http://larkinpoe.com. Look for our Signing Story on them next month.

BMI Gets Ludacris in Hollywood Chris “Ludacris” Bridges was honored with the President’s Award at the 2014 BMI R&B/Hip-Hop Awards at the Pantages Theatre in Hollywood, CA. Pictured (l-r): Michael O’Neill, BMI President and CEO; Catherine Brewton, BMI Vice President of Writer/Publisher Relations; and honoree Chris “Ludacris” Bridges.

Alperin: UMPG Appointment Universal Music Publishing Group (UMPG) has announced the appointment of Rebekah Alperin to Senior Vice President Marketing and Communications. Responsible for managing the company’s worldwide corporate marketing, internal and external communications, social media and digital marketing initiatives, she will work UMPG’s management team and Universal Music Group global communications in shaping and executing strategy for the publishing company and its subsidiaries worldwide. See http://umpg.com.

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Mary Lambert Revelations, Rhymes and Rainbows

By Dan Kimpel

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he is not a shrinking violet, this Mary Lambert. “I love performing. I love the sound of my own voice. I love being the star,” she says. The lyrics of her lead single, “Secrets,” reflect her remarkable candor as she sings, “I don’t care if the world knows what my secrets are.” Polished pop, vivid ballads, spoken word interludes and anthems of self-empowerment: With her first full-length release, Heart On My Sleeve, Lambert reveals a strikingly expressive tableaux. From Everett, WA, Lambert was raised Pentecostal. “We left the church and I joined the Evangelical church in high school, which I loved,” she recalls. “They had the hippest bands and the funniest pastors telling jokes, but it was still, ‘You’re gay, so you’re sinning.’ It was such a mind fuck.” Lambert, who endured horrendous sexual abuse as a child, was diagnosed as bipolar. She channeled her creative instincts into learning guitar and studying classical composition. She commanded slam poetry stages and released a book, 500 Tips for Fat Girls, that predicted her future as a fearless communicator. A massive audience met Lambert when she wrote and performed the hook on “Same Love” by Macklemore & Ryan Lewis after a friend recommended her to the duo. Within three short hours of receiving the track she had penned the chorus to the song that was nominated for two Grammy Awards: Song of the Year and Record of the Year. “I had three hours to come up with the most brilliant shit ever,” says Lambert. “I had a shot of tequila and got down to business.” Lambert joined Macklemore & Ryan Lewis at the Grammy Awards for the onstage marriage of 33 couples, officiated by Queen Latifah, and joined by Madonna. “She was incredibly kind to me,” says Lambert of Madonna. “Working with a legend, there were some things I was scared to say, and things I was eager to ask. I really wanted to learn from her.” While Lambert has two previous EP’s to her credit, creating a full-length release was a completely different process. The project’s producers are Eric Rosse and Benny Cassette, with songs credited to Lambert with her producers and Mozella, best known for “Wrecking Ball” by Miley Cyrus. “I had some songs previously that I had worked out with Eric Rosse, but we then realized that we were writing the record while we were making it. So all of these songs were written in the last nine months,” says Lambert. Co-writing was a new experience. “Previously, I’d written all my stuff crying on the kitchen floor, drunk out of my mind thinking the only way I could create was in shitty chaos. Now I was sober and alert and having people in the room and writing about fun things.” Lambert says that Mozella was helpful in the editing process. “When I write I have a hundred different ideas, and sometimes that one melody idea I’ve tucked away is the right answer. It was so helpful to have her say, ‘There––that one, that’s your chorus.’” One of the song’s most affecting ballads, “Monochromatic,” owes its title to Lambert’s co-writer. “That was Mozella’s word,” confirms Lambert. The sole cover on Heart on My Sleeve is a ballad version of the Rick Springfield hit “Jessie’s Girl.” Lambert says that it was originally recorded to pitch to Grey’s Anatomy. “I was asked to do a cover of an ‘80s tune. I thought of ‘Jessie’s Girl,’ and the gender neutrality of the name ‘Jessie,’ and how many times in the gay community can you be attracted to someone who is straight? It happens to everybody.” On her website (http://marylambertsings.com) fans leave Lambert impassioned messages. Many of them are from teenage girls working to overcome negative body images, homophobia and fear. “We are more than our scars,” sings Lambert on “Sum of Our Parts.” For Lambert and her fans, it is a connective creed. “I know everyone says this, but I have the best fans ever—communicative and kind and they defend me,” she concludes. “I am so glad that my music resonates with them.” Contact Gihan Salem, Capitol Records, Gihan.Salem@umusic.com, 323-871-5745

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DROPS

Chasing Notes, the first-ever film composer documentary, debuted last month at the United Film Festival, following the career of emerging composer Jaymee Carpenter. Carpenter scored the film, and in it he interviews top contemporary film and television composers including Nathan Barr (True Blood), Marco Beltrami (Snowpiercer), John Ottman (X-Men: Days of Future Past), Christopher Young (The Rum Diary), Christophe Beck (Frozen), Theodore Shapiro (The Secret Life of Walter Mitty), Deborah Lurie (Footloose), George S. Clinton (Austin Powers), Greg Edmonson (Firefly) and Peter Golub, the director of the Sundance Film Music Program. Contact Beth Krakower with CineMedia Promotions at Beth@CineMediaPromotions.com for further information.

A$AP ROCKY svddxnly-part-5-documentary-chris-brown-riffraff-schoolboy-q-big-sean-wiz-khalifa. The film first premiered as an official selection at the 2014 South by Southwest Film Festival. It is Noisey’s first feature-length. Contact Laura Rothkopf at Laura.RothkopfW@Vice.com for more details.

Noisey.com, VICE’s music channel, has dropped the fifth and final installment of SVDDXNLY, the feature-length documentary on the rapper A$AP Rocky. In the final installment, the artist reflects on his success and spends time with Chanel Iman, Wiz Khalifa, Schoolboy Q, Riff Raff and Big Sean. Produced and directed by VICE’s David Laven, and narrated by Rocky, SVDDXNLY follows the artist and the A$AP Mob out of Harlem as he gains recognition. The documentary features appearances and interviews with Rihanna, Snoop Dogg, Macklemore, Danny Brown and more, and showcase’s Rocky’s hits and unreleased music from his upcoming instrumental album––Beauty & The Beast: Slowed Down. The last segment can be viewed at http:// noisey.vice.com/noisey-specials/asap-rocky-

Grammy Lifetime Achievement Award winner and Country Music Hall of Fame member Glen Campbell wrote and recorded his last song, “I’m Not Gonna Miss You,” with producer and friend Julian Raymond for a documentary on himself entitled Glen Campbell…I’ll Be Me. Released Sept. 30, the song was produced by Raymond and recorded in Los Angeles’ Sunset Sound Factory and EastWest Recording Studios. James Keach, who produced Walk the Line, produced and directed the film, which covers Campbell’s battle with Alzheimer’s. Trevor Albert (Groundhog Day) also produced the film, which opens in theaters in New York, Oct. 24, followed by a countrywide release in 50 cities. The soundtrack will be released on Big Machine Records and will feature the Band Perry, who previously paid tribute to Campbell at the 2012 Grammy Awards when Campbell received his award. Julia Pacetti of JMP Verdant can be reached for more information at Julia@JMPVerdant.com. The much-anticipated documentary Mr. Dynamite: The Rise of James Brown, will debut Oct. 27 at 9 p.m. ET/PT. HBO acquired the U.S. and Canadian TV rights to the film, directed by Oscar winner Alex Gibney and produced by Mick Jagger. The Brown Estate opened its archives for the first time for the documentary, which features rare and never-before-seen footage, interviews and photographs of Brown’s career. Victoria Pearman of Jagged Films, Peter Afterman of Inaudible Films and Blair

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Foster of Jigsaw Productions also contributed to producing Mr. Dynamite. Contact Nancy Lesser at 310-382-3274.

OPPS

The Sunday Show is hosting any guests to talk on a variety of subjects—including film, music, theater and television––and guests will have time to plug their project. The Internet radio show and recorded podcast claims about 500,000 listeners and can be found at http:// stuntradiocom.wix. com/the-sunday-show. Contact Jason Geary for booking inquiries at StuntRadio.com@ Gmail.com. For those industry types who use Pinterest as a marketing tool, the Pictures to Profits Podcast is looking for guests to talk for about 20 minutes via Skype about how the site is used to grow business. The podcast receives 300-500 downloads per episode over a two month period, and is exposed to 2,500 Twitter followers. The website, http://mcngmarketing.com/category/ podcasts, receives 7,000 unique monthly visits. Host Vincent Ng can be reached at Vince@ MCNGMarketing.com. Talk to the Author with Dr. Mamie Smith may be a helpful outlet for exposure for artists and filmmakers and others who have penned a book on their job experiences. The radio show has a global reach and appears on Kat Radio at http:// KatsEntertainment.com, which has reached over 4.2 million people worldwide. The show is also featured on the Duane Parham Show every Sunday 5:15-6 p.m. EST. For booking inquiries, email TheParham@Gmail.com or SmithMamie@Ymail.com. Visit http://unfoldingofarose.ning.com/page/talk-to-the-author-radio for more information.

– JESSICA PACE j.marie.pace@gmail.com Talk Radio Meltdown seeks interviews with television and film actors of any kind to guest on the free podcast and talk radio show. Based in Boston, host Jack Gill and guests talk pop culture and news uncensored, reaching about 5,000 weekly 4-6 p.m. EST. Find the website at http://TalkRadioMeltdown.com. Email host Jimmy Park at Jimmy@ TalkRadioMeltdown.com for booking inquiries.

PROPS

Hear My Train A Comin’, a documentary on legendary guitarist Jimi Hendrix, scored an Emmy Award for Outstanding Sound Mixing for NonFiction Programming. Eddie Kramer, who engineered the four albums Hendrix released during his lifetime as well as some posthumous recordings, did the mixing, and Steve Crook was the re-recording mixer. The documentary,

TourGigs, a technology company that provides services to produce, film, market and distribute concert films, recently announced that acclaimed filmmaker, photographer and writer Danny Clinch joined the company as creative director. Clinch’s debut project with TourGigs was directing The Head and the Heart’s live show at the Greek Theatre in Berkeley, CA, on Sept. 5. The show was streamed worldwide. As a director, Clinch has been nominated three times for Grammy Awards, and has worked on documentaries, concert films and music videos for artists such as Bruce Springsteen, Pearl Jam, Tom Waits and Willie Nelson. Most recently, on Sept. 23 Clinch dropped Still Moving, a book of photos capturing his career. For more information, contact Jim Walsh with Big Hassle at Walsh@BigHassle.com.

ASK DINO SHOW

released by Legacy and Experience Hendrix, LLC on DVD and Blu-ray, also received a nomination for Outstanding Picture Editing for Nonfiction Programming. Directed by Bob Smeaton, the film takes an up-close look at the artist’s life as he rose to fame. Contact Bob Merlis at BobMerlis@BobMerlis. com for more information.

Veteran music producer Dino Maddalone has been developing his unique mentoring show, Ask Dino Show, which now has a Tonight Show format, including a live house band. This self-described Mentoring/Entertainment show has joined forces with The Handshake Foundation, a mentoring foundation for the arts. A recent episode presented Larry Dunn from Earth Wind & Fire. Maddalone says, “The show aims to inform and entertain the new artist (and general public),” he says, “with veteran performers and even iconic guests. We are working on Aretha Franklin as we speak. Our guests ‘talking and showing’ is exactly what the knowledge hungry artist needs in today market.” See http://youtube.com/ watch?v=4AVLJnrVSfY. For complete details contact DinoM4@aol.com. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. pace@gmail.com.

Out Take

Lynn Hoffman Show host

Email: Info@LynnHoffmanEntertainment.com Web: https://Facebook.com/PrivateSes sions, http://indiMusic.TV Most Recent: Private Sessions This fall, the Emmy winning A&E music show Private Sessions is coming back in partnership with IndieMusicTV, a 24/7 social media broadcast network. Viewers will now be able to live stream Private Sessions, which launched in 2007 and features interviews and performances with popular bands and artists, in over 250 countries. Returning host Lynn Hoffman launched the new series Sept. 25 at 9 p.m. EST with an episode featuring Maroon 5’s Adam Levine and James Valentine, who perform hit Maroon 5 songs including “This Love” and “She Will Be Loved.” “He talked about how when he was young, his music teacher told him to give up on playing the guitar, because it would never amount to anything,” Hoffman says about Levine, “and he promptly put up his middle finger to the camera while saying, ‘Look at me now.’” Hoffman and Levine talked about M5's initial monstrous success, from starting their career back in high school to opening for legends like the Rolling Stones and the Police. “At the time we taped this show,” she says, “Maroon 5 was struggling to make a comeback, right before Adam started his stint as a judge on NBC’s hit show, The Voice, which catapulted Maroon 5 and Adam straight back to the top––but you would never know it.” Hoffman says her interviewing rule of thumb is to treat everyone the same, “like regular, normal people.” These seemingly larger-than-life artists, she says, “whose job is to create fantastic works of art that draw emotion, make people think, are just people like you and me. I’ve found that just about all of the artists and entertainers I’ve met and worked with over the years have been very down-to-earth.” Private Sessions can be streamed through IndiMusic TV channels on Roku and Opera TV, and soon through Google Chrome, Apple TV, Amazon Prime, Netflix and more.

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Khalifa Under the Influence in Irvine

PAULA TRIPODI

Music Connection coverboy Wiz Khalifa recently wrapped his 2014 “Under the Influence” tour. MC was in attendance for his Irvine, CA stop at the Verizon Amphitheatre. Wiz’s supporting cast included Young Jeezy, Ty Dolla $ign, Rich Homie Quan, Sage the Gemini, Mack Wilds, Iamsu! and Mr. Gangsta Grillz himself, DJ Drama. Upcoming dates at http://wizkhalifa.com.

Haim Return Home For Two Nights at L.A.’s Wiltern

DANIEL SEYUM

Sister act Haim––Este, Alana and Danielle––have been touring heavily since we last spoke to them for our March issue’s cover story. In September the band touched down on their home turf of Los Angeles for two special sold-out shows at the historic Wiltern Theatre. See and read more about it at http:// musicconnection.com/haim-it-girls-rock.

ASCAP Hosts Source In Nashville

DENISE FUSSELL

SOURCE—an organization of women executives in Nashville’s Music Industry—held its monthly Members Luncheon at ASCAP. John Barker, President and CEO of Clearbox Rights LLC addressed the group of industry professionals on the subject of IP (Intellectual Property) and Copyright Laws. Pictured (l-r): Denise Nichols, The Primacy Firm; Stacy Schlitz, Schlitz Law; John Barker, Clearbox Rights LLC; and Joy Fletcher, J. Fletcher Consulting.

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Smooth (And Funky!) Summer Jazz At The Bowl MATHEW IMAGING

The Hollywood Bowl mirrored the town of Springfield recently as fans of The Simpsons came to enjoy live renditions of the show’s greatest musical moments. Conan O’Brien, Hans Zimmer, ‘Weird Al’ Yankovic and the Hollywood Bowl Orchestra accompanied Homer and the gang through skits and musical performances. The Simpsons began its 26th season on FOX on Sept. 28.

JONATHAN WIDRAN

It’s a Simpsons Bowl-ooza!

Contemporary urban jazz stars (l-r) Rick Braun, Norman Brown and Kirk Whalum (collectively known as BWB) chill backstage at the Hollywood Bowl’s Annual Smooth Summer Jazz festival, which included soulful, high-octane and just smooth enough performances by the trio (with special guest vocalist Elliot Yamin), keyboardist Keiko Matsui with saxophonist Jackiem Joyner, the Ohio Players (on “Fire”) and headliner Boney James featuring vocalist Eric Benet.

– ANDY MESECHER andym@musicconnection.com

CHRISTOPHER POLK/GETTY IMAGES FOR ANHEUSER-BUSCH

Dragons Got It Made In America Dan Reynolds of rock band Imagine Dragons performs on the Marilyn Stage during day 1 of the 2014 Budweiser Made in America Festival at downtown Los Angeles’ Grand Park. The two-day festival also featured John Mayer, Kanye West, YG, Weezer, City & Colour and many more. Full details at http://musicconnection. com/made-in-america2014-wrap.

Tidbits From Our Tattered Past

Coheed Shut Down The Wiltern New York’s Coheed & Cambria are currently on the road honoring their 2004 release In Keeping Secrets Of Silent Earth:3 by performing it from beginning to end. To commemorate the record’s 10-year anniversary, the band released a re-master of the album for vinyl in both “collector tour” format and “180-gram black” format for their audiophile fans. Pictured is frontman Claudio Sanchez (somewhere behind the hair). Read the full wrap at http:// musicconnection.com/coheedcambrias-iksse3-10-year-tour.

PATRICK COOLEY

1985–Class of '85–#18

ANNALISE FREYTAG

Music Connection’s Networking Panel Is A Hit! Music attorney Glenn Litwak moderated a discussion with prominent A&R reps, music supervisors and managers for a recent “Networking” panel at the SAE Tech Expo in Hollywood. Sponsored by Music Connection, the panel featured a spectrum of industry pros including (l-r) manager Silas White and Notting Hill Music’s Livio Harris.

A Legend Emerges At The Greek

2001–Linkin Park–#7

JUAN O’CAMPO

John Legend serenaded a relaxed, yet highly enthused Los Angeles crowd with a band who played beautifully throughout the evening. Legend had the confidence of a young Marvin Gaye with the grace of Ray Charles. Truly an unforgettable evening, Legend left imprints on the hearts of attendees––and likely contributed to the birth of a few children nine months from now. See the Greek’s fall schedule at http://greektheatrela.com.

In this issue Music Connection focused on a group of "baby bands" who had just been signed by major labels, to get an idea of how they got their acts together. Featured were the bands Cock Robin, Malice, What Is This, Chain Reaction, Precious Metal and A Drop In The Gray. We also spoke to prominent managers. Concert reviews of Suzanne Vega, Tom Petty and Los Lobos and club reviews of Megadeth and Adore O'Hara round out the issue.

Rap-rockers Linkin Park were promoting their rapidly rising Warner Bros. debut album Hybrid Theory when MC spoke to them for this cover. Said the band's Mike Shinoda of LP's wise career strategy, "We decided to hold off on signing a manager until we absolutely had to, because that stuff is so important to us." Profiles of DJ John Digweed and Lee Ann Womack are also here.

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A

band that has seemed like an effortless pop hit machine since the early 1990s, with early successes including “Buddy Holly,” “Undone— The Sweater Song,” and later, “Hash Pipe,” Beverly Hills” and “Pork and Beans,” Weezer has meant even more than that to critics, fans and alternative radio. The band successfully rode out all of the transformations in the music industry since signing to then-powerhouse Geffen in 1992, followed by Interscope, Epitaph and, currently, Republic Records. For an outfit that initially gained popularity via pop-culture references and heavy rotation MTV videos, Weezer’s longevity has proved that the group’s reputation as a brainy bunch goes beyond the glasses, cardigan sweaters and frontman Rivers Cuomo’s Harvard studies. The tight foursome, featuring Cuomo (vocals/guitar), Brian Bell (guitar/vocals), Patrick Wilson (drums) and Scott Shriner (bass) are back with their ninth studio album, Everything Will Be Alright In The End, and back as well with producer Ric Ocasek (the Cars) who produced their debut LP (Weezer aka “The Blue Album”) and the third Weezer record, (Weezer, aka “The Green Album”). Having completed several summer festivals, the band will play a limited number of fall dates and perform the new album (coming Oct. 7) in its entirety. What’s clear from recent crowd reactions (for example, at the Made In America fest in Los Angeles) is that Weezer remains well-regarded and vital. Always a favorite of alternative radio, the band’s pure pop-rock songcraft has never left the consciousness of the smart-rock listening base. Consistently touring and staying in touch with fans has kept these players in the present, and still thriving in the studio environment—which we discuss at length with band bassist Scott Shriner in the following Music Connection interview. Music Connection: Scott, you’re originally from Toledo, Ohio. How long have you been based in Los Angeles? Scott Shriner: I moved out here in 1989 and I feel more like a Los Angeleno than a Toledo, Ohioan. MC: You were initially hired as a temporary bass player for Weezer. Can you talk a little about how that came about? Shriner: I met Barry Squire, a recruiter at Musicians Institute in Hollywood, and we hit it off. He sent me out on a lot of auditions, and I was in his book. When Weezer was in a pinch and needed somebody to fill in, they called Barry and he gave them a short list of names and numbers and described each person a little bit. At the time, they were looking for a player whose sound was a little heavier. Barry warned them, “Hey this guy is cov-

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WEE

“WE ALWAYS COULD BELIEVE [producer Ric Ocasek] when he said something sounded good, because he absolutely would tell us when it didn’t.”

EZER By Brett Bush

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r 5IF CBOE QBSUJDJQBUFE JO B GPVS OJHIU Weezer Cruise in February 2014 from Florida to the Bahamas, with other artists including Cat Power and the Cribs. r *O EBZT QSJPS UP UIF SFMFBTF PG the second Weezer album, Pinkerton, a legal challenge against using the name was initiated by the Pinkerton Securities company, however a judge ruled in favor of the band. r %FTQJUF FBSMZ SVNPST UIBU UIF BMCVN XBT financed by the Hurley clothing company, Weezer’s 2010 Epitaph Records release, Hurley, was named for the character

played by actor Jorge Garcia on the TV series Lost. Garcia’s photo appears on the cover and he commented that the placement was “one of the biggest honors� of his career. r 8FF[FS TPOHT BOE QFSGPSNBODFT IBWF appeared in dozens of films, soundtracks, TV shows and video games, including Cars 2, Hung, Shrek Forever After, American Pie 2, Boyhood and various Guitar Hero and Rock Band installments. r .FNCFST PG UIF CBOE IBWF QFSGPSNFE as Goat Punishment to play cover songs in unannounced club shows.

QUICK FACTS ered in tattoos, has a gold tooth and has long hair,� and Rivers said, “Perfect! That sounds exactly like what I’m looking for, send him!� MC: Was the transition a little awkward at first? How were you able to fit in? Shriner: I went for my sort of filling-in period not exactly looking like I was playing for Weezer, but I couldn’t exactly change my look at that time. I was in a band that was kind of like AC/ DC with a girl singer. I had to be myself. MC: Let’s talk about the recording sessions for the new album. Your producer Ric Ocasek is a rock legend who first came to prominence in the ‘70s as a musician/frontman for the Cars. He’s credited with helping to hone the original sound that brought Weezer’s initial success. What was your experience working with him in the studio for this new record? Shriner: I’ve been in the band since 2001––in the middle of the tour of the Green Album––so this is my first time working with Ric. I had a blast. I was a little nervous at first. Having heard a lot of stories I imagined he would be stern––a real taskmaster. I wasn’t prepared for how sweet and supportive he was. MC: But he’s also got that sly sense of humor. Shriner: He’s sort of dry, snarky, funny and sarcastic, but at the same time super honest. We always could believe him when he said something sounded good, because he absolutely would tell us when it didn’t. MC: Since Ocasek had a hand in crafting the original Weezer sound, did he help narrow down the reported 200 songs written to what went on the new album? Shriner: He definitely was in the loop in terms of what songs we were choosing for the album, but it was always up to the band. He was played pretty much all of the songs that were in consideration for the record. MC: When the band was recording, did he jump in from behind the knobs and play at all? Shriner: How could we not have him come in and sing and play a little bit? When he did it was really special. It wasn’t something he would do that often, but if he had a strong idea then he would grab a guitar or play a little keyboard or sing a little bit. So he did get out sometimes.

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MC: That’s got to be a great moment. Shriner: For me, the Cars were one of those bands that changed my life. There were about 10 or 15 bands that were so influential for me, that I felt changed my direction, the way I listened to music, the way I thought about life, and the Cars were one of those bands. Not to sound corny, but I was kind of pinching myself when we were in the studio with him. MC: Let’s talk some more about Weezer’s material. What is the usual songwriting process with band? How are you involved? Shriner: We’ve had times when we all wrote a little bit together. Rivers is obviously the principal songwriter. There have been a couple of times that I have gotten to contribute; that did not happen on this record. There are times where I’ll make a suggestion, or write my own bass lines, but sometimes they sound perfect the way he recorded them on the demo.

Shriner: As a band, we are active on YouTube and Facebook and Instagram. We use it pretty frequently. We have a Web guy who follows us around, posts photos from backstage and onstage, and there’s a Weezer Facebook fan page. It’s definitely integrated into our daily lives. We’re involved, we try to stay in tune with it and see how we can participate. Weezer has had a really strong fan base for a long time. So it is a great way to keep in touch with the new record. We have webisodes on YouTube for the songs on the new record.

us to work at Universal Republic, and we just felt that was the best choice. MC: Why not just do a self release as so many artists are choosing to do in the current music industry climate?

MC: With the band’s initial history with a major label, Geffen, and then semi-independent, how did Weezer choose to sign with Republic Records?

Shriner: We thought about doing that, we’ve done that, and we just felt that going with a major label and using all of their powers was the thing to do. Our last release was kind of done as an independent, and we wanted to do something different for this one. So far it’s working great for us. We’ve gotten a lot of exposure, a lot of spins, we’re doing a lot of radio interviews, we’ve hired a great publicist, Jen Appel, and I’m enjoying it so far.

Shriner: We talked to a bunch of different labels and found a great A&R person that wanted

Contact Jen Appel via http://pressherenow.com

MC: Coming from what you described as an AC/DC influenced band, what are your other influences that make your participation work so successfully with Weezer? Shriner: I grew up listening to Black Sabbath, which is one of the bands that changed my life, but I also listened to Elton John and the Beatles. Those bands and Hendrix I would listen to, and all that kind of got mixed up in me and made me who I am. I also got into new wave, and I think I first heard the Cars in eighth grade, like ‘79, ‘80, and I went more towards the new wave songs. I never really got into punk

“AT THE TIME,

[Weezer] were looking for a player whose sound was a little heavier. Barry warned them, ‘Hey this guy is covered in tattoos, has a gold tooth and has long hair,’ and Rivers said, ‘Perfect! That sounds exactly like what I’m looking for, send him!’” rock. I liked metal and I liked new wave. The Cars had that great down-stroke feel, they had attitude, and some weird arrangements that just took it to another place for me. MC: Nowadays, every band needs to be active on social media. That has become such a big part of promoting bands and artists over the past few years. How do you personally engage with social media? Shriner: Personally, I have an Instagram page, and I’m on Facebook and Twitter. For my involvement, it’s with a combination of people who are really into music equipment and basses, and I have a lot of pictures of my son up, some Weezer stuff. So I’m somewhat active. I’m not dedicated, but I’m there.

www.grammymuseum.org

MC: How does the band like to utilize social media? Do you have someone who’s hired to handle that? October 2014

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MASTERING EXPERTS ON

How Artists Can s 4RIM #OSTS s !VOID -ISTAKES s 'ET THE 2ESULTS 4HEY 7ANT

By Rob Putnam 40 October 2014

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James Kelley Company: Wire Road Studios Clientele: Ludacris, Busta Rhymes, Slim Thug Contact: http://wireroadstudios.com James Kelley developed a taste for music as a teenager when he made his first recording on a four-track TASCAM. Today he’s the owner and president of Wire Road Studios in Houston, TX, which he established six years ago. Kelley graduated from Auburn University in Alabama, where he admits that he devoted more time to audio than to his formal studies. Much of his mastering is concentrated in hip-hop with the bulk of his work coming from local acts including country and jazz bands. Wire Road is a full-service facility. Virtually all of the masters completed there are mixed in-house. What are the top three ways to trim costs when beginning the project? r #F QSFQBSFE XIFO ZPV HP JOUP NBTUFSJOH )BWJOH UP HP CBDL BOE UXFBL TUVGG JO UIF NJY UBLFT UJNF 5PP PGUFO QFPQMF DPNF JO UIJOLJOH UIBU NBTUFSJOH XJMM àY FWFSZUIJOH JO UIFJS NJY r #SJOH JO FOUJSF BMCVNT *G ZPV WF HPU PS USBDLT JU MM TIBWF DPTUT RVJUF B CJU r "SUJTUT OFFE UP MPWF UIFJS NJY àSTU .BTUFSJOH XJMM UBLF ZPV GSPN B # NJY UP BO " NBTUFS *G ZPV IBWF BO ' NJY ZPV SF OPU HPJOH UP HFU BO " QSPEVDU What are the top three most valuable pieces of mastering advice? r %PO U HFU DBVHIU VQ JO USFOET 5SVTU ZPVS FBST BOE HP XJUI XIBU TPVOET CFTU r -PWF ZPVS NJY àSTU * LOPX * TBJE UIJT BMSFBEZ CVU JU T WFSZ JNQPSUBOU r <* E BEWJTF UIF FOHJOFFS> UP VOEFSTUBOE XIBU ZPVS DMJFOU XBOUT *G JU T B DPVOUSZ BMCVN UIFZ MM QSPCBCMZ XBOU JU UP TPVOE MJLF B 5BZMPS 4XJGU SFDPSE CFDBVTF IFS TUVGG JT BMXBZT IJHIMZ QSPEVDFE What are the top three things that are possible in mastering that weren’t possible a decade ago? r 4PGUXBSF BOE QMVH JOT "MUIPVHI * N TUJMM BO BOBMPH HVZ XIFO JU DPNFT UP &2 BOE DPNQSFTTJOH * TUJMM MPWF NZ .BOMFZ .BTTJWF 1BTTJWF <4UFSFP 5VCF &2> r -JNJUJOH UFDIOPMPHZ IBT HPUUFO TP NVDI CFUUFS 8F SF BCMF UP HFU NPSF MPVEOFTT PVU PG UIJOHT XJUIPVU TRVBTIJOH BT NVDI BT XF VTFE UP r 5IF BNPVOU PG MPVEOFTT <BSUJTUT> HP GPS KVTU XBTO U UIFSF ZFBST BHP Name the top three aspects that are hardest or easiest in mastering. r .FFUJOH VOSFBMJTUJD FYQFDUBUJPOT <"SUJTUT> CSJOH JO TUVGG UIBU OFFET UP HP CBDL JOUP NJYJOH -BUFMZ <BSUJTUT> IBWF DPNQMBJOFE UIBU UIFJS NBTUFST EPO U IJU SJHIU JO UIF DMVC 0ODF JU T JO B DMVC JU T JO B %+T IBOET 5IFSF T OP UFMMJOH XIBU UIFZ SF EPJOH UP JU r &2 JOH JT XIBU * IBWF UIF FBST GPS * QJDL PVU áBXT JO EJGGFSFOU GSFRVFODJFT BOE <àOE> XIFSF UIJOHT TIPVME CF UVDLFE BOE XIFSF UIFZ TIPVME CF CPPTUFE r $PNQFUJUJPO JT BU BO BMM UJNF IJHI CFDBVTF TP NBOZ QFPQMF IBWF

DSPTTFE UIF UISFTIPME GSPN NJYJOH JOUP NBTUFSJOH #BDL JO UIF EBZ UIF DSPTTPWFS XBT IBSEFS 5IF NBTUFSJOH QMVH JOT IBWF EFDFOU QSFTFUT CVU UIFZ SF OPU BOZUIJOH * XPVME VTF What are three ways a mastering engineer can enhance his relationship with the mixer? r )BWF BO PQFO MJOF PG DPNNVOJDBUJPO -FU UIFN LOPX XIBU ZPV SF HPJOH UP EP BOE WJDF WFSTB 5IF MPOHFS ZPV XPSL XJUI B NJYFS UIF NPSF VOEFSTUBOEJOH ZPV MM IBWF 4FF UIFN BT B QBSUOFS BT PQQPTFE UP KVTU UIBU HVZ UIBU XBT XPSLJOH PO UIF QSPKFDU CFGPSF ZPV

JAMES KELLEY

r 8F EP BCPVU PG PVS NJYJOH JO IPVTF TP JU T WFSZ FBTZ GPS NF UP XBML JO UIF SPPN BOE BTL GPS DIBOHFT r (FU UIF NJYFS T FYQFDUBUJPOT 5IFZ SF MJLFMZ UP IBWF B CFUUFS FBS BOE WJTJPO UIBO UIF DMJFOU XJMM What are your top three favorite mastered records and why? r .VUFNBUI T Armistice TPOJDBMMZ XBT B HSFBU TPVOEJOH BMCVN r 3BEJPIFBE T Kid A "MUIPVHI %FGUPOFT Around the Fur JT QPTTJCMZ POF PG UIF MPVEFTU FWFS r .JEMBLF T Antiphon 4POJDBMMZ UIF SFDPSE XBT WFSZ XFMM EPOF Mixers and masterers sometimes have a difficult relationship. What are the best/worst aspects of that? Has it improved?

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Bernie Becker, Dale Becker Company: Bernie Becker Mastering Clientele: Neil Diamond, Donna Summer, Katy Perry Contact: http://berniebecker.com Father and son mastering team, Bernie and Dale Becker, have a combined 40-plus years of experience. Bernie got into the business in 1977 as a live sound recording engineer. In 1985 his family relocated to Los Angeles, where he segued into mixing and ultimately mastering. Dale grew up in and around the business and ran his dad’s studio for four years in Burbank until they moved to their current location in Pasadena. Many of their clients are independent artists and lately Beckers broken into gospel, notably a project for Ricky Dillard and J.J. Hairston.

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What are the top three ways to trim costs when beginning the project?

What are three ways a mastering engineer can enhance his relationship with the mixer?

What are the top three things that are possible in mastering that weren’t possible a decade ago?

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r "SUJTUT PGUFO MBOE 57 PS Ã MN XPSL BOE UIFZ SF HJWFO B EFBEMJOF 5IFZ MM SVTI UP NBLF JU TVCNJU UIF NVTJD BOE UIFO UIFZ EPO U IFBS BOZUIJOH GPS UISFF NPOUIT 4PNFUJNFT QFPQMF QMBO UIFJS EFBEMJOFT XBZ UPP RVJDLMZ BOE UIFO UIJOHT UBLF MPOHFS BOE DPTU NPSF r *G DMJFOUT JOWPMWF NBTUFSJOH FOHJOFFST FBSMJFS NBZCF CFGPSF UIFZ FWFO CFHJO UIFJS NJY XF DBO QSFFNQU QPUFOUJBM QSPCMFNT .PTU HVZT BSF PQFO UP UIBU *G UIFZ SF OPU NBZCF DPOTJEFS JG UIFZ SF SJHIU GPS ZPV What are the top three most valuable pieces of mastering advice? r .FFU XJUI B GFX NBTUFSJOH FOHJOFFST BOE TFF XIJDI ZPV DPOOFDU XJUI NVTJDBMMZ BOE QFSTPOBMMZ .BTUFSJOH JT WFSZ QFSTPOBM r )BWF UXP PS UISFF TFUT PG NPOJUPST JO UIF TUVEJP JO UIF DBS PS IFBEQIPOFT 5IFSF T TP NVDI WBMVF JO MJTUFOJOH UP XIBU ZPV SF EPJOH PVUTJEF PG UIF XPSLJOH FOWJSPONFOU r 4FOE VT CPUI B QSPDFTTFE BOE VOQSPDFTTFE NJY TP XF DBO IFBS XIBU ZPV WF CFFO IFBSJOH

r 0OF XBZ UIBU XF IPOPS QFPQMF JT IPX XF QBZ UIFN *G ZPV IBWF UP TBWF GPS BOPUIFS NPOUI UP QBZ B NJYFS XIBU UIFZ SF XPSUI UIBU T XIBU ZPV TIPVME EP r *G ZPV CPUI IBWF UJNF MFU B NJYFS IFBS UIF Ã OBM NBTUFS BOE NBLF TPNF DPNNFOUT .BZCF UIFZ MM PGGFS TPNF HPPE TVHHFTUJPOT What are the best/worst aspects about the relationship with mixers? Has it improved? 8F VOEFSTUBOE FBDI PUIFS CFUUFS OPX #VU NBOZ UJNFT UIFSF BSF TFWFSBM NJYFST JOWPMWFE JO EFMJWFSJOH B QSPKFDU 5IF NPSF UIBU NJYFST BOE NBTUFSJOH FOHJOFFST DBO DPNNVOJDBUF PO BO PWFSBMM QSPKFDU MFWFM UIF MFTT UIBU NJYFT XJMM TIPX VQ E# IPUUFS UIBO PUIFST

Mike Wells Company: Mike Wells Mastering Clientele: Green Day, Prince, Nicki Bluhm and the Gramblers Contact: http://mikewellsmastering.com

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As a musician, Mike Wells was signed once or twice. But after attending mastering sessions, he realized that he’d found his ideal career fit. He moved to his North Hollywood, CA, studio from San Francisco four years ago and has now been in the business for nearly 20 years. Wells has worked in a range of genres including electronic, rap and classic rock. Interestingly, he used to do shows with Green Day in the early ‘90s.

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What are the top three ways to trim costs when beginning to master?

What are the top three things that are possible in mastering that weren’t possible a decade ago? r 8JUI EJHJUBM EFMJWFSZ ZPV DBO NBLF MBTU NJOVUF DIBOHFT "MUIPVHI * MJLF UP NJOJNJ[F UIFN CFDBVTF UIBU DBO EJWFSU GPDVT GSPN UIF QSPKFDU

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r 5IF BNPVOU PG CPVUJRVF NBTUFSJOH HFBS PO UIF NBSLFU UPEBZ EJE OPU FYJTU ZFBST BHP $ISJT

.VUI BOE #PC .VMMFS BU %BOHFSPVT .VTJD DSFBUFE UIBU NBSLFU 5IFJS DPOTPMFT BSF GBOUBTUJD r %%1 <%JTD %FTDSJQUJPO 1SPUPDPM> BT B $% NBOVGBDUVSJOH GPSNBU JT Ã OBMMZ CFJOH VTFE *U T GBS TVQFSJPS UP 3FE #PPL What are three ways a mastering engineer can enhance his relationship with the mixer?

THE MIX ENGINEER’S PERSPECTIVE

r 3FTQFDU XIBU UIFZ EP 5IFZ TQFOE B MPU NPSF UJNF XJUI UIF BSUJTU UIBO ZPV EP 5IFZ LOPX XIBU T HPJOH PO BOE BSF B DSVDJBM QBSU PG UIF QSPKFDU 5IFJS XPSL BOE PQJOJPO TIPVME CF SFTQFDUFE r *ODMVEF UIF NJY FOHJOFFS JO UIF NBTUFSJOH QSPDFTT * WF IFBSE GSPN NBOZ UIBU PODF B SFDPSE HFUT JO PVS IBOET UIFZ OFWFS IFBS JU r "TL UIFN GPS GFFECBDL BU BMM QBSUT PG UIF NBTUFSJOH QIBTF What are your top three favorite mastered records and why r 4LJOOZ 1VQQZ T Last Rights PS Too Dark Park <1SPEVDFS> %BWF 0HJMWJF JT B HFOJVT r "$ %$ T Highway to Hell * XBT OJOF ZFBST PME XIFO UIBU DBNF PVU *U XBT UIF NPNFOU * SFBMJ[FE UIBU * XBOUFE UP CF JO BVEJP r 5IF 1JOL 'MPZE DBUBMPH GSPN %PVH 4BY "T UIF GPVOEFS PG UIF NBTUFSJOH JOEVTUSZ * IBWF OPUIJOH CVU SFTQFDU GPS IJT XPSL What are the best/worst things about the relationship with mixers? Has it improved? 5IFSF BSF B MPU NPSF QFPQMF JO UIF NBSLFUQMBDF BOE FWFSZPOF XBOUT UP TVDDFFE *U T UIF IBSEFTU JU T FWFS CFFO GPS SFDPSET UP IJU TP FWFSZCPEZ T GBS NPSF NPUJWBUFE UP XPSL UPHFUIFS 5IBU T B HSFBU UIJOH

MIKE WELLS

DAVE PENSADO

Company: Pensado’s Place Clientele: Mary J. Blige, Keith Urban, Michael Jackson Contact: http://pensadosplace.tv Grammy-winning mix engineer Dave Pensado has been in the biz since the ‘70s. Two years ago, aided by friend and collaborator Herb Trawick, he created Pensado’s Place, a professionally produced Internet mixing show. To date, their YouTube channel has grabbed more than five million views with nearly 200 videos. Guests have included Chris Lord-Alge, Bob Clearmountain and Young Guru. Pensado brings the mixer’s perspective to this year’s mastering roundtable. What are the top three ways to trim costs before sending a mix to be mastered? r .BLF TVSF ZPV LOPX XIBU ZPV XBOU GSPN NBTUFSJOH %P ZPV XBOU JU GPS J5VOFT PS )% (FU UIBU JOGPSNBUJPO UP ZPVS NJY FOHJOFFS TPPOFS SBUIFS UIBO MBUFS r 4PNFUJNFT DMJFOUT GPSHFU FYBDUMZ XIBU UIFZ XBOU NBTUFSFE 5IFSF NJHIU CF B SBEJP PS FYUFOEFE WFSTJPO *G UIFJS TPOH JT VTFE JO à MN PS 57 UIFZ MM MJLFMZ XBOU DPOUSPM PWFS UIF WPDBMT TP UIFZ DBO XFBWF JU JO BOE BSPVOE EJBMPHVF

VTF NBJOMZ BSF #SBE #MBDLXPPE %BWF ,VUDI UIF HVZT BU 4UFSMJOH <4PVOE> BOE "MFY %F:PVOH * WF MFGU TPNF PVU CVU XF SF CMFTTFE UP IBWF TVDI HJGUFE NBTUFSJOH FOHJOFFST Do you do anything in playback to approximate or simulate for the client what a tune will sound like when mastered? /PU PGUFO 0OF PG UIF UIJOHT UIBU * MPWF BCPVU HSFBU NBTUFSJOH FOHJOFFST JT UIBU UIFZ IBWF BO JOOBUF BCJMJUZ UP UBLF XIBU ZPV HJWF UIFN BOE JNQSPWF JU TMJHIUMZ PS NBLF JU CFUUFS 5IBU T UIF XIPMF QPJOU PG TFOEJOH B NJY UP UIF OFYU QIBTF 5IF HSFBUT BMXBZT TVSQSJTF NF XJUI TPNFUIJOH * EJEO U UIJOL <B NJY> OFFEFE 4PNF PG UIF HVZT * XPSL XJUI EP B DPOTFSWBUJWF NBTUFS BOE UIFO B NBTUFS UIBU UIFZ MJLF .PTU PG UIF UJNF * MJLF UIFJS QSFGFSSFE WFSTJPO CFUUFS What are the top three ways to enhance your relationship with your mastering engineer? r $PNNPO TPDJBM QSJODJQMFT BQQMZ "MXBZT BTL UIF NBTUFSJOH FOHJOFFS XIBU ZPV DBO EP UP NBLF IJT MJGF FBTJFS

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How often do you speak with a project’s mastering engineer and at what point does that happen?

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What are your thoughts about the value that mastering engineers add to a project? Sometimes higher-level mix engineers make light of their contributions. 5IFSF DBO CF UFOTJPO "OE UIFSF TIPVME CF )BSNPOZ QFBDF BOE MPWF EP OPU GPTUFS DSFBUJWJUZ $SFBUJWJUZ JT FOIBODFE CZ UFOTJPO DIBMMFOHF BOE DPOáJDU *U DBO CF BO VHMZ QSPDFTT :PV DBO USZ UP QVTI UIF FOWFMPQF PO UIF MPX FOE PO BQQBSFOU MFWFM 5IFO ZPV IBWF UP USVTU ZPVS NBTUFSJOH FOHJOFFS UP CF ZPVS TBGFUZ OFU UP CF UIF HVZ UIBU DBMMT BOE TBZT i%BWF ZPV NJHIU XBOU UP CBDL PGG B CJU u :PV USVTU IJN UP EP JU BOE JU TPVOET HSFBU 5IFZ EPO U KVTU NBLF UIJOHT CFUUFS 4PNFUJNFT UIFZ HVJEF ZPV TP ZPV XPO U NBLF B NJTUBLF

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– CARL ANTHONY

DJ Cassidy S

ome kids pretend to be Superman while others hurl a ball and picture the playground a packed stadium. These eager dreams shape young lives and DJ Cassidy had them too. In his case, comic books were replaced by snapshots of Kool Herc’s speakers towering above his convertible. And there were posters, but not of famous athletes; rather, it was the 1984 film Breakin’. “I had about 20 different Breakin’ posters on my wall; some were from different countries,” says Cassidy. “When I was a kid, I fell asleep at my grandmother’s house and when I woke up it was playing on HBO.” Cassidy tried dancing like the film’s lead characters, Turbo and Ozone, and watched the movie so much even his family members had the soundtrack memorized. It was his introduction to hip-hop culture and would cement the foundation for what was to come. The fascination was further amplified with a birthday gift: a set of turntables. “That largely disrupted my social life, because I often locked myself in my room while my friends were out doing fun things,” he recalls. “However, I had this feeling that in order to be like my heroes, I needed to play like my heroes.” By 18, it was no longer his bedroom but the globe. Instead of missing time with friends, Cassidy was making new ones and his art was attracting influential people beyond the club circuit. He later did parties for Jay Z, Jennifer Lopez, Oprah Winfrey and President Obama. And that’s when it hit him. “No matter if I was playing for leaders of the free world or an average Joe, I grew to view the soul music of the late ‘70s and early ‘80s as the greatest dance music of all time,” he states. “The classic records of that era put a spirit and energy in the air like no other kind of music.” Then his next revelation arrived. “I wished my generation had their own anthems of celebration that sounded like that, from their own artists to define their lives,” says Cassidy. “I set out on a mission to bring back the greatest and most universal dance music of all time.” Cassidy recounts the development of his debut album, Paradise Royale, as a “four year journey.” He united major figures of late 1970s and early 1980s to channel what he calls their “definitive sound.” Larry Dunn,

Robert “Kool” Bell and Nile Rogers are only three of the 22 names on Paradise Royale. Once they provided music, the voices of John Legend, Usher and R. Kelly, among others, followed. “These are musicians representing all generations and they have come together under one sound,” he says. Close friend Siedah Garrett would help immensely in the early stages. She drove Cassidy to meet Ray Parker Jr., where the two sat down in Parker’s home studio. “He must have 150 guitars on the wall,” recalls Cassidy. When Parker heard the vision he agreed to take part in Paradise Royale and suggested longtime friends Freddie Washington and Ollie Brown perform too. The mention of Brown struck Cassidy profoundly. “It took me a second but I realized he was talking about Ollie from Ollie and Jerry,” Cassidy specifies. “I then shared my history with Breakin’.” From there, Cassidy landed at Schnee Studio with Parker, Washington and Brown. Everything was just beginning, but the vindication came when Parker hit the talkback button. “Ray told me, 'You’re the producer, tell us what you want us to do,'” says Cassidy. “With that, he instilled all the confidence in me I could ever want.” The journey would later include Columbia Records’ Steve Ferrera, who also believed in Cassidy’s dream and took him to label Chairman Rob Stringer. Ferrera passed away recently and Cassidy remembers him warmly. According to the artist, “When I hit play on my very first song, his face lit up with the biggest grin I have ever seen. He is singlehandedly responsible for my relationship with Columbia and I know he is looking down and smiling every time I play one of my songs.” “I have always envisioned a place where people of all races, all shapes and sizes could gather under one sun to celebrate,” says Cassidy. “This place is all inclusive where everyone is invited and all you need to do is close your eyes. That’s Paradise Royale.” The artist’s denbut release is slated for Oct. 23.

“I set out on a mission to bring back the greatest and most universal dance music of all time.”

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Contact Carleen Donovan, Carleen@presshere publicity.com

October 2014

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– ANDY MESECHER

Rdio

Streaming Service Answers the Question, “How do you make something that is better than stealing?”

I

t wasn’t long ago that we were all fighting over the last copy of A Christmas Story in aisle 3 at Blockbuster. But with the birth of Netflix, it seems like such a concept was eons ago. And while Netflix has created a positive brand for the idea of “streaming movies and TV,” it seems the music industry’s streaming services haven't been so fortunate. Rdio is looking to change that. Created by Skype founders Niklas Zennström and Janus Friis in 2010, the company joined already founded services Deezer, Spotify, MOG and Rhapsody. By 2011 Spotify would gain a stranglehold on the U.S. market, while Deezer’s concentration remained outside the United States. Rdio C.E.O. Anthony Bay joined the picture in early 2014. With a background at Microsoft and Amazon, he didn’t shy away from telling us his goals on expanding the company.

our advertisements. We’re looking to be that bridge for advertisers, artists and listeners to link the best of both [worlds].” But what about artists? With such little return on streams, why should artists sign up for any of the streaming services, let alone Rdio? “That would be like saying, ‘Do I want my record in stores?’” says Bay. “I’m from the philosophy that distribution is generally good.

opportunity to create a profile, allow others to follow you, create unique playlists, share on Facebook/Twitter and more, making it a one-stop shop to spread the word on your music. As he puts it, artists should look at the company as an opportunity for distribution. Last year the company shut down their sister company Vdio, a movie service similar to Netflix. And while it didn’t succeed, it

… If you look at the business, if you think about it holistically, what’s your total revenue as an artist? What do you get from publishing? It tends to grow over time. Higher demand, the more people listen to you, the more people like you, the more people who cover you, the more money you make. Then you have recorded music, which [on average, is around 7% of artists profits today]. “The majority is touring, merch, etc. So if touring revenue is where [most your income comes from], recorded music is important but it becomes a way to touch more people to make them care about you and come to your show.” According to Bay, Rdio gives you the

showed the company’s constant willingness to adapt to current markets. Being in the Bay Area, Rdio is able to ring the doorbells to partner with several other phone applications. The recent deal with Shazam is an example of just that. “If you use Shazam, you can link your account to Rdio so that everything you Shazam will be tagged into an Rdio playlist,” touts Bay. Rdio is currently $9.99 a month for unlimited streaming + mobile, but offers an online only; a student discounted unlimited; and a free “radio” version as well.

“If touring revenue is where [most your income comes from], recorded music is important but it becomes a way to touch more people to make them care about you and come to your show.” “There’s [still] a huge opportunity to bring music to people,” Bay explains. “If the [streaming music] audience is 1.5 billion now and 2 billion in a matter of six months, how many of those people are listening to Spotify/Deezer/Rdio? It’s less than a rounding error. Most people still listen to over the air radio or pirated music. … So the question is, how do you make something that is better than stealing?” Rather than fight the odds against terrestrial radio, Rdio has teamed with the United States’ second largest terrestrial radio company, Cumulus (second to Clear Channel), a concept the company has already been doing in Mexico for quite some time. “We believe there’s value and longevity and importance in terrestrial radio,” explains Bay. “Studies keep coming out that radio is still the number one place to discover new music. People have favorite stations, and listen for DJs, etc. Radio has proven the value of programming.” But where radio lacks, Rdio is looking to fill the void. “Radio is a great way in which people can discover music but you can’t go deep,” Bay continues. “So the marriage of listening to a song, then hearing ‘listen more on Rdio’ is a very important thing when said by the talent [bands], the jocks [DJs] and 46 October 2014

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Contact Page Jeter, Rogers & Cowan, PJeter@rogersandcowan.com

Start Here

MA-300 Multi-pattern large diaphragm, vacuum tube condenser microphone with a 15dB pad and switchable bass roll-off

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Multi-pattern large diaphragm, solid-state condenser microphone with a 15dB pad and switchable bass roll-off

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October 2014

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Flyleaf

8

Between the Stars Loud & Proud Records Producer: Don Gilmore

Devotees of multiPlatinum nu metal rockers Flyleaf may be saddened by the departure of lead singer Lacey Sturm, but it would be shameful if past memories prevented them from devouring the group’s present incarnation. New vocalist Kristen May’s pitch-perfect emoting is a constant draw, swinging effortlessly between sexy cooing and ultrasonic rage. The consistently hooky, pop-centered melodies don’t hurt either, making this album a welcome excursion, even though the band’s faux rebellious posture signals yet another nail driven directly into hard rock’s bleeding heart. – Andy Kaufmann

Karen Haglof

9

Western Holiday

True Morgan Music Producer: Steve Almaas

Slash (feat. Myles Kennedy & the Conspirators) World on Fire

8

Dik Hayd International/Caroline Producer: Michael “Elvis” Baskette Whoever thinks rock & roll is in serious need of a remake should get a load of this. Here is modern rock in its purest form, with all its bite and melodic integrity still intact. Myles Kennedy is one of the “go to” guys when it comes to soaring, passionate vocals and joining Slash for another round is just a marriage made in heavy metal heaven. And in these times of multiple downloads and over-produced singles comes a complete album that boasts 17 songs, each with its own distinct character and chock full of riff-laden goodness. – Eric A. Harabadian

Interpol El Pintor

Matador Records Producer: Interpol

8

Karen Haglof comes up with a likeable set of catchy and well-played songs in the country/ roots-rock vein. Her voice is endearing, strong, matter-of-fact and honest, and her powerful slide guitar work propels the music down the rockin’ railroad tracks of her unique western vision. The lyrics are inventive and sometimes wryly sarcastic, such as on “Musician’s Girlfriend Blues” (“I know the wounded loner stance makes fans sigh and swoon”), where producer Mitch Easter also makes a surprise guitar visit. This is the best female Americana release since Car Wheels on a Gravel Road. – David Arnson

Making complex, integrated rhythms and guitar lines sound simple is what these guys have mastered. Like their influences, Joy Division and the Smiths, the band makes the most use of spare components. Only Interpol’s fifth album since their 2002 debut, and their first in two years, it displays the serious work Interpol puts into their songwriting and recordings. The guitar shines on “Anywhere,” the monotone vocals work for the semi-heavy lyrics on “All The Rage Back Home,” and it’s all tied together with a rhythm section that creates a groove for thoughtful people, not necessarily a dance crowd. – Brett Bush

Chick Corea Trio

Odesza

Trilogy

Stretch Records/Concord Jazz Producer: Chick Corea

9

In Return

6

Counter Records Producers: Harrison Mills and Clayton Knight

Legendary 20-time Grammy winning jazz pianist/composer Chick Corea’s spectacular new trio of veteran upright bassist Christian McBride and drummer Brian Blade (the rhythm section of Corea’s recent Five Peace Band) is so versatile, soulful, energetic and inventive live that they need three discs (culling performances from across the globe) to capture their expansive spirit. They tackle classic Corea tunes, jazz standards, unreleased originals and, most amazingly, introduce his kaleidoscopic half-hour long “Piano Sonata: Moon.” – Jonathan Widran

This electronic duo’s sophomore CD is a rare case of an album that is good, but sadly just isn’t good enough. While the release is certainly a nice 13-track journey through a chillwave landscape, it isn’t groundbreaking and the songs just end up sounding monotonous. Worthy tracks include “Say My Name” (the clear standout and possible party anthem) and “It’s Only,” both featuring Zyra, “All We Need” featuring Shy Girls, and “White Lies” featuring Jenni Potts. Unfortunately, the rest of the album is not worth repeated listens. – Victoria Patneaude

Amp Live

Set It Off

Headphone Concerto Plug Research Music Producer: Amp Live

8

Amp Live, one-half of Zion I, has a knack for creativity—see his fantastic hip-hop remix of Radiohead’s In Rainbows feat. Too $hort and Del the Funky Homosapien. On this, his newest solo work, Amp Live writes a concerto the way he knows best: programming, producing and digital arranging. Headphone Concerto may not need wine and cheese, but listeners will definitely want a quality set of headphones to truly enjoy this juxtaposition of sounds. Standouts include “Last Wall” (feat. the Grouch & Eligh) and “Ihearthiphop” (feat. Planet Asia, Opio, Mike G, Gift of Gab, Codany Holiday). – Andy Mesecher

Duality

9

Equal Vision Records Producers: Brandon Paddock, Tommy English, Matt Appleton Set It Off’s sound has spanned a few genres, starting out as pop-rock before maturing into what they refer to as “orchestral pop rock.” However, none of the band’s previous releases have truly shown off their potential. That is all in the past with Duality, which is not only a shining moment in their career, but a shiny piece of pop perfection. Utilizing strings, brass instrumentation and letting singer Cody Carson’s vocals soar to another level, the group’s sophomore full-length release will be a favorite among fans and pop listeners. – Victoria Patneaude

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.

48 October 2014

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Analog Paradise.

Green Day, Prince, Nicki Bluhm, Tony Sly, Warner, Capitol, Fat Wreck...

323.363.2339 www.mikewellsmastering.com

June 2014

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

9 8 8 8 9

7 7 8 8 9

8 7 7 9 8

Jim Vierra & Friends

FEiN

Contact: james@thekingdomgroup.co Web: jvmusic.co Seeking: Label, Booking, Film/TV, Distrib. Style: Gospel, Country, Jazz

Contact: FEiN@FEiNtimes.com Web: FEiNtimes.com Seeking: Label, Film/TV Style: Alternative

A credible country songwriter needs to be a good storyteller, and Vierra has that gift in spades. He just gets it; and when combined with the skills of a group of expert Nashville sessioneers, his material shines. Case in point is Vierra’s “Daddy,” in which the singer assumes the identity of a son asking for his pop’s attention and participation–– from childhood to adolescence to young adulthood and beyond. The song’s heartfelt sincerity and expert execution will put a lump in your throat. While the R&B/soultinged “You Love Me” is less successful, Vierra’s best,“Worth Waitin’ For,” is a radio-ready love song whose catchy chorus treated us to unexpected changes and a fine guitar solo.

What strikes us about this energetic outfit is how their tunes, despite dazzling electro production touches, could easily be played and enjoyed in a stripped-down acoustic guitar and a voice format. Another plus is how these alt-rockers like to veer into lighter pop zones, keeping their tracks interesting and invigorating with an ADD-like energy. “#Grownups” has a nice change of pace in the middle of the intro and deploys numerous musical interludes (not to mention a catchy melodic hook) to keep the listener engaged. “Monay Grabba” is more rockin’ and shows a multitude of influences while still remaining fresh and truly alternative. We really like the prospects for these FEiN young men.

Production Lyrics Music Vocals Musicianship

8 8 8 8 8

In Search of Sun

Not In The Face

Contact: tori.lucion@gmail.com Web: http://insearchofsun.co.uk Seeking: Label Style: Rock, Metal

Contact: rachel@bigpicturemediaonline.com Web: soundcloud.com/notinthefacerocks Seeking: Label Style: Rock

Ambition runs high in this band, who seem to be working to deliver a unique, proginfused metal hybrid (possibly the offspring of Godsmack and a middle-aged Protest the Hero...with Bullet For My Valentine for a stepdad). Hailing from London, spacey licks poke their heads between epic axe leads as frontman Adam Leader’s dynamic scream-to-sing vocal approach is tightly shaped to encompass the countless guitar melodies and rhythm support. In Search of Sun have an alluring formula: they exude just enough mainstream to hit the airwaves while delivering a calibre of creativity that will impress the underground. We would not be surprised to see these boys on a Century Media-type label before year’s end.

With its stomping drumbeat, crash-bangboom profile and fx’d vocal, the band’s “Brass Tacks” is a sludgy chunk of gutter rock that would grace the next Robert Rodriguez guts-&-girls flick or a hot stripper’s strut down the runway. “Always Tonight” eases up on the sleeze factor, and shows more pop influence in the lead guitar as the vocal emits an almost Kings of Leon melodicism. The well-recorded “Life Behind The Pine Curtain” shows the band’s laidback mode in a tune about always being able to come home again. We especially dig the spaghetti western whistle effect. Each tune from this act presents a slightly different dimension, and it’s something that could either work for or against them.

Production Lyrics Music Vocals Musicianship

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Dalal

Matt Turk

Contact: maria.harmony.gratia@gmail.com Web: dalalmusic.com Seeking: Label, Film/TV Style: Pop, Dance, Electronica, World

Contact: matt@turktunes.com Web: turktunes.com Seeking: Booking, Film/TV, Label Style: Singer/Songwriter

While artist Dalal shifts in style from track to track, she emits a consistent sex appeal. “Suddenly” hits the dance floor with whispery vocals that blend into an overall shimmering cloud of reverb, quite Euro in nature. Next, her voice pops front and center on “Paradise” where the singer intones images of gleaming, heavenly bliss. (Its catchy beat, sans vocal track, could appeal to film/TV peeps.) The artist surprises us with an all-out ballad, “I Will Be Here,” in which both she and her pianist truly shine. Judging by that track alone, it’s clear Dalal has a rangy voice with rich tone and vibrato. The talent is here; the breadth of the material shows versatility. Her task now is to forge a more coherent identity.

Some artists not only know how to tell a tale, but to craft a track that colors and shades the story. Matt Turk is just such an artist. What’s more, the vocal intimacy he achieves in his mixes is a textbook example of how it should be done. “Cracked Egg” alludes to the Humpty Dumpty fable in a song about repairing a broken heart. Though we’d want to hear more bass on it, we like Turk’s mandolin and the spirited drumming (so unexpected in a song like this). “Cold Revival,” with its melancholy viola solo, limns the busted relationship theme. The reggae-paced “When A Boy” is his catchiest tune, a warm organ-infused recording we feel is film/TV ready. Solid material, superior presentation.

Production Lyrics Music Vocals Musicianship

8 8 7 8 8

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. 50 October 2014

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Yung Citizen

Bordertown Saints

Contact: dlwilliams@choose2succeed.org Web: yungcitizen.com Seeking: Label, Distribution, Film/TV, Advertising, Booking Style: hip-hop

Contact: Deaner13@gmail.com Web: bordertownsaints.com Seeking: Label, Booking, Film/TV, Distrib. Style: Alt. Country/Americana

This North Carolina artist delivers an unusually forthright, optimistic message. And while he tends to be too obvious in his lyrics, we like his phasered synth beats on the tunes “Dreams” and “Success,” and how he craftily adds subtle synth lines (even a floating flute sound) and backing vocals to keep us entertained. On “Hope” he adds neo-classical strings and a female lead vocalist and the results are what you could call “cinematic hip-hop meets gospel.” But this song, like his others, fails to lift us to the promised land, so to speak. And it is this aspect––a lack of climax/arrival––that, if corrected, could really add impact to this artist’s work.

Production Lyrics Music Vocals Musicianship

7 7 7 8 8

Ruben Rivera’s whiskey-worn vocal rasp and yodel-yelp is what paces this seasoned honky tonk outfit whose music will play well to maturing festival crowds along the Americana circuit. Material such as “Lock n Load,” the laid-back “Every Song Reminds Me of You” and the vivid “Down In The Delta” exhibit nice touch and twang, but we can’t overlook the anemic rhythm section, particularly the drumming. While the guitarist’s husky, low-neck fretwork and the fiddle player’s dexterity are a pleasure, the skinsman keeps a timid, way too low profile. (Sack up, fella!) Though we can assume that energy is not a problem at their live gigs, these undercooked recordings won’t help the band to lure new fans.

218

VYD

Contact: dkellyukatu@yahoo.com Web: soundcloud.com/r3ptr-3 Seeking: Label, Booking Style: Hip-Hop, Rap

Contact: info@vydmusic.com Web: vydmusic.com Seeking: Mgmt, Label Style: NuDisco/Rock

Hip-hop act 218 have no intention of hitting the mainstream; you won’t find commercial hooks here. What you will find is some satanic, relentlessly dark beats whose giant-sized bass tones are meant to rattle your chassis. “Never” is a case in point: an insane, menacing bass beat over which 218 lay their flow. We especially like how each of this act’s vocalists possesses a distinctive tone at the mic. We only wish the song’s beat had more clarity––without so much muddiness. “Please” continues the bass tone bonanza while “Nonsense” breaks the format a bit, varying the vibe back and forth. This is a talented bunch who would do well to get a handle on their wildly fluctuating mix levels.

What couldn’t be more obvious about these promising songs is that the lead vocals do not measure up. Overall the tracks are consistently solid—mostly synth-driven with the occasional analog instrument, such as the ‘80/Slash-like guitar solo on “Heaven Hold Me Still.” We only wish the arrangement, including its hand claps, delivered a gust of energy for the grand finale. On “Telepathic Lover” we dig the snapping bass licks, bluesy/jazzy piano fills and overall funky flavor whose playfulness reminds us of Chromeo and even Capital Cities. Dance party tune “Mysterious Ways” shows that these guys want to get the crowd on its feet. But, right now, it is quite clear that it’s time to hire a singer.

Production Lyrics Music Vocals Musicianship

8 7 7 6 8

Black Valentine

Mixologist Mikk

Contact: frankyanno@social.rr.com Web: soundcloud Seeking: Label, Distrib., Booking Style: Hard Rock / Metal

Contact: mikko@mixologistmusic.com Web: MixologistMusic.com Seeking: Reviews, Booking, Collabs Style: Futuristic Urban-Pop

From the first notes of “Fallen Angel,” Black Valentine state their chosen purpose—to deliver raw, sturdy, sludgy hard rock a la Velvet Revolver. Problem with this track, though, is that the frontman is presented entirely without an ounce of reverb, and it kills the overall effect. Vocals fare better on the fire & brimstone themed and Alice in Chains influenced “Salvation Game,” but are especially strong on “Enemy,” which is far and away the band’s best outing. Propelled by a slithering bass line, bolstered by good backup singing and a guitarist who shows his chops on a wailing solo, we came away feeling this well-named band is probably a strong live act whose recordings do not yet do them justice.

The quality of this artist’s tracks underscsores the inadequacy of his vocals. The melodies are fine––it’s the singer that limits their appeal. “Black Hole” has a good concept, and the addition of a female vocalist, Andrea, is a good one, even if she tends to flat out at times. “Miss Universe” has an accessible beat and the lead vocal has swagger and confidence but simply doesn’t bring enough energy. It’s a sterile sounding product. A bright spot here is the guest vocal on the pop-centric “Starstruck”; though it again is hampered by a lack of energy, there is an innate singing ability from guest Rex D Moral that might be developed into something effective and urgent. We urge Mikk to find a singer who can kill.

Production Lyrics Music Vocals Musicianship

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SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to http://musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. October 2014

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Maui Sugar Mill Saloon

Tarzana, CA

Material: The songs of Galvanized Souls shift between moody verse, rock heavy harmonizing choruses and killer instrumentals. The pop punk “Behind Green Eyes” has drawn the group comparisons to Blink-182 but is not indicative of the Souls’ overall sound which is primarily alternative rock. While the song does represent the group’s ability to craft distinct melodies this band is not all sweetness and light. The dark and sexy “Shut You Down” is structurally reminiscent of Soundgarden’s “Outshined.” Lyrics possess some heavy themes including school bullying in “Carry On.” The catchy “Kingdom of No One” is another major standout with strong lyrics: “Standing all alone/ Can you see me/sitting on your throne/You're beneath me now/You can't bring me down/ Burning all your ties/Can you see that no one’s at your side...nowhere to run/in your kingdom of no one." Musicianship: The band have an excellent live setup; perfect vocal settings, no instrument feedback and the drums do not overpower the small space of the venue. The guitar tone from Traylor for “Fall Of Icarus” is a direct whiff of Nirvana’s “Teen Spirit.” Traylor also introduces great lead guitar instrumentals on “Carry On” and “Behind Green Eyes.” The compositions are thoughtful with breaks for a cappella vocals throughout.

The High Watt

???????? SOULS GALVANIZED Cogen and DeMartini throw down some awesome transitions on “Carry On” and doubletimed rhythms for “Kingdom of No One” where Silveira knocks out barre chords in perfect sync. Performance: The band begin and end the show with high energy. Silveira is a very expressive frontman with a powerful sustaining vocal and can hit the high notes. He also knows how to add novelty to the show by breaking out his vocal effect box and a tom drum. He beats upon this drum more for visual effect than contribution to the overall sound,

eventually standing upon it to rally up the audience for a sing along. Summary: Galvanized Souls excels at tight staccato rhythm patterns. This mostly-original material falls comparatively somewhere between Soundgarden and Queens of the Stone Age, though their set includes covers of Nirvana and Alice In Chains. This leaves you thirsting for more original material from a band that has a lot of potential and genuinely rocks. If nothing else, this band exhibits sophistication beyond their years. – Brooke Trout

Nashville, TN

Contact: band@bearhandsband.com Web: http://bearhandsband.com The Players: Dylan Rau, vocals, guitar; Ted Feldman, guitar, vocals; Val Loper, bass, vocals; TJ Orscher, drums, vocals. Material: Bear Hands came to a crowded High Watt by way of Brooklyn, touting a synthesized and electrically charged off-brand of indie rock built for late nights turned early mornings. The quartet borrows heavily from both post punk and new wave, splicing smart lyrics— particularly on their newest album released this year, Distraction—with pedals and effects that underscore and sculpt, rather than overpower the band’s sound. Musicianship: Distinctive key and guitardriven melodies and ‘80s electronic influences articulate Bear Hands’ sound while their vocal delivery is slack and accessible. Onstage, frontman and keyboardist Dylan Rau and guitarist Ted Feldman playing side by side creates a pronounced contrast and synergy, striking a balance between Feldman’s dude on the street stage presence and Rau’s quirky onstage vibes with a Thom Yorke type mashup of energy and reservation. Performance: A lot of Nashville shows feel more like auditions in terms of energy and crowd reaction; in a city filled with musicians, often few audience members are impressed. Those vibes were nonexistent at Bear Hands’ 52 October 2014

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BEAR HANDS

show. Not only did the band draw the crowd to the stage—which often keeps a cool distance—but they got everyone to dance to a set with all the production and sound quality of a solid venue, but all the intimacy, raucousness and informality of a college house show. They pulled from their whole catalog including several great cuts from their latest, like “Agora” and “Bone Digger,” which bend and shimmer with a whimsy and bizarreness reminiscent of Talking Heads, but also some from their first LP

that really hit home, like “Can’t Stick ’Em” and its infecting bass riff. Summary: There’s a great cadence to Bear Hands’ live show that’s hyper-inclusive of the audience, animated and resonant. The records—2007’s Golden EP, 2010’s full-length debut Burning Bush Supper Club and 2014’s Distraction—are definitely worth hearing for a critical listen to the songwriting; see the live show for the group experience. – Jessica Pace

JARED SAGAL

Contact: GalvanizedSouls@gmail.com Web: http://galvanizedsouls.com The Players: Zakk Silveira, vocals, guitar; Chris Traylor, lead guitar, vocals; Matt DeMartini, bass; Kevin Cogen, drums.

LA Zoo

Los Angeles, CA

KIVEN

Contact: erika@bigpicturemediaonline.com Web: http://kivenmusic.com The Players: Tyler Demorest, vocals, guitar, keyboards; Matt Cohen, bass; Danny Schnair, guitar; and Jake Reed, drums. Material: Harnessing a refreshing sound is no easy task, but KIVEN has done just that. The band grooves through upbeat, effectfilled verses and crushes strong, ball-breaking choruses that make you want to rage. Tight breakdowns, which seem influenced by

Tangine

VINCENT STEVENS

with bravado. He often strains to hit the higher notes, but compensates with his gentle, refined falsetto. Cohen harmonizes beautifully with Demorest and has impeccable bass tone. Cohen could up his volume, though, to gel better with Reed’s heavy handed grooves. Reed, while offering great right hand ostinatos, could hit more assertively on his fills. Although Schnair confidently strums his axe, his solos are sometimes sloppy and notes get muddled in his distortion heavy tone.

progressive rock, add complexity to the already well-structured songs. While the backdrop is painted with crunchy guitar tones and hardhitting beats, Demorest’s clean vocals starkly contrast and complement the music. The powerful build-ups and dynamic changes can be attributed to the band’s songwriting ability. Although the band has a well-rehearsed songbook, the recorded material could be beefier, as is the tracks possess too much empty space. Musicianship: Demorest holds down his rhythm guitar and keyboard parts while singing

Performance: KIVEN began the show with a crunchy groove, establishing a raw, intrusive attitude that carried throughout the set. Members interacted on stage and engaged the head-nodding audience. Cohen tastefully laid down the opening lick of “In the Fire” and fellow bandmembers joined in to steamroll through big choruses and up-tempo verses. After a few songs, though, Schnair’s overwhelming distortion became obtrusive and created an imbalance in the mix. Live versions of “Living for the Alarm” and “Stasis” packed a visceral element that the recorded material lacks, and the band should aspire to incorporate more of that cathartic energy. Demorest had the audience firm in his grasp by the sensual, calm “Come and Go” and didn’t release until the roaring climax of “Canyon Bridge.” The final songs left the audience wanting more. Summary: KIVEN possesses the attitude and musicianship to contend with the bigger names in rock. Some vocal polishing, simpler effects, and adding a primal element to the music will enhance the already well-composed material. – Vincent Stevens

New York, NY

Material: Performing a combination of original songs and covers, poet-turned-songwriter Kenny Fame bravely jumps into a new arena sharing indelible impressions and experiences. Artistically, Fame is a gentle soul who cherishes humanitarian issues and mutual respect between people which serve to fuel some of his underlying themes. His poetry is a good departure point for songwriting as he already possesses a knack for imagery, metaphor and description. Fame is testing the waters with this group of originals which swing toward an R&B feel and are a nod to artists of the ‘90s, although he does not lock himself exclusively into one style. “Another Man’s Women,” is one of Fame’s more commercially viable songs—less like poetry set to music with more structure and the cohesion that songwriting requires. Musicianship: Fame’s voice is somewhere between a tenor and a baritone, but sometimes his chosen keys are a bit lower than he can control, especially when they hamper his ability to project. Raising the key in some of the songs would enable him to get more out of his voice while still retaining that lovely reserved vibe he has. Fame is accompanied by Jack Mullin on

MARK SHIWOLICH

Contact: kenny.fame@yahoo.com Web: http://kennyfamemusic.reverbnation.com The Players: Kenny Fame vocals; Jack Mullin, guitar; Jay Regan, guest percussion.

KENNY FAME guitar who has put together some musically appealing arrangements.

spontaneity to the performance which suited the casual environment of this venue.

Performance: Fame has an endearing demeanor, soft spoken and understated. In addition to some boosts in the key choices there were other technical issues.The sound system at this venue was marginal and it’s important for an artist to master less than optimal conditions. More experience tackling different rooms and putting himself in front of more audiences will serve him well in overcoming these technical challenges. Halfway through the set the duo was joined by songwriter Jack Regan (slated to play the following set) who weighed in with some percussion. This lent a nice note of

Summary: Somewhat new to the singer/ songwriter world, Kenny Fame exhibits an enthusiasm and determination, that is necessary for this journey. His sensibilities as a poet are an asset in launching a songwriting career; however, he needs to keep honing his skills as a performer. Once he develops better mic technique and gauges the best key for each song, his voice and persona can shine and build the confidence needed to get his message across completely. Look out for his new single “Beautiful Face” on iTunes available on Oct. 14. – Ellen Woloshin October 2014

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The Mint

Los Angeles, CA

Material: The Anti-Job pushes the envelope with its experimental tunes that blur the lines between psychedelic, noise rock, alternative and punk. While the band describes its music as “surrealist rock,” the ever-changing rhythms, big dynamics, esoteric guitar effects, and seductive vocals harmoniously coexist and give the material somewhat of a pop sensibility. “Mushroom,” for example, is structurally unconventional, but the distortion heavy minor chord riff combined with Jones’ strong belting establishes an edgy, punk rock attitude. Her sexy vocals string the material together, caress the listener’s ear, and complement spacey, alternative backdrops. Most songs, however, like “9-5” or “Quixotic Pleasure,” are choppy due to the sporadic songwriting. Refining the transitions between the song sections would create a smoother flow. Musicianship: Jones attacks her vocal melodies with a punk flair and violently, sometimes gently during the mellow breakdowns, strums her rhythm parts. She could familiarize herself more with her guitar in order to sing more confidently and better engage with audiences. Lopez-Iu’s subtle lead

The Hotel Cafe

VINCENT STEVENS

Contact: antijobmusic@gmail.com Web: http://www.theanti-job.com The Players: Amanda Jones, guitar and vocals, Martin Lopez-Iu, lead guitar and keyboard, Lee Harcourt, drums.

THE ANTI-JOB

guitar parts and ambient keyboard riffs are played with ease. He could up his volume, though, to balance Jones’ guitar. Harcourt, while a technically sound drummer, could be more assertive with his hits, play simpler beats and loosen up to avoid hiccupping the rhythms. Performance: The Anti-Job took the audience on a journey through an experimental setlist replete with ominous effects and big dynamics. Jones’ high-pitched vocals and commanding attitude set the punk rock mood, while Harcourt and Lopez-Iu quietly locked in with the choppy grooves. Both Harcourt and Lopez-Iu could have played with more authority to fill the empty spaces in a lot of the songs. “Immature” and “Rain Dance” were missing that bottom end that is evident in the recorded versions. More keyboards or a bass

player would give the band more umph. The set climaxed during the well-written “Joni Mitchell in Love.” Jones’ vocals echoed over a strong acoustic riff and it stood out from the other material. The penultimate song, “9-5,” boasted a catchy chorus and unique chord progression, but veered off course during out-of-place breakdowns. The band fired on all cylinders for the final song “Rain Dance” and escalated to a chaotic, noise filled finish. Summary: The Anti-Job has a clear vision of how it wants to sound, but the surrealist musical explorations could limit its following. With less adventurous arrangements and more refined songs like “Joni Mitchell in Love,” the band could reach a bigger audience. – Vincent Stevens

Hollywood, CA

Material: The Gallery excels at crafting easyto-follow story songs with catchy phrasing and titles. What does this mean for their live show? It ensures that the audience sings along, and they do indeed, especially on “Restless Soul” and “Catalyst,” the latter utilizing repetition of visual poetry: “You once lit me up like a cigarette/And you burned me down and now there's nothing left/You were the one who put a spark to this/You were the gasoline/You were the catalyst.” In particular the verse, “It was last call/It wasn't you it was the alcohol,” is met with a round of applause. Musicianship: The band knocks out tight trifectas of stops, tempo drops and fun fadeouts with Ryan Cooney at the rhythm helm. Dave Mozdzanowski introduces interesting bass descents on bridge sections. Both he and Cooney are especially tight on “Ballroom of Broken Hearts.” Ben Lozano has a nice clean guitar tone that is a defining element of the band’s sound. He occasionally brings out a slide and uses it to good effect, adding catchy and solid melodic riffs to the compositions. Mike Barone offers up some Wurlitzer sounds on a few songs including “Fast Friends,” switching between keyboard and acoustic guitar throughout the set. 54 October 2014

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THE GALLERY Performance: Unfortunately Barone’s backing vocal and acoustic guitar were mostly lost in the mix. This was unfortunate as the band harmonized throughout the set. Frontman Brendan Cooney frequently flipped his head away from the microphone which offered an interesting syncopation to the sound but sometimes resulted in an unintentional hot and low mix. The levels only seemed to improve when the drum tempos came down, primarily in the song finales. Despite this, Lozano was given enough space in the overall compositions, and this allowed his solos to shine through.

KELLY LYNN

Contact: rachel@bigpicturemediaonline.com Web: http://thegallerymusic.com The Players: Brendan Cooney, vocals, guitar; Ben Lozano, lead guitar; Dave Mozdzanowski, bass; Ryan Cooney, drums; Mike Barone, acoustic guitar, keyboard.

Summary: This show was part of a college tour sponsored by The Alzheimer’s Foundation. Although the stage seemed a bit too small to accommodate all the instrumentation and switchover that was necessary, the band was called back for an encore, performing “The Fever,” a song that also includes another catchy and well enunciated chorus. Overall the Gallery have a consistent style throughout their set, which is primarily rock that borders on pop-rock. If the band continues to perform harmonies, it will be crucial to master their live sound. – Brooke Trout

The Echoplex

Los Angeles, CA

Contact: amanda@lafamos.com Web: http://smokeseason.com The Players: Gabrielle Wortman, lead vocals and keyboards, Jason Rosen, guitar and backing vocals, Christopher Roberts, drums, Gabe Davis, bass.

overwhelming delay. Davis and Roberts lock in and set the tone for each track. While Roberts plays simple grooves, they are assertive and appropriate for the genre, and allow Davis and Rosen to freely roam their fretboards.

Musicianship: Wortman has an impressive vocal range and is in constant control of her levels. Her keyboard riffs, which can be spooky or funky with great tone, are tasteful and well-executed. Rosen’s vocals are equally as controlled as Wortman’s, and his guitar playing is unique and confident. His solos fall short, though, as notes get lost in his

Performance: Smoke Season quickly grasped the audience and didn’t let go until its final punch. The romantic vocal melody on “Opaque” echoed over the strong, open chorus and an onstage chemistry ignited between Rosen and Wortman. The solid, hollow drumming was a focal point in the material and anchored tracks like “Badlands” and “Cold Wind,” on which

VINCENT STEVENS

Material: Ethereal, transient electronic influences collide with delayed riffs of folky Americana in Smoke Season’s well-composed tracks. Although a four-piece, the band is reminiscent of the powerhouse duo the Kills. The relaxed, adagio grooves bleed into roaring choruses, over which Wortman’s high-pitched, sensual screams echo. These nonsensical chants, however, become repetitive and unnecessary, and the catchy, well-written choruses pack a healthier punch without them. The band’s orchestrated verses, tight stops and bridges stand out on “Cold Wind.” Seductive harmonies, especially on “Bees” and “Simmer Down,” enrich the vocal melodies and enhance the lyrics. A number of songs blend together, however, with beats that are often the same.

SMOKE SEASON Rosen strummed a descending slide riff that coalesced with Wortman’s acoustic, folk guitar. The songwriting compensated for Rosen’s muddled solos and the drowned-out, haunting keys. Tempos remained slow, but the set escalated like an orchestrated crescendo from “Song Wol” to the finale. Throughout the set Wortman tackled the vocal melodies with a fierce tenacity and soulful growl, which she should utilize more frequently. Summary: Smoke Season has a polished sound that could be more distinguished with tempo variation, but the band is well on its way to a bright future. – Vincent Stevens

Thousands of artists have been reviewed by Music Connection. To read the reviews and get your music reviewed, go to http://musicconnection.com/get-reviewed. Music Connection does not charge a fee for reviews. October 2014

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Annual Directory of U.S. MASTERING STUDIOS Use this exclusive MC directory to connect with a mastering studio that suits your project’s needs and your budget’s limits. All info has been updated for 2014 with info supplied by the listees. ALABAMA BATES BROTHERS RECORDING 3427 Davey Allison Blvd., Ste. 101 Hueytown, AL 35023 205-491-4066 E-mail: bbrbates@yahoo.com Web: www.batesbrothersrecording.com Contact: Eric Bates Basic Rate: please see web for info SOUND OF BIRMINGHAM 3625 5th Ave. S. Birmingham, AL 35222 205-595-8497 E-mail: marketing@ soundofbirmingham.com Web: www.soundofbirmingham.com *Note: 35 years exp., please call for info

ALASKA DOME STUDIOS Fairbanks, AK 907-457-1993, 907-456-6734 E-mail: domestudios@alaskajam.com Web: www.Alaskajam.com Contact: Jerry or Rif Basic Rate: please call for info FM RECORDING STUDIOS LLC 5700 Old Seward Highway, Ste. 202 Anchorage, AK 99518 907-563-0003 E-mail: info@fmrecordingstudio.com Web: fmrecordingstudio.com WILDERHOOD RECORDING STUDIOS, THE PO Box 1076 Kasilof, AK 99610 907-262-1098 E-mail: info@thewilderhood.com Web: www.thewilderhood.com/ contact.htm

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

Dangerous ST Monitor, Mytek AD/ DAC, Millennea NSEQ-2 Tube EQ, GML 8200 Equalizer, Lydkraft Tube Tech Mastering multi-band limiter, Neve Portico II Master Buss compressor, Prism, Waves L2, ATR 1-inch Master Recorder etc. Clients: DMX, Prong, Jay-Tee, Pandemic, Trapp Boyz, DJ Class, Mzery, Skylark and tons of local AZ artists.

ARKANSAS RANEY RECORDING STUDIO P.O. Box 17, 110 S. Front St. Drasco, AR 72530-9282 870-668-3222, 870-668-3177 E-mail: kathy@raneyrecordingstudio. com Web: www.raneyrecordingstudio.com Contact: Kathy Johnson Basic Rate: please call for info

CALIFORNIA 1ST CHOICE MASTERING 1259 Bruce Ave. Glendale, CA 91202 818-246-6858 E-mail: info@billkeis.com Web: http://www.billkeis.com/producer Services: http://www.billkeis.com/aquick-summary-of-mastering 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 E-mail: 21stcenturystudio@earthlink.net Web: www.21stcenturystudio.com Basic Rate: call for rates AAA CAZADOR RECORDING OF HOLLYWOOD W. Hollywood, CA area 323-655-0615 E-mail: jimmy@jimmyhunter.com Web: www.jimmyhunter.com Basic Rate: negotiable/call and we can discuss ABACAB MULTIMEDIA, INC. 245 Fischer Ave., Ste. A-9 Costa Mesa, CA 92626 714-432-1745 E-mail: sales@abacab.net Web: www.abacab.net Basic Rate: please call, or see web AB AUDIO VISUAL 4212 Hackett Ave. Lakewood, CA 90713-3208 877-ABAUDIO (222-8346), 562-4291042 Fax 562-429-2401 E-mail: info@abaudio.com Web: www.abaudio.com Contact: President, Arlan Boll Basic Rate: work with all budgets ABET DISC 411 E. Huntington Dr., Ste. 107-372 Arcadia, CA 91006 866-574-0275 E-mail: sales@abetdisc.com, info@abetdisc.com Web: www.abetdisc.com Contact: Aeron K. Nersoya ALIEN PRODUCTIONS 4100 Wayside Ln., Ste. 120

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Carmichael, CA 95608 916-483-9988 E-mail: alienproductions@att.net Web: www.alien1111.com Contact: JK Northrup Basic Rate: please call for rates ARDENWOOD SOUND & DVD 34766 Monaco Common Fremont, CA 94555-2837 510-793-7511 E-mail: ardenwood@earthlink.net Web: www.ardenwoodsnd-dvd.com Basic Rate: please call for info ARMADILLO DIGITAL AUDIO 6855 Vineland Ave. N. Hollywood, CA 91605 818-980-6700 E-mail: steve@armadillodigital.com Web: www.armadillodigital.com A SMOOTH SOUND MULTIMEDIA 6828 Valjean Ave. Van Nuys, CA 91406 818-779-1259. 818-723-4203 E-mail: smoothsound@sbcglobal.net Web: www.smoothsoundmultimedia.com Basic Rate: please call for info AUDIO-CD-MASTERING.COM P.O. Box 3027 Burbank, CA 91508 818-445-6961 (text messages only please) E-mail: help@audio-cd-mastering.com Web: www.audio-cd-mastering.com Contact: Ryan Clement Basic Rate: $175 full album, please see web for more info AUDIO MECHANICS 1200 W. Magnolia Blvd. Burbank, CA 91506 818-846-5525 E-mail: info@audiomechanics.com Web: www.audiomechanics.com Basic Rate: please call for info ARDENT AUDIO PRODUCTIONS 22122 S. Vermont Ave. Unit “E” Torrance, CA 90502 310-782-0125 E-mail: irwenzelaap@gmail.com Web: www.ardentaudioproductions.com BEAGLE STUDIOS 815 Romero Canyon Rd. Santa Barbara, CA 805-966-9882 Contact: Emmett Basic Rate: please call for info BERNIE BECKER MASTERING 30 W. Green St. Pasadena, CA 91105 626-304-1682 E-mail: dale@berniebecker.com Web: www.berniebecker.com Basic Rate: please call for info BERNIE GRUNDMAN MASTERING 1640 N. Gower St. Hollywood, CA 90028 323-465-6264 Fax 323-465-8367 E-mail: james@bgmastering.com Web: www.berniegrundman mastering.com Contact: Bernie Grundman, “Big

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Bass” Brian Gardner, Chris Bellman, Patricia Sullivan Basic Rate: please call for info BIG CITY RECORDING STUDIOS 17021 Chatsworth St. Granada Hills, CA 91344 818-366-0995 E-mail: paul@bigcityrecording.com Web: www.bigcityrecording.com Contact: Paul Tavenner Basic Rate: please call or see web for info BIG FISH MEDIA 12650 Riverside Dr. Valley Village, CA 91607 818-762-0191 E-mail: info@bfmdigital.com Web: www.bfmdigital.com Contact: Gary Black Basic Rate: Call for more info BIG SURPRISE MUSIC Encino, CA 91436 818-613-3984 E-mail: info@carmengrillo.com Web: www.bigsurprisemusic.com Contact: Carmen Grillo Basic Rate: call for rates BOSS STUDIOS San Francisco, CA 94103 415-626-1234 Basic Rate: please call for info CAPITOL MASTERING 1750 N. Vine St. Los Angeles, CA 90028 323-871-5003 E-mail: mark.moreno@umusic.com Web: www.capitolmastering.com Basic Rate: please call for info CAPRICORN MASTERING 927 “E” St. San Diego, CA 92101 619-228-6941 E-mail: info@capricornmastering.com Web: www.capricornmastering.com Contact: Joe Goodwin CHARLES LAURENCE PRODUCTIONS Northridge, CA 818-368-4962 Web: clpstudios.com Contact: Charles Laurence Basic Rate: please call for info CLEAR LAKE AUDIO 10520 Burbank Blvd. N. Hollywood, CA 91601 818-762-0707 E-mail: contact@clearlakerecording.com Web: www.clearlakeaudio.com Basic Rate: please call for info CLOVERLAND STUDIOS Sullystone Music N. Hollywood, CA 818-503-1157 Web: www.sullystone.com DAVEN THE MAD HATTER STUDIOS Los Angeles, CA 323-876-1212 E-mail: faye@ daventhemadhatterstudios.com

Download at www.musicconnection.com/industry-contacts Web: www.daventhemadhatter.com Contact: studio manager Basic Rate: please call for info

Web: gobigaudio.com Contact: Gary Gladstone Basic Rate: please see web or call

DENOISE.COM 1501 Powell St., Ste. A Emeryville, CA 94608 866-DENOISE, 510-653-3838 Fax 510-653-3229 E-mail: info@denoise.com Web: www.denoise.com Contact: Albert Benichou Basic Rate: please call for info

GOLDEN MASTERING 1721 E. Main St. Ventura, CA 93001 805-648-4646 Fax 805-648-4656 E-mail: april@goldenmastering.com Web: www.goldenmastering.com Contact: April Golden Format: digital and analog Basic Rate: please call for info

DIAMOND DREAMS MUSIC PRODUCTIONS North OC, Carbon Canyon 909-393-3120 Fax 909-606-5779 E-mail: info@diamonddreamsmusic.com Web: www.diamonddreamsmusic.com Contact: Raphael De Giorgeo Basic Rate: please call for info, varies from project to project

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

DINO M 4 RECORDING/ MASTERING STUDIO Torrance, CA (10 minutes south of LAX) 310-782-1440 E-mail: dinom4@aol.com Contact: Dino Maddalone DISC MAKERS 4425 W. Riverside Dr., Ste. 204 Burbank, CA 91505 800-468-9353 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info DISKFAKTORY A division of Innovative Diversified Technologies 18062 Irvine Blvd., Ste. 303 Tustin, CA 92780 855-273-4263 E-mail: customercare@diskfaktory.com Web: www.diskfaktory.com Basic Rate: please see web or call DNA MASTERING 19528 Ventura Blvd., Ste. 315 Tarzana, CA 91356 818-992-4034 E-mail: info@DNAmastering.com Web: www.dnamastering.com Contact: David Donnelly, Perry Cunningham Basic Rate: special rate for indie and unsigned artists EZEE STUDIOS 21550 Oxnard St., Ste. 990 Woodland Hills, CA 91367 818-444-4744 E-mail: brian@ezeestudios.com Web: www.ezeestudios.com Contact: Brian Zamorano Basic Rate: please see web or call Additional location: 75 Rockefeller Plaza New York, NY 10019 212-275-2160 E-mail: James@ezeestudios.com Contact: James Winner FDS LABS 2550 W. Ave. N. Palmdale, CA 93551 661-267-1155, 213-383-2155 E-mail: info@fdslabs.com Web: www.fdslabs.com Basic Rate: please see web or call GO BIG AUDIO 1258 Highland Ave. Hollywood, CA 818-205-3043 E-mail: benny@gobigaudio.com

GRANDMASTER RECORDERS LTD. 1520 N. Cahuenga Blvd. Hollywood, CA 90028 323-462-6136 E-mail: gmrltd@earthlink.net Web: www.grandmasterrecorders.com Contact: Alan Dickson Basic Rate: please call for info GROOVEWORKS 1446 W. 178th St. Gardena, CA 90248 310-403-510 E-mail: info@grooveworksstudios.com Web: http://www.grooveworks studios.com Contact: studio manager Basic Rate: please 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 Basic Rate: please call or see web for info HOLLYWOOD MASTERING 888-MASTERS E-mail: info@hollywoodmastering.com Web: http://hollywoodmastering.com HOWIE WEINBERG MASTERING STUDIO 8331 Lookout Mountain Ave. Los Angeles, CA 90046 323-524-8776, 917-455-1570 E-mail: info@howieweinberg mastering.com Web: www.howeweinberg mastering.com Basic Rate: Rates Upon Request HYDE ST. STUDIOS 245 Hyde St. San Francisco, CA 94102 415-441-8934 Fax 415-441-8943 E-mail: info@hydestreet.com Web: www.hydestreet.com Basic Rate: please call or see web IMPERIAL MEDIA SERVICES 3202 Pennsylvania Ave. Santa Monica, CA 90404 310-396-2008 E-mail: info@imperialmedia.com Web: www.imperialmedia.com Services: Retail ready CD, DVD & Bluray packages ship within 24-48 Hour J.E. SOUND PRODUCTIONS Hollywood, CA 323-850-0765 E-mail: jesound@jps.net Web: www.jesound.com Contact: John Goodenough Basic Rate: please see web or call

JOE GASTWIRT MASTERING 4750 Rhapsody Dr. Oak Park, CA 91377 310-444-9904 E-mail: joe@gastwirtmastering.com Web: www.gastwirtmastering.com Contact: Joe Gastwirt Basic Rate: please see web or call JUNGLE ROOM RECORDING STUDIOS 604 1/2 Sonora Ave. Glendale, CA 91201 818-247-1991 E-mail: info@jungleroom.net Web: www.jungleroom.net Basic Rate: please see web or call KEN LEE MASTERING 748 Oakland Ave. Oakland, CA 94611 510-428-9276 E-mail: kenleemastering@mac.com Web: https://www.facebook.com/ kenleemastering.studio Basic Rate: please e-mail KINGSIZE SOUNDLABS Los Angeles, CA 323-533-0022, 218-349-3019 E-mail: kingsizesoundlabsla@gmail.com Web: www.kingsizesoundlabs.com Basic Rate: Call for more info LITTLE HIPSTER MUSIC STUDIOS 14557 Leadwell St. Van Nuys, CA 91405 818-570-3499 E-mail: contact@littlehipstermusic.com Web: www.littlehipstermusic.com Contact: David Snow Basic Rate: please call for info

Contact: Dave Morse Basic Rate: please call for info, reasonable rates. MASTERING LAB INC., THE 911 Bryant Pl. Ojai, CA 93023 805-640-2900 E-mail: contact@themasteringlab.com Web: www.themasteringlab.com Contact: Doug Sax Basic Rate: call for information Services: digital and analog, 2 tracks. Also master surround sound and vinyl MAURICE GAINEN PRODUCTIONS 4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027 323-662-3642 E-mail: mauricegainen@gmail.com Web: www.mauricegainen.com Basic Rate: please call for info Credits: Alex Skolnick (Testament, Trans-Siberian), Andy McKee, The Hues Corporation (“Rock The Boat”) MELROSE MASTERING 5254 Melrose Ave. Hollywood, CA 818-216-5409 E-mail: melrosemusic@mac.com Web: https://www.facebook.com/ melrosemusicstudios Basic Rate: please call for info METRO STUDIOS San Fernando Valley, CA 818-366-5588 E-mail: info@metrostudios.com Web: www.metrostudios.com Basic Rate: please call for info

MAMBO SOUND & RECORDING 2200 W. Esther Long Beach, CA 90813 562-432-9676 Web: www.mambosoundand recording.com Contact: Steve McNeil Basic Rate: please call for info

MICHAEL ROMANOWSKI MASTERING 1340 Mission St. San Francisco, CA 94103 415-500-2539 E-mail: studio@michael romanowski.com Web: www.michaelromanowski.com Basic Rate: please call for info

MAOR APPELBAUM MASTERING – “Sounds With Impact” Woodland Hills,CA 818-564-9276, 818-745-6412 E-mail: mappelbaum@gmail.com Web: www.maorappelbaum.com Contact: Maor Appelbaum Clients: Yes, Ill Nino, Starset, Sepultura, Rob Halford, Yngwie Malmsteen, Lita Ford, Fates Warning, Walter Trout, William Shatner, Dokken, Cynic, Adrenaline Mob

MIKE WELLS MASTERING 4470 W. Sunset Blvd, #147 Los Angeles, CA 90027 323-363-2339 E-mail: info@mikewellsmastering.com Web: www.mikewellsmastering.com Social: www.facebook.com/ MikeWellsMastering Skype ID: mikewellsmastering Contact: Mike Wells Basic Rate: Please call for rates

MARCUSSEN MASTERING 5632 Hollywood Blvd. Hollywood, CA 90028 323-463-5300 Fax 323-463-5600 E-mail: info5223@ marcussenmastering.com Web: www.marcussenmastering.com Contact: Caryl McGowan Basic Rates: please call for info MARSH MASTERING Los Angeles, CA 310-598-6038 Fax 310-598-5685 E-mail: marsh@marshmastering.com Contact: Stephen or Fernando Web: www.marshmastering.com Basic Rate: Flat rates for unattended sessions, Hourly rates for attended sessions MASTER GROOVE STUDIOS Northridge, CA and Nashville, TN 818-830-3822 E-mail: leafcake@att.net Web: www.mastergroovestudios.com

M L E STUDIOS PO Box 93008 Los Angeles, CA 90093-0008 866-246-8846 E-mail: mail@majorlabelmusic.com Contact: Col. Darryl Harrelson Web: majorlabelmusic.com, facebook. com/mlestudios Basic Rate: $45.00/hr or flat rate per song/album small independent multiroom studio specializing in country, Americana and alt country genres. MR. TOAD’S MASTERING 444 Townsend St. San Francisco, CA 94107 888-Mr.Toads (888-678-6237) E-mail: info@mrtoads.com Web: www.mrtoads.com Basic Rate: please call for info NEW MILLENNIUM STUDIOS P.O. Box 1070 Hollywood, CA 90078 323-962-5960 October 2014

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Annual Directory of U.S. Mastering Studios Contact: Timothy A. Simms Basic Rate: please call for info THE OC RECORDING COMPANY 3100 W. Warner Ave., Ste. 7 Santa Ana, CA, 92704 323-244-9794 Contact: Asaf Fulks E-mail: info@ocrecording.com Web: www.ocrecording.com Credits: Universal Pictures, Disney, ESPN, LA Clippers, Casio, Kendrick Lamar, Platinum & Grammy Artists Gear: Pro Tools HD 11, Neve 1073, Sony C-800G, Neumann, Aurora, Avalon, Lynx, Dangerous, Focal, SSL OASIS MASTERING 4109 W. Burbank Blvd. Burbank, CA 91505 818-567-0500 Fax 818-567-0599 E-mail: jamie@oasismastering.com Web: www.oasismastering.com Basic Rate: please call for info PEARL MUSIC Hollywood, CA 90068 323-851-2279 E-mail: pearlmusic@sbcglobal.net Web: www.pearlmusic.net Contact: Richard Zeier Basic Rate: $50/hr. PETTING ZOO STUDIOS Rockridge District of Oakland 415-531-4671 E-mail: pettingzoostudio@gmail.com Contact: Bernhard Penzias Web: http://benbernsteinmusic.com Basic Rate: Indie packages avail. PLANT RECORDING STUDIOS, THE 1001 Bridgeway, Ste. 144 Sausalito, CA 94965 415-332-6100 Fax 415-332-5738 E-mail: info@plantstudios.com Web: www.plantstudios.com Contact: John Cuniberti Basic Rate: please call for info P.M. III PRODUCTIONS Studio City, CA 818-763-3053 E-mail: p.m.iii@sbcglobal.net Web: www.pm3prod.com Contact: Paul Moser PRAIRIE SUN Box 7084 Cotati, CA 94931 707-795-7011 Fax 707-795-1259 E-mail: info@prairiesun.com Web: www.prairiesun.com Contact: studio manager Basic Rate: please call for info

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PRECISION MASTERING 1008 N. Cole Ave. Hollywood, CA 90038 323-464-1008 E-mail: claudia@precision mastering.com Web: www.precisionmastering.com Contact: Claudia Lagan 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 Basic Rate: $65/hour PRODUCTION COMPANY MASTERING & RECORDING STUDIO, THE 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: rockzionrecords@rockzion.com Web: http://rockzion.com/ productionco.html Contact: Dennis Basic Rate: analog and digital, please call for info PROFESSIONAL MUSICIAN’S LOCAL 47 817 N. Vine St. Hollywood, CA 90038 323-462-2161 Web: www.promusic47.org Contact: Amie Moore Basic Rate: please call for info PYRAM-AXIS DIGITAL Redondo Beach, CA E-mail: music@pyramaxis.com Web: www.pyramaxis.com Contact: Jim D. Basic Rate: please email for information QUALITY CLONES MASTERING, CD MASTERING & DVD AUTHORING 3940 Laurel Canyon Blvd., Ste. 405 Studio City, CA 91604 323-464-5853 E-mail: info@qualityclones.com Web: www.qualityclones.com Basic Rate: please call for info RACE HORSE STUDIOS 3780 Selby Ave. Los Angeles, CA. 90034 310-280-0175 Fax 310-280-0176 E-mail: duncan@racehorse studios.com Web: www.racehorsestudios.com

Contact: Duncan Macfarlane Basic Rate: please call for info RAINBO RECORDS MFG. CORP. 8960 Eton Ave. Canoga Park, CA 91304 818-280-1100 Fax 818-280-1101 E-mail: info@rainborecords.com Web: www.rainborecords.com Basic Rate: please call for info REDRUM STUDIOS E-mail: info@redrumproductions.net Web: www.redrumproductions.net Contact: Simon or Boi Basic Rate: email for info ROBERT LIAM MASTERING 1646 N. Curson Ave. W. Hollywood, CA 90046 323-687-8547 E-mail: RLMastering@gmail.com Web: www.robertliam.com Basic Rate: see website RODEO PUNK MUSIC Woodland Hills, CA 818-570-1727 E-mail: contact@rodeo punkmusic.om Web: rodeopunkmusic.com Basic Rate: Please see web or call RPD STUDIOS 1842 Burleson Ave. Thousand Oaks, CA 91360 805-496-2585 E-mail: rpdstudios@roadrunner.com Web: www.rpdstudios.com Contact: Randy Basic Rate: please call for info SONIC VISION MASTERING & AUDIO PRODUCTION SERVICES 818-269-7087 Web: www.sonicvisionmastering.com Contact: Mike Milchner Basic Rate: please call or check website for info SONORA RECORDERS 3222 Los Feliz Blvd. Los Angeles, CA 90039 323-663-2500 E-mail: ducktape@aol.com Web: sonorarecorders.com Contact: Richard or Chad Basic Rate: please call for info SOTTOVOCE STUDIO AND MASTERING N. Hollywood, CA 818-694-3052 E-mail: info@sottovocestudio.com Web: www.sottovocestudio.com

SOUND AFFAIR 2727 S. Croddy Way, Unit G Santa Ana, CA 92704 800-570-6656 Web: www.SoundAffairMastering.com Contact: Ron or Andree Basic Rate: please see web for info SOUND BITES DOG Los Angeles, CA 310-621-1896 E-mail: hdekline@gmail.com Web: www.soundbitesdog.com Contact: Hans DeKline Basic Rate: call or check our website SOUNDCASTLE INTERACTIVE STUDIOS 1334 3rd St. Promenade, Ste. 208 Santa Monica, CA 90401 310-394-6014 E-mail: soundcastle@earthlink.net Web: www.soundcastle.com Basic Rate: please see web for info SOUND MATRIX STUDIOS 18060 New Hope St. Fountain Valley, CA 92708 714-437-9585 E-mail: info@soundmatrix.com Web: www.soundmatrix.com Contact: Brandon Forrest Basic Rate: please call or see web for info SOUNDMOVES STUDIOS Burbank, CA 818-848-3393 E-mail: michael@ woodrumproductions.com Web: www.soundmovesaudio.com Contact: Michael Woodrum Basic Rate: please call for info STUDIO 5109 1110 N. Western, Ste. 206 Hollywood, CA 90029 213-369-7094 E-mail: info@studio5109.com Web: www.studio5109.com Contact: Mike Wolf Basic Rate: please call or see web STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 E-mail: eharrison@studiocity sound.com Web: www.studiocitysound.com Contact: studio manager Basic Rate: please call for info STUDIOWEST 11021 Via Frontera, Ste. A San Diego, CA 92127

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Annual Directory of U.S. Mastering Studios 858-592-9497, 858-592-9580 E-mail: hunter@studiowest.com Web: www.studiowest.com Basic Rate: call for more info SULLYSTONE MUSIC Cloverland Studios N. Hollywood, CA 91616 818-503-1157 Web: www.sullystone.com Contact: Billy Sullivan Basic Rate: please call for info SUN 7 MUSIC 5303 Inadale Ave. Los Angeles, CA 90043-1543 323-292-1052 E-mail: sun7@sun7production.com Web: www.sun7production.com Basic Rate: please call for info TECHNOVOICE MASTERING 11739 Ventura Blvd. Studio City, CA 91604 818-506-7893 E-mail: info@technovoice.com Web: www.technovoice.com Contact: Bob Lanzner Basic Rate: please call or e-mail for quote THETA SOUND STUDIO 2219 W. Olive Ave., Ste. 226 Burbank, CA 91506 818-955-5888 E-mail: randy@thetasound.com Web: www.thetasound.com Contact: Randy or Cyndie Tobin Basic Rate: please call for info THRESHOLD MASTERING 2114 Pico Blvd. Santa Monica, CA 90405 310-566-6677 E-mail: micheleb@thresholdsound.com Web: www.thresholdsound.com Contact: Michelle Blankenship or Peter Barker Basic Rate: custom rates for indies TIME ART STUDIO Studio City, CA 818-980-2840 Fax 818-760-4385 Web: www.timeart.us Contact: Darlene Basic Rate: please call for info TOMCAT ON THE PROWL PRODUCTIONS Studio City, CA 91604 818-533-8669 E-mail: studio@tomcatontheprowl.com Web: www.tomcatontheprowl.com Contact: Thomas Hornig Basic Rate: visit website for more info

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TRU-ONE STUDIOS 2100 E. Howell Ave., Ste. 208 Anaheim, CA 92806 714-634-4678 Web: www.truonerecords.com Basic Rate: Rooms $16 & $20 per hr. UNITED AVG, INC. 6855 Vineland Ave. N. Hollywood, CA 91605 800-247-8606, 818-980-6700 Web: www.unitedavg.com Contact: Steve Katz Basic Rate: call or check website for more information UNIVERSAL MASTERING STUDIOS 3400 Cahuenga Blvd. Building C Hollywood, CA 90068 818-286-6233 E-mail: nick.d@umusic.com Web: www.universalmastering.com Contact: Nick Dofflemyer Basic Rate: call for info UROCK MUSIC STUDIOS University of Recording Arts and Music 18101 Von Karman, ste. 140-144 Irvine, CA 92612 Office: 888-UROCK09 (888 876-2509) Direct: 949 225-4795 Contact: John Lowson E-mail: jlowson@urameducation.com Web: http://universityofrecordingarts andmusic.com, www.uram education.com Credits: Grammy winning recordings/ countless Gold and Platinum. Great rates—Satisfaction Guaranteed! *Notes: Music production, recording, mixing, mastering (web based file sharing from anywhere). 20+ years professional experience VESTMAN MASTERING Orange Count, Ca. 714-894-4000 E-mail: info@vestmanmastering.com Web: www.johnvestman.com Contact: John Vestman or office mgr. Basic Rate: Contact us for hourly rates and package rates for sessions longer than 4 hours. WATERBURY PRODUCTIONS Laurel Canyon and Magnolia Valley Village, CA 818-505-8080 E-mail: davewaterbury91607@ yahoo.com Web: davewaterbury.net Contact: Dave Waterbury Basic Rate: please call for info

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

COLORADO AIRSHOW BOULDER STUDIO 3063 Sterling Cir., Ste. 3 Boulder, CO 80301 888-545-9035, 303-247-9035 Web: www.airshowmastering.com Basic Rate: please call for info Additional location: 7014-C Westmoreland Ave. P.O. Box 5692 Tacoma Park, MD 20913 301-891-9035 ASPEN LEAF RECORDING STUDIO P.O. Box 60351 Grand Junction, CO 970-201-6166 E-mail: aspenleafrecording@ gmail.com Web: www.aspenleafrecording.com Contact: Ken Dravis Basic Rate: please call for info AUDIO PARK RECORDING 5603 Yukon St., Unit A Arvada, CO 80002 303-456-6122 E-mail: nate@audiopark.biz Web: www.audiopark.biz Basic Rate: please call for info A/V SERVICES 2432 S. Downing St.

Denver, CO 80210 303-777-5950 E-mail: info@av-services.com Web: www.av-services.com Basic Rate: please call for info CHERRY SOUND STUDIOS, LLC 1600 Downing, Ste. 120 Denver, CO 80218 303-910-5359 E-mail: guillot3000@yahoo.com Web: www.cherrysoundstudios.com Basic Rate: please call for info COLORADO SOUND STUDIOS 3100 W. 71st Ave. Westminster, CO 80030 303-430-8811 E-mail: colosnd@coloradosound.com Web: www.coloradosound.com Basic Rate: please call or see website GLOBALSOUND REC. STUDIO 555 Alter St., Unit 19-F Broomfield, CO 80020 303-439-7956 E-mail: lydia@globalsoundstudio.com Web: www.globalsoundstudio.com Basic Rate: please call for info QUAM AUDIO PRODUCTIONS Lafayette, CO 720-890-0230 E-mail: info@quamaudio.com Web: www.quamaudio.com Contact: Michael Quam Basic Rate: please call for info SUMMERTOWN STUDIOS S.W. Corner of College & Harmony 4606 S. Mason St. Fort Collins, CO 970-225-0771 E-mail: producer@ summertownstudios.com Web: www.summertownstudios.com Contact: Bob Buford Basic Rate: please call for info

CONNECTICUT BEANSTUDIO MASTERING Bridgeport, CT E-mail: jim@beanstudio.com Web: www.beanstudio.com Contact: Jim DeSalvo Basic Rate: please call for info ONYX SOUND LAB LLC 56 Cooper St. Manchester, CT 06040 860-436-4581 E-mail: contact@onyxsoundlab.com Web: www.onyxsoundlab.com Contact: Adam Gootkin or Peter

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Annual Directory of U.S. Mastering Studios Kowalczyk Basic Rate: please call for info

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

RVP STUDIOS 221 Bull Hill Ln. West Haven, CT 203-934-7579 E-mail: gtroks@ao.com Web: www.rvpstudios.com Contact: Marc Basic Rate: please call for info

EMERALD CITY RECORDING, INC. 105 Dunbar Ave., Ste. A Oldsmar, FL 34677 813-814-1062 E-mail: info@emeraldcity recording.com Web: www.emeraldcityrecording.com Basic Rate: please call for rates

SUITE AUDIO Clinton, CT 06413 860-664-9499 E-mail: info@suiteaudio.com Web: www.suiteaudio.com Basic Rate: please call for info

FULLERSOUND INC. 3551 S.W. 116th Ave. FT. Lauderdale, FL 33330 305-556-5537 Fax 954-423-8441 E-mail: info@fullersound.com Web: www.fullersound.com Basic Rate: please call for rates

TARQUIN STUDIOS Bridgeport, CT 06604 203-338-0895 E-mail: tarquinstudios@hotmail.com Web: www.tarquinrecords.com Basic Rate: please call for info

DELEWARE AUDIOVISIONS 7 Rockford Rd., Ste. 29B Wilmington, DE 19806 302-651-7955 E-mail: info@audiovisionsonline.com Web: www.audiovisionsonline.com Basic Rate: please call for info JAMLAND STUDIO 2326 Empire Dr. Wilmington, DE 19810 302-475-0204 E-mail: music@jamlandstudio.com Web: www.jamlandstudio.com

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

FLORIDA BIG SHOT MUSIC STUDIOS 658 Douglas Ave., Ste. 1116-1120 Altamonte Springs, FL 32714 407-788-6431 E-mail: info@bigshotmusic studios.com Web: www.bigshotmusicstudios.com BLACK DOG MASTERING STUDIO 3837 Northdale Blvd., Ste. 271 Tampa, FL 33624 818-434-1483 E-mail: info@blackdogmastering.com

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UPCOMING STUDIO, INC. 601 W. Oakland Park Blvd., Ste. 13 Wilton Manors, FL 33311-0913 954-530-4710 E-mail: mastering@upcoming studios.com Web: upcomingstudio.com NOISEMATCH STUDIOS 169 N.W. 23rd St. Miami, FL 33127 786-334-5382 E-mail: info@noisematch.com Web: noisematch.com Basic Rate: Call for info PROGRESSIVE MEDIA & MUSIC 2116 Southview Ave. Tampa, FL 33606 813-251-8093 Fax 813-251-6050 E-mail: info@progressivecds.com Web: www.progressivecds.com Basic Rate: project rates available call for a quote

GEORGIA DAN SCOTT PRODUCTION STUDIOS Atlanta, GA 770-616-0433 Web: https://www.facebook.com/ danscottproductions Basic Rate: please call for info GLENN SCHICK MASTERING 750 Ralph McGill Blvd., N.E. Atlanta, GA 30312 404-351-4655 Fax 404-474-1795 E-mail: info@gsmastering.com Web: www.gsmastering.com Basic Rate: please call for info ODYSSEY STUDIO, THE 198 N. First Street Colbert, GA 30628

706-540-1076 E-mail: p_rives@theodysseystudio.com Web: www.theodysseystudio.com Contact: NA Basic Rate: $50/hr. see web for details SING MASTERING 781 Wheeler St. N.W. Studio 8 Atlanta, GA 30318 404-827-8503 E-mail: info@singmastering.com Web: www.singmastering.com Basic Rate: please call for info

HAWAII ISLAND SOUND STUDIOS 377 Keahole St., Ste. D-03 Honolulu, HI 96825 808-393-2021 Fax 808-393-2021 E-mail: info@avexhonolulu studios.com Web: www.islandsoundstudios.com Contact: Gaylord Holomalia Basic Rate: please call for info LAVA TRACKS RECORDING Kamuela, Big Island, HI P.O. Box 6564 808-885-6558 Web: www.lavatracks.com Contact: Charles Michael Brotman, Grammy Award winner Basic Rate: call or check our website for contact info. SEASIDE RECORDING Wailuku, Maui, HI 808-242-2732 Web: http://seasiderecording.com Contact: Joel Katz Basic Rate: reasonable rates by the hour, week or job

IDAHO AUDIO MASTERING STUDIO 2365 River Oaks Dr. Nampa, ID 83686 208-965-0621 E-mail: master@ audiomasteringstudio.com Web: www.audiomasteringstudio.com Basic Rate: $75 per song (minimum two songs) [or] project discount 7-10 songs, $500 JAMPROSOUND Boise, ID 208-340-7058 E-mail: info@jamprosound.com Web: www.jamprosound.com Contact: Justin A. Mai, owner Basic Rate: please call or e-mail for info

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

ILLINOIS ARS STUDIOS Homewood, IL 708-960-0499 Fax 708-371-3958 E-mail: info@arsstudios.com Web: www.arsrecording.com Basic Rate: please call and ask about our mastering and duplication specials BOILER ROOM, THE 3139 N. Lincoln Ave., Ste. 214 Chicago, IL 60657 773-525-8551 E-mail: info@brmastering.com Web: www.brmastering.com Basic Rate: please call for info CHICAGO MASTERING SERVICE Chicago, IL 773-265-1733 E-mail: info@chicagomastering service.com Web: www.chicagomastering service.com Basic Rate: please call for info DISC MAKERS 560 W. Washington Blvd. #410 Chicago, IL 60661 800-468-9353, 312-661-3450 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info GRAVITY STUDIOS 2250 West North Ave. Chicago, IL 60647 773-862-1880 E-mail: info@gravitystudios.com Web: www.gravitystudios.com Basic Rate: Call for more info MAMINIDI RECORDS, INC. Chicago, IL 630-834-0766 E-mail: dirksonic@mamindi.com Basic Rate: please call for info MASSIVE MASTERING P.O. Box 68143 Schaumburg, IL 60168 630-237-4393 E-mail: master@massive mastering.com Web: www.massivemastering.com

Download at www.musicconnection.com/industry-contacts Contact: John Scrip Basic Rate: hourly/project rates on web PLAYGROUND RECORDING AND MASTERING STUDIO, THE Chicago, IL 312-455-8265 E-mail: admin@playgroundstudio.com Web: www.playgroundstudio.com Basic Rate: $500/day recording $65/ hr. mastering STUDIO VMR VITAL MUSIC RECORDING 9039 Monroe Brookfield, IL 60513 780-267-2198 E-mail: don@studioVMR.com Web: www.StudioVMR.com Contact: Don Griffin Basic Rate: Call for info

INDIANA APPLEGATE AUDIO VISUAL 5609 Ensenada Ave. Indianapolis, IN 46237 317-782-9948 E-mail: mastering@ applegateaudiovisual.com Web: www.applegateaudiovisual.com Basic Rate: 1-10 songs $200.00 LIGHTNING STRUCK STUDIOS 2384 E. Co Rd., 800 S Clayton, IN 46118 317-539-7476 E-mail: mperry@lightningstruck.com Web: http://www.lightningstruck.com/ Basic Rate: please call for info

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 Basic Rate: please see web for info INNER LIGHT RECORDS Iowa City, IA 319-936-1235 E-mail: innerlightrecords@gmail.com Web: www.innerlightrecords.net Contact: Ari Basic Rate: please call for info SKYLINE AUDIO PRODUCTIONS, LLC 6781 Hickman Rd. Urbandale, IA 50322 515-252-6209 E-mail: info@skylineaudio.com

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

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

KENTUCKY HEAD FIRST MEDIA 729 E. St. Catherine St. Louisville, KY 40217 502-637-1663 E-mail: info@headfirstmedia.com Web: www.headfirstmedia.com Basic Rate: please call for info

LOUISIANA MASTERDIGITAL CORP. 2614 W. 15th Ave. Covington, LA 70433 504-236-6368 Web: www.masterdigital.com Basic Rate: please call for info MUSIC SHED, THE 929 Euterpe St. New Orleans, LA 70130 504-412-9995 E-mail: info@musicshedstudios.com Web: www.musicshedstudios.com Basic Rate: please call for info

MAINE GATEWAY MASTERING STUDIOS 428 Cumberland Ave. Portland, ME 04101 207-828-9400 E-mail: staff@gatewaymastering.com Web: www.gatewaymastering.com Basic Rate: please call for info STUDIO, THE 45 Casco St., Ste. 200 Portland, ME 04101 207-772-1222 Fax 207-775-0448 E-mail: info@thestudioportland.com Web: www.thestudioportland.com Contact: Tim Tierney Basic Rate: call for info

MARYLAND AIRSHOW TAKOMA PARK STUDIO

7014-C Westmoreland Ave. Takoma Park, MD 20912 301-891-9035 Web: www.airshowmastering.com Basic Rate: see web for info BACKBEAT RECORDS 16810 Federal Hill Ct. Bowie, MD 20716 301-430-0997 E-mail: info@backbeatrecords.com Web: www.backbeatrecords.com Basic Rate: please call for info DISTROPHONIX LLC 517 Cathedral St Baltimore, MD 21201 443-763-3939 E-mail: info@distrophonix.com Web: www.distrophonix.com Contact: Bryan (Head Mastering Engineer) Basic Rate: $20 a song HIT AND RUN RECORDING 18704 Muncaster Rd. Rockville, MD 20855 301-948-6715 E-mail: info@hitandrunrecording.com Web: www.hitandrunrecording.com Contact: Steve Carr Basic Rate: please call for info JAM HUT RECORDS East Maryland 410-430-2707 E-mail: petebott69@jamhutrecords. com Web: www.jamhutrecords.com Contact: Pete Basic Rate: $25/hr. LION AND FOX RECORDING STUDIOS 9517 Baltimore Ave. College Park, MD 20740 301-982-4431 E-mail: mail@lionfox.com Web: www.lionfox.com/mastering.htm Basic Rate: please call for info OMEGA RECORDING STUDIOS 5609 Fishers Ln. Rockville, MD 20852 301-230-9100 E-mail: shannon@omegastudios.com Web: www.omegastudios.com Contact: Shannon Follin Basic Rate: 125/hr. (does not include tax or materials) PURE SOUND RECORDING STUDIO Odenton, MD 443-597-8584

E-mail: info@puresoundstudio.com Web: www.puresoundstudio.com Basic Rate: please call for info STUDIO 302 554 N. Frederick Ave. #218 Gaithersburg, MD 20877 Web: www.studio302.com Contact: Jeremy Rwakaara Basic Rate: see website for rates

MASSACHUSETTS BOSTON RECORDING STUDIO 131 W. Concord St., Ste. 1 Boston, MA 02118 857-207-2247 E-mail: record@ bostonrecordingstudio.com Web: www.bostonrecordingstudio.com Basic Rate: $80/hr. M WORKS MASTERING 1035 Cambridge St., Ste. 17B Cambridge, MA 02141 617-577-0089 E-mail: studio@m-works.com Web: www.m-works.com Basic Rate: reasonable rates! OAK GROVE RECORDING 65 Clinton St. Malden, MA 02148 781-321-3069 E-mail: joe@oakgroverecording.com Web: www.oakgroverecording.com Basic Rate: please call for info PEERLESS MASTERING 161 North St. Newtonville, MA 617-527-2200 E-mail: info@peerlessmastering.com Web: www.peerlessmastering.com Contact: Jeff Basic Rate: please call for info PILOT RECORDING STUDIOS 1073 Main St. Housatonic, MA 413-274-1073 E-mail: info@pilotrecording.com Web: www.pilotrecording.com Contact: Will Schillinger Basic Rate: please e-mail for info REAR WINDOW RECORDING SERVICE 25 Dwight St. Brookline, MA 02446 617-901-2441 Fax 617-730-5611 E-mail: milt4ps@aol.com Web: www.rearwindowstudio.com Basic Rate: please call for info SOUNDMIRROR, INC. 76 Green St.

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Annual Directory of U.S. Mastering Studios Boston, MA 02130-2271 617-522-1412 Fax 617-524-8377 Web: www.soundmirror.com Basic Rate: please call for info SPECIALIZED MASTERING 47 Mellen St. Framingham, MA 01702 508-872-9478 E-mail: dana@specialized mastering.com Web: www.specialized mastering.com Basic Rate: please call for info Additional location: 15438 S.W. 81st. Ave. Portland, OR 97224 503-866-8383

MICHIGAN BROADSIDE PRODUCTIONS 901 S. Westnedge Kalamazoo, MI 49008 269-226-0948 E-mail: studio@broadside productions.com Web: www.broadsideproductions.com Basic Rate: please call for info WATERFALL STUDIOS 11389 S. Forrest Sideroad Dafter, MI 49724 313-674-2740 Web: www.waterfallrecordings.com Basic Rate: please call for info

MINNESOTA ADVANCED RECORDING STUDIOS 710 E. 11 Mile Rd. Royal Oak, MN 48067 248-291-4029 E-mail: bill@ advancedrecordingstudios.com Web: www.advancedrecording studios.com CRAZY BEAST N.E. Minneapolis, MN E-mail: crazybeaststudio@gmail.com Web: www.crazybeast.com Contact: Ben Durrant Basic Rate: please call for info GERRY STINSON AUDIO 3720 Cooper Ave. S. St. Cloud, MN 56301 320-240-9292 E-mail: gsclockwork@aol.com Web: www.gerrystinsonaudio.com Basic Rate: please call for info RARE FORM MASTERING 712 Ontario Ave. W. Minneapolis, MN 55403

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612-327-8750 E-mail: info@rareformmastering.com Web: www.rareformmastering.com Contact: Greg Reierson Basic Rate: please contact for info

MISSISSIPPI MALACO MUSIC GROUP 3023 W. Northside Dr. Jackson, MS 39213 601-982-4522 E-mail: malaco@malaco.com Web: www.malaco.com Basic Rate: please call for info TAPROOT AUDIO DESIGN 355 C.R. 102 Oxford, MS 38655 662-236-2167 E-mail: info@taprootaudiodesign.com Web: www.taprootaudiodesign.com Basic Rate: please call for info

MISSOURI AFTERBURN RECORDING STUDIOS 11947 Avila Dr. Kansas City, MO 64145 816-522-7718 E-mail: info@afterburnrecording.com Web: www.afterburnrecording.com Basic Rate: please call for info CD MASTERING SERVICES PO Box 672 Nixa, MO 65714 417-880-2617 E-mail: info@cdmastering services.com Web: www.cdmasteringservices.com Contact: Bob Speer Basic Rate: please call for info FIELD FORCE MEDIA SERVICES 13621 Wyandotte St. Kansas City, MO 64145 913-599-1888, 888-599-1888 E-mail: contact@fieldforceusa.com Web: www.fieldforceusa.com Basic Rate: please call for info

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

edge.com Web: www.recordingedge.com Contact: Edd Gryder Basic Rate: please contact for info

NEBRASKA FOCUS MASTERING 14910 Grover St., Ste. 100 Omaha, NE 68144-5445 402-504-9624 E-mail: doug@focusmastering.com Web: www.focusmastering.com Contact: Doug Van Sloun Basic Rate: call or visit web for info STUDIO 24 8601 N. 30th St. Omaha, NE 68112 402-342-9090 E-mail: chuck@studio24omaha.com Web: www.studio24omaha.com Contact: Chuck Beckler Basic Rate: please call for info WAREHOUSE PRODUCTIONS 206 S. 44th St. Omaha, NE 68131 402-553-8523 E-mail: whp@qwestoffice.net Web: www.warehouseproductions.net

NEVADA HGRS AUDIO Las Vegas, NV 702-236-1485, 708-305-3975 E-mail: jeff@hgrsaudio.com, gregory@hgrsaudio.com Web: www.hgrsaudio.com Contact: Jeff or Greg Basic Rate: please call for info ODDS ON DISC 14 Sunset Way Henderson, NV 89014 702-318-6001 E-mail: danap@oddsonrecording.com Web: www.oddsonrecording.com Basic Rate: please call for info

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

NEW JERSEY BEANSTUDIO CD & DVD MASTERING Wayne, NJ E-mail: jim@beanstudio.com Web: www.beanstudio.com Contact: Jim DeSalvo Basic Rate: please email for info DISC MAKERS 7905 N. Route 130 Pennsauken, NJ 08110 800-468-9353 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info ED LITTMAN MASTERING 35 Harring Ct. North Haledon, NJ 07508 201-824-7860 Web: www.edlittmanmastering.com Contact: Ed Littman Basic Rate: Available on Website SILK CITY RECORDS P.O. Box 1541 Parsippany, NJ 07454 973-599-0237 E-mail: silkcitycd@aol.com Web: www.silkcitycd.com Contact: Andy Allu Basic Rate: call for info STORY BOOK SOUND Maplewood, NJ E-mail: info@storybooksound.com Web: www.storybooksound.com Contact: Scott Anthony, Rebecca Turner SUPREME SOUND STUDIO, INC. 86 Lackawanna Ave., Bldg. 2, Ste. 227 Woodland Park, NJ 07424-2642 973-890-1672 E-mail: info@supreme soundstudio.com Web: www.supremesoundstudio.com Contact: Brian Csencsits Basic Rate: please call for info

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

Download at www.musicconnection.com/industry-contacts E-mail: phil@thunderdigital.com Web: www.thunderdigital.com Basic Rate: please call for info

NEW YORK BANG ZOOM MASTERING P.O. Box 145 Orangeburg, NY 10962 845-398-0723 E-mail: vavastrat@aol.com Web: masteringzone.net Contact: Steve Vavagiakis Services: Analog & Digital Audio Mastering COTTON HILL STUDIOS, INC. 13 Walker Way Albany, NY 12205 518-869-1968 Web: www.cottonhill.com Contact: Margherita Petti Krug DALE PRO AUDIO 22 W. 19th St. New York, NY 10011 888-462-7828 Web: www.daleproaudio.com Basic Rate: call for info DISC MAKERS 150 W. 25th St., Ste. #402 New York, NY 10001 800-468-9353 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info ENGINE ROOM AUDIO 42 Broadway 22nd Fl. New York, NY 10004 212-625-3467 E-mail: mark@engineroomaudio.com Web: www.engineroomaudio.com Basic Rate: please call for info KEVORKIAN MASTERING c/o Avatar Studios 441 W. 53 St. New York, NY 10019 917-406-9147, 212-765-7500 E-mail: fkfk@aol.com Web: www.kevorkianmastering.com Contact: Fred Kevorkian LODGE, THE 740 Broadway, Ste. 605 New York, NY 10003 212-353-3895 Fax 212-353-2575 E-mail: info@thelodge.com Web: www.thelodge.com Basic Rate: please call for info MASTERDISK CORP. 260 W. 36 Street New York, NY 10018 E-mail: info@masterdisk.com

Web: www.masterdisk.com Basic Rate: please call for info MUSIC HOUSE MASTERING 23 Maureen Dr., New York, NY 11766 800-692-1210 E-mail: info@musichousemastering. com Web: www.musichousemastering.com Contact: Michael Dominici, owner Basic Rate: cal for rates OASIS DISC MANUFACTURING 7905 N. Rt 130 Delair, NJ 08110 888-296-2747 E-mail: info@oasiscd.com Web: www.oasiscd.com Basic Rate: please call for info RIGHT TOUCH MASTERING New York, NY 888-707-6070 ext. 1 Contact: Gordon Bahary E-mail: info@righttouchmastering. com Web: www.righttouchmastering.com Basic Rate: Call for Info SKYELAB MUSIC PRODUCTIONS 247 W 38th St. Ste. 601 New York, NY 10018 212-789-8942 E-mail: info@skyelab.com Web: www.skyelab.com Basic Rate: please call for info STERLING SOUND 88 Tenth Ave. 6th Fl. New York, NY 10011 212-604-9433 E-mail: inquiries@sterling-sound.com Web: www.sterling-sound.com Basic Rate: please see web THRESHOLD MUSIC 212-244-1871 E-mail: thresholdstudiosnyc@gmail. com Web: www.thresholdmusic.com Basic Rate: please call for info TRUTONE MASTERING LABS INC. 119 Rockland Ctr., Ste. 306 Nanuet, NY 10954 845-680-6490 E-mail: sales@trutonemastering.com Web: www.trutonemastering.com Basic Rate: please call for info VAULT MASTERING STUDIOS, THE 545 W. 45th St., Studio MD4 New York, NY 10036 212-965-0100 E-mail: info@vaultmastering.com

Web: www.vaultmastering.com Basic Rate: contact for a quote tailored to your project. XTREAM AUDIO 888-878-3292 E-mail: sales@xtreamaudio.com Web: www.xtreamaudio.com Contact: Anthony Casuccio Basic Rate: call for customized quote

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

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

OHIO ACOUSTIK MUSIC, LTD. 511 West College St.

Oberlin, OH 44074-1446 440-775-3681 E-mail: tbethe@oberlin.net Web: www.acoustikmusik.com Contact: Jimmy Pearson Basic Rate: please call for info COMMERCIAL RECORDING STUDIOS INC. 6001 W. Creek Rd. Independence, OH 44131 216-642-1000 E-mail: info@commercial recording.com Web: www.commercialrecording.com Basic Rate: please call for info

OKLAHOMA HEARTLAND MASTERING STUDIO 3912 Hatterly Ln. Norman, OK 73072 405-919-7000, 405-360-8136 E-mail: hank@heartland mastering.com Web: www.heartlandmastering.com Basic Rate: please call for info STUDIO SEVEN/LUNACY RECORDS 417 N. Virginia Oklahoma City, OK 73106 405-236-0643 E-mail: cope@okla.net Web: www.lunacyrecords.com Basic Rate: please call for info

OREGON CRAZY DAISY PRODUCTIONS 8540 SW Monticello St. Beaverton, OR 97008 541-517-1458 E-mail: info@crazymastering.com Web: www.crazymastering.com DEAD AUNT THELMA’S STUDIO 7923 S. E. 13th Ave. Portland, OR 97202 503-235-9693 E-mail: mikem@thelmas.com Web: www.thelmas.com Basic Rate: please call for info FOSTER MASTERING 4711 S.E. 26th Ave. Portland, OR 97202 503-222-9444 E-mail: ryanfoster@freq mastering.com Web: www.fostermastering.com Basic Rate: please call for info FUTURE DISC LLC. 15851 N.W. Willis Rd. McMinnville, OR 97128 213-361-0603 Fax 503-472-1951 E-mail: steve@futurediscsystems.com

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Annual Directory of U.S. Mastering Studios Web: www.futurediscsystems.com Contact: Steve Hall or Laura Hall Basic Rate: please call for rates or more info

E-mail: mail@spearheadaudio.com Web: www.spearheadaudio.com Contact: Barak Shpiez Basic Rate: per project basis

MICHAEL COOPER RECORDING Black Butte Ranch, OR 541-549-1619 E-mail: coopermb@ bendbroadband.com Web: http://www.myspace.com/ michaelcooperrecording Contact: Michael Cooper Basic Rate: $70/hr. or $90/song

TREELADY STUDIOS 628 Brown Ave. Turtle Creek, PA 15145 412-816-0300 E-mail: info@treelady.com Web: www.treelady.com Basic Rate: please see web

SEPTEMBER AUDIO NW Irving & 14th Ave. Portland, OR 97209 260-456-5717 E-mail: craig@septaudio.com Web: www.septaudio.com Basic Rate: please call for info

PENNSYLVANIA CREATIVE SOUND STUDIOS, LLC 5759 Kernsville Rd. Orefield, PA 18069 610-398-9590 E-mail: sfxpost@ creativesoundstudios.com Web: www.creativesoundstudios.com Basic Rate: please call for info JEREE RECORDING 1469 3rd Ave. New Brighton, PA 15066 724-847-0111 Web: www.jereerecording.com Basic Rate: please call for info MASTERING HOUSE INC., THE 1002 Ridge Rd. Pottstown, PA 19465 888-876-HOUS, 610-469-1050 Web: www.masteringhouse.com Basic Rate: please call for info SHIMAMOTO SOUND Philadelphia, PA Web: www.shimamotosound.com Basic Rate: see web for info SI STUDIOS 945 S. Main St. Old Forge, PA 18518 570-457-0147 E-mail: tom@sistudios.com Web: www.sistudios.com Basic Rate: please call for info SPEARHEAD AUDIO Pittsburgh, PA 15228

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RHODE ISLAND STATIC PRODUCTIONS N. Kingstown, RI 02852 401-267-8236 E-mail: record@staticproductions.com Web: www.staticproductions.com Basic Rate: please call or see web

SOUTH CAROLINA SIT N SPIN STUDIOS 730 S. Pleasantburg Dr., Ste. 107 Greenville, SC 29607 864-414-4855 E-mail: info@sitnspinstudios.com Web: www.sitnspinstudios.com Contact: Matt Morgan STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. W. Columbia, SC 29169 803-794-9300 E-mail: info@strawberryskys.com Web: www.strawberryskys.com Basic Rate: call for rates

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

TENNESSEE DAVE TOUGH PRODUCTIONS Nashville, TN 615-554-6693 E-mail: dave@davetough.com Web: www.davetough.com Contact: Dave

Basic Rate: $65/hr - specializing in internet mastering DIAMONDISC AUDIO 204 Still Water Cir. Nashville, TN 37221 615-662-6870 E-mail: info@diamondiscaudio.com Web: www.diamondiscaudio.com Contact: Doug Diamond Basic Rate: Mastering Package ‘D’ $30/song DISC MAKERS 1200 Division St., Ste. #102 Nashville, TN 37203 800-468-9353 Fax 856-661-3450 E-mail: info@discmakers.com Web: www.discmakers.com Basic Rate: please call for info EUPHONIC MASTERS Arlington, TN 901-266-6075 E-mail: info@euphonicmasters.com Web: www.euphonicmasters.com Basic Rate: please call for info FOXWOOD MASTERING 108 Foxwood Ln. Franklin, TN 37069 615-297-3929 Web: www.foxwoodmastering.com Basic Rate: please call for info GEORGETOWN MASTERS AUDIO, LLC 33 Music Sq. W., Ste. 108b Nashville, TN 37203 USA 615-254-3233 Fax 615-254-3237 E-mail: info@georgetown masters.com Web: www.georgetownmasters.com Contact: Shelley Anderson Basic Rate: please call or see web HILLTOP RECORDING STUDIOS 902 Due West Ave. Nashville, TN 37115 615-865-5272 Web: www.hilltopstudio.com Contact: John Nicholson INDEPENDENT MASTERING 1312 16th Ave. S. Nashville,TN 37212 615-425-0739 E-mail: eric@independent mastering.com Web: www.independentmastering.com JAMSYNC P.O. Box 120969 Nashville, TN 37212

615-320-5050 Fax 615-340-9559 Web: www.jamsync.com Basic Rate: please call for info MASTERFONICS 28 Music Sq. W. Nashville, TN 37203 615-515-8705 E-mail: tommy@masterfonics.com Web: www.masterfonics.com Contact: Tommy Dorsey Basic Rate: please call for info MASTERING STUDIO, THE P.O. Box 775 Nolensville, TN 37135 615-828-1877 Web: www.themastering studio.com Contact: Luke Basic Rate: please see web MASTERMIX 1921 Division St. Nashville, TN 37203 615-321-5970 Fax 615-321-0764 E-mail: slee@mastermix.com Web: www.mastermix.com Contact: Ken or Hank Basic Rate: please call for info MAYFIELD MASTERING 2825 Erica Pl. Nashville, TN 37204 615-383-3708 E-mail: info@mayfield mastering.com Web: www.mayfieldmastering.com Basic Rate: please call for info NASHVILLE RECORDING STUDIO 19 821 19th Ave. S. Nashville, TN 37202 615-327-4927 E-mail: rtl7@aol.com Web: www.studio19nashville.com Basic Rate: please call for info PARLOR STUDIO, THE 1317 16th Ave. S. Nashville, TN 37212 615-385-4466 E-mail: larry@parlor productions.com Web: www.parlorproductions.com Contact: Larry Sheridan THE PLACE...FOR MASTERING 2508 Winford Ave., 2nd fl. Nashville, TN 37211 615-686-1725 E-mail: alex@theplacefor mastering.com

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The Indie Artist

“Music Connection provides a rolodex of information to help your career go to the next level. New artists reviewed in the magazine can see how they rank against others, as well as see the breakdown of your personal scores and what you need to work on. There are many reasons why Music Connection is the best. Just Read It!� – Darrion “Skitso� Scoggins

The Rock Legend

“Music Connection has been the go-to place to find musicians, sell or buy instruments, locate affordable rehearsal and recording studios for me since 1980. An indispensable source of trade for all things music.� – Slash

The Jazz Star

“Music Connection has been my go-to resource for industry news from the time I moved to Los Angeles until now. It’s helped me build my career in many ways, from the endless resources to the very cool features and reviews. Thanks for an inspiring and always informative magazine!� – -INDI !BAIR s 3AXOPHONIST 6OCALIST Los Angeles Chapter President of NARAS

The Mixer/Producer

“I’ve been advertising my business there for 30 years. That speaks for itself how I feel about Music Connection.� – Skip Saylor, Skip Saylor Recording (Snoop Dogg, Booker T. Jones, Glasses Malone with Kendrick Lamar, Bootstraps)

The Educator

“Music Connection magazine is my barometer for staying on top of industry trends. My students receive invaluable feedback through the New Music Critiques and Reviews. Also, the national Directories are a great resource. The latest issue of Music Connection magazine has a permanent home in my teaching studio!� n #HRIS 3AMPSON 6ICE $EAN FOR #ONTEMPORARY -USIC

USC Thornton School of Music

The Grammy Giver

“From the time I arrived in L.A., and as a young music industry executive, Music Connection was always a source of valuable information and news. Thirty-five years later, it’s still on my regular reading list.� n .EIL 0ORTNOW s 4HE 2ECORDING !CADEMY 0RESIDENT #%/

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Annual Directory of U.S. Mastering Studios Web: www.theplaceformastering.com Contact: Alex Rockafellar, Studio Mgr. Basic Rate: E-mail your project info to Alex for a free quote. Clients: Eric Clapton, John Mayer, Edwin McCain, Jeff Buckley, James Brown. Indie artists worldwide are welcome. *Note: Joe Palmaccio has 20+ years major label experience with Polygram, Sterling Sound, and Sony NYC. 3x Grammy winner. WOLF MASTERING 1024 16th Ave. S. Nashville, TN 37212 615-251-9653 E-mail: erik@wolfmastering.com Web: www.wolfmastering.com Contact: Erik Wolf Basic Rate: $85/hr. plus masters

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

ARCUBE MULTIMEDIA INC. 959 E. Collins Blvd., Ste. 123 Richardson, TX 75081 877-677-9582, 972-267-1800 E-mail: sales@arcube.com Web: www.arcube.com Basic Rate: please call for info Additional locations: Austin 877-677-9582 Houston 832-573-9444 AUDIO ARTS 817-946-7539 E-mail: audioarts@me.com Basic Rate: please call for rates CROWN RECORDS 402 Peoples St., Ste. 3C Corpus Christi, TX 78401 361-882-8881 Web: www.crownrecords.com Basic Rate: please contact for info DES MASTERING 1409 S. Lamar St., Ste. 100 Dallas, TX 75215 214-428-8777 E-mail: george@desmastering.com

Web: www.desmastering.com Basic Rate: please call for info EAGLE AUDIO RECORDING 911 South Main St. Fort Worth, TX 76104 817- 877- 4338 Fax 817-259-1674 E-mail: info@eagleaudior ecording.com Web: www.eagleaudio recording.com Basic Rate: please call for info FORT WORTH SOUND 306 S. Main St. Ft. Worth, TX 76104 817-922-5444 E-mail: bart@fortworthsound.com Web: www.fortworthsound.com Contact: Bart Rose Basic Rate: please call for info JO MUSIK Dallas, TX 972-226-1265 Web: www.jo-musik.com Basic Rate: please call for info MASTERPIECE MASTERING P.O. Box 2909 South Padre Island, TX 78597-2909 956-233-5326Austin: 512-289-3428 E-mail: billy@legendaryaudio.com Web: www.masterpiecemastering. com, www.legendaryaudio.com Contact: Billy Stull Basic Rate: $100/hr. M MEDIA AUDIO P. O. Box 201475 Austin, TX 78720 512-341-2500 E-mail: info@mmediaaudio.com Web: www.mmediaaudio.com Basic Rate: please call for info NEXUS RECORDING STUDIOS San Antonio, TX 210-639-5266 E-mail: jason@ nexusrecordingstudios.com Web: www.nexusrecording studios.com Contact: Jason Hatch Basic Rate: please call for info OTR MASTERING 650-595-8475 E-mail: info@otrstudios.com Web: http://otrstudios.com/mastering Basic Rate: Please call for info SUGARHILL STUDIOS 5626 Brock St.

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Houston, TX 77023 713-926-4431 E-mail: Chris.longwood@gmail.com Web: www.sugarhillstudios.com Contact: Chris Longwood Basic Rate: please call for info TERRA NOVA DIGITAL AUDIO, INC. 5446 Hwy 290 W., Ste. 270 Austin, TX 78735 512-891-8010 Fax 512-891-8014 E-mail: info@terranova mastering.com Web: www.terranovamastering.com Contact: Diane Tubb, VP Basic Rate: please call for info TOP HAT RECORDING Austin, TX 512-779-8188 E-mail: mary@tophart recording.com Web: www.tophatrecording.com Basic Rate: please call for info VAULT RECORDING STUDIOS, THE 9135 Katy Fwy., Ste. 1 Houston, TX 77024 713-722-8900 E-mail: info@vaultrecording.com Web: www.vaultrecording.com Contact: David Williams Basic Rate: please call for info WEXTRAX MASTERING LABS McKinney, TX 214-544-1554, 214-585-1692 E-mail: rob@wextrax.com Web: www.wextrax.com Contact: Rob Wechsler Basic Rate: please call for info WIRE ROAD STUDIOS 901 W. 20th St. Houston, TX 77008 713-636-9772 E-mail: inquiries@wireroad studios.com Web: http://wireroadstudios.com Contact: Bill Wade Basic Rate: By request per project

UTAH DAVID EVANOFF SOUND DESIGNS 2335 S. W. Temple Salt Lake City, UT 801-815-3202 E-mail: dave@counterpoint studios.com Web: www.davidevanoff.com Basic Rate: please call for info

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Annual Directory of U.S. Mastering Studios

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Download at www.musicconnection.com/industry-contacts VEGAS DISC MASTERING 128 W 400 N Cedar City, UT 84721 800-246-5667, 702-735-4283 E-mail: info@vegasdisc.com Web: www.vegasdisc.com Contact: Tom Parham Basic Rate: call for info VICK ENTERTAINMENT 10 W. Broadway, Ste. 701 Salt Lake City, UT 84101 801-755-9966 Fax 866-285-5008 E-mail: info@vickentertainment.com Web: www.vickentertainment.com Basic Rate: please call for info

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

VIRGINIA CUE RECORDING STUDIOS 109 Park Ave., Ste. E Falls Church, VA 22046 703-532-9033 E-mail: info@cuerecording.com Web: www.cuerecording.com, www.myspace.com/cuerecordingstudio Basic Rate: please call for info WASHBURN MASTERING 325 E. Bay View Blvd., Ste. 205 Norfolk, VA 23503 757-480-5008 Web: www.washburnmastering.com Basic Rate: please call for info

WASHINGTON BIG CITY RECORDS Seattle, WA 206-774-8884 E-mail: webmaster@bigcityrecord.com Web: www.bigcityrecord.com Basic Rate: please call for info COUGAR MOUNTAIN STUDIOS Issaquah, WA 425-391-0570 E-mail: cms@cougarmountainstudios.com Web: www.cougarmountainstudios.com Basic Rate: call for rates

304-599-7332 E-mail: zone8recording@yahoo.com Web: zone8recording.com Contact: Mark Poole Basic Rate: please call for info

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

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

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

PERFECHTER PRODUCTIONS 509-242-8907 E-mail: info@perfechterproductions.com Web: www.perfechterproductions.com Basic Rate: please e-mail for info SEATTLE DISC MASTERING Shoreline, WA 206-368-9220 Web: www.seattlediscmastering.com SYNERGY PRODUCTIONS 958 N 127th St., Ste. B Seattle, WA 98133 206-364-1070 E-mail: jason@synergynw.com Web: www.synergynw.com

WEST VIRGINIA HILLTOP RECORDING R.R. 1 Box 334-A LeSage, WV 25537 304-840-2675 Web: www.hilltoprecording.com Contact: Dave Winters Basic Rate: please call for info ZONE 8 RECORDING 527 Main St. Granville, WV 26534

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Annual Directory of COLLEGE/INDIE RADIO If you’re looking to get your music played by college and indie radio stations, this one-of-a-kind MC directory is the ideal resource. And for expert advice about executing a successful radio campaign, check out our Tip Jar on p. 78. ALABAMA WVUA 90.7 FM University of Alabama Box 87 Tuscaloosa, AL 35487-0370 904-504-3306 E-mail: music@wvuafm.ua.edu Web: www.wvuafm.ua.edu Format: alt-rock

ARIZONA KAMP 1570 AM University of Arizona Attn: KAMP Music Director 615 N. Park Ave., #101 Tucson, AZ 85721 520-626-4460 E-mail: headmusic@kamp.arizona. edu Web: http://kamp.arizona.edu Format: free form KXCI 91.3 FM 220 S. 4th Ave. Tucson, AZ 85701 520-623-1000, ext 16 Web: www.kxci.org Contact: Duncan Hudson Format: eclectic

CALIFORNIA KALX 90.7 FM University of California 26 Barrows Hall, Ste. 5650 Berkeley, CA 94720-5650 510-642-1111 E-mail: music@kalx.berkeley.edu Web: http://kalx.berkeley.edu Format: eclectic KCRH 89.9 FM Chabot College 25555 Hesperian Blvd. Hayward, CA 94545 510-723-6954 E-mail: programdirectory@ KCRHradio.com Web: www.kcrhradio.com KCPR 91.3 FM Cal Poly State University 1 Grand Ave. San Luis Obispo, CA 93407 805-756-5277 E-mail: music.kcpr@gmail.com Web: www.kcpr.org Format: eclectic KCRW 89.9 FM Santa Monica College 1900 Pico Blvd. Santa Monica, CA 90405 310-450-5183 Web: www.kcrw.com Contact: Jason Bentley Format: eclectic Note: Submissions are all done through the website http://malcolm. kcrw.com KCSC Internet Radio California State University, Chico 530-898-6229 E-mail: gm@kcscradio.com Web: www.kcscradio.com Format: eclectic

KCSB 91.9 FM University of California P.O. Box 13401 Santa Barbara, CA 93107-3401 805-893-3757 E-mail: general.manager@kcsb.org Web: www.kcsb.org Format: eclectic KCSN 88.5 FM California State University, Northridge 18111 Nordhoff St. Northridge, CA 91330-8312 818-677-3090 E-mail: Mark@kcsn.org Web: www.kcsn.org Contact: Mark Shovel Format: Smart rock Note: Weekend show “Connections” with Nic Harcourt hosts an eclectic mix of progressive and innovative pop, connecting the musical dots between Jack White and Led Zeppelin, Serge Gainsbourg and Beck, Kraftwerk and Air and plenty in between. Nic showcases new and independent talent from across the musical spectrum and features live sessions and interviews with both established and emerging artists. (nic@kcsn.org) KDVS 90.3 FM University of California 14 Lower Freeborn Hall Davis, CA 95616 530-235-6014 E-mail: musicdept@kdvs.org Contact: Miriam De Haven, Kris Nguyen Web: www.kdvs.org Format: eclectic/freeform

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KSCU 103.3 FM Santa Clara University 500 El Camino Real, Ste. 3207 Santa Clara, CA 95053 408-554-4907 E-mail: music@kscu.org Web: www.kscu.org Format: eclectic KSBR 88.5 FM Saddleback Community College 28000 Marguerite Pkwy. Mission Viejo, CA 92692 949-582-5727 Fax 949-347-9693 E-mail: twedel@saddleback.cc.ca.us Web: www.ksbr.net Format: Jazz, Chill, Electronica

COLORADO

KGNU 88.5 FM & 1390 AM 4700 Walnut St. Boulder, CO 80301 303-449-4885 Web: www.kgnu.org Format: eclectic

KXLU 88.9 FM Loyola Marymount University One LMU Dr., Malone 402 Los Angeles, CA 90045 310-338-5958, 310-338-2866 E-mail: annakxlu@gmail.com Contact: Anna Soffer Web: www.kxlu.com Format: eclectic KXSC 1560 USC 3607 Trousdale Parkway 213-740-1486 E-mail: info@kxsc.org Web: www.kxsc.org Format: independent eclectic KZSC 88.1 FM University of California, Santa Cruz 1156 High St. Santa Cruz, CA 95064 831-459-4036 E-mail: program@kzsc.org

B Y

UCLAradio.com University of California, Los Angeles 118 Kerckhoff Hall 308 Westwood Plaza Los Angeles, CA 90024 310-825-9105, business line: 310825-6955 E-mail: radio.music@uclaradio.com Web: www.uclaradio.com Format: college/eclectic

KSPC 88.7 FM Pomona College Thatcher Music Building 340 N. College Ave. Claremont, CA 91711 909-621-8157 Web: www.kspc.org Format: eclectic/underground music

KJAZZ 88.1 FM California State University, Long Beach 1288 N. Bellflower Blvd. Long Beach, CA 90815 562-985-2999 Contact: Bubba Jackson, Program Dir. E-mail: breakfastwith bubba@kkjz.org Web: www.jazzandblues.org Format: jazz & blues

KOHL 89.3 FM Ohlone Community College

KZSU 90.1 FM Stanford University P.O. Box 20510 Stanford, CA 94309 650-725-4868 E-mail: music@kzsu.stanford.edu Web: http://kzsu.stanford.edu Format: eclectic

KCSU 90.5 FM Colorado State University 706 S. College Ave., Ste. 207 Fort Collins, CO 80524 970-491-1695 E-mail: music@kcsufm.com Web: www.kcsufm.com Format: eclectic

KUCI 88.9 FM University of California, Irvine P.O. Box 4362 Irvine, CA 92616 949-824-4582 E-mail: musicdir@kuci.org Web: www.kuci.org Format: eclectic

KLBC.ORG Long Beach City College 4901 E. Carson St. Long Beach, CA 90808 562-938-4800 E-mail: patgraham@klbc.org Web: www.klbc.org Format: eclectic

Web: www.kzsc.org Format: eclectic

KSJS 90.5 FM San Jose State University Hugh Gillis Hall, Rm. 132 San Jose, CA 95192-0094 408-924-5757 E-mail: ksjs@ksjs.org Web: www.ksjs.org Format: eclectic

KFJC 89.7 FM Foothill College 12345 El Monte Rd. Los Altos Hills, CA 94022 650-949-7260 Fax 650-948-1085 E-mail: gm@kfjc.org Web: www.kfjc.org Format: eclectic

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43600 Mission Blvd. Fremont, CA 94539 510-659-6221 Fax 510-659-6001 E-mail: pd@kohlradio.com Web: www.kohlradio.com

D E N I S E

C O S O

KRCC 91.5 FM Colorado College 912 N. Weber St. Colorado Springs, CO 80903 E-mail: vicky@krcc.org Web: www.krcc.org Format: eclectic KVCU 1190 AM University of Colorado Campus Box 207 Boulder, CO 80309 303-492-7405 E-mail: dj@radio1190.org Web: www.radio1190.org Format: eclectic

CONNECTICUT WESU 88.1 FM Wesleyan University 45 Wyllys Ave. Middletown, CT 06459 860-685-7703 E-mail: program@wesufm.org Web: www.wesufm.org Format: free form WHUS 91.7 FM University of Connecticut Student Union Building, Rm. 412 2110 Hillside Rd., Unit 3008R Storrs, CT 06269-3008 860-486-4007 E-mail: info@whus.org Web: www.whus.org Format: eclectic

Download at www.musicconnection.com/industry-contacts WNHU-88.7 FM University of New Haven 300 Boston Post Rd. West Haven, CT 06516 203-479-8805 E-mail: Blane@nehaven.ed Web: www.wnhu.net Format: eclectic WRTC 89.3 FM Trinity College 300 Summit St. Hartford, CT 06106 860-297-2439 Web: www.wrtcfm.com Format: eclectic WWUH 91.3 FM University of Hartford 200 Bloomfield Ave. West Hartford, CT 06117 860-768-4703 E-mail: wwuh@hartford.edu Web: http://wwuh.org Format: world, women’s, folk, polka, jazz, alt, classical, bluegrass, news, film, opera

FLORIDA WVFS 89.7 FM Florida State University 420 Diffenbaugh Building Tallahassee, FL 32306-1550 850-644-1879 E-mail: music@wvfs.fsu.edu Web: www.wvfs.fsu.edu Format: eclectic WVUM 90.5 FM University of Miami P.O. Box 2481919 Coral Gables, FL 33124 786-309-8861 E-mail: pd@wvum.org Web: www.wvum.org Format: indie

GEORGIA WRAS 88.5 FM Georgia State University P.O. Box 3972 Atlanta, GA 30302-4048 404-413-9797 E-mail: wrasmd@gmail.com Web: www.wras.org Format: eclectic WREK 91.1 FM Georgia Tech Student Radio 350 Ferst Dr. N.W., Ste. 2224 Atlanta, GA 30332-0630 404-894-2468 E-mail: music.director@wrek.org Web: www.wrek.org Contact: Music Director Format: eclectic WUOG 90.5 FM The University of Georgia Box 2065 Tate Student Center Athens, GA 30602-3401 706-542-8466 Fax 706-542-0070 E-mail: md@wuog.org Web: www.wuog.org Format: eclectic

HAWAII KTUH 90.3 FM University of Hawai’i 2445 Campus Rd. Hemenway Hall, Ste. 203 Honolulu, HI 96822 808-956-5288 E-mail: music@ktuh.org Web: http://ktuh.org Format: all genres

IDAHO KUOI 89.3 FM University of Idaho Student Union Building, 3rd Fl. Campus Box 444272 Moscow, ID 83844-4272 208-885-6433 E-mail: eric@kuoi.org Web: http://kuoi.com/index.html Contact: Peter Ritter, Music Dir. Format: eclectic

ILLINOIS RADIO DEPAUL DePaul University 2250 N. Sheffield Ave., Ste. 317 Chicago, IL 60614 773-325-7308 E-mail: radiodepaulmanagment@ gmail.com Web: www.radio.depaul.edu Format: eclectic WESN 88.1 FM Wesleyan University 1207 N. Main St. Bloomington, IL 61701 309-556-2634 E-mail: wesn@iwu.edu Web: www.wesn.org Format: free-form WCRX 88.1 FM Columbia College Chicago 33 E. Congress Pkwy. Chicago, IL 60605 312-663-3512 E-mail: WCRXDJ@colum.edu Web: colum.edu/academics/ radio/wcrx Format: eclectic WHPK 88.5 FM Reynolds Club 5706 S. University Ave. Chicago, IL 60637 773-702-8424 E-mail: contact@whpk.org Web: www.whpk.org Format: eclectic WZND 106.1 FM University of Illinois 007 Fell Hall Normal, IL 61790-4481 309-438-5491 E-mail: md@wznd.com Web: www.wznd.com Format: R&B and alt. rock

INDIANA WFHB 91.3 & 98.1 FM 108 W. Fourth St. Bloomington, IN 47404 812-202-6397 E-mail: wfhb@wfhb.org Web: www.wfhb.org Format: eclectic WGRE 91.5 FM DePauw University 313 S. Locust St. Greencastle, IN 46135 765-658-4643 E-mail: christinewebster_2014@ depauw.edu Web: www.wgre.org Format: eclectic WSND 88.9 FM Notre Dame 315 LaFortune Student Center Notre Dame, IN 46556 574-631-7342, 574-631-4069 E-mail: wsnd@nd.edu

Web: www.nd.edu/~wsnd Contact: Michael Byrnes, Station Mgr. Format: eclectic

IOWA KRUI-89.7 FM University of Iowa 379 Iowa Memorial Union Iowa City, IA 52242 319-335-8970 E-mail: krui.dj@gmail.com Web: www.krui.fm Contact: Music Director Format: various rock/electronic/hiphop, CMJ reporting

KANSAS KJHK-90.7 FM University of Kansas 1301 Jayhawk Blvd. Lawrence, KS 66045 785-864-4747 E-mail: music@kjhk.org Web: www.kjhk.org Format: eclectic KSDB 91.9 FM Kansas State University 105 Kedzie Hall Manhattan, KS 66506-4701 785-532-0919 E-mail: jswoyer@k-state.edu Web: www.wildcat919.com Format: alternative/hip-hop

MARYLAND WGTS 91.9 FM Columbia Union College 7600 Flower Ave. Takoma Park, MD 20912 301-891-4200 800-700-1094 E-mail: wgts@wgts919.com Web: www.wgts919.com Format: Christian WMBC 560 AM University of Maryland University Center 101 1000 Hilltop Cir. Baltimore, MD 21250 410-455-2656 E-mail: wmbcradio+rotimi@ gmail.com Web: http://wmbc.umbc.edu Format: free form

MASSACHUSETTS BIRN - Internet Radio MS-150, Berklee College of Music 1140 Boylston St. Boston, MA 02215 617-747-8538 E-mail: info@thebirn.com Web: www.thebirn.com Format: eclectic WCFM 91.9 FM Williams College Baxter Hall Williamstown, MA 01267 413-597-2197 Web: http://wcfm.williams.edu Format: eclectic WERS 88.9 FM Emerson College 120 Boylston St., 4th Fl. Boston, MA 02116 617-824-8084 E-mail: info@wers.org Web: www.wers.org Format: eclectic WHRB 95.3 FM Harvard College

389 Harvard St. Cambridge, MA 02138-3900 617-495-4818 E-mail: mail@whrb.org Web: www.whrb.org Format: eclectic WMBR 88.1 FM Mass. Institute of Technology 3 Ames St. Cambridge, MA 02142 617-253-4000 E-mail: music@wmbr.org Web: www.wmbr.org Format: eclectic WMFO 91.5 FM Tufts University PO Box 53065 Medford, MA 02155 617-627-3800 Web: www.wmfo.org Format: eclectic WMUA 91 FM University of Massachusetts 105 Campus Center Amherst, MA 01003 413-545-2876 E-mail: music@wmua.org Web: www.wmua.org Format: eclectic, college, public, noncommercial, etc. WTBU 640 AM/89.3 FM Boston University 640 Commonwealth Ave. Boston, MA 02215 617-353-6400 E-mail: info@wtburadio.com Web: https://www.facebook.com/ wtburadio Format: eclectic

MICHIGAN WCBN 88.3 FM University of Michigan 515 Thompson St. Student Activities Bldg. Ann Arbor, MI 48109-1316 734-763-3500 E-mail: music@wcbn.org Web: www.wcbn.org Format: free form WDBM 89 FM Michigan State University G-4 Holden Hall 234 Wilson Rd. East Lansing, MI 48825 517-884-8989 E-mail: manager@ impact89fm.org Web: www.impact89fm.org Format: alt-rock WDET 101.9 FM Wayne State University 4600 Cass Ave. Detroit, MI 48201 313-577-4146 Fax 313-577-1300 E-mail: wdetfm@wdetfm.org Web: www.wdetfm.org Format: eclectic WKAR 90.5 FM Michigan State University Communication Arts & Sciences Bldg. 404 Wilson Rd., Rm. 212 East Lansing, MI 48824 517-884-6990 E-mail: CAROLopedia@wkar.org Web: www.wkar.org Format: new age, world, folk, classical October 2014

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Annual Directory of College/Indie Radio MISSOURI KCOU 88.1 FM 2500 MU Student Center Columbia, MO 65201 573-882-7820 E-mail: md@kcou.fm Web: http://kcou.fm Format: alt. rock KMNR 89.7 FM University of Missouri 218 Havener Center Rolla, MO 65409 573-341-4272 E-mail: stationmanager@ kmnr.org Web: www.kmnr.org Format: free form KWUR 90.3 FM Washington University Campus Box 1205 One Brookings Dr. St. Louis, MO 63105 314-935-5952 E-mail: music1@kwur.com Web: www.kwur.com Format: eclectic

NEW JERSEY WBZC 88.9 FM Burlington County College 601 Pemberton Brown Mills Rd. Pemberton, NJ 08068 609-894-9311 ext. 1784 Contact: Jason Varga, Program Director E-mail: jvarga@bcc.edu Web: www.z889.org Format: indie rock WFMU 91.1 FM P.O. Box 2011 Jersey City, NJ 07303-2011 201-200-9368 Contact: Brian Turner, Station Director Web: www.wfmu.org Format: eclectic WPRB 103.3 FM 30 Bloomberg Hall Princeton University Princeton, NJ 08544 609-258-3655 Fax 609-258-1806 E-mail: music@wprb.com Web: www.wprb.com Format: rock, folk, jazz, blues, classical

Web: www.kunm.org Format: eclectic

NEW YORK WBAR 87.9 FM Barnard College 3009 Broadway New York, NY 10027-6598 212-854-4773 E-mail: wbar@barnard.edu Web: www.wbar.org Contact: various depending on genre Format: free-form, non-commercial WCOT 89.1 FM SUNY Institute of Technology, Utica/Rome 100 Seymour Rd. Utica, NY 13502 315-792-7500 WDWN 89.1 FM Cayuga Community College 197 Franklin St. Auburn, NY 13021 315-255-1743 ext. 2282 E-mail: keeler@cayuga-cc.edu Web: www.wdwn.fm Format: college alternative WFUV 90.7 FM Fordham University Bronx, NY 10458-9993 718-817-4550 Web: www.wfuv.org Format: eclectic WICB 91.7 FM Ithaca College 92 WICB 118 Park Hall Ithaca, NY 14850 607-274-3217 E-mail: music@wicb.org Web: www.wicb.org Format: eclectic WNYU 89.1 FM 5-11 University Pl. New York, NY 10003 212-998-1660 E-mail: music@wnyu.org Web: http://wnyu.nyu.edu Contact: Marla Sherman Format: eclectic

WRSU 88.7 FM Rutgers University 126 College Ave. New Brunswick, NJ 08901 732-932-7802 ext. 923 E-mail: music@wrsu.rutgers.edu Web: www.wrsu.org Format: eclectic

WRHU-88.7 FM Hofstra University 111 Hofstra University 127 Dempster Hall Hempstead, NY 11549 516-463-3674 E-mail: wrhumusic@wrhu.org Web: www.wrhu.org Contact: Samantha Sedlack Format: eclectic

WTSR 91.3 FM The College of New Jersey P.O. Box 7718 Ewing, NJ 08628 609-771-2420 E-mail: music@wtsr.org Web: www.wtsr.org Format: college, metal, folk, blues

WRPI 91.5 FM Rensselaer Polytechnic Institute 1 WRPI Plaza Troy, NY 12180-3590 518-276-2648 Web: www.wrpi.org Format: eclectic

NEW MEXICO KUNM 89.9 FM University of New Mexico MSCO6 3520, Onate Hall 1 University of New Mexico Albuquerque, NM 87131-0001 505-277-8369, 877-277-4806 E-mail: mfinch@kunm.org

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WRUR 88.5 FM University of Rochester P.O.Box 30021 Rochester, NY 14614 585-275-9787 E-mail: gm@wrur.org Web: www.wrur.org Format: AAA, eclectic

WVKR 91.3 FM Vassar College Box 726 124 Raymond Ave. Poughkeepsie, NY 12604-0726 845-437-5476 Contact: Thea Ballard, Jay Lancaster E-mail: wvkrmd@vassar.edu Web: www.wvkr.org Format: eclectic

NORTH CAROLINA WKNC-88.1 FM N. Carolina State University Witherspoon Student Center Campus Box 8607, Ste. 343 Raleigh, NC 27695-8607 919-515-2401 Web: http://wknc.org Format: eclectic WRVS 89.9FM Elizabeth State University 1704 Weeksville Rd. Elizabeth City, NC 27909 252-335-3517 ext 6 Contact: Clayton Mercer, Production Dir. E-mail: cmercer@ecsu.edu Web: www.ecsu.edu/wrvs Format: jazz, R&B, gospel WXDU 88.7 FM Duke University POB 90689 Durham, NC 27708 919-684-2957 E-mail: music@wxdu.org Web: www.wxdu.duke.edu Format: eclectic WXYC 89.3 FM University of N. Carolina CB 5210 Carolina Union Chapel Hill, NC 27599 919-962-8989 E-mail: info@wxyc.org Web: www.wxyc.org Contact: Jonathan Woollen Format: eclectic

OHIO WBWC 88.3 FM 275 Eastland Rd. Berea, OH 44017 440-826-2145 E-mail: comments@wbwc.com Web: www.wbwc.com Format: alt-rock WCSB 89.3 FM 3100 Chester Ave. CE 4th Fl. Cleveland, OH 44115 216-687-3721 E-mail: musicdirector@wcsb.org Contact: Chris Connelly Web: www.wcsb.org Format: free form WYSO 91.3 FM Antioch University Midwest 150 East S. College St. Yellow Springs, OH 45387 937-767-6420 E-mail: wyso@wyso.org Web: www.wyso.org Format: eclectic

OREGON KLC RADIO Lewis & Clark 0615 S.W. Palatine Hill Road MSC 105 Portland, OR 97219 E-mail: klc@lclark.edu

Web: http://college.lclark.edu/ student_life/klc_radio KPSU 98.1 FM Portland State University PO BOX 751 Portland, OR 97207 503-725-5669 E-mail: music@kpsu.org Web: www.kpsu.org Format: eclectic KWVA 88.1 FM University of Oregon P.O. Box 3157 Eugene, OR 97403 541-346-4091 E-mail: music@kwvaradio.org Web: www.kwvaradio.org Format: eclectic

PENNSYLVANIA WCLH 90.7 FM Wilkes University 84 W. South St. Wilkes Barre, PA 18766 570-408-2908 E-mail: wclhpd@gmail.com Web: www.wclh.org Format: eclectic WERG 90.5 FM Gannon University 109 University Sq. Erie, PA 16541 814-459-9374 Contact: Ted Hallowel, Music Director E-mail: hallowel003@ganon.edu Web: www.wergfm.com Format: eclectic WFSE 88.9 FM Edinboro University of Pennsylvania Earley Hall 814-732-2889 E-mail: admin@wfseradio.com Web: www.wfseradio.com Format: alt-rock WKDU 91.7 FM Drexel University 3210 Chestnut St. Philadelphia, PA 19104 215-895-2082 Web: www.wkdu.org Format: free form WPTS 92.1 FM University of Pittsburgh 411 William Pitt Union 4200 Park Ave. Pittsburgh, PA 15260 412-648-7990 E-mail: stationmanager@ wptsradio.org Web: www.wpts.pitt.edu Format: eclectic WRCT 88.3 FM 1 WRCT Plaza 5000 Forbes Ave. Pittsburgh, PA 15213 412-621-0728 E-mail: info@wrct.org Web: www.wrct.org Contact: Matt Mastricova, Music Dir. Format: eclectic WQHS University of Pennsylvania Hollenback Center 504 3000 South St. Philadelphia PA 19104 215-898-3500

Download at www.musicconnection.com/industry-contacts E-mail: programdirector@wqhs.org Web: www.wqhs.org Format: eclectic

TENNESSEE WMTS 88.3 FM Middle Tennessee State University 1301 E. Main St., Box 58 Murfreesboro, TN 37132 615-898-5051 E-mail: music@wmts.org Contact: David Lannom Web: www.wmts.org Format: eclectic WRVU 91.1 FM Vanderbilt University P.O. Box 9100, Station B Nashville, TN 37235 615-322-3691 E-mail: wrvumd@ vanderbilt.edu Web: www.wrvu.org Format: eclectic

TEXAS KSAU 90.1 FM Stephen F. Austin State P.O. Box 13048 Nacogdoches, TX 75962 936-468-4000 E-mail: ksaumusic@gmail.com Web: www2.sfasu.edu/ksau Format: eclectic KTCU 88.7 FM Box 298020 Fort Worth TX 76129 817-257-7631 E-mail: ktcu@tcu.edu Web: www.ktcu.tcu.edu Format: classical, modern rock, Americana KTRU 91.7 FM MS506 Rice University, MS 506 Houston, TX 77251-1892 Web: www.ktru.org Format: eclectic KVRX 91.7 FM Student Radio c/o UT P.O. Box D Austin, TX 78713-7209 512-495-5879 E-mail: kvrxmusic@gmail.com Web: www.kvrx.org Format: eclectic

WASHINGTON KAOS 89.3 FM The Evergreen State College 2700 Evergreen Parkway, CAB 301 Olympia, WA 98505 360-867-6888 Web: www.kaosradio.org Contact: Nicki Thompson, Music Director KCWU 88.1 FM Central Washington University 400 E University Way STOP 7594 509-963-2283 Web: www.881theburg.com Format: eclectic

SATELLITE RADIO SIRIUS SATELLITE RADIO Attn: Music Programming Department 1221 Avenue of the Americas New York, NY 10020 866-528-7474 Web: www.sirius.com

INDIE RADIO COMMON NONSENSE on Live 365 New Orleans, LA E-mail: music@ commonnonsenseradio.com Web: www.commonnonsense.net FEARLESS RADIO Chicago, IL Web: www.fearlessradio.com INDIE 103.1 FM 5700 Wilshire Blvd., Ste. 250 Los Angeles, CA 90036 323-900-6100 E-mail: pwakeman@entravision.com Contact: Penelope Wakeman, Station Mgr. Web: www.indie1031.com iRADIO LA – INDIE 104 P.O. Box 1403 Covina, CA 91722 E-mail: info@iradiola.com Web: www.iradiola.com RADIO ELECTRIC Web: www.radioelectric.com RADIOINDY.COM P.O. Box 93492 Phoenix, AZ 85070 E-mail: support@radioindy.com Web: www.radioindy.com SONGPLANET.COM E-mail: info@songplanet.com Web: www.songplanet.com

INDIE PROMOTERS AIRPLAYONLY See AIRPLAY ACCESS ALL ACCESS MUSIC GROUP 28955 Pacific Coast Hwy., Ste. 210 Malibu, CA 90265 310-457-6616 Fax310-457-8058 E-mail: jdenver@allaccess.com Web: www.allaccess.com Contact: Joel Denver Styles/Specialties: Top 40 / mainstream, top 40 / rhythm crossover, alternative, rock, country, Hot AC, rock, contemporary Christian, urban, urban AC ALL ACCESS MUSIC GROUP 1222 16th Ave., S., Ste. 25 Nashville, TN 37212 615-252-6400 Web: allaccess.com AMERICAN AMP 323-638-9267 E-mail: info@americanamp.com Web: www.americanamp.com Styles/Specialties: All. Past Clients: (MUSIC) SONY, Warner Bros. BMG, Capitol. (FILM) The Passion of the Christ, Narnia, Oldboy, Rocky Balboa,The Puffy BACKSTAGE ENTERTAINMENT E-mail: staff@ backstageentertainment.net Web: www.backstageent ertainment.net Contact: Paul Loggins Styles/Specialties: specializing in Top 40, adult contemporary, country, rap/R&B, rock and college national radio campaigns

BILL WENCE PROMOTIONS P.O. Box 39 Nolensville, TN 37135 615-776-2060 Web: www.billwencepromotions.com Contact: Bill Wence Styles/Specialties: Americana/AAA/ college/acoustic/roots. Specializing in independent artists, radio interviews, tours. *Unsolicited material accepted

PINCH HIT ENTERTAINMENT 2400 West Carson, Ste. 223 Torrance, California 90501 310-791-7617 E-mail: mike@pinchhit.com Web: www.pinchhit.com Contact: Mike Naylor Styles/Specialties: guitar-oriented rock, pop, specializing in national radio promotion, distribution and press campaigns

BRYAN FARRISH RADIO PROMOTION 1828 Broadway, 2nd Fl. Santa Monica, CA 90404 310-998-8305 E-mail: airplay@radio-media.com Web: www.radio-media.com Styles/Specialties: All except classical

PIRATE! 145 Columbia St. Cambridge MA 02139 617-256-8709 E-mail: steve@piratepirate.com Web: www.piratepirate.com Contact: Steve Theo

EVOLUTION PROMOTION 7 Arlene Ave. Wilmington, MA 01887 978-658-3357 E-mail: info@evolution promotion.com Web: www.evolutionpromotion.com

San Francisco Contact Douglas Blake 617-571-8043

FLANAGAN’S RADIO & RETAIL PROMOTIONS 323-876-7027 E-mail: submissions@ flanaganpromotions.com Web: www.radioandretail.com Styles/Specialties: college radio, commercial radio, retail promotion, other INDIE POWER.com 11054 Ventura Blvd., Ste. 333 Studio City, CA 91604 818-505-1836 E-mail: info@indiepower.com Web: www.indiepower.com Styles/Specialties: Full service, promo, worldwide, Movies/TV, distribution INTEGRATED MARKETING See Indie Power LOGGINS PROMOTION 2530 Atlantic Ave., Ste. C Long Beach, CA 90806 310-325-2800 E-mail: promo@loggins promotion.com Web: www.logginspromotion.com Contact: Paul Loggins, Paola Franco, John Stevens, Laurent Stoeckli Styles/Specialties: all styles and genres RUFFSOUNDS 625 S Griffith Park Dr. Burbank, CA 91506 310-418-2818 E-mail: xmruff@comcast.net Web: www.ruffsounds.com Contact: Marko Babineau, Austin Keyes Styles/Specialties: rock, active rock, modern rock, see website for new phone numbers *No unsolicited material NATIONAL RECORD PROMOTION 137 N. Larchmont Blvd., Ste. 500 Los Angeles, CA 90004 323-658-7449 E-mail: lweir@larryweir.com Web: heartlandent.com, larryweir.com Contact: Larry Weir

Additional location:

PLANETARY GROUP, THE 6325 Santa Monica Blvd., Ste. 100 Los Angeles, CA 90038 323-952-5050, 1-800-254-2543 E-mail: info@planetarygroup.com Web: www.planetarygroup.com Additional location: P.O. box 52116 Boston, MA 02205 FLANAGAN PROMOTIONS 323-876-7027 E-mail: submissions@ flanaganpromotions.com Web: www.flanaganpromotions.com Contact: Jon Flanagan Styles/Specialties: AAA, modern rock, commercial & college radio and retail promotions HOWARD ROSEN PROMOTION 1129 Maricopa Highway #238 Ojai, CA, 93023 805-382-2200 E-mail: info@howiewood.com Web: www.howiewood.com Contact: Howard Rosen Styles/Specialties: CHR/Top 40, AC, Hot AC, AAA, Alternative Specialty, Mainstream Rock, Modern AC, College for artists of all label sizes including Independent. We also do Social Media, Videos, Production and Song Placement. PINNACLE MANAGEMENT, MARKETING AND PROMOTION LLC 1129 Maricopa Highway #238 Ojai, CA, 93023 E-mail: pinnaclemanagement212@ gmail.com Specialties: Management, Marketing and Promotion TIM SWEENEY & ASSOCIATES 31805 Hwy. 79 S., Ste. 551 Temecula, CA 92592 951-303-9506 sweeney@ timsweeney.com Web: www.tsamusic.com Contact: Tim Sweeney Styles/Specialties: all styles

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For Advertising Info Call 818-995-0101

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For Advertising Info Call 818-995-0101

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– LOREN WEISMAN

6 TIPS: Planning, Creating, Marketing and Executing a Successful College Radio Campaign

I

n planning a successful college or indie radio promotional campaign for your band, it comes down to much more than hiring someone or buying air time. Certainly not if you are looking for a successful run and making back the money you spent. Not to mention, being able to convert that time and money into new fans, more sales and networking opportunities. The fact is, according to author Loren Weisman in the following six tips, it takes a well considered plan, one that should be in place prior to your campaign. If executed properly, your plan will not only work throughout the entire campaign, but well beyond it.

will draw more attention to you and your music over all the bands that are looking for one-way promotion? By sharing information and posting content to promote a station, you stand out and make them want to reciprocate. Also use social media to connect with various school pages and online groups at those schools.

and your promotion. This basic tracking sheet can include the colleges or stations where you are being played and will keep an eye on those that add you and even asking flat out, “how did you find out about us?” Your time spent understanding how your base is building will help you exponentially.

4. Track the results. Are you seeing an influx of likes, friends, adds or even booking requests from a certain re-

5. Engagement with ads, prizes and giveaways. Again, get in touch with those DJs and those schools after a campaign has started and offer up some free physical and digital merchandise. Engage those fans with something beyond just asking for them to listen to you or request you. The engagement of prizes and giveaways gives people a sense of what they can get over the idea of most bands that are inundating fans with “like me, request me, tell them to play me…me, me, me.”

1. It is crucial to research the options. If you are looking to a PR firm, radio publicity group or agency that claims they can get you plays or even charting…ask for their references. Talk to former clients who have been with them in the last 12 months. Find out about recent success stories and ask those bands how it worked for them. Find out the exact costs. Find out if they saw a return on investment. Nothing is guaranteed, but did these former clients get gigs, sell music, merchandise and build their fan base or did they just get played a few times? This is the most crucial step of a successful radio campaign. And having someone, or a team, that can help you will take a great deal of the burden off of you. However, understand that you will still need to do a great deal of work. 2. Understand that a chart position and plays don’t equate to listens. Anyone can show you a chart position on a radio chart. Anyone can show you play counts, but if those numbers aren’t growing your fan base or converting, they are worthless. Make sure you are setting up a campaign to reach real people and not create meaningless numbers. Focus on the conversion and not the position or play numbers. When you keep your mind set on building the real fan numbers over the play numbers, you are dramatically increasing your chances that those real numbers can convert to profit. 3. Follow up on the people, stations and placing where your music is being played. Are you marketing more than just “I’m being played on this station”? Find out who the DJs are and add them to your social media. Find out the popular school sites or radio stations and add them to your “playlist” of cross promotion online. Tag them, and add content about them, not just that you are being played on their station, but information about their station. Cross promotion will result in more promotion of your music. How can you promote these schools, these stations and these people in a way that 78 October 2014

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“When you keep your mind set on building the real fan numbers over the play numbers, you are dramatically increasing your chances that those real numbers can convert to profit.” gion? Should you focus more online promotion or work to get a show in that area? Conversely, are you getting plays in a market or school that is not bringing anything back? By keeping a simple tracking sheet on a weekly basis to understand what is working and what isn’t, you will know where to focus your time, your efforts

6. Ask yourself if you are ready for a college radio campaign. Is your branding in place for your band? Are your social media pages updated, active and easy to find? Is your merchandise easy to purchase and are the links clear on where to buy it? Is the information about booking you for a show in place? Are you involved with the promotion and marketing of your group and your music beyond just “we have a show here” or “we are playing here Friday?” The last step before pulling the trigger is to ask yourself if you truly have all the elements in place to either execute (or have someone effectively execute) the best radio campaign possible. If these elements are not in place, it will be that much harder for you to create a fan base and get conversions. Make sure the branding, marketing and promotion of your band and your music is in place before you start a radio promotional campaign. Setting an example by being active and organized––while others are working with you and for you––will make the chances of a successful radio promotion campaign much more likely. On the same note, if you aren’t ready for a radio campaign, be smart––save your money and start getting your plan together. LOREN WEISMAN is a music industry consultant and selfdescribed branding fool who helps, assists and consults independent artists, businesses (inside and outside of music), labels and managers to achieve sustainable success. He is the author of The Artist’s Guide to Success in the Music Business. For more about Weisman visit http:// lorenweisman.com

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