Music Connection September 2015

Be heard with Mackie FreePlay, the personal PA you can control wirelessly from your phone. It’s the shockingly powerful sound solution that has nothing to apologize for.

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CONTENTS 36

Informing Music People Since 1977 3EPTEMBER s 6OL s .O

Twenty One Pilots MC talks to this No. 1 selling duo about how they’ve managed to take their act from Midwest obscurity to international acclaim.

By Rob Putnam

46 AfterMaster

All Photos: Jabari Jacobs

Learn how this company’s unique audio-enhancement process has piqued the ears of industry experts.

By Bernard Baur

Music Supervisors

Departments

These industry gatekeepers explain the current ins & outs of getting your music placed in movies, TV series, commercials, video games and more.

By Bernard Baur

40 56 Directory of Film/TV Music Supervisors Compiled By Denise Coso

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

Be sure to follow Music Connection on Facebook and Twitter.

20. Producer Crosstalk: Yoav Goren . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Sujit Kundu, SKAM . . . . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Bob Thiele, Jr. . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 44. Expert Advice: Hard-won Experience in Gear Rentals . . . . . . . . . . By Herb Trawick 62. Tip Jar: Building Trusted Relationships in Film & TV . . . . . . . . . . . . By Joe Solo

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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.

EXPERIENCE THE

MK4

From the soft, subtle intricacies of a finger-picking guitar solo to the powerfully loud vocals on your latest track, the MK4 is the perfect addition to your mic collection – whether you’re buying your first mic or your fiftieth.

Designed and manufactured in Germany, the MK4 is a true condenser, cardioid microphone that features a one-inch 24-carat gold-plated diaphragm and a full metal housing. Its internal shock mounted capsule enables this versatile tool to be taken from your studio to the stage, and everywhere in between, to capture your music precisely how you hear it.

LEARN MORE ABOUT THE MK FAMILY AT SENNHEISER.COM

EXPERIENCE THE

MK8

The MK8 has dual one-inch diaphragms precisely spattered with 24-carat gold. The shock-mounted capsule is accommodated within a sturdy metal housing.

Designed to bring multiple polar pattern flexibility to home and project studios, the MK8 – Multiple-Pattern Large Diaphragm Condenser Microphone allows for a selection between omnidirectional, wide cardioid, cardioid, supercardioid, and figure-8 polar patterns.

A 3-position pad switch lets you select between 0, -10, and -20dB while a second switch controls a multi-stage roll-off at 0, 60 Hz and 100 Hz, allowing the MK8 to be used on a variety of sources.

MUSICIANS PRODUCERS ENGINEERS Join the only music community FGFKECVGF VQ KPETGCUKPI [QWT RTQƒVUЏ Get Exclusive Career Advice Network with Your Peers Get Marketing Tips Trade Gigs

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

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

Steve Sattler BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com

Hillorie McLarty ADVERTISING/MARKETING hillorier@musicconnection.com

Ray Holt DIRECTOR OF DIGITAL MARKETING rayh@musicconnection.com

Mark Nardone ASSOCIATE PUBLISHER / SENIOR EDITOR

markn@musicconnection.com

John Curry ART DIRECTOR artdirector@musicconnection.com

Siri Svay ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER siri@musicconnection.com

Barry Rudolph NEW TOYS

barry@barryrudolph.com

Bernard Baur CONTRIBUTING EDITOR bbatmc@aol.com

Dan Kimpel SONG BIZ

dan@dankimpel.com

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

FEATURE WRITERS

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

Regina Zernay intern@musicconnection.com Keah Simmons intern@musicconnection.com CONTRIBUTING WRITERS Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Jeannie Deva, Luis Gonzalez, Gary Graff, Eric A. Harabadian, Ted Jamison, Andy Kaufmann, Mary Lemanski, Malorie McCall, Andy Mesecher, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Grant Stoner Brooke Trout, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Luis Gonzalez, Apple Kaufmann, David Klein, Tony Landa, Mary Lemanski, Dave Long, Thomas Long, Malorie McCall, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Scott Perham, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, Paula Tripodi, Brooke Trout, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright © 2015 by E. Eric Bettelli. All rights reserved.

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

Subscribe to MC NOW!

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PORTRAITS

IN TONE Not just another version of the Fly RigÂŽ simply bearing his name, the Richie Kotzen RK5 Signature Fly Rig was a close, year-long collaborative effort.

Meticulous about every facet of his playing, singing, songwriting and tone, Richie’s attention to the details of this pedal was nothing less.

7HAT DISTINGUISHES THE 2+ FROM THE &LY 2IG IS 2ICHIE S 3IGNATURE /-' OVERDRIVE 4UNED SPECIlCALLY TO 2ICHIE S EAR

THE /-' SECTION BRINGS IN THE ORGANIC #LASS ! STYLE DISTORTION

BUT WITH A TIGHTER SNAPPIER RESPONSE )T IS DESIGNED TO ARTICULATE EVERY NUANCE OF 2ICHIE S DIZZYING PLAYING STYLE FOR ALL MODES AND MOODS FROM CLEAN TO AGGRESSIVE AND FROM RHYTHMIC CHORDS TO INlNITE SUSTAIN WHEN IT S SOLO TIME 4HE 2+ OFFERS THE SAME OTHER ESSENTIAL FEATURES AS THE &LY 2IG THE ALL ANALOG 3ANS!MPŠ REVERB DELAY WITH TAP TEMPO AND A POWERFUL BOOST &OR mY GIGS ACROSS THE GLOBE JAMMING AT THE LOCAL HANG AND RUNNING OFF TO LAST MINUTE SESSIONS JUST POP YOUR 2+ INTO YOUR GUITAR CASE AND HEAD FOR THE DOOR

PHOTO BY GREG VOROBIOV

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

4HE 2ICHIE +OTZEN /-' 3IGNATURE /VERDRIVE IS ALSO AVAILABLE AS A STAND ALONE PEDAL

$%3)'.%$ !.$ -!.5&!#452%$ ). 4(% 5 3 !

WWW.TECH21NYC.COM July 2015

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– JONATHAN WIDRAN

HOLLYWOOD SOUND SYSTEMS hollywoodsound.com Celebrating 55 Years of Complete Professional Audio Services: Since 1960, Hollywood Sound Systems has been a premier provider of rentals and sales, sound design and event production for “everything audio.” They provide workflow solutions for studio environments, from production to post. One of the oldest sound companies in the U.S., Hollywood Sound Systems continues to reinvent itself as technologies evolve.

Recently relocated from its longtime location in Hollywood, its new, larger facility in Burbank is complete with a working 24-foot stage.

Staying Ahead of the Curve: Hollywood Sound Systems’ designers and technicians specialize in the finding, maintenance and operation of the newest equipment and advanced technologies. They encourage prospective customers to come and check out exciting new technologies like DANTE and NUENDO and equipment like the Yamaha & Steinberg “NUAGE” DAW, the Triad-Orbit mic stands and the Nexo STM speaker systems. They recently hosted an official stop on the Steinberg Nuendo 7 World Tour, incorporating hands-on work flow options into this new cutting edge technology via live band, in ear monitors, consoles and amps using Cat6 cable over a DANTE network.

Catering to Your Specific Needs: According to President Les Harrison, “We use technology and techniques to support our customers’ artistry.

Knowing there is no ‘one size fits all’ solution to most audio needs, our facility not only showcases equipment, but is a place to talk to experts who can help you find the right equipment, system or work flow technique to help accomplish what you need for your live event or studio environment. Whether a one-day rental or a long term solution, HSS customizes to your needs.” Harrison invites customers to book hands-on tutorial time on specialized equipment like Digico & Yamaha consoles and test different microphones, speakers and configurations on our new stage. Make sure to check out one of the largest vintage microphone collections in the world. They have it all!

Contact Hollywood Sound Systems, 323-466-2416 8

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Aaron Feterl

Damon Williams

Mitch Schneider Organization (MSO) has promoted Aaron Feterl to Account Executive. Feterl joined MSO in 2008, beginning as an assistant to Account Executive Angela Villanueva and then assisting Senior Vice Presidents Marcee Rondan and Todd Brodginski before being promoted to Associate Publicist in February 2011 and then Publicist in August 2013. He has been involved in media campaigns for various artists in multiple genres including rock/ hard rock/metal, along with festivals, cruises, venues, events and lifestyle accounts. While attending Cal Poly Pomona, Feterl interned at Island Def Jam and later at MSO. Upon completing his BA Business degree, he became a public relations assistant at MSO. Contact aaron@msopr.com.

Music Choice has promoted Damon Williams to Senior Vice President, Programming Strategy and Partnerships.

In the newly created role, Williams will lead and develop high-level programming strategies, initiatives and partnerships to help increase usage and audience for Music Choice. He will be responsible for identifying and growing external relationships to bring innovative content and monetization opportunities to the network. He will also lead new business partnerships with artists, labels, managers and third party distributors like Maker Studios and Omnia Media to help drive network usage and grow its consumer audience. For more information, contact jpaganuzzi@musicchoice.com.

Bob Roback

Donny Gruendler

The Board of Directors of Isolation Network has named digital music veteran Bob Roback Chief Executive Officer.

Roback replaces former CEO Robb McDaniels who exited the company at the end of 2014. Earlier in his career, Roback joined partner Dave Goldberg in 1994 to found LAUNCH Media. Then Yahoo! Inc. acquired the company in 2001, and Roback became Head of Music at Yahoo!, overseeing its global music operations until 2007. Most recently, Roback was President of Fender Musical Instruments Corporation where he remains a member of its board of directors. Prior to that, he served as Co-Founder and CEO of Dashbox and has also served as Co-Founder/ Managing Director of The Media Farm. Contact jv@spinlab.net.

Musicians Institute (MI) has appointed Donny Gruendler, VP of Academic Affairs, to the Percussive Arts Society’s (PAS) Drum Set Committee. Gruendler joins fellow educators and drummers Jason Gianni, Keith Dudek, Jenny Hoeft, Mark Powers and David Stanoch as new appointees to the PAS Drum Set Committee. The committee will share ideas and spread the word about the things PAS has to offer, not only to drum set players, but also to percussionists of all styles and genres. They will also create innovative Drum Set activities for the 40th annual Percussive Arts Society International Convention (PASIC). For more information, contact chandra@glowmarketing.com.

Kate Cardwell

Mike Whelan

Momentum Audio Sales has partnered with Kate Cardwell of Cardwell Creative Services to provide business development and support for Audient consoles.

Cardwell will engage both the current sales force and dealer network, provide product training and customer support and will work with customers directly as the first point of contact for recording and mastering studios, broadcast facilities, colleges and universities. In her career, she has worked as an audio engineer for live sound, studio recording and live broadcast television. She has a background in professional audio retail sales as well as territory management for manufacturers. For more information, contact brian@musicmarcom.com.

Mike Whelan has joined ole’s Nashville office as Senior Director, Creative, and will report to John Ozier, GM of Nashville Creative. Whelan joins ole from Sony Music Publishing, where he was VP of Creative Services and worked with writers and artists including two-time BMI writer of the year Casey Beathard, Tony Martin, Eric Church, Kenny Chesney and Luke Bryan. He began his career at Merit Music Publishing in 1986, working closely with producer Norro Wilson and writers such as Steve Cropper and Mentor Williams.

After four years, he joined Polygram Music Publishing, and in 1994, he went to Acuff Rose Music Publishing. For additional information on this appointment, contact laurie@jaybirdcom.com.

Jaime Kelsall

Ed Czarnecki

APA Agency has promoted music agent Jaime Kelsall to VP in APA’s concerts division where she will continue to develop and break new talent while managing her growing list of emerging bands. Kelsall began her career at the House of Blues in New Orleans, interning in their booking department. After graduation, she worked at Absolute Artists, assisting Bruce Solar and eventually booking the roster. In 2000, she joined The Agency Group, developing her own roster before moving to APA two years later, where she has played in integral role in developing and breaking bands such as Allen Stone, ZZ Ward and Eric Hutchinson. She currently also represents Rickie Lee Jones, Kinky, Tonic, Jill Hennessy, Blind Melon, Distant Cousins and Julian Moon. Contact mwestphal@apa-agency.com.

Ashly Audio has hired Ed Czarnecki as its Applications Engineer. Czarnecki will report to Scott Leslie, Ashly’s Executive Vice President, and will wear many hats in his new position. Among his duties, Czarnecki will work with consultants, integrators and distributors to provide information and training about Ashly products, both pre- and post-sale, as well as solutions to design challenges. He will convey the evolving needs of Ashly’s customers to the various divisions that maintain Ashly’s reputation for building affordable, reliable solutions. Czarnecki is based at Ashly’s headquarters in Webster, NY and will visit consultants, integrators and installation sites for training, consultation and assistance. For more information, contact ae@ashly.com.

Account Executive Mitch Schneider Organization

CEO Isolation Network

Audio Console Development Partner Momentum Audio Sales

VP, Concerts Division APA

SVP, Programming Strategy and Partnership Music Choice

Percussive Art Society’s Drum Set Committee Musicians Institute

Senior Director, Creative ole

Applications Engineer Ashly Audio

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– BARRY RUDOLPH barry@barryrudolph.com – BARRY RUDOLPH barry@barryrudolph.com

A-DESIGNS REDDI V2 DUAL MONO TUBE DIRECT BOX After the huge success of their singlechannel standalone REDDI Tube Direct Box, A-Designs now offers the dual-channel REDDI v2 model in a 2U rack mount cabinet. Exactly the same circuitry as the REDDI, the v2 model uses a single 6N1P dual triode tube for each channel along with a gigantic, custom-wound Cinemag output transformer.

Also inside the all-steel case I saw that both tubes are solidly mounted in ceramic sockets. The front panel has a Switchcraft ¼-inch thru jack, gold-pinned Neutrik XLR output and Combo input jacks, and the rear panel has a fused IEC AC connector and ground lift switch.

I tried my Fender Strat and found the REDDI v2 to have the same great sound as the original REDDI unit. The unit’s 1 meg-Ohm input impedance does not change the sound of my guitar by loading down its delicate passive pickups. Icing on the cake is its two-channel capability making it the perfect direct box for synths and electronic keyboards.

Great for studio, live sound work or a recording musician, the A-Designs REDDI v2 Dual Mono Tube Direct Box sells for $1,999 MAP. adesignsaudio.com

TC ELECTRONIC LC2N AND LC6N LOUDNESS NORMALIZATION TC’s LC2n for stereo program audio and LC6n for 5.1 surround audio are loudness measurement and normalization processors. They’re available for MACs and PCs and in either AudioSuite plug-in format for Pro Tools or as a standalone off-line processor that includes a batch-processing mode. TC’s LCn makes it easy to hit the right loudness target for HDTV, Mobile TV, podcast, radio, iTunes Radio, YouTube or Spotify.

In Pro Tools 12, I had a recent mix I was going to send to iTunes and wanted to not chance what iTunes Radio would do to it, so I used the iTunes preset and LC2n to automatically conform my mix loudness/level accordingly. The twin Radar Meters on the LC2n GUI labeled Source and Process showed nearly the same—original file at -15.1 LKFS (Loudness, K-weighted, relative to Full Scale), the process file at -16 LKFS—1 dB lower and negligible.

Now I am using LC2n all the time to check on my loudness levels so that I can mix closely to a desired target level. I am producing finished products immediately ready and without further processing for broadcast, film, CD, Euro broadcast or iTunes delivery.

LC2n sells for $299 and LC6n sells for $699. tcelectronic.com/lcn

ZAOR AND ISOACOUSTICS ZAOR Studio Furniture teamed with IsoAcoustics to integrate a pair of the new Aperta sculpted aluminum acoustic isolation stands into the MIZA X media production workstation desk. The Apertas are designed for medium-sized professional studio monitors and speakers. I like that these can be freely positioned on the desk’s bridge and are integrated into a solid-wood plate in a matching color.

Also available is the D-STAND ISO, ZAOR Studio Furniture’s height-adjustable desktop stand in white glossy finish that now benefits from additional top acoustic isolation and speaker enhancement alongside height and angle-adjustment attributes. zaorstudiofurniture.com/idesign/isoplane

FISHMAN FLUENCE MODERN 8-STRING HUMBUCKER Originally available only in a 6-string version, requests quickly came in for 7- and 8-string models. This was due to the Fluence pickup’s ability to maintain its original sound irrespective of coil size.

Like all Fluence pickups, the new Modern Humbucker 8-String pickups have two voices. The Alnico version offers a full, round and boosted sound with good articulation and dynamics in Voice 1, and then a crisp, clean and fluid tone in Voice 2. This combination makes the Modern Humbucker 8-String Alnico perfect for the bridge position.

Voice 1 of the Ceramic 8-string model delivers the ideal active tone—crisp, searing, big yet tight. The modern passive attack of Voice 2 provides organic and high output for exceptional distortion. This model is ideal for the neck position.

The Fluence Modern HB 8-String Black Plastic with Alnico magnet poles and covered is $181.75 MSRP, while the 8-String Ceramic is $181.75 MSRP. You can buy both together as an 8-String set at $324.61 MSRP. fishman.com 10

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– BARRY RUDOLPH barry@barryrudolph.com – BARRY RUDOLPH barry@barryrudolph.com

AURALEX SUSTAIN V2 BAMBOO SOUND DIFFUSORS The v2 models are the enhanced versions of Sustain™ bamboo sound diffusors. Diffusors, in contrast to absorption panels, eliminate flutter echoes by evenly dispersing acoustical energy throughout a space. A proper blend of absorption and diffusion in a project or home studio space will provide a truer and acoustically balanced environment contributing to a better final sonic result when recording and mixing music.

These handmade, environmentally friendly bamboo sound diffusors feature sharper angles with an updated construction that enhances diffusion performance. Being made from bamboo, this sustainably grown and harvested tree is lighter weight yet is hard enough to be a diffusive surface.

Diffusor models in the Sustain line include (pictured l-r): the Sustain WavePrism™, Sustain WaveLens™, Sustain QuadraTec™, Sustain Pyramid™ and the Sustain Metro™ Bamboo—a skyscraper-style diffusor. For mounting on walls and ceilings, the new Sustain Diffusors come in 23 x 23-inch squares with varying depth, depending on the model. auralex.com

APOGEE ELECTRONICS GROOVE HEADPHONE AMP/DAC For use with Mac and PCs, Groove is a portable headphone amplifier module with a built-in ESS Sabre digital-to-analog converter (DAC). It replaces the lower quality headphone amps and DACs typically built into laptop or desktop computers. With Groove you can hear at a master quality level the full fidelity of digital music files.

Easily carried in your pocket, Groove is a little larger than a USB thumb drive and comes with a short USB cable to connect “in-line” between your phones and your computer’s USB socket. It has a 1/8-inch mini stereo TRS output jack that will accept ear buds, full-size studio headphones or direct connection to your powered monitors.

I connected Groove and plugged in my Shure SRH840 headphones. Groove uses a Constant Current Drive™ headphone amp circuit to provide a smooth frequency response with no problem driving the Shure’s 40-mm drivers. I found useful the three green and blue LEDs to indicate audio present, and when you change audio volume with the up or down buttons.

The sound is marvelous—the best I’ve heard yet from portable headphone/DACs I’ve used in the past. It sounds like the mix I know well—clear high frequencies with accurate and distinct bass. Groove works at 24-bit and up to 192kHz sample rates so I can quickly listen to master audio files without conversion. Groove sells for $295 MSRP. apogeedigital.com

SONNOX FRAUNHOFER PRO-CODEC VERSION 3 Sonnox Fraunhofer Pro-Codec V3 builds on V2 with the inclusion of meta-data entry, editing and batch processing using the included standalone Pro-Codec Manager application. ProCodec Manager is an advanced and expanded version of Sonnox’s own standalone Codec Toolbox manager software. It has faster off-line operation, an improved finder and many new features such as file Normalization in addition to the Clip Safe mode.

Pro-Codec directly encodes audio with sample rates up to 192kHz and bit rates up to 32-bit with no need to down sample beforehand. The Pro-Codec Manager supports editing of two different metadata formats: ID3v2 and iTunes Metadata. In addition, Pro-Codec integrates the Fraunhofer AAC and mp3 codecs including MPEG Surround and multi-channel AAC formats for surround mixing.

I found the Fraunhofer Pro-Codec V3 to be the gold standard in a single, powerful audio encoding plug-in for use in Pro Tools 12 mixing. Without a close rival, it sounds wonderful and works flawlessly to audition and show to my clients exactly how my mix sounds when made into the targeted mp3 or AAC file. And that is an awesome capability to offer.

Pro-Codec Version 3 sells for $495 MSRP and is 64-bit compatible and for AAX, RTAS, VST hosts. sonnox.com/procodec

CAD AUDIO GXL2600USB CONDENSER CAD Audio’s GXL2600USB is the latest addition to their popular line of USB microphones. It is a large diaphragm studio condenser microphone with a 1-inch diameter Aoedein™ permanently polarized capsule. The cardioid-only GXL2600USB works and performs exactly like an XLR cabled studio condenser with the same large sound and detailed pickup.

CAD Audio has their PureTone™ analog-to-digital (A-to-D) converter encased within the mic’s body that gives the mic a -35dB sensitivity, less than 15dB noise level, a 135 dB max SPL and 20Hz to 20kHz frequency range.

I plugged the GXL2600USB into my computer’s USB 2.0 jack and launched Audacity 2.1 to record a narration piece for one of my classes. The GXL2600USB mic showed up in Audacity and I found there was plenty of mic gain available. I used a pop filter just like for any studio condenser to suppress p-pops when speaking close for a fat and distortion-free sound.

BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has The GXL2600USB makes a great desktop addition for Skype recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat audio or on-the-road for studio vocals, podcasts, interviews, oral Benatar, Rod Stewart, the Corrs and more. Barry has his histories and diaries. The GXL2600USB sells for $169 MSRP, own futuristic music mixing facility and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a and comes with a long USB cable, leatherette travel pouch, lifetime Grammy-voting member of NARAS and a contributshock-mount basket and tripod desk stand. ing editor for Mix Magazine. barryrudolph.com cadaudio.com.

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BOOK S T ORE Unlocking Creativity: A Producer’s Guide to Making Music and Art

Power Tools for Synthesizer Programming: The Ultimate Reference for Sound Design

By Michael Beinhorn (paperback) $24.99

By Jim Aikin (paperback) $29.99

Grammy-nominated producer Michael Beinhorn explores how producers help artists commit emotionally to their own work and truly invest in their creative process. The situations and solutions presented are based on the author’s experience working with a variety of artists, such as Herbie Hancock, the Red Hot Chili Peppers, Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Marilyn Manson, Social Distortion, Korn and others. Unlocking Creativity goes beyond the technical aspects and shows readers the intent and motivation that drive the decisions of great producers.

This updated second edition covers everything electronic music producers need to know to create new and exciting sounds with any type of synthesizer. Chapters on oscillators, filters, envelope generators, LFOs, effects and digital audio reveal how to get the most out of the instrument. Brand new chapters on hardware controllers and rhythm-based synthesis, including arpeggiators and step-sequences, as well as expanded coverage of tech breakthroughs in physical modeling and granular and additive synthesis.

Features dozens of new illustrations and more than 30 streaming online videos.

By Michael John Simmons (paperback) $29.99

(hardcover) $29.95

Keep A Knockin’: The Story of a Boutique Acoustics: 180 Years of Legendary Drummer Handbuilt American Guitars

By Charles Connor

Learn to play Jimmy Page’s guitar parts with: • Detailed video lessons.

• In-depth written lessons.

• PDF transcriptions with TAB. • TNT 2 software for customizing play-along tracks.

Boutique Acoustics tells the story of how America’s crop of talented luthiers created guitars that rival the legendary instruments of the ‘30s and ‘40s from builders like Martin, Gibson and the Larson brothers.

Covered are the birth of the steel-string, rise of small factories, advent of “one-man shops” and origins of various trends in guitar construction, including the design of cutaways, aesthetic detailing and the use of high-tech materials such as carbon fiber and Nomex. Copiously illustrated.

Led Zeppelin Acoustic/ Electric Sessions Alfred Publishing (paperback) $19.99

Visit alfred.com/guitarsessions.

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Learn riff by riff how to play Jimmy Page’s guitar parts in Led Zeppelin’s classic acoustic songs, including alternate tunings and some mandolin parts. Includes DVD lessons, and exclusive TNT 2 software that allows you to practice to soundalike recordings of every song, alter the mixes, loop sections and change keys and tempos; play-along MP3s for practice away from the computer; and full PDF transcriptions of every song in TAB and music notation.

Keep A Knockin’ is loaded with untold stories about drummer Charles Connor and his road into rock & roll history. He began his career playing with legends like Roy “Professor Longhair” Byrd, Smiley Lewis, Guitar Slim, Jack Dupree, then Shirley & Lee before touring everywhere with Little Richard and his band The Upsetters, with whom he created his signature drum intro in “Keep A Knockin’.”

Later he worked with other icons such as Lloyd Price, James Brown, Sam Cooke, Jackie Wilson, the Original Coasters, “Big” Joe Turner and more.

The Musician Says: Quotes, Quips, and Words of Wisdom Edited by Benedetta LoBalbo (hardcover) $14.95 Featuring commentary on everything from practicing to performing, these pages show similar (or differing) opinions about various musical practices. On rehearsing, opera great Pavarotti states, “I have never practiced more than an hour a day,” while Beyoncé is “a perfectionist, and I practice until my feet bleed.” Quotes from artists including Bob Dylan, Katy Perry, Louis Armstrong, Mozart, Yo-Yo Ma, Taylor Swift, John Lennon, Bjork, Dolly Parton, Jimi Hendrix and more.

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– JONATHAN WIDRAN

RAINBO RECORDS rainborecords.com

A Manufacturing Force For Over 76 Years: On the “history” page of Rainbo Records’ website—next to a list of dozens of music legends for whom the renowned CD, DVD and Vinyl manufacturer has created products—is a list of company milestones. The first is 1939: “Jack Brown starts a small business to manufacture cardboard recording blanks for a Home Recording Machine manufactured locally. Using available cardboard in many colors, covered with a clear lacquer, led to the name of RAINBO RECORDS.” Over the past 76 years, the company––which moved in 2006 from its longtime home in Santa Monica to a 50,000

square-foot facility in Canoga Park––has remained a force in the local manufacturing scene because of its philosophy that puts customer service at the forefront. Beyond its longtime support for major and independent labels and artists, Rainbo’s history includes inventing the “Paper-Record” that was used to put recordings on cereal boxes and postcard mailers for corporations, politicians, etc.

A Boom In Vinyl: A banner on the homepage reads: “TO ALL VINYL CUSTOMERS: Vinyl is in high demand worldwide so please plan your releases well in advance!” When MC last profiled Rainbo, longtime President Steve Sheldon estimates that 18-20% of its revenue was vinyl and the rest was from CD and DVD manufacturing. Today, thanks to a phenomenal resurgence, vinyl accounts for 75% of Rainbo’s revenue, with CDs and DVDs at 25%. Rainbo continues to manufacture cassettes as well. A true one-stop shop, Rainbo’s packages include art templates and art design. They also make many of their own parts for the machines they run.

Carrying On The Founder’s Mission: One of Sheldon’s favorite Jack Brown quotes is: “Don’t throw anything out because that’s permanent.”

Brown passed away in 2003, but Sheldon (who has been with Rainbo since 1971) and his team (many of whom have been there for over 30 years) carry on the ethics and morals he originally brought to the business. “The key to our success,” he says, “is that we make everyone feel welcome.”

Contact Rainbo Records, 818-280-1100 16 September 2015

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Download at musicconnection.com/industry-contacts

September March2015 2015 July 2015

musicconnection.com musicconnection.com 1717 musicconnection.com 79

Fabulous Studio Addition

JAMEL TOPPIN

A longtime IsoAcoustics user, Grammy-nominated producer, mastering engineer, mixer and musician Fabrice “Fabulous Fab” Dupont installed a pair of custom-configured IsoAcoustics Modular Aluminum Series stands at his Flux Studios facility in New York City under a pair of Focal SM9 reference monitors.

In the Dangerous live tracking room, a pair of Focal SM8 monitors is mounted on IsoAcoustics ISO-L8R200 adjustable decoupling speaker stands. For more information, visit isoacoustics.com.

Dogs in the Studio The Winery Dogs have entered a Los Angeles recording studio to start work on the follow-up to their 2013 debut album. The album will be self-produced, mixed by Jay Ruston (Anthrax, Stone Sour, Black Star Riders, Killswitch Engage) and released in North America this fall on Loud & Proud Records via RED and in the rest of the world via earMUSIC. Pictured (l-r): Billy Sheehan, Richie Kotzen and Mike Portnoy. For more information, visit TheWineryDogs.com.

More Studio News

Runaway with Laurel Southern California Americana/Country recording artist Tamara Laurel has released the first single, “Whiskey,” off her new album, Runaway, due out this fall on Oct. 16. The track was recorded, mixed and mastered at Hybrid Studios

by Grammy Award-winning producer/engineer Philip Allen with Hybrid’s Billy Klein and Brennan Edmondson. Pictured (l-r): Allen, Laurel and Edmondson.

For more information about Hybrid Studios, visit HybridStudiosCA.com.

R&B singer/songwriter Avant will release his eighth studio album The VIII (The Eighth) on Sept. 25 via MO-B Entertainment/Capitol Music Group.

The 13-song album features production by Travis Sayles and Bob Robinson (Tim & Bob) at FMG Studios in Homewood, IL. For more information, visit avantlivemusic.com.

Sheffield, England-based band Bring Me The Horizon will release That’s The Spirit, the band’s fifth studio album, which will be available Sept. 11.

The 11-track “celebration of depression” was recorded this spring in Santorini, Greece at Black Rock Studios.

The album, produced by the band’s Oli Sykes and Jordan Fish, was mixed in London and mastered in New York.

Visit bmthofficial.com.

Producer Playback

“The second you think you know how to write a hit song is the second you stop writing them. You can’t walk in with the attitude of ‘This is how it has to be.’ That’s not musical.”

– Jeremy Skaller (Beyoncé, Britney Spears, Jay Sean), July 2013 18 18

September 2015

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–SIRI SVAY siri@musicconnection.com

Amendola and Lee Don’t Go Away from the Studio Producer, songwriter and studio owner Matty Amendola assembled a diverse collection of Telefunken microphones in his Brooklyn, NY 825 Records studio for the debut album, Don’t Go Away, from Katie Lee. Amendola also brought in Grammy Award-winning engineer Butch Jones to assist in the mixing of the album, special guest Jody Porter (Fountains of Wayne) to bring power pop guitar and Grammy Award-winning producer/singer Mark Hudson for his classic, lush background vocals. For more information, visit theofficialkatielee.com.

OHRCA Takes Center Stage CenterStaging in Burbank, CA has taken delivery of the new M-5000 OHRCA (Open, High Resolution, Configurable Architecture) Live Mixing Console from the Roland Professional A/V Division, which will be implemented both on-site in their state-of-the-art rehearsal studios and in the field as part of their backline rental arsenal. Pictured (l-r): Will Kerlick, CenterStaging Business Manager, and Doug Dubin, CenterStaging Audio Manager. For more information, visit centerstaging.com.

Brothers Track In Washington My Brothers and I follow up their debut, digital-only EP, Live Sessions, with a debut full-length LP, Don’t Dream Alone. Recorded at Miracle Lake Studios in Camas, WA with engineer and producer Skyler Norwood (Blind Pilot, Priory, Horsefeathers), this 11-track collection is set for release on Sept. 18 on Portland indie label Expunged Records. Pictured in the recording booth is guitarist Jordan Roach. For more information, visit mybrothersandiband.com.

Saying Goodbye to a Fellow Mate Conway Recording Studios owners Susan and Buddy Brundo, along with musician/composer/ record producer Matthew Wilder, held a private, impromptu service honoring noted producer/engineer/ mixer Csaba Petocz (pictured), who passed away on July 17 after a long battle with cancer. Petocz was a three-time Grammy nominee with 37 No. 1 record credits and 32 Platinum or Multiplatinum albums. The service was attended by a group of industry notables who were close personal friends of Petocz and his wife Lisa Roy.

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PRODUCER CROSSTALK

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YOAV GOREN

S

anta Monica-based producer and composer of epic music––an offshoot of movie trailer music but with grander aspirations––Yoav Goren has been in the business for more than 20 years. Inspired by classics such as Doctor Zhivago and Lawrence of Arabia, he started composing for friends’ films while an undergrad at NYU. In 1993 he and partner Jeffrey Fayman founded Immediate Music, which has become a conduit for original music into film trailers. They’ve since composed trailer scores for The Dark Knight Rises, Argo and The Hobbit. “In the early ‘90s, the trailer music options were limited,� Goren recalls. “Studios had either a soundtrack from an existing film––a popular one was The Mission––or they hired someone to knock off another soundtrack. Opportunity was there because of the economics. To license an existing soundtrack would be a minimum of $50,000. But you could get a composer to do something for between $5,000 and $10,000. The challenge was to come up with a production level that they were accustomed to. Meanwhile, we could continue to license the score. If they insisted on owning it, we’d write a concurrent version that we’d own.�

When a studio wants trailer music that’s similar to the actual film score, the approach Goren takes is to comThe three most important pose something that’s approximate in things he’s learned as a feel. “We’ll tap into what the emotional composer and producer are: response is to [the movie score],� he says. “Even though there are only 12 s $ON T FALL BACK ON THINGS THAT notes in a scale, you can come up YOU THINK WORK THINGS THAT YOU VE with something similar. If a melody is DONE IN THE PAST ) CHALLENGE MYstepping up every four bars, that gives SELF TO BREAK A COMFORT MOLD a sense of hope; of adventure.�

For the overwhelming majority s )F YOU TELL YOURSELF THAT YOU RE of music created by Immediate, the A GOOD COMPOSER YOU RE NOT company owns both publishing and 9OU HAVE TO HAVE A NATURAL master recording. “It’s called turnkey HUMILITY COUPLED WITH CURIOSITY clearance,� Goren explains. “You only ABOUT GOING INTO NEW AREAS need to contact one person if you want a piece of music—that’s where s )T S A GIVE AND TAKE BETWEEN ‘Immediate Music’ comes from. This is YOU AND THE COMPOSER 9OU RE unlike the pop world where you might BUILDING SOMETHING TOGETHER have six co-writers and six publishers on a song and you have to take time to clear [a license] with all of them.�

What’s the go-to sound for trailers today? “That seems to change every three months,� Goren observes. “You’ll get a sense of a big, thick arrangement; nearly over the top. Eight or nine years ago it was almost cacophonous. Now the emotional content has to be bigger than life but not an overt, hit-me-over-the-head style. Take the American Sniper commercial: slow montage with piano pings, focusing on ringing out emotional response.

Even big action trailers use subtle music. Gravity is a perfect example.�

Often Goren is asked to compose for a trailer, sight unseen. “We get pictures about half the time,� he explains. “They’re nervous about piracy.

Unfortunately, the creative process suffers. But we’ll get descriptions of what we’re writing for––sometimes a temp score––and we use our imagination. Often it’s a sequel, so we know generally what we’re aiming for.�

Immediate Music has a pool of about 100 composers that they work with, though their core is a slimmer 15. The company is on track to create approximately 100 original pieces of music this year. The good news for readers is that Goren welcomes submissions from new talent.

Imperativa Records was founded in 2006 so that Goren could share his music more broadly. The label typically issues four records a year.

In December it released Dark Hero, compositions intended for brooding superheroes. Football is Epic, a recording of top European soccer team fight songs, was released in March. “These are songs people know and love,� Goren asserts. “You’ve got 50,000 people singing [them] together.�

Contact Greg O’Connor-Read - Top Dollar PR, greg@topdollarpr.com

20 September 2015

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Mic to Monitor USA 2015 Hosted by Manufacturers

Attend Free Seminars - delivering key insights into modern recording and mastering techniques and dispelling popular myths surrounding these processes

VIP Guest Speaker Edward J “UK” Nixon – Engineer for the J.U.S.T.I.C.E League

University of Michigan, Ann-Arbor, Michigan September 15th SAE, Chicago, Illinois September 14th Ball State University Muncie, Indiana September 12th

Cuyahoga Community College, Tri-C: Cleveland Ohio September 16th

Mix together a group of world renowned audio manufacturers with leading engineer Edward J "UK" Nixon, the resident engineer for the J.U.S.T.I.C.E League, who has worked with such luminaries as Drake, Mary J Blige, Jay-Z, Rick Ross & more to deliver an evening of thought provoking discussion and debate

Extra venues, dates and guest speakers across the USA to be confirmed

to register for your FREE ticket for Mic to Monitor USA 2015, please visit

http://www.prismsound.com/music_recording/studio_events.php

You can also register your interest in future events and seminars in your area.

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TouchMix digital mixers and K Series loudspeakers. Each remarkable products in their own right. Together, the combination of performance, versatility, ease of use and of course, genuine QSC reliability, is nothing short of amazing. Want to learn more? Go to QSC.com.

qsc.com © 2014 QSC Audio Products, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC in the U.S. Patent and Trademark Office and other countries.*Source:MI SalesTrak 2010, 2011,2012,2013. MI SalesTrak is a registered trademark of Marketing Information Services, Inc. in the US Patent office.

September 2015

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– ANDY KAUFMANN know when something’s going to pan out. I never thought the DJ was going to pan out and, boom, it hit. I want to have options out there so when one comes through I’ll be in the place for it.

Sujit Kundu Founder SKAM Artist

Years with Company: 10 Address: 1616 Vista Del Mar Ave., Los Angeles, CA 90028 Phone: 310-659-2970 Web: skamartist.com E-mail: sujit1@skamartist.com Clients: Blac Chyna, Amber Rose, Cassie, Jermaine Dupri, Nick Cannon, Justin Credible, Lil Jon, Havana Brown, Swizz Beats, Taryn Manning, Samantha Ronson.

BACKGROUND Sujit Kundu began throwing parties in high school, and from those early raves grew a production and DJ management company that landed a Top 10 hit with Shade Sheist. When that company disbanded, he kept the management side and rebranded it SKAM––Sujit Kundu Artist Management.

Party People I was throwing parties as a club/rave promoter. I was doing the better parties in Los Angeles and DJs were like, “Why don’t you manage us?” It seemed like a cool thing to do, but we weren’t making any real money. It was 15% of $35. Not really going crazy over it, right? Then it evolved. Lil Jon, already a Grammy-winning, platinum-plus artist, reached out to me, and I thought, “Oh shit, this might be real.”

Employee Turnover People’s understanding of what an agency does, versus what it actually is, are completely different. People sign up then six to 15 months in, they decide it’s not for them and we have to start over. We have 13 employees, but every time they turn over, the DJ has to start over with somebody new.

“People mistake agencies or a manager as a solution to their problems—‘If I’m not working enough, I’m going to get a manager and that will help me.’ It rarely works like that.”

Club Appeal I wasn’t attracted to the music as much as the business. When I started it was a more house, techno, kind of scene. Music is cyclical. When that scene hit a lull and hip-hop was emerging, I didn’t know much about hip-hop. But I was listening to songs on the radio, so I’d go to the record store, buy a CD, look at the back and call managers to see whom I could get to my clubs.

Not There Yet We’re the culture, so I wake up and go to sleep to it. Everybody I represent represents that as well. It’s great we can make a living doing it, but we didn’t set out to make a living. We didn’t know it was going to be what it is now. It’s just scraping the surface. We still have a long way to go. When people say, “Hey, congratulations,” it doesn’t resonate, because I don’t feel we’ve accomplished what I want to accomplish.

I’d like to see us with the big boys––CAA, William Morris—us recognized and competing at that level, doing arenas consistently. I want to diversify. I don’t want it to just be DJs. I’d love to see it evolve into a full-service agency.

You’ve Got To Be A Star It’s the music business, so I have to see an ability for us to be successful financially. Fifteen percent of nothing is nothing. We have to feel like we can do something together. People mistake agencies or managers as a solution to their problems––“If I’m not working enough, I’m going to get a manager and that will help me.”

It rarely works like that. I’m only as good as the talent. They make it so I can do what I do.

Without them, there is no me.

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A Matter of Trust Usually, I don’t sit around and listen to demos.

[New artists have] to come from somebody I know. Maybe the DJs, a club owner or a promoter—someone I work with or trust will tell me. If they say, “Yo, this is something you need to check out,” I might check it out.

The Dotted Line I don’t really do contracts. It’s an open door policy. If they’re unhappy, they can leave. We take 15%. There’s not much flexibility around that, but an artist with considerable earnings can maybe negotiate that down.

You’re Driving We’re diligent, responsible and accessible. We reach out to everyone. Communication is key.

But ultimately, it’s up to the artist. They drive their career; we make sure they stay out of trouble and get paid. I can decide what offers are good and which are not, but if offers aren’t coming in then it’s kind of a moot point.

SKAM App People always ask, “Hey, who’s DJing tonight?”

And I say, “Go to my website.” Nobody wants to do that. Finally, I decided I’ll make an app that will tell people if you’re within 100 miles these are the DJs who are playing. We took a stab at it, but during the time it took me to figure it out, all of a sudden there are Androids. That’s not something I planned for when I was doing an iPhone app. I use an Android, I’m the one who’s spearheading it, and I can’t even show it to you.

We’re redoing our website right now and we’re going to take another crack at polishing the app.

Irons in the Fire There are things I take stabs at that aren’t necessarily successful, but hopefully one day will be. We sell merch and not any quantities to impact my business, but we’re trying. You never

The Secret is Luck At the end of the day, it’s 50% luck, 50% right place, right time if an act hits. Not necessarily because you’re a great agent.

It could just be because you were there and available. Your ability to duplicate it is what makes you a good agent.

A Day in the Life I wake up between 5:00 and 6:00 a.m. I look at my Blackberries and phone. I look at my phone first to see who’s texting me.

Depending where I’m at in the world, I’m getting updates from what’s going on in the clubs. I check Instagram if anything exciting happened. I’ll glance at the clock and if it’s too early I might go back to sleep. I might get up and try my computer, because we do a lot of international business, and those emails are already flowing. I also work for Epic Records and there’s a service called Mediabase that updates around 6:15; it tells you where your records are playing. After responding to emails, 7:00 will roll around, I’ll shower and go to work. I try to leave the office by 10:00 p.m., but it depends. Sometimes it’s later. I come home and watch TV until I fall asleep. I don’t force myself to sleep or stay awake. When I’m tired, I go to bed. That could be 9:00, 10:30, sometimes 2:30 a.m.

A Time for Every Genre, A Place for Every Style EDM had a great run. It’s leveling out, but will continue to be successful, especially top tier. The rest of dance music is going back underground.

Like I said, music is cyclical, so who knows what will be next? For now, it looks like hip-hop is back.

As population and technology grow, you can do whatever you like. In New York, you can do what you want on any night. Technology brings everyone closer. As time goes on, there are going to be more options.

Ideal Situations Everyone wants to be successful in a space that they’re not. More than anything, people want to work and once they’re working, they want to work in an ideal situation where they can express themselves musically. So if you’re a cool DJ, even though Vegas might be the better paycheck, play a festival for way less money because you can express yourself musically.

Do What You Love Find a balance between what you’re good at and what you enjoy. If it’s your time, then it’s your time. I wouldn’t chase something you’re not interested in. I wake up every day excited to go to work. People say you have no life, but actually, I have a great life.

– BERNARD BAUR

OPPS

CD Baby is hosting its first ever “DIY Conference” from Oct. 23 - 25 in Chicago, IL. The DIY Musician Conference will address the needs of independent musicians in today’s DIY marketplace. It will be held at the historic Congress Plaza Hotel, in the heart of the city, just a stone’s throw from Millennium Park. For details and tickets, go to diymusiciancon.com.

W Music Group, an artist management, music production and entertainment firm, is seeking songwriters and producers to manage and develop. The company is looking for the next superstar and they are using MusicXray to scout for talent. The lead exec for this opportunity is Tono Miakoda, VP of Artist Management at W Music.

He has worked with some top stars, including Michael Jackson, Whitney Houston, Destiny’s Child, Jessica Simpson, and Bonnie Raitt. For more information, visit musicxray.com. It costs nothing to join the site, which has recurring opportunities.

INgrooves Music Group, a distributor of independent music, is looking for urban and pop acts for a possible deal with their “INresidence” program.

They are inviting high-potential acts into the organization with full label, promotions, marketing and project-management services.

To be considered you must meet the following criteria: recent sales history or streaming success; consumer demand; strong social media and music following; tour base and fan support; good marketing plan; solid infrastructure;

and team support. If you have what it takes, submit your material for consideration at ingrooves.com.

Digital-single label deals are available at DigSin, a new model record label based in Nashville, TN. DigSin is looking for new music to work with and would love to hear what you have. Even if your music is not selected, they will let you know what they thought of it. With a focus on artist-friendly deals, smart marketing budgets and industry connections, DigSin positions its artists with more flexibility than most other labels. The current roster includes: Paradise Fears, Bronze Radio Return, Connie Lim, Jenn Bostic, Lauren Shera, Like Swimming, NNXT, Richard Barone and Stargroves. Go to digsin.com for additional details.

SplashFlood has launched a free music app that allows artists to upload and promote their music for music lovers who can discover new talent without monthly fees. On a mission to prove that real talent can come from anywhere, SplashFlood rewards artists through the app’s “Influence Builder.” With this unique tool, every time an artist listens to and rates a song, one of their songs gets listened to and rated by another artist of the same genre.

This gives artists the opportunity to get their music validated by other artists, which helps to increase their exposure to new listeners and potential fans. For further information, visit splashflood.com.

Record Producer Joe Solo (Macy Gray, Fergie, Michael Jackson, Sony, Universal, Apple) has announced his Malibu Beach House Music Success Retreat.

SETZER ROCKS CHRISTMAS Three-time Grammy winner Brian Setzer will release Rockin’ Rudolph—his first studio Christmas album in 10 years—on Oct. 16 via Surfdog Records. Setzer’s 18-piece band will support the album with the “12th Annual Christmas Rocks! Tour,” delivering a rocking and colorful holiday extravaganza. Additionally, fans have the opportunity to purchase a limited edition deluxe package of the album via PledgeMusic.

Produced by Peter Collins (Rush, Bon Jovi, Alice Cooper) and recorded in both Nashville and Hollywood, the 12-track record includes highlights such as “Rockin’ Around the Christmas Tree,” “Yabba-Dabba Yuletide” and “Rockabilly Rudolph,” among others. For the latest, visit briansetzer.com.

TAKE A TOKE FOR BOB Bob Marley’s 70th birthday year-long celebration, in 2015, continues with the release of two new box sets, The Complete Island Recordings and The Complete Island Recordings: Collector’s Edition. These two vinyl collections will drop Sept. 25, featuring 11 albums spanning a decade’s worth of Bob Marley and The Wailers’ releases on Island Records. Both collections will include Marley’s 70th Birthday logo and all nine Bob Marley and The Wailers studio albums recorded for Island Records, featuring some of their most celebrated releases, including Catch A Fire and Rastaman Vibration, their 1976 breakthrough album in the United States, along with two live albums, Live! and Babylon By Bus. For more info, see bobmarley.com.

Songwriters and musicians who want to accelerate their career now have an opportunity to get insider information about how to break through in today’s complex industry. Solo will lead this interactive experience designed to shave years of trial and error off of career growth. The workshop will be held in Malibu, CA, Oct. 16 - 18. For more, visit MusicCareerSuccess.com.

Tom Morello has partnered with Ryan Harvey of Riot-Folk Collective to launch Firebrand Records. Morello (Rage Against The Machine, Audioslave and The Nightwatchman) is furthering his commitment to standing up for justice by forming a label dedicated to releasing and promoting revolutionary music from around the world. “We are creating a home for politically uncompromising artists to broadcast their music to the world,” explains Morello. To learn more about the new venture, visit firebrandrecords.com.

For timely Opportunities and news, be sure to check out MC’s home page each day at musicconnection.com!

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

As Aerosmith gears up for their 2015 tour, they are releasing Aerosmith Rocks Donington 2014 on Sept. 4. The 20-song collection captures the legendary rock & roll hall of famers delivering a career-spanning show at the famed Donington Park in Leicestershire, U.K. in June 2014.

Filmed in high definition, the concert film—which premiered in February with a theatrical run—will be available in multiple formats.

In the liner notes, David Wild (Contributing Editor, Rolling Stone) describes the performance as having “the same kind of power and overwhelming passion that has always been at the heart of the live Aerosmith experience.”

Go to aerosmith.com for additional information.

Los Angeles pop band The Tide recently signed a recording agreement with Virgin EMI/ Universal Records (via label/ touring-mates The Vamps imprint).

They are repped by Prestige Management (Richard Rashman and Waddell Solomon), and represented legally by Ben McLane Esq. To check them out, visit thetideofficial.com.

Brian Burton, aka Danger Mouse, has announced 30th Century Records, his imprint in collaboration with Columbia Records. Beginning this fall, the world-renowned artist, songwriter and producer will oversee a label comprising artists he is personally signing. 30th Century Records will debut with Burton’s first signing, Autolux, who are currently at work on the full-length follow-up to 2010’s Transit Transit. For more, visit nastylittleman.com.

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– BERNARD BAUR

PROPS

The Smithsonian Institute’s National Museum of American History is profiling “Slayer: The Origins of Thrash.” The Smithsonian has posted a profile of Slayer as part of its “Places of Musical Innovation” exhibit— just in time for the release of the band’s new album, Repentless, which is set to drop on Sept. 11.

It is Slayer’s 11th studio album and is the first new effort since 2009’s Grammy nominated World Painted Blood. It is also likely the band’s most challenging album due to circumstances that occurred over the past few years, notably the passing of founding guitarist Jeff Hanneman and original drummer Dave Lombardo leaving the band. For further details, go to slayer.net.

Dolly Parton returned home to help raise money for her Imagination Library. Billed as Dolly: Pure & Simple, the four sold-out shows, which took place at Dollywood’s D.P. Celebrity Theatre, raised over $500,000.

Currently in Australia, Canada, the United Kingdom and the United States, Dolly’s Library has mailed more than 71 million free books to children. To contribute or to register a child, visit usa. imaginationlibrary.com.

Throughout 2015, entertainment icon Frank Sinatra, will be celebrated around the world with commemorative centennial events, exhibitions, new music and film releases. In conjunction with the

celebration, the definitive new Frank Sinatra 100 App, which explores Sinatra’s life and career, has been released worldwide at the App Store and Google Play. The free app is available for iPhone, iPad, iPod Touch and Android tablets.

This year, Alanis Morissette’s Jagged Little Pill reaches its 20th birthday. To celebrate the doubledecade milestone, the multiple Grammy-winning singer/songwriter has curated a special collector’s edition of her debut—an album that’s sold more than 33 million copies around the world.

This new four-disc Jagged Little Pill: Collector’s Edition includes remastered audio of the original album plus an entire disc of 10 unreleased demos from the era handpicked by Morissette from her archives. Also included is a previously unreleased concert from 1995 as well as 2005’s Jagged Little Pill Acoustic. The set will be available from Rhino on Oct. 30.

For more, visit alanis.com.

Carrie Underwood is the current Top Country Artist on RIAA’s Digital Single Ranking. The songs on Underwood’s Greatest Hits: Decade #1 demonstrate their mettle and metal as she earns new Recording Industry Association of America (RIAA) Gold and Platinum certifications of 4.5 million, making her the current top country artist with certifications of 28 million across 20 songs. The 28 million also places Underwood among the Top 5 females in the history of the RIAA’s Digital Single

DIY Spotlight Only On Tuesdays Serving up a dose of DIY reality amid melodic harmony, indie-pop band Only On Tuesdays (OOT) have truly put their heart on their sleeve with the release of the debut EP, Break Free.

Derived from the heartbreak of never feeling accepted or truly understood, front-woman Autumn Skibinski took her story and shared it not only through her music, but also with fans via a Kickstarter campaign.

Skibinski told her personal saga of heartbreak and despair on Kickstarter to help fund the band’s EP. People from various walks of life related to both her music and her story, successfully funding the act’s first record.

The campaign raised over $10,000, which allowed Only On Tuesdays to record their EP on their own terms and have full creative direction.

The band (Skibinski, Martin Valencia and Gabbs Casanova) worked with Grammy-nominated producer Bruce Witkin, who helped them craft and record the EP in his home studio.

The EP was released to a roaring reception attended by cheering fans, followed by a tour along the West Coast.

The title track was written under the same accord as the Kickstarter campaign, as lead singer Skibinski revealed the freedom she felt after breaking through her own personal insecurities. The music video for “Break Free” was released on YouTube, depicting the struggles some have with self-image while offering a selfdeprecating musical perspective.

For more information and to check out Only On Tuesdays, visit facebook.com/onlyontuesdaysmusic.

Have a successful DIY strategy to share? Email bbatmc@aol.com Program, in the company of artists such as Rihanna and Katy Perry.

Among Underwood’s newest certifications is a Gold Digital Single for her recent No. 1 single, “Little Toy Guns,” as well as her highest RIAA Digital Single honor to date: a 5x-Platinum certification for chart-topping blockbuster, “Before He Cheats.” Visit carrieunderwoodofficial.com.

THE BIZ

HARPER & HAWK: BOARDS + BANDS Skateboarder Tony Hawk and Grammy-winning musician Ben Harper teamed up to kick off the third annual “Boards + Bands” auction in Los Angeles, CA. It’s a special fundraising initiative that merges the worlds of skateboarding and music. Proceeds benefit the Tony Hawk Foundation, Boards + Bands, which pairs A-list award-winning music talent with some of the biggest skateboarders in the world through artful collaboration. “We have high hopes as we continue to further the Foundation’s mission of bringing skate parks to low-income communities around the world,” said Hawk. “And, it’s inspiring to see such an outpouring of support from this year’s collaborators,” added Harper. Visit tonyhawkfoundation.org/boardsandbands to learn more.

24 September 2015

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A “Metal Festival Controversy” has arisen. The 2015 Rockstar Energy Drink Mayhem Festival generated controversy earlier this summer after it was reported that festival co-founder Kevin Lyman blamed the event’s low ticket sales on the fact that metal has failed to produce new and younger headlining bands, allegedly saying that “metal got gray, bald and fat” and “chased girls away.”

Meanwhile, Cannibal Corpse drummer Paul Mazurkiewicz claims the attendance figures could have been avoided if organizers secured a bigger band than Slayer as a headliner. Slayer guitarist Kerry King responded, “The problem with this event lay not so much with metal bands themselves but with the way the festival was organized.” This controversy is heating up with

bands sniping at each other and no resolution is in sight.

Asian-American rock band The Slants have tried for years to trademark their name, but have been rejected twice by the U.S. Patent and Trademark Office.

They have an Oct. 2 hearing set at the Federal Court of Appeals in Washington, DC to decide the issue. Band founder Simon Tam (stage name: Simon Young) formally applied for a trademark in 2010, but an examiner rejected the application, saying that a substantial portion of the AsianAmerican community would be offended.

Tam tried again in 2011, arguing that there is nothing inherently derogatory or racist about the word “slants.” The trademark examiner again rejected the application.

“The context of the band is our ethnicity,” says Tam. “The Trademark Office stance seems to be that anyone can register a trademark for The Slants, except Asians. If our band had people of any other race that ‘context’ would be gone. This is racial discrimination.”

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.

– BERNARD BAUR

“TAXI Got My Music in a Big Budget Movie, Imagine What They Can Do For You” M

Gary Sredzienski – TAXI Member – www.garysred.com

y name is Gary Sredzienski, and I live in Kittery Point, Maine – about as far away from Hollywood as you can get in the continental United States. And, as you can see in the photo above, I play the accordion.

That’s how I earn my living – playing the most misunderstood instrument in the world.

I play it at weddings, retirement homes, Bar Mitzvahs, and in my surf-rock band, ‘The Serfs’.

Could this be you?

It was extremely unlikely that my music would ever be heard by anybody in Hollywood, let alone, get used in a major motion picture.

But that’s exactly what happened, and it’s all because I joined TAXI. A friend of mine at a local studio told me about TAXI. Soon after I joined, I saw an opportunity for accordion music.

I sent in my music, but didn’t really expect that anything would

happen. And for quite a while, nothing did.

Then I got a call from a music editor in Hollywood who got my music from TAXI. He told me he liked what he heard, and asked me to send him everything else I had ever recorded.

Billy Bob Thornton & me!

He called back again, and told me to expect a call from a music supervisor in Hollywood. A few days later, someone from Paramount Pictures called to ask if they could use two of my songs in the remake of ‘Bad News Bears’ with Billy Bob Thornton.

I tried to be cool about it, but I

could barely contain myself. We agreed on a deal, and a few months later, I found myself in a theater watching my name scroll by at the top of the music credits.

I can’t really find the words to tell you what an amazing feeling that was. I’ll remember it for the rest of my life.

What’s your story?

Are you one of those people who have been reading these ads and hearing great things about TAXI for years, but never got around to joining? Do you think your music isn’t mainstream enough?

You might be surprised by the opportunities TAXI will bring to you no matter where you live or what you play. If your music is really top notch, and somebody needs what you’ve got, then TAXI can change your life.

Make the call. If they can help me get a deal, just think about what they can do for you!

The World’s Leading Independent A&R Company

1-800-458-2111

September 2015

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AUTOMATIK EDEN Date Signed: February 2015 Label: Spectra Records Band Members: Cela Scott - vocals, guitar, synthesizer; David Crocco vocals, guitar, drums.

Type of Music: Electronic Rock/Rock Management: N/A Booking: David Crocco - Automatik Eden, info@automatikeden.com, 323-273-7744 Legal: Ben McClane - McClane & Wong, 818-587-6801 Publicity: Dan Del Campos - Pop Culture Image, 310-314-2790, popcultureimage@outlook.com Web: automatikeden.com A&R: Bobby Collins

R

ecord an EP and send physical copies to record labels? That sounds like an exceptionally ‘90s approach to getting a record deal. But don’t write off the old-school tactic. It’s an approach that paid off for Los Angeles-based band Automatik Eden after they found a mentor with a feel for the business.

“Our friend Christopher Jelley is kind of the artistic director of our band,” guitarist David Crocco says. “He’s this sort of English gentleman from Surrey who grew up when it was all happening: David Bowie, Marc Bolan. Many of our musical interests align. Over the past few years he’s taken us under his wing and encouraged us not to lose faith.”

“He advises us on our look,” vocalist Cela Scott adds. “Fashion is something that’s important to us. He also directed our music video for ‘Gold to Straw.’ He wanted us to put an EP together with the intention of sending it to record labels to try to get some interest. It seemed impossible that anything would come of it. Who opens envelopes anymore?”

“It seemed impossible. Who opens envelopes anymore?”

“Because of the faith and time that he put in, we agreed to do it,” Crocco explains. “We mailed about a hundred copies of our EP and within a week or so the owner and president of Spectra Music Group [Bobby Collins] got back to us and said that he was interested. Being able to talk to the owner, who was so open, it became a no-brainer. They’re a fantastic label with fantastic artists. It’s just one of those things. The timing was right and the label head is into the type of music that we do.”

Automatik Eden’s EP Gold to Straw was reviewed recently in Music Connection and earned a 7/10 rating. Currently the band is working on a full-length album, which they aim to release early next year. A single is expected sometime around December. The band has also recorded “Captain of My Soul,” the theme song for “Star Trek: Renegades,” an upcoming Star Trek pilot episode in which Scott also appears.

– Rob Putnam 26 September 2015

musicconnection.com

KATE DAVIS

Date Signed: July 2015 Label: Concord Records Type of Music: Pop/Jazz Management: David Lai - Park Avenue Artists, david.lai@ parkavenueartists.com, 929-265-7275 Booking: Kevin Kastrup - Paradigm, 212-897-6400 (North America); ICM (International) Legal: Robert Meitus - Meitus, Gelbert and Rose, 317-464-5366 Publicity: Mike Wilpizeski - Concord Music Group, Mike.Wilpizeski@ concordmusicgroup.com, 718-459-2117 Web: katedavismusic.com A&R: John Burk

A

Portland, OR native and current New Yorker, Kate Davis has played music almost since she could walk. A graduate of the Manhattan School of Music, she majored in upright bass. Last year Davis was invited by Postmodern Jukebox’s Scott Bradlee to perform a jazz-leaning rendition of the Meghan Trainor hit “All About That Bass.” The video went on to earn more than 13 million YouTube views since it was posted last September. Naturally, this attracted serious label interest.

“I was lucky to have been a part of that,” Davis observes. “It opened a lot of doors as far as people who are potentially interested [in signing her]. My name and reputation changed because of that video. I was able to meet a lot of people in the music business and also connected with the

“My name and reputation changed because of that video.” guys at Concord. We got to talking and they were interested in the things that I was writing on my own. We spoke for a while and it seemed like I’d be a good fit with them.”

Davis doesn’t recall specifically how she was introduced to Concord, but feels that it was ably conjured up by her manager. “David Lai is wonderful,” the singer asserts. “He’s connected to many people in the industry. The good news is that meeting with Concord always felt like a comfortable, familial thing instead of a weird music business situation. I met with [label head] John Burk and others at the label in L.A. and they were eager for me to understand how they work. That was wonderful and it made my decision clear.”

Davis is currently writing material for her as-of-yet untitled album, which is targeted for a spring 2016 release. She continues to play a range of venues across New York City, including Lincoln Center for the centennial celebration of Frank Sinatra. She was also tapped recently to play the American Voices Concert at the Kennedy Center in Washington, D.C. when the featured vocalist was taken ill. Her version of “I'm Gonna Lock My Heart” was featured on PBS’ Great Performances. – Rob Putnam

ALFA

Date Signed: March 2015 Label: Pacific Records Type of Music: Indie Folk/Pop Management: Paul Condon, mgmt@alfa-music.com Booking: mgmt@alfa-music.com Legal: N/A Publicity: Pacific Records Web: alfa-music.com A&R: Gary Hyde, gary@pacificrecords.com

H

ard work and remaining true to oneself is the name of the game for singer/songwriter Alfa Garcia. Born into a musical family, it was only a matter of time before Garcia eventually found herself turning away from the conventional nine-to-five to pursue a career as an indiepop songstress. Even with her catchy mixture of folk and pop, it wasn’t Pacific Records that started the conversation with Garcia and her team, but rather her manager Paul Condon who reached out to them. He was on a quest to find a label that he believed fit his artist’s philosophies and approach to her artistry when he discovered Pacific Records. Soon after contacting the label, they heard back and the rest is now history.

“Really, it came about by him doing his research and then reaching out to the A&R guy over there,” Garcia says, stressing the importance of getting in touch with labels and starting a conversation with them first. “They were like, ‘We’re so happy that you approached us!’” Garcia recalls. “Basically, they said that they weren’t sure if they would have found me, since they’re based in San Diego.”

“They were like, ‘We’re so happy that you approached us!’”

The label, which is looking to extend to a more global reach after conquering the local scene, outfitted the singer with a two-year, two-album deal that also includes a publishing deal.

“I give them so much props because they pretty much gave me creative control with this record deal,” she said. “They basically said ‘We like what you do and we just want you to keep doing it.’ That’s the kind of deal you want! You don’t want one where they like your look but want you to write songs more like XYZ.” Since this interview, Alfa has opened for Sam Smith at the Valley View Casino Center in San Diego on Aug. 11, and toured in the Philippines in May. She is currently working on her album, set to be released on Pacific Records in 2016. – Victoria Patneaude

HIBOU

Date Signed: April 6, 2015 Label: Barsuk Records Band Members: Peter Michel; Brian Mendez; Jake Lindsay; Jay Clancy.

Type of Music: Pop Management: PhoneHome MGMT - erindavidtate@gmail.com Booking: Dan Rozenblum - The Agency Group, danrozenblum@ theagencygroup.com Legal: Vlad Radovanov - vlad@vladradlaw.com Publicity: Lisa Gotheil/Grandstand Media and Management, 646-4100765, lisag@grandstandhq.com Web: facebook.com/hibouband A&R: Jim Petosa, jim@barsuk.com

P

eter Michel wasn’t seeking a label for Hibou, his pop-surf-rock project, but then his manager, Erin David Tate––who’d been sending demos––blurted, “Let’s go get breakfast with Barsuk.” A fan of the label’s Death Cab for Cutie and Laura Gibson, among others, Michel salivated at the prospect of following in the footsteps of artists he’d grown up admiring. A series of meetings commenced and the Seattlebased label ultimately declared its desire to make the partnership official.

The singer/songwriter had been scoped out for some time before Barsuk made their presence known. Besides hearing music from the band’s self-produced EP, Barsuk spied Hibou’s performance with Surfer

“While Hibou remains a band, it’s technically a solo project, making the decision all his.”

Blood at Sunset Tavern, unbeknownst to Michel. On top of the group’s persistence, the label responded positively to the outfit’s ‘80s-drenched, new wave aesthetic.

Barsuk’s artist-friendly perspective comforted Michel into signing the three-album agreement. Beyond repeatedly visiting the label’s offices and having a marketing plan outlined, he was assured no decisions would be made without his explicit approval. “That’s what you really want in a label,” attests the 21-year-old. While Hibou remains a band, it’s technically a solo project, making the decision all his.

Other labels displayed interest, but Michel’s attorney, Vlad Radovanov, tossed them aside on grounds their offers weren’t generous enough.

Barsuk Records’ contract exchanged hands an estimated seven times before the 27-page tome was finalized.

Michel offers pragmatic advice to those making their way in the industry.

“Be super-careful. There are a lot of people I know who have gotten ripped off.” Also, “Be nice,” as what goes around can often come around.

Hibou’s full-length debut arrives on Sept. 18th. – Andy Kaufmann September 2015

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Americana Music Festival & Conference

Imagem Inks Judith Hill Imagem Music U.S. has announced a new addition to its publishing roster–– soulful singer/songwriter Judith Hill. Beginning as a background singer for legends including Stevie Wonder, Elton John, Ringo Starr and Michael Jackson, Hill appeared in the Oscar-winning documentary 20 Feet From Stardom, and won the Grammy Award for Best Music Film for her participation. Read more at us.imagem-music.com.

Kevin Stanley Rides the Rails Los Angeles-based singer/songwriter Kevin Stanley hit the rails to promote his debut release Mission Pacific.

Traveling Amtrak, he documented the journey on video, and made stops along the way for performances. Give a listen at kevinstan leymusic.com.

Each year, the Americana Music Festival & Conference brings together legendary artists, the next generation of rising stars and industry professionals for four days of music and education. The event will take place Sept. 15 - 20, gathering thousands of artists, fans and industry professionals from all over the world in Nashville, TN. The Americana Music Conference features numerous panels, seminars and much more, proudly providing Nashville’s most educational music industry forum. This special event covers the interests and needs of artists, managers, labels, radio stations, publishers, agents, promoters, retailers, legal and business affairs executives, merchandisers and new media professionals––all enthusiastically attended and presented by music industry leaders.

The Association will host its 2015 Lifetime Achievement Awards during the event. The winners this year are Ricky Skaggs, Gillian Welch and David Rawlings, Don Henley, Buffy Saint Maire and Los Lobos, all of whom will be on hand at the Ryman Auditorium on the evening of Sept. 16 to perform.

Tickets to the 2015 Americana Music Awards are only open to those who register for the 2015 Americana Music Festival & Conference. More information about the conference and festival can be found at americanamusic.org.

ASCAP Foundation Ragovoy Workshop

The Jerry Ragovoy Songwriters Workshop, presented by the ASCAP Foundation, focuses on the discovery, development and education of a select, advanced group of songwriters. The workshop features prominent guest speakers, giving advice on topics including A&R, music publishing, artist management, legal issues, etc.

Franco Eyes Lana Del Rey

Karen Clark Sheard and ASCAP In Georgia Gospel star Karen Clark Sheard and ASCAP hosted a listening party for her latest CD, Destined to Win, held at Fresh Start Church in Duluth, GA where Sheard sat down for an interview and Q&A with the attendees. Pictured: Clark (r) receives a hug from interviewer Joncier Rienecker, Associate Director Creative Services, Rhythm & Soul (Gospel/Urban), ASCAP. 28 September 2015

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Actor James Franco wrote an essay about Lana Del Rey for V Magazine earlier this year, and will follow that up with an entire book about the singer. Coauthored by writer David Shields, the 100-page text is titled Flip-Side: Real And Imaginary Conversations With Lana Del Rey.

There is no fee to participate in the workshop; however, chosen participants will be responsible for their own transportation, housing and all other living expenses and must be able to attend all four sessions. Dates of the New York workshop are Sept. 14, 15, 16 and Oct. 7.

How to apply: Submit two original songs with lyrics, along with a brief resume or bio and a written explanation as to why you would like to participate in the workshop.

Applications may be sent to RagovoySongwritersWorkshop@ gmail.com. The deadline for applications is Sept. 1.

Nashville Songwriters Hall Inductees

Four of country music’s most prolific, highly regarded tunesmiths have been named the newest members of the Nashville Songwriters Hall of Fame. Rosanne Cash, Mark James, Even Stevens and Craig Wiseman will join the 196 current members enshrined in the Hall of Fame during the 45th anniversary gala set for Sunday, Oct. 11. The announcement was made at a special event with songwriter Pat Alger, who also serves as chair of the organization’s board of directors, doing the honors.

James (Elvis Presley and Willie Nelson’s “Always on My Mind,” B.J. Thomas’ “Hooked on a Feeling”) and Wiseman (Tim McGraw’s “Live Like You Were Dying,” Kenny Chesney’s “The Good Stuff”) will be recognized in the songwriter category, while Stevens (Eddie Rabbitt’s “Drivin’ My Life Away,” Conway Twitty’s “Crazy in Love”) will be the newest member in the veteran songwriter category.

Cash, whose self-penned No. 1 country hits include “Seven Year Ache” and “Hold On,” received the honor as this year’s songwriter/artist inductee.

The singer/songwriter was also recently named the Country Music Hall of Fame and Museum’s Artist-

– DAN KIMPEL dan@dankimpel.com

in-Residence for 2015. See nashvillesongwritersfoundation.com.

Durango “Sole Performer” Honors Competition

The Durango Songwriters Conference has announced that you have a chance to be Durango’s next Sole Performer for 2016. The prizes for this contest include a co-writing session with a Carnival Music artist, appearances as a Durango artist and more.

The grand prize for the 2016 Durango Sole Performer Contest includes an opportunity to sign an appearance contract with Durango and appear in Durango’s marketing materials; a Carnival Music co-writing session with an on-staff writer; individual feedback from music industry professionals; a Taylor Guitar; five pairs of Durango Boots; Wrangler Jeans apparel package; $10,000 cash prize to help kick-start your career; coverage in American Songwriter magazine and a round-trip to Nashville that includes two nights hotel and round-trip airfare.

There is no entry fee: To enter, all you have to do is submit one song/video at songspace.com/ contests#/durango-boots-soleperformer-2016.

American Songwriter Lyric Contest

For 30 years, the American Songwriter Lyric Contest has helped thousands of songwriters become involved in our community. Established in 1984, American Songwriter magazine sponsors six contests per year that run in conjunction with each issue published. Entrants should send lyric sheet only, no

cassettes or musical direction.

The winning lyric, along with three additional runners-up and up to 10 honorable mentions from each contest, will be published in the issue of American Songwriter that follows the deadline of each contest.

Up to 10 honorable mentions are recognized in each issue. Four finalists have their lyrics printed in American Songwriter Magazine.

One of the four finalists will also be chosen for American Songwriter’s one-page Q&A feature in the coinciding issue. First place winner receives a Gibson J-35 Acoustic Guitar and a legendary Shure SM58 Microphone. One First Place winner (selected from the year’s six winners) will win a round-trip flight (domestic only) to Nashville for a “Dream Co-writing Session” with country music singer/songwriter Elizabeth Cook. The winner will also receive a full band demo recording session at a Omni Sound Studios.

Past Grand Prize Lyric Contest winners have co-written with hit songwriters such as Ashley Monroe, Lee Brice, Hayes Carll, Chris Young, Rodney Crowell, Bobby Braddock and Chris Stapleton.

This is a lyrics only contest. It is not necessary to have an Audio File attached to the lyric/song you would like to enter. Both Members and non-Members of Songspace. com only need to account for the lyric sheet for each song entry.

Upcoming Lyric Contest deadline is Sept. 15, at 11:59 P.M. (CST). See americansongwriter. com/lyric-contest/enter.

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

SESAC Signs Kesha and Green Day SESAC, Inc. has announced the addition of singer/songwriter Kesha Sebert and punk trio Green Day to its roster. Kesha has eight consecutive Top 10 hits under her belt, including four No. 1 singles. Green Day have sold over 75 million records, won multiple Grammys and toured the world several times. For complete info on these signings, go to sesac.com.

Quinn Moderates AIMP Disney Panel Barbie Quinn, Associate Director of Distribution & Administration Services for BMI and Executive Director of the Association of Independent Music Publishers (AIMP), moderated the Association’s panel, “Disney: The Story of a Soundtrack,” in Beverly Hills. Pictured (l-r) at the event: Barbie Quinn; Chris Montan, Disney; Henry Jackman, composer; Tom MacDougall, Disney and Pixar Animation Studios; and Kaylin Frank and Mitchell Leib, Disney.

DRX Showcase At the DRX Artist Showcase, held at 3rd and Lindsley Bar & Grill, American Idol alum and rising country artist Bucky Covington hosted performances by the Digital Rodeo artists accompanied by the Digital Rodeo house band. Pictured (l-r): performers Denny Strickland and Emily Minor; Bucky Covington, Guest Host; John Pyne, President of Digital Rodeo; and Rylie Lynn, Allison Bray and Ben Rue, performers.

Whitney Rose: Honky-Tonk Girl Heartbreaker of the Year, the latest full-length from Canadian singer/songwriter Whitney Rose, reveals the singer’s deep reverence for traditional country music. Recorded in a mere four days, the album is produced by The Mavericks’ frontman, Raul Malo. Check her out at whitneyrosemusic.com.

September 2015

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Bob Thiele Jr.

The Forest Rangers Ride With Sons of Anarchy

By Dan Kimpel

S

een over the FX Network from 2008 - 2014, the biker drama Sons of Anarchy amassed a loyal audience. Integral to the series’ oeuvre was the music: key songs reimagined; emerging artists showcased and lyrics and music written expressly for the show, including the 2009 Emmy-nominated theme song, “This Life,” and the 2015 Emmy-nominated “Come Join the Murder.”

The musical conduit on the show was Bob Thiele, Jr., a songwriter, musician and Sons of Anarchy’s music director who assembled a remarkable house band called The Forest Rangers. Now, Thiele continues on the band for Land, Ho! featuring artists Audra Mae, Battle Me, Amos Lee, Alison Mosshart, Billy Valentine and the actress/vocalist and one of the show’s leads, Katey Sagal. Among the key musicians are steel guitarist and mandolin ace Greg Leisz, bassist Davey Faragher, drummer Matt Chamberlain and keyboardist and string arranger John Philip Shenale. Thiele collaborated on the songs with longtime friends and colleagues Tonio K and Dillon O’Brian with Dave Way producing the project.

“We all truly appreciate each other, and I think that’s pretty evident on the record,” notes Thiele.

Thanks to the television show, The Forest Rangers have a built-in audience for their music and funded the record project through a PledgeMusic campaign. “We sold millions of downloads of the songs from the show through iTunes and Amazon. If you go to YouTube, there are multiple songs from the show with millions of views.

As a music supervisor, I know how essential it is for artist and writers to get songs on TV shows. It’s not just about the money, it’s about the exposure,” says Thiele.

Artists heard on the show, like White Buffalo and Noah Gunderson also gained significant career traction. Audra Mae was signed as a songwriter to Warner-Chappell Music, where Thiele discovered her. When he needed a vocalist to sing the Bob Dylan classic, “Forever Young,” on Sons of Anarchy, he reached out. “This was an opportunity to create a grand slam, to find these voices that could help the narrative on the show and the song,” Thiele recalls. “Audra Mae was an indie artist, getting 20 or 30 hits a day on social media. The day after the show aired she started getting 30,000 hits a day. Television is beyond powerful.”

The 11 songs on Land, Ho! span a range of genres from Americana to bluesy roots rock to epic soulful ballads. With a stunning string arrangement courtesy of John Philip Shenale, the song “I’m Alive” is an emotional touchstone as Thiele evokes an intimate wistfulness in his vocal performance. “I never sang any of the songs on the show,” he says. “‘I’m Alive’ is probably the first song I wrote for the record that I could sing. Tonio K wrote most of the lyric but I had the chorus. I didn’t know what the chorus meant, but maybe life and survival: We can’t really feel the emotional pain that we went through five years ago. Maybe that is one of the gifts of our existence.”

Thiele’s father, Bob Thiele Sr., a songwriter who very famously co-wrote the classic song “It’s a Wonderful World,” was a noted record executive and producer. “I had the good fortune of growing up around music and being exposed to so much––it was never ending,” says Thiele, who has had many songs recorded in his career as a writer.

While The Forest Rangers came together for a concert in Los Angeles, Thiele doesn’t envision a full tour. “We enjoy it for the company––but not when it’s an uphill struggle to do it. Maybe we will do a couple of local shows or maybe a Christmas show. We do a great version of chestnuts roasting on an open fire...”

Contact Chloe Lauter, Press Here Publicity, clauter@pressherepublicity.com

30 September 2015

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DROPS

On the heels of the band’s summer tour, concert film Aerosmith Rocks Donington will be released Sept. 4, featuring a June 2014 headlining performance by the Rock and Roll Hall of Famers at Download Festival at Donington Park in Leicestershire, U.K. Aerosmith’s film, which premiered successfully in February, will be released in high definition on Blu-ray, DVD and in digital formats. Twenty songs span the length of the band’s career, from “Janie’s Got a Gun” and “I Don’t Wanna Miss A Thing,” to “Dream On” and “Walk This Way.” Contact Aaron Feterl at Aaron@MSOPR. com for more information.

KEITH RICHARDS brother and Taste road manager Donal Gallagher makes an appearance in the film along with Brian May of Queen, The Edge of U2, and more. Check out the trailer at tinyurl.com/okptqba or email Carol Kaye at Carol@ KayosProductions.com for more information.

On Sept. 18, Eagle Rock Entertainment will release What’s Going On – Live At The Isle Of Wight Festival 1970 by Taste. DVD, Blu-ray, 2LP, CD and digital formats will be available for the first-ever video release of the legendary performance, which captures the story of the short-lived Irish rock band formed in 1966 by guitar legend Rory Gallagher. After releasing only two studio albums in 1969 and 1970, the group disbanded shortly after its summer Isle of Wright Festival performance. Gallagher’s

Though a release date is pending, production meetings have begun for the documentary film Ferocious Drummers, a creation by writer and director Billy McCarthy to dig into the cultural and historical origins of drumming as well as the stories of several legendary musicians who set the pulse for their bands. The cast includes Max Weinberg of Bruce Springsteen’s E Street Band, Marky Ramone of The Ramones, Questlove, Larry Mysliwiec of Iggy Pop, Bun E. Carlos of Cheap Trick, Hal Blaine and more.

The crew is also in discussions with corporate

FEROCIOUS DRUMMERS

sponsors for The Drum Off, a live drumming event created through Ferocious Drummers. For details, visit FerociousDrummers.com or email 12FerociousDrummer@gmail. com.

Premiering Sept. 18 only on Netflix, Academy Awardwinning director Morgan Neville’s original documentary, Keith Richards: Under the Influence, will examine the influences that molded The Rolling Stones’ iconic guitarist, from electric blues to honky tonk as well as interview the artist himself as he creates his first solo album in 23 years.

Produced by Oscar- and Emmy-winning producers, RadicalMedia (What Happened, Miss Simone?, The Fog of War), the film features stops in Chicago where Richards first crossed paths with Buddy Guy, Muddy Waters, Howlin’ Wolf and Chess Records; Nashville where he explored country music; and New York where he recorded his new album. Renowned songwriter Tom Waits also weighs in on his longtime friend’s musical career. Contact Cara Hutchison at CHutchison@rogersandcowan.com for more information.

Twentieth Century Fox Home Entertainment honors the 1975 cult classic Rocky Horror Picture Show with a 40th anniversary release on Blu-ray, DVD and digital formats on Sept.

22. Tim Curry, Susan Sarandon, Barry Bostwick and Meat Loaf star in the film about a young couple who encounter trannie scientist Dr. Frank-N-Furter after their car breaks down in front of his mansion. The fall re-release will feature deleted musical scenes, 11 outtakes, commentary from O’Brien and Patricia Quinn and more. Limited edition packaging, fishnet stockings and a soundtrack are included in the Ultimate Collector’s Edition. Contact Mitzye.

Ribas@ThinkJam.com.

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– JESSICA PACE j.marie.pace@gmail.com

JOAN MARCUS

Out Take

JANIS JOPLIN Marilyn Manson stars alongside Sons of Anarchy’s Mark Boone Junior and Niko Nicotera in filmmakers Corey Asraf’s and John Swab’s first feature-length, Let Me Make You a Martyr. Due out in theaters next year, the drama follows a brother and sister as they try to take down a crime ring run by their abusive adoptive father. Manson stars as the hitman appointed by their father to take down the siblings. Contact Deb Pressman at Debbie@Girlie. com or Michaela Boyce at Michaela@Girlie.com for more information.

considered. Contact booking manager Natalie Sharp at BlogKompletPR@gmail.com.

Novices can get a crash course on the ins and outs of film and video production through the East Los Angeles Skills Center.

The center is located at 3921 Selig Place in Los Angeles and teaches skills related to cinematography, documentary filmmaking, editing, creating a web series and more. Contact 323-224-5970 for more information.

PROPS

Due to popular demand, A reissue of the 1972 The Pasadena Playhouse recording Tommy will be MARILYN MANSON extended A Night with released to fans of The Janis Joplin through Aug. Who on Sept. 11, featuring 23. Directed and written by performances by the London Randy Johnson, with choreography by Patricia Symphony Orchestra and Chambre Choir Wilcox and musical direction by Tyler Evans, with Pete Townshend, Roger Daltrey and the production celebrates the ’60s musical icon John Entwistle of The Who whose life and career ended as well as Rod Stewart, all too soon as well as her Ringo Starr, Steve Winwood, influences from Aretha Franklin Merry Clayton, Richie to Nina Simone. The show was Havens, Sandy Denny, nominated for a Tony Award Maggie Bell, Graham Bell and stars Tony nominee Mary and actor Richard Harris. The Bridget Davies and Kacee re-mastered set, available on Clanton, who both participated CD, vinyl and digital formats, in the Broadway production will be released via Lou and alternately play the role Adler’s Ode Sound & Visual of Joplin. The production will Records. For details, contact tour through the fall, including Marcee Rondan at Marcee@ Denver and will be routing MSOPR.com. through next spring. For up-to date info see anightwithjanisjoplin.com.

OPPS

Weekly podcast Video Marketing Madness offers tips and tricks of the trade for those in the industry, focusing on YouTube and Facebook.

To stay updated on business trends, contact cohost and producer Steve Sleeper at Steve@ SteveSleeper.com for booking inquiries.

KompletPR Radio Networking Show wants to interview new or independent artists and musicians, music producers and A&R representatives from all types of labels, authors of music books, and other music experts. The show also features a 15-minute “Have Your 15 Minutes of Fame” segment for musicians.

Interested guests must have an album or three or more songs to promote, and a following of 1,000 or more on Twitter or Facebook to be

Nine-time Grammy-winning songwriter and producer John Legend and business partners Mike Jackson and Ty Stiklorius will executiveproduce WGN America’s television series Underground. The three’s L.A.-based film and television production company, Get Lifted, will also choose the score, soundtrack and oversee music production for the project. The premise of the original series entails plantation slaves who band together to fight for their lives, families, future and freedom. For complete details, contact Rita Cooper Lee at RCooperLee@ TribuneMedia.com.

JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. pace@gmail.com.

David Barbee Sound Designer, Editor

Contact: Martina McConnon at Martina@MusicMarcom.com Web: LinkedIn.com/Pub/DavidBarbee/b/147/973 Most Recent: NBC’s Blindspot Known for his work on CSI: NY, Mad Men, Angel and The Number 23, Los Angeles-based sound designer and sound effects editor David Barbee’s latest project is the NBC TV drama series Blindspot, which is set to premiere this fall. Barbee got his start in the field out of college, spending his off hours learning to edit.

Working on a television series, Barbee says sound effects libraries are essential in his line of work for a quick turnaround.

“With feature work, you do a lot of your own recording. Television doesn’t have the budget or timeframe; you turn out one episode a week. When you do that, you have to answer quickly, and it’s a lot of making a square peg fit in a round hole. Having a diverse library and having sounds at my disposal is the name of the game. Pro Sound Effects is a way to get started if you’re freelancing,” Barbee says.

After working with heavy hitting companies like Sony and Warner Bros. in the past, Barbee launched on his own almost four years ago. As a freelancer, Barbee says knowing a lot of people in different places and always looking for the next project are key to getting consistent work. And not delivering is not an option.

“When something is on a short timeframe, you have to make a decision––do I just not sleep? Do we bring in someone else to assist? It’s about time and organization.

I found I have to get my head focused on one thing and know how far I can go.”

Blindspot is set to premiere Sept. 21 on NBC.

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Bryan Kills the Lights

SCOTT PERHAM

Irving Plaza in New York City was the site for an exclusive performance by country artist Luke Bryan who’s promoting the release of his new album, Kill The Lights.

Good Vibes in Seaside

KEVIN MAZUR/GETTY

The Gathering of the Vibes festival returned to Seaside Park in Bridgeport, CT to commemorate the 20th anniversary of the death of the Grateful Dead’s Jerry Garcia. The four-day event featured camping, the beach, vendors and two stages of performances including Warren Haynes, Gregg Allman, Wilco, Ben Harper, The String Cheese and the Grateful Dead’s Billy Kreutzmann with his new band, Billy and the Kids (pictured). For full coverage, visit musicconnec tion.com/gathering-vibes-20th-celebration-garcia.

The Most Positive Experience

JIM DONNELLY

Jane Scobie and GINGIO hosted a red carpet event at the Ocean Prime Restaurant in Beverly Hills, CA. This was the official launch of Jane Scobie Event Planning - “The Most Positive Experience.” Many guests from the international music, film/TV and fashion industry attended the event to network and be seen. Pictured (l-r): Brian Stewart, Jane Scobie, John Greenham, Candace Stewart, Skip Saylor, Lenise Bent and GINGIO. For more information, visit Janescobieeventplanning.com and gingio.com.

Stay With Smith in San Fran The Outside Lands festival succeeds in providing an eclectic arrangement of acts on every stage and plenty of immersive experiences to round out the weekend in San Francisco. Main stage headliners, including Mumford & Sons, The Black Keys and Sir Elton John, each put on great performances along with a lineup of new and established acts. Pictured is Sam Smith. For more details, visit musicconnection.com/outside-lands-2015.

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Buddha Global Launches at Universal Mastering Buddha Global, a new marketing and social media management company, along with co-sponsors LAWIM and Universal Mastering, celebrated their launch with a party at Universal with a “who’s who” of producers and engineers. Pictured (l-r): (front row) producer Ross Hogarth, engineer Lenise Bent, producer and Buddha Global client CJ Vanston, Smile Records President Tony Valenziano; (back row) guitarist Jimmy Imperial, Universal Mastering Studios General Manager Nick Dofflemyer and Buddha Global founder Bridget Gardner.

– SIRI SVAY siri@musicconnection.com

Tidbits From Our Tattered Past

1985–New Music–#20 TOM LONG

In addition to profiles of Emmet Chapman and Seymour Duncan, this issue spotlighted guitarist Nils Lofgren of Bruce Springsteen's E Street Band. Formerly a sideman with Neil Young and a cult figure solo artist, Lofgren had this to say, "There's nothing about being a cult artist that turns me on, other than that some people is better than none."

Selling Out and Shaking Up The Greek With as much soul as precision, Brittany Howard (pictured) and her bandmates in The Alabama Shakes headlined the idyllic open-air Greek Theatre on a warm summer night in Los Angeles. (Blake Mills was the opener.) Beaming, but with little to say between songs, the fiery frontwoman belted out tunes from the band’s two chart-topping albums. Despite the absence of “Hold On,” the sell-out crowd went home happy. (Read MC’s feature interview with Howard at musicconnec tion.com/alabama-shakes-success-songwriting.)

EOPF Gets a Little Help From Their Friends Actor Joseph Marcell was a special guest at an Environment of People Foundation (EOPF) meeting to discuss their upcoming annual “New York in Hollywood” charity event at the CBS lot in Studio City, CA on Oct. 4. Pictured (lr): EOPF Board President Dennis Dreith; Marcell; Sonia Maddox Upchurch; EOPF Board Treasurer Shari Hoffman; and EOPF Board Secretary Terry O’Neil. For more information, visit EOPF.org.

An Electric Sunset in Burbank

2002–Film Composers–#21

PERFECT DAVID KLEIN CIRCUIT AUDIO

Perfect Circuit Audio opened the doors to its brand new Burbank, CA retail store during a grand opening event, Electric Sunset, a daytime celebration featuring live hardware sets by an eclectic lineup of Los Angeles-based electronic musicians.

Inside the store, attendees also tested out gear including vintage items, boutique and modular synthesizers, pro audio equipment and software.

Film scorer Rachel Portman (Belle, Dolphin Tale) was among our roundtable of composers when she advised, "Young composers should hang around film schools and persuade directors to score their films for nothing. That way you get experience and a tape that you can show to people." The issue also featured an article about "Song Placers" and a live review of Cheap Chick.

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Twenty One Pilots A Pair of Pop Pacesetters

By Rob Putnam

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Columbus, OH-‐based band Twenty One Pilots (TOP) self-released two records before things started to take off for the duo of Tyler Joseph and Josh Dun. After years of self-imposed labor in the hardscrabble local scene, the pair signed a deal with Atlantic subsidiary Fueled By Ramen. The band’s career has been locked in overdrive ever since. While its first major release—2013’s Vessel— fared respectably, 2015’s Blurryface raised the stakes exponentially, debuting at No. 1 on The Billboard 200 album sales chart.

In the early days, the band fought for every second of stage time. Now the two commonly find themselves on festival main stages across various continents. Indeed, the band hit the big stage at Chicago’s Lollapalooza this year. In a more modern and immediate measure of popularity, its YouTube channel has so far raked in nearly 30 million views. It seems unlikely that the band’s fortunes will begin to wane anytime soon. Music Connection caught up with Joseph and Dun while they were in Hong Kong. They shared some insights on starting out, moving forward and Blurryface.

Music Connection: Tyler and Josh, you’re both from Columbus. What guiding principles did you follow to steer your career upward?

Tyler Joseph: Josh and I started out as a local band. We had jobs and did a lot of travel on the weekends. We were very strategic about what shows we played and when. As a local band, your goal is to rise above the talent that’s there, taking it one step at a time. For us, Columbus was that first step. We always tried to outdo ourselves and wouldn’t play the same set every night. We slowly found this group of people that wanted to come out and see us.

MC: Were there surprises during those early days, Tyler?

Joseph: With each big show that we’d promote, the most surprising part wasn’t what we were doing on stage but how many people showed up. That had a lot to do with us being strategic about our shows. We didn’t promote many––like three or four a year.

The story gets blurry for us about how the music industry discovered that we existed. One day we woke up after selling out a venue in Columbus and there were a dozen labels that wanted to talk to us. That was a crazy moment for us. It’s when we realized that we could quit our day jobs.

MC: It seems that you were careful not to branch out of Columbus before you were ready. You didn’t even play shows outside of your hometown area until after you’d self-released two entire albums. So what’s your philosophy about growing a career?

Joseph: One of the things that Josh and I believe is that we have to continually outdo ourselves. We realized that whether we were a local band or a national act, we could have found ourselves getting into a groove, almost like a rut as far as what the show looks like and how the music sounds. Every time we’d do a hometown show, we’d change things.

MC: How did you take advantage of opportunities in Columbus in the early days?

Joseph: There were no opportunities. We had to email thousands of bars, clubs and promoters just to get on the bill for one show. Booking for yourself is a nightmare. But we put our heads down and asked people if we could play. There was never a bill that we turned down. We played every show offered to us. We created the opportunities by pouring everything we had into every live performance. When you work hard like that, the people that come out appreciate the show.

MC: These days it’s not easy to attract label interest. How did you land your deal with Fueled By Ramen?

Joseph: Starting out, we didn’t even know what it meant to get signed. One of the most important things about moving into a partnership [with a label] is to make sure that [you have] creative control. From what we could tell, Fueled By Ramen had the feel of an indie label because they had a smaller lineup. The people who work there are passionate about music and believe in artists having their own vision. A record label doesn’t want to make decisions for artists. Sometimes they have to when the artist thinks that it’s their job to drag them along. Fueled By Ramen understood exactly what we wanted to do and what we wanted to create. They got on board and loved it.

It’s been going great ever since.

MC: As live performers, how did you make the transition from small clubs to giant festival stages?

Josh Dun: From the beginning, we’ve looked at every stage as a challenge. When we first started, we were trying to get people’s attention and to get them to remember the show. When we began doing festivals, it was at a point where we had people’s attention, at least in the Midwest. We want fans to talk about [our shows] to their friends and family. Ten years from now, this will continue to be our philosophy. We’ll naturally put on a good show and we’ll always try to win somebody over.

Joseph: Festivals are way different than a headline show and they always will be. You don’t know who’s there or if they’ve ever seen you before. They may not know or even like us. There’s something really exciting about that.

MC: How important was it for you to self-release your first two albums (Twenty One Pilots in 2009 and Regional at Best in 2011)?

Dun: It was important to put in the time and get our bumps and bruises trying to do it completely alone. You learn a

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Quick Facts: The band’s name was inspired by the Arthur Miller play All My Sons in which a man is responsible for the deaths of 21 pilots after he knowingly sold inferior airplane parts during World War II. Total YouTube views for the first three Blurryface singles “Tear In My Heart,” “Fairly Local” and “Stressed Out” alone have reached nearly 28 million to date.

Following the band’s self-release of Twenty One Pilots in 2009, its sound began to transition from dark to something noticeably lighter.

TOP’s second self-release Regional at Best (2011) was the record that drew the attention of Fueled By Ramen. lot about yourself when you release your own music. You come up with your own plans and strategies, even though it’s not well thought out.

You realize that you have control of your art.

That’s important for an artist to understand. Now that we’ve moved into a partnership with a label, we’re able to fall back and rely on our instincts.

MC: Tyler, when you first started out, you worked with two other band members: Nick Thomas and Chris Salih. When they chose to leave in 2011, did you find it difficult to continue? Was it scary?

Joseph: There was a reason those two guys quit: nothing was happening. We didn’t have any money and we weren’t getting any shows.

I knew that as a songwriter I’d continue to write songs. I never had a band to quit, only one for

2013’s Vessel was TOP’s first record with Fueled By Ramen. Produced by Greg Wells (Adele and Katy Perry), it peaked at No. 10 on the Billboard Alternative Albums chart.

Early in the band’s history, its initial four-track demo was given away at shows.

Blurryface hit the streets two days earlier than originally planned. This was largely due to friendly competition with other bands that had records slated to drop the same week.

New York City-based Fueled By Ramen’s name is derived from the founders only being able to afford ramen noodles when the company launched in 1996. The 1998 release and subsequent success of the five-song EP Jimmy Eat World meant that meals soon improved.

which to continue writing songs in my basement. Because of that, I was able to stick with it a little longer. But during that process I’d met Josh. We were friends for about a year before we wrote anything together. I knew the night we met that this was the guy I wanted to do music with. After a year we realized that everything fell in line. It’s good to have history as a band. But it’s also important to realize what we have now.

MC: How much pre-production time do you put in before actually recording a new piece of material?

Joseph: Years. The day we released Vessel, I started production on Blurryface. I’d been writing, demoing and working on that record the entire time we were on tour. What’s great about this new record is that it’s influenced by live mu-

sic. We’d go up on stage, play a set in front of a bunch of people and come off. Then we’d set up a poor man’s version of a recording studio, whether that was on a bus, in a hotel room or backstage. We’d record and that’s where the album was born and where it continues to live.

It’s kind of cool to see that transformation happen, where a song is born in a live setting and it continues to live in that same live setting in the Blurryface tour cycle. When we walk into a studio, we have everything written, demoedout and ready to go. That’s why we could turn around and release the record so quickly after a three-year album cycle with Vessel. We’re proud that we were able to do that.

MC: How important are outside opinions when it comes to shaping your music and shows?

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Joseph: We both felt pressure going into this new record that wasnâ&#x20AC;&#x2122;t there before. People would say things like, â&#x20AC;&#x153;If they deliver the right record, itâ&#x20AC;&#x2122;ll go to this height and sell this many.â&#x20AC;?

There was some talk going around among the different partners that we have circling this project about getting in with different songwriters and super producers who manufacture hit songs. Since we had such a strong and powerful background of doing things ourselves, we were able to look at them and say, â&#x20AC;&#x153;Listen: you have to let us do what we want to do.â&#x20AC;? And they did; they went away, although the pressure didnâ&#x20AC;&#x2122;t.

When we wrote this record, there were times of insecurity; times where we felt doubt. But when we were done in the studio, it was just me and Josh looking at each other saying, â&#x20AC;&#x153;Do we like this?â&#x20AC;? When the answer came back â&#x20AC;&#x153;Yes,â&#x20AC;? we went with it. Thereâ&#x20AC;&#x2122;s almost a kind of blind ignorance to writing and recording music when itâ&#x20AC;&#x2122;s just two guys looking at each other saying â&#x20AC;&#x153;Do we like what this sounds like?â&#x20AC;? So, yes: there was some outside pressure. But we were able to zip through it and come up with something that truly represents who we are.

Joseph: There are multiple songs on the record where the vocals were kept from the demos. In that moment that Iâ&#x20AC;&#x2122;m writing those lyrics in that particular hotel room, you can hear me holding the microphone up to my face and saying words for the first time. What was great about the producers we worked with was that they were able to remove themselves from the situation to do what was best for the song. Sometimes what was best was to keep a lot of the demo stuff.

Iâ&#x20AC;&#x2122;m thinking specifically of songs like â&#x20AC;&#x153;Polarizeâ&#x20AC;? and â&#x20AC;&#x153;Lane Boy.â&#x20AC;? Weâ&#x20AC;&#x2122;re just two guys and we donâ&#x20AC;&#x2122;t get too crazy [in the studio]. Weâ&#x20AC;&#x2122;re all about getting the songs done.

MC: Blurryface was released two days earlier than originally plannedâ&#x20AC;&#x201C;â&#x20AC;&#x201C;May 17, a Sunday.

Tuesdays were the traditional release day.

What influenced that choice?

Joseph: Whatâ&#x20AC;&#x2122;s interesting about the music industry is that artists are competitive. When

you watch them talk to each other, thereâ&#x20AC;&#x2122;s this sense of community; weâ&#x20AC;&#x2122;re pulling for each other; thereâ&#x20AC;&#x2122;s no real feeling of competition. You donâ&#x20AC;&#x2122;t want to be too abrasive when trying to win or beat other people.

But whatâ&#x20AC;&#x2122;s kind of cool is that Josh and I come from an athletic background. Itâ&#x20AC;&#x2122;s hard for us not to want to win; not to realize that we want to be the best. With the release date, there was some back and forth with other artists that were releasing [their albums] the same week. They kind of made the first move and bumped their drop date forward. We were like, â&#x20AC;&#x153;Alright, fine.

Weâ&#x20AC;&#x2122;ll bump our release date forward.â&#x20AC;? It was a playful yet competitively driven back and forth and it was fun.

Itâ&#x20AC;&#x2122;s not every day that you get to release a record to the whole world. Thatâ&#x20AC;&#x2122;s one of the more exciting parts of our lives.

Contact Kirsten.Schubert@pmkbnc.com

â&#x20AC;&#x153;One of the most important things about moving into a partner-â&#x20AC;? ship with a label is to make sure you have cre-â&#x20AC;? ative control.â&#x20AC;?

MC: I understand that you used four producers (in addition to Tyler) for Blurryface. What led to this choice?

Dun: There were a number of options stylistically with our songs. We wanted to match those up with different styles of producers. We had multiple meetings and out of those we realized which producers we connected with, liked and thought that we could work with creatively. We already had demos and the album was written.

Iery recall several conversations withcan Tyler show different.

Anything you doabout to spice which guy could do what. It was cool to stretch ourselves. But part of it was tough because sometimes we had so little time with a producerâ&#x20AC;&#x201C;â&#x20AC;&#x201C;we were doing maybe one or two songs with one, for example.

Sometimes it takes three or four songs just to get in the flow with one guy; to begin to understand his work process and for him to understand ours. It can be tricky but in the end we ended up with a good relationship with all of those guys. And we were in a cool creative spot. Then we had [Neal Avron] mix the whole album, which tied it together.

There was also one guy who mastered it [Chris Gehringer of Sterling Sound]. Itâ&#x20AC;&#x2122;s good for us to work with multiple people.

MC: What stands out most for you about recording Blurryface?

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anding a song in a hit TV show, hot motion picture or national commercial may not rocket you to stardom and riches, but it

could give you tremendous exposure and pay a few bills. Although budgets aren’t as big as they used to be, that’s not necessarily a bad thing. In fact, indie music is being used more than ever in films, television shows and commercials because it’s less expensive than paying a major label, big time publisher or superstar artist. As a result, the paradigm has shifted and independent artists are the beneficiaries. So that you can take advantage of these changing times, we contacted music supervisors with

NORA FELDER

President, Picture Music Company picturemusiccompany.com Contact: via website Picture Music offers various forms of music supervision and consulting services to entertainment and production companies.

C O M PA N Y

C R E D I T S (Music) Phil Ramone, Paul Simon, Malcolm McLaren, Slash, Iggy Pop (Television) Californication, Necessary Roughness, Unforgettable, Powers, Dead People, Ray Donovan (Film) Disney Touchstone Pictures, Overture Films H O N O R S / A W A R D S Outstanding Music Supervision in Television (Hollywood Music in Media Awards), Best Music Supervision in Television (Guild of Music Supervisors), Advisory Board (Hollywood Reporter/Billboard Magazine Film and Television Music Conference)

How did you get into music supervision?

I worked in music production and was always good at picking songs. I found that music supervision involves a lot of facets that I like. But, I didn’t know much about it so I worked with a couple supervisors to learn the business. I’ve been doing it for 15 years now, and no two days are alike.

some of the hottest credits on the planet,

be cleared. That’s why we like working with people we know––they’re safe. And it’s helpful if one person is authorized to deal with the rights so we don’t have to chase everyone.

Would you consider placing an unknown act?

My ears are always open. I listen to different radio stations and search for new music online.

But, if I don’t know the person I have to research everything about a song before I pitch it and that takes time. That’s why I like dealing with reputable placement agencies.

Would you ever place a cover song?

Yes, if it’s unique. But, that involves getting the songwriter and publisher to sign off on it. And sometimes the original act insists that I use their version, or not at all. So the cover has to be very special for me to pursue it.

What do artists need to do to get a song placed?

They should do their homework and know the type of music used on a TV show, movie or commercial. They should know what kind of projects I work on. If you haven’t seen my shows, your pitch will fail.

What type of pitch would turn you off?

People who overdo it turn me off. I don’t want to be inundated with calls and emails. That makes me avoid you.

What type of music do you like?

All of my projects are different, so all kinds of music interest me. I want to know what’s out there. So if you have something that fits one of my projects I’d like to get a streaming link that has a download option.

and talked with an organization that helps artists meet supervisors and place music.

This exclusive feature is indeed a “master class” on getting song placements.

GABE MCDONOUGH

Executive Producer & Music Director, Music and Strategy (MAS) musicandstrategy.com Contact: gabe.mcdonough@musicandstrategy.com C O M P A N Y MAS connects brands with music.

From original compositions to commercial production, MAS develops music that matches the brand’s identity and voice.

C R E D I T S (Commercial Campaigns) Apple, Samsung, Sprint, Kellogg’s, McDonald’s, Allstate, Anheuser-Busch

How have budgets changed over the years?

Today, it sometimes seems like music is an afterthought and budgets reflect that. When soundtracks were popular, budgets were much bigger because labels kicked in their share.

Now that’s rare.

Why is it so hard to get to music supervisors?

I admit it’s not easy to get to us. And when you do we may not respond––we’re just too busy. I get hundreds of emails and submissions a day.

So, it’s best to go through channels. There are key people we use because we trust them to clear rights.

What rights are involved in song placements?

Rights to the song and rights to the sound recording. We need to know all parties that have an interest in either area, and those rights must

H O N O R S / A W A R D S No. 1 Track of the Year (“Royals” by Lorde) for Samsung’s “The Developer,” Best Ad Song of All Time (“A Minha Menina” by Os Mutantes) for McDonald’s “Victory,” Best Ad Song (“Creator” by Santigold) for Bud Light Lime. McDonough was also one of Billboard’s “40 Under 40 Power Players on the Rise.”

What does your job entail?

I work on music, entertainment and brand strategy. I provide music supervision services, executive produce original compositions, negotiate licenses and consult on music, entertainment and branding projects.

Do you focus exclusively on music for advertising?

I’ve always worked in advertising. Musically I work with jingles, licensed tracks, original music and scores.

How did you become involved with music?

I was a bass player and worked at an indie laSeptember 2015

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What kind of music is best for commercial placements?

It depends on the campaign, but usually the music is upbeat with major chords. It should also project an emotion, an attitude, that intangible “X Factor” I mentioned.

How do you find music for commercials?

I have regular contacts that I like to use. But, I also search online and will even check out unsolicited submissions when I have time. You never know what you might find––so I’m pretty open.

CHRIS MOLLERE Freelance Music Supervisor Contact: sendchrismusic@gmail.com

(Television, Film, Games, Video) Kyle XY, Pretty Little Liars, The Vampire Diaries, Greek, The Originals, Chasing Life, 10 Things I Hate About You, I Hope They Serve Beer in Hell, Bad Words, Hell Baby, War Games: The Dead Code CREDITS

H O N O R S / A W A R D S 2015 Guild Of Music Supervisors Award nominee for Jimi: All Is by My Side

How did you get into music supervision? bel. When I started working at ad agencies (beI’ve always loved music and managed bands in cause I needed a job) I pitched the idea of music Austin. But, my start in music supervision was production and created a position for myself. an accident. When I moved to Los Angeles I met a director who couldn’t find music for his film How do you choose music for a commercial because his budget was so low. I offered to help campaign? him and found a bunch of songs that he loved.

I talk with the creative team and sometimes get a Ever since, I’ve been doing music supervision music brief. From that I form an overall strategy. I for film, advertising and TV. want the music to create an emotional connection so that people feel something even if they How is supervision for film, advertising and don’t know why they’re feeling it. The right music TV different? has an “X Factor” that communicates emotion Film is a much longer process, but once it’s and makes it ad-friendly. finished it has a long life. Advertising is quicker, but a lot of people have a say in the final Would you consider an unknown act for com- product. TV is probably the most fun, especially mercial placements? if you’re involved at the pilot stage where you Absolutely… In fact, there was a female artist get to create a musical identity for the show. If who emailed me out of the blue. She seemed you break all the rules from the get-go, you can nice and her material was pretty good––it had pretty much do whatever you want. But, televian ad-friendly sound. I ended up licensing her sion has a very tight schedule––sometimes music while she was totally unknown. Now she’s you only have 24 hours to deliver music––week had multiple placements and even helps other after week. And with TV you can place songs artists get them. that haven’t been released yet. That sort of thing could make a mark and break an act.

Do you ever get strange requests from clients?

Would you consider an unknown act for It happens more than you think. The strangest placement? was a faucet company that wanted someone to I’m open to it, but I would try to hook them up perform a recognizable song using only water with a rep I know to make sure that the rights to produce the sound. So I contacted Wilco are clear. You want to trust people but I have to drummer Glenn Kotche because I heard that he be careful when it comes to clearing rights–– created music using 24 crickets. Glenn ended up you want to avoid lawsuits and situations that on camera in the national commercial. could hurt your reputation.

How well do commercial placements pay?

The money alone is not life changing, but exposure can be invaluable––and you get a lot of exposure with commercials. In the commercial field, budgets are better than elsewhere, but they’ve come down, too, so licensing fees aren’t as high as they were. The rate depends on the spot and the campaign size. But, the real money is on the backend anyway, via Performing Rights Organizations that pay a royalty whenever music is broadcast. Or, you could get more if it’s a “buy out” (with no performance royalties). Additionally, a singer/player might be entitled to payment through SAG-AFTRA as a commercial performer.

42 September 2015

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artists to focus on their music, which helps all of us. With enough exposure and a steady stream of income artists can be artists.

How have lower budgets affected placements?

While budgets have declined, there’s music for any budget. Actually, smaller budgets have opened the door for lesser-known acts.

What type of music works best for placements?

I look for music that has a heart and elevates the project. It’s meant to enhance the emotions of a scene, so I like music that moves me. It’s also helpful if there’s an instrumental mix available. Sometimes the lyrics don’t fit but the music is perfect.

Do you use music libraries?

Sometimes, especially if I need musical wallpaper in the background. They’re also less expensive.

What could hurt an artist, rep or submission?

If someone isn’t familiar with the projects I’m working, they’ll waste my time. If there are problems with the rights, that could be critical.

Worse, if they hide problems, and I find out, I will not respond to their calls or emails anymore.

What information do you need with submissions?

I prefer links to the music, rather than attachments. Digital files also need metadata that lists the song title, writer credits, publishing info and anything else that might be relevant. I’m most concerned about rights clearance.

Is social media a factor in finding music?

It can be… I like to use Twitter. But Facebook is almost obligatory and sometimes it’s the only way to contact an artist. I do a lot of online research, too, and go to music festivals like SXSW and Lollapalooza.

HEATHER KREAMER

What’s your relationship with artists?

I like to help artists––I know their struggles.

With all the changes in the music industry, multiple income streams are important. And licensing can give them exposure and produce income they can use to support their act.

Licensing fees and performance royalties help

C O M P A N Y Create Advertising is a full-service entertainment marketing agency that fulfills the creative needs of film, television, gaming and branding clients.

Director of Music, Create Advertising createadvertising.com Contact: heather@createadvertising.com

C R E D I T S (Film Marketing Campaign & Trailers) The Amazing Spiderman, The Avengers, Captain America, The Campaign, Total Recall, American Reunion, Pitch Perfect, RIPD, Fantastic Four H O N O R S / A W A R D S Golden Trailer Awards, Telly Awards, Hollywood Reporter Key Art Awards

What is your specialty?

I find music for film trailers. I started in music marketing and evolved into supervision. Iâ&#x20AC;&#x2122;ve been in the industry for 12 years and have been involved with film trailers for nine years.

Often Iâ&#x20AC;&#x2122;ll work on multiple projectsâ&#x20AC;&#x201C;â&#x20AC;&#x201C;up to seven at a time.

Do you work with a filmâ&#x20AC;&#x2122;s music supervisor?

Hardly ever, because we generally get the project before they doâ&#x20AC;&#x201C;â&#x20AC;&#x201C;sometimes so early itâ&#x20AC;&#x2122;s just a storyboard. It can take a year or more to complete a trailer, and we may do various versions for different mediums and markets.

Since a trailer is a marketing tool, do you work with marketing departments?

All the time. Weâ&#x20AC;&#x2122;ll get instructions and direction from a companyâ&#x20AC;&#x2122;s marketing personnel. We work with them to refine what they want. That can take a while because there are so many people involved in decisions, from directors and editors, to producers and heads of marketing.

How do you find music?

I have my go-to contacts. I also use high-end libraries, especially for orchestral music. I know how they work, they know how I work and I know the composers and trust them. If artists are interested in trailer placements, I suggest they watch as many trailers as possible and get familiar with how music is used.

They can research trailers online. (Note: try comingsoon.net and iTunes Movie Trailers.)

Would you consider an independent artist for placement?

Iâ&#x20AC;&#x2122;m always looking for new songs. But, I get so many submissions and emails I canâ&#x20AC;&#x2122;t respond to them all. Independent artists should find a rep that has relationships with music supervisors like me. It takes time to build trust in this field, and most of us prefer dealing with people we know.

What kind of money is involved with movie trailer placements?

Trailer supervisors get to focus on the creative aspects, so we donâ&#x20AC;&#x2122;t do licensing deals.

Theyâ&#x20AC;&#x2122;re done by the studio or production company. But, licensing fees are pretty decent, from $10,000 to $30,000. Commercial songs can pay $500,000 or more. The reason the fees are so large is because theyâ&#x20AC;&#x2122;re part of an advertising budget and are â&#x20AC;&#x153;buy-outs.â&#x20AC;?

That means performance royalties are waived and the deal is front-loaded.

What turns you off?

If someone keeps bugging me, by calling or emailing me relentlessly, I will not respond. Itâ&#x20AC;&#x2122;s just obnoxious. Additionally, if youâ&#x20AC;&#x2122;re not professional I wonâ&#x20AC;&#x2122;t deal with you. I once had a music library suggest a song that even I could tell was a â&#x20AC;&#x153;knock-off.â&#x20AC;? It wasnâ&#x20AC;&#x2122;t a sound-a-like, it was outright infringement. Consequently, I couldnâ&#x20AC;&#x2122;t trust them and no longer did business with them.

MUSIC SUPERVISOR SESSIONS National Association of Record Industry Professionals (NARIP) narip.com Tess Taylor, President Contact: tess@narip.com

NARIP is the biggest music business network in the world, reaching over 130,000 music professionals. Its mission is to provide access to the top experts in music.

Describe your â&#x20AC;&#x153;Music Supervisor Sessions.â&#x20AC;? r .VTJD 4VQFSWJTPS 4FTTJPOT TUBSUFE JO r 4FTTJPO BUUFOEBODF JT MJNJUFE UP QFPQMF r 8F MFU BUUFOEFFT LOPX XIBU B TVQFSWJTPS JT TQFDJĂ DBMMZ MPPLJOH GPS r "U UIF TFTTJPO FWFSZPOF QJUDIFT TPOHT BOE HFUT JOTUBOU GFFECBDL r *U T TP QPQVMBS XF USZ UP EP UISFF UP GPVS TFTTJPOT QFS NPOUI r 0VS NFNCFST IBWF QMBDFE PWFS TPOHT JO WBSJPVT QSPKFDUT Why do you think music placements are so sought-after? r 1MBDFNFOUT BSF UIF OFX SBEJP *G ZPV QMBDF B TPOH PO B IJU 57 TIPX UIF QPUFOUJBM for exposure is tremendousâ&#x20AC;&#x201C;â&#x20AC;&#x201C;better than radio. r "EEJUJPOBMMZ JU DBO HFOFSBUF JODPNF GPS RVJUF B XIJMF What changes have you seen in music supervision? r 4PNF NVTJD TVQFSWJTPST BSF SPDL TUBST BOE B MPU PG QFPQMF XBOU UP CFDPNF POF r 5IFSF BSF TP NBOZ BSUJTUT HPJOH GPS QMBDFNFOUT JU BGGFDUFE UIF NBSLFU #VEHFUT are lower, synch fees are down and supervision fees have declined.

How do you get a music supervisorâ&#x20AC;&#x2122;s attention? r :PV IBWF UP EFWFMPQ B SFMBUJPOTIJQ XJUI UIFN r 1 + #MPPN B OPUFE Ă MN BOE 57 TVQFSWJTPS DPNQBSFE JU UP EBUJOH r 5IJT CVTJOFTT JT BCPVU QFSTPOBM SFMBUJPOTIJQT TP JU TIPVMEO U CF TVSQSJTJOH UIBU supervisors like to work with people they know and trust.

How important is a recordingâ&#x20AC;&#x2122;s production quality? r *U T IVHFMZ JNQPSUBOU r %VF UP UJNF DPOTUSBJOUT UIFSF T OP UJNF UP SFNJY PS NBTUFS B SFDPSEJOH r *G JU T OPU VQ UP QBS JU XPO U NBLF UIF DVUmmFTQFDJBMMZ GPS NBKPS QSPKFDUT What are some of the more common mistakes artists make? r .PTU BSUJTUT EP OPU QJUDI WFSZ XFMM r *G ZPV SFBMMZ XBOU ZPVS NVTJD QMBDFE ZPV IBWF UP EP ZPVS IPNFXPSL r *U T B i$BSEJOBM 4JOu OPU UP LOPX BOZUIJOH BCPVU UIF TVQFSWJTPS PS UIFJS QSPKFDUT r 1JUDIJOH B TPOH GPS B TIPX ZPV WF OFWFS TFFO JT B XBTUF PG UJNF r :PV TIPVME LOPX TPNFUIJOH BCPVU UIF SJHIUT JOWPMWFE BOE IPX NPOFZ JT NBEF especially with Performing Rights Organizations.

How long does a â&#x20AC;&#x153;Music Supervisor Sessionâ&#x20AC;? last and whatâ&#x20AC;&#x2122;s the cost? r &BDI TFTTJPO MBTUT BCPVU UISFF IPVST r 5IF DPTU JT GPS NFNCFST BOE GPS OPO NFNCFST r "CPVU UP PG BUUFOEFFT DPNF CBDL SFQFBUFEMZ r *O GBDU TPNF QBSUJDJQBOUT IBWF HPUUFO PWFS QMBDFNFOUT GSPN UIF TFTTJPOT

September 2015

musicconnection.com 43

Shhh...

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– BERNARD BAUR

AfterMaster Audio Labs Enhancing Digital Audio with Increased Volume, Fullness and Clarity

A

revolution is on the way, one that will give millennials something most have never experienced—sonic quality. Indeed, for a generation that seems content to listen to music on a device they can hold in their hands, enhanced sound could be a real ear opener.

Such an idea is almost subversive since sound quality, especially in mobile devices, is undeveloped and trumped by convenience.

But, that may change if AfterMaster Audio Labs’ grand plan is successful.

Formed in 2006 by former entertainment/ music executive and serial entrepreneur Larry Ryckman and legendary audio engineer Shelly Yakus, AfterMaster’s mission is unambiguous: they want to bring quality back to consumer audio. Accordingly, they teamed with music industry veterans and world-class engineers who have developed countless audio technologies and proprietary products.

Together, they created a new process that enhances digital audio with increased volume, fullness and clarity.

In fact, it is unlike any other audio enhancement product commercially available.

AfterMaster’s cofounder and CEO Ryckman states, “We found a way to make digital audio louder, clearer, fuller and deeper. In fact, we can make any audio signal better by improving all frequencies and dynamic ranges.”

To do so, Ryckman and company invented a new algorithm. “Digital audio was created by an algorithm that converted analog sounds into digital files,” he explains. “The problem is that the old formula has remained the same for the last 40 years, and no one has stepped up to make digital audio sound better.” Until now, that is.

AfterMaster’s technology provides an impact that is significantly different from Neil Young’s PonoMusic, which has a similar goal but simply utilizes high-resolution files and has garnered mixed reviews, with some saying the sound is not distinguishable enough to matter—it just doesn’t have a big enough kick.

Conversely, AfterMaster has been trumpeted by a host of music industry heavyweights who joined the company’s Advisory Board, including producer Rodney Jerkins, songwriter Diane Warren, producer Richard Perry, media

investor Ted Field, former Atlantic, Capitol and Virgin Music CEO Jason Flom, producer Jack Douglas, former Interscope CEO of Urban Music Ron Gillyard, former Virgin and Warner Music CEO Phil Quartararo and superstar artist/actor Justin Timberlake, who became a co-owner of the company.

“With this team, I think we have pretty good ears and a sense of how music should sound,” Ryckman states. “In fact, we are the only technology company that comes from the music industry.”

So how does AfterMaster work? It uses a highly sophisticated process that takes the listening standard for digital audio to a new level.

It does so by reconfiguring the original algorithm so that sound comes across as more robust.

“Digital audio is basically flat,” Ryckman notes. “It

and quality AfterMaster Audio Labs provides.

Ryckman points out, “There are a lot of independent artists who can’t afford to professionally master their recordings. As a result, almost 90% do not master their music, and that limits their opportunities. We wanted to change that scenario by offering them an option that gives them a polished and radioready track in an easy and affordable manner.”

With ProMaster, artists simply upload audio files (WAV or MP3), which are then processed using cloud-based services for a quick turnaround. They can then listen to a 90-second sample. If satisfied, they pay a nominal sum ($25 to $30) for the service.

Since different genres require different techniques and processes, when mixing and mastering, we asked Ryckman how ProMaster accounts for that.

His response is enlightening. “We processed millions of songs over many years until we were satisfied with the results. ProMaster recognizes different genres and identifies sounds and instruments in a nanosecond so that the best possible sound can

“We found a way to make it sound clear and loud without altering file size or distorting the original recording.” – Larry Ryckman

46 September 2015

musicconnection.com

is not a refined technology. But we found a way to make it sound clear and loud without altering file size or distorting the original recording.”

To implement its vision, AfterMaster partnered with ON Semiconductor to develop a microchip (containing the new algorithm) that can be inserted into electronic audio products—from cell phones and computers to sound bars and hearing aids. As such, the target market is markedly different from Young’s consumer oriented approach. AfterMaster plans to collaborate with manufacturers. According to Ryckman, “We have already met with several major electronic corporations.”

Additionally, since AfterMaster consists of music industry professionals, they give special attention to musicians and recording artists by offering an online mastering process called ProMaster. It’s an expeditious way for independent artists (as well as TV, video and film production companies) to obtain the polish

be achieved without changing the intent or style of a song.”

AfterMaster is poised to change the way we listen to digital audio, music in particular. But the big question is whether enough people will care about it. Ryckman contends, “The answer is ‘Yes!’ I think they’ll care once they hear the difference and notice what they were missing.

I believe our innovation offers a big enough change so that it will matter to anyone with ears.”

For more information, visit aftermasterhd.com and promasterhd.com.

September 2015

musicconnection.com 47 47

Benjamin Clementine At Least For Now

7

Kerchief

Machines and Animals 825 Records Producer: Matty Amendola

Capitol Records Producers: Benjamin Clementine & Jonathan Quarmby

7

Benjamin Clementine’s supple timbre and unique phrasing assume the spotlight on this notable full-length major-label debut album. Rarely does such an affecting vocalist surface––even rarer, one with such original je ne sais quoi. The formerly homeless Londoner’s compositions remain sparse, allowing his unexpected intonations to carry the day with intriguing results. Yet, in the end, it is that very minimalism in combination with his uncommon singing style which makes these songs curiously inaccessible, resulting in an admirable recording that fails to inspire repeated spins. – Andy Kaufmann

Springboarding quickly into a dynamic solo career after the early 2015 split of her 10year-old all-girl indie/alt-rock band, Vanity Theft, singer/songwriter Brittany Hill (rebranded as “Kerchief”) blazes into high gear on her full-length solo debut with a Melissa Etheridge-like swirl of intense grit and soulful thoughtfulness. While most tracks are driven by raw emotions, catchy hooks and brooding, edgy, sometimes poppy-punk guitars (with a distinctive ‘90s alt-rock influence), Kerchief shows the soft-hearted, sensual side of her artistry on the seductive “Out of Focus” and sweet acoustic tune “Weekend.” – Jonathan Widran

Gary Willis

Warren G

8

Larger Than Life AbstractLogix Producer: Gary Willis

Three years after resurrecting the classic progressive fusion band Tribal Tech, bassist Gary Willis is as wild, unpredictable and revolutionary as ever. Larger Than Life––featuring long-time Tribal Techie Scott Kinsey (keys), Steve Tavaglione (saxes and EWI), Claudia Bardagi (wordless vocals) and Llibert Fortuny (tenor sax, voice)––is both high octane and subtle, weirdly hypnotic yet imminently infectious, dreamy and atmospheric yet powerfully grooving, intense and experimental yet poignant. While boldly forging ahead, Willis and his crew also harken back to the dynamic era of classic jazz fusion. – Jonathan Widran

Papadosio

9

Extras In A Movie Producer: Papadosio

From the lush Four Freshmen harmonies of “The Last Leaf,” Papadosio reveals a multi-hued tapestry of sonic invention. Often lumped into the jam band category, here the quintet draws from prog-rock forefathers with vocals, guitars and a pronounced backbeat prominent in the orchestral mix.

“The Wrong Nostalgia,” and its swipe at the market-share programming of modern radio, contrasts with the hallucinatory expression of “Ritual.” The closer, “Moon Entendre,” offers reassurance with the line, “There’s magic in every ride.” Indeed: Papadosio’s cinematic palette and compositional alchemy defines a band both earthy and cerebral. – Dan Kimpel

Ratatat

8

Magnifique

Regulate…The G Funk Era II

8

G-Funk Entertainment Producer: Warren G Sequels should be avoided unless the artist has something fresh to be offered. And the vet from Long Beach, CA came, saw and conquered a concise, feel-good release for the summertime. With features from Nate Dogg, E-40, Too $hort, Young Jeezy and Bun-B, The G-Child emcees and produces where he left off on the original Regulate…The G Funk Era. Whether you’re at a barbeque or beach, “Saturday” will get you in the mood to groove, while “Keep On Hustlin’” reminds us to stay active and achieve success. Over 20 years in the rap game, this multi-platinum musician is showing no signs of retiring anytime soon. – Adam Seyum

Silversun Pickups Better Nature

7

New Machine Records Producer: Jacknife Lee Silversun Pickups’ first relaese in three years finds them mining an approach that’s a little more electronic sounding than some of their past releases. Lots of sequencing patterns and a fairly less human drum sound gives them more of a New Wave feel than before. They definitely know how to put together a winning formula for their style: your fave androgynous vocals, and a pulsating beat combining guitar and keys in a melodic wall of sound. Any one of these songs deserves to be a hit, although after a while the same approach to 10 different songs dilutes the initial impact. – David Arnson

Cradle of Filth Hammer of Witches

8

Because Music Producers: Evan Mast, Mike Stroud

Nuclear Blast Producer: Scott Atkins

The guitar-electronic instrumental duo Ratatat have returned with their fifth fulllength, Magnifique. The consistency of their last few releases created an expectation for more of the same: harmonized guitars and percussive loops thrown through funky filters, all separated by seemingly random vocal clips. This time around, though, the group trades in the chunky, fast-pace grooves for calmer melodies layered with a lot more keyboard work, and that’s quite all right. Standouts include “Cream on Chrome,” “Drift” and the two-faced “Rome,” which glimmers with hints of the band’s earlier work. – Andy Mesecher

Love ‘em or hate ‘em, Cradle of Filth are now 25 years and 11 albums deep, which is undeniably impressive for an extreme-metal band. They’ve rotated in two new guitarists and a keyboardist for the self-evidently themed Hammer of Witches, without compromising any of the Filth-iness that has garnered the band some mainstream popularity in Europe. At the mic, screech master Dani Filth proves his pipes haven’t picked up any rust, as the remarkably cohesive-sounding band dabbles in their own witchcraft: an evil olio of black, death and goth metal. Call it spellbinding, even.

– Kurt Orzeck

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 September 2015

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Aaron Durr

Magnets & Ghosts

Contact: info@aarondurr.com Web: aarondurr.com Seeking: Label, Booking, Film/TV Style: Pop

Contact: vferrer@infocusmgmt.com Web: magnetsandghosts.com Seeking: Film/TV, Radio, Label, Booking Style: Alternative/Indie Rock

A natural sophistication oozes from this piano man whose excellent voice can deliver both a chesty resonance and a gliding falsetto, as if two singers are at work. We can’t decide which tune we like more, “Smart Girl” or “Shaken.” The former rides a solid mid-tempo groove that never quits, and the latter’s catchy chorus is a winner in a tale of a troubled relationship. “Double Crosser,” however, can’t overcome its trite, formulaic blueprint. A competent keyboardist, Durr has a quality to his vocals that has made him a popular piano bar performer, and it is clear he’s cut out for something better. For his recordings, we suggest he boost the energy of his restrained backups––except for the guitarist, who shreds!

The galloping pace, dissonant industrial undertones and shouted vocals of “Drug Money” (a decent, if unremarkable indie rocker) did not prepare us for the aching, yearning, wistful “Off My Mind,” which is cut from a whole different cloth, seducing us all the way as it works deftly to its payoff. And “Here to Save Me” drew us in even further by bringing epic piano chords and strings to the party, finally knocking us out with its “OH-OH-OH” vocal chorus in the rousing finale. Both songs have strong film and television potential, thanks to rich, evocative sonics, particularly the expansive reverb.

Forget about clubs, these guys have a commercial, arena-sized vision for their music and performance.

Production Lyrics Music Vocals Musicianship

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Mason Ashley

SunStone

Contact: mwatkins@aristomedia.com Web: soundcloud.com/mason-ashley Seeking: Mgmt, Label, Booking, Film/TV Style: Americana

Contact: josh@vittekpr.com Web: sunstoneband.com Seeking: Film/TV Style: Rock

At just 16, this Texas native crafts songs of innocence that, given the touch of studio experience, are affecting and ideal for Young Adult film/TV situations. Ashley’s voice lends plenty of dreamy wistfulness to the lulling and sweet “Into the Song,” without the desperation that an older songstress might bring to it. And the mid-tempo “For a Moment” achieves a nice, swaying rhythm to deliver its message of loyalty with an unaffected simplicity that belies the sophisticated production touches, including deep, radiant echo that allows the steel guitar to fade with grace. She’s young, but Mason Ashley clearly has a vision for her music. We urge her to continue to develop her vocal chops to reach emotions still untapped.

Led by songwriter/guitarist Josh Roach, SunStone’s Black Crowes + Led Zeppelin = Black Oak Arkansas formula is expertly rendered by everyone, particularly singer Jon Campos, who brings a gutsy authority. Extremely tight band all around. And the drummer kills it! “Little Miss Sassie” is classic cock-rock, and then the band eases things up with “Refuge,” a slow, simmering tribute to a woman that’s graced by its acoustic slide solo. Most tracks employ piano, harmonica and organ to add color and southern-fried flavor. The performances are so good here that it is a shame to report that the material is secondary, mostly album-cut also-rans that do not show the hit potential of their forebears. Likely a great live act.

Production Lyrics Music Vocals Musicianship

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Seeds?

Beauty in the Breakdown

Contact: tippingpointmgmt@gmail.com Web: weareseeds.life Seeking: Film/TV, Games, Publishing Style: “Future Lounge/Electrolite”

Contact: bitbmusic@gmail.com Web: reverbnation.com/rpk/beautyinthebreakdown Seeking: Label, Booking, Film/TV, Distr.

Style: Pop, Electro, Alternative

Essentially a brainy electronic instrumental project, Seeds? are quite adept at conjuring a catchy theme and then delivering variations upon it to keep the listener engaged. Case in point: “Citrus Escapades”––perfect for a Japanese role-playing game, this composition is fueled by richly toned drums and synths that morph from spacey and moody to lite and rubbery. Terrifically cinematic. A bit less catchy overall are “Connecting the Dots” and “Valley of Enlightenment,” both of which add spoken-word parts that reinforce the intellect behind the music. The latter features some funky/jazzy guitar lines and playfully injects nature effects (pond frogs, running water). Music libraries would do well to check this group out.

Female-fronted group led by Chastity Ashley impresses us with the overall prowess of the production and arrangement of the tunes, whose orbit is in the EDM/dance pop universe. Such rich tones and bright, dazzling textures are achieved, and the percussion effects are weapons-grade. One downside, though, is that the liberally FX’d Chastity comes off as a featured singer backing up her band, as opposed to its focal point. That issue is corrected, however, on “Around The World,” where she invests tons more attitude into her vocal. Even the overly pounding bassbeat can’t quite overtake her, though it tries very hard. While we don’t hear any killer hooks, film/TV party/club scenes are a perfect fit for these songs.

Production Lyrics Music Vocals Musicianship

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Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score.

A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Dingwall

Debbie Hennessey

Contact: ardingwall2@gmail.com Web: dingwallmusic.com Seeking: Label, Booking, Film/TV Style: “Moody Pop”

Contact: dhennessey@sbcglobal.net Web: debbiehennessey.com Seeking: Publishing, Film/TV, Radio, Booking Style: Contemp. Country, Blues Rock, AAA

Blessed with a strong, natural singing voice, Annie Dingwall still loves her some filter effects and she employs them liberally, and quite artfully, on her sonically dense, structurally challenging material, which is less about commercial radio appeal than unfettered artistic statement. “Hollow,” “Fall Back” and the haunting piano ballad “Love Me” each have a passion that is powerful, and the artist is adept at varying her energy levels and sonic effects to keep the listener intrigued. In the end, the songs tend to meander and will take more than a listen or two to fully grasp their dynamic structure and inherent strengths (powerful voice!), but in mood alone there are evocative passages that are ripe for film/TV consideration.

A seasoned singer/songwriter, Hennessey imbues her craftily structured songs with a husky vocal resonance and some deluxe backup by deft players. “Every Song Is You” is our favorite, a tune whose theme is music’s power to evoke and to transport.

Suffused with organ, backup singers and a neat, nimble guitar solo, this midtempo song is catchy and satisfying. Less so is the flamenco-flavored “Whiskey Charm” and the piano-laced ballad, “Let Me Go.” What hampers our enjoyment of both is the artist’s efforts to sing with technical perfection, when what’s needed is less showy vibrato and more genuine soul. Nevertheless, Hennessey is an experienced hand who can certainly deliver a polished product.

Production Lyrics Music Vocals Musicianship

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Steve Kaynan

Timothy Craig

Contact: bwsteve@yahoo.com Web: reverbnation.com/stevekaynan Seeking: Booking, Film/TV Style: Hard Rock, Instrumental, Blues Rock

Contact: BallnChainEntertainment360@gmail.com Web: TimothyCraig.com Seeking: Film/TV, Booking, Label Style: Country-Rock, Americana

Kaynan can probably play rings around most mortal guitarists, such is the quality of his lightning-fast fretwork. On the instrumental “Isla Nublar,” his multiple guitar solos are indeed praise-worthy. Additionally, on the metal-sludge “Time” he shows that his singing voice can do a decent approximation of Ozzy. Here’s the problem: though the band is tight, it has been fashioned for one thing––to provide a platform for Kaynan’s fireworks, a shower of notes that makes the basic tracks––and his bandmates––seem plodding and unimaginative. We’d really like to see Kaynan’s abilities complemented––maybe even challenged––by his band. How about a drummer who fires off some triggers? That might make these recordings come to life.

Timothy Craig’s songs show a well-studied craftsman and are produced and performed with professional prowess. The mandolindriven “Don’t Walk Away” even had some of us humming its hook an hour after hearing it. “Crime of the Century”’s handclapping vitality and clever wordplay and the Steve Earle-like boom of “Flesh ‘n’ Blood” are also appreciated. Unfortunately, though he is a savvy songwriter, Craig is simply not a lead singer. In fact, on each recording the brawny confidence of his backup players makes his own lead vocal seem timid by comparison. We advise this artist to relinquish the mic––hire a lead singer who can bring more power and kick-ass authority to his deserving material.

Production Lyrics Music Vocals Musicianship

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Devon Howard

Frankie Zing

Contact: devonhowardmusic@yahoo.com Web: devonhowardmusic.com Seeking: Label, Booking, Pblshg, Mgmt, Film/TV Style: R&B

Contact: fzing825@gmail.com Web: soundcloud.com/frankiezing Seeking: Label, Booking, Film/TV Style: Alternative Hip-Hop

Devon Howard works hard to be a smooth crooner, and he mostly succeeds on these originals, which have a vaguely ‘90s vibe.

This artist loves love, and his song titles make it clear. “Could This Be Love” is upbeat and sexy at the same time, with nice backup blends and a natural musicality that we admire, including handclaps that generate a fun, supportive message. “Deeper Than Love” could make an ideal wedding song as the singer conveys how difficult it is to fully express the scope of his love. “Back to Paradise” has a decent hook, but like his other songs, it is saddled with superficial, cookiecutter lyrics. We urge this artist to get with a lyricist who can bring a certain amount of substance to match the singer’s passion.

New York-based Frankie Zing has interesting ideas that he’s still struggling to realize in these tracks. “Long Time Coming” generates cool sounds—sci-fi synthesizers pulsate and trill, creating a somber backdrop for Zing to unleash his flow. Problem is, his voice and tracks are an uneasy combo that never quite mesh. We appreciate how agile Zing can be at varying the pace of his flow, but his vocals on “Who I Am” are monotonous and singsongy, with a call-and-response setup that underwhelms. On the upside, we all REALLY like “This Could Be Love,” a pop song whose strong commercial potential could motivate us to dance in our cars. Yes, it’s a goofy, innocent pop ditty, but this artist’s strength seems to be in that format.

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SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor.

To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.

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Empire Control Room & Garage Austin, TX

Material: Their sound is difficult to categorize, but finds its niche between pop and rock, with a unique spin. With perfectly harmonious vocals from Zakoor and Odeja, and energetic, captivating live presence, songs such as “Threads,” a synth-supported, post-rock track and the hard rock/dance blend of “Beaten” resonate with listeners.

Other tracks, such as highlight “Canvas Of Me,” an acoustic-driven tune with subtle angst, help put the band’s sound into proper perspective. Using electronic elements and vibrant guitars, the self-described “jungle rock” causes a bright hallucination listeners won’t mind getting lost in.

cohesiveness. The band has an effortless air—a promising quality.

Musicianship: Zakoor’s breathy, layered vocals are at the forefront, stretched to their limit during each song, but never too thin. The lead vocalist gets lost in the music, treating the audience to a smooth, controlled and slightly sultry performance. His charming delivery pairs well with Ojeda, who chimes in naturally and harmoniously.

O’Flynn’s drumming dominates and creates an alluring effect as the backing electronics excite and engage the crowd. The trio lineup is fairly new, but no one would know with their

Performance: The eight-song set was an experience from beginning to end. Intrigue and mystery captivated an initially small crowd that grew to cramp the entire venue. There was passion in every word, every strum, that acted as a call for attention towards Migrant Kids’ hypnotic atmosphere. On top of original material, the band entertained the audience with an unexpected cover of The Fugees’ version of “Killing Me Softly,” a faithful rendition that showcased the vocalists’ abilities well.

Another pleasant surprise occurred when two

Summary: From the abstract, David Lynchinspired songwriting to psychedelic production, the band presented a refreshing look at genreblurring musicianship. Though, music with diverse components and influences usually fails to find its footing, Migrant Kids’ expressive instrumentals, ambient sounds and emotive vocal delivery allow the impressive mix to create a sound that knows no boundaries, and frankly, doesn’t need them. – Luis Gonzalez

Hollywood, CA

Contact: DDreith@afmsagaftrafund.org Web: dennisdreith.com The Players: Dennis Dreith, composer, conductor; Gary Herbig, saxaphone; Bob Crosby, saxophone; Greg Huckins, saxophone; Ralph Humphrey, drums; Phil Teele, bass trombone/tuba; Charlie Morillas, trombone; John Goux, guitar; Dominick Genova, bass; Brian Kilgore, percussion; Kait Dunton, piano; Jeff Driskill, woodwinds; Michael Stever, trumpet; Mike Rocha, trumpet; special guests: Jay Rosen, violin; Neil Samples, violin; Jennie Hansen, viola; Armen Ksajikian, cello.

Material: Composer and conductor Dreith leads a hand-picked, 13-piece ensemble of stalwarts in the contemporary music scene.

In addition to a five-piece rhythm section, the big band features woodwinds, brass and, for this performance, a string quartet. Celebrating Dreith’s first jazz/fusion album in 30 years, the group performed the entirety of the seven-song release, along with a three-song sequence of Claude Debussy pieces.

Musicianship: Dreith is influenced by early 20th century classical, with echoes of Copland and Stravinsky. The band roster boasts session and touring musicians with credits ranging from The Rolling Stones to Lady Gaga, so there was no shortage of highly skilled players on stage. Fill-in trumpets Stever and Rocha each offered excellent moments when given the chance to solo, and versatile guitarist Goux shined. Bassist Genova held 52 September 2015

members of Austin staple band The BLSH joined in for last two tracks, “Religion” and a cover of Prince’s “I Would Die For You,” which immediately turned into a dance party.

musicconnection.com

THE DENNIS DREITH BAND everything down, providing the through-line for the band to grab on to all night long.

Performance: The show started with the energetic, “Eighty-Six, Ninety-Five, Sincerely,” the first track off the new album.

The pace remained strong, with neo-vintage compositions and complex charts keeping the audience and band on their toes. The midpoint featured the string quartet, taking on Dreith’s arrangement of Debussy works. The concept provided a beautiful and successful change of pace, the possible exception being an ambitious country version of “The Girl With the

GRANT STONER

Catalina Bar & Grill

MIGRANT KIDS

GINNY IMBROGNO

Contact: management@purejoyrecords.com Web: migrantkids.com The Players: John Zakoor, lead vocals, bass, synths; Miguel Ojeda, vocals, guitar, bass; Bryan O'Flynn, drums; special guests from The Bright Light Social Hour: Curtis Roush, Jack O’Brien.

Flaxen Hair.” The set concluded with up-tempo selections, including Herbie-like “Karuna,” followed by an homage to Corea’s “Spain.”

Summary: The band is not short on talent, and Dreith is a seasoned artist who knows how to get the best out of his musicians.

The band excels in energetic and funky numbers, such as the Latin-inspired “Brujo,” which features strong bass lines and blues changes. Writing and conducting for a big band is an impressive feat, and more live performances will elevate the material to where it deserves to be. –Grant Stoner

SE7EN REASONS WHY

STEVE GAGLIO

pop tone adds rawness to the overall epic punk quality for songs like “Love Is Strange.”

Goto cranks out a staccato violin on “World Gone Mad” and gets an extensive opening solo on “Livin’ In The Now.” Piazza nails the fast tempos and frequent pauses with a strong break down on “Thunder Rollin’” and especially tight finale on “Love Is Strange.”

Scott joins her for a double drum solo that adds more interest to the set. Piazza stays intensely focused and not at all fazed by Scott, who stands right above her as he encourages the crowd to clap.

Contact: se7enreasonswhy@aol.com Web: se7enreasonswhy.com The Players: Mick Scott, vocals; Jason Stalk, guitar, backup vocals; Anjilla Piazza, drums; Hiro Goto, violin.

you can’t help but hear the influence of The Ramones, especially on songs like “Thunder Rollin.’” Then there is “Writin’ On The Wall,” which sounds like a direct homage to the 1979 classic “The Devil Went Down To Georgia” by The Charlie Daniels Band, a perfect vehicle for the group’s violinist Goto.

Material: Although the group is categorized as folk punk similar to Flogging Molly, this music has a mostly classic punk rock feel, along with some country music qualities. Specifically,

Musicianship: Another one of the distinct additions to the band’s sound is primary songwriter Stalk’s instrument of choice, an acoustic 12-string guitar. The resulting jangle

The Canyon

Agoura Hills, CA

Performance: Scott opened and closed the show with great theatrics. His delivery was as cheeky as Alice Cooper in his prime. Scott taunted the audience by asking in a nerdy voice if they were studying for their finals.

Thanks to the use of a wireless microphone, he was able to work not only the stage but the entire venue, hopping on the bar and giving fist bumps to club patrons as he reminded them to eat their vegetables. His vocals were clear with a good amount of reverb throughout, and Stalk joined Scott on vocals to beef up their choruses. Scott wrapped up the show by profusely thanking the audience and the venue.

Summary: Although the set is a short six-song performance, it is an overall high-energy show.

The group does incorporate diversity with one contemplative anthem, “Livin’ In The Now.” Unfortunately, the guitar is frequently lost in the mix. When Piazza sticks to using her mallets, it seems to bring more of a balance to the overall dynamics of the group’s sound.

– Brooke Trout

Reggie’s Rock Club Chicago, IL Contact: headlesshonchos@gmail.com Web: headlesshonchos.bandcamp.com The Players: Daniel Lewis, bass, vocals; Johnny Thunder, drums; Steve Elfinger, guitar, vocals.

Musicianship: Steve Elfinger and Daniel Lewis take charge of vocal performances, and are both solid singers who complement each other’s abilities well. Elfinger also plays guitar, while Lewis works double duty on the bass. Johnny Thunder on drums rounds out this talented trio.

Performance: Headless Honchos were the opening band for an evening, which included The Rezillos. They started off their set with “No Work.” This was a decent song to start the show, but it also lends itself well to establish a call-and-response interaction between band and audience, which might be helpful in sustaining momentum in the middle of the set.

The title track to their latest release, “Over the Top,” was performed with high energy, and the ever-growing crowd started to warm up to the band. Headless Honchos then performed a

LANA KRUEGER

Material: While Headless Honchos’ beginnings were in the late ‘90s Chicago punk scene, the band recently reunited after a 16-year hiatus.

Their live material draws mainly from their latest release, Over the Top, which is a mixture of songs influenced by various punk styles, i.e. pop-punk, street punk, garage punk and even some hardcore.

HEADLESS HONCHOS fun, new pop-punk song original, and another tune called, “Ignite,” featuring tight breaks, which the band nailed flawlessly.

Next came the complex epic, “Wolf or Man,” with its varied rhythms and tempo changes, followed by “Debbie Downer,” a pop-punk song with catchy guitar riffs. The band blazed through “I Love to Get Wasted” and “Nicotine Junkie” to end with their self-proclaimed rock anthem, “Live & Die for Rock ‘N’ Roll.”

The band got the audience singing along with them, and Elfinger entertained the crowd with his rock star guitar antics. A fitting ending to a fun set.

Summary: If you tend to like bands to stay within a certain area stylistically, Headless Honchos, as mentioned, do not have a homogenous sound. None of their songs are alike. If you prefer bands to look like they are having fun on stage, Headless Honchos seemed to be a winner here, especially as more people began to arrive and listen to them. The band started to look more comfortable on stage as the set progressed.

Overall, they were an entertaining opening act.

– Mary Lemanski September 2015

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The Mint

Los Angeles, CA

Material: Combining elements of piano rock, indie rock and R&B, Evan Roth has found a unique sound reminiscent of Coldplay. His vocal melodies, which travel in the lower register, seem influenced by Chris Martin and Hozier. Emulating those artists, however, should be avoided to distinguish his sound.

Certain piano riffs combat the straightforward, hammered-out grooves, thereby creating varied tempos and dynamics within the songs. This gives the artist’s songs character and prevents them from sounding alike. Slower, romantic songs like “Finale” yearn for more rhythm to fill out the emptiness. Finding a balance between the mellow songs his upbeat material like “Solo” will enhance his sound and allow his material to appeal to a bigger audience.

Musicianship: Roth confidently plays piano and sings comfortably with the assertiveness.

He is most confident on the upright piano, as opposed to the synthesizer and keyboard.

Mallory Roth’s higher harmonies add a seductive quality to the material and she could be featured more. Oloffson and Kertes lock professional rhythm section, and Oloffson doesn’t shy away from driving the beats, but holds back when necessary. Kertes fearlessly lays down bass licks that make you want to move. Unfortunately, Forgey’s subdued

EVAN ROTH playing doesn’t come up to par with the rest of the band’s overall musicianship. His one-note vibratos could be supplemented with open chords, which would sustain more prominently in the music.

Performance: The artist played a bold and dynamic set to an intimate audience. Despite a few hiccups with the microphone, Roth persisted to perform and entertain like a professional. The tempo changed when he sat down at the upright piano to play “Silhouette,” a ballad of sorts with an upbeat chorus that caught on quickly. His energy boosted as he transitioned into Coldplay’s “Clocks,” which meshed incredibly well with his sound. All the instruments, minus the guitar, were perfectly

VINCENT STEVENS

Contact: esroth@gmail.com Web: evanrothmusic.com The Players: Evan Roth, lead vocals, piano, synth; Stewart Forgey, guitar, synth, Mallory Roth, vocals; Erik Kertes, bass; Matt Oloffson, drums.

balanced and complementary. The songs screamed for guitar chords, effects and frequent strumming from Forgey.

From Roth’s performance, it was evident that his music emotes with his lyrics. The mostly nostalgic lyrics fit with the compositions. Roth closed the set with “Walk Away,” an upbeat original, but encored with “Finale,” which brought the mood down and detracted from the powerful ending of the previous closer.

Summary: Evan Roth has a gift for songwriting and a conditioned voice. He should master successfully incorporating synthesizers so that they complement the music. Fusing his slower material with the upbeat tracks will allow him to grow his fan base. –Vincent Stevens

WAVY MAZE The Barber Sharp

Minneapolis, MN

Contact: wavy.maze14@gmail.com Web: facebook.com/wavymaze The Players: Ian McIntyre, bass, vocals; Ryan Zueli, guitar, vocals; Grant Winkels, guitar, vocals; Brock Parks, drums.

Material: Minneapolis-based indie rock band Wavy Maze are something akin to Arctic Monkeys or The Black Keys, but with similarities subtle enough to keep the four54 September 2015

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ALLEGRA AZZOPARDI

song rides on the standout presence of his bass. Behind the drumkit, Parks is cool, calculated and dynamically on point. Zueli is a great guitar player when in focus, adding punches of serious rock & roll riffs while Winkels keeps the rhythmic pulse in check.

There were a few minor chord and pitch slip-ups, but nothing a little practice and dedication couldn’t tune up.

piece from sounding too derivative. Driven by funky bass lines and psychedelic guitar riffs, their original material is not exactly catchy, but plays well live. Simple lyrics are effectively balanced with the intricacy of the band’s musicianship, particularly on their heavier rock songs. With a little fine-tuning, the laidback tempo of a song like “Losing My Cool” can diversify the band’s sonic character.

Musicianship: In addition to McIntyre’s strong vocals and frontman charisma, each

Performance: In the back alley of a barbershop, on a tiny outdoor stage, during the tail end of a Bearded Lady Street Festival, Wavy Maze put on an impressive show. Even amidst a backyard party vibe, they held the stage like professionals who knew how to have a good time. The small set-up managed to produce a solid sound, and the band’s energy was on point from beginning to end as they sailed through a set of original material and ended with a cover of The White Stripes’ “Seven Nation Army.” By the end of the night, what started off with a few stragglers in the audience, turned into a shoulder-to-shoulder dance party.

Summary: Wavy Maze have room to grow as both individual musicians and a unit, but they are definitely headed in the right direction. It’s obvious each member is musically inclined; they just need to hone their strengths and weed out their weaknesses to stand out and shine. Adding more live performance experience and practice, practice, practice will prove extremely beneficial for them.

– Allegra Azzopardi

House Of Blues West Hollywood, CA

Material: TOSH pens her own original dancepop with catchy melodies and stories. She exhibits a vulnerability beyond her years.

The artist’s most radio-friendly song is “Liar,” and with lyrics like “…skinny little white bitch/ everybody hates you” you can’t help but stop and take notice. TOSH is also a visual artist with fashion style both eye-catching and fun: For this show she wore a neon orange leather peplum and matching skirt paired with black polka dot tights. Her black plugs contrasted well with her striking platinum mohawk and braid, reminiscent of Aimee Mann in the ‘80s.

Musicianship: Toeller is tight on his finales and breakdowns, pumping up the crowd with plenty of bass drum. Bodi locks in some triple beats on his five-string for “Don't Stop.” Blanco does his Gibson Les Paul justice throughout with lovely double picked solos, most especially on “Edge of Insanity.” “Cover Up Your Lonely Heart” is one of the group’s strongest compositions with a Foster the People feel. While the band suffered a false start, the real setback was a gesture to bring the group’s levels up after the initial sound check. Once this happened, TOSH’s vocals were completely buried in the mix and feedback became a minor concern.

TOSH

Performance: TOSH sang with passion and was not timid when it came to reaching for the high notes. For “Don't Stop” she took her mic off the stand and worked the room as much as she could within the cramped quarters.

Her vocals could be heard a bit better when she directed her mouth into the microphone, but she seemed to really belt the lyrics and directed the mic away from her mouth. While this is typically a good idea for a smaller performance space, in this circumstance it only added to the inability to hear her clearly.

However, she gestured for more vocal in her

KALEY NELSON

Contact: joeylauren@ekcpr.com Web: toshmusic.com The Players: TOSH, vocals; Ramon Blanco, guitar; Chris Toeller, drums; Gui Bodi, bass.

monitor, and by the end of the set her vocal levels were back to where they needed to be.

Summary: At one point the club’s sound board operator mentioned the cymbals needed to come down. The band would benefit from working on their overall dynamics to bypass the need to bring all the sound levels up. Despite another band loading equipment through her audience throughout the duration of her set, TOSH was still able to command attention.

– Brooke Trout

Thousands of artists have been reviewed by Music Connection. To read the reviews and get your music reviewed, go to musicconnection.com/get-reviewed.

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September 2015

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Film/TV Music Supervisors & Post-Production

Directory of

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MUSIC SUPERVISORS 5 ALARM 44 W. Green St. Pasadena, CA 91105 626-304-1698, 800-322-7879 E-mail: info@5alarmmusic.com Web: www.5alarmmusic.com Contact: TerriLynn Massey How to Submit: call 626-304-1698, Ext. 5575 or mail a demo to TerriLynn Massey Additional location: 229 W. 28th St., Fl. 11 New York, NY 10001 212-699-6539 35 SOUND P.O. Box 217 Pacific Palisades, CA 90272 310-454-1280 Fax 310-454-3443 E-mail: gmarq@35sound.com Web: www.35sound.com Music Supervisors: G. Marq Roswell, Carter LIttle Credits: The Great Debaters, Man With The Iron Fists, Half The Sky, Birth Story How to Submit: no unsolicited material ABBEY ENTERTAINMENT 530 S. Lake Ave. Pasadena, CA 91101 818-755-3942 E-mail: abbeyent@aol.com Contact: Stephen Elvis Smith, music supervisor Credits: Decline of Western Civilization, Square Pegs, A Different World, Pump Up the Volume, Beverly Hillbillies Movie, Committed, But I’m A Cheerleader, Original Manager of Lenny Kravitz How to Submit: no unsolicited material accepted by unsigned artists, no phone calls AIR-EDEL USA 9100 Wilshire Blvd., Ste. 455E Beverly Hills, CA 90212 310-802-7655 E-mail: info@cuttingedgegroup.com Web: www.airedel.com Credits: see web How to Submit: does not accept unsolicited composer submissions Additional location:

ARLENE FISHBACH ENTERPRISES 1223 Wilshire Blvd., Ste. 304 Santa Monica, CA 90403 310-451-5916 E-mail: afent2@gmail.com Contact: Arlene Fishbach Credits: features, feature trailers and promos How to Submit: no unsolicited material AUDIO MOTION MUSIC 1100 Peachtree St. N.E., Ste. 200 Atlanta, GA 30303 404-736-3622 E-mail: contact@audiomotionmusic.com Web: www.audiomotionmusic.com

65 Clinton St. Malden, MA 02148 8851 A1A S. St. Augustine, FL 32080 71-10 Park Ave. Suite 3-T Fresh Meadows, NY 11365 212 Ilderton Rd. London SE15 1NT United Kingdom AVATAR DIGI 2029 Hyperion Ave. Los Angeles, CA 90027 323-906-1500 E-mail: info@avatardigi.com

BASEMENT RECORDS & LICENSING P.O. Box 511 La Habra, CA 90633-0511 E-mail: contact@basementlicensing.com Web: www.basementlicensing.com Contact: Chuck Clients: Lakeshore Entertainment, MTV, Vans, ESPN, Paramount, Xbox, Fox, Weinstein Co., Comedy Central, etc.

BATES MEYER INC. P.O. Box 2821 Big Bear Lake, CA 92315 909-547-0504 Fax 909-547-0901 E-mail: rick@batesmeyer.com Web: www.batesmeyer.com Contact: Rick Bates and Nancy Meyer BIG SOUNDS INTERNATIONAL P.O. Box 48258 Los Angeles, CA 90048 323-954-0274 Fax 323-954-0277 E-mail: info@bigsoundsintl.com Web: www.bigsoundsintl.com/contact.htm Music Supervisor: Jonathan Hafter How to Submit: no unsolicited material accepted

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BREWMAN MUSIC & ENTERTAINMENT 1337 Talmadge St. Los Angeles, CA 90027 310-318-4104 E-mail: infowest@bmemusic.com Web: www.bmemusic.com Contact: Alan Brewer How to Submit: no unsolicited material

8240 Beverly Blvd., Ste. 15 Los Angeles, CA 90048 323-419-3898 Fax 646-349-1110 Contact: Gabe Hilfer E-mail: gabe@clearsongs.com CODA MUSIC SERVICES 17345 Marlin Pl. Lake Balboa, CA 91406 818-342-5496 E-mail: margaret@codamusicservices.com Web: www.codamusicservices.com Music Supervisors: Margaret Guerra Rogers, Kelly Bennett Credits: Real Women Have Curves, Price of Glory, Tortilla Heaven, For Love or Country, etc.

How to Submit: no unsolicited material CREATIVE CONTROL 4610 Hollywood Blvd.

Los Angeles, CA 90027 E-mail: info@creativecontrolent.com Web: www.creativecontrolent.com Contact: Joel C. High How to Submit: e-mail before sending material

Additional location:

BROOKE WENTZ THE RIGHTS WORKSHOP 39 Mesa St., Ste. 101 San Francisco, CA 94129 415-561-3333 E-mail: info@rightsworkshop.com Web: www.rightsworkshop.com Contact: Brooke Wentz Comments: Music director for ESPN, TechTV, Time’s Square Millennium Celebration, awardwinning soundtrack producer; extensive music and IP rights experience. MBA. How to Submit: submissions@rightsworkshop. com Additional location: 514 Victoria Ave. Venice, CA 90291 310-439-1290 BULLETPROOF RECORDS E-mail: ralph@bulletproofentertainment.com Web: www.bulletproofrecords.com Contact: Ralph Sall CHICAGO MUSIC LIBRARY Malibu, Los Angeles and Encino, CA 18034 Ventura Blvd., Ste. 450 Encino, CA 91316 818-906-3988, 818-789-5801 E-mail: submissions@chicagomusiclibrary.com, musicsubmission@chicagomusiclibrary.com Web: www.chicagomusiclibrary.com Credits: Warner Brothers, Paramount, Deluxe Laborites, Technicolor etc.

How to Submit: see online “FAQ” CHOP SHOP MUSIC SUPERVISION So. Pasadena, CA

musicconnection.com

CINECALL SOUNDTRACKS 24 Mechanic St., Ste. E Red Bank, NJ 07701 732-450-8882 Web: www.cinecall.com Contact: George McMorrow How to Submit: no unsolicited material

Additional location:

BLINDLIGHT 8335 Sunset Blvd.

West Hollywood, CA 90069 323-337-9090 E-mail: info@blindlight.com Web: www.blindlightmedia.com Comments: complete music supervision and productions services exclusively for video games.

How to Submit: no unsolicited material

C O M P I L E D

E-mail: info@chopshoprecords.com Web: www.chopshopmusic.com Contact: Alexandra Patsavas Credits: John Tucker Must Die, The Invisible, Gossip Girl, Grey’s Anatomy, Chuck, Private Practice, Mad Men, Rescue Me, Without A Trace, Supernatural, Num3ers How to Submit: no unsolicited material

CLEARSONGS 244 5th Ave. Ste. 2262 New York, NY 10001 212-627-8767 Fax 646-349-1110 E-mail: jim@clearsongs.com Web: www.clearsongs.com/contact.html Contact: Jim Black Credits: HBO, Artisan, Lion’s Gate, October Films, USA Films, Oxygen Music Works, Miramax, Columbia, Searchlight How to Submit: no unsolicited material

808 19th Ave., S. Nashville, TN 37203 E-mail: info@BMEmusic.com

6-8 Kingly Ct., Fl. 4 London, W1B 5PW Tel: +44 (0)20 7467 4488

Additional locations:

Web: www.avatardigi.com Credits: MTV, CBS, Paramount, Sony, Warner, Apple iTunes, Microsoft, Amazon, Rhapsody How to Submit: accepts CDs only, (no MP3s) or WAV files

CUE HITS c/o ACM Records, Inc. P.O. Box 195 Fair Lawn, NJ 07410 E-mail: info@cuehits.com Web: www.cuehits.com How to Submit: email for information on licensing and rates DANCING MICE PRODUCTIONS 1234 Delaware Ave. Buffalo, NY 14209 716-885-3030 Fax 716-885-4040 E-mail: scott@dancingmice.net Web: www.dancingmice.net Contact: Scottpatrick Sellitto Credits: Miami Vice, Ultraviolet, Eight Below, 3 Needles, Tesseract, Head In The Clouds, Dom, Tart, Ms. Globe Pageant 2001 How to Submit: please send product for review along with bio and any additional information you may feel would be helpful in the review process to our U.S. Headquarters. Do not call or email. We will contact you if interested.

DAUMAN MUSIC 310-275-0701 E-mail: jason@daumanmusic.com Web: www.daumanmusic.com How to Submit: unsolicited material accepted DAVID QUAN Director, Music Services NBC Universal 10 Universal City Plaza Universal City, CA 91608 818-777-1000 Web: www.nbcuni.com How to Submit: no unsolicited material DE ROCHE MUSIC 17153 Rayen St.

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D E N I S E

Northridge, CA 91325 818-886-5262 E-mail: ross@derochemusic.com Web: www.derochemusic.com Contact: Ross De Roche Credits: My Super Ex Girlfriend, Mr. & Mrs. Smith, Ghosts of Girlfriends Past, Just Like Heaven, Failure to Launch, Watchmen, Video Games Live How to Submit: no unsolicited material DESERT C.A.M. STUDIOS / WINMILL FILMS, LLC 78580 Avenida Tujunga La Quinta, CA 92253-2896 760-972-4559 E-mail: Chip@DesertCAM.com Web: www.DesertCAM.com; www.youtube.com/user/chipdaniel2 Contacts: Chip Miller (Director/Producer/Writer/ Partner), Daniel Pomeroy (Music Supervisor/ Film & TV Licensing), Travis Miller (Producer/ Editor/Operations), Janaki Jennings (Editor/ Camera Op) Additional location: Vancouver, BC V5KOA1 877-977-DCAM E-mail: pogmothon@dc.rr.com Web: www.DesertCAM.com Contacts: Hagai Amir (Executive Producer/ Partner), Don Pinckston (Producer), Sue Ann Walker (Operations/Studio Coordinator), Kit Gleason (Music Coordinator/Film & TV Licensing) How to Submit: For unsolicited materials, we accept CD and/or DVD format only. For industry submissions, please send e-cards, standard music transfer files, and/or CD/DVD formats - all submissions should be sent to our La Quinta, CA office.

D. FRANCO INTERNATIONAL MUSIC PRODUCTIONS 4342 Redwood Ave., Ste. 310 Marina Del Rey, CA 90292 310-823-5547 Fax 310-821-0707 E-mail: dfintlprod@aol.com Contact: David Franco, President/Music Producer How to Submit: call before submitting material DONDI BASTONE Web: www.dondibastone.com Credits: Election, The Crew, The Descendants, more How to Submit: unsolicited material accepted DON GRIERSON Web: www.dongrierson.com Contact: Don Grierson How to Submit: contact first before submitting material, see website EMOTO MUSIC 1615 16th St. Santa Monica, CA 90404 310-399-6900 E-mail: lindsay@emotomusic.com Web: www.emotomusic.com Contact: Lindsay Froemke Comments: work with various filmmakers How to Submit: no unsolicited material FEEDBACK! MUSIC SUPERVISION 818-275-4367 Web: www.brucerabinowitz.com E-mail: bruce@brucerabinowitz.com Contact: Bruce Rabinowitz How to Submit: via e-mail FIRSTCOM MUSIC 1325 Capital Pkwy., Ste. 109 Carrollton, TX 75006 800-858-8880, 972-446-8742 E-mail: info@firstcom.com Web: www.firstcom.com Credits: America’s Most Wanted, C.S.I., Good Morning America, Dancing With The Stars, Bad Girls, Club, Six Feet Under, Moonlight, Ugly Betty, The View, Iron Man, Get Smart, National Treasure: Book of Secrets How to Submit: no unsolicited material Additional location: 2110 Colorado Ave., Ste. 110 Santa Monica, CA 90404 800-778-1574, 310-865-4477

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Download at musicconnection.com/industry-contacts WORLD SONG NETWORK 530 S. Hewitt St. #542 Los Angeles, CA 90013 323-939-2955 Fax 323-939-2951 E-mail: artfordmusic@yahoo.com Web: WorldSongNetwork.com Contact: Art Ford Comments: Ford Music Services is one of the largest independent film and TV music companies in the US. They represent labels, publishers, artists, songwriters and music catalogs to film, television and the advertising community for placements.

FUSION MUSIC SUPERVISION E-mail: submissions@fusionmusicsupervision. com Web: www.fusionmusicsupervision.com Contact: Christopher T. Mollere GEORGE ACOGNY, INC. 818-713-0660 E-mail: sessiwede@aol.com Contact: George Acogny How to Submit: no unsolicited material GERRY GERSHMAN MUSIC SUPERVISION 322 S. Topanga Canyon Blvd.

Topanga, CA 90290 310-570-0070 E-mail: invisiblefilms@earthlink.net Contact: Gerry Gershman How to Submit: accepts CDs and internet links for downloads, email or mail GOODNIGHT KISS MUSIC 10153 1/2 Riverside Dr., Ste. 239 Toluca Lake, CA 91602 808-331-0707 E-mail: janet@goodnightkiss.com Web: www.goodnightkiss.com Contact: Janet Fisher Credits: HBO, Showtime, NBC How to Submit: please see web GOTHAM MUSIC PLACEMENT P.O. Box 7185 Santa Monica, CA 90406 Attn: Submissions E-mail: info@gothamrecords.com Web: www.gothamrecords.com Contact: Patrick Arn How to Submit: see website HAIKU ENTERTAINMENT E-mail: haikuent@aol.com Contact: Jonathan Weiss Comments: Music supervisor for The Real World Challenge, Keeping Up With The Kardashians, Love Games How to Submit: email request for submission HEAR IT - CLEAR IT MUSIC SUPERVISION P.O. Box 29618 San Antonio, TX 78229 512-913-8594 Fax 512-233-2590 E-mail: dominique@hearitclearit.com Web: www.hearitclearit.com Contact: Dominique Preyer IDM MUSIC 111 E. 14th St., Ste. 140 New York, NY 10003 212-695-3911 E-mail: info@idmmusic.com Web: www.idmmusic.com Comments: Music licensing and music clearance, music representation; master and publishing, music supervision, catalogue and copyright admin.

Credits: ABC, BBDO, CBS, Disney, Fox, HBO, MTV, Showtime, Grey Worldwide, NBC - check site for full list.

How to Submit: no unsolicited material IMC ENTERTAINMENT GROUP 19360 Rinaldi St., Ste. 217 Porter Ranch, CA 91326 818-700-9655 E-mail: sr@imcentertainment.com Web: www.SylvesterRivers.com Contact: Sylvester Rivers Music Supervisors: Sylvester Rivers, Paul Riser INAUDIBLE Los Angeles, CA 818-385-3400 Fax 818-385-3456 E-mail: info@inaudibleprod.com Web: www.inaudibleprod.com Music Supervisors: Peter Afterman, Margaret Yen How to Submit: no unsolicited material JANICE GINSBERG & ASSOCIATES 280 Riverside Dr., Ste. 12L New York, NY 10025 212-865-8044 E-mail: jginsberg@aol.com, chrystye@gmail.com Contact: Janice Ginsberg, Christie Allen How to Submit: no unsolicited material

JODY AARON 22636 Demasia Mission Viejo, CA 92691 949-916-8368 E-mail: jody@jodyaaron.com Web: www.jodyaaron.com Contact: Jody Aaron How to Submit: We are not currently accepting unsolicited submissions JONATHAN LAZAR Urband & Lazar Los Angeles and Miami 323-230-6592 E-mail: help@urbandlazar.com Web: www.Urbandlazar.com How to Submit: No unsolicited material LUCKY DUCK MUSIC Los Angeles, CA 424-288-2000 E-mail: cbelden@caa.com Web: www.luckyduckmusic.net Contact: Christine Belden, Creative Artists Agency Credits: Workaholics, Outlaw, Las Vegas, Knight Rider, Lost, Smallville, Alias, Felicity How to Submit: no unsolicited material MACHINE HEAD 310-392-8393 Email: hello@machinehead.com Web: www.machinehead.com Contact: Patty Chow Dewey Credits: New Line Films, Lions Gate Films, Ogilvy & Mather, TBWA Chiat Day, THQ, The Matrix Video Game How to Submit: no unsolicited material MARTUNE MUSIC P.O. Box 416 Pasadena, CA 91102 626-441-0400 E-mail: inquiry@martunemusic.com Web: www.martunemusic.com MEDIA CREATURE MUSIC 6121 Santa Monica Blvd., #A Los Angeles, CA 90038 323-468-8888 Contact: Sharal Churchill How to Submit: accepts unsolicited material MICHAEL WELSH PRODUCTIONS 2215 Lambert Dr. Pasadena, CA 91107 626-796-7821 Fax 626-796-0847 E-mail: info@michaelwelshprods.com Web: www.michaelwelshprods.com Contact: Michael Welsh Comments: Music searches and clearances.

Credits: Macy’s, Gap, American Eagle Outfitters, DKNY, FedEx, Old Navy, Mitsubishi, Ford, Banana Republic, Yahoo, Nokia, Chivas Regal, Payless Shoes How to Submit: no unsolicited material MIKE FLICKER MUSIC SERVICES Burbank, CA Web: www.mikeflicker.com Contact: Mike Flicker Music Supervisors: Mike Flicker, CEO Credits: Viacom, 20th Century Fox, Showtime, Granada Entertainment, WB, ABC How to Submit: no unsolicited material MUSIC BRIDGE LLC, THE P.O. Box 661918 Los Angeles, CA 90066 310-398-9650 Fax 310-398-4850 E-mail: david@themusicbridge.com Web: www.themusicbridge.com Contact: David G. Powell, President How to Submit: no unsolicited material MUSIC ORANGE 1 Icehouse Alley San Francisco, CA 94111 415-398-6264 E-mail: michael@musicorange.com Web: www.musicorange.com Contact: Michael Lande MUSIC SALES WEST 1247 6th St. Santa Monica, CA 90401 310-393-9900 E-mail: info@musicsales.com Web: www.musicsales.com How to Submit: no unsolicited material Additional locations: 180 Madison Ave., Fl. 24 New York, NY 10016 212-254-2100 14-15 Berners St. London W1T 3LJ, UK +44 20 7612 7400 E-mail: music@musicsales.co.uk

MUSIC WITHOUT BORDERS (MWB) 159 Fishing Trail Stamford, CT 06903 203-769-5573 Fax 203-769-5574 E-mail: steve@musicconsultant.net Web: www.musicconsultant.net Contact: Steve Lurie, Founder and President MUTATO MUZIKA 8760 W. Sunset Blvd.

Los Angeles, CA 90069 310-360-0561 E-mail: natalie.montgomery@mutato.com Web: www.mutato.com Contact: Natalie Montgomery Credits: MTV2, Sci-Fi Channel, Films, Ad Agencies, CW Network, Nike, SIMS, HBO How to Submit: accepts unsolicited material, CDs only NAXOS OF AMERICA 1810 Columbia Ave., Ste. 28 Franklin, TN 37064 615-771-9393 Web: www.naxos.com How to Submit: no unsolicited material NEOPHONIC, INC. 1433 6th St. Santa Monica, CA 90401 310-550-0124 Web: www.neophonic.com Contact: Evyen Klean, music supervisor; PJ Bloom, music supervisor How to Submit: e-mail submission request at website PEACE BISQUIT Brooklyn, NY 718-789-1689 E-mail: info@peacebisquit.com Web: www.peacebisquit.com How to Submit: no unsolicited material QUARK RECORDS / QUARKETTE MUSIC (BMI) / FREEDURB MUSIC (ASCAP) P.O. Box 452 Newtown, CT 06470 917-687-9988 E-mail: ar@quarkrecordsusa.com Web: www.quarkrecordsusa.com Contact: Curtis Urbina Credits: Lion’s Gate, Indican Pictures, Miramax, Ultrascene, Quark How to Submit: We do not accept music submissions for A&R review via physical media or digital download. If you would like to have your music reviewed by the A&R staff or any of its subsidiaries you must have a public link shared to your music on the internet. Private links are also acceptable and will be reviewed by our staff.

REAL CURES MUSIC 11900 Metric Blvd. #J-195 Austin, TX 78758 512-532-6157 E-mail: realcures@yahoo.com Web: www.realcures.net Contact: David Lear Styles: Americana, indie rock, alt. country, rockabilly, acoustic, folk How to Submit: unsolicited materials accepted via U.S. mail REEL ENTERTAINMENT 11684 Ventura Blvd., Ste. 134 Studio City, CA 91604 818-501-1811 E-mail: info@reelent.com Web: www.reelent.com Contact: Mark Wolfson Credits: The Playtone Company, Mi Vida Loca, Philadelphia, Stop Making Sense, Silence of the Lambs, Colors How to Submit: e-mail submission request REEL SOUND, INC. 818-618-REEL (7335) E-mail: reelsoundinc@aol.com Web: www.reelsoundinc.com Contact: Michael Becker How to Submit: e-mail before submitting RIGHTS WORKSHOP, THE 39 Mesa St., Ste. 101 San Francisco, CA 94129 415-561-3333 E-mail: submissions@rightsworkshop.com Web: www.rightsworkshop.com Contact: Maryam Soleiman, Brooke Wentz Credits: La Mission, Everyday Sunshine: The Story of Fishbone, The Devil & Daniel Johnston, American Hardcore How to Submit: Please submit direct any content to the email address Additional location: 514 Victoria Ave. Venice, CA 90291 310-439-1290

ROCK RIVER MUSIC 520 Hampshire St. #202 San Francisco, CA 94110 415-355-1550 Fax 415-355-0550 E-mail: nathan.sedlander@rockrivermusic. com Web: www.rockrivermusic.com Contact: Nathan Sedlander How to Submit: call for more info RIPTIDE MUSIC GROUP 9469 Jefferson Blvd., Ste. 114 Culver City, CA 90232 310-437-4380, Fax 310-437-4384 E-mail: submissions@riptidemusic.com Web: www.riptidemusic.com How to Submit: please direct us to you online links only. We will delete MP3s or files upon receipt that are emailed to us with attachments.

If we are interested in working with you…we’ll be in contact.

SCREENMUSIC INTERNATIONAL — PRODUCTION MUSIC LIBRARY 18034 Ventura Blvd., Ste. 450 Encino, CA 91316 818-789-2954 E-mail: screenmusic@aol.com Web: www.screenmusic.com Credits: All major Film & TV companies incl.

Warner Brothers, Dreamworks, Lion’s Gate Films, MGM, Paramount How to Submit: please contact first before sending CDs SL FELDMAN & ASSOCIATES 200-1505 W. 2nd Ave. Vancouver, BC V6H 3Y4 604-734-5945 Web: www.feldman-agency.com Styles: all Credits: Defining Gravity, Imaginarium of Doctor Parnassus, Frankie & Alice How to Submit: no unsolicited material accepted Additional locations: 8 Elm St. Toronto, ON M5G 1G7 416-598-0067 Los Angeles 310-260-2700 SMC ARTISTS 1525 Aviation Blvd., Ste. 1000 Redondo Beach, CA 90278 818-505-9600 Web: www.smcartists.com Contact: Otto Vavrin II How to Contact: call before submitting material SONGFINDER Atlanta, GA 404-437-7978 E-mail: melissa@original-media.net Web: www.musicsongfinder.com Contact: Melissa Love SOUNDTRACK MUSIC ASSOCIATES 1460 4th St., #308 Santa Monica, CA 90401 310-260-1023 E-mail: info@soundtrk.com Web: www.soundtrk.com Contact: John Tempereau, Roxanne Lippel Music Supervisors: George Acogny, Anastasia Brown, Kathy Dayak, Jason Eldredge, Matt Kierscht, Frankie Pine, Michelle Silverman, Koyo Sonae How to Submit: no unsolicited material SUPERVISION 165 Hudson St., Rear Entrance New York, NY 10013 212-219-9170 E-mail: supervision@mindspring.com Contact: Susan Jacobs, Jackie Mulhearn How to Submit: no unsolicited material SWEET & DOGGETT Boston, MA 617-872-0455 E-mail: info@sweetdoggett.com Web: www.sweetdoggett.com Contact: Jay Sweet or Scott Doggett Credits: AOL, Merrill Lynch, Kodak, FisherPrice, Dunkin Donuts How to Submit: no unsolicited material SYNC POP MUSIC SUPERVISION Los Angeles, CA 213-447-6048 E-mail: contact@syncpopmusic.com Web: www.syncpopmusic.com, www.myspace.com/syncpop Credits: Luster, Stuntwood, FAQS, For Right or Wrong, FuelTV, Sundance Channel, Logo

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Directory of Film/TV Music Supervisors & Post-Production TLS MUSIC SERVICES 818-848-2330 Fax 818-848-4006 E-mail: tracy@tlsms.com Web: www.tlsms.com Music Supervisor: Tracy Lynch-Sanchez Credits: Napoleon Dynamite, 20th Century Fox, Universal Studios Home Entertainment, MGM How to Submit: no unsolicited material TRF PRODUCTION MUSIC LIBRARIES 106 Apple St., Ste. 302 Tinton Falls, NJ 07724 201-335-0005, 800-899-MUSIC E-mail: info@trfmusic.com Web: www.trfmusic.com Contact: Anne Marie Russo Credits: TV Networks, Film Studios, Ad Agencies How to Submit: submit acoustic and instrumental material only TRUE TALENT MANAGEMENT 9663 Santa Monica Blvd., #320 Dept. WEB Beverly Hills, CA 90210 310-560-1290 E-mail: webinfo@truetalentmgmt.com Web: www.truetalentmgmt.com How to Submit: accepts unsolicited material UMG NASHVILLE 401 Commerce St., #1100 Nashville, TN 37219 615-244-8944 Web: www.umgnashville.com Styles: Country, rock, singer-songwriter Clients: Shania Twain, Toby Keith, Willie Nelson, Ryan Adams, George Strait, Reba McEntire, more Credits: Lost Highway, Mercury, MCA, Dreamworks How to Submit: no unsolicited material VELVET EARS 4570 Van Nuys Blvd., #256 Sherman Oaks, CA 91403 818-510-0295 Fax 310-496-2624 Web: www.velvet-Ears.com Contact: Liz Gallacher, Kathleen Hasay Credits: Live Forever, Virgin Records, Bend It Like Beckham, Cube Soundtracks, Resident Evil VERSUSMEDIA 556 S Fair Oaks Ave., Ste. 245 Pasadena, CA 91105 877-633-8764 E-mail: info@versusmedia.com Web: www.versusmedia.com Contact: Ryan Styles: All genres Credits: Over 900 independent films worldwide How to Submit: online registration necessary to receive listings VISUAL MUSIC SERVICE 9507 N. Santa Monica Blvd., # 213 Beverly Hills, CA 90210 (o) 310-274-9601, (m) 818-481-0840 E-mail: rick.fleishman@gmail.com Web: www.visualmusicservice.com Contact: Rick Fleishman How to Submit: no unsolicited material WARD HAKE VP Music, 20th Century Fox TV 10201 W. Pico Blvd., Bldg. 88, Ste. 30 Los Angeles, CA 90064 310-369-1000 Fax 310-369-8726 Credits: 24, Prison Break, The Simpsons, Family Guy, My Name Is Earl, How I Met Your Mother, The Unit, The Shield, Shark and Bones How to Submit: no unsolicited material WARNER/CHAPPELL PRODUCTION MUSIC 10585 Santa Monica Blvd.

Los Angeles, CA 90025 818-238-6300 E-mail: submissions@warnerchappellpm.com Web: www.warnerchappellpm.com How to Submit: We do not accept composer demos and library discs for consideration. We only accept emails with a link to your music.

NO music files attached to the email WJOY MUSIC SEARCH & LICENSING 2675 W. Grand Ave., Ste. 505 Chicago, IL 60612 773-276-9340 Web: www.wjoymusic.com Contact: Joy Wellington Tillis Comments: WJOY provides a service to advertising and corporate clients by aiding them in obtaining rights to use pre-recorded and stock music.

ZOO STREET MUSIC 2701 W. Willow St. Burbank, CA 91505

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818-955-5268 E-mail: music@zoostreet.com Web: www.zoostreet.com Contact: Omar Herrera Credits: The Batmobile documentary, the Dark Knight Rises, The Lorax, The Bourne Legacy, American Reunion, The Avengers, Men in Black 3, Hotel Transylvania, and Happy Feet Two. How to Submit: no unsolicited material

POST-PRODUCTION CALIFORNIA 740 SOUND 12509 Beatrice St. Los Angeles, CA 90066 310-574-0740 E-mail: info@740sounddesign.com Web: www.740sounddesign.com Basic Rate: call for info ABSOLUTE RENTALS 2633 N. San Fernando Burbank, CA 91504 818-842-2828, 310-560-2373, 702-435-0277 E-mail: dave@absoluterentals.com Web: www.absoluterentals.com Basic Rate: call for info BELL SOUND STUDIOS 916 N. Citrus Ave. Hollywood, CA 90038 323-461-3036 E-mail: beth@bellsound.com Web: www.bellsound.com Basic Rate: call for info BRIAN BANKS MUSIC 310-691-2347 UK +44-20-7096-1652 E-mail: brian@brianbanksmusic.com Web: brianbanksmusic.com Basic Rate: call for info BRIDGE RECORDING, THE 736 Salem St. Glendale, CA 91203 818-396-4474 Fax 818-396-4979 E-mail: vicki@thebridgerecording.com Web: www.thebridgerecording.com Basic rate: call for info BRUCE ROBB PRODUCTIONS & QUARTER2THREE RECORDS 323-903-0003 Fax 323-210-7434 E-mail: info@brucerobbproductions.com Web: www.brucerobbproductions.com CAPITOL STUDIOS 1750 N. Vine St. Los Angeles, CA 90028 323-871-5001 E-mail: mark.moreno@umusic.com Web: www.capitolstudios.com Contact: Mark Moreno Basic Rate: call for info CASHMAN COMMERCIALS 26136 N. Twain Pl. Stevenson Ranch, CA 91381 661-222-9300 E-mail: info@cashmancommercials.com Web: www.cashmancommercials.com Basic Rate: call for info CHARLES LAURENCE PRODUCTIONS 19002 Los Alimos St. Northridge, CA 818-368-4962 E-mail: clpmanagement@aol.com Web: www.clpstudios.com Contact: Charles Laurence Basic Rate: call for info CINEWORKS DIGITAL STUDIOS 3330 Cahuenga Blvd. W., Ste. 200 Los Angeles, CA 90068 818-766-5000 Fax 818-623-7457 E-mail: info@cineworks.com Web: www.cineworks.com Basic Rate: call for info Additional locations: 1831 Centinela Ave. Santa Monica, CA 90404 1523 Constance St., Ste. D2 New Orleans, LA 70130 12054 Miramar Pkwy.

Miramar, FL 33025 1900 Emery St., Ste. 102 Atlanta, GA 30318 CLOUD 19 3767 Overland Ave., Ste. 103 Los Angeles, CA 90034 310-839-5400 E-mail: info@cloud19.com

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Web: www.cloud19.com Basic Rate: call for info

Web: www.primalscream.audio Basic Rate: call for info

CONWAY RECORDING STUDIOS 5100 Melrose Ave. Los Angeles, CA 90038 323-463-2175 Fax 323-463-2479 E-mail: reception@conwayrecording.com Web: www.conwayrecording.com Basic Rate: call for info

RACE HORSE STUDIOS 3780 Selby Ave. Los Angeles, CA 90034 310-280-0175 Fax 310 280-0176 E-mail: duncan@racehorsestudios.com Web: www.racehorsestudios.com Contact: Duncan Clients: Universal Interactive, D3Publishers of America, Trailer Park of Terror Basic Rate: call for info

DEEPMIX 735 Brent Ave. South Pasadena, CA 91030 323-769-3500 E-mail: brad@deepmix.com Web: www.deepmix.com Basic Rate: call for info EASTWEST RECORDING STUDIOS 6000 W. Sunset Blvd.

Hollywood, CA 90028 323-957-6969 E-mail: candace@eastweststudio.com Web: www.eastweststudio.com Basic Rate: call for info ES AUDIO SERVICES 1746 Victory Blvd.

Glendale/Burbank, CA 91201 818-505-1007 E-mail: studio@esaudio.com Web: www.esaudio.com Contact: Donny Baker Basic Rate: Call for more info ENDLESS NOISE 1825 Stanford St. Santa Monica, CA 90404 310-694-8251 E-mail: marycatherine@endlessnoise.com Web: www.endlessnoise.com Basic Rate: call for info FIREHOUSE RECORDING STUDIOS 30 W. Green St. Pasadena, CA 91105 626-405-0411 Fax 626-405-0413 E-mail: jason@firehouserecording.com Web: destiny@firehouserecordingstudios.com Contact: Destiny Rael Basic Rate: call for info FOUNDATION POST 3583 Hayden Ave. Culver City, CA 90232 424-238-0381 E-mail: samantha@foundationcontent.com Web: www.foundationpost.com Contact: Samantha Hart, Creative Dir. Basic Rate: call for info FRIDAY ENTERTAINMENT Sherman Oaks, CA 818-995-4642 E-mail: info@fridayentertainment.com Web: www.fridayentertainment.com Contact: Sam Dress Basic Rate: very competitive GREENWOOD SOUND Van Nuys, CA 818-384-6286 E-mail: greenwoodsound@earthlink.net Web: www.greenwoodsound.com GRIND MUSIC & SOUND 818-565-5565 E-mail: info@grindinc.com Web: www.grindinc.com Basic Rate: call for info HUM MUSIC + SOUND DESIGN 1547 9th St. Santa Monica, CA 90401 310-260-4949 Fax 310-260-4944 E-mail: dl@humit.com Web: www.humit.com Basic Rate: call for info MIND OVER EYE 2221 Rosecrans Ave., Ste. 195 El Segundo, CA 90245 310-396-4663 E-mail: dave@minovereye.com Web: www.mindovereye.com Basic Rate: call for info MUSIC COLLECTIVE, THE 12711 Ventura Blvd., Ste. 110 Studio City, CA 91604 818-508-3303 Fax 818-508-3314 E-mail: scott@themusiccollective.com Web: www.themusiccollective.com Basic Rate: call for info NICOLE DIONNE / PRIMALSCREAM MUSIC c/o The Village Recorder 1616 Butler Ave. Los Angeles, CA 90025 323-366-0012 E-mail: info@primalscream.audio

RIPTIDE MUSIC, INC. 9469 Jefferson Blvd., Ste. 114 Los Angeles, CA 90232 310-437-4380 Fax 310-437-4384 E-mail: contact@riptidemusic.com Web: www.riptidemusic.com Basic Rate: call for info S3 MUSIC + SOUND 11681 Gateway Blvd.

Los Angeles, CA 90064 310-312-3329 Fax 310-312-8827 E-mail: info@s3mx.com Web: www.s3mx.com Basic Rate: call for info SCREENMUSIC INTERNATIONAL 18034 Ventura Blvd., Ste. 450 Encino, CA 91316 818-789-2954 E-mail: screenmusic@aol.com Web: www.screenmusic.com Basic Rate: call for info SENSORY OVERLOAD MUSIC 818-985-3300 E-mail: license@Sensory-Overload.com Web: www.sensory-overload.com Basic Rate: call for info SILVERDISC PRODUCTIONS 909-996-4224 Web: www.silverdiscpro.com Contact: Jeff Basic Rate: call for info SOTTOVOCE STUDIOS North Hollywood, CA 818-694-3052 E-mail: info@sottovocestudio.com Web: www.sottovocestudio.com Contact: Shaun Drew Basic Rate: call for info SOUNDBATH MUSIC & SOUND 310-392-0369 Web: www.soundbath.com Basic Rate: call for info STOKES AUDIO RECORDING & POST 19626 Ventura Blvd., Ste. 201 Tarzana, CA 91356 818-855-9759 E-mail: info@stokesaudio.com Web: www.stokesaudio.com Basic Rate: call for info STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 Fax 818-761-4744 E-mail: eharrison@studiocitysound.com Web: www.studiocitysound.com Basic Rate: call for info SUMMERFIELD MUSIC, INC. 818-905-0400 E-mail: info@summerfieldmusic.com Web: www.summerfieldmusic.com Basic Rate: call for info THRESHOLD SOUND + VISION 2114 Pico Blvd.

Santa Monica, CA 90405 310-566-6677 Fax 310-314-3826 E-mail: micheleb@thresholdsound.com Web: www.thresholdsound.com Contact: Michele Blankenship Basic Rate: call for info THUNDER SOUND 3123 S. La Cienega Blvd.

Los Angeles, CA 90016 310-829-4765, Fax 310-315-6399 E-mail: artwright@thunder-sound.com Web: www.thunder-sound.com Contact: Art Wright Basic Rate: call for info TOMCAT ON THE PROWL PRODUCTIONS Studio City, CA 818-533-8669 E-mail: studio@tomcatontheprowl.com Contact: Thomas Hornig Web: www.tomcatontheprowl.com V GROUP, THE 359 21st St.

Download at musicconnection.com/industry-contacts Santa Monica, CA 90402 310-395-0252 E-mail: v@thevgroup.net Web: www.thevgroup.net Basic Rate: call for info VILLAGE, THE 1616 Butler Ave. Los Angeles, CA 90025 310-478-8227 Web: www.villagestudios.com Basic Rate: call for info WALT DISNEY STUDIOS 500 S. Buena Vista St. Burbank, CA 91521 818-560-2731 Web: www.buenavistapost.com Basic Rate: call for info WARNER BROS. STUDIO FACILITIES POST PRODUCTION SERVICES 4000 Warner Blvd., Bldg. 4 Burbank, CA 91522 818-954-2515 Web: www.wbsound.com Basic Rate: call for info WARRIOR RECORDS 7095 Hollywood Blvd., Ste. 826 Hollywood, CA 90028 E-mail: info@warriorrecords.com Web: www.warriorrecords.com Contact: Jim Ervin Basic Rate: email for information WESTLAKE RECORDING STUDIOS & TECHNICAL SERVICES 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: call or e-mail for info WOJAHN BROS. MUSIC 1524-D Cloverfield Blvd.

Santa Monica, CA 90404 310-829-6200 Fax 310-829-6222 E-mail: info@wojahn.com Web: www.wojahn.com Basic Rate: call for info Additional location: Mid-West/Dallas Rep. Lauren McNamara 312-222-9335 E-mail: lworldrep@aol.com ZOO STREET MUSIC 2701 W. Willow St. Burbank, CA 91505 818-955-5268 Fax 818-295-5001 E-mail: oherrera@zoostreet.com Web: www.zoostreetmusic.com Contact: Omar Herrera Basic Rate: contact for rates

FLORIDA CINEWORKS DIGITAL STUDIOS 12054 Miramar Pkwy.

Miami, FL 33025 305-754-7501 Fax 305-754-3850 E-mail: info@cineworks.com Web: www.cineworks.com Basic Rate: call for info Additional locations: 1523 Constance St., Ste. D2 New Orleans, LA 70130 504-733-8353 Fax 504-733-8351 1900 Emery St., Ste. 102 Atlanta, GA 30318 404-549-6755, Fax 404-549-6753 COMTEL TELEVISION PRODUCTION FACILITIES 14901 N.E. 20th Ave. North Miami, FL 33181 305-948-9116 Web: www.comtelinc.com Basic Rate: call for info

ILLINOIS ATOMIC IMAGING INC. 1501 N. Magnolia Ave. Chicago, IL 60622 312-649-1800 Fax 312-642-7441 E-mail: aigar@golan.tv Web: www.atomicimaging.com Contact: Aigar Dombrovskis Basic Rate: call for info

Additional locations: New York 312-649-1800 Ext. 5770 E-mail: erik@atomicimaging.com Contact: Erik Iversen Los Angeles 312-649-1800 Ext. 5780 E-mail: Tim@atomicimaging.com Contact: Tim Clark San Juan, Puerto Rico 312-649-1800 Ext. 5790 E-mail: lois@atomicimaging.com Contact: Luis Ruiz SONIXPHERE 445 E. Ohio, Ste. #220 Chicago, IL 60611 312-329-1310 Fax 312-329-1339 E-mail: greg.allen@sonixphere.com Web: www.sonixphere.com WHITEHOUSE POST PRODUCTION, THE 54 W. Hubbard St., Ste. 501 Chicago, IL 60610 312-822-0888 E-mail: kristin@whitehousepost.com Web: www.whitehousepost.com Contact: Kristin Branstetter Basic Rate: call for info Additional locations: 530 Wilshire Blvd., Ste. 400 Santa Monica, CA 90401 310-319-9908 E-mail: joni@whitehousepost.com Contact: Joni Wiliamson 180 Varick St., Ste. 1400 New York, NY 10014 212-568-8200 E-mail: lauren@whitehousepost.com Contact: Lauren Hertzberg, Exec. Producer 21-23 Meard St. London W1F0EY 44-0-207-432-4300 E-mail: lisak@whitehousepost.com Contact: Lisa Kenrick Whitehouse At The Glassworks Keizersgracht 477 Amsterdam, 117 DL +31-(0) 20 7940996 E-mail: olivier@glassworksamsterdam.nl Contact: Olivier Klonhammer

MASSACHUSETTS D2 PRODUCTIONS One Kane Industrial Dr. Hudson, MA 01749 508-485-0300 E-mail: info@d2productions.com Web: www.d2productions.com Basic Rate: call for info SOUNDMIRROR 76 Green St. Boston, MA 02130 617-522-1412 Fax 617-524-8377 Web: www.soundmirror.com

NEVADA DIGITAL INSIGHT RECORDING STUDIOS 2810 S. Maryland Pkwy., Ste. C Las Vegas, NV 89109 702-792-3302 E-mail: digitalinsightrecording@gmail.com Web: www.digitalinsightrecording.com Basic Rate: call for info LEVY PRODUCTION GROUP 5905 S. Decatur Blvd., #1 Las Vegas, NV 89118 702-597-0743 E-mail: mike@levyproductiongroup.com Web: www.levyproductiongroup.com Basic Rate: call for info

NEW JERSEY WORLDS AWAY PRODUCTIONS, LTD. West Orange, NJ 646-543-8005 E-mail: info@worldsaway.tv Web: www.worldsaway.tv Basic Rate: call for info

NEW YORK ANIMATED PRODUCTION SERVICES E-mail: dcpinfo@digitalcinemaprint.com Web: www.digitaltofilm.com Basic Rate: email for information

CP DIGITAL 102 Madison Ave. New York, NY 10016 212-328-5177 E-mail: ffiore@cpdigital.com Web: www.cpdigital.com Contact: Franco Fiore Basic Rate: call for info CHELSEA POST All Mobile Video 221 W. 26th St. New York, NY 10001 212-727-1234 E-mail: contact@amvchelsea.com Web: www.amvchelsea.com Basic Rate: call for info CINERIC 630 9th Ave., Ste. 508 New York, NY 10036 212-586-4822 E-mail: enyari@cineric.com Web: www.cineric.com Contact: Eric Nyari Basic Rate: call for info DIGITAL ARTS 130 W. 29th St., Fl. 8 New York, NY 10001 212-460-9600, Fax 212-660-3600 Web: www.digital-arts.net Contact: Axel Ericson Basic Rate: call for info DRAGON LICKS 137 5th Ave., Fl. 3 New York, NY 10010 212-533-3443 E-mail: info-ny@yessian.com Web: www.dragonlicks.com Basic Rate: call for info Additional locations: 33117 Hamilton Ct. Farmington Hills, MI 48334 248-553-4044 E-mail: info-detroit@yessian.com 1222 5th St. Santa Monica, CA 90401 310-871-7621 E-mail: info-la@yessian.com Schulterblatt 58 20357 Hamburg, Deutschland +49-40-40185159 E-mail: info-germany@yessian.com DUART FILM & VIDEO 245 W. 55th St. New York, NY 10019 212-757-4580 E-mail: info@duart.com Web: www.duart.com Basic Rate: call for info MAGNETIC POST PRODUCTION 4 Marshall Rd. Wappingers Falls, NY 12590 212-598-3000 Fax 212-228-3664 E-mail: contact@magneticimage.com Web: www.magneticimage.com Basic Rate: call for info MERGE CREATIVE MEDIA 2 W. 46th St., Penthouse New York, NY 10036 212-727-2540 E-mail: info@mergecreativemedia.com Web: www.mergecreativemedia.com Basic Rate: call for info MOVING PICTURES 145 6th Ave., Fl. 7 New York, NY 10013 212-924-7364 E-mail: info@mpny.tv Web: www.mpny.tv Basic Rate: call for info POST FACTORY 12 Desbrosses St. New York, NY 10013 212-627-1662 Fax 646-237-2200 E-mail: chris@postfactoryny.com Web: www.postfactoryny.com Contact: Chris Peterson Basic Rate: call for info Additional location: 304 Hudson St., Fl. 6 New York, NY 10013 212-627-2330 PRIME FOCUS 345 Hudson St., Fl. 13 New York, NY 10014

212-292-3333 E-mail: NewYork.info@primefocusworld.com Web: www.primefocusworld.com Basic Rate: call for info Additional locations: 1800 N. Vine St. Hollywood, CA 90028 323-461-7887 E-mail: LosAngeles.info@primefocusworld. com 1205 Melville St. Vancouver, BC V6E 0A6 Canada +1 604 733 7030 E-mail: Vancourver.info@primefocusworld.com 160 Great Portland St. London, W1W5QA+44 207 268 5086 E-mail: London.info@primefocusworld.com Mainframe IT Park Building H, Royal Palms Goregaon (East) Mumbai, 400065 +91 22 4209 5000 E-mail: Mumbai.info@primefocusworld.com Room 1806, Tower A Pacific Century Pl., No. 2A Worker’s Stadium North Road Chaoyang District, Beijing 100027, P.R. China +86 10 6539 1655 / +86 188 E-mail: Beijing.Info@primefocusworld.com PURPLE COW POST 516-443-1058 Web: www.purplecowpost.com Contact: Brain Kushner Basic Rate: call for info TOWN & COUNTRY CREATIVE 917-287-6575 E-mail: rosanne@townandcountrycreative. com Web: www.townandcountrycreative.com Contact: Rosanna Herrick Basic Rate: call for info

PENNSYLVANIA FERRALLI STUDIOS 4999 Pittsburg Ave Erie, PA 16509 814-528-5439 E-mail: info@ferralli-studios.com Web: www.ferralli-studios.com Basic Rate: call for info

TENNESSEE CONTINENTAL FILM PRODUCTIONS 1466 Riverside Dr., Ste. E Chattanooga, TN 37406 423-622-1193 Fax 423-629-0853 E-mail: info@continentalfilm.com Web: www.continentalfilm.com Basic Rate: call for info HOUSE OF BLUES STUDIOS Encino, CA; Nashville, TN; Memphis, TN 818-990-1296, 615-777-9080 E-mail: info@houseofbluesstudios.com Web: www.houseofbluesstudios.com/memphis Basic Rate: call for info POSTDIGITAL INC. 509 Craighead St., Ste. 110 Nashville, TN 37204 615-584-0734 Web: www.postdigital.us Contact: Perry Trest Basic Rate: call for info

TEXAS STUCK ON ON 516 Navasota St. Austin, TX 78702 512-535-4760 E-mail: info@stuckonon.com Web: www.stuckonon.com Basic Rate: call for info VIDEOWISE GROUP 2245 Keller Way, Ste. 250 Carrollton, TX 75006 972-418-9600 Ext. 101 E-mail: info@videowisegroup.com Web: www.videowisegroup.com Basic Rate: call for info For hundreds more contacts from current directories (A&R, guitar/bass instructors, everything indie, promotion, publicity, vocal coaches, college radio, recording studios, rehearsal studios, mastering studios, publishers, managers agents and more), visit our website: musicconnection.com/industry-contacts.

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â&#x20AC;&#x201C; JOE SOLO

Trusted Relationships: The REAL Key to Film & TV Placements

A

ssuming your songs, voice, recordings and performance are â&#x20AC;&#x153;undeniable,â&#x20AC;? and your business savvy and entrepreneurial chops are up to snuff, the key factor in your success in placing your music in film and TV (and video games and commercials) will result from the authentic, trusted relationships you build with music supervisors and music publishers.

And that takes timeâ&#x20AC;&#x201C;â&#x20AC;&#x201C;lots of itâ&#x20AC;&#x201D;for those relationships to develop.

Why? Because not only must personal familiarity, understanding, character, connection and common ground be ingredients in the relationship between you and these industry executives, but deep, mutual trust must be there. Cultivating that kind of trust naturally takes a long time. In order to get â&#x20AC;&#x153;thereâ&#x20AC;? both parties in the relationship need a repetition of positive, mutually beneficial experiences.

These experiences, however, donâ&#x20AC;&#x2122;t need to be simultaneous. You can take turns. For example, I do a lot of favors for people in the industry, and it comes from a genuine desire rooted deep in my soul to help people flourish. It makes me feel so happy. And in return, I may someday need a break, an introduction, a favor or some words of wisdom. Actually, in most cases I donâ&#x20AC;&#x2122;t. So instead Iâ&#x20AC;&#x2122;ll request special help on behalf of a songwriter or artist who does need help, but might not otherwise be in a position to ask. This way, multiple dimensions of â&#x20AC;&#x153;relationship glueâ&#x20AC;? bonds all three of us together.

These kind of music industry relationship-building techniques are a large part of the seven-person music supervisor/publisher/ manager panel and dinner at my Malibu Beach House Music Success Retreat, which Iâ&#x20AC;&#x2122;m hosting in October.

The â&#x20AC;&#x153;Magicâ&#x20AC;? Key To Winning Placements Is . . .

I field questions every day from driven, talented people about how to contact music supervisors and publishers: â&#x20AC;&#x153;How should I XPSE UIF JOUSPEVDUPSZ FNBJM u r i4IPVME * TFOE all the material I have, or would it be smarter to TFOE NZ CFTU UISFF u r i%P * TVCNJU NZ NBUFSJBM PO $% ESJWF TFOE NQ T PS MJOLT u r i4IPVME * JNQSFTT UIFN XJUI NZ WFSTBUJMJUZ PS TUJDL UP B ATJHOBUVSF TUZMF u r i)PX TPPO BOE IPX PGUFO TIPVME * GPMMPX VQ u r i4IPVME * TFOE TFDPOE TOJQQFUT PG NBOZ TPOHT PS XPVME JU CF CFUUFS UP TFOE UXP PS UISFF GVMM MFOHUI TPOHT u r i%P * TFOE MZSJD TIFFUT u r i8IBU DPOTUJUVUFT B QSPGFTTJPOBM CJP u r i4IPVME * TVCNJU only broadcast-quality masters made by a seasoned producer, or will my PXO EFTLUPQ EFNPT TVGGJDF u r i4IPVME * TQFOE NZ SFDPSEJOH CVEHFU PO a 12-song demo of all my songs, or is it smarter to make master quality SFDPSEJOHT PG KVTU B GFX u r i8IZ EP * HFU QPTJUJWF SFTQPOTFT BCPVU NZ music from the industry, but little or no action seems to follow?â&#x20AC;?

And especially this one: â&#x20AC;&#x153;When will the whole entertainment industry and the worldâ&#x20AC;&#x2122;s entire population realize what theyâ&#x20AC;&#x2122;re missing by not listening to my music?â&#x20AC;? (Stop reading and email me NOW for a consultation if this is you.)

Notice that the questions almost always boil down to one basic question: â&#x20AC;&#x153;How do I gain ACCESS to music executives?â&#x20AC;?

These people ask me because they think knowing the answers gives them a â&#x20AC;&#x153;magic key.â&#x20AC;? But... There - Is - No - Magic - Key. However, There Is A Pathway Forward: You gotta know how to network authentically. You gotta learn the secret handshakes. You have to go through and come out on the other side of the prerequisite â&#x20AC;&#x153;growingâ&#x20AC;? experiences (multiple heartbreaking rejections) that empower you to walk with confidence into a room full of music executives.

And most important of all: It is imperative for you to build a reputation

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of trust. That starts with learning the nuances of how to communicate with these people. Make them feel comfortable knowing that you know what youâ&#x20AC;&#x2122;re talking about and not wasting their time. Learn to attract them with the music and talent you have to offer, so you can inspire them to WANT to pay attention to you.

Enchant Your Way To The Top: At the earliest point in your music journey, it is a real smart decision to learn what motivates each player in the biz, so you can authentically enchant them. And these motivations are different for each role. For example, the things that enchant a music supervisor are different from what piques a publisherâ&#x20AC;&#x2122;s interest. Letâ&#x20AC;&#x2122;s take a look: Three things that attract music supervisors: 1. They simply love discovering new talent.

2. The appropriateness of the style and emotional content of music they need for a particular movie scene (or TV show, video game or commercial). After all, itâ&#x20AC;&#x2122;s the music that controls how the viewer feels during any given scene.

4QFFE BOE FBTF PG DMFBSJOH ZPVS music.

Three things that attract publishers: 1. The market value of your songs.

2. The universal accessibility of your material.

5JHIU TPOHXSJUJOH DSBGU See how different those are?

Having this kind of information is so valuable, because once you are armed with it you will know how to frame what you have to offer, depending on the role of the person youâ&#x20AC;&#x2122;re pitching to.

More Trust Builders: r #FJOH BCMF UP EJTQMBZ UIBU ZPV QPTTFTT UIF knowledge of how different music deal structures work. (Record contracts, publishing deals, licensing agreements, band agreements, song splits, just to name my faves.) r 3FMBYFE UPOF BOE WJCF XIFO UBMLJOH PO UIF QIPOF PS NFFUJOH JO QFSTPO r .BJOUBJOJOH QSPGFTTJPOBMJTN JO BMM BTQFDUT PG ZPVS NVTJD DBSFFS r 3FQFUJUJPO PG DPNNVOJDBUJOH XJUI ZPV JO QFSTPO BOE PS WJB UIF /FU

r 3FQFUJUJPO PG UIFN TFFJOH ZPVS OBNF JO NVMUJQMF QMBDFT r 3FQVUBUJPO PG IFBSJOH HPPE UIJOHT BCPVU ZPV GSPN NVMUJQMF USVTUFE sources. (Thereâ&#x20AC;&#x2122;s that word from the headline!) r 4FUUJOH IJHI TUBOEBSET JO FWFSZUIJOH GSPN ZPVS XSJUJOH SFDPSEJOHT BOE performances to your politeness and honesty.

Practicing high standards shows authenticity. And it is the authenticity of everything you do in music that will build a reputation as someone who can be trusted. Oh look! Thereâ&#x20AC;&#x2122;s that word from the headline again!â&#x20AC;&#x201C;â&#x20AC;&#x201C;Trusted.

And that, it turns out, is a POWERFULLY magical key.

Producer/Songwriter JOE SOLO (Macy Gray, Universal, Atlantic, Sony) is founder of the Music Success Workshop. To obtain his FREE Music Success Video Nuggets go to joesiolo.com. To attend his Malibu Beach House Music Success Retreat in October, see musiccareersuccess. com. To ask questions or inquire about one-on-one career coaching: info@joesolo.com.