October 2023

Masters of Mastering 2023

By Rob Putnam

Alice Cooper

The Rock & Roll Hall of Famer talks about his hot new band, the making of his brand new album with Bob Ezrin, and the ins and outs of Cooper's seemingly non-stop live touring.

By Gary Graff

Directory of Mastering Engineers

Compiled By Robin Rose

By Miguel Costa

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.

Photos by: Jenny Risher

The Original. Remastered.

Scarlett. The new generation.

All-new preamps to get the best out of any mic. Massive 120dB dynamic range to hear every detail. Re-engineered Air mode lifts vocals and instruments to the front of the mix.

Auto Gain automatically sets your levels and Clip Safe keeps them in the sweet spot. Plus a huge bundle of software and plugins.

dBu Ranch Recorders

dburanchrecorders.com

Fulfilling a Lifelong Vision: Growing up on a farm in Northern Nevada, Dusk Bennett always believed that someday he would own a cool studio with a Neve console in the backyard. After years of working in L.A. with both superstars and hundreds of indie artists and winning a Grammy for his engineering on Rod Stewart’s platinum 2004 standards album Stardust the multi-talented engineer and producer fulfilled his vision with the 2021 launch of dBu Ranch Recorders in the northern San Diego County area of Valley Center.

Bennett brings a unique and varied history to his facility, and his hands-on behind-the-board work with up-and-coming artists of all genres, including sessions over the past few months that have resulted in four songs by San Diego based clients in the Mediabase Top 100

Launching his career at 4th Street Recording Studio in Santa Monica (under the tutelage of Jim Wirt) while working on his degree in Communications/Recording Arts at Loyola Marymount, Bennet’s credits include Fiona Apple (her debut album Tidal), Black Eyed Peas, Five for Fighting, Mötley Crüe, Sixx AM, Mike Love, Chicago and Barry Manilow. For about a decade, while working as a free-lance engineer, he also served as department head and faculty member in the Recording Arts department at his alma mater, LMU.

The Studio: Proudly offering what he calls “the ultimate 1980s room,” dBu Ranch Recorders has a 32-input Neve 8014, a 24-track analog tape machine synchronized to a Pro Tools HDX system, and an extensive retro gear collection. In addition to a 25 x 30 ft. tracking room with 20-foot ceilings, Bennett also has a dedicated piano room with a Yamaha C7, Hammond C3 and Leslie, Rhodes piano and Yamaha CP-80. There are five isolation spaces, an EMT 140 stereo plate reverb and spacious control room. Each room is treated with different acoustics to create unique recording environments. Bennett has also integrated a full DMX lighting system so artists

can capture exciting live content on video and couple it with the front end typically reserved for expensive high end L.A. studios. Bennett makes it clear to each client he chooses to work with that this is not simply a facility to rent out; he will be hands-on in helping them reach their potential.

Incredible Amenities: Moving his family from Los Angeles down to Valley Center in late 2019, Bennett spent the pandemic year building a facility on his property that he calls “the ultimate San Diego recording studio experience,” where clients can “enjoy your days with open mountain views and your nights under a magnificent star-filled sky.” Situated on two acres, the 1650 sq. ft. facility was designed to fully immerse the artist in the mountain atmosphere, including breathtaking views from nearly every room. Artists have access to onsite and offsite lodging, a pool, hot tub, outdoor grill and patio area, a shooting range and a small brewery where Bennett engages in one of his favorite hobbies. They can enjoy local hiking, biking, casino visits and wine tasting during breaks. His ultimate goal is to make dBu Ranch Recorders a full-on destination facility along the lines of Muscle Shoals and Caribou Ranch.

Contact dBu Ranch Recorders, 310-413-0845

ASSIGNMENTS

Tino Gagliardi

Board of Directors

SoundExchange

SoundExchange announced that newly elected American Federation of Music (AFM) president Tino Gagliardi has joined its 18-seat Board of Directors. He represents the voice of working musicians as SoundExchange works to champion creators and build a fairer, simpler, and more efficient music industry. Gagliardi has a long career with the AFM, serving as Director of Theater, Touring, and Booking. He has also served as an AFM International Executive Board member (2010-2019) and is currently a trustee and co-chair of the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund. For more, contact jv@spinlab.net.

Sydney Hard

Head of Creative/Creative Director

Mom+Pop Music

Mom+Pop Music announced the promotion of Sydney Hard to Head of Creative/Creative Director. Since coming to Mom+Pop a half-decade ago, Hard has managed the creative campaigns of artists such as Ashe, Del Water Gap, Beach Bunny, Madeon, Tycho, Orion Sun, FKJ, Maya Hawke and more. Hard oversees an album's visual identity through mediums including music videos, album artwork, photoshoots and websites, and will continue to expand this work and her department in her new role. For more, contact ellyn@e2pr.biz.

Helena Akhtar

Manager of Content Development and Promotion

RECORDS Nashville

RECORDS Nashville welcomed

Helena Akhtar as Manager of Content Development and Promotion. With a proven track record in the music industry, Akhtar joins RECORDS Nashville after a successful tenure as the Manager of Content and National Promotion at Sony/ Arista Nashville. Akhtar will be responsible for overseeing all content across the RECORDS Nashville roster, as well as managing relationships with radio stations in an effort to mazimize airplay exposure for RECORDS Nashville singles. Contact jenniver_valentin@dkcnews.com.

David Quan

Board of Directors

Los Angeles AIMP

David Quan, Head of Licensing & Administration at The Greater Goods Co., has been appointed to the Board of Directors of the Los Angeles Chapter of the Association of Independent Music Publishers (AIMP). As Head of Licensing & Administration at The Greater Goods Co., Quan handles all aspects of the company's business affairs, licensing, copyright and royalties. During his more than 30-year career in the music industry, Quan has worked for such notable companies as Leiber & Stoller, All Nations Music, Warner/Chappell, BMG, Universal Records, PeerMusic, Angry Mob Music, Sony Pictures Entertainment and NBCUniversal. For more, contact zach@jaybird.com.

Mat Koehler VP of Product Gibson

Gibson has announced the promotion of Mat Koehler to the role of Vice President of Product at Gibson Brands. In his new role, Koehler will continue leading the product development team, expanding his responsibility across Instruments and Sound, two pillars of Gibson’s global brand strategy. Koehler has been leading research, design and development, creating new product introductions for Gibson, Custom Shop, Acoustics, the Murphy Lab, Epiphone and Kramer. For more information, contact lcoffey@primeprgroup.com.

Olukorede “Kay” Ikazoboh Head of Virgin Music Nigeria Virgin

Music Group

Olukorede "Kay" Ikazoboh has been named Head of Virgin Music Nigeria. Ikazoboh will oversee the company's operations in the area. Among the first deals announced in the region by Virgin include partnerships with Dvpper, one of Nigeria's hottest Afrobeats labels, solo artist Reekado Banks, as well as a single with Darkoo featuring Arya Starr. Ikazoboh has helped to guide the careers of such artists as Odunsi the Engine, Mowalola and Taylwar. She also served in a variety of positions in Emerging Markets for Warner Music Group. For more, contact jv@spinlab.net.

Todd Dupler Chief Advocacy & Public Policy Officer The

Recording Academy

The Recording Academy has appointed Todd Dupler as Chief Advocacy & Public Policy Officer. Dupler oversees the Advocacy division focused on championing creators' rights and elevating important policy issues that stand to affect the music community. Dupler has expanded the Academy's state and local advocacy work, resulting in new pro-music laws in multiple states, including California's landmark Decriminalizing Artistic Expression Act. For more, contact daniela.tellechea@ recordingacademy.com

Seth Goldstein In-House Legal Counsel Moises

Moises has tapped business and legal affairs executive and attorney Seth Goldstein to serve as in-house legal counsel. Goldstein will help Moises navigate the legal complexities of emerging business opportunities brought about by A.I. Labels, publishers, PROs, music services and content creators all have a stake in this new legal landscape, but their interests are not always aligned. Understanding the intricacies of copyright law from all perspectives is critical for any music company dealing with A.I.-powered technologies. Most recently, Goldstein has served as VP of Business and Legal Affairs at Utopia Music. Contact brendan@rockpaperscissors.biz.

LATIN PERCUSSION MONA TAVAKOLI SIGNATURE LIL' MT BOX CAJONS

The improved LP® Mona Tavakoli Signature MT Box Cajon (model # LP14431) is now made from hand-crafted, nine-ply birch wood with a four-string factory-tuned front and a Peruvian-style sound board to give an appealing look and enhanced tone. The sizing is the same at 18 x 11 ¾ x 12-inches and features LP's Rapid Response Curve sound board that enhances the separation of the bass and slap tones. It comes with Mona’s proprietary three sound hole design.

The smaller Lil' MT Box Cajon (model # LP1443L) is based on the larger model and its reduced dimensions of 11 ½ x 7 5/8 x 10-inches make it ideal for the smaller player. Like its big sister, is crafted from environmentally friendly eco-board with a birch soundboard and fitted with a snare wire

Each of the non-playing surfaces of these instruments is brightly painted in red, blue, green, and yellow and both are decorated with Mona Tavakoli's MT logo.

The LP Mona Tavakoli Signature MT Box Cajon, model # LP14431 sells for $199.99 and the smaller (model # LP1443L) is $99.99 MSRP.

lpmusic.com/products/cajons/lp/mona-tavakoli-signature-lil-mt-box-cajon

PEAVEY HP 2 POPLAR BURL RM ELECTRIC GUITAR

Peavey Electronics® has expanded the iconic HP 2® electric guitar product line with the new HP 2 Poplar Burl RM. Available in a stunning array of translucent finishes, a roasted maple neck, high-quality materials and electronics, the HP 2 is fashioned to stand out.

The HP 2 has a carved top and offset, asymmetrical body design with good balance and maximum ease of playing. It has the initials of Peavey founder and CEO, Hartley Peavey.

The HP 2 starts out with a classic cutaway design, a bolt on contoured neck, then a poplar burl for the tops and basswood for the back. These hardwoods were selected not only for their natural beauty and weight characteristics, but also for their excellent tonal qualities.

An easy-access steel torsion rod and dual graphite reinforcement bars enhance the strength of the build. The HP 2 has a 25 5-inch scale length, 22 jumbo frets plus a 10-degree tilt-back headstock with Schaller® tuning machines and pearloid buttons.

Electronically, the HP 2 offers two custom-wound Peavey humbucking pickups made using a two-step, wax-dipping process that provides ultra-low noise operation and resistance to feedback. There is a threeway toggle pickup switch and two push-pull volume/tone controls for splitting the pickups individually. For a finishing touch, players will find a Peavey/Floyd Rose® licensed, double-locking tremolo assembly ensuring excellent sustain.

The HP 2 Poplar Burl RM is a vintage-inspired guitar for modern players of various styles. It cost $2,999.99 MSRP with hard shell case included.

sweetwater.com/store/detail/HP2PBN--peavey-hp-2-poplar-burl-electric-guitar-natural

EVE AUDIO SC4070 MONITORS

The new Eve Audio SC4070 studio monitor has four Class-D amplifiers inside and is designed and built in Berlin, Germany. At 23.62W x 10.24H x 12.6D-inches, each speaker weighs 39.7 pounds and is well-suited for mid-to-large size control rooms. The frequency range is specified as 32-Hz to 25-kHz and they will produce 116dB SPL using a combined power output of 1000-watts. Notable is the rotatable mid-range/tweeter section for correctly orienting the speakers for operating them either horizontally or standing vertically as we tested them here in our own small home/project studio.

Even though our control room is not acoustically treated with bass traps and diffusion panels, we got better than expected results with placing them right on the DAW desktop. Optimal distance is stated in the manual at 7 to 10-feet with the listening position at the 60-degree corner of the stereo triangle.

The backlit SMART knob on the front panel is used to adjust their sound to the size of the room, desktop location and using a sub-woofer in a stereo, 2.1, 5.1, or ATMOS system or not. On the back panel are switches to lock out all settings to prevent inadvertent changes—even if AC power is lost all settings are kept.

Each SC4070 monitor has two 6.5-inch low frequency drivers and a 4-inch fiberglass, honeycomb diaphragm woofer. Twin woofers allow for lower distortion and a tighter sound down to 32Hz. Eve Audio's folded ribbon tweeter is called the RS3 1 Air Motion Transformer and the main reason these monitors sound accurate, not harsh, and "flat" from the softest to the loudest volume level—particularly in the bass.

Mixing music on the SC4070 monitors is a pleasure as I found that ear fatigue is not much of a problem anymore! Low frequencies are clear and kick drums and bass instruments are clearly defined without the need of a sub-woofer.

A worthwhile investment for any studio or home stereo system, a pair of Eve Audio SC4070 monitors sells for $4,999 MRSP.

eve-audio.com/index.php?page=SC4070

AUDIO-TECHNICA ATH-M50X–LIMITED EDITION

The new ATH-M50xIB and wireless ATH-M50xBT2IB are limited-edition "Ice Blue" color versions of A-T’s popular ATH-M50x. A global crowd-sourcing campaign was used to come up with the most popular color for the next ATH-M50x and now, the wireless ATH-M50xBT2IB.

From the 45-mm large-aperture drivers to its sound-isolating ear cups, the ATH-M50xIB are better than ever for the most critical audio applications, including recording, live sound, broadcast, DJ work or just personal listening.

The wireless ATH-M50xBT2IB includes premium internal audio components and a dedicated internal headphone amp, compatibility with multiple audio codecs (SBC, AAC and LDAC), and the ability to allow users to hear themselves in the headphones when making calls on most smartphones.

There is access to voice assistants such as Amazon Alexa, Google Assistant and Siri. “Fast Pair” is a feature that enables users to quickly pair the ATH-M50xBT2IB headphones with a single tap to Android OS smartphones and other devices. Also a detachable 1.2-meter (3.9foot) cable is included for an optional wired connection.

The A-T Connect app allows control of the low latency mode, EQ, L/R volume balance, choice of voice assistant, locating misplaced headphones, change of codecs, and more. Multi-point pairing connects two Bluetooth® devices at the same time while the low-latency mode improves audio and video sync for smooth streaming and gaming. Battery life is approximately 50 hours of continuous use on a full charge and up to 3 hours on a 10-minute rapid charge using any USB-C connection.

Audio-Technica’s new wired ATH-M50xIB is $169 00 MAP and the wireless ATH-M50xBT2IB is $219 00 MAP. audio-technica.com/en-us/ath-m50xbt2

DEAR REALITY MIYA

Miya is a distortion plug-in with graphical and detailed information provided about the exact processing taking place as you adjust any of the parameters. In addition to the control panel, there Is a large, resizable Visualizer window, an oscilloscope to show the shape of the audio's distorted waveforms, the constituents of the wave's harmonic content and the moment of the wave's zero-axis crossing where the signal momentarily has no output at every half cycle.

The Duty Cycle control sets the ratio between the time a wave is on compared to when it is off—expressed as a percentage. I found understanding Miya much easier when I ran a low frequency sine wave through it. However, it does NOT self-sync to the frequency of incoming signals freezing its constant horizontal motion.

You can see the incoming signal's shape in real-time and for percussive sounds, there are controls to adjust the waves' transient shape and character with familiar Threshold and Gate controls.

You may "remix" the individual harmonic blend of any complex stereo audio with Miya. Starting with the dominant fundamental frequency the 1st, the 2nd, 3rd, 4th and 5th harmonics each have individual mixer faders. There are controls for Miya's generated output, a level meter, a Wet/Dry mixer, plus Hi/Lo analog style filters are provided.

Understanding Miya's parameters is key to getting the most out of this wavelet processor; and the included presets are a good way to see how each of these parameters work and affect the sound.

Since Miya is not yet available as an AAX-DSP version, its processing delay is unavoidable and not compensated for—too bad because it would preclude its use for mixing its output along with drums or percussion instruments to avoid polarity and phasing problems.

I did find great uses for sound designs where exact timing was not crucial. I liked it on a stereo Hammond organ pad that was just too clean and hi-fi sounding. You can do some amazingly responsive computer voice or vocoder sounds since the Synthesizer and Filter sections offer a lot of interesting possibilities. A new and completely different plug-in, it sells for $49 MSRP. dear-reality.com/products/miya

JBL PROFESSIONAL COL SERIES SLIM COLUMN LOUDSPEAKERS

HARMAN Professional Solutions announced the launch of two new JBL Slim Column Loudspeakers. Intended for conference and meeting rooms, lecture halls, retail stores, concourses and transit spaces, the COL600 (24inch 600 mm) and COL800 (32-inch 800 mm) are slim, low profile cabinets with wide horizontal and narrow vertical coverage.

They have a built-in 10-degree down-tilt to aim the sound at a wider area, while keeping the speaker mounted flush on the wall.

Multi-tap transformers allow either 70V or 100V distributed speaker lines, plus the speakers are switchable for direct, 8-ohm connection and operation. These speakers can be installed indoors or outdoors and feature an IP54 rating for protection against dust and water. The drivers are water-treated and a cover is included to protect the input terminals.

Available in black or white, the COL600 and COL800 each come with two L-brackets for installing them using either the top or bottom panels. Check the link below for contractor pricing.

jblpro.com/product_families/col-slim-column-loudspeakers

BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility in North Hollywood called Tones 4 $ Studios. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com

The Residents—A Sight for Sore Eyes. Vol.2

Negatives: A Photographic Archive of Emo (1996-2006)

By

Maps and Legends: The Story of R.E.M.

Thank You Falettinme Be Mice Elf Agin

By Amy Fleisher Madden

Aaron Tanner

By John Hunter

(hardcover) $45.00

(hardcover) $85, $225

Graphic designer, musician, and underground music archivist Aaron Tanner has once again ransacked the legendary experimental art collective known as The Residents’ The Cryptic Corporation’s archives to create a new limited edition coffee table book covering everything from Title in Limbo through Disfigured Night The result, The Residents: A Sight for Sore Eyes, Vol. 2, is a fully authorized visual history of that era, with rare and unseen photos, artwork, and other ephemera. Also features a black vinyl 7" record of the unreleased American Composer Series-era track, "That'll Be the Day (Baby Baby).”

Author Madden, founder of Fiddler Records (Dashboard Confessional, New Found Glory), curated an archive of the second- and thirdwaves of emo, through rare and never-beforeseen photos. With a foreword by Chris Carrabba and revealing essays from scene legends like Frank Iero (MCR) and Geoff Rickly (Thursday), this collection also includes insights from photographers and other artists of the era. This cocktail-table book will instantly transform any living space into a 2006 green room.

The Gospel of The Hold Steady— How a Resurrection Really Feels

(paperback) $29.95

By Sly Stone with Ben Greenman, Arlene Hirschkowitz

(hardcover) $30.00

This is a hefty hunk o’ rock history by author John Hunter, who has done his homework and then some, and he puts it all on the page. As a U. of Georgia student in the ‘80s he was perfectly positioned to witness firsthand some of the major events in R.E.M.’s career. Enthralled by the band, he has rendered a copiously research biography that reaches deep into every nook and cranny of the band’s early development and ultimate success.

At long last, classic rocker Sly Stone releases his memoir, detailing his point of view of both his rise to fame and fortune, including the greatest hits (“Everyday People,” “Family Affair,” “Stand” and more), as well as his unfortunate slide and seclusion from music. People know the music, but the man has remained a mystery. In Thank You (Falettinme Be Mice Elf Agin), Sly shares his story one that many thought he’d never have the chance to tell.

Punk Revolution! An Oral History of Punk Rock Politics and Activism

The Greatest Song

By Kevin Griffin

By

(paperback) $21.95

John Malkin

(hardcover) $34.00

By

Michael Hann

(hardcover) $40.00

The Best Jobs In The Music Industry, 2nd Edition

By Michael Redman (paperback)

$35.00

Redman covers the multitude of exciting job options that offer financial security and keep you close to the music you love. This second edition includes updates and even more exclusive interviews with top pros, giving a look at how music jobs have changed and the long-term impacts of COVID-19.

Part oral history, part photo book, part journalistic essays, this release from Akashic Books covers all the angles to please the fans of “the greatest American bar band of the twenty-first century.” The Londonbased Hann fully understands what drives the passion of the band’s typical fan, and he delivers a satisfying and attractive addition for the coffeetable.

Life In the Fast Lane

Pushed Beyond All Reasonable Limits • The Music Photography of Brian D. Garrity

(hardcover) $60.00

By Mick Wall (paperback) $18.99

Minneapolis-based Garrity’s book is an attractive compendium of his photos of bands both famous and not so. Portraits as well as live shots are memorable of acts like: Radiohead, Luscious Jackson, Ice Cube, Linkin Park, Robyn Hitchcock, Soul Coughing, Nirvana, Southern Culture on the Skids, and many more. A really entertaining, eye-pleasing collection.

Subtitled “The Eagles’ Reckless Ride Down the Rock & Roll Highway”, Wall writes with flair, a shoot from the hip style full of attitude that makes this well-researched chronicle come to life. Chronicle of an ambitious band of bros who ascended to the heady heights yet later plunged into the ugly depths of psychological and physical torment.

Malkin’s book is a smart, penetrating exploration of the many facets of punk rock music’s impact and influence. The author has pulled together an amazing 250+ interviews with many of the most prominent players in the punk rock universe, including Jello Biafra, John Lydon, Lydia Lunch, Patti Smith, Kim Fowley, Greg Gaffin, Jon King and so many more. A fascinating appreciation of the how the music penetrated society, culture and politics.

Jake Stark. Hit songwriter for Nashville music publisher, MegaMusic. Until he's not. When his music publisher decides to not renew his contract over a lack of hit songs, Jake is at a loss. His creative energy is down, and the bills are piling up. From acclaimed songwriter, Kevin Griffin, The Greatest Song is a creative-nonfiction book for every profession. Through the inspiring fictional narrative of Jake Stark, Griffin shares ideas that can be used by anyone, anywhere, to transform their career and their life.

Mud Ride

By Steve

Totally Wired

Turner

(paperback) $27.95

By Paul Gorman

(hardcover) $34.95

In the late ‘80s and early ‘90s, Steve Turner and his friends—Seattle skate punks, hardcore kids, and assorted misfits—started forming bands in each other’s basements and accidentally created a unique sound that spread far beyond their once-sleepy city. Mud Ride offers an inside look at the tight-knit grunge scene, the musical influences and experiments that shaped the grunge sound, and the story of Turner's bands, Green River and Mudhoney, which went from underground flophouse shows to selling out stadiums with Nirvana and Pearl Jam.

Gorman captures the extraordinary rise of the “inkies” on the back of rock & roll’s explosion into the postwar American and British youth culture. He recounts the development of individual magazines from their Tin Pan Alley beginnings to Creem, Blender, and Crawdaddy! followed by the foundation of Rolling Stone, NME, Melody Maker, and Sounds as well as monthlies Q, The Face and Mojo. Evoking the golden age of the music press, the book is fully illustrated.

FULL “SILVER 30” ALBUM and VINYL DROP 09.15.23

“PRINCE MIRTH”

“SUMMER SUN”

S O N G W R I T E R S F E S T I V A L MUSCLE SHOALS

Renkus-Heinz

renkus-heinz.com

Over Four Decades of Sonic Innovation: Founded in 1979 by electronics engineer Harro Heinz and original partner Algis Renkus, Orange County, CA-based Renkus-Heinz is a long-recognized global leader in professional loudspeaker technology, driven by groundbreaking premium audio innovations, a passion for sound and dedication to solving great acoustic challenges. Harro’s most impactful contributions to the engineering side of the company was the creation of controller based systems, and RenkusHeinz was one of the first loudspeaker companies to combine speaker specific electronics crossover EQ and limiters in a way that enhanced and improved the performance of a system right out of the box. One of his innovations was to sell a completely packaged solution this way.

Multi-Generational Passion for Sound: Harro’s son Ralph Heinz, now CTO, joined the company early on as a mechanical engineer with a natural talent for understanding acoustics. In addition to holding patents for innovations like TRAP (True Array Principle) and CoEntrant technologies, Heinz developed some of the most advanced digital beam steering solutions on the market today. Renkus-Heinz recently developed the Unibeam a steering algorithm that crafts asymmetric beams and utilizes the entire array for all frequencies. In the music industry, the company’s niche is providing monitors, front of house systems and sound reinforcement products for live concerts. They also provide sound technology for spaces from international airports and landmark museums to glass corporate atriums and marble

cathedrals. Now in his 90s, Harro is joined by two generations of the Heinz family. “Regardless of pricepoint and specific technology,” Ralph says, “our products have similar sonic characteristics, combining intelligibility, extreme clarity and excellent musicality. We see ourselves as a small family company that often punches above our weight.”

Steerable Arrays and the ICLive X Series: Renkus-Heinz has taken the expertise gained from more than a decade of creating digitally steered line array technology and scaled it to meet the needs of larger spaces. Ralphs says the product that best embodies that for their Iconyx arrays is the new ICLive X Series “our ultimate solution for concert level reinforcement using these technologies. Designed to be the most scalable sound system ever created, the ICLive X Series brings a new level of flexibility for integrators, contractors and production/rental houses alike to provide an optimal solution for any application.

The series is a complete system consisting of three freely combinable, steerable-array modules, the ICLX, ICLXL, ICLLX and a matching subwoofer, the ICLX-118S. A new element of the series is the company’s exclusive Acoustic Source Multiplier (ASM) waveguide, along with a coaxial drive arrangement that delivers a consistent and symmetrical array of high and low frequencies. The ICLive X is designed to offer the ultimate audio performance with ultimate flexibility.

Contact Renkus-Heinz, 949-588-9997

ROJAS TELLS US TO BE HUMAN

In “Te Diré (Ser Humano),” which translates to “I’ll Tell You to Be Human,” Peruvian-born (now Toronto-based) singer-songwriter, instrumentalist and producer Arturo Rojas acknowledges the human nature to hurt others and feel hurt.

AMANDA PALMER TRIBUTES SINÉAD

Musician, best-selling author, TED speaker, and community leader Amanda Palmer and powerhouse female supergroup The Righteous Babes have united to pay homage to the late, great Sinéad O’Connor with a deeply personal rendition of the Irish singer-songwriter’s classic “The Last Day of Our Acquaintance,” arranged by composer Jherelk Bischoff.

EAST MEETS WEST

Award-winning rock/jazz/R&B bassist Nathan East and his multi-keyboardist son Noah are seen tracking their debut duo album at EastWest Studios in Hollywood. Pictured (l-r): Nathan East, Noah East and top recording/mixing engineer Moogie Canazio.

PRODUCER PLAYBACK

PROFESSOR OF HIP-HOP

Pictured is Lovell “U-P” Cooper, Professor of the Practice of Hip-Hop & R&B in the Department of Music Industry Studies at Loyola University New Orleans. The program’s alumni roster speaks for itself, including: rapper G-Eazy, GRAMMY-winner Woods Drinkwater and CAA Marketing Executive Lucy Kozak, as well as current employees of Google, Apple, Warner Music Group, Sony, Def Jam Recordings, Universal and more.

– RYAN ULYATE (Paul McCartney, Tom Petty)

"Let an artist find their way and discover things on their own. There’s a tendency to be the smart guy and offer ideas. The most important thing is to give them space to find their own way.”

WAM AT EAST IRIS

LOCS LETS THE GOOD TIMES ROLL

FLIGHT ATTENDANT

Between writing, producing and touring, rapper-producer LOCS has since fully immersed himself in the music industry, looking for new ways to advance his career, and has landed impressive sync placements, including features on The Hype, Grownish and more. For his latest single “Good Time,” LOCS once again relied on KRK studio monitors.

Anders Fleming (left) is a Swedish citizen who moved to Nashvlle to further delve into the world of music. Flight Attendant will be producing their entire EP with the aid of Anders' ear, due out this Fall. Pictured (l-r) at Fleming’s home studio: Anders Fleming,

WAM (Women’s Audio Mission) at East Iris Studios for Mixing 101 and Mastering 101 Workshops in Studio A with special guests: Standing (l-r): Shani Gandhi (Mix Eng.), Piper Payne (Neato Mastering, Pres. Physical Music Products), Terri Winston (WAM Exec. Dir.), Leslie Richter (Mix Eng., Professor Belmont Uni.), Paula Salvatore (VP Client Relations & Studio Marketing, UMG), Grayson Vaughan (Asst. Eng., East Iris), Maddie Harmon (Eng.), Michelle Freetly (Asst. Eng., East Iris). Foreground: NEVE ‘88R formerly from Capitol Studio C.

SILENT ZOO

JAM BAND STUDIO

GLORIA KILLS AT SKIP SAYLOR RECORDING

Artist Gloria Kills is pictured at Skip Saylor Recording in Hollywood, CA, working on her upcoming album with Ben Cole (left) producing and Skip Saylor (right) mixing.

On June 30th, Silent Zoo Studios invited respected live and session drummers Jim Kelter and Abe Laboriel Jr. for a special day of recording. Tracked by engineer Bill Malina, the drummers played off of one another for a freeform, unique, and organic recording session in the spacious 1800 square-foot live room.

Jam Band Studio (JBS) has recently opened its doors in Gainesville, FL, after being acoustically designed by Carl Tatz Design. Owner Ryan Frankel states his mission plainly on the JBS website: “At Jam Band Studio we can be as creative and weird as we want.”

UNDERWOOD GETS IN THE GAME

NICK BASSETT KEEPS SWEET

NOYZR'S ELECTRIC SUN

Under the umbrella of music production company NOYZR, Electric Sun is a fully equipped recording and music production studio featuring a mix of classic and contemporary gear like a Neve 5088 mixing console. Even though it has only recently opened its doors, Electric Sun has already accommodated several influential Los Angeles-based artists, like Joshua Radin, Kaleido produced by Morgan Rose, and many more.

Film Composer and Mix Engineer Nick Bassett started his career as a touring musician and later began composing and mixing for film and TV. Since his transition in the industry, Bassett has composed and mixed for notable shows and movies, such as the popular docuseries Keep Sweet and the 2022 documentary film Dio: Dreamers Never Die, among others.

El Paso, TX native Jeremy Underwood grew up loving music and video games. After a unique case study via The Conservatory of Arts and Science exploring , Underwood has accrued an impressive resume in the music, film scoring, and gaming fields, and is now the House Audio Engineer at Playstation Studios in Los Angeles, having worked on God of War and The Last of Us

Karalyne Winegarner, Derek Sprague, Vincent Maniscalco, Nikki Christie .

Electric Sun Studios

noyzrmusic.com

A Passionate Entrepreneurial Partnership: Launched in 2022 as Noyzr Music, the La Canada based studio and full-service production company recently rebranded as Electric Sun Studios is driven by the passionate musical partnership and entrepreneurial vision of its creators Matt Norman and Kellie Curtis. The son of a Swiss mother, Norman grew up in N.Y.C. and graduated from music school in Berlin, where he later built several studios in the early to mid-2010s while recording and touring as part of Faunshead, a hard rock band whose influences include psychedelic rock and grung and stoner rock. Since Norman moved back to the U.S. first Nashville and then L.A. his former partner has run the K61 Studio in Berlin; that facility and Electric Sun Studios are under the Noyzr umbrella. Curtis is a full-time radiologist and amateur musician who built a one-room studio in her home (with the help of a contractor neighbor) to work on personal projects.

JUDITH SHERMAN

Judith Sherman started down the classical music engineering and production path in 1971 and earned her master’s degree in music a short time later. Studio work in various New York City spaces followed as did time in radio. She’s been nominated for a staggering 18 Grammy Awards and has won 15, including seven for Producer Of The Year, Classical. In 1976 she launched Judith Sherman Productions and has worked ever since as a freelance recording engineer and producer, primarily on solo and chamber music records.

“Basically, I’m looking for magic,” she observes of her goals for each project. “Whether a musician has recorded before and whether they’re good at carrying their audience in their head don’t correlate. Recently I worked with Kwan Yi, a pianist from North Carolina. It was his first solo recording and it was like he’d been doing it all his life. He had an audience in his head and he was speaking to it; he was being inventive and witty. There are musicians who’ve recorded regularly and sometimes I have to shake them and say ‘Hey, you can be perfect, but I’d rather you be inventive and use your imagination.’ Fortunately, that’s a skill that can be developed once you learn to trust yourself and the people in the booth.”

Building the Studio: By the time she and Norman met through mutual friends, she had built up the space halfway. Their mutual desire to work together and create a lasting impact in the music industry led them to build it out to the commercial studio it is today a control room and tracking room with top vintage and modern equipment, a collection of vintage guitars and guitar amps, high end mics, a NEVE 5088 console, outboard gear and more. There are several session drummers on call for sessions, and Norman offers his experience as a bassist and guitarist to clients who need it. More than a place indie artists come to record tracks, Electric Sun is a creative hub where artists are encouraged to expand their vision.

For nearly two decades, Sherman engineered The Marlboro Music Festival, an annual classical music training retreat. Early in her career she also had a radio gig. She drew valuable lessons from both experiences. “At WBAI, we did two live concerts a week,” she recalls. “That sharpened my skills as an engineer because any mistakes went live on the air. I learned the difference between microphone, amplifier and tape distortion. At Marlboro, there was always someone rehearsing, so I could try all sorts of mic setups.

. . . lessons she’s learned as a engineer and producer are:

• Empathy. I use a push-pull approach. I push to get musicians to do the things I know they can do but layoff when they're flagging.

• Set and make deadlines and be open about what you can and can’t do.

• Be a good member of the classical music community. I was the vice-president of Chamber Music America. We raised money and advocated for musicians.

The Aesthetic: A fan of “everything from Beethoven to Kendrick Lamar,” Norman says the studio is open to artist from all genres but he has a dedicated passion to bringing back rock. Curtis says, “We also have a very comfortable lounge that’s part of the X factor, the vibe we’ve cultivated to ensure that artists feel we’re giving them a safe place to create. In bringing something new to the L.A. independent studio scene, our focus is on authenticity, originality and transparency. The beauty of it is that we both like to challenge ourselves to create something different for artists by thinking outside the box.” Norman adds, “If artists just need us to turn some knobs, we’ll do that. Or we’ll join them in sessions and build productions around what they are writing. In that sense, because we are so involved with artist development, we’re not like a traditional studio.”

“The idea was to use as few as I could get away with,” she continues. “Every time you add a mic, you add some phase problems. The more you put out there, the more you have to put out there because then you have to start close-micing. I want the audio to sound the same as it does in the hall and to have a sound that feels alive and not manufactured, which is the aesthetic of classical music. The creativity in producing classical is slightly different than it is with pop. It comes from pulling out the best performance [from the musicians] and making the music speak. Beethoven and Schumann communicate without words. My job is to make sure that the communication is happening.”

With more than 50 years in the business, Sherman has experimented with a range of microphones. Naturally, she’s developed some preferences. “I have two favorites,” she explains. “One is Schoeps. They come with different capsules. I have the MK 2s, which are flat. The second is Sonodore. Few people know about them. They’re handmade by Rens Heijnis in the Netherlands, are powered by one of his power supplies or preamps and are very transparent. What you give them is what they give you. They don’t color the sound. Lastly, when I put a pair of Earthworks mics above percussion instruments, they’re good at keeping attack straight up and down.”

Array of Equipment: Among other items in their arsenal, Electric Sun Studios has a vintage Pultec EQP-1A Tube Program Equalizer, an 1176 compressor and a pair of RM87’s ripped out from the famous Hit Factory board built by Roger Mayer and vintage outboard pres on top. Vintage mics include classics from Telefunken, Sennheiser and Neumann. All tracking both analog and digital goes through the main board into Pro Tools. The studio also has a wide variety of drums, guitars, basses, guitar pedals, synths, amps and cabinets.

Contact Electric Sun Studios 646-712-3631

Contact jsherman10463@gmail.com

Richard James Burgess

President & CEO

A2IM

Years with Company: 8

Address: 132 Delancey St., 2nd Floor, New York, NY 10002

Phone: 646-692-4877

Web: a2im.org

Email: info@a2im.org

Clients: Approximately 600 labels and 200 associate member companies including Spotify, YouTube, Apple, Amazon and SoundExchange

BACKGROUND

Richard James Burgess became the president of the American Association of Independent Music in 2019, but he’s been the nonprofit’s CEO since 2016

To further expand the organization’s offerings, he brought affordable insurance of all kinds to A2IM’s members. He’s also a musician himself, with a reissue of old material from his band Landscape released this July.

The Broken System

Health insurance is so difficult here. We all know people who are tied to a job to get benefits. I’ve always wondered if we could do something about it. And when I came to A2IM, it occurred to me that maybe we could. It horrifies me the amount of people that are uninsured and don’t know, if something happens, how they’re going to deal with it. I can’t imagine what it feels like not to have health insurance if you have a young family. You’re basically just trusting that nothing bad is going to happen. And, of course, bad things do happen. So this is sort of a mission to me. I felt we needed to do what we could to alleviate this stress on people.

Finding the Right Home

I started looking [for a solution] back in 2016

We just kept running into brick wall after brick wall. Most of the major health insurers wouldn’t call us back. It felt like every door was closed. Suddenly, this company pops up, I guess about a year ago. It seemed too be good to be true. When we looked into it, it does in fact work.

A Personal Tale

Both Great Britain and New Zealand are welfare states. There’s a lot of talk about how national health care systems don’t work, but actually they work pretty well, in my experience.

When I moved to America, it was somewhat problematic trying to find health insurance. I had really good insurance when I was living in California. And I got ill. My health insurer kept raising the premiums until I couldn’t afford them anymore. So here I was, really ill, and no way of getting my bills covered. That seemed completely unacceptable.

A More Affordable Solution

It’s not that the health insurance we have is

cheap, but it’s not expensive either. It’s not more expensive than if you [go through] an employer. It’s actually cheaper than that. It doesn’t cover people who don’t have the money to pay for any kind of insurance. But it could make it easier for somebody to make the decision to go into business, run a label or be an artist.

Health Insurance Is #1

You can get house insurance and that sort of thing. I think even car insurance. It was part of the deal that was struck. But the primary thing I was concerned about was health insurance. Health insurance is really the target, because even if you’re 23 years old and fit as a fiddle you can walk out in the street and get hit by an electric bike or something. And that can run many thousands of dollars. So being able to insure against that seems like the most important thing.

Insure Your Pets

I had a cat in L.A. that got cancer, and it was many thousands of dollars. And the cat died, as well. It was very sad. People are extremely attached to their pets and don’t want to see their pets in pain or dying. Pets are family members. Vets are as expensive as doctors, from my observation.

Many Unique Options and Add-Ons

At some point in the seven-and-a-half year process of trying to get this set up, I would’ve been happy with just providing catastrophic insurance. But the fact this insurance comes with all the bells and whistles is amazing. And I would imagine that, as we go forward and more people start using it, there’ll be more bells and whistles.

Specific Problems Facing Musicians

I wish there were more educational programs for musicians on certain issues, hearing loss

in particular. Because by the time you’ve incurred hearing loss, it’s too late. It’s kind of like skin cancer. That burn you got when you were 18 can turn into cancer when you’re 45. It’s the same thing with hearing loss. Standing in front of a Marshall stack when you’re 16 can cause you to not hear when you’re 50.

Carpal tunnel’s another one. Some musicians teach techniques that can avoid it. We don’t have those educational programs right now, but if somebody gets carpal tunnel or wants to get their hearing checked, that’s all part of [our insurance offerings].

Getting Assistance

There’s a dedicated help line called Ask Evan. Anyone who wants to sign up can call and get their questions answered. The customer service people are up on all the different features. They’re very helpful.

Dare to Compare

Anyone who wants to compare this with what they have, I think it’s more than comparable to anything else that’s out there. In fact, we think it’s better than anything else for the money, and [the sign-up process is] a lot simpler to navigate. There’s more help available, and it’s a simple offering in the sense that you’re not trying to read the fine print for wording that could take you out. If someone has health insurance already, comparing what they have now to what’s in this offering should be simple. And if they don’t, this is a no-brainer, because it’s simple to set up and competitively priced.

The A2IM Insurance App

That’s something that came with the program. After years of finding nothing, to find something that has all these features is really exciting. Technology can be our friend; it can be our enemy. I’m a fan of technology, for the most part. And this is a good example of how technology can make things better. It makes these types of programs more scalable.

Artificial Intelligence

A.I. is a big thing everybody’s talking about. A lot of the fears are overblown. I think the music industry is approaching it more intelligently than it did the digital world back in ’97 to ’99. At the same time, a lot of people are overthinking what’s going to happen. It’s obviously one of the most disruptive and transformative changes that’s ever happened to humanity. And it’s going to take a while to unfold. But it’s exciting if we can work together to make it be a positive rather than a negative.

A New Era for Companies Big and Small

I’m hoping that this’ll be the beginning of a new era in terms of people who are self-employed or have small businesses. And maybe even larger businesses. There’s no reason why a larger business can’t sign up. It’s a perfectly viable option for a larger business. We haven’t targeted larger companies, because they’re set up with their own health insurance. But when it comes time to renew, this might be a competitive option. •

“I’m hoping that this’ll be the beginning of a new era in terms of people who are selfemployed or have small businesses. And maybe even larger businesses. There’s no reason why a larger business can’t sign up.”

OPPS

Universal Music Group wants a Coordinator, Production Design. Bravado is currently looking for a Production Design Coordinator to play a critical support role in print production and creative support for all design projects. The Production Design Coordinator will perform a variety of print production tasks ranging from ingesting new requests and schedule management, creating print ready tech packs and assisting the production design team in daily tasks. Apply at CareerBuilder.

Warner Music Group Fall 2023

WMG Emerging Talent Associate Program.

Upon joining the program, Emerging Talent Associates (ETAs) are fully immersed in the day-today activities of their assigned department. They participate in strategic meetings, help solve key business issues, and o er ideas and perspectives to further WMG’s global success. In addition, working as an Emerging Talent Associate ensures access to incredible developmental activities such as our Professional Development Workshops, Industry Insights, and the Emerging Talent Showcase. Apply at LinkedIn.

Google needs a Strategic Partner Manager, Artist Development. Your role will be both external, partner-facing, and internal with many cross-functional initiatives. You will balance business development and operations at scale. You’ll work to identify

and engage with a set of artists, promoting strategic initiatives to drive partner satisfaction and results, and optimizing partner performance on platform. You will cultivate relationships in the music industry, in tandem with demonstrating an e ective understanding of trends in the market to drive results. Additionally, you’ll resolve technical and financial issues with partners in order to best represent our users, products, and programs. Apply at Geebo.

Red Bull wants a Senior Manager, Culture Marketing Music. Reporting to the Director of Culture Marketing, this Sr. Manager of Culture Marketing Music influences and supports our marketing initiatives across our Music playgrounds, with a focus on Latiné artists and audiences within the spaces of Urbano/Rap, Reggaeton, Corridos tumbados, Spanish freestyle battle rap. You will work with important partners in developing events and nurturing artist/opinion leader initiatives designed to increase the brand’s presence and equity in Music. Working with global, national, and regional leaders, the Sr. Manager of Culture Marketing Music ensures the execution of the national music strategy, which is designed to motivate spectators, audiences, and consumers to increase their consumption of our product and media. Apply at SmartRecruiters.

For More Career Opportunities, check out musicconnection.com daily.

And sign up for MC’s Weekly Bulletin newsletter.

LEAH KATE

POP-ROCK STAR in-the-making

Leah Kate is practically blowing up the internet. Over 300 million global streams, over 200 million TikTok views, and millions of followers across social media— this is an artist who knows how to play the online game. She was born to do this, and she knows how to find her audience.

“I have always loved performing, singing and dancing,” Kate says. “I actually started singing before I could talk! When I expressed an interest in creating music, my dad built my brother and I a studio for him to produce and me to sing. It was always a passion of mine to perform, whether that be in front of

family, friends or an audience.”

The glory of the internet for the modern musician is that they can literally do everything themselves. Create the music, mix and master the music, put it out there for an audience to discover, market and promote it—the online world is their oyster and it’s truly DIY.

“I am involved in every step of the music-making process, from the actual music to the business of it,” Kate says. “My music means everything to me, so I like to guide it every step of the way.”

Kate’s debut album, Super Over was released on September 15 and she’s heading out on tour to promote it in the States

DRAMA FOR DRAMA’S SAKE

Electronic R&B’s heartthrob duo, Drama, consisting of producer Na’el Shehade and vocalist-songwriter Via Rosa, have released a new single which is also called “Drama.” It’s the third release from the forthcoming Till We Die EP, out in the fall. “This self-titled anthem is for anyone in their ‘this is what I need in order to love properly’ era, those of us who are entering the humble yet confident ‘of course they’re going to love me, I’m amazing’ stage of our lives,” they said. “It’s a reminder to ourselves that we don’t have to accept love from people who don’t know how to love us, we’re no longer afraid of not being wanted.” Contact ssainz@infamouspr.com for more info.

LABELS • RELEASES SIGNINGS

Foxcult Signs to Adventure Cat Records

All-trans rock band Foxcult have signed on with Adventure Cat, and have debuted with the “Glacier” single. “Most labels nowadays like to drive bands into certain directions, but at Adventure Cat we are allowed to be us, unapologetically,” the band collectively said in a statement. “We are openly trans and fiercely queer and our

over the fall. It’s a wonderful piece of work and her success is well deserved. Still, it’s a huge challenge to stand out in the online space when so many other people are trying to do the same thing. For Kate, the secret is authenticity.

“I stay authentic to myself and what the songs are about. I think it’s important to do the same thing until that said thing clicks, and people start to understand why I do things the way I do.”

With the album ready to go, the remainder of 2023 will be a busy time for Leah Kate.“So many exciting things: a headlining tour this September, new album, exciting performances and an unannounced tour,” she reveals. Go get ‘em.

For more information, visit leahkatemusic.com.

music is representative of that. We have a story that we want to tell, to an amazing and diverse group of people who are often underrepresented and Adventure Cat allows us the freedom to do just that.” Contact becky@ bigpicturemediaonline.com for more info.

Colouring signs with Bella Union. Colouring, the recording alias of singer and musician Jack Kenworthy, has signed with Bella Union and released the “Lune” single. “For me, this is the song

about teamwork in a relationship,” says Kenmworthy. “It’s a message of togetherness between two people during adversity and how you prop each other up when the other feels weak.” Contact tom. churchill@pias.com for more info.

Max Frost pens deal with Nettwerk.

Austin-born, Nashville-based multiinstrumentalist and lyrical architect Max Frost has signed to Nettwerk and released heartbreaking single “Creep Back.” “When I wrote it, I had been living in isolation at the cusp of the pandemic freshly after a breakup,” Frost said. “Despite all kinds of distractions, tours, and good things happening in my life, this person just remained a fixture in my mind. I was at the end of a session where we hadn’t gotten much. And my friend said, ‘You know, it’s just funny how even years later those good ones can just creep back in there.’” Contact jeremy. saunders@pias.com for more info

PROPS

Honorees announced for King of Soul Music Festival.

The Otis Redding Foundation has

BY GLENN LITWAK

Three former dancers (Arianna Davis, Crystal Williams and Noelle Rodriguez) for singerrapper Lizzo have sued her for harassment. In particular, the dancers accuse Lizzo of sexual harassment, creating a hostile work environment, religious and racial harassment and false imprisonment. The Los Angeles Superior Court lawsuit is against Lizzo (real name Melisa Viviane Jefferson), her dance captain, and her production company.

The allegations include pressuring one of the dancers to touch a nude performer at a strip

announced the honorees for the second annual King of Soul Music Festival in Macon, Georgia. “The Foundation recently announced they will be honoring songwriter, producer, DJ and entrepreneur, Jermaine Dupri, with the prestigious Otis and Zelma Redding Award of Respect for his profound contributions to the world of music and entertainment,” they said. “In addition, Conductor Roderick Cox will be honored with The Otis Redding Foundation DREAM Award for his outstanding dedication to nurturing the next generation of classical musicians through scholarship funding and mentorship.” Contact talia@w-wpr.com.

BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks, the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

TEEZO SCORES A TOUCHDOWN

Beaumont, TX artist Teezo Touchdown has collaborated with the great Janelle Monáe on new single “You Thought.” The song is pulled from Teezo’s forthcoming album How Do you Sleep at Night? The artist blends pop punk, R&B, rap and more into a glorious noise that highlights his versatility. “Janelle Monáe was the first person I played my album for,” he said in a statement. “I will forever have the love of the citizens of Wondaland poured into me.” Contact genesis.garcia@sonymusic.com.

Dancers Sue Lizzo For Harrassment

club, forcing the dancers to engage in an “excruciating” audition after falsely accusing them of drinking while working, calling attention to the weight gain of one of the dancers and later harassing and then firing that dancer after she recorded a meeting because of a health issue. Lizzo is alleged to have stated that if she was unhappy with their performance at the rehearsal, they would be fired.

The dance captain is alleged to have criticized other dancers for premarital sex and sharing content of a sexual nature as well as the virginity of one of the plaintiffs.

The suit claims that Lizzo indirectly brought up the weight of dancer Arianna Davis at the South by Southwest Music Festival. It is surprising that these “fat shaming” allegations are being made against Lizzo who has been a big advocate for body positivity. According to the plaintiff’s attorney, Ron Zambrano:

“The stunning nature of how Lizzo and her management team treated their performers seems to go against everything Lizzo stands for publicly, while privately she weight-

shames her dancers and demeans them in ways that are not only illegal, but absolutely demoralizing,”

The suit alleges that after a performance in Amsterdam, there was an after-party at a strip club. Attendance at the after-parties was not required, but the plaintiffs allege that those who attended were given better treatment by Lizzo and had more job security.

According to the complaint, at the club Lizzo started to invite her dancers to engage in various outrageous sexual acts, such as pressuring the dancers to touch the nude performers.

The racial discrimination claims revolve around racial and “fat-phobic animus” made by employees of Lizzo’s touring company. The dancers allege all the plaintiffs were full-figured women of color. Plaintiffs allege that management treated the black dancers differently than the others.

The religious harassment allegations were against the dance captain, Shirlene Quigley, who was also a judge on Lizzo’s reality TV program. Plaintiffs contend that

she preached about her Christian beliefs. She also “took every opportunity to proselytize to any and all in her presence regardless of protestations.” Quigley stated that “No job and no one will stop me from talking about the Lord.” Lizzo responded to the allegations by stating she is “not the villain,” and that plaintiffs have admitted they were told their behavior while touring was not appropriate and that the allegations “…are not only baseless, but profoundly hurtful.”

GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail. com or visit glennlitwak.com.

in all songs because they’re familiar, they’re universal.”

Introduction to Music Publishing for Musicians

Delacey Finding Flow

By Bobby Borg & Michael Eames

Motorbooks

quarto.com/motorbooks

is a down-to-earth new book written by two musicians and industry Music Connection contributors) with decades of experience. They’ve organized it into seven clearly-written sections that will help musicians, students, songwriters, beat makers and others save time and avoid getting screwed.

Often asked to work with legacy artists, Israel says that—while riskier— he finds it much more fulfilling to work with new artists, and confesses that he learned far more from the failures of those who did not succeed (or who quit) than from those who did. He says lyric-writing presents the biggest creative challenge for artists, and he recommends immersing yourself in the lyrics of hit songs, taking note of what is done right. Israel believes the words of a song need to be honest, sincere, conversational, and disciplined. “To have a song that does well on Spotify, DSPs, radio, or in a live setting, it has to connect,” he counsels.

“Have hobbies. Have other interests. Do other things that fulfill and inspire you, and you'll write better music,” says rising singer-songwriterproducer Delacey (born Brittany Marie Amaradio). “I have written some of my biggest songs when I've taken time away, lived my life for inspiration, and come back in that frequency.”

Leader in Illustrated Publishing: , U.K.-based Quarto is a longtime leader in the world of illustrated non-fiction publishing. While diversifying and adding numerous imprints over the decades, its ongoing mission has remained the same—to make and sell books that entertain, educate and enrich the lives of readers around the world. One of the most exciting current manifestations of this comes from their Minneapolis-based Motorbooks imprint, which Quarto acquired in , Motorbooks has been among the world’s leading transportation publishers, creating volumes about cars, motorcycles, aviation, racing, etc.

Israel emphasizes keeping things simple to avoid losing the listener, and says that lyrics should include poetic devices to be e ective. “A song is never a solo e ort,” he adds. “In order for me to share my emotions, I literally have to have you understand… What is a song if you're the only one who understands it?”

Recognizing AI as a helpful new tool for writing powerful lyrics, Israel penned guidebook, Want to Write the Best Lyrics of Your Life? OpenAI is the Secret Weapon You Need!. Admitting that AI-written lyrics are unlikely to be hits, he says that prompting ChatGPT for a story about what you are trying to express provides a new lens through which to write.

JIM VANCLEVE

Having co-written “New York City” (The Chainsmokers), Platinumcertified “Boyfriend” (Dove Cameron), Gold-certified “Ruin The Friendship” (Demi Lovato), and Diamond-certified/No. -placing “Without Me’ (Halsey), Delacey’s journey started with a passion for musical theater. Beginning on piano at age , teacher Darrolyn Fennelly allowed her to play original compositions during lessons and perform them in recitals. Says Delacey, “I'm really grateful because it really did cultivate something inside me that lasted. She gave permission to play and actually enjoy [music].” Cindy Smith was also a pivotal influence. At , Smith insisted that Delacey sing and perform in every musical. “That really stuck with me,” admits Delacey. “It changed the course of my whole life. I don't know if I would have ever sung.”

Looking to expand beyond the transportation topic, publisher Zack Miller and executive editor Dennis Pernu launched a dedicated music program in , drawing on Pernu’s prior experience in music book publishing under Quarto’s Voyageur Press imprint. Under their creative, visionary leadership, they have built on the success of their first book the authoritatively written (by Dave Hunter) and lavishly illustrated Fender instrument company to publish a series of dynamic works celebrating some of rock’s greatest artists and albums.

Israel also stresses the importance of finding and connecting with a mentor, but only if you are fiercely committed to working on your craft at the highest level. Still getting regular advice from his mentor, Doug Messenger (producer and Van Morrison guitarist), Israel reveals that he learned most of what he knows about music from him (as well as recording many projects at his studio).

publishing, and things you need to know about music publishing’s future.

Foo Fighters frontman Dave Grohl has penned a vivid memoir that conveys both the ordinary and the extraordinary moments and events of his life. Standouts include some harrowing Nirvana bandmate Kurt Cobain as well as heartfelt Grohl’s wife and kids. Experiences with Pantera, John Petty, Iggy Pop, John Paul Jones, Paul McCartney and others make this autobiography a satisfying read.

Award-winning Americana songwriter releases 5th album on September 8

Made in Hollywood: All Access

By Gina Schock (hardcover)

$40.00

Go-Go’s drummer Gina Schock takes fans behind the scenes for a look at her personal

Rock Concert

“All of our favorite artists wrote a song that resonates, makes us run faster, makes us sad, makes us hug our loved one, makes us fly, makes us drive really fast or really slow. It changes our state because it’s not the artist’s song.” Continues Israel, ”Your audience has to feel understood. It's my story. When I listen, when I sing along, when I see my favorite band, they're singing my song. That's it that kind of sharing is the root of it.”

by Gutbrain Records

Moving to Manhattan after graduation, she wrote songs on her guitar nonstop. When an o er came through for a photography job, she knew she couldn’t stay in New York. Back in California, she o icially adopted her childhood nickname as her moniker (Delacey), with friend Eddie Park becoming her manager and helping to secure her first publishing deal. Paying just $10,000.00 up front, it landed her first co-writing opportunity, and opened her eyes to songwriting as a profession.

By Marc Myers

(hardcover) $30.00

“I came home with some of the songs I'd written in New York,” she says. “I had no idea if they were good, but I cried when I wrote them and they were really real to me.”

After placing “New York City” for the

The Anniversary Aesthetic: According to Pernu, Motorbooks’ goal with the line of heavily illustrated upscale coffee-table music books is to merge unique text with archival artist and memorabilia images from agencies, individual photographers, and collections. He works closely with the company’s talented art department to bring the books to life. “We

There’s plenty of fascinating information to glean from Myer’s oral history examination of the evolution of the rock concert business, from the wild west ‘50s to the corporatized ‘80s. Myers does it with insightful statements from prominent insiders (Seymour unfortunate end.

no heart in that. You're asking your computer to tell you your feelings. I just

bout with leukemia at age 23.

ERIN VIANCOURT

Date Signed: October 2022

Label: Late August Records

Type of Music: Country

Management: Arthur Penhallow Jr. - True Grit Management

Publicity: Asha Goodman, Catherine Snead, Chandler Call - Sacks & Co. Web: erinviancourtmusic.com

Growing up with guitars around a campfire, Erin Viancourt always knew she was going to pursue music. Not feeling drawn to college, she began writing poems for her mom in high school (her grandfather is a published poet), which quickly moved to songwriting, later teaching herself to play guitar. Her creative writing teacher allowed her to write and perform songs in lieu of her weekly writing assignments, and she credits her supportive parents for helping her to get where she is today.

Working at a music venue after moving to Nashville to study songwriting, Viancourt was fortunate to have club owners and promoters who gave her opportunities to perform. Opening for Alex Williams back in 2019, Viancourt connected with his manager backstage, offering to open for Cody Jinks (Williams and Jinks were both managed by True Grit). Williams asked her to fly out to Texas, and she became part of the True Grit family. While the pandemic put everything on pause, she was given the opportunity to open for Cody Jinks and Travis Tritt in Austin, and kept getting brought back. Five songs led to a record, and then getting signed as the inaugural artist on Late August Records.

BABEBEE

Date Signed: July 2023

Label: Epitaph Records

Band Members: Babebee

Management: Aaron Kovacs

Booking: Wasserman

Legal: Loren Wells/Well Kappel

Publicity: Jasmine Muldrow - jasmine@epitaph.com

Web: babebee.love

A&R: Sue Lucarelli - Epitaph

As a middle schooler in the city of Atlanta, GA, Babebee's artistic aspirations were fueled by their admiration for an array of musicians ranging from homegrown icons such as Outkast to international acts like Björk, Aphex Twin and FKA Twigs. But it was not until Babebee moved away to college during 2019 that they came into their own with a unique brand of alternative rock, electronica and bedroom pop that they dubbed “Fairy Mosh-Pit Music.”

While majoring in film at Wesleyan University in Connecticut, Babebee released their debut EP, Portal of My Soul, drawing inspiration from musical influences and ongoing internal battle with depression. The multi-instrumentalist dropped a follow-up effort during a gap year, called Mind Over Matter. The project earned critical acclaim from media outlets like Pigeons and Planes, who extended an invite to their live showcase series (No Ceilings). Babebee’s rise in popularity culminated with several enquires from A&R managers at numerous record labels, including Epitaph Records.

Since the signing, Viancourt says she feels she has levelled up. “There’s definitely a shift,” she says. “As confident as you try to be in Nashville, you always wonder, where do I belong? What pocket do I belong to? I could not have found a better pocket to fall into with all the right people.” Says Viancourt, “Between Arthur [Penhallow Jr., owner of True Grit Management], Cody [Jinks] and Stephanie [Hudacek], they all show up every day with max-level excitement. Joe Greenwald has [also] been really helping get the songs to radio. [He is] one of the kindest people in the world.”

Finishing up her tour supporting Cody Jinks, Viancourt’s debut album, Won’t Die This Way, is out now. Says Stephanie Hudacek (of Late August Records), “This debut album displays seasoned poise, character, swagger, style, and sharp wit. She’s that one of a kind, powerful artist that skillfully blends classic country with '70s outlaw vibes and a unique modern flair.” – Andrea Beenham

“My first ever meeting [with Epitaph] was on my birthday, February 1st, the same day that I dropped my EP, Tainted in Our Memories,” Babebee recalls. “They were just like, ‘Hey we’d love to meet you.’ So, I went to their office where I met Sue (Lucarelli), the President, and Brett (Gurewitz), who founded Epitaph. It just felt like a very welcoming environment. I could tell that they were very artist friendly and they wouldn’t try to control my artistic direction. It feels like a family. It really was about the people rather than the name itself.”

Since signing with Epitaph, Babebee has released one single, called “Come With Me.” The young visionary put their background in film and editing to use by creating a storyboard for the music video before codirecting the production herself. Babebee’s upcoming EP with Epitaph remains her primary focus. However, in the future, Babebee would like to expand their filmography as a director, to full-length movies and music videos for other recording artists like Frank Ocean. – Miguel Costa

“ I could not have found a better pocket to fall into—with all the right people.”

“It feels like a family. It really was about the people rather than the name itself.”

BRENN!

Date Signed: February 2023

Label: Fourward Music / Darkroom

Type of Music: Folk

Management: Fourward

Legal: Michael Barkoff - Eisner, LLP, mbarkoff@eisnerlaw.com

Publicity: Amanda.Pappalardo@42west.net

Web: Instagram @brennnnnnnn

A&R: Jake Sarno, Joey McCarthy, Justin Lubliner

Folk singer Brenn! has never performed live. But in this age of TikTok, Instagram and YouTube, that’s not always essential. Last year he recorded and uploaded original music from his home in Tuscaloosa, AL. The following autumn Jake Sarno, an A&R rep with Fourward Music, happened upon him online and reached out. The 18-year-old was invited to record in Nashville and a deal was offered and signed a short time later. Indeed, Brenn! was the first artist signed to the then-nascent label.

“Jake found me from this TikTok video I posted and messaged me on Instagram,” Brenn! recalls. “He asked if I had a manager. I said that I didn’t and he told me that he did A&R and scouting for labels. He wanted to send me to Nashville to work with people he knew and see what happened. Eventually he convinced me to sign with their publishing team and it’s been one of the best decisions of my life. They’ve treated me fairly and I love them all. There are a lot of people in the music business who don’t want the best for you but I believe that these guys do; that they’re the best for me.

“We started to go through some of my demos and came upon ‘4Runner,’” the artist continues. “Although I kind of liked it, I wanted to do something else. But Carrie [Karpinen], the songwriter I’d connected with, said that we had to do it that day and we re-recorded it. I didn’t know what to expect because I’d never been in a session before.”

HUNTER DAILY

Date Signed: Early 2020 (Hunter & Tyson), Mid 2021 (as solo artist)

Label: Flush Records

Type of Music: Singer-Songwriter, Indie, Pop

Management: N/A

Legal: Craig Marshall at Myman Greenspan Fineman Fox Rosenberg & Light

Publicity: Kip Kouri - Tell All Your Friends, Inc.

Web: hunterdailymusic.com

A&R: Ivana Paige

The daughter of pop singer, actress and voice actress Elizabeth (E.G.) Daily, Hunter Daily was enrolled a few years back in the Clive Davis Institute of Recorded Music at NYU. Growing restless with academia, she longed to return to L.A. resume acting gigs and launch her career as a singer-songwriter. Once back, she played a few gigs at The Peppermint Club and Hotel Café, then began collaborating with her sister Tyson, who had received encouragement from the industry for years but was currently in a lull phase.

The siblings’ hunch that the blend of Hunter’s quirky girl next door indie pop and Tyson’s R&B/pop and edgier persona would be successful proved prescient when one of their club showcases caught the ear of Andrew Shack, a onetime exec with Capitol and Priority Records who launched his indie label Flush Records in 2016. Hunter had known Shack a long time and had even referred artists to him, but she was still surprised he showed so much interest.

“Andrew had us do a bunch of rehearsals, singing covers to make sure we had good stage presence and chemistry,” Hunter says. “Once he heard the potential in our original music, we had several meetings everything came together. I felt one of the reasons he signed us was because we were a unique sister duo of polar opposites, musically and personality-wise.”

“The way the deal works is that we signed Brenn! to a traditional label partnership in which we’d develop him,” Fourward head and A&R rep Sarno explains. “Then we licensed [his music] to Darkroom, so they act as the distributor and licensing partner and Fourward is on the record side.”

Brenn!’s "4Runner" earned more than 1 5 million streams over its debut weekend and his TikTok has captured more than 30 million views to date. Currently he’s working on his EP Southern, which is targeted to drop next spring and he has some “homegrown” Alabama shows planned for the fall.

Fourward Music is a subsidiary of Will Ward‘s Fourward, a management, production and publishing outfit. – Rob Putnam

The title of Hunter & Tyson’s debut single for Flush “Won’t Be Back” released just before the pandemic lockdown proved ironic. While the two upped their songwriting game significantly by hooking up with and doing songwriting camps with veteran artist, songwriter and vocal producer Jenna Andrews (BTS, Drake, Jessie J), Tyson ultimately opted to take a mental health and wellness break. This left Hunter concerned about continuing with the label but ultimately they signed her as a solo act and after several lead singles, she just released her solo debut EP Die In LA (which includes “Age of Depression,” ft. Tyson).

“Tyson felt she was doing it more for a specific result than for the love of music,” Hunter says. “Fortunately, we had established enough of a foundation, and the label still believed in my talent. They’ve been supersupportive. There was a transitional period after I signed a new contract, and I had a lot of self-doubt but my self-confidence has grown with every recording session.” –

Jonathan Widran

“ I didn’t know what to expect because I’d never been in a session before.”

“My self-confidence has grown with every recording session.”

GIBBONS TROUBADOUR AWARD

Billy F. Gibbons ( 1 / 3 member of ZZ Top) has received BMI’s Troubadour Award, recognizing his profound songwriting impact. Credits include: “Sharp Dressed Man,” “Legs,” “Cheap Sunglasses,” “La Grange”(hit lead single from Tres Hombres ). ZZ Top has sold over 50 million albums worldwide.

GOTH HISTORY

Co-founder of The Cure, Lol Tolhurst, releases a memoir on the history of Goth music and it's surrounding culture. Includes an overview of The Cure, Siouxsie and the Banshees, Bauhaus, Joy Division, etc. with personal details and anecdotes from Tolhurst’s adventures.

CAPITOL, MOTOWN & GLASS

Capitol Music Group and Motown Records partner with Glass Window Entertainment (founded by Dominique Jones, aka Lil Baby), signing first artist Rylo Rodriguez (Glass Window/Motown) Pictured (l-r): Jacqueline Saturn, Michelle Jubelirer, Dominique Jones, Rylo Rodriguez, Arjun Pulijal

The Rally Returns

TAXI’s annual Road Rally returns to Los Angeles for its 26th year on November 2-5. As always, this year’s event includes one-on-one mentorship, open mics and jam sessions, keynote speakers and insights on how to create the best music, what supervisors are looking for and more from industry experts including Michelle Bell (VP of Creative at Roc Nation), Mason Cooper (music supervisor), TAXI member Jim Thacker, Tony Van Veen (CEO of Disc Makers), Bill Starkov (Founder of NFT collection Apocalyptic Apes), Ryan Gaines (CEO of Mutiny Recordings), Cheryl B. Engelhardt (indie artist and NFT adopter), and many more.

Full details and registration at: taxi.com/taxi-road-rally

Live Music Society Grants & Partnerships

Originally established as a form of pandemic relief in 2020, The Live Music Society (LMS) has grown into a nonprofit foundation delivering crucial annual grants to small venues and listening rooms across the United States. To date, the organization has awarded $3 million across four grant cycles, with this year’s grants totaling

$600,000 so far. Their Toolbox Grant program aims to address the practical needs of music venues, including regulatory compliance, accessibility enhancements, system upgrades, marketing, audio/video/staging, and revenue stream strategy help, with current Toolbox Grant applications open until October 10.

Partnering with international music residency collaborative House of Songs in Austin, LMS will now also be supporting musicians playing the smaller community venues. A collaborative hub for artists in 30 countries, House of Songs serves to bridge cultures and foster collaboration, with a new location in East Austin hosting a kicko event on October 25, featuring a reception, a Q&A session with Founder Troy Campbell and Artistic Director Graham Weber, and an artist showcase.

More at: livemusicsociety.org

SESCAC ACM Winners

SESAC wishes to congratulate their a iliates for their Academy of Country Music Honors Awards from the ceremony at the Ryman Auditorium. Derek Wells was honored with the ACM Electric Guitar Player of the Year for all of his studio work, including playing on over 100 No. 1 country hits. Jenee Fleenor received an ACM Special Instrument(s) Player of the Year award for her fiddle, mandolin, and acoustic guitar skills.

With various performances throughout the evening, SESAC A iliate, Lee Brice contributed a performance of “Like I Love Country Music” to honor Kane Brown’s ACM International Award, while Hillary Scott and Lady A performed in honor of Clint Black receiving the ACM Poet’s Award.

Antonoff’s Universal

CORNEJO TO INTERSCOPE

Interscope Geffen A&M has signed 19 - year-old singer-songwriter Ivan Cornejo. Following 2021 ’s debut Alma Vacia and 2022 ’s Triste and Dañado , he now has over 1 billion streams and has won Billboard’s “Debut Artist of the Year” and “Regional Mexican Album of the Year” Awards.

Jack Antono has signed to Universal Music Publishing Group (UMPG) for exclusive global publishing, following his departure from Sony, reuniting Antono with his long-time publishing A&R, Jennifer Knoepfle, and unveiling a coming joint venture with Dirty Hit Records founder Jamie Oborne. Writing hits for Taylor Swift, The 1975, Lana Del Rey, Diana Ross, Lorde, St. Vincent, Florence + The Machine, and Kevin Abstract, Antono has eight Grammy Awards (including Producer of the Year for 2022 and 2023) and celebrated back-to-back number one’s with Swift’s “Karma” and “Cruel Summer.” Recent accolades

include the Ivor Novello Award for Best Song Musically and Lyrically for work on the Florence + The Machine hit, “King.”

Round Hill Acquires Linus

Shortly after acquiring the catalog of Craig Wiseman (of Big Loud Shirt), Round Hill Music announced their purchase of Linus Entertainment (founded by Geo Kulawick). Covering roughly 3,000 pieces and 20,000 masters, the deal includes the catalogs of Borealis Records, Solid Gold Records, Stony Plain Records, Spring Hill Music, The Children’s Group, True North Records, and others. The majority of the 2,000-piece Linus catalog was recorded by Canadian acts, including Bu y Sainte-Marie, Bruce Cockburn, Gordon Lightfoot, and Stan Rogers. The current roster includes Marc Jordan, Natalie MacMaster, Big Wreck, Canadian Brass, and Sophie Milman.

Concord Gets Higgenson

Concord Music has purchased a portion of the publishing catalog of Plain White T’s songwriterfrontman Tom Higgenson, in a deal that includes recording and songwriter revenue. Higgenson’s best-loved songs include “A Lonely September,” “Take Me Away,” and “Radios in Heaven.” “Hey There Delilah” (from 2007’s Every Second Counts)—also part of the agreement—spent 35 weeks on the Billboard Top 100 Chart, spent backto-back weeks at No. 1, achieved two Grammy nominations, and hit No. 1 in eight countries. This follows the purchases of Native Tongue and L.A. Reid’s HitCo in 2022

Hsiao and Zhang to Warner

Warner Music China has signed prominent Chinese R&B star Elva Hsiao, the first native Mandarinspeaking artist to release an R&B album in China and has become one of the biggest-selling artists in the area since her start in 1999, has won numerous awards, and has released 16 albums with record-breaking sales.

Actor-artist and Chromosome Entertainment CEO Lay Zhang has also signed with Warner Music China, for a distribution deal. Following his departure from EXO, solo projects include Lit and Producer (via SM Entertainment, a deal that expired in 2022). Zhang has starred in Mandarin-language movies including this Summer’s No More Bets (rumored to have achieved half a billion dollars in sales to date).

The latest signings follow Miriam Yeung’s deal last year and increase Warner’s push into the ‘Mandopop’ scene. In addition to the latest partnerships, Warner Music Asia released a Spanishlanguage album from Shanghaiborn G.E.M. and Universal Publishing China partnered with Beijing’s Ryce Publishing in 2022.

Major MENA Moves

With market revenue growth of almost 25% in 2022, and the highest regional share of global market streaming, there is serious music momentum building in the Middle East and North Africa.

Virgin Music Group has opened an o ice in Lagos, Nigeria, to be run by Music Executive Olukorede “Kay” Ikazoboh and initial announcements include partnerships with Dvpper (Nigerian Afrobeat label), artists Reekado Banks, Darkoo, and Ayra Starr. In 2021, Virgin launched a label services division in Côte d'Ivoire that includes artists from more than 25 African countries.

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

AIM AWARDS BJÖRK

Recognizing the U.K.’s independent labels, artists, and entrepreneurs, the Association of Independent Music (AIM) awards Björk 2023’s Best Live Performer for her Cornucopia tour, edging out Beebadoobee, MUNA, and Babymetal. The tour runs through Europe until December.

BMI FOUNDATION LATIN

Miami-based singer-songwriter

Alice Macedo has won the 2023 BMI Foundation Peermusic Latin Music Award for song “Te Levo Comigo.” For 20 years, the competition has recognized young Latin music songwriters/ composers. Previous winners include Mane de la Parra and Daniela Blau.

DION’S POSITION

Los Angeles favorite Kyle Dion has signed an international label deal with Position Music that includes the acquisition of a majority stake in Dion’s catalog (with debut SUGA and 2022 ’s SASSY ).

AIMP SONGWRITERS

The AIMP Nashville Songwriter Series took place at The Listening Room Café, honoring and featuring those selected by a committee of music industry pros. Class of 2023 includes: Terri Jo Box, Blake Pendergrass, Mae Estes, Chris McKenna, Luke Preston, Zarni deVette, Lauren Hungate.

Devin Kennedy: Intuitive Artistry

With co-writing credits including Ben Platt, Ryan Tedder, Andy Grammer, Jake Miller, James Maslow, R3HAB, and Alex Alono, artist-songwriter-producer Devin Kennedy is gaining serious momentum as an artist. With over three million monthly Spotify listeners, his album racked 2.4 million streams on day one.

Playing drums, guitar, and bass before the age of 10 (his grandfather was a concert pianist and his father worked in music for television and film), Kennedy grew up listening to The Beatles, Scorpions, Led Zeppelin, Eric Clapton, and others. His first two concerts were Paul McCartney and John Mayer. “I fell in love with music done at the highest level. [The] Beatles’ songwriting is the north star of every songwriter, and John Mayer is up there,” shares Kennedy. “I've always tried to make the best songs possible that's where I have the most fun.”

FMeeting his father’s producer-friend Pat Regan at just 12 years old, he was encouraged to sing and taught to produce the music he played in his pop-punk band in high school. “It was definitely life-changing for me,” says Kennedy. “I learned so much from him. We produced two albums for my band and that really led to me becoming a producer.”

Kennedy says that studying production, songwriting, and business at Berklee “really set me up for staying independent and running my own business coming out of school.” While his band fell apart while he was in college, bandmate Jordan Greenwald (of lovelytheband), who was playing guitar for James Maslow (of Big Time Rush), passed the torch to Kennedy when he became too busy with his own career. Playing guitar, keyboard, and helping to put Maslow’s live shows together, Maslow and Kennedy became good friends. “I love James,” gushes Kennedy. “He taught me how to be a solo artist, what it looks like to be on the road and do interviews. He gave me that initial touring experience, took a chance on me when I was 19, and gave me some incredible opportunities.”

Kennedy says songwriting is all about writing your first 100 songs, and that the hardest part is being clear and concise, adding that, “Whether you want to be a songwriter, an artist, a producer, or anything in between, consistency is absolutely crucial."

Left to his own devices, the chords and melody come before the lyrics, but Kennedy says he prefers co-writing because it helps the song evolve, and that he slowed his process to get the best result. “I used to do sessions where I would try to produce and write the song in one afternoon,” he admits. “These days, we'll sit down with co-writers on acoustic guitar, find some cool chords, write the best possible song I can—and then produce it later. The song sounds more honest that way.”

M N

With opportunities including a tour with Je Bernat in 2022, and Daniel Seavey earlier this year, Kennedy says he got there through hard work. “It’s really about some cool folks throwing you opportunities and the only way you get there is by outworking other people,” he reveals. He recommends taking time to create daily, emphasizing that putting yourself and your health first is of paramount importance. “Trying to be creative while you're distracted is impossible,” he says. “Set yourself up for success: eat before the session, get good sleep the night before, no business calls directly before your session. [Avoid] anything that might put you in the wrong headspace.”

WKennedy can tell when a song is special because he gets impatient about releasing it (exactly what happened with “Forget About You”). “10,000 small decisions that's what makes a great song,” he says. “Trust your gut about what you love. If you love it, there's gonna be folks out there that love it too. I’m no viral artist. I just have a dedicated group of people that gravitate towards my music.”

Debut album, California Rain, is out now.

Contact amy@pressherepublicity.com instagram.com/DevKennedyMusic

DROPS

Weird: The Al Yankovic Story will be available on home entertainment formats on Dec. 12, with a release on digital platforms slated for Nov. 10. A meta parody of the life and career of one of music’s strangest and most beloved musicians, Weird Al Yankovic, the acclaimed film was nominated for eight Primetime Emmy Awards (winners announced at the Awards ceremony in January 2024) with Daniel Radcli e in the starring role alongside Evan Rachel Wood and Rainn Wilson. Physical editions of the release will include bonus features, with details forthcoming at the time of this writing. Contact Sarah J. De Bruin at sdebruin@shoutfactory. com for more information.

Amidst her most expansive tour yet of the same name, international pop sensation Taylor Swift has announced an Eras tour concert film, which hit North American theaters on Oct. 13. Theater owners are expecting an overwhelming reception with a record-breaking $100 million opening weekend. As a side note, underscoring the artist’s popularity, searches for AMC spiked by 1,150% worldwide and 1,566% in the U.S. Swift’s announcement of the film, according to a finding by music industry experts Music Industry How To. Check your local theater for show dates, and watch the trailer on Youtube.

Lakeshore Records has released Red, White & Royal Blue—Amazon Original Motion Picture Soundtrack featuring an original score by Drum & Lace (aka Sofia degli AlessandriHultquist). The label also released a single from the project titled “Fruit (Red, White & Royal Blue Version),” which is an orchestrated reimagining by Oliver Sim of his song “Fruit.” The film, directed by Matthew López (Some Like It Hot) and based on Casey McQuiston’s critically acclaimed New York Times best seller, stars Taylor Zakhar Perez as Alex Claremont-Diaz, the son of the President of the United States (Uma Thurman), and Nicholas Galitzine as Britain’s Prince Henry whose long-running feud turns to romance. The film also marks the screenplay co-writing and

feature film directing debut of Tony Awardwinning playwright López. Contact Kyrie Hood at kyrie@whitebearpr.com.

The ASCAP Foundation, under the leadership of President Paul Williams and Executive Director Nicole George-Middleton, teamed up with the DC Jazz Festival, headed by President & CEO Sunny Sumter, to support the development of rising jazz talent. The world-renowned DC JazzFest featured a performance at this year’s event on Sept. 2 by Chase Elodia with his band the Perennials. Composer and drummer Elodia who released album Portrait Imperfect last year, which was named among the Best New Albums of the Year by Downbeat magazine received the 2023 ASCAP Foundation Herb Alpert Young Jazz Composer Award. Contact Kelly MacGaunn at kelly@bobbimarcuspr.com.

The 22-track original motion picture soundtrack, Golda, written by composer Dascha Dauenhauer, has dropped via MNRK Music Group on all digital platforms in conjunction with the summer release of the film. Directed by Guy Nattiv, Golda is the story of Israeli Prime Minister Golda Meir, accompanied by Dauenhauer’s classical composition interspersed with experimental components. The album also includes a cover of Leonard Cohen’s “Who by

Fire” by Elias Abid and Ysa a rendition that captures the song’s spirituality which is in reference to the “Un’taneh Tokef Kedushat Hayom,” a Hebrew prayer chanted on Yom Kippur. For further information, contact Sarah Roche at sarah@whitebearpr.com.

BMG has released The Swearing Jar (Original Motion Picture Soundtrack) on all digital platforms with a score by Timothy Williams, the multi-award-winning composer behind the music for Pearl, Finding You, Brightburn and Get Out! The 21-track album features songs with music and lyrics by Kate Hewlett, and “The Swearing Song” won Achievement in Music Original Song at the Canadian Screen Awards. The Swearing Jar is a comedic musical romance that explores the concept of finding true love twice. Directed by Lindsay MacKay and produced by Jane Loughman, it premiered at the Toronto International Film Festival in 2022. Contact Kyrie Hood at kyrie@ whitebearpr.com for further information.

OPPS

New and aspiring composers and writers can submit work for the Richard Rodgers Awards until Nov. 1. The Awards were created to subsidize work in musical theater by upand-coming composers and writers. Find the

CHASE ELODIA

OUT TAKE

application and details at artsandletters.org/ richard-rodgers-award.

The O’Neill Theater Center’s National Music Theater Conference will accept play submissions through Oct. 16. NMTC supports the development of all styles and genres of music theater, including song cycles, operas, and experimental works. For more information, visit theoneill.org/nmtc.

GameSoundCon 2023 two days of video game music conversations and events will be held Oct. 17 and 18, and you can attend in person in Burbank, CA, or virtually this year. Register and learn more about the conference’s o erings at gamesoundcon.com.

The NYC Women’s Fund for Media, Music and Theatre is accepting applications through Nov. 1 for funding women-led projects related to film, television, theater and music. Funding categories include feature, documentary, music and theater production. Go to nyfa.org/ awards-grants/nyc-womens-fund-for-mediamusic-and-theatre/ for the complete application guidelines.

PROPS

The Guild of Music Supervisors 9th Annual “State of Music in Media” Conference held in August drew more than 800 attendees and celebrated 50 years of hip-hop, hosting speakers including Chuck D of Public Enemy, Cheryl “Salt ” James of Salt-n-Pepa, Lorrie Boula, Gustavo Santaolalla, Joel C High, Frankie Pine, Julia Michels, Chris Lennertz, Amani “Burt Blackarach” Smith, Dante Ross and Ananda Lewis. The event took place at the Los Angeles Film School in Hollywood. Contact Chandler Poling at chandler@white bearpr.com.

Veteran composers Laurence Rosenthal whose career spans more than six decades of composing for film, television and theater and Nicola Piovani (perhaps best known for his score for the acclaimed film Life is Beautiful) will each receive a Lifetime Achievement Award at the 23rd Annual World Soundtrack Awards, which will take place as the concluding event of Film Fest Gent on Oct. 21. The festival names two grandmasters of film music in its anniversary year. For more information, visit worldsoundtrackaw ards.com.

Composers Stephanie Economou (Assassin’s Creed Valhalla: Dawn of Ragnarök), Borislav Slavov (Baldur’s Gate III, Divinity:

Original Sin II), Gordy Haab (Star Wars Jedi: Survivor), Stephen Barton (Star Wars Jedi, Call of Duty: Modern Warfare) and Gustavo Santaolalla (The Last of Us) will be a part of Film Fest Gent’s game music concert PRESS PLAY: Music in Games on Oct. 19. Selections of the artists’ work will be performed during the event by Brussels Philharmonic, conducted by Dirk Brossé and accompanied by Gustavo Santaolalla with his ronroco. During the World Soundtrack Awards Film Music Days Oct. 19-21, Economou, Gordy Haab and Slavov will discuss their work on panels and in masterclasses. Learn more at worldsoundtrackawards.com.

The RIAA celebrates Latin music.

Last month, the Recording Industry Association of America (RIAA) recognized artists, label executives and policymakers driving this rise across American music, culture and society. The event highlighted the achievements of Icon Gloria Estefan, Artist of the Year Sebastián Yatra, Industry Trailblazer Emilio Estefan, Executive of the Year Maria Fernandez (EVP & COO of Latin Iberia at Sony Music Entertainment) and Policymakers of the Year U.S. Representatives Veronica Escobar and María Elvira Salazar. Contact asst1@ truepublicrelations.com for more info.

The final determination of the Phonorecords III streaming royalty ruling by the Copyright Royalty Board has been announced, following pressure from songwriter groups earlier this year. Encompassing a 43.8 percent rate boost for streaming revenues from 2018 to 2022 (with the proceedings initially started back in 2016), the ruling has been delayed by legal pleadings and opposition from various streaming platforms (except Apple).

In addition to the appellate court finding fault with the “total content cost” portion of the CRB’s determination, the CRB included a lengthy section of ‘supplementary information’ in the final determination. Rates for 2023 through 2027 were already negotiated and approved by the CRB at the end of 2022, which included a 15 35% headline rate and a material increase in mechanical rates for physical products and downloads within the United States (moving from 9.1 to 12 cents per song use). More at: crb.gov/announcements.

JESSICA PACE is a music journalist-turnednews-reporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

Matt Novack

Composer

Web: mattnovack.com

Contact: kate.twilley@impact24pr.com

Most Recent: Miracle Workers: End Times

Composer Matt Novack, who wrote the music for TBS’ Miracle Workers: End Times, which premiered this summer, says this most recent project was a challenge in experimenting with synths to match the show’s ‘80s, VHS-movie aesthetic with the use of junkyard sorts of instruments working in conjunction with the synths.

Novack’s credits also include the cult comedy series Children’s Hospital and Neftlix’s A Murderville Holiday Special, as well as work for podcasts and video games like Assassin’s Creed Valhalla. With such a variety of genres and types of projects he’s worked on, including co-composing credits, Novack says he’s not sure if he has a distinct composing voice. “That’s something I think about a lot. I don’t know if I have a voice and could quantify it. There are things I know instinctively that I want to do musically with particular scenes, but I’m always trying to grow as a composer.”

Novack said the comedy series Miracle Workers pushed him as a composer. “I’d used synths before, but never had the opportunity to dive deep with particular synth sounds and writing,” he says. “It was so much fun to get out of my comfort zone and learn new things. It reminded me of working on Children’s Hospital, which involved writing for so many parodies in di erent styles. That experience was a boot camp for a young composer.”

With a degree in film scoring from USC, and an early-career gig as a composer’s assistant to Steven Stern, Novack took his own advice to aspiring composers: get a formal education and apprentice under a composer for real-world experience.

“From a technical standpoint, aspiring composers should get to know di erent digital audio workstations (DAWs) like it’s your instrument, and learn how to write music in these programs and produce it,” Novack says. “And when you’re coldemailing composers, producers, directors, etc., do your research on whomever you’re contacting. No one wants to read a generic email, and it’s obvious if you send one. If they’re a composer, check out their scores. If they’re a director, research their films.”

CHUCK D

MAYBERRY AT 9:30

Lauren Mayberry, frontwoman of Chvrches, performed at the 9:30 Club in Washington, D.C. as a solo artist Mayberry. The show comprised a tight nine-song set—eight originals, with a fizzy rendition of Madonna's "Like A Prayer" as the only cover. She tells the crowd: "There's two depressing slow ones, and then the rest of them have a bit of pep."

FUNK NOT FIGHT!

The Bootsy Collins Foundation and Skyboxx/Brothers On A Mission! have formed Funk Not Fight. In addition to a recent TASCAM headphone giveaway for young music students, a benefit compilation album will be released featuring: Collins, Markus Miller, Victor Wooten, Dave Stewart, Cindy Blackman, Buckethead, Alissia Benveniste and more.

TATE MCRAE FLIES

Multi-platinum singer-songwriter Tate McRae kicked off her ARE WE FLYING TOUR in Chicago at the Riviera Theatre. The tour spans North American cities in the U.S. and Canada, wrapping up at Seattle’s Paramount Theater.

KIDS ON KEXP

Every year, Seattle’s KEXP Morning Show host DJ John Richards (pictured on left) invites kids into the booth so future DJs can hop on the mic. The station also recently said goodbye to Don Yates who retired after serving as an intrepid Music Director for 34 years.

THE STONES ARE ANGRY

The Rolling Stones announced their new album in an interview with Jimmy Fallon at Hackney Studios in London. Hackney Diamonds will be released on October 20th on Geffen Records and featuring the new single “Angry.”

BASTILLE, ZIMMER, POMPEII MMXXIII

To celebrate the 10 year anniversary of seminal hit “Pompeii,” Bastille frontman Dan Smith and many-multi Award-winning composer Hans Zimmer collaborated for a live recording of “Pompeii MMXXIII,” filmed in Cardiff with the BBC National Orchestra of Wales.

THE ROXY AT 50

Legendary Los Angeles venue The Roxy Theater opened its doors in Hollywood September 1973. To celebrate the club’s 50th Anniversary, The Roxy will host special performances including Stephen Marley’s tribute to his father Bob, and Neil Young and Crazy Horse Young christened the venue playing its initial Grand Opening. The Roxy owners are pictured (l-r): Bill Graham, Lou Adler, Chuck Landis, Elliot Roberts and David Geffen.

Tidbits From Our Tattered Past

2011 –A Day To Remember–# 4

Ocala, FL’s A Day to Remember talked to us about how they merged hardcore punk with pop-rock sensibility, and how they plan out their touring. “I feel like America is overcrowded with touring bands, while overseas they just don’t get as many shows,” said the band’s Kevin Skaff. “So, when there is a good show coming through, they just go off that much harder.” We also interview producer Jacquire King (Kings of Leon, Tom Waits, Norah Jones) and the infamous Kim Fowley.

2015–Alex Da Kid–#2

In our cover story interview with Grammy-winning multi-platinum producer Alex Da Kid (B.o.B, Imagine Dragons, Rihanna), he had this to tell us: “A lot of producers start a label and it doesn’t work, because they’re chasing hits. It takes a lot of time and energy to create hits. You can’t do that and run a label. It’s a full-time job.” Also in the issue, Rob Kirwan reveals how he produced Hozier and PJ Harvey.

TONY BARNARD

BY GARY GRAFF

PHOTOS BY JENNY RISCHER

“All of a sudden something works that you’re never expecting to work...

That’s really why I do this, for the creativity and these adventures we’re having. There’s so many of them now; it’s really inspiring.”

Seventy-five is an auspicious age for any rock star—especially if you’re one who cavorts with snakes and gets your head chopped off every night on stage. Alice Cooper turned 75 in February, but the Rock and Roll Hall of Fame shock rock pioneer is still more active and working harder than artists a third of his age. He released a new studio album— Road, recorded with his regular touring band and longtime producer Bob Ezrin—at the end of August, following deluxe reissues of his Killer (1971) and School’s Out (1972) classics and a new mix of 1973’s charttopping Billion Dollar Babies.

Cooper also came up with a new stage show he debuted at the end of April and has been on the road all year since, both on his own (including the Freaks on Parade 2023 tour with Rob Zombie and a support slot on Def Leppard and Mötley Crüe’s The World Tour) and with the Hollywood Vampires, the all-star collective with Johnny Depp and Aerosmith’s Joe Perry that launched during 2013.

Other projects he maintains include his Solid Rock Teen Centers in Phoenix, AZ where he resides, and Mesa, AZ and his “Nights With Alice Cooper” radio show that’s currently on hiatus due to an ownership change with his syndicator but that he hopes to bring back in the near future. And don’t be surprised when he pops up at a Comic Con near you. The road has been a long one, but Cooper is happy to keep it under his wheels for the foreseeable future...

Music Connection: Road is your 29th album. Do you still get excited about putting something new out?

Alice Cooper: Oh, yeah, absolutely. I never have gotten bored with the idea. A lot of people just go, “Well, why are you still going?” I go, “Look, I love writing songs. I love recording songs. I love making albums that are thematic albums. I love working with Bob Ezrin and all the great musicians we play with. And I love hearing it on the radio and going out and playing those songs in front of an audience.” I say, “That’s what I do. What am I gonna do—go home and play golf? I play golf anyway. I play golf in the morning and rock & roll all night.” So, no, there’s no thought of retirement here.

MC: As the Road song says, the dead don’t dance...

Cooper: (laughs) That’s right. Everybody is retiring now. This is gonna be the great rock & roll retirement year. I talked to Gene Simmons (of Kiss); we did a show with him in France and he says, “December, it’s over.” And you always go, “Yeah, yeah, that’s gonna go on forever” and he goes, “No, it’s over. December,” pretty vehement about the fact it’s gonna be no more Kiss live shows. And Aerosmith, same thing. Elton, the Eagles. So I’m gonna be the last band standing.

MC: It’s appropriate, then, that you have this new album that completely celebrates being on the road and really lays out why you love it.

Cooper: I see the fun in the road. I see the disasters. I see the humor. If you don’t know how to navigate the road, it’s gotta be awful. But I’m in a great situation; I finally maneuvered myself into a point where Sheryl is in the show, so I don’t have to leave her at home. And without her, the way our show runs, we can’t really do it without her. She does all the high vocals in both bands...

MC: And she cuts your head off every night. Cooper: (laughs) Yeah, and that. So that’s one problem solved. I don’t have to leave home; I take home with me.

And secondly, I’ve got the best touring band out there and they’re all best friends and I never hear anybody griping about, “Oh, I don’t get enough solos,” stuff like that. Everybody in that band cares about the show as much as I do.

So all the ducks are in a row and all we’re doing is having fun out there. It does get a little bit exhausting, the travel, but you just have to put your mindset into the fact that for the next four months we’re gonna be living in and out of a suitcase, in a hotel, on a bus, in an airplane— ”Alright. Great. It’s gonna be fun!”

MC: What led you to make Road this way, with the road band?

Cooper: I felt this was the way I can show this band off. I went to Bob Ezrin, I said, “I want to do an album with my live band,” and honestly I haven’t done that since The Eyes of Alice Cooper (in 2003). That was the only other time. We would write the song in the morning, rehearse in the afternoon and record it that night, live in the studio, and I think you could tell. There was a freshness to it. It didn’t have time to get old. Same thing with his. They brought the songs in; I said, “I want everybody to write songs about the road. I don’t care what the concept is, as long as it’s about the road, some angle about the road, and then Bob and I will do surgery on it and we’ll turn it into what we want it to be for this album.” And that’s what happened.

MC: Sort of like giving the inmates the keys, or some of the keys, to the asylum. Cooper: Exactly. Everybody brought songs in and Bob and I just kind of took off in the studio and started constructing them the way we wanted them to be, then we brought it back and the band would come in and play it live in the studio.

I said, “I want you to play it live, every bed track is gonna be live” and then we would just pick the best bed track and I’d put the vocal on. It really shows how good the band is, to take a brand new song, play it live and make it sound like they’ve been playing it for years.

I like the freshness of it. If it speeds up a little bit, if it goes a little bit left or right, as long as the feel of that song is great, that’s what I care about. I don’t want to make a perfect album.

MC: The opening track, “I’m Alice,” sounds like your next show opener.

Cooper: It has to be. When I got done with that song, Bob and I looked at each other and went, “Opener!” And that’s Alice again, exaggerating, talking about himself. I’m not talking about me; I’m talking about Alice talking about himself, and of course he’s an overblown, egotistical, condescending villain—so of course he’s talking about how wonderful he is. I think that’s just part of it; Alice is talking about, “Okay, here’s

the album. It’s all about me. It’s all about the road, and here we go!”

MC: A few of the songs address Alice as this hated character, the pariah you were, or he was, back in the ‘70s when you started out. That’s not really the case anymore, though. Cooper: I think that there’s still a smattering of people out there that don’t get it. There are people that are so out there they get Ozzy (Osbourne) and myself and Kiss and Rob Zombie confused. One day a guy walked up and said, “Oh, man, I thought it was so cool when I saw you bite the head off a bat,” and I go, “That was Ozzy.” They put us all into one little place and they think we’re all the same guy somehow. But I want the Alice Cooper character to still have that danger involved, to still have that certain amount of villain involved. So, yeah, I paint him that way on the album.

MC: There are some other great and archetypal characters on this album. “White Line Frankenstein,” for instance.

Cooper: I know guys like that in both Europe and in America—truck drivers, bus drivers. When they’re done with our tour they go right to another tour and I’m going, “So, you basically live in the cab of this truck? This is, like, your world?” I take each character as they come along and exaggerate them, so now I’ve got this guy who lives in his truck—he’s a White Line Frankenstein. All he sees is white lines all day on the highway, and there’s probably white lines in other places in his life. But he is the king of that cab. He’s the Frankenstein of that cab, and he loves it.

MC: “Go Away” seems like a timeless tale of the rock & roll road.

Cooper: It’s one of those things where every guy, I think, in his career has had that one girl that obsesses and cannot give you up and will go to space to find you, or go to the Bermuda Triangle to find you. I think everybody’s had one or two characters like that in their life. I just said, “Yeah, that’s a common denominator with most rock guys to find that one somebody who’s so obsessed, and that (song) is a funny way of talking about it—”Could you please just go away?”

MC: You preceded Road this year with deluxe reissues of the Killer and School’s Out albums as well as a new Quadio mix of Billion Dollar Babies. What’s it like having your past and present coexist in the marketplace like that? Cooper: Those (reissues) never affect me. I never, ever think about them. They just happen. It doesn’t affect the show. It doesn’t affect the new album. Every day somebody comes up to me and says, “Hey, it’s the 64th anniversary of Lace and Whiskey” and I go, “That’s nice.” I honestly can’t keep up with any of that stuff. As much as I enjoy the history of Alice, I just don’t live there. People remind me all the time of anniversaries and this and that, and I do appreciate it. I understand how the fans, especially the collectors, love those things. But I don’t live in the past.

MC: Let’s ask you to, for just a second, though. Muscle of Love, the final album with the original Alice Cooper band, turns 50 in November. What’s your 2023 perspective on it?

Cooper: There were a lot of great songs on that album, but it wasn’t cohesive. The album didn’t

Cooper & Crüe

By all rights, Alice Cooper should have cut the heads off the founding members of Mötley Crüe during the past couple of years.

The shock rocker—who, of course, has his own noggin lopped off every night of his own concerts—served as the special guest for nearly the entirety of the Crüe’s Final Tour during 2014-15. On Jan. 28, 2014 announcing the trek the four Crüe members—Nikki Sixx, Vince Neil, Mick Mars and Tommy Lee—signed a binding Cessation of Touring Agreement preventing them from going on the road again under the band name.

And part of the punishment for breaking the deal was a trip directly to Cooper’s guillotine.

Flash forward to 2019 and Mötley Crüe, fresh off the success of the Netflix film adaptation of its band biography The Dirt, decides to reunite for The Stadium Tour, co-headlining with Def Leppard. The Covid-19 pandemic delayed the outing until the summer of 2022, but Mötley was nevertheless back on the “Wild Side.”

“We did that Final Tour and that’s it, and then, of course, when they came back out I went, ‘Okay, so I’m the big liar,’” Cooper says now. “But I laughed about it, and their explanation was, ‘We’re Mötley Crüe, man. We don’t believe in contracts.’ And I said, ‘That’s so perfectly rock & roll, and so perfectly Mötley Crüe.’”

By accounts, the Cessation of Touring Agreement was able to be set aside if all four of the signees decided to play together again. That ultimately resulted in more drama, of course; after the 2022 leg guitarist Mars, who’d long suffered with ankylosing spondylitis, a form of arthritis, since he was 17, retired from touring but with the intent of remaining in the band. The Crüe, however, hired John 5 as his full-time replacement, setting off dueling lawsuits.

The current Crüe, meanwhile, made good to Cooper by having him open the six U.S. dates on The World Tour, a continuation of The Stadium Tour. “They said, ‘It’s gonna be Mötley, Def and you,’ and I said, ‘That’s fine,’” explains Cooper, who did the dates alongside his continuing Too Close For Comfort Tour. “I don’t care when we go on. We’re gonna do our show no matter what. I’m past the ego thing of, ‘We have to go on last!,’ that whole thing. We’re gonna do our show, I don’t care what slot we’re in.

“Tommy Lee recently said that the worst thing you can ever do is have Alice open for you. I thought that was great, a nice compliment.” — Gary Graff

feel like it was locked together by one idea; and as much as the production is great on it and everything like that, it still missed the Bob Ezrin cohesiveness. The band didn’t want to work with Ezrin, but I did. I was the one going, “No, we gotta stay with Ezrin.” Like I said, (Jack Richardson and Jack Douglas) did a great job on production. The album sounded great. I just felt there was something missing in it that (Ezrin) would usually get out of us. But, I mean, I listened to “Man With the Golden Gun” the other day, and I listened to Teenage Lament ‘74. There were some really good songs on that album. I just felt like we were sort of reaching for straws there.

MC: That was the second album you released that year. What a different time that was. Cooper: But it was that era where that’s what you did. You did an album and then you’d tour and then while you were touring you were writing the next album, and then as soon as that tour was over you went in the studio and did an album. And then you toured again. In fact, there was a period of time where if you were to say to me, “I want to send you this” I’d go, “I don’t live anywhere. Send it to the next Holiday Inn,” because we didn’t really live anywhere for a long period of time. It was just touring and recording.

MC: What wisdom do you have now that you’d impart on those guys if you could time travel back to 1973?

Cooper: Y’know, you’re bulletproof at that point. You don’t mind that you just did 64 cities in 72 days. As long as there was beer, we were fine. It’s the most exciting time of your life; not only are you out there on stage doing this kind of show, but it’s successful and people are paying you, which is something we weren’t used to. I could tell them whatever, but they wouldn’t listen. (laughs)

MC: You put together a new show this year, which is always notable.

Cooper: We had the Haunted Castle for a couple of years, which was really a lot of fun to do. That was sort of like what my Friday night horror movie would look like if I had a Friday night horror movie. But this show is totally different. Like anything else, we have to do the hits; the audience wants to hear the hits, so it’s how do you decorate those hits? How do you put them into a storm form or some kind of new way of looking at the show? So, we added some new things and really made use of video technology more than we ever have before.

Like, when Alice does “The Ballad of Dwight Fry,” you can see all the facial things he’s doing, right up close. We just kind of got tired of people not being able to see some of the real intricate parts and details, so we made that a real focus this time out.

MC: How hard is it to put a set list together every time you go out?

Cooper: It happens while you’re doing it, really. We take a set list into rehearsals and it’ll change seven or eight times—”Ah, that song doesn’t go into that song right. Let’s put this song in there,” that kind of thing. It’s putting a puzzle together, really, just connecting the dots in the right way. But I’ve got people who have done this for 50 years. Sheryl and I have been putting a show together like this forever. And musically my (band) can learn a song in an hour, any song, so we’re not crippled in any way.

MC: Something else exciting this year was having “I’m Always Chasing Rainbows” from Alice Cooper Goes to Hell (1976) show up on the Guardians of the Galaxy Vol. 3 soundtrack.

Cooper: Y’know, I was at the new Ant Man movie and Michael Douglas and Catherine (Zeta-Jones) were there. They said, “You gotta come down to the premiere, so we went down and there was a guy from Marvel and he was a big Alice Cooper fan and he says, “I’ve got one of your songs in the new (Guardians of the Galaxy) movie.” I said, “Really?!” I didn’t even know about it, but I’m a big fan of the Guardians of the Galaxy. I think they’re really funny. It’s what Marvel should do. It’s all that action, all that great CGI stuff, with a sense of humor.

MC: How did it feel to have the Hollywood Vampires back in action this year?

Cooper: I’ll tell you what; the band is as tight as I’ve ever heard it. The band is really, really good now. We’ve had enough time off, so everybody’s ready to get back out there on the road.

It’s funny, ‘cause I hadn’t seen Johnny in three and a half years because of the Covid thing, and he was playing with Jeff Beck here in Phoenix. So I went backstage and I opened his door and went, “So...what’s new? Did I see you on TV or something?” (laughs) We were laughing ‘cause of the whole Amber (Heard) thing. I said, “I have either the best idea or the worst idea I’ve ever heard in my life.” He goes, “What?” I go, “You and Amber do a remake of War of the Roses,” and he started laughing, and then he kinda went, “Not a bad idea...” I mean, who wouldn’t want to see that? The press for it is just built-in, you don’t even have to push it. Just let it happen and report on it.

MC: The group put out a live album (Live in Rio) earlier this year. What are the prospects for new Vampires music?

Cooper: We haven’t had time, really, any chance to record anything new. We had a lot of live tapes, and this band is great live. We were surprised that the Wembley show was voted the best show of the year at Wembley, which had a lot to do with the fact the band was really good and tight and unique, so we were really proud of that. It’s basically a bar band, but it puts out a really good vibe, a really fun vibe on stage and yet it’s still a little dark. But in the end people are just having a great time, ‘cause all the songs that are being played are songs everybody wants to hear.

MC: You’re working on some other new music too, right?

Cooper: Well, I can’t talk about that one too much, but let’s just put it this way—it’s historic and at the same time really kind of quirky. Sometimes you’re working and you go, “Really? Okay, let’s go with that and see what happens.” So, that one will be really cool. What I like is it’s a very creative time now. We put a new show together this year—that’s always the most creative time you can have—and there’s a lot of laughing and a lot of “Let’s try this” and it doesn’t work and all of a sudden something works that you’re never expecting to work... That’s really why I do this, for the creativity and these adventures we’re having. There’s so many of them now; it’s really inspiring.

Contact Zoe Hines, zoeh@grandstandhq.com

MASTERS OF MASTERING 2023 BY ROB PUTNAM

A Music Connection specialty is to pick the brains of industry pros, to help artists and musicmakers understand how the industry works, both from a technical standpoint and a business standpoint. Our ever-popular Masters of Mastering returns this year with five top mastering engineers, who share their experiences and offer insights into what works and what does not when it comes to helping an artist’s recordings to sound great.

Brian Lucey

Company: Magic Garden Mastering

Clientele: The Black Keys, Cage the Elephant, Lizzo

Contact: magicgardenmastering.com

Originally from Columbus, OH, multi-Grammy winner Brian Lucey was embedded in New York City’s East Village music scene in the waning days of the ‘80s. Under the tutelage of Robert Fripp, legendary musician and organizing force behind King Crimson, he refined his craft. His repertoire expanded when he taught himself production and engineering and then made his final foray into mastering in the late ‘90s. Lucey established Magic Garden Mastering more than two decades ago and now lives and works in Los Angeles. Recently Access Analog released a robotically-controlled copy of his chain as part of its Analog Matrix plugin.

What big mastering changes have been seen in recent years?

We passed peak loudness maybe seven-toten years ago and that has trickled down a bit more. Sometimes people will ask me to turn something down and I’m not superhot on the first go. There’s also been more evolution of education but also two hiccups: focusing of LUFS [Loudness Units relative to Full Scale] measurements as some sort of important factor and focusing on measurement for streaming.

“To me, mastering is about enhancement. I don’t think of it as a correction or technical step.”

What are the best ways to find new clients?

I don’t find new clients. That’s never worked for me. My business model is that I do the work and then clients find me. If I ever advertise something it’s only to tell people what I’ve done because credits aren’t really known in this era. I see it as having no control over what jobs I get. That’s pretty much up to the universe.

Should engineers be concerned about how useful or powerful mastering plugins have become?

No one should be concerned about plugins. They’re amazing and they get better all the time. But even the best ones will never be able to [emulate] the sound of transformers and high-shelf boosting. They’re both out of the range of what can be programmed and that’s probably not going to change, according to the developers I talk to.

Is there a single tool–hardware or software–that you deem indispensable?

My whole chain is indispensable, which is why I have spares. I’ve got late-fifties, early-sixties Amperex Bugle Boy EF86 [tubes] in my output stage. If I don’t have that tube in it, my whole chain falls apart. The net result is a single tool. I’ve got a Fairman, elysia alpha compressor and Pacific Microsonics conversion. They’re pointto-point connected with particular cables from Acoustic Zen.

Can a mastering engineer fix a problematic or bad mix?

To me, mastering is about enhancement. I don’t think of it as a correction or technical step. A common myth is that great mixes are easier to work on. They have room for enhancement, but we have to be careful. Lesser mixes are much easier to enhance.

What’s the best way to determine what an artist wants from their mastered record? That’s the crux of the skill. It’s partly having a near encyclopedic understanding of the history of music so that whatever comes in it’s able

In a world of overwhelming options, the hardest thing to do is to trust yourself. It’s okay to make any choice that you feel good about. They aren’t forever. In the ‘90s I got a bunch of early ‘80s CDs that were highly dynamic. So, I figured out how to make dynamic music louder while still moving air and having low end at low midrange.

What are the three most important things you know now that you wish you’d known when you were starting out?

If you do your best, things will work out but not necessarily in a way that you can control. Follow the signs and trust the process. Focus on your daily effort. It’s the only thing that you can control. •

Kim Rosen

Company: Knack Mastering

Clientele: Flogging Molly, Bonnie Raitt, Allison Russell

Contact: knackmastering.com

Grammy-nominated mastering engineer Kim Rosen was born on the East Coast and grew up in the local music scene. Her introduction to mastering came in 2002 when a friend told her about an internship opportunity at West Side Music. Despite having no formal engineering training, studio-owner Alan Douches saw something in Rosen and offered her the gig. After seven years there, she opened Knack Mastering, her own space. Five records she’s worked on have won Grammys with a total of 18 earning nominations. The first nod was for singer Bettye Lavette’s Worthy for Best Blues Album.

What big mastering changes have been seen in recent years?

useful or powerful mastering plugins have become?

There’s an importance in terms of technology and the evolution of our capabilities. But there’s still nothing like an actual musician playing and recording. My moves and positions will resonate far more than an AI or computer mastering something.

Is there a single tool – hardware or software –that you deem indispensable?

My ears, speakers and my room. There’s no amount of gear that can replace those. Two years ago I upgraded to Strauss Elektroakustik MF-4 speakers and their matching power amp. They’re full-range, with a fantastic frequency response, and they’re meticulously made. They allow me to be far more specific in the way that I work.

Can a mastering engineer fix a problematic or bad mix?

Yes and no. There are a lot of tools we can use to alter a mix but we’re limited by them. We can address issues with sibilance or certain elements standing out too much. But to fully fix a mix issue, that’s a big, fat no.

What’s the best way to determine what an artist wants from their mastered record? Speak with them. Often, I’ll ask for examples of music they’ve been listening to that inspired their album. It’s important to understand that I’m not asking what they want their record to sound like but [to gauge] the state of mind that they were in. I’ll also listen to their past work but won’t assume that they want [the new record] to sound like it.

What are some alternate income sources for mastering engineers?

to be seen as going a certain direction. Then it’s partly intuiting what’s there based on my understanding of the recording process.

What are some alternate income sources for mastering engineers?

For any artist, owning real estate is the best alternative income. That’s the first step after any kind of success.

What’s the best path for those who aspire to become mastering engineers?

Technology is always evolving and changing, both in formats and in tools. There are plenty of engineers who work one hundred percent in the box. I don’t. I have a hybrid of analog and digital. The way we prepare files for streaming has also changed, taking into account where listeners are hearing their music: mostly earbuds and car stereos.

What are the best ways to find new clients? Word-of-mouth, doing excellent work and giving great customer service. Looking for other artists and engineers is also useful. If you do a good job, it’s likely that they’ll send more projects your way.

Should engineers be concerned about how

When my husband Dave and I started to build my mastering room, we researched gear for my chain. I had a Fearn compressor, but I used it more for gain staging. It has a way of lending a “sound” just passing audio through it. His thought was to create a box that could enhance the sound of things using transformers and tube loading to add harmonics in different ways. We started development of Whitestone Audio Instruments in 2012 and launched it in 2019. Our P331 Tube Loading Amplifier fits seamlessly into my process.

What’s the best path for those who aspire to become mastering engineers? Is a formal education preferred over a practical one? Some general electronic engineering background is helpful. The more you understand about engineering, electronics and sound, the better foundation you’ll have. However, when it comes to mastering, it’s both technical and creative so it’s beneficial to apprentice or intern at a mastering studio.

What are the three most important things you know now that you wish you’d known when you were starting out?

I can’t say that I wish I knew things sooner because there’s a natural timeline for everyone. There was never a point where I struggled because I didn’t know something. We always have the capacity to learn as we go and I think that’s the best way sometimes. If you learn everything at the beginning then it becomes less of a journey. •

“My moves and positions will resonate far more than an AI or computer mastering something.”

Dan Emery

Company: Black Matter Mastering

Clientele: Kool Keith, Matt Heckler, Benjamin Tod

Contact: blackmattermastering.com

Nashville native Dan Emery came to mastering by way of recording engineering. He didn’t know many mastering pros and at some point decided to learn the craft for

degree but at a certain point you don’t want to chance it based on ones and zeroes. Mastering is still part of the artistic process.

Is there a single tool–hardware or software–that you deem indispensable?

The best answer, of course, is my ears. You need to be able to make different pieces of equipment do what you want them to do. The biggest part of that is knowing what you’re trying to hear and how to get that. But the most important thing is good metering; being able to analyze what’s happening on a scientific level. Mastering The Mix has some good metering plugins. It gets you a solid visual of your phase correlation and things happening within your dynamic range.

Can a mastering engineer fix a problematic or bad mix?

What’s the best path for those who aspire to become mastering engineers? Is a formal education preferred over a practical one? If you can do both, do both. Schools will teach you a lot of science behind sound. But you can’t underestimate the importance of getting in there and getting your hands on it; getting your own workflow going.

What are the three most important things you know now that you wish you’d known when you were starting out?

Communication. Listen to your clients and discuss what they want.

Break down your own barriers and don’t limit yourself to certain types of gear.

Don’t half-ass your setup. Spend the money on good equipment. •

Randy Merrill

Company: Sterling Sound

Clientele: Taylor Swift, Ed Sheeran, Lady Gaga Contact: sterling-sound.com

himself. It was also clear that it would cost him less to finish his own records. Much of his trade was learned through various mentors as well as simple old-school trial and error. He opened Black Matter Mastering in 2012 where post-production for the minimalist recording series Magnolia Sessions is run. Vinyl etching—an image pressed into an unplayable side of a record—is another service that the studio offers.

What big mastering changes have been seen in recent years?

The way that people deliver to distribution seems to change rapidly. There’s been such a huge resurgence in vinyl that we’ve been doing a lot of that: people wanting things prepared for vinyl and digital. The challenge is balancing the two. Ultimately, you want it all to sound like the same album.

What are the best ways to find new clients? Marketing is the one thing I hate about running a business. But most of it is organic, which is a slow-turning wheel. I get a lot of work through word-of-mouth. If a client had a great experience, they’ll want to work with you forever.

Should engineers be concerned about how useful or powerful mastering plugins have become?

The way I feel about mastering plugins is the same way that I feel about TV dinners: if I’m in a pinch, I can throw a burrito in the microwave. But if I’m looking for a good meal, I’ll have someone prepare it who cares. Automation works to a

I don’t think so. There are certain things I can do to cover up a bad mix but if there’s something that’s not right, it’s so much easier to have the mix engineer fix it. I have to appreciate that the mixer did everything intentionally and whatever I’m doing is deemed a compromise. It’s me changing something they did specifically.

What’s the best way to determine what an artist wants from their mastered record? Communication. When a mastering engineer sends you a reference, talk about it. Discuss how it makes you feel because that’s how you’re going to feel in twenty years. You’ve created a Mona Lisa and you’re letting someone [else] put the frame on it. A common misconception is that mastering is supposed to make the mix better. The way it was recorded and mixed is exactly how it’s supposed to sound. I’m making that deliverable in multiple formats and not sound wrong.

What are some alternate income sources for mastering engineers? Remasters are hard because if you’re getting something that’s a classic, the last thing you want to do is anything that detracts from that. In that case, doing your job too well could be a problem.

Randy Merrill is a nearly lifelong musician. The drums were his first instrument as a child, he grew into guitar as a teenager and settled ultimately on the bass as his signature sonic. He was introduced to recording in college at the school’s two recording studios. Initially he worked towards a production and engineering career, but while at Avatar Studios (now Berklee’s Power Station) where he assisted in building a mastering studio, he realized that finalizing records was his passion. He joined noted mastering house Sterling Sound in 2013 and several records he’s engineered have won or been nominated for Grammys.

What big mastering changes have been seen in recent years? Streaming. When you’re mastering for it, it’s a good idea not to push the volume as much as what was required for the CD or download eras. The DSPs [digital service providers] employ loudness normalization algorithms. Even though it might be turned down, [a track] can still sound loud, full and engaging alongside other records.

“Sometimes a mix is so loud or compressed that there isn’t a lot I can do with it.”

“The most important thing is good metering; being able to analyze what’s happening on a scientific level.”

What are the best ways to find new clients?

Much of it is having a presence on the Sterling website. Many people book through our online service or they contact my manager. It’s also through maintaining relationships. I stay tight with my mixers. Work hard to keep them happy.

Should engineers be concerned about how useful or powerful mastering plugins have become?

Even though the tools have gotten very powerful, I don’t think so. It’s still advantageous to have a separate person do the mastering. I discourage mixers mastering their own mix not because of their skill level but because it’s good to have another ear on it; someone with a different perspective and acoustic environment.

Is there a single tool—hardware or software— that you deem indispensable?

I use the FabFilter EQ on most projects. I like that it’s transparent. It’s not going to add any influence and it allows me to shape the coloration as needed. There’s also the resolution. You can get down into hundredths or even thousandths of a decibel of EQ. It’s a very precise tool.

Can a mastering engineer fix a problematic or bad mix?

You can do quite a bit if you’re willing to put in the time. Ozone’s Master Rebalance is a tool that helps with that. I can adjust the vocal volume by itself. EQ alone may not give you the same result. You can also do drums and bass. Sometimes a mix is so loud or compressed that there isn’t a lot I can do with it.

What’s the best way to determine what an artist wants from their mastered record? Ask if they have any of their own mastered songs or others that they like the sound of. If they have their mixer’s version of the mastering, that feedback can be helpful. They can also reference other records I’ve done.

What are some alternate income sources for mastering engineers?

Remastering tends to be lucrative because it’s not just the mastering itself. Something that’s forty years old can have a large audience and you can sell additional deliverables for CD or vinyl manufacturing.

What’s the best path for those who aspire to become mastering engineers? Is a formal education preferred over a practical one? A recording school gives you access to a studio, teacher and gear. An internship or apprenticeship is also good. Unfortunately, they’re difficult to find. Generally, we don’t have interns at Sterling due to the sensitive nature of our work. A smaller independent mastering studio where they need quality control help is a solid bet.

What are the three most important things you know now that you wish you’d known when you were starting out?

The client is almost always right. Their criticism is beneficial.

Don’t underestimate what people can hear. Playback systems now are greater than ever. Always set yourself up for success by doing your homework. When I work with an artist for

the first time, I’ll listen to some of their other recordings. *

Gavin Lurssen

Company: Lurssen Mastering

Clientele: Elton John, Miranda Lambert, various soundtracks

Contact: lurssenmastering.com

A four-time Grammy winner and an engineer on multiple platinum records, Gavin Lurssen graduated from Boston’s Berklee College of Music in 1991. He relocated to Los Angeles shortly thereafter where he landed a runner gig with veteran mastering engineer Doug Sax. In 2005, independence beckoned and he founded Lurssen Mastering. In addition to countless records, his company has mastered soundtracks including Pitch Perfect 2 and The Flash. It’s been involved with IK Multimedia’s Lurssen Mastering Console, Embody’s Immerse Virtual Studio and is affiliated with Produce Like A Pro’s mastering course.

What big mastering changes have been seen in recent years? Mixing has become so easy to recall now because everybody’s in the box. There are a few interesting factors to that. One, in the old days if a mix needed a lot of work, it was a big deal to recall it so we tended to work on what was in front of us. Mixers can tweak a mix and send it to us before we do anything to it and then get a better result. Two, sometimes when a client hears a master, they want to change the mix, usually in tiny ways. Sometimes mix engineers even bring their laptops with stems into my studio and make the changes there.

The loudness war has all but disappeared, largely because people understand that it’s a detriment and because streaming platforms do their own leveling.

What are the best ways to find new clients? Whether you’re getting paid or not, make sure that you’re always busy and are seen to be so because you create a vibrancy on how to do business, how to manage your time and how to get your work done. I tell young people getting into the business to be active, go to networking events and get to know your peers.

Should engineers be concerned about how useful or powerful mastering plugins have become?

When we did our first plugin with IK Multimedia, several of my colleagues asked if I was afraid it would replace us. I always have the same response: if someone can cannibalize

you, it may as well be you because if it’s not, it’s going to be someone else. Stay with the times. Embrace plugins, embrace AI. If technology rules us out, then so be it.

Is there a single tool—hardware or software— that you deem indispensable?

Monitors tell the truth, whether they’re speakers or headphones. I like Audeze headphones, ATC monitors for far and mid-field and both ATC and Genelec for near-field.

What’s the best way to determine what an artist wants from their mastered record? Usually, they want to know what we think they need. The artist is consumed with picking people who help shape their music in a way that presents their vision to the fans. The artist’s ultimate goal is to create a global feel of the service I provide; to create a scenario in which the listener has no idea that we did anything.

What are some alternate income sources for mastering engineers? For example, is working on remasters lucrative?

it’s a detriment.”

Plugins aren’t a pay-your-bills kind of income source. But what they do is keep your name alive as a thought leader.

What’s the best path for those who aspire to become mastering engineers? Is a formal education preferred over a practical one? As an employer, if you come from a school and did well, that tells me you stuck to it; that you committed. If you’re new to the field, it’s virtually impossible to say that this is what you want to do with your life. You have to take a job and see if it is.

What are the three most important things you know now that you wish you’d known when you were starting out?

Live a life of no regrets. Everything that happens is just part of the mix.

Don’t accumulate stuff for the sake of it. Keep your life small and simple.

Every relationship has give and take. Focus on the giving, because the take is what you receive from that. •

“The loudness war has all but disappeared, largely because people understand that

Monoprice Stage Right Studio 2-Channel Microphone Preamp

I’ve been a fan of Monoprice products for quite a while now. Though not as well-known as some name brand alternatives stocked at big box retailers, the company makes a wide range of audio interconnect cables, all of which—and I’ve bought a lot of them—are professional-grade and very competitively priced. Monoprice also makes a diverse range of products, including consumer products, outdoor products, networking, audio video interconnect products and much more. The company’s Stage Right division makes a wide range of musical instruments, stands, stage accessories, pretty much everything you need to outfit a good quality project studio.

style input level meter. Power is supplied by an external 24 Volt power supply.

The Stage Right Studio 2-Channel Microphone Preamp utilizes transformer balanced inputs and outputs throughout. Each of the two channels is capable of handling 80 dB of gain, which means it can be used with about any kind of microphone, including ribbon microphones. frequency response of 20hz to 20- kHz. The SR Preamp features two independent channels, up to 80 dB gain in Mic Mode enough to handle ribbon microphones. There are gain switch 20 -80 dB Gain, switchable 300- Ohm to 1200 Ohm Impedance

Designed primarily for studio use, the Stage

the market, and yes, I would have preferred an internal power supply as opposed to the external 24 v Power supply, but I understand Monoprice had to take factors like this into consideration to keep the price down. Still, the Stage Right Studio 2-Channel Microphone Preamp delivers surprisingly great clean punchy tracks on guitar, vocals, any line input and your favorite microphone (even ribbon mics). The insert points in each channel exponentially add to the Stage Right Studio 2-Channel Microphone Preamp overall flexibility. If you want EQ or full channel strip functionality you can buy external rackable EQ or software emulations of just any classic

Now, Monoprice has just released the Stage Right Studio 2-Channel Microphone Preamp, a professional-grade 1073 styled 1U rackmountable preamp. Utilizing only discrete components and an all-analog signal path, the Stage Right Studio 2-Channel Microphone Preamp has two identical channels, each with a selectable option for DI or microphone inputs. The front end of each channel has input and gain level controls as well as switchable phase switch and 48-volt power and a line or microphone select switch. The front of the unit has a master power switch. The rear of the unit has XLR balanced inputs and quarter inch and balanced outputs. Each channel also has a balanced quarter inch insert for connecting EQ, compressors, signal processors etc. Each channel has a ladder-

Right Studio 2-Channel Microphone Preamp makes a great front end to add warmth and depth to the front end of your audio interface or mixer. The insert points open options to add color and dept to your signal path. Irrespective of the affordable price point, the Stage Right Studio 2-Channel Microphone Preamp, for me anyway, solves an ongoing problem of how to get a clean front-end signal from my guitar into my DAW. I have a lot of guitar effect pedals, signal processors and plug-ins, and the The Stage Right Studio 2-Channel Microphone Preamp is a great way to get a solid sonic foundation on which to craft my tone.

Sure, it would be great to have an onboard three-band sweepable EQ and some of the features found on other 1076 styled clones on

channel strips, many of which can be had for well under a hundred dollars.

In my opinion, Monoprice has done an excellent job distilling the essence of the classic Neve topology down to an affordable price point. Keeping in mind the original vintage preamp modules can cost literally tens of thousands of dollars, and the fact that many of the competing 1073 styled clones on the market can cost upward of a thousand dollars, for what you’re getting in terms of build quality, top shelf component, an analog signal path and overall great sound, the Stage Right Studio 2-Channel Microphone Preamp is a great deal.

The Monoprice Stage Right Studio 2-Channel Microphone Preamp is available now for $599. Find out more at monoprice.com

Focusrite Scarlett 2i2 Studio

Focusrite just released the 4th generation (4th Gen) to their Scarlett Range of audio interfaces. Not just a refresh, the Scarlett 4th Gen range is a complete back-to-the-drawing board redesign and a major upgrade from Focusrite’ s current 3rd Gen Scarlett range of audio interfaces.

The Scarlett 2i2 4th Gen shown here is a twochannel audio interface that has two quarterinch Inputs on the front and two XLR inputs on the back. The back of the interface has a single pair of quarter-inch outputs to connect your studio monitors. The new 4th Gen Scarlett 2i2 now has a redesigned front panel with added wider spacing between hardware knobs and connectors to improve the overall ergonomics. The switches on the front panel now control all primary settings for the interface. This means most hardware controls are now controlled digitally, including preamp gain, depending on what works best for your workflow. Alternatively, you can also use the available Focusrite Control 2 software to set your 4th Gen Scarlett 2i2 preamp gain levels.

The core of the 4th Gen Scarlett 2i2 are two super-premium quality mic pre’s that have 69dB gain. The digital to analog converters are borrowed from Focusrite’ s flagship RedNet range and have 120dB of dynamic range in the output. It is important to note that the conversion and the overall quality of the preamps on the Scarlett 4th Gen range are significantly better, I believe, than any preamps offered in an audio interface at this price point by any manufacturer ever. They truly sound clear, pristine and have an amazing amount of headroom, not to mention sound sweet and musical.

The Scarlett 2i2 and 4i4 now have a built-in Auto Gain function that automatically targets gain levels to peak around -12dBFS, ensuring the signal is loud enough for a high signalto-noise ratio, while providing an appropriate amount of headroom to keep recordings away from clipping. Apart from the Gen 4 Scarlett Solo, all the interfaces in the new Gen 4 range have a new Clip Safe feature, which checks your levels up to 96,000 times a second and which significantly reduces the risk of clipping.

When Clip Safe is engaged, the Scarlett 2i2 4th Gen continuously monitors input signals through a combination of analog preamp adjustment and DSP.

The Scarlett 2i2 4th Gen features a completely re-engineered Air mode, which adds musical presence and rich harmonics to help drive your tracks. The all-new Air circuitry features two distinct stages: Air’s all-analog presence section, which introduces a filter circuit that delivers the sonic character of the original Focusrite recording console, and Air’s DSP-based harmonic drive section adds rich harmonics to recordings and replicates the sound of driving a classic studio console.

Metering on all knobs on the Scarlett 2i2 4th Gen have been redesigned with new dynamic

to 116dB dynamic range. Ultra-low distortion, as low as -108dB, provides more than enough power for high impedance headphones. The headphones that have an impressive 120dB dynamic range for the monitor output have super-low distortion, as low as -112dB for an incredibly flat frequency response.

The 4th Gen Scarlett 2i2 has Direct Monitor buttons that allow you to quickly select which signals they are hearing in their headphones and monitors, meaning you can monitor just computer audio or a combination of computer audio and the instruments connected to your analog inputs. Direct monitoring on the 4th Gen 2i2 is processed entirely on the hardware, meaning input signals are monitored in near zero-latency.

With the 4th Gen 2i2 Studio bundle, you also get a pair of Focusrite Scarlett SH-450 Studio Headphones and the latest generation of Focusrite’s CM25 III studio condenser microphone designed to be an all-around go-to microphone to record guitars and vocals. The 4th Gen 2i2 also now features Loopback, a feature only seen on the higher priced Scarlett 3rd Gen audio interfaces.

gain halos with new modernized output metering. Scarlett 4th Gen’s halos fill up to show the level of the incoming signal, showing green or orange to show varying input levels like a standard audio meter. The whole halo lights up red if the input signal clips, which can be seen from any angle on the front panel. The Scarlett 4th Gen gain halos on 2i2 and 4i4 fill up to show the level the preamp is set to when the gain knob is turned. The preamp level is shown in white if there is no audio signal present. Input levels are shown in tri-state green, orange and red when an audio signal is present and which shows both the preamp gain and the level of the input signal at the same time.

All Scarlett 4th Gen interfaces now feature independent headphone volume controls. The 4th Gen Scarlett 2i2 now has completely re-designed headphone outputs, capable of up

Last but certainly not least, Focusrite has added a host of free added-value software to their Hitmaker Expansion bundle that you can download once you register your 4th Gen Scarlett 2i2. Much more than just the basics, you are getting virtually everything you need to make professional recordings from tracking to mastering, plus a wealth of virtual instruments covering pro quality guitar amp sims, keyboards, drum machines and much more, as much or more added value software than any competing product at this price point. It is important to note that the amount and quality of added-value software you are getting offers tremendous value and would cost many times more than the interface itself, if purchased separately.

Backed up by Focusrite’s industry-leading 24/7 customer support, the Scarlett 2i2 Studio 4th Gen is truly an amazing bargain for what you’re getting. The Scarlett 4th Gen 2i2 Studio available now for $299.99.

Learn more at us.focusrite.com

“The Scarlett 2i2 4th Gen features a completely re-engineered Air mode, which adds musical presence and rich harmonics to help drive your tracks.”

Alex Moore: Third Encore Studios

Launched in 1989, Third Encore Studios is a full-featured North Hollywood practice, storage and gear rental space with 250+ rooms situated across the greater Los Angeles area. It was started by a handful of Eagles roadies, and a decade later savvy real estate investor Wynnsan Moore recognized that the underperforming property was ripe for acquisition. The practice facility now offers 24-hour lockout access and artists such as The Rolling Stones, Billie Eilish and Maroon 5 have all practiced within its walls. Music Connection sat down with Alex Moore, VP of Third Encore, to discuss what sets this practice space apart from countless others.

Music Connection: What inspired the launch of Third Encore Studios?

Alex Moore: I understand that some Eagles roadies realized that the industry was moving into North Hollywood and they saw an opportunity. Through the years, the business was run in the way that many musicians run businesses: rather poorly. In 1999, my father Wynnsan Moore was looking for a business to buy. At the time, he was an accountant and his real estate partner told him that he rented space to Third Encore, which was going bankrupt. My dad called and determined that the business simply needed competent management and staff, decided to invest in it and brought it back to where it had been. Originally it had some storage and three studios, which he slowly built to four and then five. There are now seven studios in our main facility.

Around 2001 we were getting calls for lockout studios and expanded the company offerings. They looked at a 5,000 square feet building with fifteen studios, which were all pre-leased before construction had finished. Up until about 2010 he bought a building a year.

MC: What sets Third Encore apart from other studio and practice spaces?

Moore: Our staff and level of customer service. At our scale, our only competitors are SIR [Studio Instrument Rentals] and CenterStaging. Our employees are always smiling and willing to help. We don’t charge for every little thing, our facilities are clean and we have a huge parking lot. Neither of our competitors have a large storage facility but our bands can store their instruments with us.

MC: What kind of gear rental do you offer?

Moore: A while back I was aware that we had a lot of storage space [that was going unused]. When I saw a competitor’s truck dropping off equipment, I realized that it was inefficient to have artists come to our place and then call another company to deliver gear. Some of this stuff is big and no one wants to have to move a [Hammond] B3 organ or a grand piano. We looked into buying a backline business and started to acquire equipment. We have a huge inventory of backline rentals and I rarely see a competitor’s truck here now. We probably have 90 keyboards but our chief focus is inhouse rentals although we also offer gear for touring. It’s much less expensive for artists to rent touring gear from us and take it on the road than it is for them to rent the same gear in different cities. You don’t know what you’ll get in the middle of nowhere. With us, the equipment that artists rehearse with will be the same that they’ll use on tour. We’re working toward becoming a one-stop shop.

MC: Third Encore offers 24-hour lockout. How often are artists there late at night? Moore: Frequently, I’ll drop by at one a.m. and will hear bands practicing. The 24-hour studios are scattered across the San Fernando Valley with one location in

Anaheim. Those are rented monthly. We have nine lockout locations and one satellite with two hundred and fifty-plus studios in total. Our main location is open from nine a.m. until midnight. That’s where we do storage, rentals, cartage and house our seven large studios.

MC: How far in advance do artists need to book space?

Moore: We prefer at least a couple of weeks, but since COVID, it seems that everything has been last-minute. Our booking manager is incredible and will do anything he can to keep the clients happy. If someone calls on a Friday and wants to come in the following day, we’ll accommodate them, provided there’s space available.

MC: What are the three most important lessons you’ve learned about studios and practice spaces?

Moore: One, keep your cool and stay calm no matter how stressful things become. Be focused solely on what needs to get done rather than why something negative is happening. Two, be flexible with different personalities or challenging people because sometimes emotions can run high. If someone yells at you, don’t yell back. Just reply with a smile. Three, build and foster relationships.

MC: What’s in Third Encore’s future?

Moore: In the near term our backline rentals will continue to grow. In the long term we’ll focus on providing a great rehearsal space, medium-sized studios and production spaces. We’ll also offer a bigger space that’s to scale for what’s needed for a substantial tour: things like a larger footprint and higher ceilings so lighting can be hung. We’ll build rooms that are similar to soundstages.

Contact thirdencorestudios.com

Carl Weingarten

The Simian River Collection (1980-2020)

Multiphase Records

Producer: Carl Weingarten

Weingarten is an inventive guitarist, composer and technician who took on the arduous task of compiling his best works over the span of 30 independent albums. He methodically categorizes them into Disc 1 (“All Things Return”—

9

Gideon King & City Blog

Splinters

Gideon King & City Blog

Producer: Gideon King

Electronic guitar looping), Disc 2 (“Hand in the Sand”—Assorted acoustic sounds) and Disc 3 (“The Simian River”—Progressive/jazzy textures). It’s an aural buffet that is well suited to headphones and an altered state of mind. – Eric Harabadian

East Forest

Music For the Deck of the Titanic

Bright Antenna Records

Producer: East Forest

8

Vibrating frequencies. Undulating fluorescence. Rediscovered colors. East Forest, professor of psychedelics and podcaster, knits these elements into an auditory tapestry that rejiggers our reality. “So What” is the recording’s most irresistible track, perhaps due to the inclusion of surrealistic-yet-insightful ramblings from comic Duncan Trussell. Half musical work and half exploration on the meaning of existence, this is one listening experience that could elevate humanity’s consciousness. – Andy

Kaufmann

Smoke DZA & Flying Lotus

Flying Objects

Smoker’s Club

Producer: Flying Lotus

Driven by a N.Y.C. aesthetic and patterned after the witty and diverse soul-pop-fusion of Steely Dan, Gideon King & City Blog offers colorful narratives, dreamy coolness offset by funky rock edges and, above all, grand solo showcases for vocalists Caleb Hawley and Ashley Hess whose duets “Brutal To Be” and “Skunk’s Misery Road” are the album’s centerpieces. No surprise to learn King dabbles in woodworking and carpentry, as he builds powerful narratives on the open-ended dialogue of his many musical cohorts. –Jonathan Widran

Joe Deninzon & Stratospheerius

Behind the Curtain—Live at ProgStock

Melodic Revolution Records

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As the new violinist in Kansas, Deninzon is getting well-deserved accolades. But this live 2CD/2DVD package from 2019/2021 captures the seeds of his solo endeavors. Songs like “Release” and “Impostor” feature inspired Hendrix-like abandon on his custom Viper fiddle. There are also some surprising guests, with pianist/flautist Rachel Flowers and guitarist Alex Skolnick joining in on Chick Corea’s “Spain.” – Eric Harabadian

6 Olivia Rodrigo Guts

Geffen Records

Producer: Dan Nigro

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Smoke DZA and Flying Lotus, who have been active song writers (specifically DZA as a rapper and Lotus as a producer) since the mid to late 2000s, have joined forces to release Flying Objects. This 5-song EP releases psychedelic vibrations, however, that type of moderate vitality may cause attention deficit to some listeners. Flying Objects is an adequate body of work and it does get straight to the point. – Adam

Seyum

Bob Davoli

Nowhere Near

Gutbrain Records

Producer: Bob Davoli

This is the award-winning singersongwriter’s fifth album in four years. He’s got a lot to say regarding relationships and emotions, and does it in his relaxed and inimitable style. There are a number of artists out there that loosely wear the term “Americana” like a badge. But Davoli is for real and one of its proudest proponents. His blend of folk, country and light blues permeates heartfelt tracks like “Don’t You Think It’s Time,” “Teardrops & Icicles” and “Living in the Shadows.” – Eric Harabadian

It’s safe to say Olivia Rodrigo’s sophomore release Guts is a worthy successor to her award-winning debut SOUR. The album showcases her growth as an artist, with experiments of pop-rock and fast-paced vocal techniques similar to those of the band Wet Leg. Rodrigo excels the most as a storyteller, as her music is very personable, tongue-in-cheek and full of imaginative theatrics. Although not everyone can relate to her youthful coming-of-age lyrics, it’s still a fun ride. – Jacqueline

Naranjo

Christian Lopez Magdalena

Firebird Distribution

Producer: Robert Adam Stevenson

Lopez fits the tag “singer-songwriter” because his vocal persona and writing style embody the category. He writes in a dynamic and personal way that is soulfully melodic. Perhaps his retreat to the tiny Mexican town that is the album’s namesake gave him a chance to go deep into his psyche to reveal such amazing material. With notes of Jackson Browne, Gram Parsons and America, Lopez delivers on gems like “Girl & A Gun” and the autobiographical “Harper’s Ferry.” – Eric Harabadian

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.

Farah Camille

Contact: fshahida15@gmail.com

Web: farahcamille.com

Seeking: Publishing, Management

Style: Country, Alternative, Pop

Backed by what sounds like Nashville players, singer Farah Camille’s downtempo, melancholy ballad “Comes Back to Me” has a lot to like. Its twangy, country, hearttugging mood is topped off by Camille’s husky/dusky voice, which has the ideal tone for this song. We only wish her vocals had been recorded and mixed with greater care. As it is, they sound very demo-quality and they drag the song down. Camille leaves the country realm entirely with “Let Me In,” whose pop/dance/electronic bloodstream is topped off by better-sounding vocals. The production really delivers for Camille on “Shadows and Illusion,” putting an effective dose of reverb on the artist’s voice, enhancing its naturally deeper, soulful qualities.

YNC Crashout

Contact: yncCrashout@gmail.com

Web: spotify.com

Seeking: Label, Booking

Style: Rap

If references to Waffle House don’t give it away, 18-year-old YNC Crashout’s thick rural accent makes him an authentic new voice in the Memphis rap scene. “Throw It” features slurred stream-of-consciousness over a trippy instrumental—at times, it sounds like a broken record. Another track, “Right Now,” is more contemporary, a better overall mix, with the added experimentation of auto-tuned sung vocals. Most interesting and current was the single, “Attached,” which demonstrates the most technical performance from the emcee and production team, emulating Young Thug, Roddy Ricch et al. The song is built around a pitched-up, sped-up soul sample. While we believe YNC Crashout has potential, we feel the music at this point is a bit plain.

Joshua Path

Contact: joshuapath@mac.com

Web: joshuapath.hearnow.com

Seeking: Label, Film/TV Placement

Style: Singer-Songwriter

Classic singer-songwriter vibes come from Joshua Path, who follows a tried and true structure: delicate, intimate intro (just voice and guitar) that leads to a band joining in, which on “Sniper In The Clocktower of Heaven” includes some nice twangy echoes of a pedal steel. Path’s songs are succinct, and his subject matter is serious throughout. On “Maybe” he’s looking for a salve to ease his troubled mind (“make the pain go away”). His quietest song, “Hi,” depicts a suffering soul who’s looking for a smile from the universe in his search for happiness. The song’s soothing vibe is conveyed by a noodling guitar and gentle percussion. Well-produced, this artist’s recordings could be a good fit for a serious film or TV project.

Skinny Hightower

Contact: info@skinnyhightower.com

Web: skinnyhightower.com

Seeking: Management

Style: Jazz

A jazz keyboardist (among other instruments), Skinny Hightower creates welcoming, modern-sounding jazz instrumentals such as “Blue Moon,” a sunny, skipalong, feel-good tune that, seasoned with alto sax, vibraphone and electric keyboard, emits a glow of vitality that’s easy on the ears. “Sample That” delivers more of the same, while adding some echoey grand piano parts that deliver unexpected changes. Electric organ dominates “Bittersweet,” along with rhythmic wah wah guitar and a string section, for a full, funky platform. Ultimately, while we’re not knocked out by the artist’s compositions, these recordings are nevetheless ready for usage, maybe film/ TV placements?

Believe In Ghost!

Contact: believeinghostnyc@gail.com

Web: spotify.com

Seeking: Booking

Style: Indie Alt-Rock

With its pulsing bass, its lively horns, and some lurking punk-rock chaos, we at first thought we were listening to a Fugazi cover band upon hearing “Peace,” by N.Y.C. quartet Believe In Ghost! But we detected something else that really piqued our interest, and that was fulfilled when we heard the peaceful, gentle “PIllow Talk,” especially its lead vocal falsetto that climbs so well, and the angelic whispering choir that backs him up, and the saxophone and the wah guitar flavors. The singer almost scats/hums with vibrato. Finally, the foreboding blues shuffle “Firestarter” has great playing all around its terrific dynamic changes. On the downside, the song is not altogether catchy, but it’s a strong mood generator, for sure.

Keemo Bankz

Contact: youngciabu@gmail.com

Web: spotify.com

Seeking: Booking

Style: Drill Rap

Energy is key for South African rapper Keemo Bankz. On “Love Story,” we hear a talented spitfire flow from Bankz over a clean electric guitar sample, plus syncopated drum beats defined by their traditional tight snare. A production note: there’s 30 seconds of silence at the end. “Fallen Demon” is aggressive in subject and spirit, overly crowded with tongue trills and shouted ad libs. The mood is established by the pitched-down piano that sounds as close to John Carpenter’s Halloween theme as possible without getting sued. “Smoke Beef” was perhaps the standout from the selections we heard. Albeit an older track with an uneven mix (way too quiet!), the Asian-inspired instrumental with synth flourishes pairs well with Bankz. “I’m at your door. I’m kicking… You want the smoke? Come get it.”

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 7 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.

Barricane

Contact: barricanemusic@gmail.com

Web: barricane.bandcamp.com

Seeking: Label, Booking

Style: Indie Folk

From Oxford, U.K, Barricane is Rosy & Emily, and their vocal blend is altogether ear pleasing. They must agree, because we never hear a solo vocal, only duets and its pleasing blend. The dreamy, atmospheric “Saltwater” got our attention immediately with its beautiful duet, sweet harmonics. Its relaxed and soothing vibe suddenly gives way to a burst of rockin’ energy, spearheaded by electro-static piano and some scorching guitar work. “Canopy,” too, has great harmonics as well as dark tones, but the song is a bit monotonous to completely win us. The uptempo “Breathe In” has a similar profile, complete with fast drums, sudden shifts and vocalizing dynamics. It could use more variation, we feel. Keep working, ladies.

Eno Louis

Contact: enolouiso@gmail.com

Web: youtube.com

Seeking: Label

Style: Rock, Reggae, Hard Funk

Nigeria’s Louis Enobakhare immediatey shows he’s got a voice with an alluring spirit on “Hot Love,” guided by a warm, welcoming groove, and it almost makes you forget that the keyboard sounds are a bit cheesy ‘90s Casio. Next, “Move” picks up the pace with a voodoo funk flavor, and plenty of horns, but again the Midi presence is kind of off-putting. The artist saves the best for last with “Living In The USA,” an energetic, reggae-powered song that is seasoned with synth swirls, space lazers, and other production elements that add to the overall flavor of a band getting it done in style. We urge this artist to update his production quality and allow his recordings to really come into the 21st Century.

Mr. Primitive

Contact: mrprimitivemusic@gmail.com

Web: mrprimitivemusic.com

Seeking: Label, Film/TV

Style: Alternative Rock

The well-named Mr. Primitive has a collection of recordings that sound very demo-quality, and from his voice to his instrumentation these recordings sounds to us like a passion project. Still, he delivers enough on each song to show what it could be, if produced at a higher level. “Say a Prayer” is a basic attempt at a classic rock formula. The blues-rocker “Better Than Being Alone” shows basic guitar work along with a nice contribution from electric organ from a full band. (Though we suspect there are no other band members, simply presets.) A tune that stood out best due to its optimistic spirit is “Learn to Love Again,” which has a poppy chorus and a sturdy progression. Overall, we urge this artist to shorten his songs.

Chelsea J

Contact: chelseaj496@gmail.com

Web: chelseajmusc.com

Seeking: Label, Booking, Film/TV

Style: Alternative R&B, Soul

We’re hearing a bit of SZA in Chesea J’s voice, which basks in heavy reverb on the seductive, atmospheric “Moon Spirit,” whose dreamy poetic pace and smooth guitar licks support Chelsea’s nice, potentially rangey voice. A brighter mood, but with an equally artful hand on the production effects, adorns “Dinner at Murphy’s.” Like her other tunes, we’re impressed by its production, which captures and places the artist’s voice perfectly in the mix so that every word is crisp and clear. Finally, “BYOB” opens with lowtone keyboards, and is at first nearly a cappella, until the artist delivers rap/rhythmic bars with attitude. While we feel she’s a better singer than a rapper, we like the song’s bridge, which reminds us of Mary J. Blige.

CarbonWorks

Contact: beatrice@empktpr.com

Web: spotify.com

Seeking: Booking, Film/TV, Reviews

Style: Jazz, Alt-Rock, Classical

Based in Wash., D.C., Neal Barnard is the creative juice behind this act, and his vision has an interesting amalgamation of styles at work and at play. It doesn’t always come off smoothly, but it is nevertheless interesting to hear. First off is “Training That Works,” which is pretty standard classic rock with a decent hook. But there are far more interesting things to hear in the slow downbeat ballad “Athena” whose lonesome and smokey saxophone, together with a mist of echoing synths, not to mention a French woman vocalist, combine for an alluring listen. Ballard goes neo-classical on the instrumental “Nocturne,” whose intricate violin and cello histrionics, staccatto drums, and spoken-word combine quite nicely.

Mantra Americana

Contact: stringer@davestringer.com

Web: mantraamericana.com

Seeking: Review

Style: New Age Chant, Roots

With lyrics in the Hindi language, artist Madi Das (who is Berlin-born and now lives in Australia) still manages to convey a welcoming, jubilant message, each song an invitation for the listener to stand up and join the group in singing the robust call-and-response choruses. “Tam Pranamami” has a warm, gliding spirit, with a touch of twang that’s nice to hear. The mellow “Shri Ramachandra” again showcases the vibrant spirit of the backup singers, who are supported by traditional Eastern instruments as well as a mandolin. Our favorite is “Ramani Ramana,” where Madi Das is a strong lead singer rather than a part of the congregation. This is East-meets-West music that invites, encourages and inspires participation.

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.

LIVE REVIEWS

The Peppermint Club Los Angeles, CA

Contact: joshua@trendpr.com

Web: instagram.com/lilylane

Players: Lily Lane, vocals, Roland SPD-SX pad; Secily Anderson, guitar

Material: East Coast to L.A. transplant Lily Lane is a vibrant singer who writes and co-produces music that blends retro-soul with modern pop and presents it with a hint of old-school Hollywood glamor. Lily’s live set showcases her strong, silky voice that combines elements of the classic Motown sound (“No More Tearstained Makeup”) with the sultry intonations and sheen of today’s mainstream melodies (“Don’t Start Now”). Lyrically, Lily brings a contemporary slant to universal themes, including heartache, the resiliency of the human spirit, and the power of finding one’s true self.

Musicianship: Lily’s vocal technique is on par with some of today’s best-known hit makers (Dua Lipa, Demi Lovato). Her phrasing is excellent. She pushes and pulls her voice at the right moments, shaping it to create emotive tension. Lily’s vocal agility was in top form with brilliant runs in the smokey “I Get High” and “Nothin’ but Trouble,” as well as the bombastic “Bad” and “He Ain’t Sh*t.” Her live set includes backing vocal/track triggering (through a Roland SPD-SX) and guitarist Secily Anderson, who added suburb rhythmic accompaniment to Lily’s voice and provided a grounding

LILY LANE

element to the vibrant show.

Performance: Dressed in bright red and black, Lily opened her set at the Peppermint Club with a power-packed punch proclaiming, “When I sing drink up, you follow with drink up twice!” The shout-out drew the audience closer to the stage, bringing them into Lily’s loveable lair for her first song, “Heartbreak Wine.” Lily’s set continued showcasing her dramatic voice on “Running Back to You” and “Best Thing.” Making sure to keep the audience involved, Lily rounded out her performance with a quick costume change, giving a nod to Taylor Swift (“For those who weren’t able to see The Eras

IAN MUNSICK

El Rey Theatre Los Angeles, CA

Contact: Ebie McFarland and Carrie McDonough - ebie@ebmediapr.com, carrie@ ebmediapr.com

Web: ianmunsick.com

Players: Ian Munsick, vocals, guitar; Aaron Rochotte, drums, backing vocals; Jake Bunnell, guitar, backing vocals; Tim Hayes, fiddle, backing vocals

Material: Opening with a solo from fiddle player Tim Hayes before cheers erupted from the crowd as Ian Munsick took the stage for an hour-long set playing in a packed house,

backed by tight and energetic band, “Rocky Mountain Fever.” Playing an almost 90-minute set in his first Los Angeles show, Munsick kept the crowd cheering and singing along on their feet, sharing 10 tracks from new album White Buffalo, along with a handful of songs from 2021’s Coyote Cry, and single “Me Against The Mountain.”

Musicianship: Kicking things along with earthy banjo-picking on “From The Horse’s Mouth,” swayable singalong refrains followed in “Come Home To You,” with fabulous gravelly vocals, great harmonized singing from the room, and a beautiful solo from Jake Bunnell.

Tour, you’re welcome”) before belting out her soulful “Queen of Hearts” and ending with the gorgeously powerful “Throne.”

Summary: Lily understands the importance of presentation. She carefully crafted a throwback soul meets dark pop show to highlight the strength and depth of her voice, which shines best in person. Lily’s passion for her work and perfecting her voice, as well as her magnetic personality, make for a must-see when her name is up on the marquee. Look for her new single “Where Have You Been All My Life” on Spotify. – Megan Perry

Framing the work ethic of country life, “Dig” brought a gentle guitar opening, guitar and fiddle solos, and lovely backing vocals from Munsick and drummer Aaron Rochotte.

Performance: Crowd favorite, “Cowboy Killer,” expanded the party vibe, prompting dancing in the audience that intensified as Tim Hayes gave a snippet of “Devil Went Down To Georgia” on the fiddle and Aaron Rochotte added a twist to Phil Collins’ “In The Air Tonight” solo. “Long Haul” brought a singing crowd and swaying phone lights while “I See Country” brought three-part harmony and a great banjo sound and rimshot work by Rochotte. Mountain gypsy harmonies followed from Munsick, Rochotte and Bunnell, and the honkytonk singalong continued on “Neon Brightside,” with beautiful fiddle and harmonized falsetto on “Long Live Cowgirls.”

Summary: Comforting love song, “More Than Me,” gave way to sassy reggaetone vibes on “Cowshit in the Morning,” before shifting to a surprise pop medley (“No Scrubs”/“Toxic”/“Say My Name”). “Missin’ Her Play” brought a full, balanced sound with both guitars and fiddle, “White Buffalo” slowed to an intense, ethereal soundtrack, and “Barn Burner” shared thick harmonies and cheeky lyrics (‘She threw a pitchfork at my heart and her barn burned down"). Ian Munsick brings great energy with incredible songwriting, singable lyrics, and a fantastic band. His live show creates a satisfying concert party. – Andrea Beenham

COBI SPENCER

Deer Lodge Ojai, CA

Contact: Joseph Conner, joseph@ebmediapr. com

Web: jordynshellhart.com

Players: Jordyn Shellhart, guitar, vocals

Material: Returning to the forefront as a performer, and sharing songs from her sophomore release, Primrose, country songstress Jordyn Shellhart performed a 30-minute set (opening for Brett Dennen) of beautiful vocals and gentle guitar riffs that blended perfectly beneath her vulnerable storytelling. Born in Wyoming and raised in

Mercury Lounge New York, NY

Contact: katie@pressherepublicity.com

Web: riesbrothers.com

Players: Charlie Ries, vocals, drums, keyboards, melodica; Jordan Ries, guitar, ukulele, bottle slide

Material: This Florida-based brother outfit takes their inspiration from a number of influences, from Nirvana, The Red Hot Chili Peppers, to The White Stripes and John Mayer. Combining rock, reggae, rap, and blues, they not only move from style to style, but blend several styles into one big musical adventure. They kick off the set with their recent single, “Strange Times,” where Jordan Ries immediately shows off his polished guitar skills in this rock-driven number. “Street Lights,” with its laid-back feel and more pop sensibility is the most singable of the set. The lyrics are descriptive with definable imagery and a guitar lick that serves as a strong motif connecting the verses: Cause there’s something ‘bout the street lights, street lights/that keeps on going all night, all night/I swear that it just feels right, feels right/so let’s keep goin’ on. Solidly making the case for the duo’s grasp on various genres, is the authentic sounding “Take It Back,” their foray into reggae.

The musical narrative intensified in the heartwrenching, first-person abuser narrative, “Amelia,” which included a lovely cadence, vocal turnarounds and transitions. “Joni” shared lilting vocal lines and strong higheroctave passages, while “Who Are You Mad At” garnered increased audience attention as the buzz started building in the room.

Performance: Delivering colorful smooth vocals, and showing a confident ease in her musicianship (despite the acoustic challenges of the room itself), Shellhart rounded out her set with Grammy-nominated “Sugar Coat” (which she co-wrote with Josh Kerr and Lori McKenna for Little Big Town). The incredible lyrics shone through behind her emotive vocals, with solid guitar work and a sincere, polished blend of sound that made it hard to believe there was only one person performing.

Musicianship: Impressive technique on multiple instruments renders the duo a virtual two-man band. They each handle more than one instrument; sometimes juggling two within

California, the Nashville-based country-pop artist has songwriting credits for Don Williams (“I Won’t Give Up on You”), has co-written hits for Kelsea Ballerini (“I Guess They Call It Fallin,’” “Second Hand Smoke”) and Mickey Guyton (“How You Love Someone”), and has songs recorded by Cody Johnson and Garrett Hedlund (“I Always Wanted To”).

Musicianship: Show opener “Irrelevant” pulled on the ears of the crowd with a soft vocal introduction, as greater octave leaps and melodic lines developed on “Tell Your Mother I’m Fine.” “The Only Perfect” added soft head voice passages and more poignant storytelling.

JORDYN SHELLHART THE RIES BROTHERS

the same song. As lead vocalist, Charlie Ries shines in various styles. Jordan Ries, on guitar can compete with the best of them and plays the instrument as though it were an extension of himself. He also plays a mean ukulele.

Performance: There is no shortage of entertaining elements from their stage antics (Jordan occasionally plays guitar holding it behind his head) to the light show in their final number. They don’t talk much between

Summary: With a combination of confidence and gentleness, Jordyn Shellhart had a sweet easiness about her stage persona that called on the listener to lean in. While the room was not an easy one to play—including lessthan-stellar acoustics, and a packed crowd of people on their feet—Shellhart’s delivery and demeanor remained unruffled for the invested crowd. Building on the emotion of her heartfelt stories, Shellhart’s performance brings a combination of clear vocal and songwriting talent alongside an open and captivating vulnerability. – Andrea Beenham

songs, but the wall-to-wall music format works for them while still maintaining a connection with the audience.

Summary: The Ries Brothers have a synergy that works well, incorporating their individual roles. With two distinct personas, Jordan being the more extroverted and Charlie the more reserved, they truly complement each other. Their new video, “Strange Times,” is out now.

– Ellen Woloshin

DEBORAH SCOTT

MARK SHIWOLICH

LIVE REVIEWS

Hotel Cafe Hollywood, CA

Contact: Sarah Beth Watson, sbwatson@ sweettalkpr.com

Web: sophiascottmusic.com

Players: Sophia Scott, vocals; Harry Foster, keys; Enzo Iannello, guitar; Dino Iannello, cajon, percussion

Material: With over 92 million streams and a million monthly Spotify listeners, rising country star Sophia Scott played a fantastic show in Los Angeles in advance of her debut full-length project slated for release this Fall. Kicking off with polished, feisty vocals for 2022’s “Don’t Tempt Me” the show opened with great country sound and lovely vocal turns. New single, “You Problem” delivered a sassy ballad with a great low-end vocal breakdown alongside gentle guitar and accompaniment on the cajon.

Musicianship: Backed by an incredible threepiece band that helped showcase her solid vocal projection, gentle octave leaps and pushed notes, and an intriguing storytelling style, Scott delivered effortless punchy lines in 2018’s ode to an ex, “She Ain’t Me” (which was written in Los Angeles). Continuing on to a fabulous belting a cappella bridge section on regretful track, “Wasted My Lipstick On You,” she sings ‘It’s a shame that every shade of red can’t save you from the blues.’ Her beautiful reinterpretation of Aretha Franklin’s “You Make Me Feel (Like A Natural Woman)” held the room captive with Scott’s gentle inflections and syrupy delivery.

SOFIA SCOTT

Performance: Deeply connected to her audience, Scott’s openness and transparency build quick rapport, and with vulnerable, honest storytelling. Deliciously bluesy-vibed millennial love song “Acid In Aspen” was fantastic, and spoke to a new generation of music lovers and referencing enumerable toxins (‘acid in Aspen, dope in Denver, codeine in Kansas,’ etc.) as parallels to the feeling of allencompassing romantic love, while “Drink Too Much Wine” kept things grounded with graveledged accents, gorgeous raw soprano notes, and more flawless vocal turnarounds.

Summary: “Watering Roses” (another new track) spoke to the end of her engagement, with a poignant confession of tough choices and love lost and a lovely use of dynamics, while show closer, new single, “Boots, Jeans and Jesus,” had her crouching down between her cajon and guitar players for a tighter sound, sharing phenomenal accented high notes in this catchy new song with fun hooks and lyrics. Sophia Scott brings a beautiful, honest surrender to her feisty, heartfelt songs that combine gorgeous vocals with clever, poetic songwriting. – Andrea

Beenham

James Ralston and bassist Jim Henson adding beautiful backing vocals, especially on “Dirty Laundry Lines,” “In July,” and “Walk Away René.” Upbeat pop number, “I Just Don’t Get It” brought more great blended harmonies and lovely vocal runs.

VONDA SHEPARD

Vibrato Jazz Grill Beverly Hills, CA

Contact: Jon Bleicher, jon@prospectpr.com

Web: vondashepard.com

Players: Vonda Shepard, vocals; James Ralston, guitar, backing vocals; Jim Henson, bass, backing vocals; Paul Taylor, drums

Material: Leading up to the Fall release of Red Light, Green Light, pop songstress Vonda Shepard delivered a comfortable, lounge-y set to a passionate and supportive room. The happy collective of career-long friends and fans sang

along to most of the evening’s songs in backto-back sets covering material from the '90s through to her latest project—with particular enthusiasm for the songs made famous by Shepard’s involvement with Fox’s Ally McBeal.

Musicianship: Opening gently on the piano with “Shine Your Light” and “Red Light Green Light,” the audience began to snap along with the mellow vocalizing opener on “The Wildest Times of the World.” Longtime band members delivered a fantastic musical backdrop for Shepard’s gentle, loose vibrato, with guitarist

Performance: “Walk On The Water” shifted gears, adding southern rock guitar sound, with the easygoing crowd clapping along. The piano focus returned for “Maryland,” while the audience jumped in on vocals for the “la la” scat refrain. Between jazz vibes and southern rock sound, the crowd clapped, snapped, and sang along to the sassy girl power, lighting up on intermittent belting vocal outros. “Respect Yourself” rounded the first set with heavier bass lines and bluesy-feeling vocals. Letting her personality out more fully, “I Know Better” highlighted Shepard’s great vocal leaps and scoops and her new song, “To The Stars,” revealed her beautiful falsetto.

Summary: Crowd favorite, “Searchin’ My Soul” (from Ally McBeal) had the room fully energized, inspired by a guitar solo walkabout on the stage from Ralston. Shepard thrilled the room as she let loose on “Tell Him,” standing at the mic with tambourine in hand, full of fun energy to finish off the night. Between anecdotes about the launch of her career with Jackson Browne and gentle self-deprecation, Shepard is easy to love and creates a fun atmosphere, genuinely connecting with and respecting her audience. – Andrea

Beenham

JEFF RIVERA

NICHOLAS BEENHAM

out to a small but enthusiastic crowd. Agusta is a workhorse behind the kit as breaks, stops and breakdowns were no match for the allconsuming drummer. Keeping up with the Papadopoulos’ is no easy task and she proved to be worthy on each and every song. She is extremely intuitive and her reflexes proved to be among the best the Knitting Factory has seen in a long time.

Performance: Stinking Lizaveta was intriguing, to say the least. Searing guitars was the main course being served this evening and Chef Yanni is no slouch. Brilliant guitar play from start to finish as Alexi and Agusta, equally as brilliant, laid the foundation on which each song came to rest. Jumping into the crowd was the dessert, as Yanni was held back only by an instrument cable. He had everyone eating out of the palm of his hand by the time the set was over.

The Knitting Factory North Hollywood, CA

Contact: srarecords@gmail.com

Web: stinkinglizavetaofficial.bandcamp.com

Players: Yanni Papadopoulos, guitar; Alexi Papadopoulos, bass; Cheshire Agusta, drums

Material: Stinking Lizaveta is a very hard rock/ metal/jazz band with an all-instrumental song

Bandcamp Lima, Peru

Contact: yagobossofficial@gmail.com

Web: linktr.ee/yagoboss

Players: Yago Boss, turntables, mixer, mini pads, vocals

Material: Though some question its merit, excelling as a DJ takes vision and talent. Yago Boss proves this with a thumping blend of progressive and electro house music. His relentless grooves, incorporating everything from the blips and bloops of old-school video games to the familiar notes of Beethoven, keep the crowd in hyper real ecstasy. Seamlessly moving from one composition to the next, he gifts nightclub denizens with a grand, neverending dance party.

Musicianship: Judging the skills of a DJ presents an interesting conundrum. After all, how much dexterity is necessary to twist dials and press keys on a laptop? Such players must instead be measured by their capacity to pick and blend the right beats and samples. In this regard, Yago Boss has the makings of a superstar. Rarely does his set feel cookie cutter, and every note implores the audience to continue fist pumping. Interestingly, this show marked his return to the stage after a car accident resulted in a fractured hand.

Performance: Yago Boss gets the importance of visual appeal. Beginning with subway doors opening, a voice implored

list that captivates your attention right from the start. The tunes are very progressive, as in the style of Yes, but also very hard, loud and come complete with screaming guitars, a pulsating low end and thunderous drumbeats.

Musicianship: The musicianship is top-tier, Pennsylvanian goodness. A very impressive outing from all three members as they rocked

STINKING LIZAVETA YAGO BOSS

the viewer to enter. After a timer counted down, the train blasted off. In short order, the tunnel became a neon wormhole, eventually dumping the rider into a virtual club where the artist presided. During the set, an endless collage of imagery provided a surrealistic, fever dream backdrop. Clips of a roaring crowd brought the nightclub fantasy to life, as did digital smoke, fire, and confetti. Mostly, Boss remained silent, but there were a few words of thanks in his native Spanish. Also, moments of exuberance were punctuated by

Summary: “Yes on steroids” is the best way to describe Stinking Lizaveta. With hints of Yes, Black Sabbath, Rush, Led Zeppelin and Deep Purple oozing out at all instances, the music is creative and pleasing to the ear for such a progressive outfit. “Electric Future” screamed Marrillion (an old folk/progressive band from England) as the tune captured the audience’s hearts and impressed them with outstanding tightness that only comes from countless hours of hard work. A 10 out of five stars for Stinking Lizaveta (yes, you read that right… These guys are awesome).

– Pierce Brochetti

shouts of “Let’s go!” A prerecorded fireworks display delivered a slick sendoff.

Summary: Success as a DJ remains elusive for most, yet Yago Boss seems to have what it takes to achieve fame. For starters, he understands that sound is but one aspect of the musical entertainer’s duties; the entire experience must be considered. His one weakness is audience communication. Once he’s sharpened that technique, there’s a reasonable chance he’ll be greeted by larger crowds. – Andy Kaufmann

PIERCE BROCHETTI

ANDY KAUFMANN

ALABAMA

BATES BROTHERS RECORDING

3427 Davey Allison Blvd., Ste. 101

Hueytown, AL 35023

205-491-4066

Email: bbrbates@yahoo.com

Web: batesbrothersrecording.com

Contact: Eric Bates

Basic Rate: please see web for info

SOUND OF BIRMINGHAM

3625 5th Ave. S. Birmingham, AL 35222

205-595-8497

Email: don@soundofbirmingham.com

Web: soundofbirmingham.com

Note: 35 years + exp., please call for info

ARIZONA

1ST CHOICE MASTERING

650 N. 157th Drive

Goodyear, AZ 85338

623-234-1787

Email: info@billkeis.com

Web: billkeis.com/producer

Services: see web for info

ALLUSION STUDIOS

248 W. Elm St. Tucson, AZ 85705

520-622-3895

Email: contact@allusionstudios.com

Web: allusionstudios.com

Basic Rate: please call for info

M L E STUDIOS

PO Box 27017

Prescott Valley, AZ 86312

866-246-8846

Email: mail@majorlabelmusic.com

Web: majorlabelmusic.com, facebook.com/mlestudios

Contact: Col. Darryl Harrelson

Basic Rate: $45.00/hr or flat rate per song/ album small independent multi-room studio specializing in country, Americana and alt country genres.

THE SALTMINE STUDIO OASIS

ARIZONIA MASTERING

48 S. Macdonald St. Mesa, AZ 85210

480-220-4007

Email: don@thesaltmine.com

Web: thesaltmine.com. ArizonaMastering.com

Contact: Don Salter

Basic Rate: call for a custom quote.

Gear: BetterMaker Mastering Compressor, Manley Massive Passive EQ, Weiss DS1 Compressor Limiter, Manley Backbone Console, Dangerous ST Monitor, Mytek AD/DAC, Millennea NSEQ-2 Tube EQ, GML 8200 Equalizer, Lydkraft Tube Tech Mastering multi-band limiter, Neve Portico II Master Buss compressor, Prism, Waves L2, ATR 1-inch Master Recorder etc.

Clients: DMX, Boosie Badazz, Young Buck, Prong, Jay-Tee, Trapp Boyz, DJ Class, Skylark, Futuristic, Japan, Dogan , Alwz Snny Sincerely Collins and thousands of the finest AZ artists.

VAULT MASTERING STUDIOS

Phoenix, AZ

877-297-5940

Email: nathan@vaultmastering.com

Contact: Nathan James

Web: vaultmastering.com

facebook.com/vault.mastering

Previous Clients: Twenty One Pilots, Harrison Fjord, Gretchen Parlato, Charlie Hunter, Cyrus Chestnut, Takuya Kuroda, Nate Smith, John Zorn, Sting, Staind, Aretha Franklin, Joey DeFrancesco, This or the Apocalypse, The Fray, Civil Twilight, Sister Sparrow, Boston Symphony Orchestra, etc.

ARKANSAS

RANEY RECORDING STUDIO

P.O. Box 17

110 S. Front St. Drasco, AR 72530-9282

870-668-3222

Email: jonr@raneyrecordingstudio.com

Web: raneyrecordingstudio.com

Contact: Jon Raney

Basic Rate: please call for info

Directory of Mastering Studios

CALIFORNIA

21ST CENTURY AUDIO

North Hollywood, CA 323-356-1177

Email: peter@21stCenturyAudio.com

Web: 21stCenturyAudio.com

Contact: Peter Doell

Rate: rates upon request

25TH ST RECORDING Oakland, CA 510-788-4089

Email: info@25thstreetrecording.com

Web: 25thstreetrecording.com

Basic Rate: $80 per Song, $600 8-12 Song

Album, $800 8-12 Song Album

AAA CAZADOR RECORDING OF HOLLYWOOD

West Hollywood, CA 323-655-0615

Email: jimmy@jimmyhunter.com

Web: jimmyhunter.com

Basic Rate: negotiable/call and we can discuss

AB AUDIO VISUAL 3703 Albury Ave. Long Beach, CA 90808 877-ABAUDIO (222-8346), 562-429-1042

Web: abaudio.com

Contact: President, Arlan Boll

Basic Rate: work with all budgets

ABET MEDIA

411 E. Huntington Dr., Ste. 107-372 Arcadia, CA 91006 626-303-4114

Email: info@AbetMedia.com

Web: AbetMedia.com

Contact: Aeron K. Nersoya

AUDIO MECHANICS

1200 W. Magnolia Blvd. Burbank, CA 91506 818-846-5525

Web: audiomechanics.com

Basic Rate: please call for info

AUDIOVISTA Los Altos, CA 650-428-1854

Email: info@audiovista.com

Web: Audiovista.com

Contact: Jim LaForest

ARDENT AUDIO PRODUCTIONS

22122 S. Vermont Ave., Unit “E” Torrance, CA 90502

310-782-0125

Email: rwenzelaap@aol.com

Web: ardentaudioproductions.com

BAKERY MASTERING STUDIO

c/o Sony Pictures, Thalberg E 10202 W. Washington Blvd. Culver City, CA 90232

310-736-6661

Email: booking@thebakeryla.com

Web: thebakery.la

BEN BERNSTEIN MUSIC

Oakland, CA

Email: info@benbernsteinmusic.com

Web: benbernsteinmusic.com

Contact: Ben Bernstein

Basic Rate: $50/Song

BERNIE BECKER MASTERING

626-782-5703

Email: hello@beckermastering.com

Web: beckermastering.com

Basic Rate: Please email for information

BERNIE GRUNDMAN MASTERING

1640 N. Gower St.

Hollywood, CA 90028

323-465-6264

Email: jack@bgmastering.com

Web: berniegrundmanmastering.com

Contact: Bernie Grundman, Mike Bozzi, Chris Bellman, Patricia Sullivan, Scott Sedillo

Basic Rate: please call for info

BIG CITY RECORDING STUDIOS

17021 Chatsworth St.

Granada Hills, CA 91344

818-366-0995

Email: paul@bigcityrecording.com

Web: bigcityrecording.com

Contact: Paul Tavenner

Basic Rate: please call or see web

BIG SURPRISE MUSIC Encino, CA 91436

818-613-3984

Email: info@carmengrillo.com

Web: bigsurprisemusic.com

Contact: Carmen Grillo

Basic Rate: call for rates

CHARLES LAURENCE PRODUCTIONS Northridge, CA 818-368-4962

Email: clpstudio1@gmail.com

Web: clpstudios.com

Contact: Charles Laurence

Basic Rate: call for info

CLEAR LAKE AUDIO

10520 Burbank Blvd. North Hollywood, CA 91601 818-762-0707

Email: contact@clearlakerecording.com

Web: clearlakerecordingstudios.com

Basic Rate: please call for info

COAST MASTERING

1140 The Alameda Berkeley, CA 94707 510-984-0554

Email: mastering@coastmastering.com

Web: coastmastering.com

Basic Rate: please call for info

DBU RANCH RECORDING

15448 Sierra Grande Rd. Valley Center, CA. 92082

310-413-0845

Email: duskb@yahoo.com

Web: dburanchrecorders.com

DENOISE.COM

1050 Murray St. Berkeley, CA 94710 510-653-3838

Email: sales@denoise.com

Web: denoise.com

Contact: Albert Benichou

Basic Rate: please call for info

DIAMOND DREAMS MUSIC

PRODUCTIONS

North O.C., Carbon Canyon 91709 909-393-6120

Email: diamonddreamsmusic@yahoo.com

Web: diamonddreamsmusic.com

Contact: Raphael De Giorgeo

Basic Rate: please call for info, varies from project to project

DINO M 4 RECORDING/ MASTERING STUDIO Torrance, CA

(10 minutes South of LAX)

424-800-1394310-782-1440

Email: dinom4@aol.com

Web: facebook.com/DinoM4RECORDING

Contact: Dino Maddalone

DNA MASTERING

19528 Ventura Blvd., Ste. 315 Tarzana, CA 91356

818-992-4034

Email: info@DNAmastering.com

Web: dnamastering.com

Contact: David Donnelly, Perry Cunningham

Basic Rate: special rate for Indie and unsigned artists

ELYSIAN MASTERS

Audio Mastering; Lacquer Cutting 2797 E Foothill Blvd. #120 Pasadena, CA. 91107 323-839-6283

Email: info@elysianmasters.comn

Web: elysianmasters.com, IG: @elysianmasters

EZEE STUDIOS

21550 Oxnard St., Ste. 990 Woodland Hills, CA 91367

818-444-4744

Email: brian@ezeestudios.com

Web: ezeestudios.com

Contact: Brian Zamorano

Basic Rate: please see web or call

Additional location:

75 Rockefeller Plaza

New York, NY 10019

212-275-2160

Email: James@ezeestudios.com

Contact: James Winner

GOLDEN MASTERING

1721 E. Main St. Ventura, CA 93001

805-648-4646

Email: diane@goldenmastering.com

Web: goldenmastering.com

Contact: April Golden

Format: digital and analog

Basic Rate: please call for info

GROOVEWORKS 5536 Atlantic Ave. Long Beach, CA 90805

310-403-5104

Email: info@grooveworksstudios.com

Web: grooveworksstudios.com

Contact: studio manager

Basic Rate: please call for info

HANS DEKLINE MASTERING

Los Angeles, CA 310-621-1896

Email: hdekline@gmail.com

Web: hansdeklinemastering.com

Contact: Hans DeKline

Basic Rate: call or check our website

HOWIE WEINBERG MASTERING STUDIO

8331 Lookout Mountain Ave. Los Angeles, CA 90046 323-524-8776, 323-498-0305

Email: howie@howieweinbergmastering.com

Web: howieweinbergmastering.com

Basic Rate: rates upon request

HYDE ST. STUDIOS 245 Hyde St. San Francisco, CA 94102 415-441-8934

Email: info@hydestreet.com

Web: hydestreet.com

Basic Rate: please call or see web

IMPERIAL MEDIA SERVICES 3202 Pennsylvania Ave. Santa Monica, CA 90404

310-396-2008

Email: sales@imperialmedia.com

Web: imperialmedia.com

Services: Retail ready CD, DVD and Blu-ray packages ship within 24-48 Hour

JOE GASTWIRT MASTERING 4750 Rhapsody Dr. Oak Park, CA 91377

310-444-9904

Email: joe@gastwirtmastering.com

Web: gastwirtmastering.com

Contact: Joe Gastwirt

Basic Rate: please see web or call

KEN LEE MASTERING

3060 El Cerrito Plaza No. 542 El Cerrito, CA 510-428-9276

Email: kenleemastering@me.com

Web: facebook.com/kenleemastering.studio

Basic Rate: please email

KINGSIZE SOUNDLABS

Los Angeles, CA 323-533-0022

Email: ronna@kingsizesoundlabs.com

Web: kingsizesoundlabs.com

Basic Rate: call for more info

LURSSEN MASTERING

4109 W Burbank Blvd. Burbank,CA 91505

323-924-7193

Email: Jamie@lurssenmastering.com

Web: lurssenmastering.com

Contact: Jamie Fratta Peters, Engineer

Use this exclusive Music Connection directory to connect with a mastering studio that suits your project’s needs and your budget’s limits. All data has been updated with approved info supplied by the listees.

MAGIC GARDEN MASTERING

Los Angeles, CA

614-620-4567

Email: brian@magicgardenmastering.com

Web: magicgardenmastering.com

Contact: Brian Lucey

MAMBO SOUND & RECORDING

2200 W. Esther Long Beach, CA 90813

562-432-9676

Email: steve@mambosound.net

Web: mambosoundandrecording.com

Contact: Steve McNeil

Basic Rate: please call for info

MAOR APPELBAUM MASTERING

“Sounds With Impact”

Woodland Hills, CA

818-564-9276

Email: mappelbaum@gmail.com

Web: maorappelbaum.com

Contact: Maor Appelbaum

Clients: Faith No More, Yes, Meatloaf, Dream Theater, The Kooks, Matisyahu, Lupe Fiasco, Eric Gales, Daneil Powter, Walter Trout, Gilby Clarke, Abbath Ill Nino, Josh Levi, Starset, Sepultura, Rob Halford, Yngwie Malmsteen, Lita Ford, Fates Warning, William Shatner, Dokken, Pepper, Treponem Pal, Annihilator, Lee Aaron, Robin Beck, Sabaton, Candlemass, HorrorPops, Green Carnation, Nekromantix, Hillbilly Herald, Treponem Pal, Billy Sherwood, Adrenaline Mob

MARC DESISTO / MIX LA STUDIO D

Recording Engineer, Mixing & Mastering

Grammy Nominated for Melissa Etheridge

Los Angeles, CA

818-259-4235

Email: marcdesistoaudio@gmail.com

Web: marcdesistoaudio.com

Notable Projects: Dwight Yoakam, Will Hoge, Tommy Emmanuel, Melissa Etheridge, U2, Chris Isaak, King Leg, Michelle Branch

MARCUSSEN MASTERING

Hollywood, CA 90028

323-463-5300

Email: o ice@marcussenmastering.com

Web: marcussenmastering.com/index2.html

Basic Rates: please call for info

MARSH MASTERING

Los Angeles, CA

310-598-6038 Fax 310-598-5685

Email: marsh@marshmastering.com

Web: marshmastering.com

Contact: Stephen or Fernando

Basic Rate: flat rates for unattended sessions, hourly rates for attended sessions

MASTER GROOVE STUDIOS

Northridge, CA Nashville, TN

818-830-3822, 615-562-5329

Email: info@mastergroovestudios.com

Web: mastergroovestudios.com, facebook.com/

Mastergroovestudios

Contact: Dave Morse

Basic Rate: please call for info, reasonable rates.

MAURICE GAINEN PRODUCTIONS

4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027

323-662-3642 Studio

323-376-2834 Cell

Email: info@mauricegainen.com

Web: mauricegainen.com

Basic Rate: please call for info

Credits: Starbucks (185 compilations), Disney,

EMI, UNI, Warner, Sony, Rafael Moreira, Alex Skolnick, Andy McKee, The Hues Corp (“Rock

The Boat”), Mighty Mo Rodgers, Orchestre Surreal, Angel Town Combo, TriTone Asylum, Little Willie G, Spoon, Rita Coolidge.

MELROSE MASTERING

1041 No. Formosa Ave. West West Hollywood, CA. 90046

818-216-5409

Email: melroserecordingsstudios@gmail.com

Web: Melrosemusicstudios.com

Basic Rate: please call for info

Additional location:

121 S. Palm Canyon Drive Palm Springs, CA. 92262

NEATO MASTERING

313-580-6660

Nashville, TN.

Email: Piper@neatomastering.com

Piper Payne

Email: Colby@neatomastering.com

Colby Gustafson

Web: neatomastering.com

Basic Rate: please call for info

THE OC RECORDING COMPANY

3100 W. Warner Ave., Ste. 7

Santa Ana, CA 92704

323-244-9794

Email: info@ocrecording.com

Web: ocrecording.com

Contact: Asaf Fulks

Credits: Universal Pictures, Disney, ESPN, LA Clippers, Casio, Kendrick Lamar, Platinum & Grammy Artists

Gear: Pro Tools HD 11, Neve 1073, Sony C-800G, Neumann, Aurora, Avalon, Lynx, Dangerous, Focal, SSL

OASIS MASTERING

4109 W. Burbank Blvd. Burbank, CA 91505

818-567-0500

Email: jack@oasismastering.com

Web: oasismastering.com

Basic Rate: please call for info

PEN STATION STUDIOS

Mixing and Mastering Services Santa Monica, CA 90404

424-238-8800

Email: info@penstation.la

Web: penstation.la

Basic Rate: $150 per hour unattended, $250 per hour attended.

Credits: Babyface Ray, Est Gee, Lil Poppa, Stunna 4 Vegas, Yo Gotti, Black Label Society, Lebra Jolie, Rob49

PHUTURETRAX Redondo Beach, CA

323-523-7499

Email: don@phuturetrax.com

Web: phuturetrax.com

Contact: Don Corrieri

PRAIRIE SUN Box 7084, Cotati, CA 94931 707-795-7011

Email: info@prairiesun.com

Web: prairiesun.com

Contact: studio manager

Basic Rate: please call for info

PRODUCTION COMPANY RECORDING, MASTERING & REHEARSAL STUDIO, THE 673 Valley Dr. Hermosa Beach, CA 90254

310-379-6477

Email: rockzionrecords@rockzion.com

Web: rockzion.com/productionco.html

Format: 2-inch Ampex 16 track and Trident Mixing Console, Pro Tools and Analog Mastering

Basic Rate: $60 per hour Digital Recording / $75 an hour Analog Mastering

PRIVATE ISLAND TRAX

1882 S. Cochran Ave. Los Angeles, CA 90019

323-856-8729

Email: info@privateislandtrax.com

Web: privateislandtrax.com

Basic Rate: please call for rates

PROFESSIONAL MUSICIAN’S

LOCAL 47

3220 Winona Ave. Burbank, CA 91504 323-462-2161

Web: promusic47.org

Contact: Amie Moore

Basic Rate: please call for info

PYRAM-AXIS DIGITAL Redondo Beach, CA

310-869-8650

Email: music@pyramaxis.com

Web: pyramaxis.com

Contact: Jim D.

Services: Virtual Mastering, Streaming Media,

Distribution

Basic Rate: Please call or email for info

RESOLUTION MASTERING

Sherman Oaks, CA

818-481-7064

Email: info@resolutionmastering.com

Web: resolutionmastering.com

Contact: Ron Boustead

Base Rate: $100/song

RPD STUDIOS

1842 Burleson Ave.

Thousand Oaks, CA 91360

805-496-2585

Email: rpdstudios@roadrunner.com

Web: rpdsound.com

Contact: Randy

Basic Rate: please call for info

SILENT ZOO STUDIOS

Glendale, CA

818-484-5222

Email: contact@silentzoostudios.com

Web: silentzoostudios.com

Rates: Email/Call for rates

SONIC VISION MASTERING & AUDIO

PRODUCTION SERVICES

818-269-7087

Web: sonicvisionmastering.com

Email: Mike@sonicvisionmastering.com

Contact: Mike Milchner

Basic Rate: please call/check website for info

SONORA RECORDERS

213-841-0712

Web: sonorarecorders.com

Email: richardbarronmusic@gmail.com

Contact: Richard

Basic Rate: please call for information.

Format: mixing, mastering & production

SOUND AFFAIR

2727 S. Croddy Way, Unit G Santa Ana, CA 92704

800-570-6656

Email: ron@sounda airltd.com

Web: SoundA airMastering.com

Contact: Ron or Andree

Basic Rate: please see web for info

STUDIO CITY SOUND

4412 Whitsett Ave.

Studio City, CA 91604

818-505-9368

Email: booking@studiocitysound.com

Web: studiocitysound.com

Contact: studio manager

Basic Rate: please call for info

THETA SOUND STUDIO

1309 W Riverside Dr. Burbank, CA 91506

818-955-5888

Email: randy@thetasound.com

Web: thetasound.com

Contact: Randy or Cyndie Tobin

Basic Rate: please call for info

TIME ART STUDIO

Studio City, CA

818-980-2840

Email: darlene@darlenekoldenhoven.com

Web: darlenekoldenhoven.com/timeart

Contact: Darlene

Basic Rate: please call for info

TOMCAT ON THE PROWL PRODUCTIONS

Canoga Park, CA 91304

818-943-6059

Email: studio@tomcatontheprowl.com

Web: tomcatontheprowl.com

Contact: Thomas Hornig

Basic Rate: visit website for more info

VENETO WEST MASTERING

PO Box 6363

Pine Mountain Club, CA 93222

310-200-9010

Email: rcm@venetowest.com

Web: venetowest.com/mastering

Contact: Ronan Chris Murphy

Basic Rate: Please contact for rates

WESTLAKE RECORDING

7265 Santa Monica Blvd. West Hollywood, CA 90046

323-851-9800

Email: bookings@thelakestudios.com

Web: thelakestudios.com

Basic Rate: please call for info

WOODRUM PRODUCTIONS

Burbank, CA

818-848-3393

Email: michael@woodrumproductions.com

Web: woodrumproductions.com

Contact: Michael Woodrum

Basic Rate: please call for info

ZENMASTERING

P.O. Box 231097

Encinitas, CA 92023

858-231-1541

Web: zenmastering.com

Contact: Paul Abbott

COLORADO

1116 STUDIOS LLC 1753 S 8th St

Colorado Springs, CO 80905

419-704-8253

Email: MisterG@1116Studios.com

Web: 1116Studios.com, Facebook

Contact: John “Mister G”, O ice Manager

Basic Rate: $60/track for mastering; $200/ track for mixing; $45/hr. for tracking

AIRSHOW MASTERING

Boulder, CO 80301

P.O. Box 17632

303-247-9035

Email: Studio@airshowmastering.com

Web: airshowmastering.com

Basic Rate: please call for info

AUDIO PARK RECORDING & MASTERING

11919 I70 Frontage Rd. N. Wheat Ridge, CO

303-456-6122

Email: audioparkrecording@gmail.com

Web: facebook.com/AudioParkRecordingStudio

Basic Rate: please call for info

COLORADO SOUND STUDIOS

3100 W. 71st Ave. Westminster, CO 80030

303-430-8811

Web: coloradosound.com

Basic Rate: please call or see website

QUAM AUDIO PRODUCTIONS

Boulder, CO

720-644-9899

Email: info@quamaudio.com

Web: quamaudio.com

Contact: Michael Quam

Basic Rate: please call for info

CONNECTICUT

SAGE SOUND STUDIOS 549 Howe Avenue, Suite 404 Shelton, CT. 06484 203-922-0491

Web: sagesoundstudios.com

Email: info@sagesoundstudios.com

DELAWARE

JAMLAND STUDIO 2326 Empire Dr. Wilmington, DE 19810

302-475-0204

Email: music@jamlandstudio.com

Web: jamlandstudio.com

OCCUPY STUDIO 170 East Main Street Newark, DE 19711

302-223-4441

Email: record@occupystudio.com

Web: occupystudio.com

DISTRICT OF COLUMBIA ( DC )

LISTEN VISION LLC 2622 Georgia Ave. NW Washington, D.C. 20001

202-332-8494

Email: info@listenvision.com

Web: listenvision.com

Basic Rate: please call for info

BLUE ROOM PRODUCTIONS 7718 Bradley Blvd. Bethesda, MD 20817 240-505-5544

Email: info@blueroommusicstudio.com

Web: blueroommusicstudio.com

FLORIDA

BLACK DOG MASTERING STUDIO 3837 Northdale Blvd, Suite 271 Tampa, FL. 33624 813-434-1483

Email: BlackDogMastering@gmail.com

Web: blackdogmastering.com

Basic Rate: please call for info

EMERALD CITY RECORDING, INC. 105 Dunbar Ave., Ste. A Oldsmar, FL 34677 813-814-1062

Email: info@emeraldcityrecording.com

Web: emeraldcityrecording.com

Basic Rate: please call for rates

FULLERSOUND INC. 3551 S.W. 116th Ave. Fort Lauderdale, FL 33330

305-556-5537 Fax 954-727-5303

Email: info@fullersound.com

Web: fullersound.com

Basic Rate: please call for rates

NOISEMATCH STUDIOS 4306 NW 2nd Ave Miami, FL 33127

786-356-6096

Email: info@noisematch.com

Web: noisematch.com

Basic Rate: Call for info

UPCOMING STUDIO, INC.

601 W. Oakland Park Blvd., Ste. 13 Wilton Manors, FL 33311-0913

954-530-4710

Email: mastering@upcomingstudio.com

Web: upcomingstudio.com

Directory of Mastering Studios

GEORGIA

B CHILL MUSIC

4002 Hwy 78 Ste 530. #167

Snellville, GA

678-660-8744

Email: bchillmusic@gmail.com

Web: bchillmusic.com

COS MASTERING

800 E. Ave., NE

Atlanta, GA 30312

404-524-7757

Contact: Larry Antony

Email: larry@cosmastering.com

Web: cosmastering.com

SING MASTERING

781 Wheeler St. N.W.

Studio 8 Atlanta, GA 30318

404-827-8503

Email: info@singmastering.com

Web: singmastering.com

Basic Rate: please call for info

HAWAII

ISLAND SOUND STUDIOS

377 Keahole St.,

Ste. D-03

Honolulu, HI 96825 808-200-1822

Email: aloha@islandsoundstudios.com

Contact: Kyle Spicer

Web: islandsoundstudios.com

Format: 2 SSL9000J, Digital/Analog

LAVA TRACKS RECORDING

P.O. Box 6564

Kamuela, Big Island, HI 96743

808-885-6558

Email: cb@lavatracks.com

Web: facebook.com/LavaTracks

Contact: Charles Michael Brotman, Grammy

Award winner

Basic Rate: call or check our website for contact info.

SEASIDE RECORDING

Wailuku, Maui, HI

808-280-0722

Web: seasiderecording.com, joelkatzmaui.com

Contact: Joel Katz

Basic Rate: reasonable rates by hour/week/job

IDAHO

COTTONWOOD STUDIOS

4436 E. 49th S Idaho Falls, ID 83406

208-757-7328

Web: cottonwoodstudios.net

DASH MASTERING STUDIO

Boise, ID

208-639-1282

Email: dashmastering@gmial.com

Web: dashmastering.com

TONIC ROOM, THE

1509 S. Robert St., Ste. 103 Boise, ID 83705

208-338-8433

Email: info@tonicroomstudios.com, mastering@tonicroomstudios.com

Web: tonicroomstudios.com

Basic Rate: see web for info

ILLINOIS

BOILER ROOM, THE 1440 N. Western Ave. Chicago, IL 60622

773-525-8551

Email: collin@brmastering.com

Web: brmastering.com

Basic Rate: please call for info

CHICAGO MASTERING SERVICE

Chicago, IL 773-265-1733

Email: info@chicagomasteringservice.com

Web: chicagomasteringservice.com

Basic Rate: please call for info

DON GRIFFIN MASTERING AND MIXING

5818 S. Archer Road

Summit, IL 60501

708-267-2198, 312-286-5018

Email: don@studiovmr.com

Web: studiovmr.com

GRAVITY STUDIOS

2250 W. North Ave. Chicago, IL 60647

773-862-1880

Email: info@gravitystudios.com

Web: gravitystudios.com

Basic Rate: Call for more info

MASSIVE MASTERING

P.O. Box 68143 Schaumburg, IL 60168 630-237-4393

Email: master@massivemastering.com

Web: massivemastering.com

Contact: John Scrip

Basic Rate: hourly/project rates on web

PLAYGROUND RECORDING AND MASTERING STUDIO, THE Chicago, IL 312-498-8265

Email: admin@playgroundstudio.com

Web: playgroundstudio.com

Basic Rate: $500/day recording, $65/hr.

INDIANA

AZMYTH RECORDING

5130 Brouse Ave. Indianapolis, IN. 46205 317-281-3670

Email: info@azmythrecording.com

Web: azmythrecording.com

THE ROUND TABLE 6345 Carrollton Ave Indianapolis, IN 46220 317-981-5351

Email: booking@TheRTRC.com

Web: thertrc.com

MAHERN AUDIO 2051 W Vernal Pike Bloomington, IN. 47404 812-320-2437

Email: info@mahernaudio.com

Web: mahernaudio.com

IOWA

CATAMOUNT RECORDING, INC.

5737 Westminster Dr. Cedar Falls, IA 50613 319-2268-1011

Email: catamount@cfu.net

Web: catamountrecording.com

Contact: Kitty Tatman

Basic Rate: please see web for info

KANSAS

CHAPMAN RECORDING & MASTERING

8805 Monrovia St. Lenexa, KS 66215 913-894-6854

Email: chuck@chapmanrecording.com

Web: chapmanrecording.com

LOUISIANA

MUSIC SHED, THE 929 Euterpe St. New Orleans, LA 70130 504-452-0588

Email: info@musicshedstudios.com

Web: musicshedstudios.com

Basic Rate: please call for info

MAINE

BELLWETHER MASTERING Portland, ME

619-228-6941

Email: Joe@bellwethermastering.com

Web: bellwethermastering.com

Contact: Joe Goodwin

Basic rates: varies, see website

GATEWAY MASTERING STUDIOS

428 Cumberland Ave. Portland, ME 04101

207-828-9400

Email: sta @gatewaymastering.com

Web: gatewaymastering.com

Basic Rate: please call for info

PATRICK KEANE AUDIO MASTERING 103 Hanover St. Portland, ME

207-807-5379

Web: patkeanemastering.com

MARYLAND

ABOVE GROUND STUDIOS

3200 Annetta Ave. Baltimore, MD 21213

443-255-5016

Email: abovegroundstudios@gmail.com

Web: abovegroundstudios.com

Basic Rate: please call/email for info

Credits: Tate Kobang, Lil Mo, The Beatnuts, DITC, Moneybagg Yo Specialization: Mastering for iTunes and vinyl, radio ready mastering

HIT AND RUN RECORDING

18704 Muncaster Rd. Rockville, MD 20855

301-948-6715

Email: info@hitandrunrecording.com

Web: hitandrunrecording.com

Contact: Steve Carr

Basic Rate: please call for info

LION AND FOX RECORDING STUDIOS

9517 Baltimore Ave. College Park, MD 20740

301-982-4431

Email: mail@lionfox.com

Web: lionfox.com/mastering.htm

Basic Rate: please call for info

OMEGA RECORDING STUDIOS

12712 Rock Creek Mill Rd., Ste. 14Z Rockville, MD 20852

301-230-9100

Web: omegastudios.com

Basic Rate: 125/hr. (tax/materials separate)

TONAL PARK

7014-C Westmoreland Ave. Takoma Park, MD. 20912

303-247-9035

Email: contact@tonalpark.com

Web: tonalpark.com

Basic Rate: see web for info

MASSACHUSETTS

M WORKS MASTERING

60 Hampshire St. Cambridge, MA 02139

617-577-0089

Email: studio@m-works.com

Web: m-works.com

Basic Rate: reasonable rates

PEERLESS MASTERING

161 N. St. Newtonville, MA 02460

617-527-2200

Email: info@peerlessmastering.com

Web: peerlessmastering.com

Contact: Je

Basic Rate: please call for info

PILOT RECORDING STUDIOS

1073 Main St.

Housatonic, MA

413-274-1073

Email: info@pilotrecording.com

Web: pilotrecording.com

Contact: Will Schillinger

Basic Rate: please email for info

SOUNDMIRROR, INC.

76 Green St. Boston, MA 02130-2271

617-522-1412 Fax 617-524-8377

Web: soundmirror.com

Basic Rate: please call for info

MICHIGAN

BROADSIDE PRODUCTIONS

901 S. Westnedge

Kalamazoo, MI 49008

269-226-0948

Email: studio@broadsideproductions.com

Web: broadsideproductions.com

Basic Rate: by appointment only. Call for rates

STUDIO A RECORDING

5619 N. Beech Daly Dearborn Heights, MI 49127

313-561-7489

Email: info@studioarecording.com

Web: studioarecording.com

**No degree, Avid Pro Tools certificate

THIRD MAN MASTERING

441 W. Canfield Detroit, MI 482301

313-209-5212

Contact: Bill Skibbe, Warren Defever

Email: mastering@thirdmanrecords.com

Web: thirdmanmastering.com

MINNESOTA

FLOWERS STUDIO

2751 Hennepin Ave. #161

Minneapolis, MN 55408

612-567-1219

Email: info@flowersstudio.com

Web: flowersstudio.com

RARE FORM MASTERING

712 Ontario Ave. W. #200

Minneapolis, MN 55403

612-327-8750

Email: info@rareformmastering.com

Web: rareformmastering.com

Contact: Greg Reierson

Basic Rate: please contact for info

SKYLAND STUDIOS

7452 236th St. E Lakeville, MN 55044

Web: skylandstudio.com

MISSISSIPPI

MALACO MUSIC GROUP

3023 W. Northside Dr. Jackson, MS 39213

601-982-4522, 800-272-7936

Email: kbruce@malaco.com

Web: malaco.com

Basic Rate: please call for info

TAPROOT AUDIO DESIGN 108 Co Rd 411 Oxford, MS 38655 662-801-3273

Email: info@taprootaudiodesign.com

Web: taprootaudiodesign.com

Basic Rate: please call for info

MISSOURI

ENDEAVOR STUDIO

211 South College St Arcadia, MO. 573-944-4449

Email: greggill45@gmail.com

Web: endeavorav.com

GFM RECORDING STUDIOS 1118 W Main Street Blue Springs, MO. 64015 816-598-8810

Email: gfmmodernrecording@gmail.com Web: gfmmodernrecording.com

STUDIO 2100 2100 N. National Ave Springfield, MO 65803 417-864-0692

Email: je @studio2100.com

Web: studio2100.com

Contact: Je Smith

Basic Rate: please call for info

NEBRASKA

FOCUS MASTERING 6866 Willow St. Omaha, NE. 68152 402-915-0557

Email: Doug@focusmastering.com

Web: focusmastering.com

STUDIO 24 8601 N. 30th St. Omaha, NE 68112 402-342-9090

Email: chuckbeckler@studio24omaha.com

Web: studio24omaha.com

Contact: Chuck Beckler

Basic Rate: please call for info

NEVADA

THE HIDEOUT RECORDING STUDIO 14 Sunset Way Henderson, NV 89014

702-445-7705

Web: hideoutlv.com

Basic Rate: please call for info

TOM PARHAM MASTERING 8260 Haven St Las Vegas, NV 89123

702-481-1663

Email: tomparham@mac.com

Web: hittrackstudios.com

NEW HAMPSHIRE

CARDINAL MASTERING

71 Lafayette Rd #2b

Hampton Falls, New Hampshire 603-944-6710

Email: contact@cardinalmastering.com

Web: cardinalmastering.com

CEDAR HOUSE SOUND & MASTERING

P.O. Box 333 North Sutton, NH 03260 603-927-6363

Email: cedarhousesound@gmail.com

Web: cedarhousesound.com

JACOB’S WELL MASTERING, LLC

79 East Wilder Rd.

West Lebanon, NH 03784

619-754-5050

Email: contact@jacobswellmastering.com

Web: jacobswellmastering.com

NEW JERSEY

ED LITTMAN MASTERING

35 Harring Ct. North Haledon, NJ 07508

201-824-7860

Email: littmuze@edlittmanmastering.com

Web: edlittmanmastering.com

Contact: Ed Littman

Basic Rate: available on website

HERB POWERS, JR.

PM Mastering, Inc.

Old Bridge, NJ 08857

917-886-7444

Email: pmmastering@mac.com

Web: pmmastering.com

Contact: Angie Powers

Masterclass: redbullmusicacademy.com/ lectures/herb-powers

KNACK MASTERING

Ringwood, NJ 973-556-5749

Email: kimrosen@knackmastering.com

Web: knackmastering.com

Contact: Kim Rosen

Services: specializes in analog audio mastering for digital & vinyl formats, audio restoration and vinyl and tape transfers

STORY BOOK SOUND

Maplewood, NJ

Email: info@storybooksound.com

Web: storybooksound.com

Contact: Scott Anthony, Rebecca Turner

NEW MEXICO

HIGH FIDELITY MASTERING

8100 Wyoming Blvd. N.E., Ste. 315

Albuquerque, NM 87123

505-459-6242

Email: andy@highfidelitymastering.com

Web: highfidelitymastering.com

Contact: Andy Rogulich

Basic Rate: please call for info

NEW YORK

BANG ZOOM MASTERING

P.O. Box 145

Orangeburg, NY 10962

845-445-4460

Email: steve@bangzoomonline.com

Web: masteringzone.net

Contact: Steve Vavagiakis

Services: Analog and Digital Audio Mastering

BATTERY STUDIOS

(Sony Music Entertainment)

321 W 44th St., Suite 1001 New York, NY 10036

212 833-7373

Email: donna.kloepfer@batterystudios.com

Web: batterystudios.com

ELECTRIC KINGDOM STUDIOS

Hartsdale, NY 10530

800-933-1305

Email: info@electrickingdom.com

Web: electrickingdom.com

ENGINE ROOM AUDIO

42 Broadway, 22nd Fl. New York, NY 10004

212-625-3467

Email: info@engineroomaudio.com

Web: engineroomaudio.com

Basic Rate: please call for info

JOE LAMBERT MASTERING

3 Marsala Ct

Cortland Manor, NY. 10567

914-737-2795

Email: dianazinni@JLMSound.com

Web: joelambertmastering.com

KEVORKIAN MASTERING

Greenpoint NY

917-406-9147

Web: kevorkianmastering.com

Contact: Fred Kevorkian, fkfk@aol.com; Larry Lachmann, larry@kevorkianmastering.com

LODGE, THE

740 Broadway, Ste. 605 New York, NY 10003

212-353-3895

Email: info@thelodge.com

Web: thelodge.com, facebook.com/lodge-

mastering

Basic Rate: please call for info

MASTERDISK STUDIOS

8 John Walsh Blvd., Ste 411 Peekskill, NY 10566 212-541-5022

Email: scott@masterdisk.com

Web: masterdisk.com

Contact : Scott Hull

Basic Rate: premium services, Indie mastering

Services: Mastering for All formats (Vinyl, CD, Streaming, Itunes, Video, Surround, HD), Vinyl Disk Cutting Form HD Digital, Vinyl Disk Cutting from Analog Tape, Direct to Disk Recording, Restoration and archival of historic formats. (Disk, Tape & Digital), Recording, Mixing and Mastering, Mix evaluation and consulting

MUSIC HOUSE MASTERING 543 Middle Country Rd. Coram, NY 11727 631-804-0201

Email: info@musichousemastering.com

Web: musichousemastering.com

Contact: Michael Dominici, owner

Basic Rate: cal for rates

RIGHT TOUCH MASTERING New York, NY 800-933-1305 ext 1

Email: info@righttouchmastering.com

Web: righttouchmastering.com

Basic Rate: Call for Info

SKYELAB MUSIC PRODUCTIONS

37 W 37th St., 12th Floor New York, NY 10018 212-789-8942

Email: info@skyelab.com

Web: skyelabmusic.com

Basic Rate: please call for info

STERLING SOUND 33 Hilliard Avenue Edgewater, NJ 07020 212-604-9433

Email: mark.glaser@sterling-sound.com

Web: sterling-sound.com

Basic Rate: please see web

Additional location: 805 Meridian Street Nashville, TN. 37207

THE MASTERING PALACE

307 W. 121st St. New York, NY 10027 212-665-2200

Email: mleedy@themasteringpalace.com

Web: themasteringpalace.com

THRESHOLD MUSIC 212-244-1871

Email: thresholdstudiosnyc@gmail.com

Web: thresholdmusic.com

Basic Rate: please call for info

TIMELESS MASTERING 361 Stagg St., Suite 401 Brooklyn, NY 11206

Email: info@timelessmastering.com

Web: timelessmastering.com

TRUTONE MASTERING LABS INC.

228 E. Route 59, #306 Nanuet, NY 10954 845-680-6490

Email: sales@trutonemastering.com

Web: trutonemastering.com

Basic Rate: please call for info

XTREAM AUDIO Amherst, NY 888-878-3292

Email: anthony@xtreamaudio.com

Web: xtreamaudio.com

Contact: Anthony Casuccio

Basic Rate: call for customized quote

NORTH CAROLINA

BLUEFIELD MASTERING Raleigh, NC 27606 919-859-0102

Email: info@bluefieldmastering.com

Web: bluefieldmastering.com

Contact: Je Carroll

Basic Rate: please call or Email

KITCHEN MASTERING

109 Brewer Ln., Ste. A Carrboro, NC 27510 919-929-4494

Email: info@kitchenmastering.com

Web: kitchenmastering.com

Contact: Brent

Basic Rate: hourly and track rates available

STUDIO B MASTERING

821 Louise Ave. Charlotte, NC 28204 704-372-9661

Email: dave@studiobmastering.com

Web: studiobmastering.com

Contact: Dave Harris

Basic Rate: please call for info

OHIO

ACOUSTIK MUSIC, LTD

511 W. College St. Oberlin, OH 44074-1446

440-775-3681

Email: acoustikmusik@gmail.com

Web: acoustikmusik.com

Contact: Jimmy Pearson

Basic Rate: please call for info

CAULIFLOWER AUDIO

1305 W 80th St., Suite104B Cleveland, OH. 44102

440-539-5457

Email: info@caulifloweraudio.com

Web: caulifloweraudio.com

THE DREAMCATCHERS RECORDING STUDIO

7384 E Main St. Suite B Reynoldsburg, OH

614-434-6012

Email: info@thedreamcatchers.studio

Web: thedreamcatchers.studio

STARSOUND STUDIOS

10200 Royalton Rd. Ste 3 North Royalton, OH. 44133

216-374-8458

Email: starsoundstudioscleveland@gmail.com

Web: starsoundstudios.com

OKLAHOMA

KL MASTERING

25 S. Oklahoma Ave

Oklahoma City, OK 73104

405-410-2706

Email: KevinLivelyMastering@gmail.com

Web: kevinlivelymastering.com

STUDIO 42 42 E. 15th St. Site 42 Edmond, OK 73013

405-205-9133

Web: studio42okc.com

VEUX STUDIOS

6729 Well Oak Cir

Oklahoma City, OK 73127

323-486-3193

Email: booking@veuxstudios.com

Web: veuxstudios.com

OREGON

CRAZY DAISY PRODUCTIONS

8540 S.W. Monticello St. Beaverton, OR 97008

541-517-1458

Email: info@crazymastering.com

Web: crazymastering.com

FOSTER MASTERING

4711 S.E. 26th Ave.

Portland, OR 97202

503-222-9444

Email: ryan@fostermastering.com

Web: fostermastering.com

Basic Rate: please call for info

FUTURE DISC LLC

15851 N.W. Willis Rd. McMinnville, OR 97128

213-361-0603

Email: steve@futurediscsystems.com

Web: futurediscsystems.com

Contact: Steve Hall or Laura Hall

Basic Rate: please call for rates or more info

LIQUID MASTERING

1393 W 40th Ave, Eugene, OR 97405

541.286.5434

Email: liquid@liquidmastering.com

Web: liquidmastering.com

Contact: Thaddeus Moore

Basic Rate: $10/min of processed audio, Stem Mastering, and Mixing available. Contact for budget details. Any Style or Genre, Film Audio, Podcasts, Forensic Recovery. 24 years experience in audio.

SPECIALIZED MASTERING

15438 S.W. 81st. Ave.

Portland, OR 97224

503-866-8383

Email: dana@specializedmastering.com

Web: specializedmastering.com

Basic Rate: please call for info

PENNSYLVANIA

MASTERING HOUSE INC., THE Elverson, PA 484-802-2624

Basic Rate: please call for info

Web: masteringhouse.com

SI STUDIOS 945 S. Main St. Old Forge, PA 18518 570-457-0147

Web: sistudios.com

Basic Rate: please call for info

TREELADY STUDIOS

1256 Franklin Ave. Pittsburgh, PA 15210 412-816-0300

Email: info@treelady.com

Web: treelady.com

Basic Rate: please see web

RHODE ISLAND

STATIC PRODUCTIONS

North Kingstown, RI 02852 401-267-8236

Email: record@staticproductions.com

Web: staticproductions.com

Basic Rate: please call or see web

SOUTH CAROLINA

SIT N SPIN STUDIOS 10 Michael Dr. Greenville, SC 29611 864-586-0557

Email: sitnspinstudios@gmail.com

Web: sitnspinstudios.com

Contact: Matt Morgan

STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. West Columbia, SC 29169 803-794-9300

Email: info@strawberryskys.com

Web: strawberryskys.com

Basic Rate: call for rates

VLADO MELLER MASTERING

c/o Truphonic Studios

816B Saint Andrews Blvd. Charleston, SC 29407 917-902-9909

Email: peterwest@VladoMastering.com, Vlado@VladoMastering.com, PaulWest@Vladomastering.com

Web: vladomastering.com

Contact: Peter Cho, Paul West, Vlado Meller

TENNESSEE

BLACK MATTER MASTERING 601 Lemont Dr. Nashville, TN 37216 615-424-6509

Email: dan@blackmattermastering.com

Web: blackmattermastering.com

Services: Mastering, lacquers, vinyl etching

Contact: Dan Emery

Basic Rates: Check Website for Rates

DAVE TOUGH PRODUCTIONS Nashville, TN 615-554-6693

Email: dave@davetough.com

Web: davetough.com

Contact: Dave Basic Rate: $75/hr - specializing in internet mastering

DIAMONDISC AUDIO 8161 Highway 100, Suite 262 Nashville, TN 37221 615-662-6870

Email: info@diamondiscaudio.com

Web: diamondiscaudio.com

Contact: Doug Diamond

Basic Rate: Mastering Package ‘D’ - $30/song

EUPHONIC MASTERS

Arlington, TN 901-266-6075

Email: info@euphonicmasters.com

Web: euphonicmasters.com

Basic Rate: please call for info

FOXWOOD MASTERING 108 Foxwood Ln. Franklin, TN 37069 615-297-3929

Email: info@foxwoodmastering.com

Web: foxwoodmastering.com

Basic Rate: please call for info

Be Prepared For Label Meetings

After all the years of legwork you finally got the ear of an A&R who wants to bring you in for a meeting. While this is exciting, there are some things you should know to better prepare yourself for this meeting.

First and foremost, show up on time. If you’re 10 minutes early, you’re late. Being punctual shows you’re professional and respectable. A perfect example is Big Pun signing his first deal with Loud Records. In a time where rappers were notorious for showing up late to meetings, Big Pun arrived at his meeting early, and without ever playing a record in the meeting, Steve Rifkind signed Big Pun.

On the other hand, showing up late is a sure-fire way to have your meeting cut short or canceled altogether. I was told a story from a former boss; he and his partner were on their way to a meeting in New York City, got caught in standstill traffic coming into the city and were 15 minutes late. Even after calling the office in advance, when they arrived, they were told the meeting had been canceled. Luckily enough, they were afforded a second chance. They left three hours early for this meeting and again got caught in standstill traffic, which led to them being late again. This time when they arrived, they were told to sit in the lobby. After sitting in the lobby waiting for hours, they were told the person they were meeting with couldn’t meet with them. They never got another meeting.

Second, understand what type of meeting you’re having. It could be an introduction to meet you and your team in-person. It could be a meeting because you have reached a tipping point in your career. It could be a meeting to present you with paperwork and/or finalize paperwork. It’s important to know this information beforehand as all these meetings require different preparation.

Third, be prepared for the meeting. Walk into the meeting knowing who you are meeting with and what you are looking for. There is nothing worse for the label representatives than to meet with artists who have an unrealistic view of what they are looking for. I heard a story about an artist walking into a meeting so high they didn’t know which label they were meeting with. On top of this, the amount they were asking for was substantially more than

what they were worth. These factors made the label second guess their decision to proceed further with this artist, and the label decided on not doing the deal.

Along with being prepared personally, be prepared professionally, too. Come to the meeting with a USB containing your EPK, most recent songs, high-res photos, and blog features. The label representatives in the meeting will have done their research on you before the meeting, so while they will be aware of this information already, it is good to have to show them in person. If they ask you to sing or play an instrument, be confident, this is a common request. Take this request as a compliment, because they are genuinely interested in hearing you perform live. I have seen multiple occasions when a label representative has come to the studio and signed an artist based on their live performance.

Fourth, do your research on the label so you understand what they are looking for from their artists. Don’t get discouraged if you don’t receive the reaction you were looking for. Not all music is for everyone, and sometimes the music you play doesn’t resonate with the person sitting across the table. This doesn’t mean your music isn’t good, it just means the music isn’t the right fit for the person you’re meeting. A group like Griselda has outstanding music, but if they take a meeting with Ultra, the meeting might not go well. Not because the music isn’t great, but because a boom-bap hip-hop group isn’t the right fit with a dance label.

Fifth, respect everyone in the room. Treat everyone as if they are the head of the label. Conducting yourself in the right manner during these meetings can be the difference between getting signed and getting passed on. Listen to the label’s needs, business ideas, and plans. This information will show you their outline for working with you. However, remember you are courting them as much as they are courting you. Ask questions and see if your ideals align with theirs. Just as they want to illustrate why you should sign with them, you want to illustrate why they should add you to their roster.

Sixth, come to the meeting on brand. This is your opportunity to show the label who you are as an artist. As is true with everything, you

only have one chance to make a first impression. The label needs to see you as you see yourself. Don’t overextend or misrepresent yourself, however. Early antics by Kanye and Diddy in meetings only worked because that’s who they were, and the outward expression was passion. On the other hand, Kendrick Lamar’s quiet nature is who he is, and staying in that character has worked wonders.

After your meeting, congratulate yourself on a job well done. If you were

disappointed with a particular aspect, note that for the next opportunity. Everyone fails, and successful people probably fail more than anyone. It’s how you deal with failure that sets you apart from the rest of the crowd.

FRANK DEMILT is a 10-year music industry veteran currently working in a consulting role as the Head of A&R/Artist Development for the Grammy award-winning music publishing company Water Music Publishing where he has collaborated with numerous Grammy & Emmy nominated/winning artists and producers. In 2021 he authored his first book, The Blueprint: A Bible For Becoming A Success Performing Artist In The Digital Age, to provide artists with a complete guide to building successful careers. He currently resides in Nashville where he works with the commercial partnerships team at Sony Music Nashville/ Provident Music. Email: demilt11@gmail.com

“Showing up late is a surefire way to have your meeting cut short or canceled altogether.”