Music Connection Directory of Studios

www.musicconnection.com

Vol. 36, JUNE 2012 • U.S. $3.95/$4.95 Canada

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

contents June 2012 • Vol. 36 • No.06

Departments08. Close Up09. Assignments10. New Toys14. Book Store16. Up Close18. Studio Mix23. Business Affairs26. Signing Stories28. Song Biz32. Film/TV/Theater34. Mixed Notes

Reviews52. CD Reviews54. New Music Critiques56. Live Reviews

48. Recording Studio Survey

Cover Stories

Which styles of music are dominat-ing the studio world? We surveyed over 100 US studios to find out.

By Bernard Baur

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

June 2012 www.musicconnection.com

20. Producer Crosstalk: Ross Hogarth..............................................................By Rob Putnam22. Exec Profile: Michael Caplan, Elm City Music...........................................By Andy Kaufmann30. Songwriter Profile: Jonathan Mann...........................................................By Dan Kimpel50. Industry Profile: Matt Urmy, Artist Growth...............................................By Andy Kaufmann86. Tip Jar: Getting In The Zone: Composing for TV & Film...............................By Brian Tarquin

By Bernard Baur

Recording Studios Sound OffThough it is sometimes assumed that professional

recording studios cater to signed, well-funded artists, we've discovered prominent studios that are attracting

indie bands by offering services that go way beyond production. Some even operate like mini-labels,

developing artists and promoting careers. And many are offering internships for techies.

44

Maroon 5

By Dan Kimpel

Cover Photos: Mark seliger

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Music Connection is the place to go to get great lists of industry contacts, like this national, one-of-a-kind directory of professional recording studios. As always, our exclusive information has been updated and expanded for 2012.

One of the few rock-oriented bands to make an impact on hit radio these days, Maroon 5 have learned to grow in directions the band never imagined. In our exclusive Q&A, singer Adam Levine and guitarist James Valentine discuss their band’s creative decisions that led to the new album, Overexposed.

Compiled By Denise Coso

Directory of Recording Studios

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www.solidstatelogic.com

Work Faster. Sound Better.

Advanced DAW Control :: High Speed MIDI Over Ethernet :: Transparent SSL Mic Pre’s ::Classic SSL Analogue Processing :: Depth & Definition With SuperAnalogue™ Summing

:: Studio & Artist Monitoring :: Streamlined Session Management

Hybrid workflow solutions. This is SSL.

Matrix.Integrate your analogue outboard

Nucleus.In-the-box pro project studio

Duality.Large-scale commercialstudio heaven

From our integration of the project studio environment, through to our pioneeringlarge-format studio consoles, SSL has defined the hybrid approach to modernproduction workflow where the very best classic SSL analogue consoletechnology meets high-speed DAW control.

AWS.Mid-scale commercialstudio powerhouse

Music_Connection_May11_Layout 1 17/05/2011 13:00 Page 1

PUBLISHER

E. Eric Bettelli

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ASSOCIATE PUBLISHER/SENIOR EDITORMark [email protected]

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DIRECTOR OF ONLINE OPERATIONSMukul [email protected]

ASSOCIATE EDITOR/VIDEOGRAPHERAndy [email protected]

CONTRIBUTING EDITOR Bernard [email protected]

SONG BIZDan [email protected]

FILM, TV, THEATERTom Kidd [email protected]

FEATURE WRITERSAndy [email protected] [email protected]

GENERAL MANAGER/ ADVERTISING DIRECTORE. Eric [email protected]

OPERATIONS MANAGERDenise [email protected]

MARKETING/ADVERTISING MANAGERBrian [email protected]

SENIOR ACCOUNT EXECUTIVE Hillorie [email protected]

ADVERTISING ART DIRECTORGary J. [email protected]

ARTIST & READER RELATIONS Mira [email protected]

NEW TOYSBarry [email protected]

DIRECTORY EDITORDenise [email protected]

EDITORIAL INTERNJaimie Pierson

CONTRIBUTING WRITERSJessica Aves, Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Gary Graff, Eric A. Harabadian, Oscar Jordan, Andy Kaufmann, David Kershenbaum, Tom Laurie, Kim Mack, Jose Martinez, Michael Mollura, Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Daniel Siwek, Matt Schild, Laurier Tiernan, Albert Vega, Catherine Veit, Sarah Whited, Jonathan Widran, Ellen Woloshin.

PHOTOGRAPHERSJessica Aves, Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Scott Dworkin, Kevin Estrada, Jennifer R. Grad, Oscar Jordan, David Klein, Merry Kotte, Tom Laurie, Thomas Long, Kim Mack, Cindy Miley, Michael Mollura, Dean Moore, Paula Muñoz, Anne O’Neary, Jessica Pace, Scott Perham, Rob Putnam, Lisa Elaine Scott, Daniel Siwek, Dave Stone, E. H. Tiernan, Albert Vega.

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

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With over 150 styles and sizes to choose from, a VocalBooth can be found in the most prestigious professional and home recording studios worldwide.Call to request a quote today (866) 330-6045

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CLOSE-UP

By Jonathan Widran

Artfully combining his background as a musician, Grammy nominated engineer and years as the Director of Advanced Recording Arts at Full Sail University, John Lowson invites home-studio based musicians to

learn the fine art of recording and engineering via his new 3D Virtual Reality Studio, the crown jewel of his newly launched online school, the University of Recording Arts and Music (http://uramonline.com, http://urameducation.com). He introduced the online program at NAMM in January.

The basic pitch of his Recording Engineer 101 Online Program is simple: Take a walk through his highly detailed 3D replica of a World Class Record-ing Studio and learn the ART of Recording Music. Drawing on his many years of experience—which includes engineering for John Fogerty, Ricky Martin, Brian Wilson, Roger Waters, Richie Sambora and many others—Lowson is dedicated to “keeping the digital platform in functionality while employing the arts in attitude and comprehension.” His passion, he adds, is to give art back to people via this platform.

Launching his studio career during the analog era, Lowson was some-what dismayed when the digital revolution began taking place in the late ‘90s and the musicality and art component was sacrificed to the digital world where cold perfection was often emphasized over warmth feeling. “We speak to that in our education,” he says. “Our goal is to engage people in a way where they can feel the music intimately, yet think, act and perform like a real recording engineer or producer.”

With the interactive virtual studio and video content of a real world studio as the foundation, URAM allows students to “walk around” the facility using their mouse. The basic program (offered for a very reasonable $199 intro-ductory rate) offers four comprehensive lessons that are divided into three sections. Lesson one covers the introduction to the recording studio, the re-cording console and audio recorders. Lesson two tackles signal flow basics and sound processing. Lesson three covers microphones and the recording of drums and guitars, while lesson four is an introduction to Pro Tools and recording with the technology.

“What we do is take people into a virtual classic analog studio, where we teach the basics and real art of recording,” says Lowson. “So when they start using a software program like Pro Tools or Logic, they have a greater foundation for approaching it in a musical way. Once they understand the basics of how to run signals through a chain and record to a hard drive, they can apply this to any software program. The idea is to engage the user and hopefully create the kind of excitement that can only happen in a profes-sional recording studio.”

Before launching the online school this year, Lowson created two com-prehensive instructional DVDs. The Fast Start DVD System offers 160 min-utes (4 lessons) of powerful home/pro recording studio training. Instruction is provided by Lowson himself along with a certified Pro Tools expert. Both retail for $74.95. The Fast Play DVD System features instruction on specific instruments by some of the industry’s most renowned veteran musicians: Mike Garson, piano, keyboards; Carl Verheyen, guitar; Kenny Aronoff, drums; and Gail Ann Dorsey, bass. The “Real Application Live Drums” ses-sion covers everything from rock drums to jazz drums, funk drums, double bass and drum tuning, while the “Real Application Guitars” includes an intro-duction to chords, playing lead solos, jazz progressions, blues guitar, “rock out” and “jam session.”

“Any other DVD on education and recording is tutorial based,” Lowson says, “but what we do is unique because we start the student in a world class recording studio and teach them principles of the art of recording, down to details like how to get a great guitar sound using two or three mics; how to get a killer drum sound and make it as big and small as you want; and how to use a compressor to get a fatter sound that’s more comprehensive. We teach the science behind the art in a fun and exciting, interactive way.

“Everything we do keeps the focus ‘on the art of music.’”

Contact 888-876-2509, office 949-225-4795

John Lowson


ASSIGNMENTS

Sparkart, an Oakland, CA-based web development company, has appointed Elyse McKenna as the Vice President of Sparkart South. McKenna will now be responsible for growing overall company revenue and increasing profitability. Her new duties include hiring additional staff and overseeing the quality control of

customized website designs, campaign development, online maintenance and social media consulting services. McKenna has experience in booking, marketing and public relations, having worked with a variety of companies including Third Coast Artist Agency, LAB Media, Greg Oliver Agency and Brite Entertainment. For more information you can contact McKenna directly at 615-712-9297, [email protected].

Elyse McKennaVP, Sparkart South

Sparkart

Audio system solutions company, EAW (Eastern Acoustic Works), has announced the expansion of its Application Support Group (ASG) with the appoint-ment of Adam Shulman to the position of Installed Systems Support Manager, effective immediately. In this newly-created role, Shulman will manage ASG

support for all permanently installed sound systems, while longtime ASG resource Joe Fustolo will focus on mobile production customers. Prior to joining EAW, he had served as a Senior Consultant and Project Manager for SIA Acoustics (New York, Los Angeles and India) dating back to 2003. For more information on this appointment, please visit http://eaw.com.

Adam ShulmanInstalled Systems Support Mgr.

EAW

Adrian Moreira has been promoted to Senior Vice President, Promotion, RCA Records. He previously held the title of Senior Vice President, Adult Music, for the label. This expanded role will now include the Top 40 format and he will aid in the operations of the promotion department as a whole. Moreira has been with RCA

since 1999 beginning his tenure as Senior Director, Modern Adult before taking over the department as VP of Adult Music and most recently advancing to Senior Vice President of Adult Music in 2009. While at RCA, he has worked with a diverse mix from the label’s roster including Christina Aguilera, Kings of Leon, Carrie Underwood, Dave Matthews Band, Kelly Clarkson and Adam Lambert, among many others. Contact [email protected].

Adrian MoreiraSenior VP, Promotion

RCA Records

Prism Sound, manufacturer of test and measurement instruments, audio inter-faces and processors for the recording and broadcast markets, has opened a European Sales and Distribution office in Munich, Germany. Bernhard Nocker, formerly Sales Manager for Prism Sound products at DIME Medientechnik GmbH,

has been appointed to head the Munich office. Operating under the Prism Media Products Ltd banner and covering the territories of Germany, Austria and Switzerland, the new office will handle all Prism test and measurement, music recording and production products including the dScope Series III audio test instrument, ADA-8XR multichannel converters and the Orpheus FireWire interface. Contact Nocker at [email protected].

Bernhard NockerMunich Leader Prism Sound

Alex Hodges, CEO of Nederlander Concerts, the preeminent operator and programmer of several premier venues in California, has tapped Germaine Lathouwers as his Executive Assistant. In her new role, Lathouwers will provide key support for Hodges, handle high level projects and coordinate administration

duties for Nederlander Concerts’ talent buying team, headquartered in Los Angeles, CA. Prior to joining Nederlander, Lathouwers worked for Peter Grosslight, SVP Worldwide Head of Music at William Morris Endeavor. As Grosslight’s Executive Assistant, she garnered extensive client relations and coordinated travel for artists such as the Spice Girls, Luis Miguel and the Eagles, among others. Contact [email protected].

Germaine LathouwersExecutive Assistant

Nederlander Concerts

Solid State Logic (SSL) has announced the addition of Mark Davidson to the company in the newly created role of Global Systems and Solutions Business Development Manager. Davidson brings a wealth of industry experience, making him a valuable addition to the SSL team. Based in Munich, Germany, he will be

responsible for the SSL global strategic business development strategies in relation to the SSL Integration I/O and Workstation Partner Products (WPP) product portfolio, with a focus on, but not restricted to, the broadcast and system integration markets. For more information, contact [email protected], 631-659-2309, ext. 17.

Mark DavidsonSystems/Solutions Bus. Dev. Mgr.

Solid State Logic

Isolation Network, Inc., parent com-pany of INgrooves Fontana and INscribe Digital, has announced the appointment of industry veteran Vincent Freda to the position of Chief Operating Officer. The announcement was made by the company’s Founder and CEO, Robb McDaniels. In his new role, Freda will

spearhead the combined operations of the company’s three business units, oversee the ongoing expansion of the company’s ONE Digital Dis-tribution platform, and assist McDaniels with oversight of the finance and engineering groups. Prior to joining the company, Freda spent over two decades at Universal Music Group. Contact [email protected].

Vincent FredaChief Operating Officer

Isolation Network

Jody Fisher, who has published over 20 instructional jazz guitar books, has been named Chair of LA Music Academy College of Music’s guitar department, while Bill Fowler is appoint-ed to Co-Chair. Fisher has taught Jazz courses and private lessons at LA Music Academy since 2006 while Fowler has

been an instructor there since the school first opened in 1996. “We are so excited for Jody and Bill to lead us into the next era. They are true music educators and just perfect to head our fast-growing guitar department,” says Tom Aylesbury, president of the Academy. For more information, email [email protected].

Jody FisherChair, Guitar Dept. LA Music Academy


NEW TOYS —BARRY RUDOLPH [email protected]

B. Hefner Company Licensed by Fender, B. Hefner

Company of Whittier, CA, specializes in producing USA-produced custom-made Fender guitars and bass bodies and necks using a complete database of all the original measurements of Fender’s classic instruments. B. Hefner recreates the exact, very specific shapes of Strat and Tele type bod-ies made in any year from the ‘50s, ‘60s through the ‘70s and at a fraction of the cost.

Just as having a customized Fender Strat or P-Bass built, you can specify any model of P-Bass, Stratocaster or Telecaster body—even semi-hollow bodies in your choice of tone woods such as: alder, swamp ash, rosewood or maple. For a certain look, tone and/or lighter weight, order highly figured maple finished in either polyurethane or nitrocellulose lac-quers and in vintage or custom colors.

You can order necks quarter-sawn in birds-eye or flame maple with your choice of maple, rosewood or ebony fingerboards and with different nut widths from 1 5/8 to 1 3/4-inches wide and your choice of different nut materials from Corian, graphite or bone. Order any neck radius’ playable by normal, human-sized hands, fret wire in nickel, silver or stainless from vintage to jumbo gauges. All neck profiles from vintage to modern with your choice of clay, white, black, abalone or mother-of-pearl fret markers are also doable—just specify.

Prices for bare Fender bodies range from around $125 to $450 while unfinished rosewood and maple necks start at $132. B. Hefner caters to guitarists who know all their preferences with regard to specific and arcane details that affect their playing comfort, performance and sound. Difficult to imagine “Frankencasters” guitars are possible instantly; impossible combi-nations might take a little longer.

Visit http://bhefner.com.

Retro Instruments PowerstripPhil Moore’s Retro Instruments’ Powerstrip pays homage to the sonic

beauty and simplicity of the classic, all-tube audio processors of yester-year. As if transported by a time machine from 60+ years ago, Powerstrip sounds like the “best in class” of those post WWII units but is designed and built to be more reliable, consistent and useable for recording any source in these modern times.

Powerstrip’s signal chain starts with a pre-amplifier input section with your choice between microphone, line and the built-in tube DI box. Following is a passive program equalizer based on the original Pultec EQP-1A revered as one of the most beautiful sounding equalizer ever.

There is a variable-mu tube compressor circuit that works like the Fairchild 660 limiter but combines both the input pre-amp gain and the compression amount built into one control knob. Setting mic gain and compression at the same time is brilliant. Getting a great sound is nearly instant especially vital for capturing great (and sometimes fleeting) musical and vocal performances in the studio.

I found Retro Instruments Powerstrip to work great for any source or microphone; I had no problems recording my low output AKG D190E dynamic to my modern and super high output Audio-Technica AT-4081 active ribbon.

Retro Instrument’s Powerstrip is an awesome and powerful tool that requires some “woodshedding” and experimenting in the studio to use and learn its full potential. I’ve turned it on three times in the three weeks I had it and each time I’ve come up with something unique.

If subjective terms like “vibey” or “colorful” are requirements of your recording gear and are not listed in the spec sheet, Retro Instruments Powerstrip Recording Channel is for you. See http://retroinstruments.com/powerstrip.php for more details.

Yamaha/Steinberg CMC Controllers

Steinberg’s six CMC Controllers are a family of futuristic looking USB-powered controllers with pads, knobs and faders that communicate to either Steinberg or Nuendo DAW systems. This modular controller sys-tem is expandable to handle the specific needs and workflow of your music produc-tion process and style.

Each of the CMC units take up the same 4 x 7-inch real estate on your desktop, have a flip-out stand to angle them upward if desired, and easily joined together using the included joint plate. Five of the six CMC controllers sell for $149 while the CMC-CH is $199; both the CMC-QC and CMC-PD units also work with any DAW.

The CMC-CH Channel Controller provides hands-on access to VST instrument settings, solo and mute,

bypass EQs, sends, inserts, channel freeze, panning etc. The cool-looking LED-based touch fader controls the volume level while displaying the fader position.

If you’re a “sir-mix-a-lot-in-the-box” mixer, get the CMC-FD Fader Controller with four touch faders and LED-based metering for simultaneous control over four channels. Up to four FD units can be combined together for 16-channels of fader, solo and mute functionality.

My favorite is the CMC-QC Quick Controller because it comes with a software editor to map any of its 13 buttons and eight rotary encoders in three different modes: EQ, Quick Control and MIDI.

On-stage DJs will love the CMC-PD Pad Controller with its 16 backlight-ed pads that change color in response to how hard they are hit and triggers MIDI notes and selects preset volume response curves.

The CMC-TP Transport Controller has 17 buttons: a touch slider to jog or shuttle through the project, tap tempos, scroll, zoom and the CMC-AI Cubase Advanced Controller fully enables and configs Steinberg’s univer-sal AI Knob to control any control element in Cubase.

The modular approach works! Buy what you want and nothing you don’t. But if things change, know you can always add and/or repurpose what you already have. See http://steinberg.net.

Fanny Wang 3000 Noise Cancelling Headphones

Up until now my experience with noise cancelling phones as been weak. Either they sound good but the noise is not fully “cancelled” or the other way around. The 3000 Wangs are excel-lent at both jobs: sounding great and removing near-ly all outside noise—people talking, A/C rumble, low flying cows—up to 95 percent of all ambient noise that can intrude on your listening plea-sure at any headphone volume—super loud or very quiet.

There are microphones inside each of the L/R ear cups that measure invasive noise you might hear within these closed head-phones and two more mics outside of the 3000’s that measure ambient noise levels. Using these four microphones and clever electronics, a canceling signal is generated that effectively attenuates all outside noise by up to 20dB.

All this technology requires two AAA bat-teries that last about 48 hours continuously unless you’re always cranking the built-in stereo 5-watt amp. These phones go louder than loud but know the 50-mm dual layer tita-nium drivers would never complain.

I found them to sound best with just about every iPhone/iPad/iPod and they have an in-line remote microphone for talking on your iPhone 4s too. Love the “Facebook” feature: Wang’s DuoJack is an in-line headphone splitter for “sharing” your music in full stereo with a friend.

The 3000s are especially “dialed-in” to sound good without the active noise cancelling turned on and a little louder with it activated. The third position on the lighted switch on the right ear cushion pumps up the bass 6dB. With a rigid protective zippered carrying case, airline headphone adapter and batteries included, the Fanny Wang 3000 Active Noise Canceling Headphones sell for $299.95. Read more at http://fannywang.com.

http://www.bhefner.com

http://www.retroinstruments.com/powerstrip.php

http://www.retroinstruments.com/powerstrip.php

http://www.steinberg.net

http://www.fannywang.com/


ASSIGNMENTS


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

NEW TOYS —BARRY RUDOLPH [email protected]

Sennheiser XS Wireless SeriesSennheiser

has the new XS Wireless Series with features essential to art-ists, musicians, and public speak-ers—anyone in front of an audi-

ence seeking good sound from a reliable

wireless system. The entry-level XS Wireless series uses

wideband FM analog technology to transmit audio and comes in five

application-specific variants. There are two vocal handheld models, an instrument

system for guitar or bass, and two presentation sets with clip-on or head worn microphones. All

systems are offered in five different frequency ranges including two for the US market.

All XS systems include the EM 10 true-diversity receiv-er, capable of tuning up to 960 different UHF frequencies and loaded with 8 frequency banks each with up to 12 factory-preset channels. The EM 10 is a half-rack space unit, powered by an included external power module.

Since the Sennheiser XS is a frequency-agile system, it includes an intuitive scan function that quickly locates an unused frequency and syncs the transmitter and EM 10 “on the fly,” in the event your current frequency becomes unusable.

I evaluated the XSW 65 system comprised of the EM 10 and the SKM 65 handheld transmitter and recorded vocals and narration into Pro Tools 10 HD and found the sound to be first class. I found no sonic advantage between using the mic level or line level outputs. Any FOH mixer will love the easy and fast access to the EM 10’s front panel output level control; a great feature for quickly resetting high/low wireless mic levels amongst a stack of wireless receivers.

In my studio’s locale, there are several sources of RF interference—multiple cell phone towers, a police station’s antennas—and I had no problems at all. I liked the EM 10’s squelch operation/design; it worked perfectly during my 400-foot max distance test. To prevent embarrassing (yet common) failures in wireless audio, all XS Wireless transmitters have up to 10 hours of battery life and the handheld’s lighted power switch and the recessed mute button prevent accidental audio loss. The SKM 65 has the “correct” feel, balance and modern-look any singer, MC or DJ will immediately love. On so many levels beyond its excellent sound, price point and professional styling, the new Sennheiser XS is a big winner. See http://sennheiserusa.com for more.

GoGo Tuners Chromatic Pedal Tuner

GoGo Tuners has released the GoGo Pedal Tuner. This has the same footprint as a stan-dard size stomp pedal yet the whole top of the pedal is dominated by a huge LCD display. You would have to be blind to miss this ped-al’s bright orange color and GoGo’s signature “Green you’re in tune, Red you’re out” indica-tor. The whole display changes—including the note from green to red. With GoGo, tuning is a binary decision yes/no: a note is either in tune or out of tune.

We tested and compared GoGo to other common pedals and found it to excel at pitch accuracy when the note you’re playing is dead on true pitch. Being chromatic, sharps and flats are indicated too.

Maybe the biggest feature for a tuner at this price point (about $60) is its ability to easily read octaves and harmonics instantly. We then plugged in a Fender P-Bass and it worked great without any problem. We also noticed that when the note is in tune, the display persists—stays lit read-ing the note until the string naturally dies out—a great feature when you look away from it momentarily—it’s still indicating and then dims with no note signal to conserve the battery.

The GoGo uses true bypass, shuts off the tuning function when not tuning and mutes when tuning. There is a slight delay when engaging the button when the tuner electronics self-calibrate and the display lights up—maybe 1/2 second—then the note in play shows up. It has a crush proof metal chassis and includes a second power jack on the back to run another pedal from the unit’s single internal 9-volt battery. Visit http://gogotuners.net.

Popper Blocker “P” and Wind FilterA Popper Blocker is a small round screen that fits inside the screw-on

metal windscreens of handheld dynamic or condenser microphones. At $4.95 each or 10 for $44.95, it’s inexpensive, easy to use and retrofits quickly into the microphone you’re about to use on stage—even if you only “own” the mic for the time you’re on stage! They are made out of a non-metallic, especially fabricated material that seems to last forever.

With the Popper Blocker inside, performers can work the mic closer and take advantage of the proximity effect (a bass buildup effect with close to cardioid microphones) without worrying about plosives from

Ps or excessive breath noises. Popper Blockers fit into Shure, Audix, AKG, Audio-Technica, Sennheiser, Electro-Voice, Samson, and other microphones and do a great job of lessening pops—even when “eat-ing” the microphone in order to be heard. Popper Blockers are available from Full Compass at http://fullcompass.com but also check out http://popperblocker.com.

Planet Waves American Stage CablesMade in the US, Planet Waves American Stage instrument cables are

designed to convey the actual sound of your instrument reliably and are built to last. Also notable is that, compared to other instrument cables, I found them to be neutral in sound: they do not add or subtract from the sound of your gui-tar or bass.

The oxygen-free cable stock uses a 22AWG copper center conductor and the 95 percent tinned copper braid along with the conductive PVC under-jacket improves handling noise and the rejection of electro-magnetic interference—radio signals—solar flares—bad vibes.

American Stage Cables use all metal Neutrik plugs that feature their patented Geo-Tip that compensates for the wide differences in the mating jack’s arm length in all 1/4-inch jacks common in vintage to modern amps. Its specially designed shape locks it into any jack and prevents disconnec-tion. The cable’s gold tip provides a super-low electrical resistance that guarantees a better, and more consistent sound.

I liked that these new Neutrik plugs are shorter in total length and have rubber gaskets that compress (when plug’s jacket is tightened) to prevent moisture ingress. Planet Waves’ In-Line solder process is akin to weld-ing—it uses specially formulated RoHS-compliant solder to permanently bond the wire to the plug’s terminals. To prove it, I unscrewed the plug’s crush-proof sleeve (with a wrench) and found the only way the cable is coming off the plug is by cutting it off.

Planet Waves American Stage Cables come in lengths from 10ft to 30ft and sell in a range of $39.99 to $69.99 MSRP. Learn more on these at http://planetwaves.com.

http://www.gogotuners.net/

http://www.fullcompass.com

http://www.popperblocker.com


It goes by many names and comes in many flavors. With vintage pedals, however, finding that sweet spot isn’t so easy. You have to deal with noise, signal loss, and tones that can change with battery life or when things heat up on stage. Some of those old Germanium-powered effects are more sensitive than a train-car of nitro.

Tech 21’s all-analog circuitry unifies righteous, vintage tones and modern dependability. Utilizing the best individually-selected, hand-biased discreet components, each unit delivers a wealth of hot driven tones. A powerful Boost function kicks in up to 21dB of clean boost, which can be used independently from the effect. It is a true post-boost to punch up the volume of the tone you dialed in, not to simply smother it in excess distortion.

Give your pedalboard a boost with some tasty vintage distortion, dirt, grit, chunk, fuzz, overdrive, grind...

When you need a huge, 360-degree, room-filling bass tone, step up to the Bass Boost Fuzz. Get the fat, gritty sounds of the ‘60s fuzz bass and put some musical rage in your low-end. When you need more focus and edge, dial in the +CLEAN control to add just the right amount of direct tone to your mix.

www.tech21nyc.com

Distortion Dirt grit chunk fuzz overDrive grinD…

Boost BAss fuzzVintage pedal hounds know that germanium fuzz sounds are way sweeter than silicon fuzz…but only when the temperature is just right and doesn’t spike. The Boost Fuzz solves that problem by nailing that creamy germanium tone, consistently all night long. This SAG control allows notes to bloom and sing at your command, for dynamic, organic performances.

Boost fuzzPutting an overdrive pedal in front of a hard-pushed amp has been the secret weapon for generations of guitarists wanting to punch up the midrange and add sustain. The Boost Overdrive is packed with voluminous amounts of screamin’ tone. Just hit the Boost switch to go bigger and badder. The unique SPARKLE control adds upper harmonics for an open, snappy sound.

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By Jonathan Widran

Bringing a total of 50 combined years of music industry experience to their unique partnership, Kevin Teasley and Al Machera—founders and owners of Decibel Creative, Inc. and its movie trailer focused sub-

sidiary, Distortion Music & Sound Design—met in 2006 while working on individual projects at the famed Westlake Recording Studios in West Hol-lywood, CA.

Though they knew immediately that they wanted to find a way to collabo-rate, the opportunity finally presented itself in 2009, when the duo began working on custom music projects for TV and film trailers. In 2010, they formalized their business partnership in creating Decibel Creative, which soon acquired full interest in Distortion Music, Teasley’s movie trailer music company.

“Our unique business model is that we run two very professional and bou-tique music companies out of a legendary L.A. recording studio,” says Ma-chera, a veteran engineer-producer who mostly handles the business and production side of things; Teasley handles the composing and songwriting.

“We have seven world-class recording studios of various sizes and an endless supply of the world’s best musicians, vocalists and audio profes-sionals available. This allows us to deliver our clients incredible sounding music and sound design very quickly. ... If our clients ask us to write a song or score a cue, we deliver them a song or cue that sounds like it got pulled right from a hit record. If we are creating sound design to add to the Distor-tion catalog, it is of the highest quality and sounds amazing. Kevin is an incredible composer and musician who understands the movie and TV in-dustry very well. He knows how an editor thinks and knows what they need to do their job. Our formula is simple: deliver great music on time and in the desired technical specifications.”

Decibel Creative, Inc. is the team’s mother company and tv/custom scor-ing brand. Under the Decibel name, they have done promos and trailers for: Fox’s 24 (promo), EA’s Sims 3 video game (trailer), Lord of the Rings video game (trailer), Sons of Anarchy (promo), 20th Century Fox’s Rio/Chiquita Banana cross promotion, MGM Hotels, HBO’s Brave New Voices (promo) and BET’s Changing Lanes (promo). Most recently they created three songs for Twilight: Breaking Dawn Part 1. One of which made the soundtrack.

Founded by Teasley in 2007, Distortion Music & Sound Design enjoys a healthy (and growing) share of the movie trailer music business. The com-pany has a well balanced catalog of music and sound design that is licensed in many of the large movie trailers. Some of their more high profile projects include the trailers for Harry Potter and The Deathly Hallows, Part 2, Final Destination 5, Twilight: Breaking Dawn, Part 2, Snow White & The Hunts-men, Safe House, The Amazing Spiderman, This Means War, The Aveng-ers, the Indiana Jones Blu-ray collection, Wrath of the Titans and Abraham Lincoln: Vampire Hunter.

“When we talk about creating music and sound design content,” Teasley says, “we mean fully realized cues, music that can range from being full on orchestral pieces to a pop song you’ll hear on the radio, or a shorter cue to key in on a specific emotion or scene. Our work runs the gamut of the full musical and cinematic spectrum.

“The key to our success is thinking ahead and making sure we are al-ways ahead of the curve. We watch trends and make a conscious note of the types of films coming out the following year. We’ll create music based on that anticipated need and shop it to trailer houses and our many clients knowing there will be a need for it. At the same time we might get a phone call for some custom music, and we often work that way as well.”

In addition to composing for Distortion, Teasley has been musical direc-tor and pianist/keyboardist for contemporary jazz great Jonathan Butler and has worked with everyone from Kirk Whalum, Katharine McPhee, Malcolm Jamal Warner, the Jackson to Kelly Rowland. Machera, who bought West-lake Recording Studios in 2004, has worked over the years with Salt-N-Pepa, Diddy, Notorious B.I.G. and Bone Thugs-N-Harmony, in addition to being part of several start-up digital companies.

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ASSIGNMENTS

AmericAn


STUDIO MIX

18

REDONE STAYS BUSY: Multi-Grammy-winning producer, musi-cian, songwriter and MC cover boy RedOne is continuing to watch his work garner success with the release of his latest three projects which he co-wrote and produced: Far East Movement’s “Live My Life (featuring Justin Bieber),” Nicki Minaj’s “Starships” and DJ Havana Brown’s “We Run The Night.” In addition to the recently released singles, he’s currently working with Jennifer Lopez, Enrique Iglesias, Pitbull, X-Factor contestants Cher Lloyd and One Direction, Taio Cruz, and he’s developing DJ Havana Brown, 7 Lions, Mohombi, Porcelain Black and Nayer through his 2101 Records. To keep up with RedOne’s hectic schedule, visit http://redoneprod.com or follow him on Twitter, @redoneofficial.

FURTADO TEAMS WITH SEV-ERAL PRODUCERS: Multiplatinum artist Nelly Furtado is releasing her newest album, The Spirit Inde-structible, on June 19th. Furtado co-wrote each song on the record, which had her work with an array of collaborators including hip-hop songwriter-producer Salaam Remi

(Nas), pop songwriter-producer Rodney Jerkins (Michael Jackson, Beyonce, Lady Gaga), veteran metal producer Bob Rock (Metal-lica), Dutch DJ and EDM producer Tiesto, rock songwriter-producer John Shanks, and Jamaican reg-gae producer Da Genius. A deluxe version will feature Furtado’s col-laborations with Fraser T. Smith (Adele), producer and Passion Pit frontman Mike Angelakos, and a track featuring the Kenyan Boys Choir that Furtado produced her-self. See http://nellyfurtado.com.

MEMPHIS MAY FIRE WILL RELEASE CHALLENGER: Dallas, TX’s Memphis May Fire are releasing Challenger this sum-mer, a follow-up to the band’s acclaimed Rise Records debut, The Hollow, which landed at No. 1 on Billboard’s Heatseekers chart and at No. 109 on the Top 200 back in April 2011. Challenger was co-produced by Cameron Mizell and lead guitarist-songwriter Kellen McGregor. The album is set for a June 26 release. For an in-studio update and further details on Challenger, head over to http://youtu.be/dRWtEg_4jq4.

// Mickey Hart Stops Into Vegas Studio //

// Billy Mohler Gets Dangerous //

// Everclear Christens Echo Bar //// EAW Hits Grand Slam For Miami Marlins //

Interviewed in MC May 2012

“You have to leave space for people to breathe. So many composers write a horn part that lasts for a minute and a half, which is obviously impossible in one breath. Even string players have to put the bow down from time to time.” —Brent Fischer (Paul McCartney, Michael Jackson)

Producer-songwriter-bassist Billy Mohler has upgraded his home studio with a Dangerous Music D-Box for analog summing and monitoring. Early on in his career, Mohler studied upright bass at both the Berklee College of Music and the Thelonious Monk Institute of Jazz. But he’s found a niche developing artists and producing, especially solo artists and Indie bands. At the 2012 Grammy Awards Gustavo Galindo’s record was nominated for “Best Latin Pop Album,” an album on which Mohler received songwriting credit. Visit http://billymohler.com.

One-time Grateful Dead drummer Mickey Hart stopped into the Studio at the Palms in Las Vegas, NV recently. The percussionist was putting the final minute touches on his new record Mysterium Tremendum. Pictured (l-r): Hart, studio manager Zoe Thrall and engineer Ben Yonas.

Everclear frontman Art Alexakis has been putting the final touches on a new record at North Hollywood's brand new facility, Echo Bar Recording Studios. The 3000-square ft. studio features two control rooms, three iso booths and a 600-square ft. live room—not to mention tons of analog outboard gear. Pictured (l-r): Engineer Bob Horn, Alexakis and engineer Erik Reichers. See http://echobarstudios.com.

At a cost of $515 million and sited on 17 acres, the Miami Marlins built a new South Florida venue featuring a variety of EAW loudspeakers. The stadium has lime-green outfield walls, pink flamingos, palm trees and smiling marlin avatars activated during a home run. Jose Feliciano broke in the stadium by singing the national anthem to an opening-day crowd of 36,601.

http://redoneprod.com

http://youtu.be/dRWtEg_4jq4

http://youtu.be/dRWtEg_4jq4


STUDIO MIX

// T-Funk Teams Up With Kronos Quartet, WAM //

// DB 13 Goes Into The Red At EastWest //

// Leake Upgrades Chicago Studio // // Full Compass Offers Workshop In Wisconsin //

—ANDY MESECHER [email protected]

Women’s Audio Mission (WAM), a non-profit dedicated to the advancement of women in music production and the recording arts, recently partnered with Manley Labs and Telefunken Elektroakustik, who provided microphones for a recording session with the Grammy award-winning Kronos Quartet. Telefunken loaned WAM a pair of ELA M 260s, AR-51s and CU-29 Copperhead microphones and Manley Labs loaned a Manley Gold Reference specifically for the session. The quartet recorded material for their performance of “Women’s Voices,” a concert series featuring female composers and performers from around the world. See http://womensaudiomission.org and http://t-funk.com.

The 13-piece jazz ensemble DB 13, an L.A. Jazz scene staple in the ‘70s, has reformed with many original members to record a new CD. The band features some of L.A.’s top studio musicians. Recorded live, in EastWest’s Studio One, DB 13 is seen here taking a break with composer-conductor-arranger-producer Dennis Dreith, a Studio One veteran. Pictured (l-r): drummer Ralph Humphrey, Dreith and guitarist John Goux.

Veteran engineer Danny Leake has upgraded the SADiE editing system at his Urban Guerrilla Engineers mastering facility in Chicago, IL, to incorporate the latest SADiE 6 software. With more than 40 years experience as a recording, mastering and live sound engineer, Leake has worked with Stevie Wonder, Kanye West, Destiny’s Child, Janet Jackson, Lupe Fiasco, Whitney Houston, Diana Ross and the Police, to name a few. In addition to upgrading to SADiE 6, Urban Guerrilla has also invested in a Prism Sound/Maselec MEA-2 stereo mastering equalizer. For more info, please visit http://sadie.com or http://prismsound.com.

Full Compass Systems—a professional audio, video, AV, lighting and musical instrument retailer—recently hosted a HOW-TO Sound Workshop that brought house of worship sound volunteers and technicians to Full Compass’ 4,200-sq. ft. studio in Madison, WI, for a full day of training. Professional sound engineer, Mike Sokol, taught the nationally recognized workshop. He led participants through a comprehensive, hands-on program of instruction as they worked at dedicated, individual mixing consoles. See http://howtosound.com.

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PRODUCER CROSSTALK

By Rob Putnam

Two-time Grammy-winning producer, engineer and mixer Ross Hogarth got his start in the ‘70s as a musician in New York’s percolating punk scene. He transitioned to live sound engineering and spent many for-

mative years on the road. Looking to broaden his talents, he moved into the studio. He served a stint as chief engineer at John Mellencamp’s studio in Indiana and in his time he’s worked with a diverse range of artists including Ziggy Marley, Melissa Etheridge and most recently Van Halen on A Different Kind Of Truth.

Throughout his career, Hogarth has partly aimed for, partly happened upon, versatility. Perhaps avoiding confine-ment to a particular genre has been the key to his longevity. “It’s been a blend of decision and coincidence,” he explains. “I basically started in the ‘80s engineer-ing records and I was all over the map. It was sort of following the trail I’d es-tablished as a musician being into [jazz musician] Ornette Coleman and the Clash; John Coltrane and Jeff Beck. It’s a bit of a rough challenge sometimes. People might want a rock producer and they look at my discography and they don’t know where to pigeonhole me.”

A significant slice of his pre-production process is shaping songs into con-tenders. This happens by getting at least a rough draft onto tape. “It’s best to talk your way through an arrangement and then have the band record it,” Hogarth maintains. “Then I can play it back and we can hear that those four bars were never needed or a stop at the end of a first verse makes a song lose momentum. A lot of times younger bands need to rehearse that or even take arrangements on the road.”

It’s easy to presume that working on as many records as Hogarth has, there’s little that’s new or surprises him about the process. It’s tempting but misleading bait. “I learn something new on every project,” he asserts. “That’s the beauty of working with young and older talent. The most crucial thing about this business is that it’s about relationships. I continue to learn that.”

Hogarth has worked with a number of legacy artists: John Mellencamp, Mötley Crüe and Van Halen, for example. He finds that he must remain mindful of an act’s history when stepping into the studio. “Bands like the Doobie Brothers and Van Halen; they’re in the DNA of our American music experience,” he observes. “My gig is to do something that’s fresh but still makes everyone feel [like] when they were kids. With Van Halen, I wanted to bring something that kept the sound iconic but also something that hadn’t yet been achieved. I focused on Eddie’s guitar sound using two heads and two cabinets to create a width not yet attained naturally. I hope I nailed it.

“In every recording, I try something new,” Hogarth continues. “So on the next gig I’ll have one more tool in my tool chest. One of those things hap-pens to be microphones. I work a lot with Royer and Mojave, both of which are designed by David Royer. I’m a gear junkie. I love Phil Moore’s Retro Instruments. His Sta-Level and 176 [compressors] are incredible.”

Hogarth established Hoax Productions in 1986. One of his aims is to find and develop new talent. He spent about a year working with Las Vegas band 12 Volt Sex on its first album. Even before the band was signed, it managed to score some airplay. “They were called ‘The best unsigned band in America,’” he recalls. “They landed a deal with RCA. After signing, that’s where the story changed. But that wasn’t within my control. I did my job. I made a record with a young band and I got them signed. Part of my job is to propel artists.”

Following completion of A Different Kind Of Truth, Hogarth began work with Steve Lukather on his new album and will soon step into the studio with Australian band Sick Puppies. He welcomes contact from unsigned artists via his website http://hoaxproductions.com.

Contact Mike Kato / BK Entertainment, [email protected]

Van Halen, Mellencamp, Sick Puppies

Close your eyes and listen. Just push play.

Prove by example, not by discussion. Do what you love. If I didn’t love this anymore I’d do something else.

The three most important things he’s learned in the business are:

Ross Hogarth

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EXEC PROFILE

Michael Caplan President

Elm City Music Years with Company: Six monthsAddress: 678 Campbell Ave. West Haven, CT 06516Phone: NAFAX: NAWeb: http://elmcitymusic.netE-mail: [email protected]: Adrenaline Mob

“I’m looking for real artists. First of all, I want you to write your own songs. And I’m looking for people

who are special. I always will.”

—ANDY KAUFMANN

BACKGROUND: Although he ran the venerable Strawberries record store chain under the tutelage of Morris Levy, Michael Caplan’s reputation is the product of an un-precedented string of off-beat yet equally successful signings. Living Colour, Los Lonely Boys, Keb’ Mo’, Ginuwine and Matisyahu were all championed by Caplan during his 25-year run at Sony. Having already created Or Music and One Haven, the Connecticut native’s third label, Elm City Music, is off to a roaring start with the release of metal band Adrenaline Mob’s debut, Omerta.

On the Horizon:When my son turned 18 and went away to college, I no longer had the necessity of living in New York City. I was eager to return home and purvey my craft from here. The way technology is, it’s no longer necessary to be in New York or L.A. or London. And I’m only an hour and a half away from the city, so it works out. That was sort of the genesis for Elm City Music. My partner is Vic Steffens, who owns Connecticut’s leading recording studio, Horizon Music. I’ve known him for 30 years. Whenever I would come home, I would stop over at the studio and say, hey, where’s my desk going to be? And he would say, whenever you’re ready. And finally, I was.

Buying Local:While we’re a multi-national label, I want to do a bit of local work. We have a full recording studio and I want to develop some talent from here. Connecticut, New Haven spe-cifically, had a lot of influence on me being in the music business. There’s a certain musical character to this town. My favorite kind of music is progressive rock and it was always a big part of this town. Tower of Power is a band I got to work with. When their new records come out, they chart Top 200 in San Francisco,

which is where they’re from, and then Hartford and New Haven. The store that I worked at from the time I was 16 on, Cutler’s Record Shop, is still a thriving mom and pop store on the Yale Campus. It was a hotbed of musical education.

Today’s A&R:When Ahmet Ertegun found Pro-fessor Longhair, it was like, “fly down to Louisiana and get the guy to take you up the Delta River and sign the guy in a hut.” A&R has changed quite a bit since then. It’s no longer about hearing from a lawyer about

some wonderful band in Butte, MT, and having to get on a plane and go there. Now, when someone’s telling me about a group, I can immediately look them up on YouTube, Face-book, etcetera. It’s a lot easier to glean the information because it’s all available. Unfortunately, the filters aren’t as good as they used to be, because there are so many people who are able to get to first base. Being able to figure out who can go to second and third and come home is a little more difficult.

Instinct:I’ve always gone by the gut. Most of the things I’ve been known for and signed over the years were things that were on the path less traveled, whether it was a black, heavy metal band with Living Colour or three Mexican brothers with Los Lonely Boys or a Hasidic reggae rapper with Matisyahu. I’ve always looked for the different thing.

Adrenaline Mob:My favorite band of all time is Gen-esis and my favorite existing band is Dream Theater. I’ve almost signed them at various times, but I’ve always stayed in close connection. When Mike Portnoy left the band, he started a few different things. He gave me one of the projects he

started and said, Michael, this is the band for you. I listened to it and then I listened to the other couple [projects] he was involved with and I was like, Adrenaline Mob! This is the one I want! This is the one that works.

No More Clubbing:Going to clubs is an inefficient way to find things now. Obviously, being good live is a big part of what I look for. But I’m not stumbling into a bar to have a couple of cocktails and do cocaine in the bathroom and all of a sudden see something on stage and

it blows me away. Those days are gone.

How to Pitch:We’re not set up on our website yet. We will be using SoundCloud or one of the various tools. The best way is to email me a link. Tell me where to go. Tell me how to find you. And I shall. Send me an email with a link to your best shot and hopefully it’s something to stream and not download and take up my hard drive. And try to make your intro as succinct as possible.

Business and Pleasure:Progressive rock is my hobby. I’m very happy that my hobby is sep-arate from my business. It could be like being a numismatist in a coin factory—it’s a very dangerous thing. Before I came in to talk to you, I was listening to this Italian band, Profusion, that I love. One of my favorite records of the year is by the band Quidam. And I’m not signing them. I often lend a hand to some of those bands, but it’s about making money at the end of the day. Identify Yourself:I’m looking for artists who have a unique identity and are not part of the TV wheel that’s going on now, The Voice, American Idol, X Factor.

I’m looking for real artists. First of all, I want you to write your own songs. And I’m looking for people who are special. I always will.

Contractual Obligations:When I started my first indie label, Or Music, I used a boilerplate I had taken with me from Sony. And then it was like, why does this thing have to be 65 pages? I’m doing fairly egalitarian deals. In a lot of cases, I’m licensing instead of owning. I’m doing, where appropriate, profit splits. And I’m not doing 360 deals. I will ask for a piece of whatever I help with, but it may be 90 or 120 or 130. Not 360. I always thought 360 was born from this theory of, well, we’re already fucking up your record side and not making any money, so could we fuck up the rest of your business, too, and take a piece of that?

Keeping Small:With Or Music, we tried to be like a big name. It was 2003, so we still operated a bit on the paradigm of the old. We might have gotten too big too fast. That’ll happen when you sell three million records. I’m going to try and stick to more of a boutique, but I have a wonderful relationship with EMI Label Services for my distributor. It’s not just a straight distribution thing. They’re able to provide muscle and aid on things where they’re needed. I have the ability to sell millions of records, but I don’t want to be in a situation where I have to sell millions of records.

Meaning Something:I like when a label stands for some-thing. I bought the first Bruce Spring-steen record because it was on Columbia. And I bought it without having to hear it. I’m not going to be like Victory and be all one kind of music; I like to operate in many different musical forms.

Embrace Technology:I’ve always embraced technology. Back when MP3s were starting to happen, I had the Diamond Rio from Japan, the original device that had 32 megabytes. I remember going up to people who were working at Sony and saying, your life’s about to change forever. And having the chief executive look at it and say, people are never going to buy CDs on the Internet. He couldn’t even fathom Amazon physical, let alone a digital business. Those who don’t heed the past are doomed to repeat it.

Breaking the Mold:I may have low self-esteem, but I’m an egomaniac. I have sold 30 million records in my time. I look for things that I’m passionate about and are unique. I don’t go down the same path as everybody else. When I signed Living Colour, there were other people chasing them, too, and I was like, are you sure you want to sign this? I like it. Most of the things I went after, nobody else wanted. You can trust me, there was no feeding frenzy when Matisyahu was playing at Jewish high schools.


BUSINESS AFFAIRS


BUSINESS AFFAIRS

Music Connection’s Business Affairs delivers up-to-date

information about the sign-ings of new artists, significant developments at major and indie labels, as well as news of managers and attorneys who are active in the A&R aspect of the music business. So that MC can provide the most current information possible, please send any industry news, buzz or rumors that need to be verified to [email protected].

OPPS• Legendary Guns N’ Roses gui-tarist Slash has partnered up with Guitar Center to find opening acts for his upcoming “Apocalyptic Love” tour. Slash will handpick 20 unsigned bands to open up for him on each of the stops along his tour this fall, granting them the opportu-nity of a lifetime to open up for one of rock’s greatest guitarists. Through June 30, unsigned bands across the United States are invited to sub-mit their music tracks at http://gcon stage.com. The bands handpicked by Slash will be announced in Au-gust.

• Multiplatinum music producer and former A&R exec Jeff Blue is seek-ing new artists with great material. Blue is currently an A&R consultant for Atlantic Records (Warner), and is responsible for discovering, sign-ing, co-writing and producing such acts as Linkin Park, Macy Gray, Limp Bizkit, Korn, Hoobastank and Daniel Powter, to name a few. When you partner with this music industry veteran, you become part of a team that has produced over 140 million

record sales in all genres worldwide. Blue guarantees Music Connection that he will listen to every single sub-mission. You can visit http://jeffblue music.com for additional details and contact information.

• Eye in the Sky Collective has an-nounced the launch of a newly de-signed website, http://eyeinthesky.org. The Austin-based organization provides an alternative model for creating, funding and distributing music through an artist collective. Eye in the Sky has built a new sus-tainable model for the music industry with a strong focus on the future of music in the digital age. They pro-vide an ecosystem to empower in-dependent artists with the tools and resources necessary to build a long-term career, while allowing artists to maintain the rights to their music by fostering direct-to-fan relationships.

• Great Unknowns Presents (KG UP 106.5) is accepting tracks for airplay. The radio show features the finest emerging independent music artists.

If you want to be on a platform where people love discovering new music, this is the place. What the program doesn’t accept are dated, unprofessionally produced, and low budget amateurs. Each song must be uploaded or emailed at 256 kbps or greater for best quality. If it sounds like it belongs on the radio, chances are KGUP will play it. Check it out at http://greatunknownspresents.com.

• The Hollywood Music In Media Awards (HMMA) has launched the “Hollywood Gig Network.” This program is a revolutionary promot-er and artist opportunity. Artists that submit to the HGN database just ONCE, will stay there perma-nently for promoters and bookers to browse and book into showcases, festivals and other live performance events. Pay-To-Play practices are

not tolerated in this program. Additionally, promoters & bookers

can enroll to become HMMA licens-ed Showcase Coordinators, produc-ing local showcases in their territory under the HMMA moniker, and make money for themselves AND the art-ists. Once promoters sign up, they’ll receive the tools, methods, tuto-rial and technology for uniquely suc-cessful events. For more informa-tion, just check out the HGN at http://hollywoodgignetwork.com/artists.

LABELS • RELEASES • SIGNINGS

• Multiplatinum Grammy-winning artist Alanis Morissette will release her highly anticipated seventh stu-dio album, Havoc and Bright Lights on Aug. 28 via Collective Sounds/Sony RED. Produced by Guy Sig-sworth (Björk, Madonna, Seal) and Joe Chiccarelli (Tori Amos, Elton John, My Morning Jacket, U2) and recorded in Los Angeles, the album marks the songstress’ first release in four years. Fans can purchase the album’s first single, “Guardian” through iTunes prior to the release.

“This record is a snapshot of what I currently obsess about, care deeply about, and what strikes me at 4 in the morning in my most introspective moments,” says Morissette. “It is my emotional, psychological, social and philosophical commentary through song, and I can’t wait to share it.” For additional information and tour dates, visit http://alanis.com. • The Darkness have premiered the video for “Nothin’s Gonna Stop Us,” the band’s first new song in six years, on RollingStone.com. The song was recorded and produced by the band and Nick Brine in Norfolk, England, and mixed in Austin, TX,

by Chris “Frenchie” Smith. Art-ist Thom Lessner and director Ted Passon created the video for the song. As a “thank you” for all who’ve supported the group with sold-out tours on both sides of the Atlantic, an MP3 of the song is available for free. The song as well as the video can be accessed on the band’s official site at http://theactualdarkness.com. The Darkness kicked off their first North American tour since 2004 to a sold-out crowd in Toronto.

• Goomba Music has announced the signing of American Hi-Fi. The original line-up of Stacy Jones, sing-er-guitarist; Drew Parsons, bass; Jamie Arentzen, guitars; and Brian Nolan, drums is currently recording their as-yet-untitled new album in Los Angeles, CA with an expected worldwide release date this fall. It’s being produced by the band and John Fields (Switchfoot, Jimmy Eat World) and recorded at Stacy Jones’ studio, The Deathstar.

“It feels great to make music with these guys,” exclaims Jones. “Elev-en years in, we feel like a brother-hood. We made this record because we think the world needs a few more guitar bands. We are just doing our small part to keep rock & roll alive!” To learn more about the project, go to http://americanhi-fi.com.

• Legendary rocker John Fogerty will be releasing a new record, ti-tled Wrote a Song for Everyone in the fall—his first on Vanguard Re-cords. The album is a celebration of Fogerty’s iconic songbook, a col-lection of classics and deep tracks from his remarkable canon of hits as well as some brand new songs, performed alongside an array of to-day’s biggest superstars, including Foo Fighters (“Fortunate Son”), Bob Seger (“Who’ll Stop The

Venerable rock band the Cult hit the pavement hard on their 2012 North Ameri-can tour in support of Choice of Weapon, their first new studio album in five years. The cross-country trek is bringing the band’s incendiary rock energy to major and secondary markets across the continent. “This is a very intense, high-energy tour,” says the Cult’s vocalist, Ian Astbury. “The new songs are a sharpened extension of everything we have ever done.” And, Astbury contends, “Our backs are against the wall once again, and we like that. We’re the long shot, so go ahead, place you bets.” For a complete tour itinerary and more information, visit http://thecult.us.

THE CULT HIT THE ROAD HARD

The seventh annual Trinity College International Hip-Hop Festival, the largest festival of its kind in the United States, took place last month. This year’s festival was headlined by Brother Ali, a Minneapolis-based politically and socially conscious artist, and featured a host of supporting hip-hop artists from around the world. The weekend-long festival, free and open to the public, featured art exhibits, performances, lectures, hip-hop dance classes, a poetry slam, a film screening, and a freestyle rhyming workshop. See http://trinityhiphop.com for more details.

TRINITY HOSTS HIP-HOP FEST


BUSINESS AFFAIRS

MICRO-BIO: Voted one of the “Top Music Business Journalists” in the country, Bernard Baur is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.

—BERNARD BAUR

Rain”), Keith Urban, Brad Paisley, My Morning Jacket, Alan Jackson, Miranda Lambert and more. To find out more about the record and ad-ditional guest stars, visit http://van guardrecords.com.

• Ultra Music has announced the signing of one of hip-hop’s most respected producers, DJ Muggs (of Cypress Hill), and the release of his lead single “Snap Ya Neck Back.” Featuring platinum UK rapper Diz-zee Rascal and Soul Assassin’s crew member Bambu, the collab-orative track combines hip-hop and dubstep—an edgy sound that reso-nates throughout the upcoming EP Bass For Your Face, which features guest appearances by Public En-emy frontman Chuck D and many more. For further details, go to http:// ultrarecords.com.

• The buzz surrounding Joan Os-borne’s newest record, Bring It On Home, keeps growing as critics and her fellow musicians rave about the singer’s powerful interpretations of blues and classic rhythm & blues songs. Osborne has sold millions of albums and garnered multiple Grammy nominations throughout her critically and commercially ac-claimed career. In addition to her own headlining tours, she has sung lead vocals for the Dead (formerly the Grateful Dead) and won a Grammy for her performance in the award-winning film Standing In The Shadows of Motown. You can go to http://joanosborne.com for more in-formation.

PROPS• You can own an original bangle-style bracelet, crafted from used guitar and bass strings, donated by over 150 artists (such as Eric Clapton, Jack Johnson and Bonnie

Raitt). They are being sold on the Wear Your Music website at http://wearyourmusic.org with 100 percent of profits going to a charity selected by the artist. • Concord Music artist Tab Benoit has received three awards. Benoit took home top honors as Contem-porary Male Artist and B.B. King Entertainer of the Year; his album Medicine also won Contemporary Blues Album at the premier blues music event in the world, the Blues Music Awards held in Memphis, TN. “It’s such an honor to win the B.B. King Entertainer of the Year award,” Benoit says. “They gave this award to B.B. so many times, it’s named af-ter him. I had a friend who once met B.B. and asked him, ‘Who should I listen to when I first get into the blues?’ B.B. King could have named almost anyone, but instead he said, ‘Tab Benoit.’ That’s why the B.B. King Entertainer of the Year award means so much to me.” For more information and a complete list of 2012 BMA winners, log on to http://blues.org.

THE BIZ• Jack White has launched a new distribution method. Just weeks be-fore the Blunderbuss album release date, Jack White and his Third Man Records released the track “Freedom at 21” as a flexi disc at-tached to helium balloons. They set 1000 records free from the label’s headquarters in Nashville, TN. Part fun and part real experiment, White has always explored non-traditional forms of distribution to get records in the hands of people who don’t visit record shops.

Third Man used biodegradable balloons and all-natural twine to minimize environmental impact. Ac- companying each balloon was a

• A promo video is an essential part of every DIY artist’s package. Without one, getting booked for cool gigs and big events is impos-sible. Well, Josh Weesner’s Stand Up Alone Productions has a soft spot for DIY artists.

• A former artist manager, Weesner believes, “Artists shouldn’t have to pay a lot to get a professional video.” Not only will he work with small budgets, he’s offering Music Connection readers a 30 percent discount.

• Weesner’s company can do post-production work on previously shot footage, or shoot the entire video and edit it for you. “Whatever MC readers need, I’ll help them out.”

• This artist-friendly company specializes in “performance videos, location shoots and special events, as well as industry and contest submissions”

• Weesner has worked with award-winning acts and had his work honored in Spin Magazine’s national “Pop Hits” contest. His com-pany’s motto says it all: “Be Seen. Be Heard. Be Remembered.”

• Visit http://standupalonepro.com, or contact [email protected].

custom post card with instructions for the finders to submit photos, discov-ery location and the date on which the record was found.

According to the label, statistics for similar balloon launches show a recovery rate of approximately 10 percent to 20 percent. To see the launch and track progress, go to http://thirdmanrecords.com/balloon.

• Jampol Artist Management has completed an agreement with the Otis Redding Estate to represent the soul-music legend’s catalog, publish-ing, likeness and brand worldwide. “Otis Redding possessed one of the most powerful, expressive and influ-ential voices in modern music,” de-clares JAM CEO Jeff Jampol, who also manages the Doors, the Es-tates of Jim Morrison, Janis Joplin, Peter Tosh and Rick James, and serves as a consultant to the estate of Michael Jackson.

Jampol continues, “Otis was also a brilliant songwriter, producer and arranger. We’re ecstatic to be in-volved in bringing this icon’s extraor-

Former Guns N’ Roses guitarist Slash thinks that purchasing downloads rather than albums causes fans to miss out on a complete experience. He explains, “There’s a certain excitement that comes when you release a new recording, and a lot of it has to do with the packaging. It’s something that fans used to mill over while listening to the record. Now, with digital downloads you’re like, ‘There’s nothing in it. It’s not even tangible, and the magic is gone.” Hoping to get more fans to buy physical product, Slash recently completed his second solo album Apocalyptic Love. For more on the iconic guitarist, visit http://slashonline.com.

SLASH SEES DIGITAL DEMONS

Have a successful DIY strategy to share? Email [email protected].

dinary work and life to audiences in a host of new ways.” • CD Baby has announced a new partnership with Alliance Enter-tainment, a wholesale distribu-tor of home entertainment audio, video, and software in the United States. CD Baby’s catalog of almost 400,000 titles from over a quarter million artists around the world will now be available for purchase at all online and brick & mortar retail out-lets affiliated with Alliance. Alliance has a market base that includes independent retailers, big box retail-ers, dot-com sites, and vendor man-aged accounts.

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SIGNING STORIES

“There are so many labels that you hear bad things about. We never heard anything bad about Rise.”

Miami’s Thick As Blood formed in 2004. The road to a deal began when the band signed to Eulogy Recordings several years ago. After two records with the hardcore outfit, they set their sights on a label that

wasn’t as specialized and could offer them wider distribution. The band con-tacted Rise Records and an amicable buyout was negotiated.

“We wanted to be with a label that could do more for us,” guitarist Randy Gonzalez explains. “We’d been trying to figure out which one to move to when we went out to record pre-production demos with Nick Jett [of the hardcore band Terror]. He offered to do three demos with us for no charge. If the record companies we sent them to were interested, we could come back and he’d do the full record. When we got home, we sent them to a handful of labels, one of which was Rise.

“There are so many labels that you hear bad things about,” says Gonza-lez. “We never heard anything bad about Rise.”

The band had become acquainted with Jett while touring in Europe. It’s also when they began to hear good things about Rise Records. Perhaps it planted the idea for the move to a new label. “A lot of our friends’ bands had been on Rise and they’d always had good things to say about them,” he says. “I reached out to Craig Ericson, the owner of Rise, and sent him our songs. He replied instantly and told me that he was interested.”

But the band was still under contract to Eulogy so an exit had to be negoti-ated on that end before they could sign with Rise. “The owner of Eulogy was really cooperative and the deal worked out smoothly,” Gonzalez recalls. “It just took a few moments because of the paperwork.”

Thick As Blood’s currently untitled CD is targeted for release sometime late this year. The band took up Jett on his offer to produce it. An ambitious tour has been scheduled that includes Japan and Australia. Once the re-cord is released, a stateside tour will kick off. A new drummer is also being broken in.

——Rob Putnam

Their music kind of takes you back to the days of classic rock and sun-drenched California pop like the Beach Boys, the Byrds and Fleetwood Mac. They’ve been described by National Public Radio as “A vacation

in a song” and Steven Tyler of Aerosmith referred to them as “the Mamas and the Papas on acid.” But the atmospheric and chill-induced choral sound of this Los Angeles, CA quartet was something that evolved quite organi-cally. Brothers Joe and Sebastian Keefe were working with James Buckey in a raw alternative rock ensemble called Unbusted in the early 2000s. The group had a modicum of success with music used in the Farrelly brothers’ film Stuck on You. But Joe, in particular, wanted to graduate from their heav-ily distorted approach for a more lush, sophisticated and vocally arranged kind of sound. Enter the concept of Family of the Year (FOTY) in 2009. Once they established a fresh musical game plan they became a whirlwind of activity releasing a full-length disc called Songbook and a pair of EPs on their own imprint Washashore Records.

Originally from the Boston area, the Keefe brothers were doing very well as an independent act promoting and marketing their music. Relocating to Los Angeles they aligned themselves with fellow Bostonian Wally Gagel. A producer who had worked with such diverse artists as Muse, New Order and the Rolling Stones, Gagel helped the band refine their sound and was instrumental in FOTY getting a deal with tinyOGRE Entertainment. Eventu-ally, tinyOGRE was absorbed by Nettwerk Music Group who have released an EP, St. Croix, and the upcoming full-length disc.

“We didn’t wanna be locked into a situation where you sign with a label and after 10 years you might get your masters back,” comments Buckey. “We’ve all been doing this long enough where we didn’t wanna put the foot-work in to have our music end up on the shelf. Our label offered us monthly stipends, which we liked. And they only wanted one album with the option for a second.”

Look for Family of the Year’s upcoming Nettwerk album, Diversity, slated for release in July 2012.

——Eric A. Harabadian

Thick As Blood Date Signed: March 2012Label: Rise RecordsType of Music: Hardcore/metalBand Members: Gino Vento, vocals; Randy Gonzalez, guitar; Jerry Raymond, guitar; Brandon Stastny, bass.Management: NABooking: NALegal: NAPublicity: Mike Cubillos / Earshot Media, 310-318-8995, [email protected]: http://facebook.com/thickasbloodflA&R: Corey Warning

Family of the Year Date Signed: November 29, 2011Label: Nettwerk Music GroupType of Music: Rock/PopBand Members: Joe Keefe, vocals, guitar; Sebastian Keefe, drums, vocals; James Buckey, guitar, vocals; Christina Schroeter, keyboard, vocals.Management: Coleen Novak, Dan Garnett, Rachel Cragg/Nettwerk Management, [email protected] Booking: A. J. Paul/APA, [email protected] Legal: Heidy Vacquerano/Lapolt Law, 310-858-0922Publicity: Penny Palmer, 323-698-1843, [email protected] Web: http://familyoftheyear.net A&R: Mark Jowett

“We didn’t wanna be locked into a situation where you sign with a

label and after 10 years you might get your masters back.”


SIGNING STORIES

Around 2009, rapper Big K.R.I.T. (real name Justin Scott) caught the eye of Jonny Shipes, president of Cinematic Music Group. Shipes, whose work in the marketing department at Bad Boy led him into man-

agement, had been trying to sign the hustler from Meridian, MS, since 2007. At the time, Scott thought he might get out of the rap game entirely. Shipes made him a deal––partner with him for six months, free of attachment, and see what happened. “That was the first time somebody offered to work for me for free,” marvels the 25-year-old.

K.R.I.T., whose moniker stands for King Remembered In Time, journeyed to New York, where the duo mapped out their direction. Returning home, he shot three videos, including one for “King.” By April, the joint was drop-ping all over the ‘net, including the venerable allhiphop.com. The buzz was enough to get Shipes’ peer, producer Sha Money XL, to reach out.

Listening to some of Scott’s new tracks interested the man who helped make 50 Cent a household name. Reams of performance footage further fu-eled the decision to work with Scott. So too did the many free, self-produced albums Scott had released through his website, particularly K.R.I.T. Wuz Here, the ubiquity of which proved he could gain attention without outside help. Sha Money then convinced Scott to sign with Def Jam.

Although Universal had expressed interest, Scott knew Def Jam was the better home. “[Sha Money] really understood where I was trying to go,” says the country rhymer, whose most important factor in signing was maintain-ing creative control. Scott believes it’s his wide-ranging subject matter (ev-erything from religion to financial troubles to relationships) combined with a relentless work ethic that generated notice to begin with. The hype will continue as his deal allows him to produce freely.

Scott’s recommendations for burgeoning artists include remaining inde-pendent for as long as possible and exposing their early work, warts and all. “People want to know who they’re buying into,” he advises. “Normally, there’s no trail. What about when you weren’t super-jamming or you didn’t have the money to go into a studio?”

Live from the Underground reaches retail on June 5th.——Andy Kaufmann

Taking their cues from such modern harmony driven groups as the Avett Brothers and Mumford & Sons, Durham, NC’s Delta Rae are a six-member outfit that began in September 2009. The group initially were

a four-piece comprised of siblings Ian, Eric and Brittany Holljes and friend Elizabeth Hopkins. Their well-crafted vocal harmonies were, obviously, steeped in family tradition but also draw from classic musical sources like James Taylor, Motown and the Mamas and the Papas.

Their first foray into recording was an EP in 2010 recorded in Eric’s bed-room. They’ve come a long way since then. Through a simple cast of fate

the angelically voiced sextet networked with one of the legends of pop mu-sic. “We did almost no showcasing and we had very little experience with the industry or labels,” explains Ian Holljes. “Our plan was to go independent and build from the ground up.” And, indeed, they did that by raising money for recording through Kickstarter.com and tracking everything at studios in North Carolina and New York City. “But our manager had a very unusual connection to Seymour Stein through a doctor who knew him in Durham,” Ian continues. The doctor put their manager in touch with influential A&R impresario, famous for signing giants such as Talking Heads, Madonna, the Ramones, the Pretenders and many others. Stein agreed to have the group audition for him.

“We showed up and this is the first time we’ve ever done anything like this,” recalls Ian. “He asked us to play and we did something with four part harmonies. About 10 seconds into it he asked us to stop. We thought we screwed up pretty quickly. But he called his assistant into the office and had us play another 45 minutes. It was pretty mind blowing. The whole experi-ence took on a very surreal but natural quality.”

The band finished tracking what would be their major label debut Carry the Fire in December 2011. When they signed with Sire in January 2012 they were wary of what the creative feedback would be from the label. “It was really counter to our impression of what a major label relationship could be like,” Ian says. “They loved the album, and Seymour and Warner Broth-ers have a strong reputation for being artist friendly.”

Carry the Fire will be released June 19th. ——Eric A. Harabadian

Big K.R.I.T. Date Signed: Spring 2010Label: Island Def JamType of Music: Hip-HopManagement: Jonny Shipes / Cinematic MusicBooking: NALegal: NAPublicity: Alexandra Bianchi / [email protected]: http://bigkrit.comA&R: Sha Money XL

Delta RaeDate Signed: January 2012Label: Sire/Warner Bros.Type of Music: Americana/RockBand Members: Eric Holljes, vocals, piano, keyboards; Ian Holljes, vocals, guitar; Brittany Holljes, vocals; Elizabeth Hopkins, vocals; Grant Emerson, bass; Mike McKee, drums, percussion.Management: Adam Schlossman, 412-310-4239Booking: Jordan Burger, [email protected] Legal: Matt Levy / Myman, Greenspan, Fineman, Fox, Rosenberg & Light LLP, 310-442-3585Publicity: Andrew Steinthal, [email protected] Web: http://deltarae.com A&R: Seymour Stein and Eric Mclellan

“We did almost no showcasing and had little experience with the

industry or labels.” “What about when you weren’t

super-jamming or you didn’t have the money to go into a studio?”

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SONG BIZ

SESAC LOVES LOVE @ POP AWARDS ASCAP HONORS STAPLETON AND ANDERSON

BMI LATIN WRITERS HEAT UP MIAMI AMERICA SCORES IS DEVINE

Cricket Jumps to TuneCoreCricket Communications, a leading provider

of innovative and value-driven wireless services, announced an agreement with TuneCore, the largest distributor of digital music with one of the highest revenue-generating music catalogs in the world. The agreement will increase Cricket’s Muve Music library by up to two million tracks and TuneCore artists will now have access to over 600,000 Muve Music customers. A phased rollout of the TuneCore catalog will start immediately and is expected to be complete within Muve Music by the end of 2012.

TuneCore distributes artist’s music to iTunes, Spotify, Google Play, eMusic, AmazonMP3, Dee-zer, Simfy and many other major download and streaming sites for a simple flat fee while taking no rights and no revenue from the sale of the music. Since its launch in 2006, TuneCore has more than 700,000 artist and label account holders, including TuneCore artists: Nine Inch Nails, Drake, Civil Wars, Sonic Youth, Beck, Lil’ Wayne, Jay-Z, Aretha Franklin, Keith Richards, Blood on the Dance Floor, Public Enemy, Willie Nelson, They Might Be Giants, Donna Summer, MGM Studios, Bjork, Moby, Girl Talk, Brian Eno and hundreds of thousands more.

In the past two years, TuneCore Artists have sold over 600 million units and generated over

$300 million dollars in gross music sales and songwriter revenue. To learn more visit http://tune core.com.

Kimbra Caps ISC HonorsThe International Songwriting Competition

(ISC) has announced the winners for the 2011 edition of the contest. The Grand Prize for 2011 has been awarded to New Zealand native Kimbra for her song “Cameo Lover,” entered in the Pop/Top 40 category, taking home $25,000. Now well-known to global audiences as Goyte’s duet partner on the smash hit “Somebody That I Used to Know,” Kimbra previously won the first place ISC prize for the Pop/Top 40 category in 2010 for her song “Settle Down.”

Only 22 years old, Kimbra began writing songs and performing at the age of 10, spending her early years gigging around her native New Zealand. Since then, she has made enormous strides in her career. Her debut album, Vows, was released in 2011 in New Zealand and Australia, and in its first week of release the album charted at No. 3 in New Zealand and No. 5 in Australia (peaking at No. 4 on the ARIA Charts). The album was released in the US and Canada at the end of May.

Visit http://songwritingcompetition.com to see a full list of winners plus details about entering your songs in upcoming events.

Biz Beckons to BayTraMaí Entertainment is hosting the 3rd

Annual California Music Industry Summit (CMIS) at The Hilton Hotel in Oakland, CA, on June 8 - 9th. The event kicks off on Thursday, June 7, at The Stork Club, 2330 Telegraph Ave., Oakland from 6-9 p.m.

CMIS is both a national and international con-ference that is geared toward the education of both established and emerging artists as well as music industry professionals, and an opportunity for professional development and education on the newest trends in the today’s music industry. Attendees will have the opportunity to experience two activity filled days of workshops and panels led by top experts in the entertainment industry. Each workshop or panel is tailor-made for the specific concerns surrounding the entertainment industry and independent artist, leaving each attendee armed with the knowledge to take their own careers to the next level. More information is available at http://tramaientertainment.com.

Adam Lambert: Calling on Hit Makers

Pharrell Williams, Dr. Luke, Claude Kelly, Benny Blanco, Nile Rodgers, Sam Sparro and

Rico Love took home top honors when he was named Songwriter of the Year at the Society’s 16th Annual SESAC Pop Music Awards in New York for his chart success via Kelly Rowland’s “Motivation,” and “Without You,” sung by David Guetta and featuring Usher—who made a surprise appearance. Pictured (l-r): Jacob Luttrell, Song of the Year for “Tonight I’m Lovin’ You” by Enrique Iglesias; Bryan-Michael Cox, Inspiration Award winner; Usher; and Love.

Celebrities put youth in the spotlight at STL Celebrity Voices, a fundraising event benefitting America SCORES St. Louis, MO. Sue Devine of ASCAP received the Legacy Award honoring her support of young artists nationally by spearheading the ASCAP Songwriter Residency @ America SCORES. America SCORES and ASCAP have partnered for six years on this national program, which inspired STL Celebrity Voices. Pictured (l-r): Alonzo “Zo” Lee of the Trak Starz; Sue Devine, ASCAP and Dave Berg, songwriter for Carrie Underwood and Keith Urban.

BMI recently presented a Latin version of their acclaimed songwriter series “How I Wrote That Song” at the Billboard Latin Music Conference and Awards in Miami, FL. Pictured backstage (l-r, back row): Jessica Roffe and Delia Or-juela, BMI; Chino; Nacho; and Porfirio Piña and Joey Mercado, BMI. (Front row): Pablo Villalobos, manager. More details at http://bmi.com.

ASCAP Nashville hosted a No. 1 Party this week to celebrate songwriters Chris Stapleton and Al Anderson along with publishers Sea Gayle Music Publishing, Small Fish Music, Big Yellow Dog Music, producer Tony Brown and UMG Nash-ville on George Strait’s latest hit single “Love’s Gonna Make It Alright.” Pictured (l-r): LeAnn Phelan, ASCAP; Brian Wright, UMG; Liz O’Sullivan, Sea Gayle Music; Anderson; Stapleton; Royce Risser, UMG; Brown; and Mike Sis-tad, ASCAP. Get more details at http://ascap.com.


SONG BIZ —DAN KIMPEL [email protected]

MAX MARTIN HONORED AT ASCAP

POP GOES THE ASCAP

BMI HOSTS ALLMAN BOOK SIGNING

Bruno Mars: pop prince Adam Lambert has enlisted top songwriters for his second full-length release, Trespassing (RCA).

The collection also features the party anthem “Cuckoo” penned by a host of collaborators, among them Oliver Goldstein and former Song Biz profile subject, Bonnie McKee. The crimson-haired McKee, who was recently a guest on Joan Rivers’ Fashion Police, is riding a white hot streak from her multiplatinum Katy Perry co-writes to tracks with Kelly Clarkson. Watch for a CD coming from McKee who is now signed to Epic Records. Read about her at http://pulserecordings.com.

Rose Blooms at NightEmmy-winning composer-pianist Earl Rose

wrote the original score for the acclaimed film American Masters Johnny Carson: King of Late Night. The two-hour documentary, written, directed and co-produced by two-time Emmy winner Peter Jones, is premiering nationally on PBS.

Rose’s knowledge of The Tonight Show is first-hand. Just after entering college, he started working as an NBC page assigned to the program in the late ‘60s. He later progressed to part-time Assistant Music Conductor, directly working on and off for the show both in N.Y. and later in

L.A. with famed bandleader Doc Severinsen, the Tonight Show Band, and a who’s who of guest artists during a 20-year stint. Rose has now returned to write his original soundtrack for the Carson years on The Tonight Show.

The film’s soundtrack, which consists entirely of original music by Rose, is available on iTunes. The DVD was released simultaneously with the show’s airing.

For further infomation, contact Vivien Friedman Public Relations, [email protected].

Mandi Martin: Missed and Remembered

Song Biz notes the passing of longtime song-writer, producer, manager and fierce advocate for songwriters, Mandi Martin. The world-record-holding pinball champion, avid sushi fanatic, and friend to many in the songwriting community passed away at age 67 at her home in Woodland Hills, CA, after a difficult battle with cancer.

Martin was integral in the influential Songwriters Expos, the first-ever conferences held for the songwriting community as produced by the Los Angeles Songwriters Showcase (LASS) in the mid-‘70s and continuing through the mid-‘90s in Los Angeles. She also worked as an editor on the organization’s monthly publication The

Songwriters Musepaper, and was an active volunteer for NARAS and many other industry organizations.

A Facebook page, “Mandi’s Prayerhouse,” has details about the impact of this longtime supporter on the Los Angeles songwriting community and her incalculable influence on legions of friends.

Honua Music: New HomeAfter 17 years with Rondor Music, and the last

11 under the Universal Music Group, publishing executive Ron Moss decided he was ready to create his own musical world. Honua Music’s co-founder is Norwegian producer Axident who has worked with Tricky Stewart, Akon, Wallpaper and Semi Precious Weapons.

To learn more about Honua Music, visit http://honuamusic.com.

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

BARACK, DAVID AND BACHARACH IN HARMONY President Barack Obama honored the legendary songwriters Hal David & Burt Bacharach for their classic songs “Raindrops Keep Fallin’ on My Head,” “Close to You,” and others recorded by artists spanning Dionne Warwick, the Carpenters, Alicia Keys and the cast of Glee. The prez presented the songwriting duo with the Library of Congress Gershwin Prize for Popular Song. Pictured (l-r): Obama and Bacharach.

ASCAP presented its annual pop awards at a glittering dinner and reception held at the Renaissance Hotel in Hollywood, CA. Pictured (l-r): Natalie Maines of Dixie Chicks; Carly Simon, ASCAP Founders Award Honoree; and Paul Wil-liams, ASCAP President and Chairman.

Pictured at the ASCAP Pop Awards: Randy Grimmett, ASCAP Executive Vice President of Membership; Paul Williams, ASCAP President and Chairman; Max Martin, ASCAP Songwriter of the Year; Sue Drew, ASCAP Vice President of Pop Rock Membership; and John LoFrumento, ASCAP CEO.

BMI hosted songwriter-musician Gregg Allman at the signing of his new autobiography, My Cross to Bear, at their Nashville, TN, offices. BMI’s Jody Williams (left) and Clay Bradley (right) present Gregg Allman with a Million-Air Award for his song “Melissa.”

SONG BIZ Songwriter Profile

By Dan Kimpel

It is a rare creator who is immune to the dreaded writer’s block, but Jonathan Mann––known as the “Song A Day Guy”––might be the exception. The singer-songwriter has written, video recorded and posted one song a day

for the past three years, over 1,150 songs for 12,200+ subscribers with 7.5 million video views and counting.

His songs reveal a wellspring of inspiration. “I’m a big fan of first thought/best thought,” says the Vermont native turned Brooklyn, NY resident. “You have to turn off the part of your brain that is shrieking in protest at every little thing that it perceives you’re doing wrong or is derivative or bad in some way. If you write something bad it’s not the end of the world.”

His eclectic subject matter ricochets between personal idiosyncrasies, politics, society and science. “My most popular videos are all topical,” says Mann. “The connection between what is popular and what I think is a good song is not one to one. My better songs might go under the radar. I might spend a week on topical songs, then I’ll turn off for another week and write more personal ‘what I’m feeling at the moment.’”

With the release of his full-length, A Song A Day: The Album, Mann has created an enduring anthology of compelling songs that far surpasses any notions of songsmith as sideshow attraction. And clearly, he wants to be more than just a footnote in the Guinness Book of World Records.

Mann’s productivity has been noted by outlets as diverse as CNN and The Rachel Maddow Show and on websites for ABC News, The Huffington Post, Tech Crunch and Boing Boing. He serenaded Silicon Valley when his song, “The Worst Jingle Ever,” won a Microsoft sponsored jingle competition and the late Steve Jobs opened his “Antennagate” press conference with Song A Day #561 - “The iPhone Antenna Song.” Mann was also com-missioned to write birthday songs for Apple co-founder Steve Wozniak and TED co-founder Richard Saul Wurman with the video screened at the Conference Ted Med.

With an expectant audience anticipating his latest blast, Mann’s creations come fast and furious. Traveling with only a baritone ukulele, he can create songs and videos on the fly. “I film myself with a camera and upload to the laptop. At home, I have my rig and keyboard, bass, electric guitar and a bunch of instruments so it can be more elaborate. But these days all you need is a laptop, and you’ve pretty much got all of the media at your fingertips––it’s endlessly distracting.”

At age 12, Mann was already expressing himself in songs. In college, he taught himself to record and his loftier ambitions were realized with The Last Nympho Leprechaun, a rock opera that he co-wrote. In grad school he produced a second rock opera based on the Super Mario Brothers.

Next came “GameJew,” casting Mann as an observer and participant in worldwide video exploits as he traveled from Los Angeles to Ghana to Vienna, where he was an artist in residence. An 18-day sailing voyage re-turned him to the US and the Song a Day project.

For his full-length release, Mann enlisted guest musicians Thomas Hughes and Nick Krill of the Spinto Band and Matt Payne of the Glowing Stars plus 30 additional collaborators who joined in both studio and through remote recording for titles that include “Sweaty Girlfriend,” “Happy Asexual Reproduction Day,” and “Mix Scalp Genius.” The project was funded through loyal fans on Kickstarter, who kicked in over 13K.

Mann is still expanding on his Song-a-Day concept, and would like to mount a live performance of the entire songbook––a marathon that he estimates would take over 50 hours to complete.

“One little song can lead to other avenues,” Mann says. “Song a Day is like advertising, a constant stream of me promoting myself as a songwriter.”

But beyond the barrage of songs, Mann says that his intentions are sincere. “Maybe it’s quirky fun and silly, but these songs are genuine; an honest representation of how I feel.”

Contact Tiffany Youhanna, LaFamos PR, 323-668-9383, [email protected].


UNIVERSAL MASTERING STUDIOS

REFINE YOUR CREATION WITH US

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C l ien ts In c lude : Lady Gaga • Red Hot Ch i l i PeppersAshlee Simpson • Will.I .Am • Celine Dion • Kanye WestStevie Wonder • B.B. King • Chris Botti • Flo Rida • WeezerLil Wayne • Neil Diamond • Aerosmith • The Racanteurs


FILM•TV•THEATER

DROPSTony Award winner for Best Musical, Mem-

phis is now on a US tour through May 2013, hit-ting most major cities, including Los Angeles, CA, where it will preside over the Pantages Theatre from July 31 - Aug. 12th. The musical is set in the smoky halls and underground clubs of the segre-gated ‘50s, where a young white DJ named Huey Calhoun falls in love with everything he shouldn’t: rock & roll and an electrifying black singer. Mem-phis is an original story about the cultural revolu-tion that erupted when his vision met her voice, and the music changed forever. Info about the Los Angeles stop is at http://BroadwayLA.org or by phone at 800-982-2787. Tickets may also be purchased in person at the Pantages Box Office and all Ticketmaster outlets. With too many tour stops to list here, visit http://memphisthemusical.com for a complete update.

The Rock ‘n’ Roll Dreams of Duncan Christo-pher is the quirky and infectiously fun soundtrack to the film of the same name. The movie was shot entirely in Oklahoma, the tale takes place in Tul-sa, OK, and all the bands on the soundtrack are from the state. The music consists of tracks by: Colourmusic, Sherree Chamberlain, Chey-enne, Ryan Lindsey, Ithica, Johnny Polygon, Mason Remel and Vandevander. It also in-cludes some original film score segments and two original tracks from the fictitious King Arthur & the Legends; and lastly, a live karaoke track by Duncan Christopher. For complete information, contact Jeff Cloud at Velvet Blue Music, 714-963-3521 or [email protected].

Shout! Factory and Vans Off The Wall have released No Room for Rockstars, The Vans Warped Tour Movie on DVD. Directed by Parris Patton (Amazing Journey: The Story of the WHO) and produced by Stacy Peralta and Agi Orsi, the film is a feature documentary culled from more than 300 hours of film shot on the 2010 Vans Warped Tour, from the kids in the van playing parking lots to gain notice, to the veteran stage manager whose life was saved by the tour, to the musician who cross-es over to mainstream success while on the road. A historical retrospective or concert film this is not! See http://noroomforrockstars.com.

The new PBS special Chris Isaak Beyond the Sun Live! showcases Isaak in a personal trib-ute to the glory days of the legendary producer Sam Phillips and his Sun Studio in Memphis, TN, and the music created by Isaak’s musical he-roes and influences (Elvis Presley, Jerry Lee Lewis, Johnny Cash, Carl Perkins, Roy Orbi-son and others). Isaak recaptures the spirit of the original songs with his own brilliant band of stellar musicians, while revealing the heart and soul of his own deeply rooted musical identity. The spe-cial is part of a wave of programming premier-ing on PBS stations beginning June 2nd. Check local listings for airtimes in your area. For more information, contact Lucy Sabini at Vanguard Records, [email protected] or 310-829-9355 ext. 137.

PROPSHollywood Reporter Magazine and IM Global

have chosen premiere 3D art director Meredith Day at Dreamland-3D.com to design and pro-duce their dimensional interactive front cover for Day 1 of the prestigious Cannes Film Festival. Promoting the release of the Reliance/IM Global action feature Dredd in the Fall of 2012. An award winning entertainment industry veteran, Day is considered a pioneer in 3D, having invent-ed and patented multi-ple 3D cameras since the mid 1980s. She is also known for her ce-lebrity projects includ-ing 3D autograph cards of Didi Benami and Ja-son Castro for the 2011 Finale of American Idol. Day is also known for being the first to use backlit album art dis-plays in record stores in the late ‘80s. For full in-formation, contact Mere-dith Day at Dreamland-3D, 310-562-5696.

The 43rd Nashville Film Festival took place April 19-26 and welcomed the director, producer, composer and lead actor from the film I Am Not a Hipster. The Film Musicians Secondary Mar-kets Fund (http://fmsmf.org) awarded its annu-al Best Collaboration - Director/Composer award for the film’s score. Attending the event were Ron Najor, producer; Joel P. West, composer; Destine Cretton, director; Scott W. McKinlay, FMSMF; and Dominic Bogart, lead actor.

Emmy nominated composer Robert Duncan, the singer gaining notoriety for his performance on the main title theme for FX’s Terriers (http://youtube.com/watch?v=BVHOn-S82ms) is com-poser for the new season of Castle, which pre-miered Sept. 19 on ABC. His work as a compos-er can also be heard was the driving force behind Anchor Bay’s The Entitled and Lionsgate’s Shattered starring Gerard Butler, Pierce Bros-nan and Maria Bello. His TV work includes Buffy the Vampire Slayer and Point Pleasant, all pro-duced from the legendary Devonshire Studios in North Hollywood, CA, where musical greats such as Kurt Cobain and Michael Jackson once recorded. For complete information, contact Jordan von Netzer at CW3PR, 405-250-0914 or [email protected].

Tony Award winner Best Musical Memphis

Chris Isaak


FILM•TV•THEATER

OutTAKE

Actor/Rapper/DirectorEmail: Email: c/o Arpi Ketendjian at Sunshine Sachs, [email protected]: http://theartofrap.com Most Recent: Something from Nothing: The Art of Rap

Artists at the top of today’s entertainment world don’t survive by doing only one thing well. Recognized as the godfather

of gangsta rap, Ice-T is also known as an actor (Law & Order: Special Victims Unit), a reality star (Ice Loves Coco) and now, with the release of Something from Nothing: The Art of Rap, Ice is now a movie director as well.

“When I started acting, I always said one day I want to make and direct a film,” Ice tells MC. His debut plays close to his heart and heritage. The Art of Rap is a tribute to those who followed his lead. It is a film filled with insights and per-formances from such genre defining artists as Afrika Bambaataa, Big Daddy Kane, B-Real and Bun B. It is also an exploration of the many lives of Ice-T.

“I capitalize on opportunities, but you got to do one thing at a time,” Ice says. “It’s not like you have to start off doing 20 things that I do now. I was nobody and I started off rapping….Start off doing one thing and concentrate on be-ing good at that.”

What emerges in The Art of Rap is a better understanding of, and a tribute to, an original American art form that brought poetry to a new generation. Ice feels strong about giving back to those who have given him so much. “I think people that are part of (hip-hop) are always looking to give back and solidify the scene,” he says. “So many people in the movie say, ‘this is where I came from.’ You can’t turn your back on that EVER.”

Knitting Factory Entertainment (KFE), best known for its musical heritage, is in serious ex-pansion mode. Company CEO Morgan Margol-is, the son of an actor who started at Knitting Fac-tory as a bartender, has signed an agreement with IBE (Intelligent Brand Extension) to launch a global entertainment lifestyle collection. This collection will produce apparel; audio and elec-tronic equipment; skate decks and snowboards among other things. KFE also owns a record la-bel which has reissued the entire catalog of Af-robeat godfather Fela Kuti (and co-produced the Tony-nominated Broadway musical FELA!), and the recently Grammy-nominated Femi Kuti re-lease. The label has also partnered with Parti-san Records, a Brooklyn-based indie label with artists such as Deer Tick and the new Heart-less Bastards release. Recently, KFE added artist management to their enterprises by open-ing KFM - Knitting Factory Management. For complete information, contact Henry Eshelman at Platform Media Group 323-337-9042 or heshel [email protected].

“Delusions,” a number Russ Bonagura wrote specifically for CBS’ The Young and the Restless, has made it into versions of the show airing in the US, Canada and on Soapnet. In addition, “At This Moment,” a song Bonagura originally wrote for a specific scene has been used repeatedly in the past few years for similar scenes on CBS’ The Bold and The Beautiful in the US as well as South Africa, UK and Finland. For further informa-tion, visit http://russbonagura.com.

Elvis Costello and the Imposters’ unique con-cert style wows audiences when he allows his set-list to be chosen by The Spectacular Spin-ning Songbook, a game-show type wheel spun by fans. Now, for the first time, cable audienc-es around the country can join the fun with his first-ever Pay-Per-View (PPV) and Video On De-mand (VOD) special, Elvis Costello & The Spin-ning Songbook, an hour of unannounced guests and surprise songs. It is currently airing in High Definition PPV and on VOD. The PPV concert will be available throughout June at various times in both SD and HD. For more about Elvis Costello, go to his official site: http://elviscostello.com. For air dates visit http://indemand.com. For further in-formation, contact Mike Greenblatt, [email protected] or 610-253-9324.

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

—TOM KIDD [email protected]

OPPSDoes your child have talent? Sign up for That

Kid Can Sing, a new showcase out of southern Louisiana that will televise performances on TV. Dancers and singers will showcase their skill in front a live audience. For more details contact agh [email protected] or phone 225-733-0121.

495 Productions and Doron Ofir Casting, the team behind Nashville Star and Jersey Shore, are looking for mothers who are managing their child all the way to stardom. If your child is the next Tay-lor Swift, Selena Gomez or Daniel Radcliffe, ap-ply at http://momagerscasting.com. Burgeoning stars must be between the ages of 16 and 25.

WorldSound Mu-sic Television laun-ches in North America this month on the new Wisecast HD Tele-vision Network. The new music-centric net-work is an offshoot of WorldSound Pro-ductions, a company formed in 2005 by Ja-net Cucinotti to fulfill a promise to her late friend Laurie Z to do whatever she could to preserve Laurie’s mu-sical legacy. Submissions are currently being ac-cepted via Dropbox or YouSendIt and the network is in the process of creating an app for submissions. For complete information, visit http://worldsound productions.com.

Singer-songwriters and bands are invited to submit their music for consideration to appear on an NBC syndicated TV show. This program airs nationally across the US and is like Inside The Ac-tor’s Studio for up-and-coming songwriters. For complete information, visit http://musicclout.com/opportunity-1081-nbc-show-seeking-songwriters-for-showcase.aspx.

Untapped Talent is a proposed national TV show from The Connexion Group that will cater to all undiscovered talent. The show is now being pitched, and they are looking for interested talent. To let them know what you have, hit the “Like” but-ton at http://fb.com/theconnexiongroup.

Ice-T

Elvis Costello

Fela Kuti

Laurie Z


SIGNING STORIESMIXED NOTES

LUCHA VAVOOM CELEBRATES CINCO DE MAYO: To honor 2012’s “Cinco de Drinko,” Mexican wrestlers and burlesque dancers took the stage at the Mayan Theatre in downtown Los Angeles, CA. Hosted by comedian Blaine Capatch, the event—known as LUCHA VaVOOM—included masked wrestling, saucy striptease, folklorico dancers and much more. See http://luchavavoom.com.

GLITTER ROSE PLAYS DEAD OR ALIVE: Glitter Rose had a rockin’ CD

release party for her latest effort Dead or Alive at the Hard Rock

Cafe in Hollywood, CA. Rose holds residency at the Hard Rock Sunday

mornings between 10 a.m. and 12:30 p.m. for the venue’s Southern Rock Brunch. For more info, check

out http://glitterrose.com.

Katy Perry and President of NARM Jim Donio attend the NARM Music Biz 2012 awards dinner party at the Hyatt Regency Century Plaza in Century City, CA. NARM (National Association of Recording Merchandisers) is a trade association for music retailers; wholesalers; distributors; labels; etc. For more, visit http://narm.com.

WAINWRIGHT’S VOICE SOARS AT THE ORPHEUM: The effortlessly pitch-perfect crooner, Rufus Wainwright, brought good spirits, warm pop romanticism and lush arrangements to L.A.’s Orpheum Theatre in support of his new retro-soul record, Out Of The Game. Throughout the night Wainwright honored his late mother Kate McGarrigle in song and dazzled fans with his signature rich, velvety tenor stylizing, all while backed by two equally gifted soul singers. See http://rufuswainwright.com.

—Cat Veit

WATERS’ BIGGEST WALL YET: Roger Waters took over the giant Los Angeles Coliseum to mount the grandest date of his The Wall Live world tour. Incendiary aircraft, 100-ft. tall dancing puppets, a children’s choir and a talented band showcased what technology can add to an already stellar performance. Hippies, hipsters and classic rock fanatics all came together to witness the building, the marching and the destruction of The Wall.

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SIGNING STORIESMIXED NOTES —ANDY MESECHER [email protected]

1986—The Cult—(Issue #3): “There are groups that take a long time to mature, like Los Lo-bos, and then there are bands that are instant, like A-Ha. The Cult just delivered everything.” So said Warner Bros. A&R exec Jeff Ayeroff of UK band the Cult that had just released its Ameri-can debut, Love. The issue also explored the fate of US bands that, following in the footsteps of Jimi Hendrix, Chrissie Hynde, the Stray Cats and others, had decid-ed to relocate to England to seek their fortunes. MC’s club reviews area spotlighted bass virtuoso Jeff Berlin and his band, which in-cluded guitarist Frank Gambale.

1997—The Cure—(Issue #24): On tour to support the band's ret-rospective, Galore, Cure front-man Robert Smith marveled at the makeup of his bandmates. “If we had to each list our fa-vorite albums of all time, there would be like 25 that at least all of us have in common.There’d be some very strange ones in there too, stuff you would never believe that somebody in the Cure would like!” Elsewhere in the issue, MC spoke to veteran artists Jon An-derson from Yes, Neil Schon from Journey, Craig Chaquico of Star-ship who discussed the solo ca-reer boosts they'd received from the indie label Higher Octave.

Tidbits From Our Tattered Past

1977– 2012

Celebrating

35 Years

MC WORKS ASCAP EXPO: Music Connection was among the exhibitors at ASCAP’s “I Create Music” 2012 Expo. Held at the Renaissance Hotel in Hollywood, CA, the artist-oriented event lasted three days and featured songwriting panels with premier artists, exhibitor booths, live performances and much more. Here are some of the professionals seen at the event. Get the full scoop at http://expo.ascap.com.

(l-r): MC Publisher Eric Bettelli, Broadjam Founder/CEO Roy Elikins and Studio Referral Services’ Ellis Sorkin.

Pictured (l-r): Mira Abas, MC Artist & Reader Relations; Kevin Peterson, Noisy Planet Founder/President; and guest speaker Mark Needham, multiplatinum producer-engineer.

Pictured (l-r): Sennheiser West Coast Sales Manager Tom Salisbury, HomeGrownHits.com partner Tony Arratia and CD Baby Email Marketing Coordinator Brad Bush.

Pictured (l-r): EastWest studio manager Candace Stewart, Entourage Studios owner Guy Paenessa, the Adage Group Senior VP Michael Johnson, former Prince keyboardist Matt “Doctor” Fink and Smile Records president Tony Valenziano.

5 FINGER GET BLACK BAGGED FOR TRESPASSING: In a creative twist to the business-side of the industry, hard rockers 5 Finger Death Punch arrived to a press conference at the Key Club on the Sunset Strip, escorted by a heavily armed military contingent. Black hooded and ready for execution, the band announced details of the Trespass America Festival, which features Five Finger Death Punch, Killswitch Engage, Trivium, Pop Evil, Emmure, God Forbid and Battlecross. See http://trespass america.com.

SAE HOSTS OPEN HOUSE: Audio engineering institute SAE Los Angeles held its quarterly Open House, filled with student sessions, clinics on the music business, dub-step, and hip-hop mixing, as well as a visit from L.A.’s Power106 radio station. After the event, the team from SAE L.A. adjourned to the historic Cat ‘n Fiddle Pub and celebrated the recent approval of SAE's Title IV Federal Funding status. Pictured among the mass of smiling SAE staffers is (in red blazer) producer-engineer/SAE guest instructor Lenise Bent and (with arms outstretched) SAE Director Bridget Gardner.

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It would be easy to attribute Maroon 5’s renewed eminence to Adam Levine’s

presence as a judge on the breakout television hit The Voice. But simply celebrating a lithesome frontman with a penchant for displaying his tattooed body and sparring with a testy diva on a television show is a disservice to an ever-evolving band that is flourishing long after lesser groups would have been knocked out of the ring. Two key members––self-

effacing lead guitarist James Valentine and the animated and hypercharged Adam Levine––reveal a contrast in energies. In this exclusive interview, MC speaks with the pair about the shifting colors of one of the world’s most successful bands.

By Dan KimpelPhoto By Mark Seliger


Music Connection: On your previous records, the band gathered songs and then recorded them within a concentrated time period. How was the conception and recording of Overex-posed a different process?

James Valentine: This album was, “Instead of sitting around for months talking about what we want to do, let’s go fucking do it.” We started going into the studio before we were even done touring the last record.

MC: What is it like envisioning an entire album within the context of what’s become an increasingly singles-oriented world?

Adam Levine: It’s hard to explain. I think the band has always been interested in making good records and it’s been about quality. We’re not concerned with just making a [single]; we want all the songs to be great. We can’t get too far

inside––these are pop songs––but these are the best songs that are right for the record. When you think about it, it’s a shot in the dark

making any album. Where you are creatively is what your record reflects.

MC: Overexposed is executive produced by Swedish wunderkind Max Martin, and illuminates a sleeker strain of

modern pop. Since the sound of the record is ultra contemporary, would you agree it fits the pop playlists of modern radio?

Levine: I don’t pay attention to the radio. That’s the worst thing to do, to write for the radio. I’d rather think what the radio

is going to sound like tomorrow. We’re not in the business of cashing in with pop hits. You

have to feel something when you hear it––I’m not interested in fluff.

MC: James, did “Stereo Hearts,” Adam’s guest spot with Gym Class Heroes, and the band’s subsequent “Moves Like Jagger” with Christina Aguilera, inspire the decision to work with out-side songwriters?

Valentine: Yes. That session sparked the idea that we don’t have to spend a whole year making a record in one place with one guy, so we decided to start collecting songs. We set up camp at Conway Recording in Los Angeles and had different guys coming in and out. We were with them for a good chunk, even though there was some emailing of songs back and forth.


MC: Adam, what was the collaborative chem-istry with this slate of writers and how did the process evolve?

Levine: Songwriting wise, it is our strongest al-bum ever, because we had so many amazing songwriters helping us out. I wanted to take what we do and apply it to what they do. I don’t think there’s ever been an experience like that for any of the parties. It felt new, it felt fresh and it felt different. It didn’t feel like it was being plugged into a formula. I think it yielded some cool tunes. I’m so happy with the record.

MC: Adam, what’s your strength as a writer?

Levine: I’m not the kind of guy who can write out- of-the-park smashes, but I’ve got my moments with melody. I think my strong point as a writer is lyrics. They’re super important to me––every word that’s said and how it’s said.

MC: How has your writing evolved?

Levine: I’m learning to write now. I never knew what I was doing. All of my songs were mistakes. I wrote with the band or Sam Farrar (Phantom Planet). All of a sudden I was songwriter because the record succeeded, but being a hit writer was never part of my agenda. I’m learning the tricks of the trade now.

MC: Such as?

Levine: In my narrow view a good pop song isn’t shrouded in poetry––it’s very matter of fact in a hooky way. There’s no mystery and it’s a bold statement.

MC: Do you use your voice as an instrument when writing?

Levine: I think that’s how I write melodies, me singing melody different ways. Inflection and tone are all part of being able to sell a melody or a lyric ––it’s a tool that I use. Selling the song is a huge part of it. My collaborator Ammar Malik paid me a wonderful compliment. He said, “Everything you sing sounds like a hit.” Not true, but sweet.

MC: Are you a journal guy? A track guy? What tools help you?

Levine: Most melodies and lyrical ideas I write on my iPhone. The best thing I have is the voice memo on restless, sleepless nights. That’s it. It’s a pure and easy way to do it because I’m lazy.

MC: The Voice has been an undeniable platform for Adam and, since the single “Payphone” debuted on the show with 493,000 digital downloads after the band’s performance, clearly for Maroon 5 as well.

Valentine: The band has opened up to a com-pletely new audience. That show ended up doing more for the band in terms of exposure than any-thing we’ve ever done. It’s been incredible.

Levine: I wasn’t sure I could have predicted this outcome. We did the show for numerous reasons, but one was that it would help the band out—but we didn’t know how much it’d help the band out.

MC: How did Wiz Khalifa impact the single “Payphone” with his guest spot?

Valentine: [Songwriter-producer] Benny Blanco had just done some work with him and thought he’d be perfect for the track. Wiz came in and he killed it. Champagne was popping after every verse was done.

Levine: Wiz is cool as shit and I loved working with him. I got to hang with him. Even though he’s really huge it’s just the beginning for that guy. A lot of collaborations seem forced or stale, or it’s a go-to person, but this one’s really cool.

MC: What did Max Martin bring to the project as the executive producer of Overexposed?

Valentine: When you’re working with so many different types of people it’s good for someone to be at the helm to make sure that it all works together in some cohesive manner. Max was great for that. His instincts are awesome. He hears a track and instantly has a couple of little tweaks that make a big difference.

Levine: Max is a master of so many aspects of making music, and one of the few guys I’ve ever worked with who just has no ego. Mutt Lange was similar––the best idea wins. He’s not about credit; he’s about doing the right thing for the song. The other writers respect him and he comes from a really humble place.

“I don’t pay attention to the radio. That’s the worst thing to do, to write for the

radio. I’d rather think what the radio

is going to sound like tomorrow.” ––Adam Levine

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MC: Songwriter-producers Shellback, Benny Blanco, Ryan Tedder, Ammar Malik and Robo-pop are all over the record as co-writers. What is the creative chemistry with these collaborators?

Levine: Working with Ryan, we were kindred spirits in the studio. There is this crazy, frantic, rambling, gnarly energy. We wrote three or four songs in five days and were fearlessly prolific, which is a cool method. When I wrote with Amar we smoked the hookah and chilled and in three hours we had it. This record is great because every process and every creative venue was explored.

MC: James, you recently were a guest speaker at Musicians Institute (MI) in Hollywood. Did you ever study music formally?

Valentine: I wanted to go to Berklee or MI, but I was stuck back in Nebraska. Just being in the environment to focus on woodshedding at that point in your life is really useful. And certain things I wanted to work on over the years, purely from a technical standpoint, would have been sped up if I would have had that concentrated period of time just to sit in one of those practice rooms with someone like Jude Gold from Musicians Institute looking over me.

MC: What did you tell the students about the shrinking role of guitar in pop music?

Valentine: It’s not really good news for the guitar in modern pop music. I would love to be involved with the next evolution of what the guitar does and its role in music. I’ve been experimenting with MIDI guitar and controlling certain frequency responses with controller built into the guitar. It can go a lot of different directions, but there haven’t been a lot of innovations and the sound of pop music right now doesn’t have to do with guitar, which is sad for guitarists, but maybe it’s a nice challenge to figure out how to work it in.

MC: “One More Night” from Overexposed in-corporates a skanking guitar line. How does reggae fit into the Maroon 5 sonic panorama?

Valentine: I really like that track because it’s got the reggae vibe juxtaposed against a very cont-emporary sounding beat to create something that sounds new to me.

Levine: I listen to old reggae in the morning. It immediately lifts and changes everything about the day before it starts. It’s the best medicine––it’s California, it’s sunny, you’re waking up and before you take a shower you’re happy.

MC: Adam, your voice is an instrument that can cut through a dense mix, but it seems like maintaining space around it is equally important to the Maroon 5 dynamic.

Levine: I am so anal when It comes to air; it’s not about how produced something is, it’s about what goes on between the lines of production. My favorite stuff is “how is this only three things?” Or the opposite, “Let’s take 400 things and make it sound like one thing.” The less subdivision you do in music the better, a massive idea that pulses with the same dynamic.

MC: What would you use as an example of this?

Levine: Hip-hop records from the mid-late ‘90s and also the Fugees. Between the members of that band they made the best records of that era including The Carnival (Wyclef Jean) and The Miseducation of Lauryn Hill. For me these are the most soulful records of that era. They’re programmed but they sound contemporary today.

MC: Do you think Maroon 5 has that same time-less dimension?

Levine: “She Will Be Loved” does sound like it could have come out today. We’ve always gone with a basic stripped down approach, and it never gets old.

MC: You are both very gracious with your time and energy for this interview. We have to ask: do you enjoy this process or is it a chore?

Valentine: Sometimes. Look, we’re having a love-ly chat here, I’m sitting with my coffee and it’s fun. I forgot about what we did last week when it was these all-day press junkets where you have to sit in the same room and people come in from 10:30 a.m. until 8:30 at night asking the same questions over and over again. It is not my favorite part of the job. I’m not complaining, and I’m grateful people want to hear me talk endlessly about

“The sound of pop music right now

doesn’t have to do with guitar, which

is sad for guitarists, but maybe it’s a nice challenge to figure out how to

work it in.” ––James Valentine


Adam and these things. But doing it all day can be very soul sucking.

MC: James, tell us about JJamz, your side-pro-ject with Jason Boesel of Rilo Kiley and Bright Eyes, Alex Greenwald of Phantom Planet, Z Berg of the Like and solo artist Michael Runion. Why are you performing in modest venues like The Detroit Bar in Anaheim and the Bootleg Theatre in Los Angeles? Is this a way for a huge rock star to reconnect with the people?

Valentine: (Laughs) You could frame it that way. Basically these guys and gal I play with are some of my best friends. We were hanging out, and would invariably end up jamming. When I’m in town I would love to be playing somewhere every night. It’s a totally different thing and great to haul

• Adam Levine and bassist Mickey Madden first met in junior high school. Inspired by grunge bands, the pair began jamming in suburban basements.

• Levine and original keyboardist Jesse Carmichael attended Five Towns College in Long Island, NY, in 1998. Levine was a Jazz/Commercial Music Performance major; Carmichael majored in Jazz/Commercial Music Composition.

• The band’s first incarnation, formed in 1994, was known as Kara’s Flowers. When their Reprise Records 1996 debut The Fourth World stiffed, the band was dropped.

• Reconfiguring their sound with a more soulful approach, the band was picked up by manager Jordan Feldstein, who quit his day job to work with the band full-time.

• James Valentine was originally the band’s guitar tech. Raised Mormon, he says he is no longer active in this faith.

• Adam Levine was a waiter at the Los Angeles burger joint Johnny Rockets and was a writer’s assistant for the television show Judging Amy.

• On their 10th anniversary as a band, Maroon 5 were awarded their first platinum record for the debut Songs About Jane.

• Among the many charities the band supports is The Aspire Giving Foundation.

Continue on page 42

QUICK FACTS about



in your own amp. This connects me with the love of why we did this in the first place––to get up in a room full of people and do our thing.

MC: When it comes to your solo projects, like JJamz, what amps might you be toting to the gig?

Valentine: I love my 1965 Fender Princeton, a Fender Deluxe Reverb and my Fender Vibrolux––that’s what I use for clubbing.

MC: What guitars are you currently playing with Maroon 5?

Valentine: I love the Fano guitars and have been playing those a lot. I also love my Johan Gustavason guitars and my Fenders. For the past few years the Telecaster has been the main guitar

––for the rock funk stuff––it’s perfect because it cuts through the mix and is aggressive with a great character. The obvious thing for me to play would be the Stratocaster but it’s never worked for me. The Tele sounds more unique. When you play up the neck it’s really warm and round sounding. Listen to the way Bill Frisell makes it sound.

MC: Do you have endorsement deals?

Valentine: I sort of endorse Martin acoustic gui-tars that I use live, the Performer series. The thing is: I haven’t gotten involved in endorsement deals because I want to play what I want to play when I want to play it. And if I come across a cool guitar and I want to play it and I’m not supposed to because I have obligations because of a contract, that seems pretty stupid to me. I can afford to buy the guitars.

MC: Is there a vibrant club scene on the east side of Los Angeles, where JJamz often plays?

Valentine: Absolutely. I live in Los Feliz. I have lived in different parts of L.A., but ended up back here because of that energy. The Satellite club is great; I’m looking forward to our residency there, and The Echo is also presenting great stuff––creatively a lot is happening on this side of town.

MC: Is Maroon 5 planning a massive US tour?

Valentine: Because of Adam’s commitment to The Voice we’re a little on hold. We’ll be going to Southeast Asia and South America, but it’s going to be awhile before we do the big North American tour, which won’t happen until this winter. We usually go out in the summer, but the timing is not going to allow that.

MC: You run marathons, James. Is this an alter-native to epic partying?

Valentine: We had a good time in our 20s, but if you want to stay alive you have to adopt a better lifestyle. Unfortunately the cliché of the stereo-typical rock star life style––we’ve seen enough cautionary tales to see where that goes.

MC: The band’s current lineup includes longtime member Mickey Madden on bass, Matt Flynn on drums, and PJ Morton on keyboards. Your longevity as a band is unusual in the modern pop landscape. To what do you attribute this durability, and how does Overexposed fit into the equation?

Levine: If you’re going to do it long-haul, it’s good to have a new era, and open yourself up to collaborations. There are only so many in-carnations you can go through. Look at the best bands in the world; they just broke up before it got old.

MC: And what do you want to happen for Over-exposed? Global domination?

Valentine: That’s always the goal, to get it out there and expose it to as many people as possible. With this record there was a conscious effort to make something that could connect with different people all over the world––to swing for the fences.

Contact Carleen Donovan,

[email protected]

“Inflection and tone are all part of being able to sell a melody or a lyric ––it’s a tool that I use. Selling the song is a huge part of it.”

––Adam Levine

mailto:[email protected]



Professional studios have become more than just a place to record music. Today, many are attracting new business by offering services that go way beyond production. Some now offer internships. Others

even operate like mini-labels, grooming artists and promoting careers. To give you an idea as to how these developments can benefit artists, Music Connection contacted a number of innovative studios. We think you’ll find that their operations are not only eye opening; they’re downright exciting.

By Bernard Baur

EAST

WES

T


4th STREET RECORDINGSanta Monica, CAKathleen Wirth

http://4thstreetrecording.com

Just three blocks from the Pacific Ocean off Southern Calfornia, there is a special place where artists have been making music for over 30 years. It used to be called Sound Solutions, with clients such as Little Richard, George Clinton and the Beach Boys. In 1989, Kathleen Wirt and a partner bought the studio and renamed it 4th Street Recording. The facility features a wavy ceiling in the tracking room and walls that are soundproofed with sand hauled from the beach. Since ‘95, over 20 acts have been signed to deals with recordings produced at 4th Street, starting with Fiona Apple, Incubus, Alien Ant Farm and Hoobastank.

NEW BUSINESS STRATEGIES?We try to make the most of whatever social

media tools we think might be useful, from Face-book to Twitter and blogs.

We also sponsor an “Indie Music Festival,” which gives us a lot of exposure. In fact, the grand prize includes a 4th Street Recording package.

A lot of famous acts have recorded here and, because of that, word-of-mouth about the studio is strong. But our profile really rose when we were named one of the top “Iconic Temples of Sound” by the Hollywood Reporter.

WHAT DO YOU OFFER ASPIRING ARTISTS?We work with a lot of up-and-coming inde-

pendent acts and have always tried to help them. Our rates are lower to begin with, and if an act can pay COD (cash on delivery––when services are rendered), we’ll give them an even bigger break.

I’m now putting together an “Artist Assistance Program” that I’m excited about. I want to assist artists “after” they finish recording. I’ve noticed that quite a few acts want to go the independent route today. But, they’re not sure what to do or how to go about it. They need help devising a plan and strategy. I give them advice when they ask for it, but I’m also planning to host workshops and mentoring sessions, and start offering services that will help them with marketing, social media, promotions, song placements and radio airplay. Anything that will help to develop their brand and generate income. •

EASTWEST Hollywood, CA

Candace Stewarthttp://eastwest-studios.com

Originally called Western Recorders, the rooms at EastWest Studios have produced some of the biggest records of all time. By the mid-‘60s, the facilities became a musical epicenter: The Mamas and the Papas recorded “California Dreaming” and “Monday, Monday,” Scott Mc-Kenzie laid down his classic “San Francisco,” and the Beach Boys ushered in a new era with their masterpiece Pet Sounds. The studios were sold and renamed several times over the years; e.g. they were called Oceanway in 1989, and Cello in 1999. Then, in 2006, Doug Rogers of EastWest acquired the facilities and made them a recording haven for many superstar acts.

HAS THE INTERNET AND SOCIAL MEDIA AFFECTED BUSINESS?

Yes, in a big way. Because everyone is wired

today, most people do online research before choosing a recording studio. So, our Internet pres-ence is important. We work social networks all the time, including Facebook and Twitter and anything else we can think of. We also search the Internet and check out social media to find potential clients and see what they’re doing.

HOW DO YOU BRING IN NEW BUSINESS?I go to a lot of functions, parties and conferences.

I have to meet people, talk about their projects, and let them know what our studio can offer. I’ve also been a guest speaker at schools and have even joined songwriter and composer organizations to pick up score and soundtrack work. The truth is, I’m networking all the time.

DO YOU HELP DIY ARTISTS?Most DIY acts need some help, so I try to hook

them up. I know a lot of industry professionals in almost every area of the business, especially producers and managers. If I think there might be a good fit, I’ll set up a meeting and introduce artists to potential team members who can help them. •

“I’m putting together an ‘Artist Assistance Program’ that I’m

excited about.”

“Most DIY acts need some help, so I try to hook them up.”

WESTLAKE RECORDING STUDIOS

4th STREET RECORDING

“Most DIY acts need some help, so I try to hook them up.”

http://4thstreetrecording.com

http://eastwest-studios.com


AVATARNew York, NYKirk Imamura

http://avatarstudios.com.

Avatar Studios opened in 1996. Located in Manhattan, it operates a 33,000-square foot facility dedicated to providing professional quality audio recording services. Many famous artists, producers and engineers have passed through its doors. In fact, it served as Madonna’s home when she recorded “Like a Virgin” and played host to stars such as Bruce Springsteen, the Rolling Stones, David Bowie and Roxy Music. More recently, Paul McCartney, John Mayer, Muse, Norah Jones, Diana Krall and My Morning Jacket recorded there.

WHAT ARE YOU DOING TO ATTRACT NEW CLIENTS?

The market in New York is driven by film and television production. To tap that, we associate with a number of film festivals and have teamed up with the Manhattan Producer’s Alliance. As a result we’ve recorded some major scores and soundtracks here. The budgets for those types of projects can be better than your typical album budget from a label.

DO YOU HAVE AN INTERNSHIP PROGRAM? We have had an internship program at Avatar

for a long time, mostly geared to entry-level engineering.

DO YOU SEE ANY TRENDS IN PERSONNEL?I’ve noticed that more females are interested

in the recording process nowadays. Women have a different sort of sensibility from their male counterparts. In fact, it’s getting so popular that many of them belong to an organization called “Women’s Audio Mission.” It is a non-profit ded-icated to the advancement of women in music and the recording arts. •

FIREHOUSEPasadena, CAJason Upright

http://firehouserecordingstudio.com

Located in a historical building in “Old Town” Pasadena, Firehouse is one of the best-kept secrets of recording mavens. It offers a place to record music away from the hustling, bustling, densely crowded environs of Hollywood. Described as a digital domain with vintage gear, Firehouse is known for its old-studio vibe and comfortable ambience. It is a first class, full-service facility that handles everything from tracking to mastering, all in-house.

HAVE YOU TRIED CREATIVE BUSINESS APPROACHES?

We sure have. Because recording budgets are shrinking, we had to find alternative ways to bring in income. And, because we’re situated in an old historic building, we discovered that production companies like to use the premises for film and TV projects. They’ll rent out blocks of time and, as a result, we’ve had some pretty popular TV shows and movies filmed here.

But it gets even better. Once they’re here, they fall in love with the place and ask about our recording services. Often, after they’re done shooting, we’ll get scoring and soundtrack work.

I also tried using Groupon, but was very careful with how I did it. I didn’t want it to be cheesy, so I created the most tasteful presentation I could. It was a huge success and brought in a lot of business. It even got rave reviews on Yelp, which generated more exposure for the studio.

HOW DO YOU HELP ARTISTS?Well, I’m a former artist manager so helping

artists comes naturally. We work with a lot of independent acts that are serious musicians, and many of them aren’t interested in a label deal––they want to do it themselves. It’s a reflection of what’s happening in the music business today. But, at times, they also need some advice and direction, especially in regard to studio etiquette.

I’ve noticed that some artists don’t know the difference between a producer and engineer. They’ll ask if the engineer will tell them if a take is good or bad. So I try to set up meetings with the artist and engineer, before they get in the studio, so they can talk about what’s needed and what is expected. That way, when they do start recording, they can get down to business.

DO YOU USE INTERNS OR HIRE ENGINEERS?I get six to 12 calls a day from kids who want to

learn about the studio world. They’re even willing to intern for free. The downside is that I also get calls from experienced engineers, with great track records, who are willing to do anything just to get some work. But, at the moment, we have a very devoted staff and really don’t need anyone else. •

MEDIA TEMPLE PRODUCTIONSHollywood, CA

Brad Bilanin and Guy Baruch http://mediatempleproductions.com

Media Temple Productions (MTP) not only provides pro recording services, they’re also on a mission. Co-owners Brad Bilanin and Guy Baruch want to change the way artists and events are produced. Their passion is to support the communities their artists reach. To do so, Media Temple created the “Open Artist Movement” (OAM), a platform for presenting indie and established acts in innovative, progressive ways. Their concert series, “Open Artists with Open Arms,” has raised thousands of dollars for non-profit organizations. MTP artists include Jojo, Carmit (Pussycat Dolls), Blake Lewis, Fanny Pak (MTV’s America’s Next Dance Crew), Wilson Cruz and more.

HOW DO YOU ATTRACT NEW BUSINESS?We try to be very creative with the space we

have and utilize it for multiple purposes. We host

workshops, publisher sessions, voice-over and production classes, and encourage “listening parties” (after a project is completed). We found that if we can get people into the studio, they’ll usually book time here.

As a result, over the last year, our business has increased over 100 percent. We think the studio environment itself, as well as the unique services we offer, are the reasons business has been so consistent.

HOW DOES YOUR INDIE ARTIST PROGRAM WORK?

It’s called “Artist Design,” because we basically design a career for them. We select acts that we believe have potential and develop them into a complete package. We help create the tools that they need and bring in other industry pros, like songwriters, producers, publishers, etc, to work with them. We customize our approach to meet each artist’s needs, and have had quite a bit of success. Our artists have gotten some great song placements and opened for major acts.

DO YOU OFFER AN INTERNSHIP PROGRAM?We do. We think it’s important to introduce

people to the world of recording. Some of our interns even end up working here. We just hired one recently. Most, however, use the time to see if it’s something they want to do. Lately, it seems like more females are getting into studio work. Although some come here to hone production skills, many of them appear to be evaluating the business in general. We love our interns, and any-one who’s interested should contact us. •

“We select acts that we believe have potential and develop

them into a complete package.”

“We work with a lot of independent acts that are serious

musicians, and many of them aren’t interested in a label deal.”

MEDIA TEMPLE PRODUCTIONS

AVATAR

http://avatarstudios.com

http://firehouserecordingstudio.com

http://mediatempleproductions.com


THE VILLAGE Los Angeles, CAJeff Greenberg

http://villagestudios.com

One of the nation’s legendary studios, The Village is a state-of-the-art, full-service re-cording complex housed in an old Masonic Temple in West Los Angeles. You would be hard pressed to find an artist who hasn’t recorded there. Everyone from Neil Young, Fleetwood Mac, the Rolling Stones, Pink Floyd and Bob Dylan to current artists Lady Gaga, Foo Fighters, Coldplay, Taylor Swift, Usher and John Mayer have created music within its walls. In fact, its roster is a virtual “who’s who” of superstars. The studio has also produced an impressive list of film scores: The Bodyguard, Almost Famous, Something About Mary, Moulin Rouge!, Finding Nemo, Walk The Line, and Across the Universe, to name a few.

HOW DO YOU KEEP YOUR STUDIO’S BRAND CURRENT?

You have to manage and promote the brand actively. We host many industry events here, and we’re very active with the Grammy organization. We also work with several schools and participate in reciprocal referrals with other studios.

It’s about being creative instead of simply surviving. You can always tell when a studio is in survival mode––that’s when fish tanks are put in the lobby to show that there’s life in the building. We’re fortunate that this city has a vibrant and vital music scene, and we’re happy to be a big part of it.

ARE NEW ARTISTS WELCOME AT YOUR STUDIO?

Of course they are. We have a variety of rooms and resident producers, engineers and artists to help them get the recording they want. In fact, we’re always looking for talented artists and music that excites us. If we like an act, we’ll help them out and let agents, managers and other industry pros know about them. We might even sign them to our label.

HOW IS YOUR INTERNSHIP PROGRAM DIFFERENT?

We don’t call them interns. They’re assistant engineers and we actually pay them. And every person we take on is a candidate for hire. We spend a lot of time training and standing by them so that they could become full-fledged, working engineers.

We also have an all-female tech staff. I don’t know of any other studio that promotes females like we do. In fact, our senior engineer is female. •

WESTLAKE STUDIOSWest Hollwood, CA

Steve Burdickhttp://thelakestudios.com

Westlake Studios has two locations and a long, colorful history. Founded as Westlake Audio in the early 1970s, it is credited as “one of the first commercial studios to have acoustically standardised ‘interchangeable’ rooms.” They were so popular that “Westlake-style” rooms spread to other studios by the late ‘70s. Well-known artists who’ve recorded at Westlake, include Michael Jackson, Alanis Morissette, Dave Matthews, Madonna, Rihanna, Britney Spears, Nine Inch Nails and Justin Bieber.

HOW DO YOU MAINTAIN YOUR STUDIOS’ PROFILE?

We design new ad campaigns on a regular basis to keep the name fresh. We’re a pretty well-known studio, but even so, you have to keep your name out there. Most of our business comes from referrals and word-of-mouth. But a good portion also comes from our ads and audio programs.

WHAT DO YOU OFFER INDEPENDENT ACTS?We cater to a lot of independent artists and

labels. Although we’re best known for the stars that have recorded here, we welcome up-and-coming artists as well. We’ll talk with them and figure out a reasonable budget that they can afford. Sometimes we’ll even offer a discount, depending on the circumstances and how much time they need. We’re here to help. Sometimes we’ll give artists advice about the recording pro-cess and how to promote their record. They could even showcase here if they want. Customer ser-vice is a very important part of Westlake. And we try to make everyone comfortable and meet whatever needs they might have. •

ZODLOUNGE MUSIC PRODUCTIONSNashville, TN

Brett Vargasonhttp://zodlounge.com

ZodLounge is a hybrid studio, located in Nashville, TN, that focuses on discovering, developing and promoting new talent. Founded by veteran players who needed a change after 25 long years on the road, it is a studio for musicians run by musicians. Because of that, there’s a palatable passion that envelops this operation. Co-founder Brett Vargason obviously loves music and enjoys working with

new talent. And the studio’s efforts appear to be paying off. In 2011, their acts garnered 30 song placements, and nailed down 11 so far this year. Vargason also notes that some major placements will be revealed later in the fall.

WHY DID YOU CREATE ZODLOUNGE MUSIC?

We thought the industry needed it. There’s no artist development going on anymore. Artists are pretty much left to their own devices and have to do it all on their own. And many of them don’t understand that it takes more than just producing music to build a career. There are a lot of other factors involved.

With our experience and connections, we feel that we can guide young artists and provide access to the tools and people they need to sustain a career.

WHAT IS YOUR APPROACH TO ARTIST DEVELOPMENT?

Our goal is to make them independently suc-cessful. But, we like doing it in an organic way without any gimmicks. If necessary, we’ll hook them up with other professionals so they can learn the craft. Most importantly, we want them to be happy and treated well.

WHAT SERVICES DO YOU PROVIDE?We do almost everything. And we’ll do whatever

kind of deal makes sense, whether it’s a work-for-hire, spec deal or a combination. It depends on the artist, the situation and what we think is best for them. We’ll do whatever it takes, you name it: production, promotion, even distribution.In fact, we’re starting to cover so many areas of the business we’re almost operating like a label. But the bottom line is we really enjoy seeing our artists’ careers move forward. Because we believe when the artist wins, we win. •

For further information about any of the above studios, please see MC’s Annual Directory of Recording Studios, starting on p. 60.

“We also have an all-female tech staff. I don’t know of any

other studio that promotes females like we do.”

“We feel that we can guide young artists and provide

access to the tools and people they need to sustain a career.”

THE VILLAGE

http://villagestudios.com

http://thelakestudios.com

http://zodlounge.com


Music Connection’s Recording Studio Survey collects data regarding trends and activities at commercial studios in the United States. We survey studio owners and managers across the nation, including those from major music towns such as Los Angeles, New York, Nashville, Memphis,

Austin, Boston and Chicago. Their responses indicate that this year’s outlook is extremely positive. In fact, it’s better than we’ve seen in years. As always, this exclusive Music Connection survey gives studio owners, and people like you who do business with them, a panoramic window into today’s recording world.

{Percentages have been rounded up to the next whole number.}

Mby Bernard Baur

BUSINESS IS HEALTHYFor the first time in a long while studio

personnel reported a significant increase in business. The reason for the dramatic rise, according to the survey’s respondents, is that artists and producers have come to realize that they need a “professional quality” product if they hope to compete in today’s marketplace. As a result, professional studios are booking more self-financed projects for longer periods of time.

Major and indie label work has remained consistent, with little change. Most notably, artist- and producer-driven projects are having the greatest effect on studio business. Although independent budgets may be smaller, studios are making up for that shortfall in volume. Some commercial facilities even have waiting lists that cover multiple projects and a variety of studio time.

In the past we noted that home recordings, by their very nature, created “specialty” markets for quite a few small to mid-size studios that specialize in “mixing, fixing and polishing.” However, this year, those services have decreased at almost all studios, both big and small. Now, they report that “full-service” activities, from tracking to mixing (note: mastering still remains a specialty), are much more common. Even the most hardcore DIY acts are using pro facilities nowadays, apparently after discovering that less polished recordings don’t cut it anymore. As such, fixing and mixing are not so prevalent as they were. It seems people have learned the value of doing it right the first time.

1. AMOUNT OF BUSINESS (Compared to 2011)

4. TYPE OF WORK DONE

5. PRODUCTION (TV & Film Soundtracks, Publishers, Voice-over Demos)

3. CLIENTELE

Up - 53%

The Same - 37%

Down - 10%

Full Service (Whole Project) - 55%

Specialty (Tracking, Mixing, Fixing) - 35%

Other (Mastering, Tape Transfer, etc.) - 10%

Publishers Demos - 33%

Television Soundtracks - 25%

Voice-Over Demos - 22%

Film Soundtracks - 20%

Independent Projects (Artist/Producer) - 40%

Major Labels - 30%

Indie Labels - 30%

Word of Mouth 60% Advertising 28% Internet 12%

2. GETTING BUSINESS

Overall, this year’s survey indicates that all the adjustments studios have made, over the past few years, in response to home recordings, independent projects, and shrinking budgets, are finally taking hold. Indeed, many commercial studios are enjoying the healthiest turn-around they’ve seen in years.

6. POST-PRODUCTION (TV & Film)

The Same - 90% More - 10%Less - 0%


SONG DEMOS ARE ON THE RISELast year we reported a couple new areas of

opportunity, i.e. jingles and voice-over demos. This year, due to the growth of publishing companies and publishing revenue, music publishers are booking more studio time. In fact, many studios have a steady stream of publishing projects on their books, and report that “song demos” are becoming their bread and butter with regular bookings and lucrative arrangements.

ROOMS ARE MULTI-PURPOSEStudio rooms are no longer used just to

record music. They’re used to celebrate it as well. When a project is finished—it’s party time. Listening parties for industry and friends are encouraged at many studios and have become very popular. Corporate event planners are also booking rooms for special occasions and workshops. Cable TV and indie film productions are booking time too, using rooms as sound stages. And, best of all, the rates studios receive for these activities often exceed what they would have gotten for a recording project.

7. INTERNET IMPACT ON BUSINESS

Slight - 40%

Significant - 60% (Emailing Tracks, Mixes, etc.)

SOCIAL NETWORKS & ADVERTISING ENGAGE CLIENTS

Word-of-mouth from satisfied clients continues to be the main way studios get business. But, social networks are starting to generate serious commerce as well. Facebook, Twitter and blogs are all being utilized. Traditional advertising is also being strategically used for maximum impact. Several studios reported that their advertising campaigns (both online and offline) raised their profile and engaged quite a few new clients.

Below is a percentage breakdown of client types and the kind of projects coming into recording studios. The bar graph tracks the ebb and flow of those activities over the past six years.

(NOTE: Aggregate percentage exceeds 100% because categories often overlap)

INDIE LABELS

FILM & TV

MIX and/or MASTER

Voice-over demos have entered MC’s charts for the first time. According to our studio owners, that market is growing. Additionally, radio jingles have resurfaced after a long absence. We also discovered that major labels are booking more time, while indie labels and indie projects are holding strong. Overall, the outlook for studios is positive, despite the economy and lower recording budgets.

MAJOR LABELS 33%INDIE LABELS 33%INDEPENDENT PROJECTS 60% FILM & TV 30%JINGLES 10%

DEMOS (Publisher & Voice-over) 40%MIX and/or MASTER 25%FULL SERVICE (Whole Project) 50%OTHER USES (Video, Parties, etc.) 50%PRODUCTION ROOMS (Rentals) 25%

10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

2012

2012

2011

2011

20072008

20092010

20072008

20092010

2010

2010

2009

2009

2008

2008

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2007

20112012

20112012

OVERALL ACTIVITY

}}}

MAJOR LABELS}

STUDIOS HAVE BECOME DESTINATIONSStudios have been using the Internet to deliver tracks and mixes to

their clients for years. This year, however, we noticed a decrease in that activity. The reason, per our survey respondents, is that clients are making recording sessions a destination event and, as a result, more projects are being completed on the premises with everyone in attendance.

POP IS STILL POPULARPop music—as in “name your favorite genre” slash pop—has

retained its lead for the fourth year in a row. Everyone seems to be targeting the commercial market today. The most surprising change is that rock has moved up to second place, supplanting urban music. Studio personnel suggest that many urban projects have relocated to personal production studios. Additionally, a new recording category, “singer-songwriter,” has entered the lineup for the first time. It seems even solo / acoustic acts want a professionally polished record, especially for song placements and radio airplay.

Other genres, such as Latin, jazz, blues and world, have held steady. However, techno and electronic music have almost dropped off the list, with most aficionados recording at home on their own equipment.

The country scene remains hot. Last year,

we noted a substantial jump in business at Nashville studios

after many of them upgraded their services. This year, the workload continues to rise in both songwriter demos and full-service areas.

RATES ARE UP Although the glory days of big recording budgets are over, half of

all the studios responding reported an increase in rates to go along with the upswing in business. Though the increase is minimal, it is the first time in years that rates have risen at so many studios. Demand for commercial studio time appears to be the primary factor.

9. OTHER USES OF STUDIO (Photo Shoots, Videos, Parties, Workshops, etc.)

10. RATES

Up - 40% / Down - 0% / The Same - 60%

Up - 50% / Down - 0% / The Same - 50%

NASHVILLE IS HOT

8. MAJOR GENRES OF MUSIC RECORDED (NOTE: Aggregate % exceeds 100% - some studios “specialize” in specific genres)

Pop

- 75%

Rock

- 33

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By Andy KaufmannINDUSTRY PROFILE

Making it as an artist today means doing more than ever before. Acting as one’s own manager, booking agent and label can become over-whelming to the point that music itself becomes an afterthought. Matt

Urmy knows firsthand the difficulties of handling one’s career while touring. As a 10-year road warrior, he grew dissatisfied with the array of organiza-tional solutions currently on the market. Surely there was a better way tie everything together. Urmy brainstormed with his friend, musician Jonathan Sexton, and the result is a breakthrough mobile platform: Artist Growth.

Originally conceived last July, they quickly amassed over a million dollars in financing. Going live on Jan. 17, Artist Growth’s user base expanded to over 5,000 after they added the ability to subscribe in-app. For $5 a month, users can keep track of upcoming gigs and merch, search a database of venue, radio and press contacts culled from the Indie Bibles, even watch videos of industry notables impart wisdom regarding their particular areas of expertise. In the future, users may be granted personal interaction with these luminaries for a yet-to-be-determined charge. Additional bands cost an added $5 a month and band members can receive access to a read-only version of the master account for another 99 cents per month. It’s currently available for iPhone, Android and through the web at http://artistgrowth.com.

One can easily imagine a scenario where the app’s associated costs mushroom, but the functional value inherent in Artist Growth could more than make up for its expense. Beyond keeping a band conveniently on the same page and offering direction through veteran approved, pre-made to-do lists called Action Packs, a recent partnership with BMI allows the handling of songwriting performance royalties duties right from one’s phone. Expect other publishers to be onboard soon.

CEO Urmy’s favorite money-saving feature is the ability to track expenses for tax purposes. Just photograph your receipts and have them automati-cally updated to the cloud. It’s a tool he uses as he puts the finishing touches on an album he’s making with legendary producer and songwriter Cowboy Jack Clement. “I once had glove compartments full of [receipts],” he admits. “Those days are over.”

Another benefit to the monthly subscription model is that the app remains ad free. “We didn’t want to push anything on our users that we didn’t feel would be useful to them,” explains Urmy. “Artists and bands struggle enough with being turned into billboards that serve other people’s interests.” It’s a philosophy that meshes with the desire to create an artist-facing service, rather than something that primarily satisfies the audience. “The only ele-ment we have that faces the consumer is the social media integration we have.” Future updates will add increased fan interaction functionality, but the focus remains business management. Urmy puts it succinctly, “It’s like a dashboard for your career.”

The corollary to their primary mission is education. To date, Urmy and Sexton have partnered with four universities: NYU, Belmont, Northern Ari-zona and Central Oklahoma, all of which have music business programs. “Professors at Belmont and NYU have already started using Artist Growth in deeply integrated ways within their curriculums,” says Urmy, who wants

“WE DIDN’T WANT TO PUSH ANYTHING ON OUR USERS THAT WE DIDN’T FEEL WOULD BE USEFUL TO THEM.”

Saving $ with a Breakthrough Mobile PlatformKeeps track of upcoming gigs and merch, searches a database of venue, radio, press contacts, contains videos of industry notables offering advice—a dashboard for your career.

the app to facilitate communication by unifying the industry’s disparate ele-ments, strengthening the business by merging both major and indie worlds through technology and getting each to operate in a transparent way.

That transparency is made possible, in part, by the database capabilities Artist Growth offers. Urmy learned the potential of such data gathering while working at a cancer research firm. “That experience really informed the way we designed Artist Growth to be a functional database and make sure that the data be usable by the industry on the back end.” While user informa-tion is never sold, that data offers a powerful snapshot of how a musician’s career has progressed. “It really empowers the artist when they meet with a label, manager or agency and they can show the health of their business as opposed to just walking in with a one sheet and a demo.”

While the Nashville-based start-up faces a difficult climb, Urmy remains committed, claiming he typically works 15 to 18 hours a day. Beyond prepping new features he insists will “really blow people’s hair back,” Urmy personally contacts us-ers who send feedback, positive or negative. Oftentimes, those com-ments reveal a lack of instruc-tion rather than an absence of functionality. “Every day we get emails that say, I wish the platform did this,” says the first-time entrepreneur. “We write them back and say, it does, actually. Click this but-ton and go here. They write back and go, oh my God, I didn’t realize. Training people, that’s always the big chal-lenge.”

Contact [email protected]

Matt Urmy


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

Silversun PickupsNeck of the WoodsDangerbird Records

Producer: Jacknife Lee

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After hearing this release but before writing a review, I Googled how many other reviewers compare this band to Smashing Pumpkins—I’m clearly not alone. This CD is a finely crafted piece of ‘90s-style alt-rock, lean and mean, that cruises through your speakers like a hungry shark that must keep mov-ing. The Silversuns feature probably the best androgynous voice in modern rock, and the rhythm section is a won-der to behold. Jacknife Lee’s produc-tion accentuates and marries perfectly the band’s combination of electric guitar, keyboard and mix effects. This is music to be played LOUD and it must be great live. Highlights are “Skin Graph,” “Mean Spirits” and “Gun-shy Sunshine.” ——David Arnson

When Eric Hutchinson penned this tepid follow-up to Sounds Like This, he consciously wondered, “What kind of songs do I want people singing with me? What kind of songs do I want peo-ple dancing to?” The result became a musical paradox. Every track is simul-taneously ebullient yet bland, catchy yet maddeningly forgettable. Joints like “Living In The Afterlife” and “I’m Not Cool” have hooks so barbed they could reel in the world’s biggest fish. Yet the level of banal superficiality inherent in conjuring such deadly listener bait turns the equation inside out, summon-ing spiritual empty calories that read like a compositional koan: when does the creation of a perfect song make no song at all? ——Andy Kaufmann

Trevor RabinJacaranda

Varese RecordsProducer: Trevor Rabin

Røsenkøpf Røsenkøpf

Weird RecordsProducer: Røsenkøpf

Eric HutchinsonMoving Up Living Down

Warner BrothersProducers: Various

SpaceGhostPurpMysterious Phonk...

4ADProducer: SpaceGhostPurp

Die PrettyBeyond Fate

Global CreativeProducers: Various

Chris Robinson Brotherhood Big Moon Ritual

Silver Arrow / Megaforce RecordsProducer: Thom Monahan

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Yes, pinch hitter and film composer Trevor Rabin releases his first solo record in 23 years. He wrote Yes’ big-gest hit “Owner of a Lonely Heart” and film scores for National Treasure, Ar-mageddon, and The Sorcerer’s Ap-prentice. Jacaranda is a window into the world of an eclectic musician and composer equally comfortable play-ing innovative guitar for a prog-rock band, or conducting an orchestra. Gut-bucket dobro playing mingles with su-percharg-ed bursts of distorted shred, chicken pickin’, flawless classical piano compositions and lush fingerstyle gui-tar excursions. It’s an aural buffet of seamlessly conjoined moods, textures and grooves—flying miles ahead of his contemporaries. ——Oscar Jordan

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Black Crowes frontman kind of returns to a sound he began with solo proj-ects like New Earth Mud. In the spirit of the Grateful Dead and Govt. Mule, the Brotherhood create a mix of explor-atory jams and poetic expression. Rob-inson has always had a laid-back qual-ity to him, but here he takes his time in the delivery, giving ample space to the guitar and keyboard soloists. “Tulsa Yesterday” has a whimsical Small Fac-es feel. “Rosalee” is downright funky, with its greasy clavinet flourishes that morph into psychedelic paths along the way. “Tomorrow Blues” is another stel-lar track that has smooth vintage synth sounds. Not resting on his laurels, Rob-inson is an artist seeking expansion and growth. ——Eric A. Harabadian

Somewhere between Hawkwind (mi-nus the sax and crazy generators) and Bauhaus there is this dark, ethereal space that engulfs you in an ominous blanket of dark smoke, black metal (vocalist Soren Roi even screams out, “black metal”), and white noise that can only be described as Røsenkøpf. It doesn’t matter how they got their name or where they are from (the town in Germany that was the first to grant Hitler honorary citizenship?), what mat-ters is their live-electronic approach—which combines darkwave synths and post-rock beats—is an assault on the senses and is sure to get you ready for a paganistic ritual near you. And would you believe that Søren Røi says this is his “softest” band yet?——Daniel Siwek

You know when you are watching MSNBC’s Lock Up, the quiet ones are always the scariest? They discuss how they sliced up a rival gang member as if they were filleting a pre-sliced English muffin, with a calmness that al-most betrays their ferocity. Well, when he’s talking about drugs, thugs and female companions, SpaceChostPurp is equally cucumber cool, and volatile. His Miami is much darker than the fluorescent fashion show of Crockett & Tubbs, and his nighttime action drama seems dramatically real. Sonically, he’s got the alien-ness of Odd Future, with track after track playing in half-time as if you flipped the 45 party jam down to a sleepwalking 33, adding intensity to his focused delivery. ——Daniel Siwek

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Die Pretty fans will be over the moon with this release. Boasting 20 tracks (enough for two albums) this alternative punk/rock foursome successfully fuses these genres together with passionate playing, superb production and expres-sive vocals from Sarah Orloff. There is pure songwriting craft with an abun-dance of memorable hooks and great guitar motifs. “Medicated Nation,” with its infectious chorus and poignant so-cial content has true hit potential while “Voices,” explores a deeper personal theme of waiting for one’s ship to come in. The first 10 tracks make a stronger impression than the back half of the al-bum, but overall there is no shortage of excellence to embrace.

——Ellen Woloshin

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Wistful and melancholy, this collection focuses on a 19th century circus train-wreck; appropriately, each piece has its own voice and vivid visuals. Period elements such as a hint of calliope waltzing, and singsong slightly off-key hawking are set within a framework of saw-toothed distortion and driving alt rock drums. Vocals are impertinent yet intimate, and give an edge to the witty lyrics. Unfortunately, the underlying metaphorical commentary about hu-man nature is often obscured by the situational narrative lyrics. While son-ically pleasing, the specialized lyrics and niche indie-folk-rock-gone-edgy genre make this more of a novelty listen rather than a staple of one’s collection. ––Sarah Whited

52 June 2012 www.musicconnection.com 53June 2012 www.musicconnection.com 53

ISC JUDGES INCLUDE:

ADDITIONAL JUDGES INCLUDE: Keane • McCoy Tyner • Mark Foster (Foster the People) • Bernie Taupin (Lyricist for Elton John) • Martina McBride • Simon Le Bon / Roger Taylor (Duran Duran) • Derek Trucks & Susan Tedeschi • Michael W. Smith • Anthony Hamilton • Wynonna • Brian Setzer • Francesca Battistelli • Bill Evans • Craig Morgan • John Mayall • Suzanne Vega • Tegan and Sara • Avicii • Darryl McDaniels (Run D.M.C.) • Robert Smith (The Cure) • Bruce Hornsby • Jeremy Camp • James Cotton • Alejandro Sanz • Basement Jaxx • Robert Earl Keen • Monte Lipman (President, Universal Republic Records) • Dan McCarroll (President, Capitol & Virgin Label Group) • Alison Donald (Co-President, Columbia Records U.K.) • Ed Vetri (CEO/President, Wind-Up Records) • Albert Schilcher (VP Music & Music Marketing, MTV International) • and many more...

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

NEW MUSIC CRITIQUES

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Rachel Sierra

Contact: [email protected]: rachelsierra.comSeeking: Film/TV, BookingStyle: R&B, Soul, Blues

Username: rachelsierra

The Feud

Contact: [email protected], +44 7708 903 619Web: thefeud.netSeeking: Label, Film/TV, Booking, PRStyle: Alternative/Rock/Electro

Username: thefeud

Sierra's rangey voice oozes sex appeal on deft tracks like "Jammin',"

a slinky dancefloor tune propelled by a funky bass and a pause/restart that is a great moment. The singer brings a rocking, guitar-driven edge to "Move," whose bold woodblock is a welcome, organic touch; she handles the quick-paced song with ease at each twist and turn. Sierra scats and shows a Chaka Khan influence on "Hypnotize" which epitomizes this artist's ability to balance myriad styles. Sierra has substance and complexity, but could use a drop-dead hit to break through.

This Manchester, UK, trio is an electro-rock powerhouse that had

us floored from the first note of "Rip It Up," a dance-friendly, cranked-energy tune that's radio-ready (though the band considers it a mere "demo"). Our favorite is "Searching"; its epic, expansive, lyrical profile, nice falsettos and catchy chorus make it an ultimate winner. From the sounds of the live-recording, "Mad," the Feud can generate monster energy—even in what's clearly a small club. It is an incredible sonic force that pumps the crowd to get crazy. And they do.

Justin Carlson

Contact: [email protected]: justincarlsonmusic.comSeeking: Film/TV, ManagementStyle: Singer-Songwriter

Username: justincarlson

Brodyman

Contact: [email protected], 267-978-3195 Web: reverbnation.com/brodymanSeeking: LabelStyle: Rap/Hip-Hop

Username: brodyman

Carlson is a soul-searcher whose strong mic presence makes you

believe in the solemn, mid-tempo "Fragile Heart," where the artist seeks common ground between love and hate. Cut from the same neo-country cloth, "Sweet Deception," "All I Have" and "Take My Hand," are expertly rendered with light distortion and supple support, resulting in an EP that chooses to dwell in second gear. Carlson's recordings are ideal for film/TV, and his words are meaningful, but going forward we'd like him step it up with fresher material.

We like how Brodyman raps to, not over, the beat on "Infamous." He

obviously spent quality time on its post-production to get things synced, and featuring guest-singer Kenya Streets adds a sweet chorus to an eerie, hardcore track. "I'm the Shit" is familiar rap faire, lyrically, but the inclusion of Ms. Streets is again a winner. "A Child Is Born" is striking; the way this rapper addresses his newborn is both street-hard and poignant, and shows he's an artist of substance. Technically we advise him to clean up some of the muddiness in his vocal mixes.

Day of the Outlaw

Contact: [email protected], 615-669-1193Web: dayoftheoutlaw.bandcamp.comSeeking: Label, Mgr, Distr., Film/TVStyle: Americana, Southern Rock

Username: day of the outlaw

Joy Askew

Contact: [email protected]: joyaskew.comSeeking: Film/TV, Manager, BookingStyle: Songwriter, Folk/Rock, Indie

Username: joyaskew

Deftly produced by the artist herself, these songs sound warm, deep

and roomy, allowing her artfulness to wander in the dreamy, sleepy "Aoao." Ostensibly about the "20 people who buy and sell the world," the song's oblique lyrics render that message elusive. That is also true of "I Broke The Law," but Askew is such an adept producer, that the lilting violin cadence, ethereal singers and ragtag salvation army band keep the song intriguing. "Drunk On You" is a straightforward look back at a derailed relationship. When it comes to art vs. commerce, Askew is clearly about the former.

Guitar-driven Day of the Outlaw es-tablish a solemn, downcast tone

with the "Kryptonite"-like "Drink Her Wine," and they maintain that sound and vision with the haunted "The Honky Tonks Have All Closed Down," where Stewart Eastham's brooding vocal and Kim Lee's back-up voice make an affecting, lonesome blend. Guitar solos are crisp and classic-rock in style, and the band revs up their rockin' soul with "Too Many Women," which thumbs its nose at the Nashville club scene. More growth could turn this solid band into something superior.



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

NEW MUSIC CRITIQUES

Willie Ames

Contact: 520-229-7242, [email protected]: fb.com/willie.amesSeeking: Label, Film/TV, DistributionStyle: Alt-Folk

Username: willie ames

Lea Marie

Contact: Richard Swor, 917-747-2534Web: leamariemusic.comSeeking: Label, Mgmt, BookingStyle: Pop

Username: leamariemusic

Earthy and organic, Ames goes against the grain while maintaining

a pop sensibility on "Human Race," a song that muses cleverly and conjures an almost arabic aura. A darker to-nality reigns (with a Primus vocal in-fluence) on "Night Owl," which makes interesting use of harmonies. Perhaps better drum tracks would make this recording gel? The instrumental "Black Widow" deploys a fingerpicked banjo and a sitar-like twang that's ultimately appealing, suggesting this dedicated alt-artist could do an interesting score for the right indie flick.

Artist Lea Marie has a knack for catchy choruses, like her Disney-

friendly "Take Me For A Ride" and the Shakira-esque "Mi Chico Latino." Both have hooks that stick like bubble gum. "Undercover Lover" might be the catchiest of her dance numbers, fusing a Britney vocal style with a Madonna beat. While Lea Marie's lyrics fall short on substance, her piano-driven ballad, "In Another Life," suggests this artist might want to focus her strong voice on this more soulful kind of material. Perhaps collaborating with a lyricist will yield a breakthrough.

Green-Stamp/D-Shizzle & Lyrical

Contact: 941-328-2906, [email protected]: soundcloud.com/green-stampSeeking: Distr., Film/TV, BookingStyle: Hip-Hop

Username: dax d-shizzle harris

The Nightbirds

Contact: [email protected]: soundcloud.com/thenightbirdsSeeking: Label, Booking, Film/TVStyle: Alt-Rock/Progressive Darkwave

Username: thenightbirds

Rap duo provide a nice beat to kick off their bootie call, "Girls." And we

admire the way they rap with the beat. On this tune, however, as in the act's other work, they tend to ride it too long, letting the initial power of the idea grow tired. "Nucka Fucka Hata" has some spikey machine-gun-like effects that grabbed our attention. Clever sound samples are juggled and mashed on "Who She Fuckin," including vintage Atari-like sounds. Unfortunately, the tune's simplistic lyrics drag it all down. These two artists still have work to do to realize a coherent vision.

UK darkwave band, the Nightbirds, revel in massive reverb and cold,

remote vocals, exemplified by "Karma Love" which also gets progishly daring with a 9/8 time sig that doesn't quite come off. The uber-eerie "Obsession" has vampire flick soundtrack in its DNA, but could use a lift in its middle section to add interest. "Red Sky At Night" could also interest the bloodsucker crowd with its Eurosonic atmosphere and catchy chorus. Overall, this band is on to something, but is advised to boost the its demo recordings with a bit more sonic flair.


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Sandbox

Contact: 818-687-4637, [email protected]: sandbox-music.comSeeking: Film/TV, Radio, BookingStyle: Indie Rock

Username: sandbox music

Dogs & Bones

Contact: [email protected]: dogsandbonesband.comSeeking: Film/TV, Booking, Promotion, DistributionStyle: Classic Rock/Blues/Psychobilly

Username: philcohen

Fringe Fest vet Shane Sweet spear-heads Sandbox, playing most of

the instruments, and he cleverly gets the most out of basic musicianship. Sweet, whose Speakeasy project has recreated '20s era clubs, here affects a strangled, nasally vocal persona on his mildly hooky material. "Tried & True" reminds us of a stripped down Arcade Fire. "Doesn't Really Matter" employs a plinking piano in another low-key arrangement that allows the drama to build. While Sweet's voice is not for everyone, his alt-vision is consistently intriguing.

With rootsy trio Dogs & Bones, Greig McRitchie's wailing guitar is

the main attraction and the recordings all have a live feel, suggesting the band is an entertaining unit on stage. "Crosses" has a psychobilly surfbeat attack a la Rev. Horton Heat. Cali beach blues-rocker "Here For Her" has a gnarly guitar tone, a big fat drumbeat and a harmonica solo that's just the right move—and the "hoohoo" climax is fun! Ballad "Someone Else's Dream" shows McRitchie's voice lacks the baritone balls the song needs, but he can sure craft a beautiful guitar solo.

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LIVE REVIEWS


Coyote Kolb: Blues that fall between dance party and plaintive howl.

Coyote KolbRosebudSomerville, MA

Contact: [email protected]: http://coyotekolb.comThe Players: Noel Coakley, pedal steel, banjo; Owen Beane, bass; Matty Maybruck, drums; Sonny Jim Clifford, blues harp, slide guitar; Chadley Kolb, vocals, guitar.

Username: [email protected]

Material: Like a mash-up of deep South outlaw attitude and country flecked melancholia—say Dixie Dregs by way of Willie Nelson—these Bostonian rockers epitomize a whiskey soaked, emotive blues that falls between goodtime dance party and plaintive howl. Fronted by Chadley Kolb, who could be mistaken for a forgotten Allman Brother, their material peppers relentlessly savory grooves with tasty harmonica.

Musicianship: It’s difficult to cite one performer over another for special commendation. Each member maintains an above average level of talent, but what makes their sound special is the way in which their individual elements loosely hang together, creating something far greater than the sum of their parts. Every song has a way of gaining steam, slowly building upon its funda-mental beat until, like a runaway train, the whole collection of notes chugs into an unstoppable tornado of feeling.

Performance: Besides their beautifully custom-ized amp, the only reference to the group’s

name came toward the end of the 40-minute set. For that matter, there wasn’t much interaction with the crowd in general, the bulk of their attention resting upon instrumental duties. Maybe that was for the best, as the au-dience enthusiastically boogied and roared approval. Still, adding context to the songs––if only divulging their names––would have been appreciated, as would have added experimentation with, perhaps, tempo or exploratory bridges.

Summary: Anybody with a pulse should enjoy these soulful rebels. What makes them so appealing is tough to quantify. They don’t offer anything unusual that demands attention, but why quibble when the music’s this good? If they desire a larger following they should foster a more intimate relationship with their fans, but in the meantime crack open a bottle of Jack Daniel’s and soak up the midnight musk, ‘cuz these guys have a .357 of pleasure aimed straight at your heart.

——Andy Kaufmann

Britton: Natural charisma that opens an intriguing window into a familiar perspective.

BrittonMolly Malone’sWest Hollywood, CA

Contact: Kyle Britton, [email protected], 719-214-4682Web: http://reverbnation.com/brittonmusicThe Players: Kyle Britton, lead vocals, guitar; Alex Chaffon, bass; Kendrick Thompson, drums; Matt Bradford, Dobro; Jewelia Hepburn-Zaferes, vocals.

Username: kabritton3

Material: Britton is an exciting songwriter whose material is fresh, sensitive, rootsy, and at times catchy. His natural charisma comes through in the music, opening an intriguing window into a familiar perspective in a refreshing way. The mood and attitude embody Americana, rock/R&B and seem to be both of the city and the hills, even the swamp at times. “Play Right” establishes a real organic rock vibe, similar to the Black Keys or the White Stripes, but a little warmer, and deeper south. The influence of Dave Matthews Band is implied on the verse and intro of “Sleep Over” while the chord progression of the chorus is almost identical to Tom Petty’s “Free Fallin’.” Other greats, like Jeff Buckley, come to mind throughout Britton’s set. All of the songs have a beautiful quality, but tend to fall just short of being extraordinary, generally in the chorus. With a bit more attention to the natural progression of the often brilliant verse themes and mood, these songs could be truly special.

Musicianship: This songwriter puts together a decent group of musicians to support the music with perhaps a little room to grow. Britton himself is a fine guitar player and vocalist. Bringing the falsetto in on “Taken” is a beautiful choice, but

the execution falls a bit short. With some work the falsetto can be an immeasurable tool to create intimacy with an audience. Bassist Alex Chaffon and Dobro player Matt Bradford are solid performers, nothing flashy. Kendrick Thompson on drums has a sound that’s appropriate for the band, but he shows moments of weakness, losing time occasionally on fills. The band does well to pick up the pieces, but some consistency and tightness could help the songs live and die better. Finally, background vocalist Jewelia Hepburn-Zafares would add much more to the sound if she sang harmony rather than unison or octave-unison.

Performance: The charismatic Kyle Britton’s smiling, laid-back personality showed signs of a natural, and his musical performance backed up that notion. While some band members seemed new, overall they brought an energy and sense

of style that worked. A question mark hovers above vocalist Hepburn-Zafares, who, when she was on stage was a lovely visual presence, but musically could have been utilized a little better. Also, in a couple of jams (particularly in “Shades of Grey”) the music was on the verge of going somewhere but never quite left the ground. The song’s arrangement was natural, but the drama fell flat in the execution. Tightness and drive from the rhythm section could help immensely.

Summary: Britton provides a rock & roll exper-ience that invites the listener into the mind of a guy who is seemingly fun to be around. The music is a couple of chord changes shy of being on the level of the world’s greats, and with some work on arrangements and by tightening up the rhythm section, this could become a one-of-a-kind, big-time act.

––Tim Reid, Jr.

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

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LIVE REVIEWS


The Orchestre Surreal: Unique concept and daring ambition combined to invent a new genre.

Sean Waterman: Singer-songwriter with pure and refreshing material.

The Orchestre SurrealCatalina Jazz Club Hollywood, CA Contact: [email protected], 310-498-4578Web: http://theorchestresurreal.comThe Players: The Fabulous Miss Thing, the Daunting Diva Lynn, Antoine the Real-Diel, vocals; Mike Nelson, Doug Webb, Ken Fisher, woodwinds; Tawnee Lillo, Emily Reppun, French horns; Matt Fronke, Mike McGuffy, trumpets; John Grab, trombone; Bill Roper, tuba; Paul Cartwright, Evette Holtzwarth, violins; Tom Lea, viola; Matt Cooker, cello; Jeff Miley, guitar; David Hughes, bass; Abby Savell, percussion; Russ McKinnon, drums; David Arana, keyboard; Mike Kramer, sound; Elvis Schoenberg, MC and conductor.

Username: TheOrchestreSurreal Material: Self-described as “L.A.’s only twisted-classical-jazz-rock ensemble,” the Orchestre Surreal are essentially a median between a large orchestra and a compact jazz ensemble, padded with a guitarist, bassist and drummer trifecta nor-mally found in a standard rock band. This proj-ect is the hobby of conductor Elvis Schoenberg, otherwise known as accomplished composer and arranger Ross Wright. The music consists of origi-nal pieces and covers which are completely rein-vented and polished until they feel brand new. If you listen carefully, you can hear Easter eggs hid-den in the music: a few bars from Indiana Jones, a melody from Star Wars, the finale of the “William Tell Overture,” etc.

Musicianship: Extending a jazz band into a mini-orchestra is a risky venture, and overpopulating the roster with brass players creates an imbal-ance. Playing mezzo forte would have allowed the lovely strings and woodwinds to shine, but the boisterous brass section overpower them consid-erably. The trumpets are at times too sharp, and two French horns may be a bit much for a jazz outfit. Perhaps the projection is more suitable to a bigger venue. On the upside, the presence of

glockenspiel, xylophone and timpani fit right in like puzzle pieces. The listener is also treated to the uncommon tubaxe, of which there are only three in Southern California. And as for their vocalists? Trained in opera.

Despite the ups and downs of the band’s in-strumentation, their 1930s jazz attitude applied to new and recreated songs is incredibly suave. At times, their sound turns a club into the set of a James Bond film. Performance: The Orchestre Surreal knew how to keep the mood alive with their fast-tempo set. Having three different vocalists available for each song enabled the group to meld genres and sounds, and the diverse selection of artists allowed for many solos. The group performed a variety of original tracks with names like “El-vis Mouth” and covers, including Jimi Hendrix’s “Fire.” The best one was based on Luciano Pa-varotti & James Brown’s duet of “This Is A Man’s World”––Antonie the Real-Diel sang both parts passionately and received rousing applause.

One of the more unusual aspects of the Or-chestre’s presence was their diverse manner of dress. Most of the female instrumentalists wore brightly colored bobbed wigs. The rest of the members were decked out in a variety of fashions ––crushed velvet cape, head to toe ste-ampunk, sports jerseys over t-shirts or casual but-tonup work shirts. Vocalist Antoine stood out in her black Chinese brocade jacket and white face- paint with a black square over one eye. Summary: In a city of copycats, the Orchestre Surreal stand out for their unique concept and daring ambition to invent a new genre. Their fun and wildly innovative take on old tracks is attrac-tive. With a bit of adjustment to their brass section, and some tweaking of the dress code, they could be enormously popular among the crowds that frequent Bats Day and the Labyrinth Masquerade, or jazz aficionados looking for something fresh.

——Jessica Aves

Sean WatermanRoom 5Los Angeles, CA

Contact: [email protected]: http://seanwaterman.comThe Players: Sean Waterman, vocals, guitar.

Username: seanwaterman

Material: Sean Waterman is a singer-songwriter by definition with well-crafted lyrics and melodies. However, the sincerity he exudes offers so much more. No matter the premise—the dreadful pain of heartbreak or the questionable aspects of life—Waterman attaches a catchy, lighthearted vibe to every song, erasing any stigma the emotion may hold. The sugary bounce to “Sour Patch Girl” can melt the heart of any woman, young or old, while “Swerve” and “Wrong” blanket a broader range of listeners.

Musicianship: Waterman’s fingers glide eleg-antly across the strings with a finesse that takes his skill a step beyond an indie singer-songwriter. His songs are loosely structured but tightly bound with simple hooks and clever word play. His vocal tone leaves every note steaming with warmth and Waterman knows exactly when to drop a deep, guttural growl for that natural, soulful feel. Performance: This performer needed nothing more than his guitar and a mic to bring life to the

quiet, intimate setting. Instantly calm, cool and collected with just the bare necessities, he sat comfortably on stage as if he were in his own living room with the company of friends. The songwriter casually paused between songs to speak of their origins and humbly shared short excerpts of his upbringing to anyone who cared to listen.

Every sound Waterman created seemed to completely consume him as he gracefully danced upon his stool. A few of his originals exhibited a slight similarity, but his set carried on without becoming too repetitive. To change it up, the performer included a highly unexpected, but

beautifully crafted rendition of Led Zeppelin’s “That’s the Way.”

Summary: A singer-songwriter at heart, Sean Waterman delivers material that is pure, refresh-ing and a joy to hear. Although his songs could easily be considered for radio play, there is some-thing infectious he brings with a stripped-down set that could never fully be captured in a simple recording.

——Allegra Azzopardi

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LIVE REVIEWS


Veni Vidi Vicious: Guitar-heavy indie rock that shifts deftly between sub-genres.

Neil Daly: Passionate singer-songwriter showcasing a heart on his sleeve.

Veni Vidi ViciousChelsea HotelShibuya, Tokyo, Japan

Contact: [email protected]: http://venividivicious.jpThe Players: Ryosuke Irie, lead vocals, guitar; Takeshi Irie, guitar; Yusuke Matsuda, bass; Hiroshi Oya, drums.

Username: Veni vidi vicious

Material: Veni Vidi Vicious play guitar-heavy indie rock that shifts deftly and quickly between sub-genres. Hints of Incesticide-era Nirvana, early U2, Radiohead, Coldplay and the Fall of Troy all come into play, but never for the duration of a whole song. “Warui Ho” starts off like “School’s Out” by Alice Cooper, but in no time the band is rocking out like a frantic White Stripes. “Horror City” sounds a lot like a mix of Nirvana’s “Bleach” via Blur, and adapted for some funky 8/8 synco-pation. “Good Days” wouldn’t sound out of place on a Coldplay album, having a similar feel to their “Waterfall,” with ringing single-coil guitar riffs and sparse arrangements. The only weak point to be found was the length of “Good Days,” whose end-ing vamp seemed to last over two minutes, pulling the single over the six-minute mark.

Musicianship: Drummer Hiroshi Oya and bass-ist Yusuke Matsuda provide a professionally solid rhythm section that would be the envy of any indie band. Matsuda also presents excellent backup vo-cals, bending all the way into gender-defying fal-setto. Takeshi Irie contributes competent backup vocals as well, while playing arpeggios and leads in perfect sync with the riffing of lead singer Ryo-suke Irie. This frontman’s voice possesses nearly perfect pitch, while his vocal arsenal contains ev-erything from the sustained wails of Thom Yorke

and the moodiness of low-key Cobain, to open-throated screams of which he never loses control.

Performance: Veni Vidi Vicious are not a band who move around a lot on stage, but they perform their intricate songs with enough passion to keep your eyes busy. Matsuda and Takeshi moved the most, with Matsuda even facing the back of the stage at one point, à la Soundgarden. The audi-ence came to see this band’s musicianship, stay-ing rapt to the stage. The band obliged, barely speaking during the whole set. Ryosuke an-nounced the band’s name after the first song, and quickly offered song titles in between tracks. At

the end of their seven-song set, the band thanked the crowd for coming out, Takeshi threw down his 335-like guitar, and Veni Vidi Vicious walked off stage.

Summary: This band have clearly created an identity, polished their chops and found their au-dience. It might be difficult to find ways in which the band could improve but, then again, Veni Vidi Vicious appear happy to be who and where they are.

——Laurier Tiernan

Neil DalyTripSanta Monica, CA

Contact: Neil Daly, [email protected]: http://reverbnation.com/neildalyThe Players: Neil Daly; acoustic guitar, vocals, Lyndsey Wegner, vocals.

Username: neildaly

Material: Neil Daly is a passionate singer-song-writer who seems to wear his heart on his sleeve, and then make sure everyone sees it clearly. The songs follow a similar formula, though there are some stand-out moments, interesting grooves and catchy melodies. The music fits into the category of pop/alt/rock of the ‘90s, reminding the listener of Smashing Pumpkins circa Siamese Dream with “Everything & Nothing at All.” R.E.M. comes to mind in the mood and attitude of the verse of “Dead Flowers” and Daly channels Alice in Chains in the introduction to “Dizzy.” Most of the songs tend to have a moody, groovy, minor melodic verse with a more “sunny,” poppy, major melodic chorus, which may work well on one or two tunes, but thereafter seems formulaic and a little confusing. The lyrics are generally about love and love lost or some form of romantic angst.

A high point of the set includes a folksy ren-dition of Bon Jovi’s “Livin’ on a Prayer” (featuring vocalist Lyndsey Wegner).

Musicianship: Daly has a challenging job as a songwriter, which is to present his music and entertain without the help of additional musicians to support and boost the image and sound. He does not particularly stand out as a guitar player, though he does an adequate job of getting through the tunes and playing within his ability. His voice

is solid, but does not particularly captivate or stand out on its own. While its clear Neil Daly has had some experience on stage, it may help the material to either spend some time in the woodshed, or recruit some additional musicians to help the music grow. Daly may consider having vocalist Wegner on stage a little more often to fill out his sound.

Performance: Confidence on stage can go a long way, and did a great deal to help Neil Daly bring an entertaining performance at times. Throughout the night, however, it was unclear if Daly intended the audience to take him seriously. He devoted a lot of time to talking, explaining, introducing his material in either a sarcastic or self-effacing manner, which often clashed with his songs’

emotional importance and gravity. For a solo singer-songwriter, making a connection with the audience is crucial, but there is a point where the music must speak for itself. Daly had a few folks in the bar connecting with him on an intimate level, which is sometimes enough. To connect with the masses, though, a bit more attention and time on the songs themselves would serve him well.

Summary: Neil Daly is a conflicted songwriter who has the potential to become truly entertaining with a little focus on his musical arrangements and stage persona. Thanks to his passion and confidence, he has the potential to grow into a unique and special artist.

––Tim Reid, Jr.

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LIVE REVIEWS


Reina Williams: Solo artist who’s not afraid to express what she feels.

William Tyler: Guitar aficionado with the ability to fashion a melodic, electric glory with a single instrument.

Reina WilliamsRed LionNew York, NY

Contact: [email protected]: http://reinawilliams.comThe Players: Reina Williams, guitar, vocals.

Username: Reina Williams

Material: Showcasing her own urban blend of pop, blues and R&B, Baltimore native Reina Williams delivers a set packed with originals and heavy-hitting classic covers. Her material spans several musical periods but heavily favors R&B. Exploring themes of self-acceptance and self-actualization, Williams examines relationships in “Another Girlfriend,” expressing the need for the real thing not just “another friendship with benefits but something I can call mine.” Her renditions of Billy Ocean’s “Caribbean Queen” and Sade’s “Smooth Operator” are respectful of the original versions while adding unique vocal touches.

Musicianship: Williams’ spirited guitar work provides a strong support for her rich alto voice, which becomes increasingly more confident as the set progresses. She covers a lot of musical territory both vocally and instrumentally, acting as a virtual one-woman band performing with abandon and drive. With all the gusto in her voice she is still able to pull back when the music de-mands it.

Williams also has an exceptional talent for rapping and did so with precision and finesse. Performance: The setting was informal—a bar/restaurant featuring music as opposed to a strict listening room. In that environment, it’s often a challenge for any artist to capture and maintain

the attention of an audience that has come geared up to drink and talk.

Williams succeeded in luring quite a few into listening mode and managed to hold their atten-tion through a set that was an hour and a half. By playing well-known material, people were open to hearing her originals.

Williams’ persona is somewhat “street” but with a certain vulnerability and an obvious intelligence and level of taste which was evident in her choice of cover material. She was chatty between songs, at times meandering a bit too much something which would be worth tightening up especially for a more intimate showcase.

Summary: Reina Williams is not afraid to ex-press what she feels. This artist writes songs that address her personal views and delivers her message directly with expression. She makes savvy choices when picking cover material, which complement her innate style. Shaping the act a bit more with attention to a focused presentation, especially the space between songs, will give the audience an even greater sense of who Williams is as an artist and a further polish to her whole performance.

——Ellen Woloshin

William TylerThe EndNashville, TN

Contact: [email protected]: http://williamtyler.netThe Players: William Tyler, guitar.

Username: pending

Material: The mention of William Tyler (of Nash-ville’s acclaimed and long-standing Lamb-chop) may or may not ring a bell, yet to those who are familiar with him as a solo artist, he’s a revered guitar aficionado known for his uncanny ability to fashion a melodic, electric glory with a single instrument––and then spread it further with a delay pedal. Like all true guitar craftsmen, from Jimmy Page to Eric Clapton, Tyler can’t really be pinned as a “sounds like.” While a southern influence does creep into his songs (he has, after all, worked with a variety of artists including country legend Charlie Louvin) as well as a taste for bleary psychedelia, there is really no approp-riate “genre” for this guitarist.

Musicianship: The notes unfold and take their own shape, sent off by Tyler’s precise but loose, frantic fingerplucking. The very nature of the music he makes seems to create an environment suited for him to create music in the first place; as the notes tumble out and resound at the press of the delay, Tyler seems to get more and more caught up in its flow—as does his audience—which is apparent as he leans back and forth in sync with the guitar’s rhythm.

Performance: Seeing Tyler perform live in lieu of listening to a recording is almost necessary to appreciate him, not because of a striking stage presence, but because of the closeness, for lack

of a better word, of the music in the room. Eyes shut and standing unassumingly off to one side of the stage, Tyler unleashed echoing notes in every dialect without singing a word––save for one twangy song, when Jamin Orrall (JEFF the Brotherhood) and Seth McMurry (Natural Child) joined him onstage to provide drums and bass, respectively. It was a full house (on a Tuesday night), and everyone pressed up to the stage, compelled to step closer to the sound.

Summary: With captivating folk ambience, William Tyler is easily one of Nashville’s most expressive, obsessive guitarists. With respect to creating an enormous range of sounds with a just one instrument, he succeeds. It filled the room.

——Jessica Pace

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60 June 2012 www.musicconnection.comJune 2012 www.musicconnection.com

Download This Directory From Our Website www.musicconnection.com/amp

Compiled By Denise CosoDownload This Directory From Our Website: www.musicconnection.com/amp

Recording Studios

AlabamaBIRDLAND RECORDING STUDIOS4891 County Rd. 585Town Creek, AL 35672256-466-4312E-mail: [email protected], [email protected]: www.birdlandstudios.comContact: Jeff or Owen (256-476-0264)Format: digital Alesis HD, 24-48 trks.Basic Rate: $110/hr. w/engineer, $680/day w/ engineer

FAME STUDIOS 603 E. Avalon Ave.Muscle Shoals, AL 35662 256-381-0801 Fax 256-381-6337Web: www.fame2.comFormat: Pro Tools and vintage analogBasic Rate: please call for info

GAT3 MIDSOUTH1820 U.S. Hwy 278 Gadsden, AL 35903704-525-5552E-mail: [email protected]: www.gat3.comContact: Susan K TaborFormat: A Room – Pro Tools HD / SSL A/D Converters, B Room - Pro Tools LE /48 track Mackie HDRBasic Rate: $95/hr. 2 hour minimum $680/8hr. day

RIVERLAND RECORDING STUDIOS509 Talucah Rd.Valhermoso Springs, AL 35775256-778-4050.Web: www.riverlandrecording.comFormat: Alesis HD 24, Pro Tools LEBasic Rate: please call for info

SOUND CELL/SMITH MUSIC GRP, INC.601 Meridian St.Huntsville, AL 35811256-539-1868, 800-933-2688E-mail: [email protected] Web: www.soundcell.comFormat: Pro ToolsBasic Rate: please call for info

SOUND OF BIRMINGHAM RECORDING3625 5th Ave. S. Birmingham, AL 35222205-595-8497 E-mail: [email protected]: soundofbirmingham.comContact: Don MosleyBasic Rate: please call for info

Alaska10TH PLANET810 Amanita Rd.Fairbanks, AK 99712907-488-8658E-mail: [email protected]: www.10thplanet.comContact: R. Ford or P. FitzgeraldFormat: digitalBasic Rate: please call for info

DOME STUDIOS1912 Gilmore TrailFairbanks, AK 99712907-457-1993, 907-456-6734E-mail: [email protected]: www.alaskajam.com/domestudios.htmlContact: Jerry or RifFormat: Tascam 16 track 1-inch analog tapeBasic Rate: please call for info

FM RECORDING STUDIOS, LLC4134 Ingra, Ste. 101B Anchorage, AK 99503 907-563-0003

E-mail: [email protected]: digitalBasic Rate: please call for info

MIRROR STUDIOS, INC. 3700 Woodland Dr., Ste. 100 Anchorage, AK 99517 888-808-8894, 907-245-8888 E-mail: [email protected]: www.mirrorstudios.comFormat: Pro Tools HD3Basic Rate: please call for info

SURREAL STUDIOS355 W. Potter Dr.Anchorage, AK 99518 907-562-3754 E-mail: [email protected]: www.surrealstudios.comContact: Kurt RiemannFormat: digital Pro ToolsBasic Rate: $100/hr.

ArizonaBRICK ROAD STUDIOS7944 E. Beck Ln., Ste. 160Scottsdale, AZ 85260480-788-3573E-mail: [email protected] Web: www.brickroadstudio.comContact: Scott LeaderFormat: call for info Basic Rate: $450/day $75/hr or flat rate for larger projects

FULL WELL RECORDING STUDIO 1718 N. 17th Ave. Phoenix, AZ 85007 602-367-1342 E-mail: [email protected] Web: www.idnmusic.com/studio Contact: Mike Bolenbach Format: Pro Tools HD3 Basic Rate: please call for info

LUNA RECORDING STUDIO 4500 E. Speedway Blvd., Ste. 86 Tucson, AZ 85712 520-260-7576E-mail: [email protected] Web: www.lunarecording.com Contact: George Nardo Format: Pro Tools HD Basic Rate: $50/hr. block bookings available

NOVA MUSIC PRODUCTIONSTucson, AZ520-271-2683, 520-578-2970E-mail: [email protected]: www.novamusicproductions.com Contact: MikeyFormat: Full production, arrangement, recording, mixing, masteringBasic Rate: $45/hr.

SALTMINE STUDIO OASIS, THE48 S. MacDonald St.Mesa, AZ 85210480-220-4007 Fax 480-507-0704E-mail: [email protected]: www.thesaltmine.comContact: DonFormat: digital and analogBasic Rate: please call for info

ArkansasBLACKWATER RECORDING STUDIOSCabot, AR 72023501-843-9522Web: www.blackwaterstudios.comContact: Michael Sharpe

BLUE CHAIR RECORDING STUDIOAustin, AR501-605-8489E-mail: [email protected]: bluechairrecordingstudio.com, www.myspace.com/bluechairstudio

CEDAR CREST STUDIOCR 830, Ste. 17Henderson, AR 72544 870-488-5777 E-mail: [email protected] Web: www.cedarcreststudio.com Contact: Bob KetchumFormat: analog 1-inch 16-track, digital PC w/Sony ACID Pro 6.0, Sony VegasBasic Rate: Audio $65/hr. Video $75/hr.

CRYSTAL RECORDING STUDIOS 2307 Brandon Rd.Bryant, AR501-847-8215E-mail: [email protected]: crystalrecordingstudios.comBasic Rate: $45/hr. Bulk special is $35/hr

DAWSON MUSIC AND RECORDING STUDIO575 Hwy 95 W.Clinton, AR 72031501-745-2025Web: www.dawsonmusicandstudio.comContact: Louis Dawson, owner

EAST HALL RECORDINGFayetteville, AR479-582-EASTE-mail: [email protected]: www.easthall.com, www.myspace.com/easthallrecordingBasic Rate: $45/hr

PRODUCTION CO., THE 510 N. Mt. OliveSiloam Springs, AR 72761 479-524-4626 E-mail: [email protected] Contact: Ken FloryFormat: Digital 24 trackBasic Rate: $50/hr.

RANEY RECORDING STUDIOP.O. Box 17110 S. Front St.Drasco, AR 72530-9282870-668-3222 or 668-3698Fax 870-668-3520E-mail: [email protected]: www.raneyrecordingstudio.com

STARBORN STUDIOS 5100 B Towson Ave.Fort Smith, AR 72901479-648-1020E-mail: [email protected]: http://starbornstudios.com

WINTERWOOD RECORDING STUDIOS 1442 CR 1531 Eureka Springs, AR 72632 479-253-2530 E-mail: [email protected] Web: www.winterwoodstudios.com Contact: Eric T. Schabacker Format: Nuendo, Cuebase, Pro Tools Basic Rate: $60-$75/hr.

WOLFMAN STUDIOSLittle Rock, AR501-247-5525E-mail: [email protected]: www.wolfmanrecordingstudios com

California/NorthernALIEN PRODUCTIONS STUDIOS4100 Wayside Ln., Ste. 120Carmichael, CA 95608916-483-9988Contact: Jeff NorthrupE-mail: [email protected]: www.alien1111.comFormat: digital recording, mixing, mastering and music productionBasic Rate: $35 per hour, $250 8 hour block.

ANNEX STUDIOS, THE970 O’Brien Dr.Menlo Park, CA 94025650-328-8338 Fax 650-325-6890E-mail: [email protected]: www.theannex.us

Contact: Tony WentzelFormat: digital and analogBasic Rate: call for info

BAY RECORDS3365 S. Lucille Ln.Lafayette, CA 94549510-428-2002E-mail: [email protected] Web: www.bayrec.com Contact: Michael CoganFormat: 24-track analog and Pro Tools HDBasic Rate: Call or e-mail

BLUE SEVEN AUDIOCentral FremontFremont, CA 94538 650-766-7212 E-mail: [email protected] Web: www.bluesevenaudio.com Contact: ChrisFormat: Pro Tools HD3Basic Rate: $50/hr. $450/day project rate negotiable

CRYSTAL IMAGE FULL BAND DEMOSP.O. Box 996Jackson, CA 95642E-mail: [email protected] Web: www.myspace.com/the88barContact: John CovertFormat: digital and analog, 16 tracksBasic Rate: $60 per demo (rates can vary with repeat orders or complexity of order. E-mail us with your budget)

DAVID LITWIN PRODUCTIONS2658 Bridgeway, Ste. 101Sausalito, CA 94965 415-332-9409 E-mail: [email protected]: www.davidlitwinproductions.com Contact: DavidFormat: Pro Tools HDBasic Rate: $100/hr., $120/hr weekends. Flexible rates for longer bookings.

DIFFERENT FUR3470 19th St.San Francisco, CA 94100415-828-4060E-mail: [email protected]: www.differentfurstudios.comContact: LindsayFormat: SSL 4056/48e | Pro Tools HD3 Version 8Basic Rate: call for info

FANTASY STUDIOS2600 Tenth St.Berkeley, CA 94710510-486-2038 Fax 510 486-2248E-mail: [email protected]: www.fantasystudios.comContact: Jeffery WoodFormat: Pro Tools and analogClients: Please check our website

HYDE STREET STUDIOS245 Hyde St.San Francisco, CA 94102415-441-8934E-mail: [email protected]: www.hydestreet.comFormat: digital and analog, 24 tracksBasic Rate: call for info

SF SOUNDWORKS SSL9000 San Francisco, CA 94103 415-503-1110 E-mail: [email protected] Web: www.sfsoundworks.com Contact: Tony Espinoza Format: digital and analog, 128 tracksBasic Rate: please call for info

SONOMA MOUNTAIN STUDIO ESTATE369B Third St., #171San Rafael, CA 94901707-665-0849E-mail: [email protected]: www.studioestate.com/studio.htmlFormat: Digital and AnalogBasic Rate: call for info

THE SOUND THEORY1141 Campbell AveSan Jose, CA 95126408-921-1550E-mail: [email protected]: www.thesoundtheory.comContact: Rico. Chief Engineer/Producer

This exclusive list of professional studios has been updated and expanded for 2012,

with information supplied by the listees. To get thousands more industry contacts, visit: http://musicconnection.com/amp

Annual Directory of 31st

Directory #6.indd 60 5/29/12 1:03 PM



Format: Pro Tools HD hydrid Analog & DigitalBasic Rate: Call or visit for info

California/Southern17 HERTZ STudioS27057 Industrial Blvd.Hayward, CA 94545-3355866-826-4379E-mail: [email protected]: www.17hertz.comContact: Jason GluzFormat: Pro Tools HD3/192Basic Rate: call for ratesClients: Black Eyed Peas, the Jabbawockeez, Bobby V, the Jacka, Aaron Carter

1ST CHoiCE STudio1259 Bruce Ave.Glendale, CA 91202818-246-6858E-mail: [email protected]: www.billkeis.comContact: Bill or RitaFormat: digitalBasic Rate: call for ratesServices: production, recording, mixing, mastering, singer-songwriter demos and masters, all styles including classical music. Also available: keyboard player, arranging, composition, drum programming.

4TH STREET RECoRdiNG1211 4th St.Santa Monica, CA 90401310-395-9114 Fax 310-394-7772E-mail: [email protected]: www.4thstreetrecording.comContact: Kathleen WirtFormat: digital and analog, 24 tracksBasic Rate: $50-90/hrGear: MCI 428 Console, (4) Neve 1066s, (4) StuderA827, (4) Focusrite, (2) Telefunken V72s, UREI 1176s & LA3As, Genelec 1031s, Yamaha NS10s, Lexicon, Yamaha, DBX, Drawmer, Pro Tools HD3, Yamaha C7 Grand Piano. Mics: Neumann U-67, 2U-87s, AKG 414a, Royer, Shure, Sennheiser.Special Services: Pro Tools and analog recording. Great drum room, Yamaha C67 grand piano, Hammond organ w/Leslie. Overnight lodging for out of town bands. Great sound design.Clients: The Beach Boys, George Clinton, Incubus, No Doubt, Fiona Apple, Nelly Furtado, Bryan Ferry, Jack’s Mannequin, Kasabian,

OneEskimo, the Neighbourhood, The Kin Hello Echo, Steve Martin, Amazing Baby, Vintage Trouble, Daniel Merriweather Comments: Right off 3rd Street Promenade, Ocean. “Top 10 US Studios Under $100/hour” Performing Songwriter Magazine. “One of LA’s 17 Temples of Sound,” Hollywood Reporter 2012

21ST CENTuRY STudioSilverlake, CA (near Satellite)323-661-3130Web: 21stcenturystudio.comContact: Burt LevineFormat: Digital/AnalogBasic Rate: call for rates

AAA JiMMY HuNTER’S CAZAdoR RECoRdiNG oF HoLLYWood, CALos Angeles, CA 90048323-655-0615E-mail: [email protected]: www.jimmyhunter.comContact: Jimmy Hunter, producer/engineer/drummer/vocalist/vocal coachFormat: State of the Art ProTools 10 HD4 Basic Rate: call for a free consultation to discuss Clients: Todd Eagan, Ben Forat, Ric Lashever, Crimson Crout, Savannah Phillips, Niki Svara, Carl (Cix Bits) Somers, Dee Archer, Steve Warnick, Dr. Gary Alias, Ivy Lite Rocway, Carol Casey

AB Audio ViSuAL4212 Hackett Ave.Lakewood, CA 90713-3208562-429-1042, Toll Free: 877-ABAUDIO (877-222-8346) Fax 562-429-2401E-mail: [email protected]: www.abaudio.com Contact: Arlan Boll

ABET MuSiC411 E. Huntington Dr., Ste. 170-372Arcadia, CA 91006 626-303-4114 Fax 626-236-5591E-mail: [email protected] Web: www.abetmusic.com Contact: Aeron K. NersoyaFormat: digital and analog, 96 tracksBasic Rate: $275/hr.

ACdC Audio Cd & CASSETTE12426 1/2 Ventura Blvd.

Studio City, CA 91604818-762-2232 E-mail: [email protected]: www.acdc-cdr.comContact: Steve MitchellFormat: digital and analog, 2 tracksBasic Rate: please call for info

AdAMoS RECoRdiNG 5811 Westminster Ave. Westminster, CA 92683 714-897-8886Web: www.adamosrecording.comContact: [email protected]: digital and analog, 64 tracksBasic Rate: please call for info

AdVENTuRES iN ModERN RECoRdiNG W. Los Angeles, CA 323-375-4267E-mail: [email protected]: www.adventures inmodernrecording.com Contact: Daniell Holcomb Format: digital, Pro Tools 9Basic Rate: $50/hr.

AFTER HouRS RECoRdiNG Co.1607 Victory Blvd., Ste FGlendale, CA 91201818-246-6583 Fax 818-246-6584E-mail: [email protected]: BillFormat: digital and analog, 16 tracksBasic Rate: $35/hr.

ALLiEd PoST 1158 26th St., #272Santa Monica, CA 90404 310-392-8280Contact: Woody Web: www.alliedpost.com Format: digital and analogBasic Rate: call for info

AMBER SKY MuSiC PRoduCTioN P.O. Box 2164 Toluca Lake, CA 91610 818-788-6840 E-mail: [email protected] Contact: Rick Kraushaar Format: digital, 48 tracksBasic Rate: $40/hr.

AMERAYCAN RECoRdiNG STudioS5719 Lankershim Blvd.

N. Hollywood, CA818-760-8733E-mail: [email protected] Web: www.paramountrecording.comFormat: digital and analog, 96+ tracksBasic Rate: call for daily lockout rates

ANdY CAHAN-dEMo doCToRCathedral City, CA 818-489-4490 E-mail: [email protected]: www.allentertainment.netContact: Andy Format: digital and analog, 24+ tracksBasic Rate: please call for info

ARdENT Audio PRoduCTioNS22122 S. Vermont Ave., Unit ETorrance, CA 90502310-782-0125E-mail: [email protected]: Rich WenzelFacebook: https://www.fb.com/ardentaudioproductionsWeb: www.aap123.com, www.myspace.com/ardentaudioFormat: Pro Tools HD-3Basic Rate: call for ratesGear: Pro Tools HD-3, Digi-Focusrite Control 24 Control Surface, Millennia & Avalon mic pre’s. Universal Audio 1176LN, Manley & Demeter Compressors, ADAT’s. Large selection of pro mics: Neumann, AKG, Sennheiser, Shure, etc. Classic Keyboards: Hammond B-3 & Leslie, Rhodes & Wurlitzer elec. pianos. Grand & upright pianos. MIDI production facility with current to classic synths, virtual synths, & samplers. 2 large sound rooms.Special Services: Our producers offer complete production starting with your initial ideas to your completed master. We produce, arrange and compose: Sound Design, CD Projects, Commercial Jingles, VO, Industrial Projects, Demo ProjectsClients: Lemmy (Motorhead), Delta Groove Productions, Sanyo, United Bank of California, El Pollo Loco, Taco Bell, Toyota, Sprint, Shadoe Stevens, Doug MacLeod, Barry Levinson, Ruthless Records, 2000 LBS of Blues, Scott Martin (Pancho Sanchez Band) Friends of Distinction (“Grazin’ in the Grass,” “Goin’ in Circles”)Comments: We offer professional audio quality in a relaxed creative atmosphere, with established industry professionals. We work




Clearly creative.

C L E A R A S

[email protected] | www.prismsound.com | UK +44 (0)1353 648888 | USA +1 973 983 9577

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hard to give you the high-end product you’re looking for. Studio was conceptualized by musicians for musicians.

A ROOM WITH A VUSanta Barbara, CA 93111805-967-9494E-mail: [email protected]: DonFormat: ISDN, digital and analogBasic Rate: please call for info

ARTISAN’S LABEL RECORDING STUDIO2454 Fender Ave.Fullerton, CA 92831888-345-4749E-mail: [email protected]: www.artisanslabel.comContact: Michael FilsonFormat: digital, 128 tracksBasic Rate: please call for info

ARTIS MUSICAIP.O. Box 3486 Chatsworth, CA 91313747-224-7165E-mail: [email protected]: www.artismusicai.comContact: Gussie MillerFormat: digital, unlimited tracksBasic Rate: please call for info

A SMOOTH SOUND13649 Vanowen St.Van Nuys, CA 91405818-779-1259 E-mail: [email protected]: www.smoothsoundmultimedia.comFormat: digital and analog, 32 tracks, Pro Tools HDBasic Rate: please call for info

ASPEN’S PLACE RECORDING1547 Truman St.San Fernando, CA 91340818-512-4500E-mail: [email protected]: www.aspenandassoc.com, http://fb.com/aspensplacerecording Contact: Aspen PittmanFormat: Pro Tools HD, 32 channels Gear: all tube GT ViPRE/SuPre/Brick preamps. Extensive vintage Mic locker, outboard & back line.Basic Rate: Full Room w/ everything @ $750 (8 hour day), w/ engineer add $25 PH, w/

Engineer & Producer add $50 PHStudio Basic Weekly Rate, Full Room w/ everything @ $500 (5 consecutive days, 8 hour day), w/ engineer add $25 PH, w/ Engineer & Producer add $50 PH Control Room only Daily Rate, @ $375 (8 hour day). w/ engineer add $25 PH, w/ Engineer & Producer add $50 PHControl Room only Weekly @ $250 (5 consecutive days, 8 hour day). w/ engineer add $25 PH, w/ Engineer & Producer add $50 PH

ATOMIX STUDIOSVan Nuys, CAE-mail: [email protected]: www.myspace.com/atomixstudiosContact: TomFormat: Analog and DigitalBasic Rate: inquire for rates

AUDIOLOT STUDIOSLos Angeles, CA 90068 323-464-9900, 888-224-3343 E-mail: [email protected] Web: www.audiolot.com/studios Contact: Joshua AaronFormat: Pro Tools HDBasic Rate: $750/day

AUDIO MECHANICS 1200 W. Magnolia Blvd. Burbank, CA 91506 818-846-5525 E-mail: [email protected] Web: www.audiomechanics.com Contact: John Polito Format: digital and analog, 24 tracks Basic Rate: please call for info

BACKYARD PRODUCTIONSVan Nuys, CA 91405818-780-7845 Fax 818-780-7845E-mail: [email protected]: www.backyardrecording.com, www.hughjamesmusic.comContact: Hugh JamesFormat: digital and analog, 48 tracksBasic Rate: variable rates: per hour & per projectFormat: digital and analog, recording & productionGear: Mac Pro 8 Core, Pro Tools 8, Logic 8, Digidesign 002; ADATS & BRC: Akai MG 1214 analog recorder. Console: Soundtracs Topaz 32X8 analog desk. Monitoring: Tannoy Reveal 8 active studio monitors. Keyboards: Vintage 1881 Brazilian Rosewood Steinway Grand,

Yamaha Motif 8 Work Station midi controller, Roland JD 990 analog synth module; Akai MPC 60. Mic Pres & Compressors: Universal Audio 6176 channel strip, Presonus Digimax 8 channel class A mic pre with ADAT & analog outputs, Universal Audio 6176 mic pre compressor, ART Pro Channel tube mic pre compressor EQ, ART Pro MPA 2 channel tube mic pre-amp, ART Pro VLA 2 channel Vactrol Leveling Amplifier Compressors, Universal Audio 6176, (2) DBX 160 Compressor/Limiter, ART Tube EQ, Yamaha Spx 90, Alesis Quadra Verb. Microphones: Tube Mics: (1) Avantone CV12 Large Diaphragm Multi pattern tube condenser mic; (1) MXL vintage tube large diaphragm vocal mic; (1) Avantone CV28 multi-pattern small diaphragm tube condenser mic. Condenser Mics: (1) AKG C 414-B Uls large diaphragm condenser, (2) MXL 2001 large diaphragm condenser, (2) Shure 849 small diaphragm condenser, (2) Avantone CK-1 small diaphragm multi-pattern condensers. Dynamic Mics: (2) Sennheiser 421, (1) AKG D 12, (2) Shure SM57. Headphone & Cue System: Sony MDR 7506 headphones, Behringer Power Play Pro 8 headphone amp. Software & Plugins. Call for latest updatesSpecial Services: Perfect for songwriters. Great Steinway acoustic piano tracks & piano vocal demos, professional pianist available, independent records, production & arranging, live drums, great players & singers available, music to picture, cool vibeClients: Arista Records, Aaron Lines, Hugh James, Warner Chappell, Robert Townsend, Clara Lynn Mayer, Studio Referral ServiceComments: private studio available by the hour, block rate or lock out. Great for engineers, producers or writers for pre-production, beautiful space with drum & vocal rooms, bath & kitchen & a grill for lunch.

BADMAN PRODUCTIONS13445 Crewe St.Van Nuys, CA 91405Contact: Lovy Longomba or Benjamin OchiengE-mail: [email protected]: www.badmanprod.comServices: Pro Tools, Control 24 board, Reason, LogicBasic Rate: call for info

BATTLE PANDA PRODUCTIONS RECORDING STUDIO7519 Collett Ave.

Van Nuys, CA 91406316-516-0832E-mail: [email protected] or [email protected]: www.battlepandaproductions.comContact: Dan or JoeFormat: Apple Logic Pro 9, Pro Tools 9, Mac Pro/Apogee/Onyx Setup, 44.1-192 kHz, 24bit recording.Basic Rate: $55/hr. w/engineer, $400/day w/engineer

BEACH CITIES RECORDING, LLC2416 Amsler St., Ste. 2Torrance, CA 90503310-530-9600E-mail: [email protected]: www.beachcitiesrecording.com

BERNIE BECKER RECORDING & MASTERING35 West Dayton St.Pasadena, CA 91105626-304-1682 Fax 626-304-1683E-mail: [email protected]: www.berniebecker.comContact: Bernie BeckerFormat: digital and analogBasic Rate: call for info BIG CITY RECORDING STUDIOS 17021 Chatsworth St. Granada Hills, CA 91344 818-366-0995 E-mail: [email protected] Contact: Paul Web: www.bigcityrecording.com Format: digital and analog, unlimited tracks Basic Rate: call for info

BIG SCARY TREE Downtown Artists Loft District Los Angeles, CA213-680-8733 E-mail: [email protected]: digital and analog, 64 tracksWeb: www.bigscarytree.com Basic Rate: please call for info

BIG SURPRISE MUSIC16161 Ventura Blvd., Ste. C #522Encino, CA. 91436818-905-7676E-mail: [email protected]: Carmen GrilloWeb: www.bigsurprisemusic.com




This was the genesis of the Focusrite brand and an uninterrupted progression of the ISA family from then until now. The ISA (Input Signal Amplifier) microphone preamplifier, featuring a Lundahl input transformer and proprietary Zobel network, has remained essentially unchanged and at the heart of every ISA Range product and of course the famous Focusrite Studio consoles.

Announcing the latest chapter in the ISA legacy, ISA Two.

Responding to numerous requests Focusrite is pleased to offer two channels of this highly praised mic pre in a 1U, 19” rack-mounted format. The only things we’ve added to the original design are four switchable input impedances, balanced inserts and two useful user-calibrated eight LED output meters.

At the heart of every great studio is great sound. That will be your legacy. It’s ours too - Sound is Everything.

In 1987 Focusrite, then owned by Mr Rupert Neve, introduced the ISA 110 wide bandwidth Microphone preamplifier and EQ module, designed at the request of Beatles producer Sir George Martin for the custom Neve consoles at his AIR Studios in London and Montserrat.

Like all ISA Range products ISA Two specs out beautifully!

• EIN is -127dB (at 60dB gain, 150 Ohm source impedance).

• Noise at main output is -97 dBu (22Hz-22kHz bandpass filter).

• Frequency response at 60dB gain -2.5dB at 20Hz., -3dB at 120kHz.




Format: digital, 128 tracksBasic Rate: $50/hr.

BIG SWEDE STUDIOS 621 S. Spring St., Ste. 1208 Los Angeles, CA 90014 213-629-4940 Fax 213-629-4940 E-mail: [email protected] Contact: Big Swede Web: www.bigswedestudios.com Format: digital and analog, 256 tracks Basic Rate: call for info

BILL CORKERY STUDIOSStudio for Creative Audio1660 Hotel Cir. N., Ste. 107San Diego, CA 92108619-291-8090E-mail: [email protected] Web: www.bcproductions.comContact: BillFormat: digital Basic Rate: please call for info

BITWERXN. Hollywood, CA818-985-8078 Contact: Eddie RogersE-mail: [email protected] Format: digital & analogWeb: www.bitwerxstudios.com

BLUE RHODE STUDIOS10520 Burbank Blvd.N. Hollywood, CA 91601323-842-0269E-mail: [email protected]: www.bluerhode.comContact: Andrew De Lucia, President & CEOFormat: digital, Pro Tools 9, Reason; and analogBasic Rate: e-mail or call for more info

BLUE TURTLE PRODUCTIONSLos Angeles, CA 90019213-458-2583, 818-339-3238E-mail: [email protected]: blueturtleproductions.netContact: Thierry or ZaveFormat: Analog and DigitalBasic Rate: call for info

BRIAN GARCIA PRODUCTIONS(Sonic Muse Productions)Los Angeles / Pasadena, CA626-487-0410

E-mail: [email protected]: www.briangarcia.netContact: Brian GarciaFormat: Digital / 192 tracksBasic Rate: call for hourly, daily or project rates

BRICK HOUSE STUDIOSHollywood, CA 90068818-562-6132E-mail: [email protected]: www.brickhousehollywood.comFormat: digital & analogBasic Rate: please see website for info

BRIGHT ORANGE STUDIOS7657 Winnetka Ave., Ste. 200Los Angeles, CA 91306818-645-1415E-mail: [email protected]: www.brightorangestudios.comContact: Jon MattoxFormat: digital and analog, Pro Tools and LogicBasic Rate: call for info

BRODSKY ENTERTAINMENT Beverly Hills, Boston, MeridenWeb: brodskyentertainment.com Format: Digital Performer, Logic

BRUCE HANIFAN PRODUCTIONS9023 Beverlywood St.Los Angeles, CA 90034 310-559-4522 E-mail: [email protected] Contact: Jan AldrinWeb: www.brucehanifan.com Format: digital 64+ tracksBasic Rate: call for rates

CALIFORNIA SOUND STUDIOS, INC.25651 Atlantic Ocean Dr., Ste. A16 Lake Forest, CA 92630 949-855-0211 Fax 949-855-0224E-mail: [email protected]: www.casoundstudios.comContact: Nathan WrightFormat: digital and analog, 64 tracksBasic Rate: please call for info

CAPITOL RECORDING STUDIOS 1750 N. Vine St.Los Angeles, CA 90028323-871-5001E-mail: [email protected]

Web: www.capitolstudios.comContact: Paula SalvatoreFormat: digital Pro Tools and vintage analogBasic Rate: please call for info

CHALICE RECORDING STUDIO845 N. Highland Ave.Los Angeles, CA 90038323-957-7100 Fax 323-957-7110E-mail: [email protected]: www.chalicerecording.comFormat: digital and analogBasic Rate: please call for info

CHARLES LAURENCE PRODUCTIONS 19002 Los Alimos St.Northridge, CA 91326818-368-4962 Contact: Charles LaurenceE-mail: [email protected]: www.clpstudios.comFormat: analog and digital, 24 tracksBasic Rate: please call for info

CHESSVOLT STUDIOSVan Nuys, CA 91402419-827-8411E-mail: [email protected] Web: www.chessvolt.com Contact: Landry Malick - Studio Manager Format: Pro Tools HD Accel3 and MCI 2-inch 24 track. Vintage 48 channel Neve Console. Basic Rate: call for Indie artist specials

CLEAR LAKE RECORDING STUDIOS10520 Burbank Blvd.N. Hollywood, CA 91601818-762-0707, 216-390-0063 E-mail: [email protected]: www.clearlakeaudio.comContact: Eric MilosBasic Rate: call for hourly or project rate

CONSUELO STUDIOSHollywood Hills, CA 90068323-876-1168 E-mail: [email protected] Web: www.consuelostudios.comContact: Bret ThompsonFormat: Pro Tools HD Native 16x16 IO w/ Vintage Analog ConsoleBasic Rate: please call for info

CONWAY RECORDING STUDIOS5100 Melrose Ave.Hollywood, CA 90038

323-463-2175 Fax 323-463-2479E-mail: [email protected]: www.conwayrecording.comFormat: digital and analogBasic Rate: please call for info

COTTAGE, THE 365 Hollywood Way Burbank, CA 91505 818-415-5576 E-mail: [email protected] Format: digital and analog Basic Rate: call for info

CROWN CITY RECORDING Pasadena, CA626-403-6833 E-mail: [email protected]: Eric Web: www.crowncityrecording.com, fb.com/crowncityrecording Format: digital with vintage and analog outboard, SSL Console Basic Rate: please call for info, block rates available CUPS ‘N STRINGS23281 Ventura Blvd.Woodland Hills, CA 91364 818-222 4600 E-mail: [email protected]: www.cupsnstrings.com Contact: Grey Format: analog and digital Basic Rate: call for info Gear: Otari MTR 90 MK 3ј 2-inch 24- and 16-track analog, Otari MTR 90 MK 2ј 1-inch and half-inch 8 and 16-track analog, Ampex ATR 104, Sony DMX R-100 Console, Command 8 console, Pro Tools 7.3 HD3, Nuendo, Apogee converters, Full Hafler amplification, Custom loudspeakers, assorted vintage tube and transistor Class A signal processingEngineer: Bruce Maddocks Services: tape baking, tape transfers to digital, audio Mastering for surround and stereo Clients: Steely Dan, R.E.M., Duran Duran, Tupac Shakur, Seal, McDonald’s, Disney, Warner Bros., UMG, Hans Zimmer, Werner Herzog, Harry Gregson-Williams, Berlitz, Ella Fitzgerald Foundation

DANCIN DEER STUDIO3727 W. Magnolia Blvd., Ste. 459




Burbank CA 91505818-209-1326 E-mail: [email protected] Contact: Jody Web: www.dancindeerstudio.com Format: digitalBasic Rate: $100/hr.

DAVE WATERBURY PRODUCTIONS Laurel Canyon and Magnolia Blvds.Valley Village, CA 91607 818-505-8080E-mail: [email protected]: www.davewaterbury.netContact: DaveFormat: ProTools HD.2Basic Rate: call for info

DBW PRODUCTIONSWoodland Hills, CA 91367818-884-0808E-mail: [email protected]: www.recordla.comContact: David ChamberlinFormat: digital, 120 tracksBasic Rate: $70/hr.Gear: Beautiful 4 room facility with 10-ft ceilings, large tuned control room with views to the private grounds. Neve, API, Pacifica and Universal Audio mic pres, Mackie D8B, over 30 microphones, guitars, amps, Logic Studio, Digital Performer, and Pro Tools 9 recording software, Apogee Symphony System.Services: specializes in recording singer-songwriter CD projects by providing the necessary production skills in-house - guitar, keyboards and MIDI programming and access to great musicians.Clients: Zach Galifianakis, over 70 indie CDs and 100’s of demos produced at DBW, all styles of music.

DIAMOND DREAMS MUSICNorth OC, Barbon Canyon, CA 91709909-393-6120E-mail: [email protected]: www.diamonddreamsmusic.comFormat: digital, unlimited tracksBasic Rate: Please call us for a quote

DIFFERENCE RECORDING STUDIOS, THEDanger City Studios N. Hollywood, CA 91601 323-PRO-9070 E-mail: [email protected]: www.wethedifference.com

Contact: Adam Gurr & Carlton Douglas Format: Logic Studio & Pro ToolsBasic Rate: call for rates

EN RECORDERS, THEP.O. Box 2627Pasadena, CA 91102626-529-3066 E-mail: [email protected]: thedenrecorders.comContact: Josh Young or Darian CowgillFormat: digital HD, video-online offline/audio/mixing/mastering 5.1 Basic Rate: call for info

DESIGN FX REMOTE RECORDING P.O. Box 491087Los Angeles, CA 90049818-843-6555 800-441-4415E-mail: [email protected]: www.dfxaudio.comContact: Scott PeetsFormat: API console, Pro Tools, Analog, portable rigs availableBasic Rate: please call for info

DIAM ENTERTAINMENT 3734 San Fernando Rd.Glendale, CA 91204818-662-0670Web: www.diamentertainment.comFormat: digital & analogBasic Rate: call for information

D.M. GREMLIN STUDIOS6053 Atlantic Ave.Long Beach, CA 90805866-334-4364E-mail: [email protected]: Wendy LevinWeb: www.dm-gremlin.comFormat: digitalBasic Rate: $35/hr; mastering starts at $50/hr

D.O’B. SOUND RECORDING AND REHEARSALS8531 Wellsford Pl., Unit I Santa Fe Springs, CA 90670562-464-9456E-mail: [email protected] Web: http://dobsound.netContact: Derek O’BrienFormat: Pro Tools HD 2 w/ Trident ConsoleBasic Rate: $40/hr.

DRUM CHANNEL STUDIOS900 Del Norte Blvd.Oxnard, CA 93030805-822-5359 Fax 805-988-4871E-mail: [email protected]: www.drumchannel.com/studioContact: Papillon ZamprioliFormat: Analog and DigitalBasic Rate: Call for info

DUFFY AUDIOSherman Oaks, CA 91401818-530-2471E-mail: [email protected]: www.duffyaudio.comContact: Brian DuffyFormat: digital, Pro Tools HD 9Basic Rate: $35/hr. or per project

EAGLE ROCK STUDIOSLos Angeles, CA310-867-9091Web: www.eaglerockstudios.usFormat: Analog & DigitalBasic Rate: Call for info

EASTWEST RECORDING STUDIOS6000 W. Sunset Blvd.Hollywood, CA 90028323-957-6969 fax 323-957-6966Contact: Candace [email protected]: www.eastweststudio.comFormat: Analog & DigitalRates: Call for Daily Rate or Block BookingsGear: 80 Chnl Neve 8078, 40 Chnl Neve RCA Custom 8028, 40 Chnl Trident “A” Range, Fairchild 670, EMI REDD 47 mic pre, GT Vipre Tube mic pre, Urie 1176LN, Teletronix LA-2A, Avalon AD2044, Pultec EQP-1A3, Lexicon 960L, AMS RMX16, GML 8200, AKG C12’s, Neumann U67’s, Neumann U47’s, Neumann M50’s, Telefunken ELA-M 251’s, Sony C55p’s, Coles 4038’s, Royer R-121’sServices: Orchestra tracking, Band tracking, Mixing, Live performances, events in Famous Vintage Studios.Clients: Frank Sinatra, Beach Boys, Barenaked Ladies, Audioslave, The Mamas & the Papas, Tool, Elton John, Faith Hill, System of a Down, Iggy Pop, Fiona Apple, Bob Dylan, Madonna, Partridge Family, Stone Temple Pilots, U2, Sarah Vaughn, Santana, Rolling Stones, Muse, Metallica, Peggy Lee, Incubus, Whitney Houston, Duke Ellington, Sam Cooke, Nat “King” Cole, Blink-182, Petula Clark,

Motley Crue, Rage Against The Machine, Bruce Springsteen, The Vines, Stevie Wonder, Weezer, Ella Fitzgerald, Johnny Cash, Sammy Davis Jr., Ike & Tina Turner, B.B. King, Red Hot Chili Peppers.

ECUASOUND PRODUCTIONS1540 N. Highland Ave., Ste. 107Hollywood, CA 90028323-467-0383 Cell 310-666 7125 E-mail: [email protected]: Ivan CastroFormat: ProtoolsBasic Rate: $70/hr. includes engineer

ELEVATED AUDIO 14677 Aetna St.Van Nuys, CA 91411818-909-9029E-mail: [email protected]: FranWeb: www.elevated-audio.comFormat: Digital, Analog, or bothBasic Rate: call for info

EL LABORATORIOLos Angeles Metro Area818-489-1911E-mail: [email protected]: www.thingsihear.comContact: Michael E. “Hutch” HutchinsonFormat: All Digital Files: WAV-AIFF-SD2. Full Service-Record-Mix-Master-Surround. Pro Tools, Logic, Peak, MOTU, Cubase, etc. Vocal booth, drum booth, guitar iso boothBasic Rate: Call for information-hourly-daily

ENCORE STUDIOS721 S. Glenwood Pl.Burbank, CA 91506818-842-8300E-mail: [email protected] Format: digital and analogBasic Rate: call for daily rates.

ENTOURAGE STUDIOS11115 Magnolia Blvd.N. Hollywood, CA 91601818-505-0001 Fax 818-761-7956E-mail: [email protected]: Guy PaonessaWeb: www.entouragestudios.comFormat: digital and analog Basic Rate: please call for info

DESIGN

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THE ECHO BAR RECORDING STUDIOS7248 Fulton AveNorth Hollywood, CA 91605E-mail: [email protected]: www.echobarstudios.comContact: 818-216-3485 or 818-613 -4731Format: Protools HD/ Vintage AnalogeBasic Rate: please call for info



ES AUDIO SERVICES1746 Victory Blvd.Glendale, CA 91201818-505-1007 or 800-880-9112E-mail: [email protected]: www.esaudio.comContact: Donny BakerFormat: Pro Tools and Logic,Analog Front EndBasic Rate: Please call for current rates

EXPOSITION REHEARSAL & RECORDING STUDIOS9214 Exposition Blvd.Los Angeles, CA 90034310-287-1236 Fax 310-287-1406E-mail: [email protected]: ExpositionStudios.comStudio Specs: Control Room 20ft x 20ft Live Room 20ft x 12ftRates: Please Call For Rates

FACTS OF MUSIC PRODUCTIONSP.O. 663Woodland Hills, CA 91365818-888-8266E-mail: [email protected]: www.factsofmusic.comContact: Philippe WillemsFormat: digital and analog, infinite tracksBasic Rate: varies, $75-150/hr.

FIREHOUSE RECORDING STUDIOS30 W. Dayton St.Pasadena, CA 91105626-405-0411 Fax 626-405-0413E-mail: [email protected]: www.firehouserecordingstudios.comContact: JasonFormat: digital and analog, 128 tracksBasic Rate: please call for infoGear: Pro Tools10 HDX-2/ 64 inputs, Avid ICON Console 48-channel, X-10 Meyer speakerswith X-800 subwoofers 5.1, 16 Neve 1073 mic pre’s with EQ, Millennia HV-3D 8-channel mic pre, Avalon VT-737 mic pre/comprossor, API mic pre’s with 550A & 550B EQ’s, 4 Cal rec mic pre’s, Bosendorfer 7’4” grand piano, extensive plug-in selection.Clients: Patti Austin, Aretha Franklin, Nikki Sixx, Chic Corea, Dave Matthews, Brian Mcknight, Randy Newman, Ringo Starr, Stanley Clarke, En Vogue, Natalie Cole, Chaka Khan, Donna Summer, Patti LaBelle

FORBESOUND MOBILE RECORDINGRolling Hills Estates, CA 90274 310-704-9500 E-mail: [email protected] Web: www.forbesound.com Contact: Bill ForbesFormat: 24 to 48 track remote rig (hard disc recorder, class A mic pre’s, transformer mic split), plus Pro Tools mixing of any projectBasic Rate: $300/24tr. record live set(s),$200/mix

FOREWORD PRODUCTIONS RECORDING STUDIOW. Los Angeles310-779-9094E-mail: [email protected]: www.forewordstudio.comContact: Matthew NelsonFormat: Pro Tools HD3 – 32 ins/16 outs (Mac Pro)Basic Rate: $45/hr. w/engineer, $350/day w/ engineer

FOXFIRE RECORDING Van Nuys, CA 91406818-787-4843Web: www.foxfirerecording.comContact: Rudi EcksteinFormat: Pro Tools HD3 Accel, Analog & DigitalBasic Rate: please call for info

FRANCISCO STUDIOS 4440 District Blvd.P.O. Box 58684Los Angeles, CA 90058323-589-7028Basic Rate: please call for info

FREEDOM STUDIOS 17050 Los AlimosGranada Hills, CA 91344818-269-7070 Web: freedomstudio.bizFormat: Digital & AnalogContact: Thomas LeBlankRates: call $30. Per Hr

FRIDAY ENTERTAINMENTSherman Oaks, CA818-995-4642 E-mail: [email protected]: www.fridayentertainment.comContact: Sam DressFormat: DigitalBasic Rate: call for info

Services: recording, mixing film editing, sound to picture. Great live room for Jazz, Folk etc.

GC STUDIOS6400 Owensmouth Ave.Woodland Hills, CA 91367818-883-4GCS, 818-883-4427E-mail: [email protected]: www.gcstudios.com

GLENWOOD PLACE STUDIOS619 S. Glenwood Pl.Burbank, CA 91506818-260-9555 Fax 818-260-9507E-mail: [email protected]: Kit RebhunFormat: digital and analogBasic Rate: call for info

GOLDENTRACK STUDIOSan Diego, CA 619-252-8763E-mail: [email protected]: www.goldentrackstudio.com, www.myspace.com/goldentrackContact: SteveFormat: digital and analog, 24 tracksBasic Rate: please call for info

GOLDMINE RECORDING STUDIOS1393 Callens Rd. Ventura, CA 93003 805-644-8341 E-mail: [email protected] Web: www.goldminerecording.com Contact: Jeff Cowan Format: digital and analog, 48 tracksBasic Rate: $70/hr. w/engineer

GOLD STREET Burbank, CA 91504 818-567-1911 E-mail: [email protected] Web: www.goldstreetmusic.com Contact: Eric Michael Format: digital, 128 tracks Basic Rate: Start $40/hr.

GRANDMASTER RECORDERS LTD.1518 N. Cahuenga Blvd.Hollywood, CA 90028 323-462-6136 Fax 323-462-6137 E-mail: [email protected] Web: www.grandmasterrecorders.com

Contact: Alan DicksonFormat: digital and analog, 24 tracks Basic Rate: please call for info

GROOVE LAB, THEWest Hills, CA 91326818-366-1650, 818-903-0005E-mail: [email protected]: www.thegroovelab.orgContact: OlivierFormat: digital, 32+ tracksBasic Rate: call for rates

GUESS RECORDING (aka: the rude-stude)818-508-7833E-mail: [email protected], [email protected]: www.rudyguess.comContact: Lorna GuessFormat: Pro Tools HD Services: Private composer and recording studio in relaxed setting in Studio City, CA. Projects include: albums, film/tv, commercials, music library, v.o., songwriter demos, temp tracks and other production.Rates: Please call or email your project details or inquiries.

HIT SINGLE RECORDING SERVICES1935C Friendship Dr.El Cajon, CA 92020619-258-1080 E-mail: [email protected]: www.hitsinglerecording.comContact: Randy FuelleFormat: digital and analog, 64 tracksBasic Rate: please call for info

HOUSE OF BLUES STUDIOS 4431 Petit Ave.Encino, CA 91436818-990-1296 Cell 818-455-2030E-mail: [email protected]: www.houseofbluesstudios.comContact: Gary BellzFormat: digital and analog, 48+ tracksBasic Rate: $1,000 per day

HENSON RECORDING STUDIO1416 N. La Brea Ave.Hollywood, CA 90028323-856-6690, Fax 323-856-2712Contact: Faryal RussellEmail: [email protected]: www.hensonrecording.com




Format: SSL SL 6072E/G, 4072G+, 6056/G, 9090J, Augsperger, 8 NeveRate: call for info

IMAGINE POST PRODUCTIONS (Recording & Mixing)4872 Topanga Cnyn. Blvd., Ste. 406 Woodland Hills, CA 91364310-924-7849Contact: Chris JulianEmail: [email protected]: www.ImaginePost.comFormat: Pro Tools HD3 / LogicRate: call for info

INDIGO RANCH STUDIOS - MALIBUVenice, CA 90291310-396-8141E-mail: [email protected]: Richard KaplanFormat: analog to digital 2 track- restoration & repairBasic Rate: please call for info

IN FIDELITY RECORDINGS16824 Saticoy St. Van Nuys, CA 91406 818-786-3144 Fax 818-786-3149E-mail: [email protected] Web: www.infidelityrecordings.com Format: digital and analog Basic Rate: $60/hrEquipment/Facility: Pro Tools HD combined with analog equipment, including API, Avalon, Urei, Lexicon, DBX, 1176, LA2A, Neumann and more. 1,000 sq. ft. including 16x20 tracking room, and two additional isolations.Services: We offer personalized and professional services, including recording, mixing and mastering. $600/day or $60/hour with experienced staff that treats every project with care and attention to detail.Additional: See our website or call for more information. Since 2002, we have worked with clients from all over the world in nearly all styles of music and at all levels of studio experience.

INTIMA STUDIOSN. Hollywood, CA310-987-3211E-mail: [email protected]: under construction Format: Pro Tools 10, Tube Preamps, Neumans and nice guys.Basic Rate: $45 an hour.Comments: Its all about the people and the songs.

JAGGO STUDIOSHollywood Hills, CA 90068323-850-1819E-mail: [email protected]: www.jaggo.com/studiosFormat: Pro Tools HD3 AccelBasic Rate: Call us for a rate sheet

JC SOUND STAGES/RECORDING STUDIOS6670 Lexington Ave.Hollywood, CA 90038323-467-7870 E-mail: [email protected]: www.jcsoundstages.comContact: JCFormat: digital and analog, unlimited tracksBasic Rate: see website for information

JEL RECORDING STUDIOS6100 W. Coast Hwy.Newport Beach, CA 92663949-631-4880 Fax 949-548-1622E-mail: [email protected]: www.jelrecording.comContact: Shelly Guidotti

Format: digital, 100+ tracksBasic Rate: please call for info

J.E. SOUNDBurbank, CA323-850-0765E-mail: [email protected] Web: www.jesound.com Contact: JohnFormat: Analog & DigitalBasic Rate: Call for info

JO-MUSIK Dallas, TX972-226-1265E-mail: [email protected] Contact: Joe Milton Web: www.jo-musik.com, www.joemilton.comFormat: digital and analog, lots of tracksBasic Rate: please call for info

JRLDRUMSInternet Drum Sessions818-903-3690E-mail: [email protected]: www.jrldrums.comContact: John LewisFormat: digitalBasic Rate: $150-$250/song

JUNGLE ROOM RECORDING STUDIO604 1/2 Sonora Ave.Glendale, CA 91201818-247-1991 Fax 818-247-2811E-mail: [email protected]: www.jungleroom.netContact: Kevin AndersonFormat: digital and analog, 128 tracksBasic Rate: negotiable

KRIS STEVENS ENTERPRISES 22362 Dardenne St.Calabasas, CA 91302800-231-6100, 818-225-7585 E-mail: [email protected]: www.kriserikstevens.comContact: Christine FletcherFormat: digital and analogBasic Rate: call for info

L.A. ENTERTAINMENT, INC.7095 Hollywood Blvd., Ste. 826Hollywood, CA 90028800-579-9157 ext. 1 Fax 323-924-1095E-mail: [email protected]: www.laeg.netContact: Jim ErvinFormat: digital and analog, 48 tracksBasic Rate: call for info

LAKE TRANSFER RECORDING11300 Hartland St.N. Hollywood, CA 91605818-508-7158, Fax 818-505-1811E-mail: [email protected]: www.laketransfer.comContact: Steven B. Cohen, Jim Holvay, Tina AntoineFormat: Pro ToolsBasic Rate: $50. per hr

LA FX RECORDING SERVICESP.O. Box 827N. Hollywood, CA 91603818-769-5239 Fax 818-769-7288E-mail: [email protected]: www.lafx.comContact: Dan or Anne VicariFormat: digital and analog, 24 tracksBasic Rate: please call for infoGear: LAFX Studio has a vintage API console rebuilt by Brent Averill, with 550a EQs and Neve Fying Faders. We offer Yamaha NS10s, Tannoy SGM10Bs, Genelec 1031As or

Dynaudio BM15As. We have the latest Pro Tools software and offer all Waves plug-ins and others too many to list. You may use our Studer A827, Ampex 102 with 1/2-in or 1/4-in head stacks, and our extensive microphone collection. LAFX Studio has the Yamaha C7 used by Synthogy for their “Ivory Sampled Piano” software and a Hammond B3 for your tracking sessions. 5.1 setup for mixing. Services: LAFX Recording Services has successfully served the Los Angeles recording community for over 20 years. We have an extensive collection of recorders, pre-amps/EQs, compressors, microphones, reverbs and effects available for you to rent for your studio as well as use at the LAFX studio. We offer tape baking and transfer services also. Clients: Jimi Hendrix and “Experience Hendrix,” Tom Vicari, HBO’s “The Newsroom,” The Academy Awards, Bobby Mcferrin, Grammy winner Gordon Goodwin and the Big Phat Band, Grammy winner Jose Rizo’s Mongorama and Latin All Star Band, Daniele Luppi, Starz’s “Magic City,” Robert Randolph, Wilson Phillips, Rachael MacFarlane, Cristian Castro. There are many more, too many to list after 20 busy years.Comments: Our website is LAFX.com, for booking the studio call Anne Vicari 818-769-5239.

LARRABEE SOUND STUDIOS 4162 Lankershim Blvd.Universal City, CA 91602818-753-0717 Fax 818-753-8046E-mail: [email protected]: www.larrabeestudios.comFormat: digital and analogBasic Rate: call for info

LAUREN ENTERTAINMENT GROUP, THESherman Oaks, CA 91403-3005818-788-9784 Fax 818-788-9763E-mail: [email protected]: www.laurengroup.comContact: Len KovnerFormat: digital and analog, 196+ tracksBasic Rate: please call for info

LA VALLEY COLLEGE RECORDING WORKSHOP 7800 Fulton Ave. Valley Glen, CA 91401-4096 818-947-2779 E-mail: [email protected] Web: www.thequimbyhouse.comContact: Mike Julian Format: digital and analog, 24 tracks, Pro Tools editingBasic Rate: please call for info

LIL’ SHANGHAI STUDION. Hollywood, CA818-324-8208 Fax 818-324-8208E-mail: [email protected]: Fil “Proph” AngelovWeb: www.myspace.com/lilshanghaiFormat: Pro Tools HD3 w/ lots of plug-ins & analog outboard gearRates: Call for rate info

LITTLE BIG ROOM STUDIOS2912 W. Burbank Blvd.Burbank, CA 91505818-846-2991 Fax 818-846-7012E-mail: [email protected]: www.littlebigroom.comBasic Rate: please call for info

LITTLE HIPSTER MUSIC STUDIOSVan Nuys, CA 91405818-731-1043, 818-782-3123E-mail: [email protected]: David SnowFormat: digital, 999 tracks

Basic Rate: call for info-all instrumentation included in hourly rate.

MALLEYABLE MUSIC4950 Read Rd.Moorpark, CA 93021805-368-1801E-mail: [email protected]: www.malleyablemusic.comContact: MattFormat: digital, 24 tracksBasic Rate: $100/hr.

MAMBO SOUND AND RECORDING 2200 W. Esther St. Long Beach, CA 90813 562-432-9676 E-mail: [email protected] Web: www.mambosoundandrecording.com Contact: Steve McNeilFormat: digital and analog, 48 tracksBasic Rate: call for info

MARC DESISTO PRODUCTIONSSherman Oaks, CA818-259-4235E-mail: [email protected]: www.marcdesisto.comContact: Marc DeSistoFormat: Pro Tools HDBasic Rate: please call for info

MARC GRAUE VOICEOVER RECORDING STUDIOS3421 W. Burbank Blvd.Burbank, CA 91505818-953-8991E-mail: [email protected]: www.fixinthemix.comContact: Marc GraueFormat: digital and analogBasic Rate: please call for info

MARTINSOUND RECORDING STUDIOS1151 W. Valley Blvd.Alhambra, CA 91803800-582-3555 626-281-3555E-mail: [email protected]: www.martinsound.comContact: Dan BlessingerFormat: digital and analog, 32 tracksBasic Rate: please call for info

MAR VISTA RECORDING STUDIOMar Vista, CA 310-467-0889E-mail: [email protected]: JerryBasic Rate: Please call for information

MARVINBASS DIGITAL AUDIO21801 Burbank Blvd., Unit 81 Woodland Hills, CA 91367818-906-7712E-mail: [email protected]: Marvin SperlingFormat: Pro Tools HD-3Basic Rate: $45/hr.

MASTER GROOVE STUDIOS / RADD SOUNDNorthridge, CA & Nashville, TN818-830-3822E-mail: [email protected] Web: www.mastergroovestudios.comContact: David Morse or John Prpich Format: digital, unlimited tracksBasic Rate: please call for rates, discounts to local acts, from $35/hr.Gear: Yamaha 02R, Apogee Filters, Dual Processor Pentium, Nuendo, Cuebase, Samplitude Producer 2496, Custom Mastering Software, 100’s of plug-ins. Easy comfortable rooms.Special Services: world-renowned for

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MAURICE GAINEN PRODUCTIONS4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027323-662-3642E-mail: [email protected]: www.mauricegainen.comContact: Maurice Format: digital and analog, 128 tracks Basic Rate: call for info. Indie rates avail.Gear: Pro Tools HD, Mac G5 Dual 2.5 GHz, Logic Pro, Yamaha O2R Mixer, Waves Platinum TDM and Restoration, Reason, Spectrasonics, Gigapiano, Auto-Tune, Bomb Factory and many other plug-ins, soft synths and EFX. Avalon 737, ART Dual-MP DBX 160X & other outboard gear. Excellent mics, Genelec speakers w/subwoofer, acoustic piano, 4 ADAT’s, much more. Special Services: start to finish CD production. CD Mastering. Top session players at discount rates. Full-band recording. Vocalist friendly, Berklee trained producer-musician-engineer.Clients: Starbucks/Hear Music (mastering for 85 compilations), Disney, EMI, UNI, Warner, Sony, Royal Crown Revue, The Hues Corp (“Rock The Boat”)Comments: 20 years in the same location. Comfortable and casual hard-working environment. Consistent and dependable. Competitive rates.

MAXIMUS MEDIA, INC.2727 N. Grove Industrial Dr., Ste. 111Fresno, CA 93727559-255-1688E-mail: [email protected]: www.tothemax.comContact: Jeff HallFormat: digital and analogBasic Rate: please call for info

MELODY MAKER PRODUCTIONS453 S. Spring St., Ste. 937Los Angeles, CA 90013310-266-9506E-mail: [email protected]: http://melodymakerproductions.com Contact: David A. GielanFormat: Pro Tools, LogicBasic Rate: Call For Information

MELROSE MUSIC STUDIOS(on the Raleigh Studios Lot)5254 Melrose Blvd. Hollywood, CA 90038818-216-5409E-mail: [email protected]: www.melrosemusicstudios.comContact: David WilliamsFormat: analog and digital processingBasic Rate: recording: Studio A $60/hr, Studio B $45/hr. Special prices for day rates.Mastering: $50/song. 12 songs/$500. Video quotes per production.Gear: Pro Tools HD, Sonic Solutions, Neve, API, A-designs, Tube Tech, Manley, Avalon, Waves L2, Mytek Universal Audio, Neumann, Pearlman, AKG, Genelec, etc.Services: Start-to-finish full-production recording, mixing, mastering and video production

Clients: George Clinton, Taylor Dane, MTV and American Idol Artists, Pointer Sisters, Vivian Campbell (Def Leppard), Barry Goldberg, Brian Holland, Carmine Appice, Carla Olson, Howard Leese (Heart)Comments: Full-production music and video facility. Located in the heart of Hollywood at a famous movie studio. Many amenities are provided such as food service and valet parking. David Williams takes great care in all aspects of the recording process at Melrose

METROSTUDIOSSan Fernando Valley, CA818-366-5588E-mail: [email protected]: www.metrostudios.comBasic Rate: call for info

MILESTONE RECORDING & POST Hollywood, CA 90028 323-993-9424 E-mail: [email protected] Web: www.myspace.com/milestonerecording Contact: Annie Format: Pro Tools HD3, 64+ tracks Basic Rate: call for info

MIX ROOM, THE2940 W. Burbank Blvd.Burbank, CA 91505818-846-8900E-mail: [email protected] Web: www.themixroom.comContact: RoxyFormat: digital and analog, 128 tracksBasic Rate: please call for info

M L E STUDIOSP.O. Box 93008Hollywood, CA 90093-0008866-246-8846 E-mail: [email protected]: www.mlestudios.comContact: Col. Darryl HarrelsonFormat: digital/analog, Pro Tools HD2 AccelBasic Rate: $45/hr. or flat rate persong/project

MORNING VIEW STUDIOS P.O. Box 4225 Malibu, CA 90265 310-457-9901 Cell 310-924-9697 Fax 310-457-5382 E-mail: [email protected]: www.morningviewstudios.com Contact: Shawn Stern Format: digital and analog, 92 tracks Basic Rate: please call for info

MOUNTAIN DOG MUSICWORKS 485 Ventura Ave., Ste. E3Oak View, CA 93022s805-649-8500, 866-203-2683E-mail: [email protected]: www.mountaindogmusic.comContact: Tim FrantzFormat: digitalBasic Rate: please call for info

M-PIRE RECORDING STUDIOVan Nuys, CA 91406 818-989-1617 E-mail: [email protected] Web: www.m-pirerecordingstudio.com Contact: John M. Format: Pro-Tools HD Basic Rate: please call or email for info

MR. FANTASTICLos Angeles, CA718-375-4446 Fax 718-715-0346E-mail: [email protected]: www.myspace.com/audiopilotproductionsContact: Adam Nierow

Format: digital, 128 tracksBasic Rate: project-by-project basis

MY STUDIO HOLLYWOOD6671 Sunset Blvd., Ste. 1518Hollywood, CA 90028310-657-4886E-mail: [email protected]: mystudio.netFormat: HD Pro ToolsBasic Rate: Call for rates

NEW MILLENNIUM RECORDS GROUP P.O. Box 1070Hollywood, CA 90078 323-962-5960 E-mail: [email protected]: www.nmrgonline.comContact: Tim Simms Format: digital, unlimited tracksBasic Rate: negotiable rates

NIGHTBIRD RECORDING STUDIOSAt The Sunset Marquis Hotel & Villas1200 Alta Loma Rd.W. Hollywood, CA 90069310-657-8405 Fax 310-854-0506E-mail: [email protected] Web: www.nightbirdrecordingstudios.com Contact: EDFormat: ProTools 10 HD6 Accel, 7.1 SurroundVideo: Final Cut Studio, 102-inch Projection Screen for Viewing when Mixing Audio to PictureBasic Rate: call for prices

NRG RECORDING SERVICES11128 Weddington St.N. Hollywood, CA 91601818-760-7841E-mail: [email protected]: www.nrgrecording.com Contact: Annette Scott Format: digital and analog Basic Rate: $1600 per 12-hr. lockout including assistant engineer and Pro Tools.

OAKLEY RECORDING STUDIO1577 E Chevy Chase Dr.Glendale, CA 91206818-240-7500 Fax 818-545-0831E-mail: [email protected] Web: www.audiodigest.orgContact: Joe StrigleFormat: digital and analog, 8 tracksBasic Rate: $125/hr.

OC RECORDING COMPANY, THE3100 W. Warner Ave. Ste. 7Santa Ana, CA, 92704323-244-9794Contact: Asaf Fulks (Engineer & Producer)E-mail: [email protected]: www.ocrecording.com, www.hiphopbeatz.com, www.asafproductions.com.Format: Analog & Digital Pro-Tools 9 including Avalon, SSL, Neumann, Manley Lynx, Waves Mercury, Etc.Styles: All styles, but specializing in POP, Hip Hop, R&B, Rock, Voiceovers and ADRBasic Rate: contact us for rates

OCEAN STUDIOS BURBANK435 S. San Fernando Blvd.Burbank, CA 91502818-955-9010 Fax 818-955-8301E-mail: [email protected]: www.oceanstudiosburbank.comFormat: digital and analogBasic Rate: please call for info

OCEAN WAY RECORDING, INC.6050 W. Sunset Blvd.Hollywood, CA 90028

323-467-9375 Fax 323-467-3962E-mail: [email protected] Web: www.oceanwayrecording.comContact: Rob GoodchildFormat: digital and analog, 96 tracksBasic Rate: please call for info

OCEAN WAY’S RECORD ONE STUDIOSherman Oaks, CA818-788-7751 Fax 818-788-3528 E-mail: [email protected]: www.oceanwayrecording.comContact: Rob GoodchildFormat: digital and analog, 96 tracksBasic Rate: please call for info

OMEN ROOMOrange County, CA714-333-5616E-mail: [email protected]: www.myspace.com/theomenroomstudiosFormat: Analog, Digital, Pro Tools HD, Vintage

PACIFICA STUDIOS2620 La Cienega Ave.Los Angeles, CA 90034310-559-9777E-mail: [email protected]: GlennFormat: Pro ToolsBasic Rate: please call

PACIFIQUE RECORDING STUDIOS 10616 Magnolia Blvd. N. Hollywood, CA 91601 818-761-8042 Fax 818-761-9277 E-mail: [email protected] Web: www.pacifiquestudios.com Format: digital and analog, 64 tracksBasic Rate: $200/hr.

PANGEA P.O. Box 591 Topanga, CA 90290 310-455-2356 Fax 310-455-9635 E-mail: [email protected]: www.pangeaproduction.com Format: digital and analog, 48 tracksBasic Rate: please call for info

PARAMOUNT RECORDING STUDIOS 6245 Santa Monica Blvd.Los Angeles, CA 90038323-465-4000 Fax 323-469-1905E-mail: [email protected]: www.paramountrecording.comFormat: digital and analog, 96+ tracksBasic Rate: call for rates

PARK HILL MUSICP.O. Box 5247Hemet, CA 92544951-652-8742 E-mail: [email protected]: www.parkhillmusic.comContact: Eric GallettaFormat: digital and analog, 48 tracksBasic Rate: negotiable call us

PEARL MUSIC STUDIOS3281 Oakshire Dr.Hollywood, CA 90068323-851-2279E-mail: [email protected]: Richard ZeierWeb: www.pearlmusic.netFormat: digital, 48 tracksBasic Rate: please call for info

PENGUIN RECORDING P.O. Box 91332 Pasadena, CA 90041 323-259-8612 Fax 323-259-8613 E-mail: [email protected] Web: www.penguinrecording.com

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Contact: John StrotherFormat: digital and analog, 48 tracksBasic Rate: please call for info

PETTING:ZOO MUSIC, INC.Topanga, CA 90290310-980-1193E-mail: [email protected]: www.myspace.com/bernebaseContact: Bernhard PenziasFormat: Mac Pro, Pro Tools HD3, Logic StudioBasic Rate: $35/hr.

PINNACLE COLLEGE (formerly SOUND MASTER) 1000 S. Fremont Ave., Bldg A11, Ste. 11010Alhambra, CA 91803 877-206-6206E-mail: [email protected]: www.pinnaclecollege.eduFormat: digital and analog, 48 tracksBasic Rate: please call for info

PLATINUM STUDIOVan Nuys, CA 91411818 994-5368E-mail: [email protected]: www.paulhiltonmusic.netContact: Paul HiltonFormat: digital, 200 stereo tracksBasic Rate: please call for info, $35/hr.

PLAYBACK RECORDING STUDIO400 E. Gutierrez St.Santa Barbara, CA 93101805-730-7529Web: www.playbackrecording.com

P.M. III PRODUCTIONSStudio City, CA818-763-3053E-mail: [email protected]: Paul Format: Pro Tools HDBasic Rate: $35/hr.

PPL RECORDED MUSIC COMPANY(A PPL Entertainment Group Company)468 N. Camden Dr., Ste. 200Beverly Hills, CA 90210818-506-8533 E-mail: [email protected]: www.pplzmi.comContact: Jim Sellavain

Format: Analog, digital, AVID, Apple Final Cut, Pro Tools, DVD authoringBasic Rate: please call for info

PRIVATE ISLAND TRAX1882 S. Cochran Ave. Los Angeles, CA 90019323-856-8729 Fax 323-965-8732E-mail: [email protected]: www.privateislandtrax.comFormat: digital, Pro Tools Basic Rate: please call for info

PRODUCTION COMPANY RECORDING, MASTERING & REHEARSAL STUDIO, THE673 Valley Dr.Hermosa Beach, CA 90254310-379-6477E-mail: [email protected]: rockzion.com/productionco.htmlFormat: 2 -inch Ampex 16 track and Trident Mixing Console, Pro Tools and Analog MasteringBasic Rate: $50 per hour

PYRAM-AXIS MUSIC & POSTRedondo Beach, CA 90278310-802-3376E-mail: [email protected]: www.pyramaxis.com Contact: Jim D.Format: ProTools HD, LogicBasic Rate: $65 Hourly, Project Rates - Call for details! World Class Mixing, Mastering, Audio Post, Soundtracks, Audio Clean-Up/Noise Removal

RACE HORSE STUDIOS 3780 Selby Ave. Los Angeles, CA 90034310-280-0175 Fax 310 280-0176E-mail: [email protected]: www.racehorsestudios.comContact: Duncan MacfarlaneFormat: digital, 192 tracksBasic Rate: please call for info

RANDY WINE STUDIOS6671 Sunset Blvd. Ste. 1550Hollywood, CA. 90028323-463-9463E-mail: [email protected]: www.randywinestudios.com, www.fb.com/pages/Randy-Wine-Studios/174222645974307?ref=tn_tnmn Contact: Randy or Brandon

Format: Pro Tools HDBasic Rate: $100/hr w/engineer, $1,000/day lockout w/engineer

READY MIX MUSIC5635 Lankershim Blvd.N. Hollywood, CA 91601818-388-2196E-mail: [email protected]: www.readymixmusic.comContact: Paul or SarahFormat: Pro ToolsBasic Rate: Call for info

RECORD PLANT 1032 N. Sycamore Ave.Hollywood, CA 90038323-993-9300 Fax 323-466-8835Contact: Sayoko RutledgeE-mail: [email protected]: www.recordplant.comFormat: digital and analogBasic Rate: please call for info

RESONATE MUSIC & SOUND449 S. San Fernando Blvd.Burbank, CA 91502818-567-2700 Fax 818-567-2121E-mail: [email protected] Web: http://www.resonate.laFormat: Digital & AnalogBasic Rate: call for info

ROBERT IRVING PRODUCTIONS, INC.Woodland Hills, CA 91367 818-224-3633 E-mail: [email protected] Web: www.robertirving.com Contact: Robert/Tim Format: Pro-Tools HD-3, Digital Performer or LogicBasic Rate: flexibleNotes: 3 great live rooms, Yamaha DC-7 Grand Piano, vintage mic collection

ROCKYROADRANCH PRODUCTIONS28111 Oak Springs Cyn. Rd.Santa Clarita, CA 91387661-510-6408 E-mail: [email protected]: www.rrrprod.comContact: Scotty ManzoFormat: digital and analog, 64 tracksBasic Rate: $75/hr.

ROSE STUDIOSEl Centro, CA 760-352-5774E-mail: [email protected]: www.roserecordingstudios.comContact: Danny BergFormat: digital, 48 tracksBasic Rate: please call for info. ROSEWOOD RECORDING & MASTERINGCamarillo, CA 93010 805-340-0130 E-mail: [email protected] Web: www.seedlessrecords.com/Artists.html Contact: StuFormat: digital & analog, 48 trks.Basic Rate: $40/hr.

ROURKETOWN STUDIOS 17521 Rayen St.Northridge, CA 91325818-775-1388Contact: JeffE-mail: [email protected]: www.rourketown.comFormat: digital, unlimited tracksBasic Rate please call for info

RPD STUDIOS1842 Burleson Ave.Thousand Oaks, CA 91360805-496-2585E-mail: [email protected]: www.rpdstudios.comContact: RandyFormat: digital, 192 tracksBasic Rate: $50/hr.

SAD GIRL MUSICN. Hollywood, CA E-mail: [email protected]: www.sadgirlmusic.com Contact: Karen Swerdlow or Paul McKee Format: digital and analog, 64 tracksBasic Rate: $50/hr.

SAGE AND SOUND RECORDING 1511 N. Gordon St.Hollywood, CA 90028323-469-1527 E-mail: [email protected]: www.sageandsoundrecording.comContact: Studio Mgr., Bryan McCurryFormat: Protools, 24 TrackBasic Rate: call for info




SANCTUARY SOUND7053 Rubio Ave.Van Nuys, CA 91406818-989-9997 Fax 818-989-7729E-mail: [email protected]: www.barryfasman.comContact: Barry FasmanFormat: digital, 96 tracksBasic Rate: please call for info

SANTA BARBARA SOUND DESIGN 33 W. Haley St.Santa Barbara, CA 93101 805-965-3404 E-mail: [email protected]: www.santabarbarasound.com Contact: Dom Camardella Format: digital and analog, 192 tracksBasic Rate: please call for info

SEAHORSE SOUND STUDIOS2340 N. Sierra Way San Bernardino, CA 92405909-210-2317E-mail: [email protected] Web: www.seahorsesoundstudios.com Contact: SamurFormat: analog and digital, 16 tracksBasic Rate: $30/hr.

SELAH RECORDING STUDIO9190 Poppy Cir. Westminster, CA 92683714-722-1937 E-mail: [email protected]: Dave GehlharWeb: www.myspace.com/selahrecordingFormat: digital and analog, 48 tracks Basic Rate: please call for info

SEQUOIA SOUND PIANO RECORDING W. Los Angeles, CA 90066310-621-5935 E-mail: [email protected] Contact: Rich Smith Web: www.sequoiasound.com Format: digital, 8 tracksBasic Rate: $60/hr. includes engineer

SILVER FERN STUDIOSAltadena, CA626-399-1573E-mail: [email protected]: www.silverfernstudios.comContact: Matthew MooreFormat: Pro Tools 8Basic Rate: $40/hr.& $60./hr

SKIP SAYLOR P.O. Box 280010 Northridge, CA 91328-0010 818-300-0400 Fax 818-881-7092E-mail: [email protected] Web: www.skipsaylor.com Contact: Skip Saylor Format: digital and analog, 96 tracks Basic Rate: call for info Gear: SSL 4100G+, Pro Tools HD, Yamaha grand piano, Hammond B3, TAD, Lexicon 480L,PCM70, PCM42 (4), AMS 1580(2), AMS RMX-16 (2), Yamaha, Pultec EQP1A (4), Neve, MicPre/EQ’s, API (15), EMT, Apogee, GML, Avalon, Distressors (4), Aphex, Manley, Roland, TC Electronics 2290, Fireworx, M3000, Eventide H3000, Eclipse, Instant Flanger, Urei LA2A, 1176LN, LA3A, DBX, PanScan, Ampex ATR, BASE Services: studio is located in a secluded private environment with living accommodations for bands/artists on property Clients: Guns N’ Roses, Bobby Brown, Foo Fighters, Santana, k.d. lang, Sardar, Snoop Dogg, Bootstraps, Jonathan Butler, Iron Man 2, The Lost Boys, Michael Jackson, Mary J. Blige,

KRS-ONE, Avril Lavigne, Israel Houghton, Jonny Lang, Pink, Goo Goo Dolls, Brian May, Tupac, Boyz II Men, Death Cab For Cutie, “Best Music in Film” Nashville Film Festival, Parenthood, Private Practice, No Ordinary Family, Secret Circle, Ice Cube, EverclearComments: facility features a large high ceiling tracking room and excellent mix room built/owned by a 30+year veteran of the recording industry

SKULLR RECORDSE-mail: [email protected] Web: www.skullr.com Contact: Steven Skullr Format: Digital Performer Basic Rate: Project Based

SLY DOGGIE PRODUCTIONSReseda, CAContact: Christian DavisE-mail: [email protected]: www.slydoggie.comFormat: digital 64 tracks plusBasic rate: check webpage

SME RECORDERS Los Angeles, CA323-646-8210E-mail: [email protected]: Rico GarciaWeb: www.smerecorders.comRate: 40/hr or Production Deals. Equipment: Pro Tools 9 HD2, Neumann, Avalon, et al.Specialty: indie/electro, rock, alternative, punk

SONG-HAVEN10410 Hillhaven Ave.Tujunga, CA 91042818-951-6345E-mail: [email protected]: www.song-haven.comContact: Steffen PresleyFormat: digital, 64 tracksBasic Rate: $35/hr.

SONGWRITER SANCTUARYHuman Touch Productions NoHo Arts District5062 Lankershim Blvd. N. Hollywood, CA 818-752-2212 E-mail: production@bradstan� eldmusic.comWeb: http://www.BradStan� eld.com Contact: Brad Stan� eld (multi-instrumentalist, producer-engineer)Format: Pro Tools with tubes, arranger/multi-instrumentalist producer/engineer (pro vocalists also available). Can transfer to PT from any digital formatRate: $40-$60/hr. Depending On Services

SONIC FARM PRODUCTIONS310-402-2390E-mail: [email protected]: www.sonicfarm.comContact: Zoran T.Format: digital and analog, 64 tracks, Neve analog mixing!Basic Rate: $50/hr. w/ engineer/producer, discounts available with projects or large blocks of time.

SONIC FUEL STUDIOS150 Sierra St.El Segundo CA 90245310-499-4757E-mail: [email protected]: www.sonicfuelstudios.comContact: Kyrina BlueroseFormat: Pro Tools, Euphonix boardRates: call for informationServices: Sonic Fuel Studios is a state-of-the-

art, eco-friendly tracking and mixing facility specializing in � lm, television, and interactive media music.

SONIC JUNGLE STUDIOS 6143 Morella Ave.N. Hollywood, CA 91606818-766-8891Contact: Steve Reid, Martin DelgadoFormat: digital and analog, 64 and 48 tracksBasic Rate: please call for info

SONIKWIRE STUDIOS Irvine, CA949-851-9340 E-mail: [email protected]: www.sonikwire.com Contact: Alex BushFormat: digital and analog, 60 tracks Basic Rate: call for info

SONORA RECORDERS3222 Los Feliz Blvd. Atwater Village, CA 90039 323-663-2500 Fax 323-663-3900 E-mail: [email protected] Web: www.sonorarecorders.com Contact: Richard Basic Rate: call for information

SOTTO VOCE STUDIOSherman Oaks, CA 91423818-694-3052E-mail: [email protected]: www.sottovocestudio.comContact: Shaun DrewFormat: digital, unlimited tracks, albums/� lm/TVBasic Rate: $50/hr.

SOUNDCUBED STUDIOS7080 Hollywood Blvd., Ste. 1017Hollywood, CA 90028 310-880-1292 E-mail: [email protected] Web: www.sound3studios.com Contact: Myke AaronFormat: digital, HD3Basic Rate: negotiable

SOUND IMAGE 15462 Cabrito Rd.Van Nuys, CA 91406805-231-5728E-mail: [email protected]: www.soundimage.usContact: Marty EberhardtFormat: digital and analogBasic Rate: please call for info

SOUND MATRIX STUDIOS18060 Newhope St.Fountain Valley, CA 92708714-437-9585 Fax 714-437-9877E-mail: [email protected]: www.soundmatrix.comContact: Scott RagotskieFormat: Pro Tools HD digital, 192 tracksBasic Rate: $75/hr. package deals available

SOUNDMOVES PRODUCTION STUDIOSBurbank, CA E-mail: [email protected]: www.soundmovesaudio.com Contact: Michael WoodrumFormat: digital and analog, unlimited trks.Basic Rate: please call for info

SOUND OASIS STUDIOSherman Oaks, CA818-385-1775 E-mail: [email protected]: www.soundoasisstudio.comContact: Lance Crane

Format: digital, 200+ tracksBasic Rate: call or see web

SOUND-TECH STUDIOMoreno Valley, CA 92557951-243-6666E-mail: [email protected] Web: www.fb.com/pages/Moreno-Valley-CA/Sound-Tech-Music-Store-and-Lessons/192046942610Contact: Allan JohnsonBasic Rate: please call for info

SOUTHWIND STUDIO12659 Hanford Armona RoadHanford, CA 93230559-582-8485E-mail: [email protected] Contact: Rick ThomasFormat: digital and analog, 24 tracksBasic Rate: please call for info

S.R.S./ HIT RECORDS NETWORK P.O. Box 6235Santa Barbara, CA 93110805-964-3035 Contact: Ernie Orosco, Greg Lewolt or Cory OroscoWeb: www.members.tripod.com/tc_67Format: digital and analog, 35 tracksBasic Rate: please call for info

STAGG STREET STUDIO15147 Stagg St.Van Nuys, CA 91405818-989-0511 E-mail: [email protected]: www.staggstreetstudio.comContact: Melody CarpenterFormat: digital and analog, 24 and 24 trks.Basic Rate: please call for info

STEAKHOUSE STUDIO, THE5161 N. Cartwright Ave. N. Hollywood, CA 91601-4075 818-802-0732, 818-985-2620E-mail: [email protected] Web: steakhousestudio.comContact: Kelle MusgraveBasic Rate: please call for info

STEPPINGOUT PERFORMING ARTS & RECORDING STUDIO11405 E. Firestone Blvd., Suite ENorwalk, CA 90650562-929-1050E-mail: [email protected]: www.steppingoutstudio.comContact: Steve SmithFormat: digital Basic Rate: please call for info

STEREOTRAIN2720 N. Ontario St.Burbank, CA 91504818-842-2255E-mail: [email protected]: www.stereotrain.comContact: Sebu SimonianServices: songwriting, production, tracking, mixing, masteringBasic Rate: see website for rates

STEWART SOUND204 N. Broadway, Ste. NSanta Ana, CA 92701714-973-3030E-mail: [email protected]: www.stewartsound.comContact: SarahFormat: digital and analogBasic Rate: call for info

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STUDIO 47817 N. Vine St.Los Angeles, CA 90038323-462-2161E-mail: [email protected]: promusic47.org/studio.htmContact: Jeff SurgaFormat: digital, 48 tracksBasic Rate: please call for info

STUDIO 75430 Vineland Ave.N. Hollywood CA 91601323-451-2888, 866-921-8834E-mail: [email protected]: gluzent.com/#/Studio7Contact: Jason GluzFormat: Pro Tools HD3 /192Basic Rate: call for current rates

STUDIO 770770 S. Brea Blvd. #218Brea, CA 92821714-672-1234E-mail: [email protected] Web: www.studio770.comContact: Shantih HaastFormat: Pro Tools HDBasic Rate: call for current rates

STUDIO 74467445 Sunset Blvd.Hollywood, CA 90046818-613-7363, 323-845-4649E-mail: [email protected]: www.wattsmixers.comContact: Charlie WattsFormat: Pro Tools 2-inch analog SSL 4000Rates: Call for rates

STUDIO 51091110 N Western Ave., Ste. 206Hollywood, CA 90029213-369-7094, Fax 323-462-1251E-mail: [email protected]: www.studio5109.comContact: Mike WolfFormat: digital and analog, 128 tracksBasic Rate: call for rates and discount blocks

STUDIO CITY SOUND4412 Whitsett Ave.Studio City, CA 91604818-505-9368 Fax 818-761-4744E-mail: [email protected]: www.studiocitysound.comContact: Estelle Harrison (Manager)Format: digital (192 tracks) and analog (24 track 2”)Basic Rate: $50-125/hr.Gear: Pro Tools HD, Avid HD I/O’S, Otari MX-80 2” 24-track, Inward Connections, Neve, API, UREI, ADL, Barefoot, Quested, Neumann, Royer, Coles, AKG, Yamaha C5, Hammond B3 w/ LeslieClients: Rod Stewart, No Doubt, Keith Richards, Eric Clapton, Willie Nelson, Ryan Adams, Shaggy, Bootsy Collins, the Roots, Bonnie Raitt, Toots and The Maytals, Phantom Planet, Brian Setzer, Josh Freese, Weezer, Limp Bizkit, Natasha Beding� eld, Eric Benet, Warren G, Vertical HorizonServices: Music Production: Tracking, Grammy award-winning mixing, mastering producing, arranging, programming, studio musicians. Post Production: ADR, ISDN, voice overs, video editing. Mobile Recording: HD multi-camera video package capturing live in studio or location, live video streaming.Comments: Studio City Sound is a full-service recording studio, owned and operated by Grammy award-winning mixer Tom Weir. SCS has three fully equipped studios, with a spacious tracking room, iso rooms, and a world-class blend of state of the art and vintage gear

STUDIO DEE3306 Glendale Blvd., Ste. 4Los Angeles, CA 90039323-662-0512E-mail: [email protected]: Huey DeeFormat: digital and analogBasic Rate: please call for info

STUDIOHOUSE 15828 Arminta St., Ste. 2Van Nuys, CA 91406818-621-4988 E-mail: [email protected]: www.studiohouse.comContact: DowneyFormat: digital, 128 tracksBasic Rate: please call for info

STUDIO WEST OF SAN DIEGO11021 Via Frontera, Ste. ASan Diego, CA 92127858-592-9497 Fax 858-592-9580 E-mail: [email protected] Contact: Peter DysonWeb: www.studiowest.com Format: SSL, Neve, ICON, Pro Tools HD6, Surround Sound, ISDN, Phone-Patch, ADRBasic Rate: $40.00 to $120.00

SUBURBAN SOUL STUDIOS, LLC2539 West 237th St. Ste. ETorrance, CA 90505310-891-0006E-mail: [email protected]

Web: www.suburbansoulstudios.comBasic Rate: call for rate information

SUNBURST RECORDING 10313 W. Jefferson Blvd. Culver City, CA 90232-3511 310-204-2222 E-mail: [email protected] Web: www.sunburstrecording.com Contact: Bob Wayne Format: digital, Pro Tools HD 3 and � ve ADATs; analog 2” 24 track and 1/4” 2 track both with Dolby SR.Basic Rate: call for rate information

SUNSET SOUND RECORDERS, INC. & THE SOUND FACTORY (Studio A)6650 Sunset Blvd.Hollywood, CA 90028323-469-1186 Fax 323-465-5579E-mail: [email protected]: www.sunsetsound.comContact: Craig HublerFormat: digital and analog, 48 tracksBasic Rate: call for rates

SUNSPOT PRODUCTIONS912 Glendon Way

Alhambra, CA 91803323-574-1110E-mail: [email protected]: sunspotprod.comContact: Rick LawndaleFormat: Pro Tools, 32 tracksBasic Rate: call for rate information

SU-ZZZ PLAYHOUSE STUDIOSP.O. Box 2888Malibu, CA 90265310-860-7499 Fax 310-860-7400E-mail: [email protected]: Jake NevadaFormat: Analog, digital, Avid, Final Cut, Pro Tools, DVD authoring

SWING HOUSE REHEARSAL & RECORDING 7175 Willoughby Ave. Los Angeles, CA 90046 323-850-4990 Fax 323-850-4992 E-mail: [email protected]: www.swinghouse.com Format: digital, 24 tracksBasic Rate: please call for info

THETA SOUND STUDIO2219 W. Olive Ave., #226cr

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Burbank, CA 91506(mailing address - call for appt.)818-955-5888Contact: Randall Michael TobinE-mail: [email protected]: thetasound.comBasic Rate: call for ratesGear: We have tons of old school and new school gear - please check our website for a complete listing. Services: full service record production and engineering by Randall Michael TobinClients/Projects: “The Other Standards” - Mel Carter; “Addicted to Love Songs” - Deb Bowman; “Heaven on Earth” - Danny Maseng; “Heart of Israel” - Alison Wissot & Tali Tadmor; “A Magical Time of Year” - Bettie Ross; “Out of the Glen” - Cabar Feidh Pipe Band; “BARK! - the musical” - Original Cast Album; “My Favorite Gentlemen” - Susan Kohler; “Rain on the Roof” - Margaret MacDonald, “Vocalessence” by Amy, “At the Corner of God and Broadway” - Katheryne Levin; “The Snow Queen - ballet rede� ned”

THRESHOLD SOUND + VISION2114 Pico Blvd.Santa Monica, CA 90405310-566-6677 Fax 310-314-3826E-mail: [email protected]: www.thresholdsound.comContact: Todd BergmanFormat: digital and analog, 64 tracksBasic Rate: call for info

THUD STUDIOS II RECORDING STUDIO11320 Burbank Blvd.N. Hollywood, CA 91601818-378-8162, 818-506-4648Web: www.thudstudios.comContact: Jeff AbercrombieServices: Budget recording studioBasic Rate: Call for info

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

T.I.M.S. - TOTALLY INDEPENDENT MUSICIAN 15925 Kittridge St.Van Nuys, CA 91301805-340-0130

E-mail: [email protected]: www.seedlessrecords.com/Tims.htmlContact: StuFormat: digital and analogBasic Rates: please call for info

TITAN MUSIC, INC.13547 Ventura Blvd.Sherman Oaks, CA 91423818-990-6992E-mail: [email protected]: www.titanrecording.comFormat: digital and analog, 64+ tracksBasic Rate: please call for info

TODD-AO SCORING 2901 Alameda Ave.Burbank, CA 91505818-295-5300Web: www.toddao.com Contact: [email protected]: digital and analog Basic Rate: please call for info

TOTAL ACCESS RECORDING STUDIOS 612 Meyer Ln., Ste. 18Redondo Beach, CA 90278-5261310-376-0404E-mail: [email protected]: www.myspace.com/totalaccessrecordingContact: Wyn DavisFormat: digital and analog, unlimited tracksBasic Rate: please call for info

TRACK ENTERTAINMENT STUDIOS 13848 Ventura Blvd., Ste. 4DSherman Oaks, CA 91423 818-259-7244E-mail: [email protected]: http://www.facebook.com/trackentertainmentstudiosContact: Alexander Track, producer/engineer, Grammy WinnerFormat: 4 Pro Tools suites, music production and recording, post production, mixing and mastering, 7.1 surround sound, songwriting, composing, arranging, � lm scoring, commercials, live drums etc. Basic Rate: please call for info

TRACK RECORD STUDIOS5102 Vineland Ave.N. Hollywood, CA 91601818-761-0511 Fax 818-761-0539E-mail: [email protected]

Web: www.trackrecordstudios.comContact: MikeFormat: digital and analog, 120 tracksBasic Rate: call for info

TRACK STAR STUDIOS7242 University Ave. La Mesa, CA 91942619-697-7827Contact: Josquin des PresE-mail: [email protected] Web: www.trackstarstudios.com Basic Rate: Call for rates

TRAIN TRACKS STUDIOS213 Agostino RoadSan Gabriel, CA 91776626-291-5100E-mail: [email protected]: www.traintraxstudios.comContact: Alex TrubergFormat: digitalBasic Rate: please call for info

TRINITY SOUND COMPANY1614 S. Carlos Ave. Ste. BOntario, CA. 91761909-923-6640 888-TSC.1073E-mail: [email protected], Web: http://trinitysoundcompany.comBasic Rate: Please call for info

TRS WESTSherman Oaks, CA805-876-4520E-mail: [email protected]: www.jayruston.comContact: Jay Ruston Basic Rate: call for info

TRU-ONE RECORDS AND REHEARSALS2100 E. Howell St. 208Anaheim, CA 92086714-634-4678E-mail: [email protected]: www.truonerecords.comContact: Robert TrujilloFormat: Live rehearsal recordings for only $25Basic Rate: please call for info

TUTT & BABE MUSIC6506 Pen� eld Ave.Woodland Hills, CA 91367818-621-3181E-mail: [email protected]: Guy Marshall

Format: Pro ToolsBasic Rate: per song, no clocks, no worries

UNCLE STUDIOS6028 Kester Ave.Van Nuys, CA818-989-5614E-mail: [email protected]: www.unclestudios.comContact: Scott WaltonFormat: digital, 24 at a time 126 playbackBasic Rate: please call for info

UNDERCITY RECORDERSN. Hollywood, CA 91601818-623-9998E-mail: [email protected]: www.undercity.comContact: Baron BodnakFormat: digital and analog, 128 tracksBasic Rate: please call for info

UNISON MUSIC STUDIOSP.O. Box 4457Valley Village, CA 91617818-505-3629E-mail: [email protected]: www.unisonmusic.comContact: Ryan DornFormat: digital and analog Basic Rate: call for info

VALKYRIE SOUNDRolling Hills Est., CA 310-293-4133 Fax 310-791-6344E-mail: [email protected]: www.vsoundinc.comContact: Sherri HendricksonFormat: digital, 24 tracks Basic Rate: please call for info

VALLEY CENTER STUDIOS5928 Van Nuys Blvd.Sherman Oaks, CA 91401818-989-0866E-mail: [email protected]: www.valleycenterstudios.comFormat: digital and analog, 64 tracksBasic Rate: call for info

VENETO WEST4712 Admiralty Way, Ste. 536Marina del Rey, CA 90292818-415-7674, 310-200-9010E-mail: [email protected]: www.venetowest.com

TAKE YOUR PROJECT FROM GOOD TO GREAT

Recording/Arrangement/Vocal Production SpecialistSinger-Songwriters/Bands

Great Vibe • Professional EnvironmentA-List Roster of Session Players Available

Worked with Producers James Guthrie, Barry Rudolph,Daniel Moore, Al Blazek and others • Mixing Engineer Chris Walsh

Greg Kramer 626-914-2245 Glendora,Ca. 91741www.sofasongs.com • [email protected]

Photography Studio / Green Screen Stage / Additional Live Room, Post Produc-tion Recording Studio: Compression ceilingFloating fl oor, ceiling, & walls

3780 Selby Avenue, L.A., CA 90034

Post Prod./Recording Studio5565 square foot BuildingWest L.A. / Near Venice Beach

Caitlyn W. Ross, Investment Specialist | DRE# 01892435Coldwell Banker Commercial WESTMAC1515 Sepulveda Boulevard | Los Angeles | CA 90025310.478.7700, ext. 390 | 310.479.3989, fax

Price: $2,475,000




Contact: Liz Redwing, Ronan Chris MurphyFormat: digital and analogBasic Rate: call for info

VILLAGE (RECORDER), THE1616 Butler Ave.Los Angeles, CA 90048310-478-8227 Fax 310-479-1142E-mail: [email protected]: www.villagestudios.comContact: Jeff GreenbergFormat: digital and analogBasic Rate: please call for info

VIRLOUISE RECORDING1631 N. Placentia Ave., Ste. KAnaheim, CA 92806 714-322-3600 E-mail: [email protected] Web: www.virlouise.com Contact: Bill DavidowFormat: digital recording/ Pro Tools Basic Rate: $50/hr. base rate

WALL OF SOUND STUDIOS1745 S Claudina Way Anaheim, CA 92805714-533-ROCK (7625)E-mail: [email protected]: www.wallofsoundstudios.comContact: Shannon GrilloFormat: State-of-the-art, fully-equipped hourly facility: rehearsal, recording, equipment rental: Tama, Shure, Mackie, Marshall, Ampeg, JBL and more.Basic Rate: Call for details

WARD-WICKED ANALOG RECORDING DUDE, THE14947 Gilmore St.Van Nuys, CA 91411818-785-8611Web: www.oldbootsrecordingstudio.com

WARRIOR GIRL MUSIC12115 Magnolia Blvd., Ste. 219N. Hollywood, CA 91607925-892-6735E-mail: [email protected]: www.warriorgirlmusic.comContact: Gilli MoonFormat: digital, 64Basic Rate: $90/hr.

WESTBOUND STUDIOSLos Angeles, CA 310-985-5509 Fax 323-933-3251E-mail: [email protected]: GelowFormat: ProTools HD3, Waves plug-inBasic Rate: call for rates

WESTLAKE RECORDING STUDIOS Studios C, D, E, Production Rooms 1 & 27265 Santa Monica Blvd.Los Angeles, CA 90046323-851-9800E-mail: [email protected]: www.thelakestudios.comContact: Steve Burdick Format: Pro Tools HD, Logic & Analog RecordingBasic Rate: $750.00 - $2200.00, please call for Indie rates

WESTLAKE RECORDING STUDIOS Studios A & B8447 Beverly Blvd.Los Angeles, CA 90048323-851-9800E-mail: [email protected]: www.thelakestudios.comContact: Steve Burdick Format: Pro Tools HD, Logic & Analog RecordingBasic Rate: $1500.00 - $2000.00, please call for Indie rates.Gear: Pro Tools HD & Logic in all studios. Recording Consoles - SSL 9072J Series (2), SSL AWS900 (2), SSL G-Series 72 Input, Neve VR Series (2). Large selection of Vintage Tube Microphones and Outboard Gear. Clients: Michael Jackson (“Off the Wall, ”“Thriller,” “Bad” & “Dangerous”), Alanis Morissette (“Jagged Little Pill”), Quincy Jones, Celine Dion, Madonna, Mariah Carey, Bruce Springsteen, Britney Spears, Whitney Houston. Recent Clients: Rihanna, Alex da Kid, Chris Isaak, Marc Anthony, Akon, Jamie Foxx, Snoop Dogg, Usher, Barbra Streisand, Michael Buble, Jennifer Lopez, Neyo, Jack Splash, Stargate, Ryan Tedder, Nicole Scherzinger. Comments: Westlake prides itself on making you feel right at home in the studio. Our warm furnishings, friendly staff and skilled audio engineers will keep any session creative and productive. Both convenient studio locations are centrally located and near all amenities.

WOMB RECORDING STUDIO, THE15925 Kittridge St.Van Nuys, CA 91406818-414-6369 Fax 818-901-8806 E-mail: [email protected]: www.davehaddad.comContact: DaveFormat: digital & Analog, more than 64 tracksBasic Rate: please call for info

WYMAN RECORDS1908 Burbank Blvd.Burbank, CA 91506818-845-8787

E-mail: [email protected]: www.wymanrecords.comContact: Tip WymanFormat: digital and analog, 128 tracksBasic Rate: please call for rate

ZAP ZELINGER AUDIO PRODUCTIONSSanta Monica, CA 90403310-395-9636E-mail: [email protected]: Gerald ZelingerFormat: Digital and Analog, Pro Tools,classic microphones and tube pre-amps.Voice-over and archiving all analog media.Basic Rate: please call for info

ColoradoASPEN LEAF RECORDING South BroadwayGrand Junction, CO 81507970-201-6166 E-mail: [email protected]: www.aspenleafrecording.comContact: Ken DravisFormat: digital and analogBasic rate: $55-$60/hr.

CCM RECORDING STUDIOS 4214 E. Colfax Ave.Denver, CO 80220 720-941-6088 Web: www.ccmstudios.comContact: Darren SkansonFormat: digitalBasic Rate: please call for info

CHERRY SOUND RECORDING STUDIO1600 Downing, Ste. 120Denver, CO 80218303-910-5359E-mail: [email protected]: www.cherrysoundstudios.comFormat: digital and analogBasic Rate: please call for info

DERRYBERRY AUDIO, INC. 7380 Devinney Ct.Arvada, CO 80005303-456-8216, Fax 303-254-6304 E-mail: [email protected] Web: www.derryberryaudio.com Contact: Mark Derryberry, producer/engineerFormat: Pro Tools HDBasic Rate: $85/hr.

HIDEOUT @ MACE’S HOLE STUDIO, THEP.O. Box 247Beulah, CO 81023719-485-5883E-mail: [email protected]: www.coloradorecording.comContact: Steve or Tyler HobsonFormat: digital 48 tracks w/ PCBasic Rate: $30/hr., $225 for 8-hour block

MUSICMAGIC PRODUCTIONS3692 Fairgate Ct.Highlands Ranch, CO 80126303-346-2970, Cell 303-921-7517E-mail: [email protected]: www.ericroberts.org, www.myspace.com/musicmagicprodContact: Eric RobertsFormat: digital, 16 tracksBasic Rate: $50/hr.

ROCKY MOUNTAIN RECORDERS1250 W. Cedar Ave.Denver, CO 80223303-777-3648 Fax 303-777-3923E-mail: [email protected]: www.rockyrecorders.comContact: Rachel ConverseBasic Rate: please call for info

ConnecticutCARRIAGE HOUSE STUDIOS119 Westhill Rd. Stamford, CT 06902 203-358-0065Contact: John MontagneseE-mail: [email protected]: www.carriagehousemusic.comFormat: digital and analogBasic Rate: please call for info

ONYX SOUND LAB56 Cooper StreetManchester, CT 06040860-436-4581E-mail: [email protected]: www.onyxsoundlab.comContact: Adam Gootkin or Peter KowalczykFormat: digitalBasic Rate: please call for info

STUDIO UNICORN 36 Sanford Town Rd.Redding, CT 06896-2411 203-938-0069 E-mail: [email protected]: www.studiounicorn.net Contact: Paul Avgerinos, Grammy-nominated producer

You speak through your instruments and your songs. No ordinary words can convey all the complexities, the joy, the pain, the ideals and the dreams. Only your music can do that. But how does the music you hear in your head fight its way through a morass of electronics to reach the ears of your audience without losing some of your meaning?

BBE will become your indispensable companion in the recording studio, the radio station, the club and concert stage. BBE will reveal the richness of your texture, the nuances, the subtleties, the inner meanings in your music. Your artistic presence will be more vivid, the colors in your sound more vibrant. The crystalline clarity of your music will be triumphantly unveiled!

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Format: Pro Tools HD 128 Tracks Basic Rate: call for information

DelawareSIDE DOOR STUDIO 69 Albe Dr.Newark, DE 19702 302-738-8777 Fax 302-731-7601E-mail: [email protected]: www.sidedoorstudioinc.comBasic Rate: please call for info

District Of Columbia (DC)CLEANCUTS MUSIC4455 Connecticut Ave., Ste. A500Washington, DC 20008202-237-8884E-mail: [email protected]: www.cleancuts.comFormat: digitalBasic Rate: please call for info

LISTEN VISION RECORDING STUDIOS 2622 Georgia Ave. N.W.Washington, DC 20001 202-332-8494 Fax 202-332-8495E-mail: [email protected]: www.listenvision.comContact: JerriFormat: Pro Tools, digital, 124 tracksBasic rate: $60/hr.

FloridaCRESCENT MOON6205 Bird Rd.Miami, FL 33155305-663-8924E-mail: [email protected]: www.crescentmoon.comFormat: Audio/Video Suites, ISDN, Digital/AnalogBasic Rates: Call for rates

DIO-VISION13885 W. Dixie Hwy.Miami, FL 33161305-893-9191E-mail: [email protected]: www.audiovisionstudios.comFormat: Digital & AnalogRates: Please Call in

HIT FACTORY CRITERIA-MIAMI, THE1755 N.E. 149 St.Miami, FL 33181 305-945-5021 Contact: Trevor Fletcher Format: 16 & 24 tk analog, 48k digital, DAW’sBasic rate: 6 full-service world-class studios from vintage Neve 8078 to SSL9096J to SSL Duality. Founded in 1958 this landmark facility has produced hundreds of gold & platinum albums in every genre. Rates tailored on a per project basis.

PHAT PLANET RECORDING STUDIOS 3473 Parkway Center Ct. Orlando, FL 32808 407-295-7270 E-mail: [email protected] Web: www.phatplanetstudios.com Contact: Ed Krout Format: Pro Tools HD, analog 2-inch etc. Basic Rate: $75/hr. Studio A, $65/hr. Studio B

HART GUNTHERSOUTH BEACH STUDIOS1200 Collins Ave.Miami Beach, FL 33139305-673-8203 Fax 305-531-9929

E-mail: [email protected]: www.southbeachstudios.comContact: Joe GaldoFormat: Professional recording/mixing; SSL; Pro Tools HD3/v.9, Logic9, etc.; New Apple Mac Pro; lots of vintage gear.Basic Rate: Call about rates

STUDIO CENTER6157 NW 167 St. F-4Miami, FL 33015305-828-7231E-mail: [email protected]: www.studiocentermiami.comFormat: Digital & AnalogBasic Rate: please call for info

STYLE-CITY MUSICP.O. Box 13651St. Petersburg, FL 33733-3651727-520-2336E-mail: [email protected]: www.stylecitymusic.comContact: Steven BerryFormat: “Style-City Music Presents” is a 29-minute music video program showcasing music videos from all over the world from both signed and unsigned artists, on over 74 local stations.Basic Rate: $55/hr.

TWENTY-FIRST CENTURY STUDIOS1736-2 Landon Ave. Jacksonville, FL 32207 904-346-3452E-mail: [email protected]: twentyfirstcenturystudios.com

UNITY GAIN RECORDING STUDIO1953 Ricardo Ave.Fort Myers, FL 33901 239-332-4246 E-mail: [email protected]: www.unitygain.com Contact: Bart IannucciFormat: Direct to Disk, Digital & Analog Tape, & MIDIBasic Rate: $60-$130/hr. (based on requested services)

VIRTUAL PRODUCTIONSIslamorada, FL203-364-1642E-mail: [email protected] Web: www.virtualproductions.netContact: Michael DamonFormat: Pro ToolsBasic Rate: Please call for info

GeorgiaARCADIA PRODUCTION AND RECORDING STUDIOAtlanta, GA 30071770-448-9992 E-mail: [email protected] Web: www.arcadiarocks.comContact: KnoxFormat: Pro Tools HD2 Accel 2-in tapeBasic Rate: please call for info

DOPPLER1922 Piedmont Cir.Atlanta, GA 30324404-873-6941, 877-883-9406E-mail: [email protected]: www.dopplerstudios.comFormat: Digital/Analog, Full Service FacilityBasic Rate: Call for information

ELEVATED BASEMENT STUDIO, INC.911B E. 65th St.Savannah, GA 31405 912-356-9445 E-mail: [email protected]

Web: www.elevatedbasement.com Contact: Kevin RoseFormat: DAWBasic Rate: $65/hr.

GROOVE TUNES STUDIOS340 Rossiter RidgeAlpharetta, GA 30022770-842-5511Web: www.groovetunes.comContact: Eric TunisonFormat: Pro Tools HD/3 v. 8.0Basic Rate: $75/hr.

HUFF RECORDING STUDIOS P. O. Box 248Good Hope, GA 30641 770-266-5266 E-mail: [email protected]: www.huffrecording.comFormat: digital Pro ToolsBasic Rate: please call for info

LAKEFRONT STUDIOS 1221 Grande View Dr.Loganville, GA 30052 770-602-0995, 800-525-3378E-mail: [email protected] Web: www.lakefrontstudios.com Contact: Lesley Daunt Format: digital Nuendo and Pro Tools HD Basic Rate: $60/hr.

MAW SOUND RECORDING STUDIOS P.O. Box 45 Hiawassee, GA 30546 800-535-4560, 706-896-4560E-mail: [email protected]: www.mawsound.comContact: Michael WineFormat: digital & analog, Sonar recording Basic Rate: call for info

SONICA500 Bishop St., Bldg. C-2 Atlanta, GA 30318 404-350-9540 E-mail: [email protected]: sonicarecording.com Contact: John BriglevichFormat: Pro Tools HD, Studer 2”Basic Rate: call for rates

STUDIOPLEX OF CENTRAL GA, LLC, THE377 E. Colonial Dr.Macon, GA 31211 478-737-2077 E-mail: [email protected] Web: www.thestudioplex.com Contact: Gary BranchFormat: Nuendo 24/96Basic Rate: $40/hr.

TREE SOUND STUDIOS4610 Peach Tree Industrial Blvd.Norcross, GA 30071770-242-8944E-mail: [email protected]: www.treesoundstudios.comRate: please call for info

HawaiiAVEX HONOLULU STUDIOS377 Keahole St., Ste. D-03Honolulu, HI 96825808-393-2021 Fax 808-393-2021E-mail: [email protected] Web: www.avexhonolulustudios.comFormat: digital and analog, unlimited tracksBasic Rate: please call for info

CARAT RECORDING STUDIOP.O. Box 12746

Lahaina, HI 96761808-214-6910E-mail: [email protected]: www.caratrecords.comContact: AbbeyFormat: 24 track 2-inch analog tape machine. Pro Tools 2010 8.1 Hard drive recording, Lexicon, Soundcraft, JBL, Neumann, Ludwig, KorgBasic Rate: $39 per hour, 1st hour free w/engineer. Call for special packages & rates. 500 yards from Kaanapali beach, free parking, walk to rental cars, shops, lodging and surfing.

HIGHWAY RECORDINGP.O. Box 25993Honolulu, HI 96825808-396-9771E-mail: [email protected]: www.highwayrecording.comContact: P. KeatFormat: digital, 24 tracksBasic Rate: $25/hr.

SOUNDS LIKE HALE RECORDING STUDIO, LLC355 Hukilike St., Ste. 110Kahului, HI 96732808-877-4253E-mail: [email protected]: www.soundslikehale.com Contact: HalemanuFormat: digital and analog, 192 tracksBasic Rate: please call for info

IdahoOSMOSIS RECORDING P.O. Box 790 Meridian ID 83680 208-371-3509 E-mail: [email protected]: www.osmosisrecording.comContact: NathanBasic Rate: please call for info

TONIC ROOM, THE1509 Roberts St., Ste. 103 Boise, ID 83705208-338-8433 E-mail: [email protected]: www.tonicroomstudios.comContact: Jason or ChrisFormat: Pro Tools HD/NeveBasic Rate: $500/10hr. day with engineer(s)

IlliniosAPOCALYPSE COW20 Pomeroy Rd.Montgomery, IL 60538 630-897-9023 E-mail: [email protected] Web: www.callthecow.com Contact: Theresa BrooksBasic Rate: $40/hour

BLAM RECORDING 1128 W. North Shore Chicago, IL 60626 773-761-1329 E-mail: [email protected] Web: www.blamrecording.com Format: analog/digitalBasic Rate: please call for info

BOSCO PRODUCTIONS160 E. Grand Ave.Chicago, IL 60611312-644-8300 x601E-mail: [email protected]: www.boscoproductions.comContact: Angelo Bosco




Format: digital Pro ToolsBasic Rate: please call for info

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

ENGINE MUSIC STUDIOS1644 N. Honore, Ste. 300Chicago, IL 60622773-772-6200E-mail: [email protected]: www.enginestudios.comFormat: Digital/AnalogBasic Rate: please call for info

FARVIEW RECORDINGSt. Charles, IL 60175 630-377-6590 E-mail: [email protected] Web: www.farviewrecording.com Contact: Jason WalshFormat: digital Basic Rate: $65/hr.

GRAVITY STUDIO2250 W. North Ave.Chicago, IL 60647773-862-1880E-mail: [email protected]: www.gravitystudios.comFormat: Digital/AnalogBasic Rates: please call

GROOVEMASTER STUDIOS1719 S. Clinton St.Chicago, IL 60616Phone: 312-929-2811E-mail: [email protected]: www.groovemasterstudios.comContact: Johnny K, Studio Owner or Crystal Olson, Studio ManagerFormat: 24 tracks analog 2 inch, 2 track analog 1/2 inch and Pro Tools HD3 AccelBasic Rate: please call for rates.

HANDWRITTEN RECORDING1346 W. BelmontChicago, IL 60657773-472-7132E-mail: [email protected]: www.handwrittenrecording.comContact: JPFormat: digital and analogBasic Rate: please call for info

IPPOLITO RECORDING COMPANY 523 Penrose Rd. Dixon, IL 61021 815-285-0086 E-mail: [email protected]: www.vippolito.com Contact: Vince Ippolito Format: audio & midi digital Basic Rate: $50/hr.

PILLAR PRODUCTIONS, INC. P.O. Box 35301 Oak St. Quincy, IL 62306217-228-7200, 888-616-1179 E-mail: [email protected] Web: pillarproductions.com Contact: Jack Inghram Format: DA88 and DAW Basic Rate: call for rates

PRESSURE POINT RECORDING STUDIOS2239 S. Michigan Ave.Chicago, IL 60616312-842-8099E-mail: [email protected]: www.pressurepointrecording.comFormat: Digital/AnalogBasic Rates: please call

STUDIO VMR9039 Monroe Ave,Brookfield, IL 60513312-286-5018 Fax 708-267-2198E-mail: [email protected]: www.studiovmr.comFormat: Pro Tools HD3 Accel, also Hard Disk Recorders/72 TracksBasic Rate: Call for prices

IndianaLODGE RECORDING STUDIOS, THE 3350 Roosevelt Ave.Indianapolis, IN 46218 317-568-000E-mail: [email protected]: www.thelodgestudios.com Contact: Mike Graham, chief engineerFormat: Studio A Pro Tools HD3, Studio B Pro Tools HD3 Studio C Pro Tools HD1Basic Rate: call for rates

SOUND LOGIC, LLC Lafayette, IN 47909 800-732-6476 E-mail: [email protected] Web: www.soundlogicrecording.com Contact: Jeff Anderson Format: Pro Tools, API console, 2-inch 24 TrackBasic Rate: $50/hr. including engineer

SWEETWATER PRODUCTIONS 5501 U.S. Hwy 30 W. Fort Wayne, IN 46818 800-222-4700 ext. 1801, 260-432-8176 ext. 1801 E-mail: [email protected] Web: www.sweetwater.com/studio Contact: Chet Chambers, studio mgr./producer Format: Pro Tools HD3 (3 rooms)ADAT - 2-inch Tape Basic Rate: $95/hr. includes engineer

IowaCATAMOUNT RECORDING, INC.5737 Westminster Dr.Cedar Falls, IA 50613 319-235-6517 E-mail: [email protected] Web: www.catamountrecording.com Contact: Kitty Tatman, studio mgr.Format: Pro Tools HD3, Otari 2” analog, SSL 4048E/G+Basic Rate: $75/hr.

TRIAD PRODUCTIONS, INC. 1910 Ingersoll Ave. Des Moines, IA 50309 515-243-2125 Fax 515-243-2055E-mail: [email protected]: www.triadav.comBasic Rate: please call for info

KansasALETHEOS RECORDING 327 S. Hydraulic Wichita, KS 67211 316-290-9732Web: www.myspace.com/aletheosrecording Contact: Jason Kirk or Glen LangFormat: Pro Tools HDBasic Rate: $35/hr.

CHAPMAN RECORDING AND MASTERING8805 Monrovia St. Lenexa, KS 66215 913-894-6854 E-mail: [email protected] Web: www.chapmanrecording.com Contact: Chuck ChapmanFormat: Pro Tools & analog 2” 24 trk tapeBasic Rate: see website for rates

GREENJEANS STUDIOS110 W. Harvey Ave. Ste. 2Wellington, KS 67152620-326-5326E-mail: [email protected], [email protected]: www.greenjeansstudios.comBasic Rate: please call for info

KentuckyDOWNTOWN RECORDING515 S. Fourth St.Louisville, KY 40202 502-583-9966 E-mail: [email protected]: www.downtownrecording.com Contact: Nick StevensFormat: Pro Tools HD, 24 Track 2-inch analogBasic Rate: please call for info

DSL STUDIOS10352 Bluegrass Pkwy.Louisville, KY 40299502-499-2102E-mail: [email protected]: www.dslstudios.comFormat: digital Pro ToolsBasic Rate: please call for info

PARADISE RECORDING STUDIOPaducah, KY270-898-4707E-mail: [email protected]: www.paradiserecording.comContact: Steve ChildersFormat: digitalBasic Rate: please call for info

REELDEMO P.O. Box 19421 Louisville, KY 40259-0421E-mail: [email protected]: www.reeldemo.comBasic Rate: please call for info

SAINT CLAIRE RECORDING CO.2640 Spurr Rd.Lexington, KY 40511859-252-7272E-mail: [email protected]: www.saint-claire.comContact: John ParksFormat: digital Pro Tools HD 3Basic Rate: please call for info

SUNLITE MUSIC & STUDIOS600 W. 3rd St.Owensboro, KY 42301 270-684-9569 Web: www.sunlitemusic.com Contact: Mike Frakes Format: Pro tools HD3, 128 track digital audioBasic Rate: call for rates

TNT PRODUCTIONS6303 Fern Valley PassLouisville, KY 40228502-964-9616E-mail: [email protected]: www.tntrecording.comFormat: digital Pro Tools HDBasic Rate: please call for info

WHITE HORSE CHRISTIAN RECORDINGP.O. Box 997Nortonville, KY 42442270-985-5548E-mail: [email protected]: www.wh-recording.comFormat: digitalBasic Rate: please call for info

LouisianaAUDIOPHILE RECORDING STUDIOS 61 French Market Pl. New Orleans, LA 70116 504-529-5559 E-mail: [email protected] Web: www.audiophilestudios.comContact: Richard BirdFormat: digital and analogBasic Rate: please call for info

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

GREEN HAUS MEDIA, LLC(Outside New Orleans)Slidell, LA 70461701-390-4166E-mail: [email protected]: www.greenhausmedia.comContact: Troy MarinoFormat: digital Pro ToolsBasic Rate: please call for info

LIVING ROOM, THENear DowntownNew Orleans, LA504-276-2772 E-mail: [email protected]: www.thelivingroomstudio.comContact: Chris GeorgeFormat: digital and analogBasic Rate: please call for info

MUSIC SHED, THE929 Euterpe St. New Orleans, LA 70130504-412-9995E-mail: [email protected] Web: www.musicshed.netFormat: digital Pro Tools HD 3Basic Rate: please call for info

PIETY STREET RECORDING 728 Piety St.New Orleans, LA 70117 504-948-4968 Fax 504-948-4364 E-mail: [email protected]: www.pietystreet.comContact: ShawnFormat: Pro Tools HDBasic Rate: please call for info

RADIONIC STUDIOS 415 Dodge Ave. Jefferson, LA 70121 504-669-3705 E-mail: [email protected] Web: www.fourcatsradionic.com Contact: Buzzy Beano or Chuck Credo Format: Tascam MX2424, Alesis HD24 -XR, Pro Tools, Nuendo, Digital Performer 24-96 tracks, Mastering suite available. Basic Rate: call for rates

STUDIO IN THE COUNTRY21443 Hwy 436P.O. Box 490

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Format: digital Pro ToolsBasic Rate: please call for info

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

ENGINE MUSIC STUDIOS1644 N. Honore, Ste. 300Chicago, IL 60622773-772-6200E-mail: [email protected]: www.enginestudios.comFormat: Digital/AnalogBasic Rate: please call for info

FARVIEW RECORDINGSt. Charles, IL 60175 630-377-6590 E-mail: [email protected] Web: www.farviewrecording.com Contact: Jason WalshFormat: digital Basic Rate: $65/hr.

GRAVITY STUDIO2250 W. North Ave.Chicago, IL 60647773-862-1880E-mail: [email protected]: www.gravitystudios.comFormat: Digital/AnalogBasic Rates: please call

GROOVEMASTER STUDIOS1719 S. Clinton St.Chicago, IL 60616Phone: 312-929-2811E-mail: [email protected]: www.groovemasterstudios.comContact: Johnny K, Studio Owner or Crystal Olson, Studio ManagerFormat: 24 tracks analog 2 inch, 2 track analog 1/2 inch and Pro Tools HD3 AccelBasic Rate: please call for rates.

HANDWRITTEN RECORDING1346 W. BelmontChicago, IL 60657773-472-7132E-mail: [email protected]: www.handwrittenrecording.comContact: JPFormat: digital and analogBasic Rate: please call for info

IPPOLITO RECORDING COMPANY 523 Penrose Rd. Dixon, IL 61021 815-285-0086 E-mail: [email protected]: www.vippolito.com Contact: Vince Ippolito Format: audio & midi digital Basic Rate: $50/hr.

PILLAR PRODUCTIONS, INC. P.O. Box 35301 Oak St. Quincy, IL 62306217-228-7200, 888-616-1179 E-mail: [email protected] Web: pillarproductions.com Contact: Jack Inghram Format: DA88 and DAW Basic Rate: call for rates

PRESSURE POINT RECORDING STUDIOS2239 S. Michigan Ave.Chicago, IL 60616312-842-8099E-mail: [email protected]: www.pressurepointrecording.comFormat: Digital/AnalogBasic Rates: please call

RAXTRAX3126 N. GreenviewChicago, IL 60657773-871-6566E-mail: [email protected]: www.raxtrax.comFormat: 2 SSL control rooms, digital/analogBasic Rates: please call for info

IndianaLODGE RECORDING STUDIOS, THE 3350 Roosevelt Ave.Indianapolis, IN 46218 317-568-000E-mail: [email protected]: www.thelodgestudios.com Contact: Mike Graham, chief engineerFormat: Studio A Pro Tools HD3, Studio B Pro Tools HD3 Studio C Pro Tools HD1Basic Rate: call for rates

SOUND LOGIC, LLC Lafayette, IN 47909 800-732-6476 E-mail: [email protected] Web: www.soundlogicrecording.com Contact: Jeff Anderson Format: Pro Tools, API console, 2-inch 24 TrackBasic Rate: $50/hr. including engineer

SWEETWATER PRODUCTIONS 5501 U.S. Hwy 30 W. Fort Wayne, IN 46818 800-222-4700 ext. 1801, 260-432-8176 ext. 1801 E-mail: [email protected] Web: www.sweetwater.com/studio Contact: Chet Chambers, studio mgr./producer Format: Pro Tools HD3 (3 rooms)ADAT - 2-inch Tape Basic Rate: $95/hr. includes engineer

IowaCATAMOUNT RECORDING, INC.5737 Westminster Dr.Cedar Falls, IA 50613 319-235-6517 E-mail: [email protected] Web: www.catamountrecording.com Contact: Kitty Tatman, studio mgr.Format: Pro Tools HD3, Otari 2” analog, SSL 4048E/G+Basic Rate: $75/hr.

TRIAD PRODUCTIONS, INC. 1910 Ingersoll Ave. Des Moines, IA 50309 515-243-2125 Fax 515-243-2055E-mail: [email protected]: www.triadav.comBasic Rate: please call for info

KansasALETHEOS RECORDING 327 S. Hydraulic Wichita, KS 67211 316-290-9732Web: www.myspace.com/aletheosrecording Contact: Jason Kirk or Glen LangFormat: Pro Tools HDBasic Rate: $35/hr.

CHAPMAN RECORDING AND MASTERING8805 Monrovia St. Lenexa, KS 66215 913-894-6854 E-mail: [email protected] Web: www.chapmanrecording.com Contact: Chuck ChapmanFormat: Pro Tools & analog 2” 24 trk tapeBasic Rate: see website for rates

GREENJEANS STUDIOS110 W. Harvey Ave. Ste. 2Wellington, KS 67152620-326-5326E-mail: [email protected], [email protected]: www.greenjeansstudios.comBasic Rate: please call for info

KentuckyDOWNTOWN RECORDING515 S. Fourth St.Louisville, KY 40202 502-583-9966 E-mail: [email protected]: www.downtownrecording.com Contact: Nick StevensFormat: Pro Tools HD, 24 Track 2-inch analogBasic Rate: please call for info

DSL STUDIOS10352 Bluegrass Pkwy.Louisville, KY 40299502-499-2102E-mail: [email protected]: www.dslstudios.comFormat: digital Pro ToolsBasic Rate: please call for info

PARADISE RECORDING STUDIOPaducah, KY270-898-4707E-mail: [email protected]: www.paradiserecording.comContact: Steve ChildersFormat: digitalBasic Rate: please call for info

REELDEMO P.O. Box 19421 Louisville, KY 40259-0421E-mail: [email protected]: www.reeldemo.comBasic Rate: please call for info

SAINT CLAIRE RECORDING CO.2640 Spurr Rd.Lexington, KY 40511859-252-7272E-mail: [email protected]: www.saint-claire.comContact: John ParksFormat: digital Pro Tools HD 3Basic Rate: please call for info

SUNLITE MUSIC & STUDIOS600 W. 3rd St.Owensboro, KY 42301 270-684-9569 Web: www.sunlitemusic.com Contact: Mike Frakes Format: Pro tools HD3, 128 track digital audioBasic Rate: call for rates

TNT PRODUCTIONS6303 Fern Valley PassLouisville, KY 40228502-964-9616E-mail: [email protected]: www.tntrecording.comFormat: digital Pro Tools HDBasic Rate: please call for info

WHITE HORSE CHRISTIAN RECORDINGP.O. Box 997Nortonville, KY 42442270-985-5548E-mail: [email protected]: www.wh-recording.comFormat: digitalBasic Rate: please call for info

LouisianaAUDIOPHILE RECORDING STUDIOS 61 French Market Pl. New Orleans, LA 70116 504-529-5559 E-mail: [email protected] Web: www.audiophilestudios.comContact: Richard BirdFormat: digital and analogBasic Rate: please call for info

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

GREEN HAUS MEDIA, LLC(Outside New Orleans)Slidell, LA 70461701-390-4166E-mail: [email protected]: www.greenhausmedia.comContact: Troy MarinoFormat: digital Pro ToolsBasic Rate: please call for info

LIVING ROOM, THENear DowntownNew Orleans, LA504-276-2772 E-mail: [email protected]: www.thelivingroomstudio.comContact: Chris GeorgeFormat: digital and analogBasic Rate: please call for info

MUSIC SHED, THE929 Euterpe St. New Orleans, LA 70130504-412-9995E-mail: [email protected] Web: www.musicshed.netFormat: digital Pro Tools HD 3Basic Rate: please call for info

PIETY STREET RECORDING 728 Piety St.New Orleans, LA 70117 504-948-4968 Fax 504-948-4364 E-mail: [email protected]: www.pietystreet.comContact: ShawnFormat: Pro Tools HDBasic Rate: please call for info

RADIONIC STUDIOS 415 Dodge Ave. Jefferson, LA 70121 504-669-3705 E-mail: [email protected] Web: www.fourcatsradionic.com Contact: Buzzy Beano or Chuck Credo Format: Tascam MX2424, Alesis HD24 -XR, Pro Tools, Nuendo, Digital Performer 24-96 tracks, Mastering suite available. Basic Rate: call for rates

STUDIO IN THE COUNTRY21443 Hwy 436P.O. Box 490

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Bogalusa, LA 70429 985-735-8224 E-mail: [email protected] Web: www.studiointhecountry.com Contact: Ben Format: Studer 2-inch 24-track, Pro Tools HD3 32 i/o and Neve 8068 analog mixing board (32 ch.).Basic Rate: $100/hr. including engineer

ULTRASONIC STUDIOS, INC. 2801 Eton St.New Orleans, LA 70131 504-258-1851E-mail: [email protected] Contact: David FarrellFormat: digitalBasic Rate: please call for info

MaineBAKED BEANS RECORDING 75 Weston Farm Rd.Harrison, ME 04040207-583-2923, 207-583-4312E-mail: [email protected]: www.bakedbeansrecording.comContact: Alan BeanFormat: Pro Tools HD3Basic Rate: $40/hour

STUDIO, THE45 Casco St.Portland, ME 04101 207-772-1222 E-mail: [email protected] Web: www.thestudioportland.com Contact: Tim TierneyFormat: Pro ToolsBasic Rate: call for rates

MarylandCLEANCUTS MUSIC2901 Chestnut Ave.Baltimore, MD 21211410-467-4231E-mail: [email protected]: www.cleancuts.comContact: JackBasic Rate: please call for info

Additional location:

8403 Colesville Rd, Ste. 250Silver Spring, MD 20910E-mail: [email protected]

HIT AND RUN RECORDING18704 Muncaster Rd.Rockville, MD 20855 301-948-6715 E-mail: [email protected]: www.hitandrunrecording.com Contact: Steve CarrFormat: Main DAW Cubase, 2nd DAWs Digital Performer, Pro Tools LeBasic Rate: $55-$65/hr.

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

NIGHTSKY STUDIOS 3432 Rockefeller Ct., Waldorf, MD 20602 301-910-6163, 301-374-9450E-mail: [email protected] Web: www.nightskystudios.org

Contact: RonFormat: Pro Tools HD Basic Rate: call for current rates

ZAMPI PRODUCTIONS404 Ben Oaks Dr. W.Severna Park, MD 21146 410-729-1869 E-mail: [email protected] Web: www.zampi-productions.com Contact: Mike Zampi Format: Pro Tools Digital, Acoustic, Jazz, Rock, Christian, Folk, Blues, Classical Basic Rate: $50/hr. - $80/hr

MassachusettsCYBER SOUND RECORDING STUDIOS349 Newbury St.Boston, MA617-424-1062 E-mail: [email protected]: www.cybersoundmusic.comFormat: Pro Tools HD, Digital/AnalogBasic Rate: $125 per hour with Engineer


63 Greene St. New York, NY 10012

GOIN’ MOBILEP.O. Box 470627Brookline, MA 02447 617-232-7969 E-mail: [email protected]: www.goin-mobile.com Contact: Lonnie BedellFormat: hard disk, DA88, *note this is a mobile recording truckBasic Rate: $2450/day

MADDEN MUSIC STUDIO520 Canton St.Westwood, MA 02090781-461-6799 Fax 781-461-6093E-mail: [email protected]: Tom MaddenFormat: digital, 48 tracksBasic Rate: $45.00 an hour

MUSICMEZ STUDIOGreater Boston Area617-529-1922 E-mail: [email protected], [email protected] Web: www.musicmez.com Contact: Steven Mesropian (aka mez)Format: DAW, specializing in broadcast quality productions for songwriters, lyricists and artistsBasic Rates: See website for rate

SANCTUM SOUND Boston107 South St. - Studio CBoston, MA 02111617-556-8090 E-mail: [email protected]: www.sanctumsound.com Contact: Leo MellaceFormat: Pro Tools, Logic, Reason, AbletonBasic Rate: variable

TINWOLF STUDIOS22 Brook St.Walpole, MA 02081508-653-3720E-mail: [email protected]: www.tinwolf.comContact: Tom TinclerFormat: digital, 64 tracksBasic Rate: please call for info

MichiganL’AMOUR RECORDING STUDIO 3711 W Outer Dr.Detroit, MI 48221 313-863-9542, 313-460-7454E-mail: [email protected]: www.lamourrecording.netContact: Merion PowersFormat: digital Pro Tools HD3 Accel expandedBasic Rate: please call for info

STUDIO A RECORDING, INC.5619 N. Beech Daly Dearborn Hgts., MI 48127-3927 313-561-7489E-mail: [email protected] Web: www.studioarecording.comContact: MarilynBasic Rate: please call for info

WATERFALL STUDIOS11389 S. Forrest Side Rd. Dafter, MI 49724313-570-6780Web: www.waterfallrecordings.comContact: Michael Stevenson or Kenneth SuttonFormat: digitalBasic Rate: please call for info

MinnesotaDREAMING RIVER STUDIOS 19030 Dreaming River Dr.Terrace, MN 56334 320-278-3019 E-mail: [email protected]: www.dreamingriver.com, www.mapleislandrecords.comContact: Jeff ThorntonFormat: Digital Performer - UAD - Waves etc., 24 tracksBasic Rate: call for rates

MississippiCOWART RECORDING STUDIO3207 Chicot St.Pascagoula, MS 39581228-762-7205E-mail: [email protected]: www.cowartrecordingstudio.comFormat: digitalBasic Rate: please call for info

STUDIO 61 CLARKSDALE209 N. Main St.Leland, MS 38756601-529-9495E-mail: [email protected]: www.studio61.comFormat: digitalBasic Rate: please call for info

TWEED RECORDING355 County Rd. 102 Oxford, MS 38655 662-236-3902 E-mail: [email protected]: www.tweedrecording.comContact: Andrew RatcliffeFormat: digital Pro ToolsBasic Rate: please call for info

WILDFIRE STUDIO / CIRCUIT RIDER RECORDS132 Tarnell Rd., P.O. Box 118 Grenada, MS 38901662-227-9245E-mail: [email protected]: www.circuitriderrecords.comContact: W.C.Taylor or Charles TaylorFormat: digital and analog, 24 tracksBasic Rate: call for rates

MissouriJUPITER STUDIOS 7376 Manchester St.St. Louis, MO 63143314-535-5556E-mail: [email protected] Web: www.jupiterstudios.net Basic Rate: please call for info

MUSIC MASTERS2322 Marconi Ave.St. Louis, MO 63110314-773-1480E-mail: [email protected]: www.musicmastersinc.comContact: GregFormat: digital Pro ToolsBasic Rate: please call for info

PHAT BUDDHA PRODUCTIONS 1901 Locust St. St. Louis, MO 63103 314-231-3930E-mail: [email protected] Web: www.phatbuddhaproductions.comFormat: digital Pro Tools HD2Basic Rate: please call for info

STUDIO CITY KC615 E. 6th St., Ste. 123Kansas City, MO 64106816-474-5920E-mail: [email protected]: www.studiocitykc.comContact: Rick EstesFormat: Digital Pro Tools HD 3 and Digital EX-3 Sony video productionBasic Rate: please call for info

MontanaBEVEL STUDIO P.O. Box 2491 Missoula, MT 59801 406-327-0097 E-mail: [email protected]: www.bevelstudio.comFormat: digitalBasic Rate: please call for info

BOONE PRODUCTIONS579 Belt Creek Rd.Belt, MT 59412 406-277-3255 E-mail: [email protected]: www.booneproductions.comContact: Daniel GlikoFormat: digitalBasic Rate: please call for info

HOT MIX STUDIOBig Fork, MTE-mail: [email protected]: www.hotmixstudio.comContact: JimFormat: digitalBasic Rate: please e-mail for info

JERECO STUDIOS, INC.627 E. Peach St., Ste. EBozeman, MT 59715 406-586-5262 E-mail: [email protected] Web: www.jerecostudios.com Contact: Jeremiah SlovarpFormat: digitalBasic Rate: $50/hr., $350/day

NebraskaJOE AUDIO PRODUCTIONS10850 John Galt Blvd.



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Omaha, NE 68137866-JOE-AUDIO, 402-341-9153E-mail: [email protected]: www.joeaudioproductions.comContact: JoeFormat: digital Pro Tools

RAINBOW RECORDING STUDIO2322 S. 64th Ave.Omaha, NE 68106402-554-0123E-mail: [email protected]: www.rainbowmusicomaha.comBasic Rate: please call for info

STUDIO 248601 N 30th St.Omaha, NE 68112402-342-9090E-mail: [email protected]: www.studio24omaha.comContact: Chuck BecklerFormat: digitalBasic Rate: please call for info

WARE HOUSE PRODUCTIONS, INC.206 S. 44th St.Omaha, NE 68131402-553-8523E-mail: [email protected]: www.warehouseproductions.netContact: Tom or Terri WareFormat: digitalBasic Rate: $100/hr - block rates available

NevadaAUDIOMATIONLas Vegas, NV 89130 Cell 702-332-5688E-mail: [email protected] Web: www.liveatthestudio.tv Contact: Arty Congero or Niki CongeroFormat: digital 64 tracks, offering unique live video web stream Basic Rate: call for rates

AUDIO TRAX STUDIOLas Vegas, NV 89117-9080702-242-8758E-mail: [email protected]: www.audiotraxstudio.com Contact: James SinorFormat: digital and analog, 24 tracksBasic Rate: please call for info

DIGITAL INSIGHT RECORDING STUDIOS2810 S. Maryland Pkwy, Ste. CLas Vegas, NV 89109702-792-3302 Fax 702-792-8582E-mail: [email protected]: www.digitalinsightrecording.comContact: Rob DevlinFormat: Pro Tools HD, 175 tracksBasic Rate: $90/hr. includes engineer

IMIRAGE SOUND LAB1558 Linda WaySparks, NV 89431775-358-7484E-mail: [email protected]: www.facebook.com/profile.php?id=100001970722604Format: Analog & DigitalBasic Rate: call for rates

JAGUAR RECORDING STUDIO Las Vegas, NV 702-808-4400 E-mail: [email protected] Web: www.jaguarstudio.com

Contact: Thaddeus Corea Format: Logic ProBasic Rate: $75/hr

ODDS ON RECORDING STUDIOS AND MASTERING14 Sunset WayHenderson, NV 89014702-318-6001E-mail: [email protected]: www.oddsonrecording.comContact: Kelle MusgraveFormat: Analog & DigitalBasic Rate: Hourly and Block, call for quotesServices: Featuring Pro-Tools HD3 & SSL-9000K Console, SSL Duality

RMS RECORDING STUDIOS 4620 Blue Diamond Rd.Las Vegas, NV 89139702-361-1559Format: Analog

SIERRA SONICS1515 Plumas Ave.Reno, NV 89509775-786-2622 fax 775-337-8649E-mail: [email protected]: www.sierrasonics.comContact: Studio ManagerFormat: Analog 2”- Digital Pro ToolsBasic Rate: Call for ratesGear: SSL 4072G W/G3 Full W4.1 Automation, Total Recall & 16 E series E EQ’s, Pro Tools HD, Studer A 800 2-inch w/ remote Studer 827, Augsberger, Custom Monitors, Neumen, Sennheiser etc.

STUDIO AT THE PALMS 4321 W. Flamingo Rd. Las Vegas, NV 89103 702-944-3400 Fax 702-942-8067 E-mail: [email protected] Web: www.studioatthepalms.com Contact: Zoe Thrall Format: digital and analog

TK PRODUCTIONS4200 Paradise Rd., Ste. 3053Las Vegas, NV 89109702-303-4094E-mail: [email protected]: www.tkprod.netContact: Kenny James

TONE FACTORY, THE 5329 S. Cameron, Ste. 103Las Vegas, NV 89120702-301-6964E-mail: [email protected]: www.thetonefactory.comContact: Vinny

TRIMORDIAL STUDIO LAS VEGAS8 Audio Video Graphics Web1700 S Main St, PMB 188, Las Vegas, NV 89104702-340-6748Email: [email protected]: www.trimordial.comContact: Roy RendahlFormat: Digital Pro Tools LE 32 tracks, iZotope Ozone masteringGear: MacBook Pro, Mbox, JBL, ShureBasic Rate: $25-$50/hr. includes engineerServices: Location & studio audio recording & song mastering, music songwriting & production and live sound engineering

UNIVERSITY OF NEVADA LAS VEGAS4555 Maryland Pkwy.

Las Vegas, NV 89154Web: www.unlv.edu/depts/recordingstudio/Contact: Music Department, Recording Studio

VEGAS DISC / HIT TRACK STUDIOSTom Parham 5320 Styers St. N. Las Vegas, NV 89031 702-481-1663, 800-246-5667 Web: www.vegasdisc.com, HitTrackStudios.com, Services: https://dropbox.yousendit.com/hittrackstudios

New HampshireCEDARHOUSE SOUND & MASTERING P.O. Box 333 N. Sutton, NH 03260-0333 603-927-6363 Fax 603-927-4374E-mail: [email protected] Web: www.cedarhousesound.com Contact: Gerry Putnam Format: Pro Tools HD, DA-78HR, SADiE, analog 2”, 1”, 1/2”, 1/4” Basic Rate: please call or email for info DEV PRODUCTIONS 15 Oak St. N. Conway, NH 03860 603-356-3855E-mail: [email protected]: http://tomdeansongs.com/devpro/index.htmlContact: Tom DeanBasic Rate: please call fro info

DRUMLIN DOWNE STUDIOS 21 Main St.E. Kingston, NH 03827 603-580-5339 E-mail: [email protected]: www.drumlindowne.comBasic Rate: please call for info

MOJO MUSIC STUDIO P.O. Box 536 Franconia, NH 03580 603-348-1625E-mail: [email protected]: www.mojomusicstudio.com, Contact: Tony or JoeFormat: HD, DAW 96k and 16track Reel-to-Reel, Pro ToolsBasic Rate: $40 - $55/hr.

STAR SOUND SYSYTEMSP.O. Box 536 Franconia, NH 03580 603-348-1625E-mail: [email protected]: www.starsound.usContact: Tony or JoeFormat: mobile HD recording & hi-fidelity live sound systemsBasic Rate: $40 - $55/hr.

New JerseyHANDS ON STUDIO470 Kipp St.Teaneck, NJ 07666 201-201-446-5477E-mail: [email protected]: www.madhands.com Contact: Mad MikeFormat: digital multi-trackBasic Rate: $40/hr

ULTRASCENE, THE22 Union Ave., Ste. 7

Rutherford, NJ 07070201-306-3921E-mail: [email protected]: www.ultrascene.comContact: Kimon KatafigiotisFormat: digital, Pro ToolsBasic Rate: $35/hr.

VELARDE PRODUCTIONS, INC. 270 Burgess Pl.Clifton, NJ 07011 973-922-0212E-mail: [email protected] Web: www.VelardeProductions.com Contact: Ray VelardeFormat: digital/analog & HD videoBasic Rate: $45/hr.

XANTHI PRODUCTIONS321 Newark St.Hoboken, NJ 07030 201-659-3339 E-mail: [email protected]: www.xanthimusic.com Contact: Rod ShepardFormat: Pro Tools, DP5, 2”, 1/4” ADAT, DAT, DA88Basic Rate: $40/hr.

New MexicoJOHN WAGNER RECORDING STUDIOS, INC. PO Box 51567Albuquerque, NM 87181-1567505-296-2766 Fax 505-296-9374 E-mail: [email protected]: www.johnwagnerstudios.com

MULHAIR RECORDING STUDIO3101 N. PrinceClovis, NM 88101-3829575-763-1441E-mail: [email protected]: www.johnnymulhair.com

SANTA FE CENTER RECORDING STUDIOS933 San Pedro SE Albuquerque, NM 87108505-265-2511 Fax 505-265-4714 E-mail: [email protected]: www.santafecenterstudios.com

SON SET BEACH PRODUCTIONS9205 Lona Ln. N.E.Albuquerque, NM 87111505-228-8131E-mail: [email protected]: www.sonsetbeach.comContact: Bob ReynoldsFormat: analog and digital, Nuendo, UAD-2 Nevana, Pro Tools, Studer, Digital Video: Canon XL, Lumix/Panasonic GH1, AVID, Adobe Premiere CS5Basic Rate: $55/hr. tracking, mixing and mastering Avalon, Manley Labs, Neve

STEPBRIDGE STUDIOS 528 Jose St.Santa Fe, NM 87501 505-988-7051 E-mail: [email protected] Web: www.stepbridge.com Contact: Edgard RiveraFormat: Pro Tools HD, Music production, audio services for film and authors. Basic Rate: please call for info

TONE PALACE RECORDING STUDIOTaos, NM505-779-1087

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E-mail: [email protected]: www.tonepalace.comBasic Rate: $50/hr

New YorkAVATAR STUDIOS441 W. 53rd St.New York, NY 10019212-765-7500, 212-765-7450E-mail: [email protected]: www.avatarstudios.netContact: Tino Passante, ManagerFormat: digital, analog, all formats accommodatedBasic Rate: please call for info

BRIAN TARQUIN917-449-8841Nyack, NYE-mail: [email protected]: www.jungleroomstudios.comStyles: guitar virtuoso instrumentalBasic Rate: Call for Information

CHUNG KING170 Verik St. Penthouse Fl.New York, NY 10013212-463-9200E-mail: [email protected]: www.chungkingstudios.comContact: Joe MooseFormat: Digital & AnalogBasic Rates: Just give us a shout!

CLINTON RECORDING STUDIOS 653 10th Ave. (46th and 10th)New York, NY 10036212-246-2444 E-mail: [email protected] Web: www.clintonrecording.com Contact: Tara Hemsey, booking mgr. Basic Rate: please call for info

COTTON HILL STUDIOS, INC.13 Walker WayAlbany, NY 12205 518-869-1968 E-mail: [email protected] Web: www.cottonhill.com Contact: Margherita KrugFormat: Pro ToolsBasic Rate: $110/hr. commercial, $125/hr. post, $75/hr. music, $175/ADR, $285 ISDN

CUTTING ROOM RECORDING STUDIOS, THE14 E. 4th St., Ste. 602New York, NY 10012 212-260-0905 Cell 347-249-9836Fax 212-358-0041E-mail: [email protected] Web: www.thecuttingroom.com Format: Pro Tools HD3 Accell, SSL9000JBasic Rate: negotiable

DUBWAY STUDIOS42 BroadwayNew York, NY 10004212-352-3070

E-mail: [email protected]: www.dubway.comContact: Steven Alvarado, Al Houghton, or Mike CrehoreFormat: Pro Tools, full service, Film, TV, post productionBasic Rate: please call for info

ELECTRIC LADY52 W. 8th St.New York, NY 10011212-677-4700E-mail: [email protected]: www.electricladystudios.comFormat: digital and analogBasic Rates: please call

ENGINE ROOM AUDIO42 Broadway, 22nd Fl.New York, NY 10004212-625-3467, Fax 212-625-3496E-mail: [email protected]: www.engineroomaudio.comFormat: Tracking, Mixing, Mastering & ManufacturingBasic Rate: Contact us for details

GYPSY RECORDINGP.O. Box 376Oceanside, NY 11572 516-610-3254 E-mail: [email protected] Web: www.gypsyrecording.com Contact: Brandon KarpFormat: analog, digital, and tube gear, remote recording, full-studioBasic Rate: varies

HYPERSTUDIO RECORDING(10 min. from Kennedy Airport) 419 Maple St.W. Hempstead, NY 11552516-565-2397 E-mail: [email protected] Contact: Eitan KantorFormat: Pro Tools, Digital PerformerBasic Rate: $75/hr.Services: Large rooms with cathedral ceilings, windows overlooking grass & trees, grand piano, recording drum set.

MAGIC SHOP, THE49 Crosby St.New York, NY10012212-226-7035E-mail: [email protected]: www.magicshopny.comFormat: Analog and DigitalBasic Rates: Call for information

METROSONIC RECORDING143 Roebling St., 3rd Fl.Brooklyn, NY 11211718-782-1872 E-mail: [email protected] Web: www.metrosonic.net Contact: PeteFormat: all analog and digital formatsBasic Rate: Call for information

MSR STUDIOS 168 W. 48th St.

New York, NY 10036212-944-5770Web: www.msrstudiosny.comContact: MattFormat: Digital/AnalogBasic Rates: Call for more information

QUAD STUDIOS723 7th Ave. 10th fl.New York, NY10019212-730-1035E-mail: [email protected]: Quadnyc.comContact: Jason PanniellFormat: Analog /digitalBasic Rates: Call for info

SEAR SOUND353 W. 48th St., 5th & 6th Fl.New York, NY 10036212-582-5380E-mail: [email protected]: www.searsound.com/studio_d.htmlContact: Roberta Findlay, Studio ManagerFormat: Analog & Digital, Studio ‘A’, Recording/mix Neve 8038, Studio ‘C’, Large Recording/mix, Studio ‘D’, pre/post room/vacuum tube console & MoogBasic Rate: $1600.00-$2200.00 day

STRATOSPHERE SOUND239 11th Ave.New York, NY 10001212-924-2193E-mail: [email protected]: www.stratospheresound.comFormat: Digital/AnalogBasic Rate: Please call or email

North Carolina

DAXWOOD PRODUCTION COMPANYFayetteville, NC910-323-2550 E-mail: [email protected]: www.daxwood.comContact: DoyleFormat: Pro ToolsBasic Rate: $75/hr. block rates available

EARTHTONE RECORDINGGreensboro, NC336-273-0001E-mail: [email protected]: www.earthtonesrecording.comContact: Benjy JohnsonBasic Rate: check our website

ECHO MOUNTAIN RECORDING175 Patton Ave.Ashville, NC 28801828-232-4314E-mail: [email protected]: www.echomountain.netFormat: Digital/AnalogBasic Rate: please call for more info

JAMES LUGO’S VOCAL ASYLUMRaleigh, NC919-800-8049, 818-259-0190E-mail: [email protected] Contact: James LugoWeb: www.vocalasylum.com Format: digital and analog, 192 tracksBasic Rate: call for rates

TEQUILA SUNRISE MUSIC 112 Ann St. Gaston, NC 27832 800-537-1417

E-mail: [email protected] Web: www.tequilasunrisemusic.com Contact: Kenny Barker Format: digital Basic Rate: $40/hr.

UNDERGROUND SOUNDS204 East Vandalia Rd.Greensboro, NC336-681-6608E-mail: [email protected]: www.recordunderground.comContact: Derrick AckerFormat: Pro Tools 10, see website for complete equipment listingBasic Rate: $35/hr. $300/day

North DakotaRAPTOR STUDIOSP.O. Box 1455Fargo, ND 58105E-mail: [email protected]: www.barkingdogrecords.comContact: Mike CoatesBasic Rate: email for rates

OhioANTE UP AUDIO 1374 E. 36th St. Cleveland, OH 44114 216-432-8000 E-mail: [email protected] Web: www.anteupaudio.com Contact: Danielle Ott, studio mgr. or Michael Seifert, owner Format: Pro Tools Basic Rate: $45/hr. Studio A, $35/hr. Studio B, does not include engineering fees $10 - $35/hr.

COMMERCIAL RECORDING STUDIO6001 W. Creek Rd.Cleveland, OH 44131216-642-1000 Web: www.commercialrecording.comContact: George GatesFormat: digitalBasic Rate: please call for info

PACIFICA STUDIOSCleveland, OHPro Tools HD 9 | Adobe CS5Professional Recording & Web DesignE-mail: [email protected]: www.pacificastudios.com

REFRAZE RECORDING STUDIOS2727 Gaylord Ave.Dayton, OH 45419937-298-2727E-mail: [email protected]: www.refraze.comContact: Ron PeaseFormat: Pro Tools HD Accel 2, 2-inch tape, Otari MTR90IIBasic Rate: $600/day incl. engineer

SOUNDCUBED STUDIOS101 S. Main St.Basement FloorPoland, OH 44514330-207-2470E-mail: [email protected]: sound3studios.com

ULTRASUEDE STUDIO, INC.2834 Spring Grove Ave.Cincinnati, OH 45225 513-542-5111




E-mail: [email protected]: www.ultrastudio.com Contact: John CurleyFormat: digital (Logic, Pro Tools, Digital Performer),Basic Rate: $75/hr. engineer included

OklahomaBENSON SOUND, INC. 3900 E. I-240 Oklahoma City, OK 73135 405-670-4461E-mail: [email protected]: www.bensonsound.comFormat: digitalBasic Rate: please call for info

CORNERSTONE RECORDING CO.1315 Locust Ln.Edmond, OK 73013405-848-8400E-mail: [email protected]: www.cornerstonerecording.comContact: Ken SarkeyFormat: Digital and AnalogBasic Rate: please call for info

NATURA DIGITAL STUDIOS14540 Happy Camp Rd.Beggs, OK 74421918-756-5230, 918-695-8992E-mail: [email protected]: www.naturadigital.comContact: David TeegardenFormat: Pro Tools HD Core 3Basic Rate: $75/hr.

STUDIO SEVEN / LUNACY RECORDS417 N. Virginia Ave.Oklahoma City, OK 73106405-236-0643E-mail: [email protected] Web: www.lunacyrecords.comContact: Dave CopenhaverFormat: 2-inch 24-Track, Pro Tools & other digital formats, large playing room, tracking, mixing & masteringBasic Rate: $75/hr.

OregonBIG RED STUDIO Corbett, OR

503-695-3420 E-mail: [email protected]: www.bigredstudio.comContact: Billy Format: 2-inch analog, vintage Trident Console, Pro Tools HD2 Basic Rate: $550/day plus engineer

FALCON RECORDING STUDIOS5A S.E. 15th St.Portland, OR 97214 503-236-3856 E-mail: [email protected]: www.falconrecordingstudios.comContact: Dennis CarterFormat: digital Pro ToolsBasic Rate: please call for info

FRESH TRACKS STUDIO 1813 S.E. 59th Ave. Portland, OR 97215 503-235-7402 E-mail: [email protected] Web: freshtracksstudio.com Contact: Jon Lindahl Format: HD Basic Rate: call for rates

NORTHSTAR RECORDING STUDIOS 13716 S.E. Ramona St.Portland, OR 97236-4444 503-760-7777 Fax 503-760-4342 E-mail: [email protected]: www.northstarsamples.comContact: Scott HyblFormat: digital and analogBasic Rate: please call for info

OPAL STUDIO6219 S.E. Powell Blvd.Portland, OR 97206 503-774-4310 E-mail: [email protected] Web: www.opal-studio.com Contact: Kevin HahnFormat: digital and analogBasic Rate: $45/hr.

SPROUT CITY STUDIOSEugene, OR541-687-0947E-mail: [email protected]: www.sproutcity.com

Format: digitalBasic Rate: please call for info

PennsylvaniaAPOCALYPSE THE APOCALYPSE303 W. Market St.Clear� eld, PA 16830225-266-1973E-mail: [email protected]: www.apocalypsetheapocalypse.comContact: Fred WeaverRates: $30 hr/$300 Day

GREEN VALLEY RECORDING590 S. FrymireHughesville, PA 17737 570-584-2653 E-mail: [email protected] Web: greenvalleyrecording.com Contact: Richard or Alison RupertFormat: Analog, Digital Basic Rate: call for rates

JAVBOY RECORDS 408 Kingston Dr. Douglassville, PA 19518 215-285-7444 E-mail: [email protected] Web: www.javboyrecords.com Contact: Ben Blakesley Format: digital Basic Rate: $50/hr.

LIFELINE STUDIOS & MUSIC SERVICESCoatesville, PA 19320610-380-9729 E-mail: [email protected] Web: www.lifeline-studios.com Contact: Dave KurtzFormat: 16 track analog/24 track digitalBasic Rate: call or email for rates

RIGHT COAST RECORDINGColumbia, PA717-681-9801E-mail: [email protected]: www.rightcoastrecording.com Format: 2-inch 16 + 24 track analog, 48 track 192k digital performer, automated Neotek elite consoleBasic Rate: call for rates

SIGNAL SOUNDP.O. Box 854

Quakertown, PA 18951215-536-4660 E-mail: [email protected] Web: www.signalsound.com Contact: PeteFormat: 2-inch analog, 32 track ADAT, 32 track Pro Tools, 3 camera HD, Steadycam, Crane, 12x26 green screenBasic Rate: from $48/hr.

SILENT WING AUDIO RECORDING & MASTERINGP.O. Box 536Bobtown, PA 15315-0536724-839-7292E-mail: [email protected]: www.silentwingaudio.tkContact: Mr. Dan Festog, ownerFormat: 8-track digitalBasic Rate: $20/hr.

STARCITY RECORDING COMPANY3935 Rabold Circle S.Bethlehem, PA 18020610-865-9455 Cell 610-984-4472E-mail: [email protected]: www.starcityrecording.comContact: Lily SalinasFormat: digital and analog, 96 tracks Basic Rate: call for rates

THIRD STORY 5120 Walnut St.Philadelphia, PA 19139215-747-1200E-mail: [email protected]: www.thirdstoryrecording.comFormat: Pro Tools, Digital/AnalogBasic Rate: please call for rate

Rhode IslandHIPPOHeavyweight Audio Production27 Bank St.Warwick, RI 02888401-521-5676E-mail: [email protected]: www.hippostudios.comContact: Martin Gleitsman

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STATIC PRODUCTIONS401- 267-8236 Email: [email protected]: www.staticproductions.comContact: Peter LaGrasseRate: see website

South CarolinaARP STUDIOCharleston, SC843-763-4277 E-mail: [email protected]: www.arpstudio.com

CHARLESTON SOUND 1121 Park West Blvd., Ste. B-105Mt. Pleasant, SC 29466843-216-5556Web: www.charlestonsound.com

THE JAM ROOM 201 S. Prospect St. Columbia, SC 29205 803-787-6908 E-mail: [email protected] Web: www. jamroomstudio.com Contact: Jay Matheson Format: Pro Tools HD Basic Rate: $55/hr. (2 hr min.)

STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. W. Columbia, SC 29169 803-794-9300E-mail: [email protected]: www.strawberryskys.comContact: Gary BoltonFormat: Radar24 and Pro ToolsBasic Rate: $85.00 per hour or $640.00 per day TennesseeALLISONGS Nashville, TN615-268-1680 E-mail: [email protected]

Web: www.allisongs.com Contact: Jim Allison Format: full song demo productionBasic Rate: call for rates

ARDENT STUDIOS2000 Madison Ave.Memphis, TN 38104901-725-0855E-mail: [email protected]: www.ardentstudios.comFormat: Pro Tools 9.0.1 and analog 24, 16, 8 and 2 trk 1/2-inch and 1/4-inchBasic Rate: please call for info

BLACK BIRD2806 Avalea Pl.Nashville, TN615-467-4487E-mail: [email protected]: www.blackbirdstudio.comFormat: Digital/analogBasic Rate: please call

CASTLE1393 Old Hillsbro Rd.Franklin, TN 37069615-791-0810E-mail: [email protected]: www.castlerecordingstudios.comFormat: digital and analogBasic Rate: please call

CAVE STUDIOS, THE5853 Davis Hollow Rd. Franklin, TN 37064615-790-7578 E-mail: [email protected] Web: www.thecavestudios.net Contact: Andrew Hooker Format: Pro Tools HD3 Basic Rate: $60/hr.

HOUSE OF BLUES NASHVILLE518 East Iris Dr.Nashville, TN 37204615-777-9080, cell 615-473-2400E-mail: [email protected]: www.houseofbluesstudios.comContact: MikeFormat: Digital and analogBasic Rates: Please call


904 Ryaner St.Memphis, TN 38114E-mail: [email protected]

OCEAN WAY NASHVILLE1200 17th Ave. S.Nashville, TN 37212615-320-3900E-mail: [email protected]: www.oceanwaynashville.comFormat: digital and analogBasic Rate: please call

OMNISOUND STUDIOS1806 Division St.Nashville, TN 37203 615-482-1511 E-mail: [email protected] Web: www.omnisoundstudios.com Format: Pro Tools HD/24 TK analogBasic Rate: call for rates

PARAGON STUDIOS320 Billingsley Ct.Nashville, TN 37067615-778-9083E-mail: [email protected]: www.paragon-studios.comFormat: digital and analogBasic Rates: please call

QUAD STUDIOS1802 Grand Ave.Nashville, TN 37212615-321-9500E-mail: [email protected]: www.quadstudiosnashville.comFormat: Digital and analogBasic Rates: please call

ROCKIN CAT STUDIONashville, TN800-9-ReggieE-mail: [email protected]: www.rockinkatproductions.netBasic Rate: call for infoServices: World-class studio and resort

SOUND KITCHEN STUDIOS112 Seaboard Ln.Franklin, TN 37067615-370-5773E-mail: [email protected]: http://soundkitchen.comFormat: Pro Tools HD & Vintage Analog - Neve, SSL, & API LegacyBasic Rates: Please call Ira Blonder, Managing PartnerServices: Although we are the Southeast’s most prestigious recording and production facility and regarded as one of the finest recording studios in the country, we offer competitive rates for all indie & label demo & album projects, EPKs, private and corporate team building events, video, television & film shoots. Call to discuss how we can assist you with budgeting for all your projects.Gear: Three tracking and four mix studios; please visit www.soundkitchen.com to view each studio’s gear list.Partial Client List: Don Henley, Chicago, Taylor Swift, Carrie Underwood, Rush, Brad Paisley, Keith Urban, Dolly Parton, Sir Elton John, Bruce Springsteen, Trivium, & thousands of indie artists.Comments: The Sound Kitchen is a proud co-founder of We Are Building Lives, www.wearebuildinglives.org, a non-profit dedicated to rescuing Nashville’s homeless veterans.

STARSTRUCK STUDIOS40 Music Sq. W.Nashville, TN 37203615-259-5400 Web: www.starstruckstudios.comContact: Janet LeeseFormat: digital/analogBasic Rate: call

WILDWOOD RECORDING2201 N. Berry’s Chapel Rd.Franklin, TN 37069615-708-6944E-mail: [email protected]: www.Wildwoodrecording.comContact: Brendan HarkanFormat: Digidesign Pro Tools HD3 wit Pro Control, Otari 2-inch 24 TrackBasic Rate: Call for Information

ZIG PRODUCTIONSP.O. Box 120931Nashville, TN 76012615-889-7105E-mail: [email protected]: www.zigproductions.comContact: Billy HerZIGFormat: Pro ToolsBasic Rate: $60/hr. with engineer

ZODLOUNGE Nashvegas, TN Web: http://http://zodlounge.com, https://www.fb.com/pages/Zodlounge-Music/8027269189?sk=infoContact: Brett VargasonServices: Music Production/Artist Development/Music ServicesBasic Rate: See web

TexasBISMEAUX STUDIO South Austin, TX 512-444-9995E-mail: [email protected] Web: www.bismeauxstudio.com Contact: Sam Seifert, studio managerFormat: digital and analogBasic Rate: $750/$850 w/ engineer

CRYSTAL CLEAR SOUND 4902 Don Dr.Dallas, TX 75247 214-630-2957 E-mail: [email protected]: www.crystalclearstudios.com Contact: Keith Rust, studio mgr.Format: analog, digital, masteringBasic Rate: $85/hr.

IN THE JAR STUDIOS 1510 Quitman Houston, TX 77009 713-447-2274 E-mail: [email protected]: www.inthejarstudios.com Contact: Al Loya Format: all Basic Rate: see website for rates

LUMINOUS SOUND 17120 Dallas Prkwy., Ste. 100Dallas, TX 75248972-331-7040 E-mail: [email protected] Web: www.luminoussound.comContact: MollyBasic Rate: please call for info

MAXIMEDIA STUDIOS13300 Branch View Ln.

Master Groove Studios - David MorseMastering , Engineering and Production

Specializing in the art of MasteringNashville & Los Angeles

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Dallas, TX 75234972-488-8814 Fax 972-488-1629 Contact: “Iron Mike” LimrothE-mail: [email protected]: www.maximediastudios.comFormat: Digital/AnalogServices: Large 5000 square foot concert venue, used for live shows, recording, rehearsals, showcases and more. Also cd duplication, graphic designBasic Rate: Call for rates

NEXUS RECORDING STUDIOS8535 Fair HavenSan Antonio, TX 78229210-639-5266E-mail: [email protected]: www.nexusrecordingstudios.com

PLANET DALLAS P.O. Box 110995Carrollton, TX 75011214-521-2216 E-mail: [email protected] Web: www.planetdallas.com Contact: Rick RooneyFormat: Pro Tools 192 & 2-inch 24 track analog, remote truck for live recording Basic Rate: call for pricing

RAZOR’S EDGE SOUND12800 Meehan Dr.Austin, TX 78727 512-837-3436 E-mail: [email protected] Web: www.razoraustin.com Format: Analog/DigitalBasic Rate: $60/hr., $400/lockout

STONE WALL STUDIO P.O. Box 855 Groveton, TX 75845 936-642-2142 E-mail: [email protected]: www.stonewallstudio.com Contact: Travis Kitchens Format: 32 tracks Tascam DA88 digitial tape& 48 trx Pro Tools LE (16 live inputs) Basic Rate: $60/hr.

TRINITY RECORDING STUDIOP.O. Box 1417Corpus Christi, TX 78403 361-854-SING (7464)E-mail: [email protected]: www.trinitystudio.com Contact: Jim WilkenFormat: digital, unlimited tracksBasic Rate: $30/hr.

WACARA2104 May� eld Dr., Ste. 100Round Rock, TX 78681512-924-4070 Fax 512-248-1268E-mail: [email protected]: www.JAB4you.comContact: Robert KaraschFormat: digital and analog, 24 tracksBasic Rate: please call for info

UtahANNEX RECORDING STUDIO12298 South 1840 E.Draper, UT 84020801-597-4007E-mail: [email protected]: www.annexrecording.com

FIRST TAKE RECORDING STUDIO305 West Daniel Dr.

Orem, UT 84057801-477-7763E-mail: info@� rsttakestudio.comWeb: www.� rsttakestudio.comBasic Rate: $50/hr

NOISEBOX STUDIOS 1450 S. 240 E.Orem, UT 84058801-805-8217E-mail: [email protected]: www.noiseboxstudios.comContact: Dave ZimmermanBasic Rate: $60/hr

UGLIEST STUDIO IN UTAH, THE3255 W. 7675 S.W. Jordan, UT 84084801-938-4803E-mail: [email protected]: www.theuglieststudioinutah.comContact: RichBasic Rate: please call for info

WOODSHAR STUDIOTaylorsville, UT801-685-0874Web: www.woodshar.comContact: Shar or Doug WoodBasic Rate: $35

VermontBIG ORANGE STUDIO 2755 Lake St., Ste. A Addison, VT 05491 802-349-8888 E-mail: [email protected]: www.bigorangestudio.comContact: Chris or WalterBasic Rate: please call for info

NORTHERN TRACT RECORDING STUDIOBox 1059Wilmingon, VT 05363802-464-2234E-mail: [email protected]: www.northerntrackstudio.comBasic Rate: please call for info

SOUNDESIGN RECORDING STUDIO 181 Main St. GalleryBrattleboro, VT 05346866-567-1555, 802-257-1555E-mail: [email protected]: www.soundesign-usa.com Contact: Billy Shaw Format: Pro Tools HD3 TDM, 2” 24 & 16 Track Sony, ADATBasic Rate: call for rates & special

VirginiaCLASSIC RECORDING STUDIO13 Moore St.Bristol, VA 24201 276 466 8675 E-mail: [email protected]: www.classicrecordingstudio.comBasic Rate: please call for info

CRYSTALPHONIC RECORDING STUDIO946 Grady Ave., Ste. 26Charlottesville, VA 22903434-971-2997E-mail: [email protected]: www.crystalphonic.comFormat: digital and analogBasic Rate: please call for info

CUE RECORDING STUDIOS 109 Park Ave., Ste. E Falls Church, VA 22046 703-532-9033 Fax 703-533-7956E-mail: [email protected]: www.cuerecording.comBasic Rate: please call for info

MAGGARD RECORDING STUDIO220 Railroad Ave.Big Stone Gap, VA 24219 276-523-1373, 276-275-9680 Web: www.maggardsound.comBasic Rate: please call for info

MASTER SOUND Virginia Beach, VA 757-373-1180E-mail: [email protected] Web: www.mastersoundstudios.comContact: Rob UlshFormat: digital and vintage analogBasic Rate: please call for info

POWER PLANT STUDIOS, THE2708 Build America Dr. Hampton, VA 23666 757-827-8733 E-mail: [email protected] Contact: Doc Holiday Format: digital Basic Rate: $75/hr. (Studio A) $50/hr. (Studio B)

WashingtonACOUSTIC CHAMBERS14503 S.E. 254th St.Kent, WA 98042253-639-0896 Web: www.acousticchambers.com Contact: Aimee MarmonFormat: digital Pro Tools HD, Accell and 24 track analogBasic Rate: please call for info

AUDIO LOGIC INC.12047 31st Ave. N.E.Seattle, WA 98125206-363-6505E-mail: [email protected]: www.audiologicinc.comContact: Jay Kenney

Format: Cubase 6/Nuendo 5Basic Rate: $40-$60/hr.

BAD ANIMALS2212 4th Ave.Seattle, WA 98121206-443-1500 Fax 206-441-2910E-mail: [email protected]: www.badanimals.comContact: Wendy WillsFormat: digital and analogBasic Rate: please call for info

BEAR CREEK STUDIO AND MUSIC PRODUCTION6313 Maltby Rd.Woodinville, WA 98072 425-481-4100 E-mail: [email protected] Web: bearcreekstudio.com Contact: Manny HadlockFormat: 2” 24 trk, 2” 16 trk, 1/2” 2 trk, Pro Tools HD 32 in/48 outBasic Rate: negotiable depending on the session, please call or e-mail

ELECTROKITTYSeattle, WA206-355-ROCK (7625)E-mail: [email protected]: www.electrokitty.comFormat: SSL 9000J, Pro Tools HD, Studer 827Basic Rates: call for more info

LONDON BRIDGE STUDIO20021 Ballinger Way N.E. #AShoreline, WA 98155206-364-1525E-mail: [email protected]: www.londonbridgestudio.comFormat: Vintage Neve 8048 / Studer A827 2” Analog 24 track tape deck

MIRROR SOUND STUDIO 301 N.E. 191st St.Seattle, WA 98155206-440-5889 E-mail: [email protected] Web: http://mirrorsound.com Contact: Ken Fordyce Format: 24 track digital-analogBasic Rate: $75/hr.

w i r e r o a d s t u d i o s . c o m7 1 3 - 6 3 6 - 9 7 7 2

H o u s t o n

30 May 2012 www.musicconnection.com

Song BIZ Songwriter Profile

By Dan Kimpel

As president of Leiber & Stoller Music Publishing, the company found-ed by the late songwriter Jerry Leiber and his collaborator Mike Stoller, Randy Poe has represented a monumental catalog of songs

including “Stand By Me,” “Hound Dog” and “Kansas City.” Along the way, Poe has penned essential music business books including Skydog: The Duane Allman Story, Squeeze My Lemon: A Collection of Classic Blues Lyrics, and the ASCAP/Deems Taylor Award winning Music Publishing: A Songwriters Guide.

With Stalking the Red Headed Stranger or How to Get Your Songs into the Hands of the Artists Who Really Matter Through Show Business Trickery Underhanded Skullduggery, Shrewdness and Chicanery, as Well as Various Less Nefarious Methods of Song Plugging: A Practical Handbook and Historical Portrait, Poe makes good on an extravagantly hyperbolic title.

The premise is Poe’s travel across land and sea to meet up with Willie Nelson in Canada at the bequest of Jerry Leiber to pitch Leiber & Stoller’s “The Girls I Never Kissed.” But Poe shares an inventory of essential truths that apply to any business.

The genesis of the book was a dinner conversation with two friends shortly after his Canadian sojourn. Says Poe, “One said, ‘That would make a great magazine article.’ I didn’t think about it for four years. I was working on another book, but my editor said they had to put off the publication of it and asked if I had anything else. I told him this story and he said, ‘That would make a great magazine article.’ But I wanted to create something for a bigger audience and I realized this could be a book about song plugging.”

Given the stern directive to meet with Nelson, Poe says that other than brief meetings he didn’t know him. Fortuitously, someone he did know––John McEuen from the Nitty Gritty Dirt Band––was on tour with Nelson.

“Now how do I tell the story of song plugging?” Poe asks. “Since the ‘Truth is Stranger than Fiction’ chapter was a cliché, I thought, ‘Don’t fight it, go with it––this will be a book of clichés.’ The reasons clichés exist are that they are all little snippets of truth. I wanted this book to be about the truth of the music business.”

Poe’s path: from a temp in a music publishing office to the Executive Director of the Songwriters Hall of Fame and ultimately to Leiber & Stoller Music Publishing is filled with serendipity. “It’s been an entire life of co-incidences,” he concurs. “You have to be lucky. But at the same time you have to create your own luck as best you can.”

A deep love of roots music is palpable in Poe’s prose. “I come from ‘You have to love what you’re doing––you have to want to do it, and meet those people you need to meet,’ not some way to leap up the ladder per se. I wanted to meet Mike and Jerry because I admired their accomplishments. It never occurred to me they would hire me to run their company.”

Among the narrative passages that reveal Poe’s gifts as a raconteur is his recollection of the pitch session on Nelson’s tour bus. Returning to his hotel after blazing on what he speculates must have been a joint infused with dried magic mushrooms, he writes, “There was an entire carnival going on in my brain: rollercoasters, Tilt-A-Whirls, cotton candy, juggling clowns with giant feet, carnies with bad teeth––all vying for my attention.”

Vibrant hallucinations notwithstanding, Poe relates that the essential skills of connecting songs to artists requires a knowledge of musical history, an inexhaustible list of contacts, a deep catalog, and utter fearlessness.

Randy Poe appreciates how, in this era of music, artists and songwriters can maintain control. “If you create something you’re proud of and throw it up on YouTube, people can hear it, get excited and it can grow and turn into something. I love the fact that the music world is the way it is now, as opposed to being controlled by corporate structures determining what you’re going to do and when and where you’re going to do it.”

Contact Leiber & Stoller, 310-273-6401

Expert Song Plugger

Randy[ [

Poe

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ROguE Island EnTERTaInmEnT3200 Airport Way SouthSeattle, Washington 98134(206) 686-5533E-mail: [email protected]: Rogueisland.comContact: Contact Eric JankoFormat: Digital and AnalogBasic Rate: Call for info

sTudIO nORTH1316 172nd St. S.W.Lynnwood, WA 98037866-396-9174, 425-745-2642E-mail: [email protected]: www.interlinc.comContact: Ken LatimerFormat: Pro Tools HD, 2” 24 track

analog tapeBasic Rate: $75/hr

West VirginiaHIllTOP RECORdIng Rt. 1 Box 334-A LeSage, WV 25537 304-840-2675Web: www.hilltoprecording.comContact: Dave WintersFormat: digitalBasic Rate: please call for info

JamIE PECK PROduCTIOns 216 Long Vue Acres Rd. Wheeling, WV 26003 304-277-2771 Cell 304-280-5086 E-mail: [email protected]: www.jamiepeckproductions.comContact: Jamie PeckFormat: digital Pro Tools HDBasic Rate: please call for info

RHl audIO703-628-3015

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WisconsinTaYlOR sTudIOs, lTd. 818 N. 109th St.Milwaukee, WI 53226 414-778-0362 E-mail: [email protected]: www.taylorstudios.us Contact: Jeffery TaylorFormat: all digital recording and post productionBasic Rate: $95/hr.

WyomingBRIdgER PROduCTIOns P.O. Box 8131 4150 Glory View Ln.Jackson, WY 83002 307-733-7871 Fax 307-734-1947E-mail: [email protected]: www.bridgerproductions.comContact: Michael J. Emmer, PresidentBasic Rate: please call for info

PERmanEnT RECORd sTudIOsPine Bluffs, WY 307-221-5235 E-mail: [email protected]: www.permanentrecordstudios.netContact: SeanBasic Rate: please call for info

InternationalaBBEY ROad sTudIOs3 Abbey RoadLondon, NW8 9AY UK+44 (0) 020-7266-7000E-mail: [email protected]

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CanadIan RECORdIng sERVICEs InC.1867 Draycott Rd.N. Vancouver, BC V7J 1W5, Canada604-985-0679, 866-888-6464E-mail: [email protected]: www.canadianrecordingservices.comFormat: digital and analog, up to 64Basic Rate: We work with many studios and all budgets!

sTudIOs 160Campus des Cezeaux,Avenue des landais.63170 AubiereFrance0033-6-03-18-83-54E-mail: [email protected]: Analog and Digital 64 analog I/OConsole: SSL Duality, large variety of analog outboard gear, large choice of guitar and amps from 1950 and up, Hammond A-100 (same as B3) with 2 Leslie, Piano Yamaha C6, $80,000 collection of high end microphones. Unique monitoring system worth $400,000 designed by CAT, Incredible acoustics throughout the studioStudio opening in June 2012Total space: 2,200-sq. ft.

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*Forming/joining a band. very adventur-ous & outstanding. into imgs as well asmusic. blues rock, funk rock & punk rock.slash, john frusciante, j Ramone. cody310-328-7668, [email protected] *Loud, obnoxious, old school GTR, lkngfor ready or near ready ACDC, gnr typeoutfit. john 323-807-8772. john 323-807-8772, [email protected] *What do you wanna do w/ your life. Iwanna rock. i’m 25, been playing 10 yrs.just like having fun playing covers/tributebands. rock out w/ your. contact m. Jeff562-754-2121, [email protected] *Exp. gtr player w/ maj credits, great feeltasty licks, sensitve musician, creative.avail. for sessions & gigs. Rick 818-781-5004, [email protected] *Pro funk/rock GTRst avail forserious/pro/$ situationstours/gigs/studiowork huge resume/email for moreinfo.peace. J~ , [email protected] *GTR plyr/lead, rythym, acous.lkng for progig.i have tour exp., recording exp. dedica-tion, vocs. no b.s. plse. Jerry France 714-425-4445, [email protected] *GTRst, 45, over 30 yrs exp sks potentiallywrkng classic rock bands in ca or nvareas. no beginners. Jon 818-382-7944,[email protected] *Expd, skilled, drug-free GTRst w/ xlntacous & elec gear avail for live & recordingsituations. Andre 310-576-2053,[email protected] *GTRst lkng for other musicians in

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*Bassist avail for paid gigs. pro equip-ment. , [email protected] *String bass player & drummer avail forreal music sessions, gigs. any stlye. Daniel310-995-3361, [email protected] *Bassist avail for pro situations:funk/gospel/jazz/neoclassicsoul/r&b/hiphop/pop styles. paid situations only. Joe Love818-834-3480,[email protected] *In the likes of jamariquai, peppers. havegear & exp. serious establshed band &/orstudio work. all styles of music welcome.contact for bio & credits. 25. Steve Andino661-273-4023, [email protected] *Fem bassist w/voxs & male drummeravail for rock cover band. together or sepa-rate. Ken 818-442-1819 *Bassist avail.man, 25, WeHo, 9yrs,japanese, over 100time gigs per ayr/recording exp.infl.rock, hiphop, funk,bizkit, oneminutes ilence, linkin, etc. HAGE310-Wes-tLA, [email protected] *Bassist lkng to be part of soul projectw/origs & covers. Inf: are motown, & 70-80s rock ‘n soul. avail for rehearsals/gigsin la & Hllywd. Shanon 310-578-9968,[email protected] *Top aaa+ bass player w/ tons of studio & liveexp, ranging from the simplest pop songs tothe most complex progressive music. groove &pocket. pros only. Paulo Gustavo 626-799-7417, [email protected] *Fem pro bass player avail for paid gigs orrecordings only. lots of groove, creative,fast learner. V , [email protected] *Bassist lkng for band, many Inf: ;rock,reggae, punk, goth, electrnca, world, etc. ,[email protected] *Bassist lkng for the “right” project. hvy,hiphop, funk, electrnc. 7dust, bizkit,Incubus, roni size, infectious, ozric tenta-cles. stage/recording exp. Morley 310-717-5521, [email protected] *Groove/styles/time/tude/expe rience prolevel bassist; pro situations only please.Randal , [email protected] *Longtime bassist lkng for any xpermntlband. conventions exist to be defied. emailme if interested. I also have singing & pro-duction exp. 949-use-theemail,[email protected] *Hip yng pro bass player avail for payinggigs, tours, studio sess, ect. serious, estabprojects only. musicians institute bitgrad.contact [email protected]. Jon 323-854-0456, [email protected] *Irvine-based bassist lkng for xpermntlband. interested in any & all styles atonce. the more difficult the music, the bet-ter. email me if interested. Jeff 949-679-7037, [email protected] *Fem bassist avail, orig or covers as longas it rocks. no egos. pro tudes only. prefpaid situations. Email , [email protected] *Bass player w/ intl touring & recordingexp just completed maj us tour sksrock/pop/punk band w/ tunes & prospect. ,[email protected]

*String bass player & drummer avail forreal music sessions, gigs. any stlye. Daniel310-995-3361, [email protected]

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slash, clapton, Hendrix. Dolph 323-459-5226, [email protected] *Slash type punk Inf: d blues GTRst islkng for glam hr band w/ their own uniqueimg like early gnr. Cody 310-328-7668 *Lkng to start/join ebm/idm band. I alsohave a synth & am willing to play eitherinstrument. louis 805-844-7994,[email protected] *Kick ass GTRst: yeah yeah yeahs,jane’s addiction, ratm, Audioslave,Tool/Perfect Circle, Filter, godsmack, Zep,Hendrix, rhcp, qotsa. gear, skill, tude. Erik ,[email protected] *GTRst lkng for pro situation, w/ mngmtprefd. rock, acous, funk style. team player,serious situation. DARIN 818-679-9803,[email protected] *For forming art rock band 18-21. haveproducer & mgmt in place for demo work,once group songwriting is completed. e-mail me questions or call for details. ChasDewey 818-848-4691, [email protected] *Hip, funky GTRst avail for anything: canplay lead & rythym; can sing; infl. prince,Hendrix, the roots, steely dan; career-minded people onl. Rod 818-501-9790,[email protected] *Gtrst, cool dark & soulfull, can give oldsongs a new life- if the voxs are strong,also very good at writing, & collab. w/great dem. steven 310-633-0111, [email protected]

*Bassist sks LA band sid rock 818-549-9039 *Bass player & vox team lkng for GTRplayer & drummer God Smack, limp, link,dist, machn head, dio, 100% dedicated &open minded no hobbiest please. MANAG-ER 808-864-7422 *Pro bassist sks signed/touring bands.strong groove, voxs, gear, img.responsableteam player, xtnsv recording & touringcredit. Tad , [email protected] *Reh. days 2 keep up chops. age 50+mellow tude, infs: ray charles, band, feat,otis, marvin, sam cooke 50’s-60’s oooldies.interested, e-mail or call studio ans mach.Drew 818-787-7778,[email protected]

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miniBIO: The multi-Emmy-winning composer-guitarist Brian Tarquin has established himself as a top TV composer-recording artist and owner of Jungle Room Studios. Some of his accomplishments include writing the theme music for MTV’s Road Rules, as well as producing music for many other TV shows such as CSI, ABC’s Making The Band, Extra, Alias as well as the Keanu Reeves film, The Watcher, and many more. Visit Tarquin’s music catalog at http://bohemianproductions.net/musicsearch.html. To see his recording facility, Jungle Room Studios, visit http://youtu.be/P9QEUO1K0pw.


There is more to composing than just buying a computer and a handful of plug-ins! After 20 years composing for television and films, with three Emmys and seven nominations, I’ve come to rely on instincts

and input from producers and music editors around me. It’s a team effort, and the sooner you learn this lesson, the better.

1. Get the Vibe. Remember you are composing music for the show, which will be heard by its fans. Understand the viewers and what works between score and picture. In Ken Burns’ Civil War series, what worked was that beautiful solo violin melody, not blazing metal guitar. Proper background score is a key to a successful series. 2. Understand exactly what the producer or music supervisor wants.This can be a very tricky thing. It can change from day to day and from moment to moment. I found that it could become confusing if more than one person gives you directions. The best thing to do is ask for musical references from the main person giving the instructions. For example, if they are requesting a vibe like Led Zeppelin-meets-Metallica, then make sure you get your project’s creative team to specify what elements of each band they like and how they want them combined. Ask as many questions as possible to nailing the exact vibe they want. 3. Don’t rush it, take time and get it right. This really pertains to composing for new clients. Even if you are juggling many projects, as we all seem to do, give it the time it deserves. Clients can sense when you are rushing and not giving it the proper attention. Remember the kids in school who had six weeks to do their final paper, but waited until the night before to do it? By showing the client that you care about their project, it will almost ensure you a continued relationship for future projects. 4. Use real instruments when you can, don’t rely on plug-ins and sample CDs. As a guitarist and recording artist for many years, it is annoying to me that there are so many electronic composers today who take the shortcut and substitute talent for computer plug-ins and samples. Instead of getting a real drummer they use some drum “extraordinaire” plug-in and samples from CDs of horns and bass. It makes no sense––just hire real musicians to make it sound as authentic as possible. Back in the day, I remember laboring through sessions getting musicians to nail the right sound before the digital era and plug-ins; it actually was a great challenge to see if you could achieve the sound for the project and a real feeling of reward when you did. 5. Don’t reuse old cues. This is something we are all guilty of––yours truly as well! In all my experience I’ve found that trying to rework old cues to try to make them sound different for a new client is more time consuming than actually composing from scratch. And trying to pass off an old cue to a new client thinking it’s “close enough” is bad business, because nine out of 10 times the client will have so many changes that you will be doubling your work. I don’t know how many guys do this, but it’s a lot like trying to turn a polka song into an electronica tune and passing it off to the client. Believe me, they will know! 6. Watch the show and understand how the music is used. Believe it or not, there are composers out there who do not bother to watch the show

they are composing for, which seems like a recipe for failure. Set your DVR to record a few episodes and see how the music is synced to picture and compose accordingly. Before I even start composing for a new show I always watch a number of episodes and then go back to the music director and ask what specifically worked for those shows in regards to the music. I also like to throw out ideas to the music director before I proceed, to see if I’m on track. 7. Make sure to send WAV samples (no MP3s) for approval. I’ve learned not to send MP3s to people, because no matter how many times you explain to them that it’s an MP3, they always get bothered about it sounding “too compressed and lacking bottom end.” Well, that’s because IT’S AN MP3 and you’re listening to it on COMPUTER SPEAKERS!!! Then of course they look at the file size and say, “Oh, okay then, never mind.” So there goes a half-hour of my life I won’t get back! 8. Never send a demo sample! Man, this is such a catch-22, you can’t believe! Clients always say, just send a demo so I can hear how it’s coming along. So you send a rough mix to them and the first thing they say is, “It Sounds Like A Demo!” Well DUH, it IS a demo! So if you are going to play something for anyone for the first time, it should be the final mix of the song. Back in the early days of being a recording artist I remember the record label would always tell me to just send demos or rough mixes of the songs “so we can get an idea of what you are working on.” These were the days before I had a nice recording studio; my setup was just a Tascam DA-88 and a cheap Carvin mixer. So off the rough mixes went and the label would come back with, “It sounds like a demo!” Well yeah, that’s because they are demos that you said were okay to send! 9. Keep in good communication with the producer or music supervisor. This is one of the most important things to do. Always check in with the client, especially if you have a long lead-time for the final deadline, because ideas can change. For example, that song they told you to emulate at the start of the project may have changed three times and the client might have have forgotten to tell you. Of all my advice to you, this is the most crucial! I’ve been involved in projects that started off as heavy metal, then midway became techno and then finally wound up as a punk song I had to compose from scratch. Yes, it’s a lot of work and chasing, but it’s all part of the gig. 10. Never say “That’s the best I can do!” Many of us have been at the end of our rope with certain clients, for one reason or another––you want to say “I’m done, you do it!” I certainly have been there with a few people, but the best thing to do is ask for an extension if the changes they request become too much. Step away from the project for a few days, if possible, then come back to it with fresh ears and appease the client.

By Brian Tarquin

TIP JAR

Getting In The Zone: Composing For TV & Film




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