Music Connection Directory of Studios

www.musicconnection.
com
Vol. 36, JUNE 2012 U.S. $3.95/$4.95 Canada
4
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
Departments
08. Close Up
09. Assignments
10. New Toys
14. Book Store
16. Up Close
18. Studio Mix
23. Business Affairs
26. Signing Stories
28. Song Biz
32. Film/TV/Theater
34. Mixed Notes
Reviews
52. CD Reviews
54. New Music Critiques
56. 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 fnd 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 Putnam
22. Exec Profle: Michael Caplan, Elm City Music...........................................By Andy Kaufmann
30. Songwriter Profle: Jonathan Mann...........................................................By Dan Kimpel
50. Industry Profle: Matt Urmy, Artist Growth...............................................By Andy Kaufmann
86. Tip Jar: Getting In The Zone: Composing for TV & Film...............................By Brian Tarquin
By Bernard Baur
Recording Studios Sound Off
Though 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
36
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
bands creative decisions that led to the new
album, Overexposed.
Compiled By Denise Coso
Directory of Recording Studios
60
www.solidstatelogic.com
Work Faster. Sound Better.
Advanced DAW Control :: High Speed MIDI Over Ethernet :: Transparent SSL Mic Pres ::
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 commercial
studio heaven
From our integration of the project studio environment, through to our pioneering
large-format studio consoles, SSL has defined the hybrid approach to modern
production workflow where the very best classic SSL analogue console
technology meets high-speed DAW control.
AWS.
Mid-scale commercial
studio powerhouse
Music_Connection_May11_Layout 1 17/05/2011 13:00 Page 1
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CONTRIBUTING EDITOR
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SONG BIZ
Dan Kimpel
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FILM, TV, THEATER
Tom Kidd
prespak1@verizon.net
FEATURE WRITERS
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ARTIST & READER RELATIONS
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NEW TOYS
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EDITORIAL INTERN
Jaimie Pierson
CONTRIBUTING WRITERS
Jessica 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 Muoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Daniel Siwek, Matt Schild,
Laurier Tiernan, Albert Vega, Catherine Veit, Sarah Whited, Jonathan Widran, Ellen Woloshin.
PHOTOGRAPHERS
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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 Muoz, Anne ONeary, Jessica Pace,
Scott Perham, Rob Putnam, Lisa Elaine Scott, Daniel Siwek, Dave Stone, E. H. Tiernan, Albert Vega.

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6 June 2012

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8 June 2012

www.musicconnection.com 9 June 2012

CLOSE-UP
By Jonathan Widran
A
rtfully 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 fne 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 experiencewhich 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 sacrifced 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 fow 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 certifed Pro Tools expert. Both
retail for $74.95. The Fast Play DVD System features instruction on specifc
instruments by some of the industrys 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 thats 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
8 June 2012


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, elyse@sparkart.com.
Elyse McKenna
VP, Sparkart South
Sparkart
Audio system solutions company, EAW
(Eastern Acoustic Works), has announc-
ed 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 Shulman
Installed 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 labels roster including Christina Aguilera, Kings
of Leon, Carrie Underwood, Dave Matthews Band, Kelly Clarkson and Adam
Lambert, among many others. Contact meghan.kehoe@rcarecords.com.
Adrian Moreira
Senior 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 bernhard.nocker@prismsound.com.
Bernhard Nocker
Munich 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
Grosslights 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 vkromer@nederlander.com.
Germaine Lathouwers
Executive 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 allanv@dpagan.
com, 631-659-2309, ext. 17.
Mark Davidson
Systems/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
companys Founder and CEO, Robb
McDaniels. In his new role, Freda will
spearhead the combined operations of the companys three business
units, oversee the ongoing expansion of the companys 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 jv@spinlab.net.
Vincent Freda
Chief 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 Musics 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 info@lamusicacademy.edu.
Jody Fisher
Chair, Guitar Dept.
LA Music Academy
10 June 2012


NEW TOYS
BARRY RUDOLPH barry@barryrudolph.com
B. Hefner Company
Licensed by Fender, B. Hefner
Company of Whittier, CA,specializes
in producing USA-produced custom-
made Fender guitars and bass bodies
andnecks using acomplete database
of all the original measurements of
Fenders classicinstruments. B.Hefner
recreates the exact, very specifc
shapes of Stratand Tele type bod-
ies made in anyyear from the 50s,
60sthrough the 70s and at a fraction
of the cost.
Just as having a customized FenderStrat or P-Bass built, you can
specify any model of P-Bass, Stratocaster orTelecaster bodyeven semi-
hollow bodies in your choice of tonewoods such as: alder, swamp ash,
rosewood or maple. For a certainlook,tone and/or lighter weight, order
highly fgured maple fnished in eitherpolyurethane ornitrocellulose lac-
quers and in vintage or custom colors.
You can order necks quarter-sawn inbirds-eye or fame maple with
your choice of maple, rosewood or ebonyfngerboards andwith 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 neckradius playable
by normal, human-sized hands, fret wire in nickel, silveror stainless from
vintage to jumbo gauges. Allneck profles from vintage tomodern with
your choice of clay, white, black, abalone or mother-of-pearl fretmarkers
are also doablejust specify.
Prices for bare Fender bodies rangefrom around $125 to $450 while
unfnished rosewood and maple necks startat $132.B. Hefner caters to
guitarists who knowall theirpreferences with regard to specifc and arcane
details that affect theirplaying 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 Powerstrip
Phil Moores 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.
Powerstrips signal chain starts with a pre-amplifer input section
with your choice between microphone, line and the built-in tube DI box.
Followingis 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 feeting) 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 Instruments Powerstrip is an awesome and powerful tool that
requires some woodshedding and experimenting in the studio to use and
learn its full potential. Ive turned it on three times in the three weeks I had
it and each time Ive 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
Steinbergs 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 specifc
needs and workfow 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 fip-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 youre 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 confgs Steinbergs univer-
sal AI Knob to control any control element in Cubase.
The modular approach works! Buy what you want and nothing you dont.
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 noisepeople talking, A/C rumble,
low fying cowsup to 95 percent of all ambient
noise that can intrude on your listening plea-
sure at any headphone volumesuper 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
3000s 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 youre 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: Wangs 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.
10 June 2012


ASSIGNMENTS
12 June 2012


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 Musicians
Institute, Hollywood, CA. www.barryrudolph.com
NEW TOYS
BARRY RUDOLPH barry@barryrudolph.com
Sennheiser XS Wireless Series
Sennheiser
has the new XS
Wireless Series
with features
essential to art-
ists, musicians,
and public speak-
ersanyone 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 fve
application-specifc 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 fve 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 fy, 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 frst 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 10s front panel output level control; a
great feature for quickly resetting high/low wireless mic levels amongst a
stack of wireless receivers.
In my studios locale, there are several sources of RF interference
multiple cell phone towers, a police stations antennasand I had no
problems at all. I liked the EM 10s 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 handhelds 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-
als bright orange color and GoGos signature
Green youre in tune, Red youre out indica-
tor. The whole display changesincluding 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 youre playing is dead
on true pitch. Being chromatic, sharps and fats 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 persistsstays lit read-
ing the note until the string naturally dies outa great feature when you
look away from it momentarilyits 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
upmaybe 1/2 secondthen 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 units single internal 9-volt battery. Visit http://
gogotuners.net.
Popper Blocker P and Wind Filter
A Popper Blocker is a small round screen that fts inside the screw-on
metal windscreens of handheld dynamic or condenser microphones. At
$4.95 each or 10 for $44.95, its inexpensive, easy to use and retrofts
quickly into the microphone youre about to use on stageeven if you
only own the mic for the time youre 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
ft into Shure, Audix,
AKG, Audio-Technica,
Sennheiser, Electro-
Voice, Samson, and other
microphones and do a
great job of lessening
popseven 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 Cables
Made 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 interferenceradio signalssolar faresbad vibes.
American Stage Cables use all metal Neutrik plugs that feature their
patented Geo-Tip that compensates for the wide differences in the mating
jacks 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 cables 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 plugs jacket is tightened) to prevent
moisture ingress. Planet Waves In-Line solder process is akin to weld-
ingit uses specially formulated RoHS-compliant solder to permanently
bond the wire to the plugs terminals. To prove it, I unscrewed the plugs
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.
12 June 2012


It goes by many names and comes in many favors. With vintage pedals, however, fnding that
sweet spot isnt 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 21s all-analog circuitry unifes 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 fuzz
Vintage pedal hounds know that
germanium fuzz sounds are way
sweeter than silicon fuzzbut only
when the temperature is just right and
doesnt 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 fuzz
Putting 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.
Boost overDrive
Hey, remember the 80s? A lot of
bad clothes perhaps but some
way-cool, aggressive distortions.
Tight, muscular grind with buzz-saw
harmonics never went out of fashion
and the Boost Distortion delivers
that fast punchy tone. It features its
own unique SAG control that adds
an expressive,tube-like response to
every pick stroke.
Boost Distortion
Designed and Manufactured in the U.S.A.
14 June 2012


BOOK STORE
BOOK STORE
Making Rumours: The Inside Story of the Classic
Fleetwood Mac Album
By Ken Caillat & Steve Stiefel (hardcover) $25.95
Fleetwood Macs classic 1977 Rumours album
topped the Billboard 200 for 31 weeks and won the
Album of the Year Grammy. Recently TVs Glee
devoted an entire episode to songs from the album.
Now, Ken Caillat, Rumours co-producer, tells the full
story of what really went into making the album.
Pro Tools 10 Ignite!: The Visual Guide for New Users
(Book & CD-ROM)
By Andrew Hagerman (softcover) $34.99
Even if youve never created music on your computer,
this book aims to give you the skills required to record
and mix with confidence. It presents everything you
need to know about Pro Tools 10, with easy-to-follow
instructions and screen shots that make it simple to
dive into the features. Follow along using the sample
files on the books CD-ROM, which also includes four
appendices for further learning.
The Tour Book: How to Get Your Music on
the Road (2nd Edition)
By Andy Reynolds (softcover) $29.99
Written by a touring professional and featuring
interviews with key figures from across the music
industry, The Tour Book delivers the most current
advice from todays artist managers, booking agents,
talent buyers and successful artists, giving you the
tools you need to create better shows and build a
profitable long-term career.
Mike Watt: On and Off Bass
By Mike Watt (softcover) $25.00
Watt got his musical start thumping the bass with
legendary punk trio, the Minutemen. After stints with
numerous bands and sideman gigs Watt tried his
hand at photography, once off the road and back
home in San Pedro, CA. In Mike Watt: On and Off
Bass, photos that appeared in a 2010 exhibit are
punctuated by Watts poetry and snippets selected
from 10 years of his diaries.
Amped: The Illustrated History of the Worlds Greatest Amplifers
By Dave Hunter (hardcover) $35.00
Amplifiers may look dull to civilians, but to guitarists they are full
of mystique, romance and rockin sound. And while there are
many strong-selling electric guitar histories available, heres
the first illustrated history of the electric guitars best friend, the
amp. Historian Dave Hunter tells the story of 60 of the greatest
amps ever built, including classics from Fender, Marshall, Vox,
the bizarre EchoSonic that created Elvis sound, and the ultimate
esoteric $75,000+ Dumble amps. Its illustrated with hundreds of
tech photos, rare machines, catalogs, memorabilia and amps of
the stars, from Hendrix to Clapton.

IT ALL STARTS HERE.
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RANDYKOHRS
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14 June 2012


If your music is played on digital radio, youre in luck. SoundExchange
collects digital performance royalties for your sound recordings.
But, if you want to get paid, you must register!
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cable TV music channels and similar digital music platforms.
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Dont miss the SoundExchange Digital
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Go to www.SOUNDEXCHANGE.com
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Customer Care: 202-524-7839 | info@soundexchange.com
16 June 2012


By Jonathan Widran
B
ringing a total of 50 combined years of music industry experience to
their unique partnership, Kevin Teasley and Al Macherafounders
and owners of Decibel Creative, Inc. and its movie trailer focused sub-
sidiary, Distortion Music & Sound Designmet 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 fnd a way to collabo-
rate, the opportunity fnally presented itself in 2009, when the duo began
working on custom music projects for TV and flm trailers. In 2010, they
formalized their business partnership in creating Decibel Creative, which
soon acquired full interest in Distortion Music, Teasleys movie trailer music
company.
Our unique business model is that we run twovery 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 worlds 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 specifcations.
Decibel Creative, Inc.is the teams mother company and tv/custom scor-
ing brand. Under the Decibel name, they have done promos and trailers
for: Foxs 24 (promo), EAs Sims 3 video game (trailer), Lord of the Rings
video game (trailer), Sons of Anarchy (promo), 20th Century Foxs Rio/
Chiquita Banana cross promotion, MGM Hotels, HBOs Brave New Voices
(promo) and BETs 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 profle 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 youll hear on the radio, or a shorter cue to
key in on a specifc 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 flms coming out the following year. Well 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 greatJonathan 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.
Contact 323-842-3835 or info@distortionmx.com
UP-CLOSE
YOUR ONLY
CHOICE!
WERE HERE TO MAKE YOUR SESSION SPARKLE!
Omega Studios School of the Applied Arts & Sciences
info@omegastudios.com www.omegastudios.com
5609 Fishers Lane Rockville, Maryland 20852 301-230-9100
Open house June 16th Noon-3pm
WWW.OMEGASTUDIOS.COM
RECORDING STUDIOS
16 June 2012


ASSIGNMENTS
AmericAn
18 June 2012


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 Movements Live My
Life (featuring Justin Bieber), Nicki
Minajs Starships and DJ Havana
Browns We Run The Night. In
addition to the recently released
singles, hes currently working with
Jennifer Lopez, Enrique Iglesias,
Pitbull, X-Factor contestants Cher
Lloyd and One Direction, Taio
Cruz, and hes developing DJ
Havana Brown, 7 Lions, Mohombi,
Porcelain Black and Nayer through
his 2101 Records. To keep up with
RedOnes 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 Furtados 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, TXs Memphis May Fire
are releasing Challenger this sum-
mer, a follow-up to the bands
acclaimed Rise Records debut,
The Hollow, which landed at No. 1
on Billboards 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 hes found a niche developing
artists and producing, especially solo artists and Indie bands. At the 2012
Grammy Awards Gustavo Galindos 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 fnal 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 roomnot 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 outfeld walls, pink famingos, 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.
18 June 2012


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 andym@musicconnection.com
Womens Audio Mission (WAM), a non-proft 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 specifcally for the session.
The quartet recorded material for their performance of Womens 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 EastWests 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, Destinys 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 Systemsa professional audio, video, AV, lighting and musical
instrument retailerrecently 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.
M
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Dual15
- my frst choice
www.ArgosyConsole.com Toll-free 800.315.0878
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Argosy Dual15-800 is my first choice for engineer/producers because of its
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monitor tuning
protocol

20 June 2012


PRODUCER CROSSTALK
By Rob Putnam
T
wo-time Grammy-winning producer, engineer and mixer Ross Hogarth
got his start in the 70s as a musician in New Yorks 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 Mellencamps studio in
Indiana and in his time hes 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 confne-
ment to a particular genre has been the
key to his longevity. Its 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 Id es-
tablished as a musician being into [jazz
musician] Ornette Coleman and the
Clash; John Coltrane and Jeff Beck. Its
a bit of a rough challenge sometimes. People might want a rock producer
and they look at my discography and they dont know where to pigeonhole
me.
A signifcant slice of his pre-production process is shaping songs into con-
tenders. This happens by getting at least a rough draft onto tape. Its 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 frst verse makes a song
lose momentum. A lot of times younger bands need to rehearse that or even
take arrangements on the road.
Its easy to presume that working on as many records as Hogarth has,
theres little thats new or surprises him about the process. Its tempting but
misleading bait. I learn something new on every project, he asserts. Thats
the beauty of working with young and older talent. The most crucial thing
about this business is that its about relationships. I continue to learn that.
Hogarth has worked with a number of legacy artists: John Mellencamp,
Mtley Cre and Van Halen, for example. He fnds that he must remain
mindful of an acts history when stepping into the studio. Bands like the
Doobie Brothers and Van Halen; theyre in the DNA of our American music
experience, he observes. My gig is to do something thats 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 hadnt
yet been achieved. I focused on Eddies 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 Ill 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. Im a gear junkie. I love Phil Moores Retro
Instruments. His Sta-Level and 176 [compressors] are incredible.
Hogarth established Hoax Productions in 1986. One of his aims is to fnd
and develop new talent. He spent about a year working with Las Vegas
band 12 Volt Sex on its frst 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, thats
where the story changed. But that wasnt 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, mike@bkentertainment.com
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 didnt
love this anymore Id do
something else.
The three most important things
hes learned in the business are:
Ross Hogarth
3 2 3 . 3 6 3 . 2 3 3 9
w w w. m i k e we l l s ma s t e r i n g . c o m
20 June 2012


ASSIGNMENTS
Audix Introduces the
Band Pack
SEVEN ESSENTIAL MICS EVERY BAND MUST HAVE.
Now there is a mic pack for the entire band. Four different models offer the selection and price point needed to equip
your band with the essential dynamic microphones required for vocal and instrument miking. Audix is the industry leader
in drum and percussion microphones and was the first to introduce professional mic pack assortments to the market. It is
within this spirit of innovation that Audix is proud to launch four more unique packs.
BP7 PRO
2012 AUDIX. All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation
BP5 PRO BP7F BP5F
1 - D6 kick drum
1 - i5 snare
2 - OM2 vocals
1 - OM5 lead vocal
1 - f6 kick drum
3 - f5 snare/guitars
3 - f50 vocals
1 - f6 kick drum
1 - f5 snare
3 - f50 vocals
All Audix mic packs include a high quality aluminum carrying case.
1 - D6 kick
3 - i5 snare/guitars
2 - OM2 vocals
1 - OM5 lead vocal
22 June 2012




EXEC PROFILE
Michael Caplan
President
Elm City Music

Years with Company: Six months
Address: 678 Campbell Ave.
West Haven, CT 06516
Phone: NA
FAX: NA
Web: http://elmcitymusic.net
E-mail: michael@elmcitymusic.net
Artists: Adrenaline Mob
Im looking for real artists. First of all, I want you
to write your own songs. And Im 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 Caplans
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 natives third label,
Elm City Music, is off to a roaring
start with the release of metal band
Adrenaline Mobs 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, its no longer
necessary to be in New York or L.A.
or London. And Im 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 Connecticuts
leading recording studio, Horizon
Music. Ive known him for 30 years.
Whenever I would come home, I
would stop over at the studio and
say, hey, wheres my desk going to
be? And he would say, whenever
youre ready. And fnally, I was.
Buying Local:
While were 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-
cifcally, had a lot of infuence on me
being in the music business. Theres
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 theyre from, and
then Hartford and New Haven. The
store that I worked at from the time I
was 16 on, Cutlers Record Shop, is
still a thriving mom and pop store on
the Yale Campus. It was a hotbed of
musical education.
Todays A&R:
When Ahmet Ertegun found Pro-
fessor Longhair, it was like, fy 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. Its 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 someones telling
me about a group, I can immediately
look them up on YouTube, Face-
book, etcetera. Its a lot easier to
glean the information because its all
available. Unfortunately, the flters
arent as good as they used to be,
because there are so many people
who are able to get to frst base.
Being able to fgure out who can go
to second and third and come home
is a little more difficult.
Instinct:
Ive always gone by the gut. Most of
the things Ive 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. Ive 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. Ive almost signed
them at various times, but Ive
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 fnd things now. Obviously, being
good live is a big part of what I look
for. But Im 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:
Were 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 fnd you. And
I shall. Send me an email with a
link to your best shot and hopefully
its 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. Im
very happy that my hobby is sep-
arate from my business. It could be
like being a numismatist in a coin
factoryits 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 Im not signing
them. I often lend a hand to some
of those bands, but its about making
money at the end of the day.

Identify Yourself:
Im looking for artists who have a
unique identity and are not part of
the TV wheel thats going on now,
The Voice, American Idol, X Factor.
Im looking for real artists. First of all,
I want you to write your own songs.
And Im looking for people who are
special. I always will.
Contractual Obligations:
When I started my frst 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? Im doing fairly
egalitarian deals. In a lot of cases,
Im licensing instead of owning. Im
doing, where appropriate, proft
splits. And Im 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, were
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. Thatll happen when you
sell three million records. Im going
to try and stick to more of a boutique,
but I have a wonderful relationship
with EMI Label Services for my
distributor. Its not just a straight
distribution thing. Theyre able to
provide muscle and aid on things
where theyre needed. I have the
ability to sell millions of records, but I
dont 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 frst Bruce Spring-
steen record because it was on
Columbia. And I bought it without
having to hear it. Im not going to
be like Victory and be all one kind
of music; I like to operate in many
different musical forms.
Embrace Technology:
Ive 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 lifes 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 couldnt even fathom
Amazon physical, let alone a digital
business. Those who dont heed the
past are doomed to repeat it.
Breaking the Mold:
I may have low self-esteem, but Im
an egomaniac. I have sold 30 million
records in my time. I look for things
that Im passionate about and are
unique. I dont 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.
22 June 2012


BUSINESS AFFAIRS
22 June 2012


BUSINESS AFFAIRS
M
usic Connections
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 BBatMC@aol.com.
OPPS
Legendary Guns N Roses gui-
tarist Slash has partnered up with
Guitar Center to fnd 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 rocks 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.
EyeintheSkyCollective has an-
nouncedthelaunch 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.
EyeintheSkyhas built a new sus-
tainable model forthemusic industry
with a strong focus on the future of
music in the digital age. They pro-
vide an ecosystem to empower in-
dependent artists withthe tools and
resources necessary to build a long-
term career, while allowing artists to
maintaintherights 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
fnest 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 doesnt 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 launchedthe
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, theyll
receive the tools, methods, tuto-
rial and technology for uniquely suc-
cessful events. For more informa-
tion, just check out the HGN athttp://
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 (Bjrk, Madonna, Seal) and
Joe Chiccarelli (Tori Amos, Elton
John, My Morning Jacket, U2) and
recorded in Los Angeles, the album
marks the songstress frst release
in four years. Fans can purchase
the albums frst 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 cant wait to share it.
For additional information and tour
dates, visit http://alanis.com.

The Darkness have premiered the
video for Nothins Gonna Stop
Us, the bands frst 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 whove
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 bands official site
at http://theactualdarkness.com. The
Darkness kicked off their frst 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. Its
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-f.com.
Legendary rocker John Fogerty
will be releasing a new record, ti-
tled Wrote a Song for Everyone in
the fallhis frst on Vanguard Re-
cords. The album is a celebration
of Fogertys 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-
days biggest superstars, including
Foo Fighters (Fortunate Son),
Bob Seger (Wholl 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 bands incendiary rock energy
to major and secondary markets across the continent. This is a very intense,
high-energy tour, says the Cults 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. Were
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 years
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
24 June 2012


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,
hes a Contributing Editor at Music
Connection.
BERNARD BAUR
Rain), Keith Urban, Brad Paisley,
My Morning Jacket, Alan Jackson,
Miranda Lambert and more.To fnd
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-hops 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 Assassins
crew member Bambu, the collab-
orative track combines hip-hop and
dubstepan 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-
bornes newest record, Bring It On
Home, keeps growing as critics and
her fellow musicians rave about the
singers 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 flm 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 profts 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.
Its 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, its named af-
ter him. I had a friend who once met
B.B. and asked him, Who should
I listen to when I frst get into the
blues? B.B. King could have named
almost anyone, but instead he said,
Tab Benoit. Thats 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 fexi disc at-
tached to helium balloons. They set
1000 records free from the labels
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 dont 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 artists package.
Without one, getting booked for cool gigs and big events is impos-
sible. Well, Josh Weesners Stand Up Alone Productions has a soft
spot for DIY artists.

A former artist manager, Weesner believes, Artists shouldnt have
to pay a lot to get a professional video. Not only will he work with
small budgets, hes offering Music Connection readers a 30 percent
discount.

Weesners company can do post-production work on previously shot
footage, or shoot the entire video and edit it for you. Whatever MC
readers need, Ill 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 Magazines national Pop Hits contest. His com-
panys motto says it all: Be Seen. Be Heard. Be Remembered.

Visit http://standupalonepro.com, or contact standupalonepro@
gmail.com.
custom post card with instructions for
the fnders 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 legends catalog, publish-
ing, likeness and brand worldwide.
Otis Redding possessed one of the
most powerful, expressive and infu-
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. Were ecstatic to be in-
volved in bringing this icons 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, Theres a
certain excitement that
comes when you release
a new recording, and a
lot of it has to do with the
packaging. Its something
that fans used to mill
over while listening to
the record. Now, with
digital downloads youre
like, Theres nothing in
it. Its 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 bbatmc@aol.com.
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 Babys 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.
24 June 2012


www.musicconnection.com 25
The Worlds Leading Independent A&R Company
1-800-458-2111
Make Money with Your Music

No Matter Where You Live
Martin Haene TAXI Member
My name is Martin Haene, and
since I was a kid, I dreamed of
earning my living with my music.
Sound familiar?
I live in Switzerland, so I thought
it was nearly impossible. After all,
who wants to hear music from a guy
with a home studio who lives 5,920
miles away from Hollywood, in a
country the size of West Virginia?
What Didnt Work
I tried sending out hundreds of
unsolicited CDs, but it was
expensive and unproductive. Just
like you, I needed a vehicle for
my music.
What Did Work!
I discovered TAXI in 2006 and
quickly understood the value of
having a well-connected U.S. based
company filter my music and get
it to the right people. I thought the
people on the receiving end would
be much more likely to listen to
well-targeted music from a trusted
source, rather than the hundreds of
unfiltered songs they get every day.
The number of my Film and TV
placements has increased
dramatically since joining TAXI:
In just 2 years, my music has
been used in international TV
Shows like Lincoln Heights (ABC
Family), Stylista (CW Network),
Degrassi (CTV) as well as feature
films like Graduation (Independent)
and Bring it on Fight to the
Finish (Universal). Ive also
licensed four of my tracks for a
Sony/BMG, Latin Music CD that
was released internationally.
Your Music as Your
Retirement Fund
Having also signed deals with
several top publishers through
TAXI, I have little doubt those will
turn into an ever-increasing number
of Film & TV placements down the
road. Im beginning to see how my
music could easily become my
retirement fund. How many
musicians can make that claim?
You can if your music is top
notch and you use your TAXI
membership well.
More Than Just Great Contacts
TAXI is also the perfect way to
learn what the market needs and
how to produce it. Every member
gets two free tickets to TAXIs
annual convention, the Road Rally.
Its such a great learning and
networking experience that its more
than worth the price of the plane
ticket even from Switzerland!
Ive also made friends, contacts,
and met co-writers by becoming part
of TAXIs online community. The
possibilities are limitless if you take
advantage of them. And the best part
is, you can make money with your
music no matter where you live.
Where do you live and what are
you waiting for? Call TAXI!
MHa8.375X11color_MusicCnnctn:GS8.375X11_4c_MusicCnnctn 2/9/10 9:23 PM Page 1
26 June 2012


SIGNING STORIES
There are so many labels that you
hear bad things about. We never
heard anything bad about Rise.
M
iamis 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 outft, they set their sights on a label that
wasnt 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. Wed been trying to fgure 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 hed 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. Its
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 theyd 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 Bloods 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
T
heir 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. Theyve 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
flm 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 refne 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 didnt wanna be locked into a situation where you sign with a label
and after 10 years you might get your masters back, comments Buckey.
Weve all been doing this long enough where we didnt 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 Years upcoming Nettwerk album, Diversity, slated
for release in July 2012.
Eric A. Harabadian
Thick As Blood
Date Signed: March 2012
Label: Rise Records
Type of Music: Hardcore/metal
Band Members: Gino Vento, vocals; Randy Gonzalez, guitar; Jerry Raymond,
guitar; Brandon Stastny, bass.
Management: NA
Booking: NA
Legal: NA
Publicity: Mike Cubillos / Earshot Media, 310-318-8995, mike@earshotmedia.com
Web: http://facebook.com/thickasbloodf
A&R: Corey Warning
Family of the Year
Date Signed: November 29, 2011
Label: Nettwerk Music Group
Type of Music: Rock/Pop
Band 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,
info@nettwerk.com
Booking: A. J. Paul/APA, apaul@apa-agency.com
Legal: Heidy Vacquerano/Lapolt Law, 310-858-0922
Publicity: Penny Palmer, 323-698-1843, ppalmer@nettwerk.com
Web: http://familyoftheyear.net
A&R: Mark Jowett
We didnt wanna be locked into
a situation where you sign with a
label and after 10 years you might
get your masters back.
26 June 2012


SIGNING STORIES
A
round 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 dealpartner with him for six months, free of attachment, and
see what happened. That was the frst 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 Scotts 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 its his wide-ranging subject matter (ev-
erything from religion to fnancial 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.
Scotts 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 theyre buying into, he advises. Normally,
theres no trail. What about when you werent super-jamming or you didnt
have the money to go into a studio?
Live from the Underground reaches retail on June 5th.
Andy Kaufmann
T
aking their cues from such modern harmony driven groups as the Avett
Brothers and Mumford & Sons, Durham, NCs Delta Rae are a six-
member outft 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 frst foray into recording was an EP in 2010 recorded in Erics bed-
room. Theyve 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 infuential 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 frst time weve 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 fnished 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 2010
Label: Island Def Jam
Type of Music: Hip-Hop
Management: Jonny Shipes / Cinematic Music
Booking: NA
Legal: NA
Publicity: Alexandra Bianchi / alexandra.bianchi@umusic.com
Web: http://bigkrit.com
A&R: Sha Money XL
Delta Rae
Date Signed: January 2012
Label: Sire/Warner Bros.
Type of Music: Americana/Rock
Band 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, 412-310-4239
Booking: Jordan Burger, jordan@femingartists.com
Legal: Matt Levy / Myman, Greenspan, Fineman, Fox, Rosenberg & Light LLP,
310-442-3585
Publicity: Andrew Steinthal, Andrew.steinthal@wbr.com
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 werent
super-jamming or you didnt have
the money to go into a studio?
S
M
A
L
L
Z

A
N
D

R
A
S
K
I
N
D
28 June 2012


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 TuneCore
Cricket 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 Crickets
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 artists music to iTunes,
Spotify, Google Play, eMusic, AmazonMP3, Dee-
zer, Simfy and many other major download and
streaming sites for a simple fat 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 Honors
The 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 Goytes
duet partner on the smash hit Somebody That I
Used to Know, Kimbra previously won the frst
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 frst
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 Bay
TraMa 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 todays music industry.
Attendees will have the opportunity to experience
two activity flled days of workshops and panels
led by top experts in the entertainment industry.
Each workshop or panel is tailor-made for the
specifc 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 Societys 16th Annual SESAC Pop Music Awards in New York for his chart
success via Kelly Rowlands Motivation, and Without You, sung by David
Guetta and featuring Usherwho made a surprise appearance. Pictured (l-
r): Jacob Luttrell, Song of the Year for Tonight Im 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
beneftting 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 Porfrio Pia 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 Straits latest hit single Loves Gonna Make It Alright.
Pictured (l-r): LeAnn Phelan, ASCAP; Brian Wright, UMG; Liz OSullivan, Sea
Gayle Music; Anderson; Stapleton; Royce Risser, UMG; Brown; and Mike Sis-
tad, ASCAP. Get more details at http://ascap.com.
28 June 2012


SONG BIZ
DAN KIMPEL dan@dankimpel.com
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 profle 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 Night
Emmy-winning composer-pianist Earl Rose
wrote the original score for the acclaimed flm
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.
Roses knowledge of The Tonight Show is
frst-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 whos 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 flms soundtrack, which consists entirely
of original music by Rose,is available on iTunes.
The DVD was released simultaneously with the
shows airing.
For further infomation, contact Vivien Friedman
Public Relations, vfpr@aol.com.
Mandi Martin: Missed
and Remembered
Song Biz notes the passing of longtime song-
writer, producer, manager and ferce 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 infuential Songwriters
Expos, the frst-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 organizations monthly publication The
Songwriters Musepaper, and was an active
volunteer for NARAS and many other industry
organizations.
A Facebook page, Mandis Prayerhouse, has
details about the impact of this longtime supporter
on the Los Angeles songwriting community and
her incalculable infuence on legions of friends.

Honua Music: New Home
After 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 Musics 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 Kimpels new-
est book, It All Begins with the
Music, is penned with legendary
A&R exec Don Grierson. Hear
Dans 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, offces. BMIs 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
I
t is a rare creator who is immune to the dreaded writers block, but Jonathan
Mannknown as the Song A Day Guymight 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. Im a big fan of frst 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 youre doing wrong or is derivative or bad in some
way. If you write something bad its 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 Ill turn off for another week and write
more personal what Im 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.
Manns 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, Manns creations
come fast and furious. Traveling with only a baritone ukulele, he can create
songs and videos on the fy. I flm 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 youve pretty much got all of the media at your
fngertipsits 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 songbooka 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 its quirky fun and silly, but these songs are genuine; an
honest representation of how I feel.
Contact Tiffany Youhanna, LaFamos PR, 323-668-9383,
tiffany@lafamos.com.
30 June 2012

UNI VERSAL MASTERI NG STUDI OS
REFINE YOUR CREATION WITH US
Contact Nick Doffemyer (818) 286-6233
www.universalmastering.com
All Formats Analog & Digital $99 - Internet Mastering
Cl i ent s I nc l ude: Lady Gaga Red Hot Chi l i Pepper s
Ashlee Simpson Wi l l . I. Am Cel i ne Di on Kanye West
Stevie Wonder B.B. King Chris Botti Flo Rida Weezer
Lil Wayne Neil Diamond Aerosmith The Racanteurs
32 June 2012


FILMTVTHEATER
DROPS
Tony 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 shouldnt:
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 flm 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 flm score segments and
two original tracks from the fctitious 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 velvet.blue@verizon.net.
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
flm is a feature documentary culled from more than
300 hours of flm 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 flm 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 Isaaks musical he-
roes and infuences (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, lsabini@vanguardrecords.com or 310-
829-9355 ext. 137.
PROPS
Hollywood 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 frst 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 leadactor from the flm 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 flms 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 FXs 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 Bays The Entitled and Lionsgates
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
jordan@cw3pr.com.
Tony Award winner Best Musical Memphis
Chris Isaak
32 June 2012


FILMTVTHEATER
OutTAKE
Actor/Rapper/Director
Email:
Email: c/o Arpi Ketendjian at Sunshine Sachs,
arpi@sunshinesachs.com
Web: http://theartofrap.com
Most Recent: Something from Nothing:
The Art of Rap
A
rtists at the top of todays entertainment
world dont 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 flm, 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 flm flled with insights and per-
formances from such genre defning 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. Its 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 cant 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
man@platformgrp.com.
Delusions, a number Russ Bonagura wrote
specifcally 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 specifc 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 frst time, cable audienc-
es around the country can join the fun with his
frst-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
Defnition 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, mikeg101@
ptd.net 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 prespak1@verizon.net
OPPS
Does 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
mediagroup@gmail.com or phone 225-733-0121.
495 Productions and Doron Ofr 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 fulfll
a promise to her late
friend Laurie Z to do
whatever she could to
preserve Lauries 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-
tors 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
34 June 2012


SIGNING STORIES MIXED NOTES
LUCHA VAVOOM CELEBRATES CINCO DE MAYO: To honor
2012s 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 eventknown as LUCHA VaVOOMincluded 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 venues 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.
WAINWRIGHTS 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 childrens 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.

K
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34 June 2012


SIGNING STORIES MIXED NOTES
ANDY MESECHER andym@musicconnection.com
1986The 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. MCs club reviews
area spotlighted bass virtuoso
Jeff Berlin and his band, which in-
cluded guitarist Frank Gambale.
1997The 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.Thered 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
3
5 Y
e
a
r
s
MC WORKS ASCAP EXPO: Music Connection was among the
exhibitors at ASCAPs 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, flled 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.
C
h
e
l
s
e
a

l
a
u
r
e
n
1997The Cure(Issue #24):
36 June 2012


I
t would be easy to attribute
Maroon 5s renewed
eminence to Adam Levines
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
fourishing long after lesser
groups would have been
knocked out of the ring.
Two key membersself-
effacing lead guitarist James
Valentine and the animated
and hypercharged Adam
Levinereveal a contrast in
energies. In this exclusive
interview, MC speaks with
the pair about the shifting
colors of one of the worlds
most successful bands.
By Dan Kimpel
Photo By Mark Seliger
36 June 2012


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, lets 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 whats become
an increasingly singles-oriented world?
Adam Levine: Its hard to explain. I think the
band has always been interested in making good
records and its been about quality. Were not
concerned with just making a [single]; we want
all the songs to be great. We cant get too far
insidethese are pop songsbut these are
the best songs that are right for the record.
When you think about it, its a shot in the dark
making any album. Where you are creatively
is what your record refects.
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 fts the pop playlists of
modern radio?
Levine: I dont pay attention to the
radio. Thats the worst thing to do, to write
for the radio. Id rather think what the radio
is going to sound like tomorrow. Were not in
the business of cashing in with pop hits. You
have to feel something when you hear itIm
not interested in fuff.
MC: James, did Stereo Hearts, Adams guest
spot with Gym Class Heroes, and the bands
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 dont 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.
38 June 2012


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 dont think
theres ever been an experience like that for any
of the parties. It felt new, it felt fresh and it felt
different. It didnt feel like it was being plugged
into a formula. I think it yielded some cool tunes.
Im so happy with the record.
MC: Adam, whats your strength as a writer?
Levine: Im not the kind of guy who can write out-
of-the-park smashes, but Ive got my moments
with melody. I think my strong point as a writer
is lyrics. Theyre super important to meevery
word thats said and how its said.
MC: How has your writing evolved?
Levine: Im 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. Im learning the tricks of
the trade now.
MC: Such as?
Levine: In my narrow view a good pop song isnt
shrouded in poetryits very matter of fact in a
hooky way. Theres no mystery and its a bold
statement.
MC: Do you use your voice as an instrument
when writing?
Levine: I think thats how I write melodies, me
singing melody different ways. Infection and tone
are all part of being able to sell a melody or a lyric
its 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. Thats it. Its a
pure and easy way to do it because Im 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 bands 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 weve ever done. Its been incredible.
Levine: I wasnt sure I could have predicted this
outcome. We did the show for numerous reasons,
but one was that it would help the band outbut we
didnt know how much itd 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
hed 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 hes
really huge its just the beginning for that guy. A
lot of collaborations seem forced or stale, or its a
go-to person, but this ones really cool.
MC: What did Max Martin bring to the project as
the executive producer of Overexposed?
Valentine: When youre working with so many
different types of people its 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 Ive ever
worked with who just has no ego. Mutt Lange was
similarthe best idea wins. Hes not about credit;
hes about doing the right thing for the song. The
other writers respect him and he comes from a
really humble place.
I dont pay attention
to the radio. Thats
the worst thing to
do, to write for the
radio. Id rather
think what the radio
is going to sound
like tomorrow.
Adam Levine
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Ask for PopperBlockers at your favorite music store or gear supplier.
Also available online at:
PopperBlocker.com
38 June 2012


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 fve days and were fearlessly prolifc,
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: Its 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. Ive 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
havent been a lot of innovations and the sound
of pop music right now doesnt have to do with
guitar, which is sad for guitarists, but maybe its a
nice challenge to fgure out how to work it in.
MC: One More Night from Overexposed in-
corporates a skanking guitar line. How does
reggae ft into the Maroon 5 sonic panorama?
Valentine: I really like that track because its 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. Its the best medicineits
California, its sunny, youre waking up and before
you take a shower youre 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; its
not about how produced something is, its about
what goes on between the lines of production. My
favorite stuff is how is this only three things? Or
the opposite, Lets 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. Theyre
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. Weve 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, were having a love-
ly chat here, Im sitting with my coffee and its 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. Im not complaining, and Im grateful
people want to hear me talk endlessly about
The sound of pop
music right now
doesnt have to do
with guitar, which
is sad for guitarists,
but maybe its a
nice challenge to
fgure out how to
work it in.
James Valentine
40 June 2012


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 Im in
town I would love to be playing somewhere every
night. Its a totally different thing and great to haul
Adam Levine and bassist Mickey
Madden frst 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 bands frst incarnation,
formed in 1994, was known as
Karas Flowers. When their Reprise
Records 1996 debut The Fourth
World stiffed, the band was dropped.
Reconfguring 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
bands 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 writers assistant
for the television show Judging Amy.
On their 10th

anniversary as a
band, Maroon 5 were awarded their
frst 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
40 June 2012


42 June 2012


in your own amp. This connects me with the love
of why we did this in the frst placeto 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
thats 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 stuffits 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 its never worked
for me. The Tele sounds more unique. When
you play up the neck its 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 havent 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 Im 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; Im 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 Adams commitment to
The Voice were a little on hold. Well be going to
Southeast Asia and South America, but its going
to be awhile before we do the big North American
tour, which wont 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 clich of the stereo-
typical rock star life styleweve seen enough
cautionary tales to see where that goes.
MC: The bands 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 ft into
the equation?
Levine: If youre going to do it long-haul, its
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: Thats 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 worldto swing for
the fences.
Contact Carleen Donovan,
carleen@pressherepublicity.com
Infection and
tone are all part of
being able to sell a
melody or a lyric
its a tool that I use.
Selling the song is
a huge part of it.
Adam Levine
42 June 2012


44 June 2012


P
rofessional 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 beneft artists, Music
Connection contacted a number of innovative studios. We think youll fnd
that their operations are not only eye opening; theyre downright exciting.
By Bernard Baur
E
A
S
T
W
E
S
T
44 June 2012


4th STREET RECORDING
Santa Monica, CA
Kathleen Wirth
http://4thstreetrecording.com
Just three blocks from the Pacifc 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 profle 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 deliverywhen services are
rendered), well give them an even bigger break.
Im now putting together an Artist Assistance
Program that Im excited about. I want to assist
artists after they fnish recording. Ive noticed
that quite a few acts want to go the independent
route today. But, theyre 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 Im 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 Stewart
http://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 fnd potential clients
and see what theyre 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.
Ive 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, Im 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 ft, Ill set up a meeting and introduce
artists to potential team members who can help
them.
Im putting together an Artist
Assistance Program that Im
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.
46 June 2012


AVATAR
New York, NY
Kirk 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
Madonnas 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 flm and
television production. To tap that, we associate
with a number of flm festivals and have teamed
up with the Manhattan Producers Alliance. As
a result weve 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?
Ive noticed that more females are interested
in the recording process nowadays. Women
have a different sort of sensibility from their male
counterparts. In fact, its getting so popular that
many of them belong to an organization called
Womens Audio Mission. It is a non-proft ded-
icated to the advancement of women in music
and the recording arts.
FIREHOUSE
Pasadena, CA
Jason Upright
http://frehouserecordingstudio.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 frst 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 fnd alternative ways to bring
in income. And, because were situated in an old
historic building, we discovered that production
companies like to use the premises for flm and
TV projects. Theyll rent out blocks of time and, as
a result, weve had some pretty popular TV shows
and movies flmed here.
But it gets even better. Once theyre here,
they fall in love with the place and ask about
our recording services. Often, after theyre done
shooting, well get scoring and soundtrack work.
I also tried using Groupon, but was very careful
with how I did it. I didnt 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, Im 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 arent interested in a label deal
they want to do it themselves. Its a refection of
whats happening in the music business today.
But, at times, they also need some advice and
direction, especially in regard to studio etiquette.
Ive noticed that some artists dont know the
difference between a producer and engineer.
Theyll 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 whats 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. Theyre 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 dont need anyone else.
MEDIA TEMPLE PRODUCTIONS
Hollywood, CA
Brad Bilanin and Guy Baruch
http://mediatempleproductions.com
Media Temple Productions (MTP) not only
provides pro recording services, theyre 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-proft organizations. MTP
artists include Jojo, Carmit (Pussycat Dolls),
Blake Lewis, Fanny Pak (MTVs Americas 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, theyll
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?
Its 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 artists 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 its 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 its 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 whos 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
arent interested in a label deal.
MEDIA TEMPLE
PRODUCTIONS
AVATAR
46 June 2012


THE VILLAGE
Los Angeles, CA
Jeff Greenberg
http://villagestudios.com
One of the nations 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 fnd an artist who hasnt
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 whos who
of superstars. The studio has also produced an
impressive list of flm 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 STUDIOS BRAND
CURRENT?
You have to manage and promote the brand
actively. We host many industry events here, and
were very active with the Grammy organization.
We also work with several schools and participate
in reciprocal referrals with other studios.
Its about being creative instead of simply
surviving. You can always tell when a studio is in
survival modethats when fsh tanks are put in
the lobby to show that theres life in the building.
Were fortunate that this city has a vibrant and
vital music scene, and were 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, were always looking for talented artists
and music that excites us. If we like an act, well
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 dont call them interns. Theyre 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-fedged, working engineers.
We also have an all-female tech staff. I dont
know of any other studio that promotes females
like we do. In fact, our senior engineer is female.
WESTLAKE STUDIOS
West Hollwood, CA
Steve Burdick
http://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
frst 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 whove 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. Were 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 were best known for the stars
that have recorded here, we welcome up-and-
coming artists as well. Well talk with them and
fgure out a reasonable budget that they can
afford. Sometimes well even offer a discount,
depending on the circumstances and how much
time they need. Were here to help. Sometimes
well 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 PRODUCTIONS
Nashville, TN
Brett Vargason
http://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, theres a palatable passion that envelops
this operation. Co-founder Brett Vargason
obviously loves music and enjoys working with
new talent. And the studios 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. Theres 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 dont
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, well 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 well do whatever
kind of deal makes sense, whether its a work-
for-hire, spec deal or a combination. It depends
on the artist, the situation and what we think is
best for them. Well do whatever it takes, you
name it: production, promotion, even distribution.
In fact, were starting to cover so many areas of
the business were 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 MCs Annual Directory of
Recording Studios, starting on p. 60.
We also have an all-female
tech staff. I dont 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
48 June 2012


M
usic Connections 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 years outlook is extremely positive. In fact,
its better than weve 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 todays recording world.
{Percentages have been rounded up to the next whole number.}
M
by Bernard Baur
BUSINESS IS HEALTHY
For the frst time in a long while studio
personnel reported a signifcant increase in
business. The reason for the dramatic rise,
according to the surveys respondents, is that
artists and producers have come to realize that
they need a professional quality product if
they hope to compete in todays marketplace.
As a result, professional studios are booking
more self-fnanced 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, fxing 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 dont cut it anymore. As such, fxing
and mixing are not so prevalent as they were.
It seems people have learned the value of
doing it right the frst 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 years 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 fnally taking hold.
Indeed, many commercial studios are enjoying
the healthiest turn-around theyve seen in
years.
6. POST-PRODUCTION (TV & Film)
The Same - 90%
More - 10% Less - 0%
48 June 2012


SONG DEMOS ARE ON THE RISE
Last 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-PURPOSE
Studio rooms are no longer used just to
record music. Theyre used to celebrate
it as well. When a project is fnishedits
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
flm 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%
Signifcant - 60% (Emailing Tracks, Mixes, etc.)
SOCIAL NETWORKS & ADVERTISING
ENGAGE CLIENTS
Word-of-mouth from satisfed 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
profle 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 fow 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 MCs charts for the frst 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
2007
2008
2009
2010
2007
2008
2009
2010
2010
2010
2009
2009
2008
2008
2007
2007
2011
2012
2011
2012
}
}
}
MAJOR LABELS
}
STUDIOS HAVE BECOME DESTINATIONS
Studios 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 POPULAR
Pop musicas in name your favorite genre slash pophas
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 frst 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 afcionados 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
frst 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 specifc genres)
P
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50 June 2012


By Andy Kaufmann
INDUSTRY PROFILE
M
aking it as an artist today means doing more than ever before. Acting
as ones own manager, booking agent and label can become over-
whelming to the point that music itself becomes an afterthought. Matt
Urmy knows frsthand the difficulties of handling ones career while touring.
As a 10-year road warrior, he grew dissatisfed 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 fnancing. Going live on Jan. 17, Artist Growths 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. Its currently
available for iPhone, Android and through the web at http://artistgrowth.com.
One can easily imagine a scenario where the apps 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 ones phone. Expect
other publishers to be onboard soon.
CEO Urmys 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. Its a tool he uses as he puts the fnishing touches
on an album hes making with legendary producer and songwriter Cowboy
Jack Clement. I once had glove compartments full of [receipts], he admits.
Those days are over.
Another beneft to the monthly subscription model is that the app remains
ad free. We didnt want to push anything on our users that we didnt feel
would be useful to them, explains Urmy. Artists and bands struggle enough
with being turned into billboards that serve other peoples interests. Its a
philosophy that meshes with the desire to create an artist-facing service,
rather than something that primarily satisfes 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, Its 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 DIDNT WANT TO PUSH ANYTHING ON OUR USERS
THAT WE DIDNT FEEL WOULD BE USEFUL TO THEM.
Saving
$
with a Breakthrough Mobile Platform
Keeps track of
upcoming gigs and
merch, searches
a database of
venue, radio,
press contacts,
contains videos of
industry notables
offering advicea
dashboard for your
career.
the app to facilitate communication by unifying the industrys 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 frm. 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 musicians
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 peoples 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
frst-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
didnt realize. Training people,
thats always the big chal-
lenge.
Contact
matt@artistgrowth.com
Matt Urmy
50 June 2012


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52 June 2012


CD REVIEWS CD REVIEWS
In 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 Pickups
Neck of the Woods
Dangerbird Records
Producer: Jacknife Lee
ijklmnopqrs
ijklmnopqrs
After hearing this release but before
writing a review, I Googled how many
other reviewers compare this band to
Smashing PumpkinsIm clearly not
alone. This CD is a fnely 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 Lees produc-
tion accentuates and marries perfectly
the bands 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 Im Not
Cool have hooks so barbed they could
reel in the worlds biggest fsh. Yet the
level of banal superfciality 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 Rabin
Jacaranda
Varese Records
Producer: Trevor Rabin
Rsenkpf
Rsenkpf
Weird Records
Producer: Rsenkpf
Eric Hutchinson
Moving Up Living Down
Warner Brothers
Producers: Various
SpaceGhostPurp
Mysterious Phonk...
4AD
Producer: SpaceGhostPurp
Die Pretty
Beyond Fate
Global Creative
Producers: Various
Chris Robinson Brotherhood
Big Moon Ritual
Silver Arrow / Megaforce Records
Producer: Thom Monahan
ijklmnopqrs
Yes, pinch hitter and flm composer
Trevor Rabin releases his frst solo
record in 23 years. He wrote Yes big-
gest hit Owner of a Lonely Heart and
flm scores for National Treasure, Ar-
mageddon, and The Sorcerers 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, fawless classical piano
compositions and lush fngerstyle gui-
tar excursions. Its an aural buffet of
seamlessly conjoined moods, textures
and groovesfying miles ahead of his
contemporaries. Oscar Jordan
ijklmnopqrs
ijklmnopqrs
ijklmnopqrs
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 fourishes 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 Rsenkpf.
It doesnt matter how they got their
name or where they are from (the town
in Germany that was the frst to grant
Hitler honorary citizenship?), what mat-
ters is their live-electronic approach
which combines darkwave synths and
post-rock beatsis an assault on the
senses and is sure to get you ready for
a paganistic ritual near you. And would
you believe that Sren Ri says this is
his softest band yet?Daniel Siwek
You know when you are watching
MSNBCs Lock Up, the quiet ones are
always the scariest? They discuss how
they sliced up a rival gang member
as if they were flleting a pre-sliced
English muffin, with a calmness that al-
most betrays their ferocity. Well, when
hes talking about drugs, thugs and
female companions, SpaceChostPurp
is equally cucumber cool, and volatile.
His Miami is much darker than the
fuorescent fashion show of Crockett &
Tubbs, and his nighttime action drama
seems dramatically real. Sonically, hes
got the alien-ness of Odd Future, with
track after track playing in half-time as if
you fipped the 45 party jam down to a
sleepwalking 33, adding intensity to his
focused delivery. Daniel Siwek
ijklmnopqrs
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 ones ship to come
in. The frst 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
ijklmnopqrs
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 ones collection.
Sarah Whited
52 June 2012


www.musicconnection.com 53
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Basement Jaxx Robert Earl Keen Monte Lipman (President, Universal Republic Records) Dan McCarroll (President, Capitol & Virgin Label Group) Alison Donald
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54 June 2012


Music Connections 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 fnal score of 5 denotes an average, competent artist. For more information, see Submission Guidelines on next the page.
NEW MUSIC CRITIQUES
Production
Lyrics
Music
Vocals
Musicianship
9
9
9
9
9
Production
Lyrics
Music
Vocals
Musicianship
9
9
8
9
9
Production
Lyrics
Music
Vocals
Musicianship
8
8
8
8
8
Production
Lyrics
Music
Vocals
Musicianship
8
7
7
9
9
Production
Lyrics
Music
Vocals
Musicianship
8
7
8
9
7
Production
Lyrics
Music
Vocals
Musicianship
8
7
8
8
8
Rachel Sierra
Contact: booking@xactproduction.com
Web: rachelsierra.com
Seeking: Film/TV, Booking
Style: R&B, Soul, Blues
Username: rachelsierra
The Feud
Contact: thefeudband@yahoo.com,
+44 7708 903 619
Web: thefeud.net
Seeking: Label, Film/TV, Booking, PR
Style: Alternative/Rock/Electro
Username: thefeud
S
ierra'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.
T
his 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 energyeven
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: brett@zodlounge.com
Web: justincarlsonmusic.com
Seeking: Film/TV, Management
Style: Singer-Songwriter
Username: justincarlson
Brodyman
Contact: wcapt01@aol.com, 267-978-3195
Web: reverbnation.com/brodyman
Seeking: Label
Style: Rap/Hip-Hop
Username: brodyman
C
arlson 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.
W
e 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: dayoftheoutlaw@gmail.com,
615-669-1193
Web: dayoftheoutlaw.bandcamp.com
Seeking: Label, Mgr, Distr., Film/TV
Style: Americana, Southern Rock
Username: day of the outlaw
Joy Askew
Contact: patrice@septembergurl.com
Web: joyaskew.com
Seeking: Film/TV, Manager, Booking
Style: Songwriter, Folk/Rock, Indie
Username: joyaskew
D
eftly 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.
G
uitar-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.
54 June 2012


Production
Lyrics
Music
Vocals
Musicianship
7
8
7
8
8
Production
Lyrics
Music
Vocals
Musicianship
7
8
8
6
8
Production
Lyrics
Music
Vocals
Musicianship
7
7
8
7
7
Production
Lyrics
Music
Vocals
Musicianship
7
7
7
7
7
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, willie@
willieames.com
Web: fb.com/willie.ames
Seeking: Label, Film/TV, Distribution
Style: Alt-Folk
Username: willie ames
Lea Marie
Contact: Richard Swor, 917-747-2534
Web: leamariemusic.com
Seeking: Label, Mgmt, Booking
Style: Pop
Username: leamariemusic
E
arthy 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.
A
rtist 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, shizzleinfo@
yahoo.com
Web: soundcloud.com/green-stamp
Seeking: Distr., Film/TV, Booking
Style: Hip-Hop
Username: dax d-shizzle harris
The Nightbirds
Contact: thenightbirdsrock@gmail.com
Web: soundcloud.com/thenightbirds
Seeking: Label, Booking, Film/TV
Style: Alt-Rock/Progressive Darkwave
Username: thenightbirds
R
ap 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.
U
K 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.
Production
Lyrics
Music
Vocals
Musicianship
8
7
7
8
7
Production
Lyrics
Music
Vocals
Musicianship
7
7
8
7
8
Sandbox
Contact: 818-687-4637, shane@
sandbox-music.com
Web: sandbox-music.com
Seeking: Film/TV, Radio, Booking
Style: Indie Rock
Username: sandbox music
Dogs & Bones
Contact: dogsandbones@gmail.com
Web: dogsandbonesband.com
Seeking: Film/TV, Booking, Promotion,
Distribution
Style: Classic Rock/Blues/Psychobilly
Username: philcohen
F
ringe 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.
W
ith 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 moveand 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
56 June 2012


Coyote Kolb: Blues that fall between dance party and plaintive howl.
Coyote Kolb
Rosebud
Somerville, MA
Contact: coyotekolbband@gmail.com
Web: http://coyotekolb.com
The Players: Noel Coakley, pedal steel, banjo;
Owen Beane, bass; Matty Maybruck, drums;
Sonny Jim Clifford, blues harp, slide guitar;
Chadley Kolb, vocals, guitar.
Username: coyotekolbband@gmail.com
Material: Like a mash-up of deep South outlaw
attitude and country fecked melancholiasay
Dixie Dregs by way of Willie Nelsonthese
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: Its 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 groups
name came toward the end of the
40-minute set. For that matter,
there wasnt 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 songsif only
divulging their nameswould
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 dont offer
anything unusual that demands
attention, but why quibble when
the musics 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 Daniels 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.
Britton
Molly Malones
West Hollywood, CA
Contact: Kyle Britton, kabritton3@gmail.com,
719-214-4682
Web: http://reverbnation.com/brittonmusic
The 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 infuence 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 Pettys Free Fallin.
Other greats, like Jeff Buckley, come to mind
throughout Brittons 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 fne 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 fashy. Kendrick Thompson
on drums has a sound thats appropriate for the
band, but he shows moments of weakness, losing
time occasionally on flls. 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 Brittons
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
songs arrangement was natural, but the drama
fell fat 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 worlds 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
56 June 2012


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 Surreal
Catalina Jazz Club
Hollywood, CA

Contact: theorchestresurrealpress@gmail.com,
310-498-4578
Web: http://theorchestresurreal.com
The 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 fnale 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
outft. Perhaps the projection is more suitable to
a bigger venue. On the upside, the presence of
glockenspiel, xylophone and timpani ft 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 bands 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 flm.

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 Hendrixs
Fire. The best one was based on Luciano Pa-
varotti & James Browns duet of This Is A Mans
WorldAntonie the Real-Diel sang both parts
passionately and received rousing applause.
One of the more unusual aspects of the Or-
chestres 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 afcionados looking for something fresh.
Jessica Aves
Sean Waterman
Room 5
Los Angeles, CA
Contact: seanwatermanmusic@live.com
Web: http://seanwaterman.com
The Players: Sean Waterman, vocals, guitar.
Username: seanwaterman
Material: Sean Waterman is a singer-songwriter
by defnition with well-crafted lyrics and melodies.
However, the sincerity he exudes offers so much
more. No matter the premisethe 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: Watermans fngers glide eleg-
antly across the strings with a fnesse 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 Zeppelins
Thats 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
58 June 2012


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 Vicious
Chelsea Hotel
Shibuya, Tokyo, Japan
Contact: veniuk@live.jp
Web: http://venividivicious.jp
The 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 Schools
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 Nirvanas Bleach
via Blur, and adapted for some funky 8/8 synco-
pation. Good Days wouldnt 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 frontmans 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, la Soundgarden. The audi-
ence came to see this bands musicianship, stay-
ing rapt to the stage. The band obliged, barely
speaking during the whole set. Ryosuke an-
nounced the bands name after the frst 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 fnd 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 Daly
Trip
Santa Monica, CA
Contact: Neil Daly, neil@neildaly.com
Web: http://reverbnation.com/neildaly
The 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 fts 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 Jovis 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 fll
out his sound.
Performance: Confdence 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 conficted 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
confdence, he has the potential to grow into a
unique and special artist.
Tim Reid, Jr.
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LIVE REVIEWS
58 June 2012


Reina Williams: Solo artist whos not afraid to express what she feels.
William Tyler: Guitar afcionado with the ability to fashion a melodic, electric glory with a single instrument.
Reina Williams
Red Lion
New York, NY
Contact: rwpmusic@gmail.com
Web: http://reinawilliams.com
The 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 benefts
but something I can call mine. Her renditions
of Billy Oceans Caribbean Queen and Sades
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 confdent 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 fnesse.

Performance: The setting was informala bar/
restaurant featuring music as opposed to a strict
listening room. In that environment, its 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 Tyler
The End
Nashville, TN
Contact: michelle@panacherock.com
Web: http://williamtyler.net
The Players: William Tyler, guitar.
Username: pending
Material: The mention of William Tyler (of Nash-
villes 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, hes a revered
guitar afcionado known for his uncanny ability
to fashion a melodic, electric glory with a single
instrumentand then spread it further with a
delay pedal. Like all true guitar craftsmen, from
Jimmy Page to Eric Clapton, Tyler cant really
be pinned as a sounds like. While a southern
infuence 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 Tylers precise but loose,
frantic fngerplucking. The very nature of the
music he makes seems to create an environment
suited for him to create music in the frst 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 fowas does his audience
which is apparent as he leans back and forth in
sync with the guitars 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 wordsave 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 Nashvilles most
expressive, obsessive guitarists. With respect to
creating an enormous range of sounds with a just
one instrument, he succeeds. It flled the room.
Jessica Pace
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60 June 2012

www.musicconnection.com June 2012

Download This Directory From Our Website www.musicconnection.com/amp
Compiled By Denise Coso
Download This Directory From Our Website: www.musicconnection.com/amp
Recording Studios
Alabama
BIRDLAND RECORDING STUDIOS
4891 County Rd. 585
Town Creek, AL 35672
256-466-4312
E-mail: simpsonjp@aol.com,
owenwbrown@hotmail.com
Web: www.birdlandstudios.com
Contact: 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 256-381-6337
Web: www.fame2.com
Format: Pro Tools and vintage analog
Basic Rate: please call for info
GAT3 MIDSOUTH
1820 U.S. Hwy 278
Gadsden, AL 35903
704-525-5552
E-mail: susan@gat3.com
Web: www.gat3.com
Contact: Susan K Tabor
Format: A Room Pro Tools HD / SSL A/D
Converters, B Room - Pro Tools LE /48 track
Mackie HDR
Basic Rate: $95/hr. 2 hour minimum
$680/8hr. day
RIVERLAND RECORDING STUDIOS
509 Talucah Rd.
Valhermoso Springs, AL 35775
256-778-4050.
Web: www.riverlandrecording.com
Format: Alesis HD 24, Pro Tools LE
SOUND CELL/SMITH MUSIC GRP, INC.
601 Meridian St.
Huntsville, AL 35811
256-539-1868, 800-933-2688
E-mail: soundcell@soundcell.com
Web: www.soundcell.com
Format: Pro Tools
SOUND OF BIRMINGHAM RECORDING
3625 5th Ave.
S. Birmingham, AL 35222
205-595-8497
E-mail: don@soundofbirmingham.com
Web: soundofbirmingham.com
Contact: Don Mosley
Alaska
10TH PLANET
810 Amanita Rd.
Fairbanks, AK 99712
907-488-8658
E-mail: 10planet@mosquitonet.com
Web: www.10thplanet.com
Contact: R. Ford or P. Fitzgerald
Format: digital
DOME STUDIOS
1912 Gilmore Trail
Fairbanks, AK 99712
907-457-1993, 907-456-6734
E-mail: domestudios@alaskajam.com
Web: www.alaskajam.com/domestudios.html
Contact: Jerry or Rif
Format: Tascam 16 track 1-inch analog tape
FM RECORDING STUDIOS, LLC
4134 Ingra, Ste. 101B
Anchorage, AK 99503
907-563-0003
E-mail: digitalholdlines@GCI.net
Format: digital
MIRROR STUDIOS, INC.
3700 Woodland Dr., Ste. 100
Anchorage, AK 99517
888-808-8894, 907-245-8888
E-mail: admin@mirrorstudios.com
Web: www.mirrorstudios.com
Format: Pro Tools HD3
SURREAL STUDIOS
355 W. Potter Dr.
Anchorage, AK 99518
907-562-3754
E-mail: surrealstudiosak@gmail.com
Web: www.surrealstudios.com
Contact: Kurt Riemann
Format: digital Pro Tools
Basic Rate: $100/hr.
Arizona
BRICK ROAD STUDIOS
7944 E. Beck Ln., Ste. 160
Scottsdale, AZ 85260
480-788-3573
E-mail: scott@southweststudios.com
Web: www.brickroadstudio.com
Contact: Scott Leader
Format: call for info
Basic Rate: $450/day $75/hr or fat rate for
larger projects
FULL WELL RECORDING STUDIO
1718 N. 17th Ave.
Phoenix, AZ 85007
602-367-1342
E-mail: mike@idnmusic.com
Web: www.idnmusic.com/studio
Contact: Mike Bolenbach
LUNA RECORDING STUDIO
4500 E. Speedway Blvd., Ste. 86
Tucson, AZ 85712
520-260-7576
E-mail: producer@lunarecording.com
Web: www.lunarecording.com
Contact: George Nardo
Format: Pro Tools HD
Basic Rate: $50/hr. block bookings available
NOVA MUSIC PRODUCTIONS
Tucson, AZ
520-271-2683, 520-578-2970
E-mail: novamusic@novamusic
productions.com
Web: www.novamusicproductions.com
Contact: Mikey
Format: Full production, arrangement,
recording, mixing, mastering
Basic Rate: $45/hr.
SALTMINE STUDIO OASIS, THE
48 S. MacDonald St.
Mesa, AZ 85210
480-220-4007 Fax 480-507-0704
E-mail: info@thesaltmine.com
Web: www.thesaltmine.com
Contact: Don
Format: digital and analog
Arkansas
BLACKWATER RECORDING STUDIOS
Cabot, AR 72023
501-843-9522
Web: www.blackwaterstudios.com
Contact: Michael Sharpe
BLUE CHAIR RECORDING STUDIO
Austin, AR
501-605-8489
E-mail: darian@classicnet.net
Web: bluechairrecordingstudio.com,
www.myspace.com/bluechairstudio
CEDAR CREST STUDIO
CR 830, Ste. 17
Henderson, AR 72544
870-488-5777
E-mail: cedarcrest@springfeld.net
Web: www.cedarcreststudio.com
Contact: Bob Ketchum
Format: analog 1-inch 16-track, digital PC w/
Sony ACID Pro 6.0, Sony Vegas
Basic Rate: Audio $65/hr. Video $75/hr.
CRYSTAL RECORDING STUDIOS
2307 Brandon Rd.
Bryant, AR
501-847-8215
E-mail: ray@crystalrecordingstudios.com
Web: crystalrecordingstudios.com
Basic Rate: $45/hr.
Bulk special is $35/hr
DAWSON MUSIC AND RECORDING STUDIO
575 Hwy 95 W.
Clinton, AR 72031
501-745-2025
Web: www.dawsonmusicandstudio.com
Contact: Louis Dawson, owner
EAST HALL RECORDING
Fayetteville, AR
479-582-EAST
E-mail: info@easthall.com
Web: www.easthall.com, www.myspace.com/
easthallrecording
Basic Rate: $45/hr
PRODUCTION CO., THE
510 N. Mt. Olive
Siloam Springs, AR 72761
479-524-4626
E-mail: theproco@cox.net
Contact: Ken Flory
Format: Digital 24 track
Basic Rate: $50/hr.
RANEY RECORDING STUDIO
P.O. Box 17
110 S. Front St.
Drasco, AR 72530-9282
870-668-3222 or 668-3698
Fax 870-668-3520
E-mail: jon@raneyrecordingstudio.com
Web: www.raneyrecordingstudio.com
STARBORN STUDIOS
5100 B Towson Ave.
Fort Smith, AR 72901
479-648-1020
E-mail: info@starbornstudios.com
Web: http://starbornstudios.com
WINTERWOOD RECORDING STUDIOS
1442 CR 1531
Eureka Springs, AR 72632
479-253-2530
E-mail: winterwoodstudio@aol.com
Web: www.winterwoodstudios.com
Contact: Eric T. Schabacker
Format: Nuendo, Cuebase, Pro Tools
Basic Rate: $60-$75/hr.
WOLFMAN STUDIOS
Little Rock, AR
501-247-5525
E-mail: jason@wolfmanrecordingstudios.com
Web: www.wolfmanrecordingstudios com
California/Northern
ALIEN PRODUCTIONS STUDIOS
4100 Wayside Ln., Ste. 120
Carmichael, CA 95608
916-483-9988
Contact: Jeff Northrup
E-mail: alienproductions@att.net
Web: www.alien1111.com
Format: digital recording, mixing,
mastering and music production
Basic Rate: $35 per hour, $250 8 hour block.
ANNEX STUDIOS, THE
970 OBrien Dr.
Menlo Park, CA 94025
650-328-8338 Fax 650-325-6890
E-mail: tony@theannex.us
Web: www.theannex.us
Contact: Tony Wentzel
Basic Rate: call for info
BAY RECORDS
3365 S. Lucille Ln.
Lafayette, CA 94549
510-428-2002
E-mail: mcogan@bayrec.com
Web: www.bayrec.com
Contact: Michael Cogan
Format: 24-track analog and Pro Tools HD
Basic Rate: Call or e-mail
BLUE SEVEN AUDIO
Central Fremont
Fremont, CA 94538
650-766-7212
E-mail: csc@bluesevenaudio.com
Web: www.bluesevenaudio.com
Contact: Chris
Basic Rate: $50/hr. $450/day project rate
negotiable
CRYSTAL IMAGE FULL BAND DEMOS
P.O. Box 996
Jackson, CA 95642
E-mail: crystali@volcano.net
Web: www.myspace.com/the88bar
Contact: John Covert
Format: digital and analog, 16 tracks
Basic Rate: $60 per demo (rates can vary with
repeat orders or complexity of order. E-mail us
with your budget)
DAVID LITWIN PRODUCTIONS
2658 Bridgeway, Ste. 101
Sausalito, CA 94965
415-332-9409
E-mail: info@davidlitwinproductions.com
Web: www.davidlitwinproductions.com
Contact: David
Basic Rate: $100/hr., $120/hr weekends.
Flexible rates for longer bookings.
DIFFERENT FUR
3470 19th St.
San Francisco, CA 94100
415-828-4060
E-mail: Lindsay@differentfurstudios.com
Web: www.differentfurstudios.com
Contact: Lindsay
Format: SSL 4056/48e | Pro Tools HD3
Version 8
FANTASY STUDIOS
2600 Tenth St.
Berkeley, CA 94710
510-486-2038 Fax 510 486-2248
E-mail: jwood@fantasystudios.com
Web: www.fantasystudios.com
Contact: Jeffery Wood
Format: Pro Tools and analog
Clients: Please check our website
HYDE STREET STUDIOS
245 Hyde St.
415-441-8934
E-mail: info@hydestreet.com
Web: www.hydestreet.com
SF SOUNDWORKS SSL9000
415-503-1110
E-mail: info@sfsoundworks.com
Web: www.sfsoundworks.com
Contact: Tony Espinoza
SONOMA MOUNTAIN STUDIO ESTATE
369B Third St., #171
San Rafael, CA 94901
707-665-0849
E-mail: info@studioestate.com
Web: www.studioestate.com/studio.html
Format: Digital and Analog
THE SOUND THEORY
1141 Campbell Ave
San Jose, CA 95126
408-921-1550
E-mail: record@thesoundtheory.com
Web: www.thesoundtheory.com
Contact: Rico. Chief Engineer/Producer
T
his 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
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Format: Pro Tools HD hydrid Analog & Digital
Basic Rate: Call or visit for info
California/Southern
17 HERTZ STudioS
27057 Industrial Blvd.
Hayward, CA 94545-3355
866-826-4379
E-mail: jg@17hertz.com
Web: www.17hertz.com
Contact: Jason Gluz
Format: Pro Tools HD3/192
Basic Rate: call for rates
Clients: Black Eyed Peas, the Jabbawockeez,
Bobby V, the Jacka, Aaron Carter
1ST CHoiCE STudio
1259 Bruce Ave.
Glendale, CA 91202
818-246-6858
E-mail: info@billkeis.com
Web: www.billkeis.com
Contact: Bill or Rita
Format: digital
Services: production, recording, mixing,
mastering, singer-songwriter demos and
masters, all styles including classical music.
Also available: keyboard player, arranging,
composition, drum programming.
4TH STREET RECoRdiNG
1211 4th St.
Santa Monica, CA 90401
310-395-9114 Fax 310-394-7772
E-mail: info@4thstreetrecording.com
Web: www.4thstreetrecording.com
Contact: Kathleen Wirt
Basic Rate: $50-90/hr
Gear: 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, Jacks 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 LAs
17 Temples of Sound, Hollywood Reporter
2012
21ST CENTuRY STudio
Silverlake, CA (near Satellite)
323-661-3130
Web: 21stcenturystudio.com
Contact: Burt Levine
Format: Digital/Analog
AAA JiMMY HuNTERS CAZAdoR
RECoRdiNG oF HoLLYWood, CA
Los Angeles, CA 90048
323-655-0615
E-mail:jimmy@jimmyhunter.com
Web:www.jimmyhunter.com
Contact: Jimmy Hunter, producer/engineer/
drummer/vocalist/vocal coach
Format: 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 ViSuAL
4212 Hackett Ave.
Lakewood, CA 90713-3208
562-429-1042, Toll Free: 877-ABAUDIO
(877-222-8346) Fax 562-429-2401
E-mail: media@abaudio.com
Web: www.abaudio.com
Contact: Arlan Boll
ABET MuSiC
411 E. Huntington Dr., Ste. 170-372
Arcadia, CA 91006
626-303-4114 Fax 626-236-5591
E-mail: support@abetmusic.com
Web: www.abetmusic.com
Contact: Aeron K. Nersoya
ACdC Audio Cd & CASSETTE
12426 1/2 Ventura Blvd.
Studio City, CA 91604
818-762-2232
E-mail: steve@acdc-cdr.com
Web: www.acdc-cdr.com
Contact: Steve Mitchell
AdAMoS RECoRdiNG
5811 Westminster Ave.
Westminster, CA 92683
714-897-8886
Web: www.adamosrecording.com
Contact: adamos.recording@verizon.net
AdVENTuRES iN ModERN RECoRdiNG
W. Los Angeles, CA
323-375-4267
E-mail: amrdaniell@gmail.com
Web: www.adventures inmodernrecording.com
Contact: Daniell Holcomb
Format: digital, Pro Tools 9
Basic Rate: $50/hr.
AFTER HouRS RECoRdiNG Co.
1607 Victory Blvd., Ste F
Glendale, CA 91201
818-246-6583 Fax 818-246-6584
E-mail: arecording@netzero.net
Contact: Bill
Basic Rate: $35/hr.
ALLiEd PoST
1158 26th St., #272
310-392-8280
Contact: Woody
Web: www.alliedpost.com
AMBER SKY MuSiC PRoduCTioN
P.O. Box 2164
Toluca Lake, CA 91610
818-788-6840
E-mail: amberskystudio@earthlink.net
Contact: Rick Kraushaar
Format: digital, 48 tracks
Basic Rate: $40/hr.
AMERAYCAN RECoRdiNG STudioS
5719 Lankershim Blvd.
N. Hollywood, CA
818-760-8733
E-mail: info@paramountrecording.com
Web: www.paramountrecording.com
Format: digital and analog, 96+ tracks
Basic Rate: call for daily lockout rates
ANdY CAHAN-dEMo doCToR
Cathedral City, CA
818-489-4490
E-mail: andycahan@verizon.net
Web: www.allentertainment.net
Contact: Andy
ARdENT Audio PRoduCTioNS
22122 S. Vermont Ave., Unit E
Torrance, CA 90502
310-782-0125
E-mail: rwenzelaap@aol.com
Contact: Rich Wenzel
Facebook:https://www.fb.com/
ardentaudioproductions
Web: www.aap123.com, www.myspace.com/
ardentaudio
Format: Pro Tools HD-3
Gear: Pro Tools HD-3, Digi-Focusrite Control
24 Control Surface, Millennia & Avalon mic
pres. Universal Audio 1176LN, Manley
& Demeter Compressors, ADATs. 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 Projects
Clients: 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
62 June 2012


Clearly creative.
C L E A R A S
sales@prismsound.com | www.prismsound.com | UK +44 (0)1353 648888 | USA +1 973 983 9577
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OrpheusMusiccon7.375x4.875adMAY12:Layout 1 21/05/2012 16:21 Page 1
hard to give you the high-end product youre
looking for. Studio was conceptualized by
musicians for musicians.
A ROOM WITH A VU
Santa Barbara, CA 93111
805-967-9494
E-mail: aroomwithavu@gmail.com
Contact: Don
Format: ISDN, digital and analog
ARTISANS LABEL RECORDING STUDIO
2454 Fender Ave.
Fullerton, CA 92831
888-345-4749
E-mail: service@artisanslabel.com
Web: www.artisanslabel.com
Contact: Michael Filson
ARTIS MUSICAI
P.O. Box 3486
Chatsworth, CA 91313
747-224-7165
E-mail: gussie@artismusicai.com
Web: www.artismusicai.com
Contact: Gussie Miller
Format: digital, unlimited tracks
A SMOOTH SOUND
13649 Vanowen St.
Van Nuys, CA 91405
818-779-1259
E-mail: smoothsounds@sbcglobal.net
Web: www.smoothsoundmultimedia.com
Format: digital and analog, 32 tracks, Pro
Tools HD
ASPENS PLACE RECORDING
1547 Truman St.
San Fernando, CA 91340
818-512-4500
E-mail: aspen@aspenandassoc.com
Web: www.aspenandassoc.com, http://fb.com/
aspensplacerecording
Contact: Aspen Pittman
Format: 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 PH
Studio 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 PH
Control Room only Weekly @ $250 (5
consecutive days, 8 hour day). w/ engineer add
$25 PH, w/ Engineer & Producer add $50 PH
ATOMIX STUDIOS
Van Nuys, CA
E-mail: atomixmedia@mac.com
Web: www.myspace.com/atomixstudios
Contact: Tom
Format: Analog and Digital
Basic Rate: inquire for rates
AUDIOLOT STUDIOS
323-464-9900, 888-224-3343
E-mail: info@audiolot.com
Web: www.audiolot.com/studios
Contact: Joshua Aaron
Basic Rate: $750/day
AUDIO MECHANICS
1200 W. Magnolia Blvd.
Burbank, CA 91506
818-846-5525
E-mail: info@audiomechanics.com
Web: www.audiomechanics.com
Contact: John Polito
BACKYARD PRODUCTIONS
Van Nuys, CA 91405
818-780-7845 Fax 818-780-7845
E-mail: hughjames@sbcglobal.net
Web: www.backyardrecording.com,
www.hughjamesmusic.com
Contact: Hugh James
Basic Rate: variable rates: per hour & per
project
Format: digital and analog, recording &
production
Gear: 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 Amplifer 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 updates
Special 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 vibe
Clients: Arista Records, Aaron Lines, Hugh
James, Warner Chappell, Robert Townsend,
Clara Lynn Mayer, Studio Referral Service
Comments: 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 PRODUCTIONS
13445 Crewe St.
Van Nuys, CA 91405
Contact: Lovy Longomba or
Benjamin Ochieng
E-mail: mike@badmanprod.com
Web: www.badmanprod.com
Services: Pro Tools, Control 24 board,
Reason, Logic
BATTLE PANDA PRODUCTIONS
RECORDING STUDIO
7519 Collett Ave.
Van Nuys, CA 91406
316-516-0832
E-mail: battlepandaproductions@gmail.com
or kirkdan@gmail.com
Web: www.battlepandaproductions.com
Contact: Dan or Joe
Format: 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, LLC
2416 Amsler St., Ste. 2
Torrance, CA 90503
310-530-9600
E-mail: beachcitiesrecrording@gmail.com
Web: www.beachcitiesrecording.com
BERNIE BECKER RECORDING &
MASTERING
35 West Dayton St.
Pasadena, CA 91105
626-304-1682 Fax 626-304-1683
E-mail: bernie@berniebecker.com
Web: www.berniebecker.com
Contact: Bernie Becker

BIG CITY RECORDING STUDIOS
17021 Chatsworth St.
Granada Hills, CA 91344
818-366-0995
E-mail: paul@bigcityrecording.com
Contact: Paul
Web: www.bigcityrecording.com
Format: digital and analog, unlimited tracks
BIG SCARY TREE
Downtown Artists Loft District
Los Angeles, CA
213-680-8733
E-mail: bigscarytree@gmail.com
Web: www.bigscarytree.com
BIG SURPRISE MUSIC
16161 Ventura Blvd., Ste. C #522
Encino, CA. 91436
818-905-7676
E-mail: info@carmengrillo.com
Contact: Carmen Grillo
Web: www.bigsurprisemusic.com
63 62 June 2012


This was the genesis of the Focusrite brand and an uninterrupted
progression of the ISA family from then until now. The ISA (Input Signal
Amplifer) microphone preamplifer, 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 weve 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.
Its ours too - Sound is Everything.
In 1987 Focusrite, then owned by Mr Rupert Neve,
introduced the ISA 110 wide bandwidth Microphone
preamplifer 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 flter).
Frequency response at 60dB gain -2.5dB at 20Hz., -3dB at 120kHz.
64 June 2012


Basic Rate: $50/hr.
BIG SWEDE STUDIOS
621 S. Spring St., Ste. 1208
213-629-4940 Fax 213-629-4940
E-mail: bigswede@bigswedestudios.com
Contact: Big Swede
Web: www.bigswedestudios.com
BILL CORKERY STUDIOS
Studio for Creative Audio
1660 Hotel Cir. N., Ste. 107
San Diego, CA 92108
619-291-8090
E-mail: bcorkery@bcproductions.com
Web: www.bcproductions.com
Contact: Bill
Format: digital
BITWERX
N. Hollywood, CA
818-985-8078
Contact: Eddie Rogers
E-mail: eddie@bitwerxstudios.com
Format: digital & analog
Web: www.bitwerxstudios.com
BLUE RHODE STUDIOS
10520 Burbank Blvd.
N. Hollywood, CA 91601
323-842-0269
E-mail: ad@bluerhode.com
Web: www.bluerhode.com
Contact: Andrew De Lucia, President & CEO
Format: digital, Pro Tools 9, Reason;
and analog
Basic Rate: e-mail or call for more info
BLUE TURTLE PRODUCTIONS
213-458-2583, 818-339-3238
E-mail: thierry@blueturtleproductions.net
Web: blueturtleproductions.net
Contact: Thierry or Zave
BRIAN GARCIA PRODUCTIONS
(Sonic Muse Productions)
Los Angeles / Pasadena, CA
626-487-0410
E-mail: record@wt.net
Web: www.briangarcia.net
Contact: Brian Garcia
Format: Digital / 192 tracks
Basic Rate: call for hourly, daily or project
rates
BRICK HOUSE STUDIOS
Hollywood, CA 90068
818-562-6132
E-mail: camieamber@yahoo.com
Web: www.brickhousehollywood.com
Basic Rate: please see website for info
BRIGHT ORANGE STUDIOS
7657 Winnetka Ave., Ste. 200
818-645-1415
E-mail: jon@brightorangestudios.com
Web: www.brightorangestudios.com
Contact: Jon Mattox
Format: digital and analog, Pro Tools
and Logic
BRODSKY ENTERTAINMENT
Beverly Hills, Boston, Meriden
Web: brodskyentertainment.com
Format: Digital Performer, Logic
BRUCE HANIFAN PRODUCTIONS
9023 Beverlywood St.
310-559-4522
E-mail: info@brucehanifan.com
Contact: Jan Aldrin
Web: www.brucehanifan.com
Format: digital 64+ tracks
CALIFORNIA SOUND STUDIOS, INC.
25651 Atlantic Ocean Dr., Ste. A16
Lake Forest, CA 92630
949-855-0211 Fax 949-855-0224
E-mail: ingo@casoundstudios.com
Web: www.casoundstudios.com
Contact: Nathan Wright
CAPITOL RECORDING STUDIOS
1750 N. Vine St.
323-871-5001
E-mail: paula.salvatore@capitolstudios.com
Web: www.capitolstudios.com
Contact: Paula Salvatore
Format: digital Pro Tools and vintage analog
CHALICE RECORDING STUDIO
845 N. Highland Ave.
323-957-7100 Fax 323-957-7110
E-mail: info@chalicerecording.com
Web: www.chalicerecording.com
CHARLES LAURENCE PRODUCTIONS
19002 Los Alimos St.
Northridge, CA 91326
818-368-4962
Contact: Charles Laurence
E-mail: clpmanagement@aol.com
Web: www.clpstudios.com
Format: analog and digital, 24 tracks
CHESSVOLT STUDIOS
Van Nuys, CA 91402
419-827-8411
E-mail: info@chessvolt.com
Web: www.chessvolt.com
Contact: Landry Malick - Studio Manager
Format: Pro Tools HD Accel3 and MCI 2-inch
24 track. Vintage 48 channel Neve Console.
Basic Rate: call for Indie artist specials
CLEAR LAKE RECORDING STUDIOS
10520 Burbank Blvd.
818-762-0707, 216-390-0063
E-mail: cla@clearlakeaudio.com
Web: www.clearlakeaudio.com
Contact: Eric Milos
Basic Rate: call for hourly or project rate
CONSUELO STUDIOS
Hollywood Hills, CA 90068
323-876-1168
E-mail: bretlthompson@earthlink.net
Web: www.consuelostudios.com
Contact: Bret Thompson
Format: Pro Tools HD Native 16x16 IO w/
Vintage Analog Console
CONWAY RECORDING STUDIOS
5100 Melrose Ave.
Hollywood, CA 90038
323-463-2175 Fax 323-463-2479
E-mail: stacey@conwayrecording.com
Web: www.conwayrecording.com
COTTAGE, THE
365 Hollywood Way
Burbank, CA 91505
818-415-5576
E-mail: tedgberg@earthlink.net
CROWN CITY RECORDING
Pasadena, CA
626-403-6833
E-mail: booking.crowncity@gmail.com
Contact: 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 STRINGS
23281 Ventura Blvd.
Woodland Hills, CA 91364
818-222 4600
E-mail: tapetransfers@cupsnstrings.com
Web: www.cupsnstrings.com
Contact: Grey
Format: analog and digital
Gear: Otari MTR 90 MK 3 2-inch 24- and
16-track analog, Otari MTR 90 MK 2 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 Hafer
amplifcation, Custom loudspeakers, assorted
vintage tube and transistor Class A signal
processing
Engineer: 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, McDonalds, Disney,
Warner Bros., UMG, Hans Zimmer, Werner
Herzog, Harry Gregson-Williams, Berlitz, Ella
Fitzgerald Foundation
DANCIN DEER STUDIO
3727 W. Magnolia Blvd., Ste. 459
65 64 June 2012


Burbank CA 91505
818-209-1326
E-mail: studio@dancindeerstudio.com
Contact: Jody
Web: www.dancindeerstudio.com
Format: digital
DAVE WATERBURY PRODUCTIONS
Laurel Canyon and Magnolia Blvds.
Valley Village, CA 91607
818-505-8080
E-mail: davewaterbury91607@yahoo.com
Web: www.davewaterbury.net
Contact: Dave
Format: ProTools HD.2
DBW PRODUCTIONS
818-884-0808
E-mail: info@dbwproductions.com
Web: www.recordla.com
Contact: David Chamberlin
Basic Rate: $70/hr.
Gear: Beautiful 4 room facility with 10-ft
ceilings, large tuned control room with views to
the private grounds. Neve, API, Pacifca 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 Galifanakis, over 70 indie CDs
and 100s of demos produced at DBW, all
styles of music.
DIAMOND DREAMS MUSIC
North OC, Barbon Canyon, CA 91709
909-393-6120
E-mail: info@diamonddreamsmusic.com
Web: www.diamonddreamsmusic.com
Basic Rate: Please call us for a quote
DIFFERENCE RECORDING STUDIOS, THE
Danger City Studios
323-PRO-9070
E-mail: mail@wethedifference.com
Web: www.wethedifference.com
Contact: Adam Gurr & Carlton Douglas
Format: Logic Studio & Pro Tools
EN RECORDERS, THE
P.O. Box 2627
Pasadena, CA 91102
626-529-3066
E-mail: info@thedenrecorders.com
Web: thedenrecorders.com
Contact: Josh Young or Darian Cowgill
Format: digital HD, video-online offline/audio/
mixing/mastering 5.1
DESIGN FX REMOTE RECORDING
P.O. Box 491087
818-843-6555 800-441-4415
E-mail: remote@dfxaudio.com
Web: www.dfxaudio.com
Contact: Scott Peets
Format: API console, Pro Tools, Analog,
portable rigs available
DIAM ENTERTAINMENT
3734 San Fernando Rd.
Glendale, CA 91204
818-662-0670
Web: www.diamentertainment.com
Basic Rate: call for information
D.M. GREMLIN STUDIOS
6053 Atlantic Ave.
Long Beach, CA 90805
866-334-4364
E-mail: studio@dm-gremlin.com
Contact: Wendy Levin
Web: www.dm-gremlin.com
Format: digital
Basic Rate: $35/hr; mastering starts at $50/hr
D.OB. SOUND RECORDING AND
REHEARSALS
8531 Wellsford Pl., Unit I
Santa Fe Springs, CA 90670
562-464-9456
E-mail: dobsound@yahoo.com
Web: http://dobsound.net
Contact: Derek OBrien
Format: Pro Tools HD 2 w/ Trident Console
Basic Rate: $40/hr.
DRUM CHANNEL STUDIOS
900 Del Norte Blvd.
Oxnard, CA 93030
805-822-5359 Fax 805-988-4871
E-mail: studio@drumchannel.com
Web: www.drumchannel.com/studio
Contact: Papillon Zamprioli
Basic Rate: Call for info
DUFFY AUDIO
Sherman Oaks, CA 91401
818-530-2471
E-mail: duffyaudio@gmail.com
Web: www.duffyaudio.com
Contact: Brian Duffy
Format: digital, Pro Tools HD 9
Basic Rate: $35/hr. or per project
EAGLE ROCK STUDIOS
Los Angeles, CA
310-867-9091
Web: www.eaglerockstudios.us
Format: Analog & Digital
EASTWEST RECORDING STUDIOS
6000 W. Sunset Blvd.
Hollywood, CA 90028
323-957-6969 fax 323-957-6966
Contact: Candace Stewart
candace@eastweststudio.com
Web: www.eastweststudio.com
Rates: Call for Daily Rate or Block Bookings
Gear: 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 C12s,
Neumann U67s, Neumann U47s, Neumann
M50s, Telefunken ELA-M 251s, Sony
C55ps, Coles 4038s, Royer R-121s
Services: 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 PRODUCTIONS
1540 N. Highland Ave., Ste. 107
Hollywood, CA 90028
323-467-0383 Cell 310-666 7125
E-mail: ecuasound@sbcglobal.net
Contact: Ivan Castro
Format: Protools
Basic Rate: $70/hr. includes engineer
ELEVATED AUDIO
14677 Aetna St.
Van Nuys, CA 91411
818-909-9029
E-mail: elevatedaudio@gmail.com
Contact: Fran
Web: www.elevated-audio.com
Format: Digital, Analog, or both
EL LABORATORIO
Los Angeles Metro Area
818-489-1911
E-mail:studiopig@aol.com
Web:www.thingsihear.com
Contact: Michael E. Hutch Hutchinson
Format: 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 booth
Basic Rate: Call for information-hourly-daily
ENCORE STUDIOS
721 S. Glenwood Pl.
Burbank, CA 91506
818-842-8300
Basic Rate: call for daily rates.
ENTOURAGE STUDIOS
11115 Magnolia Blvd.
818-505-0001 Fax 818-761-7956
E-mail: guy@e51.biz
Contact: Guy Paonessa
Web: www.entouragestudios.com
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THE ECHO BAR RECORDING STUDIOS
7248 Fulton Ave
North Hollywood, CA 91605
E-mail: info@echobarstudios.com
Web: www.echobarstudios.com
Contact: 818-216-3485 or 818-613 -4731
Format: Protools HD/ Vintage Analoge
66 June 2012


ES AUDIO SERVICES
1746 Victory Blvd.
Glendale, CA 91201
818-505-1007 or 800-880-9112
E-mail: studio@esaudio.com
Web: www.esaudio.com
Contact: Donny Baker
Format: Pro Tools and Logic,
Analog Front End
Basic Rate: Please call for current rates
EXPOSITION REHEARSAL &
RECORDING STUDIOS
9214 Exposition Blvd.
310-287-1236 Fax 310-287-1406
E-mail: contact@expositionstudios.com
Web: ExpositionStudios.com
Studio Specs: Control Room 20ft x 20ft Live
Room 20ft x 12ft
Rates: Please Call For Rates
FACTS OF MUSIC PRODUCTIONS
P.O. 663
818-888-8266
E-mail: philippe@factsofmusic.com
Web: www.factsofmusic.com
Contact: Philippe Willems
Format: digital and analog, infnite tracks
Basic Rate: varies, $75-150/hr.
FIREHOUSE RECORDING STUDIOS
30 W. Dayton St.
Pasadena, CA 91105
626-405-0411 Fax 626-405-0413
E-mail: jason@frehouserecording
studios.com
Web: www.frehouserecordingstudios.com
Contact: Jason
Gear: Pro Tools10 HDX-2/ 64 inputs, Avid ICON
Console 48-channel, X-10 Meyer speakers
with X-800 subwoofers 5.1, 16 Neve 1073 mic
pres with EQ, Millennia HV-3D 8-channel
mic pre, Avalon VT-737 mic pre/comprossor,
API mic pres with 550A & 550B EQs, 4 Cal
rec mic pres, Bosendorfer 74 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 RECORDING
Rolling Hills Estates, CA 90274
310-704-9500
E-mail: forbesound@cox.net
Web: www.forbesound.com
Contact: Bill Forbes
Format: 24 to 48 track remote rig (hard disc
recorder, class A mic pres, transformer mic
split), plus Pro Tools mixing of any project
Basic Rate: $300/24tr. record live set(s),$200/
mix
FOREWORD PRODUCTIONS
RECORDING STUDIO
W. Los Angeles
310-779-9094
E-mail: info@forewordstudio.com
Web: www.forewordstudio.com
Contact: Matthew Nelson
Format: Pro Tools HD3 32 ins/16 outs
(Mac Pro)
Basic Rate: $45/hr. w/engineer, $350/day
w/ engineer
FOXFIRE RECORDING
Van Nuys, CA 91406
818-787-4843
Web: www.foxfrerecording.com
Contact: Rudi Eckstein
Format: Pro Tools HD3 Accel, Analog & Digital
FRANCISCO STUDIOS
4440 District Blvd.
P.O. Box 58684
323-589-7028
FREEDOM STUDIOS
17050 Los Alimos
Granada Hills, CA 91344
818-269-7070
Web: freedomstudio.biz
Format: Digital & Analog
Contact: Thomas LeBlank
Rates: call $30. Per Hr
FRIDAY ENTERTAINMENT
Sherman Oaks, CA
818-995-4642
E-mail: info@fridayentertainment.com
Web: www.fridayentertainment.com
Contact: Sam Dress
Format: Digital
Services: recording, mixing flm editing, sound
to picture. Great live room for Jazz, Folk etc.
GC STUDIOS
6400 Owensmouth Ave.
818-883-4GCS, 818-883-4427
E-mail: info@gcstudios.com
Web: www.gcstudios.com
GLENWOOD PLACE STUDIOS
619 S. Glenwood Pl.
Burbank, CA 91506
818-260-9555 Fax 818-260-9507
E-mail: kit@glenwoodstudios.com
Contact: Kit Rebhun
GOLDENTRACK STUDIO
San Diego, CA
619-252-8763
E-mail: record@goldentrackstudio.com
Web: www.goldentrackstudio.com,
www.myspace.com/goldentrack
Contact: Steve
GOLDMINE RECORDING STUDIOS
1393 Callens Rd.
Ventura, CA 93003
805-644-8341
E-mail: jeff@goldminerecording.com
Web: www.goldminerecording.com
Contact: Jeff Cowan
Basic Rate: $70/hr. w/engineer
GOLD STREET
Burbank, CA 91504
818-567-1911
E-mail: avpost@goldstreet.net
Web: www.goldstreetmusic.com
Contact: Eric Michael
Basic Rate: Start $40/hr.
GRANDMASTER RECORDERS LTD.
1518 N. Cahuenga Blvd.
Hollywood, CA 90028
323-462-6136 Fax 323-462-6137
E-mail: grandmaster.recorders@gmail.com
Web: www.grandmasterrecorders.com
Contact: Alan Dickson
GROOVE LAB, THE
West Hills, CA 91326
818-366-1650, 818-903-0005
E-mail: olivierroulon@thegroovelab.org
Web: www.thegroovelab.org
Contact: Olivier
Format: digital, 32+ tracks
GUESS RECORDING
(aka: the rude-stude)
818-508-7833
E-mail: rudy@rudyguess.com,
lg@one-guess.com
Web: www.rudyguess.com
Contact: Lorna Guess
Services: Private composer and recording
studio in relaxed setting in Studio City, CA.
Projects include: albums, flm/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 SERVICES
1935C Friendship Dr.
El Cajon, CA 92020
619-258-1080
E-mail: hitsingle@earthlink.net
Web: www.hitsinglerecording.com
Contact: Randy Fuelle
HOUSE OF BLUES STUDIOS
4431 Petit Ave.
Encino, CA 91436
818-990-1296 Cell 818-455-2030
E-mail: gary@houseofbluesstudios.com
Web: www.houseofbluesstudios.com
Contact: Gary Bellz
Basic Rate: $1,000 per day
HENSON RECORDING STUDIO
1416 N. La Brea Ave.
Hollywood, CA 90028
323-856-6690, Fax 323-856-2712
Contact: Faryal Russell
Email: faryal@hensonrecording.com
Website: www.hensonrecording.com
67 66 June 2012


Format: SSL SL 6072E/G, 4072G+, 6056/G,
9090J, Augsperger, 8 Neve
Rate: call for info
IMAGINE POST PRODUCTIONS
(Recording & Mixing)
4872 Topanga Cnyn. Blvd., Ste. 406
310-924-7849
Contact: Chris Julian
Email: info@imaginepost.com
Website: www.ImaginePost.com
Format: Pro Tools HD3 / Logic
Rate: call for info
INDIGO RANCH STUDIOS - MALIBU
Venice, CA 90291
310-396-8141
E-mail: indigoranch@earthlink.net
Contact: Richard Kaplan
Format: analog to digital 2 track- restoration
& repair
IN FIDELITY RECORDINGS
16824 Saticoy St.
Van Nuys, CA 91406
818-786-3144 Fax 818-786-3149
E-mail: sales@infdelity
recordings.com
Web: www.infdelityrecordings.com
Basic Rate: $60/hr
Equipment/Facility: Pro Tools HD combined
with analog equipment, including API, Avalon,
Urei, Lexicon, DBX, 1176, LA2A, Neumann
and more. 1,000 sq. ft. including 16x20
tracking room, and two additional isolations.
Services: We offer personalized and
professional services, including recording,
mixing and mastering. $600/day or $60/hour
with experienced staff that treats every project
with care and attention to detail.
Additional: See our website 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 STUDIOS
N. Hollywood, CA
310-987-3211
E-mail: omeravnimusic@gmail.com
Web: under construction
Format: Pro Tools 10, Tube Preamps,
Neumans and nice guys.
Basic Rate: $45 an hour.
Comments: Its all about the people
and the songs.
JAGGO STUDIOS
Hollywood Hills, CA 90068
323-850-1819
E-mail: studios@jaggo.com
Web: www.jaggo.com/studios
Format: Pro Tools HD3 Accel
Basic Rate: Call us for a rate sheet
JC SOUND STAGES/RECORDING STUDIOS
6670 Lexington Ave.
Hollywood, CA 90038
323-467-7870
E-mail: jcinhollywood@hotmail.com
Web: www.jcsoundstages.com
Contact: JC
Basic Rate: see website for information
JEL RECORDING STUDIOS
6100 W. Coast Hwy.
Newport Beach, CA 92663
949-631-4880 Fax 949-548-1622
E-mail: info@jelrecording.com
Web: www.jelrecording.com
Contact: Shelly Guidotti
J.E. SOUND
Burbank, CA
323-850-0765
E-mail: jesound@jps.net
Web: www.jesound.com
Contact: John
JO-MUSIK
Dallas, TX
972-226-1265
E-mail: joe@joemilton.com
Contact: Joe Milton
Web: www.jo-musik.com, www.joemilton.com
Format: digital and analog, lots of tracks
JRLDRUMS
Internet Drum Sessions
818-903-3690
E-mail: johnlewis@jrldrums.com
Web: www.jrldrums.com
Contact: John Lewis
Format: digital
Basic Rate: $150-$250/song
JUNGLE ROOM RECORDING STUDIO
604 1/2 Sonora Ave.
Glendale, CA 91201
818-247-1991 Fax 818-247-2811
E-mail: info@jungleroom.net
Web: www.jungleroom.net
Contact: Kevin Anderson
Basic Rate: negotiable
KRIS STEVENS ENTERPRISES
22362 Dardenne St.
Calabasas, CA 91302
800-231-6100, 818-225-7585
E-mail: kris@kriserikstevens.com
Web: www.kriserikstevens.com
Contact: Christine Fletcher
L.A. ENTERTAINMENT, INC.
7095 Hollywood Blvd., Ste. 826
Hollywood, CA 90028
800-579-9157 ext. 1
Fax 323-924-1095
E-mail: info@laeg.net
Web: www.laeg.net
Contact: Jim Ervin
LAKE TRANSFER RECORDING
11300 Hartland St.
818-508-7158, Fax 818-505-1811
E-mail: info@laketransfer.com
Web: www.laketransfer.com
Contact: Steven B. Cohen, Jim Holvay,
Tina Antoine
Format: Pro Tools
Basic Rate: $50. per hr
LA FX RECORDING SERVICES
P.O. Box 827
818-769-5239 Fax 818-769-7288
E-mail: lafx1@aol.com
Web: www.lafx.com
Contact: Dan or Anne Vicari
Gear: LAFX Studio has a vintage API console
rebuilt by Brent Averill, with 550a EQs and
Neve Fying Faders. We offer Yamaha NS10s,
Tannoy SGM10Bs, Genelec 1031As or
Dynaudio BM15As. We have the latest Pro
Tools software and offer all Waves plug-ins
and others too many to list. You may use our
Studer A827, Ampex 102 with 1/2-in or 1/4-in
head stacks, and our extensive microphone
collection. LAFX Studio has the Yamaha C7
used by Synthogy for their Ivory Sampled
Piano software and a Hammond B3 for your
tracking sessions. 5.1 setup for mixing.
Services: LAFX Recording Services has
successfully served the Los Angeles recording
community for over 20 years. We have an
extensive collection of recorders, pre-amps/
EQs, compressors, microphones, reverbs and
effects available for you to rent for your studio
as well as use at the LAFX studio. We offer
tape baking and transfer services also.
Clients: Jimi Hendrix and Experience
Hendrix, Tom Vicari, HBOs The Newsroom,
The Academy Awards, Bobby Mcferrin,
Grammy winner Gordon Goodwin and the
Big Phat Band, Grammy winner Jose Rizos
Mongorama and Latin All Star Band, Daniele
Luppi, Starzs 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
Universal City, CA 91602
818-753-0717 Fax 818-753-8046
E-mail: info@larrabeestudios.com
Web: www.larrabeestudios.com
LAUREN ENTERTAINMENT GROUP, THE
Sherman Oaks, CA 91403-3005
818-788-9784 Fax 818-788-9763
E-mail: info@laurengroup.com
Web: www.laurengroup.com
Contact: Len Kovner
LA VALLEY COLLEGE RECORDING
WORKSHOP
7800 Fulton Ave.
Valley Glen, CA 91401-4096
818-947-2779
E-mail: miketrombonejulian@gmail.com
Web: www.thequimbyhouse.com
Contact: Mike Julian
Format: digital and analog, 24 tracks,
Pro Tools editing
LIL SHANGHAI STUDIO
N. Hollywood, CA
818-324-8208 Fax 818-324-8208
E-mail: lilshanghai@att.net
Contact: Fil Proph Angelov
Web: www.myspace.com/lilshanghai
Format: Pro Tools HD3 w/ lots of plug-ins &
analog outboard gear
Rates: Call for rate info
LITTLE BIG ROOM STUDIOS
2912 W. Burbank Blvd.
Burbank, CA 91505
818-846-2991 Fax 818-846-7012
E-mail: manager@littlebigroom.com
Web: www.littlebigroom.com
LITTLE HIPSTER MUSIC STUDIOS
Van Nuys, CA 91405
818-731-1043, 818-782-3123
E-mail: david@littlehipstermusic.com
Contact: David Snow
Basic Rate: call for info-all instrumentation
included in hourly rate.
MALLEYABLE MUSIC
4950 Read Rd.
Moorpark, CA 93021
805-368-1801
E-mail: mattmalley@mac.com
Web: www.malleyablemusic.com
Contact: Matt
MAMBO SOUND AND RECORDING
2200 W. Esther St.
Long Beach, CA 90813
562-432-9676
E-mail: steve@macwestgroup.com
Web: www.mambosoundandrecording.com
Contact: Steve McNeil
MARC DESISTO PRODUCTIONS
Sherman Oaks, CA
818-259-4235
E-mail: marcdmix@gmail.com
Web: www.marcdesisto.com
Contact: Marc DeSisto
MARC GRAUE VOICEOVER
RECORDING STUDIOS
Burbank, CA 91505
818-953-8991
E-mail: info@fxinthemix.com
Web: www.fxinthemix.com
Contact: Marc Graue
MARTINSOUND RECORDING STUDIOS
1151 W. Valley Blvd.
Alhambra, CA 91803
800-582-3555 626-281-3555
E-mail: info@martinsound.com
Web: www.martinsound.com
Contact: Dan Blessinger
MAR VISTA RECORDING STUDIO
Mar Vista, CA
310-467-0889
E-mail: remmusic@ca.rr.com
Contact: Jerry
Basic Rate: Please call for information
MARVINBASS DIGITAL AUDIO
21801 Burbank Blvd., Unit 81
818-906-7712
E-mail: marvinbass@mac.com
Contact: Marvin Sperling
Format: Pro Tools HD-3
Basic Rate: $45/hr.
MASTER GROOVE STUDIOS / RADD
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Northridge, CA & Nashville, TN
818-830-3822
E-mail: davejavu@att.net
Web: www.mastergroovestudios.com
Contact: David Morse or John Prpich
Basic 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, 100s of plug-ins. Easy
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Special Services: world-renowned for
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76 May 2012

www.musicconnection.com 77 May 2012

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2,000 CDs $1599
1,000 CDs $899
300 CDs $429
R E T A I L R E A D Y
702-735-4283
Visa Mastercard Amex Discover
cd & dvd duplication - design - printing
818-759-4665 (HOOK)
www.thehookstudios.com
Studio Services
Writing Room Studios
FULL SERVICE TRACKING, MIXING,
MASTERING & PRODUCTION STUDIO
SSL AWS 900
Pro Tools HD3
714-402-5003 www.writingroomstudios.com
Worth the drive from L.A. to O.C.
$30 per hour
(does not include engineer)
Limited time only!
No one can compete with our prices
Save Your Feet and Back Onstage!
Read More at: Acupressuresandals.com
Odds & Ends #3 2008 1/28/08 5:13 PM Page 62
Rock n Roll
to
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Giving To You The Treasure
of Long Hair
(626) 791-7405
2055 N. Lake Ave.
Altadena, CA 91001
UNIVERSAL MASTERING STUDIOS
(818) 286-6233 www.universalmastering.com
Clients Include: Red Hot Chili Peppers Ashlee Simpson
Will.i.am Celine Dion Kanye West Stevie Wonder
B.B. King Chris Botti Flo Rida Weezer Lil Wayne
Neil Diamond Aerosmith The Raconteurs Lady Gaga
resonate
music + sound
(818) 567-2700 www.resonate.la
Burbank,CA
SSL 4065E / G - D Control Icon
Track - Mix - Master - ADR - ISDN
Full service - High End Mics & Outboard
Music Connection layout #3:Music #2 11/15/11 4:42 PM Pag
Producer Engineer & Mixer
JOE MC GRATH
6 Grammy Winning Albums
Clients include:
Green Day, Morrissey,
AFI, B.B. King, Keb Mo,
Ryan Adams & SUM 41
Now available for serious
artists and bands.
(310) 628-9681
www.joemcgrath.com
DON GRIFFIN
Don@studioVMR.com
312.286.5018
708.267.2198 WWW.STUDIOVMR.COM
DON GRIFFIN
Don@studioVMR.com
312.286.5018
708.267.2198
WWW.STUDIOVMR.COM
DON GRIFFIN
Don@studioVMR.com
312.286.5018
DON GRIFFIN
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DON GRIFFIN
Don@studioVMR.com
312.286.5018
fpt, FedEx, UPS.
Are You Ready To Take Your Music To The Next Level ?
Jimmy Hunters
FEATURING NEW STATE-OF-THE-ART PROTOOLS 10 HD4
Engineer Producer Drummer (Live or Programmed) Vocalist Vocal Coach
Over 4,000 Songs Produced Here Serving Hollywood for 25 years
( 323) 655- 0615 www. j i mmyhunt er. com st udi oj i mi @aol . com
Post a free ad seeking musicians
Find jobs with working bands
Thousands have used
us since 1969!
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Marketplace #5-2012.indd 76 4/23/12 5:13 PM
68 June 2012


mastering, we also offer production, tracking &
mixing, state-of-the-art rooms: gold & platinum
engineers. Staff producers David Morse, John
Prpich, Phil Moore, Patrick Burkholder,
The Viking
Clients: Good Charlotte, Queens Of The Stone
Age, R.E.M., Commodores, Warrant, Incubus,
Ice Cube & Dre, EWF, Yes, Alice In Chains
Comments: since 1981 Master Groove has
been a major supporter of the local music
scene. The best LA studio for the buck. Rolling
Stone New Room.
MAURICE GAINEN PRODUCTIONS
4470 Sunset Blvd., Ste. 177
Hollywood, CA 90027
323-662-3642
E-mail: maurice@mauricegainen.com
Web: www.mauricegainen.com
Contact: Maurice
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 ADATs, much more.
Special Services: start to fnish 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. 111
Fresno, CA 93727
559-255-1688
E-mail: jeff@maximusmedia.net
Web: www.tothemax.com
Contact: Jeff Hall
MELODY MAKER PRODUCTIONS
453 S. Spring St., Ste. 937
310-266-9506
E-mail: info@melodymakerproductions.com
Web: http://melodymakerproductions.com
Contact:David A. Gielan
Format: Pro Tools, Logic
Basic Rate: Call For Information
MELROSE MUSIC STUDIOS
(on the Raleigh Studios Lot)
5254 Melrose Blvd.
Hollywood, CA 90038
818-216-5409
E-mail: melrosemusic@mac.com
Web: www.melrosemusicstudios.com
Contact: David Williams
Format: analog and digital processing
Basic Rate: recording: Studio A $60/hr, Studio
B $45/hr. Special prices for day rates.
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-fnish 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
METROSTUDIOS
San Fernando Valley, CA
818-366-5588
E-mail: info@metrostudios.com
Web: www.metrostudios.com
MILESTONE RECORDING & POST
Hollywood, CA 90028
323-993-9424
E-mail: milestonerecording@sbcglobal.net
Web: www.myspace.com/milestonerecording
Contact: Annie
Format: Pro Tools HD3, 64+ tracks
MIX ROOM, THE
Burbank, CA 91505
818-846-8900
E-mail: roxy@themixroom.com
Web: www.themixroom.com
Contact: Roxy
M L E STUDIOS
P.O. Box 93008
Hollywood, CA 90093-0008
866-246-8846
E-mail: mail@mlestudios.com
Web: www.mlestudios.com
Contact: Col. Darryl Harrelson
Format: digital/analog, Pro Tools HD2 Accel
Basic Rate: $45/hr. or fat rate per
song/project
MORNING VIEW STUDIOS
P.O. Box 4225
Malibu, CA 90265
310-457-9901 Cell 310-924-9697
Fax 310-457-5382
E-mail: sternalbert@gmail.com
Web: www.morningviewstudios.com
Contact: Shawn Stern
MOUNTAIN DOG MUSICWORKS
485 Ventura Ave., Ste. E3
Oak View, CA 93022s
805-649-8500, 866-203-2683
E-mail: tim@mountaindogmusic.com
Web: www.mountaindogmusic.com
Contact: Tim Frantz
Format: digital
M-PIRE RECORDING STUDIO
Van Nuys, CA 91406
818-989-1617
E-mail: john@m-pirerecordingstudio.com
Web: www.m-pirerecordingstudio.com
Contact: John M.
Format: Pro-Tools HD
Basic Rate: please call or email for info
MR. FANTASTIC
Los Angeles, CA
718-375-4446 Fax 718-715-0346
E-mail: mayday321@gmail.com
Web: www.myspace.com/audiopilotproductions
Contact: Adam Nierow
Basic Rate: project-by-project basis
MY STUDIO HOLLYWOOD
6671 Sunset Blvd., Ste. 1518
Hollywood, CA 90028
310-657-4886
E-mail: contact@mystudio.net
Web: mystudio.net
Format: HD Pro Tools
Basic Rate: Call for rates
NEW MILLENNIUM RECORDS GROUP
P.O. Box 1070
Hollywood, CA 90078
323-962-5960
E-mail: timsimms@nmrgonline.com
Web: www.nmrgonline.com
Contact: Tim Simms
Basic Rate: negotiable rates
NIGHTBIRD RECORDING STUDIOS
At The Sunset Marquis Hotel & Villas
1200 Alta Loma Rd.
W. Hollywood, CA 90069
310-657-8405 Fax 310-854-0506
E-mail: manager@nightbirdrecording
studios.com
Web: www.nightbirdrecordingstudios.com
Contact: ED
Format: ProTools 10 HD6 Accel, 7.1 Surround
Video: Final Cut Studio, 102-inch Projection
Screen for Viewing when Mixing Audio to
Picture
Basic Rate: call for prices
NRG RECORDING SERVICES
11128 Weddington St.
818-760-7841
E-mail: info@nrgrecording.com
Web: www.nrgrecording.com
Contact: Annette Scott
Basic Rate: $1600 per 12-hr. lockout including
assistant engineer and Pro Tools.
OAKLEY RECORDING STUDIO
1577 E Chevy Chase Dr.
Glendale, CA 91206
818-240-7500 Fax 818-545-0831
E-mail: jstrigle@audio-digest.org
Web: www.audiodigest.org
Contact: Joe Strigle
OC RECORDING COMPANY, THE
3100 W. Warner Ave. Ste. 7
Santa Ana, CA, 92704
323-244-9794
Contact: Asaf Fulks (Engineer & Producer)
E-mail: info@ocrecording.com
Web: 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 ADR
Basic Rate: contact us for rates
OCEAN STUDIOS BURBANK
435 S. San Fernando Blvd.
Burbank, CA 91502
818-955-9010 Fax 818-955-8301
E-mail: info@oceanstudiosburbank.com
Web: www.oceanstudiosburbank.com
OCEAN WAY RECORDING, INC.
6050 W. Sunset Blvd.
Hollywood, CA 90028
323-467-9375 Fax 323-467-3962
E-mail: rob@oceanwayrecording.com
Web: www.oceanwayrecording.com
Contact: Rob Goodchild
OCEAN WAYS RECORD ONE STUDIO
Sherman Oaks, CA
818-788-7751 Fax 818-788-3528
E-mail: rob@oceanwayrecording.com
Web: www.oceanwayrecording.com
Contact: Rob Goodchild
OMEN ROOM
Orange County, CA
714-333-5616
E-mail: bordenmatt@yahoo.com
Web: www.myspace.com/theomenroomstudios
Format: Analog, Digital, Pro Tools HD, Vintage
PACIFICA STUDIOS
2620 La Cienega Ave.
310-559-9777
E-mail: glnish3@gmail.com
Contact: Glenn
Format: Pro Tools
Basic Rate: please call
PACIFIQUE RECORDING STUDIOS
10616 Magnolia Blvd.
818-761-8042 Fax 818-761-9277
E-mail: pacifquestudios@yahoo.com
Web: www.pacifquestudios.com
PANGEA
P.O. Box 591
Topanga, CA 90290
310-455-2356 Fax 310-455-9635
E-mail: pangea@verizon.net
Web: www.pangeaproduction.com
PARAMOUNT RECORDING STUDIOS
6245 Santa Monica Blvd.
323-465-4000 Fax 323-469-1905
Web: www.paramountrecording.com
PARK HILL MUSIC
P.O. Box 5247
Hemet, CA 92544
951-652-8742
E-mail: galletta@parkhillmusic.com
Web: www.parkhillmusic.com
Contact: Eric Galletta
Basic Rate: negotiable call us
PEARL MUSIC STUDIOS
3281 Oakshire Dr.
Hollywood, CA 90068
323-851-2279
E-mail: pearlmusic@sbcglobal.net
Contact: Richard Zeier
Web: www.pearlmusic.net
PENGUIN RECORDING
P.O. Box 91332
Pasadena, CA 90041
323-259-8612 Fax 323-259-8613
E-mail: john@penguinrecording.com
Web: www.penguinrecording.com
Bigscarytree Studios
BIG WARM AWESOME
SOUNDING LIVE ROOM
18 CEILING! (+2 iso booths)
OVER 22 YEARS OF EXPERIENCE
AMAZING VINTAGE ANALOG GEAR AND THE LATEST AND GREATEST PROTOOLS
SPECIALIZE IN RECORDING REAL HUMANS PLAYING REAL ORGANIC INSTRUMENTS
(New Client Special: $100.00 per day off
already affordable day rate w/ this ad no limit)
Call or email for rates and a free tour www.bigscarytree.com
213-680-8733 jeb.lipson@gmail.com
69 68 June 2012


Contact: John Strother
PETTING:ZOO MUSIC, INC.
Topanga, CA 90290
310-980-1193
E-mail: bernhardpenzias@mac.com
Web: www.myspace.com/bernebase
Contact: Bernhard Penzias
Format: Mac Pro, Pro Tools HD3, Logic Studio
Basic Rate: $35/hr.
PINNACLE COLLEGE
(formerly SOUND MASTER)
1000 S. Fremont Ave., Bldg A11, Ste. 11010
Alhambra, CA 91803
877-206-6206
E-mail: admin@pinnaclecollege.edu
Web: www.pinnaclecollege.edu
PLATINUM STUDIO
Van Nuys, CA 91411
818 994-5368
E-mail: paulhilton123@sbcglobal.net
Web: www.paulhiltonmusic.net
Contact: Paul Hilton
Format: digital, 200 stereo tracks
Basic Rate: please call for info, $35/hr.
PLAYBACK RECORDING STUDIO
400 E. Gutierrez St.
805-730-7529
Web: www.playbackrecording.com
P.M. III PRODUCTIONS
Studio City, CA
818-763-3053
E-mail: p.m.iii@sbcglobal.net
Contact: Paul
Basic Rate: $35/hr.
PPL RECORDED MUSIC COMPANY
(A PPL Entertainment Group Company)
468 N. Camden Dr., Ste. 200
Beverly Hills, CA 90210
818-506-8533
E-mail: pplzmi@aol.com
Web: www.pplzmi.com
Contact: Jim Sellavain
Format: Analog, digital, AVID, Apple Final Cut,
Pro Tools, DVD authoring
PRIVATE ISLAND TRAX
1882 S. Cochran Ave.
323-856-8729 Fax 323-965-8732
E-mail: info@privateislandtrax.com
Web: www.privateislandtrax.com
Format: digital, Pro Tools
PRODUCTION COMPANY RECORDING,
MASTERING & REHEARSAL STUDIO, THE
673 Valley Dr.
Hermosa Beach, CA 90254
310-379-6477
E-mail: rockzionrecords@rockzion.com
Web: rockzion.com/productionco.html
Format: 2 -inch Ampex 16 track and Trident
Mixing Console, Pro Tools and Analog
Mastering
Basic Rate: $50 per hour
PYRAM-AXIS MUSIC & POST
Redondo Beach, CA 90278
310-802-3376
E-mail:music@pyramaxis.com
Web:www.pyramaxis.com
Contact: Jim D.
Format: ProTools HD, Logic
Basic 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.
310-280-0175 Fax 310 280-0176
E-mail: duncan@racehorsestudios.com
Web: www.racehorsestudios.com
Contact: Duncan Macfarlane
RANDY WINE STUDIOS
6671 Sunset Blvd. Ste. 1550
Hollywood, CA. 90028
323-463-9463
E-mail: info@randywinestudios.com
Web: www.randywinestudios.com,
www.fb.com/pages/Randy-Wine-
Studios/174222645974307?ref=tn_tnmn
Contact: Randy or Brandon
Basic Rate: $100/hr w/engineer, $1,000/day
lockout w/engineer
READY MIX MUSIC
818-388-2196
E-mail: studio@readymixmusic.com
Web: www.readymixmusic.com
Contact: Paul or Sarah
Format: Pro Tools
RECORD PLANT
1032 N. Sycamore Ave.
Hollywood, CA 90038
323-993-9300 Fax 323-466-8835
Contact: Sayoko Rutledge
E-mail: sayoko@recordplant.com
Web: www.recordplant.com
RESONATE MUSIC & SOUND
449 S. San Fernando Blvd.
Burbank, CA 91502
818-567-2700 Fax 818-567-2121
E-mail: inquire@resonate.la
Web: http://www.resonate.la
ROBERT IRVING PRODUCTIONS, INC.
818-224-3633
E-mail: rirving@pacbell.net
Web: www.robertirving.com
Contact: Robert/Tim
Format: Pro-Tools HD-3, Digital Performer
or Logic
Basic Rate: fexible
Notes: 3 great live rooms, Yamaha DC-7
Grand Piano, vintage mic collection
ROCKYROADRANCH PRODUCTIONS
28111 Oak Springs Cyn. Rd.
Santa Clarita, CA 91387
661-510-6408
E-mail: scotty@rrrprod.com
Web: www.rrrprod.com
Contact: Scotty Manzo
Basic Rate: $75/hr.
ROSE STUDIOS
El Centro, CA
760-352-5774
E-mail: danny@roserecordingstudios.com
Web: www.roserecordingstudios.com
Contact: Danny Berg
Basic Rate: please call for info.

ROSEWOOD RECORDING & MASTERING
Camarillo, CA 93010
805-340-0130
E-mail: cowboysurfer@earthlink.net
Web: www.seedlessrecords.com/Artists.html
Contact: Stu
Format: digital & analog, 48 trks.
Basic Rate: $40/hr.
ROURKETOWN STUDIOS
17521 Rayen St.
Northridge, CA 91325
818-775-1388
Contact: Jeff
E-mail: info@rourketown.com
Web: www.rourketown.com
Basic Rate please call for info
RPD STUDIOS
1842 Burleson Ave.
Thousand Oaks, CA 91360
805-496-2585
E-mail: rpdstudios@roadrunner.com
Web: www.rpdstudios.com
Contact: Randy
Basic Rate: $50/hr.
SAD GIRL MUSIC
N. Hollywood, CA
E-mail: sadgirlsongs@aol.com
Web: www.sadgirlmusic.com
Contact: Karen Swerdlow or Paul McKee
Basic Rate: $50/hr.
SAGE AND SOUND RECORDING
1511 N. Gordon St.
Hollywood, CA 90028
323-469-1527
E-mail: info@sageandsoundrecording.com
Web: www.sageandsoundrecording.com
Contact: Studio Mgr., Bryan McCurry
Format: Protools, 24 Track
70 June 2012


SANCTUARY SOUND
7053 Rubio Ave.
Van Nuys, CA 91406
818-989-9997 Fax 818-989-7729
E-mail: foz@barryfasman.com
Web: www.barryfasman.com
Contact: Barry Fasman
SANTA BARBARA SOUND DESIGN
33 W. Haley St.
805-965-3404
E-mail: dom@tekmstr.com
Web: www.santabarbarasound.com
Contact: Dom Camardella
SEAHORSE SOUND STUDIOS
2340 N. Sierra Way
San Bernardino, CA 92405
909-210-2317
E-mail: info@seahorsesoundstudios.com
Web: www.seahorsesoundstudios.com
Contact: Samur
Format: analog and digital, 16 tracks
Basic Rate: $30/hr.
SELAH RECORDING STUDIO
9190 Poppy Cir.
Westminster, CA 92683
714-722-1937
E-mail: selahstudio@aim.com
Contact: Dave Gehlhar
Web: www.myspace.com/selahrecording
SEQUOIA SOUND PIANO RECORDING
W. Los Angeles, CA 90066
310-621-5935
E-mail: rich@richsmith.com
Contact: Rich Smith
Web: www.sequoiasound.com
SILVER FERN STUDIOS
Altadena, CA
626-399-1573
E-mail: info@silverfernstudios.com
Web: www.silverfernstudios.com
Contact: Matthew Moore
Format: Pro Tools 8
Basic Rate: $40/hr.& $60./hr
SKIP SAYLOR
P.O. Box 280010
Northridge, CA 91328-0010
818-300-0400 Fax 818-881-7092
E-mail: skipsaylor@gmail.com
Web: www.skipsaylor.com
Contact: Skip Saylor
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/EQs, 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, Everclear
Comments: facility features a large high
ceiling tracking room and excellent mix room
built/owned by a 30+year veteran of the
recording industry
SKULLR RECORDS
E-mail: steven@skullr.com
Web: www.skullr.com
Contact: Steven Skullr
Format: Digital Performer
Basic Rate: Project Based
SLY DOGGIE PRODUCTIONS
Reseda, CA
Contact: Christian Davis
E-mail: studio@slydoggie.com
Web: www.slydoggie.com
Format: digital 64 tracks plus
Basic rate: check webpage
SME RECORDERS
Los Angeles, CA
323-646-8210
E-mail: info@smerecorders.com
Contact: Rico Garcia
Web: www.smerecorders.com
Rate: 40/hr or Production Deals.
Equipment: Pro Tools 9 HD2, Neumann,
Avalon, et al.
Specialty: indie/electro, rock, alternative, punk
SONG-HAVEN
10410 Hillhaven Ave.
Tujunga, CA 91042
818-951-6345
E-mail: steffen@song-haven.com
Web: www.song-haven.com
Contact: Steffen Presley
Basic Rate: $35/hr.
SONGWRITER SANCTUARY
Human Touch Productions
NoHo Arts District
N. Hollywood, CA
818-752-2212
E-mail: production@bradstaneldmusic.com
Web: http://www.BradStaneld.com
Contact: Brad Staneld (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 format
Rate: $40-$60/hr. Depending On Services
SONIC FARM PRODUCTIONS
310-402-2390
E-mail: zoran@sonicfarm.com
Web: www.sonicfarm.com
Contact: 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 STUDIOS
150 Sierra St.
El Segundo CA 90245
310-499-4757
E-mail: info@sonicfuel.net
Web: www.sonicfuelstudios.com
Contact: Kyrina Bluerose
Format: Pro Tools, Euphonix board
Rates: call for information
Services: 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.
818-766-8891
Contact: Steve Reid, Martin Delgado
Format: digital and analog, 64 and 48 tracks
SONIKWIRE STUDIOS
Irvine, CA
949-851-9340
E-mail: alex@sonikwire.com
Web: www.sonikwire.com
Contact: Alex Bush
SONORA RECORDERS
3222 Los Feliz Blvd.
Atwater Village, CA 90039
323-663-2500 Fax 323-663-3900
E-mail: ductape@aol.com
Web: www.sonorarecorders.com
Contact: Richard
SOTTO VOCE STUDIO
818-694-3052
E-mail: info@sottovocestudio.com
Web: www.sottovocestudio.com
Contact: Shaun Drew
Format: digital, unlimited tracks,
albums/lm/TV
Basic Rate: $50/hr.
SOUNDCUBED STUDIOS
7080 Hollywood Blvd., Ste. 1017
Hollywood, CA 90028
310-880-1292
E-mail: info@sound3studios.com
Web: www.sound3studios.com
Contact: Myke Aaron
Format: digital, HD3
SOUND IMAGE
15462 Cabrito Rd.
Van Nuys, CA 91406
805-231-5728
E-mail: sound_image@msn.com
Web: www.soundimage.us
Contact: Marty Eberhardt
SOUND MATRIX STUDIOS
18060 Newhope St.
Fountain Valley, CA 92708
714-437-9585 Fax 714-437-9877
E-mail: info@soundmatrix.com
Web: www.soundmatrix.com
Contact: Scott Ragotskie
Format: Pro Tools HD digital, 192 tracks
Basic Rate: $75/hr. package deals available
SOUNDMOVES PRODUCTION STUDIOS
Burbank, CA
E-mail: michael@woodrumproductions.com
Web: www.soundmovesaudio.com
Contact: Michael Woodrum
Format: digital and analog, unlimited trks.
SOUND OASIS STUDIO
Sherman Oaks, CA
818-385-1775
E-mail: info@soundoasisstudio.com
Web: www.soundoasisstudio.com
Contact: Lance Crane
Basic Rate: call or see web
SOUND-TECH STUDIO
Moreno Valley, CA 92557
951-243-6666
E-mail: soundtechstudio@yahoo.com
Web: www.fb.com/pages/Moreno-
Valley-CA/Sound-Tech-Music-Store-and-
Lessons/192046942610
Contact: Allan Johnson
SOUTHWIND STUDIO
12659 Hanford Armona Road
Hanford, CA 93230
559-582-8485
E-mail: southwindstudio@yahoo.com
Contact: Rick Thomas
S.R.S./ HIT RECORDS NETWORK
P.O. Box 6235
805-964-3035
Contact: Ernie Orosco, Greg Lewolt or Cory
Orosco
Web: www.members.tripod.com/tc_67
STAGG STREET STUDIO
15147 Stagg St.
Van Nuys, CA 91405
818-989-0511
E-mail: melody@staggstreetstudio.com
Web: www.staggstreetstudio.com
Contact: Melody Carpenter
Format: digital and analog, 24 and 24 trks.
STEAKHOUSE STUDIO, THE
5161 N. Cartwright Ave.
N. Hollywood, CA 91601-4075
818-802-0732, 818-985-2620
E-mail: kelle@steakhousestudio.com
Web: steakhousestudio.com
Contact: Kelle Musgrave
STEPPINGOUT PERFORMING ARTS &
RECORDING STUDIO
11405 E. Firestone Blvd., Suite E
Norwalk, CA 90650
562-929-1050
E-mail: inquiry@steppingoutstudio.com
Web: www.steppingoutstudio.com
Contact: Steve Smith
Format: digital
STEREOTRAIN
2720 N. Ontario St.
Burbank, CA 91504
818-842-2255
E-mail: stereotrain@gmail.com
Web: www.stereotrain.com
Contact: Sebu Simonian
Services: songwriting, production,
tracking, mixing, mastering
Basic Rate: see website for rates
STEWART SOUND
204 N. Broadway, Ste. N
Santa Ana, CA 92701
714-973-3030
E-mail: cindy@stewartsound.com
Web: www.stewartsound.com
Contact: Sarah
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71 70 June 2012


STUDIO 47
817 N. Vine St.
323-462-2161
E-mail: jeff.surga@promusic47.org
Web: promusic47.org/studio.htm
Contact: Jeff Surga
STUDIO 7
5430 Vineland Ave.
N. Hollywood CA 91601
323-451-2888, 866-921-8834
E-mail: info@gluzent.com
Web: gluzent.com/#/Studio7
Contact: Jason Gluz
Format: Pro Tools HD3 /192
Basic Rate: call for current rates
STUDIO 770
770 S. Brea Blvd. #218
Brea, CA 92821
714-672-1234
E-mail: info@studio770.com
Web: www.studio770.com
Contact: Shantih Haast
STUDIO 7446
7445 Sunset Blvd.
Hollywood, CA 90046
818-613-7363, 323-845-4649
Web: www.wattsmixers.com
Contact: Charlie Watts
Format: Pro Tools 2-inch analog SSL 4000
Rates: Call for rates
STUDIO 5109
1110 N Western Ave., Ste. 206
Hollywood, CA 90029
213-369-7094, Fax 323-462-1251
Contact: Mike Wolf
Basic Rate: call for rates and discount blocks
STUDIO CITY SOUND
4412 Whitsett Ave.
Studio City, CA 91604
818-505-9368 Fax 818-761-4744
E-mail: eharrison@studiocitysound.com
Web: www.studiocitysound.com
Contact: Estelle Harrison (Manager)
Format: digital (192 tracks) and analog (24 track 2)
Basic Rate: $50-125/hr.
Gear: Pro Tools HD, Avid HD I/OS, Otari MX-80 2 24-track,
Inward Connections, Neve, API, UREI, ADL, Barefoot, Quested,
Neumann, Royer, Coles, AKG, Yamaha C5,
Hammond B3 w/ Leslie
Clients: 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 Bedingeld,
Eric Benet, Warren G, Vertical Horizon
Services: Music Production: Tracking, Grammy award-winning
mixing, mastering producing, arranging, programming, studio
musicians. Post Production: ADR, ISDN, voice overs, video
editing. Mobile Recording: HD 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 DEE
3306 Glendale Blvd., Ste. 4
323-662-0512
E-mail: hueydee1234@gmail.com
Contact: Huey Dee
STUDIOHOUSE
15828 Arminta St., Ste. 2
Van Nuys, CA 91406
818-621-4988
E-mail: downey@studiohouse.com
Web: www.studiohouse.com
Contact: Downey
STUDIO WEST OF SAN DIEGO
11021 Via Frontera, Ste. A
San Diego, CA 92127
858-592-9497 Fax 858-592-9580
E-mail: Jesse@studiowest.com
Contact: Peter Dyson
Web: www.studiowest.com
Format: SSL, Neve, ICON, Pro Tools HD6, Surround Sound,
ISDN, Phone-Patch, ADR
Basic Rate: $40.00 to $120.00
SUBURBAN SOUL STUDIOS, LLC
2539 West 237th St. Ste. E
Torrance, CA 90505
310-891-0006
E-mail: info@suburbansoulstudios.com
Web: www.suburbansoulstudios.com
Basic Rate: call for rate information
SUNBURST RECORDING
10313 W. Jefferson Blvd.
Culver City, CA 90232-3511
310-204-2222
E-mail: info@sunburstrecording.com
Web: www.sunburstrecording.com
Contact: Bob Wayne
Format: digital, Pro Tools HD 3 and ve ADATs; analog 2 24
track and 1/4 2 track both with Dolby SR.
SUNSET SOUND RECORDERS, INC. & THE SOUND
FACTORY (Studio A)
6650 Sunset Blvd.
Hollywood, CA 90028
323-469-1186 Fax 323-465-5579
E-mail: mail@sunsetsound.com
Web: www.sunsetsound.com
Contact: Craig Hubler
SUNSPOT PRODUCTIONS
912 Glendon Way
Alhambra, CA 91803
323-574-1110
E-mail: ricklawndale@yahoo.com
Web: sunspotprod.com
Contact: Rick Lawndale
Format: Pro Tools, 32 tracks
SU-ZZZ PLAYHOUSE STUDIOS
P.O. Box 2888
Malibu, CA 90265
310-860-7499 Fax 310-860-7400
E-mail: pplzmi@aol.com
Contact: Jake Nevada
Format: Analog, digital, Avid, Final Cut, Pro Tools, DVD authoring
SWING HOUSE REHEARSAL & RECORDING
7175 Willoughby Ave.
323-850-4990 Fax 323-850-4992
E-mail: info@swinghouse.com
Web: www.swinghouse.com
THETA SOUND STUDIO
2219 W. Olive Ave., #226cr
a fifth
anniversary
showcase

a fifth anniversary showcase
PROFESSI ONAL
72 June 2012


Burbank, CA 91506
(mailing address - call for appt.)
818-955-5888
Contact: Randall Michael Tobin
E-mail: studio@thetasound.com
Web: thetasound.com
Gear: 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 Tobin
Clients/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 redened
THRESHOLD SOUND + VISION
2114 Pico Blvd.
310-566-6677 Fax 310-314-3826
E-mail: todd@thresholdsound.com
Web: www.thresholdsound.com
Contact: Todd Bergman
THUD STUDIOS II RECORDING STUDIO
11320 Burbank Blvd.
818-378-8162, 818-506-4648
Web: www.thudstudios.com
Contact: Jeff Abercrombie
Services: Budget recording studio
TIMEART STUDIO
Studio City, CA
818-980-2840, Fax 818-760-4385
Web: www.timeart.us
Format: Digital, Pro Tools 9, DP7
Basic Rate: $40/hr.
T.I.M.S. - TOTALLY INDEPENDENT
MUSICIAN
15925 Kittridge St.
Van Nuys, CA 91301
805-340-0130
E-mail: cowboysurfer@earthlink.net
Web: www.seedlessrecords.com/Tims.html
Contact: Stu
Basic Rates: please call for info
TITAN MUSIC, INC.
13547 Ventura Blvd.
818-990-6992
E-mail: contact@titanrecording.com
Web: www.titanrecording.com
TODD-AO SCORING
2901 Alameda Ave.
Burbank, CA 91505
818-295-5300
Web: www.toddao.com
Contact: dlim@toddao.com
TOTAL ACCESS RECORDING STUDIOS
612 Meyer Ln., Ste. 18
Redondo Beach, CA 90278-5261
310-376-0404
E-mail: totalaccessrecording@mac.com
Web: www.myspace.com/totalaccessrecording
Contact: Wyn Davis
TRACK ENTERTAINMENT STUDIOS
13848 Ventura Blvd., Ste. 4D
818-259-7244
E-mail: trackentertainment
studiost@yahoo.com
Web: http://www.facebook.com/
trackentertainmentstudios
Contact: Alexander Track, producer/engineer,
Grammy Winner
Format: 4 Pro Tools suites, music production
and recording, post production, mixing and
mastering, 7.1 surround sound, songwriting,
composing, arranging, lm scoring,
commercials, live drums etc.
TRACK RECORD STUDIOS
5102 Vineland Ave.
818-761-0511 Fax 818-761-0539
Web: www.trackrecordstudios.com
Contact: Mike
TRACK STAR STUDIOS
7242 University Ave.
La Mesa, CA 91942
619-697-7827
Contact: Josquin des Pres
E-mail: info@trackstarstudios.com
Web: www.trackstarstudios.com
TRAIN TRACKS STUDIOS
213 Agostino Road
San Gabriel, CA 91776
626-291-5100
E-mail: info@traintraxstudios.com
Web: www.traintraxstudios.com
Contact: Alex Truberg
Format: digital
TRINITY SOUND COMPANY
1614 S. Carlos Ave. Ste. B
Ontario, CA. 91761
909-923-6640 888-TSC.1073
E-mail: info@trinitysoundcompany.com,
Web: http://trinitysoundcompany.com
Basic Rate: Please call for info
TRS WEST
Sherman Oaks, CA
805-876-4520
E-mail: jayruston@me.com
Web: www.jayruston.com
Contact: Jay Ruston
TRU-ONE RECORDS AND REHEARSALS
2100 E. Howell St. 208
Anaheim, CA 92086
714-634-4678
E-mail: truonerecords@aol.com
Web: www.truonerecords.com
Contact: Robert Trujillo
Format: Live rehearsal recordings for only $25
TUTT & BABE MUSIC
6506 Peneld Ave.
818-621-3181
E-mail: guymarshallmusic@hotmail.com
Contact: Guy Marshall
Format: Pro Tools
Basic Rate: per song, no clocks, no worries
UNCLE STUDIOS
6028 Kester Ave.
Van Nuys, CA
818-989-5614
E-mail: uncleesca@sbcglobal.net
Web: www.unclestudios.com
Contact: Scott Walton
Format: digital, 24 at a time 126 playback
UNDERCITY RECORDERS
818-623-9998
E-mail: info@undercityrecordings.com
Web: www.undercity.com
Contact: Baron Bodnak
UNISON MUSIC STUDIOS
P.O. Box 4457
Valley Village, CA 91617
818-505-3629
E-mail: ryandorn@unisonmusic.com
Web: www.unisonmusic.com
Contact: Ryan Dorn
VALKYRIE SOUND
Rolling Hills Est., CA
310-293-4133 Fax 310-791-6344
E-mail: sherri@vsoundinc.com
Web: www.vsoundinc.com
Contact: Sherri Hendrickson
VALLEY CENTER STUDIOS
5928 Van Nuys Blvd.
818-989-0866
E-mail: info@siavash.com
Web: www.valleycenterstudios.com
VENETO WEST
4712 Admiralty Way, Ste. 536
Marina del Rey, CA 90292
818-415-7674, 310-200-9010
E-mail: liz@lizredwing.com
Web: www.venetowest.com
TAKE YOUR PROJECT FROM GOOD TO GREAT
Recording/Arrangement/Vocal Production Specialist
Singer-Songwriters/Bands
Great Vibe Professional Environment
A-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. 91741
www.sofasongs.com greg@sofasongs.com
Photography Studio /
Green Screen Stage
/ Additional Live
Room, Post Produc-
tion Recording Studio:
Compression ceiling
Floating oor, ceiling,
& walls
3780 Selby Avenue,
L.A., CA 90034
Post Prod./Recording Studio
5565 square foot Building
West L.A. / Near Venice Beach
Caitlyn W. Ross, Investment Specialist | DRE# 01892435
Coldwell Banker Commercial WESTMAC
1515 Sepulveda Boulevard | Los Angeles | CA 90025
310.478.7700, ext. 390 | 310.479.3989, fax
Price: $2,475,000
73 72 June 2012


Contact: Liz Redwing, Ronan Chris Murphy
VILLAGE (RECORDER), THE
1616 Butler Ave.
310-478-8227 Fax 310-479-1142
E-mail: Jeff@villagestudios.com
Web: www.villagestudios.com
Contact: Jeff Greenberg
VIRLOUISE RECORDING
1631 N. Placentia Ave., Ste. K
Anaheim, CA 92806
714-322-3600
E-mail: virlouise@virlouise.com
Web: www.virlouise.com
Contact: Bill Davidow
Format: digital recording/ Pro Tools
Basic Rate: $50/hr. base rate
WALL OF SOUND STUDIOS
1745 S Claudina Way
Anaheim, CA 92805
714-533-ROCK (7625)
E-mail: booking@wallofsoundstudios.com
Web: www.wallofsoundstudios.com
Contact: Shannon Grillo
Format: State-of-the-art, fully-equipped hourly facility:
rehearsal, recording, equipment rental: Tama, Shure, Mackie,
Marshall, Ampeg, JBL and more.
Basic Rate: Call for details
WARD-WICKED ANALOG RECORDING DUDE, THE
14947 Gilmore St.
Van Nuys, CA 91411
818-785-8611
Web: www.oldbootsrecordingstudio.com
WARRIOR GIRL MUSIC
12115 Magnolia Blvd., Ste. 219
925-892-6735
E-mail: info@warriorgirlmusic.com
Web: www.warriorgirlmusic.com
Contact: Gilli Moon
Format: digital, 64
Basic Rate: $90/hr.
WESTBOUND STUDIOS
Los Angeles, CA
310-985-5509 Fax 323-933-3251
E-mail: gelowmusic@gmail.com
Contact: Gelow
Format: ProTools HD3, Waves plug-in
Studios C, D, E,
Production Rooms 1 & 2
7265 Santa Monica Blvd.
323-851-9800
E-mail: bookings@thelakestudios.com
Web: www.thelakestudios.com
Contact: Steve Burdick
Format: Pro Tools HD, Logic & Analog Recording
Basic Rate: $750.00 - $2200.00, please call for Indie rates
Studios A & B
8447 Beverly Blvd.
323-851-9800
E-mail: bookings@thelakestudios.com
Web: www.thelakestudios.com
Contact: Steve Burdick
Format: Pro Tools HD, Logic &
Analog Recording
Basic 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, THE
15925 Kittridge St.
Van Nuys, CA 91406
818-414-6369 Fax 818-901-8806
E-mail: haddaddrum@socal.rr.com
Web: www.davehaddad.com
Contact: Dave
Format: digital & Analog, more than 64 tracks
WYMAN RECORDS
1908 Burbank Blvd.
Burbank, CA 91506
818-845-8787
E-mail: studio@wymanrecords.com
Web: www.wymanrecords.com
Contact: Tip Wyman
Basic Rate: please call for rate
ZAP ZELINGER AUDIO PRODUCTIONS
310-395-9636
E-mail: zapzip@gte.net
Contact: Gerald Zelinger
Format: Digital and Analog, Pro Tools,
classic microphones and tube pre-amps.
Voice-over andarchiving all analog media.

Colorado
ASPEN LEAF RECORDING
South Broadway
Grand Junction, CO 81507
970-201-6166
E-mail: aspenleafrecording@gmail.com
Web: www.aspenleafrecording.com
Contact: Ken Dravis
Basic rate: $55-$60/hr.
CCM RECORDING STUDIOS
4214 E. Colfax Ave.
Denver, CO 80220
720-941-6088
Web: www.ccmstudios.com
Contact: Darren Skanson
Format: digital
CHERRY SOUND RECORDING STUDIO
1600 Downing, Ste. 120
Denver, CO 80218
303-910-5359
E-mail: guillot3000@yahoo.com
Web: www.cherrysoundstudios.com
DERRYBERRY AUDIO, INC.
7380 Devinney Ct.
Arvada, CO 80005
303-456-8216, Fax 303-254-6304
E-mail: info@derryberryaudio.com
Web: www.derryberryaudio.com
Contact: Mark Derryberry, producer/engineer
Basic Rate: $85/hr.
HIDEOUT @ MACES HOLE STUDIO, THE
P.O. Box 247
Beulah, CO 81023
719-485-5883
E-mail: info@coloradorecording.com
Web: www.coloradorecording.com
Contact: Steve or Tyler Hobson
Format: digital 48 tracks w/ PC
Basic Rate: $30/hr., $225 for 8-hour block
MUSICMAGIC PRODUCTIONS
3692 Fairgate Ct.
Highlands Ranch, CO 80126
303-346-2970, Cell 303-921-7517
E-mail: musicmagicprod@aol.com
Web: www.ericroberts.org,
www.myspace.com/musicmagicprod
Contact: Eric Roberts
Basic Rate: $50/hr.
ROCKY MOUNTAIN RECORDERS
1250 W. Cedar Ave.
Denver, CO 80223
303-777-3648 Fax 303-777-3923
E-mail: contact@rockyrecorders.com
Web: www.rockyrecorders.com
Contact: Rachel Converse
Connecticut
CARRIAGE HOUSE STUDIOS
119 Westhill Rd.
Stamford, CT 06902
203-358-0065
Contact: John Montagnese
E-mail: booking@carriagehousemusic.com
Web: www.carriagehousemusic.com
ONYX SOUND LAB
56 Cooper Street
Manchester, CT 06040
860-436-4581
E-mail: contact@onyxsoundlab.com
Web: www.onyxsoundlab.com
Contact: Adam Gootkin or Peter Kowalczyk
Format: digital
STUDIO UNICORN
36 Sanford Town Rd.
Redding, CT 06896-2411
203-938-0069
E-mail: paul@studiounicorn.net
Web: www.studiounicorn.net
Contact: Paul Avgerinos, Grammy-nominated producer
You speak through your instruments
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can convey all the complexities,
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BBE will become your indispensable
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EssEntial
tool!
www.bbesound.com
(800) 233-8346 (714) 897-6766
74 June 2012


Format: Pro Tools HD 128 Tracks
Delaware
SIDE DOOR STUDIO
69 Albe Dr.
Newark, DE 19702
302-738-8777 Fax 302-731-7601
E-mail: sdseng@delanet.com
Web: www.sidedoorstudioinc.com
District Of Columbia
(
DC
)
CLEANCUTS MUSIC
4455 Connecticut Ave., Ste. A500
Washington, DC 20008
202-237-8884
E-mail: tetiana@cleancuts.com
Web: www.cleancuts.com
Format: digital
LISTEN VISION RECORDING STUDIOS
2622 Georgia Ave. N.W.
Washington, DC 20001
202-332-8494 Fax 202-332-8495
E-mail: info@listenvision.com
Web: www.listenvision.com
Contact: Jerri
Format: Pro Tools, digital, 124 tracks
Basic rate: $60/hr.
Florida
CRESCENT MOON
6205 Bird Rd.
Miami, FL 33155
305-663-8924
E-mail: josem@crescentmoon.com
Web: www.crescentmoon.com
Format: Audio/Video Suites, ISDN,
Digital/Analog
Basic Rates: Call for rates
DIO-VISION
13885 W. Dixie Hwy.
Miami, FL 33161
305-893-9191
E-mail: sales@audiovisionstudios.com
Web: www.audiovisionstudios.com
Rates: Please Call in
HIT FACTORY CRITERIA-MIAMI, THE
1755 N.E. 149 St.
Miami, FL 33181
305-945-5021
Contact: Trevor Fletcher
Format: 16 & 24 tk analog, 48k
digital, DAWs
Basic rate: 6 full-service world-class studios
from vintage Neve 8078 to SSL9096J to SSL
Duality. Founded in 1958 this landmark facility
has produced hundreds of gold & platinum
albums in every genre. Rates tailored
on a per project basis.
PHAT PLANET RECORDING STUDIOS
3473 Parkway Center Ct.
Orlando, FL 32808
407-295-7270
E-mail: info@phatplanetstudios.com
Web: www.phatplanetstudios.com
Contact: Ed Krout
Format: Pro Tools HD,
analog 2-inch etc.
Basic Rate: $75/hr. Studio A, $65/hr. Studio B
HART GUNTHER
SOUTH BEACH STUDIOS
1200 Collins Ave.
Miami Beach, FL 33139
305-673-8203 Fax 305-531-9929
E-mail: sbs@the-beach.net
Web: www.southbeachstudios.com
Contact: Joe Galdo
Format: Professional recording/mixing; SSL;
Pro Tools HD3/v.9, Logic9, etc.; New Apple
Mac Pro; lots of vintage gear.
Basic Rate: Call about rates
STUDIO CENTER
6157 NW 167 St. F-4
Miami, FL 33015
305-828-7231
E-mail: sales@studiocenter.net
Web: www.studiocentermiami.com
STYLE-CITY MUSIC
P.O. Box 13651
St. Petersburg, FL 33733-3651
727-520-2336
E-mail: stylecitymusic@yahoo.com
Web: www.stylecitymusic.com
Contact: Steven Berry
Format: Style-City Music Presents is a
29-minute music video program showcasing
music videos from all over the world from both
signed and unsigned artists, on over
74 local stations.
Basic Rate: $55/hr.
TWENTY-FIRST CENTURY STUDIOS
1736-2 Landon Ave.
Jacksonville, FL 32207
904-346-3452
E-mail: 21centurystudios@bellsouth.net
Web: twentyfrstcenturystudios.com
UNITY GAIN RECORDING STUDIO
1953 Ricardo Ave.
Fort Myers, FL 33901
239-332-4246
E-mail: aiannucci@unitygain.com
Web: www.unitygain.com
Contact: Bart Iannucci
Format: Direct to Disk, Digital &
Analog Tape, & MIDI
(based on requested services)
VIRTUAL PRODUCTIONS
Islamorada, FL
203-364-1642
E-mail: mdvirtual@earthlink.net
Web: www.virtualproductions.net
Contact: Michael Damon
Format: Pro Tools
Basic Rate: Please call for info

Georgia
ARCADIA PRODUCTION
AND RECORDING STUDIO
Atlanta, GA 30071
770-448-9992
E-mail: streetkid@arcadiarocks.com
Web: www.arcadiarocks.com
Contact: Knox
Format: Pro Tools HD2 Accel 2-in tape
DOPPLER
1922 Piedmont Cir.
Atlanta, GA 30324
404-873-6941, 877-883-9406
E-mail: info@dopplerstudios.com
Web: www.dopplerstudios.com
Format: Digital/Analog, Full Service Facility
Basic Rate: Call for information
ELEVATED BASEMENT STUDIO, INC.
911B E. 65th St.
Savannah, GA 31405
912-356-9445
E-mail: kevin@elevatedbasement.com
Web: www.elevatedbasement.com
Contact: Kevin Rose
Format: DAW
Basic Rate: $65/hr.
GROOVE TUNES STUDIOS
340 Rossiter Ridge
Alpharetta, GA 30022
770-842-5511
Web: www.groovetunes.com
Contact: Eric Tunison
Format: Pro Tools HD/3 v. 8.0
Basic Rate: $75/hr.
HUFF RECORDING STUDIOS
P. O. Box 248
Good Hope, GA 30641
770-266-5266
E-mail: info@huffrecording.com
Web: www.huffrecording.com
LAKEFRONT STUDIOS
1221 Grande View Dr.
Loganville, GA 30052
770-602-0995, 800-525-3378
E-mail: Ldaunt@lakefrontstudios.com
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, 706-896-4560
E-mail: mawsound@juno.com
Web: www.mawsound.com
Contact: Michael Wine
Format: digital & analog, Sonar recording
SONICA
500 Bishop St., Bldg. C-2
Atlanta, GA 30318
404-350-9540
E-mail: john@sonicarecording.com
Web: sonicarecording.com
Contact: John Briglevich
Format: Pro Tools HD, Studer 2
STUDIOPLEX OF CENTRAL GA, LLC, THE
377 E. Colonial Dr.
Macon, GA 31211
478-737-2077
E-mail: gary@thestudioplex.com
Web: www.thestudioplex.com
Contact: Gary Branch
Format: Nuendo 24/96
Basic Rate: $40/hr.
TREE SOUND STUDIOS
4610 Peach Tree Industrial Blvd.
Norcross, GA 30071
770-242-8944
E-mail: mali@treesoundstudios.com
Web: www.treesoundstudios.com
Rate: please call for info
Hawaii
AVEX HONOLULU STUDIOS
377 Keahole St., Ste. D-03
Honolulu, HI 96825
808-393-2021 Fax 808-393-2021
E-mail: info@avexhonolulustudios.com
Web: www.avexhonolulustudios.com
CARAT RECORDING STUDIO
P.O. Box 12746
Lahaina, HI 96761
808-214-6910
E-mail: mail@thesongwriter.net
Web: www.caratrecords.com
Contact: Abbey
Format: 24 track 2-inch analog tape machine.
Pro Tools 2010 8.1 Hard drive recording,
Lexicon, Soundcraft, JBL, Neumann,
Ludwig, Korg
Basic Rate: $39 per hour, 1st hour free w/
engineer. Call for special packages & rates.
500 yards from Kaanapali beach, free parking,
walk to rental cars, shops, lodging and surfng.
HIGHWAY RECORDING
P.O. Box 25993
Honolulu, HI 96825
808-396-9771
E-mail: pakala@aol.com
Web: www.highwayrecording.com
Contact: P. Keat
Basic Rate: $25/hr.
SOUNDS LIKE HALE
RECORDING STUDIO, LLC
355 Hukilike St., Ste. 110
Kahului, HI 96732
808-877-4253
E-mail: info@soundslikehale.com
Web: www.soundslikehale.com
Contact: Halemanu

Idaho
OSMOSIS RECORDING
P.O. Box 790
Meridian ID 83680
208-371-3509
E-mail: nathan@osmosisrecording.com
Web: www.osmosisrecording.com
Contact: Nathan
TONIC ROOM, THE
1509 Roberts St., Ste. 103
Boise, ID 83705
208-338-8433
E-mail: info@tonicroomstudios.com
Web: www.tonicroomstudios.com
Contact: Jason or Chris
Format: Pro Tools HD/Neve
Basic Rate: $500/10hr. day with engineer(s)
Illinios
APOCALYPSE COW
20 Pomeroy Rd.
Montgomery, IL 60538
630-897-9023
E-mail: info@callthecow.com
Web: www.callthecow.com
Contact: Theresa Brooks
Basic Rate: $40/hour
BLAM RECORDING
1128 W. North Shore
Chicago, IL 60626
773-761-1329
E-mail: blamrecording@aol.com
Web: www.blamrecording.com
Format: analog/digital
BOSCO PRODUCTIONS
160 E. Grand Ave.
Chicago, IL 60611
312-644-8300 x601
E-mail: angelo@boscoproductions.com
Web: www.boscoproductions.com
Contact: Angelo Bosco
75 74 June 2012


CHICAGO RECORDING COMPANY
232 E. Ohio St.
Chicago, IL 60611
312-822-9333
E-mail: chrisshepard@chicagorecording.com
Web: www.chicagorecording.com
Contact: Chris Shepard
Format: Monster Pro Tools HD systems +
every format since 1975
Basic Rate: Special lockout day rates,
call for info
ENGINE MUSIC STUDIOS
1644 N. Honore, Ste. 300
Chicago, IL 60622
773-772-6200
E-mail: jhump@enginestudios.com
Web: www.enginestudios.com
FARVIEW RECORDING
St. Charles, IL 60175
630-377-6590
E-mail: jasonwalsh@farviewrecording.com
Web: www.farviewrecording.com
Contact: Jason Walsh
Format: digital
Basic Rate: $65/hr.
GRAVITY STUDIO
2250 W. North Ave.
Chicago, IL 60647
773-862-1880
E-mail: info@gravitystudios.com
Web: www.gravitystudios.com
Basic Rates: please call
GROOVEMASTER STUDIOS
1719 S. Clinton St.
Chicago, IL 60616
Phone: 312-929-2811
E-mail: info@groovemasterstudios.com
Web: www.groovemasterstudios.com
Contact: Johnny K, Studio Owner or Crystal
Olson, Studio Manager
Format: 24 tracks analog 2 inch, 2 track
analog 1/2 inch and Pro Tools HD3 Accel
Basic Rate: please call for rates.
HANDWRITTEN RECORDING
1346 W. Belmont
Chicago, IL 60657
773-472-7132
E-mail: jp@handwrittenrecording.com
Web: www.handwrittenrecording.com
Contact: JP
IPPOLITO RECORDING COMPANY
523 Penrose Rd.
Dixon, IL 61021
815-285-0086
E-mail: vince@vippolito.com
Web: www.vippolito.com
Contact: Vince Ippolito
Format: audio & midi digital
Basic Rate: $50/hr.
PILLAR PRODUCTIONS, INC.
P.O. Box 35
301 Oak St.
Quincy, IL 62306
217-228-7200, 888-616-1179
E-mail: record@pillarproductions.com
Web: pillarproductions.com
Contact: Jack Inghram
Format: DA88 and DAW
PRESSURE POINT RECORDING STUDIOS
2239 S. Michigan Ave.
Chicago, IL 60616
312-842-8099
E-mail: info@pprecs.com
Web: www.pressurepointrecording.com
STUDIO VMR
9039 Monroe Ave,
Brookfeld, IL 60513
312-286-5018 Fax 708-267-2198
E-mail: don@studiovmr.com
Web: www.studiovmr.com
Format: Pro Tools HD3 Accel, also Hard Disk
Recorders/72 Tracks
Basic Rate: Call for prices

Indiana
LODGE RECORDING STUDIOS, THE
3350 Roosevelt Ave.
Indianapolis, IN 46218
317-568-000
E-mail: info@thelodgestudios.com
Web: www.thelodgestudios.com
Contact: Mike Graham, chief engineer
Format: Studio A Pro Tools HD3, Studio B Pro
Tools HD3 Studio C Pro Tools HD1
SOUND LOGIC, LLC
Lafayette, IN 47909
800-732-6476
E-mail: Jeff@lafayettestudio.com
Web: www.soundlogicrecording.com
Contact: Jeff Anderson
Format: Pro Tools, API console,
2-inch 24 Track
Basic Rate: $50/hr. including engineer
SWEETWATER PRODUCTIONS
5501 U.S. Hwy 30 W.
Fort Wayne, IN 46818
800-222-4700 ext. 1801,
260-432-8176 ext. 1801
E-mail: productions@sweetwater.com
Web: www.sweetwater.com/studio
Contact: Chet Chambers, studio mgr./producer
Format: Pro Tools HD3 (3 rooms)
ADAT - 2-inch Tape
Iowa
CATAMOUNT RECORDING, INC.
5737 Westminster Dr.
Cedar Falls, IA 50613
319-235-6517
E-mail: catamount@cfu.net
Web: www.catamountrecording.com
Contact: Kitty Tatman, studio mgr.
Format: Pro Tools HD3, Otari 2
analog, SSL 4048E/G+
Basic Rate: $75/hr.
TRIAD PRODUCTIONS, INC.
1910 Ingersoll Ave.
Des Moines, IA 50309
515-243-2125 Fax 515-243-2055
E-mail: sales-studio@triadav.com
Web: www.triadav.com

Kansas
ALETHEOS RECORDING
327 S. Hydraulic
Wichita, KS 67211
316-290-9732
Web: www.myspace.com/aletheosrecording
Contact: Jason Kirk or Glen Lang
Basic Rate: $35/hr.
CHAPMAN RECORDING AND MASTERING
8805 Monrovia St.
Lenexa, KS 66215
913-894-6854
E-mail: chuck@chapmanrecording.com
Web: www.chapmanrecording.com
Contact: Chuck Chapman
Format: Pro Tools & analog 2 24 trk tape
GREENJEANS STUDIOS
110 W. Harvey Ave. Ste. 2
Wellington, KS 67152
620-326-5326
E-mail: cartergreen1@gmail.com,
carter@greenjeansstudios.com
Web: www.greenjeansstudios.com

Kentucky
DOWNTOWN RECORDING
515 S. Fourth St.
Louisville, KY 40202
502-583-9966
E-mail: nick@downtownrecording.com
Web: www.downtownrecording.com
Contact: Nick Stevens
Format: Pro Tools HD, 24 Track 2-inch analog
DSL STUDIOS
10352 Bluegrass Pkwy.
502-499-2102
E-mail: info@dslstudios.com
Web: www.dslstudios.com
PARADISE RECORDING STUDIO
Paducah, KY
270-898-4707
E-mail: steve@paradiserecording.com
Web: www.paradiserecording.com
Contact: Steve Childers
Format: digital
REELDEMO
P.O. Box 19421
Louisville, KY 40259-0421
E-mail: reeldemo@reeldemo.com
Web: www.reeldemo.com
SAINT CLAIRE RECORDING CO.
2640 Spurr Rd.
Lexington, KY 40511
859-252-7272
E-mail: info@saint-claire.com
Web: www.saint-claire.com
Contact: John Parks
Format: digital Pro Tools HD 3
SUNLITE MUSIC & STUDIOS
600 W. 3rd St.
Owensboro, KY 42301
270-684-9569
Web: www.sunlitemusic.com
Contact: Mike Frakes
Format: Pro tools HD3, 128 track digital audio
TNT PRODUCTIONS
6303 Fern Valley Pass
502-964-9616
E-mail: info@tntrecording.com
Web: www.tntrecording.com
Format: digital Pro Tools HD
WHITE HORSE CHRISTIAN RECORDING
P.O. Box 997
Nortonville, KY 42442
270-985-5548
E-mail: studio@wh-recording.com
Web: www.wh-recording.com
Format: digital

Louisiana
AUDIOPHILE RECORDING STUDIOS
61 French Market Pl.
New Orleans, LA 70116
504-529-5559
E-mail: info@audiophilestudios.com
Web: www.audiophilestudios.com
Contact: Richard Bird
DOCKSIDE STUDIO
4755 Woodlawn Rd.
Maurice, LA 70555
337-893-7880
E-mail: docksidestudio@gmail.com
Web: www.docksidestudio.com
Contact: Steve and Wish Nails
Format: Tracking, Mixing, Lodging
GREEN HAUS MEDIA, LLC
(Outside New Orleans)
Slidell, LA 70461
701-390-4166
E-mail: info@greenhausmedia.com
Web: www.greenhausmedia.com
Contact: Troy Marino
LIVING ROOM, THE
Near Downtown
New Orleans, LA
504-276-2772
E-mail: thelivingroom@hotmail.com
Web: www.thelivingroomstudio.com
Contact: Chris George
MUSIC SHED, THE
929 Euterpe St.
504-412-9995
E-mail: info@musicshed.net
Web: www.musicshed.net
PIETY STREET RECORDING
728 Piety St.
504-948-4968 Fax 504-948-4364
E-mail: studio@pietystreet.com
Web: www.pietystreet.com
Contact: Shawn
RADIONIC STUDIOS
415 Dodge Ave.
Jefferson, LA 70121
504-669-3705
E-mail: buzzbean@msn.com
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.
STUDIO IN THE COUNTRY
21443 Hwy 436
P.O. Box 490
Visit the only 3D Virtual Reality Studio
and learn the art of recording music
exclusively at
URAMonline.com
75 74 June 2012


CHICAGO RECORDING COMPANY
232 E. Ohio St.
Chicago, IL 60611
312-822-9333
E-mail: chrisshepard@chicagorecording.com
Web: www.chicagorecording.com
Contact: Chris Shepard
Format: Monster Pro Tools HD systems +
every format since 1975
Basic Rate: Special lockout day rates,
call for info
ENGINE MUSIC STUDIOS
1644 N. Honore, Ste. 300
Chicago, IL 60622
773-772-6200
E-mail: jhump@enginestudios.com
Web: www.enginestudios.com
FARVIEW RECORDING
St. Charles, IL 60175
630-377-6590
E-mail: jasonwalsh@farviewrecording.com
Web: www.farviewrecording.com
Contact: Jason Walsh
Format: digital
Basic Rate: $65/hr.
GRAVITY STUDIO
2250 W. North Ave.
Chicago, IL 60647
773-862-1880
E-mail: info@gravitystudios.com
Web: www.gravitystudios.com
GROOVEMASTER STUDIOS
1719 S. Clinton St.
Chicago, IL 60616
Phone: 312-929-2811
E-mail: info@groovemasterstudios.com
Web: www.groovemasterstudios.com
Contact: Johnny K, Studio Owner or Crystal
Olson, Studio Manager
Format: 24 tracks analog 2 inch, 2 track
analog 1/2 inch and Pro Tools HD3 Accel
Basic Rate: please call for rates.
HANDWRITTEN RECORDING
1346 W. Belmont
Chicago, IL 60657
773-472-7132
E-mail: jp@handwrittenrecording.com
Web: www.handwrittenrecording.com
Contact: JP
IPPOLITO RECORDING COMPANY
523 Penrose Rd.
Dixon, IL 61021
815-285-0086
E-mail: vince@vippolito.com
Web: www.vippolito.com
Contact: Vince Ippolito
Format: audio & midi digital
Basic Rate: $50/hr.
PILLAR PRODUCTIONS, INC.
P.O. Box 35
301 Oak St.
Quincy, IL 62306
217-228-7200, 888-616-1179
E-mail: record@pillarproductions.com
Web: pillarproductions.com
Contact: Jack Inghram
Format: DA88 and DAW
PRESSURE POINT RECORDING STUDIOS
2239 S. Michigan Ave.
Chicago, IL 60616
312-842-8099
E-mail: info@pprecs.com
Web: www.pressurepointrecording.com
RAXTRAX
3126 N. Greenview
Chicago, IL 60657
773-871-6566
E-mail: rbarnes@raxtrax.com
Web: www.raxtrax.com
Format: 2 SSL control rooms, digital/analog
Indiana
LODGE RECORDING STUDIOS, THE
3350 Roosevelt Ave.
Indianapolis, IN 46218
317-568-000
E-mail: info@thelodgestudios.com
Web: www.thelodgestudios.com
Contact: Mike Graham, chief engineer
Format: Studio A Pro Tools HD3, Studio B Pro
Tools HD3 Studio C Pro Tools HD1
SOUND LOGIC, LLC
Lafayette, IN 47909
800-732-6476
E-mail: Jeff@lafayettestudio.com
Web: www.soundlogicrecording.com
Contact: Jeff Anderson
Format: Pro Tools, API console,
2-inch 24 Track
SWEETWATER PRODUCTIONS
5501 U.S. Hwy 30 W.
Fort Wayne, IN 46818
800-222-4700 ext. 1801,
260-432-8176 ext. 1801
E-mail: productions@sweetwater.com
Web: www.sweetwater.com/studio
Contact: Chet Chambers, studio
mgr./producer
Format: Pro Tools HD3 (3 rooms)
ADAT - 2-inch Tape
Iowa
CATAMOUNT RECORDING, INC.
5737 Westminster Dr.
Cedar Falls, IA 50613
319-235-6517
E-mail: catamount@cfu.net
Web: www.catamountrecording.com
Contact: Kitty Tatman, studio mgr.
Format: Pro Tools HD3, Otari 2
analog, SSL 4048E/G+
Basic Rate: $75/hr.
TRIAD PRODUCTIONS, INC.
1910 Ingersoll Ave.
Des Moines, IA 50309
515-243-2125 Fax 515-243-2055
E-mail: sales-studio@triadav.com
Web: www.triadav.com
Kansas
ALETHEOS RECORDING
327 S. Hydraulic
Wichita, KS 67211
316-290-9732
Web: www.myspace.com/aletheosrecording
Contact: Jason Kirk or Glen Lang
Basic Rate: $35/hr.
CHAPMAN RECORDING AND MASTERING
8805 Monrovia St.
Lenexa, KS 66215
913-894-6854
E-mail: chuck@chapmanrecording.com
Web: www.chapmanrecording.com
Contact: Chuck Chapman
Format: Pro Tools & analog 2 24 trk tape
GREENJEANS STUDIOS
110 W. Harvey Ave. Ste. 2
Wellington, KS 67152
620-326-5326
E-mail: cartergreen1@gmail.com,
carter@greenjeansstudios.com
Web: www.greenjeansstudios.com
Kentucky
DOWNTOWN RECORDING
515 S. Fourth St.
502-583-9966
E-mail: nick@downtownrecording.com
Web: www.downtownrecording.com
Contact: Nick Stevens
Format: Pro Tools HD, 24 Track 2-inch analog
DSL STUDIOS
10352 Bluegrass Pkwy.
502-499-2102
E-mail: info@dslstudios.com
Web: www.dslstudios.com
PARADISE RECORDING STUDIO
Paducah, KY
270-898-4707
E-mail: steve@paradiserecording.com
Web: www.paradiserecording.com
Contact: Steve Childers
Format: digital
REELDEMO
P.O. Box 19421
Louisville, KY 40259-0421
E-mail: reeldemo@reeldemo.com
Web: www.reeldemo.com
SAINT CLAIRE RECORDING CO.
2640 Spurr Rd.
Lexington, KY 40511
859-252-7272
E-mail: info@saint-claire.com
Web: www.saint-claire.com
Contact: John Parks
SUNLITE MUSIC & STUDIOS
600 W. 3rd St.
Owensboro, KY 42301
270-684-9569
Web: www.sunlitemusic.com
Contact: Mike Frakes
Format: Pro tools HD3, 128 track digital audio
TNT PRODUCTIONS
6303 Fern Valley Pass
502-964-9616
E-mail: info@tntrecording.com
Web: www.tntrecording.com
WHITE HORSE CHRISTIAN RECORDING
P.O. Box 997
Nortonville, KY 42442
270-985-5548
E-mail: studio@wh-recording.com
Web: www.wh-recording.com
Format: digital
Louisiana
AUDIOPHILE RECORDING STUDIOS
61 French Market Pl.
504-529-5559
E-mail: info@audiophilestudios.com
Web: www.audiophilestudios.com
Contact: Richard Bird
DOCKSIDE STUDIO
4755 Woodlawn Rd.
Maurice, LA 70555
337-893-7880
E-mail: docksidestudio@gmail.com
Web: www.docksidestudio.com
Contact: Steve and Wish Nails
Format: Tracking, Mixing, Lodging
GREEN HAUS MEDIA, LLC
(Outside New Orleans)
Slidell, LA 70461
701-390-4166
E-mail: info@greenhausmedia.com
Web: www.greenhausmedia.com
Contact: Troy Marino
LIVING ROOM, THE
Near Downtown
New Orleans, LA
504-276-2772
E-mail: thelivingroom@hotmail.com
Web: www.thelivingroomstudio.com
Contact: Chris George
MUSIC SHED, THE
929 Euterpe St.
504-412-9995
E-mail: info@musicshed.net
Web: www.musicshed.net
PIETY STREET RECORDING
728 Piety St.
504-948-4968 Fax 504-948-4364
E-mail: studio@pietystreet.com
Web: www.pietystreet.com
Contact: Shawn
RADIONIC STUDIOS
415 Dodge Ave.
Jefferson, LA 70121
504-669-3705
E-mail: buzzbean@msn.com
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.
STUDIO IN THE COUNTRY
21443 Hwy 436
P.O. Box 490
Visit the only 3D Virtual Reality Studio
and learn the art of recording music
exclusively at
URAMonline.com
76 June 2012


Bogalusa, LA 70429
985-735-8224
E-mail: studiointhecountry@gmail.com
Web: www.studiointhecountry.com
Contact: Ben
Format: Studer 2-inch 24-track, Pro Tools HD3
32 i/o and Neve 8068 analog mixing
board (32 ch.).
ULTRASONIC STUDIOS, INC.
2801 Eton St.
504-258-1851
E-mail: df_audio@yahoo.com
Contact: David Farrell
Format: digital

Maine
BAKED BEANS RECORDING
75 Weston Farm Rd.
Harrison, ME 04040
207-583-2923, 207-583-4312
E-mail: beans@megalink.net
Web: www.bakedbeansrecording.com
Contact: Alan Bean
Basic Rate: $40/hour
STUDIO, THE
45 Casco St.
Portland, ME 04101
207-772-1222
E-mail: info@thestudioportland.com
Web: www.thestudioportland.com
Contact: Tim Tierney
Format: Pro Tools

Maryland
CLEANCUTS MUSIC
2901 Chestnut Ave.
Baltimore, MD 21211
410-467-4231
E-mail: jack@cleancuts.com
Web: www.cleancuts.com
Contact: Jack
Additional location:
8403 Colesville Rd, Ste. 250
Silver Spring, MD 20910
E-mail: julie@cleancuts.com
HIT AND RUN RECORDING
18704 Muncaster Rd.
Rockville, MD 20855
301-948-6715
E-mail: steve@hitandrunrecording.com
Web: www.hitandrunrecording.com
Contact: Steve Carr
Format: Main DAW Cubase, 2nd DAWs
Digital Performer, Pro Tools Le
LION AND FOX RECORDING STUDIOS
9517 Baltimore Ave.
College Park, MD 20740
301-982-4431
E-mail: mail@lionfox.com
Web: www.lionfox.com
Contact: Jim Fox
Format: 32 track IO, 96k, 24bit
NIGHTSKY STUDIOS
3432 Rockefeller Ct.,
Waldorf, MD 20602
301-910-6163, 301-374-9450
E-mail: aurora4dth@aol.com
Web: www.nightskystudios.org
Contact: Ron
ZAMPI PRODUCTIONS
404 Ben Oaks Dr. W.
Severna Park, MD 21146
410-729-1869
E-mail: mikezampi@gmail.com
Web: www.zampi-productions.com
Contact: Mike Zampi
Format: Pro Tools Digital, Acoustic, Jazz,
Rock, Christian, Folk, Blues, Classical
Basic Rate: $50/hr. - $80/hr
Massachusetts
CYBER SOUND RECORDING STUDIOS
349 Newbury St.
Boston, MA
617-424-1062
E-mail: cyber.sound@verizon.net
Web: www.cybersoundmusic.com
Format: Pro Tools HD, Digital/Analog
Basic Rate: $125 per hour with Engineer
63 Greene St.
New York, NY 10012
GOIN MOBILE
P.O. Box 470627
Brookline, MA 02447
617-232-7969
E-mail: lbedell@goin-mobile.com
Web: www.goin-mobile.com
Contact: Lonnie Bedell
Format: hard disk, DA88, *note this is a mobile
recording truck
Basic Rate: $2450/day
MADDEN MUSIC STUDIO
520 Canton St.
Westwood, MA 02090
781-461-6799 Fax 781-461-6093
E-mail: tom@maddenmusicstudio.com
Contact: Tom Madden
Basic Rate: $45.00 an hour
MUSICMEZ STUDIO
Greater Boston Area
617-529-1922
E-mail: mez@musicmez.com,
stevemez@verizon.net
Web: www.musicmez.com
Contact: Steven Mesropian (aka mez)
Format: DAW, specializing in broadcast quality
productions for songwriters, lyricists and artists
Basic Rates: See website for rate
SANCTUM SOUND Boston
107 South St. - Studio C
Boston, MA 02111
617-556-8090
E-mail: info@serenityeastrecording.com
Web: www.sanctumsound.com
Contact: Leo Mellace
Format: Pro Tools, Logic, Reason, Ableton
Basic Rate: variable
TINWOLF STUDIOS
22 Brook St.
Walpole, MA 02081
508-653-3720
E-mail: tom@tinwolf.com
Web: www.tinwolf.com
Contact: Tom Tincler
Michigan
LAMOUR RECORDING STUDIO
3711 W Outer Dr.
Detroit, MI 48221
313-863-9542, 313-460-7454
E-mail: lamourrec@aol.com
Web: www.lamourrecording.net
Contact: Merion Powers
Format: digital Pro Tools HD3 Accel expanded
STUDIO A RECORDING, INC.
5619 N. Beech Daly
Dearborn Hgts., MI 48127-3927
313-561-7489
E-mail: marilyn@studioarecording.com
Web: www.studioarecording.com
Contact: Marilyn
WATERFALL STUDIOS
11389 S. Forrest Side Rd.
Dafter, MI 49724
313-570-6780
Web: www.waterfallrecordings.com
Contact: Michael Stevenson or Kenneth Sutton
Format: digital

Minnesota
DREAMING RIVER STUDIOS
19030 Dreaming River Dr.
Terrace, MN 56334
320-278-3019
E-mail: jeff@dreamingriver.com
Web: www.dreamingriver.com,
www.mapleislandrecords.com
Contact: Jeff Thornton
Format: Digital Performer - UAD -
Waves etc., 24 tracks

Mississippi
COWART RECORDING STUDIO
3207 Chicot St.
Pascagoula, MS 39581
228-762-7205
E-mail: cowartstudio@cableone.net
Web: www.cowartrecordingstudio.com
Format: digital
STUDIO 61 CLARKSDALE
209 N. Main St.
Leland, MS 38756
601-529-9495
Format: digital
TWEED RECORDING
355 County Rd. 102
Oxford, MS 38655
662-236-3902
E-mail: tweedrec@aol.com
Web: www.tweedrecording.com
Contact: Andrew Ratcliffe
WILDFIRE STUDIO / CIRCUIT RIDER
RECORDS
132 Tarnell Rd., P.O. Box 118
Grenada, MS 38901
662-227-9245
E-mail: wctaylor_jr@yahoo.com
Web: www.circuitriderrecords.com
Contact: W.C.Taylor or Charles Taylor
Missouri
JUPITER STUDIOS
7376 Manchester St.
St. Louis, MO 63143
314-535-5556
E-mail: jessie@jupiterstudios.net
Web: www.jupiterstudios.net
MUSIC MASTERS
2322 Marconi Ave.
St. Louis, MO 63110
314-773-1480
E-mail: greg@musicmastersinc.com
Web: www.musicmastersinc.com
Contact: Greg
PHAT BUDDHA PRODUCTIONS
1901 Locust St.
St. Louis, MO 63103
314-231-3930
E-mail: info@phatbuddhaproductions.com
Web: www.phatbuddhaproductions.com
Format: digital Pro Tools HD2
STUDIO CITY KC
615 E. 6th St., Ste. 123
Kansas City, MO 64106
816-474-5920
E-mail: restes@studiocitykc.com
Web: www.studiocitykc.com
Contact: Rick Estes
Format: Digital Pro Tools HD 3 and Digital
EX-3 Sony video production

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

Nebraska
JOE AUDIO PRODUCTIONS
10850 John Galt Blvd.
Thousands have used
us since 1969!
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Got Drums?
Awesome Drum Room!
Pro Tools HD Accel
Vintage Outboard
Free Monthly Workshops!
ES Audio Recording Studios
www.esaudio.com
Call for a tour today!
8185051007
77 76 June 2012


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

Nevada
AUDIOMATION
Las Vegas, NV 89130
Cell 702-332-5688
E-mail: niki@liveatthestudio.tv
Web: www.liveatthestudio.tv
Contact: Arty Congero or Niki Congero
Format: digital 64 tracks, offering unique live
video web stream
AUDIO TRAX STUDIO
Las Vegas, NV 89117-9080
702-242-8758
E-mail: audiotraxstudio@gmail.com
Web: www.audiotraxstudio.com
Contact: James Sinor
DIGITAL INSIGHT RECORDING STUDIOS
2810 S. Maryland Pkwy, Ste. C
Las Vegas, NV 89109
702-792-3302 Fax 702-792-8582
E-mail: digitalinsightrecording@gmail.com
Web: www.digitalinsightrecording.com
Contact: Rob Devlin
Format: Pro Tools HD, 175 tracks
IMIRAGE SOUND LAB
1558 Linda Way
Sparks, NV 89431
775-358-7484
E-mail: tom@inspired-amateur.com
Web: www.facebook.com/profle.
php?id=100001970722604
JAGUAR RECORDING STUDIO
Las Vegas, NV
702-808-4400
E-mail: thad@jaguarstudio.com
Web: www.jaguarstudio.com
Contact: Thaddeus Corea
Format: Logic Pro
Basic Rate: $75/hr
ODDS ON RECORDING STUDIOS
AND MASTERING
14 Sunset Way
Henderson, NV 89014
702-318-6001
E-mail: Kelle@oddsonrecording.com
Web: www.oddsonrecording.com
Contact: Kelle Musgrave
Basic Rate: Hourly and Block, call for quotes
Services: Featuring Pro-Tools HD3 & SSL-
9000K Console, SSL Duality
RMS RECORDING STUDIOS
4620 Blue Diamond Rd.
Las Vegas, NV 89139
702-361-1559
Format: Analog
SIERRA SONICS
1515 Plumas Ave.
Reno, NV 89509
775-786-2622 fax 775-337-8649
E-mail: info@sierrasonics.com
Web: www.sierrasonics.com
Contact: Studio Manager
Format: Analog 2- Digital Pro Tools
Gear: SSL 4072G W/G3 Full W4.1 Automation,
Total Recall & 16 E series E EQs, 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: zoe.thrall@palms.com
Web: www.studioatthepalms.com
Contact: Zoe Thrall
TK PRODUCTIONS
4200 Paradise Rd., Ste. 3053
Las Vegas, NV 89109
702-303-4094
E-mail: tkprod1@aol.com
Web: www.tkprod.net
Contact: Kenny James
TONE FACTORY, THE
5329 S. Cameron, Ste. 103
Las Vegas, NV 89120
702-301-6964
E-mail: info@thetonefactory.com
Web: www.thetonefactory.com
Contact: Vinny
TRIMORDIAL STUDIO LAS VEGAS8
Audio Video GraphicsWeb
1700 S Main St, PMB 188, Las Vegas, NV
89104
702-340-6748
Email:trimordial@thefaro.com
Web:www.trimordial.com
Contact:Roy Rendahl
Format: Digital Pro Tools LE 32 tracks,
iZotope Ozone mastering
Gear: MacBook Pro, Mbox, JBL, Shure
Basic Rate: $25-$50/hr. includes engineer
Services:Location & studio audio recording
& song mastering, music songwriting &
production and live sound engineering
UNIVERSITY OF NEVADA LAS VEGAS
4555 Maryland Pkwy.
Las Vegas, NV 89154
Web: www.unlv.edu/depts/recordingstudio/
Contact: Music Department, Recording Studio
VEGAS DISC / HIT TRACK STUDIOS
Tom 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 Hampshire
CEDARHOUSE SOUND & MASTERING
P.O. Box 333
N. Sutton, NH 03260-0333
603-927-6363 Fax 603-927-4374
E-mail: gerry@cedarhousesound.com
Web: www.cedarhousesound.com
Contact: Gerry Putnam
Format: Pro Tools HD, DA-78HR, SADiE,
analog 2, 1, 1/2, 1/4
Basic Rate: please call or email for info

DEV PRODUCTIONS
15 Oak St.
N. Conway, NH 03860
603-356-3855
E-mail: tom@tomdeansongs.com
Web: http://tomdeansongs.com/
devpro/index.html
Contact: Tom Dean
Basic Rate: please call fro info
DRUMLIN DOWNE STUDIOS
21 Main St.
E. Kingston, NH 03827
603-580-5339
E-mail: info@drumlindowne.com
Web: www.drumlindowne.com
MOJO MUSIC STUDIO
P.O. Box 536
Franconia, NH 03580
603-348-1625
E-mail: info@mojomusicstudio.com
Web: www.mojomusicstudio.com,
Contact: Tony or Joe
Format: HD, DAW 96k and 16track
Reel-to-Reel, Pro Tools
Basic Rate: $40 - $55/hr.
STAR SOUND SYSYTEMS
P.O. Box 536
Franconia, NH 03580
603-348-1625
E-mail: info@mojomusicstudio.com
Web: www.starsound.us
Contact: Tony or Joe
Format: mobile HD recording & hi-fdelity live
sound systems
Basic Rate: $40 - $55/hr.

New Jersey
HANDS ON STUDIO
470 Kipp St.
Teaneck, NJ 07666
201-201-446-5477
E-mail: madmike@madhands.com
Web: www.madhands.com
Contact: Mad Mike
Format: digital multi-track
Basic Rate: $40/hr
ULTRASCENE, THE
22 Union Ave., Ste. 7
Rutherford, NJ 07070
201-306-3921
E-mail: kimon@ultrascene.com
Web: www.ultrascene.com
Contact: Kimon Katafgiotis
Format: digital, Pro Tools
Basic Rate: $35/hr.
VELARDE PRODUCTIONS, INC.
270 Burgess Pl.
Clifton, NJ 07011
973-922-0212
E-mail: info@velardeproductions.com
Web: www.VelardeProductions.com
Contact: Ray Velarde
Format: digital/analog & HD video
Basic Rate: $45/hr.
XANTHI PRODUCTIONS
321 Newark St.
Hoboken, NJ 07030
201-659-3339
E-mail: info@xanthimusic.com
Web: www.xanthimusic.com
Contact: Rod Shepard
Format: Pro Tools, DP5, 2, 1/4
ADAT, DAT, DA88
Basic Rate: $40/hr.

New Mexico
JOHN WAGNER
RECORDING STUDIOS, INC.
PO Box 51567
Albuquerque, NM 87181-1567
505-296-2766 Fax 505-296-9374
E-mail: info@johnwagnerstudios.com
Web: www.johnwagnerstudios.com
MULHAIR RECORDING STUDIO
3101 N. Prince
Clovis, NM 88101-3829
575-763-1441
E-mail: mulhairjjwt@plateautel.net
Web: www.johnnymulhair.com
SANTA FE CENTER
RECORDING STUDIOS
933 San Pedro SE
Albuquerque, NM 87108
505-265-2511 Fax 505-265-4714
E-mail: jdgeist@santafecenterstudios.com
Web: www.santafecenterstudios.com
SON SET BEACH PRODUCTIONS
9205 Lona Ln. N.E.
Albuquerque, NM 87111
505-228-8131
E-mail: sonsetbeach@comcast.net
Web: www.sonsetbeach.com
Contact: Bob Reynolds
Format: analog and digital, Nuendo, UAD-2
Nevana, Pro Tools, Studer, Digital Video:
Canon XL, Lumix/Panasonic GH1, AVID,
Adobe Premiere CS5
Basic Rate: $55/hr. tracking, mixing and
mastering Avalon, Manley Labs, Neve
STEPBRIDGE STUDIOS
528 Jose St.
Santa Fe, NM 87501
505-988-7051
E-mail: info@stepbridge.com
Web: www.stepbridge.com
Contact: Edgard Rivera
Format: Pro Tools HD, Music production,
audio services for flm and authors.
TONE PALACE RECORDING STUDIO
Taos, NM
505-779-1087
L.A. Sightsinger
learn to read & sing written music
LAsightsinger.com
online
78 June 2012


E-mail: omar@taosrecording.com
Web: www.tonepalace.com
Basic Rate: $50/hr

New York
AVATAR STUDIOS
441 W. 53rd St.
New York, NY 10019
212-765-7500, 212-765-7450
E-mail: tino@avatarstudios.net
Web: www.avatarstudios.net
Contact: Tino Passante, Manager
Format: digital, analog, all formats
accommodated
BRIAN TARQUIN
917-449-8841
Nyack, NY
E-mail: BhpMusic@gmail.com
Web: www.jungleroomstudios.com
Styles: guitar virtuoso instrumental
Basic Rate: Call for Information
CHUNG KING
170 Verik St. Penthouse Fl.
New York, NY 10013
212-463-9200
E-mail: mail@chungkingstudios.com
Web: www.chungkingstudios.com
Contact: Joe Moose
Basic Rates: Just give us a shout!
CLINTON RECORDING STUDIOS
653 10th Ave. (46th and 10th)
New York, NY 10036
212-246-2444
E-mail: clintonrecording@aol.com
Web: www.clintonrecording.com
Contact: Tara Hemsey, booking mgr.
COTTON HILL STUDIOS, INC.
13 Walker Way
Albany, NY 12205
518-869-1968
E-mail: margherita@cottonhill.com
Web: www.cottonhill.com
Contact: Margherita Krug
Format: Pro Tools
Basic Rate: $110/hr. commercial, $125/hr.
post, $75/hr. music, $175/ADR, $285 ISDN
CUTTING ROOM
RECORDING STUDIOS, THE
14 E. 4th St., Ste. 602
New York, NY 10012
212-260-0905 Cell 347-249-9836
Fax 212-358-0041
E-mail: david@thecuttingroom.com
Web: www.thecuttingroom.com
Format: Pro Tools HD3 Accell, SSL9000J
DUBWAY STUDIOS
42 Broadway
New York, NY 10004
212-352-3070
E-mail: info@dubway.com
Web: www.dubway.com
Contact: Steven Alvarado, Al Houghton,
or Mike Crehore
Format: Pro Tools, full service,
Film, TV, post production
ELECTRIC LADY
52 W. 8th St.
New York, NY 10011
212-677-4700
E-mail: lee.foster@electricladystudios.com
Web: www.electricladystudios.com
ENGINE ROOM AUDIO
42 Broadway, 22nd Fl.
New York, NY 10004
212-625-3467, Fax 212-625-3496
E-mail: scotty@engineroomaudio.com
Website:www.engineroomaudio.com
Format: Tracking, Mixing, Mastering &
Manufacturing
Basic Rate: Contact us for details
GYPSY RECORDING
P.O. Box 376
Oceanside, NY 11572
516-610-3254
E-mail: info@gypsyrecording.com
Web: www.gypsyrecording.com
Contact: Brandon Karp
Format: analog, digital, and tube gear,
remote recording, full-studio
Basic Rate: varies
HYPERSTUDIO RECORDING
(10 min. from Kennedy Airport)
419 Maple St.
W. Hempstead, NY 11552
516-565-2397
E-mail: sspecial@optonline.net
Contact: Eitan Kantor
Format: Pro Tools, Digital Performer
Basic Rate: $75/hr.
Services: Large rooms with cathedral ceilings,
windows overlooking grass & trees, grand
piano, recording drum set.
MAGIC SHOP, THE
49 Crosby St.
New York, NY10012
212-226-7035
E-mail: info@magicshopny.com
Web: www.magicshopny.com
Basic Rates: Call for information
METROSONIC RECORDING
143 Roebling St., 3rd Fl.
Brooklyn, NY 11211
718-782-1872
E-mail: info@metrosonic.net
Web: www.metrosonic.net
Contact: Pete
Format: all analog and digital formats
Basic Rate: Call for information
MSR STUDIOS
168 W. 48th St.
New York, NY 10036
212-944-5770
Web: www.msrstudiosny.com
Contact: Matt
Basic Rates: Call for more information
QUAD STUDIOS
723 7th Ave. 10th f.
New York, NY10019
212-730-1035
E-mail: Jason@quadnyc.com
Web: Quadnyc.com
Contact: Jason Panniell
Format: Analog /digital
Basic Rates: Call for info
SEAR SOUND
353 W. 48th St., 5th & 6th Fl.
New York, NY 10036
212-582-5380
E-mail: waltersear@aol.com
Web: www.searsound.com/studio_d.html
Contact: Roberta Findlay, Studio Manager
Format: Analog & Digital, Studio A,
Recording/mix Neve 8038, Studio C, Large
Recording/mix, Studio D, pre/post room/
vacuum tube console & Moog
Basic Rate: $1600.00-$2200.00 day
STRATOSPHERE SOUND
239 11th Ave.
New York, NY 10001
212-924-2193
E-mail: ashley@stratospheresound.com
Web: www.stratospheresound.com
Basic Rate: Please call or email

North Carolina
DAXWOOD PRODUCTION COMPANY
Fayetteville, NC
910-323-2550
E-mail: daxwood@aol.com
Web: www.daxwood.com
Contact: Doyle
Format: Pro Tools
Basic Rate: $75/hr. block rates available
EARTHTONE RECORDING
Greensboro, NC
336-273-0001
E-mail: earthtonesrecording@gmail.com
Web: www.earthtonesrecording.com
Contact: Benjy Johnson
Basic Rate: check our website
ECHO MOUNTAIN RECORDING
175 Patton Ave.
Ashville, NC 28801
828-232-4314
E-mail: info@echomountain.net
Web: www.echomountain.net
Basic Rate: please call for more info
JAMES LUGOS VOCAL ASYLUM
Raleigh, NC
919-800-8049, 818-259-0190
E-mail: james@jameslugo.com
Contact: James Lugo
Web: www.vocalasylum.com
TEQUILA SUNRISE MUSIC
112 Ann St.
Gaston, NC 27832
800-537-1417
E-mail: tequilasunrisemusic@yahoo.com
Web: www.tequilasunrisemusic.com
Contact: Kenny Barker
Format: digital
Basic Rate: $40/hr.
UNDERGROUND SOUNDS
204 East Vandalia Rd.
Greensboro, NC
336-681-6608
E-mail: derrick@recordundgerground.com
Web: www.recordunderground.com
Contact: Derrick Acker
Format: Pro Tools 10, see website for
complete equipment listing
Basic Rate: $35/hr. $300/day
North Dakota
RAPTOR STUDIOS
P.O. Box 1455
Fargo, ND 58105
E-mail: raptor@barkingdogrecords.com
Web: www.barkingdogrecords.com
Contact: Mike Coates
Basic Rate: email for rates
Ohio
ANTE UP AUDIO
1374 E. 36th St.
Cleveland, OH 44114
216-432-8000
E-mail: Danielle@anteupaudio.com
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 STUDIO
6001 W. Creek Rd.
Cleveland, OH 44131
216-642-1000
Web: www.commercialrecording.com
Contact: George Gates
Format: digital
PACIFICA STUDIOS
Cleveland, OH
Pro Tools HD 9 | Adobe CS5
Professional Recording & Web Design
E-mail: info@pacifcastudios.com
Web: www.pacifcastudios.com
REFRAZE RECORDING STUDIOS
2727 Gaylord Ave.
Dayton, OH 45419
937-298-2727
E-mail: info@refraze.com
Web: www.refraze.com
Contact: Ron Pease
Format: Pro Tools HD Accel 2, 2-inch tape,
Otari MTR90II
Basic Rate: $600/day incl. engineer
SOUNDCUBED STUDIOS
101 S. Main St.
Basement Floor
Poland, OH 44514
330-207-2470
E-mail: info@sound3studios.com
Web: sound3studios.com
ULTRASUEDE STUDIO, INC.
2834 Spring Grove Ave.
Cincinnati, OH 45225
513-542-5111
79 78 June 2012


E-mail: info@ultrastudio.com
Web: www.ultrastudio.com
Contact: John Curley
Format: digital (Logic, Pro Tools,
Digital Performer),
Basic Rate: $75/hr. engineer included
Oklahoma
BENSON SOUND, INC.
3900 E. I-240
Oklahoma City, OK 73135
405-670-4461
E-mail: info@bensonsound.com
Web: www.bensonsound.com
Format: digital
CORNERSTONE RECORDING CO.
1315 Locust Ln.
Edmond, OK 73013
405-848-8400
E-mail: info@cornerstonerecording.com
Web: www.cornerstonerecording.com
Contact: Ken Sarkey
NATURA DIGITAL STUDIOS
14540 Happy Camp Rd.
Beggs, OK 74421
918-756-5230, 918-695-8992
E-mail: teegarden@naturadigital.com
Web: www.naturadigital.com
Contact: David Teegarden
Format: Pro Tools HD Core 3
Basic Rate: $75/hr.
STUDIO SEVEN / LUNACY RECORDS
417 N. Virginia Ave.
Oklahoma City, OK 73106
405-236-0643
E-mail: cope@okla.net
Web: www.lunacyrecords.com
Contact: Dave Copenhaver
Format: 2-inch 24-Track, Pro Tools & other
digital formats, large playing room, tracking,
mixing & mastering
Basic Rate: $75/hr.

Oregon
BIG RED STUDIO
Corbett, OR
503-695-3420
E-mail: billyo@bigredstudio.com
Web: www.bigredstudio.com
Contact: Billy
Format: 2-inch analog, vintage Trident
Console, Pro Tools HD2
Basic Rate: $550/day plus engineer
FALCON RECORDING STUDIOS
5A S.E. 15th St.
Portland, OR 97214
503-236-3856
E-mail: falconstudios@comcast.net
Web: www.falconrecordingstudios.com
Contact: Dennis Carter
FRESH TRACKS STUDIO
1813 S.E. 59th Ave.
Portland, OR 97215
503-235-7402
E-mail: jon@freshtracksstudio.com
Web: freshtracksstudio.com
Contact: Jon Lindahl
Format: HD
NORTHSTAR RECORDING STUDIOS
13716 S.E. Ramona St.
Portland, OR 97236-4444
503-760-7777 Fax 503-760-4342
E-mail: skyradio@frontier.com
Web: www.northstarsamples.com
Contact: Scott Hybl
OPAL STUDIO
6219 S.E. Powell Blvd.
Portland, OR 97206
503-774-4310
E-mail: info@opal-studio.com
Web: www.opal-studio.com
Contact: Kevin Hahn
Basic Rate: $45/hr.
SPROUT CITY STUDIOS
Eugene, OR
541-687-0947
E-mail: giddy@sproutcity.com
Web: www.sproutcity.com
Format: digital
Pennsylvania
APOCALYPSE THE APOCALYPSE
303 W. Market St.
Cleareld, PA 16830
225-266-1973
E-mail: fred@fredweaver.com
Web: www.apocalypsetheapocalypse.com
Contact: Fred Weaver
Rates: $30 hr/$300 Day
GREEN VALLEY RECORDING
590 S. Frymire
Hughesville, PA 17737
570-584-2653
E-mail: greenvalleyrecording@windstream.net
Web: greenvalleyrecording.com
Contact: Richard or Alison Rupert
Format: Analog, Digital
JAVBOY RECORDS
408 Kingston Dr.
Douglassville, PA 19518
215-285-7444
E-mail: contact@javboyrecords.com
Web: www.javboyrecords.com
Contact: Ben Blakesley
Format: digital
Basic Rate: $50/hr.
LIFELINE STUDIOS & MUSIC SERVICES
Coatesville, PA 19320
610-380-9729
E-mail: davekurtz@comcast.net
Web: www.lifeline-studios.com
Contact: Dave Kurtz
Format: 16 track analog/24 track digital
Basic Rate: call or email for rates
RIGHT COAST RECORDING
Columbia, PA
717-681-9801
E-mail: rightcoastrecording@gmail.com
Web: www.rightcoastrecording.com
Format: 2-inch 16 + 24 track analog, 48 track 192k
digital performer, automated Neotek elite console
SIGNAL SOUND
P.O. Box 854
Quakertown, PA 18951
215-536-4660
E-mail: pete@signalsound.com
Web: www.signalsound.com
Contact: Pete
Format: 2-inch analog, 32 track ADAT, 32
track Pro Tools, 3 camera HD, Steadycam,
Crane, 12x26 green screen
Basic Rate: from $48/hr.
SILENT WING AUDIO RECORDING &
MASTERING
P.O. Box 536
Bobtown, PA 15315-0536
724-839-7292
E-mail: silentwing@juno.com
Web: www.silentwingaudio.tk
Contact: Mr. Dan Festog, owner
Format: 8-track digital
Basic Rate: $20/hr.
STARCITY RECORDING COMPANY
3935 Rabold Circle S.
Bethlehem, PA 18020
610-865-9455 Cell 610-984-4472
E-mail: lily@starcityrecording.com
Web: www.starcityrecording.com
Contact: Lily Salinas
Format: digital and analog,
96 tracks
THIRD STORY
5120 Walnut St.
Philadelphia, PA 19139
215-747-1200
E-mail: tsr2@verizon.net
Web: www.thirdstoryrecording.com
Format: Pro Tools, Digital/Analog
Basic Rate: please call for rate
Rhode Island
HIPPO
Heavyweight Audio Production
27 Bank St.
Warwick, RI 02888
401-521-5676
E-mail: martingleitsman@mac.com
Web: www.hippostudios.com
Contact: Martin Gleitsman
blackbird
pro
www.blackbirdpro.com
Want your next album to ROCK?
8 rooms...5 world class prod/engs...1 rockin studio complex
80 June 2012


Format: Pro Tools, sound for
advertising & audiovisual
STATIC PRODUCTIONS
401- 267-8236
Email: mail@staticproductions.com
Website: www.staticproductions.com
Contact: Peter LaGrasse
Rate: see website

South Carolina
ARP STUDIO
Charleston, SC
843-763-4277
E-mail: info@arpstudio.com
Web: www.arpstudio.com
CHARLESTON SOUND
1121 Park West Blvd., Ste. B-105
Mt. Pleasant, SC 29466
843-216-5556
Web: www.charlestonsound.com
THE JAM ROOM
201 S. Prospect St.
Columbia, SC 29205
803-787-6908
E-mail: info@jamroomstudio.com
Web: www. jamroomstudio.com
Contact: Jay Matheson
Basic Rate: $55/hr. (2 hr min.)
STRAWBERRY SKYS RECORDING
STUDIOS
1706 Platt Springs Rd.
W. Columbia, SC 29169
803-794-9300
E-mail: info@strawberryskys.com
Web: www.strawberryskys.com
Contact: Gary Bolton
Format: Radar24 and Pro Tools
Basic Rate: $85.00 per hour or
$640.00 per day

Tennessee
ALLISONGS
Nashville, TN
615-268-1680
E-mail: jimA1426@aol.com
Web: www.allisongs.com
Contact: Jim Allison
Format: full song demo production
ARDENT STUDIOS
2000 Madison Ave.
Memphis, TN 38104
901-725-0855
E-mail: drusso@ardentstudios.com
Web: www.ardentstudios.com
Format: Pro Tools 9.0.1 and analog 24, 16, 8
and 2 trk 1/2-inch and 1/4-inch
BLACK BIRD
2806 Avalea Pl.
Nashville, TN
615-467-4487
E-mail: scott@blackbirdstudio.com
Web: www.blackbirdstudio.com
Format: Digital/analog
CASTLE
1393 Old Hillsbro Rd.
Franklin, TN 37069
615-791-0810
E-mail: booking@castlerecordingstudios.com
Web: www.castlerecordingstudios.com
CAVE STUDIOS, THE
5853 Davis Hollow Rd.
Franklin, TN 37064
615-790-7578
E-mail: hooksgroove@bellsouth.net
Web: www.thecavestudios.net
Contact: Andrew Hooker
Basic Rate: $60/hr.
HOUSE OF BLUES NASHVILLE
518 East Iris Dr.
Nashville, TN 37204
615-777-9080, cell 615-473-2400
E-mail: mike@houseofbluesstudios.com
Web: www.houseofbluesstudios.com
Contact: Mike
Format: Digital and analog
Basic Rates: Please call
904 Ryaner St.
Memphis, TN 38114
E-mail: gary@houseofbluesstudios.com
OCEAN WAY NASHVILLE
1200 17th Ave. S.
Nashville, TN 37212
615-320-3900
E-mail: pmcmakin@oceanwaynashville.com
Web: www.oceanwaynashville.com
OMNISOUND STUDIOS
1806 Division St.
Nashville, TN 37203
615-482-1511
E-mail: sarahermily@omnisoundstudios.com
Web: www.omnisoundstudios.com
Format: Pro Tools HD/24 TK analog
PARAGON STUDIOS
320 Billingsley Ct.
Nashville, TN 37067
615-778-9083
E-mail: info@paragon-studios.com
Web: www.paragon-studios.com
QUAD STUDIOS
1802 Grand Ave.
Nashville, TN 37212
615-321-9500
E-mail: markquadnash@aol.com
Web: www.quadstudiosnashville.com
Format: Digital and analog
ROCKIN CAT STUDIO
Nashville, TN
800-9-Reggie
E-mail: rockinkat1@gmail.com
Web: www.rockinkatproductions.net
Services: World-class studio and resort
SOUND KITCHEN STUDIOS
112 Seaboard Ln.
Franklin, TN 37067
615-370-5773
E-mail: iblonder@soundkitchen.com
Web: http://soundkitchen.com
Format: Pro Tools HD & Vintage Analog -
Neve, SSL, & API Legacy
Basic Rates: Please call Ira Blonder,
Managing Partner
Services: Although we are the Southeasts most
prestigious recording and production facility and
regarded as one of the fnest 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 & flm 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
studios 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-proft dedicated to
rescuing Nashvilles homeless veterans.
STARSTRUCK STUDIOS
40 Music Sq. W.
Nashville, TN 37203
615-259-5400
Web: www.starstruckstudios.com
Contact: Janet Leese
Format: digital/analog
Basic Rate: call
WILDWOOD RECORDING
2201 N. Berrys Chapel Rd.
Franklin, TN 37069
615-708-6944
E-mail: Brendan@WildwoodRecording.com
Web: www.Wildwoodrecording.com
Contact: Brendan Harkan
Format: Digidesign Pro Tools HD3 wit Pro
Control, Otari 2-inch 24 Track
Basic Rate: Call for Information
ZIG PRODUCTIONS
P.O. Box 120931
Nashville, TN 76012
615-889-7105
E-mail: billyherzig@hotmail.com
Web: www.zigproductions.com
Contact: Billy HerZIG
Format: Pro Tools
Basic Rate: $60/hr. with engineer
ZODLOUNGE
Nashvegas, TN
Web: http://http://zodlounge.com,
https://www.fb.com/pages/Zodlounge-
Music/8027269189?sk=info
Contact: Brett Vargason
Services: Music Production/Artist
Development/Music Services
Basic Rate: See web

Texas
BISMEAUX STUDIO
South Austin, TX
512-444-9995
E-mail: sam@asleepatthewheel.com
Web: www.bismeauxstudio.com
Contact: Sam Seifert, studio manager
Basic Rate: $750/$850 w/ engineer
CRYSTAL CLEAR SOUND
4902 Don Dr.
Dallas, TX 75247
214-630-2957
E-mail: keith@crystalclearstudios.com
Web: www.crystalclearstudios.com
Contact: Keith Rust, studio mgr.
Format: analog, digital, mastering
Basic Rate: $85/hr.
IN THE JAR STUDIOS
1510 Quitman
Houston, TX 77009
713-447-2274
E-mail: srt_mail@earthlink.net
Web: www.inthejarstudios.com
Contact: Al Loya
Format: all
LUMINOUS SOUND
17120 Dallas Prkwy., Ste. 100
Dallas, TX 75248
972-331-7040
E-mail: info@luminoussound.com
Web: www.luminoussound.com
Contact: Molly
MAXIMEDIA STUDIOS
13300 Branch View Ln.
Master Groove Studios - David Morse
Mastering, Engineering and Production
Specializing in the art of Mastering
Nashville & Los Angeles
Credits include:
REM, Incubus, Zappa, Dio, Billy Preston, Edgar Winter,
Earth Wind & Fire, Guns & Roses, Chili Peppers,
Wild Child, Warrant and most Major Labels.
David has been a successful staff producer for the major labels for
over 20 years and owner of Master Groove Studios since
1981 (Nashville & LA). He is a successful producer with 24
Gold and Platinum awards and 5 Grammy nominations with 1
win. He works with top stars, A&R.
Easy rates for new and independent acts.
818.830.3822
www.mastergroovestudios.com
It takes a great track record
to track a great record!
81 80 June 2012


Dallas, TX 75234
972-488-8814 Fax 972-488-1629
Contact: Iron Mike Limroth
E-mail: ironmike@maximediastudios.com
Web: www.maximediastudios.com
Services: Large 5000 square foot concert
venue, used for live shows, recording,
rehearsals, showcases and more. Also cd
duplication, graphic design
NEXUS RECORDING STUDIOS
8535 Fair Haven
San Antonio, TX 78229
210-639-5266
E-mail: Jason@nexusrecordingstudios.com
Web: www.nexusrecordingstudios.com
PLANET DALLAS
P.O. Box 110995
Carrollton, TX 75011
214-521-2216
E-mail: planetd@ix.netcom.com
Web: www.planetdallas.com
Contact: Rick Rooney
Format: Pro Tools 192 & 2-inch 24 track
analog, remote truck for live recording
Basic Rate: call for pricing
RAZORS EDGE SOUND
12800 Meehan Dr.
Austin, TX 78727
512-837-3436
E-mail: razorsedgesound@att.net
Web: www.razoraustin.com
Format: Analog/Digital
Basic Rate: $60/hr., $400/lockout
STONE WALL STUDIO
P.O. Box 855
Groveton, TX 75845
936-642-2142
E-mail: stonewall@valornet.com
Web: 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 STUDIO
P.O. Box 1417
Corpus Christi, TX 78403
361-854-SING (7464)
E-mail: webinfo@trinitystudio.com
Web: www.trinitystudio.com
Contact: Jim Wilken
Basic Rate: $30/hr.
WACARA
2104 Mayeld Dr., Ste. 100
Round Rock, TX 78681
512-924-4070 Fax 512-248-1268
E-mail: info@jab4you.com
Web: www.JAB4you.com
Contact: Robert Karasch
Utah
ANNEX RECORDING STUDIO
12298 South 1840 E.
Draper, UT 84020
801-597-4007
E-mail: info@annexrecording.com
Web: www.annexrecording.com
FIRST TAKE RECORDING STUDIO
305 West Daniel Dr.
Orem, UT 84057
801-477-7763
E-mail: info@rsttakestudio.com
Web: www.rsttakestudio.com
Basic Rate: $50/hr
NOISEBOX STUDIOS
1450 S. 240 E.
Orem, UT 84058
801-805-8217
E-mail: dave@noiseboxstudios.com
Web: www.noiseboxstudios.com
Contact: Dave Zimmerman
Basic Rate: $60/hr
UGLIEST STUDIO IN UTAH, THE
3255 W. 7675 S.
W. Jordan, UT 84084
801-938-4803
E-mail: rich@theuglieststudioinutah.com
Web: www.theuglieststudioinutah.com
Contact: Rich
WOODSHAR STUDIO
Taylorsville, UT
801-685-0874
Web: www.woodshar.com
Contact: Shar or Doug Wood
Basic Rate: $35
Vermont
BIG ORANGE STUDIO
2755 Lake St., Ste. A
Addison, VT 05491
802-349-8888
E-mail: info@bigorangestudio.com
Web: www.bigorangestudio.com
Contact: Chris or Walter
NORTHERN TRACT RECORDING STUDIO
Box 1059
Wilmingon, VT 05363
802-464-2234
E-mail: gary@northerntrackstudio.com
Web: www.northerntrackstudio.com
SOUNDESIGN RECORDING STUDIO
181 Main St. Gallery
Brattleboro, VT 05346
866-567-1555, 802-257-1555
E-mail: info@soundesign-usa.com
Web: www.soundesign-usa.com
Contact: Billy Shaw
Format: Pro Tools HD3 TDM, 2 24 & 16
Track Sony, ADAT
Basic Rate: call for rates & special
Virginia
CLASSIC RECORDING STUDIO
13 Moore St.
Bristol, VA 24201
276 466 8675
E-mail: classicrecording@embarqmail.com
Web: www.classicrecordingstudio.com
CRYSTALPHONIC RECORDING STUDIO
946 Grady Ave., Ste. 26
Charlottesville, VA 22903
434-971-2997
E-mail: studio@crystalphonic.com
Web: www.crystalphonic.com
CUE RECORDING STUDIOS
109 Park Ave., Ste. E
Falls Church, VA 22046
703-532-9033 Fax 703-533-7956
E-mail: cue@cuerecording.com
Web: www.cuerecording.com
MAGGARD RECORDING STUDIO
220 Railroad Ave.
Big Stone Gap, VA 24219
276-523-1373, 276-275-9680
Web: www.maggardsound.com
MASTER SOUND
Virginia Beach, VA
757-373-1180
E-mail: rob@mastersoundstudios.com
Web: www.mastersoundstudios.com
Contact: Rob Ulsh
Format: digital and vintage analog
POWER PLANT STUDIOS, THE
2708 Build America Dr.
Hampton, VA 23666
757-827-8733
E-mail: hithithit@aol.com
Contact: Doc Holiday
Format: digital
Basic Rate: $75/hr. (Studio A) $50/hr.
(Studio B)
Washington
ACOUSTIC CHAMBERS
14503 S.E. 254th St.
Kent, WA 98042
253-639-0896
Web: www.acousticchambers.com
Contact: Aimee Marmon
Format: digital Pro Tools HD, Accell and
24 track analog
AUDIO LOGIC INC.
12047 31st Ave. N.E.
Seattle, WA 98125
206-363-6505
E-mail: jay@audiologicinc.com
Web: www.audiologicinc.com
Contact: Jay Kenney
Format: Cubase 6/Nuendo 5
BAD ANIMALS
2212 4th Ave.
Seattle, WA 98121
206-443-1500 Fax 206-441-2910
E-mail: info@badanimals.com
Web: www.badanimals.com
Contact: Wendy Wills
BEAR CREEK STUDIO AND
MUSIC PRODUCTION
6313 Maltby Rd.
Woodinville, WA 98072
425-481-4100
E-mail: bearcreek@seanet.com
Web: bearcreekstudio.com
Contact: Manny Hadlock
Format: 2 24 trk, 2 16 trk, 1/2 2 trk, Pro
Tools HD 32 in/48 out
Basic Rate: negotiable depending on the
session, please call or e-mail
ELECTROKITTY
Seattle, WA
206-355-ROCK (7625)
E-mail: electrokitty@comcast.net
Web: www.electrokitty.com
Format: SSL 9000J, Pro Tools HD, Studer 827
Basic Rates: call for more info
LONDON BRIDGE STUDIO
20021 Ballinger Way N.E. #A
Shoreline, WA 98155
206-364-1525
E-mail: info@londonbridgestudio.com
Web: www.londonbridgestudio.com
Format: Vintage Neve 8048 / Studer A827 2
Analog 24 track tape deck
MIRROR SOUND STUDIO
301 N.E. 191st St.
Seattle, WA 98155
206-440-5889
E-mail: info@mirrorsound.com
Web: http://mirrorsound.com
Contact: Ken Fordyce
Format: 24 track digital-analog
Basic Rate: $75/hr.
wi reroadstudi os. com
71 3- 636- 9772
Houston
30 May 2012

Song BIZ Songwriter Profile
By Dan Kimpel
A
s 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 Poes travel across land and sea to meet up with Willie
Nelson in Canada at the bequest of Jerry Leiber to pitch Leiber & Stollers
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 didnt 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 didnt know him. Fortuitously, someone he did know
John McEuen from the Nitty Gritty Dirt Bandwas 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 clich, I thought, Dont fght it,
go with itthis will be a book of clichs. The reasons clichs exist are that
they are all little snippets of truth. I wanted this book to be about the truth of
the music business.
Poes 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 flled with serendipity. Its 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 Poes prose. I come from You
have to love what youre doingyou 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 Poes gifts as a raconteur is his
recollection of the pitch session on Nelsons 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 teethall 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 youre 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 youre
going to do and when and where youre going to do it.
Contact Leiber & Stoller, 310-273-6401
Expert Song Plugger
Randy
[
[
Poe
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82 June 2012


ORBIT
Seattle, WA
206-381-1244
E-mail: orbitaudio@gmail.com
Web: www.orbitaudiorocks.com
ROguE Island EnTERTaInmEnT
3200 Airport Way South
Seattle, Washington 98134
(206) 686-5533
E-mail: Eric@Rogueisland.com
Web: Rogueisland.com
Contact: Contact Eric Janko
sTudIO nORTH
1316 172nd St. S.W.
Lynnwood, WA 98037
866-396-9174, 425-745-2642
E-mail: studionorth@interlinc.com
Web: www.interlinc.com
Contact: Ken Latimer
Format: Pro Tools HD, 2 24 track
analog tape
Basic Rate: $75/hr
West Virginia
HIllTOP RECORdIng
Rt. 1 Box 334-A
LeSage, WV 25537
304-840-2675
Web: www.hilltoprecording.com
Contact: Dave Winters
Format: digital
JamIE PECK PROduCTIOns
216 Long Vue Acres Rd.
Wheeling, WV 26003
304-277-2771 Cell 304-280-5086
E-mail: j.peklinsky@comcast.net
Web: www.jamiepeckproductions.com
Contact: Jamie Peck
RHl audIO
703-628-3015
E-mail: chris@rhlaudio.com
Web: www.rhlaudio.com
Contact: Chris Murphy

Wisconsin
TaYlOR sTudIOs, lTd.
818 N. 109th St.
Milwaukee, WI 53226
414-778-0362
E-mail: admin@taylorstudios.us
Web: www.taylorstudios.us
Contact: Jeffery Taylor
Format: all digital recording and post
production
Basic Rate: $95/hr.

Wyoming
BRIdgER PROduCTIOns
P.O. Box 8131
4150 Glory View Ln.
Jackson, WY 83002
307-733-7871 Fax 307-734-1947
E-mail: info@bridgerproductions.com
Web: www.bridgerproductions.com
Contact: Michael J. Emmer, President
PERmanEnT RECORd sTudIOs
Pine Bluffs, WY
307-221-5235
E-mail: sean@permanentrecordstudios.net
Web: www.permanentrecordstudios.net
Contact: Sean

International
aBBEY ROad sTudIOs
3 Abbey Road
London, NW8 9AY UK
+44 (0) 020-7266-7000
E-mail: bookings@abbeyroad.com
Web: www.abbeyroad.com
CanadIan RECORdIng sERVICEs InC.
1867 Draycott Rd.
N. Vancouver, BC V7J 1W5, Canada
604-985-0679, 866-888-6464
E-mail: info@canadianrecordingservices.com
Web: www.canadianrecordingservices.com
Format: digital and analog, up to 64
Basic Rate: We work with many
studios and all budgets!
sTudIOs 160
Campus des Cezeaux,
Avenue des landais.
63170 Aubiere
France
0033-6-03-18-83-54
E-mail: Studios160@aol.com
Format: Analog and Digital 64 analog I/O
Console: 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 studio
Studio opening in June 2012
Total space: 2,200-sq. ft.
Additional Listing
sslROOm.COm
702-481-1663
E-mail: mix@sslroom.com
services: Mixing, Mastering, Emixing and
Emastering
gear: SSL 4064 with Ultimation, Tons of outboard
notes: Secure upload and Download Via
Digi-Delivery
download and print this directory
FREE from our website at:
www.musicconnection.com/amp
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82 June 2012


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slash, john frusciante, j Ramone. cody
310-328-7668, toshiyasu@earthlink.net
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for ready or near ready ACDC, gnr type
outfit. john 323-807-8772. john 323-807-
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562-754-2121, beachahava@yahoo.com
*Exp. gtr player w/ maj credits, great feel
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work huge resume/email for more
info.peace. J~ , jen@jenleigh.com
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425-4445, jer2152012@yahoo.com
*GTRst, 45, over 30 yrs exp sks potentially
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252-1830. PETER 323-252-1830, PETER-
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*Expd, pro, versatile, GTRst avail for stu-
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matthewgreif@yahoo.com
*Lead GTRst w/rock-metal-melodic &
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also provide voxs. Rona 310-804-3061,
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818-919-6399, superloop@sbcglobal.net
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310-422-4793, groovecarrier@yahoo.com
*I am lkng for musicians to jam; form a
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slash, clapton, Hendrix. Dolph 323-459-
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86 June 2012

T
here is more to composing than just buying a computer and a handful
of plug-ins! After 20 years composing for television and flms, with
three Emmys and seven nominations, Ive come to rely on instincts
and input from producers and music editors around me. Its 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 projects 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. Dont 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 fnal 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, dont 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 sensejust
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. Dont reuse old cues. This is something we are all guilty ofyours
truly as well! In all my experience Ive 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 its 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 dont know how many guys do this, but its 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 specifcally 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 Im on track.

7. Make sure to send WAV samples (no MP3s) for approval. Ive
learned not to send MP3s to people, because no matter how many times
you explain to them that its an MP3, they always get bothered about it
sounding too compressed and lacking bottom end. Well, thats because
ITS AN MP3 and youre listening to it on COMPUTER SPEAKERS!!! Then
of course they look at the fle size and say, Oh, okay then, never mind.
So there goes a half-hour of my life I wont get back!

8. Never send a demo sample! Man, this is such a catch-22, you cant
believe! Clients always say, just send a demo so I can hear how its
coming along. So you send a rough mix to them and the frst 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 frst time, it should be the fnal 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, thats 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 fnal
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! Ive been involved in projects that started off as heavy
metal, then midway became techno and then fnally wound up as a punk
song I had to compose from scratch. Yes, its a lot of work and chasing, but
its all part of the gig.

10. Never say Thats the best I can do! Many of us have been at the
end of our rope with certain clients, for one reason or anotheryou want
to say Im 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
86 June 2012


88 June 2012


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