Crafted for musicians, producers, and audio engineers who demand exceptional sound quality, the SSL USB Audio Interface family delivers class-leading performance combined with a studio session-ready feature set for your rack or desktop. With a range of I/O configurations and next-gen 192kHz/32-bit conversion, the SSL USB family is more than just an interface — it’s the heart of your SSL studio.
MC has a roundtable talk with singers of various genres and backgrounds, including Mitch
Music Connection chats with superbly subversive alt-rap-punk singer, songwriter, and actor Yungblud about his incredible rise, building up to his new album, Idols
By Lyndsey Parker
Photos: Tom Pallant
2006
– JONATHAN WIDRAN
– JONATHAN WIDRAN
– JONATHAN WIDRAN
– JONATHAN WIDRAN
– JONATHAN WIDRAN
– JONATHAN WIDRAN
– JONATHAN WIDRAN
– JONATHAN WIDRAN
E. Eric Bettelli PUBLISHER
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a foundational part of recordings by everyone from Willie Nelson, Chris Stapleton and the Raconteurs to The Black Keys, Green Day, Foo Fighters and the soundtrack to A Star is Born. Redefining digital recordings and building on the technology of the two-channel B2 Bombers, the B80 MOTHERSHIP was forged from the company’s deep dedication to analog class-A circuitry. The B80 MOTHERSHIP stands out from every other interface on the market because it does not sterilize the source. The AD/DA converter has up to 80 analog channel capability. Using a card-based system, the heavy duty 4U chassis, the B80 Mothership employs 10 card slots with 2, 4 and 8 channel AD/DA cards, all with the B2 quality signal path.
radio airplay or charts. Their most recent placements include songs in The Penguin starring Colin Ferrell, Abbott Elementary and What We Do in the Shadows. Reactivating the label in the new century, Fervor signed new artists but also took advantage of emerging international digital distribution channels and began acquiring vintage back catalogs of lesser-known artists in all genres, dating back to the 1920s. They released music from artists in genres like '80s new wave, '90s R&B and '70s classic rock, becoming successful at monetizing dormant copyrights. Fervor’s eclectic roster of indie artists led Fervor Records to success on MTVU (launching five indie artists), a placement on the official Mad Men LP soundtrack and recently landing a dozen songs in Green Book, the 2019 Oscar Winner for Best Picture.
Artists to Check Out: Fervor Records COO
Recording Arts and Media Technologies: This area of study is designed for the modern engineer and musician, and combines audio video and computer technologies. Students will gain knowledge and experience in such disciplines as studio and location recording techniques, audio post-production for video, acoustics and studio design and webcasting, robotic camera operation using Internet2 technology, live sound and event logistics and lighting and rigging for the performing arts. Elective courses include recording techniques, applied mixing, audio editing, air training for audio engineers and sound design. NIU recently became one of three Avid Learning Partners in the state of Illinois. Music Admissions Coordinator Austyn Menk says, “Students participating in the recording arts get to run live sound for our many ensembles, giving them highly valuable and applicable experience.”
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Fatboy Slim) went on to superstardom, opening doors that led Bisla on a path to become VP of A&R Network for Clear Channel Radio (now iHeartMedia) and Clear Channel Entertainment (now Live Nation). He helped broker label and publishing interest and signings for Keane, Missy Higgins, Cherie Bonnie McKee, Orson, Muse, and many others. When his agreement with Clear Channel ended, he and a business partner (the former COO Clear Channel Entertainment) launched A&R Worldwide in 2003. Since parting ways with his partner, he has owned it exclusively since 2006. Bisla also provided early support to Coldplay, Adele, The Temper Trap, Katy Perry, Jessie J, Forest Blakk, Sheppard, Tove Lo, LMFAO, Picture This, Sia, Gavin James, and countless others.
E. Eric Bettelli
GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com
Robin Rose
Brett Callwood SENIOR EDITOR brettc@musicconnection.com
John Curry ART DIRECTOR artdirector@musicconnection.com
Ruby Risch
time of only five business days – and with their removable faceplate design, their repair time is only a single business day on average.
Babineau took a client to a home and saw a raw wood guitar body. He met the seller, Czajka, who did the burn on the instrument as part of his side business of taking reclaimed wood and creating unique burn designs. Two months later, Nefarious was born.
OPERATIONS MANAGER / DIRECTORIES EDITOR robinr@musicconnection.com
ensemble, rendering the ultimate monitoring experience. On the studio’s website, Taylor writes, “Your tracks will explode with richness, warmth, and presence in any genre!” He adds, “When they set it up, they sat me down in my sweet spot and started running their playlist. Ten seconds into the first song, I felt a monumental shift, knowing I could offer a sonic experience like few others can!”
are also six cameras that feed two oversized video screens, which provide an up-close and personal VIP rock concert experience. The venue features the finest in industry standard equipment, beer and wine license, plenty of parking and can remain open nightly till 2 AM. To build the venue today, with all improvements, permits and top of the line audio, video and recording equipment would exceed $10 million.
ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER rubyr@musicconnection.com
A&R Worldwide Mission: Bisla says, “Music has the ability to not just impact a person but change the world. Real art and artistry are wonderful things, and we go to the ends of the earth to help our artists reach their goals.” Still considering it something of a boutique company despite its vast international reach and influence, A&R Worldwide is a client centric firm.
Steve Sattler
in the modern recording environment. Another beautiful tribute mic they produce is the P-12 tube mic, styled after AKG’s legendary C 12, considered one of history’s finest mics. The P-12 faithfully reproduces the clarity, openness, and top-end air that made the C 12 a classic vocal microphone.
At a $4.7 million asking price, the building, venue and studio is a steal, and the seller would like to encourage the purchaser of the building to continue operation of the music venue and continue its storied legacy.
Guitar Center Foundation Auction: Nefarious has contributed their exclusive Nefarious Patch Guitar featuring a denim design and “patches” of famous band logos for a charity auction which benefits The Guitar Center Foundation.
Individually Handcrafted Guitar Straps: Each strap continues to be individually handcrafted in Pasadena, CA, offering some of the finest examples of Western leatherwork, using the finest top-grain leathers and employing the materials and techniques of fine saddle-making. Their line also includes unique leather pickguards for Tele’s and Strats, and hand-engraved metal parts for Telecasters. Their straps have been purchased by many famed musicians, such as Carlos Santana, Bob Dylan, ZZ Top, James Hetfield, Dwight Yoakam, Rick Derringer, Tom Petty, and Rick Nielsen.
capacity, an HVAC controlled rehearsal room, supplemental AC by request and secure bus parking and power. The website includes an info sheet that has an illustrated layout and accommodations map and a scaled image with rigging loads specs and dimensions.
El Dorado Mission Doctrine: El Dorado Guitar Accessories has never aspired to be the biggest guitar strap company, but to be one that produces premium-quality straps and accessories for discerning musicians. Looking back, Silverman recalls considering the potential market for his concept: “Toyota sells way more cars than Mercedes, but Mercedes still sells a heck of a lot of cars. I’d be happy to be the Mercedes of guitar straps.”
BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com
Hillorie McLarty
ADVERTISING / MARKETING hillorier@musicconnection.com
Michael Stern NEW TOYS newtoys@musicconnection.com
Flock Audio: As part of an ongoing effort to upgrade the school’s recording facilities to serve collaborations between audio engineering students and musical students, NIU has made the Flock Audio PATCH XT digitally controlled, all analog patchbay the centerpiece of its hybrid recording setup. Chandler says, “Compared to the outdated equipment installed previously, this makes signal flow in the studio more streamlined. Besides being visually appealing and fully customizable, it’s very compact, fitting on a tabletop and because it’s digitally controlled, there are always opportunities for app updates.”
RSU Recording Studios: The Rock Star University recording facility was designed and constructed by Art Kelm, VP, General Manager and Chief Engineer of Capitol Records who is also CEO of the audio consulting firm Ground One AV, Inc. All of its equipment was selected and operated by Nevison, who produced five albums for V Squared, including Rock Show Girl, which features iconic rock covers by the then 15-year-old musicians.
Jeff Freundlich mentions a few current artists he wants listeners to hear. Two-piece rock band Noonday Devils will release their latest single “Bring Their Bodies to Me” on December 13. R&B/hip-hop duo blakk. nostalgia’s latest single “Sum Lite” drops January 10. Another artist the team is excited about is R&B artist Keagan, who released his most recent single “Home” in November. Freundlich says, “Our criterion for signing artists is simple. They need to know who they are and what they’re looking for in a label, and believe that what we offer is in line with their goals. The reason that there’s great synergy between Fervor and our artists is that we are in alignment in terms of having the highest quality production and push our artists to be the best they can be every time they record.”
Andrea Beenham SONG BIZ drea@dreajo.com
Live System: With the introduction of the B4 Mic Pre, the B80 MOTHERSHIP can be used on stage as a “stagebox” unlike any other sonic solution in the world. Due to its simple circuit design, the B4 boasts the same no-compromise discrete, class-A design philosophy as all Burl Audio products and can bring the studio sound to live music venues, concert halls, stadiums, and festivals. Users can add BDA8 cards for eight channels of outputs as well as feeding monitors and mains with the BDA4 and BDA4M. “What the B80 MOTHERSHIP can do in your digital console is give you a better, more pleasing sound at the front end via the B4 mic pre,” Williams says. “It’s the daughter card for the mother ship that employs the same no compromise class A signal path and includes a gain stage for mic pre levels. We’ve found that not only does the MOTHERSHIP live solution improve front of house sound and make it easier for the engineer to mix, it also improves the onstage sound for the musician, leading to a much better sonic experience overall.”
Jon K
Nefarious’ mission statement says it all: “The commitment is to dream, envision and execute everything the team can do. The reward is to see the hallucination come to fruition in our work.” The Patch Guitar was produced by Flynn (foodogluthiery.com).
MUSEXPO: Bisla is also the founder/architect of MUSEXPO, a “United Nations of Music” and preeminent music business conference and artist showcase event that gathers leaders and influencers from all facets of the global music and entertainment industry. Originating as a series of intimate A&R Worldwide networking dinners, the gatherings have taken place all over the world, creating opportunities for fresh business relationships for all participants while uniting decision makers from music media and technology. Bisla says, “Our ethos is to continually evolve, teach, and inspire forward-thinking minds.” The 2025 event takes place March 16-19 in Burbank, CA.
Quote from Randy Hutson: “The rehearsal space is essentially a black box in our building. Clients walk through an elephant/studio sealer door and into a full operating warehouse of gear constantly going in and out. In addition to already hosting artists like Janet Jackson, Daniel Caesar and David Gilmour, we have a large program of Next Gen artists in development. Our facility helps them get a jump on preparing for their initial shows, including rehearsals, lighting and video. Having our helpful sales staff and project managers right outside the area where they rehearse adds greatly to the convenience all clients experience here.”
On-Site Services and Remote Mixing and Mastering: For clients who generally come from the four-state surrounding region, Cool Brick, in addition to Taylor’s engineering and mastering experience, offers two studios with a vocal booth and separate drums, which can be used individually or combined. The studio has a dynamic array of vintage mics (Neumann, Telefunken, etc.), a Burl Mothership 80 which offers warm analog sound with pre-amps from Grace, Neve, Burl, and Audient, and a drum room featuring a ‘70s birch Pearl drum kit. Cool Brick also offers affordable stereo and 5.1 Surround Sound design and Adaptive Scoring™ for independent filmmakers. Based on his rep for creating a pure, accurate listening environment, Taylor is currently experiencing a booming global clientele seeking his mixing and mastering skills via digital transfer.
X2 through X4: All X-Series monitors have In-Air Canals, ATOM venting (a pressure relief system that vents air pressures that build up in a sealed ear canal) and the super durable RCX cable connector. The X2 is the most affordable model with two drivers (miniature speakers) and features a warm sound. On the X3, there is an added dynamic low driver which makes it more capable in the low frequencies; ideal for drummers and bass players, whose instruments have a lower register. The X4 builds upon the X3 but with an added ultra-high driver that expands and extends the high frequency range, delivering a very smooth, natural sound. Its tuning is finely crafted to deliver a reference warm sound signature that reveals every subtle detail of the music.
Two years in development, the Peluso P-24 is built as a tribute to the legendary AKG C 24 stereo tube condenser microphone. It hosts two complete large diaphragm condenser (LDC) vacuum tube microphone systems within a single microphone body. The two capsules are located directly above each other with the upper capsule capable of rotating 180 degrees. This configuration provides for quick coincident capture in X-Y, Mid-Side, and Blumlein techniques. Another new product is the Peluso Stage One (PS-1), which brings Peluso large diaphragm condenser microphone technology to the stage. It delivers detailed clarity with a warm tone that you would expect from a studio condenser. The PS-1 provides very high gain while delivering the feedback rejection required in a live environment.
ADVERTISING / MARKETING jonk@musicconnection.com
Ray Holt
DIGITAL MARKETING DIRECTOR rayh@musicconnection.com
Glenn Litwak THE LEGAL BEAT gtllaw59@gmail.com
Jessica Pace FILM / TV / THEATER / GAMES j.marie.pace@gmail.com
FEATURE WRITERS
Andy Kaufmann andy.kaufmann@verizon.net • Rob Putnam toe2toe6@hotmail.com Jonathan Widran few522@aol.com
Contact Fervor Records, 602-595-3582
Contact Bellos Audio, 615-270-2034
Contact NIU School of Music, 815-753-1551
Contact: Cool Brick Studios 970-948-7766
Contact El Dorado Guitar Accessories, info@eldoradostraps.com, 213-924-3800
Contact starwoodrehearsalsla@prg.com
Contact A&R Worldwide, info@anrworldwide.com
Contact frank@nefarious1.com; marko@nefarious1.com
Contact Todd Sheppard, Sales Associate, Sotheby’s International Realty, 707-235-6870
Contact Peluso Microphone Lab, 540-789-4100
EDITORIAL INTERNS
Anna Jordan, Cade Pinkerson intern@musicconnection.com
CONTRIBUTING WRITERS
David Arnson, Bobby Borg, Miguel Costa, Shana Nys Dambrot, Gary Graff, Eric Harabadian, Ari Herstand, Dan Kimpel, Joseph Maltese, Emily Mills, Jacqueline Naranjo, Kurt Orzeck, Lyndsey Parker, Megan Perry Moore, Steve Sattler, Adam Seyum, Daniel Siwek, Eric Sommer, Brian Stewart, Ellen Woloshin
PHOTOGRAPHERS
David Arnson, JB Brookman, Alexx Calise, Miguel Costa, Kevin Estrada, Apple Kaufmann, David Klein, Alex Kluft, Heather Koepp, Charlie Meister, Jacqueline Naranjo, Scott Perham, Garrett Poulos, Alexander G. Seyum, Daniel Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Ellen Woloshin
MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA
Music Connection (ISSN# 1091-9791) is published monthly by Music Connection , Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection , Inc. Copyright © 2025 by E. Eric Bettelli. All rights reserved.
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Emergence of the Tiny Room Community: When Greg Spero got off the road after four years of recording and touring the world with pop singer Halsey, the pianist eagerly returned to his jazz roots. While forming and touring with his new jazz fusion group, Spirit Fingers, Spero also launched a small personal project space he dubbed Tiny Room Studios. From those humble origins as a 12x12 room in a Burbank warehouse, he developed a popular commercial and community space that has subsequently evolved post-pandemic into a larger full-service state of the art studio in Inglewood before securing its current location in Santa Monica. Drawing on his concurrent entrepreneurial background that includes the multi-faceted ArtistAI platform, Spero has developed Tiny Room Studios into a uniquely holistic experience combining a state-of-the-art recording facility with complementary spa-like wellness services including a cold plunge, barrel steam sauna, and massages.
The Recording Club: For veteran and independent artists who wish to take full advantage of Tiny Room’s multitude of offerings, Spero has created The Recording Club—an exclusive creative community focused on productivity, wellness, and community. The studio has world-class equipment for audio and video production, extensive backline, well-treated rooms, and all the amenities an artist needs to be creative. Membership, which starts at $450 a month, also includes access to all the wellness features as well as co-working areas, private lounges for meetings and gatherings, and weekly member activities including concerts, jam sessions, and master classes. Including $1350 a month studio credit, a membership’s full market value is $2500+ per month. Current members include the legendary Herbie Hancock (who introduced Spero to Buddhism) and Jon Batiste.
Studio Specs: Tiny Room Studios’ four rooms are designed for maximum efficiency in media capture. The smallest, a podcast room, has five 6K
SANTA FE STUDIOS
1 Santa Fe Studios Rd
Santa Fe, NM 87508 505-954-2400
Email: contact@santafestudios.com
Web: santafestudios.com
STEPBRIDGE STUDIOS 528 Jose St. Santa Fe, NM 87501 505-988-7051
Email: stepbridge@gmail.com
Web: stepbridge.com
Contact: Edgard Rivera
Format: Pro Tools HD, Music production, audio services for film and authors.
Basic Rate: Call for info
NEW YORK
347-699-4429
Contact: Michael Abiuso
Email: mike@behindthecurtainsmedia.com
825 RECORDS, INC. (STUDIO & PRODUCTION COMPANY) 8225 5th Avenue Suite 335 Brooklyn, NY 11209
347-240-5417
Email: mattyamendola@825records.com Web: 825records.com
Contact: Matty Amendola
Format: Semi-private project studio
Services: Mixing & full service production
Web: mikeabiuso.com, behindthecurtainsmedia.
com
Basic Rate: Call or email for rate
BENTLEY HOUSE STUDIOS
Spanish Harlem, 10029
Email: info@bentleyhousestudios.com
Web: bentleyhousestudios.com
Basic Rate: Email for info
BREWERY RECORDING STUDIO 910 Grand St. Brooklyn, NY 844-717-2739
Email: booking@breweryrecording.com Web: breweryrecording.com
Contact: Nick D’Alessandro
Basic Rate: $95/hr
Blackmagic pro cameras and recording equipment set up to record a fully mixed podcast in one take. The main stage room is divided into a primary 25x45 space attached to a mixing room that’s approximately 2/3 size of the main room. The main stage has an Allen & Heath SQ7 digital console with 48 channels. The mixing room has a Trident 88 Series custom analog mixing board with PMC Mastering Speakers and Antelope Near Fields, new Mac computers with m4 chips, and an iso booth. The studio also has a Tama drum kit, Yamaha C7X grand piano, and a total of 12 cameras.
APPLEHEAD RECORDING STUDIOS Woodstock, NY 845-418-2370
Web: appleheadrecording.com
Email: info@appleheadrecording.com
BATTERY STUDIOS
321 W 44th Street Suite 1001 New York, NY 10036 212-833-7373
Email: donna.kloepfer@batterystudios.com Web: batterystudios.com
BRIDGE STUDIO Brooklyn, NY 332-333-4069
Email: hello@bridgerecordingstudio.com Web: bridgerecordingstudio.com
BRIDGE STUDIOS NY (716) 222-3002 604 Hertel Ave Buffalo, NY 14207 Web: bridgestudiosny.com
Rates: Starting at $50/hour
Quote from Greg Spero: “Through all my years of touring, I learned that a balanced lifestyle is essential to surviving the life of a musician or industry creative. It’s not healthy to just engage in the roller coaster of recording and touring without giving any attention to overall emotional and physical wellness. Today, artists are realizing that it is possible to have a healthy, happy, well-balanced lifestyle even in the context of this chosen perpetual struggle, by integrating the three pillars of Productivity, Wellness, and Community consistently on a daily basis.”
BEHIND THE CURTAINS MEDIA
234 6th St. Ste. #5 Brooklyn, NY 11215
THE BUNKER STUDIO Brooklyn, NY 929-234-8534
Email: booking@thebunkerstudio.com Web: thebunkerstudio.com
CORNER STORE STUDIO 32 E. 23rd Street New York, NY 201-693-3413
Contact 213-537-3107.
Contact: Abe Silver Email: hello@cornerstorenyc.com Website: cornerstorenyc.com
40+ Years of Console Design: Wolff riffs on the famed Emmy-nominated TV show at the top of his Wolff Audio website. For over four decades, the legendary audio innovator has been a powerful force in the industry via his revolutionary console designs “distilled to perfection” and leadership behind many influential brands, including API, Tonelux and Fix Audio Designs. While his dynamic designs have earned him a unique reputation as the mad genius in residence for the world’s top audio professionals, it’s interesting to note that Wolff began his career doing Front of House sound at The Bayou in D.C. for everyone from The Ramones, Pat Benatar and The Runaways to Stephen Grapelli and Gallagher.
L.A. Mainstay For Over Three Decades: the late ‘80s, veteran mixer, engineer, and producer Jay Baumgardner has worked with rock greats Papa Roach, Hoobastank, Bush, Ugly Kid Joe, and countless others—but one of his most indelible memories was making coffee for Ray Charles in his kitchen when the legendary artist was recording at Baumgardner’s popular home studio in the days before NRG Studios moved to its current location in North Hollywood. Revered as one of L.A.’s premiere recording studios since 1991, the facility has grown over the past three decades from one state-of-the-art studio to three, with Baumgardner eventually buying the building. Yet the warm, homey aesthetic that evolved from the original environment has been a core part of Baumgardner’s vision from the beginning.
The Road to Beyoncé and aflutter over Beyoncé at last winning the coveted Grammy for Album of The Year for her genre-busting total to an all-time record 35—an entire village of songwriters, producers, and engineers celebrated as well. One of these was Dani Pampuri, a multi-talented Brazilian born engineer credited with recording ten tracks and providing engineering assistance on another. Since connecting with Beyoncé he has served as sound engineer on her album King: The Gift remake) and played an essential role in the live album recorded during the singer’s historic Coachella Performance. In 2009, after building a large clientele of bands and working for years in various studios in Sao Paulo (including his own C4 Studios), he (along with his brother Filipe) moved to L.A. to continue working with an artist who had caught the attention of producer Jay Baumgardner, owner of NRG Studios in North Hollywood, one of the most prestigious in L.A. After working and touring with different bands, Pampuri—also a talented drummer—set up camp and began engineering for both NRG’s clients and many others he brought in via word of mouth.
Like Hearing Music for the First Time: commercial installations for superstars like Coldplay, Ariana Grande, and 50 Cent, Michael Way had the time and funding to pursue his ultimate goals in audio technology. Fully understanding the drawbacks to system designs and technical compatibility issues, he founded Sound Pressure Labs (SPL) as a solution. In the 12 years since the veteran musician, sound engineer, and live audio systems designer launched his revolutionarily immersive TrueSPL™ technology, he has distilled its sonic impact to four simple branding phrases—“Like hearing music for the first time,” “Most incredible sound control ever heard,” “Makes live production sound like studio-produced music,” and “We make cinema-quality music for every environment.” From 2014-16, he leased the Garberville Theatre in Humboldt County, CA to test and apply the theories that would create the programming foundation for TrueSPL™.
70 April 2025 musicconnection.com
Legendary Clientele: in pop/rock history by hosting the sessions for Hootie & The Blowfish’s 20-million selling its success due to good parking, NRG has long been a hub for indie greats and superstar artists alike—including Linkin Park, Evanescence, Korn, Limp Bizkit, and Beyonce, including sessions for her multiple GRAMMY-winning Cowboy Carter point in the early 2000s, Baumgardner heard 10 songs in a row on KROQ that were recorded at his studio. Two decades on, NRG is still a thriving hub
IO (digitally controlled analog) to create his latest legend in pro audio. In line with the aesthetic and commitment that has been the driving force of his earlier endeavors, the Santa Barbara, CA-based Wolff Audio’s mis sion is to deliver audio tools with uncompromising perfor mance and unprecedented control to inspire audio pros at every level. Wolff says, “Jared and I have the same dream and it’s awesome to have a partner who shares my spirit of love and compassion. Everyone at this company is an audio industry veteran who is insanely into making great sound for everyone. At the foundation of it all is our
A Diverse Roster of Artists As chief engineer of NRG Recording Studios, Pampuri has worked on many independent projects in addition to high profile sessions spanning jazz to pop and rock. His versatility,
Hub of Entertainment and Sonic Innovation: shows and festivals purposed for R&D, proof of concept, and scalable systems applications, “Real Time Spherical Sound” was born from a hybrid digital-analogue modification, integrated with an existing Dolby Surround Sound System that was installed in the ‘80s. Way and his team of partners and engineers currently have three patents, with nine more to follow. One of these was Transmigration, a modern sound bath filled with hypnotic and healing sounds—vocal flute, trumpet, mantras, chants, spherical guitar, and saxophone with live SPL Surround
Yvonne Ho
President, Board of Directors
Professional Audio Manufacturers Alliance
The Professional Audio Manufacturers Alliance (PAMA) has announced that Yvonne Ho has become President of PAMA’s Board of Directors for a twoyear term. Ho succeeds Chris Regan (RF Venue) in the role, while Regan remains on the board as a director. Ho is the co-founder and Chief Marketing Officer of Point Source Audio, a highly respected and successful manufacturer of innovative professional miniature microphones and audio headsets. Its commitment to quality and innovation has earned the company a reputation as a trusted partner for sound engineers and professionals in the entertainment industry. For more, contact pr@clynemedia.com.
Senior Counsel
Smith Entertainment Law Group
Vice President of New Business Anotherland Agency
Anotherland Agency has appointed Megan Wise as its Vice President of New Business, reinforcing its commitment to securing top-tier brand partnerships and collaborations. With more than 15 years of experience, Megan Wise, known for her eye to spot unique brand opportunities, joins Anotherland after leading Partnerships at the Country Music Association (CMA). Prior to that, she launched her career at Creative Artists Agency (CAA) where she began in the mail room, worked her way up to agent, eventually managing major sponsorships across entertainment. For more, contact megan@anotherland.com.
Smith Entertainment Law Group, a boutique entertainment law firm with offices in New York and Los Angeles, has announced the addition of Lynn Elliot, Esq. as Senior Counsel. A seasoned attorney with extensive experience across film, television, music, live events, and new media, Elliot’s hiring underscores SELG’s commitment to providing top-tier legal services to the entertainment industry’s most innovative creators and companies. Elliot brings a wealth of expertise to SELG, having worked on hundreds of independent films, documentaries, and unscripted programs. For more, contact jon@prospectpr.com.
Senior Vice President of Commercial Strategy
Virgin Music Group
Virgin Music Group has announced the promotion of Hannah Thompson-Waitt to Senior Vice President of Commercial Strategy. In her new role, ThompsonWaitt will lead the U.S. Commercial team, overseeing the formulation and execution of streaming strategy, release analysis, and fan acquisition strategy for a diverse roster of clients. “Hannah has an incredible ability to communicate and connect with our diverse group of label and artist partners,” said Zack Gershen, Executive VP, Global Commercial & Digital Strategy. For more, contact jv@spinlab.net.
Ralph Torrefranca
Executive Director of Writer Creative Angry Mob Music Group
Executive Vice President & Head of Creative Membership
ASCAP
The American Society of Composers
Authors and Publishers (ASCAP) has promoted Nicole George-Middleton to Executive Vice President & Head of Creative Membership. George-Middleton will sit on the ASCAP Senior Leadership Team and will oversee songwriter, lyricist, and composer relations at ASCAP and lead the Creative Membership Department. “Nicole is an innovative leader who brings an unparalleled level of tenacity, intelligence, hard work and good humor," said ASCAP CEO Elizabeth Matthews. For more, contact cnevins@ascap.com.
Senior Vice President/Head
KOSIGN
KOSIGN, the music publishing platform launched by Kobalt, has named music industry veteran Jason Feinberg as Senior Vice President/Head. Feinberg has spent a career building and maintaining platforms for artists. “Jason has built a successful career at the nexus of artist development, artist relations and technology,” said Laurent Hubert, CEO of Kobalt. “His expertise, track record and deep relationships in the business make him perfectly suited to run KOSIGN as we continue to grow our customer base around the world.” For more, contact jv@spinlab.net.
Angry Mob Music Group, an independent music publisher that serves songwriters, composers, artists, and creatives, has promoted team member Ralph Torrefranca to Executive Director of Writer Creative. In this new role, he will continue to oversee the development of the diverse songwriters, artists, and producers that make up Angry Mob in addition to expanding his creative influence company-wide through cross-collaboration and providing key creative input on various projects and initiatives. Torrefranca is based in Los Angeles, CA and will continue to report to Angry Mob’s CEO Marc Caruso. For more, contact zach@jaybirdcom.com.
Director, Product Management Symphonic
Symphonic Distribution has promoted Colleen Shea to Director, Product Management. Shea will report to Ali Lieberman, VP of Product at Symphonic. “She’s a natural leader and an exceptional product manager, with an eye for detail and a deep understanding of how our technology can serve the needs of our clients," said Lieberman. As part of the company’s plans to continue expanding on the product and tech side, Mónica Rodríguez was promoted to Associate Director, QA and Alek Perepelitca to Principal Software Architect. For more, contact laurie@jaybirdcom.com.
Jackson Guitars has been linked to heavy metal shredders since 1980 when iconic guitarist Randy Rhoads approached Grover Jackson with an idea for a personalized guitar. Throughout the heavy metal heyday of the '80s, the Jackson brand was associated with high-quality, American-made custom instruments, and they were used by the hottest metal guitarists of the time. That pedigree continues today.
Djent forefather and speed demon shred-guitarist Misha Mansoor has gained widespread acclaim with the axe-centric progressive metal band Periphery. He's known to impress the most discerning of metal fans with his steadfast, fleet-fingered technique, and his personally designed collection of Jackson signature Juggernaut instruments is loaded with both powerful shredder's tone and sparkly, clean, funky sounds. His signature model Pro Juggernaut HT6 offers a 25.5" scale length, poplar body, bolt-on two octave caramelized maple neck with graphite reinforcement, wrap-around heel, and oiled back finish for playing comfort. Featuring a 20" flat radius ebony fingerboard with rolled edges, 24 jumbo stainless-steel frets and offset dot inlays, this guitar plays like a dream. While most guitars have nickel-silver frets, the stainless-steel frets are a significantly harder and smoother material, giving them extreme durability and a smoother playing feel. Caramelizing is a thermal treatment process that dries and stabilizes maple necks, and the unusual dark finish on a maple neck is beautiful and feels great. Jackson states that the caramelizing process enhances tone, providing a warmer, more balanced sound with a smoother, faster playing feel.
Mansoor worked with Jackson to develop the uncovered direct mount Jackson MM1 pickups.
They are clean and clear when needed but also can provide massive overdriven crunch tones for lead shred and deep rhythms. MC thinks of this guitar as a super Strat, offering pristine out of phase sounds that have a throaty sparkle while also delivering the heaviest of sounds when needed. Sounds can be shaped with a five-way blade switch, single volume control, and single tone control with push/pull select feature.
This guitar is not to be underestimated. It is precise yet very fun to play and has so much power that it really stands out when playing with a band, whether you are playing clean or overdriven.
Available in Red Crystal or Blue Sparkle with a matching reverse Jackson 3x3 AT-1 headstock, this signature Pro Juggernaut also features a Jackson HT6 string-through-body hardtail bridge, Jackson sealed die-cast locking tuners, Dunlop dual-locking strap locks—a very welcome feature—and an oversized gig bag. Made in Indonesia. $899 jacksonguitars.com
Ralph Waldo Emerson famously said, “Build a better mousetrap, and the world will beat a path to your door.” Such is the innovative ethic at Stedman USA, where the goal is to develop top-tier solutions that push the boundaries of recording technology and solve problems others haven’t even begun to address.
Stedman was founded in 1992 when Bill Hannapel began making microphones in his basement. Stedman made the decision to begin phasing out its microphones to start shipping the world’s first patented metal Proscreen pop filters. Up to this point, pop filters were often made from nylon mesh, i.e., “panty hose” on a coat hanger, or other woven fabrics. These pop filters were not able to effectively stop plosive air bursts from a singer without some loss of treble and critical vocal detail. The high frequency loss is due to the absorptive nature of the fabrics, unlike the metal filter.
Stedman pop filters are now an industry standard and can be found in the finest recording studios. Available in eight models, they vary by size, color, and application. Made to the highest possible quality, there are no corners cut with their products. They look sleek and feel robust and durable. Most of their pop filters attach to a microphone stand with a secure clamp. The Proscreen DT101 Desktop Pop Filter has a stand and gooseneck and is suitable for podcast or radio station use where someone is speaking rather than singing.
As anyone that owns an expensive microphone will tell you, another function of a pop filter is to protect the microphone capsule from moisture and dirt. A great microphone should never be used without a pop filter, even though film directors often forego them to keep the talent’s face unobstructed. Servicing a microphone is a highly specialized and rare skill these days, and anything that you can do to protect your microphones is foundational.
The slats in Stedman pop filters are angled to direct the “wind” downwards, so if you are still experiencing plosives hitting your microphone, be mindful that placement is important. You want a little gap in between the pop screen and the microphone, and the angle of the pop filter can also make a big difference. A nice feature that MC noticed is that you can actually see a sheet with lyrics through the pop filter.
According to Stedman Vice-President Scott Dana, “I believe we are the ONLY pop filter manufacturer in the U.S.!” All their parts are sourced as locally as possible, and made in Richland, MI. Stedman products carry a lifetime warranty.
Proscreen Pop Filters range from $49-$89, depending on size and features. stedmanusa.com
Your music deserves the best and OWC delivers. From blazingfast SSD to high-capacity RAID solutions and reliable Thunderbolt docks, we keep your studio running seamlessly. No crashes, no bottlenecks-just pure creative flow. Because when inspiration strikes, you need gear that keeps up. OWC always has your back. Less waiting. More creating.
UJAM was co-founded by Peter Gorges and Axel Hensen, two longtime innovators in music technology. The vision behind UJAM is to make music creation more accessible by pairing powerful sound design tools with an intuitive user experience. This philosophy is reflected in their pricing. None of the UFX plug-ins cost more than $39, and all three (Reverb, Delay, and Filter) are available as a bundle for $49. That kind of value is rare in the DAW effects category— especially with such high-quality results.
New from UJAM is UFX Reverb Version 2, an upgraded version of its algorithmic reverb plugin. Building on the original’s reputation for intuitive design and creative versatility, this upgrade introduces expanded controls, additional presets, filters, and Finisher effects for modern producers and sound designers. While all the standard reverb presets you would expect— like Hall, Plate, Spring, Room—are there, UFX Reverb includes 10 new reverb modes like Shimmer, Gigathedral, Drum Room, Scoring Stage, 100 new presets, early reflection control, over 50 new filters and multi effects, and dual mode for full, dense reverb effects. User input from version one was strongly considered, and changes were made to incorporate the suggestions.
While the UFX sport its versions of the usual reverb categories, some nice, unique features make this plugin even more creative. The Freeze function captures and sustains the current reverb sound indefinitely, creating a drone-like effect that can be used for atmospheric textures or sound design. It effectively sustains the reverb tail, allowing for endless reverb washes. Ducking automatically reduces the reverb signal's level when the input signal (like a vocal or instrument) is playing. This creates a more focused sound where the reverb recedes when the main signal is present and then swells back in during silences or quieter passages. The Finisher adds FX to your reverb like Flanging, Vibrato, and Glitches. Or you can bypass the reverb to any degree using a mix control and use the Finisher section solely as an effect on its own.
UFX Reverb 2 is exceptionally easy to use. Front panel dials are not confusing and produce immediate results with remarkable versatility. All the usual suspects are included, as well as a lot of alternative ambiences that are readily tweakable for music and would be wonderful for any sound design application.
UFX Reverb Version 2 supports VST2, VST3, AU2, and AAX formats and is compatible with macOS and Windows operating systems. $39 ujam.com
The Focusrite Scarlett 18i16 USB Audio Interface is the fourth generation of the Scarlett series. Improving specifications all around, the Scarlett series sounds great, has proven to be very popular and affordable, and can be found in professional and home recording studios. With configurations as simple as two input-2 output all the way up to 18 input, 20 output, it’s easy to find the right size interface for your needs. Modular in approach, the system also offers expansion should your needs grow.
The heart of any digital audio interface is the convertors and microphone preamps. The 18i16 is versatile and easy to use. Featuring four “Combi inputs,” you can plug either an XLR microphone or 1/4” guitar cable straight into the front of the unit. The mic preamps offer 69dB of gain and 116dB of dynamic range. Inputs 1-2 can be mic/line/inst and inputs 3-4 can be mic/line. Both pairs can be stereo linked. Level controls are right there but Scarlett's Auto Gain feature can set levels for you. Press the Auto button, perform for 10 seconds, and Auto Gain uses the input signal, along with other key factors—such as the preamp's noise floor, digital silence, inter-channel crosstalk, and even any accidental knocks or bumps on your microphones—to ensure the optimal recording level. Enable Clip Safe and Scarlett will continuously monitor input signals up to 96,000 times a second. Through a combination of analog preamp adjustment and DSP, Clip Safe reduces the risk of clipping. This feature can be helpful for self-recording and the Focusrite Control 2 app for iOS and Android offers remote control to further enhance working alone. MC tried the Auto Gain on a direct guitar, and it was a safe starting point, but we ended up adding a little more gain.
The RedNet range converters are the same as used in Focusrite’s high-end interfaces and offer 122dB dynamic range. Improved Air mode with Presence and Presence Harmonic Drive add presence to your recordings. The Presence Harmonic Drive really brings your sound forward—this setting will be a favorite.
The headphone amp is advertised as being the best playback ever heard from Scarlett. The 18i16 comes with a power supply but can also run from Bus power from your computer for location recordings. The 18i16 comes with an updated Easy Start software tool to get you up and running as well as 24/7/365 customer support. Also included are Ableton Live Lite and trial versions of Pro Tools Artist, FL Studio, and more. $549 us.focusrite.com
MICHAEL STERN, C.A.S., is a Music Engineer based in Los Angeles. He has recorded and mixed 260 film scores including Iron Man 2, Sex And The City 1 and 2, The Notebook, and Borat Subsequent Moviefilm. He has also worked with the artists Strawberry Alarm Clock, Richard Marx, Kenny Loggins, Jackson Browne, Micky Dolenz, The Cowsills, Bon Jovi, Tom Jones, Chick Corea, Lisa Loeb, and Rob Morrow. He can be reached at newtoys@musicconnection.com.
By David J Haskins (hardcover) $30
By Lisa Dominique Machat (paperback) $14.95
It shouldn’t really be surprising that David J Haskins, commonly known as David J and one of the brains behind both Bauhaus and Love & Rockets, is a gifted poet. This, his new collection, serves as a companion to his album The Mother Tree. The word “threnody” is an interesting, and perhaps underused, one that means “a lament,” so that’s entirely appropriate. “The poems encompass a large array of experiences, places, relationships, infatuations and obsessions,” reads the press release. “Love found and love lost.” All of that proves true, resulting in a deeply moving reading experience.
By
Sean Egan (paperback) $24.95
Back in the '80s, Lisa Dominique was a metal queen in her native England, regularly appearing in publications such as Kerrang! alongside the likes of Lemmy. Nowadays, she’s living in Los Angeles with her husband, going by her full name, Lisa Dominique Machat, making wine at her Vampire Vineyards, and writing vampire novels. This is the 10th anniversary of A Walk in the Sun, the tale of “naïve young vampire” Nicholas Justine and his love for the mortal Elena. How will they get over their species, and dental, differences? The author tackles it all with a deft, romantic touch.
By Matthew Restall (hardcover) $29.99
One might think that, at this point, there’s really nothing new to write about the living legend that is Bob Dylan. There are countless books about the man, and every word that Dylan has written and/or uttered has been analyzed to death. That said, noted journalist Egan has found a credible angle. He’s not treading completely new ground, but still, his approach to Dylan’s identity-shifting '60s period is fascinating. “Dylan now occupies an unparalleled role as venerated elder statesman of music,” reads the blurb. “But during his insurrectionary first decade he was the most important artist in popular music—and, by extension, one of the most crucial figures in Western society.”
By Howard Reiss
(paperback) $10.99
Restall is known primarily as a historian of early Latin America, with a focus on Aztec and Mayan history. A gifted writer for sure, but not necessarily the first person you’d think would write a book about the Rocket Man, Elton John. That’s where the joy comes from though. On Elton John sees the author tackle the subject seriously and academically, without ever tipping over into dry territory. The '70s transformation into glam metal titan, John’s relationship with songwriting partner Bernie Taupin, and his global cultural impact— all are covered in detail by Restall. This is a great book for Elton fans new and old.
By Paul Rappaport (paperback) $24.95
Writer Reiss has clearly lived an interesting life, and he currently lives in Nyack, NY where he co-founded and runs a soup kitchen. One must wonder if his novel After Woodstock is at least semi-autobiographical, telling the tale as it does of two young men called Jack and Bryan who graduate high school in '69 and then see their summer climax with the Woodstock festival. The book details the impact that the legendary event would have on each of their lives, and their enduring friendship through letters as they take different paths. It’s deeply touching, and worthy of your time.
During his 33-year career at Columbia Records, Paul Rappaport played an instrumental role in developing the careers of Bob Dylan, Bruce Springsteen, Pink Floyd, The Rolling Stones, Elvis Costello, Billy Joel, Judas Priest, Alice in Chains, and many more. Gliders Over Hollywood, a book that Rappaport described to MC as “for passionate music lovers,” gives us an up-close look at his many successes, allowing the reader to feel like we were right there with him. If you’re looking for industry tips, you’ll get those. If you’re after rock ‘n’ roll shenanigans, you’ll be satisfied in that regard too. Dig in!
roducer, songwriter, and musician Rodney Jerkins (A.K.A. Darkchild) launched his career when he began to learn classical piano at the age of five. In his late teens he declined several signing offers, his focus fixed on still shinier prizes. Things began to take off when he was invited to pitch ideas to Mary J. Blige when he was only 18. The two-time GRAMMY-winner has since worked with artists such as Lady Gaga, Michael Jackson, and Beyoncé. He creates largely in his Orlando commercial studio and his L.A. home space.
Origin in Motorsports: Decades before K&K Insurance became a leading provider of sports, leisure, and entertainment insurance, its cofounder, Fort Wayne, IN businessman Nord Krauskopf, was a popular stock car racer. In the late '40s, the only insurance for this high-risk sport consisted of individual racers contributing to a fund that would help cover the costs in the event of an accident. Aware of a gap in the market, Krauskopf and his wife Teddi pitched a plan to Lloyd’s of London to create specialized insurance for race car drivers. Eighteen years after launching K&K Insurance for this purpose in 1952, their dedication to motorsports resulted in winning the Grand National Championship. In the '60s and '70s, they expanded into festival and fair insurance, and in the '80s took a broader approach that included sports, leisure, and event organization across the U.S. and Canada. Over the past 70+ years, K&K has also become one of the largest providers of insurance and claims resolution services for recreation, motorsports, and event organizations. Driven by their trademarked branding motto “Insuring the World’s Fun,” the company offers over 80 specialty insurance programs in numerous categories—ranging from Camps and Campgrounds, Events and Attractions, and Venues and Facilities to Instructors, Schools and Product Liability Insurance.
Artists are attracted to production for many reasons; Jerkins’ primary draw is the sense of fulfillment that artistry fosters. “I love the whole creative process,” he says. “Working on the idea of something that God puts in the air, you pull it and the next thing you know it turns into something dynamic.”
Operations: Staffed with experienced examiners, litigation specialists, and management personnel, K&K’s claims team offers decades of experience in the investigation and resolution of claims, providing quality claims management. The company employs more than 250 agents who perform a variety of traditional insurance company functions on behalf of the insurance companies they represent, allowing them to provide stellar service in sales, marketing, underwriting, loss control, and claims resolution. Through active involvement in industry associations, events, and conventions, its staff stays connected with current industry trends and challenges.
. . . lessons he’s learned as a producer and musician are:
• Imperfection is perfection. It’s ok to make mistakes. Sometimes they become the coolest thing on the record.
• Leave your ego at the door and do what you’re hired to do.
When a producer begins a collaboration with an artist, the temptation to emulate their existing work can be strong. Jerkins’ approach, however, merely begins with earlier output and then transcends it. “I want to see who they are as an artist and then I dig into who they are currently,” he says. “I try to get into their psyche, into where they might be in their life. A lot of this is gaining insight into whether an artist is coming out of a relationship or maybe going into one. Understanding that leads the direction of the song. When Whitney Houston dominated with all of her ballads, I was the one to come up with ‘It's Not Right but It's Okay,’ which was up-tempo and out of her wheelhouse.”
• The artist is ultimately the star. The music is the assistant, and the production should never overpower the song.
Jerkins’ biggest challenge came early in his career. It demonstrated wisdom and maturity when, rather than recoiling from criticism, he embraced it. “Clive Davis was Whitney Houston’s song guy,” he says. “It was my first meeting with him and I was only 17. I thought I had something special, and he just shot it down; it wasn’t even close to her level. That was humbling, especially at my age. Some people might have given up after that, but I took it as ‘I’ll come back and see you when I’m ready’ and he allowed that. Then we hit the home run.”
Come back, he did. Dramatically. “I was 18 when I was invited to play some beats for Mary J. Blige,” he says. “I arrived and there were 10 producers in the lounge waiting to play her their stuff. I’d received the call two days before and I had nothing prepared. So, I locked myself into my dad’s basement and recorded all of these ideas in one day. When I went to play her my music, she loved it so much that she sent all the other producers home. We started work on Share My World [shortly thereafter]. I have five songs on that album, all of which I’d written in that one day. That was the turning point of my career.”
Jerkins remains prolific. Last year he established his Christian division Alienz Alive—some refer to it as a label but he’s adamant that it’s far more than that—and has signed several artists to production and distribution deals. Projects on his 2025 slate include work with DJ Khaled, British singer-songwriter Raye, and a handful of others that are still in the formative stage.
Liability Insurance for Musicians: According to K&K Marketing Manager Lorena Hatfield, the company’s claims staff is well versed on the types of risks musicians face when they’re performing at an event, festival, or concert venue. If something should happen that prompts an audience member or facility owner to sue, the performers are often drawn into the lawsuit—and without insurance, they need to hire an attorney to determine liability. Whether it’s injury or property damage, with insurance coverage, K&K manages the process, reducing a musician’s stress considerably. Many facilities require this coverage in advance. There are three criteria for insuring musicians: 1) A group must have at least one member or representative who is at least 18 years old; 2) Annual gross income from the performing group’s activities cannot exceed $500,000 ($300,000 for an individual musician); and 3) No more than 30 members in a performing group. Coverage options are offered for both individual Performer’s Insurance and Entertainer and Musicians (Group) Program.
Visit instagram.com/rodneyjerkins darkchild.com, alienzalive.com
“Thank you, Music Connection, for all that you do for us artists, and other music industry professionals! You continue to provide us with trusted quality resources and information that helps us advance our career. Music Connection for life!”
– Jacqriot
“Music Connection is the best magazine for every musician to subscribe to. The information the magazine provides for an artist is invaluable.”
– David Fishof, Producer, CEO of Rock and Roll Fantasy Camp
“Music Connection magazine is my barometer for staying on top of industry trends. My students receive invaluable feedback through the New Music Critiques and Reviews. Also, the national Directories are a great resource. The latest issue of Music Connection magazine has a permanent home in my teaching studio!”
– Chris Sampson, Vice Dean for Contemporary Music, USC Thornton School of Music
“Advertising with Music Connection has been a great experience that not only gave us great exposure, but allowed us the opportunity to get involved in contests and other fun events. Highly recommended.”
–David Avery, Powderfinger Promotions
“I find valuable information in every issue. I constantly refer engineers seeking employment to the annual Recording Studio issue, which has the most complete and comprehensive list of U.S. studios that you will find anywhere. And when I am asked for advice by a kid just starting out, I always tell them 'Well the first thing you should do is check out Music Connection.'”
– Kathleen Wirt, Owner, 4th Street Recording
"Music Connection is the most enjoyable magazine I read. It has the best advice, news, inside scoops, etc. As a designer and manufacturer, they keep me up to date as to where things are heading. The people there are awesome, and you can always find the 'magazine of choice' by looking in a studio’s bathroom. There is ALWAYS a Music Connection magazine in there!"
– Paul Wolff, Designer, Inventor, Owner, FIX Audio Designs
The Swell Season, the acclaimed duo of Glen Hansard and Markéta Irglová, dropped their lush, sweeping single “People We Used to Be” and begin a new chapter for the band. Augmented by strings and anchored by their poignantly intertwining and soaring vocals, the song was produced by Sturla Mio Thorisson at Iceland’s Masterkey Studios and is The Swell Season’s first since 2023’s “The Answer Is Yes.” The Swell Season have since embarked on a lengthy tour of Europe, the U.K., and North America.
“THAT NIGHT (AI-P MSTRKRFT REMIX),” OUT NOW ON BITCH HOUSE RECORDS
Emerging goth-pop artist Georgi dropped a remix of her single “That Night” by Al-P of Mstrkrft, out now on Bitch House Records. The single seamlessly blends dance floor elements from the techno, indie dance, darkwave, and EBM genres and is a taste of what’s coming from remixes of tracks off her forthcoming debut album Love After Dark by artists such as Aesthetic Perfection and Coatie Pop.
Funk legend Bootsy Collins, even at 73-years-old, remains a deeply curious, experimental artist who is ever-evolving. The release of his 23rd studio album, Album of the Year #1 Funkateer, finds Bootsy in the producer's chair, with an A&R top hat and the funky bass still in his hands.
STAR-STUDDED LINEUP OF ARTISTS UNITE FOR CHARITY
AND MUSIC VIDEO: "OH WHAT A DREAM WE HAD"
Billy Ray Cyrus, Noah Cyrus, Il Divo, Lara Fabian, and more came together for the powerful charity single "Oh What a Dream We Had." Recorded at East West Studios with Charlie Midnight and Jan Fairchild (pictured), the song was created in support of the Prevent Cancer Foundation and delivers a message of hope and resilience while raising awareness.
“All artists have challenges as they move through their careers, I’ve looked at it as trying to gain respect. If you produce great music and do strong shows, people can’t deny that you’re changing the course of the industry. Slowly but surely, we’re getting there.” — J. WORRA
YOUNG COASTAL: THE SOUNDTRACK OUT NOW VIA REPRISE RECORDS WITH DEBUT OF COASTAL SOLO TOUR DOCUMENTARY FILM DIRECTED BY
Telegrapher has announced an exclusive partnership with iconic electronic artist deadmau5. This collaboration has resulted in a limited-edition line of deadmau5-branded speakers. The deadmau5 Edition speakers reflect the innovative spirit of both deadmau5 and Telegrapher, blending cutting-edge analog sound technology with striking visual design.
Splice has announced an exclusive partnership with GRAMMY®-nominated producer Alissia. The partnership will include a series of six curated sample collections presented as “Alissia Selects." An exclusive contest for new creators on the Splice Discord, along with a demo of Splice in Studio One Pro 7.
For Neil Young, music and film have always had a very long and close relationship. Coastal: The Soundtrack is a live solo recording and companion piece to the film which was shot and directed by acclaimed filmmaker, and Young’s wife, Daryl Hannah and will be distributed worldwide by Trafalgar Releasing. This personal, behind-the-scenes documentary sees Neil Young as he cruises the coast on his 2023 solo U.S. tour, giving an up-close and intimate view into the life of one of history's most iconic artists.
Genre-blending rock and funk group Twilight Muse has released their new live album, Collabs: Live at Garcia’s at The Cap, capturing a series of thrilling, high-profile guest sit-ins that redefined the band’s sound. To celebrate the announcement, the band has released the single “Living for the City,” a fiery reimagination of the Stevie Wonder classic featuring the mind-blowing synergy of Robert Randolph’s pedal steel mastery and G. Love’s raw blues harp energy.
SPARK OF LIFE ANNOUNCE SOPHOMORE ALBUM PLAGUED BY THE HUMAN CONDITION; THE BAND JOINED FORCES WITH FRED ARMISEN FOR A COVER OF THAT DOG’S “NEVER SAY NEVER”
STEVE BARDWIL BAND RELEASE THEIR DEBUT ALBUM PRODUCED BY 11-TIME GRAMMY AWARD-WINNER JOE
The Steve Bardwil Band, an L.A.-based power pop group led by singer, songwriter, and guitarist Steve Bardwil, offers an escape without comparison on their 2025 full-length debut LP, Nothing But Time. With their unique talents combined, the band builds undeniable and unshakable anthems to create a soundtrack to enjoying the moment.
Southern California post-hardcore outliers Spark of Life are set to release their long-awaited sophomore album, Plagued by The Human Condition, on May 30 via New Age Records. As part of the album’s rollout, Spark of Life have unveiled their latest single, a cover of "Never Say Never" by ‘90s cult favorites That Dog. The track features a special collaboration with longtime friend and comedian/musician Fred Armisen (SNL, Portlandia), who played drums on the cover.
For GRAMMY- and Latin GRAMMY-winning producer, composer, and mixer Nicolas “Nico” Ramirez, music and sound effects have always crisscrossed as a single entity in his creative workflow. To aid in his mastery, Ramirez relies on his KRKV4 and V6 V-Series 4 Powered Studio Monitors, which he says, “are very dynamic and rich in sound, so I can always get the right vibe of the track.”
Sibling alt-duo Nyrobi and Chaya Beckett-Messam, also known as ALT BLK ERA, recently wrapped their debut album Rave Immortal, which they recorded using their new KRK Classic 5 Powered Studio Monitors. The album features a captivating collection of songs with a fusion of genres, combining the raw energy of rock, the rhythmic pulse of electronica, and the haunting allure of dark pop.
MIX ENGINEER RICHARD FURCH AND MIXROOM DESIGNER CARL TATZ LAUNCH DOLBY ATMOS MIXMANOR
Pictured L-R, studio owner and multiple award-winning mix engineer Richard Furch and NAMM TEC Award MixRoom designer Carl Tatz at Furch’s recently completed 9.1.4 Dolby Atmos MixRoom named mixManor in Los Angeles.
Excitement is building around an upcoming and soon to be released project at The Greene Room (greeneroom.com) with producer Rex Rideout, GRAMMY-winning vocalist Ledisi Young, engineer Marc Greene, and guitarist Paul Jackson Jr. Stay tuned for more news on that soon.
The Hideout Studios in Las Vegas recently installed new custom Augspurger main monitors in their Studios A and B. Pictured are Hideout owner Kevin Churko and George Augspurger.
Peavey Electronics is celebrating its 60th anniversary. Hartley Peavey’s distinctive vision was the key that started it all in Meridian, Mississippi, and he’s the catalyst that keeps Peavey cruising ahead in the fast lane towards the future. Peavey’s unique approach helped dealers and distributors around the world build businesses and thrive with fair pricing and innovative product solutions.
riginally from Canada, Chris SD (Shreenan-Dyck) took an early interest in studio craft, discovering that he loved to work behind the glass as much as he did in front of it. He soon found a mentor in multi-GRAMMY-winning audio engineer Trina Shoemaker. For several years, he and his family made their home on an L.A.-based sailboat but now they’re landlocked in eastern Tennessee. He’s had a hand in several Juno-winning records and in 2012 was nominated for Recording Engineer of the Year.
Location:
SD is drawn to production and engineering due to the influence either can have on a song or record. “I like the story you can tell with a sonic landscape,” he explains. “If I listen to PJ Harvey’s To Bring You My Love and what [producer] Flood contributed to that, it astounds me how production can completely change the translation and the emotional meaning, almost, of a song. I once listened to John Lennon’s home-taped version of ‘Strawberry Fields Forever.’
It was really nice but the [completed] production was earth-shakingly epic... Production is great wine to great food. It elevates the meal.”
In 2016, SD inaugurated Sync Songwriter, a company that connects artists and music supervisors who can place music in film, TV, and commercials. Upon its launch, SD "got asked a lot by clients ‘How do I get my music into TV and film?’ It was kind of the new, hot thing. You didn’t have to tour, you didn’t have to have a label, and people wanted to know about it. I started to meet a lot of music supervisors, expanded my network, and realized that the real value was connecting indie musicians directly with industry people. One of our biggest successes recently was that two of our members got five tracks into [the Oscar-winning film] Anora.”
. . . lessons he’s learned as a producer, engineer, and entrepreneur are:
• To get great takes, occasionally you need to be a psychologist with bands. Sometimes when I feel that we’re going in a direction that’s not productive, I’ll let them finish, suggest that we take a break and then ask them to try something just for fun. When we return from the break, often they’ll like the fun take the best.
• Don’t overcomplicate. Nothing should be there without the express purpose of being there.
• Use the tools that will give you what you’re after. If you want a vintage Stratocaster tone, use a vintage Strat, not a cheaper guitar.
The biggest challenge that SD has faced is one that was internal rather than external. “Music production’s not that hard,” he asserts. “If you’ve done it for a while, you can make something sound good. My own internal battle sometimes is wanting to cut new cloth; wanting to carve a fresh path to the point that [a song] sounds original. At the same time, there’s that tug and conflict to make sure that it stays relevant. If you go too far off of the beaten track, you may come up with something brilliant, but you also might not sell any records.”
SD continues to focus on Sync Songwriter and plans to begin work on a solo record soon. He counts the TAB V72S, Neve 1073, and API mic preamps amongst his favorite and/or most-used gear. Investment in a digital emulation mic such as Antelope, Townsend, or Slate is also something he recommends strongly to indie artists.
When SD and his brother met punk progenitor and original Sex Pistols manager Malcolm McLaren at a music conference, they asked him for advice about the industry. McLaren replied "You don't come to them. You write great songs and make them come to you."
Contact syncsongwriter.com, sundownsessionsstudio.com
Years with Company: 16
Address: Burlington, VT
Web: cashortrade.org
E-mail: brando@cashortrade.org
Clients: The String Cheese Incident, Disco Biscuits, They Might Be Giants, Leftover Salmon, Gov’t Mule, Underoath, The Big E, Billy Strings
BACKGROUND
Brando Rich and his brother Dusty are live music enthusiasts who one day got tired of the predatory secondary ticket market. Instead of just complaining, they decided to do something about it. Their solution, a fan-focused space to trade or resell tickets at face value, exploded in popularity. Last year, CashorTrade processed north of $35 million in concert tickets.
Phish Slap
My brother and I started seeing live music in 1993. We ran away from home to see the Grateful Dead, slept under a bridge, and played in drum circles with the Hare Krishnas. It was a transformative experience. We saw as many shows as we could. It was early 2000s and the Internet was getting started. I knew the world was going to be about the web, so we built a web design firm. In 2004, Phish stopped playing, but when Phish came back in 2009 and we went to buy tickets, they sold out immediately and were going for $2,000 online.
Fanning Out
“Since CashorTrade is a community of real fans, it’s a great space for the artist to bolster their brand in the face value community while doing what’s right.”
and you’re just like, “I want my money back.” And it’s a perishable good. You might only have two weeks or a week to sell it. In the end, you’re like, “I’ve got to get rid of these.” People turn to CashorTrade and sell them for face value and get their money back. And the buyers purchase a face value ticket, so they’re psyched.
Buying Second-Hand Tickets Securely
We were like, what happened in those five years? The answer is everything turned online. The brokers were now using sophisticated software tools. It ruined the experience. Being web designers, we built a web platform on the road, literally stopping at Starbucks coffee shops to add features during the day. And during the night, we’d set up our tent in the parking lot with a table and bulletin board so people could post notes saying what they had and what they wanted, if they were willing to trade or just looking to sell. It became a safe spot for people to congregate and buy, sell, and trade tickets.
Going Pro
By the end of the summer, we had 5,000 users on the platform. In about 2018, we decided to sell the web design firm and turned full-time to CashorTrade. We raised $400,000 and in 2019 hired a support person, a marketing person, and a developer. At this point, CashorTrade had 150,000 users. We realized there was a market for the average fan looking to sell a ticket and who doesn’t want to play businessman or be charged 15 percent only to see the buyer’s being charged 35 percent.
Tickets go on sale a long way out these days. When you buy a ticket nine months out, do you know that you can go? Something comes up
There’s a 10 percent platform fee that allows us to protect the purchase; we have an escrow and insurance platform service to offer a 100 percent money back guarantee. If buyers want to use CashorTrade more than once a year, they can become a gold member and avoid that 10 percent for $4 a month.
Trustworthy Connections
In 2005, there was the Web 2.0 revolution. We saw sites like Airbnb, Uber, and eBay, where people had a face, a profile, and reviews. We felt that was missing in ticketing, because there’s no trust. We wanted fans to trust one another, so we built tools so people could see and choose who they want to buy and sell with.
A New Era of Partnerships
When we started, the fans got it. The industry couldn’t understand it. “How do you make money? That’s never going to work.” We kind of lived in this space of—if you build it, they will come. Fifteen years later, the ticketing industry and those who put on events are fed up with the predatory secondary market. Promoters are putting up hundreds of thousands of dollars and taking massive risks to put on these events. It burns them to see their tickets being scalped, where they don’t get a dime of that markup. And then the fans are pissed. Your whole business model is to provide the best fan experience, and you have this predatory model that’s tarnishing the whole thing.
These events are coming to the primary ticketing companies like, “Can you help stop scalping? Can you just give a space for people to resell tickets?” So now, primary ticket companies and events are partnering with CashorTrade.
The Great Unifier Music touches pretty much everyone’s soul. If you’re a human being, you probably like a song. You probably hear a song that brings back a memory and gives you chills. It fills your heart, makes you think, lifts you up. Music brings emotions and ticketing is very complicated. There’s code, servers, databases, and all the technical details. But what I love about this space is that the end result is somebody going to an event and getting that feeling. I’m glad we can spend our lives being a part of that.
We’ve been on the steering committee of Fix the Tix for about two years, kind of communicating what we see from our standpoint. A lot of people on those committees are promoters and venue owners. But we’re in an interesting space, because we’re in the secondary space yet we’re non-predatory. We feel there’s something to be said about our vision and perspective in the industry, because it doesn’t have to be anti-resale. And the events don’t want to take on providing refunds. So, we’ve been presenting that point of view to offer advice towards the language in the bills. The bills right now are focused on speculators, such as brokers who are listing tickets they don’t even have. They haven’t even gone on sale. They’re artificially inflating markets. I think there are other things in there about deceptive marketing, like when you search for a venue, and you come up with the venue name plus tickets dot com. It’s not even the venue company. It’s a broker site.
This new app uses an entirely new infrastructure. It’s built to scale. We have a number of features coming. One of the biggest is we are doing API integrations with primary ticket companies. They can validate a ticket and the order price right in the UI, so we can really keep things at face value. Then, once the buyer purchases, we’re transferring the ticket directly in the app. They don’t have to open up a different app to do the transfer. It all happens seamlessly.
Brando’s Version
We’ve worked with artists like Tyler Childers in the country space. We’ve done ticket drops for Sylvan Esso. We’re working with The Disco Biscuits. We’ve worked with Phish. Billy Strings has been a partner in the bluegrass space. We’re excited about diversifying our partnerships and building that diversity across the platform. We did sell a few hundred Taylor Swift tickets, so we were happy about that. We were a little late to the game in telling people about it, but we’re hoping that on the next tour we can elevate CashorTrade in the Taylor Swift community.
Rearview Mirror: Photographs, December 1963–February 1964
April 25–June 21, 2025
Gagosian, 456 North Camden Drive, Beverly Hills
Our appetite for pictures of the Beatles is boundless across their many eras, but none so captivating as the early years. Regarding the fresh-faced, unbounded joy of their youth, balanced on the precipice of the mania that exploded circa 1963, with their floppy bangs and cute suits—it’s poignant to recall that innocence now, on the far side of decades. What makes Gagosian Gallery’s exhibition featuring photographs of that era unique, even amid the ocean of iconic existing pictures of that time, is that these were captured from the inside, by the ultimate insider photographer—Paul McCartney himself, and he’s really good at it.
The three dozen assembled works are but a selection culled from a larger traveling project—Paul McCartney Photographs 1963–64: Eyes of the Storm, which debuted at London’s National Portrait Gallery in 2023 and is currently on view at the de Young in San Francisco through July 6—but the exhibition design goes to great lengths to evoke a museum setting with precious ephemera, enlarged contact sheets, and nostalgic video and sound augmenting the selection of moody self-portraits, jovial and pensive candid moments, crowds chasing them down city streets, and historic locations. Overall, the effect is like if Whit Stillman did a remake of A Hard Day’s Night. Actually, can someone make that happen please?
Beyond the content, which would be compelling regardless, what comes through is McCartney’s genuine curiosity about his broadening horizons, and a desire to document and remember what it was like to experience it; seeing familiar moments through his reverse perspective feels fresh. As well, he was friends with artists, and it shows. The finesse of his instincts is genuinely impressive—for framing, finding decisive moments, teasing out intimacy and empathy in portraits of his cohort, embracing the lowkey and totally understandable ego in self-portrait mode, his sophisticated use of light and architectural opportunities, and his presence of mind in the face of his life changing in real time.
gagosian.com/exhibitions/202 /paul-mccartney
BY GLENN LITWAK
On May 1, 2025, Warner Music Group sued Designer Shoe Warehouse (DSW) for copyright infringement for using its music on social media. The case was filed in Ohio federal court. The lawsuit also contends that DSW violated copyright law by using paid partnerships with social media influencers.
Warner’s lawsuit states that DSW is “one of North America’s largest designers, producers and retainers of footwear and accessories.” Warner alleges that DSW “misappropriated over two hundred” of Warner Music’s compositions and recordings
Rising folk/Americana/pop artist Cloe Wilder released her third EP, Life’s a Bitch, in March as she continues to build on an impressive start to her career. Still just 18 years old, the Los Angeles-based, Florida-raised Wilder released her debut EP, Teenage Lullabies, when she was 14. That shouldn’t be surprising; she says that she’s been singing for her whole life.
“We always had a piano in my house and I started lessons on that when I was four,” Wilder says. “I did recitals, talent shows, and karaoke nights— literally anything musical I could get my hands on. I went to my first writing camp when I was 12 years old, which changed everything. That’s when it really became the dream.”
Wilder describes her sound as “ethereal folk pop,” something that is apparent heard on that new EP.
“I just released an EP called Life’s A Bitch,” Wilder says. “This project covers a lot of bases, and it truly feels like an embodiment of my last two years. I wrote most of it when I went to L.A. for the first time alone. It’s been an absolute pleasure to sing these songs on stage and connect with people over these really specific experiences: touring and growing and trying to be a real person within all of that.”
Wilder says that she’s a big believer in the DIY ethic.
“I’d definitely call myself a control freak,” she says. “I think it’s fun to be that way as an artist. I’m so comfortable as a songwriter, but I also love developing my show and my visuals. I like that it’s all up to me and who I trust.”
Looking ahead, Wilder has plenty planned for 2025. She just returned home from a three-month tour and she’s already ready for another.
“I’m working on that,” she says. “In the meantime, I’ll be having my first real California summer and writing my little heart out.”
Visit cloewilder.com.
in TikTok and Instagram posts.
Warner also sued DSW’s parent company, Designer Brands Inc. Warner is seeking statutory damages up to the legal limit of $150,000 per infringement of each musical work.
Warner contends that within the videos on Instagram and TikTok are musical works by Ed Sheeran, The Weeknd, Cardi B, Lizzo, Madonna, Missy Elliot, and others.
Warner states in its lawsuit that among the musical works that were allegedly infringed by DSW are “some of the most popular sound recordings and musical compositions in the world.”
In recent years, influencer marketing has become one of the best types of digital marketing. Warner contends that the musical works were infringed in social media posts by “using these musical works to attract attention to the DSW videos, drive sales to DSW, and build DSW’s brand awareness and profile.”
Warner’s complaint also states that “during its 55-year history, DSW has repeatedly licensed music for promoting its brand and
products in television commercials” and that DSW also has “Licensed music for its commercials from WMG in the past.”
Warner goes on to allege that the defendants have “extensive experience with music licensing,” but did not seek or receive permission to use the songs on its own social media videos and for its social influencer campaigns.
It appears Warner will contend that DSW intentionally committed copyright infringement. Civil penalties for copyright infringement include statutory damages ranging from $750 to $30,000 per work infringed. That can be increased to $150,000 for willful infringement.
Of course, copyright law permits the personal use of music. But courts have held that paid social influencer campaigns do not constitute personal use and must be licensed from the rights holder. For instance, as Warner’s lawsuit mentions, Bang Energy “was found liable for copyright infringement in two different lawsuits due to the same type of copyright infringement.”
There have been many other recent lawsuits involving the use of music in social media campaigns. For instance, various music companies have pursued social media copyright lawsuits against Chili’s, the University of Southern California, NBA teams, and Crumbl Cookies. From the contents of the complaint, it certainly appears that Warner has a very solid case. It will be interesting to see what defenses DSW will raise.
GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail. com or visit glennlitwak.com.
Date Signed: April 2025
Label: Capitol Christian Music Group
Type of Music: Contemporary Christian Management: Hannah Gifford, Round Table Mangement
Booking: Mark Claassen, WME
Legal: T.D. Ruth, Serling Rooks Hunter McKoy Worob & Averill LLP
Publicity: Alicia Krass, akrass@pfamedia.net
A&R: Riley Bowman, Capitol CMG
Web: capitolcmglabelgroup.com/franni-cash
Franni Cash is a singer and performer who achieved GRAMMYnominated and Dove Award-winning success, with the contemporary Christian ensemble We the Kingdom. However, nearly two years ago, she left that group to venture out on her own.
“Growing up in a musical family was a gift,” says Cash. “My dad, Ed Cash, was in the band and is an incredible producer and songwriter. My earliest memories are of him sitting in the living room writing songs and inviting me into that process. He would play me two different versions of a lyric or chord progression and give me option A or B. It was subtle differences but he was training my ear, without me even realizing it, to hear the magic. Music is a language that my family speaks, and I really appreciate him teaching me when I was young how to express myself and feel it through sound.”
“I feel I’ve grown, not only as an artist, but as a human. And for that I am so grateful.”
We the Kingdom began in 2017 and toured for nearly seven years. However, while Cash and her family were racking up awards, touching the hearts of fans, and gaining musical momentum, there was an internal feeling brewing she could no longer ignore.
“I felt a pull to take a step away,” says Cash. “And it was so scary for me because all I had ever known in my adult life up until that point was the band. But it just felt like it would be wrong to stay. I had to trust my gut and take a step on my own. And it has been such an incredible journey just getting to learn how to tell my story and use my voice and connect with people on a more personal level. I feel I’ve grown, not only as an artist, but as a human. And for that I am so grateful.”
What’s nice is that Cash’s transition to a solo career has been super smooth in that she basically continues to work with a lot of the same team at Nashville’s Capitol Christian Music Group that she had with We the Kingdom.
Cash’s debut single as a solo artist is called “Wildflowers” and is an engaging, fresh, and authentic mix of country and pop. “I write a lot about the love and hope I’ve found with my relationship with God. And I wanna offer that to people, even if they aren’t into the same things I believe,” says Cash. “I’m hoping some of the music’s messages will reach people no matter where they are.”
Franni Cash plans on releasing an EP this June and a full album in 2026. – Eric Harabadian
Date Signed: December 2023
Label: Position Music
Band Members: Spencer Bridle, Frankie Grant
Type of Music: Electronic
Booking: peter@minttalentgroup.com
Legal: safwan@tomllawyers.com
A&R: Jake Versluis/Position Music Web: wearewavesmusic.com
Electronic duo Waves, A.K.A. Frankie Grant and Spencer Bridle, are a bona fide success story. Since signing a juicy deal with Ultra Records, they’ve been all over the radio. Songs “Jalapeño,” “Mr. Wilson,” and a twist on Macklemore’s “Thrift Shop” have all received extensive airplay in their home of Canada. The group’s most recent banger, “Stuck On You,” debuted this January.
Besides being an act in their own right, Bridle and Grant are songwriters. Thus, they needed a publishing deal. Enter Position Music. A previous manager had an artist at Position and put them in touch with Jake Versluis, a partner at the L.A.-based music publisher.
“We did a few calls, and it felt like a good fit,” recalls Grant, who spearheads Waves’ live performances. Although they’d been seeking a publisher, they hadn’t received any offers that made them feel comfortable until Position came along. “What they had to offer was amazing,” testifies Bridle. Though they signed quickly, they made sure an attorney first reviewed the contract.
“We did a few calls, and it felt like a good fit.”
One aspect of signing to Position that Bridle and Grant found appealing is that their roster doesn’t have many electronic artists. Instead, they tend to focus on working with vocalists and lyricists. Bridle notes that this creates heaps of opportunities for them, since they’re capable of transforming songs from all genres into danceable bangers.
Position took the time to explain all the avenues for revenue they’d subsequently enjoy. Plus, signing as individuals rather than as a band means they can still make music elsewhere. The pair also relishes having access to Position’s collection of exclusive studios, which Waves began using while they were actively being built.
Both Grant and Bridle insist that a relentless focus on self-promotion was instrumental in leveling up. For one, it fosters contact with other creative types who may want to unite forces. “I’ve met some awesome songwriters and collaborators who DMed us on Instagram,” imparts Grant. “You get that by putting yourself out there and making sure your music’s heard.” – Andy Kaufmann
Date Signed: December 2024
Label: Warner Records
Type of Music: Hip-Hop, Rap
Management: Estelle Mata
Booking: Independent
Legal: Jasmine Britton, David McGriff
Publicity: Yash Zadeh, Dionté Williams
A&R: Tim Hinshaw
Web: azchikeofficial.com
South Central rapper AZ Chike (pronounced ay-zee chyke) has kicked off a new chapter of his already-impressive career by signing with Warner Records. It’s been a long journey to get to this point, not without its ups and downs, but a major label deal is the just reward.
“I started rapping and writing in 2013, but it wasn’t until 2016 that I got serious about becoming an artist,” Chike says. “My first performance was in 2017 at a Show Banga show at a bar and grill in San Francisco.”
The rapper says that seasoned hip-hop and R&B executive Tim Hinshaw played a big role in making the Warner deal happen.
“When I dropped ‘Love Your Weapons,’ he saw the growth in my sound, lyrics, and visuals and reached out about joining the Warner family,” he says.
"We are thrilled to welcome AZ Chike to Warner Records at such a pivotal moment in his career,” said Aaron Bay-Schuck, co-Chairman and CEO of Warner Records, in a statement. “As an artist who has built incredible momentum over the past year, Chike, who was brought in by
“My sound has evolved through maturity. I've been incorporating live instruments and focusing more on structure.”
our partner Tim Hinshaw (Free Lunch), has already captivated audiences and proven his impact. His talent, vision, and artistry have set him apart, and we are honored to support and help bring his music to an even larger global audience."
"Whatx2” is Chike’s debut single for Warner, and it comes complete with a video that features baby goats.
“’Whatx2’ is fun, serious, open, and dangerous,” Chike says. “My sound has evolved through maturity—I've been incorporating live instruments and focusing more on structure. It was recorded in North Hollywood with my producer, Asif, about two weeks after I recorded ‘Peekaboo’ in October 2024. It’s a modern spin on '90s old-school hip-hop.”
With the deal and first single in the can, AZ Chike will be looking to build on those accomplishments this year.
“For 2025, I’m focused on building myself as an artist,” he says. “Capitalizing on opportunities and working on an album.” – Brett Callwood
Date Signed: August 2024
Label: Golden Robot Records
Type of Music: Alt Metal, Rock, Goth, Industrial, Prog
Booking: Joy Collingbourne, joy@mobagency.com
Publicity: Sarah Facciolo, Facci PR, sarah@faccipr.com
A&R: Kim Bencic
Web: militiavox.com
Some artists are inherently suspicious of record labels. That’s especially true for singer, songwriter, visual artist, and all-around creative badass Militia Vox. As a teenager, she was in a band signed to Cleopatra Records. She recorded an album for them that ultimately got shelved, leaving a sour taste in her mouth. Also, as a woman of color who performs heavy music, she’s had to battle negative industry attitudes from many corners. “Any record deal I’ve been offered I turned down, because it was always contingent on changing something,” she divulges. “If they’re changing who you are, they don’t want you.” Besides, she’s been thriving on her own for years, earning her way onto the stage and in the studio with artists such as Twisted Sister, L7, 24-7 Spyz, and Cyndi Lauper. Another act she became friendly with is Living Colour, including lead singer Corey Glover. One day, producer
“Any record deal I’ve been offered I turned down, because it was always contingent on changing something.”
Tony Bruno suggested she cover the '80s hit “It’s Only Love” by Bryan Adams and Tina Turner. Glover was Vox’s immediate choice for laying down the duet. Also on the cut are Living Colour’s Vernon Reid and Nuno Bettencourt of Extreme.
Vox knew the track was special and wished to give it a bigger promotional boost than she could on her own. Wondering where to take it, Glover suggested Golden Robot Records. The four-octave rebel reached out and quickly received a response from the Sydney, Australiabased label. Happily, the head of A&R was already a fan. Besides wanting the single, Golden Robot desired everything else she had, including her all-female Judas Priest cover band, Judas Priestess. She scrutinized the contract and removed every trace of objectionable verbiage. “They met me halfway,” notes the stage performer and former TV host.
“I would like to publicly thank Golden Robot for giving me a shot,” continues Vox, who recently made her Lincoln Center debut. “I feel incredibly humbled and grateful to be with them.” – Andy Kaufmann
Cameroonian musician-musicologist Francis Bebey (2001) blends African tradition and electronic sound in his posthumous compilation, digitized by Abbey Road Studios. The collection stands as a testament to Bebey’s belief in African sound, artist advocacy, and unwavering commitment to creative independence.
Seeker Music partners with Joan Jett and Kenny Laguna’s Blackheart label, acquiring a significant portion of publishing and recording rights of the Blackhearts’ platinum-selling work. Seeker founder Evan Bogart’s father Neil signed Jett with “I Love Rock 'n' Roll” in the early '80s. New music, re-releases, and touring to come.
Composer-lyricist Stephen Schwartz (Godspell, Pippin, Wicked) and fellow Broadway composers (Irene Sankoff, David Hein, Karey Kirkpatrick) shared unheard musical theatre pieces and workshopped new projects at the 2025 ASCAP Foundation Musical Theatre Fest. (L-R) Malaika Alvaro, Mary Faber, David Hein, Irene Sankoff, Stephen Schwartz, Amanda Shoffner, Michael Kerker, JulieGarnyé, Zachary Dietzat.
Since 2014, Lydia Hutchinson has been producing the Performing Songwriter Creative Workshops, designed to inspire creativity and provide mentorship for songwriters of all ages, skill levels, and occupations. For three days in Nashville, attendees are encouraged to find their writer’s voice and story and learn to share it in a universal way. The regular Faculty includes Mary Gauthier, Gretchen Peters, Beth Nielsen Chapman, Emily Saliers, Verlon Thompson, Suzy Bogguss, and Jonatha Brooke. Additional facilitators and surprise guests have included Allen Shamblin, Don Henry, Keb’ Mo,’ Christopher Cross, Amy Grant, and others. Class sizes are limited to 20 participants and sessions fill up quickly and there are also week-long international options on offer (in Italy and Scotland). Details and registration at performingsongwriter.com/ creative-workshops.
The Nashville Songwriters Association International presents the Remote Interactive Songwriting Education (RISE) five-week summer program. From July 21st through August 23rd, get song feedback, pitch-
Celebrating 35 years since the release of her iconic Electric Youth album (and “Lost in Your Eyes" hitting No. 1 on Billboard charts), Debbie Gibson gets set to release her memoir Eternally Electric (through Gallery Books) this September, written during her recent anniversary tour. Full details at bit.ly/44xpAV6.
to-publisher sessions, co-writing exercises, educational enrichment, weekly group meetings, oneon-one consults, and songwriter networking, all within small group settings. Registration at bit. ly/43fT7QU.
With a legacy of cutting-edge programs and top-tier jazz instruction since the 1960s, the Eastman School of Music at the University of Rochester introduces a new vocal jazz program with GRAMMY-winner Sara Gazarek at the helm. Faculty includes Christine Jenson (JUNO Award winner and first woman appointed to Jazz Studies and Contemporary Media Faculty at Eastman), Otis Brown III (recording artist, Assistant Professor of Jazz Drum Set, has performed with Herbie Hancock, Esperanza Spalding, Robert Glasper, etc., father played with James Brown and Al Green), and Marshall Gilkes (trained at Julliard, appointed Associate Professor of Jazz trombone, performed/recorded with Wynton Marsalis and the Jazz at Lincoln Center Orchestra, WDR Big Band, Richard Bona, etc.).
Detailed intro at youtube.com/ watch?v=cFkBoDGE8vY
Warner Bros. Pictures’ President of Music, Paul Broucek, was awarded the Hollywood Ally Award at the Los Angeles Chamber Orchestra (LACO)’s 2025 Gala Celebration. Broucek’s projects have included Barbie, The Dark Knight, Beetlejuice Beetlejuice, The Color Purple, Wonka, Elvis, King Richard, Judas & The Black Messiah, Wonder Woman, Tenet, Godzilla, The Hobbit, The Great Gatsby, Gravity, The Dark Knight Rises, Inception, and Lord of the Rings (while at New Line Cinema). As a recording engineer, he worked with Aretha Franklin, Stevie Wonder, Jimmy Buffet, and The Eagles. His first job after moving West from Chicago was assisting sound editor Walter Murch on Apocalypse Now
Following his leadership of New Line Cinema’s creative team for 12 years, Broucek has served as President of Warner Bros. Pictures, overseeing in-house label Water Tower Records. The LACO Award honors Broucek for consistently championing the orchestra's musicians in their professional studio work throughout his career.
SESAC congratulates 2025 Abe Olman Scholarship recipients
Daphne Browdy, Elby Faser, and Dawoyne “2forwOyNE” Lawson. An award named to Honor Abe Olman’s contributions to publishing and songwriting, as well as being a founder the Songwriters Hall of Fame, annual scholarships made possible by his family are awarded to support and encourage the careers of young songwriters.
Kentucky’s Dawoyne Lawson developed his artistry through performing arts and drum corps and earned first chair in the AllState Concert Band in high school, later performing with the University of Louisville Marching and Concert Band. He has since worked with Jack Harlow on GRAMMYnominated project Come Home The Kids Miss You and has contributed to three Billboard No. 1 albums.
Genre-blurring vocalist Elby Faser’s powerful songwriting and performances have taken her to The Ryman Auditorium, The Bluebird Cafe, Whiskey Jam, The Foundry in Athens, Matilda’s, and The Grand Ole Opry Plaza alongside Boz Scaggs, LeAnn Rimes, Christopher Cross, and more.
The John Lennon Foundation Award was presented to Nashville-based songwriterproducer-instrumentalist Daphne Browdy for her sharp lyricism and strong melodies. Co-write projects include Bruno Major, Ron Fair, Carobae, Drew Ramsey, JT Foley, Megan Redmond, Rajiv D Hall, and Robyn Dell’Unto.
SongsAlive! hosts Sunday morning song critiques in the comfort of your own home via Zoom the third weekend of each month (next sessions are June 15, July 20, August 17). Get your songs release-ready and gain valuable insight from guest speakers each month. Meet other songwriters, get feedback from industry professionals, and learn from master teachers with support from this 20-year-old global songwriting community. Find out more at songsalive.org/workshop.html or at info@songsalive.org.
The Songwriters Hall of Fame inducts a new group this month. Awardees include George Clinton (“Atomic Dog”), Tom Johnson, Michael McDonald, and Patrick Simmons (p/k/a/ The Doobie Brothers, “Listen to the Music”), Ashley Gorley (“You Should Probably Leave”), Rodney “Darkchild” Jenkins (“The Boy Is
Mine”), Mike Love (“California Girls”), and Tony Macaulay (“Baby Now That I’ve Found You”).
To qualify for induction, a songwriter must have a notable catalog of songs, with their first commercial release being at least 20 years ago. More at songhall.org.
Now in its sixth year, Mamas in Music (MIM) has expanded from a small community launched by two music industry moms to a global nonprofit that now includes chapters in Atlanta and Johannesburg (adding to existing locations in London, Australia, New Zealand, New York, Los Angeles, San Francisco, and Nashville). MIM was founded to support mothers and caregivers in the music industry through communitybuilding, professional opportunities, and advocacy. Other projects include releasing production album (Emotive Pop) with BMG UK (produced entirely by mothers), and debuting MIM Africa at the Africa Rising Music Conference. Visit mamasinmusic.org.
ANDREA BEENHAM (aka Drea Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadianraised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com
Virgin Music Group partners with recent 3x RIAA-certified and GRAMMY-winning Trisha Yearwood and label Gwendolyn Records for new music and catalog, adding to UMG’s Music Corporation of America (MCA) group. The Mirror is out next month, after “The Wall Or The Way Over” and “Bringing the Angels.”
One-woman band and social justice and artist rights advocate Talia Keys releases From The Ashes, a year-long project released exclusively under the Buy Before You Stream initiative, designed to help independent artists make money from releases (before DSPs) and encouraging artist sustainability.
With 10 GRAMMY Awards between them, Taj Mahal and Keb' Mo' release joint album Room On The Porch to encourage inclusivity and community, in a project made with their children (who co-wrote or feature on eight of the 10 tracks). The latest release follows GRAMMY-winning (Contemporary Blues Album) debut TajMo.
Angry Mob Music presented the New Normal Writing Camp at multiple studios across Los Angeles with a diverse group of 52 songwriters and producers, including 15+ cultural backgrounds, 75 percent women. 38 songs were written in five days across eight rooms, including a dedicated K-Pop room. More on Instagram.
ABABOBnce in a while, the music industry delivers the perfect creative pairing and, when it comes to Lady Blackbird and producerguitarist Chris Seefried, the symbiosis is undeniable. Initially meeting in a studio session, the musical chemistry was almost instant. Blackbird says that the key to meeting the people that change your life is to pay attention and be aware, but not to hold on too tight and risk blocking anything, adding, “Just be ready to receive it.”
efore penning hits for artists Charli XCX, Zedd, Kehlani, Noah Cyrus, and others, British singer-songwriter Cleo Tighe knew it was all about trusting the process. “The main thing is to be in that trusting kind of energy that it's going to happen,” she says. “That's what I'm trying to do.” Projects include Col3trane, Tove Styrke, Zara Larsson, Justin Tranter, and writing credits for “One Too Many” (Keith Urban/ Pink), “Wherever” (Kygo/Ava Max), “Lovers In A Past Life” (Calvin Harris/ Rag‘n’Bone Man), and more.
s the third most streamed songwriter worldwide, Theron “Uptown AP” Thomas catapulted into the spotlight earlier this year after winning Songwriter of the Year at the 66th Annual GRAMMY Awards. As the only black nominee in the category, Thomas has become a role model for aspiring black creatives, with credits including Sean Kingston, Miley Cyrus, Nicki Minaj, Lizzo, Rihanna, Jennifer Hudson, Ariana Grande.
orn in Minneapolis and launching into music through hip-hop, genre and era-blurring jazz artist José James cultivated his sonic chops from a young age, inspired by samples in his favorite music. “Buying cassettes, records, reading liner notes, that's how I discovered this whole other world," says James. "I remember looking at A Tribe Called Quest record, and a sample of Roy Ayres. I realized the producers and rappers I love know this vast catalog of jazz, soul, R&B, and funk. I wanted to be like them, so I started collecting records.”
est known for appearing on NBC’s The Voice Team Blake Season Four, soul/pop singer-songwriter and voiceover artist, Michelle Ray started singing professionally at age 10, was classically trained, and began submitting her work to agents. Working on ten Kidz Bop albums, she quickly became a ‘studio kid,’ with recording sessions after school. Passionate about musical theater, she took every opportunity to perform. Being heard live by someone with West Coast contacts led to a dual-coast, years-long commute, and eventual move West. As a student at the Berklee College of Music for a semester before landing a spot on The Voice, she never looked back.
s one of three children born to Dara Records owner Joe O’Reilly and beloved Irish songstress Mary Black (whose parents were also established Irish musicians), The Coronas’ frontman Danny O’Reilly began studying music at a young age, encouraged by his mother to write his own music. Initially working through graded classical lessons on the piano, O’Reilly switched over to guitar and, while he downplays his instrumental skills, he appreciates the solid foundation and the chords that helped his songwriting. Growing up in a musical family and “seeing the happiness and fulfillment their job gave them,” ultimately inspired O’Reilly to pursue music. Joining forces with bassist Graham Knox and drummer Conor Egan in high school, the journey has always been about having the most fun with the best people.
Alongside brother Timothy “A.I” (Thomas), as songwriting/producing duo R. City, he has worked with the world’s top artists, but started out dancing to hip-hop in the Virgin Islands. Dancing in shows—including a stint as backup dancers for an all-girl rap group—Kris Kross proved kids could rap too. First performing as artists under the moniker 2Ekwip, a high school artist was writing their songs, but left for his own career. With their dad pushing them to write their own material, the two have been writing ever since.
First encouraged to sing in church and perform the national anthem at ball games, Lady Blackbird (born Marley Munroe) began searching for her own sound after signing to a Christian label and recognizing the disconnect between their beliefs and her own. She later toured with DC Talk’s TobyMac and did studio sessions. “It started out with me looking for acceptance,” says Blackbird. “Now I view it differently because I'm not looking for anybody to be able to accept me—you accept me or you don't, and I am me whether you like it or not. I had to learn how to accept myself.” The release of 2020’s “Blackbird” (a Nina Simone reinterpretation) coincided with the Black Lives Matter movement and George Floyd murder aftermath, building momentum and birthing her moniker.
Tighe knew she wanted to be a singer when she first watched Snow White and, although she sang in the school choir, no one around her was passionate about music. Singing constantly, performing anywhere and everywhere from the age of 10, her dad offered to find her a vocal coach, and the teacher she connected with worked with EDM band Delphic. The band loved Tighe’s voice and hired her to record backing vocals. When Delphic broke up, she began writing with Rick Boardman (and his girlfriend). Shares Tighe, “I knew three chords on the piano and had all these song ideas. I don't know if they were any good, but he thought they were.”
Working with legends Chico Hamilton, McCoy Tyner, Christian McBride, Flying Lotus, and Robert Glasper, James is clear on the credit for his musicology. His mom’s vinyl collection included classical, funk (Ohio Players), folk (Baez, Dylan, Crosby, Stills & Nash), and jazz (Billie Holiday), the radio was always on, and they frequented live shows. James’ dad was a saxophone player and Latin percussionist who inspired his love for the classics, including Herbie Hancock. “Dad grew up in Panama City [and] played in bands around the world,” says James. “That seed was planted deep: music can be a passport to the world.”
Ray’s paternal great-uncle (and namesake) was an opera singer at the Bolshoi Theater in Moscow whose tenor voice was discovered by her maternal grandmother, a music manager responsible for bringing him to New York’s Metropolitan Opera and introducing him to her daughter (Ray’s mom). Her father was also a music buff and, while he didn’t pursue music himself, he managed a rock band called Royal Hunt, who Ray opened for on tour with a project she and her dad wrote.
Warned by his mother early on that much of the business comes down to luck, O’Reilly says that, these days, he works hard to enjoy the ride and not take anything for granted, especially post-pandemic. “Talent is not measured by success, and my love of music isn't tangible or comparable to my success,” he says. “My biggest success is I have a great balance. I'm really happy I get to do what I love. I tour the world and write my own music. That is success to me.”
While very popular in Saint Thomas, their audience was limited. “The streets, the gangsters, the deejays in the club—they would never play our music,” admits Theron. Returning from Miami under new moniker R. City in 2005 brought a more mature sound and the club scene took off. “We not gangsters, not drug dealers, never been in trouble with the law,” admits Thomas. “What gives us an edge?
Me and my brother became like Public Enemy: fuck the police, fuck the government, people are poor, people are starving, you don't help.”
Meeting incredible people along the way has helped her confidence, and Blackbird says Seefried has been pivotal to the journey. “I love Chris as a human, as my friend. I didn't know it was going to be that in the beginning,” she says, in addition to being musical soulmates. “You meet because of music and it turns into this beautiful friendship. The music becomes secondary because these vital things with this person take over. That means the most. The music is the cherry on top.” When they met, Seefried was stunned by Blackbird’s unusual melody lines. “We were in a session and sang that melody, had an incredible voice, and wrote weird stuff. I just wanted to work with this person. I've written so many songs, I know where I'm going to go. I'm more interested in where she's going to go.”
A great song is driven by lyrics, says Ray. “Vocals are my main passion, so I like to write melody first.” She also keeps a notebook of inspired lyrics she pulls from to see what fits her melodies. “If I feel something I haven't felt before, or get goosebumps, I know this is good. Lyrically, melodically, vocally, there's something magical that comes together when you know it's a good song. That's the magic of songwriting.” She adds that when you don’t have the exact words to explain what you’re feeling, sometimes a song you hear expresses it perfectly.”
Joining avant-garde band Ancestor Energy at 17, James still considers bandleader/ performance poet Louis Alemayehu a mentor. Jazz players Douglas Hubert, Kerry Thomas (both AACM members), and Donald Washington were members. “I thought I was cool because I knew Coltrane. He was just the beginning,” admits James. “I had never heard of Albert Eiler, Henry Threadgill, or any deeply Black, post-Coltrane stuff. [It] doesn't get taught in school, a part of Black History that is under-acknowledged.” With a focus on finding a voice as a writer, James says the band, “aligned with the philosophy of having your own voice and not taking anything too seriously.”
Writing every day, Tighe recorded her work on voice memos, listening to them on her walk to and from school the next day. “I look back and think it's crazy,” she admits. “I was just a teenager writing songs with deep lyrics. I don’t know where that came from?” Initially not wanting to go to university, she is grateful for deciding to go as she met her best friends and frequent collaborators, Danny Casio (@dannythesix) and Pablo Bowlan (@r.i.pablo), there. Says Tighe, “Going to music school, you won't learn about writing songs, but you will meet people, and people come to scout you—that’s happened for a lot of my friends.”
There seems to be a more nationalistic vibe with new Irish exports (like Kingfishr and Amble) leaning into their roots. “There has been a resurgence in people trying to find identity and something to be proud of, looking into old music and traditions,” says O’Reilly. “We find it when we tour. In the States or Australia, the Irish people have Irish flags and want to hear songs in Irish [most famously “Heroes or Ghosts” (Taibhsí nó Laoich)]. We’ve seen that the further you go away, the more people want that little piece of home.”
R. City’s good friend and deejay Benny-Demus became Akon’s deejay, later getting R. City their first record deal. Thomas wrote Akon’s “The Rain” (from Konvicted in seventh grade. Still working day jobs at Kroger and Party City, their manager Ray Daniels was driving them between talent shows in Atlanta.
The journey into motherhood is what makes Ray the proudest. “Having my child has been the most incredible thing and the hardest thing in the world,” she admits. She was dropped by her agent when they found out she was pregnant. “I told her I was pregnant for an audition,” shares Ray. “She [said] we'll pass because wardrobe won't be able to fit you, and then literally never sent me anything again.”
Writing “We Can’t Stop” for Miley Cyrus (for 2013’s Bangerz), R. City got Dr. Luke’s attention. James “Groove” Chambers (who had wanted to work with R. City years earlier) told Luke they were much better artists than writers. Says Thomas, “Just like Ray said, it came full circle […] doing a deal with Kemosabe, dropping “Locked Away,” going number one, on tour with Maroon 5… this is what we'd dreamt of our whole life. It was a great experience.”
Of his writing methodology O’Reilly says, “I lock myself away and try to come up with something that excites me.” Known for great melodies and honest lyrics, the process usually kicks off with a few chords on the piano or guitar, adds melody, and finishes with lyrics, although it is looser than it used to be, with O’Reilly more open to writing with different people. “In the early days, I used to write songs on acoustic guitar start to finish and then bring them back to the band and we would work on our parts,” he says. “Now it’s more of an open book.”
Blackbird’s melodies come to her somewhat spontaneously like scat downloads, and Seefried loves to harmonize and write lyrics over her ideas, but their musical chemistry is what stands out. Walking into the studio, Blackbird tells Seefried, “I have no idea what I'm talking about yet, but this is what it sounds like.” She adds, “For me, it was always melody first.”
Today’s kids are doing what James wanted to do: multi-hyphenates exploring modeling, singing, rapping, acting. James’ dynamic creative process is more like an evolution. “It’s what you're into at that moment. You exhaust that field, and then you move on. It evolves, but everything leads you to the next space,” he says. “To me, music [is] an encapsulation of human emotion in a purposeful, three to five-minute way. That's what makes music unique among all the other art forms.”
In music and motherhood, Ray says people are often telling us what we can and cannot do. “You're told what you should do or write, or what kind of artist you should be. We all have that inner voice within, that gut feeling we're scared to listen to or pursue, but our gut is usually correct. Do what you're most passionate about. That's where you're going to find the most success. You'll find your group if you do what you love to do.”
“The Six” were Tighe’s ‘writing bubble’ for seven years, creating a growing buzz around Manchester. “I was never scared. I found it super easy to collaborate, maybe because we were all figuring [it] out together?” shares Tighe. Her breakout moment came after Boardman shared “Real Love” with producer Clean Bandit and singer-songwriter Jess Glynne over breakfast. Glynne loved the track, and the song hit No. 2 on BBC Radio 1 while Tighe was still in university.
Write what you like, surround yourself with good people, and don’t be too hard on yourself. “You can wrap it up in all the bells and whistles, production, and things that are different that might catch my ear,” says O’Reilly, “but if there's not a good song at the core, that won't work.” He adds that breakthrough artists are those with good songs, like Chappell Roan and Taylor Swift, and that it’s not about perfection.
A good song starts with a great beat insists Thomas. “It's like the opening of the movie, the opening scene.” Following the beat, the melody has to be good to get you to listen to the lyrics. Thomas studies the top 10—especially the songs he dislikes—to see what he is missing.
Looking to advocate for equal rights for mothers in the music industry after her experience, Ray launched call to action #nobodyputsmamainacorner, and stumbled across organization Mamas In Music. Co-Founders Mary Leay and Tiff Randal loved her initiative and asked her to lead their Los Angeles Chapter (more at: mamasinmusic. org). Having just hosted their first annual fundraiser, Ray says, “I was just trying to rally everyone to make an equal place for moms. After Theo was born, I was even more driven than I was before.”
James’ passion for ‘70s sound was sparked by Pino Palladino. “Pino spoiled me forever,” reveals James. “He's one of the greatest electric bass players in the world. He's also the kindest person.” James was between labels. “Make It Right” was their 15-minute co-write. Palladino told James it was going to be a great album, to which James replied that there is no album. Palladino repeated himself four times, adding that he will play on said album. “I was in shock,” says James, “That moment has stayed with me. I try to employ visualization and pure positive energy with younger generation[s] because you really have to see it. Have people around you that believe in you. It's a myth as an artist that you're always going to believe in yourself.”
Working in sessions together for five years has meant exploring extensive genres and styles before recording Black Acid Soul (2022, via BMG UK), bringing a broad reference to the studio and stage. “We kind of do whatever musically. What makes it all work is her voice,” shares Seefried. “She can sing anything with believability, conviction, and a sense of purpose, because she relates to all kinds of music, as do I. The trick is to make this musical story make sense. One way we did was to tie it lyrically with her personal story.” A great song comes down to the performer being able to “strongly relate to the story and feeling of what's being delivered” as “an alchemy between melody and lyric,” explains Seefried.
“Real Love” led to a publishing deal with Kobalt Music, opening doors for more co-writing. When her Kobalt deal was running out, she received label interest, ultimately signing through Paul Smith to Warner Chappell UK. “He cared and liked my music the most,” says Tighe. ”I want people to be good at business, but if they're not a fan, they'll never know what to do with my songs.” Tighe is also signed to Evan Bogart’s Camelot Music Group in the U.S. Meeting in a writing session years ago, Tighe says, “He’s so talented, absolutely hilarious, and became a good friend. I surround myself with people that make me laugh.”
“We always considered ourselves a live band first and foremost. Albums are pieces of work we're really proud of, but it was always [about whether] these songs make our live set better. That's why we write what we do—to be a better live band and to put together a better show. The magic is in live. That's where our hearts still are all these years later.”
His favorite music includes Bob Marley, Norah Jones, and John Mayer. Dramatically different from what he writes, Thomas adds, “[My] songs don’t sound like they were written by someone who listens to what I do.” One is his human side, and one is his channel, and Thomas really does channel his work. “They're playing the beat in the background, and I'm not paying attention. I get up, go in the booth, and write a whole song in 20 minutes.” Reveals Thomas, “I believe that God writes my songs - even the wretched ones.”
With sold-out promotional touring in Japan as lead vocalist for pop/ rock band Veil of Obscurity, Ray’s theater roles have included The Witch in Into the Woods, touring as Klepto in Alanis Morissette-The Album Project: Jagged Little Pill, and Alyshia in Green Day’s American Idiot. She has national commercial credits (including Maybelline, Mastercard, JC Penny, etc.), major voiceovers parts (Gary Marshall’s Mother’s Day, and shows on Amazon, Netflix, and Hulu), and over 10 million streams on Spotify. Ray writes, records, and performs regularly.
No Beginning, No End II (2020) and 1978 (2024) followed on James’ own label, Rainbow Blonde, which clarified how drained he had been by the pressure for sales targets and social relevance.
While signed to Universal Records, the focus became writing for radio, and competing. “That distracted me for a while,” says O’Reilly. “We still get the same buzz from playing a live room—that restores my faith in humanity. Some artists have huge streaming numbers and make money streaming, but don't tour. It's almost two separate industries—the streaming industry, and the live thing. I know which one I prefer.”
Out this month, 1978: Revenge of The Dragon was recorded in one take, combining jazz, soul, and funk. Concludes James, “All of the greats in jazz, whether it’s Billie Holiday, Duke Ellington, Charlie Parker, Miles Davis, or Nina Simone, never let training overwhelm their sense of adventure. I think that's the real freedom of jazz.”
Tighe says success is about “going out and finding people that you connect with creatively and putting yourself in situations where you can receive what you're asking for.” Prioritizing her creative flow by writing three pages of nonstop ‘stream of consciousness’ every day, cultivating positivity by doing things that make her happy (workouts, sunset-gazing, photography, etc.), and taking quality alone time, Tighe also emphasizes the magic of Los Angeles. “There is something about L.A. […] it's got so much creative energy. We’re all just there to create.”
Best known for hit “Locked Away” and mixtape This is Not A Drill… This is Really Happening!, R. City received the keys to the Territory in the Virgin Islands, celebrating ‘R. City Day’ in recognition of their musical contributions and impact on young people each year on September 27. Hit song “Seven” (Jung Kook) recently became the No. 1 most streamed song by an Asian act in Spotify history. A tribute to their late father, “Awhoa” is out now.
“Man on a Boat” from 2024’s follow-up album, Slang Spirituals, remains one of Blackbird’s favorites to perform live. “I can feel that moment every time,” she says. Climbing the U.K. charts and entering the Official Jazz Chart at No. 1, Blackbird was named 2022’s Jazz FM International Jazz Act of the Year. Performances include The Graham Norton Show, The Jonathan Ross Show, Radio 2’s Piano Room, Strictly Come Dancing, multiple jazz festivals, and tours with Gregory Porter and Moby. Lady Blackbird is currently touring with her band.
The Coronas kick off the European leg of their tour this month, the U.S. in July, with new music anticipated mid-2025.
Contact Susan von Seggern PR Consulting - susan@susanvonseggern.com; Experience Michelle Ray at michelleraymusic.com
Contact chantal@illustratedsounds.com; Experience Theron Thomas on Spotify
Contact White PR, ashley@ashleywhitepr.com Visit Lady Blackbird at ladyblackbird.com
Contact Warner Music Publishing, communications@warnerchappell.com Experience Cleo Tighe at instagram.com/cleotighe_
Contact Mike Jones, Shorefire Media - mjones@shorefire.com Visit josejamesmusic.com
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Dominik Scherrer’s evocative score for Miss Austen is now available on digital platforms, accompanying the four-part historical drama series that premiered in May on PBS. The series was adapted by BAFTA-winner Andrea Gibb from Gill Hornby’s best-selling novel and reimagines the mystery behind Cassandra Austen’s destruction of the letters of her celebrated sister Jane Austen, beloved for her works including Pride and Prejudice, Sense and Sensibility, and Persuasion. With a cast led by Keeley Hawes as Cassandra along with Rose Leslie and Patsy Ferran, the series explores themes of sisterly love, loss, and literary legacy with a musical backdrop to accentuate Cassandra’s journey set by Scherrer’s periodinspired music. For more information, contact Sarah Roche at sarah@whitebearpr.com.
Sierra Madre Playhouse’s Flashes of Light, a new musical by Billy Larkin and Ron Boustead, premiered May 25 and will run to June 9. Directed by Jon Lawrence Rivera, the production tells the fantastical story of inventor Nikola Tesla (played by Thomas Winter) and his mythic muse Electra (played by Devyn Rush), goddess of storm clouds. Set in industrial revolution-era N.Y.C. in the late 1800s, the musical dramatizes Tesla’s visionary work and his rivalry with Thomas Edison in a celebration of history, science, and mythology. Featuring a dynamic cast and a score that encompasses jazz, pop, and rock, Flashes of Light won first prize in the 2024 international “Search for New Musicals” competition. Contact Libby Huebner at libbyhuebner562@gmail.com for further information.
Disneynature’s Sea Lions of the Galapagos, which debuted on Disney+ this spring, follows the journey of Leo, a sea lion pup navigating the wonders and dangers of the Galapagos Islands with his mother, Luna. Narrated by Brendan Fraser, the film pairs stunning visuals of the islands Leo calls home with an original score by Raphaelle Thibaut that propels baby Leo’s coming-of-age story. In conjunction with the release, Disney Conservation Fund celebrated the film by supporting Conservation International, working with local organizations to connect more than 1,500 youth with the Galapagos and inspire action to protect marine life by reducing ocean plastics. Learn more by contacting Lillian Matulic at lillian.matulic@disney.com.
original soundtrack for On Swift Horses, composed by Mark Orton, was released digitally this spring alongside the film’s theatrical debut. Orton’s score fused lush orchestration with 1950s surf guitar to capture the themes of desire, secrecy, and post-war constraints. The film focuses on main characters Muriel and Julius, who share an intense connection though separated by 800 miles. Piano, strings, vibraphone, and solo cello meet guitar, bass, and drums in this score, which also features two new tracks by Loren Kramar, including the original composition
“Song For Henry,” co-written with Sean O’Brien. Learn more by contacting Sarah Roche at sarah@ whitebearpr.com.
Microsoft Studios Music released the Towerborne Original Game Soundtrack, created by BAFTA Award-winning composer Austin Wintory. Known for his work on the Banner Saga trilogy, Wintory embraced optimism and adventure for this action roleplaying game with a score that blends joy,
hope, and wonder. The score was recorded at Warner Bros’ Eastwood Stage and is available now on major streaming platforms. Towerborne, developed by Stoic Studio, is a game in which players battle to protect the Belfry from dangerous forces. It launched into Xbox Game Preview this spring. For more information, contact Chris Galasso at chris@whitebearpr. com.
The National Musical Theatre Competition (NMTC), which offers a $10,000 cash prize to its first winner, is the first national biennial competition for emerging musical theatre performing artists. The national semifinals and finals are held in conjunction with the NATS Winter Workshop. Finals will be held in January 2026; submit your online application by September 15 for consideration. Past participants have gained exposure to industry professionals in N.Y.C. and furthered their careers. Additional dates, deadlines, and information can be found at nats. org/musical_theatre_competition.html.
This year’s Chainsaw Game and Music Festival will be held on December 17 and 18. While the regular deadline has passed, the late deadline is June 30 to submit your work for consideration in this international celebration of games, music, and music videos of all genres. Winning categories include Best Game, Best Game Narrative, Best Game Music, Best Game Audio, Best Film Soundtrack, Best Music Video, and Best Director. Learn more at chainsawfestival. modifiergroup.com.
Deadlines are June 4 (early bird) and June 18 (final) for the 2025 Music + Sound Awards. Winners are announced Oct. 9, and awards are given for best composition, sound/audio post production, sync, and other categories for films, video game trailers, and more. Submission guidelines and more information can be found at masawards.com/2025-competition-details.
Chicanx band Quetzal and multi-instrumentalist Sumie Kaneko to commemorate the release of TAIKOPROJECT’s fourth studio album, 25, along with a collaborative EP with Quetzal. The group was founded in 2000 by young, emerging taiko drummers led by Bryan Yamami and Masato Baba who pioneered an American style of Taiko by blending traditional forms with a new and innovative aesthetic. Tickets are on sale at taikoproject. com. Contact David Barber at d.barber@ dcpublicity.com for further details.
Legendary composer and lyricist Stephen Schwartz hosted the 2025 ASCAP Foundation Musical Theatre Fest on May 5 and 6 at The Wallis in Beverly Hills. The event, which was free and open to the public, featured Broadway creators sharing behindthe-scenes stories and presenting songs that were cut from hit musicals. On the second night of the event, aspiring composers had a chance to share their new works for musical theater and receive live feedback from Schwartz and fellow industry professionals. The workshop kicked off with the creative team of Roslyn Catracchia and Peter Seibert, who presented an excerpt from their new musical Piney Needlesmith and the Road Less Traveled, followed by Julian Hornik, Khiyon Hursey, and Mark Sonnenblick presenting selections from their new musical, WEEKEND. For more information, contact Bobbi Marcus at bobbi@ bobbimarcuspr.com.
Filmmaker and composer Saam Gabbay’s Almost Zero has debuted as a striking fire PSA promo. Shot from the site of Gabbay’s friend’s destroyed home, the film captures the emotional aftermath, loss, and devastation of the Palisades Fire that struck Los Angeles. Known for his boundary-pushing work, Gabbay takes viewers on an immersive creative journey that takes the traditional PSA format to a new level. This artistic meditation on catastrophe and resilience is also accompanied by a beautiful original score influenced by the creator’s travels to Antarctica, the Arctic, and beyond. Watch the film on Nowness and contact Matena Jarjis at matena. jarjis@impact24pr. com for more information.
Automaphonica has released Wigglin' , a vibrant new album of MIDI-driven tracks inspired by the video games of the late '90s and early 2000s. Featuring original music by game composers and developers jneen and tesselode, the album offers energetic jazz, drum and bass, and genre-blending grooves that will give listeners a dose of nostalgia. Defined by quirky solos and low-tech sampling, Wigglin' can be found on Bandcamp at automaphonica. bandcamp.com/album/wigglin. Learn more by contacting Jayson Napolitano at jayson@ scarletmoonproductions.com.
Website: sherrichung.com
Most recent: Gremlins: The Wild Batch
CLASSICALLY TRAINED in piano with an extensive background singing in choir at church and school, composer Sherri Chung was first struck by the power of music in visual media when she watched and heard the score for 1991’s Robin Hood: Prince of Thieves. “The nice thing about being classically trained in music is, you’re aware from an early age of who wrote what, and that writing music for film or television can actually be a job.”
Chung is known today for her dynamic compositions across genres for film and television and helping shape modern scoring with projects like Based on a True Story, Happiness for Beginners, Found, and Riverdale. She is also a vocalist, songwriter, and pianist with credits in films like 65 and Heretic. Having worked extensively on live action projects, she found a new challenge in scoring for the animated series Gremlins. “With animation, the story often needs support from music, and I felt the weight of how important a role music would play. Plus, Gremlins is a well-known franchise filled with emotion, humor, and adventure. It was wonderful to explore all that with an orchestral palette, and I also got to incorporate elements of Chinese culture and music working with an erhu player.”
TAIKOPROJECT, the Japanese American drumming group, will celebrate its 25th anniversary with a special, one-night-only performance on July 19 at the Walt Disney Concert Hall in Los Angeles. The acclaimed ensemble will be joined by GRAMMY-winning
JESSICA PACE is a music journalist-turnednews-reporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.
Chung advises anyone who wants to write music for film and television to seek an education—which doesn’t necessarily have to come from a school. She recommends participating in online workshops, taking advantage of YouTube videos, and watching television to learn how other contemporary composers are making music. “When it comes to composing, there’s no ‘right’ or ‘wrong,’ but there are ways that are better, and learning that will help you hone your own skills and your own approach,” she says. She also recommends aspiring composers be as “experimental as possible” to find their creative voice and understand themselves as artists.
JENNIFER ELSTER’S THE CLASSICS EXHIBITION AT TRIBECA’S THE DEVELOPMENT GALLERY INCLUDED DAVID BOWIE’S OUTSIDE ARTIFACTS, YOKO ONO LYRICS, AND MORE
The Classics, a solo exhibition by multi-disciplinary artist, writer, filmmaker, musician, fashion designer, and stylist Jennifer Elster, was recently on view at The Development Gallery. Elster’s work is the culmination of years of introspection, raw emotion, and urgent reflection on the state of the world. Photo credit: Jennifer Elster, courtesy of The Development Gallery.
BOONE MAKES COACHELLA DEBUT, SURPRISES FANS WITH PERFORMANCE OF “BOHEMIAN RHAPSODY” WITH BRIAN MAY OF QUEEN, AND ANNOUNCES NEW ALBUM AMERICAN HEART GRAMMY-nominated global pop sensation Benson Boone made his debut on the Coachella main stage in April, where he brought out surprise guest Brian May of Queen for a special performance of “Bohemian Rhapsody.” During his set, Boone broke the news of his highly anticipated upcoming album, American Heart, arriving June 20 via Night Street Records/Warner Records.
DJO RELEASES NEW ALBUM THE CRUX, CONTINUES SOLD-OUT NORTH AMERICAN TOUR, AND PERFORMS ON JIMMY KIMMEL LIVE!
Djo, the musical project of actor/producer/songwriter Joe Keery—known for his work in blockbuster projects such as Stranger Things and Fargo—released his highly anticipated new album The Crux to critical acclaim. He has since kicked off his sold-out U.S. tour, including a legendary Coachella debut and Jimmy Kimmel Live! performance.
BILLIE EILISH AND SUPPORT+FEED HOST OVERHEATED IN BERLIN AND LONDON
Billie Eilish and Support+Feed's fourth and fifth sessions of OVERHEATED will take place in Berlin on May 9th and in London on July 14th, bringing together climate activists, music fans, and other leading voices to help tackle the climate crisis.
22-time GRAMMY winner (and 57-time nominee) Kendrick Lamar has released the music video for “luther” in collaboration with five-time GRAMMY winner (26-time nominee) SZA. Following Lamar’s drop of the universally acclaimed album GNX , “luther” held the No. 1 spot on the Billboard Hot 100 for seven consecutive weeks. His Grand National Tour kicked off in April, cementing Lamar as a driving force in hip-hop.
WEDNESDAY 13 TEAMS UP WITH FASTER
TAIME DOWNE FOR "NO APOLOGIES"
Wednesday 13 has just unleashed the biggest surprise in his bag of tricks—his brand new single “No Apologies,” featuring Faster Pussycat’s Taime Downe. The track appears on the band’s recently dropped full-length album, Mid Death Crisis. The fast-romping anthem is an unapologetic exorcism of toxic demons and even more toxic people, and arrives alongside a new music video, also featuring Downe.
New York City electronic duo The Knocks reunite with Canadian electro-pop sensation Dragonette (A.K.A. Martina Sorbara) to unveil the fourth chapter of their collaborative journey, “Dreams.” Following their earlier releases—“Foolish Pleasure,” “Revelation,” and “The Hero”—the cocreators once again deliver a seamless blend of their styles, reaffirming their place in dance-pop heaven. The latest single arrives hot on the heels of the collaborators’ announcement of their debut joint album, Revelation, set for release on June 6th via Neon Gold Records/Futures/Virgin.
In our iconic 1986 issue, rock legends Kiss took center stage, embodying everything wild about rock ‘n’ roll. “They are raw and raunchy and have the tendency to incite their audiences to riot,” said Kenny Kerner, “and always will be one of the most incredible concert acts imaginable.” "'Kiss has always been true to rock ‘n’ roll... From one musical fad to another, Kiss was on record as wanting to ‘rock & roll all night, and party every day.'” Bassist Gene Simmons added, “We always print our lyrics on the records so our fans can read every juicy, morally offensive word. Our records will continue to have too much explicit sex.”
In our 2009 issue, powerhouse vocalist Adele graced the cover fresh off the success of her debut album 19, which hit No. 1 on the U.K. charts and No. 11 on the Billboard 200. With four GRAMMY nominations and a breakout appearance on Saturday Night Live, Adele quickly became a global sensation. “I didn’t even think I was going to get a chance to release my debut album in America,” she recalled. “I was a child when this first happened. I was 18, 19 when I got my record deal, 19 when I released my record and only 21 in May... so I’ve kind of become a woman.”
he last time I was here, I knocked my teeth out on this stage and it was crazy. I was 19, just been signed to Interscope, and it was a real turning point. Being in this room basically feels like that again,” declares Dominic Harrison, A.K.A. Yungblud, standing onstage at Hollywood’s worldinfamous Viper Room. He’s about to preview “the most ambitious project I've ever made, by miles” for a private audience of musicbiz tastemakers, and he’s wearing a natty three-piece suit for the occasion, calling this “the biggest moment in my life.”
“I have no other choice but to do this,” Harrison continues— his charismatically kohl-eyed stare, motivational-speaker-like evangelism, constant F-bombs, and just sheer force of will managing to capture the full attention of a weeknight industry crowd that would normally be primarily focused on draining the party’s open bar. “I really do feel like it is a turning point for me. And it's a risk. But I feel like risk is an artist's biggest weapon. I don't know how the fuck this is going to go. You're either going to love it, or you're going to fucking hate it. But I love it. I fucking believe in it. I believe it's where fucking rock music should go. I believe it's going to be a fucking flag in the ground.”
And with that, Harrison presses play on his fourth album, Idols. To describe what follows as “epic” would be a huge understatement. The album’s gauntlet-throwing lead single—a sort of please-allowme-to-reintroduce-myself statement song called “Hello Heaven, Hello”—is a nine-minute, multiple-time-signature, three-act mini rock opera that practically makes Meat Loaf’s “Bat Out of Hell,” Guns N’ Roses’ “November Rain,” or My Chemical Romance’s “Welcome to the Black Parade” seem like exercises in economy and restraint. And it’s accompanied by a cinematic music video starring a shirtless, horseback-straddling, Prometheus-winged Harrison posing
an album. The boundaries placed on art often make it mediocre, because it's not supposed to be that way. It's not supposed to be so paint-by-numbers. I'm like, even if it's detrimental to whatever the fuck career I've got, I just want to make what I want. That's what I did on my first album, and that's why I got any sort of remote success whatsoever. I think in the past, the only parts of my career that I regret, or that maybe weren't real, were when I listened to other people too heavily. So, fuck it.”
Idols is actually the album Harrison wanted to make—“an album without form”—way back in 2021, as the follow-up to his sophomore effort Weird!, which topped the charts in his native U.K. “I wanted to have vocal solos. Guitar solos. An orchestra. Time changes. Tenminute songs. Something that couldn't be made in a bedroom. I wanted to make an opera! That was where my gut wanted to go,” he says. But Geffen’s powers-that-be didn’t share his bold vision. “I remember taking this idea to the States, to the label, really excited about what I was making. And then the big bad wolf comes calling and it's like, ‘No, no, we can't do this.’”
So, Harrison put those grand plans on indefinite hold and released the more commercial and conventional Yungblud. It was a success, but he felt like a failure. “That album had gone No. 1 in seven countries, but I'd compromised. I'd listened to other people. I was like, ‘Fuck. I could have done better.’ There are some great songs on that record, but I could tell I was lost,” he says. “I felt like everyone knew what ‘Yungblud’ was, like I'd almost become a caricature of this fucking thing I'd created in my head. I think that's why I called that album Yungblud—because I was trying to hold on for dear life. That process was literally me trying to figure out what the fuck that name even meant anymore. And at the end of that campaign, I was like, ‘What the fuck am I going to do?’”
“My imagination is really large, and in the past I think my biggest fight has been to dim down my imagination."
and preening against black-and-white backdrops of cranked-to-11 Marshall stacks and in Discovery Channel-worthy aerial shots of medieval snowscapes. It would almost seem like a parody, if it wasn’t so clearly sincere and undeniably great. It’s utterly unexpected from the new-school punk/pop provocateur, and so defiantly, refreshingly radio-edit-resistant that Harrison jokes, “Yeah, fucking Tom March [the president of Yungblud’s label, Geffen Records] had a heart attack! But I really think rock needs this.”
Three months later, Harrison is animatedly chatting with Music Connection about this years-in-the-making passion project, and his excitement—and his conviction that he’s doing the right thing—is even more intense. “Everyone was like, ‘You really wanna come out with a nine-minute song?’” he says with a laugh. “But I feel like right now we're being told to consolidate everything and we're taught to make it digestible. I was like, ‘Fuck that! Let's go the other way!’ I didn't give a fuck about is this going to be played on the radio, or will it work in a world of streaming, or so it can be put on this or that playlist, or all those stupid questions when you're trying to make
What Harrison did, specifically, was sequester himself in a rumored-to-be-haunted Tetley beer brewery in the north of England, 20 minutes away from his childhood hometown of Doncaster, with longtime trusted collaborators Matt Schwartz and Adam Warrington. And he decided to grow “the bollocks to not take no for an answer.”
“My imagination is really large, and in the past I think my biggest fight has been to dim down my imagination. People have always wanted me to chill out and not be too this or too that—or too anything. With this album, I wanted to let my imagination be limitless in terms of time, in terms of interludes, in terms of feeling,” he explains. “And I think it really does show when you hear it. It's like, ‘Fucking hell. This is wild.’”
A wild, potentially frontloading album-opener like “Hello Heaven, Hello” would be a daunting act for most artists to follow, but it’s probably obvious by now that Yungblud is not like most artists. Sometimes he does wear his influences on his Burberry sleeve—for instance, the Cool Britannia of Idols’ cheeky second single, “Lovesick Lullaby,” evokes Parklife-era Blur, complete with Harrison’s Phil
Daniels-esque rap, while the soaring and storming “The Greatest Parade” brings to mind Black Market Music-era Placebo, and the closing piano ballad “Supermoon” sounds like a lost cut from either the Velvet Goldmine or Hedwig soundtracks. And other songs are reminiscent of the swirling shoegaze of Catherine Wheel, the chiming post-punk of pre-Joshua Tree U2, the '60s-meets-'90s collegerock psychedelia of Kula Shaker, the Charlatans, and Stone Temple Pilots’ Vatican Gift Shop, or pretty much every era of David Bowie. (Harrison wryly mentions that his stellar cover of “Life on Mars?,” which he recorded for Mike Garson’s virtual Bowie Celebration the same year that he started working on Idols, “gave me a little bit of legitimacy with fucking older rock cynical bastards, which was beautiful.”) However, despite all that, and despite the album’s title, Idols never sounds like an exercise in rockist nostalgia.
Harrison—who literally grew up in his family’s famous guitar shop, Music Ground, frequented by customers like Noel Gallagher and Johnny Marr—acknowledges that he wanted this album to be “a love letter to rock music,” because “everyone's been afraid of the ‘good chords.’ Like, fucking ‘Tiny Dancer.’ Fucking ‘The Chain.’ Fucking ABBA. Fucking Queen! Everyone's afraid of the good chords, because they seem to be old and cheesy and fucking done.” However, he quickly adds, “I think that's why rock's been so ‘dead’ for a while, because it's been a regurgitation; you go the Whisky every fucking Friday and see every Guns N' Roses wannabe band. And I was like, ‘Fuck that.’ You have to make it your own. You have to take it and say, ‘This is mine now. It's a new thing.’
18 years old in interviews, and I'm like, ‘Fuck me, man. You're so confident, kid! You didn't give a fuck!’ Because when you make your first album, no one knows who you are, so you have to make it for yourself. And then a million opinions get brought in, and I really think I had a lot of shit that I didn't want to face. People make you aware of things that you didn't even know you were insecure about. You read things about yourself and you go down rabbit holes and become insecure about things that you didn't even know existed a week ago. And I was really struggling. I had to go on a real journey to get my fucking strength back. I started working out. I got sober for a bit. I started taking back things within my control.”
Harrison’s fitness glow-up—he’s joked that he is releasing Idols during his “shirt-off era”—has contributed to his newfound, hardfought confidence. “I've always had issues in my body,” says Harrison, who has battled an eating disorder in the past. “I don’t know why I've always not liked myself, but I think a lot of things in the early days, when you're an 18- or 19-year-old kid and people can talk about your body in such a way, when you’re kind of formulating your personality, really made me insecure. A lot of people said shit about my body that was like, ‘Oh. Fuck.’ I was just wearing shit when I was fucking young, like a little skirt and shit, and people said things. It was weird to deal with. I didn't realize how hard it affected me until I had to address it all in my head. And with this album, I faced myself and said, ‘All right, Dom. How do you feel about this shit?’ I really found interest in feeling the pain. I thought it was an interesting thing to explore as an artist, to really feel the dark shit that I had repelled.
“I'm just excited, and people don't like people who are excited. They don't like it. They feel like it's staged or something.”
“So, why did I call it Idols? Because your idols teach you—and then you let them go. We all take things from people and put them in our tummies and regurgitate a new individuality. That's the point,” Harrison says. “With this album, some people are like, ‘Is it an homage album to your idols?’ But no, it's more me telling them to fuck themselves. Like, ‘Thanks very much for that. I'll take it from here,’ just in terms of my own individuality.”
Back on the subject of how Idols is both an artistic and commercial risk, Harrison is well aware that even if rock ‘n’ roll isn’t dead, it’s not exactly the most popular genre right now. But he’s hoping to help change that, proclaiming, “I don't mind putting my head above the trenches and getting shot at first. I kind of relish it.” He has always been a polarizing figure, anyway, sparking ardent admiration from his superfans and equally strong vitriol from the detractors who have unfairly dismissed him as some Hot Topic-clad punk poser. “I'm just excited, and people don't like people who are excited. They don't like it. They feel like it's staged or something,” Harrison says. “But the thing is, I am such a purist, whether people believe it or not. I will die if I'm not telling the truth. I will die for this thing.”
The now seemingly superhumanly confident Harrison admits that he once “really questioned” why he elicited such extreme reactions, and that he let criticism affect him deeply. “I've always wanted people to love me,” he says softly. “I look back on myself when I'm
With this album, I faced it. And it was terrifying as fuck.”
Idols’ string-laden confessional “Change” was the most painful song for Harrison to create, and therefore the most emblematic of his journey. “I was fully at a moment of I had to look myself in the mirror, and I remember crying my fucking eyes out when I was singing that,” he says. “It's so musically strange; it has no rhythm or no form or melody, and it just goes on this mad tangent. It was almost like an existential experience, because it just came out of me lyrically in that moment. I've never had an experience like that. I didn't think about it. I didn't write it. It was just fucking vomited out of me. And it's going, like, ‘Why the fuck are you walking with your head down? Where did you go? Where is this strong kid? Where did you go?’ And by the end of that statement, I'm like, ‘Boy, they fucking missed. They all fired, and they fucking missed. And you're still there.’ Everything I'd ever experienced, from being misunderstood as a kid, to having to justify my every fucking movement to everyone in the world, it all just kind of came out in that song.”
As mentioned, for every Yungblud hater there’s a Yungblud stan, but while Harrison is grateful for the “beautiful community that loves me”—his fanbase nicknamed the Black Hearts Club—he has always been uncomfortable with that sort of worship as well. “I fucking hated that mindset. Being called ‘voice of a generation’ and all that bullshit. I hated being put on a pedestal. I really do not like the pedestal. So, with
this album, I wanted to explore the idea of idolism. This is actually the first record where I wasn't looking to anyone else for an answer, just looking inside myself. It is about fundamental self-reclamation and telling people that you've got to be the idol in your own life.”
Harrison realizes that not all of his followers will understand or accept what he’s trying to do on Idols, but he’s not bothered. “If you want consistency, I'm not going to give you that. I'm not going to make an album the same as the last one,” he states flatly. “This has become so much bigger than a kid in pink socks with a striped Tshirt on. That kid is not there anymore. Whether people like it or not, it is a different thing. So, I'm tired of holding back out of fear of not being liked. I'm tired of holding back out of fear of people turning in
British artist. I'd love to build a base here that gets bigger and bigger and bigger. The dream would actually be to sell out Madison Square Garden.” In the punk and indie worlds, it’s usually considered uncool to so audaciously and unabashedly express such lofty goals, but he finds that attitude “fucking tiring. I really feel like ambition is ridiculed a lot, especially in rock music, and I don't understand why. I just want to go out there and try my best at making something fucking huge. And I have the bollocks to say that.”
Idols is only the first step in what Harrison teases will be an ambitious “18-month journey,” which will include an Idols II sequel, out in October, that will be “darker, less heady, and less psychedelic—part one is the self-reclamation in the light, and part two is the downward spiral and the realization of mortality.”
their nose. If people fucking don't like it, well, I can't help that.”
So far, Idols’ two singles have been very well-received, particularly in the U.S., where Yungblud (who has won or been nominated for multiple NME, Brit, and MTV Europe Music Awards across the pond) is still considered more of a rising star. “I really think America is going to get this album,” he says, freely admitting that “breaking America” has “been the dream, always. That's always a thing placed upon you as a
Harrison says he “didn't set out to write a double-album, but the well wasn't dry. When I'd finished the first part, the story developed, and I was like, ‘There's more to say. There's more to do.’” This journey will also include some other projects that he’s keeping under wraps for now (but promises will be “fucking cool”); a second year of his namesake BludFest Festival in Milton Keynes; and a U.S. tour that won’t stop at Madison Square Garden this time around, but will kick off in August at a historic Sunset Blvd. venue considerably larger than the Viper Room, the Hollywood Palladium. He hopes to perform Idols in its entirety on that tour, so along with his fitness regimen, he’s been taking vocal lessons for the first time in his life, in order to develop the stamina for these challenging gigs.
“I really wanted to sing on this record,” says Harrison. “I watched Billy Corgan on a podcast two years ago and he talked with my voice for like three minutes, and afterwards one of my best mates, Lewis Capaldi, was like, ‘Dom, just fucking sing!’ So, this album was the most ambitious vocally that I've ever been. It's fucking crazy and fucking hard to perform this album, because it's so fucking musical! I can't bullshit it. In the studio, I was exploring different parts of my voice, and it felt safe because there's no one around and you’re locked away in the middle of the country, and you can try and reach notes and fuck up until you find them. But then, when I finished the album, I was like, ‘Holy shit, these vocals are insane! How the fuck am I going to sing this every night?’ But now I really believe, with true, devout confidence, that I'm probably the best rock singer in the world at the moment—under 30, that is, because obviously a lot of fucking legends are still around—and that’s because I'm fucking going for it.”
Regarding being under 30, it’s not lost on Harrison that he’s releasing such a career-defining opus as Idols at 27, an age when so many rock idols’ careers were tragically cut short. And one of the album’s tracks, the triumphant anthem “Ghosts,” is specifically about grappling with a sense of his own mortality. “It’s the idea that I ain't going to be here forever. That's really what this album is about more than ever,” he says. “Even though it's such a cliché, that ‘27 Club,’ it does make you re-evaluate things. It’s like, ‘Oh, fuck. Would I be happy with what I left behind? Artistically, before this record, did I reach my potential?’
“And the answer was no. No way. But I feel like if this album was the last thing that I left behind, it would justify that itching I have to strive for greatness. Do I think I'm fully there yet? No. But I feel like I'm on my way. So, let’s go on a journey. Pack a fucking bag.”
Visit yungbludofficial.com.
By Eric Harabadian
Music Connection returns with its highly anticipated annual feature, shining a spotlight on rising stars and legendary icons from across the musical spectrum. This year’s lineup offers a compelling blend of professional insights and personal stories from an array of standout artists. Among them is the versatile GRAMMY-nominated and Juno Award-winning Gino Vannelli, R&B/rock ‘n’ roll legend Mitch Ryder, Detroit’s Queen of the Blues, Thornetta Davis, soulful GRAMMY-nominated singer-songwriter Janiva Magness, and emerging country artist Spencer Hatcher.
Anthony Priwer anthony@brownsellersbrown.com spencerhatchermusic.com
When talking country music, 27-year-old Spencer Hatcher comes by it honestly. Raised on a farm in Virginia’s Shenandoah Valley, he cut his teeth on bluegrass and traditional country as a child. Growing up in a musical home, he quickly learned the art of singing and became proficient on banjo and guitar. Recently signed to Nashville-based Stone Country Records in October 2024, Hatcher released a debut EP that same month, featuring three signature songs anchored by the timely anti-divisive track “Cold Beer and Common Sense.” It’s a song crafted after Hatcher’s own heart about people setting aside their differences and embracing acceptance.
MUSIC AS A CAREER: “I think I always wanted to do music full-time. That’s always been the dream. By the age of four I was singing. It wasn’t my plans, necessarily, to only be in music, but it turned out that way at the height of COVID when there were no other options. Nobody was working and everybody was home. I just finished college so I was looking for a job. And some songs I posted went viral. And this is when I knew this was all I was gonna do for the rest of my life.”
ON BEING A TRADITIONAL COUNTRY ARTIST: “To me, that means keeping it real. I don’t use computers, synthesizers, loops, and all these things in my music. What you hear on record can be replicated live. I come from a bluegrass background and have played it for many, many years. Growing up I didn’t listen to any country music past 1990. I didn’t listen to anything that was modern.”
VOCAL CARE: “I don’t do anything in particular. I just do what I do. I might do a little warming up before I go on stage. If you’re doing three-to-four-hour shows, your voice has to have some conditioning going in.”
WORKING IN THE STUDIO: “In the studio, you want to get it as perfect as you can. And, thankfully, in the studio you can do do-overs, where at a live show it’s one and done. I try to prep for the studio a little more than the stage. In the studio you’re also limited on the amount of time you have to get things done.”
CHALLENGES OF BEING A COUNTRY
ARTIST TODAY: “Everything I do is fun and a blessing in my life. But something that’s hard is that you’ll never please everybody. And I tend to ignore the haters. I just do what I want. Also, the schedules can be hard sometimes. Many times, I’ve done two shows in a day, where you’re up at 7 a.m. and going to sleep at 3 a.m. And, as an artist, you’re subject to a lot of judgment. You might really stand behind some work you’ve done but the public doesn’t it see it the same way. And you’ve gotta find a way to navigate that.”
PURSUING SOCIAL MEDIA: “It’s so crucial in today’s world. If you wanna be a musician you also have to be a famous content creator. It’s really hard to do. But social media is how you’re gonna make it anymore. It’s something that I took to for fun and sing the songs that I wanna sing. If I had any tips, I would say to just be yourself. You don’t wanna put on a mask every time there’s a camera, and when people meet you in real life you’re not anything like that. Also, just be friendly and have fun with it. And don’t be discouraged if you don’t have a million views every single video. Just keep after it and post your content. It takes a long time, but you’ll find your following.”
BEST
GOTTEN: “I’ve got the most supportive parents in the world. They never said I needed to do something else. My hometown is the same way. Very few people discouraged me from doing what I did. If some had, I don’t know, maybe I would’ve quit because it’s hard. But just having people believe in you was so important for me. And the thing that always kept me going was just never quit. If you never quit then there’s no way that you won’t make it. My advice is to chase your dream with everything you have because you’ve only got one life and one shot.”
asked me to join their band. As I was getting some notoriety with them, a rock band asked me to record with them. And I kept some jazz exposure in there too with the group Straight Ahead. I love doing it all!”
thornettad@aol.com thornettadavis.com
Thornetta Davis is the undisputed “Queen of Detroit Blues.” She has performed at some of the biggest blues and jazz venues in the world such as The National Centre for Performing Arts in Mumbai, India, The Umbria Jazz Festival in Umbria, Italy, and Notodden Blues Festival in Norway. She has sung with performance artist and playwright Taylor Mac and has shared the stage with Bonnie Raitt, Gladys Knight, Etta James, Kid Rock, and Alberta Adams. She also sang backup on Bob Seger’s 1991 album The Fire Inside. She is a singer-songwriter with three solo albums to her credit, and has won “Best Female Blues Artist” in 2023 at the Blues Music Awards in Memphis, TN.
DIVERSITY AS AN ARTIST: “I guess the reason that I’m so diverse is that I came from Detroit. When you’re from Detroit you’re surrounded by all different kinds of music. Before I started singing blues I was a Top 40 R&B singer trying to get a gig. I went to a jam session on the east side with these white boys playing blues and soul music. They
KEEPING YOUR VOICE IN SHAPE: “I try to keep my throat lubricated with water and juices. I also drink hot water and honey with lemon. Walking keeps your lungs open and ready for the show. And I do a lot of stretching before a show too. I learned from a vocal coach about motor boating, making rumbling sounds with your lips. Also blowing bubbles with a straw keeps warmth on your vocal cords. But, mostly for me, I try to get a lot of rest. I don’t smoke and I don’t drink too much.”
STAGE HIGHLIGHT AND AWKWARD MOMENT: “Opening for Bonnie Raitt at the Ann Arbor Blues Festival was a thrill. She came to my dressing room. She was in her 40s getting GRAMMYs and stuff. I was in my 30s and thought I was past my prime. So that gave me hope. So, here I am opening for her and she invites me on stage to sing an encore with her. I was blown away. My awkward moment was one night we played the Antifreeze Blues Festival at the Magic Bag Theater. The place was packed and we were jamming on stage. I got to rocking my head back and forth. I went back one time and just kept going. I went all the way back, and I felt my body going ‘I can’t catch myself’ (laughs). I ended up falling into the bass amp. The band looked down to make sure I was alright but just kept playing. I said ‘don’t stop!’ I jumped up and started singing again. Everybody thought it was part of the show (laughs).”
Andrea Faulk afaulk@sropr.com ginov.com
Canadian vocalist Gino Vannelli has one of the most distinctive voices in contemporary music. He’s sold over 20 million records worldwide and has crossed over seamlessly into the musical realms of jazz, rock, soul, and even classical. Originally signed to A&M Records, he began his career in 1973, scoring his first hit in 1974 with the danceable single “People Gotta Move.” He followed with subsequent hits like “I Just Wanna Stop” (1978), “Living Inside Myself” (1981), and “Wild Horses” (1987). His latest album, The Life I Got (To My Most Beloved) (COA Productions/BFD The Orchard), is perhaps his most intimate release, as it was written during his late wife Patricia’s battle with cancer. It’s his 22nd album overall, and his first new studio album since 2019.
MUSICAL TRAINING: “I started off as a drummer at nine years old. I also took piano and guitar lessons. I started getting serious about singing around 14 or 15. My father was a cabaret singer, so he gave me some essential pointers that really helped me understand the diaphragm, chest, and throat. I also took formal vocal lessons from teachers in L.A. and Portland.”
MUSICAL AND CULTURAL INFLUENCES: “I was raised in Montreal, which is its own culture. When I grew up in the '60s and '70s, it was a rhythmic culture, a jazz culture and an R&B culture. It wasn’t so much about folk or message music. It was about ‘move your bones’ culture.”
VOCAL CARE AND WARM-UPS: “I don’t do very much. I’ll approach the first few songs with a little bit of care. It’s always helpful that the first couple songs in a set are not too taxing, so it serves as a warm up. But I think if you sing properly it’s kinda always there. Don’t expect to go on stage and do two hours if you haven’t done some form of cardio or your muscles are weak. Your diaphragm has to be very hard and solid because that’s where you sing from. If it’s not in shape it’s gonna loosen up and you’re not gonna be able to sing.”
ON BEING ONE OF THE FIRST CAUCASIAN ARTISTS ON SOUL TRAIN AND PERFORMING FOR THE POPE: “One was a cultural highlight, and the other was an honor to perform for Pope John Paul. Stevie Wonder asked me to open up for him in 1974 because Chaka Khan couldn’t make it. And I played seven dates in front of Stevie. And, I think, the third date Don Cornelius from Soul Train heard about it and called to ask me to come do the show.”
MUSIC AS A HEALER: “It’s more than a healer. It’s a pipeline out of yourself. It’s a cathartic experience to speak about your feelings in a way that’s understandable and even entertaining to others. And that’s the skill part that you learn because it’s not good enough just to spill your guts to people. There are a lot of sad stories out there. We don’t wanna listen to sad stories of people we don’t know, unless they do something for us and dig out and touch a nerve deep inside of us that brings out that same feeling. And I’m always aware that it’s not good enough to just speak your feelings. Compassion and empathy for their ears has to take place.”
BEST ADVICE YOU’VE EVER GOTTEN: “I think the best advice is invisible. It’s a silent advice. It’s the advice of failure. The advice of failure is the one you really listen to. And words people have to give never sink in too much. But when you experience pain, failure, doubt, and making a huge mistake—that is your best teacher and advisor.”
info@janivamagness.com janivamagness.com
Janiva Magness is a GRAMMY Awardnominated soul, blues and Americana singer, songwriter, and author. The Blues Foundation named her the B.B. King Entertainer of the Year in 2009, becoming only the second woman, after Koko Taylor, to receive such an honor. It was presented to her by Bonnie Raitt and B.B. King himself. She also published her memoir in 2019 called Weeds Like Us, which is currently being developed for television. Marking her 17th release, Back for Me (Blue Elan), is her most recent album.
ORIGIN STORY: “I started out as a recording engineer. I was in my early 20s and had some bad actors in my life that said I couldn’t sing. It was very uncharacteristic of me, but I believed them hook, line, and sinker. But I realized I needed to do something in music. So I got a scholarship to electronics school and did an internship at a recording studio in St. Paul, Minnesota. There was a late night session with a songwriter named Herman Jones. He needed some vocals on a track. I was in the front office asleep and the owner buzzed me to come to the studio. He knew I was a singer and asked me to record some vocals.
I refused and said I’m not a singer. But he threatened to fire me if I didn’t do the track. I agreed, but was shaking in my boots. The next day the songwriter requested me again. And secretly I wanted to do it. So, the music came and got me. There’s our fate, which is what life hands us, and then there’s our destiny, which is what we make of what we’re given.”
QUALITIES OF A GOOD PRODUCER: “I’ve had the same producer for the last 10 albums. I look for someone that has an intimate understanding of the music, not just a technician. I also look for someone I can respect and that they respect me. I have to be able to trust this person. And they have to have an artistic vision and understand my vision as well.”
VOCAL CARE: “I’m super regimented about my voice. I still do vocal warm-ups before I go sing anywhere. And I pretty much structure everything around the day I’m singing—what I eat, my physical workout that day, and when I do my vocal warm-ups. I use a steamer to loosen mucus and keep my vocal cords moist. I don’t eat milk products because that causes inflammation in the vocal cords. And I don’t drink alcohol because that dries out your voice. I sleep a lot and drink room temperature water. And I’m super gentle with warm-ups. I don’t go more than 15 minutes, and try to eat some protein two to three hours before a show. Now all of that is lovely, but hard to do when you’re on the road traveling from hell to breakfast.”
BEST ADVICE YOU’VE EVER GOTTEN: “In the early days, a vocal teacher named Gail Hensley Gunderson told me I had a great voice. But she also told me to be prepared because people are gonna stand next to you if you’re fortunate to have any kind of success. She said most of the people will be waiting for you to stumble and fall, with a fork and knife to eat you alive. That was a pretty dark thing to say, but, unfortunately, I’ve found there to be a lot of truth in that. She basically was saying don’t be naïve. Do what you wanna do to pursue your career, but be aware of those around you. The best personal advice is that the sun came up and we get to restart again. And that’s been super powerful for me."
Mitch Ryder
Doug Deutsch dougdeutschpr1956@gmail.com mitchryder.net
William Sherille Levise Jr., A.K.A Mitch Ryder, hit the charts in a big way in the mid-'60s with his band Mitch Ryder and The Detroit Wheels. The young Detroit soul rocker then went through some lean times, eventually reclaiming success in the late '70s in Europe. The Michigan Rock and Roll Legend and R&B Hall of Famer, now 80 years old, is not holding back. With over 21 studio albums to his
credit, Ryder claims his latest, With Love (Ruf Records), is some of his best work to date.
“Sock it to Me, Baby,” “Devil With a Blue Dress,” “Little Latin Lupe Lu,” and the Bruce Springsteen-dubbed “Detroit Medley”—a high-octane fusion of “C.C. Rider,” “Jenny Take a Ride,” and “Good Golly Miss Molly”— weren’t just Top 10 hits; they became the defining soundtrack of a generation.
THE NEW ALBUM, WITH LOVE: “Don Was put the studio band together. And I have all the faith in the world in him. We’ve been working together for decades. He’s a GRAMMY Award-winning producer that’s got all the credentials he needs. And he assembled for this recording some of the best talent he could find in Detroit.”
ESSENCE OF A GOOD SONG: “Since I’m dealing with my own experience, I need to relate to the story in a song 100 percent. And there has to be an ability to tell a story based on truth and facts and not feel contrived about it. I appreciate an artist who can tell their own story. And they can only do that by writing their own songs.”
FINDING SUCCESS IN GERMANY: “We licensed some of our material to a record
company in Germany and we did this TV show. 130 million people got to see what we had to offer. And apparently they liked it. And they liked it enough to offer a fan base that would last for generations. Once they like somebody over there, they stick with them through their whole career. They had a chance to do that, where in America they did not. And that’s why my mantra has been that we need to have that exposure in the United States somehow.”
VOCAL HEALTH: “I simply don’t worry about it. It’s a gift from God. He gave it to me and he’ll take it when he wants to. But there is nothing unusual about my diet. Chocolate milk is my favorite drink.”
BEST MUSIC CAREER ADVICE: “Get yourself a lawyer and an accountant if you’re serious about wanting to go forward as a musician. Also, how deep is your commitment to music? Probably 99 percent of musicians have the talent. But they have to abandon it. A family comes along and the need to not like starving comes along. You need to survive, and the world might not be ready to hear your latest creation. In such cases you have to take on other responsibilities to sustain yourself and make your money.”
Music Connection recently had the opportunity to chat with Michael Boehringer, product manager at beyerdynamic, about the company’s latest innovation—the DT In-Ear Series. During our conversation, Michael shared insights into the design philosophy behind beyerdynamic’s new in-ear monitors.
Can you give me an overview of the beyerdynamic DT In-Ear Series?
Boehringer: Our goal with the DT In-Ear Series was to provide tailored solutions for a wide range of professional use cases. Each model is finely tuned for a specific application or tonal preferences. The beyerdynamic DT IE Series includes four specialized models, each tailored for distinct monitoring needs. The DT 70 IE offers a neutral, uncolored response ideal for mixing and critical listening. The DT 71 IE emphasizes lowend power and clarity, making it perfect for drummers and bassists. The DT 72 IE features a midrange boost to highlight vocals and guitars, while the DT 73 IE is finely tuned for classical instruments and keyboards, delivering articulate, natural detail. Together, these models give professionals a precise, purpose-built tool for every performance or studio scenario. By offering four clearly defined models, we make it easy for professionals to find the right sound and tool for their on-stage specific needs, all without compromise on build, comfort, or durability.
At the heart of the series is the DT 70 IE which are designed for mixing and critical listening. The DT 70 features a linear, uncolored sound signature that was developed with the Fletcher-Munson curves in mind. The Fletcher-Munson curves is an acoustic reference tool that illustrates how human hearing perceives different frequencies at varying loudness levels. At lower volumes, our ears are less sensitive to bass and treble, which can cause music to sound unbalanced. These curves are essential in audio design, helping engineers create equipment that maintains a natural tonal balance across all listening levels
What was the overall design philosophy behind the beyerdynamic DT In-Ear Series?
Boehringer: At the core of the DT In-Ear Series is our TESLA.11 driver—a proprietary dynamic driver originally developed for our high-end Xelento line. Our TESLA.11 driver offers extremely low distortion—with a Total Harmonic Distortion (THD) of less than 0.2 percent at 500 Hz—resulting in highly accurate audio reproduction. THD indicates how much unwanted harmonic content is added to the signal—so the lower the value, the cleaner and more faithful the sound. The compact size of the driver also allowed us to design a slimmer, more ergonomic housing that enhances both fit and passive isolation. The result is a series that meets the highest expectations of musicians and sound engineers alike.
With its implementation in our DT series,
our high-end consumer line, is now available to professionals in a form designed to meet the rigors of stage and studio. All models feature a high-quality MMCX connector system and are rigorously tested to tight tolerances. Additionally, the DT 70 IE, DT 72 IE, and DT 73 IE are IP68 certified—offering full protection against dust and even temporary submersion. The DT 71 IE features IP65 certification, making it resistant to dust and water jets. These features are combined to offer exceptional performance and reliability in any environment.
Fit and comfort are critical for IEMs used onstage or during long studio sessions. What ergonomic considerations went into the DT In-Ear Series’ design?
Boehringer: We understand that fit and comfort is just as important as sound quality, especially for long sessions and stage performances. Thanks to the compact size of the TESLA.11 driver, we were able to create a slimmer housing that fits more naturally in the ear canal. The shape was refined using hundreds of MRI-based ear impressions to ensure maximum comfort and a secure fit. This not only improves long-term wearability but also contributes to a more consistent listening experience and sound isolation of up to -39 dB.
Does the DT In-Ear Series feature a userreplaceable cable system, and if so, what type of connectors are utilized?
Boehringer: All of the DT In-Ear Series models feature a user-replaceable cable system using robust, gold-plated MMCX connectors. We chose MMCX over standard 2-pin connectors because of their superior stability and longevity, especially in the demanding conditions of live performance. The included cable also minimizes noise when handling the cable and is built to stand up to the rigors of professional use.
Boehringer: The DT In-Ear Series was designed to deliver professional-grade sound and outstanding comfort for both stage and studio use. Rather than relying on traditional multi-way balanced armature systems, we took a different route by developing the series around a dynamic driver.
Can you tell us a bit about beyerdynamic’s Tesla driver technology and how it has been integrated into the DT In-Ear Series? What benefits does it bring to in-ear monitoring applications?
we’re bringing that same premium sound performance to musicians and engineers. Handmade in Germany, the TESLA.11 offers several key advantages over traditional balanced armature setups: excellent resolution, impressive impulse fidelity, and extremely low distortion—measured at less than 0.2 percent THD at 500 Hz. This results in a clean, highly detailed sound that lets professionals hear every nuance—essential for both live monitoring and critical studio work.
In a crowded IEM market, what do you feel sets the DT In-Ear Series apart from other in-ear monitors in its class, particularly for professional musicians and engineers?
Boehringer: We feel that what sets the DT In-Ear Series apart is a blend of cutting-edge technology, handmade German craftsmanship, real-world durability and an affordable price point. The TESLA.11 driver, once exclusive to
What accessories are included with the DT In-Ear Series out of the box, and how much flexibility is offered in terms of ear tip fit and user customization?
Boehringer: Each model in the DT In-Ear Series comes with a full set of professional accessories to ensure comfort, durability, and seamless integration into any workflow. The kit includes five pairs of silicone ear tips, three pairs of Comply™ memory foam tips, replaceable cerumen protection filters, a gold-plated 6.35 mm adapter, and a rugged carrying case. This thoughtful package allows users to achieve a personalized fit, optimize sound isolation, and keep their gear safe.
The beyerdynamic DT 70 IE Series of in-ear monitor are priced at $499.99 USD per model. Find out more at global.beyerdynamic.com/ dt-ie-series.
Fever Recording and Clear Lake Recording Studios in Burbank, CA, have earned a reputation as one of the most artistfriendly, technically advanced, and vibe-rich facilities in the Los Angeles area. Behind the scenes is Eric Milos, owner and head engineer, who brings a passion for both technical precision and creative comfort to every project that walks through the door. With Dolbycertified Atmos mixing rooms, 24-hour lockouts, and a fully trained support staff, Fever/CLR is built to meet the needs of everyone from major label acts to indie producers.
Music Connection sat down with Milos to talk about the evolution of the studio, the growing demand for spatial audio, and why creating a great vibe is just as important as having great gear.
Clear Lake has been around for a while. How has the studio evolved into what it is today under your direction?
Milos: Clear Lake started out as a go-to rock and metal room in the ‘80s, known for tracking big bands and label projects. By the ‘90s and 2000s, it became known as a great, accessible space for artists who wanted major studio results without spending their whole budget in Hollywood. When I took over in 2012, I renovated the facility but stayed true to that mission: deliver top-tier results, amazing rooms, and a smooth client experience—at a price point that makes sense for independent artists.
I came up through Henson Recording Studios, so I saw what a truly professional operation looked like from the inside.
as consolidated audio files. That gives us the flexibility to place elements in the Atmos field. Sending over a full stereo session can work, but it’s less efficient for immersive mixing. A stem-based approach lets us translate your vision while making full use of the 3D space.
Have you noticed changes in the types of artists or genres using the Atmos room?
Milos: Absolutely. It’s not just pop and film scores anymore. Hip-hop, R&B, even indie rock artists are embracing it. We’ve done sessions where the original track was just a two-track beat and vocals, and it still benefits from Atmos—reverbs, backgrounds, FX, all become
Client service is something you emphasize heavily. How does that play into the experience?
Milos: We’re not a room-rental operation, we’re a full-service studio. Everyone on our team is trained in-house and understands how to maintain our standards. When you book a session, we prepare in advance, coordinate with your team, and make sure everything works before you even walk in the door.
Let’s talk about your lockout rooms. What kind of clients do they attract, and what makes them special?
Atmos mixing is now a big part of your offering. What sets your Atmos room apart from others in L.A.?
Milos: We built a Dolby-certified 9.1.4 Atmos mix room with PMC monitors, the industry standard for immersive audio. Dolby came out and tuned the room to their spec, including the loudness curve and frequency response. That certification ensures what you hear in our room will translate to Apple Music, Tidal, and other platforms exactly as intended.
Atmos isn’t just about having effects flying around your head. It’s about immersion— placing the listener inside a fully dimensional soundstage.
For artists or producers preparing to mix in Atmos, what should they know?
Milos: The easiest and most effective way to prep is to finish your stereo mix and then print stems—usually by instrument group—and send those in a prepped Pro Tools session or
part of the immersive field. It’s not about changing your sound—it’s about enhancing the listener’s connection to it.
What gear and features should visiting engineers or producers be excited about?
Milos: Definitely the PMC speaker setup and Dolby certification, but beyond that, the room is just dialed. It’s transparent, accurate, and consistent. Engineers love that what they hear here will translate everywhere. We also make it easy to walk in and get started—no time wasted troubleshooting.
The studio isn’t just technically dialed — it looks beautiful too. A lot of Atmos rooms are built like post-production suites: sterile and uninspired. With Studio B, we took a different approach. We put real thought into the visual impact, blending art deco design elements with curated furnishings to create a space that’s both functional and creatively inspiring.
It’s also fully equipped for stereo mixing, vocal overdubs, and production sessions, making it a versatile environment no matter what format you’re working in.
Milos: Our lockout rooms are used by mixing engineers, producers, composers, podcasters—you name it. They offer 24-hour access, independent HVAC, and a professional atmosphere where you can work uninterrupted. You can customize the gear and the workflow but still have access to our techs and staff if you need support.
Plus, bringing a client into a commercial facility says a lot about where you’re at in your career. It elevates your brand and gives your clients confidence.
Looking forward, how do you see Fever and Clear Lake continuing to evolve with spatial audio and immersive production?
Milos: Apple is all-in on spatial audio, and if you want your music to be featured on their playlists, it’s becoming essential to have an Atmos mix. We’re seeing that trend accelerate, and we’re making it easier for our clients to adapt to it—from mixing and delivery to file formatting and tech support. We’re going to keep expanding in that space. That means staying on top of gear, certification, and engineering standards while still maintaining a great vibe and customer-first approach.
How would you describe the overall vibe of Fever and Clear Lake to someone who’s never been there?
Milos: We’re pro, but relaxed. We care about the gear, the acoustics, and the specs—but we also care about the people and the process. It’s not a cold, clinical space. It’s a place where people feel welcome and inspired. You walk in, and we’ve got everything ready, the energy is right, and you’re free to just focus on the music. Our philosophy is simple: provide great sound, great service, and great vibes.
For more information or to book a session, visit clearlakerecordingstudios.com or call 818-762-0707
Musicians are endlessly unique, and so is their music. When one of their creations falls perfectly into place, it enters the pantheon of enduring classics. These songs seem predestined, as though their existence is inevitable and immaculate. The truth is anything but, and music comes into being through a wide variety of happenstances. Examining how these pearls of divine art get pieced together is often surprising and enlightening.
Frank Joseph must have been mulling this notion when he dreamed up AKG Stories Behind the Sessions. “It’s gone through multiple iterations,” remarks the Senior Director of Marketing in North America for HARMAN Professional Solutions regarding the breakthrough podcast. A renowned audio electronics hardware company, HARMAN has a bevy of brands under its wing, including microphone and headphone manufacturer AKG. Eventually, Joseph developed the podcast’s mission— get artists and producers behind some of the most iconic tunes ever in front of the camera to reveal their most fascinating origin stories.
For the interviewer slot, Joseph enlisted Nic Harcourt, the beloved KCRW radio host. Among other endeavors, Harcourt’s also worked as a music journalist, manager, and music supervisor for movies and TV shows. The Birmingham, England-born presenter had a preexisting relationship with Joseph. Harcourt hosted a podcast series for Guitar Center that ran between 2010 and 2014, and during that time Joseph was working for the retail giant. Harcourt was enticed by the prospect of hosting an interview series apart from the standard promotional treadmill. Rather than gabbing ad nauseam about an artist’s current release, he delves deep into genuine untold music industry history. “It’s not a dog and pony show,” as Harcourt puts it.
up about the after-hours session that birthed TLC’s 11-time platinum single “Waterfalls.” For the second installment, Harcourt got inside the mind of Walter Afanasief, who detailed the unusual circumstances surrounding the writing and production of Mariah Carey’s holiday perennial, “All I Want For Christmas Is You.”
Both these videos were recorded from a trailer during NAMM, and each remains less than stellar from a technical perspective. A decision was quickly made to film at HARMAN’s Professional Experience Center. The 6,000-square-foot soundstage gives the series a requisite professional sheen. Despite the high-
Robert Margouleff. Season two recently kicked off with Jackson Browne and Lisa Loeb. One of Harcourt’s personal favorites is his sit down with Curt Smith of Tears for Fears.
To date, AKG Stories Behind the Sessions has reached over 5.1 million views. As word spreads, people have independently begun reaching out and expressing their desire to be involved. The show’s creators think carefully about whom they’ll feature. “We’ve mentally made short lists of people that have made a significant contribution to music,” Joseph notes. “That’s something Nic and I talk about all the time.” It helps that Harcourt possesses a wealth of industry contacts. “I think we’re going to be getting bigger and bigger artists,” chirps the interviewer, hinting that something Earthshaking is in the works.
powered equipment at play, the podcast avoids technical discussion. Joseph emphatically states, “We steer clear of that at all costs.”
Chats normally run around 30 to 40 minutes, then get edited down. Earlier entries in the series are on the shorter side. The episode featuring Pogue is under 11 minutes. The final entry for season one, featuring Moby, is over 26. Viewers have become accustomed to the longer playtimes, absorbing the content in smaller bites and coming back later to revisit favorite episodes.
Once a musical luminary is set to appear, Harcourt meets with that person to review expectations so there are no surprises. The crew toils hard to make subjects feel at ease, even offering to let them hang out at the Experience Center whenever they wish. “I think that comes through in the show,” discloses Harcourt. “The ease with which most of our guests are able to speak is because of those conversations. We’re chill by the time the camera starts rolling.”
The content first went live two years ago, with the inaugural video spotlighting producer Neal Pogue. Recognized for his work with Outkast and Tyler, the Creator, Pogue opened
The first season came stuffed with talent. Besides the aforementioned guests, there’s Red Hot Chili Peppers drummer Cliff Martinez, Quiet Riot bassist Rudy Sarzo, plus 311 singer and guitarist Nick Hexum. Fans were inspired by anecdotes from Garry Beers of INXS, No Doubt’s Adrian Young, and legendary producer
Regarding interview techniques, Harcourt stresses the importance of intently listening to his subjects and not thinking about his next question. “That’s something I learned a long time ago in live radio,” he reveals. Harcourt further notes that, when artists are having a hard time expressing themselves, it’s usually wisest to remain silent and let them figure it out on their own. “We try to dig out something that’s not in 300 other interviews. We have jumping off points and a bit of structure, but my goal is to have it feel like you’re listening in on a conversation.”
“Everyone who’s come in has been so gracious and excited,” finishes Joseph. “It’s been a blast.”
See the entire series at youtube.com/ akgacoustics or wherever podcasts are available.
Arcadia
Down the Road Records
Producers: Alison Krauss & Union Station
Prior to Arcadia, it had been 14 years since bluegrass queen Alison Krauss recorded a new album with her band Union Station, and we didn’t know quite how much we had missed the fruits of their combined talents. Union Station really brings out her best. Her voice, one of the most authentically gorgeous of any genre, sounds typically incredible throughout, besides the couple that she doesn’t sing lead on. A triumph, all told. – Brett Callwood
Floki Studios/Color Red
Producer: Mononeon
Mononeon visually grabs your attention with his bright and suitably neon attire. And he’s musically legit! This singer-songwriter and funkalicious bassist is a GRAMMY winner and former bandmate of Prince. Guests such as George Clinton and Katt Williams bring authenticity to the album’s funk and narrative elements. Christone “Kingfish” Ingram adds some tasty guitar on a track as well. But overall, Mononeon proves to be a crafty lyricist and a superb vocalist/arranger all rolled into one. This is a cut above your pedestrian pop experience. – Eric Harabadian
Poorchoice Music
Producers: Scro, Cody Tarpley, Lynn Gunn
Julia Wolf’s sophomore album, Pressure, is an epic electro-emo-pop-shoegaze effort. “This was my chance to really lay it all out and be the most honest I’ve ever been,” says Wolf, and it’s hard to argue with the results— it’s a raw, cathartic listen that embraces contrast and finds beauty in the wreckage. On “FINGERNAILS (GUT),” she confesses, “I can’t hide from you like I’ve always done”—a fitting line for an LP that feels like stripping everything down to the nerve. What’s left is a visceral mix of unflinching lyrics and piercing melodies. – Ruby Risch
Sir Too $hort Vol. 1: (Freaky Tales)
Empire
Producers: Various
Spanning a successful rap career over 40 years, Too $hort is one of a kind, and somewhat everlasting. With 14 new tracks, Sir Too $hort Vol. 1: (Freaky Tales) is a pleasurable experience mainly due to that Bay Area rap sound, plus Too $hort’s charismatic personality. Songs like “Still Mackin,” “Sir Too $hort,” and “Brain Surgery” all slap. Both amusing and interestingly straightforward, Freaky Tales is a certified hit from start to finish. – Adam Seyum
Rounder Records
Producer: Josh Kaufman
With beautifully layered vocal harmonies that blossom and envelop you, supported by a smooth fiddle and folksy guitar, GRAMMYwinning folk trio I’m With Her doesn’t need a massive ensemble to make an impact. Instead, the group expertly toys with tension and tempo to leave a lasting impression. From start to finish, sophomore album Wild and Clear and Blue feels like standing in the morning sun with your toes in the grass. It’s refreshing and nostalgic, pulling at all the right heartstrings. I’m With Her creates pure magic. – Emily Mills
The Audiophile Society
Producers: David Chesky, Ute Lemper
Master 1930s orchestral songwriter Kurt Weill has been covered by artists from Jim Morrison to Nick Cave (“Alabama Song”), to Bobby Darin (“Mack the Knife”), but few can cover his songs with the seductive flair like German-born Lemper. Her oncetrademark striking crewcut has grown long, but her voice has remained smoky and sinuous. Producer David Chesky surrounds her arrangements with a dark dreaminess of crystal clarity. Sit back and let Lemper envelop you in a luxurious atmosphere of pure noir. – David Arnson
Sleep Walk Sounds
Producer: Jon Degen
Having played bass with Boston’s Big D and the Kids Table for over a decade, Ben Basile knows a thing or two about Jamaican groove. For his debut full-length as a solo artist, he confidently nosedives into the ska/reggae/dub pool and surfaces with this harvest of instrumental jams. Only a wretch could be within earshot of these riddims and remain still. Consider it musical medicine to heal the world, mon! – Andy Kaufmann
Dionysus Records
Producers: Jesika Von Rabbit, Ethan Allen
8
Jesika Von Rabbit’s strength, or one of them, has long been her ability to dance between genres, dipping her toes into some while leaping right over others, in the process confusing and delighting in equal measure. Her blend of synth-pop, Americana and art-rock leans into the avant-garde while never sacrificing melody. There’s a glorious ye-ye girl quality about “Go Back to L.A.,” while elsewhere the much-missed Marianne Faithful seems to receive a sly wink. And there’s still space for a should-be synth classic like “Wacko.” – Brett Callwood
To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.
Contact: barbiana@msn.com
Web: reverbnation.com/barbianacomplex
Seeking: Review
Style: Alternative
Everything about the Barbiana Complex is instantly appealing, if you’re coming at music from the punky end of the spectrum. There’s a raw, slightly grimy vibe to the post-punk musicianship, while vocalist Babara Solsky has a vibe that would appeal to fans of Siouxsie. Of the three tracks they submitted, “Genie” is a moody little beast that manages to build tension to a level that borders on uncomfortable (in a good way). “Little White Scar” dials up the sinister, throwing in elements of 45 Grave. The songs aren’t massively memorable, but then they don’t appear to be designed for sing-along fun. This is wonderfully moody mood music.
Contact: taylor@trendpr.com
Web: instagram.com/marinawfleming
Seeking: Booking
Style: Indie-Rock
Contact: mondaysmonsoon@outlook.com
Web: Spotify
Seeking: Review
Style: Alt-Indie, Rock, Folk
Groupies in the Age of Consent is the title of Marina Fleming’s latest album, which is fascinating and complex all by itself, before you even get to the music. Thankfully, when you do get to the music, you find it to be equally intriguing. Fleming lists The Smiths, Cat Stevens, Fiona Apple, and Amy Winehouse among her influences, and that blend of indie rock, '60s folk, and '90s alternative certainly tracks. “Kiss” is a sweet little gem, with its “I wanna be the one” refrain. “Pills” is another addictive ditty, and it highlights Fleming’s gift for disguising serious subjects with sweet melodies.
Contact: thamie.qaba@gmail.com
Web: t ham.bandcamp.com
Seeking: Film/TV, Manager, Publisher, Booking
Style: Alternative Rap
Thamsanqa Qaba dips into lo-fi hip-hop with whispered vocals and gauzy beats that feel more like a passing thought than a statement. On “are you feeling what i’m feeling?” the mood is consistent— soft, internal, and muted—but it lacks surprise. The production sets a mellow tone, but the lack of vocal dynamism leaves the song floating in place. There’s atmosphere here, but not much payoff. It's a track that could easily fade into the background—which might be the point—but it leaves this listener wanting just a little more weight behind the whisper.
Monday's Monsoon possesses an aura that feels both haunting and comforting. The vocals have an ethereal quality, though ultimately, they coast more than they climb. “Tap Out” in particular feels like a fever dream, with breathy vocals and melodies that immediately call to mind Radiohead’s more experimental, atmospheric work. There's a sense of emotional suspension throughout, as if the songs exist in a space just outside of time. Their blend of alt-indie rock with folksy elements creates a unique, almost surreal soundscape, where every note lingers just a little longer than expected.
Contact: dave@longviewpcc.com
Web: lipsspeaklouder.com
Seeking: Review
Style: Alternative Rock
Nashville-based rock duo Lips Speak Louder have found the perfect balance of hard rock crunch and power-pop melody. It's the blend of sugar and spice, the broken glass in the ice-cream, that makes the pair’s music so utterly enjoyable. There are elements of Aimee Mann/’Til Tuesday in there, some Bangles, some Heart. But it’s the strong dashes of themselves (Rachel Brandsness and Angela Lese) in there that makes it all so special. The duo has also backed Emily Wolfe on the road, but there’s enough here to suggest that they will be headlining reasonably sized venues by themselves soon enough.
Contact: vibezmediaxcii@gmail.com
Web: play.soundcredit.com/1L2VZHD6XX
Seeking: Sync, Booking, Label
Style: Jazz, Hip-Hop
With a name like Vibez the Great comes expectations of groove, and this artist’s blend of Mac Miller-ish production meets Lil Wayne-esque vocals makes for an inherently vibey listen. Vibez doesn’t break, he sticks to his flow of introspective lyrics laid over a backtrack of fused jazz and hip-hop. At times, the tracks feel incomplete—less short and sweet and more unfulfilled—like leaving the table before dessert. On “Steps” he raps “Hopefully it [the future] unfolds, not too fast or too slow,” and judging from these beats, his future is right on track.
Contact: rob@robriseonbelief.net
Web: robriseonbelief.net
Seeking: Label/Booking/Film/TV/Distribution Style: Rock
With a mix of shredding guitars and grunge rock vocals that tap into something like Bon Jovi energy, ROB Rise on Belief brings a fresh spin to the classic rock genre.
“Mirror Mirror” is a hard-hitting track with raw rock energy, while “Give Me Your Love” takes a surprising yet seamless dive into country rock, showing the band’s ability to switch gears without losing their edge.
There’s a timeless feel to their music, as their sound blends nostalgia and modern flair, creating tracks that could resonate across generations. This stylistic range hints at a band unafraid to explore their influences while still carving out their identity.
Contact: rachel@trendpr.com
Web: charlottemorrismusic.com
Seeking: Label, Booking, Film/TV Style: Folk
Contact: terry@terryblademusic.com
Web: terryblademusic.com
Seeking: Film/TV
Style: Blues
Philadelphia folkie Charlotte Morris, according to her bio, “taught herself how to play the guitar, piano (and melodica), ukulele, banjo, acoustic bass guitar, and mandolin, and began taking her songwriting seriously by the age of 12.” Fair enough, that’s really bloody impressive. The fact that she’s also got a gorgeous singing voice and she’s clearly a gifted songwriter is just not fair. The three songs that she submitted to MC are taken from her Both Sides album, and all showcase her authentic, introspective approach to journalistic songs. These are hyper-relatable slices of life, and they simply pop.
Contact: bobbybognar@gmail.com
Web: Pandora
Seeking: Film & TV Placement
Style: Rock
Bobby Bognar’s Handsome delivers a familiar brand of rock that rarely strays from the genre’s well-worn paths. “Every singer tells a story, all are more melodic than mine,” he admits on “Get Out!”—a line that proves unintentionally self-aware. The vocals lack distinction, and while the lyrics occasionally hint at poetic depth, they fall short of resonance. The guitar work is serviceable but uninspired, and production choices do little to elevate the material. Despite its sincerity and flashes of introspection, the tracks struggle to leave a lasting impression.
Chicago-based bluesman Terry Blade is already a fourtime Telly Award winner, two-time Hollywood Music in Media Award nominee, and the first-place winner of the Blues category of the American Songwriter 2023 Song Contest. He’s been compared to the likes of Meshell Ndegeocello, Tracy Chapman, and Amos Lee, and it’s clear when listening to the songs he submitted—“Getting Tired of You,” “Tell ‘Em," and “Be Around No More”—that his take on the genre is as real as real can be. His voice is rich and quite beautiful, his lyrics emotive, and his songs hit the spot. Can’t ask for more than that.
Contact: ctaber58@gmail.com
Web: chuckytradingco.com/epk
Seeking: Film/TV, growing following Style: Folk-Rock
Given the name Chucky Trading Co., one might expect something a bit more blood-soaked. However, the American folk-rock duo CS Taber and Patricia “Danger” Taber are anything but. The vocals lack any real punch, leaving it all feeling a bit flat. “Charly’s Alone” offers a refreshing change of pace, with lyrics that almost feel poetic. But then, lines like “Sometimes the skies, they will pour, she’s vegan and you’re carnivore” on “Make Your Own Sunshine” made this writer pause—is this satire? Irony? Sarcasm? “Clever Girl” sounds like it could belong on a children’s TV show, adding even more mystery to their overall vibe.
Contact: zave@zavenathan.com
Web: zavenathan.com
Seeking: Label, Publishing, Film/TV
Style: Pop-Rock
There’s a sweet naivety about the music of Paris-born, Idaho-based singer, songwriter, and musician Zave Nathan. An easy-listening purity about songs like “A Pretty Girl Like You,” “Give Me the Night,” and “Breaks My Heart” that you could easily imagine spilling out of car speakers when you’re tuned into some identikit local radio station and driving after midnight. There’s also a wonderful goofiness about a song like “Addicted to Poker” that hints at a Randy Newman influence. It’s classic, American pop-rock that fans of Billy Joel will lap up. He’s even got a Christmas song.
Paramount Theatre Seattle, WA
Contact: michele@nastylittleman.com
Web: amylandthesniffers.com
Players: Amy Taylor, vocals; Bryce Wilson, drums; Declan Mehrtens, guitar; Gus Romer, bass
AMYL AND THE SNIFFERS kicked off their biting, bona fide Aussie-punk set with lead singer ‘Amyl’ bounding onto the stage. After a few fist pumps and pogo-style jumps, she emphasized respect for one another during the show before screaming, “Now, let’s get rowdy!” Her strong ‘Strayan’ voice and visceral energy prompted the packed pit at the Paramount Theatre to thrash at will as the Sniffers careened into the fast-paced, three-chord slammer “Control,” from their self-titled first release (2019). The song’s ‘Be Resilient, Be a Boss, and Believe in Yourself’ themes continued in the rocking banger “Do It Do It,” from their recent release Cartoon Darkness (2024).
The band’s skull-crushing performance was chock-full of punk rock anthems loaded with savage power chords, thunderous basslines, and brash wit. “Security” and “Freaks to the Front,” both from Comfort to Me (2021), were hard-hitting and had the crowd moshing as Amyl moved across the stage—her presence, a force to be reckoned with. The Sniffers’ raw edge and dynamic performance further lured enamored fans into their ferocious lair. The realness made for a refreshing antithesis to
the polished, pretty-from-afar acts that tend to dominate today’s touring scenes.
While the fourpiece highlighted their love of all things rock on their sleeves, beneath the band’s tongue-in-cheek sneers, Amyl and the Sniffers are observing, seething, and writing about darker societal themes. “Big Dreams,” the band’s first single from Cartoon Darkness, moves away from their signature brash punk, slithering into a grim requiem that touches on the concept of the strength of the human spirit in the throes of trying to move beyond the daily grind and challenging times.
The band’s talent for tackling unsettling topics also cuts in “Knifey” (Comfort to Me).
Coachella Festival Empire Polo Club, Indio, CA
Contact: Goldenvoice
Web: coachella.com
Players: Multiple bands over three days, repeated over two weekends
SURE, COACHELLA IS FULL of litter bugs, clout seekers, and pukers, but it’s also abounding with beautiful people and beautiful things (like a misting fan that feels like the breath of God). Every detail is considered, from first-aid tents to bean bags under inflatable daisies big enough to make you feel like a pocket-sized Alice—and while the rabbit hole may have felt more like a hell-plunge in terms
of the heat, it seemed that I had wandered into the oasis: Wonderland, but with wristbands.
I caught the tail end of Thee Sacred Souls, who closed their set with “Can I Call You Rose?” as screens bloomed in hypnotic tie-dye.
The Go-Go’s reminded me talent doesn’t melt at 104 degrees. Belinda Carlisle bounded around like time was a myth, belting hits like “Vacation” and “Our Lips Are Sealed.”
Then there was Djo. Joe Keery looked blissed out, which is rare in a space where many are far too cool to smile. “It’s hot, but it’s nice,” he said, which felt like the festival’s thesis. The band leaned into retro visuals and rocked tracks off their new album The Crux Benson Boone, gleaming in a Sgt. Peppers-
Amyl’s voice carved a hole through its driving rhythm, piercing the veil of the foreboding unknowns—in doing so, capturing a fear felt by many while walking alone, particularly at night, and confronting a rising ‘what if’ panic by pulling out a comforting ‘knifey.’
Amyl and the Sniffers round-kicked it back to their touchstone high-voltage energy by closing the superb set with “GFY.” The song’s selfreliance punk ethos served as a perfect ending to the night. Concert goers left the historic hall with reminders from the band—to keep a head up while advocating for oneself, resonating within, ready to resurface when needed.
– Megan Perry Moore
esque sleeveless white suit, had a moment with his “Bohemian Rhapsody” cover alongside Brian May. The legendary Queen rocker rose up nonchalantly from center stage, absolutely shredding. Boone debuted his new single “Mystical Magical” and announced his upcoming album American Heart
The softest gut punch of the weekend was Parcels. Toward the end of their set, the band sat cross-legged on stage, arms around each other, singing a stripped-back “Leaveyourlove” with the kind of gentle intimacy that makes you feel like you’ve intruded. In a festival built on spectacle, this was the opposite—and more powerful for it.
The highlight of the weekend, the reason for all the “Goo Goo 4 Gaga” tees, was Lady Gaga. And she did not arrive—she descended. Preceded by a poetic film in which two Gagas (Mayhem in red and her ghostly twin in white) recited in unison like stylish, deranged Shakespeare villains, she emerged in a towering red velvet dress that doubled as a dancer cage. “Welcome to my house of mayhem,” she declared after opening with “Abracadabra.” And from there, chaos had a conductor. Gaga’s set, broken into five acts, orbited the battle between her past and present personas. It was theatre. It was opera. It was pop. It was perfect.
Yes, Coachella curates chaotic absurdity, but it’s more than that. It’s a place where strangers dance together under giant flowers, where a band can whisper “I never wanna leave you” and you believe them. And yeah, it’s hot. But it’s nice. – Ruby Risch
Cat’s Cradle Carrboro, NC
Website: facebook.com/gangoffour
Contact: ryan@kmmltd.com
Players: Jon King, vocals, melodica, microwave; Hugh Burnham, drums, backing vocals; Gail Greenwood, bass, backing vocals; Ted Leo, guitar, drone guitar, feedback
EMERGING FROM A BASEMENT in Leeds, U.K. around 1976, Gang of Four, drenched in their irresistible “post-punk, social-criticism, barbedwire-truths, sharp-corners” format, are still
The Novo Los Angeles, CA
Contact: fncent@fncent.com
Web: fncent.com
Players: Jung Yong-hwa, main vocalist; Lee Jungshin, bassist; Kang Min-hyuk, drummer
ANTICIPATION BUZZED through the Novo Theater as fans awaited South Korean pop-rock trio CN Blue to make their grand return to the Los Angeles stage after almost a decade away. Roaring screams filled the venue as vocalist Jung Yong-hwa, drummer Kang Min-hyuk, and bassist Lee Jung-shin made their way onstage to the opening chords of “In My Head.” Right out of the gate, Yong-hwa promised their setlist would “bring together our past, present, and future.” And boy, did they deliver! The group performed a nice variety of old nostalgic favorites, from “I’m a Loner” to songs from their 2024 EP X, catering to longtime and new fans alike.
All three members have been in the industry for a long time, as they debuted in 2009, so it's no surprise they’ve become pros at their craft. Min-hyuk’s drumming was precise and strong. He had a fun drum solo during “Cinderella” that had everyone cheering. Most drummers hate to chat with the audience, but Min-hyuk was the opposite. He spoke to the crowd often and raved over his love for In-N-Out burgers. Jung-shin was the quietest member, focusing more on playing the bass and delivering strong raspy background vocals that complemented Yong-hwa’s lead vocals.
Yong-hwa is the ace of the group. He has incredible control over his vocals; he effortlessly
dangerous and are still finding something to say.
The Gang have gone through a few lineup changes over the past 48 years, some tragic (Dave Allen, Andy Gill), and what emerged at The Cat’s Cradle is the last two original members plus a monstrous new bass player, a new guitar player, and a re-interpretation of the catalog that will make die-hard punk-funkers— and newcomers, too—lose their minds.
This show was as Charlie Tuna-packed as the room could get, and the big stage gave plenty of room for Jon’s King-Crab-Walk and a microwave oven which he later used to keep time by beating
it senseless with a baseball bat. Innovative, exceptional, and delightfully entertaining.
They set the tone with “Ether,” then a five second pause before roller-coasting into “Natural’s Not In It,” which exploded into “Not Great Men,” which segued seamlessly into “Damaged Goods,” which got the crowd even more worked up.
Gail Greenwod is a hard-rockin’ bass elf with a résumé as long as your arm (think Tina Weymouth meets Joan Jett on a bus driven by Wendy O. Williams). Her driving counterpoint on all the material was the inexhaustible Hugo Burnham, who was dwarfed by Jon King—when you could find him standing still.
Ted Leo blended the best guitar lines of Steve Jones from his Sex Pistol Days while bringing the razor wire sting from his time with The Pharmacists into his own gyrocopter twist-amonkey, bash ‘n trash groove.
After a 10-minute break, The Gang came back with Jon King setting the beat to “Essence Rare” by taking a baseball bat to a white Microwave oven. It was followed in quick succession with “Contract,” “Tourist,” and “5:45.” Another deliciously provocative element was the flashing cinema stills projected onto the back wall with various messages from the anti-establishment niche where The Gang of Four once reigned supreme.
The Gang closed out the evening with one of their most famous anthems, “Anthrax.” After 48 years, countless shows, and too many songs to sing, The Gang of Four will live on forever. – Eric Sommer
crooned on the ballad “To. My Love,” growled on the melodramatic song “I’m Sorry,” and powerfully belted in rowdy tracks like “Wake Up.” He’s very charismatic, with a fun rock star aura that seems natural and not cheesy. Yonghwa bantered with fans as if it were second nature, taking his time to listen to everything they were screaming at him. He is also a very talented musician, as he played the guitar and keyboard throughout the night. From spontaneously performing riffs from Red Hot Chili Peppers’ “Can’t Stop” to the iconic “Ay-Oh” chant from Queen, he kept us on our toes.
The band had everyone singing along and waving their blue light sticks throughout their 23-song setlist. CN Blue took fans on a journey through all their different eras, showcasing their growth and perseverance as musicians. “I want to thank everyone for being there in the past, for being here now, and for being there forever…we’re happy to show you so many colors of CN Blue,” Yong-hwa said towards the end of the night. Fittingly, the band closed their set with the heartfelt ballad “Young Forever”—a song about staying young forever and going after your dreams. – Jacqueline Naranjo
The Novo Los Angeles, CA
Contact: Keisha-Tara Watkin, keisha@ platformpr.net
Web: befirst.tokyo
Players: Sota, Ryoki, Shunto, Manato, Ryuhei, Junon, Leo
Showcasing their impressive choreography and youthful charisma, rising J-pop group Be:First started off their world Who Is Be:First? tour on a strong note. The group was formed in 2021 through the audition program The First and consists of seven members: Sota, Ryoki, Shunto, Manato, Ryuhei, Junon, and Leo. Since all seven members began their journey competing, they all have solid foundations in singing, rapping, and dancing. The group is also no stranger to Los Angeles as they opened for the K-pop group Ateez last year at the BMO Stadium.
The group started their set at the Novo with the low-tempo rap track “Mainstream”—the whispered rap verses and the complex sideby-side choreography gave the group an air of mystery and excitement. I was pleasantly surprised that the group performed most of the show without back-track. Letting their vocals be heard loud and clear made their performance seem more authentic. It’s tough to perfect sharp dance choreography while singing but the group managed to pull it off. It wasn’t perfect as they occasionally sounded out of breath and shaky, especially during the high notes. But
overall, all seven members performed to their strengths and happily shared the spotlight with one another. To keep things interesting, they even separated into small subunits to give other members of the group a break. As not every member is fluent in speaking English, Ryoki took the lead to engage the crowd, asking questions and awkwardly bantering with everyone between song breaks.
Be:First’s music is filled with elements of dance, pop, hip-hop, and R&B. This diversity made their 15-song performance all the more entertaining. The catchy chorus and lyrics of “Boom Boom Back” had fans yelling “singing from the east side to the west side!” The collaboration track with Jonas Blue's “Don't
Zebulon Los Angeles, CA
Contact: ryanc@biz3.net
Web: instagram.com/teen_mortgage
Players: James Guile, vocals, guitar; Ed Barakauskas, drums
A NEW SOUND HAS EMERGED amongst the latest wave of punk bands in the last 10 or so years. A surfy indie-influenced power-pop take on garage punk seems to be exactly the right mix of angst to get the younger generations two-
stepping. Bands like Bad Nerves, Wine Lips, Stiff Richards, and Together Pangea have gone on to support legendary touring acts such as Weezer and The Darkness as well as play festivals like Punk Rock Bowling and Riot Fest. Emulating this same sound is D.C.-based duo Teen Mortgage. They were only on the Zebulon stage a mere 10 seconds before a pit erupted, painting the walls of the small venue with the flying bodies of sweaty teenagers. Despite minor sound issues in the beginning, the theme of anti-authoritarianism shone through. Gritty yet
Wake Me Up” had the entire venue jumping up and down along the euphoric synth melodies. The song “Scream” showcased a different side of the group, with a punk rock sound that had the entire band growling and rocking out. The group’s song “Sailing,” from the popular animated series One Piece, was my favorite performance of the night as it’s one of their more experimental songs. The feel-good song evokes the feeling of sailing along the open sea before it’s abruptly interrupted by an aggressive beat that keeps you on your toes. The group has a lot of potential to grow as artists, they just need to find a distinctive style to set them apart from other boy band groups. – Jacqueline Naranjo
catchy punk songs were accompanied by early 2000s Thrasher skate videos playing in the background. Younger generations love to bask in nostalgia when it’s mixed with existential nihilism, and the audiovisual clash on display at the show highlighted just that.
The politically charged nature of the lyrics contributed to said nihilism as several people screamed their hearts out to lyrics about greed and fascism. The night took a rather humorous turn as the band enacted a small intermission for water, accompanying the moment with the iconic Wii Shop Channel theme music played in the background. Shortly after, the passion reached an all-time high as several members of the audience attempted to stage dive (rather unsuccessfully). While the set was short by usual show standards, fans still got an opportunity to hear hits like “Oligarchy” and “Tunin In” as well as soon-to-be classics from the new record like “Ride” and “Control.”
Teen Mortgage clearly prides itself on being a band that wears their influences on their sleeve, literally. Vocalist/Guitarist James Guile was rocking a B-52s shirt, while drummer Ed Barakauskas could be seen in a Type O Negative shirt. Later, when the band was mingling with the audience members after the show, Ed would go on to cite his shirt when we asked for a quote, stating “I don’t do well when put on the spot, but I can tell you that World Coming Down is the best Type O Negative album.” As we watch the state of semi-mainstream punk shift over time, Teen Mortgage will definitely be a band to look out for. – Cade Pinkerson
Teragram Ballroom Los Angeles, CA
Contact: hannah@dollhousemusic.com
Web: instagram.com/ellise
Players: Ellise, vocals; Aaron Stechauner, drums; Evan Yoshino, guitar, bass, keys
DARK POP ARTIST Ellise was opening for English singer-songwriter Bishop Briggs on a Thursday evening at the Teragram, and as it turns out, that was the perfect show for Ellise to showcase her substantial talents. Briggs’ vibe, delivery, and lyrical output is dependent on honesty and authenticity, strength in
3 Dollar Bill Brooklyn, NY
Web: notdeadyetmedia.com/sadgirlhours
Contact: heather@hdamgmt.com
Players: HDA x Kerosene Management (Heather de Armas), rlyblonde, Breaker, Beau
FOR THE SECOND YEAR IN A ROW, Sad Girl Hours welcomed New York’s indie community back to the iconic 3 Dollar Bill. Created by HDA x Kerosene Management, the event has grown from a local showcase into what they now call the “Not-Conference Conference.” Starting with “Educational Hours,” industry experts provided valuable insights on topics including collaboration, breaking through the noise, finding your team, branding, deal-making, and entrepreneurial endeavors. Attendees basked in advice from real-world professionals like managers, A&Rs, lawyers, and publicists before chatting with them in a happy hour mixer. The after-hours showcase spotlighted local New York talents rlyblonde, Breaker, Beau, and DJ Rodney Hazard. Guests tried to sneak in during happy hour for soundcheck to catch a peek. Once doors opened, the audience poured in from the bar. Rlyblonde opened the show, setting the stage for the night with their signature rock-pop sound. Vocalist Carina Allen belted over improvised guitar solos and dancing drums, electrifying the crowd before giving way to Breaker. Led by N.Y.C. native Breaker Novogratz, their set maintained the momentum with soulful vocals and textured guitar work, all bathed in warm red and orange lights. Breaker has yet to release an official EP,
vulnerability, and a poetic eye on the dark side of life. That suits Ellise down to the ground.
Shortly after the conclusion of this Tell My Therapist I’m Fine tour, Ellise dropped her sophomore album Pretty Evil. As was the case with her 2021 debut Chaotic, Pretty Evil is a perfect jumble of feelings. An exercise in gothic poetry set to pop. A glorious dichotomy of romance and misery.
The setlist at the Teragram leaned heavily on the new album, with only the closing “911” pulled from the debut. A cover of Paramore’s “Decode” proved to be an inspired choice; a line like “the truth is hiding in your eyes, and
it's hanging on your tongue, just boiling in my blood” is the sort of thing that makes complete sense when transported into Ellise’s creepy fairytale world.
It's worth remembering that, with “911,” the Iraqi-American artist amassed over 440 million global streams. Yep, you read that number correctly. With Pretty Evil, her people say that: “The record chronicles the trials and terrors she braved on a steadfast journey to reclaim her voice from industry titans while navigating deep personal conflicts. After the success of ‘911’, the Iraqi-American artist found herself losing creative control, caught in an industry machine that sought to dictate her sound, image, and narrative. The pressure to conform left her disillusioned, forcing her to take a step back and rediscover her artistic identity on her own terms.”
The results are spectacular, from “PRETTY” which opened both the show and the album, to the appropriate bite of “bite,” and the morbid beauty of “Dead Girl Dreaming.” At the Teragram, Ellise performed all of these with boundless enthusiasm, skipping onto the stage and strutting off like the “pop star waiting to happen” that she is.
There’s a magical, other worldliness about Ellise that recalls Melanie Martinez, an aura that transports the listener into her world while she regales them with tales of love, death, and everything in between. That she makes that same trick work in the live environment is massively impressive. – Brett Callwood
but the band’s vibe is already infectious. Headliner Beau followed. Lead Heather Goldin captivated the crowd with her smooth vocal tone and well-crafted harmonies. Beau’s music is rich with emotion, but they never let the energy drop. Instead, pop-rock guitar riffs and syncopated drums provided a perfect transition between the stage sets and the closing dance party with Rodney Hazard. A multi-hyphenate musician and artist, Hazard’s set brought a blend of Latin, R&B, and Afro beats to 3 Dollar Bill. He created the perfect chilled, immersive soundscape for the crowd to dance the night away. From start to finish,
Sad Girl Hours provided their attendees with education, entertainment, and community.
HDA x Kerosene Management is looking to expand on Sad Girl Hours in the coming years, bringing more meetups, showcases, and virtual panels to the New York indie scene. Their goal is to provide resources and community for up-and-coming artists and professionals in an industry that can feel impossible to break into. They will be announcing more events this summer, so be sure to check out their website for more information.
Full disclosure: The author is a member of the Sad Girl Hours team. - Emily Mills
This national list from Music Connection will enable you to connect with the schools that suit your needs and budget. Whether you’re looking for a university, a technical school, a music camp, or online course, this updated 2025 list will make your search easier.
ALABAMA
ARS NOVA, INC.
2828 Drake Ave., S.W. Huntsville, AL 35802
Mailing: P.O. Box 14248 Huntsville, AL 35815
256-883-1105
Email:info@arsnovahsv.com
Web: artshuntsville.org/listing/ars-nova
Cost: please call or see web for info
UNIVERSITY OF ALABAMA 810 Second Ave. Tuscaloosa, AL 35487 205-348-7110
Email: ssnead@ua.edu
Web: music.ua.edu
Contact: Charles “Skip” Snead, School of Music
Director
Cost: please call or see web for info
UNIVERSITY OF NORTH ALABAMA
Department of Entertainment Industry 1 Harrison Plaza Florence, AL 35632-0001
Contact: Dr. Robert Garfrerick, Chair 256-765-4342 or 1-800-TALK-UNA, Ext. 4342
Email: ragarfrerick@una.edu
Web: una.edu/entertainment
Program: Bachelor of Arts or Bachelor of Science in Entertainment Industry
ALASKA
UNIVERSITY OF ALASKA 1708 Tanana Loop Ste. #201 Fairbanks, AK 99775
907-474-7555, 907-474-6420
Web: uaf.edu/music
Cost: please call or see web for info
ARIZONA
ARIZONA MUSIC PROJECT
260 E. Comstock Dr., #1 Chandler, AZ 85225
602-819-6400
Email: sing@azmusicproject.com
Web: azmusicproject.com
ARIZONA STATE UNIVERSITY
Herberger Institute for Design and the Arts
The Sidney Poitier New American Film School 1001 S. Forest Mall Tempe, AZ 85281 855-278-5080
Web: film.asu.edu
BILL KEIS MUSIC, INC.
650 N. 157th Drive
Goodyear, AZ 85338 (623) 234-1787
Email: info@billkeis.com Web: billkeis.com
Notes: Subjects covered include: Repertoire (learning songs), Improvisation, Theory, Technique, Composition, Arranging, Harmony, Chord Substitution, Sight Reading, Rhythm, Keyboards, Recording, Performance, How to Play in a Band, How to Find Work as a Musician and more.
CONSERVATORY OF RECORDING ARTS & SCIENCES
Main Facility: 2300 E. Broadway Rd Tempe, AZ 85282-1707
480-858-0764, 888-930-1991
Satellite Facility: 1205 N. Fiesta Blvd. Gilbert, AZ 85233
480-858-9400, 888-930-1991 Web: cras.edu
Degrees/Certificates Offered: Master Recording Program II. Program and Facilities Description: MRP-II is a 42-week program with classes limited to 12 students. It is the only program that secures and requires an internship for graduation. Every student receives an Apple Laptop, M-Audio Audio Interface, Pro Tools M-Powered, Sennheiser microphone and headphones, Apple Logic Pro and Waves plug-ins. Students have access to our exclusive CRAS Connect, computer-based learning system. Our 40,000-sq. ft. facility includes: (8) control rooms, (5) studios, (2) Pro Tools labs, (2) digital audio labs, (2) mix labs and a 6000-sq. ft. live sound classroom. Gear includes SSL, Neve, Studer, Otari, Korg, Alesis, Yamaha, Manley and
Neumann, among others. Students are offered a 7-tier certification on Pro Tools and manufacturer certifications on the TC System 6000, Waves plug- ins, EAW Smaart, L-Acoustics Kudo and SoundVision plus Auto-Tune 5. Financial aid available to those who qualify.
MESA COMMUNITY COLLEGE
1833 W. Southern Ave. Mesa, AZ 85202
480-461-7000
Web: mesacc.edu/departments/music-dance Program: Audio Production Technologies
Additional locations: 7110 E. McKellips Rd. Mesa, AZ 85207 480-654-7200
Downtown Center: (Fire Science/EMT) 145 N. Centennial Way Mesa, AZ 85201 480-461-6220
PHOENIX COLLEGE COMMERCIAL MUSIC 1202 W. Thomas Road Phoenix, AZ 85013 602-285-7777
Email: jamison.weddle@phoenixcollege.edu
Contact: Jamison Weddle, Coordinator of Commercial Music Studies Web: phoenixcollege.edu
ROBERTO-VENN SCHOOL OF LUTHIERY 1012 N.W. Grand Ave. Phoenix, AZ 85007
800-507-3738, 602-243-1179
Email: info@roberto-venn.com
Web: roberto-venn.com
Cost: please call or see web for info
SCOTTSDALE COMMUNITY COLLEGE 9000 E. Chaparral Rd. Scottsdale, AZ 85256
Music Building MUS-139
480-423-6333. 480-423-6723
Email: music@scottsdalecc.edu Web: scottsdalecc.edu/academics/departments/ art-music
Contact: Eric Rasmussen, Dept. Chair
UNIVERSITY OF ARIZONA
School of Music/Recording Studio College of Fine Arts P.O. Box 210004 1017 N. Olive Rd., Music Bldg. Rm. 11 Tucson, AZ 85721 520-621-1302
Email: finearts@cfa.arizona.edu Web: cfa.arizona.edu
Program: Offers a professional recording facility offering 23+ track analog and digital recordings. Our mission is to provide services and educational experiences to students, faculty and staff.
ARKANSAS
UNIVERSITY OF ARKANSAS Department of Music, MB 201 377 N. McIlroy Avenue Billingsley Music Bldg. 201 Fayetteville, AR 72701 479-575-4701
Email: music@uark.edu Web: music.uark.edu
UNIVERSITY OF ARKANSAS AT LITTLE ROCK 2801 S. University Little Rock, AR 72204-1099 501-569-3294
Email: vrlind@uair.edu Web: ualr.edu/music
Contact: Vicki Lind, Admin Assistant CALIFORNIA
1500 SOUND ACADEMY 8729 Aviation Blvd, Ste 1 Inglewood, CA 90301 (310) 981-7007
Web: 1500soundacademy.com Email: team@1500soundacademy.com
ABBEY ROAD INSTITUTE - LOS ANGELES Web: abbeyroadinstitute.com/losangeles
Email: losangeles@abbeyroadinstitute.com
Phone: 747-444-4814
Course Offered: Diploma in Music Production and Sound Engineering
ACADEMY OF ART UNIVERSITY, CALIFORNIA 79 New Montgomery St. San Francisco, CA 94105 800-544-2787, 415-274-2222
Web: academyart.edu
Program: Music Production & Sound Design for Visual Media
ADAM’S MUSIC 11742 West Pico Blvd. Los Angeles, CA 90064 310-839-3575, 424-273-4225
Email: amusicla@gmail.com
Web: adamsmusic.com
Contact: Adam
Program: one-on-one instruction in all instruments and voice
Cost: please call or see web for info
Notes: flexible scheduling, music programs available for children sound system rentals and expert instrument repairs.
ARIS TAKE ACADEMY
Los Angeles, CA / Online
Web: aristakeacademy.com
Email: awesome@aristakeacademy.com
Basic Rate: $697 - $1,997 per course
Clients: Musicians, artist managers, digital marketers
Services: Online education taught by working experts in the field covering sync licensing, social media, streaming growth, digital marketing, booking and touring, live streaming, release strategy, royalty collection, business management. Industry representation obtained for students.
ARROWBEAR MUSIC CAMP
P.O. Box 180
Running Springs, CA 92382
909-867-2782, 562-225-7766
Email: info@arrowbear.com
Web: arrowbear.com
Program: Since 1942 offering summer camp programs in band, orchestra, instrumental and choral music.
Cost: please call or see web for info
ART OF SINGING
Studio City, CA
818-980-2840
Email: darlene@artofsinging.com
Web: darlenekoldenhoven.com, artofsinging.com
Contact: Darlene Koldenhoven Individualized programs include comprehensive training in voice technique, vocal coaching, ear-training, stage/audition/studio performance, sight-singing, and specialized sonic therapy to enhance the potential of the ear and voice. Private lessons in Los Angeles or anywhere by Skype/Zoom. Author of “Tune Your Voice: Singing and Your Mind’s Musical Ear,” a 94 page book with 7 instructional CDs or downloads ($49.95) endorsed by faculty from Berklee, Juilliard, NYU and more, available at TuneYourVoice.net or in retail music stores. For more info on Darlene, see her website.
Duration: 30/45/60 min. lessons.
ARTISTMAX
Westlake Village, CA
Email: info@artistmax.org
Web: artistmax.org
Contact: Kan Caillat, Bridge Gardiner Program: ArtistMax is a three-day intensive artist development weekend workshop series. We feature celebrity mentors such as Ken Caillat (Founder), Colbie Caillat, Christina Perri and John Rzeznik from the Goo Goo Dolls. ArtistMax delves into everything music from Recording with Grammy Winning Producers, Music Business Mentors, Vocal Coaching, Branding, Image Consulting, Stage Performance and Movement Coaching.
Duration: 3 days
Cost: Please visit our websites for details. Scholarships available.
Notes: We bring in the best in the entertainment business from Beyonce’s image/movement coach Aisha Francis to Peisha and Adriana McPhee who are the vocal coaches on American Idol.
ASU IN CALIFORNIA 111 South Broadway
Suite 100 Mail Code 3531
Los Angeles, CA 90015 (213) 510-6900 Web: california.asu.edu
AUDIO INSTITUTE OF AMERICA P.O. Box 15427 San Francisco, CA 94115 415-752-0701
Email: audioinst@earthlink.net Web: audioinstitute.com
Note: Recording Engineer, Music Producer School
AZUSA PACIFIC COLLEGE OF THE ARTS
Warren Music Center, Room 100 901 E Alosta Ave, Azusa, CA 91702 626-815-3848
Contact: Kristie Hawkins, Director of Prospective Student Engagement Email: schoolofmusic@apu.edu Web: apu.edu
BARKER’S MUSIC 3125 McHenry Ave., Ste. F Modesto, CA 95350 209-526-0347
Email: info@barkersmusic.com Web: barkersmusic.com
Basic Rate: please call for info
BELLFLOWER MUSIC CENTER 17125 Bellflower Blvd. Bellflower, CA 90706 562-867-6715
Email: info@bellflowermusic.com Web: bellflowermusic.com
Contact: any customer service rep. Program: private one-on-one lessons in drums, piano, violin, flute, clarinet, various saxophones, trumpet, trombone and guitar, as well as rentals and sales on various instruments.
Duration: depending on individual student progress.
Cost: please call or see web for info
BIOLA UNIVERSITY/ SNYDER SCHOOL OF CINEMA & MEDIA ARTS 13800 Biola Ave. La Mirada CA 90639 562-903-6000, 562-777-4052
Web: biola.edu
Email: cma@biola.edu
BLUE BEAR SCHOOL OF MUSIC Fort Mason Center, Bldg. D 2 Marina Blvd. San Francisco, CA 94123 415-673-3600
Email: contact@bluebearmusic.org
Web: bluebearmusic.org
Cost: please call or see web for info
BOULEVARD MUSIC 4316 Sepulveda Blvd. Culver City, CA 90230 310-398-2583
Web: boulevardmusic.com
Contact: Gary Mandell Program: varied one-on-one instrumental instruction.
Cost: please call or see web for info
Notes: group instruction available
BRUBECK INSTITUTE FELLOWSHIP PROGRAM University of the Pacific 3601 Pacific Ave. Stockton, CA 95211
209-946-3196
Email: mriley1@pacific.edu
Web: brubeckinstitute.org
Cost: please call or see web for info
Program: The Brubeck Institute’s Fellowship Program is an education program in jazz performance for up to five musicians who have just graduated from high school
BRUBECK SUMMER JAZZ COLONY
Brubeck Institute Fellowship Program University of the Pacific 3601 Pacific Ave. Stockton, CA 95211
209-946-3196
Email: mriley1@pacific.edu
Web: brubeckinstitute.org
Cost: please call or see web for info
Program: The Brubeck Institute’s Fellowship Program is an education program in jazz performance for up to five musicians who have just graduated from high school
BURBANK MUSIC ACADEMY
4107 W. Burbank Blvd. Burbank, CA 91505
818-845-ROCK (7625)
Email: info@burbankmusicacademy.com
Web: burbankmusicacademy.com
Cost: As low as $32.00 per 1/2 private lesson, call or see our website for details. Program: private lessons, band coaching for youth and adults, Rock and Roll Camp, rehearsal space and more.
CADENZA MUSIC ACADEMY
161 Fashion Ln # 101 Tustin, CA 92780
Email: info@cadenzamusicacademy.com
Phone: (949) 416-2355
Website: cadenzamusicacademy.com
Programs: We teach piano, violin, viola and voice. We offer a wide range of music lesson times that are convenient for everyone. Our music studio is open Monday through Friday from 11 AM to 7 PM and Saturday from 8 AM to 1 PM. We understand that your schedule may be hectic, which is why we offer flexible lesson times that fit your busy lifestyle.
CALAVERAS ARTS COUNCIL
22 Main St. San Andreas, CA 209-754-1774
Email: goldrusharts18@gmail.com Web: calaverasarts.org
CALIFORNIA BAND AND MUSIC ACADEMY (CABAMA)
Lessons and Classes Offered on Zoom Los Angeles and Ventura County, anywhere from Woodland Hills to Santa Barbara including Malibu 805-529-2348
Email: fscottmoyer.1@gmail.com Web: facebook.com/cabamascott, facebook.com/ fscottmoyer
Contact: F. Scott Moyer
Services: Private (one-on-one) and class/group and band instruction are available for drums, guitar (acoustic and electric), bass, keyboards, brass, applied beginning-advanced music theory, beginning-advanced songwriting, voice, percussion and Band/Ensemble. Additional “Special” course studies are available upon request: i.e. Classic Rock; the Beatles; “Latin rhythm” studies. Program: Zoom classes: I offer lessons in all styles of music and in all popular genres of music. I teach and coach guitar, bass, drums, keyboards, vocals, theory, reading, harmony, arranging, rhythm section, band and song production, recording concepts and more.
Notes: CABAMA, features a program called “The Creative Arts Music Project,” which is a “yearround” after- school music program and summer camp serving both the Los Angeles and Ventura counties and offering 50 creative music courses
CALIFORNIA POLYTECHNIC STATE UNIVERSITY Music Department 1 Grand Ave. San Luis Obispo, CA 93407-0326
805-756-2406
Email: music@calpoly.edu
Web: music.calpoly.edu
Program: Bachelor of Arts in Music
CALIFORNIA COLLEGE OF MUSIC
42 S. Catalina Ave. Pasadena, CA 91106
626-577-1751
Email: info@ccmcollege.com
Web: ccmcollege.com
Program: Music (Theory), Artist Development and Audio Engineering and Music Production
Degree: Apprentice and Professional Certificate
Duration: 6 months apprentice, 1 year professional
Cost: please call or see web for info
Notes: CCM mentors artists and engineers for the professional music industry. Its small intimate environment allows for personal and customized attention from Grammy award-winning and seasoned faculty.
CALIFORNIA INSTITUTE OF THE ARTS, THE HERB ALPERT SCHOOL OF MUSIC
24700 McBean Pkwy. Valencia, CA 91355
661-253-7816, 800-545-2787
Email: musicinfo@calarts.edu
Web: music.calarts.edu
Program: Music composition, performance of all musical instruments, jazz, world music performance, music technology: Interaction, Intelligence and Design. Vocal performance, experimental sound practices, musical arts program.
Degree: B.F.A, M.F.A.
Duration: 4 years for B.F.A., 2 years for graduate M.F.A. degree, 3 year program, D.M.A. (Doctorate of Musical Arts) in Performer/Composer.
Cost: please call or see web for info
Notes: Fully accredited WASC and NASM college curriculum
CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA
3801 W. Temple Ave., Bldg. 24-141 Pomona, CA 91768
909-869-3548
Email: dfkopplin@cpp.edu Web: cpp.edu
Contact: David Kopplin, Interim Department Chair
Degree: B.A.
CALIFORNIA STATE UNIVERSITY, CHICO MUTA
Performing Arts Center Room 106 Chico, CA 530-898-5351
Email: muta@csuchico.edu
Web: csuchico.edu
Program: B.A.’s in General Music, Music Education, Music Industry with options of General Industry and in Recording Arts.
CALIFORNIA STATE UNIVERSITY, DOMINGUEZ HILLS
Department of Music La Corte Hall, E-303 1000 E. Victoria Ave. Carson, CA 90747
310-243-3543
Contact: Scott Morris
Email: ssmorris@csudh.edu
Web: csudh.edu/music
Program: Audio Recording and Music Synthesis (ARMS)
Degree: B.A. and Certificates
Duration: 4 years
Notes: accredited undergraduate college curriculum; extension courses available
CALIFORNIA STATE UNIVERSITY, FULLERTON P.O. Box 6850 Fullerton, CA 92834
657-278-3511
Email: ragoldberg@fullerton.edu
Web: fullerton.edu/arts/music
Contact: Randall Goldberg, Interim Director of School of Music
Program: A full complement of undergraduate and graduate degrees in performance, composition, music education, theory, history and piano pedagogy.
Degree: B.A., B.M., M.A., M.M.
Duration: 4-5 years for B.A./B.M.; approx. 2 additional years for M.A./ M.M.
Notes: See website for more info. Many live student performance opportunities.
CALIFORNIA STATE UNIVERSITY, LONG BEACH 1250 N. Bellflower Blvd. Long Beach, CA 90840-7101
562-985-4781
Email: music@csulb.edu
Web: csulb.edu/colleges/cota/music
Contact: Music Dept. Admissions
Program: Varied, with an emphasis on orchestral instruments and music studies such as history, education, new music and commercial music business.
Degree: B.A., B.M. in music, performance, composition or education, M.A. music program, teaching credentials
Duration: 4 years for B.M.; additional 2 years for M.M.
Cost: please call or see web for info Notes: requires audition and music theory test to determine placement
CALIFORNIA STATE UNIVERSITY, LONG BEACH EXTENSION
6300 E. State University Dr., Ste. 104 Long Beach, CA 90815
800-963-2250
Web: cpace.csulb.edu/about-cpace
Program: Extension courses in music studies and any music class. Classes are for students not enrolled in the regular CSULB program.
Duration: varies
Cost: please call or see web for info
Notes: University enrollment not required; day and evening classes
CALIFORNIA STATE UNIVERSITY, LOS ANGELES
5151 State University Dr. Los Angeles, CA 90032
323-343-3000
Web: calstatela.edu/music
Program: varied undergraduate music studies/ performance program
Degree: B.A.
Duration: 4 years
Cost: please call or see web for info
Notes: university enrollment required
CALIFORNIA STATE UNIVERSITY, MONTEREY BAY 5108 Fourth Avenue Marina, CA 93933
Web: csumb.edu
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE 18111 Nordhoff St. Northridge, CA 91330
818-677-3181
Contact: Dr. John Roscigno, Dept. Chair
Email: john.roscigno@csun.edu
Web: csun.edu/mike-curb-arts-mediacommunication/music csun.edu
Program: A diverse music program. Majors include music business, jazz performance, classical performance, music therapy, education
Degree: B.A./B.M., M.A./M.M.
Duration: 4 years for B.A./B.M., 2 additional years for M.A./M.M.
Cost: please call or see web for info
Notes: University enrollment required; Contact music department for audition dates.
CAZADERO PERFORMING ARTS CAMP
P.O. Box 7908 Berkeley, CA 94707
510-527-7500
Email: info@cazfamilycamp.org
Web: cazfamilycamp.org
Program: Since 1957, our camp has been providing the best in musical education and performances.
Cost: please call or see web for info
CHAPMAN UNIVERSITY
CONSERVATORY OF MUSIC
One University Dr. Orange, CA 92866
714-997-6871
Email: music@chapman.edu
Web: chapman.edu/copa
Program: Conservatory level musical training within the context of a 4-year liberal arts university.
Degree: B.A. music, B.M. performance, B.M. music education, B.M. conducting, B.M. composition
Duration: 4-year undergraduate degree programs
Cost: please call admissions and records
COAST MUSIC
2417 N. Sepulveda Blvd, Manhattan Beach, CA 90266
310-372-4753
Email: coastmusicstaff@gmail.com
Web: coastmusicrocks.com
Basic Rate: please call for info Clients: all levels
CORNERSTONE MUSIC CONSERVATORY
3030 Nebraska Ave #207 Santa Monica, CA 90404
310-775-0459
Email: cornerstonemusician@gmail.com
Web: cornerstonemusicconservatory.org
Contact: Ann Pittel
Program: Private and group music instruction for ages 7 months to adult.
Duration: 15 weeks to year-round
Cost: Varies-call for brochures and rates Notes: specializing in expert music instruction, composition, theory, teen/ college-prep students, special toddler programs, Harmony Road Piano course for children (beginners grouped by age).
DREAM MUSIC STUDIOS
Simi Valley, CA 805-558-1760
Email: dmsmusicrecruiter@gmail.com
Web: dreammusicstudios.com
Basic Rate: TBD depending on length of time and location
Services: Performance opportunities every four to six months! Student centered learning and quality programs. Lessons in piano, voice, guitar, bass, drums, violin, viola, cello and more! Every lesson focuses on: Chords, Rhythm, Melody, Scales, Theory, Music Notation, Playing by ear, Playing by heart, Listening skills, Microphone technique, Playing in various styles: classical, jazz, popular, and more, Self confidence skills, Self awareness, Competition opportunities for advanced students, Music history, Performance practice
EL CAMINO COLLEGE 16007 Crenshaw Blvd. Torrance, CA 90506
310-532-3670
Web: elcamino.edu
Contact: Polli Chambers-Salazar, Professor Music Program: a structured program of training in a variety of solo performance media, large and small ensembles, music theory and musicianship, basic vocal and keyboard skills and the study of music history
Degree: A.A.
Duration: Two years
Cost: please call or see web for info
EUBANKS CONSERVATORY
4543 Artesia Blvd, Suite B
Lawndale CA 90260
424-350-7027
Web: arts-ecma.org
Program: music degree program with a focus on performance
Degree: certificate
Duration: varies
Cost: please call for info
EVOLUTION MUSIC CONSERVATORY
3547 Ocean View Boulevard, Glendale, CA 91208
818-275-3773
Web: evolutionmusicconservatory.com
Notes: Group lessons, rock band, private lessons, mommy and me
FIVE STAR SCHOOL OF MUSIC
314 E. Glenoaks Blvd. Glendale, CA 91207
818-502-1739
Email: elleniegalestian@gmail.com
Web: fsmusicanddance.com
Program: One-on-one and group musical instrument instruction.
Duration: Varies with individual programs
Cost: please call or see web for info
Notes: Classes taught in English, Spanish, Armenian and Tagalog (Filipino).
FOOTHILL COLLEGE
12345 El Monte Rd. Los Altos Hills, CA 94022
650-949-7016
Email: hartwellrobert@foothill.edu
Web: foothill.edu/music
Contact: Ron Herman, Division Dean
GARNISH MUSIC PRODUCTION SCHOOL 12435 Oxnard St. North Hollywood, CA 91606
323-348-1289
Web: la.garnishmusicproduction.com
Notes: Learn to produce finished tracks fast from Grammy-winning instructors Studio locations: Brooklyn, NY, Miami, FL, Brentwood, TN, London, Hong Kong, Berlin
GILMORE MUSIC STORE
1935 E. 7th St. Long Beach, CA 90813 562-542-0524
Email: gilmoremusicstore@gmail.com
Web: facebook.com/gilmoremusicstore
Program: Instruction in drums, classical-jazz-and rock guitar, bass guitar, woodwinds, flute, trumpet, trombone, piano, violin, cello and voice. Duration: 30 min. to 60 min.
Cost: call for rates Notes: 24-track digital recording studio on site, beginner packages available.
GLENDALE COMMUNITY COLLEGE Music Department 1500 N. Verdugo Rd. Glendale, CA 91208 818-240-1000 Email: pflueger@glendale.edu, music@ glendale.edu Web: glendale.edu/music
Contact: Beth Pflueger, Music Department Chair Program: Comprehensive program focusing on preparing musicians for university admissions with focus on choral or instr. performance and music history/theory. Degree: certificate, A.A, A.S. Duration: 2 years for A.A/A.S.
Cost: please call or see web for info
Notes: most classes do not require an audition, but may require a prerequisite
GLOBE AUDIO RECORDING AND PRODUCTION 110 Caledonia St., Ste A Sausalito, CA 94965 415-777-2486
Email: info@globerecording.com Web: globerecording.com
GOLDEN WEST COLLEGE
15744 Golden W. St. Huntington Beach, CA 92647 714-895-8772
Contact: Dr. Kay Nguyen, Dean
Email: goldenwestcollege.edu/music/index.html Web: goldenwestcollege.edu/music
Program: Music Education Preparation or Music Performance
Degree: A.A.
GRAMMY CAMP
Grammy Foundation
800 W Olympic Blvd. Los Angeles, CA 90015
310-581-8668
Email: grammycamp@grammymuseum.org
Also: Recording Academy, communications@ recordingacademy.com Web: grammyintheschools.com
Program: This program offers students a 17-day
interactive residential summer music experience that focuses on all aspects of commercial music, with instruction by industry professionals in an immersive creative environment with cuttingedge technology in a state-of-the-art facility.
Cost: please call or see web for info
GUITAR MERCHANT, THE 22807 Saticoy St. West Hills, CA 91304
818-884-5905
Email: theguitarmerchant@yahoo.com
Web: guitarmerchant.com
Services: music lessons all instruments, all ages, band jam programs, live venueshows nightly guitar sales and service
GUITAR SHOWCASE/S.M.I.
3058 S. Bascom Ave. San Jose, CA 95124
408-377-5864
Email: smi.admin@guitarshowcase.com, contact@guitarshowcase.com
Web: guitarshowcase.com
Instruments: guitar, bass, keyboards, drums, percussion, saxophone, flute, mandolin, banjo group classes, private instruction, monthly workshops
Basic Rate: Call or see web for info
HARRISON SCHOOL OF MUSIC
P.O. Box 5068 West Hills, CA 91308
818-618-1453
Email: sales@harrisonmusic.com
Web: harrisonmusic.com
Contact: Mark Harrison
Program: keyboard, theory, ear training and composing/arranging, with an emphasis on jazz and pop styles.
Degree: N/A
Duration: flexible scheduling
Cost: please call or see web for info
Notes: The Harrison music education methods are used by thousands of students in over 20 countries worldwide.
HOLLYWOOD ACADEMY OF MUSIC & ARTS
7469 Melrose Ave., Ste. 34 Hollywood, CA 90046
323-651-2395
Email: hollywoodacademyofmusicandarts@ gmail.com
Web: hollywoodacademyofmusicandarts.com
Program: Hollywood Academy of Music offers private lessons for piano, keyboard, guitar, voice, drums, violin, bass guitar, flute, clarinet, saxophone and trumpet (other band instruments also available).
We also teach a group workshop called “School of Rock-Band 101” and Pre-school Music Classes.
Cost: please call or see web for info
Notes: Hollywood Academy of Music provides Hollywood, West Hollywood, Beverly Hills and surrounding areas of Los Angeles with personable and highly qualified teachers for students of all ages. Our positive, encouraging atmosphere and professional studio environment aid in the development of musical abilities - and our convenient location makes it feasible for students from all different areas of the Los Angeles metro area to attend.
ICON COLLECTIVE, LLC
100 E. Tujunga Ave. #100 Burbank, CA 91502
818-299-8013
Web: iconcollective.edu
Program: The nine-month Digital Music Production Course teaches artists/DJ’s and beatmakers how to record, mix, master, market and sell their music in today’s new digital era. Blending creativity with technology, Icon Collective has created a 21st century approach for artists/producers seeking a creative, artistic, successful lifestyle.
INTERNATIONAL SCHOOL OF MUSIC
662 West Broadway Unit A Glendale, CA 91205
818-548-7959
Email: contact@ismglendale.com
Web: facebook.com/ismglendale
Program: classical; one-on-one instruction in piano, guitar (classical, jazz, flamingo), violin, flute, viola, voice, percussion
Degree: certificate
Cost: please call or see web for info
LEARN PRO RECORDING Los Angeles, CA
747-207-2100
Email: info@learnprorecording.com
Web: learnprorecording.com
Program: Learn basic recording / Audio Engineering / Music Production / Studio Business
Duration: Online lessons - At your own pace
Notes: Learn from working professional audio engineers / Producers / Studio Owner - Live oneon-one remote coaching available.
LONG BEACH CITY COLLEGE
1305 E. Pacific Coast Hwy. Long Beach, CA 90806
562-938-4946
Contact: Anthony Carreiro, Dept. Head & Professor, Theater Arts
Email: acarreiro@lbcc.edu
Web: lbcc.edu/music
Program: Commercial Music Program, Radio and TV Program
Degree: A.A. and/or certificate
Duration: 2 years
Cost: please call or see web for info
LONG BEACH SCHOOL OF MUSIC
3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 (562) 627-0464
Web: longbeachschoolofmusic.com
Contact: Mark Fitchett
Program: All styles instruction in guitar, bass, woodwinds, drums, voice and keyboards
Duration: varies
Cost: please call or see web for info
LOS ANGELES CITY COLLEGE
Department of Music
Herb Alpert Music Center
855 N. Vermont Ave. Los Angeles, CA 90029
Music Department 323-953-4000 Ext. 2880
Contact: Christine Park, Dept. Chair
Email: parkcj@lacitycollege.edu
Web: lacitycollege.edu/departments/music/ department-home
Program: Commercial and traditional music program to prepare students who wish to transfer to a 4-year university music program, or get their A.A. degree or commercial music certificate in vocal music, Instrumental music, piano, orchestration/arranging and electronic music/MIDI. The certificate program is intended for those wishing to enter the recording or film industry. The A.A. degree is intended for students who wish to continue their education and seek a higher degree.
Degree: A.A. (Associate in Arts) or certificate in commercial vocal, instrumental, piano, orchestration/ arranging, electronic music/MIDI
Duration: approx. 2 years
Cost: visit the site for info
LOS ANGELES COLLEGE OF MUSIC - LACM
300 S. Fair Oaks Ave. Pasadena, CA 91105
626-568-8850
Email: admissions@lacm.edu
Web: lacm.edu
Program: intense programs individualized for drums, guitar, bass, vocal and music production disciplines, professional level
Duration: 3.5, 1.5 and 1 year programs
Degree: Bachelor of Music in Music Performance, Music Production, or Composition, Bachelor of Arts in Music Business after 3.5 years, Associate of Arts Degree in Music Performance or Music
Production after 1.5 years or Diploma after 1 year
Cost: please call or see web for info
Notes: fully accredited, financial aid available, emphasis on contemporary music production and performance with daily ensemble workshops, students accompanied by hired professional musicians in an intimate environment
LOS ANGELES HARBOR COLLEGE
1111 Figueroa Pl. Wilmington, CA 90744
310-233-4429
Email: rainesjw@lahc.edu
Web: lahc.edu
Contact: music department
Program: traditional and commercial music courses offered including theory/musicianship, MIDI/electronic music, songwriting and instruments such as voice, guitar and keyboards
Degree: A.A., Commercial music certificates
Duration: 16-week semesters
Cost: please call or see web for info
Notes: courses taught by instructors in the field who bring practical, contemporary information to the classroom; evening classes available.
LOS ANGELES MUSIC & ART SCHOOL
3630 E. 3rd St. Los Angeles, CA 90063
323-262-7734
Email: stayintune@lamusart.org
Web: lamusart.org
Contact: Admissions
Program: Individual instruction offered in piano, guitar, violin, woodwinds, drums and voice.
Duration: varies
Cost: please call or see web for info
Notes: a private, non-profit school; voice lessons taught in English and Spanish; financial aid available
THE LOS ANGELES RECORDING SCHOOL (A DIVISION OF THE LOS ANGELES FILM SCHOOL)
6690 Sunset Blvd. Los Angeles, CA 90028
323-860-0789 (local), 888-688-5277
Email: info@lafilm.edu
Web: larecordingschool.com
Contact: Admissions Department
Degree: Associate of Science in Recording Arts - Program Length – 18 months (on campus); Associate of Science in Music ProductionProgram Length – 18 months (on campus); Associate of Science in Music Production –Online – Program Length – 18 months (online)
Duration: 18-month programs
Notes: The Los Angeles Recording School (LARS) has over 33,000 square feet of facilities and classrooms, including over 20 recording labs and studios. Our Associate of Science in Recording Arts provides students with the opportunity to learn about a multitude of aspects of the audio industry, including interactive audio, acoustic principles and sound effect design. Our Associate of Science in Music Production prepares students with courses in music composition, mixing and mastering and music copyright. The Los Angeles Recording School is located in the heart of Hollywood on Sunset Boulevard, and is a division of The Los Angeles Film School, an institution accredited by the Accrediting Commission of Career Schools and Colleges (ACCSC).
LOS ANGELES VALLEY COLLEGE
5800 Fulton Ave. Van Nuys, CA 91401
818-947-2346
Contact: James Grude, Instructional Assistant
Email: grudejw@lavc.edu
Web: lavc.edu
Contact: Music department Program: curriculum is geared toward instrument instruction and performance, with school performance opportunities and a varied course selection available Degree: A.A.
Duration: approx. 2 years
Cost: please call for tuition and fee information Notes: weekend/evening music classes offered through Community Services program
LOS MEDANOS COLLEGE
Recording Arts
2700 E. Leland Rd. Pittsburg, CA 94565
925-439-2181
Email: anakaji@losmedanos.edu
Web: losmedanos.edu/recarts/default.asp
Programs: Degrees/Certificate(s) offered: AA, College Skills Certificate, Certificate of Achievement
Additional Location: 1351 Pioneer Square Brentwood, CA 94513
925-513-1625
LOYOLA MARYMOUNT UNIVERSITY
1 LMU Dr. Burns Fine Arts Center Los Angeles, CA 90045-2659 310-338-5154
Email: Caeli.Koizumi@lmu.edu (admissions)
Contact: Mark Saya, Ph.D., Interim Chair, Professor Web: cfa.lmu.edu/programs/music
Program: classical guitar, piano, voice, strings, percussion, world music ensemble, opera, chorus, music history, theory and composition, ethnomusicology and instrumental and choral conducting.
Degree: B.A.
Duration: approx. 4 years
Cost: please call for tuition information
Notes: All music courses are faculty- taught and are limited in size to provide the most personal attention to each student. The program offers a balanced curriculum in musicianship, historical perspectives and music performance. The Bachelor of Arts Degree in Music, often called “the degree of the future” offers the maximum career opportunities following graduation. The B.A. degree also provides an appropriate background for prospective candidates pursuing advanced degrees in preparation for work as musicologists, composers, arts administrators, music educators as well as professional performers.
MLT INDUSTRIES
7041 Owensmouth Ave. Canoga Park, Ca 91303 310-871-3604
Email: info@mltind.com
Web: mltind.com
Program: AVID Learning Partner offering all levels of Pro Tools certification: Specialist (PT101–110), Professional (200-level Music & Post), Expert (300-level Music), and Game Audio. Courses also in Logic, mixing, production, and Dolby Atmos mixing. One-on-one and group classes, with accelerated options for professionals.
Duration: varies
Cost: please call or see web for info
Notes: All levels, beginning to expert. AVID Certified Expert Instructors.
MARK FITCHETT’S GUITAR SCHOOL
3993 E. Pacific Coast Hwy. Torrance, CA 90505 310-918-0439
Email: mrfrets@aol.com
Web: theguitarschool.com
Contact: Mark Fitchett
Program: All styles instruction in guitar, bass and keyboards
MIRACOSTA COLLEGE
1 Barnard Dr., Bldg. OC 2200 Oceanside, CA 92056
760-795-6816
Email: storok@miracosta.edu
Web: miracosta.edu
Contact: Steve Torok, Department Chair
Cost: please call or see web for info
MENDOCINO COLLEGE
Gary Gottlieb 1000 Hensley Creek Rd. Ukiah, CA 95482 707-468-3000
Email: gg@aes.org Web: mendocino.edu
MOREY’S MUSIC STORE INC
4834 Woodruff Ave. Lakewood, CA 90713 562-420-9532
Email: info@moreysmusic.com
Web: moreysmusic.com
Program: instruction in guitar, saxophone, flute, violin, clarinet, cello, piano
Duration: varies
Cost: please call or see web for info
MOUNT SAINT MARY’S UNIVERSITY FILM & MEDIA SCHOOL 12002 Chalon Road LA, CA 90049 213-477-2799
Web: msmu.edu/departments/film-media-andcommunication Email: laflores@msmu.edu
Contact: Luis Flores
MUSICIANS INSTITUTE (MI) 6752 Hollywood Blvd. Hollywood, CA 90028 866-405-8748, 323-462-1384
Email: admissions@mi.edu
Web: mi.edu
Program: fully accredited degree and certificate programs in guitar, bass, drums, keyboards, vocals, audio engineering, music business, music video/film and television and guitar craft
Degree: instrument certificate, specialized certificate, Associate of Arts, B.M. and encore
Duration: instrument certificate
Program: 12- and 18-month options, specialized certificate. Six-to-nine-month courses in career specialties including: audio engineering, independent artist development, music business, guitar craft, music video/film and television, Bachelor of Music degrees (bass, guitar, drums, keyboards and vocals): 4 years; Associate of Arts degree (bass, guitar, drums, keyboards and vocals): 2 years; Encore Programs (bass, guitar, drum set, keyboards and vocals): 10 weeks; Encore Express 5-week, full-time (15 units) or 10-week, part-time (7 units); Extension – individual 10-week courses; Summer Shot – one-week courses
Cost: please call or see web for info
Notes: MI offers a wide range of educational options for contemporary musicians, all designed and taught by professionals who show you first-hand what a music career is all about. At MI, students learn how the contemporary music industry works from the inside, on the performing stage, in the recording studio and behind the scenes.
OC RECORDING SCHOOL, THE 3100 W. Warner Ave., Ste. 7 Santa Ana, CA 92704
323-244-9794
Email: Info@ocrecording.com
Web: ocrecording.com
Contact: Asaf Fulks (Engineer, Producer, Artist, Instructor)
Program: Audio Engineering and Music Production Certificate Course. Lessons include Recording, Mixing, Mastering, Advanced Audio
Production, Post Production, etc.
Duration: 10, 20, 30, and 40 Week Options.
Available In The Studio or Remote via Skype, Source Connect and Zoom. Flexible Scheduling.
Notes: Avid Pro Tools Training, Waves Audio Certification, NI Maschine Lessons, Asaf’s Exclusive Textbook, One-On-One Instruction, Shadow Professional Studio Sessions.
Cost: Available at ocrecording.com
OCCIDENTAL COLLEGE
1600 Campus Rd. Los Angeles, CA 90041
323-259-2785
Email: kasunic@oxy.edu
Web: oxy.edu/academics/areas-study/music
Contact: David Kasunic, Dept. Chair
Program: Students majoring in music develop an integrated understanding of music in performance, creative work, and as cultural and historical expression. Through its curriculum, concerts and recitals, master classes, guest lectures, residencies and other public events, the music department leads the discourse that enriches College and community life. Students study, practice, and perform in Booth Hall, Herrick Chapel, and Thorne Hall, with access to practice rooms, large and small performance venues, a well- equipped electronic music studio, and an outstanding music library.
Degree: B.A.
Duration: approx. 4 years
JOHN NOVELLO’S CONTEMPORARY KEYBOARDIST COURSE
310-909-4007
Email: john@keysnovello.com
Web: keysnovello.com
Contact: Andy Goldmark,agoldmark@icloud.com
Program: complete one-on-one program for training the contemporary keyboardist, composer and singer-songwriter
Duration: varies
Cost: please call or see web for info
Notes: all musical styles; piano, Hammond B3, improvisation, music sequencing and music theory
PASADENA CITY COLLEGE
1570 E. Colorado Blvd. Pasadena, CA 91106
626-585-7216
Web: pasadena.edu
Program: a program with classes in music studies, vocal and instrument instruction.
Degree: A.A.
Duration: Approx. 2 years
Notes: evening classes available
PEPPERDINE UNIVERSITY
Seaver College
24255 Pacific Coast Hwy. Malibu, CA 90263
310-506-4861
Email: fineartsrecruit@pepperdine.edu
Web: seaver.pepperdine.edu
Program: undergraduate music curriculum with emphases in: Applied (instrumental/vocal performance), music education and composition. Special programs incl. the Flora L. Thornton Opera Program and the Heidelberg Summer Music Program. Performing ensembles: orchestra, wind ensemble, jazz band, chamber ensembles, choir, opera & musical prod., and pep band.
Degree: B.A.
Duration: approx. 4 years
Notes: See website for deadline dates to apply
POINT BLANK MUSIC SCHOOL
1035 S. La Brea Ave Los Angeles, CA 90019
323-594-8740
Web: pointblankmusicschool.com/courses/la
Cost: Visit website for individual program costs
Programs: Long and short-term music production, sound design and DJ classes
Duration: varies between program, flexible
Notes: Voted the world’s “Best Electronic Music School” by DJ Mag readers. Flexible schedules and all studios complete with the latest equipment. In partnership with Abelton, Native Instruments, Pioneer.
PYRAMIND
1355 Bush St. San Francisco, CA 94103
415-417-7543
Email: info@pyramind.com
Web: pyramind.com
RECORDING BOOT CAMP
Pine Mountain Club, CA
310-200-9010
Contact: Ronan Chris Murphy
Web: recordingbootcamp.com
RECORDING CONNECTION AUDIO INSTITUTE
6300 Wilshire Blvd, Suite 640 Los Angeles, CA 90048
323-329-9610, 800-755-7597
Email: recording@rrfedu.com
Web: recordingconnection.com
Notes: check website for other U.S. locations
SAN FRANCISCO CONSERVATORY OF MUSIC
50 Oak St. San Francisco, CA 94102-6011
415-503-6271, 415-864-7326
Email: apply@sfcm.edu
Web: sfcm.edu
Cost: please call or see web for info
SANTA MONICA COLLEGE
1900 Pico Blvd.
Santa Monica, CA 90405
310-434-4323
Email: driscoll_brian@smc.edu
Web: smc.edu
Contact: Dr. Brian S. Driscoll, Dept.Chair
Program: courses taught in songwriting, theory, voice, and ear-training, as well as instrument instruction classes.
Degree: A.A.
Duration: approx. 2 years
Cost: please call or see web for info Notes: extension/evening classes available
SANTA MONICA MUSIC CENTER
1901 Santa Monica Blvd. Santa Monica, CA 90404
310-453-1928
Email: lessons@santamonicamusic.com
Web: santamonicamusic.com
Contact: School Coordinator
Basic Rate: please call for info
Clients: all levels
SCHOOL OF ROCK MUSIC
12020 Wilshire Blvd. Los Angeles, CA 90025
310-442-7625
Web: westla.schoolofrock.com
Program: School of Rock Music is the original performance-based, interactive music school founded in 1998 in Philadelphia. Our goals at the Paul Green School Of Rock Music are: to help our students realize their potential as artists, to put them on stage in front of as many people as possible, and to help foster a new generation of incredible musicians.
Cost: please call for info
Notes: Schools all across the country, check website for additional locations
SILVERLAKE CONSERVATORY OF MUSIC
4652 Hollywood Blvd. Los Angeles, CA 90027
323-665-3363
Email: reception.scm@outlook.com
Web: silverlakeconservatory.com
Cost: please call or see web for info
THE SONGWRITING SCHOOL
4632 W. Magnolia Blvd. Burbank, CA 91505
818-848-7664
Email: info@thesongwritingschool.com
Web: thesongwritingschool.com
SOUTH BAY SCHOOL OF MUSIC
1710 S. Pacific Coast Hwy Redondo Beach CA 90277
310-540-6767
Web: facebook.com/southbayschoolofmusic
Program: All styles instruction in guitar, bass, drums, voice, woodwinds, brass and keyboards.
Duration: varies
Cost: please call or see web for info
Additional location:
Long Beach School of Music
3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 565-627-0464
STUDIO WEST
11021 Via Frontera, Ste. A San Diego, CA 92127
858-592-9497
Email: info@studiowest.com
Web: studiowest.com
Cost: varies by class
Programs: Pro Tools Operator Certification, Pro Tools Expert Certification, Music Creation, Audio Production, ICON Mixer Certification, Avid Media Composer.
Degree: Associate Degree, Recording Arts
Duration: varies by program
UCLA EXTENSION/ENTERTAINMENT STUDIES
AND PERFORMING ARTS
10995 Le Conte Ave. Los Angeles, CA 90024
310-825-9064
Email: entertainmentstudies@uclaextension.edu
Web: entertainment.uclaextension.edu
Program: UCLA Extension’s Department of Entertainment Studies and Performing Arts is an internationally acclaimed program, providing
practical training and instruction in all aspects of the entertainment industry. Students can enroll in individual courses or a comprehensive certificate program in film scoring, the music business, songwriting, recording engineering, and music technology and production. Our course of study directly addresses the competitive demands of today’s industry and prepares professionals with a broad, in-depth background to meet the challenges of the entertainment industry.
Degree: Certificates in Film Scoring and Music
Business
Duration: Approx. 1 - 3 years
Cost: varies depending on courses, call for more info
Notes: This program is open to everyone and does not require university enrollment. It offers fundamental to advanced training, current music industry information, and prominent industry professionals as instructors and speakers.
UNIVERSITY OF CALIFORNIA, BERKELEY Dept. of Music
104 Morrison Hall, #1200 Berkeley, CA 94720-1200 510-642-2678 Fax 510-642-8480
Email: music@berkeley.edu
Web: music.berkeley.edu
Contact: David Milnes, Professor & Department
Chair
Degree: B.A., M.A./Ph.D, and Ph.D
Cost: please call or see web for info
UNIVERSITY OF CALIFORNIA, LOS ANGELES (UCLA) HERB ALPERT SCHOOL OF MUSIC 2520 Schoenberg Music Bldg. Box 951657
Los Angeles, CA 90095-1657 310-825-4761
Email: uclaalpert@schoolofmusic.ucla.edu
Web: schoolofmusic.ucla.edu
Contact: Travis Cross, Chair
Program: A performance-based university music program at the undergraduate level. Graduate level includes performance and composition. Related departments: Ethnomusicology (B.A., M.A., Ph.D.) and Music History/Musicology (B.A., M.A., Ph.D.). New degree: Bachelor of Arts-Music
Industry.la school
Degree: B.A., M.A., Ph.D, M.M., D.M.A.
Duration: varies
Cost: call for info-see registrar.ucla.edu
Notes: The UCLA Department of Music admits new students in the Fall Quarter only. The UC application filing period is Nov. 1 - 30 for enrollment in September of the following year. Applicants must first apply for admission at the freshman level from high school or transfer from another college or university, and must meet all minimum academic eligibility requirements for admission to the University of California either as a freshman or transfer student. Please note that only applicants who have indicated Music as their first choice major to UCLA on the general UC application, will be considered for admission to the program. Students interested in Jazz Studies or World Music should apply to the UCLA Department of Ethnomusicology.
UNIVERSITY OF SILICON VALLEY (Cogswell College) 191 Baypointe Parkway San Jose, CA 95134 800-264-7955
Email: admissions@cogswell.edu Web: usv.edu/about-us Program: Audio & Music Production
UNIVERSITY OF THE PACIFIC Conservatory of Music 3601 Pacific Ave. Stockton, CA 95211 209-946-2211
Email: rbrittin@pacific.edu, admissions@pacific. edu Web: pacific.edu/conservatory
Contact: Ruth Brittin, Program Dir. of Music Education
Program: A diverse conservatory with a variety of undergraduate programs in Music Composition, Performance, Education, History, Management, Music Industry Studies, Music Therapy, and Jazz Studies as well as Graduate programs in Music Education and Music Therapy. Minors are also offered in Music and Music Management for all students, as well as Minors in Music History and Music Theory for Music Majors.
Degree: B.M., B.A., B.S, M.M, M.A.
Cost: Please call or see website
Note: All majors require an audition or interview, or both. See website.
Additional locations: 3200 Fifth Ave Sacramento, CA 95817 155 Fifth St.
San Francisco, CA 94103 3200 Fifth Ave. Sacramento, CA 95817
916-739-7105
USC JIMMY IOVINE AND ANDRE YOUNG ACADEMY 3780 Watt Way Los Angeles, CA 90089 213-821-6140
Email: iovine-young@usc.edu
Web: iovine-young.usc.edu
Contact: Jessica Vernon, Admission & Student
Services
Degree: The degree requires a total of 128 units, including 56 units in the Core and 32 units in Emphases. Through the Academy’s Core, students learn applied skills and gain understanding of the theories, concepts and vocabulary of each field. Duration: 4 Year
USC THORNTON SCHOOL OF MUSIC Los Angeles, CA 90089 213-740-6935
Contact: Jason King, Dean
Email: uscmusic@usc.edu
Web: usc.edu/music
Contact: music admissions
Program: A large department with a wide variety of undergraduate and graduate programs in performance, composition, education, and music industry.
Degree: B.M., B.A., B.S., M.M., D.M.A., Ph.D., M.A.,Graduate Certificate.
Duration: varies
Cost: please call or see web for info
Notes: Virtually all programs require a performance audition in order to be considered for admission.
VISIBLE MUSIC COLLEGE
Atascadero Teaching Site 6225 Atascadero Ave Atascadero, CA 93422 901-381-3939
Email: seeyourself@visible.edu
Web: visible.edu
Program: Modern Music Performance, Music Production, Music Business, Creative Leadership (content creation or ministry focus)
Degree: 1 year accredited Certificate, Bachelor of Applied Arts, Master of Arts.
Duration: 1 year certificate, 3 or 4 year bachelors degree, 1 or 2 year masters degree
Cost: please call or see website
Notes: Christian music college with hands-on training from industry professionals. The college is small and intimate with great opportunities to outwork your training in any of our programs. Music is important and we invest in creatives as leaders in their field.
Additional locations:
200 Madison Ave Memphis, TN 38103 901-381-3939 3404 Lake Street Lansing, IL 60438 708-455-1414
2801 Orchid Dr. McKinney, TX 75070 901-381-3939
WALDEN SCHOOL, THE 7 Joost Avenue, Suite 204 San Francisco, CA 94131 415-587-8157
Email: info@waldenschool.org
Web: waldenschool.org
Cost: please call or see web for info
Additional location: Summer Address P.O. Box 432 Dublin, NH 03444 603-563-8212
WEST L.A. COLLEGE
Humanities & Fine Arts Division 9000 Overland Ave. Culver City, CA 90230-3519 310-287-4565
Email: forierem@wlac.edu
Web: wlac.edu
Contact: Elise Forier Edie, Chairperson
Program: courses in instrument instruction and music studies. piano, voice, music appreciation\ and fundamentals and jazz band Degree: A.A.
Duration: approx. 2 years
Cost: please call or see web for info
Notes: evening classes are available
WEST VALLEY COLLEGE 14000 Fruitvale Ave.
Saratoga, CA 95070
408-471-4663
Email: lou.delarosa@westvalley.edu
Web: westvalley.edu/academics/music
Contact: Lou De La Rosa, Dept. Chair
WHITE HALL ARTS ACADEMY
2812 W. 54th St. Los Angeles, CA 90043
424-235-0665, SKYPE (Tanisha_ whaa)
Email: mail@whitehallacademy.org
Web: whitehallacademy.org facebook.com/whitehallartsacademy
Contact: any customer service rep.
Program: private one-on-one lessons in voice, piano, strings, guitar, woodwind
Duration: Private min. 30/45/60
WOMEN’S AUDIO MISSION
542-544 Natoma St., #C-1 San Francisco, CA 94103
800-926-1338
Email: education@womensaudiomission.org
Web: womensaudiomission.org
Program: Women’s Audio Mission (WAM) is a San Francisco-based nonprofit organization that is dedicated to the advancement of women in music production and the recording arts, a field in which women are critically under-represented (less than 5%). Classes in Audio & Recording Technology.
COLORADO
ASPEN MUSIC FESTIVAL AND SCHOOL
225 Music School Rd. Aspen, CO 81611
970-925-3254
Email: info@aspenmusic.org
Web: aspenmusicfestival.com
Cost: please call or see web for info
BROADWAY MUSIC SCHOOL
2555 S. Santa Fe Drive Denver, CO
303-725-8058
Email: info@broadwaymusicschool.com
Web: broadwaymusicschool.com
Cost: please call or see web for info
Services: quality private music instruction in all instruments and voice, rock, jazz and classical ensembles for youths and adults, music theory classes and more.
COLORADO CHRISTIAN UNIVERSITY
School of Music
8787 W. Alameda Ave. Lakewood, CO 80226
303-963-3000
Email: music@ccu.edu
Web: ccu.edu/music
Program: The School of Music at Colorado Christian University currently offers four emphases in music– performance, education, worship arts and sound recording technology; as well as 18 hours of coursework available in Theatre, including three main stage productions annually.
COLORADO STATE UNIVERSITY GLOBAL
555 17th St. Ste. #1000 Denver, CO 90202
800-920-6723
Web: csuglobal.edu
Email: admissions@csuglobal.edu
DENVER MUSIC INSTITUTE
4195 S. Broadway Englewood, CO 80113
303-788-0303
Email: randy@denvermusicinstitute.com
Web: denvermusicinstitute.com
Cost: please call or see web for info
LAMONT SCHOOL OF MUSIC
2344 E. Iliff Ave. Denver, CO 80208
303-871-6973
Email: lamontmusic@du.edu
Web: liberalarts.du.edu/lamont/faculty-staff
Cost: please call or see web for info
SWALLOW HILL MUSIC ASSOCIATION
71 E. Yale Ave. Denver, CO 80210
303-777-1003 Ext. 2
Contact: Tyler Breuer
Email: info@swallowhillmusic.org
Web: swallowhillmusic.org
Cost: please call or see web for info
UNIVERSITY OF COLORADO 1250 14th Street Denver, CO 80204
303-315-5969
Email: uca@ucdenver.edu, meis.dept@ucdenver. edu, cam@ucdenver.edu Web: ucdenver.edu
THE CONNECTICUT SCHOOL OF MUSIC
155 Post Rd. E., #15 Westport, CT 06880
203-226-0805
Email: info@ctschoolofmusic.com
Web: ctschoolofmusic.com
Program: The Connecticut School of Music offers half hour, 45 minute or hour-long lessons as well as every- other-week lessons and 5 or 10 lesson packages for adults. We also provide group lessons and ensemble lessons.
Cost: please call or see web for info JKL;’
Additional locations:
299 Greenwich Ave., 3rd Fl. Greenwich, CT 06830
203-302-9968
UNIVERSITY OF HARTFORD
The Hartt School
200 Bloomfield Ave. West Hartford, CT 06117-1599
860-768-4465
Email: harttadm@hartford.edu
Web: hartford.edu/hartt
Program: Bachelor of Music, Bachelor of Arts, Bachelor of Fine Arts
UNIVERSITY OF NEW HAVEN
Department of Music
300 Boston Post Rd. West Haven, CT 06516
203-932-7000, 800-342-5864
Email: cdaddabbo@newhaven.edu
Web: newhaven.edu
YALE UNIVERSITY
Department of Music
P.O. Box 208310 469 College St. New Haven, CT 06520-8310
203-432-2985
Email: ian.quinn@yale.edu
Web: yalemusic.yale.edu
Contact: Ian Quinn, Chair
DELAWARE
THE MUSIC SCHOOL OF DELAWARE 4101 Washington St. Wilmington, DE 19802
302-762-1132
Email: frontdesk@musicschoolofdelaware.org
Web: musicschoolofdelaware.org
Satellite locations: Pike Creek, Dover, Felton, Lewes, Georgetown
Additional location:
23 S. Walnut St. Milford, DE 19963
302-422-2043
Email: mbfrontdesk@musicschoolofdelaware.org
UNIVERSITY OF DELAWARE
College of Arts and Sciences
4 Kent Way Newark, DE 19716
302-831-2793
Email: deansoffice@art-sci.udel.edu
Web: cas.udel.edu WASHINGTON, DC
AMERICAN UNIVERSITY
Katzen Arts Center, Room 137 4400 Massachusetts Ave. N.W. Washington, D.C. 20016
202-885-3420
Contact: Richard Paul, Admin. Coordinator
Email: dpa@american.edu
Web: american.edu/cas/performing-arts/music
LEVINE SCHOOL OF MUSIC
Main Campus
Sallie Mae Hall 2801 Upton St., N.W. Washington, D.C. 20008
202-686-8000
Email: levinenwdc@levinemusic.org
Web: levineschool.org
Cost: please call or see web for info
Notes: Levine School of Music, the Washington DC region’s preeminent center for music education, is a welcoming community where children and adults find lifelong inspiration and joy through learning, performing, listening to and participating with others in music.
Additional locations:
Westover Baptist Church 1125 N. Patrick Henry Dr. Arlington, VA 22205
703-237-5655
Email: levinevirginia@levineschool.com
Town Hall Education Arts Recreation
1901 Mississippi Ave. SE, Suite 201 Washington, DC 20020
Email: levinesedc@levinemmusic.org
Silver Spring Library 900 Wayne Ave., 2nd Floor Silver Spring, MD 20910
301-328-5335
Email: levinesilverspring@evinemmusic.org
The Music Center at Strathmore 5301 Tuckerman Lane North Bethesda, MD 20852
301-897-5100
Email: levinemaryland@levinemmusic.org
Adjacent to Oak Street Elem. School 601 S. Oak Street Falls Church, VA 22046
703-237-5655
Email: levinevirginia@levinemusic.org
Virtual Campus
Email: sservices@levinemusic.org
FLORIDA
CENTER FOR PRO TOOLS
P.O. Box 1393 Goldenrod, FL. 32733
407-674-7926
Email: info@centerforprotools.com Web: centerforprotools.com Program: ProTools Certification FLAGER COLLEGE
74 King St. St. Augustine, FL 32084
904-829-6481
Web: flagler.edu, flagler.edu/academics/degreesprograms/performing-arts/music-minor Email: admissions@flagler.edu
FROST SCHOOL OF MUSIC
University of Miami 5501 San Amaro Drive Coral Gables, FL 33146
305-284-2241
Email: admission.music@miami.edu
Web: music.miami.edu
Program: Performance, Studio Music and Jazz, Music Education, Music Therapy, Music Business and Entertainment Industry, Music Theory, Music Engineering Technology, Media Writing and Production
Degree: B.M., B.A., B.S., M.M., D.M.A, Ph.D, A.D., Specialist Duration: 4 years
FSU COLLEGE OF MUSIC
Florida State University 122 N. Copeland St. Tallahassee, FL 32306-1180 850-644-3424
Email: musicadmissions@fsu.edu
Web: music.fsu.edu
Cost: please call or see web for info
FULL SAIL
3300 University Blvd. Winter Park, FL 32792
800-226-7625, 407-679-6333
Web: fullsail.com
Program: Full Sail offers degrees in Recording Arts, Show Production and Touring, Music Business, and Entertainment Business. Students learn music production, mixing, recording, live sound and event production. Online Education.
Duration: 12-21 months depending on degree program
Cost: please call or see web for info
Notes: Full Sail’s other degree programs include Computer Animation, Digital Arts and Design, Film, Game Development and Graphic Design.
PLAYERS SCHOOL OF MUSIC, THE P.O. BOX 793 Safety Harbor, FL 34695
727-725-1445, Text: 727-687-5172
Email: vfbertin@playerschool.edu, admissions@ playerschool.edu
Web: playerschool.net
Program: guitar, drums, bass, keyboards
Duration: 1-Week, 4-Week, 10-Week, 1-Year, 2-Year
ST PETERSBURG COLLEGE
Music Industry Recording Arts (MIRA) P.O. Box 13489
St. Petersburg, FL 33733
727-341-4772
Web: go.spcollege.edu/music
UNITY GAIN RECORDING SCHOOL
1953 Ricardo Ave. Fort Myers, FL 33901
239-332-4246
Web: unitygain.com
Program: Unity Gain Recording Institute offers two, one year programs to teach the art of professional multi track recording: The Audio Recording Comprehensive Program and Advanced Techniques In Audio Recording.
UNIVERSITY OF TAMPA Department of Music
401 W. Kennedy Blvd. Tampa, FL 33606
813-253-3333
Web: ut.edu/music
Degrees: B.M. in performance, B.M. in Music Education, B.A. in Music, B.A. in Musical Theatre, Minor in Music
GEORGIA
THE ART INSTITUTE OF MUSIC 2875 Breckinridge Blvd., Ste. 700 Duluth, GA 30096
770-242-7717
Email: admissions@aimm.edu
Web: aimm.edu
GEORGIA ACADEMY OF MUSIC 4200 Northside Parkway Bldg. 4 Suite 100 Atlanta, GA 30327 404-355-3451
Email: musicgam@bellsouth.net Web: gaom.us
Cost: please call or see web for info
GEORGIA SOUTHERN UNIVERSITY
Fred & Dinah Gretsch School of Music P.O. Box 8052 Statesboro, GA 30460 912-478-5396
Email: music@georgiasouthern.edu
Web: cah.georgiasouthern.edu/music
GEORGIA STATE UNIVERSITY School of Music P.O. Box 3993 Atlanta, GA 30302 404-413-5900
Email: music@gsu.edu Web: music.gsu.edu
KENNESAW STATE UNIVERSITY School of Music
Building 31, Room 111, MD 3201 471 Bartow Ave. Kennesaw, GA 30144 470-578-5064
Email: pfieldin@kennesaw.edu
Web: arts.kennesaw.edu/music
MUSIC CLASS, THE Corporate Office 1875 Old Alabama Rd. Suite 815 Roswell, GA 30076 770-645-5578
Email: info@themusicclass.com Web: themusicclass.com
Cost: please call or see web for info
Notes: Childhood Music Education Centers throughout the United States and Canada
SANDY SPRINGS MUSIC 5920 Roswell Rd., Ste. D-201 Sandy Springs, GA 30328 404-250-0406
Web: sandyspringsmusic.com
Basic Rate: please call for info HAWAII
BANDWAGON INSTITUTE OF THE ARTS 3-2600 Kamuali’i Hwy Lihue, HI 96766 808-634-2962
Email: bwmc808@gmail.com
JUNIOR MUSIC ACADEMY 74-5605 Alapa St., Ste. #105 Kailua-Kona, HI 96740
808-331-2000
Email: juniormusicacademy@rocketmail.com
Web: juniormusicacademy.com
Notes: Classes meet once a week in a small group where parents actively participate allowing for fun, exciting, and engaging activities for children and parents alike. Ages between birth and 5th grade.
KAILUA MUSIC SCHOOL
131 Hekilil St., #209 Kailua, HI 96734
808-261-6142
Email: info@kailuamusicschool.com
Web: kailuamusicschool.com
Cost: please call for info
Notes: At Kailua Music School we believe the enjoyment of music, the knowledge of music and the development of skills in creating and performing music enhances the quality of life and nourishes the human spirit. We provide the highest quality music education for all ages and levels.
KE KULA MELE HAWAI’I
Alan Akaka School of Hawaiian Music 1296 Auwaiku St. Kailua, HI 86734
808-375-9379
Email: info@kekulamele.com
Web: kekulamele.com
Cost: please call for info
Notes: “Ke Kula Mele” provides a special environment where anyone (children through adults) who want to learn to play ukulele, steel guitar, upright Hawaiian bass and guitar are most welcome to pursue their dreams of playing an instrument and learning to sing Hawaiian songs. Music so enriches the lives of our students, young and old alike, regardless of their initial skill level. Everyone experiences a fun and positive learning environment.
UNIVERSITY OF HAWAII AT MANOA
Music Department
2411 Dole St. Honolulu, HI 96822
808-956-7756
Web: manoa.hawaii.edu/music
Cost: please call for info
UNIVERSITY OF HAWAII MAUI COLLEGE
Institute of Hawaiian Music
310 Ka’ahumanu Ave. Kahului, HI 96732
808-984-3570
Web: maui.hawaii.edu/music
Contact: Dr. Keola Donaghy
IDAHO
IDAHO STATE UNIVERSITY
Music/School of Performing Arts
921 S. 8th Ave., Stop 8099 Pocatello, ID 83209
208-282-3636
Email: music@isu.edu
Web: isu.edu/music
UNIVERSITY OF IDAHO
The Lionel Hampton School of Music
1012 S. Deakin St. Moscow, ID 83843
208-885-7254
Email: music@uidaho.edu
Web: uidaho.edu/class/music
ILLINOIS
AMERICAN MUSIC INSTITUTE
60 55th St. Clarendon Hills, IL 60514
630-850-8505
Email: ami@amimusic.org
Web: amimusic.org
Cost: please see web for info
Additional locations: 1032 Maple Ave. Downers Grove, IL 60515 307 Cedar Ave. St. Charles, IL 60174
CHICAGO SCHOOL OF MUSIC
900 N. Franklin St. Chicago, IL 60610 312-416-0622
Email: info@chicagoschoolofmusic.com Web: chicagoschoolofmusic.com
Cost: please call for info
COLUMBIA COLLEGE
CHICAGO 1014 S. Michigan, Room 300 Chicago, IL 312-369-7130
Email: admissions@colum.edu, music@colum.edu Web: colum.edu
Program: B.A. degrees in Composition; Instrumental Performance; Vocal Performance: Jazz Studies: Instrumental; Jazz Studies: Vocal. Music degrees in Composition; Contemporary, Urban and Popular Music. M.F.A. degree in Music Composition for the Screen. Degree: Undergraduate and Graduate degrees
DEPAUL UNIVERSITY
School of Music 804 W. Belden Ave. Chicago, IL 60614-3296 773-325-7260
Email: musicadmissions@depaul.edu Web: depaul.edu
ELMHURST COLLEGE
Department of Music Irion Hall, 114 190 Prospect Ave. Elmhurst, IL 60126
630-617-3524
Email: admit@elmhurst.edu
Web: elmhurst.edu/music
MERIT SCHOOL OF MUSIC
Joy Faith Knapp Music Center
38 S. Peoria St. Chicago, IL 60607
312-786-9428
Contact: Charles Grode, President & Exec.
Director
Email: cgrode@meritmusic.org
Web: meritmusic.org
Cost: please call or see web for info
MILLIKIN UNIVERSITY
School of Music Perkinson Music Center
Room 103 1184 W. Main St. Decatur, IL 62522
217-424-6300, 800-373-7733
Director: Brian Justison
Email: bjustison@millikin.edu
Web: millikin.edu/music
MUSIC INSTITUTE OF CHICAGO
St James Cathedral 65 East Huron Street Chicago, IL 60211
847-847-448-8319
Web: musicinstituteofchicago.org
Basic Rate: please call for info
Additional location:
Gratz Center
Fourth Presbyterian Church 126 East Chestnut Street Chicago, I 60611
MUSICAL EXPRESSIONS OF ILLINOIS, LLC 602 W 5th Ave. Suite F &E Naperville, IL 60563
630-355-1110
Email: info@musicalexpressions.net
Web: musicalexpressions.net
Basic Rate: please call for info
NORTHWESTERN UNIVERSITY
SCHOOL OF MUSIC
70 Arts Circle Dr. Evanston, IL 60208-1200
847-491-7575
Email: musiclife@northwestern.edu
Web: music.northwestern.edu
Cost: please call or see web for info
SOUTHERN ILLINOIS UNIVERSITY
CARBONDALE
Altgeld, Mail Code 4302 1000 S. Normal Ave. Carbondale, IL 62901
618-536-8742
Email: music@siu.edu
Web: cola.siu.edu/music
VANDERCOOK COLLEGE OF MUSIC
3140 S. Federal St. Chicago, IL 60616-3731 312-225-6288
Email: admissions@vandercook.edu Web: vandercook.edu
INDIANA
BALL STATE UNIVERSITY
School of Music
Hargreaves Music Building (MU) 1810 W Riverside Ave Muncie, IN 47306
765-285-5400
Email: music@bsu.edu Web: bsu.edu/music
BUTLER UNIVERSITY
School of Music, Lily Hall, Room 229 4600 Sunset Ave. Indianapolis, IN 46208 317-940-9246
Contact: David Murray, Director of the School of Music
Email: dmurray@butler.edu, music@butler.edu Web: butler.edu/music
INDIANA STATE UNIVERSITY
SCHOOL OF MUSIC
300 N. 7th St. Terre Haute, IN 47809 812-237-2771
Email: isu-music@mall.indstate.edu Web: indstate.edu
INDIANA UNIVERSITY JACOBS
SCHOOL OF MUSIC
1201 E. 3rd St., Merrill Hall 101 Bloomington, IN 47405-2200
812-855-7998
Email: musicadm@indiana.edu
Web: music.indiana.edu
Cost: please call or see web for info
IOWA
THE UNIVERSITY OF IOWA SCHOOL OF MUSIC
93 E. Burlington St. Iowa City, IA 52242
319-335-1603
Email: music@uiowa.edu Web: music.uiowa.edu
UNIVERSITY OF NORTHERN IOWA SCHOOL OF MUSIC 115 Russell Hall Cedar Falls, IA 50614
319-273-2024
Email: music@uni.edu
Web: uni.edu/music
KANSAS
THE INSTITUTE OF AUDIO ENGINEERING ARTS
1933 N. 10th St. Kansas City, KS 66104
913-621-2300, 701-773-4161
Email: info@recordingeducation.com
Web: recordingeducation.com
Cost: please call or see web for info
KENTUCKY
UNIVERSITY OF LOUISVILLE SCHOOL OF MUSIC Louisville, KY 40292
502-852-6907
Email: music@louisville.edu
Web: louisville.edu/music
LOUISIANA
ANDY HYMEL SCHOOL OF MUSIC 505 Kepler St. Gretna, LA 70053
504-362-1212
Email: andyhymel@andyhymelschoolofmusic. com Web: andyhymelschoolofmusic.com
Basic Rate: please call for info
COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 70433
985-590-4545
Web: laapa.com
Cost: please call or see web for info
Additional locations:
Mandeville School Of Music 105 Campbell Ave., #3 Mandeville, LA 70448
985-674-2992
River Ridge School Of Music & Dance
2020 Dickory Ave., Ste. 200 Harahan, LA 70123
504-738-3050
LOYOLA UNIVERSITY
Music and Media 6363 St. Charles Avenue Box 8 New Orleans, LA 70118
504-865-3037
Email: cmfa@loyno.edu Web: cmm.loyno.edu
METAIRIE SCHOOL OF MUSIC
4438 Chalfant Dr. Metairie, LA 70005
504-421-8811
Email: metairiemusicacademy@gmail.com
Web: metairiemusicacademy.com
Contact: Vicki Genova, Owner Services: guitar, bass, vocals, piano, drums
SOUTHERN UNIVERSITY 801 Harding Blvd. Baton Rouge, LA 70807
225-771-4500
Web: subr.edu
Contact: Harry Anderson
TULANE UNIVERSITY
Newcomb Department of Music 102 Dixon Hall New Orleans, LA 70118-5683 504-865-5267
Email: music@tulane.edu
Web: liberalarts.tulane.edu
MAINE
THE MUSIC CENTER
49 Topsham Fair MallRoad, 2 Topsham, Maine 04086 207-725-6161
Email: sales@themusiccenter.net
Web: themusiccenter.net
Cost: please call or see web for info
NEW ENGLAND SCHOOL OF COMMUNICATIONS
Husson University 1 College Cir. Bangor, ME 04401 207-941-7000
Email: admit@husson.edu
Web: husson.edu/nescom
Program: Bachelor of Science Degree in Communications Technology, Media Studies, Entertainment Production PORTLAND CONSERVATORY OF MUSIC 28 Neal St. Portland, ME 04102 207-775-3356
Email: info@portlandconservatoryofmusic.org
Web: portlandconservatoryofmusic.org
Cost: please call or see web for info
RIVER TREE ARTS
35 Western Ave. Kennebunk, ME 04043
207-967-9120
Email: info@rivertreearts.org
Web: rivertreearts.org
Cost: please call or see web for info
UNIVERSITY OF SOUTHERN MAINE USM Osher School of Music
Main Office, 103 Corthell Hall 13 University Way Gorham, ME 04038
207-780-5265
Email: usm.music@maine.edu
Web: usm.maine.edu/music
Cost: please call or see web for info
MARYLAND
MUSIC & ARTS CENTERS
7820 Wormans Mill Rd Suite K Frederick, MD 21701
301-620-2015, 888-731-5396
Email: info@musicarts.com
Web: stores.musicarts.com/md/frederick
Note: Music & Arts has served students, teachers and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its offerings to beginning and student musicians. Music & Arts now has over 100 retail locations in 19 states.
THE MUSIC CENTER AT STRATHMORE 5301 Tuckerman Ln. North Bethesda, MD 20852
301-897-5100
Email: strathmore@strathmore.org
Web: strathmore.org
THE OMEGA STUDIOS SCHOOL OF APPLIED RECORDING ARTS & SCIENCES
(**No degree; certificates. ) 12712 Rock Creek Mill Rd., Ste. 14A Rockville, MD 20852
301-230-9100
Email: info@omegastudios.com, admissions@ omegastudios.com
Web: omegastudios.com
Degrees: Certification Program
Duration: Day Students: 10 Months, Night Students: 12 Months
Programs: The Comprehensive Recording Industry Program, The Audio Engineering for the Music Industry Program, The Audio Engineering for Film and Television Program, The Recording Engineering and Studio Techniques Program, The Electronic Music Synthesizers and MIDI Program, The Sound Reinforcement for Live Performance Program, The Audio Production Techniques Program and The Essentials of Music Business and Artist Management Program.
PEABODY INSTITUTE
Johns Hopkins University 1 E. Mt. Vernon Pl. Baltimore, MD 21202
Web: peabody.jhu.edu
Conservatory Admissions Phone: 667-208-6600
Email: admissions@peabody.jhu.edu
Prepatory Enrollment Phone: 667-208-6640
Email: peabodyprep@jhu.edu
Cost: please call or see web for info
THE SHEFFIELD INSTITUTE FOR THE RECORDING ARTS 13816 Sunnybrook Rd. Phoenix, MD 21131 800-355-6613, 410-628-7260 Email: info@sheffieldav.com Web: sheffieldav.com
Program: Audioworks, Videoworks, Techworks, Broadcasting
UNIVERSITY OF MARYLAND SCHOOL OF MUSIC 2110 Clarice Smith Performing Arts Center College Park, MD 20742
301-405-5549
Email: musicadmissions@umd.edu
Web: music.umd.edu
Cost: please call or see web for info
MASSACHUSETTS
BERKLEE COLLEGE OF MUSIC
Office of Admissions
1140 Boylston St. Boston, MA 02215
800-BERKLEE (U.S. and Canada), 617-266-1400 (direct and internat’l)
Email: admissions@berklee.edu
Web: berklee.edu
Contact: Director of Admissions
Program: all forms of contemporary music
Degree: BM or Professional Diploma
Duration: 4 years
Cost: please call or see web for info
BOSTON CONSERVATORY
AT BERKLEE
8 The Fenway Boston, MA 02215
617-536-6340
Email: conservatoryadmissions@berklee.edu
Web: bostonconservatory.berklee.edu
Cost: please call or see web for info
BRISTOL RECORDING STUDIOS
238 Huntington Ave. Boston, MA 02115-3009
617-247-8689
Email: info@bristolstudios.com
Web: bristolstudios.com
Contact: Kelsey Mack
Services: Audio Recording and Production Courses, Professional Internships
CELEBRATION SOUND
70 Lauren Dr. Seekonk, MA 02771
508-336-0275
Email: celebrationsound@comcast.net
Web: celebrationsound.com
Programs: Recording engineer classes
EMERSON COLLEGE
Department of Performing Arts
120 Boylston St. Boston, MA 02116
617-824-8500
Web: emerson.edu/performing-arts
Contact: Melia Bensussen, Chair
Degrees: B.A., B.F.A., M.F.A.
NEW ENGLAND CONSERVATORY
290 Huntington Ave. Boston, MA 02115
617-585-1100
Email: admissions@necmusic.edu
Web: necmusic.edu
Cost: please call or see web for info
NORTHEASTERN UNIVERSITY
Department of Music
102 Ryder Hall 360 Huntington Ave. Boston, MA 02115
617-373-3682
Contact: Chair of the Department of Music, Hilary Poriss
Email: h.poriss@northeastern.edu
Web: camd.northeastern.edu, music@ northeastern.edu
Degrees: B.S. in Music Technology, B.S. in Music Industry, B.A. in Music History and Analysis
POWERS MUSIC SCHOOL
160 Lexington Street P.O. Box 398 Belmont, MA 02478-0003
617-484-4696
Email: office@powersmusic.org
Web: powersmusic.org
Cost: please call or see web for info
TUFTS UNIVERSITY
Department of Music Granoff Music Center 20 Talbot Ave. Medford, MA 02155
617-627-3564
Email: musicadmin@tufts.edu
Web: as.tufts.edu/music
Contact: John McDonald, Depart. Chair
UNIVERSITY OF MASSACHUSETTS LOWELL
Department of Music 35 Wilder St., Ste. 3 Lowell, MA 01854 978-934-3850
Email: music_dept@uml.edu
Web: uml.edu/fahss/music
MICHIGAN
AXIS MUSIC ACADEMY
33030 Northwestern Hwy., 2nd Fl. West Bloomfield, MI 48322 248-799-8100
Web: axismusic.com
Basic Rate: please call for info
Additional location: 283 Hamilton Row Birmingham, MI 48009 248-258-9100
CENTRAL MICHIGAN UNIVERSITY School of Music
162 Music Building 1400 E. Campus Dr. Mount Pleasant, MI 48859 989-774-3281
Email: musicadmit@cmich.edu
Web: cmich.edu/program/music
Degrees: B.A.A., B.S., B.A. or B.F.A., M.A.
CORNERSTONE UNIVERSITY
1001 E. Beltline Ave. Grand Rapids, MI 49525 616-949-5300
Email: info@cornerstone.edu Web: cornerstone.edu/music
INTERLOCHEN CENTER FOR THE ARTS 4000 J Maddy Pkwy Interlochen, MI 49643-0199
231-276-7200
Email: education@interlochen.org, admission@ interlochen.org
Web: interlochen.org
Cost: please call or see web for info
MICHIGAN RECORDING ARTS INSTITUTE & TECHNOLOGIES 28533 Greenfield Southfield, MI 48076
248-557-8276
Contact: Kenneth Glaza
RECORDING INSTITUTE OF DETROIT
14611 E. 9 Mile Rd. Eastpointe, MI 48021 800-683-1743, 586-779-1388
Email: RIDOffice@aol.com
Web: recording.institute **No degree, but a certificate.
UNIVERSITY OF MICHIGAN
School of Music, Theatre and Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109 734-764-0583. 734-763-5112
Email: lauras@umich.edu
Web: music.umich.edu/index.php
Contact: Laura Hoffman, Associate Dean
WAYNE STATE UNIVERSITY
Old Main, Department of Music 4841 Cass, Old Main, Ste. 1321 Detroit, MI 48201
313-577-1795
Email: music@wayne.edu
Web: music.wayne.edu
Programs: Bachelor of Arts in Music, Bachelor of Music
WESTERN MICHIGAN UNIVERSITY
Irving S. Gilmore School of Music
1903 W Michigan Ave. Kalamazoo, MI 49008
269-387-4667
Web: wmich.edu/music
MINNESOTA
CHILDREN’S YAMAHA MUSIC SCHOOL
Advent Luther 3000 Hamline Avenue Roseville, MN 55113 612-339-2255
Email: yamahamusic@cyms.ws Web: msp.kidsoutandabout.com/content/ childrens-yamaha-music-studio-roseville
Cost: please call or see web for info
Additional locations: Edina Community Center 5701 Normandale Rd. Edina, MN 55424 612-351-0631
MACPHAIL CENTER FOR MUSIC
501 2nd St. S. Minneapolis, MN 55401 612-321-0100
Web: macphail.org
Cost: please call or see web for info
Additional locations: 14200 Cedar Ave., Suite 102 Apple Valley, MN 55124
470 W. 78th St. Chanhassen, MN
Birch Lake Elementary School 1616 Birch Lake Ave.
White Bear Lake MN 55110
MINNESOTA STATE UNIVERSITYMOORHEAD
Music Department Center for the Arts 102 1104 7th Ave. S. Moorhead, MN 56563
218-477-2101
Email: spa@mnstate.edu Web: mnstate.edu
UNIVERSITY OF NORTHWESTERN 3003 Snelling Ave. N.
St. Paul, MN 55113
800-692-4020, 651-631-5100
Web: unwsp.edu/program/music
Degrees/Certifications: B.S. in Electronic Media Communication with a Recording Arts focus, Minor in Music, Minor in Music Business, Minor in Media Arts
SAINT MARY’S UNIVERSITY OF MINNESOTA Music Department 700 Terrace Heights #1447 Winona, MN 55987
507-457-1598
Email: jheukesh@smumn.edu Web: smumn.edu
Contact: Ned Kirk, D.M.A., Chair Music Department MISSISSIPPI
DELTA STATE UNIVERSITY Department of Music DSU Box 3256 Cleveland, MS 38733 662-846-4615
Email: music@deltastate.edu Web: deltastate.edu/artsandsciences/music MISSOURI
UNIVERSITY OF CENTRAL MISSOURI P.O. Box 800 Utt202E Warrensburg, MO 64093 660-543-4909
Contact: David Aaberg, Chair of Music Email: musicoffice@ucmo.edu Web: ucmo.edu
UNIVERSITY OF MISSOURI School of Music 20 Sinquefield Music Center Columbia, MO 65211 573-882-2604
Email: music@missouri.edu Web: music.missouri.edu
WEBSTER UNIVERSITY School of Communications 470 E. Lockwood Ave. St. Louis, MO 63119 314-246-7800, 800-981-9801
Email: jeffreycarter67@webster.edu Web: webster.edu/music MONTANA
THE COLLEGE MUSIC SOCIETY 312 East Pine Street Missoula, MT 59802 406-721-9616
Email: cms@music.org Web: music.org
NORTH VALLEY MUSIC SCHOOL 432 Spokane Ave. Whitefish, MT 59937 406-862-8074
Email: info@northvalleymusicschool.org Web: northvalleymusicschool.org
UNIVERSITY OF MONTANA SCHOOL OF MUSIC 32 Campus Dr. Music Building, Room 101 Missoula, MT 59812 406-243-6881
Email: griz.music@umontana.edu Web: umt.edu/music NEBRASKA
NORTHEAST COMMUNITY COLLEGE
Audio/Recording Technology Dept. 801 E. Benjamin Ave. Norfolk, NE 68701 402-371-2020, 800-348-9033 Email: help@northeast.edu Web: northeast.edu/degrees-and-programs/ media-arts-audio-and-recording-technology NEVADA
COLLEGE OF SOUTHERN NEVADA
Cheyenne Campus
3200 E. Cheyenne Ave. North Las Vegas, NV 89030
702-651-4075
Web: csn.edu/programs/music
Contact: Robert Bonora, Chair Fine Arts
Additional locations:
6375 W. Charleston Blvd. Las Vegas, NV 89106
702-651-5000
700 College Dr. Henderson, NV 89002 702-651-3000
NEW HAMPSHIRE
ALAN CARRUTH LUTHIER
51 Camel Hump Rd. Newport, NH 03773
603-863-7064
Email: alcarruth@aol.com
Web: newenglandluthiers.org/contents/ members/alancarruth.html
Cost: please call or see web for info
MUSIC & ARTS CENTERS
18 March Ave. Manchester, NH 03101-2006 603-851-2026, 888-731-5396
Email: customerservice@musicarts.com
Web: stores.musicarts.com
Notes: Serving students, teachers and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its offerings to beginning and student musicians. Music & Arts now has over 100 retail locations in 19 states.
NEW JERSEY
BLOOMFIELD COLLEGE Division of Creative Arts & Technology 467 Franklin St. Bloomfield, NJ 07003 973-748-9000
Email: mfa@bloomfield.edu Web: bloomfield.edu
COUNTY COLLEGE OF MORRIS 214 Center Grove Rd. Randolph, NJ 07869 973-328-5000 Web: ccm.edu
MONTCLAIR STATE UNIVERSITY School of Communication and Media 1 Normal Ave. Montclair, NJ 07043 973-655-4000 Web: montclair.edu/school-of-communicationand-media
RIDER UNIVERSITY 2083 Lawrenceville Road Lawrenceville, NJ 08648 609-896-5000 Web: rider.edu
STEVENS INSTITUTE OF TECHNOLOGY College of Arts and Letters 1 Castle Point On Hudson Hoboken, NJ 07030 201-216-5000 Web: stevens.edu Degree/Certification: Bachelor of Arts in Music and Technology
STUDIO TO STAGE PRODUCTIONS 170 U.S. 9 Englishtown, NJ 07226 732-617-6530 Email: info@stosp.net Web: studiotostageproductions.com Program: Private Lessons
WILLIAM PATERSON UNIVERSITY Department of Music 300 Pompton Rd. Wayne, NJ 07470 973-720-2000 Email: musicadmissions@wpunj.edu Web: wpunj.edu/coac/music Contact: Dr. Diane Falk-Romaine – Music Chair
NEW MEXICO
NEW MEXICO SCHOOL OF MUSIC 136-J Washington St., S.E. Albuquerque, NM 87108 505-266-3474 Web: nmschoolofmusic.com
Additional location:
10701 Montgomery Blvd., N.E. Albuquerque, NM 87111 505-294-4604
TAOS SCHOOL OF MUSIC PO Box 2630 Taos, NM 87571
575-776-2388
Email: info@taosschoolofmusic.com Web: taosschoolofmusic.com
The School is located at the French owned, family style Hotel St. Bernard in Taos Ski Valley, New Mexico. It is 19 miles north of Taos, high in the scenic Sangre de Cristo Mountains of northern New Mexico.
NEW YORK
AARON COPLAND SCHOOL OF MUSICQUEENS COLLEGE
65-30 Kissena Blvd., Room 203
Queens, NY 11367
718-997-3800
Email: acsm@qc.cuny.edu
Web: qc.cuny.edu/academics/music
Contact: Michael Lipsey, Director
Degree: B.A., B.M., MS/Education, M.A. Composition, Theory, History; M.A. Classical Performance; M.A. Jazz Performance
Cost: please call or see web for info
AUDIO ENGINEERING SOCIETY, INC.
697 3rd Avenue Suite 405 New York, NY 10017
212-661-8528
Web: aes2.org/
BLOOMINGTON SCHOOL OF MUSIC
323 West 108th Street New York, NY 10025
212-663-6021
Web: bsmny.org
Email: info@bsmny.org
THE CITY COLLEGE OF NEW YORK
Music Department, Shepard Hall, Room 72
160 Convent Ave. New York, NY 10031
212-650-5411
Email: music@ccny.cuny.edu
Web: ccny.cuny.edu/music
CLIVE DAVIS INSTITUTE OF RECORDED MUSIC
370 Jay Street Brooklyn, NY
212-992-8400
Email: tisch.recorded.music@nyu.edu
Web: tisch.nyu.edu/clive-davis-institute
Program: Through courses in business, musicianship and performance, production and writing, history and emergent media, our undergraduate curriculum focuses on developing the creative entrepreneur.
Degree: BFA in Recorded Music Duration: 4 years
THE COLLECTIVE SCHOOL OF MUSIC
28 Broadway New York, NY 10004
212-741-0091
Email: info@thecollective.edu
Web: thecollective.edu
Basic rate: Various Services/Specialties: long- and short-term intensive courses on drums, bass, guitar, piano and vocals, private lessons, world class faculty of professional working musicians, practice and rehearsal facilities, regular master classes, musicians monthly membership club, located in the music capital of the world, NYC. Classes are limited to five students in order to make sure all students get personal attention.
COLUMBIA UNIVERSITY
NEW YORK
The Department of Music 621 Dodge Hall 2960 Broadway New York, NY 10027
212-854-3825, 212-854-9862
Contact: Professor Chris Washburne, Dept. Chair
Email: c.washburne@columbia.edu
Web: music.columbia.edu
EASTMAN SCHOOL OF MUSIC
University of Rochester 26 Gibbs St. Rochester, NY 14604-2599
585-274-1000
Email: admissions@esm.rochester.edu
Web: esm.rochester.edu
Cost: please call or see web for info
FINGER LAKE
COMMUNITY COLLEGE
State University of New York
3325 Marvin Sands Dr. Canandaigua, NY 14424
585-394-FLCC
Email: admissions@flcc.edu
Web: flcc.edu/academics/music
FIVE TOWNS COLLEGE
305 N. Service Rd. Dix Hills, Long Island, NY 11746
631-206-5537
Email: admissions@ftc.edu
Web: ftc.edu
Contact: Admissions Office
Programs: Undergraduate: Performance Program (A.A.S., Mus.B.); Bachelor of Music (Mus.B.) concentrations in Audio Recording Technology, Composition, Music
Entertainment Industry Studies, Performance, Songwriting; (Mus.B.) Music Teacher Education concentrations in Instrumental and Vocal/ Piano/Guitar. Graduate: Masters of Music (M.M.) in Music Technology, Composition, Performance, Music History, Music Education; Doctor of Musical Arts (D.M.A.) in Composition & Arranging, Music History & Literature, Music Performance, Music Education; Doctoral and Fellowship Performance. NEW Grad program in Sound Recording Technology (M.P.S.).
Cost: Contact Admissions
Degree: A.A.S.; Mus.B.; M.M.; D.M.A.
Duration: 2 years, 4 years, 1 to 4 years for Masters/Doctoral
GREENWICH HOUSE, INC.
46 Barrow St. New York, NY 10014
212-242-4770
Email: music@greenwichhouse.org Web: greenwichhouse.org
Contact: Samir Hussein, Chair
HOFSTRA UNIVERSITY
101 Joseph G. Shapiro Family Hall Hempstead, NY 11549-1000 516-463-5490
Contact: Philip Stoecker, Dept. Chair
Email: Philip.S.Stoecker@hofstra.edu Web: hofstra.edu/music
HOUGHTON COLLEGE
Greatbatch School of Music
One Willard Ave. Houghton, NY 14744
585-567-9200, 800-777-2556 Ext. 4000
Email: admission@houghton.edu
Web: houghton.edu/music
ITHACA COLLEGE SCHOOL OF MUSIC
953 Danby Road Whalen Center for Music Ithaca, NY 14850
607-274-3343
Email: musicassocdean@ithaca.edu socialmedia@ithaca.edu Web: ithaca.edu/music
Contact: Ivy Walz, Associate Prof.
JUILLIARD SCHOOL, THE 60 Lincoln Center Plaza New York, NY 10023-6588 212-799-5000
Email: admissions@juilliard.edu
Web: juilliard.edu
Cost: please call or see web for info
MANHATTAN SCHOOL OF MUSIC 130 Claremont Ave. New York, NY 10027
212-749-2802
Email: admission@msmnyc.edu
Web: msmnyc.edu
Program: We offer degree and diploma programs at the undergraduate, graduate and doctoral levels, with majors in all orchestral instruments, voice, piano, accompanying, composition, saxophone, guitar, organ, conducting and jazz.
Cost: please call or see web for info
MANNES COLLEGE THE NEW SCHOOL FOR MUSIC
66 W. 12th St. New York, NY 10011
212-580-5150, 800-292-3040
Email: admissions@newschool.edu
Web: newschool.edu/mannes
Cost: please call or see web for info
MERCY COLLEGE
Music & Fine Arts Department 555 Broadway Dobbs Ferry, NY 10522
914-674-7600
Web: mercy.edu/campus-locations/dobbsferry-campus
Degrees: B.S. in Music Industry and Technology
NEW YORK UNIVERSITY
The Steinhardt School/Music 35 W 4th Street, 2nd Floor New York, NY 10012
212-998-5424
Web: steinhardt.nyu.edu/music
Degree: B.S., B.A., B.M., M.A., M.M., Ph.D., D.A., Ed.D., Music Performance, Composition, Technology, Business, Education, Therapy
Cost: please call or see web for info
PERLMAN MUSIC PROGRAM, THE 19 W. 69th St., Ste. 1101 New York, NY 10023
212-877-5045
Email: info@perlmanmusicprogram.org
Web: perlmanmusicprogram.org
Contact: Anna Kaplan, Director of Programs
Cost: please call or see web for info
THE COLLEGE OF SAINT ROSE Music Department 432 Western Ave. Albany, NY 12203
800-637-8556
Web: strose.edu
SELECT SOUND STUDIOS 2315 Elmwood Ave. Kenmore, NY 14217 716-873-2717
Web: selectsound.com Program: Recording Technologies Audio Engineering Program
STATE UNIVERSITY OF NEW YORK College at Oneonta Music Department 115 Fine Arts Center Oneonta, NY 13820 607-436-3415
Email: moira.rouggly@oneonta.edu Web: suny.oneonta.edu/music-department
SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC 208 Crouse College Syracuse, NY 13244 315-443-2769
Email: admissu@syr.edu Web: vpa.syr.edu/academics/music
THIRD STREET MUSIC SCHOOL SETTLEMENT 235 E. 11th St. New York, NY 10003 212-777-3240
Email: info@thirdstreetmusicschool.org Web: thirdstreetmusicschool.org
UNIVERSITY OF ALBANY College of Arts and Sciences 1400 Washington Ave. Albany, NY 12222 518-442-4187
Email: musinfo@albany.edu Web: albany.edu/music
WILLIE MAE ROCK CAMP FOR GIRLS
540 President Street Suite 2H Brooklyn, NY 11215
646-726-0247
Email: info@williemaerockcamp.org Web: williemaerockcamp.org, facebook.com/williemaerockcamp Program: Willie Mae Rock Camp for Girls is a non-profit music and mentoring program for girls and women. The organization offers a summer day camp, after school programs, youth and adult lessons, and community events in New York City. Instruments include drums, bass, guitar, keyboards, vocals and DJ/ turntables. All programs offered with sliding scale tuition.
Cost: please call or see web for info.
NORTH CAROLINA
APPALACHIAN STATE UNIVERSITY
Hayes School of Music Broyhill Music Center 813 Rivers St. Boone, NC
828-262-3020
Email: music@appstate.edu Web: music.appstate.edu
BARTON COLLEGE
P.O. Box 5000 Wilson, NC 27893
800-345-4973, 252-399-6317
Email: enroll@barton.edu
Web: barton.edu/cultural-arts
Degrees: B.S. in Communication with a concentration in Audio Recording Technology
BREVARD MUSIC CENTER
349 Andate Ln. Brevard, NC 28712
828-862-2100
Web: brevardmusic.org
Contact: Dorothy Knowles, Dir. Of Admissions
Notes: A summer institute and festival
CATAWBA COLLEGE
2300 W. Innes St. Salisbury, NC 28144
704-637-4476, 1-800-CATAWBA
Email: jtlittle@catawba.edu
Web: catawba.edu/music
Degree: Degrees: BA – Music Business, Popular Music, Music Education, and Worship Music/ Production. BS – Entertainment Industries
Duration: 4 years
Cost: please call or see web for info
DUKE UNIVERSITY STRING SCHOOL, THE Mary Duke Biddle Music Bldg. Duke University 9 Brodie Gym Dr. Durham, NC 27708-0667
919-684-8111
Email: nonoko.okada@duke.edu
Web: stringschool.duke.edu
Cost: please call or see web for info
EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC
102 A. J. Fletcher Music Center Greenville, NC 27858-4353 252-328-6851
Email: music@ecu.edu
Web: music.ecu.edu
Cost: please call or see web for info
ELON UNIVERSITY
Department of Music
100 Campus Dr. Elon, NC 27244 336-278-2000 Web: elon.edu/u/academics/arts-and-sciences/ music
KAREN KANE MUSIC PRODUCTIONS
Wilmington, NC 910-599-6921
Email: karenkane@mixmama.com
Courses: Audio Classes (Intro to Audio Engineering, Intro to Pro Tools)
UNIVERSITY OF NORTH CAROLINA UNC Department of Music CB# 3320, 105 Hill Hall 145 E Cameron Ave. Chapel Hill, NC 27599 919-962-1039
Email: music.dept@unc.edu Web: music.unc.edu
UNIVERSITY OF NORTH CAROLINA SCHOOL OF ARTS 1533 S Main Street Winston Salem, NC 27127
Email: admissions@uncsa.edu Web: uncsa.edu
NORTH DAKOTA
UNIVERSITY OF NORTH DAKOTA MUSIC ARTS & SCIENCES
Hughes Fine Arts Center, Room 110 3350 Campus Rd., Stop 7125 Grand Forks, ND 58202
701-777-2644
Email: und.music@und.edu
Web: arts-sciences.und.edu/academics/music OHIO
BALDWIN-WALLACE COLLEGE 275 Eastland Rd. Berea, OH 44017-2088 440-826-2900
Email: info@bw.edu
Web: bw.edu/schools/conservatory-music
Contact: Susan VanVorst, Dean Conservatory of Music
Cost: please call or see web for info
BRECKSVILLE SCHOOL OF MUSIC 10633 Fitzwater Rd. Brecksville, OH 44141 440-526-1004
Email: info@brecksvillemusicstudio.com
Web: brecksvillemusic.com
Basic Rate: please call for info
CAPITAL UNIVERSITY 1 College and Main Columbus, OH 43209 614-236-6011
Email: admission@capital.edu
Web: capital.edu/conservatory
Degrees: B.M. in Music Technology, B.A. in Music Technology
CASE WESTERN RESERVE UNIVERSITY Department of Music 11118 Bellflower Rd. Cleveland, OH 44106 216-368-2400
Email: music@case.edu Web: music.case.edu
CLEVELAND INSTITUTE OF MUSIC 11021 E. Blvd. Cleveland, OH 44106-1705 216-791-5000
Email: admissions@cim.edu Web: cim.edu
Cost: Call or view online
CLEVELAND MUSIC SCHOOL SETTLEMENT, THE 11125 Magnolia Dr. Cleveland, OH 44106 216-421-5806
Email: info@themusicsettlement.org
Web: themusicsettlement.org
Cost: please call or see web for info
COLLEGE-CONSERVATORY OF MUSIC University of Cincinnati
Mary Emery Hall
P.O. Box 210003
Cincinnati, OH 45221-0003
513-556-6638
Web: ccm.uc.edu/music.html
Cost: please call or see web for info
FIREFLY STUDIOS Toledo, OH
419-350-6454
Email: fireflystudios@firefly419.com
Web: firefly419.com
Notes: We offer guitar, piano, bass and drum lessons
HOCKING COLLEGE
Music Production Business & Performance
3301 Hocking Pkwy. Nelsonville, OH 45764
740-753-7050
Email: admissions@hocking.edu
Web: hocking.edu/music-management
MALONE UNIVERSITY
2600 Cleveland Ave. Canton, OH 44709
800-521-1146, 330-471-8381
Email: ihamilton@malone.edu
Web: malone.edu
Contact: Linda Hamilton, Admin. Assistant
Degree: B.A. in Music Production
MEDUSA RECORDING INSTITUTE
2403 South Ave. Youngstown, OH 44502
480-213-3327
Email: mandrakerocks@yahoo.com
Web: medusarocks.com/studio-constructionservice.html
OBERLIN COLLEGE
CONSERVATORY OF MUSIC
39 W. College St. Oberlin, OH 44074-1588 440-775-8413, 800-622-6243
Web: oberlin.edu/conservatory
Cost: please call or see web for info
OHIO NORTHERN UNIVERSITY
The Music Department
525 S. Main St. Ada, OH 45810
419-772-2000
Web: onu.edu/arts_sciences/music
OHIO UNIVERSITY
School of Music
497 Glidden Hall Athens, OH 45701
740-593-4244
Email: music@ohio.edu
Web: ohio.edu/finearts/music
OWENS COMMUNITY COLLEGE
Fine and Performing Arts
30335 Oregon Rd. Perrysburg, OH 43551
567-661-6000
Web: owens.edu/fpa/music
Contact: Jeremy Meier, Dept. Chair
Programs: Associate of Applied Science Music Education/ Performance, Music Business Technology Certificate, Popular Music Certificate and the Associate Art in Music Education/ Performance
SOUTH CAROLINA
THE HALSEY INSTITUTE
Jim Halsey Company 161 Calhoun Street Charleston, SC 29401
918-628-0400
Email: halsey@cofc.edu
Web: halsey.cofc.edu/visit
Notes: The Halsey Institute is dedicated to providing the best possible specialized education in the Music and Entertainment Business.
OKLAHOMA
HOLLAND HALL SCHOOL
5666 E. 81st St. Tulsa, OK 74137
918-481-1111
Web: hollandhall.org
OKLAHOMA STATE UNIVERSITY
Michael and Anne Greenwood School of Music
102 Greenwood School of Music Stillwater, OK 74078
405-744-6133
Email: osumusic@okstate.edu
Web: music.okstate.edu
ORAL ROBERTS UNIVERSITY
7777 S. Lewis Ave. Tulsa, OK 74171
918-495-6161, 800-678-8876
Email: music@oru.edu Web: oru.edu
OU SCHOOL OF MUSIC
University of Oklahoma
500 W. Boyd Norman, OK 73019
405-325-2081
Web: music.ou.edu
UNIVERSITY OF CENTRAL OKLAHOMA School of Music
100 N. University Dr. Edmond, OK 73034
405-974-5686
Contact: Brian Lamb, Director
Email: blamb@uco.edu
Web: uco.edu/cfad/academics/music
OREGON
AMERICAN SCHOOL OF LUTHERIE
Portland, OR 97225
503-292-2385
Email: info@americanschooloflutherie.com
Web: americanschooloflutherie.com
Cost: please call or see web for info
MUSIC TOGETHER OF PORTLAND
c/o Julie Chiles
Portland, OR
503-236-4304
Email: julie@musictogether-pdx.com
Web: musictogether-pdx.com
Basic Rate: please call for info
OREGON MUSIC ACADEMY Tigard Oregon Music Academy 11555 S.W. Durham Rd., Ste. A4 Tigard, OR 97224
503-616-7161
Web: oregonmusicacademy.com
Cost: please call or see web for info
OREGON STATE UNIVERSITY
College of Liberal Arts
214 Bexell Hall Corvallis, OR 97331
541-737-0561
Web: liberalarts.oregonstate.edu
Degrees: B.A., B.F.A., M.F.A.
ROCK ‘N’ ROLL CAMP FOR GIRLS P.O. Box 11324
Portland, OR 97211
503-833-2953
Email: info@girlsrockcamp.org
Web: facebook.com/girlsrockpdx
Contact: Marisa Anderson
Program: The Rock ’n’ Roll Camp for Girls, a 501(c)3 non-profit, builds girls self-esteem through music creation and performance. Providing workshops and technical training, we create leadership opportunities, cultivate a supportive community of peers and mentors, and encourage social change and the development of life skills.
Cost: please call or see web for info
ROCK ‘N’ ROLL FANTASY CAMP
888-ROC-BAND, 888-762-2263, 323-370-7033, 888-762-2263 ext. 4
Email: taylor@rockcamp.com
Web: rockcamp.com
Program: Rock n’ Roll Fantasy Camp is the ultimate music experience.
For the novice and the expert, the amateur and the aficionado, we make rock n’ roll dreams come true. Simply stated, our mission is to bring people’s musical fantasies to life!
Cost: please call or see web for info
UNIVERSITY OF OREGON SCHOOL OF MUSIC & DANCE
1225 University of Oregon Eugene, OR 97403-1225
541-346-5268
Email: somafrontdesk@uoregon.edu Web: music.uoregon.edu
Contact: Undergraduate information: audition@ uoregon.edu; Graduate Information: gradmus@ uoregon.edu; Admissions: gmusadm@uoregon.edu
Program: Composition, Music Education, Performance Studies, Piano Pedagogy, Jazz Studies, Theory, Music Technology, and more including Dance
Degree: B. Mus, B.A., B.S., M.Mus, M.A., M.F.A., D.M.A., Ph.D.
Duration: 4 year bachelor’s, 2-3 master’s, 4-5 doctoral
WESTERN OREGON UNIVERSITY
Department of Music
Smith Hall 345 N. Monmouth Ave. Monmouth, OR 97361
Contact: Laura Killip, Program & Facilities
Coordinator
503-838-8461 , 503-838-8340
Email: killipl@wou.edu Web: wou.edu/music
PENNSYLVANIA
ACADEMY OF MUSIC, THE 240 S. Broad St. Philadelphia, PA 19102
215-893-1999
Email: info@academyofmusic.org Web: ensembleartsphilly.org/plan-your-visit/ venues/academy-of-music/ Cost: please call or see web for info
CARNEGIE MELLON SCHOOL OF MUSIC College of Fine Arts 5000 Forbes Ave. Pittsburgh, PA 15213-3815 412-268-2372
Email: music-office@andrew.cmu.edu Web: music.cmu.edu
Contact: Katherine Heston, Asst. Dir. of Music Admission
CURTIS INSTITUTE OF MUSIC, THE 1726 Locust St. Philadelphia, PA 19103 215-893-5252
Email: admissions@curtis.edu Web: curtis.edu
DREXEL UNIVERSITY
Antoinette Westphal College of Media Arts & Design 3141 Chestnut St. Philadelphia, PA 19104
215-895-1380, 215-895-2000
Email: westphaladm@drexel.edu Web: drexel.edu/westphal
GROVE CITY COLLEGE Department of Music 100 Campus Dr. Grove City, PA 16127-2104 724-458-2000
Email: info@gcc.edu Web: gcc.edu/music
KUTZTOWN UNIVERSITY 114 Old Main Kutztown, PA 19530 610-683-4550
Email: music@kutztown.edu Web: kutztown.edu
LEBANON VALLEY COLLEGE 101 N. College Ave. Blair 110 Annville, PA 17003 717-867-6373
Email:gramm@lvc.edu Web: lvc.edu/music
Contact: Jeffrey S. Snyder, Professor & Department Chair of Music Degrees: B.M. in Recording Technology, B.A. in Music Business
MARLBORO MUSIC 1528 Walnut St., Ste. 301 Philadelphia, PA 19102 215-569-4690
Email: info@marlboromusic.org Web: marlboromusic.org
MARY PAPPERT SCHOOL OF MUSIC Duquesne University 600 Forbes Ave. Pittsburgh, PA 15282 412-396-6000
Email: admissions@duq.edu Web: duq.edu/academics/colleges-and-schools/ music/index.php
Program: Music Performance, Music Education, Music Therapy, Music Technology Degree: Bachelor of Music, Bachelor of Science Duration: 4 years
Notes: Mary Pappert School of Music is a national leader in performance, music education, music therapy, music technology and sacred music. Also Graduate Degrees offered in performance, composition, theory, music education, music technology and sacred music, plus an artist diploma in performance.
SETTLEMENT MUSIC SCHOOL P.O. Box 63966 Philadelphia, PA 19147-3966 215-320-2601
Web: smsmusic.org
Cost: please call or see web for info
TEMPLE UNIVERSITY
School of Media and Communications Annenberg Hall 2020 N. 13th St. Philadelphia, PA 19122 215-204-8422
Email: kleingraduate@temple.edu Web: klein.temple.edu
YORK COLLEGE OF PENNSYLVANIA Division of Music, Wolf Hall, Room 206C
441 Country Club Rd. York, PA 17403
715-846-7788
Email: gmuzzo@ycp.edu
Web: ycp.edu
Contact: Grace Muzzo, D.M.A.
RHODE ISLAND
THE UNIVERSITY OF RHODE ISLAND College of Arts and Sciences Department of Music Fine Arts Center, Ste. E 105 Upper College Rd. Kingston, RI 02881 401-874-2431
Email: music@uri.edu
Web: uri.edu/music
SOUTH CAROLINA
SOUTH CAROLINA MIDLANDS AUDIO INSTITUTE 209 S. Prospect St. Columbia, SC 29205 803-782-6910
Email: info@midlandsaudioinstitute.com Web: midlandsaudioinstitute.com
UNIVERSITY OF SOUTH CAROLINA School of Music 813 Assembly St. Columbia, SC 29208 803-777-4281
Email: ugmusic@mozart.sc.edu Web: music.sc.edu
SOUTH DAKOTA
UNIVERSITY OF SOUTH DAKOTA Department of Music
Warren M. Lee Center for Fine Arts 414 E. Clark St. Vermillion, SD 57069 605-658-3466
Email: music@usd.edu Web: usd.edu/music
TENNESSEE
BELMONT UNIVERSITY: MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS 1900 Belmont Blvd. Nashville, TN 37212 615-460-6453
Email: cembadmission@belmont.edu Web: belmont.edu/cemb
Contact: Natalie Peterson, Admission Coordinator Program: Music Business, (BBA), Masters in Business Admin, (MBA), Entertainment Industry Studies, (BS, BA), Songwriting, (BS, BA), Audio Engineering Technology, (BS, BA)
THE BLACKBIRD ACADEMY
2806 Azalea Pl. Nashville, TN 37204
855-385-3251, 615-385-2423 Email: info@theblackbirdacademy.com Web: theblackbirdacademy.com
BLAIR SCHOOL OF MUSIC Vanderbilt University 2400 Blakemore Ave. Nashville, TN 37212 615-322-7311
Contact: Molly Jewell, Dir. of Admissions Web: blair.vanderbilt.edu
DARK HORSE INSTITUTE
Music School
230 Franklin Road, Bldg. #14A Franklin, TN 37064 615-791-7020 Web: darkhorseinstitute.com
GOSPEL MUSIC ASSOCIATION (GMA) 4012 Granny White Pike Nashville, TN 37204
615-242-0303
Email: info@gospelmusic.org
Web: gospelmusic.org
Cost: please call or see web for info
Program: IMMERSE, 1 - 4 day Christian music training event
GRO55 SCHOOL OF MUSIC 5436 Oak Chase Drive Can Ridge, TN 37013 412-200-0520
Email: gro55schoolofmusic@gmail.com, jaynagrossmusic@gmail.com
Web: jaynagross.com
KASPER HOME MUSIC STUDIOS, THE 927 Battlefield Dr. Nashville, TN 37204 615-383-8516
Web: kaspermusic.com
Basic Rate: please call for info Services: Small group and private group lessons for children and adults
MARK JOHNSON Nashville, TN
615-587-2516
Email: marklaneband@gmail.com
Web: theboardfoundation.com
Contact: Mark
Rates: call for rates
Clients: All Ages, All Levels (Zoom available)
Styles/Specialties: All Styles, Ear Training, Songwriting, Music Theory, Music Business/ Marketing, Voice/ Vocals, Bass, Piano , Guitar
MIDDLE TENNESSEE STATE UNIVERSITY
SCHOOL OF MUSIC
Box 47 MTSU
Murfreesboro, TN 37132
615-898-2469
Email: askmusic@mtsu.edu
Contact: Angela Satterfield, Music Admissions
Web: mtsu.edu/music/staff.php
Degree: B.M., M.A.
MUSIC LAB NASHVILLE
500 Wilson Pike Cir., Ste. 104 Brentwood, TN 37027
615-371-8086
Email: nashville@musiclab.co
Web: nashville.musiclab.co
Basic Rate: please call for info
Services: piano, voice, guitar, Kindermusik and Musical Theatre
NASHVILLE JAZZ WORKSHOP
1012 Buchanan Street Nashville, TN 37208
615-242-JAZZ (5299)
Email: info@nashvillejazz.org
Web: nashvillejazz.org
Basic Rate: please call for info
NASHVILLE SCHOOL OF ARTS
Magnet School
1250 Foster Ave. Nashville, TN 37210
615-291-6600
Email: nsa@mnps.org
Web: nsa.mnps.org
Contact: Dr. Gregory Stewart Principal Basic Rate: please call for info
PELLISSIPPI STATE COMMUNITY COLLEGE
10915 Hardin Valley Rd. P.O. Box 22990 Knoxville, TN 37933
865-694-6400
Email: startstrong@pstcc.edu Web: pstcc.edu
RHODES COLLEGE
Mike Curb Institute
2000 North Parkway Memphis, TN 38112
800-844-5969, 901-843-3786
Email: bassj@rhodes.edu
Contact: John Bass, Dir. of the Mike Curb Institute Web: rhodes.edu/academics/majors-minors/ music
SAE INSTITUTE OF TECHNOLOGY
7 Music Circle N. Nashville, TN 37203
800-872-1504, 615-244-5848
Email: nashville@sae.edu
Web: nashville.sae.edu
Program: Audio Technology Program (Diploma); Electronic Music Producer (Certificate)
Duration: Nine months full-time, 18 months parttime (Audio), six months part-time (Electronic Music)
Notes: SAE Institute was founded internationally in 1976 and has since grown to almost 50 locations worldwide. Courses focus on hands-on training to prepare graduates for a career in the audio industry.
Additional locations:
215 Peachtree St., Ste. 300 Atlanta, GA 30303
404-526-936
6 Fax 404-526-9367
Email: atlanta@sae.edu
Web: atlanta.sae.edu
16051 W. Dixie Highway, Suite 200 North Miami Beach, FL 33160
305-944-7494
Email: miami@sae.edu
Web: miami.sae.edu
218 W. 18th St., Fl. 4 New York, NY 10011
212-944-9121 Fax 212-944-9123
Email: newyork@sae.edu
Web: newyork.sae.edu
820 N. Orleans, #125 Chicago, IL 60610
312-300-5685
Email: chicago@sae.edu
Web: usa.sae.edu/campuses/chicago
SHUFF’S MUSIC
118 3rd Ave. N. Franklin, TN 37064
615-790-6139
Web: shuffsmusic.com
Basic Rate: please call for info
SKY STUDIOS
330 Franklin Road, Suite 276B Brentwood, TN 37027
615-371-1661
Email: info@skystudiostn.com
Web: skystudiostn.com
Basic Rate: please call for info
THE UNIVERSITY OF MEMPHIS
Rudi E. Scheidt School of Music Music Building, 3800 Central Ave. Memphis, TN 38152
901-678-3766
Email: musicadmissions@memphis.edu Web: memphis.edu/music
UNIVERSITY OF TENNESSEE Knoxville, Tennessee 37996 865-974-1000
Web: utk.edu/academics/art-performanceprograms
W.O. SMITH MUSIC SCHOOL 1125 8th Ave. S. Nashville, TN 37203
615-255-8355
Web: wosmith.org Email: info@wosmith.org
WAVES, INC.
2800 Merchants Dr. Knoxville, TN 37912
865-909-9200 Web: waves.com
TEXAS
AUDIO ENGINEERING INSTITUTE
555 Abe Lincoln Rd. San Antonio, TX 78240 San Antonio, TX 78213 210-627-4780
Email: email@audio-eng.com Web: audio-eng.com
THE BLACK ACADEMY
Dallas Convention Center Theater Complex 1309 Canton St. Dallas, TX 75201 214-743-2440 Email: info@tbaal.org Web: tbaal.org
Program: The Black Academy of Arts and Letters, Inc., is a multi-discipline arts institution whose mission is to create and enhance an awareness and understanding of artistic, cultural and aesthetic differences utilizing the framework of African, African American and Caribbean Arts and Letters. Additionally, its purpose is to promote, cultivate, foster, preserve and perpetuate the African, African American and Caribbean Arts and letters in the Fine, Literary, Visual, Performing and Cinematic Arts.
DALLAS BAPTIST UNIVERSITY 3000 Mountain Creek Pkwy. Dallas, TX 75211 214-333-5316, 214-333-5311 Web: dbu.edu
DALLAS SCHOOL OF MUSIC, INC. 14376 Proton Road Dallas, TX 75244 972-380-8050
Email: lessons@dsminfo.com Web: dsminfo.com
DEL MAR COLLEGE
Department of Music Fine Arts Center 101 Baldwin Blvd. Corpus Christi, TX 78404 361-698-1211
Email: music@delmar.edu Web: delmar.edu/music
FRISCO SCHOOL OF MUSIC 9255 Preston Rd. Frisco, TX 75033 214-436-4058
Email: music@fsmfspa.com Web: fsmfspa.com
Basic Rate: please call for info
INSTITUTE FOR MUSIC RESEARCH
UTSA Department of Music One UTSA Circle San Antonio, TX 78249
210-458-4354
Email: applymusic@utsa.edu Web: music.utsa.edu
LONESTAR SCHOOL OF MUSIC 4301 W. William Cannon Austin, TX 78749 512-598-4171
Web: lonestarschoolofmusic.com
Cost: please call or see web for info
Additional locations: 915 Ranch Road, 620 South Lakeway, TX 78734 512-808-9371
12010 Hwy 290 West #230 Austin, TX 78737 512-515-1214
MEDIATECH INSTITUTE 13300 Branch View Ln., Ste. 135 Dallas, TX 75234 972-869-1122
Email: dallas@mediatech.edu Web: mediatech.edu
Additional locations: 3324 Walnut Bend Ln. Houston, TX 77042 832-242-3426
Email: houston@mediatech.edu
MOORES SCHOOL OF MUSIC (MSM) University of Houston 3700 Cullen Blvd, Room 120 Houston, TX 77204-4039
713-743-5934
Email: musicadmissions@uh.edu Web: uh.edu/kgmca/music
SHEPHERD SCHOOL OF MUSIC, THE Rice University 6100 Main MS-532 Houston, TX 77005
713-348-3578
Contact: Phyllis Smith, Music Admissions Email: pws2@rice.edu Web: music.rice.edu
STEPHEN F. AUSTIN STATE UNIVERSITY School of Music Box 13043, SFA Station Nacogdoches, TX 75962 936-468-4602
Web: https://www.sfasu.edu/music
Contact: Gary T. Wurtz, Director
TEXAS STATE UNIVERSITY SAN MARCOS School of Music 601 University Dr. San Marcos, TX 78666 512-245-2651
Email: music@txstate3.edu
Web: music.txstate.edu
UNIVERSITY OF TEXAS AT ARLINGTON 700 W. Greek Row, Room 101 Arlington, TX 76010 817-272-3471
Email: music@uta.edu Web: uta.edu/music
UNIVERSITY OF TEXAS AT AUSTIN
Sarah and Ernest Butler School of Music 2406 Robert Dedman Dr., Stop E3100 Austin, TX 78712 512-471-7764
Web: music.utexas.edu
UNIVERSITY OF NORTH TEXAS 1155 Union Circle #311637 Denton, TX 76203
940-565-2791
Email: music.information@unt.edu Web: music.unt.edu
BRIGHAM YOUNG UNIVERSITY
C-500 Harris Fine Arts Center P.O. Box 26410 Provo, UT 84602
801-422-8903
Email: music@byu.edu
Web: music.byu.edu
THE UNIVERSITY OF UTAH School of Music
1375 E. President’s Cir. Room 204 Salt Lake City, UT 84112
801-581-6762
Email: m.chuaqui@utah.edu
Web: music.utah.edu
Contact: Miguel Chuaqui, Dir. School of Music
VERMONT
VERMONT COLLEGE OF FINE ARTS 36 College St.
Montpelier, VT 05602
866-934-VCFA
Contact: Carol Beatty, Program Director
Email: carol.beatty@vcfa.edu
Web: vcfa.edu/music-comp
VIRGINIA
ACADEMY OF MUSIC
1709 Colley Ave, Ste 392 Norfolk, VA 23517
757-627-0967, 757-215-8633
Web: aomva.org/wp
Cost: please call or see web for info
Notes: 3 locations in the Norfolk area
CONTEMPORARY MUSIC CENTER 14155 Sullyfield Cir. Chantilly, VA 20151
703-817-1000
Email: info@contemporarymusiccenter.com
Web: contemporarymusiccenter.com
Notes: Our facilities have 27 private instruction studios. Our teaching staff, who are the finest in the area, are motivated and dedicated professionals. All are active within the music community and bring energy and enthusiasm to the educational process. Along with innovative teaching techniques, our staff prides itself on the ability to draw upon a wealth of practical knowledge and exp.
Additional location:
4410 Costello Way Haymarket, VA 571-261-5000
CUE STUDIOS CENTER FOR AUDIO ENGINEERING
109 Park Ave. Falls Church, VA 22046
703-532-9033
Email: school@cuerecording.com
Web: centerforaudioengineering.com
JAMES MADISON UNIVERSITY
School of Music
880 S. Main St., MSC 7301 Harrisonburg, VA 22807 540-568-6714
Contact: Dr. John Allemeier
Email: schoolofmusic@jmu.edu Web: jmu.edu/music
LIBERTY UNIVERSITY
1971 University Blvd. Lynchburg, VA 24515 434-592-6568
Email: som@liberty.edu Web: liberty.edu/academics/music
NATIONAL ASSOCIATION OF MUSIC EDUCATION 585 Grove Street Ste 145 #711 Herndon, VA 20170 800-336-3768, 703-860-4000 Web: nafme.org
NORTHERN VIRGINIA COMMUNITY COLLEGE 1000 Harry Flood Byrd Hwy. Sterling, VA 20164 703-845-6026
Email: jkolm@nvcc.edu Web: nvcc.edu
Contact: Dr. Jonathan Kolm
OLD DOMINION UNIVERSITY 2123 Diehn Center for the Performing Arts 1339 West 49 St. Norfolk, VA 23529 757-683-4061
Email: music@odu.edu Web: odu.edu/music
Degrees: Music Production, Music Business, and Music Business/ Production.
RADFORD UNIVERSITY 801 E. Main St. Radford, VA 24142
Contact: Dr. Timothy L. Channell, Chair 540-831-5177
Email: tchannell@radford.edu Web: radford.edu
UNIVERSITY SHENANDOAH
CONSERVATORY 1460 University Dr. Winchester, VA 22601 540-665-4581 Email: admit@su.edu Web: su.edu/conservatory Program: Music, Recording, Composition, Sound Reinforcement, MIDI and Music Production
VIRGINIA TECH DEPARTMENT OF MUSIC School of The Performing Arts
251B Henderson Hall
Blacksburg, VA 24061
Contact: Jason Crafton
540-231-6713
Email: jcrafton@vt.edu
Web: vt.edu/academics/majors/music.html
WASHINGTON
BELLEVUE SCHOOL OF MUSIC
2237 140th Ave., N.E. Bellevue, WA 98005
425-401-8486
Web: bellevueschoolofmusic.com
Contact: Robert H. Wilson, Director
Basic Rate: please call for info
EVERGREEN STATE COLLEGE
2700 Evergreen Pkwy. N.W. Olympia, WA 98505
360-867-6000
Email: admissions@evergreen.edu
Web: evergreen.edu
JACK STRAW PRODUCTIONS
4261 Roosevelt Way N.E. Seattle, WA 98105
206-634-0919
Email: jsp@jackstraw.org
Web: jackstraw.org
Contact: Joan Rabinowitz, Exec. Dir.
JAM ACADEMY MUSIC SCHOOL
17802 134th Ave. N.E., Ste. 19 Woodinville, WA 98072
425-906-4766
Email: info@jamacademy.com
Web: jamacademy.com
MIRROR SOUND STUDIOS
301 N.E. 191st St. Seattle, WA 98155
206-440-5889
Email: info@mirrorsound.com
Web: mirrorsound.com
Programs: Audio Recording Course, 8-week program
MUSIC CENTER OF THE NORTHWEST
901 N. 96th St. Seattle, WA 98103
206-526-8443
Email: office@musiccenternw.org Web: musiccenternw.org
MUSIC WORKS NORTHWEST
1331 118th Ave. S.E., Ste. 400 Bellevue, WA 98005
425-644-0988
Email: registration@musicworksnw.org
Web: musicworksnw.org
SEATTLE DRUM SCHOOL
12729 Lake City Way N.E. Seattle, WA 98125
206-364-8815
Email: info@seattledrumschool.com Web: seattledrumschool.com
Additional location: 1010 S. Bailey Seattle, WA 98108 206-763-9700
SHORELINE COMMUNITY COLLEGE Music Department, Bldg. 800 16101 Greenwood Ave. N. Shoreline, WA 98133 206-546-7632
Email: teggers@shoreline.edu Web: shoreline.edu
WEST VIRGINIA
MOUNTAIN MUSIC FESTIVAL Ace Adventure Resort Concho Road Oak Hill, WV 25901 877-382-5893
Email: info@mountainmusicfestwv.com Web: mountainmusicfestwv.com
WEST VIRGINIA UNIVERSITY School of Music 1436 Evansdale Dr. PO Box 6111 Morgantown, WV 26506 304-293-5511
Email: music@mail.wvu.edu Web: music.wvu.edu
WISCONSIN
LAWRENCE UNIVERSITY SCHOOL OF MUSIC 711 E. Boldt Way Appleton, WI 54911 920-832-7000
Web: lawrence.edu/conservatory
UNIVERSITY OF WISCONSIN - MADISON SCHOOL OF MUSIC 3561 Moose Humanities Bldg.
455 N. Park St. Madison, WI 53706
608-263-1900
Email: music@music.wisc.edu
Web: music.wisc.edu
Cost: please call or see web for info
UNIVERSITY OF WISCONSIN OSHKOSH MUSIC DEPARTMENT
800 Algoma Blvd. Oshkosh, WI 54901
920-424-4224
Email: music@uwosh.com
Web: uwosh.edu/music
Degree: B.M. in Recording Technology
WISCONSIN CONSERVATORY OF MUSIC
1584 N. Prospect Ave. Milwaukee, WI 53202
414-276-5760
Email: info@wcmusic.org
Web: wcmusic.org
Cost: please call or see web for info
WYOMING
CASPER COLLEGE
School of Music 125 College Dr. Casper, WY 82601
307-268-2537
Contact: Eric Unruh, Dean
Email: unruh@caspercollege.edu
Web: caspercollege.edu/music
Contact: Eric Unruh, Dean, School of Fine Arts & Humanities
UNIVERSITY OF WYOMING Department 3037
Fine Arts Center, Rm 258 1000 E. University Ave. Laramie, WY 82071
307-766-5242
Email: musicdpt@uwyo.edu
Web: uwyo.edu/music INTERNATIONAL
BANFF CENTRE, THE 107 Tunnel Mountain Dr., Box 1020 Banff, Alberta, Canada T1L 1H5
403-762-6100
Web: banffcentre.ca
BERKLEE COLLEGE OF MUSIC CAMPUS AND SUMMER PROGRAMS
Palau de les Arts Reina Sofia – Anexo Sur Avenida Profesor Lopez Pinero, 1 46013 Valencia (Spain) +34 963-332-802
Email: admissionsvalencia@berklee.edu
Web: valencia.berklee.edu/contact-us
Degree: B. M. or M. A.
CONSERVATOIRE DE PARIS
209 Ave. Jean Jaurès 75019 Paris, France +33 1 40 40 45 45 Web: conservatoiredeparis.fr
GUILDHALL SCHOOL OF MUSIC & DRAMA
Silk Street, Barbican London EC2Y 8DT, United Kingdom +44 20 7628 2571 Web: gsmd.ac.uk
HARRIS INSTITUTE 118 Sherbourne St. Toronto, Ontario, Canada, M5A 2R2 416-367-0178, 800-291-4477
Fax 416-367-5534
Email: info@harrisinstitute.com Web: harrisinstitute.com
Degree offered: Diploma
Cost: please call or see web for info
Program: The program names have changed. Producing/Engineering Program is now “Audio Production Program (APP)” and Recording Arts Management is now “Arts Management Program (AMP)”
Notes: The Faculty of 67 leading industry professionals is complemented by a wide range of music industry guest lecturers. Full-time programs are followed by Internship Placements at companies throughout the music industry and start in March, July and Nov.
INSTITUTE OF CONTEMPORARY
MUSIC PERFORMANCE, THE Foundation House 1A Dyne Rd. London NW6 7XG +44 (0) 207 328 0222
Email: enquiries@icmp.ac.uk
Web: icmp.ac.uk
Cost: please call or see web for info
Program: With over 25 years of experience in the sector, the Institute is considered by many to be one of the pioneers of contemporary music
education in the country, leading the way with innovative courses and services. Home of the legendary Guitar Institute, we are respected throughout both the music education sector, as well as by the music industry! We also provide a wide range of clinics, master classes, showcases and gigs to provide students with that ‘real world’ experience and opportunity.
MCGILL UNIVERSITY
Schulich School of Music Strathcona Music Building 555 Sherbrooke St., W. Montreal, Quebec, Canada H3A 1E3 514-398-4535
Web: mcgill.ca/music
MOSMA
Mid-Ocean School of Media Arts 1588 Erin St. Winnipeg, Manitoba R3E 2T1, Canada 204-775-3308
Email: info@midoceanschool.ca Web: midoceanschool.ca
OIART
Ontario Institute of Audio Recording Tech. 500 Newbold St. London, Ontario N6E 1K6 519-686-5010
Email: inquiry@olart.org Web: oiart.org
RECORDING ARTS CANADA 1207 Rue Saint-Andre Montreal. Quebec 514-286-4336
Email: montreal@recordingarats.com Web: recordingarts.com
Additional location:
111 Peter St., Ste. 706 Toronto, Quebec 416-977-5074
Email: toronto@recordingarts.com
ROYAL COLLEGE OF MUSIC (LONDON)
Prince Consort Rd. London SW7 2BS, United Kingdom +44 20 7591 4300
Email: info@rcm.ac.uk Web: rcm.ac.uk
Degree: Bachelor’s degree SAE INSTITUTE OF TECHNOLOGY Melbourne, Australia 235 Normanby Rd. South Melbourne, VIC 3205 +61 (0)3 8632 3400
Fax: +61 (0)3 8632 3401
Email: melbourne@sae.edu Web: sae.edu.au/campuses/melbourne
Additional locations:
Australia
Sydney, Brisbane, Byron Bay, Adelaide, Perth
United Kingdom
SAE House 297 Kingsland Rd. E8 4DD London +44-(0)3330-112-315
Email: enquiries@sae.edu Web: sae.edu/gbr Oxford, Liverpool, Glasgow
France
Honey Street Building 229 9330 Aubervilliers +33 (0)148 11 96 96
Email: paris@sae.edu Web: sae.edu/fra/fr
Germany
Homburger Landstr. 182 60435 Frankfurt/Main 49-069 57 70 16 40
Email: frankfurt@sae.edu
Web: sae.edu/deu/de Hannover, Stuttgart, Munchen, Leipzig, Hamburg, Bochum, Berlin
TREBAS INSTITUTE 543 Yonge Street Suite 300 Toronto, Ontario, M4Y 15Y, Canada 416-966-3066
Web: trebas.com
Programs: Audio Engineering, Entertainment Management, Event Venue Management, Film TV production
Additional location: Montreal English, Montreal Francais 550 Sherbrooke St. W., Ste. 600 Montreal, Quebec, H3A 1B9 514-845-9610
Programs: DJ Arts Tech., Film TV Prod., Music
Business Admin., Sound Design, Studio Recording Live Sound.
UNIVERSITÉ BLAISE PASCAL
34, Ave. Carnot BP 185
63006 Clermont-Ferrand CEDEX France +33 (0)4 73 40 63 63 (standard) Fax +33 (0)4 73 40 64 31
Email: ri@univ-bpclermont.fr
Web: uca.fr
Degree: AA protools certification
Cost: Less than $10,000 per year including accommodations program and facilities: two & three year university program taught in a 2500 ft. professional studio. The best engineers and producers will be teaching you their craft while acousticians, micro- electronic and physics teachers will take you deeper into how things work.
UNIVERSITE DE MONTREAL’S FACULTY OF MUSIC
200 av. Vincent-d’Indy, Bureau B-301 Montreal (Quebec) H2V 2T2 514-343-6427
Email: musique@umontreal.ca
Web: musique.umontreal.ca
Degrees: Major in Digital Music, Minor in Digital Music, Bachelor in Electroacoustic Music, Bachelor in Mixed Electroacoustic Music
UNIVERSITY OF TORONTO Faculty of Music Admission Office - Room 145 Edward Johnson Building 80 Queen’s Park Toronto, Ontario, Canada M5S2C5 416-978-3750
Web: music.utoronto.ca
Degree: Two-year Master’s in Music Technology and Digital Media ONLINE
BERKLEE ONLINE 1-617-747-2146
Email: advisors@online.berklee.edu Web: online.berklee.edu
EDDIE HADDAD
Lead Guitar Instructor Guitar Mastery Method
832-360-6851
Email: eddie@guitarmasterymethod.com Web: guitarmasterymethod.com
FULL SAIL UNIVERSITY
844-706-0683
Web: fullsail.edu/campus-and-online/onlinedegrees
See Florida listing for details SAVVY MUSICIANS ACADEMY Web: savvymusicianacademy.com Leah McHenry
SCHOOL OF SONG
Web: schoolofsong.org Email: jaclynu@grandstandhq.com
YOUSICIAN
Music singing and instrument lesson app with celebrity collaborators. Web: yousician.com
Services: Unleash your inner musician with Yousician
The first step of learning to play an instrument? Wanting to play. Explore your love of music with us, whether you’re a complete beginner or a seasoned pro. Let’s play!
Whether you’re a novice or a pro singer, this one-of-a-kind MC list enables you to connect with experts who can address your special needs as either a live singer or recording artist. The following information has been verified by the listees.
AMAZING SINGING AND VOICE COACHING
818-445-3969
Los Angeles, Ca 91342
Web: marquitawaters.com
Email: marquita@marquitawaters.com
Duration of Sessions: Sessions can be as short at 30 minutes to an hour or longer for recording artists.
Rates: call for info
Notes: I specialize in correcting and eliminating straining. You will know how to keep your voice healthy and strong and perform with excellence from what I share with you. It’s time to bring out your talent and abilities, your dynamics on stage and in the studio, to break through any fears you may have. With decades of experience on stage and recording I know what you go through with your voice and talent. I’ve experienced the problems you may run into like getting hoarse or losing your voice. We will do the work that eliminates that as I’ve done with many singers. You deserve to continue the joy of singing throughout your life. To flourish as a singer. I’d love to help you so contact me. Author of I Will Not Grow Weary: Survival and Success - A Singer’s Guide to Singing
ANGEL DIVA MUSIC
Jan Linder Koda Los Angeles, CA 818-888-5885, SKYPE
Email: jan@angeldivamusic.com angeldivamusic@gmail.com
Web: facebook.com/p/jan-linder-koda-angel-divamusic-100063496905042
Basic Rate: please call for info
Clients: Holly Robinson-Pete, Tim Fagan, David Hasselhoff, Lou Rawls, Kathy Griffin, Tiffany Alvord, Pia Zadora, Robert Guillaume, and 22 Grammy Winners.
Notes: Author of the book “Once More With Feeling”. Grammy-nominated singer- songwriter. Consultation will include pin-pointing what may be missing and what can be added to deliver riveting performances. Will also include how to tap into the truth of the storyteller, create characters from a deeper understanding and use this knowledge in the artist’s writing process. Jan will help to develop and brand the act, from songs to business. Award-winning singersongwriter-actor- performance coach Jan LinderKoda’s understanding of emotional truth and ability to convey this to her artist clients leads to profound breakthroughs.
APPELL VOICE STUDIO
#1 Pegasus Dr. Coto De Caza, CA 92679
949-382-5911, SKYPE
Email: vocalcoach.tea@gmail.com
Web: appellvoicestudio.com
Contact: Thomas Appell
Services: vocal coaching, record production, music production songwriting, video production
Notes: Author of Can You Sing a HIGH C Without Straining?
ART OF SINGING Studio City, CA
818-378-7841
Email: Darlene@ArtofSinging.com, info@timeart.us
Web: darlenekoldenhoven.com, artofsinging.com
Contact: Darlene Koldenhoven Individualized programs include comprehensive training in voice technique, vocal coaching, ear-training, stage/audition/ studio performance, sight-singing, and specialized sonic therapy to enhance the potential of the ear and voice. Private lessons in Los Angeles or anywhere by Skype/Zoom/Facetime. Author of “Tune Your Voice: Singing and Your Mind’s Musical Ear,” a 94 page book with 7 instructional CDs &/or downloads ($49.95) endorsed by faculty from Berklee, Juilliard, NYU and more, available at TuneYourVoice.net or in retail music stores. For more info on Darlene, see her website. Duration: 30/45/60 min. lessons.
ARTIST VOCAL DEVELOPMENT
West Hills, CA
818-430-3254
Email: sbensusen@socal.rr.com
Web: steviebensusen.com (click on Artist Vocal Development)
Basic Rate: Please call for rates
Clients: Jordan Knight (New Kids On The Block), Nichole Cordova (Girlicious), Candice Craig (Nicki Minaj), Velvet Angels, O Town, No Mercy, Shola Ama, A1, Skyler Stecker, Indiana Massara Services: Stevie Bensusen is a Multiplatinum Vocal Producer and Live Performance Vocal Coach who has vocal produced the above artists and others. With a unique approach, Stevie develops singers in the recording studio and in live performance rehearsals whose goals are to make records, play live and have no fear when performing in front of an audience. The definition of a great singer is what you do on stage not in the recording studio where you can take as long as you need and use technology to get your vocal right. Call for a free consultation.
AUDREY BABCOCK
Los Angeles, CA
917-572-4494
Singer-Songwriter, Jazz, Classical, World, Musical
Theatre
Email: audrey@audreybabcock.com
Web: audreybabcock.com
Notes: As a teacher and coach, Ms. Babcock has worked extensively with Emerging Artists all over the globe for the last 10 years. From Opera to Broad- way, World Music to Singer-Songwriter and Jazz. She has also worked with actors and public speakers to bring out the full range of what they can convey through the voice. She uses a technique firmly rooted in the classic teachings of Bel Canto, but gives singers the tools to use their instrument in a satisfying, powerful, and healthy manner, across the board in any style they choose.
BEVERLY BREMERS’ VOICERCISE
5159 Shotwell Street Woodstock, GA 30188
Additional Location: Lake Forest, CA 949-874-0616
Email: bev@voicercise.net
Web: voicercise.net
Basic Rate: $75/hr. for private instruction online only via Zoom, classes also available
Clients: all levels - adults and children
BOB AND CLAIRE CORFF
VOICE STUDIOS
323-387-9267 (Bob), 323-387-9276 (Claire)
Email: corffvoice@gmail.com, clairecorff@aol.com
Web: corffvoice.com
Basic Rate: please call for info
Clients: Film TV & Stage Personalities, Sports Broadcasters (We are now working Coast to coast and internationally using Zoom It works great.)
BOB GARRETT
Studio City, CA 818-642-1691, Insta: Itsbobgarrett Facetime & Zoom, Facebook
Email: bobgarrett5@gmail.com
Web: bobgarrett.net
Basic Rate: call
Clients: Vanessa Hudgens, Channing Tatum, Katy Perry, Garrett Clayton, Elle Fanning, American Idol, The Voice, Drew Barrymore, Jessica Lange, Gerard Butler, Janet Jackson, Brian Stokes Mitchell, Evan Peters, Sarah Paulson, Kathy Bates, Judy Davis, et al.
BRAD CHAPMAN
Las Vegas, NV
Vocal Coach
310-405-9162
Email: bradchapmanvocals@gmail.com, brad@ bradchapmanradicalvocalcoach.com
Web: bradchapmanradicalvocalcoach.com/home
Contact: Brad Chapman
Basic Rate: Please ask
Services: I have done vocal coaching, vocal preproduction and vocal production for over 45 years and developed my signature technique for producing feel while working with producers and artists such as Quincy Jones, David Kahne and 100+ Grammy winners. Producers, managers and artists know that the feel and emotional expression of a singer’s performance is the number one priority to the listener. Everything else pales in significance. I always produce and demonstrate the feel in the style of the artist.
Clients: Stevie Wonder, Michael Jackson, Prince, Madonna, Annie Lennox, Natalie Cole, James Ingram, Al Jarreau, Nina Simone, Frankie Valli, Paul Stanley of KISS, Vince Neil of Motley Crue, Annie Lennox, Peter Cetera, Anita Baker, Tia Carrere, REO Speedwagon, Expose.’ Grammy voting member and P&E Wing member
BRECK ALAN
Nashville, TN
SKYPE or Face Time
Email: breck@breckalan.com
Web: bodysinging.com
FB: facebook.com/bodysinging
Contact: Breck Alan
Basic Rate: call or email for rate, SKYPE
Clients: Rachel Platten, Andy Grammer, Baby Ariel, Drake White, Ryan Hurd, OAR, String Cheese Incident, Sally Taylor, Steve Aguirre, Brazilian Girls and many more.....
BRISTOL RECORDING STUDIOS
238 Huntington Ave. Boston, MA 02115
617-247-8689, 800-603-0357
Email: info@bristolstudios.com
Web: bristolstudios.com
Contact: Jason Blaske
Basic Rate: call for info Services: Audio recording and production courses, professional internships
CCVM/CARI COLE VOICE & MUSIC CO.
Celebrity Voice Coach, A&R, and Label Services
401 E. 34th St., Ste. #N19K New York, NY 10016
212-532-0828
Email: info@caricole.com
Web: caricole.com
Basic Rate: please visit website and download application for info Services: Online programs, Private Consulting: Vocal Technique & Ar- ranging. Songwriting, A&R, Branding, Management, Marketing, Artist & Music Career Development. White Glove Label Services: Branding, Styling Team, CCVM Songwriting Team (with hit songwriters), A&R, Record & Productions Services.
COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 70433
985-590-4545
Web: laapa.com
Basic Rate: please call for info
Additional locations: 105 Campbell Ave. #3 Mandeville, LA 985-674-2992 2020 Dickory Ave., Ste. 200 Harahan, LA 504-738-3050
CYDNEY WAYNE DAVIS VOCAL ARTS STUDIO/ HAPPNIN’ HOOKS MUSIC PRODUCTIONS Inglewood, CA 90301 424-261-2393
Email: cydneywaynedavis@gmail.com
Web: cydneywaynedavis.weebly.com
Basic Rate: Private Vocal Lessons – in person: $85 an hour; Virtual-Zoon: &75 per hour for singers and actors, Performance coaching for recording artists and stage performers, Small Group Classes: Vocal Basics, Songwriting Basics, Pro Singers Workshop, One Day Workshop Master Classes: Music Business/Music Theatre/ Stage Performance. Available for Live Vocal Performance Coaching for stage and Vocal Producer for studio recordings. Call for rates.
DANIEL FORMICA VOCAL LESSONS
Morro Bay and Arroyo Grande Area 310-213-0700, SKYPE
Email: yourvocalteacher@gmail.com Web: yourvocalteacher.com
Contact: Daniel Formica Services: specialize in vocal technique, rehab, no short cuts: rock, pop, etc.
DANIEL KNOWLES VOICE STUDIO
West Hollywood Speech-Language Pathology/Voice Center 971 N. La Cienega Blvd., Ste. 209 West Hollywood, CA 90069 310-927-1079, SKYPE
Email: daniel@danielknowles.com Web: danielknowles.com
Contact: Daniel Knowles, MAMuEd., MA CCC-SLP
Basic Rate: $125 an hr., $575 block of 5 lessons, $1100 block of 10 lessons Services: Licensed Speech-Language Pathologist/ Voice Therapy/Singing Voice Specialist/Singing Teacher. Voice rehabilitation for speech and singers. Professional vocal technique for singers from beginners to professionals. Clients: Local and nationally recognized (album charts) working recording and performing singers. Artist privacy is respected.
DARCI MONET VOCAL STYLE STUDIO Valley Glen, CA 818-209-6432, IN-PERSON/ZOOM/SKYPE
Email: minxmusic@aol.com
Web: singlikeyoumeanit.com
Rates: see website
Services: Elite Level intuitive private voice, performance, songwriting and career coaching using Darci Monet’s own “Tech and Truth Method” for voice with integration of mindset and self-development techniques. All contemporary styles, ages five and up. Vocal group coaching, recording session coaching/ vocal production, audition and tour prep are also available. Casual, fun, safe and positive environment!
#SingLikeYouMeanIt
**Mention this listing for a special discount
DAVID COURY
323-965-1488
Email: info@howardfine.com
Web: howardfine.com/voice-coach
Basic Rate: please call for info
Notes: Singing and Speech for Actors
DEANNA COLON
Deanna’s Vocal Studio
International Vocal Coach - in Person (Las Vegas) & online
323-591-9829
Email: lessons@iamdeanna.com
Web: iamdeanna.com
Notes: Quarter semi-finalist on season 8 of America’s Got Talent, Session Background for Nick Jonas, Justin Bieber, Celine Dion, et al.
Extensive TV & Radio Commercial singing work
DEBORAH ELLEN VOCAL STUDIO
Simi Valley, CA and via video conferencing 310-422-9166, SKYPE
Web: deborahellen.com
Basic Rate: please call for info
Notes: Extraordinary vocal technique. Artist Development Opportunities. Many successful placements of student vocals in film/TV.
DIAMANTE VOCAL STUDIO
605 N. Beachwood Dr. Los Angeles, CA 90004
323-466-7881
Email: diamantesings@yahoo.com
Web: facebook.com/eduardo.diamante.31, backstage. com/resources/detail/actingschool/diamante-vocalstudio-81992
Basic Rate: please call for info
Clients: all levels
Style: Seth Riggs/S.L.S
DIANE POSTELL
854 South Green Circle Venice, FL 34285
443-803-0545
Email: dmpostell@gmail.com
Web: postellproductions.com, dianepostell.com
Services: Vocal coaching, pre-production vocals, auditioning, vocal arrangements, solid vocal technique, lyric writing/songwriting, vocal repair for pro and semi-pro, teens, young artists, vocal producers, special needs teens. Also teach piano and guitar lessons. Teach online anywhere. Online Voice Classes.
DIVAS IN TRAINING
Hollywood--Las Vegas 888-340-7444, 01-702-900-5621
Email: premierwest@earthlink.net
Web: divasintraining.com
Basic Rate: Varies. Industry package discounts. Clients: Jin Jin Reeves (Hitzville), ZDoggMD, Michael Ross Nugent, May J, Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo Alejandro
DRAGON II ENTERTAINMENT
Doug Dee Anthony La Verne, CA 909-599-1540
Web: dragoniientertainment.com
Email: doug@douganthony.com
Basic Rate: please call for info
Clients: all levels, now including voiceover clients Services: visit the website for all the details and more information.
ELISABETH HOWARD
Director, Vocal Coach 800-829-SONG, (7664) Email: elisahoward@gmail.com
Web: vocalpoweracademy.com, vocalpoweracademy. com/pages/elisabeth
Clients: Vocal coach for America’s Got Talent, STING, the Police, Lionel Richie, Priscilla Presley, Vocal Power Instructors throughout LA; Author: Vocal Power Singing Method Toolkit for Singers at vocalpower.com
Rates: Call for rates
Notes: BS, MS - Juilliard School of Music
Locations: Los Angeles, Santa Clarita, Las Vegas, Houston, Dallas, throughout Italy.
ELLEN JOHNSON/ VOCAL VISIONS
Near Grass Valley/Nevada City and Yuba, Placer & Sacramento County Area, CA
Online Lessons Available
Email: ellen@ellenjohnson.net
Web: vocalvisions.net
Basic Rate: Go to website for info
Clients: Private lessons for all styles, recording studio coaching, audition preparation, improvisation, master classes, and jazz workshops.
Note: Author of The Vocal Warm Up CD/Download, Vocal Builders, You Sing Jazz and Jazz Child: A Portrait of Sheila Jordan
EVELYN HALUS
Los Angeles, CA 90036
323-935-4420, SKYPE, Zoom
Email: evelynhalus@aol.com
Web: evelynhalus.com
Basic Rate: call for info
Clients: Jennifer Lopez, Matthew Morrison, Jessica Biel,
Megan McGinnis, Neil Patrick Harris, Cher, Nathan Lane, Paula Abdul, Olivia Newton-John, Depeche
Mode, Lindsay Mendez, Sutton Foster and many Broadway vocalists, etc.
Accepting new students of all levels.
THE FAIRBANKS SUMMER ARTS FESTIVAL, INC.,
600 University Avenue Fairbanks, AK 99708
907-474-8869
Email: info@fsaf.org
Web: fsaf.org
Basic Rate: please call for info
FAITH RUMER-THE ARTIST FIRST Burbank, CA
310-948-4335
Email: transform@theartistfirst.com
Web: theartistfirst.com
Basic Rate: please call for info
Clients: all levels, teaches Grammy- winning recording artists, over 30 years coaching, Masters Degree in voice therapy.
GFIRE STUDIOS
Austin, TX 78723
512-350-6181, Zoom, FaceTime, SKYPE (djgfire)
Email: gfiremusic@gmail.com
Web: gfiremusic.com
Contact: gfire
Basic Rate: $90/hour, $45/half hour
Services: Full vocal training and coaching, 26 years professional singing and piano teaching, currently teaching “Yoga For the Voice,” a unique and fun system of applying the science of voice with ancient yoga breathing techniques to truly realize one’s full vocal capabilities. Lessons in person or over the phone or the internet via Zoom, FaceTime, SKYPE
Clients: My students have performed in internationally touring bands, on the stage of the Grand Ole Opry, made records in R&B, rock, country, singer-songwriter, pop and other styles, performed excellently in American Idol and other auditions, including musical theater auditions, learned to go from zero to karaoke in as little as three months, gone from being “tone deaf” to having full sets of repertoire in which they sing easily and in tune.
GOODRICH VOCAL STUDIO
4001 W. Magnolia Blvd. Burbank, CA 91505
818-216-3944, Zoom
Email: mike@mikegoodrich.com
Web: mikegoodrich.com
Basic Rate: please call for info
GUITAR SHOWCASE/S.M.I.
3090 S. Bascom Ave. San Jose, CA 95124
408-377-5864
Email: smi.admin@guitarshowcase.com, contact@ guitarshowcase.com
Web: guitarshowcase.com
Contact: Jim Brunom Amanda Dieck Styles: all vocal styles
Basic Rate: call for info
INGRID PRANIUK
626-968-4071
Web: ingridpraniuk.wixsite.com/vocal-studios
Basic Rate: please call for info
Clients: The privacy of the client is respected; no name is ever listed nor mentioned. Major label artists/ major movie industry actors.
Services: Certified private vocal instructor/ vocal coach in all genres (rock, pop, electronica, hardcore metal/ industrial/screaming, classical, musical theatre). Specialized in training professional musicians to survive touring/recording, training actors in music (singing, playing piano and other instruments) and treating vocal problems in singing and speech. Specialized and Certified in Vocal Health and in Holistic Health.
INTERNATIONAL SCHOOL OF MUSIC THE ARMENIAN FOLK CULTURAL CENTER
662 W. Broadway Unit A
Glendale, CA 91205
818-548-7959
Email: contact@ismglendale.com, interschoolofmusic@gmail.com
Web: facebook.com/ismglendale, crescendo.la
Basic Rate: please call for info
JAMES LUGO’S VOCAL ASYLUM
615-540-9108, SKYPE
Email: james@jameslugo.com
Web: jameslugomusic.com
Contact: James Lugo
Basic Rate: please call for info
Services: Specializing in rock and pop vocals. Pro Tools studio on premises.
Clients: A Fine Frenzy, the Veronica’s, 311, the Smashing Pumpkins, MTV, VH1
JOHN DEAVER
North Hollywood, CA 818-469-6281
Email: vocalcoach1@gmail.com
Web: johndeaver.com
Basic Rate: please call for info
Clients: All levels. Sara Bareilles, Daniel Powter, Cher, Brendan Fraser, Heather Graham, Kimiko Kasai, Michelle Pfeiffer, Michael Sembello, Vonda Shepard, Pop Stars and many working singers and musicians.
JOHN FLUKER VOCAL STUDIOS
747-500-9770
Email: johnfluker@mac.com
Web: johnfluker.com/contact
Basic Rate: please call for info
Clients: Jennifer Lopez, Roselyn Sanchez, Kim Fields, Nolan Sotillo, Darren Romeo, served as MD for Gladys Knight, all levels.
KAREN JENNINGS
2019 Hyperion Ave. Los Angeles, CA 90027
319-621-4302, Zoom, FaceTime, Skype
Email: karen.jennings@csun.edu
Basic Rate: please call for info; sliding scale available Services: Expert instruction in vocal technique for contemporary/ non-classical singing styles (pop, rock, R&B, jazz, country, etc.), including breath control, chest mix techniques, range extension, techniques to increase strength/ stamina and improving vocal technique without changing the singer’s style.
Certified instructor of the Dante Pavone Vocal Method. Also, voice therapy and singing voice rehabilitation, rehabilitative and corrective vocal techniques for damaged/problematic voices (licensed voice/speech therapist). All levels of singers are welcome.
Clients: Artists with Warner Bros., Sony, RCA, Interscope, Black Top Records, Hollywood Records, Restless Records, Universal, Mercury, Quincy Jones Music and more.
KEN SOFOLO’S DISTINCTIVE VOCALS
Rockford, IL
815-901-2777
Web: kensofolo.com
Email: kentalks4you@outlook.com
Services: “Professional Home Studio, Reasonable Rates, Rapid Turnaround”
Rates: Flexible, Professional, Rates quoted per project. Pro bono charity and non-profit VO available
LB MUSIC SCHOOL 243 Central Avenue Medford, MA 02155
781-874-1813
Web: lbmusicschool.com
Additional location: 577B Walnut St. Lynn, MA 01905
LEE LONTOC Venice, CA
323-965-7664
Email: info@hollywoodvocalstudios.com
Web: hollywoodvocalstudios.com
Basic Rate: please call for info
Services: vocal coach and trainer specializing in rock, R&B, pop and musical theater.
LIS LEWIS
The Singers Workshop Valley Village, CA 91607
213-880-5123
Email: lis@thesingersworkshop.com
Web: thesingersworkshop.com
Basic Rate: please call for info; Skype and FaceTime lessons available
Clients: Rihanna, Miguel, Demi Lovato, Gwen Stefani, Britney Spears, Courtney Love, the Pussycat Dolls, All American Rejects, Linkin Park, Jack Black, Jimmy Eat World, Colbie Caillat, Bryson Tiller, PinkPantheress and Kali Uchis Vocal technique - all pop styles; performance coaching.
LISA POPEIL’S VOICEWORKS Fillmore, CA 93015
818-634-3778, SKYPE/ZOOM
Email: lisa@popeil.com
Web: facebook.com/voiceworks, popeil.com
Basic Rate: please call for info
Clients: all levels, technique expert and performance coach, songwriting/ recording.
Notes: MFA in Voice, creator of “The Total Singer” instructional prof.
LOS ANGELES MUSIC & ART SCHOOL 3630 E. 3rd St. Los Angeles, CA 90063 323-262-7734
Email: stayintune@lamusart.org
Web: lamusart.org
Basic Rate: 30-minute private music lesson for a child (17 and under): $18 30-minute private music lesson for an adult (18 and over): $20
Services: Monday - Friday 2 p.m. - 8 p.m. and Saturday 8 a.m. - 4 p.m.
LOYOLA MARYMOUNT UNIVERSITY
College of Communication and Fine Arts
1 LMU Dr. Los Angeles, CA 90045-2659 310-338-5853
Web: pamela.wimberly-willis@lmu.edu
Basic Rate: please call for info
MANDEVILLE SCHOOL OF MUSIC
105 Campbell Ave. #3 Mandeville, LA 70448
985-674-2992
Web: laapa.com
Basic Rate: please call for info
MARK BAXTER VOCAL STUDIOS
617-251-6002
Email: mbaxter@voicelesson.com
Web: voicelesson.com
Basic Rate: please call for info Clients: all levels. Aerosmith, Journey, Van Halen, Buckcherry, Jake Owen, Velvet Revolver, Machine Head, Goo Goo Dolls, Vampire Weekend, Still Woozy, Cuco, Jonny Lang, Tonic, Lewis Del Mar, members of the RENT cast and Trans-Siberian Orchestra, Aimee Mann, the Dresden Dolls. Author of The Rock- N-Roll Singer’s Survival Manual, instructional video: The Singer’s Toolbox, and instructional CD, Sing Like an Idol.
Additional locations: Online (Zoom, Skype, FaceTime) 10852 Burbank Blvd. North Hollywood, CA
131 W. 72nd St. New York, NY
MARK JOHNSON Nashville, TN
615-587-2516
Email: marklaneband@gmail.com Web: theboardfoundation.com
Contact: Mark
Rates: call for rates
Clients: All Ages, All Levels (Skype & Zoom)
Styles/Specialties: Guitar lessons, All Styles, Ear Training, Songwriting, Music Theory, Music Business/ Marketing, Voice/Vocals, Bass, Piano
MARTA WOODHULL
Singing For a Living Downtown, Los Angeles 818-752-0833
Email: marta@singingforaliving.com
Web: singingforaliving.com
Basic Rate: Private lessons, $350/session on location. Call for project pricing. ZOOM available. Specializing in double and triple threats, actors, dancers, singersongwriters. Vocal technique, vocals for film roles, soundtracks, studio production and recording. Grammy-nominated arranger, educated in New York, Ms. Woodhull is one of Hollywood’s most respected coaches. Clients have won Tonys, Emmys, Grammys, Oscars.
Clients: Lea Salonga, Paula Abdul, Katharine McPhee, Benicio Del Toro and more.
MICAH’S PROFESSIONAL
VOCAL COACHING
849 S. Broadway Los Angeles, CA 90014
Email: scheduling@micahprovocals.com
Web: micahprovocals.com
Services: Online lessons via Zoom, Skype, and Face Time. National and International vocal lessons. Clients: Please visit website for client list, rates and info
MICHAEL LAVINE
165 W. 66th St., Ste. 3U New York, NY 10023 917-826-2116, SKYPE. Zoom
Email: broadwaymhl@aol.com
Web: michaellavine.net
Basic Rate: $50 per hour
Notes: Coaches on both coasts
MONICA MARGOLIS
Vocal Coach/Singing Instructor San Fernando Valley, CA 818-599-5297, SKYPE
Web: monicamargolis.com
Email: info@monicamargolis.com
Notes: Monica has been teaching vocal mechanics to singers, actors, dancers and speakers for over 20 years. She has worked in theater and film, appeared in variety shows, worked as a voiceover artist and was chosen as Musical Director for the West Coast Dance Theater. Monica specializes in teaching her vocal method to artists at every level of their career, from the young beginner to major label artist. The Monica Margolis Vocal Arts Studio offers lessons in voice, songwriting, acting, guitar, piano, bass and drums. Private and group lessons are available at our place or yours. Be sure to YouTube Monica Margolis’s interview with American Idol’s “Idol Chat”
MUSICIANS INSTITUTE
Vocals Program 6752 Hollywood Blvd. Hollywood, CA 90028 323-462-1384, 866-383-0468, 800-255-7529
Email: admissions@mi.edu Web: mi.edu
Basic Rate: please call for info Clients: Certificate and degree programs designed for intermediate to pro level.
Services: Entrance audition required. Private lessons included for Bachelor, AA, Certificate and Encore programs.
PATRICIA SHANKS VOICE STUDIO Huntington Beach, CA 949-723-4473, ZOOM
Email: pshanks@studioshanks.com
Web: studioshanks.com
Contact: Patricia Shanks
PEISHA MCPHEE
Studio City, CA
Email: peishamcphee@gmail.com
Web: peishamcphee.com, twitter.com/peishamcphee, instagram.com/peisha.mcphee
Basic Rate: please email for information
Clients: from amateurs to professional actors and singers
Services: the art of vocal technique, styling, patter, subtext and stage presence. Specializing in pop, belt and legitimate placement. Peisha McPhee is a celebrity coach who’s worked for American Idol, and on Disney’s Moana Owner of McPhee International vocal studios in Studio City. Mother of NBC Smash and Broadway’s Waitress, Katharine McPhee, and American Idol vocal coach, Adriana McPhee, coached for Disney movie ENCANTO.
PHILIP PELKINGTON VOCAL STUDIO
212-879-0229
New York/LA Studios
Email: info@philippelkington.com
Web: philippelkington.com
Contact: Philip Pelkington
Basic Rate: contact by email for rates
Services: Professional vocal technique for singers from beginners to profes- sionals. Specialty, working with and mentoring children and teens. Will do Skype lessons. Pop, R&B, cabaret, Broadway, live performance, recording studio coaching and in-studio vocal production for CD projects, etc.
Clients: Lilla Crawford, Bea Miller, Abigail Dylan Harrison, Brianna Mazzola and Dana Gaier. Children performing on Broadway and National Tours, as well as film, tv and recording.
PRO MUSIC LESSONS BY FAWN
Los Angeles, CA 90068
323-496-8704
Email: pianovoicesongwriting@yahoo.com
Web: fawn.rocks, facebook.com/promusiclessons, fawnmusic.com
Basic Rate: Please visit the website. Lessons: (30 min, 45 min, 60 min, 90 min sessions)
Services: International private vocal, piano, songwriting, vocal rehabilitation and speech coach. All ages accepted and styles range from Pop, Opera, Classical, Broadway, Jazz, Rock, R&B, Hip-Hop, Rap, Ragtime, Folk, Big Band and Movie Scoring. Vocal Production and Editing in Logic; Body Programming/ Seth Riggs/Fawn’s Original techniques. Singing, Speaking Voice, Speech, Vocal Rehabilitation, Rap, Sales Presentation, Motivational Speaking, Performance, Proper Vocal Placement, Music Theory, Ear Training, Lyric Writing, Composing, Melody Writing, Classical, Pop and Jazz Piano. Over 20 yrs experience. The Voice, America’s Got Talent, American Idol, X Factor, Grammy, Oscars, more. (ASCAP. BMI and NARAS Grammy member)
ROBERT LUNTE & THE VOCALIST STUDIO
Belting & Head Voice Training Specialist 425-444-5053
Email: robert@thevocaliststudio.com
Web: thevocaliststudio.com
Contact: Robert J. Lunte
Basic Rate: see website for rates
Clients: The TVS Method specifically focuses on training techniques designed to build the strength and motor skills for register bridging and belting in the head voice. TVS is an Internationally recognized voice training school for singing vocal techniques, public speaking, teacher training and vocal related events. Robert is also the author and producer of the critically acclaimed vocal instruction training online course and book, “The Four Pillars of Singing” and nine online courses for singers. The TVS Method is practiced in 175 countries worldwide and 100,00+ students. Protege of the late Maestro David Kyle who trained Ann Wilson (Heart), Layne Staley (Alice in Chains), Geoff Tate (Queensryche), Chris Cornell (Soundgarden), Ronny Munroe (Metal Church), including: Classical training Dr. David Alt, Estill Training with Peter Egan, Phonetics and Formats with Steve Fraser.
ROGER BURNLEY
Los Angeles, CA 90038
323-848-4058, 323-461-2206
Email: info@rogerburnley.com
Web: rogerburnley.com
Basic Rate: call or see website for rates
Clients: all levels, especially good with beginners.
Client list available on request.
Notes: also specializes in vocal repair and rehabilitation
ROSEMARY BUTLER
818-916-1857
Email: vocalstarr@aol.com
Web: rosemarybutler.com
Basic Rate: please call for info
Clients: all levels, kids welcome. Celebrity clients include Linda Ronstadt, Jackson Browne, CSNY, Bruce Willis, Oasis, Hilary Duff, Celine Dion, Bonnie Raitt, James Taylor, Bruce Springsteen, Bob Seger, Sara Brightman, Julio Iglesias, Vanessa Williams, Joni Mitchell, Tina Turner, Andrea Bocelli and Eagles.
Notes: Free lessons with package deal.
SALLY MORGAN
St Petersburg, FL
Email: singlikeyouspeak@gmail.com
Web: singlikeyouspeak.com
Basic Rate: see website
Services: Private Lessons, Online Singer Training and Products. Sing Like You Speak® to sound amazing!
SETH & MARGARETA RIGGS
135 Grammys - unique approach 323-938-4780
Web: riggsvocalstudio.com
STEPHANIE SPRUILL
Spruill House Music, School of Voice and Artist Development Pasadena, CA 91109
626-797-2429, SKYPE, Zoom classes are available Email: spruilhous@aol.com Web: spruillhousemusic.com, facebook.com/ stephanie.spruill, twitter.com/stephaniespruil, Instagram: @spruilhous
Basic Rate: please call for rates
Clients: Julio Iglesias, Michael Jackson, Whitney Houston, Placido Domingo, Elton John, Aretha Franklin, Mariah Carey, Enrique Iglesias
Notes: My book and Ebook is 17 Points To Longevity In Show Business
SUE FINK 11209 National Blvd. Unit 118 Los Angeles, CA 90064 310-943-9231, SKYPE
Email: winifredneisser@angelcitychorale.org, contact@angelcitychorale.org Web: angelcitychorale.org
Basic Rate: please call for info
Clients: all levels, singing lessons, workshops, showcasing, group classes at McCabes; also call for auditions for the Angel City Chorale.
LEANNE SUMMERS
Vocal Coach P.O. BOX 57965
Los Angeles, CA
Web: facebook.com/leannesummersmusic, facebook. com/allthingsvoice Email: hello@leannesummers.com
Notes: ALL THINGS VOICE
SINGER - VOCAL COACH - PRODUCER - SPEAKER
SUSAN DIANE HOWELL MBA, Vocal Director and Coach Instructor MBA, Vocal Director and Coach Instructor
ACADEMY OF DIVAS ARTS (Divas In Training) Las Vegas Studio (888) 340-7444, (702)900-5621 (Las Vegas), 818 231 1491(Intl)
Email: premierwest@earthlink.net
Web: divasintraining.com/about-our-director
Basic Rate: Varies. Industry packages.
Clients: Jin Jin Reeves (Hitzville), ZDoggMD, Michael Ross Nugent, May J, Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo Alejandro
SUZANNE KIECHLE
Studio City, CA 818-769-5880
Email: skiechle@aol.com, SKYPE
Web: suzannekiechle.com
Basic Rate: please call or see website for info
Clients: all levels, recording artists and Broadway, film performers for vocal coaching and repair. Film and Television.
TAMARA ANDERSON
Progressive Vocals Kenosha, WI 847-533-5548, SKYPE, Zoom, Facetime
Email: voxdoc@comcast.net, hello@ progressivevocals.com Web: progressivevocals.com
Basic Rate: Check website or call Services: pop, rock, country, blues, jazz and musical theater
TANISHA HALL
White Hall Arts Academy 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665
Email: mail@whitehallacademy.org
Web: whitehallacademy.org, facebook.com/ whitehallartsacademy
Basic Rate: $35 and up
Clients: Tanisha Hall founded the White Hall Arts Academy - a contemporary performing arts academy located in South Los Angeles. Through the White Hall Arts Academy, Tanisha has reached thousands through individual music lessons, group classes and community programs. Tanisha’s clients are Billboard chart-topping recording artists, Grammy winners and have been featured on The Voice, American Idol, America’s Got Talent, on Broadway tours, major network and Netflix series as well as many other movies, series and commercials. Prior to launching WHAA, Tanisha enjoyed a career working in many aspects of the music industry.
*B.M. in Voice and Music Business ManagementBerklee College of Music.
TERI DANZ
YouWorld Music/Bleach Records West Los Angeles 310-283-9688
Email: vocalcoach@teridanz.com
Web: teridanz.com
Instagram & Facebook – teri.danz
Basic Rate: call or email for info, packages available
Clients: artists, singer-song-writers, vocalists, bands, actors - for pop vocal technique, performance coaching, artist development, studio vocal recording/ producing. 3 students in the Billboard Top 20 in 2019.
Credits: Winner – Global Excellence Awards 2020 - Vocal Coach of the Year (West Coast USA).
Named a Top Vocal Coach by Backstage Magazine, and a 2018 Best Singing Teacher by Lessons.com. 2022 student signing to a UK label and 3 students in the Billboard Top 20 in 2019, club hit recording artist, national press (Women Who Rock), industry and student testimonials, nominated Best Female Vocalist All Access Music Awards. Author of music/ vocal articles, book: Vocal Essentials for the Pop Singer: Take Your Singing from Good to Great (Hal Leonard Corp.).
UAF SUMMER SESSIONS & LIFE-LONG LEARNING
University of Alaska - Fairbanks 216 Eielson Bldg. P.O. Box 757540 Fairbanks, AK 99775 907-474-7021, 866-404-7021
Email: summer@alaska.edu
Web: uaf.edu/summer
Basic Rate: please call for info
VALERIE FAHREN
The L.A. Valley Area, CA 818-815-8584
Email: valeriefahren@aol.com
Web: valeriefahren.com
Contact: Valerie Fahren
Basic rate: different packages available, please call for info
Clients: Sabrina Bryan (Cheetah Girls), Juliette Lewis, Alison Sudol, Erika Christensen
ERIC VETRO
Celebrity Vocal Coach
Los Angeles, CA
Web: ericvetro.com, instagram.com/ ericvetrovocalcoach
Clients include: Ariana Grande, Sabrina Carpenter, John Legend, Shawn Mendes, Camila Cabello, Rosalía
VOCAL STYLINGS
Culver City, CA 310-737-9387
Email: vocalstylings@gmail.com
Web: vocalstylings.com
Contact: Lisa Cushing
Basic Rate: please call for info
Clients: Private lessons, group sessions, in studio vocal coaching for R&B, rock, pop, blues, etc.
VOICE LESSONS HOUSTON
13505 Westheimer Rd. Houston, TX 77077
713-291-6373
Email: winnie@voicelessonshouston.com
Web: voicelessonshouston.com
Basic Rate: please call for info
THE VOICE MASTERY
Address: Newbury Park, CA
Phone: 818-964-0995 or 516-754-1909
Email: office.thevoicemastery@gmail.com
Web: www.thevoicemastery.com
Services: Sing and speak with confidence! Vocal and music producer, professional singer, artist, and music mentor Lyn can help you elevate your singing with power through her expert techniques that amplify confidence, refine pitch, improve tone and flexibility, and help you unlock the power of your true voice. Tap into your creative unique sound and learn to communicate effectively with the language of music! Offerings include vocal training, performance, songwriting coaching, music mentoring, ear training and more! All ages, genres, welcome! In person or online, Zoom or FaceTime lessons.
Notes: Lyn has a background in jazz, blues, R & B, country, classical and she teaches a proper and safe belting technique that has helped professional singers on Broadway, recording artists, professional speakers, presenters and adults and children of ages.
VOICE MECHANIC, THE 6330 Hollywood Blvd. Los Angeles, CA 90028
323-937-2565
Email: thevoicemechanic@hotmail.com
Web: voicemechanic.com, melrosestudios.us
Contact: Sean Lee
Basic Rate: please call for info
Clients: Chris Slade (AC/DC), Chris “Mississippi Burning” Gerolmo, Gary Ballen - (NWA, Bonethugs, Eazy E), Bruce Buffer (UFC Ring Announcer), Fat Lip of the Pharcyde etc. etc. Actors and singers: “Voice Projection” and “repair.” All styles (rock, pop, R&B, heavy metal etc.). Featured on Asahi TV (Japan) and Oprah’s Oxygen Network (Worldwide). Also full (Sony endorsed) Recording Studio, Music Videos/Green Screen Studio and guitar lessons.
Who among us hasn’t spent at least a few minutes during a concert wondering what goes on in the mind of the drummer, the wooden stick-wielder who holds the show together, the acting director who is, ironically, usually mute throughout the performance? It could be a speed-freak like Keith Moon. A booze-drenched beast like John Bonham. Rumor has it that some drummers are even prone to self-combustion. Or it could be a polite, kind, empathetic man whose generosity toward others is even more profound than his drumming abilities.
The man in question is Todd Trainer, the criminally underrated drummer of dyed-in-thewool independent-rock power trio Shellac, whose frontman, famed engineer Steve Albini, died last spring. Albini and bassist Bob Weston were essentially the faces of the band, even though the stylish Trainer got plenty of attention with his masterful, intensely physical—and physically demanding—performances behind the drum kit.
“My reputation, which preceded me, was that I was this intimidating or imposing figure onstage,” Trainer said. “I can be really approachable.”
Following Albini’s death, Shellac dissolved, leaving some to wonder what Trainer—he too of Touch and Go Records mainstays Brick Layer Cake—would do next. As it turns out, he’s devoting even more time to an endeavor that is more noble and altruistic than you would probably assume: teaching kids how to play the drums.
“I’ve been doing the touringband thing in Shellac for the last 33 years,” Trainer said. “I certainly miss it. There's a massive void there, which I still haven't managed to fill… But I do love having kid students. Any age group is good for me. Nothing is as satisfying as having someone come in, in the middle of their life going, ‘Playing drums is something I've always wanted to do and never done.’”
phone poles,” Trainer remembered. He used the same strategy to bring awareness to what he eventually named Todd Trainer Drumming Instruction. Hey, if DIY made Shellac a success, why wouldn’t it work again?
And it did. A year after Trainer launched his effort, he secured a rehearsal space and a troop of kids excited to bang on circular objects. With a big assist from his wife, a graphic designer, they taught themselves how to manage scheduling, accounting, billing, a website,
say—wary Trainer went full bore on the Internet after years of reluctance (Shellac itself was a notoriously Luddite band, resisting digital music and even CDs).
“I look back at that time as very bittersweet, because [the COVID era] was awful for the majority of the world, myself included. However, it was a real boost to my business,” Trainer reflected. “I was able to get a lot of students online from around the country, even around the world. To this day, a healthy portion of my business is online students who aren't in the Twin Cities. It ended up being very beneficial to what I’m doing.”
and all the other bells and whistles that even a small company must have.
Trainer established his drumming practice, so to speak, 11 years ago in his Minneapolis hometown. Back then, his operation consisted solely of him providing drum lessons “by delivery,” which is to say meeting his students where they are rather than renting a space.
“In the early days of all of my previous bands [which also include Breaking Circus and Rifle Sport], we promoted ourselves by putting flyers up in record stores and coffee shops and tele-
After a brief stint teaching drumming lessons at a school in the Twin Cities area, Trainer went fully independent eight years ago. And we all know what happened a few years after that.
“Technology had become critical to my business when the pandemic hit, at which point Shellac was on tour,” he recalled. “My studio was closed for a couple of weeks anyway … my intention was to come back and pick up drum lessons where I had left off, wait it out. And then the band had to put all our plans on hold, and I was home and had nothing to do.”
It was then that the technologically—let’s
Trainer doesn’t have any children of his own, but when he speaks about teaching kids how to play drums, his voice softens and rises in pitch.
“One exercise I do with them is a combination of drum beats, drum fills, all these things where I'm playing them together with a student,” he said. “It's a great way to challenge a student to see how well we can synchronize and stay in time with each other. I'll play a beat, we'll be playing together, and then I'll change it, and then have the student follow me, and then I'll add a drum fill, and have the student follow me, and I'll change the beat again, and change the fill again and play a little. It really is a little game. It's a lot of fun. Students love it.”
Clearly, so does Trainer. He was always hard to read behind the kit at Shellac concerts, looking like a male runway model flailing his thin appendages as if outlining unusual shapes in the air and over his drum set. He was always very sweaty, looking beat to exhaustion from the rigors of adhering to the incredibly demanding drum riffs he himself had written.
Todd Trainer the drum trainer hasn’t lost his cool, or his chic style, but when he talks about teaching kids how to improve not only their drumming skills but their sense of self-worth and selfconfidence, Trainer beams.
“Playing a drum kit full volume is really exciting and exhilarating, very fulfilling in so many respects,” he explained. “But in that situation, you're not trying to communicate to an individual. You're communicating to an audience. During drum lessons, I’m trying to have a dialogue back and forth.”
He added: “Half of my student base have no idea what Shellac is. They have no idea that I have a musical history outside of drum lessons. I'm just their drum teacher.”
Just as the legendary K Series quickly became the New Standard for powered loudspeakers, the K Column is destined to forever elevate customer expectations from a column loudspeaker. It’s the perfect combination of sleek and stylish design, coupled with the acoustic performance of a high output, high fidelity loudspeaker system.
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