Music Connection July 2015

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Informing Music People Since 1977 *ULY s 6OL s .O


Giorgio Moroder The Godfather of EDM is back with a new solo album packed with collaborators like Sia, Charli XCX and Britney Spears. In our exclusive interview Moroder shows himself to be a thoughtful, forward-thinking artist driven to always look beyond the horizon

46 Scandal

By Daniel Siwek All Photos: Kathryna Hancock

MC shows you how this J-pop band’s ingenuity is leading to serious career strides. By Rob Putnam

Studio Managers


These pros see it every day: artists and producers burning the clock––and the budget––unnecessarily. The advice each gives will go a long way toward helping you make the most of your next studio sessions.

By Bernard Baur


2015 Recording Studio Survey Here are the results of our polling of nearly 100 studios nationwide.


By Bernard Baur

08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes

Reviews 50. Album Reviews 52. New Music Critiques 54. Live Reviews

62 Directory of Recording Studios Compiled By Denise Coso

20. Producer Crosstalk: Studio Designer John Storyk . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Jim Olsen, Signature Sounds . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Lindsey Lee . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 48. Expert Advice: Create a Successful Crowdfunding Video . . . By Amanda Keating 86. Tip Jar: Top 12 Apps for Music Businesses . . . . . . . . . . . . By Paul Bordenkircher


July 2015

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

FOCUS LESS ON YOUR GEAR, MORE ON YOUR MUSIC. BOSE® L1® MODEL 1S SYSTEM Our L1 Model 1S offers the portability and flexibility of the L1 family — with a new level of performance. With the Bose proprietary 12-speaker articulated line array, it’s big enough to fill the room with 180 degrees of clear, even sound. At the same time, it’s small enough to fit in your car and light enough to carry yourself. Plus, with no speaker stands and fewer connections, it’s easy enough to set up in minutes. You’ll focus less on your equipment and more on your performance. To learn more about Bose L1 systems, visit or call 800-994-2673.

L1 Model 1S with B1 bass ©2013 Bose Corporation. Discount not to be combined with other offers or applied to previous purchases, and subject to change without notice. Offers are limited to purchases made from Bose and participating authorized dealers. ©2015 Bose Corporation. CC016506 C_010978









Barry Rudolph NEW TOYS


Dan Kimpel SONG BIZ

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Andy Kaufmann Rob Putnam Daniel Siwek Editorial Intern

Regina Zernay CONTRIBUTING WRITERS Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Jeannie Deva, Luis Gonzalez, Gary Graff, Eric A. Harabadian, Ted Jamison, Andy Kaufmann, Mary Lemanski, Malorie McCall, Andy Mesecher, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Brooke Trout, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Luis Gonzalez, Apple Kaufmann, David Klein, Tony Landa, Mary Lemanski, Dave Long, Thomas Long, Malorie McCall, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Scott Perham, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, Paula Tripodi, Brooke Trout, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright Š 2015 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / CORPORATE HEADQUARTERS 3441 Ocean View Blvd., Glendale, CA 91208 Office: 818-995-0101 Fax: 818-638-8015 Email Address: Website: Legal Counsel: Christopher J. Olsen /

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July 2015



From the soft, subtle intricacies of a finger-picking guitar solo to the powerfully loud vocals on your latest track, the MK4 is the perfect addition to your mic collection – whether you’re buying your first mic or your fiftieth. Designed and manufactured in Germany, the MK4 is a true condenser, cardioid microphone that features a one-inch 24-carat gold-plated diaphragm and a full metal housing. Its internal shock mounted capsule enables this versatile tool to be taken from your studio to the stage, and everywhere in between, to capture your music precisely how you hear it.




The MK8 has dual one-inch diaphragms precisely spattered with 24-carat gold. The shock-mounted capsule is accommodated within a sturdy metal housing. Designed to bring multiple polar pattern flexibility to home and project studios, the MK8 – Multiple-Pattern Large Diaphragm Condenser Microphone allows for a selection between omnidirectional, wide cardioid, cardioid, supercardioid, and figure-8 polar patterns. A 3-position pad switch lets you select between 0, -10, and -20dB while a second switch controls a multi-stage roll-off at 0, 60 Hz and 100 Hz, allowing the MK8 to be used on a variety of sources.



Boutique Mic Company Making A Difference: Launched in 2008 by prolific engineer/producer/mixer Rob Chiarelli (Will Smith, P!nk, Christina Aguilera, Mary Mary) and engineer Chandler Bridges (Jennifer Lopez, Leann Rimes, Bette Midler), Gauge Microphones lives up to its branding slogan “A Difference You Can Hearâ€? and sets itself apart from the large manufacturers in many ways, including a unique quality control standard. Their relatively small operation allows Gauge to “ear testâ€? every microphone with a platinum-selling engineer before they are approved for shipping. Chiarelli won a GRAMMYÂŽ this year for mixing Erica Campbell’s Help album, and Bridges is currently completing his doctorate (Ph.D) in music. “Just like our customers, Chandler and I need microphones that sound great, but won’t break the bank,â€? says Chiarelli. “We can’t afford to lose a great performance because of a crappy microphone. And neither can you.â€?Â


freedom to perform

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July 2015

A Happy Accident Leads To Great Sound: Gauge Microphones is a labor of love that began accidentally, when Chiarelli couldn’t find affordable, great sounding drum mics for his son’s kit. He and Bridges found a quality manufacturer, and after making modifications and improvements they began giving mics to industry friends; soon others wanted to buy them. Their website boasts glowing testimonials from numerous luminaries, including artist/producer Shaun Labelle, Grammynominated songwriter/producer Steve Diamond, Grammy-winner Larry Whitt and producer/saxophonist Tom Saviano. Featured Mics: Gauge’s line starts with the ECM-80 Dynamic Vocal Mic, a hand-held model, which is geared toward live performances. Studio models include recently updated versions of their original product line. The ECM-47 ($479) is the company’s higher-end, multi-pattern tube mic that uses the legendary 6072 tube. It has a selectable response pattern and comes in two styles: the “Classicâ€? (brass/chrome) and the “Stealthâ€? (black/chrome). The ECM-87 ($149) is their large diaphragm condenser mic that is perfect for vocals, acoustic guitar and drum overheads; it is also offered in “Classicâ€? and “Stealthâ€? models. The ECM-84K is a matched pair of small diaphragm condenser microphones available in a stereo kit with mounting bracket, omni and cardioid capsules and two shock mounts.  Contact Gauge Microphones

Susan Starnes

Casey Driessen

Guitar Center Professional (GC Pro) has named Susan Starnes as Senior Vice President, Services, Guitar Center (the branch under which GC Pro operates). Starnes will work closely with GC Pro Strategic Development Manager Derek Snyder and GC Pro Marketing Manager Adam Riley to further expand GC Pro’s position in the marketplace. Serving as Guitar Center Vice President of Services since 2014, Starnes’ appointment will expand her role in the Guitar Center organization. She joined Guitar Center after a 12-year career history with Lowe’s, where she worked in the Services group. Prior to Lowe’s, she was a top consultant with Bain & Company in Boston. For more information, contact

Berklee College of Music has appointed Casey Driessen as Director of the Contemporary Performance master’s program at its campus in Valencia, Spain. The American-born musician, composer, producer, educator and Berklee alumnus began his new role on June 1 in preparation for the start of the academic year in September 2015. He will help prepare students to succeed as musicians and performers on the global stage. Driessen, a Grammy Award-nominated artist, began his musical career as a traditional American bluegrass fiddler. He graduated from Berklee’s Boston campus and has recorded a number of albums as well as scores for TV and film. For additional information, contact

Leslie Cohea

Rick Plushner

Sandbox Entertainment has welcomed Leslie Cohea as the newest addition to their management/marketing team. In her role, Cohea will work closely with Jason Owen and his team, as well as their client roster. She will be responsible for overseeing all touring aspects including routing, ticketing and budgeting for all Sandbox clients. Previously, she worked at AEG Live/The Messina Group in Nashville, TN, which developed her foundation of knowledge and experience over the past 10 years. Her experience has served alongside artists/bands ranging from Paul McCartney to Mumford & Sons in the Southeast region, as well as Sugarland, Keith Urban and Little Big Town across the country. Contact Cohea directly at

Ocean Way Audio has appointed industry veteran Rick Plushner as President. Plushner will guide the direction of the company while capitalizing on his skill set of product development, merchandising, vendor relations, distribution, supply management and direct marketing. Prior to Ocean Way, Plushner held executive positions with several pro audio operations including GC Pro, Solid State Logic, Euphonix and AMS/Neve. Working with Allen Sides, Ernie Woody and Bruce Marien, Plushner will expand the “No Limit” studio monitor product line, push further into the ultra-high end of the audiophile market, launch a line of professional outboard audio equipment and offer unparalleled acoustical designs. Contact

Senior Vice President, Services Guitar Center Professional

Sandbox Entertainment

Performance Master’s Program Director, Spain Berklee College of Music

President Ocean Way Audio

Vanessa Lovett

Michelle Jubelirer

Mitch Schneider Organization (MSO) has promoted Vanessa Lovett to Tour Publicist. Lovett began at MSO in 2013 as an executive assistant to Executive VP Marcee Rondan, working with clients ranging from Aerosmith, Ozzy Osbourne and The Who to festivals such as Budweiser Made In America, Rock on the Range and the Hudson Project. This year she began working with Senior VP Alexandra Greenberg, with whom she will work in a greater capacity. In addition, Vanessa has been involved in media campaigns for artists including deadmau5, Steve Aoki, Adventure Club, Destructo and The Ting Tings as well as several music festivals and events. For more information, contact Lovett directly at

Capitol Music Group has promoted Michelle Jubelirer to Chief Operating Officer. In her elevated position, Jubelirer will focus on the company’s business strategy and development and expand her role as a senior liaison to CMG’s parent company, Universal Music Group (UMG). She will work closely with Chairman and CEO Steve Barnett and his executive team to set the creative direction of CMG and oversee the management and day-to-day operations of the company and its portfolio of labels, including Capitol, Virgin, Motown, Blue Note, Harvest, I.R.S. Nashville, Astralwerks and label services and independent distribution company Caroline. For more information, contact,

Jacqueline Renner

Bradley Johnson

C.F. Martin & Co. has appointed Jacqueline Renner as its new President. Renner will work closely with Chairman and CEO Chris Martin IV on strategic direction for the 182-year-old acoustic guitar and strings manufacturer. Additionally, Renner will be responsible for providing leadership and management of the global operations for the Pennsylvania-based company. Previously she served as President of Franke Consumer Products, Inc., a subsidiary of Franke AG, a privately held Swiss company. At Franke, she was responsible for Franke’s consumer business in North and South America. Prior to Franke, Renner was the President of Ecowater Systems, LLC. For more information, contact

Guitar Center Professional (GC Pro) has named Bradley Johnson as Director. Johnson will work closely with Strategic Development Manager Derek Snyder and Marketing Manager Adam Riley to further expand GC Pro’s position in the marketplace. Prior to GC Pro, he ran six Guitar Center stores and worked in the corporate office as an inventory planner and a buyer. He has also owned and managed an instrument manufacturing company specializing in upright basses and was recently a District Manager for GC in Southern California. Johnson’s experience comprises strong relationships with the music vendor community, background in inventory management, artist relations and years of retail experience. Contact

Tour Publicist Mitch Schneider Organization

President C.F. Martin & Co.

Chief Operating Officer Capitol Music Group

Director Guitar Center Professional

July 2015



MOD KITS DIY MOD 102+ GUITAR AMP KIT The MOD 102+ amp kit’s design starts with a version of the American circuit used in the Gibson GA-5 amp from the ‘50s combined with a British style Class-A output section. But the MOD 102+ goes further with “+” features that include a three-position power off/standby/on toggle switch, and push-pull switches on the bass (midrange boost), treble (top boost) and volume (turbo boost) controls. I received a MOD 102+ for review and set upon building it myself. I found the parts’ quality top-notch and the instructions very clear with plenty of pictures and helpful construction hints along the way. I found that all you need is a good set of hand tools and a few hours to methodically read the instructions and construct it step-by-step. Once finished and checked over, it worked the first time I plugged it in. I first tested the MOD 102+ using the 12-inch speaker in my Fender Blues Junior. I loved the sound of that EL84 in saturation very much like a VOX amp. This amp/ speaker combination is my new recording setup when the guitar part calls for an overdriven sound. Visiting guitar players love it and this combo also makes the best practice amp ever. The MOD Kits DIY MOD 102+ Guitar Amp Kit sells through their Web site for $265.

ROYER LABS R-122 MKII The Royer R-122 MKII ribbon microphone is phantom-powered and has a higher output level, making it more useful when coupled with any microphone pre-amp for recording very quiet sources such as acoustic guitars and solo string and woodwind instruments. With an internal “head amp” and a special Royer-designed toroidal transformer in the R-122 MKII, the necessity of owning an expensive, super high gain pre-amp is gone. The MKII’s utility is further expanded with the addition of a switchable -15 dB pad for recording close to loud sources—drums, guitar and bass amps. With the pad switched in, the R-122 MKII has a 2 dB lower output level than the Royer’s original R-121 microphone. An awesome new microphone and worthwhile investment for any studio, the Royer Labs’ new R-122 MKII comes in an attractive wood jewelers box and carries a lifetime warranty to the original owner. The R-122 MKII sells for $1,995 MSRP.

PRESONUS STUDIO ONE 3 PROFESSIONAL Version 3 is the latest version of Studio One and now includes a redesigned, GUI and a new graphics engine for a cleaner, darker and flatter screen that’s much easier on the eyes. All pages have been reorganized and consolidated to improve navigation and there is a new Loops tab to show all installed libraries. I found searching for just the right loop very easy using the new Keyword search feature. But the Top-O-List of update in Studio One 3 Pro is Arranger Track with unlimited Scratch Pad and the ability to drag n’ drop entire song sections shown in a left-hand sidebar list on the GUI. The unlimited Scratch Pad allows alternate versions of the song (including all plug-ins, automation and edits) to reside in a window side by side with the current song version in its separate window. Studio One 3 works on any Mac or PC, notebooks and supports multi-touch displays and continues with SoundCloud™ sharing. Direct PreSonus Shop downloads are integrated right in the GUI window. New are two new virtual instruments: Mai Tai, a polyphonic analog modeling synth, and Presence XT updates the original Presence sample player with dozens of new instruments plus disk streaming for large samples. Also new is Bitcrusher, a lo-fi down-sampler plug-in and Rotor, a fully programmable rotary speaker plug-in. PreSonus Studio One 3 Professional sells for $399.95 MAP.

TRX DRK SERIES CYMBALS The TRX Cymbal Company introduces the new DRK Series cymbals based on one of the company’s original and most popular cymbals. These are classic, low profile B20 bronze cymbals that don’t sacrifice the power and projection required by drummers for contemporary music styles. You get the warm, vintage sound along with a bit more brightness and clarity than other traditional cymbals. With models and sizes priced the same as current TRX series, the DRK Series is available in: 18 to 23-inch crash-rides; 13, 14, 15-inch hats; 18, 20, 22-inch Chinas; and 16, 18, 20-inch Thunder (vented) Crashes. The new DRK crash-rides and Chinas also come standard with a series of nine pre-drilled holes that accommodate TRX’s removable rivets (sold separately).


July 2015


IN TONE Not just another version of the Fly RigŽ simply bearing his name, the Richie Kotzen RK5 Signature Fly Rig was a close, year-long collaborative effort. Meticulous about every facet of his playing, singing, songwriting and tone, Richie’s attention to the details of this pedal was nothing less. 7HAT DISTINGUISHES THE 2+ FROM THE &LY 2IG IS 2ICHIE S 3IGNATURE /-' OVERDRIVE 4UNED SPECIlCALLY TO 2ICHIE S EAR






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GENELEC 7040A ULTRA-COMPACT SUBWOOFER The new 7040A ultra-compact subwoofer is designed to go with Genelec’s 8010, 8020 and M030 active monitors. Its diminutive size at just 16.125 X 13.75 X 8.125-inches belies its big performance. The 7040A produces 100 dB of sound pressure level (SPL) using a 6 ½-inch woofer and a Genelec-designed Class-D amplifier. Designed for use in rooms or mobile studios with limited floor space such as small project music creation studios, sound design suites or post-production rooms, the 7040A features Genelec’s acclaimed Laminar Spiral Enclosure (LSE™) technology. I liked that the 7040A is narrow enough to fit within a 19-inch rack cabinet, weighs 25 lbs. and there is an optional carrying bag for the itinerant engineer to transport the 7040A easily to and from any studio. For set up and addressing typical monitoring environments, the 7040A locates all DIP-switches on the subwoofer connector panel and the 7040A connects between your monitors with stereo in and out jacks. The Genelec 7040A Ultra-Compact Subwoofer sells for $895 MSRP.

SHURE PG ALTA STUDIO STARTER KIT The entry-level PG ALTA™ line has 14 new products ideal for small venue performances, aspiring musicians and home recording sessions. The Shure PGASTUDIOKIT4 microphone kit consists of four Shure PG ALTA microphones thoughtfully selected for their utility in modern home/project studios. At $299 MSRP, the PGASTUDIOKIT4 comes with one PGA52 dynamic microphone, a single PGA57 dynamic microphone and two PGA181 side-address, cardioid-only condenser microphones. Also included are mic clips, stand adapters and four 15-ft (4.5m) XLR mic cables. I tried the PGA52 on a kick drum in the studio and it compared favorably to the studio’s Shure Beta 52—the PGA had more output level. The side-address PGA181 condensers look like old-style lollipop microphones in miniature. I placed them overhead of my drum kit and they sounded open and full. The PGA57 worked awesome as a close snare drum mic as well as on my Fender Blues Junior amp—just like its uncle, the venerable Shure SM57.

IZOTOPE LOUDNESS CONTROL PLUG-IN iZotope’s RX Loudness Control is an offline plug-in that, in faster than real-time, analyzes mono, stereo or up to 5.1 surround files and renders a transparent and corrected version to comply with the new broadcast loudness standards. It does this by applying only the compression and/or peak limiting as deemed necessary. Worldwide loudness compliance is a new “fact of life” for broadcasters and online streaming companies such as iTunes® Radio. I tried RX Loudness Control in Pro Tools 12; it runs as an AudioSuite processor and first analyzes a mix file and then applies any correction to comply with a particular loudness standard included as presets. I liked RX Loudness Control’s history view that shows graphically the entire length of the audio file with Integrated Loudness, Short-Term Loudness, Momentary Loudness, True Peak and Loudness Range in one screen. For documentation, loudness history can be exported as a CSV spreadsheet that opens in Excel. As a plug-in, RX Loudness Control is a comprehensive tool with support for surround sound and the EBU R128 s1 standard. It is compatible with Avid Media Composer, Avid Pro Tools 10-12 and Adobe Premiere Pro CC. It’s available for $349.

SOFTUBE CONSOLE 1 XL9000 K UPDATE Softube updates their Console 1 hardware controller/software plug-in system with the availability of the Solid State Logic XL 9000 K channel strip. Console 1’s SSL XL 9000 K channel strip offers the clean and forward sound of this famous console as an alternative to the grittier-sounding SL 4000 E already included with Console 1. Obtaining the best of both SSL channel strips, you may freely substitute the XL’s EQ section, gate and its compressor into those sections of the SL 4000 E strip. If you own other Softube plug-ins, in most cases you can substitute them into sections of Console 1. I found the Shape section of the XL 9000 K for Console 1 more controllable as a gate than the 4000 E’s Shape section. Gating drum tracks and noisy guitar amps is easier to do with the 9K’s Shape section. Console 1’s XL 9000 K channel strip also includes a model of Solid State Logic’s VHD (Variable Harmonic Drive) circuit, a popular part of the SSL Duality series consoles mic pre-amp. Console 1 uses its Drive control to change the amount of VHD distortion and its Character knob as a blend control for mixing the “color” of the distortion. BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has Softube’s Console 1 Solid State Logic recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat XL 9000 K channel strip upgrade is $219 Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility and loves teaching audio MSRP with a 20-day demo license availengineering at Musician’s Institute, Hollywood, CA. He is a able. lifetime Grammy-voting member of NARAS and a ing editor for Mix Magazine. 12

July 2015

July 2015





A Group Study Course in Modern Music Production using Audio Technology

How To Get A Job In The Music Industry, 3rd Ed. By Keith Hatschek and Breanne Beseda (paperback) $27.99 More than an update, this edition addresses massive changes in the ways music is discovered, consumed and promoted. We are in an age of self-empowerment for artists, and this edition has chapters on careers and the market, building a personal career tool kit and job search action planning. An absolute must for any artist, producer, engineer, manager or anyone who wants in on the business.

Underground: The Subterranean Culture of DIY Punk Shows By Daniel Makagon (paperback) $14.95

Simple explanations— no prior music experience needed Includes interactive worksheets and projects to reinforce concepts Free, correlating videos and files available to stream or download

Underground discusses the history and future of DIY punk touring in the U.S., exploring the culture of DIY spaces like house shows and communitybased spaces, their impact on underground communities and economies and why these networks matter. The book presents DIY punk shows as an opportunity to become part of a meaningful movement and create long-lasting alternatives to the top-down economic and artistic practices of the mainstream industry.

Diary of a Madman: The Geto Boys, Life, Death, and the Roots of Southern Rap By Brad “Scarface” Jordan with Benjamin Meadows-Ingram (hardcover) $25.99

Visit for more.

14 July 2015

This memoir documents the roots and influences of Southern hip-hop and Scarface’s ascent from selling drugs on the streets of Houston to the top of the burgeoning rap scene. It is a fascinating, intimate account of his rise to the heights of rap, his work with Tupac, Eminem, Ice Cube, and Nas, as well as battles with his own demons. Features full-color glossy photos.

Create Music with Notion: Notation Software for the Busy Musician By George J. Hess (paperback) $19.99 Amateurs, teachers and professionals can all learn how to best use Notion, a unique program that combines notation, sequencing and live performance into one practical, easy-to-use package for efficient and effective music production and performance at any level. Topics include: the fundamentals of Notion’s interface; developing an intelligent and well-thought-out workflow; and integrating your desktop computer and iPad so your productivity can continue whether you’re at your desk, in the studio or on the road.

Torment Saint: The Life of Elliot Smith By William Todd Schultz (paperback) $18.00 Torment Saint explores cult artist Smith’s doomed life and lasting legacy as a songwriter. Schultz collaborated with dozens of Smith’s friends, lovers and bandmates and gathered anecdotes from music peers, label owners and producers. It’s an empathetic, personalized and universalized portrait of Smith’s troubled life as a musical genius.

Allen Klein: The Man Who Bailed Out The Beatles, Made the Stones, and Transformed Rock & Roll By Fred Goodman (hardcover) $27.00 Hard-nosed business manager Allen Klein became infamous for allegedly causing the Beatles’ breakup and robbing the Stones, but the truth, says music journalist Fred Goodman, is more complex and fascinating. Klein earned himself a reputation for villainy that has gone unchallenged until now. Through unique, unprecedented access to Klein’s archives, Goodman reveals the full story.

July 2015




Shaping the Future of Music Recording: A Recording Academy membership division, the P&E Wing is a 6,500 member nationwide network that advises The Academy on technical matters related to recording, while addressing areas of concern to producers, engineers, remixers, manufacturers, technologists and other related professionals. Concerns addressed by the Wing include sound quality, development of new technologies, technical best practices, education in the recording arts and advocacy for the rights of music creators. Each of The Academy’s 12 Chapters has a P&E committee; there’s also an advisory council of professionals from different genres and disciplines and a steering committee that, Managing Director Maureen Droney says, “provides direction to help us decide where to put our resources.” Droney describes her role as “an advocate for those who work behind the scenes, dedicated to ensuring they get the recognition and compensation they deserve.”

Steering Committee, Recording Academy Producers & Engineers Wing

Credits and Recording Metadata: The Recording Academy and its P&E Wing are working to address the current lack of visible recording credits for creative contributors to the recording process. Challenges in the digital environment include how to collect and distribute this information in an accurate and standardized manner, and how and where to store and display it. Until widespread solutions are adopted, the recording community itself must take responsibility to collect and save the information required for creative contributors to be recognized and documented. A recommended list of the most important credits and other data to be documented can be found here: Fair Play, Fair Pay: Earlier this year, The Recording Academy helped introduce to Congress the bipartisan “Fair Play, Fair Pay Act of 2015,” which, if passed, would modernize outdated rules that currently govern music licensing for digital and terrestrial radio broadcasts. It would require terrestrial stations to join satellite and internet radio in making payments to performers for their broadcast on radio. It would also require all forms of radio to pay recording royalties on music made prior to 1972 and streamline payment of royalties to producers. Contact The Recording Academy, Producers & Engineers Wing, 16 July 2015

June 2015 July 2015

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Artists Soak Up Sun in Solar-Powered Studio Jam in the Van is the first solar-powered mobile music studio and performance session platform, providing a one-of-a-kind music discovery experience—which has featured over 500 artist performances (including Cody Simpson, Gary Clark Jr., George Clinton, Matisyahu and more) since being founded in Venice, CA in 2011. In 2015, the van will travel over 10,000 miles to bring fans more than 200 performance sessions of subscription-free content from emerging and established musical acts at festivals across the country. For more information, visit

The Bunny The Bear Add New Bear New York electro-infused, pop-inspired alternative duo, The Bunny The Bear, are at it again with a new upcoming album. A Liar Wrote This, set for release on July 28, will be the debut of a brand new Bear, Haley Roback, providing a range of harmonies that showcase the band’s dynamism, adding to the dark roars from Bunny, Matt Tybor (pictured). Recorded at Watchmen Studios in Lockport, NY and produced by Tybor and producer/engineer, Doug White, A Liar Wrote This will be out in time for The Bunny The Bear’s run on this summer’s Vans Warped Tour. For more information, visit

More Studio News Playback Adds Dragon’s Den With such hits as Katy Perry’s “Teenage Dream” and “Roar,” Playback Recording Studio in Santa Barbara, CA, has provided world-class recording services in its Studio A for nearly six years. Designed by the renowned Chris Pelonis, Playback won the TEC Award for Excellence in Studio Design in 2009. They recently installed their newest addition, the Dragon’s Den, with a fully equipped writers room where musicians and producers build their creations. For more information, visit

Clear Lake Recording Studios B room is now available for booking to the public, newly outfitted with a top of the line Pro Tools system, 24 fader D Command, software synthesizers and handpicked boutique analog outboard. Great for songwriting, overdubs, ADR and mixing.

Producer Playback “The world is going in a different direction. You have to be involved in more of the creative process, whether that’s helping find or develop acts… A producer that does artist development, marketing and even coaching helps grow their own career.” – Matt Serletic (Matchbox 20, Aerosmith) 18 18

July 2015

Industry veteran Jane Scobie has launched Jane Scobie Event Planning—“The Most Positive Experience.” Scobie will provide planning and management for recording studio events, birthday parties, anniversary dinners, memorial celebrations, fundraisers, record release parties, menus, wine tastings and more. Visit


No Ordinary Paradise


Alt-rock quartet Post Paradise recorded their latest single, “Ordinary,” at The Blasting Room in Fort Collins, CO with engineer/producer Andrew Berlin. The single will be featured on their forthcoming untitled EP due in September. Pictured (l-r): Berlin and guitar/vocalist Nick Duarte. For more information, visit

Students Contribute to Compilation



As part of ASCAP and America SCORES Songwriter Residency program, hit country songwriter Felix McTeigue taught students from Boston Teachers Union School how to write and record a song from start to finish. The threeday session started with two days in the classroom, followed by the final recording session at Somerville’s Q Division Studios. The finished song is included on a special compilation album slated for late June/early July, comprising songs from this year’s six ASCAP Songwriter Residencies. For more information, visit

Top Monitor Shootout

Trilogy Race for a Cure

Vintage King Audio co-sponsored an unprecedented listening session at the Woodshed Recording studio in Malibu, CA. Owned by prolific scoring composer and producer Richard Gibbs, the session featured the monitor speakers Barefoot Sound MicroMain 27 and MiniMain 12, ATC SCM45A, Augspurger Duo8, Guzauski-Swist GS-31 and PMC IB2S. Attendees included level composers, engineers and musicians. Pictured (l-r): Grammy-winning engineer/ mixer Dave Reitzas, Vintage King sales rep Chris Bolitho and Gibbs. For more information, visit

Studio Trilogy in San Francisco donated studio space and sponsored the “Kentucky Derby Race for a Cure” fundraiser. Attendees packed the studio and watched the televised Kentucky Derby and engaged in a competition to earn the title by raising funds for LLS blood cancer research. To date, leaders have helped LLS invest more than $1 billion in research to advance breakthrough therapies that are saving lives and helping achieve the LLS goal of a world without blood cancers. For more information, visit

Key Features: as shown z Aluminum chassis elevated by steel leg assemblies Your dream studio< z Powder-­coated components for sleek and durable finish just got closer...

z Speaker platforms, pull out keyboard accessories optional z Integrated 8 RU racks with desk space for ancillary gear z Full length padded armrest for comfortable sessions z Ships partially disassembled for easy installation and set up z Length: 82.0" -­ Depth: 40.5" -­ Height: 29.5"


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within continental USA Toll-­free 800.315.0878 or 818.934.0144 92015 Argosy Console, Inc. Argosy and Dream Studio are registered trademarks of Argosy Console, Inc. Other trademarked names are property of their respective owners. See the coolest studios in the world, visit: July 2015

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tudio architect and acoustician John Storyk made his mark in an extraordinary fashion: he was tapped by Jimi Hendrix and engineering legend Eddie Kramer (“Producer Crosstalk� 2006) to design Hendrix’s iconic Electric Lady Studios. He’s created over 3,500 studios, conference rooms and stadiums around the world. Walters-Storyk Design Group, headquartered in Highland, NY, maintains offices across the globe. In recent years Storyk has designed rooms including Buenos Aires’ Circo Beat Studios, Alicia Keys’ Oven Studios and Jay Z’s Roc the Mic. Storyk studied architecture at Princeton and is a lifelong pianist. He got his start in studio design with New York hot spot Cerebrum. “They were looking for carpenters to work on an experimental nightclub,� the designer recalls. “I agreed to do the carpentry if they’d let me redesign the club, which I did. Jimi came in one night [and liked the sound]. When he later bought the Generation Club in Greenwich Village, I was brought in to design his new place. But at the 11th hour, Kramer talked him into doing Electric Lady instead.� When Storyk embarks on a new project, he begins with programThe three most important ming—determining what a client’s things he’s learned as a needs are. “It may not look like I’m studio designer are: focusing on programming, but I am,� he explains. “I start the conversation s ,ISTEN TO THE CLIENT ,ISTEN by asking ‘What console do you want MORE THAN YOU TALK to use?’ The answer to that question immediately tells me a lot about the s -OST PEOPLE HAVE THE ANSWERS recording process and the size of an TO YOUR QUESTIONS 7HAT THEY object that will go in the room. Sooner DON T HAVE ARE THE QUESTIONS or later I’ll ask ‘How loud do you monitor?’ Maybe they don’t have a s 4HE LEARNING PROCESS NEVER number. Sometimes we have to go to STOPS /NCE IT DOES IT S OVER a session and measure. I’ll ask them to turn it up as loud as they work. “Most people focus on equipment first,� he continues. “I’ll get a list of a client’s gear all the way down to the plug-ins. I ask how many musicians they want in the room. How many square feet the room should be, what kind of volume and reverb time they want: this is information we need to make great rooms. We have to yank that out of people.� Sound isolation can easily be overlooked. “Most money in studios is dedicated to isolation,� Storyk asserts. “Understanding how much you need—how quiet your rooms need to be––is huge. People usually have no idea [how much they want]. They commonly say ‘We’re not gonna play that loud.’ That’s like saying you’re only going to be half pregnant.� Cost is always a consideration. In these efficient times there’s much for prospective studio owners to smile about, as Storyk explains. “The good news is that studios have gotten smaller and more affordable, as has the equipment. The world of prefabricated acoustic materials has also exploded. There’s garbage on the market, but there’s good that didn’t exist 10 years ago, too. We’ve got great measuring equipment now. Time domain and first-order reflection issues used to be hard to measure. Now they can be determined with iPhones. And we’ve got interesting prediction software. In many instances we can hear rooms before they’re built.� Storyk has no plans to retire. Slowing down is merely a consideration. Walters-Storyk Design Group is staffed half by architects, half by audio professionals, and every design is unique. Occasionally clients ask for a copy of an earlier studio plan, a request which the designer consistently turns down. Currently he has at least two major projects on the horizon, both secret but one definitely involves Kramer. Contact John Storyk - Walters-Storyk Design Group,

20 July 2015



ATH-R70x PROFESSIONAL OPEN-BACK REFERENCE HEADPHONES ATH-M70x PROFESSIONAL MONITOR HEADPHONES Audio-Technica introduces the new leaders in studio headphones: ATH-M70x and ATH-R70x. Both models offer extremely accurate audio reproduction along with the comfort, durability and convenient features that are bound to make them studio mainstays. So whether you prefer the sound isolation of the M70x or the spacious sound of the R70x, deciding on your next pair of studio headphones is an open and closed case.

May July 2015

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– ANDY KAUFMANN better off when we know our neighborhood well. One of our strengths is our fans have a good idea that if they buy a new artist from Signature Sounds, it’s not going to be something that’s a huge departure and something they might find abrasive.

Jim Olsen

President Signature Sounds Recordings Years with Company: 20 Address: 32 Masonic St., Northampton, MA 01060 Phone: 413-341-3317 Web: Email: Clients: And The Kids, Pine Hill Project, Heather Maloney, Chris Smither, Lake Street Dive, Winterpills, Eilen Jewell, Sweetback Sisters, Peter Mulvey, Kris Delmhorst, Jeffrey Foucault, Tracy Grammer, Erin McKeown, Patty Larker, Lori McKenna, Crooked Still, Salamander Crossing. BACKGROUND The ultimate destination for independentminded folk, Americana, roots and rock artists around the Northampton, MA area, Signature Sounds Recordings grew out of the studio under the same name. Jim Olsen has helmed the ship for two decades, recently marking the occasion with a series of shows and a celebratory album. E1 Entertainment handles their North American distribution.

“I wouldn’t recommend starting a label right now. The way music is monetized, moving from CDs to downloads to streaming, it’s difficult to generate enough income to invest.”

Radio Roots I started in college radio at Ithaca. I was always a huge music fan and record collector, although not really a musician. After I graduated in 1980, I had a series of radio jobs around New England and landed at WRSI in Greenfield, MA in 1984. It was an unusual station. It played all kinds of music with few playlist rules. The station’s gone through a lot of changes over the years, but from 1984 to 1996 I was a full-time employee— the program and music director. About 1992 or 1993, we had a local show called Home Grown, and the host of that and I were good friends. He hit upon the idea of making some compilation CDs as a fundraiser for the food bank. I had gotten to know a guy named Mark Thayer, who had a studio called Signature Sounds, and we thought of Mark when it came time to record. By the time we’d finished the second compilation, we’d grown on the idea of starting what we thought was going to be a local record label. For a few years, I kept my radio job and did this almost as a hobby. It slowly evolved into something more. Nurturing Artists We consider ourselves an artist development company. We hire artists we see potential in: young or haven’t attempted to bring their music to a wider audience—we tend to stay with our artists. That’s pretty unusual these days. Parlor Games For years, we were based in my house. In 2012, we moved to Northampton. We also opened a club called The Parlor Room, a 90-seat listening room that presents music two to five nights a week. We do all kinds of music, not just acoustic. There was never a plan to have it. I was walking past a building with a “For Rent” sign. I loved the location and thought it was an interesting building. It was more space than we needed, so we wanted to find another business to share it with. Then, we realized it wouldn’t take much to turn it into a venue. 22 July 2015

The Parlor Room has a finite, intimate capacity and we’re comfortable with that. We’ve also started presenting shows in other venues and theatres around the area, so when an artist is too big for our room we can present them elsewhere. The Breaks Not having any experience in the business before, it was much trial and error at first. We made our share of mistakes. We ran up credit card bills but were lucky enough to catch a few breaks early on and find our audience. Every so often, something great happens. Josh Ritter or Lori McKenna or Lake Street Dive comes along. They’re artists who grow big, international audiences and that helps our brand. Artist Connections Our artists are the best talent scouts. They tour and befriend other artists, and oftentimes will recommend someone we’ll check out. Before we know it, they become one of ours as well. Original Voices I’m looking for great, original voices. I want to hear someone doing something different or has a unique outlook, a unique voice, someone who doesn’t sound like 30 other things. We’re looking for great songs, great songwriters. I find great music because I’m a fan. One of the hardest parts is you can’t sign everybody you like. We’re just not able to put out that many records. Generally we only add one, maybe two, new artists per year. Family Style These days, anybody can release a record. But what a lot of artists are looking for is a sense of guidance, a sense of belonging, to be part of a family of like-minded artists. That’s kind of what our strength has become. We offer that. The Signature Sound We’re not going to put out a jazz or world music album. We learned that lesson early on. We’re

Green River Festival The local Chamber of Commerce put on an event that was a hot air balloon rally. They wanted to have other things going on, so I booked local music and then sprinkled in national performers. Over the years, it grew more into a music festival and less a balloon festival. Hot air balloons are weather-dependent, and there’s nothing worse than a balloon fair where the balloons can’t go up. Last year, the Chamber of Commerce decided they didn’t want to manage the event, so we took over. It’s fun to work on that level. We bring in about 30 bands from all over the country and some internationally known acts. We have a variety of stages including three big ones. It’s where we present other kinds of music that wouldn’t necessarily fit the label.

Twentieth Anniversary We did a concert celebration over Thanksgiving weekend—three days of concerts. We brought in almost all our current artists and decided to also make an album. We’ve put out about 140 albums and almost any time an artist goes in [the studio] there are leftover songs that don’t make the album. Oftentimes, there’s not enough space on the CD or they didn’t get to finish it. So we had a lot of great leftovers and decided to put this album together. It ended up being terrific. Surviving as a Label Luck is definitely part of it. We never got ahead of ourselves. We never tried to grow too fast or put all our eggs into one basket. It was always a fairly steady approach. I wouldn’t recommend starting a label right now. The way music is monetized, moving from CDs to downloads to streaming, it’s difficult to generate enough income to invest. The reason we’ve survived is we have a huge catalog of music and, while a lot of it doesn’t sell a lot, there’s so much it brings in enough money to keep the boat floating. The record label model might not be viable anymore. We’ve morphed as a company. We do live concert production, because that’s a way we can help support what we do. I have 40 years of acquired knowledge in the business and have been able to cultivate an audience. The audience is moving more into the live arena, but the label will always be there. As long as I’m still working we’ll put out records, but it’s not what we count on to pay the bills anymore. Build Your Career First Nobody needs a label until they get to a certain point. You have to build a fan base and that’s increasingly hard to do. It takes creativity, you have to develop a great live show, an online presence, make music videos and interact with fans directly. The days of the major label model where all an artist did was make records, do shows and not know who their fans were, that’s all over. You have to connect directly. It’s up to you to build your relationship with your fans and your career. Nobody’s going to do it for you.



Musicbrackets wants artists with music videos for an online “Battle of The Bands.”, the social media site designed for independent musicians, is looking for artists to participate in the competition, and plans on limiting the field to 1,000 bands contending for the top spot. Josh Leatherberry, president of Musicbrackets explains, “We are filling the void for independent musicians who are looking for a new video hosting site. We hope to become the new go-to website for all indie musicians.” After the current battle, the top 16 artists will be placed in the following month’s battle, along with the next 984 artists on the waitlist. Prize packages include unlimited promotion on the website, personalized articles on the site’s blog and a paid trip to perform live at the Musicbrackets studio. Maybach Music Group (a record label imprint founded by American rapper Rick Ross) is seeking new urban/hip-hop talent. If you think you have what it takes, including the skills and drive to be a top Maybach artist, this might be the right opportunity. Maybach prefers that you submit your best work via the Music Xray website at Need legal advice? Ask Music Lawyer is a one-stop portal designed to inform and enlighten artists, managers, producers, songwriters and industry professionals about legal and business issues relevant to the community. The site provides information about industry

contracts, business developments and issues, recent legislation affecting the industry and serves as an interactive community, connecting the diverse elements of the industry. If in need of legal wisdom, visit Artists are wanted for a Production Deal with CMI Music Group. The CMI Music Group is currently looking for new and exciting artists to add to its roster by way of a full production deal, which includes use of a top studio and 20-piece house band, fully produced songs, recorded, mixed and mastered to releasable level, working with top writers, technical help and guidance regarding performances and songs, songwriting, TV and film opportunities and, ultimately, becoming part of the CMI Music Group family. This is not a 360 deal. Every song submitted will be listened to personally with an offer of advice and help whether you are selected or not. Go to for details. W Music Group is seeking artists, songwriters and producers. W Music Group and Tono Miakoda are seeking artists, songwriters and producers to manage and develop. In fact, the company is always looking for the next star. Whether you’re an artist, band, songwriter or producer and interested in management and development, submit your best track(s) for consideration. If they feel that you’re a good fit, they will contact you with more details. Visit For timely Opportunities and news, be sure to check out MC’s home page each day at!

LA MUSIC and ART SCHOOL OFFERS NEW AUDIO COURSES The Los Angeles Music and Art School (LAMusArt) has introduced underprivileged youths to music and the arts for 70 years. Indeed, the school’s mission is to benefit the children of East Los Angeles and surrounding communities. This year, a new state of the art studio and an Audio Engineering Program were added to its curriculum. Award-winning producer-engineer Magic Moreno designed and coordinated the studio’s construction, and will be teaching several courses in Audio, Engineering and Production. Classes, set to start in July, are low cost to help young, aspiring engineers pursue a career in the audio industry. Pictured in the studio are LAMusArt’s Executive Director Isela Sotelo and Magic Moreno. For more info visit

MOTIVATIONAL ROCKER IGNITES ASPIRING ROCKSTARS Motivational rocker fiZ has published Ignite the Rock-Star Within: How to Achieve Anything with Music Visioning. Essentially, it’s a motivational concert series that takes you on a magical, musical and educational journey, as fiZ shares the trials and tribulations of his life as a musician with big goals of healing the world through peace, love and music. As the founder of Notes for Life, a non-profit organization, he hosts concerts to raise money for charities. In fact, the singer/songwriter received an award for his community service from Carman Road School for physically challenged children on Long Island, NY. To learn more, go to

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Genre-fusing rapper, producer and DJ, Mixologist Mikk, has resurfaced with an urban-electro single, “A-LIST.” Figuratively, it acts as Mikk’s highly publicized attempt to get noticed by a special lady and redeem himself—making it onto “her” A-List. Literally, the lyrics look like an A-List as every line—from top to bottom— deliberately starts with the letter “A.” With his gutsy and witty efforts out in the open the question is, “Will she say, yes?” The single can be accessed exclusively on Spotify, with annotated lyrics on Pop Genius. To learn more, visit Deluxe editions of Led Zeppelin’s final three studio albums––Presence, In Through The Out Door and Coda––will be released July 31. The reaction to the first six album reissues has been extraordinary, with albums charting in the Top 10 around the globe while also garnering 5-star reviews and critical accolades. As with the previous deluxe editions, the recordings have been newly remastered by guitarist and producer Jimmy Page and are accompanied by companion audio comprising previously unreleased music related to the original release selected and compiled by Page. All three albums will be available through Atlantic/Swan

Song in a variety of formats. Visit Country star Hank Williams Jr. has signed to Nash Icon Records, a joint venture between the Big Machine Label Group and Cumulus. The artist joins the voices of Reba, Martina McBride and Ronnie Dunn on the label, which launched in 2014. These four combined have sold over 186 million albums worldwide. Following up his 2012 Old School New Rules release, Williams, Jr. will record his 37th album for Nash Icon with music expected later this year. His five-decade career continues to add accolades to an impressive resume, which has spawned 70 million albums sold worldwide, 20 gold albums, 6 platinum albums and 13 chart-topping albums. For additional details, go to BMG has acquired pioneering metal and hard rock label Rise Records. The partnership builds on BMG’s existing strengths in the rock genre with historic recording catalog from Black Sabbath, Iron Maiden, Motorhead, Megadeth, Uriah Heep and Helloween and contemporary recordings from You Me At Six, Within Temptation and Bring Me The Horizon. Sales of hard rock are proving more resilient than in many other genres. Sales of hard rock recordings in the U.S. grew by 8% at a time when the overall market declined by 3.5%. Visit July 2015




Justin Emord, bassist for Love and a .38, was honored at the Hard Rock Café in Hollywood, which inducted his bass guitar into its rock memorabilia collection. Emord and the band performed live at a celebratory benefit for Adopt The Arts. More info at loveanda38. com. To read MC’s interview with Emord, wherein he divulges how he has amassed more than a dozen gear endorsements, see The Women’s International Music Network (WiMN) has announced open nominations for its annual She Rocks Award ceremony. The She Rocks Awards, which honors women in music, is taking place on Friday,

Jan. 22, 2016, in Anaheim, CA., during the Winter NAMM trade show. Individuals are encouraged to nominate female trailblazing industry peers, friends, colleagues or themselves. The deadline to submit is Sept. 1, 2015. Named one of Billboard magazine’s “seven must-see events at NAMM,” the She Rocks Awards bring together industry professionals, icons, artists, fans and media for a one-of-a-kind event that celebrates women in music. To submit a nomination, visit Ed Roman and Hicks have both won at the 2015 Indie Music Channel Awards. Roman was honored with Best Male Folk Artist and Best Folk Recording. Hicks won Best Country Video for “Mama’s Kitchen.” The IMC Awards Ceremony took place at the Whisky A GoGo in Hollywood, CA. Roman is an award-winning singer/songwriter, performer and multi-instrumentalist from Ontario, Canada. Hicks (Miqael Persson) is an accomplished songwriter from the south of Sweden, and is the first Swedish artist to chart on Music Row. For more, visit and Holding Court, the new album from The Cash Box Kings, remains the most-played record in the country at blues radio. It is holding at No.1 on Roots Music Reports’ Blues Chart for the fourth week in a row. Says Elwood Blues (aka Dan Aykroyd), host of the nationally syndicated radio show The Bluesmobile, “The

DIY Spotlight Ghost Lit Kingdom Originally started as an acoustic pop band fronted by a female and male vocalist, Ghost Lit Kingdom (GLK) turned into a DIY indie band with five vocalists at the helm of a tight orchestral sound and harmonization, as Ela Kitapci and Taylor Morrow developed their own signature sound and brand. Only six months into forming GLK, they developed their sound and independently wrote and recorded a debut EP. Three short months later, they released a single, “You Don’t Know Me,” which graced indie blogs including The Deli LA and HunnyPot Unlimited, who raved about their eclectic sound and tight-knit performances. Part of their uniqueness lies in the fact that their music does not fit neatly into any particular genre box, as influences from folk, pop, jazz and alternative rock abound. Coming up on their one-year anniversary, the band has already played numerous venues and events in SoCal including the Serenity Gathering Festival, House of Blues Main Stage, The Avalon and many more. They recently released their second single, “Our Bodies,” before embarking on their first tour along the West Coast. Upon returning, their fan base can expect to hear their debut EP, which will be teeming with a variety of genres and angelic vocals from lead singers Morrow and Kitapci. See BRYANT GLENN

With title and release date just announced for Slayer’s Repentless, due out Sept. 11 (via Nuclear Blast), the thrash icons have touted their heaviest release ever–– literally. Repentless, Metal Eagle Edition is made of aluminum alloy, measuring 15” x 17” x 3” and weighing in at seven pounds. It will house a deluxe digipak of the new CD plus exclusive bonus content. The limited (3000 copies worldwide) and numbered Metal Eagle Edition will be a directto-consumer item, available exclusively via Nuclear Blast mailorder online stores. Pre-orders are now available, so visit

Have a successful DIY strategy to share? Email Cash Box Kings are back and on a mission to keep old-school Chicago blues alive and kicking. The Kings’ releases are great, and if you get a chance to see them live, they put on quite a show.” Visit


GRACE POTTER DEBUTS SOLO ALBUM Grace Potter will issue her debut solo album, Midnight, later this summer via Hollywood Records. The frontwoman of Grace Potter & The Nocturnals has not released a studio album since the band’s 2012 LP, The Lion The Beast The Beat. “Everything about this record has been a wonderful odyssey,” Potter said. “I explore new sounds and this time I learned to be patient and really allow each song to boil down to it’s most universal form.” The record was recorded in Eric Valentine’s studio. Valentine has produced records for Good Charlotte, Queens of the Stone Age, Third Eye Blind, The All-American Rejects and Slash. For the latest news on Potter, visit 24 July 2015

The vinyl comeback story just keeps spinning. According to Nielsen, U.S. vinyl album sales between January and March were 53% higher than during the comparable period last year, driven by solid gains in catalog sales. Current releases in the format are also performing well, up by 37% in the first three months compared with the corresponding period last time. In a wider-angle look at the market, vinyl album sales have grown by 260% since 2009. The best-known band in the history of music also has the best-selling vinyl album, The Beatles’ classic 1969 release Abbey Road. The National Music Publishers’ Association (NMPA) filed a copyright infringement lawsuit against Wolfgang’s Vault. Wolfgang’s Vault calls itself the “largest collection of live audio and video recordings online” and the “world’s largest collection of live music.” It values a portion

of its music collection at over $100 million. However, much of its content was never properly licensed. This lawsuit not only intends to stop the site’s use of unlicensed works, but also to pay back those whose material has been exploited. SoundExchange has sued Muzak for underpaying artists. On behalf of artists and rights holders, SoundExchange has filed a lawsuit against Muzak, a subsidiary of Canada’s Mood Media Corporation. The lawsuit arises from Mood Media’s attempt to acquire new music services and pay for sound recordings at older, below-market rates that were intended for a very limited set of companies. SoundExchange issued the following statement from Michael Huppe, president and CEO: “Muzak is playing a shell game to cheat artists and rights holders out of royalties. We hope this litigation can bring a proper end to Muzak’s unlawful practices so that rights holders are properly compensated when their creative work is used.” BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country. Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.


The Truth About TAXI… An Unedited Forum Post from TAXI Member James Kocian


i Friends, It's been awhile, but I'm still here!! TAXI has been the singular catalyst for me in the past 2 years. I am closing in on 2 years of membership and my experience has been overwhelming. I will be at the Road Rally this year, as I've recently been invited to speak at the 'Successful Members' panel. This is all beyond humbling to me, and I feel indebted to Michael and his incredibly talented staff.

Taking Risks…

In a nutshell, TAXI has motivated me and allowed me to take creative risks; to dabble in genres I didn't even know existed, and to develop relationships with high-level music professionals I otherwise would NEVER have had access to.

Major Publishers

So far this year I've signed 13 songs with major publishers. I'm writing with people all over the USA, and have made regular trips to Nashville a part of my routine. I've been co-writing with a guy who has had multiple (recent) #1's. It boggles my mind actually.

Once in a Lifetime Opportunity!

I'm writing Hip Hop tracks for a well known rapper's next project, and I'm connected to a MultiPlatinum, Grammy-Winning Producer who allows/asks me to regularly send him material to pitch to the biggest artists in music. That in and of itself is enough is a once in a lifetime opportunity, and it's been ongoing for nearly a year. There's more, but this isn't about me. It's about: T-A-X-I Have I mentioned that I live in GREEN BAY, WI? I mean, sure, we have the Packers — but it isn't exactly a music hub for anything more than Journey tribute bar bands.

I really can't stress how invaluable TAXI is to people who are willing to put the CRAFT into the ART of songwriting and music production. The "Forwards" section of the [TAXI] forum itself is worth the membership fee. Why?

Figured Out What Elements I Missed…

It's not to brag about Forwards. What I did was hit the [TAXI] Forums after I got “Returns” and found members who received “Forwards” for the same listings. Then I went and LISTENED. I analyzed the differences in our songs. Lyrics. Vocals. Arrangements. Instrumentations. Productions. I re-read the listings, and figured out what elements I missed. And I adjusted accordingly. Where else can you get that? The success of members (at least this member) is a TEAM effort. And I am honored to consider TAXI part of my team. It is possible to succeed. To “make it.” To realize our dreams. Don't quit. Don't settle. Don't lose hope. And stick with TAXI.

The World’s Leading Independent A&R Company

1-800-458-2111 •

July 2015


UNCLE LUCIUS Date Signed: February 2015 Label: Boo Cap (their own label) through Thirty Tigers Type of Music: Rock/Folk/Country Band Members: Kevin Galloway - lead vocals, guitar; Josh Greco drums, vocals; Jon Grossman - keys, accordion, vocals; Mike Carpenter - lead guitar, vocals; Johann Valles - bass. Management: Ricky Brown, R.Brown Management Booking: Paul Lohr - New Frontier Legal: Mike Tolleson - Mike Tolleson & Associates Publicity: Brian O’Neal and Cary Baker - Conqueroo Web: A&R: N/A


ncle Lucius is a fitting name for a Texas fivesome who carry enough industry wisdom to educate a younger generation of musicians. In March of 2014, the band found a way out of a nasty 360 deal with EntertainmentOne. Never looking back, the Austin natives began seeking a new deal that would preserve creative control, and the ability to make business decisions going forward. Avoiding the majors this time, frontman Kevin Galloway and company found solace in Thirty Tigers. “I knew that I wanted to work with them and just started a conversation with [president] David Macias,” explains Galloway. And while the seed of a possible partnership was quickly planted, it wouldn’t bloom into an actual contract for almost a year. The final deal with Thirty Tigers included help with distribution, radio play and industry networking. Once a publicity team was arranged, the manager hunt began. “When we were looking for a manager, a gentleman out of Austin called David, [who then] made the introduction.”

“That experience you get doing it [yourself], you can’t trade it for anything.” With a team now in place, Uncle Lucius took to crowd funding for their fourth release. “I suggest to everyone who looks into crowd funding to really do your research. … There are people out there now who are crowd funding consultants. They have all the analytics. We talked to a consultant and could have hired [him] for a fee. In hindsight, I would do that the next time. But we did well because we have such a great core of fans.” When asked if Galloway had any advice for upcoming musicians in general, he chuckled with irony. “Definitely check out Music Connection magazine. When I knew about this interview last week, I didn’t know about Music Connection and I can’t believe I didn’t. I looked into it and I thought, ‘Man, I wish I would have known about this nine years ago.’ “Having said that,” Galloway continues, “our band has [grown] organically. In the first four years, I booked the band. We did everything on our own and learned so much from that. That experience you get doing it [yourself], you can’t trade it for anything.” The Light was released in June. – Andy Mesecher 26 July 2015


Date Signed: October 2014 Label: Lava Records Type of Music: Pop Management: Amy Thompson - ATM Artists, Booking: Brian Manning - CAA, 424-288-2000 Legal: Jamie Young - Hertz Lichtenstein & Young, LLP, 310-499-2850 Publicity: Crowd Surf, Web: A&R: Jason Flom, Natalia Romiszewski, Ryan Silva


hirteen-year-old singer/songwriter Liam Lis landed a deal with Lava Records when Nigel Talley, a friend at Atlantic Records, mentioned him to Jason Flom, Lava’s founder and chief. It didn’t hurt that Lis had a popular YouTube channel that featured covers and originals. He was brought in to do a pair of showcases––the performer was a mere 12 at the time––and made a good impression. Flom conveyed an offer soon thereafter. “Jason saw something in me,” Lis explains. “He checked out my [YouTube] videos and then we met at Lava when he brought me in to do a showcase. Later, he called me back to do another, this time for him and some other Lava executives. Then I got signed. The day that happened was probably the best day of my life. It takes a lot of time and work to do this. I’m really lucky and am still in shock.” “When Liam showcased at our office I knew immediately that we had to sign him,” Flom adds. “His singing, dancing, musicianship, songwriting,

“When Liam showcased at our office I knew immediately that we had to sign him.” style and swagger were so strong, especially for someone so young. It was clear that he was––and is––destined to be a star and I’m proud that he’s now a priority Lava artist!” The teen singer’s YouTube channel features covers such as Leona Lewis’ “Better in Time.” His own song “Without You” has attracted nearly two million views alone and his EP is planned for release later this year. He’s also completing his single “First Kiss,” the video for which dropped in May. To date, his channel has earned more than 10 million total views. Lis recently signed with CAA and is in negotiations with BMI for a publishing deal. The East-Coaster will likely perform soon at iPlay America, a New Jersey indoor theme park. He’s opened for X Factor stars Fifth Harmony and Hollywood Records singer Zendaya. Jason Flom began his career in the industry years ago at Atlantic, where he worked under label founder Ahmet Ertegun. He has since signed artists including Lorde, Black Veil Brides and Katy Perry. Lava is partnered with Republic Records/Universal Music Group. – Rob Putnam


Date Signed: October 2014 Label: Atlantic Records Type of Music: Reggae/Dancehall Management: Patrick “Pee Wee” Bonsu,; Pierre Bost, Booking: Patrick “Pee Wee” Bonsu Legal: Damien Granderson / Davis Shapiro Lewit Grabel Leven Granderson & Blake, LLP, 310-248-3400 Publicity: Web: A&R: Success (Yaasiel Davis)


24-year-old Jamaican native, the artist known as Kranium emigrated to Florida when he was 12 and ultimately made his way to Queens, NY in 2004. In the summer of 2013 he scored the breakout hit, “Nobody Has To Know,” which has since earned more than nine million YouTube views. This captured the interest of Atlantic Records and a rep reached out to him via Twitter. But the artist wasn’t entirely swayed by the cyber contact. It wasn’t until he met someone face-to-face that things started to move forward. “I’d been doing music in New York and eventually I recorded ‘Nobody Has To Know,’” Kranium recalls. “It went higher and higher in the reggae charts. One day Latoya Lee from Atlantic sent me a message on Twitter.” But not everyone has unquestioning faith in social media. “When she contacted me, I wasn’t really sure about it,” the sing-jay explains. “It’s not that I didn’t believe her. It was more that I wasn’t completely confident about it. But she had a brother in New York who went to a lot of clubs. I was playing a party in Queens when he came up

“When she contacted me, I wasn’t really sure about it.” to me and said, ‘Yo, my sister wants to talk to you so bad.’ He was the one who told me that this was real. It wasn’t that I didn’t believe Atlantic was legit––I was kind of shocked when they messaged me––but meeting him made me feel more confident [in the label’s interest].” Several months later, a deal was signed. New York producer LMR Pro worked with Kranium on his follow-up single, “Lifestyle,” which has so far grabbed 630,000 YouTube views. “Nobody Has To Know” was released originally by Frequent Flyer Records––a label established by Kranium and his managers––in June 2013. Atlantic re-recorded it to feature Ty Dolla $ign and released the reworked single on May 19. Kranium is currently at work on a mixtape with Brooklyn producer Ricky Blaze. It’s targeted for a September drop. Tour plans for 2015 include Australia, New Zealand, Europe and Africa. – Rob Putnam

HOLLIS BROWN Date Signed: January 2015 Booking Agent: The Agency Group Type of Music: Rock Band Members: Mike Montali - vocals, guitar; Jonathan Bonilla - guitar; Dillon Devito - bass; Andrew Zehnal - drums; Adam Bock - keys. Management: Cindy da Silva and Chris Tuthill - TCI Booking: Jesse Rosoff - The Agency Group Legal: John Rybiki Publicity: Fiona Bloom, Web: A&R: Cindy da Silva, Chris Tuthill


amed after Bob Dylan’s dark 1964 classic “Ballad of Hollis Brown,” the Queens, NY based rockers got on the fast track to a major booking agency after the release of their 2013 full-length debut, Ride On The Train, signing with New Frontier, a boutique Nashville booking agency that frontman/guitarist Mike Montali says specializes in “American sounding bands.” In 2014 alone, the band performed 120 concerts in 10 countries. As Hollis Brown’s deal with New Frontier was drawing to a close, their manager Chris Tuthill of TCI invited Jesse Rosoff (from the NYC office of The Agency Group) to check them out at The Mercury Lounge. Rosoff braved eight inches of snow that night, and later flew to the South by

“We’ve always dreamed of taking that next step and being with a global booking agency.” Southwest conference to catch them a few times, including their Red Eyed Fly showcase that was part of The Outlaw Road Show put on by writer/publisher Ryan Spaulding and Counting Crows’ Adam Duritz. “I liked them at The Mercury,” says Rosoff, “but during the SXSW shows I started singing along to all their songs and things just clicked. I got to know the guys, we had a few meetings and I made a decision to sign them at a gut level. They have a solid tour history and signing with us will give them the opportunity to expose themselves to thousands more.” Rosoff was also impressed that the band, through its connection to Duritz, had self-booked its upcoming summer/fall U.S. tour with Citizen Cope and Counting Crows. Hollis Brown will then continue promoting their just-released album, 3 Shots, with numerous European dates. “Jesse’s aim is to capitalize on this Crows tour and help keep our momentum going throughout 2016 and beyond, starting with the big summer festivals,” says Montali. “We loved working with New Frontier and are grateful to them for getting us started on the road. But we’ve always dreamed of taking that next step and being with a global agency that can elevate our game even further.” – Jonathan Widran July 2015 27

T-Bone Seeking Artists

T-Bone Burnett, a 13-time Grammy winner who has worked with a roster including Bob Dylan, Elvis Costello and Elton John, plus soundtracks for O Brother Where Art Thou? and Walk the Line, will be signing and developing new artists in a joint venture with Spirit Music Group. Spirit will handle global promotion, synch, licensing and administration services for the new artists plus handling the North American publishing for Burnett's own song catalog as well as his future works. See

Sunset Songwriting Fest Debuts in Vegas ole Inks Geesbreght ole has signed multi-genre songwriter April Geesbreght to a worldwide publishing deal. Currently based in Nashville, she wrote CCM artist Aaron Shust’s “My Hope Is in You,” which spent 14 weeks at No. 1 on the Billboard Christian chart. Pictured back row, from left: Randall Foster, John Ozier, Shellien Kinsey and Ben Strain, ole. Front row, from left: April Geesbreght and Emily Mueller, ole.

Write with Knight Songwriter Holly Knight, a 2013 Songwriters Hall of Fame Inductee, threetime Grammy winner and recipient of 13 ASCAP awards will conduct songwriting workshops. Attendees spend one full, intensive week in Knight’s personal writing and recording studio, The Jewelbox, in Los Angeles from July 12-18 and Aug. 16-22. For more info and to register online, go to

Songwriting community SongTown and the television show Nashville Unplugged have partnered to launch the first-ever Sunset Songwriting Festival, a three-day music immersion event taking place Oct. 9 - 11, at the Sunset Station Hotel in Las Vegas, NV. The brainchild of hit songwriters Clay Mills, Marty Dodson and Aaron Benwar, the Sunset Songwriting Festival will offer interaction with top music industry professionals from Nashville, music supervisors from Los Angeles, hit songwriters, professional development workshops, networking opportunities and more. The Sunset Songwriting Festival is open to the public, and will offer four ticket packages. Space is limited. A complete line-up of hit performers will be announced soon. Submissions to perform at the Sunset Songwriting Festival are being accepted through Aug. 25, 2015. Performers will have the opportunity to play in front of songwriting influencers, prominent producers and publishers and other top industry professionals. To register for workshops, fill out the submission form and see official rules and regulations, visit

Tapper Tapped for Insieme

The One And Only PPL MVR Sign with Primary Wave Rock band The One and Only PPL MVR (pronounced People Mover), has signed a worldwide co-publishing deal with Primary Wave Music Publishing under a joint venture with BMG. Signed to Elektra, the three-creature band released their debut EP The One and Only PPL MVR on April 20. See 28 July 2015

Insieme Music Publishing, the publishing affiliate of Glassnote Entertainment Group, LLC, has announced the appointment of Sharon Tapper as Head Of Publishing. Tapper joins Insieme from Razor & Tie where she served as Sr. VP Music Publishing.

Manson Rides Again with Bicycle

The Bicycle Music Company announced that it has extended its worldwide publishing agreement with the prince of darkness, Marilyn Manson, to include the songs on Manson’s critically hailed 2015 album, The Pale Emporer (Hell, etc./Loma Vista/Concord). Released in January of this year, the album debuted in the Top 10 on Billboard’s Album Sales chart and was met with acclaim from The New York Times, Rolling Stone, Details, Revolver and The Fader to name a few. The album also scored a No. 1 debut in Switzerland and broke into the Top 10 in Germany, Austria, France and Canada, among many others. Its first two singles, “Deep Six” and “Mephistopheles of Los Angeles,” continue to garner airplay here and around the world. Fo further information, contact Joel.Amsterdam@ConcordMusic

Reservoir Prexy is Elected to Board

An independent music publisher based in New York City, Reservoir has announced that company President and Founder, Golnar Khosrowshahi, has been elected to the National Music Publishers’ Association (NMPA) Board of Directors for the 2015-2016 term. The appointment was announced at the recent NMPA Annual Meeting in New York, where honorees included Songwriters Hall of Fame inductee Billy Joel and Songwriter Equity Act champion Senator Bob Corker. Reservoir has grown to include over 75,000 titles through an extensive international sub-publishing network. Learn more at

Kobalt Collects Itself

Kobalt Music has formed what it


Savan Kotecha Re-Ups with ASCAP

ASCAP, the American Society of Composers, Authors and Publishers, announced that chart-topping songwriter Savan Kotecha has renewed his agreement for representation of public performances of his songwriting catalog. Kotecha’s songs have hit No. 1 all over the world, selling more than 200 million copies. His credits include such hits as Ellie Goulding's “Love Me Like You Do”; Britney Spears’ “If U Seek Amy” and “I Wanna Go”; Usher’s “DJ Got Us Fallin’ in Love”; Ariana

Grande’s “Problem,” “Break Free” and “Love Me Harder;” Jessie J’s Grammy-nominated “Bang Bang;” One Direction’s “What Makes You Beautiful” and Maroon 5’s “One More Night,” among others. Kotecha, who recently worked with The Weeknd on his upcoming single and album, is the recipient of nine ASCAP Awards and two Billboard Music Awards. As talent coach on both the U.S. and U.K. seasons of Simon Cowell’s The X Factor, he has helped budding talents round out their sound. He has been a member of ASCAP since 2011. Learn more at

New Board for Songwriters Hall of Fame The Songwriters Hall of Fame held its Annual Meeting on June 19, the day after the SHOF Annual Induction & Awards Gala and conducted its election of Board of Directors and Officers. The newly elected Board of Directors is Robbin Ahrold, Martin Bandier, Caroline Bienstock, Desmond Child, Linda Lorence Critelli, Charles Feldman, Fletcher Foster, David Israelite, Evan Lamberg, John LoFrumento, Elizabeth Matthews, Mary Jo Mennella, Linda Moran, Nancy Munoz, Mike O’Neill, Matt Pincus, Jon Platt, Irwin Robinson, Karen Sherry, John Titta and Paul Williams. For complete details see Joining online is quick and easy; see

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

Bobby Braddock: Nashville Icon Set to be released in October 2015, expect Bobby Braddock: A Life On Nashville’s Music Row by songwriter Bobby Braddock, co-writer of such epic country hits as “D-I-V-O-R-C-E,” “He Stopped Loving Her Today” and “People are Crazy” to weave some captivating tales.


describes as the world’s first global digital collections society following last year’s low-key acquisition of the American Mechanical Rights Agency, or AMRA. The AMRA venture will offer global licenses allowing both publishers and songwriters in the society to be paid direct by taking over an existing society already linked into the global collective licensing framework. AMRA also plans to be able to send songwriter royalties back through the local society system wherever songwriters choose to remain with their existing performing rights organizations. The revamped AMRA—the M now stands for Music––will begin operating this summer. It will license in Kobalt’s technology with all the innovative data processing and transparent royalty calculations that have marked the music rights firm’s ascension, as they represent the songs of Dr. Luke, Dave Grohl, Beck and Max Martin and others. For additional information, see

Philly Soul in the Park Rock & Roll Hall of Fame Inductees The O’Jays were a primary catalyst behind a family reunion of their former label mates at the 12th Annual Phillies African-American Heritage Celebration, hosted by fellow Rock & Roll Hall of Famers and “Sound of Philadelphia” architects Kenneth Gamble and Leon Huff. Pictured (l-r): Dexter Wansel, Kenneth Gamble, Eddie Levert, Eric Grant, Jean Carne, Walter Williams, Leon Huff and Billy Paul.

All is Grande at Universal Universal Music Publishing Group (UMPG) has signed pop superstar and songwriter Ariana Grande to an exclusive, worldwide publishing agreement. Pictured front: Jennifer Merlino, Manager, Untitled Entertainment. Pictured back (l-r): Stephanie Simon, Partner, Untitled Entertainment; Scooter Braun, Founder, SB Projects; Evan Lamberg, UMPG President - North America; Ariana Grande; and Jody Gerson, UMPG Chairman and CEO.

SESAC Unwinds in Key West SESAC held the annual “Brunch & In-The-Round” at the 20th Annual Key West Songwriters’ Festival. Pictured at the festivities (l-r): Shannan Hatch, SESAC; songwriter Rob Hatch; Tim Fink, SESAC; songwriter Lance Miller; and Ellen Truly, SESAC. July 2015


Lindsey Lee A Songwriter’s Breakthrough

By Dan Kimpel


rowing up in small town Mississippi, Lindsey Lee never doubted where her talents would take her. “It was always 100 percent Nashville,” she confirms. “I was a small town girl wanting to do big things in music.” Big things indeed: Lee, along with co-writer Eric Paslay, penned Steven Tyler’s country single, “Love Is Your Name,” to date the only outside song recorded for Tyler’s forthcoming Big Tractor full-length release. Tyler, at the famed Bluebird Café to perform “Jaded” with his co-writer Marti Frederiksen, was enthralled by Lee’s onstage performance of the song and wanted it for his country debut. Lee’s original plan was to be a performing artist. Moving to Nashville, she worked as a nanny to support herself while gaining traction through her YouTube channel. After touring the world as a backup singer with Miley Cyrus she came to the realization that a career behind the scenes would be preferable to the spotlight. “Now that I’ve sung backup and written with artists and seen behind the scenes with the business side, and all the sacrifices, that life is not for me,” she confirms. Married and a mother to a young daughter, Lee says that the songwriter’s life is more manageable, especially in Nashville. “Being a songwriter is the perfect job that fits with a baby; I am only gone three or four hours a day, three or four days a week.” When she heads of for writing sessions, her in-laws, who have just moved to Tennessee from Oregon, take care of the baby. In a climate where some writers do multiple daily sessions, Lee limits herself to one. “Last year and the year before that I would do double sessions, with one 11 a.m. and another in the evening. That gets really old really quickly. You have to be creative, so you get burned out doing that every day. As a songwriter you need to actually live life and be inspired. I cut those sessions back so that I would have something to write about instead of just working all of the time.” Lee has had cuts with Australian country artist Tori Darke, U.K. country band Jess and The Bandits, European pop artist DJ Antoine, pop-star Temara Melek, Disney star Katharine McNamara and Disney star/Hollywood Records artist Sabrina Carpenter, as well as placements on American Idol, Modern Family, Super Fun Night and Blackish. She also makes regular trips to Los Angeles to collaborate with pop songwriters. Lee notes that the songwriting climate is very different on the left coast. “In Nashville, songwriting is a job––writers go to work and then they turn it off and have families. In L.A. people are writing 24/7. They’ll go in the studio at 10 a.m. and not leave until 3:00 a.m. It’s last minute and spontaneous and it’s great––I love it for a week at a time. I am more about the Nashville way where it’s a job. In L.A. it’s a lifestyle. Nashville is systematic.” Being flexible as a songwriter, Lee says, is her greatest strength. “This isn’t meant to sound cocky, but I play piano and I consider myself a lyric and melody person. I can’t do anything on the computer, but I can take on any role in the room. If someone’s strength is melody I will do lyrics. I can be alone in the room with the track guy and write both lyrics and melody.” Lee, now 25, has two sisters, 17 and 18. Her father, a minister of music in a church in Hattiesburg, MS, is an Elvis impersonator. Her family was always supportive of her musical ambitions, but Lee did not need much encouragement. “I was more like, ‘Nobody can stop me––I will prove you all wrong. I didn’t care about making my parents happy by going to college. My sisters are National Merit Scholars: I was the one who spread my wings.” Now signed to publishing powerhouse Round Hill Music and a full-time songwriter with major cuts, Lee’s ambitions are paying substantial dividends. “I have a dream,” she concludes. “I go for it and I make it happen. And I don’t believe that anything is impossible.” Contact Anna Stodart, Golightly Media,

30 July 2015

July 2015



Lionsgate Home Entertainment will release acclaimed sci-fi thriller Ex Machina on Blu-ray and DVD on July 14. The film premiered at the 2015 SXSW Film Festival before its theater release by A24. Written and directed by Alex Garland (28 Days Later, Dredd), the film is about an emotionally intelligent A.I. The Bluray and DVD include extras like an in-depth, behind-the-scenes featurette examining the story development, the cast and characters, the production design, cinematography and location shooting in Norway, costumes and makeup and finally, visual effects along with a wrap-up. Significantly, the release also marks the first time a Blu-ray features DTS:X immersive audio technology. For further information, contact


FROM DUSK TILL DAWN Multiplatinum selling recording artist and actress Demi Lovato has joined the sophomore season of Robert Rodriguez’s From Dusk Till Dawn: The Series in a guest-starring role. Lovato joins the cast for this role as she works on a fifth studio album and after finishing a major tour in 2014 that brought in $8.6 million over 21 dates. The critically acclaimed supernatural crime saga is set to premiere on El Rey network on Aug. 25 at 9 p.m. ET. Contact Krista Curry at for more information. Future User frontman and bassist Tim Commerford recently turned footage of his spine surgery into a music video. Teaming up with Rage Against the Machine’s Tom Morello and Geddy Lee and Alex Lifeson of Rush,

Future User wrote a narrative around “VooDoo” about healthcare in America, starring Morello, Lee and Lifeson as doctors. Watch the video at Contact Michael Moses at Michael.

Since 1973, documentarian Robert Mugge has made more than 30 films on cultural, political and social issues, most with a focus on music and musicians. Masterworks Broadway Now, four will be released recently released the by MVD Entertainment original Broadway cast Group starting in June and recording of An American ending in September. Bob in Paris, produced by Rob Hope – Entertaining the Fisher and Scott Lehrer. Troops hit the street on The score includes the DVD on June 9. Deep Sea songs “I Got Rhythm,” Blues drops on Blu-ray, “Liza,” “’S Wonderful,” July 7. Giving Up the “But Not For Me,” “I’ll Ghosts: Closing Time at Build a Stairway to ParaDoc’s Music Hall drops on ROBERT MUGGE dise” and orchestral music Blu-ray and Souvenirs of including “Concerto in F,” Bucovina: A Romanian “Second Prelude,” “Second Rhapsody/Cuban Survival Guide will release on DVD both on Overture” and “An American In Paris.” Sept. 29. Contact Clint Weiler at Clint@mvdb2b. The work was directed and choreographed com for more information. by Christopher Wheeldon and inspired by an Oscar-winning film with music and lyrics by George Gershwin and Ira Gershwin. For Enter The Restroom is a recorded podcast for listeners age 15-60 to hear about “everything from music production to politics.” Show host Walt is looking for musicians, audio engineers, producers, songwriters and more to guest on the show. Contact EnterTheRestroom@Gmail. com for booking inquiries.


"VOODOO" 32 July 2015

further details, contact Beth Krakower at Beth@

The Kohner Agency, a Beverly Hills-based talent company in television and film, needs an executive assistant to the agency president. This person will draft letters, schedule appointments, manage calls and databases and provide client support. Proficiency in computers and an ability to meet deadlines are critical skills. The candidate will also have knowledge of the industry and key players in writing, directing, casting and producing. A minimum Bachelor’s degree is required. Email a résumé and cover letter to


Out Take

over 970 million views to date. Ten other Perry videos including “Firework,” “Last Friday Night T.G.I.F.,” “Wide Awake,” “This Is How We Do,” “Part of Me,” “The One That Got Away,” “Hot N Cold,” “Unconditionally,” “California Girls” and “Teenage Dream” are all Vevo Certified with over 100 million views. Contact Anthi.Pantelidis@ for more information.

Concealed Music Podcast keeps fans up to date on what musicians are doing and allows artists to get the word out about themselves and their upcoming events. Bands of all sizes and genres are accepted. Anthony Savage is accepting booking requests at

Musician Jon Batiste has been chosen as show bandleader for The Late Show with Stephen Colbert. Batiste is a musician, educator and humanitarian from New Orleans and has performed internationally with his band, Stay Human. He has collaborated with acclaimed musicians, including Prince, Wynton Marsalis and Lenny Kravitz. He received two degrees from The Juilliard School and his most recent studio release, Social Music, reached No. 1 on Billboard’s Jazz Album chart. Batiste also appeared as himself on HBO’s series Treme and as Da Organist TK Hazelton in Red Hook Summer. The Late Show with Stephen Colbert premieres Tuesday, Sept. 8, from 11:35-12:37 ET/PT on the CBS network. Contact Carleen Donovan at Carleen@

For the first time, the 15th World Soundtrack Awards is opening their composition contest to young composers across the world. The WSAs will present the SABAM Award for Best Young International Composer to one of three selected finalists. The three finalists will be invited for a three-day visit in Ghent where they will have their compositions performed by the Brussels Philharmonic and conducted by maestro Dirk Brossé during the 15th World Soundtrack Award’s official closing ceremony of the 42nd Film Fest Gent on Oct. 24. This is open to composers under 36. The registration deadline is July 10, and the composition submission deadline is Aug. 10. Visit FilmFestival. be/en for more information. For more Opps that can help your music career, go to each day.


Katy Perry’s “Dark Horse” music video recently hit one billion views across Vevo, becoming the second most watched video in Vevo’s history after Justin Bieber’s “Baby.” Coming up behind “Dark Horse,” the pop star’s “Roar” has


Kudos to Scott Kirby, whose provocative new documentary Music Matters examines the roots of the industry’s current financial malaise and suggests how to correct past mistakes and injustices. As posited by Kirby, Co-Founder of Music Revolt, “The vast majority of American music fans are unaware that the plight of the music industry can be directly traced to an obscure 1960 bill called the Payola Act. The bill derailed the fledgling business relationship between record labels and broadcast industries, stopping any and all attempts at synergy between both industries. With this groundbreaking documentary, we hope to alert fans and bands about this obscure law, and expose how it has kept good music off the radio.” For complete details about the film and for late-breaking updates, see JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie.

Mark Isham Composer

Contact: Web: Most Recent: American Crime When Oscar-winning screenwriter John Ridley (12 Years a Slave) asked composer Mark Isham to score Ridley’s latest television series, ABC’s American Crime, Isham delivered work described as combining “modern baroque” and “contemporary electronic,” which perfectly illustrated the story of how several families were impacted by a singular event. “It’s a sort of meeting of my two favorite worlds in a single project,” says Isham, whose work, in general, is typically split between an old world and a modern one. “I don’t know if there is a label for it. It comes out of classical minimalism. John Adams is probably the biggest composer working in that genre writing for orchestra and string writing. It uses concepts of minimalism and attempts to make it tonal and beautiful at the same time. It’s a new idea in modern classical music.” The composer started off as a piano player as a kid, then picked up the trumpet. Soon after, he discovered jazz and was always torn between that and his classical training. Isham says if you let the world know what you’re doing, eventually your work will fall into the right hands. His first film score was for Never Cry Wolf, a gig that Isham says everyone was “shocked” to find out he had landed. “But the director felt it was correct for the film,” he says. “He took a big gamble on me. I had never worked harder in my life. I applied myself extremely hard. I wanted to stay in that.” Then, to Isham’s surprise, Robert Redford asked him to score A River Runs Through It. The key, Isham says, is putting in a solid day’s work. “I go in by 9:30. I sit at the piano with a piece of paper and pencil and do it old-school. Other times I come up with unique electronic systems to generate more modern electronic ideas. “One thing about this business I really love,” he concludes, “is every project is an opportunity to learn. It’s a unique problem to solve.” July 2015


Songs You Can’t Listen To


Shortly after the release of their latest single, “Songs I Can’t Listen To,” Neon Trees embarked on the “An Intimate Night Out With Neon Trees” tour across the United States. Pictured performing is vocalist Tyler Glenn showing off his dance moves at the Fonda Theatre in Los Angeles. For additional information and tour dates, see

U2 Rocks The Roxy


To help promote the group’s launch of its eye-popping multimedia “iNNOCENCE + eXPERIENCE” tour, Irish-rockers U2 played a special gig at the Roxy Theatre on West Hollywood’s Sunset Strip. MC captured this shot of frontman Bono as he came out to meet and greet fans.


Groban Takes Stage with Stages Multiplatinum recording artist, renowned singer, songwriter and actor Josh Groban sang songs from his album Stages at an exclusive New York City show hosted by Darren Criss, former star of TV’s Glee. In addition to the performance, Pandora worked with Groban to curate a custom mixtape featuring notable classic and modern theater favorites. Pictured (l-r): Senior Director of Original Content, Mike Spinella; SVP of Music Makers Group, Lars Murray; Criss; Groban and VP of Industry Relations, Jeff Zuchowski.

20,000 Lost on the Highway Lost Highway—the Motorcycle, Camping and Music festival—debuted to 20,000 fans at San Manuel Amphitheater and Campgrounds in San Bernardino, CA. Lost Highway featured a full day of performances from Toby Keith, Social Distortion, Eli Young Band, Reverend Horton Heat and many more. The festival also included two-day rides to the festival for charity, which raised awareness for the Infinite Hero mission that combats mental and physical issues facing returning military heroes and families. For details, visit

34 July 2015

High-Quality Film/TV Facetime Music Connection Senior Editor, Mark Nardone, was in the house at the recent Music Supervisor Session presented by NARIP at SAE Institute in Hollywood. The night’s special guest, Lindsay Wolfington, the Music Supervisor on TV series such as One Tree Hill and The Royals, gave invaluable insights and evaluated recorded songs by 10 writer/producers, some of whom participated remotely via Skype. Wolfington gave her honest feedback to each composer, citing a number of their recordings that she will consider for placement. Pictured (l-r): NARIP President & Series Creator/Moderator Tess Taylor, Wolfington and Nardone. For info on future Sessions, see



Tidbits From Our Tattered Past

You’re Cordially Invited… the Governor’s Ball. Droves of festivalgoers once again flocked to the picturesque Randall’s Island in New York for another three days of spectacular music from an ultra-eclectic group of artists; only this time, the sun stuck around for the entire weekend. Pictured performing is Noel Gallagher. For full coverage and more photos, visit musicconnection. com/sunshine-music-governors-ball.

Everything is Derulo

1988–New Music–#14 In this issue, MC put its spotlight on up-and-coming artists from around the world. We had London’s The Primitives, Sydney’s The Church, New York’s The Smithereens and L.A.’s Broken Homes, whose Mike Doman revealed how glad he was that the band’s first album tanked, because the record had been sanitized for mainstream consumption.

At the Hard Rock Café New York in Times Square, pop artist/dancer Jason Derulo celebrated the release of his latest album, Everything is 4.

Stars Aligned at L.A. Music Awards 2004–Key!Keys!Keys!–#10


The 25th Annual Los Angeles Music Awards Nominee Night & Red Carpet Press Event at the Whisky a Go Go was rocking with 40 nominees and several stars in attendance. This event is a precursor to the star-studded main event, scheduled for Thursday, Sept. 17. Pictured (l-r): Renowned character actor Ken Davitian (Borat, Walk of Shame), LAMA Founder Al Bowman and Oscarwinning songwriter Allan Rich (Whitney Houston, Celine Dion, Mariah Carey).

Music Connection interviewed keyboard luminaries in this issue, including the legendary synth pioneer Bob Moog, Paul Van Dyk, Amp Fiddler, John Hobbs, Brian Auger and jazz performer Jamie Cullum, who told us, “I’ve been in bad bands that would have been terrible no matter how much rehearsal we’d have done. Perfection in live performance is overrated.”

July 2015




36 July 2015

HIS SIGNATURE, that famous-

ly sequenced synthesizer over a four-on-the-floor beat (on Donna Summer’s smash single “I Feel Love,” the album From Here To Eternity and “The Chase” theme from the Oscar-winning Midnight Express soundtrack), is fundamental to electronic dance music the way a James Brown sample is to hip-hop. But wait—this Italianborn producer is a go-to sample source in hip-hop as well. In rock and pop, his collaborations with Blondie, Bowie and Cher and soundtracks for Flashdance, Scarface and Top Gun (for starters) helped define the sound of the ‘80s. But aside from a Grammywinning reunion with Summer in the ‘90s, Moroder has until recently been in semi-retirement, leaving it to Daft Punk to pick up the mantle, which they did; and with their collaboration/tribute to the master (the Grammy-winning Random Access Memories) they introduced him to a new generation the way Tarantino did Travolta. Now, 30 years after his last album as an artist, the 75-year-old Moroder is DJing large festivals and has dusted off his other voice, the vocoder, for a new star-studded release that at once sounds completely vintage, yet with toplines that wouldn’t be out of place in a Martin Garrix set at Tomorrowland. Moroder is either a shining example of “what’s old is new”—or it truly is déjà vu.

MC: On the new album, debuting at number 1 this week, you celebrate the past, but your collaborations are all very much in the now. Tell us who’s on the new Déjà vu record with you. Giorgio Moroder: I was really surprised. First of all, the idea was to get some good names: some big names, then have some new guys–– some new acts which are not that known. Obviously I have Britney Spears, who is huge, and I have Kylie Minogue, who is a big star. I have Charli XCX, who was on that big hit last summer, “Fancy.” But then I started to work with Sia, who is a great composer, lyricist and singer, but she was not yet the great composer that she became with “Chandelier.” Then I worked with the relatively unknown, like Foxes, Mikky Ekko, Matthew Koma and the Swedish singer, Marlene. And I have a great singer, Kelis, who has had some hits, but didn’t break big yet. So I think it’s a great combination of stars but then you can discover new talents.

the very young. I mean, I don’t think a 15- to 18-year-old guy bought Daft Punk. But it certainly opened my world to the younger people. And you know, Sia’s listenership is huge, and Charli XCX is really up to KISS-FM radio level. So I think Daft Punk obviously got me back in the business, first of all, and second, like you said, opened up a whole new set of listeners and, hopefully, buyers. MC: Working with chartbusters, is it almost silly to ask if Giorgio Moroder, former chartbuster and the godfather of electronic dance music, is determined to have a hit record in 2015? Moroder: Oh, absolutely! I wouldn’t do anything right now, especially at my age, that would only be played on the oldies station. I did that stuff 30 years ago; now I want to do what people love to hear now, absolutely. But, even though I’m very happy with this record, if I do a next one I think it will probably be even more adventurous. I don’t know how long EDM is going to survive in the next years, but [my music would] maybe be a little more cutting edge, so that not only would I get people interested in what I do now but in some of the songs I would hopefully create some new sounds.

“EDM could not survive if you only had people who liked electronic music or people who like pop; it’s a great combination.”

MC: You have a history, especially with your hit soundtracks, to pair the right singer with the right track; did you approach these new collaborations like you did when casting those soundtracks? Moroder: Today it’s a little different than for a movie: obviously you cannot have a movie with an act that doesn’t fit; like with American Gigolo, Blondie fit it so well; Flashdance, Irene [Cara] fit it so well. Now I don’t have to worry if it fits a movie, but it has to fit my style. I pick the voices, which fit my personality, which is mostly dance music; but I like to work with someone like a Mikky Ekko who had that wonderful ballad with Rihanna [“Stay”]. So I think picking the artists now is a little different, but not totally, from picking a singer for a movie.

MC: Do you think it’s fair to say that Daft Punk and their tribute to you on their Grammy winning Random Access Memories introduced you to a new generation of fans? Moroder: Absolutely, although I must say Daft Punk, generally speaking, don’t appeal to

MC: Back in the day, you were making current pop music while you were inventing the electronic disco that was the foundation of many subgenres of electronic dance music that followed. So you influenced two audiences––the pop audience and the electronic dance music audience. But how do you feel about these crowds merging now that EDM has become the new pop? Moroder: Yeah, you are right. Basically EDM could not survive if you only had people who liked electronic music or people who like pop; it’s a great combination. The other interesting thing is, when I DJ, I now can do what I could probably not do 10 years ago, because not everybody remembered my songs. But now, due to the Internet, the young kids––and I mean 18-20 year-olds––they know my songs, and I’m completely surprised. And in that regard, my audience is from young to

THE MORODERNOVA THERE’S BEEN A LOT OF BUZZ online about Novation’s MoroderNova, a new limited edition synthesizer that honors the signature sounds of the five-decade career––from disco to Daft Punk—of Giorgio Moroder. At press time, even the maestro himself was eagerly awaiting the delivery of one of only 500 units that will be manufactured. How was the MoroderNova developed? According to the maestro himself, “I was using the MiniNova to do the vocoder when I went on tour. [Novation] took from some of the synthesizers that I used [mostly Roland], and then they sampled sounds from my movies: from Midnight Express, from Scarface, Cat People and Top Gun.” “The sounds are patches generated from scratch using MiniNova’s synth engine,” explains company spokesperson Will Evans. “We selected a range of key sounds from his discography and matched them. He then signed them off.” “I’ve seen a lot of press about this new Nova,” says Moroder, “and I said, ‘Oh yeah, that’s me!’ I’d kind of forgotten about it because my management was talking about it for a year now, and you know, they talk––but finally it happened!” July 2015 37

the 40s and some over 50 who grew up with my music. So it’s very interesting, this large amount of different ages in my audience. MC: Younger fans looking for your old music, that kind of makes you a legacy artist. There have been a few reissues, but much of your solo work has yet to be reissued domestically. Are you interested in getting people to buy your back catalog? Moroder: It’s great that they come out with the old catalog and revive a little bit of the interest in it, but I’m much more interested in seeing what’s happening now. You know, the old stuff is great, and some bad, and it’s nice to have, but you know we live in 2015.

make of your ‘80s soundtracks inspiring the new artists of synthwave and retro wave like Kavinsky on the Drive soundtrack, for example? Moroder: It’s quite interesting. You mention Kavinsky, or actually Cliff Martinez, who did the music for Drive: when I first heard it I said, “Wow! Is this a sample of one of my sounds from a movie?� So I was surprised at how well it worked. I must say, the style is pretty much the same but the sounds are really good. The sounds today, especially the ones Cliff and Trent [Reznor] use, are sounds that I would not have been able to create at the time. But it’s interesting that Trent won the Oscar for The Social Network using the kind of style that I used in my early soundtracks.

MC: Your ‘70s “I Feel Love� sound was so monumental and influential, but what do you

MC: DĂŠjĂ vu is a bit like what you did with Donna Summer on I Remember Yesterday,

where you paid tribute to the past, present and future (“I Feel Love�); is that what you were going for again? Moroder: I was thinking I should have great rhythm––not really EDM. But then there would have to be a reminder that there was a disco time, especially in the song with Sia, where I added the guitars, the strings and the Fender Rhodes. I didn’t want to go completely, “the disco days.� I wish I would have an idea––not necessarily a sound because there are plenty of new sounds––but a new style of recording. You know, I’m going to promote this album for several months, and then I’m going to start thinking what the next sound or style will be. I have to work, you know, try things out, basically do what Skrillex and others did so well with the dubstep. But I have to come up with something, which is today, and hopefully somewhat of a future sound.

“KISS were so pissed at us – at me and Donna – because they were the rock gods and we were ‘those disco guys.’�

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MC: Can we geek out for a minute and talk about the groundbreaking E=MC2 album, which was the first electronic live-to-digital release? Moroder: Let’s say it was direct-to-digital in the sense that I think all instrumental stuff was direct, but the voices were not because I overdubbed my voice. First of all, I’d heard of that digital two-track machine from Dr. Stockham of Soundstream in Salt Lake City. I always wanted to be at the front of what was happening in technology, so I thought that it would be great to record the whole thing live-to-digital. It was an enormous job. I had several people playing live, I had some computers playing basslines and stuff, I had Fender Rhodes players fully automated and preprogrammed—unfortunately what happened is that I was so concentrated on the technology that I kind of forgot a little bit of the music side of it. But it was great, it worked quite well and wasn’t that where I sang the credits through the vocoder? Somebody reminded me a few months ago and I listened again, and it’s really funny. “Tea and coffee by Laurie Howard.� MC: C.K. Lendt’s book KISS and Sell mentions that you were in talks with the band to possibly produce their 1979 album, Dynasty, and when I interviewed Gene Simmons for Music Connection in 2002, he claimed you borrowed the melody from that album’s single “I Was Made For Loving You� when you did “Call Me� with Blondie. What do you make of Gene’s recollection?


Coast to Coast: Web: Case Study Act: We Are The Big Bang ( r )JT BSUJTU OBNF JT KVTU (JPSHJP BOE IF TUBSUed making hits Music as a bubblegum popin producer Coast to Coast specializes planin Berlin, startingand with,booking appropriately, That’s ning, organizing tours in the Bubblegum – That’smarkets. Giorgio, with theFletcher single college and festival Chris Lookyâ€? in 1969. is “Looky a music industry veteran with over 30 years of experience with indie labels, manr )F SFDPSEFE IJT PXO WFSTJPO CVU &OHagement, PR, promotions and tour planland’s Chicory Tip“Getting scored him a No. 1 hit ning. She teaches Gigsâ€? and “The with “Son of My Father,â€? song Moroder Touring Musicianâ€? at the aMusicians Institute with future Summer hits colinwrote Hollywood, CA,Donna and co-founded The Cool laborator, Petepresents Bellotte. lectures, seminars School, which and workshops at affordable prices. r "DDPSEJOH UP XIPTBNQMFE DPN (JPSHJP hasisbeen 244different times, covered How yoursampled company from a typi178 times and remixed 43 times, but the cal booking agency? We’re a boutique operation that encompasses more than simply booking tours. We like working with new and upcoming talent. We educate and develop them sowhat? that they canremember enjoy fi- at Moroder: You know I don’t nancial andthat musical success. It can takeand some all. I know KISS was at Casablanca I time, but we have a but passion for musicheard and try was at Casablanca, no. I probably it to our roster small enough so itthat of [“I keep Was Made For Loving Youâ€?], and hasallsome our acts get the attention they deserve. similarities, but there are always similarities. I don’t really believe [the tour? story about me producing Where should an act KISS],should because KISSfocus were on so where pissed aatdemand us––at They initially me and Donna—because thedemand, rock is—if there is any. If there’sthey littlewere or no godsshould and westart werebythose stupid, not stupid, they doing smallwell, regional tours but we were disco and guys.â€? I never heard around their “those home base expand from there. In fact, the college market is a regional that they asked me to produce a song or an almarket. Most importantly, artists bum, and I don’t rememberthough, ever talking to them. should plan to return to the places where they were most watching successful––every twoSonic to three MC: After Dave Grohl’s Highmonths––or their fans will forget them. ways documentary series, I’m sure people would want to know more about your Musicland What can artists expect to make on the road? Studio in Munich, where you recorded “Love First of all, touring [for an up-and-coming band] ToaLove You Babyâ€? hits. Artists And also, about is promotional activity. tourwhat to expose Larrabee in performances Los Angeles? to new fans. their musicStudios and live Moroder: Musicland was my studio inyear Munich, With that said, it can take a while––a or and we had The recording there, two––before theyRolling start toStones make real money. we had album for Led You havethe to last be established [in Zeppelin, a market]but to command fees. so, I won’t a then whenlarge I moved toEven the States I wasbook becomtour unless at least breaksineven. makes ing less anditless interested it so IItsold it to no sense go on the road and lose Mack, myto engineer, who took care of money. it. And That’s should always book an “anchorâ€? he did why a lot you of recordings with Queen and with gig first––one thatbut willthen cover of your Freddie Mercury, hemost moved to the expenses––and plan a route that around it. doesn’t States, too. So unfortunately studio exist anymore. How can you predict expenses? Larrabee studio thattoI had in North Travel, food was and the lodging have be taken into Hollywood on Lankershim [where Moroder account. Artists should also consider tour inworked with Sparks on Vans their No. in Heaven surance for their gear. are 1usually $75 to album], but Igas alsocan remember working with in theonline Lar$100 a day, be determined rabee studio on and Larrabee in West fuel calculators with aSt. little bit ofHollywood. research you can find discounts for lodging and food coupons. MC: One last question... It’s been 30 years since your last record; how do you feel now that What kind of money an acttomake on the DĂŠjĂ vu is finally beingcan released the world? college circuit? Moroder: All I can say is that I’m very happy They canresults. make anywhere with the For now, I from have$200 greattore-over $1,000 per show. California has the lowest fees views––not too many people have listened to due to the competition with labels that offer the whole album, really surprised their acts for free. but If anI’m act wants to makehow a livgood the reviews are––and if I lookhave at iTunes, ing just playing music, they would to tour the preorders are great and the preorders have six to nine months and do 150 to 200 shows. five stars, for which I’m also very happy. What are the advantages of the college market? MC: Great to talk with you again, Giorgio. Not only they pay Iwell, they alsototreat Moroder: guess I’ll talk youartin ists nice. offer lodging and all Siabout 10 Many years?colleges [Music Connection’s Daniel of them feedwith theMoroder acts. Besides, a great wek lastwill spoke for the it’s magazine’s demographic of potential fans. first issue of 2001.] What is your case study act? Contact, We Are The Big Bang‌ When I met them they

were playing local gigs. Iofset up ahis showcase number times style at NACA (National has Association for Campus Activibeen emulated seems ties) for them, which put them before hundreds incalculable. of college talent buyers. I then booked street fairs, festivals, wineries and college gigs. We r 1PQVMBS .PSPEFS TBNQMFT i5FBSTu BT started small built a buzz. sampled by and DJ Shadow’s “Organ Donor,â€? and from the Scarface soundtrack, “Tony’s Were thereasany challenges in developing Theme,â€? sampled for Kanye West’s your case study act? “Mercy.â€? Yes‌ There are six people in the group. That is r 'BOT PG UIF SBEJP TIPX Coast a lot to put on the road, much more than I To Coast, usually like.familiar So, wewith tried“The several configurations are very Chaseâ€? from the and slowly built a strong enough for presence to Midnight Express soundtrack, which he support so many people. Now, after a couple of was given the Academy Award in 1979. years, it’s doable. r .PSPEFS IBT FBSOFE UISFF 0TDBST GPS IJT How ison booking forExpress, festivals different?and work Midnight Flashdance You have toHis book themalso longhas in advance––often Top Gun. mantle four Grammys a year. Festivals like acts that have played and four Goldenalso Globes. events, like street fairs and other festivals. To

r 0UIFS QPQVMBS .PSPEFS TPVOEUSBDLT BSF play the large ones you have to start small American Gigolo Blondie’s “Call and work your way (featuring up. For California artists Meâ€?), CatinPeople (with that David Bowie) and a interested developing market, there’s Electric (with Human League’s great site:Dreams Just click on “eventsâ€? and Oakey). a Philip huge list will appear. Other states also have similar sites. r *O .PSPEFS QSFTFOUFE B SF SFMFBTF PG Fritz would Lang’s turn film classic, with a What you offMetropolis, about an act? new soundtrack featuring Billy Artists that don’t follow up collabs when Iwith need Squire, Freddie and just Pat Benatar. them to will upsetMercury me. That’s rude and disrespectful. Even worse, acts that do a bad r .PSPEFS JT PODF BHBJO B IPU SFNJYFS BQshow will reflect negatively on me. You have his magic tracks by Coldplay, Haim, toplying understand thattomy reputation is imporandtoo. Tony & Lady Gaga. tant If IBennett can’t maintain my integrity, with professional acts, it could make it difficult for r "MTP UP DIFDL PVU IJT DPMMBCPSBUJPO XJUI FY me to book anyone. Generation X guitarist Tony James and Sique Sique Sputnik Flaunt It, their electroBe sure to seeand MC’s updated 2015 Directory rockabilly tributeAgents, to Bladestarting Runner. of Booking on p. 52.



WWW.GRAMMYMUSEUM.ORG June July 2015 2015 43 39


How to Make the Most of Your Studio Experience BY BERNARD BAUR You know you want your next recording project to have the sonic depth and flair that only a professional studio can deliver––but you’re also very aware that your funds are limited. What do you do? To help you make the most of your studio experience, Music Connection asks studio owners, managers and VPs of operations how clients, large or small, can spend their time wisely and avoid wasting money.

40 July 2015

EASTWEST STUDIOS Los Angeles, CA Candace Stewart – Studio Manager EastWest Studios has turned out more Grammy-winning recordings than any other studio in the world. Indeed, for over 50 years it has been making music history for recording artists, TV shows and films, including the Red Hot Chili Peppers, Muse, Justin Timberlake, Slayer, Rihanna, Frank Ocean, Demi Lovato and EDM artists Skrillex and Diplo. The studio also records music for TV series and films: Mad Men, Glee, American

songs you’re going to do and how everyone is going to play them. Every part, including performances, should be reviewed. Obviously you should practice to make sure everyone is on the same page. If you use studio time to write songs, choose songs or learn your parts, it’s going to add up and be very expensive.

Do only superstars record at your studio? We’re pretty diverse. We have four studios, so we can accommodate almost any budget and offer really good rates. I think we’re extremely competitive and affordable for most acts. Most important, though, is that you’ll end up with a great sounding record.

Do clients write songs during sessions? We do have writing sessions for publishers, where writers collaborate with multiple producers. But for most acts that’s not advisable. Superstars sometimes do it, but they can afford it. Even if you’re just tweaking parts of a song, it could take up a lot of time and increase costs.

How can artists get your best rates? First of all, there’s a misconception that nighttime is downtime. Nighttime incurs double-time pay, and professional acts often book night sessions. If you’re looking for a deal, your best bet is to consider any open date in the middle of the week.

Should artists hire a producer to manage sessions? While hiring a producer can be beneficial––for a lot of different reasons––not all producers are

Any last words? I’d like to convey an attitude of hope. All of us—artists, producers, engineers and studio personnel––are fortunate to be in a business we love. I hear a lot of different music, and I’m just really impressed with how good it is.


San Francisco, CA Justin Lieberman - Studio Co-Manager, Chief Engineer

EASTWEST STUDIOS Idol, The Voice; Iron Man II, This is 40 and Eat, Pray, Love. Candace Stewart has over 30 years in studio management. She has managed Take One Recording, Red Zone, Soundcastle and Firehouse Studios. Prior to coming onboard at EastWest she managed Cello Studios, which was converted into EastWest. Stewart has worked with a variety of artists and genres, from The Rolling Stones, Tom Petty, Red Hot Chili Peppers, Madonna, Ice Cube, and Snoop Dogg to acclaimed film composers Jerry Goldsmith and Paul Williams. How do you account for your longevity as a studio manager? I think it’s because I believe in what I do and really love it. I like working in this industry and I enjoy helping artists. In fact, I look forward to work every day, mainly because the people I work with are pretty cool.

good time managers. The most important thing is to have someone who is a decisive leader, someone in charge who can make decisions. You should never vote by committee. That’s a huge waste of time and can also compromise an act’s artistic vision. Do you have any advice regarding the recording process? If you want to be productive, having a written plan––and following it––is always a good idea. That way you can keep on track and on budget. I also suggest that you start with the easiest song so you can warm up and get into it as the session progresses.

Located in the creative heart of San Francisco, Studio Trilogy furnishes producers, artists and engineers with one of the finest recording studio environments in the world. The 8,800 square foot facility boasts three state-of-the-art control rooms, four integrated isolation booths, San Francisco’s most versatile live tracking room, an experienced staff and a great network of award-winning musicians, engineers and producers. In fact, the studio features Northern California’s only 80-channel SSL 9000K mix console with Ultimation, along with a large collection of microphones and a full complement of vintage and modern instruments and gear. Justin Lieberman joined Willie Samuels and Cindy McSherry in 2010 to launch Studio Trilogy, and became the studio’s co-manager and chief engineer. With over 15 years in the industry, he has earned credits on more than 110 commercially released albums. How is your studio special? We’re a true multi-purpose studio that offers services in anything music related. We not only

What’s the biggest time waster you’ve seen? Actually, we’re happy when you waste time. [laughs] That makes more money for us. But seriously, the biggest time waster is coming in unprepared, not knowing what you’re going to do or how you’re going to do it. You shouldn’t use studio time to figure that out. What sort of preparation should be done prior to recording? Pre-production is important. The best acts take weeks (sometimes months) to prep before they record (Note: Rick Rubin is famous for pre-production––often working with artists for months before recording them). You should know what


make sure all the players are on point, or time will be wasted with multiple takes. Should acts hire a producer? If everyone is on the same page, it can be more efficient. It’s always good to have fresh ears with an objective opinion. As long as the act and producer can work as a team, it can benefit the process. How long should a recording session last? The average session can last for 10 to 12 hours. Some union sessions have rules that limit tracking time. In either case, you need to take breaks every few hours if you want to do your best work. People get tired and ears need to be refreshed.

GRAND VICTOR SOUND record music, we also score films and games and do radio jingles and voice-over work. What should artists do prior to recording? They should prepare everything ahead of time. You need to have your songs and arrangements down, because you can waste a lot of time fighting over parts of songs. What about instruments and gear? You need to make sure your instruments, gear and vocals are in good shape so you’ll get the sound you want. We have instruments and gear available, but most musicians like to play their own. And, it should go without saying, but some artists just aren’t ready to perform in the studio. They can’t play to a click or they simply don’t know their parts well enough. Is there any room for brilliant mistakes? Of course there should be room for experimentation. Sometimes you’ll get amazing results with something unplanned and unexpected. Are session plans a good idea? Yes, if they cover everything. You should avoid downtime as much as possible. For example, taking lunch orders ahead of time will save time. I’ve seen acts take up 30 minutes, or longer, while they decide what they want to eat. How can you expedite setup time? You should go through a pre-session setup plan with the studio. Let them know what your instrumentation is and be open to their input. You should also know the kind of sounds you want for your style of music. And, you should get to the studio early enough to minimize setup time. Should artists hire a producer? It depends on the producer––they’re not equally strong. The most important thing is to have someone designated to make decisions, whether it’s the artist, a producer or an engineer. Should artists always record a full album? Choosing the right songs to record is essential. Too often acts think they have to do a full album when they really don’t have the material. That’s where pre-production comes in. Sometimes four or five songs on a well-done EP will be better than a 10-song LP, with five songs as filler. That alone can save time. How long should it take to record a song? It varies… On some songs it can take a couple 42 July 2015

days to lay down the foundation (bass, drums, etc.). Other times, I’ve seen a song completely recorded in an hour or two. Any last words? Music Connection is providing a great service with this article. We’ve always talked about putting tips on our website so that artists can make the most of their studio time. Now, they’ll finally get some good advice. I’m happy that I got to contribute my thoughts.

GRAND VICTOR SOUND Nashville, TN Sharon Corbitt-House - Sr. VP Studio Operations The historic Grand Victor Sound is one of the largest recording studios In Nashville. Located on Music Row, it was formerly known as RCA Victor Nashville Sound Studios. Today, songwriter and recording artist Ben Folds owns it. The studio’s client list reads like a Who’s Who of music talent: Joe Cocker, Leon Russell, Waylon Jennings, Dolly Parton, Tony Bennett, George Strait, The Beach Boys, The Monkees, George Jones, Brian Setzer, Jewel and Willie Nelson are just a few artists who recorded there. Sharon Corbitt-House has been a part of the Nashville music community for 30 years, and has worked in various capacities in the industry. She started managing Grand Victor in 2009, where she facilitates recording sessions as well as video shoots and special events. Working in all genres, Corbitt-House has been involved with recordings that have sold over100 million worldwide. How is Grand Victor Sound different? This studio has a lot of history. It is unique acoustically and is designed for live recordings. I like to call it our “Big Beautiful Bubble.” What makes a session run smoothly? Knowing how to run a recording session is critical. We like to talk with our clients before they book time, so we can give them our input and put together a plan. We’ll help them any way we can. Whoever is running the session needs to

Do you have any advice about mixing? Mixing is very different from tracking. If you don’t have good tracks for a foundation, the mix will not make them better. With mixing you should take more breaks because ears get tired, and that will affect the mix. You should never rush the process, or try to fix problems that should have been addressed while recording. Have recording budgets changed? They’re about the same. We hit rock bottom several years ago. In fact, if they went any lower we couldn’t operate. Today, acts have a lot of options when it comes to a budget. I’ve seen acts that used crowd funding or investors and others that just saved their money. Do only superstars record at your studio? I like to say we’re an equal opportunity provider. Although we’ve had many superstars record here, we’re comparable to other large tracking studios. And we love to introduce new acts to our facilities. We have a great collection of new and vintage instruments that artists could use, thanks to Ben Folds. And once an act records here they’ll know what it’s like to work in a professional environment. What changes have you seen over the years? Well, the music business has definitely changed. The focus is different and studios have had to adapt. Artists also need to know what their goal is nowadays––what they want to do with their recording. Sales are not a driving income source any more. But, placements and live shows could make up the difference. Actually, it’s exciting because there are so many new business models now.


Brooklyn, NY Matty Amendola - Owner, Producer 825 Records’ studio facility is a state-ofthe-art, full-service production operation. It is home base for Grammy-winning engineer Butch Jones and producer Matty Amendola. With significant upgrades, including a classic SuperAnalogue SSL sound complemented by modern and boutique outboard gear, the studio is a true modular hybrid design. The facility also provides room and board for out-of-town clients, with a kitchen, bathroom and private bedroom. Amendola is the founder/owner of 825 Re-

cords, Studio & Productions. He is known for artist development, as well as his work with some of the biggest names in the industry. Amendola can be heard on over 130 commercial releases and has written, composed and performed for special events and national commercials for companies such as MetLife, IBM and Nike. What’s the most common time waster you’ve seen? Way too many artists overlook pre-production. They tend to stop working when they think they have the songs. In fact, very few even think about recording a demo to analyze their material and performance. And there’s no excuse for that—they’re either clueless or lazy. Why is a demo necessary? You’ll waste valuable studio time without a demo. Today you can record a demo with your iPhone, iPad or computer. That will at least give you an idea of what you sound like. You need to be critical and analyze the songs, arrangements, performances and sounds—especially the vocals. If you do that, you won’t have to deal with those things in the studio. Should artists hire a producer? Hiring a producer can be helpful, especially in pre-production, but only if it’s the right producer. Too often artists will choose a big name over a producer that actually cares about their music

ative and collaborative process, so you should be open to suggestions. Are reference recordings useful? Reference recordings can be useful. But you have to be honest with yourself as to whether or not you’ll able to sound like your reference. For example, if you want an orchestra, you need a budget for that. And, some artists are unclear about who they are and are just going with what they feel. But, trying to achieve something that’s impossible—because of limited skills or budget constraints––will cause frustration and waste a lot of time. Should regular breaks be taken during recording? Most artists do not manage time well. That’s why it’s important to have a recording plan that schedules time, including breaks. It’s a good idea to take a 15 to 20 minute break whenever you need it to recharge your energy and refresh your ears. If you run into a performance problem, you might want to take a bigger break, or move on and go back to it later. Do you have any advice regarding the mixing process? Mixing is a specialty, and artists need to remove themselves from the process during the initial mix. Let the mix engineers do their job first. Then you can make suggestions. When an artist is involved with the initial mix it

Before You Book Studio Time… 1. Talk with the studio manager about your project. He or she can help you determine what you need. Many studios even have a “set up” sheet for such purposes. 2. Visit the studio in person to check out the load-in, rooms, gear and personnel. 3. If you’re using a studio’s engineer, have a meeting and listen to their reference recordings. If you want a particular sound, bring a reference recording. 4. Consider using an experienced producer who knows his/her way around a studio and the recording process. Note: producers can often get better rates for you.



5. If you’re in a band and not using a producer, nominate one person to be “in charge” of the session, someone who can make decisions. Do NOT vote by committee—it eats up time. 6. Estimate the time you will need to record. But note, it is common to go into overtime. So add 10% - 20% to the expected time and budget. 7. Work on your material, musicianship and performance in “Pre-Production.” Demo your songs and make sure everything’s right before you’re on the clock. Studio time is not rehearsal time.

and could really help them. Most important, there has to be a level of trust in the relationship for it to work.

takes way longer. And bands are even worse–– everyone wants their part to stand out, and that can get crazy.

What should be considered when hiring a producer? Producers wear lots of hats. Some like to co-write with artists, while others sit back and simply give advice. You need to know how much involvement you want and what the producer expects. The only way you’ll find out is by talking about it before you get to the studio. If you don’t address those issues it could cause confusion or misunderstandings and end up wasting time.

How about listening to and evaluating the mix? The best place to listen is in the studio. You have to understand that unless the mix is mastered (or pseudo-mastered) it may not sound as good on all devices, especially mobile ones. And that can be very misleading.

8. Have a written recording plan that schedules studio time efficiently.

Bottom line—what’s the worst time-waster? If you’re not decisive, it can waste a LOT of time while you debate the pros and cons. Someone has to make the decisions and roll with them.

10. Get everything in writing, and ask how “down time” caused by equipment failure is handled by the studio’s management.

Do artists need a clear idea of the sound they want before recording? Knowing what you want to sound like can be helpful, but only if it’s realistic. Sometimes artists get so caught up with certain ideas they no longer have an open mind. Recording is a cre-

For Music Connection’s exclusive nationwide Directory of Recording Studios updated for 2015—please go to page 62 or see

9. If you need a little “help” to record (alcohol, herb, etc.), or an entourage for inspiration, let the studio know before you book time.

For Music Connection’s exclusive lists of Recordings Studios, Producers and Engineers, see industry-contacts.

July 2015 43



30% 70% 0%

10% 90% 0%

RATES HAVE STABILIZED For only the third time in the Music Connection Studio Survey history we can report that 100% of all the studios that responded have at least maintained their rates. In fact, 10% raised them with no ill effect.













For years now, professional studios have been multi-purpose. Diversity is the name of the game today. Some studios offer engineering schools that prepare After years of struggle––especially during the students for careers in the recording arts. Many studios also provide rooms for economic downturn from 2008 to 2010–– corporate events, video shoots, cable TV shows, indie film productions and the studio business began picking listening parties. In fact, this year we saw a 35% rise in “other uses.” And up and, now in 2015, it is actually often the rates for these activities exceed recording budgets. thriving. Indeed, 30% of all the studios that responded to our survey reported an increase , Games, Pu in business. bl. , Film V De Although recording T ( m budgets no longer match ADVERTISING the heady days of the ‘80s, ‘90s and early WORD OF FILM/TV 2000s, they have at least MOUTH SOUNDTRACKS remained consistent. That is good news for studios that rely on label work. GAME And, this year, major and SOUNDTRACKS indie labels are booking an almost equal amount of INTERNET studio time. Most notably, those studios that offer different rate structures for independent (DIY) PUBLISHER projects report that business has VOICE-OVER remained steady. DEMOS WORK Home studios remain popular, but they are no AMOUNT OF longer bleeding business from pro studios. In fact, due to the BUSINESS enormous amount of competition in the marketplace, the need for professional and polished productions is at an alltime high. Artists, producers and managers have learned that high-quality productions get the deals, and the only way to get that level of quality is in a professional setting. Many studios are even offering unique services and amenities that were curtailed in the past. Clients of top-end facilities get the VIP treatment and are treated like royalty. For several years now, studios have been operating as multi-purpose facilities. They’re not just utilized for record(Whole Project) ing music anymore. Most rent their rooms out for a variety of purposes (see below), and the additional revenue generated by these activities can exceed recording budgets. This year’s Music Connection (Video, Parties, etc.) survey shows a continuing uptick in the studio business––a change RATES that began three years ago. In fact, no studios reported a downturn in business this year. Even small, home-pro studios had good things to say, and that bodes well for the industry at large.







NOTE: Aggregate percentage exceeds 100% because categories overlap. 44 July 2015

THE MUSIC CONNECTION RECORDING STUDIO SURVEY collects data regarding trends and activities at commercial recording studios in the United States. We survey studio owners and managers across the nation, including those from major music towns. This year nearly 100 studios responded to our survey, with most reporting great news for 2015. BY BERNARD BAUR












Last year we reported a couple of new areas of opportunity, i.e. song demos via publishers and voice-over projects. We even started seeing EDM productions utilizing pro facilities, especially at high-end studios. That trend has continued. In fact, this year, EDM productions have stepped up almost 10% and are providing additional revenue for many studios


10% 90% 0%



35% 65% 0%

Although it is common for different areas of the country to produce different styles of music (e.g., country in Nashville and jazz/blues in San Francisco), we noticed a consistent thread over the last few years. Pop music (which retained its lead for the seventh consecutive year) is being closely followed by urban. Most surprisingly, rock has held steady, even though the mainstream commercial market does not reflect it. Even Nashville, where 70% of all clients are country artists, reports that rock is challenging country and pop genres for supremacy. We also confirmed (for the third year in a row) that EDM producers/artists/DJs are using professional studios to create and mix their work. Rather than working in their own studios, EDM artists are attracted to the high-end equipment, gear and monitors pro studios provide.









CALL IT A WRAP Major and indie labels are booking almost an equal amount of studio time. Meanwhile independent (DIY) projects have dipped a bit, probably due to home studios. Most notably, the majority of studios (70%) report they are servicing the entire project––from start to finish. Once again, “other uses” continue to account for a healthy portion of clients as studios are also utilized for photo shoots, video shoots, special events, TV shows, parties and more. Halfway through 2015 it is clear the recording studio business is healthier than it has been in quite some time.

50% POP 45% URBAN

(Rap, Hip-Hop, R&B)

45% ROCK

(includes Metal, Punk, etc)

33% EDM

(Electronic Dance Music)

25% COUNTRY (Nashville: 70%)

25% SINGER/ SONGWRITER 20% JAZZ/BLUES (San Francisco: 60%)

15% LATIN 15% WORLD NOTE: Aggregate percentage exceeds 100% as some studios “specialize” in specific genres July 2015 45



Scandal J-pop Band Targets the U.S.

n 1977, America unleashed The Runaways on Japan. More recently, the Land of the Rising Sun countered with all-girl Japanese J-pop band Scandal. Together the girls have churned out droves of singles and anime theme songs—all in Japanese—since the band’s formation in 2006. Members Tomomi Ogawa (bass and vocals), Haruna Ono (lead vocals and guitar), Rina Suzuki (drums and vocals) and Mami Sasazaki (vocals and guitar) are all self-taught musicians who regularly sell out shows across Asia. Music Connection caught up with Scandal at its House of Blues show in May on the Sunset Strip while on tour in support of Hello World, the band’s latest offering. The girls shared some insights into how they started and where they’d like to go. “We formed in high school,” lead singer Ono recalls by way of an interpreter. “We all went to [Osaka dance and vocal school] Caless together. One of the teachers suggested that we pick up instruments. So we did and taught ourselves to play.” To make a mark as a band often demands exceptional ingenuity. The girls soon struck upon the idea of performing in parks near venues and covering songs of the headlining bands. “That was a learning experience for us,” drummer Suzuki says. “Gathering a crowd is the most difficult thing. In the beginning, there was no audience, no matter how many times we played. So we started making fliers,

show people how cool girls can be.” The members are variously influenced by bands including Foo Fighters, Maroon 5, Green Day, Taylor Swift and Red Hot Chili Peppers. Indeed, bassist Ogawa was inspired primarily by Flea and on the flight from Japan, Sasazaki checked out the Foo Fighters’ HBO documentary Sonic Highways. She noted similarities to how Scandal approach the record-making process. “That was one of my motivations to come to the U.S.,” the guitarist says. “I like knowing that we’re in the same city as them.” Hello World dropped last December and the girls have hit Chicago, Los Angeles and Mexico City on this round. Scandal commonly plays to sold-out crowds in Japan and its YouTube channel has earned more than 15 million views to date. One of the things that the band loves about touring is the opportunity to sample local foods such as pizza in Chicago and tacos in Mexico City. Off stage, the girls are soft spoken and polite. On stage, it’s like you’d be afraid to owe them money. In short, they rock. Indeed, the House of Blues show in West Hollywood was packed—largely by American guys. It seems that Scandal has tapped into a musical formula that feeds an undernourished need in its audience. Even if that audience only speaks English. See

“We’d like to be known more for our [non-anime] music. We want to show people how cool girls can be.” – Rina Suzuki

l-r: Tomomi Ogawa (bass and vocals), Haruna Ono (lead vocals and guitar), Rina Suzuki (drums and vocals) and Mami Sasazaki (vocals and guitar)

46 July 2015

looked up what bands were playing at Osakajo Hall and covered their songs near the venue. We’d always dreamed of playing there and that motivated us.” The band ultimately did play the venue in 2013. The strategy worked and soon they showcased for a number of labels, which led to a deal with Epic Records Japan. “Several of the labels there were interested, but as a band we decided that Epic was the best choice,” Ono explains. “We were on the rise as indie artists at the time and a few teachers from our dance school invited some of the label people. We already had [Kitty Records] management then and they also brought in people.” Most of Scandal’s songs are inspired by the girls’ experiences and they hope that they resonate with listeners. “Making this album was a natural process,” Ono says of recording Hello World. “It was part of our everyday life. The ideas [for songs] came from spending time with each other. Emotionally, we were going through a lot of changes.” Scandal came to the notice of American audiences, in part, due to the theme songs the band recorded for various anime shows. “Some of that came about because we were asked to do it,” Suzuki says, “and others because we approached the show. When we were starting out, it was a good way to get heard, to get our music recognized. But we’d like to change that perception and be known more for our [non-amine] music. We want to


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July 2015

47 47


Create a Successful Crowdfunding Video T

here are many schools of thought when it comes to running a crowdfunding campaign for a music project, but there’s one key directive all fundraising experts can agree upon: Make a video. According to Kickstarter, 50% of campaigns with videos are successful, while those without have only a 30% success rate. There’s no denying that it takes some additional time and effort to make a video, but it doesn’t have to be high tech (read: expensive) or complex (read: time consuming) to be effective. To make the most out of your fundraising campaign, I encourage you to consider these tips for creating a successful crowdfunding video:

video, show your donors that you care about production value. Make sure they can see you and hear your music, because the last thing you want is for your message to be muddled by bad lighting, a bunch of background noise or a shaky camera.

6. Have fun. If you have a good time making the video, your donors will have a good time watching it. Sharing your work is important, and I’m not saying you shouldn’t take it seriously. But take the pressure off yourself to make the perfect video and enjoy the process. Your donors will enjoy themselves as they learn more about your music, and hopefully will want to join in on the fun.

1. Keep it personal. This is your project and your passion, and it’s important that you share that passion with the contributors who visit your campaign. So what does this mean for the video? You should be in it. This may feel intimidating, but turning the camera on yourself helps your donor see the person behind the music project, and can motivate them to give. 2. Get to the point. Let’s face it: in the age of Facebook, Buzzfeed and YouTube, our attention spans aren’t what they used to be, so the first 20-30 seconds of your video are crucial. Make sure you hook your donors in that first half-minute, or before you know it they’ve up and moved onto the next adorable cat video in their queue. Right off the bat, let your donors know straightaway why they’re there, why they’re watching your campaign video and why you need their support. 3. Make it professional. Like I said, your video does not need to be high tech or complex, requiring expensive equipment, shoot on location or spend days editing. Heck, it can all be shot in one take on an iPhone camera in your living room if you want. But no matter how you execute your

48February July 2015 2015

5. Keep it short/keep it simple. Think of your campaign video like a first impression—get to the point, then let it be short and sweet. You want to give your donors a sense of who you are and how they can join you in the music you’re making, but you don’t need to tell them everything right up front. Keep them curious to find out more: with their gift, the work becomes possible and you’ll share it with them.

4. Showcase the work. If you can, include some video and, of course, your music. It can be footage from rehearsal, recordings from the studio (or your iPhone!), or even just images from your last jam session—anything to give your donors a glimpse of the work you’re planning to make and who you’re planning to make it with. Of course, this involves a little editing on the other side, but it can make a big difference and help give your donors both a sense of what you’re creating, and faith that you’ll be able to create it.

At the end of the day, there’s really no right or wrong way to make a campaign video. The most important thing is that you have one. Remember that crowdfunding celebrates the individual, the DIY, the passion project, so you don’t need to spend days preparing, crafting and executing the perfect video. Take some time to plan it out and make sure that whatever production choices you make will support your message—because that’s the whole point, right? You want to share your message with the crowd and encourage them to join in the process. And remember, people give to people. Your voice matters and so do your donors’. Just talk to them, let them know what you’re doing and why, and how they can help. AMANDA KEATING is a program associate at Fractured Atlas, an organization that provides musicians and artists with the technology and tools to raise money, grow their audiences, find space to make and share their art, insure themselves and their work, and more. A playwright, songwriter and performer, she frequently works with artists on their fundraising campaigns, and has run her own successful Indiegogo campaign to support the creation and production of her play with music, ROAST. See

July 2015 February 2015

49 45 51

A$AP Rocky

A.L.L.A. (At.Long.Last.A$AP)


Peak Experience Jazz Live At Lucy’s Place


A$AP Worldwide/Polo Grounds Music/RCA Records Producers: Various

Joyspring Music Producers: Mike & Lucy Peak, Peggy Duquesnel

With talented producers and special guests, A$AP Rocky (Rakim Mayers) releases his sophomore album—actually a tribute to the God MC of hip-hop, Rakim. Rocky’s mom named him after Rakim, and he’s out to stake his claim to greatness with “Holy Ghost,” “Back Home” and “Wavybone.” The rest, however, seems scattered, perhaps due to the recent passing of long-time friend A$AP Yams. A.L.L.A. has highs and lows, lacking direction; nonetheless, Rocky is proving himself to be an artist’s artist, possibly the new Andy Warhol of rap. – Adam Seyum

Founded by bassist Mike Peak, this powerhouse collective of top jazz musicians and vocalists has for years brought their joyous and soulful swinging energy to corporate events, local festivals and “Lucy’s Place,” the name of the live performance room at Peak’s home. Driven by sax (Rickey Woodard, Ann Patterson), piano (Ron Kobayashi) and drum solos (Kendall Kay) galore and the exquisite, inviting vocals of Andrea Miller, this spirited concert, featuring a colorful mix of standards and originals, perfectly captures the ensemble’s eclectic pop/R&B meets jazz vibe. – Jonathan Widran

Steve Benjamins



Sndcld Producers: Steve Benjamins and Brian Chan


All Your Favorite Bands


Hub Records Producer: David Rawlings

Listening to the new song, “We Used To Live,” by Toronto artist Steve Benjamins, my first thought was, “Oh great, another copycat popish tune that sounds like just about everything else in its genre.” And I nearly ditched the idea of listening to the rest of Benjamins’ new EP, Sightlines, but I’m glad I didn’t. Sure, the music breaks no new ground, but this artist’s voice is intoxicating, and he’s a talented songwriter who has crafted some solid tunes here. “Steamroller,” for example, is a beautiful track. If you like indie music with a luscious pop twist, this EP is worth a listen. – Scott Binder

Lead vocalist Taylor Goldsmith has a robust, yet whispery tenor that can grab one’s ear with the utterance of one line or phrase. There is a poetic flow to the way this seasoned quartet joins in with him on harmonies and melodic interplay that transcends a majority of modern pop and rock. This is takes their Laurel Canyon/Jackson Browne sound to new heights. The single “Things Happen” is emotionally powerful. And “To Be Completely Honest” blends Crazy Horse-like guitar bravado with an astute lyrical perspective that will stop you in your tracks. – Eric A. Harabadian

Barrence Whitfield & the Savages

Dave Edmunds


Rags And Classics

RPM Records Producer: Dave Edmunds

Under the Savage Sky Bloodshot Records Producer: Peter Greenberg


The latest from this veteran Boston band continues a long trek of excellence that began in the mid-‘80s. This is a hard-hitting mix of vintage rock and R&B with a punk attitude. Whitfield has a mountain of a voice and can bowl one over with his soulful attack. Imagine Little Richard and Muddy Waters filtered through early Stones and The Stooges. As the tunes clock in slightly past the three-minute mark, there is a singles-savvy approach that’s a firm shock to the system. Nothing groundbreaking here, but if you’ve come to party, this be the place! – Eric A. Harabadian

Known for his impeccable taste and skill, veteran rocker Dave Edmunds interprets some of his favorite tunes through a purely instrumental approach, and like Jeff Beck he can make his guitar sing and cry without the aid of pesky vocals. A few tunes fall prey to the home studio trap of artificial drum and cliched keyboard sounds (no loop/program sequencing, though), but his guitar sounds great throughout. Superb song choices here (Moody Blues, Beach Boys, Booker T and more), and his take on Kate Bush’s “Wuthering Heights” is truly inspired. – David Arnson


We Came As Romans


Electric Blood Earache Records Producer: Dan Dixon

Aptly named, this Atlanta-based band seems to think that any bunch of guys with dyed black hair can pick up instruments and draw interest by copping looks from vintage Ramones LP covers and attempting to be the next Slade. It takes more than that to compel an audience, or gain some cred. Simply referencing ancient glam/punk rock with song titles such as “1975” and “Space Age Wasteland” does not do credit to that great era of music if you can’t pull it off musically. The band’s sound does resemble a Thin Lizzy cover band, full of mis-directed testosterone, but without the songwriting chops. Just one pretty good song here, “Time to Bleed.” – Brett Bush

We Came As Romans Equal Vision Records Producer: David Bendeth


This isn’t the WCAR You Used To Know. For their fourth studio album, the melodic metalcore sextet partner up with Of Mice & Men producer David Bendeth and pursue a different direction, a sound older fans might not be able to identify the band with. Unclean vocalist Dave Stephens tackles clean vocals rather successfully, which adds to the album’s more commercial appeal. The band continues to craft anthems about self-preservation and rallying together to face the world that could potentially grace Hard Rock radio airwaves, as opposed to moshing in a circle pit—unless you’re jamming to headbangers like “Redemption” and “Defiance.” – Siri Svay

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.

50 July 2015

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July 2015 51

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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We Were Wolves

Privet Earth

Contact: Web: Seeking: Label, Booking Style: Rock

Contact: Web: Seeking: Label, Booking, Film/TV Style: Rock

These Lone Star Staters have an appropriately Texas-sized attack, a grungey, full-throttle locomotive drive led by a rugged singer who leans into his leads at all times. “Home” is the act’s best––despite a meandering intro, the song’s hooky chorus is set up and delivered for max effect. It was a treat to discover the band’s twin guitar attack on the lengthy “Ruin Your Weekend” where both shredders get to solo and ultimately fold into each other with precision. The Wolves get all mellow on the wistful, jangly “Alone”––that is, until they kick into a full-throttle section propelled by a good, riffy hook. This is one cohesive rock band that not only likes to play together, but do it extremely well. We advise the band to tightened up its songs a bit.

Self-described “blitz-rock” artist Ivan Smirnov exudes a distinctive life-force that some of us feel could enliven a Disney movie, such as the Frozen franchise. The artist’s confident, princely and playful voice propels “Forest Queen,” royally convincing you he’s having a ton of fun, a swirl of dancers around him. In fact, we kept hearing a pronounced theatricality in these recordings (helped by strong orchestration) that more than suggests musical theater. “Ice Orkestra” has a similar entertainment value, an energy that is enjoyable to hear. “Big City” is a straightforward electro-rocker that we found less satisfying. We strongly urge this artist/ composer to make inroads into the film/TV realm, particularly animated musicals.

Production Lyrics Music Vocals Musicianship

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Gabe Kubanda

Los Angelics

Contact: Web: Seeking: Management, Film/TV Style: Indie Pop

Contact: Web: Seeking: Label, Radio, Booking, Film/TV Style: Electro Pop

Sideman, tour impresario, solo artist Gabe Kubanda marshals his considerable abilities for these solo tunes, which he has deftly arranged and produced for maximum effect. Best of the lot is “Ready For The Letdown,” whose positive message, catchy beat and overall electric energy (nice singalong potential) add up to a winner. Not as strong, but just as imaginatively rendered, are “Don’t Be Lying” with its “angel” chorale and the R&B-infused “You Got It,” both of which are beyond solid. Yes, Kubanda’s voice, while strong, does not have a one-of-a-kind tone, but it is perfectly suited to his material. Film and televison peeps will take to this artist’s sparkling, kinetic brand of pop-rock and his encouraging, boldly observational lyrics.

“I could jam to this in my car,” said one of our listeners upon hearing “Live Like Kings,” a vibrant, anthemic electro-pop rocker fronted by a pair of frisky female singers. We can also easily imagine the song’s handclapping, fist-pumping chant would boost a teen-comedy’s party scene. This quartet’s colorful vision continues on “Dangerous,” though it is slower-paced and has a vintage throwback synth palette. And we also hear a pronounced Gwen Stefani soundalike quality in one of the lead ladies. The group’s unerring level of energy continues with “Growing Young,” which again features an agile vocal arrangement. A bold, electric vision propels this act, and while they’re not reinventing the wheel they’re surely riding high on it.

Production Lyrics Music Vocals Musicianship

8 8 8 8 8



Contact: Web: Seeking: Film/TV, Label, Booking Style: Pop-Rock, R&B

Contact: Web: Seeking: Label, Film/TV, Booking, Promo Style: Rock/Alternative, Punk

Edgy, dark and cinematic, this artist’s songs leave us marveling at his originality. Not only does he bring a daring vision to his pop-R&B-electronic algorithm, but he succeeds in a way that is as accessible as it is ahead of the curve. Whether it’s the dynamic, dramatic Chinese gong that’s matched with heavy rock riffage on the sexy “Red Dragon,” or the epic, humming, buzzing synthesizer strokes in the percussive, hip-hop infused “Don’t Back Down,” or the more orthodox yet no less original “Learn to Fly” (where he shows his vocal dynamics with an effective falsetto) Jemuhni never forgets the value of a catchy hook. He avoids predictability as gamely as so many other artists cling to formulas. A shoe-in for film/TV.

An extremely tight, full-throttle rock band recorded pristinely with little distortion, JaggerMouth is fronted by a singer whose distinctively rising wail has echoes of Robert Plant. And the booming muscularity of the drummer brings the thunder like Plant’s former skinsman. All of this is in service to a vision that is not exactly hard and heavy, though, but skewed mainly toward the jam-band realm. While “Midnight Sun” and the churning, blues-rocking “Falling (up the stairs)” are strictly album cuts, “Bipolar Babies” is accessible, a song whose lighter touch is winning. We advise this Charlotte, NC band to perhaps add a couple of crisp, crafty tunes to its repertoire to balance out their album-cut compositions.

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page. 52 July 2015

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Meghann Wright

The Blue Dolphins

Contact: Web: Seeking: Film/TV, Distribution, Mgmt Style: Singer/Songwriter, Blues

Contact: Web: Seeking: Booking, Film/TV, Mgmt Style: Pop, Soft Rock

Brooklyn-based Wright has a mature voice packed with a sassy, snarling growl that’s suited to the pounding beats of “Black Kiss,” a song we can imagine lighting up a crowd at a live show. She brings breathiness, at times a whisper, to “Vacancy,” whose reverbed Americana essence is bolstered by deep tube-amp twang and wistful highway imagery that is cinematic. We like how the song’s energy builds to a vibrant singalong finale, but feel she could connect her breathyto-chesty vocals a bit more smoothly. Her most commercial tune is “Diamonds Blaze” where Wright’s husky voice shows strong range when needed on its rousing finale. We can imagine the song working well in a TV drama, especially an ending sequence.

With songs meant to stroke you, not poke you, Malibu natives The Blue Dolphins aim to put you in a beachy mood with uncomplicated songs helmed by the duo’s Alfonso Rodenas, a Grammy winner who brings a fitting restraint to each recording, keeping drumbeats way down in the mix. With Victoria Scott at the mic, the pair delivers solid, determinedly optimistic, life-affirming vibes, as in “Walking In The Sun” with its sweet harmonies and surfy guitar solo. “Afraid of Moving On” glides on an upbeat tune that defies the lyrics’ downbeat suggestion. A wistful ballad, “Shelter Me,” is less effective and could use a male duet partner. Mild and mellow, The Blue Dolphins could become a welcome presence on the winery circuit.

Production Lyrics Music Vocals Musicianship

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Claudia Ray

Paul Tyner

Contact: Web: Seeking: Label, Film/TV, Radio Style: Pop

Contact: Web: Seeking: Label Style: Alt/Rock, Hip-Hop

Here’s some competent, nicely produced synth-pop from an artist who knows how to hit the right buttons. The ebullient “Alive” and “Charlie” are good examples; they might attract a film/TV rep looking for a genre snippet for kidflicks, but they’re formulaic confections that fall short of special. For Ray to truly break out from a crowded field, we urge her to upgrade the lyrics, which are bland and lackluster. Substantial, provocative lyrics will compel Ray to invest her vocals with a level of emotion that is absent right now. Just because this artist’s chosen vision is 110% synthetic pop music doesn’t mean that as a singer––a communicator––she shouldn’t replace the Splenda with some honest-to-goodness sugar.

Self-produced recordings by artist Paul Tyner reveal a wealth of influences. “Rise Up!,” for example, has a ‘90s rap-rock profile and is swirling with the ‘70s swagger of Grandmaster Flash. Tyner seasons “So Sweet So Fine” with just a bit of old-school R&B smoothness mixed with the song’s rock vocals. Despite the positive messages offered in these tunes and the cool influences on display, each recording’s mix suffers from a malady that’s common to self-produced solo artists: the individual tracks don’t quite blend successfully to present the illusion of a full band at play. The result is that some of Tyner’s most promising hooks are left stranded, without the kind of organic vitality that drives a song home.

Production Lyrics Music Vocals Musicianship

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Wentrelle Damarr

Travisteen Helms

Contact: Web: Seeking: Label, Booking, Film/TV, Distr. Style: Hip-Hop, Rap, Poetry

Contact: Web: Seeking: Film/TV, Publicity Style: Singer/Songwriter, Country

Damarr brings a disarming calm to his vocals that, despite his limited singing ability, makes his tracks intriguing. He doesn’t command you to listen; instead, on “What We Provide” he brings an easy, off-handed presence to the mic, his words articulated over an ambient track. Beyond mellow is “Abstractly Beautiful,” suffused with breezy, Brazilian acoustic guitar & piano and a sensual female vocalist. On this song, however, the laid-back vibe gives way to a more forceful rap flow. “Don’t Matter” is typical hip-hop fare, with a guest rapper and a cool, Asian violin sample that gives the song real potential. We urge this artist to get with a savvy producer who can bring a level of finesse to his unique, promising ideas.

Throwback country––think ‘60s and ‘70s Nashville––comes from Travisteen Helms and band featuring Kimberly Hall, whose lead vocals are marred by a tendency to flatten on the lower tones and whine on the uppers. The band, while tight, are quite stiff, and the result, as on “It’s Just Temporary,” is an act trying hard to be nice and polite. Hall shows off a good growl and sweet harmonies on “I Know I’ll Love You Again,” and the saloon pianist shines, but the band’s restraint makes the song ho-hum instead of heartbreaking. We like “Hold Me” a lot better; its good hook and dynamic touches show what the band could be. A hefty boost of energy and a professional voice coach could make a world of difference for this act.

Production Lyrics Music Vocals Musicianship

8 7 7 7 7

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to All submissions are randomly selected and reviewed by committee. July 2015 53

Abbey Pub Chicago, IL Contact: Web: The Players: Alen Khan, guitar, vocals; Natalie Grace Alford, keyboards, vocals; Greg Peerbolt, guitar; Stan Träger, bass; Tommy Mendoza, drums.

Musicianship: Alen Khan, who writes all the songs for Bad Bad Meow, is a strong vocalist, an entertaining frontman, and a solid acoustic, rhythm guitarist. Natalie Grace Alford is a skilled keyboardist, and her background vocals add another dimension to the music. Guitarist Greg Peerbolt wails and shreds and complements Khan’s playing well, while bassist Stan Träger and drummer, Tommy Mendoza, are the rhythmic cement that hold everything together. There is no doubt that this band is talented. Performance: From their first song, “Pretty Famous People,” all the way to the end of their set, Bad Bad Meow captured the small, yet enthusiastic audience’s attention and held it. They had good energy and interacted with the crowd in between songs. The entire

Harvard & Stone


band looked comfortable on stage. The only setback to their performance was that there was barely anyone there to see it. Even for a Wednesday night, the crowd seemed tiny with less than 20 people, including the bar staff. Bad Bad Meow might consider bringing musical variety to their set with more extreme high and low moments, or maybe even some sort of gimmick or onstage antics to make the listener’s experience even more interactive and entertaining. Perhaps adding an audience sing-along would help, but the music really speaks for itself. They are an excellent live


Material: While they describe themselves as “Americana-Punk/Garage-Country,” Bad Bad Meow definitely has a taste of New Wave and Pop-Rock as well. Their music is infectious with memorable melodic lines, interesting rhythms and clever lyrics. The band’s live show draws mainly from unreleased material, as well as favorites from past releases such as “Big Phat Pussycat,” “Drink & Regret” and “Run Through the Middle.”

band. It’s a shame that Chicago does not seem to have discovered them yet. Summary: The wonderfully clever and melodic songwriting of Khan is what brings this stellar group of musicians together. They sound great and feed off each other amazingly well. To bring this band’s live show to the next level, they will need to make their performance more musically dramatic and visually entertaining. Chicago, you don’t know what you are missing…and what you are missing is awesome. – Mary Lemanski

Los Angeles, CA

Material: The self-described “new-wop” group—imagine vintage doo-wop crossed with alternative pop—writes catchy songs that showcase powerful dynamics. Verses transition seamlessly to poppy choruses or staccato breakdowns that feature Charlotte Fontaine’s sultry voice. Songs like “Dustin Hoffman” or “Cate Blanchett” possess swinging rockabilly grooves, yet pack a modern punch with distorted chords. Since the band gets inspiration from older material, Hank Fontaine would do well to dial in a more assertive, twangy guitar tone for his solos to achieve a more vintage quality. Musicianship: Charlotte Fontaine seduces the listener with her velvety vocals, especially her romantic falsetto. Hank Fontaine, while an energetic rhythm player, seems to lack the confidence and fret familiarity to be a lead soloist. DeMayo holds down the groove and fills out the low-end that the material calls for. Zimmerman plays a bit stiff, which occasionally prohibits him from locking in with DeMayo. Chaney plays his riffs straight up the middle with a visceral intensity that hypes the crowd in live performances. 54 July 2015

THE FONTAINES Performance: From the moment The Fontaines took the stage and strummed the first chord of “Dusty Springfield,” they had total command over the audience. On-stage relationships immediately ignited, and the tiny stage didn’t affect the frenzied movements of DeMayo, Chaney or Hank Fontaine. Dynamic breakdowns, which consisted of tight stops, showed that the band was well rehearsed and no stranger to the stage. The audience responded most positively when Charlotte featured her gritty growl, which she should feature on more of the recorded material. During a cover of Blondie’s “Heart of Glass,” which the band nailed in its own unique way, the rhythm section was finally firing on

all cylinders. Zimmerman loosened up and asserted himself as a dominant rhythm player. The band closed the set with the rockabilly inspired “Paul Newman” that got the audience shaking like the old days of doo-wop. Summary: The Fontaines have a commanding, energetic stage presence and generate a unique sound that compels people to dance. The band’s natural songwriting ability could permit them to contend with some of their more respected contemporaries. If Hank Fontaine becomes more adept at his guitar, his solos and the group's performances will only benefit. – Vincent Stevens


Contact: Web: The Players: Charlotte Fontaine, lead vocals; Hank Fontaine, guitar, vocals; Jason DeMayo, bass; Zach Chaney, guitar; Scott Zimmerman, drums, vocals.

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Viva Cantina

Burbank, CA

Material: Jaway is self-described as a combination of R&B, soul and Afro pop. The band shows a lot of flexibility within those styles, putting up-tempo, highly danceable twists on covers while also applying this fusion sound to original songs with thoughtful lyrics (“When Will We Learn”). While the chorus is simple, there is much wisdom in the verse: “First come together for the common good/To be a reflection of what we preach we want for all/That we are the lyrics of our broken song that’s lost it’s tongue/To change our actions is to change our daily attitude.” Musicianship: The set mixes upbeat covers and slower ballads. The opener is “Make You Feel Good” with Vieten on acoustic guitar and Cornwell adding a little bit of shaker and hand drum. The band transitions straight into their Afro pop take on The Eagles’ “Hotel California.” The chimes from Cornwell border on overkill but the audience couldn’t seem to get enough of his shekere shaking. Marino has a great instrumental on “Muse” while McGullam and Cornwell really take off in a funky exploration of Stevie Wonder’s “Higher Ground.” The group struggles with low sound levels but when they focus on their overall dynamics the issue is resolved. Overall they

The Dirty Laundry


manage to keep their originals tight with interesting key changes, funky breakdowns and strong finales.

Performance: Jaway immediately thanked his audience and got their hands clapping. Unfortunately he had microphone troubles throughout the set, ranging from height adjustment issues to a cable short. These technical snafus cut into his highly personal song introductions. The distraction drew the attention of the audience off the band and onto some noisy bar patrons. Jaway was undeterred by any of this. He worked the stage, taking the mic off the stand, continually


Contact: Web: The Players: Jaway, vocals; Mark Marino, electric guitar; Timboli Cornwell, percussionist; Tommy McGullam, bass; Kurt Fries, keyboard; Shaun Vieten, acoustic guitar; Jim Salisbury, drums.

engaging the audience and filling the dance floor. He adequately plugged his single and merch table, and by the show finale swapped microphone cables. Summary: While Jaway can really hold a note and make covers his own, this particular performance felt like a teaser of a vocal power waiting to explode. Similarly, the band has a lot of potential for growth. Hopefully together they will continue to seek out more mainstream venues that will be more receptive not only to the music but also their message. – Brooke Trout

Los Angeles, CA

Material: r.e.l. is a 19-year-old indie-pop artist who creates layered songs with an upbeat pop sound inspired by passion and a sunny disposition. Her songs are personal and close to her heart, and range from the historically and politically driven “Love Your Neighbor,” to the perfect-for-summer electronic “Headed for the Sun” and the slow yet powerful “Plateau,” a video which has been featured on MTV Iggy. Musicianship: r.e.l.’s compelling sound comes from her juxtaposition of opposing qualities. Her controlled and crisp vocals exude a dream sequence feel by matching the rhythm and sound of the backing music to the tone of her vocals to create a beautiful harmony. Elegantly bare lyrics complement the songs’ tone and resonate with the listener. Every aspect is tender and intricate, down to the pronunciation and inflection of each word. For such nuanced songs, it is surprising that they do not feel overworked. Rather, r.e.l. is able to produce a complex song with a mellow, trance-like simplicity. Performance: A hard left and only a few dozen feet from the door stood r.e.l., backed by a 56 July 2015


bassist, drummer and somone on an Abelton Live sequencer. The rustic cabin feel of the bar’s basement was warmed every time she stopped to joke or smile. She didn’t command the audience. Instead, her performance was more akin to a conversation. The give and take created a sense of belonging. Her performance of her religious warfareinspired song “Love Your Neighbor” was so penetrating, it should be listening to by students of foreign policy. While the artist’s feet seemed to stay in the same position for the whole performance, her arms pirouetted through the air and her body moved to the tempo of each song perfectly. Near the end of her set, she sampled “Bitch Don’t Kill My Vibe” with a tenderness that mirrored Anya Marina’s cover of “Whatever You Like.” As she thanked the


Contact: Web: The Players: Arielle (r.e.l.) Sitrick, vocals; Austin Foley, Ableton Live; Kiko Brenneisen, drums; Andrew Hill, bass; Eric Walker, special guest performer.

crowd, shouts for an encore erupted to which she obliged. Summary: r.e.l. has a rare ability to radiate both effortless coolness as well as an approachability that intoxicates the audience. The challenge, as she tries to expand her audience, will be establishing her place within a community of young female artists with a similar sound. Her individuality will come from the upbeat sincerity that differentiates her from her more brooding, dark peers. As a young artist who only began writing songs a couple of years ago, r.e.l. has excelled at honing her sound and style. With continued growth, hopefully her evolution will lead her to expand and differentiate her musical styles. – Malorie McCall

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July 2015


The Prospector

Long Beach, CA

Material: One High Five present material that yearns for identity. Within 40 minutes, the music takes a journey through several concepts, each one requiring development to reach independence. Self-described as “punk rock,” this is fitting for most of the set, including songs “The Ol’ Switcheroo” and “Fully Operational.” The energy is undeniable, but melody and hook are hard to find. The music takes unexpected turns, though, in the rock-drama ballad à la David Bowie or Queen “Crash the Party.” “1,000 Miles Per Hour” has hints of Phish with an emphasis on the drama of storytelling. These concepts are enough to build a “sound,” but require fine-tuning to develop a singular vision. Musicianship: The players show great potential. There are moments where everything “clicks,” and one can see something special happen. Particularly exciting are bass player Stephenitch and guitarist Grey, both taking appropriate moments to shine. Frontman and concept-driver Sauer has a great deal of heart and imagination, but can grow as both a vocalist and an instrumentalist. His keyboard parts are simple and fitting, but at times pull his focus from often fast-moving

Best Bar


lyrics, few of which can be understood. Where melody is present, pitch has a tendency to suffer. Some focus on clarity and pitch will help Sauer reach the next level. Mancini is a solid guitarist, but falls short with regard to precision on harmonies. Drummer Traska also shows signs of brilliance, but takes a few songs to get comfortable and meld with the rest of the band. Performance: This group created a happy party the entire night. It’s hard not to like them. The concept, the creativity, the fact that they wanted people to “High Five” all the time—these things established a positive and loving environment. The atmosphere of The Prospector—a cozy, dark, unassuming


Contact: Web: The Players: David Sauer, vocals, keys; Kyle Traska, drums; Jason Gray, guitar; Adam Smith, guitar; Danielle Lehman, bass.

venue where the stage is one foot off the floor—helped this band have a good time with friends. Throughout the night, the line between band and audience was difficult to identify. As a whole, especially with the loveable and fun personality of Sauer, there is a perfect foundation to build upon as the band find its style and identity to take on larger stages. Summary: If ambition, marketing and good intentions are enough, One High Five will surely keep rising. The speed of the ascent will be aided by a honing of songwriting and better grasp on the identity of music as well as growth as musicians. For those who want to smile and not take life too seriously, this is a group to enjoy. –Tim Reid, Jr.

New York, NY

Material: Connecticut-based rock quintet Chaser Eight reflects influences such as Pink Floyd, The Killers and Alanis Morissette (to name a few) featuring longer musical intros, often darker themes and plenty of angst. Frontwoman and consummate rock diva *AUDRA*’s songwriting deals mainly with relationship turmoil and the search for love and sexual fulfillment. “I Wanna Die” (probably their strongest song in the set) explores the ennui of life, risking it all for one night of passion: “I wanna die, I wanna die, but I wanna live tonight.” In “Lead Me Down,” the fulfillment theme is echoed again but comes with a warning: “first I’m gonna get you high, never leave you alone, I’m going to set a fire in your soul just don’t lead me down, lead me down.” Musicianship: *AUDRA*’s voice has a touch of sweetness in it, but enough requisite strength to wail on the essential notes to create a nice contrast against the hard driving guitars and drums. There are some standout lead guitar lines from Walsh, especially in “I Wanna Die,” which burst forth from a dynamic percussive intro delivered by the rhythm section. The main glue of this outfit, besides some tasty playing, is their long-standing relationship dating back to childhood. 58 July 2015


Performance: Chaser Eight kicked off their set with 40 seconds of a Pink Floyd mp3 “In the Flesh” (a call to the stage), which then segued into their first song, establishing a musical point of reference. It was a nice touch, but only meaningful if you were familiar with Pink Floyd’s repertoire. They went on to perform a consistent and balanced show except for one unfortunate snag that was entirely out of their control: At the last minute the promoter changed the venue and start time, which sorely affected the turnout. The band nevertheless played the gig with a level of energy and


Contact: Web: The Players: *AUDRA*, vocals, guitar; Pat Walsh, lead guitar; Billy Wang, bass; Pete Giannini, drums; Aaron Tagliamonte, guitar, keyboards.

professionalism as if there were a full house. Summary: There’s no doubt Chaser Eight are a hard-working and committed band who project a camaraderie and sincerity that comes through, even under compromised circumstances. They are at ease on stage as a unit and have cohesive and interesting arrangements. They could benefit from a couple of additional standout songs, not necessarily with poplike hooks but centered around a big lyrical statement or a musical motif. – Ellen Woloshin

July 2015


The Viper Room

Los Angeles, CA

Material: Native June’s energetic and sometimes gritty material infuses elements of surf rock, but also harkens back to the classic rock era. Choruses explode with hard-hitting, distorted chord progressions that carry over into quieter yet up-tempo verses. Solid, gutsy rock beats drive most of the songs, which catch on quickly. “Change,” for instance, has a choppy, haunting minor chord riff that accents a forceful drum beat. It’s the slower material, however, that is more fine-tuned. “Daisy,” a romantic ballad that starts off slow and crashes into a frenzied chorus of grizzly growls, is successfully composed, and the band should aspire to write more songs in that vein. Musicianship: Watson is a confident rhythm guitar player, but requires more familiarity with his instrument to be a soloist. His vocals have a signature grit, which he should feature more, but they often veer off pitch. Jones has rhythmic chops and commands attention from behind the kit. Cuyugan locks in with Jones, but seems a little careless with his fingering at times. Chaput is a fine lead player, but doesn’t get to showcase his skills nearly enough.


Performance: The band plowed through a set of originals in a sweaty, rock & roll fashion. From the opening tune, “Shoulda Saw it Coming,” Watson quickly established himself as a thrilling frontman as he jumped around the stage and engaged the audience, encouraging vocal participation. Although his stage antics entertained the packed venue, his vocals and guitar playing suffered. Similarly, Cuyugan focused less on his bass lines and more on jumping about. This by no means ruined the show, but it did compromise musicianship for entertainment. Jones and Chaput kept the band afloat, remaining tightknit throughout the set.


Contact: Web: The Players: Gabe Watson, lead vocals, guitar; Martial Chaput, lead guitar, backup vocals; Anton Cuyugan, bass; Tosha Jones, drums.

The band’s set took an interesting turn during “The Circus,” a ska-inspired song with odd rap vocals. Native June finished strong with “In Shadows” and “Saturday Night,” to which the crowd joined in for a chanting chorus. Summary: Native June has a knack for songwriting, but at this point in their development the band should play to its strengths. While musical experimentation is commendable, with the band’s classic rock leanings as a crowd-pleaser, finding a distinctive sound is now paramount. – Vincent Stevens

Hotel Café Los Angeles, CA Contact: Web: Players: Anna Vogelzang, vocals, guitar, banjo.

Musicianship: Though she is showcased as a multi-instrumentalist, Vogelzang’s skills on guitar and banjo are elementary. Her light, country-like vocals accompanied by a steel guitar are where her potential lies. As a vocalist she shows strength and clever phrasing within her higher vocal ranges, and is skillful at weaving different levels of crescendo. She could, however, work on smoothly transitioning into lower octaves. All in all, the artist's vocal and instrument abilities could both be further developed. Performance: Vogelzang’s stage presence lacked energy, resulting in a sluggish show. She had very little interaction with her audience and was unable to make a lasting impression. Even with the club’s intimate setting, Vogelzang made little effort to captivate and engage. She was unorganized in her instrument prep and set-up, creating a delay in her 60 July 2015

ANNA VOGELZANG performance. Her presentation was often emotionless, bored and rushed. In order to build a loyal audience, Vogelzang needs to portray a more colorful stage persona. Summary: Overall Anna Vogelzang’s novice ability as an instrumentalist, when paired with lack of stage presence, make her a performer


Material: Vogelzang is an impressive lyricist and demonstrates her ideas boldly through the use of vivid imagery and keen memories. The majority of her songs tell stories fueled by the timeless themes of love and heartbreak. The song “Kay,” off her recent album, Driftless, is a song about loss and memories, and it creates a colorful marriage between her lyrics and images. This artist’s execution of ideas is sharp, and those ideas seem to be conceived from simple concepts, which are relatable to most people.

with plenty of room to grow. Significant improvements are needed in several areas, but her shortcomings could be offset if she were to develop more control over her voice at lower pitches and not straining her cords to project. Indeed, professional vocal coaching will aid in making Vogelzang the artist she wants to be. – Macie Bennett







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Directory of

Recording Studios

Music-makers Now expanded tap into this fordirectory 2015, this toisconnect an exclusive with indie list oflabels, professional marketing recording & promo studios. experts Alland information indie publicists. below isPlus supplied loadsby of the contact information to aid listees. you inTopromoting receive thousands your music of career, free industry DIY style: contacts, T-shirt visit and CD development, blog sites and social media tools. ALABAMA BIRDLAND RECORDING STUDIOS 4891 County Rd. 585 Town Creek, AL 35672 256-353-4599 E-mail: Web: Contact: Jeff Simpson Format: 32 channel Trident Analog Console, 24-48 track Alesis HD Digital Recorders Basic Rate: please call for info

Web: Format: digital Basic Rate: please call for info

Additional locations:

1219 Fremont St. S.W. Decatur, AL 35601 Contact: Jeffrey Simpson E-mail: 256-353-4599, 256-466-4312

Los Angeles Office 468 N. Camden Dr. Beverly Hills, CA 90210 310-933-6630

GAT3 PRODUCTIONS 1820 Hwy. 278 Gadsden, AL 35903 704-525-5552 E-mail: Web: Contact: Susan Tabor Studio A: Pro Tools 10HDX, SSL 9000J 72 Input Console. Studio B: Recording and Mastering Suite: Pro Tools 10HDX. Equipment list available on our website. Studio Rates: Studio A $105.00 per hour, Block Rate (8 hours or more) $95.00 per hour; Studio B $95.00 per hour, Block Rate (8 hours or more) $85.00 per hour RIVERLAND RECORDING STUDIOS 509 Talucah Rd. Valhermoso Springs, AL 35775 256-683-1740 Web: Format: Alesis HD 24, Pro Tools LE Basic Rate: $65/hr to $80/hr. contact us SOUND CELL/SMITH MUSIC GRP, INC. 601 Meridian St. Huntsville, AL 35801 256-539-1868 E-mail: Web: Format: Pro Tools Basic Rate: please call for info SOUND OF BIRMINGHAM RECORDING 3625 5th Ave. S. Birmingham, AL 35222 205-595-8497 E-mail: Web: Contact: Don Mosley Basic Rate: please call for info

ALASKA 10TH PLANET P.O. Box 10114 Fairbanks, AK 99710 907-488-8658 E-mail: Web: Contact: R. Ford or P. Fitzgerald Format: digital Basic Rate: please call for info DOME STUDIOS 1912 Gilmore Trail Fairbanks, AK 99712 907-457-1993, 907-456-6734 E-mail: Web: Contact: Jerry or Rif Format: Tascam 16 track 1-inch analog tape Basic Rate: $74/hr. Call for details FM RECORDING STUDIOS, LLC 5700 Old Seward Hwy., Ste. 202 Anchorage, AK 99518 907-223-4306 E-mail:

DAWSON MUSIC AND RECORDING STUDIO 575 Hwy. 95 W. Clinton, AR 72031 501-745-2025 Web: Contact: Louis Dawson, owner EAST HALL RECORDING 4210 N. Salem Fayetteville, AR 479-582-3278 E-mail: Web:, Basic Rate: $60/hr

SURREAL STUDIOS 355 W. Potter Dr. Anchorage, AK 99518 907-562-3754 E-mail: Web: Contact: Kurt Riemann Format: digital Pro Tools Basic Rate: please call for info

ARIZONA BRICK ROAD STUDIOS 7944 E. Beck Ln., Ste. 160 Scottsdale, AZ 85260 480-788-3573, 480-251-5791 E-mail:, Web: Contact: Scott Leader, Mark DeCozio Format: call for info Basic Rate: $450/day $85/hr or flat rate for larger projects

RANEY RECORDING STUDIO P.O. Box 17 110 S. Front St. Drasco, AR 72530-9282 870-668-3222, 870-668-3698 E-mail: Web: WINTERWOOD RECORDING STUDIOS Eureka Springs, AR 72632 479-253-2530 E-mail: Web: Contact: Eric T. Schabacker Format: Nuendo, Cuebase, Pro Tools Basic Rate: $60-$75/hr.

FULL WELL RECORDING STUDIO 1718 N. 17th Ave. Phoenix, AZ 85007 602-367-1342 E-mail: Web: Contact: Mike Bolenbach Format: Pro Tools HD3 Basic Rate: please call for info

WOLFMAN STUDIOS Little Rock, AR 501-247-5525 E-mail: Web: Rates: $35/hr weekend, $25/hr weekly, $40/ hr remote

LUNA RECORDING STUDIO 4500 E. Speedway Blvd., Ste. 86 Tucson, AZ 85712 520-260-7576 E-mail: Web: Contact: George Nardo Format: Pro Tools HD Basic Rate: Please contact us

A17LIEN PRODUCTIONS STUDIOS 4100 Wayside Ln., Ste. 120 Carmichael, CA 95608 916-483-9988 E-mail: Web: Contact: Jeff Northrup Format: digital recording, mixing, mastering and music production Basic Rate: $35 per hour, $250 8-hour block.


SALTMINE STUDIO OASIS, THE 48 S. MacDonald St. Mesa, AZ 85210 480-220-4007, 480-892-6585 E-mail: Web: Contact: Don Format: digital and analog Basic Rate: please call for info

AUDIO EVIDENCE MOBILE P.O Box 428 Redway, CA 95560 707-223-0506 E-mail: Contact: Rob Seifert Gage Format: mobile studio, analog/digital, out of the box mixing, 32 in/out, Dangerous Music Summing, Equator Audio Monitors, PreSonus StudioOne, Analog Effects and MixBus Rates: Contact for a personalized quote

ARKANSAS BLACKWATER RECORDING STUDIOS Cabot, AR 72023 501-0843-9522 Web: Contact: Michael Sharpe Rates: call for rates

BAY RECORDS 3365 S. Lucille Ln. Lafayette, CA 94549 510-428-2002 E-mail: Web: Contact: Michael Cogan Format: 24-track analog and Pro Tools HD Basic Rate: Call or e-mail

BLUE CHAIR RECORDING STUDIO 159 Ray Sowell Rd. Austin, AR 72007 501-605-8489 E-mail: Web: CEDAR CREST STUDIO #17 CR 830 Henderson, AR 72544 870-488-5777 E-mail: Web: Contact: Bob Ketchum Format: analog 1-inch 16-track, digital PC w/

C O M P I L E D 62 July 2015

CRYSTAL RECORDING STUDIOS 2307 Brandon Rd. Bryant, AR 501-847-8215, 501-681-7935 E-mail: Web: Basic Rate: please call for info

MIRROR STUDIOS, INC. 3700 Woodland Dr., Ste. 100 Anchorage, AK 99517 907-245-8888 E-mail: Web: Format: Pro Tools HD3 Basic Rate: please call for info

Additional location:

FAME STUDIOS 603 E. Avalon Ave. Muscle Shoals, AL 35661 256-381-0801 Web: Format: Pro Tools and vintage analog Basic Rate: please call for info

Sony ACID Pro 6.0, Sony Vegas Basic Rate: please call for info


BLUE SEVEN AUDIO Central Fremont Fremont, CA 94538 650-766-7212 E-mail: Web: Contact: Chris Format: Pro Tools HD3 Basic Rate: call for rates COAST RECORDERS 1340 Mission St.


San Francisco, CA 94103 415-795-1831 Contact: Sean Beresford E-mail: Web: Format: Pro Tools HDxisystem Basic Rate: call for rates CRYSTAL IMAGE FULL BAND DEMOS P.O. Box 996 Jackson, CA 95642 E-mail: Web: Contact: John Covert Format: digital and analog, 8 tracks Basic Rate: $60 per demo (rates can vary with repeat orders or complexity of order. E-mail us with your budget) DAVID LITWIN PRODUCTIONS One Bridge Road Larkspur, CA 94939 415-924-2240 E-mail: Web: Contact: David Format: Pro Tools HD Basic Rate: call for rates DIFFERENT FUR 3470 19th St. San Francisco, CA 94100 415-828-4060, 415-864-1967 E-mail: Katie Web: Contact: Katie Kopacz, Studio Manager Format: SSL 4056/48e | Pro Tools Version 10 Basic Rate: call for info FANTASY STUDIOS 2600 10th St. Berkeley, CA 94710 510-486-2038 Fax 510 486-2248 E-mail: Web: Contact: Jeffrey Wood Format: Pro Tools and analog Clients: Please check our website for examples of our extensive client list. Format: Pro Tools and analog Services: Fantasy Studios is a world-renowned recording facility located in the San Francisco Bay Area. Our facility is comprises three legendary recording and mixing rooms, and we offer an extensive selection of microphones, outboard gear, instruments and natural echo chambers. We are based in a secure media complex that offers privacy for celebrity clientele, ample parking and load-in for large bands or crews. In addition to recording and mixing, we offer ISDN services, comprehensive media transfer work, editing and on-site mastering. We are also available for film, video, photo shoots, live streaming, and events. Clients: Please check our website FIREWATER STUDIOS Los Angeles 310-354-5901 Contact: Billy Graziadei E-mail: Web: Format: Pro Tools HD4 Basic Rate: call for rates HYDE STREET STUDIOS 245 Hyde St. San Francisco, CA 94102 415-441-8934 E-mail: Web: Format: digital and analog, 24 tracks Basic Rate: call for info SF SOUNDWORKS SSL9000 San Francisco, CA 94103 415-503-1110 E-mail: Web: Contact: Tony Espinoza Format: digital and analog, 128 tracks Basic Rate: please call for info SONOMA MOUNTAIN STUDIO ESTATE 369B 3rd St., #171 San Rafael, CA 94901 707-665-0849 E-mail: Web:

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Download at Format: Digital and Analog Basic Rate: call for info THE SOUND THEORY 1141 Campbell Ave. San Jose, CA 95126 408-921-1550 E-mail: Web: Contact: Rico. Chief Engineer/Producer Format: Pro Tools HD hydrid Analog & Digital Basic Rate: Call or visit for info

CALIFORNIA (SOUTHERN) 3RD STREET ADR 2438 3rd St. Santa Monica, CA 310-613-7138 E-mail: Web: Format: digital and analog Basic Rate: ADR/Voice over rate: $200 with ADR mixer 17 HERTZ STUDIOS 5253 Lankershim Blvd. North Hollywood, CA 91601 310-331-8818 E-mail: Web: Contact: Jason Gluz Format: Pro Tools HD3/192 Basic Rate: call for rates Clients: Jabbawockeez

Bobby Barth, Wes Williams, Stacey Evans, Todd Eagan, Ben Forat, Ric Lashever, Crimson Crout, Savannah Phillips, Niki Svara, Carl (Cix Bits) Somers, Dee Archer, Steve Warnick, Dr. Gary Alias, Ivy Lite Rocway, Carol Casey

646-663-5678 E-mail: Web: Contact: Michael Filson Format: digital, 128 tracks Basic Rate: please call for info

AB AUDIO VISUAL 4212 Hackett Ave. Lakewood, CA 90713-3208 562-429-1042, (Toll Free) 877-ABAUDIO (877-222-8346) Fax 562-429-2401 E-mail: Web: Contact: Arlan Boll

Additional location:

ABET MUSIC 411 E. Huntington Dr., Ste. 170-372 Arcadia, CA 91006 866-574-0275 E-mail: Web: Contact: Aeron Nersoya Format: digital and analog, 96 tracks Basic Rate: $275/hr. ACDC - AUDIO CD & CASSETTE 606 Alamo Pintado Rd., Ste. 3-281 Solvang CA 93463 818-762-2232, 805-245-5503 E-mail: Web: Contact: Steve Mitchell Basic Rates: Please call for info.

17TH STREET 1001 W. 17th St. Costa Mesa, CA 92627 949-680-6568 E-mail: Web: Format: see website for equipment list Basic Rate: $1500/day

ADAMOS RECORDING 5811 Westminster Ave. Westminster, CA 92683 714-897-8886 Web: E-mail: Format: digital and analog Basic Rate: please call for info

1ST CHOICE STUDIO 1259 Bruce Ave. Glendale, CA 91202 818-246-6858 E-mail: Web: Contact: Bill Format: digital Basic Rate: call for rates

ADVENTURES IN MODERN RECORDING West Los Angeles, CA 323-375-4267 E-mail: Web: Contact: Daniell Holcomb Format: digital, Pro Tools 9 Basic Rate: $50/hr.

4TH STREET RECORDING 1211 4th St. Santa Monica, CA 90401 310-395-9114 E-mail: Web: Contact: Kathleen Wirt Format: digital and analog, 24 tracks Basic Rate: $60-100/hr Gear: API 3224 Console, Studer A827, Protools HD3, (4) Neve 1066, (4) Focusrite, (2) Telefunken V72, (2) Maag PreQ4, (2) Maag EQ4, (8) Wardbeck, (2) UREI 1176, (2) LA3A, Genelec 1031s, Yamaha NS10s, Lexicon, Yamaha, DBX, Drawmer, Mics: Neumann U-67, (2) U-87s, (2) AKG 414s, (2) Coles 4038s, Royer, Shure, Sennheiser. Special Services: Pro Tools and analog recording. Superb sound design, Yamaha C7 grand piano, Hammond organ w/Leslie. Great drums too. Clients: Weezer, Muse, Charles Hamilton, Kesha, M.I.A., The Neighbourhood, Vintage Trouble, The Beach Boys, George Clinton, Incubus, No Doubt, Fiona Apple, Nelly Furtado, Bryan Ferry, Jack’s Mannequin, K Jim Carrey, Steve Martin, Weird Al Yankovic, Deezle, Anthony Hamilton Comments: Right off 3rd Street Promenade and the ocean. 26 hotels within walking distance. “Top 10 US Studios Under $100/ hour” Performing Songwriter Magazine. “One of LA’s 17 Temples of Sound,” Hollywood Reporter (2012) 21ST CENTURY STUDIO Silverlake, CA (near Satellite) 323-661-3130 Web: Contact: Burt Levine Format: Digital/Analog Basic Rate: call for rates AAA JIMMY HUNTER’S CAZADOR RECORDING OF HOLLYWOOD, CA A producer’s private facility ready to serve you Los Angeles, CA 90048 323-655-0615 E-mail: Web: Contact: Jimmy Hunter, owner/producer/ engineer/drummer/vocalist/in-studio vocal coach Format: State of the Art Pro Tools 10 HD6 Basic Rate: call for a free consultation to discuss Clients: Todd Stanford, Brian Barnhouse,

AFTER HOURS RECORDING CO. 1607 Victory Blvd., Ste. F Glendale, CA 91201 818-246-6583 E-mail: Contact: Bill Format: digital and analog, 16 tracks Basic Rate: $35/hr. ALLIED POST 1642 17th St. Santa Monica, CA 90404 310-392-8280 Web: Contact: Woody Format: digital and analog Basic Rate: call for info AMBER SKY MUSIC PRODUCTION P.O. Box 2164 Toluca Lake, CA 91610 818-788-6840 E-mail: Contact: Rick Kraushaar Format: digital, 48 tracks Basic Rate: $45/hr. including an engineer AMERAYCAN RECORDING STUDIOS 5719 Lankershim Blvd. North Hollywood, CA 91601 818-760-8733 E-mail: Web: Format: digital and analog, 96+ tracks Basic Rate: call for daily lockout rates ANDY CAHAN-DEMO DOCTOR Cathedral City, CA 818-489-4490 E-mail: Web: Contact: Andy Format: digital and analog, 24+ tracks Basic Rate: please call for info ARDENT AUDIO PRODUCTIONS 22122 S. Vermont Ave., Unit E Torrance, CA 90502 310-782-0125 E-mail: Contact: Rich Wenzel Web: Format: Pro Tools HD-3 Basic Rate: call for rates ARTISAN’S LABEL RECORDING STUDIO 2454 Fender Ave., Ste. E Fullerton, CA 92831

40 W. 38th St., Fl. 5 New York, NY 10018 ARTIS MUSICAI P.O. Box 3486 Chatsworth, CA 91313 747-224-7165 E-mail: Web: Contact: Gussie Miller Format: digital, unlimited tracks Basic Rate: please call for info A SMOOTH SOUND 6828 Valjean Ave. Van Nuys, CA 91406 818-779-1259, 818-723-4203 E-mail: Web: Format: digital and analog, 32 tracks, Pro Tools HD Basic Rate: please call for info ASPEN’S PLACE RECORDING 32 channel all tube inputs large and live tracking rooms. E-mail: Web: Contact: Aspen Pittman Format: Pro Tools 10 HD or Logic. Analog tape recording available. Basic Rate: $500.00 - $750.00, please call for Indie rates. Gear: 32+ channels all tube preamps w/ tube compressors, tube EQs into Pro Tools HD w/ Pro Tools 10 and Logic via 32 I/O newest Avid converters. Very large selection of vintage tube microphones and outboard gear, as well as dozens of original GT tube mics, ViPRE preamps, Glory Comp tube compressors and other assorted GT designed audio outboard gear. Clients: Join me in my new life adventure, we have just finished building our new rooms and are now open to the public. So far we’ve hosted Doyle Dykes recording his new Christmas album produced by Michael Lloyd, Eric “ET” Thorngren producing a new band project The Reflecticles, and a live concert recording by New Age artist Constance Demby before dozens of her loyal fans. We’d like to help you with your next project, give us a call. Comments: APR is tucked away 20 minutes from Hollywood or Santa Monica in the “Historic & Visionary” city of San Fernando. The uniquely large live tracking rooms are located in the original Groove Tubes tube factory. APR is owned and operated by Aspen Pittman, author of the Tube Amp Book (140,000 copies in print), the founder of Groove Tubes. He is the designer/ manufacturer of 1,000s of tube based mics, preamps, compressors, EQs and over a dozen original vacuum tubes used in studios worldwide for over three decades, holder of five patents and recipient of numerous TEC nominations and awards for his work. Selling Groove Tubes to Fender in 2008, he dedicated himself and his vast vintage audio experience and resources to creating the world’s finest all tube major format tracking studio. You will find APR a comfortable Mecca of vintage vibe where recordings are done the old school way; live and direct! APR offers a band the rare opportunity to perform live and produce an LP in days, not weeks or months. There is no other studio quite like APR, and our rates are old school too. ATOMIX STUDIOS Van Nuys, CA E-mail: Web: Contact: Tom Format: Analog and Digital Basic Rate: inquire for rates AUDIOLOT STUDIOS Los Angeles, CA 90068 512-686-2899, 323-464-9900 E-mail: Web: Contact: Joshua Aaron Format: Pro Tools HD Basic Rate: $750/day AUDIO MECHANICS 1200 W. Magnolia Blvd. Burbank, CA 91506 818-846-5525 E-mail: Web: Contact: John Polito

Format: digital and analog, 24 tracks Basic Rate: please call for info BACKYARD PRODUCTIONS Van Nuys, CA 91405 818-780-7845 E-mail: Web:, Contact: Hugh James Format: digital and analog, 48 tracks Basic Rate: variable rates: per hour and per project Format: digital and analog, recording and production BATTLE PANDA PRODUCTIONS RECORDING STUDIO 7519 Collett Ave. Van Nuys, CA 91406 316-518-5639 E-mail: Web: battlepandaproductions/info Contact: Dan or Joe Format: Apple Logic Pro 9 and X, Pro Tools 10 and 11, Mac Pro/Apogee/Onyx Setup, 44.1192 kHz, 24bit recording. Basic Rate: call for rates BEDROCK RECORDING 1623 Allesandro St. Los Angeles, CA 90026 213-673-1473 X 4 E-mail: Web: Format: Record, Mix, 5.1 Mix, ADR/Voice Over (Pro Tools/Logic/Ableton/Analog) Rates: Rates starting at $350 per day BERNIE BECKER RECORDING & MASTERING 30 W. Green St. Pasadena, CA 91105 626-782-5703 E-mail: Web: Contact: Bernie Becker Format: digital and analog Basic Rate: call for info BIG CITY RECORDING STUDIOS 17021 Chatsworth St. Granada Hills, CA 91344 818-366-0995 E-mail: Contact: Paul Web: Format: digital and analog, unlimited tracks Basic Rate: call for info BIG SCARY TREE North Burbank Adjacent 213-680-8733 E-mail: Web: Format: digital and analog, 64 tracks Web: Basic Rate: please call for info Gear: 2” Analog 24 track plus protools HD 24 in and out, comfortable large control room, large tracking room plus 4 iso booths, large format console over 30 channels of class A mic pre’s and compressors, very large mic locker both vintage and new, the biggest nicest vintage guitar and amplifier collection in town all available for tracking. Services: Specilizing in recording organic musicians and bands in a great space utilizing an amazing gear collection all for an affordable day rate!! BIG SURPRISE MUSIC 16161 Ventura Blvd., Ste. C #522 Encino, CA. 91436 818-613-3984 E-mail: Contact: Carmen Grillo Web: Format: digital, 128 tracks Basic Rate: $50/hr. BIG SWEDE STUDIOS 621 S. Spring St., Ste. 1208 Los Angeles, CA 90014 213-629-4940 Fax 213-629-4940 E-mail: Contact: Big Swede Web: Format: digital and analog, 256 tracks Basic Rate: call for info BILL CORKERY STUDIOS Studio for Creative Audio 1660 Hotel Cir. N., Ste. 107 San Diego, CA 92108 619-291-8090 E-mail: Web: Contact: Bill Format: digital Basic Rate: please call for info

July 2015


Directory of Recording Studios BLUE RHODE STUDIOS 10626 Magnolia Blvd. North Hollywood, CA 91601 323-842-0269 E-mail: Web: Contact: Andrew De Lucia Format: Pro Tools HD, Logic *E-mail or call for free tour/consultation BOMB SHELTER REHEARSAL 7580 Garden Grove Blvd. Westminster, CA 92683 714-609-3501 E-mail: Web: Contact: Britt-Marie Trace, Owner/Manager Format: Pro Tools Rates: Please call for hourly/project/day rates BRIAN GARCIA PRODUCTIONS (Sonic Muse Productions) Los Angeles / Pasadena, CA 626-487-0410 E-mail: Web: Contact: Brian Garcia Format: Digital / 192 tracks Basic Rate: call for hourly, daily or project rates BRIGHT ORANGE STUDIOS 7657 Winnetka Ave., Ste. 200 Los Angeles, CA 91306 818-645-1415 E-mail: Web: Contact: Jon Mattox Format: digital and analog, Pro Tools and Logic Basic Rate: call for info BRODSKY ENTERTAINMENT Beverly Hills, CA Boston, MA Meriden, NH Web: Format: Digital Performer, Logic BRUCE HANIFAN PRODUCTIONS West Los Angeles, CA 310-559-4522 E-mail:

64 July 2015

Web: Contact: Jan Aldrin Format: ProTools HD 3 Basic Rate: call for rates CALIFORNIA SOUND STUDIOS, INC. 25651 Atlantic Ocean Dr., Ste. A16 Lake Forest, CA 92630 949-855-0211 E-mail: Web: Contact: Nathan Wright Format: digital and analog, 64 tracks Basic Rate: please call for info CAPITOL RECORDING STUDIOS 1750 N. Vine St. Los Angeles, CA 90028 323-871-5001 E-mail: Web: Contact: Mike Moreno Format: digital Pro Tools and vintage analog Basic Rate: please call for info CHALICE RECORDING STUDIO 845 N. Highland Ave. Los Angeles, CA 90038 323-957-7100 Fax 323-957-7110 E-mail: Web: Format: digital and analog Basic Rate: please call for info CHARLES LAURENCE PRODUCTIONS 19002 Los Alimos St. Northridge, CA 91326 818-368-4962 E-mail: Web: Contact: Charles Laurence Format: analog and digital, 24 tracks Basic Rate: please call for info CHESSVOLT STUDIOS Van Nuys, CA 91402 419-827-8411 E-mail: Web: Contact: Landry Malick, Studio Manager Format: Pro Tools HD Accel3 and MCI 2-inch 24 track. Vintage 48 channel Neve Console. Basic Rate: call for Indie artist specials

CLEAR LAKE RECORDING STUDIOS 10520 Burbank Blvd. North Hollywood, CA 91601 818-762-0707 E-mail: Web: Contact: Eric Milos Rates: $60/hr with Assistant or $75/hr with Experienced Engineer - Block Rates Available, For more affordable rates ask about our brand new Studio B. Format: Full band tracking with Pro Tools HD5 v10 or 24 Track Analog Tape Gear: Vintage Microphones, Vintage Trident 80b Console, Yamaha C7 Grand Piano, Hammond B3, Large Selection of outboard including: Neve 1073’s Sidecar, 5 Pultec Eqs, 3 UREI 1176’s, LA2A, Distressors, Tube Tech, Allen Smart Smart C2 and much more. Comments: With our large tracking room and high-end client facilities, we are the affordable alternative to big-budget Hollywood studios. CONSUELO STUDIOS Hollywood Hills, CA 90068 323-876-1168 E-mail: Web: Contact: Bret Thompson Format: Pro Tools HD Native 16x16 IO w/ Vintage Analog Console Basic Rate: $75 per hr with engineer CONWAY RECORDING STUDIOS 5100 Melrose Ave. Hollywood, CA 90038 323-463-2175 Fax 323-463-2479 E-mail: Web: Format: digital and analog Basic Rate: please call for info COSTA MESA STUDIOS 711 W. 17th St., Ste. D Costa Mesa, CA 92627 949-515-9942, Fax 949-515-4230 E-mail: Web: Format: digital and analog Basic Rate: please call for info COTTAGE, THE 365 Hollywood Way

Burbank, CA 91505 818-415-5576 E-mail: Format: digital Basic Rate: call for info DANCIN DEER STUDIO 3727 W. Magnolia Blvd., Ste. 459 Burbank, CA 91505 818-209-1326 E-mail: Web: Contact: Jody Format: digital Basic Rate: contact through website DAVE WATERBURY PRODUCTIONS Laurel Canyon and Magnolia Blvd. Valley Village, CA 91607 818-505-8080 E-mail: Web: Contact: Dave Format: Pro Tools HD.2 Basic Rate: call for info DBW PRODUCTIONS Woodland Hills, CA 91367 818-884-0808 E-mail: Web: Contact: David Chamberlin Format: digital, unlimited tracks Basic Rate: $75/hr. DIAMOND DREAMS MUSIC North OC, Barbon Canyon, CA 91709 909-393-6120 E-mail: Web: Format: digital, unlimited tracks Basic Rate: Please call us for a quote DESIGN FX REMOTE RECORDING P.O. Box 491087 Los Angeles, CA 90049 818-843-6555, 800-441-4415 E-mail: Web: Contact: Gary Ladinsky Format: API console, Pro Tools, Analog, portable rigs available Basic Rate: please call for info

Download at DIAM ENTERTAINMENT 3734 San Fernando Rd. Glendale, CA 91204 818-662-0670 Web: Format: digital and analog Basic Rate: call for information D.M. GREMLIN STUDIOS 6053 Atlantic Ave. Long Beach, CA 90805 866-334-4364 E-mail: Web: Contact: Wendy Levin Format: digital Basic Rate: $35/hr; mastering starts at $50/hr D.O’B. SOUND 8531 Wellsford Pl., Ste. I Santa Fe Springs, CA 90670 562-464-9456 E-mail: Web: Contact: Larry Ramirez, Derek O’Brien Basic Rate: Rehearsal Rates from $16-$18 per hour, Recording $45 per hour, call for block rates Services: Full recording, Mixing and Mastering Studio, Video Production, 5 fullyequipped rehearsal rooms and guitar repair shop. DRUM CHANNEL STUDIOS 900 Del Norte Blvd. Oxnard, CA 93030 866-439-7924 E-mail: Web: Contact: Papillon Zamprioli Format: Analog and Digital Basic Rate: Call for info

Hollywood, CA 90028 323-957-6969 Fax 323-957-6966 E-mail: Web: Contact: Candace Stewart Format: Analog and Digital Rates: Call for Daily Rate or Block Bookings Gear: 80 Chnl Neve 8078, 40 Chnl Neve Custom 8028, 40 Chnl Trident “A” Range, 64 Chnl SSL G +, Fairchild 670, Bricasti, EMI REDD 47 mic pre, GT Vipre Tube mic pre, Urie 1176LN, Teletronix LA-2A, Avalon AD2044, Pultec EQP-1A3, Lexicon 960L, AMS RMX16, GML 8200, AKG C12’s, Neumann U67’s, Neumann U47’s, Neumann M50’s, Telefunken ELA-M 251’s, Sony C55p’s, Coles 4038’s, Royer R-121’s. MKH-800’s, AEA- 440 Services: Orchestra tracking, band tracking, mixing, live performances, events in famous vintage studios. Clients: Frank Sinatra, Justin Timberlake, Rihanna, Metallica, The Rolling Stones, Madonna, Slayer, Muse, The Beach Boys, The Mamas & the Papas, Elton John, The Red Hot Chili Peppers, Michael Bublé, Iggy Pop, Bob Dylan, Whitney Houston, Nas, Frank Ocean, Justin Bieber, Faith Hill, U2, Demi Lovato, Fiona Apple, Tool, Santana, Akon, Bruce Springsteen, Stevie Wonder, Incubus, Kelly Rowland, Dwight Yoakam, Nat “King” Cole, Blink-182, Motley Crue, Rage Against the Machine, Jason Mraz, Weezer, Ella Fitzgerald, Johnny Cash, Jimmy Cliff, Jerry Lee Lewis, Garbage, Third Eye Blind, Luis Miguel, Stone Temple Pilots, Foster The People, M83, Tina Turner, Stephen Stills and Neil Young. ECHO BAR RECORDING STUDIO 7248 Fulton Ave. North Hollywood, CA 91605 818-738-7320 Contact: Erik Reichers, Bob Horn E-mail:, Web: Format: call for information Basic Rate: call for info

EAGLE ROCK STUDIOS Los Angeles, CA 310-867-9091 E-mail: Web: Format: Analog and Digital ECUASOUND PRODUCTIONS Basic Rate: Call for info 1540 N. Highland Ave., Ste. 107 09:28 Page RecordProdMusicCon187x124JUNE15_Layout 1 18/06/2015 Hollywood, CA 90028 EASTWEST RECORDING STUDIOS 323-467-0383 Cell 310-666 7125 6000 W. Sunset Blvd. E-mail: PRISM SOUND USER Nic Fanciulli


PRISM SOUND USERS Mark Ronson and Joshua Blair

Web: Contact: Ivan Castro Format: Pro Tools Basic Rate: $70/hr. includes engineer

Format: Pro Tools and Logic, Analog Front End Basic Rate: Please call for current rates

ELEVATED AUDIO 14561 Aetna St. Van Nuys, CA 91411 818-909-9029 E-mail: Web: Contact: Fran Format: Digital, Analog, or both Basic Rate: call for info

EXPOSITION REHEARSAL & RECORDING STUDIOS 9214 Exposition Blvd. West Los Angeles, CA 90034 310-287-1236 E-mail: Web: Studio Specs: Control Room 20ft x 20ft Live Room 20ft x 12ft Rates: Please Call For Rates

EN RECORDERS, THE P.O. Box 2627 Pasadena, CA 91102 626-529-3066 E-mail: Web: Contact: Josh Young, Darian Cowgill Format: digital HD, video-online offline/audio/ mixing/mastering 5.1 Basic Rate: call for info

FACTS OF MUSIC PRODUCTIONS P.O. 663 Woodland Hills, CA 91365 818-888-8266 E-mail: Web: Contact: Philippe Willems Format: digital and analog, infinite tracks, New MacPro, great sounding plug-ins, micas, special musical instruments Basic Rate: varies, $75-150/hr.

ENCORE STUDIOS 721 S. Glenwood Pl. Burbank, CA 91506 818-842-8300 E-mail: Web: encore Format: digital and analog Basic Rate: call for daily rates. ENTOURAGE STUDIOS 11115 Magnolia Blvd. North Hollywood, CA 91601 818-505-0001 E-mail: Web: Contact: Guy Paonessa Format: digital and analog Basic Rate: please call for info ES AUDIO SERVICES 1746 Victory Blvd. Glendale, CA 91201 818-505-1007 1 E-mail: Web: Contact: Donny Baker

FIREHOUSE RECORDING STUDIOS 35 W. Dayton St Pasadena, CA 91105 626-405-0411 Fax 626-405-0413 E-mail: destiny@firehouserecordingstudios. com Web: Contact: Destiny Rael, Studio Manager Format: Digital and Analog, 128 tracks Basic Rate: Please Call/Email for Info FONOGENIC STUDIOS 7710 Haskell Ave. Van Nuys, CA 91406 818-305-HIF (4434) E-mail: Web: Clients: Cage The Elephant, Chuck Ragan,The Wallflowers, Juliette Lewis, Taylor Hawkins (Foo Fighters), many more. FOREWORD PRODUCTIONS RECORDING STUDIO West Los Angeles 310-815-1929 E-mail:

Prism Sound Production Tools LYRA I and II USB audio interfaces

MEA-2 precision stereo equalizer

TITAN USB multi-track audio interface

MLA-2 precision stereo compressor


See us at Summer NAMM booth #730 & DJ Expo booth #309 | | USA +1 973 983 9577 | UK +44 (0)1353 648888

July 2015


Directory of Recording Studios Web: Contact: Matthew Nelson Format: Pro Tools HD3 - 32 ins/16 outs (Mac Pro) Basic Rate: $50/hr. w/engineer FREEDOM STUDIOS 17050 Los Alimos Granada Hills, CA 91344 818-269-7070 Web: Contact: Thomas LeBlank Format: Digital and Analog Rates: call $40. Per Hr FRIDAY ENTERTAINMENT Sherman Oaks, CA 818-995-4642 E-mail: Web: Contact: Sam Dress Format: Digital Basic Rate: call for info Services: recording, mixing film editing, sound to picture. Great live room for Jazz, Folk etc. GC STUDIOS 6400 Owensmouth Ave. Woodland Hills, CA 91367 866-498-7882 E-mail: Web: GIRAFFE MUSIC PRODUCTIONS 7254 Atoll Ave., Unit T North Hollywood, CA 91605 818-398-4345, 818-321-8575 E-mail: Web: Format: Pro Tools, etc. Services: Recording, Mixing and Mastering Rates: $60/hr/record/mastering, $380 all day *Se habla espanol GLENWOOD PLACE STUDIOS 619 S. Glenwood Pl. Burbank, CA 91506 818-260-9555 E-mail: Web: Contact: Kit Rebhun Format: digital and analog Basic Rate: call for info GOLDENTRACK STUDIO San Diego, CA 619-252-8763 E-mail: Web: Contact: Steve Format: digital and analog, 24 tracks Basic Rate: please call for info GOLDMINE RECORDING STUDIOS 1393 Callens Rd. Ventura, CA 93003 805-644-8341 E-mail: Web: Contact: Jeff Cowan Format: digital and analog, 48 tracks Basic Rate: call for rates GOLD STREET Burbank, CA 91504 818-567-1911 E-mail: Web: Contact: Eric Michael Format: digital, 128 tracks Basic Rate: Start $40/hr. GRANDMASTER RECORDERS LTD. 1518 N. Cahuenga Blvd.

66 July 2015

Hollywood, CA 90028 323-462-6136 E-mail: Web: Contact: Alan Dickson Format: digital and analog, 24 tracks Basic Rate: please call for info GROOVE LAB, THE West Hills, CA 91326 818-366-1650, 818-903-0005 E-mail: Web: Contact: Olivier Format: digital, 32+ tracks Basic Rate: call for rates HELL’S HALF ACRE Frazier Park, CA E-mail: Web: Contact: Steve Format: Digital Basic Rate: $50 hr Services: Live tracking, mixing, and mastering with R.I.A.A. Gold Accredited producer/ engineer/mixer Steve Kravac. Clients: Less Than Jake, MxPx, Blink 182, 7-Seconds, Pepper, Epitaph, SideOne/Dummy, Capitol, Atlantic, A&M, Tooth & Nail HENSON RECORDING STUDIO 1416 N. La Brea Ave. Hollywood, CA 90028 323-856-6690, Fax 323-856-2712 E-mail: Website: Contact: Faryal Russell Format: SSL SL 6072E/G, 4072G+, 6056/G, 9090J, Augsperger, 8 Neve Rate: call for info HIT SINGLE RECORDING SERVICES 1935C Friendship Dr. El Cajon, CA 92020 619-258-1080 E-mail: Web: Contact: Randy Fuelle Format: digital and analog Basic Rate: please call for info HOUSE OF BLUES STUDIOS 4431 Petit Ave. Encino, CA 91436 818-990-1296 E-mail: Web: Contact: Gary Bellz Format: digital and analog, 48+ tracks Basic Rate: $1,000 per day HUMAN TOUCH PRODUCTIONS STUDIO For Solo Artists, Singer/Songwriters and NonPerforming Songwriters 5066 Lankershim Blvd. North Hollywood Arts District, CA 91601 818-235-2070 E-mail: Website: Contact: Brad Format: Pro Tools HD Native Services: Affordable High-Quality Demos and Masters. Includes multi-instrumentalist producer-engineer/mixer. Live and synth instruments, pro vocalists also available. Specializing in mostly guitar-oriented music: Country/Rock/Blues/Pop, Acoustic Folk/ Amand R&B/Funk. ALSO: Adding overdubs to your recordings plus professional. Mixing, mastering and editing. Rates: Call for rates

HYBRID STUDIOS 3021 S. Shannon St. Santa Ana, CA 92704 714-850-1499 E-mail: Web: Format: Analog and Digital Rates: Please call for rates IMAGINE POST PRODUCTIONS (Recording and Mixing) 4872 Topanga Canyon Blvd., Ste. 406 Woodland Hills, CA 91364 310-924-7849 E-mail: Website: Contact: Chris Julian Format: Pro Tools HD3 / Logic Rate: call for info IN FIDELITY RECORDINGS 16824 Saticoy St. Van Nuys, CA 91406 818-786-3144 Fax 818-786-3149 E-mail: Web: Format: digital and analog Basic Rate: $60/hr JAGGO STUDIOS Hollywood Hills, CA 90068 323-850-1819 E-mail: Web: Format: Pro Tools HD3 Accel Basic Rate: Call us for a rate sheet JC SOUND STAGES/RECORDING STUDIOS 6670 Lexington Ave. Hollywood, CA 90038 323-467-7870 E-mail: Web: Contact: JC Format: digital and analog, unlimited tracks Basic Rate: see website for information JEL RECORDING STUDIOS 6100 W. Coast Hwy. Newport Beach, CA 92663 949-631-4880 E-mail: Web: Contact: Shelly Guidotti Format: digital, 100+ tracks Basic Rate: please call for info JRLDRUMS Internet Drum Sessions 818-903-3690 E-mail: Web: Contact: John Lewis Format: digital Basic Rate: $150-$250/song JUNGLE ROOM RECORDING STUDIO 604 1/2 Sonora Ave. Glendale, CA 91201 818-247-1991 E-mail: Web: Contact: Kevin Anderson Format: digital and analog, 128 tracks Basic Rate: negotiable KRIS STEVENS ENTERPRISES Calabasas, CA 91302 818-225-7585 E-mail: Web: Contact: Christine Fletcher

Format: digital and analog Basic Rate: call for info L.A. ENTERTAINMENT, INC. 7095 Hollywood Blvd., Ste. 826 Hollywood, CA 90028 800-579-9157 Ext. 1 Fax 323-924-1095 E-mail: Web: Contact: Jim Ervin Format: digital and analog, 48 tracks Basic Rate: call for info LAKE TRANSFER RECORDING 11300 Hartland St. North Hollywood, CA 91605 818-508-7158 E-mail: Web: Format: Pro Tools Basic Rate: $50. per hr LA FX RECORDING SERVICES P.O. Box 827 North Hollywood, CA 91603 818-769-5239 Fax 818-769-7288 E-mail: Web: Contact: Dan or Anne Vicari Format: digital and analog, 24 tracks Basic Rate: please call for info Gear: LAFX Studio has a vintage API console rebuilt by Brent Averill, with 550a EQs and Neve Fying Faders. We offer Yamaha NS10s, Tannoy SGM10Bs, Genelec 1031As or Dynaudio BM15As. We have the latest Pro Tools software and offer all Waves plug-ins and others too many to list. You may use our Studer A827, Ampex 102 with 1/2-in or 1/4-in head stacks, and our extensive microphone collection. LAFX Studio has the Yamaha C7 used by Synthogy for their “Ivory Sampled Piano” software and a Hammond B3 for your tracking sessions. 5.1 setup for mixing. Services: LAFX Recording Services has successfully served the Los Angeles recording community for over 20 years. We have an extensive collection of recorders, pre-amps/ EQs, compressors, microphones, reverbs and effects available for you to rent for your studio as well as use at the LAFX studio. We offer tape baking and transfer services also. Clients: Jimi Hendrix and Experience Hendrix, Tom Vicari, HBO’s The Newsroom, The Academy Awards, Bobby Mcferrin, Grammy-winner Gordon Goodwin and the Big Phat Band, Grammy-winner Jose Rizo’s Mongorama and Latin All Star Band, Daniele Luppi, Starz’s “Magic City,” Robert Randolph, Wilson Phillips, Rachael MacFarlane, Cristian Castro. There are many more, too many to list after 20 busy years. Comments: Our website is, for booking the studio call Anne Vicari 818-7695239. LARRABEE SOUND STUDIOS 4162 Lankershim Blvd. Universal City, CA 91602 818-753-0717 Fax 818-753-8046 E-mail: Web: Contact: Amy Burr, Studio Manager Format: digital and analog Basic Rate: call for info LAUREN ENTERTAINMENT GROUP, THE Sherman Oaks, CA 91403-3005 818-788-9784 Fax 818-788-9763 E-mail: Web: Contact: Len Kovner Format: digital and analog, 196+ tracks Basic Rate: please call for info

Download at LA VALLEY COLLEGE RECORDING WORKSHOP 5800 Fulton Ave. Valley Glen, CA 91401-4096 818-947-2779 E-mail: Web: Contact: Mike Julian Format: digital and analog, 24 tracks, Pro Tools editing Basic Rate: please call for info LITTLE BIG ROOM STUDIOS 2912 W. Burbank Blvd. Burbank, CA 91505 818-846-2991 Fax 818-846-7012 E-mail: Web: Basic Rate: please call for info LITTLE HIPSTER MUSIC STUDIOS Van Nuys, CA 91405 818-570-3499 E-mail: Web: Contact: David Snow Format: digital, 999 tracks Basic Rate: call for info-all instrumentation included in hourly rate. MALLEYABLE MUSIC 4950 Read Rd. Moorpark, CA 93021 805-368-1801 E-mail: Web: Contact: Matt Format: digital, 24 tracks Basic Rate: $100/hr. MAMBO SOUND AND RECORDING 2200 W. Esther St. Long Beach, CA 90813 562-432-9676 E-mail: Web: Contact: Steve McNeil Format: digital and analog, 48 tracks Basic Rate: call for info MARC DESISTO PRODUCTIONS Sherman Oaks, CA 818-259-4235

E-mail: Web: Contact: Marc DeSisto Format: Pro Tools HD Basic Rate: please call for info MARC GRAUE VOICEOVER RECORDING STUDIOS 3421 W. Burbank Blvd. Burbank, CA 91505 818-953-8991 E-mail: Web: Contact: Marc Graue Format: digital and analog Basic Rate: please call for info MARTINSOUND RECORDING STUDIOS 1151 W. Valley Blvd. Alhambra, CA 91803 800-582-3555 626-281-3555 E-mail: Web: Contact: Dan Blessinger Format: digital and analog, 32 tracks Basic Rate: please call for info MAR VISTA RECORDING STUDIO Mar Vista, CA 310-467-0889 E-mail: Contact: Jerry Basic Rate: Please call for information MASTER GROOVE STUDIOS / RADD SOUND Northridge, CA Nashville, TN 818-830-3822 0r 615-799-9366 E-mail: Web: Contact: David Morse or John Prpich Format: digital, unlimited tracks Basic Rate: please call for rates MAURICE GAINEN PRODUCTIONS 4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027 323-662-3642 E-mail: Web: Contact: Maurice Format: digital and analog, unlimited tracks

Basic Rate: call for info. Indie rates avail. Gear: Pro Tools HD, Mac Intel 8 Core, Logic Pro, Yamaha O2R Mixer, Waves Platinum TDM and Restoration, Reason, Spectrasonics, Gigapiano, Auto-Tune, Bomb Factory and many other plug-ins, soft synths and EFX. Avalon 737, ART Dual-MP DBX 160X and other outboard gear. Excellent mics, Genelec speakers w/ subwoofer, acoustic piano, 4 ADAT’s, much more. Special Services: start to finish CD production. CD Mastering. Top session players at discount rates. Full-band recording. Vocalist friendly, Berklee trained producer-musicianengineer. Clients: Starbucks (mastering for 180 compilations), Disney, EMI, UNI, Warner, Sony, Alex Skolnick, Andy McKee, The Hues Corp (“Rock The Boat”) Comments: 24 years in the same location. Comfortable and casual hard-working environment. Consistent and dependable. Competitive rates. MAXIMUS MEDIA, INC. 2727 N. Grove Industrial Dr., Ste. 111 Fresno, CA 93727 559-255-1688 E-mail: Web: Contact: Jeff Hall Format: digital and analog Basic Rate: please call for info MELODY MAKER PRODUCTIONS 453 S. Spring St. Los Angeles, CA 90013 310-283-7485 E-mail: Web: Contact: David A. Gielan Format: Pro Tools, Logic Basic Rate: Call For Information MELROSE MUSIC STUDIOS (on the Raleigh Studios Lot) 5254 Melrose Blvd. Hollywood, CA 90038 818-216-5409 E-mail: Web: Contact: David Williams Format: analog and digital processing

Basic Rate: recording: Studio A $60/hr, Studio B $45/hr. Special prices for day rates. METROSTUDIOS San Fernando Valley, CA 818-366-5588 E-mail: Web: Basic Rate: call for info MIX ROOM, THE 2940 W. Burbank Blvd. Burbank, CA 91505 818-846-8900 E-mail: Web: Format: digital and analog, 128 tracks Basic Rate: please call for info M L E STUDIOS P.O. Box 93008 Hollywood, CA 90093-0008 866-246-8846 E-mail: Web: Contact: Col. Darryl Harrelson Format: digital/analog, Pro Tools HD2 Accel Basic Rate: $45/hr. or flat rate per song/ project MORNING VIEW STUDIOS P.O. Box 4225 Malibu, CA 90265 310-457-9901 Cell 310-924-9697 Fax 310-457-5382 E-mail: Web: Contact: Shawn Stern Format: digital and analog, 92 tracks Basic Rate: please call for info MOUNTAIN DOG MUSICWORKS 485 Ventura Ave., Ste. E3 Oak View, CA 93022s 805-649-8500 E-mail: Web: Contact: Tim Frantz Format: digital Basic Rate: please call for info NEW MILLENNIUM RECORDS GROUP P.O. Box 1070

July 2015


Directory of Recording Studios Hollywood, CA 90078 323-962-5960 E-mail: Web: Contact: Tim Simms Format: digital, unlimited tracks Basic Rate: negotiable rates NIGHTBIRD RECORDING STUDIOS At The Sunset Marquis Hotel & Villas 1200 Alta Loma Rd. West Hollywood, CA 90069 310-657-8405 E-mail: manager@nightbirdrecordingstudios. com Web: Contact: ED Format: Pro Tools 10 HD6 Accel, 7.1 Surround Video: Final Cut Studio, 102-inch Projection Screen for Viewing when Mixing Audio to Picture Basic Rate: call for prices NIGHT SKY SOUND 3420 Laketree Dr. Fallbrook, CA 92028 760-731-6434, Cell 917-330-1777 E-mail: Web: Contact: Steve Donato, Owner, Producer/ Engineer Format: MOTU DP8/Logic/Pro Tools/Apogee and Studer A827 Gold analog Basic Rate: Contact us to discuss your project NRG RECORDING SERVICES 11128 Weddington St. North Hollywood, CA 91601 818-760-7841 E-mail: Web: Format: digital and analog Basic Rate: $1600 per 12-hr. lockout including assistant engineer and Pro Tools. OC RECORDING COMPANY, THE 3100 W. Warner Ave., Ste. 7 Santa Ana, CA 92704 323-244-9794 Web: Contact: Asaf Fulks, Engineer and Producer Format: Analog and Digital, Pro Tools HD 11, Sony C-800G, Neve 1073, Neumann, Avalon Styles: All music genres, ADR and Voice Overs, World Class Recording, Mixing, Mastering & Production Basic Rate: Please call for info. OCEAN STUDIOS BURBANK 435 S. San Fernando Blvd. Burbank, CA 91502 818-955-9010 E-mail: Web: Format: digital and analog Basic Rate: please call for info OCEAN WAY RECORDING, INC. 6050 W. Sunset Blvd. Hollywood, CA 90028 323-467-9375 Fax 323-467-3962 E-mail: Web: Contact: Rob Goodchild Format: digital and analog, 96 tracks Basic Rate: please call for info OCEAN WAY’S RECORD ONE STUDIO Sherman Oaks, CA 818-788-7751 Fax 818-788-3528 E-mail: Web: Contact: Rob Goodchild

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Format: digital and analog, 96 tracks Basic Rate: please call for info OLD BOOTS RECORDING STUDIO 14947 Gilmore St. Van Nuys, CA 91411 818-785-8611 E-mail: Web: PACIFICA STUDIOS 2620 La Cienega Ave. Los Angeles, CA 90034 310-559-9777 E-mail: Contact: Glenn Format: Pro Tools Basic Rate: please call PACIFIQUE RECORDING STUDIOS 10616 Magnolia Blvd. North Hollywood, CA 91601 818-761-8042 Fax 818-761-9277 E-mail: Web: Format: digital and analog, 64 tracks Basic Rate: $200/hr. PANGEA P.O. Box 591 Topanga, CA 90290 310-455-2356 E-mail: Web: Format: digital and analog, 48 tracks Basic Rate: please call for info PARAMOUNT RECORDING STUDIOS 6245 Santa Monica Blvd. Los Angeles, CA 90038 323-465-4000 Fax 323-469-1905 E-mail: Web: Format: digital and analog, 96+ tracks Basic Rate: call for rates

Analog Summing Pro Tools-Logic-Motu-Drum Booth-Vox Booth-Gtr Iso Services: mixing, mastering, recording, post, surround Basic Rate: Hourly/Daily Rates available. Call for Information PINNACLE COLLEGE 1000 S. Fremont Ave., #14 Alhambra, CA 91803 877-206-6206 E-mail: Web: Format: digital and analog, 48 tracks Basic Rate: please call for info Additional location: 11050 White Rock Rd. Ste. 150 Rancho Cordova, CA 95670 PLATINUM STUDIO Van Nuys, CA 91411 818 994-5368 E-mail: Web: Contact: Paul Hilton Format: digital, 200 stereo tracks Basic Rate: please call for info, $35/hr. PLAYBACK RECORDING STUDIO 400 E. Gutierrez St. Santa Barbara, CA 93101 805-730-7529, 917-331-0429 Web: P.M. III PRODUCTIONS Studio City, CA 818-763-3053 E-mail: Contact: Paul Format: Pro Tools HD Basic Rate: $35/hr.

PARK HILL MUSIC P.O. Box 5247 Hemet, CA 92544 951-652-8742 E-mail: Web: Contact: Eric Galletta Format: digital and analog, 48 tracks Basic Rate: negotiable call us

PPL RECORDED MUSIC COMPANY (A PPL Entertainment Group Company) 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 310-860-7499, 818-506-8533 E-mail: Web: Contact: Jim Sellavain Format: Analog, digital, AVID, Apple Final Cut, Pro Tools, DVD authoring Basic Rate: please call for info

PAWN SHOP STUDIO 14819 Oxnard St. Van Nuys, CA91405 818-982-7763 E-mail: Web: Format: API mic pres, Lynx Aurora Converters Basic Rate: call (or list your rates here)

PRIVATE ISLAND TRAX 1882 S. Cochran Ave. Los Angeles, CA 90019 323-856-8729 Fax 323-965-8732 E-mail: Web: Format: digital, Pro Tools Basic Rate: please call for info

PENGUIN RECORDING P.O. Box 91332 Pasadena, CA 90041 323-259-8612 Fax 323-259-8613 E-mail: Web: Contact: John Strother Format: digital and analog, 48 tracks Basic Rate: please call for info

PRODUCTION COMPANY RECORDING, MASTERING & REHEARSAL STUDIO, THE 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: Web: Format: 2-inch Ampex 16 track and Trident Mixing Console, Pro Tools and Analog Mastering Basic Rate: $50 per hour

PHONOCENTRIC STUDIO San Fernando Valley 818-489-1911 E-mail: Web: Contact: Michael E. “Hutch” Hutchinson, Format: Hybrid Analog/Digital-Tube Pre’s-

PYRAM-AXIS PRODUCTIONS Redondo Beach, CA 90278 310-869-8650 E-mail: Web: Contact: Jim D.

Format: ProTools HD, Logic Services: world class production, mixing, mastering, music for media Basic Rate: $65 Hourly, Project Rates - Call for details. RACE HORSE STUDIOS 3780 Selby Ave. Los Angeles, CA 90034 310-280-0175 Fax 310 280-0176 E-mail: Web: Contact: Duncan Macfarlane Format: digital, 192 tracks Basic Rate: please call for info READY MIX MUSIC 5635 Lankershim Blvd. North Hollywood, CA 91601 818-388-2196 E-mail: Web: Contact: Paul or Sarah Format: Pro Tools Basic Rate: Call for info RE-AMP STUDIOS 15441 Red Hill Ave., Ste. G Tustin, CA 92780 310-749-0905, 714-396-3002 E-mail: Web: Contact: Josh Brooks, Studio Manager Format: Pro Tools 10 HD Rates: call or see our website for rates RECORD PLANT 1032 N. Sycamore Ave. Hollywood, CA 90038 323-993-9300 Fax 323-466-8835 E-mail: Web: Contact: Jeff Barnes Format: digital and analog Basic Rate: please call for info RESONATE MUSIC & SOUND 449 S. San Fernando Blvd. Burbank, CA 91502 818-567-2700 E-mail: Web: Format: Digital and Analog Basic Rate: call for info REVOLUTION 9 RECORDING STUDIOS 1041 N. Orange Dr. Hollywood, CA 90038 323-405-7389 E-mail: Web: Contact: Daniel Balistocky Format: Pro tools 9 and Cubase 7.5 Basic Rate: $550 for an 8-hour day and $750 for an unlimited day RIOTVAN 323 868 0240 North Hollywood, CA E-mail: Web: Contact: Jason Schoener Format: Pro Tools HD,Tube Preamps, Neumans and nice guys. Basic Rate: $65 an hour. Comments: Good Sound is about the people and the songs. ROBERT IRVING PRODUCTIONS, INC. Woodland Hills, CA 91367 818-224-3633 E-mail: Web:

Download at Contact: Robert/Tim Format: Digital Performer or Logic, Pro Tools Basic Rate: flexible Notes: 3 great live rooms, Yamaha DC-7 Grand Piano, vintage mic collection ROCK GARDEN CONSPIRACY, LLC RAW WOOD STUDIOS Acton, CA 93510 661-269-5507 -- Rick Tucker; Studio 203-243-6457 -- Ed Cohen E-mail:, Web: Contact: Ed Cohen/Rick Tucker Format: Pro Tools HD 11 surround Basic Rates: Call for rates Comment: A veteran run Studio and we welcome veterans. ROCKYROADRANCH PRODUCTIONS Santa Clarita, CA 91387 661-510-6408 E-mail: Contact: Scotty Manzo Format: digital and analog Basic Rate: call for rates ROSE STUDIOS El Centro, CA 760-352-5774 E-mail: Web: Contact: Danny Berg Format: digital, 48 tracks Basic Rate: please call for info. ROURKETOWN STUDIOS 17521 Rayen St. Northridge, CA 91325 818-775-1388 E-mail: Web: Contact: Jeff Format: digital, unlimited tracks Basic Rate please call for info RPD STUDIOS 1842 Burleson Ave. Thousand Oaks, CA 91360 805-496-2585 E-mail: Web: Contact: Randy Format: digital, 192 tracks Basic Rate: $50/hr. SAGE AND SOUND RECORDING Hollywood, CA 90028 323-469-1527, 818-563-1176 E-mail: Web: Contact: Bryan McCurry, Studio Manager Format: Protools, 24 Track Basic Rate: call for info SANCTUARY SOUND 7053 Rubio Ave. Van Nuys, CA 91406 818-989-9997 E-mail: Web: Contact: Barry Fasman Format: digital, 96 tracks Basic Rate: please call for info SANTA BARBARA SOUND DESIGN 33 W. Haley St. Santa Barbara, CA 93101 805-965-3404 E-mail: Web: Contact: Dom Camardella

Format: digital and analog, 192 tracks Basic Rate: please call for info SEAHORSE SOUND STUDIOS 1334 S. Grand Ave. Los Angeles, CA 90015 909-210-2317 E-mail: Web: Contact: Samur Format: analog and digital, 16 tracks Basic Rate: $30/hr. SEANCE ROOM 5800 Willis Ave. Van Nuys, CA 91411 818-915-1196 E-mail: Web: Contact: Brett Cookingham Format: Apple Mac Pro 8 core, Pro Tools 10 HD3 Basic Rates: Call for rates SILVER FERN STUDIOS Altadena, CA 626-399-1573 E-mail: Web: Contact: Matthew Moore Format: Pro Tools 8 Basic Rate: $35/hr. SKIP SAYLOR P.O. Box 280010 Northridge, CA 91328-0010 818-300-0400 Fax 818-881-7092ߐ E-mail: Web: Contact: Skip Saylor Format: digital and analog, HDXߐ Basic Rate: call for info ߐGear: SSL 4100G+, Pro Tools HDX, Yamaha grand piano, Hammond B3, TAD, Lexicon 480L,PCM70, PCM42 (4), AMS 1580 (2), AMS RMX-16 (2), Yamaha, Pultec EQP1A (2), Neve, MicPre/EQ’s, API (15), EMT, Apogee, GML, Avalon, Distressors (4), Aphex, Manley, Roland, TC Electronics 2290, Fireworx, M3000, Eventide H3000, Eclipse, Instant Flanger, Urei LA2A, 1176LN, LA3A, DBX, PanScan, Ampex ATR, BASE and more. Services: Studio is located in a secluded private environment with living accommodations for bands/artists on property.ߐ Clients: Julian Lennon, Glasses Malone w/ Kendrick Lamar, Icona Pop, Kevin Teasley, Pras (The Fugees) Derek Dixie, VMA awards, Art Dixie, Mindi Abair, Booker T. Jones, Vintage Trouble, John Jones, Alan Frew (Glass Tiger), Snoop Dogg, The Game, B.o.B, Michael Jackson, Faith Evans, Mary J. Blige, Pink, Goo Goo Dolls, Malcolm-Jamal Warner, Gregg Alexander, Keira Knightley, Jonathan Butler, Mali Music, Foo Fighters, Guns N’ Roses, Santana, k.d. lang, Tupac, Ice Cube, R. Kelly, Avril Lavigne, Bobby Brown, Bootstraps, Israel Houghton, Jonny Lang, Egyptian Lover, Rodney O & Joe Cooley, Too Short, E-40, W.C., Krazie Bone, Tyga, KRS-ONE, K. Michelle, Trey Smoov, Brian May, Boyz II Men, Death Cab For Cutie, Everclear, Jenni Rivera, Juan Rivera, Ana Barbara, Mila J, Common Kings, Parenthood, Private Practice, Iron Man 2, FIFA World Cup, Space Jam soundtrack. ߐComments: Facility features a large high ceiling tracking room and excellent mix room built/owned by a 30+year veteran of the recording industry. SLY DOGGIE PRODUCTIONS Reseda, CA E-mail:

Web: Contact: Christian Davis Format: digital 64 tracks plus Basic rate: check webpage SONG-HAVEN 10410 Hillhaven Ave. Tujunga, CA 91042 818-951-6345 E-mail: Web: Contact: Steffen Presley Format: digital, 64 tracks Basic Rate: $35/hr. SONIC FARM PRODUCTIONS 310-402-2390, 604-522-2646 E-mail: Web: Contact: Zoran T. Format: digital and analog, 64 tracks, Neve analog mixing! Basic Rate: call for rates SONIC FUEL STUDIOS 150 Sierra St. El Segundo CA 90245 310-499-9274 E-mail: Web: Contact: Kyrina Bluerose Format: Pro Tools, Euphonix board Rates: call for information Services: Sonic Fuel Studios is a state-of-theart, eco-friendly tracking and mixing facility specializing in film, television, and interactive media music. SONIC JUNGLE STUDIOS 6143 Morella Ave. North Hollywood, CA 91606 619-817-1432 E-mail: Web: Contact: Steve Reid Format: digital and analog, 64 and 48 tracks Basic Rate: $25/hr. SONIKWIRE STUDIOS Irvine, CA 949-851-9340 E-mail: Web: Contact: Alex Bush Format: digital and analog, 60 tracks Basic Rate: call for info SONORA RECORDERS 3222 Los Feliz Blvd. Los Angeles, CA 90039 323-663-2500 E-mail: Web: Contact: Richard Basic Rate: call for information SOTTO VOCE STUDIO Sherman Oaks, CA 91423 818-694-3052 E-mail: Web: Format: digital, unlimited tracks, albums/ film/TV Basic Rate: call for rates SOUNDCUBED STUDIOS 7080 Hollywood Blvd., Ste. 1017 Hollywood, CA 90028 310-880-1292 E-mail: Web: Contact: Myke Aaron

Format: digital, HD3 Basic Rate: negotiable SOUND FACTORY 6357 Selma Ave. Hollywood, CA 90028 323-469-1186 Fax 323-465-5579 E-mail: Web: Contact: Craig Hubler Format: digital and analog, 48 tracks Basic Rate: call for rates SOUND IMAGE 15462 Cabrito Rd. Van Nuys, CA 91406 805-231-5728 E-mail: Web: Contact: Melody Carpenter Format: digital and analog Basic Rate: please call for info SOUND MATRIX STUDIOS 18060 Newhope St. Fountain Valley, CA 92708 714-427-9585, 714-437-9877 E-mail: Web: Contact: Chris Whiting Format: Pro Tools HD digital, 192 tracks Basic Rate: $50- 75/hr. package deals available SOUND OASIS STUDIO Sherman Oaks, CA 818-385-1775 E-mail: Web: Contact: Lance Crane Format: digital, 200+ tracks Basic Rate: call or see web SOUND-TECH STUDIO 24300 Country Rd. Moreno Valley, CA 92557 951-243-6666 E-mail: Web: Contact: Allan Johnson Basic Rate: please call for info S.R.S. / HIT RECORDS NETWORK P.O. Box 6653 Santa Barbara, CA 93160 805-964-3035 Web: Format: digital and analog, 35 tracks Contact: Ernie Orosco, Greg Lewolt or Cory Orosco Basic Rate: please call for info STAGG STREET STUDIO 15147 Stagg St. Van Nuys, CA 91405 818-989-0511 E-mail: Web: Format: Pro Tools HD3 Basic Rate: please call for info STEAKHOUSE STUDIO, THE 5161 N. Cartwright Ave. North Hollywood, CA 91601-4075 818-802-0732 E-mail: Web: Contact: Kelle Musgrave Basic Rate: please call for info STEPPINGOUT PERFORMING ARTS & RECORDING STUDIO 11405 E. Firestone Blvd., Ste. E

July 2015


Directory of Recording Studios Norwalk, CA 90650 562-929-1050 E-mail: Web: Contact: Steve Smith Format: digital Basic Rate: please call for info STEWART SOUND 204 N. Broadway, Ste. N Santa Ana, CA 92701 714-973-3030 E-mail: Web: Contact: Cindy Format: digital and analog Basic Rate: call for info STUDIO 47 817 N. Vine St. Los Angeles, CA 90038 323-993-3179 E-mail: Web: Contact: Jeff Surga Format: Pro Tools HD9 Basic Rate: $50/hr STUDIO 770 770 S. Brea Blvd., #218 Brea, CA 92821 714-672-1234 E-mail: Web: Contact: Shantih Haast Format: Pro Tools HD Basic Rate: call for current rates STUDIO 5109 1110 N. Western Ave., #206 Hollywood, CA 90029 213-369-7094 E-mail: Web: Contact: Mike Wolf Format: digital and analog, 128 tracks Basic Rate: call for rates and discount blocks Gear: Digidesign ProTools HD3 Acell, Control 24, 2 192 I/O’s with 24 Analog inputs, Sync I/O, Extensive Plug-ins, KRK V8 & V12Sub, Avalon VT737, Lexicon PCM 90, PCM 60, Studer A-80 MkIV 2” reel to reel, Also 1/2” 8-trk, and 1/4” 2-trk. Neumann, AKG, Sennheiser, Shure mics Services: live drum tracking, expert vocal tuning, mixing, mastering, SFX library, voice over, analog tape transfer to Pro Tools Clients: Sony, Epitaph, Interscope, E2 Music Group, Sanctuary Urban Music, Artists DirectRadar Records, The Ultimate Group, TVT, SST, Mark Lennon, Kim Fowley Comments: Top Pro Quality at discount prices, comfortable, FWY Close. 24/7 with secure parking. STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 Fax 818-761-4744 E-mail: Web: Contact: Estelle Harrison (Manager) Format: digital (256 tracks) and analog (24 track 2-inch) Basic Rate: $75-150/hr. Gear: Pro Tools HDX, Avid HD I/O’s, Otari MX-80 2-inch 24-track, Inward Connections, Tree Audio, Neve, API, UREI, ADL, Barefoot, Quested, Neumann: U47, M149s, U87s, Sony C800G, Bock 251, Royer, Coles, AKG, Yamaha C5 Grand Piano, Hammond B3 w/ Leslie, EMT 251 Reverb Plate Clients: Rod Stewart, Kelly Clarkson,

70 July 2015

Aloe Blacc, Rixton, Jason Derulo, Natasha Bedingfield, T.I., Warren G, No Doubt, Eric Benet, Chuck Negron, Keith Richards, Eric Clapton, Willie Nelson, Ryan Adams, Shaggy, Bootsy Collins, The Roots, Bonnie Raitt, Toots and The Maytals, Phantom Planet, Brian Setzer, Josh Freese, Weezer, Limp Bizkit, Vertical Horizon, Bella Thorne, A Perfect Circle, Quadro, George Watsky, Bill Pullman, Jim Belushi, Cedric the Entertainer, Terry Crews, Melia Kreiling, Maria Menounos, Jason Schwartzman, John Ridley Services: Full Record Production: tracking, Grammy award-winning mixing, mastering, producing, arranging, programming, studio musicians. Vocal Production: tuning and editing. Post Production: ADR, ISDN, voice overs, video editing. Mobile Recording: HD multi-camera video package capturing & live streaming in the studio or on location. Comments: Studio City Sound is a fullservice recording studio, owned and operated by Grammy award-winning mixer Tom Weir. SCS has three fully equipped studios, with a spacious tracking room, iso rooms, and a world-class blend of state of the art and vintage gear. STUDIO DEE 3306 Glendale Blvd., Ste. 4 Los Angeles, CA 90039 323-662-0512 E-mail: Contact: Huey Dee Format: digital and analog Basic Rate: please call for info STUDIO MALIBU 22509 Carbon Mesa Rd. Malibu, CA 90265 310-571-5389, Intl. Calls: +1-310-497-8011 E-mail: Web: Format: Pro Tools HD10 Basic Rate: call for rates STUDIO TRILOGY 1160 Bryant St. San Francisco, CA 94103 415-558-7100 E-mail: Web: Contact: Cindy MSherry Format: Pro-Tools HD-3, 24 Track, Logic 9000K Basic Rate: please call for info STUDIO WEST OF SAN DIEGO 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497 Fax 858-592-9580 E-mail: Web: Format: SSL, Neve, ICON, Pro Tools HD6, Surround Sound, ISDN, Phone-Patch, ADR Basic Rate: call for rates SUBURBAN SOUL STUDIOS, LLC Torrance, CA 90505 310-891-0006 E-mail: Web: Basic Rate: call for rate information SUNBURST RECORDING 10313 W. Jefferson Blvd. Culver City, CA 90232-3511 310-204-2222 E-mail: Web: Contact: Bob Wayne Format: digital and analog Basic Rate: call for rate information

SUNSET SOUND 6650 Sunset Blvd. Hollywood, CA 90028 323-469-1186 Fax 323-465-5579 E-mail: Web: Contact: Craig Hubler Format: digital and analog, 48 tracks Basic Rate: call for rates SUNSPOT PRODUCTIONS 912 Glendon Way Alhambra, CA 91803 323-574-1110 E-mail: Web: Contact: Rick Lawndale Format: Pro Tools, 32 tracks Basic Rate: call for rate information SWING HOUSE REHEARSAL & RECORDING 3229 Casitas Ave. Los Angeles, CA 90039 323-850-4990 E-mail: Web: Format: digital, 24 tracks Basic Rate: please call for info TK PRODUCTIONS REHEARSAL / WLA 1939 Pontius Ave. West Los Angeles, CA 90025 310-876-9666 E-mail: Web: Contact: Boom TK REHEARSAL / NOHO 12003 Vose St North Hollywood, CA 91605 310-876-9666 E-mail: Web: Contact: Boom TK REHEARSAL / VEGAS 3311 Meade Ave. Las Vegas, NV 89102 702-303-4094 E-mail: Web: Contact: Jimi THETA SOUND STUDIO 2219 W. Olive Ave., #226 Burbank, CA 91506 (mailing address - call for appt.) 818-955-5888 E-mail: Web: Contact: Randall Michael Tobin Basic Rate: call for rates THRESHOLD SOUND + VISION 2114 Pico Blvd. Santa Monica, CA 90405 310-566-6677 Fax 310-314-3826 E-mail: Web: Contact: Todd Bergman Format: digital and analog, 64 tracks Basic Rate: call for info THUD STUDIOS II RECORDING STUDIO 5430 Vineland Ave. North Hollywood, CA 91601 818-378-8162 Web: Contact: Jeff Abercrombie Services: Budget recording studio Basic Rate: Call for info

TIMEART STUDIO Studio City, CA 818-980-2840 E-mail: Web: Format: Digital, Pro Tools 9, DP7 Basic Rate: call for rates TITAN MUSIC, INC. 13547 Ventura Blvd. Sherman Oaks, CA 91423 818-990-6992 E-mail: Web: Format: digital and analog, 64+ tracks Basic Rate: please call for info TOTAL ACCESS RECORDING STUDIOS 612 Meyer Ln., Ste. 18 Redondo Beach, CA 90278-5261 310-376-0404 E-mail: Web: Contact: Wyn Davis - Adam Arnold Format: digital and analog, unlimited tracks Basic Rate: all kinds of custom project rates - call for info. TRACK ENTERTAINMENT STUDIOS 13848 Ventura Blvd., Ste. 4D Sherman Oaks, CA 91423 818-259-7244 E-mail: trackentertainmentstudiost@yahoo. com Web: Contact: Alexander Track, producer/engineer, Grammy Winner Format: 4 Pro Tools suites, music production and recording, post production, mixing and mastering, 7.1 surround sound, songwriting, composing, arranging, film scoring, commercials, live drums etc. Basic Rate: please call for info TRACK RECORD STUDIOS 5102 Vineland Ave. North Hollywood, CA 91601 818-761-0511 Fax 818-761-0539 E-mail: Web: Contact: Mike Format: digital and analog, 120 tracks Basic Rate: call for info TRACK STAR STUDIOS 7242 University Ave. La Mesa, CA 91942 619-697-7827 E-mail: Web: Contact: Josquin des Pres Basic Rate: Call for rates TRAIN TRACKS STUDIOS 213 Agostino Rd. San Gabriel, CA 91776 626-291-5100 E-mail: Web: Contact: Alex Truberg Format: digital Basic Rate: please call for info TRINITY SOUND COMPANY 1240 E. Ontario Ave., Ste. 102-190 Corona, CA 92881 909-923-6640 , 888-872-1073 E-mail: Web: Basic Rate: Please call for info TRS WEST Sherman Oaks, CA

Download at 805-876-4520 E-mail: Web: Contact: Jay Ruston Basic Rate: call for info TRU-ONE RECORDS AND REHEARSALS 2100 E. Howell St., 208 Anaheim, CA 92086 714-634-4678 E-mail: Web: Contact: Robert Trujillo Format: Live rehearsal recordings for only $25 Basic Rate: Record “Live” for $25 TUTT & BABE MUSIC 6506 Penfield Ave. Woodland Hills, CA 91367 818-621-3181 E-mail: Contact: Guy Marshall Format: Pro Tools Basic Rate: per song, no clocks, no worries UNCLE STUDIOS 6028 Kester Ave. Van Nuys, CA 818-989-5614 E-mail: Web: Format: digital, 24 at a time 126 playback Basic Rate: $50/hr UNISON MUSIC STUDIOS P.O. Box 4457 Valley Village, CA 91617 818-505-3629 E-mail: Web: Contact: Mitch Goodman Format: digital and analog Basic Rate: call for info UNIT-O Anaheim, CA 805-746-7870 E-mail: Web: Contact: Brian Leshon Format: Avid Pro Tools 11 HD Engineer Bio: Brian Leshon has 30+ years of experience in multi-media production. Leshon was the Chief Recording Engineer at the historic Cherokee Studios and Chateau Recorders in Hollywood. He was on the staff of A&M Records studios. Brian worked as an independent Producer/Engineer in many top recording studios in Los Angeles. Leshon has worked with artists including Kansas, Karly Moreno, The Sorry Boys, Devo, Supertramp, Missing Persons, Jeff Beck, Rod Stewart, Stanley Clarke, Jean Luc Ponty, Barbara Streisand, and many more. Leshon is Avid Pro Tools Music Operator certified. Equipment: Avid (Digidesign C24 Control Surface, HD I/O 16x16 Analog,) API (512c Discrete Mic/Line Pre Amps, 550b Discrete 4 Band EQs,) NEVE (1073LB Discrete Mic/ Line Pre Amp, 1073LB EQ,) Focal Twin6 BE Monitors, Presonus Digimax 96k Mic/Line Pre Amp, Crane Song Falcon tube compressors, DBX 166A Compressor Limiter, Focusrite Twin Track Pro Mic/Pre Amp, JBL LLSR4328P Monitors, Yamaha NS10M Monitors, Auratone speakers, UAD-2 OCTO Core - PCIe DSP Card, and Avid HDX DSP Acceleration Card. Plug-ins: UAD (Trident A Range EQ, EMT 250 Digital Reverb, Fairchild Tube Limiter Collection, Ocean Way, Roland RE-201 Space Echo Tape Delay, Studer A800 Multichannel Tape Recorder, Ocean Way Studios, Shadow Hills Mastering Compressor, Helios Type 69

EQ,) Waves (AudioTrack, C1 Compressor, C4 Multiband Compressor, DeEsser, Doppler, Doubler, Enigma, GTR3 Amps, GTR3 Stomps, GTR3 ToolRack, GTR3 Tuner, H-Comp Hybrid Compressor, H-Delay Hybrid Delay, IR-L Convolution Reverb, L1, L2, L3, and L3-LL Ultramaximizers, Linear Phase EQ and Multiband Compressor, MaxxBass, MaxxVolume, MetaFlanger, MondoMod, OneKnob Driver, PAZ Analyzer, PS22 Stereo Maker, PuigTec EQP-1A + MEQ-5 EQ, Q10 Equalizer,) Renaissance (Axx, Tune LT, Bass, Channel, Compressor, DeEsser, Equalizer, Reverb, Vox,) S1 Stereo Imager, SuperTap, TrueVerb, UltraPitch, V-Comp, V-EQ3, V-EQ4, Vitamin Sonic Enhancer, and Kontakt Komplete 10 Native Instruments Bundle. Styles: rock, indie, jazz, blues, hard rock, pop, country, adult contemporary, folk, world, Americana, Celtic, new age, R & B, hip hop, urban, country, reggae, gospel, classical, electronica, Christian, Latin Services: music production, arranging, tracking, mixing, mastering, producing, programming. Studio musicians available. Rates: Call or email to discuss project. VALLEY CENTER STUDIOS 5928 Van Nuys Blvd. Sherman Oaks, CA 91401 818-989-0866 E-mail: Web: Format: digital and analog, 64 tracks Basic Rate: call for info VENETO WEST 4712 Admiralty Way, Ste. 536 Marina del Rey, CA 90292 818-415-7674, 310-200-9010 E-mail:, Web: Contact: Liz Redwing, Ronan Chris Murphy Format: digital and analog Basic Rate: call for info

facility: rehearsal, recording, equipment rental: Tama, Shure, Mackie, Marshall, Ampeg, JBL and more. Basic Rate: Call for details WARRIOR GIRL MUSIC 12115 Magnolia Blvd., Ste. 219 North Hollywood, CA 91607 925-892-6735 E-mail: Web: Contact: Gilli Moon Format: digital, 64 Basic Rate: $90/hr. WESTLAKE RECORDING STUDIOS Studios C, D, E and “The Barn” Production Rooms 1 & 2 7265 Santa Monica Blvd. Los Angeles, CA 90046 323-851-9800 E-mail: Web: Contact: Steve Burdick, Alexandra Burdick or Sara Clark Format: Pro Tools HD, Logic and Analog Recording Basic Rate: $850 - $2400, please call for rates

Gear: Pro Tools HD & Logic in all studios. Recording Consoles - SSL 9072K Series, SSL 9072J Series, SSL AWS900, SSL G-Series 72 Input, Neve V Series. Large selection of vintage tube microphones and outboard gear. Clients: Michael Jackson (“Off the Wall,” “Thriller,” “Bad” and “Dangerous”), Alanis Morissette (“Jagged Little Pill”), Quincy Jones, Celine Dion, Madonna, Mariah Carey, Bruce Springsteen, Britney Spears, Whitney Houston. Recent Clients: Rihanna, Alex da Kid, Chris Isaak, Marc Anthony, Akon, Jamie Foxx, Snoop Dogg, Usher, Barbra Streisand, Michael Buble, Jennifer Lopez, Neyo, Stargate, Ryan Tedder, Metallica, Ultra Records, Robert Glasper, Jill Scott, Nickelback, Bloody Beetroots, Krewella, American Idol Comments: Westlake prides itself on making you feel right at home in the studio. Our warm furnishings, friendly staff and skilled audio engineers will keep any session creative and productive. Both convenient studio locations are centrally located and near all amenities. WINDMARK RECORDING Santa Monica, CA 424-289-5200 E-mail: Web: Contact: Samantha Marquart Format: Digital and analog Rates: Call or email for info

WESTLAKE RECORDING STUDIOS Studios A & B WOMB RECORDING STUDIO, THE 8447 Beverly Blvd. 15925 Kittridge St. Los Angeles, CA 90048 Lake Balboa, CA 91406 323-851-9800 818-414-6369 E-mail: E-mail: Web: Music Connection Ad Proof Web: Contact: Steve Burdick, Alexandra Burdick or Contact: Dave Ad Rep: Sara Clark HR Format: digital and Analog, more than 64 Format: Pro Tools HD, Logic and Analog Code: Virlouise Davidow 8th #10-2012 tracks Recording Basic Rate: please call for info Basic Rate: $1000 - $2000, please call for rates.

VILLAGE (RECORDER), THE 1616 Butler Ave. Los Angeles, CA 90048 310-478-8227 E-mail: Web: Format: digital and analog Basic Rate: please call for info VIP RECORDING 22301 Mulholland Way Calabasas, CA 91302 818-223-9600 E-mail: Web: Format: Call for info Basic Rate: Call for rates VIRLOUISE RECORDING 1631 N. Placentia Ave., Ste. K Anaheim, CA 92806 714-322-3600 E-mail: Web: Contact: Bill Davidow Format: digital recording / Pro Tools Basic Rate: see website for rates WALL OF SOUND STUDIOS 1745 S. Claudina Way Anaheim, CA 92805 714-533-ROCK (7625) E-mail: Web: Contact: Shannon Grillo Format: State-of-the-art, fully-equipped hourly

July 2015


Directory of Recording Studios WOODSHED RECORDING 310-457-7547 Contact: Richard Gibb E-mail: Web:, www. Clients: U2, Barbra Streisand, Coldplay, Kanye Wet, Sting Format: Hyprid ocean view resort/residential recording Rates: call about rates WYMAN RECORDS 1908 Burbank Blvd. Burbank, CA 91506 818-845-8787 E-mail: Web: Contact: Tip Wyman Format: digital and analog, 128 tracks Basic Rate: please call for rate ZAP ZELINGER AUDIO PRODUCTIONS Santa Monica, CA 90403 310-395-9636 E-mail: Contact: Gerald Zelinger Format: Digital and Analog, Pro Tools, classic microphones and tube pre-amps. Voice-over and archiving all analog media. Basic Rate: please call for info

COLORADO ASPEN LEAF RECORDING South Broadway Grand Junction, CO 81507 970-201-6166 E-mail: Web: Contact: Ken Dravis Format: ProTools 10 Basic rate: $65 per hr THE BLASTING ROOM 1760 Laporte Ave., Ste. 2 Fort Collins, CO 80521 970-416-9292 E-mail: Web: Contact: Bill Stevenson, Andrew Berlin, Chris Beeble Format: Pro Tools 10.3 HD-X Rates: $25-75/hr, $$200-650/day CCM RECORDING STUDIOS 4214 E. Colfax Ave. Denver, CO 80220 720-941-6088 Web: Contact: Darren Skanson Format: digital Basic Rate: please call for info CHERRY SOUND RECORDING STUDIO 1600 Downing, Ste. 120 Denver, CO 80218 303-910-5359, 303-416-0152 E-mail: Web: Contact: Chris or Gustav Format: digital and analog Basic Rate: please call for info DERRYBERRY RECORDING STUDIO 7380 Devinney Ct. Arvada, CO 80005 303-456-8216, Cell 720-261-6287 E-mail: Web: Contact: Mark Derryberry, producer/engineer Format: Pro Tools HD Basic Rate: call for rates

72 July 2015

ROCKY MOUNTAIN RECORDERS 1250 W. Cedar Ave. Denver, CO 80223 303-777-3648 Fax 303-777-3923 E-mail: Web: Contact: Rachel Converse Basic Rate: please call for info

CONNECTICUT CARRIAGE HOUSE STUDIOS 119 Westhill Rd. Stamford, CT 06902 203-358-0065 Contact: John Montagnese E-mail: Web: Format: digital and analog Basic Rate: please call for info FIREHOUSE 12 45 Crown St. New Haven, CT 06510 203-785-0468 E-mail: Web: Format: see website for studio equipment Basic Rate: call for information ONYX SOUND LAB 56 Cooper St. Manchester, CT 06040 860-436-4581 E-mail: Web: Format: digital Basic Rate: please call for info STUDIO UNICORN 36 Sanford Town Rd. Redding, CT 06896-2411 203-938-0069 E-mail: Web: Contact: Paul Avgerinos, Grammy-nominated producer Format: Pro Tools HD 128 Tracks Basic Rate: call for information TROD NOSSEL P.O. Box 57 10 George St. Wallingford, CT 06492 203-269-4465, 800-800-HITS Web: Format: Pro Tools HD2/HD3 Basic Rate: call for information WHITEHOUSE PRODUCTIONS 549 Howe Ave. Shelton, CT 06484 203-400-6207 E-mail: Web: Contact: Scott White Basic Rate: $50/hr $350/8hrs

DELAWARE JAMLAND STUDIO 2326 Empire Dr. Wilmington, DE 19810 302-475-0204 E-mail: Web: www.jamlandstudio.coM Format: see website for equipment Basic Rate: call for information SIDE DOOR STUDIO 69 Albe Dr. Newark, DE 19702 302-738-8777

E-mail: Web: Basic Rate: $75/hr, $350/8hr block

DISTRICT OF COLUMBIA CLEANCUTS MUSIC 4100 Wisconsin Ave. N.W., Fl. 1 Washington, DC 20008 202-237-8884 E-mail: Web: Format: digital Basic Rate: please call for info Additional locations: 8403 Colesville Rd., Ste. 250 Silver Springs, MD 20910 301-495-7772 E-mail: 2901 Chestnut Ave. Baltimore, MD 21211 410-467-4231 E-mail: LISTEN VISION RECORDING STUDIOS 2622 Georgia Ave. N.W. Washington, DC 20001 202-332-8494 E-mail:, Web: Contact: Jeremy Beaver Format: Pro Tools, digital, 124 tracks Basic rate: $60/hr. OMEGA STUDIOS ߐ5609 Fishers Ln., Ste. 14 A ߐRockville, MD 20852 ߐ301-230-9100 ߐWeb: Format: Pro Tools HD and analog 24 track in all three tracking rooms. Basic Rate: Call for Rates Gear: Studio A has a Neve VR Console Studio B has an SSL 4000 E/G Console Studio C has an API Console Studio D has a dual operator Icon ConsoleߐA plethora of Vintage outboard gear and Microphones ߐ Services: Four State of the Art Rooms: Studio A: featuring a Neve VR-60 60x48 with Flying Faders Automation and Total Recall, is designed for live instrumental and vocal production. At 50’x 40’ with 20’ ceilings, it hosts ensembles of all sizes and styles-jazz trios, 65 piece orchestras and heavy metal bands. It also has iso rooms and a large control room. Studio B: is designed for live recording of moderate sized instrumental or vocal groups and overdub tracking. Studio C: serves as a 24-track (analog and digital) room and as a vocal narration/ radio and advertising production studio. Studios D:with its Avid/Digidesgin Icon console is dedicated to digital mastering, editing mixing and audio for film and TV. Clients: Def Leppard, Michael Bolton, Mya, Yolanda Adams, The Washington Opera and the U.S. Marine Band

FLORIDA AUDIO-VISION 13885 W. Dixie Hwy. North Miami, FL 33161 305-893-9191, 305-321-4565 E-mail: Web:

Format: Digital and Analog Rates: Please Call in BRIAN TARQUIN 8830 Brown Circle, Studio B Cape Canaveral, FL 32920 917-449-8841 E-mail: Web: Styles: guitar virtuoso instrumental Basic Rate: Call for Information CRESCENT MOON 6205 Bird Rd. Miami, FL 33155 305-663-8924 E-mail: Web: Format: Audio/Video Suites, ISDN, Digital/ Analog Basic Rates: Call for rates CRITERIA RECORDING STUDIOS 1755 N.E. 149 St. Miami, FL 33181 305-947-5611 E-mail: Web: Contact: Trevor Fletcher Format: 16 and 24 tk analog, 48k digital, DAW’s Basic rate: 6 full-service world-class studios from vintage Neve 8078 to SSL9096J to SSL Duality. Founded in 1958 this landmark facility has produced hundreds of gold & platinum albums in every genre. Rates tailored on a per project basis. PHAT PLANET RECORDING STUDIOS 3473 Parkway Center Ct. Orlando, FL 32808 407-295-7270 E-mail: Web: Contact: Ed Krout Format: Pro Tools HD, analog 2-inch etc. Basic Rate: $75/hr. Studio A, $65/hr. Studio B STUDIO CENTER 6157 N.W. 167 St. F-4 Miami, FL 33015 305-828-7231 E-mail: Web: Format: Digital and Analog Basic Rate: please call for info STYLE-CITY MUSIC 7570 46th Ave., N., #265 St. Petersburgh, FL 33709 727-520-2336 E-mail: Web: contact-us Contact: Steven Berry Format: “Style-City Music Presents” is a 29-minute music video program showcasing music videos from all over the world from both signed and unsigned artists, on over 74 local stations. Basic Rate: $55/hr. TWENTY-FIRST CENTURY STUDIOS 1736-2 Landon Ave. Jacksonville, FL 32207 904-346-3452 E-mail: Web: Rates: $25 - $50/hr, remote $100/hr UNITY GAIN RECORDING STUDIO 1953 Ricardo Ave. Fort Myers, FL 33901

Download at 239-332-4246 E-mail: Web: Contact: Bart Iannucci Format: Direct to Disk, Digital & Analog Tape, & MIDI Basic Rate: $60-$130/hr. (based on requested services) VIRTUAL PRODUCTIONS Islamorada, FL 203-364-1642 E-mail: Web: Contact: Michael Damon Format: Pro Tools Basic Rate: Please call for info

GEORGIA ARCADIA PRODUCTION AND RECORDING STUDIO Atlanta, GA 30071 770-448-9992 E-mail: Web: Contact: Knox Format: Pro Tools HD2 Accel 2-in tape Basic Rate: please call for info DOPPLER 1922 Piedmont Cir. Atlanta, GA 30324 404-873-6941, 877-883-9406 E-mail: Web: Format: Digital/Analog, Full Service Facility Basic Rate: Call for information ELEVATED BASEMENT STUDIO, INC. 911 65th St. Savannah, GA 31405 912-356-9445 E-mail: Web: Contact: Kevin Rose Format: digital and analog Basic Rate: $65/hr. GROOVE TUNES STUDIOS 340 Rossiter Ridge Alpharetta, GA 30022 770-842-5511 E-mail: Web: Contact: Eric Tunison Format: Pro Tools HD/3 v. 8.0 Basic Rate: $75/hr. HUFF RECORDING STUDIOS P. O. Box 248 Good Hope, GA 30641 770-266-5266 E-mail: Web: Format: digital Pro Tools Basic Rate: please call for info MAW SOUND RECORDING STUDIOS P.O. Box 45 Hiawassee, GA 30546 706-896-4560, 800-535-4560 E-mail: Web: Format: digital and analog, Sonar recording Basic Rate: call for info PATCHWERK 1094 Hemphill Ave. N. Atlanta, GA 30318-5431 404-874-9880 E-mail:

Web: Contact: Curtis Daniel III Format: SSL48-Channel Duality console, SSL J-9000 Console. Basic Rate: call for rates SILENT SOUND STUDIOS 588 Trabert Ave., NW Atlanta, GA 30309 404-350-9199 E-mail: Web: Contact: Thom “TK” Kidd, Studio Owner Format: (protools, digital/analog for example) Rate: call for rate or list your rates SONICA 500 Bishop St., Bldg. C-2 Atlanta, GA 30318 404-350-9540 E-mail: Web: Contact: John Briglevich Format: Pro Tools HD, Studer 2” Basic Rate: call for rates STUDIOPLEX OF CENTRAL GA, LLC, THE 377 E. Colonial Dr. Macon, GA 31211 478-737-2077 E-mail: Web: Contact: Gary Branch Format: Nuendo 24/96 Basic Rate: $45/hr. TREE SOUND STUDIOS 4610 Peach Tree Industrial Blvd. Norcross, GA 30071 770-242-8944 E-mail: Web: Rate: please call for info

HAWAII CARAT RECORDING STUDIO P.O. Box 12746 Lahaina, HI 96761 808-214-6910 E-mail: Web: Contact: Abbey Format: 24 track 2-inch analog tape machine. Pro Tools 2010 8.1 Hard drive recording, Lexicon, Soundcraft, JBL, Neumann, Ludwig, Korg Basic Rate: $49 per hour, 1st hour free w/ engineer. Call for special packages and rates. 500 yards from Kaanapali beach, free parking, walk to rental cars, shops, lodging and surfing. HIGHWAY RECORDING P.O. Box 25993 Honolulu, HI 96825 808-396-9771 E-mail: Web: highwayrecordingstudio/ Contact: P. Keat Format: digital, 24 tracks Basic Rate: $25/hr. ISLAND SOUND STUDIOS 377 Keahole St., Ste. D-03 Honolulu, HI 96825 808-393-2021 Contact: Gaylord Kalani Holomalia E-mail: Web: Format: digital and analog, unlimited tracks Basic Rate: please call for info

SOUNDS LIKE HALE RECORDING STUDIO, LLC 355 Hukilike St., Ste. 110 Kahului, HI 96732 808-877-4253 E-mail: Web: Contact: Halemanu Format: digital and analog, 192 tracks Basic Rate: please call for info

IDAHO OSMOSIS RECORDING P.O. Box 790 Meridian ID 83680 208-371-3509 E-mail: Web: Contact: Nathan Basic Rate: $35/hr TONIC ROOM, THE 1509 Roberts St., Ste. 103 Boise, ID 83705 208-338-8433 E-mail: Web: Contact: Jason or Chris Format: Pro Tools HD/Neve Basic Rate: $50\hr(8-12hrs) $265/half day, $65/hr(1hr)

ILLINOIS APOCALYPSE COW 20 Pomeroy Rd. Montgomery, IL 60538 630-897-9023 E-mail: Web: Contact: Theresa Brooks Basic Rate: call for rates CHICAGO RECORDING COMPANY 232 E. Ohio St. Chicago, IL 60611 312-822-9333 E-mail: Web: Contact: Chris Shepard Format: Monster Pro Tools HD systems + every format since 1975 Basic Rate: Special ‘lockout’ day rates, call for info Additional location: 55 W. Wacker Chicago IL 60601 FARVIEW RECORDING St. Charles, IL 60175 630-377-6590 E-mail: Web: Format: digital Basic Rate: Please call or email for quote GRAVITY STUDIO 2250 W. North Ave. Chicago, IL 60647 773-862-1880 E-mail: Web: Format: Digital/Analog Basic Rates: please call GROOVEMASTER STUDIOS 1719 S. Clinton St. Chicago, IL 60616 312-929-2811 E-mail:

Web: Contact: Johnny K, Studio Owner Format: 24 tracks analog 2 inch, 2 track analog 1/2 inch and Pro Tools HD3 Accel Basic Rate: please call for rates. HANDWRITTEN RECORDING 1346 W. Belmont Chicago, IL 60657 773-472-7132 E-mail: Web: Format: digital and analog Basic Rate: $395 day (10hr) / $45/hr IPPOLITO RECORDING COMPANY 523 Penrose Rd. Dixon, IL 61021 815-440-0987 E-mail: Web: Contact: Vince Ippolito Format: audio and midi digital Basic Rate: call for info PILLAR PRODUCTIONS, INC. P.O. Box 35 301 Oak St. Quincy, IL 62306 217-228-7200, 888-616-1179 E-mail: Web: Contact: Jack Inghram Format: DA88 and DAW Basic Rate: call for rates PRESSURE POINT RECORDING STUDIOS 2239 S. Michigan Ave. Chicago, IL 60616 312-842-8099 E-mail: Web: Format: Digital/Analog Basic Rates: please call RAXTRAX 3126 N. Greenview Chicago, IL 60657 773-871-6566 E-mail: Web: Format: 2 SSL control rooms, digital/analog Basic Rates: please call for info STUDIO VMR 9039 Monroe Ave, Brookfield, IL 60513 708-267-2198 E-mail: Web: Format: Pro Tools HD3 Accel, also Hard Disk Recorders/72 Tracks Basic Rate: Call for prices

INDIANA AZMYTH RECORDING 5210 E. 65th St. Indianapolis, IN 317-849-2009 E-mail: Web: Contact: Ryan Adkins Format: Pro Tools HD2/HD3 Basic Rate: $70/hr LODGE STUDIOS, THE 3550 Roosevelt Ave. Indianapolis, IN 46218 317-568-0000, Fax 317-568-0021 E-mail: Web:

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July 2015


Directory of Recording Studios Contact: Michael Graham Basic Rate: please call for info SWEETWATER PRODUCTIONS 5501 U.S. Hwy 30 W. Fort Wayne, IN 46818 800-222-4700 ext. 1801 E-mail: Web: Format: Pro Tools HD3 (3 rooms), ADAT - 2-inch Tape Basic Rate: $85/hr. includes engineer

IOWA CATAMOUNT RECORDING, INC. 5737 Westminster Dr. Cedar Falls, IA 50613 319-235-6517 E-mail: Web: Format: Pro Tools HD3, Otari 2-inch analog, SSL 4048E/G+ Basic Rate: call for rates SKYLINE AUDIO PRODUCTIONS, LLC 6781 Hickman Rd. Urbandale, IA 50322 515-252-6209 Fax 515-251-5893 Contact: Garrett Wilson E-mail: Web: Basic Rate: $75/hr, $400/8hr SOUND FARM 13709 Austin Pl. Jamaica, IA 50128 515-971-6584 E-mail: Web: Format: ProTools HD3 Basic Rate: please call for info TRIAD PRODUCTIONS, INC. 1910 Ingersoll Ave. Des Moines, IA 50309 515-243-2125 Fax 515-243-2055 E-mail: Web: Basic Rate: please call for info

KANSAS ALETHEOS RECORDING 327 S. Hydraulic Wichita, KS 67211 316-290-9732 Contact: Jason Kirk or Glen Lang Format: Pro Tools HD Basic Rate: $35/hr. CHAPMAN RECORDING AND MASTERING 8805 Monrovia St. Lenexa, KS 66215 913-894-6854 E-mail: Web: Contact: Chuck Chapman Format: Pro Tools & analog 2� 24 trk tape Basic Rate: see website for rates GREENJEANS STUDIOS 110 W. Harvey Ave., Ste. 2 Wellington, KS 67152 620-326-5326 E-mail:, Web: Format: ProTools HD3 Basic Rate: please call for info

KENTUCKY DOWNTOWN RECORDING 515 S. 4th St. Louisville, KY 40202 502-583-9966 E-mail: Web: Contact: Nick Stevens Format: Pro Tools HD, 24 Track 2-inch analog Basic Rate: please call for info DSL STUDIOS 10352 Bluegrass Pkwy. Louisville, KY 40299 502-499-2102 E-mail: Web: Format: digital Pro Tools Basic Rate: please call for info REELDEMO P.O. Box 19421 Louisville, KY 40259-0421 E-mail: Web: Basic Rate: please call for info TNT PRODUCTIONS 6303 Fern Valley Pass Louisville, KY 40228 502-964-9616 E-mail:

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Web: Format: digital Pro Tools HD Basic Rate: please call for info WHITE HORSE CHRISTIAN RECORDING P.O. Box 997 Nortonville, KY 42442 270-985-5548 E-mail: Web: Format: digital Basic Rate: please call for info

LOUISIANA AUDIOPHILE RECORDING STUDIOS 61 French Market Pl. New Orleans, LA 70116 504-529-5559 E-mail: Web: Contact: Richard Bird Format: digital and analog Basic Rate: please call for info DOCKSIDE STUDIO 4755 Woodlawn Rd. Maurice, LA 70555 337-893-7880 E-mail: Web: Contact: Steve and Cezanne (Wish) Nails Format: Tracking, Mixing, Lodging Basic Rate: please call for info LIVING ROOM, THE Near Downtown New Orleans, LA 504-276-2772 E-mail: Web: Contact: Chris George Format: digital and analog Basic Rate: please call for info MUSIC SHED, THE 929 Euterpe St. New Orleans, LA 70130 504-812-1928 E-mail: Web: Format: digital Pro Tools HD 3 Basic Rate: please call for info PIETY STREET RECORDING 728 Piety St. New Orleans, LA 70117 504-948-4968 Fax 504-948-4364 E-mail: Web: Contact: Shawn Format: Pro Tools HD Basic Rate: please call for info STUDIO IN THE COUNTRY 21443 Hwy. 436 P.O. Box 490 Bogalusa, LA 70429 985-735-8224 E-mail: Web: Contact: Ben Format: Studer 2-inch 24-track, Pro Tools HD3 32 i/o and Neve 8068 analog mixing board (32 ch.). Basic Rate: $100/hr. including engineer

MAINE BAKED BEANS RECORDING P.O. Box 245 Harrison, ME 04040 207-583-2923, 207-583-4312 E-mail: Web: Contact: Alan Bean Format: Pro Tools HD3 Basic Rate: $45/hour MAIN STREET MUSIC STUDIOS 49 Main St. Bangor, ME 04401 207-992-6169 E-mail: Web: Basic Rate: call for rates MY THRILL STUDIO 46 Blueberry Hill Rd. Winterport, ME 04496 207-223-5082 E-mail: Web: Basic Rate: please call for info STUDIO, THE 45 Casco St. Portland, ME 04101 207-772-1222 E-mail: Web: Contact: Tim Tierney

Download at Format: Pro Tools Basic Rate: call for rates

MARYLAND CLEANCUTS MUSIC 2901 Chestnut Ave. Baltimore, MD 21211 410-467-4231 E-mail: Web: Basic Rate: please call for info Additional locations: 8403 Colesville Rd., Ste. 250 Silver Spring, MD 20910 301-495-7772 E-mail: 4100 Wisconsin Ave., N.W., Fl. 1 Washington, DC 20016 202-237-8884 E-mail: HIT AND RUN RECORDING 18704 Muncaster Rd. Rockville, MD 20855 301-948-6715 E-mail: Web: Format: Main DAW Cubase, 2nd DAWs Digital Performer, Pro Tools Le Basic Rate: $55-$65/hr. LION AND FOX RECORDING STUDIOS 9517 Baltimore Ave. College Park, MD 20740 301-982-4431 E-mail: Web: Contact: Jim Fox Format: 32 track IO, 96k, 24bit Basic Rate: call for rates NIGHTSKY STUDIOS 3432 Rockefeller Ct., Waldorf, MD 20602 301-910-6163, 301-374-9450 E-mail: Web: Contact: Ron Format: Pro Tools HD Basic Rate: call for current rates OMEGA STUDIOSߐ 5609 Fishers Ln., Ste. 14 Aߐ Rockville, MD 20852ߐ 301-230-9100ߐ Web: Format: Pro Tools HD and analog 24 track in all three tracking rooms. Basic Rate: Call for Rates Gear: Studio A has a Neve VR Console Studio B has an SSL 4000 E/G Console Studio C has an API Console Studio D has a dual operator Icon ConsoleߐA plethora of Vintage outboard gear and Microphones ߐ Services: Four State of the Art Rooms: Studio A: featuring a Neve VR-60 60x48 with Flying Faders Automation and Total Recall, is designed for live instrumental and vocal production. At 50’x 40’ with 20’ ceilings, it hosts ensembles of all sizes and styles-jazz trios, 65 piece orchestras and heavy metal bands. It also has iso rooms and a large control room. Studio B: is designed for live recording of moderate sized instrumental or vocal groups and overdub tracking. Studio C: serves as a 24-track (analog and digital) room and as a vocal narration/ radio and advertising production studio. Studios D:with its Avid/Digidesgin Icon console is dedicated to digital mastering, editing mixing and audio for film and TV. Clients: Def Leppard, Michael Bolton, Mya, Yolanda Adams, The Washington Opera and the U.S. Marine Band ZAMPI PRODUCTIONS 404 Ben Oaks Dr. W. Severna Park, MD 21146 410-729-1869 E-mail: Web: Contact: Mike Zampi Format: Pro Tools Digital, Acoustic, Jazz, Rock, Christian, Folk, Blues, Classical Basic Rate: $50/hr. - $80/hr

MASSACHUSETTS CYBER SOUND RECORDING STUDIOS 349 Newbury St. Boston, MA 617-424-1062 E-mail: Web: Format: Pro Tools HD, Digital/Analog Basic Rate: $125 per hour with Engineer

GOIN’ MOBILE Brookline, MA 02447 617-232-7969 E-mail: Web: Contact: Lonnie Bedell Format: hard disk, DA88, *note this is a mobile recording truck Basic Rate: Call for rates MADDEN MUSIC STUDIO 14 Hemlock Dr. Westwood, MA 02090 781-461-6799 E-mail: Web: Contact: Tom Madden Format: digital, 48 tracks Basic Rate: $45.00 an hour MUSICMEZ STUDIO Greater Boston Area 617-529-1922 E-mail:, Web: Contact: Steven Mesropian (aka mez) Format: DAW, specializing in broadcast quality productions for songwriters, lyricists and artists Basic Rates: See website for rate NORTHFIRE RECORDING 15a Grove St. Amherst, MA 01002 413-256-0404 Web: Format: see website for equipment list Basic Rate: $45/hr, $550/10hr. SANCTUM SOUND BOSTON 107 South St. - Studio C Boston, MA 02111 617-556-8090 E-mail: Web: Format: Pro Tools, Logic, Reason, Ableton Basic Rate: variable SUREFIRE CREATIVE STUDIOS 100 Phoenix Ave. Lowell, MA 01852 978-441-0975 E-mail: Web:, Comments: Surefire Creative Studios is an award winning audio and visual production company based outside of Boston, Massachusetts. Surefire provides its family of clients with a number of services such as music composition, video production, soundstage rental, recording studio rental, audio engineering, and brand consultation. Rates: call for rates

MICHIGAN METRO 37 RECORDING STUDIO 1948 Star Batt Dr. Rochester, MI 48309 586-549-2879 E-mail: Web: Contact: Kevin Sharpe Format: see website for equipment list Basic Rate: please call for info THE SOUNDSCAPE RECORDING STUDIO 3323 Rochester Rd. Royal Oak, MI 48073 248-320-6706 Web: Format: see website for equipment list Basic Rate: $45/hr STUDIO A RECORDING, INC. 5619 N. Beech Daly Dearborn Hgts., MI 48127-3927 313-561-7489 E-mail: Web: Contact: Marilyn Morgeson Basic Rate: $85/Hr WATERFALL STUDIOS 11389 S. Forrest Sideroad Dafter, MI 49724 313-674-2740 E-mail: Web: Contact: Michael Stevenson or Kenneth Sutton Format: digital Basic Rate: please call for info

MINNESOTA BABBLE-ON RECORDING STUDIOS 12 S. 6th St., Ste. 1221 Minneapolis, MN 55402 612-375-0533 E-mail: Web: Contact: Andrre Bergeron Format: digital and analog, Pro Tools HD2 Basic Rate: $75./hr

July 2015


Directory of Recording Studios THE HIDEAWAY 77 13th Ave., NE Minneapolis, MN 55413 E-mail: Web: Format: see website for equipment list Basic Rate: email for rates THE TERRARIUM 607 Central Ave., SE Minneapolis, MN 55414 612-338-5702 E-mail: Web: Contact: Jason Orris Format: Pro Tools HD3 Basic Rate: call for rates CUSTOM RECORDING STUDIOS 4800 Drake Rd. Minneapolis, MN 55422 763-521-2950 E-mail: Web: Contact: Jim Reynolds Format: Pro Tools HD3 Basic Rate: $50/hr, call for additional rates

MISSISSIPPI COWART RECORDING STUDIO 3207 Chicot St. Pascagoula, MS 39581 228-762-7205 E-mail: Web: Format: digital Basic Rate: please call for info STUDIO 61 CLARKSDALE 209 N. Main St. Leland, MS 38756 601-529-9495 E-mail: Web: Format: digital Basic Rate: please call for info TWEED RECORDING 355 County Rd. 102 Oxford, MS 38655 662-236-3902 E-mail: Web: Contact: Andrew Ratcliffe

76 July 2015

Format: digital Pro Tools Basic Rate: please call for info WILDFIRE STUDIO / CIRCUIT RIDER RECORDS 132 Tarnell Rd., P.O. Box 118 Grenada, MS 38901 662-227-9245 E-mail: Web: crider.htm Contact: W.C.Taylor or Charles Taylor Format: digital and analog, 24 tracks Basic Rate: call for rates

MISSOURI JUPITER STUDIOS 3323 Locust St. Louis, MO 63103 314-535-5556 E-mail: Web: Basic Rate: please call for info MUSIC MASTERS P.O. Box 1144 Cape Girardeau, MO 63702 314-773-1480 E-mail: Web: Contact: Greg Format: digital Pro Tools Basic Rate: please call for info PHAT BUDDHA PRODUCTIONS 1901 Locust St. St. Louis, MO 63103 314-231-3930 E-mail: Web: Format: digital Pro Tools HD2 Basic Rate: please call for info STUDIO CITY KC 615 E. 6th St., Ste. 123 Kansas City, MO 64106 816-474-5920 E-mail: Web: Contact: Rick Estes Format: Digital Pro Tools HD 3 and Digital EX-3 Sony video production Basic Rate: please call for info

MONTANA BEVEL STUDIO P.O. Box 2491 Missoula, MT 59801 406-327-0097 E-mail: Web: Format: digital Basic Rate: please call for info BOONE PRODUCTIONS 579 Belt Creek Rd. Belt, MT 59412 406-788-0255 E-mail: Web: Contact: Daniel Gliko Format: digital Basic Rate: please call for info HOT MIX STUDIO Big Fork, MT E-mail: Web: Contact: Jim Format: digital Basic Rate: please e-mail for info JERECO STUDIOS, INC. 627 E. Peach St., Ste. E Bozeman, MT 59715 406-586-5262 E-mail: Web: Contact: Jeremiah Slovarp Format: digital Basic Rate: $50/hr., $350/day

NEBRASKA JOE AUDIO PRODUCTIONS 10850 John Galt Blvd. Omaha, NE 68137 866-JOE-AUDIO, 402-341-9153 E-mail: Web: Contact: Joe Format: digital Pro Tools RAINBOW RECORDING STUDIO 2322 S. 64th Ave. Omaha, NE 68106 402-554-0123 E-mail:

Web: Basic Rate: please call for info STUDIO 24 8601 N. 30th St. Omaha, NE 68112 402-342-9090 E-mail: Web: Contact: Chuck Beckler Format: digital Basic Rate: $60/HR WARE HOUSE PRODUCTIONS, INC. 206 S. 44th St. Omaha, NE 68131 402-553-8523 E-mail: Web: Contact: Tom or Terri Ware Format: digital Basic Rate: $100/hr - block rates available

NEVADA AUDIO MIX HOUSE 14 Sunset Way Henderson, NV 89014 702-318-6001 E-mail: Web: Contact: Kelle Musgrave Format: Analog and Digital Basic Rate: Hourly and Block, call for quotes Services: Featuring Pro-Tools HD3 & SSL9000K Console, SSL Duality DIGITAL INSIGHT RECORDING STUDIOS 2810 S. Maryland Pkwy., Ste. C Las Vegas, NV 89109 702-792-3302 Fax 702-792-8582 E-mail: Web: Contact: Rob Devlin Format: Pro Tools HD, 175 tracks Basic Rate: $95/hr. includes engineer JAGUAR RECORDING STUDIO Las Vegas, NV 702-808-4400 E-mail: Web: Contact: Thaddeus Corea Format: Logic Pro Basic Rate: Call for rates.

Download at STUDIO AT THE PALMS 4321 W. Flamingo Rd. Las Vegas, NV 89103 702-944-3400 E-mail: Web: Contact: Zoe Thrall Format: digital and analog TONE FACTORY, THE 5329 S. Cameron, Ste. 103 Las Vegas, NV 89120 702-301-6964 E-mail: Web: Contact: Vinny TRIMORDIAL STUDIO LAS VEGAS Audio Video Graphics Web Las Vegas, NV 89101-1819 702-340-6748 E-mail:Â Web: Contact: Roy Rendahl Format: Digital Pro Tools, Ozone Mastering Gear: MacBook Pro, JBL, Shure, Yamaha Services:Â Location and studio recording, song mastering, and music creation and production. UNIVERSITY OF NEVADA LAS VEGAS 4505 Maryland Pkwy. Las Vegas, NV 89154 702-895-3011 Web: Contact: Music Department, Recording Studio

NEW HAMPSHIRE CEDARHOUSE SOUND & MASTERING P.O. Box 333 North Sutton, NH 03260-0333 603-927-6363 E-mail: Web: Contact: Gerry Putnam Format: Pro Tools HD, DA-78HR, SADiE, analog 2�, 1�, 1/2�, 1/4� Basic Rate: please call or email for info DEV PRODUCTIONS 15 Oak St. North Conway, NH 03860 603-356-3855 E-mail: Web: Contact: Tom Dean Basic Rate: please call for info MOJO MUSIC STUDIO P.O. Box 536 Franconia, NH 03580 603-348-5249, 603-823-5697 E-mail: Web: Contact: Tony or Joe Format: Pro Tools 10 Basic Rate: $40 - $55/hr. TINWOLF STUDIOS 1 Front St. Rollinsford, NH 508-653-3720 E-mail: Web: Contact: Tom Tincler Format: digital, 64 tracks Basic Rate: please call for info

NEW JERSEY HANDS ON STUDIO 470 Kipp St. Teaneck, NJ 07666 201-201-446-5477 E-mail: Web: Contact: Mad Mike Format: digital multi-track Basic Rate: call for rates MACHINE SHOP PRODUCTIONS 349 Cortlandt St. Belleville, NJÂ 07109 862-201-3399 E-mail: Web: Format: call for equipment list Basic Rate: call for rates ULTRASCENE, THE P.O. Box 223 Rutherford, NJ 07070 201-306-3921 E-mail: Web: Contact: Kimon Katafigiotis Format: digital, Pro Tools Basic Rate: please call for rates VELARDE PRODUCTIONS, INC. 270 Burgess Pl. Clifton, NJ 07011 973-922-0212

E-mail: Contact: Ray Velarde Format: digital/analog & HD video Basic Rate: $45/hr. XANTHI MUSIC PRODUCTIONS 321 Newark St., Fl. 4 Hoboken, NJ 07030 201-647-9051 E-mail:, Web: Contact: Rod Shepard Format: 24 track analog, 24 trk digital, Pro Tools Basic Rate: $65/hr.

NEW MEXICO JOHN WAGNER RECORDING STUDIOS, INC. 8601 Lomas N.E. Albuquerque, NM 87112 505-296-2766, 505-296-2919 E-mail: Web: JOHNNY MULHAIR RECORDING STUDIO 3101 N. Prince Clovis, NM 88101-3829 575-763-1441 E-mail: Web: SANTA FE CENTER RECORDING STUDIOS 933 San Pedro S.E. Albuquerque, NM 87108 505-265-2511 Fax 505-265-4714 E-mail: Web:

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SON SET BEACH PRODUCTIONS 9205 Lona Ln. N.E. Albuquerque, NM 87111 505-228-8131 E-mail: Web: Contact: Bob Reynolds Format: analog and digital Basic Rate: Call for rates STEPBRIDGE STUDIOS 528 Jose St. Santa Fe, NM 87501 505-988-7051 E-mail: Web: Contact: Edgard Rivera Format: Pro Tools HD, Music production, audio services for film and authors. Basic Rate: please call for info TONE PALACE RECORDING STUDIO Taos, NM 575-779-1087 E-mail: Web: Basic Rate: Please call for rates

NEW YORK 825 RECORDS, INC. (STUDIO & PRODUCTIONS) 825 48th St. Brooklyn, NY 11220 E-mail: Web: Contact: Funmibi Format: Large Format (Custom Hybrid Console) SSL Basic Rates: Studio available per project only. Tracks via FTP available. Call for rates and more information. AVATAR STUDIOS 441 W. 53rd St. New York, NY 10019 212-765-7500 Fax 212-765-7450 E-mail: Web: Contact: Tino Passante, Manager Format: digital, analog, all formats accommodated Basic Rate: please call for info CHUNG KING STUDIOS 36 W. 37th St. New York, NY10013 212-463-9200 E-mail: Web: Contact: Joe Moose Format: Digital and Analog Basic Rates: Just give us a shout! COTTON HILL STUDIOS, INC. 13 Walker Way Albany, NY 12205 518-869-1968 E-mail: Web: Contact: Margherita Krug

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July 2015


Directory of Recording Studios Format: Pro Tools Basic Rate: call for rates CUTTING ROOM RECORDING STUDIOS, THE 14 E. 4th St., Ste. 602 New York, NY 10012 212-260-0905 Fax 212-358-0041 E-mail: Web: Contact: Anthony Spinnato Format: Pro Tools HD3 Accel, SSL9000J Basic Rate: negotiable DREAM MAKER STUDIO 1648 Locust Ave., Ste. E Bohemia, NY 11716 631-319-1376 E-mail: Web:, Format: call for info Basic Rate: Call for information DUBWAY STUDIOS 42 Broadway, Fl. 22 New York, NY 10004 212-352-3070 E-mail: Web: Contact: Al Houghton, Format: Pro Tools, full service, Film, TV, post production Basic Rate: please call for info ELECTRIC LADY 52 W. 8th St. New York, NY 10011 212-677-4700 E-mail: Web: Format: digital and analog Basic Rates: please call ENGINE ROOM AUDIO 42 Broadway, Fl. 22 New York, NY 10004 212-625-3467, Fax 212-625-3496 E-mail: Website: Format: Tracking, Mixing, Mastering and Manufacturing Basic Rate: Contact us for details FLUX STUDIOS 154 E. 2nd St., Ste. #4A New York, NY 10009 917-512-3489 E-mail: Web: Format: Vintage Heart, Modern Mind Rates: Call for rates GERMANO STUDIOS 676 Broadway, Fl. 3 New York, NY 10012 212-260-6001 Ext.1 E-mail: Web: Contact: Troy Germano Format: SSL Duality SE 48 input analog with Total Recall Basic Rate: please call for info GYPSY RECORDING P.O. Box 376 Oceanside, NY 11572 516-610-3254 E-mail: Web: Contact: Brandon Karp Format: analog, digital, and tube gear, remote recording, full-studio Basic Rate: varies HYPERSTUDIO RECORDING 419 Maple St. West Hempstead, NY 11552 (12 min. from Kennedy Airport) 516-486-5198 E-mail: Contact: Eitan Kantor Format: Pro Tools Basic Rate: $75-125/hr. Services: Comfortable large rooms with cathedral ceilings, creative atmosphere with windows overlooking grass & trees, musical & efficient engineers, C7 grand piano, Yamaha recording drum set & more. JUNGLE CITY STUDIOS 520 W. 27th St., Ste. 1002 New York, NY 10001 646-476-2684 E-mail: Web: Contact: James Format: SSL Duality, Euphonix S5Fusion, Digidesign’s Icon D-Command Basic Rate: please call for info MAGIC SHOP, THE 49 Crosby St.

78 July 2015

New York, NY 10012 212-226-7035 E-mail: Web: Format: Analog and Digital Basic Rates: Call for information METROSONIC RECORDING 143 Roebling St., Fl. 3 Brooklyn, NY 11211 718-782-1872 E-mail: Web: Contact: Peter Mignola Format: all analog and digital formats Basic Rate: Call for information MSR STUDIOS 168 W. 48th St. New York, NY 10036 212-944-5770 Web: Contact: Scott Kubrin Format: Digital/Analog Basic Rates: Call for more information QUAD STUDIOS 723 7th Ave., Fl. 10 New York, NY10019 212-730-1035 E-mail: Web: Format: Analog /digital Basic Rates: Call for info SEAR SOUND 353 W. 48th St., Fl. 6 New York, NY 10036 212-582-5380 E-mail: Web: Contact: Roberta Findlay, Studio Manager Format: Analog and Digital, Studio ‘A,’ Recording/mix Neve 8038, Studio ‘C’, Large Recording/mix, Studio ‘D’, pre/post room/ vacuum tube console & Moog Basic Rate: call for rates THRESHOLD RECORDING STUDIOS 440 W. 41st St. New York, NY 10036 212-244-1871 E-mail: Web: Contact: James Walsh Format: Analog/Digital Services: Music Producers, Artist Development, Recording Studios Basic Rates: call for rates WATCHMEN STUDIOS 5996 Snyder Dr. Lockport, NY 14094 716-439-6146 E-mail: Web: Format: Pro Tools L.E. Rate: $35/hr, $280/8hr

NORTH CAROLINA DAXWOOD PRODUCTION COMPANY Fayetteville, NC 910-323-2550 E-mail: Web: Format: Pro Tools Basic Rate: call for rates EARTHTONE RECORDING 620 S. Elm St. Greensboro, NC 27406 336-273-0001, 336-210-7107 E-mail: Web: Contact: Benjy Johnson Basic Rate: $35/hr, two hour minimum ECHO MOUNTAIN RECORDING 14 N French Broad Ave. Ashville, NC 28801 828-232-4314 E-mail: Web: Format: Digital/Analog Basic Rate: please call for more info GAT3 PRODUCTIONS 655 Pressley Rd., Ste. E Charlotte, NC 28217 704-525-5552 E-mail: Web: Contact: Susan Tabor Studio A: ProTools 10HDX, SSL 9000J 72 Input Console. Studio B: Recording and Mastering Suite: ProTools 10HDX. Equipment list available on our website. Studio Rates: Studio A $105.00 per hour, Block Rate (8 hours or more) $95.00 per hour

Studio B $95.00 per hour, Block Rate ( 8 hours or more) $85.00 per hour TEQUILA SUNRISE MUSIC 112 Ann St. Gaston, NC 27832 800-537-1417 E-mail: Web: Contact: Kenny Barker Format: digital Basic Rate: $40/hr. 2 hr. min. UNDERGROUND SOUND 204 E. Vandalia Rd. Greensboro, NC 336-491-3162 Web: Contact: Saul Johnson Format: Pro Tools 11, see website for complete equipment listing Basic Rate: $35/hr. $300/day

NORTH DAKOTA RAPTOR STUDIOS P.O. Box 1455 Fargo, ND 58105 E-mail: Web: Contact: Mike Coates Basic Rate: email for rates WHISKYSAM RECORDING STUDIO 3314 Royal Cir. Grand Forks, ND 701-741-4667 E-mail: Web: Format: Pro Tools HD 10 Basic Rate: call for rates

OHIO COMMERCIAL SOUND + IMAGE 6001 W. Creek Rd. Independence, OH 44131 216-642-1000 Web: Contact: George Gates Format: digital Basic Rate: please call for info REFRAZE RECORDING STUDIOS 2727 Gaylord Ave. Dayton, OH 45419 937-298-2727 E-mail: Web: Contact: Ron Pease Format: Digidesign Pro Tools|HD 2 Accel Basic Rate: $60/day incl. engineer SOUNDCUBED STUDIOS - EAST 101 S. Main St. Basement Floor Poland, OH 44514 330-207-2470 E-mail: Web: ULTRASUEDE STUDIO, INC. 2834 Spring Grove Ave. Cincinnati, OH 45225 513-394-6427 E-mail: Web: Contact: John Curley Format: digital (Logic, Pro Tools, Digital Performer) Basic Rate: $75/hr. engineer included

OKLAHOMA BENSON SOUND, INC. 5717 S.E. 74th St., Ste. F Oklahoma City, OK 73135 405-610-7455 E-mail: Web: Format: digital Basic Rate: please call for info CORNERSTONE RECORDING CO. 1315 Locust Ln. Edmond, OK 73013 405-848-8400 E-mail: Web: Contact: Ken Sarkey Format: Digital and Analog Basic Rate: please call for info NATURA DIGITAL STUDIOS 14540 Happy Camp Rd. Beggs, OK 74421 918-756-5230, 918-695-8992 E-mail: Web: Contact: David Teegarden Format: Pro Tools HD Core 3 Basic Rate: please call for rates

STUDIO SEVEN / LUNACY RECORDS 417 N. Virginia Ave. Oklahoma City, OK 73106 405-236-0643 E-mail: Web: Contact: Dave Copenhaver Format: 2-inch 24-Track, Pro Tools & other digital formats, large playing room, tracking, mixing & mastering Basic Rate: $75/hr.

OREGON BIG RED STUDIO 35101 S.E. Hurlburt Rd. Corbett, OR 97019 503-695-3420 E-mail: Web: Contact: Billy Oskay Format: 2-inch analog, vintage Trident Console, Pro Tools HD2 Basic Rate: Please call for rates FALCON RECORDING STUDIOS 15A S.E. 15th Ave. Portland, OR 97214 503-236-3856 E-mail: Web: Contact: Dennis Carter Format: digital Pro Tools Basic Rate: please call for info FRESH TRACKS STUDIO 1813 S.E. 59th Ave. Portland, OR 97215 503-235-7402 E-mail: Web: Contact: Jon Lindahl Format: HD Basic Rate: call for rates NORTHSTAR RECORDING STUDIOS 13716 S.E. Ramona St. Portland, OR 97236-4444 503-760-7777 E-mail: Web: Contact: Scott Hybl Format: digital and analog Basic Rate: please call for info OPAL STUDIO 6219 S.E. Powell Blvd. Portland, OR 97206 503-774-4310 E-mail: Web: Contact: Kevin Hahn Format: digital and analog Basic Rate: $50/hr. SPROUT CITY STUDIOS Eugene, OR 541-687-0947 E-mail: Web: Format: digital Basic Rate: please call for info

PENNSYLVANIA APOCALYPSE THE APOCALYPSE 303 W. Market St. Clearfield, PA 16830 225-266-1973 E-mail: Web: Contact: Fred Weaver Rates: $40 hr/$400 Day FORGE RECORDING 100 Mill Rd. Oreland, PA 19075 215-885-7000, Fax 215-887-3501 E-mail: Web: Format: ProTools HD3 Accell, MacPro 2.8 quadcore, API 1608 Basic Rates: $90/hr, $375/1/2 day, $750/day GREEN VALLEY RECORDING 590 S. Frymire Hughesville, PA 17737 570-584-2653 E-mail: Web: Contact: Richard or Alison Rupert Format: Analog, Digital Basic Rate: call for rat24 LIFELINE STUDIOS & MUSIC SERVICES Coatesville, PA 19320 610-380-9729 E-mail: Web: Contact: Dave Kurtz Format: 16 track analog Basic Rate: call or email for rates

Download at

March 2015 July 2015

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Directory of Recording Studios RIGHT COAST RECORDING Columbia, PA 717-681-9801 E-mail: Web: Format: 2-inch 16 + 24 track analog, 48 track 192k digital performer, automated Neotek elite console Basic Rate: call for rates

27 Bank St. Warwick, RI 02888 401-521-5676 E-mail: Web: Contact: Martin Gleitsman Format: Pro Tools, sound for advertising and audio/visual Basic Rate: call for rates

SIGNAL SOUND 163 E. Cherry Rd. Quakertown, PA 18951 215-536-4660 E-mail: Web: Contact: Pete Davis Format: 2-inch analog, 32 track ADAT, 32 track Pro Tools, 3 camera HD, Steadycam, Crane, 12x26 green screen Basic Rate: from $48/hr.

MACHINES WITH MAGNETS 400 Main St. Pawtucket, RI 02860 401-475-2655 E-mail: Web: Format: see website for equipment list Basic Rate: call for rates

SILENT WING AUDIO RECORDING & MASTERING P.O. Box 536 Bobtown, PA 15315-0536 724-839-7292 E-mail: Web: Contact: Mr. Dan Festog, owner Format: 8-track digital Basic Rate: $25/hr. STARCITY RECORDING COMPANY 3935 Rabold Circle S. Bethlehem, PA 18020 610-865-9455 Format: digital and analog, 96 tracks Basic Rate: call for rates THIRD STORY 5120 Walnut St. Philadelphia, PA 19139 215-747-1200 E-mail: Web: Format: Pro Tools, Digital/Analog Basic Rate: please call for rate

RHODE ISLAND HIPPO Heavyweight Audio Production

STATIC PRODUCTIONS North Kingstown, RI 401-267-8236 Email: Website: Contact: Peter LaGrasse Rate: see website STUDIO BLUE 134 Penn St. Providence, RI 401-663-7871 E-mail: Web: Format: see website for equipment list Basic Rate: $35/hr, $500 all day

SOUTH CAROLINA ARP STUDIO Charleston, SC 843-763-4277 E-mail: Web: CHARLESTON SOUND 2612 Larch Land, Ste. 108 Mt. Pleasant, SC 29466 843-216-5556 Web: THE JAM ROOM 201 S. Prospect St. Columbia, SC 29205

803-787-6908 E-mail: Web: www. Contact: Jay Matheson Format: Pro Tools HDX Basic Rate: please call for rates STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. West Columbia, SC 29169 803-794-9300 E-mail: Web: Contact: Gary Bolton Format: Radar24 and Pro Tools Basic Rate: call for pricing

SOUTH DAKOTA CATHOUSE STUDIOS 1108 W. 12th St. Sioux Falls, SD 57104 605-728-2145 E-mail: Web: Format: Pro Tools 10 Basic Rate: email us for rates FIRE STATION SEVEN RECORDING STUDIO 514 Mt. Rushmore Rd. Rapid City, SD 57701 605-863-2401, 605-391-4704 Contact: Scott, Miller, Jr. E-mail: Web: Format: ProTools 10 24 track Basic Rate: $50/$60/hr., $75/hr on location

TENNESSEE ARDENT STUDIOS 2000 Madison Ave. Memphis, TN 38104 901-725-0855 E-mail: Web: Format: Pro Tools 9.0.1 and analog 24, 16, 8 and 2 trk 1/2-inch and 1/4-inch Basic Rate: please call for info BOB BULLOCKߐ Cool Springs Mix Franklin, TN 615-972-8280 E-mail: Web: Format: Mixing services, Specializing in Country, Pop and Rock. Nuendo and ProTools. See website for details. Basic Rate: “Contact for Rates” BLACKBIRD STUDIO 2806 Azalea Pl. Nashville, TN 37204 615-467-4487 E-mail: Web: Format: Digital/analog Basic Rate: please call CASTLE 1393 Old Hillsboro Rd. Franklin, TN 37069 615-791-0810 E-mail: Web: Format: digital and analog Basic Rate: please call CAVE STUDIOS, THE 5853 Davis Hollow Rd. Franklin, TN 37064 615-790-7578 E-mail: Web: Contact: Andrew Hooker Format: Pro Tools HD3 Basic Rate: $60/hr. GRAND VICTOR SOUND 30 Music Square West Nashville, TN 37203 615-742-1998 E-mail: Web: HOUSE OF BLUES NASHVILLE 518 E. Iris Dr. Nashville, TN 37204 615-777-9080 E-mail:, Web: Contact: Gary Belz Format: Digital and analog Basic Rates: Please call JAMES LUGO’S VOCAL ASYLUM Nashville, TN 818-259-0190

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E-mail: Web: Contact: James Lugo Format: digital and analog Basic Rate: call for rates OCEAN WAY NASHVILLE 1200 17th Ave. S. Nashville, TN 37212 615-320-3900 E-mail: Web: Format: digital and analog Basic Rate: please call OMNISOUND STUDIOS 1806 Division St. Nashville, TN 37203 615-482-1511 E-mail: Web: Format: Pro Tools HD/24 TK analog Basic Rate: call for rates PARAGON STUDIOS 320 Billingsly Ct. Nashville, TN 37067 615-778-9083 E-mail:, Web: Format: digital and analog Basic Rates: please call QUAD STUDIOS 1802 Grand Ave. Nashville, TN 37212 615-321-9500 Contact: Mark Greenwood Web: Format: Digital and analog Basic Rates: please call SOUND KITCHEN STUDIOS 112 Seaboard Ln. Franklin, TN 37067 615-370-5773 Ext. 225 E-mail: Web: Format: Pro Tools HD & Vintage Analog Neve, SSL, & API Legacy Basic Rates: Please call Ira Blonder, Managing Partner STARSTRUCK STUDIOS 40 Music Sq. W. Nashville, TN 37203 615-259-5400 Web: Contact: Janet Leese Format: digital/analog Basic Rate: call WILDWOOD RECORDING 2201 N. Berry’s Chapel Rd. Franklin, TN 37069 615-708-6944 E-mail: Web: Contact: Brendan Harkan Format: Digidesign Pro Tools HD3 wit Pro Control, Otari 2-inch 24 Track Basic Rate: Call for Information


ZIG PRODUCTIONS P.O. Box 120931 Arlington, TX 76012 E-mail: Web: Contact: Billy HerZIG Format: Pro Tools Basic Rate: Please call for rates BISMEAUX STUDIO South Austin, TX 512-444-9885 ext 121 E-mail: Web: Format: digital and analog Basic Rate: $60 per hour BLUE ROCK ARTIST RANCH AND STUDIO P.O. Box 619 Wimberley, TX 78676 512-847-7440 E-mail:, Web: Contact: Billy Crockett Format: Pro Tools HD3 Basic Rate: $850/day CRYSTAL CLEAR SOUND 4902 Don Dr. Dallas, TX 75247 214-630-2957, 888-237-2679 E-mail: Web: Contact: Michael Walter, studio mgr/Owner Format: analog, digital, mastering Basic Rate: $80/hr

Download at JOMUSIK Sunnyvale, TX 75182 972-226-1265 E-mail:, Web: Contact: Joe Milton Format: digital and analog, lots of tracks Basic Rate: $60/hr JO-MUSIK Dallas, TX 972-226-1265 E-mail: Web: Contact: Joe Milton Web:, Format: digital and analog, lots of tracks Basic Rate: please call for info LUMINOUS SOUND 17120 Dallas Pkwy., Ste. 100 Dallas, TX 75248 972-331-7040 E-mail: Web: Basic Rate: please call for info NEXUS RECORDING STUDIOS 8535 Fair Haven San Antonio, TX 78229 210-639-5266 E-mail: Web: Contact: Jason Hatch PLANET DALLAS P.O. Box 110995 Carrollton, TX 75011 214-893-1130 E-mail: Web: Contact: Rick Rooney Format: please see website Basic Rate: call for pricing STONE WALL STUDIO P.O. Box 855 Groveton, TX 75845 936-642-2142 E-mail: Web: Format: 48 tracks of Pro Tools LE7 (16 live inputs) Basic Rate: $60/hr. TRINITY RECORDING STUDIO P.O. Box 1417 Corpus Christi, TX 78403 361-854-SING (7464) E-mail: Web: Contact: Jim Wilken Format: digital, unlimited tracks Basic Rate: $30/hr. WIRE ROAD STUDIOS 901 W. 20th St. Houston TX 77008 713-636-9772 E-mail: Web: Contact: Bill Wade Format: Digital / Pro Tools Gear: Euphonix S5 Fusion; Raven MTX; Mac Pro’s 12-core; Antelope Isochrone Rubidium Atomic Clock w/ Trinity Master Clock; Monitors: Equator Q-15, PMC IB2S w/ Bryston 7B SST, Focal Twin6 Be; DynAudio BM6; Outboard analog from Avalon, D.W. Fearn, Empirical Labs, Retro, SSL, SPL, Manley, Daking, Purple, Kush, Shadow Hills, UA, Bricasti and

Steinway Model-B grand piano and much more. Services: Full-service audio recording for music & media production, mastering services, audio clean up and restoration, and creative services including music production and arrangement as well as original music composition. Clients: SONY/Columbia & Epic, Island/Def Jam, Atlantic, Motown, Motown Gospel, Cash Money Records, FIYA World Music, Sh-KBoom Records/NYC as well as the artists Beyonce, India Arie, Joe Sample, Marcos Witt, Thalles Roberto, Smokie Norful, Ludacris, Future, Busta Rhymes, Aaron Lindsey, Pat Green Band, Kurt Carr, Israel Houghton, Mannie Fresh, Jazze Pha, Wale, BunB, Paul Wall, Slim Thug, Scarface, Chamillionaire, & Zacardi Cortez. Comments: 5000 Sq.Ft. 3-room facility designed by Russ Berger with full kitchen, lounge & outdoor patio connected with remote speakers to Studio A. Beautiful Live Room w/ 18-Ft. ceilings & large line-of-sight windows in Studio A. Dedicated Mastering Room in Studio B. Super creative composition room and economy studio in Studio D. Basic Rates: Studio A $125/Hour; Studio B $85/Hour; Studio D $55/Hour

UTAH ANNEX RECORDING STUDIO 12298 S. 1840 E. Draper, UT 84020 801-597-4007 E-mail: Web: Format: Pro Tools 9.0 HD3 Basic Rate: $80/hr, $650/day FIRST TAKE RECORDING STUDIO 305 W. Daniel Dr. Orem, UT 84057 801-477-7763 E-mail: Web: Contact: Daniel Thompson Basic Rate: please call for rates HIT TRACK STUDIOS / VEGAS DISC 128 W. 400 N. Cedar City, UT 84721 800-246-5667, 702-481-1663, 702-735-4283 E-mail: Web:, Contact: Tom Parham Gear: Pro Tools HDX, Neve ,SSL, Manley, Sonic Solutions, Pacific Microsonics. Services: Recording, Mastering, Duplication,Graphic Design Basic Rates: call for rates

WOODSHAR STUDIO 6033 1300 W. Taylorsville, UT 84123 801-685-0874 E-mail: Web: Contact: Shar or Doug Wood Basic Rate: Please call for rates

VERMONT GUILFORD SOUND 561 Fitch Rd. Guilford, VT 05301 802-254-4511 Email: Web: Contact: Cynthia Larsen Format: Pro Tools + Analog Gear: 64-input API Legacy with Flying Faders, 12-channel Neve Melbourn sidecar, Studer A827 “Gold Edition”, Yamaha C7 Grand piano, Hammond B3, tie-lines in every room (including the bathrooms), echo chamber, large live room with with a “live/dead side” appraoch, 4 iso booths with spring-floated concrete slabs, and an extensive microphone list Comments: We are a Francis Manzella designed, energy efficient residential studio on 300 private acres in Southern Vermont. Housing is on-site in a modern, LEED certified five-suite Artist Residence that sleeps ten, and in the summer months an additional restored 1791 farmhouse that sleeps 5. Featuring miles of woodland trails and a private, secure environment, we invite you to make Guilford Sound your recording haven. Rates: Please call Cindy for rates. NORTHERN TRACK RECORDING STUDIO P.O. Box 1059 Wilmington, VT 05363 802-464-2234 E-mail:, Web: Basic Rate: $60/hr SOUNDESIGN RECORDING STUDIO 67 E. Town Farm Rd. Putney, VT 05346 802-257-1555

E-mail: Web: Contact: Billy Shaw Format: Pro Tools 001, 2” 24 & 16 Track Sony, ADAT Basic Rate: call for rates & special

VIRGINIA CRYSTALPHONIC RECORDING STUDIO 946 Grady Ave., Ste. 26 Charlottesville, VA 22903 434-971-2997 E-mail: Web: Format: digital and analog Basic Rate: please call for info CUE RECORDING STUDIOS 109 Park Ave., Ste. E Falls Church, VA 22046 703-532-9033 E-mail:, Web: Basic Rate: please call for info MAGGARD RECORDING STUDIO 219 Railroad Ave. Big Stone Gap, VA 24219 276-523-1373, 276-275-9680 E-mail: Web: Basic Rate: $60/hr, $500/day MASTER SOUND Virginia Beach, VA 757-373-1180 E-mail: Web: Contact: Rob Ulsh Format: digital and vintage analog Basic Rate: $85/hr, $750/day

WASHINGTON ACOUSTIC CHAMBERS RECORDING STUDIO 14503 S.E. 254th St. Kent, WA 98042 253-639-0896 Web: Contact: William C. Reedy

NOISEBOX STUDIOS 2544 W. 500 S. Provo, UT 84601 801-805-8217 E-mail: Web: Contact: Dave Zimmerman Basic Rate: $75/hr UGLIEST STUDIO IN UTAH, THE 3255 W. 7675 S. W. Jordan, UT 84084 801-938-4803 E-mail: Web: Contact: Rich Basic Rate: $35/hr

July 2015


Directory of Recording Studios Format: digital Pro Tools HD, Accel and 24 track analog Basic Rate: $500/Day AUDIO LOGIC INC. 12047 31st Ave. N.E. Seattle, WA 98125 206-363-6505 E-mail: Web: Contact: Jay Kenney Format: Cubase 6/Nuendo 5 Basic Rate: $40-$60/hr. BAD ANIMALS 2212 4th Ave. Seattle, WA 98121 206-443-1500 Fax 206-441-2910 E-mail: Web: Contact: Wendy Wills Format: digital and analog Basic Rate: please call for info BEAR CREEK STUDIO AND MUSIC PRODUCTION 6313 Maltby Rd. Woodinville, WA 98072 425-481-4100 E-mail: Web: Contact: Manny Hadlock Format: 2” 24 trk, 2” 16 trk, 1/2” 2 trk, Pro Tools HD 32 in/48 out Basic Rate: Please call for rates ELECTROKITTY 4415 Densmore Ave., N. Seattle, WA 98103 425-358-1441 E-mail: Web: Format: Digital and Analog Basic Rates: call for more info LONDON BRIDGE STUDIOS 20021 Ballinger Way N.E. #A Shoreline, WA 98155 206-364-1525 E-mail: Web:

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Format: Vintage Neve 8048 / Studer A-800 MKIII 24-track 2” Analog tape deck, Protools HD3 Basic Rates: please call for rates MIRROR SOUND STUDIO 301 N.E. 191st St. Seattle, WA 98155 206-440-5889 E-mail: Web: Contact: Ken Fordyce Format: 24 track digital-analog Basic Rate: Please call for rates ORBIT AUDIO Seattle, WA 206-381-1244 E-mail: Web: Format: Digital/Analog Basic Rates: $95/Hr, $750/day STUDIO LITHO 348 N.W. 54th St. Seattle, WA 98107 206-632-8157 E-mail: Web: Basic Rate: please call for info STUDIO NORTH 1316 172nd St. S.W. Lynnwood, WA 98037 866-396-9174, 425-745-2642 E-mail: Web: Contact: Ken Latimer Format: Pro Tools HD, 2” 24 track analog tape Basic Rate: Please call for rates

WEST VIRGINIA HILLTOP RECORDING Rt. 1 Box 334-A LeSage, WV 25537 304-840-2675 Web: Contact: Dave Winters

Format: digital Basic Rate: please call for info JAMIE PECK PRODUCTIONS 216 Longvue Acres Rd. Wheeling, WV 26003 304-277-2771 Cell 304-280-5086 E-mail: Web: Contact: Jamie Peck Format: digital Pro Tools HD Basic Rate: please call for info RHL AUDIO 703-628-3015 E-mail: Web: Contact: Chris Murphy Basic Rate: please call for info

WISCONSIN BEAT HOUSE MUSIC 260 E. Highland Ave., Ste. 201 Milwaukee, WI 53202 414-273-1401 E-mail: Web: Format: Pro Tools HD System Basic Rate: call for rates BLAST HOUSE STUDIOS 1117 Jonathon Dr. Madison, WI 608-276-4446 E-mail: Web: Format: see website for equipment list Basic Rate: call for rates TAYLOR STUDIOS, LTD. 818 N. 109th St. Milwaukee, WI 53226 414-778-0362 E-mail: Web: Contact: Jeffery Taylor Format: all digital recording and post production Basic Rate: $95/hr.

WYOMING BRIDGER PRODUCTIONS P.O. Box 8131 4150 Glory View Ln. Jackson, WY 83002 307-733-7871 Fax 307-734-1947 E-mail: Web: Contact: Michael J. Emmer, President Basic Rate: please call for info TABLE 19 STUDIOS Casper, WY Web: Format: see website for equipment list Basic Rate: $55/hr, $500/day

INTERNATIONAL ABBEY ROAD STUDIOS 3 Abbey Rd. London, NW8 9AY UK +44 (0) 020-7266-7000 E-mail: Web: Basic Rate: please call for info CANADIAN RECORDING SERVICES INC. 1867 Draycott Rd. N. Vancouver, BC V7J 1W5, Canada 604-985-0679, 866-888-6464 E-mail: info@canadianrecordingservices. com Web: Format: digital and analog, up to 64 Basic Rate: We work with many studios and all budgets! For hundreds more contacts from current directories (A&R, guitar/bass instructors, everything indie, promotion, publicity, vocal coaches, mangers, booking agents, college radio, rehearsal studios, mastering studios, publishers, film/TV and more), visit our website:

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For Advertising Info Call 818-995-0101


July 2015 85

For Advertising Info Call 818-995-0101



Top 12 Apps for Music Businesses


cloud. Get up to 50GB of space for free, or upgrade to a full terabyte of storage for only $5 a month––that’s easily the best deal going right now. And with a syncing app for your desktop or laptop, there’s no debate if your files are up-to-date. Alternate choice: Google Drive (

MONEY APPS Every business deals with money. Being smart and efficient with your money can determine whether or not you stay in business. These first few are my favorite.

7. SoundMeter. This decibel meter is the reason I bought my first iPhone. I run this every time I mix live sound. (This is one of my dirty little secrets for touring bands: running this can placate the bar owner that keeps saying “you’re playing too loud.”) Professional settings like A- and C-weighting make this far better than cheap decibel meter apps. At $20, it is currently available for iOS only.

obile technology has evolved from a luxury status symbol to a valuable tool to maximize your time and productivity. With literally hundreds of thousands of smartphone apps available, there are plenty well-suited for business. But which are the most useful for a unique business needs of an artist or recording studio? After trying literally hundreds of apps, these are my top 12 favorites for working at my best.

1. Mileage Log+. Chances are, you will travel for gigs, meetings or even office supplies. Don’t forget, those miles are tax deductible––and at well over 50 cents per mile, they add up quickly. This app saved me $800 on my taxes in one year alone. Mileage Log + is available for iOS only right now for $9.99, but there are similar offerings for Android or Windows Phone. 2. Dwolla. My favorite for sending and receiving payments. Unlike PayPal’s 5-10% fees, Dwolla charges a maximum 25 cents for transactions over $10. You’ll need to register and attach a checking account, but once that’s done, payments typically take one day to process. Dwolla is a free app for iOS, Android and Windows Phone. dwolla. com (The next best choice is Square’s Cash app.) 3. PayPal Here. Dwolla is still my favorite for sending and receiving payments. BUT... Dwolla doesn’t take credit cards. Chances are, you already have a PayPal account, and PayPal Here lets you accept credit and debit cards anywhere. Its charge rate is just a smidgen lower than Square. Go to to register and get your scanner. 4. WeekCal. Being able to manage your schedule can save you lots of time in the long run––and time is money, right? I like WeekCal better than Apple’s calendar, plus it’s easier to view and edit upcoming events. But Apple’s recent updates to its own app make this one less of a must-have. MEDIA APPS A well-run business should always have a good handle on its assets; it is no different for artists and studios. But in addition to mundane items like memos, contracts and customer data, music businesses need to manage and share large audio and video files, DAW session files and more. 5. Gobbler. Sharing projects online yet? If you haven’t done it yet, you will soon. Gobbler is cloud storage like Dropbox or Google Drive, but it is specifically designed for media projects. It supports sessions from most major DAWs like Pro Tools, Logic Pro and Ableton Live. Start with the free 5GB account to begin sharing with your co-writers, publisher or other clients. 6. MediaFire. If you need mass storage––especially if you need access from anywhere––MediaFire ( has the best value in the

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8. SignalScope. Faber Acoustical’s RTA partner to SoundMeter. You can use the phone’s mic for basic analysis, or attach a professional preamp and microphone for more accurate readings. Another professional level app, it runs $25, with upgrades available. faberacoustical. com/ios_apps/signalscope SOCIAL MEDIA / INTERNET APPS Let’s face it––the Internet has changed everything. It is now possible to launch and sustain a music career from your own bedroom studio, at least in theory. But once you’re on the road, it can be difficult to regularly update your online presence. These apps will help you stay updated and in touch with your clients or fans while on the road. 9. Password Box. With every website account comes yet another login and password. And keeping track of all of them can be rough. (I currently have over 300.) Registering for the free account at passwordbox. com will sync 25 passwords on your phone. I can’t recommend this one wholeheartedly, as it has been buggy lately on iOS. They recently became part of Intel Security, which also concerns me, so try it along with my second choice, 10. LinkedIn. The undisputed king for business social networking. The free app is better than the website for some things, the browser page for others. Use it along with LinkedIn’s Connected App (also free) to boost your online social circles. 11. Puffin browser. Many stock smartphone browsers won’t play Flash websites; Puffin will. For many media-driven sites, you’ll need to use it to properly view its content. (You can also try Google’s Chrome app.) 12. HootSuite. If you’re active on multiple social sites, HootSuite allows you to post quickly on one, two or all of them at once. It also lets you “shrink” URLs for easier posting to character-limiting accounts like Twitter. The free account lets you link three sites; the Pro service ($9.99 per month) lets you link 50 to 100.

PAUL BORDENKIRCHER is a 30-year music industry veteran, blogger and consultant who has focused the last 18 years on the independent scene. In addition to teaching at University of Nevada Las Vegas, he’s also the developer for SongNook, an organizational tool for songwriters releasing Fall 2015. His Music Biz Blog is at

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