MCMay2013

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Working with SoundExchange has made all the difference in the current economy. Art is taken for granted, and many companies profit from artists without giving a second thought to HOW THESE ARTISTS AND

THEIR FAMILIES SURVIVE.

TALIB KWELI SoundExchange goes out of their way to MAKE SURE THE

ARTIST IS TAKEN CARE OF and that business is handled all around. I AM HAPPY TO

BE WORKING WITH THEM.

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CONTENTS

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Fall Out Boy

Artist Profile

After a four-year layoff, multiplatinum group Fall Out Boy has returned in a big way, and in MC’s exclusive interview with the band’s Pete Wentz we find out all about the new album and tour and how he scouts new artists for his record label.

By Andy Kaufmann

46

In this exclusive interview, the indie quartet discuss how they’re thriving on their own label. By Rob Putnam

36 Photos by: Pamela Littky

5 Instructors Sound Off

Departments

MC presents a discussion with five teachers (voice, sound engineering, guitar, music business and more). Each gives insights and candid advice that will help students and those who might be considering a teaching gig.

By Jessica Pace

40

Annual Directory of Music Schools From major universities to small academies, this MC directory provides up-to-date info on institutions and individuals who give instruction related to music or the music industry.

56

Compiled By Denise Coso

Annual Directory of Vocal Coaches Fully updated and expanded for 2013, this list of voice experts enables anyone to connect with an instructor that suits his needs and budget.

Compiled By Denise Coso

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Producer Crosstalk: F. Reid Shippen . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam Exec Profile: Robb McDaniels, INgrooves Fontana . . . . . . . . . . . . By Andy Kaufmann Songwriter Profile: Eric Bellinger . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel Industry Profile: MVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Brett Bush Tip Jar: 6 Steps to Better Backup Singing . . . . . . . . . . . . . . . . . . . By Lisa Popeil 4

May 2013

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Dawes

Close Up Assignments New Toys Book Store Up Close Studio Mix Business Affairs Signing Stories Song Biz Film/TV/Theater Mixed Notes

Reviews 48. CD Reviews 50. New Music Critiques 52. Live Reviews

Be sure to follow Music Connection on Facebook and Twitter. Check out our Social Space to connect with fellow music-makers.

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.



434 59->

E. Eric Bettelli PUBLISHER E. Eric Bettelli Mark Nardone

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GENERAL MANAGER/ ADVERTISING DIRECTOR

ericb@musicconnection.com

ASSOCIATE PUBLISHER/ SENIOR EDITOR

markn@musicconnection.com

Denise Coso John Curry OPERATIONS MANAGER

denisec@musicconnection.com

ART DIRECTOR

artdirector@musicconnection.com

Hillorie Rudolph Mukul Chauhan MARKETING/ ADVERTISING MANAGER

hillorier@musicconnection.com

DIRECTOR OF ONLINE OPERATIONS

mukulchauhan16@gmail.com

Mira Abas Andy Mesecher

8LI] EPP VIUYMVI E PMGIRWI

ACCOUNT EXEC/ARTIST RELATIONS

mira@musicconnection.com

ASSOCIATE EDITOR

andym@musicconnection.com

Gary J. Stephens Bernard Baur ADVERTISING ART DIRECTOR

garys@musicconnection.com

CONTRIBUTING EDITOR bbatmc@aol.com

Barry Rudolph Dan Kimpel NEW TOYS

barry@barryrudolph.com

SONG BIZ

dan@dankimpel.com

Denise Coso Tom Kidd DIRECTORY EDITOR

!

denisec@musicconnection.com

FILM, TV, THEATER

prespak1@verizon.net

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@comcast.net Rob Putnam toe2toe6@hotmail.com Editorial Intern Hana Song intern@musicconnection.com Web Intern Emmanuel Reid

CONTRIBUTING WRITERS Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley, Karen Emmert, Gary Graff, Eric A. Harabadian, Corey Irwin, Oscar Jordan, Andy Kaufmann, Dawna Kaufmann, David Kershenbaum, Kim Mack, José Martinez, Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Adam Seyum, Daniel Siwek, Matt Schild, Brian Stewart, Laurier Tiernan, Brooke Trout, Albert Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Karen Emmert, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Dave Long, Thomas Long, Kim Mack, Cindy Miley, Paula Muñoz, Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Danny Seyum, Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Brooke Trout, Albert Vega, Ellen Woloshin

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MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 14654 Victory Blvd., Van Nuys, CA 91411. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the US, add $25 (US currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright © 2013 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com CORPORATE HEADQUARTERS 14654 Victory Blvd. Van Nuys, CA 91411 Office: 818-995-0101 Fax: 818-995-9235 Email Address: contactmc@musicconnection.com Website: http://musicconnection.com Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com

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Rock Your Music Career! Earn a certificate in: The Music Business ' Independent Music Production ' Film Scoring '

Summer Quarter starts Jun 24 Enroll early and save! Learn more at uclaextension.edu/espa_mc

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MasterWriter By Jonathan Widran

I

n the 10 years since Music Connection profiled MasterWriter upon its launch in 2003, it has become the No. 1 bestselling software for songwriters. MasterWriter has earned an international following and an expansive clientele, including numerous artists and songwriting legends who offer praise-filled testimony on its homepage (http://masterwriter. com). These include Gwen Stefani, Kenneth “Babyface” Edmonds, Rob Thomas, Kenny Loggins, Trent Reznor, Jeffrey Steele, Jimmy Webb, Carole Bayer Sager and David Foster. A powerful suite of songwriting tools, MasterWriter is the brainchild of Grammy and six-time Emmy winning composer Barry DeVorzon. The program’s groundbreaking lyric writing tools include a rhyming dictionary with over 100,000 entries, 36,000 rhymed phrases, and the most comprehensive list of Close Rhymes ever assembled; a Pop Culture dictionary with over 11,000 icons of American and World Culture, with instant Wikipedia links to every entry; a searchable Bible; a phrases dictionary which contains over 33,000 idioms, clichés, sayings and word combinations; the only Alliterations dictionary in existence; and the only electronic version of Synonym Finder, the best Thesaurus on the market today. The upgraded 2.0 version of MasterWriter includes two unique reference dictionaries; Word Families and Parts Of Speech. These two “one-of-a–kind” dictionaries open up a new world of possibilities for descriptive words and ideas. You can see what these two new reference dictionaries have to offer by taking the online MasterWriter Tour. The program also features a state-ofBarry DeVorzon the-art database that allows the writer to keep track of all of the lyrics, melodies and information related to songs in progress as well as those that are finished. It organizes the songwriter painlessly and allows the writer to come back to an unfinished song months later and find all the lyrics, melodies and ideas intact under the song title. Using a computer microphone, MasterWriter’s Audio page allows users to record melodic ideas as they write and to import finished recordings of the song, once it is completed and recorded. There is also a library of over 250 tempo adjustable MIDI drum loops. Users can file and identify songs by category, using “song flags.” One of the most exciting noncreative features of MasterWriter is Songuard, an online date of creation Song Registration service that allows songwriters to protect their songs until they are formally registered with the Library of Congress. “Essentially, MasterWriter is a giant interactive book of reference, that gives songwriters all the possibilities for any word they search on,” says DeVorzon, who offers an informative nine-minute MasterWriter video tour. “I’ve always felt the creative process is a delicate process at best, and its worst enemy is distraction of any kind. MasterWriter was designed to provide everything the songwriter needs to write better songs in one instinctive and easy-to-use program with as little distraction as possible.” Three years ago MasterWriter received immediate acclaim for its new Creative Writer version for novelists, screenwriters, journalists and writers of every kind. In the next few months both versions of MasterWriter will be available for the iPad, Android pad, and Apple and Android mobile phones. This upgrade will only be offered to MasterWriter users. Fueled by DeVorzon’s concern (based on recent studies) that a consequence of the technical and visual society we’ve become is an alarming loss of vocabulary among young people, MasterWriter is developing an educational software program for Elementary and Middle schools that will address this problem in a unique and interesting way. The program will allow teachers to easily assign and monitor exercises that are designed to increase the student’s vocabulary without interfering with their normal teaching schedule. The new program will serve high school and college students as well. One of the benefits of increasing the vocabulary is that it will result in improved writing, speaking and reading skills. “It’s exciting that a program that was originally designed to help songwriters and creative writers has evolved into a program that could make a real difference in education,” says DeVorzon. “Creating and selling a program that truly benefits people and helps them to be the best they can be, is a wonderful way to make a living —almost as good as songwriting.” Contact MasterWriter, 805-892-2666

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May 2013

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Julian David

Jeri Cooper

Julian David is stepping into the role of Marketing Manager for Audio Engineering Associates. David has been with AEA for over three years and has previously worked as product design engineer for products like the KU4 microphone and the RPQ500 preamp. Being a musician and a recording and design engineer, he is intimately familiar with AEA’s products and their application. David is a graduate of Dusseldorf University in Germany, where he earned his degree in Audio and Video Engineering. He worked for SPL electronics and various TV and radio stations in Germany, before joining the team at AEA. Contact Julian David directly at aeaengineer@aol.com to discuss any marketing, advertising, or promotion opportunities.

Arista Nashville has announced the addition of promotion veteran Jeri Cooper as National Director, Promotion Strategy. Cooper rejoins the Arista Nashville team with more than two decades of experience in country record promotion. In her new position, she will play a key strategic role on the promotion team alongside Arista Nashville National Director of Promotion John Sigler. Cooper had spent the past year and a half at Sony Music Nashville subbing in for various promotion roles across the RCA Nashville and Columbia Nashville Promotion teams after rejoining the company from Red Light Management, where she served as a day-to-day manager for Arista artists. Contact jennifer.vessio@sonymusic.com for further details.

Quint Goeke

Jason Carson

Chandler Limited, recognized globally for signal processing and related music and audio products that deliver the classic analog warmth recording and performing professional musicians seek, has announced the hiring of Quint Goeke. With a background that encompasses both the practice of law and finance/accounting, Goeke is well positioned to help guide the family business as it transitions to a new generation of leadership. In his new role, Goeke serves as the company’s legal counsel, where he is responsible for matters involving legal and tax issues, contract negotiations, trademarks and other legal decisions affecting the corporation. For further information, contact rmaycock@mountaincrest.net.

The Record Plant Recording Studios has named Jason Carson Vice President/ General Manager. The announcement was made by Rose Mann-Cherney, Record Plant Recording Studios President. In his new position, Carson will work closely with Rose Mann-Cherney and C.E.O. Rick Stevens. Additionally, Carson will continue tending to his responsibilities for all aspects of the Record Plant’s operations, engineering, staff and finance. Carson started at Record Plant in 2001 as a “runner,” and then assistant engineer. He rose rapidly over the years and was named Chief Engineer in 2005. Carson is a 2001 graduate of Berklee College of Music where he earned a BA in Music Production and Engineering. Contact info@clynemedia.com.

Derek Snyder

Jim Bailey

Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, has announced the appointment of Derek Snyder to the position of Director, Western Region. The announcement was made by GC Pro Vice President Rick Plushner. Snyder stated, “I have been blessed to work for GC Pro over the last several years, and I am proud to see my role in the organization grow. I have a strong passion for this industry, and getting to serve the market working with major industry figures is a treat. I look forward to continuing my journey with GC Pro.” For further information on this GC Pro appointment, contact Robert Clyne at robert@ clynemedia.com.

Aphex, a leader in professional audio technology for more than 35 years, has announced the appointment of Jim Bailey to the position of General Manager. After many years as a successful engineer, producer and studio operator in Los Angeles, riding the transition from analog to digital, Bailey ultimately came into pro audio manufacturing to put that experience into new products. His motto of “get the sound that’s in the artist’s head” has resulted in numerous award-winning products. Prior to joining Aphex as Director of Product Development, Bailey held product management positions at TASCAM and Avid, where he acted as the glue among the customer, the sales force, the marketing team and engineering. Contact robert@clynemedia.com.

Kurt Howell

Chad Evans

Vintage King Audio has announced the hiring of industry veteran Kurt Howell to represent its all-new Nashville sales office. Howell has worked on every side of the music business, bringing more than 30 years of diverse experience and a lifetime of creative passion to Vintage King. His career began in A&R at CBS Records in Nashville, after studying voice, composition and arranging at Nashville’s Belmont University. He has made forays into other arenas as well, spending time in the studio as an artist, engineer, producer, arranger, session player and manager. He has toured or recorded with the likes of Emmylou Harris, Johnny Cash, James Brown, Hank Williams Jr., Waylon Jennings. Contact Kurt Howell directly at http://vintageking.com/kurt-howell.

Industry veteran Chad Evans joins Vintage King Audio’s Nashville team as a key sales consultant. Before becoming a part of the Vintage King family, Evans enjoyed a 10-year tenure with a large retailer in Nashville, where he forged relationships with thousands of clients and oversaw the generation and development of countless new studios. His clients have continually noted Evans’ willingness to go the extra mile, earning their confidence with his boundless energy and commitment to exceeding expectations. For further information on Evans new role with Vintage King Audio’s Nashville location, you may contact him directly by visiting http:// vintageking.com/chad-evans.

Marketing Manager Audio Engineering Associates

Legal Counsel Chandler Limited

Director, Western Region Guitar Center Professional

Sales Vintage King Audio

National Director, Promotion Strategy Arista Nashville

Vice President / General Manager The Record Plant Recording Studios

General Manager Aphex

Sales Consultant Vintage King Audio

May 2013

www.musicconnection.com

9


– BARRY RUDOLPH barry@barryrudolph.com

THREE NEW YAMAHA GUITAR AMPS Yamaha got something started with the THR10 and THR5 guitar amplifiers/computer recording interfaces and they now offer three new variants more specialized to playing styles and music genres. Like other members of the THR family, the new models are geared toward home practice and recording. They combine the power of Yamaha’s proprietary Virtual Circuitry Modeling (VCM) technology with outstanding playback capabilities in a low profile, retro style design. Each model comes with Cubase AI6 Digital Audio Workstation software for recording plus the THR Editor. They also offer hi-fi stereo playback that blends music audio with your guitar sounds. The THR10X Extreme offers high gain distortion and pick response even at low volumes making it useful for hard rock, metal, alternative, punk and other heavier music styles. It has emulations of eight amp types and goes ‘commando’ with an olive green case ($460 MSRP pictured here). At the same price, the THR10C Classic with the response and tone of a boutique tube combo and eight different amp types to enhance any player’s picking dynamics and playing style. Its dark metallic navy cabinet exudes a vintage vibe. For acoustic guitarists, the THR5A ($330 MSRP) provides a new way to experience acoustic/electric guitar sounds by providing simulations of classic tube condenser and dynamic mics, combined with studio effects. Its recording studio direct sound will appeal to the independent artist—singer/songwriter who plays folk, country or acoustic blues. I like its gold case—it looks classy and successful. All the battery powered THR amps include an input for an mp3 player, USB direct input and near-zero latency computer recording. For more information, check: http://4wrd.it/THRSITE.

TECH 21 SANSAMP The SansAmp Blonde Deluxe is the analog Blonde pedal with digital control for storing and recalling your settings. You can tweak away—dial in your sound and then double-tap the footswitch to store up to six sounds from clean to mean. The fully adjustable Character control is like the Back To The Future knob in the DeLorean for getting sounds ranging from ‘50s tweed, blonde to blackface and then the silver face family of amp styles. Dual inputs allow you to have two instruments on-line at one time and with six program locations, you can create three custom tones for each input or use all six for a single instrument. The SansAmp Blonde Deluxe can be used as a pre-amp or stomp box for any amp/combo, power amp and speaker cabinet, or for direct recording. There’s a 1/4-inch input and both 1/4-inch and XLR outputs with selectable operating levels plus an effects loop. The SansAmp Blonde Deluxe is phantom powered or uses an optional 9V DC power supply (Tech 21 Model #DC2), or 9V battery. Tech 21 SansAmp Blonde Deluxe sells for $309 and is only available directly from Tech 21’s Private Stock Division. See http:// tech21nyc.com.

DPA D:FACTO II VOCAL MIC DPA Microphones d:facto II is a new line of studio microphones repurposed as live sound microphones. The first model is the d:facto II Vocal Microphone. Using studio microphones for live sound is not new. But expecting them to universally connect to live mixers, work well with “iffy” phantom powering and interface wireless systems easily on-site is quite another thing. Furthermore, getting them to survive the environs of harsh live stages and still sound good is not easy either. The d:facto II Vocal Mic uses an electret (pre-polarized) condenser capsule with a super cardioid polar pattern. Its natural sound comes from its on/off-axis linear frequency and phase response, and its extreme sound level handling capability—up to 160 dB SPL. There is a three-stage wind/pop protection grid protecting the mic’s capsule. Handling noise is limited by a clever, system built within the mic’s body. The d:facto II Vocal Mic’s head easily switches between either the wired DPA mic body and DPA’s adapter assembly. The adapter kit assembly makes it possible to use DPA’s capsule with many other manufacturer’s wireless transmitter bodies. Currently DPA makes adapters for Shure, Sony, Lectrosonics, Wisycom, and Sennheiser wireless systems. For more information on DPA’s (Danish Professional Audio) d:facto II Vocal Mic, visit http://dpamicrophones.com.

VIELKLANG INSTANT HARMONY 2 FROM ZPLANE Vielklang Instant Harmony 2 is zplane’s updated version of their automatic harmony instrument. It runs in VST, AU or RTAS DAW hosts and produces up to four harmony notes from a single vocal or lead instrument (monophonic) track input. Like the earlier version 1, version 2 uses a kind of “fuzzy logic” to automatically synthesize the most fitting and natural harmonies predicated upon a scan of an audio file of the melody. The melody’s implied scale, pitch and phrasing are all detected and considered in harmony synthesis. You do not have to know music theory to use VK2—things like the root note or scale, voice leading and harmony progression. VK2 works even better than version 1.5 which I previously ran as an RTAS Instrument in Pro Tools. It has a completely redesigned intuitive interface plus VK2 LE does most everything the advanced VK2 does with the exception of multi-track output and advanced pitch, tremolo and vibrato editing. I like the hybrid score-viewing feature in VK2 and the easy way I can experiment with alternate scales, harmonies and also the responsiveness of its MIDI control. Some of the coolest features you’ll find within VK2 are: 2/3/4-voiced harmonization styles, audio and MIDI harmonization, detailed editing of pitch and timing, new vibrato/tremolo generator, and view note arrangements in either piano roll, arranger and pseudo-score mode. Vielklang Instant Harmony 2 from zplane sells for $149 and VK2 LE is $99 and both are available Native as a RTAS, AU or VST instrument plug-in. For more information about it and upgrade paths and demos, check out http://zplane.de/products/plugins/vielklang.

10 May 2013

www.musicconnection.com



– BARRY RUDOLPH barry@barryrudolph.com

CASIO XW-P1 PERFORMANCE SYNTH Called the XW-P1CO, the Chrome Orange limited edition of Casio’s XWP1 Performance Synth, is a brand new variant and part of the Casio Legends Collection. But this 61-key synth has Casio’s (HPSS) Hybrid Processing Sound Source for virtual analog monophonic leads and basses, drawbar organs, complex layers, stereo pianos, drums and more. Musicians will love the four, real-time controller knobs, pitch bend and modulation wheels of this performance-oriented musical instrument. Some of the sound engines in the XW-P1 are: six oscillator monophonic solo synths, two virtual analog style oscillators, two PCM based oscillators, a noise oscillator and an external oscillator via mic and line inputs making up a single solo synth tone. Each oscillator has an independent filter, envelopes, independent key tracking, portamento, two LFO’s and access to a master resonant filter. But besides using the XW-P1 as a solo synth, there are stereo pianos, vintage electric pianos, string sections, brass, guitars, basses, drums and all sounds can be played in the step sequencer. The XW-P1CO sells for $699.99 and for more information check out http://casiomusicgear.com.

DIABLO FX SOUND CONTROL 6 WIRELESS GUITAR FX CONTROL PEDAL Sound Control 6 is a high fidelity, versatile pedal management system allowing guitar players to turn on and off multiple analog or digital effects from a wireless multi-switch footswitch. Sound Control 6 is unique because of its wireless design—there are no cords or power strips. Multiple footswitches can be located at different parts of the stage and control up to six pedals that are all located back safe and sound with your guitar amp. Since your pedals all reside and are all wired together in the same case, setup/tear down time is fast and easier at each gig. You can control and switch multiple pedals at the same time for more elaborate effect chains and know that any pedal not in the chain is hardwire bypassed. As a sonic plus, the number and length of interconnecting leads is reduced and you’re not always connecting and reconnecting cords and pedals to get a certain sound. Investigate Sound Control 6 if you’re looking for a modern approach to a pedal board. It comes with a carrying case and the fourstomp button Diablo FX remote control unit and sells for $599 MSRP. Much more is available at http://diablofx.com.

IZOTOPE’S INSIGHT Insight is an enhanced component plug-in version of iZotope’s Ozone 5 Advanced Mastering plug-in’s Meter Bridge. Owners of Ozone 5 Advanced are invited to download the plug-in and receive a full, free authorization for it. I use Insight as I have used Ozone 5 Advanced’s Meter Bridge for audio analysis, metering, and investigating worrisome audio problems I encounter during my mixing process. Insight provides deeper information using a more visual-rich display that includes: peak meters, loudness meters, a loudness history graph, stereo phase vector scope, surround scope, 2D/3D spectrograms and a spectrum analyzer. Insight will do immediate loudness calculation and true peak detection, loudness calculation over time, and a faster than real-time offline loudness calculation, if required, for checking compliance to broadcast standards. For TV/film/music mixing, there are advanced visualization and spatialization displays for detecting problems using the innovative new Surround Scope and the 3D Spectrogram. I like the built-in presets that provide instant calibration to whatever standard(s) I might be asked to conform to in the future. I don’t mix masters for commercial release, broadcast use, iTunes Mastering or for surround sound without Insight. Insight sells for $499 or it’s free to existing Ozone 5 Advanced customers. To learn more about Insight, visit http:// izotope.com/insight.

SHURE GLX-D WIRELESS SYSTEMS Shure’s new GLX-D Wireless system uses Shure’s LINKFREQ Automatic Frequency Management system to scan the 2.4GHz RF spectrum for all the best possible channels free of interference and then automatically sends that information to both the transmitter and the receiver. While you’re using your GLX-D system, if a new source of RF interference pops up, the receiver and transmitter will seamlessly move together to a clear frequency with no audio signal drop out—like it never happened. The frequency-agile GLX-D Digital Wireless Systems come in traditional body pack and handheld transmitters, including vocal, headset and presenter systems, as well as the new Guitar Pedal Receiver. A great idea for guitar pedal boards, the Guitar Pedal Receiver features an integrated tuner, and is about the size of a stomp pedal. It runs on standard pedal power and is programmable to mute its audio output signal (to the rest of your pedal board and/or guitar amp) for silent tuning. Each GLX-D transmitter runs on a rechargeable lithium-ion battery for up to 16 hours of continuous use over a 10,000-hour lifetime—the equivalent of up to 2,500 AA batteries. In a pinch, if you BARRY RUDOLPH is a recording engineer/mixer with over 30 gold and platinum RIAA awards to his credit. forget to charge it, you’ll only spend about 15 minutes charging it for up to 1.5 hours of continuous He has recorded and/or mixed: Lynyrd Skynyrd, Hall & use. Additionally, the standard GLXD4 receiver has a built-in, front panel battery charging port and Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie a LCD showing (remotely) the battery life status of the transmitter in hours and minutes. Nevil. Barry has his own futuristic music mixing facility and also teaches recording engineering at Musician’s Shure GLX-D Wireless Systems prices begin at $561 MSRP/$449 MAP. Check out http://shure. Institute, Hollywood, CA. http://www.barryrudolph.com com for more. 12 May 2013

www.musicconnection.com



BOOK S T ORE Stone Free

By Andrew Loog Oldham (paperback) $19.99 Former manager of the Rolling Stones (at age 19!), the legendary ALO has now written the third part of his “triography.” Oral-history in style, it delivers an insightful and sometimes jaundiced look at the “pimpresarios” and hustlers that inspired him as a youth (Serge Diaghilev) and those he would work alongside in the ‘60s (Don Arden, Albert Grossman, Phil Spector). The book also provides Oldham’s fascinating first-hand takes on managers Brian Epstein (Beatles), Kit Lambert & Chris Stamp (Who) and Malcolm McLaren (Sex Pistols), and artists Keith Richards, Mick Jagger, Pete Townshend and many more. Best of all is the author’s unique, insider’s angle on the infamous, enigmatic Allen Klein with whom he was connected for decades. In Stone Free, Oldham, who’s remained active in the industry (most recently as a Sirius XM Radio DJ), offers unique insights about the peculiar relationship between artists and their chosen representatives. As entertaining as it is informative, the book offers essential advice for any current or wannabe artist rep.

HOLLYWOOD The Band: A Tale of Sex, Drugs and Rock and Roll By Steven Jordan Brooks (hardcover) $27.95 (paperback) $19.95

HOLLYWOOD is a fictional rock band in the ‘70s attempting to procure a record deal amid cultural, political, social and historical changes while dealing with their own issues, beliefs and pasts. A former musician and manager, Brooks infuses his story with touches of realism as he chronicles the hardships they endure, the obstacles they overcome and the lessons they learn.

The Merciless Book of Metal Lists By Howie Abrams and Sacha Jenkins (softcover) $18.95

Clever, opinionated to the max and laugh out loud funny, this book will get your motor running as it takes on the best, the worst, the embarrassing, the obscure and much more. Every strain of metal music is given some love or hate, including punk/trash, death metal and every other metal subgenre. 14 May 2013

www.musicconnection.com

Project Management for Musicians: Recordings, Concerts, Tours, Studios & More By Jonathan Feist (paperback) $27.00

Setting up a process for achieving your goals, this book will help you clarify your vision and understand the work required to complete it on time, within budget, and to your highest possible quality standard. Feist shows how to: develop work strategies; delegate tasks; build and manage teams; organize your project office; develop production schedules; understand and organize contracts; analyze risk; and much more.

Vinyl Lives II

By James P. Goss (paperback) $15.50 The further adventures of the author, whose passion for hunting down remarkable record stores yields Goss interviews with 16 store owners—and nine record collectors—allowing them to wax poetic on the ins and outs of being an independent record-store proprietor these days and in the olden times. See http:// aventinepress.com for more details.



e are a four year college that takes sound seriously! Learn Audio Recording for Studio, Live Performances, Movies & TV

Five Towns College 631.656.2110

Open House Saturday, May 11 at 1 PM

305 N. Service Road Dix Hills, NY 11746

www.ftc.edu

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Sound Bites Dog By Jonathan Widran

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he name of Hans DeKline’s mastering studio, Sound Bites Dog (http://soundbitesdog.com), comes from a line in a lyric he wrote when he was the frontman of Maypole—which signed to Sony in the mid ‘90s and toured with the Wallflowers, the Jayhawks and Our Lady Peace. It’s also an ode to his love of canines. But it could apply equally to the crazy-sharp sense of hearing he has brought to thousands of indie and major label projects in all genres—from Tim Finn (Crowded House) and Lisa Loeb to hip-hop projects featuring Snoop Dogg—since launching his facility in late 2005. Using a combination of high-end digital and analog technology, DeKline has meticulously researched and designed a mastering studio that balances function and fidelity, offering high quality and affordable mastering via the Internet. Though he has plenty of name brand boutique gear in his sonic arsenal (Manley, Crane Song, NTI), his focus is less on the bells and whistles and more on flexible scheduling and highly personalized customer service. DeKline’s extensive background as a musician and artist helps him connect with his clients in a way that strictly tech-oriented mastering engineers can’t. But prospective clients need not simply take DeKline’s word for it. True to the Sound Bites Dog aesthetic, and his desire to build long lasting relationships with clients who Hans DeKline are good matches, DeKline encourages clients to let him have a crack at a sample track before officially doing business. “I want the artists and producers I work with to feel 100 percent about my work before any money’s changed hands,� he says. “I do this for both old and new clients because every album is different. It’s an opportunity to hear my voodoo in the comfort of your own home or wherever you do the most music listening. The proof is always in the pudding. “Besides working on over 2,000 recordings over the past seven years, I really bring a passion for music into every project I work on,� DeKline adds. “Being a fan is first and foremost for me, and I appreciate the opportunity to work on so many different projects. I love thinking about how much better a record can be and then doing what it takes to get it there. Every recording is different. Something can be technically correct, and still be the wrong approach musically speaking. Mastering is sorting out the forest for the trees, striking a balance between what’s not working frequency-wise and what’s ultimately best for the song.� On the Sound Bites Dog website, DeKline breaks down the importance of mastering in creating a superior recording, promising that “we don’t let the lack of a big budget and a lame A&R guy stand in the way of making your music sound great.� He adds, “The difference between a mastered and unmastered song can be quite profound, dramatically improving the overall sound quality, clarity, consistency, stereo image, spatial depth, portability and volume of your mixes. It is both a technical process and an art form that relies on an individual’s skill, experience and good taste. “Most of the heavy lifting I do in terms of processing is analog,� he continues. “Digital is great for anticipating peaks and instant recall but analog still has a superior dimensionality and richness unequaled on the plug-in side of things. It’s why every plug-in is still an emulation of analog and not the other way around.� Establishing his business during the digital, social media age has helped DeKline build Sound Bites Dog via guerilla and viral marketing, including Myspace (in the early days) and even Craigslist, in addition to connections he had from his days as an artist. He feels that the key to establishing long-term relationships with clients is in cultivating strong people skills. “Expertise is a factor, but if nobody wants to deal with you, or you can’t deal with others, you won’t have clients for long,� he explains. “I answer emails, texts and phone calls 24 hours a day. I make the rules for the 98 percent of people out there who are cool, and believe that when you give people a little bit of credit they will rise to the occasion. When most people, engineers and studio owners included, say things like ‘That’s stupid, I won’t do that,’ I tend to do the opposite.� Contact Sound Bites Dog, 310-621-1896

16 May 2013

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Master and Synch licensing available through Old Pants Publishing, Inc. Contact Robert Case for details: 719-632-0227 E-mail: rac@crlr.net To purchase Freedom Stride go to: http://cdbaby.com/cd/rockyshaw2 September 2012

www.musicconnection.com 31


DAVID GOGGIN

El Chicano Track At VIP VIP Recording is a new state-of-the-art recording facility located in the upscale enclave of Calabasas, CA. With a vintage Trident A board (formerly owned by Randy Bachman of Bachman Turner Overdrive) and equipped with today’s most modern technology, the studio offers an all-in-one location to produce, record and edit. The new owner of VIP Recording is longtime music executive and producer, Gerry Gallagher. Pictured (l-r): El Chicano’s Jerry Salas, Fred Sanchez and Mickey Lespron, with Gallagher.

Producer Playback “Know when to shut up. There’s a tendency to inflict yourself at all times to justify your position. Sometimes a day will go by when I hardly say a word.” – The Legendary Andy Johns (1952-2013) Led Zeppelin, the Rolling Stones, Van Halen

18 May 2013

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JACK EDINGER

Edward Sharpe Heads To Ocean Way Acclaimed band Edward Sharpe and the Magnetic Zeroes are finishing up their third studio album at Ocean Way Recording in Hollywood, CA. On hand for mixing and overdubbing were the group’s founder and imaginative conceptualist Alex Ebert and recording engineer Matt “Linny” Linesch. Pictured at the Neve 8068 console in Ocean Way’s Studio B (l-r): Ebert, Linesch, studio manager Robin Goodchild and second engineer Scott Moore.

Beckett Leaves Academy For Solo Work William Beckett (formerly of The Academy Is...) has signed to Equal Vision Records as a solo artist. Beckett just recorded his debut full-length album in Chicago with Marc McClusky (Weezer, Ludo). Beckett will soon hit the road with Relient K and Hellogoodbye this Spring, before joining Vans Warped Tour 2013 for every date. A music video for the song “Warrior,” off of one of his recently self-released EPs, can be seen at http://youtu.be/ME3IrzQPrTM. L.A.-based music mixer, Joe Zook, is in the midst of mixing the next Plain White T’s album for Hollywood Records. Previously, he comixed Home by Philip Phillips. Zook mixed Canadian singer-songwriter Serena Ryder’s single, “Stompa,” which has been a multi-format radio hit in Canada and is about to be released in the US as part of her latest album Harmony. The music mixer is best known, however, for mixing OneRepublic, Katy Perry, the Hives, P!NK, Kelly Clarkson, Colbie Caillat and Modest Mouse, to name a few. To keep up to date on Zook’s upcoming projects, visit http://jdmanagement.com/joezook. Legendary engineers Shelly Yakus (John Lennon, Tom Petty, U2) and Niko Bolas (Neil Young, Fiona Apple, Keith Richards) are teaming up to record emerging rock act the

Vim Dicta. The band are recording their new single “Point Blank,” along with team engineer-producer Shane Smith (Los Lobos, Big Sir, Feist) at renown Sunset Sound Studios in Hollywood, CA. Mars Volta / Big Sir bassist Juan Alderete also recently joined them in the studio to record a new version of “Your Man,” scheduled for release in May. See http://thevimdicta.com. New York City’s Avatar Recording Studios has hosted Bruno Mars, Paul McCartney, Tony Bennett, etc. Along with major artists, Avatar also looks to support emerging talent, which is why the studio partnered with The Deli Magazine to offer three new N.Y.C.-based bands 10 hours of free recording time. The winning artists included Foxygen, Spirit Family Reunion and Ambassadors. Visit http://bit.ly/ZhD7VK.


London Campus Adds SSL Console Dance Theatre Of Harlem Returns From 8-year Hiatus Grammy-nominated cellist and composer Joan Jeanrenaud has recorded new music for The Dance Theatre of Harlem, which is returning in April to N.Y.C. The new music to be premiered was requested by renowned dancer Thaddeus Davis and recorded with keyboardist/percussionist PC Munoz and engineer Justin Lieberman at San Francisco’s Studio Trilogy. Pictured in session at Studio Trilogy’s SSL 9000K console are (l-r): Lieberman and Jeanrenaud with her dog Jack.

Alchemea College has installed a Solid State Logic Duality SE for its Studio Sound Engineering program. The aim of the audio program is to give students a wide variety of skills to go out into the real engineering world. The console lives in the SSL Duality Control Room, Alchemea’s flagship studio, and is used for mixing and tracking.

IADT Las Vegas Opens New Studio Bad Suns Track At 4th Street Los Angeles-based currently enjoying the top of the local playlist Music ConnectionBad AdSuns, Proof on KROQ, been at 4th Street Recording laying down new tracks with Ad Rep: have HR producer-engineer-mixer Chris Mullings. Pictured (l-r): Chase McElhaney, Code: hunter 4th-horiz #2-2013 engineer; Miles Kottak, drums; Ray Libby, guitar; Mullings; Kathleen Wirt, 4th Street; Chris Bowman, vocals; Gavin Bennett, bass.

The International Academy of Design & Technology Las Vegas (IADT) has announced the completion and opening of Vegas View Recording, a 2,500-sq ft. recording and mixing studio within its campus. Designed by studio architect Carl Yanchar and IADT’s Robert “Bobby� Ferrari, the studio is a teaching studio for students. Vegas View Recording at IADT is also available for hourly and daily lease by professionals and others seeking use of a high-quality studio operated by seasoned professionals. See http://iadt.edu/Las-Vegas.

RECORD HERE! AT A TOP L.A PRODUCER’S PRIVATE STUDIO Jimmy Hunter!s

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PRODUCER CROSSTALK

F. REID SHIPPEN

,ITTLE "IG 4OWN 4OBY-AC !LLSTAR 7EEKEND

By Rob Putnam

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ashville-based producer, mixer and recording engineer F. Reid Shippen started his career as an intern while still a full-time college student. Realizing that attending class was losing him money, he completed his education quickly and settled into work as an assistant engineer. Shippen administered his career a jolt when he offered to complete a mix for a producer in order to save a hip-hop outfit some cash. If the producer didn’t like it, there would be no charge. Things worked out, he completed the record and has since had a hand in nine Grammy-winning songs or albums. This year’s Grammy wins include his mix of Little Big Town’s “Pontoon� and TobyMac’s album Eye On It. Shippen finds that continual growth is one of the keys to his success. “Once you stop learning, you might as well quit,� he asserts. “I love working with other people because there’s always something new to learn. That’s one of the exciting things about this job. The three most important One of the nice things about Nashville things he’s learned as a is that there’s a culture of collaboration producer are: here that I don’t find in New York and Los Angeles. I was working on a record s 0EOPLE DON T REMEMBER WHAT the other day and sent the drums to YOU SAY OR DO BUT THEY REMEMmy buddy [Jack White engineer] Vance BER HOW YOU MAKE THEM FEEL Powell. He ran the stems through one of s 4HIS IS A SERVICE BUSINESS -Y his processors and sent it back to me.� Shippen sympathizes with artists and JOB IS TO MAKE SOMEBODY S ART AS GOOD AS IT CAN BE )T S NOT the struggles that they face in a world ABOUT MAKING ME THE CENTER OF that doesn’t always embrace them. ATTENTION “Their biggest overall challenge is near constant rejection, having to look that in s )T S NOT MY PLACE TO PASS JUDGthe face and get up the next day and do MENT ON SOMEONE S MUSIC )T S MY their job,� he observes. “As a mix engiJOB TO lND OUT WHAT THEY RE GOING neer, I make tens of thousands of subFOR AND HELP THEM GET THERE jective decisions based on other subjective decisions and then I get judged on them by friends and strangers.� He used to find that after marathon sessions, an entire night would have passed unnoticed. That happens less now since he opened his own mix room, called Robot Lemon, four years ago. Unlike other rooms he’s working in, Shippen’s has windows. “I was in a killer [room] for nearly six years but I couldn’t see outside,� he recalls. “Finally when I built my own mix room I decided to put windows in it.� Shippen works across genres both by choice and by necessity. “You don’t always pick your projects unless you have a trust fund,� he explains. “You don’t turn things down. If you only work on music that you love, you’ll go hungry a lot. I’ve had the good fortune to have a bunch of different stuff come my way and I like to keep things new, fresh and challenging.� He’s a fan of the Dangerous 2-Bus summing amp, which he uses in conjunction with his SSL. “The guy who designed all of that stuff worked at Sterling [Sound],� he says. “I use the summing amp for the stuff that needs it. For example, something I’m working on now was mainly programmed drums. A lot of the kick is already effected so me slamming it through a console––it doesn’t really need that much. So I’ll skip the console because I don’t want to change the character to that extent.� He also favors the Dangerous Monitor ST system. “All of my monitors go through that,� he says. “I don’t use the console at all. It sounds way better than the SSL monitoring system.� Currently Shippen is working on records for Jonny Lang, Allstar Weekend and country artists Dierks Bentley and Keith Urban. He was nominated for Audio Engineer of the Year for the recent Academy of Country Music Awards. He jokes that all the Grammy-winning projects he has worked on, “It gets it through to my parents that music isn’t a hobby. But winning is always exciting.� Contact Paul de Benedictis / dB Music, 650-303-2565, pdbmusic@pacbell.net, http://robotlemon.com

20 20 May 2013

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Kaufmann – —Andy ANDY KAUFMANN

Robb McDaniels

it’s great music and you’ve got some buzz, we’ll take a shot. It (also) helps to have a great team around you. There’s a lot of work that goes into a release and that work needs to be shared. And you need to show you are willing to work hard and be engaged with your fans.

Founder/CEO, INgrooves Fontana Years with Company: 11 Address: 444 Spear St., Ste. 213, San Francisco, CA 94105 Phone: 415-489-7035 FAX: 415-489-7049 Web: http://ingroovesfontana.com Email: robb@ingrooves.com Clients: BMG, Cherry Lane, Delicious Vinyl, EMG, Fat Possum Records, Ipecac Recordings, Metal Blade Records, Nat Geo Music, Nettwerk Music Group, Ministry of Sound, ReverbNation, [PIAS], Ruff Ryders Records, Razor & Tie, Skaggs Family Records, Suicidal Records, UMG, Watertower Music, VP Records, Varese Sarabande, the Lumineers, Coheed and Cambria, Sly & Robbie, Mac Miller. BACKGROUND: Unfulfilled as an investment banker selling credit derivatives to companies like Enron, Robb McDaniels left a hefty salary behind to pursue a career in the music industry. Taking a look at the sea change occurring with digital distribution, he decided to create the ultimate delivery service. Besides offering advertising and promotion, INgrooves plays a critical role in operating the technological backbone that brings today’s streaming landscape into reality. That Light Bulb Moment: I formed the idea of INgrooves after seeing the impact Napster had and the fact that suddenly the fan had all this music at their fingertips, the empowerment that caused fans to feel and the sense of engagement they had with their friends in finding old hits and so forth. I began building the idea for a new type of digital record company that had, at its core, a technology platform that would automate all of the aspects of distribution and administration and allow the rest of the company to focus their energy on the creative side of the business. All Forms of Media, Delivered All Ways: From day one, [INgrooves] was always going to be a digital media distribution company. We started in music. We’ve since expanded into books and short-form film content. Eventually, we’ll add other media asset classes, as well. But the concept is you’ve got many different content creators and owners trying to reach many different touch points in the digital world. So you have this many-to-many relationship. Our whole business model is predicated on facilitating that relationship and making it efficient and easy. Providing Backbone: We are partners with ReverbNation; we’re the back office for their distribution, effectively. They offer distribution to emerging, unsigned indie artists, have that relationship with that artist, and then we do all the delivery to the music services for their product. ReverbNation offers the opportunity for these artists to get their album to 30 of the biggest digital retailers for a fixed fee. That comes through our system. Our platform, ONE Digital, is really the backbone for a large percentage of the industry. We not only do that for ReverbNation and all of our management companies and independent label clients, but also Universal Music Group in North America, so all of Interscope and Republic comes through our system to iTunes, Amazon, Spotify, YouTube and so forth. We’re the distribution architecture for a large portion of the industry. Scalable Magic: There’s lots of magic that goes on behind the scenes. [ONE digital] is an incredibly cost22 May 2013 22

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“If it’s great music and you’ve got some buzz, we’ll take a shot.” efficient, flexible, reliable and scalable platform that allows the user to control distribution of their releases. The digital supply chain is incredibly customizable and efficient. I had this idea for what I wanted INgrooves to be, but I didn’t have any experience in software development or digital media. David Kent, who’s still our CTO, was at least partly responsible for helping turn Napster into such an incredibly scalable and efficient peer-to-peer network, so David’s expertise was in building large, enterprise systems at a much lower cost than other people could. David has been the primary architect of our software platform. And we’ve always been committed to software development and engineering. A significant portion of the money we’ve raised has gone to investing in that platform. Our commitment to that side of the equation and our willingness to bet on that being the future of the industry is what sets us apart. There are others who do a few bits and pieces of the distribution supply chain, but they can’t do everything we do. Two Units: We have two distinct units within INgrooves. Our distribution services provide distribution and sales services generally to independent labels. Typically, independent labels have their own marketing staffs, sometimes their own sales staffs and so forth. They have larger catalogs and that’s typically a lower distribution fee. Then we have our new artist services unit. That provides distribution and sales services, but also marketing services. We have a team of 10 people that are dedicated to working with those artists and their managers directly. It’s usually a two- or three-year deal that lays out specifically what we’re going to do in which countries. Getting IN: You’ve got to have great music. At the end of the day, that’s what’s going to make you sink or swim. We take risks, as well, on new acts. If

Acquiring Fontana: I never thought I would have a separate line item for physical distribution. Physical distribution is still an important part of the business. We were at risk of losing some of our big clients, because they needed physical distribution and we didn’t have a centralized, cohesive solution for them. We had a very good relationship with Universal; they’re a minority shareholder of our company. We already had all of the Fontana assets in our system, because we handle all digital for Universal. We had a relationship with a lot of these labels, so it was an easy decision for us. We still see physical distribution as an important service. If we’re going to work the biggest records, we want to be able to do both physical and digital distribution, have all of it centralized and make it easier on our artist and label clients.

The Revenue Pie: We’ve seen an increase of 300 percent in streaming services over just the last two years. So you’re going to continue to see the shift away from physical to digital. The mix of digital downloads to streaming is shifting at the same time. Probably by 2014, your typical artist or label will see a third of their recorded music revenue from physical, a third of their revenue from digital downloads and a third from streaming. It’s Tougher Than You Think: There are many ways to distribute a product and everybody’s got their own way they want to sell it. People think you just hit the EASY button and all your stuff gets distributed and the money comes in. When you want to change a price on an album or switch genre, we’re sending updates to hundreds of different retailers around the world. And all of that needs to change at the same time. There are many permutations of how an album gets managed and released. That’s one of the reasons we’re one of only two or three companies that do this on a global basis for as many products as we handle. There are not many people who are willing to invest the kind of money we’ve invested to be able to handle all of that. What’s To Come: We are going to continue expanding our services. It’s important, especially for the independent label community, to be careful managing costs, so we’re going to continue investing in our centralized suite of marketing services. We’re excited about expanding internationally—Germany, Australia and Latin America. Right now, 20-25 percent of our income comes from those international markets, so it’s a great revenue source, especially for US-based labels and artists. And we’re excited about consolidation opportunities. There are a lot of great career artists that aren’t that exciting to the major labels. We think we’re building a company that can fairly represent them.


– BERNARD BAUR

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usic Connection’s Business Affairs delivers up-to-date information about the signings of new artists, significant developments at major and indie labels, as well as news of managers and attorneys who are active in the A&R aspect of the music business. So that MC can provide the most current information possible, please send any industry news, buzz or rumors that need to be verified to BBatMC@aol.com.

OPPS

Driven Music Conference arrives in Fort Lauderdale, FL, May 16-19, 2013. It will take place at the Hyatt Regency Pier SixtySix and Revolution Live. This premier music event is designed to connect artists with accomplished professionals in the music business world. Acts of all genres will be in the position to advance their careers at panel discussions and feedback sessions led by Van’s Warped Tour founder Kevin Lyman, Republic Records A&R Kristina Grossmann, Atlantic Records Radio Promotion Manager Johnny Coscia, Fueled By Ramen VP of Digital Marketing Adam Similjan, Mayday Parade Manager Josh Terry, Warner / Chappell Music A&R Marc Wilson, Reverbnation Co-Founder Lou Plaia as well as top producers, agents and more. For registration information go to http://drivenflorida.com.

Hip-hop finally has its own parade. The non-profit International Hip-Hop Parade Organization has confirmed July 14 as the day the first annual Hip-Hop Parade will be held in the birthplace of hip-hop, the Bronx, New York. The organization’s president Al Pizarro announced, “This is an event that will celebrate a culture that is a multi-billion dollar industry. IHHP is also holding monthly symposiums at various venues in the Bronx where a panel of experts will discuss why hip-hop is no longer a “dirty word.” An MC competition is also planned. For additional details, visit http://ihh parade.org. MUBUTV (Music Business Television) has put out the call to all bands and artists. They are currently seeking artists and bands for their “MUBUTV Featured Artist Series” which will showcase and spotlight videos from new and up-and-coming acts in every genre from around the world. “We want MUBUTV to be the trusted source to help break the next generation of artists,” says Ritch Esra one of the co-founders of MUBUTV. Artists and bands looking to submit their videos for consideration can visit the official website, http://mubutv.com. Hover over the “Contact” category and click the “Submit Your Video” link for submission guidelines. UK Rock band Never A Hero are offering a cash prize of $750 (US) in a totally FREE TO ENTER competition. All you need to do is head to http://bleed betweenthelies.com and follow the link on the homepage. The five-piece band recently described by Rock

PSY HITS 22-MILLION VIEWS OVERNIGHT WITH NEW VIDEO Multiplatinum-selling global superstar PSY premiered his new music video for “Gentleman” [School Boy Records/Republic Records] on Saturday, April 13, and set a new YouTube record for “most views in a day.” A follow-up to “Gangnam Style” amassed a staggering 22-plus million views in less than a day (currently at 202 million as of April 21), immediately becoming an online hit in its own right. The song, first heard during his momentous performance at the recent HAPPENING concert to a sold out crowd of 50,000 fans at the Seoul World Cup Stadium in Seoul, Korea was also broadcast live on YouTube to an audience of millions worldwide. See http://www.youtube.com/officialpsy. United Magazine as “The best contemporary British metal act around” are inviting people from all four corners of the world to “Hide in plain sight.” There are no age or location restrictions... Everyone is welcome to enter.

husband. To check out the song, log on to http://youtube.com and enter “Rachelle Spector - PS I Love You.” You can also go to http//philspector.com and http// facebook.com/rachellespector music.

In Tune Partners has published Cool Jobs In he Music Business, a guide for anyone interested in a career in the today’s rapidly changing music business. The book will show you how various sectors of the business operate so that you may best determine where your skills are suited. Jermaine Dupri who wrote the foreword for the book, says, “You need to know the world you’re bringing your music into. You need to know your industry. This book is monumentally important because it helps you do just that.” To check it out go to http://halleonardbooks. com and http://onstageandback stage.wordpress.com.

Rock and Roll Hall of Fame singer Eric Burdon has announced a joint book deal with Alfred Music and ABKCO Music and Records. Burdon is best known as the frontman of the legendary British Invasion-era rock band, the Animals and the groundbreaking, multi-ethnic rhythm and blues band, War. Burdon is enjoying one of the biggest years yet in his influential 50-year career. On the heels of a break-out performance at SXSW, the release of two new records, including the critically acclaimed new album, ‘Til Your River Runs Dry, Burdon’s book, titled Breathless, is slated for publication later this year. To get the latest news, you can visit http://ericburdon.ning.com.

BERNARD BAUR

LABELS s RELEASES s SIGNINGS

THE STICK PEOPLE WILL DROP THEIR DEBUT IN JUNE The Stick People was recently interviewed by Moheak Radio at the world famous Pig ’N Whistle in Hollywood, CA. Engaged in a whirlwind of PR, the band is promoting its debut release Madness, which is due to drop via EFM Records/Bungalo/UMG in June. Founded in 2008, TSP recently released the album and two singles, “Think About That” and “My Everything” digitally, along with accompanying videos. Fusing influences from mainstream rock, punk and pop, this act has created an exciting sound for the 21st century. Pictured are the band members (l-r): Stephen Duffy, lead vocalist; Frankie Anthony, drummer; Bernie Godwin, guitarist; and M.’. d’Ziur, bassist. To find out the latest about this emerging act, go to http://thestickpeople.com.

Phil Spector’s wife Rachelle recently debuted her single, “PS I Love You.” She is also putting the finishing touches on an EP based on love letters between the couple sent while Spector has been incarcerated. If the song, co-written and produced by Chris Seefried (Fitz and the Tantrums), sounds reminiscent of Spector’s hit song, “To Know Him Is To Love Him,” it should. Rachelle wanted to do a spin off of that song for her husband as a way to pay homage to him. The single will be included on her upcoming EP later this spring, along with five new songs, each of which was mono recorded in Spector’s signature style. Rachelle hopes that this new project will alter people’s perceptions of her May 2013

Mark Lindsay, former lead singer-songwriter-producer and cofounder of the seminal ‘60s rock band Paul Revere & the Raiders has released “Like Nothing That You’ve Seen,” the first single from his upcoming album via Bongo Boy Records. The song was co-written and produced by Gar Francis, the songwriter and guitarist of New Jersey garage rock veterans, the Doughboys. The single features backing vocals by Myke Scavone (Doughboys), Kurt Reil (Gripweeds), and special guest, Little Steven Van Zandt. See http://bongoboyrecords.com. Invictus Music & Media has announced that it has joined forces with The Orchard in a long-term distribution and retail marketing deal. Under the www.musicconnection.com 23


– BERNARD BAUR new arrangement, The Orchard will provide worldwide digital and physical distribution services for all of the company’s affiliated labels, including the newly formed imprint, Destroy Everything. Running alongside Invictus’ existing labels, the new imprint will be a launching pad for a diverse range of rock, alternative and metal artists that will maximize revenue for its acts through licensing and branded entertainment. The lifestyle arm of the label will be launched this summer, with a range of clothing, accessories and collectable items, plus limited edition art prints and posters. Visit http://dstryevrythng.com. Heart to Heart have announced their signing with Pure Noise Records. A punk rock band from Pismo Beach, CA, Heart to Heart are currently on The Road to Mixtape Tour with Forever Came Calling in support of Heart to Heart’s self-titled full-length record released earlier this year on Anchor Eighty Four Records. See http://facebook.com/hearttoheartca for more info.

PROPS

The fans have spoken and, as a result, Sevendust have scored their first-ever No. 1 on Billboard’s Top Hard Music Albums charts. The latest album, Black Out The Sun, which was released March 26 on the band’s own 7Bros. Records, in conjunction with ADA Label Services, is the Atlanta band’s best-selling record since 2007’s Alpha. The band are currently on their co-headlining tour with Coal Chamber (along with Lacuna Coil and Candlelight Red). For more information, head over to http://sevendust.com.

Grand Ole Opry star Charlie Daniels is recovering after having a pacemaker implanted at a Nashville area hospital. His family asks for your thoughts and prayers for Charlie as he recovers. He will spend the next several weeks at his home. Daniels recently celebrated five years as a member of the Grand Ole Opry, where he is a regular performer. To get the latest news, visit http:// charliedaniels.com. The Sunset Strip Business Association (SSBA) has continued its goal of building and supporting community efforts with the announcement that the organization has raised more than $145,000 to support local charities. Beneficiaries include local organizations that support music education in schools; provide services and programs for homeless youth in Los Angeles; and organizations that provide drug and alcohol treatment services. SSBA is a private, nonprofit corporation operated by approximately 175 Sunset Strip business owners in West Hollywood, CA. For more information about Sunset Strip events, visit http://thesun setstrip. com, http://ssmf.com and http:// sunsetstripmarket.com.

THE BIZ

Universal Music Group has reached a new agreement with YouTube. UMG will now allow its Anglo-American repertoire to be played on the social media website in 127 countries in Europe, the Middle East, Africa and Asia. The deal encompasses all types of YouTube videos that feature music, including user-generated content. The deal came about through UMPG’s European licensing agree-

DIY Spotlight:

Strangely Attractive

It’s challenging to be a DIY act, but Strangely Attractive met that challenge in a most unusual way. In fact, they are involved in something called the “52 Week Challenge.” The goal is to make one music video a week for an entire year, using only what they have at their disposal...an iPhone. That may seem outrageous, but it’s not the most difficult thing they have encountered. Getting their act together presented the biggest obstacle of all. It started when vocalist Jupiter Amaya moved from Bogota, Colombia to Los Angeles, CA to form a band. Her powerful vocals and exotic look opened doors to many projects. But, after countless auditions with flaky musicians and erratic acts, she almost gave up. Then she answered a Craigslist ad that changed her destiny. Bassist and songwriter Chris Gongora listed that ad. He had

Son of the late soul legend Otis Redding, Otis Redding III (on the left), attended a listening party at Atlanta music retailer Wax n’ Facts for a newly released Redding LP titled Lonely and Blue (via Stax Records). Store owner Sean Bourne is at right. Stax wanted to create an Otis Redding album that never existed. Reissue producer David Gorman chose 12 Redding ballads that shared a unity of sound and message, and created the art for Lonely and Blue based on the look and feel of a Stax/Volt LP record in 1967. He even wrote liner notes by a fictitious radio DJ along the lines of what you might have found on a 1967 album. For additional information, visit http://concordmusicgroup.com/labels/ stax and http://otisredding.com. 24 May 2013

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To learn more, go to http:// strangelya.com.

Have a successful DIY strategy to share? Email bbatmc@aol.com. ment with the Society of Authors, Composers and Publishers of Music (SACEM). The new agreement facilitates greater transparency, coordination and data sharing between the organizations while ensuring equitable compensation for rights holders. UMG’s CEO Zach Horowitz said the deal would ensure that rights holders would receive proper renumeration. “The digital market can only flourish if creators receive fair remuneration through efficient and innovative licensing solutions,” he added.

OTIS REDDING GETS REISSUED

been searching for a singer for almost a year. He didn’t think he was looking for much, just someone who had dynamic vocals, great stage presence, could sing in English and Spanish, and liked the style of pop-rock songs he was writing. As soon as Amaya sang, Gongora knew he'd found his frontlady. Unfortunately, the rest of the members didn’t fall into place so easily. Numerous configurations evolved until the right dynamic was found, and Strangely Attractive was born. They released their own English and Spanish album called Soul Control, and began a series of exciting new ventures, including the mixtape, Strangely Attractive 2.0. That created the buzz they needed, and complemented their latest endeavor.

Warner Music Group (WMG) has expanded its global A&R team. WMG announced the appointments of Aton Ben-Horin (@Aton) as Director of Worldwide Rhythm & Pop A&R and Latoya Lee (@ MissLatoyaLee) as Manager of Worldwide Urban A&R. In these newly created positions, Ben-Horin and Lee will report to Mike Caren (@MikeCaren), President, Worldwide A&R. The two executives will provide additional A&R resource

and creative support across Warner Music’s recorded music labels. The pair will assist in the development of new talent and existing signings by helping to identify songs, songwriters and producers and collaborating with WMG’s A&R executives around the world. Universal Music UK chairman & CEO David Joseph has announced the launch of Virgin EMI Records—bringing together Virgin Records and its Universal Music sister company Mercury Records. Virgin EMI Records will be an immediate contender for the UK’s number one label, launching with a roster that extends from Emeli Sandé to Jake Bugg, alongside international superstars Sir Elton John, Rihanna, Kanye West, Taylor Swift and Justin Bieber. 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.


“How I Got My Music Licensed 1,205 Times” Barry French – TAXI Member – BigBlueBarry.com

I took some time off from music,

then my grandfather passed away and I re-evaluated what I was doing with my life. I felt the “call” of music, so I started writing again, decided to get serious about my music career, and joined TAXI in 2008.

Honestly, I Was Skeptical at First…

I did some research. I lurked on TAXI’s Forums, and found that TAXI’s successful members were real people just like me. Though I’d co-written with an Indie artist, and charted at #15 on the Radio & Records Christian Rock charts, I was clueless how to even get a film or TV placement— a complete newbie! But TAXI’s Industry Listings gave me goals to shoot for and helped me stay on task. I became more productive and motivated to get things done because I didn't want to feel like I "missed out" on an opportunity.

How to Build The Right Catalog

If you want to create music for art’s sake, then by all means, go ahead and do that. But, if you want to have a music career, why not use TAXI to learn how build the right catalog full of music the industry actually needs?

Expand Your Possibilities…

TAXI can help you learn to write for genres you never thought you could do. I used to do mostly Hard Rock and Metal. Because of TAXI, I branched out into other genres— first Pop/Punk, and then Tension and "Dramedy" cues. I used the feedback from TAXI’s A&R staff to improve my work. In many cases, my tracks improved to the point that they got signed and ultimately placed in TV shows!

350 Placements in the Last Year!

The first placement I ever had resulted from meeting a Music Library owner at the Road Rally— TAXI’s free convention. In a little more than 3 years, my music has been licensed more than 1000 times, with nearly 350 placements in the past year alone!

A “Lucky Duck?”

My 1,000th placement was a Southern Rock track on A&E's hit show, Duck Dynasty. A TAXI connection resulted in me becoming a "go to" composer for a company that provides music directly to that series. How cool is that?! TAXI’s Listings, community, convention, and networking opportunities have helped my career immensely. The ONLY regret I have about joining TAXI is that I didn't sign up sooner! If you’re willing to invest in yourself, call TAXI and let them help you too.

The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com


Date Signed: Late 2010 Label: Warner Bros. Records Type of Music: Indie Rock Band Members: John Paul Pitts, Thomas Fekete, Kevin Williams, Tyler Schwarz. Management: info@zeitgeistmanagement.com Booking: Mike Mori, mike@windishagency.com Legal: Emio Zizza Publicity: kate.cafaro@wbr.com Web: http://surferblood.com A&R: Jeff Sosnow

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ith a debut album (recorded in singer-guitarist JP Pitts’ bedroom in Florida) out on New York indie label Kanine Records and a year’s worth of touring that included high-profile festival dates, Surfer Blood were doing pretty well on their own. In fact, better than they ever expected, as Pitts puts it. But when a fan named Ryan Whalley, who frequented Surfer Blood shows, turned out to be an A&R rep with Warner Bros., the Pixies-meets-Ramones indie rock band found themselves signing a three-album deal with an option for a fourth. Such a big leap with a big label took some adjusting to on Surfer Blood’s part. “You have to be friendly. Don’t be antagonistic,” Pitts says. “We’ve been that way in the past, usually out of fear and insecurity. If they sign you, it’s for a reason. They’re on your side.” Surfer Blood’s upcoming LP Pythons, a follow-up to their 2011 Tarot

“Don’t be antagonistic. … If they sign you, it’s for a reason.” Classics EP, is the first album the band have done with a label’s input. “It’s a lot of people to work with. It’s interesting,” he says. “Sometimes it feels like a big company, but so far our relationship has been positive, they’ve been supportive of our ideas and haven’t been stifling creatively in any way.” The only difference is having to wait for a record to come out, and that’s something we’ve never had to do before.” According to Pitts, fans can expect from Pythons' more concise songwriting and a denser, sonically bigger record with drums that “have more attack and bite” and “wider” guitars. “And I learned how to sing, so vocals sound better,” he adds. Pitts attributes the outcome of Pythons in large part to moving up from bedroom recording to studio recording, as well as the precision of producer Gil Norton (Pixies, Foo Fighters, Jimmy Eat World), who maintained a long-term interest in the band. Norton had talked with them about producing a Surfer Blood album since 2010, which finally came to fruition with Pythons. “Norton is a really positive, enthusiastic man,” says Pitts. “He’s opinionated and pushy, and I like all that. The pressure from time spent in the studio brings out a lot of ideas that wouldn’t come to you if you had all the time in the world to make a record.” Pythons drops June 2013. – Jessica Pace 26 May 2013

www.musicconnection.com

PARMALEE

JODY DOMINGUE

SURFER BLOOD

Date Signed: April 1, 2011 Label: Stoney Creek Records Type of Music: Country/Rock Band Members: Matt Thomas, lead vocals, guitar; Scott Thomas, drums; Barry Knox, bass; Josh McSwain, guitar. Management: Stephen Linn / Broken Bow Music Group, 615-306-9407 Booking: Kevin Neal / Buddy Lee Attractions, 615-244-4336 Legal: Noah McPike / Almon Law, PLLC, 615-750-2207 Publicity: brittany.perlin@dashboardmedia.biz Web: http://parmalee.com A&R: NA

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ecently the members of Parmalee, for the first time, set foot on hallowed ground. They debuted on stage at The Grand Ole Opry. According to lead vocalist and guitarist Matt Thomas, it was the culmination of many years of sacrifice and gritty roadwork. “We started this band in 2001 and took every show we could,” he explains. “We were out there for 10 years before we got signed.” Thomas, along with his brother Scott, cousin Barry and best friend Josh, grew up in and around eastern North Carolina, where they built a large and loyal fan base. Their live performances expanded to major hubs like New York, Los Angeles and Atlanta to further establish a presence.

“If nobody had reached out we probably would’ve hung it up.” Because they were songwriters many music industry peers urged them to move to Nashville. “In 2010 a country artist we knew recorded our song ‘Carolina’ but his label folded before the song was released,” says Matt. “He was gonna take our song to radio so we thought that was the place to be.” So, on a wing and a prayer, the band relocated to Nashville, camping in an RV for a month, with the sole purpose of networking. The quartet developed a writing and recording relationship with New Voice Entertainment’s David Fanning. In fact, the band recorded their hit, “Musta Had a Good Time” and “Carolina,” with him in the back of that RV. Fanning introduced the band to Broken Bow Music Group’s Benny Brown who was impressed with the demos and wanted to schedule a showcase when Parmalee returned from a short North Carolina tour. One night after a September 2010 show Matt and Scott were robbed at gunpoint. Shots were fired. Scott, who had a concealed weapons permit, fired back. He sustained three wounds that left him in a coma. Miraculously, he made a full recovery and played the showcase, which led to their label deal in February 2011. “Our fans did benefits and charity events to help with Scott’s medical bills when we were off the road for two months,” says Matt. “If nobody had reached out we probably would’ve hung it up. Thank God we had the fans behind us!” – Eric A. Harabadian


BLEACH BLONDE BABY E Date Signed: December 2012 Label: Island Def Jam Type of Music: Rap/Rock/Pop Band Members: Baby E Management: Mark Sudack Booking: Matt Galle / Paradigm Agency, music-newyork@paradigmagency.com Legal: Scott Felcher Publicity: Lauren Schneider / Island Def Jam, lauren.schneider@umusic.com A&R: Chris Anokute

A

fter being courted repeatedly by labels that never came through, Baby E had gotten comfortable with the idea of being an independent artist, self-promoting his genre-blending original songs through YouTube and Soundcloud. “A lot of A&R showed interest,” he says, “but it seemed like they were just pulling my chain. No one actually gave me a deal. They just said to keep working, keep putting stuff on YouTube, and I just got sick of it. I was kind of anti-A&R at that point. Then I met a girl named M’Jestie.” That’s Alisha “M’Jestie” Brooks, who penned Rihanna’s hit, “Pon de Replay,” and told Baby E she could put him in touch with a friend who could help––Chris Anokute of Island Def Jam. Baby E flew from Virginia to Los Angele to meet with the A&R rep who asked the artist, “If you

“A lot of A&R showed interest, but it seemed like they were just pulling my chain.” could work with any producer, big or small, who would it be?” “The first person that came to mind was Dr. Luke (Nicki Minaj, Rihanna),” Baby E says. “Chris calls me back that day at my hotel room and says I got a meeting with Luke the next day. So I bring him my demo and play some stuff.” Baby E’s week-long stay culminated in a showcase arranged by Anokute after which the artist went home with both a publishing deal with Dr. Luke and an Island Def Jam recording deal. “I went into IDJ kind of nervous, but Chris said, 'Even if they don’t sign you, make sure they remember you.’ I got the deal no one else offered and moved to L.A. a week or two after signing.” Baby E is wrapping up his first album, Girlfriend Material, noting that monetary support from Island Def Jam has played a huge part in making the record he wanted to make. “The label can do all the obvious things, like promotion, radio and possible television spots, but people forget about the money aspect. It costs a lot to shoot videos, pay rent, work with these producers. It’s good to have financial support.” – Jessica Pace

Date Signed: October 2012 Label: Rise Records Type of Music: Rock Band Members: Danny Stillman, vocals; Danny Cooper, drums; Michael Payne, guitar; David Barella, guitars, vocals; Coty Eikenberg, bass. Management: Mike Bachta and David Lovett / Working Group Management Booking: NA Legal: Scott Bradford Publicity: Mike Cubillos / Earshot Media,mike@earshotmedia.com Web: http://thebleachblonde.com A&R: Sean Heydom

D

anny Stillman’s first band, Drop Dead Gorgeous, was signed to Portland, OR label Rise Records by virtue of a badgering campaign executed through Myspace. “We had our fans email Rise Records and a couple other labels,” divulges the vocalist. The band got a response from Rise’s Craig Ericson. Victory Records, on the other hand, had to tell the act's fans to stop emailing them. After two albums, DDG were upstreamed to a major, but the experience was less than they’d hoped. “Majors tend to spend money in the wrong places,” Stillman contends, noting the band never surpassed their recording costs. “We like Rise because they’re strict with their budget and don’t overspend.” So when Stillman formed Bleach Blonde with half of his previous band’s members five years after leaving Rise, he immediately texted

“We like Rise Records because they’re strict with their budget and don’t overspend.” Ericson, asking if he wanted to hear some demos. They began discussing contracts the next day. Stillman believes the immediate interest was a direct result of the buzz they generated through the self-release of their debut EP. Although they scoped out other labels, Rise became the obvious choice. Besides previously having a positive relationship with the label, they also liked the current musical direction of the company’s more recent signings. While negotiating their four-record deal, they managed to work a proposed six exclusive T-shirt designs down to four. But even though they attempted to sign as an LLC in order to protect their business, they ultimately were unable to do so. Stillman insists the deal is both fair and similar to their previous contract. Stillman’s advice for unsigned artists is to network like crazy. “It’s like six degrees of separation,” he declares, noting the Internet’s critical role in building their career, even helping them record material via long distance. “Don’t underestimate the power of social networking,” he warns. “That’s really your biggest tool.” Bleach Blonde’s debut LP is expected this summer. – Andy Kaufmann May 2013

www.musicconnection.com 27


Joe’s Pub Hosts Songwriters The CMA Songwriters Series showcases the best of country’s mega-hit songwriters. Each night of the series features successful songwriters telling the stories behind their hit songs and performing them in the raw as originally written. The CMA Songwriters Series returns to Joe’s Pub in New York City for a two-night event on May 7 and 8 with Phil Vassar, Brandy Clark, Shane McAnally and host Bob DiPiero. For ticket info, visit http://joespub.com. The CMA Songwriters series is also planning shows in Boston, Chicago, Austin and Nashville. For more info, go to http://cmaworld.com.

Dallas Davidson Top Country Songwriter Dallas Davidson was named Songwriter of the Year at the recent Academy of Country Music Awards (ACM) in Las Vegas, NV. Among his hits is Trace Adkin’s “Honky Tonk Badonkadonk” and Blake Shelton’s “All About Tonight” plus Randy Houser’s current hit, “Runnin’ Outta Moonlight.” Visit http://dallas davidson.com and give a listen.

Eagle Frey Flies with UMPG

The Eagles’ Glenn Frey is Universal Music Publishing Group’s new signee. The deal is for worldwide––excluding the United States––exclusive publishing rights to Frey’s catalog. Frey, a member of both the Rock and Songwriter Halls of Fame and a six-time Grammy winner, was the principal songwriter of some of the Eagles’ most wellknown songs, including “Hotel California,” “Desperado” and “Best of My Love.” See http://umpg.com.

Write with Carly Rae Jepsen American Idol has held songwriting competitions before—the season six and seven coronation singles were penned by contest winners, and two years ago, the show launched the Coca-Cola Perfect Harmony program, which enlists fans to help pen a new, original tune to be performed by a pop star on each Idol finale. This season’s Perfect Harmony participant is Carly Rae Jepsen. The interactive program, which runs through May 14, will allow Idol fans ages 13 and older to help her write lyrics to complete her new tune. For details, visit http://american idol.com/perfectharmony.

Durango Fandango For a Qualified Few The Durango Film/TV Artist Showcase will take place May 17-19, 2012 for the second year in Ventura, CA, at The Crowne Plaza Resort on the beach. The showcase is limited to 25 artist-writers who will be perform-

ing and participating in listening/ pitch sessions with 20 top music supervisors over three days. Each attendee will have six listening/ pitching sessions with four music supervisors and five artists/writers in each session. This event is very one-on-one and presents a great opportunity for artists, writers and producers to be seen, heard and develop a relationship with active TV and film music supervisors. The event will also present live showcases, with each artist-writer performing three songs in a live performance slot. Organizers state, “The bar is set very high for this showcase, in quality of writing, production and cost to attend. This is intended to be an exclusive high-level DSE opportunity).” If you meet the critera, visit http://durango-songwriters-expo. com/DSE-FILM-TV-Ventura.html.

Braheny Online Fundraiser Set for Kulak’s Woodshed He was an author (The Craft & Business of Songwriting), an educator, a journalist and a benevolent mainstay of the songwriting community. John Braheny, who died in Los Angeles, CA on Jan. 19, 2013, was known as “The Songwriters Best Friend.” To celebrate his spirit, three acclaimed songwriters will perform on May 5, 2013 from 6-9 p.m. PST for a fundraising webcast live from Kulak’s Woodshed in N. Hollywood, CA. Viewers can watch online at http://kulakswoodshed. com/webcast-high. Performers are two-time Grammy and Oscar-nominated singer-songwriter Stephen Bishop; multiple Academy Award, Golden Globe and Grammy nominations, songwriter Allan Rich and songwriter, performer and producer Wendy Waldman. The John Braheny Legacy

SESAC To Give Love at Bootcamp

John and Taupin Honored in New York Elton John and Bernie Taupin will be presented with the Johnny Mercer Award from the Songwriters Hall of Famein New York on June 13th. Also to be honored that evening: Berry Gordy with a Lifetime Achievement Award, and inductees including Steven Tyler and Joe Perry of Aerosmith, and Mick Jones and Lou Gramm of Foreigner, as well as songwriters JD Souther and Holly Knight. Pictured (l-r): Taupin and John. 28 May 2013

www.musicconnection.com

Mark Friday, July 26 for SESAC’s 6th Annual Songwriters Bootcamp in Los Angeles, CA. Held at Skirball Cultural Center, Bootcamp is an all-day educational forum for artists and songwriters to receive feedback on their work and interact with award-winning writers, producers and music supervisors. Acclaimed songwriter Rico Love will be the featured speaker at the event. See http://sesac.com.


– DAN KIMPEL dan@dankimpel.com Projects is committed to supporting and connecting songwriters through outreach and education. Visit the Facebook page “Friends of John Braheny.”

ASCAP Spreads the Wealth The American Society of Composers, Authors and Publishers (ASCAP) has announced that it distributed over $827 million in royalties to its songwriter, composer and publisher members in the calendar year ended 2012, a slight increase over 2011. 2012 became the fifth year in a row that ASCAP distributed in excess of $800 million to its members—the only performing rights organization to do so––making it the global leader in performance royalty distributions to songwriters, composers and music publishers. For further details, see http://ascap.com.

Bogard Fumes at Belmont Digital access to music is undoubtedly the way of the future and current pay structures must change for the viability of songwriters, says Steve Bogard, veteran songwriter and former president of the Nashville Songwriters Association International. Bogard, who now directs Belmont University's Copyright Forum, was behind efforts in 2012 to change copyright models through the proposed Stop Online Piracy Act and Protect IP Act and wants to help protect songwriters’ interests on digital music platforms such as Spotify and Pandora, which seek to reduce royalty rates as songwriters push for increases. As it stands, Bogard says payments for songwriters are “minuscule,” even “laughable.” Bogard expects “major” copyright and music licensing reform to begin in Congress this session. Further details are at http://belmont.edu.

WCS Song Contest The West Coast Songwriters Association is launching its 2013 version of their International Song Contest, open to songwriters worldwide. The Grand Prize Winner will receive a Voyager-Air Package with a Songwriter Series Acoustic Guitar and hard case plus a Conference Pass for the 33rd Annual WCS Music Conference to be held in Los Altos, CA on Sept. 7 and 8th. Multiple categories are open. There is not a “Lyric Only” category. All songs must be original. This contest is open to amateur and professional songwriters. Signature of parent/guardian required for each entrant under 18 years of age. June 15 is the deadline. Enter at http://westcoastsongwriters.org.

CMS in Buffalo CMS @ The Chapel, part of the Christian Musician Summit series, is a popular event of workshops and performances featuring some of the best musicians in the CCM and country music industries. Musicians presenting and performing will include Mandisa, Paul Baloche, Ashley Cleveland, Blues Counsel, Newworldson, One Sonic Society, All Sons and Daughters, Meredith Andrews, Al Perkins, Ian Eskelin, Don Poythress, Amanda Noelle and many others. A set of one-day bootcamps for songwriters, guitarists, vocalists and indie artists also is scheduled for May 2nd. For more information, visit http://christianmusician summit.com. DAN KIMPEL's newest book, It All Begins with the Music, is penned with legendary A&R exec Don Grierson. Hear Dan’s audio interviews worldwide on Delta Airlines.

BMI Spins Latin Grooves in Vegas Broadcast Music, Inc. (BMI) announced songwriters and publishers honored of Latin music’s most-performed songs on US radio and television at the 20th annual BMI Latin Music Awards at the Bellagio Hotel Las Vegas, NV. Renowned Regional Mexican group Banda el Recodo de Cruz Lizárraga (pictured with BMI’s Del Bryant and Delia Orjeula) received the BMI Icon Award in recognition of the influential group’s role as genre leaders. See http://bmi.com.

Katie Armiger Heads Downtown Cold River recording artist Katie Armiger has signed an exclusive worldwide administration deal with leading New York-based rights management firm, Downtown Music Publishing. Under the agreement, Downtown will administer Armiger’s copyrights globally as well as promote her music to film and television studios, advertising agencies, and brand partners. Armiger kicked off 2013 with the release of Fall Into Me that includes her current single, “Playing With Fire.” Find more details at http:// downtownmusic.com.

Tuning up in Texas The annual Texas Heritage Songwriters’ Hall of Fame Awards Show pays tribute to the Lonestar state’s many musical masters. The 2013 inductees were Ronnie Dunn (pictured) solo performing artist and formerly part of the multiplatinum and Grammy-winning duo Brooks and Dunn; “King of the Road” writer, the late Roger Miller and Buddy Holly cohort, Sonny Curtis (“I Fought the Law”). Visit http://texasher itagesongwriters.com.

Nelly Signs with Songs Songs Music Publishing has signed Nelly to a worldwide co-publishing deal. The agreement encompasses Nelly’s most recent album 5.0 as well as his future albums including upcoming new LP M.O., slated for release later this year. Also covered by the deal is the five million plus selling single “Just A Dream” and his Florida Georgia Line collaboration remix “Cruise.” Songs currently represents over 350 contemporary and catalog songwriters in all genres of music. Get more details at http://songspub.com. May 2013

www.musicconnection.com 29


Eric Bellinger

Justin Bieber, Chris Brown, Usher, Jennifer Hudson, Ashanti

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www.musicconnection.com

...and MANY more!

n his birthday, Eric Bellinger might be excused for wanting time off. Instead, he’s discussing his craft in a Sunset Boulevard coffee emporium before heading to the studio for a session with the hit writing and production team, the Underdogs (Mario, Mary J. Blige, Tyrese), after which he will confer with a director to review a preliminary edit of his new video. With “Let Me See” by Usher, “The Woman You Love,” the title song to the film Think Like a Man by Jennifer Hudson and Ne-Yo, plus two songs, “Right Here” featuring Drake and “Thought of You,” on Justin Bieber’s multiplatinum Believe, Bellinger is on a roll. Immediately forthcoming are a pair of cuts for the new Chris Brown release, X, including the lead single, “Fine China.” For the project, Brown set a virtual songwriting factory at Glenwood Place Recording Studios, “with writers and producers in every room pumping out songs like Motown,” he says. Bellinger is a young man with old-school bloodlines. His grandfather, Bobby Day, wrote and recorded the ‘50s hit “Rockin’ Robin,” penned “Little Bitty Pretty One” for Thurston Moore and Dave Clark Five’s “Over and Over.” Bellinger recalls going to his grandpa’s house and seeing his studio, but it was football, not music, that held his interest. But this changed. As a teenager, Bellinger met Erika Nuri of the hit songwriting and production team The Writing Camp. But his mother—remembering the turbulent career of her father, Bobby Day—was skeptical of moving too fast. “My mom told me, ‘Wait until you finish school.’ So I did, and then I called Erika. I didn’t even have any songs, but she took a shot.” Bellinger was subsequently to The Writing Camp and Sony Music. As an artist, Bellinger crosscuts deep soul with glossy modern textures. His newest project, released this month, is described as a “mixtape” and titled Born II Sing, Vol. III. “There are ways to say it. But this project will be treated not like a mixtape because it is all original songs, all original beats and we’re putting it on iTunes,” he clarifies. The artist also created a video of a song titled “Never Be Lonely,” a reinterpretation of Janet Jackson’s “I Get So Lonely.” Featured with himself on the track and video is Amber Riley, known to television audiences from the hit show Glee. With all of these projects, staying in the moment is a challenge, Bellinger says. “I ask management not to tell me my schedule until two weeks out because my mind will get cluttered. I’ll think, ‘I have a writing session with Jennifer Lopez in three months,’ and I’ll start thinking of concepts for that. But I’m still here writing concepts for Chris Brown. It’s hard to keep everything focused. We were scheduling so far in advance, but it was Usher, Justin Bieber and Drake. You don’t want to say no to those guys. Now we try to minimize and do the right sessions that make the most sense as well.” Writing with artists, Bellinger says, is key. “I used to write a song and maybe they’d like or maybe not. As I started working with bigger artist, they wanted songs about their lives. They let me in. It’s a vulnerable time; and it’s about trust.” “Work hard,” is his terse advice. Yes, it might sound like a cliché, but it is what he did and how he continues to excel. “Do things like you’re already in the position. All it took was one shot for someone to take me into a studio session because I was ready. And they looked at me like I was shiny and polished.” Writing multiple songs increases the odds exponentially. “We write all these songs and then we play a waiting game. If you keep shooting at the basket, one will go in sooner or later. I take so many shots I have a high ratio. If I take 10 shots I expect three to go in; 30 shots, I expect 10.” Meanwhile, Bellinger is grateful for these moments. “I’m asking myself, ‘Is this what I get paid to do everyday? It’s a great business to be in.” Contact The Courtney Barnes Group, 323-466-9300



DROPS

New Line Theatre in St. Louis, MO, will conclude its 22nd season with the regional premiere of Bukowsical, a 21st century reboot of the American musical comedy that explores the intersection between sex, drugs and art through the life story of American novelist and poet Charles Bukowski. Featuring a book and lyrics by Spencer Green and Gary Stockdale, and music by Stockdale, the musical will feature Zachary Allen Farmer (New Line's High Fidelity) in the title role. Bukowsical started life as a 50-minute one-act in Los Angeles, was revised and expanded, and then went on to the New York Fringe Festival, where it won the award for Outstanding Musical. Performances will begin May 30 and continue through June 22nd. For more information and tickets, visit http:// newlinetheatre.com/bukowsicalpage.

ALICE IN CHAINS movie also has a companion 11-song soundtrack CD on which King sings and performs all instruments. For complete information, contact Doug Deutsch, dougdeutschpr@gmail.com.

JEFF GOLDBLUM Jeff Goldblum and the Mildred Snitzer Orchestra are taking over Rockwell: Table & Stage in Los Angeles every Wednesday night through the month of May for an evening filled with live jazz music. The actor and musician leads a multi-piece jazz band and a rotating roster of guest singers, including other celebrity friends. For ticket info visit http://rockwell-la.com or call 323- 669-1550. Contact Edward Allen at Urban + Allen, 323-657-7700 or edward@ urbanallen.com. Los Angeles-based musician Solomon King has released The Phil Spector Incident (JLM Media), in which he plays the role of convicted music producer Spector, while actress Monica Lee reprises Lana Clarkson’s character. The

AIC 23 is the story of Alan Poole McLard, a Film Studies Professor at a community college, who is trying to make a documentary film about Alice in Chains to coincide with the release of their new album, The Devil Put Dinosaurs Here. Without the cooperation of the members of Alice in Chains, McLard does his best to interview other musicians that may, or may not, have influenced AIC throughout the years. The film includes cameos from Lars and Robert from Metallica, Unta Gleeben Glabben Globben from Necrobotica, Ann and Nancy Wilson from Heart, Donnie “Skeeter” Dollarhide Jr. from the Singing Dollarhides, Mike McCready from Pearl Jam, Nesta Cleveland, Kim Thayil from Soundgarden, Duff McKagan from Guns N’ Roses/Walking Papers and blogger, Stanley Eisen. View the parody at: http://funnyordie.com/ videos/f56c3e82fc/alice-in-chains-twenty-three. Contact Michael Moses at BWR Public Relations, 310-248-6171or mmoses@bwr-la.com.

OPPS

E Hula Mau (The Hula Lives), the host to Southern California’s only Hula and Chant Competition, returns to California’s Long Beach Terrace Theater this Labor Day Weekend (Aug.

PHIL SPECTOR INCIDENT

30-Sept. 2) to celebrate and honor Hawaiian traditions and values. The 19th annual competition is sponsored by Nà Mamo (The Cherished Offspring), a nonprofit organization committed to preserving key Hawaiian values through social interaction and education. Various cultural workshops will be held throughout the weekend in the Hawaiian Cultural Village in front of the Terrace Theater and at The Westin Hotel in Long Beach. This year’s workshops feature the art of lei making, Hawaiian educational lectures, a slack key workshop, hula workshops and many more. All are open on a first-come, first-served basis. Some fees may apply. (For a full list of workshops: http://ehulamau.org/ events.php). For more information, visit http:// ehulamau.org. The fifth annual International Music Festival Conference (IMFCON) happening December 8-10 in Austin, TX has unveiled its first round of entertainment industry leaders including Kevin Lyman (Vans Warped Tour) and John Warren (Lady Gaga) confirmed to participate in the 2013 event as part of the conference’s daily agenda. Hosted together with its sister conference, the International Film Festival Summit (IFFS) each year IMFCON and IFFS bring together entertainment executives and music and film festival professionals to network, brainstorm, establish partnerships and better understand today’s latest trends. Registration for IMFCON 2013 is going on now. Visit http:// imfcon.com for more information. For more about IFFS, visit http://filmfestivalsummit.com. Rescheduled for “Audio Week” in Nashville, TN, the Nashville Recording Workshop + Expo will take place May 14-15 at the Rocketown Event Center. Presented by the AES Nashville Section in conjunction with the AES and designed to share the expertise of audio pros with home studio owners, musicians, songwriters, composers, producers and engineers. NRW+E 2013 will feature presentations by top industry pros; exhibits by leading audio gear manufacturers and, an opening night reception. Program details, registration information and exhibition/ sponsorship details for NRW+E are posted at http://nashvillerecordingworkshop.com. Emo At Heart (http://emoatheart.com), an entertainment Webzine reporting on the entertainment industry, is updating and looking for new artists to feature. All styles of music are welcomed to send a message to press@emoat

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– TOM KIDD prespak1@verizon.net heart.com for review or interview consideration. A new promotional tool has launched called Famous Authors, World Class Musicians, and Business Minded Individuals. A one-time $30 fee purchases room for a photo, any live links and information about any business, book, CDs or DVDs. To find out more, visit http://lawrencej-king.weebly.com. A new show in Branson, MO, has an immediate opening for an experienced piano/keyboard player. Call 417-699-1008. Eagle Ranch Resort in Missouri is looking for country bands for this year's big events. Call Jerry at 417-275-1105. Sean De Simone Casting is looking for singing seniors for an upcoming talent-based reality series around senior citizen vocalists. Seniors with serious talent who have dreamed of a big break their entire lives should send a brief letter of interest, photo, any performance links if available and a contact number to seniortalentcast ing@gmail.com.

Milan Records has just released the Filly Brown – Original Score Album digitally. The recording features original music by Reza Safinia (Snap) and includes original hip-hop songs co-written and produced by Safinia performed in the film by leading actress Gina Rodriguez and other artists. Filly Brown is an inspiring and gritty portrait of a young artist striving to find her voice and seize her dreams without compromise. The cast features Lou Diamond Phillips, Edward James Olmos and the legendary Jenni Rivera in her final on-screen performance. For more information, contact Chandler Poling at White Bear PR, 818605-2237 or chandler@whitebearpr.com.

MTV is casting for a new and fun music competition show. They are looking for nonprofessional singers who sound just like a famous and current musician. Contestants should appear to be between the ages of 18-25. Please send an email to soundalikecasting@gmail.com with your name, age, location, contact info and which current contemporary artist you sound like. Don’t forget to send links to vocal samplings of you singing their current hit song(s).

CHRISTINE WU

Composer/Multi-Instrumentalist Email: c/o livia@squirespr.com Web: http://wutunes.com Most Recent: The Voice

The Voice is looking to find talented 7-14 year old singers for NBC’s new The Voice Kids show. Streamlined invite-only auditions will be held in Los Angeles on May 12th. Winner receives a cash prize and a deal with Universal Music Group. Email chris@koffeehouse.com.

PROPS

Blowsight have released a “making of” minidocumentary for their music video to the single “This Pain.” Directed by Tim Abmann at Visionary Moments in Burscheild, Germany, the song is taken from the band’s full length CD, Life & Death, newly released in North America on Eclipse Records. For more details visit http:// blowsight.com or http://eclipserecords.com/blowsight or contact press@eclipserecords.com.

TWENTY FEET FROM STARDOM

In his compelling new film Twenty Feet From Stardom, award-winning director Morgan Neville shines a spotlight on the untold true story of the backup singers behind some of the greatest musical legends of the 21st century. Triumphant and heartbreaking in equal measure, the film is both a tribute to the unsung voices who brought shape and style to popular music and a reflection on the conflicts, sacrifices and rewards of a

Out Take

career spent harmonizing with others. The film boasts intimate interviews with Bruce Springsteen, Stevie Wonder, Mick Jagger and Sting to name just a few. However, these worldfamous figures take a backseat to the diverse array of backup singers whose lives and stories take center stage in the film. For additional information, contact Guido Götz at MPRM Communications, 323-933-3399 or ggotz@mprm.com.

MARK ISHAM Grammy-winning composer Mark Isham gives musical voice to Jackie Robinson in the biopic 42, currently in theaters. 42 is written and directed by Oscar winner Brian Helgeland (Academy Award for Best Screenplay, L.A. Confidential) and stars Chadwick Boseman, Harrison Ford and Christopher Meloni. The 42 Score Album is now available digitally. For more information, contact Alex May at Costa Communications, 323-6503588 or alex@costacomm.com Recorded prior to his debut as a composer on NBC’s Smash, Drew Gasparini headed into the studio for the first time to record 17 songs. This new music theatre CD, I Could Use a Drink, out now on Broadway Records, features stage talents Jeremy Jordan (Newsies), Jennifer Damiano (Spiderman: Turn Off The Dark, Next To Normal), Justin Guarini (American Idol) and Caissie Levy (Ghost). For more information contact Beth Krakower at CineMedia Promotions, 212-5336864 or beth@cinemediapromotions.com. TOM KIDD's 20-year career includes extensive experience as an artist, producer and performer. Tom has promoted, marketed and developed Emmy- and Oscar-winning composers. He is President of Pres Pak Public Relations.

CHRISTINE WU IS a classically trained violinist, formerly tenured with the Houston Symphony Orchestra, who reinvented herself to work in the recording, TV and film industries. She is seen regularly on shows such as The Voice, American Idol, America’s Got Talent, Spike TV’s Video Game Awards, the GRAMMY Awards Telecast, The Tonight Show and Jimmy Kimmel Live. Her talents allow Wu to find work easily in the classical, pop, film and TV worlds. That’s a good thing because as the woman who is single-handedly redefining the term “Multi-Talent” points out, “It’s all part and parcel of the same thing.” The parts of the whole seem far flung to most artists but it’s her versatility across genres that sets Wu’s work apart. “It’s helpful to offer a few things in a package,” she points out. “Film and TV are always changing and the artist has to reinvent him or herself for each project. I look for the opportunities that may not be obvious.” Wu notes that musicians are specialists making it hard for them to see the other side of the business. This blindness leads careers down blind alleys. The way is wide open for Christine Wu. To further her career, she’s learned production and the construction behind jingles. She’s become versed in digital audio and, most importantly, learned the business side of the entertainment business. This is one artist who isn’t done learning yet. “There’s always a lot of opportunity when things are changing,” she says. Some change is being spearheaded by Wu herself. She is creating a multimedia project which incorporates original music with dance. “Make plans while you have other things going,” she tells others. “That’s how I got closer and closer to what I wanted to do.”

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DEFTONES PASS THROUGH FLORIDA

TONY LANDA

Currently touring on the band’s late 2012 release, Koi No Yokan, Deftones took the Jannus Live St. stage in Petersburg, FL recently. They performed 17 songs and returned to the stage for a four-song encore. Pictured is the band’s original guitarist Stephen Carpenter. For Deftones’ upcoming tour schedule, visit http://deftones.com.

AOKI EXPLODES AT ULTRA MUSIC FESTIVAL

DANIELLE MARTIN

They said it would never happen again, but Ultra Music Festival hosted the return of deadmau5 on the event’s main stage in 2013. On hand to celebrate the festival’s 15-year anniversary at Bayfront Park in Miami, FL, were Steve Aoki (pictured), Afrojack, Avicii, Bassnectar, David Guetta, Fatboy Slim, Swedish House Mafia, Tiesto and many more.

DAUGHTRY AT NAB

KNIGHT BILHAM PHOTOGRAPHY

At the Television Luncheon—hosted by Nancy O’Dell—Emmy Award-winning co-anchor of Entertainment Tonight, American Idol showrunner Nigel Lithgow, judge Randy Jackson and Trish Kinane, executive producer and president of entertainment programming for Fremantle Media North America, were on hand to accept the induction of the top-rated television talent-search phenomenon into the NAB Broadcasting Hall of Fame. Following the ceremony, Chris Daughtry treated attendees to a special performance. Pictured (l-r): New Pants / Old Pants Publishing owner Rob Case with Daughtry.

JOHN MAYER GOES DEF Seven-time Grammy winner John Mayer was spotted rocking out at Def Leppard’s resident show VIVA Hysteria! at The Joint at Hard Rock Hotel & Casino in Las Vegas, NV. The popular singer-songwriter hung out backstage with the band and posed for photos. Produced exclusively by AEG Live, the band performed their iconic album HYSTERIA in full as well as a selection of their greatest hits, highlighting classic material from throughout the band’s career. See http://thejointlasvegas.com. 34 May 2013

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– ANDY MESECHER andym@musicconnection.com

Celebrating

36 Years 1977–2013

RENTINO WINS THRE3STYLE

RICK RODNEY

The top six party rockin’ DJs from around the nation battled to be named the “best on the decks in the US” as more than 1,900 music fans packed the dance floor of Hollywood’s LURE nightclub. After a night of intense battles, the Red Bull Thre3Style judges DJ Jazzy Jeff, Z-Trip and A-Trak crowned Trentino as the Red Bull Thre3Style National Champion. The Chicago-based spinner will go on to represent the US at the Red Bull Thre3Style World Finals in Toronto, Canada.

Tidbits From Our Tattered Past

2013 COUNTRY RADIO SEMINAR HITS NASHVILLE Meeting of the minds conquered Country Radio Seminar in Nashville, TN recently. Heavyweights from all corners of the music industry came to “Music City U.S.A.” to network with artists. Pictured (l-r): Publicist Kirt Webster, Webster PR; WPPL programmer Jim Quinton; and veteran radio promoter Paul Loggins, CEO, Loggins Promotion. JAMES DONNELLY

1986–Electronic Music–(#10) Music Connection explored the burgeoning world of computergenerated music, interviewing and profiling several artists and composers who were immersed in it, including, JeanMichel Jarre, Rod Firestone, Philip Glass and Wendy Carlos. Said Carlos, famous for her Moog-fueled classic Switchedon Bach, who had some sobering advice for all music-makers: "People are still looking, with no work and no energy, to get something magical. They're looking for the shortcut, and of course the shortcut is the way you're going to get crap."

IDOL, MORRISON SUPPORT LEGENDARY GUITARIST STEVE STEVENS Steve Stevens took to the Viper Room stage in Hollywood, CA, and brought a slew of surprise guests along for the ride. Joining Stevens on stage throughout the show were Billy Morrison, Matt Sorum and Billy Idol. Pictured (l-r): Idol and Morrison.

DANIEL SIWEK

SPARKS FOREVER After their equally dazzling and daring set at Coachella, Sparks (aka the Brothers Mael) returned home like Hollywood royalty where they played two consecutive shows at The Masonic Lodge at Hollywood Forever Cemetery. Their latest tour, Two Hands, One Mouth, features the brothers’ stripped down to a captivating combination of only voice and piano. It was cabaret in a Masonic Lodge and you didn't even need to learn the secret handshake.

Kelly Clarkson returned to her hometown Dallas to headline a special benefit concert in support of TD Ameritrade founder Joe Ricketts’ Opportunity Education Foundation, which provides hundreds of thousands of underprivileged children in Africa and Asia with access to quality education. Pictured is Clarkson with happy fans at the Verizon Theatre at Grand Prairie, Dallas, TX.

STEVE SHIPLEY

CLARKSON COMES HOME FOR CHARITY

May 2013

2003–Beth Hart–(#20) Blues belter Beth Hart graced this cover of MC. In the feature-length cover story, Hart spoke about the ups and downs of her career to that point, and her pure passion for singing that had led her to enter sing-offs around Los Angeles. "We'd hit three or four of those clubs a night. I won a lot of those contests because I love the blues and R&B. It's the kind of music you feel in your gut." Elsewhere in the issue, mastering engineer Eric Labson advised, "Get a good mix and your mastering time will be minimized." www.musicconnection.com 35


Fall Fall Out Out O

Boy Boy

n Nov. 20, 2009, multiplatinum, Grammy-nominated rockers Fall Out Boy announced they were taking an indefinite hiatus. Bassist and chief songwriter Pete Wentz had become ubiquitous. His marriage to and subsequent divorce from singer Ashlee Simpson had turned into a celebrity gossip talking point and begun to overshadow their music. Wentz even publicly suggested the world could use a little less of him. Singer Patrick Stump went on to record a solo album. Guitarist Joe Trohman and drummer Andy Hurley united forces to become part of heavy metal act, the Damned Things. Wentz, meanwhile, created Black Cards, a ska/electropop duo with vocalist Bebe Rexha. The future of the pop punk band from Wilmette, IL remained in doubt. Then came February of this year, when they played the first single off

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their fifth studio album, Save Rock and Roll (Island), on Jimmy Kimmel Live. For the first time since 2008’s Folie A Deux, there would be new music from Fall Out Boy. They had returned. But their resurrection raised as many questions as it answered. What was it that convinced them to reform? What does this resurgence mean for Decaydance, the imprint Wentz formed under the band’s first label, Fueled By Ramen? How had FOB’s sound changed in the intervening years? And could fans expect to see new material released in the coming years? Wentz, who keeps himself active with all manner of endeavors including a film production company (Bartskull Films), acting (he’s appeared on One Tree Hill and Californication), writing (his book, The Boy With the Thorn in His Side, is based on his childhood nightmares) and a club (Angels & Kings, which first opened in New York and later expanded to Chicago), took time out of his whirlwind schedule to address these concerns and more in this revealing interview.


l

Music Connection: You guys are back after an indefinite hiatus that went for three or four years. How did you know this was the right time to reform and record a new album? Pete Wentz: I don’t know. It still could be the wrong time. When we took a break, we always thought it had to be about new music. None of us had any interest in being a heritage act or doing state fairs, that kind of thing. We really wanted it to be about the songs. We did try to write a couple times and it didn’t seem right. Then Patrick [Stump] and I wrote a couple songs and, when I heard the stuff he’d done, I was all in. There’s so much about our band that’s serendipity to me. So much about it seems to be being in the right place at the right time. Hopefully, that’s what it is again. MC: Around the time you guys decided to take a break, you were the subject of a lot of tabloid fodder. Do you believe that sort of exposure helped or hurt your career? Do you suggest other artists seek out that type of coverage? Wentz: I don’t think it really helped our career. It’s kind of a double-edged sword. We got a certain amount of press regardless of what was going on with the band. But at the same time, lots of the mainstream press only covered us from one perspective, you know? No one gave me a manual, like this is what you’re supposed to do, this is how you’re supposed to act. You kind of just figure it out on your own. Tabloid culture is really just interested in famous people and not about people being known for their talent. So it was a weird space to be in and it was frustrating. It was a rollercoaster. There were a lot of ups, there were a lot of downs. More than anything, you’ve got to just do things for the right reasons. If you’re playing in your band and it’s fun, keep doing it. The rest of your life will fall into place around that.

PAMELA LITTKY

y By Andy Kaufmann

MC: Is the sound of the new album different as a result of taking a hiatus? What are you doing this time around to make sure you don’t burn out? Wentz: I feel like the sound hasn’t changed. To me, it sounds similar in that Patrick is singing over music with certain melodic structures. A lot of my friends who I’ve played it for were like, this is really different. As far as burn-out goes, that’s the $64,000 question––how do we not get burnt out? You want it to succeed, do well, be big and be fun. But when it does well and succeeds and is fun, that’s when somebody’s quarterly stock profits depend on whether your band plays certain songs or you do certain things. That’s when it can stop being fun. I think, for all of us, it was just about having something that humanizes us. For me, it’s having my son. I think about him before anything we do. We’ve never really done Fall Out Boy as real adults before. This is the first time where we’re doing it understanding each other’s schedules, what each other’s needs are and what each member wants out of the band. MC: You have so many projects going on, including clothing, bars, writing and acting. How do you balance these things along with your musical career and does that personality trait account for the diverse nature of your songwriting? Wentz: We’ve always been a band where we take all interests of the band members and mix them together. On top of that, I probably have some strange adult case of ADHD a bit and have a hard time focusing. The way it works for me is, if all the things I do are authentic to me and my brand, then they make sense and they can kind of intersperse with each other. You can do this tattoo show and this book and you

can cross promote with the album, because they all make sense together. I’d only be in hot water if I did something that didn’t make sense with the rest of my brand or personality. MC: You obviously make more money off these side projects because of your association with Fall Out Boy. Do you include your band mates in the sharing of that income, considering you’re taking time away from music to feed these projects? Wentz: We’re a pretty inclusive band. We split four ways equally, which a lot of bands our size don’t. At the same time, like our endeavor with the bar, we let everybody be in on things like that. When I do stuff with Decaydance, Patrick’s the first producer I go to. And none of these other things are ever going to supersede Fall Out Boy. There’s never going to be a time where I’m like, guys, we need to take a break because I’m doing this commercial or I’m doing this thing. That isn’t an option, and everybody I’m involved with knows that when it comes down to it, Fall Out Boy always takes precedence. At the same time, Fall Out Boy makes those brands bigger. And some of those brands make Fall Out Boy bigger in certain places. To be honest, some of them are complete passion projects and don’t make money. It just depends on what it is and, if you make the Forbes list, they make it sound like certain things are more lucrative than they are. Try owning a bar in New York City for a year and let me know how much money it makes. MC: Speaking of making money, do you have any product endorsement deals? Wentz: Not a ton. I have a signature bass deal with Fender and I use Fender amps as well. But other than that, no. I did an endorsement deal with K-Swiss a couple years ago. They let me design a shoe and have a lot of fun with that. But for the most part, it’s just been people that I’m friends with and want to do stuff with. I like Neff headwear a lot. I would love to do something with them. There are a couple of those opportunities, but I don’t have endorsement deals with any of them currently. MC: For your new album, you’re signed to Island as opposed to Fueled By Ramen, your former label. Why are you on Island now? You’ve outgrown the confines of an indie? Wentz: We’ve been on Island/Def Jam since From Under the Cork Tree came out. At the time, Fueled By Ramen had a relationship with Island/Def Jam and had a lot of input and helped us out. John Janick helped us a lot with From Under the Cork Tree and even with Infinity on High, whether it was marketing or different ideas. John moved Fueled By Ramen to Atlantic and now he’s at Interscope. At some point, it just became a label that was stuck on the album. It wasn’t actually a meaningful business relationship. But I’m still tight with everybody from Fueled By Ramen. They’re still a family and a good network for us. There was never a falling out or a real change of label. It’s basically the same team we’ve been with since From Under the Cork Tree. MC: Did you undergo a contract renegotiation for being upstreamed? Were there particular points or things that you asked for? And how did you come to a decision with your band mates as to what to do? Wentz: There was definitely a contract renegotiation. I think the stipulation was that we had a right of first refusal of our next album. Between albums, I’m sure there were contract May 2013

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renegotiations. Obviously, a major record label wants to keep you and your investors for as long as possible and, depending on what kind of artist you are, your goal is to renegotiate so you get more money or become independent. We’ve had a good relationship with people at our label, so there’s never been a strong desire to be independent. At the same time, I know we could function on our own if we needed to. But it’s like, why would we when we have a good relationship? MC: Your label, Decaydance, started as a Fueled By Ramen imprint. How did the label come about and why did your label become independent? Wentz: The label came about because I was bugging my buddy, John Janick, who was at Fueled By Ramen. A zillion times, I was like, listen to my friend’s band, The Academy Is‌ And he was like, why don’t we just do an imprint? It quickly became more than a vanity label when Panic! at the Disco sold some albums and then Gym Class Heroes as well. At that time, there was a partnership with Atlantic Records, who we partnered with for Cobra Starship and Panic! at the Disco and Gym Class Heroes and Travie McCoy. We wanted to try things that were slightly more independent, so that included being able to work with labels outside of Atlantic. That’s kind of where the relationship changed. It wasn’t negative. We still work together on those three bands. But we got a chance to work with Cassadee Pope when she was in Hey Monday on Sony. We got to work with Tyga when we collaborated with Young Money. And then we did the Ready Set with Warner Brothers. Being able to work with so many labels and seeing how they each worked has been really interesting, because they’re all cool and they all work. It’s just they’re all different. They have different priorities.

the first deal that’s thrown in front of you. You don’t necessarily need a manager or a merch company. There is something to DIY and there is something to doing it on your own, because when you’re making great music good things should come to you. MC: You’ve had an incredible track record with your Decaydance imprint. What accounts for that? Wentz: I think it’s surrounding yourself with a good team. I like to be surrounded by people who believe in music and aren’t just hunting after money. I definitely don’t believe in chasing songs. I would chase a songwriter over a song. It’s more important to develop than anything. Just about anybody can take an artist from 80,000 to a million records. It’s a lot harder to take somebody from 5,000 to 80,000 records. And that’s what our label’s always specialized in––artist development. It’s very important to take your time and create quality products. MC: The industry has changed a lot since Fall Out Boy disbanded. Now you have stuff like streaming services, etc. How are you going to adapt your monetization strategy in light of all this? Wentz: We’ve thought about it a bit on the

publishing side. And we’ve thought about it a bit with online auditing and monetizing YouTube. But to be honest, a good friend of mine, Jonathan Daniel, who works at our management company, Crush, has shown me that you create the momentum and all the other stuff comes. If you can’t get the momentum going, then there’s no point in having a strategy to monetize anything. It’s like when you watch the movie The Social Network. You can’t put up ads and try to make money before you make the thing cool, because it makes it stop being cool. And kids can sniff a fake. So to me it’s always been about doing cool new things. We just created a media department that’s really going to help out. We try to stay at the forefront of all of that stuff. MC: How long is it going to be before we get another Fall Out Boy album? Another three or four years? Wentz: You’ll get this one on April 16th. We’ve already started working on the next one, but we’ll see how this one does. Contact Karen Wiessen, karen@thedooronline.com, 646-340-1761

“If you see me, hand me a demo. I listen to all that stuff. That’s how Fall Out Boy tried to get found. And that’s how we found Panic! at the Disco.�

–Pete Wentz l-r: Patrick Stump, Andy Hurley, Pete Wentz, Joe Trohman

MC: Are you currently looking to sign artists? How should artists get in touch with you and what are you looking for from them? Wentz: I’m always looking. It’s harder now, because there are a lot of artists signed into management deals or bad label deals. Sometimes, you find these great artists and then you’re like, I can’t even help you because you’re so legally tied up. I guess the best way to reach me is on Twitter or social media like Facebook. But if you see me, hand me a demo. I listen to all that stuff. That’s how Fall Out Boy tried to get found. And that’s how we found Panic! at the Disco. That’s how we found the Cab. I believe in word of mouth. It’s just different now. I would say to young bands, you don’t need to sign

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Molding Musical Minds Instructors Sound Off BY JESSICA PACE TEACHING MUSIC or a music industry skill allows the instructor to apply his or her own music industry know-how, while still working a much less volatile gig than, say, making it big as a rock star. What’s more, private instructors can make serious bank through their practice over time and with the right clients. Music Connection gathered five instructors, from colleges and private businesses, and asked about the art of getting through to students, shaping an array of future success stories in the classroom and how to get into the profession.

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Tim Guille All Play Music

tim@allplaymusic.com TIM GUILLE TEACHES MULTIPLE instruments through his private business and has offered his tips on succeeding as a private instructor to Music Connection readers. He started out as a musician himself, then founded All Play Music in 2005. He also composes and produces music for film and television. How did you become a teacher I did a lot of studying on how people learn and how kids learn. When I was a kid my mom set me up with piano lessons, and I didn’t learn any songs I liked. When a neighbor gave me a guitar, I started learning songs right away that I loved. As I started teaching, that was my approach. Teach music the same way someone learns a new language. First, teach them what’s usable to them. Teach them songs they really enjoy, and later teach them the phonics of music, the reading and writing. Is there a learning curve to teaching an instrument I train a lot of teachers, and it’s all about personality—you have to have one that is high-energy, enthusiastic, positive and patient. The actual musical concept comes secondary to the experience a student gets. That’s proven from a teacher’s personality and energy. Even with adult students, they feed off the energy from a teacher. How do you make a living from private instruction Everything I’ve done has been based around a single concept: do what’s best for your student and what’s best for you. That trickles down into every aspect of your teaching. Teach popular instru-

Jeannie Deva The Deva Method

jeannie@jeanniedeva.com

ments. By that I mean guitar, piano, drums and voice. Include bass, even though that’s not one of the most popular. Teach kids. That doesn’t mean adults aren’t looking for lessons, they’re just terrible clients. Adults have very sporadic schedules, and you’ll get canceled on every week. Then, focus on the market that can afford to pay you what you deserve. Focus on more affluent families with kids. That’s a bit controversial––“Oh, you only teach rich people?” But from a musician and business standpoint, I’m doing what’s best for my students. If I get paid adequately, I’m able to deliver what’s best for my student. Here in Los Angeles, it’s very easy to get paid $80 or $90 an hour for a high-end service. I’m living proof of that. What advice do you give private music instructors If you don’t overbook yourself, you deliver a high-end product. The hardest thing I run into with musicians—and this was me 10 years ago—is that we don’t value our time properly. We’re so used to having to hustle or justify why we get paid or not get paid at all, and we’re used to giving away our time. I believe what we have to offer through music education is every bit as valuable as any other profession. We have the ability to change a child’s life for the better through our education. So don’t overbook yourself, so you have enough energy. That might mean you have to charge a little higher rate. Let’s say you teach 20 lessons a week at $90 an hour. I believe you can make a living off that. What are the pros and cons of teaching independently versus with a school The pro of teaching independently is you get to charge more. The con is getting clients. You have a hard time when first starting out. Also, the school might provide curriculums that would make it easier for you to teach. On your own, you do all that for yourself. of supplementing their income, and many of their instructions are physiologically incorrect. How do students benefit the most from vocal instruction Assuming the vocal instruction is correct, they

What is the biggest challenge The most challenging stuff is dealing with the parents who mistreat their kids. What’s my role? How do I step in here? We’ve had instances where the company has literally had to intervene, because they’re just bad parents.

“Teach kids. That doesn’t mean adults aren’t looking for lessons, they’re just terrible clients. Adults have very sporadic schedules, and you’ll get canceled on every week.” What is the most difficult type of student. Teaching a student with learning disabilities has been one of my most rewarding experiences, but the actual teaching was just brutal, very difficult. Do you prefer one-on-one or group teaching I have done after-school group programs, and it’s a nightmare. Learning when there’s noise is hard for them. That said, it’s important for students to play together. Once they’ve already learned how to play something, they can come together as a group. If you Skype, do it with adults, and keep those sessions relatively short. I don’t think Skype sessions are as effective. If you’re going to do a Skype lesson, just go to YouTube and do it on your own. What’s the most rewarding aspect of teaching Seeing a student grow, having a positive reaction from the student and making a difference in their life. There’s nothing better. One 8-year-old student had motor skill issues and a learning disability, but pretty soon he got it. And it made such a huge difference for him. He had one thing he was good at, and it was a confidence-builder. When stuff like that happens, it’s a life-changing experience for them and for me.

should raise their knowledge and understanding of their voice as an instrument so they can arrive at a place of ownership of their voice and aren’t tied to the apron strings of the person they study with. The singer owns their voice, and they can use it freely for singing any style they want.

JEANNIE DEVA IS A PUBLISHED author, performing artist and vocal instructor who has coached top artists and bands since 1978 and was one of the first instructors to teach using Skype. She helped launch the vocal department at her alma mater, Berklee College, and is best known for developing The Deva Method for vocal instruction.

How do you handle difficult students Usually students are difficult when trying to defend themselves. They feel challenged. Usually a more gentle approach with that person is appropriate. The key is understanding that the definition of “help” and how it applies to each individual isn’t the same thing as helping someone else.

How did you begin teaching I spent several years researching how the body works to make sound. I wanted to clear my own confusions that developed through years of singing and interacting with other singers and studying with a number of teachers. The act of singing had become less joyous, more confusing and took more effort than before I started studying singing. I decided something was wrong, and I needed to understand the needs of the voice and of the body. The results I came up with were so freeing and exciting. Before I began teaching, I figured out how to put my research into a step-by-step approach to pass on to others, and I wrote my very first book on the voice. That was 1976.

What’s the biggest misconception in vocal instruction The biggest misconception is how to breathe. There’s a lot of false information about that, and there has been for a really long time. It really messes up anybody who tries to employ those false directions.

What advice do you have for vocal instructors If you’re going to teach, you’re putting yourself in a position of being an educator, and that means completely understanding your field so you can take responsibility for the instructions you’re giving your students. Too often I hear of people teaching because they sing and are looking for a way

How do Skype lessons compare with a live session Skype is one-way audio. You can’t play the piano as an instructor and hear the student on the other end singing. The student has to sing a cappella, which is not favorable when doing vocal exercises, especially if a person singing can’t stay in key. If the audio isn’t really good, the teacher has to be an audio specialist and be able to hear the difference between distortion occurring through transmission of sound and what the person is doing muscularly. That’s a skill I developed early on, partly because I am a vocal audio specialist in recording studios and can tell what a person is doing internally and muscularly when they’re singing. May 2013

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Ulf Oesterle Assistant Professor, Bandier Program Syracuse University uoesterl@syr.edu

ULF OESTERLE IS BOTH A TEACHER and a doer. He founded Aux Records in 2003, which he still operates, and fell into teaching while pursuing his PhD at Syracuse University in New York. He teaches within the Bandier program at Syracuse, which is designed to balance classroom learning and real life experience in the music business. The program often sends students to London, L.A. and New York for hands-on experience and brings industry executives to campus to speak. Oesterle applies his own experiences as an artist manager and label owner to his teaching. How did you become a professor It was never part of my master plan to enter higher education. I came to Syracuse as a master student in 2000 and ended up staying to finish my PhD. Throughout the process, my focus was in PhD Mass Communications with a focus on Music Industry and Marketing. I was teaching throughout my time there. It kind of grabbed me. Teaching media classes, I heard of the music program, and timing worked out well. There are few areas where I could take the PhD I’d been working on and my business experience and put it together in the program.

Ivo Ivanov Campus Director SAE Institute - San Francisco i.ivanov@sae.edu IVO IVANOV’S 30 YEARS AS A MUSICIAN and audio engineer prepped him for a later career in teaching at SAE Institute in San Francisco, CA. When he arrived at the school, he had little teaching experience, but with his audio expertise he singlehandedly put together the electronic music production curriculum for the first couple years, going on to teach every class in the audio program. How did you become a teacher It was a fluke. I went back to audio engineering school roughly 15 years after doing all kinds of music production and audio projects. My wife encouraged me to go back and get a Bachelor’s Degree in my field after I got out of Ex’pression College for Digital Arts in the Bay Area. I realized a lot of opportunities I was looking for were out of my reach. I was getting entry-level opportunities that I had already worked past. I wound up at SAE in San Francisco while they were still building the facility. I taught exclusively and got offered opportunities to teach classes more advanced, like the audio tech program. I excelled at that very quickly and started to educate myself more on the act of teaching and the technicality of that. Is there a learning curve to teaching audio engineering I interview every person interested in becoming an instructor. What I see is a certain level of proficiency in the field of audio engineering but a lack of experience in teaching itself. There’s a big difference there. A lot of engineers who simply aren’t good teachers had to look online for resources to point them in the direction of what it means to teach and understanding the dynamic of a lot of people in a room who learn information differently and have multiple attention spans and skill levels. A good instructor can speak to all those people equally and have a lot of different teaching styles. I think the challenge is in bridging the gap between the technical aspect of the craft and the execution of teaching people never exposed to it. Is a formal education in audio engineering necessary for success It’s always good to have formal training, but I don’t think its 100 percent necessary to go to school to accomplish that. I come across people all the time who were self-taught and work professionally in the industry. On the other hand, there are students who need the structure of education to learn the intricacies of the field and craft that they would otherwise have missed, because they’re not the type of person who can learn in that sense. What we offer at SAE is developing the foundation of knowledge people can build off of. We don’t offer a one-stop shop from not knowing anything to getting a job. What is the most rewarding aspect of teaching The most satisfying is when I can tell the class is really engaged and interested in what I have to say. You’re sharing information, and they’re there for that information. You really feel like everyone is on the same page, when it’s 42 May 2013

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Is there a learning curve for teaching music business There is a learning curve to getting in front of a classroom and managing course content and students in the class. I was fortunate to cut my teeth in media classes before coming to this program. Some of those classes had 70 people, others had 10 for highly intensive media research. You learn how to approach different class sizes and topics. You learn to cater to your class as a professor. Fortunately, now many classes are similar year to year, but the content is consistently a moving target. Do you ever want to stop teaching and return to the business full-time The itch sometimes arises when you want to get back into the industry

almost like the students are part of the whole experience, and I’m not just delivering information. What is the most challenging aspect When the students don’t understand the value of the material being taught, even though it’s a building block in understanding the elaborate aspect of the craft. Since they don’t understand that aspect, they don’t see how the information will tie into it later down the road, and they become resistant to it. It’s really difficult for the instructor. You’re trying to lead them to the light at end of the tunnel, and some people know that in the back of their mind, but when they experience it they’re more focused on the tactile, practical, creative side. But there’s a different side that’s challenging, and the instructor has to work against that. I find a way to make it fun for people, and not everybody can be on that train, but for the most part, I’m successful in finding a balance. What is the most difficult type of student Some students just won’t show up to class. If you pay a lot of money or your parents pay a lot of money, or if you made a decision to do this as a career, why wouldn’t you attend classes to learn critical information that will make it possible? There are people who get through the course and their grades turn out okay, but they’re out there looking for work in a competitive market against people who have paid attention, who have come to all the special events, who have developed skills outside the program, and it’s possible for them to compete. Another way they squander opportunities is that they don’t understand the importance of networking. People get hired on skills, but those are a prerequisite. It’s about how you present yourself, who you know, what kind of connections you make and how well people like you––unless you’re just really lucky. Does SAE stay up to date on technology Software and hardware is up to date. We try to have the latest. We’re always doing updates on a national level so facilities can teach the latest versions. The hardware in studios is on par with current technology. Nothing is outdated or not happening in the real world. Can you teach someone to have pitch Some people who are able to learn it already have the skill; they were just never taught to harness it. It’s definitely possible to teach people to have a better ear for sound in that you can really explain to people how sound works in the frequency spectrum. Our students have to complete an ear-training course to understand where sound frequency is in the spectrum of human hearing. It’s how they understand how the equipment works, the equalizers and compressors. In that regard, it is possible to teach people to have pitch.


in a much more meaningful way. When teaching, it’s tough to maintain a full-time business position and academic position. I still have a small record label and management company I work with. Most of the bands are at the local or regional level. It was a bit bigger before teaching. I worked with Honor Bright, a pop punk group from Syracuse. They had a good run, did a few Warped Tour dates and MTV’s TRL. Eventually, they moved to Triple Crown Records and management with the Artery Foundation. Once I started teaching, everything else went to the backburner. But, this past year, I picked back up with few bands. I’m not a full-time manager, but I consult with them. How is your business experience a teaching asset I don’t have major-label experience, but I have released 13 or 14 records and handled everything for those records. Having that business experience, even on the indie side, does inform your teaching. If you don’t have any business background, it makes it harder. It’s such an evolving experience. How can students benefit the most from music business classes I think the students benefit the most by being open and experiencing. There’s a number of different ways to make a career in this industry. We provide multiple angles and paths to look at these careers. Some students may never go into publishing, but an internship in that field may be the exact path they need to walk to understand what’s in the walls of a publisher and how that’s going to impact them in their career path. Be ready to spend a little time on social media. Know what’s new and how it can impact the business. What types of students tend to struggle The students who have more of a challenge are those who aren’t as outgoing or not as willing to take a risk––which isn’t to say they won’t be successful. College gives you the opportunity to try and fail and recognize why you fail, so when you’re in business, you remember those mistakes and don’t walk that path again. What advice do you give your industry-hopeful students In today’s industry where we see some consolidation and things shrinking a little bit, the relationships you build help you get your foot in the door and get that first job or promotion. We offer those networking opportunities. Consume music often. Not only music you like, but all music. Let down your guard when it comes to introducing yourself, and have fun. This is the music business. It’s supposed to be an entertainment field, and if you don’t love what you do and you’re not having fun, maybe it’s time to move on.

Loren Mulraine Associate Professor of Law Belmont University, College of Law loren.mulraine@belmont.edu LOREN MULRAINE TEACHES entertainment law, copyright law, intellectual property and other related courses at Belmont University in Nashville, TN. Prior to Belmont, he taught for 14 years at Middle Tennessee State University. Mulraine has found success as a songwriter and worked on the Grammy-winning project Tribute: The Songs of Andrae’ Crouch. Is there a learning curve for teaching entertainment law It has something to do with the basic ability to engage an audience and really communicate. Over the years, we interviewed a lot of people at MTSU who looked really good on paper, but we had them do a teaching session, and it was clear they couldn’t connect with students. To a certain degree, you can improve that, but as with many things in life, there are people better cut out for it from the start. What is the most rewarding aspect of teaching The most satisfying experience is when students are successful not just in the classroom, but professionally. Some students who are lawyers now came to school not even knowing they were interested in law. There are students now working for music or publishing companies. There are students in Hollywood with film companies. When you see those types of stories, it doesn’t get any better than that. What is the most challenging aspect You have to recognize that you’re not going to

reach everybody at the same level at the same time. If you’re a new teacher, you get frustrated when you do what you thought you had to do, but you didn’t connect. If you’re doing it the right way, the challenges should become fewer and farther between as you progress. How have entertainment law programs evolved When I started in 1988, most schools had two or three courses related to entertainment or copyright law. More and more now have specific music business and entertainment law certificates. We offer a whole plethora of courses including trademark, patent, copyright, mass media. All are interrelated, and the more background you can have in your specific area of interest, the better off you will be. Most law firms really want to make sure you’re helping them make money. The more time they don’t have to use training you, the better. In choosing a law school, look at the curriculum and see if there’s a course that relates to entertainment law.

What advice would you give to entertainment law professors Try teaching part-time or adjunct just to get your feet wet and see if you really enjoy it. After one semester, you’ll know if you want to keep doing it. Understand what your subject is, really well, and try to translate that into the teaching world. In addition, it’s okay to admit you don’t know everything. Students respond favorably when you say, “I haven’t contemplated or experienced that. Say “Let me look that up” as opposed to pretending you know something when you don’t. What is the most successful type of entertainment law student They participate. Learn by doing, whether it’s songwriting or copyright law or music publishing. You learn by listening to what I say, but you’ll learn more if you turn it into a doing thing. Speak, raise your hand, ask questions, try to answer them and put into practice what you learned in the classroom. May 2013

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– BRETT BUSH

MVD Entertainment Group Building a Physical Brand for New and Classic Artists

T

he music industry is scrambling these days to adapt to new technology, new business models and new music. While many companies have been created and thrive in this environment, MVD Entertainment, a distributor of music DVDs, CDs and collectible merchandise, has sustained profits after being in business for 25 years. The Pottstown, PAbased entertainment distribution and development company has found a way not only to stay in business, but to expand. Rebranding its video business as MVD Visual has increased awareness of its extensive video content, which includes rare footage of artists including David Bowie and the Rolling Stones, in addition to newer acts. “We focus largely on targeting the collectability of artists,” says COO Ed Seaman. “With the big shift in fans downloading music, there is also a trend of fans desiring tangible items. And young people are collecting vinyl in increasing numbers.” The company is owned by Tom and Ed Seaman. Tom spent many years working with the old-school record retailers including Sam Goody and Musicland; hence he knows the business of selling music. “We invest

in artists who aren’t flash-in-the-pan,” says Ed Seaman. “And we work with the artists’ websites and other online presences, as well as indie retailers, to offer unique items. We license exclusive items, repackage CDs and DVDs with excellent liner notes and bonus materials, and create a new experience for the fans.”

of course. When taping and manufacturing a live show, Ed says, “We always respect the needs and input of the band.” MVD offers artists an opportunity to sell music DVDs, CDs, and exclusive items to their fans, and meets the needs of the artist in terms of what they want to provide for their fans. “We try to discover unexploited areas that the fans will enjoy,” says Ed, “including rare, previously unreleased audio and video, in addition to the collectible items.” The company has been successful enough in recent years to purchase its own production and office building in Pennsylvania. The new facility also houses the wholesale division of MVD Distribution. Recording labels which the company works with include Manifesto Records, Metal Mind Productions, Amherst Records, Uproar and V-12 and others. MVD Distribution serves major chains and distributors, providing distribution and fulfillment on the wholesale level in addition to the retail and professional services it offers.

“With the big shift in fans downloading music, there is also a trend of fans desiring tangible items. And young people are collecting vinyl in increasing numbers.”

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MVD Entertainment Group also produces and markets low-budget thriller movies. The company often sources music from the artists involved with MVD to contribute music or acting to the films. “We would love to include more of our artists in the films, and we are working towards that,” says Ed. “We want to expand on that opportunity.” Ed feels that in the current market-place, there are niches still to serve. “The fans are starved. We want to provide as much product as possible to satisfy that need.” The company also has to satisfy the artists,

Contact clint@musicvideodistributors.com


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– ROB PUTNAM

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Dawes

os Angeles-based folk-rock band Dawes made a bold move when it chose to leave ATO Records, the band’s home for its two previous releases, and strike out on its own. Stories Don’t End, which dropped on April 9, marks the third release for the band but the first on its newly launched, artist-run label Hub Records/Red General Catalog. It follows the 2011 success of Nothing Is Wrong, which earned respectable chart positions and critics’ praise. “We did a tour several years ago with [Orange County, CA band] Delta Spirit and that’s how we got signed to ATO,” says Dawes keyboardist Tay Strathairn of the band’s first label deal. “But with Stories Don’t End, we were fortunate enough to be able to put it out independently. We didn't need outside help.” The album was recorded in Asheville, NC, at Echo Mountain Recording. “We wanted to get out of Los Angeles because of all the potential distractions,” Strathairn continues. “The record was produced by Jacquire King. He usually works in Nashville but he had access to Echo Mountain so we relocated there for several weeks. We liked what he said about his process and he had the right kind of ideas. If you listen to records that he’s produced, he doesn’t have a particular style. He caters to the artist and brings out their strengths.”

The bulk of writing duties are seen to by guitarist and vocalist Taylor Goldsmith. As Strathairn explains, “He comes in with melodies and chord progressions and we as a band arrange them. Sometimes a song will be written with a different feel. It turns out that there’s a way to make it a rock song.” “From A Window Seat” was selected as the first single from Stories Don’t End and released on Feb. 8th. How this choice was made was as much about the band as it was

being in a successful band meant. For me, being able to pay my rent by playing music is success. There are a lot of bands who are talented but never get the opportunity we had; they have to have a day job. We’ve been fortunate. This is all we do. Success means that music becomes your job.” If Strathairn could reach back in time and talk to his younger self, he’d offer this advice: “Play less. You need a calm mind during shows. The great players don’t try to show off all the time. The song is paramount. Sit back and let it carry part of the show. Try to get in the headspace where you don’t feel that you have to pull out all the stops all the time. This is a band, it’s not a solo act.” Dawes stepped out on tour in the opening slot for Bob Dylan on April 5th. The band will appear May 16 on Jimmy Kimmel Live and then embark on its headlining tour. They will also appear on the May 28 John Fogerty album release, Wrote A Song For Everyone, joining the Creedence Clearwater Revival legend on his classic tune, “Someday Never Comes.” The band will play the UK once Stories Don't End drops there in August.

“Being in a successful band doesn’t mean that things are any easier. We still have to bust our ass and do a lot of things ourselves.”

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about the song. “We thought that it was more up-tempo but it also showcased all of the band members,” Strathairn says. “It’s a little bit different than our other stuff but not too different. Dawes fans will hear it and go ‘Cool, this is Dawes and they’re doing something new.’” Being in a successful band doesn’t mean that things are any easier. “We still have to bust our ass and do a lot of things ourselves,” Strathairn observes. “That's the way we like it. I didn't have any expectations about what

Contact Ken Weinstein or Tito Belis / Big Hassle, weinstein@bighassle.com, tito@bighassle.com; dawestheband.com



Beth Hart

Bang Bang Boom Boom Provogue Records/Mascot Label Group Producer: Kevin Shirley

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Frank Vignola & Vinny Raniolo Melody Magic

Azica Records Producer: Frank Vignola

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Shuggie Otis

Inspiration Information/Wings of Love Epic Producer: Shuggie Otis

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Izzy Chait

Winds of Change Hitchcock Media Producer: Don Peake

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Following her jaw-dropping performance (with Jeff Beck) where she paid tribute to Buddy Guy, Hart spreads her wings with her eighth full-length album. Hart and producer Kevin Shirley have instilled this recording with a nostalgic, retro vibe that recalls smoke-filled cabarets. Often reminiscent of Etta James and Janis Joplin, Hart’s vocals mine emotions at levels so deep they would scare most singers. But the eclectic nature of the material, as well as the myriad stylings that range from the sultry chanteuse of “Baddest Blues” to the roadhouse rowdy in “Better Man,” indicate a transition period. Hart is obviously exploring new horizons beyond the blues, and her musical journey will fascinate fans who want to savor her evolution as an artist and person. – Bernard Baur Vignola and Raniolo are a jazz-based guitar team that are steeped in the classics but know no bounds when it comes to mixing and matching genres. As an arranger Vignola is brilliant in his unique takes on everything from “Beethoven’s Fifth” to Rimsky Korsakov’s “Scheherazade.” But their versions of indelible pop material like “Dust in the Wind” and “Eye of the Tiger” are also amazing and unexpected. As a lead acoustic guitarist Vignola embodies the soul of Django Reinhart as filtered through Les Paul or Wes Montgomery. Raniolo accompanies with tasty chord substitutions and spry rhythms. The result is an album liberally invested with charm, hairpin turns and highbrow musicianship that is delightful and entertaining. – Eric A. Harabadian A child prodigy who cut his teeth playing for his pops, R&B impresario Johnnie Otis, Shuggie soon moved on to a Super Session with Al Kooper, laid down some sticky bass on Zappa’s “Peaches en Regalia,” and was tapped by Billy Preston to be a candidate for a pre-Ronnie Wood Rolling Stones. But Shuggie Otis insisted on being his own artist––and the result is some of the most creative psychedelic soul ever recorded. The first disc features his out of print (except for a short Luaka Bop run in 2001) third album, the last he recorded for Epic. Ironically, 40 years later they’re the ones reissuing it. The second disc is like his version of the Who’s Odds and Sods, consisting of unreleased songs he has collected from 1975 to 2001. – Daniel Siwek Izzy Chait entered the music scene in his 50s after a successful career in the antique business. Making up for lost time these past 10 years, the 65-yearold blues, jazz and pop singer brings a weathered wisdom and a lifetime of earnest emotions to his latest set of colorful standards, performed with members of Ray Charles’ last touring band and other guests. He acknowledges the Charles influence with a soulful reading of “America The Beautiful” and draws inspiration on interpretations of songs from across the last century, including a depression era classic, a Bob Dylan medley (which has too much of a Joe Cocker like strain) and well rendered tunes from Leon Russell, Elton John and Hank Williams. – Jonathan Widran

Reagan Browne Reagan Browne

Neilaproductions Producer: Nicolas Farmakalidis

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Clint Mansell Stoker

Milan Records Conductor/Orchestrator: Matt Dunkley

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Aceyalone

Leaning On Slick Decon Producer: BIONIK

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Willy Moon

Here’s Willy Moon Cherry Tree/Island Records Producer: Willy Moon & Steve Mackey

LMNOPQRSTUV

Browne is an L.A.-based singer-songwriter, with a multi-octave range that draws from the Cornell/Coverdale/Rodgers school of soul and emotion. A lot of ground is covered on his E.P. starting with the high energy ‘80s/‘90s rock of “Gotta Get Loose.” The auto-biographical “Still That Boy from Texas” is a sonically dynamic power ballad for dreamers. “Killing Me is Your Thing” is about as raw and heartfelt as it gets. “Followed by Ravens” features epic melody and vivid storytelling while “Loud but Unheard” is a rock & roll tour de force, with guest Marty Friedman on lead guitar. There is a pervasive sense of urgency in Browne’s voice that permeates each track. The result is a very “live” in the studio performance. – Eric A. Harabadian Clint Mansell has evolved his stylings from his electronic beginnings in Pi to the infamous string quartet heard in Requiem For A Dream to the epic orchestra pieces for The Fountain to the most bare guitar strums in The Wrestler—he even adapted Swan Lake for Black Swan. Now teaming with Korean director Chan-wook Park (OldBoy, Thirst), Mansell brings listeners down thriller avenue utilizing all the techniques he learned along the way. Stoker consists of 18 tracks (a few of which are not Mansell’s, like Lee Hazlewood’s “Summer Wine”). The piano exudes sadness, the strings build perfect suspense while the percussion creates a sense of insanity reflected perfectly by scenes in the film. Decent film, fantastic score. – Andy Mesecher Rapper Aceyalone is on his 9th album for Decon, and he’s come along way while going back. He comes from a Thursday night open-mic night (Project Blowed), the continuation of the MECCA of Los Angeles underground hip-hop, The Good Life. This scene gave us Jurassic 5, Busdriver, and Aceyalone’s own supergroup, Freestyle Fellowship. Acey remembers those days as with “I’m gonna take y’all back to how we used to do it at Leimert Park, at the Project Blowed.” In a hip-hop landscape where plastic, synthetic soul, gets all the airplay, Acey, his producer Bionic, and his special guest Cee Lo are bringing it back to James Brown’s funk, Ray Charles’s R&B, Curtis Mayfield’s ‘70s soul, and Kool Moe Dee’s ‘80s confidence. – Daniel Siwek His songs are short and to the point, with the brevity of punk and the panache of classic rock and pop. You might recognize “Yeah Yeah” as the theme to a recent iPod commercial. But the young New Zealander’s songs are stylistically all over the map. “Shakin’” is about as spare as can be, with Moon’s solo guitar and big voice summoning the spirit of Buddy Holly and Eddie Cochran. And then there’s also the Bo Diddley-esque rhythms and “Hand Jive” alliteration of “I Wanna Be Your Man.” Moon even further flaunts his compositional versatility on the slight industrial pop of “My Girl.” He’s an artist who has done his homework and injects something new into some timeless modern music forms. – Eric A. Harabadian

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

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Lizzy Lehman

The Gallery

Contact: lizzylehman.music@gmail.com Web: reverbnation.com/lizzylehman Seeking: Label, Pubiicist, Reviews Style: Folk Username: lizzylehman

Contact: thegallerymusic@gmail.com Web: thegallerymusic.bandcamp.com Seeking: Label, Booking, Film/TV Style: Alt./Americana Folk Username: thegallerymusic

Lehman's voice has a wonderfully husky resonance custom-built to sell the emotion in her material, which is often somber and searching. And the backup support she gets is stellar. Put together, everything gels on "Pass You By" as Lehman blends subtle, simple words to a spare arrangement whose brush-work sets the pace and gorgeously sustained organ tones add texture. "Arctic" asks for an answer to the Global Warming question, and "Stranger," with its fiddle and banjo, makes it clear this is an organic, hi-touch talent at work.

A foursome fronted by Brendan Cooney specialize in anthems with catchy choruses voiced by the entire group, and it gives each tune a gust of commercial appeal. The crafty "Young and Restless" epitomizes the Gallery's strengths while the similar "White Noise Town" limns a formula that's as effective as it is familiar. "The Fever" ventures into the ballad realm for a Tom Petty feel, right down to the warm, supple organ blanket. Cooney & co. have done their songwriting homework and know how to render their material for maximum accessibility.

Production Lyrics Music Vocals Musicianship

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Japonize Elephants

Casey Turner

Contact: flypr@flypr.net Web: thejaponizeelephants.com Seeking: Label, Booking, Film/TV Style: Old-time Eastern Honk Orchestra Username: japonizeelephants

Contact: admin@workingbrilliantly.com Web: caseyturnermusic.com Seeking: Booking, Label, Film/TV Style: Acoustic Island/Beach Rock Username: caseyturner

With a folky-goofy anything-goes attitude and agile musicianship, Japonize Elephants dispose of their main handicap—no vocal ability— with "Whiskey Willie II," employing said handicap in a satirical way before showing what they do best: quirky, engaging instrumentals. Themes "Mlodie Fastastique" and "End Time..." make it clear this is a folk outfit hatched in a Tim Burton fever dream. In fact, that artist's animations come to mind when hearing these Elephants' artful stampede. Perhaps a great fit for cartoons and videogames.

Armed with a guitar, ukulele and flip-flops, this former rocket scientist conveys the laid-back benefits of beach life and all it can offer. "Never Want to Go Home" exudes Turner's easygoing nature with a song about a couple who find paradise. "This I Already Know" skips along to a whistling, reggae beat. "More than Gold" is a fanciful, uke-infused song with standout Hawaiian steel guitar work. Turner has a sweet voice (though we'd have loved some falsetto) and is dexterous both as a picker and producer, crafting his tracks for a casual, carefree appeal.

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Hit Dog Hollar

Decker

Contact: hdhpublicity@gmail.com Web: hitdoghollar.com Seeking: Label, Distribution Style: Rock Username: hitdoghollar

Contact: info@gritpr.com Web: deckermusic.org Seeking: Booking, Film/TV, Mgmt Style: Psychedelic Desert-Folk Username: decker

Disarmingly gritty blues-rock comes from this San Diego, CA quartet whose jones for all things western is exhibited in "The Battle of San Pasqual" and "Westward Expansion." Both songs tell a story while guitars with impressively dirty-ass tone carry the solos. Singer Austin Prince goes grit for grit with his mates, achieving a credible, deep blues roar. Group vocals contribute a nice chant in the latter song's breakdown section. The band's reverence for history and deep, chugging blues is clear. Dig Gary Clark, Jr.? Check these guys out.

The album-oriented Decker channels its Arizona roots for a psychdesert trip that, while alternative to the core (i.e, the lengthy "Speak in Tongues"), offers trippy instrumentals ("Interlude") too. An out-of-tune ukulele is the basis for "Weight in Gold, pt. 1," a group effort that builds in complexity. What ultimately makes the difference is singer Leah Baggao, whose accompaniment to Brandon Decker's blues-inflected slur adds a welcomed dimension. Steadfastly alternative, Decker is tailor-made for an indie rock confab like the Coachella Festival.

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Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page. 50 May 2013

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Spends Quality

Elcaset

Contact: spendsquality@gmail.com Web: cforecordings.com Seeking: NA Style: Hip-Hop, Jazz-Hop Username: bloomer1

Contact: info@elcasetmusic.com Web: elcasetmusic.com Seeking: Press, PR, Publicity, Radio Play Style: Rock, Pop-Rock Username: elcaset

Spends Quality is a realist who keeps the boasting to a minimum, but he has maximum mic issues. "Midnight" sets an eerie, spacey scene and a smooth, speedy vocal flow, but is hampered by the overused "on the phone" mic effect. Fingersnaps lend a subtlely jazzy air to "Don't Rush Me," a resonant lowend track where he pledges loyalty to his girl. Overall, SQ has some compelling beats and nice drops that his fellow headz will dig, but if he wants to make a stronger impact on record he'll need to develop a better, less muffled mic technique.

Lots of strengths—and some key weaknesses—characterize these tunes from Aussie trio Elcaset. "Can't Say We're Too Late" signals the band's early 2000's pop-punk influences, especially on bass and vocals. The hook could use more beef, and the kick-drum is overmixed. "Losing Ground," though much catchier, could be improved by adding a vocal to the chorus and more imagination to the drumming. All in all, we're most impressed by frontman Rory who handles the mic and lone guitar with skill. Keep working, guys.

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Karpay DM

K-Tek

Contact: info@gavdenmusic.com Web: gavdenmusic.com/karpay-dm Seeking: Label, Distrib, Booking Style: Hip-Hop/Pop/R&B Username: karpaydm

Contact: teksworld@gmail.com Web: teksworld.com Seeking: Label, Booking Style: Hip-Hop Username: k-tek

The versatile Yoggi & Boo are looking for mainstream rap fame as Karpay DM. Their strip club number "Go Low, Get Low" is a solid Lil Wayne-meetsRihanna track that could work for film/ TV folks on a budget. The pop-rock leaning "Steal Away," however, is hampered by poor production that allows Boo's voice to flat out, and the rap flow, though strong, enters way too late. Despite nice elements (violin) the song never gets off the ground. The edm-friendly "Holding On" rebounds with better production and good vocal energy, mainly from Yoggi. More work could help this act to gel.

Rapper K-tek's "Henny & Coke" is a down n' dirty club ditty, a song that oozes sex as the artist voices his case to a comely dancer. He continues the sex prowl with "Opa," before shifting gears for the R&Bflavored ballad "Reminisce," pledging his love to a girl who has reason to doubt him. Tek certainly has an ear for interesting touches in his tracks. But he's got key areas that he needs to develop, particularly his sometimes clever but mostly standard lyrics, and audio production, which tends to be extremely shrill in quality.

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Edgar Allan Poets

By the Stone

Contact: chrismariotti@rocketmail.com Web: edgarallanpoets.com Seeking: Label, Booking, Film/TV Style: Noir Rock Username: chrismariotti

Contact: outpost@ bythestone.net Web: bythestone.net/index.jsp Seeking: Reviews Style: Prog Metal Username: bythestone

What does a Burbank via Italy duo who are influenced by Poe and Alfred Hitchcock sound like? Well, they deliver music that's moody and hypnotic, with an occasional twist, not to mention a singer whose deep, throaty English is liberally accented. The familiar-riffed, rock-operatic "Wrong Direction" could be termed "mellow Rammstein" while the act's Euro influence is most prominent musically in the keyboard sounds of the introspective "Cryptic Code." Is America ready for EAP? It's a longshot, but this niche duo are recorded well enough to be distributed.

Inspired by Pink Floyd and sounding akin to Tool, APC, et al., By the Stone have more work to do to create tracks that succeed on all levels. Gravely serious, consistently dramatic, at times operatic, the altogether lengthy songs "Without The Sun," "Jericho" and "Hubris" suffer from the same malady: poor recording and mixing. And for a prog-metal band, musicianship here is merely fair at best. We advise this Boston area outfit to find their sound first, and only then get in the studio with a skilled engineer to realize their vision.

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SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to http://musicconnection.com/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. May 2013

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THE VIPER ROOM

West Hollywood, CA

Contact: rpadgett@shorefire.com Web: http://bakermusic.com The Players: Chris Baker, lead vocals; Rob Humphreys, drums; Nick Klingenberg, bass; Dan Kalisher, guitar, vocals; Will Herrington, keyboard. Username: Baker

Musicianship: The singer’s rock band adds polish and is an advantage over some of the nearly karaoke pop music performances heard in the club scene. Kalisher provides original flair for “Not Gonna Wait” with funk guitar rhythms and strong backup vocals. The band enjoy the chance to perform a cover of Nirvana’s “Heart Shaped Box” and are willing and able to take Baker to an edgier musical realm. “If U Love Me” exemplifies this potential and for good reason! This is the track that Baker produced with Eric Sanicola who was an engineer on Lady Gaga’s The Fame Monster.

BAKER

Performance: The band were the opening act on a rainy night in the middle of the week, but the full house was still ready to show some love. Baker worked the catwalk without being too over the top for “Convince Me,” leaning in to the neon lighting during key moments of the song to great theatrical effect. His passionate vocals

were sufficient to convince his audience without the need for conventional dance choreography, although the removal of his blazer did ensure many cat calls. Possibly due to some feedback issues and the minor range of the Nirvana cover, Baker’s vocal fell a little flat for a short time, but this was not typical of the overall vocal performance.

JESSE DEYOUNG

Material: Baker delivers mostly heavy hitting, pop-perfect gems. Songs like the opener “Overload” are very reminiscent of high energy pop songs one might hear in a major soccer arena. The pre-chorus is a big indicator of a catchy tune, and as a lyricist Baker knows his stuff with his fun call-to-action, “When the music hits like adrenaline, and it makes me feel I can do anything. Turn it up to 12, better lose yourself.”

Summary: The band have released their first EP, Not Gonna Wait. With a great production team and proven songwriting formulas Baker have a strong chance of making a hit of high caliber with songs like the EP’s title track, which has already achieved over five million YouTube hits. – Brooke Trout

LITTLEFIELD Brooklyn, NY

Material: Jillette Johnson belongs to the most recent crop of current indie singer-songwriters who, along with their talents, have explored new avenues of expression. Musically stripped down to the bare essentials with a slight twist of an appealing classical foundation, Johnson sculpts her material around proficient piano work and powerful vocals. The material is personal in nature, dealing with themes of broken relationships and the trials and tribulations of living as a young person in New York City. Veering away from those themes is the striking “Cameron,” her ode to a transgender boy: “Cameron runs in drag, makes his father mad, since he was a little boy he always felt more comfortable in lipstick.” She was recently signed to Wind-Up Records on the strength of that track. Musicianship: Johnson’s big voice is spoton pitch-wise and considering its flip side of delicate tonality, makes for an interesting dichotomy. It is, however, a very stylized sound that often feels affected, making the lyrics difficult to understand. When addressing the audience, her speaking voice is the direct opposite; down to earth and the words easy to grasp. This performer has an excellent command of the piano and creates lovely motifs 52 May 2013

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JILLETTE JOHNSON joining sections of a song together. A cello was her choice of accompanying instrument, and if you can only choose one instrument to support the piano, this is it. The combination is quite gorgeous and Alison Seidner most definitely brings something to the table. Performance: There was a tendency to pull out all the stops with over-the-top expression and that didn’t always enhance the underlying messages. Whether it’s following current trends or simply an artistic choice, the performance tended to undercut inherent meanings. That said, Johnson’s performance was nonetheless professional, showcasing excellent vocal and piano chops and she should be admired for a

MARK SHIWOLICH

Contact: dave@251managment.com Web: http://jillettejohnson.com The Players: Jillette Johnson, vocals, keyboard; Alison Seidner, cello. Username: jillettejohnson

determination to honor her artistic convictions. The audience seemed attentive and intrigued by the presentation. Sonically, Johnson hit the nail right on the head with her choice of instrumentation. Summary: Jillette Johnson is an extremely accomplished artist for her age. She has amassed a good amount of confidence and seems to be poised for success. Unfortunately, these days “less is more” has somewhat gone out the window and it is still a very valid way to impart sincere emotion. Johnson is currently touring the country in support of her current EP “Whiskey & Frosting.” – Ellen Woloshin


GRAVITY HILL WHISKY A GO GO West Hollywood, CA Contact: talentgps@yahoo.com Web: http://reverbnation.com/gravityhillofficial The Players: Lauren Dair Owens, vocals, bass, keys; Chandler Jackson, guitar, keys; Jordan Keigher, guitar; Adam Lusk, drums. Username: talentgps@yahoo.com Material: A female fronted band with a penchant for high-flying pop-punk songs, Gravity Hill fits perfectly alongside contemporaries Paramore and the Donnas. Songs such as “Bulletproof” reflect the group’s ability to craft an instantly catchy chorus, while

COREY IRWIN

and keyboards to enhance every song with subtle nuances.

the hard-hitting “Moving Along” seems tailor made for Warped Tour mosh pits. Musicianship: A talented quartet of teenagers, Gravity Hill bring a lot to the table. Lead singer Lauren Dair Owens has a powerful voice, capable of projecting clear to the back of the room. While this is a strength, she’ll need to learn to hone her control. At times she tends to over-sing, resulting in pitch issues. Lead guitarist Jordan Keigher shines through on many of the songs, rattling off excellent riffs with blistering precision. Adam Lusk maintains a sturdy rhythm from behind the kit, while Chandler Jackson utilizes guitar

Performance: The show began before Gravity Hill even took the stage, as the band showed up in a school bus filled with screaming teens. The excitement was palpable as the group quickly took the stage and launched into “Bulletproof,” with many fans singing along. “Alive” was another set highlight, showcasing a maturity absent in other songs. It began slowly, then exploded into a biting chorus, "I never felt so alive, with all the nights that you cried." Six songs in, the room was electric, but then a series of covers caused the momentum to wane. It began with their version of “Steady As She Goes,” a hit made popular by the Raconteurs. The song felt awkward in their hands, a fact only amplified by Owens’ struggles with the lyrics. Though a first-rate performance of the Beatles’ “Come Together” helped right the ship momentarily, the band then struggled through an uncomfortable cover of the Black Keys’ “Gold On The Ceiling.” Original songs “Tables Have Turned” and “Stereotype” rounded out the show; their energy helping the set end on a high note. Summary: Though some mistakes tempered their performance, the talent within Gravity Hill is undeniable. As the band members get older, their music will mature. Growing pains will fade and what’s left will most likely be a successful touring outfit. For now, their best bet would be to focus on writing more original material so their sets aren’t bogged down with covers. Such progression will allow the group’s true musicianship to shine through. – Corey Irwin

MOLLY MALONE'S Los Angeles, CA Contact: nikkiforova@gmail.com Web: http://nikkiforova.com The Players: Nikki Forova, vocals, keyboard; Emily Eumatsu, violin; Steven Lorentzen, drums; Kassie White, bass, ukulele; John Elias Kaynor, cello; Sean Pawling, trombone Username: nikkiforova Material: Those who lament the lost art of lyricism, fear not. You have an ally in singersongwriter Nikki Forova. Her poignant words resonate amid intricate, piano-based melodies to create high-quality indie-pop similar to Regina Spektor and Yael Naim. Each of Forova’s songs tell a different tale, such as “Skywriter,” inspired by an instance when the singer stood on a rooftop and saw a plane painting two hearts in the sky. While her style seems destined for the airwaves of NPR, there’s also crossover potential to pop and AAA radio formats.

Performance: Wearing a white, ruffled dress that made her look equal parts angel and pixy, Forova stepped up to the mic and immediately launched into “Snapshots Of Sky,” an upbeat, romantic tune written for her husband. “Superno-

NIKKI FOROVA va” followed, its lyrics pondering the importance of love when placed in the grand scheme of the universe. Other highlights included “White Dandelions,” the title track from her new album, and the dark, haunting “Raising The Blood,” inspired by a friend who was formerly a cutter. As mentioned earlier, part of Forova’s appeal lies in the story-like quality of her music. Unfortunately, this also slowed the momentum of the set as each song seemed to require a prologue to inform the audience of its background. This is, however, only a minor critique. For the majority of the evening, Nikki Forova kept the audience

COREY IRWIN

Musicianship: Forova’s voice is sweet and distinctive, with just the slightest hint of an accent as a result of her Russian upbringing. The singer's backing band is a collection of talented musicians, each knowing his/her part and playing it well. The strings and brass add luscious layers to the well-crafted songs, separating them from similar acts in the genre. However, one can’t help but wish there was a backup singer providing harmonies. Such an addition would bring extra depth to the vocals, helping Forova’s deeply personal lyrics register even more with her fans.

entranced with a whirlwind of songs, both highflying and touching. Summary: With music that conveys a wide range of emotion, many listeners will find Nikki Forova instantly relatable. Her soaring tunes have a cinematic feel and would seem custom made for movie soundtracks. This performance was her last US date for a while, but with a new album out, and a rapidly growing fanbase, odds are we’ll see her back on our shores sooner than later. – Corey Irwin May 2013

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THE MINT Los Angeles, CA

Material: With an assortment of well-crafted songs at her disposal, singer-songwriter Casey K. strikes a balance between oldschool jazz and modern pop. Equal parts sweet and seductive, her powerful voice shines through on songs such as “Darkest Hour.” On “Forgotten In The Moonlight,” the singer invokes her inner Fiona Apple, bouncing along a jazzy beat while crooning, “Don’t show me your scars until the sun rises, pretend our troubles are forgotten in the moonlight.” Her sound fits perfectly with such vaunted acts as Norah Jones and Erykah Badu. Musicianship: A true vocal talent, Casey K.’s voice is remarkably dynamic. She has an enviable ability to belt out emotive lyrics, then quickly drop down to quiet, hushed tones for a somber moment in a song. Aspiring singers should take note; this is the sound of a vocalist who has clearly worked to hone her craft. She’s backed by a full band, with drums, bass, guitar, horns and backing vocals. While each of these musicians handles his role very well, they are relegated to the shadows for a reason. Casey K. is the star here, and with each song that fact becomes abundantly clearer.

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AQNDY KAUFMANN

Contact: Caseykmusicinfo@gmail.com Web: http://caseykmusic.com The Players: Casey K., vocals, keyboard; Ben McCrary, backing vocals; Jacob Pillot, guitar; Desmond Taylor, drums; David Dudley, bass; Ilan Goldstein, horns. Username: CaseyK

CASEY K.

Performance: Opening tune “Stay ‘Till Sunday” filled the room with its smooth, sultry sound. The audience seemed immediately enthralled with the smoky-voiced siren as she moved around the stage. “Flood” revealed the singer’s darker side, as she delved deeper within herself for an intimate, more reflective sound. Later, the backing band exited the stage, leaving Casey K. to sing her final three songs without any live support. Especially of note was her performance of “Maureen,” a passionate song about falling in love. At the end of the set, the audience rose in

unison for a standing ovation. If she can keep performing at this level, Casey K. should get used to them. Summary: With a debut EP that just hit stores, things are coming together quickly for Casey K. A music video for “Maureen” was shot in Paris and should be released soon. As more people discover her music, the singer’s popularity will undoubtedly rise. 2013 could prove to be the breakthrough year for this artist. A talent like this doesn’t stay hidden for very long. – Corey Irwin


dent, informed and self-directed. “Fame is for Assholes” is instrumentally driven by keyboards, cymbals and hi-hats that lead to its terrific chorus: “Talk to me, tell me your name, you want my life, I want the same, you say that it’s meant to be, meant to be, you ain’t no celebrity, stop, because fame is for assholes.”

HOODIE ALLEN

EL REY THEATRE Los Angeles, CA

Contact: marni@chaosfirm.com, 201-463-4061 Web: http://hoodieallen.com The Players: Hoodie Allen, singer, emcee Username: Pending Material: Singer-songwriter Hoodie Allen (Steven Markowitz) took the stage to promote

SAINT ROCKE

ADAM SEYUM

Musicianship: Elastic in tone, Allen’s voice commands attention. This is a performer who works diligently to deliver tonal changes that vibrate with retro charisma. He reaches back to some 20th century funk and soul influences and modernizes them. What ultimately comes through, though, is a passion for thoughtprovoking lyricism fueled by a no-holds barred attitude.

his new mixtape Crew Cuts. The predominant catalyst for Allen’s music is hip-hop, but he also ventures into elements of alternative and pop in songs that deal with college life and suburban America. At times his material references pop songs from the ‘80s in style and feel; specifically David Bowie comes to mind. Allen deftly builds a bridge from past to present, especially in “Let Me Be Me,” an uptempo ode to being indepen-

Performance: Live onstage Hoodie Allen gave us a glimpse of the great performer he could one day become. This artist possessed a bold and distinctive energy that, if combined with more musical skill and savvy, could result in an undeniable live experience. Although, at times, it seemed like Allen’s interaction with the crowd was vaguely routine, the synergy he ultimately manifested with the fans proved to be exceptional. In fact, it was entertaining to watch the harmonization of audience members who rapped his lyrics while waving their arms. Summary: Hoodie Allen creates good music for those who enjoy a blissful life and the splendor of a song with melody. He is the future of New York hip-hop, and with his brand-new success overseas it is only a matter of time before Allen becomes a household name. – Adam Seyum

Hermosa Beach, CA

Contact: Stephanie Cupo, stephanie@ missingpiecegroup.com Web: http://delhi2dublin.com The Players: Tarun Nayar, tabla, electronics; Sara Fitzpatrck, fiddle; Sanjay Seran, vocals; Andrew Kim, electric sitar, guitar; Ravi Binning, dhol. Username: delhi2dublin

Musicianship: While the group allow each member to show a distinctive specialty, the result is a cohesive and well-organized product. Frontman Sanjay Seran is magnetic and charismatic, with a voice that does justice to one of the most beautiful vocal traditions of the world. Sara Fitzpatrick’s fiddle is flawless. Ravi Binning is equally impressive with an ability to allow his beautiful and rare instrument (the dhol) to

DELHI TO DUBLIN serve its purpose in a most inventive and appropriate context. Andrew Kim has the opportunity to look and sound super-ethnic with his kilt and sitar, but can also rock the guitar like any classic rock enthusiast. An interesting role is played by Tarun Navar who handles multiple tasks throughout the set, bringing the act into the 21st century and, again, making it all seem logical. Performance: The performance of Delhi 2 Dublin can be summed up in a word: celebration. The set started in the dark, with a lone whistle-blower on stage summoning his fellow journeymen to come have some fun with rhythm and melody.

It was clear within seconds that the excited and loyal audience at St. Rocke was in very good hands and would be treated to a communal party of culture and creativity. Danny Seyum

Material: Delhi 2 Dublin present material that is truly imaginative, and due to the quality of the act, forces the listener to wonder “why have I not heard this before?” The music is an impressive blend of vast cultural influence—primarily India and Ireland. These musicians possess a mastery of technology and a keen taste for rock, pop, hip-hop, folk and the list could go on. What is most impressive is that it all makes such sense together. The overall goal of the music seems to be that of celebration, and despite a language barrier with the beautiful Hindi verses, the message is clear. The way in which Delhi 2 Dublin bring the world together by demonstrating how closely connected are two ancient traditions of Irish folk and Hindi is simply beautiful.

Summary: Delhi 2 Dublin create ethnic and world music that is modern and fresh. Distinctive instruments and traditions are combined seamlessly and masterfully. The band’s performance seems to take nothing for granted and is one of gratitude for the music we, as the human race, are able to share. In both a literal and figurative sense, the experience is electric. – Tim Reid, Jr. May 2013

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23 Annual Directory of rd

Download This Directory From Our Website

www.musicconnection.com/amp

Music Schools

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

Compiled By Denise Coso

W

hether you’re looking for a full-fledged university program or a technical school, Music Connection’s national list of music educators, updated for 2013, will make your search much easier.

Alabama

ARS NOVA, INC. 7908A Charlotte Dr. Huntsville, AL 35802 Mailing: P.O. Box 14248 Huntsville, AL 35815 256-883-1105 Fax 256-883-1302 E-mail: arsnovaschool81@bellsouth.net Web: www.arsnovahsv.com Cost: please call or see web for info UNIVERSITY OF ALABAMA 810 Second Ave. Tuscaloosa, AL 35487 205-348-6054, 205-348-7110 Contact: Marvin Latimer E-mail: miatimer@music.ua.edu Web: www.music.ua.edu Cost: please call or see web for info

Alaska

ALASKA FINE ARTS ACADEMY 12340 Old Glenn Hwy., Ste. 200 Eagle River, AK 99577 907-694-8909 E-mail: frontdesk@akfinearts.org Web: www.akfinearts.org Basic Rate: please call for info UNIVERSITY OF ALASKA 312 Tanana Loop, Ste. 201 Fairbanks, AK 99775 907-474-7555, Fax 907-474-6420 E-mail: laharriger@alaska.edu Web: http://www.uaf.edu/music/ Cost: please call or see web for info

Arizona

ROBERTO-VENN SCHOOL OF LUTHIERY 1012 NW Grand Ave. Phoenix, AZ 85007 800-507-3738, 602-243-1179 E-mail: info@roberto-venn.com Web: www.roberto-venn.com Cost: please call or see web for info CONSERVATORY OF RECORDING ARTS & SCIENCES Main Facility: 2300 E. Broadway Rd. Tempe, AZ 85282-1707 480-858-0764, 866-343-0749 Satellite Facility: 1205 N. Fiesta Blvd. Gilbert, AZ 85233 480-858-9400 E-mail: info@cras.org Web: www.audiorecordingschool.com Degrees/Certificates Offered: Master Recording Program II. Program and Facilities Description: MRP-II is a 42-week program with classes limited to 12 students. It is the only program that secures and requires an internship for graduation. Every student receives an Apple Laptop, M-Audio Audio Interface, Pro Tools M-Powered, Sennheiser microphone and headphones, Apple Logic Pro and Waves plug-ins. Students have access to our exclusive CRAS Connect, computer-based learning system. Our 40,000-sq. ft. facility includes (8) control rooms, (5) studios, (2) Pro Tools labs, (2) digital audio labs, (2) mix labs and a 6000-sq. ft. live sound classroom. Gear includes SSL, Neve, Studer,

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Otari, Korg, Alesis, Yamaha, Manley and Neumann, among others. Students are offered a 7-tier certification on Pro Tools and manufacturer certifications on the TC System 6000, Waves plug-ins, EAW Smaart, L-Acoustics Kudo and SoundVision plus Auto-Tune 5. Financial aid available to those who qualify. MESA COMMUNITY COLLEGE 1833 West Southern Ave. Mesa, AZ 85202 480-461-7000 Web: http://www.mesacc.edu/programs/ audio-production-technologies Program: Audio Production Technologies SCOTTSDALE COMMUNITY COLLEGE Music Department Office - MB139 9000 E. Chaparral Rd. Scottsdale, AZ 85256-2626 408-423-6466 Contact: Ron Marshall, Program Dir. E-mail: ron.marshall@ sccmail.maricopa.edu Web: http://showcase.scottsdalecc.edu/ audio-production/ UNIVERSITY OF ARIZONA School of Music/Recording Studio College of Fine Arts P.O. Box 210004 1017 N Olive Rd. Music Bldg. Rm. 11 Tucson, AZ 85721 520-621-1778 E-mail: finearts@cfa.arizona.edu Web: http://www.cfa.arizona.edu Program: Offers a professional recording facility offering 23+ track analog and digital recordings. Our mission is to provide services and educational experiences to students, faculty and staff.

California

ADAM’S MUSIC 10612 Pico Blvd. Los Angeles, CA 90064 310-839-3575 E-mail: info@adamsmusic.com Web: www.adamsmusic.com Contact: Adam Program: one-on-one instruction in all instruments and voice Degree: NA Duration: varies Cost: please call or see web for info Notes: flexible scheduling, music programs available for children sound system rentals & expert instrument repairs ADG PRODUCTIONS 15517 Cordary Ave. Lawndale, CA 90260 310-379-1568, 800-748-5934 E-mail: adgordon@adgproductions.com Web: www.adgproductions.com, www.digitalsheetmusicdownloads.com Contact: Andrew D.Gordon Program: Contemporary piano/ keyboard instruction, has authored over 30 internationally acclaimed books & DVD’s. Titles include: 100 Ultimate Blues Riffs; 60 Of The Funkiest Keyboard Riffs Known To Mankind; Funky Organ Grooves, Rhythm Keyboard Workout.

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Degree: NA Duration: varies Cost: please call or see web for info Notes: specialize in blues, jazz, rock, pop, country, funk styles, MIDI programming, songwriting/arranging. ARROWBEAR MUSIC CAMP P.O. Box 180 Running Springs, CA 92382 909-867-2782 Fax 909-867-2794 E-mail: info@arrowbear.com Web: www.arrowbear.com Program: Since 1942 offering summer camp programs in band, orchestra, instrumental and choral music. Cost: please call or see web for info ART OF SINGING Studio City, CA 818-980-2840 E-mail: info@darlenekoldenhoven.com, timeart@roadrunner.com Web: www.darlenekoldenhoven.com, www.artofsinging.com Contact: Darlene Koldenhoven Program: Darlene’s dynamic all day intensive workshop, “Sing Right for Your Type,” includes experiences in breath management for range and power singing, vocal styles & techniques, finding your unique sound, expanding your musical mind, eliminating stage fright and more. She offers voice lessons, vocal coaching, ear training, (new book with 7 CDs, Tune Your Voice available on website and retail stores) sight-singing, harmony singing, singer’s marketing, vocal demo production. See website for description of classes, private lessons, recommendations, vocal health articles, workshops on “The Affects & Effects of the Power of Music & the Voice” and more... Degree: NA Duration: private classes for all ages and styles are half hour or hour, group classes for kids, teens, adults, also a course for non-singers. THE ART INSTITUTE OF CALIFORNIA – LOS ANGELES, A CAMPUS OF ARGOSY UNIVERSITY 2900 31st St. Santa Monica, CA 90405 310-752-4700 E-mail: ailaadm@aii.edu Web: www.artinstitutes.edu Programs: Audio Production (Bachelor of Science, Associate of Science) Cost: Please visit the website for details Additional locations: Hollywood, CA 5250 Lankershim Blvd. N. Hollywood, CA 91601 818-299-5100 E-mail: aicahadm@aii.edu Web: www.artinstitutes.edu Programs: Audio Production (Bachelor of Science, Associate of Science) Cost: Please visit the website for details Inland Empire 674 E. Brier Dr. San Bernardino, CA 92408-2800

909-915-2100 E-mail: aicaieadm@aii.edu Web: www.artinstitutes.edu Programs: Audio Production (Bachelor of Science, Associate of Science) Cost: Please visit the website for details San Diego, CA 7650 Mission Valley Rd. San Diego, CA 92108 858-598-1200 E-mail: aicasdadm@aii.edu Web: www.artinstitutes.edu Programs: Audio Production (Bachelor of Science, Associate of Science) Cost: Please visit the website for details San Francisco, CA 1170 Market St. San Francisco, CA 94102 415-865-0198 E-mail: aicasfadm@aii.edu Web: www.artinstitutes.edu Programs: Audio Production (Bachelor of Science) Cost: Please visit the website for details AUDIO INSTITUTE OF AMERICA 814 46th Ave. San Francisco, CA 94115 415-752-0701 E-mail: audioinst@earthlink.net Web: www.audioinstitute.com Note: Recording Engineer and Music Producer School BARKER’S MUSIC 519 McHenry Ave. Modesto, CA 95354 209-526-0347 E-mail: kyle@barkersmusic.com Web: www.barkersmusic.com Basic Rate: please call for info BELLFLOWER MUSIC CENTER 17125 Bellflower Blvd. Bellflower, CA 90706 562-867-6715 Fax 562-867-6666 E-mail: info@bellflowermusic.com Web: www.bellflowermusic.com Contact: any customer service rep. Program: private one-on-one lessons in drums, piano, violin, flute, clarinet, various saxophones, trumpet, trombone and guitar, as well as rentals and sales on various instruments Degree: NA Duration: depending on individual student progress Cost: please call or see web for info BLUE BEAR SCHOOL OF MUSIC Fort Mason Center, Bldg. D Corner of Marina and Buchanan Streets San Francisco, CA 94123 415-673-3600 E-mail: contact@bluebearmusic.org Web: www.bluebearmusic.org Cost: please call or see web for info BOULEVARD MUSIC 4316 Sepulveda Blvd. Culver City, CA 90230 310-398-2583 Web: www.boulevardmusic.com Contact: Gary Mandell Program: varied one-on-one


Download This Directory From Our Website instrumental instruction. Cost: please call or see web for info Notes: group instruction available BRUBECK INSTITUTE University of the Pacific 3601 Pacific Ave. Stockton, CA 95211 209-946-2285 E-mail: mriley1@pacific.edu Web: www.brubeckinstitute.org Cost: please call or see web for info BRUBECK SUMMER JAZZ COLONY Stephen C. Anderson University of the Pacific 3601 Pacific Ave. Stockton, CA 95211 209-936-3196 E-mail: mriley1@pacific.edu Web: brubeckinstitute.org Program: The Summer Jazz Colony is a one-week full scholarship educational program in jazz performance for 17 extraordinarily talented students who are in their freshman through senior years in high school. BURBANK MUSIC ACADEMY 4107 W. Burbank Blvd. Burbank, CA 91505 818-845-ROCK (7625) E-mail: info@burbankmusicacademy.com Web: www.burbankmusicacademy.com Contact: Laura Wynne Cost: As low as $32.00 per 1/2 private lesson, call or see our website for details. Program: private lessons, band coaching for youth and adults, rock and Roll Camp, rehearsal space and more. CALIFORNIA BAND AND MUSIC ACADEMY (CABAMA) 408 Sereno Pl. Camarillo, CA 93010 805-529-2348 Contact: F. Scott Moyer E-mail: fscottmoyer@earthlink.net Web: www.musicianscamp.org Services: Private (one on one) and class/group and band instruction are available for drums, guitar (acoustic & electric), bass, keyboards, brass, applied beg-adv music theory, beg-adv. songwriting, voice, percussion and Band/ Ensemble. Additional “Special” course studies are available upon request: i.e. Classic Rock; the Beatles; “Latin rhythm” studies; and more. Program: I offer lessons in all styles of music and in all popular genres of music. I teach and coach guitar, bass, drums, keyboards, vocals, theory, reading, harmony, arranging, rhythm section, band and song production, recording concepts and more. Notes: CABAMA, features a program called “The Creative Arts Music Project” which is a “year-round” after-school music program and summer camp serving both the Los Angeles and Ventura counties and offering 50 creative music courses (see: musicianscamp.org) CALIFORNIA POLYTECHNIC STATE UNIVERSITY Music Department 1 Grand Ave San Luis Obispo, CA 93407-0326 805-756-2406 E-mail: music@calpoly.edu Web: http://www.calpoly.edu/~mu/ Program: Bachelor of Arts in Music CAMP JAM, LLC Power Chord Academy 6375 Spalding Dr., Ste. F Norcoss, GA 30092 800-513-0930 E-mail: info@campjam.com Web: www.campjam.com Program: At Camp Jam, dedicated musicians ages 7-17 are put through the most inspirational, educational and

intensive week of their young careers. Day Camp, Ages 11-17, Kidz Camp, Ages 7-10 Cost: please call or see web for info CANOGA SCHOOL OF MUSIC 7361 Canoga Ave. Canoga Park, CA 91303 818-340-4021 E-mail: ted@canogaschoolofmusic.com Web: www.canogaschoolofmusic.com Basic Rate: please call for info Clients: all levels CALIFORNIA COLLEGE OF MUSIC 42 S. Catalina Ave. Pasadena, CA 91106 626-577-1751, 626-577-1753 E-mail: info@ccmcollege.com Web: www.ccmcollege.com Contact: Ani Arzmanian Program: Music (Theory), Artist Development and Audio Engineering and Music Production Degree: Apprentice and Professional Certificate Duration: 6 months apprentice, 1 year professional Cost: please call or see web for info Notes: CCM mentors artists and engineers for the professional music industry. Its small intimate environment allows for personal and customized attention from Grammy award winning and seasoned faculty. CALIFORNIA INSTITUTE OF THE ARTS, SCHOOL OF MUSIC 24700 McBean Pkwy. Valencia, CA 91355 661-222-2778 E-mail: musicinfo@calarts.edu Web: www.calarts.edu Program: Music composition, performance of all musical instruments, jazz, world music performance, music technology: Interaction, Intelligence and Design. Vocal performance, experimental sound practices, musical arts program. Degree: B.F.A, M.F.A. Duration: 4 years for B.F.A., 2 years for graduate M.F.A. degree, 3 year program, D.M.A. (Doctorate of Musical Arts) in Performer/Composer. Cost: please call or see web for info Notes: Fully accredited WASC and NASM college curriculum CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA 3801 W. Temple Ave. Pomona, CA 91768 909-869-3210 E-mail: ilevine@csupomona.edu Web: www.csupomona.edu Contact: Dr. Iris S. Levine, Department Chair Degree: B.A. Cost: please call or see web for info CALIFORNIA STATE UNIVERSITY, CHICO 400 W. First St. Chico, CA 95929 530-898-5152 E-mail: musc@csuchico.edu Web: http://www.csuchico.edu/mus Program: B.A.’s in General Music, Music Education, Music Industry with options of General Industry and in Recording Arts. Cost: please call or see web for info CALIFORNIA STATE UNIVERSITY, DOMINGUEZ HILLS 1000 Victoria Ave. Carson, CA 90747 310-243-3543 Web: http://cah.csudh.edu/music/ Contact: Richard Kravchak, Phd, Chair Program: Audio Recording and Music Synthesis (ARMS) Degree: B.A. & Certificates Duration: 4 years Cost: please call or see web for info Notes: accredited undergraduate college curriculum; extension courses available

www.musicconnection.com/amp CALIFORNIA STATE UNIVERSITY, FULLERTON P.O. Box 6850 Fullerton, CA 92834 657-278-3511 E-mail: mdickey@fullerton.edu Web: http://www.fullerton.edu/arts/music Contact: Dr. Marc Dickey Program: A full complement of undergraduate and graduate degrees in performance, composition, music education, theory, history, and piano pedagogy. Degree: B.A., B.M., M.A., M.M. Duration: 4-5 years for B.A./B.M.; approx. 2 additional years for M.A./ M.M. Notes: See website for more info. Many live student performance opportunities. CALIFORNIA STATE UNIVERSITY, LONG BEACH 1250 N. Bellflower Blvd. Long Beach, CA 90840-7101 562-985-4781 E-mail: music@csulb.edu Web: www.csulb.edu/~music Contact: Music Dept. Admissions Program: Varied, with an emphasis on orchestral instruments and music studies such as history, education, new music and commercial music business. Degree: B.A., B.M. in music, performance, composition or education, M.A. music program, teaching credentials Duration: 4 years for B.M.; additional 2 years for M.M. Cost: please call or see web for info Notes: requires audition and music theory test to determine placement CALIFORNIA STATE UNIVERSITY, LONG BEACH EXTENSION 6300 State University Dr., Ste. 104 Long Beach, CA 90815 800-963-2250 Web: www.uces.csulb.edu/extension Program: Extension courses in music studies and any music class. Classes are for students not enrolled in the regular CSULB program. Duration: varies Cost: please call or see web for info Notes: University enrollment not required; day and evening classes CALIFORNIA STATE UNIVERSITY, LOS ANGELES 5151 State University Dr. Los Angeles, CA 90032 323-343-3000 Web: www.calstatela.edu Program: varied undergraduate music studies/performance program Degree: B.A. Duration: 4 years Cost: please call or see web for info Notes: university enrollment required CALIFORNIA STATE UNIVERSITY, NORTHRIDGE 18111 Nordhoff St. Northridge, CA 91330 818-677-3184 E-mail: music@csun.edu Web: www.csun.edu Contact: Elizabeth Sellers, Chair Program: A diverse music program. Majors include music business, jazz performance, classical performance, music therapy, education Degree: B.A./B.M., M.A./M.M. Duration: 4 years for B.A./B.M., 2 additional years for M.A./M.M. Cost: please call or see web for info Notes: University enrollment required; Contact music department for audition dates. CAZADERO PERFORMING ARTS CAMP P.O. Box 7908 Berkeley, CA 94707 510-527-7500 Fax 510-527-2790 E-mail: david@cazadero.org

Web: www.cazadero.org Program: Since 1957, our camp has been providing the best in musical education and performances. Cost: please call or see web for info CHAPMAN UNIVERSITY CONSERVATORY OF MUSIC One University Dr. Orange, CA 92866 714-997-6871 E-mail: music@chapman.edu Web: www.chapman.edu/copa Contact: Rick Christophersen, Director Program: Conservatory level musical training within the context of a 4-year liberal arts university. Degree: B.A. music, B.M. performance, B.M. music education, B.M. conducting, B.M. composition Duration: 4-year undergraduate degree programs Cost: please call admissions and records CLEAR LAKE AUDIO 10520 Burbank Blvd. N. Hollywood, CA 91601 818-762-0707 E-mail: contact@clearlakerecording.com Web: www.clearlakeaudio.com Programs: All aspects of audio engineering (see website) COAST MUSIC 24002 Via Fabricante, Ste. 308 Mission Viejo, CA 92691 949-768-8783 Web: www.coastbandmusic.com Basic Rate: please call for info Clients: all levels Additional location: 4970 Irvine Bl. #109 Irvine, CA 714-731-3415 COLBURN SCHOOL, THE 200 S. Grand Ave. Los Angeles, CA 90012 213-621-2200 E-mail: info@colburnschool.edu Web: www.colburnschool.edu Programs: Conservatory of Music (college programs), The Academy (pre-college studies), and School of Performing Arts (open enrollment, all ages) Cost: please call or see web for info CORNERSTONE MUSIC CONSERVATORY 12121 W. Pico Blvd., Ste. 205 Los Angeles, CA 90064 310-820-1620 Fax 310-820-1708 E-mail: music@ cornerstonemusicconservatory.org Web: http://cornerstone musicconservatory.org Contact: Ann Pittel Program: Private and group music instruction for ages 7 months to adult. Duration: 15 weeks to year-round Cost: Varies-call for brochures and rates Notes: specializing in expert music instruction, composition, theory, teen/ college-prep students, special toddler programs, Harmony Road Piano course for children (beginners grouped by age). CRESCENTA VALLEY MUSIC STUDIO 3131 Foothill Blvd., Ste. I La Crescenta, CA 91214 818-248-2789 E-mail: cbkuhne@cvmusicstudio.com Web: http://cvmusicstudio.com Program: instruction in a variety of instruments, lessons for children as well Degree: NA Duration: varies Cost: please call for info

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Download This Directory From Our Website CULVER CITY MUSIC CENTER 10862 Washington Blvd. Culver City, CA 90230 310-202-6874 Web: www.culvercitymusic.com Basic Rate: please call for info Clients: all levels Additional location: 1901 Santa Monica Blvd. Santa Monica, CA 90404 310-453-1928 DEBORAH GIBSON’S CAMP ELECTRIC YOUTH 8491 Sunset Blvd., Ste. 772 W. Hollywood, CA 90069 E-mail: electricyouth08@aol.com Web: www.deborahgibsons electricyouth.com Program: Perf. Arts Summer Day Camp Duration: one - two week summer camp plus other projects throughout the year Cost: please call or see web for info Notes: Mission is to provide a nurturing, creative, disciplined and fun atmosphere for young people who are serious about embarking in a career in entertainment. ES AUDIO SERVICES Los Angeles, CA 818-505-1007 E-mail: info@learnprorecording.com Web: www.learnprorecording.com Contact: Donny Baker Program: Recording Engineer / Music Producer Program Degree: No Degree, Certificate, State Accredited Duration: 22 weeks depending upon internship Notes: Learn in a working studio rather than a classroom. Learn with certified Digidesign instructors - Pro Gear - Tons of hands on training in a real world situation with real clients EL CAMINO COLLEGE 16007 Crenshaw Blvd. Torrance, CA 90506 866-352-2646, 310-532-3670 Web: www.elcamino.edu/academics/ finearts/music Contact: CFitzsimons@elcamino.edu Program: a structured program of training in a variety of solo performance media, large and small ensembles, music theory and musicianship, basic vocal and keyboard skills, and the study of music history Degree: A.A. Duration: Two years Cost: please call or see web for info EUBANKS CONSERVATORY 4928 S. Crenshaw Blvd. Los Angeles, CA 90043 310-462-5364 E-mail: Eubanksschool@yahoo.com Web: http://eubanksconservatoryof musicandarts.webs.com Program: music degree program with a focus on performance Degree: certificate Duration: varies Cost: please call for info EVERGREEN MUSIC CONSERVATORY 4832 Tujunga Ave. N. Hollywood, CA 91601 818-761-4970 Web: http://evergreenmusic conservatory.com Contact: Jerry Acosta Program: one-on-one and group instruction in guitar, cello, piano, violin/ viola and music composition Duration: varies Cost: please call for info Notes: all university-trained faculty

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EX’PRESSION COLLEGE FOR DIGITAL ARTS 6601 Shellmound St. Emeryville, CA 94608 877-833-8800, Direct & Int’l: 510-6542934 Fax 510-658-3414 E-mail: admissions@expression.edu Web: www.expression.edu Program: Ex’pression College for Digital Arts grants Bachelor’s degrees in four accelerated programs: Sound Arts, Motion Graphic Design, Animation and Visual Effects, and Game Art and Design. Class size is limited within each program, and the 100,000 square foot campus features professional grade equipment. The approximately 2.75 year program allows students to graduate with a Bachelor’s degree but enter the work force sooner than graduates of traditional 4-year programs. Degree: Bachelor of Applied Science (BAS) Duration: 32 months Cost: please call or e-mail for details. Additional location: 1751 Fox Dr. San Jose, CA 95131 855-217-7300, 408-620-3299 E-mail: admission-sjc@expression.edu FAUNT SCHOOL OF CREATIVE MUSIC Los Angeles, CA 818-506-MUSE (6873) E-mail: inq092009@druminstruction.org Web: www.musicalskills.com Program: one-on-one programs for realworld musician skills and knowledge that are not effectively addressed in music lessons or classes. Rhythm, ear-training, complete harmonic knowledge and instrumental technique for playing and composing. What you hear is the focus. Cost: please call or see web for info Notes: all levels. Many students are accomplished pros but serious beginners are welcome also. FIVE STAR SCHOOL OF MUSIC 112 W. California Ave. Glendale, CA 91203 818-502-1739 Web: www.fivestarmusicanddance.com Program: One-on-one and group musical instrument instruction. Degree: NA Duration: Varies with individual programs Cost: please call or see web for info Notes: Classes taught in English, Spanish, Armenian and Tagalog (Filipino). FRED CARLSON, BEYOND THE TREES 2026 Back Ranch Rd. Santa Cruz, CA 95060 831-466-9356 E-mail: wildsols@beyondthetrees.com Web: www.beyondthetrees.com Cost: please call or see web for info GARNISH MUSIC PRODUCTION SCHOOL 7600 Melrose Ave. Hollywood, CA 90046 310-598-2981 Web: us.garnishmusicproduction.com Notes: Learn to produce finished tracks fast from Grammy-winning instructors GILMORE MUSIC STORE 1935 E. 7th St. Long Beach, CA 90813 562-599-1369 E-mail: lbgilmoremusic@yahoo.com Web: www.gilmoremusicstore.com Program: Instruction in drums, classicaljazz-and rock guitar, bass guitar, woodwinds, flute, trumpet, trombone, piano, violin, cello and voice.

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www.musicconnection.com/amp Degree: NA Duration: 30 min. to 60 min. Cost: please call or see web for info Notes: 24 track digital recording studio on site, beginner packages available. GLENDALE COMMUNITY COLLEGE Music Department 1500 N. Verdugo Rd. Glendale, CA 91208 818-240-1000 E-mail: pgreen@glendale.edu Web: www.glendale.edu/music Contact: Dr. Peter Green ext. 5622 Program: Comprehensive program focusing on preparing musicians for university admissions with focus on choral or instr. performance and music history/theory. Degree: certificate, A.A, A.S. Duration: 2 years for A.A/A.S. Cost: please call or see web for info Notes: most classes do not require an audition, but may require a prerequisite GLOBE AUDIO RECORDING AND PRODUCTION 739 Bryant St. San Francisco, CA 94107 415-777-2486, 800-9000-MIX E-mail: info@globerecording.com Web: http://www.californiarecording.com/ overview.html GOLDEN WEST COLLEGE 15744 Golden West St. Huntington Beach, CA 92647 714-892-7711 E-mail: http://goldenwest college.edu/music Contact: chausey@gwc.cccd.edu Web: www.gwc.info Program: Music Education Preparation or Music Performance, Degree: certificate GRAMMY CAMP Grammy Foundation 3030 Olympic Blvd. Santa Monica, CA 90404 310-581-8668 Contact: grammycamp@grammy.com Web: http://www.grammyintheschools. com/programs/grammy-camp Program: This program offers students a 17-day interactive residential summer music experience that focuses on all aspects of commercial music, with instruction by industry professionals in an immersive creative environment with cutting-edge technology in a state-of-theart facility. Cost: please call or see web for info GUITAR MERCHANT, THE 7503 Topanga Canyon Blvd. Canoga Park, CA 91303 818-884-5905 E-mail: theguitarmerchant@yahoo.com Web: www.guitarmerchant.com Services: music lessons all instruments, all ages, band jam programs, live venue shows nightly guitar sales and service GUITAR SHOWCASE/S.M.I. 3090 S. Bascom Ave. San Jose, CA 95124 408-377-5864 E-mail: info@guitarshowcase.com Web: www.guitarshowcase.com Instruments: guitar, bass, keyboards, drums, percussion, saxophone, flute, mandolin, banjo group classes, private instruction, monthly workshops Basic Rate: Call for info HARRISON SCHOOL OF MUSIC P.O. Box 5068 West Hills, CA 91308 800-799-4637, 818-887-8870 E-mail: sales@harrisonmusic.com Web: www.harrisonmusic.com Contact: Mark Harrison Program: keyboard, theory, ear training and composing/arranging, with an

emphasis on jazz and pop styles. Degree: NA Duration: flexible scheduling. Cost: please call or see web for info Notes: The Harrison music education methods are used by thousands of students in over 20 countries worldwide. HOLLYWOOD ACADEMY OF MUSIC 7469 Melrose Ave., Ste. 34 Hollywood, CA 90046 323-651-2395 Web: www.hollywoodacademyofmusic.com Program: Hollywood Academy of Music offers private lessons for piano, keyboard, guitar, voice, drums, violin, bass guitar, flute, clarinet, saxophone and trumpet (other band instruments also available). We also teach a group workshop called “School of Rock-Band 101” and Pre-school Music Classes. Cost: please call or see web for info Notes: Hollywood Academy of Music provides Hollywood, W. Hollywood, Beverly Hills, and surrounding areas of Los Angeles with personable and highly qualified teachers for students of all ages. Our positive, encouraging atmosphere and professional studio environment aid in the development of musical abilities - and our convenient location makes it feasible for students from all different areas of the Los Angeles metro area to attend. Additional locations: 11367 Riverside Dr. N. Hollywood, CA 91602 818-760-7740 12111 Santa Monica Blvd, West LA, CA 90025 310-207-1200 ICON COLLECTIVE, LLC 1750 Flower St. Glendale, CA 91201 818-334-3671 E-mail: info@learn2produce.com Web: www.learn2produce.com Program: The 9-month Digital Music Production Course teaches artists/DJ’s & beatmakers how to record, mix, master, market and sell their music in today’s new digital era. Blending creativity with technology, Icon Collective has created a 21st century approach for artists/ producers seeking a creative, artistic, successful lifestyle. INTERNATIONAL MUSIC SCHOOL 2588-H NewPort Blvd. Costa Mesa, CA 92627 949-650-7788 E-mail: info@internationalmusicschool.com Web: www.internationalmusicschool.com Program: voice, piano, keyboard, guitar, violin, cello, bass, drum, percussion, sax, flute, clarinet, trumpet, Persian & Indian instruments, English bagpipe, harmonica Duration: varies Cost: please call or see web for info INTERNATIONAL SCHOOL OF MUSIC 116 S. Louise St. Glendale, CA 91205 818-548-7959 E-mail: info@ISMGlendale.com Web: www.ismglendale.com Program: classical; one-on-one instruction in piano, guitar (classical, jazz, flamingo), violin, flute, viola, voice, percussion Degree: certificate Duration: varies Cost: please call or see web for info JEANNIE DEVA VOICE STUDIOS P.O. Box 4636 Sunland, CA 91041 Phone: 818-446-0932, 800-920-8220 E-mail: sing@jeanneDeva.com Web: www.jeanniedeva.com Services: Your Unique Voice - Our


Download This Directory From Our Website Unique Method. The Deva Method® of Voice Training has proven effective over 35 years with thousands of singers worldwide. Study in-person or via internet webcam with Jeannie Deva or one of her certified instructors. You get discounts from single lesson rates when registering for four or more lessons. Additional Services: Many of our teachers have degrees from Berklee College of Music or other music universities and offer Piano, Guitar, Bass and Music Theory lessons. All of our instructors are performing professionals. Some have experience in music business or acting and offer consulting in these fields. Visit our website to find the teacher whose skills best match your needs and to arrange an initial consultation. Notes: Available in Los Angeles, The Valley and Brentwood, CA, Boston and Australia. Web cam Internet lessons available worldwide. JOHN NOVELLO’S CONTEMPORARY KEYBOARDIST COURSE P.O. Box 9648 N. Hollywood, CA 91609 818-506-0236 Fax 818-506-5559 E-mail: john@keysnovello.com Web: www.keysnovello.com Contact: John Novello Program: complete one-on-one program for training the contemporary keyboardist, composer and singersongwriter Degree: NA Duration: varies Cost: please call or see web for info Notes: all musical styles; piano, Hammond B3, improvisation, music sequencing and music theory LEARNING ANNEX, THE Web: www.learningannex.com Program: A varied selection of classes and seminars on music songwriting, recording, marketing and the industry. Degree: certificates (optional) Cost: varies Notes: The Learning Annex remains the primary destination for online classes. Bringing the incredible experience of a live class straight into people’s homes since 1998, LearningAnnex.com has attracted millions of visitors looking for the best in adult education from the convenience of their own homes. In 2008, LearningAnnex.com was relaunched with hundreds of video and audio classes in 25 popular channels, available on demand to anyone with a computer around the world. As the industry leader for three decades, The Learning Annex is committed to impacting and improving the quality of people’s lives through powerful, practical, and insightful live and online classes, workshops, seminars, and expos. LMU EXTENSION (LOYOLA MARYMOUNT UNIVERSITY) 1 LMU Dr., Ste. 1840 Los Angeles, CA 90045 310-338-2700 Web: http://www.lmu.edu/academics/ extension/programs.htm Program: choir, world music ensemble Cost: please call or see web for info Notes: university enrollment not required LONG BEACH CITY COLLEGE 1305 E. Pacific Coast Hwy. Long Beach, CA 90806 562-938-4111 E-mail: See http://www.lbcc.edu/MRTV/ Contact.cfm Web: www.lbcc.edu Program: Commercial Music Program, Radio & TV Program Degree: A.A. and/or certificate Duration: 2 years Cost: please call or see web for info

LONG BEACH SCHOOL OF MUSIC 3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 562-627-0464 Web: www.longbeachschoolofmusic.com Contact: Mark Fitchett Program: All styles instruction in guitar, bass, woodwinds, drums, voice and keyboards Degree: NA Duration: varies Cost: please call or see web for info LOS ANGELES CITY COLLEGE 855 N. Vermont Ave. Los Angeles, CA 90029 Music Department 323-953-4000 Web: www.lacitycollege.edu Contact: Dan Wanner, Depart. Chair Program: Commercial and traditional music program to prepare students who wish to transfer to a 4-year university music program, or get their A.A. degree or commercial music certificate in vocal music, instrumental music, piano, orchestration/arranging and electronic music/MIDI. The certificate program is intended for those wishing to enter the recording or film industry. The A.A. degree is intended for students who wish to continue their education and seek a higher degree. Please visit www. lacitycollege.edu for more complete information. Degree: A.A. (Associate in Arts) or certificate in commercial vocal, instrumental, piano, orchestration/ arranging, electronic music/MIDI Duration: approx. 2 years Cost: visit www.lacitycollege.edu LOS ANGELES HARBOR COLLEGE 1111 Figueroa Pl. Wilmington, CA 90744 310-233-4000 Web: http://www.lahc.edu/classes/music/ index.html Contact: music department Program: traditional and commercial music courses offered including theory/ musicianship, MIDI/electronic music, songwriting, and instruments such as voice, guitar and keyboards Degree: A.A., commercial music certificates Duration: 16-week semesters Cost: please call or see web for info Notes: courses taught by instructors in the field who bring practical, contemporary information to the classroom; evening classes available. LOS ANGELES MUSIC ACADEMY COLLEGE OF MUSIC 370 S. Fair Oaks Ave. Pasadena, CA 91105 626-568-8850, 800-960-4715 E-mail: info@lama.edu Web: www.lama.edu Program: intense 1.5 and 1 year programs individualized for drums, guitar, bass, vocal and music production disciplines, professional level Duration: 1.5 and 1 year programs Degree: Associate of Arts Degree in Music Performance or Music Production after 1.5 years or Diploma after 1 year Cost: please call or see web for info Notes: fully accredited, financial aid available, emphasis on contemporary music production and performance with daily ensemble workshops, students accompanied by hired professional musicians in an intimate environment LOS ANGELES MUSIC & ART SCHOOL 3630 E. Third St. Los Angeles, CA 90063 323-262-7734 E-mail: stayintune@lamusart.org Web: www.lamusart.org Contact: Admissions Program: Individual instruction offered in

www.musicconnection.com/amp piano, guitar, violin, woodwinds, drums and voice. Degree: NA Duration: varies Cost: please call or see web for info Notes: a private, non-profit school; voice lessons taught in English and Spanish; financial aid available LOS ANGELES RECORDING SCHOOL 6690 W. Sunset Blvd. Hollywood, CA 90028 888-688-5277, 323-464-5200 E-mail: info@larecordingschool.com Web: www.recordingcareer.com Program: Covers all phases of recording, music and post-production. From cutting edge digital systems to large format mixing consoles like SSL and Neve, their 19 hands-on computer and console labs feature Digidesign’s Pro Tools systems, allowing students to mix and record in the program’s first months. In addition to featuring state-ofthe-art Pro Tools systems in their labs, The Los Angeles Recording School has established a program that allows their students to take training even further with their Pro Tools certification program. Its faculty of professional recording engineers teaches a full range of audio engineering and music production skills such as: recording, mixing and optimizing audio for music, movies, television, computer games and the internet. Degree: Certificate in Recording Engineering Duration: call for info Cost: please call or see web Notes: Financial aid is available to those who qualify. LOS ANGELES VALLEY COLLEGE 5800 Fulton Ave. Van Nuys, CA 91401 818-947-2346, 818-947-2600 E-mail: music@lavc.edu Web: http://www.lavc.edu/music Contact: Music department Program: curriculum is geared toward instrument instruction and performance, with school performance opportunities and a varied course selection available Degree: A.A. Duration: approx. 2 years Cost: please call for tuition and fee information Notes: weekend/evening music classes offered through Community Services program LOS MEDANOS COLLEGE Recording Arts 2700 E. Leland Rd. Pittsburg, CA 94565 925-439-2181 Web: http://www.losmedanos.edu/ recarts/default.asp Programs: Degrees/Certificate(s) offered: AA, College Skills Certificate, Certificate of Achievement LOYOLA MARYMOUNT UNIVERSITY 1 LMU Dr., MS-8347 Los Angeles, CA 90045-2659 800-568-4636, 310-338-2700 Web: www.lmu.edu Contact: Department of Music Program: classical guitar, piano, voice, strings, percussion, world music ensemble, opera, chorus, music history, theory and composition, ethnomusicology, and instrumental and choral conducting. Degree: B.A. Duration: approx. 4 years Cost: please call for tuition information Notes: The purpose of the Department of Music is to provide quality music instruction for students who wish to enrich their lives through non-career oriented study and/or performance and for those who wish to pursue music as a career. The department is committed to conduction and promoting scholarly research and creative musical inquiry

and activity. Through the presentation of diverse musical programs, the department contributes to the educational and cultural vitality of the University and community. MEDIATECH INSTITUTE 302 Oceanside Blvd. Oceanside, CA 92054 760-231-5368, 866-498-1122 E-mail: matthew@mediatech.edu Web: www.mediatech.edu Program: Recording Arts, Digital Film & Video Arts. Locations in Dallas, Austin, Houston, Texas MIRACOSTA COLLEGE 1 Barnard Dr. (Building 2200) Oceanside, CA 92056 760-757-2121 ext. 6679, 888-201-8480 Contact: Matt Falker, Department Chair E-mail: music@miracosta.edu Web: www.miracosta.edu Cost: please call or see web for info MOREY’S MUSIC STORE INC. 4834 Woodruff Ave. Lakewood, CA 90713 562-420-9532 E-mail: info@moreysmusic.com Web: www.moreysmusic.com Program: instruction in guitar, saxophone, flute, violin, clarinet, cello, piano Degree: NA Duration: varies Cost: please call or see web for info MUSIC 4 LIFE N. Hollywood, CA 91606 818-487-0608 E-mail: feef@littlefriendmpg.com Web: www.littlefriendmpg.com Contact: Feef Mooney Program: Beginning piano, beginning bass, guitar (electric, beginning classical, rock, folk, blues), voice (“Freeing the Natural Voice”) special programs: Climbing out of a Musical Guitar Rut; Intensive One-on-One Guitar Boot Camp; Bootcamp for Frustrated Songwriters; Musical Career Coaching. Degree: non-degree, prep for entry music exams to Musician’s Institute, Berklee, etc. avail. Duration: sessions range from 1/2 hour to 2 hours, depending on client’s needs Cost: please call or see web for info MUSIC EDUCATION CENTER, THE 9555 Pico Blvd. Los Angeles, CA 90035 310-284-6633 Basic Rate: please call for info Clients: beginner to intermediate MUSICIANS INSTITUTE (MI) 6752 Hollywood Blvd, Hollywood, CA 90028 800-255-7529, 323-462-1384 Web: www.mi.edu Program: fully-accredited degree and certificate programs in guitar, bass, drums, keyboards, vocals, audio engineering, music business, music video/film & television, and guitar craft Degree: instrument certificate, specialized certificate, Associate of Arts, B.M. & encore Duration: instrument certificate Program: 12- and 18-month options, specialized certificate Program: six- to nine-month courses in career specialties including: audio engineering, independent artist development, music business, guitar craft, music video/film & television, Bachelor of Music degrees (bass, guitar, drums, keyboards and vocals): 4 years; Associate of Arts degree (bass, guitar, drums, keyboards and vocals: 2 years; Encore Programs (bass, guitar, drum set, keyboards and vocals): 10 weeks; Encore Express 5-week, fulltime (15 units) or 10-week, part-time (7

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Download This Directory From Our Website units); Extension – individual 10-week courses; Summer Shot – one-week courses Cost: please call or see web for info Notes: MI offers a wide range of educational options for contemporary musicians, all designed and taught by professionals who show you first-hand what a music career is all about. At MI, students learn how the contemporary music industry works from the inside, on the performing stage, in the recording studio and behind the scenes. OCCIDENTAL COLLEGE 1600 Campus Rd. Los Angeles, CA 90041 323-259-2500 Web: http://www.oxy.edu Program: A program offering classes in music studies and instrument instruction. Emphasis in instrument and vocal composition, conducting, history and theory. Majors and minors offered. Degree: B.A. Duration: approx. 4 years Cost: please call or see web for info PASADENA CITY COLLEGE 1570 E. Colorado Blvd. Pasadena, CA 91106 626-585-7198 Web: www.pasadena.edu Program: a program with classes in music studies, vocal, and instrument instruction. Degree: A.A. Duration: Approx. 2 years Cost: please call or see web for info Notes: evening classes available PENINSULA SCHOOL OF MUSIC 1712 Pacific Coast Highway South Redondo, CA 310-918-0439 Web: www.pvpeninsulamusic.com Contact: Mark Fitchett Program: All styles instruction in guitar, bass, drums, voice, woodwinds, brass and keyboards. Degree: NA Duration: varies Cost: please call or see web for info Additional locations: 3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 565-627-0464 PEPPERDINE UNIVERSITY Fine Arts Division - Music 24255 Pacific Coast Hwy. Malibu, CA 90263 310-506-4000 E-mail: admission-seaver@pepperdine.edu Web: www.seaver.pepperdine.edu/music Contact: Tony Cason, Director, University Orchestra & Wind Ensemble Program: undergraduate music curriculum with emphases in: Applied (instrumental/vocal performance), music education and composition. Special programs incl. the Flora L. Thornton Opera Program and the Heidelberg Summer Music Program. Performing ensembles: orchestra, wind ensemble, jazz band, chamber ensembles, choir, opera & musical prod., and pep band. Degree: B.A. Duration: approx. 4 years Notes: Please see website for deadline dates to apply PINNACLE COLLEGE 1000 S. Fremont Ave. Bldg. A-11, Ste. 11010 Alhambra, CA 91803 877-206-6206 Web: www.pinnaclecollege.edu Program: recording eng. cert. program Degree: certificate Duration: approx. 9 months Cost: please call or see web for info Notes: fully accredited school, offering

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training in recording engineering, MIDI, technical maintenance, audio/ video post production, mastering and synchronization. Just added Audio Gaming course that is an 18-month degree program. Additional location: 11050 White Rock Rd., #105 Rancho Cordova, CA 916-366-3431 PYRAMIND 880-832 Folsom St. San Francisco, CA 94107 415-896-9800, 888-378-MIND E-mail: production@pyramind.com Web: www.pyramind.com RECORDING ARTS CENTER, THE 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-0556 Fax 858-592-9580 Contact: Amy Ziegelman Web: www.tracsd.com Cost: varies by class Programs: Pro Tools Operator Certification, Pro Tools Expert Certification, Music Creation, Audio Production, ICON Mixer Certification, Avid Media Composer. Degree: Associate Degree in Recording Arts Duration: varies by program RECORDING CONNECTION AUDIO INSTITUTE 1201 W. 5th St., Ste. M130 Los Angeles, CA 90017 323-329-9610, 800-755-7597 E-mail: recording@rrfedu.com Web: www.recordingconnection.com Notes: check website for locations REDONDO BEACH GUITAR SCHOOL 1712 S. Pacific Coast Hwy. Redondo Beach, CA 90277 310-540-6767 E-mail: mrfrets@aol.com Web: www.theguitarschool.com Contact: Mark Fitchett Program: All styles instruction in guitar, bass, and keyboards Degree: NA Duration: varies ROCK NATION 30125 Agoura Rd., Ste. E-G Agoura Hills, CA 91301 818-706-2326, 1-888-RCK-NATN E-mail: info@rocknationschool.com Web: www.rocknationschool.com Programs: Project Rock Star, Lesson Only Program, Adult Shredder Program, Grass Root Fan-building Program, Artist Development Program, Recording Arts, Summer Tour Program, Summer Jam Camp, Annual Concert Full Access Pass. Additional locations: 177 Reino Road Newbury Park, CA 91320 10946 Ventura Blvd. Studio City, CA 818-980-0018 SAE INSTITUTE OF TECHNOLOGY 6565 W. Sunset Blvd., Ste. 100 Los Angeles, CA 90028 323-466-6323 E-mail: losangeles@sae.edu Web: http://www.sae-la.com Program: Audio Technology Program (Diploma); Electronic Music Producer (Certificate) Degree: NA Duration: 9 months full-time, 18 months part-time (Audio), 6 months part-time (Electronic Music) Cost: Call for more info Notes: SAE Institute was founded

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www.musicconnection.com/amp internationally in 1976 and has since grown to almost 50 locations worldwide. Courses focus on hands-on training to prepare graduates for a career in the audio industry. Additional locations: SAE INSTITUTE OF TECHNOLOGY ATLANTA 215 Peachtree St. Ste. 300 Atlanta, GA 30303 404-526-9366 Fax 404-526-9367 E-mail: atlanta@sae.edu Web: www.atlanta.sae.edu SAE INSTITUTE OF TECHNOLOGY MIAMI 16051 W. Dixie Hwy. Ste. 200 N, Miami Beach, FL 33160 305-944 7494 Fax 305-944 6659 E-mail: miami@sae.edu Web: www.miami.sae.edu SAE INSTITUTE OF TECHNOLOGY NASHVILLE 7 Music Circle N. Nashville, TN 37203 615-244-5848 615-244-3192 E-mail: nashville@sae.edu Web: www.nashville.sae.edu SAE INSTITUTE OF TECHNOLOGY NEW YORK 1293 Broadway 9th Fl. New York, NY 10001 212-944-9121 Fax 212-944-9123 E-mail: newyork@sae.edu Web: www.newyork.sae.edu SAE INSTITUTE OF TECHNOLOGY SAN FRANCISCO 450 Bryant St San Francisco, CA 94107 415-344-0886 Fax 415-344-0237 E-mail: sanfrancisco@sae.edu Web: www.sanfrancisco.sae.edu SAN FRANCISCO CONSERVATORY OF MUSIC 50 Oak St. San Francisco, CA 94102-6011 415-864-7326 Fax 415-503-6299 Contact: Melissa Cocco-Mitten, Dir. of Admission E-mail: mcocco@sfcm.edu Web: www.sfcm.edu Cost: please call or see web for info SANTA MONICA COLLEGE 1900 Pico Blvd. Santa Monica, CA 90405 310-434-4323 E-mail: martin_James@smc.edu Web: www.smc.edu Contact: Dr. James Martin, Dept. Chair Program: courses taught in songwriting, theory, voice, and ear-training, as well as instrument instruction classes. Degree: A.A. Duration: approx. 2 years Cost: please call or see web for info Notes: extension/evening classes available SANTA MONICA MUSIC CENTER 1901 Santa Monica Blvd. Santa Monica, CA 90404 310-453-1928 Web: www.santamonicamusic.com Contact: School Coordinator Basic Rate: please call for info Clients: all levels SCHOOL OF ROCK MUSIC 12020 Wilshire Blvd. W. Los Angeles, CA 90025 424-256-0611 Web: http://westla.schoolofrock.com Program: School of Rock Music is the original performance-based, interactive music school founded in 1998 in Philadelphia. Our goals at the Paul Green School Of Rock Music are: to help our students realize their potential

as artists, to put them on stage in front of as many people as possible, and to help foster a new generation of incredible musicians. Cost: please call for info Notes: Schools all across the country, check website for additional locations SHEPHERD UNIVERSITY SCHOOL OF MUSIC 3200 N. San Fernando Rd. Los Angeles, CA 90065 323-550-888 Fax 323-550-1313 E-mail: info@cornelsu.com Web: wwwsepherduniversity.edu Contact: Atsuki Inoue Program: Contemporary Performance, Contemporary Composition, Film Scoring, Music Production Degree: Bachelor of Music (B.M.), Master of Music (M.M.) Duration: 4 years for B.M., 2 years for graduate M.M. degree Cost: please call or see web for info SILVERLAKE CONSERVATORY OF MUSIC 3920 Sunset Blvd. Los Angeles, CA 90029 323-665-3363 E-mail: keithbarry@ silverlakeconservatory.com Web: www.silverlakeconservatory.com Contact: Keith Barry, Dean & Co-Founder Cost: please call or see web for info SOUTHERN CALIFORNIA CONSERVATORY OF MUSIC 22276 Roscoe Blvd. West Hills, CA 91304 818-704-3819 E-mail: info@sccmusic.com Web: www.sccm.us Contacts: Grant Horrocks, Academic Dir. Programs: Introductory, Preparatory; Conservatory, Adult Studies, Braille Music Cost: please call or see web for info Notes: SCCM Braille Music Division is the headquarters for Music Education Network for The Visually Impaired (MENVI) - an international coalition of parents, students, and educators. UCLA EXTENSION ENTERTAINMENT STUDIES AND PERFORMING ARTS 10995 Le Conte Ave. Los Angeles, CA 90024 310-825-9971 or 818-784-7006 Web: http://uclaextension.edu/ entertainmentstudies Program: UCLA Extension’s Department of Entertainment Studies and Performing Arts is an internationally acclaimed program, providing practical training and instruction in all aspects of the entertainment industry. Students can enroll in individual courses or a comprehensive certificate program in the film scoring, the music business, songwriting, recording engineering, and music technology and production. Our course of study directly addresses the competitive demands of today’s industry and prepares professionals with a broad, in-depth background to meet the challenges of the entertainment industry. Degree: Certificates in Film Scoring and Music Business Duration: Approximately 1-3 years Cost: varies depending on courses, call for more info Notes: This program is open to everyone and does not require university enrollment. It offers fundamental to advanced training, current music industry information, and prominent industry professionals as instructors and speakers. UNIVERSITY OF CALIFORNIA, BERKELEY 104 Morrison Hall #1200 Berkeley, CA 94720-1200


Download This Directory From Our Website 510-642-2678 Fax 510-642-8480 E-mail: music@berkeley.edu Web: http://music.berkeley.edu Contact: Benjamin Brinner Degree: B.A., M.A./Ph.D, and Ph.D Cost: please call or see web for info UNIVERSITY OF CALIFORNIA, LOS ANGELES (UCLA) 2539 Schoenberg Hall Box 951616 Los Angeles, CA 90095-1616 310-825-4761 E-mail: m.dean@arts.ucla.edu Web: www.music.ucla.edu Program: A performance-based university music program at the undergraduate level. Graduate level includes performance and composition. Related departments: Ethnomusicology (B.A., M.A., Ph.D.) and Music History/ Musicology (B.A., M.A., Ph.D.). Degree: B.A., M.A., Ph.D, M.M., D.M.A. Duration: varies Cost: call for info, see www.registrar. ucla.edu Notes: The UCLA Department of Music admits new students in the Fall Quarter only. The UC application filing period is Nov. 1st – 30th for enrollment in September of the following year. Applicants must first apply for admission at the freshman level from high school or transfer from another college or university, and must meet all minimum academic eligibility requirements for admission to the University of California either as a freshman or transfer student. Please note that only applicants who have indicated Music as their first choice major to UCLA on the general UC application, will be considered for admission to the program. Students interested in Jazz Studies or World Music should apply to the UCLA Department of Ethnomusicology USC THORNTON SCHOOL OF MUSIC Los Angeles, CA 90089 213-740-6935 E-mail: musicdean@thornton.usc.edu Web: www.usc.edu/music Contact: music admissions Program: A large department with a wide variety of undergraduate and graduate programs in performance, composition, education, and music industry. Degree: B.M., B.A., B.S, M.M., D.M.A., Ph.D., M.A., Graduate Certificate. Duration: varies Cost: please call or see web for info Notes: Virtually all programs require a performance audition in order to be considered for admission. VALDEZ GUITAR SHOP 7420 W. Sunset Blvd. Los Angeles, CA 323-874-9998 Program: all styles of guitar, one-on-one instruction Duration: varies Cost: please call for info VIDEO SYMPHONY TV & Film Post-Production Institute 266 E. Magnolia Blvd. Burbank, CA 91502 818-557-7200, 800-871-2843 Web: www.videosymphony.com Program: Avid TV film editing, new media production, graphics & animation, Pro Tools audio engineering Notes: Pro Tools Career Program students also gain valuable real-life experience by working on selected projects such as independent features, documentaries and concert videos. WALDEN SCHOOL, THE 31-A 29th St. San Francisco, CA 94110 415-648-4710 E-mail: info@waldenschool.org

Web: www.waldenschool.org Cost: please call or see web for info Additional location: Summer Address P.O. Box 432 Dublin, NH 03444 603-563-8212 WEST L.A. COLLEGE 9000 Overland Ave. Culver City, CA 90230-3519 310-287-4200 Web: www.wlac.edu Contact: music dept. administration Program: courses in instrument instruction and music studies. piano, voice, music appreciation and fundamentals and jazz band Degree: A.A. Duration: approx. 2 years Cost: please call or see web for info Notes: evening classes are available WEST VALLEY COLLEGE 14000 Fruitvale Ave. Saratoga, CA 95070 408-867-2200 Web: http://www.westvalley.edu/ academics/fine_arts/music WHITE HALL ARTS ACADEMY 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665 Fax 323-372-3731 E-mail: mail@whitehallacademy.org Web: www.whitehallacademy.org, facebook.com/whitehallartsacademy Contact: any customer service rep. Program: private one-on-one lessons in voice, piano, strings, guitar, woodwind, as well as group classes in guitar, acting and dance. Duration: Private 30/45/60 minute; Group 60 minute Cost: Private ($120/160/200 monthly); Group ($40 monthly) WOMEN’S AUDIO MISSION 1890 Bryant St., Ste. 312 San Francisco, CA 94110 415-558-9200 Web: www.womensaudiomission.org Program: Women’s Audio Mission (WAM) is a San Francisco-based nonprofit organization that is dedicated to the advancement of women in music production and the recording arts, a field in which women are critically underrepresented (less than 5%). Classes in Audio & Recording Technology. WOODWIND INSTITUTE 1855 Sunset Plaza Dr. Los Angeles, CA 90069 310-360-0010 E-mail: seldenmusic@mac.com Contact: Fred Selden Program: individual lesson with professional woodwind musicians Duration: varies Degree: Masters & DMA in Music Cost: please call or email for information ZION MUSIC ACADEMY OF MUSIC 7475 Murray Dr., Ste. 11 Stockton, CA 95219 209-774-0819 E-mail: info@thezionacademyofmusic.org Web: www.thezionacademyofmusic.org Program: Instruction for children and adults in piano, organ, flute, clarinet, voice, harp Degree: certificate Duration: varies Cost: please call for info Notes: special program available for persons with developmental disabilities.

Colorado

ASPEN MUSIC FESTIVAL AND SCHOOL 225 Music School Rd.

www.musicconnection.com/amp Aspen, CO 81611 970-925-3254 Web: www.aspenmusicfestival.com Cost: please call or see web for info BROADWAY MUSIC SCHOOL 1940 S. Broadway Denver, CO 303-777-0833 E-mail: info@broadwaymusicschool.com Web: www.broadwaymusicschool.com Cost: please call or see web for info Services: quality private music instruction in all instruments and voice, rock, jazz and classical ensembles for youths and adults, music theory classes and more. COLORADO CHRISTIAN UNIVERSITY School of Music 8787 W. Alameda Ave. Lakewood, CO 80226 800-44-FAITH, 303-963-3000 E-mail: music@ccu.edu Web: www.ccu.edu/music Program: The School of Music at Colorado Christian University currently offers four emphases in Music – performance, education, worship arts, and sound recording technology; as well as 18 hours of coursework available in Theatre, including three main stage productions annually. DENVER MUSIC INSTITUTE 4195 S. Broadway Englewood, CO 80113 303-788-0303 E-mail: denvermusicinstitute@msn.com Web: www.denvermusicinstitute.com Cost: please call or see web for info LAMONT SCHOOL OF MUSIC 2344 E. Iliff Ave. Denver, CO 80208 303-871-6400 Fax 303-871-3118 Web: www.du.edu/lamont Cost: please call or see web for info SWALLOW HILL MUSIC ASSOCIATION 71 East Yale Ave. Denver, CO 80210 303-777-1003 E-mail: kbailey@swallowhillmusic.org Web: www.swallowhillmusic.org Cost: please call or see web for info UNIVERSITY OF COLORADO DENVER College of Arts & Media Campus Box 162 P.O. Box 173364 Denver, CO 80217 303-556-2279 E-mail: start@ucdenver.edu Web: http://www.camarts.org/#explore/ by-departments THE CONNECTICUT SCHOOL OF MUSIC 1242 Post Rd. E. Westport, CT 06880-5427 203-226-0805 E-mail: info@ctschoolofmusic.com Web: www.ctschoolofmusic.com Program: The Connecticut School of Music offers half hour, 45 minute, or hourlong lessons as well as every-other-week lessons, and 5 or 10 lesson packages for adults. We also provide group lessons and ensemble lessons. Cost: please call or see web for info Additional locations: 299 Greenwich Ave. 3rd Fl. Greenwich, CT 06830 203-302-9968 144 Riverside Blvd. at Trump Place New York, NY 10069 THE HARTFORD SCHOOL OF MUSIC 200 Bloomfield Ave. West Hartford, CT 06117-1599 860-768-4454

May 2013

Web: http://harttweb.hartford.edu Program: Bachelor of Music, Bachelor of Arts, Bachelor of Fine Arts UNIVERSITY OF NEW HAVEN Department of Music 300 Boston Post Rd. West Haven, CT 06516 1-800-342-5864, 203-932-7101 x 7101 Web: http://newhaven.edu YALE UNIVERSITY Department of Music P.O. BOX 208310 New Haven, CT 06520-8310 203-432-4155 Contact: Lily Sutton, Dir. of Admissions E-mail: lily.sutton@yale.edu Web: http://music.yale.edu

District of Columbia (D.C.)

LEVINE SCHOOL OF MUSIC Main Campus Sallie Mae Hall 2801 Upton St., N.W. Washington, DC 2008 202-686-8000 Contact: Sarah Andrew Wilson, Assist. Dir. of Music Education E-mail: swilson@levineschool.org Web: www.levineschool.org Cost: please call or see web for info Notes: Levine School of Music, the Washington DC region’s preeminent center for music education, is a welcoming community where children and adults find lifelong inspiration and joy through learning, performing, listening to, and participating with others in music. Additional locations: Westover Baptist Church 1125 N. Patrick Henry Dr. Arlington, VA 22205 703-237-5644 E-mail: LevineVirginia@levineschool.org The Music Center at Strathmore 5301 Tuckerman Ln. North Bethesda, MD 20852 301-897-5100 E-mail: levinemaryland@levineschool.org

Florida

CENTER FOR PRO TOOLS 658 Douglas Ave. Ste. 1118 Altamonte Springs, FL 32714 407-960-2855 E-mail: info@centerprotools.com Web: www.centerforprotools.com Program: ProTools Certification FROST SCHOOL OF MUSIC University of Miami P.O. Box 248165 Coral Gables, FL 33124 305-284-2241 E-mail: admission.music@miami.edu Web: www.music.miami.edu Program: Performance, Studio Music and Jazz, Music Education, Music Therapy, Music Business and Entertainment Industry, Music Theory, Music Engineering Technology, Media Writing and Production Degree: B.M., B.A., B.S., M.M., D.M.A, Ph.D, A.D., Specialist Duration: 4 years FSU COLLEGE OF MUSIC Florida State University 122 N Copeland St. Tallahassee, FL 32306-1180 850-644-6102, 407-679-6333 E-mail: musicadmissions@fsu.edu Web: www.music.fsu.edu Cost: please call or see web for info FULL SAIL 3300 University Blvd. Winter Park, FL 32792 800-226-7625 407-679-6333 Web: www.fullsail.com Program: Full Sail offers degrees

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Download This Directory From Our Website in Recording Arts, Show Production & Touring, Music Business, and Entertainment Business. Students learn music production, mixing, recording, live sound and event production. Online Education. Duration: 12 - 21 months depending on degree program Cost: please call or see web for info Notes: Full Sail’s other degree programs include Computer Animation, Digital Arts & Design, Film, Game Development and Graphic Design. PLAYERS SCHOOL OF MUSIC, THE 923 McMullen Booth Rd. Clearwater, FL 33759 Phone: 800-724-4242 Web: www.playerschool.com Contact: Jeff Berlin Program: guitar, drums, bass, keyboards Degree: None Duration: 1 Week, 4 Week, 10 Week, 1 Year, 2 Year Cost: Call for more info UNITY GAIN RECORDING SCHOOL 1953 Ricardo Ave. Fort Myers, FL 33901 239-332-4246 Web: www.unitygain.com Program: Unity Gain Recording Institute offers two, one year programs to teach the art of professional multi track recording: The Audio Recording Comprehensive Program and Advanced Techniques In Audio Recording.

Georgia

THE ART INSTITUTE OF ATLANTA 6600 Peachtree Dunwoody Rd. N.E. 100 Embassy Row Atlanta, GA 30328 770-394-8300, 800-275-4242 Web: http://www.artinstitutes.edu/atlanta GEORGIA ACADEMY OF MUSIC 1424 W. Paces Ferry Rd. N.W. Atlanta, GA 30327 404-355-3451 E-mail: info@gaom.us Web: www.gaom.us Cost: please call or see web for info GEORGIA STATE UNIVERSITY School of Music P.O. Box 4097 Atlanta, GA 30302 404-413-5900 E-mail: music@gsu.edu Web: http://www.music.gsu.edu MUSIC CLASS, THE 1875 Old Alabama Rd., Ste. 815 Roswell, GA 30076 770-645-5578 E-mail: admin@themusicclass.com Web: www.themusicclass.com Cost: please call or see web for info Notes: Centers throughout the United States and Canada SANDY SPRINGS MUSIC 5920 Roswell Rd., Ste. D-201 Atlanta, GA 30328 404-250-0406 E-mail: info@sandyspringsmusic.com Web: www.sandyspringsmusic.com Basic Rate: please call for info STUDIO DIONNE, SCHOOL OF DANCE AND MUSIC 524 Plasters Ave. Atlanta, GA 30324 404-877-0005 E-mail: info@studiodionne.com Web: www.studiodionne.com Cost: please call or see web for info

Hawaii

UNIVERSITY OF HAWAII AT MANOA Music Department 2411 Dole St. Honolulu, HI 96822 808-956-7756

62 May 2013

E-mail: uhmmusic@hawaii.edu Web: www.hawaii.edu/uhmmusic/index.htm Cost: please call for info KAILUA MUSIC SCHOOL 131 Hekilil St., #209 Kailua, HI 96734 808-261-6141 E-mail: info@kailuamusicschool.com Web: www.kailuamusicschool.com Cost: please call for info Notes: At Kailua Music School we believe the enjoyment of music, the knowledge of music, and the development of skills in creating and performing music enhances the quality of life and nourishes the human spirit. We provide the highest quality music education for all ages and levels. KE KULA MELE HAWAI’I Alan Akaka School of Hawaiian Music 1296 Auwaiku St. Kailua, HI 86734 808-375-9379 E-mail: info@KeKulaMele.com Web: www.kekulamele.com Cost: please call for info Notes: “Ke Kula Mele” provides a special environment where anyone (children through adults) who want to learn to play ‘ukulele, steel guitar, upright Hawaiian bass, and guitar are most welcome to pursue their dreams of playing an instrument and learning to sing Hawaiian songs. Music so enriches the lives of our students, young and old alike, regardless of their initial skill level. Everyone experiences a fun and positive learning environment.

Illinois

AMERICAN MUSIC INSTITUTE 60 55th St. Clarendon Hills, IL 60514 630-850-8505 E-mail: AMI@amimusic.org Web: www.amimusic.org Cost: please see web for info Additional location: 307 Cedar Ave. St. Charles, IL 60174 CENTER SCHOOL OF MUSIC 900 N. Franklin St. Chicago, IL 60610 312-416-0622 Web: www.centerschoolofmusic.com Basic Rate: please call for info COLUMBIA COLLEGE CHICAGO 600 S. Michigan Ave. Chicago, IL 60605 312-369-1000 E-mail: admissions@colum.edu Web: www.colum.edu Contact: music@colum.edu Program: B.A. degrees in Composition; Instrumental Performance; Vocal Performance: Jazz Studies: Instrumental; Jazz Studies: Vocal. BMus degrees in Composition; Contemporary, Urban and Popular Music. M.F.A. degree in Music Composition for the Screen. Degree: Undergraduate and Graduate degrees DEPAUL UNIVERSITY School of Music 804 West Belden Ave. Chicago, IL 60614-3296 773-325-7444 E-mail: musicadmissions@depaul.edu Web: http://music.depaul.edu ELMHURST COLLEGE Department of Music Irion Hall 190 Prospect Ave.

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www.musicconnection.com/amp Elmhurst, IL 60126 630-617-3647 Contact: Dr. Peter Griffin, Department Chair E-mail: griffinp@elmhurst.edu Web: http://public.elmhurst.edu/music MERIT SCHOOL OF MUSIC Joy Faith Knapp Music Center 38 South Peoria St. Chicago, IL 60607 312-786-9428 E-mail: bomalley@meritmusic.org Web: www.meritmusic.org Cost: please call or see web for info MILLIKIN UNIVERSITY School of Music 1184 W. Main St. Decautur, IL 62522 217-424-3934, 800-373-7733 E-mail: nfreeman@millikin.edu Web: www.millikin.edu/music MUSICAL EXPRESSIONS OF ILLINOIS, LLC 190 E. 5th Ave. Naperville, IL 60563 630-355-1110 Web: www.musicalexpressions.net Basic Rate: please call for info MUSIC INSTITUTE OF CHICAGO 517 Green Bay Road Wilmette, IL 60091 847-905-1500 ext. 180 Web: www.musicinstituteofchicago.org Basic Rate: please call for info Notes: locations in Evanston, Lake Forest, Downers Grove, Highland Park, Lincolnshire, Northbrook NORTHWESTERN UNIVERSITY SCHOOL OF MUSIC Henry and Leigh Bienen School of Music 711 Elgin Rd. Evanston, IL 60208-1200 847-491-7575 E-mail: misiclife@northwestern.edu Web: www.music.northwestern.edu Cost: please call or see web for info SOUTHERN ILLINOIS UNIVERSITY CARBONDALE Department of Radio-Television Communications Bldg. Room 1048 Mail code 6609 1100 Lincoln Dr. Carbondale, IL 62901 618-536-7555 E-mail: jeank@siu.edu Web: http://rtv.siu.edu TRIBECA FLASHPOINT ACADEMY 28 North Clark St. Ste. 500 Chicago, IL 60602 312-332-0707 E-mail: info@TFA.edu Web: www.tfa.edu Program: Founded in 2007 and accredited by ACICS in 2011, Tribeca Flashpoint Media Arts Academy in the heart of downtown Chicago provides a two-year, career-focused alternative to traditional four-year media arts colleges.

Indiana

BALL STATE UNIVERSITY School of Music 2000 W. University Ave. Hargreaves Music Building (MU) 203 Muncie, IN 47306 800-382-8540, 765-289-1241 Contact: John Scheib, Director E-mail: jwscheib@bsu.edu Web: www.bsu.edu/music BUTLER UNIVERSITY School of Music Lily Hall, Room 229 4600 Sunset Ave. Indianapolis, IN 46208 800-368-6852, 317-940-9246

Contact: Joy L. Rogers E-mail: jlroger1@butler.edu Web: butler.edu/music/ INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC 1201 E. Third St. Merrill Hall 101 Bloomington, IN 47405-2200 812-855-7998 E-mail: musicadm@indiana.edu Web: www.music.indiana.edu Cost: please call or see web for info INDIANA STATE UNIVERSITY SCHOOL OF MUSIC 300 N. 7th St. Terre Haute, IN 47809 812-237-2771 E-mail: isu-music@mall.indstate.edu Web: www.indstate.edu/music Cost: please call or see web for info

Kansas

THE INSTITUTE OF AUDIO ENGINEERING ARTS 1933 N. 10th St. Kansas City, KS 66104 913-621-2300 Web: www.recordingeducation.com Cost: please call or see web for info

Louisiana

ANDY HYMEL SCHOOL OF MUSIC 1800 Stumpf Blvd., Unit 2 Terrytown, LA 70056 504-362-1212 E-mail: AndyHymelSchool@bellsouth.net Web: www.andyhymelschoolofmusic.com Basic Rate: please call for info COVINGTON SCHOOL OF MUSIC 857 N. Collins Blvd. Ste. A Covington, LA 70433 985-590-4545 Web: www.laapa.com Cost: please call or see web for info Additional locations: MANDEVILLE SCHOOL OF MUSIC 316 Girod St. Mandeville, LA 70448 985-674-2992 RIVER RIDEGE SCHOOL OF MUSIC & DANCE 2020 Dickory Ave., Ste 200 Harahan, LA 70123 504-738-3050 METAIRIE SCHOOL OF MUSIC 901 Veterans Memorial Blvd. Metairie, LA 70005 504-837-7731 Contact: Vicki Genova, Owner E-mail: vicki@metairiemusic.com Web: http://www.metairieschool ofmusic.com Basic Rate: $70/month Services: guitar, bass, vocals, piano, drums

Maine

THE MUSIC CENTER 149 Maine St. Tontine Mall Brunswick, ME 04011 207-725-6161 E-mail: sales@themusiccenter.net Web: www.themusiccenter.net Cost: please call or see web for info NEW ENGLAND SCHOOL OF COMMUNICATIONS 1 College Cir. Bangor, ME 04401 888-877-1876 Web: www.nescom.edu Program: Bachelor of Science Degree in Communications Technology, Media Studies, Entertainment Production PORTLAND CONSERVATORY OF MUSIC 202 Woodford St.


Download This Directory From Our Website Portland, ME 04103 207-775-3356 Contact: Stephen Shiman, Exec. Dir. E-mail: stephenshiman@gmail.com Web: www.portlandconservatory.net Cost: please call or see web for info

audition for the applied faculty and an interview with the Music Education faculty. Graduates of the program will be certified to teach music K-12 in the state of Maryland and in all other states with which Maryland shares reciprocity.

RIVER TREE ARTS 35 Western Ave. Kennebunk, ME 04043 207-967-9120 E-mail: info@rivertreearts.org Web: www.rivertreearts.org Cost: please call or see web for info

THE SHEFFIELD INSTITUTE FOR THE RECORDING ARTS 13816 Sunnybrook Rd. Phoenix, MD 21131 800-355-6613 E-mail: info@sheffieldav.com Web: sheffieldav.com Program: Audioworks, Videoworks, Techworks, Broadcasting

UNIVERSITY OF SOUTHERN MAINE P.O. BOX 9300 Portland, ME 04104 800-800-4USM Web: www.usm.maine.edu/music Cost: please call or see web for info

Maryland

MUSIC & ARTS CENTERS Westview Village Shopping Center 5010 Buckeystown Pike, Ste. 128 Frederick, MD 21704-8340 888-731-5396, 301-694-0007 E-mail: info@musicarts.com Web: www.musicarts.com Note: Music & Arts has served students, teachers, and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its offerings to the beginning and student musician. Music & Arts now has over 100 retail locations in 19 states. OMEGA STUDIOS 5609 Fishers Ln. Rockville, MD 20852 301-230-9100, 800-93-OMEGA E-mail: info@omegastudios.com Web: www.omegastudios.com Contact: Shannon Follin Certification Program Duration: Day Students: 10 Months Night Students: 12 Months Programs: The Comprehensive Recording Industry Program, The Audio Engineering for the Music Industry Program, The Audio Engineering for Film and Television Program, The Recording Engineering and Studio Techniques Program, The Electronic Music Synthesizers and MIDI Program, The Sound Reinforcement for Live Performance Program, The Audio Production Techniques Program and The Essentials of Music Business and Artist Management Program. PEABODY INSTITUTE Johns Hopkins University 1 E. Mount Vernon Pl. Baltimore, MD 21202 410-234-4500 E-mail: peabodycommunications@jhu. edu Web: www.peabody.jhu.edu Program: Music Education Degrees: Bachelor of Music in Music Education, Master of Music in Music Education Duration: The B.M. program is four-year undergraduate program. Orchestral instrument music education students also qualify for the Performer’s Certificate in their performance major area. Coursework for the Performer’s Certificate requires additional study beyond the four-year degree for voice majors. Cost: NA Notes: The proficiency level in the major instrument or voice for Music Education undergraduates is the same as for performance majors. The application process includes a performance

UNIVERSITY OF MARYLAND SCHOOL OF MUSIC 2110 Clarice Smith Performing Arts Center College Park, MD 20742 301-405.5549 E-mail: musicadmissions@umd.edu Web: www.music.umd.edu Cost: please call or see web for info

Massachusetts

BERKLEE COLLEGE OF MUSIC Office of Admissions 1140 Boylston St. Boston, MA 02215 800-BERKLEE (U.S. and Canada) 617-747-2221 (direct and internat’l) E-mail: admissions@berklee.edu Web: www.berklee.edu Contact: Director of Admissions Program: all forms of contemporary music Degree: BM or Professional Diploma Duration: 4 years Cost: please call or see web for info BOSTON CONSERVATORY, THE 8 The Fenway Boston, MA 02215 617-536-6340 Fax 617-912-9101 E-mail: admissions@ bostonconservatory.edu Web: www.bostonconservatory.edu Cost: please call or see web for info BRISTOL RECORDING STUDIOS 169 Massachusetts Ave. Boston, MA 02115-3009 617-247-8689 E-mail: info@bristolstudios.com Web: www.bristolstudios.com Contact: Kevin Patey Services: Audio Recording and Production Courses, Professional Internships NEW ENGLAND CONSERVATORY 290 Huntington Ave. Boston, MA 02115 617-585-1100 E-mail: admission@necmusic.edu Web: www.necmusic.edu Cost: please call or see web for info THE NEW ENGLAND INSTITUTE OF ART 10 Brookline Place West Brookline, MA 02445-7295 617-739-1700, 800-903-4425 Web: http://www.artinstitutes.edu/boston Cost: please call or see web for info Program: The school is one of more than 40 Art Institutes schools located in major cities throughout North America. Art Institutes schools have provided career-oriented education programs in design, media arts, fashion and culinary for over 35 years, and has more than 150,000 alumni as a system. NORTHWESTERN UNIVERSITY Bienen School of Music 711 Elgin Road

www.musicconnection.com/amp Evanston, IL 60208 847-491-7575 Web: http://www.music.northwestern.edu POWERS MUSIC SCHOOL P.O. Box 398 Belmont, MA 02478-0003 617-484-4696 Fax 617-489-7353 E-mail: admin@powersmusic.org Web: www.powersmusic.org Cost: please call or see web for info

UNIVERSITY OF MASSACHUSETTS LOWELL Department of Music 35 Wilder St., Ste. 3 Lowell, MA 01854 978-934-3850 E-mail: amy_dinsmore@uml.edu Web: http://www.uml.edu/FAHSS/Music

Michigan

AXIS MUSIC ACADEMY 29555 Northwestern Hw. - 2nd Fl Southfield, MI 48034 248-799-8100 E-mail: southfield@axismusic.com Web: www.axismusic.com Basic Rate: please call for info Additional locations: 42114 Ford Rd. Canton, MI 48187 734-844-0100 E-mail: canton@axismusic.com 283 Hamilton Row Birmingham, MI 48009 248-258-9100 E-mail: birmingham@axismusic.com INTERLOCHEN CENTER FOR THE ARTS P.O. Box 199 9900 Diamond Park Rd. Interlochen, MI 49643-0199 231-276-7200 E-mail: admission@interlochen.org Web: www.interlochen.org Cost: please call or see web for info UNIVERSITY OF MICHIGAN School of Music, Theatre & Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109 734-764-0583 Contact: Christopher Kendall, Dean E-mail: ckndll@umich.edu Web: http://www.music.umich.edu/index. php WAYNE STATE UNIVERSITY College of Fine, Peforming & Communication Arts Department of Music 1321 Old Main Detroit, MI 48202 313-577-1795 E-mail: music@wayne.edu Web: www.music.wayne.edu Programs: Bachelor of Arts in Music, Bachelor of Music WESTERN MICHIGAN UNIVERSITY 1903 W. Michigan Ave. The School of Music Kalamazoo, MI 49008 269-387-4667 Web: http://www.wmich.edu/music CHILDREN’S YAMAHA MUSIC SCHOOL Hamline Center 2819 N Hamline Ave.

CYMS EDINA Edina Community Center 5701 Normandale Rd. Edina, MN 55424 THE INSTITUTE OF PRODUCTION AND RECORDING 300 N. 1st Ave., Ste. 500 Minneapolis, MN 55401 1-866-477-4840, 612-244-2800 Web: www.ipr.edu

TUFTS UNIVERSITY Department of Music 617-627-5657 Contact: Prof. Paul Lehrman E-mail: paul.lehrman@tufts.edu Web: http://www.tuftl.tufts.edu/ musicengineering

Minnesota

Roseville, MN 55113 612-339-2255 E-mail: yamahamusic@cyms.ws Web: www.cyms.ws Cost: please call or see web for info Additional location:

MACPHAIL CENTER FOR MUSIC 501 2nd St. S. Minneapolis, MN 55401 612-321-0100 E-mail: Proctor.Kristin@macphail.org Web: www.macphail.org Cost: please call or see web for info Additional locations: 14750 Cedar Ave. S. Apple Valley, MN 55124 Birch Lake Elementary School 1616 Birch Lake Ave. White Bear Lake, MN 55110 McNALLY SMITH COLLEGE OF MUSIC 19 Exchange St. E. St. Paul, MN 55101 800-594-9500 or 651-291-0177 Fax 651-291-0366 E-mail: info@mcnallysmith.edu Web: www.mcnallysmith.edu Degree: Diplomas, Associated of Applied Science, Associate of Fine Arts, Bachelor of Music, Bachelor of Science, Bachelor of Arts, Master of Music Cost: please call or see web for info MINNESOTA STATE UNIVERSITY MOORHEAD Music Department Center for the Arts 102 1104 7th Ave., S. Moorhead, MN 56563 218-477-2101 Contact: Tom Strait, Chairperson E-mail: straitth@mnstate.edu Web: www.mnstate.edu/music SAINT MARY’S UNIVERSITY OF MINNESOTA Music Department 160 St. Yon’s Hall Winona, MN 55987 507-457-1675 Contact: Dr. Janet Heukeshoven, Chair E-mail: jheukesh@smumn.edu Web: http://www2.smumn.edu/music WEST BANK SCHOOL OF MUSIC 1813 S. 6th St. Minneapolis, MN 55454 612-333-6651 E-mail: info@westbankmusic.org Web: www.westbankmusic.org Cost: please call or see web for info

Mississippi

DELTA STATE UNIVERSITY Department of Music DSU Box 3256 Cleveland, MS 38733 662-846-4615, 800-GO TO DSU E-mail: music@deltastate.edu Web: http://www.deltastate.edu/ pages/579.asp

Missouri

UNIVERSITY OF MISSOURI Department of Music 135 Fine Arts Building Columbia, MO 65211 573-882-2604

May 2013

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Download This Directory From Our Website Contact: John Slish, Admissions Coordinator E-mail: SlishJ@missouri.edu Web: www.music.missouri.edu

New England

NORTHEAST COMMUNITY COLLEGE Audio/Recording Technology Department 801 E. Benjamin Ave. Norfolk, NE 68701 402-844-7365 Web: www.northeastaudio.org

Nevada

COLLEGE OF SOUTHERN NEVADA Cheyenne Campus 3200 E. Cheyenne Ave. North Las Vegas, NV 89030 702-651-4000 Web: www.csn.edu/recording

SUPREME SOUND STUDIO 86 Lackawanna Ave. Bld. #2, Ste. 227 Woodland Park, NJ 07424 973-890-1672 Web: www.supremesoundstudio.com Program: Private Music Lessons WILLIAM PATERSON UNIVERSITY Department of Music 300 Pompton Rd. Wayne, NJ 07470 973-720-3466 Contact: Dr. Tim Newman, Graduate Admissions E-mail: musicadmissions@wpunj.edu Web: http://www.wpunj.edu

New York

Additional locations: 6375 W. Charleston Blvd. Las Vegas, NV 89106 702-651-5000 700 College Dr. Henderson, NV 89002 702-651-3000

New Hampshire

ALAN CARRUTH LUTHIER 51 Camel Hump Rd. Newport, NH 03773 603-863-7064 E-mail: alcarruth@aol.com Web: www.alcarruthluthier.com Cost: please call or see web for info MUSIC & ARTS CENTERS 934 Elm St. Manchester, NH 03101-2006 603-623-0153 Contact: Ted Herberts E-mail: customerservice@musicarts.com Web: www.musicarts.com Notes: Serving students, teachers and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its offerings to the beginning and student musician. Music & Arts now has over 100 retail locations in 19 states.

New Jersey

BLOOMFIELD COLLEGE Division of Creative Arts & Technology 467 Franklin St. Bloomfield, NJ 07003 973-748-9000 x 1707 Contact: Nancy Bacci, Division Chair E-mail: nancy_bacci@bloomfield.edu Web: http://www.bloomfield.edu/ academics/degrees-programs/creativearts-technology COUNTY COLLEGE OF MORRIS 214 Center Grove Rd. Randolph, NJ 07869 973-328-5000 Web: www.ccm.edu FIREDOG STUDIOS 57 Vliet St. Spotswood, NJ 08884 732-251-7775 E-mail: contact@firedogstudios.com Web: www.firedogstudios.com Program: Intro to Music Tech., Pro Tools, Intro to Audio Editing, Creating the Music, Anatomy of Pop Song HOW TO SOUND WORKSHOPS P.O. Box 1422 Eatontown, NJ 07724 732-741-1275 E-mail: howto@fitsandstarts.com Web: www.howtosound.com

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Program: Hands-on Training for your Church sound teams

AARON COPLAND SCHOOL OF MUSIC - QUEENS COLLEGE 65-30 Kissena Blvd., Rm. 203 Queens, NY 11367 718-997-3800 E-mail: Edward.Smaldone@qc.cuny.edu Web: qcpages.qc.edu/music Contact: Edward Smaldone, Director Degree: B.A., B.M., MS/Education, M.A. Composition, Theory, History; M.A. Classical Performance; M.A. Jazz Performance Cost: please call or see web for info AUDIO ENGINEERING SOCIETY, INC. 60 E. 42nd St., Rm. 2520 New York, NY 10655-2520 212-661-8528 Web: www.aes.org THE CITY COLLEGE OF NEW YORK Music Department Shepard Hall, Rm. 72 160 Convent Ave. New York, NY 10031 212-650-5411 E-mail: music@ccny.cuny.edu Web: http://www1.ccny.cuny.edu/ prospective/humanities/music THE COLLECTIVE SCHOOL OF MUSIC 541 Avenue of the Americas New York, NY 10011 212-741-0091 Fax 212-604-0760 E-mail: info@thecollective.edu Web: http://www.thecollective.edu Basic rate: Various Services/Specialties: long- and short-term intensive courses on drums, bass, guitar, piano, and vocals, private lessons, world class faculty of professional working musicians, practice and rehearsal facilities, regular master classes, musicians monthly membership club, located in the music capital of the world, NYC. Classes are limited to 5 students in order to make sure all students get personal attention. DMX DIGITAL MEDIA ARTS AT TOURO COLLEGE 27-33 W. 23rd St. New York, NY 10010 212-463-0400 Web: http://www.touro.edu/nyscas/dmx.html Program: Certificate in Digital Media Arts EASTMAN SCHOOL OF MUSIC University of Rochester 26 Gibbs St. Rochester, NY 14604-2599 800-388-9695, 585-274-1060 E-mail: admissions@esm.rochester.edu Web: www.esm.rochester.edu Cost: please call or see web for info

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www.musicconnection.com/amp FINGER LAKE COMMUNITY COLLEGE State University of New York 3325 Marvin Sands Dr. Canadalgua, NY 14424 585-785-1279 E-mail: admissions@flcc.edu Web: http://www.flcc.edu/academics/ music FIVE TOWNS COLLEGE 305 N. Service Rd. Dix Hills, Long Island, NY 11746 631-656-2110 E-mail: admissions@ftc.edu Web: www.ftc.edu Contact: Admissions Office Program: Jazz/Commercial Music degree programs Cost: Contact Admissions Degree: A.A.S Mus.B; M.M.; D.M.A Duration: 2 years, 4 years, 1 to 4 years for Masters/Doctoral GRAMERCY PARK SCHOOL OF MUSIC 9 E. 36th St. New York, NY 10016 212-683-8937 E-mail: gramercyparkmusic@yahoo.com Web: www.gramercyparkschool ofmusic.com Cost: please call or see web for info GREENWICH HOUSE, INC. 46 Barrow St. New York, NY 10014 212-242-4770 Contact: Elissa Kramer, Chair Web: www.greenwichhouse.org Cost: please call or see web for info HOUGHTON COLLEGE Greatbatch School of Music One Williard Ave. Houghton, NY 14744 585-567-9400, 800-777-2556 E-mail: music@houghton.edu Web: http://www.houghton.edu/music INSTITUTE OF AUDIO RESEARCH 64 University Pl. New York, NY 10003-4595 800-544-2501, 212-777-8550 E-mail: contact@audioschoo.com Web: http://www.audioschool.com JUILLIARD SCHOOL, THE 60 Lincoln Center Plaza New York, NY 10023-6588 212-799-5000 E-mail: admissions@juilliard.edu Web: www.juilliard.edu Cost: please call or see web for info MANHATTAN SCHOOL OF MUSIC 120 Claremont Ave. New York, NY 10027 212-749-2802 E-mail: administration@msmnyc.edu Web: www.msmnyc.edu Program: We offer degree and diploma programs at the undergraduate, graduate and doctoral levels, with majors in all orchestral instruments, voice, piano, accompanying, composition, saxophone, guitar, organ, conducting and jazz. Cost: please call or see web for info

Web: www.steinhardt.nyu.edu/music Degree: B.S, B.A., B.M., M.A, M.M., Ph.D., D.A., Ed.D., Music Performance, Composition, Technology, Business, Education, Therapy Cost: please call or see web for info PERLMAN MUSIC PROGRAM, THE 19 W. 69th St., Ste. 304 New York, NY 10023 212-721-8769 Fax 212-501-7099 Contact: Anna Kaplan, Program Manager E-mail: akaplan@perlmanmusic program.org Web: www.perlmanmusicprogram.org Cost: please call or see web for info SELECT SOUND STUDIOS 2315 Elmwood Ave. Kenmore, New York 14217 716-873-2717 Web: www.selectsound.com Program: Recording Technologies Audio Engineering Program THE COLLEGE OF SAINT ROSE Music Department 432 Western Ave Albany, NY 12203 800-637-8556 Web: www.strose.edu THIRD STREET MUSIC SCHOOL SETTLEMENT 235 E. 11th St. New York, NY 10003 212-777-3240 E-mail: info@thirdstreetmusicschool.org Web: www.thirdstreetmusicschool.org TURTLE BAY MUSIC SCHOOL 244 E. 52nd St. New York, NY 10022 212-753-8811 Fax 212-752-6228 E-mail: info@tbms.org Web: www.tbms.org Cost: please call or see web for info UNIVERSITY OF ALBANY College of Arts and Sciences 1400 Washington Ave. Albany, NY 12222 518-442-3300 Web: http://www.albany.edu/music WILLIE MAE ROCK CAMP FOR GIRLS 87 Irving Place Brooklyn, NY 11238 347-599-0716 E-mail: info@williemaerockcamp.org Web: www.williemaerockcamp.org, www. facebook.com/williemaerockcamp Program: Willie Mae Rock Camp for Girls is a non-profit music and mentoring program for girls and women. The organization offers a summer day camp, after school programs, youth and adult lessons, and community events in New York City. Instruments include drums, bass, guitar, keyboards, vocals and DJ/ turntables. All programs offered with sliding scale tuition. Cost: please call or see web for info

MANNES COLLEGE THE NEW SCHOOL FOR MUSIC 55 West 12th St. New York, NY 10011 800-292-3040, 212-229-5150 E-mail: admissions@newschool.edu Web: www.newschool.edu/mannes Cost: please call or see web for info

YMCA CENTER FOR THE CREATIVE ARTS 301 W. Bloomfield St. Rome, NY 13440 315-336-3500 Fax 315-339-4076 Web: http://www.ymcatrivalley.org Program: drums, guitar, trumpet, saxophone, tuba, percussion, ensembles, recording and performances, trombone, voice Cost: please call or see web for info Notes: beginner to expert

NEW YORK UNIVERSITY The Steinhardt School/Music 35 W. 4th St., Ste. 1077 New York, NY 10012 212-998-5424

APPALACHIAN STATE UNIVERSITY Hayes School of Music Broyhill Music Center

North Carolina


Download This Directory From Our Website 813 Rivers St. Boone, NC 828-262-3020 Contact: Ms. Kim Wangler E-mail: music@appstate.edu Web: music.appstate.edu CATAWBA COLLEGE 2300 W. Innes St. Salisbury, NC 28144 704-637-4380 E-mail: dlfish@catawba.edu Web: www.catawba.edu/academic/music Degree: B.A. Sacred Music, Music Education, Music Performance, Music Business/Popular Music Duration: 4 years Cost: please call or see web for info DUKE UNIVERSITY STRING SCHOOL, THE Mary Duke Biddle Music Bldg. Duke University Box 90667 Durham, NC 27708-0667 919-660-3313 Contact: Dorothy Kitchen, Director and Founder E-mail: djknjk@earthlink.net Web: www.duke.edu/web/DUSS Cost: please call or see web for info EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC 102 A. J. Fletcher Music Center Greenville, NC 27858-4353 252-328-6851 Fax 252-328-6258 Contact: Christopher Ulffers, Undergraduate Admissions E-mail: ulffersj@ecu.edu Web: www.ecu.edu/cs-cfac/music Cost: please call or see web for info ELON UNIVERSITY Department of Music 400 N. O’Kelly Ave Elon, NC 27244 336-278-2000 Web: http://www.elon.edu/e-web/ academics/elon_college/music UNIVERSITY OF NORTH CAROLINA Department of Music Hill Hall - CB # 3320 UNC-CH Chapel Hill, NC 27599 919-962-2211 Web: www.music.unc.edu

Ohio

BALDWIN-WALLACE COLLEGE 275 Eastland Rd. Berea, OH 44017-2088 440-826-2900 E-mail: info@bw.edu Web: www.bw.edu Cost: please call or see web for info BRECKSVILLE SCHOOL OF MUSIC 8945 Brecksville Rd. Brecksville, OH 44141 440-526-1020 Web: www.brecksvilleschoolofmusic.com Basic Rate: please call for info CLEVELAND INSTITUTE OF MUSIC, THE 11021 East Blvd. Cleveland, OH 44106-1705 216-791-5000 Contact: William Fay, Dir. of Admissions E-mail: william.fay@cim.edu Web: www.cim.edu Cost: Call or view online CLEVELAND MUSIC SCHOOL SETTLEMENT, THE 11125 Magnolia Dr. Cleveland, OH 44106 216-421-5806 Fax 216-231-5005 E-mail: info@themusicsettlement.org Web: www.thecmss.org Cost: please call or see web for info

COLLEGE-CONSERVATORY OF MUSIC University of Cincinnati Mary Emery Hall P.O. Box 210003 Cincinnati, OH 45221-0003 513-556-6638 Web: www.ccm.uc.edu Cost: please call or see web for info INTERNATIONAL COLLEGE OF BROADCASTING 6 S. Smithville Rd. Dayton, OH 45431 800-517-7284, 937-258-8251 E-mail: admissions@icbcollege.com Web: www.icbcollege.com Program: Degrees in Radio/TV, Recording/Voice, Broadcasting I MOTTER’S MUSIC HOUSE, INC. 5228 Mayfield Rd. Lyndhurst, OH 44124 440-442-7470 Web: www.mottersmusic.com Basic Rate: $18/half-hr. OBERLIN COLLEGE CONSERVATORY OF MUSIC 39 W. College St. Oberlin, OH 44074-1588 440-775-8413 Contact: Mike Manderen, Dir. of Conservatory Admissions E-mail: michael.manderen@oberlin.edu Web: www.oberlin.edu/con Cost: please call or see web for info OHIO NORTHERN UNIVERSITY The Music Department 525 S. Main St. Ada, OH 45810 419-772-2000 E-mail: music@onu.edu Web: www.onu.edu OHIO UNIVERSITY School of Music 440 Glidden Hall Athens, OH 45701 740-593-4244 Web: http://www.ohio.edu/finearts/music OWENS COMMUNITY COLLEGE Fine and Performing Arts 30335 Oregon Road Perrysburg, OH 43551 1-800-GO-OWENS, 567-661-7000 Web: www.owens.edu Programs: Associate of Applied Science Music Education/Performance, Music Business Technology Certificate, Popular Music Certificate and the Associate Art in Music Education/Performance RECORDING WORKSHOP, THE 455 Massieville Rd. Chillicothe, OH 45601 800-848-9900, 740-663-1000 E-mail: info@recordingworkshop.com Web: www.recordingworkshop.com Program: learn the art of recording; 8 studio facilities, small classes, affordable tuition, job placement assistance, oncampus housing, financial aid Degree: certificate Duration: 5-8 weeks training Cost: please call or see web for info Notes: established 1971

Oklahoma

ACADEMY OF CONTEMPORARY MUSIC University of Central Oklahoma 25 S. Oklahoma City, Ste. 400 Oklahoma City, OK 73104 405-974-4700 E-mail: get.info@acm.uco.edu Web: http://acm.uco.edu OKLAHOMA STATE UNIVERSITY Department of Music Room: 132 Seretean Center for the Performing Arts

www.musicconnection.com/amp Stillwater, OK 74078 405-744-8985 E-mail: gerald.frank@okstate.edu Web: http://music.okstate.edu

Degree: B. Mus, B.A., B.S., M.Mus, M.A., M.F.A., D.M.A., Ph.D. Duration: 4 year bachelor’s, 2-3 master’s, 4-5 doctoral

OU SCHOOL OF MUSIC University of Oklahoma 660 Parrington Oval Norman, OK 73019-2071 405-325-0311 E-mail: oumusic@ou.edu Web: www.music.ou.edu/index.php Cost: please call or see web for info

STARFISH STUDIOS 2240 SE Hawthorne Blvd. Portland, OR 97214 503-847-9605 Web: www.starfishstudios.com Basic Rate: please call for info Services: We teach guitar, bass, piano, drums, voice, violin, viola, cello, sax, clarinet, flute, mandolin, trombone, trumpet.

TULSA TECHNOLOGY P.O. Box 477200 6111 East Skelly Dr. Tulsa OK 74147 918-828-5000 Web: www.tulsatech.edu

Oregon

AMERICAN SCHOOL OF LUTHERIE Portland, OR 97225 503-292-2385 E-mail: info@americanschool oflutherie.com Web: www.americanschooloflutherie.com Cost: please call or see web for info MUSIC TOGETHER OF PORTLAND c/o Julie Chiles Portland, OR 503-236-4304 E-mail: julie@musictogether-pdx.com Web: www.musictogether-pdx.com Basic Rate: please call for info OREGON MUSIC ACADEMY Tigard Oregon Music Academy 11555 S.W. Durham Rd. Ste. A4 Tigard, OR 97224 503-616-7161 Web: www.oregonmusicacademy.com Cost: please call or see web for info ROCK ‘N’ ROLL CAMP FOR GIRLS P.O. Box 11324 Portland, OR 97211 503-445-4991 E-mail: gri@girlsrockcamp.org, camp@ girlsrockcamp.org Web: www.girlsrockcamp.org Contact: Marisa Anderson Program: The Rock ’n’ Roll Camp for Girls, a 501(c)3 non-profit, builds girls self-esteem through music creation and performance. Providing workshops and technical training, we create leadership opportunities, cultivate a supportive community of peers and mentors, and encourage social change and the development of life skills. Cost: please call or see web for info ROCK ‘N’ ROLL FANTASY CAMP 888-ROC-BAND, 888-762-2263 ext. 1 E-mail: beth@rockcamp.com Web: http://www.rockcamp.com Program: Rock n’ Roll Fantasy Camp is the ultimate music experience. For the novice and the expert, the amateur and the aficionado, we make rock n’ roll dreams come true. Simply stated, our mission is to bring people’s musical fantasies to life! Cost: please call or see web for info SCHOOL OF MUSIC & DANCE 1225 University of Oregon Eugene, OR 97403-1225 541-346-5268 E-mail: SOMAdmit@uoregon.edu Web: music.uoregon.edu Contact: Undergraduate information: audition@uoregon.edu, Graduate Information: gradmus@uoregon.edu, Admissions: gmusadm@uoregon.edu Program: Composition, Music Education, Performance Studies, Piano Pedagogy, Jazz Studies, Theory, Music Technology, and more including Dance

WESTERN OREGON UNIVERSITY Department of Music Smith Hall 345 N. Monmouth Ave. Monmouth, OR 97361 503-838-8275, 877-877-1593 E-mail: lcaligu@wou.edu Web: http://www.wou.edu/las/ creativearts/music

Pennsylvania

ACADEMY OF MUSIC, THE Broad and Locust Sts. Philadelphia, PA 19102 215-893-1999 Web: www.academyofmusic.org Cost: please call or see web for info CARNEGIE MELLON SCHOOL OF MUSIC College of Fine Arts 5000 Forbes Ave. Pittsburgh, PA 15213-3815 412-268-2384 Contact: Denis Colwell, Head E-mail: dc38@andrew.cmu.edu Web: music.cmu.edu Cost: please call or see web for info CURTIS INSTITUTE OF MUSIC, THE 1726 Locust St. Philadelphia, PA 19103 215-717-3117 E-mail: admissions@curtis.edu Web: www.curtis.edu Cost: please call or see web for info DREXEL UNIVERSITY Antoinette Westphal College of Media Arts & Design Nesbitt Hall 3501 Market St. Philadelphia, PA 19104 215-571-4440 Contact: Helene Engel, Music Dept., Bridget Lynch, Music Industry E-mail: hbe25@drexel.edu Web: http://www.drexel.edu/westphal KUTZTOWN UNIVERSITY P.O. Box 730 Kutztown, PA 19530 610-683-4492 Contact: Melanie Kerber E-mail: kerber@kutztown.edu Web: http://www.kutztown.edu/acad/ electronicmedia MARLBORO MUSIC 1528 Walnut St., Ste. 301 Philadelphia, PA 19102 215-569-4690 Fax 215-569-9497 E-mail: info@marlboromusic.org Web: www.marlboromusic.org Cost: please call or see web for info MARY PAPPERT SCHOOL OF MUSIC Duquesne University 600 Forbes Ave. Pittsburgh, PA 15282 412-396-6000 E-mail: musicadmissions@duq.edu Web: www.duq.edu/music Contact: Troy Centofanto, Director of Music Admissions Program: Music Performance, Music Education, Music Therapy, Music Technology Degree: Bachelor of Music, Bachelor of Science

May 2013

www.musicconnection.com 65


Download This Directory From Our Website Duration: 4 years Notes: Mary Pappert School of Music is a national leader in performance, music education, music therapy, music technology and sacred music. Also Graduate Degrees offered in performance, composition, theory, music education, music technology and sacred music, plus an artist diploma in performance. SETTLEMENT MUSIC SCHOOL P.O. Box 63966 Philadelphia, PA 19147-3966 215-320-2600 Web: www.smsmusic.org Cost: please call or see web for info TEMPLE UNIVERSITY School of Communications and Theater Annenberg Hall, Rm. 205 2020 North 13th St. Philadelphia, PA 19122 215-204-5401 Contact: Jan Fernback, Ph.D., Chair E-mail: fernback@temple.edu Web: http://www.temple.edu/sct/btmm YORK COLLEGE OF PENNSYLVANIA Division of Music Wolf Hall, Room 206D 441 Country Club Rd. York, PA 17403 715-815-6450 Contact: Grace Muzzo, D.M.A. E-mail: gmuzzo@ycp.edu Web: www.ycp.edu

South Carolina

MIDLANDS AUDIO INSTITUTE 201 South Prospect St. Columbia, SC 29205 803-782-6910 E-mail: info@midlandsaudioinstitute.com Web: www.midlandsaudioinstitute.com UNIVERSITY OF SOUTH CAROLINA School of Music 813 Assembly St. Columbia, SC 29208 803-777-4280, 803-777-4281 E-mail: ugmusic@mozart.sc.edu Web: http://www.music.sc.edu

Tennessee

THE ART INSTITUTE OF TENNESSEE (branch of the Art Institute of Atlanta, GA) 100 Centerview Dr., Ste. 250 Nashville, TN 37214 615-874-1067, 866-747-5770 Web: http://www.artinstitute.edu/nashville BELMONT UNIVERSITY MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS 1900 Belmont Blvd. Nashville, TN 37212 615-460-6000 Web: http://www.belmont.edu/cemb Program: Music Business, (BBA), Masters in Business Admin, (MBA), Entertainment Industry Studies, (BS, BA), Songwriting, (BS, BA), Audio Engineering Technology, (BS, BA) BLAIR SCHOOL OF MUSIC Vanderbilt University 2400 Blakemore Ave. Nashville, TN 37212 615-322-7651 Web: www.vanderbilt.edu/blair Cost: please call or see web for info GENE FORD MUSIC 330 Franklin Rd. Brentwood, TN 37027 615-371-1661 E-mail: admin@genefordmusic.com Web: www.genefordmusic.com Basic Rate: please call for info GOSPEL MUSIC ASSOCIATION (GMA) P.O. Box 22697 Nashville, TN 37202 615-242-0303 Fax 615-254-9755 E-mail: info@gospelmusic.org

66 May 2013

Web: www.gospelmusic.org Cost: please call or see web for info Program: IMMERSE, 1 - 4 day Christian music training event JAN WILLIAMS SCHOOL OF MUSIC AND THEATRE 500 Wilson Pike Cir., Ste. 104 Brentwood, TN 37027 615-371-8086 Fax 615-371-8637 E-mail: jwsm88@bellsouth.net, Web: www.janwilliamsmusic.com Basic Rate: please call for info Services: piano, voice, guitar, Kindermusik, and Musical Theatre KASPER HOME MUSIC STUDIOS, THE 927 Battlefield Dr. Nashville, TN 37204 615-383-8516 Web: www.kaspermusic.com Basic Rate: please call for info Services: Small group and private group lessons for children and adults MIDDLE TENNESSEE STATE UNIVERSITY SCHOOL OF MUSIC 1439 Faulkinberry Dr. Murfreesboro, TN 37132 615-898-2469 E-mail: admmail@mtsu.edu Web: www.mtsu.edu/music Degree: B.M., M.A. Cost: please call or see web for info NASHVILLE JAZZ WORKSHOP 1319 Adams St. Nashville, TN 37208 615-242-JAZZ (5299) E-mail: info@nashvillejazz.org Web: www.nashvillejazz.org Basic Rate: please call for info NASHVILLE SCHOOL OF ARTS 1250 Foster Ave. Nashville, TN 37210 615-291-6600 Contact: Dr. Gregory Stewart, Exec. Principal Web: www.nsahs.mnps.org Basic Rate: please call for info PELLISSIPPI STATE COMMUNITY COLLEGE 10915 Hardin Valley Rd. P.O.Box 22990 Knoxville, TN 37933 865-694-6701 Contact: L. William Brewer, Music Program Coordinator E-mail: lwbrewer@pstcc.edu Web: http://www.pstcc.edu SHUFF’S MUSIC 118 3rd Ave. N. Franklin, TN 37064 615-790-6139 E-mail: zach@shuffsmusic.com Web: www.shuffsmusic.com Basic Rate: please call for info THE UNIVERSITY OF MEMPHIS Rudi E. Scheidt School of Music Music Building, Rm. 123 3775 Central Ave. Memphis, TN 38152 901-678-2541 E-mail: music@memphis.edu Web: http://www.memphis.edu/music

www.musicconnection.com/amp DALLAS SCHOOL OF MUSIC, INC., THE 2650 Midway Rd., Ste. 204 Carrollton, TX 75006-2378 972-380-8050 Web: www.dsminfo.com Kore Series Curriculum -Teacher and District rates available DEL MAR COLLEGE Department of Music Fine Arts Center 361-698-1211 Contact: Dr. Cynthia Bridges, Chairperson E-mail: cbridges@delmar.edu Web: http://dmc122011.delmar.edu/music FRISCO SCHOOL OF MUSIC 9255 Preston Rd. Frisco, TX 75034 214-436-4058 E-mail: music@friscoschoolofmusic.com Web: www.friscoschoolofmusic.com Basic Rate: please call for info INSTITUTE FOR MUSIC RESEARCH UTSA Department of Music One UTSA Cir. San Antonio, TX 78249 210-458-4354 Web: imusic.utsa.edu Cost: please call or see web for info LONESTAR SCHOOL OF MUSIC 4301 W. William Cannon Austin, TX 78749 512-712-5187 E-mail: arbortrails@ lonestarschoolofmusic.com Web: www.lonestarschoolofmusic.com Cost: please call or see web for info MEDIATECH INSTITUTE 13370 Branch View Ln., Ste. 135 Dallas, Texas 75234 972-869-1135 E-mail: abe@mediatech.edu Web: Mediatech.edu Additional location: 302 Oceanside Blvd, Oceanside, CA 92054 760-231-1578 E-mail: matthew@mediatech.edu 3324 Walnut Bend Ln. Houston, TX 77042 E-mail: josh@mediatech.edu 4719 S. Congress Ave. Austin, Texas 78745 E-mail: Roland@mediatech.edu MOORES SCHOOL OF MUSIC (MSM) University of Houston 120 School of Music Bldg. Houston, TX 77204-4017 713-743-3009 E-mail: MSM_undergrad.adm@uh.edu Web: www.music.uh.edu Cost: please call or see web for info NATURAL EAR MUSIC INC. 1306 W. Oltorf St. Austin, TX 78704 512-961-3354 E-mail: naturalearmusic@austin.rr.com Web: www.naturalearmusic.com Cost: please call or see web for info

AUDIO ENGINEERING INSTITUTE Community Bible Church 2477 North Loop 1604 E. San Antonio, TX 210-477-9055 E-mail: info@audio-eng.com Web: Audio-eng.com

SHEPHERD SCHOOL OF MUSIC, THE Rice University 2235 Alice Pratt Brown Hall Houston, TX 77005 713-348-3032 Contact: Geoffrey Scott, Dir. of Music Admin. E-mail: geoffrey.scott@rice.edu Web: www.music.rice.edu

DALLAS BAPTIST UNIVERSITY 3000 Mountain Creek Pkwy. Dallas, TX 75211 214-333-5360, 800-460-1DBU E-mail: admiss@dbu.edu Web: www.dbu.edu

STEPHEN F. AUSTIN STATE UNIVERSITY School of Music Box 13043, SFA Station Nacogdoches, TX 75962 936-468-4602

Texas

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E-mail: robertsjn1@sfasu.edu Contact: Dr. John N. Roberts, Director Web: http://www.music.sfasu.edu TEXAS STATE UNIVERSITY SAN MARCOS School of Music 601 University Dr. San Marcos, TX 78666 512-245-2651 E-mail: music@txstate3.edu Web: www.music.txstate.edu UNIVERSITY OF TEXAS AT AUSTIN Sarah and Ernest Butler School of Music 2406 Robert Dedman Dr. Stop E3100 Austin, TX 78712 512-471-7764 Web: http://www.music.utexas.edu UNIVERSITY OF TEXAS AT ARLINGTON 700 W. Greek Row, Room 101 Arlington, TX 76010 817-272-3471 E-mail: music@uta.edu Web: http://www.uta.edu/music UNIVERSITY OF TEXAS AT SAN ANTONIO Department of Music One UTSA Circle San Antonio, TX 78249 210-458-4354 Web: http://music.utsa.edu

Utah

BRIGHAM YOUNG UNIVERSITY C-550 Harris Fine Arts Center P.O. Box 26410 Provo, UT 84602 801-422-8903 E-mail: music@byu.edu Web: http://cfacweb.byu.edu/ departments/music THE UNIVERSITY OF UTAH School of Music 1375 E. Presidents Cir. 204 David Gardner Hall Salt Lake City, UT 84112 801-581-6762 Web: http://www.music.utah.edu

Virginia

JAMES MADISON UNIVERSITY School of Music 880 S. Main St., MSC 7301 Harrisonburg, VA 22807 540-568-6714, 540-568-3851 Web: www.jmu.edu/music ACADEMY OF MUSIC 1709 Colley Ave. Ste. 302 Norfolk, VA 23517 757-627-0967 Contact: John S. Dixon, Exec. Dir. E-mail: jdixon@aomva.org Web: www.aomva.org Cost: please call or see web for info Notes: 3 locations in the Norfolk area CONTEMPORARY MUSIC CENTER 14155 Sullyfield Cir. Chantilly, VA 20151 703-817-1000 Contact: Menzie Pittman, Founder, Dir. of Education E-mail: menzie@ contemporarymusiccenter.com Web: www.contemporarymusiccenter.com Cost: please call or see web for info Notes: Our facilities have 27 private instruction studios. Our teaching staff, who are the finest in the area, are motivated and dedicated professionals. All are active within the music community and bring energy and enthusiasm to the educational process. Along with innovative teaching techniques, our staff prides itself on the ability to draw upon a wealth of practical knowledge and exp. RADFORD UNIVERSITY Center for Music Technology Department of Music


Download This Directory From Our Website P.O. Box 6968 Radford, VA 24142 540-831-5177 Contact: Dr. Bruce Mahin, Director Web: http://grad-music.asp.radford.edu SHENANDOAH UNIVERSITY SHENANDOAH CONSERVATORY 1460 University Dr. Winchester, VA 22601 800-432-2266 Web: www.su.edu/conservatory Program: Music, Recording, Composition, Sound Reinforcement, MIDI and Music Production VIRGINIA TECH DEPARTMENT OF MUSIC 241 Squires Student Center Blacksburg, VA 24061 540-231-5685 Fax 540-231-5034 E-mail: music@vt.edu Web: www.music.vt.edu Cost: please call or see web for info

Washington

THE ART INSTITUTE OF SEATTLE 2323 Elliott Ave. Seattle, WA 98121 206-448-6600, 800-275-2471 Web: http://www.artinstitutes.edu/seattle BELLEVUE SCHOOL OF MUSIC 2237 140th Ave. N.E. Bellevue, WA 98005 425-401-8486 Web: www.bellevueschoolofmusic.com Basic Rate: please call for info JACK STRAW PRODUCTIONS 4261 Roosevelt Way N.E. Seattle, WA 98105 206-634-0919 Contact: Joan Rabinowitz, Exec. Dir. E-mail: joan@jackstraw.org Web: www.jackstraw.org MIRROR SOUND STUDIOS 301 N.E. 191st St. Seattle, WA 98155 206-440-5889 E-mail: info@mirrorsound.com Web: www.mirrorsound.com Programs: Audio Recording Course, 8 week program. MUSIC CENTER OF THE NORTHWEST 901 N. 96th St. Seattle, WA 98103 206-526-8443 E-mail: office@mcnw.org Web: www.mcnw.org Cost: please call or see web for info MUSIC WORKS NORTHWEST 14360 S.E. Eastgate Way, Ste. 102 Bellevue, WA 98007 425-644-0988 Fax 425-644-0989 E-mail: registration@musicworksnw.org Web: www.musicworksnw.org Basic Rate: please call for info SEATTLE DRUM SCHOOL 12510 15th Ave. N.E. Seattle, WA 98125 206-364-8815 E-mail: info@seattledrumschool.com Web: www.seattledrumschool.com Basic Rate: please call for info Additional location: 1010 S. Bailey Seattle, WA 98108 206-763-9700 SEATTLE SCHOOL OF MUSIC Fremont Abbey Arts Center 4272 Fremont Ave. N. Seattle, WA 98103 206-36MUSIC 206-366-8742 E-mail: info@fremontmusicschool.com Web: www.seattleschoolofmusic.org Cost: please call or see web for info Additional location:

The Discovery House 4401 2nd Ave, N.E. Seattle, WA 98105 SHORELINE COMMUNITY COLLEGE Music Department - 800 Building 16101 Greenwood Ave. N. Shoreline, WA 98133 206-546-4687 Web: http://new.shoreline.edu/music/ default.aspx SPOTLIGHT STUDIOS 17802 134th Ave. N.E., Ste. 19 Woodinville, WA 98072 425-402-3700 E-mail: Schedule@JamAcademy.com Web: www.spotlightstudiosnw.com

West Virginia

AUGUSTA HERITAGE CENTER OF DAVIS & ELKINS COLLEGE Hermanson Campus Center 100 Campus Dr. Elkins, WV 26241 304-637-1209, 800-624-3157 ext. 1209 Fax 304-637-1317 E-mail: augusta@augustaheritage.com Web: https://augustaheritagecenter.org Cost: please call or see web for info

Wisconsin

LAWRENCE UNIVERSITY SCHOOL OF MUSIC 711 E. Boldt Way Appleton, WI 54912 920-832-7000 Web: www.lawrence.edu Cost: please call or see web for info UNIVERSITY OF WISCONSINMADISON, SCHOOL OF MUSIC 3561 Moose Humanities Bldg. 455 N. Park St. Madison, WI 53706 608-263-5986 E-mail: music@music.wisc.edu Web: www.music.wisc.edu Cost: please call or see web for info WISCONSIN CONSERVATORY OF MUSIC 1584 N. Prospect Ave. Milwaukee, WI 53202 414-276-5760 Web: www.wcmusic.org Cost: please call or see web for info

Wyoming

CASPER COLLEGE School of Music 125 College Dr. Casper, WY 82601 800-442-2963, 307-268-2100 Contact: Doug Bill, Music Depart., Chair E-mail: dbull@caspercollege.edu Web: http://www.caspercollege.edu/ music/index.html UNIVERSITY OF WYOMING Department 3037 Fine Arts Center, Rm. 258 1000 E University Ave. Laramie, WY 82071 307-766-5242 E-mail: musicdpt@uwyo.edu Web: www.uwyo.edu/music

International

THE BANFF CENTRE 107 Tunnel Mountain Dr. Banff, Alberta, Canada T1L 1H5 403-762-6100 E-mail: arts_info@banffcentre.ca Web: http://www.banffcentre.ca/filmmedia/audio HARRIS INSTITUTE 118 Sherbourne St. Toronto, Ontario, Canada, M5A 2R2 416-367-0178, 800-291-4477 Fax 416-367-5534 E-mail: info@harrisinstitute.com Web: www.harrisinstitute.com Degree offered: Diploma Cost: please call or see web for info Program: The program names have

www.musicconnection.com/amp changed. Producing/Engineering Program is now ‘Audio Production Program (APP)’ and Recording Arts Management is now ‘Arts Management Program (AMP)’. Notes: The Faculty of 67 leading industry professionals is complemented by a wide range of music industry guest lecturers. Full-time programs are followed by Internship Placements at companies throughout the music industry and start in March, July and Nov. THE INSTITUTE OF CONTEMPORARY MUSIC PERFORMANCE Foundation House 1A Dyne Rd. London NW6 7XG +44 (0) 207 328 0222 E-mail: enquiries@icmp.co.uk Web: www.icmp.co.uk Cost: please call or see web for info Program: With over 25 years of experience in the sector, the Institute is considered by many to be one of the pioneers of contemporary music education in the country, leading the way with innovative courses and services. Home of the legendary Guitar Institute, we are respected throughout both the music education sector, as well as by the music industry! We also provide a wide range of clinics, master classes, showcases and gigs to provide students with that ‘real world’ experience and opportunity. And our extensive range of industry contacts, partnerships and connections ensures that Institute students always get a head start in the music industry! MCGILL UNIVERSITY Schulich School of Music Strathcona Music Building 555 Sherbrooke St., W Montreal, Quebec, Canada H3A 1E3 514-398-4535 Web: http://www.mcgill.ca/music MOSMA Mid-Ocean School of Media Arts 1588 Erin St. Winnipeg, Manitoba R3E 2T1, Canada 204-775-3308 E-mail: info@midoceanschool.ca Web: http://www.midoceanschool.ca NIMBUS RECORDING 300-238 2nd Ave. E. Vancouver, Canada V5T 1B7 604-875-8998 E-mail: info@nimbusrecording.com Web: http://www.nimbusrecording.com/ Program: 1 year Diploma Programs OIART Ontario Institute of Audio Recording Tech. 500 Newbold St. London, Ontario N6E 1K6 519-686-5010, 866-686-5010 E-mail: inquiry@olart.org Web: http://www.oiart.org

Additional location: Montreal English, Montreal Francais 550 Sherbrooke St. W., Ste. 600 Montreal, Quebec, H3A 1B9 514-845-4141 Programs: DJ Arts Tech., Film TV Prod., Music Business Admin., Sound Design, Studio Recording Live Sound SAE INSTITUTE OF TECHNOLOGY Melbourne, Austraila 235 Normanby Rd. South Melbourne, VIC 3205 +61 (0)3 8632 3400 Fax. +61 (0)3 8632 3401 E-mail: melbourne@sae.edu Web: http://melbourne.sae.edu/en-gb/ home/ Additional locations: London SAE House 297 Kingsland Rd. E8 4DD London +44-(0)20-792 39 159 Fax. +44-(0)20-769 17 653 E-mail: london@sae.edu Web: http://london.sae.edu/en-gb/home/ Paris BP 40331 Aubervilliers 45 ave. Victor Hugo Batiment 229 93534 La Plaine St Denis Cedex +33 (0)148 119696 Fax +33 (0)148 119684 E-mail: paris@sae.edu Web: http://paris.sae.edu/fr/home Frankfurt Homburger Landstr. 182 60435 Frankfurt/Main Tel. 069 54 32 62 Fax 069 5 48 44 43 E-mail: frankfurt@sae.edu Web: http://frankfurt.sae.edu/de/home/ UNIVERSITE BLAISE PASCAL 34, Ave. Carnot BP 185 63006 Clermont-Ferrand CEDEX France +33 (0)4 73 40 63 63 (standard) Fax +33 (0)4 73 40 64 31 E-mail: ri@univ-bpclermont.fr Web: www.univ-bpclermont.fr/rubrique10. html Degree offered: AA protools certification Cost: Less than $10,000 per year including accommodations program and facilities: two & three year university program taught in a 2500 ft. professional studio. The best engineers and producers on the planet will be teaching you their craft while acousticians, micro-electronic and physics teachers will take you deeper into how things work.

Online

FULL SAIL UNIVERSITY See Florida listing for details

RECORDING ARTS CANADA 390, Notre-Dame W., Ste. 320 Montreal, Quebec, H2Y 1T9 514-286-4336, 877-224-8366 E-mail: montreal@recordingarats.com Web: recordingarts.com Additional location: 111 Peter St., Ste. 708 Toronto, Ontario, M5V 2H1 416-977-5074, 888-662-2664 E-mail: toronto@recordingarts.com TREBAS INSTITUTE 2340 Dundee St. W., 2nd Fl. Toronto, Ontario, M6P 4A9, Canada 416-966-3066 Web: Trebas.com Programs: Audio Engineering, Entertainment Management, Event Venue Management, Film TV production

MUSICIAN2YOU.COM 888-272-7598 E-mail: bizadmin@musician2you.com Web: www.musician2you.com Basic Rate: $42/CD, $80/hour, workshops vary Services: You Can Sing CD SONGWRITER101.COM E-mail: contact@songwriter101.com Web: www.songwriter101.com Cost: please see web for info UNIVERSITY OF RECORDING ARTS AND MUSIC INC. 18101 Von Karman 3rd Fl. Irvine, CA 92612 Corporate: 888-UROCK09 Office: 949225-4795 Direct: 949-429-9653 E-mail: UROCK@urameducation.com Web: www.urameducation.com

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23rd Annual Directory of Download This Directory From Our Website

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Vocal Coaches

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

Compiled By Denise Coso

W

hether you want to study with someone locally or via Skype, Music Connection’s national list of vocal coaches is your best resource for engaging a professional who can take your voice to the next level.

ALEX VARDEN Los Angeles, CA 323-876-ALEX (2539), SKYPE E-mail: alex@vardenmusic.com Web: www.vardenmusic.com Contact: Alex Varden Basic Rate: $50/hr. Monthly programs: $50/hr. Clients: Star Search, Miss Universe, Jazz, R&B, Broadway, Pop, Opera, Country stars. 20 years experience (Europe-USA). Services: All styles, levels, technique, performance, confidence. Notes: Hi-tech studio, arrangements, vocal demos ANGEL DIVA MUSIC Jan Linder Koda Los Angeles, CA 818-888-5885, SKYPE E-mail: jan@angeldivamusic.com Web: www.angeldivamusic.com Basic Rate: please call for info Clients: Tim Fagan, David Hasselhoff, Lou Rawls, Kathy Griffin, Holly Robinson-Peete, Tiffany Alvord and 20 Grammy Winners. I will help you find the artist in you. When we are done, you will have a radio ready product. I am a voice teacher, performance expert and mentor for recording artists. You may start at any level. I combine 30 years of experience and my work as a singer/actor in film/tv to help you tell the best story. My popular guide to achieving a professional performance, “Once More With Feeling”, written by Jan Linder-Koda, Bernard Baur and Anne Rich-House is available at angeldivamusic.com or oncemorewithfeeling.me. APPELL VOICE STUDIO #1 Pegasus Dr. Trabuco Canyon, CA 92679 949-382-5911, SKYPE Contact: Thomas Appell E-mail: thomas@appellvoicestudio.com Web: www.appellvoicestudio.com Rates: Call for rates Services: Vocal Coaching/Record Production/Songwriting/Video Production/Photography Author of Can You Sing a HIGH C Without Straining? ARTIST VOCAL DEVELOPMENT West Hills, CA 818-430-3254 E-mail: sbensusen@socal.rr.com Web: www.steviebensusen.com (click on Artist Vocal Development) Basic Rate: Please call for rates Clients: Jordan Knight (New Kids On The Block), Nichole Cordova (Girlicious), Candice Craig (Nikki Minaj), Velvet Angels, O Town, No Mercy, Shola Ama, A1 Services: Stevie Bensusen is a multi-platinum Vocal Producer and Live Performance Vocal Coach who has produced the above artists and others. With a unique approach, Stevie

68 May 2013

develops singers in the recording studio and in live performance rehearsals whose goals are to record, play live and have no fear when performing in front of an audience. The definition of a great singer is what you do on stage not in the recording studio where you can take as long as you need and use technology to get your vocal right. Call for a free consultation. BECKY CUTLER Vox Fox Vocal Studio Provo, UT 801-874-5112 E-mail: voxfox2@gmail.com Web: www.voxfoxvocalstudio.com Basic Rate: Please see website Services: beginning to advanced; specializing in contemporary singing, songwriting and artist development BEVERLY BREMERS’ VOICERCISE Mission Viejo, CA 92691 949-874-0616, SKYPE E-mail: bev@beverlybremers.com Web: www.voicercise.net Basic Rate: $50/hr. for private instruction, classes also available Clients: all levels - adults and children BOB AND CLAIRE CORFF VOICE STUDIOS 323-851-9042 Web: www.corffvoice.com Basic Rate: please call for info Clients: all levels, the Cult and Beth Hart. BOB GARRETT Studio City, CA 818-506-5526, SKYPE E-mail: bahbeeg@aol.com Web: www.bobgarrett.net Basic Rate: $90/hr. Clients: Vanessa Hudgens, Channing Tatum, Cybill Shepard, Janet Jackson, Season 10 - American Idol, John Travolta, Drew Barrymore, Pussycat Dolls, Gerard Butler (Film’s Phantom Of The Opera), Heart, Wilson-Philips, Cameron Diaz, Brian Stokes Mitchell, Jessica Lange, Judy Davis, et al. BRAD CHAPMAN VOICE COACH 1952 N Kingston Rd Farmington, Utah 84025 801-682-5769 Skype: singfromfeel1 E-mail: singfromfeel@comcast.net Web: www.bradchapmanvoicecoach.com Contact: Brad Chapman Basic Rate: $25 per half hour or $50 per hour Services: Professional vocal technique, feel enhancement and recording pre-production services for singers from beginners to internationally known artists. Clients: Anita Baker, REO Speedwagon, Def Leppard, Expose’, The Bangles, Quincy Jones, previous partner of Seth Riggs and one of the top three speech level singing coaches,

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etc. Winner of 12 Platinum records, featured article in Music Connection and a voting member of the Grammy’s. BRECK ALAN New York, NY 917-414-5449 Contact: Breck Alan E-mail: breck@breckalan.com Web: www.bodysinging.com Basic Rate: call or e-mail for rate Clients: String Cheese Incident, OAR, Sally Taylor BRENTWOOD VOCAL STUDIO 6213 Belle Dr. Oklahoma City, OK 73112 405-840-1242 Contact: Joan Colee Basic Rate: please call for info Clients: beginners to professional, all ages BRISTOL RECORDING STUDIOS 169 Massachusetts Ave. Boston, MA 02115 617-247-8689 E-mail: info@bristolstudios.com Web: www.bristolstudios.com Contact: Jason Blaske Basic Rate: $2195/course Services: Audio recording and production courses, professional internships CARI COLE VOICE & MUSIC CO. Celebrity Voice Coach & Artist Development Expert 401 E. 34th St., Ste. #N19K New York, NY 10016 800-330-5250 E-mail: info@caricole.com Web: www.caricole.com Basic Rate: please visit website and download application for info Services: Private vocal technique & coaching in Pro Tools production studio, all contemporary commercial styles; The Ultimate Performer Program, Emerge Showcase NYC, Step Up to the Spotlight Artist Development Online Program, The Singers Gift Vocal Series (digital downloads) CAROL TINGLE Santa Monica, CA 310-828-3100 E-mail: info@caroltingle.com Web: www.caroltingle.com Basic Rate: please call for info Clients: available on request CLIFF BRODSKY Voice Coach 213-248-1688 E-mail: cliffbrodsky@me.com Web: www.brodskyentertainment.com Basic Rate: $60 first lesson Clients: all levels, artists on Sony, RCA, Interscope, MCA, etc. COVINGTON SCHOOL OF MUSIC 857 N. Collins Blvd.

Covington, LA 70433 985-590-4545 Fax 985-674-2553 Web: www.laapa.com Basic Rate: please call for info Additional locations: Mandeville, LA 985-674-2992 Harahan, LA 504-738-3050 DANIEL FORMICA VOCAL LESSONS 217 North Dale Ave. Anaheim, CA 92801 310-213-0700, SKYPE E-mail: daniel@ danielformicavocalstudio.com Web: www.danielformicavocalstudio.com Contact: Daniel Formica Services: specialize in vocal technique, rehab, no short cuts: rock, pop, etc. DANIEL KNOWLES VOCAL STUDIO 971 N. La Cienega Blvd., Ste. 209 W. Hollywood, CA 90069 310-772-9984 SKYPE E-mail: daniel@danielknowles.com Web: www.danielknowles.com Contact: Daniel Knowles, M.A. Basic Rate: $110 an hr., $500 block of 5 lessons, $950 block of 10 lessons Services: Professional vocal technique for singers from beginners to professionals. Clients: Local and nationally recognized (album charts) working recording and performing singers. Artist privacy respected. DARCI MONET VOCAL STYLE STUDIO Van Nuys, CA 818-209-6432, SKYPE E-mail: minxmusic@aol.com Web: www.singlikeyoumeanit.com Rates: see website Services: Private voice and performance coaching in all contemporary styles using Darci Monet’s own “Tech and Truth Method.” Ages 5 & up. Audition required for beginners and pros. Vocal group coaching and songwriting consultations also available. *Beautiful new location DARLENE KOLDENHOVEN’S ART OF SINGING Studio City, CA 818-980-2840 Fax 818-760-4385, SKYPE E-mail: darlene@darlenekoldenhoven. com, darlene@ArtofSinging.com Web: www.artofsinging.com, www. darlenekoldenhoven.com Basic Rate: call for reasonable rates for privates and classes Clients: all levels, adults & kids, all styles, Sister Act 1 & 2, Robin Thicke, Anna Pacquin, Interscope Records


Download DownloadThis ThisDirectory Directoryat From www.musicconnection.com/amp Our Website Artists, UCLA, CSUN, CSLA, Citrus College, American Idol contestants/finalists; has a Grammy Award and has performed with Celine Dion, Pink Floyd, Paul McCartney, Andrea Bocelli, Kelly Clarkson, Fantasia, Yanni, Kenny Loggins, American Idol, etc.; book with 7 CDs “Tune Your Voice: Singing and the Mind’s Musical Ear” available at website & retail stores; also teaches pitch training, sightsinging, and has quarterly group classes. DAVID COURY E-mail: david.coury@davidcoury.com Web: www.davidcoury.com Basic Rate: please call for info DEBORAH ELLEN VOCAL STUDIOS Simi Valley, CA and Los Angeles, CA 310-422-9166, SKYPE E-mail: info@deborahellen.com Web: www.deborahellen.com Basic Rate: please call for info Notes: Artist Development Opportunities. Many successful placements of students vocals in film/TV DEEDEE O’MALLEY N. Hollywood, CA 818-279-4414 E-mail: deedee@deedeemusic.com Web: www.deedeemusic.com Basic Rate: please call for info Clients: all levels, vocal/songwriting workshops DENNIS JOHN STUDIO Los Angeles, CA 818-563-2263, SKYPE E-mail: djnapol@aol.com Basic Rate: please call for info Clients: all ages and levels, Bel Canto, all styles DIAMANTE VOCAL STUDIO 605 N. Beachwood Dr. Los Angeles, CA 90004 323-466-7881 E-mail: diamantesings@yahoo.com Basic Rate: please call for info Clients: all levels Style: Seth Riggs/S.L.S DIVAS IN TRAINING Academy of Diva Arts 10700 Ventura Blvd., Ste. H Universal City, CA 91604 818-231-1491, 888-340-7444 E-mail: premierwest@earthlink.net Web: www.divasintraining.com Basic Rate: Varies. Industry package discounts. Clients: Beginners and pros (we don’t name drop publicly, but ask us in private). DRAGON II ENTERTAINMENT 909-599-6005 E-mail: dougdeee@earthlink.net Web: www.dragonIIentertainment.com Basic Rate: please call for info Clients: all levels, now including voiceover clients Services: visit the website for all the details and more information. ELISABETH HOWARD’S VOCAL POWER ACADEMY (est. 1980) Vocal Power Trainers in Santa Monica, Topanga, Woodland Hills, Camarillo, CA, and Las Vegas, NV. 800-829-SONG (7664), SKYPE E-mail: lizhoward@vocalpowerinc.com Web: www.vocalpowerinc.com Basic Rate: please call or see web for info Clients: Vocal coach to Sting, the Police, Paige O’Hara (voice of Belle in the film Beauty and the Beast), contestants on American Idol, others on request. Services: Specialize in the Vocal Power Method for singing rock, pop, blues, jazz. How to not blow your voice out. Sweet, hot and everything in between. From Jagger to Jarreau. Regular shows at Catalina Jazz Club. Elisabeth Howard, (Topanga) singer-songwriting contract with MCA - B.S., M.S. in voice - Juilliard. Author “SING!” and “ABC’s of Vocal Harmony” distributed by Alfred.

ELLEN JOHNSON/ VOCAL VISIONS East Bay/Berkeley/San Francisco, CA 310-487-0048, SKYPE yes E-mail: info@vocalvisions.net Web: www.ellenjohnson.net and www.vocalvisions.net Basic Rate: call or go to website for information Clients: Private lessons, recording studio coaching, audition preparation and classes for all styles and levels at home studio and at the Jazzschool in Berkeley. Note: Author of “The Vocal Warm Up CD/Download,” “Vocal Builders,” and “You Sing Jazz.” ERIC VETRO Toluca Lake, CA E-mail: imakeyourvoicewk@aol.com Web: www.ericvetro.com Basic Rate: please call for info Clients: list on request EVELYN HALUS 843 S. Detroit St. Los Angeles, CA 90036 323-931-8391, SKYPE E-mail: evelynhalus@aol.com Web: www.enchantedmusic.com Basic Rate: call for info Clients: Jennifer Lopez, Matthew Morrison, Jessica Biel, Megan McGinnis, Neil Patrick Harris, Cher, Nathan Lane, Paula Abdul, Olivia Newton-John, many Broadway vocalists, etc. Accepting new students of all levels. FAHREN PRODUCTIONS The L.A. Valley Area, CA 818-378-1100 Contact: Valerie Fahren E-mail: valeriefahren@aol.com Web: www.valeriefahren.com Basic Rate: please call for info Clients: Sabrina Bryan (Cheetah Girls), Juliette Lewis, Lynsey Bartilson, Erika Christensen, Dominic Domingo, Bosko, Broadway leads FAIRBANKS SUMMER ARTS FESTIVAL, INC., THE P.O. Box 82510 Fairbanks, AK 99708 907-474-8869 E-mail: festival@alaska.net Web: www.fsaf.org Basic Rate: please call for info Note: Vocal Coach Camp July 15-July 29, 2012 only FEEF MOONEY Los Angeles, CA 818-487-0608 E-mail: feef@littlefriendmpg.com Web: www.littlefriendmpg.com Basic Rate: Email for information Clients: all levels and styles, specialize in Freeing The Natural Voice technique: expanding range, lessening tension, vocal styling, repertoire building, digital recording, preparing for auditions. This approach is for anybody who gets scared and needs some enthusiastic support, lots of pampering and coaching! FRANCESCO DICOSMO Grammy-winning Bassist, Singer, Composer & Producer AudioVision Digital Media & Music Production 310-908-9006, SKYPE: DiCosmoFone E-mail: dicosmobass@yahoo.com Web: www.FrancescoDicosmo.com Basic Rate: Please Call for Info Clients: All Ages & Styles Styles/Specialties: Ultra experienced lead singer/ bassist in countless professional bands the styles of classic, modern & progressive rock, R&B, funk, & blues. I teach Vocal Technique, Breathing & Placement of Vocal Ranges, Intervalic & Rhythmic Concepts, Music Theory, Chart Reading, Music Theory, Ear Training, Interpretation, Improvisation, etc. My Qualifications include: Musicians Institute Vocational Honors Graduate & MI Human Relations Award 1994-’95. Grammy-Winning Bassist for Evanescence’s Multi-Platinum “Fallen” Album. Have played with Thin Lizzy, John Sykes, Bobby Kimball of Toto, Tommy Aldridge, Robert Plant, Chris Poland

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Download This Directory From Our Website of Megadeth, Ronnie Montrose, Alex Leigertwood of Santana, Randy Meisner of the Eagles, Jimmy Crespo of Aerosmith, etc. GFIRE STUDIOS P.O. Box 4293 Austin, TX 78765 512-350-6181, SKYPE E-mail: gfire@earthlink.net Web: www.gfiremusic.com Contact: gfire Basic Rate: $70/hr., $35/half-hr. Services: Full vocal training and coaching, 16 years professional singing and piano teaching, currently teaching “Yoga For the Voice,” a unique and fun system of applying the science of voice with ancient yoga breathing techniques to truly realize one’s full vocal capabilities. Lessons in person or over the phone or the Internet via Skype, a free video conferencing service (http://skype.com) Clients: My students have performed in internationally touring bands, on the stage of the Grand Ole Opry, made records in R&B, rock, country, singersongwriter, pop and other styles, performed excellently in American Idol and other auditions, including musical theater auditions, learned to go from zero to karaoke in as little as 3 weeks, gone from being “tone deaf” to having full sets of repertoire in which they sing easily and in tune. GILMORE MUSIC STORE 1935 E. 7th St. Long Beach, CA 90813 562-599-1369 E-mail: lb.gilmoremusic@verizon.net Web: www.gilmoremusicstore.com Basic Rate: please call for info GOODRICH VOCAL STUDIO 12034 Riverside Dr. #101 Studio City, CA 818-766-3030, SKYPE E-mail: Andrea@goodrichvocal.com Web: www.goodrichvocal.com Basic Rate: please call for info GUITAR MERCHANT, THE 7503 Topanga Canyon Blvd. Canoga Park, CA 91303 818-884-5905 Contact: Phil St. Germaine E-mail: theguitarmerchant@yahoo. com Web: www.guitarmerchant.com Services: vocal lesson all ages, all styles GUITAR SHOWCASE/S.M.I. 3090 S. Bascom Ave. San Jose, CA 95124 408-377-5864

Contact: Norri Caplan E-mail: info@guitarshowcase.com Web: www.guitarshowcase.com Styles: all vocal styles Basic Rate: call for info HERNAN PELAYO 13046 Ebell St. N. Hollywood, CA 91605 818-988-2387 Web: www.hernanpelayo.com Basic Rate: please call for info Clients: many singers from Spanish mariachi groups to L.A. opera chorus members, i.e. Tatiana Bolanos, singers from Mariachi’s Sol de Mexico, Los Camperos HOWARD AUSTIN’S VOCAL POWER SCHOOL 9826 Columbus Ave. North Hills, CA 91343 818-895-SING or 800-929-7464 E-mail: vocalcoach@music-world.com Web: www.borntosing.com Contact: Howard Austin Basic Rate: please call for info Clients: include artists on RCA, Geffen, MCA, Capitol, Columbia, Grammy Awards, People’s Choice Awards, winners on Star Search and American Idol. Services: vocal technique, personal style, performance, keyboard basics for songwriting and self-accompaniment all levels, ages, styles. Howard Austin is the author of the “Born To Sing” Master Course. INGRID PRANIUK Vocal Instructor/Coach/Piano Instructor Citrus College 1000 W. Foothill Blvd. Glendora, CA 91741 626-914-8580 Fax 626-914-8582 Hacienda Heights Studio: 626-968-4071 SKYPE: ingrid.praniuk Twitter/Facebook:ingridpraniuk E-mail: bonavoxmusic@yahoo.com Web: www.citrusarts.org/music/vm/ vmbios.html#ipraniuk Basic Rate: please call for info Clients: The privacy of the client is respected; no name is ever listed nor mentioned. Major label artists/Major movie industry actors. Services: Private voice instructor at Citrus College, member of the Voice Foundation. Certified private vocal instructor/vocal coach in all genres (rock, pop, electronica, hardcore metal/industrial/screaming, classical, musical theatre). Specialized in training professional musicians to survive touring/recording, training actors in music (singing, playing piano and other instruments) and treating vocal problems in singing and speech.

Elisabeth Howard - Vocal Coach Specializing in Rock, Heavy Metal, Alternative, Jazz, Blues Recommended by STING, Andy Summers, Stewart Copeland, Albert Lee, Pete Anthony, David Frank, Sussan Deyhim, Priscilla Presley, Peter Manning Robinson, Dave Blumberg, David “Cat” Cohen, Sam Brown III

310 - 702 - 9411 | www.vocalpoweracademy.com 70 May 2013

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www.musicconnection.com/amp Specialized and Certified in Vocal Health and in Holistic Health. INTERNATIONAL SCHOOL OF MUSIC 116 S. Louise St. Glendale, CA 91205 818-548-7959 E-mail: info@ismglendale.com Web: www.ismglendale.com Basic Rate: please call for info JAMES LUGO’S VOCAL ASYLUM 5651 Lankershim Blvd. North Hollywood, CA 91601 818 259 0190, SKYPE E-mail: james@jameslugo.com Web: www.vocalasylum.com Contact: James Lugo Basic Rate: please call for info Services: Specializing in rock and pop vocals. Pro Tools studio on premises. Clients: A Fine Frenzy, the Veronica’s, 311, the Smashing Pumpkins, MTV, VH1 Additional location: Raleigh/Durham 919-800-8049 JAIME BABBITT Nashville, TN and Los Angeles, CA 917-697-0800, SKYPE: jaime.babbitt E-mail: jaime@workingwithyourvoice.com Web: www.workingwithyourvoice.com Contact: Jaime Babbitt Basic Rate: $100/hr. Monthly programs available Clients: Disney, private clients Services: proper pop/rock/country/ R&B/jazz vocal technique, vocal coaching, live performance and recording studio coaching and in-studio vocal production for CD projects. 25+ years professional singing experience in NYC, LA, Nashville and on USA/ international tours, 10+ years coaching experience. Instructs students of all ages to become better singers, performers and recording artists using “real world” applications. JEANNIE DEVA Brentwood, Los Angeles and Worldwide 818-446-0932, 800-920-8220 E-mail: Sing@JeannieDeva.com Web: www.JeannieDeva.com Rates: Consultation - $60. Call for lesson rates. Clients: Grammy winners, Idol Finalists, celebrity singers/actors and TV show La Voz Kids. Services: Vocal technique, voice and performance coaching with Jeannie Deva, originator of The Deva Method®, who has helped thousands of singers

worldwide for over 35 years. Additional Services: Jeannie Deva is also a recording studio vocal coach and vocal producer who has been endorsed by engineers and producers of Aerosmith, the Rolling Stones, the Cars, Amy Winehouse, Ludacris, Donnie Walberg, DJ Jazzy Jeff. JEFFREY ALLEN VOCAL STUDIO P.O. Box 4056 Valley Village, CA 91617 800-644-4707, Ext. 22 E-mail: sing@vocalsuccess.com Web: www.vocalsuccess.com Basic Rate: please call for info. VISA/MC/AMEX accepted Clients: Private lessons, audition coaching, Pro Tools, demos Services: Workshops, recording consultant, all levels and styles. Author of eight products for Warner Bros. Publishing Inc., including Secrets of Singing. JERRY BRAGIN 250 W. 57 St., Ste. 331 New York, NY 10107 212-765-6950, 516-538-8383 Web: www.jerrybraginvocalcoach.com Basic Rate: please call for info Additional location: 188 Mayfair Ave. W. Hempstead, NY 11552 516-538-8383 JO ALICE BRASWELL Van Nuys, CA 818-636 8279 E-mail: joabraswell@hotmail.com. SKYPE Basic Rate: please call for info Clients: Linkin Park, Michael Bolton, Steve Winwood, L.A. Hip Kids, Millennium Dance Complex Notes: Focus is on the anatomy of singing. Correct breathing control and technique with yoga and basic breathing exercises to expand vocal range. Develop style and strength and your own repertoire, with an overview of music theory and its applications to voice. Also teaches piano and guitar. JOHN DEAVER N. Hollywood, CA 818-985-3511 E-mail: vocalcoach1@gmail.com Web: www.johndeaver.com Basic Rate: please call for info Clients: All levels. Sara Bareilles, Daniel Powder, Cher, Brendan Fraser, Heather Graham, Kimiko Kasai, Michelle Pfeiffer, Michael Sembello, Vonda Shepard, Pop Stars and many working singers and musicians.


Download This Directory From Our Website JOHN DELUISE Van Nuys, CA 818-908-0104 E-mail: jdeluise@earthlink.net Basic Rate: please call for info Clients: all levels Notes: Yale Music & Theater, 30 years experience JOHN FLUKER VOCAL STUDIOS P.O. Box 922616 Sylmar, CA 91392-2616 Fax 818-367-5794, SKYPE E-mail: johnfluker@mac.com Basic Rate: please call for info Clients: Jennifer Lopez, Roselyn Sanchez, Devon Aoki, Kim Fields, Darren Romeo, served as MD for Gladys Knight, all levels. KAREN JENNINGS 2019 Hyperion Ave. Los Angeles, CA 90027 319-621-4302, SKYPE E-mail: Karen.Jennings@csun.edu Basic Rate: please call for info Services: Expert instruction in vocal technique for non-classical singing styles (pop, rock, R&B, jazz, country, etc.), including breath control, chest mix techniques, range extension, techniques to increase strength/ stamina and improving vocal technique without changing the singer’s style. Certified instructor of the Dante Pavone Vocal Method. Also, voice therapy, rehabilitative and corrective vocal techniques for damaged/ problematic voices (licensed voice/ speech therapist). All levels of singers welcome. Clients: artists w/ Warner Bros., Sony, RCA, Interscope, Black Top Records, Hollywood Records, Restless Records, Universal, Quincy Jones Music, and more. LEANNE SUMMERS VOCAL STUDIO Sherman Oaks, CA 818-780-1070, SKYPE E-mail: info@leannesummers.com Web: www.leannesummers.com Basic Rate: hourly rates, project/ lesson discount packages + initial consult special Clients: all ages, levels and styles; beginners to Grammy winners; major labels; Broadway performers; TV series; movies; indie artists. Services: 30+ years as a pro singer/ vocal coach/producer. Private training includes: Vocal technique w/ custom exercises; Live performance, touring and audition prep; Artist development and vocal demos; Recording, microphone & studio techniques. Everything for today’s singer in a cutting-edge environment.

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LEE LONTOC 5478 Wilshire Blvd., Ste. 215 Los Angeles, CA 90036 310-717-6578 E-mail: info@hollywoodvocalcoach.com Web: www.hollywoodvocalcoach.com Basic Rate: please call for info Services: vocal coach and trainer specializing in rock, R&B, pop and musical theater.

323-262-7734, 323-261-3289 Fax 323-262-2805 E-mail: stayintune@lamusart.org Web: www.lamusart.org Basic Rate: 30 minute private music lesson for a child (17 and under): $18 30-minute private music lesson for an adult (18 and over): $20 Services: Hours: M-F 2pm - 8pm and Saturday 8am to 4pm

LINDA MERRELL A Singer With Style Reno/Lake Tahoe, NV 775-770-4466 E-mail: lindamerrell@asinger withstyle.com Web: www.asingerwithstyle.com

LOYOLA MARYMOUNT UNIVERSITY 1 LMU Dr., MS-8347 Los Angeles, CA 90045-2659 310-338-2700 E-mail: lmumusic@lmu.edu Web: www.lmu.edu Basic Rate: please call for info

LISA POPEIL’S VOICEWORKS Sherman Oaks, CA 91423 818-906-7229, cell 818-634-3778, SKYPE E-mail: lisapopeil@mac.com Web: www.popeil.com, www.facebook. com/Voiceworks Basic Rate: please call for info Clients: all levels, technique expert and performance coach, songwriting/ recording. Notes: MFA in Voice, creator of “The Total Singer” instructional program.

LYNWOOD SLIM Southern CA E-mail: lynslim@pacbell.net Web: http://www.myspace.com/ lynwoodslimband Basic Rate: please e-mail for info Services/Specialties: jazz & blues vocals, also chromatic & blues harmonica

LIS LEWIS 4804 Laurel Canyon Blvd. #123 Valley Village, CA 91607 818-623-6668, SKYPE E-mail: lis@thesingersworkshop.com Web: www.thesingersworkshop.com, www.lislewis.com Basic Rate: please call for info Clients: Rihanna, Miguel, Demi Lovato, Gwen Stefani, Courtney Love, The Pussycat Dolls, All-American Rejects, Britney Spears, Linkin Park, Jack Black, Jimmy Eat World, Colbie Caillat, Gloriana & stars of the Disney TV show Shake It Up. Vocal technique all pop styles; performance coaching. Notes: author of the books The Singer’s First Aid Kit, and The Pop Singer’s Warm-Up Kit, which both include warm-up CDs available on website.

MANDEVILLE SCHOOL OF MUSIC 316 Girod St. Mandeville, LA 70448 985-674-2992 Fax 985-674-2553 Web: www.laapa.com Basic Rate: please call for info MARILYN CHILD 310-394-7171 Basic Rate: please call for info Clients: Primarily professionals. Clients include Lynn Redgrave, Lee Remick, Angela Lansbury, Marian Mercer, Penny Fuller, Rick Podell and cast members of Evita and Sunset Blvd.

MARK BAXTER VOCAL STUDIOS 145 Lynway Point of Pines, MA 02151 800-659-6002 E-mail: mbaxter@voicelesson.com Web: www.voicelesson.com Basic Rate: please call for info Clients: all levels. Aerosmith, Buckcherry, Velvet Revolver, Army of Anyone, the Click Five, Goo Goo Dolls, Journey, Van Halen, Jonny Lang, Tonic, Vertical Horizon, members of the RENT cast and Trans-Siberian Orchestra, Aimee Mann, the Dresden Dolls. Author of The Rock-N-Roll Singer’s Survival Manual, instructional video: The Singer’s Toolbox, and instructional CD, Sing Like an Idol. MARK FOREST 310-712-1621 Basic Rate: please call for info Clients: Jackson Browne, Verdine White (Earth, Wind & Fire), Sissy Spacek and Roseanne Cash MARK RENK Valley Village, CA 818-599-0113 E-mail: Mark@MarkRenk.com Web: http://www.markrenk.com/WP/ Contact: Mark Renk Clients: Augustana, Bullet for My Valentine, Eve, Helmet, P.O.D, Gavin Rossdale, Seether, Three Days Grace, Mandy Moore, OneRepublic, etc. MARTA WOODHULL Singing For a Living 808 N. Spring St #707 Los Angeles, CA 90012 818-752-0833, SKYPE E-mail: marta@singingforaliving.com, SKYPE

LONESTAR SCHOOL OF MUSIC 4301 W. William Canon Dr. Austin, TX 78749 512-712-5187 E-mail: arbortrails@ lonestarschoolofmusic.com Web: www.lonestarschoolofmusic.com Basic Rate: please call for info LOS ANGELES MUSIC & ART SCHOOL 3630 E. Third St. Los Angeles, CA 90063

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Download This Directory From Our Website Web: www.singingforaliving.com Basic Rate: Private lessons, $150/ hr, package rates available. Specializing in double and triple threats, actors, dancers, singer-songwriters. Vocal technique, vocals for film, stage choreography, studio production and recording. Grammy-nominated arranger, educated in New York, Ms. Woodhull is one of Hollywood’s most respected coaches. Her clients have won Tonys, Emmys, Grammys, Oscars. Clients: Lea Salonga, Paula Abdul, Katharine McPhee, Anna Nalick, and more. MARY GROVER Lake Balboa, Encino, Beverly Hills, CA 818-787-SONG (7664) E-mail: Grover.MaryGrover@gmail.com Web: http://marygrover.com Basic Rate: please call for info Clients: all levels: Platinum record, Grammy Award and triple Academy Award-winning clients. Notes: a California licensed singing voice therapist and singing teacher. Master Degree in Singing Voice Therapy, U.S. Patent Award for voice technique.

MICAH’S PROFESSIONAL VOCAL COACHING 2042 Lakeshore Ave. Los Angeles, Ca,90039 323-273-3532 E-mail: micah@micahplissner.com Web: www.MicahProVocals.com Skype: Micah_Plissner Services: 25 years of professional music industry experience Also specializes in Television, Film. All ages, all levels, all styles. Online, national and international vocal lessons. Clients: Please visit website for client list, rates and info MIKE CAMPBELL 818-763-4916 E-mail: mcampbell62@sbcglobal.net Web: www.mikecampbellvocalartist.com Basic Rate: please call for info Clients: all levels Note: Faculty-Vocal Program at Musicians Institute

MELISSA ELLEN Nashville, TN 404-217-4192, Skype E-mail: me@MelissaEllen.com Web: www.MelissaEllen.com Contact: Melissa Ellen Styles: rock, (mainstream, heavy), songwriter, pop, R&B, country, blues Clients: Joe Nichols, Melinda Doolittle of American Idol, Rob Thomas, Toni Braxton, India Arie

MONICA MARGOLIS Vocal Coach/Singing Instructor San Fernando Valley, CA 818-599-5297, SKYPE Web: www.monicamargolis.com E-mail: monica@monicamargolis.com Notes: Monica has been teaching vocal mechanics to singers, actors, dancers and speakers for over 20 years. She has worked in theater and film, appeared in variety shows, worked as a voiceover artist and was chosen as Musical Director for the West Coast Dance Theater. Monica specializes in teaching her vocal method to artists at every level of their career, from the young beginner to major label artist. The Monica Margolis Vocal Arts Studio offers lessons in voice, songwriting, acting, guitar, piano, bass and drums. Private and group lessons are available at our place or yours. Be sure to YouTube Monica Margolis’s interview with American Idol’s “Idol Chat”

MICHAEL LAVINE 165 W. 66th St., Ste. 3U New York, NY 10023 212-362-5101, 917-826-2116 (cell), SKYPE E-mail: broadwaymhl@aol.com Web: www.MichaelLavine.net Basic Rate: e-mail for info Notes: Coaches on both coasts

MUSICIANS INSTITUTE Vocals Program 6752 Hollywood Blvd. Hollywood, CA 90028 323-462-1384 or 800-255-7529 Web: www.mi.edu E-mail: admissions@mi.edu Basic Rate: please call for info Clients: Certificate and degree

MAUREEN O’CONNOR Long Beach, CA 562-433-5486 E-mail: pinkstrat@aol.com Basic Rate: please call for info Clients: all levels

www.musicconnection.com/amp programs designed for intermediate to pro level. Services: Entrance audition required. Private lessons included for Bachelor, AA, Certificate & Encore programs. NANCY BADGER Southern CA 818-275-1449 E-mail: mysingersecrets@yahoo.com Web: www.mysingersecrets.com Basic Rate: please call for info Services: voice instruction, vocal coaching, vocal production Clients: everyone NOVELLO-RUSCH SCHOOL OF THE NATURAL VOICE 11726 La Maida St Valley Village, Ca 91607 818-506-0236 Fax 818-506-5559 E-mail: john@keysnovello.com Web: www.keysnovello.com Basic Rate: please call for info Clients: all levels, clients include Kevin Edmonds, After 7, Traci Spencer, Billy Sheehan, Eric Martin from Mr. Big, Mint Condition and more. OLDE TOWN PICKIN’ PARLOR 7515 Grandview Ave. Arvada, CO 80002 303-421-2304 888-421-2304 E-mail: unclekit@picknparlor.com Web: www.picknparlor.com Basic Rate: please call for info PATRICIA SHANKS VOICE STUDIO 220 Newport Center Dr., Ste. 16 Newport Beach, CA 92660 949-723-4473, SKYPE Contact: Patricia Shanks E-mail: pshanks@studioshanks.com Web: www.studioshanks.com PEISHA MCPHEE Los Angeles, CA 818-788-3056 Twitter: PeishaMcPhee E-mail: peisha@peishamcphee.com Web: www.peishamcphee.com, Findyouruniquevoice.com Basic Rate: please call for info Clients: from amateurs to professional actors and singers Services: the art of vocal technique, styling, patter, subtext and stage presence. Specializing in pop, belt and legitimate placement. Currently vocal coaching on season 11th of American Idol. Owner of McPhee International vocal studios in Studio city. Mother of NBC Smash & American Idol Alum Katharine McPhee and A.I. vocal coach, Adriana McPhee PER BRISTOW 287 S. Robertson Blvd., Ste. 208

Beverly Hills, CA 90211 310-876 2070, SKYPE E-mail: perbristow@ bristowvoicemethod.com Web: www.bristowvoicemethod.com, www.thesingingzone.com Basic Rate: please call for info Clients: Singers, actors and speakers Services: to rapidly improve overall vocal capacity, heal voice problems and ignite the truly confident, unique and captivating performer within you. See web. POSTELL PRODUCTIONS Diane Postell P.O. Box 604 Culver City, CA 90232 310-348-9757 (studio) 443-803-0545 (cell) E-mail: dmpostell@gmail.com Web: www.dianepostell.com Rate: $60 - $75/hour Services: Vocal coaching, instruction, pre-production vocals, auditioning, vocal arrangements, solid vocal technique, lyric writing/songwriting, vocal repair pro and semi-pro, teens, young artists, vocal producers, special needs teens RACHEL LYNN VOCAL STUDIO San Fernando & Brand, Glendale, CA 310-928-1764, SKYPE E-mail: rachel@rachellynn vocalstudio.com Web: www.rachellynnvocalstudio.com Rates: $75-$110/hour Clients: “Jumpin Junior High” vocal troupe, Lexi Ainsworth (Emmy Nominated Star), Hannah Hooper of “Group Love” (Canvasback / Atlantic), Katy Goodman of “Vivian Girls” (In the Red Records), Sherryce (Roomtrip Music) and Ace Marrero “Aladdin” (Disney) among others. Technique, style and performance coaching Additional location: Venice, CA Venice & Lincoln 310-928-1764 RAK VOCAL & HEALING CLINIC 6056 W. Irving Park Rd. Chicago, IL 60634 773-283-8349 E-mail: rakvocal@aol.com Contact: Sheryl Rak Web: www.rakvocal.com, www.facebook.com/RakVocalpage Basic Rate: $60/hr Services: vocal therapy, voice lessons, vocal performance coaching Clients: adult singers and songwriters RENEE GRANT-WILLIAMS 123 Second Ave. N.

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Download ThisDirectory DirectoryatFrom Our Website Download This www.musicconnection.com/amp Nashville, TN 37201 615-244-3280, 800-467-0490, SKYPE E-mail: MyVoiceCoach@comcast.net Web: www.myvoicecoach.com Basic Rate: please call for info Services: all styles, aspiring performers and celebrities, “Tricks of the Tradeâ€? that can help anyone improve. ROBERT LUNTE & THE VOCALIST STUDIO 2222 2nd Ave. Seattle, WA 98121 800-269-9040, 425-444-5053, SKYPE E-mail: robert@thevocaliststudio.com Web: www.thevocaliststudio.com, www.thevocaliststudiomasterclass.com www.tvscertifiedinstructor.com Contact: Robert J. Lunte Basic Rate: $100/hr in studio; $60/hr internet lesson, $1200 - $2500 weekend intensives Clients: Protege of the late Maestro David Kyle who trained Ann Wilson (Heart), Layne Staley (Alice in Chains), Geoff Tate (Queensryche), Chris Cornell (Soundgarden), Ronnie Monroe (Metal Church) including; Classical training Dr. David Alt, Estill Training with Peter Egan, Phonetics and Formants with Steve Fraser. Publications: Author and Producer of The Four Pillars of Singing. Notes: Train on a live stage with PA. Founder and CEO of themodernvocalist.com ROGER BURNLEY Los Angeles, CA 90038 323-848-4058, SKYPE E-mail: Kasey@rogerburnley.com Web: www.rogerburnley.com Basic Rate: call for rates Clients: all levels, especially good with beginners. Client list available on request. Notes: also specializes in vocal repair and rehabilitation ROSEMARY BUTLER 310-572-6338 E-mail: vocalstarr@aol.com Web: www.rosemarybutler.com Basic Rate: please call for info Clients: all levels, kids welcome. Celebrity clients include Linda Ronstadt, Jackson Browne, CSNY, Bruce Willis, Oasis, Hillary Duff, Celine Dion, Bonnie Raitt, James Taylor, Bruce Springsteen, Bob Seger, Sara Brightman, Julio Iglesias, Vanessa Williams, Joni Mitchell, Tina Turner, Andrea Bocelli and Eagles. Notes: Free lessons with package deal SANTA MONICA COLLEGE 1900 Pico Blvd. Santa Monica, CA 90405 310-434-4323 E-mail: admissions@smc.edu Web: www.smc.edu Contact: James Martin Basic Rate: please call for info SHERMAN OAKS COMMUNITY CHILDREN’S CHORUS, THE Los Angeles, CA 818-981-5154 E-mail: carol@thecarollombardkids.com Web: www.thecarollombardkids.com Contact: Carol Lombard, Director Basic Rate: please e-mail for rates Clients: Students under 16 years only. SINGCLEAR  British Vocal Coach, Producer & Consultant (est. London, England 1978) Locations in Sherman Oaks & Ventura, CA 818-433-8803 or 805-669-8614, SKYPE E-mail: JS@singclear.com Web: www.singclear.com Contact: Jon Sinclair Basic Rate: One on one in professional recording studio. All ages. Workshop’s, bi-weekly group classes in Sherman Oaks and Ventura, artist development, direction & production. Online classes via SKYPE. Call for rates. Clients: Discover what Bon Jovi, Annie Lennox,

Gladys Knight have in common other than success. Worked with band members and producers for such acts as: Pat Benatar, Melissa Ethridge, Deep Purple, Kiss, Howard Jones, Black Crowes, L7, Night  Ranger, Steve Vai and many more. Specializing in alt, pop and rock. Reasonable rates. LAUSD Schools - Kester Magnet Elementary, Riverside Elementary, Hesby Elementary, Serrenia Elementary, Los Feliz Arts Charter School. American Idol finalist Melinda Doolittle. SINGER’S PERFORMANCE WORKSHOP AND CABARET PERFORMANCE CLASS Los Angeles Community College 855 N. Vermont Ave. Los Angeles, CA 90029 323-953-4000 X 2880 E-mail: wannerda@lacitycollege.edu Web: http://lacitycollege.edu/academic/departments/ music/faculty.html Basic Rate: please call for info SING LIKE YOU SPEAK (Sally Morgan) New York, NY 646-450-SING E-mail: info@vocalpowertools.com Web: www.singlikeyouspeak.com, www. vocalpowertools.com Basic Rate: please call for info Services: Private/Online Lessons, Workbook/Cds. Don’t imitate your favorite singer - BE your favorite singer!

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SING WITH POWER VOCAL STUDIOS Houston, TX 281-222-1092, 866-910-7464 E-mail: info@singwithpower.com Web: www.singwithpower.com Basic Rate: please call for info STEPHANIE SPRUILL Spruill House Music, School of Voice and Artist Development P.O. Box 92832 Pasadena, CA 91109 626-797-2429, SKYPE E-mail: spruilhous@aol.com Twitter: Stephaniespruil Facebook: Stephanie.Spruill Web: www.spruillhousemusic.com Basic Rate: please call for rates Clients: Julio Iglesias, Michael Jackson, Whitney Houston, Placido Domingo, Elton John, Aretha Franklin, Mariah Carey, Enrique Iglesias Notes: My book & Ebook is “17 Points To Longevity In Show Businessâ€? STEVEN MEMEL Los Angeles, CA 818-789-0474, SKYPE E-mail: steven@stevenmemel.com Web: www.stevenmemel.com Basic Rate: please call for info Clients: Maroon 5, Melee, Big City Rock, Britney Christian. Clients have recorded albums on Jive, BMG, Sony, Dreamworks, Warner, Universal and more. STEVE REAL Los Angeles, CA 626-617-1063 E-mail: stevereal@aol.com, SKYPE Basic Rate: please call for info Clients: Stevie Nicks, Olivia Newton-John SUE FINK West L.A., CA 310-397-3193, SKYPE E-mail: SueFink9@gmail.com Web: www.angelcitychorale.org Basic Rate: please call for info Clients: all levels, singing lessons, workshops, showcasing, group classes at McCabes; also call for auditions for the Angel City Chorale. SUSAN ANDERS P.O. Box 58155 Nashville, TN 37205 800-787-2647 E-mail: susan@susananders.com Web: www.susananders.com

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Download This Directory From Our Website Basic Rate: $60/hr. Clients: Contact Susan for client list. 25+ years exp. teaching beginners to pros. Creator of The No Scales, Just Songs Vocal Workout Volumes 1 and 2 (singersworkout.com), and Harmony Singing By Ear (harmonysinging.com). SUSAN HYATT VOCAL COACHING Studio City, CA 310-774-6254 E-mail: susan@susanhyatt.net Web: www.susanhyatt.net Basic rate: $75 an hour Clients: Dev & the Cataracs, Youngblood Hawke, Pussycat Dolls Burlesque, Universal Records Republic Styles: Rock & Pop SUSAN RUMOR Los Angeles, CA 310-874-3691 E-mail: susan@artistoneproductions.com Web: www.artistoneproductions.com, www.susanrumor.com Basic Rate: please call for info Clients: all levels, teaches Grammywinning recording artists, over 21 years coaching, Masters Degree in voice therapy. SUSU-MAGO VOCAL STUDIO 6399 Wilshire Blvd., Ste. 1021 Los Angeles, CA 90048 323-655-8484 Basic Rate: please call for info Clients: all levels SUZANNE KIECHLE Studio City, CA 818-762-5731 E-mail: skiechle@aol.com, SKYPE Web: www.suzannekiechle.com Basic Rate: please call for info Clients: all levels, recording artists and Broadway, film performers for vocal coaching and repair. Film and Television. Teaching online for The Academy of Art University. TAMARA ANDERSON 1025 Baberry Lane Round Lake Beach, IL 847-546-5548, SKYPE E-mail: voxdoc@comcast.net Web: www.tamaraanderson.com Basic Rate: Please check website or call Services: pop, rock, country, blues, jazz and musical theater Additional Locations: Chicago School of Music 900 N. Franklin Ave. Chicago, IL 60610

Elmhurst Music Academy 611 N. York Road Elmhurst, IL 60128 TANISHA HALL White Hall Arts Academy 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665, SKYPE E-mail: mail@whitehallacademy.org Web: www.whitehallacademy.org Basic Rate: $35 and up Clients: Instruction in voice, piano, music recording, songwriting, self accompaniment and speaking. All genres including opera. Specialize in stage performance and studio recording. Dynamic performance workshops teach how to “work the stage” in mirrored room with mic! 15+ years in the music industry working with artists Chaka Khan, Black Eyed Peas, Babyface, Shanice & more. B.M. in Voice & Music Business Management - Berklee College of Music. TERI DANZ YouWorld Music/Bleach Records W. Los Angeles 310-283-9688, SKYPE E-mail: vocalcoach@teridanz.com Web: www.teridanz.com Basic Rate: Rates on Website, packages and SKYPE available Clients: artists, bands, singersongwriters, actors – performance coaching, pop vocal technique Credits: recording artist, national press (Women Who Rock), industry and student testimonials, nominated Best Female Vocalist All Access Music Awards. Author of music/vocal articles, New Vocal Exercise CD, book - Vocal Essentials for the Pop Singer: Take Your Singing from Good to Great (Hal Leonard Corp). UAF SUMMER SESSIONS & LIFELONG LEARNING University of Alaska - Fairbanks 403 Salcha St. 216 Eielson Building PO Box 757540 Fairbanks, AK 99775 907-474-7021, 866-404-7021 E-mail: summer@uaf.edu Web: www.uaf.edu/summer Basic Rate: please call for info VENABLE STUDIO 2480 Draper Ave. Ypsilanti, MI 48197 734-544-8703 E-mail: linda@lindavenable.com Web: www.lindavenable.com Basic Rate: please call for info

www.musicconnection.com/amp WILLIAM AND IRENE CHAPMAN Van Nuys, CA 818-787-7192 E-mail: icychapman@gmail.com Basic Rate: please call for info Clients: all levels and styles Notes: The Chapmans are held in high esteem starting with Mr. Chapmans credits of leading baritone for 25 years with the New York City Opera and 5 Broadway shows. Irene has starred in many musicals and plays and together they offer a wealth of vocal knowledge and expertise to anyone who is serious about developing their singing or speaking voice. They have been on staff with several performing art University programs as well as maintaining their own vocal studio.

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– LISA POPEIL

6 Steps to Better Backup Singing

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uch is written about the solo singer or lead singer experience, but what about the special requirements of those singers not in the limelight—the lowly but oh-so-important backup singer? Whether you’re a hired hand or a band musician doing double-duty as a singer, get ready to learn how to be an integral and welcome part of the overall vocal sound. 1. LEARN TO HARMONIZE You don’t have to be a great singer to be a good backup singer, but you do need to be able to create harmony parts and hold firm no matter which other vocal parts surround you. Make sure you know the melody well before you attempt to find harmony parts. Practice singing along to recordings with complex harmonies like Queen, Dan Fogelberg or the Beatles. Listen carefully to the existing harmonies, then sing along. Do research online for CDs or videos specifically created to improve your skills in “vocal harmony.” If you have trouble maintaining your pitch amid of various harmony parts, plug your ear that is near the singer who is closest to you. Or practice singing with other vocal parts from a distance, gradually moving closer to the other singers. Or don’t stand in the middle of a threesome; position yourself on the outside. You must be able to maintain your pitch in sometimes challenging sonic situations, which leads us to...

4. NEVER STICK OUT Backup singers basically help create a fuller overall vocal sound, so never let your voice stick out. There are several ways to accomplish this. First: begin and end each phrase exactly along with the other backup singers. Don’t come in early or leave late! Second: minimize the clarity of your consonants. Soften your final T’s or P’s or leave them off altogether. S’s are the most dangerous and can be almost eliminated. Final S’s can easily sound like a bunch of snakes hissing. Practice singing “Sally sells seashells by the seashore” as “...ally...ellz.. ea..ellz...by...the...ea..ore”. Extreme example, yes, but it’ll give you an idea of how to sing on your vowels while minimizing your S sounds. Watch your breathing sounds. Audible gasping can mar a good group sound, particularly during a quiet ballad. If a phrase is really long, stagger your breathing among the group to give the illusion of one long phrase.

2. LISTEN CLOSELY Monitors are key. Whether you use floor monitors or in-ears, this may be the most important ingredient in your backup singing ability. If even one of the singers can’t hear himself, the result is a sonic blood bath. Top Los Angeles session singer Scottie Haskell suggests that you should “Control the reverb in the monitor mix—too much and you’ll be swimming and not able to hear anything clearly.” Don’t be afraid to ask the sound guy to adjust your monitor level and of course make sure you can hear every singer so you all can nicely stack the vocal parts.

5. ACHIEVE ENDURANCE Grammy-winning pro singer Angie Jarée says, “Anyone embarking on a tour should already have taken enough voice lessons to know the mechanics of singing and, more importantly, their own instrument; if not, they need to do so pronto.” She likens singing to running: “The [tour] thing is more like long distance running and the studio thing is more like sprinting. The key points to achieving ‘endurance’ are adequate prep such as physical stretching, vocal warmups and cool-downs; 7-8 hours of sleep; eating healthy; strong discipline (minimal drinking and partying); and the right attitude.” When preparing for the road, find harmony parts you can sing comfortably when exhausted, sick, or when just not in the mood to sing that night. Live shows while traveling will test your vocal technique even if you’re not in the spotlight.

3. FIND THE PROPER MODULATION Now that you can hear what the other singers are doing, try to match their vowel sounds. That means if they sing the “oo” vowel with fishy lips, do the same. Or if the lead singer is pronouncing the vowel in the word “love” like “ah” instead of “uh,” match their vowel. Add or reduce nasality to match and support the group sound. Control your loudness when singing backup. Try to balance your volume so you’re neither too loud OR too soft when singing in harmony. Watch that your vibrato isn’t too wobbly (slow and big) or jittery (fast and shallow). Neither type of vibrato blends well with others. If you can’t control your vibrato speed, I recommend that you aim to sing with straight tone.

6. GET YOUR HEAD STRAIGHT Put your ego aside when singing backup vocals. Or as Scottie Haskell advises, “Remember, backup singing is not a contest—it’s a team effort. Think of the old adage, ‘There is no I in team.’” Backup singing is not easy—it LISA POPEIL is a Los Angeles voice coach takes real chops. Not everyone with over 35 professional teaching experican do it well. Come ready with ence. Creator of the Voiceworks® Method, the Total Singer DVD, and co-author of the your “A” game, a positive attitude Sing Anything-Mastering Vocal Styles, and a willingness to take personal book Popeil trains singers in vocal technique, growth steps to be in a good head stage performance and vocal health for touring professionals. Visit http://popeil.com. space as part of that team.

“Watch your breathing sounds. Audible gasping can mar a good group sound, particularly during a quiet ballad.”

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