Gregg Allman. BMI Writer Since 1969.
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Tove Lo In our exclusive interview, the Swedish pop starâ€”â€œHabits (Stay High),â€? â€œTalking Bodyâ€?â€”discusses songwriting, production and putting on an eye-popping live show.
46 Gear Endorsements
By Dan Kimpel
Musician Justin Emord of Love and a .38 shares his strategies for getting cool gear for free.
Cover Photo: Rankin
By Brett Bush
Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes
Singers on Singing Matt Skiba, Kirsten Maldonado, Scott Weiland, Ledisi, Tomas Lindbergâ€“â€“ these acclaimed singers offer you hard-won insights on the art & craft of recording and performing powerful, consistent vocals.
By Kurt Orzeck
58 Directory of Music Schools
50. Album Reviews 52. New Music Critiques 54. Live Reviews
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20. Producer Crosstalk: The Title Trackers . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Jay Warsinske, Indie Power . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Clawson & Tompkins . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 44. Expert Advice: How to Protect Music Legacies . . . . . . . . . . . . . . . . . By Jennifer Cohen 48. Expert Advice: Insights From A Session Player . . . . . . . . . . . . . . . . . By Kyle Crane 78. Tip Jar: Mentorships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dave Hampton 4
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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., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright ÂŠ 2015 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / email@example.com
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OMEGA STUDIOS omegastudios.com
Specializing in Music Production Since 1968: One of the oldest recording studios in America and one of the few successful state-of-theart facilities specializing in live recording, Omega Studios in Rockville, MD (part of the greater Washington D.C. area) has hosted everyone from Def Leppard, Michael Bolton and Mya to the Washington Opera and the U.S. Marine Band. The studio has also served the major networks for TV specials, including feeding live shows broadcasting from downtown Washington venues with live remote orchestras in the studio. With exceptional acoustics, a wide selection of analog and digital equipment, vintage keyboards and other instruments and top of the line mics, Omega has hosted artists and bands in a wide variety of genres. Omega’s Studio A, which comfortably records live groups of up to 70 musicians, has also made it the go-to studio for international music publishers.
Four State-of-the-Art Rooms: Studio A, featuring a Neve VR-60 60x48 with Flying Faders Automation and Total Recall, is designed for live instrumental and vocal production. At 50’ x 40’ with 20’ ceilings, it hosts ensembles of all sizes and styles—jazz trios, 65-piece orchestras and heavy metal bands. It also has iso rooms and a large control room. Studio B is designed for live recording of moderate sized instrumental or vocal groups and overdub tracking. Studio C serves as a 24-track (analog or digital) room and as a vocal narration/ radio and advertising production studio. Studio D, with its Avid/Digidesign Icon console, is dedicated to digital mastering, editing, mixing and audio for film and TV. Engineering School: Founded in 1977, The Omega Studios’ School of Applied Recording Arts and Sciences is a top engineering school with a comprehensive music business program. It is dedicated to training recording engineers and providing technical education for people aspiring to work in the recording and TV/film industries. Omega’s 20,000-square-foot studio/school complex’s extensive array of multi-tracks, synthesis, MIDI and acoustic recording equipment is integrated into the school curriculum. The Omega programs provide experience on industry-standard “heavy hardware” found in the largest and most influential studios in the world. Contact Omega Studios, 301-230-9100 8
ReverbNation has promoted Simon Perry to Chief Creative Officer, Head of A&R. He was previously Senior VP of Creative, Head of A&R, joining the company in 2013. In his new role, Perry will continue to lead the company’s artist curation and development initiatives, which bring opportunities to ReverbNation artists to help them become successful. In addition to leading the team of curation experts in major markets across the country, Perry also spearheads outreach to the larger music industry, including records labels, music publishers, concert promoters and the film and television communities. He also oversees ReverbNation’s CONNECT program, an artist incubator that will launch later on this year. Contact firstname.lastname@example.org.
Musician’s Institute has hired electronic producer Arthur Pochon as a new instructor for the Independent Artist program. In his new role, he will advise students in composition arranging as well as with the use of Logic and Reason software. Under his professional moniker Art Bleek, Pochon has received accolades from numerous electronic music pioneers, such as Josh Wink, Laurent Garnier and Osunlade. He has collaborated with vocalists Ursula Rucker and Noelle Scaggs (Fitz & the Tantrums), while scoring TV documentaries, short films and ad campaigns. As a composer, pianist and saxophonist, his skills focus towards working with songwriters and instrumentalists. For more info, contact email@example.com.
Full Compass Systems, a company in professional audio, video, lighting, A/V and musical instrument sales, has appointed Laura Lawrence as Marketing Manager. In her role, Lawrence will lead the department on a strategic path to expanding the company’s customer base. Lawrence’s wealth of outside industry knowledge will help improve the company’s positioning and messaging in the marketplace. Lawrence studied at UW-Whitewater where she earned a BA in Communications and an MBA in Marketing. Prior to joining Full Compass, she ran her own full-service agency and has worked in marketing for the past 18 years at a variety of companies, within a broad industry range. For more information, contact firstname.lastname@example.org.
EastWest Sounds, a company in virtual instrument development, has named Wolfgang Kundrus as Software Architect and Senior Developer. The move aims at opening new opportunities for EastWest’s software division. During his years at Steinberg Media Technologies, starting with Cubase version 1.0, Kundrus’ concepts and ideas later led to the development of Nuendo, which eventually became the platform for Cubase SX, replacing Cubase VST in the legendary DAW line. He brings to EastWest more than 28 years of proven experience and will have the opportunity to shape future development with award-winning producers such as Doug Rogers and his team. For more information, contact email@example.com.
Willcox Guitars, an instrument manufacturer and innovator in guitar and bass pickups and related technologies through its proprietary LightWave Systems (LWS), has named Tom Kowalczyk Vice President of Sales & Marketing. He previously served as Senior Regional Manager for Kurzweil Music Systems dating back to 1988, as the company emerged as a manufacturer of digital keyboards and synthesizers in the marketplace. With his background in wholesale and retail and artist relations, Kowalczyk will help LightWave Systems enter into the next phase of their global presence, reaching a larger base of musicians and end users. For additional information, contact firstname.lastname@example.org.
Musician’s Institute has hired producer Josh Weatherspoon as a new instructor. Weatherspoon will teach the new curriculum he has created for Ableton Live software. Also known as Josh Spoon, Weatherspoon is a multi-instrumentalist, producer and Ableton-certified trainer. He is proficient on drums, saxophone and bass. Best known for creating the YouTube instructional series “30 Days of Ableton Push,” he is one of the few individuals to have received a certification directly from Ableton, and has since become an expert advisor on Live for other artists. His videos and articles have been featured on the Ableton blog, Create Digital Music and other online magazines. For more information, contact email@example.com.
Firehouse Recording Studios, a state-ofthe-art recording facility fully equipped to meet a wide array of client needs including live tracking, score-to-picture and postproduction, has appointed Destiny Rael to the position of Studio Manager. Previously, she was the Studio Coordinator at Westlake Recording Studios, wearing numerous hats for the last four years. Now at Firehouse, Rael will manage the day-to-day functioning of the studio, which includes booking, staffing, administrative, client relations, events, social media and more. Rael and her team are prepared to meet the diverse technical, logistic and creative needs of each client. For additional information on this appointment, contact her at firstname.lastname@example.org.
Full Compass Systems has named Ryan Mauer as the new Sales Manager to head up its National Sales Division. Mauer brings a wide range of sales leadership and recruitment experience to the sales team. Prior to Full Compass, Mauer was Director of Marketing and Sales Operations for RenewAire, LLC, where he was responsible for the strategic and tactical execution of the company’s go-to-market initiatives. He also served as the Director of National Accounts at Conney Safety Products, where he not only oversaw the national sales channel for the company, but brought on and worked with Business Development Managers to support sales expansion. For more info, contact email@example.com.
Chief Creative Officer, Head of A&R ReverbNation
Marketing Manager Full Compass Systems
VP of Sales & Marketing Wilcox Guitars, U.S.
Studio Manager Firehouse Recording Studios
Instructor Musician’s Institute
Software Architect, Sr. Developer EastWest Sounds
Instructor Musician’s Institute
National Sales Manager Full Compass Systems
– BARRY RUDOLPH firstname.lastname@example.org – BARRY RUDOLPH email@example.com
STANTON T.92 USB AND T.55 USB PROFESSIONAL The Stanton T.92 and T.55 turntables have solid bases and beefy construction with stable platters to minimize acoustical feedback. Both use precision tone arms for tracking any vinyl record using Stanton’s 300 Series cartridge. I’m attracted to the direct-drive Stanton T.92 USB (pictured) and the beltdriven T.55 USB professional turntables, because they use conventional analog RCA output jacks and both offer USB connectivity utilizing their builtin A/D converters to digitize records for personal use MP3s. Both come with iZotope Music and Speech Cleaner software—these are all the tools needed for complete audio cleanup using many advanced noise-reduction tools. The software operates with Microsoft Windows and Apple Mac OS X. The T.92 sells for about $299 MAP while the T.55 sells for $199 MAP. Both decks have +/- 12% pitch control and come with a slip mat. stantondj.com
MOTU ULTRALITE AVB With more I/O than previous models, the MOTU half-rack space UltraLite AVB has 18 inputs and 18 outputs that includes two microphone and two guitar inputs, 8-channel ADAT optical (switchable to stereo TOSLink), 6 x 8 balanced 1/4-inch analog I/O and MIDI IN/OUT jacks. Easy to throw in your backpack, this small interface’s balanced analog outputs have a dynamic range of 117 dB, and there is double the DSP available for the redesigned console-style software mixer capable of 48 inputs and 12 stereo busses. The routing matrix allows for the intuitive patching of inputs to outputs, or splitting inputs to multiple destinations. The UltraLite AVB will also work as a stand-alone mixer with 32-bit floating-point processing and modeled analog EQ, compressors and reverbs. Now you can control everything wirelessly from an app running on an iPad™, iPhone™ or Android tablet, smartphone and laptops running a Web browser. The MOTU UltraLite AVB connects to a computer through AVB Ethernet or class-compliant hi-speed USB 2.0 (compatible with USB 3.0 and iOS) and records at sample rates up to 192 kHz. Through AVB Ethernet, users can connect another AVB for more I/O or connect to an expanded MOTU AVB network with multiple interfaces and computers. The MOTU UltraLite AVB sells for $649 MSRP. motu.com/products/avb/ultralite-avb
MXL CR89 LARGE DIAPHRAGM CONDENSER MICROPHONE The CR89 is part of the new black chrome MXL CR Series and is designed for any recording task from vocals to close in on instruments and guitar amps. With home/project studios, there is a lot to spend money on, so getting the most out each microphone is important. The MXL CR89 has a wide cardioid pattern with a 6-micron gold-sputtered diaphragm that is center-terminated and features a FET-based low noise head amp circuit. It has a very low proximity effect; when I got it up close to my vocalist—I got a clear sound with presence and just a slight bass buildup—not the huge bump I normally hear when singers get close to other cardioid condenser mics. The CR’s large, beefy body reduces microphone body resonances, and its broad cardioid pickup pattern is perfect for singers who move around while singing on studio microphones—there is less noticeable change in sound caused by their movement. I then put the CR89 on my Fender Blues Junior amp and cranked back the microphone gain on my Sunset Sound S1P mic pre-amp down to about 10 dB of gain (I was at 30 dB for my singer) and got a solid sound. The CR89 comes with a durable aluminum flight case, a matching sexy flat black shock mount, and microfiber cleaning cloth. It sells for $349.95 MAP. mxlmics.com/microphones/studio/CR89
PSP AUDIOWARE L’OTARY ROTARY SPEAKER PLUG-IN PSP L’otary is a master emulation of Don Leslie’s rotary speaker cabinet he invented seven years after the introduction of the Hammond organ in 1935. In fact the L’otary’s algorithms are based upon the two original Leslie® 122 and 147 speakers that were usually sold to accompany Hammond organs. L’otary is not a simulated modulation effect plug-in; there are cool graphics showing the speed (visually) of the rotors and programmable independence between the drum (bass) and horn (treble) speakers. I installed in my Pro Tools 11 HD rig and started inserting L’otary on every instrument to generate ideas. It was excellent on electric pianos—I preferred it without the amplifier’s color switched in. Any synth organ will sound very authentic and distorted guitars take on a nasty tone with the Leslie speaker’s upper mid-range peakiness. I found the “relaxed” or “old rotary” presets good starting points to start tweaking rotating distorted guitar sounds. PSP’s L’otary will become the standard rotary speaker plug-in because of its great sound and its intriguing and vast programmability. It is available for Windows and Mac OS X in VST, AU, AAX32/64 and RTAS plug-in formats and sells for $99 MSRP. pspaudioware.com/plugins/multimode_effects/psp_lotary 10
AUDIO-TECHNICA ATH-M70X HEADPHONES The new ATH-M70x headphones (pictured), along with the open-back ATH-R70x, are the most stylish headphones yet in the ATH line. For studio use with good isolation from outside sounds, the ATH-M70x has a circumaural design with 90° swiveling ear cups that fold flat in the included compact soft case. They come with three interchangeable cables and included ¼-inch stereo adapter. The ATH-M70x feel very light on my head, yet stay put and seal well around my ears even though I wear glasses. I now mix on them whenever I want to listen on ‘phones during late night mixing sessions. The ATH-M70x professional monitor headphones feature proprietary 45-mm large-aperture drivers with neodymium magnets and copper-clad aluminum wire voice coils. They reproduce 5 Hz to 40,000 Hz effortlessly but do not sound purposely over bright and fizzy. They’ll take up to 2 Watts of power from my studio’s headphone system, and drummers (who want it louder than loud) will love them. A great choice for studio mixing, tracking, FOH, DJ use, personal listening, mastering and post-production, the Audio-Technica ATH-M70x sells for $299 MAP. bit.ly/1cXcgfv
ULTIMATE EARS PRO SOUND GUARD Ultimate Ears’ Pro Sound Guard is a small, battery-powered audio protection device made to go in-line with your set of balanced armature in-ear monitor earphones. It is a pre-set compressor/limiter module designed to control the absolute maximum sound level your ears could ever experience when using in-ear monitors. Sound Guard will suppress instantly the damaging sound spikes that occur from accidental microphone drops, audio feedback squeals and other unexpected sound hazards that may occur while performing or recording. For on-the-body personal use, Sound Guard has a removable belt clip and runs on two, three-volt CR2450 lithium batteries (included). It also comes with a short TRS-to-TRS patch cable to connect it to your in-ear receiver. I tried Sound Guard with a pair of UE 900s Noise Cancelling Earphones and my pair of molded custom UE In-Ear Reference, Capitol Records Edition. In both cases, it worked well at controlling the maximum level applied to these in-ear monitors. I found the overall in-ear sound to take on a more consistent level; I could hear more deeply into the mix as if I cranked the volume way up but without the worry of getting blasted. The UE Pro Sound Guard sells for $199 MSRP. pro.ultimateears.com
SOLID-STATE-LOGIC VHD PRE 500 MODULE SSL adds to their 500 series line with the VHD Microphone pre-amp module as featured in SSL’s Duality, XL-Desk, X-Rack VHD Input Module and the standalone 1U VHD Pre. It can deliver ultra clean SSL SuperAnalogue™ grade recordings but also has a switchable Variable Harmonic Drive mode. This is a 100% analogue signal path that generates rich harmonic distortion as gain is increased with a choice of either second or third harmonic distortion or a blend of the two in any amount. At lower gain settings VHD offers just a hint of tube warmth (second harmonic) or transistor edge (third harmonic). But twist the gain right up and achieve any amount of distortion all the way to filthy grunginess if you like. The VHD Pre Module has four rotary controls: the Drive control selects second harmonic or third harmonic distortion or a blend, the +20/+75 dB input gain knob, the 20/+20 dB trim output level control and a continuously variable 15 to 500 Hz HPF control. Other pro features include: a signal present LED, a switchable Hi-Z impedance switch for mic impedance matching, +48V phantom power, a attenuator pad to enable the VHD system to be used as a line level processing device and a phase/polarity switch. The VHD Pre Module sells for $649 MSRP. bit.ly/1OcghO0
+10DB CHANNEL STRIP PLUG-IN BUNDLE FROM BOZ DIGITAL LABS Producer David Bendeth and Boz Digital Labs teamed together to offer the +10dB Channel Strip and bundle. This is a plug-in processor modeled on the famed ADR F769X-R Vocal Stresser. Although the original British hardware unit was a single-channel processor, the +10dB plug-in emulation can be used as a stereo or mono instance in AAX, VST, and AU in MAC and PC host DAW systems. The bundle also includes separate +10dB Compressor and +10dB Equalizer sections as plug-ins; both also very useful as well. The original ADR F769X-R Vocal Stresser unit combined the hardware ADR F760X-RS limiter, compressor, gate and expander, with a semi-parametric four-band equalizer. The equalizer can be connected before, after or in the side-chain of the limiter/compressor. Like the original units, the sounds possible with +10dB are bold, powerful and not subtle. When placed on stereo room drum tracks I had recorded in Pro Tools 11 HD, I found the +10dB BARRY RUDOLPH is a recording engineer/mixer who to be explosive and sound similar to what is poshas worked on over 30 gold and platinum records. He has sible with the hardware unit. recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs, and more. Barry has his The Boz Digital Labs +10dB plug-in bundle sells own futuristic music mixing facility and loves teaching audio for $199. engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributbozdigitallabs.com ing editor for Mix Magazine. barryrudolph.com
BOOK S T ORE
The Gretsch Electric Guitar The Art of Noise Book: 60 Years of White Falcons, By Daniel Rachel (paperback) $21.99 6120s, Jets, Gents, and More What goes on in the head of a songwriter? How By Tony Bacon (paperback) $29.99
Updating his original volume to include Gretsch’s alliance with the Fender company, Bacon shows not just every classic model, but also tells the story of the lesser-known guitars and the projects that almost never happened. There are archival and fresh interviews with Gretsch personnel over the years and with leading Gretsch players, including Chet Atkins, Billy Duffy, Duane Eddy and Brian Setzer. This is a fun compendium of pictures of the coolest guitars, a gripping story from early exploits to recent developments, and a detailed collectors guide to every production electric model Gretsch ever made.
Punk USA: The Rise and Fall of Lookout! Records By Kevin Prested (paperback) $14.95
Alfred Music is now offering pro audio books on a new online storefront with special, discounted prices of up to !"#$%&&' This sale is available for a limited time.
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Punk USA documents an empire that was built overnight as Lookout! Records sold millions of albums and rode the wave of the second coming of punk rock—until it all came crashing down. Originally operating out of a bedroom, Lookout! Records created the Northern California “East Bay Punk sound,” with bands such as Crimpshrine, Operation Ivy, the Mr. T Experience and a then-teenaged Green Day. The label helped to pave the way for future punk upstarts, and as Lookout! grew, young punk entrepreneurs used the label as a blueprint to try their hand at record pressing.
The Complete Guide to Connecting Audio, Video, and MIDI Equipment By Jose “Chilitos” Valenzuela (paperback) $39.99 This step-by-step guide reveals the best ways to connect studio equipment, helping unravel the complicated web of connections in a home or professional studio so the focus can stay on the music. Each section explains studio configurations, highlighting useful applications in music recording and postproduction. Readers will also be able to identify, purchase and connect the specific A/V and MIDI equipment necessary for any creative job.
does a mere fleeting musical idea transfer from the muse of a songwriter to manifest as a concrete song? The Art of Noise offers a glimpse into the process of songwriting via interviews with some of the world’s best songwriters, including Sting, Lilly Allen, Jimmy Page, Annie Lennox and Ray Davies. As a musician himself, author Daniel Rachel brings a depth of understanding that results in a frank and revealing glimpse into each writer’s style and creative processes.
The Insider’s Guide to Home Recording: Record Music and Get Paid By Brian Tarquin (paperback) 16.95 This guide aims to help any musician, producer or engineer build a successful home-recording business. The author, a multiple-Emmywinning recording artist and producer, explores the complete recording process and shows how to perfect your sound using home equipment. Aimed at both experienced and novice musicians alike, the book delivers a multitude of tips, tricks and techniques to control the studio environment and create excellent sounds.
Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead By Bill Kreutzmann with Benjy Eisen (hardcover) $27.99 One of the band’s founding members for all of their over 2,300 concerts, Kreutzmann, has written a candid account of a life lived to the fullest, pushing the boundaries of drugs, drums and high times, through devastating tragedy and remarkable triumph. Janis Joplin, Bob Dylan, the Who, Acid Tests, the Monterey Pop Festival, Woodstock and Altamont—they’re all addressed in Kreutzmann’s book.
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– JONATHAN WIDRAN
Booking Something Awesome Since 2007: As owner of a prolific booking agency, Mark Steiner saw many excellent artists hoping for gigs, and many lucrative artist opportunities. Yet it was a challenge to connect all the players. To change this and spread the “Peace, Love & Gigs,” Steiner joined forces with web designer Steve Tetrault to create GigSalad.com. It began as a simple online directory and evolved into a game-changing platform where performers and event planners meet. GigSalad has grown to be the largest, most user-friendly platform online, and is designed to make booking performers, bands, speakers and event services straightforward and frictionless. With a booking platform that allows for easy connection between almost a million event planners, artists and skilled professionals, Steiner, Tetrault and their growing team “get to help both sides get the gig.”
Solid Growth: Currently, GigSalad.com has 60k performer/vendors for hire across the U.S. and Canada, ranging from all genres of musical acts to acrobats, comedians, jugglers, clowns, magicians and ventriloquists. The roster includes 584 different categories. Event planner accounts are approaching 700,000, with 40,000 new accounts created monthly and more than half a million new events planned annually. GigSalad is positioned to exceed one million event planner accounts well before the end of 2015. With their “freemium” membership model, performers can select a plan that suits their professional goals. A basic listing is free, but users can upgrade to professional accounts offering more tools and opportunities for more prominent exposure—and more gigs. Best-Fit, High-Quality Music: The “Musical Acts” portion of the GigSalad site allows event vendors to browse and book the best bands, singers, musicians and DJs in their area. Many GigSalad users are leaders in their genre and use the platform because it attracts diverse bookers. To aid event planners in their search for the right fit, GigSalad offers more than 30 band categories, eight types of DJs, nine kinds of ensembles, 43 solo musician categories, a wide variety of solo vocalists and singing groups, as well as numerous specialty World and Cultural music categories. These categories help planners find exactly what they need, and performers present themselves in easy-to-find ways. Contact GigSalad, 866-788-GIGS
16 May 2015
OPEN & CLOSED
THE NEW FLAGSHIP STUDIO HEADPHONES
ATH-R70x PROFESSIONAL OPEN-BACK REFERENCE HEADPHONES ATH-M70x PROFESSIONAL MONITOR HEADPHONES Audio-Technica introduces the new leaders in studio headphones: ATH-M70x and ATH-R70x. Both models offer extremely accurate audio reproduction along with the comfort, durability and convenient features that are bound to make them studio mainstays. So whether you prefer the sound isolation of the M70x or the spacious sound of the R70x, deciding on your next pair of studio headphones is an open and closed case. audio-technica.com
Vintage King Outfits Oklahoma Facility The Music Group has installed both the Neve Genesys and Neve Genesys Black consoles for the 10th anniversary at their newly remodeled facility in Edmond, OK. Vintage King provided the equipment package at the world’s first studio to install both Neve consoles. The Music Group picked the Neve Genesys for their A studio, geared toward large-scale tracking and mixing. The B studio has the Neve Genesys Black, which is the ProTools overdub studio with a signal path geared more toward DAW projects. Pictured (l-r): co-owners and producer/engineers Chris Freels and LG Hamilton, studio manager Addie Rice and staff engineer/chief tech Bryce Zabric. For more information, visit themusicgroupstudios.com.
Warren’s “Perfect” Single Esteemed engineer Matt Forger (Michael Jackson, Paul McCartney) mastered the new single by former Liquid Planet vocalist and guitarist Danny Warren. Warren’s new video single, “Perfect,” will be released on June 9 on Scar Baby Music. Pictured (l-r): (top) Nova Renay, Barry Keenan (IPK), Blake Padveen and Matt Forger. (bottom) Jake Hansen and Danny Warren. For more information, contact firstname.lastname@example.org.
Des Barres Finds the Key to the Universe As Michael Des Barres geared up for the release of his album The Key to the Universe (FOD Records), the British singer, songwriter and musician got a surprise while visiting with Steven Van Zandt in a Los Angeles studio. That’s where Des Barres learned that his song, “Painkiller,” is one of the tunes that singer Darlene Love interprets on her upcoming Van Zandt-produced album. The Key to the Universe was produced by Bob Rose (Julian Lennon, Steve Jones of the Sex Pistols and Des Barres’ 1986 album Somebody Up There Likes Me) and recorded at Forum Music Village in Rome, Italy. Pictured (l-r): Van Zandt and Des Barres.
Belmont Lights “Raise Up” at Firehouse San Diego-based alternative rock band Belmont Lights got busy in Studio A at Firehouse Recording Studios in Pasadena, CA. With similar sounds to One Republic, Coldplay and Imagine Dragons, the band’s third studio album is due out this summer. Pictured (l-r): Jed Peek, Isaiah Blas, Casey Peek and Chad Wolf. For more information, visit firehouserecordingstudios.com.
Producer Playback “You don’t turn things down. If you only work on music that you love, you’ll go hungry a lot.” – F. Reid Shippen, producer (Little Big Town, Allstar Weekend), May 2013
–SIRI SVAY email@example.com
COURTESY OF THE RECORDING ACADEMY
Hi-Res Music Symposium at Capitol As part of its ongoing efforts to advocate for high-resolution audio, The Recording Academy Producers & Engineers Wing participated with DEG: The Digital Entertainment Group in hosting a Hi-Res Music Symposium at Capitol Studios in Los Angeles. The event included various panels and raised awareness of high-res audio and its wider implications to the industry. Pictured (l-r): (top) Barak Moffitt, Universal Music Group; Maureen Droney, P&E Wing; Ryan Ulyate, producer/engineer; and John Jackson, Sony Music Legacy Recordings. (bottom) Eric Boulanger, The Mastering Lab; and Bruce Botnick, Pono Music.
Jeanrenaud Tracks at Studio Trilogy
Grammy-nominated cellist and composer Joan Jeanrenaud recorded new music for San Francisco’s ODC dance company. Jeanrenaud has been working on the music for nine months with KT Nelson, co-founder of the 35-year-old dance company. Also joining her was longtime collaborator and keyboardist/ percussionist PC Muñoz and chief recording engineer Justin Lieberman at San Francisco’s Studio Trilogy. Jeanrenaud is planning to include the new “Dead Reckoning” music in a CD compilation of her music for dance recorded over the years for a variety of dance companies. Pictured (l-r): Nelson, Jeanrenaud and Lieberman. For more information, visit jjcello.com.
Ferguson Sings the Blues U.K. singer Rebecca Ferguson recorded her third album, Lady Sings The Blues, at Capitol Studios in Los Angeles. Ferguson is the first artist to record an album using the new PMC QB1-A reference loudspeakers, and then also have the album mixed and mastered on PMC. The facility had recently upgraded its Studios A and B to incorporate PMC’s QB1-A reference monitors. Once the recording was completed, musician and producer Troy Miller brought the project back to London where Peter Beckmann, owner and founder of TechnologyWorks Mastering, was booked to master the album. Pictured (l-r): Miller and Ferguson. For more information, contact firstname.lastname@example.org.
WSDG Builds Owl City Studio Studio designer John Storyk’s first project 45 years ago was Jimi Hendrix’s Electric Lady Studios. Since then, the Walters-Storyk Design Group (WSDG), created studios for artists ranging from Alicia Keys to Bruce Springsteen, Jay Z, Green Day and Aerosmith. Recently, WSDG constructed a “dream” studio in a handsome rustic log cabin deep in the Minnesota woods for Owl City’s Adam Young. Pictured (l-r): WSDG co-founder Storyk, studio owner Young and GCPRO founder PK Pandey. For more information, visit wsdg.com.
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THE TITLE TRACKERS
he members of Los Angeles-based the Title Trackersâ€“â€“David Tokaji, Russell Wiener, Andy Hill (all possess a production background)â€”have years of experience with bands. In 2006, Wiener and Hill had tickets to see the Rolling Stones. They fell into a game of leaving voicemails with each other joking about songs they hoped the band would play. The list grew to include numbers such as the title track from Exile on Main St., which, of course, doesnâ€™t exist. What if it did? Cut to March 10: the band self-released Lost Title Tracks, a collection of satirical tracks for Tom Pettyâ€™s Full Moon Fever, the Stonesâ€™ Exile on Main St. and Springsteenâ€™s Greetings From Asbury Park, N.J. Each original song is crafted in the style of the artist(s) that inspired it. Since this is satire or parody, no special licenses or permissions are required. â€œWe did â€˜Living in Exile on Main Streetâ€™ to see what we could come up with,â€? Wiener recalls. â€œWe did a decent job capturing and satirizing what we admire about [the Stones]: their attitude and their idiosyncrasies.â€? The three most important Creating non-existent title tracks isnâ€™t simple. â€œWhat makes this art things the trio has learned and not science,â€? Tokaji asserts, â€œis as producers and satirical that you have to exaggerate certain musicians are: elements of the sound; identify all of its complexities and figure out which s 4HE RESULTS YOU GET ARE SO parts to escalate. What comes across MUCH BETTER WHEN YOU BRING IN isnâ€™t just pure imitation; itâ€™s meta-imitaTHE RIGHT PERSON &OR THE $OORS tionâ€“â€“what we call â€˜parodyâ€™ or â€˜satire.â€™â€? TITLE TRACK WE ENLISTED 4Y $ENTo recreate a recordâ€™s unique charNIS DRUMMER WITH THE $OORS acter, the physical recording had to be REVIVAL BAND -ANZAREK +RIEGER given due consideration. â€œFor â€˜Exile,â€™ we recorded guitars, drums and a s h)VE RECOGNIZED THAT THERE ARE scratch vocal live,â€? Wiener explains. LIMITATIONS TO GOING IT ALONE v â€œGlyn Johns, the original engineer on 4OKAJI OBSERVES h)VE NEVER Exile on Main St., has a famous miniWRITTEN A SONG WITH ANYONE ELSE mal mic technique for drums. I looked )VE NEVER NOT FRONTED A BANDv it up, did it and it sounded great. We didnâ€™t have any EQs or outboard gear. sh4HERES A GREAT LIBERATION IN It was all straight into the computer.â€? TRANSITIONING FROM ALWAYS BEING â€œWe were wary of overcomplicatTHE FRONT PERSON v (ILL SAYS ing it,â€? Hill adds. â€œSince the original h-OVING TO AN INSTRUMENT AND albums were recorded, technology BEING THE SUPPORT PART OF THE has advanced. You can get into a BAND FOR ANOTHER GUY TO COME rabbit hole of problems. We found that FORWARD ;IS FREEING= 4HIS IS MY performing songs live with simple gear lRST PROJECT DOING THATv and miking techniques while driving the performance aspect [was key].â€? Vintage amps and guitars were utilized on a few songs: â€œChecking In To The Morrison Hotelâ€? and â€œWhoâ€™s Next: A Meta-Rock Opera.â€? For the remainder, the band went with what was handy. â€œOn â€˜Exileâ€™â€”a Squier Bullet plugged into a Dutch amp,â€? Hill recollects. â€œThatâ€™s not what Keith [Richards] used, but it sounded right. If it hadnâ€™t, we would have made it better.â€? â€œOn â€˜Whoâ€™s Next,â€™ we used a Gretsch 6120 into a vintage Fender Bandmaster,â€? Wiener adds. â€œAfter doing it, it sounded no more like [Pete] Townshend than my own gear. No oneâ€™s going to say it doesnâ€™t sound like him because the tone is wrong. It would be because of the playing.â€? Lost Title Tracks released on the groupâ€™s label, The Title Trackers, LLC. The band is already exploring ideas for a follow-up, including tracks for artists such as Bob Marley and the Go-Goâ€™s. They would also like to expand into other genres. â€œWe can imagine a rap or country album, none of which we write,â€? Wiener says. â€œWe could produce it or be the label.â€? The band may have pioneered an entirely new genre. Theyâ€™ll perform May 10 at King King in Hollywood. Contact Susan von Seggern, 213-840-0077, susan@susanvonseggern. com; thetitletrackers.com
20 May 2015
TouchMixâ„˘-16 Compact Digital Mixer
K10 Active Loudspeaker
TouchMix digital mixers and K Series loudspeakers. Each remarkable products in their own right. Together, the combination of performance, versatility, ease of use and of course, genuine QSC reliability, is nothing short of amazing. Want to learn more? Go to QSC.com.
qsc.com ÂŠ 2014 QSC Audio Products, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC in the U.S. Patent and Trademark Office and other countries.*Source:MI SalesTrak 2010, 2011,2012,2013. MI SalesTrak is a registered trademark of Marketing Information Services, Inc. in the US Patent office.
– ANDY KAUFMANN
a chance to showcase. It’s a chance to be inspired by rubbing shoulders with legends and superstars. You’re not in a ballroom with 1,000 people. You’re in an intimate setting and able to break down how Macklemore went from zero to $40 million in one year. Or Tech N9ne’s team breaks down how he does over $20 million a year when he’s not on the radio.
Founder / CEO Indie Power
Years with Company: 10 Phone: 818-505-1836 Web: indiepower.com E-mail: email@example.com Clients: U2, Dr. Dre, Metallica, 2Pac, Eminem, AC/DC, Red Hot Chili Peppers, Black Eyed Peas, Madonna, Green Day, Guns ‘N Roses, Ramones, T.I., Lil Wayne, Nirvana.
Helping Everyone We’re not genre-specific and our team is built to help everyone. We pride ourselves on offering services and access. At all levels, we help major label artists get out of their deals while developing others. The idea is not to be a gatekeeper or pick and choose.
BACKGROUND Besides creating the Indie Entertainment Summit, a conference for young artists looking to break through, Jay Warsinske also created Indie Power, a freelance company that provides promotional services and other forms of career aid both within and outside the major label system. Building Bridges I saw the Beatles when I was five. At six my parents bought me a guitar, and I turned professional at 11. By 16, I went from playing parties to putting them on. I didn’t want to be a player who could be replaced. I envisioned [myself as] a bridge between business and creative sides.
“You don’t have to give up your percentages or any control. You’re always a free agent.”
Wagging the Dog Indie Power is 10 years old, but it’s a continuation of marketing and promotion I’ve been doing since the mid- to late-‘70s. I rebranded what I was doing when I saw indies were going to flip the industry. The tail was going to wag the dog. No longer was MTV playing music videos, record companies developing artists or record stores growing. Independents could be their own companies. They deal directly with the public, and there were going to be more tools to do so. Someone Who Stays in Your Corner You need a team shouting your praises. To get people’s attention, marketing experts figure out angles to cut through clutter. The music has to catch on—find an audience before it can snowball. But the hardest thing is getting that initial campaign and momentum. That’s usually where majors drop the ball. If you can make a living with what you do, there’s the possibility of quitting your day job. Indie Power is that team for hire. We provide cost-effective services so you’re unencumbered. You don’t have to give up your percentages or any control. You’re always a free agent. Indies Rule There were five years [in a row] where an indie artist won Album of the Year. Daft Punk and Beck operate autonomously even though they may have contracts with majors. It’s a new day and time. Look at Metallica—they do whatever they want. They can release a single, and it doesn’t have to be part of an album. They can make a movie or tour when and where they want and still have time to raise a family. There’s a way to make a living that doesn’t create energy that can break up a band or cause someone to be the next heroin tragedy. Expertise for Hire We’re that independent-minded, mini-major 22 May 2015
system. We have distribution with the biggest companies in the world. We’re on the cutting edge of technology. I’ve worked alongside the best people in the industry: the best person for publicity, video promotion and radio per genre and per budget. It’s impossible for any act to come in and have the kind of knowledge, resources and access we have. Indie Power doesn’t add to your costs. We’re not a middleman. Even if you hired people to do what we do, it will cost you as much or more, and you’ll probably get a lot less out of it, because you don’t have my expertise and teammates. The Need for IES I’ve spoken at over 600 music conferences, and many conventions from the past are gone. We used to have conferences tied to major labels writing checks. There wasn’t anyone comprehensively covering the independent world. Our conference doesn’t talk about oldfashioned record deals, because few people will sign with a major, and, if they sign with a major without an independent success story, they have no leverage—their deal will probably net them zero in royalties. I saw Los Angeles didn’t have a conference like this. There was a niche for a conference that’s not only all independentoriented, but all entertainment-oriented. It’s not just music; it’s film, TV, touring and technology. Collaborating and Inspiring IES is four days in Los Angeles. Starting with year one, 100 of the biggest movers and shakers in the industry participated in seminars, workshops, keynotes, attended showcases and checked out talent. Indies work together—not in competition like Universal against Sony. Indies have always banded together and shared ideas and contacts. The people killing it in the indie world now are open-minded. They’re more open to taking your phone call, especially if they met you at a conference. At SXSW, only a small percentage of artists get to showcase. At IES, every artist, producer and attendee gets
Be Serious Take this as a business, be a student of the game and a master of your craft. Know where your skills end and start building your team. The advantage of working with a company like Indie Power is we’re a one-stop shop. Every day we finetune our team. We don’t take a percentage and don’t work on spec deals. We’re here for those who are serious.
Synergy We’re a synergistic team—where majors used to win. They were on the same page, as opposed to artists today who are spread too thin. They have a publicist and online promoter, and none of those factions speak to each other. There’s nothing combining those energies. Relationships Beat Technology We’re old school meets new media. New media companies think you can do it all with the push of a button. They don’t know it’s decades of relationships and expertise—not a guy in a basement coming up with a widget. We need to combine the physical world with real people, real ideas, new media and technology. Combine them all and you have a more well-rounded, impactful potential and longer-range plan. It’s Not Over Until You Say It’s Over Being independent, you can say when it’s over. At a major, they could meet tomorrow and decide, “No, that project is over. Not another dime into it.” There won’t be one more phone call or envelope sent out promoting that act. I worked with an act with huge buzz, there was a bidding war, they signed with a major and everybody thought they were rich and famous. Then the waiting game. They spent $250,000 making a record. Why wouldn’t they put it out? Well, it’s going to cost them a million or two to promote. They would rather cut their losses. With an independent, you can fine tune. You can be a laser beam, rather than a shotgun. Going Social We’re looking to build Indie Power into a social network where everyone will have his free page. Those who are serious will start plugging in and utilizing the console and cutting-edge tools. Having an Indie Power page will mean a lot, because you’re saying, “I’m an independent artist. I’m not looking for a hand out, a get rich quick advance or a bucket of money. I’m looking to build my creative business and for people who want to be in business with me. Not own me or control me, but be in business with me.”
– BERNARD BAUR
Talented musicians are needed as entertainment for weddings. A new company, Wedding.com, is growing with a large community of brides and vendors. They have thousands of brides searching for musicians in a variety of musical styles. The company will send you local brides looking for professional wedding entertainers. You can then view weddings in your area and choose which couples you want to contact. Best of all you can set your own rates and availability. Wedding gigs can generate significant income (often over $1,000) and help build a fan base. Sign up at wedding.com. Ernie Ball is offering bands the chance to play at Van’s Warped Tour 2015. This “Battle of The Bands” is 100% free to enter. Sign up in the menu, create an account and be eligible to win prizes and a chance to play live in front of thousands of people. Artists must complete an informational profile then upload a band logo or official band photo, and at least one MP3. Three weeks prior to the event date judges will review music for the top 100 “Buzz Rated” bands. All 100 acts will be reviewed by a panel of industry professionals comprising Festival and Tour Organizers and Ernie Ball Inc., who will choose the artists that will play live. Log onto warped. battleofthebands.com and check out the rules for submissions.
The Urban Network Digital & Amalgamation MusicEntertainment Conference will return to San Diego, CA for four days, June 4 to 7, at the Crowne Plaza Hotel. This is the only urban event of its kind on the West Coast and is a great networking opportunity. It is attended by industry professionals and tastemakers alike. More than 600 people attended the 2014 conference, where independent acts performed for an array of industry and fans. The theme for this year is “Back to Basics 2,” which explores digital strategies, navigating social media, music brands, mass media and licensing, as well as topics at the forefront of today’s music business. Information and registration can be found at urbannetworkdigital.com.
You can win a record deal via Focusrite. The company has
teamed up with Caroline Records of Universal Music Group to offer one “solo YouTube performer” a recording contract. Entry is free. The competition will run until June 10, at which point a panel of judges will pick 10 performers that show the most potential. Then they’ll be handed over to the team at Universal, who will ultimately pick the winner. All you have to do is (1) record a video of yourself singing and performing an original song with an instrument, (2) upload it to your YouTube channel and (3) submit a link via Focusrite’s competition page before the closing date. Visit us.focusrite.com/ win-a-record-deal-with-focusriteitrack-pocket for contest rules. If you have a question, tweet @WeAreFocusrite.
TYLER GOES COUNTRY WITH BIG MACHINE After a flurry of speculation, Big Machine Label Group officially signed iconic songwriter and singer Steven Tyler to its artist roster. The Aerosmith frontman confirmed the release of a solo album during a surprise appearance at the Grand Ole Opry. His first project is planned for release later this year. Tyler shared, “My earliest influences put me somewhere between the Everly Brothers and the Carter Family, and this is all about me paying homage to my country roots.” Tyler joins superstar label mates Taylor Swift, Tim McGraw, Reba, Rascal Flatts, Florida Georgia Line and the Band Perry, among others. Pictured (l-r): Big Machine’s President and CEO Scott Borchetta with Tyler. For more, visit steventyler.com.
CLEOPATRA UNVEILS HOPE’S COVERS EP Jennifer Hope caught the ear of Cleopatra Records with her unique and mystical interpretations of well-known songs. The label commissioned several compilations and licensed her latest EP Love Blooms to Black. On it, Hope covers hit songs from Leona Lewis, Coldplay, the Police, Godsmack, and U2; she also co-produced with Warren Huart (Aerosmith, the Fray), Pete Strobl (Joe Walsh, Kings of Leon) and Tommy Reeves (Ziggy Marley, Melissa Etheridge). Sponsored by Eddie Van Halen, Hope burst on the scene a couple years ago with a debut album of original material (Velvet Fire). Her new EP is available at all major online outlets. For more on this enchanting chanteuse, visit jenniferhope.com.
Wind-up Records, a New Yorkbased indie record label (mostly associated with rock acts), is expanding into the world of EDM. Wind-up has launched a new electronic music label Eclypse Records. The imprint label is a joint venture formed in conjunction with Feenixpawl, an Australian DJ/producer duo comprising Aden Forte and Josh Soon. “Wind-up has been wanting to get into the electronic music space, so once we started the conversation with Feenixpawl, it seemed like a natural fit,” says Wind-up’s Head of A&R Shawn Cohen. “They brought more to the table than just themselves as musicians, writers and performers—they brought a strategy.” Visit eclypserecords.it and winduprecords.com. Los Angeles-based indie label Pop Cautious Records has announced the signing of Seneca and the River, as well as the release of the band’s selftitled four track EP. The label, founded by musician, producer and composer Tyler Porterfield (also known as Pop Cautious), strives to establish a unique and identifiable culture in the “indiefolk” scene. There are presently four acts signed to its roster, including Seneca and the River, Pop Cautious, Luke Strand and
Devin O’Rourke. To find out more, go to popcautiousrecords.com. Guitar god Jeff Beck has signed an exclusive deal with the London-based Genesis Group. Plans to release a “high quality, signed, limited-edition” book are in the works for the last quarter of 2015. In addition, Beck is working on an officially sanctioned documentary and is currently penning his own autobiography. He wants fans to know that while others may release unauthorized documentaries and biographies, these forthcoming works will be the only authorized versions (by Beck himself). Additionally, Beck plans to release Jeff Beck Live via Atco Records on May 5. The album is a snapshot of Beck’s work in 2014, with two newly recorded studio tracks also included, his first new music since 2010’s Grammywinning Emotion & Commotion. Beck’s career took off in the mid’60s, after replacing Eric Clapton as lead guitarist for the Yardbirds. He has won numerous Grammy Awards and has been inducted twice into the Rock and Roll Hall of Fame: once with the Yardbirds in 1992 and again as a solo artist in 2009. Visit jeffbeckofficial.com. Country superstar Alan Jackson will release Angels and Alcohol on July 17. It’s been three years since he released a studio album
– BERNARD BAUR that includes all new music. Jackson wrote seven of the 10 tracks on the album including the self-penned “Angels and Alcohol.” This record comes 25 years after his debut landmark Here In The Real World. Since then Jackson has released 22 albums, including two Christmas albums, two gospel albums, three “Greatest Hits” collections and a Bluegrass album. The record’s release is an extension of the already yearlong 25th Anniversary celebration, which kicked off last summer with the opening of his exhibit, “Alan Jackson: 25 Years of Keepin’ It Country,” at the Country Music Hall of Fame and Museum. Jackson is in the elite company of songwriters who’ve written more than 20 songs that they’ve recorded and taken to the top of the charts, and is one of the bestselling artists since the inception of SoundScan. For more information, you can visit alanjackson.com. Mumford & Sons will release their third album, Wilder Mind, in North America through Gentlemen of the Road and Glassnote Records on May 4. The record was produced by James Ford (Arctic Monkeys, HAIM, Florence & the Machine) and features 12 new tracks, written collaboratively by the band in London, Brooklyn and Texas. This album marks a significant departure for the British band from their previous records, 2009’s Sigh No More and 2012’s Babel. There is a minimalist yet panoramic feel to the new album, with a sound Marcus Mumford describes as “a development, not a departure.
It came about by both accident and conscious decision.” Visit mumfordandsons.com. Los Angeles-based indie-pop quartet, Smallpools, have released their debut full-length, Lovetap!, via RCA Records. The release of their self-titled debut EP in 2013 gained them critical acclaim and brought national attention on Jimmy Kimmel Live!, where they performed their single “Dreaming,” produced by Captain Cuts. Go to smallpoolsmusic.com.
Darius Rucker (formery “Hootie” of Hootie & the Blowfish) has debuted a fourth consecutive No. 1 country album with his latest release, Southern Style. Rucker’s first three country albums, True Believers, Charleston, SC 1966 and Learn To Live all topped the Billboard Country Albums Chart and have produced seven No. 1 singles. The record was produced by Frank Rogers and Keith Stegall with Rucker co-penning all 13 tracks with notable country songwriters including Rhett Akins, Nathan Chapman, Ashley Gorley, Mark Nesler and label mate Charles Kelley (of Lady Antebellum). Visit dariusrucker.com. Rockstars Pat Benatar and Neil “Spyder” Giraldo celebrate a musical milestone with the release of the CD/DVD set, Pat Benatar & Neil Giraldo: The 35th Anniversary Tour. The 14 track commemorative package features their groundbreaking hits. Their
DIY Spotlight Rick Elliot If you want to make it in the music business, especially on your own, you need drive. Well, Rick Elliot is showing some serious determination as a rebel with a country music cause and, in the process, sweeping the music scene off its feet. Elliot teamed up with the America Loves Bacon Festival and became the festival’s headlining act across multiple states. As a result, he found his fan base by linking the worlds of music and lifestyle. Embarking on his sacred journey to preserve the Outlaw Country crusade, Elliot spent much of 2014 touring with his Second Hand Smoke Band. He and his five-piece outfit are dedicated to preserving Outlaw Country and Southern Rock, while armed with a fifth of whiskey and Elliot’s deep voice. Mixing the best of his influences, i.e. Willie Nelson, Merle Haggard and Waylon Jennings, Elliot brings back that good ole outlaw sound. Indeed, the release of his first single “West of the Rockies,” from his debut CD First Hand, received rave reviews from numerous music experts. And, his rebel attitude brings a lot of attention his way as well, including the chance to share the stage with the Marshall Tucker Band. For such a young artist, Elliot seems poised to vault skyward to new heights of popularity in 2015. And just like his outlaw country idols, he’s doing it his way. For more information about Rick Elliot, visit RickElliotMusic.com.
Have a successful DIY strategy to share? Email firstname.lastname@example.org leadoff single from the live CD, “Promises in the Dark,” originally rocked airwaves in 1981 as part of the hit album, Precious Time, and was the first song co-written by the duo. Additionally, they have launched the 35th Anniversary Tour in support of the record. Visit benatargiraldo.com.
THE COMPULSIONS OFFER DIRTY FUN New York City band, the Compulsions (think New York Dolls meets the Replacements), have released Dirty Fun. This critically acclaimed independent outfit features the talents of vocalist and rhythm guitarist Rob Carlyle, lead guitarist Richard Fortus (Guns N’ Roses), drummer Frank Ferrer (Guns N’ Roses) and bassist Sami Yaffa (Hanoi Rocks, New York Dolls). Their unpretentious, down-and-dirty rock & roll is refreshingly infectious, in fact so much so that their most famous fan, Alice Cooper said, “They have that dirty rock sound that not many bands seem to have these days.” You can check them out by going to thecompulsionsnyc.com. 24 May 2015
Radio broadcasters are asking the FCC for a “payola” waiver. They want a waiver of the requirement that radio stations must notify listeners when a sponsor or promoter has paid for programming, including the playing of a song. According to the New York Times, the Radio Broadcasters Coalition, which includes iHeartMedia (formerly Clear Channel), Cox, Emmis Communications and Entercom, instead want to notify listeners online, saying it would be more convenient. The coalition argued that the change would be in the public interest “because it would result in listeners having access to more information in a more userfriendly way.” Since its revelation, the proposal has drawn criticism from artists and advocacy groups, who contend that it would be
harmful for the public and the industry. “If this were to happen, it would turn commercial radio into a closed system for large media companies to promote their products,” said Casey Rae (Chief Exec, Future of Music Coalition). The Allocation for Music Producer Act (AMP) was presented to Congress to redistribute digital royalties in a way that fairly compensates producers, mixers and engineers. Previously left to their own devices when negotiating their share of digital royalties, producers, engineers and mixers would have a statutory right to receive royalties managed through SoundExchange under the AMP Act. “Without producers and engineers, the music we enjoy couldn’t make it from the recording studio to our radios and phones,” said Tom Rooney (R-Florida). “Our bipartisan bill makes sure that hardworking studio professionals receive the royalties they earned in a fair and streamlined manner.” 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.
– BERNARD BAUR
“I’ve Already Earned $50,126 Using TAXI and My Little Home Studio.” Matt Hirt – TAXI Member
Is your music good enough to
I was pretty sure mine was too, but I didn’t have a clue how to make great connections. I’m just not good at playing the “schmoozing” game. And even if I was, I had little chance of meeting the right people. I needed a way to market my music, so I joined TAXI and the results were nothing short of incredible. Now, all I have to worry about is making great music. The people at TAXI do an amazing job of hooking me up with opportunities that I would never uncover on my own. I’ve already cut deals for more than 70 of my songs, and they’re getting used in TV shows like Dateline, Law and Order SVU, and The Osbournes. And yes, I’m making money.
studio were good enough. I guess size really doesn’t matter;-)
business, and the cool part is that it’s FREE!
Want to know what does matter? Versatility. Being able to supply tracks in different genres makes you even more desirable for Film and TV projects. I didn’t know that until I became a TAXI member and started going to their members-only convention, the Road Rally.
Unlike some of the other conventions I’ve attended, the panelists at the Rally are friendly and accessible. I’ve never been anywhere that gives you so much great information, and so many chances to meet people who can help your career.
If you joined TAXI and never sent in a single song, you’d still get more than your money’s worth just by going to their convention. It’s three days of incredible panels loaded with some of the most powerful people in the music
If you’ve needed proof that a regular guy with ordinary equipment can be successful at placing music in TV shows and movies, then my story should do the trick. Don’t let your music go to waste. Join TAXI. It’s the best service on the planet for people like you and me – they really can turn your dreams into reality if you’re making great music. Do what I did. Call TAXI’s toll-free number, and get their free information kit. You’ve got nothing to lose, and a whole lot to gain!
I was kind of surprised that the recordings I make in my little home
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BAD FLOWER PEKING DUK Date Signed: Oct. 21, 2014 Label: Hundred Handed Type of Music: Rock Management: Jesse Beer - MGMT Company Booking: N/A Legal: Doug Mark - Mark Music & Media Law Publicity: email@example.com Web: badflowermusic.com A&R: David Bason - Hundred Handed
ver the last few years, industry “experts” have been telling musicians that DIY is the way to succeed: become a master of self-booking, self-management, self-distribution, etc. Enter Josh Katz, frontman of Badflower, who took the opposite approach, assembling a career-management team to handle industry matters. “What I’ve learned is to stop focusing on the industry side of it,” says Katz. “Stop trying to be the best business man. If you [focus on your creativity] and just become the best band that you can possibly be, every single door will start opening for you, you won’t have to pry them open anymore.” So how did Katz and company land their deal with Hundred Handed? “We played a show at The Troubadour and we were showcasing for the industry,” an event that was set up by management. This was a prime example of the band’s ability to allow the business decisions to be made by their team. “We showcased for agents and labels. The president of [Hundred Handed], David Bason, saw us opening for, I think, Kongos and immediately got in contact.” Bason was interested in the band right away. After a few months of negotiations, Badflower signed on the dotted line. “We really liked what
“If you [focus on your creativity] and just become the best band that you can possibly be, every single door will start opening for you.” the label had to offer,” Katz explains, “and we liked that it was a small label that seemed like a community of people who really understood what we were doing. It wasn’t too difficult; we clicked immediately.” Katz warns, however, that just because you don’t have a team in place to take you to the next level doesn’t mean you should settle for the first person to approach you. “If you don’t have those people yet, don’t seek out and take the first that shows the slightest interest. Really make sure that you feel overly confident about what you’re presenting to the world before you start building your team. If you aren’t the best that you can possibly be, then you won’t get the best team that you deserve.” Badflower's debut EP will be released in May. On it is the group’s first single, “Soap.” You can catch them on their upcoming 2015 tour. – Andy Mesecher 26 May 2015
Date Signed: August 2014 Label: RCA Records Band Members: Adam Hyde, Reuben Styles. Type of Music: Alternative Dance Management: Ben Dennis and Jon Hanlon - Myriad Management (Australia), firstname.lastname@example.org Booking: Rob Woo, email@example.com Legal: Julian Hewitt, firstname.lastname@example.org Publicity: email@example.com Web: pekingduk.com A&R: Rob Inadomi
ussie DJ duo Peking Duk (Adam Hyde and Reuben Styles) have been crushing it Down Under since forming in 2011. The outfit’s single, “High” was the No. 1 most played song on Australia’s Radio J last year, it has earned more than two million YouTube views and bagged a number of Australian Recording Industry Association (ARIA) Awards. This drew interest from a number of labels before the pair came Stateside to perform at South by Southwest in 2014. Focused foresight meant that the seeds sown before pouncing the Pacific were harvestready when SXSW rolled around. “We sat down with at least three big labels,” recalls Hyde. “We got offers from several of them, which was very exciting. Because we were playing South by [Southwest], it was a perfect time to have meetings with American-based labels. They were very glamorous; several of them
“South by [Southwest]…was a perfect time to have meetings with American-based labels.” were trying to woo us. But when we met the whole team at RCA it felt entirely natural to go with them. They showed us what they were about, workwise.” When a band travels such a great distance, the only strategy is for label meetings to be arranged far in advance, which is exactly what Peking Duk did. “Many of the [American] labels reached out to us while we were still in Australia,” Hyde explains. “They showed a lot of interest after we released ‘High.’ The attention we were getting from some labels was incredible. The majority of the meetings took place in New York or L.A. We also met face-to-face while at South by.” The duo recently completed their “United States of Sweat” tour, which hit a number of U.S. and Canadian cities including New York, Miami and Montreal. They also appeared at The Coachella Valley Music and Arts Festival in Southern California and will play the Squamish Valley and Electric Forest fests this summer. The group’s full-length record is now being crafted and the they aim to complete it by year’s end. It will feature a range of musical styles including rock, hip-hop, jazz and, indeed, ballads. – Rob Putnam
THE MALPASS BROTHERS Date Signed: October 2014 Label: Organic Records Band Members: Chris Malpass, guitar, bass; Taylor Malpass, electric guitar, mandolin; Dennis Daniels, drums; Clyde Mattocks, steel guitar, Dobro (resonator guitar); Johnny Ridge, fiddle. Type of Music: Bluegrass Management: N/A Booking: Mike Drudge - Class Act Entertainment, 615-262-6886 Legal: N/A Publicity: Claire Ratliff, firstname.lastname@example.org Web: themalpassbrothers.com A&R: Ty Gilpin
orth Carolina brothers Chris and Taylor Malpass formed their bluegrass band 15 years ago. Their connection with Asheville label Organic Records came at the 2014 Ralph Stanley Bluegrass Festival. After finishing their set, they bumped into Doyle Lawson (of bluegrass outfit Doyle Lawson & Quicksilver), who enjoyed their performance. He introduced the boys to the label and a deal soon followed. “We’ve been working at this for a long time,” Chris Malpass observes. “Earlier we’d recorded with Merle Haggard’s label Hag Records. But we’d kind of ventured away and started doing our own thing. We were playing Ralph Stanley’s Bluegrass Festival when we met Doyle [Lawson]. He took a liking to us, said that he knew a label that might be interested and made the introduction.” Lawson went on to produce the brothers’ Organic debut. After checking out the act’s website and previous releases, Organic Records reached out to the brothers. “We met with them twice and we bonded,” Malpass recalls. “They said we could record what we liked and didn’t intend to change us as artists. That’s the way it used to be 50 years ago. It’s unheard of today to find a label that will let you be the artist that you are.”
“They said we could record what we liked and didn’t intend to change us as artists.” The band also signed a deal with booker Class Act Entertainment earlier this year. “Before we got a booker, we scheduled our own shows,” Malpass explains. “We were doing like 125 a year. But it became more than we could handle. We originally worked with [booking agency] goingbarefoot, but when we signed with Organic we felt that we needed to take the next step and go with Class Act.” The brothers consider themselves very much of the bluegrass oldschool. “Taylor and I were born 50 years too late,” Malpass jokes. “We drive old cars, we wear old hairstyles. We’re very retro.” The Malpass Brothers drops on May 19. The band continues to play festivals and will likely be on the road when the record hits the streets. – Rob Putnam
GENTLEMEN ROGUES Date Signed: March 4, 2014 Label: End Sounds Band Members: Danny Dunlap, vocals, guitar; Cordon Simons, guitar, vocals; Josh Power, drums; Brandon Tucker, bass. Type of Music: Power Pop Management: N/A Booking: email@example.com Legal: N/A Publicity: firstname.lastname@example.org Web: gentlemenroguesmusic.com A&R: Jonathan Gill
anny Dunlap, guitarist for Austin-based power-pop band Gentlemen Rogues, met Jonathan Gill of End Sounds Records through a friend, Eric Larson, bassist for Dangerbird Records band Ume. The trio was at the same bar when Larson suggested Gill would dig their sound. Dunlap and Gill got along famously. “The next day, I received an email that was like, ‘Hey, you guys are really good,’” reports Dunlap. As time passed, Gill spied a number of the group’s performances. Once they were set to return to the studio, Dunlap inquired as to whether or not interest remained.
“We all were on the same page. Everyone just kind of agreed it was a good stepping stone.” The quartet’s debut was released on Shifting Sounds, an indie label serving the U.K. and Australia. A verbal arrangement with that label meant there was no paperwork binding them further. Although they’d sent packages to other outlets, none responded, making it an easy decision to ink with End Sounds, a choice made even more comfortable by Gill’s enthusiasm. Joining the same home as the Last, an act Dunlap reveres, was icing on the cake. Contract negotiations were painless. Gill and Dunlap discussed the budget over dinner and paperwork soon arrived via email. While each of Gentlemen Rogues’ members debated the decision, the process unfolded organically. “We all were on the same page,” adds Dunlap. “Everyone just kind of agreed it was a good stepping stone.” The deal comes attached to a gentlemen’s agreement that Gill maintains dibs on their subsequent offering. While he has never officially been signed before, Dunlap almost wound up on Mojo Records with his previous band, Jill. “We broke up right before it happened,” discloses Dunlap. “I don’t regret it, either. It had run its course.” A History So Repeating arrived on April 7. – Andy Kaufmann May 2015
Steve Earle’s Camp Copperhead
Van The Man: Call to the Hall The Songwriters Hall of Fame has announced that Van Morrison is the recipient of the Johnny Mercer Award at the annual Induction and Awards Dinner on June 18. Inductees at this year’s event include Bobby Braddock, Willie Dixon, Robert Hunter & Jerry Garcia, Toby Keith, Cyndi Lauper and Linda Perry. Nate Ruess of fun. will receive the Hal David Starlight Award.
Verlinde Upped at BMI Broadcast Music, Inc. (BMI) has announced the promotion of Tracie Verlinde to Assistant Vice President, Writer/Publisher Relations, Los Angeles. Verlinde previously served as Executive Director, Writer/Publisher Relations, Los Angeles.
This summer, July 7 - 11, songwriter Steve Earle will don his teaching cap once more to present his most refined and in-depth course yet: “Camp Copperhead.” This fully immersive learning experience will take place at the Full Moon Resort, about 30 miles west of Woodstock, NY in the enchanting Catskill Forest Preserve. Earle will be the primary instructor, with about 100 students in attendance. This once-in-a-lifetime experience offers students uniquely intimate access to a true master craftsman. It’s open to people of all levels of skill and enthusiasm. The cost is all-inclusive, covering classes, meals and accommodations. The event is produced by Dreamcatcher Events, a leading independent producer of musical and other event-related immersive retreats for young adults and adults. Dreamcatcher retreats provide unique, intimate and once-in-a-lifetime opportunities for fans to spend several days with a legendary artist, while at the same time providing the artists a chance to connect with premium fans and earn impressive non-tour revenue. Registration specifics are at camp-copperhead.com.
Performing Songwriter Workshops
Performing Songwriter Creative Workshops will be presenting songwriter and teacher Mary Gauthier in a three-day songwriting workshop in Nashville, TN from June 18 - 20. Gauthier will work with 20 students of all levels to help clarify the aim of their writing and discover their own unique voices. From July 9 - 11, songwriter and artist Beth Nielsen Chapman will teach “Balancing Inspiration with Craft” as she instructs 20 students on discovering the path within them
Nelson: Songs of Peace
SESAC Christian Awards SESAC named Christian songwriter/producer Seth Mosley as SESAC’s Christian Songwriter of the Year at ceremonies held at the chic City Winery in Nashville. CentricSongs was named SESAC’s Christian Publishers of the Year. Pictured (l-r): Tim Fink, SESAC; Steve Rice, CentricSongs; Seth Mosley; and John Mullins, SESAC. 28 May 2015
Willie Nelson, always a strong advocate for peaceful resolutions, reaches back to his deep gospel roots to send a message of peace, hope and inspiration with his re-release of Peace in the Valley. The original masters were confiscated by the IRS in 1991, and the project received a limited release. Check out PromisedLandMu sic.com.
to the center of their own wellspring of ideas and then learning to stay present in the “what now?” as they explore all the aspects of the writing process maximized by coming into balance between critical thinking and the creative flow. In addition, the class will be working on “Full Presence” Vocal & Performance Techniques. Find out more at performing songwriter.com.
IMSTA FESTA Songwriting Contest
IMSTA, a global non-profit association of music software companies, announced the IMSTA FESTA Songwriting Contest conducted and hosted by their partner Broadjam. This contest is an annual affair that will provide aspiring and established songwriters the opportunity to have their creative pieces heard by industry professionals. Songs can be in any genre and with or without lyrics. All song entries per region will be distilled into a top three using Broadjam’s blind listening peer review mechanism. This competition runs throughout 2015 with four separate regional drawings that are linked to each scheduled IMSTA FESTA in Los Angeles, Chicago, New York and Toronto. The top three finalists will be heard at a judging panel at each IMSTA FESTA. Regional winners will be awarded prizes, and vie for the Grand Prize, which includes a free songwriting camp held in Santorini, Greece. Songs must be submitted through Broadjam.com website or via imsta.org.
Concord Rides Bicycle in Major Merger
Concord Music Group and its sister publishing company, the Bicycle Music Company, have
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merged to form Concord Bicycle Music. The combined company immediately turned around and acquired Vanguard Records and Sugar Hill Records from the Welk Music Group. The merger and subsequent acquisitions create a new indie powerhouse that will have an estimated $125 million in annual revenue, with a master recording portfolio of about 10,000 albums, and a music publishing catalog of about 60,000 songs. The company also announced it has raised $100 million for acquisitions and to implement further growth strategies. Master recording and music publishing synch licensing will be directed by Jake Wisely, who was recently named CEO of the Bicycle Music publishing operation. Find out more at bicyclemusic.com.
Music Biz Metadata Summit
The Music Business Association (Music Biz) is bringing back its popular Metadata Summit for a third go-round on Tuesday, May 12, from 9:00 a.m. to 3:15 p.m. at the Sheraton Nashville Downtown Hotel in Nashville during the Music Biz 2015 conference. The Summit provides a rare opportunity for industry heavy-hitters and newcomers alike to gather and discuss the often-overlooked topic of music metadata, which is quickly becoming one of the most important issues in the music business as digital services continue to grow and evolve. This year’s event will kick off with a keynote from Mike Jbara of Warner Music Group. Visit musicbiz2015.com.
Song Competition Deadline Looms
In its landmark 20th year, USA Songwriting Competition is now accepting entries. Win a top prize of $50,000 worth of cash and merchandise such as gear from PRS Guitars, Sony, D’Addario Strings, PreSonus, Audio-Technica
and more. Also, have your winning songs played on radio. Enter in Pop, Rock/Alt, Folk, R&B, HipHop, Jazz, Instrumental, etc. The 2013 Top winner hit No.1 on the Billboard charts and went double platinum, selling over two million copies. Deadline to enter is May 29. For more details, visit songwriting.net/enter.
ASCAP Revenue Soars
ASCAP, the American Society of Composers, Authors and Publishers, last year posted a 6% increase in revenue to a tick over $1 billion, up from the $944.4 million it collected in 2013. The performance right organization says it has become the first PRO in the world to crack the $1 billion milestone. As part of its announcement, ASCAP also said that its distributions totaled $883 million, a 3.7% increase over the $851.2 million it paid out to songwriters and publishers in 2013. In another move, the PRO said it has expanded its surveys of the most significant streaming services such as Pandora, Spotify, Rhapsody and Apple Radio. That move resulted in more than 1.3 million unique works being identified on those services, 30-times more than the 43,000 individual works it identified in 2013. Consequently, the songwriters paid for performances from those services saw their sums increased by nine-fold from 2013. Finally, the organization reported that 30% more live shows were processed through ASCAP’s OnStage program during 2014. Overall, ASCAP said it “captured, identified, matched and processed payments for 500 billion musical performances” of all types in 2014, double the 250 billion it measured in 2013. Complete details at ascap.com.
Jesso Jr. To Universal Buzz-worthy new singer/songwriter Tobias Jesso Jr. has signed an exclusive worldwide co-publishing deal with Universal Music Publishing Group (UMPG). The Canadian artist is one of the first major new signings by UMPG Chairman and CEO, Jody Gerson. His debut album Goon was released on True Panther via Matador. Pictured is the artist with Gerson.
Pop Goes Nashville with Abramowitz Music publisher Sony/ ATV has appointed A&R executive Mark Abramowitz to specialize in non-country music out of its Music City office. Abramowitz, 25, who began his career with the company as an intern in 2011 and previously worked as A&R coordinator in New York, relocated to Sony/ ATV's Nashville office in February and has been promoted to the title of manager, A&R/Creative.
DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.
Downtown Music Publishing (DMP) has appointed Taeko Saito to the role of International A&R. Prior to joining Downtown, Taeko was an A&R executive at SONGS Music Publishing. For Downtown Music Publishing on the web, please visit shore fire. com/client/downtownmusic-publishing.
Saito Goes Up at Downtown
Bad Songs for a Good Cause Nashville songwriters came together for the inaugural First And The Worst charity event, benefitting the Music Health Alliance at 3rd and Lindsley, raising over $30,000 for the organization. The show, featuring hit songwriters performing the first and the worst songs they ever wrote, will continue on April Fool’s Day annually. Pictured (l-r): Phil Barton, Liz Rose (front), Wynn Varble (back), Roxie Dean, Tatum Hauck-Allsep (Music Health Alliance Founder), Rivers Rutherford, Sandy Knox, Richard Leigh and Peter Cooper. May 2015
Rodney Clawson and Chris Tomkins CMA Triple Play Winners
By Dan Kimpel
wo of Nashville’s most successful songwriters, Rodney Clawson (Blake Shelton, Tim McGraw and Luke Bryan) and Chris Tompkins (Kenny Chesney, the Band Perry, Carrie Underwood) were recently honored with CMA Triple Play Awards presented to songwriters who have penned three No. 1 songs within a 12-month period. Signed to the joint venture Round Hill Music/Big Loud Shirt, the pair writes with a wide range of collaborators. They recently came together for one of the genre’s biggest hits, “Dirt,” recorded by Florida Georgia Line. Clawson credits Tompkins for the idea. “He said, ‘You’re going to think I’m stupid, but let’s write a song called ‘Dirt.’ When he said, ‘Plant your roots in it/Get your hands in it/Write her name on it,’ I was in.” Both Clawson and Tompkins strive to write one song a day. Says Tompkins, “You go in five days a week to co-write with people. On weekends I try to do family things––but if I get a song idea, I work.” Clawson concurs. “I have to write songs to get to the best songs. It’s a journey that you have to go through to get to the right day with the right people in the room with the right idea. And you end up with a song like
“Music Connection has been my go-to, from the endless resources to the very cool features and reviews.” – Mindi Abair 30 May 2015
‘Dirt,’ or ‘I Saw God Today’ (written by Clawson with Monty Criswell and Wade Kirby, a No. 1 song for George Strait).” Big Loud Shirt was founded by hit songwriter Craig Wiseman. Both Clawson and Tompkins appreciate his sage advice. When he first affiliated, Clawson’s writing room was just down the hall from Wiseman’s. “I learned that I needed to work harder. I would show up in the morning at 10:30 or 11:00 and leave at 3:00 or 4:00 in the afternoon whether I’d finished a song or not. Craig was still in there writing and it might be 8:00 p.m. at night. I’d had three No. 1 songs and Craig had had 20.” Tompkins remembers, “When I had my first hit, I was checking the charts, seeing message boards that said, ‘This is the worst song of all time.’ Craig took me aside and said, ‘Anytime you go looking for news, you’re looking for bad news.’ If there is good news people will call and tell you. Songwriters are really bad with anxiety––it’s a big head game.” Both Clawson and Tompkins are country born and raised. Clawson, from Gruver, TX, was a farmer for 20 years before his songwriting career caught fire. Tompkins was born in Florence, AL and moved to Greenhill, very close to the Southern studio capital of Muscle Shoals that he learned about second hand. Clawson, who wrote “Bartender” with Lady Antebellum, says that going out on the tour bus with the band helps him to fill in the gaps and understand the impact of the repertoire in a concert setting. He says writing with the artists also makes the songwriter’s job simpler. “The artists could say, ‘We feel like we have these slots on the record filled, but we’re looking for this,’ so you have that goal in mind from the beginning. Here in Nashville we try to write a cool song that someone will like. Sometimes we completely miss and nobody likes it.” Tompkins agrees. “I think a lot of times artists don’t know what they want until they hear it. You’ll see a pitch sheet that says, ‘We need songs like “Drops of Jupiter” mixed with Frank Sinatra.’ You do that, nothing really comes out of the song, then the artist’s next single comes out and it sounds like Hank Williams!” Contact Anna Stodart, Golightly Media, 646-560-0063, golightlymedia.com
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This summer, shooting will begin on a reality documentary series on ‘80s icon Boy George. The artist and Bunim/Murray Productions (Real World, Project Runway, Keeping Up with the Kardashians) are partnering with George’s manager Paul Kemsley and awardwinning producer Cindy Cowan to develop a docu-series chronicling George’s move from London to Los Angeles. The show will capture dating, house hunting, embarking on the North American tour for Culture Club (the band George hit it big with), managing his pop group Brando, launching a vegan food line and juggling visits by family members. Contact Karlyn Nelson at KNelson@mprm.com for more information. Now that part one of Pioneers of L.A. Hard Rock and Metal officially dropped in April on DVD, OnDemand/PPV, Cable and digital formats, metalheads can expect part two on DVD on June 9. Bonus material has been added to include deleted scenes, a photo gallery, trailers and a recap from the Los Angeles Premiere
has a 15-year-old daughter he’s never met. For details, contact Kristin Palmer at KristinP@ AverageJoesEnt.com.
event. Director/producer Bob Nalbandian is also working on a follow-up title, L.A. Metal Scene Explodes (1982-1986) and Rise of L.A. Thrash Metal. Both titles will also be two-DVD sets and are expected to drop by the end of 2015. For details, contact Nalbandian at BNalbandian@ Roadrunner.com or visit Metalrockfilms.com. Billy Ray Cyrus will executive produce, write and star in Still the King, a production of Nashville-based Average Joes Entertainment’s offshoot, Hideout Pictures. The scripted comedy features Cyrus as Vernon Brown, a.k.a. Burnin’ Vernon, a scandal-ridden, washed up one-hit wonder kicked out of country music only to emerge 20 years later as the second-best Elvis impersonator in Laughlin, NV. After crashing into an old country church outside of Nashville during a drunken bender, Cyrus’ character is sentenced to return and perform community service. Along the way, he pretends to be the congregation’s new minister and discovers he 32 May 2015
The 1980s ode-to-punk trilogy The Decline Of Western Civilization will receive a deluxe box set release on June 30 from Shout! Factory. The four-disc set will be available in Blu-ray and DVD formats, and will contain director Penelope Spheeris’ The Decline Of Western Civilization (1980), The Decline Of Western Civilization Part II : The Metal Years (1988) and The Decline Of Western Civilization Part III (1998). The set also features a 40-page book containing an essay written by rock historian Domenic Priore, rare stills and bonus features including extended interviews, a commentary recorded by Dave Grohl in February 2015 and more. Contact Lauren Blum at LBlum@shoutfactory. com for details.
David Duchovny, known for characters like Fox Mulder on The X Files, Hank Moody on Californication and his choice cameos as Denise on Twin Peaks, will release his first solo album, Hell Or Highwater, on May 12 on ThinkSay Records, distributed by the Caroline/Universal Music Group. The two-time Golden Globe winner’s debut album will include 12 self-penned tracks, firmly embedded in his uniquely lyrical, troubadour style. The lead single, “Hell or Highwater,” dropped March 31. Duchovny is also starring in the upcoming NBC/ ITV limited series Aquarius about the Charles Manson murders, which premieres May 28. Earlier this year, he also released his first novel, New York Times bestseller Holy Cow. For more details, email Fran Curtis at FCurtis@rogersandcowan.com.
– JESSICA PACE email@example.com
Underground-talk, an Internet radio show and recorded podcast, is seeking guests of all types to come on the air and talk music. Underground-talk airs from 10 p.m.-12 a.m. EST on Sunday and Wednesday. For booking, contact Larry Katdaddy Marshall at 336-926-6386 or email Larry.Marshall50@Yahoo.com. Check it out at Blogtalkradio.com/underground-talk.
and interviews with Sire Records founder Seymour Stein, author and music journalist Greil Marcus, Flamin’ Groovies super fans and others. Now they’re raising funds through a Kickstarter campaign that can be found at Kickstarter.com/projects/211524940/the-incredible-flamin-groovies-movie-campaign-iii. Email Feldhun for details at Delesh@gmail.com.
On Sept. 15, The Purcell Room at the Southbank Centre in London will host the third Short-film company Credence Entertainment annual Game Music Connect, an annual game is seeking a production intern who wants a foot music industry event. The two previous years in the door in the sold out, and entertainment early-bird tickets industry. The for this year are company began now available as a project to at GameMusicbuild reels for Connect2015. its actors and com. This moved up to year’s program shorts, scenes, will focus on developing web what’s ahead in series, pilots, gaming music web shows and a variety of topics from and features. live orchestral The intern will GAME MUSIC CONNECT recording and work with the interactive mucompany head sic engines to and other assample library creation and show reel presentasociates corresponding with industry contacts, tion. Anyone interested in the art of creating editing footage and reels, researching industry video game soundtracks can gain knowledge trends and also gaining exposure in talent from talks, demonstrations and roundtable management. Visit Credence-ent.com for more discussions at this event, founded by founded information. by multi-award winning game and TV composer James Hannigan and game audio director, Gain entertainment industry exposure with composer and industry commentator John a Culver City, CA-based management firm Broomhall. Email Greg O’Connor-Read at seeking interns for spring and summer 2015. Greg@topdollarpr.com more information. Interns will be tasked with updating calendars, organizing travel booking and itineraries, trackL.A. indie rock band LateNightFriends decided ing social media, organizing files, researching to film their experience opening up on March and more. See LosAngeles.craigslist.org/lac/ 21 for former teen idol David Cassidy of The tfr/4971619318.html. Partridge Family fame. The group say they had no idea who Cassidy was, but after looking him up and noting the “mismatch of musical style,” With a spring tour of the West Coast underthey wanted to film the show and gauge the reactions of Cassidy’s fans. See the three-minute way in celebration of the 40th anniversary of
their album Shake Some Action, the Flamin’ Groovies have set a 2016 release for a new record and documentary in honor of their 50th anniversary as a band. Directors Kurt Feldhun and William Tyler Smith have followed the band for almost two years collecting footage
documentary-style video, directed by Brian Love, at Youtu.be/7mDBNOwA6uA. Contact Michelle Capaldi at SocialBiz, 310-279-0571. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. firstname.lastname@example.org.
Voice coach, voice-over specialist, actor, composer Contact: Babich.David@gmail.com Web: DavidBabich.com, VoiceLosAnge les.com DAVID BABICH BEGAN his career on the theater side of the entertainment industry, but the acting bug actually played a vital part in his becoming a voice-over specialist for Sony Playstation and more. A student of musical theater, vocal performance and classical opera at UCLA, Babich studied acting after his 1992 graduation with a degree in voice. He became a vocal coach in 1998, but it wasn’t until 2005 that he returned to Los Angeles from the Bay Area and delved into voice-over. “I took an intro class in the ’90s and became hooked on voice-over,” Babich says. “I did self-made demos recording myself, and it was the worst thing, but that’s how I discovered the passion to do it. It’s actually so much more about acting than my voice and understanding a clear technique for a voice-over.” Babich attended an agent’s workshop in San Francisco and got lucky when the agent, Joan Spangler, said she liked his work. He followed up with a letter and she signed him on. His first video game was one with Gotham that wound up not being finished or produced, but he found out how taxing video game voice-overs actually can be. But that gig led him on to voice-overs for Sony Playstation products including Legend of the Dragoon, Bloody Roar, Star Ocean and Beast. Babich advises voiceover hopefuls to take acting classes, not necessarily rush to make a demo. “You need to learn in the booth to act and be believable. It seems like it’s just a voice, but it really is a technique,” he says. Babich also says hunting for an agent is “not a bad thing,” but aspiring voice-over specialists should be cognizant of submission guidelines and realize that building relationships always trumps cold calling. “And don’t have issues with calling and repeating. They receive so many, they might not have even heard yours yet. You can also submit to casting directors, and there are a couple of pay-to-play sites, like Voice123 and Voices.com, which are somewhat controversial because you pay a yearly fee, but you can start auditioning and submitting without having an agent. I’ve had success with that.”
Kesha Helps Raise $$$$ For Blood Cancer Research
Kesha performed at the 9th Annual Delete Blood Cancer Gala in New York City, emceed by TV personality, bassist and producer Randy Jackson. The event raised over $3.9 million. Co-Founder Katharina Harf presented an award to Marcel R.M. van den Brink M.D., Ph.D., Head of the Division of Hematologic Oncology at Memorial Sloan-Kettering Cancer Center, in recognition for his research and advancements in bone marrow transplantation. For more information, visit deletebloodcancer.org.
BMI Party for Snoop
JAMIE MCCARTHY/GETTY IMAGES
Hip-hop enthusiasts got a chance to preview Snoop Dogg’s new album, Bush, at a listening party presented by BMI in Atlanta, GA. Produced by Pharrell Williams, Bush is set to release on May 12 and features cameos from Charlie Wilson and Stevie Wonder. Pictured (l-r): BMI Vice President, Writer-Publisher Relations Catherine Brewton, Snoop Dogg and BMI Senior Director, Writer-Publisher Relations Byron Wright.
Taking a Hammer and Nail to the Marc Anthony Tour Jose Rivera worked A Designs Audio’s Hammer and Nail at front-of-house for the Marc Anthony tour. For more information, visit adesignsaudio.com.
Blue Gets Exclusive with Weiland Blue Microphones hosted an exclusive listening party at Hard Rock Café in Hollywood, celebrating the release of Scott Weiland’s album, Blaster, with a special performance by Scott and the Wildabouts. VIP guests and select fans were some of the first to experience songs from the record on Blue’s new Mo-Fi headphones. For more, visit bluemic.com.
34 May 2015
The Company Men Stand Strong The Company Men met up with actor and humanitarian Gary Sinise at the John Wayne Cancer Institute’s 30th annual Odyssey Ball, a yearly fundraiser that benefits the John Wayne Cancer Institute. The Vocal group performed “Standing Strong” at the event, which honored Sinise with the “True Grit” humanitarian award. Pictured (l-r): Stuart Ambrose, Daniel Tatar, Gary Sinise, Brian Purcell, Shawn Perucca. For more information, visit thecompanymen.com.
– SIRI SVAY email@example.com
Tidbits From Our Tattered Past
Beck Live! In Your Living Room! In a truly inspired stunt, James Corden telecast his The Late Late Show from the living room of complete strangers after knocking on their door at random. Corden brought along Jeff Goldblum, Reggie Watts and three-time Grammy-winner Beck who performed for the first time since the Grammys telecast, treating the packed dining room to “Country Down” off his album Morning Phase. To view the performance, visit youtube.com/watch?v=4l_D9mZjCko.
Weir All Into Country Radio! National Record Promotions’ Larry Weir paid a visit to the Country Radio Seminar held in Nashville, TN. Joining him during the week-long event that brought radio, artists and labels together were IMN host Buck McCoy, manager Adele Borchetta and recording artist Jimmy Charles. Pictured (l-r): McCoy, Borchetta, Charles and Weir. For details, visit countryra dioseminar.com.
In a revealing look at session players, T-Bone Burnett said: “The studio is such a narcissistic situation. It’s like looking at a huge mirror of yourself, amplified a hundred times. You can see every bit of dirt in every pore. Since I have gone through the torture of actually making records myself, I’m sympathetic to the guy out there in front of the microphone.”
Jimmy Kimmel Live! presented a special Van Halen performance on Hollywood Boulevard recently, and MC was there to take in the festivities, including a glimpse of the band during soundcheck. Pictured is singer David Lee Roth.
Hot For Soundcheck!
Peter Garrett, lead singer of Australian band Midnight Oil, told MC: “‘U.S. Forces’ was clearly a song about imperialism and the CIA. It’s not anti-American. If Americans, as people, believed that the role of America is to oppress the world, then I wouldn’t bother coming here to play music for them. I know they don’t believe that. We’re not anti-America; we’re anti-militarist.”
Lo Tove Excess, Edge and
the Stockholm Sensation By Dan Kimpel Photo by Johannes Helje
36 May 2015
enning lyrics about observing strangers in sex clubs, taking drugs and throwing up in the bathtub, Swedish artist Tove Lo is not one to censor her songs. This unfettered approach is proving to have a strong appeal for pop audiences. Over a million downloads of her single “Habits (Stay High)” have driven impressive numbers across multiple charts that preceded the full-length debut, Queen of the Clouds, released in September on Island Records. From the genesis of her EP Truth Serum in 2014 to 10 spots on the VH1 You Oughta Know Tour, a slot opening for Katy Perry last fall on the Prismatic World Tour and now with successive singles from Queen of the Clouds including her latest, “Talking Body,” it has been a rapid ascent for the artist and songwriter. As her song “Moments” says, “…on good days, I am charming as fuck.” In this exclusive interview, MC speaks with Tove Lo on one of those days.
Music Connection: You were at SXSW last week; on the David Letterman show last night; and you’re playing a concert at the Highline Ballroom in Manhattan this evening––you’re a busy woman! Tove Lo: It’s good to be back. MC: You toured last year with Katy Perry, an artist who took a long time to break through. In contrast, your career arc seems to be on a shorter timeline. TL: It feels strange that the first song I ever released “Habits (Stay High”) did so well. Obviously I’ve been working on my stuff for a long time. I was never in a hurry to release anything until it was right. MC: You had a well-publicized spell of serious vocal problems last year. How is your voice holding up? TL: It’s been good, but I’m a little sick. I did a radio show and the host was coughing and sneezing. I said, “If I catch your cold I’m going to kill you.” MC: Do you notice physical limitations like this when you perform? TL: I don’t feel it. I usually don’t think about it.
It’s funny, that’s such a huge part of it, how we can react so much to light and to music and how it means so much. I spend a lot time getting that incorporated into the show. MC: Are you a control freak who oversees all aspects of the performance? TL: I guess so, yes. I just really want to make sure that I am a part of all of the creative aspects. If it feels right, then it’s right. I usually know. If I am not 100 percent sure, I’d rather not do it. But you have to try things. It is a tricky balance to follow your instincts, but also open up a bit. MC: Queen of the Clouds, your current fulllength release, features some revelatory lyrics; lines from the song “Habits” like, “I eat my dinner in my bathtub/Then I go to sex clubs/Watching freaky people gettin’ it on…” The sex and drugs are there. TL: Yes!
I receive a lot MC: Is it essential to be of tracks from the label or a this honest and personal in your lyrics? publisher, and they might tell me, TL: It is. I used to “This is really amazing.” But there is no write a lot of short when I was space for me to write in there. I prefer stories growing up. I love telling stories. Lyrics to get a track that's half-finished, are the most important thing to me; that’s what just some chords and maybe a makes a song relatable for people. With melodies, beat or a cool sound.
MC: You were barefoot last night on Letterman. TL: The cold came before it, or I would have blamed the fact that it’s very chilly in that studio.
MC: Do you enjoy performing on television shows? TL: I only enjoy it when I finally see it. There is so much going on, you don’t actually have time to think about anything, and we only play one song so it’s like, “What just happened? We’re done.” MC: You had dancers on the Letterman show; will this be a new addition to your performances? TL: We wanted to recreate the vibe of the video for the song “Talking Body,” and my tour manager had seen this cool production with these dancers. That was the first time––I never did that before. It was like “What’s going on?” It was cool––I looked back and had all of these people around me shaking their asses. I like to move, but it’s more spastic; weird moves, my own choreography. Maybe some day I will take dancers on tour and we can dance together. It would be hard for me to concentrate on that and to sing at the same time––to bring the emotion to the songs. But it would be fun. I always want to challenge myself. MC: What is the structure of your live show, and how do you use stage technology to tell your stories? TL: Me and my three guys––the band from Sweden––have a really cool connection. I’m interactive with the audience. We have cool, crazy visuals. Lighting is really important to me. I go through the lighting on every song because that enhances the mood and builds the energy.
I can play around, but the lyrics are what takes me into my heart and soul and makes me think about what I really want to say in a song.
MC: Do you write from titles? TL: It varies a lot. Usually I will have sentences, or an idea, or a storyline that I want to write about. If I have a track, it can inspire something in me, but if I write from scratch I will make a small production and find chords that match the melody idea I have in my head and that suits the mood of the song. It works in various ways, but it goes best when I have a story in mind that I want to tell. MC: You’ve said that since your first language is Swedish, it actually helps you in being more direct in English. Can you elaborate? TL: When I translate my songs they feel more blunt in Swedish than they do in English. I know how to phrase it in English, but it’s like putting a filter on the lyrics, and making them less harsh. Swedish is very harsh and straight to the point. It’s hard to walk around what you want to say, because there are fewer words for what you want to say. I think that helps, if I want to say something, I have more ways to say it in play with words more so than if I am in writing in Swedish. MC: Do you like writing songs as part of a team, or does that sometimes seem artificial? TL: It used to [seem artificial], when it was people I didn’t choose myself. Now I work with people who I get along with really well. When you start out you usually have to go through these setup sessions that can feel really strange, but that’s how you end up meeting
people that you love working with. It can get really tiring to have someone tell you, “Okay, we need a hit, guys.” It shouldn’t be on your mind when you write a song. Maybe hits have come through that way, but I don’t want to have that mindset. MC: You’ve worked with super-producer and songwriter Max Martin––how would you describe the collaborative process? TL: He definitely wants to hear other people’s ideas. He’s very easy to work with and very self-critical. He never settles. Someone in his position might just lean on their name and think, “Yeah, it’s good enough. People will still play it because it’s mine.” He would never do that. He pushes himself. That’s why he’s so successful. MC: Melodically, Swedish pop often incorporates a shadow of melancholy. TL: I think a lot of it does. You can create something happy and perfect, but everyone has some kind of sadness; that’s how life is, not everything is easy. I think if you can create something that makes you dance, and it’s a little sad, it goes more into the heart than something that’s just about happiness, or when you pretend that everything is great. MC: Do you write songs on the road? TL: Sometimes. I travel with my portable studio that I set up in various hotel rooms when I have time. When I do press it’s a little less intense. If I’m doing shows it’s just a sound check during the day and sometimes I don’t even need sound checks, and I will find time to do some writing. MC: What sort of recording gear do you carry with you?
38 May 2015
TL: I have my laptop, a MIDI keyboard and a Shure mic that goes in with an interface. MC: Are your demos flushed out? TL: Not production-wise. I’m pretty good at doing my own vocal production. The idea usually comes through, but I need my team to make it complete.
It can get really tiring to have someone tell you, “Okay, we need a hit, guys.” It shouldn't be on your mind when you write a song. Maybe hits have come through that way, but I don't want to have that mindset.
MC: In listening to Queen of the Clouds the productions are epic, but they have a lot of space in the mid-range for your voice. TL: I receive a lot of tracks from the label or a publisher, and they might tell me, “This is really amazing.” And it is amazing. But there is no space for me to write in there. I prefer to get a track that’s half-finished, just some chords and maybe a beat or a cool sound and I can work with that. Because when it is already so finished
it’s hard to get any vocals in. The vocals are the part that the most listeners relate to. So there always has to be space left for them. MC: Does the label weigh in on songs as you are working on the project? TL: They do give feedback, but it was very much like us saying, “Here’s the order, and here are the songs.” And I guess if they hadn’t liked it they would have said so. But they are very on board with my vision, and they trust me, and my choices. It’s very cool to know that they are on my side. It means a lot to me. MC: Queen of the Clouds is a concept album, with the three themes: The Sex, The Love and The Pain. These are introduced by spoken interludes: a very unusual approach. TL: I had to fight a bit to get the interludes. For me it makes it feel like chapters, that there is cohesion, the first part going into the next part, and the narrative setting the stage for the next series of songs, so it’s not just thrown together. MC: In the U.S. we often think of Scandinavian women as being powerful and self-determined. Do you think this is true of Swedish women? TL: I think so. We are raised very independently to be what we want to be. I never had the thought of “I can’t do this because I’m a girl.” Sweden has a long way to go, but we are very ahead in equality in many ways. We don’t even question it, or talk about it––it’s just there. It’s cool. I’m glad that I was raised that way. MC: In thinking about the demographics of Sweden, it might come as a surprise to some U.S. listeners how multi-ethnic that country is. TL: Totally. There is a big spread of styles
and people and you can discover new music that you would never come across otherwise. And with Sweden being so small, itâ€™s all in one place. So, you donâ€™t have to go very far to find a new style or a new culture. MC: You went to school at Rytmus Musikergymnasiet, which you have described as a very open music school. TL: Totally. When I went there it was a full-on hippie vibe. I met people I never would have met from different areas of Stockholm with whom I had nothing in common, but we had music in common. Everyone got to be who they wanted to be. MC: What were your initial impressions when you began touring in the United States? TL: Iâ€™d been here a couple of times, but it was overwhelming. I would get questions like, â€œWhat do you love about your music? What do you want
people to feel when they listen to it?â€? I couldnâ€™t say what I love about my musicâ€“â€“thatâ€™s weird! When I did my first U.S. interviews I thought, â€œOf course I should love what I release myself. I do love my songsâ€“â€“Iâ€™m so proud of my album, why shouldnâ€™t I be able to say that?â€? Now Iâ€™m the other way. Itâ€™s so weird that I ever thought I shouldnâ€™t be proud of what I do. MC: Self-promotion is not a Swedish quality, correct? TL: No, we just donâ€™t get it. I love that Iâ€™m allowed to be proud and confident here. I was almost holding back my confidence in Sweden because I didnâ€™t want to offend anyone. But thatâ€™s all gone. Contact Nadia Ali, Director of Publicity, Island Records, 212-331-2111, firstname.lastname@example.org
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What’s the secret to long-lasting vocal cords? Which foods are kryptonite for singers? What’s it like duetting Aerosmith covers with Steven Tyler? For this exclusive, genre-crossing collection of singers, we chatted up Scott Weiland (Scott Weiland and the Wildabouts, Stone Temple Pilots, Velvet Revolver), Tomas Lindberg (At the Gates), Matt Skiba (Matt Skiba and the Sekrets, Alkaline Trio, Blink-182), Kirstin Maldonado (Pentatonix) and Ledisi who filled our ears with pearls of wisdom.
40 May 2015
Contact: Liz Ottiniano - D. Baron Media Relations Inc., email@example.com WITH MORE THAN 44 million albums sold under his belt––and two Grammy Awards to boot––Scott Weiland has established himself as one of rock’s best-known singers of the past quarter-century. After dominating radio with Stone Temple Pilots and Velvet Revolver, the 47-year-old recently lodged Blaster, the first album with his solo band, the Wildabouts. What makes you a better singer today than when you started? My range is broader than it used to be. I’m able to sing higher than I used to be able to sing. What are the greatest challenges you’ve faced as a singer? There’s been a few instances where I’ve had to do two shows in a day, including just recently at SXSW. I always have to make sure I’m singing correctly, so I don’t blow my voice out and I’m ready for the second show. Also, if you catch a cold when you’re on the road, that’s definitely a challenge. Have you had any formal vocal coaching? What effect did it have? Yes. Early on, before we started touring and got signed, I was singing in clubs locally in San
Diego, and I was singing from my throat. We went to play the second stage at Lollapalooza and had a second show that night at the Mason Jar in Phoenix, and I blew my voice out during the first set and had to sing with a hoarse voice during our second set. So I realized I had to learn where to sing from––my lower diaphragm. How do you warm up your vocal cords before a performance? I have vocal warm-up CDs from the lessons that I took. It’s a recording of a couple lessons and has directions: where to put my tongue on my lower teeth for certain exercises, how to lift up my face and have the right positioning for my mouth. I warm up for 45 minutes before a show. What are your diet do’s and don’ts (alcohol, caffeine, weed, etc.)? I don’t eat cheese or dairy products, because that creates mucus. I have a warm-up tea that I make that coats my throat. It has lemon, apple cider vinegar, apple cider, honey and cayenne pepper. I use it for every show, but it’s really important when you have a cold. How do you shake out any stage jitters, or cope with red light fever? I really don’t get stage jitters very much anymore. As soon as the first crack of the snare hits, I’m in full gig mode, and focus on the performance and on my singing.
(!"#$"#$(*+,How do you calm yourself and focus? Do you meditate before a performance? I listen to rock & roll. The Rolling Stones gets me in the mood. And I do some stretches. What are your favorite personal performances of yours, live and studio? They’re all special and unique, but I’d say one of my most memorable was selling out Madison Square Garden, and having Steven Tyler and Joe Perry come up for our encore and play two Aerosmith songs. Steven and I also sang together on a Ringo Starr record [1998’s Vertical Man]. Can you name a few of your favorite all-time recordings or performances by other singers, and why? Watching Chris Cornell sing was really cool, because he’s got a great voice. Watching Perry Farrell perform, because I think he’s one of the best live performers and has always been an influence on me. I saw them both in the ‘80s in L.A. What are your most memorable stage mishaps? And how did you deal with them? It’s frustrating when there’s too much distortion between the guitar and bass, and I’m going into a verse and not able to tell what key the song is in and have to try to figure it out immediately. Twice, I jumped off my monitor and twisted my ankle at the bottom, and it swelled up like a softball. I finished the shows, but it was tough getting through it. Sprains can hurt worse than breaks. Are you loyal to specific types and brands of microphones and in-ear monitors? If so, which ones? I use Ultimate Ears in-ear monitors and a Shure wireless mic. It sounds right, it sounds good, and I’m used to it.
Contact: Tasha Stoute - Strong Arm Media, firstname.lastname@example.org LEDISI ANIBADE YOUNG started singing professionally at age eight, leading the New Orleans Symphony Orchestra. Thirty-five years later, she has amassed nine Grammy nominations and won over countless fans, including President Barack Obama and First Lady Michelle Obama. Last year, she released her sixth album, The Truth, and played Mahalia Jackson in Selma. What makes you a better singer today than when you started? I’m more in tune with my vocal abilities, my moods and what I want heard. I’m a storyteller, so I’m always making sure my story is heard more so than showing off technique. I didn’t understand that before, and now I do.
What are the greatest challenges you’ve faced as a singer? Sleeping. [laughs] Getting rest. Have you had any formal vocal coaching? What effect did it have? Yes, I studied classical music. [It improved my] diction and breath control. How do you warm up your vocal cords before a performance? I don’t. Most singers don’t warm-up. [laughs] I try and be silent before my shows. I talk a lot when I first wake-up, and then I drink a lot of hot water and citron tea. What are your diet do’s and don’ts (alcohol, caffeine, weed, etc.)? No milk or dairy. I love almond milk. I don’t eat before I sing. I have one early meal on show day. I can’t hit high notes on a full stomach. How do you shake out any stage jitters, or cope with red light fever? I’m nervous before every performance. It never ever goes away until that first note. After that I do whatever I want. How do you calm yourself and focus? Do you meditate before a performance? I breathe as much as I can, but I need silence, so I can visualize a successful show. What are your favorite personal performances of yours, live and studio? Singing for President Obama at a church service the morning before his Second Inauguration. It was never taped. It was a memory he and a few others shared. You had to be there. I loved recording my Christmas album (It’s Christmas). I had a week to record it. It brought me back to the old-fashioned way. What are a few of your favorite all-time recordings or performances by other singers, and why? Aretha Franklin live at the Fillmore, all things James Brown and Otis Redding live in London. I like the energy, the rawness of everything, the wonderful exchanges between artist, musicians and audience. What are your most memorable stage mishaps? And how did you deal with them? Falling offstage at the North Beach Jazz Festival in San Francisco. Luckily I landed on my feet and didn’t miss a note. I acted like it was a part of the show. Are you loyal to specific types and brands of microphones and in-ear monitors? If so, which ones? I love Sony 800g and Shure mics, but until I get an endorsement, I’m open to trying different microphones. I currently use Sensaphonics in-ears. I love them.
Not really. Actually, for me the main “issue” is, as I mentioned before, stamina––so before a show, it’s more about saving myself. And my voice. What are your diet do’s and don’ts (alcohol, caffeine, weed, etc.)? I don’t smoke either cigarettes or weed, so that’s good, I guess. Alcohol has to be kept to a minimum before shows, mainly to stay focused so I don’t burn myself out vocally. I drink a lot of tea with ginger and honey during the set, to coat the throat. I think it helps, but it could also be a mental thing. In general you could say that the more healthy you eat and drink, the easier it will be for you to perform at your highest ability. How do you deal with stage jitters or red light fever? I always get nervous before a gig, no matter how many shows in a row we have been playing. But for me it’s a good thing: I feel that it keeps me focused and on my toes. To be nervous is proof that you care, at least that’s what I think. How do you calm yourself and focus? Do you meditate before a performance? No, it’s not a problem for me. I love playing live. And we have a great atmosphere in the band. So we just fool around before we go onstage. The focus is there naturally, so to say.
!"#$%&'()*+,-. Contact: Nikki Law - Century Media Records, email@example.com AFTER A 19-YEAR recording hiatus, Tomas Lindberg helped resurrect melodic death metal legends At the Gates with last year’s widely hailed At War with Reality. The band followed up with one of the spring’s hottest tours, also featuring Converge and Pallbearer, and have a whopping 23 countries on their docket for 2015. What makes you a better singer today than when you started? I am more focused now, on the actual job, than before. I’ve also become better at “holding back,” saving myself, so that I can last 90 minutes of death metal. You could say that I am more aware now of what I am actually doing. What are the greatest challenges you’ve faced as a singer? Stamina, not overcompensating, not hearing yourself live (due to a bad monitor system, for instance) while screaming your lungs out and, doing so, losing your voice. And of course all kinds of colds/flus that get to you on tour. Have you had any formal vocal coaching? What effect did it have? No, never. I’ve gotten good advice from other singers, though, and sound engineers, on how to use my voice effectively. Do you warm up your vocal cords before a performance? 42 May 2015
What are your favorite personal performances of yours, live and studio? I am very happy with how the new At the Gates record came together in the studio, that was a great and rewarding experience. I have been enjoying playing the new songs live, using the in-ears system––I have been able to perform on a whole new level, personally. Can you name a few of your favorite all-time recordings or performances by other singers, and why? I love the old death-metal recordings from Chuck Schuldiner (Death), David Vincent (Morbid Angel) and John Tardy (Obituary): crisp, clear and raw. It has a certain edge to it, an attack of some sorts. At the same time, the words are clear and hearable— well, maybe not John Tardy then. [laughs] What are your most memorable stage mishaps? And how did you deal with them? I try hard to forget all mishaps, especially the ones that affect my performance in any way. All vocal-
related mishaps are mostly related to not hearing myself properly. Now, with the in-ears system, I seldom have those problems anymore. Are you loyal to specific types and brands of microphones and in-ear monitors? If so, which ones? I exclusively use Sennheiser, both wireless microphone (EW series 100, with a 935 cap on it) and a wireless in-ears system (EW 300 series G3). Great stuff! As for why, they are just crisp and clear and pretty flawless.
/(-%!()&#$'*")$*" Contact: Ken Phillips - Ken Phillips Publicity Group, Inc. firstname.lastname@example.org AFTER WINNING THE THIRD season of reality TV’s The Sing-Off in 2011, Pentatonix notched the fourth best-selling album of 2014, That’s Christmas to Me, and followed it up with a Grammy Award for Best Arrangement, Instrumental or A Cappella, earlier this year. Maldonado, at only 22 years old, helped found the group with two high school friends. What makes you a better singer today than when you started? The past four years, I’ve gotten to know my voice as an instrument better. What are the greatest challenges you’ve faced as a singer? At first, we were all so excited to be on tour that we’d be out there screaming every night and blow out our voices on the first couple of days of tour. But we got better about that. Have you had any formal vocal coaching? What effect did it have?
I started voice lessons when I was eight. After the first lesson, my voice teacher said I should audition for this youth program at a community theater that became my second home growing up. How do you warm up your vocal cords before a performance? We used to warm up together, but since we’re so vastly different in our vocal ranges, it’s better to do it separately. We all have individual inhalers now, personal steam humidifiers. We drink as much water as possible. In dry places, they’ve been a lifesaver.
brown extension hanging from my ring the entire performance! I was embarrassed, but I just swung it around my hand and held it. They tried not to show it on TV. Are you loyal to specific types and brands of microphones and in-ear monitors? If so, which ones? Right now we use Shure wireless microphones. I use the KSM9. Also, I just bought a Neumann microphone, because I’m trying to build a studio in my apartment, for when I want to work on demos.
What are your diet do’s and don’ts (alcohol, caffeine, weed, etc.)? I didn’t drink any alcohol this tour. I also didn’t drink any caffeine, but I was a zombie instead of bouncing off the walls. We don’t eat a lot of dairy; that’s bad for singing. We have medicine to block acid reflux.
Can you name some favorite personal performances of yours, live and studio? The end of the last tour. Three of us are from Arlington, Texas, and the theater we were in [Verizon Theatre] was where we saw everyone growing up. My second grade teacher and high school choir director were in the audience. It was so nostalgic and amazing. Also, I’ve always wanted to go to Japan, because I’m obsessed with Japanese culture, and we went there last year. What are a few of your favorite all-time recordings or performances by other singers, and why? “Gravity” by Sara Bareilles. She was a judge on The Sing-Off, which was a show we were on. But I had never seen her live until 2013, and she sang that song, and I was in tears the entire time. Beyonce’s entire “I Am” tour is just stunning. What are your most memorable stage mishaps? And how did you deal with them? No one ever really noticed this, but now I’m going to reveal it: On The Sing-Off, they put an extension in my hair that day, and I had a bunch of rings on, and a ring caught in it, so I had this
How do you warm up your vocal cords before a performance? I had a CD of one of the lessons, and that’s what I would warm up to for years. Now I’ve committed it to memory. An hour outside of show time, I drink tea and do various exercises. When I get offstage, talking is a big no-no. People flood into the dressing room; I try to find a quiet place to warm down. What are diet do’s and don’ts (alcohol, caffeine, weed, etc.)? I have a couple of cups of coffee every day. Dairy isn’t good for your voice. I suffered for a long time from acid reflux. A lot of times on tour, you’ll get after-show food, like pizza, tomato sauce and cheese before bed … nahnah, terrible for your throat. Do you deal with stage jitters or red light fever? I still get them. That’s part of the fun of it––as long as it’s not debilitating or getting in the way of memory or performance. The jitters are part of the experience.
How do you shake out any stage jitters, or cope with red light fever? I always get more nervous when there are people in the audience I know, like my mom or friends, that I don’t want to disappoint. But I just keep in mind that no one in the audience is wishing me to do poorly. How do you calm yourself and focus? Do you meditate before a performance? Since I’m the only girl, I share a room with our hair and makeup person, so it’s relatively quiet.
rock,” but as you pursue a career in music, you owe the audience the best performance you can give. You can take vocal lessons without changing your voice, you just learn how not to hurt yourself.
How do you calm yourself and focus? I meditate in the morning and again after soundchecks or interviews.
!"##$%&'(" Contact: Jon Pebsworth - Century Media/ InsideOut Music/Superball Music, email@example.com CO-FOUNDER of iconic Illinois punk-rockers Alkaline Trio, Matt Skiba recently raised his star even higher by joining powerhouses Blink-182 as a temp singer/guitarist following the departure of Tom DeLonge. In addition to playing with both bands this year, Skiba is also rolling out a second album with the Sekrets. What makes you a better singer today than when you started? The fact that I don’t drink or smoke anymore is huge. There’s guys like Tom Waits or Leonard Cohen, where the cigarette is part of their thing and enhances their storytelling, but they’re few and far between. It doesn’t sound very rock & roll, but I say to save partying for when the tour is done or when your job is done. Greatest challenges as a singer? Getting used to a healthy lifestyle was a hurdle, but I’m happy to have gotten over it. It makes the experience more fun––being more present. Have you had any formal vocal coaching? What effect did it have? I took some vocal lessons. It wasn’t “punk
Can you name some favorite personal performances of yours in the studio? Jerry Finn––he passed away a few years ago––he taught me so much, and I think we made some of our best records with him. Are you loyal to specific types and brands of mics and in-ear monitors? Neumann microphones are the best, in my opinion. I use Sony Studio Monitor Headphones––they’re simple $100 headphones and comfortable. Ultimate Ears make the best in-ear monitors today. Favorite all-time recordings or performances by other singers? “Ashes to Ashes” by David Bowie was something we referenced on the new Sekrets record. There’s a song Brian Eno and David Byrne did recently, “Home,” [that I like]. What are your most memorable stage mishaps? And how did you deal with them? I recently did a show with Blink-182 where I was playing a guitar that was horribly out of tune. I took the guitar off and Mark [Hoppus] and Travis [Barker] both saw that I had done that and did this impromptu breakdown until I had the in-tune guitar on. Journalists wrote about it as a great moment in the set. If your voice isn’t working, it’s best to cancel the show. People are going to be bummed, but not as bummed as going into a venue and seeing you not perform well. May 2015
– JENNIFER COHEN
How to Protect Music Legacies M
any musicians are so focused on making great music during their lifetime that they do not have time to think about how their musical compositions and recordings will be preserved for future generations. The issue becomes even more challenging for those who inherit a music collection, often with little or no guidance on how to begin cataloging and making sense of the musical treasures that have been left behind. Whether you have inherited a collection or a working music-maker, here are some steps you should take to ensure that important collections are preserved, protected and available for both personal and public enjoyment, now and in the future. 1. Know what you own. Everything starts with knowing the titles of works you think you own, whether they are written lyric and music compositions or audio/ video recordings. Make sure you have an accurate and up-to-date record of what you have rights to and interests in, including all versions that might qualify for their own individual copyrights, both for the composition and the sound recording. If necessary, find a Virgo or an organizing wizard to help you get this done. 2. Keep track of your tracks. With labels today less involved with back catalog and publishers often focused on only a fraction of their titles, it is up to heirs and artists to keep track of the key information for each musical work, including: the date of creation or copyright; your percentage of ownership; the names of any co-writers and/or band members on each specific work; the publishers, record companies and anyone else who owns rights to each work; and expiration dates and terms of deals, licenses, interests or copyrights, including auto renewal dates or reversion dates (if rights return to you). 3. Keep and maintain good physical copies of each of the works in your collection. No matter what medium a work was created in—on a smartphone, on tape, on vinyl, live, even on a paper napkin—keep the original in its original format (if you can) and make high-quality digital copies for storage, sharing and demos. This is important for history and for business, especially if you want to commercialize any of these works. Do not keep playing those tapes or vinyls without having safety copies in digital formats. 4. Create a catalog for compositions and/or recordings. This is important in order for you to stay on top of royalties and other proceeds
44 May 2015
that are or will be due from existing and future (perhaps entirely new) revenue sources. For compositions, check with the Performing Rights Societies (ASCAP, BMI and/or SESAC). For recordings, locate the record company or distributor that initially released the recording(s). Because of consolidations and re-assignments of rights, you need to know which record company or distributor now holds the catalog for your original creations and for any derivative works in order to know about your royalty income. 5. Make a plan about using some (or all) of your legacy catalogue over time. To make the most of a legacy collection requires good judgment about whether you have titles that
can be re-released in new formats, for new uses, or through new distribution streams. Rerecording in updated styles and genres is also an option. For the vigilant and the diligent, there are so many new ways to increase the value and make the most of your legacy collection. Central to this plan is determining whether you can promote and monetize the catalogue yourself, or need assistance through representation or an independent consultant. 6. Understand copyright law enough to know how it affects your titles. Nothing affects the financial success and creative integrity of a music legacy like the protection of copyrights. Time-sensitive provisions of copyright law may give your catalog a whole new value, depending on when your works were licensed (granted) for publication or recording. The allimportant Copyright Act of 1976, which took effect on Jan. 1, 1978, has a powerful effect today on deals going forward for all music creatives, living or not. We can’t give a formal review of this law here, but the key point for folks managing legacies is this: For music works copyrighted
in the U.S. that were not created as “works for hire,” this law provides that copyright licenses (a.k.a. “grants”) may be re-claimed after 35 years. So, if the copyrights to your works were licensed after Jan. 1, 1978, they have recently begun to “ripen”—that is, to become eligible for rights holders to reclaim them. Copyright grants made in 1978 “ripened” in 2013, licenses granted in for 1979 ripened in 2014, and so on. Copyrights granted for license before then can also be reclaimed, though the “ripening” details are more complex. And here is the key kicker: You have only a five-year window from the “ripening” date in which to reclaim copyright licenses and make them more advantageous to you. If you are responsible for the musical legacy of an artist who licensed copyrights to a music publisher or record company at the beginning of a career when leverage or value were lowest, you now have a means to reclaim that copyright license if the time is “ripe,” regain a better economic interest and re-grant copyright on better business terms, including for specific, newly developed uses. Since the needed steps are specific, be sure to get help if you need it about how to notify, renegotiate and reclaim your copyright licenses. And tick-tock, watch the clock to ensure sure you do this timely, if this applies to your situation. 7. Make sure to cover all platforms and uses in your licensing deals, whether you are re-negotiating based on your right to do so under the copyright law or creating new deals for existing works that may not have been licensed yet. This may require some customized deals, as different platforms offer different terms (e.g., iTunes, Spotify and Pandora are all different; physical is different from digital; and video is different from sound). You also need to anticipate completely new methods of distribution and delivery that we have not even conceived of—so make sure your deals have a “future uses” clause or language in each of the deals you make. Music lives forever, and with good recordkeeping, good info and good deals, you will ensure that you can and will get the best benefit from the long life of your own creations or the music legacy now in your care. JENNIFER COHEN oversees POBA | Where the Arts
. Live, a not-for-profit initiative of the James Kirk Bernard
Foundation that provides support, assistance and an online platform for preserving, sharing, and promoting the works of deceased artists, both known and unknown. A senior entertainment and music industry veteran with more than 30 years experience, she is also Managing Partner of Songmasters, the award winning brand marketing, communications and music distribution company. For more information, visit poba.org
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One Musician and His (Many) Gear Endorsements
s the bass player for Los Angeles-based band Love and a .38, Justin Emord knows the financial trials of the music business. He has learned to capitalize on his talent and his fan base by securing numerous endorsements from a variety of equipment suppliers, from pick manufacturers to cables and road gear, and Jagermeister. He achieved these deals due to old-fashioned hand-shaking and schmoozing and attendance at industry events, as well as by using social media. What this musician has gained is great deals on gear he needs and loves, and great exposure for himself and the band. For the following article, we asked Emord to share some expert advice on the subject…
DO I NEED AN ATTORNEY? “I personally don’t consult any legal help when making an endorsement deal. Even sponsorships I am under contract with, the contracts have been very simple, explaining the exact terms of the deal, such as any exclusivity with the company, length of the sponsorship if there is one, what the company will do for you as one of their artists and what
I AM JUST STARTING OUT. DO I/ WE HAVE A CHANCE AT GETTING AN ENDORSEMENT DEAL? Emord advises doing what he has done: approaching companies whose product he uses by choice. Find the contacts on their websites, which often have a link for users to input their info to apply for the opportunities the company offers for endorsement deals. These companies want to know you because you are their customer. If your first time is a reject, Emord says, don’t give up! “Just because a company says ‘no,’ it doesn’t permanently mean ‘no.’ You could just be young or premature in your career. When you have new tours or albums to promote, let them know.”
HOW DO I START? “My first endorsement was the result of a demo I did for a guitar company in a booth at NAMM in 2006,” Emord says. “Another company, Mono Cases, approached me and I’ve been with them since the beginning. “As I switched from guitar to bass,” he adds, “my tastes and needs changed. I was already working with cases and cables companies, so many of those products stayed the same. The bass world is a bit different, though, as far as other gear goes. As I found equipment that I liked, I approached other companies with a list of the sponsors I was working with.” DO YOU GET FREE STUFF? “My endorsement deals vary. Some offer free products, and some provide their products at cost.” HOW DO I HAVE TO HYPE THE PRODUCT? “Some deals require that you post online your use of the product, with images and video, and the larger companies require that you grant them a likeness of your image. It allows people to see why and how you use the product. I post images on my Facebook, Instagram and Twitter.” DO I HAVE TO INVOLVE MY BAND? Because many of his deals are unique to his position as bassist, Emord does not have endorsement conflicts of interest with his bandmates. “We all use high-quality gear, so it is assumed that if anyone in the band wants a sponsorship, that company will be at a certain caliber. Also, I have worked with the majority of the sponsorships for my band, so I haven’t had to worry about sponsorships with competitors. Stage Ninja Cables and Seven Kings picks are both companies I worked with, and at their request, I got our guitarist, Domo, working with those deals.” 46 May 2015
or agreement for you if there are no contracts needed to sign stating the terms of the deal. “I don’t think spending money on legal is exactly necessary for someone getting their first sponsorship. “Your first deal is more likely than not going to end up being some form of a cost deal which they'll either have a price list stating what an artist's costs are for the product or a flat percentage discount off the product. Obviously, if you get to a point where there are contracts and fine print that you can’t understand, always consult someone but I don’t think it’s needed early on.”
is expected of you to do for the company being on their roster. For sponsorships that deal with money, like a signature model piece of equipment for example, I would absolutely recommend getting legal help to make sure you are getting fair compensation for your product as well as just covering all your bases with such a deal. If you want, definitely ask the company what is expected of them as far as help and promotion for you and what they expect of you if there are no official contracts offered. “Yes, there is definitely always some kind of written agreement, whether it’s a letter, contract or just the company simply emailing you and welcoming you to their roster. If you feel more comfortable, I'm sure the companies would be more than willing to write out some kind of letter
THE TAKE-AWAY “I recently attended a seminar at NAMM and they spoke about shaking hands with the staff of venues when you are on tour as well as at labels. This might seem like a no-brainer, but it’s a simple gesture that usually gets overlooked. While the music industry is constantly changing, an old-fashioned gesture like that can go a long way with a company when you’re first introducing yourself to them…or to keep an existing relationship going.” SMALL STEPS FIRST For those starting to test the waters, Emord recommends starting small. “It’s a good idea to start with things like pick and string manufacturers, cables, drumsticks and work from there. Don’t be afraid of the smaller companies. Fall in love with the product—once you have built a list of endorsement deals, the larger companies will take you seriously.” THE BENEFITS OF A JAGERMEISTER SPONSORSHIP? “Inspiration!” Emord’s endorsements list is at musicconnection.com/justinemord-musician-many-gear-endorsements
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– KYLE CRANE
Insights from an Expert Session Player
ften I hear people ask “how did you get that gig?” It’s a question I find difficult to answer because really anything that is obtained is a result of thousands of decisions you make over the course of your life. I also believe if you think of everything as a “gig” then you are missing out on a lot of beauty. Rather than thinking of these “gigs” as a way to pay rent or a stepping stone to the next bigger opportunity, it is better to think of them as unique moments where you and your band mates come together in fellowship. Whether you are playing at a festival of 50,000 people or a restaurant of 10 people, it should always be treated as a sacred space for transcendence. If you walk into every playing situation with this kind of reverence, everything else will fall into place. Artists who are respected and successful often possess similar traits. Here are six I can think of: 1. They have spent countless hours perfecting their sound. 2. They treat everyone with respect and kindness. 3. They constantly strive for excellence and innovation. 4. They seize every opportunity that helps them fulfill their vision. 5. They play from their heart. 6. They never give up. Assuming you possess these traits, the next step is to have a clear vision of what you want from your music career. What will be your legacy? Once you figure this out you have
48 May 2015
to position yourself somewhere on the globe that helps you fulfill this. For me that meant packing everything I owned into a truck and driving from Boston to Los Angeles. My goal was to record and tour with artists I respect. I felt the only way to make that happen was to play as much as possible and
“One night I was playing my weekly gig and multiGrammy winning artist/ producer Daniel Lanois walked in...” hope that someone would see me and be interested in working with me. I went to over 100 restaurants and bars that didn’t already have entertainment, and I asked if they would be interested in starting a music night. Most of them said no, but a few places said yes. I started playing at multiple spots on a weekly basis, which allowed me to improved my skills greatly as a musician. Once I had these steady nights I didn’t have to try and convince people to hire me. All I had to do was play my best every night and people would approach me. For example, one night I was playing my weekly gig at Thirsty Crow and
multi-Grammy winning artist/producer Daniel Lanois walked in. He sat next to the drum kit and listened for a couple of sets. He started coming back on a regular basis until one day he introduced himself and told me he liked my playing. Eventually he asked me to record and tour with him. So what do you do once you have obtained your dream job? My advice would be to never lose your fire and never forget that you are in a privileged position. The second you lose your enthusiasm it will be very evident to everyone. No one wants to play with someone who is on “auto-pilot.” You owe it to yourself and the artist who hired you to constantly strive to play better and add a freshness to their music every night. Always remember to thank the people who help you along the way. No matter how small of a favor it may seem, it is always important to be grateful. Keep playing with passion and remember: every time you take the bandstand you are an ambassador for your art.
KYLE CRANE is a Berklee graduate and multi-awardwinner who has performed or recorded/toured with Daniel Lanois, Glen Ballard, Judith Hill, Everest, Bridgit Mendler, Crystal Bowersox, Tim Hughes, Rickey Minor and the Tonight Show Band, Dale Crover (Nirvana/Melvins), Monte Mar, Bo Koster (My Morning Jacket), Pablo Alborán, Red Elvises, American Authors, Joe Plummer (the Shins, Modest Mouse), Jesse & Joy, John Mayer and many others. Now an active studio drummer, Crane can be heard on anything from hip-hop records with Kanye West to jazz records with Sam Barsh. To see video performances, go to kylecranedrums.tumblr.com. Contact Crane on Facebook or via firstname.lastname@example.org.
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Cash Box Kings Holding Court
I Don’t Like Shit, I Don’t Go Outside
Blind Pig Records Producer: Joe Nosek & Joel Paterson
Columbia / Tan Cressida Producers: Earl Sweatshirt, Left Brain
The Oscar Wilson/Joe Nosek-led blues band continue to move forward with their vintage ‘50s-flavored Chicago sound. All the touchstones of love, money and good times are engagingly addressed in tracks by founding fathers like John Lee Hooker, Jump Jackson. But there are also a number of originals here, such as “Download Blues” and “Gotta Move Out to the Suburbs.” These two songs, in particular, shine a spotlight on contemporary issues wrapped in a traditional bow. This may be something the band should consider doing more of in the future. – Eric A. Harabadian
Kendrick Lamar tweeted that Earl Sweatshirt is his favorite rapper. It makes sense–– both are L.A. rappers nearing career peaks. While Lamar channels this momentum into leadership and activism, Sweatshirt turns to somber introspection. The album sounds as if Earl decided to read listeners a stack of his unsent letters. In his signature sticky rhythmic flow he processes dysfunctional romance, mourns the passing of his grandmother and his lack of a father figure, while darting his eyes at a hip-hop community and music industry he truly mistrusts. – Ted Jamison
Carrie & Lowell
Asthmatic Kitty Producer: Sufjan Stevens and Thomas Bartlett
A Fool To Care
429 Records Producer: Steve Jordan
Sufjan Stevens began by releasing five albums in five years. It’s taken him 10 years to issue his sixth and seventh—a telltale sign of maturity. The singer/songwriter’s latest, titled in honor of his mother and stepfather, is a preciously crafted, even fragile, work of art. Unlike his previous releases, Carrie & Lowell isn’t restricted to a gimmicky concept. Instead, Stevens opens up his mind’s eye and examines, then reexamines, his existential beliefs. Finally, we get to see Stevens for who he really is: a human being. – Kurt Orzeck
Nearly 40 years after his Silk Degrees heyday, Scaggs remains a vital interpretive link to classic American music forms, from rock and R&B to jazz, blues, roots, even vintage country. This spot-on companion to 2013’s Memphis finds the soulful crooner mining earthy magic from a wide swatch of classics and obscurities, including lesser known gems from soul greats Al Green, the Spinners and Curtis Mayfield, a few tastes of New Orleans, some romping bluesy rockers, a spirited jazzy tango and gritty duets with Bonnie Raitt and Lucinda Williams. – Jonathan Widran
Heart on Fire
AG Entertainment Producer: Joe DiBlasi
AG Drive – Original Soundtrack
AriTunes Records Producer: Ari Pulkkinen
An homage to jazz age sultriness, swagger and swing, but with brilliant originals rather than tired retreads of standards, this glorious, multi-faceted, polycultural collective— burning up jazz clubs in L.A. since 2012––is the lush brainchild of Russian-born bassist and composer/lyricist Alex Gershman. With Jane Monheit and Take 6’s Alvin Chea complementing the core “nonet,” Sasha’s Bloc’s sophomore spin winks slyly at Sinatra and Ellington while hitting cabarets, blues clubs and Dixieland-drenched streets of New Orleans during a spontaneous musical travelogue. – Jonathan Widran
Remember when someone told you that music and fashion run in 10-year cycles? The longer I’m in the music industry the more I see how true that theory is. The soundtrack for top-rated IOS video game, AG Drive, is a solidly produced work featuring music clearly inspired by the ‘80s. Sprinkled with a dusting of mid 2000s electro, and littered with a few vocoders, the soundtrack sounds like a Tron-ish styled landscape. The soundtrack is well-written, which should be an interesting listen for gamers, but I don’t see it getting a lot of play outside of the game itself. –Scott Binder
The Ark Work
To Pimp A Butterfly
Thrill Jockey Producer: Self-produced
Top Dawg/Aftermath/Interscope Producers: Various
Well, don’t say Hunter Hunt-Hendrix didn’t warn you. Liturgy’s frontman promised the follow-up to 2011’s Aesthethica, widely hailed as one of the year’s best black-metal records, would mark a departure for the band. And man, does it ever. The Ark Work incorporates bagpipes, trumpet, trombone, MIDI horns, not to mention loads of chanting and even a rap sequence. More impressive than its unpredictability is that the album works, in all its cacophonic splendor. A handful of listens proves The Ark Work isn’t just unexpectedly crafted but unexpectedly infectious. – Kurt Orzeck
With great power comes a greater responsibility and Kendrick Lamar exercises his position honestly. The Walter Cronkite of Black America delivers this relevant release, time specific and touching on issues continuing to influence Black culture. Fearless and raw with his messages, Kendrick keeps his vibe funky with tracks like “King Kunta”, jazzy like “Hood Politics”, and spiritually poetic like “u” and “Mortal Man”. Creative with a vision, Dr. Dre’s protégé promises signs of musical greatness that hip-hop listeners should not ignore. – Adam Seyum
To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.
50 May 2015
Production Lyrics Music Vocals Musicianship
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Cold Blue Water
Contact: firstname.lastname@example.org Web: caseyweston.bandcamp.com Seeking: Booking, Label Style: New Country/Country Rock
Contact: fb.com/coldbluewater Web: coldbluewater.net Seeking: Booking, Label Style: Blues, Rock, Jazz, Jam
We fell hard for the throaty resonance of this artist, and when she’s supported by production this good the result is the radio-ready “Play It All Again.” Yes, the hallmarks of country (banjo, pedal steel) are part of the fabric, but the drums are all-out dance-pop and inject a powerfully modern propulsion. We could hear this tune not only on radio, but also on a teen rom-com soundtrack. Taylor Swift could work with the epic disillusion of “Waking Up,” but with Weston’s raspy resonance and ability to shift her voice into overdrive, who needs her? “Graveyard” is interesting in its synth-laden way, but Weston should stick to what’s working, and her country-pop material possesses a likely radio cross-over potential.
More than merely terrific individual performances, CBW offer exemplary ensemble playing on their well-sculpted instrumental jams. While the guitar of Andy Bs is the star, the entire crew gets ample room to shine on “Blue Rain”; the Hendrix/Santana homage “Anthem”; and the sweet, sunnyside up “Eyes of the World,” where fans will appreciate the Dickie Betts/Allman Bros. guitar tone. We can’t praise the band’s teamwork enough––each composition exhibits a caliber of musical choreography that only seasoned players can pull off. And while the recordings capture it all adeptly, we imagine the band thrives in a live setting where their soulful guitar, sinuous bass, spot-on drums and smoky organ could dazzle any room.
Production Lyrics Music Vocals Musicianship
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Contact: email@example.com Web: soundcloud.com/eddiecohn Seeking: Label, Booking, Film/TV Style: Singer/Songwriter
Contact: firstname.lastname@example.org Web: soundcloud.com/jahkoy Seeking: Label, Publishing Style: Future R&B, Hip-Hop
Cohn is a craftsman working at a high level, and film/TV folks should give his deftly produced recordings a listen. A very good singer, Cohn’s breathy moodiness can set a pensive tone and his pure falsetto (“Guarantee My Love”) can fool you into thinking it’s a violin. Most commercial is “How Do You Feel,” which kicks off with its chorus hook and rides an upbeat energy that nevertheless leaves room for the singer to express a yearning that is genuine. Another crafty vehicle for Cohn’s lovelorn persona is “Help Me Feel Something,” where he exudes a soulful vulnerability that is nothing if not convincing. We’re not sure how he translates in a live setting, but on record Cohn’s tunes are ideal for a film or TV relationship drama.
It took a minute or so, but this artist’s sensually echoplexed voice, together with his trancey synthesizers and 4/4 throb on “Let It Be” drew us right in––as it surely would most females within earshot. Yes, Jahkoy lives (and sings) for the ladies, pledging a world of bliss, as on the captivating “Heart Smile” whose deft sonics and (again) distinctive vocal delivery add up to a winner. The artist gives “Fall In Love” a lighter touch, including an effective hip-hop verse midway in the arrangement. While some of us hear a Bieber-meets-Brown hybrid in Jahkoy, all of us agree that as a singer he could make a gas bill sound sexy. Still, we advise him to collab with a wordsmith who can bring a measure of substance to the seduction.
Production Lyrics Music Vocals Musicianship
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Contact: email@example.com Web: empiremachines.bandcamp.com Seeking: Label, Booking Style: Indie/Rock
Contact: firstname.lastname@example.org Web: kathryndeanofficial.com Seeking: Label, Booking, Distrib., Film/TV Style: Pop
To say that this Austin, TX outfit generates a big sound would be an understatement. In fact, they create a giant storm of electro-rock turbulence that manages to be hooky and tuneful in a psych-rock kind of way, thanks to singer Matt Blackwell’s nasally Beatlesmeets-Oasis whine and to expert mastering by the esteemed Bob Ludwig, who manages to make everything coalesce. The trancey treble and woolly low-end of “Animal” and the agile falsetto of “Wanted Way” intrigued us, but “The Plan,” from its opening crescendo through its pounding, imposing drums, was the song that ultimately won us over. The tune actually had our heads bopping as we surrendered to its expansive chem-trail of reverb.
With multiple co-writers and adept sidemen, this young singer brings a bold, chesty resonance to her vocals that hover between Adele and Rihanna. “Be My Sin” and “City of Angels” are craftily arranged songs in the pop spectrum. The former has an aching aspect that is nicely augmented by an acoustic guitar for maximum pathos. The latter is a piano vocal with strings that effectively underscore the song’s romanticism. “I’ll Show You Crazy” is Dean’s most energetic tune, leaning toward rock and blues by virtue of its guitar grit and organ noodling. We like Dean’s ballsy swagger on this one as she sings a warning to her lover. All in all, this is a solid outing that suggests a young singer who could one day bring forth a wow factor.
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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. 52 May 2015
Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
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Handicap Parking Lot
Contact: email@example.com Web: fb.com/HandicapParkingLot Seeking: Label Style: Pop Punk, Hardcore
Contact: firstname.lastname@example.org Web: jasminecrowemusic.com Seeking: Label, Film/TV, Distribution Style: Hard Pop
HPL’s tandem singer setup allows for both shouter and screamer to alternate, and they do it effectively, complementing (as opposed to stepping on) each other. Boosted by a catchy pop-punk riff, “Liar Liar” shows this PA-based trio to be a tight unit that handles pace changes easily. And both vocalists deliver the song’s accusatory message with a rant and a roar that makes it loud and clear. A whiplash guitar riff opens “Mickey Mouse Thug House” whose staccatto riff is staggering to the ears, but its catchy chorus and seemingly harmonic vocals (together with a minimizing of the screamo vocals) results in a song that is radio-friendly. Though the band is not reinventing the wheel, their attack is a pure Warped winner.
International Song Competition semi-finalist Jasmine Crowe has an affinity for fiery, spectacular imagery, and with her co-producer Josh Corey she has fashioned electronic pop songs like “Supernova” and “Phoenix Rising” with female empowerment messages and danceable propulsion that are a promising combination. “Black Widow,” a warning about evil women, was least successful for us. All in all, though we admire this artist’s voice, which delivers her of defiance and self-worth with aplomb, we urge Crowe to work harder to expand her vocal range. Despite the dynamics in her voice, and effective doubling, she tends to stay in her comfort zone. We suspect she has what it takes to bust out of that with good results.
Production Lyrics Music Vocals Musicianship
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Contact: Lindsay@theengine360.com Web: chloecaroline.com Seeking: Label, Booking Style: Country, Pop
Contact: email@example.com Web: madsneaks.com.br Seeking: Film/TV, Booking Style: Alternative Rock
Though expertly produced in Nashville, we didn’t immediately fall in love with singer Chloé Caroline’s vocal tone, which skews to the higher range. But she’s a young, developing performer whose voice at this juncture would likely be relatable to country music listeners in their mid-teens. Best of the bunch is “Daddy’s Song,” a touching tribute to her pops (“You’re the man I look to.”) where all elements gel perfectly, with a sweet sincerity that gives off a glow of early Taylor Swift. “Outta My Head” and “One Left Standing,” however, are ultimately less compelling, though both are as craftily composed and expertly produced. To our ears, Chloé Caroline is very much a singer in the process of becoming a better artist. Time will tell.
A Brazilian trio singing in their native tongue, Mad Sneaks will put a smile on the face of any listener with a taste for grunge guitar riffs, raspy-ragged vocals and the hard/soft dynamic of Pixies/Nirvana. The best example of this is the fairly catchy “Rótulo,” a brooding mid-tempo alt-rocker that occasionally bursts into an aggressive gallop. “A Cura” rides a sludgy three-chord progression that again will elicit memories of Nirvana. Boosting the energy is “Sangue Sujo,” where the band attempts to really sink its fangs into the genre’s inherent aggression. Somehow, though, these players remain pretty rigid and contained, not quite achieving the reckless abandon that Kurt Cobain made his trademark.
Production Lyrics Music Vocals Musicianship
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Dark Horse Flyer
Contact: firstname.lastname@example.org Web: darkhorseflyer.com/music Seeking: Exposure, Booking Style: Rock
Contact: email@example.com Web: nekitawaller.com Seeking: All Style: R&B, Soul, Pop, Rock, Blues
Seasoned players with years of professional experience, the band’s recordings are, not surprisingly, full of adept musicianship including an agile guitar player who’s given ample moments to impress. The band’s original material, however, though it has echoes of the best of the classic rock era, are ordinary tunes at best. We suspect that these cats can kick ass when performing the truly great, timeless material. In fact, in the right situations (the winery circuit perhaps, or corporate events and classic theme parties) Dark Horse Flyer can likely deliver a crowdpleasing set––so long as the crowd is composed of grown-up, classic-rock lovers (and perhaps some youngsters with fond memories of Guitar Hero).
Nekita Waller showcases some pretty solid skills at the mic, with layered blends that are especially nice. Her shortcomings are apparent, however. On the Beyoncé-influenced “You Could At Least,” where Waller questions her man’s carelessness, her over-use of synthetic bird chirps and the dramatic skit are distracting. Above all, as a singer she needs to reach down and belt it out, show more power by building up her high range. Same on “Best Shot,” a song about a woman’s resolve to persevere. Waller could bring even more power to the vocal, but instead she stays in the pocket. And if you’re going to cover a hit like Maroon 5’s “Sunday Morning,” find a way to add to it somehow and really make it your own.
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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 musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. May 2015
Material: PEACH and Jamie James trade off and share vocals, which includes originals they have both penned as well as fun covers such as John Ellison’s “Some Kind of Wonderful.” PEACH shared briefly about performing that song when she opened for blues legend Little Milton. You can’t help but draw comparisons to Bonnie Raitt when you hear PEACH, who similarly appropriates soul and R&B to craft her own unique yet still traditional blend of blues music. She has worked with the likes of Marty Grebb (Bonnie Raitt), Jon Woodhead (Leon Russell) and Rick Vito (Fleetwood Mac), and her stylistic similarities to those parenthesized artists are apparent. Musicianship: The band is tight. Walsh and Collier are subtle and adept at classic blues finales. Collier effortlessly floats across his frets for a smooth finish on “Little by Little,” and Walsh’s enthusiasm on “Ain’t Got No Money” is infectious. James takes the majority of the guitar solos, which receive rounds of applause throughout the performance. Stange gets his time to shine with an incredible key solo on “It Meant Nothing.” He also impresses by playing both keys and a crisp sounding harmonica during “The Real Thing.”
Performance: The band started the set without PEACH, who later made a statement when she took the stage with her glittery green Billy Asher guitar in tow. Unfortunately the low microphone placement proved to be a struggle for her and did take the focus off the presentation. Stange also seemed to fight a bit with the distraction of the fog machine while adjusting his sheet music. The set lost momentum between capo changes and tune-ups, but the sound was great as a result. All told, the band was strong and made adjustments as the set progressed.
Contact: firstname.lastname@example.org Web: peachmusic.com/live The Players: PEACH, vocals, guitar; Jamie James, vocals, guitar; Tom Walsh, drums; Jervonny Collier, bass; Ken Stange, keyboard, harmonica.
Summary: The performance would have been a lot tighter had the band kept to the original set list, as switching things up prolonged the segues between songs. That time would have been better used to adjust the microphone after the first song, which pulled focus away from PEACH somewhat throughout the performance. Although PEACH does take on a few solos it would have been nice to see her work the stage more or ramp up her interplay with James. –Brooke Trout
Material: Much of Haines’ set comes from his recent EP. Songs like the title track, “In Just a Little While, We’re Going to Be Alright,” waft in currents of dream-pop (think Unknown Mortal Orchestra) while others such as “Stacy Cuts Loose” drop into the heavier chop of psych rock (think Ty Segall). Most feature verbed-out vocals and melodic sensibility that make up for largely unintelligible lyrics. Halfway through, Haines tells the crowd he wants to play some unreleased “heavy numbers” and proceeds to slam the set right on its face. The pure ruckus of “In The Gardens Of Hell” and “Four Hearts” directly oppose the chilled psychedelia of the set’s first half. Musicianship: Haines is capable of cooing in falsetto before ripping into shrieks of Jay Reatard proportions, which, in the context of this venue’s mix, tended to blend into white noise. This could have been problematic without Prochaska’s drumming to hold everything together, whether in relaxed, lilting beats on the ride or in the occasional heavy breakdown. Bedell’s minimalist bass lines, plucked on what appears to be a punchy Mustang, do exactly what they need to do. Haines uses Malekko pedals and puts two delay pedals on his vocals, causing them to 54 May 2015
shift in and out of phase and caters nicely to his dreamier tunes. Performance: The trio took to the stage without ceremony, clad in thrifted finery— Haines backwards-hatted wearing a tank imprinted with the Grinch. They strayed from gimmickry and kept the set unapologetically brief. A swift and satisfying performance negotiated accessibility and confrontation, inviting the listeners in and then challenging them. One can bop along with bassist Bedell—who was partial to a one-footed stomp-jig—before having to dodge Haines as he repeatedly rushed offstage into the crowd.
Summary: There is plenty of potential here, and the band clearly has a foot in Portland’s lo-fi scene. Though Haines and company worked hard to get any rise out of this languid bar crowd, they would surely tear up a house show. They pare their concert to its vitals: a barrage of songs interspersed with clipped, witty dialogue—the last song ends in a sudden slam after which Bedell jests, “That's where the pyrotechnics are supposed to go off.” It is better to play a short set and leave the audience wanting more. I would love to hear more from Ronnie Haines. –Ted Jamison
Contact: RonnieHainesBooking@gmail.com Web: facebook.com/RonnieHainesMusic The Players: Ronnie Haines, vocals, guitar; Daniel Bedell, bass; Evan Prochaska, drums.
Material: Chicago-based band, Ratboys, appeals to the indie and college rock crowd with a slightly different twist. In a genre that is heavily saturated with male vocalists, Steiner’s sweet, angelic vocals help set the band apart. The lyrics are poetic and open to a variety of interpretations. The music is a mix of folk, alternative rock and noise, and while it has a sound that is typical of most college rock, it does have its moments of uniqueness and popular appeal. Musicianship: Ratboys added a trumpet player for this show. Nnamdi Ogbonnaya, who plays for such acts as the Para-Medics, Itto, Pisces at the Animal Fair and Monobody, filled in for their regular drummer, Parel, but regardless, the band was very tight and played well together. Steiner has a cute, appealing voice with a high register and she leads her troops well, marching from song to song. Lange is a solid bass player, and Sagan adds an edginess with his noisy, alterna-rock guitar leads. Overall, the musicianship is adept, and the individual talents work together as a unit. Performance: The band started off strong with “AOID,” a simple, melodic tune with a pretty lead vocal line and single guitar, leading
T.T. the Bear’s
RATBOYS directly (both musically and lyrically) into the high-energy indie rocker, “Tixis.” They held the crowd’s attention with two more pop-oriented songs, “Space Blows” and “Collected,” then added variety by following with a slower ballad, “Have a Heart.” Ratboys performed a new song, “Charles Bernstein,” off their upcoming album, which had interesting rhythm changes and showcased a mature progression in songwriting from their earlier material. As the set progressed, however, the band withdrew into itself and seemed to forget they were on stage. They did not play to the audience as much, but rather to each
Contact: email@example.com Web: ratboys.bandcamp.com The Players: Julia Steiner, guitar, vocals; Dave Sagan, guitar; Will Lange, bass; Jordan Parel (filled in by Nnamdi Ogbonnaya), drums; Cody Owens, trumpet.
other—at times with their backs turned to the audience. It seemed as if they were practicing in a garage. Fortunately, the band snapped out of it for the last song, “And,” which was noisy and loud, and a fantastic closer to their set. Summary: Ratboys are strong songwriters and musicians. Their particular brand of indie rock is lyrically introspective and musically interesting. While their stage presence could use a little work, the band is entertaining and their new material shows promise of good things to come. – Mary Lemanski
Material: Wistful yarns about falling in love harder than one expected, finding one’s way home and letting go of the past make up the raw materials for this folksy quintet from Brighton, MA. More heartfelt than the over-processed dross that passes for modern country yet more robust than the twee warbling of self-indulgent, hipster troubadours, the Novel Ideas fall in between, making backroad hash out of exploiting this neglected zone. Musicianship: With a sound that meditates upon drinking in nature’s beauty and appreciating life’s quotidian pleasures, the band simmers low and slow, featuring plenty of sustained notes and warm tones. Although this doesn’t lend itself to fancy fretwork, a graceful unity makes their abilities obvious. With three lead singers, two male and one female, they play liberally with their unique vocal palette, making for stunning harmonies that brim with romantic autumnal color. While their delicate style finds beauty in fragility, robust bass and drums prevent their tender act from ever breaking.
56 May 2015
THE NOVEL IDEAS
Performance: Balancing their instruments, vocal levels remained a noteworthy feat, particularly considering the thumping from the club below. Guitarist Radin ably handled speaking duties yet only name checked the group twice, potentially negative considering this band's utilization of the headliner’s selfbranded drums. Witnessing their passion exude from the stage was a treat, especially during faster and louder passages, though Grella’s allblack attire didn’t draw the eye. Their final song elevated the set via audience participation.
Contact: firstname.lastname@example.org Web: thenovelideas.com The Players: Daniel Radin, guitars, vocals; Danny Hoshino, guitars, pedal steel, vocals; Sarah Grella, vocals; James Parkington, bass, vocals; Colin Fleming, drums.
Summary: The Novel Ideas are following a promising path, offering an honest voice in a field where the art of unprocessed melodies has been all but forgotten. Having released one independent full-length record, they just need one more album’s worth of evolution to achieve something truly noteworthy. Once the right team executes a much-needed makeover and appropriately promotes them to a discriminating, niche audience, attention will surely follow. – Andy Kaufmann
The Mint Los Angeles, CA Contact: email@example.com Web thelastbison.com The Players: Ben Hardesty, lead vocal, guitar, percussion; Dan Hardesty, vocal, mandolin, banjo, guitar; Annah Housworth, vocal, orchestra bells, harpsichord, percussion; Ames Housworth, electric bass, cello; Andrew Benfante, keyboards, pump organ; Teresa Totheroh, violin; David Solomon, drums. Material: The Last Bison offer a completely dynamic take on a singalong folk sound, filtered through an Arcade Fire-like approach, i.e., often featuring several members
Mid-City Music Lounge
THE LAST BISON
contributing percussion at the same time. The vocals range from high-pitched ethereal to being belted out, but the insistent stopstarts and percussive interludes always bring the band back to earth from their occasional forays into orchestral beauty. The vast array of folk-based instrumentation keeps every song interesting, and the set even included some classic rock references, “Reeling In The Years” and “Magic Carpet Ride.” Musicianship: The band uses guitars, mandolin, banjo, cello, electric bass, violin, orchestra bells, various keyboards, drums and percussion. It was fascinating to see almost every member of the band play several
instruments, and all were played impeccably. Drummer Solomon kept clockwork time using all parts of his kit—from cymbals to the rims— and all players laid back perfect rhythm for the others to solo over. The secret weapon was violinist Totheroh, who played as much as danced out her parts with a ballet-like grace. And just when you thought it couldn’t get more interesting, Housworth would add xylophone bells. Performance: What catapults this band into a true phenomenon is their live performance. From the very first beat, the entire band was moving, and Hardesty had the audience clapping along by the third song. He invited the audience to essentially be part of the Last Bison family, and made audience members feel as if they were partying in a friend’s living room. The excitement was contagious—one is invited to clap and dance along, and there are enough cues to make singing along a breeze, especially on “Gypsy Rag.” The frequent percussion breakdowns through the set gave an intensely involving tribal feel to the proceedings. Summary: The Last Bison are an act whose time has arrived. The best elements of the new folk sounds are all here and delivered with expertise, conviction and, best of all, a tangible and infectious excitement. They are a cross between a gang, a gypsy orchestra troupe and a family (which they partially are) and invite listeners to participate in their danceable musical vision. Audience members present at this show will look forward to the band's next local appearance. – David Arnson
Los Angeles, CA
Contact: firstname.lastname@example.org Web: justinfarren.com The Players: Justin Farren, guitar, vocals.
Musicianship: Farren’s guitar work is a medley of folk and indie-pop. He creates tension by juxtaposing delicate finger-picking and aggressive chords. Less can be said about his vocals. Though Farren’s vocal texture may fit the folk sound, his voice remains underdeveloped. He demonstrates control and projection at high volumes, but encounters pitch discrepancies at lower volumes. Performance: Farren’s stage presence, his charm, is where he thrives. Performing barefoot, he creates a relaxed and
JUSTIN FARREN comfortable atmosphere. Farren’s casual interactions with the audience elicit laughter from his comedic stories and clever lyrics. This is an artist who knows how to build strong connections with his audience by taking requests, making the experience that much more intimate. He kept his listeners’ attention by performing new, as-yet-untitled material, and this helped to make the show varied, exciting and spontaneous.
Material: Justin Farren’s small town, central California roots are clearly evident in his lyrics. He writes fun songs about growing up, jobs, family, life as a musician and several songs about awkward encounters with ex-girlfriends. “Lewis and Clark,” an older song by Farren, is a narrative about his personal vision of adventure while on the road in the Pacific Northwest. While Farren’s lyrical themes may be familiar, his folk- and pop-infused riffs are anything but. “American Singles,” a song about the opposition between wisdom and youth, is where his ability to create unique and dissonant music comes alive.
Summary: Justin Farren is a remarkably relatable songwriter with a special gift for quirky lyrics based on real-life experiences. He is a pleasant listen and an exceptional guitarist, but his vocals could be stronger. Some basic voice coaching would help to increase his range and free this promising performer from the limits of his persistent monotone. – Macie Bennett May 2015
Directory of Music Schools This national Music Connection list will enable you to connect with the school that best suits your needs and budget. Whether you’re looking for a university, a technical school, a music camp or online course, this updated 2015 list will make your search easier. ALABAMA ARS NOVA, INC. 7908A Charlotte Dr. Huntsville, AL 35802 Mailing: P.O. Box 14248 Huntsville, AL 35815 256-883-1105 E-mail: email@example.com Web: www.arsnovahsv.com Cost: please call or see web for info UNIVERSITY OF ALABAMA 810 Second Ave. Tuscaloosa, AL 35487 205-348-7110 Fax 205-348-1473 Contact: Marvin Latimer E-mail: firstname.lastname@example.org Web: www.music.ua.edu Cost: please call or see web for info
ALASKA UNIVERSITY OF ALASKA 312 Tanana Loop, Ste. 201 Fairbanks, AK 99775 907-474-7555, 907-474-5113 E-mail: email@example.com Web: www.uaf.edu/music Contact: Vincent Cee, Assist. Prof. Music Education Cost: please call or see web for info
ARIZONA ARIZONA MUSIC PROJECTߐ 260 E. Comstock Dr., #1 C ߐ handler, AZ 85225ߐ 602-819-8700 E-mail: firstname.lastname@example.org Web: www.azmusicproject.com ROBERTO-VENN SCHOOL OF LUTHIERY 1012 N.W. Grand Ave. Phoenix, AZ 85007 800-507-3738, 602-243-1179 E-mail: email@example.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, 866-757-3059 Satellite Facility: 1205 N. Fiesta Blvd. Gilbert, AZ 85233 480-858-9400 E-mail: firstname.lastname@example.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, Otari, Korg, Alesis, Yamaha, Manley and Neumann, among others. Students are offered a 7-tier certification on Pro Tools and manufacturer certifications on the TC System 6000, Waves plug-ins, EAW Smaart, L-Acoustics Kudo and SoundVision plus Auto-Tune 5. Financial aid available to those who qualify. MESA COMMUNITY COLLEGE 1833 W. Southern Ave. Mesa, AZ 85202 480-461-7000 Web: www.mesacc.edu/programs/audioproduction-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: email@example.com Web: www.showcase.scottsdalecc.edu/audioproduction
UNIVERSITY OF ARIZONA School of Music/Recording Studio College of Fine Arts P.O. Box 210004 1017 N. Olive Rd. Music Bldg. Rm. 11 Tucson, AZ 85721 520-621-1302 E-mail: firstname.lastname@example.org Web: 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.
ARKANSAS UNIVERSITY OF ARKANSAS Department of Music, MB 201 525 Old Main Fayetteville, AR 72701 479-575-4701 E-mail: email@example.com Web: www.music.uark.edu
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THE ART INSTITUTE OF CALIFORNIA – LOS ANGELES, A CAMPUS OF ARGOSY UNIVERSITY 2900 31st St. Santa Monica, CA 90405 310-752-4700, 888-646-4610 Web: www.artinstitutes.edu Programs: Audio Production (Bachelor of Science, Associate of Science) Cost: Please visit the website for details Locations: All over the US, visit the website.
UNIVERSITY OF ARKANSAS AT LITTLE ROCK 2801 S. University Little Rock, AR 72204-1099 501-569-3294 Web: www.ualr.edu/music
CALIFORNIA ACADEMY OF ART UNIVERSITY 70 New Montgomery St. San Francisco, CA 94105 800-544-2787, 415-274-2222 Web: www.academyart.edu Program: Music Production & Sound Design for Visual Media ADAM’S MUSIC 10612 Pico Blvd. Los Angeles, CA 90064 310-839-3575 E-mail: firstname.lastname@example.org 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 and expert instrument repairs ADG PRODUCTIONS 15517 Cordary Ave. Lawndale, CA 90260 310-379-1568, 800-748-5934 E-mail: email@example.com Web: www.adgproductions.com, www. digitalsheetmusicdownloads.com Contact: Andrew D.Gordon Program: Contemporary piano/keyboard instruction, has authored over 30 internationally acclaimed books and DVDs. Titles include: 100 Ultimate Blues Riffs; 60 Of The Funkiest Keyboard Riffs Known To Mankind; Funky Organ Grooves, Rhythm Keyboard Workout. 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: firstname.lastname@example.org 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: email@example.com, firstname.lastname@example.org Web: www.darlenekoldenhoven.com, www. artofsinging.com Contact: Darlene Koldenhoven Program: Darlene’s dynamic all day intensive workshop, “Sing Right for Your Type,” includes
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experiences in breath management for range and power singing, vocal styles and 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.
Additional locations: Hollywood, CA 5250 Lankershim Blvd. North Hollywood, CA 91601 818-299-5100, 877-468-6232 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, 800-353-0812 E-mail: email@example.com 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 858-598-1399, 866-275-2422 E-mail: firstname.lastname@example.org Web: www.artinstitutes.edu Programs: Audio Production (Bachelor of Science, Associate of Science) Cost: Please visit the website for details Orange County 3601 W. Sunflower Ave. Santa Ana, CA 92701 714-830-0200, 888-549-3055 E-mail: email@example.com Web: www.artinstitures.edu San Francisco, CA 1170 Market St. San Francisco, CA 94102 415-865-0198, 888-493-3261 E-mail: firstname.lastname@example.org 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: email@example.com Web: www.audioinstitute.com Note: Recording Engineer and Music Producer School BARKER’S MUSIC 3125 McHenry Ave., Ste. F Modesto, CA 95350 209-526-0347 E-mail: firstname.lastname@example.org 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: email@example.com Web: www.bellflowermusic.com
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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 2 Marina Blvd. San Francisco, CA 94123 415-673-3600 E-mail: firstname.lastname@example.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 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: email@example.com 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: firstname.lastname@example.org Web: www.brubeckinstitute.org Program: The Summer Jazz Colony is a oneweek 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: email@example.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) Los Angeles and Ventura County, anywhere from Woodland Hills to Santa Barbara including Malibu 805-529-2348, 805-437-6465 E-mail: firstname.lastname@example.org, email@example.com Web: www.musicianscamp.org Contact: F. Scott Moyer Services: Private (one on one) and class/group and band instruction are available for drums, guitar (acoustic and electric), bass, keyboards, brass, applied 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: www.musicianscamp.org) CALIFORNIA POLYTECHNIC STATE UNIVERSITY Music Department 1 Grand Ave.
Download at musicconnection.com/industry-contacts San Luis Obispo, CA 93407-0326 805-756-2406 E-mail: firstname.lastname@example.org Web: www.calpoly.edu/~mu Program: Bachelor of Arts in Music CANOGA SCHOOL OF MUSIC 7361 Canoga Ave. Canoga Park, CA 91303 818-340-4021 E-mail: email@example.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: firstname.lastname@example.org Web: www.ccmcollege.com Program: Music (Theory), Artist Development and Audio Engineering and Music Production Degree: Apprentice and Professional Certificate Duration: 6 months apprentice, 1 year professional Cost: please call or see web for info Notes: CCM mentors artists and engineers for the professional music industry. Its small intimate environment allows for personal and customized attention from Grammy award winning and seasoned faculty. CALIFORNIA INSTITUTE OF THE ARTS, SCHOOL OF MUSIC 24700 McBean Pkwy. Valencia, CA 91355 661-255-1050 E-mail: email@example.com 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
562-985-4781 E-mail: firstname.lastname@example.org 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.ccpe.csulb.edu/ContinuingEd/ default.aspx 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 POLYTECHNIC UNIVERSITY, POMONA 3801 W. Temple Ave., Bldg. 24 Pomona, CA 91768 909-869-4145 E-mail: email@example.com Web: www.class.csupomona.edu/mu Contact: Dr. Iris S. Levine, Department Chair Degree: B.A. Cost: please call or see web for info
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE 18111 Nordhoff St. Northridge, CA 91330 818-677-1200 E-mail: firstname.lastname@example.org 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.
CALIFORNIA STATE UNIVERSITY, CHICO 400 W. 1st St. Chico, CA 95929 530-898-5152 E-mail: email@example.com Web: 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
CAZADERO PERFORMING ARTS CAMP P.O. Box 7908 Berkeley, CA 94707 510-527-7500 Fax 510-527-2790 E-mail: firstname.lastname@example.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
CALIFORNIA STATE UNIVERSITY, DOMINGUEZ HILLS 1000 Victoria Ave. Carson, CA 90747 310-243-3543 Web: www.cah.csudh.edu/music Contact: Richard Kravchak, Phd, Chair Program: Audio Recording and Music Synthesis (ARMS) Degree: B.A. and Certificates Duration: 4 years Cost: please call or see web for info Notes: accredited undergraduate college curriculum; extension courses available
CHAPMAN UNIVERSITY CONSERVATORY OF MUSIC One University Dr. Orange, CA 92866 714-997-6815 E-mail: email@example.com 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
CALIFORNIA STATE UNIVERSITY, FULLERTON P.O. Box 6850 Fullerton, CA 92834 657-278-3511 E-mail: firstname.lastname@example.org Web: 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
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 Blvd., #109 Irvine, CA 714-731-3415 COLBURN SCHOOL, THE 200 S. Grand Ave. Los Angeles, CA 90012 213-621-2200 E-mail: email@example.com
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 E-mail: ann@cornerstonemusicconservatory. org Web: www.cornerstonemusicconservatory.org Contact: Ann Pittel Program: Private and group music instruction for ages 7 months to adult. Duration: 15 weeks to year-round Cost: Varies-call for brochures and rates Notes: specializing in expert music instruction, composition, theory, teen/college-prep students, special toddler programs, Harmony Road Piano course for children (beginners grouped by age). CRESCENTA VALLEY MUSIC STUDIO 3131 Foothill Blvd., Ste. I La Crescenta, CA 91214 818-248-2789 E-mail: firstname.lastname@example.org Web: www.cvmusicstudio.com Program: instruction in a variety of instruments, lessons for children as well Degree: NA Duration: varies Cost: please call for info 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: email@example.com Web: www.deborahgibsonselectricyouth.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: firstname.lastname@example.org 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 E-mail: CFitzsimons@elcamino.edu Web: www.elcamino.edu/academics/finearts/ music Program: a structured program of training in a variety of solo performance media, large and small ensembles, music theory and musicianship, basic vocal and keyboard skills, and the study of music history Degree: A.A. Duration: Two years Cost: please call or see web for info EUBANKS CONSERVATORY 1175 Box 1175 Hawthorne, CA 90251 310-462-5364 E-mail: Eubanksschool@yahoo.com Web: www. eubanksconservatoryofmusicandarts.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. North Hollywood, CA 91601
818-761-4970 E-mail: evergreenmusicconservatory@gmail. com Web: www.evergreenmusicconservatory.com Contact: Jerry Acosta Program: 1-on-1 and group instruction in guitar, cello, piano, violin/viola and music composition Duration: varies Cost: please call for info Notes: all university-trained faculty EX’PRESSION COLLEGE FOR DIGITAL ARTS 6601 Shellmound St. Emeryville, CA 94608 877-833-8800, Direct and Int’l: 510-654-2934 E-mail: email@example.com 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: firstname.lastname@example.org FAUNT SCHOOL OF CREATIVE MUSIC Los Angeles, CA 818-506-MUSE (6873) E-mail: email@example.com 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, 818-242-0282 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: firstname.lastname@example.org Web: www.beyondthetrees.com Cost: please call or see web for info FOOTHILL COLLEGE 12345 El Monte Rd. Los Altos Hills, CA 94022 650-949-7777 E-mail: email@example.com Web: www.foothill.edu/musictechnology Contact: Mark Anderson, Division Dean, Program Director GARNISH MUSIC PRODUCTION SCHOOL 7600 Melrose Ave. Hollywood, CA 90046 323-639-0125 Web: www.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: firstname.lastname@example.org Web: www.gilmoremusicstore.com Program: Instruction in drums, classical-jazzand rock guitar, bass guitar, woodwinds, flute, trumpet, trombone, piano, violin, cello and voice. 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
Directory of Music Schools 1500 N. Verdugo Rd. Glendale, CA 91208 818-240-1000 E-mail: email@example.com 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 351 9th St., #202 San Francisco, CA 94103 415-777-2486, 800-9000-MIX E-mail: firstname.lastname@example.org Web: www.californiarecording.com/overview. html GOLDEN WEST COLLEGE 15744 Golden West St. Huntington Beach, CA 92647 714-892-7711 E-mail: www.goldenwestcollege.edu/music Web: www.gwc.info Contact: email@example.com Program: Music Education Preparation or Music Performance Degree: certificate GRAMMY CAMP Grammy Foundation 3030 Olympic Blvd. Santa Monica, CA 90404 310-581-8668 Contact: firstname.lastname@example.org Web: 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-the-art 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: email@example.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: firstname.lastname@example.org 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 818-887-8870 E-mail: email@example.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, West Hollywood, Beverly Hills, and surrounding areas of Los Angeles with personable and highly qualified teachers for students of all ages. Our positive, encouraging atmosphere and professional studio environment aid in the development of musical abilities - and our convenient location makes it
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feasible for students from all different areas of the Los Angeles metro area to attend. Additional locations: 11367 Riverside Dr. North Hollywood, CA 91602 818-760-7740 12111 Santa Monica Blvd, Los Angeles, CA 90025 310-207-1200 ICON COLLECTIVE, LLC 4620 Magnolia Blvd. Burbank, CA 91505 818-299-8013 E-mail: firstname.lastname@example.org Web: www.learn2produce.com Program: The 9-month Digital Music Production Course teaches artists/DJ’s and beatmakers how to record, mix, master, market and sell their music in today’s new digital era. Blending creativity with technology, Icon Collective has created a 21st century approach for artists/producers seeking a creative, artistic, successful lifestyle. INTERNATIONAL MUSIC SCHOOL 2588-H NewPort Blvd. Costa Mesa, CA 92627 949-650-7788 E-mail: email@example.com Web: www.internationalmusicschool.com Program: voice, piano, keyboard, guitar, violin, cello, bass, drum, percussion, sax, flute, clarinet, trumpet, Persian and 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 STUDIO 1945 N. Beachwood Dr., Unit C Hollywood, CA 90068-4051 323-536-9004, 818-425-6299 E-mail: sing@jeannieDeva.com W ߐ eb: www.jeanniedeva.comߐ Services: Your Unique Voice - Our Unique Method. The Deva Method® Complete Voice Training for Stage & Studio™ used by Grammy winners and Multiplatinum recording artists has proven effective over 38 years with thousands of singers of all genres worldwide. Study inperson or via internet with Jeannie Deva or one of her certified instructors. Discounts available with lesson packages. Gain vocal strength and stamina; expand range, control and precision; increase confidence and dependability. Sing freely and passionately in the styles of your choice. Additional Services: Recording studio vocal preproduction and session vocal coaching. 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.ߐ Notes: Available in Los Angeles, the Valley and Brentwood, CA, Boston and Australia. Web cam Internet lessons available worldwide as well as Jeannie Deva’s ArtistWorks video exchange vocal school. JOHN NOVELLO’S CONTEMPORARY KEYBOARDIST COURSE P.O. Box 9648 North Hollywood, CA 91609 818-506-0236 Fax 818-506-5559 E-mail: firstname.lastname@example.org Web: www.keysnovello.com Contact: John Novello Program: complete one-on-one program for training the contemporary keyboardist, composer and singer-songwriter 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 LONG BEACH CITY COLLEGE 1305 E. Pacific Coast Hwy. Long Beach, CA 90806 562-938-4111 E-mail: email@example.com Web: www.lbcc.edu/mrtv
Program: Commercial Music Program, Radio and TV Program Degree: A.A. and/or certificate Duration: 2 years Cost: please call or see web for info LONG BEACH SCHOOL OF MUSIC 3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 562-627-0464 Web: 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 Ext. 2887 E-mail: firstname.lastname@example.org Web: www.lacitycollege.edu Contact: Christine Park, 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: 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 300 S. Fair Oaks Ave. Pasadena, CA 91105 626-568-8850, 800-960-4715 E-mail: email@example.com Web: www.lacm.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. 3rd St. Los Angeles, CA 90063 323-262-7734 E-mail: firstname.lastname@example.org Web: www.lamusart.org Contact: Admissions Program: Individual instruction offered in 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 6363 Sunset blvd. Hollywood, CA 90028 323-860-0789, 877-952-3456 E-mail: email@example.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-of-the-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 E-mail: firstname.lastname@example.org Web: 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: www.losmedanos.edu/recarts/default.asp Programs: Degrees/Certificate(s) offered: AA, College Skills Certificate, Certificate of Achievement LOYOLA MARYMOUNT UNIVERSITY 1 LMU Dr. Burns Fine Arts Center Los Angeles, CA 90045-2659 310-338-3010 E-mail: email@example.com Web: www.cfa.lmu.edu/programs/music Contact: Dr. Mark Saya, Dept. Chair Program: classical guitar, piano, voice, strings, percussion, world music ensemble, opera, chorus, music history, theory and composition, ethnomusicology, and instrumental and choral conducting. Degree: B.A. Duration: approx. 4 years Cost: please call for tuition information Notes: All music courses are faculty-taught and are limited in size to provide the most personal attention to each student. The program offers a balanced curriculum in musicianship, historical perspectives and music performance. The Bachelor of Arts Degree in Music, often called “the degree of the future” offers the maximum career opportunities following graduation. The B.A. degree also provides an appropriate background for prospective candidates pursuing advanced degrees in preparation for work as musicologists, composers, arts administrators, music educators as well as professional performers. MEDIATECH INSTITUTE 302 Oceanside Blvd. Oceanside, CA 92054 760-231-5368, 866-498-1122 E-mail: firstname.lastname@example.org Web: www.mediatech.edu Program: Recording Arts, Digital Film & Video Arts. Locations in Dallas, Austin, Houston, TX MIRACOSTA COLLEGE 1 Barnard Dr., Bldg. 2200 Oceanside, CA 92056 760-757-2121 Ext. 6679, 888-201-8480 Contact: Steve Torok, Department Chair E-mail: email@example.com Web: www.miracosta.edu Cost: please call or see web for info MISS FEEF MOONEY North. Hollywood, CA 91606 818-487-0608 E-mail: firstname.lastname@example.org Contact: Feef Mooney Program: Super support for the beginning or burned out musician: guitar, bass, piano lessons, yoga and breath work 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: I don’t take many clients. E-mail, or call, and we can talk. MOREY’S MUSIC STORE INC. 4834 Woodruff Ave. Lakewood, CA 90713 562-420-9532 E-mail: email@example.com Web: www.moreysmusic.com
Download at musicconnection.com/industry-contacts 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 COACHING North Hollywood, CA 91606 818-487-0608 E-mail: firstname.lastname@example.org Web: www.happmus.wix.com/music-for-life Contact: Feef Mooney Program: One-on-One personalized instruction in guitar, voice, beginning piano. Recording, songwriting, performance, life coaching in music career options Degree: Personalized Coaching and Instruction to get you ready for music school applications, tests, interviews and auditions Duration: Sessions range from 1/2 hour to 2 hours, depending on your needs, and how we structure achieving your goals Cost: Free phone consultation. Not cheap, but if you want to dig in, go pro, or just achieve your personal musical dreams, this is the place. **You must be over 21, and willing to commit. 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 and television and guitar craft Degree: instrument certificate, specialized certificate, Associate of Arts, B.M. and encore Duration: instrument certificate Program: 12- and 18-month options, specialized certificate Program: six-to-ninemonth courses in career specialties including: audio engineering, independent artist
development, music business, guitar craft, music video/film and television, Bachelor of Music degrees (bass, guitar, drums, keyboards and vocals): 4 years; Associate of Arts degree (bass, guitar, drums, keyboards and vocals: 2 years; Encore Programs (bass, guitar, drum set, keyboards and vocals): 10 weeks; Encore Express 5-week, full-time (15 units) or 10-week, part-time (7 units); Extension – individual 10-week courses; Summer Shot – one-week courses Cost: please call or see web for info Notes: MI offers a wide range of educational options for contemporary musicians, all designed and taught by professionals who show you first-hand what a music career is all about. At MI, students learn how the contemporary music industry works from the inside, on the performing stage, in the recording studio and behind the scenes. OCCIDENTAL COLLEGE 1600 Campus Rd. Los Angeles, CA 90041 323-259-2785 E-mail: email@example.com Web: www.oxy.edu/music Contact: Wendy Clifford, Dept. Chair Program: Students majoring in music develop an integrated understanding of music in performance, creative work, and as cultural and historical expression. Through its curriculum, concerts and recitals, master classes, guest lectures, residencies, and other public events, the music department leads the discourse that enriches College and community life. Students study, practice, and perform in Booth Hall, Herrick Chapel, and Thorne Hall, with access to practice rooms, large and small performance venues, a well-equipped electronic music studio, and an outstanding music library. Degree: B.A. Duration: approx. 4 years Cost: please call or see web for info PASADENA CITY COLLEGE 1570 E. Colorado Blvd. Pasadena, CA 91106 626-585-7123 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 PEPPERDINE UNIVERSITY Seaver College 24255 Pacific Coast Hwy. Malibu, CA 90263 310-506-4462 Contact: Melanie Emelio E-mail: firstname.lastname@example.org Web: www.seaver.pepperdine.edu/music 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 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 832-880 Folsom St. San Francisco, CA 94107 415-896-9800, 888-378-6463
E-mail: email@example.com Web: www.pyramind.com RECORDING ARTS CENTER, THE 11021 Via Frontera, Ste. A ߐSan Diego, CA 92127 ߐ858-592-0556 Fax 858-592-9580 Web: www.tracsd.com Cost: varies by class Contact: Amy Ziegelman 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 404-973-2530, 800-755-7597 E-mail: firstname.lastname@example.org Web: www.recordingconnection.com Notes: check website for other U.S. locations REDONDO BEACH GUITAR SCHOOL 1712 S. Pacific Coast Hwy. Redondo Beach, CA 90277 310-540-6767 E-mail: email@example.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: firstname.lastname@example.org 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 Rd. Newbury Park, CA 91320 805-498-2500
Directory of Music Schools 10946 Ventura Blvd. Studio City, CA 818-980-0018 SAE INSTITUTE OF TECHNOLOGY 6700 Santa Monica Blvd. Los Angeles, CA 90038 323-466-6323, 800-872-1504 E-mail: email@example.com Web: www.sae-la.com Program: Audio Technology Program (Diploma); Electronic Music Producer (Certificate) Degree: NA Duration: 9 months full-time, 18 months parttime (Audio), 6 months part-time (Electronic Music) Cost: Call for more info Notes: SAE Institute was founded internationally in 1976 and has since grown to almost 50 locations worldwide. Courses focus on hands-on training to prepare graduates for a career in the audio industry. Additional locations: 215 Peachtree St., Ste. 300 Atlanta, GA 30303 404-526-9366 Fax 404-526-9367 E-mail: firstname.lastname@example.org Web: www.atlanta.sae.edu 16051 W. Dixie Hwy., Ste. 200 N. Miami Beach, FL 33160 305-944-7494 Fax 305-944 6659 E-mail: email@example.com Web: www.miami.sae.edu 7 Music Circle N. Nashville, TN 37203 615-244-5848 615-244-3192 E-mail: firstname.lastname@example.org Web: www.nashville.sae.edu 218 W. 18th St., Fl. 4 New York, NY 100011 212-944-9121 Fax 212-944-9123 E-mail: email@example.com Web: www.newyork.sae.edu 1650 B 65th St. Emeryville, CA 94608 415-344-0886 Fax 415-276-1918 E-mail: firstname.lastname@example.org 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 E-mail: email@example.com Web: www.sfcm.edu Contact: Melissa Cocco-Mitten, Dir. of Admission 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. Los Angeles, CA 90025 310-442- ROCK Web: www.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 Cornel School of Contemporary Music 3200 N. San Fernando Rd. Los Angeles, CA 90065 323-550-888 Fax 323-550-1313 E-mail: firstname.lastname@example.org
62 May 2015
Web: www.shepherduniversity.edu, www. cornelschoolofmusic.com 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: email@example.com Web: www.silverlakeconservatory.com Contact: Keith Barry, Dean and Co-Founder Cost: please call or see web for info SOUTH BAY SCHOOL OF MUSIC 1710 Pacific Coast Hwy. South Redondo, CA 310-540-6767 Web: www.southbayschoolofmusic.com 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 SOUTHERN CALIFORNIA CONSERVATORY OF MUSIC 22276 Roscoe Blvd. West Hills, CA 91304 818-704-3819 E-mail: firstname.lastname@example.org Web: www.sccmusic.com 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 E-mail: entertainmentstudies@uclaextension. edu Web: www.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: Approx. 1-3 years Cost: varies depending on courses, call for more info Notes: This program is open to everyone and does not require university enrollment. It offers fundamental to advanced training, current music industry information, and prominent industry professionals as instructors and speakers. UNIVERSITY OF CALIFORNIA, BERKELEY 104 Morrison Hall, #1200 Berkeley, CA 94720-1200 510-642-2678 Fax 510-642-8480 E-mail: email@example.com Web: www.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 310-825-4768 Contact: Alfred Bradley, Undergraduate Advisor E-mail: firstname.lastname@example.org 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. 1-30 for enrollment in September of the following year. Applicants must first apply for admission at the freshman level from high school or transfer from another college or university, and must meet all minimum academic eligibility requirements for admission to the University of California either as a freshman or transfer student. Please note that only applicants who have indicated Music as their first choice major to UCLA on the general UC application, will be considered for admission to the program. Students interested in Jazz Studies or World Music should apply to the UCLA Department of Ethnomusicology USC THORNTON SCHOOL OF MUSIC Los Angeles, CA 90089 213-740-6935 E-mail: email@example.com 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. VIDEO SYMPHONY TV and 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 and 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: firstname.lastname@example.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 Humanities & Fine Arts Division 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: www.westvalley.edu/academics/fine_arts/ music WHITE HALL ARTS ACADEMY 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665, SKYPE (Tanisha_whaa) E-mail: email@example.com Web: www.whitehallacademy.org, www.facebook.com/whitehallartsacademy Contact: any customer service rep. Program: private one-on-one lessons in voice, piano, strings, guitar, woodwind, Duration: Private min. 30/45/60 Cost: Private ($120/160/200 monthly) WOMEN’S AUDIO MISSION 542-544 Natoma St., #C-1 San Francisco, CA 94103 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 under-represented (less than 5%). Classes in Audio & Recording Technology.
WOODWIND INSTITUTE 1855 Sunset Plaza Dr. Los Angeles, CA 90069 310-360-0010 E-mail: firstname.lastname@example.org Contact: Fred Selden Program: individual lesson with professional woodwind musicians Duration: varies Degree: Masters and 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: email@example.com 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. 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: firstname.lastname@example.org 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: email@example.com 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: firstname.lastname@example.org 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 E. Yale Ave. Denver, CO 80210 303-777-1003 Ext. 2 Contact: Ashley King E-mail: email@example.com Web: www.swallowhillmusic.org Cost: please call or see web for info UNIVERSITY OF COLORADO College of Arts and Media Campus Box 162 P.O. Box 173364 Denver, CO 80217 303-556-2279 E-mail: firstname.lastname@example.org Web: www.ucdenver.edu
THE CONNECTICUT SCHOOL OF MUSIC 1242 Post Rd. E. Westport, CT 06880-5427 203-226-0805 E-mail: email@example.com Web: www.ctschoolofmusic.com Program: The Connecticut School of Music offers half hour, 45 minute, or hour-long lessons as well as every-other-week lessons, and 5 or 10 lesson packages for adults. We also provide group lessons and ensemble lessons. Cost: please call or see web for info Additional locations: 299 Greenwich Ave., 3rd Fl. Greenwich, CT 06830 203-302-9968
Download at musicconnection.com/industry-contacts 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, 800-342-5864 Web: www.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 Ext. 7101 Web: www.newhaven.edu YALE UNIVERSITY Department of Music P.O. Box 208310 469 College St. New Haven, CT 06520-8310 203-432-2985 E-mail: firstname.lastname@example.org Web: www.music.yale.edu Contact: Amanda Wood, Admin.
DELAWARE THE MUSIC SCHOOL OF DELAWARE 4101 Washington St. Wilmington, DE 19802 302-762-1132 Contact: Kate M. Ranson, President and CEO E-mail: email@example.com Web: www.musicschoolofdelaware.org Satellite locations: Pike Creek, Dover, Felton, Lewes, Georgetown Additional location: 10 S. Walnut St. Milford, DE 19963 302-422-2043 UNIVERSITY OF DELAWARE College of Arts and Sciences Amy E. du Pont Music Bldg. Amstel Ave. and Orchard Rd. 302-831-2578 E-mail: UDfirstname.lastname@example.org Web: www.music.udel.edu/Pages/home.aspx
DISTRICT OF COLUMBIA AMERICAN UNIVERSITY 4400 Massachusetts Ave. N.W. Washington, D.C. 20016 202-885-2746 E-mail: email@example.com Web: www.american.edu/cas/performing-arts/audio-tech.cfm THE OMEGA STUDIOS SCHOOL OF APPLIED RECORDING ARTS & SCIENCES 5609 Fishers Ln. Rockville, MD 20852 800-93-OMEGA, 301-230-9100 E-mail: firstname.lastname@example.org Web: www.omegastudios.com **No degree, certificates. LEVINE SCHOOL OF MUSIC Main Campus Sallie Mae Hall 2801 Upton St., N.W. Washington, D.C. 2008 202-686-8000 E-mail: LevineNWDC@levinemusic.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 location: Westover Baptist Churchߐ 1125 N. Patrick Henry Dr.ߐ Arlington, VA 22205ߐ 703-237-5644 E-mail: LevineVirginia@levineschool.org
FLORIDA CENTER FOR PRO TOOLS 4387 36th St. Orlando, FL 32811 407-674-7926 Fax 407-674-7860 E-mail: email@example.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: firstname.lastname@example.org 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 850-644-3424 E-mail: email@example.com 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 in Recording Arts, Show Production and Touring, Music Business, and Entertainment Business. Students learn music production, mixing, recording, live sound and event production. Online Education. Duration: 12-21 months depending on degree program Cost: please call or see web for info Notes: Full Sail’s other degree programs include Computer Animation, Digital Arts and Design, Film, Game Development and Graphic Design. PLAYERS SCHOOL OF MUSIC, THE 923 McMullen Booth Rd. Clearwater, FL 33759 800-724-4242 E-mail: firstname.lastname@example.org 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 ST PETERSBURG COLLEGE Music Industry Recording Arts (MIRA) P.O. Box 13489 St. Petersburg, FL 33733 727-341-4772 Web: www.spcollege.edu/mira UNITY GAIN RECORDING SCHOOL 1953 Ricardo Ave. Fort Myers, FL 33901 239-332-4246 E-mail: email@example.com 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. UNIVERSITY OF TAMPA Department of Music 401 W. Kennedy Blvd. Tampa, FL 33606 813-253-3333 E-mail: firstname.lastname@example.org Web: www.ut.edu/music Degrees: B.M. in erformance, B.M. in Music Education, B.A. in Music, B.A. in Musical Theatre, Minor in Music THE VIBE RECORDING INSTITUTE 13750 Treeline Ave. S Fort Myers, FL 33913 239-415-992 E-mail: email@example.com Web: www.theviberecording.com C ߐ ost: $4000 (plus $130 for books) D ߐ uration: 6 months (3 hour classes, bi-weekly) **Diploma in Modern Recording Arts
GEORGIA THE ART INSTITUTE OF MUSIC 2875 Breckinridge Blvd., Ste. 700 Duluth, GA 30096 800-886-6874, 770-242-7717 E-mail: firstname.lastname@example.org Web: www.aimm.edu CAMP JAM, LLC P.O.Box 388 Duluth, GA 30096 800-513-0930 E-mail: email@example.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 GEORGIA ACADEMY OF MUSIC 1424 W. Paces Ferry Rd. N.W. Atlanta, GA 30327 404-355-3451 E-mail: firstname.lastname@example.org 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
Directory of Music Schools E-mail: email@example.com Web: www.music.gsu.edu MUSIC CLASS, THE Macon and Warner Robins, GA 31088 404-314-3536 E-mail: firstname.lastname@example.org Web: www.musicdiscoveryclass.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: email@example.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: firstname.lastname@example.org 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 E-mail: email@example.com Web: www.manoa.hawaii.edu/music Cost: please call for info KAILUA MUSIC SCHOOL 131 Hekilil St., #209 Kailua, HI 96734 808-261-6142 E-mail: firstname.lastname@example.org 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. KAUAI MUSIC AND SOUND 4-1177 Kuhio Hwy. Kapaa, HI 96746 808-823-8000 E-mail: email@example.com Web: www.kauaimusicandsound.com 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. UNIVERSITY OF HAWAII MAUI COLLEGE Institute of Hawaiian Music 310 Ka’ahumanu Ave Kahului, HI 96732 808-984-3570 Web: www.maui.hawaii.edu/music Contact: Dr. Keola Donaghy JUNIOR MUSIC ACADEMY 74-5605 Alapa St., Ste. #105 Kailua-Kona, HI 96740 808-331-2000 E-mail: firstname.lastname@example.org Web: www.juniormusicacademy.com Contact: Mary Garris, MA Notes: Classes meet once a week in a small group where parents actively participate allowing for fun, exciting, and engaging activities for children and parents alike. Ages between birth and 5th grade.
IDAHO UNIVERSITY OF IDAHO The Lionel Hampton School of Music 875 Perimeter Dr., MS 4015 Moscow, ID 208-885-6231 E-mail: email@example.com Web: www.uidaho.edu/class/music IDAHO STATE UNIVERSITY Music/School of Performing Arts
64 May 2015
921 S. 8th Ave., Stop 8099 Pocatello, ID 83209 208-282-3636 Web: www.isu.edu/music
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 Cost: please call for info COLUMBIA COLLEGE CHICAGO 1014 S. Michigan, Room 300 Chicago, IL 312-369-6300 E-mail: firstname.lastname@example.org, email@example.com Web: www.colum.edu Program: B.A. degrees in Composition; Instrumental Performance; Vocal Performance: Jazz Studies: Instrumental; Jazz Studies: Vocal. Mus degrees in Composition; Contemporary, Urban and Popular Music. M.F.A. degree in Music Composition for the Screen. Degree: Undergraduate and Graduate degrees DEPAUL UNIVERSITY School of Music 804 W. Belden Ave. Chicago, IL 60614-3296 773-325-7444 E-mail: firstname.lastname@example.org Web: www.music.depaul.edu ELMHURST COLLEGE Department of Music Irion Hall 190 Prospect Ave. Elmhurst, IL 60126 630-617-3647 E-mail: email@example.com Web: www.public.elmhurst.edu/music Contact: Dr. Peter Griffin, Department Chair MERIT SCHOOL OF MUSIC Joy Faith Knapp Music Center 38 S. Peoria St. Chicago, IL 60607 312-786-9428 E-mail: firstname.lastname@example.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: email@example.com 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 1702 Sherman Ave. Evanston, IL 60201 847-905-1500 Ext. 180 Web: www.musicinstituteofchicago.org Basic Rate: please call for info Notes: locations in Lake Forest, Chicago, Lincolnshire, Downers Grove, Winnetka, Evanston East, Highland Park NORTHWESTERN UNIVERSITY SCHOOL OF MUSIC Henry and Leigh Bienen School of Music 711 Elgin Rd. Evanston, IL 60208-1200 847-491-7575 E-mail: firstname.lastname@example.org Web: www.music.northwestern.edu Cost: please call or see web for info SOUTHERN ILLINOIS UNIVERSITY CARBONDALE Altgeld, Mail Code 4302 1000 S. Normal Ave. Carbondale, IL 62901 618-536-8742 E-mail: email@example.com Web: www.cola.siu.edu/music
TRIBECA FLASHPOINT ACADEMY 28 N. 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. VANDERCOOK COLLEGE OF MUSIC 3140 S. Federal St.ߐChicago, IL 60616-3731ߐ 312-788-1120 E-mail: firstname.lastname@example.org Web: www.vandercook.edu
Mandeville, LA 70448 985-674-2992 River Ridge 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 E-mail: email@example.com Web: www.metairieschoolofmusic.com Contact: Vicki Genova, Owner Basic Rate: $70/month Services: guitar, bass, vocals, piano, drums
BALL STATE UNIVERSITY School of Music 2000 W. University Ave. Hargreaves Music Building (MU) 203 Muncie, IN 47306 765-285-5400 E-mail: firstname.lastname@example.org Web: www.bsu.edu/music
THE MUSIC CENTER 149 Maine St. Tontine Mall Brunswick, ME 04011 207-725-6161 E-mail: email@example.com Web: www.themusiccenter.net Cost: please call or see web for info
BUTLER UNIVERSITY School of Music Lily Hall, Room 229 4600 Sunset Ave. Indianapolis, IN 46208 317-940-9246 E-mail: firstname.lastname@example.org Web: www.butler.edu/music Contact: Joy L. Rogers
NEW ENGLAND SCHOOL OF COMMUNICATIONS 1 College Cir. Bangor, ME 04401 800-448-7766 Web: www.nescom.edu Program: Bachelor of Science Degree in Communications Technology, Media Studies, Entertainment Production
INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC 1201 E. 3rd St., Merrill Hall 101 Bloomington, IN 47405-2200 812-855-7998 E-mail: email@example.com Web: www.music.indiana.edu Cost: please call or see web for info
PORTLAND CONSERVATORY OF MUSIC 202 Woodford St. Portland, ME 04103 207-775-3356 E-mail: firstname.lastname@example.org Web: www.portlandconservatory.net Contact: Mark Tipton, Exec. Dir. 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: email@example.com Web: www.indstate.edu/music Cost: please call or see web for info
RIVER TREE ARTS 35 Western Ave. Kennebunk, ME 04043 207-967-9120 E-mail: firstname.lastname@example.org Web: www.rivertreearts.org Cost: please call or see web for info
THE UNIVERSITY OF IOWA SCHOOL OF MUSIC 2700 UCC Iowa City, IA 52242 319-335-1603 E-mail: email@example.com Web: www.music.uiowa.edu UNIVERSITY OF NORTHERN IOWA SCHOOL OF MUSIC 115 Russell Hall Cedar Falls, IA 50614 319-273-2024 E-mail: firstname.lastname@example.org Web: www.uni.edu/music
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
UNIVERSITY OF LOUISVILLE SCHOOL OF MUSIC Louisville, KY 40292 502-852-6908, 800-34-8635 E-mail: email@example.com Web: www.louisville.edu/music
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 1111 Village Walk 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.
UNIVERSITY OF SOUTHERN MAINE USM School of Music Cortheil Hall 37 College Ave. Gorham, ME 04038 800-800-4USM Ext: 5265, 207-780-5265 E-mail: firstname.lastname@example.org 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 South Frederick, MD 21704-8340 301-694-0007 E-mail: email@example.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. Additional locations: Hagerstown, Germantown, Rockville, Oxon Hil, Laurel, Ellicott City, Hanover, Bowie, Timonium, Severna Park, Bel Air THE MUSIC CENTER AT STRATHMORE 5301 Tuckerman Ln. North Bethesda, MD 20852 301-897-5100 E-mail: firstname.lastname@example.org Web: www.strathmore.org/facilityrentals/ musiccenter.asp OMEGA STUDIOS 5609 Fishers Ln., Ste. 14-A Rockville, MD 20852 301-230-9100 E-mail: email@example.com Web: www.omegastudios.com Degrees: Certification Program Duration: Day Students: 10 Months, Night Students: 12 Months Programs: The Comprehensive Recording Industry Program, The Audio Engineering for the Music Industry Program, The Audio Engineering for Film and Television Program, The Recording Engineering and Studio
Download at musicconnection.com/industry-contacts 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: firstname.lastname@example.org 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 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. THE SHEFFIELD INSTITUTE FOR THE RECORDING ARTS 13816 Sunnybrook Rd. Phoenix, MD 21131 800-355-6613, 410-628-7260 E-mail: email@example.com Web: www.sheffieldav.com Program: Audioworks, Videoworks, Techworks, Broadcasting UNIVERSITY OF MARYLAND SCHOOL OF MUSIC 2110 Clarice Smith Performing Arts Center College Park, MD 20742 301-405-5549 E-mail: firstname.lastname@example.org 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: email@example.com 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: firstname.lastname@example.org 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: email@example.com Web: www.bristolstudios.com Contact: Kevin Patey Services: Audio Recording and Production Courses, Professional Internships CELEBRATION SOUND 70 Lauren Dr. Seelonk, MA 02771 508-336-0275 E-mail: firstname.lastname@example.org Web: www.celebrationsound.com Programs: Recording engineer classes EMERSON COLLEGE Department of Performing Arts 120 Boylston St. Boston, MA 02116 617-824-8780 E-mail: email@example.com Web: www.emerson.edu Contact: Melia Bensussen, Chair Degrees: B.A., B.F.A., M.F.A. NEW ENGLAND CONSERVATORY 290 Huntington Ave. Boston, MA 02115 617-585-1100 E-mail: firstname.lastname@example.org
Web: www.necmusic.edu Cost: please call or see web for info THE NEW ENGLAND INSTITUTE OF ART 10 Brookline Pl. W. Brookline, MA 02445-7295 617-739-1700, 800-903-4425 Web: 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. NORTHEASTERN UNIVERSITY Department of Music 351 Ryder Hall Boston, MA 02115 617-373-2440 Web: www.northeastern.edu/camd/music Degrees: B.S. in Music Technology, B.S. in Music Industry, B.A. in Music History and Analysis POWERS MUSIC SCHOOL P.O. Box 398 Belmont, MA 02478-0003 617-484-4696 Fax 617-489-7353 E-mail: email@example.com Web: www.powersmusic.org Cost: please call or see web for info TUFTS UNIVERSITY Department of Music Granoff Music Center 20 Talbot Avenue Medford, MA 02155 617-627-5624 E-mail: firstname.lastname@example.org Web: www.as.tufts.edu/music Contact: John McDonald, Depart. Chair UNIVERSITY OF MASSACHUSETTS LOWELL Department of Music 35 Wilder St., Ste. 3 Lowell, MA 01854 978-934-3850 E-mail: email@example.com Web: www.uml.edu/FAHSS/Music
E-mail: firstname.lastname@example.org Web: www.studioarecording.com **No degree, Avid Pro Tools certificate UNIVERSITY OF MICHIGAN School of Music, Theatre and Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109 734-764-0583 E-mail: email@example.com Web: www.music.umich.edu/index.php Contact: Christopher Kendall, Dean WAYNE STATE UNIVERSITY College of Fine, Performing and Communication Arts Department of Music 1321 Old Main Detroit, MI 48202 313-577-1795 E-mail: firstname.lastname@example.org 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: www.wmich.edu/music
MINNESOTA THE ART INSTITUTES INTERNATIONAL 15 S. 9th St. Minneapolis, MN 55401 866-624-0300, 612-332-3361 Web: www.new.artinstitutes.edu/minneapolis Degree/Certifications: AAS Audio Production and Engineering, AAS Music and Entertainment Business, AAS Sound Design for Visual Media, Avid Pro Tools courses, Apple Logic Pro courses CHILDREN’S YAMAHA MUSIC SCHOOL 2200 Seabury Ave. Minneapolis, MN 55406 612-339-2255 E-mail: email@example.com Web: www.cyms.ws/Yamaha.html Cost: please call or see web for info Additional locations:
AXIS MUSIC ACADEMY 29555 Northwestern Hwy., Fl. 2 Southfield, MI 48034 248-799-8100 Web: www.axismusic.com Basic Rate: please call for info
2819 N. Hamline Ave. Roseville, MN 55113
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/admissions
283 Hamilton Row Birmingham, MI 48009 248-258-9100 CENTRAL MICHIGAN UNIVERSITY School of Music 162 Music Building 1400 E. Campus Dr. Mount Pleasant, MI 48859 988-774-1950 E-mail: firstname.lastname@example.org Web: www.cmich.edu Degrees: B.A.A., B.S., B.A. or B.F.A., M..A. CORNERSTONE UNIVERSITY 1001 E. Beltline Ave. Grand Rapids, MI 49525 616-949-5300 E-mail: email@example.com Web: www.cornerstone.edu/music INTERLOCHEN CENTER FOR THE ARTS P.O. Box 199 9900 Diamond Park Rd. Interlochen, MI 49643-0199 231-276-7200 E-mail: firstname.lastname@example.org Web: www.interlochen.org Cost: please call or see web for info MICHIGAN RECORDING ARTS INSTITUTE & TECHNOLOGIES 28533 Greenfield Southfield, MI 48076 248-569-5422 E-mail: email@example.com Web: www.mirecordingarts.com RECORDING INSTITUTE OF DETROIT 14611 E. 9 Mile Rd. Eastpoint, MI 48021 800-683-1743 Web: www.recordinginstitute.com **No degree, but a certificate. STUDIO A RECORDING 5619 N. Beech Daly Dearborn Heights, MI 49127 313-561-7489
Edina Community Center 5701 Normandale Rd. Edina, MN 55424
MACPHAIL CENTER FOR MUSIC 501 2nd St. S. Minneapolis, MN 55401 612-321-0100 E-mail: firstname.lastname@example.org Web: www.macphail.org Contact: Marian Satucci Cost: please call or see web for info Additional locations: 14750 Cedar Ave. S. Apple Valley, MN 55124 612-321-0100 Birch Lake Elementary School 1616 Birch Lake Ave. White Bear Lake, MN 55110 470 W. 78th St. Chanhassen, MN MEDIA INSTITUTE 4100 76th St. Edina, MN 55435 844-265-8388 Web: www.mediainstitute.edu Degrees/Certifications: B.A. in Music Industry (business or audio production focuses), Minor in Music Technology, Minor in Music Business, Minor in Media Arts. McNALLY SMITH COLLEGE OF MUSIC 19 Exchange St. E. St. Paul, MN 55101 800-594-9500, 651-361-3456 Fax 651-291-0366 E-mail: email@example.com 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 E-mail: firstname.lastname@example.org Web: www.mnstate.edu/music Contact: Tom Strait, Chairperson UNIVERSITY OF NORTHWESTERN 3003 Snelling Ave. N. St. Paul, MN 55113 800-692-4020, 651-631-5100 Web: www.unwsp.edu/web/music-dept/ Degrees/Certificaitons: B.S. in Electronic Media Communication with a Recording Arts focus, Minor in Music, Minor in Music Business, Minor in Media Arts RIDGEWATER COLLEGE 2 Century Ave. S.E. Hutchinson, MN 55350 320-234-8500, 800-722-1151 Web: www.ridgewater.edu Degrees/Certifications: AAS, Degree SAINT MARY’S UNIVERSITY OF MINNESOTA Music Department 160 St. Yon’s Hall Winona, MN 55987 507-457-1675 E-mail: email@example.com Web: www2.smumn.edu/music Contact: Dr. Janet Heukeshoven, Chair WEST BANK SCHOOL OF MUSIC 1813 S. 6th St. Minneapolis, MN 55454 612-333-6651 E-mail: firstname.lastname@example.org Web: www.westbankmusic.org Cost: please call or see web for info
MISSISSIPPI DELTA STATE UNIVERSITY Department of Music 1003 W. Sunflower Rd. Cleveland, MS 38733 662-846-4615, 800-GO TO DSU E-mail: email@example.com Web: www.deltastate.edu/college-of-arts-andsciences/music
MISSOURI ST. LOUIS AUDIO PROJECT 505 Selma Ave. St. Louis, MO 63119 E-mail: firstname.lastname@example.org Web: www.stlaudio.org UNIVERSITY OF CENTRAL MISSOURI UCM Center for Music Technology 361 Anderson St. Warrensburg, MO 64093 660-543-4530 E-mail: email@example.com Web: www.UCMmusic.com UNIVERSITY OF MISSOURI Department of Music 135 Fine Arts Building Columbia, MO 65211 573-882-2604 E-mail: SlishJ@missouri.edu Web: www.music.missouri.edu Contact: John Slish, Admissions Coordinator VETTEROTT COLLEGE EX’TREME INSTITUTE BY NELLY 800 N. 3rd St. St. Louis, MO 63102 888-888-0633, 314-657-4400 Web: www.eibynelly.com WEBSTER UNIVERSITY School of Communications 470 E. Lockwood Ave. St. Louis, MO 63119 314-246-7962, 800-981-9801 Web: www.webster.edu/fine-arts/departments/ music
MONTANA NORTH VALLEY MUSIC SCHOOL 432 Spokane Ave. Whitefish, MT 59937 406-862-8074 E-mail: firstname.lastname@example.org Web: www.northvalleymusicschool.org UNIVERSITY OF MONTANA SCHOOL OF MUSIC 32 Campus Dr. Missoula, MT 59812 406-243-6880 E-mail: griz.music@umontana. edu Web: www.umt.edu/music
Directory of Music Schools NEBRASKA 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. N. Las Vegas, NV 89030 702-651-4110 E-mail: email@example.com Web: www.csn.edu/recording Contact: Bob Bonora Additional locations: 6375 W. Charleston Blvd. Las Vegas, NV 89106 702-651-5000 700 College Dr. Henderson, NV 89002 702-651-3000 E-mail: firstname.lastname@example.org MASTER MIX LIVE 702-947-9877, 877-213-1705 E-mail: email@example.com Web: mastermixlive.com Duration: 5 months, 300 hours
NEW HAMPSHIRE ALAN CARRUTH LUTHIER 51 Camel Hump Rd. Newport, NH 03773 603-863-7064 E-mail: firstname.lastname@example.org Web: www.alcarruthluthier.com Cost: please call or see web for info MUSIC & ARTS CENTERS 18 March Ave. Manchester, NH 03101-2006 603-623-0153 E-mail: email@example.com Web: www.musicarts.com Contact:Justin Wright 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 Ext. 1707 E-mail: firstname.lastname@example.org Web: www.bloomfield.edu/academics/degreesprograms/creative-arts-technology Contact: Nancy Bacci, Division Chair 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: email@example.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: firstname.lastname@example.org Web: www.howtosound.com Program: Hands-on Training for your Church sound teams MONTCLAIR STATE UNIVERSITY School of Communication and Media 1 Normal Ave. Montclair, NJ 07043 973-655-7974 E-mail: email@example.com Web: www.montclair.edu/arts/school-ofcommunication-and-media STEVENS INSTITUTE OF TECHNOLOGY College of Arts and Letters 1 Castle Point On Hudson
66 May 2015
Hoboken, NJ 07030 201-216-5111 E-mail: David.Zimmerman@stevens. edu Web: www.ugstudentlife.stevens.edu/org/ debauncenter Contact: David Zimmerman, Exec. Dir. Degree/Certification: Bachelor of Arts in Music and Technology
EASTMAN SCHOOL OF MUSIC University of Rochester 26 Gibbs St. Rochester, NY 14604-2599 585-274-1540 E-mail: firstname.lastname@example.org Web: www.esm.rochester.edu Cost: please call or see web for info
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
FINGER LAKE COMMUNITY COLLEGE State University of New York 3325 Marvin Sands Dr. Canadalgua, NY 14424 585-785-1279 E-mail: email@example.com Web: www.flcc.edu/academics/music
WILLIAM PATERSON UNIVERSITY Department of Music 300 Pompton Rd. Wayne, NJ 07470 973-720-2315, 877-978-3923 E-mail: firstname.lastname@example.org Web: www.wpunj.edu/coac/departments/music Contact: Dr. Tim Newman, Graduate Admissions
NEW MEXICO NEW MEXICO SCHOOL OF MUSIC 136-J Washington St., S.E., Ste. 3 Albuquerque, NM 87108 505-266-3474 Web: www.nmschoolofmusic.com Additional location: 10701 Montgomery Blvd., NE, Ste. 1 Albuquerque, NM 87111 505-294-4604 TAOS SCHOOL OF MUSIC Box 2630 Taos, NM 87571 575-776-2388 E-mail: email@example.com Web: www.taosschoolofmusic.com Notes: Open June 16-Aug. 11, 2014. The School is located at the French owned, family style Hotel St. Bernard in Taos Ski Valley, New Mexico. It is 19 miles north of Taos, high in the scenic Sangre de Cristo Mountains of northern New Mexico.
NEW YORK AARON COPLAND SCHOOL OF MUSIC QUEENS COLLEGE 65-30 Kissena Blvd., Room 203 Queens, NY 11367 718-997-3800 E-mail: Edward.Smaldone@qc.cuny.edu Web: www.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. 551 5th Ave., Ste. 1225 New York, NY 10176 212-661-8528 Web: www.aes.org THE CITY COLLEGE OF NEW YORK Music Department, Shepard Hall, Room 72 160 Convent Ave. New York, NY 10031 212-650-5411 E-mail: firstname.lastname@example.org Web: www.ccny.cuny.edu/music/index.cfm THE COLLECTIVE SCHOOL OF MUSIC 541 Ave. of the Americas New York, NY 10011 212-741-0091 Fax 212-604-0760 E-mail: email@example.com Web: 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. CLIVE DAVIS INSTITUTE OF RECORDED MUSIC 194 Mercer St., Fl. 5 New York, NY 10012 212-992-8400 Fax 212-995-4383 E-mail: firstname.lastname@example.org Web: www.clivedavisinst.tisch.nyu.edu Program: Through courses in business, musicianship and performance, production, and writing, history and emergent media, our undergraduate curriculum focuses on developing the creative entrepreneur. Degree: BFA in Recorded Music Duration: 4 years
FIVE TOWNS COLLEGE 305 N. Service Rd. Dix Hills, Long Island, NY 11746 631-656-2110 E-mail: email@example.com 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: firstname.lastname@example.org Web: www.gramercyparkschoolofmusic.com Cost: please call or see web for info GREENWICH HOUSE, INC. 46 Barrow St. New York, NY 10014 212-242-4770 Web: www.greenwichhouse.org Contact: Elissa Cramer, Chair 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 Ext. 4000 E-mail: email@example.com Web: www.houghton.edu/music INSTITUTE OF AUDIO RESEARCH 64 University Pl. New York, NY 10003-4595 212-677-7580 E-mail: firstname.lastname@example.org Web: www.audioschool.com ITHACA COLLEGE SCHOOL OF MUSIC 3322 Whalen Center Whalen Center for Music Ithaca, NY 14850 607-274-3171 E-mail: email@example.com Web: www.ithaca.edu/music Contact: Townsend Plant, Dir. of Music Admission JUILLIARD SCHOOL, THE 60 Lincoln Center Plaza New York, NY 10023-6588 212-799-5000 E-mail: firstname.lastname@example.org 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: email@example.com 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 MANNES COLLEGE THE NEW SCHOOL FOR MUSIC 66 W. 12th St. New York, NY 10011 212-580-5150, 800-292-3040 E-mail: firstname.lastname@example.org Web: www.newschool.edu/mannes Cost: please call or see web for info MERCY COLLEGE Music & Fine Arts Department 555 Broadway Dobbs Ferry. NY 10522 877-637-2946 Web: www.mercy.edu/cda Degrees: B.S. in Music Industry and Technology NEW YORK UNIVERSITY The Clive Davis Institute of Recorded Music Tisch School of the Arts
194 Mercer St., Fl. 5ߐ New York, NY 10012 2 ߐ 12-992-8400 Email: email@example.com Web: www.clivedavisinst.tisch.nyu.edu NEW YORK UNIVERSITY The Steinhardt School/Music 35 W. 4th St., Ste. 1077 New York, NY 10012 212-998-5424 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 E-mail: firstname.lastname@example.org Web: www.perlmanmusicprogram.org Contact: Anna Kaplan, Program Manager Cost: please call or see web for info SELECT SOUND STUDIOS 2315 Elmwood Ave. Kenmore, NY 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 E-mail: email@example.com Web: www.strose.edu THIRD STREET MUSIC SCHOOL SETTLEMENT 235 E. 11th St. New York, NY 10003 212-777-3240 E-mail: firstname.lastname@example.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: email@example.com 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: www.albany.edu/music WILLIE MAE ROCK CAMP FOR GIRLS 87 Irving Pl. Brooklyn, NY 11238 347-599-0716 E-mail: firstname.lastname@example.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 YMCA CENTER FOR THE CREATIVE ARTS 301 W. Bloomfield St. Rome, NY 13440 315-336-3500 Fax 315-339-4076 Web: 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
APPALACHIAN STATE UNIVERSITY Hayes School of Music Broyhill Music Center 813 Rivers St. Boone, NC 828-262-3020 E-mail: email@example.com Web: www.music.appstate.edu BARTON COLLEGE 101 Harper Hall P.O. Box 5000 Wilson, NC 27893 800-345-4973, 252-399-6317 E-mail: firstname.lastname@example.org Web: www.barton.edu/cultural-arts Contact: Patrick McConnell, Chair Degrees: B.S. in Communication with a concentration in Audio Recording Technology
Download at musicconnection.com/industry-contacts CATAWBA COLLEGE 2300 W. Innes St. Salisbury, NC 28144 704-637-4380 E-mail: email@example.com 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 Duke Biddle Music Bldg. Duke University 9 Brodie Gym Dr. Durham, NC 27708-0667 919-684-8111 E-mail: firstname.lastname@example.org Web: www.duke.edu/web/DUSS Contact: Dorothy Kitchen, Director and Founder 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 E-mail: WARDJ@ecu.edu Web: www.ecu.edu/cs-cfac/music Contact: Jeffrey Ward, Undergraduate Admissions Cost: please call or see web for info
CLEVELAND MUSIC SCHOOL SETTLEMENT, THE 11125 Magnolia Dr. Cleveland, OH 44106 216-421-5806 E-mail: email@example.com 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/music.html Cost: please call or see web for info GROOVE U 1300 Forsythe Ave. Columbus, OH 43201 614-291-6122 Web: www.grooveu.net **No degree, diploma in Music Industry Studies HOCKLING COLLEGE Music Production Business & Performance 3301 Hocking Pkwy. Nelsonville, OH 45764 740-753-6598, 877-462-5464 E-mail: firstname.lastname@example.org Web: www.hocking.edu/programs/music
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: email@example.com Web: www.acm.uco.edu OKLAHOMA STATE UNIVERSITY Department of Music, Room 132 Seretean Center for the Performing Arts Stillwater, OK 74078 405-744-8997 E-mail: firstname.lastname@example.org Web: www.music.okstate.edu ORAL ROBERTS UNIVERSITY 7777 S. Lewis Ave. Tulsa, OK 74171 918-495-7500 E-mail: email@example.com Web: www.oru.edu OU SCHOOL OF MUSIC University of Oklahoma 500 W. Boyd Norman, OK 73019 405-325-2081 E-mail: firstname.lastname@example.org Web: www.music.ou.edu Cost: please call or see web for info
ELON UNIVERSITY Department of Music 100 Campus Dr. Elon, NC 27244 336-278-2000 Web: www.elon.edu/e-web/academics/ elon_college/music
INTERNATIONAL COLLEGE OF BROADCASTING 6 S. Smithville Rd. Dayton, OH 45431 800-517-7284, 937-258-8251 E-mail: email@example.com Web: www.icbcollege.com Program: Degrees in Radio/TV, Recording/ Voice, Broadcasting I
KAREN KANE MUSIC PRODUCTIONS 7107 N. Bend Rd. Wilmington, NC 28411 910-681-0220 E-mail: firstname.lastname@example.org Web: www.mixmama.com Courses: Audio Classes (Intro to Audio Engineering, Intro to Pro Tools)
MALONE UNIVERSITY 2600 Cleveland Ave. Canton, OH 44709 800-521-1146, 330-471-8332 E-Mail: email@example.com Web: www.malone.edu/academics/music Contact: Jack DW Ballard Jr., Ph.D, Chair Degree: B.A. in Music Production
UNIVERSITY OF NORTH CAROLINA Department of Music Hill Hall - CB # 3320 UNC-CH Chapel Hill, NC 27599 919-962-1039 Web: www.music.unc.edu
MEDUSA RECORDING INSTITUTE 2403 S. Ave. Youngstown, OH 44502 234-855-1800 E-mail: firstname.lastname@example.org Web: www.medusa-school.com
AMERICAN SCHOOL OF LUTHERIE Portland, OR 97225 503-292-2385 E-mail: email@example.com Web: www.americanschooloflutherie.com Cost: please call or see web for info
MOTTER’S MUSIC HOUSE, INC. 5228 Mayfield Rd. Lyndhurst, OH 44124 440-442-7470 Web: www.mottersmusic.com Basic Rate: $18/half-hr.
MUSIC TOGETHER OF PORTLAND c/o Julie Chiles 6121 N.E. 45th Ave. Portland, OR 503-236-4304 E-mail: firstname.lastname@example.org Web: www.musictogether-pdx.com Basic Rate: please call for info
NORTH DAKOTA UNIVERSITY OF NORTH DAKOTA MUSIC ARTS & SCIENCES Hughes Fine Arts Center, Room 110 3350 Campus Rd., Stop 7125 Grand Forks, ND 58202 701-777-2644 E-mail: email@example.com Web: www.arts-sciences.und.edu/music
OHIO BALDWIN-WALLACE COLLEGE 275 Eastland Rd. Berea, OH 44017-2088 440-826-2900 E-mail: firstname.lastname@example.org Web: www.bw.edu Cost: please call or see web for info BRECKSVILLE SCHOOL OF MUSIC 8865 Brecksville Rd.ߐ Brecksville, OH 44141 440-526-9350 Web: www.brecksvillemusicstudio.com Basic Rate: please call for info CAPITAL UNIVERSITY 1 College and Main Columbus, OH 43209 614-236-6011 E-mail: email@example.com Web: www.capital.edu Degrees: B.M. in Music Technology, B.A. in Music Technology CASE WESTERN RESERVE UNIVERSITY Department of Music, Haydn Hall, Room 201 11118 Bellflower Rd. Cleveland, OH 44106 216-368-2400 E-mail: firstname.lastname@example.org Web: www.music.case.edu Contact: Jennifer Wright CLEVELAND INSTITUTE OF MUSIC, THE 11021 E. Blvd. Cleveland, OH 44106-1705 216-791-5000 E-mail: email@example.com Web: www.cim.edu Contact: Lynn M. Johnson, Dir. of Admissions Cost: Call or view online
OBERLIN COLLEGE CONSERVATORY OF MUSIC 39 W. College St. Oberlin, OH 44074-1588 440-775-8413 E-mail: firstname.lastname@example.org 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: email@example.com Web: www.onu.edu OHIO UNIVERSITY School of Music 440 Glidden Hall Athens, OH 45701 740-593-4244 Web: www.ohio.edu/finearts/music OWENS COMMUNITY COLLEGE Fine and Performing Arts 30335 Oregon Rd. 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, 740-835-4455 E-mail: office@RECW.com Web: www.recordingworkshop.com Program: learn the art of recording; 8 studio facilities, small classes, affordable tuition, job placement assistance, on-campus housing, financial aid Degree: certificate Duration: 5-8 weeks training
TULSA TECHNOLOGY P.O. Box 477200 6111 E. Skelly Dr. Tulsa, OK 74147 918-828-5000 Web: www.tulsatech.edu WALTER ARTS CENTER 5666 E. 81st St. Tulsa, OK 74137 918-481-1111 Web: www.hollandhall.org
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 OREGON STATE UNIVERSITY 101 Benton Hall 1650 S.W. Pioneer Place Corvallis, OR 97331 541-737-4061 Web: www.liberalarts.oregonstate.edu/schoolarts-and-communication/music Degrees: B.A., B.F.A., M.F.A. ROCK ‘N’ ROLL CAMP FOR GIRLS P.O. Box 11324 Portland, OR 97211 503-445-4991 E-mail: firstname.lastname@example.org, email@example.com 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: firstname.lastname@example.org Web: 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: www.music.uoregon.edu Contact: Undergraduate information: email@example.com, Graduate Information: firstname.lastname@example.org, Admissions: email@example.com Program: Composition, Music Education, Performance Studies, Piano Pedagogy, Jazz Studies, Theory, Music Technology, and more including Dance Degree: B. Mus, B.A., B.S., M.Mus, M.A., M.F.A., D.M.A., Ph.D. Duration: 4 year bachelor’s, 2-3 master’s, 4-5 doctoral STARFISH STUDIOS 2240 S.E. Hawthorne Blvd. Portland, OR 97214 503-847-9605 E-mail: firstname.lastname@example.org 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. WESTERN OREGON UNIVERSITY Department of Music Smith Hall 345 N. Monmouth Ave. Monmouth, OR 97361 503-838-8275, 877-877-1593 E-mail: email@example.com Web: www.wou.edu/las/creativearts/music
PENNSYLVANIA ACADEMY OF MUSIC, THE Broad and Locust 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: firstname.lastname@example.org Web: www.music.cmu.edu Cost: please call or see web for info CURTIS INSTITUTE OF MUSIC, THE 1726 Locust St. Philadelphia, PA 19103 215-893-5262 E-mail: email@example.com Web: www.curtis.edu Cost: please call or see web for info DREXEL UNIVERSITY Antoinette Westphal College of Media Arts & Design 3501 Market St. Philadelphia, PA 19104 215-571-4440 E-mail: firstname.lastname@example.org Web: www.drexel.edu/westphal Contact: Helene Engel, Music Dept., Bridget Lynch, Music Industry DUQUESNE UNIVERSITY Mary Pappert School of Music 600 Forbes Ave. Pittsburg, PA 15282 412-396-6080 Web: www.duq.edu/academics/schools/music Degrees: B.M. in Music Technology, M.M. in Music Technology GROVE CITY COLLEGE 100 Campus Dr. Grove City, PA 16127-2104 724-458-2100 E-mail: email@example.com Web: www.gcc.edu/Pages/Grove-City-College. aspx KUTZTOWN UNIVERSITY P.O. Box 730 Kutztown, PA 19530 610-683-4492 E-mail: firstname.lastname@example.org Web: www.kutztown.edu/acad/electronicmedia Contact: Mrs. Cindy Jones LEBANON VALLEY COLLEGE 101 N. College Ave. Annville, PA 17003 717-867-6275 E-mail: email@example.com Web: www.lvc.edu/music Degrees: B.M. in Recording Technology, B.A. in Music Business MARLBORO MUSIC 1528 Walnut St., Ste. 301 Philadelphia, PA 19102
Directory of Music Schools 215-569-4690 Fax 215-569-9497 E-mail: firstname.lastname@example.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: email@example.com Web: www.duq.edu/music Program: Music Performance, Music Education, Music Therapy, Music Technology Degree: Bachelor of Music, Bachelor of Science Duration: 4 years Notes: Mary Pappert School of Music is a national leader in performance, music education, music therapy, music technology and sacred music. Also Graduate Degrees offered in performance, composition, theory, music education, music technology and sacred music, plus an artist diploma in performance. SETTLEMENT MUSIC SCHOOL P.O. Box 63966 Philadelphia, PA 19147-3966 215-320-2600 Web: www.smsmusic.org Cost: please call or see web for info TEMPLE UNIVERSITY School of Media and Communications Annenberg Hall, Room 205 Philadelphia, PA 19122 215-204-4268 E-mail: firstname.lastname@example.org Web: www.temple.edu/sct/btmm Contact: Nancy Morris Chair YORK COLLEGE OF PENNSYLVANIA Division of Music, Wolf Hall, Room 206C 441 Country Club Rd. York, PA 17403 715-815-6450 E-mail: email@example.com Web: www.ycp.edu Contact: Grace Muzzo, D.M.A.
RHODE ISLAND THE UNIVERSITY OF RHODE ISLAND College of Arts and Sciences Department of Music Fine Arts Center, Ste. E 105 Upper College Rd. Kingston, RI 02881 401-874-2431, 401-874-5955 E-mail: firstname.lastname@example.org Web: www.uri.edu/music
SOUTH CAROLINA MIDLANDS AUDIO INSTITUTE 201 S. Prospect St. Columbia, SC 29205 803-782-6910 E-mail: email@example.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: firstname.lastname@example.org Web: www.music.sc.edu
SOUTH DAKOTA UNIVERSITY OF SOUTH DAKOTA Department of Music 414 E. Clark St. Vermillion, SD 57069 605-677-5274, 605-677-5275 E-mail: email@example.com Web: www.usd.edu/music
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 E-mail: firstname.lastname@example.org Web: www.artinstitutes.edu/nashville BELMONT UNIVERSITY: MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS 1900 Belmont Blvd. Nashville, TN 37212 615-460-6000 Web: 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) THE BLACKBIRD ACADEMY 2806 Azalea Pl. Nashville, TN 37204
68 May 2015
855-385-3251, 615-385-2423 E-mail: email@example.com Web: www.theblackbirdacademy.com 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: firstname.lastname@example.org Web: www.genefordmusic.com Basic Rate: please call for info GOSPEL MUSIC ASSOCIATION (GMA) 4012 Granny White Pike Nashville, TN 37204 615-242-0303 Fax 615-254-9755 E-mail: Jackie@gospelmusic.org Web: www.gospelmusic.org Contact: Jackie Patillo, Exec. Dir. 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: email@example.com 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 MARK JOHNSON Nashville, TN 618-288-1993 E-mail: firstname.lastname@example.org Web: www.facebook.com/marksmusic Contact: Mark Rates: call for rates Clients: All Ages, All Levels (Skype available) Styles/Specialties: All Styles, Ear Training, Songwriting, Music Theory, Music Business/ Marketing, Voice/Vocals, Bass, Piano MIDDLE TENNESSEE STATE UNIVERSITY SCHOOL OF MUSIC Box 47 MTSU Murfreesboro, TN 37132 615-898-2469 E-mail: email@example.com 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: firstname.lastname@example.org Web: www.nashvillejazz.org Basic Rate: please call for info NASHVILLE SCHOOL OF ARTS 1250 Foster Ave. Nashville, TN 37210 615-291-6600 E-mail: email@example.com Web: www.nsahs.mnps.org Contact: Dr. Gregory Stewart Principal Basic Rate: please call for info PELLISSIPPI STATE COMMUNITY COLLEGE 10915 Hardin Valley Rd. P.O. Box 22990 Knoxville, TN 37933 865-694-6701 E-mail: firstname.lastname@example.org Web: www.pstcc.edu Contact: L. William Brewer, Music Program Coordinator SAE INSTITUTE 7 Music Cir. N. Nashville, TN 37203 615-244-5848, 800-872-1504 E-mail: Nashville@sae.edu Web: www.Nashville.sae.edu SHUFF’S MUSIC 118 3rd Ave. N. Franklin, TN 37064 615-790-6139 E-mail: email@example.com Web: www.shuffsmusic.com Basic Rate: please call for info
THE UNIVERSITY OF MEMPHIS Rudi E. Scheidt School of Music Music Building, Room 123 3775 Central Ave. Memphis, TN 38152 901-678-2350 E-mail: firstname.lastname@example.org Web: www.memphis.edu/music WAVES, INC. 2800 Merchants Dr. Knoxville, TN 37912 865-909-9200 Web: www.waves.com
TEXAS AUDIO ENGINEERING INSTITUTE 2477 N. Loop 1604 E San Antonio, TX 78232 210-477-9055 E-mail: email@example.com Web: www.Audio-eng.com DALLAS BAPTIST UNIVERSITY 3000 Mountain Creek Pkwy. Dallas, TX 75211 214-333-5316, 800-460-1328 E-mail: firstname.lastname@example.org Web: www.dbu.edu DALLAS SCHOOL OF MUSIC, INC., THE Dallas, TX 75244 972-380-8050 Web: www.dsminfo.com DEL MAR COLLEGE Department of Music Fine Arts Center 101 Baldwin Blvd. Corpus Christi,TX 78404 361-698-1211 E-mail: email@example.com Web: www.dmc122011.delmar.edu/music Contact: Dr. Cynthia Bridges, Chairperson FRISCO SCHOOL OF MUSIC 9255 Preston Rd. Frisco, TX 75034 214-436-4058 E-mail: firstname.lastname@example.org 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: www.music.utsa.edu/index.php/imr Cost: please call or see web for info LONESTAR SCHOOL OF MUSIC 4301 W. William Cannon Austin, TX 78749 512-712-5187 E-mail: email@example.com Web: www.lonestarschoolofmusic.com Cost: please call or see web for info MEDIATECH INSTITUTE 13370 Branch View Ln., Ste. 135 Dallas, TX 75234 972-869-1135 E-mail: firstname.lastname@example.org Web: www.mediatech.edu Additional locations: 302 Oceanside Blvd. Oceanside, CA 92054 760-231-5368 E-mail: email@example.com 3324 Walnut Bend Ln. Houston, TX 77042 832-242-3426 E-mail: firstname.lastname@example.org 4719 S. Congress Ave. Austin, TX 78745 512-447-2002 E-mail: email@example.com MOORES SCHOOL OF MUSIC (MSM) University of Houston 120 School of Music Bldg. Houston, TX 77204-4017 713-743-3009 E-mail: firstname.lastname@example.org Web: www.music.uh.edu Cost: please call or see web for info SHEPHERD SCHOOL OF MUSIC, THE Rice University 6100 Main MS-532 Houston, TX 77005 713-348-3578 E-mail: email@example.com Web: www.music.rice.edu STEPHEN F. AUSTIN STATE UNIVERSITY School of Music Box 13043, SFA Station
Nacogdoches, TX 75962 936-468-4602 E-mail: firstname.lastname@example.org Web: www.music.sfasu.edu Contact: Manny Brand, Director TEXAS STATE UNIVERSITY SAN MARCOS School of Music 601 University Dr. San Marcos, TX 78666 512-245-2651 E-mail: email@example.com 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: www.music.utexas.edu UNIVERSITY OF TEXAS AT ARLINGTON 700 W. Greek Row, Room 101 Arlington, TX 76010 817-272-7145 E-mail: firstname.lastname@example.org Web: www.uta.edu/music UNIVERSITY OF TEXAS AT SAN ANTONIO Department of Music One UTSA Circle San Antonio, TX 78249 210-458-4354 Web: www.music.utsa.edu UNVERSITY OF NORTH TEXASߐ 1155 Union Cir. Denton, TX 76203ߐ 800-868-8211, 940-565-2681 Web: www.unt.edu/majors/umusic.htm
UTAH BRIGHAM YOUNG UNIVERSITY C-550 Harris Fine Arts Center P.O. Box 26410 Provo, UT 84602 801-422-8903 E-mail: email@example.com Web: www.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 E-mail: firstname.lastname@example.org Web: www.music.utah.edu
VERMONT VERMONT COLLEGE OF FINE ARTS 36 College St. Montpelier, VT 05602 802-828-8534, 866-934-8232 Ext. 8534 E-mail: Sarah.Madru@vcfa.edu Web: www.vcfa.edu/music-comp Contact: Sarah Madru, Assistant Program Dir., Performance Coordinator
VIRGINIA ACADEMY OF MUSIC P.O.Box 11146 Norfolk, VA 23517 757-627-0967 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 E-mail: email@example.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. Additional location: 4410 Costello Way Haymarket, VA 20169 CUE STUDIOS CENTER FOR AUDIO ENGINEERING 109 Park Ave. Falls Church, VA 22046 703-532-9033 E-mail: firstname.lastname@example.org Web: www.centerforaudioengineering.com JAMES MADISON UNIVERSITY School of Music
Download at musicconnection.com/industry-contacts 880 S. Main St., MSC 7301 Harrisonburg, VA 22807 540-568-6714, 540-568-3851 Web: www.jmu.edu/music NORTHERN VIRGINIA COMMUNITY COLLEGE 1000 Harry Flood Byrd Hwy. Sterling, VA 20164 703-323-3496 E-mail: email@example.com Web: www.nvcc.edu/loudon/rec_media_tech Contact: Virginia Pates, Assistant Dean OLD DOMINION UNIVERSITY 5115 Hampton Blvd. Norfolk, VA 23529 E-mail: firstname.lastname@example.org Web: www.odu.edu/musicdept Degrees: Music Production, Music Business, and Music Business/Production. RADFORD UNIVERSITY Center for Music Technology Department of Music, Bldg. 0162 Porterfield Hall P.O. Box 6968 Radford, VA 24142 540-831-6174 E-mail: email@example.com Web: www.grad-music.asp.radford.edu Contact: Dr. Bruce Mahin, Director 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 195 Alumni Mall (0141) Henderson Hall, Room 247 Blacksburg, VA 24061 540-231-6456 E-mail: firstname.lastname@example.org 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: www.artinstitutes.edu/seattle BELLEVUE SCHOOL OF MUSIC 2237 140th Ave. N.E. Bellevue, WA 98005 425-401-8486 Web: www.bellevueschoolofmusic.com Contact: Robert H. Wilson, Directory Basic Rate: please call for info JACK STRAW PRODUCTIONS 4261 Roosevelt Way N.E. Seattle, WA 98105 206-634-0919 E-mail: email@example.com Web: www.jackstraw.org Contact: Joan Rabinowitz, Exec. Dir. JAM ACADEMY MUSIC SCHOOL 17802 134th Ave. N.E., Ste. 19 Woodinville, WA 98072 425-402-3700 E-mail: Schedule@JamAcademy.com Web: www.jamacademy.com MIRROR SOUND STUDIOS 301 N.E. 191st St. Seattle, WA 98155 206-440-5889 E-mail: firstname.lastname@example.org 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: email@example.com Web: www.mcnw.org Cost: please call or see web for info MUSIC WORKS NORTHWEST 1331 118th Ave. S.E., Ste. 400 Bellevue, WA 98005 425-644-0988 Fax 425-644-0989 E-mail: firstname.lastname@example.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: email@example.com Web: www.seattledrumschool.com Basic Rate: please call for info
Additional location: 1010 S. Bailey Seattle, WA 98108 206-763-9700 SHORELINE COMMUNITY COLLEGE Music Department, Bldg. 800 16101 Greenwood Ave. N. Shoreline, WA 98133 206-546-4687 Web: www.new.shoreline.edu/music/default. aspx
WEST VIRGINIA AUGUSTA HERITAGE CENTER OF DAVIS & ELKINS COLLEGE Augusta Heritage Center of Davis & Elkins College 100 Campus Dr. Elkins, WV 26241 304-637-1209, 800-624-3157 Ext. 1209 Fax 304-637-1317 E-mail: firstname.lastname@example.org Web: www.augustaheritagecenter.org Cost: please call or see web for info
WISCONSIN LAWRENCE UNIVERSITY SCHOOL OF MUSIC 100 W. Water St. Appleton, WI 54911 920-832-6632 E-mail: email@example.com Web: www.lawrence.edu/s/academy Cost: please call or see web for info UNIVERSITY OF WISCONSIN-MADISON, SCHOOL OF MUSIC 3561 Moose Humanities Bldg. 455 N. Park St. Madison, WI 53706 608-263-1900 E-mail: firstname.lastname@example.org 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 E-mail: email@example.com Web: www.wcmusic.org Cost: please call or see web for info UNIVERSITY OF WISCONSIN OSHKOSH MUSIC DEPARTMENT 800 Algoma Blvd. Oshkosh, WI 54901 920-424-4224 E-mail: firstname.lastname@example.org Web: www.uwosh.edu/music Degree: B.M. in Recording Technology
WYOMING CASPER COLLEGE School of Music 125 College Dr. Casper, WY 82601 800-442-2963, 307-268-2100 E-mail: email@example.com Web: www.caspercollege.edu/music/index.html Contact: Doug Bill, Music Depart., Chair UNIVERSITY OF WYOMING Department 3037 Fine Arts Center, Room 258 1000 E. University Ave. Laramie, WY 82071 307-766-5242 E-mail: firstname.lastname@example.org Web: www.uwyo.edu/music Contact: Theresa Bogard, Chair
BERKLEE COLLEGE OF MUSIC CAMPUS AND SUMMER PROGRAMS P ߐ alau de les Arts Reina Sofia – Anexo SurߐAvenida Profesor Lopez Pinero, 1 46013 Valencia (Spain)ߐ +34 963-332-802 E-mail: email@example.com Web: www.valencia.berklee.edu Degree: B. M. or M. A. THE BANFF CENTRE 107 Tunnel Mountain Dr. Banff, Alberta, Canada T1L 1H5 403-762-6190 E-mail: firstname.lastname@example.org Web: www.banffcentre.ca/film-media/audio Contact: Mark Wold, Managing Director CONSERVATOIRE DE PARIS 209 Ave. Jean Jaurès, 75019 Paris, Franceߐ +33 1 40 40 45 45 Web: www.conservatoiredeparis.fr GUILDHALL SCHOOL OF MUSIC & DRAMA Silk Street, Barbican
London EC2Y 8DT, United Kingdom +44 20 7628 2571 Web: www.gsmd.ac.uk ߐ
HARRIS INSTITUTE 118 Sherbourne St. Toronto, Ontario, Canada, M5A 2R2 416-367-0178, 800-291-4477 Fax 416-367-5534 E-mail: email@example.com Web: www.harrisinstitute.com Degree offered: Diploma Cost: please call or see web for info Program: The program names have changed. Producing/Engineering Program is now ‘Audio Production Program (APP)’ and Recording Arts Management is now ‘Arts Management Program (AMP)’ Notes: The Faculty of 67 leading industry professionals is complemented by a wide range of music industry guest lecturers. Fulltime 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: firstname.lastname@example.org 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: www.mcgill.ca/music MOSMA Mid-Ocean School of Media Arts 1588 Erin St. Winnipeg, Manitoba R3E 2T1, Canada 204-775-3308 E-mail: email@example.com Web: www.midoceanschool.ca NIMBUS RECORDING 300-238 2nd Ave. E. Vancouver, Canada V5T 1B7 604-875-8998 E-mail: firstname.lastname@example.org Web: 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: email@example.com Web: www.oiart.org RECORDING ARTS CANADA 390, Notre-Dame W., Ste. 320 Montreal, Quebec, H2Y 1T9 514-286-4336, 877-224-8366 E-mail: firstname.lastname@example.org Web: www.recordingarts.com Additional location: 111 Peter St., Ste. 708 Toronto, Ontario, M5V 2H1 416-977-5074, 888-662-2664 E-mail: email@example.com ROYAL COLLEGE OF MUSIC (LONDON) Prince Consort Rd. London SW7 2BS, United Kingdom +44 20 7591 4300 E-mail: firstname.lastname@example.org Web: www.rcm.ac.uk D ߐ egree: Bachelor’s degree SEOUL INSTITUTE OF THE ARTSߐ 640, Gojan-dong, Danwon-gu, Ansan-si, Gyeonggi-do, South Korea +82 31-412-7100 Web: www.seoularts.ac.kr/mbs/kr/index.jsp
416-966-3066 Web: www.Trebas.com Programs: Audio Engineering, Entertainment Management, Event Venue Management, Film TV production Additional location: Montreal English, Montreal Francais 550 Sherbrooke St. W., Ste. 600 Montreal, Quebec, H3A 1B9 514-845-4141 Programs: DJ Arts Tech., Film TV Prod., Music Business Admin., Sound Design, Studio Recording Live Sound SAE INSTITUTE OF TECHNOLOGY Melbourne, Australia 235 Normanby Rd. South Melbourne, VIC 3205 +61 (0)3 8632 3400 Fax +61 (0)3 8632 3401 E-mail: email@example.com Web: www.sae.edu.au/campuses/melbourne Additional locations: Sydney, Brisbane, Byron Bay, Adelaide, Perth 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: firstname.lastname@example.org Web: www.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: email@example.com Web: www.paris.sae.edu/fr/home Frankfurt Homburger Landstr. 182 60435 Frankfurt/Main 069 54 32 62 Fax 069 5 48 44 43 E-mail: firstname.lastname@example.org Web: www.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: email@example.com Web: www.univ-bpclermont.fr/rubrique10.html Degree: AA protools certification Cost: Less than $10,000 per year including accommodations program and facilities: two & three year university program taught in a 2500 ft. professional studio. The best engineers and producers on the planet will be teaching you their craft while acousticians, micro-electronic and physics teachers will take you deeper into how things work. UNIVERSITE DE MONTREAL’S FACULTY OF MUSIC 200 av. Vincent-d’Indy, bureau B-301 Montreal (Quebec) H2V 2T2 514-343-6427 Web: www.musique.umontreal.ca Degrees: Major in Digital Music, Minor in Digital Music, Bachelor in Electroacoustic Music, Bachelor in Mixed Electroacoustic Music UNIVERSITY OF TORONTO Faculty of Music Admission Office - Room 145 Edward Johnson Building 80 Queen’s Park Toronto, Ontario, Canada M5S2C5 416-978-3750 Web: www.music.utoronto.ca Degree: Two-year Master’s in Music Technology and Digital Media
ONLINE FULL SAIL UNIVERSITY See Florida listing for details SONGWRITER101.COM E-mail: firstname.lastname@example.org Web: www.songwriter101.com Cost: please see web for info
For hundreds more contacts from current directories (A&R, managers, producers, engineers, agents, indie labels, publicity, college radio, recording studios, rehearsal studios, mastering studios, publishers, film/TV and more), visit our website: musicconnection.com/ industry-contacts.
TREBAS INSTITUTE 2340 Dundee St. W., 2nd Fl. Toronto, Ontario, M6P 4A9, Canada
Directory of Vocal Coaches Whether you’re a novice or professional singer, this one-of-a-kind Music Connection list enables you to connect with experts who can address your special needs as either a live singer or recording artist. The following information has been verified by the listees. C O M P I L E D ALEX VARDEN Los Angeles, CA 323-876-ALEX (2539), SKYPE E-mail: email@example.com Web: www.vardenmusic.com Contact: Alex Varden Basic Rate: call for rates 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: firstname.lastname@example.org Web: www.angeldivamusic.com Basic Rate: please call for info Clients: Tim Fagan, David Hasselhoff, Lou Rawls, Kathy Griffin, Tiffany Alvord and 20 Grammy Winners. Notes: Author of the book Once More With Feeling. Grammy Nominated Singer/Songwriter. Consultation will include pin-pointing what may be missing and what can be added to deliver riveting performances. Will also include how to tap into the truth of the storyteller, create characters from a deeper understanding and use this knowledge in artist’s writing process. Jan will help to develop and brand the act, from songs to business. Award-winning singer/ songwriter/actor/performance coach Jan Linder Koda’s understanding of emotional truth and ability to convey this to her artist clients leads to profound breakthroughs. APPELL VOICE STUDIO #1 Pegasus Dr. Trabuco Canyon, CA 92679 949-382-5911, SKYPE E-mail: email@example.com Web: www.appellvoicestudio.com Contact: Thomas Appell Rates: Call for rates S ߐ ervices: vocal coaching, record production, songwriting, video production, photography Notes: Author of Can You Sing a HIGH C Without Straining? ARTIST VOCAL DEVELOPMENT West Hills, CA 818-430-3254 E-mail: firstname.lastname@example.org 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 Multiplatinum Vocal Producer and Live Performance Vocal Coach who has produced the above artists and others. With a unique approach, Stevie develops singers in the recording studio and in live performance rehearsals whose goals
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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. BEVERLY BREMERS’ VOICERCISE P.O. Box 333 Lake Forrest, CA 92609 949-874-0616, SKYPE E-mail: email@example.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 E-mail: firstname.lastname@example.org 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: email@example.com Web: www.bobgarrett.net Basic Rate: call 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. BRECK ALAN Nashville, TN SKYPE E-mail: firstname.lastname@example.org Web: www.bodysinging.com Contact: Breck Alan Basic Rate: call or e-mail for rate, SKYPE Clients: String Cheese Incident, OAR, Sally Taylor, Steve Aguirre, Rachel Platten, Brazilian Girls 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: email@example.com Web: www.bristolstudios.com Contact: Jason Blaske Basic Rate: call for info Services: Audio recording and production courses, professional internships CARI COLE VOICE & MUSIC CO. Celebrity Voice Coach and Artist
D E N I S E
C O S O
Development Expert 401 E. 34th St., Ste. #N19K New York, NY 10016 800-330-5250, 212-532-0828 E-mail: firstname.lastname@example.org Web: www.caricole.com Basic Rate: please visit website and download application for info Services: Private vocal technique and 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: email@example.com Web: www.caroltingle.com Basic Rate: please call for info Clients: available on request CLIFF BRODSKY Voice Coach 213-248-1688 E-mail: firstname.lastname@example.org Web: www.brodskyentertainment.com Basic Rate: $60 first lesson Clients: all levels, artists on Sony, RCA, Interscope, MCA, etc. COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 70433 985-590-4545 Web: www.laapa.com Basic Rate: please call for info Additional locations: 316 Girod St. Mandeville, LA 985-674-2992 2020 Dickory Ave., Ste. 200 Harahan, LA 504-738-3050 DANIEL FORMICA VOCAL LESSONS Morro Bay and Arroyo Grande Areaߐ 310-213-0700, SKYPE E-mail: email@example.com Web: www.yourvocalteacher.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 West Hollywood, CA 90069 310-927-1079, SKYPE E-mail: firstname.lastname@example.org Web: www.danielknowles.com Contact: Daniel Knowles, M.A. Basic Rate: $100 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: email@example.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.” Vocal group coaching, songwriting consultations, recording session coaching, audition and tour prep also available. Ages 5 and up. Casual and fun environment! **Mention this listing for a special discount DARLENE KOLDENHOVEN’S ART OF SINGING Studio City, CA 818-980-2840, SKYPE E-mail: firstname.lastname@example.org Web: www.artofsinging.com, www.darlenekoldenhoven.com Basic Rate: call for reasonable rates for privates and classes Clients: all levels, adults and kids, all styles, Sister Act 1 & 2, Robin Thicke, Anna Pacquin, Interscope Records 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 and retail stores; also teaches pitch training, sight-singing, and has quarterly group classes. DAVID BABICH Voice Los Angeles: The Vocal Studio of David Babich 1050 E. Providencia Ave. Burbank, CA 91501 818-643-1604 E-mail: email@example.com Web: www.voicelosangeles.com Contact: David Babich, B.A. Voice, UCLA 1992 Basic Rate: $120 an hr., $440 for 4hrs prepaid, $800 for 8 hrs prepaid. 30 and 45 minute lesson packages also available. Services: Vocal technique, Vocal Performance, Speech Technique, Acting, Voice Over Acting, Recording. 18 Years teaching experience. Every lesson yields noticeable improvement. Clients: All levels accepted. Mr. Babich has taught local, national and international performers, recording artists and voice over talent. DAVID COURY E-mail: firstname.lastname@example.org Web: www.davidcoury.com Basic Rate: please call for info Notes: Singing and Speech for Actors CYDNEY WAYNE DAVIS VOCAL ARTS STUDIO/HAPPNIN’ HOOKS MUSIC PRODUCTIONS
Download at musicconnection.com/industry-contacts 171 N. La Brea Ave. Ste. 200 Inglewood, CA 90301 424-261-2393 E-mail: email@example.com Website: firstname.lastname@example.org Basic Rate: Private Voice/Performance Coaching - $85 an hour; Small Group Classes (6 week series/One day workshops) - $25 per class; (Mention Discount code “Spring2015” for special discount) Services: Private Vocal coaching for singers and actors, Performance coaching for recording artists and stage performers, Small Group Classes: Vocal Basics, Songwriting Basics, Pro Singers Workshop, One Day Workshop Master Classes: Music Business/Music Theatre/Stage Performance Notes: Cydney Davis is a seasoned professional Singer, Award winning Actress and Vocal Coach with a soulful style and a four octave vocal range. She has sung in many of the top recording studios in Los Angeles as well as performed on some of the biggest concert stages worldwide from Radio City Music Hall to Wimbly Stadium as a back up vocalist for artists such as Marvin Gaye, Ray Charles, Barry White, Joe Cocker, Donna Summer, Kenny Loggins, Marilyn McCoo and Billy Davis Jr., Bette Midler, Stevie Wonder and Diana Ross. Though a graduate of the University of Toledo and UCLA Cydney has learned from the masters in the industry and offers her students a wealth of knowledge and inspiration to pursue a career in entertainment. Clients: Cydney’s clients include GRAMMY Award-winning performers such as jazz artist Norman Brown, Florence Larue of the 5th Dimension and members of Kool and the Gang, as well as R&B Trio Jade, Motown/ Universal’s Dina Rae (featured singer on Eminem’s “Superman”), members of the cast of Disney’s Lion King, Kelsey Deblasi—soloist for Pirates of the Caribbean, cast of Robey Theatre Company’s “The Magnificent Dunbar Hotel” and a host of up and coming recording artists. DEBORAH ELLEN VOCAL STUDIO Simi Valley, CA and via video conferencing 310-422-9166, SKYPE E-mail: email@example.com Web: www.deborahellen.com Basic Rate: please call for info Notes: Extraordinary vocal technique. Artist Development Opportunities. Many successful placements of student vocals in film/TV. DEEDEE O’MALLEY North Hollywood, CA 818-279-4414 E-mail: firstname.lastname@example.org Web: www.deedeemusic.com Basic Rate: please call for info Clients: all levels, vocal/songwriting workshops DIAMANTE VOCAL STUDIO 605 N. Beachwood Dr. Los Angeles, CA 90004 323-466-7881 E-mail: email@example.com Basic Rate: please call for info Clients: all levels Style: Seth Riggs/S.L.S DIVAS IN TRAININGߐ Hollywood--Las Vegas 818-231-1491, 888-340-7444 E ߐ -mail: firstname.lastname@example.org Web: www.divasintraining.comߐ Basic Rate: Varies. Industry package discounts.ߐ Clients: Beginners and pros (we don’t name drop publicly, but ask us in private). DRAGON II ENTERTAINMENT P.O. Box 41
San Dimas, CA 91773 909-599-6005 E-mail: email@example.com 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: firstname.lastname@example.org 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 E-mail: email@example.com Web: www.ellenjohnson.net, 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: firstname.lastname@example.org Web: www.ericvetro.com Basic Rate: please call for info Clients: list on request EVELYN HALUS 843 S. Detroit St. Los Angeles, CA 90036 323-935-4420, SKYPE E-mail: email@example.com Web: www.EvelynHalus.com Basic Rate: call for info Clients: Jennifer Lopez, Matthew Morrison, Jessica Biel, Megan McGinnis, Neil Patrick Harris, Cher, Nathan Lane, Paula Abdul, Olivia Newton-John, Depeche Mode, Lindsay Mendez, Sutton Foster and many Broadway vocalists, etc. Accepting new students of all levels. VALERIE FAHREN PRODUCTIONS The L.A. Valley Area, CA 818-815-8584 E-mail: ValerieFahren@aol.com Web: www.valeriefahren.com Contact: Valerie Fahren Basic rate: different packages available, please call for info Clients: Sabrina Bryan (Cheetah Girls), Juliette Lewis, Alison Sudol, Erika Christensen FAIRBANKS SUMMER ARTS FESTIVAL, INC., THE P.O. Box 82510 Fairbanks, AK 99708
907-474-8869 E-mail: firstname.lastname@example.org Web: www.fsaf.org Basic Rate: please call for info FEEF MOONEY Los Angeles, CA 818-487-0608 E-mail: email@example.com Basic Rate: E-mail for information or call. Clients: all levels and styles, specialize in Freeing The Natural Voice Technique: Yoga and Breath work to build vocal style. 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 and Producer AudioVision Digital Media and Music Production 310-908-9006, SKYPE (DiCosmoFone) E-mail: firstname.lastname@example.org Web: www.FrancescoDicosmo.com Basic Rate: Please Call for Info Clients: All Ages and Styles Styles/Specialties: Ultra-experienced lead singer/bassist in countless professional bands the styles of classic, modern and progressive rock, R&B, funk and blues. I teach Vocal Technique, Breathing and Placement of Vocal Ranges, Intervalic and Rhythmic Concepts, Music Theory, Chart Reading, Music Theory, Ear Training, Interpretation, Improvisation, etc. My Qualifications include: Musicians Institute Vocational Honors Graduate and MI Human Relations Award 1994-’95. Grammy-Winning Bassist for Evanescence’s Multiplatinum Fallen album. Have played with Thin Lizzy, John Sykes, Bobby Kimball of Toto, Tommy Aldridge, Robert Plant and many more. GFIRE STUDIOS Austin, TX 78765 512-350-6181, SKYPE (djgfire) E-mail: email@example.com 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 (www.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, singer-songwriter, pop and other styles, performed excellently in American Idol and other auditions, including musical theater auditions, learned to go from zero to karaoke in as little as 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: firstname.lastname@example.org Web: www.gilmoremusicstore.com Basic Rate: please call for info GOODRICH VOCAL STUDIO 4001 W. Magnolia Blvd. Burbank, CA 91505 818-216-3944, 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: email@example.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 E-mail: firstname.lastname@example.org Web: www.guitarshowcase.com Contact: Norri Caplan Styles: all vocal styles Basic Rate: call for info HERNAN PELAYO 13046 Ebell St. North 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 North Hills, CA 91343 818-895-SING E-mail: email@example.com Web: www.borntosing.com Contact: Howard Austin Basic Rate: please call for info Clients: includes 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. Also available on Flash Drive or Single Interactive DVD INGRID PRANIUK Vocal Instructor/Coach/Piano Instructor Citrus College 1000 W. Foothill Blvd. Glendora, CA 91741 626-914-8580 Fax 626-914-8582, SKYPE (ingrid.praniuk) Hacienda Heights Studio: 626-968-4071 E-mail: firstname.lastname@example.org Web: www.citrusarts.org/music/vm/ vmbios.html#ipraniuk, www.facebook.com/ ingridpraniuk, www.twitter.com/ingridpraniuk 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. Specialized and Certified in Vocal Health and in Holistic Health. INTERNATIONAL SCHOOL OF MUSIC 116 S. Louise St. Glendale, CA 91205
Directory of Vocal Coaches 818-548-7959 E-mail: email@example.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: firstname.lastname@example.org 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:
Valley Village, CA 91617 800-644-4707 Ext. 22 E-mail: email@example.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 516-538-8383 Web: www.jerrybraginvocalcoach.com Basic Rate: please call for info Additional location:
Raleigh/Durham, NC 919-800-8049 JAIME BABBITT Nashville, TN Los Angeles, CA 917-697-0800, SKYPE (jaime.babbitt) E-mail: firstname.lastname@example.org Web: www.workingwithyourvoice.com Contact: Jaime Babbitt Basic Rate: $125/hr. Monthly programs available Clients: Disney, private clients Services: pop, rock, country, R&B, jazz voice coaching, mentoring for artists and singer/ songwriters. Live performance, recording studio coaching and in-studio vocal production for CD projects, etc. Notes: 25+ years pro. singing and performing experience in NYC, L..A., Nashville and on USA/international tours, 10+ years coaching experience. Instructs students 14 and older to become better singers, performers and recording artists with emphasis on “real world” application. JEANNIE DEVA 1945 N. Beachwood Dr., Unit C L ߐ os Angeles, Westside and the Valley Worldwide via Internetߐ 323-536-9004, 818-425-6299 E-mail: Sing@JeannieDeva.comߐ Web: www.JeannieDeva.comߐ Rates: Consultation - $75. Call for lesson rates.ߐ Clients: Grammy winners, Idol and America’s Got Talent Finalists, celebrity singers/actors, TV show La Voz Kids.ߐ Services: Vocal technique, voice and performance coaching, studio vocal preproduction and tour performance coaching with Jeannie Deva, originator of The Deva Method®, Complete Voice Technique for Stage and Studio™ who has helped thousands of singers worldwide for over 38 years. Additional Services: Jeannie Deva is also a recording studio vocal coach and vocal producer. Endorsements from engineers/ producers of Aerosmith, the Rolling Stones, the Cars, Amy Winehouse, Ludacris, Donnie Walberg. JEFFREY ALLEN VOCAL STUDIO P.O. Box 4056
188 Mayfair Ave. West Hempstead, NY 11552 516-538-8383 JOHN DEAVER North Hollywood, CA 818-985-3511 E-mail: email@example.com Web: www.johndeaver.com Basic Rate: please call for info Clients: All levels. Sara Bareilles, Daniel Powter, Cher, Brendan Fraser, Heather Graham, Kimiko Kasai, Michelle Pfeiffer, Michael Sembello, Vonda Shepard, Pop Stars and many working singers and musicians. JOHN DELUISE Van Nuys, CA 818-908-0104, 818-804-1679 E-mail: firstname.lastname@example.org Basic Rate: please call for info Clients: all levels Notes: Yale Music and Theater, 35 years experience. One of the top recommended voice teachers in L.A. by Jason Robert Brown. JOHN FLUKER VOCAL STUDIOS P.O. Box 922616 Sylmar, CA 91392-2616 Fax 818-367-5794, SKYPE E-mail: email@example.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 with Warner Bros., Sony, RCA, Interscope, Black Top Records, Hollywood Records, Restless Records, Universal, Quincy Jones Music and more. LEANNE SUMMERS VOCAL STUDIO P.O. Box 57965 Sherman Oaks, CA 818-780-1070, SKYPE E-mail: firstname.lastname@example.org 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 and studio techniques. Everything for today’s singer in a cutting-edge environment. LEE LONTOC 5478 Wilshire Blvd., Ste. 215 Los Angeles, CA 90036 310-717-6578 E-mail: email@example.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. LINDA ARNN ARTENO A Singer With Style Carson City, NV 775-770-4466 E-mail: firstname.lastname@example.org Web: www.asingerwithstyle.com LISA POPEIL’S VOICEWORKS Sherman Oaks, CA 91423 818-906-7229, 818-634-3778, SKYPE E-mail: email@example.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. LIS LEWIS The Singers Workshop 4804 Laurel Canyon Blvd., #123 V ߐ alley Village, CA 91607 818-623-6668, SKYPE E-mail: firstname.lastname@example.org 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, Parade of Lights and Basic Vacation. 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. LONESTAR SCHOOL OF MUSIC 4301 W. William Canon Dr. Austin, TX 78749 512-712-5187 E-mail: email@example.com
72 May 2015
Web: www.lonestarschoolofmusic.com Basic Rate: please call for info LOS ANGELES MUSIC & ART SCHOOL 3630 E. 3rd St. Los Angeles, CA 90063 323-262-7734 E-mail: firstname.lastname@example.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-4pm LOYOLA MARYMOUNT UNIVERSITY College of Communication and Fine Arts 1 LMU Dr. Los Angeles, CA 90045-2659 310-338-7430 E-mail: Geraldine.O’Connell@lmu.edu Web: www.cfa.lmu.edu/programs/music Contact: Geraldine O’Connell Basic Rate: please call for info MANDEVILLE SCHOOL OF MUSIC 316 Girod St. Mandeville, LA 70448 985-674-2992 Web: www.laapa.com Basic Rate: please call for info MARK BAXTER VOCAL STUDIOS 145 Lynway Point of Pines, MA 02151 800-659-6002 E-mail: email@example.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. Additional locations: 10852 Burbank Blvd. North Hollywood, CA 131 W. 72nd St. New York, NY MARK FOREST 310-712-1621 Basic Rate: please call for info Clients: Jackson Browne, Verdine White (Earth, Wind and Fire), Sissy Spacek and Roseanne Cash MARK JOHNSON Nashville, TN 618-288-1993 Email: firstname.lastname@example.org Web: www.facebook.com/marksmusic Contact: Mark Rates: call for rates Clients: All Ages, All Levels (Skype available) Styles/Specialties: All Styles. Ear training, songwriting, music theory, music business/ marketing, voice/vocals, bass, piano MARK RENK Valley Village, CA 818-599-0113 E-mail: Mark@MarkRenk.com Web: www.markrenk.com/WP Contact: Mark Renk Clients: Augustana, Bullet for My Valentine,
Download at musicconnection.com/industry-contacts 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: email@example.com, SKYPE 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: www.marygrover.com Basic Rate: please call for info Clients: all levels: Platinum record, Grammy Award and triple Academy Award-winning clients. Notes: California licensed singing voice therapist and singing teacher. Master Degree in Singing Voice Therapy, U.S. Patent Award for voice technique. MAUREEN O’CONNOR Long Beach, CA 562-429-9983 E-mail: firstname.lastname@example.org Web: www.mvoconnor.com Basic Rate: please call for info Clients: all levels
San Fernando Valley, CA 818-599-5297, SKYPE Web: www.monicamargolis.com E ߐ -mail: email@example.com Notes: Monica has been teaching vocal mechanics to singers, actors, dancers and speakers for over 20 years. She has worked in theater and film, appeared in variety shows, worked as a voiceover artist and was chosen as Musical Director for the West Coast Dance Theater. Monica specializes in teaching her vocal method to artists at every level of their career, from the young beginner to major label artist. The Monica Margolis Vocal Arts Studio offers lessons in voice, songwriting, acting, guitar, piano, bass and drums. Private and group lessons are available at our place or yours. Be sure to YouTube Monica Margolis’s interview with American Idol’s “Idol Chat” MUSICIANS INSTITUTEߐ Vocals Program 6752 Hollywood Blvd.ߐ Hollywood, CA 90028 3 ߐ 23-462-1384, 800-255-7529 E-mail: firstname.lastname@example.org Web: www.mi.edu ߐ Basic Rate: please call for infoߐ Clients: Certificate and degree programs designed for intermediate to pro level. Services: Entrance audition required. Private lessons included for Bachelor, AA, Certificate and Encore programs. NANCY BADGER Southern CA 818-275-1449, SKYPE (badgervocals) E-mail: email@example.com Web: www.mysingersecrets.com Basic Rate: please call for info Services: voice instruction, vocal coaching, vocal production Clients: everyone
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: Ben Bradford, Joe Nichols, Riley Roth, Lauren St.Jane, Tiffany Kuenzi, Fahrenheit Media Group
NOVELLO-RUSCH SCHOOL OF THE NATURAL VOICE P.O. Box 9648 North Hollywood, CA 91609 818-506-0236 Fax 818-506-5559 E-mail: firstname.lastname@example.org 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.
MICHAEL LAVINE 165 W. 66th St., Ste. 3U New York, NY 10023 212-362-5101, 917-826-2116, SKYPE E-mail: email@example.com Web: www.MichaelLavine.net Basic Rate: e-mail for info Notes: Coaches on both coasts
OLDE TOWN PICKIN’ PARLOR 7515 Grandview Ave. Arvada, CO 80002 303-421-2304 E-mail: firstname.lastname@example.org Web: www.picknparlor.com Basic Rate: please call for info
MICAH’S PROFESSIONAL VOCAL COACHING 2042 Lakeshore Ave. Los Angeles, CA 90039 323-273-3532, SKYPE (Micah_Plissner) E-mail: email@example.com Web: www.micahprovocals.com 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 949-287-6123 E-mail: firstname.lastname@example.org Web: www.facebook.com/mike.campbell.54540 Basic Rate: please call for info Clients: all levels Note: Former Department Head and faculty member of the Vocal Department of Musicians Institute and the Dick Grove School of Music MONICA MARGOLIS Vocal Coach/Singing Instructorߐ
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 and 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: email@example.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 8 Sunny Meadow Ct., Ste. 302 Baltimore, MD 21209 443-803-0545, SKYPE E-mail: firstname.lastname@example.org Web: www.dianepostell.com Rate: $75-$125/hour Services: Vocal coaching, instruction, pre-production vocals, auditioning, vocal arrangements, solid vocal technique, lyric writing/songwriting, vocal repair pro and semipro, teens, young artists, vocal producers, special needs teens. Teach by SKYPE anywhere. RACHEL LYNN VOCAL STUDIO Above CAL STATE LA 310-363-0653, SKYPE E-mail: email@example.com Web: www.rachellynnvocalstudio.com Rates: $150/hr (bundles and group rates available) 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. “Breakthrough Technology for the Professional Vocalist”
RAK VOCAL & HEALING CLINIC 6056 W. Irving Park Rd. Chicago, IL 60634 773-283-8349 E-mail: firstname.lastname@example.org Web: www.rakvocal.com, www.facebook.com/RakVocalpage Contact: Sheryl Rak Basic Rate: call for rates Services: vocal therapy, voice lessons, vocal performance coaching Clients: adult singers and songwriters RICHARD GILL Tarzana, CA 91356 818-300-8333 E-mail: email@example.com Basic Rate: Please call or email for info Services: Trained as an opera singer, 25+ years vocal coaching experience with Bel Canto Approach to singing. Teaches all styles of music and all levels of singing experience. Works with Professional and Non-Professional singers, actors, singer-songwriters, and those who just want to sing and gain confidence doing so. RENEE GRANT-WILLIAMS 123 2nd Ave. N. Nashville, TN 37201 615-244-3280, 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 Trade” 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: firstname.lastname@example.org 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
PANDELI LAZARIDI “The Einstein of Voice” Lemon Grove, CA 619-920-2284ߐ E-mail: email@example.comߐ Web: www.pandelilazaridi.com Basic Rate: $75 single class, $35 group PATRICIA SHANKS VOICE STUDIO 220 Newport Center Dr., Ste. 16 Newport Beach, CA 92660 9 ߐ 49-723-4473, SKYPEߐ E-mail: firstname.lastname@example.orgߐ Web: www.studioshanks.com Contact: Patricia Shanks PEISHA MCPHEE Studio City, CA 818-788-3056 E-mail: email@example.com Web: www.peishamcphee.com, www.Findyouruniquevoice.com, www.twitter.com/PeishaMcPhee Basic Rate: please call for info Clients: from amateurs to professional actors and singers
Directory of Vocal Coaches 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: firstname.lastname@example.org 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: email@example.com, martin_ firstname.lastname@example.org Web: www.smc.edu Contact: James Martin, Chair Basic Rate: please call for info SHERMAN OAKS COMMUNITY CHILDREN’S CHORUS, THE Los Angeles, CA 818-981-5154 E-mail: email@example.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 and Consultant (est. London, England 1978) Locations in Burbank and Valley Glen, CA 800-231-6135, 818-433-8803, 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, biweekly group classes in Sherman Oaks and Ventura, artist development, direction and 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 Ext. 2887 E-mail: firstname.lastname@example.org Web: www.lacitycollege.edu/academic/ departments/music/faculty.html Contact: Christine Park Basic Rate: please call for info SING LIKE YOU SPEAK (Sally Morgan) New York, NY 646-450-SING E-mail: email@example.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! SING WITH POWER VOCAL STUDIOS Houston, TX 281-222-1092, 866-910-7464 E-mail: firstname.lastname@example.org 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: email@example.com Web: www.spruillhousemusic.com, www.facebook.com/Stephanie.Spruill, www.twitter.com/Stephaniespruil Basic Rate: please call for rates Clients: Julio Iglesias, Michael Jackson, Whitney Houston, Placido Domingo, Elton John, Aretha Franklin, Mariah Carey, Enrique Iglesias Notes: My book and Ebook is 17 Points To Longevity In Show Business STEVEN MEMEL Los Angeles, CA 818-789-0474, SKYPE E-mail: firstname.lastname@example.org 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: email@example.com, SKYPE Basic Rate: please call for info Clients: Stevie Nicks, Olivia Newton-John SUE FINK P.O. Box 642118 Los Angeles, CA 90064
310-943-9231, 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 Zanna Discs P.O. Box 160965 N ߐ ashville, TN 37216 800-787-2647 E-mail: firstname.lastname@example.org Web: www.susananders.com Basic Rate: $65/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 (www.singersworkout. com), and Harmony Singing By Ear (www. harmonysinging.com). SUSAN HYATT VOCAL COACHING Studio City, CA 310-774-6254 E-mail: email@example.com Web: www.susanhyatt.net Basic rate: $75 an hour Clients: Dev and the Cataracs, Youngblood Hawke, Pussycat Dolls Burlesque, Universal Records Republic Styles: Rock and Pop SUSAN RUMOR Los Angeles, CA 310-948-4335 E-mail: firstname.lastname@example.org Web: www.artistoneproductions.com Basic Rate: please call for info Clients: all levels, teaches Grammy-winning recording artists, over 21 years coaching, Masters Degree in voice therapy. SUSU-MAGO VOCAL STUDIO 13402 Wyandotte St. North Hollywood, CA 91605 323-655-8484 Basic Rate: please call for info Clients: all levels
Thousands of artists have been reviewed by Music Connection. To read the reviews and get your music reviewed, go to http://musicconnection.com/get-reviewed. Music Connection does not charge a fee for reviews. 74 May 2015
Download at musicconnection.com/industry-contacts SUZANNE KIECHLE Studio City, CA 818-762-5731 E-mail: email@example.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 424 Meadow Hill Ln. Round Lake Beach, IL 60073 847-546-5548, 847-533-5548, SKYPE E-mail: firstname.lastname@example.org 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 Rd. Elmhurst, IL 60128 Music Mann Recording Studio 3073 S. Chase Ave. Milwaukee, WI 53207 TANISHA HALL White Hall Arts Academy 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665, SKYPE (Tanisha_whaa) E-mail: email@example.com Web: www.whitehallacademy.org, www.facebook.com/whitehallartsacademy 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 and more.
*B.M. in Voice and Music Business Management - Berklee College of Music. TERI DANZߐ YouWorld Music/Bleach Recordsߐ West Los Angeles 310-283-9688 E-mail: firstname.lastname@example.org, SKYPE Web: www.teridanz.com Basic Rate: please call for info, packages available Clients: artists, bands, singer-songwriters, pop technique, performance coaching Credits: vocal coach/recording artist, national press (Women Who Rock), industry and student testimonials, nominated Best Female Vocalist All Access Music Awards. Author of music/vocal articles, book: Vocal Essentials for the Pop Singer: Take Your Singing from Good to Great (Hal Leonard Corp). UAF SUMMER SESSIONS & LIFELONG LEARNING University of Alaska - Fairbanks 403 Salcha St. 216 Eielson Bldg. PO Box 757540 Fairbanks, AK 99775 907-474-7021, 866-404-7021 E-mail: email@example.com Web: www.uaf.edu/summer Basic Rate: please call for info VENABLE STUDIO (near US23 & I94) Ypsilanti, MI 48197 734-544-8703 E-mail: firstname.lastname@example.org Web: www.lindavenable.com Basic Rate: please call for info VOCAL INTEGRATION CONCEPTS 578 Washington Blvd., PMB 235 Marina del Rey, CA 90292 310-281-1845 E-mail: email@example.com Web: www.vocalintegration.com Contact: William Hanrahan Basic Rate: please call for info Clients: all levels, all styles VOCAL STYLINGS Culver City, CA
310-737-9387 E-mail: firstname.lastname@example.org Web: www.vocalstylings.com Contact: Lisa Cushing Basic Rate: please call for info Clients: Private lessons, group sessions, in studio vocal coaching for R&B, rock, pop, blues, etc. VOICE LESSONS HOUSTON 13505 Westheimer Rd. Houston, TX 77077 713-291-6373 E-mail: email@example.com Web: www.voicelessonshouston.com Basic Rate: please call for info VOICE MECHANIC, THE 7222 1/2 Melrose Ave. Los Angeles, CA 90046 323-937-2565 E-mail: firstname.lastname@example.org Web: www.voicemechanic.com, www.melrosestudios.us Contact: Sean Lee Basic Rate: please call for info Clients: Chris Slade (AC/DC), Chris “Mississippi Burning” Gerolmo, Gary Ballen (NWA, Bonethugs, Eazy E), Bruce Buffer (UFC Ring Announcer), Fat Lip of the Pharcyde etc. etc. Actors and singers: ‘Voice Projection’ and ‘repair’. All styles (rock, pop, R&B, heavy metal etc.). Featured on Asahi TV (Japan) and Oprah’s Oxygen Network (Worldwide). Also full (Sony endorsed) Recording Studio, Music Videos/Green Screen Studio and guitar lessons. VOX FOX VOCAL STUDIO BECKY WILLARD Orem, UT 801-874-5112 E-mail: email@example.com Web: www.voxfoxstudios.com Contact: Becky Willard Basic Rate: $55/hr Vocal Coaching, Vocal Production charge per song Clients: Timyra-Joi (The Voice, Season 5), Maddie Wilson (YouTube Star), Star-Off, No Limits, Kelsie Martin (MTV Made) Services: Vocal Instruction for all styles, specializing in contemporary, 20+ years teaching. Vocal Production: recording (vocals
recorded here or elsewhere), editing, comp-ing and processing. Notes: Songwriting and music production options available WEST L.A. COLLEGE 9000 Overland Ave. Culver City, CA 90230-3519 310-287-4262 Web: www.wlac.edu Contact: Music Dept. Administration Basic Rate: please call for info WILLIAM AND IRENE CHAPMAN Van Nuys, CA 818-787-7192 E-mail: firstname.lastname@example.org Basic Rate: please call for info Clients: all levels and styles Notes: The Chapmans are held in high esteem starting with Mr. Chapman’s 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. YMCA CENTER FOR THE CREATIVE ARTS 301 W. Bloomfield St. Rome, NY 13440 315-336-3500 Contact: Valerie Relyea Clients: beginner to expert Basic Rate: please call for info ZION ACADEMY OF MUSIC 7475 Murray Dr., Ste. 11 Stockton, CA 95210 209-598-1581 E-mail: email@example.com Basic Rate: please call for info Coming up in our next issue for June 2015: Directory of Managers and Agents! Find more contacts at musicconnection.com/ industry-contacts.
76 May 2015
For Advertising Info Call 818-995-0101
For Advertising Info Call 818-995-0101
â€“ DAVE HAMPTON
Students (& Teachers):
Get The Most From Any Mentorship Experience!
he traditional expectation in mentoring is to create a way to advise and train a newcomer in the fine details of a skill or profession. Well, Iâ€™m going to flip the script on you. While itâ€™s great to hand off messages and create experiences for newcomers, it can only work if the student being mentored is receptive to the messages and concepts of, in this case, the life of a service provider (audio engineer). Being a recording professional requires me to be a de facto â€œlibrarianâ€? of history. Every time I press record when working with a creative, it produces digital evidence. It is my responsibility to use my expertise to help artists capture and mold their art. Consequently, when I get the chance to spend time with the next version of myself, I often look for some sign of passion and love for my craft. As a mentor, I look for that because it establishes an essential level of trust that allows me to offer someone a view to a special profession that many people never see. Unfortunately, the mentoring relationship is too often undervalued by the student. Just as often, the mentoring process is not presented properly by the experienced professional. Letâ€™s be honest: mentorship opportunities are not supposed to resemble â€œslave labor.â€? Music creation has been made somewhat easy by the many devices and software that exist as crutches for those who entered production through less traditional non-music doors. (Donâ€™t all write in at onceâ€“â€“this is not opinion, itâ€™s just fact.) I need to say it because I want you to understand the cost of access. Access to a process that before was only granted to individuals with a certain skill level and/or the budget to gather and create. To get the most from any mentorship experienceâ€“â€“to prepare yourself (the student) with the proper â€œattitudeâ€? for ACCESSâ€“â€“I suggest you do the following:
provide service to someone else. Your desire to be an artist is not needed. If you want in on this industry as a career, then leave all the selfcentered aspects of your personality at home.
r-FBWFZPVSEFTJSFUPCFTFFOBOEIFBSEBU home. As an audio engineer you must try to invest 100% of yourself in any opportunity to
r4IPXSFTQFDUGPSUIFTQFDJBMQPTJUJPOZPVS mentor is providing you. He or she is giving you a tactical advantage over the rest of the people
r1BZBUUFOUJPOUPEFUBJMTBOEGPMMPXJOTUSVDUJPOT (and write them down if necessary). r6OEFSTUBOEXIBUJTCFJOHBTLFEPGZPVmmKVTU CFDBVTFZPVHPUHPPEHSBEFTJO1SP5PPMT 101 class doesnâ€™t mean you are the right fit for every situation. Mentorship situations are 85% observational. So the task for many students is to not look at a screen but look at people and listen, listen, listen.
â€œRemember that wherever you go, you are representing your mentor.â€? r3FNFNCFSOBNFTBOENBJOUBJOZPVSPXO personnel database of key contacts who help you perform your job seamlessly. The people who you do business with over the phone or by email, go meet them in person. These are relationships you may need later. r#FPOUJNFmmJOGBDU BMXBZTBSSJWFFBSMZ*O the instant culture of today we all are guilty of lacking a realistic relationship with time. Time just doesnâ€™t refer to being late, it also speaks to â€œhow longâ€? it takes (or in the case of mentorship, how quickly you find yourself in a situation that most would envy).
in your field. And always remember that wherever you go, you are representing your mentor. r$SFBUFBOEEFĂ OFUIFHPBMTBOEUBTLTXJUI your mentor, and devise an outcome that NBLFTZPVBCFOFĂ UUPUIFQSPKFDU3FWJFXFBDI day, when possible, with your mentor. r$PNQMFUFZPVSNFOUPSTIJQCZUBLJOHUIFUJNF to talk about the things learned while you experienced access to a view into your career. An important thing to remember is that we all can learn from one anotherâ€“â€“both teachers and students, no matter what ageâ€“â€“so donâ€™t be surprised if as a mentor providing an opportunity to a newcomer you find yourself re-kindling the creativity that you once had before you knew so much! When I get stranded for ideas I often take a break and play with my seven-year-old. Her mind is free thinking all the time and not crowded with the pressures of life or strategic agendas that come with us every day. Opportunity can come in many guises, so clear your mind of the illusions that we all tend to create when dreaming of our big break. You are already on a direct path to your assigned place; just open your eyes and look at the real opportunities and people who you will meet while in mentorship/internship settings. The reality of what you will learn is way better than anything you ever imagined.
DAVE HAMPTON is a 38+ year veteran of the audio recording industry who has worked with Herbie Hancock, 1SJODF .BSDVT.JMMFS +VTUJO5JNCFSMBLF .BYXFMMBOE #BCZGBDF /F:P 3;" 5PP4IPSU $IJDBHPBOENPSF His company MATK Corp. creates and provides custom solutions. In addition to engineering, he consults with manufacturers on new tech, lecturers on survival in the industry and designs custom studios and creative spaces. )FJTUIFEFTJHOFSPG3&'50/&TQFBLFST)JTGPVSCPPLT include The Business of Audio Engineering. Hampton also TFSWFTPOUIFTUFFSJOHDPNNJUUFFGPSUIF1&XJOHPGUIF Grammys. Learn more at twitter.com/davehamptonmatk
Music Connection presents its 2015 singers and vocals issue featuring Swedish pop-sensation Tove Lo. Elsewhere in the issue we shed light on...