Issuu on Google+

R$(!202 -IE8=8;!15!=<!7!>:QGECI9!?G<?7NG8?! ?:!?@G!I8I<I79!9:8;GM=?F!:C!?@G! $78<(N>!R$(0! %?Z<!K=ƞDI9?!?:!LG9=GMGT!GMG8!C:E!I<T!?@G!$78<(N>!R$(!Q7<!=8?E:KIDGK! 1!KGD7KG<!7;:0!-:!D:NNGN:E7?G!?@G!:DD7<=:8T!QG!7EG =<<I=8;!7!9=N=?GK!EI8!Q=?@!7!D:>>GE!78:K=[GK!C7DG>97?G0!! %8!7!?=NG!:C!GMGEFJ:?@GEJN:8?@!I>;E7KG<T!?@G!$78<(N>!R$(!@7<!LGG8! N:K=Ɯ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

r!2556!7879:;!<=;879!>7?@ r!AB!C7D?:EF!>EG<G?< r!HH!I<GEJKGƜ87L9G!9:D7?=:8< r!)7<?GE!M:9ING!D:8?E:9 r!OP.!;E:I8K!9=C?!<Q=?D@ r!R@78?:N!>:QGE!)%"%!=8>I?

r!"GK=D7?GK!@G7K>@:8G!:I?>I? !! r!':?!SI<?!C:E!;I=?7E!78K!L7<<T!I<G!Q=?@! !!!78F!<?E=8;GK!=8<?EING8?T!KEIN<T!@:E8<T! !!!@7EN:8=D7T!UGFL:7EK<T!M:D79<000 !!! r!%8!?@G!<?IK=:T!EGD:EK!K=EGD?!?:!?7>GT! !!!Q7EN!I>!GV=<?=8;!?E7DU<!=8!N=VK:Q8<

r! 48!<?7;GT!I<G!7<!7!>EGJ7N>T!! ! ! ! WN:8<?GE!K=EGD?!L:VW!?:!R(!<F<?GNT! ! 78K!:I?L:7EK!>E:DG<<:E !! r!!(KSI<?!>7E7NG?GE<!=8!EG79!?=NG !! r! r!!$N::?@T!9=8G7E!E:?7EF!D:8?E:9<!@7MG! ! 1XY!=8DEGNG8?79!<?G><!C:E!N7V=NIN! ! ?QG7U7L=9=?F

!"#$%&'#"!('"!)('*+(,-*.#"!%'!-/#!*0$0(0 -#,/12'3,0,4)


Informing Music People Since 1977 /CTOBER  s 6OL  s No. 10

Coheed and Cambria

Industry Profile

In this exclusive interview, prog-rock wunderkind Claudio Sanchez reveals how a unique management relationship has helped foster the creation of one of musicâ&#x20AC;&#x2122;s most breathtaking series of concept albums, novels and comic books.

By Andy Mesecher

Find out how Hard Rock Hotels is expanding its music amenities program to Central America.


By Andy Mesecher

Photos by: Thomas Bonomo


Masters of Mastering 2013 Four experienced professionals discuss their craft and what todayâ&#x20AC;&#x2122;s music-makers can do to achieve superior sonic results.

By Rob Putnam


Directory of US Mastering Studios Compiled By Denise Coso

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

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


Directory of College/Indie Radio Compiled By Denise Coso


20. Mix Engineer Crosstalk: Jason Goldstein . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Neil Norman, GNP Crescendo Records. . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Lucy Wainwright Roche . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 44. Expert Advice: Indie Recording Tips . . . . . . . . . . . . . . . . . . . . . . . . . By Brian Tarquin 78. Tip Jar: College Radio Strategies. . . . . . . . . . . . . . . . . . . . . . . . By Ted Jamison 4

46 Hard Rock

October 2013

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

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

!"#$ #%&' ()







Andy Mesecher

Steve Sattler



Barry Rudolph




Mira Abas Dan Kimpel





Andy Kaufmann Rob Putnam Editorial Intern Siri Svay Web Intern Emmanuel Reid CONTRIBUTING WRITERS Carl Anthony, Allegra Azzopardi, Bernard Baur, Brett Bush, Karen Emmert, Gary Graff, Eric A. Harabadian, Corey Irwin, Ted Jamison, Oscar Jordan, Andy Kaufmann, Jessica Pace, Rob Putnam, Tim Reid Jr., Adam Seyum, Daniel Siwek, Brian Stewart, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Jody Domingue, Jim Donnelly, Scott Dudelson, Karen Emmert, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Tony Landa, Dave Long, Thomas Long, Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Brooke Trout, Albert Vega, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA

Find inspiration in the city that works and plays the same hours you do— The Palms Las Vegas is the only destination in the world where infamous nightlife, top-rated dining, and a state-of-the-art recording facility exist under one roof.

Lay it Down 24/7 Call Toll Free 877.326.7358 702.944.3400 //

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

Subscribe to MC NOW!

!""#$% &'$$"()*


October 2013

Next generation controller and instrument for computer and iPad - with 16 launch pads





Integrated software/hardware instrument with apps for Mac, PC and iPad

‘InControl’ technology connects hardware controls directly to all major DAWs

16 velocity-sensitive multi-colour launch pads

Synth-action keyboard with over 50 hardware controls

Launchkey comes with synth and Launchpad apps for iPad as well as the powerful Novation V-Station and Bass Station synth plug-ins for Mac and PC

InControl technology enables you to get quick hands-on control of your mixer, transport and more in Ableton, FL Studio, Pro Tools®,

Two rows of launch pads trigger clips and scenes in Ableton Live - play drums and launch loops in other music software too

Full software control via a total of 50 faders, buttons, knobs and launch pads (32 on Launchkey 25)

Reason, Cubase, Logic Pro Tools® is a trademark or registered trademark of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries.



he story behind Modern Sound Productions, a dynamic and multi-faceted state-of-the-art audio and video recording studio in Camarillo, CA, starts with a couple of Feisty Piranhas—an aerospace engineer (and accomplished drummer) Peter Lust Sr. and his son, multi-talented songwriter, multi-instrumentalist and recording engineer Peter Alexander Lust III. In the early 2000s, when Peter Alex was just 13, the Lusts launched the indie rock band the Feisty Piranhas, which have gone on to record five albums and three live DVDs chronicling their live performances with different musicians throughout the years. FP have gigged at The Roxy, Whisky, Ventura Theatre, Key Club and Canyon Club, playing with bands such as Misfits, Blue Oyster Cult, Dragonforce, the DIKKIES and many more. Their latest CD features guest spots by El Hefe from NOFX and Dave Nassie, former guitarist for No Use For A Name. The studio the Lusts built on their property to record Feisty Piranhas projects has evolved naturally into a facility whose sonic capabilities have made it popular with artists, bands and musicians from a wide range of genres (punk, metal, hip-hop, jazz, string quartets, brass sections). The studio—recently renamed Modern Sound Productions—has also been used for video productions, including music instructional videos. Expanding its scope, Modern Sound has done voiceovers, radio advertisements, commercials and audio production used for iPhone apps (for MISO Media sponsored by Fender Guitars that helps people learn to play). Explaining the unique construction of the studio, the elder Lust says, “The studio is a 3,500 sq. ft. state-of-the-art music facility featuring a 1,500 sq. ft. live room which doubles as a rehearsal and tracking room, a 1,000 sq. ft. control room with wide screen TVs and comfortable couches, and a professional Pro Tools board that runs everything. We also have two iso booths for recording vocals, and another booth dedicated to guitar amps. So when we’re recording, we can have multiple things going on at the same time. Each input is separate and we have complete control over each one without them mixing together. “The studio is a double house construction, meaning it’s a building built inside a building,” he adds. “As a result of that, a large air gap exists between the two structures which helps with the sound inside the structure. There are six to seven layers of drywall, a sound board and Auralex sound block, which is lead rubber based material inserted into the walls. There is also an isolation bay built into the concrete floor, so the center of the floor ‘floats’ to prevent outside sounds from vibrating into the room and visa versa.” While the main focus of Modern Sound Productions is audio, the studio has full capability to do high-definition video production and editing, including four HD cameras, a large camera jib (a rig that rises 20 feet allowing for the complete control of the cameras), and the ability to have video rolling for clients who want to capture the experience for any reason, private or commercial. The Pro Tools rig has the capability to record up to 72 inputs at any time, which translates to recordings featuring a virtually limitless number of tracks; one song on the Feisty Piranhas’ latest project has over 150 tracks of audio. Every activity is projected onto large screen TVs so anyone in the control room or other rooms can see what’s going on and observe the editing process. For musicians arriving from far distances and not wanting to lug their gear, Modern Sound Productions offers an array of equipment and instruments, including drums (three full kits plus the tools to build more), MINARIK, Fender and Gibson guitars (a total of 50) and amps. Aside from the occasional ocean breeze and being miles from the zaniness of Los Angeles, key elements of the comfortable aesthetic environment include a living room, office area, outdoor patio and basketball court. Contact Modern Sound Productions, 805-312-4999


October 2013

Angela Villanueva


Angela Villanueva has been promoted to Account Executive at the Mitch Schneider Organization (MSO). Villanueva began at MSO in 2006 as executive assistant to Senior VP Todd Brodginski and VP Libby Coffey. As a result of her hard work and dedication to clients, Villanueva steadily climbed her way up to Associate Publicist in August 2008 and Publicist in October 2010. She has worked on a variety of projects in all genres including Wynonna Judd, Andy Grammer, Ozzy Osbourne, Black Boots, Bob Schneider, Vans Warped Tour, Stagecoach, Sunset Strip Music Festival and many more. Villanueva is a San Diego State University graduate with a degree in Communications, emphasis in Public Relations. Contact her directly,

Musicians Institute (MI) has announced the addition of veteran musician and artist manager Blasko to the college of contemporary music as its new Music Business Interim Program Chair. Bringing more than 25 years of music industry experience to his new position, Blasko will oversee the direction and focus of MI’s Music Business Program. Blasko will evaluate curricular materials, create new courses and events and recommend visiting guest artists, while interfacing between the administration, faculty and students to maintain MI’s high-quality educational environment. In addition, Blasko will lead performance workshops to share his experiences as a bassist with acts including Ozzy Osbourne and Rob Zombie. Contact

Alonda Thomas

Chester Trocha

Florida A&M University’s (FAMU) Communication’s Office has appointed Alonda Thomas as the new director of media relations. Thomas brings a decade of experience in media strategy and entertainment public relations to the position. Thomas previously served as senior publicist at The FrontPage Firm where she led various publicity campaigns for television shows, including Welcome to Sweetie Pies on the Oprah Winfrey Network and LisaRaye: The Real McCoy on TV One. Thomas worked closely with the firm’s celebrity client roster to secure media coverage for executives such as political analyst Roland Martin, journalist Kevin Frazier and film producer T.D. Jakes. Contact for further details.

Shure Incorporated has added Chester Trocha as its Senior Vice President of Operations. In his new role, Trocha will lead Shure’s Operations Division and have full responsibility for all of the company’s global operations functions, including manufacturing plants, corporate quality, process and tool design engineering, global supply chain, product conformance and global facilities. With over 30 years of manufacturing experience, Trocha has successfully developed Operations organizations for public and privately held companies. He holds an Electrical Engineering Technology degree from Purdue University and a Master of Business Administration from San Jose State University. For more information, contact

Dennis Webster

Gene Joly

Yamaha Corporation of America has announced the promotion of Dennis Webster to the position of manager of marketing for the company’s Pro Audio & Combo Division (PAC), effective immediately. Webster, who will oversee division-wide dealer promotions and programs and work closely with district managers and other sales personnel at Yamaha, will also continue his role as departmental marketing manager for Yamaha Guitars, where he has doubled revenue and expanded the company’s market share in the acoustic and acousticelectric categories. Webster earned a degree in Music Management at the University of Evansville in Indiana. Contact

Guitar Center (GC) has named longtime GC executive Gene Joly as the new President of its Musician’s Friend (MF) division. In his new position, Joly will be responsible for guiding the direction of Musician’s Friend while capitalizing on his extensive experience in merchandising, vendor relations, distribution, supply management and direct marketing. Prior to his appointment, Joly was Guitar Center’s Executive Vice President of Stores, a position he held since 2008. Replacing Joly as the new Senior Vice President of stores will be longtime GC ops vet Kevin Kazubowski. The announcement was made by Mike Pratt, Guitar Center Chief Executive Officer. Contact christopher.

David McTiernan

Aaron Feterl

David McTiernan has been named Associate Manager of Industry Relations for VEVO, working out of the company’s New York office. He previously held the role of Junior Account Executive at Shore Fire Media. At VEVO, McTiernan will oversee VEVO’s day-to-day relationships with several key record-label partners— including Epic, Beggars Group and Sony Latin—facilitating promotion and programming for videos from a wide variety of artists. McTiernan studied at NYU’s Clive Davis Institute of Recorded Music and also previously spent time at Wildflower Records and TouchTunes Interactive Networks. For more information, contact McTiernan directly at

MSO PR has promoted Aaron Feterl to the position of Publicist. Feterl began at MSO in 2008 as an intern in his last semester in college and was asked to join the team upon graduation. He’s served under Senior Vice Presidents Marcee Rondan and Todd Brodginski as well as beginning as an assistant to Angela Villanueva before being promoted to Associate Publicist in February 2011. Feterl has been involved in media campaigns for various artists in multiple genres including Aerosmith, Allman Brothers Band, Korn, Ted Nugent and Dream Theater, along with festivals like Coachella Valley Music & Arts Festival, Voodoo Music + Arts Experience, Budweiser Made In America Festival and Stagecoach, to name a few. Contact him directly at

Account Executive Mitch Schneider Organization (MSO)

Director of Media Relations Florida A&M University

Manager of Marketing, Pro Audio & Combo Division Yamaha Corporation of America

Associate Manager, Industry Relations VEVO

Music Business Interim Program Chair Musicians Institute

Senior Vice President of Operations Shure Incorporated

President, Musician’s Friend Guitar Center

Publicist Mitch Schneider Organization (MSO)

October 2013



AMPEG V-4B REISSUE The Ampeg Classic Series V-4B reissue head is a faithful recreation of the V-4B 100-watt, all-tube bass amp head. The original goes back to 1971 and this looks like a “baby bro” to the Ampeg SVT head at about 1/3 the power and less than half the weight (41 lbs). You get the vintage rocker switches, the integrated chassis suspension system and the Ampeg SVT “crank” of the those old amps but in a more portable unit. The V-4B is the same width as the SVT-CL and SVTVR head and fits securely onto any Classic Series Ampeg cabinet including the all-new SVT-112AV and SVT-212AV. The V-4B uses four 6L6GC power tubes, three-band tone controls and three-position switch for mid-tone control, plus a balanced line out for direct recording or live. Besides modern reliability, updates include an integrated DI with ground lift, a -15dB input for active basses and a range of different speaker output impedances. The new Ampeg V-4B reissue sells for $1,819.99 MSRP. For more information on the V-4B and other Ampeg Classic Series gear, check out

TELEFUNKEN ELEKTROAKUSTIK M80-SH The Telefunken Elektroakustik M80-SH and M81-SH are the new lower profile versions of the M80 and M81 Telefunken dynamic microphones. Their shorter lengths allow the mics to get in close—right where I like to put microphones on snare drums, toms and guitar amps. Their built-in mic clips and included 5-meter XLR cable with right angle female XLR make tight miking in the studio or on stage a breeze without compromise. I tried the M80-SH in the same positions and applications as I would with a brand new Shure SM57. On snare drums I found it to have a clearer and more open sound that didn’t compress as much as the Shure. I used the same amount of gain for each using the console’s API mic pre-amps. The level of off-axis sound (leakage) from the kit’s other drums and cymbals was about the same except the M80-SH’s off-axis sound was better. I tried M80-SH on rack toms and it reminded me of the Sennheiser MD-421U dynamic in many ways—it is less boomy and has more attack compared to a SM57—I didn’t have to do any equalizing. Compared to the 57, the ever so slightly brighter sound of the M80-SH necessitated aiming it farther away from the dust cap toward the outer diameter of the cone of a Tone Tubby Red 12-inch speaker in the guitarist’s amp. Definitely a good alternate mic for guitar amps—with less low mid-range buildup and no need to “rethink” the guitar sound or production. It simply sounds great. The M81-SH and MH81-SH are offered with either chrome or black head grills and come with a leather microphone bag and 5-meter SGMC-5 XLR cable with right angle female XLR. They each sell for $249 MSRP. Visit

THREE NEW SABIAN XS20 CYMBALS The three new cymbals in the Xs20 line are made from SABIAN B20 bronze and offer new choices. The dB Control Crashes are available in 16 and 18-inch sizes (models XS1636 and XS1836) and are extra thin cymbals especially designed for low-volume gigs such as house of worship, recording in home or project studios, weddings and small clubs. These are bright cymbals that respond quickly and quietly and have a short sustain. The SABIAN HHX and AAX X-Celerator Hi-Hat design will also now be available in the Xs20 series as a 14-inch pair (XS1402L). These provide a crisp and accurate sound and are medium/heavy thickness with the Air-Wave bottom cymbal. The new 21-inch Xs20 Medium Ride (XS2112) delivers a tasty balance of stick definition and wash for clean, musical tone at all volumes. All Xs20 models, in natural and brilliant finishes and are quality protected by a SABIAN Two-Year Warranty. Check out http:// for more info.

FISHMAN TRIPLEPLAY Fishman TriplePlay® is a wireless MIDI controller for electric guitar. You can directly control any USB compliant device capable of receiving MIDI input. TriplePlay will play any virtual synth or drum machine running in your computer’s DAW or work as a standalone live performance instrument playing any of the included soft synths. The TriplePlay controller and its hex pickup mount on your guitar’s body and there are several mounting systems included to fit most guitars without modification or damage to the guitar’s finish. For the lowest possible latency, TriplePlay uses 2.5GHz ISM (industrial, scientific and medical) radio frequencies to transmit your performance data to a USB receiver dongle plugged into your computer. The controller itself has a USB-rechargeable battery and runs about 20-hours on a charge. The TriplePlay software is compatible with 32 bit and 64 bit Windows 7 PCs or higher and Mac OSX 10.6.8 or higher. I mounted the hex pickup behind the bridge pickup of my Strat and after syncing to the receiver dongle, it all worked—first time. In fact, days later I just turned it all on again and it worked immediately without resyncing. I found it to be very responsive, track accurately and sensitive enough to pick up string tapping. I ran it as a standalone performance instrument playing sounds from SampleTank 2.5 XT, one of five pieces of software that came with TriplePlay. Besides SampleTank and the Fishman TriplePlay software ver 1.1 with over 50 improvements and new features, you get Native Instruments Komplete elements Reaktor and Guitar Rig; Notion’s Progression; and Presonus Studio One DAW. There is also a new Basic Enhanced Mode for iPad GarageBand users to easily activate Pitch Bend. TriplePlay is the most modern, flexible and well-thought-out system yet. It sells for $399. Check out 10 October 2013

October 2013


MACKIE DL/DLM SYSTEM Each of the new Mackie DL/DLM powered full-range loudspeakers are standalone PA systems that can be pole-mounted for mono/stereo sound reinforcement, set up as floor wedges with their built-in “kickstand” or wall-mounted for fixed installations. Standalone? Both the DLM8 and DLM12 are two-way loudspeakers that use Mackie’s TruSource concentric driver with a high-output woofer (8- or 12-inch) and 1.75-inch compression driver. These full-range, 2,000-watt powered loudspeakers have a Mackie DL2 digital mixer built into the back panel giving full control over a dual-channel mix with a three-band EQ and 16 programmable effects—reverb, delays, echo. You can plug-in any combination of two audio source inputs directly into the back of the DLM powered loudspeakers—such as an XLR microphone and/or 1/4-inch cable from your guitar or the line level outputs of any mixer—like Mackie’s DL1608 and DL806. The DLM12S sub is also rated at 2,000 watts and its integrated DLP Digital Processor provides system tools like a variable crossover and different speaker modes for optimum voicing. The cabinet is made from 15-mm poplar and has an integrated polecup for mounting a DLM full-range loudspeaker above it. A typical DL/DLM system would have two DLM12s mains (left and right stage) each pole-mounted above a DLM12S and then two additional DLM8s (or more) deployed as floor wedges. The pricepoints are: DLM8, $879.99; DLM12 $1,059.99; and the DLM12S, $1,249.99. For more information, see

MOGAN MICROPHONES ELITE ICE The new Mogan Elite ICE Omni Earset microphone is a nearly invisible, head worn omnidirectional condenser microphone. Its moisture-resistant, 2.5 mm capsule element, foam windscreen and lithe yet flexible boom are flesh colored and, besides fitting comfortably, it feels invisible on my ear. Comfort comes from the new Invisi-Clear Earpiece (ICE), the industry’s only transparent earpiece making the Mogan Elite ICE blend in and hard-to-detect when worn by actors on stage or on camera. The Mogan works with a variety of interchangeable cables to connect to most of the popular wireless transmitters from Shure, AKG, Sennheiser and Audio-Technica. Each microphone comes with a detachable Kevlar®—reinforced cable with hardwired connector. I tested the Mogan Elite ICE using an XLR adapter cable to plug into my studio microphone pre-amp. It requires phantom powering and I used around 35dB to 45dB of gain to get full recording level into my Pro Tools 11 rig. I could position the ICE capsule at any distance from my mouth without excessive low frequency buildup. I also found it to sound neutral, without excessive high frequencies, and a natural, resonant sound quality. The new Mogan Elite ICE Omni Earset Microphone sells for $400 MSRP and ships with a set of interchangeable hypoallergenic foam windscreens in an impact-resistant aluminum case with a beige boom, and single cable clip. Check out

ROCKN STOMPN SEQUENTIAL POWER STRIP The Rockn Stompn® Model RS–4 sequential power strip fires up a musician’s rig—a guitarist or keyboardist’s amp(s), pedal boards and effects rack in a pre-determined sequence that reverses the sequence when powering down. Turning all your gear on at the same time can send a potentially destructive and loud electronic “pop” through your amp and speakers: a momentary stress on expensive gear—not good. AC power sequencers are commonplace in pro recording studios and post-production houses. The RS-4 is rated at 15-amps total power handling and has four, duplex AC outlets with onboard power conditioning—surge protection, over voltage/current protection and EMI/ RFI noise filtering. The four AC power sockets are spaced far enough apart to accommodate wall wart power supplies. Two 16-position miniature rotary switches set different inter-socket delay times for both the on and off sequences anywhere from 0 to 15 seconds time. AC power is switched on/off using microprocessor-controlled relays and a conventional stomp button is used for triggering on and off sequences. For guitar players, when turning your rig on, your pedals’ wall warts or rack effects would power up first in the sequence with your power amp(s) or guitar amp(s) coming on last. When shutting down, the sequence is reversed—the guitar amp off first and then the effect pedals. I used the Rockn Stompn with my Fender guitar amp plugged into the fourth outlet and two pedal wall wart power supplies in sockets 1 (Tube Screamer) and 2 (MXR Phase 90). I went with a 10-second delay time and that would be a total of 30 seconds total by the time the tube amp at the end would get power. The awesome Rockn Stompn Sequential Power Strip is rated at 120VAC and 15 amps and is well made with a welded stainless steel enclosure. It sells for $379 MSRP. For more about it, visit

ULTRASOUND AMPLIFIERS’ CP100 ACOUSTIC GUITAR AMP Ultrasound’s CP100 two-channel amp will accommodate a vocal microphone or instrument with its Combi XLR/1/4-inch input while the second channel is especially designed to amplify acoustic guitar, fiddles, mandolins or any other acoustic instrument. I like this amp’s demure, low profile look that may not immediately attract attention until you play through it. Both channels have phantom powering facilities and both have their own volume, bass and treble controls. The amp uses a single, custom made, 8-inch woofer with coaxial tweeter and 100-watts RMS power. Channel two is specifically designed for closed-miked acoustic instruments with the Shape on/off control for contouring the mid-range and a frequency adjustable (100 to 350Hz) 18dB notch filter for feedback suppression on stage. The Master section has a Master volume control of your onboard mix of the two channels and a digital effects system with 16 different effects that range from various chorus’, flanger, rotary speakers, delays, room/halls and combinations. There is a wet/dry control and an effects bypass footswitch jack on the back. Effects can be used on either channel separately or both at the same time using a three-way toggle switch. I found the CP100 super clean, quiet and the build quality good and rugged. Other features of this 30-pound amp are: a peak power limiter to prevent distortion, effects loop jacks, XLR balanced direct recording out, 1/4-inch unbalanced BARRY RUDOLPH is a recording engineer/mixer who output for feeding PA or driving a slave amp, and L/R Tape/CD has worked on over 30 RIAA certified gold and platinum RCA input jacks with level trim for playing drum machines or preaward-winning records. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, recorded backing tracks through the amp. the Corrs and Robbie Nevil, among others. Barry has Seems like a lot of value to me. The Ultrasound Amplifiers’ his own futuristic music mixing facility and also teaches CP100 Acoustic Guitar Amp sells for $799.95 MSRP, and for recording engineering at Musician’s Institute, Hollywood, CA. more information, go to 12 October 2013

October 2013

Mini Music Guides Essential Information in a Convenient Size

BOOK S T ORE Nothinâ&#x20AC;&#x2122; to Lose: The Making of KISS (1972-1975)

By Ken Sharp (hardcover) $29.99 Having amassed over 200 interviews, author Ken Sharp (with band members Gene Simmons and Paul Stanley) presents an engrossing oral history that chronicles, for the first time, the crucial formative years of the legendary rock band KISS, culminating in the groundbreaking success of their classic 1975 album Alive! and the smash single â&#x20AC;&#x153;Rock and Roll All Nite.â&#x20AC;? The impressive cast of interviewees includes Music Connection editor (co-producer of KISSâ&#x20AC;&#x2122;s first two albums) Kenny Kerner. Recommendedâ&#x20AC;&#x201D; especially for up-and-coming artists.

The Artistâ&#x20AC;&#x2122;s Guide to Success in the Music Business, 2nd Ed.

By Loren Weisman (paperback) $19.95 Weisman addresses the topics that are essential to all musiciansâ&#x20AC;&#x2122; understanding of the music biz. Covering everything from production and performance tips to marketing careerbuilding advice, he guides his reader step-by-step to selfempowerment and success.

This Ainâ&#x20AC;&#x2122;t No Holiday Inn: Series includes chord dictionaries for guitar, ukulele, piano, and a rhyming dictionary. !  ! " "  !  !  


14 October 2013

Down and Out at the Chelsea Hotel 1980-1995 By James Lough (paperback) $16.99

The Chelsea has been a home to a stellar lineup of artists including Bob Dylan, Jimi Hendrix, Patti Smith, Janis Joplin and more. Loughâ&#x20AC;&#x2122;s oral history delves into the sometimes maddening, incessantly inspiring mayhem that stemmed from the hotel in the 1980s and 1990s.

Digital Audio Editing:

Correcting and Enhancing Audio in Pro Tools, Logic Pro, Cubase and Studio One By Simon Langford (paperback) $39.95 Whether youâ&#x20AC;&#x2122;re comping a vocal track, restoring an old recording, working with dialogue or sound effects for film, or doing mash-ups or remixes, audio editing is a key skill. Written by a chart-topping producer and remixer, the book gives you the techniques, from the simplest corrective editing like cutting, copying and pasting, to complex beat mapping and time-stretching.

Audio Mixing Boot Camp By Bobby Owsinski (paperback) $29.99

For novice and experienced mixers alike, Owsinski reveals the tips, tricks and secrets to all the different facets of mixing, including instrument and vocal balance, panning, compression, EQ, reverb, delay and making your mix as interesting as possible. Features an accompanying DVD-ROM developed to take your mixing chops to the next level.

Basic Live Sound Reinforcement:

A Practical Guide for Starting Live Audio By Raven Biederman, Penny Pattison (paperback) $39.95 Land and perform your first live sound gigs with this guide that gives you just the right amount of information. Donâ&#x20AC;&#x2122;t get bogged down in details intended for complex and expensive equipment and arena-sized venues. This is a handbook for audio engineers and live sound enthusiasts performing in small venues from one-mike coffee shops to clubs.

October 2013


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


Five Towns College

Open House Saturday, October 19 at 1 PM


eteran and 22-time platinum awarded voice coach with Grammy winning clientele, Brad Chapman (http://bradchapmanvoice asks a simple, but provocative question of prospective students on his website that encapsulates his approach: â&#x20AC;&#x153;When you singâ&#x20AC;ŚDo people cheer, dance, cry, laugh, feel love, feel anger, feel chills, feel inspired and want more? If the answer is no, letâ&#x20AC;&#x2122;s make it happen for you and your audience. If you can already do the above, but want your voice to have more range and powerâ&#x20AC;Ś weâ&#x20AC;&#x2122;ll make that happen too.â&#x20AC;? A one-time student, associate and later, partner of legendary coach Seth Riggs, Chapman believes that a great voice coach puts the individualâ&#x20AC;&#x2122;s needs above everything else. His trademark phrase â&#x20AC;&#x153;SingFromFeelâ&#x20AC;? (a twist on more common â&#x20AC;&#x153;SingWithFeelâ&#x20AC;?) implies that the song generates from a feeling. The â&#x20AC;&#x153;SingFromFeelâ&#x20AC;? concept is about feeling the word, sentence or story before the singer begins. Itâ&#x20AC;&#x2122;s something that all great singers do instinctively, and it is immediately felt by the listeners. Chapman coaches this art by following three key steps: 1) Freeing up and developing the voice to follow emotional commands, i.e. power, tone, range, dynamic control. 2) Chapman knows that the song must be memorized to the point where there is no conscious effort on the part of the singer. Any internal thought, such asâ&#x20AC;Ś â&#x20AC;&#x153;Will I be able to hit all the notes?â&#x20AC;?â&#x20AC;Śor â&#x20AC;&#x153;Whatâ&#x20AC;&#x2122;s the next line?â&#x20AC;? will distract the singer from the feelâ&#x20AC;&#x201D;and the audience will feel the void of emotion. 3) Chapman provides coaching and feedback of the performance, ensuring that the singerâ&#x20AC;&#x2122;s audience will feel it too. His term for this is â&#x20AC;&#x153;vocal pre-productionâ&#x20AC;? before a live show or recording session. Confidence and emotion are a major part of a great artist. â&#x20AC;&#x153;A lot of my success over the years is due to my background as a rock, R&B, concert, club singer; and my drive to accomplish the needs of todayâ&#x20AC;&#x2122;s recording artists,â&#x20AC;? says Chapman, who has worked with Anita Baker, the Bangles, Quincy Jones, Kevin Cronin (REO Speedwagon), Eposeâ&#x20AC;&#x2122; Marq Torien of the Bullet Boys, etc. â&#x20AC;&#x153;I was a â&#x20AC;&#x2DC;60s rock singer and guitarist; and I have been using mics, sound reinforcement equipment, and recording equipment since I was 14 (46 years). The other critical side of that coin is that I have lived and coached the fact that an artistâ&#x20AC;&#x2122;s feel is by far the attribute, not technique...that, equals over 46 years of experience in the skills that singers are succeeding with today.â&#x20AC;? In 1987, not long after Chapman launched his own studio after years as a partner of Riggs, Music Connection ran an article about his unique approach to microphones and electronic elements. He explained his desire to make sure that students learn to sing well with mics, so they didnâ&#x20AC;&#x2122;t over-sing and that their emotional nuances would shine through. Chapman teaches all genres that use mics for amplification. â&#x20AC;&#x153;The ultimate singer is the emotional singer, not the technical singer,â&#x20AC;? he says. â&#x20AC;&#x153;Mics help us to become more intimate with our audience; allowing us when necessary to sing quietly with true emotion, like we are singing straight into the listenerâ&#x20AC;&#x2122;s eardrum. Early on, I made the mistake of joining some of my clients during recording; and the producers got upset because itâ&#x20AC;&#x2122;s not about technical greatness, but honest emotion. I had my â&#x20AC;&#x2DC;Bob Dylanâ&#x20AC;&#x2122; epiphany, grasping the fact that when it comes to record production or live performances, vocal technique is way down the list of priorities. Guys like Dylan donâ&#x20AC;&#x2122;t question themselves about being sharp or flat or too nasal. Theyâ&#x20AC;&#x2122;re just telling their stories. Now, when I coach people for sessions, Iâ&#x20AC;&#x2122;m there to help them be ready to work with the producer. I use vocal technique to help them get and communicate the feel.â&#x20AC;? Contact Brad Chapman, 310-405-9162

16 October 2013

October 2013



Wilson, Beck Prep For Tour At Ocean Way Brian Wilson and Jeff Beck, two of the music industry’s most celebrated entertainers, will kick off their co-headlining North American tour on Sept. 28 in Tampa, FL, joined by Wilson’s former bandmates Al Jardine and David Marks. Prior to the tour, Wilson and Beck convened at Hollywood, CA’s Ocean Way recording studios with producer Joe Thomas, Wilson’s music director Jeffrey Foskett, and engineers Frank Pappalardo and Wesley Seidman. Pictured (l-r): Beck, Wilson. Standing (l-r) Foskett, Thomas, Pappalardo, Seidman and studio manager Robin Goodchild.

Gilles Gets Mean With sE Big Blue Meenie Recording Studio owner Tim Gilles (pictured) and the engineering staff are such fans of sE Electronics products that the three-room facility frequently expands its collection of their monitors and microphones. sE Munro Egg monitors, too, are in constant use at the facility, which has been in its present building in Jersey City since 1999, following its relocation from Hackensack, NJ. For more on Big Blue Meenie, visit

Vintage King LA Appoints Robert Alexander, Chris Karn

Recording Academy P&E Wing Hosts PT Master Class


The Recording Academy Producers & Engineers Wing hosted a Digital Audio Workstation Master Class on the new Pro Tools 11, recently, in partnership with AVID Technologies and Westlake Pro. Video of the event will be activated on The Recording Academy member website on Oct. 1, 2013. Pictured (l-r): Joseph Taupier, President Westlake Pro, Inc.; Maureen Droney, Senior Executive Director, P&E Wing; George Adjieff, CEO Westlake Pro, Inc.; Collyer Spreen, Pro Audio Solution Specialist, AVID Technologies, Inc.; Brian Malouf, Producer/Engineer & LA Chapter P&E Wing Committee CoChair; David Casey, Partner Account Manager, AVID Technologies, Inc.

More Studio News GPS Welcomes Grammy-Nominated Producer, Mixer, Songwriter Bill Reynolds: GPS (Global Positioning Services) has announced the addition of Bill Reynolds to its client roster. Known as the bassist and a producer and co-writer for Band of Horses, Reynolds’ production resume includes Lissie and Floating Action. Working from Ojai, CA, Reynolds recently finished mix-

ing albums for Truth and Salvage Co. and Sea Stars, and is currently mixing forthcoming Band of Horses live material. Reynolds also recently finished co-writing and producing the song “One, Two” with Lissie for the film Paranoia. In August 2013 he relocated to Nashville into producer Jay Joyce’s former studio. Contact

Argosy Console Provides a Central Focus at The Omnitone’s Las Vegas Production Studios: The Omnitone Recording Studios in Las Vegas offers its clients access to a team of award-winning music production professionals and equipment. The company recently installed a 90 Series for Avid Control|24 desk from Argosy Console, Inc. that is custom configured to

Producer Playback “If you truly have something to say, don’t let anybody tell you not to say it. Producers and songwriters are artists. … Be true to yourself and don’t feel the need to emulate what someone else has done. The tide is changed by those who swim against it.” – The Bullits (Rosario Dawson, Emiliana Torrini). Interviewed in MC August 2013 18 18

October 2013

Vintage King Audio has named industry veterans (l-r) Robert Alexander and Chris Karn as sales representatives at their VKLA headquarters. Both contribute a wealth of knowledge and experience to the pro audio community in Southern California. Alexander studied music and recording technology in college and continues to be actively involved with music production on both sides of the glass. Karn is an accomplished producer, singer, songwriter, recording engineer, and a long-time Vintage King customer. He has forged a strong career in the L.A. region and brings a wealth of knowledge to VKLA about the recording business.

accommodate an Avid Artist mixing system in its new facility, located just a mile west of the southern end of the Las Vegas Strip. Individually and collectively the Omnitone team has worked with the Bee Gees, Celine Dion, Diana Ross, R. Kelly, to name a few. Head over to for further information.


Davi Rings In The Season


Veteran actor and singer Robert Davi, who released Davi Sings Sinatra: On The Road To Romance in 2011, got the holidays off to an early, swinging start by recording his festive new single “New York City Christmas” with 19-time Grammy-winning engineer Al Schmitt and a full orchestra at Capitol Records’ famed Studio A. The tune was penned by veteran film and television writer, producer and director Nick Vallelonga.

Nathan East Preps Album In Nashville


Renowned bassist Nathan East (Eric Clapton, Daft Punk) is due to release his first solo album in January 2014. He’s currently tracking at Ocean Way’s Nashville location. East was accompanied in the studio by producer Chris Gero of Yamaha Entertainment Group, and collaborator David Paich of Toto. Contact for further details.

San Francisco Studio Wraps Salsa De La Bahia Salsa De La Bahia, the much anticipated celebration of San Francisco’s vibrant and vital Salsa/Latin/Jazz scene, has been completed at Studio Trilogy. The project was helmed by producer and celebrated trombonist Wayne Wallace, and recorded by Gary Mankin. The new album is the musical companion to the upcoming film documentary, The Last Mambo, directed and executive produced by Rita Hargrave. Pictured at Studio Trilogy while recording Salsa De La Bahia (l-r): Mankin and Wallace.

Amendola Joins D’Ambrosio’s Roster Producer, musician and songwriter Matty Amendola has joined the elite roster of “behind-the-glass” talent at Joe D’Ambrosio Management. For the past 10 years Amendola’s independent, DIY composing and producing style has garnered much attention on the national scene with major success creating music for worldwide TV commercials and thousands of studio sessions. With 32 years in the entertainment industry, manager Joe D’Ambrosio has built a full-service talent management firm offering true hands-on representation for producers, mixers, writers, composers, engineers and arrangers. Pictured (l-r): Amendola and D’Ambrosio. For more, visit


!"#$%&'() !!!!!!EFGH!!FI9/-5/5!A/'*;)-!=)'!5:4.!"JK! 7)-;9)'*3!!&A4;.4D./!;-!2.4**;2!7)5/.!9))3

*+,-.'/0123.456789.:6;-2.<=.-623>.-?-/3=,<@0.<2. /<0,=.6=.315/.A<@0-/=<B2C.:<D.B/-E2F.D1:B/-221/2F. G/1+1172.H.'77.=,-.=1172.).@--I.A1/.:52<D.B/1I5D=<1@J* H.K6/=<.L/-I-/<;2-@>.G/1I5D-/M(1@0N/<=-/

%&'(()% !"#$%&)

L/+D)4'5!2)-=;(:'49;)-! !!!!!!!!!!!!!!!!!4A4;.4D./!9))H

!"#$%&'$(%$)*+,$-.../$))01"**.!""#$%&#"!'!()*(!%!#+$,#"%,, !!9"#$%!&'()*+!,)-*)./0!1-23!!&'()*+!4-5!6'/47!89:5;)!4'/!'/(;*9/'/5!9'45/74'<*!)=!&'()*+!,)-*)./0!1-23!!>9?/'!9'45/74'</5!-47/*!4'/!@')@/'9+!)=!9?/;'!'/*@/29;A/!)B-/'*3!!!!!8//!9?/!2))./*9!*9:5;)*!;-!9?/!B)'.50!!!A;*;9C!5'/47*9:5;)D.)(32)7! ! October 2013

19 19


From Sandblaster to Grammy Winner


ew York-based mix engineer Jason Goldstein began his career climb at Los Angelesâ&#x20AC;&#x2122; Ocean Way Recording after responding to a classified ad. He started at the bottom, sandblasting floors, tarring the roof and scraping gafferâ&#x20AC;&#x2122;s tape. But ultimately he landed a gig with Manhattanâ&#x20AC;&#x2122;s Right Track Recording and today works mainly out of Downtown Music Studios. He is a multiple Grammy nominee and a one-time winner. Past clients include Beyonce, Jay-Z and the Roots. When Music Connection spoke with Goldstein, he was preparing to start work with the Roots on the bandâ&#x20AC;&#x2122;s tentatively titled & Then You Shoot Your Cousin. â&#x20AC;&#x153;Working with them is a process that takes a lot of time,â&#x20AC;? he explains. â&#x20AC;&#x153;They work and rework songs. You have to dig in and find the emotional theme for the record and then tie it to all the past records so The three most important that thereâ&#x20AC;&#x2122;s a consistency. Sometimes things heâ&#x20AC;&#x2122;s learned as an that takes awhile. Iâ&#x20AC;&#x2122;ll do 30 variations engineer are: of a mix. Sometimes I nail it and other times they want to approach it again.â&#x20AC;? Occasionally Goldstein works closes 4HERES NO SUBSTITUTE FOR A ly with mastering engineers. â&#x20AC;&#x153;If I know GOOD SOURCE 4HEN YOU DONT him, Iâ&#x20AC;&#x2122;ll give more leeway,â&#x20AC;? he explains. HAVE TO SPEND TIME TRYING TO â&#x20AC;&#x153;If itâ&#x20AC;&#x2122;s somebody I donâ&#x20AC;&#x2122;t know, I give MAKE IT SOUND DECENT him less headroom because I feel that in this age of loud for loudnessâ&#x20AC;&#x2122; sake, s $O SUBTRACTIVE %1 INSTEAD OF if you leave extra headroomâ&#x20AC;&#x201D;even ADDITIVE $ONT TRY TO COVER UP if theyâ&#x20AC;&#x2122;re great mastering engineers; MISTAKES WITH GAIN 4RY TO TAKE THE BAD FREQUENCIES OUT %1 BALitâ&#x20AC;&#x2122;s the client that asks for itâ&#x20AC;&#x201D;theyâ&#x20AC;&#x2122;ll ANCE AND RIDING THE FADERS ARE squash the heck out of it. Itâ&#x20AC;&#x2122;ll sound THE MOST IMPORTANT THINGS MORE louder but also smaller. There are a SO THAN REACHING FOR AN EFFECT OR couple of guys that I love. Dave Kutch A COMPRESSOR [profiled in a past Music Connection Mastering Roundtable] especially. s 4HERE IS NO RIGHT ANSWER Iâ&#x20AC;&#x2122;ll give him a dynamic mix with a ton -USIC IS SUBJECTIVE AND ITS COLof headroom and it will come back LABORATIVE -Y JOB IS TO GIVE THE sounding louder and somehow just as ARTIST AND PRODUCER A TRANSLATION dynamic.â&#x20AC;? OF THEIR VISION INTO A REALITY Most mix engineers have their own mixing philosophy. As with the Roots, Goldsteinâ&#x20AC;&#x2122;s is one of bringing out the unique sound of each project. â&#x20AC;&#x153;I believe that every record wants to sound a certain way and you can only force a square peg into a round hole so much before you start to lose it,â&#x20AC;? he explains. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s an energy and a vibe in a record thatâ&#x20AC;&#x2122;s there. Thatâ&#x20AC;&#x2122;s why a lot of people like rough mixes: because they were mixed at the spur of the moment with everybodyâ&#x20AC;&#x2122;s favorite elements turned up.â&#x20AC;? One of his biggest difficulties that seems avoidable is a lack of clarity in the labeling of received material. â&#x20AC;&#x153;I got a mix recently that was labeled â&#x20AC;&#x2DC;Audio one,â&#x20AC;&#x2122; â&#x20AC;&#x2DC;Audio two,â&#x20AC;&#x2122; all the way up to 24,â&#x20AC;? Goldstein recalls. â&#x20AC;&#x153;I had no idea what was on the tracks. It was poorly recorded, air conditioner hum and buzz, clicks and pops. Just because you can record something doesnâ&#x20AC;&#x2122;t mean that you should. You can really mess things up if youâ&#x20AC;&#x2122;re not careful. â&#x20AC;&#x153;The other challenge is the limiter on the rough mix,â&#x20AC;? he continues. â&#x20AC;&#x153;Someone has done a rough mix and squeezed it to within an inch of its life. They send it to me and say, â&#x20AC;&#x2DC;Do your thing; make it better.â&#x20AC;&#x2122; I instantly say, â&#x20AC;&#x2DC;The reason you donâ&#x20AC;&#x2122;t have clarity and canâ&#x20AC;&#x2122;t hear the kick drum is because you destroyed the record by over-limiting it.â&#x20AC;&#x2122; I canâ&#x20AC;&#x2122;t give dynamics and clarity when you want it to also sound like this distorted mess that looks like fresh-cut grass in the waveform. Thatâ&#x20AC;&#x2122;s a drag because oftentimes all theyâ&#x20AC;&#x2122;d need to do is turn the volume up on my mix and theyâ&#x20AC;&#x2122;d hear that itâ&#x20AC;&#x2122;s better.â&#x20AC;? Contact,

20 October 2013

TAKE YOUR PICK Your Source For Low Prices On Top Brands

TourCRAS A CRAS education prepares you to make it in the world

of audio production and sound. Take a virtual tour of our campus, hear from instructors and real students about what it means to BeCRAS. Classes start every three weeks and fill up fast, contact us today.




1.888.604.4075 | 2300 East Broadway Road, Tempe, Arizona 85282 Consumer information available at:

April 2013

October 2013


21 21


Neil Norman

made a better album, which I produced, his price for gigs quadrupled. I’m proud of that.

Years with Company: 40 Address: Burbank, CA Web: Clients: The Ventures, Robin Trower, Savoy Brown, Queen Ida, Malo, Alexander Courage

The Solicitation Dream: To make an album and send it out, that’s very difficult. Never send more than four songs, because no one’s going to listen to more than that. If they like it, they’ll ask for more. You can’t hide a hit. If it’s that good, they’ll get back to you. It’s rare that someone unknown sends something to somebody and they say, “Yeah, that’s fantastic. Let’s sign them.” That’s a pipe dream.

President GNP Crescendo Records

BACKGROUND: When media personality Gene Norman founded the Crescendo, the club’s popularity was so great it spawned a label. His son, Neil, has been associated with GNP (aka Gene Norman Presents) Crescendo ever since. He’s worked every position there, as well as produced and been a musician himself, specializing in the science fiction genre. While GNP approaches its 60th anniversary, Norman is busy putting the finishing touches on a documentary about the label’s seminal garage band, the Seeds.


“Seven out of 10 records are going to lose money. [Labels are] risking their money and hard work to promote you.”

Early Exposure: [My dad] was the number one jazz disc jockey on the West Coast and that led to concerts. In 1954, he opened The Crescendo nightclub. That went from ‘54 to ‘64. It was the number one nightclub in Los Angeles. Woody Allen, Johnny Mathis, Don Rickles, Mort Sahl, Joey Dee and the Starlighters, Herb Alpert and the Tijuana Brass, Bob Newhart and Stan Kenton all played there. Anyone who was anyone played there. I used to walk down the Sunset Strip with Lenny Bruce when I was a boy. I met Louis Armstrong and Duke Ellington and Dick Gregory and Jonathan Winters. They all worked there and knew me. I was precocious and my dad let me do whatever I wanted. So I would run the lights, spank the waitresses, meet all these stars and heard all this incredible music.

Survivors: We have a staff of eight or nine people, but it varies. A lot of people moonlight, especially since the business shrank. Hundreds of labels like ours went under in the last 50 years. We’re the oldest surviving independent record company under continuous ownership in the world. I’m very proud of that, because it’s a difficult business. People have to have gasoline and tires and groceries, but they don’t have to have records. Also, the new generation is kind of taking music for granted and they steal it. That’s part of why the business is a fraction of what it used to be. It’s kind of been pared down to the people who still love it with all their heart, like my dad and me. Thinking Realistically: [Our secret is] having ears, being clever and having a hit once in a while. And not getting a big ego. Some people, when they make a little money or have a hit, go out and buy Rolls Royces and mansions. And then when it slows down, they lose it all. Even if you’re successful, you have to be sort of conservative because you never know that it’s going to continue and it usually doesn’t. Fans of Artists, Not Genres: Sky Saxon made a lot of money with the Seeds and thought it was going to last forever. He thought he was Elvis and blew all the money. I’m making a movie about him and the Seeds. 222 2 October 2013

Appreciate What Labels Can Do: We usually sign [our artists] to an exclusive recording contract, because there’s nothing without exclusivity. We’re also music publishers. We set them up with physical product, downloading and licensing throughout the world. We set up promotion, get their material in movies, get them on compilations, get complete foreign distribution from Africa to Italy to Australia. We set them up with all the downloaders, all the aggregators. It’s a lot of work. People are always bad rapping record companies. That’s baloney. Of course there are bad apples, but the record companies are the ones that promote you and make you a success at their expense. Seven out of 10 records are going to lose money. So they’re risking their money and hard work to promote you. People need to see the balance of that situation.

It features members of the Beach Boys like Bruce Johnston and John Echols from Love and a lot of other stars. It’s called The Seeds: Pushin’ Too Hard. Holding On: It’s fun to see that vinyl is making a resurgence. When majors were throwing away vinyl, we kept it. So we have a good stash of vinyl and we’re pressing more. [Cassettes have] slowed down, but I met someone the other day who’s becoming active. That came as close as possible to dying, but they still sell. When you’re attached to the product, your soul is in it, your hard work and money, if something goes a little out of favor you’re not going to chuck it in the trash. Majors would destroy vinyl when CDs were hot in the ‘80s. That helped me a lot when things were tight, because I still had the inventory we created. It just had to snooze for a while. Sign for Love: We look at the long term. We’ve made a lot of records that took us years to get our money back, but we knew it was the right thing to do and we dug it. People say, how’d you know the Seeds were going to be a hit? It’s the same with science fiction music. Star Trek music? What are you doing? By the time it lit on fire, I was in the driver’s seat. But I did it because I liked it. My father used to play Nat King Cole on the radio. He wasn’t that famous and then he became one of the biggest stars in the world. People would say, how’d you know he was going to be so big? My dad would say, “I didn’t. I just knew he was great.” So you’ve got to follow your heart and your ears. Picking Up Where Majors Leave Off: Sometimes, we’ll go after people who are already famous, but they’re down on their luck. They’ve had a couple of unsuccessful records, so the majors drop them and you pick them up. We had a couple of big albums with Robin Trower. Passion was the Best Rock Album of the Year for independent labels. All the majors dropped him, because he wasn’t selling as much. After we

A Lifetime of Support: We stay with [our artists] forever. We just got the Seeds in a Nike commercial 45 years after it was done. I have a John Mayall album that’s 20 years old and I’m pressing vinyl on it, because I know it’s a great album. At a major, they wouldn’t get to it. It would just sit there. We get to things. We’re small but powerful and you can get us on the phone and get decisions. In a big company, everything’s by committee and you don’t really know where you stand. Making A Superior Product Is Job One: We’re the recipients of many awards of excellence. And we produce and do outstanding products. We have many albums on Amazon that have five stars. We produced the book The Outer Limits Companion. We have integrity, quality and stability. Long-term Relationships: We’re sending royalties to people who made records in the ‘40s. Some of our Hawaiian [recording artists], their great grandsons are collecting royalties. One of them, their grandmother brought them in and said, “I want you to meet Gene and Neil. They’re going to send you money every year.” I’m very proud of that. Our artists have stayed with us for decades. It’s not one year or three years or seven years. It’s decades. We won a Grammy with Queen Ida in 1981 for Best Ethnic Blues Recording. She’s in her 80s and still performs. And she’s still signed to GNP Crescendo. She has an income from us every year. Pushin’ Hard: Push on and fight for what you love. Whether it’s music or film or whatever, keep trying to figure it out. Be consistent, be of high quality and be ethical. We like submissions; just keep it brief and if we love it we’ll get back to you.


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


UnsignedOnly (UO) is accepting submissions for 2014. UO hosts a unique music competition designed for solo artists, bands, and singers who are not signed to a major label or any of its affiliates. The competition seeks to find an outstanding performer, band, singer or solo artist. Prizes, recognition, and exposure to judges, who are high-profile industry professionals and recording artists, are part of the deal. But, UnsignedOnly also takes it a step further and puts the Grand Prize winner in direct contact with record label executives who are the ultimate decision-makers. Artists are judged on several factors: originality, songwriting, arrangement, vocals, performance and overall likeability. All musical genres are accepted. You can go to for additional details and contact information.

8th Stage, a Chicago-based tech startup, has launched with the promise to usher in a renaissance of music across the country and around the world. It is singularly focused on building the world’s first online social community dedicated solely to helping independent artists develop their careers take their music to the next level. You can check out what’s offered at Collision Course Music And Fashion Concert Series 8 provides a platform for music artists, labels and producers. The concert series will feature artists in pop, R&B, rock and hip-hop. The event is designed to give independent and national artists, producers and songwriters, as well as DJs from various genres of music, the opportunity to introduce themselves and their music to the general public through live performances and display booths. The purpose of the event is to be the catalyst for bringing change to the music industry, one artist at a time. Recently featured on VH1’s T.I. & Tiny: The Family Hustle, Collision Course is open to submissions. You can either email or go to for more details. The Future of Music Summit will take place at Georgetown University in Washington, DC, on Oct. 28-29th. It is hosted by the Future of Music Coalition (FMC) a national education, research, and advocacy nonprofit for musicians. To register, you

AMY REGAN PRESENTS BECK’S SONG READER Less than a year after Beck released Song Reader, a project that sparked a dialogue about the art of sheet music, singer-songwriter Amy Regan has answered the project’s innovative challenge by releasing a new EP, Amy Regan Sings Selections from the Beck Hansen Song Reader, making her one of the first musicians to publicly perform the collection. Her ambitious undertaking garnered enough attention to lead to a feature performance on Soundcheck (WNYC) where Beck heard her. He was so impressed that he invited Regan to perform at the opening night of the KCRW-hosted “Song Reader Exhibit” at Sonos Studio in Los Angeles. To learn more about this artist, visit

SLAYER KICKS OFF NORTH AMERICAN TOUR After storming through Europe, South America and Mexico, Slayer will begin their first North American tour in two years this month. The five-week-plus trek kicks off on Oct. 22 in Anchorage, AK. The tour will include the return to New York’s Madison Square Garden and L.A.’s Hollywood Palladium, venues they haven’t played in 25 years. While recovering from the devastating loss of co-founding member Jeff Hanneman, Tom Araya and Kerry King are working on new material and hope to spend some time in the studio. Currently, Slayer’s lineup includes Araya, King, drummer Paul Bostaph and guitarist Gary Holt, who is filling in for the late Hanneman. Log onto for tour itinerary and ticket information. can visit events/future-music-summit-2013. Moreover, in order to ensure that musicians are not left out of conversations that affect their livelihoods, FMC offers artist scholarships for the Summit. The scholarship does not cover travel or lodging. Musicians can apply for scholarships at the FMC website. TubeStart has announced that its proprietary crowdfunding platform has officially launched and is open to the public. TubeStart will provide more than one million creators from all over the world with the opportunity to run both traditional rewards campaigns as well as create subscription-based crowdfunding campaigns for ongoing revenue. TubeStart founder and CEO Josef Holm created the site to give artists, entertainers, producers and YouTube stars a viable alternative to the all-ornothing traditional crowdfunding model. TubeStart is open to all creators in the US, Canada and Europe. You can conduct conventional crowdfunding campaigns between $500 and $500,000, or develop a subscription-based campaign with supporters paying between $5 and $150 monthly. To register or learn more, see

,!"%,3s2%,%!3%3 SIGNINGS

Macklemore’s “Same Love” singer Mary Lambert has released a follow-up track, “She Keeps Me Warm.” On the heels of the platinum-certified, VMAwinning collaboration with chart-

topping artists Macklemore and Ryan Lewis, Lambert’s song is the extension of the international smash. Where “Same Love” advocates a message of equality for same-sex couples, “She Keeps Me Warm” celebrates the love and attraction within samesex relationships. Written solely by Lambert, the song utilizes the familiar chorus and coda of “Same Love,” while employing a string-laden production and pop structure that differs from the original version. For additional information, visit http:// Def Jam Recordings/Maybach Music Group hip-hop magnate Rick Ross will release a brandnew single, “No Games,” featuring Future in October. The single, produced by J.U.S.T.I.C.E. League, is the first advance track from Mastermind Ross’ upcoming new album, and the follow-up to his controversial God Forgives, I Don’t. Visit http://godforgivesidont. com for more details. A spectacular collection of rare and unreleased recordings from Tommy Bolin has been released by Purple Pyramid Records. The recording, Whirlwind, was produced and compiled by Greg Hampton and Johnnie Bolin. The 2-CD digipak set features material from Bolin’s jazz-rock band Energy, an epic 26-minute version of “Marching Powder” from the album Teaser, as well as songs Bolin was preparing for his third solo album before his untimely death in 1976. A special limited (1,000 only) deluxe box edition is also available, which October 2013 23


includes the 2-CD digipak plus three postcards, a Tommy Bolin signature guitar pick, collectible patch and souvenir pin. To find out more, go to             Metal Blade Records has announced the signing of the Swedish epic doom-metal band, Below. The doom act’s full-length is scheduled for release in 2014. “It’s an honor for us to be working with such a legendary label. We’re really proud to be part of the Metal Blade family,” Below related. In November the band will tour Europe for the first time supporting the mighty doom band Devil from Norway. To check them out, visit Kenny Rogers and Dolly Parton are reuniting for a title track duet on the 30th Anniversary of their duet “Islands in The Stream.” Rogers returns with You Can’t Make Old Friends via Warner Bros. Records, proving once again that he still has plenty to say. The album reunites Rogers with longtime friend and collaborator Dolly Parton for a brand new duet on the title track.  It was 30 years ago almost to the day when Kenny and Dolly released “Islands In The Stream,” which went on to become a classic and one of the most successful singles by a duo in history. With a collaboration of producers, including Kyle Lehning, Warren Hartman and Dann Huff, the record is Rogers’ first country album since the release of Water & Bridges in 2006. Rogers, who has already had a massive year, which includes his induction into the

Country Music Hall of Fame, considers this release the most varied and complete album of his lifetime. For further details, go to http://


Universal Music Group (UMG) has set a new industry record by achieving nine of the Top 10 best-selling digital songs in the US, based upon Nielsen SoundScan’s sales data. The nine songs are from a varied mix of emerging and established artists, covering a wide array of genres including country, pop, R&B, rock and EDM, and across every major label group in the UMG family. UMG’s artists and distributed labels also earned eight of the Top 10 Albums. This success builds momentum for UMG’s upcoming releases from artists including Katy Perry, Lady Gaga, Eminem, Drake, Jack Johnson, Keith Urban, Avicii, Lorde, and The Hunger Games: Catching Fire soundtrack. Emmy winning singer and songwriter Faith Rivera will perform a series of virtual concerts on to provide inspiring music or what she calls a “musical spa for the soul.” An ongoing monthly event, Rivera hopes to bring healing to those who tune in. “Faith has a desire to reach those who may be caring for a loved one at home or who may be facing an intense challenge. This music will be from her heart to theirs,” said Nolan Hee, owner of Lil’ Girl Creations, Rivera’s record label. For more information or to learn more about

KWELLER ADDS MGMT & LAUNCHES LABEL Indie rocker Ben Kweller has joined forces with longtime manager and industry veteran, Kevin Wommack. In addition to helming Kweller’s diverse career, Wommack will also serve as president of Kweller’s record label, The Noise Company. “I’ve never been so excited about the future before,” Kweller says. “For the past five years, Liz (Kweller) and I have been handling all the business stuff on our own, but I felt it was time to hand over the keys. Kevin magically appeared at this crazy-perfect moment. And I’m in a special place right now ‘cause the only thing I have to focus on is making music.” To find out more, go to 24 October 2013

DIY Spotlight Corday Corday has all the qualities of a DIY artist... ambitious, brave, determined and innovative. As a result, she is living her dream and making a living with her music. Corday began performing as a singer-songwriter in coffee houses while working as a high school teacher (Drama and English). She formed a duo, which led to an all-girl band, but they disbanded after releasing their first record. Undeterred, she continued as a solo act, eventually forming another group called Corday and the Curious. Totally committing to music, she made a gutsy decision and resigned from teaching—perhaps the scariest transition for any artist. But that’s what real DIY artists do. Knowing that she needed steady income, Corday devised a plan that gave her multiple opportunities to make money, and created several different approaches to help her succeed. She shortened the band name to Corday, co-founded Envy Records to release her own albums, and decided that she would play any gig that generated money. She plays private parties, home concerts and, whenever possible, festivals. She formed Corday Under-Cover, a

professional cover band that plays corporate events and special occasions. She even conceived Corday’s Classic Rock Revolution, a tribute show to iconic classic artists that includes costume changes to reflect the flavor of each act. Most recently (as an openly gay artist), she offered her services––with a cake and champagne toast—for samesex weddings. By fearlessly expanding her options, Corday has become a successful DIY artist. For additional information, visit

Have a successful DIY strategy to share? Email the virtual concerts, visit http://


Pandora, the Internet radio service, announced it is removing the 40-hour-permonth limit on free mobile listening. “We’re pleased to maximize free listening for everyone on Pandora,” said Tim Westergren, Pandora’s founder. “The more than 70 million listeners that tune in every month will now have more time to hear the music they love, and thousands of working artists will reach more fans.” Pandora is available through more than 1,000 consumer electronic devices and will be installed in approximately onethird of all new cars sold in the United States in 2013. The company is able to make this change thanks to the progress of its mobile advertising. According to eMarketer, Pandora is now the third largest generator of mobile ad revenue, behind only Google and Facebook.

There’s going to be a new house in town… The Madison Square Garden Company, which acquired The Forum in Inglewood, CA, announced its plans for the iconic venue, including its commitment to invest $100 million and reopen the concert venue in January 2014. Upon completion of the revitalization, The Forum will open (on Jan. 15) with a historic performance by the legendary Eagles. One of the most prolific and successful acts of all times, the Eagles are bringing their “History of the Eagles” tour to The Forum for grand opening performances on Jan. 15, 17 and 18, 2014. They will perform the classics spanning their career, including some that have never been performed live. Ticketing information will be announced soon. 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.

“I've had 1,064 TV Placements for My Music Because I Joined TAXI” Stuart Ridgway - TAXI Member


'd seen the TAXI ads (just like this!) hundreds of times over the years and I was very skeptical. But when I got their free information kit and saw that the money back guarantee was for a full-year, I decided to make the leap. Within weeks of joining, my music was in the hands of some A-list people in the film and TV industry. In less than a year I got the call from the music supervisor at one of LA's hottest TV production companies.

Reality TV and Royalty Checks

We struck up a good working relationship, and when the supervisor needed music for a new daytime reality show, she asked me if I would like to join her team. For the next two years, I wrote music for an Emmy Award winning show, which aired every weekday on NBC. My first royalty check alone covered 10 years of TAXI memberships! All in all, those two seasons netted me more than $50,000, and the company TAXI

Get Paid for Making Music

hooked me up with has hired me to write for two other shows as well.

Being “Great” Wasn't Enough

After making more than 1,000 cold calls, it dawned on me that music supervisors didn't care how great I was as a composer. How could they? They don't know me and that's that! I could only get so far on my own. I realized I needed someone or something to be my champion somebody to connect the dots. TAXI worked for me, and if you're really good at what you do, it just might do the same for you. If your music is up to snuff and you pitch it at the right targets, belonging to TAXI can change your life.

Actually, I may have the greatest job on the planet because I can work in my studio all day, playing piano, writing string lines, recording guitar parts, and the hours easily slip by. I get paid to do what I love, and much of the credit for that goes to TAXI. They don't blow smoke, and they don't promise miracles. But they do keep you focused, on track, and energized about your music. TAXI's expert feedback is priceless, and their free convention, the Road Rally, is worth more than the membership fee.

I Volunteered to Write This Ad!

There are tons of companies that imitate TAXI, but how many have you seen that can run ads like this? TAXI is the world's leading independent A&R company because it's the one that really works. Take my word for it. Call for their information kit now.

The World’s Leading Independent A&R Company

1-800-458-2111 October 2013


Date Signed: March 2012 Label: Republic Records Type of Music: Rock / Alternative / Indie Band Members: Joe Stark, guitar, lead vocals; David Stark, drums, vocals. Management: Andrew Brightman, Booking: Ken Fermaglich / The Agency Group Legal: Gillian Bar Publicity: Kimberly Harris / Republic Records, Web: A&R: Tom Mackay / Republic,


rothers Joe and David Stark dig the sounds of their native Louisiana. But when the duo wanted to record an EP, they sought out Nashville producer-writer Dave Cobb, whose credits include Rival Sons, Shooter Jennings and the Secret Sisters. Recorded in two weeks, Baby Bee released the recording independently and began booking their own shows. Then the brothers got a call from Cobb, who thought Baby Bee would be perfect to cover an old Cajun song, “Sugar Bee,” by Cleveland Crochet. Returning to Nashville, they recorded the tune that Cobb then took to his manager, Andrew Brightman. Brightman’s ties with Republic Records inspired a showcase in New York City at S.I.R. rehearsal studios.

“Within 30 minutes, we knew they were going to give us an offer.” “I think it lasted for about 10 minutes,” muses Joe, the duo’s guitarist, who made their three-song set as intense as possible. “Within 30 minutes, we knew they were going to give us an offer. And that offer took about a year.” “It felt like a year,” corrects drummer David. “It was more like six months.” Other labels expressed interest, but Republic showed the most. Since signing, Baby Bee have recorded with Brendan O’Brien, released an EP and placed a song on The Walking Dead soundtrack, opportunities they never would have been given otherwise. They even scored a meeting with iTunes, who made their EP an exclusive download that coincided with their song, “High Heel Leather Boots,” as a Single of the Week. Republic also gifted the duo an advance, enough to live on for six or seven months, and surprisingly left the production and promotion budget open-ended. “It feels like, if they’re going to spend that money,” observes Joe, “they’re expecting good things to come out of it.” Baby Bee’s full-length debut will be available in early 2014. – Andy Kaufmann 26 October 2013

CARLY RITTER Date Signed: August 2012 Label: Vanguard Records Type of Music: Folk Management: Frank Gironda / Lookout Management, 310-319-1331 Legal: Candice Hanson / Bloom Hergott Diemer Rosenthal LaViolette Feldman Schenkman & Goodman, LLP, 310-859-6828 Publicity: Lucy Sabini / Vanguard Records, lsabini@vanguardrecords. com, 310-829-9355 Web: A&R: Bill Bentley


anta Monica, CA, native Carly Ritter sowed the seeds of her career while a teenager in high school. She shared the morning ride with singer-songwriter Juliette Commagere and musician Joachim Cooder, son of famed guitarist Ry Cooder. Both went on to successful music careers, Commagere and Cooder are now married and they’ve all remained friends. And who better than a friend to call on when you’re looking to make connections? “When [Juliette and Joachim] heard that I was starting to record songs, they reached out to me” recalls Ritter, daughter of the late actor John Ritter, and granddaughter of the late country music pioneer Tex Ritter. “They

“I'm very aware of how non-traditional my path has been.” knew this angel at Vanguard named Bill Bentley and they gave them to him. He’s the one that really responded enthusiastically and got me signed. “I’m very aware of how non-traditional my path has been,” she continues. “I'm aware of how lucky I’ve been. I feel like I’ve hit the Lotto. Because Juliette and Joachim already knew Bill, that helped immensely. As a beginner, I also felt very supported by the Commagere and Cooder families. Those two walked with me every step of the way and they’ve been so encouraging. They changed everything for me.” Many artists find management prior to securing a record deal. But of course there are as many paths to a deal as there are bands. In Ritter’s case, she was introduced to her manager by Bentley sometime in May. “Bill put me in touch with Frank Gironda at Lookout Management,” Ritter explains. “I loved Frank immediately. The help of these incredible people––they didn’t have to do any of this.” Carly Ritter dropped on Aug. 27th. Ritter hopes to tour as far as Nashville, TN. Commagere and Cooder will play in her band. Vanguard is part of the Welk Music Group and is distributed by EMI. Ritter’s labelmates include Robert Cray, Merle Haggard and Matt Nathanson. Her single “It Don’t Come Easy” was selected as influential KCRW radio’s “Today’s Top Tune” in February. – Rob Putnam






Date Signed: December 2011 Label: Warner Bros. Records Type of Music: Alt-Pop Band Members: Jamie Sierota, guitar, vocals; Sydney Sierota, keyboard, vocals; Noah Sierota, bass, vocals; Graham Sierota, drums. Management: Jeffery David / The Knoller Group Booking: Jbeau Lewis, Kyle Wilensky, David Klein / CAA Legal: Glenn Davis Publicity: Kate Cafaro / Warner Bros.,, 818-953-3527 Web: A&R: Mike Elizondo


n addition to their familial bond, the Sierota siblings had someone unique behind them––their father. A producer, their dad is friendly with Warner’s Mike Elizondo. He slipped the A&R honcho their EP without mentioning the relation on a Friday. Having obsessed over it all weekend, Elizondo brought the recording to the label’s Chairman, Rob Cavallo. Their weekly A&R meeting took place on Tuesday and Elizondo called the group that afternoon requesting an immediate visit. Instruments in tow, Echosmith dazzled with their in-office set. The contract was finalized within three weeks. Warner was likely tempted by the notion that the youthful players had been set to appear on a reality TV show. Although the program never

“The label gave us room to breathe.” came to fruition, the bullet-point presumably helped the band acquire a better deal than they otherwise would have. While they were not the focus of a bidding war, Echosmith had met with other labels. “It was never really the right connection,” divulges Jamie, the oldest at just 20. “Mike and Rob really understood us as artists.” It made a difference to the band that both Elizondo and Cavallo were musicians and were similarly impressed by the label’s roster, which includes notables the Black Keys and Mutemath. It further helps, claims the guitarist, that the band members are respected as developing artists. Formerly named Ready, Set, Go!, the artists changed their name to mark the evolution that the move signified, a transformation the label supported. Likewise, Warner enabled the alt-pop quartet to explore their artistic vision. As the eldest Sierota puts it, “The label gave us room to breathe when it came to writing.” Talking Dreams reaches listeners on Oct. 1st. – Andy Kaufmann

Date Signed: July 26, 2013 Label: Manimal Vinyl/Badlands Records Type of Music: Alternative Rock Band Members: Allison Iraheta, vocals; Matthew Hager, bass and keyboards; David Immerman, guitar; Veronica Bellino, drums. Management: Regime Inc. / Ivory Daniels, Mike Renault, Matthew Hager Booking: CAA / Jeff Frasco Legal: Lapolt Law / Dina Lapolt & Katrina Bleckley Web:; A&R: Paul Beahan


atthew Hager is a veteran of the music industry whose songwriting and production resume includes work with Duran Duran, Simply Red, Mindi Abair, Mandy Moore and many others. Allison Iraheta was a teen sensation who found success on American Idol and released one album for Jive/BMG. Their pairing materialized when her guitarist David Immerman asked Hager’s publisher if they could write together. They wrote a song and the rest unfolded like something out of a movie. “I’d never worked with Allison before and, to be honest, I wasn’t really familiar with her because I didn’t watch American Idol,” admits Hager. “But David said Allison would kill on the song and thought she would do the demo as a favor. She came over a couple days later and sang. I’ve worked with some great singers and she was absolutely jaw-dropping!” The song they wrote together, “Gone,” turned out to be the single they would later release as Halo Circus. And what started out as a writing experiment turned into four or five more songs. The sessions were feeling

“I told her, ‘You’ve already been through the machine. You don’t have to do that.’” less like a continuation of Iraheta’s solo career and more like the formation of a band. The next move was label shopping, but these industry vets wanted to avoid the typical pitfalls. “The truth is a lot of major labels can’t afford to listen with their heart,” says Hager. “The majority thinking was that they love Allison’s voice but they want her to sound like Pink or cut songs by other people. I told her, ‘You’ve already been through the machine. You don’t have to do that.’ This is a band, and every time we play we get new fans.” Their signing with Manimal Vinyl came through John Taylor of Duran Duran. He knew Hager from their production work together on a David Bowie tribute album. Taylor was friends with the label owner and recommended he give Halo Circus a listen. A year later Paul Beahan did just that, catching a performance at L.A.’s Hotel Café. He signed them shortly afterward. “He loved the material and didn’t wanna change anything. And that was good enough for us,” says Hager. “This is the best band I’ve ever been a part of. It’s really an exciting time!” Halo Circus will release a full-length album in 2014. – Eric A. Harabadian October 2013 27

Guitar Center Seeks Stars

Willis Loves “The D” A song, a video, a documentary and a collaboration with the city’s people–– songwriter Allee Willis is producing The D featuring the people, music and locations of her hometown, Detroit, MI. Pictured (l-r): Willis and Mary Wilson formerly of the Supremes. Check out Willis’ hallucinogenic website at

Michael O’Neill To Head BMI The BMI Board of Directors has unanimously elected Michael O’Neill as Chief Executive Officer. He has served BMI for nearly 20 years, most recently as Senior Vice President Repertoire & Licensing. O’Neill succeeds BMI’s current President and CEO, Del Bryant, who will retire in June 2014. See

Guitar Center’s Singer-Songwriter 3 program has kicked off its, searching for the next great, undiscovered talent. With nearly 30,000 submissions received in the first two years of the artist discovery program, thousands of aspiring singer-songwriters across the country will once again have the chance to catch their first big break and take their careers to the next level.  Having already helped springboard the careers of two talented artists under the care of producer John Shanks, Guitar Center sets out to unearth new talent this year with the aid of Grammy Award-winning producer Don Was. Was brings an incredible range of experience to the competition having produced music with John Mayer, Lucinda Williams, Scotty McCreery, Ziggy Marley, Bonnie Raitt and the B-52s, as well as legends like Bob Dylan, the Rolling Stones, Iggy Pop and countless others.  The winner of Guitar Center’s Singer-Songwriter 3 will work in the studio with Was to record a four-song EP and will receive new gear and $25,000 in cash. Through Nov. 3, unsigned singer-songwriters from across the United States are invited to submit an original live music performance video at http://guitarcenter. com/songwriter. Submissions will be ranked through the use of RevImage, a leading social television platform that syndicates and measures content engagement throughout web. All artists who enter will be ranked based on their online fan growth during the first round. In the

second round, the top-ranked 140 artists will be reviewed personally by Don Was who will handpick 10 finalists to perform live in Los Angeles, CA, where one winner will be chosen.

ASCAP Mills About The American Society of Composers, Authors and Publishers (ASCAP) and the California Film Institute will host the Second Annual Mill Valley ASCAP Music Café, a series of music showcases at the 36th Mill Valley Film Festival, from Oct. 4-6th. The Music Café will feature an exciting and dynamic assortment of composers, songwriters and artists from across the musical spectrum over the course of three days during the world-renowned film festival. Featured performers include: Before the Brave, Cole Bonner, Bonnie & the BANG BANG, Jessie Bridges, the Family Crest, Lily Kershaw, recent Abe Olman Scholarship recipient Tyler Lyle, Midi Matilda, Jazz Mills & Jesse Plemons (Breaking Bad, Friday Night Lights) of Cowboy and Indian, Olin & the Moon and Evan Roman. A complete line-up and schedule of artists and bands will be announced in the coming weeks. Visit

Billboard Hollywood Film & Television Confab The 14th edition of the Billboard Hollywood Film and Television Music Conference will be held on Oct. 29-30 at the W Hotel in Hollywood, CA. This Conference offers attendees the opportunity to learn from, network and expose

Paisley Parties on the Row Styles is “Fast” SESAC songwriter/artist Joy Styles is set to release her new single “Fast” this month on 764 Records, an imprint of Red River Entertainment and distributed by Sony/RED Nashville. Pictured (l-r): Tim Fink, SESAC; Chuck Rhodes, 764 Records; Styles; Dewayne Brown, Sony/Red; and John Mullins, SESAC. 28 October 2013

ASCAP, BMI and the CMA celebrated Brad Paisley’s 22nd No. 1 single, “Beat This Summer,” at the CMA offices on Music Row. The song, co-written by Chris DuBois and Luke Laird, marks Paisley’s 19th chart-topper as a songwriter and the 14th for both DuBois and Laird. Also on hand were publishers Sea Gayle Music, Universal Music Publishing and Creative Nation Music, as well as label Arista Nashville. Pictured (l-r): Michael Martin, ASCAP; Marc Driskill, Sea Gayle; DuBois and Paisley.


their music directly to the best music supervisors, composers, directors, music editors, songwriters and producers in the business. The event also provides a dynamic forum for the exchange of ideas, featuring roundtable discussions, and other networking cocktail parties and sessions. Among the many guests is music supervisor Alexandra Patsavas, whose credits include Scandal, Grey’s Anatomy, Carrie Diaries, and the upcoming film The Hunger Games: Catching Fire, who will participate in a Keynote Q&A. Find out more at http://

BMG Surfs Primary Wave BMG Rights Management, the music arm of German media giant Bertelsmann has unveiled a $150 million deal to take control of much of the music publishing business of US independent music publisher Primary Wave Music. The agreement will give BMG “significant rights in Primary Wave’s music publishing assets,” including such songs as Earth Wind & Fire’s “September,” Hall & Oates’ “Kiss on My List,” John Lennon’s “I Want to Hold Your Hand” and Marvin Gaye’s “How Sweet It Is.”

Fullscreen on the Defensive

Williams Named PMA Executive Director The Production Music Association (PMA) has appointed Hunter Williams as Executive Director. The Los Angelesbased association advocates for the interests of production music publishers and composers across film, television, radio and new media. Prior to joining the PMA, Hunter Williams spent 20 years at SESAC. Visit

Downtown to Hollywood Town

Katie Alphonso Upped at SESAC

Downtown Music Publishing has officially announced its expansion to the West Coast. The company will open a Los Angeles office and has appointed Amy Driscoll-Dunning senior VP of creative services and business development. Driscoll-Dunning previously served as VP of film music at Fox Filmed Entertainment. Downtown’s catalog includes 50,000 titles from such writers and artists as John Lennon & Yoko Ono, the Kinks, Hans Zimmer, Neon Trees and One Direction. Visit

SESAC has announced the promotion of Katie Alphonso to Manager, Royalty Distribution. Alphonso will supervise Royalty Distribution functions and related staff, including the processing, calculation and analysis of royalty distribution for broadcast and live music and the compilation and distribution of royalty statements to all SESAC affiliates. She can be reached at 615-320-0055.

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


Fullscreen, one of the largest suppliers of videos to YouTube, has been slapped with a lawsuit for copyright infringement. The National Music Publishers’ Association (NMPA) has sued the L.A.-based Multi-Channel Network (MCN), which boasts

15,000 channels, a total of 200 million subscribers and more than 2.5 billion views each month, making it one of the largest MCNs—networks that produce their own content while also representing works from thousands of other creators online. According to the suit, Fullscreen and its founder George Strompolos “have willfully ignored their obligation to obtain licenses and pay royalties to exploit the vast majority of the musical content disseminated over Fullscreen’s networks.” YouTube cover songs are among the most popular videos on the host site, but most lack the proper licenses, and the profit earned from ad revenue doesn’t end up in the hands of publishers and songwriters. For complete details visit

Frederiksen Climbs Round Hill Round Hill Music announced that its signee, songwriter-musician-producer and MC Song Biz profile Marti Frederiksen, recently performed at the legendary Bluebird Cafe with Steven Tyler of Aerosmith and other Nashville songwriters. Pictured (l-r): Josh Gruss, Michael Lau, Round Hill Music; Frederiksen; Mallory Zumbach and Neil Gillis, Round Hill Music.

BMI R&B/Hip-Hop Awards BMI held its 2013 R&B/Hip-Hop Awards at The Manhattan Center in New York City. Pictured at the event are Del Bryant, BMI President & CEO; Lil Wayne; BMI Icon honoree Ronald “Slim” Williams of Cash Money/Young Money; Catherine Brewton, BMI Vice President, Writer/Publisher Relations, Atlanta; and icon honoree Bryan “Birdman” Williams. October 2013


Lucy Wainwright Roche

New Album with Guests Colin Meloy, Mary Chapin Carpenter

By Dan Kimpel


inger-songwriter Lucy Wainwright Roche works well under pressure. Scheduled to track her sophomore full-length with friend, collaborator and producer Jordan Brooke Hamlin, she had only one new song ready. “I made a deal with myself that I would write a song a day. I didn’t allow myself to go out of the house and do anything else. And some days it took a long time.” Time constraints notwithstanding, the resulting collection, There’s A Last Time For Everything is a sagaciously written and strikingly sung collection of songs. Empathic arrangements and subtle production highlight the purity of Roche’s voice and the perceptions expressed. Augmenting the 10 original tracks is a stripped down reimagining of Robyn’s dance hit “Call Your Girlfriend.” Guests include Colin Meloy from the Decemberists, Mary Chapin Carpenter and Robby Hecht. Hamlin tracked the album in the basement studio in her Nashville home. “We didn’t do very many takes,” says Roche. “I can get very perfectionistic about little moments in the vocals. This time, in the spirit of the record, I went with the flow, and didn’t sing the songs that many times. I wanted to get full performances and early takes, so we weren’t beating the songs to death.” Lucy Wainwright Roche is a link in a notable lineage of singer-songwriters that includes her parents, Loudon Wainwright III and Suzzy Roche of the Roches, and siblings Martha and Rufus Wainwright. Raised in New York’s Greenwich Village and on the road with her family, this young artist’s career is the opposite of many singer-songwriters. Resisting the pull of the family business, Lucy attended college in Oberlin, OH. “I was really into getting out of New York and going to Ohio. Oberlin is a tiny town and I spent time with friends out in the rural areas.” After graduation, she returned to teach school in New York City. “I didn’t do it long enough to perfect my act,” Roche continues. “I would probably be a better teacher now after having done these years as a performer. They’re similar jobs––communicating to a group of people, so they really overlap. I used to be shy, but I’ve been cured of that.” In 2005, a tour with brother Rufus sparked Lucy’s solo career and instigated an exit from the classroom. Roche says that her illustrious bloodlines are an advantage. “I’ve never not had that aspect to my life or career. People who are interested in my dad, mom, brother or sister are more likely to give my record a listen, which is really helpful in this age.” And touring with the family, Roche observes, is an ideal way of connecting with them. “We don’t see each other all that much because we’re all on tour; but going on tour together is like the ideal family vacation. You’re traveling, you have a plan every day, and you get paid. Most people don’t get to do that on a family vacation.” Earlier this year, Roche collaborated with her mother, Suzzy, on Fairytale and Myth, produced by Rob Morsberger in the final stages of his battle with terminal brain cancer. “Rob, who played the instruments and recorded it, died in June. It was a really special project to do at the end of his life. And now my mom and I have this record of us singing together, and we’ve been doing shows and house concerts together, which is an adventure. We’re very compatible, I grew up on the road with her, we’re used to traveling and sharing hotel rooms.” On this day, Roche is packing for a series of solo shows in Alaska. In anticipation of inclement weather, she has even purchased a raincoat. “So it had better rain,” she laughs. With the release of the CD, she will be touring what she terms “these American parts.” She says that seeing the effect of how her songs read to others is often a revelation. “Their takes can be totally vastly different that what happened in your head. When it’s out in the world it doesn’t belong to you any more because everyone is having their own private experiences with the songs.” Contact Monica Hopman, Think Press,

30 October 2013

October 2013



Steve Jablonsky has composed the music for the upcoming epic adventure Ender’s Game starring Asa Butterfield and Hailee Steinfeld and written and directed by Gavin Hood. The film is being released on Nov. 1st. Jablonsky also wrote the score for the upcoming action thriller Lone Survivor starring Mark Wahlberg and Taylor Kitsch and directed by Peter Berg.


STEVE JABLONSKY The film opens in limited release on Dec. 27 and goes wide on Jan. 10, 2014. For more information, contact Jeff Sanderson at Chasen PR, 310-274-4400 or Nashville, TN-based singer-songwriter Jessica Campbell is taking part in the current installment of Crate & Barrel’s “Get The Download” offer. Campbell’s song “Be You” is available via free download from Crate & Barrel; the offer is presented on in-store cards as well as online at the company’s website and catalogs. Campbell is currently promoting her second album, The Anchor & The Sail, which was released April 30 via Little London Records. The Crate & Barrel promotion continues through October. Contact Krista Mettler at Skye Media, krista.mettler@

Legendary Mountain drummer Corky Laing teams up with two internationally acclaimed philosophers (Prof. Matti Häyry and Dr. Tuija Takala) in a joint effort to bring together ‘70sstyle music and contemporary moral problems of gene technology in the concept album Playing God. This crossover between academic research and rock is meant as both a rock album and a soundtrack to a rock opera. For inquiries in the US, contact Glass Onyon PR, 828-350-8158 or Disney Interactive and Harmonix Music Systems are teaming up with award-winning composer Inon Zur to develop original music for the game Disney Fantasia: Music Evolved, a breakthrough musical INON ZUR motion video game inspired by Walt Disney’s classic animated film Fantasia. To celebrate this announcement, Zur conducted some of the orchestral classics that will appear in Disney Fantasia: Music Evolved with the Disney Chamber Ensemble at Disney’s D23 Expo. Disney Interactive released The Evolution of Disney Fantasia trailer that can be viewed at For complete information, contact Greg O’Connor-Read,


JESSICA CAMPBELL 32 October 2013

APRA|AMCOS and Tropfest have announced the next installment of Tropscore and Tropscore Jr., two competitions that provide a unique opportunity for musicians of any age and genre to try their hand at composing music for film. The animated short film at the heart of the competition, Apart, has been made by the winners of Tropfest New York 2013––Australian filmmakers, Nick Baker and Tristan Klein. Apart tells the sweet story of two lovesick characters living their version of a long distance relationship. To enter either competition and

for full instructions, visit tropscore. Entries must be in by 6 p.m. on Oct. 10, 2013. Iconici Weekly Radio is looking to interview experts in entertainment to get the scoop on the latest happenings. The series is hosted by Miss Naiya Marcello, Poetrynmotion and Syndee. Email Syndee at info@ WSGZ, a show on http://, is looking to interview rising stars in the urban genre. Contact the producer on duty at 863-874-0161 or The Luther Active Show, a live web show on Ustream, is seeking guests to speak on music and entertainment that appeals to the AfricanAmerican communities nationwide. The show is broadcast live from Rochester, NY and guests can be interviewed via either Skype or phone if need be. Email lutheractivesaintjoy1@ TSOTS Interviews is a featured show on BTR seeking expert models, rappers and singers to interview. Contact Brandon Daniels at 281-6171975 or Lava Lamps & 8-Track Theatre is a Saturday morning show on broadcast radio in the San Francisco, CA, area that focuses on B-movie trailers and clips, obscure psychedelic rock from the ‘60s and ‘70s, videogame sounds and vintage television clips mixed with live comedy and commentary. In particular they are looking for celebrity musicians who fit their demographic. Pitch to Isabella Acuna, Unsigned Radio is a platform serving Philadelphia, New Jersey and Delaware for indie artist/entertainers to be heard by a

– TOM KIDD mainstream audience via broadcast on the AM dial and world wide via the TuneIn App. They are actively opening their doors to music artists and industry professionals in all genres. Email Unsigned Radio at info.unsignedradio@

tour and a reality series to introduce the eight performers of Men of the Strip to the general public. The singer will both perform and play host to the launch of the new brand. To learn more, visit or contact info@

MediaFameTV is currently seeking musicians, models and anyone who works in the entertainment industry for its weekly program. Their mission is to support diversity in entertainment and cover non-gossip issues. They want people who “really have a story to tell.” Contact Blasian Quita at

Not your typical band-on-tour flick, Rock For The Rising Sun on DVD captures Aerosmith performing at various venues in Japan in the autumn of 2011, just after the country suffered through an earthquake, tsunami and subsequent meltdown of the Fukushima plant. This 94-minute film from Eagle Rock Entertainment follows the band on that tour combining fulllength live tracks with behind the scenes footage, which is at times touching and emotional and, at others, humorous and insightful. Heavily emphasizing the rocking side of the band, the one-disc DVD retails for $14.98, Blu-ray $19.98.

The G “LOCC” Show (aka The Grady Beachum Show) is a brand new 30-minute program where Beachum plays music from unsigned artists. The primary focus is rap and hiphop but he is open to other genres as well. Contact G “LOCC” directly at 727-4835370 or at hunka2007@ If you are looking to expose your artistry to the South East Asian and British markets, Singapore’s CarryOnHarry Talk Show wants to hear from you. The format includes both a musical showcase and open-ended interview. Contact harryjohal@ Wide Open Radio After Dark is seeking expert authors, singers, rappers, poets and comedians to feature as guests. Interested artists in the urban genre should contact Host/DJ Rob Anthony at Sayin it Plain, a progressive show with a very Liberal view point, is looking for musical guests of interest to their primarily African-American and Latino listeners. Contact show co-host Ms. Chelle at



Fresh off The Package Tour which featured his group 98 Degrees alongside New Kids on the Block and Boyz II Men, Jeff Timmons has teamed with choreographer Glenn Douglas Packard to create a multi-faceted new live male revue called Men of the Strip. Building toward full live performances, Timmons is building buzz with an extensive US promotional

Gearing up for the 2013-2014 U.S. Broadway Theatre Season Tour, Sandy Hackett’s Rat Pack Show will make stops in Council Bluffs, IA (Oct. 11); Mason City, IA (Oct.12); Newark, OH (Oct. 17); Galesburg, IL (Oct. 19); Traverse City, MI (Oct. 25); Benton Harbor, MI (Oct. 26); Marion, OH (Oct. 27) and Statesboro, GA (Nov. 1st). This year also marks the show’s Canadian debut, performing in Markham, ON Canada (Nov. 20th). The full 2013-2014 season schedule can be viewed at Contact info@ After their successful launch of Season 1 last year, MUBUTV (Music Business Television) has announced the launch of Season 2 of MUBUTV’s: Insider Video Series. Season 2 features interviews with some of today’s leading international music business professionals from the UK, Australia including booking agent Tom Windish (The Windish Agency), Artist Manager John Watson (Eleven Music), Tom Callahan and UK manager Mark Muggeridge. Interviews were shot on location at this year’s global music conference MUSEXPO held this past May at Hollywood’s landmark Roosevelt Hotel. Catch up with the series at and on their YouTube channel. Contact John Sanders at or 424-245-0416. Director Alfonso Cuaron enlisted composer Steven Price to create a complex and versatile score to mirror the ambition of his latest film, Gravity, coming Oct. 4, starring Sandra Bullock and George Clooney. The film follows two astronauts banding together to survive after a disastrous accident wipes out their crew and sets them adrift in space. Price’s score serves not only as a traditional film score, but also as musical sound design since there are virtually no sound effects in the film, with the exception of some sound vibrations and the clanking of metal heard while the astronauts are inside the capsule. Contact Costa Communications, publicist@ TOM KIDD's 20-year career includes extensive experience as an artist, producer and performer. Tom has promoted, marketed and developed Emmy- and Oscar-winning composers. He is President of Pres Pak Public Relations.

Out Take

Konstantine (Koki) Lortkipanidze Resident Composer & DJ

Email: Web: Most Recent: The Vampire’s Ball How do you get to the theater? Practice. Add networking to the equation and one has the basic storyline of how an Eastern European composer came to become resident composer and DJ of an experimental theater just outside Washington, DC. That is where the Synetic Theater’s annual Vampire’s Ball hits Nov. 1 with a performance of The Portrait of Dorian Gray followed by a dance party DJ’d by the theater’s resident composer, Konstantine Lortipanidze. Lortipanidze knew intuitively he’d someday leave his home in the former Soviet republic of Georgia for the wider world, but he thought he’d be in Western Europe. US productions are too different from what he’d practiced. “Broadway-type musicals are not big in Europe,” he points out. “In Georgia, the theaters themselves are much larger but that’s just the architecture. The productions themselves are minimalistic.” Having followed his cousin into the local art world after graduating university, Lortipanidze developed a firm background in the style of theater popular in Georgia. “I was always around pantomime,” he says, “and was always interested in using music in live theater.” It was during an updated production of a silent movie that Lortipanidze’s work caught the ear of Irina Tsikurishvili. She and her husband Paata were themselves natives of Georgia, but had emigrated to the US during the ‘90s. They launched Synetic Theater in 2002 with a wordless Hamlet that would earn their new endeavor three 2003 Helen Hayes Awards. Invited to the US, Lortipanidze accepted the position at Synetic. Happy for the moment with Synetic’s mesh of European art and US commerce, the composer is aiming at film. “In your mind, you always have the big goal,” he says. “You go to it step by step.”

October 2013




To honor the release of their new album Hail to the King, Avenged Sevenfold took the Palladium stage in Los Angeles, CA, offering a free show to fans. The band also announced dates for their “Hail To The King” tour, a headlining US arena tour in October which is the band’s first full-scale American trek since 2011. Visit



Following the success of the 2011/2012 world tour celebrating the 35th Anniversary of his multiplatinum live album Frampton Comes Alive!, Peter Frampton went back on the road with Frampton’s Guitar Circus. Each night, his set will be recorded and subsequently sold in digital format. In August, Frampton traveled through Atlanta, Washington DC, Los Angeles and more with acclaimed slide blues guitarist Sonny Landreth opening the show, followed by the legendary B.B. King.

GROVER, ROBERTS HONORED IN NEW YORK As part of the “Paley Center Salutes Broadway” event, vocal coach and singing voice therapist, Mary Grover, was honored at the Paley Center New York for her co-starring role as Julie with Robert Goulet as Billy in the ABC TV musical Carousel. Jimmy Roberts, composer of two Off-Broadway musicals: I Love You, You’re Perfect, Now Change (second longest-running after The Fantasticks) and The Thing About Men (voted Outstanding Musical of 2003) was also honored. Pictured (l-r): Grover and Roberts.

34 October 2013




HEART HEADLINES THE GREEK Heart made a two-night stop at the historic Greek Theatre in Los Angeles. The band performed many classics, including “Crazy on You” and “Baracuda,” and encored with a unique performance of “Stairway To Heaven” accompanied by opening act Jason Bonham’s Led Zeppelin Experience. For upcoming Greek events, see http://

Tidbits From Our Tattered Past

LETSTALKMUSIC HOSTS ZIGGY MARLEY LAMA College for Music Professionals in Pasadena, CA, hosted five-time Grammy and recent Emmy winner Ziggy Marley and Grammy-winning producer Native Wayne Jobson for LAMA’s new #LetsTalkMusic series—a private invite-only event hosted every quarter for students, alumni and associates. Jobson interviewed Marley, a musician, actor, artist, activist and humanitarian, about his history in the music industry, his journey as an artist and aspirations to effect change with his music. Pictured (l-r): LAMA Vice President Mike Packer, Ziggy Marley, LAMA President Tom Aylesbury, Native Wayne Jobson.


1985–Mary Jane Girls–#14

ROCK & ROLL ALL NITE—AND READ ABOUT KISS ALL DAY Author Ken Sharp along with co-authors Gene Simmons and Paul Stanley of Kiss signed copies of their latest tome, Nothin' to Lose: The Making of Kiss (1972-1975), at Barnes and Noble at The Grove in Los Angeles. By press time this new oral history, featuring over 200 exclusive interviews, debuted at No. 9 on the NY Times Best Seller List. Pictured is Sharp with the “Demon’s” wife (and co-star of Gene Simmons Family Jewels), Shannon Tweed.

A mainstay of the Rick James funk empire, the Mary Jane Girls graced this cover, with the maestro chiming in. "I think women have a lot to say," James pointed out, "and I feel because of my many experiences with women, I can write better for them than I can for myself." The issue also spotlighted Columbia Records A&R execs including Ron Oberman. Also featured are super-trio Phantom, Rocker & Slick, the Replacements and keyboardist Greg Phillinganes.




The annual Outside Lands Festival in San Francisco, CA, came to a close last month, but not before showcasing legends from the past and upand-comers of the industry’s future. Sharing the stage over the three-day festival were Daryl Hall & John Oates (pictured far left), Red Hot Chili Peppers, Nine Inch Nails, Phoenix, Vampire Weekend, Pretty Lights, Yeah Yeah Yeahs, Matt & Kim (pictured center) Dawes, the Head and the Heart, Paul McCartney (pictured right), and much more. Get a full wrap at http://

1997–Ben Folds Five–#10 The oddly named trio from North Carolina were featured on this cover, discussing the success of their major label debut. "I had the biggest hangups about singing," said Folds, "because I thought, 'I can't sing like Pavarotti, so why waste everyone's time with this squeeky voice?'" An interview with jazz keyboardist Chick Corea is also a highlight of the issue.

October 2013



l-r: Travis Stever, Claudio Sanchez, Josh Eppard, Zach Cooper 36 October 2013


efore music television, bands had to tell stories solely through their music. Concepts through their art. Pink Floyd built The Wall and the Who told the tale of a young boy named Tommy. Over 30 years later, with iTunes singles and three-minute quotas for mainstream radio, concept albums are few and far between. Nyack, NY prog-rockers Coheed and Cambria not only believe in the true rock & roll era of their music forefathers, but they have taken it to 11 with Coheed’s entire existence hanging on one deep, voluminous concept. A concept that not only consists of full-album stories, but comic books and a novel as well. When frontman Claudio Sanchez and company were signed to Equal Vision Records in early 2002, the band unleashed Second Stage Turbine Blade, a debut release, but second album in a five-record concept. The band spent the next eight years releasing the remaining four albums through Equal Vision and/or Columbia Records. Once the concept came to an end, Coheed and Cambria had to decide what would come next. By this time, Sanchez had made a name for himself not just through music, but his comics as well. Frequently participating in events like Comic-Con in San Diego, Sanchez had expanded his creative palette with the development of Evil Ink, a comic-book publishing company. Now, through the band’s own label, Everything Evil, Coheed and Cambria have released a double-album concept, The Afterman—a prequel to explain how the Amory Wars (the first five records) began. Amidst all this, Sanchez took some time to sit down with MC during the recent Rockstar Energy Drink Uproar Festival and discuss a day in the life of Coheed and Cambria.

Music Connection: Are you guys having a good time on Uproar? Claudio Sanchez: We are. We are on day five. So far, so good. Sometime I’m more of a fan of the indoor show, but this [festival] so far has been good. The turn out has been good. The monitors and the mix haven’t felt like a normal festival. A lot of the tour is in sheds and amphitheaters, so it is sort of enclosed at points. So I’ve been actually enjoying myself. MC: Festivals can be a drag with so many bands playing at once… Sanchez: Yeah, very true. I mean, it’s funny. This festival is structured differently. It starts in the early part of the day then there is the main show that happens later on where all the other stages sort of close down so it feels like a show, but with a festival atmosphere attached to it. As opposed to say a Coachella or another normal festival setting. MC: How did Comic-Con go this year? Sanchez: It’s our 10th year doing Comic-Con. We’ve been doing it for a while now with the book that is attached to the band and some of the other books that I do that aren’t. Evil Ink has become an established company in print. We do San Diego, which has been great for us every year. We do New York, which has been tremendous. And now we’re branching out to Chicago and Baltimore, Philadelphia, we’re also looking to do the Emerald City [Seattle]. MC: Do you enjoy doing these types of events? Sanchez: Comic-Con is a real treat. It’s a way to interact with the

We try to incorporate everything in terms of the merch. [We have to respect that] there are so many different versions of a Coheed fan. – C L A U D IO S A N CH E Z October 2013 37

fans of the band that like that dimension of what we do—the comic books being another side of creativity that I get to exercise. It’s fun to go out and do Comic-Con… it’s almost like the band’s live show with respect to its music; that’s sort of how Comic-Con feels to the comic book.

I became a fan. With all these 8-bit versions of Coheed songs, I keep thinking to myself, “Maybe one day I’ll actually sing across them.” That’d be kind of fun. MC: Coheed has unique merchandise: instant USB thumb sticks of a show just attended, comic books, etc. How important is unique merch these days? Sanchez: We try to incorporate everything in terms of the merch. [We have to respect that] there are so many different versions of a Coheed fan. Some may not like the concepts, and just like the music and some might want even

and trying to color my life a little differently. With respect to creating a flash drive for fans who attended the 10-year anniversary Second Stage Turbine Blade Tour, we wanted to give fans an updated version of those songs. We have been performing them for so long that they have changed over time. I think that was the idea… Let’s capture these moments and present them to the audience.

MC: Since Coheed and Cambria’s debut release in 2002, the way artists interact with their fans has changed quite a bit. How does Coheed handle the “direct to artist” format on platforms MC: Every live Coheed show is unique. You’ve like Twitter and Reddit? performed with the USC Marching Band, brought Sanchez: It was sort of an easy transition [for out a Theremin during a solo. Is there a motivaus]. Back in the day, before Coheed got signed tion to change the performance each tour? to Equal Vision, we had a Sanchez: It happens small website (under the organically. A thing like the band name Shabütie) that theramin, I’m very much a we sort of used as a blog. A fan of modular synthesizers friend of ours blogged about and synthesizers in general. the shows we would do I just happened to have up and down the Hudson one and thought, you know River. During that time, that what, why not incorporate blog, in that moment, really it? It might be fun to have helped grow our fan base. a moment to feature it. And So [the direct fan interacthat sort of creates awaretion] has always been in ness where people say, the DNA of the band… a “What is that thing?” Then social media outlet before they go and investigate. Facebook, Twitter. We try to mix it up [live], Like the comic book we try to do interesting rThe band’s entire music catalog (seven full-length albums) is a science signings at Comic-Con things like the Neverender fiction concept created by frontman Claudio Sanchez, which he depicts and even with Coheed, fan Concert Series [where we through comic books and a novel. They also have three live albums. interaction has always been play every album from bea part of our growth. It feels ginning to end in a few cities rThe name Coheed and Cambria comes from the two main characters very second nature and across the US], the Second named in the Amory Wars comics, respectfully. good to have that outlet to Stage 10-year anniversary, communicate with fans. etcetera. Trying to honor rThough signed in 2002 by Equal Vision Records, Coheed and Cambria the history of the band and have been writing music since 1995 (at that time under the name Shabütie). MC: Do you wish you could celebrate it with the band. have interacted with bands Something like that is a little rThe band’s third release, Good Apollo, I’m Burning Star IV, Volume One: when you were a fan? more premeditated whereas From Fear Through the Eyes of Madness, hit No. 7 on the Billboard Top 200 Sanchez: For me, growing bringing elements like chart in 2005. up I didn’t necessarily want theremins and other toys are to meet the artist. But then more of something to create rAccording to a studio update in 2012, Coheed manager Blaze James there were moments when an interesting texture that “cold-called” current bassist Zach Cooper to audition for the position, I did. Did I feel like I got may pose a question and based upon a personal recommendation. what I wanted out of them? create interest. Probably not, they were rIn 2012, Sanchez announced news for a Coheed and Cambria film, which is busy. But at the same time MC: Should fans anticipate yet to be created, will be produced by Mark Wahlberg and Stephen Levinson. I put that idea in my mind, another Neverender Tour? “If I could, I would be a little Sanchez: We’re definitely rSanchez once saw a tattoo of himself naked, riding a dragon on the neck more open [as an artist].” going to do another Nevof a fan. So I think the timing with erender tour. Neverender social media is just right. proper is usually going to be rThe track “Holly Wood The Cracked”—from the band’s 2012 release Afterbranded as Neverender. If man: Ascension—is, as Sanchez describes it, “inspired by a real life situaMC: These sites expose we do another one proper, tion where a ‘fan’—maybe not a fan anymore—was creating these strange your fans’ passion for your it will be Neverender 2. It’ll YouTube videos and sending them via Twitter to my wife and I where she art. What was it like to see have the roman numerwas shirtless and calling us racists, communists… it was bizarro. I immediyour art inked on someone als that follow. But if we’re ately wrote [the song] after.” else’s body? going to do a Neverender Sanchez: It was certainty involving Second Stage flattering. Whether it’s where we’re going to honor [our logos] the Keywork or one of the records because the Dragonfly, sometimes I see art that really more than the music, the backstory. It’s trying we’re celebrating an anniversary and so forth, blows me away… One time I saw a tattoo on to make use of all those things that we do when those tours will always be accompanied by the this girl’s neck of me naked riding a dragon. It we package something. title of the album. was wild. I’ve seen sleeves of comic book art. Certainly with the comic book, coming up I’ve definitely thought about this a bunch. DoIt’s just like… wow. To see that much passion doing that sort of dimension of presenting the ing a second one, or doing The Afterman in its behind something like this is really rewarding band—this hyper-concept driven music—you entirety, I definitely have plans for Neverender. and makes you feel like you’re doing somedon’t even need to really get into the concept One day, if we’re so lucky, we’ll have the movie thing right. It really excites me that it’s touching to enjoy the band, but it’s something that has accompany us. people in that way. become the cornerstone of what we do in terms of everything else. Looking at it subjectively and MC: Speaking of movie, you had announced at MC: We’ve also heard some crazy 8-bit vertrying to figure out how to really make it more 2012 Comic-Con that a Coheed and Cambria sions of your songs on YouTube created by the than just music, and more of a culture. movie might be in the works. Any update on Coheed faithful. that? Sanchez: I’m a big fan of that. I don’t know if MC: Was it always the master plan? Sanchez: At the moment it’s very slow moving. you remember there was this kid who would Sanchez: It was accidental. I wasn’t 18 years We’re trying to get the right pieces in place to make 8-bit versions of Iron Maiden songs and old thinking, “How can I figure this out?” I was make it happen. If we were ever so fortunate, he would sing over them. And they were great. thinking in terms of science fiction and fantasy it would be great to do a Neverender complete



38 October 2013

where you get the visuals to accompany it. Almost like when they do Star Wars with the orchestra playing along against the movie [live]. MC: How difficult is it to create a short set like Uproar when Coheed is trying so hard to honor everything written in the past? Sanchez: That’s why we save those for Neverender. With Uproar, we only have 40 minutes on the tour so we can cater this set to Afterman because it’s the new album, but for the most part we know the window is kind of small so we try to pick a nice eclectic mix that will please everyone—certainly new fans as well as old. MC: How did last year’s Iron Maiden tour happen? Sanchez: For us, it was something management was looking into for a long time and Iron Maiden seemed to be into the idea. We’ve been very fortunate in terms of the bands we’ve gotten to open up for [like] Black Sabbath with Ronnie James Dio. I mean, that was my first concert ever in 1994 was DIO and to be able to come full circle and be a band opening for them, it was just like, “Wow, this is a band that inspired me to do what I do now. This was the first show I had ever seen that solidified what I wanted to do.” Follow that up now with Iron Maiden, Soundgarden, Jane’s Addiction and Alice In Chains—we’ve been very lucky. I think management being persistent and wanting to see our band in that light…

Vision) I had a side project called Coheed and Cambria. When we signed to Equal Vision, the name Shabütie didn’t necessarily reflect the type of music that we were playing. Everyone in the band seemed to like the name Coheed and Cambria as a side project. So when the band brought over the name, I brought the concept over with it. When I originally conceived the idea, I thought of it as a three-part that would end with In Keeping Secrets. But when I completed that record I found that there was certainly a conclusion to that story but not necessarily to the overall arc. That split the next record into two pieces (Good Apollo 1 and 2). From there, that sort of concluded the idea of Coheed and Cambria. That was the end… So we went back and did Year of the Black Rainbow, which was basically the origin tale of the two characters and then from there the concept of those two characters is complete. It

wasn’t until I started writing The Afterman that I saw the potential in that concept and going back and telling the story of Sirius Amory, who is the namesake of the Amory Wars [comics]. It just started to spiral where I almost can’t see this music without this counterpart, ya know? But back then, did I know it was going to get like this? Not really. I had goals and ambitions and was always excited, and still to this day we’re crafting ideas and are working on readapting Good Apollo 1 into an eight-issue [comic] series, and still I come up with ideas when I look at the lyrics and what I was thinking when I was creating those stories, and just making those things bigger and bolder. I’m just very fortunate and I understand that. But I’m really excited it’s happened. Contact Tasya Swisko,

MC: Your management made all this happen? Sanchez: Blaze James is our manager. He is more than just a manager to me. He has become one of my best friends, if not my best friend. He acts like the funnel. I am the guy throwing ideas all over the place and just can’t stop, but he helps funnel and focus them and put me in a place to really figure out how I want these things to be what they end up being. A lot of credit goes to Blaze, and my wife who assists in [the funnel process] as well. Every day I come up with something, and they either make it or they don’t… But when I come up with something, 100 percent of my heart is behind it and I’m full steam ahead, and it might not necessarily be the greatest idea. So I have those checks and balances from both of them. MC: Any advice for others seeking a manager? Sanchez: I can’t see myself doing this without Blaze. He’s become a partner, a friend, a collaborator. He is more than just a manager to me. I think that’s what everyone should look for in that sort of position. MC: Who decided on Howie Weinberg to master The Afterman series? Sanchez: This last record we put out on our own label, Everything Evil, with Hundred Handed, which is Craig Aaronson. We wanted Howie to work on [the previous release] Year of the Black Rainbow. Some way or another it didn’t work out. So this time around we threw it out and had a few masters and we seemed to really like his master. He’s a really tremendous personality. Really cool guy: a lot of fun to be around, very enthusiastic. I really like him a lot. I can see myself working with him again. It was the band’s decision to pick Howie. MC: From Equal Vision to Columbia to Everything Evil; did you always see the Coheed and Cambria story being told to completion? Were you ever worried it would get cut short? Sanchez: It’s always been the plan. With Shabütie (back before we signed to Equal

The GRAMMY Museum® Exhibit Opens June 12, 2013 800 W. Olympic Blvd., Los Angeles, CA 90015 Monday-Friday 11:30am - 7:30pm, Saturday- Sunday 10:00am - 7:30pm

For more information, go to GRAMMYMUSEUM.ORG GRAMMY Museum and the Museum logo are registered trademarks of The Recording Academy and are used under license. !


October 2013 39

Company: Howie Weinberg Mastering Clientele: U2, Beastie Boys, Public Enemy, Coheed and Cambria Contact: Howie Weinberg got his start under the tutelage of famed mastering engineer Bob Ludwig. He began as a studio jack-of-all-trades, but as his skills sharpened Ludwig built him his own room and things quickly mushroomed. In time, Weinberg has relocated to the West Coast, established his own studio and continues to expand his client roster. He has mastered more than 2,500 records, notably the Saturday Night Fever soundtrack. Which mix problems can be addressed in the mastering stage? Which can’t?

That’s probably a bunch of bunk. It may have a lower error rate, but I’m not sure that anyone can actually hear it. Generally, are the online mastering forums a good resource? They’re pretty accurate. You have to sift through who’s giving the information. Is it someone who has a lot of experience or is it a newcomer? A lot of kids do their homework these days and it shows in their work. Are there red flags that tell a musician that might be working with a less than reputable mastering engineer?

I can fix anything—if it’s too much bottom, too little bottom, too much top. I can change the whole characteristics of the recording, if need be. I work with a lot of well-known mixers and their mixes are pretty much dead-on. Much of what I do is take their work and make sure that it transfers and feels nice.

There are some cases where new guys are qualified, but why would you want to have someone who’s worked on 50 or 100 records instead of someone who’s worked on 2,000? Maybe the [less experienced] guy is cheaper, but the bottom line is that you get what you pay for.

What are the new challenges in mastering today, something that wouldn’t have been an issue five years ago? Equipment gets better every year but it doesn’t mean that mixes are getting better. There are still a lot of amateurs out there. Right now everyone uses a lot of the same workstations, a lot of the same plug-ins. So it comes down to skills. How closely do you work with mix engineers?

What’s the biggest mastering challenge you’ve ever faced?

“Maybe the [less experienced] guy is cheaper, but the bottom line is that you get what you pay for.”

Pretty closely, since they’re the ones who usually filter me the gigs. Often they just send me the files and I don’t hear from them, because they know I’ll take care of them. It’s always a good idea to have a chat with the client, or get their notes, before I master because some people like it super loud, some people like it dynamic. What’s the ideal format for mixes that you receive? 24-bit, anywhere from 44.1 to 96 [kHz]. But to be honest, bit formats are useless. If you record something at 96 kHz, that’s a crappy mix––sample rates aren’t going to make it sound better. Have you ever mastered a 24-carat gold CD? It’s been said that gold discs sound closer to the original recordings.

40 October 2013

I spent two and a half weeks mastering a U2 record in the ‘90s. Everybody showed up and they weren’t even finished mixing. There were four different producers, four engineers and the band was hitting the road soon. But when we finally finished and pushed “play,” damn but didn’t it sound great.

What’s the biggest technical challenge/problem you’ve ever gotten out of? Half the time when I make records too loud, the client complains. If you make them too soft, they complain that they’re not loud enough. But as long as my gear works, I’m happy. I don’t really have technical problems. What do you say to fledgling mastering engineers? It’s a tough gig. How do you get credits if you don’t have any? Just follow your dreams and one day a project will show up that will put you on the map.

Company: Maor Appelbaum Mastering Clientele: Sepultura, Halford, Yngwie Malmsteen Contact:, 818-564-9276 Maor Appelbaum got his start with Sylvia Massy, producer and engineer of Tool’s Undertow. Ultimately he relocated to Los Angeles, CA, and launched his own studio. Today clients send him files from as far away as Europe and Asia. Although he has worked with a number of heavy/death metal bands, he doesn’t limit himself to any single genre and says he strives not to impress his own sound on a record. Which mix problems can be addressed in the mastering stage? Which can’t?

Do the online mastering forums offer good information? We’re dealing with technology, art and taste. Some people have a great experience with certain hardware or software. Other people have a horrible experience. You need to find what’s good for you. Just because a piece of gear is high quality doesn’t mean that it’s easy to use. And, you may not get the results you want quickly and that can make you not want to work with it. Are there red flags that show a musician he might be working with a less than reputable mastering engineer?

I prefer to get a duller mix than a bright one. A duller mix I can brighten easily. You can create problems because high-end was added, but not in a balanced way. For example, you can have a mix with a lot of open cymbals but the vocals are dull. When I try to brighten the vocals, the cymbals become sizzled.

It’s always about communication. You can work with a reputable mastering engineer and get a great result, but if a problem suddenly arises and he’s not willing to communicate with you, how can you deal with it? You can also work with someone who has less of a reputation and can bring you what you want. If there’s a problem and you can talk with him, you can find a solution.

What are the new challenges in mastering today? People put too many plug-ins on the master buss in a way that can’t be undone. That limits what I can do and it takes away from the quality of the mix. If I get a mix with no buss compression, I have the option of adding it. But when it’s done in a mix and I ask them to take it off, it tears it apart. How closely do you work with mix engineers?

What’s the biggest technical challenge/ problem you’ve ever gotten out of? Working on an album that has a lot of producers and/or mixers. In order to make such an album sound great, you have to find a way to compromise to achieve cohesiveness. You can’t make everything flow without making adjustments, and sometimes you have to take off something from a mix to accommodate the others.

“People put too many plug-ins on the master buss in a way that can’t be undone. ”

In case the producer or mixer wants changes, I’ll accommodate them and make revisions. I like to extend communications so that each side is comfortable making suggestions. They appreciate me caring about a project and going the extra mile. What’s the ideal format for mixes that you receive? A stereo interleaved WAV file. Multi-mono is fine too. I usually recommend some headroom: between minus 3 and 6 dB peaking. There’s more chance that it will sound clear if there’s more headroom and less chance of clipping it. I recommend keeping it the same sample rate and bit-depth as the original mix session. To keep the fidelity, it is best not to down/up-sample or dither. But I’ve also successfully mastered projects that have been changed in these ways.


What advice do you give to fledgling mastering engi-

Understand the different genres and territories. When you do French rock, understand that it’s not like American rock; Swedish metal isn’t like American metal. Listen to all the styles and try to figure out how to accommodate each one. Any final advice? Experiment with different gear and see what you like. Not every piece is meant for every situation.

October 2013 41

Company: Sterling Sound Clientele: Foo Fighters, Vampire Weekend, Imagine Dragons Contact:, 212-604-9433 New York City-based Joe LaPorta began his career by making beats. Ultimately he landed a deal with New York hip-hop label Rawkus Records and worked in production and related fields. LaPorta interned with New York mastering studio The Lodge and stayed on there for eight years, eventually moving to famed mastering house Sterling Sound. Notably, he mastered Foo Fighters’ Grammy-winning Wasting Light. Which mix problems can be addressed in the mastering stage? Which can’t? Often kick drums and bass lines overlap and one may be dominant. So you need good separation and definition. When I have the stems or they go back to the mix and fix it on their own, that’s a much more beneficial way to do it. Otherwise, you end up digging into the low end and taking away things that can hurt the drums. I often get mixes on the darker side and that’s great because obtaining a high-end tends to have a nicer result than if I receive a bright mix that was done all in the box.

Do the online mastering forums offer good information? If I’m in a crunch, I’ll check them. There are a lot of people who hide behind usernames and claim to know it all. Other times I’ve received useful information. We have amazing technicians here, but if they’re stumped I go to the forums as a last resort. Are there red flags that show a musician that he might be working with a less than reputable mastering engineer? Dealing with a mastering engineer who’s stubborn and/or unwilling to accommodate. This is a customer service industry; we’re here to facilitate what the client wants. You can always chime in with your experience, but it’s up to the client. It’s not always the case, but be cautious if the rates seem too good to be true. What’s the biggest mastering challenge you’ve faced? Sometimes you’ll have 80 percent of an album complete and then there are a few things at the end that are strikingly different. Getting those to sit in the same world can be difficult. Another challenge is mastering from digital and tape sources and piecing them together.

What are the new challenges in mastering today? Getting mixes that are too hot are a potential problem. It has been compressed and limited too much and it has lost a lot of the bounce, dynamic and punch. Often I’ll ask for a mix that’s quieter, that doesn’t have the stereo buss plug-ins. I’ll have their loud one for a reference and then I’ll take it to the next level.

What’s the biggest technical challenge/ problem you’ve ever gotten out of?

“Many of the mix engineers I’ve worked with send me mixes while they’re still in the rough draft stages.”

When there have been time constraints, I’ve had a mix and had to fly-in vocals underneath it to raise the vocal volume. It can be tricky because you have to avoid issues such as phasing.

What do you say to fledgling mastering engineers?

How closely do you work with mix engineers? Many of the mix engineers I’ve worked with send me mixes while they’re still in the rough draft stages. I’ll point out things that I’m hearing. Having good communication throughout the process is the best way to achieve something that everyone is happy with.

Be prepared to work hard. It’s a slow, tedious, detail-oriented process. There’s little room for error, being that it’s the final stage before people send off their babies to be manufactured. The artists and labels want to be sure that they’re in good hands. For that to happen, they look at your body of work and it takes time to build that up.

What’s the ideal format for mixes that you receive?

Any final advice?

I’m happy to work with any high-res WAV or AIFF formats, but I’m also seeing more 32-bit files since Pro Tools 10.

As a mastering engineer, you get a variety of material. Taking the same approach doesn’t work all the time. Often it requires rethinking the whole plan. Sometimes minimalism is the most effective approach to mastering.

42 October 2013

Company: Capitol Mastering Clientele: Bob Seger, Sick Puppies, Graffiti6 Contact:, 323-871-5003 After graduating from Boston’s Berklee School of Music in ‘84 with a degree in audio recording, Bob Vosgien switched coasts and took a job with Capitol Mastering in Hollywood as a production engineer, where he worked under famed mastering engineer Wally Traugott. He took a short breather from Capitol but it’s now been his home since ‘98.

Have you ever mastered a gold CD?

Which mix problems can be addressed in the mastering stage? Which can’t?

It’s a mix of good and bad, but there will always be trolls. I used to have an email notification set up on one of the forums for anytime my name was mentioned. But I find that it’s best to not even get involved in nasty debates.

We can’t undo a mix that has been overlimited and overcompressed. If I get a mix that’s too hot, too slammed, it’s better for me to take it into my DAW digitally and then deal with it using plug-ins.

I did a few back in the day for Mobile Fidelity. I don’t know if gold is any better. There’s nothing that I did differently. Do the online mastering forums offer good information?

Are there red flags that show a musician that he might be working with a less than reputable mastering engineer?

What are the new challenges in mastering today?

The biggest red flag is the engineer’s experience. I wouldn’t hire a mastering engineer unless he’d been doing it for at least 10 years. I’m always learning new things because you never want to get too comfortable. This is a very competitive job. Credits mean a lot.

The work I’m getting from mix engineers is of a much higher quality than even five years ago. It has probably caused other mastering guys to up their game because mixers are giving mastering a shot. I’m still able to beat them but it’s getting a lot closer.

What’s the biggest mastering challenge you’ve ever faced?

How closely do you work with mix engineers? A lot of the mixers I work with I’ve known for a long time. They already know the do’s and don’ts. But it’s still useful to have a listen to the mix when it’s in process. It helps the final product. Do they understand your challenges and try to work with you?

No Doubt’s Tragic Kingdom. There were so many reels of half-inch tape and multiple remixes. Spooling tape takes time.

“The work I’m getting from mix engineers is of a much higher quality than even five years ago.”

They do. We usually talk about how hot they want it and how much dynamics they want to keep. Sometimes they’ll want it as hot as the last Green Day record. But Green Day is a trio. You can get a sparse mix a lot louder than you can a mix with 10 layers of guitars and vocals. If you try to get your client’s mix that loud, it’ll implode. What’s the ideal format for mixes that you receive? 96/24, 192/24 and I’m even getting some 32-bit floating point Pro Tools sessions. In fact, I’m doing a lot of 32-bit lately. It helps with the processing of plug-ins and it’s supposed to be more workable headroom, although I haven’t noticed that.

What’s the biggest technical challenge/problem you’ve ever gotten out of?

The American remaster of Meet The Beatles! Those 1/4-inch tapes were probably the hottest 1/4-inches that I’ve ever come across. They were absolutely slammed. I had to drop the output of my 2-track by 6 dB to start.

What do you say to fledgling mastering engineers? Listen to a lot of good mixes and get plenty of practice. Mastering is challenging and competitive. There are so many well-equipped mastering rooms around the world now. It always comes down to the skill, experience and ears of the engineer.

October 2013 43


Recording Tips for the Indie Artist


remember, as an adolescent in the ‘70s, recording guitar parts on my Dad’s Grundig 2-track 1/4-inch reel-to-reel tape machine, using a razor to edit the tape—which I still do today. That’s right. I find it necessary, for certain types of music, to record to 2-inch tape, especially when tracking drums, bass and rhythm guitars. But today, of course, all one has to do is buy a computer, Mac or PC, and there are a plethora of digital recording platforms that come complete with tons of music loops to help you create songs. This takes the worry out of the recording process, letting the artist concentrate on the actual music at hand and not so much on the technical aspect of it. But all of this high-tech freedom to create doesn’t mean you can overlook some essential areas. To help you get better results for your DIY recording projects, here are some tips and tricks that always work for me. Combine Both the Analog and Digital Worlds Even with the convenience of using built-in samples and recording everything in the “Box,” I find you need to combine both the analog and the digital worlds. That’s why I mix everything out of Pro Tools or Logic through my analog classic Trident recording console and use physical outboard gear, like Urei 1176, LA-4, and so on. Though an indie artist does not have to go to that extent, if you want to record guitar I strongly recommend recording it from an amp with a very affordable mic, like a Shure SM57. Direct guitar signals are not very pleasing to listen to and many of the plug-ins have a processed sound. Before I had a recording studio, I recorded guitar cabinets with a SM57 in my apartment in Los Angeles, I would place the amp in a closet, so as not to disturb the neighbors. To an all-digital song, this brings the track alive with an actual live instrument. Keep in mind, if you want to change the tone of the instrument then move the mic first before you reach for any of your EQ plug ins. Usually this is the most natural and effective way.

the SM57 can record—everything imaginable. For less than a 100 bucks this is the most versatile microphone a musician can own, being able to record everything from horns to drums. There are also companies like CAD, Nady and Audix that make affordable mic sets for drums as well. Plus, depending on your digital interface you may want to use a mic preamp, which, again, a plethora of companies make from 99 bucks to thousands. One of my

usually within the first three; after that you can hear musicians start to wane. I advise you to label every track, such as Bass 1, Bass Chorus, Sax Solo and so on; otherwise during mixdown you’ll waste way too much time searching for the correct tracks to mix. There is nothing worse than having 45 tracks staring at you, unlabeled, for a five-minute song, in which you have to determine how to reconfigure the whole song. Don’t Crush the Living Essence Out of Your Mix to Make It Loud Man, when the Waves L2 Processor came out, yes it made everything loud, but destroyed so many mixes just for the sake of loudness! Music has to have some sort of dynamics, not just soaring levels constantly in the red. This is why vinyl has been making a come back in recent years, especially the old recordings, like David Bowie’s Diamond Dogs, Led Zeppelin IV, etc.—those records possess dynamics, no matter how much they rock out. Hell, even the hair bands had dynamics in their mixes. If you crush the living essence out of your mix and make it loud, you’ll lose all of the tone of the instruments and vocals. But fortunately there is a great, affordable mastering plug-in that doesn’t squash your mix and still keeps it alive: the Slate Digital FG-X. For 200 bucks this plug-in is terrific. It keeps your dynamics in place and still gives you the loudness you need for modern-sounding tracks.

“99.9 percent of times the best takes are usually within the first three; after that you can hear musicians start to wane.”

Invest in Tools of the Trade You would be surprised how many instruments 44 October 2013

favorites is the Universal Audio 610. But remember you don’t have to break the bank to get pro audio equipment today; there are so many affordable companies that manufacture gear for every price range. Bear in mind, this is a one-time expense for an essential item that you can use for many projects. If you plan on doing recording music for your livelihood, then it is a good investment. Don’t Drown Under Too Many Tracks This is an area where I see so many musicians drown themselves. Just because you can have unlimited tracks doesn’t mean you have to use tons of tracks for a song. If the song really calls for many tracks and crossfades, okay, then go ahead. But I still like the track limitation we had in the past—there was no choice but to stop recording take after take—simply because you would run out of tracks. Decisions had to be made when the take was completed so you could then move on. Believe me, after 20 years doing this, 99.9 percent of times the best takes are

Bottom Line Today’s musician can be it all: the engineer, producer and artist all in the confines of their own home. So use the technology to your advantage and take your time when recording to get the performances correct. And always be well rehearsed before you hit that red button! BRIAN TARQUIN is the winner of multiple Emmy Awards, having established himself as a top-rate TV composer/ guitarist. In 2006 SESAC honored him with the Network Television Performance Award. In addition, Tarquin has produced and composed the Guitar Masters series, trading licks with such guitar greats as Leslie West, Steve Morse, Billy Sheehan, Frank Gambale, Andy Timmons, Chris Poland (Megadeth) and Hal Lindes (Dire Straits). For further information, visit

The Rising Act

“Music Connection has long been an excellent tool for musicians––it’s a great way to keep up with the latest news, gear and artists in an ever evolving industry. They’re a wonderful service to the music community!” – King (R&B/Pop act)

The Hitmaker

“Definitely reading about other people’s trials and tribulations with touring and labels was a good thing for me, especially early on.” – Pete Wentz (Fall Out Boy)

The Producer

“I’ve been advertising my business there for 30 years. That speaks for itself how I feel about Music Connection.” – Skip Saylor, producer, owner, Skip Saylor Recording (Elton John, Dr. Dre, Death Cab For Cutie)

The Talent Seeker

“I signed an act to Maverick/Warner Bros. after discovering him through Music Connection’s ‘review’ section. Now as CEO of a ‘2.0’ digital label and music publishing company, MC is an excellent source of potential clients for our company.” – Scott Austin (CEO, Authentik Artists Inc.)

The Pro Player

“My favorite pages of MC are the endless lists of managers, agents, studios and of course the musicians looking for musicians section!” – Stephen Perkins (Jane’s Addiction, Porno for Pyros)

The Legal Eagle

“Music Connection magazine is a valuable source of music industry information. I often refer people to your Annual Directories. Keep on doing what you do so well.” – Glenn Litwak (The Law Offices of Glenn T. Litwak, APC)

September 2013 45


Hard Rock Expands “Sound Of Your Stay”


hat if you could take time out from your busy music lifestyle to travel to another country without missing a beat— literally? A place where you could drink on the beach all day, get a massage in the afternoon, visit a small-town village in the evening and be back in your room playing/recording music at night, all-inclusive? To scratch that itch, Hard Rock Hotels has expanded its Sound Of Your Stay Program to Mexico—with a 348-room Riviera Nayarit resort. And for as little as $200 per night. As part of The Sound Of Your Stay

celebrities and musicians to enjoy in your room. Playlist options include those created by Pete Wentz, Perez Hilton and Mayer Hawthorne, to name a few. Within this program, guests receive a free download code on their key sleeve enabling them to choose from one of three playlists ranging from fresh cutting-edge sounds to classic artists, depending on how they want to soundtrack their experience. Picks—our personal favorite— allows guests to check out one of 20 Fender guitars (18 electric guitars + 2 bass guitars) in “room service” fashion.

Program that is extending to Hard Rocks across the world, Hard Rock Hotel Vallarta—an all-inclusive version of Hard Rock hotels that allows unlimited food, drinks and amenities— has expanded on the idea of experiencing new cultures, while still being able to make and/or enjoy music. The location boasts three programs within the complimentary Sound of Your Stay amenity: Tracks, Picks and Mix. According to Blake Smith, Director of Music and Marketing, Hard Rock Hotels & Casinos, “You can start an innovative, genre-straddling super group in your room if you’d like. In fact, we encourage it.” Tracks, essentially, is a collection of music playlists that have been created by various

Simply choose the on-site guitar of your choice, several unique opportunities. “[We] provide Vacation Planners who map out guests’ entire and room service will send it up with a Fender stay. Tours in Riviera Nayarit and Nuevo Mustang Floor Amplifier, SOUL by Ludacris Vallarta include a Sunset Cruise, Dolphin headphones and Fender guitar cables to boot. Experience, Nuevo Vallarta Channel Tour, Jaguars, Telecasters, Strats and more are Catamaran Rides and Whale Watching available in this package. Tours.” The company also works with travel Mix, the third program, is geared toward insurance company RoamRight, for those of DJs—or those of us wanting to learn how to be us with an always-evolving agenda and may one. Simply request a Traktor S2 DJ controller need to cancel. to be sent to your room, download the trial software to your laptopFor and youspa, canupgrades begin & more. Hard Rock’s All-Inclusive Collection is also golf, mixing a DJ set from your personal music library available in Cancun and Riviera Maya, Mexico and Punta Cana, Dominican Republic. (like iTunes or GooglePlay). The software lets you instantly match beats like a pro while the Hard Rock’s All-Inclusive Experience, on-board, multi-effects will have you twisting CANCUN Visit . PUNTA CANA . VALLARTA . COMING SOON RIVIERA MAYA knobs and bending tones.

For golf, spa, upgrades & more.

46 October 2013

While The Sound of your Stay is what first caught MC’s eye, there are plenty of reasons why Hard Rock’s Riviera Nayarit location is constantly booked up. “Hard Rock Hotel Vallarta and Riviera Nayarit are full of culture,” Smith says. “As each Hard Rock Hotel caters to its destination, this particular property features everything from Latin American inspired memorabilia—including the larger than life custom Santana mosaic, consisting of 2,800 authentic rock albums, entertainment, decor and F&B offerings—in addition to the most diverse cultural excursions.” As Smith explains, if you’re looking to experience true Central American culture, Hard Rock’s Riviera Nayarit location offers

September 2013 47

Missin’ a Man


Jenn Bostic

Absolute/Universal Producer: Barrett Yeretsian

Sly Reimagined Global Noize

Zoho Roots Producer: Jason Miles


Sparks of funky jazz and soulful melodies imbued with a splash of Nashville twang embody Jenn Bostic’s three-song EP. With a youthful sound similar to Sarah Bareilles (just a little less pop, a little more sassy blues) Bostic demonstrates poetic versatility through powerfully stimulating vocals delicately combined with smooth piano tempos. Somber undertones of the emotionally driven track “Not Yet” yield to lyrical inspirations of hope, determination and strength. Bostic’s catchy, upbeat tune “Superstar” offers a more fun, hip-swaying jingle vibe––a perfect jukebox favorite to play on repeat at your local pub or lounge. – Danica Bellini

Vibing with the hipsters and members of his exotic jazz-fusion ensemble Global Noize (the core of which is Falu and DJ Logic)—as well as original Family Stone drummer Greg Errico, Nona Hendryx and Roberta Flack— Sly Stone creates an inspiring fusion of jazz, R&B, hip-hop and funk, crazy-deep bass bottoms and ethereal dreaminess, all wrapped in a swirl of transcendent world rhythms. Beyond celebrating the ongoing possibilities of funk the way Sly and his generation imagined it, Miles repurposes the classics as contemporary expressions that are as relevant to modern world issues as the originals were to their moment of social revolution. – Jonathan Widran

The Revolution is Never Coming

Washed Out


The Red Paintings


Subpop Records Producers: Ben H Allen and Erneste Greene

The End Records Producer: Trash McSweeney This 13-song album was five years in the making and largely funded by fans and devotees of TRP the leader’s eclectic art-rock vision. The music is an ambitious blend of neo-classical textures, performance art and rock & roll anarchy. Trash McSweeney addresses songs of nihilism, social ennui and the human condition with raw passion and verve. The result comes off like a cross between Smashing Pumpkins, Radiohead and Japanese Kabuki Theater. This is a fresh and dynamic sound that is artistically and philosophically a revolution on many fronts. – Eric A. Harabadian

Feels Like Home Sheryl Crow

Warner Music Nashville Producers: Sheryl Crow, Justin Niebank


World Boogie Is Coming North Mississippi Allstars Songs Of The South Records Producer: The Dickinson Brothers

Paracosm feels like a warm summer night. The intro of wildlife sounds over synth chords sets the tone, as though brushing past tropical leaves to reveal the glade of crystalline tracks in which the album submerges the listener. Adhering to chillwave, songs are thin and tinny, occasionally verging on cringe-worthy, particularly on “Falling Back,” which could have been one’s favorite track if not for volume issues. “It All Feels Right” features infectious melodic concepts over offbeat strumming, a deep mix of synthesizers and a head-bobbing beat. Unfortunately, lyrics are consistently buried beneath the sugary Kool-aid waves of synthesizers. – Ted Jamison

Funk Road Mutiny

Catbone Records Producer: Jerome “Bigfoot” Brailey

While her sound has always straddled genres, Sheryl Crow says she’s finally “gone country” with this release. Her confident, skillful vocals are prominent, as is the familiar feel of her song crafting. But she has shifted gears toward what has become the sound of country radio, with chugging rhythms and catchy choruses about cars and drinking, loneliness and heartache. Upbeat songs “Shotgun” and “Best of Times” are full of jangly wordplay, and the tear-jerkers (“Waterproof Mascara,” the lovely “Homesick”) don’t disappoint. Unfortunately, it all comes off as a bit contrived instead of genuinely down-home. – Brett Bush


This album marks guitarist Luther Dickinson’s reaffirmation to keep North Mississippi blues vibrant, primitive and thriving. It’s a raw, ethnic record packed with dirty slide guitar and the strongest Hill Country influence on any NMA record. The rural gutbucket feel is offset by Dickinson’s inspired guitar throughout. It features a harmonica solo by Robert Plant on “Goat Meat.” Other guests include Lightnin’ Malcolm, the London Souls and Alvin Youngblood Hart. Willie Dixon’s “My Babe” is played with unadulterated humanity, while Bukka White’s “World Boogie” is Dickinson at his nastiest. This is a taste of the Deep South and a dissertation on the one chord boogie. – Oscar Jordan



This, Jerome “Bigfoot” Brailey’s first release under the moniker Mutiny in 13 years, captures him traversing a dizzying array of funkrelated styles, per usual. One track sounds like a misplaced P-Funk gem, another an old-school hip-hop joint from an alternate dimension. There’s a tune that explores the funky side of blues, while the wildest composition serves up a dance-themed homage to crunk. While certain songs hit harder than others and the compilation as a whole falls short of classic status, the variety makes for one highway you’ll want to continue driving down long after you’ve passed your exit. – Andy Kaufmann

Mouth of Swords The Safety Fire

Inside Out Music / Century Media Records Producer: Derya “Dez” Nagle


With their second full-length, alt-metal Brits the Safety Fire continue to make a name for themselves through shredding leads that meld with spacey, passive breakdowns. The title track and opener, “Mouth of Swords,” displays the band’s overall sound in waves: prog themes and math-rock melodies complemented by clean vocals and an extremely tight drum-bass duo. BTBAM’s Tommy Giles Rogers’ muggy growls echo in “Beware the Leopard (jagwar)” while “Glass Crush” showcases TSF’s appreciation of emo-core “woahs.” This record strays from conformity, while remaining interesting and catchy—not an easy task. – Andy Mesecher

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.

48 October 2013

September 2013 49

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

9 8 8 9 9

8 8 8 9 7

8 7 8 8 8

Orbé Orbé

Jett Prescott

Contact: Web: Seeking: Booking, Film/TV Style: Celestial Pop Username:

Contact: Web: Seeking: Label, Producers, Film/TV Style: Alternative Singer-Songwriter Username: jettprescott

A collaboration between singer Cristina Orbé and producer Jahon Mikal yields results that are impressive in myriad ways. Essentially a no-holds-barred art project, these multi-dimensional songs are nevertheless so skillfully rendered, with genre-hopping analog and digital creativity, that they might even appeal to a mainstream ear— no easy feat. Always centerstage is the multi-faceted voice of Orbé; whether soulful neo-cabaret ("Let Me In"), EDM ("Instead") or theatrical ("Circus Star") her power is always present, disciplined, commanding.

Melodic and engaging piano-centric singer-songwriter Jett Prescott, with his crafty, clever material and neoBrit vocal vibe, will remind some of Elton John. The hooky "Put Me Down In Wine" showcases the artist's bold personality, songwriting skill and stately strings. "Where I Stand" builds drama adeptly and is his strongest vocally. "Hot Air Balloon" is alluring at first, but at 7:20 the song doesn't sustain interest. Nevertheless, these recordings prove that Prescott is a talent and he possesses a voice that will connect with listeners, especially females.

Production Lyrics Music Vocals Musicianship

8 8 8 9 8

Theda Phoenix


Contact: Web: Seeking: Booking, Film/TV, Distribution Style: Easy Listening, Folk, Contemporary Username: thedaphoenix

Contact: Web: Seeking: Film/TV, Label, Booking Style: Ambient, Electronica Username: aurah

Canada's Theda Phoenix has a voice that's as smooth as chamois, and hearing her angelic blends is a soothing, reassuring experience. Ther are no artificial ingredients here, no GMOs, just straightforward humanity in songs such as the homespun "Light In You," the goodnaturedly preachy "Feels Good," and "All At Once" which ruminates on the fateful decisions in life. Phoenix is a natural communicator whose recordings show an artist who is confident in her strengths, arranging her tunes with just the right amount of soulful backups and reverb.

It isn't surprising that self-described "organica" duo Marc Dold & Judith Martin have had high-profile film/TV placements. Original songs, dripping with reverb, include the dreamy and sensual "Take My Breath Away" which evokes a cinematic slo-mo sex scene. "Summon The Sky" is a tranky massage excursion that floats on Martin's vocal blends and Dold's diaphanous soundscape skills. Even on a popular cover, Bob Marley's "Three Little Birds," Aurah deliver something original while retaining the song's pop appeal. Aurah's heavily effected realms are infectious.

Production Lyrics Music Vocals Musicianship

8 7 8 9 8

Pookie Marlil

Carter Beckworth

Contact: Web: Seeking: Label, Booking, Film/TV Style: Hip-Hop, Rap Username: marlil

Contact: Web: Seeking: Booking, Film/TV, Distribution Style: Rock Username: carterbeckworth

N'Awlins rapper Pookie Marlil has a unique voice, and though his lyrics are nothing fresh (as on the clubtype synth-driven track "I'm Out") he has a flow that fluctuates and keeps things interesting. That's especially true on "Ur Girl," an X-rater where Pookie changes his rap style and goes all A.D.D. with the melody. In less skilled hands it would not fly, but this artist gets it done. His best, most commercial beat, "Your Team" f. Yung Puff, is lurching, mysterious and offers a raft of cool tones for the voices to bob and weave upon. There's superior talent at work here.

Beckworth is a crafty songwriter and adept vocalist whose recordings show an artist who's got it down. Whether it's the pop-country tunes "Humble Heart" and "Between Now & Then," or the beach-funk-infused "Alexa's Atlas," he produces solid records that are replete with warm organ fills, catchy percussion and tasty slide guitar accents between the verses. That said, it is impossible not to notice his tendency to sound like a dead-ringer for Tom Petty, a trait he could use to advantage when approaching Film/TV people unable to afford the TP pricetag.

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

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

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

7 7 7 7 7

6 7 7 7 7

Daniel Sobrino

Stefani Scovolo

Contact: Web: Seeking: Label, Booking, Film/TV Style: Pop, Electronica Username: danielsobrino

Contact: Web: Seeking: Film/TV, Mgmt, Label, Publ. Style: AAA, Pop Singer-Songwriter Username: onlyoneyoumusic@

Just when you're lulled into thinking that Sobrino is yet another Chris Martin clone, he suddenly, in the same song ("Lights"), morphs from organic, neo-classical pop to complete synesthesia—call it Coldplay meets Owl City. Sobrino's real gift, however, is inspirational pop, as in "The Power of Us" and "Invincible." The former is the stronger of the two; if only he would really boost that chorus and drive it home better. As it is, "Power..." is a missed opportunity, flatlining when it should spike to greater heights—and take the listener with it.

Blessed with a warm, pure voice and a spirit that is direct and forthright, Scovolo can be either poignant and sincere ("I Remember") or downright homespun and cuddly ("Little Bird"), evoking a comparison perhaps to Lisa Loeb. Arrangements are appropriately simple and organic, sometimes featuring playful ukulele and delicate bells. We suggest she limit the tendency to repeat her song's title ("Breakthrough") in the choruses. Listeners who value sincerity and directness of expression will appreciate this artist.

Production Lyrics Music Vocals Musicianship

8 6 7 8 7

The Nightbirds


Contact: Web: Seeking: Label, Booking, Film/TV Style: Darkwave/Alt-Rock Username: thenightbirds

Contact: Web: Seeking: Mgmt, Booking, Label Style: Reggae Rock Username: dankruptmusic

A moody, downcast trio of Brits, the Nightbirds showcase strong musicianship that can deliver 4/4-to5/4 tempo changes with ease. Vocals are flat and buried, though that is perhaps intentional. What is clear is that these 'birds are flying in the wake of goth-influenced death-pop bands such as Orgy, who've shown the ability to be simultaneously retro and modern. The Nightbirds, though solid, are not there yet. While "Lies Are White" stands as their best outing, the band will need to strengthen their material in hopes of creating that special breakthrough song.

Thoroughly laid-back, beachy, and featuring a reggae/hip-hop mashup, this trio of tight, efficient musicians (especially drums and keys) churn out amiable, sun-drenched stoner ditties like "Zuma Beach," "Truth In Disguise" and "Till The Mornin'," all of which emit a benign, good-times glow. The primary drawback, and it's a serious one, is that the lead vocalist, while he's a credible rapper, cannot really sing, and his apparent knowledge of this makes him way too meek at the mic. Brudda needs to step up and own that thing if this band is to truly gel.

Production Lyrics Music Vocals Musicianship

7 7 7 6 7

Havilah Tower


Contact: olivia@iampragency Web: Seeking: NA Style: Folk, “ClassAcoustic” Username: havilahtower

Contact: Web: Seeking: Label, Booking, TV/Film, Distr. Style: R&B/Pop Username: pertarsha

On these living-room-quality recordings, Austin-based singersongwriter Havilah Tower and her bandmates create warm, organic, modern folk that is extremely lyricsdriven. So involved is Tower's verbal presentation, however, that the actual music (guitar, cello, percussion) comes across as something of an afterthought. Both the lengthy and redundant "Out To Sea" and the more interesting, gypsy-inflected "Behind The Curtain" showcase Tower as an exhuberant performer whose message could benefit from further musical development.

Mixing EDM effects into her R&B, this Alabama artist is on to something cool with "Dawn" and its smoky sensuality. What's clear from the muffled vocals, however, is that PerTarsha needs to find a mic that makes her voice pop. Horns are a nice touch on "Come on Everybody," but vocals are again muffled, even on the guest rapper. Sci-fi-flavored "Fallen" finds the singer merely a cog in a much bigger machine as this hi-energy tune uses her vocal gifts as just another element. PerTarsha is on the verge of something unique, but needs tech support.

Production Lyrics Music Vocals Musicianship

6 7 7 7 7

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. October 2013 51

Harvard & Stone Hollywood, CA

Material: This show marked the end of a month-long residency for the Walcotts at Harvard & Stone. The little club was transported deep into the heart of Texas by the group who channel the Electric Mayhem Band, if not Dr. John and Tom Waits, with their special blend of Americana. Band leader Tom Cusimano put together a hell of a showcase featuring the formidable lineup of Brian Whelan, Ted Russell Kamp and the Walcotts as headliner. This indisputably strong country show is cohesive, exciting and feels like an event. Musicianship: The horns and violin had a rough start getting heard, but improved as the set progressed. Instruments that may otherwise be lost in the mix were aided by couplings. For example, there was cohesive harmony to the riffs when played between trombone and pedal steel, as well as pedal steel and violin. The team support continued with percussion elements as Olson and Kanakis nailed the tempo changes on songs that shift between ‘60s pop shuffles and honky tonk. Cusimano also played his guitar like a bass at times, which fattened up the actual bass line. Performance: “Too Little, Too Late” goes back and forth between Alfstad and Cusimano. It is no surprise then when the pair cover the Stevie

Club Nokia


Nicks/Tom Petty hit, “Stop Dragging My Heart Around.” Alfstad’s vocals are arguably a direct impersonation of June Carter or Dolly Parton. Carter’s take on a Parton’s “Jolene” backs up this claim. Her range and harmonies are a perfect fit for the Walcotts’ own “Hanging Tree.” The horn section gets properly showcased on “Phineas Gage,” a ragtime style tune in the spirit of Grateful Dead’s “Mexicali Blues.” The song has an equally evocative old western style piano solo by Barnes. Cusimano shreds on a baby Teo 12-string Mando-Guitar for lead on “Staring Back.” “Coalinga” is the fun Mellencamp-ish finale that builds to a


Contact: Web: The Players: Emily Alfstad, vocals, tambourine; Tom Cusimano, vocals, electric guitar, 12 string mandoguitar; Greg Barnes, keyboards, percussion; Jim Olson, drums; Erik Kristiansen, pedal steel guitar, electric guitar; Jason Kanakis, bass; Nic Chaffee, trumpet; Ulf Bjorlin, trombone; Rob Anderson (filling for Devin Shea), violin. Username: walcotts

cacophony that left the Harvard & Stone audience howling for another round. Summary: Amplifying nine people distributed along a stage and balcony in a venue with a high ceiling is problematic, but the Walcotts compensated for such challenges. The band excel at musical composition, crafting catchy riffs and fortifying them with a full range of tones. They are heading back into the studio this fall for EP number three. – Brooke Trout

Los Angeles, CA

Material: Pomona, CA, has developed a new leader for West Coast hip-hop music. Marvel the GR8 embodies a performer with a comical yet serious attitude, who’s prepared for any celebratory occasion. Best known as an opening act for major artists such as the Game and DJ Quik, Marvel’s witty wordplay is constantly matched with percussion and bass, while keyboards and samplers steadily balance his overall sound. Musicianship: Marvel knows how to ride any instrumental with expert intonation. Songs like the heavily synthesized “Mollywood” and the keyboard driven “No Time for Sleep” prove that he can produce music tailored for any club scene. Nevertheless, crowd participation is key for any performer to keep the audience engaged and Marvel could pay closer attention to this area. His stage moves need to go beyond merely passing out a couple of his mixtapes to those in attendance. 52 October 2013

MARVEL THE GR8 Performance: It was clear within seconds of show time that the energized and faithful audience at Club Nokia was in capable hands and would be treated to a shared party of culture and inspiration. Marvel gave an exciting performance featuring two DJs that fed off each other’s musical energy. In fact, both looked like they were having the time of their lives. Marvel’s collaborators Random Citizens also made a guest appearance during the set.


Contact: Random Citizens, booking@ Web: The Players: Marvel the GR8 Username: MarveltheGR8

Summary: With the recent release of Marvel’s LP entitled GR8, things are coming together rather quickly for this talented emcee. A music video for “She’s a Fox” shows the many characteristics and cinematic ranges that Marvel can deliver. This year has proved to be a leap forward year for the witty Marvel and his crew; and flair like this doesn’t stay unseen for very long. – Adam Seyum

voice that never feels forced and falls sweetly in the mix of stellar group harmonies. Randy Nelson’s drumming is lively and intricate, blending nicely with John Edick’s walking and funky bass lines. The icing on the cake is Dan Jones’ diverse guitar accompaniment. He plays whatever the song calls for and offers up the perfect complement of single note lines, arpeggios, memorable hooks and amusing melodic odds and ends.


Small’s Bar

Hamtramck, MI

Contact: Web: The Players: John Mabilia, guitar, lead vocals; Randy Nelson, drums, percussion, backup vocals; John Edick, acoustic bass, backup vocals; Dan Jones, guitar, backup vocals. Username: busstoppoets Material: What’s in a name? Bus Stop Poets suggests a band comprised of “average joes” mixed with an urban sensibility and a strong lyrical base. Original songs like “Beautiful Day” and “Gravity Blues” run the gamut from jubilant

Cantab Lounge

and celebratory to grounded and reflective. The songwriting is exceptional as the band utilizes a complete and broad palette of styles and colors to convey its message. Everything from the Beatles and the Small Faces to R.E.M. and Wilco come to mind. The music is skillfully constructed and rich in emotional depth, mature themes and has an approachable element that is very human and real. Musicianship: This is a seamlessly tight unit who put the emphasis on teamwork. The sum is greater than each individual part, which makes for exciting interplay between members. John Mabilia has a superb tenor

Performance: Joyful and upbeat are probably two of the primary adjectives that could be applied to the main body of Bus Stop Poets’ set. From the opening selections they hit the stage with a confident, yet self-effacing and somewhat casual approach. Musically, they were equally comfortable with country, rock, blues, jazzy rhythms and everything in between. The group’s show was a bit of a mixed bag, but at the center were great songs that Mabilia and company sold on relentless energy and passion. Their infusion of impromptu humor between tunes seemed to connect with the crowd as well. Summary: Bus Stop Poets are an of the people band in that they infuse their songs with infectious grooves and meaty wordplay that stick to your ribs. The odd chord changes and shifting moods and tempos may challenge some, but true lovers of rock in the classic tradition will be intrigued and come back for more. This is an essential band to watch. – Eric A. Harabadian

Cambridge, MA

Contact: Web: The Players: Sean Foe, vocals, guitar; Emily Koo, vocals, bass; Chris Connell, drums, percussion. Username: giantist

Musicianship: Assessing this paradoxical act proves tricky. On the one hand, they’re strong players, particularly guitarist Sean Foe when he majestically cuts loose. And admirably, they play for mood, focusing on feeling rather than bashing listeners over the head with musical fireworks. At the same time, drummer Chris Connell, whose skin pounding drives an exhilarating beat, plays with striking similarities from one song to the next. And the group’s vocals, which tread interesting ground with unusual phrasing, reveal their greatest weakness as they come off sour as often as they do intriguing. Performance: While their musical vision remains notable, Giantist didn’t invite the audience into the group’s curious world. To be certain, Foe drew excitement with actions like rubbing the neck of his axe against the mike stand. And he amply took time to mention the


group’s name, introduce songs and point out their merch stand, yet his quiet demeanor yielded an uninspiring stage presence. Bassist Emily Koo, meanwhile, drew the eye with her exuberant thrashing. Summary: It is disappointing to have to pick apart the flaws in this ambitious trio. Their sound is both original and competent, but it only works insofar as it fulfills an exclusive


Material: Start slowly with a brooding, ominous intro, slowly bring in plaintive wails, then burst into a psychedelic, hard rock punch. Sprinkle liberally with speaker-facing feedback and ample shredding. Augment with warm keyboards and more singing, then serve. That’s the formula for Giantist’s musical methodology, and the result lands somewhere between trippy hardcore, indie folk and essence of emo.

niche. Worse, all sense of joy is missing from their set, even when in delectable full-tilt mode. It is likely an indication these performers are still grasping for their true voice, especially when one considers they’ve only been playing since 2011. The penultimate question remains: Will they be able to stitch together their chosen elements into a unified sound that truly takes hold? – Andy Kaufmann

October 2013


The Troubadour

West Hollywood, CA

Contact: Sharon Weisz, W3 Public Relations, Web: The Players: Bobby Long, vocals, guitar; Rob Dwyer, mandolin; Jack Dawson, violin. Username: bobbylong

Musicianship: There’s no denying Bobby Long’s talent as a musician. While he is equally adept at singing and playing the guitar, perhaps his greatest asset is his authenticity. In a time when the airwaves are dominated by autotune and studio wizardry, Long’s refreshingly organic sound hits listeners’ ears like a breath of fresh air. He’s backed by touring musicians Rob Dwyer (mandolin) and Jack Dawson (violin). Their inclusion enables the songs to take on a more dynamic sound and adds real life to the music. Completing the ensemble with a drummer would be the final touch. Long uses drums masterfully on his latest album,

The Living Room


Wishbone, and they were sorely missed during the live performance.

Performance: The artist took the stage solo, only an acoustic guitar by his side for support. On opener “All My Brothers” his heavy, grizzled voice echoed throughout the room and demanded the crowd’s attention. With each song the singer’s lyrics cut through the air with strength and conviction. “She Won’t Leave” tugged on heartstrings as Long sang “Now that I’m older now, she won’t grow older with me. She won’t leave, I won’t go, since none of us here will ever know.” Though his material was intense at times, Long used his charm and wit on stage to keep the mood lively. Another set


Material: Blessed with a powerful voice and a gift for catchy choruses, singer-songwriter Bobby Long toes the line between soft, acoustic tunes and heavier rock. His work is reminiscent of John Mayer or Ben Harper, but with a sharper edge. His well-crafted lyrics have moments of being both beautiful and brutally honest. These songs seem destined for the alt-rock airwaves, but also have Top 40 crossover potential.

highlight was the emotional and earnest “Who Have You Been Loving,” the capacity crowd rising in unison to sing along to the chorus “You owe me an apology.” The bluesy, heartfelt “Dead & Done” rounded out a strong set from this powerful and promising songwriter. Summary: Bobby Long’s résumé is already rather impressive. He has performed at Bonnaroo and Austin City Limits, and supported such vaunted acts as Michael Franti, Iron & Wine and Steve Winwood. As his star continues to rise, one shouldn’t be surprised when Bobby Long becomes a household name. – Corey Irwin

New York City, NY

Material: Austin-based indie rock trio the Please, Please Me made their New York City tour stop an evening of high energy and showmanship. Fronted by ex-glam band drummer Jessie Torrisi (originally a Brooklyn girl), she brings 10 years of New York City performing experience. That, combined with her scrappy, feisty personality, makes for a high spirited and energetic set. Showcasing songs from the band’s newly released EP Shake A Little Harder, the songs run the gamut from alternative to straight-ahead rock. “She Leaves Notes,” an up-tempo song about an ex-lover leaving traces of herself behind, serves as a metaphor for what remains in its wake. The juxtaposition of painful feelings set to more light-hearted music tends to undercut what could be an even more poignant statement. On the lighter side, “All Danced Out,” one of the strongest songs in the set, has a catchy chorus tagline and universal message—it’s an audience grabber. Musicianship: Each band member demonstrates a high skill level on her respective instrument. Torrisi has solid vocal control using her voice adeptly to highlight the songs’ changing dynamics. Her main instrument is electric guitar, but occasionally switches to drumming on a log, creating a unique percussion sound while giving her the chance to show off her ex54 October 2013

THE PLEASE PLEASE ME glam day drum chops. Frederic brings rhythmic solidity providing a strong framework for the arrangements. Rounding out the trio with cello (an increasingly popular choice among pop/ rock bands) never fails to bring something special to the mix while opening up a whole new avenue for creativity. McClure adds rich bottom tones while also experimenting with octave pedals and delays, this leaves room for Torrisi and Frederic to focus on different drum and percussion sounds as well as electronic effects and drum pads. Performance: Covering a multitude of sonic elements between three people was impressive as well as visually satisfying. The band remained true to their musical statement and kept the set moving at a decent pace. In an


Contact: Web: The Players: Jessie Torrisi, electric guitar, lead vocals, African drums; Agustin Frederic, drumset, electronic drums, glockenspiel, backup vocals; Alissa McClure, effected cello, backup vocals. Username: pleasepleaseme

attempt to involve the crowd, Torrisi invited audience members to come up and dance during “All Danced Out.” Although it can be a great way to bond with fans, it seemed to detract from what was going on on-stage. A better scripted improv moment can still seem spontaneous. Summary: The Please, Please Me are a trio of solid musicians who display dedication and a love of what they do. Their repertoire has some interesting themes, though at times the messages could cut a little deeper without impeding the band’s overall statement and sense of frivolity. The trio are currently completing their second EP with Grammy-nominated producer Frenchie Smith. – Ellen Woloshin

NEVERWONDER Jon Lovitz Comedy Club

Universal City, CA

Contact: Web: The Players: Alima Soul, vocals; Vincent Ramos, bass; Andres Ramos, drums; Andrew Moore, guitars; Konrad Thompson, keyboards; Lex D, rapper. Username: Neverwonderband Material: Neverwonder performed four songs for the “Indies In Motion Road Show” produced by LA Talk Radio’s Rick Mizuno. Their set included some standards as well as new selections from an anticipated album. The band’s former lead vocalists have ranged from the punky Joy Pearson to the sassy Megan


the entire band builds up to wind down the song. Moore introduces some atmospheric funk guitar effects on a lush introduction for “Drowning.”

Bobo, each time introducing a very new dimension to the band’s sound. Neverwonder introduced Alima Soul as lead vocalist in 2012. True to her name she continues in the tradition of a soul influenced vocal. However, Soul contributes more than just great vocals. Her empowering lyrics for the band’s new ballad, “Drowning,” include some great slant rhymes like: “My heart’s on the ground, won’t let them break me down….” And “Too many dreams lingered on, too many lies stole my sun.” Musicianship: Andres shifts between metal, rock and funk styles with ease. The dynamics on “Spinning” are nicely structured to showcase Thompson and Soul before

Performance: Soul’s outfit looks good, but the combination of the stiff tailor cut paired with some very high platform heels seems to restrain her ease of movement on the stage. Technical difficulties during the set were the result of a wireless microphone cutting in and out. Vincent’s bass mix being too high only compounded this problem. Fortunately, the mixing issues were resolved after that introductory warmup and all parties made proper adjustments. The latest incarnation of “Wild Out” is without a doubt, No-Doubted up. This is noteworthy as the band are currently working with producer “E” (No Doubt, Save Ferris). This rock and rap mashup is still a crowd favorite and a good finale for the band who are at their performance peak here. Soul is able to hold her notes and she hits the changes. Summary: “Wild Out” was the best of the set; tight and indicative of the contemporary vision toward which the band seem to be progressing. Neverwonder will release the full-length follow-up to their critically acclaimed EP, Really Let It Out in Spring 2014. Although the band still tries to appeal to a larger audience through a variety of genre styles, their strength resides in a special blend of rock and soul. – Brooke Trout

Introducing TriplePlay, the wireless guitar controller that lets you turn your electric guitar into any instrument that you want - and compose, perform and record like never before.

!"#$%&'()*%+,-"./0./&1 2-"./03/&145"60*#

October 2013


Annual Directory of

Mastering Studios

MC’s exclusive list of professional mastering studios will enable you to connect with a studio anywhere in the US that suits your needs. This list has been expanded and updated for 2013. All info has been verified by the listees. ALABAMA BATES BROTHERS RECORDING 3427 Davey Allison Blvd., Ste. 101 Hueytown, AL 35023 205-491-4066 E-mail: Web: Contact: Eric Bates Basic Rate: please see web for info NOMAD MUSIC STUDIO 1203 US Hwy. 98, Ste. 4E Daphne, AL 36526 251-591-8062 E-mail: Web: Contact: Barry Basic Rate: please contact for info SOUND OF BIRMINGHAM 3625 5th Ave. S. Birmingham, AL 35222 205-595-8497 E-mail: marketing@soundofbirmingham. com Web: Basic Rate: 35 years exp., please call for info

ALASKA DOME STUDIOS Fairbanks, AK 907-457-1993, 907-456-6734 E-mail: Web: Contact: Jerry or Rif Basic Rate: please call for info FM RECORDING STUDIOS LLC 5700 Old Seward Highway, Suite 202 Anchorage, AK 99518 907-563-0003 E-mail: Web: WILDERHOOD RECORDING STUDIOS, THE PO Box 1076 Kasilof, AK 99610 907-262-1098 E-mail: Web: htm

ARIZONA ALLUSION STUDIOS 248 W. Elm St. Tucson, AZ 85705 520-622-3895 Web: Basic Rate: please call for info

Contact: Don Salter E-mail: Web: Basic Rate: call for Info Gear: Manley Backbone Console, Dangerous ST Monitor, Mytek AD/DAC, Millennea NSEQ-2 Tube EQ, GML 8200 Equalizer, Lydkraft Tube Tech Mastering multi-band limiter, Neve Portico II Master Buss compressor, Prism, Waves L2, ATR 1-inch Master Recorder etc. Clients: DMX, Prong, Jay-Tee, Pandemic, Trapp Boyz, DJ Class, Mzery, Skylark and tons of local AZ artists.

ARKANSAS RANEY RECORDING STUDIO P.O. Box 17, 110 S. Front St. Drasco, AR 72530-9282 870-668-3222, 870-668-3177 E-mail: kathy@raneyrecordingstudio. com Web: Contact: Kathy Johnson Basic Rate: please call for info

CALIFORNIA 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 E-mail: Web: Basic Rate: call for rates AAA CAZADOR RECORDING OF HOLLYWOOD W. Hollywood, CA area 323-655-0615 E-mail: Web: Basic Rate: negotiable/call and we can discuss ABACAB MULTIMEDIA, INC. 245 Fischer Ave., Ste. A-9 Costa Mesa, CA 92626 714-432-1745 Fax 714-432-1770 E-mail: Web: Basic Rate: please call, or see web

PRO DIGITAL AUDIO MASTERING 6501 E. Greenway Pkwy., Ste. 103-435 Scottsdale, AZ 85254 602-292-3306 E-mail: Web: Basic Rate: please call for info SAE MASTERING 6832 N. 24th Dr., Ste. 1 Phoenix, AZ 85015 602-242-0022 Fax 602-242-0608 E-mail: Web: Contact: Mary Seibel Basic Rate: please call for info

ALIEN PRODUCTIONS 4100 Wayside Ln., Ste. 120 Carmichael, CA 95608 916-483-9988 E-mail: Web: Contact: JK Northrup Basic Rate: please call for rates

THE SALTMINE STUDIO OASIS 48 S. Macdonald St. Mesa AZ 85210 480-545-7850, 480-220-4007 cell/text

ARDENWOOD SOUND & DVD 34766 Monaco Common Fremont, CA 94555-2837 510-793-7511

C O M P I L E D 56 October 2013

ARMADILLO DIGITAL AUDIO 6855 Vineland Ave. N. Hollywood, CA 91605 818-980-6700 E-mail: Web: A SMOOTH SOUND MULTIMEDIA 6828 Valjean Ave. Van Nuys, CA 91406 818-779-1259. 818-723-4203 E-mail: Web: Basic Rate: please call for info AUDIO-CD-MASTERING.COM P.O. Box 3027 Burbank, CA 91508 818-445-6961 (text messages only please) E-mail: Web: Contact: Ryan Clement Basic Rate: $175 full album, please see web for more info

BIG SURPRISE MUSIC Encino, CA 91436 818-613-3984 E-mail: Web: Contact: Carmen Grillo Basic Rate: call for rates BOSS STUDIOS San Francisco, CA 94103 415-626-1234 Web: Basic Rate: please call for info CAPITOL MASTERING 1750 N. Vine St. Los Angeles, CA 90028 323-871-5003 E-mail: jordan.koppelman@ Web: Basic Rate: please call for info CAPRICORN MASTERING 927 “E” St. San Diego, CA 92101 619-228-6941 E-mail: Web: Contact: Joe Goodwin

ARDENT AUDIO PRODUCTIONS 22122 S. Vermont Ave. Unit “E” Torrance, CA 90502 310-782-0125 E-mail: Web:

CHARLES LAURENCE PRODUCTIONS Northridge, CA 818-368-4962 Web: Contact: Charles Laurence Basic Rate: please call for info

BERNIE BECKER MASTERING 30 W. Green St. Pasadena, CA 91105 626-304-1682 E-mail: Web: Contact: Nancy Basic Rate: please call for info BERNIE GRUNDMAN MASTERING 1640 N. Gower St. Hollywood, CA 90028 323-465-6264 Fax 323-465-8367 E-mail: Web: www.berniegrundmanmastering. com Contact: Bernie Grundman, “Big Bass” Brian Gardner, Chris Bellman, Patricia Sullivan Basic Rate: please call for info BIG CITY RECORDING STUDIOS 17021 Chatsworth St. Granada Hills, CA 91344 818-366-0995 E-mail: Web: Contact: Paul Tavenner Basic Rate: please call or see web for info BIG FISH MEDIA 12650 Riverside Dr.


Valley Village, CA 91607 818-762-0191 E-mail: Web: Contact: Gary Black Basic Rate: Call for more info

AUDIO MECHANICS 1200 W. Magnolia Blvd. Burbank, CA 91506 818-846-5525 E-mail: Web: Basic Rate: please call for info

BEAGLE STUDIOS 815 Romero Canyon Rd. Santa Barbara, CA 805-966-9882 Contact: Emmett Basic Rate: please call for info

AB AUDIO VISUAL 4212 Hackett Ave. Lakewood, CA 90713-3208 877-ABAUDIO (222-8346), 562-429-1042 Fax 562-429-2401 E-mail: Web: Contact: President, Arlan Boll Basic Rate: work with all budgets ABET DISC 411 E. Huntington Dr., Ste. 107-372 Arcadia, CA 91006 866-574-0275 E-mail:, Web: Contact: Aeron K. Nersoya

E-mail: Web: Basic Rate: please call for info



CHUCK EVERTS SOUND 26077 Getty Dr. Laguna Niguel, CA 92677 949-348-9423 E-mail: Contact: Chuck Everts Basic Rate: call for info CLEAR LAKE AUDIO 10520 Burbank Blvd. N. Hollywood, CA 91601 818-762-0707 E-mail: contact@clearlakerecording. com Web: Basic Rate: please call for info CLOVERLAND STUDIOS Sullystone Music N. Hollywood, CA 818-503-1157 Web: DAVEN THE MAD HATTER STUDIOS Los Angeles, CA 323-876-1212 E-mail: faye@ Web: Contact: studio manager Basic Rate: please call for info DENOISE.COM 1501 Powell St., Ste. A Emeryville, CA 94608 866-DENOISE, 510-653-3838 Fax 510-653-3229 E-mail: Web:

Download at Contact: Albert Benichou Basic Rate: please call for info DIAMOND DREAMS MUSIC PRODUCTIONS North OC, Carbon Canyon 909-393-3120 Fax 909-606-5779 E-mail: info@diamonddreamsmusic. com Web: Contact: Raphael De Giorgeo Basic Rate: please call for info, varies from project to project DINO M 4 RECORDING/MASTERING STUDIO Torrance, CA (10 minutes south of LAX) 310-782-1440 E-mail: Contact: Dino Maddalone DISC MAKERS 4425 W. Riverside Dr., Ste. 204 Burbank, CA 91505 800-468-9353 E-mail: Web: Basic Rate: please call for info DISKFAKTORY A division of Innovative Diversified Technologies 18062 Irvine Blvd., Ste. 303 Tustin, CA 92780 949-455-1701 E-mail: Web: Basic Rate: please see web or call DNA MASTERING 19528 Ventura Blvd., Ste. 315 Tarzana, CA 91356 818-992-4034 E-mail: Web: Contact: David Donnelly, Perry Cunningham Basic Rate: special rate for indie and unsigned artists EZEE STUDIOS 21550 Oxnard St., Ste. 990 Woodland Hills, CA 91367 818-444-4744 E-mail: Web: Contact: Brian Zamorano Basic Rate: please see web or call Additional location: 75 Rockefeller Plaza New York, NY 10019 212-275-2160 E-mail: Contact: James Winner FDS LABS 2550 W. Ave. N. Palmdale, CA 93551 661-267-1155, 213-383-2155 E-mail: Web: Basic Rate: please see web or call GO BIG AUDIO 1258 Highland Ave. Hollywood, CA 818-990-4889 E-mail: Web: Contact: Gary Gladstone Basic Rate: please see web or call GOLDEN MASTERING 1721 E. Main St. Ventura, CA 93001 805-648-4646 Fax 805-648-4656 E-mail: Web: Contact: April Golden Format: digital and analog Basic Rate: please call for info GOLD STREET Burbank, CA

818-567-1911 E-mail: Web: Contact: Eric Michael Cap Basic Rate: start at $50/hr. GRANDMASTER RECORDERS LTD. 1520 N. Cahuenga Blvd. Hollywood, CA 90028 323-462-6136 E-mail: Web: Contact: Alan Dickson Basic Rate: please call for info GROOVEWORKS 1446 W. 178th St. Gardena, CA 90248 310-257-4949 Contact: studio manager Basic Rate: please call for info HIT SINGLE RECORDING SERVICES 1935C Friendship Dr. El Cajon, CA 92020 619-258-1080 E-mail: Web: Basic Rate: please call or see web for info HOLLYWOOD MASTERING 888-MASTERS E-mail: master@hollywood Web: HOWIE WEINBERG MASTERING STUDIO 8331 Lookout Mountain Ave. Los Angeles, CA 90046 323-524-8776 E-mail: info@howieweinberg Web: Basic Rate: Rates Upon Request HYDE ST. STUDIOS 245 Hyde St. San Francisco, CA 94102 415-441-8934 Fax 415-441-8943 E-mail: Web: Basic Rate: please call or see web IMPERIAL MEDIA SERVICES 3202 Pennsylvania Ave. Santa Monica, CA 90404 310-396-2008, 800-736-8273 E-mail: Web: Services: Retail ready CD, DVD & Bluray packages ship within 24-48 Hour J.E. SOUND PRODUCTIONS Hollywood, CA 323-850-0765 E-mail: Web: Contact: John Goodenough Basic Rate: please see web or call JOE GASTWIRT MASTERING 4750 Rhapsody Dr. Oak Park, CA 91377 310-444-9904 E-mail: Web: Contact: Joe Gastwirt Basic Rate: please see web or call JUNGLE ROOM RECORDING STUDIOS 604 1/2 Sonora Ave. Glendale, CA 91201 818-247-1991 E-mail: Web: Basic Rate: please see web or call KEN LEE MASTERING 748 Oakland Ave. Oakland, CA 94611 510-428-9276 E-mail: Web: Basic Rate: please e-mail KINGSIZE SOUNDLABS Los Angeles, CA 323-533-0022, 323-770-2120 E-mail: kingsizesoundlabsla@gmail. com Web: Basic Rate: Call for more info KIRT SHEARER PRODUCTIONS P.O. Box 2954 Fairbanks, CA 95628-2954 916-884-6641 E-mail: Web: LITTLE HIPSTER MUSIC STUDIOS 14557 Leadwell St. Van Nuys, CA 91405 818-731-1043 E-mail: Web: Contact: David Snow Basic Rate: please call for info MAMBO SOUND & RECORDING 2200 W. Esther Long Beach, CA 90813 562-432-9676 Web: www.mambosoundandrecording. com Contact: Steve McNeil Basic Rate: please call for info MAOR APPELBAUM MASTERING – “Sounds With Impact” Woodland Hills, CA 818-564-9276, 818-745-6412 E-mail: Web: Contact: Maor Appelbaum Clients: Sepultura, Rob Halford, Yngwie Malmsteen, Lita Ford, Fates Warning, Walter Trout, William Shatner, Anvil, Cynic, Adrenaline Mob MARCUSSEN MASTERING 5632 Hollywood Blvd. Hollywood, CA 90028 323-463-5300 Fax 323-463-5600 E-mail: info5223@marcussenmastering. com Web: Contact: Caryl McGowan Basic Rates: please call for info MASTER GROOVE STUDIOS Northridge, CA and Nashville, TN 818-830-3822 E-mail: Web: Contact: Dave Morse Basic Rate: please call for info, reasonable rates. MASTERING LAB INC., THE 911 Bryant Pl. Ojai, CA 93023 805-640-2900 Fax 805-640-2901 E-mail: Web: Contact: Doug Sax Basic Rate: call for information Services: digital and analog, 2 tracks. Also master surround sound and vinyl

METRO STUDIOS San Fernando Valley, CA 818-366-5588 E-mail: Web: Basic Rate: please call for info MICHAEL ROMANOWSKI MASTERING 1340 Mission St. San Francisco, CA 94103 415-500-2539 E-mail: studio@michaelromanowski. com Web: Basic Rate: please call for info MIKE WELLS MASTERING 4470 W. Sunset Blvd, #147 Los Angeles, CA 90027 323-363-2339 E-mail: Web: Social: MikeWellsMastering Skype ID: mikewellsmastering Contact: Mike Wells Basic Rate: Please call for rates MIXING AND MASTERING.COM 4804 Laurel Canyon Blvd., Ste. 351 Studio City, CA 91607 818-795-2895 E-mail: Web: Basic Rate: please call for info M L E STUDIOS PO Box 93008 Los Angeles, CA 90093-0008 866-246-8846 E-mail: Contact: Col. Darryl Harrelson Web:, Basic Rate: $45.00/hr or flat rate per song/album small independent multiroom studio specializing in country, Americana and alt country genres. MOONSHINE STUDIOS 3044 Glendale Blvd. Los Angeles, CA 90039 323-913-1019 E-mail: Web: Contact: Steve Chevez Basic Rate: please call for rates MR. TOAD’S MASTERING 444 Townsend St. San Francisco, CA 94107 888-Mr.Toads (888-678-6237) E-mail: Web: Basic Rate: please call for info NEW MILLENNIUM STUDIOS P.O. Box 1070 Hollywood, CA 90078 323-962-5960 Contact: Timothy A. Simms Basic Rate: please call for info

MAURICE GAINEN PRODUCTIONS 4470 Sunset Blvd., Ste. 177 Hollywood, CA 90027 323-662-3642 E-mail: Web: Basic Rate: please call for info Credits: Alex Skolnick (Testament, Trans-Siberian), Andy McKee, The Hues Corporation (Rock The Boat)

THE OC RECORDING COMPANY The OC Recording Company 3100 W. Warner Ave Suite 7 Santa Ana, CA, 92704 818-244-9794 Contact: Asaf Fulks Email: Website: Credits: Universal Pictures, Disney, ESPN, LA Clippers, Casio, Kendrick Lamar, Platinum & Grammy Artists Gear: Pro Tools HD 11, Neve 1073, Sony C-800G, Neumann, Aurora, Avalon, Lynx, Dangerous, Focal, SSL

MELROSE MASTERING 5254 Melrose Ave. Hollywood, CA 818-216-5409 E-mail: Web: Basic Rate: please call for info

OASIS MASTERING 4109 W. Burbank Blvd. Burbank, CA 91505 818-567-0500 Fax 818-567-0599 E-mail: Web: Basic Rate: please call for info October 2013


Annual Directory of Mastering Studios PEARL MUSIC Hollywood, CA 90068 323-851-2279 E-mail: Web: Contact: Richard Zeier Basic Rate: $50/hr. PETTING ZOO STUDIOS Rockridge District of Oakland 415-531-4671 E-mail: Contact: Bernhard Penzias Web: Basic Rate: Indie packages avail. PLANT RECORDING STUDIOS, THE 1001 Bridgeway, Ste. 144 Sausalito, CA 94965 415-332-6100 Fax 415-332-5738 E-mail: Web: Contact: John Cuniberti Basic Rate: please call for info P.M. III PRODUCTIONS Studio City, CA 818-763-3053 E-mail: Web: Contact: Paul Moser PRAIRIE SUN Box 7084 Cotati, CA 94931 707-795-7011 Fax 707-795-1259 E-mail: Web: Contact: studio manager Basic Rate: please call for info PRECISION MASTERING 1008 N. Cole Ave. Hollywood, CA 90038 323-464-1008 E-mail: claudia@precisionmastering. com Web: Contact: Claudia Lagan Basic Rate: please call for info PRIVATE ISLAND TRAX 1882 South Cochran Ave. Los Angeles, CA 90019 323-856-8729 Fax 323-965-8732 E-mail: Web: Basic Rate: $65/hour PRODUCTION COMPANY MASTERING & RECORDING STUDIO, THE 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: Web: html Contact: Dennis Basic Rate: analog and digital, please call for info PROFESSIONAL MUSICIAN’S LOCAL 47 817 N. Vine St. Hollywood, CA 90038 323-462-2161 Web: Contact: Amie Moore Basic Rate: please call for info PYRAM-AXIS DIGITAL Redondo Beach, CA E-mail: Web: Contact: Jim D. Basic Rate: $45/song, FTP/web data, latest plugins & vintage gear, 20 yrs. exp QUALITY CLONES MASTERING, CD MASTERING & DVD AUTHORING 3940 Laurel Canyon Blvd., Ste. 405 Studio City, CA 91604 323-464-5853 E-mail:

58 October 2013

Web: Basic Rate: please call for info RACE HORSE STUDIOS 3780 Selby Ave. Los Angeles, CA. 90034 310-280-0175 Fax 310 280-0176 E-mail: Web: Contact: Duncan Macfarlane Basic Rate: please call for info RAINBO RECORDS MFG. CORP. 8960 Eton Ave. Canoga Park, CA 91304 818-280-1100 Fax 818-280-1101 E-mail: Web: Basic Rate: please call for info REDRUM STUDIOS E-mail: Web: Contact: Simon or Boi Basic Rate: email for info ROBERT LIAM MASTERING 1646 N. Curson Ave. W. Hollywood, CA 90046 323-687-8547 E-mail: Web: Basic Rate: see website RODEO PUNK MUSIC Woodland Hills, CA 818-570-1727 E-mail: Web: Basic Rate: Please see web or call RPD STUDIOS 1842 Burleson Ave. Thousand Oaks, CA 91360 805-496-2585 E-mail: Web: Contact: Randy Basic Rate: please call for info RUSK SOUND STUDIOS 1556 N. La Brea Ave. Hollywood, CA 90028 323-462-6477 Basic Rate: please call for info SONIC VISION MASTERING & AUDIO PRODUCTION SERVICES 818-269-7087 Web: Contact: Mike Milchner Basic Rate: please call or check website for info SONORA RECORDERS 3222 Los Feliz Blvd. Los Angeles, CA 90039 323-663-2500 E-mail: Web: Contact: Richard or Chad Basic Rate: please call for info SOTTOVOCE STUDIO AND MASTERING N. Hollywood, CA 818-694-3052 E-mail: Web: SOUND AFFAIR 2727 S. Croddy Way, Unit G Santa Ana, CA 92704 800-570-6656 Web: Contact: Ron or Andree Basic Rate: please see web for info SOUND BITES DOG Los Angeles, CA 310-621-1896 E-mail: Web: Contact: Hans DeKline Basic Rate: call or check our website

SOUNDCASTLE INTERACTIVE STUDIOS 1334 3rd St. Promenade, Ste 208 Santa Monica, CA 90401 310-394-6014 E-mail: Web: Basic Rate: please see web for info SOUND MATRIX STUDIOS 18060 New Hope St. Fountain Valley, CA 92708 714-437-9585 E-mail: Web: Contact: Brandon Forrest Basic Rate: please call or see web for info SOUNDMOVES STUDIOS Burbank, CA 818-848-3393 E-mail: michael@woodrumproductions. com Web: Contact: Michael Woodrum Basic Rate: please call for info STEPHEN MARSH MASTERING 1617 Cosmo St., Loft 106 Hollywood, CA 90028 310-598-6038 Fax 310-598-5685 E-mail: Contact: Stephen Marsh or Stephanie Villa Web: Basic Rate: please call for rates STUDIO 5109 1110 N. Western, Ste. 206 Hollywood, CA 90029 213-369-7094 E-mail: Web: Contact: Mike Wolf Basic Rate: please call or see web STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 E-mail: eharrison@studiocitysound. com Web: Contact: studio manager Basic Rate: please call for info STUDIOWEST 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497, 858-592-9580 E-mail: Web: Basic Rate: call for more info SULLYSTONE MUSIC Cloverland Studios N. Hollywood, CA 91616 818-503-1157 Web: Contact: Billy Sullivan Basic Rate: please call for info SUN 7 MUSIC 5303 Inadale Ave. Los Angeles, CA 90043-1543 323-292-1052 E-mail: Web: Basic Rate: please call for info TECHNOVOICE MASTERING 11739 Ventura Blvd. Studio City, CA 91604 818-506-7893 E-mail: Web: Contact: Bob Lanzner Basic Rate: please call or e-mail for quote THETA SOUND STUDIO 2219 W. Olive Ave., Ste. 226 Burbank, CA 91506 818-955-5888 E-mail:

Web: Contact: Randy or Cyndie Tobin Basic Rate: please call for info THRESHOLD MASTERING 2114 Pico Blvd. Santa Monica, CA 90405 310-566-6677 E-mail: Web: Contact: Michelle Blankenship or Peter Barker Basic Rate: custom rates for indies TIME ART STUDIO Studio City, CA 818-980-2840 Fax 818-760-4385 Web: Contact: Darlene Basic Rate: please call for info T.I.M.S. TOTALLY INDEPENDENT MUSICIAN 805-340-0130 E-mail: Web: Contact: Stu Format: digital and analog Basic Rate: Call for info TOMCAT ON THE PROWL PRODUCTIONS Studio City, CA 91604 818-533-8669 E-mail: Web: Contact: Thomas Hornig Basic Rate: visit website for more info TRU-ONE STUDIOS 2100 E. Howell Ave., Ste. 208 Anaheim, CA 92806 714-634-4678 Web: Basic Rate: Rooms $16 & $20 per hr. UNITED AVG, INC. 6855 Vineland Ave. N. Hollywood, CA 91605 800-247-8606 Web: Contact: Steve Katz Basic Rate: call or check website for more information UNIVERSAL MASTERING STUDIOS 3400 Cahuenga Blvd. Building C Hollywood, CA 90068 818-286-6233 E-mail: Web: Contact: Nick Dofflemyer Basic Rate: call for info UROCK MUSIC STUDIOS University of Recording Arts and Music 18101 Von Karman suite 140-144 Irvine, CA 92612 Office: 888-UROCK01 (888 876-2501) Direct: 949 429-9653 Contact: John Lowson E-mail: Web: http://universityofrecordingarts, www.uram Credits: Grammy winning recordings/ countless Gold and Platinum. Great rates—Satisfaction Guaranteed! *Notes: Music production, recording, mixing, mastering (web based file sharing from anywhere). 20+ years professional experience VESTMAN MASTERING 7556 Garden Grove Blvd. Westminster, CA 92683 714-894-4000 E-mail: Web: Contact: John Vestman or office mgr. Basic Rate: Contact us for hourly rates and package rates for sessions longer than 4 hours.

Download at WATERBURY PRODUCTIONS Laurel Canyon and Magnolia Valley Village, CA 818-505-8080 E-mail: davewaterbury91607@yahoo. com Web: Contact: Dave Waterbury Basic Rate: please call for info WESTBOUND STUDIOS Los Angeles, CA 310-985-5509 E-mail: Web: Contact: Angelo Basic Rate: please call for info WESTLAKE RECORDING 7265 Santa Monica Blvd. Los Angeles, CA 90046 323-851-9800 E-mail: Web: Contact: Sara Clark Basic Rate: please call for info XTREAM AUDIO MASTERING 888-878-3292 E-mail: Web: Basic Rate: please call for info ZENMASTERING P.O. Box 231087 Encinitas, CA 92023 858-231-1541 Contact: Paul Abbott Web:

COLORADO AIRSHOW BOULDER STUDIO 3063 Sterling Cir., Ste. 3 Boulder, CO 80301 888-545-9035, 303-247-9035

Fax 303-247-9037 E-mail: Web: Basic Rate: please call for info Additional location: 7014-C Westmoreland Ave. P.O. Box 5692 Tacoma Park, MD 20913 301-891-9035 E-mail: ASPEN LEAF RECORDING STUDIO P.O. Box 60351 Grand Junction, CO 970-201-6166 E-mail: Web: Contact: Ken Dravis Basic Rate: please call for info AUDIO PARK RECORDING 5603 Yukon St., Unit A Arvada, CO 80002 303-456-6122 E-mail: Web: Basic Rate: please call for info A/V SERVICES 2432 S. Downing St. Denver, CO 80210 303-777-5950 Fax 303-765-2584 E-mail: Web: Basic Rate: please call for info CHERRY SOUND STUDIOS, LLC 1600 Downing, Ste. 120 Denver, CO 80218 303-910-5359 E-mail: Web: Basic Rate: please call for info

COLORADO SOUND STUDIOS 3100 W. 71st Ave. Westminster, CO 80030 303-430-8811 E-mail: Web: Basic Rate: please call or see website GLOBALSOUND REC. STUDIO 555 Alter St., Unit 19-F Broomfield, CO 80020 303-439-7956 E-mail: Web: Basic Rate: please call for info QUAM AUDIO PRODUCTIONS Lafayette, CO 720-890-0230 E-mail: Web: Contact: Michael Quam Basic Rate: please call for info SUMMERTOWN STUDIOS SW Corner of College & Harmony 4606 S. Mason St. Fort Collins, CO 970-377-8066 E-mail: producer@summertown Web: Contact: Bob Buford Basic Rate: please call for info

Manchester, CT 06040 860-436-4581 E-mail: Web: Contact: Adam Gootkin or Peter Kowalczyk Basic Rate: please call for info RVP STUDIOS 221 Bull Hill Ln. West Haven, CT 203-934-7579 E-mail: Web: Contact: Marc Basic Rate: please call for info SUITE AUDIO Clinton, CT 06413 860-664-9499 E-mail: Web: Basic Rate: please call for info TARQUIN STUDIOS Bridgeport, CT 06604 203-338-0895 E-mail: Web: Basic Rate: please call for info


BEANSTUDIO MASTERING Bridgeport, CT E-mail: Web: Contact: Jim DeSalvo Basic Rate: please call for info

AUDIOVISIONS 7 Rockford Rd., Ste. 29B Wilmington, DE 19806 302-651-7955 E-mail: Web: Basic Rate: please call for info


JAMLAND STUDIO 2326 Empire Dr.


October 2013


Annual Directory of Mastering Studios Kingsridge, Wilmington, DE 19810 302-475-0204 E-mail: Web:

DISTRICT OF COLUMBIA (DC) LISTEN VISION LLC 2622 Georgia Ave. NW Washington, D.C. 20001 202-332-8494 Fax 202-332-8495 E-mail: Web: Basic Rate: please call for info

FLORIDA BIG SHOT MUSIC STUDIOS 658 Douglas Ave., Ste. 1116-1120 Altamonte Springs, FL 32714 407-788-6431 E-mail: Web: BLACK DOG MASTERING STUDIO 3837 Northdale Blvd., Ste. 271 Tampa, FL 33624 818-434-1483 E-mail: Web: Basic Rate: please call for info EMERALD CITY RECORDING, INC. 105 Dunbar Ave., Ste. A Oldsmar, FL 34677 813-814-1062 E-mail: Web: Basic Rate: please call for rates FULLERSOUND INC. 3551 S.W. 116th Ave. FT. Lauderdale, FL 33330 305-556-5537 Fax 954-423-8441 E-mail: Web: Basic Rate: please call for rates

60 October 2013

NOISEMATCH STUDIOS 169 N.W. 23rd St. Miami, FL 33127 786-334-5382 E-mail: Web: Basic Rate: Call for info PROGRESSIVE MEDIA & MUSIC 2116 Southview Ave. Tampa, FL 33606 813-251-8093 Fax 813-251-6050 E-mail: Web: Basic Rate: project rates available call for a quote

E-mail: Web: Basic Rate: please call for info

HAWAII AVEX HONOLULU STUDIOS 377 Keahole St., Ste. D-03 Honolulu, HI 96825 808-393-2021 Fax 808-393-2021 E-mail: Web: Contact: Gaylord Holomalia Basic Rate: please call for info

DAN SCOTT PRODUCTION STUDIOS Atlanta, GA 770-616-0433 Web: danscottproductions Basic Rate: please call for info

LAVA TRACKS RECORDING Kamuela, Big Island, HI P.O. Box 6564 808-885-6558 Web: Contact: Charles Michael Brotman, Grammy Award winner Basic Rate: call or check our website for contact info.

GLENN SCHICK MASTERING 1314 Ellsworth Industrial Blvd. Atlanta, GA 30318 404-351-4655 Fax 404-474-1795 E-mail: Web: Basic Rate: please call for info

SEASIDE RECORDING Wailuku, Maui, HI 808-242-2732 Web: Contact: Joel Katz Basic Rate: reasonable rates by the hour, week or job


ODYSSEY STUDIO, THE 706-540-1076 E-mail: Web: Contact: NA Basic Rate: $50/hr. see web for details SING MASTERING 781 Wheeler St. NW Studio 8 Atlanta, GA 30318 404-827-8503

IDAHO AUDIO MASTERING STUDIO 2365 River Oaks Dr. Nampa, ID 83686 208-965-0621 E-mail: master@audiomasteringstudio. com Web: Basic Rate: $75 per song (minimum two songs) [or] project discount 7-10 songs, $500

JAMPROSOUND Boise, ID 208-340-7058 E-mail: Web: Contact: Justin A. Mai, owner Basic Rate: please call or e-mail for info TONIC ROOM, THE 1509 S. Robert St., Ste. 103 Boise, ID 83705 208-338-8433 Fax 208-338-8435 E-mail:, Web: Basic Rate: see web for info

ILLINOIS ARS STUDIOS Homewood, IL 708-960-0499 Fax 708-371-3958 E-mail: Web: Basic Rate: please call and ask about our mastering and duplication specials BOILER ROOM, THE 3139 N. Lincoln Ave., Ste. 214 Chicago, IL 60657 773-525-8551 E-mail: Web: Basic Rate: please call for info CHICAGO MASTERING SERVICE Chicago, IL 773-265-1733 E-mail: info@chicagomastering Web: Basic Rate: please call for info CHICAGO MASTERWORKS E-mail: Basic Rate: please e-mail for info

Download at Download at DISC MAKERS 560 W. Washington Blvd. #410 Chicago, IL 60661 800-468-9353, 312-661-3450 E-mail: Web: Basic Rate: please call for info GRAVITY STUDIOS 2250 West North Ave. Chicago, IL 60647 773-862-1880 E-mail: Web: Basic Rate: Call for more info MAMINIDI RECORDS, INC. Chicago, IL 630-834-0766 E-mail: Web: Basic Rate: please call for info

515-243-2125 Fax 515-243-2055 E-mail: Web: Basic Rate: please call for info

KANSAS CORNERSTONE STUDIOS Wichita, KS E-mail: Web: Contact: Steve Basic Rate: please e-mail for info

KENTUCKY HEAD FIRST MEDIA 900 Goss Ave., Ste. 1, 3rd Fl. Louisville, KY 40217 502-637-1663 E-mail: Web: Basic Rate: please call for info

MASSIVE MASTERING P.O. Box 68143 Schaumburg, IL 60168 630-237-4393 E-mail: Web: Contact: John Scrip Basic Rate: hourly/project rates on web

SAINT CLAIRE RECORDING STUDIO 2640 Spurr Rd. Lexington, KY 40511 859-252-7272 E-mail: Web: Basic Rate: please call for info

PLAYGROUND RECORDING AND MASTERING STUDIO, THE Chicago, IL 312-455-8265 E-mail: Web: Basic Rate: $500/day recording $65/hr. mastering

MASTERDIGITAL CORP. 2614 W. 15th Ave. Covington, LA 70433 504-236-6368 Web: Basic Rate: please call for info

STUDIO VMR VITAL MUSIC RECORDING 9039 Monroe Brookfield, IL 60513 780-267-2198 E-mail: Web: Contact: Don Griffin Basic Rate: Call for info

INDIANA APPLEGATE AUDIO VISUAL 5609 Ensenada Ave. Indianapolis, IN 46237 317-782-9948 E-mail: Web: Basic Rate: 1-10 songs $200.00 LIGHTNING STRUCK STUDIOS 2384 E. Co Rd., 800 S Clayton, IN 46118 317-539-7476 E-mail: Web: Basic Rate: please call for info

IOWA CATAMOUNT RECORDING, INC. 5737 Westminster Dr. Cedar Falls, IA 50613 319-235-6517 E-mail: Web: Contact: Kitty Tatman Basic Rate: please see web for info INNER LIGHT RECORDS Iowa City, IA 319-936-1235 E-mail: Web: Contact: Ari Basic Rate: please call for info SKYLINE AUDIO PRODUCTIONS, LLC 6781 Hickman Rd. Urbandale, IA 50322 515-252-6209 E-mail: Web: Basic Rate: call for rates TRIAD PRODUCTIONS INC. 1910 Ingersoll Ave. Des Moines, IA 50309


MUSIC SHED, THE 929 Euterpe St. New Orleans, LA 70130 504-412-9995 E-mail: Web: Basic Rate: please call for info

MAINE GATEWAY MASTERING STUDIOS 428 Cumberland Ave. Portland, ME 04101 207-828-9400 E-mail: Web: Basic Rate: please call for info STUDIO, THE 45 Casco St., Ste. 200 Portland, ME 04101 207-772-1222 Fax 207-775-0448 E-mail: Web: Contact: Tim Tierney Basic Rate: call for info

MARYLAND AIRSHOW TAKOMA PARK STUDIO 7014-C Westmoreland Ave. Takoma Park, MD 20912 301-891-9035 Fax 301-891-9036 Web: Basic Rate: see web for info BACKBEAT RECORDS 16810 Federal Hill Ct. Bowie, MD 20716 301-430-0997 E-mail: Web: Basic Rate: please call for info DISTROPHONIX LLC 517 Cathedral St Baltimore, MD 21201 443-763-3939 E-mail: Web: Contact: Bryan (Head Mastering Engineer) Basic Rate: $20 a song HIT AND RUN RECORDING 18704 Muncaster Rd. Rockville, MD 20855 301-948-6715 E-mail: Web: October 2013


Annual Directory of Mastering Studios Contact: Steve Carr Basic Rate: please call for info JAM HUT RECORDS East Maryland 410-430-2707 E-mail: petebott69@jamhut Web: Contact: Pete Basic Rate: $25/hr. LION AND FOX RECORDING STUDIOS 9517 Baltimore Ave. College Park, MD 20740 301-982-4431 E-mail: Web: Basic Rate: please call for info OMEGA RECORDING STUDIOS 5609 Fishers Ln. Rockville, MD 20852 301-230-9100 E-mail: Web: Contact: Shannon Follin Basic Rate: 125/hr. (does not include tax or materials) PURE SOUND RECORDING STUDIO Odenton, MD 443-597-8584 E-mail: Web: Basic Rate: please call for info STUDIO 302 554 N. Frederick Ave. #218 Gaithersburg, MD 20877 Web: Contact: Jeremy Rwakaara Basic Rate: see website for rates

62 October 2013

MAINE BOSTON RECORDING STUDIO 131 W. Concord St., Ste. 1 Boston, MA 02118 857-207-2247 E-mail: record@bostonrecordingstudio. com Web: Basic Rate: $80/hr. M WORKS MASTERING 1035 Cambridge St., Ste. 17B Cambridge, MA 02141 617-577-0089 E-mail: Web: Basic Rate: reasonable rates! OAK GROVE RECORDING 65 Clinton St. Malden, MA 02148 781-321-3069 E-mail: Web: Basic Rate: please call for info PEERLESS MASTERING 1085 Commonwealth Ave. #322 Boston, MA 02215 617-527-2200 E-mail: Web: Contact: Jeff Basic Rate: please call for info PILOT RECORDING STUDIOS 1073 Main St. Housatonic, MA 413-274-1073 E-mail: Web: Contact: Will Schillinger Basic Rate: please e-mail for info

REAR WINDOW RECORDING SERVICE 25 Dwight St. Brookline, MA 02446 617-901-2441 Fax 617-730-5611 E-mail: Web: Basic Rate: please call for info RIK TINORY PRODUCTIONS P.O. Box 311 Cohasset, MA 02025 781-383-9494 E-mail: Web: Contact: Rik Basic Rate: please call for info SOUNDMIRROR, INC. 76 Green St. Boston, MA 02130-2271 617-522-1412 Fax 617-524-8377 Web: Basic Rate: please call for info SPECIALIZED MASTERING 47 Mellen St. Framingham, MA 01702 508-872-9478 E-mail: dana@specialized Web: Basic Rate: please call for info Additional location: 15438 S.W. 81st. Ave. Portland, OR 97224 503-866-8383

MICHIGAN BROADSIDE PRODUCTIONS 901 S. Westnedge Kalamazoo, MI 49008 269-226-0948

E-mail: Web: Basic Rate: please call for info WATERFALL STUDIOS 11389 S. Forrest Sideroad Dafter, MI 49724 313-570-6780 Web: Basic Rate: please call for info

MINNESOTA ADVANCED RECORDING STUDIOS 710 E. 11 Mile Rd. Royal Oak, MN 48067 248-291-4029 E-mail: bill@advancedrecording Web: www.advancedrecording CRAZY BEAST N.E. Minneapolis, MN E-mail: Web: Contact: Ben Durrant Basic Rate: please call for info C-SHARP PRODUCTIONS Minneapolis, MN 612-454-0926 E-mail: Web: Basic Rate: please call for info GERRY STINSON AUDIO 3720 Cooper Ave. S. St. Cloud, MN 56301 320-240-9292 E-mail: Web: Basic Rate: please call for info RARE FORM MASTERING 712 Ontario Ave. W.

focal press

Download at Download at

FIELD FORCE MEDIA SERVICES 13621 Wyandotte St. Kansas City, MO 64145 913-599-1888, 888-599-1888 E-mail: Web: Basic Rate: please call for info

MONTANA BOONE PRODUCTIONS 579 Belt Creek Rd. Belt, MT 59412 406-277-3255 E-mail: Web: Contact: Dan Boone Basic Rate: please call for info RECORDING EDGE 615 E. Cameron Bridge Rd. Bozeman, MT 59718 406-388-5042 E-mail: Web: Contact: Edd Gryder Basic Rate: please contact for info


NEW HAMPSHIRE ANALOG MASTERING 20 Vine St. Peterborough, NH 03458 603-924-2277 E-mail: Web: Basic Rate: please call for info DRT MASTERING 20 Vine St. St. Peterborough, NH 03458 603-924-2277 E-mail: Web: Contact: David Basic Rate: please call for info

NEW JERSEY BEANSTUDIO CD & DVD MASTERING Wayne, NJ E-mail: Web: Contact: Jim DeSalvo Basic Rate: please email for info DISC MAKERS 7905 N. Route 130 Pennsauken, NJ 08110 800-468-9353 E-mail: Web: Basic Rate: please call for info ED LITTMAN MASTERING 35 Harring Ct. North Haledon, NJ 07508 201-824-7860 Web: Contact: Ed Littman Basic Rate: Available on Website

FOCUS MASTERING 14910 Grover St., Ste. 100 Omaha, NE 68144-5445 402-504-9624 E-mail: Web:, Contact: Doug Van Sloun Basic Rate: call or visit web for info

SILK CITY RECORDS P.O. Box 1541 Parsippany, NJ 07454 973-599-0237 E-mail: Web: Contact: Andy Allu Basic Rate: call for info

STUDIO 24 8601 N. 30th St. Omaha, NE 68112 402-342-9090 E-mail: Web: Contact: Chuck Beckler Basic Rate: please call for info

SUPREME SOUND STUDIO, INC. 86 Lackawanna Ave., Bldg. 2, Ste. 227 Woodland Park, NJ 07424-2642 973-890-1672 E-mail: Web: Contact: Brian Csencsits Basic Rate: please call for info

WAREHOUSE PRODUCTIONS 206 S. 44th St. Omaha, NE 68131 402-553-8523 E-mail: Web:

NEW MEXICO HIGH FIDELITY MASTERING 13170 Central Ave. S.E., Ste. B251 Albuquerque, NM 87123 505-459-6242 E-mail: Web:

w w w . f o c a l p r e s s . c o m

CD MASTERING SERVICES 4121 S. Fremont Ave., Ste. 120 #220 Springfield, MO 65804 417-880-2617 E-mail: Web: Contact: Bob Speer Basic Rate: please call for info

9780240821573 | $49.95

MISSOURI AFTERBURN RECORDING STUDIOS 11947 Avila Dr. Kansas City, MO 64145 816-522-7718 E-mail: Web: Basic Rate: please call for info

VEGAS DISC MASTERING 5320 Styers St. North Las Vegas, NV 89031 800-246-5667, 702-735-4283 E-mail: Web: Contact: Tom Parham Basic Rate: call for info

9780415825641 | $39.95

TAPROOT AUDIO DESIGN 355 C.R. 102 Oxford, MS 38655 662-236-2167 E-mail: Web: Basic Rate: please call for info

ODDS ON DISC 14 Sunset Way Henderson, NV 89014 702-318-6001 E-mail: Web: Basic Rate: please call for info


9780240823706 | $34.95

MISSISSIPPI MALACO MUSIC GROUP 3023 W. Northside Dr. Jackson, MS 39213 601-982-4522 E-mail: Web: Basic Rate: please call for info

NEVADA HGRS AUDIO Las Vegas, NV 702-236-1485, 708-305-3975 E-mail:, Web: Contact: Jeff or Greg Basic Rate: please call for info

9780415656856 | $29.95

Minneapolis, MN 55403 612-327-8750 E-mail: Web: Contact: Greg Reierson Basic Rate: please contact for info

October 2013


Annual Directory of Mastering Studios Contact: Andy Rogulich Basic Rate: please call for info THUNDER DIGITAL Albuquerque, NM 505-822-8273 E-mail: Web: Basic Rate: please call for info

NEW YORK COTTON HILL STUDIOS, INC. 13 Walker Way Albany, NY 12205 518-869-1968 Web: Contact: Margherita Petti Krug DALE PRO AUDIO 22 West 19th St. New York, NY 10011 888-462-7828 Web: Basic Rate: call for info DISC MAKERS 16 West 18th St. New York, NY 10011-5504 800-468-9353 E-mail: Web: Basic Rate: please call for info ENGINE ROOM AUDIO 42 Broadway 22nd Fl. New York, NY 10004 212-625-3467 E-mail: Web: Basic Rate: please call for info KEVORKIAN MASTERING c/o Avatar Studios

64 October 2013

441 W. 53 St. New York, NY 10019 917-406-9147, 212-765-7500 E-mail: Web: Contact: Fred Kevorkian

RICK ROWE MASTERING Brooklyn, NY 11220 718-492-0776 646-415-4325 E-mail: Web: Basic Rate: please call for info

LODGE, THE 740 Broadway, Ste. 605 New York, NY 10003 212-353-3895 Fax 212-353-2575 E-mail: Web: Basic Rate: please call for info

RIGHT TOUCH MASTERING New York, NY 888-707-6070 ext 1 Contact: Gordon Bahary E-mail: Web: Basic Rate: Call for Info

MASTERDISK CORP. 545 W. 45th St. New York, NY 10036 212-541-5022 Fax 212-581-4093 E-mail: Web: Basic Rate: please call for info

SKYELAB MUSIC PRODUCTIONS 247 W 38th St. Ste. 601 New York, NY 10018 212-789-8942 E-mail: Web: Basic Rate: please call for info

XTREAM AUDIO 888-878-3292 E-mail: Web: Contact: Anthony Casuccio Basic Rate: call for customized quote

MUSIC HOUSE MASTERING 5507-10 Nesconset Hwy., Ste. 178 Mount Sinai, NY 11766 800-692-1210 E-mail: info@musichouse Web: Contact: Michael Dominici, owner Basic Rate: $475 complete album mastering, analog and digital mastering

STERLING SOUND 88 Tenth Ave. 6th Fl. New York, NY 10011 212-604-9433 E-mail: Web: Basic Rate: please see web

BLUEFIELD MASTERING Raleigh, NC 27606 919-859-0102 E-mail: Web: Contact: Jeff Carroll Basic Rate: please call or e-mail

THRESHOLD MUSIC 212-244-1871 E-mail: thresholdstudiosnyc@ Web: Basic Rate: please call for info

JP MASTERS Charlotte, NC 704-779-1043 E-mail: Web: Contact: Dave Locke Basic Rate: please refer to web

OASIS DISC MANUFACTURING 7905 N. Crescent Blvd. Delair, NJ 08110 888-296-2747 Fax 866-929-8402 E-mail: Web: Basic Rate: please call for info

TRUTONE MASTERING LABS INC. 119 Rockland Ctr., Ste. 306 Nanuet, NY 10954 845-680-6490

E-mail: Web: Basic Rate: please call for info VAULT MASTERING STUDIOS, THE 545 W. 45th St., Studio MD4 New York, NY 10036 212-965-0100 E-mail: Web: Contact: Kiki Barrera - studio manager Basic Rate: contact for a quote tailored to your project.


KITCHEN MASTERING 109 Brewer Ln. Ste. A Carrboro, NC 27510

Download at 919-929-4494 E-mail: Web: Contact: Brent Basic Rate: hourly and track rates available STUDIO B MASTERING 821 Louise Ave. Charlotte, NC 28204 704-372-9661 E-mail: Web: Contact: Dave Harris Basic Rate: please call for info

NORTH DAKOTA BARKING DOG RECORDS P.O. Box 1455 Fargo, ND 58105 E-mail: coates@barkingdogrecords. com Web: Contact: Mike and Linda Coates Basic Rate: please e-mail for info MAKOCHE RECORDING COMPANY 208 N. 4th St. Bismarck, ND 58502 800-637-6863, 701-223-7316 E-mail: Web: Basic Rate: please call for info

OHIO ACOUSTIK MUSIC, LTD. 511 West College St. Oberlin, OH 44074-1446 440-775-3681, Cell: 440-935-2812 Web: Contact: Jimmy Pearson Basic Rate: please call for info COMMERCIAL RECORDING STUDIOS INC. 6001 W. Creek Rd. Cleveland, OH 44131 216-642-1000 E-mail: info@commericalre Web: Basic Rate: please call for info

OKLAHOMA HEARTLAND MASTERING STUDIO 3912 Hatterly Ln. Norman, OK 73072 405-919-7000, 405-360-8136 E-mail: Web: Basic Rate: please call for info STUDIO SEVEN/LUNACY RECORDS 417 N. Virginia Oklahoma City, OK 73106 405-236-0643

Web: Basic Rate: please call for info SUNDAY RECORDING Oklahoma City, OK 405-816-3102 E-mail: Web:

OREGON CRAZY DAISY PRODUCTIONS 7889 SW Cirrus Dr. Beaverton, OR 97008 541-517-1458 E-mail: Web: DEAD AUNT THELMA’S STUDIO 7923 S. E. 13th Ave. Portland, OR 97202 503-235-9693 E-mail: Web: Basic Rate: please call for info FOSTER MASTERING 4711 S.E. 26th Ave. Portland, OR 97202 503-222-9444 E-mail: ryanfoster@freq Web:, Basic Rate: please call for info FUTURE DISC LLC. 15851 N.W. Willis Rd. McMinnville, OR 97128 213-361-0603 Fax 503-472-1951 E-mail: Web: Contact: Steve Hall or Laura Hall Basic Rate: please call for rates or more info MICHAEL COOPER RECORDING 14911 Pommel Sisters, OR 97759 541-549-1619 E-mail: coopermb@bendbroad Web: michaelcooperrecording Contact: Michael Cooper Basic Rate: $70/hr. or $90/song SEPTEMBER AUDIO NW Irving & 14th Ave. Portland, OR 97209 260-456-5717 E-mail: Web: Basic Rate: please call for info


Orefield, PA 18069 610-398-9590 E-mail: sfxpost@ Web: Basic Rate: please call for info JEREE RECORDING 1469 3rd Ave. New Brighton, PA 15066 724-847-0111 Web: Basic Rate: please call for info MASTERING HOUSE INC., THE 1002 Ridge Rd. Pottstown, PA 19465 888-876-HOUS, 610-469-1050 Web: Basic Rate: please call for info SHIMAMOTO SOUND Philadelphia, PA Web: Basic Rate: see web for info SI STUDIOS 945 S. Main St. Old Forge, PA 18518 570-457-0147 E-mail: Web: Basic Rate: please call for info SPEARHEAD AUDIO Pittsburgh, PA 15228 E-mail: Web: Contact: Barak Shpiez Basic Rate: per project basis TREELADY STUDIOS 628 Brown Ave. Turtle Creek, PA 15145 412-816-0300 E-mail: Web: Basic Rate: please see web

RHODE ISLAND STATIC PRODUCTIONS N. Kingstown, RI 02852 401-267-8236 E-mail: Web: Basic Rate: please call or see web

SOUTH CAROLINA SIT N SPIN STUDIOS 730 S. Pleasantburg Dr., Ste. 107 Greenville, SC 29607 864-414-4855 E-mail: gik-music-connection-sept-2013.pdf Web: Contact: Matt Morgan

STRAWBERRY SKYS RECORDING STUDIOS 1706 Platt Springs Rd. W. Columbia, SC 29169 803-794-9300 E-mail: Web: Basic Rate: call for rates

SOUTH DAKOTA PRAIRIE DOG STUDIOS P.O. Box 91016 Sioux Falls, SD 57109 605-361-0939 E-mail: topdog@prairiedog Web: Basic Rate: please call for info SYMBIOTIC DESIGN 2108 S. Duluth Ave. Sioux Falls, SD 57105 605-610-9001 Web: Basic Rate: please call for info

TENNESSEE CHELSEA RECORDING STUDIO 500 Wilson Pike Cir. #200 Brentwood, TN 37027 615-373-5222 E-mail: Web: Basic Rate: please call or see website DAVE TOUGH PRODUCTIONS Nashville, TN 615-554-6693 E-mail: Web: Contact: Dave Basic Rate: $65/hr - specializing in internet mastering DIAMONDISC AUDIO 204 Still Water Cir. Nashville, TN 37221 615-662-6870 E-mail: Web: Contact: Doug Diamond Basic Rate: Mastering Package ‘D’ $30/song DISC MAKERS 1305 16th Ave., S 1st Fl. Nashville, TN 37212 800-468-9353 Fax 856-661-3450 E-mail: Web: Basic Rate: please call for info EUPHONIC MASTERS Arlington, TN

14/09/2013 12:35:08 901-266-6075


October 2013


Annual Directory of Mastering Studios Web: Basic Rate: please call for info

Contact: Ken or Hank Basic Rate: please call for info

FOXWOOD MASTERING 108 Foxwood Lane Nashville, TN 37069 615-297-3929 Web: Basic Rate: please call for info

MAYFIELD MASTERING 2825 Erica Pl. Nashville, TN 37204 615-383-3708 E-mail: Web: Basic Rate: please call for info

GEORGETOWN MASTERS AUDIO, LLC 33 Music Sq. W., Ste. 108b Nashville, TN 37203 USA 615-254-3233 Fax 615-254-3237 E-mail: Web: Contact: Shelley Anderson Basic Rate: please call or see web HILLTOP RECORDING STUDIOS 902 Due West Ave. Nashville, TN 37115 615-865-5272 Web: Contact: John Nicholson INDEPENDENT MASTERING 1312 16th Ave. S. Nashville,TN 37212 615-425-0739 E-mail: eric@independent Web: JAMSYNC P.O. Box 120969 Nashville, TN 37212 615-320-5050 Fax 615-340-9559 Web: Basic Rate: please call for info MASTERFONICS 28 Music Sq. W. Nashville, TN 37203 615-515-8705 E-mail: Web: Contact: Tommy Dorsey Basic Rate: please call for info MASTERING STUDIO, THE Professional Audio Group LLC 9 Music Square S., Ste. 148 Nashville, TN 37203 615-828-1877 Web: Contact: Luke Basic Rate: please see web MASTERMIX 1921 Division St. Nashville, TN 37203 615-321-5970 Fax 615-321-0764 E-mail: Web:

66 October 2013

NASHVILLE RECORDING STUDIO 19 821 19th Ave. S. Nashville, TN 37202 615-327-4927 E-mail: Web: Basic Rate: please call for info PARLOR STUDIO, THE 1317 16th Ave. S. Nashville, TN 37212 615-385-4466 E-mail: Web: Contact: Larry Sheridan THE PLACE...FOR MASTERING 2508 Winford Ave., 2nd fl. Nashville, TN 37211 615-686-1725 E-mail: alex@theplacefor Web: Contact: Alex Rockafellar, Studio Mgr. Basic Rate: E-mail your project info to Alex for a free quote. *Note: Joe Palmaccio has 20+ years major label experience with Polygram, Sterling Sound, and Sony NYC. 3x Grammy winner. Artists include Eric Clapton, John Mayer, Edwin McCain, Jeff Buckley, James Brown. Indie artists worldwide are welcome. WOLF MASTERING 1024 16th Ave. S. Nashville, TN 37212 615-251-9653 E-mail: Web:, Contact: Erik Wolf Basic Rate: $85/hr. plus masters

TEXAS AMBIENT DIGITAL Houston, TX 888-808-DISC E-mail: mastering@ambient Web: Contact: Bob Boyd Basic Rate: please call for an estimate

ARCUBE MULTIMEDIA INC. 959 E. Collins Blvd., Ste. 123 Richardson, TX 75081 877-677-9582, 972-267-1800 E-mail: Web: Basic Rate: please call for info Additional locations: Austin 877-677-9582 Houston 832-573-9444 AUDIO ARTS 817-946-7539 E-mail: Basic Rate: please call for rates CROWN RECORDS 402 Peoples St., Ste. 3C Corpus Christi, TX 78401 361-882-8881 Web: Basic Rate: please contact for info DES MASTERING 1409 S. Lamar St., Ste. 100 Dallas, TX 75215 214-428-8777 E-mail: Web: Basic Rate: please call for info EAGLE AUDIO RECORDING 911 South Main St. Fort Worth, TX 76104 817- 877- 4338 Fax 817-259-1674 E-mail: info@eagleaudiorecording. com Web: Basic Rate: please call for info FORT WORTH SOUND 306 S. Main St. Ft. Worth, TX 76104 817-922-5444 E-mail: Web: Contact: Bart Rose Basic Rate: please call for info JO MUSIK Dallas, TX 972-226-1265 Web: Basic Rate: please call for info MASTERPIECE MASTERING P.O. Box 2909 South Padre Island, TX 78597-2909 956-233-5326, Austin: 512-289-3428 E-mail: Web: www.masterpiecemastering. com,

Contact: Billy Stull Basic Rate: $100/hr. M MEDIA AUDIO P. O. Box 201475 Austin, TX 78720 512-341-2500 E-mail: Web: Basic Rate: please call for info NEXUS RECORDING STUDIOS San Antonio, TX 210-639-5266 E-mail: jason@nexusrecording Web: Contact: Jason Hatch Basic Rate: please call for info OTR MASTERING Dallas, TX 817-909-2738 Web: Contact: Jeff Lowes; Owner/Engineer Basic Rate: Please call for info SUGARHILL STUDIOS 5626 Brock St. Houston, TX 77023 713-926-4431 E-mail: Web: Contact: Chris Longwood Basic Rate: please call for info TERRA NOVA DIGITAL AUDIO, INC. 5446 Hwy 290 W., Ste. 270 Austin, TX 78735 512-891-8010 Fax 512-891-8014 E-mail: Web: Contact: Diane Tubb, VP Basic Rate: please call for info TOP HAT RECORDING Austin, TX 512-779-8188 E-mail: Web: Basic Rate: please call for info VAULT RECORDING STUDIOS, THE 9135 Katy Fwy., Ste. 1 Houston, TX 77024 713-722-8900 E-mail: Web: Contact: David Williams Basic Rate: please call for info WEXTRAX MASTERING LABS McKinney, TX 214-544-1554, 214-585-1692 E-mail: Web:

Download at Contact: Rob Wechsler Basic Rate: please call for info WIRE ROAD STUDIOS 901 W. 20th St. Houston, TX 77008 713-636-9772 E-mail: inquiries@wireroad Web: Contact: Bill Wade Basic Rate: By request per project

UTAH DAVID EVANOFF SOUND DESIGNS 2335 S. W. Temple Salt Lake City, UT 801-815-3202 E-mail: dave@counterpoint Web: Basic Rate: please call for info VICK ENTERTAINMENT 10 W. Broadway, Ste. 701 Salt Lake City, UT 84101 801-755-9966 Fax 866-285-5008 E-mail: Web: Basic Rate: please call for info

VERMONT LITTLE CASTLE STUDIO 802-349-1280 E-mail: Web: Contact: Horace Williams, Jr. Basic Rate: please call for info

VIRGINIA CUE RECORDING STUDIOS 109 Park Ave., Ste. E Falls Church, VA 22046

703-532-9033 E-mail: Web:, Basic Rate: please call for info OASIS DISC MANUFACTURING 5400 Carolina Pl. Springfield, VA 888-296-2747, 703-642-3757 E-mail: Web: Basic Rate: please call for info WASHBURN MASTERING 325 E. Bay View Blvd., Ste. 205 Norfolk, VA 23503 757-480-5008 Web: Basic Rate: please call for info

WASHINGTON BIG CITY RECORDS Seattle, WA 206-774-8884 E-mail: Web: Basic Rate: please call for info COUGAR MOUNTAIN STUDIOS Issaquah, WA 425-391-0570 E-mail: live@cougarmountain Web: Basic Rate: call for rates PERFECHTER PRODUCTIONS 509-242-8907 E-mail: info@perfechter Web: Basic Rate: please e-mail for info

SEATTLE DISC MASTERING Shoreline, WA 206-368-9220 Web: SYNERGY PRODUCTIONS 16241 Cleveland St., Ste. J Redmond, WA 98052 206-364-1070 E-mail: Web:

WEST VIRGINIA HILLTOP RECORDING R.R. 1 Box 334-A LeSage, WV 25537 304-840-2675 Web: Contact: Dave Winters Basic Rate: please call for info ZONE 8 RECORDING 527 Main St. Granville, WV 26534 304-599-7332 E-mail: Web: Contact: Mark Poole Basic Rate: please call for info

WISCONSIN TAYLOR STUDIOS 818 N. 109th St. Milwaukee, WI 53226 414-778-0362 Web: Basic Rate: please call for info

E-mail: Web: Contact: Tom Blain Basic Rate: call for price quote

WYOMING BALL ADVERTISING GROUP, INC. 355 N. Lincoln St. Casper, WY 82601 307-234-3472 E-mail: Web: Services: digital editing INTEGRATED IMAGING 1743 E. 2nd St. Casper, WY 82601 800-780-3805, 307-266-3805 E-mail: Web: Services: video & audio duplication

INTERNATIONAL XARC MASTERING The Online CD & Vinyl (Pre) Mastering Studio Gompitzer St. 108 Dresden, Saxony 01557 Germany +49 (0) 170 750 22 92 E-mail: Web: Contact: Lorenz Vauck Format: digital and analog, 2 tracks

ULTIMATE AUDIO MASTERING 35 W. Liberty Evansville, WI 53536 608-882-6798

October 2013


Annual Directory of College


Using this exclusive one-of-a-kind list, anyone can get their music out to scores of college and indie radio stations nationwide. And for great inside info on how to get the most exposure from college radio, be sure to check out this issueâ&#x20AC;&#x2122;s Tip Jar on page 78. C O M P I L E D ALABAMA WVUA 90.7 FM University of Alabama Box 87 Tuscaloosa, AL 35487-0370 205-348-6461 or 205-348-6061 E-mail: Web: Format: alt-rock

ARIZONA KAMP 1570 AM University of Arizona Attn: KAMP Music Director 615 N. Park Ave., #101 Tucson, AZ 85721 520-626-4460 E-mail: Web: Format: free form KXCI 91.3 FM 220 South 4th Ave. Tucson, AZ 85701 520-623-1000, ext 16 Web: Contact: Duncan Hudson Format: eclectic

CALIFORNIA KALX 90.7 FM University of California 26 Barrows Hall, Ste. 5650 Berkeley, CA 94720-5650 510-642-1111 E-mail: Web: Contact: Travis Bill & Spencer Owen Format: eclectic KCRH 89.9 FM Chabot College 25555 Hesperian Blvd. Hayward, CA 94545 510-723-6954 E-mail: programdirectory@KCRHradio. com Web: KCPR 91.3 FM Cal Poly State University 1 Grand Ave. San Luis Obispo, CA 93407 805-756-2965 E-mail: Web: Contact: Nick Cocores, Jimmy Serrano,



KJAZZ 88.1 FM California State University, Long Beach 1288 N. Bellflower Blvd. Long Beach, CA 90815 Contact: Bubba Jackson, Program Dir. 562-985-2999 E-mail: Web: Format: jazz & blues

Bobak Behesti Format: eclectic KCRW 89.9 FM Santa Monica College 1900 Pico Blvd. Santa Monica, CA 90405 310-450-5183 Web: Contact: Nic Harcourt Format: eclectic

KLBC.ORG Long Beach City College 4901 E. Carson St. Long Beach, CA 90808 562-938-4800 E-mail: Contact: Pat Graham, General Mgr. Web: Format: eclectic

KCSC Internet Radio California State University, Chico E-mail: Web: Format: eclectic KCSB 91.9 FM University of California P.O. Box 13401 Santa Barbara, CA 93107-3401 805-893-3757 E-mail: Web: Contact: Eric Wolff Format: eclectic

KOHL 89.3 FM Ohlone Community College 43600 Mission Blvd. Fremont, CA 94539 510-659-6221 Fax 510-659-6001 E-mail: Web:

KCSN 88.5 FM California State University, Northridge 18111 Nordhoff St. Northridge, CA 91330-8312 818-677-3090 E-mail: Web: Contact: Mark Shovel, Music Directory Format: classical (wkds), eclectic (wknites, wkes) KDVS 90.3 FM University of California 14 Lower Freeborn Hall Davis, CA 95616 530-752-0728 E-mail: Web: Format: eclectic/freeform

KSCU 103.3 FM Santa Clara University 500 El Camino Real, Ste. 3207 Santa Clara, CA 95053 408-554-4907 E-mail: Web: Format: eclectic KSBR 88.5 FM Saddleback Community College 28000 Marguerite Pkwy. Mission Viejo, CA 92692 949-582-5727 Fax 949-347-9693 E-mail: Web: Format: Jazz, Chill, Electronica KSJS 90.5 FM San Jose State University Hugh Gillis Hall, Rm. 132 San Jose, CA 95192-0094 408-924-5757 E-mail: Web: Format: eclectic

KFJC 89.7 FM Foothill College 12345 El Monte Rd. Los Altos Hills, CA 94022 650-949-7260 Fax 650-948-1085 E-mail: Web: Format: eclectic

C O M P I L E D 68 October 2013


KSPC 88.7 FM Pomona College




Thatcher Music Building 340 N. College Ave. Claremont, CA 91711 909-621-8157 Web: Contact: Sam Zipper Format: eclectic/underground music KUCI 88.9 FM University of California, Irvine P.O. Box 4362 Irvine, CA 92616 949-824-4582 E-mail: Web: Format: eclectic KXLU 88.9 FM Loyola Marymount University One LMU Dr., Malone 402 Los Angeles, CA 90045 310-338-5958, 310-338-2866 Contact: Anna Soffer, Music Dir. Web: Format: eclectic KXSC 1560 USC 3607 Trousdale Parkway 213-740-1486 E-mail: Web: Format: independent eclectic KZSC 88.1 FM University of California, Santa Cruz 1156 High St. Santa Cruz, CA 95064 831-459-4036 E-mail: Web: Format: eclectic KZSU 90.1 FM Stanford University P.O. Box 20510 Stanford, CA 94309 650-725-4868 E-mail: Web: Format: eclectic University of California, Los Angeles 118 Kerckhoff Hall 308 Westwood Plaza Los Angeles, CA 90024

Download at 310-825-9105, business line 310-825-6955 E-mail: Web: Format: college/eclectic

COLORADO KCSU 90.5 FM Colorado State University 706 S. College Ave., Ste. 207 Fort Collins, CO 80524 970-491-1695 E-mail: Web: Format: eclectic KGNU 88.5 FM & 1390 AM 4700 Walnut St. Boulder, CO 80301 303-449-4885 Web: Format: eclectic KRCC 91.5 FM Colorado College 912 N. Weber St. Colorado Springs, CO 80903 E-mail: Web: Format: eclectic KVCU 1190 AM University of Colorado Campus Box 207 Boulder, CO 80309 303-492-7405 E-mail: Web: Format: eclectic

CONNECTICUT WESU 88.1 FM Wesleyan University 45 Wyllys Ave. Middletown, CT 06459 860-685-7703 E-mail: Web: Format: free form WHUS 91.7 FM University of Connecticut Student Union Building, Rm. 412 2110 Hillside Rd., Unit 3008R Storrs, CT 06269-3008 860-486-4007 E-mail: Web: Format: eclectic WNHU-88.7 FM University of New Haven 300 Boston Post Rd. West Haven, CT 06516 203-479-8805 E-mail: Blane@nehaven.ed Web: Format: eclectic

WRTC 89.3 FM Trinity College 300 Summit St. Hartford, CT 06106 860-297-2439 Web: Format: eclectic WWUH 91.3 FM University of Hartford 200 Bloomfield Ave. West Hartford, CT 06117 860-768-4703 E-mail: Web: Format: world, women’s, folk, polka, jazz, alt, classical, bluegrass, news, film, opera

FLORIDA WVFS 89.7 FM Florida State University 420 Diffenbaugh Building Tallahassee, FL 32306-1550 850-644-1879 E-mail: Web: Format: eclectic WVUM 90.5 FM University of Miami P.O. Box 2481919 Coral Gables, FL 33124 786-309-8861 E-mail: Web: Format: indie


2445 Campus Rd. Hemenway Hall, Ste. 203 Honolulu, HI 96822 808-956-5288 E-mail: Web: Format: all genres

IDAHO KUOI 89.3 FM University of Idaho Student Union Building, 3rd Fl. Campus Box 444272 Moscow, ID 83844-4272 208-885-6433 E-mail: Web: Contact: Peter Ritter, Music Dir. Format: eclectic

ILLINOIS RADIO DEPAUL DePaul University 2250 N. Sheffield Ave., Ste. 317 Chicago, IL 60614 773-325-7308 Web: Format: eclectic WESN 88.1 FM Wesleyan University 1207 N. Main St. Bloomington, IL 61701 309-556-2634 E-mail: Web: Format: free-form

Bloomington, IN 47404 812-202-6397 E-mail: Web: Format: eclectic WGRE 91.5 FM DePauw University 313 S. Locust St. Greencastle, IN 46135 765-658-4637 E-mail: Web: Format: eclectic WSND 88.9 FM Notre Dame 315 LaFortune Student Center Notre Dame, IN 46556 574-631-7342, 574-631-4069 E-mail: Web: Contact: Michael Byrnes, Station Mgr. Format: eclectic

IOWA KRUI-89.7 FM University of Iowa 379 Iowa Memorial Union Iowa City, IA 52242 319-335-8970 E-mail: Web: Contact: Music Director Format: various rock/electronic/hip-hop, CMJ reporting


WRAS 88.5 FM Georgia State University P.O. Box 3972 Atlanta, GA 30302-4048 404-413-9797 E-mail: Web: Format: eclectic

WCRX 88.1 FM Columbia College Chicago 33 E. Congress Pkwy. Chicago, IL 60605 312-663-3512 E-mail: Web: Format: eclectic

KJHK-90.7 FM University of Kansas 1301 Jayhawk Blvd. Lawrence, KS 66045 785-864-5483 E-mail: Web: Format: eclectic

WREK 91.1 FM Georgia Tech Student Radio 350 Ferst Dr. N.W., Ste. 2224 Atlanta, GA 30332-0630 404-894-2468 E-mail: Web: Contact: Music Director Format: eclectic

WHPK 88.5 FM Reynolds Club 5706 S. University Ave. Chicago, IL 60637 773-702-82824 E-mail: Web: Format: eclectic

KSDB 91.9 FM Kansas State University 105 Kedzie Hall Manhattan, KS 66506-4701 785-532-0919 E-mail: Web: Format: alternative/hip-hop

WUOG 90.5 FM The University of Georgia Box 2065 Tate Student Center Athens, GA 30602-3401 706-542-8466 Fax 706-542-0070 E-mail: Web: Format: eclectic

WZND 106.1 FM University of Illinois 007 Fell Hall Normal, IL 61790-4481 309-438-5490 E-mail: Web: Format: R&B and alt. rock

HAWAII KTUH 90.3 FM University of Hawai’i

INDIANA WFHB 91.3 & 98.1 FM 108 W. Fourth St.

MARYLAND WGTS 91.9 FM Columbia Union College 7600 Flower Ave. Takoma Park, MD 20912 301-891-4200 877-948-7919 E-mail: Web: Format: Christian WMBC 560 AM University of Maryland University Center 101

October 2013


Annual Directory of College Radio 1000 Hilltop Cir. Baltimore, MD 21250 410-455-2656 E-mail: Web: Format: free form

MASSACHUSETTS BIRN - Internet Radio MS-150, Berklee College of Music 1140 Boylston St. Boston, MA 02215 617-747-8538 E-mail: Web: Format: eclectic WCFM 91.9 FM Williams College Baxter Hall Williamstown, MA 01267 413-597-2373 Web: Format: eclectic WERS 88.9 FM Emerson College 120 Boylston St., 4th Fl. Boston, MA 02116 617-824-8084 E-mail: Web: Format: eclectic WHRB 95.3 FM Harvard College 389 Harvard St. Cambridge, MA 02138-3900 617-495-4818 E-mail: Web: Format: eclectic WMBR 88.1 FM Mass. Institute of Technology 3 Ames St. Cambridge, MA 02142 617-253-4000 E-mail: Web: Format: eclectic WMFO 91.5 FM Tufts University PO Box 53065 Medford, MA 02155 617-627-3800 Web: Format: eclectic WMUA 91 FM University of Massachusetts 105 Campus Center Amherst, MA 01003 413-545-2876 E-mail: Web: Format: eclectic, college, public, non-commercial, etc.

70 October 2013

WTBU 640 AM/89.3 FM Boston University 640 Commonwealth Ave. Boston, MA 02215 617-353-6400 E-mail: Web: Format: eclectic

MICHIGAN WCBN 88.3 FM University of Michigan 531 Thompson St. Student Activities Bldg. Ann Arbor, MI 48109-1316 734-763-3500 E-mail: Web: Format: free form WDBM 89 FM Michigan State University G4 Holden Hall East Lansing, MI 48825 517-884-8989 E-mail: Web: Contact: Brock Elsesser Format: alt-rock WDET 101.9 FM Wayne State University 4600 Cass Ave. Detroit, MI 48201 313-577-4146 Fax 313-577-1300 E-mail: Web: Format: eclectic WKAR 90.5 FM Michigan State University Communication Arts & Sciences Bldg. 404 Wilson Rd., Rm. 212 East Lansing, MI 48824 517-884-6990 E-mail: Web: Format: new age, world, folk, classical

MISSOURI KCOU 88.1 FM 2500 MU Student Center Columbia, MO 65201 573-882-7820 E-mail: Web: Format: alt. rock KMNR 89.7 FM University of Missouri 601 W. 10th St. Rolla, MO 65401 504-656-6735 E-mail: Web: Format: free form KWUR 90.3 FM Washington University Campus Box 1205

One Brookings Dr. St. Louis, MO 63105 314-935-5952 E-mail: Web: Format: eclectic

NEW JERSEY WBZC 88.9 FM Burlington County College 601 Pemberton Brown Mills Rd. Pemberton, NJ 08068 609-894-9311 ext. 1784 Web: Format: indie rock WFMU 91.1 FM P.O. Box 2011 Jersey City, NJ 07303-2011 201-200-9368 Web: Format: eclectic WPRB 103.3 FM 030 Bloomberg Hall Princeton University Princeton, NJ 08544 609-258-3655 Fax 609-258-1806 E-mail: Web: Format: rock, folk, jazz, blues, classical WRSU 88.7 FM Rutgers University 126 College Ave. New Brunswick, NJ 08901 732-932-7802 ext. 923 E-mail: Web: Format: eclectic WTSR 91.3 FM The College of New Jersey P.O. Box 7718 Ewing, NJ 08628 609-771-2420 E-mail: Web: Format: college, metal, folk, blues

NEW MEXICO KUNM 89.9 FM University of New Mexico MSCO6 3520, Onate Hall 1 University of New Mexico Albuquerque, NM 87131-0001 5505-277-8369 E-mail: Web: Format: eclectic

NEW YORK WBAR 87.9 FM Barnard College 3009 Broadway New York, NY 10027-6598 212-854-4773 E-mail: Web:

Contact: various depending on genre Format: free-form, non-commercial WCOT 89.1 FM SUNY Institute of Technology, Utica/Rome 100 Seymour Rd. Utica, NY 13502 315-792-7500 Web: campus_center/radio.html WDWN 89.1 FM Cayuga Community College 197 Franklin St. Auburn, NY 13021 315-255-1743 ext. 2282 E-mail: Web: Format: college alternative WFUV 90.7 FM Fordham University Bronx, NY 10458-9993 718-817-4550 Web: Format: eclectic WICB 91.7 FM Ithaca College 92 WICB 118 Park Hall Ithaca, NY 14850 607-274-3217 E-mail: Web: Format: eclectic WNYU 89.1 FM 5-11 University Pl. New York, NY 10003 212-998-1658 E-mail: Web: Contact: Marla Sherman Format: eclectic WRHU-88.7 FM Hofstra University 111 Hofstra University 127 Dempster Hall Hempstead, NY 11549 516-463-3674 E-mail: Web: Contact: Samantha Chichester Format: eclectic WRPI 91.5 FM Rensselaer Polytechnic Institute 1 WRPI Plaza Troy, NY 12180-3590 518-276-6248 E-mail: Web: Contact: Alex Bulazel, Indie Music Dir. Format: eclectic WRUR 88.5 FM University of Rochester P.O.Box 30021

Download at Rochester, NY 14614 585-275-9787 E-mail: Web: Format: AAA, eclectic WVKR 91.3 FM Vassar College Box 726 124 Raymond Ave. Poughkeepsie, NY 12604-0726 845-437-5476 Contact: Thea Ballard, Jay Lancaster E-mail: Web: Format: eclectic


WKNC-88.1 FM N. Carolina State University Witherspoon Student Center Campus Box 8607, Ste. 343 Raleigh, NC 27695-8607 919-515-2401 Web: Format: eclectic WRVS 89.9FM Elizabeth State University 1704 Weeksville Rd. Elizabeth City, NC 27909 252-335-3517 ext 6 E-mail: Web: Format: jazz, R&B, gospel WXDU 88.7 FM Duke University POB 90689 Durham, NC 27708 919-684-2957 E-mail: Web: Format: eclectic WXYC 89.3 FM University of N. Carolina

CB 5210 Carolina Union Chapel Hill, NC 27599 919-962-8989 E-mail: Web: Contact: Jonathan Woollen Format: eclectic

OHIO WBWC 88.3 FM 275 Eastland Rd. Berea, OH 44017 440-826-2145 E-mail: Web: Format: alt-rock

KPSU 98.1 FM Portland State University PO BOX 751 Portland, OR 97207 503-725-5669 E-mail: Web: Format: eclectic KWVA 88.1 FM University of Oregon P.O. Box 3157 Eugene, OR 97403 541-346-4091 E-mail: Web: Format: eclectic

WCSB 89.3 FM 3100 Chester Ave. CE 4th Fl. Cleveland, OH 44115 216-687-3721 E-mail: Contact: Stephanie Kilian Web: Format: free form

WCLH 90.7 FM Wilkes University 84 W. South St. Wilkes Barre, PA 18766 570-408-2908 E-mail: Web: Format: eclectic

WYSO 91.3 FM Antioch University Midwest 150 East S. College St. Yellow Springs, OH 45387 937-767-6420 E-mail: Web: Format: eclectic

WERG 90.5 FM Gannon University 109 University Sq. Erie, PA 16541 814-459-9374 E-mail: Web: Format: eclectic

OREGON KLC RADIO Lewis & Clark 0615 S.W. Palatine Hill Road MSC 105 Portland, OR 97219 E-mail: Web: life/klc_radio


WFSE 88.9 FM Edinboro University of Pennsylvania Earley Hall 814-732-2889 Web: Format: alt-rock WKDU 91.7 FM Drexel University

3210 Chestnut St. Philadelphia, PA 19104 215-895-2082 Web: Format: free form WPTS 92.1 FM University of Pittsburgh 411 William Pitt Union 4200 Park Avenue Pittsburgh, PA 15260 412-648-7990 E-mail: Web: Format: eclectic WRCT 88.3 FM 1 WRCT Plaza 5000 Forbes Ave. Pittsburgh, PA 15213 412-621-0728 E-mail: Web: Contact: Matt Mastricova, Music Dir. Format: eclectic WQHS University of Pennsylvania Hollenback Center 504 3000 South St. Philadelphia PA 19104 215-898-3500 E-mail: Web: Format: Eclectic

TENNESSEE WMTS 88.3 FM Middle Tennessee State University 1301 E. Main St., Box 58 Murfreesboro, TN 37132 615-898-5051 E-mail: Contact: Andrew Croney Web: Format: eclectic

October 2013


Annual Directory of College Radio WRVU 91.1 FM Vanderbilt University P.O. Box 9100, Station B Nashville, TN 37235 615-322-3691 E-mail: Web: Format: eclectic

TEXAS KSAU 90.1 FM Stephen F. Austin State P.O. Box 13048 Nacogdoches, TX 75962 936-468-4000 E-mail: Web: Format: eclectic KTCU 88.7 FM Box 298020 Fort Worth TX 76129 817-257-7631 E-mail: Web: Format: classical, modern rock, Americana KTRU 91.7 FM Rice University, MS 506 P.O. Box 1892 Houston, TX 77251-1892 Web: Format: eclectic KVRX 91.7 FM Student Radio c/o UT P.O. Box D Austin, TX 78713-7209 512-471-5106 E-mail: Web: Format: eclectic

WASHINGTON KAOS 89.3 FM The Evergreen State College 2700 Evergreen Parkway, CAB 301 Olympia, WA 98505 360-867-6888 Web: Contact: Nicki Thompson, Music Dir. KCWU 88.1 FM Central Washington University 400 E University Way STOP 7594 Ellensburg, WA 98926-7594 509-963-2414 Web: Format: eclectic

SATELLITE RADIO SIRIUS SATELLITE RADIO Attn: Music Programming Department 1221 Avenue of the Americas New York, NY 10020 866-528-7474 Web:

INDIE RADIO COMMON NONSENSE on Live 365 New Orleans, LA E-mail: stationmanager@

72 October 2013 Web: EORADIO Web: FEARLESS RADIO Chicago, IL Web: INDIE 103.1 FM 5700 Wilshire Blvd., Ste. 250 Los Angeles, CA 90036 323-900-6100 E-mail: Contact: Penelope Wakeman, Station Mgr. Web: iRADIO LA – INDIE 104 P.O. Box 1403 Covina, CA 91722 E-mail: Web: RADIO ELECTRIC Web: RADIOINDY.COM P.O. Box 93492 Phoenix, AZ 85070 E-mail: Web: SONGPLANET.COM E-mail: Web: XND RADIO Web:


AIRPLAYONLY See AIRPLAY ACCESS ALL ACCESS MUSIC GROUP 28955 Pacific Coast Hwy., Ste. 210 Malibu, CA 90265 310-457-6616 Fax310-457-8058 E-mail: Web: Contact: Joel Denver Styles/Specialties: Top 40 / mainstream, top 40 / rhythm crossover, alternative, rock, country, Hot AC, rock, contemporary Christian, urban, urban AC ALL ACCESS MUSIC GROUP 11 Music Cir. S., Ste. 101 Nashville, TN 37203 615-252-6400 Web: AMERICAN AMP 323-638-9267 E-mail: Web: Styles/Specialties: All. Past Clients: (MUSIC) SONY, Warner Bros. BMG, Capitol. (FILM) The Passion of the Christ, Narnia, Oldboy, Rocky Balboa,The Puffy BACKSTAGE ENTERTAINMENT E-mail: staff@backstage

Web: Contact: Paul Loggins Styles/Specialties: specializing in Top 40, adult contemporary, country, rap/R&B, rock and college national radio campaigns BILL WENCE PROMOTIONS P.O. Box 39 Nolensville, TN 37135 615-776-2060 Web: Contact: Bill Wence Styles/Specialties: Americana/AAA/ college/acoustic/roots. Specializing in independent artists, radio interviews, tours. *Unsolicited material accepted BRYAN FARRISH RADIO PROMOTION 1828 Broadway, 2nd Fl. Santa Monica, CA 90404 310-998-8305 E-mail: Web: Styles/Specialties: All except classical EVOLUTION PROMOTION 7 Arlene Ave. Wilmington, MA 01887 978-658-3357 E-mail: Web:

NATIONAL RECORD PROMOTION 137 N. Larchmont Blvd., Ste. 500 Los Angeles, CA 90004 323-658-7449 E-mail: Web:, Contact: Larry Weir PINCH HIT ENTERTAINMENT 2400 West Carson, Ste. 223 Torrance, California 90501 310-791-7617 E-mail: Web: Contact: Mike Naylor Styles/Specialties: guitar-oriented rock, pop, specializing in national radio promotion, distribution and press campaigns PIRATE! 145 Columbia St. Cambridge MA 02139 617-256-8709 Web: Contact: Steve Theo Additional location: San Francisco Contact Douglas Blake 617-571-8043

FLANAGAN’S RADIO & RETAIL PROMOTIONS 323-876-7027 E-mail: submissions@ Web: Styles/Specialties: college radio, commercial radio, retail promotion, other

PLANETARY GROUP, THE 6325 Santa Monica Blvd., Ste. 100 Los Angeles, CA 90038 323-952-5050, 1-800-254-2543 E-mail: Web:

INDIE 11054 Ventura Blvd., Ste. 333 Studio City, CA 91604 818-505-1836 E-mail: Web: Styles/Specialties: Full service, promo, worldwide, Movies/TV, distribution

P.O. box 52116 Boston, MA 02205

INTEGRATED MARKETING See Indie Power LOGGINS PROMOTION 2530 Atlantic Ave., Ste. C Long Beach, CA 90806 E-mail: Web: Contact: Paul Loggins, Paola Franco, John Stevens, Laurent Stoeckli Styles/Specialties: all styles and genres RUFFSOUNDS 625 S Griffith Park Dr. Burbank, CA 91506 310-418-2818 E-mail: Web: Contact: Marko Babineau, Austin Keyes Styles/Specialties: rock, active rock, modern rock, see website for new phone numbers *No unsolicited material

Additional location:

FLANAGAN PROMOTIONS 323-876-7027 E-mail: submissions@ Web: Contact: Jon Flanagan Styles/Specialties: AAA, modern rock, commercial & college radio and retail promotions HOWARD ROSEN PROMOTION 521 W. Channel Island Blvd., Ste. 15 Port Hueneme, CA 93041 805-382-2200 Web: Contact: Howard Rosen Styles/Specialties: Top 40, adult contemporary, active rock, modern adult contemporary, specialty and college TIM SWEENEY & ASSOCIATES 31805 Hwy. 79 S., Ste. 551 Temecula, CA 92592 951-303-9506 E-mail: Web: Contact: Tim Sweeney Styles/Specialties: all styles

Since 1939...

...weâ&#x20AC;&#x2122;ve been your onestop source for media manufacturing, and weâ&#x20AC;&#x2122;re still the oldest and largest VINYL, CD & DVD manufacturer.

"### " ! "    ! "    "   " 8960 Eton Ave., Canoga Park, CA 91304

(818) 280-1100 ( Fax: (818) 280-1101







Join the AES in New York City, to celebrate the latest audio advances. October 17th through October 20th, 2013.

For more information and to make reservations, visit our website at


October 2013 75

For Advertising Info Call 818-995-0101


76 October 2013

For Advertising Info Call 818-995-0101


October 2013 77

For Advertising Info Call 818-995-0101


â&#x20AC;&#x201C; TED JAMISON

College Radio Strategies: An Inside Look Once Upon a Timeâ&#x20AC;Ś College radio used to be great. In fact, there was a time when college radio was indispensable. Thirty years ago, it was the primary resource for up-and-coming bands to gain listenership. Record labels, small to major, would scour the airwaves for potential clientele. Bands like the Smiths, R.E.M., the Replacements all got signed thanks to college radio play. Nirvanaâ&#x20AC;&#x2122;s Nevermind couldnâ&#x20AC;&#x2122;t have achieved its historic No. 1 spot on the Billboard 200 if â&#x20AC;&#x153;Smells Like Teen Spiritâ&#x20AC;? hadnâ&#x20AC;&#x2122;t first hit the college airwaves as a single. College Music Journal was an entire magazine devoted to an analysis of college radio music in the â&#x20AC;&#x2DC;80s and â&#x20AC;&#x2DC;90s. In a time before Internet, before Pitchfork, before Bandcamp, Facebook, Soundcloud or Piratebay, college radio was the frontlineâ&#x20AC;&#x201C;â&#x20AC;&#x201C;the primary wave of attack for the cutting-edge music scene. Today things are, well, different. It is safe to say that the role of college radio has changed significantly. But never fear, I am here to help you navigate these changes. My Radio Station I am a junior at Lewis & Clark College, a small (weâ&#x20AC;&#x2122;re talking 2,000 undergrads), private, liberal arts college in Portland, OR. I am also a DJ and music library manager at KLC, our schoolâ&#x20AC;&#x2122;s radio station. Every radio station at every college is a different sonic snowflake from the next. There are plenty of large, well-funded and thriving college radio stations with full-time DJs and managers on payroll. I am not talking about those stations. I want to give you an inside look into the opposite side of the spectrum: the small, underfunded and completely student-run liberal arts college radio station. Here is a secret: at our station, your best resources may have nothing to do with â&#x20AC;&#x153;radioâ&#x20AC;? at all! Keep reading, I will explain.

station that you can take advantage of! Like I said before, many of these opportunities have nothing to do with â&#x20AC;&#x153;radioâ&#x20AC;? play at all! 1. Play At Our School If you want a great chance to expose your music to a college campus, go play there! Aside from radio itself, our station is in charge of bringing music to our DBNQVTGPSMJWFFWFOUT8FPSHBOJ[F at least three to four live shows per semester featuring all types of music from the surrounding community as XFMMBTUPVSJOHBDUT8FBSFBMXBZT looking for bands and musicians to come play in some form or another. The radio station also has a budget for promoting these shows via posters and flyers; so if you play here, people will know. I guarantee you will get more exposure from actually playing on our campus than from your demo being streamed on our station. 2. Use Our Recording Studio Our radio station also has a brand new, CVJMUJOSFDPSEJOHTUVEJP4USBJHIUVQ8F will record you or your band and we will do it for cheaper than any â&#x20AC;&#x153;professionalâ&#x20AC;? studio. Our recording studio is one of the most important and shockingly underused resources in our radio program. On top of this, our recording studio has a connected bandcamp page on which we will promote whatever you record for free! 3. Ask For a Review 8FSVOBNVTJDCMPHUVNCMSXFCQBHFPOXIJDIXFQPTUBMCVNBOE concert reviews. If you want a source of feedback from one of your most valued demographics, contact us and ask for a review. Local venues love comping tickets for college radio stations, which means we will absolutely attend and review your live show if you reach out and ask for one.

â&#x20AC;&#x153;Our recording studio is one of the most important and shockingly underused resources in our radio program.â&#x20AC;?

An Inside Look: The Grim Truth Here are a few facts you should know about my college radio station: r3VMFTBOESFHVMBUJPOTGPS%+TFYJTU but are rarely enforced or followed. r.PTUTIPXTBSFOPUTFSJPVTMZ themedâ&#x20AC;Śor taken seriouslyâ&#x20AC;Śor listened to at all for that matter. r8FIBWFBOJODSFEJCMZVOPSHBOJ[FEiMJCSBSZuPSSPPNGVMMPG$%TBOE vinyl in utter disarray. r8FSFDFJWFQSPNPUJPOBMEFNP$%TGSPNNVTJDJBOTBMNPTUFWFSZEBZ  but have no system or process for listening to them. (They basically go into a void, an un-listened-to stack of doom.) And most importantly: r8FBSFOPUCSPBEDBTUPWFSBOZ'.PS".BJSXBWFT r8FTUSFBNPVSTIPXTPOMJOFBOEEPOPUTBWFPSBSDIJWFUIFTIPXT Thatâ&#x20AC;&#x2122;s right, our college radio is not actually on the radio. The fact is, FCC licenses are very expensive and labor-intensive for a small, studentSVOTUBUJPOUPNBJOUBJO8IJMF*DBOUTQFBLGPSBMMTNBMMDPMMFHFTUBUJPOT * certainly have friends in small schools who describe similar predicaments at their stations. I understand this may seem bleak. I meanâ&#x20AC;Śit kind of is. Donâ&#x20AC;&#x2122;t Lose Hope! The good news is that there are still resources at my college radio

78 October 2013

4. Beware the CD Abyss of Doom! Unfortunately that is where your demo or EP will likely end up if you just NBJMJUJOUPVT8FXJMMTPPOFSMJTUFOUP your CD if we know you or have at least IBEBDPOWFSTBUJPOXJUIZPV8IJDI brings me to my final point.

5. Stop By, Say Hi This may be one of the most important tips I can offer. In fact I really canâ&#x20AC;&#x2122;t stress it enough. The most efficient way to make use of any of the above resources is by personal connection. Come onto campus and stop by the station. Introduce yourself to anyone and everyone. Hang out. Sit in on a show or two. This could really make all the difference. And Rememberâ&#x20AC;Ś College student apathy is real, especially at an entirely student-run radio station. If you ask for something and donâ&#x20AC;&#x2122;t get an immediate response or a follow-up, ask again. I promise, itâ&#x20AC;&#x2122;s not that we donâ&#x20AC;&#x2122;t care about you or are not interested. TED JAMISON is a DJ and music library manager at KLC in Portland, OR, where he attends Lewis & Clark College. He is an ethnomusicology major, a bass player and an aspiring music writer. Reach him at

NEW 16.4.2AI

NEW 32.4.2AI

NEW 24.4.2AI ©2013 All Rights Reserved by PreSonus Audio Electronics who proudly claims StudioLive, Capture and QMix as trademarks and furthermore wants you to know that Nimbit is a Registered trademark (oooo!), as is Studio One, except by PreSonus Software, Ltd. Smaart is a registered trademark of Rational Acoustics. All that i-stuff belongs to Apple.

Optimize your PA, quash feedback, run wirelessly from iPad and iPhone , record multitrack with 1 click, produce in a real DAW, distribute your music. Only with StudioLive AI. ® Room Smaart

graph ® Spectro t r a a m S

d snuff edback an Visualize feI mixer graphic EQs with A


conquer room and Shoot the stic problems u aco



™ ture 2.1 New Cap


r iPad ote-AI fo SL Rem

hone ™ I for iP QMix -A Full

personal monitor control with the e Wheel of M

plete iPad most com By far the l system available contro

res; saves new featu Dozens ofnnel settings for S1 Fat Cha

t 2.6 ne® Artis Studio O

ed ith unlimitct ductions w Finish proand live settings inta tracks

to fan ® direct Nimbit

and r fans; sell Reach youmusic and merch te distribu

Only new StudioLive AI mixers give you an actively integrated hardware/software system.

Solve problems with Smaart® measurement and analysis (and more GEQs than any other mixers in their class). Mix easier and more creatively with one-to-one controls, powerful double signal processing Fat Channels and four 32-bit effects buses. Capture it all with the industry’s only dedicated live recording software. Produce with a full-on DAW that “remembers” mixer settings. Instantly upload songs and capture fans with your free Nimbit Facebook web store. Crank up your www. or visit your nearest SoCal PreSonus dealer today.

• 32, 24 and 16-channel AI-series models • Superior sound with Burr-Brown A/D/A processors and 64-bit Studio One® internal processing • Wireless and wired connectivity • Two Fat Channels per mixer channel with A/B • All channel controls and metering accessible without bank switching

MC October 2013