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ALWAYS ROCK
PORTRAITS
IN TONE EVEN IN A HARD PLACE

“The great thing about the RK5 Fly Rig is that I


now have my ideal pedalboard with the effects I use
most, which is reverb, delay and overdrive, in a tiny
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2017 musicconnection.com 3
Informing Music People Since 1977
*ULY  s 6OL  s .O 

36 The
Chainsmokers
Our exclusive interview with the hitmaking
duo's Andrew "Drew" Taggart delves into their
songwriting habits, production process and the
continual search for "meaningful sounds."

By Dan Kimpel
Cover Photo: Frank Apollonio 46 JBL
Established in 1946, the famed speaker
maker's saga continues strong in 2017.
By Rob Putnam

Departments
SAM KOLDER

40 08. Close Up
09. Assignments
Understanding 10. New Toys

Microphones 14. Book Store


16. Up Close
A Grammy-nominated producer-engineer walks
you through the essential knowledge you'll need
18. Studio Mix
to truly take control of your recordings. 23. Business Affairs
By Doug Fenske 26. Signing Stories
28. Song Biz
32. FilmsTVsTheater
34. Mixed Notes
44 2017 Recording Reviews
Studio Survey 48. Album Reviews
50. New Music Critiques
52. Live Reviews

Directory of U.S. 56
Recording Studios
Be sure to follow Music
Compiled By Denise Coso Connection on Facebook
and Twitter.

The opinions expressed in


20. Producer Crosstalk: Tony Moran . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam Music Connection, as well as all
Directory listings and contact information,
22. Exec Profile: Alex Heiche, Sound Royalties . . . . . . . . . . . . . . . . . By Andy Kaufmann are provided by various sources in the
music industry. Music Connection
30. Song Biz Profile: Michael Franti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel is not responsible for any business
transactions or misadventures that may
78. Tip Jar: What It Takes to Write a Hit Song . . . . . . . . . . . . . . . . . . . . . . . By Loren Israel result from your use of this information.

4 July 2017 musicconnection.com


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July 2017 musicconnection.com 5


E. Eric Bettelli PUBLISHER
E. Eric Bettelli Mark Nardone
GENERAL MANAGER / ASSOCIATE PUBLISHER /
ADVERTISING DIRECTOR SENIOR EDITOR
ericb@musicconnection.com markn@musicconnection.com

Denise Coso John Curry


ART DIRECTOR
OPERATIONS MANAGER /
artdirector@musicconnection.com
DIRECTORIES EDITOR
denisec@musicconnection.com Jackie Naranjo
ASSOCIATE EDITOR /
Steve Sattler SOCIAL MEDIA MANAGER
BUSINESS jackien@musicconnection.com
DEVELOPMENT MANAGER
steve@creativesalesresource.com
Barry Rudolph
NEW TOYS
Hillorie McLarty barry@barryrudolph.com
ADVERTISING/MARKETING Bernard Baur
hillorier@musicconnection.com
CONTRIBUTING EDITOR
Ray Holt bbatmc@aol.com
DIRECTOR OF Dan Kimpel
DIGITAL MARKETING SONG BIZ
rayh@musicconnection.com dan@dankimpel.com

Jessica Pace
&),- s 46 s 4(%!4%2
j.marie.pace@gmail.com

FEATURE WRITERS
Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com
Daniel Siwek danielsiwek@roadrunner.com
Editorial Intern
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Valerie Kesachekian intern@musicconnection.com
CONTRIBUTING WRITERS
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Bobby Borg, Pierce Brochetti, Brett Bush, Brett Callwood, Rosario Diaz, Don Q. Dao,
Doug Fenske, Gary Graff, Eric A. Harabadian, Andy Kaufmann, Whitney Levine,
Glenn Litwak, Malorie McCall, Andy Mesecher, Kurt Orzeck, Jessica Pace, Victoria
Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Brian Stewart, Grant Stoner,
Brooke Trout, Jonathan Widran, Ellen Woloshin
PHOTOGRAPHERS
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Callwood, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple
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Call, Charlie Meister, Victoria Patneaude, Scott Perham, Alexander G. Seyum,
Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Brooke Trout,
Joshua Weesner, Ellen Woloshin

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6 July 2017 musicconnection.com


July 2017 musicconnection.com 7
– JONATHAN WIDRAN

DAVID “RAIN” BANTA MultiPlatinums.com RecordingEngineeringSchool.com

D
iverse Background as Multiplatinum He also composed and produced for NASCAR with breathing and pitch. Satisfaction is always
Mixer/Engineer and Instructor: David on Fox Sports and for the WB show Jack and guaranteed.
“Rain” Banta’s website lists numerous Jill. Banta’s bestselling video series The Basics
professional designations that tap into the of Home Recording led him to teach a course at The Recording Engineering and Music
extraordinary three decades of experience he UCLA for 10 years and MI for one. School: Offering both online and in-person
brings to his multifaceted music production classes, Banta and his experienced staff of
and education business. He is a multiplatinum Rainman Productions: Founded in 1997, multiplatinum instructors work with students of
Billboard No. 1 Charting Producer, mixer, Banta’s independent Montrose and Tarzana all ages and skill levels. In addition to weekend
pianist, UCLA instructor, KPFK FM radio on-air based facilities offer a full range of afford- seminars based on his UCLA Extension and MI

talent, senior producer and board op. As first ably priced studio services, including mixing, home recording class, Banta offers courses in
engineer at Echo Sound in the ‘90s, and later mastering, recording and music production. For recording/engineering, music theory and harmo-
as an independent engineer for major and indie full recordings, both studios have a separate ny, piano and music sight reading and ear train-
labels, he’s worked with Tupac, Michael Jack- full band tracking room and vocal booth, with a ing. He says, “Nothing gives me more pleasure
son, Luther Vandross, Tina Turner, the Roots, wide selection of vintage and legendary mics than giving them a great finished album. Many
Tracie Spencer, Take That, Sting, “Marky Mark” (including Telefunken and AKG), drum ma- come to me after working with mixing engineers
Wahlberg, Eazy-E, Ice-T, MC Ren, Snoop chines (including the MPC 2000XL Studio Plus), who can’t get it right, and it feels good to give
Dogg, Rodney O and Joe Cooley, Robbie and keyboards (including the Roland D50). He them something spectacular.”
Williams, Coolio and produced, mixed and/or also draws on his history as a trumpeter travel-
mastered 46 songs by Bone Thugs-N-Harmony. ing with choirs to coach vocalists who need help Contact David “Rain” Banta, 818-468-5701

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8 July 2017 musicconnection.com


Bob Tamburri PJ Bloom
Product Manager SVP, Film & Television Music and Soundtracks
Ashly Audio Warner Bros. Records

Bob Tamburri has been named Product Warner Bros. Records has appointed
Manager for Ashly Audio. In his new role, PJ Bloom to Senior Vice President, Film
Tamburri will oversee and direct the full life & Television Music and Soundtracks. 
cycle of Ashly products, from conception Bloom will oversee the placement of
to launch, through market position, support WBR’s roster in television, movies and
and maturation. With forty years of pro evolving areas of visual media, as well as
audio experience, Tamburri will help Ashly spearhead the acquisition of soundtrack
maintain the vitality of its core business properties on behalf of the label. He will
and leveraging strengths to expand into adjacent markets. Tamburri be based in the company’s Burbank headquarters, reporting to Peter
will report directly to Ashly CEO Jim Mack. Tamburri previously held Gray, Warner Bros. Records EVP/GM. Bloom has created soundtracks
product management positions at Sony and TOA, and served as a sales for more than 1,000 episodes of television and 50 films, as well as video
representative for Sennheiser, and an A/V designer and integrator at games, advertisements and amusement park rides. He is a two-time
Manny’s Music. For additional information, contact Anthony Errigo at Guild of Music Supervisors Award winner, two-time ASCAP Pop Award
ae@ashly.com. winner, and four-time BMI Award winner. Contact liz.morentin@wbr.com.

Michael J. Fiorile Gary Kelly


Chairman of the Board of Directors of BMI Executive Vice President/Chief Revenue Officer
BMI Interscope Geffen A&M

Michael J. Fiorile, Chairman and CEO Interscope Geffen A&M has promoted
of the Dispatch Printing Company and Gary Kelly to Executive Vice President/
Chairman and CEO of Dispatch Broadcast Chief Revenue Officer. In his new role,
Group, has been named Chairman of the Kelly will lead a team that’s comprised
Board of Directors of BMI. Fiorile was of the revenue, digital marketing, and
most recently Vice Chair of the BMI Board. production areas. Kelly’s team will also
He succeeds Paul Karpowicz, President, oversee all playlisting activities for IGA,
Meredith Local Media Group, who was including the newly created position of
elected Presiding Director. Fiorile joined the BMI Board in 2010. He also Director of Playlisting, which has been specifically created to meet the
serves as a member of the following Boards: CBS Television Affiliates demands of the new paradigm in music streaming. Kelly began his
Board, the Television Bureau of Advertising, National Association of career as a college marketing rep in the Sony Music system. He left
Broadcasters, Television Operators Caucus and the Broadcasters Sony for a position at the Universal Music Group and joined Interscope
Foundation of America. For additional information, contact Liz Fischer at in April 2010 as Head of Sales. For more, contact Dennis Dennehy at
fischer@bmi.com. d.dennehy@umusic.com.

Alison Smith Chris Grajewski


EVP, Distribution, Publisher Relations & Director of Sales
Administration Services Italian Speaker Imports
BMI
Chris Grajewski has been named
BMI has promoted Alison Smith to EVP, Director of Sales for Italian Speaker
Distribution, Publisher Relations & Imports. Grajewski has over 22 years
Administration Services. Smith will work of experience in the industry and brings
closely with BMI’s publishers on their extensive sales experience to the role. In
royalty distributions and administration addition to sales, audio engineering and
needs. She will continue to oversee installation experience, Grajewski holds a
all of BMI’s domestic and international Bachelor’s degree and a Master’s degree
royalty distribution and administration services to its more than 750,000 in Business. He owns his own production company, Jersey Sound, and
members. Smith began her career working as an assistant in BMI’s continues to run it part-time. A classically trained saxophone player who
Nashville office company. In her previous role as SVP of Operations, also plays the drums, he’s worked with sound, both on stage and off,
Distribution & Administration Services, Smith has overseen record royalty allowing him to see things from the perspective of both the musicians
distributions to BMI’s affiliates. For more, contact jthomas@bmi.com. and sound technicians he now services. For more information, contact
lisamariewe2@gmail.com.

Sam Selolwane Mike Steinberg


SVP Urban Promotion EVP, Creative & Licensing
RCA Records BMI

Sam Selolwane has been promoted to Mike Steinberg, SVP of Licensing,


Senior Vice President, Urban Promotion has been promoted to EVP, Creative
at RCA Records. Selolwane recently & Licensing at BMI. Steinberg will lead
held the title of Vice President, Urban the newly named Creative group, which
Promotion and will remain in the will encompass BMI’s songwriter and
company’s New York headquarters. composer teams in Atlanta, Los Angeles,
Selolwane is a graduate of Morgan State Nashville, New York, Puerto Rico and
University and holds a B.A. in Mass London, as well as the company’s
Media Communications, with a concentration in Radio & Television Strategic Partnership division. He will continue to oversee BMI’s
Production. Selolwane started her career as a radio programmer and Licensing organization, driving all of BMI’s domestic revenue. He joined
on-air personality, later transitioning to promotion executive 12 years ago the company in 1996 as the Assistant Vice President of Business
with Jive/RCA Records/Sony. As Vice President of Urban Promotion, Affairs and Licensing. Prior to BMI, Steinberg held positions in television
Selolwane developed successful national radio campaigns for artists on distribution and the private practice of law after earning his J.D. from
the RCA rosters. Contact Meghan.Kehoe@rcarecords.com. Fordham University School of Law. Contact jthomas@bmi.com.

July 2017 musicconnection.com 9


– BARRY RUDOLPH barry@barryrudolph.com

SAMSON TECHNOLOGIES QH4 4-CHANNEL HEADPHONE AMP


The Samson QH4 is a small 4-channel stereo headphone amp with four independent power
amplifier channels, each with separate volume controls. This means volume does not
diminish even when all four channels are being used. Furthermore, disparate sets of
headphones with different operating impedances between 16–600-ohms work
fine without one set of phones being too loud/soft compared to another set.
Getting stereo audio into the QH4 is made easy with two, 1/4-inch (L/R)
balance inputs that would receive line level signals from your mixer or record-
ing interface. In addition, there is a stereo TRS 1/8-inch aux input jack for direct
connection to your smartphone; you can enjoy music from your device and properly
drive studio-grade headphones to loud levels.
As a convenience, there is a 1/8-inch aux out jack that can be used to daisy chain
multiple QH4’s together. The unit finishes with global Mute and Mono buttons—mon-
aural monitoring is great for quickly checking a podcast or recordings with split tracks.
The Samson QH4 came to the rescue when I needed a third headphone system here
at my studio. I had a singer on the first headphone system and a guitarist on my second
system, but I needed a third system to accommodate a drummer in another room who
wanted to play to the mix with a loud click track. I ran two outputs of my interface into the
QH4 placed right next to the drummer—problem solved!
The Samson QH4 is a powerful workhorse in a small package. It works great in my
studio and is great value for the money. It sells for $69.99 MAP.
samsontech.com/samson/products/processors/qh4/qh4/

TC ELECTRONIC VSS3 STEREO SOURCE REVERB


TC Electronic’s VSS3 Stereo Source Reverb plug-in is now ported over
to AAX Native (and other host DAW Native versions) from the original
Pro Tools TDM-only version. VSS3 (Virtual Space Simulation) had been
a mainstay reverb in all my mixes because of its smooth and realistic
reverbs and ambiences based on algorithms from TC’s flagship TC6000
hardware processor.
VSS3 allows for easy reverb/ambience construction by offering com-
plete control over the size and reflective patterns of the early reflections
coupled with programming the exact nature and tonality of the reverb
tail. I like the Focus Field at the bottom of the compact GUI—it allows for
dragging in any six parameters you use most.
A big part of the sound of VSS3 comes from the extensive collection
of 24 different Early Reflection types. You’ll have: theatres, phone booth,
small rooms, car park, airport, even a forest all with a choice of a small,
medium, large or fixed Early sizes. You may also adjust the Early Color,
the Early Position for either a Close or Distant listening position, and
Early L/R Balance.
VSS3 has extensive collection of Factory presets that you can modify
and build your own library of User presets. Everything I remember from
the TDM version is back in my Pro Tools HDX sessions and I’m starting
to incorporate it as part of my mixing template from now on! I highly
recommend it!
TC Electronic VSS3 sells for $199 with PowerCore/TDM cross grade
at $99. Check: https://www.tcelectronic.com/vss3-native/

RAPCOHORIZON BTIBLOX
The BTIBLOX is the latest in RapcoHorizon’s line of BLOX series of self-contained portable devices useful in studios,
live sound or installed sound systems. BTIBLOX is a Bluetooth interface that easily pairs with most Bluetooth music play-
ers, including smart phones and computers. BTIBLOX looks like an elongated XLR connector and operates on micro-
phone phantom power. It also has its own internal rechargeable
battery for up to 24 hours of operation.
BTIBLOX has a line-of-sight range of 75 feet or more to stream
music wirelessly from your smartphone or iPad directly to an XLR
mic input of your audio mixer or interface. Think how quickly you
could allow any audio source such as music files, narration record-
ings, or cell phone audio to be added wirelessly into your audio mix
at any time.
BTIBLOX has a translucent back cover that indicates pairing/
activity and it’s built to Bluetooth 4.2 specifications and is FCC and
RoHS compliant. It sells for $99 MSRP.
rapcohorizon.com

10 July 2017 musicconnection.com


Monitor, Mix, Master
ATH-M50x Professional Monitor Headphones
Long heralded by online reviewers and top audio professionals, and backed by
a cult-like following of serious music fans, the ATH-M50x offers an unmatched
combination of audio and build quality for exceptional performance both in the
studio and beyond. The M50x is the critical listening tool for monitoring, mixing
and mastering in any musical environment. audio-technica.com

Available in
White or Black

July 2017 musicconnection.com 11


– BARRY RUDOLPH barry@barryrudolph.com

ZPLANE ÉLASTIQUEAAX
élastiqueAAX is zplane’s time and pitch manipulation AudioSuite plug-in (only) for
Pro Tools. It runs offline AAX 32/AAX64 faster than real-time and will time stretch
from 25% to 400% and pitch shift +/- 24 semi-tones while preserving formants. It
will process multi-channel (up to eight audio channels at a time) for synchronized
processing and comes with factory presets for typical film pull-ups/pull-downs.
As a music mixer, my main interest in élastiqueAAX is for both tempo and
song key shifting multi-track masters, entire music mixes or as a compositional
adjunct to audition already recorded demo tracks in different keys or tempos.
I am also interested in using it to pre-process individual guitars and recorded
loops tracks for use in other keys and tempos.
My first test was extreme. I time-stretched all the tracks of a multi-track song
in Pro Tools HDX 12.7.1. I selected eight tracks at a time and made six passes
of eight tracks each for a total of 48-tracks. The song went from about 3:15
minutes to 2:45 minutes in length.
For pitch shifting, there are no controls for selecting a particular algorithm for
monophonic, polyphonic or percussion sources as in other software and DAWs.
You can elect to preserve formants or not and the Source Material Voicing fader
ranges from a bass clef to a treble clef depending whether fundamentals are lower
or higher frequencies.
I am well pleased to report that élastiqueAAX worked flawlessly and did everything I expected quickly and with the best
possible sound. And now with eight tracks at a time and faster than real-time, I can
freely shift all tracks in a surround mix, multi-track recordings or several stereo mix ver-
sions quickly and easily.
I’m highly recommending this to music makers and songwriters for all the possible cre-
ative uses. élastiqueAAX runs on OSX 10.7 and higher, Windows 7, 8, & 10 and Pro Tools
10 or higher. It sells for $399 as download.
products.zplane.de/elastiqueaax

DIGITECH CABDRYVR DUAL CABINET SIMULATOR PEDAL


The Digitech® CabDryVR pedal utilizes 24-bit A/D/A conversion and impulse responses of
seven guitar cabinets and seven bass cabinets—14 different cabinet simulations within this
standard size pedal.
CabDryVR has dual inputs and outputs and works as two completely separate simulator channels
named Cab A and Cab B—you could have one for bass and one for guitar. With Cab B’s input un-
used, a single guitar or bass signal coming into Cab A will produce two separate cabinet simulations
out of Cab A and Cab B.
Some of the cabinets are: Cab 3 a British Green Slant 4X12 or choose Cab 1 for a Vintage Ameri-
can 2X12 cabinet. The seven bass cabinet choices include Cab 6 called Vintage Fridge 8x10 or Cab
7 called Blonde Basement 2X12.
My main interest is for music production and mixing. Being able to quickly audition cabinet sims
with CabDryVR is an awesome way to get just the right “size” of guitar sound. I use CabDryVR as
part of a guitar/bass tracking recording chain or in my mixing/remix process.
For recording an overdriven stereo guitar I used a Nexi Dutch Screamer pedal connected before
CabDryVR and then I panned the two outputs hard left and right in the mix. I had
guitar Cab 2 Vintage British 2X12 (VOX AC30 sound) on the left and Cab 5 called
Heavy American 4X12 (a slant cabinet with 30-watt vintage speakers) on the right side. This is a big and
real-sounding guitar sound!
The speaker models are excellent and a great way to get a good guitar or bass amp sound without
using an actual cabinet. The DigiTech CabDryVR sells for $229.95 MSRP and requires a 9-volt power
supply such as the Harman PS0913DC sold separately.
digitech.com/en/products/cabdryvr

INGRAM ENGINEERING EQ50


The EQ50 is a mastering-quality analog three-band 500-series equalizer module. I received two for review
and they were immediately connected to the output of the stereo bus of my SSL Sigma Summing system. I also
used them on individual tracks in the mix.
The EQ50 has a continuously adjustable low cut filter with a 20 Hz to 1kHz range. It rolls off or cuts 6dB per
octave. The middle control is called a See-Saw (sometimes called a “tilt”) equalizer with a selectable “pivot”
frequency of either 400Hz or 1kHz.
In a See-Saw equalizer, a single control knob boosts and cuts at the same time up to +/- 16dB centered at a
pivot frequency. The EQ50’s third band is a high cut filter that is also continuously adjustable from 5kHz to over
200kHz and also rolls off or cuts 6dB per octave.
200kHz? The upper harmonics of transient laden audio sources—the fast attack of drums, pianos, and per-
cussion instruments range from just inside the range of human hearing to well above our ability to hear.
I used the See-Saw mid-range section set to 1kHz to add a touch of “cut” and, at the same time, lower the
frequencies below 1kHz. This is a touchy control used on program
material this way—a little goes a long way and I loved it!
BARRY RUDOLPH is a recording engineer/mixer who
The EQ50 is meticulously designed to maintain an accurate phase/ has worked on over 30 gold and platinum records. He has
amplitude response for a fully transparent signal path when in circuit. recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat
Each Ingram Engineering EQ50 sells for $455 MSRP. Benatar, Rod Stewart, the Corrs and more. Barry has his
own futuristic music mixing facility and loves teaching audio
ingramengineering.net/products_eq50.php engineering at Musician’s Institute, Hollywood, CA. He is a
lifetime Grammy-voting member of NARAS and a contribut-
ing editor for Mix Magazine. barryrudolph.com

12 July 2017 musicconnection.com


Jessica Lynn
Singer, Songwriter,
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July 2017 musicconnection.com 13


13
BOOK S T ORE
The Art of Sound The Singer/Songwriter Boot

MA-1000
A Visual History for Audiophiles Camp Rule Book
By Terry Burrows By Larry Butler
(hardcover) $50.00 (paperback) $9.99
This complete illustrated history of recorded Drawing from decades of experience as a
sound reveals the masterful product design handler of top-drawer major-label talent, Larry
behind the evolving technology of sound record- Butler has compiled a straightforward hand-
ing, with specially commissioned photography book of profes-
of iconic, rarely seen artifacts from the collec- sional insights,
tions of the EMI laid out in a clear
Archive Trust. and precise
Written by musi- format. Avoiding
cian Terry Bur- generalities, But-
rows, this attrac- ler’s career tips
tive item is both cut right to the
entertaining marrow of what it
and informative, takes to be suc-
with a gener- cessful as a solo
ous profusion of singer-songwriter
vintage visuals, today. See didit
including an- music.com.
tique hardware,
adverts and
45 RPM (Recollections Per
blueprints.

Minute) The Morrell Archives,


Never A Dull Moment: 1971 – The Volume 3
Year That Rock Exploded By Dave Morrell
By David Hepworth (paperback) $12.00
(paperback) $16.99
Record company promo man Dave Morrell
Making a convincing, persuasive argument for returns with another installment of cool and
his premise that 1971 was the most explosive fun stories of his adventures, this time focus-
year in rock history, author David Hepworth ing on the years 1975 - 80, when the musical
explores album milestones Tapestry, Exile on landscape turned
Main Street, Who’s from pop to the raw
Next, What’s Goin’ excitement of punk
On?, Led Zeppelin and new wave. As
IV and others. The before, Morrell’s as-
author’s power- sociations are a star-
house prose delivers studded delight as he
consistent salvos relates his hang-times
of insight into the with John Lennon,
artists, their art and Paul McCartney, Phil
their singular era, Spector, Lou Reed,
making Never A Dull Patti Smith, Carly
Moment a must-read Simon, Dolly Parton
for the thoughtful and many more. A
music fan. quick, fun read.

The Show That Never Ends: The


Beyond Words Rise and Fall of Prog Rock
By John Prine
By David Weigel
(softcover) $34.98
(hardcover) $26.95
In his first official book, legendary singer-
For prog rock fans and critics alike, Weigel
songwriter John Prine puts together a selection
explores the development, evolution and endur-
of his favorite songs, photographs and stories.
ance of progressive rock. Yes, Pink Floyd,
The book includes over 100 photographs from
Genesis, Jethro Tull are given their due, as the
Prine’s personal collection, along with copies
author explains exactly what was progressive
of hand-written
and how it arose out
lyrics showing his
of psychedelic and
songwriting evolu-
heavy metal music.
tion. Additionally,
Weigel’s story spans
AWA R D S 2016 there are several
 NOMINATED  over five decades,
REWARDING QUALITY AND INNOVATION personalized notes
with a narrative his-
from the artist
tory that serves as an
mojaveaudio.com about the songs
and photographs,
as well as lyrics
affirmation that prog
rock was a “grand
cultural detour” that
and guitar chords
Follow us on for over 60 of his made possible much
of the music that is
classic tunes.
popular today.

14 July 2017 musicconnection.com


July 2017 musicconnection.com 15
– JONATHAN WIDRAN

QSC, LLC
qsc.com
Global Leader in Great Sounding, Reliable Audio Solutions: Gearing
up to celebrate their 50th anniversary next year, Costa Mesa, CA based
QSC is a globally recognized leader in the design and manufacture
of professional audio system solutions. Its expansive catalog includes
digital mixers, power amps, loudspeakers and DSP systems for musi-
cians, bands, DJs, production professionals, AV integrators and cinemas
worldwide. QSC’s unique system approach leverages their innovations
in design and engineering, manufacturing and other disciplines to create

products and solutions that deliver advanced performance, outstanding


quality and long-term reliability. “It’s rare to have this high level of design
engineering, manufacturing and support capabilities under a single roof
with teams able to work together and share their efforts as we do at
QSC,” says Sr. Director of Marketing Ray van Straten. “Our customers
love QSC because there are no surprises; They get a quality, profession-
al product and an all-around great experience each and every time.”

Leading Manufacturer of Digital Mixers, including the TouchMix:


In less than three years, QSC has become a leading manufacturer of
digital mixers, often equaling or besting legacy brands’ sales figures
in similar categories and price points. The QSC TouchMix™ compact
digital mixers were designed for musicians, production professionals and
live performance venues that need the power and capability of a large
“concert” mixing console in a compact, affordable and easy to use form.
The TouchMix™-8, TouchMix™-16 and TouchMix-30 Pro mixers each
have the functionality to satisfy seasoned live-sound pros, and a range
of features/functions that help the less experienced user also achieve
remarkable results. With recent software updates, all three models are
essentially equal in capabilities, differing primarily in only channel count.

The K Family’s New Generation: QSC’s new K.2 Series is the next gen-
eration of the company’s globally best-selling K Family line of powered
loudspeakers. The series is comprised of the 8-inch K8.2, 10-inch K 10.2
and 12-inch K12.2 full range loudspeakers, which offer significant feature
upgrades (including a 2000 watt power module, compared to the original
1000) and advanced DSP. They establish, yet again, a new standard in
powered loudspeaker technology.

Contact QSC, 714-754-6175

16 July 2017 musicconnection.com


July 2017 musicconnection.com 17
17
An Aussie Debut
Australian singer-songwriter Meg Mac will release her debut album Low Blows on July 14 through
300 Entertainment. The album was recorded at Niles City Sound in Fort Worth, TX and features former
members of the Texan band White Denim. Additional production and mixing by John O’Mahony at
Electric Lady Studios in New York. For more information, visit megmac.com.au.

MICAH CRUVER
Welcome to Adulthood

RAMBO
Singer-songwriter Dan Croll will release his sophomore album Emerging
Adulthood on July 21 via Kobalt Music Recordings and Communion Records.
The album was recorded in Atlanta, GA at Milk Money Studios with producer
Ben Allen (Animal Collective, Deerhunter, CeeLo Green, Matt & Kim). For more
information, visit musicglue.com/dancroll/home.
ROB GODFREY

“Mic To Monitor” Seminars Return


Anjos’ EGO-centric Sophomore Album Prism Sound’s Mic To Monitor seminars are returning to the U.S. and Canada
EGO is the latest album by André Allen Anjos’ solo project RAC, which will be this autumn with five events in cities including Boston, MA and Montreal.
released July 14 through Counter Records. Recorded and produced between Topping the bill as a guest speaker in New York will be Oscar and Grammy
Anjos’ home studio in Portland, OR and sessions in Los Angeles, EGO features Award-winning producer/engineer Robert L Smith, who has worked with
collaborations with Rivers Cuomo, Rostam Batmanglij, MNDR, St. Lucia, K. numerous top artists including Aerosmith, Bon Jovi, U2, David Bowie and Lady
Flay and Joywave among others. For more information, visit rac.fm. Gaga. For more information, visit prismsound.com.

Producer Playback
“That’s key to having a successful experience. People come in
with a dream and we want to help them fulfill it.”
– Jody Stephens, producer and musician (Big Star, Golden Smog)

18
18 July 2017 musicconnection.com
–JACKIE NARANJO jackien@musicconnection.com

Foster’s New
Sound
Indie pop-rockers
Foster the People
will release their
third record Sacred
Hearts Club via Co-
lumbia Records on
July 21. This is the
first record without
the band’s found-
ing member and
bassist Cubbie Fink.
Long-time touring
musicians Isom In-
nis and Sean Cimino
are now attributed
as official members.
The album was
recorded at The
Bank in Burbank,
CA, and produced
by Josh Abraham,
Oligee, Innis, and

KENNY LAUBBACHER
Mark Foster.
Pictured (l-r): Foster,
Mark Pontius, Innis
and Cimino.

PHOTOS BY BRIAN STEWART


Pictured (l–r): Pete Doell, EastWest Studios
Manager Candace Stewart, producer- Pictured (l–r): Engineer/MC Tech Editor Barry Rudolph,
keyboardist CJ Vanston, singer Rie Sinclair engineer Lenise Bent, pro audio gear designer Paul
and engineer Bill Smith. Wolff and Chief Studio Tech Gary Myerberg.

AfterMaster Opening Celebration


AfterMaster Studios had a crowded opening party at their new facilities in Hollywood. Producers and engineers turned out to see the new studio, which features an
SSL 4000G+, as well as an upstairs mastering room with Grammy-nominated engineer Pete Doell at the helm. For more, visit aftermaster.com/studios.

July 2017 musicconnection.com 19


PRODUCER CROSSTALK – ROB PUTNAM

TONY MORAN
D
J, writer and producer Tony Moran has produced stacks of dance
club singles and has worked with artists including Gloria Estefan,
Madonna and Martha Wash. He’s twice been honored with a
Grammy nom and has remixed a cross-section of songs including KC and
the Sunshine Band’s “I Love You More,” Donna Summer’s “Valley of the
Moon” and, indeed, Michael Jackson’s “Billie Jean.” He’s known widely
for his first hit: the Cover Girls’ “Show Me” and in 1981 he and collabora-
tor Albert Cabrera formed the Latin Rascals. Notably, he’d earned his first
gold record comfortably before the age of 21.
Moran launched his career as a teenaged DJ when radio DJ jugger-
naut Carlos De Jesus overheard one of Moran’s cassettes and invited
him to come into the station. It wasn’t long until his edits made it to air
and producer Arthur Baker caught one of them. He called the station,
tapped Moran to do some work at famed Electric Lady Studios and his
career was thereby set upon an unstoppable trajectory.
To get the best out of an artist, Moran finds that establishing a com-
fortable and exploratory environment delivers the best results. “When I
worked with Luther Vandross, I’d ap-
proach [a new project] by saying, ‘If
The three most important
you want to do some things that are
new, let me tell you how you see the lessons he’s learned as a DJ,
story and how I see the story,’” he writer and producer are:
recalls. “It wasn’t the same formula
they’d always used and they noticed s #OMMUNICATION 9OU HAVE TO
after a few takes that it was different. RESPECT THE OTHER PEOPLE IN
To me, getting the best out of some- THE ROOM )TS NOT ABOUT WHOS
one is to get them to explore them- BETTER )TS ABOUT HOW TO GET THE
selves. Anything that opens your BEST OUT OF US
mind and your god-given instrument
s 0REPARATION +NOW WHAT YOU
leads to something new. Because WANT TO DO ) COME INTO THE
of situations like that, I was hired to STUDIO WITH IDEAS AND TITLES
work on Gloria Estefan’s Gloria!”
Remixing represents its own s 2ESPECT "E AS FORTHRIGHT AND
branch of music’s evolutionary HONEST WITH YOUR ARTISTS AS YOU
tree. Just as it’s grown, Moran has CAN 0EOPLE BECOME ATTACHED
continued to refine and expand his TO THEIR WORK
process. “I’ve now done a few hun-
dred remixes,” he observes. “Song
is primary. Not all of them are meant to transform into dance tempos be-
cause of the melodic structure. There have been cases where I couldn’t
get the vocal to where it sounded natural so I’d ask the artist to consider
singing it again; maybe cutting out a few syllables here and there. Each
song represents a new challenge.”
On the subject of challenges, one of his biggest is when an artist expects
him to replicate the success of an earlier record. “In the music business,
you’re always on to the next project just as the last thing is happening,”
he says. “You’re kind of ahead of the curve, mentally. When something
becomes really hot, I get calls from people asking me to do the same thing
over again; they want me to do for them what I did for, say, Rihanna. I want
to make it so that the songs can be played in the same set.”
Moran’s 28-song two-CD set moodswings, which dropped earlier this
year, stood as an opportunity for him to put together “a producer show-
case album,” in his words. “I’ve written pretty much on every song on that
album, along with various collaborators,” he says of the record. “It also
provides a spectrum of styles that I’ve connected with. There’s more than
one shade to Tony Moran. This is my musical calling card.”
Last year Billboard magazine ranked Moran as the 92nd most success-
ful dance artist of all time. Projects in his future include the Nile Rodgers
single “My Fire” as well as work with Kimberly Davis, lead singer of Chic.

Contact David Salidor - disCOMPANY, david@davidsalidor.com

20 July 2017 musicconnection.com


M SIC
UNITES
US

Recording | Mastering | Archiving

UnitedRecordingStudios.com
July 2017 21
musicconnection.com 21
– ANDY KAUFMANN

5,000 songwriters and it revealed that


Alex Heiche 70% of them had no idea there were
CEO/Founder advances available to them without
Sound Royalties, LLC having to give up their copyrights. That’s
our challenge – getting the market aware
Years with Company: 3 of what we do, how we do it and that
Address: 1641 Worthington Rd., Suite it’s available. The most successful way
410, West Palm Beach, FL 33409 we’ve gotten the word out has been our
Phone: 1-844-4ALL Music referral program. We pay up to $25,000
Web: soundroyalties.com per referral.
Email: info@soundroyalties.com
Clients: Priscilla Renea, Kevin Lyttle, the Money’s Still There
Mad Stuntman. Who is being paid and how is
transitioning, but there’s still an enormous
BACKGROUND amount of money flowing. We can look at
A classically trained pianist, Alex Heiche that as it changes, follow trends and help
switched to financing after realizing people the best we can. It’s a moving
stardom wasn’t his fate. Unlike other target, but there’s still an enormous
entertainment financing instruments, amount of revenue we can collateralize
Sound Royalties offers advances based against. And we’re not trying to project
around proven earnings without seeking out for the next 35 years, so we’re
to own copyrights. working with a much shorter window.

Fixing Financing Honesty and Incentives


In 1997, I read about Bowie Bonds We’re non-credit based, so [clients] can
and found it very interesting. Then, I be more forthright about their situation.
started talking with friends in the music We’re also not trying to buy copyrights in
community and saw some of the things perpetuity, so don’t look at what we can
that were going on—people selling their raise as the end all, because there’s still
rights in perpetuity, which nobody should overflow income.
ever do. In 2003, I started funding the
entertainment community. That slowly
“With detailed historical royalty In a traditional model where it’s 100%
recoupment, if you write a song, your
evolved and in 2013 I was able to focus streams, we can give you options income’s $10 and then you’re in that
Super Bowl commercial, that’s just going
exclusively on fixing some things about
this industry in terms of funding and and tell you what you qualify for. to recoup your advance further. In our
financing.
We can also project what you’re model, that money flows through to you.
So we incentivize the songwriter, artist
Projecting Royalties
We’re a specialty-financing firm. The key
going to earn over the next year.” or producer to keep working. They’re
not incentivized to walk away and start
is it’s non-credit based advances that use something new under a separate name.
royalty and income streams as collateral.
We’ve become really adept at seeing anomalies as collateral and can’t come back on them Banks and Selling
and missing royalties in people’s income personally if that collateral fails. There are several banks I give clients the
streams. choice to work with. That’s a great option if
Typically, we’ll look at someone’s historical Bank of You you qualify for it. We also get people saying, “I
income over the past three years. From that, Because our model’s not buying in perpetuity, we appreciate what you’re doing, but I really want
we’ll project what they’re going to have in the build customers for life. People say to us, “I need to sell this.” I’ll point them in the direction of
future and what we can use as collateral. When more than that”––they think they’re negotiating people who buy in perpetuity. I feel strongly
we advance, we don’t do 100% recoupment. a sale or a publishing deal. We explain to them, about why it’s important not to sell in perpetuity,
What that means is, if they’ve got $10 coming “This $50,000 is just using what you have as but sometimes that makes sense.
in, we may work with [between] $5 and $8 of it collateral. If your song goes up in the charts, you
so there’s income still overflowing. can restructure what you’re doing with us.” And New Streams
We also have people come to us who have we can work with you again and again. There are lots of new royalty streams. Just look
no royalties coming in but they have a hit song at YouTube; whether it’s the composer, the
that’s been playing since this last summer. It can Information Power creator of the video or the person featured in the
sometimes take a year for that income stream With detailed historical royalty streams, we can video, there are many different streams. And
to flow through to them. We have a lot of new, give you options and tell you what you qualify financing models will evolve to view and predict
hit artists and writers who have a song that’s for. We can also project what you’re going to those streams better. The newer they are, the
charting. earn over the next year. The easiest way to give harder they are to predict and the higher risk
us those detailed income streams is to provide they’re perceived. And the higher the risk, the
The Goldilocks Zone us with your SoundExchange login and then we higher the cost of funds. There are a lot of new
If someone has bad credit, the regulators control can download the statements we need. streams we don’t fully understand and have to be
what [lenders] can do. Even if someone has conservative with.
a million dollars in assets and wants to give Complementing Labels and Publishers
someone a loan, their hands are often tied. On I was talking to the CEO of a major publisher Fast Money
the other end of the spectrum are people who and said, “We don’t want to handle publishing. Our Sound Check program is quick, easy
are buying for the next 35-plus years. We came All we’re doing is providing non-credit-based access to money. Let’s say someone’s looking
up with a model where we’ll go out six or seven advances. We don’t want to do the work you’re for $25,000 and wants to repay it back over
years, not do 100% recoupment and without the doing. We’re not taking your percentage.” Same the next year. We’ll do it for $695 and a 4%
intention of owning the copyright. with the labels; we’re not taking the work that advance rate. We’re launching that right now.
the labels are doing. Some of these folks will
Just What You Want redirect their clients to us and say, “If you want Hang On To What You’ve Got
A lot of artists and songwriters come to an advance, a company we work with will give Don’t sell your copyrights. There are options
us and say, “I just want to work with my you that and we can still do all your marketing.” available to help you accomplish, whether it’s
SoundExchange or my TuneCore.” We’re happy to fund that next project, fix that broken van or
to carve that out and work with that exclusively. Awareness whatever it may be, personal or professional.
The beauty of our program is we’re using that There was a survey done a few years ago of There is access to funds for most folks.

22 July 2017 musicconnection.com


– BERNARD BAUR

OPPS Melrose Music recently opened a


satellite studio in Palm Springs. You
A record label executive who just can choose from two packages:
started a new label is searching $75 for one two-hour recording
for exceptional, hardworking studio session ($150 value); or,
artists and bands for recording $135 for two two-hour record-
contracts and development deals. ing studio sessions ($300 value).
A team of seasoned A&R execs
Williams and Melrose Music has
that have previously worked with
worked with many well-known stars
prominent artists such as Beyoncé,
and emerging artists, including:
Lana Del Rey, Bruno Mars, Kelly
Def Leopard, Heart, the Pointer
Clarkson, Alicia Keyes, Pink,
Sisters, George Clinton and Barry
and Chris Brown, are search-
Goldberg (Electric Flag), as well
ing for amazing acts in pop, rock,
as many record labels and produc-
country, hip-hop, R&B, indie, singer-
tion companies. To score the deal,
songwriters and producers. The
go to groupon.com/deals/melrose-
label’s goal is to develop, sign and
music-studios or facebook.com/
release the best up-and-coming art-
melrosemusicstudios.

BRIAN STEWART
ists/bands into the mainstream. The
label consists of a team with proven
formulas that they apply to each art- If you are looking for a label
ist. Taking directions, being easy to to release your latest project
work with, and staying professional on vinyl or cassette, con-
and prompt is a must to be consid- sider sending your track to this
ered. If interested, you can log on to Detroit indie label, Jett Plastic Urban Network Conference Talks Digital Rights
MusicClout.com for details. There is Recordings (JPR). They choose
At this three-day conference in Woodland Hills, CA, music industry luminaries
no fee to join the site. artists who have great talent and spoke to a packed room full of up-and-coming talent about the importance
potential, regardless of genre, of digital performance and performing royalties in the ever-changing DIY
Dave Williams of Melrose Music from anywhere in the world. Since world of streaming downloads and other music platforms. Pictured standing
Studios is offering an amazing their inception, JPR have released (l-r): Barry Benson, moderator; Jesse Flores, Sr. Director, Label and Business
discount (up to 55%) for studio records by rock artists, punk art- Development, INgrooves Music Group; Rachel Stilwell, music attorney; James
services via Groupon. Based in ists, folk artists, and blues artists. Leach, SESAC VP Writer/Publisher Relations. Seated (l-r): David Mitchell, MIQ
Hollywood, CA at Raleigh Studios, See jetpasticrecodings.com. Publisher and Urban Conference Executive Director; Ronette Bowie, Enigma
Music Mgmt CEO; Shari Hoffman, AFM & SAG/AFTRA Fund COO; and Reggie
For singers and musicians who Calloway, Sound Royalties Director of Musical Funding. More info at urban
also do voice overs, The Voice networkdigital.com.
Shop has launched a contest to
find the best “voice over” talent
in the U.S. The grand prize will be ninth season of Fox’s American Lindes (Dire Straits), Will Ray
$675 worth of classes from The Idol in 2010. The Texas native (The Hellecasters), jazz keyboard-
Voice Shop in categories of the independently released his new ist Bobby Baldwin and Grammy
winner’s choice. To enter, con- album Strip It Down in June. “I’ve nominee Denny Jiosa. Get the
testants must record themselves been searching for a long time record at amazon.com/Orlando-
reading a descriptive passage and to find the right group of people Heaven-Brian-Tarquin-Company/
submit their entry by Sunday, July to work with, and I’m extremely dp/B06Y1MWBJ8.
23. The winner will be chosen in excited and honored to have finally
early August. Contestants should built my team,” James said. Citing Chicago-born and Atlanta-raised
go to voiceshopcoaching.com Albert King, Tab Benoit and ZZ rapper SahBabii has debuted his
competition to enter. Top as inspirations for his blues- first official release on Warner
inflected album, James is currently Bros. Records, S.A.N.D.A.S.
Write.Click.Cook.Listen (WCCL) on tour in the U.S. For more infor- The new recording includes the
is currently accepting submis- mation and tour dates, you can go official remaster of the original
sions of all genres to feature to caseyjamesofficial.com. S.A.N.D.A.S. project in addition to
INTERSCOPE GEFFEN/ two new songs, “Geronimo” and
on their site. WCCL is a music
A&M PROMOTES KELLY blog with a cooking perspec- Orlando In Heaven is a new “Marsupial Superstars.” SahBabii
tive. They provide great music release on Cleopatra Records received critical acclaim courtesy
Interscope Geffen A&M pro-
for social gatherings involving that was produced in remem- of Noisey, XXL, The Fader, Mass
moted Gary Kelly to Executive Vice
President/Chief Revenue Officer, delicious food. The original inten- brance of the 2016 Pulse night- Appeal, Pigeons & Planes,
as announced by Interscope Geffen tion of the blog spot was to cre- club tragedy, which recently Pitchfork, and the New York
A&M Chairman and CEO John ate recipes and attach music to had its one-year anniversary. Times. Kylie Jenner, Migos, The
Janick and Vice Chairman Steve them. Throughout the years it has Proceeds are being donated to Atlanta Hawks, Odell Beckham,
Berman. The promotion marks the expanded to include band-sub- Catholic Charities of Central Jr., Travis Scott, Wiz Khalifa,
first time an executive has held mitted recipes, artist interviews, Florida, cflcc.org/in-the-midst-of- Fetty Wap, T-Pain, and Drake
the title of Chief Revenue Officer songs about food, food themed tragedy-a-call-to-love-and-service, have all shown support to SahBabii
at a record company. By creating playlists and restaurant reviews. which provides case management and “Pull Up Wit Ah Stick.” You
Kelly’s position Interscope Geffen No matter which direction the blog and supportive services for vic- can learn more about this up-and-
A&M ensures its readiness for the goes in, the same two interests tims and family members of the coming rapper at facebook.com/
future alongside its ability to maxi- Pulse shooting, which occurred in SahBabii.
remain at the heart of it…food and
mize the changes in the industry Orlando, FL. Orlando In Heaven
and super-serve its artists. Kelly’s music. You can check it out at
writeclickcooklisten.blogspot.com. was produced, composed and Glen Campbell’s remarkable
team will also oversee all playlist- performed by Brian Tarquin fea- life story—the real-life rags-to-
ing activities for IGA, including the turing world-class players such riches tale of a boy who grew
newly created position of Director
of Playlisting, which has been ,!"%,3s2%,%!3%3 as guitar icon Larry Coryell, up as one of 12 children to poor
vocalist Phil Naro (Talas, Julian Arkansas sharecroppers in the
specifically created to meet the
demands of the new paradigm in
SIGNINGS Lennon), Grammy jazz guitarist ‘30s and went on to become one
music streaming. For more, see APA Nashville has signed sing- Mike Stern, bass extraordinaire of the most revered singers and
interscope.com. er-songwriter Casey James, who Tony Franklin (Jimmy Page), guitarists in popular music—is
finished in third place on the Chris Poland (Megadeth), Hal told in his recently released

July 2017 musicconnection.com 23


– BERNARD BAUR

song, “Arkansas Farmboy.” The guests Gormley will introduce and


song is from Campbell’s farewell interview singer Sheila Nicholls,
album, Adiós, released June 9
on UMe. The song was written
music business executive Danny
Goldberg and veteran performer
DIY Spotlight Pontea
by Campbell’s former bandmate Cidny Bullens. Gormley has a Practicality and passion
and lifelong friend Carl Jackson long and renowned career as a sometimes must diverge for
who produced the new collec- journalist, record company execu- someone to truly find her-
tion. The album was recorded at tive, artist manager and marketing/ self. Such is the story of Los
Station West in Nashville following PR expert. He has been respon- Angeles DIY electro-pop artist,
Campbell’s Goodbye Tour which sible for setting into motion many Pontea. Born and raised in the
he launched after revealing he had artists’ careers and his work City of Angels in a fairly tradi-
been diagnosed with Alzheimer’s has brought the world such suc- tional Persian-American home,
cessful artists as film composer Pontea (pronounced “Pon-ta”)
disease. To find out more, go to
would go through her early life
glencambell.com. Danny Elfman, and pop band The
playing it safe, while a fire grew
Bangles. In addition, Gormley

WIL COHEN
inside her telling her to break
Multiplatinum award-winning has helped launch the careers away from the cultural norms
rock band Lifehouse will release of such diverse artists as Rod that she knew.
their first hits compilation, Stewart, Rush, BTO, The Police Throughout her youth, she
Lifehouse: Greatest Hits, on CD and Supertramp. You can reach would experiment with performing as a dancer, actress and musi-
and all digital retailers July 14. Gormley at lapersdev.com. cian, but ultimately would go on to attend UCLA and major in Physi-
The 18-track selection will include ology. Since graduating college, Pontea has turned away from the
a multitude of their chart-topping Know-It-All, the debut album practical and is now on her own however, chasing her passion. 
hits, including “You and Me,” from multi-platinum EP Surrounding herself with a group of talented friends and collabo-
“First Time”, “Halfway Gone,” Entertainment/ Def Jam rators, Pontea’s “do it yourself by doing it together” approach has
“Hurricane” and “Hanging Recordings artist Alessia Cara seen constant growth since late last year. Building on a handful of
by a Moment,” which was the has been officially certified plati- self-produced cover videos that have garnered over 100,000 views
most played radio track of 2001. num with U.S. sales in excess on YouTube, she began working with up-and-coming producer
To mark the release, the band of 1 million units. The album has Sando for her new EP, due out later this year.
been streamed more than 700 With early support from music tastemakers and an ever-growing
will co-headline a U.S. tour with
million times. “Stay”, her massive Internet following, the title track and first single from the EP, “Un-
Switchfoot, starting July 23 at the predictable,” has been streamed over 20,000 times on SoundCloud
Fillmore Auditorium in Denver, summer smash with super-produc-
in just a couple of weeks.
CO, and wrapping September 10 er Zedd, hit No. 1 on the Billboard Moving ahead with a number of upcoming appearances in
at the Masonic Auditorium in Dance Chart, and Top 10 on the Southern California leading to her debut release, Pontea is making
San Francisco after a show on Hot 100 Mainstream Top 40 list. it work for herself against the practical odds. 
September 9 at the Greek Theater For more, contact Lydia.Kanuga@
in Los Angeles. For more, visit umusic.com. For more information, check out IAmPontea.com
lifehousemusic.com.
Brodeur has won the “Studio Have a successful DIY strategy to share? Email bbatmc@aol.com
Package” from ReverbNation.
PROPS For the third year, Hybrid Studios cants. Previous winners of the adorned with Hendrix’s signature.
Music business veteran Mike and Orange County Production ReverbNation competition include A walkway toward the central plaza
Gormley is hosting a new seg- House have selected a band or Los Angeles’ Andy Allo and incorporates a timeline of Hendrix’s
ment of the popular Internet artist to receive free studio time Yucaipa’s Hoity Toity. For more life and career embedded in the
show “Accent On.” Gormley through a ReverbNation competi- information on Hybrid Studios and pavement. Lyrics from timeless
will appear the first and second tion. The 2017 winner is Laguna the Orange County Production Hendrix songs, “Little Wing” and
Monday of each month starting Beach’s Nick Brodeur, a singer House, you can visit hybridstu- “Angel” are etched into a purple
at 6 PM, Pacific Time. “Accent and guitarist who will now get the diosca.com and ocproductionhouse. ribbon along the timeline. For
On,” hosted by Ilona Europa, is opportunity to record at Hybrid com. For info, go to nickbrodeurmu more, visit jimihendrixparkfounda
part of the internet network LA Studios under the direction of sic.com. tion.org.
Talk Radio at latalkradio.com/ OCPH. Brodeur was chosen from  
Digital Music News has named
content/accent. Up and coming a list of nearly two thousand appli-
the “Top Music Schools” THE BIZ
of 2016…and the Musicians The 2017 Pemberton Music
Institute in Hollywood CA is Festival has been canceled after
LORDE LOVES filing for bankruptcy, potentially
on the list, alongside Juilliard,
MELODRAMA Berklee and Yale. Additionally, leaving ticket holders and ser-
Following the release of her new tuition to the Musicians Institute vice companies high and dry.
single “Perfect Places,” which was highlighted as a prize gift in a According to Ernst & Young, the
Rolling Stone characterized as an, special episode of CBS’ Celebrity appointed Trustee, there will be no
“existential party anthem” that is Undercover Boss with Darius automatic refunds for ticket hold-
both “defiant” and “stage-ready,” ers, who may have to wait weeks
Rucker (Hootie & The Blowfish),
Grammy-winning artist Lorde has to learn whether they will get their
finally released Melodrama with where Rucker worked undercover
(scouting talent) as a roadie, tech money back. “As PMF is now in
“Sober” as the album’s lead sin- bankruptcy, it has no ability to pro-
gle. The song presents a serene and promoter. For more, visit
mi.edu and dariusrucker.com. vide refunds for tickets purchased.
yet expressive tale in true Lorde
style. It gives fans a taste However, ticketholders may file a
of what to expect and leads Jimi Hendrix Park in Seattle, WA proof of claim form as an unsecured
the way to Lorde’s upcoming had its grand opening celebra- creditor with Ernst & Young in accor-
tour across Europe, featur- tion on June 17, after a $2.2 mil- dance with the claims process.”
ing support from Khalid. She lion park improvement project. Information pertaining to the bank-
continues to headline marquee The 2.5-acre park named in honor ruptcy proceeding is available on the
festivals across the globe this of hometown musical icon now fea- Trustee’s website at ey.com/ca/pmf.
year including anticipated perfor- tures a newly installed central shel- BERNARD BAUR was voted one of the “Top
mances at Bonnaroo, Glastonbury, ter, a soaring sculpture reminiscent Music Business Journalists” in the country.
Lollapalooza, Outside Lands, Life of butterfly wings now anchors Bernard is the connection between the streets
Is Beautiful, and more. For the lat- the park. New amenities include and the suites. Credited with over 1,200
est news, go to lorde.co.nz. features in a variety of publications, he’s a
a grand entrance and stairway Contributing Editor at Music Connection.

24 July 2017 musicconnection.com


– BERNARD BAUR

Trustee’s website at ey.com/ca/pmf.

June
May
July 2017 musicconnection.com 25
SUPER WHATEVR THE
READY SET
Date Signed: February 2017
Label: Hopeless Records

JOYNER LUCAS
Band Members: Skyler McKee, guitar, vocals; Thomas Waale, bass;
Luke Mensink, drums.
Type of Music: Indie Rock
Management: Olivia Key - Evolve Music Management, olivia@
evolvemm.com
Booking: Jason Parent - APA Agency, jparent@apa-agency.com Date Signed: Sept. 20, 2016
Legal: N/A Label: Dead Silence/Atlantic Records
Publicity: Natalie Schaffer - Big Picture Media, 212-675-3103, natalie@ Type of Music: Hip-Hop
bigpicturemediaonline.com Management: Sha Money XL & Dhruv Joshi, shamoneyxl@joynerlucas.
Web: superwhatevr.com com, djoshi@joynerlucas.com
A&R: Eric Tobin Booking: bookings@joynerlucas.com
Legal: N/A

O
range County, CA trio Super Whatevr was anxious to land a label Publicity: ariana.white@atlanticrecords.com, 212-707-2236
deal, particularly with highly regarded L.A. indie outfit Hopeless Web: joynerlucas.com
Records. But the members also recognized the importance of A&R: Riggs Morales, riggs.morales@atlanticrecords.com
downplaying their enthusiasm. None of them wanted to appear overeager
or, worse, uncool. Super Whatevr’s manager Olivia Key––a connection

W
conjured by band drummer Luke Mensink––got Good Luck, the band’s orcester, MA rapper Joyner Lucas isn’t typical, either with his
self-released EP, into the hands of some friends at Hopeless. It wasn’t serious lyrical content, which covers everything from suicide to
long until label dreams blossomed into label realities. gang violence, or his methodology, which entails conceptualizing
“We really wanted to work with Hopeless,” guitarist Skyler McKee recalls. the video before writing the song. But the arresting results made him go
“Within the first few days of signing with her, Olivia got in contact with viral on Facebook, subsequently grabbing the attention of Atlantic Records
someone she knew there. I believe Eric [Tobin, VP of A&R] was the first to Chairwoman/COO Julie Greenwald. Excitedly, she carted her laptop
hear our EP. He liked it, which was astonishing because we’d recorded it in around the office and showed everyone the video for “Happy Birthday.”
a garage across the street from my work. It was very low budget. Atlantic contacted Lucas’ manager, Sha Money XL, instructing the
“We set up a meeting, went in and pretended it wasn’t a big deal,” duo to meet them in New York. Although Lucas had communicated with
numerous labels, including Interscope, Def Jam, Universal and Republic,

“At the end of the weekend


he viewed the selection as a “no-brainer.” “I felt they really wanted me
over there,” he explains. “They understand what I was doing and didn’t
want to change it at all.”
we had paperwork with a label
I respect.” “They understand what
McKee continues. “I’d heard great things about Eric in general. The
I was doing and didn’t want to
energy was really positive. They laid out everything [and were] pretty
vulnerable with how they spoke. I like being open and vulnerable in my change it at all.”
day-to-day and in my music, so it was refreshing. I’ve heard that the suits-
and-ties at labels hate the artists, [but] love the music.” Lucas knew he needed the strength of a major after tackling the indie
Soon after their meeting, Hopeless organized a showcase with a route with his own Dead Silence Records. Instead of eliminating the
nearby venue. Things went well and the guys were invited to an after- label, the deal brings it along. The agreement also includes Boi-1da,
party at Tobin’s house. Days later, they received a deal memo. “It all who executive produced 508-507-2209, released June 16. “He is, in my
happened fast,” McKee recollects. “At the end of the weekend we had opinion,” testifies Lucas, “one of the greatest deejays of all time.”
paperwork with a label I respect.” Keeping things in perspective, Lucas knows not every deal’s the same.
Super Whatevr traveled to Nashville to record the band’s forthcoming As he puts it, “Some of the things I felt were important probably aren’t to
full-length record. The primary reason for the cross-country trek was that another artist.” He also knows this is a beginning, not an end. “It wasn’t
McKee wanted to work with childhood friend Seiji Inouye, who’s based like I signed and suddenly I’m in all these magazines and on all these TV
there and has a long list of production credits. shows. It doesn’t work like that. I have to keep working and things are
Hopeless released Good Luck in early February. The full-length record going to fall into place. It’s a process.”
is slated to drop later this year. Meanwhile, the band is on the road, Although fresh, Lucas declares the decision right. “I signed a good
hitting cities including Seattle, Austin and Portland. – Rob Putnam deal,” he insists. “It was a good move.” – Andy Kaufmann

26 July 2017 musicconnection.com


ENVY ON

MARWAN SHOUSER
THE COAST
HE IS LEGEND
Date Signed: April 13, 2017
Label: Equal Vision Records 
Band Members: Ryan Hunter & Brian Byrne
Type of Music: Rock
Management: N/A
Date Signed: Dec. 11, 2016 Booking: Matt Galle - Paradigm Agency
Label: Spinefarm Records Publicity: Chrissy Borsellino - Right Angle PR, chrissy@rightanglepr.com
Band Members: Schuylar Croom; Adam Tanbouz; Matty Williams; Web: envyonthecoast.com
Denis Desloge. A&R: Francesca Caldara 
Type of Music: Hard Rock/Modern Metal

I
Management: Matthew Holmes, Holmes Music Mgmt. t’s a weird time to be alive as a fan of post-hardcore music. The scene
Booking: Eric Powell, Spotlight Touring that formed in the early 2000's withered away around 2008ish… but
Legal: Martin Frascogna - Frascogna Courtney PLLC now that fans of the genre have grown up and acquired disposable
Publicity: Jon Freeman, freeman@freemanpromotions.com income, the dream to relive their childhood is just a vinyl release or
Web: facebook/heislegendnc LiveNation fee away. And while several bands/labels have re-released
A&R: Darren Dalessio  10-year anniversaries, or toured their previous albums, Envy on the
  Coast returned with quite the opposite idea in mind.

O
ut of Eastern North Carolina, He Is Legend has built a significant “Brian [Byrne] and I didn’t have much interest in [returning for a
following, and recently signed to Spinefarm Records for their nostalgic tour],” explains frontman Ryan Hunter. “Don’t get me wrong, we
most recent release, few. After cutting ties with label Tragic Hero were excited to play the material we hadn’t played in eight to 10 years,
Records, the band deployed an IndieGoGo crowdfunding campaign to but it’s a lot of work. There was conversation about new material and
launch their next recording. “Crowdfunding was really important to us, opening that book again as a whole. … I missed making music with Brian
and it went off without a hitch,” says lead man Schuyler Croom. “That’s within the context of this project, and he felt the same way. We were just
how we kept the momentum going.” really anxious to see where things could go.”

“Crowdfunding was really “You can’t just grind it out and


important to us, and it went off expect successful results.”
without a hitch.”
The duo decided to book 10 days with producer Mike Sapone (Taking
“We weren’t sure if we wanted to sign with another label,” Croom says. Back Sunday, Brand New) and hammered out as much as they could.
“It really wasn’t a pressing matter. We had been there, done that. We had Hunter and Byrne then recorded overdubs and re-records from their
known [A&R executive] Darren from Spinefarm for quite a while, and it respective homes. The result was the band’s upcoming EP Ritual, which
was a friendship. He digs the band. It’s nice to be able to just throw your ended up in the hands of Equal Vision Records.
hands up and do what we should be doing––playing music!” “Francesca [Caldara] at Equal Vision is an old friend of ours,” explains
The band has been active for several years, touring and recording. Hunter. “We toured with her on our second or third tour back in 2006,
Croom comments that, regarding fan-following, “Momentum can drop if maybe? When it came time to pass around our current EP it was sort
you just release music, performances, to those who are already invested. of a no-brainer sending it to her, and fortunately she dug it and what we
DIY, crustpunk bands who only want to sell seven-inch records at their wanted to do heading into a full-length.”
shows aren’t our model. We want to open for radio rock bands.” Amassing 10+ years in the industry, Hunter has seen artists who could
Although He Is Legend is a rock band, Croom cites Lil’ Wayne and have been great, but mistook working hard for working smart. And as he
other hip-hop artists as influences. “The discipline many of those artists explains, you can’t just grind it out and expect successful results.
have––they can’t stop recording! That is inspiring.” “Use your ears. A lot of people are putting in so much work and are
After the crowdfunding-financed recording of their current release, exhausted. I notice that a lot of times that they aren’t listening. I’ve found
the band brought artwork, a mixed album and their own tour van to the myself making a mess of the last few things I was [working on], and I went
Spinefarm table. The label matched their remaining raised funds for the back and listened to a few producers’ work whom I felt I was in the same
mastering, and provided marketing strategies such as participating in realm as, it dawned on me how simple what they were doing was … So
Record Store Day. “We look forward to getting on the road,” says Croom. just use your ears in every capacity. When listening to music and listening
“We have to do that!” to your own stuff and listening to the advice of those around you.”
The band’s Spinefarm debut, few, dropped on April 28. – Brett Bush Envy on the Coast’s Ritual EP will drop June 30. – Andy Mesecher

July 2017 musicconnection.com 27


Spotify Moves to Promote Group to lend its robust and com-
prehensive data to the monthly Top
Songwriters TV Songs Chart.
In a major move to align itself On the most recent Top TV
with the songwriting community, Songs for April, Lord Huron led the
the streaming service Spotify has list with “The Night We Met,” fea-
unveiled Secret Genius, what the tured in Netflix’s new hit series 13
company calls a global initiative Reasons Why, and is joined within
to highlight the contributions of the top five of the chart by a num-
songwriters and producers to the ber of tracks from the series, in-
music industry and to the music cluding songs from Selena Gomez,
of the recording artists played on Vance Joy and Sir Sly. The ranking

PATRICK GRAY / KABIK PHOTO GROUP


the platform. The ambitious project is based on song and TV show
will result in awards, songwriting data provided by Tunefind and
camps called Songshops, curated compiled using a formula blending
playlists, podcasts and more. respective Shazam tags, as well
Hit songwriter Justin Tranter as sales and streaming information
(DNCE, Selena Gomez, Justin tracked by Nielsen Music.
Bieber) will lead a Songshop this The Top TV Songs Chart is pub-
summer with his friend, frequent lished monthly on both hollywood
collaborator and the subject of a reporter.com and billboard.com.
recent MC cover feature Ricky
Fogerty Takes the Cake Reed (Twenty One Pilots, Halsey,
A Rock and Roll Hall of Famer, John Fogerty celebrated his 72nd birthday with a Meghan Trainor). Among the song- Concord Bicycle Wheels in
cake presentation during his performance at Wynn Las Vegas. The cake, created writers participating in Los Angeles with Imagem
by Gimme Some Sugar Las Vegas, was a replica of Fogerty’s famous guitar, are the prolific Latin songwriter Beverly Hills-based Concord Bicy-
“ACME.” Pictured: Fogerty flanked by his two sons, Shane and Tyler. Claudia Brant and key Max Martin cle Music, owned by MassMutual
collaborator Savan Kotecha. affiliate Barings Alternative Invest-
The inaugural Secret Genius ments, will acquire Imagem Music
Warren Awards, which will honor the top Group, whose catalog includes the
songwriters, producers and pub- iconic musical and theatrical works
Sellers: lishers in the industry as well as up- of Richard Rodgers, Oscar Ham-
Narrative and-coming talent, will take place merstein and Lorenz Hart, as well
in the fall. The event will consist of as the classical music holdings
Notions nomination categories, presenters of Boosey & Hawkes. In addition,
West Coast Southern and performers. Additionally, the Imagem publishes significant clas-
Boy is a newest program will feature Secret Genius sic rock, pop and contemporary
release from Orange Playlists curated with the Ambas- compositions. See concordmusic
County, CA-based sadors’ songs and podcasts where group.com.
singer-songwriter they talk about their songs.
Warren Sellers. The
suite of songs reveals Opp for Songsalive!
country roots cross- Tunefind Links to Holly- Coordinator
cut with West Coast wood Reporter-Billboard Songsalive! is looking for a new
sensibilities from Tunefind, the most comprehensive Los Angeles Coordinator/Leader
an accomplished and accurate source for tracking for the international non-profit
Americana hero. music syncs on TV, announces a organization dedicated to support-
Listen on Spotify and new partnership with The Hol- ing and promoting songwriters and
check him out at war lywood Reporter-Billboard Media composers worldwide. The position
rensellers.com.
LESTER COHEN/GETTY IMAGES FOR BMI.

DIANE WARRENT

BMI Sees the Big Picture ASCAP Goes Pop


Film composers Alan Silvestri and James Newton Howard were among the ASCAP, the American Society of Composers, Authors and Publishers, hosted
honorees at the recent 2017 Broadcast Music, Inc. (BMI) Film, TV & Visual its 34th Annual ASCAP Pop Music Awards on Thursday, May 18, recognizing
Media Awards held at the Beverly Wilshire Hotel in Beverly Hills, CA. Pictured pop mastermind Max Martin as Songwriter of the Year for an unprecedented
(l-r): BMI President and CEO Michael O'Neill; composer Justin Hurwitz; 2017 10th time. Diane Warren was honored with the prestigious ASCAP Founders
BMI Icon Award recipient Alan Silvestri; BMI VP Film, TV & Visual Media Rela- Award, and pop star Meghan Trainor received the ASCAP Vanguard Award.
tions Doreen Ringer-Ross; and composer James Newton Howard. Pictured (l-r): Diane Warren and ASCAP’s Elizabeth Mathews.

28 July 2017 musicconnection.com


– DAN KIMPEL dan@dankimpel.com

calls for someone who is interested winner will be profiled in a one-


in being involved as a key leader page Spotlight in the coinciding
in a nonprofit organization with issue of American Songwriter. You
over 20 chapters around the globe. can enter to win the Sept./Oct.
Songsalive! not only develops, sup- 2017 Lyric Contest (and become
ports, and promotes songwriters eligible for the Grand Prize) at
and composers but is also involved americansongwriter.com.
in philanthropic initiatives in the
local community.
This is a volunteer position with a
Durango Songwriters:
one-year minimum commitment. If Tunes in the Rockies
interested, contact Mary Lemanski, Registration is now open for the fa-
Director Of Operations, mary@ mous Durango Songwriters Expo,
songsalive.org, with your resume, slated for Oct. 6-7 in beautiful
and a cover letter indicating why Westminster Colorado. The event
you feel you are the right candidate features two days of listening ses-
for this position, and how your expe- sions, panels, and live performanc-
rience will benefit the organization. es in a beautiful and supportive
Please tell about any experiences environment. Onstage at this year’s
in working with songwriters and also ASCAP Pop Awards, Vanguard
in organizing public programs and honoree and hit artist and song-
managing teams. writer Meghan Trainor publicly
thanked this event for its key part in
her phenomenal success. Among
Lyric Contest Now the guests are representatives from
Accepting Entries major publishers, record labels, Beck Hits Big at SESAC Film & TV Awards
American Songwriter is currently management companies and many SESAC hosted its annual Film & Television Composers’ Awards at the Casa del
accepting entries for the Sep- other career-making folks. Mar in Santa Monica, CA recently. The annual awards dinner honored music
tember/October 2017 Lyric Enrollment is limited to 200 composers in the categories of film, network television, local television, cable
Contest. Deadline is July 15 at participants. To save on registra- television, advertising and streaming media. Among the night’s honorees was
11:59 p.m. (CST). Enter now for tion, sign up before Aug. 10 for a composer Christophe Beck, who took home an award for his work on Trolls.
your chance to win a co-write with discounted rate of $275. For any Pictured: Beck with Erin Collins.
Grammy-winning singer-songwrit- questions, contact Jim Attebery
er John Paul White, a professional 970-259-9747, cell: 970-946-9521
demo session (one song) at Omni jim@durangosong.com.
Sound Studios, a round-trip flight Manilow Honored at
to Nashville (domestic only), a PRS BMI Pop Awards
Angelus Alex Lifeson Guitar and a Songwriter and artist Barry
Sennheiser E935 microphone. DAN KIMPEL, author of six music industry Manilow (pictured) was honored
Each of the four finalists have books, is an instructor at Musicians as BMI’s Icon at the 65th Annual
Institute in Hollywood, CA. He lectures at
their lyrics printed in American colleges and conferences worldwide. BMI Pop Awards in Los Angeles.
Songwriter, and the bi-monthly Justin Tranter (DNCE’s “Cake by
the Ocean,” Nick Jonas’ “Close,”
Selena Gomez’s “Hands to Myself
and Justin Bieber’s “Sorry”) and

LESTER COHEN/GETTY IMAGES FOR BMI


Ross Golan (Ariana Grande’s “Dan-
gerous Woman,” Andy Grammer’s
“Good to Be Alive,” Flo Rida’s “My
House,” and Selena Gomez’s “Same
Old Love”) were named Songwriters
of the Year, and Warner/Chappell
took top publisher.

AIMP Event in New York


The Association of Independent Music Publishers (AIMP) held creative ses-
sions this spring where attendees were shown a broadcast advertisement and
a scene from a TV program, given the same creative brief issued to the music
supervisors who worked on them, and tasked with either composing or select- ASCAP Screen Awards
ing the right song for the spot. Winners received a lunch with the sessions' ASCAP toasted the composers of the most performed music in TV, film and
panelists. Pictured in New York (l-r): Mike Ladman of Droga5; Stephen Bolles video games at the 32nd annual ASCAP Screen Music Awards at The Wiltern in
of !K7 Music; Ryan Barkan (kneeling) of Droga5; Kristen Buck, independent Los Angeles. Screen and stage composing legend Stephen Schwartz was hon-
singer-songwriter; Keith D’Arcy of SONGS Music Publishing; music supervisor ored with the prestigious ASCAP Founders Award. Pictured: Musician Angela
Michael Hill; and DeMiya Williams, BMI. Parrish performing “The Audition Song” from La La Land.

July 2017 musicconnection.com 29


– DAN KIMPEL

Michael Franti
and Spearhead
Tapping the Conscious Connection

T
raveling around the world on an ambitious tour with his band Spear-
head, Michael Franti avows that summer festival audiences might
be his favorites. “When night falls and the lights come on there’s a
certain type of magic and a different sense of freedom.”
No doubt they will be singing along to Franti’s newest single, “Sum-
mertime is in Our Hands” from his most recent full-length collection
SOULROCKER. “The song is about how the feeling of summer is always
accessible to you, even when you’re in the most challenging moments of
your life. It reminds me of my childhood, and my late dad. I loved to go
fishing with him. Now, I have a son who has a chronic kidney disease, so
every summer memory that we create together is even more meaningful.”
Directed and produced by Franti, the accompanying video presents
a narrative of a young woman dealing with a profound loss. Franti says
this fabled Indonesian island of Bali where he shot the video imparted a
spiritual backdrop to the process. “It’s a Buddhist and Hindu culture and the
people make offerings three times a day; these little baskets with flowers,
some rice and maybe a coin. There’s a constant sense of gratitude.”
Franti writes almost every day.
“When I first started writing I used
a drum machine and a sampler.
Then I switched to an acoustic
guitar. Now my instrument is my
iPhone. I get up in the morning
and I have an idea for a song, and
I sing it into the phone. Later in the
day, I’ll pick up my guitar and work
out some chords for whatever mel-
ody I’ve written, and then record it
back into my phone, make a beat
and come up with a little demo.”
Although the technology has
changed, he says he still writes
from the same place. “I have an
idea or a feeling in my heart and
I just freestyle and sing melodies,
sometimes with words attached, or
sometimes I hear a phrase in my
head that’s meaningful or could
become a hook. I usually get 30 to
40 percent of the song through adlibbing, then I sit down later and craft it.
That initial impulse is the most important thing. You’ve got to grab onto it
before it flies away.”
Among Franti’s related endeavors is Do It for the Love, a foundation he
started with his wife Sara. They were inspired when the wife of a longtime
Franti fan reached out to say that her husband Steve, who was living with
ALS (commonly known as Lou Gehrig’s Disease), wanted to meet him at
a show. She also shared that this would probably be the last concert in
his life. “During the middle of my set they were on the side of the stage.
Steve was in very advanced stage of ALS and could only speak in whis-
pers and communicate with his eyes. He wanted to get up out of his chair
and dance. So his wife Hope lifted him up with all of her strength and we
had this beautiful slow dance in front of 20,000 people.”
“I said to my wife, ‘Let’s do this for as many families as we can.’ Our
mission is to bring children, adults and veterans with serious medical
conditions or special needs to see any live concert by any artist in North
America. In last three years we’ve sent people to see everyone from
Drake and Beyonce to Garth Brooks, Celine Dion to Red Hot Chili Pep-
pers, you name it. If anyone is checking this piece out and they need it
for their families, write to us at doitforlove.org and we’ll get your family
member to see any artist in any city.”
Franti is optimistically enthusiastic about the current state of music. “It’s
an amazing time that the digital age has ushered in. It allows audiences
to come to music without having it go through a traditional channel, like
MTV or the radio, or some other filter that really narrowcasts. It’s a great
time to be a songwriter. Having done it as long as I have, I feel like I’m
still getting started.”

Contact Mike Gowen, MSO, 818-380-0400 ext. 239,


mgowen@msopr.com  

30 July 2017 musicconnection.com


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31
DROPS
Sony Music Nashville, in partnership with
Rumble Yard, just launched original content
series Live @ 1201, which features current hit-
makers performing intimate shows in the label’s
downtown Nashville office space. Country star
Luke Combs, whose debut album This One’s
For You dropped in early June, kicks off the
series with band members Rob Williford and
Tyler King performing the two-week No. 1 hit
“Hurricane” and others from his new release.
The second episode is set to release in July.
For more information, contact Allen.Brown@
SonyMusic.com.

OK GO

Award for Best Documentary Feature at the San Contact Leah Urbano at crimsonmgt@gmail.
Francisco International Film Festival. In ad- com for details.
dition to its limited theatrical release, Romeo is
Bleeding will also be available via VOD as well Alt-rockers OK Go recently delivered a TED
as DVD and Blu-ray on Aug. 1. Contact Steve Talk at the prestigious conference in Van-
Elzer for details at Steve@ElzerAssociates.com couver, B.C., where singer-director Damian
Kulash, Jr. explained the band’s creative
In 1984, documentary/concert film Gospel Ac- approach to its music videos. The talk was
cording to Al Green premiered at the Filmfest bookended by acoustic performances by the
Munchen in Germany. The Robert Mugge film band of “This Too Shall Pass” and “The One
captured intimate interviews and performances Moment” in sync with the songs’ video clips.
with Green, one of the most loved voices of The talk earned a rare standing ovation from the
soul music, who abandoned his music career packed opening-night audience. The talk, “How
to become a Memphis To Find a Wonderful Idea,”
preacher and gospel sing- was posted on the TED
er. Now, a remastered website where it spread
Starting July 28, Romeo Is Bleeding, a docu- release on Blu-ray, DVD globally and reined in
mentary that explores the power of spoken-word and in digital formats is nearly 100,000 views per
poetry for youth in one of the country’s most vio- set for July 7. day. For details, contact
lent suburbs, will be released in select theaters. The footage includes Collin Citron at collin@bb
All Def Digital and Def Jam Records founder the Seventh Anniver- gunpress.com and watch
Russell Simmons teamed with award-winning sary Celebration of the TED talk here: TED.
editor Jason Zeldes to executive produce the Green’s Full Gospel com/talks/ok_go_how_to_
film, which is Zeldes’ documentary feature di- Tabernacle––the first find_a_wonder ful_idea.
rectorial debut. The film has received more than and only Al Green church
20 awards at film festivals, including Audience service committed to Hardcore band Misery
film––as well as intimate Signals just released new
interviews with the artist documentary Yesterday
and Hi Records producer Was Everything, directed
Willie Mitchell. Bonus by Matthew Mixon. The
features include audio of film takes viewers on an
Green’s entire interview, intimate journey into the
audio of the climactic final band’s past inner turmoil,
hour of Green’s seventh including the departure of
anniversary church their founding singer, and
service, and the personal ultimate reconciliation.
telephone answering machine message Green The film was shot during Misery Signals 2014
recorded for Mugge in the mid-‘80s. tour in celebration of the 10th anniversary of
For more information, contact Clint Weiler at the album, Of Malice and the Magnum Heart,
Clint@mvdb2b.com. and follows the band as they reunite with their
founding vocalist for the first time since his
Fans of Quentin Tarantino’s ‘90s cult classic ousting 10 years prior.
True Romance can rejoice; the soundtrack will The documentary is available on iTunes,
release for the first time on vinyl this month in Google Play and Amazon, and Misery Signals
honor of the film’s 25th anniversary. It features offered a theater screening in Edmonton, AB,
a delicious mix of music from Robert Palmer last month with partial proceeds to benefit
to Chris Isaak, and the vinyl release will come Mothers Against Drunk Driving.
in a variety of limited colors, including gold, For more information, contact Austin Gris-
aqua and pink splattered and “blood spattered.” wold at Austin@SecretServicePR.com.

32 July 2017 musicconnection.com


– JESSICA PACE j.marie.pace@gmail.com

OPPS Peebles, is also now available for the first Out Take
time in hi-res digital formats and includes new
The Workplace Lab, a recorded podcast liner notes from music critic Jeff Weiss and
with listeners around the globe, is in search of from Van Peebles’ son, Mario Van Peebles,
industry experts in all fields, including the en- who directed 2003’s Baadasssss! about the
tertainment industry, to come on the show and making of his father’s film. Melvin Van Peebles
talk trade secrets. That includes pay, brand- was a torch-bearing writer, director, actor and
ing, networking tips, communication strategies composer who directed, scripted, edited and
and more. Contact show host Ariana Robinson scored the entire film of the same name, which
Danquah with booking inquiries at Contact@ is soundtracked by a soulful, funky and gritty
WorkplaceLab.org. combination of hymn-based vocalization and
jazz rhythms. For further details, contact Aaron
Recorded podcast Advance Your Art seeks Feteri at Aaron@ReckoningPR.com.
creative types who have used their skills to
change careers, build a company or for some Elton John’s and Bernie Taupin’s hits
other entrepreneurial endeavor to discuss how “Rocket Man,” “Tiny Dancer” and “Bennie
they did it. Contact Yuri Cataldo at Yuri@Ad and the Jets” have been reimagined in video
vanceYourArt.com for more information. as winners of The Cut were revealed at a world
Established
premiere screening in Cannes, France. Majid
Adin’s win-
Eliot Glazer
music mar- ning video for Media and TV writer, musician
keting and “Rocket Man”
promotion was described Web: EliotGlazer.com
company, A as “a poignant Contact: Heidi Vanderlee, HV@
man A plan A animated work” SharkPartyMedia.com
canal, needs that draws on Most Recent: Haunting Renditions
a summer his personal ex-  
2017 intern to periences as an Eliot Glazer’s new live concert creation,
cultivate rela- Iranian refugee Haunting Renditions, offers “an intimate
tionships with making his way night of bad music made good” once a
radio stations to England. The month, in which he takes low-brow pop
and universi- “Bennie and the songs––anything from Avril Lavigne to
ties through Jets” video was Shaggy––and transfigures them into clas-
calls and interpreted by sically arranged productions.
emails, data ELTON JOHN directors Jack Glazer says. “These songs really tickle
entry, report Whiteley and the audience, and they remember the lyrics.
preparation, Laura Brown- I like doing these songs that are just left-of-
social media hill as a futuristic talent show inspired by Fritz center, just off the radar, and present them
management, tour promotion, show attendance Lang’s 1927 science-fiction film, Metropolis. in a funny context.”
and more. It’s an unpaid position but a great Max Weiland’s winning video for “Tiny Dancer” Glazer’s most well-known job might be
foot in the door. Current projects include the is a tribute to Los Angeles and its people, who as executive story editor of the popular
Flaming Lips, the Magnetic Fields and more. are connected by love for the song. Contact Fox series New Girl. Glazer broke into
A résumé and cover letter are required in the Imani Troy at ITroy@RogersAndCowan.com for the world of script writing while studying
application. Visit AmanAplanAcanal.com for more information. All videos are accessible on in New York, where eventually one of his
more information. YouTube here: Youtube.com/playlist?list=PLqye scripts landed on the desk of Darren Star,
wHETEzWVJ1mWMAsm7uNczYbc_IlMG. who hired Glazer to write for his TV Land
Radiant Images, an award-winning camera series, Younger. That led Glazer to bigger
rental house, is hiring a hi-tech motion picture Cidny Bullens is on tour, performing his widely things, including the writer’s room for New
solution consultant, which might give you the praised live autobiographical show, Somewhere Girl.
chance you’re looking for to Between: Not an Ordinary One of the biggest challenges of enter-
meet tons of people in the Life, in which the Grammy- ing the profession, he says, is learning
film industry. The position is nominated musician talks to market oneself without “driving people
responsible for negotiating love, death and gender away or pissing your friends off.”
with producers and camera identity through storytell- “Getting the word out is really difficult.
assistants on contracts for ing and song. Directed by It’s a crowded marketplace, and with social
company equipment and Taylor Rubinstein, Bullens media it’s difficult to make a splash. The
requires strong organiza- tells his story from arriving in challenge is figuring out how to do that
tional and communication Los Angeles in the mid-‘70s, appropriately,” he says. “If you’re modest,
skills. Applicants must have working with Bob Dylan, you have to learn to be more aggressive.”
at least three years’ experi- Rod Steward and Sir Glazer also writes for such projects
ence in the camera industry Elton John, and recording as Comedy Central’s Broad City, and he
and an understanding critically acclaimed album developed an original half-hour comedy for
of the equipment. The Desire Wire in the late Comedy Central with Executive Producer
company offers competitive ‘70s, which brought Bullens Will Arnett, and created the viral video
salary and benefits. To be international fame. Bullens Shit New Yorkers Say, which has four
considered, submit a ré- also tells of losing 11-year- million YouTube hits. He also created a
sumé and cover letter and old daughter Jessie to cancer and struggling with comedic web series that addresses gay
visit RadiantImages.com for more information. gender identity to the point of finally deciding to issues, culture and stereotypes. Through
change his name from Cindy to Cidny and transi- it all, Glazer has avoided a pigeonhole,
PROPS tion from female to male to embrace the person
he always felt he was. Contact Cary Baker at
which he attributes to tenacity and simple
friendliness.
Stax Records recently reissued Melvin Van
Cary@Conqueroo.com for more details. “It’s a matter of really being thoughtful
Peebles’ landmark, genre-defining album,
and being a self-starter and also ingrati-
Sweet Sweetback’s Baadasssss Song, on
JESSICA PACE is a music journalist-turned-news-reporter ating with the community,” Glazer says.
vinyl as part of a year-long initiative to celebrate based in Durango, CO. She is from Nashville, where she “Whatever community you want to be part
the record label’s 60th anniversary. The 1971 started a writing career by freelancing for publications including
of, figure out the way to get in there. A lot
soundtrack, performed by a then-unknown American Songwriter and Music Connection. Contact her at
j.marie.pace@gmail.com. of that comes from just being nice.”
Earth, Wind & Fire with contributions by Van

July 2017 musicconnection.com 33


Welcome Back Jarre
After a 40-year absence from Los Angeles, French electronic composer Jean Michel Jarre
returned recently with an immersive musical journey showcasing new music and classic hits
from albums such as Oxygen and Equinoxe. Photos at musicconnection.com/jean-michel-jarre.

Mollura Is Illuminated in Sedona


Feature film music composer (and former MC Associate Editor) Michael
Mollura recently attended the Illuminate Film Festival in Sedona, AZ. Mollura
scored the festival's Grand Prize winning best film Hare Krishna, which takes
an inside look at the movement that grew in popularity when Beatle George
Harrison joined up. Mollura has also scored the music for the film Heal. Both
will be in theaters in 2017. For more information, visit michaelmolluramusic.
com. Pictured (l-r): screenwriter Jean Griesser, director John Griesser, Sandra
De Castro Buffington and Mollura.

ERIK VOAKE
Ty Dolla Sign Goes For The Green
Hip-hop artist Ty Dolla Sign (Tyrone William Griffin, Jr.), who as a kid got to
hang around and meet bands like Earth Wind & Fire and Prince, is pictured
recently at Wyman Records in Burbank, CA with his American Professional
CLARA BALLZARY/FENDER

Precision Bass in Antique Olive.

Game-Changers at University of Pacific Empowering the Next Generation


Associate Professor at University of the Pacific, Michelle Manghise, convened Country star Hunter Hayes, guitarist Laurence Juber and breakout artist
a panel of entertainment industry game-changers at UOP's Music In Media WRENN performed special music sessions for lucky students at three Malibu
Symposium in San Francisco. Pictured (l-r): Andrew Stess of StessCo Consult- schools as part of Malibu Guitar Festival’s community and educational initia-
ing, Jeff Daniel of StarMaker Interactive, Will Littlejohn of Facebook, Michelle tive. The three stars volunteered their time to promote and support music and
Manghise of UOP, Nic Chang of Red Bull Records, and Becky Ann Hughes of arts funding in our public school system, with the intention to empower and
Glu Mobile. inspire the next generation of impactful artists.

34 July 2017 musicconnection.com


– JACKIE NARANJO jackien@musicconnection.com

Tidbits From Our


Tattered Past

CHARLIE MEISTER
1996–Soundgarden–#11
In our cover story on
grunge stars Soundgar-
Rockin’ the Range in Ohio den, band co-founder Kim
The annual Rock on the Range festival in Columbus, OH presented another year of classic rock acts. This year’s lineup Thayil mused on how cor-
included Korn, the Offspring, Bush, Papa Roach and more. Metallica (shown above) closed the three-day event playing porate labels can affect art-
hits including “Master of Puppets” and “Enter Sandman.” ists' work. "It can cheapen
it. [But] it can be a benefit
in that it allows the music
to get better distribution.
Paying Tribute ... Corporate involvement
to Mario allows us to concentrate
Skid Row’s Sebastian Bach, on the music and we don't
Guns N’ Roses’ Steven Adler, have to worry about paying
metal goddess Lita Ford and the rent."
numerous other rock & roll
lifers gathered at the world
famous Rainbow Bar & Grill
to pay tribute to its Mario
Maglieri, who passed away
recently at the age of 93. A fa-
ther figure to many of those in
attendance, Maglieri was co-
owner of the Rainbow and The
Whisky A Go Go and he also
managed The Roxy Theatre for
many years. He will be missed.
Pictured is Bach with his wife
DAVID KLEIN

and friends. See more photos


at musicconnection.com.

The Moody Blues Open


Bowl Season 2001–May J. Blige–#18
Tireless rock legends, the In MC's cover interview
Moody Blues opened the Hol- with Mary J. Blige, the
lywood Bowl summer season soul queen mused on her
in dramatic style, performing successes: "People think
an energetic set of classic that once you get to a
hits (and an offbeat LP cut) certain position you can do
before celebrating the 50th anything you want, but suc-
Anniversary of their landmark
CRAIG T. MATHEW & GREG GRUDT/MATHEW IMAGING

cess actually limits you."


work Days of Future Passed
with a transcendent live run Elsewhere in the issue we
through the entire album with profiled Stereomud, Wide-
the Hollywood Bowl Orchestra, spread Panic and we heard
under the direction of Thomas industry reps discuss the
Wilkins. For more coverage, merits of live performance
check out musicconection. as a key way for artists to
com/moodyblues-hollywood- get signed to a label.
bowl. – Jonathan Widran

July 2017 musicconnection.com 35


T
his is high season for the Chain-
smokers. The duo of Alex Pall
and Andrew “Drew” Taggart is
steamrolling through a vastly
successful tour complete with a
massive stage set––12 trucks,
seven busses, 100,000 lbs. of
lighting fixtures and an eleva-
tor with a DJ booth. The 2017
Grammy winners, whose ”Don’t
Let Me Down” featuring Daya took honors
for Best Dance Recording, are ruling the
airwaves with singles like “Closer” and
“Paris” from their No. 1 collection Memo-
ries…Do Not Open.
On this afternoon, one day after the duo
took home Billboard Awards for Top Dance/
Electronic Artist, Top Dance Song, Hot 100
Song and Collaboration (for “Closer”)––in
addition to performing “Young” on the
show––Andrew “Drew” Taggart sounds en-
ergized and effortless as he calls in for this
exclusive Music Connection interview. He
begins by expressing his appreciation for
an opportunity to talk to a music publica-
tion on the subject of music. “Sometimes,”
he wryly notes, “people want to talk about
other things.”

36 July 2017 musicconnection.com


Music Connection: We have been reading re- Now I’m in that position as an artist. We’ve we use a lot of synth and piano, because those
views from the different cities you are visiting on been lucky enough to have fans for a couple are the instruments we use in the studio.
this epic Memories…Do Not Open Tour that is of years, and in those couple of years we’ve
taking you across the U.S. and around the world. changed. You have to respect your fans and MC: Are you still using Ableton as your go-to
It sounds as if audiences are really getting off on where you come from, but you can’t let it hinder digital audio workstation (DAW) program?
the spectacle that you are presenting. you or be imprisoned by what they think about Taggart: Yes, some people work on Logic or
Andrew “Drew” Taggart: We’re having a great you. I feel like every artist has to grow. ProTools or other DAW’s. I only know Ableton.
time––it’s a very fulfilling show for us to put on. It’s funny how it's influenced how I create music.
We brought on a band, but we still maintain MC: You have a live band with you on tour,
the DJ set and vibe. It’s something very unique correct? MC: How so?
and an honor to be able to bring this sound and Taggart: It’s about 50/50 between the live in- Taggart: I use clips in the Session View as a
experience into Des Moines, IA and Louisville, struments and DJing. We have a drummer, and bulletin board for ideas. I’ll do a piano riff and
KY, cities that probably don’t have a dance beats, and random samples on that page and
scene at all. I remember when other artists did it’s like a songwriting collage. If you only have
that for me. It feels like we’re the first kind of the Arrangement View like ProTools or Logic
dance music experience some of these people when you write, the section is in the song
are having, and that’s cool. already. You play it exactly where it’s supposed
to be. In Ableton, you can experiment with a
MC: With the massive popularity that you’ve beat and it sounds cool. I like that opportunity
achieved this year, has there ever been any for making something that you didn’t expect.
backlash from fans who might feel that your
success with a wider audience has taken you MC: In listening to your arrangements, it be-
away from them? comes evident that the sounds are so immense
Taggart: I’m sure some people feel that way. I because of the lack of clutter and the relative
remember feeling that way about artists when I simplicity of the melodic lines.
had discovered them through their earlier stuff. Taggart: That’s one thing I learned from Max

Lighting Up with a Number One Duo


By Dan Kimpel PHOTOS BY RORY KRAMER
July 2017 musicconnection.com 37
Martin and Calvin Harris, both for their––I don’t MC: Speaking of growing up, you attended the named Neil Jacobson. He and Nick Groff were
want to call it simplicity––but their expert use of Martin Bandier Program at Syracuse University. really good to me, especially Nick. He knew
sound. They find really meaningful sounds. And I Were you envisioning a career on the business I was producing on my laptop at every free
find that everything in a Calvin Harris record and side of the music industry? second I got and he was cool about giving me
everything in a Max Martin record has a purpose. Taggart: I was looking at Syracuse to go opportunities. When they had bands that they
There’s no synth pad, it’s built from the ground into architecture. My mom found the Martin were sending out for remixes, he would slip me
up. That’s what I really admire about both of Bandier program. It had just had its first year. the stems and say, “Let’s see what you come
those producers. Everything has a purpose. My parents were really into it, supporting what up with. I ended up doing one for LMFAO and
I wanted, even when I didn’t realize what it the day after my internship ended I gave him
MC: The technique is almost reminiscent of was. They thought the music industry would be the remix, and said, ‘Hey this is what I did.” The
the classic Motown arrangements, where each perfect for me. And although I played music, at members of the band approved it, and it was
instrument created a distinctive hook. With your that time I never thought about there being an my first commercial piece of music, really.
songs, it seems as if each sound is somehow
connected to a corresponding emotion. MC: We watched an interview online with your
Taggart: I think about that more when I’m writ- mixer, Jordan Young, better known as DJ
ing lyrics. Every piece of the song has to be a
moment. And if you listen to a lot of our records,
“We always say that anybody Swivel. He observed that in addition to program-
ming and producing, you are a very strong mixer
you can hear that the first line in is where the as well. What does he impart to the Chainsmok-
story started. (Sings) “I was just doing fine ers’ sound?
before I met you (“Closer”) or “We were living in
Paris to get away from your parents.” (“Paris”) can write a song—there are so Taggart: He’s really good at balance and he
pulls me out of my own head. I will overproduce
Those are lines that came to me at one time and push the mix too far and it’s really great to
and I wrote entire songs around them. have him, especially with this album, because

MC: These narratives sound very authentic, many songs happening right in we were getting so many songs done in such a
short period of time. He’s really good at getting
almost like diary entries. tracks down that are really high quality. He’s got
Taggart: We started writing about what we such attention to detail and not letting anything
saw. And we thought back to our childhoods
and relived instances and angst, a lot of things front of you every day.” go. It’s got to be that way about your music even
though it can be hard and you are being pulled
in a million directions and you are just trying to
we went through, listening to Blink-182. The
whole apathy toward the romance in “Closer” get it done. And he’s not afraid to tell us, “This
based on the Range Rover you can’t afford? industry behind it. When I found out about that isn’t good enough, we need to recut this hook.”
It came from me going to school with a bunch program I was exposed to this industry that I He forces me to face the flaws in my own music.
of really rich kids who drove their parents’ cars wanted to be involved in. That’s one of his biggest skills. So I’ll go back
and it was a culture shock thing for me. We and rewrite a hook or write a bridge if necessary.
talk about what we’ve seen over the years. We MC: And as a part of your program you interned
always say that anybody can write a song–– also, is that correct? MC: How do you track the vocals?
there are so many songs happening right in Taggart: Yes. I interned at Interscope Records. Taggart: We’ll sing until we get it. Swivel’s good
front of you every day. I interned for this really talented executive at that too, especially when I’m singing. He’ll tell

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38 July 2017 musicconnection.com


r5IF$IBJOTNPLFSTXFSFGPSNFEBTBO Boasting a roster that now includes the
EDM DJ duo in 2012 under the management Chainsmokers, Lost Kings, XYLO, Life of
of Adam Alpert in New York City. Initially Dillon, Vanic and Jocelyn Alice, Disruptor
consisting of Alex Pall and DJ Rhett Bixler, sold more than 15 million singles world-
when Bixler departed Pall was introduced to wide in 2016, according to the label.
Taggart by Alpert. With the new lineup of Pall
and Taggart, the duo gained traction by do- r*O UIF$IBJOTNPLFSTEFCVUFEXJUI

Quick Facts
ing remixes of popular indie songs. The duo Bouquet, an EP.
had a Top 20 single in several countries and
first came on the radar with their 2014 song r"GUFSi3PTFTuSFBDIFEUIF#JMMCPBSE)PU
“#Selfie.” It went up on SoundCloud for free, 100, “Don’t Let Me Down” featuring Daya,
and a mutual friend suggested it to DJ Steve became the Chainsmokers’ first Top Five
Aoki's Dim Mak label, which promptly signed single and won a Grammy Award for Best
the act to a three-song deal. Dance Recording.

r*O "EBN"MQFSUTJHOFEBKPJOUWFOUVSF ri$MPTFSuXJUIWPDBMTGSPN)BMTFZ JTUIFJS


with Sony Music Entertainment CEO Doug first Number One. “Closer” spent more
Morris and launched Disruptor Records, time in the top five of the Hot 100 than any
Disruptor Management and Selector Songs. other single in the history of the chart.

me, “You’ve got the first part of it, but let’s get a
comprehensive vocal mix.” We’ll sing something
10 times and then pick the best pieces.

MC: “Something Like This,” the Chainsmokers’


collaboration with Coldplay, is a very successful
project. What was it like blending with a band
with such a distinctive sound?
Taggart: Working with Chris Martin was insane.
I remember listening to Coldplay songs when
they started being a band, from “Yellow” on.
When the whole world discovered them I did
too. And I’ve been pretty obsessed with them
for a long time. Being able to work with Chris is
an extraordinary experience in that sense, writ-
ing the song with him. I’ve never seen anyone
write a song that way that he did. He plugged
a mic into a PA in the middle of the studio, and
danced around in circles humming something
until all the words came to him. He didn’t write
them down, he literally sang them. Chris always
says that songs are sent down, and I’m starting
to believe that too. I actually watched a song
get sent down to him in the session.

MC: Will this influence the way that you write in


the future?
Taggart: I’ve got a whole notepad of song
lyrics. That’s how all of our songs have been
written because we tour so much. We under-
stand that inspiration is fleeting, and when
a melody or a lyric comes you have to get it
down somehow. I write it down on a notepad
or a voice note, and when I do have a second
in the studio I can pick up from where I left off.
I definitely have put on a beat and written to
it. And listening to yourself sing into the track
rather than playing it on speakers and writing
something can be really effective too. I’ve never
done what I saw Chris do, but maybe someday
when I’ve written songs for 10 years I will be
able to do that also.

MC: We like the concept of the song being sent


down.
Taggart: We just write songs about the stuff we
see. I do believe anyone can write a song. And
songs happen in front of you every day. It’s the
same in anything: great business opportunities,
great songs, great films, great stories great
relationships–all of these are happening in front
of you every day. You’ve just got to open your
eyes and see them.

Contact Greg Cortez, 42West,


greg.cortez@42West.net

July 2017 musicconnection.com 39


TAKE CONTROL OF YOUR

RECORDINGSUNDERSTANDING MICROPHONES
BY DOUG FENSKE
SUCCESS IN ANY CRAFT is directly
related to how well the details are un-
derstood and applied. In that sense,
recording music is no different from
any other craft. Microphones are an
important part of our craft, whether
you’re a beginner, prosumer or profes-
sional from any area of our industry
(songwriter, producer, artist, DJ or en-
gineer). A fundamental understanding
of microphones is paramount to having
control over your music, which leads to
TVDDFTT*OUIFGPMMPXJOH $SFr.VTJD
Academy’s Doug Fenske shows how
to take control of your recordings by
understanding the frequency response,
features, polar patterns, types, cost and
details of microphones.

40 July 2017 musicconnection.com


FREQUENCY RESPONSE
The first step in understanding microphones
The roll-off will dramatically soften the low-end
frequency response of a microphone and is
useful for decreasing or removing rumble from a
POLAR PATTERNS
The polar pattern is the area of the room that
is knowing how to read a frequency response recording, especially if the studio does not have the microphone is recording. It can also be re-
chart. If this term is unfamiliar, you may have a floated floor. The numerical value next to the ferred to as the “directionality” of the mic. There
seen one in the “tech specs” area while looking roll-off represents the frequency at which the are five main polar patterns, each with its own
at a pair of speakers on a consumer electronics high-pass filter begins. Pictured below in Figure directionality: cardioid, supercardioid, hypercar-
website. What is important to understand is that E is an 80Hz roll-off. dioid, figure 8 and omnidirectional.
most pieces of gear and items used during mu- When used properly, these features enhance The cardioid pattern is the most directional.
sic production have a frequency response, with the microphone’s performance. For example, a A cardioid mic focuses on the source placed in
the microphone being one of the most important PAD is unnecessary when a loud source is not front of it and rejects signals behind it (referred
and significant. creating any distortion in the signal chain and a to as the “null point”). This makes cardioid the
The range of human hearing is 20Hz to roll-off should not be used when the source is a go-to pattern for vocals.
20kHz. A frequency response graph (Figure A) low frequency-producing piece of instrumenta- Supercardioid slightly extends the polar
maps the lowest frequency we can hear (20Hz) tion (like a kick drum). pattern behind the mic, making it desirable to
on the left side of the chart horizontally. The far capture a small amount of room tone with the
right side is the highest fre- source. Hypercardioid is even
quency we can hear (20kHz). A wider behind the mic, capturing
The column on the left side even more room. Make sure
of this graph represents gain: the room you are using sounds
how sensitive the microphone good if these patterns are used!
(or any piece of gear) is with Figure 8 patterns capture
respect to the horizontal posi- evenly from the front and rear
tion of the frequency. of the mic, with null points on
As a frequency curve the sides. This is ideal for any
moves up from the zero point, application that needs a bit
the microphone becomes of air to breathe in the room
enhanced at the affected behind the mic (like a guitar
frequencies. Figure B is a amp) or for group chants/
frequency response chart that background vocals when a
demonstrates a boost in the B discrete track for each voice is
low-end. not needed.
Figure C is an example of a An omnidirectional pattern
high-frequency boost. records equally in the 360
The Figure D chart repre- degree area surrounding the
sents a cut in the midrange, microphone. Needless to say,
softening the frequency the sound of the room is very
response. prevalent with an omni mic.
After understanding a This pattern is commonly used
frequency response chart, there for microphones that are a
are three more considerations good distance from a drum kit,
to examine before we select a capturing the air being pushed
microphone and put it to use: its from the drums into the room.
features, polar pattern and type. C Multi-pattern microphones
are a flexible resource to have

FEATURES
The two primary features
in a recording space, but re-
member to keep your objective
and positioning in mind. I often
available on a microphone say “consider the pattern,”
are a PAD and a roll-off. Not meaning consider the polar
all microphones are manu- pattern and the microphone’s
factured with these features, position against the instrument
but they exist on many kinds in order to achieve the best
of mics and are important to recording possible.
understand.
PAD is an acronym for
“Passive Attenuation Device.”
A PAD softens the sensitiv-
D BUILDS AND TYPES
There are four main types of
ity of the capacitor inside of microphones: dynamic, con-
the mic, allowing it to record denser, ribbon and tube. Each
louder signals and perfor- of these microphone builds
mances without distortion. The has its own set of advantages,
number rating (eg -20dB PAD) disadvantages, applications
is the strength of the PAD, and characteristics.
measured in decibels. The
higher the decibel rating, the DYNAMIC MICROPHONES
stronger the PAD. Dynamic mics are sturdy, inex-
A roll-off is a high-pass pensive, tolerate loud sounds
and do not require phantom
filter built into the microphone.
E

July 2017 musicconnection.com 41


power. However, their high frequency response 414 XLS makes it a great condenser option for and emphasis in upper midrange and high
is generally dull, they must be close to the the startup or project studio. frequencies. They require an external power
source and they need lots of gain (which makes source (that normally ships with the mic) and
them more susceptible to noise). RIBBON MICROPHONES do not require phantom power. Tube mics
The most famous dynamic microphone of all Ribbon mics work on a similar principle as are multi-pattern, clear, warm and extremely
time is the Shure SM57 ($99). It has been a sta- dynamic microphones. A very light, conductive detailed. However, they are sensitive to loud
ple in the studio and live sound for decades. It ribbon is used as a diaphragm. Ribbon mics signals and very fragile.
is a trusted tool as an all-purpose microphone, are known for their warm, versatile, “classic” The Mojave Audio MA-300 ($1,295) is a
to the extent that during times of uncertainty, sound. However, they typically have a very multi-pattern tube mic that has a PAD and
the expression “just throw a 57 on it” is popular low output (which requires more gain from the a roll-off. When the cardioid polar pattern is
jargon to hear in most any recording setting. Its mic pre) and are fragile. Ribbon mics have a selected, the frequency response enhances
cardioid polar pattern has a frequency response Figure 8 polar pattern in all but the most rare lows and low-mids, softens midrange frequen-
that is dull in the low and low-mid range, sharp of circumstances. cies and stays fairly flat in high frequencies. It is
in the mids, boosted around 10kHz and dull There is much ado regarding ribbon mics a warm, detailed solution for vocals, the body of
in the high frequencies. Its cousin, the SM58 and phantom power, which isn’t required for an acoustic guitar, piano or live strings.
($99), has a similar frequency response, but is The sE Electronics Z5600a II ($999) is also
more tailored for a live vocal. a multi-pattern tube mic that has a PAD and a
The Sennheiser MD421 is another example roll-off, but its frequency response is differ-
of a classic, dynamic, cardioid microphone ent than the Mojave MA-300. Here, the low
($380). What makes this microphone unique
is the five position bass roll-off and the plastic
bar across its front-address build (yes, the side
After we understand frequencies are flat almost all the way to 20Hz
(with the roll-off disengaged). The mids are flat
as well, with a boost beginning in the high-mids

microphones, we can
with the plastic bar goes toward the source). and continuing to the high frequencies for a
Without a bass roll-off engaged, its frequency bright texture. The applications for the Z5600a
response is dull in the low-end, flat until about II are similar to that of the Mojave, but expect
1.5kHz, then significantly and somewhat a different result: the recordings will be much

customize microphone
evenly boosted until about 17kHz. As the five- brighter due to the high frequency boost.
position bass roll-off that begins around 1kHz
is incorporated, it increasingly rejects low and SLATE DIGITAL VMS
low-mid frequencies. The Virtual Microphone System (VMS) by

CONDENSER MICROPHONES
Condenser mics come in two flavors: small
purchase and selection to Slate Digital ($999) is designed to emulate
the frequency response and clarity of several
classic, vintage tube microphones. It ships with
and large diaphragm. Each of these type of a large diaphragm condenser microphone and
condensers have different applications, but their
features, pros and cons are similar. Condens-
ers are generally more sensitive than dynamic
capture a desired sonic a head unit that provides a built-in preamp,
phantom power, polarity flip and a PAD. The
system works by recording the source with
mics, so loud signals near the capsule can eas- a very flat frequency response and extreme
ily become distorted. They required phantom
power, which is 48 volts of direct current applied
to the mic’s capsule via the preamp. Also, good
texture from a source. clarity. Companion software allows the user
to emulate several vintage tube mics. To my
ear, the most accurate emulation is the C800. I
quality condensers are expensive! Inexpensive have personally performed a shootout between
condensers can yield a cold, sterile sound. Re- a proper C800 and the VMS versions of the
member: just because it’s a condenser doesn’t C800 (two versions are available). The differ-
mean that it sounds great. the mic to function. Some say never to apply ences between the two are slim-to-none, which
Good quality condensers have three main phantom power to a ribbon mic, as it could makes the VMS an option for professional-level
benefits. They are very sensitive, meaning the damage the ribbon beyond repair. Others say recordings at a fraction of the price of what it
nuances and details of the source will be cap- a ribbon can only be damaged by phantom would cost to purchase a C800 ($9,990, plus a
tured more intimately. They also have a better power if the mic is not wired properly. I like to separate preamp).
high frequency response than dynamic mics err on the side of caution here: the fact that
and produce less noise.
The Neumann KM184 ($850) is a cardioid,
small diaphragm condenser that is a reissue
there is debate about this topic is enough rea-
son to make me steer clear and never apply
phantom power to a ribbon.
POLARITY & PHASE
Phase is defined as a time relationship between
of the vintage Neumann KM84. The frequency The Royer 121 ($1,295) is a modern-day two waveforms. This can cause frequency builds
response is thin in the low end (under 100 classic ribbon microphone with a side-address and cancellations, which will smear the integrity
Hz), flat throughout the midrange and bright build. Its frequency response is fairly flat across of your recording. Here is a hard and fast rule:
in the high frequencies. It works wonders on the entire band and it flatters anything from Any time we have more than one mic on the
the fretboard of an acoustic guitar, hi hats or an acoustic guitar, guitar amp, piano, horns & same source (e.g. top and bottom snare), we
percussion. brass or drums. must flip the polarity of one mic to check the
The ultra-flexible AKG C414 XLS ($974) is a phase relationship.
multi-pattern, large diaphragm condenser that TUBE MICROPHONES Polarity is the process, phase is the prod-
is a reissue of the vintage C414 B-ULS. It has A tube microphone is a type of condenser that uct. We flip polarity to create a different phase
all five polar patterns, three types of PAD’s and uses a vacuum tube to amplify the signal. The relationship.
three different roll-offs. Its frequency response actual tubes inside of the mic have their own Ø is the polarity symbol. It is usually located
is flat in the low and low-mid, has a dip around sonic characteristics. If the tube is changed or on the mic pre, but can also live in an inter-
1.5kHz and is bright in the high frequencies. It swapped, the sonic characteristics will probably face’s companion software. Flipping the polarity
can be used for vocals, the body of an acoustic change as well. Tube mics (also known as on one of the mics allows us to check the sum
guitar, piano or percussion. The versatility of the valve mics) are known for their pristine clarity frequency response of the two mics and verify

42 July 2017 musicconnection.com


that there are no phase issues detracting from vocals and I want to use the same mic.” microphones perspective? First thing is first:
the sonic texture of the recording. Make sure When I asked which microphone he used, he purchasing an SM57 and wiring it to a $500
to use whichever polarity position produces a responded “an SM57.” As my mind silently interface will not fetch a GRAMMY nomination.
thick, rich sound. The A/B process will be very spoke words that are not appropriate for this Bear in mind that this 57 was put through a
obvious as to which position creates the best column, I verbalized “sure, no problem at all.” fantastic mic pre and compressor, so its sonic
phase relationship. I instructed Matt to replace the gorgeous C800 characteristics were greatly enhanced. Having
with the 57 in the existing vocal chain. an incredible artist on the other side of the 57

PREAMPS
The electrical current generated by a micro-
Frank arrived solo a short time later (I have
been fortunate enough to have sat in many stu-
dio power triangles over the years). Everyone
certainly goes a long way as well.
What is safe to say is that while the micro-
phone is a very important part of the input
phone is very small (measured in millivolts). assumed their position, with Frank behind the chain, the other components (pre and compres-
In order to use any microphone, it has to pass console, me behind the computer and Andre in sor) matter greatly. A microphone that isn’t
through a preamp (or “pre” for short) in order the booth. I dialed in the vocal chain and heard necessarily designed for vocal recording can be
to become a “line level” signal. There is no a surprising result: the vocal crossed the profes- enhanced enough by a high-level vocal chain to
exception, as every mic needs to pass through sional threshold and didn’t sound bad! We be useable on a voice.
a mic pre in order for it to be used or recorded. started recording, but like any session, it was
Here is the catch: the quality of the mic pre
plays an arguably bigger role than the actual
microphone.
not without a speed bump or two. I’m known for
being nimble behind the Pro Tools rig, but we
were having some buffer and latency issues,
FINAL THOUGHTS
Microphones capture creativity. Show a piece of
Generally speaking, the quality of a mic pre probably due to a preference from the previous creativity the respect it deserves by fully under-
moves up and down with price. The pre on a session. I was able to manage the issues and standing the mic being used to record the per-
starter-level interface ($200 - $400) will sound finish cutting the vocal, albeit a bit slower than formance. After we understand microphones,
greatly inferior to a BAE 1073 ($3,135). Pairing normal. The session wrapped successfully, we can customize microphone purchase and
a well-selected mic with a professional-level mic including a full preview of $IBOOFM03"/(&, selection to capture a desired sonic texture from
pre can yield results that far surpass what can and we all went on our respective ways. a source. Plenty of time was spent writing the
be achieved with inferior gear. With regard to the purpose of this writing, perfect song, so make sure to follow through
what can we take away from this story from a with the technical part of our craft and take

STORYTIME
I had personal plans for the evening on March
control of your recordings.

8th, 2012. Around 6 p.m. I received a phone call


from Steve Burdick. Steve is the owner/operator
at Westlake Recording Studios and the phone
call went something like this:

Me: “Hey, Steve.”


Steve: “Doug, I have 3000 coming in to Studio
C at 8 p.m. and I need a veteran.”
Me: “Done. I’m on my way.”

That was all I needed to hear in order to break


my plans: a session with Andre 3000. I got
dressed, hopped in the car, grabbed a Red
Bull on my way and arrived 45 minutes prior to
downbeat. After entering the studio I asked the
2nd engineer, Matt Brownlee, to set up a vocal
chain of a Sony C800G/Neve 1073/Summit
TLA-100. I chose this chain because:

r5IF$IBTBCSJHIU EFUBJMFEUPOF
r5IFQSPWJEFTSJDI DSJTQIBSNPOJDT
BOEHBJO
r5IF5-"IBTBOJDF UIJDLUVCFTPVOE
BOESFBMMZXBSNTVQUIFWPJDF

Andre arrived solo and we exchanged DOUG FENSKE is a Grammy-nominated, mul-


pleasantries. He told me that the session was tiplatinum engineer, producer and mixer for art-
actually a feature for a songwriter named ists such as Frank Ocean, LL Cool J and Ryan
Frank Ocean and that Frank was to arrive Tedder. He also serves as Director of Education
soon, so Andre and I talked shop for a bit while for Crer.VTJD"DBEFNZ XIJDIQSPWJEFTGPVS
we waited. During this time, Andre handed expansive music production courses through
me a hard drive and said, “Can you open the a unique partnership with Westlake Record-
session called Pink Matter?” I pulled up the ing Studios. For more information about Crer
session, imported my vocal template and we Music Academy, email cre8info@cre8music
took a brief listen. When playback arrived at academy.com.
his verse he said, “Okay, I already cut some

July 2017 musicconnection.com 43


RECORDING STUDIO
Music Connection’s annual Recording Studio Survey collects data regarding trends and activities at
commercial recording studios in the United States. We survey studio owners and managers across the
country, including those from major music towns. This year, almost 90 studios responded to our survey,
with most reporting great news for 2017. In fact, the recording business looks robust. Indeed, the tumultu-
ous years many studios endured appear to be over.

STUDIO BUSINESS LOOKS GREAT FOR 2017


After years of struggle, the recording studio business began picking up a few years ago and now,
in 2017, it is thriving. Indeed, 66% of all the studios that responded reported an increase in busi- 50%
ness. That is the biggest increase we’ve seen since Music Connection started doing this survey.
Although recording budgets don’t match the heady days of the ‘80s and ‘90s, they are

50%
picking up and getting close to what they used to be. In fact, for the second year in a row our
survey respondents noted that recording budgets are increasing! That’s a godsend for studios,
especially those that rely on label work. Additionally, major labels are booking more time, while
independent projects have increased, surpassing indie label work.
Due to the tremendous amount of competition in the marketplace, the need for profes-
sional and polished productions continues to be at an all-time high. Artists and producers have
learned that high-quality productions get the deals, and the only way to get the quality you 0%
need to compete is in a professional setting.
Our survey shows how the turnaround that began a few years ago is gaining momentum.

66%
In fact, only a few (.04%) small studios reported a downturn in business. Overall, this year’s
survey indicates that the studio business is finally seeing the light at the end of the tunnel.

30%
25%
4%
35%
25%
40%
40%
35%
50%
45%
40%
POP IS POPULAR – BUT 33%
ROCK IS ROLLING
Although different areas of the country produce different 33%
30%
styles of music (e.g. country in Nashville, blues in Memphis,
jazz in San Francisco), we noticed a consistent thread over
the past few years. It should come as no surprise that pop
music has retained its lead for the ninth consecutive year. The
big surprise this year is that rock is back. It has surpassed
urban for the first time in many years. Even Nashville, where
50% 20%
20%
70% of clients are country artists, reports that rock is chal-
lenging country and pop genres for supremacy.

10%
NOTE: Aggregate percentage exceeds 100% because
some studios “specialize” in specific genres

44 July 2017 musicconnection.com


SURVEY 2017 By Bernard Baur

EDM & DJ PRODUCTIONS


REMAIN STEADY
With the popularity of EDM continuing to grow, quite a few
studios reported that many EDM artists and DJ’s are booking
25%
studio time. They apparently feel the need to have the best
equipment and gear available at their disposal. As a result,

5%
EDM and DJ acts are using professional studios to create
and/or finish their mixes and master their recordings.
70%
10%
10%
MULTI-PURPOSE USES
HAVE DECREASED
45% For several years studios have operated as multi-purpose facilities.
They rented rooms out for a variety of purposes (parties, special

35% events, video/photo shoots, TV shows, etc.), and the additional


revenue helped to offset the decrease in recording projects and
budgets. In 2017, however, business has increased significantly
and budgets have risen. As such, the need for multi-use facilities is
less than before.

RATES ARE
HOLDING – WITH
SOME INCREASING 25%
For only the fifth time in Music Connection’s
Studio Survey history we can report that 75% of
all the studios that responded have maintained 75%
their rates, while 25% have raised them with no

75% adverse effect. That is great news for the studio


business, and bodes well for the future.
0%
55%
50%
40%
33%
30% THE INTERNET IS ESSENTIAL
All the studios surveyed utilize the Internet to such an extent they consider
25% its impact to be 100%. Whether it’s booking time via their websites, emailing
mixes for review or remote tracking via live video feeds, studios believe the
Internet is an essential tool for their business.
20%
15% MAJOR PROGRESS
Major labels continue to book the most studio time, followed by independent
10% (DIY) (Artist/Producer) projects. For the first time in years, indie label work has
actually decreased––mostly because many indies use their own studios. The
majority of studios (75%) continue to service the entire project, from start to
NOTE: Percentages are rounded off per the number
of studios that responded. finish. Other uses (photo shoots, video shoots, special events, TV shows, par-
ties, etc.) have decreased due to the increase in business. Based on the first six
months of 2017, the recording studio business looks better than ever.

July 2017 musicconnection.com 45


– ROB PUTNAM

JBL—Past, Present & Future


A
udio electronics stalwart JBL marked used a thin aluminum foil and formed it into those kinds of people to develop the unstated
its 70th anniversary last year as a domes. Being in Southern California, we were needs of customers who don’t always know
consumer and professional speaker near the aerospace industry and one of the first what the company is capable of. When we
maker. The company was established in 1946 to learn about things like the [Lockheed] SR-71 introduced the EON Sound System in 1995,
by James B. Lansing—the initials imply the Blackbird that was made [mostly] out of pure people were reluctant to use powered speakers
name—who was also one of the founders titanium. We learned that the industry could because amps were just beginning to get
of Altec Lansing. Parent company Harman also form that into a thin foil.” reasonably reliable. Now more than 80% of
has secured patents on more than 6,000 Titanium is heavier than aluminum, but also small PA systems are powered loudspeakers.”
innovations, many of which were spawned at stronger. Consequently, the foil can be thinner. When Music Connection spoke with
JBL. Their studio monitors can be found in To illustrate, while aluminum foil in tweeters Gander in May, the company was preparing
professional rooms throughout the world and may be two or three one-thousandths of an the launch of its 7 Series studio monitors. The
their speakers now blast out tunes in a range of inch thick, titanium would only be one. As new monitors will leverage patent-pending
cars, Ferraris included. revolutionary as titanium once was, though, driver technologies as well as JBL’s Image
Headquartered in Northridge, CA, the JBL now largely employs high-polymer exotic Control Waveguide, which was developed
company was snapped up by Harman in the synthetic materials (plastics, essentially) that originally for the M2 Master Reference Monitor.
late ‘60s. The parent company was likewise are both stiff and light. The construction of the waveguide enables
acquired by Samsung in March of this year. JBL is comprised of three primary divisions: high-frequency detail, imaging and balance
Music Connection spoke with 40-year consumer, professional and automotive. from a broad range of listening positions in

JBL veteran Mark Gander, Director of JBL Despite their different end-user orientations, nearly all acoustic environment configurations.
Technology, to gain insight into what fosters a they tend to trade ideas, developments and Essentially, it guides and directs the sound
successful company and what makes it thrive. resources across departments. “There’s a issued from speakers, both vertically and
“Technology and innovation in the service tremendous amount of sharing,” Gander horizontally. As a result, a mix is both neutral
of high fidelity sound reproduction,” are the says. “We’re big in all divisions on acoustic and accurate from any given listening position.
keys to surviving for nearly a century in the research into the psychoacoustics of how Other notable landmarks in the company's
business, Gander asserts. “James B. Lansing people listen to loudspeakers and headphones history include the two-way compact design
started making radio speakers in the ‘20s and correlating measurement with listener (the first studio monitor, 1937), Leo Fender’s
and was involved in setting the first standard preferences. Corporate acoustical engineering integration of JBL's D130 into Fender amps
for cinema sound. He developed the woofers is based at our Northridge headquarters. (1959) and JBL components being used
and compression drivers that were integrated The synergies are strong. [The] Lifestyle and at Woodstock (1969, for anyone that’s
into the Shearer Horn system, which won automotive [divisions] will benefit from the inexcusably unaware). In 2005 JBL was also
an Academy Award because it became the research that pro is doing into diaphragm awarded a Technical Grammy.
standard for motion picture sound reproduction. materials, for instance. Benefits are also Since its acquisition by Samsung, JBL will
That’s important because everything the shared, of course, with Harman in general.” remain innovative and nimble. “There are
industry does—studio monitors, sound Refinements and new ideas are often serious business synergies—more than there
systems, etc.—stems from that. We’re also driven by consumer feedback. “You’ve got to are overlaps,” he says. “Having seen many
one of the few companies that makes our own listen to the customer,” Gander asserts. “We generations of Harman in my 40 years at
transducer components.” have specialists in the musician PA business, JBL, I’m optimistic that it’ll be a very positive
Another element of JBL’s secret to longevity for example, that spend their time working environment.”
is the employment of new materials and with big dealers like Guitar Center, Sam Ash
methods. It’s also helped them to remain at the and Sweetwater. They collaborate with the Contact Becki Barabas / Harman Professional
forefront of the industry. “In the eighties, we engineers during product development, they’ll Solutions, Entertainment, becki.barabas@
were the first company to utilize titanium for field-test the new prototypes and they’ll take harman.com
tweeter and compression driver diaphragms,” the input back from the individual customers
Gander explains. “The industry had always about what products they need. You also need

46 July 2017 musicconnection.com


July 2017 musicconnection.com 45
47
Rod Melancon Imagine Dragons
Southern Gothic 8 Evolve 9
Blue Élan KIDinaKORNER/Interscope Records
Producer: Rod Melancon and Brian Whelan Producer: Alex da Kid & Imagine Dragons
Part of the esteemed new southern artists
Rarely do artists combine cutting edge
collective that includes Drive-By Truckers
with easily accessible, daring alongside
and Jason Isbell, Rod Melancon indeed
non-threatening, but Dragons manage pre-
represents. His Southern Louisiana drawl
cisely that with their sophomore full-length.
is not just window dressing. He brings
Famously melding electronic bloop-age
songs and a wealth of life lessons that are
and hard rock brio smothered by a mystical
exploratory and dramatic. “With the Devil”
aura of modernist transcendence, Evolve actually lives up to its name in
opens with a dark venture into the mind of a serial killer, “Different Man”
achieving new levels of compositional complexity. Every track sparkles,
is an unapologetic anti-war anthem and “Lights of Carencro” is hypnotic
but enduring standouts like “Thunder,” “Believer” and “Whatever It Takes”
and spooky. The young Melancon also employs classic touchstones, with
are so perfectly formed you’ll genuinely delight when they inevitably stick
the Springsteen-meets-Exile-era Stones hybrid “Promises” and the Merle
in your head. – Andy Kaufmann
Haggard-flavored “Outskirts of You.” – Eric A. Harabadian

Alfa SZA
Spark & Fury 8 CNTRL 8
Pacific Records Top Dog Ent./RCA
Producer: Alfa + Various Producer: Various
Indie pop artist Alfa is not here to show off SZA blossoms on CTRL, her debut album.
or impress with flashy vocals or gimmicky The fusion of her raw and intimate songwrit-
sounds. For her Pacific Records debut, the ing and song concepts with melodically
songstress has crafted a collection of hon- refined instruments creates an emotionally
est songs, putting feelings out in the open; exquisite musical journey that explores
vulnerability. Combining witty lyricism, themes such as relationships, sex, and
catchy melodies and genuine, warm vocals, personal struggles. “Supermodel” details a
Alfa showcases lighthearted, rom-commy takes on love and love lost past relationship dressed with secrets and revenge while “Prom” conveys
without resorting to writing emotional songs in a heartbreaking, dark and the fear of aging and unfulfilled potential. Within every record, SZA shines
gloomy manner—listeners can still relate to the material that they might as she confidently and unapologetically opens her life up to her listeners.
actually shed a tear. See select tracks: “Round & Round,” “Rubber Band” CTRL is not your generic lovesick R&B album; it is tasteful, deep and may
and “M.O. (Missed Opportunity).” – Siri Svay so far be the year’s best R&B album. – Don Dao

Gary Nichols Dreadnaught


Field of Plenty 10 Hard Chargin’ 8
Merrimack Records Red Fez Records
Producer: Gary Nichols, Joe Melnikas, Donnie Gullett Producer: Bob Lord
When you have the right elements in place What an interesting and mind-blowing
you just can’t go wrong. Gary Nichols is album! It is equal parts Frank Zappa, Steely
a Nashville staple, a guitarist and vocal- Dan, Beach Boys and Merle Haggard
ist for the award-winning bluegrass act, mixed with snippets of symphonic music,
the Steeldrivers. He brings that wealth of cartoon segues, some Rush and post-punk
history, song craft and collaboration to this sounds. In other words, just the kind of disc
solo flight, joined by the best in the biz, with for adventurous and fun-loving audiophiles.
harp master Charlie Musselwhite and Muscle Shoals keyboard legend Bob Lord heads this trio of madmen that cut TV commercials and col-
Spooner Oldham on select tracks. Nichols has a rich and honeyed rasp of laborative projects with folks like Pete Townshend by day, and walk on
a voice that graces the serene and gospel-like title track, blues jams like the wild side of artsy pop by night. If you’re looking for simple hooks and
“Meet Up with Charlie,” the musical outlaw ode “I Ain’t Comin’ Back” and repetitive motifs, this ain’t it. But if you have a flair for the strange, have
the folky patriotic “America, American Dream.” – Eric A. Harabadian we got some tunes for you! – Eric A. Harabadian

Derek Davis Richie Kotzen


Revolutionary Soul 7 Salting Earth 8
Apocalypse Records/Select-o-Hits Headroom Inc.
Producer: Derek Davis Producer: Richie Kotzen
Back in the late ‘80s Davis was frontman You’ve known him from remarkable success
for heavy rockers Babylon A.D. He still has with, among others, his band the Winery
that rock feel, but goes for an old school Dogs. But, it’s been a while since Kotzen
funk and R&B vibe on this spirited new ven- made his mark on the solo scene. Well,
ture. The robust and leathery-voiced Davis he’s back with a production that’s, liter-
pens nine of the dozen songs here. His ally, a one-man show. “End of Earth” and
delivery recalls James Brown and Terence “Thunder” grab your attention immediately
Trent Darby that is as much an homage as a reflection of his own vocal with mighty riffs and raw emotion. The Todd Rundgren-esque “My Rock”
prowess. Tracks like “Rapture” and “Love and Abuse” just sizzle, and his and the Prince-meets-Dramatics “This is Life” display another exciting and
cover of Bobby Womack’s “Woman’s Gotta Have It” displays serious soul diverse side. Kotzen rides the wave where heavy rock, old school R&B and
cred. The production appears a little thin in spots, but his ample pipes blues-infused pop converge. He delivers a record that plays for keeps, with
and stellar songs shine center stage. – Eric A. Harabadian a generous slice of singles-savvy power in tow. – Eric A. Harabadian

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 July 2017 musicconnection.com


June
July 2017
2017 musicconnection.com 17
17
musicconnection.com 49
Janvi Anand Riot Child
Contact: janvianandmusic@gmail.com Contact: jeffblue.music@gmail.com
Web: janvianand.com Web: youtube.com/user/Riotchildofficial
Seeking: Label, Booking, Film/TV Seeking: Major Label, Exposure
Style: Singer-Songwriter Style: Alternative Pop

Janvi Anand is not only blessed with an Under the tutelage of veteran A&R rep Jeff
arrestingly husky-toned voice (which can at Blue, these Scandinavian electro rock-pop
times attain a solid, satisfying high-range), hellions have put together a sampling of
she’s a penetrating songwriter who can tunes that benefit from expert, high-impact
plumb the depths and dimensions of human production values. On the lurching “Bullet”
relationships, as in “Faces of Love,” where (“I would take a bullet for you!”) lead singer
a jazzy arrangement features a saxophone Amanda Nordelius shows how it should be
Production 8
that melds beautifully with her sexy/ Production 9
done, confidently attacking the mic with
soothing vocals. She depicts a voyeuristic no apologies and plenty of sass. Her voice,
Lyrics 8 infatuation in “The Girl on the Train,” a nice Lyrics 8 well-mixed amid the ballistic production,
Music 8 slice of chamber-pop. But just when you Music 8 echoes with familiar radio-friendly influ-
Vocals 9 think this is a brooding, downcast artist Vocals 8 ences, such as Lorde and Tove Lo. “Liar”
she delivers the delightful, lilting, ukulele- connects best with us, its big bold beats
Musicianship 8 fueled “440 Volt,” not only busting out Musicianship 7 and stabbing keyboard taking us on a
the harmonica, but also some wet-lipped brisk 2:40 thrill-ride that includes a sudden
whistling, too. The film/TV potential of these confessional interlude. It’ll be interesting to
mood-setting songs is obvious. see how this promising act develops.

Charles Wiley Zachary Van Dyck


Contact: info@charleswiley.net Contact: zachvandyck@yahoo.com
Web: charleswiley.net Web: facebook.com/ZachVanDyckMusic
Seeking: Distribution, Film/TV, Label Seeking: Tours, Mgmt
Style: Instrumental Synth/Fusion/Prog Style: Pop-Rock

Composer/drummer Charles Wiley offers a A pair of pop-rock tunes, “Promises” and


medley of themes (named perhaps for his “Last Night,” demonstrate that Zachary
favorite vegetable?) that not only showcase Van Dyck has a specific gift—he can write
his compositional skills but his deft touch buoyant, relatable tunes that, with his con-
on the skins. Powered by an insistent horn vincing voice, can be delivered to a female
section and a cool fusion of synths and audience hungry for male sensitivity. Van
saxophone, “Corn on the Run” generates a Dyck’s “Winter,” however, despite an artful
Production 8
compelling vitality that builds to an uplifting Production 8
use of autotune, is a less impressive, less
guitar solo that dazzles with its dexterity. assured veer-off into pop/r&b territory, with
Lyrics X Wiley dims the mood with the loping, wob- Lyrics 8 lyrics that dip into cliché. Pop-rock, with
Music 8 bling synths of “Kernels” before delivering a Music 8 his melodies and deft transitions, is where
Vocals X dose of swirling supernatural mystery (and Vocals 8 Van Dyck seems most at home, where he
lurking mayhem) with “Corn Man,” which achieves a vitality akin to All Time Low. Yes,
Musicianship 8 blossoms into a big-beat horn-fueled spree. Musicianship 8 this artist’s voice is not all that distinctive,
Though Wiley’s music might lack an overtly but it rings with a natural appeal that suits
modern edge, it is consistently evocative for the material. TV relationship dramas would
videogames or films. be a good fit for these recordings.

Tera Livingmore
Contact: terabandofficial@gmail.com Contact: livingmoremusic@gmail.com
Web: terametal.net Web: livingmoreband.com
Seeking: Label Seeking: Label
Style: Metal Style: Alternative Indie

Tera’s dark, despairing vision of a dire, L.A. duo Livingmore have a disciplined
bankrupt world is delivered with top-notch alt-rock vision and a gift for commercial,
metal-core musicianship that brings relent- radio-friendly hooks, as on their best tune
less intensity to every moment. But that “Really Mean It” where Alex Moore’s pretty
ultimately proves to be a nagging handicap. voice is well situated in the mix, right above
The strengths of a song like “Shots Go the downstroked guitars and synth-strings.
Off,” for example, are undermined when No solo turns––the musicianship is there
Production 7
singer Brandon Bowman is pummeled by Production 8
to support the song and the singer. Though
weapons-grade guitars and drum and a sweet and sedate, “Little Bird” has an
Lyrics 7 suffocating sense of too damn much going Lyrics 8 underlying guitar snarl that we like, and
Music 7 on. The screamo stampede “Whispers Music 8 the arrangement utilizes a blend of Moore
Vocals 9 of Contempt” gets a better sound mix, Vocals 8 and her cohort Spencer Livingston’s voices
its stage-5 roar alternating (and at times that is quite pleasing. This gratifying blend
Musicianship 9 blending with) Bowman’s soaring, suffering Musicianship 7 sweetens the downcast lyrics of “Counting
vocals. But the band’s desire to dazzle us Sheep,” lending the tune a yearning glow.
proves overwhelming. A highly talented act, These savvy recordings indicate that Living-
these Texans could throttle down and thrive. more is poised for a breakthrough.

Music Connection’s listening 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 7 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.

50 July 2017 musicconnection.com


Joseph Eid Jennifer Vazquez
Contact: amanada@Lafamos.com Contact: jen@jennifervazquez.com
Web: soundcloud.com/josepheidmusic Web: jennifervazquez.com
Seeking: Label, Booking, Film/TV, Mgmt Seeking: Publishing, Film/TV, Booking
Style: Singer-Songwriter, Americana Style: Pop-Country, Americana, Jazzy Blues

NY native Joseph Eid is an engaging Nashville-based Jennifer Vazquez is blessed


storyteller (a la Jason Mraz) with a keen eye with a husky voice that exudes a calm-
for character, which he proves on “Watch It ing, soulful sincerity. And when combined
Fall,” about a crumbling apartment building with solid, relatable material, the result is
inhabited by neighbors on the downswing. compelling, plenty enough to captivate a
Its twangy pedal-steel guitar complements coffeehouse crowd or complement personal
Eid’s amiable tenor, which somehow man- relationship issues in a TV drama series.
Production 8
ages to make a downbeat subject seem Production 8
“Let You Back In” and “I Shoulda Told
light and picaresque. That, in fact, is Eid’s You” are mea culpa’s, both delivered with a
Lyrics 7 gift––an ability to thread a silver lining into Lyrics 7 minimum of instrumentation, just Vazquez’s
Music 7 the dark cloud of his subject matter. Case in Music 7 vibrato-tinged vocal and dexterous guitar.
Vocals 8 point: “Diary,” where Eid’s buoyant bongo- Vocals 8 “Worst Enemy” has a nice, catchy chorus
fueled arrangement provides a tropical flair and gets a full arrangement in a song about
Musicianship 8 to a song about an unfortunate peek at Musicianship 8 withstanding life’s everyday hassles. While
something very private. All in all, Eid has an we don’t hear hit-single potential in the
engaging persona. We only wish his mate- artist’s material, her ability to communicate
rial had stronger, more memorable hooks. trust and intimacy is undeniable.

The Lymbs TeBone


Contact: jeff@thelymbs.com Contact: iamtebone@gmail.com
Web: thelymbs.com Web: soundcloud.com/IamTeBone
Seeking: Label, Booking, Publicity, Mgmt Seeking: Booking, Film/TV, Exposure
Style: Indie Rock Style: Hip-Hop, Rap

Moody and mysterious, the Lymbs seem to Georgia-based rapper TeBone is all about
want to do things differently and are never the message, with a stripped-down,
too eager to please. Ultimately, their tunes uncluttered vision enabling his voice to be
prove to be compelling and winning, thanks heard loud and clear. His rapid-fire flow is
to a studied simplicity, an edgy intimacy, impressive on “Magic” where he implores
that is at work on every recording. “Color his listeners to “do magic, do magic...”
and Clockwork” is a case in point. The no matter what the endeavor. We also like
Production 8
song has a spare, intriguing arrangement Production 7
the subtlely jazzy finesse of this track, with
that patiently builds a percolating groove. its bold piano chords. His flow is likewise
Lyrics 7 “Hall of Mirrors” is cut from the same sonic Lyrics 8 dynamic and emotional on “Enemy,” which
Music 8 cloth and is likewise punctuated by stabs Music 7 has a more digital (less organic) sound than
Vocals 8 of electronic dissonance. The band’s vision Vocals 8 “Magic.” Despite a strong flow, however,
crystalizes with “The Hourglass” where and as skilled as he is at modulating his
Musicianship 7 singer Gage Bickerstaff’s raspy tenor im- Musicianship 7 pace, TeBone’s basic vocal tone is somehow
presses with its emotive ability. Fans of alt-J lacking, veering into monotone. We urge
will gravitate to this band, whose low-key him to experiment with a variety of micro-
burn is just what the doctor ordered. phones to find the one that loves his voice.

Adam & The Gaslights The Undercoats


Contact: aatgluk@gmail.com Contact: biggprman@aol.com
Web: soundcloud.com/user-958897 Web: theundercoats.com
696-310253141 Seeking: N/A
Seeking: Label, Reviews Style: Country/Rock/Americana
Style: Alternative, Indie Rock
These demo-quality songs by the Under-
With a strong singer and above average coats show a band with solid skills who
musicianship, this U.K. quartet are well- will need a surer hand at the controls in
positioned to bring an appealing indie-rock order for this music to really shine. Bottom
sound to the airwaves. First off, singer line: the production is only fair at best.
Adam Blinston exudes the right combina- Singer Dennis Krause suffers most, his
tion of verve and vulnerability that makes voice altogether naked, no reverb adding
Production 7
these tunes convincing. On the downside, Production 7
any warmth. There is, in fact, zero warmth
“Namor” masquerades as an instrumental in these recordings, a consistent dearth of
Lyrics 7 tune until the lead vocal enters deep into Lyrics 7 richness to the bass, and the drum sound is
Music 7 the song, torpedoing any radio-readiness Music 7 thin. Which is a shame, because the tunes
Vocals 8 it might have. “The Ocean” gets it right, Vocals 7 are pretty catchy, particularly “Southern
however, going to its chorus quickly as Time.” An amiable barroom vibe permeates
Musicianship 8 Blinston mourns “from the bottom of a bar- Musicianship 7 “Save The Worm” and a sweet sentimental-
ren sea.” All in all, this is a promising band ity lifts “Girl In The Clouds.” Keep working,
that should tone down the bass level, which guys. Take these sonic sketches and make
is a consistent distraction. something of them.

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

July 2017 musicconnection.com 51


The Roxy Theatre West Hollywood, CA

Contact: Ddevorzonmusic@gmail.com
Web: facebook.com/thefeal
The Players: Daniel DeVorzon, vocals, guitar;
Gustavo Buezas, guitar; Sal Ramazzini, bass,
vocals; Francisco Nanne, drums.

Material: Before L.A. indie rockers the Feal


had even played a note at the sold-out Roxy,
the noticeably young crowd was screaming
at the band’s mere presence as the curtain
was raised. This was all the more surprising
when considering that they were third on a
bill, with headliners Wallows and also Love
Ghost above them. When the Feal did kick
into the first song, the excitement levels only
increased. These young men have got this
alt-rock thing sussed; the songs are lush

THE FEAL
and dreamy, and also epic and climatic.
They sit somewhere between The Verve and

BRETT CALLWOOD
the Arcade Fire, and as such are incredibly
marketable. They didn’t play one song that
wouldn’t sit comfortably on a rock radio
playlist.

Musicianship: The guys are all superb


musicians individually, but the sum of the Performance: Feeding off of the energy He seems mature beyond his years. A natural
parts is far greater. They’ve clearly rehearsed coming from the crowd, particularly the band leader and performer.
for hours upon hours, as they’re a very tight screaming girls, the Feal performed as if they
unit. Drummer Nanne hits hard and makes were headlining at the nearby Palladium. When Summary: The Feal is making music of a style
it look effortless, and is complemented by Ramazzini pulled off his shirt to allow said that is very popular at present. They have a
Ramazzini’s hard bass. Buezas is a far better ladies a view of his sweaty torso, about 90 crowd that adores them, and they already sound
than average guitarist, as is DeVorzon. The percent of the room came close to swooning. like accomplished musicians. The scary thing is,
frontman is also a wonderful keyboardist, and The guys in the band know how to play to their they’re probably going to get a lot better. This is
the songs that see him tickle the ivories are crowd. Meanwhile, DeVorzon is a wonderfully the sort of band that one can imagine performing
arguably the best in the set. The synth adds charismatic frontman—a sort of alt-rock Beat early in the day at a summer festival and, as a
an ‘80s vibe reminiscent of Duran Duran and poet with an air that is part-Nick Cave and part- few years pass, we see them work their way up
the Human League. Morrissey, with a bit of Flaming Lips thrown in. the bill to the top. – Brett Callwood

Harvard & Stone Los Angeles, CA

Contact: flypr@flypr.net
Web: facebook.com/thesweetthingsnyc
The Players: Dave Tierney, vocals, guitar;
Lorne Behrman, guitar; Sam Hariss, bass,
vocals; Darren Fried, drums.

Material: This Sweet Things show is so


refreshing, because it’s been so long since a
new rock & roll band of this type has emerged
and excited. This is sleazy, trashy rock, but
the fact that the band is from New York City
is apparent—this is more Johnny Thunders
& the Heartbreakers than Mötley Crüe. That
blues-punk vibe that served Thunders, plus
Europeans like the Dogs D’amour, Hanoi Rocks
and even the Heavy Metal Kids, so well for
decades is being dragged out of the dumpster
BRETT CALLWOOD

THE SWEET THINGS


by these sweaty lads, and resuscitated with
their boozy breath. The brash tunes are
fantastic—anthemic and yet gloriously sloppy.
It’s like a bar-room singalong, with the addition
of great musicians.
a couple of times, and a song that sees him seem, has produced the most exciting music
Musicianship: The dichotomy here is that yelling, “I want cocaine” might be the best of in rock’s rich history. The trick is to remain in
the guys look like they’re sloshed, ambling the set. control when it looks like you’re not.
around the stage like Keith Richards’ less-
together grandchildren. And yet, in truth, they Performance: No complaints here. There’s Summary: The Sweet Things have got
know exactly what they’re doing. Tierney and a wonderfully dangerous edge to the Sweet everything, including a great name. Musically,
Behrman make for a thrilling guitar pairing in Things, as if anything might happen. That’s they have just the right amount of expertise
the great rock & roll Richards/Jones (/Wood) important, because that quality has been and throwaway riffs. The songs are catchy, and
tradition. Sam Hariss deserves special mention. missing from rock & roll for some time. That the guys look great. Whether they’re playing a
He’s pulling off a decent Johnny Thunders look, vibe of decadence, debauchery and walking stadium or a saloon like Harvard & Stone, the
but his bass playing is on-point, and driving the a tightrope over self-destruction has been out Sweet Things are already rock stars.
whole thing forward. He takes the lead vocals of fashion for an age but, as uncool as it might – Brett Callwood

52 July 2017 musicconnection.com


word she sings, and that translates positively
into the music even when the melodies aren’t
sinking in.

Musicianship: Colby has a wonderful singing


voice and she’s a tremendous performer, and
so it’s easy to focus all of the attention on her,
but behind and alongside her are three talented
musicians, framing everything she does. Roth and
Morton are a powerful rhythm section, and Morton
chimes in with harmony vocals too. McCaffrey
is actually a magnificent guitarist, the Slash to
Colby’s Axl. His frills offer the perfect foil to her
showmanship. It’s no surprise that Colby refers to
her band on-stage as a “well-oiled machine.”

Performance: This is what it’s all about. Colby


is the consummate performer. She has the

THE LIZA
crowd in the palm of her hand from the moment
she sasses on stage wearing a black swimsuit
and heels. Colby writhes and gyrates, humps
and moans through the set like she’s literally

COLBY SOUND
having an intimate moment with the music.

BRETT CALLWOOD
She’s also strong and in-control — she’s doing
this her way, so it’s in no way uncomfortable.
By the time she jumps off stage and gets in the
faces of a few attendees, the overriding feeling
is, “Of course she did that––this is her room.”
Harvard & Stone Los Angeles, CA knowing it. Colby provides the singing voice for Her strut, like aspects of her vocals, is Tina
Leary’s screen girlfriend Ava (played by Elaine Turner-esque, but Colby isn’t copying anyone.
Contact: flypr@flypr.net Hendrix) and, while that show has received She’s simply making people pay attention.
Web: thelizacolbysound.com mixed reviews to say the least, no one can
The Players: Liza Colby, vocals; Tom deny that Colby, through Ava, is belting out the Summary: The Liza Colby Sound have
McCaffrey, guitar; C.P. Roth, bass; Alec songs. On stage, she’s a thrill. There are no all of the ingredients in place to warrant a
Morton, drums. songs that, the next day, have stuck around in run at some larger success. It’s already a
the memory banks, but it’s all about the whole. phenomenal live band. Again though, the songs
Material: Viewers of the Dennis Leary TV show This is blues-rock that sits somewhere between aren’t massively memorable, so the writing
Sex & Drugs & Rock & Roll will have heard Tina Turner and Janis Joplin––husky, raw, needs some extra attention. Maybe that will
Liza Colby’s voice before without necessarily sensual and authentic. She means every single come with time.
– Brett Callwood

The Rose Pasadena, CA

Contact: edcohen@pcisys.net
Web: motorbone.com
The Players: Josh Tripp, vocals; Dick
Delnevo, guitar; Dan Clout, bass; Keth Morgan,
drums.

Material: It’s unfortunate that we start these


reviews by assessing the quality of the material
because, in the case of L.A. hard rockers
Motorbone, it’s the weakest aspect of the
show. They look great, they play great, the mix
is spot-on, even the lighting is cool. But the
songs need a hell of a lot of work. The shot at
a power-ballad, “Lost and Found,” is limp and
turgid. Even more unforgivable is the fact that
they managed to make a song called “S&M” fall

MOTORBONE
flat. Singer Tripp tries to dial up the sexy for this
BRETT CALLWOOD

one, rubbing his shirtless torso, but it doesn’t


save the song, which is laced with tired metal
riffs and sub-Rammstein lyrics. Even weirder—
because of the venue/restaurant nature of
The Rose, there were little kids dancing to this
BRETT CALLWOOD

bondage-themed song. No worries––chances


are they had no idea what it was about. Performance: Top marks here, too. The three Summary: Los Angeles is swimming, even
instrumentalists pretty much stick to their now, with bands who want to be the next big
Musicianship: This is where the band excels. spots, but Tripp is a charismatic frontman, thing of sleaze––just go to any hair band show
Tripp, to his credit, has a strong hard rock cocky in that classic Sebastian Bach/Dave and there will be at least four local openers.
voice, capable of crooning and belting out a Lee Roth sort of way. He talks between every And if Motorbone want to rise above the rest,
rocker at will. Guitarist Delnevo can pull out song, bigging up the venue, the headline band, they need songs that are as strong as those
a respectable widdle when a song requires the crowd and, of course, his own band by glam headliners. In fact, this show in Pasadena
one. But the strength of the band comes from repeating the web address. He never stands saw Motorbone opening for Warrant, and the
the rhythm section. Clout and Morgan are still, pulling out every rock star pose that every fact that, after the main set, it was hard to
solid players, adding frills when necessary but teen has ever practiced in the mirror. Plus, he remember any Motorbone melodies is telling.
essentially holding it all together. had the best hair in the house. – Brett Callwood

July 2017 musicconnection.com 53


The Winery at St. George Mohegan Lake, NY

Contact: scarson45email@gmail.com
Web: scarson45.com
The Players: Danny Bemrose, guitar, vocals;
Aimee Driver, vocals; Nova, piano, backup
vocals; Nate Head, drums.

Material: U.K.-based Scars On 45 make


frequent trips to the US, a strong indicator that
their music has reached enough people to
make these visits worthwhile. Their indie-styled,
acoustic pop/rock sound is mainstream enough

SCARS ON 45

MARK SHIWOLICH
to resonate with a large audience, but with a
slight left-of-center edge to grab those craving
that slight departure. “In Take You Home,” an
upbeat song of comfort and reassurance, is
among one of the themes this band espouses
and is a feel-good ode to a loved one: “I’ll take
you home right through the storm/to your front the ante. Instrumentally, Bemrose, Nova and one of the best in their genre. Not straying too
door/you’re not alone/you will never have to Nowakaowski are a tight fit, bringing unity to far from the original, a few minor twists made it
fear/I will always be right here with you.” the group. Their overall musical statement is more their own.
“Crazy For You,” a gentle and pithy natural and organic. Additionally, a respectable cover of “Go Your
confessional about love unrevealed, is built Own Way,” was another savvy choice. Adding
around the payoff tag line: “Darlin’ every time Performance: Scars On 45 was equally as a few more original signature songs, along with
you leave/you’re leaving me feeling so blue/ compelling a draw as this first-rate music creating a unique look, will help to catapult this
hiding my heart away/cause I’m secretly crazy venue, which is also a destination for fine band even further.
for you.” Before the turn around for the final wine and cuisine, and the band successfully
two choruses, the guitar goes to the six chord, entrenched themselves with regular winery Summary: Scars On 45 have a beautiful
an effective device in many pop songs, but clientele. The venue, a renovated church, offers sound, especially when Bemrose and Driver
works very well in this song to set up the final an ethereal backdrop and splendid acoustics, harmonize. They are a great example of a
choruses. (Perhaps the song title should be which greatly enhanced the group’s assets. band not needing to fly in your face to be
“Secretly Crazy For You”). Along with their extensive original repertoire, effective. Notching up the act to include
they included two heavy-hitting covers setting a couple of more heavy-hitting originals,
Musicianship: Bemrose and Driver, who both the bar high for their own material. “Time After along with cultivating a look that sets their
front the band, have very effective solo sounds Time,” one of the greatest songs from the '80s, brand apart, will complete an already strong
but when their voices come together, it ups perfectly suited their sound, aligning them with package. – Ellen Woloshin

The Burren Somerville, MA

Contact: info@sameroomrecords.com
Web: robertsarazinblake.com
The Players: Robert Sarazin Blake, vocals, guitar;
Connor Kennedy, guitar; Brandon Morrison, bass;
Will Bryant, keys; Lee Falco, drums.

Material: Gentle and breezy, yet serious and


poignant, Robert Sarazin Blake and his coterie
of players plunder the breadth of Americana,
punctuating their style with influences ranging
from folk and country to pop-rock, blues and
more. Unafraid of political stances, he tackles
the issue of violence inspired by hate speech
with “19 Shot.” “Single Women,” alternatively,
celebrates a defiant acceptance of single life,
then gets chased with “Couples,” a quirky
corollary that examines the magical absurdity of

ROBERT SARAZIN
relationships. Uniting Blake’s tunes is a delivery
and flair that conjures the staunch simplicity
APPLE KAUFMANN

and manly passion of Ernest Hemingway.

Musicianship: Blake being the group’s


natural fulcrum, his voice, rich and strong
as a Redwood, anchors every arrangement.
Whether slow or fast, exuberant or dreamy,
BLAKE & THE LETTERS
and his Letters take this credo to an extreme. the troubadour who hogs the spotlight yet
the others display understated mastery, ably This discipline pays off in spades. Technical isn’t insufferably self-indulgent. Blake’s
shifting tempos and letting their notes hang blunders are entirely absent and every moment supporting players can’t be faulted; their
together like a constellation or fly over the is marked with polish and panache. Blake skill and commitment remain palpable. It is
audience like a shooting star. In rare instances displays particular ability when speaking, serving counterintuitive, but Blake’s only downfall
where the individual players are allowed to amusing quips and promoting his merchandise remains his considerable experience. Avoiding
stretch their legs, every effort is made to avoid absent wearying clichés. The downside is that a sense of routine would infuse his set with
siphoning attention from Blake himself. the illusion of surprise, the hallmark of any live an additional layer of excitement. Meanwhile,
performance, has been wiped clean. check out his latest, Recitative, or any of his
Performance: It’s always a positive when other myriad recordings, presented on his label,
an artist hits the stage prepared, but Blake Summary: Here we have something novel–– Same Room Records. – Andy Kaufmann

54 July 2017 musicconnection.com


Performance: When DeMuth and her band took
the stage, it was as if they were going to give their
audience Avril Lavigne-esque type music. But,
if you’ve ever been to the Hotel Cafe you know
you’re going get acoustic acts or indie-folk groups.
Well, from the first strum of opening song “Raleigh”
it was clear how the rest of the night was going to
go. Each track showcased obvious folk/country
roots with a slight alternative edge between the
instrumentation and DeMuth’s smoky vocals.
DeMuth was comfortable with her audience
as she smoothly transitioned from melodic mid-
tempo tracks to intensely emotional ballads.
Standouts included “Forgive Me,” a pure country
track with light guitars and impressive yodeling
skills, and the melancholy, chillingly raw “Eliza.”

HEATHER ALLEN
DIANA DEMUTH
The night ended with the radio-friendly, classically
indie “Beat.”
DeMuth’s set beautifully showcased her lyrical
quality and performance strength. The only thing
that marred its smooth sailing was the guitar

ERIC A. HARABADIAN
Hotel Cafe Hollywood, CA an opportunity to share the exact type of music tech’s fanboy obnoxiously heckling every single
we should expect from her––indie-folk anthems time he switched out DeMuth’s guitar.
Contact: monica@thinkpress.net derived from personal experiences.
Web: dianademuthmusic.com Summary: Los Angeles has a very competitive
Players: Diana DeMuth, vocals, acoustic guitar, Musicianship: DeMuth strives to make sure that indie singer-songwriter scene and DeMuth will
and electric guitar; Live Band: Dru De Caro, her experiences come through to her listeners. constantly have to push to stand out from the
guitar; Fernada Fuentes, drums; Anel Orantes DeMuth doesn’t stick to just a standard brand rest. Musically, her songs are anthemic and
Pedrero, bass; and Danielle McGinley, keyboard. of indie. In fact, her songs easily veer between catchy enough to get some traction. Lyrically,
fun, country-infused tunes to dark, bluesy rock she showcases the emotional and experiential
Material: You can learn a lot about an artist melodies in the blink of an eye. Her mature lyrical factor that modern music should strive to achieve.
from just one song, and indie-folk songstress and vocal ability, as well as the versatility in her Lastly, DeMuth’s confident rocker-chick stage
Diana DeMuth’s single “The Doorway” does just instrumentation, naturally showcases a range of persona offers a little bit more than the other
that. Peppy, folk instrumentation paired with influences. If you’re looking for a moody mix of local artists in her genre. Her future is a complete
soul-baring vocals and heartstring-tugging lyrics modern indie (Birdy, the Lumineers) and strong and total toss-up, but I’m interested to see what
make this track a perfect addition to anyone’s classic rock female vocals (Joni Mitchell, Stevie becomes of her.
work-friendly playlist. “The Doorway” is used as Nicks), look no further than Diana DeMuth. – Heather Allen

July 2017 musicconnection.com 55


Directory of U.S. Recording Studios
Music-makers
Now tap
expanded
into thisfor
directory
2017, this
to connect
is an exclusive
with indie
list of
labels,
professional
marketingrecording
& promostudios.
expertsAlland
information
indie publicists.
below isPlus
verified
loadsbyofthe
contact
information to aid
listees.
you inTopromoting
receive thousands
your musicof career,
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and musicconnection.com/industry-contacts.
CD development, blog sites and social media tools.

Web: fmrecordingstudio.com Contact: Michael Sharpe Email: csc@bluesevenaudio.com


ALABAMA Format: Custom BuSiness On-Hold message Rates: call for rates Web: bluesevenaudio.com
BIRDLAND RECORDING STUDIOS Services Contact: Chris
4891 County Rd. 585 Basic Rate: please call for info BLUE CHAIR RECORDING STUDIO Format: Pro Tools HD3
Town Creek, AL 35672 159 Ray Sowell Rd. Basic Rate: call for rates
256-476-0264 MIRROR STUDIOS, INC. Austin, AR 72007
Email: owenwbrown@hotmail.com 3700 Woodland Dr., Ste. 100 501-605-8489 COAST MASTERING
Web: birdlandstudios.com Anchorage, AK 99517 Email: darian@classicnet.net 2600 10th St., Ste. 101C
Contact: Owen Brown 907-245-8888 Web: bluechairrecordingstudio.com Berkeley, CA 94710
Format: 32 channel Trident Analog Console, 24-48 Email: akstudio@mirrorstudios.com 520-984-0554
track Alesis HD Digital Recorders Web: mirrorstudios.com CRYSTAL RECORDING STUDIOS Email: mastering@coastmastering.com
Basic Rate: please call for info Format: Pro Tools HD3 2307 Brandon Rd. Web: coastmastering.com
Basic Rate: please call for info Bryant, AR Format: see website for equipment list
Additional location: 501-847-8215, 501-681-7935 Basic Rate: $90/song
SURREAL STUDIOS Email: ray@crystalrecordingstudios.com
1219 Fremont St. S.W. 355 W. Potter Dr. Web: crystalrecordingstudios.com DAVID LITWIN PRODUCTIONS
Decatur, AL 35601 Anchorage, AK 99518 Basic Rate: please call for info One Bridge Road
Contact: Jeffrey Simpson 907-562-3754 Larkspur, CA 94939
Email: simpsonjp@aol.com Email: surrealstudiosak@gmail.com DAWSON MUSIC AND RECORDING STUDIO 415-924-2240
256-686-0375, 256-466-4312 Web: surrealstudios.com 573 Hwy. 95 W. Email: info@davidlitwinproductions.com
Contact: Kurt Riemann Clinton, AR 72031 Web: davidlitwinproductions.com
DAUPHIN STREET SOUND Format: digital Pro Tools 501-745-2025 Contact: David
651 Dauphin St. Basic Rate: please call for info Web: facebook.com/dawsonmusic Format: Pro Tools HD
Mobile, AL 36602 Contact: Louis Dawson, owner Basic Rate: call for rates
251-378-8028
Email: bookings@dauphinstreetsound.com ARIZONA EAST HALL RECORDING DIFFERENT FUR
Web: dauphinstreetsound.com ALLUSION STUDIOS 4210 N. Salem 3470 19th St.
Basic Rate: Call or email for rates 248 W Elm St. Fayetteville, AR San Francisco, CA 94100
479-582-3278 415-828-4060
Tucson, AZ 85705 Email: info@easthall.com Email: jorge@differentfurstudios.com
FAME STUDIOS 520-622-3895 Web: easthall.com, Web: differentfurstudios.com
603 E. Avalon Ave. Email: contact@allusionstudios.com facebook.com/easthallrecording Format: SSL 4056/48e | Pro Tools Version 10
Muscle Shoals, AL 35661 Web: allusionstudios.com Basic Rate: $120 for 2 hr session, $220/4hr, Basic Rate: call for info
256-381-0801 $400/8hr
Web: fame2.com BRICK ROAD STUDIOS THE DOCK STUDIO
Format: Pro Tools and vintage analog 7944 E. Beck Ln., Ste. 160 RANEY RECORDING STUDIO Sacramento, CA
Basic Rate: please call for info Scottsdale, AZ 85260 P.O. Box 17 916-403-1018
480-788-3573, 480-251-5791 110 S. Front St. Email: book@onefinmanagement.com
GAT3 PRODUCTIONS Email: info@brickroadstudio.com Drasco, AR 72530-9282 Web: thedockstudio.com
1820 Hwy. 278 Web: brickroadstudio.com 870-668-3222, 870-668-3177 Format: See website for equipment list
Gadsden, AL 35903 Contact: Scott Leader, Mark DeCozio Email: jonr@raneyrecordingstudio.com Basic Rate: $200/day
704-525-5552 Format: call for info Web: raneyrecordingstudio.com
Email: susan@gat3.com Basic Rate: $450/day $85/hr or flat rate for larger FANTASY STUDIOS
Web: gat3.com projects WINTERWOOD RECORDING STUDIOS 2600 10th St.
Contact: Susan Tabor Eureka Springs, AR 72632 Berkeley, CA 94710
Studio A: Pro Tools 10HDX, SSL 9000J 72 Input COSMIC SOUP RECORDING 479-253-2530 510-486-2038
Console Glendale, AZ Email: winterwoodstudio@aol.com Email: jwood@fantasystudios.com
Studio B: Recording and Mastering Suite: Pro Tools 480-331-7687 Web: winterwoodstudios.com Web: fantasystudios.com
10HDX. Equipment list available on our website. Email: mail@cosmicsouprecording.com Contact: Eric T. Schabacker Contact: Jeffrey Wood
Studio Rates: Studio A $105.00 per hour, Block Web: cosmicsouprecording.com, Format: Nuendo, Cuebase, Pro Tools Format: Pro Tools and analog
Rate (8 hours or more) $95.00 per hour; Studio facebook.com/cosmicsoupaz Basic Rate: $60-$75/hr. Clients: Please check our website for examples of
B $95.00 per hour, Block Rate (8 hours or more) Contact: Jeremy Daniel our extensive client list.
$85.00 per hour Studio: ProTools - Equipment list available on website. WOLFMAN STUDIOS
Studio Rates: $30 per hour. Available by Little Rock, AR HYDE STREET STUDIOS
Additional location: appointment only. Contact for more information. 501-247-5525 245 Hyde St.
Email: jason@wolfmanrecordingstudios.com San Francisco, CA 94102
655 Presley Rd., Suite E FACTS OF MUSIC PRODUCTIONS Web: wolfmanrecordingstudios.com 415-441-8934
Charlotte, NC 28217 P.O. Box 11145 Rates: $35/hr weekend, $25/hr weekly, $40/hr Email: info@hydestreet.com
Prescott, AZ 86304 remote Web: hydestreet.com
RIVERLAND RECORDING STUDIOS 818-888-8266 Format: digital and analog, 24 tracks
509 Talucah Rd. Email: philippe@factsofmusic.com Basic Rate: call for info
Valhermoso Springs, AL 35775 Web: factsofmusic.com CALIFORNIA / NORTHERN
256-778-4050 Contact: Philippe Willems 25TH STREET RECORDING PYRAMIND STUDIOS
Format: Alesis HD 24, Pro Tools LE Format: digital and analog, infinite tracks, New 25th & Broadway 832 & 880 Folsom St.
Basic Rate: $65/hr to $80/hr. Contact us MacPro, great sounding plug-ins, micas, special Oakland, CA San Francisco, CA 94107
musical instruments 510-788-4089 415-896-9800 x 201
SOUND CELL/SMITH MUSIC GRP, INC. Basic Rate: varies, $75-150/hr. Email: info@25thstreetrecording.com Contact: Greg Gordon
601 Meridian St. Web: 25thstreetrecording.com/ Email: info@pyramindstudios.com
Huntsville, AL 35801 FULL WELL RECORDING STUDIO Basic Rate: $800day/$45/90hourly Web: studios.pyramind.com
256-539-1868 1718 N. 17th Ave.
Email: soundcell@soundcell.com Phoenix, AZ 85007 ALIEN PRODUCTIONS STUDIOS LAUGHING TIGER
Web: soundcell.com 602-367-1342 4100 Wayside Ln., Ste. 120 1101 E. Francisco Blvd, Suite A
Format: Pro Tools Email: bolenbach@gmail.com Carmichael, CA 95608 San Rafael, CA 94901
Basic Rate: please call for info Web: idnmusic.com/studio 916-483-9988 415-485-5765
Contact: Mike Bolenbach Email: alienproductions@att.net Email: ari@laughingtiger.com
SOUND OF BIRMINGHAM RECORDING Format: Pro Tools HD3 Web: alien1111.com Web: laughingtiger.com
3625 5th Ave. S. Basic Rate: please call for info Contact: Jeff Northrup
Birmingham, AL 35222 Format: digital recording, mixing, mastering and PRAIRIE SUN
205-595-8497 ALLUSION STUDIOS music production P.O.Box 7084
Email: don@soundofbirmingham.com 248 W Elm St. Basic Rate: $40 per hour, $300 8-hour block. Cotati, CA 94931
Web: soundofbirmingham.com Tucson, AZ 85705 707-795-7011
Contact: Don Mosley 520-622-3895 AUDIO EVIDENCE MOBILE Email: info@prairiesun.com
P.O. Box 428 Web: prairiesun.com
Basic Rate: please call for info Email: contact@allusionstudios.com Redway, CA 95560
Web: allusionstudios.com 707-223-0506 PYRAMIND STUDIOS
ALASKA LUNA RECORDING STUDIO
Email: audioevidencemobile@gmail.com
Contact: Rob Seifert Gage
832 & 880 Folsom St.
San Francisco, CA 94107
10TH PLANET 4500 E. Speedway Blvd., Ste. 86 Format: mobile studio, analog/digital, out of the 415-896-9800 x 229
P.O. Box 10114 Tucson, AZ 85712 box mixing, 32 in/out, Dangerous Music Summing, Contact: Nick Romero
Fairbanks, AK 99710 520-260-7576 Yamaha NS10, Equator Audio Monitors, PreSonus Email: info@pyramindstudios.com
907-488-8658 Email: producer@lunarecording.com StudioOne, Analog Effects and UA 2-610 Web: studios.pyramind.com
Email: 10planet@mosquitonet.com Web: lunarecording.com on MixBus, UA 4-710 AD, Manley VariMu and more.
Web: 10thplanet.com Contact: George Nardo On-Site Production. SF SOUNDWORKS SSL9000
Contact: R. Ford or P. Fitzgerald Format: Pro Tools HD Rates: Contact for a personalized quote  San Francisco, CA 94103
Format: digital Basic Rate: Please contact us Clients: Angels Cut, MIMUR, Speed of Darkness, 415-503-1110
Basic Rate: please call for info Reggae on the River, Mateel Summer Arts and Email: bookings@sfsoundworks.com
SALTMINE STUDIO OASIS, THE Music Festival, Mike Watt, eels and more Web: sfsoundworks.com
DOME STUDIOS 48 S. MacDonald St. Contact: Tony Espinoza
1912 Gilmore Trail Mesa, AZ 85210 BAY RECORDS Format: digital and analog, 128 tracks
Fairbanks, AK 99712 480-220-4007, 480-892-6585 3365 S. Lucille Ln. Basic Rate: please call for info
907-457-1993, 907-456-6734 Email: info@thesaltmine.com Lafayette, CA 94549
Email: domestudios@alaskajam.com Web: thesaltmine.com 510-428-2002 SKYWALKER SOUND
Web: alaskajam.com/domestudios.html Contact: Don Email: mcogan@bayrec.com P.O. Box 3000
Contact: Jerry or Rif Format: digital and analog Web: bayrec.com San Rafael, CA 94912
Format: Tascam 16 track 1-inch analog tape Basic Rate: please call for info Contact: Michael Cogan Email: info@skysound.com
Basic Rate: $74/hr. Call for details Format: 24-track analog and Pro Tools HD Web: skysound.com
Basic Rate: Call or Email Contact: Leslie Ann Jones
FM RECORDING STUDIOS, LLC ARKANSAS
P.O. Box 879017 BLACKWATER RECORDING STUDIOS BLUE SEVEN AUDIO TINY TELEPHONE
Wasilla, AK 99687 Cabot, AR 72023 Central Fremont 1458 San Bruno
907-223-4306 501-0843-9522 Fremont, CA 94538 San Francisco, CA 94110
Email: info@fmrecordingstudio.com Web: blackwaterstudios.com 650-766-7212 San Francisco, CA 415-819-1960

C O M P I L E D B Y D E N I S E C O S O

56 July 2017 musicconnection.com


Download at musicconnection.com/industry-contacts

Email: jv@tinytelephone.com THE ABSTRACT ARTISAN SOUND RECORDERS Web: bigsurprisemusic.com


Web: tinytelephone.com 517 Commercial St. 10419 Burbank Blvd Contact: Carmen Grillo
Glendale, CA 91203 North Hollywood, CA 91601 Format: digital, 128 tracks
CALIFORNIA / SOUTHERN 818-500-0693 818-421-5281
Web: artisan-sound-recorders.com
Basic Rate: $50/hr.
Email: info@theabstractla.com
3RD STREET ADR Web: theabstractla.com Format: Sony APR 24 Track Analog, Pro Tools HD3 BIG SWEDE STUDIOS
2438 3rd St. Contact: Doug Boulware, VP Operations/Producer/ 621 S. Spring St., Ste. 1208
Santa Monica, CA ARTIS MUSICAI Los Angeles, CA 90014
Engineer
310-613-7138 Basic Rate: call for rates P.O. Box 3486 213-629-4940 Fax 213-629-4940
Email: thirdstreetadr@gmail.com ACDC - AUDIO CD & CASSETTE Chatsworth, CA 91313 Email: bigswede@bigswedestudios.com
Web: 3rdstreetadr.com 606 Alamo Pintado Rd., Ste. 3-281 747-224-7165 Web: bigswedestudios.com
Format: digital and analog Solvang CA 93463 Email: gussie@artismusical.com Contact: Big Swede
Basic Rate: ADR/Voice over rate: $200 with ADR 818-762-2232, 805-245-5503 Web: artismusicai.com Format: digital and analog, 256 tracks
mixer Email: steve@acdc-cdr.com Contact: Gussie Miller Basic Rate: call for info
Web: acdc-cdr.com Format: digital, unlimited tracks
17 HERTZ STUDIOS Contact: Steve Mitchell Basic Rate: please call for info BILL CORKERY STUDIOS
5253 Lankershim Blvd. Basic Rates: Please call for info. Studio for Creative Audio
North Hollywood, CA 91601 A SMOOTH SOUND 1660 Hotel Cir. N., Ste. 107
310-331-8818 Studio City Drop-Off Address: Van Nuys, CA 91406 San Diego, CA 92108
Email: info@17hertz.com c/o Stella at Universal Mail 818-723-4203 619-291-8090
Web: 17hertz.com 12400 Ventura Blvd., #150 Email: Jerry@smoothsoundmultimedia.com Email: bcorkery@bcproductions.com
Contact: Luke Sanchez Studio City, CA 91604 Web: smoothsoundmultimedia.com Web: bcproductions.com
Format: Pro Tools hdx/I/os Format: digital and analog, 32 tracks, Pro Tools HD Contact: Bill
Basic Rate: Call for rates ADAMOS RECORDING Basic Rate: please call for info Format: digital
Clients: Willow Smith, Rita Ora, Wyclef Jean. See 5811 Westminster Ave. Basic Rate: please call for info
website for client list Westminster, CA 92683 ASPEN’S PLACE RECORDING
714-897-8886 32-channel all tube inputs large and live tracking BLUE RHODE STUDIOS
17TH STREET Web: adamosrecording.com rooms. 10626 Magnolia Blvd.
1001 W. 17th St. Email: adamos.recording@verizon.net Email: aspen@aspenandassoc.com
Web: aspensplacerecording.com North Hollywood, CA 91601
Costa Mesa, CA 92627 Format: digital and analog 323-842-0269
949-680-6568 Basic Rate: please call for info Contact: Aspen Pittman
Format: Pro Tools 10 HD or Logic. Analog tape Email: studioblue12@gmail.com
Email: 17thstrecord@gmail.com Web: bluerhodestudios.com
Web: 17thstreetrecordingstudio.com/ ADVENTURES IN MODERN RECORDING recording available.
Basic Rate: $500.00 - $750.00, please call for Contact: Andrew De Lucia
Format: See website for equipment list West Los Angeles, CA Format: Pro Tools HD, Logic
Basic Rate: $1500/day 323-375-4267 Indie rates.
*Email or call for free tour/consultation
Email: amrdaniell@gmail.com
1ST CHOICE STUDIO Web: adventuresinmodernrecording.com ATOMIX STUDIOS
Van Nuys, CA BOMB SHELTER REHEARSAL
1259 Bruce Ave. Contact: Daniell Holcomb
Format: digital, Pro Tools 9 Email: atomixmedia@mac.com 7580 Garden Grove Blvd.
Glendale, CA 91202 Westminster, CA 92683
818-246-6858 Basic Rate: $50/hr. Web: facebook.com/AtomixStudios
Contact: Tom 714-240-7345
Email: info@billkeis.com Email: Britt@bombshelterrehearsal.com
Web: billkeis.com/producer AFTER HOURS RECORDING CO. Format: Analog and Digital
1607 Victory Blvd., Ste. F Basic Rate: inquire for rates Web: bombshelterrehearsal.com
Contact: Bill  Contact: Britt-Marie Trace, Owner/Manager
Format: digital Glendale, CA 91201
818-246-6583 AUDIOLOT STUDIOS Format: Pro Tools
Basic Rate: call for rates Rates: Please call for hourly/project/day rates
Email: arecording@netzero.net Los Angeles, CA 90068
Contact: Bill 512-686-2899, 323-464-9900
4TH STREET RECORDING Email: info@audiolot.com BRIAN GARCIA PRODUCTIONS
1211 4th St. Format: digital and analog, 16 tracks
Basic Rate: $35/hr. Web: audiolot.com/studios (Sonic Muse Productions)
Santa Monica, CA 90401 Contact: Joshua Aaron Los Angeles / Pasadena, CA
310-395-9114 Format: Pro Tools HD 626-487-0410
Email: info@4thstreetrecording.com AFTERMASTER RECORDING STUDIOS
HOLLYWOOD Basic Rate: $85/hr., Half Day/$325, Full Day/$575 Email: brian@briangarcia.net
Web: 4thstreetrecording.com Web: briangarcia.net
Contact: Kathleen Wirt 6671 Sunset Blvd., Suite 1520
Hollywood, CA 90028 AUDIO MECHANICS Contact: Brian Garcia
Format: digital and analog, 24 tracks 1200 W. Magnolia Blvd. Format: Digital/192 tracks
Phone: (310) 657-4886
Basic Rate: $60-100/hr Email: ealden@aftermaster.com / bookings@ Burbank, CA 91506 Basic Rate: call for hourly, daily or project rates
Gear: API 3224 Console, Studer A827, Protools aftermaster.com 818-846-5525
HD3, (4) Neve 1066, (4) Focusrite, (2) Telefunken Web: aftermaster.com Email: info@audiomechanics.com BRODSKY ENTERTAINMENT
V72, (2) Maag PreQ4, (2) Maag EQ4, (8) Contact: Erin Alden (818) 404-8583 Web: audiomechanics.com Beverly Hills, CA
Wardbeck, (2) UREI 1176, (2) LA3A, Genelec Six studios including former Graham Nash studio. Contact: John Polito Boston, MA
1031s, Yamaha NS10s, Lexicon, Yamaha, DBX, Vintage and new gear: 80 Channel SSL 4000 G+, Format: digital and analog, 24 tracks Meriden, NH
Drawmer, Mics: Neumann U-67, (2) U-87s, Pultech, Tube-tech, Neve, Teletronix, API, Protools Basic Rate: please call for info Web: brodskyentertainment.com/studios
(2) AKG 414s, (2) Coles 4038s, Royer, Shure, 12, Lipinski, Bricasti, Chandler, Manley, Dynaudio, Format: Digital Performer, Logic
Sennheiser. Prism, Apogee, Antelope, Avalon, Tonelux, BACKYARD PRODUCTIONS
Special Services: Pro Tools and analog recording. Eventide, Empirical Labs, Lab.gruppen, Bryston, Van Nuys, CA 91405 BRUCE HANIFAN PRODUCTIONS
Superb sound design, Yamaha C7 grand piano, Yamaha, NTI, Digidesign. 818-780-7845 West Los Angeles, CA
Hammond organ w/ Leslie. Great drums too. Vintage and new Mics: Neumann, Telefunken, Email: hughjames@sbcglobal.net 310-559-4522
Clients: Weezer, Muse, Charles Hamilton, Kesha, Sony, AKG, Royer, Peluso, Shure, Sennheiser, Web: hughjamesmusic.com/studio Email: info@brucehanifan.com
M.I.A., The Neighbourhood, Vintage Trouble, The Electrovoice, RCA. Contact: Hugh James Web: brucehanifan.com
Beach Boys, George Clinton, Incubus, No Doubt, Vintage and new Instruments and Amps: Format: digital and analog, 48 tracks Contact: Jan Aldrin
Fiona Apple, Nelly Furtado, Bryan Ferry, Jack’s Fender, Gibson, Paul Reed Smith, Martin, Taylor, Basic Rate: variable rates: per hour and per project Format: ProTools HD 3
Mannequin, Jim Carrey, Steve Martin, Weird Al Rickenbacker, Marshal, VOX, Ampeg, Peavey, Format: digital and analog, recording and Basic Rate: call for rates
Yankovic, Deezle, Anthony Hamilton, Ben Harper, Yamaha, DW, Marshal, Ibanez. production
Tom Freund, Solange, Charles Hamilton, Andrew More Gear and Mic info: aftermaster.com/studio CALIFORNIA SOUND STUDIOS, INC.
McMahon Services: Recording, Mixing, Mastering. BEDROCK RECORDING 25651 Atlantic Ocean Dr., Ste. A16
Comments: Right off 3rd Street Promenade and Home to the biggest hit makers ever assembled 1623 Allesandro St. Lake Forest, CA 92630
the ocean. 26 hotels within walking distance. “Top aftermaster.com/discography. Los Angeles, CA 90026 949-855-0211
10 US Studios Under $100/hour.” Performing 213-673-1473 Email: info@casoundstudios.com
Songwriter Magazine. “One of LA’s 17 Temples of ALLIED POST Email: record@bedrock.la Web: casoundstudios.com
Sound,” Hollywood Reporter (2012) 1642 17th St. Web: bedrock.la/recording Contact: Nathan Wright
Santa Monica, CA 90404 Rates: call for rates Format: digital and analog, 64 tracks
21ST CENTURY STUDIO 310-392-8280 Basic Rate: please call for info
Silverlake, CA (near Satellite) Web: alliedpost.com BERNIE BECKER RECORDING & MASTERING
323-661-3130 Contact: Woody 30 W. Dayton St. CAPITOL RECORDING STUDIOS
Web: 21stcenturystudio.com Format: digital and analog Pasadena, CA 91105
626-782-5703 1750 N. Vine St.
Contact: Burt Levine Basic Rate: call for info Los Angeles, CA 90028
Format: Digital/Analog Email: mandy@beckermastering.com
Web: beckermastering.com 323-871-5001
Basic Rate: call for rates AMERAYCAN RECORDING STUDIOS Email: paula.salavtore@umusic.com
5719 Lankershim Blvd. Contact: Bernie Becker
Format: digital and analog Web: capitolstudios.com
AAA JIMMY HUNTER’S CAZADOR RECORDING North Hollywood, CA 91601 Contact: Paula Salvatore, VP/Studio Mgr.
OF HOLLYWOOD, CA 818-760-8733 Basic Rate: call for info
Format: digital Pro Tools and vintage analog
A producer’s private facility ready to serve you.   Email: info@paramountrecording.com Basic Rate: please call for info
Web: paramountrecording.com BIG CITY RECORDING STUDIOS
Great live drum room! Neumann mic 17021 Chatsworth St.
Los Angeles, CA 90048 Format: digital and analog, 96+ tracks
Basic Rate: call for daily lockout rates Granada Hills, CA 91344 CHALICE RECORDING STUDIO
323-655-0615 818-366-0995 845 N. Highland Ave.
Email: jimmy@jimmyhunter.com Email: paul@bigcityrecording.com Los Angeles, CA 90038
Web: jimmyhunter.com ANDY CAHAN-DEMO DOCTOR
Cathedral City, CA Web: bigcityrecording.com 323-957-7100 Fax 323-957-7110
Contact: Jimmy Hunter, owner/producer/engineer/ Contact: Paul Email: sandra@chalicerecording.com
drummer/vocalist/in-studio vocal coach  818-489-4490
Email: andycahan@verizon.net Format: digital and analog, unlimited tracks Web: chalicerecording.com
Format: State of the Art Pro Tools 10 HD6 Web: allentertainment.net Basic Rate: call for info Format: digital and analog
Basic Rate: Call for a free consultation to discuss  Contact: Andy Basic Rate: please call for info
Clients: Todd Stanford, Brian Barnhouse, Bobby Format: digital and analog, 24+ tracks BIG SCARY TREE
Barth, Stacey Evans, Ben Forat, Crimson Crout, Basic Rate: please call for info North Burbank Adjacent CHARLES LAURENCE PRODUCTIONS
Savannah Phillips, Carl (Cix Bits) Summers, Dee 213-680-8733 19002 Los Alimos St.
Archer, Steve Warnick, Dr. Gary Abrams (Dr; Alias), ARDENT AUDIO PRODUCTIONS Email: bigscarytree@gmail.com Northridge, CA 91326
Ivy Lite Rocway, Carol Casey  22122 S. Vermont Ave., Unit E Web: bigscarytree.com 818-368-4962
Torrance, CA 90502 Format: digital and analog, 64 tracks Email: charles@aol.com
AB AUDIO VISUAL 310-782-0125 Basic Rate: please call for info Web: clpstudios.com
Southern California Email: rwenzelaap@gmail.com Gear: 2” Analog 24 track plus Pro Tools HD 24 Contact: Charles Laurence
(Toll Free) 877-ABAUDIO (877-222-8346) Web: ardentaudioproductions.com in and out, comfortable large control room, large Format: analog and digital, 24 tracks
Email: abaudio01@me.com Contact: Rich Wenzel tracking room plus 4 iso booths, large format Basic Rate: please call for info
Web: abaudio.com Format: Pro Tools HD-3 console over 30 channels of class A mic pre’s and
Contact: Arlan Boll Basic Rate: call for rates compressors, very large mic locker both vintage and CHESSVOLT STUDIOS
new, the biggest nicest vintage guitar and amplifier Van Nuys, CA 91402
ABET MUSIC ARTISAN’S LABEL RECORDING STUDIO collection in town all available for tracking. 419-827-8411
411 E. Huntington Dr., Ste. 170-372 2454 Fender Ave., Ste. E Services: Specializing in recording organic Email: info@chessvolt.com
Arcadia, CA 91006 Fullerton, CA 92831 musicians and bands in a great space utilizing an Web: chessvolt.com
866-574-0275 646-663-5678 amazing gear collection all for an affordable day rate Contact: Landry Malick, Studio Manager
Email: info@abetpublishing.com Email: service@artisanslabel.com Format: Pro Tools HD Accel3 and MCI 2-inch 24
Web: abetmusic.com Web: artisanslabel.com BIG SURPRISE MUSIC track. Vintage 48 channel Neve Console.
Contact: Aeron Nersoya Contact: Michael Filson 16161 Ventura Blvd., Ste. C #522 Basic Rate: call for Indie artist specials
Format: digital and analog, 96 tracks Format: digital, 128 tracks Encino, CA. 91436
Basic Rate: $355/hr. Basic Rate: please call for info 818-613-3984 CLEAR LAKE RECORDING STUDIOS
Email: info@carmengrillo.com 10520 Burbank Blvd.

July 2017 musicconnection.com 57


Directory of U.S. Recording Studios

N. Hollywood, CA 91601 949-515-9942 Fax 949-515-4230 818-662-0670 EASTWEST RECORDING STUDIOS 


818-762-0707 Email: nick@conwayrecording.com Format: digital and analog 6000 W. Sunset Blvd. 
Email: contact@clearlakerecording.com Web: costamesastudios.com Basic Rate: call for information Hollywood, CA 90028 
Web: clearlakerecording.com Format: digital and analog 323-957-6969 Fax 323-957-6966 
Contact: Eli Smith - Manager/Eric Milos - Owner Basic Rate: please call for info D.M. GREMLIN STUDIOS Email: candace@eastweststudio.com 
Rates: from $60 per hour, call for a personalized 6053 Atlantic Ave. Web: eastweststudio.com 
quote. DAVE WATERBURY PRODUCTIONS Long Beach, CA 90805 Contact: Candace Stewart 
For more affordable rates ask about recording Laurel Canyon and Magnolia Blvd. 866-334-4364 Format: Analog and Digital 
in Studio B Valley Village, CA 91607 Email: studio@dm-gremlin.com Rates: Call for Daily Rate or Block Bookings 
Format: Full band tracking with Pro Tools HDX v12 818-505-8080 Web: dm-gremlin.com Gear: 80 Chnl Neve 8078, 40 Chnl Neve  Custom
or 24 Track Analog Tape Email: davewaterbury91607@yahoo.com Contact: Wendy Levin 8028, 40 Chnl Trident “A” Range, 64 Chnl SSL G +,
Gear: Vintage Microphones, Vintage Trident 80b Web: davewaterbury.net Format: digital Fairchild 670, Bricasti, EMI REDD 47 mic pre, GT
Contact: Dave Basic Rate: $35/hr; mastering starts at $50/hr Vipre Tube mic pre, Urie 1176LN, Teletronix LA-2A,
Console, Yamaha C7 Grand Piano, Hammond B3, Avalon AD2044, Pultec EQP-1A3, Lexicon 960L,
Selection of Amps and Guitars, Large Selection of Format: Pro Tools HD.2
Basic Rate: call for info D.O’B. SOUND AMS RMX16, GML 8200, AKG C12’s, Neumann
outboard including: Neve 1073’s Sidecar, 5 Pultec U67’s, Neumann U47’s, Neumann M50’s,
Eqp3a, 3 UREI 1176’s, LA2A, Distressors, Tube 8531 Wellsford Pl., Ste. I
DBW PRODUCTIONS Santa Fe Springs, CA 90670 Telefunken ELA-M 251’s, Sony C55p’s, Coles
Tech, Allen Smart Smart C2, and much more! 4038’s, Royer R-121’s. MKH-800’s, AEA- 440
Comments: With our large tracking room and Woodland Hills, CA 91367 562-464-9456
818-884-0808 Email: dobsound20@yahoo.com Services: Orchestra tracking, band tracking,
first class facilities, we are the high end LA studio mixing, live performances, events in famous vintage
accessible to everyone. Email: info@dbwproductions.com Web: dobsound.net
Web: dbwproductions.com Contact: Larry Ramirez, Derek O’Brien studios. Private Lounges and Outside Deck
Contact: David Chamberlin Basic Rate: call for quote Clients: Frank Sinatra, Justin Timberlake, John
COCKPIT STUDIO Legend, Frank Ocean, Ariana Grande, Lady
Avil Music Productions Format: digital, unlimited tracks Services: Full recording, Mixing and Mastering
Basic Rate: $75/hr. Studio, Video Production, 5 fully-equipped Gaga, John Mayer, The Beach Boys, The
21226 Ventura Blvd #208 Mamas & the Papas, The Foo Fighters, The
Woodland Hills, CA rehearsal rooms and guitar repair shop.
DIAMOND DREAMS MUSIC Red Hot Chili Peppers, Elton John, Demi
818-397-9849 Lovato, Justin Bieber, Shania Twain, Keith
Email: record@thecockpitstudio.com North Orange County DRUM CHANNEL STUDIOS
Carbon Canyon, CA 91709 900 Del Norte Blvd. Urban, Weezer, Sum41, The Goo Goo Dolls,
Web: thecockpitstudio.com Blink-182, Third Eye Blind, Animal Collective, Jim
909-393-6120 Oxnard, CA 93030
Email: info@diamonddreamsmusic.com 866-439-7924 James, Dawes, Madonna, Rihanna, Nas, Common,
CONSUELO STUDIOS Miguel, Michael Buble, Metallica, Slayer, Faith Hill,
Hollywood Hills, CA 90068 Web: diamonddreamsmusic.com Email: info@drumchannel.com
Format: digital, unlimited tracks Web: drumchannel.com U2, Fiona Apple, Akon, Bruce Springsteen, Dwight
323-876-1168 Yoakam, Rage Against the Machine, Jason Mraz,
Email: bretlthompson@earthlink.net Basic Rate: Please call us for a quote Contact: Papillon Zamprioli Ella Fitzgerald, Johnny Cash, Jimmy Cliff, Jerry
Web: consuelostudios.com Format: Analog and Digital Lee Lewis, Garbage, Muse, Iggy Pop, Bob Dylan,
Contact: Bret Thompson THE DEN RECORDERS, THE Basic Rate: Call for info Whitney Houston, The Rolling Stones, Stone
Format: Pro Tools HD Native 16x16 IO w/ Vintage P.O. Box 2627 Temple Pilots, Foster The People, M83, Tina
Analog Console Pasadena, CA 91102 EAGLE ROCK STUDIOS Turner, Stephen Stills and Neil Young.
Basic Rate: $75 per hr with engineer 626-529-3066 Los Angeles, CA 90041
Email: info@thedenrecorders.com 310-867-9091 ECHO BAR RECORDING STUDIO
CONWAY RECORDING STUDIOS Web: thedenrecorders.com Email: record@eaglerockstudios.us 7248 Fulton Ave.
5100 Melrose Ave. Contact: Josh Young, Darian Cowgill Web: eaglerockstudios.us North Hollywood, CA 91605
Hollywood, CA 90038 Format: digital HD, video-online offline/audio/ Format: Analog and Digital 818-738-7320
323-463-2175 Fax 323-463-2479 mixing/mastering 5.1 Basic Rate: Call for info Web: echobarstudios.com
Email: Stacey@conwayrecording.com Basic Rate: call for info Contact: Erik Reichers, Bob Horn
Web: conwayrecording.com EARTHSTAR CREATION CENTER Format: call for information
Format: digital and analog DESIGN FX REMOTE RECORDING 505 Rose Ave. Venice, CA 90291 310-581-1505 Basic Rate: call for info
Basic Rate: please call for info P.O. Box 491087 Email: earthstarstudio@gmail.com
Los Angeles, CA 90049 Web: earthstarvenice.com ECUASOUND PRODUCTIONS
COOK UP RECORDS 818-843-6555, 800-441-4415 Contact: John X Volaitis 1540 N. Highland Ave., Ste. 107
5253 Lankershim Blvd. Email: gary@dfxaudio.com Format: see website for equipment list Hollywood, CA 90028
North Hollywood, CA 91601 Web: dfxaudio.com Basic Rate: call or email for info 323-467-0383
818-850-2642 Contact: Gary Ladinsky Email: ecuasound@ecuasoundproduction.com
Email: info@cookuprecords.com Format: API console, Pro Tools, Analog, portable EASTSIDE MANOR Web: ecuasoundproductions.com
Web: cookuprecords.com rigs available 615-878-2137 Contact: Ivan Castro
Basic Rates: See website or call for rates Basic Rate: please call for info Los Angeles, CA Format: Pro Tools
Contact: Jay Tooke, Studio Mgr. Basic Rate: $70/hr. includes engineer
COSTA MESA STUDIOS DIAM ENTERTAINMENT Email: jay@esmstudios.com
711 W. 17th St., Ste. D 3734 San Fernando Rd. Web: eastsidemanor.com EL CERRITO STUDIO
Costa Mesa, CA 92627 Glendale, CA 91204 Format: Neve VR48 Legend P.O. Box 625

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El Cerrito, CA 94530 FEVER RECORDING STUDIOS 818-269-7070 GOLD STREET


510-776-3623 5739 Tujunga Ave. Contact: Thomas LeBlank Burbank, CA 91504
Email: contact@elcerritostudio.com N. Hollywood, CA 91601 Format: Digital and Analog 818-567-1911
Web: elcerritostudio.com 818-762-0707 Rates: call for rates Email: avpost@goldstreet.net
E-mail: contact@clearlakerecording.com Web: goldstreetmusic.com
ELEVATED AUDIO Web: feverrecording.com FRIDAY ENTERTAINMENT Contact: Eric Michael
14677 Aetna St. Contact: Eli Smith - Manager/Eric Milos - Owner Sherman Oaks, CA Format: digital, 128 tracks
Van Nuys, CA 91411 Rates: Please call to discuss a personalized quote. 818-995-4642 Basic Rate: Start $40/hr.
818-909-9029 Format: Full featured, and private boutique Email: info@fridayentertainment.com
Email: elevatedaudio@gmail.com recording experience. Studio A features two private Web: fridayentertainment.com GRANDMASTER RECORDERS LTD.
Web: elevated-audio.com lounges, private parking, and runner services. Contact: Sam Dress 1518 N. Cahuenga Blvd.
Contact: Fran Gear: SSL 4000G, Augsburger Mains with dual Format: Digital Hollywood, CA 90028
Format: Digital, Analog, or both 18” Subs, large selection of high end outboard and Basic Rate: call for info 323-462-6136
Basic Rate: call for info, no walk-ins microphones. Services: recording, mixing film editing, sound to Email: meandu@roadrunner.com
Comments: Fever Recording Studios offers a truly picture. Great live room for Jazz, Folk etc. Web: grandmasterrecorders.com
ELITE REHEARSAL private and boutique recording experience all while Contact: Jimmi Mayweather, Studio Manager
1641 Naud St. maintaining the service and amenities expected FUEL MUSIC STUDIO Format: digital and analog, 24 tracks
Los Angeles, CA 90012 with a first class commercial recording studio. 1150 E Valencia Basic Rate: please call for info
323-384-9067 Fullerton, CA 92831
Email: eliterehearsal@yahoo.com FIREWATER STUDIOS 714-809-2107 GROOVE LAB, THE
Web: facebook.com/eliterehearsal Los Angeles Email: fuelmusic@hotmail.com West Hills, CA 91326
Basic Rate: call or email for info 310-354-5901 Web: fuelmusicstudio.com 818-903-0005
Email: info@firewaterstudios.com Email: olivierroulon@thegroovelab.org
ENCORE STUDIOS Web: firewaterstudios.com Web: thegroovelab.org
FWDPRO Contact: Olivier
721 S. Glenwood Pl. Contact: Billy Graziadei
Burbank, CA 91506 3391 Robertson Place Format: digital, 32+ tracks
Format: Pro Tools HD4 Los Angeles, CA 90034
818-842-8300 Basic Rate: call for rates Basic Rate: call for rates
Email: info@paramountrecording.com 310-853-9124
Web: paramountrecording.com/studios/encore Contact: Matthew Nelson, Producer/Engineer HELL’S HALF ACRE
FITTING ROOM STUDIO
Format: digital and analog Canoga Park, CA Email: booking@fwdpro.com Frazier Park, CA
Basic Rate: call for daily rates. 310-717-4739 Web: fwdpro.com Email: info@stevekravac.com
Email: fittingroomstudio@yahoo.com Rates: $40/75 hr Web: stevekravac.com
ES AUDIO SERVICES Web: fittingroomstudio.com Contact: Steve
1746 Victory Blvd. Format: see website for equipment list GC STUDIOS Format: Digital
Glendale, CA 91201 Basic Rate: call for info 6400 Owensmouth Ave. Basic Rate: $50 hr
818-505-1007 Woodland Hills, CA 91367 Services: Live tracking, mixing, and mastering with
Web: esaudio.com FONOGENIC STUDIOS 818-883-4427 R.I.A.A. Gold Accredited producer/engineer/mixer
Contact: Donny Baker 7710 Haskell Ave. Email: TimothyH076912@guitarcenter.com Steve Kravac.
Format: Pro Tools and Logic, Analog Front End Van Nuys, CA 91406 Web: gcstudios.com Clients: Less Than Jake, MxPx, Blink 182,
Basic Rate: Please call for current rates 818-305-HIFI (4434) 7-Seconds, Pepper, Epitaph, SideOne/Dummy,
Email: info@fonogenic.com GLENWOOD PLACE STUDIOS Capitol, Atlantic, A&M, Tooth & Nail
EXPOSITION REHEARSAL & Web: fonogenic.com 619 S. Glenwood Pl.
RECORDING STUDIOS Clients: see client list Burbank, CA 91506 HENSON RECORDING STUDIO
9214 Exposition Blvd. 818-260-9555 1416 N. La Brea Ave.
Los Angeles, CA 90034 FOREWORD PRODUCTIONS Email: kit@glenwoodstudios.com Hollywood, CA 90028
310-287-1236 RECORDING STUDIO Web: glenwoodstudios.com 323-856-6690, Fax 323-856-2712
Email: contact@expositionstudios.com 3391 Robertson Pl. Contact: Kit Rebhun Email: faryal@hensonrecording.com
Web: ExpositionStudios.com Los Angeles, CA 90034 Format: digital and analog Web: hensonrecording.com
Studio Specs: Control Room 20ft x 20ft Live Room 310-853-9124 Basic Rate: call for info Contact: Faryal Russell
20ft x 12ft Email: booking@fwdpro.com Format: SSL SL 6072E/G, 4072G+, 6056/G,
Rates: Please Call For Rates Web: forewordstudio.com GOLDENTRACK STUDIO 9090J, Augsperger, 8 Neve
Contact: Matthew Nelson San Diego, CA Rate: call for info
THE FAB FACTORY Format: Pro Tools HD3 - 32 ins/16 outs (Mac Pro) 619-252-8763
13324 Sherman Way Basic Rate: $75/hr. w/ engineer Email: record@goldentrackstudio.com HIT SINGLE RECORDING SERVICES
North Hollywood, CA 91605 Web: goldentrackstudio.com 1935C Friendship Dr.
818-435-4070 FREEDOM STUDIOS Contact: Steve El Cajon, CA 92020
Email: shaun@thefab-factory.com 17050 Los Alimos Format: digital and analog, 24 tracks 619-258-1080
Web: fabfactorystudio.com Granada Hills, CA 91344 Basic Rate: please call for info Email: hitsingle@earthlink.net
Basic Rate: please call for info Web: hitsinglerecording.com

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Directory of U.S. Recording Studios

Contact: Randy Fuelle JC SOUND STAGES/RECORDING STUDIOS Email: info@lagunasoundstudio.com MARC GRAUE VOICEOVER RECORDING
Format: digital and analog 6670 Lexington Ave. Web: agunasoundstudio.com STUDIOS
Basic Rate: please call for info Hollywood, CA 90038 Format: Logic Pro X, Pro Tools 11 3421 W. Burbank Blvd.
323-467-7870 Burbank, CA 91505
HOUSE OF BLUES STUDIOS Email: jcinhollywood@hotmail.com LAKE TRANSFER RECORDING 818-953-8991
4431 Petit Ave. Web: jcsoundstages.com 11300 Hartland St. Email: info@fixinthemix.com
Encino, CA 91436 Contact: JC North Hollywood, CA 91605 Web: fixinthemix.com
818-990-1296 Format: digital and analog, unlimited tracks 818-508-7158 Contact: Marc Graue
Email: info@houseofbluesstudios.com Basic Rate: see website for information Email: info@laketransfer.com Format: digital and analog
Web: houseofbluesstudios.com Web: laketransfer.com Basic Rate: please call for info
Format: digital and analog, 48+ tracks JEL RECORDING STUDIOS Format: Pro Tools
Basic Rate: call for rates 6100 W. Coast Hwy. Basic Rate: $50. per hr MARTINSOUND RECORDING STUDIOS
Newport Beach, CA 92663 1151 W. Valley Blvd.
HUMAN TOUCH PRODUCTIONS 949-631-4880 LAFX RECORDING SERVICES Alhambra, CA 91803
Helping Songwriters & DIY home recordists Email: shelly@jelrecording.com P.O. Box 827 800-582-3555 626-281-3555
5066 Lankershim Blvd. Web: jelrecording.com North Hollywood, CA 91603 Email: dblessinger@martinsound.com
North Hollywood Arts District, CA 91601 Contact: Shelly Guidotti 818-769-5239 Fax 818-769-7288 Web: martinsound.com
818-235-2070 (cell/text) Format: digital, 100+ tracks Email: info@lafx.com Contact: Dan Blessinger
Email: bradstanfield@gmail.com Basic Rate: please call for info Web: lafx.com Format: digital and analog, 32 tracks
Web: BradStanfieldMusic.com Contact: Dan or Anne Vicari Basic Rate: please call for info
Contact: Brad J.E. SOUND Format: digital and analog, 24 tracks
Format: Pro Tools HD Burbank, CA Basic Rate: please call for info MAR VISTA RECORDING STUDIO
Services: Helping your DIY home studio recordings 323-850-0765 Mar Vista, CA
and mixes sound fuller and better; Mastering to CD, Email: jesound@jps.net LARRABEE SOUND STUDIOS 310-467-0889
iTunes and other online digital formats plus music Web: jesound.com 4162 Lankershim Blvd. Email: remmusic@verizon.net
mixes for TV shows! Pro vocalists and musicians Contact: John Universal City, CA 91602 Web: jerrymanfredi.com
also available. Format: Analog & Digital 818-753-0717 Fax 818-753-8046 Contact: Jerry
Rates: Flexible! (Call, text or email to discuss your Basic Rate: Call for info Email: Amyb@larrabeestudios.com Basic Rate: Please call for information
project.) 
Web: larrabeestudios.com MASTER GROOVE STUDIOS / RADD SOUND
JRLDRUMS Contact: Amy Burr, Studio Manager
HYBRID STUDIOS Internet Drum Sessions Northridge, CA
3021 S. Shannon St. Format: digital and analog Nashville, TN
818-903-3690 Basic Rate: call for info
Santa Ana, CA 92704 Email: johnlewis@jrldrums.com 818-830-3822, 615-799-9366
714-850-1499 Web: jrldrums.com Email: davejavu@att.net
Email: info@hybridstudiosca.com LAUREN ENTERTAINMENT GROUP, THE Web: mastergroovestudios.com
Contact: John Lewis Sherman Oaks, CA 91403-3005
Web: hybridstudiosca.com Format: digital Contact: David Morse or John Prpich
Format: Analog and Digital 818-788-9784 Fax 818-788-9763 Format: digital, unlimited tracks
Basic Rate: $150-$250/song Email: info@laurengroup.com
Rates: Please call for rates Basic Rate: please call for rates
Web: laurengroup.com
Additional location: Contact: Len Kovner
HUMAN ELEMENT Phoenix, AZ MAURICE GAINEN PRODUCTIONS
(Post Studios) Format: digital and analog, 196+ tracks 4470 Sunset Blvd., Ste. 177    
480-374-3786 Basic Rate: please call for info
453 S. Spring St. Hollywood, CA 90027
Los Angeles, CA 90013 JUNGLE ROOM RECORDING STUDIO 323-662-3642
Email: post@humanelement.tv LA VALLEY COLLEGE Email: maurice@mauricegainen.com
604 1/2 Sonora Ave. RECORDING WORKSHOP
Web: humanelement.tv Glendale, CA 91201 Web: mauricegainen.com
Basic Rate: Call or email for information 5800 Fulton Ave. Contact: Maurice 
818-247-1991 Valley Glen, CA 91401-4096
Email: info@jungleroom.net Format: Logic Pro 10.2/ProTools 10 & 11
IGLOO MUSIC STUDIOS 818-947-2779 Basic Rate: Call for info. Indie rates avail.
Web: jungleroom.net Email: mike@thequimbyhouse.com
228 West Palm Ave. Contact: Kevin Anderson Gear: Pro Tools HD, Mac Intel 8 Core, Yamaha
Burbank, CA 91502 Web: thequimbyhouse.com, lavc.edu/music O2R Mixer, Waves Diamond, API, CLA Signature,
Format: digital and analog, 128 tracks Contact: Mike Julian
818-558-7733 Basic Rate: negotiable GTR Solo, JJP Signature, Kramer Tape
Email: gustavo@igloomusic.com Format: digital and analog, 24 tracks, Pro Tools Restoration, Reason, All Spectrasonics, Auto-Tune,
Web: igloomusic.com editing Bomb Factory and many other plug-ins, soft synths
KAIROS MUSIC GROUP Basic Rate: please call for info
Contact: Gustavo Los Angeles, CA and EFX. Avalon 737, ART Dual-MP, DBX 160X
Basic Rate: call or email for info and other outboard gear. Neumann U47 fet and
Email: admin@kairosmusicgroup.com LITTLE BIG ROOM STUDIOS many other excellent mics, Genelec speakers w/
IMAGINE POST PRODUCTIONS Web: kairosmusicgroup.com subwoofer, acoustic piano, 4 ADAT’s,
Basic Rate: email for info 2912 W. Burbank Blvd.
(Recording and Mixing) Burbank, CA 91505 Waves Horizon, U47 FET, much more.
4872 Topanga Canyon Blvd., Ste. 406   Special Services: Start to finish CD production.
KONSCIOUS STUDIOS 818-846-2991
Woodland Hills, CA 91364 Email: brad@littlebigroom.com CD Mastering, video editing. Top session players
310-924-7849 1655 9th St. at discount rates. Full-band recording. Vocalist
Santa Monica, CA 90404 Web: littlebigroom.com
Email: info@imaginepost.com Basic Rate: please call for info friendly, Berklee trained producer-musician-
Web: ImaginePost.com 310-980-9968 engineer.
Contact: Chris Julian Email: booking@konsciousstudios.com Clients: Starbucks (mastering for 185
Web: konsciousstudios.com LITTLE HIPSTER MUSIC STUDIOS
Format: Pro Tools HD3 / Logic Van Nuys, CA 91405 compilations), Disney, EMI, UNI, Warner, Sony,
Rate: call for info Contact: Dan or Ric Rafael Moreira, Alex Skolnick, Andy McKee, The
Basic Rate: call or email for info 818-731-1043
Email: contact@littlehipstermusic.com Hues Corp (“Rock The Boat”), Mighty Mo Rodgers,
IN FIDELITY RECORDINGS Web: littlehipstermusic.com Orchestre Surreal.
16824 Saticoy St. KRIS STEVENS ENTERPRISES Comments: 28 years in the same location.
Calabasas, CA 91302 Contact: David Snow
Van Nuys, CA 91406 Format: digital, 999 tracks Comfortable, casual, hard-working environment.
818-786-3144 818-225-7585 Consistent and dependable. Competitive rates.
Email: inquiry@kriserikstevens.com Basic Rate: call for info-all instrumentation
Email: david@infidelityrecordings.com included in hourly rate.
Web: infidelityrecordings.com Web: kriserikstevens.com MAXIMUS MEDIA, INC.
Format: digital and analog Contact: Christine Fletcher 2727 N. Grove Industrial Dr., Ste. 111
Format: digital and analog MAMBO SOUND AND RECORDING
Equipment/Facility: Pro Tools HD combined with 2200 W. Esther St. Fresno, CA 93727
analog equipment, including API, Avalon, Urei, Basic Rate: call for info 559-255-1688
Long Beach, CA 90813
Lexicon, DBX, 1176, LA2A, Neumann and more. 562-432-9676 Email: ray@maximusmedia.net
1,000 sq. ft. including 16x20 tracking room and two L.A. ENTERTAINMENT, INC. Web: tothemax.com
7095 Hollywood Blvd., Ste. 826 Email: steve@manbosoundandrecording.com
additional isolations. Web: mambosoundandrecording.com Format: digital and analog
Services: We offer personalized and professional Hollywood, CA 90028 Basic Rate: please call for info
800-579-9157 Ext. 1 Contact: Steve McNeil
services, including recording, mixing and mastering. Format: digital and analog, 48 tracks
$600/day or $60/hour with experienced staff that Email: info@laeg.net MELROSE MUSIC STUDIOS
Web: laeg.net Basic Rate: call for info
treats every project with care and attention to detail. (on the Raleigh Studios Lot)
Basic Rate: $60/hr Contact: Jim Ervin 5254 Melrose Blvd.
Format: digital and analog, 48 tracks MARC DESISTO PRODUCTIONS Hollywood, CA 90038
JAGGO STUDIOS Basic Rate: call for info Sherman Oaks, CA 818-216-5409
Hollywood Hills, CA 90068 818-259-4235 Email: melrosemusic@mac.com
323-850-1819 LAGUNA SOUND STUDIO Email: marcdmix@gmail.com Web: facebook.com/melrosemusicstudios
Email: studios@jaggo.com 381 Forrest Ave., Ste. D Web: marcdesisto.com Contact: David Williams
Web: jaggo.com/studios Laguna Beach, CA 92651 Contact: Marc DeSisto Format: analog and digital processing
Format: Pro Tools HD3 Accel 949-395-9400 Format: Pro Tools HD Basic Rate: recording: Studio A $60/hr, Studio B
Basic Rate: Call us for a rate sheet Contact: Gary Hicks, Studio Manager Basic Rate: please call for info $45/hr. Special prices for day rates.

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METROSTUDIOS Web: nightbirdrecordingstudios.com Hemet, CA 92544 Email: music@pyramaxis.com


San Fernando Valley, CA Contact: Angelo Caputo 951-652-8742 Web: pyramaxis.com
818-366-5588 Format: Pro Tools 12 HDX Email: galletta@parkhillmusic.com Contact: Jim D.
Email: tom@metrostudios.com Basic Rate: call for prices Web: parkhillmusic.com Format: ProTools HD, Logic
Web: metrostudios.com Contact: Eric Galletta Services: world class production, mixing,
Basic Rate: call for info NIGHT SKY SOUND Format: digital and analog, 48 tracks mastering, music for media
3420 Laketree Dr. Basic Rate: negotiable call us Basic Rate: $80 Hourly, Project Rates - Call for
MIX ROOM, THE Fallbrook, CA 92028 details.
2940 W. Burbank Blvd. 760-731-6434 PAWN SHOP STUDIO
Burbank, CA 91505 Email: inquiries@nightskysound.com 14819 Oxnard St. RACE HORSE STUDIOS
818-846-8900 Web: facebook.com/NightSkySoundStudios Van Nuys, CA 91405 3780 Selby Ave.
Email: info@themixroom.com Contact: Steve Donato, Owner, Producer/Engineer 818-982-7763 Los Angeles, CA 90034
Web: themixroom.com Format: MOTU DP8/Logic/Pro Tools/Apogee and Email: Pawnshopstudio@hotmail 310-280-0175 Fax 310 280-0176
Format: digital and analog, 128 tracks Studer A827 Gold analog Web: pawnshopstudio.com Email: duncan@racehorsestudios.com
Basic Rate: please call for info Basic Rate: Contact us to discuss your project Format: API mic pres, Lynx Aurora Converters Web: racehorsestudios.com
Basic Rate: call (or list your rates here) Contact: Duncan Macfarlane
M L E STUDIOS NRG RECORDING SERVICES Format: digital, 192 tracks
P.O. Box 93008 11128 Weddington St. PENGUIN RECORDING Basic Rate: please call for info
Hollywood, CA 90093-0008 North Hollywood, CA 91601 P.O. Box 91332
866-246-8846 818-760-7841
Email: Jillian@nrgrecording.com Pasadena, CA 90041 RAINMAN STUDIOS, INC.
Email: mail@mlestudios.com 323-259-8612 Fax 323-259-8613 Montrose, CA 910208
Web: mlestudios.com Web: nrgrecording.com
Contact: Kylie Higginbotham Email: john@penguinrecording.com 818 468 5701
Contact: Col. Darryl Harrelson Web: penguinrecording.com Email: PlatinumMixes@gmail.com
Format: digital/analog, Pro Tools HD2 Accel Format: digital and analog
Basic Rate: Call for details Contact: John Strother Web: MutiPlatinums.com
Basic Rate: $45/hr. or flat rate per song/project Format: digital and analog, 48 tracks Contact: David “Rain” Banta
OC RECORDING COMPANY, THE Basic Rate: please call for info Format: Cubase 9 wide selection of top vintage
MMP REHEARSAL’S THE VAULT microphones, keyboards, and drum machines
453 S. Spring St. Ste. B5 3100 W. Warner Ave., Ste. 7
Santa Ana, CA 92704 THE PIE STUDIOS Clients: “Bone Thugs-N-Harmony”, Snoop Dogg,
Los Angeles, CA 90013
213-283-7485 323-244-9794 Pasadena, CA Tracie Spencer, “The Roots”,  “Pharcyde, “Do
Email: info@mmprehearsal.com Email: info@ocrecording.com 714-606-3770 or Die”, Fox Sports, Warner Brothers Television,
Web: facebook Web: ocrecording.com Email: info@thepiestudios.com Capitol Records, TVone, Nascar. 
Basic Rate: $20-$45/hr Contact: Asaf Fulks, Engineer and Producer Web: thepiestudios.com Basic Rate: please call for info
Format: Analog and Digital, Pro Tools HD 11, Sony
MORNING VIEW STUDIOS C-800G, Neve 1073, Neumann, Avalon PLASTIC DOG RECORDING READY MIX MUSIC
P.O. Box 4225 Styles: All music genres, ADR and Voice Overs, 12257 Venice Blvd. 5635 Lankershim Blvd.
Malibu, CA 90265 World Class Recording, Mixing, Mastering & Los Angeles, CA 90066 North Hollywood, CA 91601
310-924-9697 Production 310-795-1526 818-388-2196
Basic Rate: Please call for info. Contact: Coln Liebich Email: studio@readymixmusic.com
Fax 310-457-5382
Email: sternalbert@gmail.com Email: colin@plasticdogrecording.com Web: readymixmusic.com
OCEAN STUDIOS BURBANK Web: plasticdogrecording.com Contact: Paul or Sarah
Contact: Shawn Stern 435 S. San Fernando Blvd.
Format: digital and analog, 92 tracks Format: Pro Tools
Burbank, CA 91502 PLATINUM STUDIO Basic Rate: Call for info
Basic Rate: please call for info 818-955-9010 Van Nuys, CA 91411
Email: info@oceanstudiosburbank.com 818-994-5368 RE-AMP STUDIOS
MOUNTAIN DOG MUSICWORKS Web: oceanstudiosburbank.com
485 Ventura Ave., Ste. E3 Email: paulhilton123@sbcglobal.net 15441 Red Hill Ave., Ste. G
Format: digital and analog Web: paulhiltonmusic.net Tustin, CA 92780
Oak View, CA 93022s Basic Rate: please call for info
805-649-8500 Contact: Paul Hilton 949-390-9876
Web: mountaindogmusic.com OLD BOOTS RECORDING STUDIO Format: digital, 200 stereo tracks Email: info@reampstudios.com
Contact: Tim Frantz 14947 Gilmore St. Basic Rate: please call for info Web: reampstudios.com
Format: digital Van Nuys, CA 91411 Contact: Tyler Wirtz, Engineer
Basic Rate: please call for info 818-785-8611 PLAYBACK RECORDING STUDIO Format: Pro Tools 10 HD
Email: greggb69@yahoo.com 400 E. Gutierrez St. Rates: call or see our website for rates
MUZICARD Web: oldbootsrecordingstudio.com Santa Barbara, CA 93101
Nashville TN 805-730-7529, 917-331-0429 REAL LINE MUSIC
844-689-4227 X3 PACIFICA STUDIOS Web: playbackrecording.com 1141 Sewart St.
Web: muzimusic.com 2620 La Cienega Ave. Hollywood, CA, 90038 USA
Format: ProTools Los Angeles, CA 90034 PPL RECORDED MUSIC COMPANY 323-377-0436
Basic Rate: contact us 310-559-9777 (A PPL Entertainment Group Company) Email: info@reallinemusic.com
Web: pacifica-studios.hub.biz 468 N. Camden Dr., Ste. 200 Web: reallinemusic.com
MY SONIC TEMPLE Contact: Glenn Beverly Hills, CA 90210 Contact: Ashley Jones
13200 Warren Ave Format: Pro Tools 310-860-7499, 818-506-8533 Format: Digital and analog, 32 tracks
Los Angeles, CA 90066 Basic Rate: please call Email: pplzmi@aol.com Basic Rate: please call for info
310-944-1994 Web: pplzmi.com
Web: mysonictemple.com PACIFIQUE RECORDING STUDIOS Contact: Jim Sellavain RECORD PLANT
10616 Magnolia Blvd. Format: Analog, digital, AVID, Apple Final Cut, Pro 1032 N. Sycamore Ave.
MYSTICAL ARTS RECORDING STUDIO North Hollywood, CA 91601 Tools, DVD authoring Hollywood, CA 90038
23550 Ehlers Dr. 818-761-8042 Fax 818-761-9277 Basic Rate: please call for info 323-993-9300 Fax 323-466-8835
Chatsworth, CA 91311 Email: tony@pacifiquestudios.com Email: Jeff@recordplant.com
818-262-9951 Web: pacifiquestudios.com PRIVATE ISLAND TRAX Web: recordplant.com
Email: JamesFuria@aol.com Format: digital and analog, 64 tracks 1882 S. Cochran Ave. Contact: Jeff Barnes
Web: mysticalartsrecording.com Basic Rate: $200/hr. Los Angeles, CA 90019 Format: digital and analog
Contact: James Furia 323-856-8729 Basic Rate: please call for info
Format: Digital PANGEA
P.O. Box 591 Email: info@privateislandtrax.com
Basic Rate: 35/hr see website for details Web: privateislandtrax.com RESONATE MUSIC & SOUND
Topanga, CA 90290
310-455-2356 Format: digital, Pro Tools 449 S. San Fernando Blvd.
NEW MILLENNIUM RECORDS GROUP Basic Rate: please call for info Burbank, CA 91502
1750 Vine St. Email: pangea@verizon.net
Web: pangeaproduction.com 818-567-2700
Los Angeles, CA PRODUCTION COMPANY RECORDING, Email: inquire@resonate.la
323-962-5960 Format: digital and analog, 48 tracks
Basic Rate: please call for info MASTERING & REHEARSAL STUDIO, THE Web: resonate.la
Email: info@nmrgonline.com 673 Valley Dr. Format: Digital and Analog
Web: facebook.com/TimSimmsIam Hermosa Beach, CA 90254 Basic Rate: call for info
Contact: Tim Simms PARAMOUNT RECORDING STUDIOS
6245 Santa Monica Blvd. 310-379-6477
Format: digital, unlimited tracks
Basic Rate: negotiable rates Los Angeles, CA 90038 Email: rockzionrecords@rockzion.com REVOLUTION 9 RECORDING STUDIOS
323-465-4000 Fax 323-469-1905 Web: rockzion.com/productionco.html 1041 N. Orange Dr.
NIGHTBIRD RECORDING STUDIOS Email: booking@paramountrecording.com Format: 2-inch Ampex 16 track and Trident Mixing Hollywood, CA 90038
At The Sunset Marquis Hotel & Villas Web: paramountrecording.com Console, Pro Tools and Analog Mastering 323-405-7389
1200 Alta Loma Rd. Format: digital and analog, 96+ tracks Basic Rate: $50 per hour Email: booking@rev9recording.com
West Hollywood, CA 90069 Basic Rate: call for rates Web: rev9recording.com
310-657-8405 PYRAM-AXIS PRODUCTIONS Contact: Daniel Balistocky
PARK HILL MUSIC Redondo Beach, CA 90278 Format: Pro Tools 9 and Cubase 7.5
Email: manager@nightbirdrecordingstudios.com P.O. Box 5247 310-869-8650 Basic Rate: Call for rates

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Directory of U.S. Recording Studios

RIOTVAN S1 STUDIOS Email: brett@seanceroom.com Email: alex@sonikwire.com


323-868-0240 219 N. Harbor Blvd, Ste. K Web: seanceroom.com Web: sonikwire.com
North Hollywood, CA Fullerton, CA Contact: Brett Cookingham Contact: Alex Bush
Email: jason@riotvanproductions.com  714-446-8742 Format: Apple Mac Pro 8 core, Pro Tools 10 HD3 Format: digital and analog, 60 tracks
Web: riotvanproductions.com  Email: info@s1studios.com Basic Rates: Call for rates Basic Rate: call for info
Format: Pro Tools HD,Tube Preamps, Neumans Web: s1studios.com
and nice guys. Basic Rate: call for rates SIGNATURE SOUND SONORA RECORDERS
Basic Rate: call for rates 5040 Ruffner St. 3222 Los Feliz Blvd.
Comments: Good Sound is about the people and SAGE AND SOUND RECORDING San Diego, CA 92111 Los Angeles, CA 90039
the songs. Hollywood, CA 90028 858-268-0134 323-663-2500
323-469-1527, 818-563-1176 Email: info@signature.com Email: ductape@aol.com
ROBERT IRVING PRODUCTIONS, INC. Email: info@sageandsound.com Web: signaturesound.com Web: sonorarecorders.com
Woodland Hills, CA 91367 Web: sageandsound.com Basic Rate: call for info Contact: Richard
818-224-3633 Contact: Bryan McCurry, Studio Manager Basic Rate: call for information
Email: rirving@pacbell.net Format: Protools, 24 Track SIX01 STUDIO
Web: robertirving.com Basic Rate: call for info 630 S. Flower St. SOTTO VOCE STUDIO
Contact: Robert/Tim Burbank, CA 91502 Sherman Oaks, CA 91423
Format: Digital Performer or Logic, Pro Tools SANCTUARY SOUND 323-639-0451 818-694-3052
Basic Rate: flexible 7053 Rubio Ave. Email: info@sottovocestudio.com
Notes: 3 great live rooms, Yamaha DC-7 Grand Email: anthony@stonepagodainc.com,
Van Nuys, CA 91406 Web: six01studio.com Web: sottovocestudio.com
Piano, vintage mic collection 818-989-9997 Format: digital, unlimited tracks, albums/film/TV
Email: foz@barryfasman.com SKIP SAYLOR Basic Rate: call for rates
ROSE STUDIOS Web: barryfasman.com
El Centro, CA P.O. Box 280010
Contact: Barry Fasman Northridge, CA 91328-0010 SOUNDCUBED STUDIOS - WEST
760-352-5774 Format: digital, 96 tracks 7080 Hollywood Blvd., Ste. 1017
Email: info@rosestudios.net 818-300-0400 Fax 818-881-7092
Basic Rate: please call for info Email: skipsaylor@gmail.com Hollywood, CA 90028
Contact: Danny Berg 310-880-1292
Web: dannyberg.org/private-recording-studio Web: skipsaylor.com Email: info@sound3studios.com
Format: digital, 48 tracks SANCTUS SOUND RECORDING COMPANY Contact: Skip Saylor
E. Anaheim St. Long Beach, CA 90803 Web: sound3studios.com
Basic Rate: please call for info. Format: digital and analog, HDX Contact: Myke Aaron
562-999-1332 Basic Rate: call for info
Web: sanctussound.com Format: digital, HD3
ROUND HILL MUSIC Gear: SSL 4100G+, Pro Tools HDX, Yamaha grand Basic Rate: negotiable
520 Broadway, 2nd Fl Contact: Peter Guinta piano, Hammond B3, TAD, Lexicon 480L,PCM70,
Santa Monica, CA 90403 Format: Pro Tools HD 9 and Logic Pro 9 PCM42 (4), AMS 1580 (2), AMS RMX-16 (2),
Basic Rate: please call for info SOUND FACTORY
310-428-0859 Yamaha, Pultec EQP1A (2), Neve, MicPre/EQ’s, 6357 Selma Ave.
Email: info@roundhillmusic.com API (15), EMT, Apogee, GML, Avalon, Distressors Hollywood, CA 90028
Web: roundhillmusic.com SANTA BARBARA SOUND DESIGN (4), Aphex, Manley, Roland, TC Electronics 2290,
33 W. Haley St. 323-469-1186 Fax 323-465-5579
Format: Digital and analog Fireworx, M3000, Eventide H3000, Eclipse, Email: mail@sunsetsound.com
Basic Rates: please call Santa Barbara, CA 93101 Instant Flanger, Urei LA2A, 1176LN, LA3A, DBX, Web: sunsetsound.com
805-965-3404 PanScan, Ampex ATR, BASE and more. Contact: Craig Hubler
RPD STUDIOS Email: dom@tekmstr.com Services: Studio is located in a secluded private Format: digital and analog, 48 tracks
1842 Burleson Ave. Web: sound-design.com environment with living accommodations for bands/ Basic Rate: call for rates
Thousand Oaks, CA 91360 Contact: Dom Camardella artists on property.
805-496-2585 Format: digital and analog, 192 tracks Clients: Beyonce,  Derek Dixie, Travis Kr8ts, Malik SOUND IMAGE
Email: rpdstudios@roadrunner.com Basic Rate: please call for info Yusef, Tamar Braxton, Master P., Julian Lennon, 15462 Cabrito Rd.
Web: rpdsound.com Glasses Malone w/ Kendrick Lamar, Icona Pop, Van Nuys, CA 91406
Contact: Randy SEAHORSE SOUND STUDIOS Pras (The Fugees) VMA awards, Art Dixie, Mindi 805-231-5728
Format: digital, 192 tracks 1336 S. Grand Ave. Abair, Booker T. Jones, Vintage Trouble, John Email: sound_image@msn.com
Basic Rate: $50/hr. Los Angeles, CA 90015 Jones, Alan Frew (Glass Tiger), Snoop Dogg, The Web: soundimage.us
909-210-2317 Game, B.o.B, Michael Jackson, Faith Evans, Mary Contact: Melody Carpenter
JAY RUSTON Email: seahorsesoundstudios@yahoo.com J. Blige, Pink, Goo Goo Dolls, Gary Taylor, Kevin Format: digital and analog
c/o Adam Mott Web: seahorsesoundstudios.com Teasley, Malcolm-Jamal Warner, Gregg Alexander, Basic Rate: please call for info
AJM Management Contact: Samur Keira Knightley, Jonathan Butler, Mali Music,
6200 Franklin Ave, Ste. 410 Format: analog and digital, 16 tracks Foo Fighters, Guns N’ Roses, Santana, k.d. lang, SOUND MATRIX STUDIOS
Los Angeles, CA 90028 Basic Rate: call for rates Tupac, Ice Cube, Eminem, R. Kelly, Avril Lavigne, 18060 Newhope St.
201-232-2384 Bobby Brown, Bootstraps, Israel Houghton, Jonny Fountain Valley, CA 92708
Email: jayruston@me.com, adam@ajmmgmt.co SEANCE ROOM Lang, Egyptian Lover, Rodney O & Joe Cooley, 714-427-9585, 714-437-9877
Web: jayruston.com 5800 Willis Ave. Too Short, E-40, W.C., Krazie Bone, Tyga, KRS- Email: chrismatrix@mac.com
Contact: Adam Mott Van Nuys, CA 91411 ONE, K. Michelle, Trey Smoov, Brian May, Boyz Web: soundmatrix.com
Basic Rate: call for info 818-915-1196 II Men, The Whispers, Death Cab For Cutie, Contact: Chris Whiting
Everclear, Jenni Rivera, Juan Rivera, Ana Barbara, Format: Pro Tools HD digital, 192 tracks
Mila J, Common Kings, Parenthood, Private Basic Rate: $50- 75/hr. package deals available
Practice, Iron Man 2, FIFA World Cup, Space Jam
soundtrack. SOUND OASIS STUDIO
Comments: Facility features a large high ceiling Sherman Oaks, CA
tracking room and excellent mix room built/owned 818-385-1775
by a 30+year veteran of the recording industry. Email: info@soundoasisstudio.com
Web: soundoasisstudio.com
SONIC FARM PRODUCTIONS Contact: Lance Crane
310-402-2390, 604-522-2646 Format: digital, 200+ tracks
Email: zoran@sonicfarm.com Basic Rate: call or see web
Web: sonicfarm.com
Contact: Zoran T. SOUND-TECH STUDIO
Format: digital and analog, 64 tracks, Neve analog 24300 Country Rd.
mixing Moreno Valley, CA 92557
Basic Rate: call for rates 951-243-6666
Email: soundtechstudio@yahoo.com
SONIC FUEL STUDIOS Web: facebook.com/soundtechmusic
150 Sierra St. Contact: Allan Johnson
El Segundo CA 90245 Basic Rate: please call for info
310-499-9274
Email: team@sonicfuelstudios.com S.R.S. / HIT RECORDS NETWORK
P.O. Box 6653
Web: sonicfuelstudios.com Santa Barbara, CA 93160
Contact: Kyrina Bluerose 805-964-3035
Format: Pro Tools, Euphonix board Web: tc_67.tripod.com
Rates: call for information Format: digital and analog, 35 tracks
Services: Sonic Fuel Studios is a state-of-the-art, Contact: Ernie Orosco, Greg Lewolt or Cory
eco-friendly tracking and mixing facility specializing Orosco
in film, television, and interactive media music. Basic Rate: please call for info
SONIKWIRE STUDIOS STAGG STREET STUDIO
Irvine, CA 15147 Stagg St.
949-851-9340

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62 July 2017 musicconnection.com


Download at musicconnection.com/industry-contacts

Van Nuys, CA 91405 San Diego, CA 92127 Web: sunspotprod.com


818-989-0511 858-592-9497 Contact: Rick Lawndale
Email: studio@staggstreetstudio.com Email: chris@studiowest.com Format: Pro Tools, 32 tracks
Web: staggstreetstudio.com Web: studiowest.com Basic Rate: call for rate information
Format: Pro Tools HD3 Format: SSL, Neve, ICON, Pro Tools HD6, Surround Sound, ISDN,
Basic Rate: please call for info Phone-Patch, ADR SWING HOUSE REHEARSAL & RECORDING
Basic Rate: call for rates 3229 Casitas Ave.
STEAKHOUSE STUDIO, THE Los Angeles, CA 90039
5161 N. Cartwright Ave. SUBURBAN SOUL STUDIOS, LLC 323-850-4990
North Hollywood, CA 91601-4075 Torrance, CA 90505 Email: info@swinghouse.com
818-802-0732 310-891-0006 Web: swinghouse.com
Email: kelle@steakhousestudio.com Email: info@suburbansoulstudios.com Format: digital, 24 tracks
Web: steakhousestudio.com Web: suburbansoulstudios.com Basic Rate: please call for info
Contact: Kelle Musgrave Basic Rate: call for rate information
Basic Rate: please call for info SUNSET SOUND THETA SOUND STUDIO
6650 Sunset Blvd. 1309 W Riverside Dr.
STEPPINGOUT PERFORMING ARTS & RECORDING STUDIO Hollywood, CA 90028 Burbank, CA 91506
11405 E. Firestone Blvd., Ste. E 323-469-1186 Fax 323-465-5579 818-955-5888 (call for appt.)
Norwalk, CA 90650 Email: mail@sunsetsound.com Email: studio@thetasound.com
562-929-1050 Web: sunsetsound.com Web: thetasound.com
Email: info@steppingoutstudio.com Contact: Craig Hubler Contact: Randall Michael Tobin
Web: steppingoutstudio.com Format: digital and analog, 48 tracks Basic Rate: call for rates
Contact: Steve Smith Basic Rate: call for rates
Format: digital THRESHOLD SOUND + VISION
Basic Rate: please call for info SUNSPOT PRODUCTIONS 2114 Pico Blvd.
912 Glendon Way Santa Monica, CA 90405
SPHERE STUDIOS Alhambra, CA 91803 310-566-6677 Fax 310-314-3826
323-574-1110 Email: micheleb@thresholdsound.com
10335 Magnolia Blvd. Email: ricklawndale@yahoo.com
North Hollywood, CA 91601 Web: thresholdsound.com
Email: megan@spherestudios.com
Contact: Francesco Carnelli, Chief Engineer/Producer
Web:spherestudios.com
Basic rate: Call for info

STEELMAN STUDIOS
Los Angeles, CA
818-465-3357
Email: devonsteelman@hotmail.com
Web: steelmanstudios.net/

STUDIO 47
817 N. Vine St.
Los Angeles, CA 90038
323-993-3179
Web: promusic47.org
Format: Pro Tools HD9
Basic Rate: $50/hr

STUDIO 770
770 S. Brea Blvd., #218
Brea, CA 92821
714-672-1234
Email: info@studio770.com
Web: studio770.com
Contact: Shantih Haast
Format: Pro Tools HD
Basic Rate: call for current rates

STUDIO 5109
1110 N. Western Ave., #206
Hollywood, CA 90029
213-369-7094
Email: info@studio5109.com
Web: studio5109.com
Contact: Mike Wolf
Format: digital and analog, 128 tracks
Basic Rate: call for rates and discount blocks

STUDIO CITY SOUND


4412 Whitsett Ave.
Studio City, CA 91604
818-505-9368 Fax 818-761-4744
Email: booking@studiocitysound.com
Web: studiocitysound.com
Contact: Estelle Harrison, Manager
Format: digital (256 tracks) and analog (24 track 2-inch)
Basic Rate: $75-150/hr.
Gear: Custom Neve 8068 MKII, EMT 140 plate reverb, Pro Tools
HDX, Avid HD I/O’s, Otari MX-80 2-inch 24-track, Neumann: U47 -
M149s - U87s, Sony C800g, Bock Audio 251, AKG C12As, Inward
Connections, Tree Audio, API, UREI, ADL, Quested, Royer, Coles,
Yamaha C5 Grand Piano, Hammond B3 w/ Leslie, Fender Rhodes
etc.
Clients: Rod Stewart, Kelly Clarkson, Aloe Blacc, Rixton, Jason
Derulo, Natasha Bedingfield, T.I., A-Trak, Martin Solveig, Warren G,
No Doubt, Eric Benet, Chuck Negron, Keith Richards, Eric Clapton,
Willie Nelson, Ryan Adams, Shaggy, Bootsy Collins, The Roots,
Bonnie Raitt, Toots and The Maytals, Brian Setzer, Josh Freese,
Weezer, Limp Bizkit, Vertical Horizon, A Perfect Circle, Quadron, Joe
Bonamassa, Steve Martin, Haley Kiyoko, D.R.A.M., Atlantic Records,
Warner Music, Interscope Records, Capitol Records, Universal Music,
CBS, NBC, ABC, NPR, Disney, ESPN, Comedy Central, VH1, FX.
Services: Full Record Production: tracking, Grammy award-winning
mixing, mastering, producing, arranging, programming, studio
musicians. Vocal Production: tuning and editing. Post Production:
ADR, ISDN, Source Connect, voice overs, video editing. Mobile
Recording: HD multi-camera video package capturing & live streaming
in the studio or on location.
Comments: Studio City Sound is a full-service recording studio,
owned and operated by Grammy award-winning mixer Tom Weir. SCS
has three fully equipped studios, with a spacious tracking room, iso
rooms, and a world-class blend of state of the art and vintage gear.

STUDIO DEE
3306 Glendale Blvd., Ste. 4
Los Angeles, CA 90039
323-662-0512
Email: hueydee1234@gmail.com
Contact: Huey Dee
Format: digital and analog
Basic Rate: please call for info

STUDIO MALIBU
22509 Carbon Mesa Rd.
Malibu, CA  90265
310-571-5389, Intl. Calls: +1-310-497-8011
Email: info@studiomalibu.com
Web: studiomalibu.com
Format: Pro Tools HD10
Basic Rate: call for rates

STUDIO WEST OF SAN DIEGO


11021 Via Frontera, Ste. A

July 2017 musicconnection.com 63


Directory of U.S. Recording Studios

Contact: Michele Blankenship, Operations Mgr. Email: info@trackstarstudios.com Neve and SSL stereo compressors as well as Madonna, Mariah Carey, Bruce Springsteen,
Format: digital and analog, 64 tracks Web: trackstarstudios.com Fairchild 670. Vintage mics including U47s, U67s, Britney Spears, Whitney Houston, Michael
Basic Rate: call for info Contact: Josquin des Pres C12 and C24 as well as a large selection of Bolton, Barbra Streisand, Michael Buble, Josh
Basic Rate: Call for rates standard mics as well. Groban, Nickelback, Jennifer Lopez, Ne-Yo.
THUD STUDIOS II RECORDING STUDIO Clients: Fleetwood Mac, Rolling Stones, Coldplay, Recent Clients: Rihanna, Imagine Dragons, The
5430 Vineland Ave. TRAIN TRACKS STUDIOS U2, Snoop Dogg, Usher, Lady Gaga, John Mayer, Weeknd, Zedd, Chromeo, Brad Paisley, Nick
North Hollywood, CA 91601 213 Agostino Rd. Taylor Swift, Harry Styles, Elton John, Miguel, Pink Jonas, Charli XCX. Iggy Azalea, Flo Rida, A-Trak,
818-378-8162 San Gabriel, CA 91776 Floyd, Sara Bareilles. Films: Toy Story, Cars, Oh Adele, One Direction, Usher, One Republic,
Web: thudstudios.com 626-291-5100 Brother Where Art Thou, The Bodyguard. Slipknot, Metallica, Demi Lovato, Zendaya, Gavin
Contact: Jeff Abercrombie Email: info@traintraxstudios.com Services: Recording, Mixing, 5.1 Mixing, ISDN DeGraw, Benny Blanco, Lorde, Jack Antonoff,
Services: Budget recording studio Web: traintraxstudios.com remote sessions, Live to air/web sessions, Live Chainsmokers, Pitbull, PartyNextDoor, Rita Ora,
Basic Rate: Call for info Contact: Alex Truberg showcases. Rock City, DNCE, Timbaland.
Format: digital Comments: In every decade since its founding, Comments: Westlake prides itself on making
THUNDER UNDERGROUND Basic Rate: please call for info The Village has produced the favorite songs of all you feel right at home in the studio. Our warm
RECORDING STUDIO time. As the look and sound of music changes, so furnishings, friendly staff and skilled audio
Palm Springs, CA TREBEL GIRL STUDIOS does The Village. From legends to new and up and engineers will keep any session creative and
760-835-7847 3200 N. San Fernando Blvd. coming artists you would be hard pressed to find an productive. Both convenient studio locations are
Email: kat@thunder-underground.com Ste. 28 artist who hasn’t recorded here. centrally located and near all amenities.
Web: thunder-underground.com Burbank, CA 91504
Contact: Kat 818-806-9337 VIRLOUISE RECORDING WINDMARK RECORDING
Format: see website for equipment list Email: treblegirlstudios@gmail.com 1631 N. Placentia Ave., Ste. K Santa Monica, CA
Basic Rate: call or email for info Web: treblegirlstudios.com Anaheim, CA 92806 424-289-5200
714-322-3600 Email: Samantha@windmarkrecording.com
TIMEART STUDIO TRINITY SOUND COMPANY Email: info@virlouise.com Web: windmarkrecording.com
Studio City, CA 1240 E. Ontario Ave., Ste. 102-190 Web: virlouise.com Contact: Samantha Marquart
818-980-2840 Corona, CA 92881 Contact: Bill Davidow Format: Digital and analog
Email: info@timeart.us 909-923-6640, 888-872-1073 Format: digital recording / Pro Tools Rates: Call or email for info
Web: timeart.us Email: info@trinitysoundcompany.com Basic Rate: see website for rates
Format: Digital, Pro Tools 9, DP7 Web: trinitysoundcompany.com WOMB RECORDING STUDIO, THE
Basic Rate: call for rates Basic Rate: Please call for info WALL OF SOUND STUDIOS Lake Balboa, CA 91406
1745 S. Claudina Way 818-414-6369
TITAN MUSIC, INC. TRU-ONE RECORDS AND REHEARSALS Anaheim, CA 92805 Email: haddaddrum@yahoo.com
13547 Ventura Blvd. 2100 E. Howell St., 208 714-533-ROCK (7625) Web: davehaddad.com
Sherman Oaks, CA 91423 Anaheim, CA 92806 Email: booking@wallofsoundstudios.com Contact: Dave
818-990-6992 714-634-4678 Web: wallofsoundstudios.com Format: digital and Analog, more than 64 tracks
Email: Titanrecording@yahoo.com Email: truonerecords@aol.com Contact: Shannon Grillo Basic Rate: please call for info
Web: titanrecording.com Web: truonerecords.com Format: State-of-the-art, fully-equipped hourly
Format: digital and analog, 64+ tracks Contact: Robert Trujillo facility: rehearsal, recording, equipment rental: WOODSHED RECORDING
Basic Rate: please call for info Format: Live rehearsal recordings for only $25 Tama, Shure, Mackie, Marshall, Ampeg, JBL and Email: welcometowoodshed@gmail.com
Basic Rate: Record “Live” for $25 more. Web: woodshedrecording.com
TOMCAT ON THE PROWL PRODUCTIONS Basic Rate: Call for details Contact: Richard Gibbs
Productions, Mixing, Recording, Restoration UNCLE STUDIOS Clients: U2, Barbra Streisand, Coldplay, Kanye
Studio City, CA 6028 Kester Ave. Additional location: West, Sting
818-533-8669 Van Nuys, CA Format: Hyprid ocean view resort/residential
Email: studio@tomcatontheprowl.com 818-989-5614 Las Vegas, NV recording
Web: tomcatontheprowl.com  Email: uncleesca@sbcglobal.net 702-371-0811 Rates: contact us by email
Contact: Thomas Hornig Web: unclestudios.com
Format: Pro Tools HDX 32 Channel Avid i/o, Format: digital, 24 at a time 126 playback WARRIOR GIRL MUSIC WOODSOUND STUDIOS
Lots of pristine Preamps, EQ’s and Compressors Basic Rate: $50/hr 12115 Magnolia Blvd., Ste. 219 120 Front St.
ranging from A-Designs Through Neve North Hollywood, CA 91607 Covina, CA 91723
Basic Rate: Please email for info UNIT-A RECORDING STUDIO 818-448-6277 626-956-7455
800 Vella Rd., Ste. A Email: info@warriorgirlmusic.com Email: tom@woodsoundstudios.com
TOTAL ACCESS RECORDING STUDIOS Palm Springs, CA 92264 Web: warriorgirlmusic.com Web: woodsoundstudios.com
612 Meyer Ln., Ste. 18 760-327-8812 Contact: Gilli Moon
Redondo Beach, CA 90278-5261 Email: unitarecording@gmail.com Format: digital, 64 WYMAN RECORDS
310-376-0404 Web: unit-a.com Basic Rate: call for info 1908 Burbank Blvd.
Email: totalaccessrecordingstudio@me.com Contact: Robert Owen Burbank, CA 91506
Web: tarecording.com Format: see website for equipment list WESTLAKE RECORDING STUDIOS 818-845-8787
Contact: Wyn Davis - Adam Arnold Basic Rate: call or email for info Studios A & B Email: contact@wymanrecords.com
Format: digital and analog, unlimited tracks 8447 Beverly Blvd. Web: wymanrecords.com
Basic Rate: all kinds of custom project rates - call UNIT-O Los Angeles, CA 90048 Contact: Tip Wyman
for info. Orangethorpe Ave., Unit O 323-851-9800 Format: digital and analog, 128 tracks
Anaheim, CA Email: bookings@westlakestudios.com Basic Rate: please call for rate
TRACK ENTERTAINMENT STUDIOS 805-746-7870 Web: westlakestudios.com
13848 Ventura Blvd., Ste. 4D Email: BLeshon@UNIT-O.com Contact: Alexandra Burdick, Sara Clark or Steve
Sherman Oaks, CA 91423 Web: UNIT-O.com Burdick COLORADO
818-259-7244 Contact: Brian Leshon Format: Pro Tools HDX, Logic and Analog ASPEN LEAF RECORDING
Email: trackentertainmentstudiost@yahoo.com Format: Avid Pro Tools 11 HD Recording 1992 S. Broadway
Web: facebook.com/trackentertainmentstudios Basic Rate: Please call for rates. Grand Junction, CO 81507
Contact: Alexander Track, producer/engineer, VENETO WEST 970-201-6166
Grammy Winner 4712 Admiralty Way, Ste. 536 WESTLAKE RECORDING STUDIOS  Email: aspenleafrecording@gmail.com
Format: 4 Pro Tools suites, music production and Marina del Rey, CA 90292 Studios C, D, E and “The Barn” Web: aspenleafrecording.com
recording, post production, mixing and mastering, 818-415-7674, 310-200-9010 Production Rooms 1 & 2 Contact: Ken Dravis
7.1 surround sound, songwriting, composing, Email: rcm@venetowest.com, 7265 Santa Monica Blvd. Format: ProTools 10
arranging, film scoring, commercials, live drums Liz@lizredwing.com Los Angeles, CA 90046 Basic rate: $35-$65 per hr
etc. Web: venetowest.com 323-851-9800
Basic Rate: please call for info Contact: Liz Redwing, Ronan Chris Murphy Email: bookings@westlakestudios.com THE BLASTING ROOM
Format: digital and analog Web: westlakestudios.com 1760 Laporte Ave., Ste. 2
TRACK RECORD STUDIOS Basic Rate: call for info Contact: Alexandra Burdick, Sara Clark or Steve Fort Collins, CO 80521
5102 Vineland Ave. Burdick 970-416-9292
North Hollywood, CA 91601 VILLAGE (RECORDER), THE Format: Pro Tools HDX, Logic and Analog Email: info@blastingroomstudios.com
818-761-0511 Fax 818-761-0539 1616 Butler Ave. Los Angeles, CA 90048 310- Recording Web: blastingroomstudios.com
Email: info@paramountrecording.com 478-8227 Basic Rate: please call for rates. Contact: Bill Stevenson, Andrew Berlin, Chris
Web: paramountrecording.com/studios Email:  villagerecorder@gmail.com Gear: Pro Tools HDX & Logic in all studios. Beeble
Format: digital and analog, 120 tracks Web: villagestudios.com Recording Consoles - SSL 9080K Series, SSL Format: Pro Tools 10.3 HD-X
Basic Rate: call for info Format: digital and analog 9072J Series, SSL AWS900, SSL G-Series 72 Rates: $25-75/hr, $$200-650/day
Basic Rate: please call for info Input, Neve 60 input V Series. Massive selection of
TRACK STAR STUDIOS Gear: Pro tool HDX in all rooms, Studio A - Vintage vintage tube microphones and outboard gear.  CCM RECORDING STUDIOS
7242 University Ave. Neve 8048 Console, Studio B and D - Neve Clients: Michael Jackson (“Off the Wall,” “Thriller,” 4214 E. Colfax Ave.
La Mesa, CA 91942 88R consoles and Studio F Avid S6 control “Bad” and “Dangerous”), Alanis Morissette Denver, CO 80220
619-697-7827 Surface. Compressors include 1176’s, LA-2A’s, (“Jagged Little Pill”), Quincy Jones, Celine Dion, 720-941-6088

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July 2017 musicconnection.com 65


Directory of U.S. Recording Studios

Email: info@ccmstudios.com Format: Pro Tools HD 128 Tracks 13885 W. Dixie Hwy. Web: phatplanetstudios.com
Web: ccmstudios.com Basic Rate: call for information North Miami, FL 33161 Contact: Ed Krout
Contact: Darren Skanson 305-893-9191, 305-321-4565 Format: Pro Tools HD, analog 2-inch etc.
Format: digital TARQUIN STUDIOS Email: sales@audiovisionstudios.com Basic Rate: $75/hr. Studio A, $65/hr. Studio B
Basic Rate: please call for info Bridgeport, CT Web: audiovisionstudios.com
Contact: Sandy Roberton Format: Digital and Analog LALA MANSION
CHERRY SOUND RECORDING STUDIO Email: studio@tarquinrecords.com Rates: Please Call in Tampa, FL
1600 Downing, Ste. 120 Web: tarquinrecords.com/studio/ 813-658-5747
Denver, CO 80218 Email: studio@tarquinrecords.com BIG WALL STUDIOS Contact: Andrew Boullianne, Head Eng./Studio
303-910-5359, 303-416-0152 1925 NE 148 St. Mgr.
Email: info@cherrysoundrecords.com TROD NOSSEL North Miami, FL 33181 Email: info@lalamansion.com
Web: cherrysoundstudios.com 10 George St. 305-336-9130, 305-450-4746 Web: lalamansion.com
Contact: Chris or Gustav Wallingford, CT 06492 Contact: John D. Thomas
Format: digital and analog 203-269-4465 Email: bigwallstudiosmiami@gmail.com Additional location:
Basic Rate: please call for info Web: trodnossel.com Web: bigwallstudios.com Los Angeles
Format: Pro Tools HD2/HD3 Basic Rate: Call for info 323-848-4503
COLORADO SOUND STUDIOS Basic Rate: call for information
3100 W. 71st Ave BRIAN TARQUIN LOG CABIN STUDIO
Westminster, CO 80030 WHITEHOUSE PRODUCTIONS P.O. Box 540732 Tallahassee, FL
303-430-8811 549 Howe Ave. Merritt Island, FL 32954 850-567-5554
Email: colosnd@coloradosound.com Shelton, CT 06484 917-449-8841 Email: kris@logcabinmusic.com
Web: coloradosound.com 203-400-6207 Email: BhpMusic@gmail.com Web: logcabinmusic.com
Contact: Kevin Clock Email: info@whitehouseproductions.net Web: jungleroomstudios.com Contact: Kris Kolp
Format: Pro Tools 12 HDX Web: whitehouseproductions.net Styles: guitar virtuoso instrumental Format: see website for equipment list
Also Remote Recording and Mastering Services Contact: Scott White Basic Rate: Call for Information Basic Rate: call or email for info
Basic Rate: $550/$3500 packages
DERRYBERRY RECORDING STUDIO BRICKKS HOUSE OF BEATZ MIAMI BEACH RECORDING STUDIOS
7380 Devinney Ct. 762 N Belcher Rd. 14880 NE 20th Ave.
Arvada, CO 80005 DELAWARE Clearwater, FL 33765 North Miami, FL 33181
303-456-8216 JAMLAND STUDIO 727-754-6429. 813-545-8453 305-956-3939
Email: info@derryberryrecordingstudio.com 2326 Empire Dr. Contact: Corey Jackson Email: Pablo@mbrs.us
Web: derryberrysrecordingstudio.com Wilmington, DE 19810 Email: booking@dirttybeatz.com Web: studio.mbrs.us
Contact: Mark Derryberry, producer/engineer 302-475-0204 Web: dirttybeatz.com
Format: Pro Tools HD Email: music@jamlandstudio.com Basic Rates: $45/55hr MyPLATINUM SOUND
Basic Rate: call for rates Web: jamlandstudio.com 937 11th Ave., S.
Format: see website for equipment CLEAR TRACK STUDIOS Jacksonville, FL 32250
ROCKY MOUNTAIN RECORDERS Basic Rate: call for information 814 Franklin St. Clearwater, FL 33756 904-612-1492
1250 W. Cedar Ave. 727-449-8888, 866-963-3108 Web: myplatinumsound.com
Denver, CO 80223 SIDE DOOR STUDIO Email: info@cleartrackstudios.com Contact: Paul Lapinski
303-777-3648 Fax 303-777-3923 69 Albe Dr. Web: cleartrackstudios.com Basic Rate: call or see website for info
Email: frontdesk@rockyrecorders.com Newark, DE 19702 Contact: Marina
Web: rockyrecorders.com 302-738-8777 Format: see website for equipment list NOISEMATCH STUDIOS
Contact: Rachel Converse Email: sdseng@sidedoorstudioinc.net Basic Rate: call for info 169 NW 23rd St.
Basic Rate: please call for info Web: sidedoorstudioinc.net Miami, FL 33127
Basic Rate: $75/hr, $350/8hr block CRESCENT MOON 786-334-5382
6205 Bird Rd. Email: staff@noisematch.com
CONNECTICUT Miami, FL 33155 Web: noisematchstudios.com
CARRIAGE HOUSE STUDIOS DISTRICT OF COLUMBIA 305-663-8924 Basic Rates: $135/hr/$1500(12 hrs), ½ day/$780
119 Westhill Rd. CLEANCUTS MUSIC Email: info@crescentmoon.com
Stamford, CT 06902 4100 Wisconsin Ave. N.W., 1st Fl. Web: crescentmoon.com THE SHACK NORTH
203-358-0065 Washington, D.C. 20008 Format: Audio/Video Suites, ISDN, Digital/Analog #9-0
Email: johnny@carriagehousemusic.com 202-237-8884 Basic Rates: Call for rates 9809 NW 80th Ave.
Web: carriagehousemusic.com Email: tetiana@cleancuts.com Hialeah, FL 33016
Contact: John Montagnese Web: cleancuts.com CRITERIA RECORDING STUDIOS 305-610-4299, 786-253-9917
Format: digital and analog Format: digital (The Hit Factory Criteria) Web: shacknorth.com
Basic Rate: Call for info
Basic Rate: please call for info Basic Rate: please call for info 1755 N.E. 149 St.
Miami, FL 33181 SONIC RECORDING
FIREHOUSE 12 Additional locations: 305-947-5611 Cape Coral
45 Crown St. Email: info@criteriastudios.com Fort Meyers, FL
New Haven, CT 06510 8403 Colesville Rd., Ste. 250 Contact: Trevor Fletcher 239-898-1339
203-785-0468 Silver Springs, MD 20910 Format: 16 and 24 tk analog, 48k digital, DAW’s Email: bo@sonicrecording.net
Web: firehouse12.com 301-495-7772c Basic rate: Six full-service world-class studios Web: sonicrecording.net
Format: see website for studio equipment Email: olya@cleancuts.com from vintage Neve 8078 to SSL9096J to SSL Contact: Bo Davis
Basic Rate: call for information Duality. Founded in 1958 this landmark facility has Basic Rate: $65/hr
2901 Chestnut Ave. produced hundreds of gold & platinum albums in
FRESH TRACKS STUDIO Baltimore, MD 21211 every genre. Rates tailored on a per project basis. STUDIO CENTER
65 Deer Hill Ave 410-467-4231 6157 N.W. 167 St. F-4
Danbury, CT Email: Iris@cleancusts.com EVERMORE SOUND Miami, FL 33015
475-329-5264 RECORDING STUDIOS 305-828-7231
Email: jon@freshtracksstudio.com LISTEN VISION RECORDING STUDIOS 1633 Acme St. Email: studiocentermiami@gmail.com
Web: freshtracksstudio.com/Home.html 2622 Georgia Ave. N.W. Orlando, FL 32805 Web: studiocentermiami.com
Contact: Jon Lindahl Washington, D.C. 20001 407-218-5953 Format: Digital and Analog
Format: HD 202-332-8494 Web: evermoresound.com Basic Rate: please call for info
Basic Rate: call for rates Email: JeremyBeaver@gmail.com Contact: Luke Beaulac
Web: listenvision.com Format: see website for equipment list STYLE-CITY MUSIC
ONYX SOUND LAB Contact: Jeremy Beaver Basic Rate: call or email for info P.O. Box 40403
56 Cooper St. Format: Pro Tools, digital, 124 tracks St. Petersburgh, FL 33743
Manchester, CT 06040 Basic rate: $60/hr. GASOLINE ALLEY RECORDING STUDIOS 727-520-2336
860-436-4581 2202 Lake Bradford Rd. Email: stylecitymusic@yahoo.com
Email: contact@onyxsoundlab.com OMEGA STUDIOS Tallahassee FL 32310 Web: stylecitymusic.wixsite.com/home
Web: onyxsoundlab.com 12712 Rock Creek Mill Rd., Ste. 14A 850-575-4277 Contact: Steven Berry
Format: digital Rockville, MD 20852 Email: info@gasolinealleystudios.com Format: “Style-City Music Presents” is a 29-minute
Basic Rate: please call for info 301-230-9100 Web: gasolinealleystudios.com music video program showcasing music videos
Web: omegastudios.com Contact: Jerry Gaskins from all over the world from both signed and
STUDIO UNICORN Format: Pro Tools HD and analog 24 track in all Format: see website for equipment list unsigned artists, on over 74 local stations.
36 Sanford Town Rd. three tracking rooms. Basic Rate: call or email for info Basic Rate: call for rates
Redding, CT 06896-2411 Basic Rate: Call for Rates
203-938-0069 Services: Four State of the Art Rooms PHAT PLANET RECORDING STUDIOS TWENTY-FIRST CENTURY STUDIOS
Email: paul@studiounicorn.net 3473 Pkwy. Center Ct. 1736-2 Landon Ave.
Web: studiounicorn.net Orlando, FL 32808
Contact: Paul Avgerinos, Grammy-nominated FLORIDA 407-295-7270, 800-667-4893
Jacksonville, FL 32207
904-346-3452
producer AUDIO-VISION Email: info@phatplanetstudios.com Email: 21centurystudios@bellsouth.net

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Directory of U.S. Recording Studios

Web: twentyfirstcenturystudios.com Format: Pro Tools HD, Studer 2” GRAVITY STUDIO AZMYTH RECORDING
Rates: call for rates Basic Rate: call for rates 2250 W. N. Ave. 5210 E. 65th St.
Chicago, IL 60647 Indianapolis, IN
UNITY GAIN RECORDING STUDIO TREE SOUND STUDIOS 773-862-1880 317-849-2009
1953 Ricardo Ave. 4610 Peach Tree Industrial Blvd. Email: info@gravitystudios.com Email: Ryan@azmythrecording.com
Fort Myers, FL 33901 Norcross, GA 30071 Web: gravitystudios.com Web: azmythrecording.com
239-332-4246 770-242-8944 Format: Digital/Analog Contact: Ryan Adkins
Email: info@unitygain.com Email: ben@treesoundstudios.com Basic Rates: please call Format: Pro Tools HD2/HD3
Web: unitygain.com Web: treesoundstudios.com Basic Rate: $70/hr
Contact: Bart Iannucci Rate: please call for info GROOVEMASTER STUDIOS
Format: Direct to Disk, Digital & Analog Tape, 1719 S. Clinton St. LODGE STUDIOS, THE
& MIDI Chicago, IL 60616 3550 Roosevelt Ave.
Basic Rate: call for rates HAWAII 312-929-2811 Indianapolis, IN 46218
CARAT RECORDING STUDIO Email: info@groovemasterstudios.com 317-568-0000 Fax 317-568-0021
VELVET BASEMENT RECORDING STUDIO P.O. Box 12746 Web: facebook.com/johnny.karkazis Email: info@thelodgestudios.com
1954 N.E. 147th Terrace Lahaina, HI 96761 Contact: Johnny K, Studio Owner Web: thelodgestudios.com
Miami, FL 33181 808-214-6910 Format: 24 tracks analog 2 inch, 2 track analog 1/2 Contact: Michael Graham
786-252-2924 Email: Mail@Lo-Boy.com inch and Pro Tools HD3 Accel Basic Rate: please call for info
Email: velvetbasement@gmail.com Web: caratrecords.com Basic Rate: please call for rates.
Web: velvetbasement.com Contact: Abbey SWEETWATER PRODUCTIONS
Format: see website for equipment list Format: 24 track 2-inch analog tape machine. HANDWRITTEN RECORDING 5501 U.S. Hwy. 30 W.
Basic Rate: call for info Pro Tools 2010 8.1 Hard drive recording, Lexicon, 1346 W. Belmont Fort Wayne, IN 46818
Soundcraft, JBL, Neumann, Ludwig, Korg Chicago, IL 60657 800-222-4700 ext. 1801
VIRTUAL PRODUCTIONS Basic Rate: $49 per hour, 1st hour free w/ 773-472-7132 Email: studio@sweetwater.com
Islamorada, FL engineer. Call for special packages and rates. 500 Email: rick@handwrittenrecording.com Web: sweetwaterstudios.com
203-364-1642 yards from Kaanapali beach, free parking, walk to Web: handwrittenrecording.com Format: Pro Tools HD3 (3 rooms), ADAT - 2-inch
Email: MichaelVDamon@gmail.com rental cars, shops, lodging and surfing. Format: digital and analog Tape
Contact: Michael Damon Basic Rate: $395 day (10hr) / $45/hr Basic Rate: $85/hr. includes engineer
Format: Pro Tools HIGHWAY RECORDING
Basic Rate: Please call for info IPPOLITO RECORDING COMPANY
P.O. Box 25993
Honolulu, HI 96825 523 Penrose Rd. IOWA
Dixon, IL 61021 CATAMOUNT RECORDING, INC.
GEORGIA 808-396-9771
Email: pakala@aol.com 815-440-0987 5737 Westminster Dr.
ARCADIA PRODUCTION AND Web: highwayrecording.com Email: vippol@aol.com Cedar Falls, IA 50613
RECORDING STUDIO Contact: P. Keat Web: vippolito.com 319-268-1011
Atlanta, GA 30071 Format: digital, 24 tracks Contact: Vince Ippolito Email: catamount@cfu.net
770-448-9992 Basic Rate: $25/hr. Format: audio and midi digital Web: catamountrecording.com
Email: streetkid@arcadiarocks.com Basic Rate: call for info Format: Pro Tools HD3, Otari 2-inch analog, SSL
Web: arcadiarocks.com ISLAND SOUND STUDIOS 4048E/G+
Contact: Knox 377 Keahole St., Ste. D-03 MYSTERY STREET RECORDING COMPANY Basic Rate: call for rates
Format: Pro Tools HD2 Accel 2-in tape Honolulu, HI 96825 2827 N. Lincoln Ave.
Basic Rate: please call for info 808-393-2021 Chicago, IL 60657 TRIAD PRODUCTIONS, INC.
Email: info@islandsoundstudios.com 773-512-2630 1910 Ingersoll Ave.
ELEVATED BASEMENT STUDIO, INC. Web: islandsoundstudios.com Email: record@mysterystreetrecording.com Des Moines, IA 50309
911 65th St. Contact: Gaylord Kalani Holomalia Web: mysterystreetrecording.com 515-243-2125 Fax 515-243-2055
Savannah, GA 31405 Format: digital and analog, unlimited tracks Basic Rate: $50-$75/hr Email: sales-studio@triadav.com
912-356-9445 Basic Rate: please call for info Web: triadav.com
Email: kevin@elevatedbasement.com PILLAR PRODUCTIONS, INC. Basic Rate: please call for info
Web: elevatedbasement.com SOUNDS LIKE HALE P.O. Box 35
Contact: Kevin Rose 301 Oak St.
Format: digital and analog
RECORDING STUDIO, LLC
355 Hukilike St., Ste. 110 Quincy, IL 62306 KANSAS
Basic Rate: $65/hr. Kahului, HI 96732 217-228-7200, 888-616-1179 CHAPMAN RECORDING AND MASTERING
808-877-4253 Email: record@pillarproductions.com 8805 Monrovia St.
GROOVE TUNES STUDIOS Email: info@soundslikehale.com Web: pillarproductions.com Lenexa, KS 66215
340 Rossiter Ridge Contact: Jack Inghram 913-894-6854
Alpharetta, GA 30022 Web: soundslikehale.com
Contact: Halemanu Format: DA88 and DAW Email: chuck@chapmanrecording.com
770-842-5511 Basic Rate: call for rates Web: chapmanrecording.com
Email: eatunison@bellsouth.net Format: digital and analog, 192 tracks
Basic Rate: please call for info Contact: Chuck Chapman
Web: groovetunes.com PRESSURE POINT RECORDING STUDIOS Format: Pro Tools & analog 2” 24 trk tape
Contact: Eric Tunison 2239 S. Michigan Ave. Basic Rate: see website for rates
Format: Pro Tools HD/3 v. 8.0 IDAHO Chicago, IL 60616
Basic Rate: $75/hr. 312-842-8099 GREENJEANS STUDIOS
OSMOSIS RECORDING
P.O. Box 790 Email: info@pprecs.com 110 W. Harvey Ave., Ste. 2
HUFF RECORDING STUDIOS Web: pprecs.com Wellington, KS 67152
P.O. Box 248 Meridian, ID 83680
208-371-3509 Format: Digital/Analog 620-326-5326
Good Hope, GA 30641 Basic Rates: please call Email: carter@greenjeansstudios.com
770-266-5266 Email: nathan@osmosisrecording.com
Web: greenjeansstudios.com
Email: info@huffrecording.com Web: osmosisrecording.com Format: ProTools HD3
Contact: Nathan RAXTRAX
Web: davidwhuff.com/studio 3126 N. Greenview Basic Rate: please call for info
Format: digital Pro Tools Basic Rate: $35/hr
Chicago, IL 60657
Basic Rate: please call for info 773-871-6566
TONIC ROOM, THE Email: info@raxtrax.com KENTUCKY
LEDBELLY SOUND STUDIO 1509 Roberts St., Ste. 103 Web: raxtrax.com DOWNTOWN RECORDING
243 Hwy 52 E. Boise, ID 83705 Format: 2 SSL control rooms, digital/analog 515 S. 4th St.
Dawsonville, GA 30534 208-338-8433 Basic Rates: please call for info Louisville, KY 40202
678-977-6045 Email: info@tonicroomstudios.com 502-583-9966
Email: ledbellysound@gmail.com Web: tonicroomstudios.com STUDIO 11 Email: nick@downtownrecording.com
Web: ledbellysound.com Contact: Jason or Chris 345 N. Loomis St. Web: downtownrecording.com
Format: Pro Tools HD/Neve Chicago, IL 60607 Contact: Nick Stevens
MAW SOUND RECORDING STUDIOS Basic Rate: $50\hr(8-12hrs) $265/half day, $65/ 312-372-4460 Format: Pro Tools HD, 24 Track 2-inch analog
P.O. Box 45 hr(1hr) Email: studio11chicago@gmail.com Basic Rate: please call for info
Hiawassee, GA 30546 Web: studio11chicago.com
706-896-4560, 800-535-4560
Email: mawsound@juno.com
ILLINOIS Basic rates: $65/hr DSL STUDIOS
10352 Bluegrass Pkwy.
Web: mawsound.com APOCALYPSE COW STUDIO VMR Louisville, KY 40299
Format: digital and analog, Sonar recording 20 Pomeroy Rd. 1100 West Cemak 502-499-2102
Basic Rate: call for info Montgomery, IL 60538 Chicago, IL 60608 Email: info@dslstudios.com
630-897-9023 708-267-2198, 312-286-5018 Web: dslstudios.com
PARHELION RECORDING STUDIOS Email: info@callthecow.com Email: don@studiovmr.com Format: digital Pro Tools
684 Antone St. S.E., Ste. 110 Web: callthecow.com Web: studiovmr.com Basic Rate: please call for info
Atlanta, GA 30318 Contact: Theresa Brooks Format: Pro Tools HD3 Accel, also Hard Disk
678-949-9119 Basic Rate: call for rates Recorders/72 Tracks REELDEMO
Email: mail@parhelionrecordingstudios.com Basic Rate: Call for prices P.O. Box 19421
Web: parhelionrecordingstudios.com CHICAGO RECORDING COMPANY Louisville, KY 40259-0421
Format: see website for equipment list 232 E. Ohio St. TREE HOUSE RECORDS Email: reeldemo@reeldemo.com
Basic Rate: $60/hr Chicago, IL 60611 4808 W. Wrightwood Ave. Web: reeldemo.com
312-822-9333 Chicago, IL 60639 Basic Rate: please call for info
PATCHWERK Email: chrisshepard@chicagorecording.com 847-302-6105
1094 Hemphill Ave., N. Web: chicagorecording.com Contact: Matt Geiser TNT PRODUCTIONS
Atlanta, GA 30318-5431 Contact: Chris Shepard Email: mg@treehouserecordschicago.com 6303 Fern Valley Pass
404-874-9880 Format: Monster Pro Tools HD systems + every Web: treehouserecordschicago.com/ Louisville, KY 40228
Email: curtis@patchwerk.com format since 1975 Basic Rates: $40.hr 502-964-9616
Web: patchwerk.com Basic Rate: Special “lockout” day rates, call for info Email: barry@tntrecording.com
Contact: Curtis Daniel III UPTOWN RECORDING Web: tntrecording.com
Format: SSL48-Channel Duality console, SSL Additional location: 4656 N. Clifton Ave. Format: digital Pro Tools HD
J-9000 Console. Chicago, IL 60640 Basic Rate: please call for info
Basic Rate: call for rates 55 W. Wacker 773-271-5119
Chicago IL 60601 Email: info@uptownrecording.com WHITE HORSE CHRISTIAN RECORDING
SILENT SOUND STUDIOS Web: uptownrecording.com P.O. Box 997
588 Trabert Ave., N.W. CLASSICK STUDIOS Contact: Matt Denny Nortonville, KY 42442
Atlanta, GA 30309 2950 W. Chicago Ave. Format: see website for equipment list 270-985-5548
404-350-9199 Chicago, IL 60622 Basic Rate: $75/hr Email: studio@wh-recording.com
Email: tk@silentsoundstudios.com 773-656-8050 Web: wh-recording.com
Web: silentsoundstudios.com Email: classick@classickstudios.com Format: digital
Contact: Thom “TK” Kidd, Studio Owner Web: classickstudios.com INDIANA Basic Rate: please call for info
Format: (Pro Tools, digital/analog for example) Basic Rate: $40/$60 Hr $220/$300/$550 AIRE BORN STUDIOS
Rate: call for rate or list your rates 4hr/6hr/12hr block 4700 Northwest Plaza W. Dr.
Zionsville, IN 46077 LOUISIANA
SONICA DEAF DOG MUSIC 317-876-1556 DOCKSIDE STUDIO
500 Bishop St., Bldg. C-2 2239 S. Michigan Ave. Email: contact@aireborn.com 4755 Woodlawn Rd.
Atlanta, GA 30318 Chicago, IL 60616 Web: aireborn.com Maurice, LA 70555
404-350-9540 312-927-4870 Contact: Mike Wilson 337-893-7880
Email: john.briglevich@gmail.com Email: jfo@deafdogmusic.com Format: see website for equipment list Email: docksidestudio@gmail.com
Web: sonicarecording.com Web: deafdogmusic.com Basic Rate: call or email for info Web: docksidestudio.com
Contact: John Briglevich Basic Rate: call or email for info Contact: Steve and Cezanne (Wish) Nails

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Format: Tracking, Mixing, Lodging P.O. Box 490 Additional locations: Format: Pro Tools Digital, Acoustic, Jazz, Rock,
Basic Rate: please call for info Bogalusa, LA 70429 Christian, Folk, Blues, Classical
985-735-8224 8403 Colesville Rd., Ste. 250 Basic Rate: $50/hr. - $80/hr
ESPLANADE STUDIOS Email: studiointhecountry@gmail.com Silver Spring, MD 20910
2540 Esplanade Ave. Web: studiointhecountry.com 301-495-7772
New Orleans, LA 70119 Contact: Ben Email: olya@cleancuts.com MASSACHUSETTS
504-655-0423 Format: Studer 2-inch 24-track, Pro Tools HD3 32 BLINK MUSIC, INC
Email: mishak@esplanadestudios.com i/o and Neve 8068 analog mixing board (32 ch.). 4100 Wisconsin Ave., N.W., 1st Fl. 129 Franklin St.
Web: esplanadestudios.com Basic Rate: $100/hr. including engineer Washington, D.C. 20016 Cambridge, MA 02139
202-237-8884 617-225-0044
LIVING ROOM, THE Email: tetiana@cleancuts.com Email: info@blinkmusic.com
Near Downtown MAINE Web: blinkmusic.com
New Orleans, LA BAKED BEANS RECORDING HIT AND RUN RECORDING Basic Rate: call for info
504-276-2772 75 Weston Farm Rd. 18704 Muncaster Rd.
Email: thelivingroom@hotmail.com Harrison, ME 04040 Rockville, MD 20855 CYBER SOUND RECORDING STUDIOS
Web: thelivingroomstudio.com 207-583-2923 301-948-6715 349 Newbury St., Ste. 201
Contact: Chris George Email: beans@megalink.net Web: hitandrunrecording.com Boston, MA
Format: digital and analog Web: bakedbeansrecording.com Format: Main DAW Cubase, 2nd DAWs Digital 617-424-1062
Basic Rate: please call for info Contact: Alan Bean Performer, Pro Tools Le Email: cyber.sound@verizon.net
Format: Pro Tools HD3 Basic Rate: call for rates Web: cybersoundmusic.com
MARIGNY RECORDING STUDIOS Basic Rate: $45/hour Format: Pro Tools HD, Digital/Analog
535 Marigny St. LION AND FOX RECORDING STUDIOS Basic Rate: $125 per hour with Engineer
New Orleans, LA 70117 MAIN STREET MUSIC STUDIOS 9517 Baltimore Ave.
504-475-4535 379 Main St. College Park, MD 20740 DIGITAL BEAR ENTERTAINMENT
Email: marignyrecording@gmail.com Brewer, ME 04412 1035 Cambridge St., Ste. 17B
301-982-4431 Cambridge, MA 02141
Web: marignyrecordingstudio.com 207-992-6169 Email: mail@lionfox.com
Contact: Rick Nelson 888-844-2327, 617-522-4550
Email: info@mainstreetmusicstudios.com Web: lionfox.com Email: info@digitalbear.com
Format: see website for equipment list Web: mainstreetmusicstudios.com Contact: Jim Fox
Basic Rate: call or email for info Web: digitalbear.com
Basic Rate: call for rates Format: 32 track IO, 96k, 24bit Contact: Jordan Tishler
Basic Rate: call for rates Format: see website for equipment list
MUSIC SHED, THE MY THRILL STUDIO
929 Euterpe St. Basic Rate: $65/hr
46 Blueberry Hill Rd. NIGHTSKY STUDIOS  
New Orleans, LA 70130 Winterport, ME 04496
504-812-1928 3432 Rockefeller Ct., INFINITE MUSIC
Email: info@musicshedstudios.com 207-223-5082 Waldorf, MD 20602 50 Terminal St.
Web: musicshedstudios.com Email: mfrancis@mythrillstudio.com 301-910-6163, 301-374-9450 Charlestown, MA 02129
Format: digital Pro Tools HD 3 Web: mythrillstudio.com Email: aurora4dth@aol.com 617-391-0115
Basic Rate: please call for info Basic Rate: please call for info Web: nightskystudio.org Email: infiniteboston@gmail.com
Contact: Ron Web: infinite-music.com
THE PARLOR RECORDING STUDIO STUDIO, THE Format: Pro Tools HD Format: Pro Tools, Logic, Reason, Ableton
New Orleans, LA 45 Casco St. Basic Rate: call for current rates Basic Rate: variable
Email: info@theparlorstudio.com Portland, ME 04101
Web: theparlorstudio.com 207-772-1222 OMEGA STUDIOS MADDEN MUSIC STUDIO
Format: Pro Tools HDX Email: info@thestudioportland.com 12712 Rock Creek Mill Rd., Ste. 14 A Rockville, 520 Canton St.
Basic Rate: email for rates Web: thestudioportland.com MD 20852 301-230-9100 Westwood, MA 02090
Contact: Tim Tierney Web: omegastudios.com 781-461-6799
PIETY STREET RECORDING Format: Pro Tools Format: Pro Tools HD and analog 24 track in all Email: tom@maddenmusicstudio.com
728 Piety St. Basic Rate: call for rates three tracking rooms. Web: maddenmusicstudio.com
New Orleans, LA 70117 Basic Rate: Call for rates Contact: Tom Madden
Services: Four State of the Art Rooms Format: digital, 48 tracks
504-948-4968 Fax 504-948-4364
Email: studio@pietystreet.com MARYLAND Basic Rate: $50.00 an hour
Web: pietystreet.com CLEANCUTS MUSIC ZAMPI PRODUCTIONS
Contact: Shawn 2901 Chestnut Ave. 404 Ben Oaks Dr. W. MIXED EMOTIONS MUSIC
Format: Pro Tools HD Baltimore, MD 21211 Severna Park, MD 21146 11 Pine Ave
Basic Rate: please call for info 410-467-4231 410-729-1869 Middleton, MA 01949
Email: daveb@cleancuts.com Email: mikezampi@gmail.com 978-774-7413
STUDIO IN THE COUNTRY Web: cleancuts.com Web: zampi-productions.com Contact: Kenny Lewis, Engineer/Producer
21443 Hwy. 436 Basic Rate: please call for info Contact: Mike Zampi Email: mixedemt@aol.com
Web: mixedemotionsmusic.com

Brad
Divens
Engineer/Mixer
(Enrique Iglesias, Garbage, KIX)

“With Auralex acoustical treatments in


my room it’s pure audio bliss!”

July 2017 musicconnection.com 69


Directory of U.S. Recording Studios

MUSICMEZ STUDIO Web: babble-on-recording.com HOT MIX STUDIO 702-508-0085


Greater Boston Area Contact: Andre Bergeron 3110 Parkwood Ln. Contact: Ronnie Lee, Founder, CEO
617-529-1922 Format: digital and analog, Pro Tools HD2 Big Fork, MT Email: music@studiodmi.com
Email: mez@musicmez.com, Basic Rate: $100/200 hr. Email: jim@hotmixstudio.com Web: studiodmi.com
stevemez@verizon.net Web: hotmixstudio.com
Web: musicmez.com THE HIDEAWAY Contact: Jim TK PRODUCTION & REHEARSAL STUDIOS
Contact: Steven Mesropian (aka mez) 77 13th Ave., N.E. Format: digital 3311 Meade Ave.
Format: DAW, specializing in broadcast quality Minneapolis, MN 55413 Basic Rate: please Email for info Las Vegas, NV 89102
productions for songwriters, lyricists and artists Email: joe@thehideawaympls.com 702-303-4094
Basic Rates: See website for rate Web: thehideawaympls.com JERECO STUDIOS, INC. Email: tkprod1@aol.com
Format: see website for equipment list 627 E. Peach St., Ste. E Web: tkprod.net
NORTHFIRE RECORDING Basic Rate: email for rates Bozeman, MT 59715 Contact: Jimi
15a Grove St. 406-586-5262
Amherst, MA 01002 THE TERRARIUM Email: jeremiah@jerecostudios.com TONE FACTORY, THE
413-256-0404 607 Central Ave., S.E. Web: jerecostudios.com 5329 S. Cameron
Web: northfirerecording.com Minneapolis, MN 55414 Contact: Jeremiah Slovarp Las Vegas, NV 89120
Format: see website for equipment list 612-338-5702 Format: digital 702-301-6964
Basic Rate: $60/70/hr, $550/10hr. Email: jasonorris@mac.com Basic Rate: call for rates Email: info@thetonefactory.com
Web: the-terrarium.com Web: thetonefactory.com
Contact: Jason Orris Contact: Vinny
PILOT RECORDING
1073 Main St. Format: Pro Tools HD3 NEBRASKA
Basic Rate: call for rates JOE AUDIO PRODUCTIONS TRIMORDIAL STUDIO LAS VEGAS
Housatonic, MA 01236 Audio Video Graphics Web
413-274-1073 10850 John Galt Blvd.
CUSTOM RECORDING STUDIOS Omaha, NE 68137 Las Vegas, NV 89101-1819
Email: info@pilotrecording.com 702-340-6748
4800 Drake Rd. 866-JOE-AUDIO, 402-341-9153
Web: pilotrecording.com Email: joe@joeaudioproductions.com Email: trimordial@thefaro.com
Contact: Will Schillinger Minneapolis, MN 55422
763-521-2950 Web: joeaudioproductions.com Web: trimordial.com
Format: see website for equipment list Contact: Joe Contact: Roy Rendahl
Basic Rate: call or email for info Email: jpreynolds1946@yahoo.com
Web: customrecordingstudios.com Format: digital Pro Tools Format: Digital Pro Tools, Ozone Mastering
Contact: Jim Reynolds Gear: MacBook Pro, JBL, Shure, Yamaha
Q DIVISION STUDIOS RAINBOW RECORDING STUDIO Services: Location and studio recording, song
363 Highland Ave. Format: Pro Tools HD3
Basic Rate: $50/hr, call for additional rates 2322 S. 64th Ave. mastering and music creation and production.
Somerville, MA 02144 Omaha, NE 68106
617-623-3500 402-554-0123 UNIVERSITY OF NEVADA, LAS VEGAS
Web: qdivisionstudios.com/ MISSISSIPPI Email: audioguru@rainbowmusicmaha.com 4505 S. Maryland Pkwy.
Basic Rates: Call for rate COWART RECORDING STUDIO Web: rainbowmusicomaha.com Las Vegas, NV 89154
3207 Chicot St. Basic Rate: please call for info 702-895-3011
SUREFIRE CREATIVE STUDIOS Pascagoula, MS 39581 Web: unlv.edu/music/beam/studio
100 Phoenix Ave., Ste. 2B 228-762-7205 STUDIO 24 Contact: Music Department, Recording Studio
Lowell, MA 01852 Email: cowartstudio@cableone.net 8601 N. 30th St.
978-441-0975 Omaha, NE 68112
Email: SurefireCreativeStudios@gmail.com
Web: cowartrecordingstudio.com
Format: digital 402-342-9090 NEW HAMPSHIRE
Web: surefirecreativestudios.com Basic Rate: please call for info Email: rcb@studio24omaha.com CEDARHOUSE SOUND & MASTERING
Comments: Surefire Creative Studios is an award Web: studio24omaha.com P.O. Box 333
winning audio and visual production company STUDIO 61 CLARKSDALE Contact: Chuck Beckler North Sutton, NH 03260-0333
based outside of Boston, Massachusetts. Surefire 209 N. Main St. Format: digital 603-927-6363
provides its family of clients with a number of Leland, MS 38756 Basic Rate: $60/HR Email: gerry@cedarhousesound.com
services such as music composition, video 601-529-9495 Web: cedarhousesound.com
production, soundstage rental, recording studio Email: info@studio61.com WARE HOUSE PRODUCTIONS, INC. Contact: Gerry Putnam
rental, audio engineering, and brand consultation. Web: studio61.com 206 S. 44th St., #1 Format: Pro Tools HD, DA-78HR, SADiE, analog
Rates: call for rates Format: digital Omaha, NE 68131 2”, 1”, 1/2”, 1/4”
Basic Rate: please call for info 402-553-8523 Basic Rate: please call or email for info
Email: whp@qwestoffice.net
MICHIGAN TWEED RECORDING Web: warehouseproductions.net MOJO MUSIC STUDIO
THE 45 FACTORY Contact: Tom or Terri Ware Gingerbread Village
355 County Rd., 102 Easton, NH
120 S. Telegraph Rd. Oxford, MS 38655 Format: digital
Waterford, MI Basic Rate: $100/hr - block rates available 603-348-5249
662-236-3902 Email: mojomusicstudio@gmail.com
248-505-4278 Email: tweedrec@aol.com Web: facebook.com/mojoproaudio/
Email: info@the45factory.com
Web: the45factory.com
Web: tweedrecording.com NEVADA Contact: Tony or Joe
Contact: Andrew Ratcliffe Format: Pro Tools 10
Contact: Ryan McGuire Format: digital Pro Tools THE HIDEOUT RECORDING STUDIO
14 Sunset Way Basic Rate: call for rates
Format: see website for equipment list Basic Rate: please call for info
Basic Rate: call or email for info  Henderson, NV 89014
702-318-6001
WILDFIRE STUDIO / CIRCUIT RIDER RECORDS
Email: kellemusgrave@gmail.com NEW JERSEY
METRO 37 RECORDING STUDIO 132 Tarnell Rd. Web: hideoutlv.com KALEIDOSCOPE SOUND
1948 Star Batt Dr. P.O. Box 118 Format: Analog and Digital 514 Monastery Pl
Rochester, MI 48309 Grenada, MS 38901 Basic Rate: Hourly and Block, call for quotes Union City, NJ 07087
586-549-2879 662-227-9245 201-223-2868
Email: metro37studio@gmail.com Email: wct.wild@gmail.com DIGITAL INSIGHT RECORDING STUDIOS Web: kaleidoscopesound.com
Web: metro37.com Web: wildfireworldwidemusic.com/crider/crider.htm 2810 S. Maryland Pkwy., Ste. C
Contact: Kevin Sharpe Contact: W.C.Taylor or Charles Taylor Las Vegas, NV 89109 HANDS ON STUDIO
Format: see website for equipment list Format: digital and analog, 24 tracks 702-792-3302 Fax 702-792-8582 470 Kipp St.
Basic Rate: please call for info Basic Rate: call for rates Email: digitalinsightrecording@gmail.com Teaneck, NJ 07666
Web: digitalinsightrecording.com 201-446-5477
ROYALHOUSE RECORDING
Detroit, MI
MISSOURI Contact: Rob Devlin
Format: Pro Tools HD, 175 tracks
Email: madmike@madhands.com
Web: madhands.com
Email: RoyalHouseBooking@gmail.com JUPITER STUDIOS Basic Rate: $85/hr. includes engineer Contact: Mad Mike
Web: royalhouserecording.com 3323 Locust St. Format: digital multi-track
Contact: Roger Goodman St. Louis, MO 63103 THE HIDEOUT RECORDING STUDIO Basic Rate: call for rates
Format: see website for equipment list 314-535-5556 14 Sunset Way
Basic Rate: see web for info Email: jupiter.booking@yahoo.com Henderson, NV 89014 PONDERROSA STUDIOS
Web: jupiterstudios.net 702-318-6001, 702-445-7705 144 Warbasse Junction Rd.
RUSTBELT STUDIOS Basic Rate: please call for info Email: info@oddsonrecording.com Lafayette, NJ 07848
118 E. 7th St. Web: hideoutlv.com 973-715-8124
Royal Oak, MI 48067 MUSIC MASTERS Email: Info@PonderRosaStudios.com
248-541-7296 P.O. Box 1144 HIT TRACK STUDIOS Web: ponderrosastudios.com
Email: office@rustbeltstudios.com Cape Girardeau, MO 63702 8260 Haven St Contact: Tom Askin
Web: rustbeltstudios.com 314-773-1480 Las Vegas, Nv 89123 Format: see website for equipment list
Email: greg@musicmastersinc.com Phone: 702-481-1663 Basic Rate: call or email for info
THE SOUNDSCAPE RECORDING STUDIO Web: musicmastersinc.com Email: mix@hittrack.com
3323 Rochester Rd. Contact: Greg Web: hitrackstudios SOUND WARS STUDIOS
Royal Oak, MI 48073 Format: digital Pro Tools Contact: Tom Parham 47 Harrison St.
248-320-6706 Basic Rate: please call for info Format: Analog and Digital Hoboken, NJ 07030
Web: soundscapestudio.com Services: Recording, Mixing and Mastering 201-528-3468, 201-683-8552
PHAT BUDDHA PRODUCTIONS Duplication.
Format: see website for equipment list 1901 Locust St.
Basic Rate: $65/hr XANTHI MUSIC PRODUCTIONS
St. Louis, MO 63103 IMIRAGE SOUND LAB 321 Newark St., 4th Fl.
314-231-3930 15558 Linda Way Hoboken, NJ 07030
STUDIO A RECORDING, INC. Email: info@phatbuddhaproductions.com Sparks, NV 89431 201-647-9051
5619 N. Beech Daly Web: phatbuddhaproductions.com Email: shep0222@optonline.net
Dearborn Heights, MI 48127-3927 775-358-7484
Format: digital Pro Tools HD2 Email: tom@inspired-amateur.com Web: xanthimusic.com
313-561-7489 Basic Rate: please call for info Contact: Rod Shepard
Email: marilyn@studioarecording.com Web: inspired-amateur.com
Format: 24 track analog, 24 trk digital, Pro Tools
Web: studioarecording.com JAGUAR RECORDING STUDIO Basic Rate: $65/hr.
Contact: Marilyn Morgeson MONTANA Las Vegas, NV
Basic Rate: $85/Hr BEVEL STUDIO 702-808-4400
P.O. Box 2491 Email: thad@jaguarstudio.com NEW MEXICO
WATERFALL STUDIOS Missoula, MT 59801 Web: jaguarstudio.com JOHN WAGNER RECORDING
11389 S. Forrest Sideroad 406-327-0097 Contact: Thaddeus Corea STUDIOS, INC.
Dafter, MI 49724 Email: info@bevelstudio.com Format: Logic Pro 8601 Lomas N.E.
313-674-2740 Web: bevelstudio.com Basic Rate: Call for rates. Albuquerque, NM 87112
Email: waterfall@waterfallrecordings.com Format: digital 505-296-2766, 505-296-2919
Web: waterfallrecordings.com Basic Rate: please call for info STUDIO AT THE PALMS Email: info@johnwagnerstudios.com
Contact: Michael Stevenson or Kenneth Sutton 4321 W. Flamingo Rd. Web: johnwagnerstudios.com
Format: digital BOONE PRODUCTIONS Las Vegas, NV 89103
Basic Rate: please call for info 579 Belt Creek Rd. 702-944-3400, 877-326-7358 JOHNNY MULHAIR RECORDING STUDIO
Belt, MT 59412 Email: zoe.thrall@palms.com 3101 N. Prince
406-788-0255 Web: studioatthepalms.com Clovis, NM 88101-3829
MINNESOTA Email: aviator@3rivers.net Contact: Zoe Thrall 575-763-1441
BABBLE-ON RECORDING STUDIOS Web: booneproductions.com Format: digital and analog Email: johnny@johnnymulhair.com
5120 27th Ave. S. Contact: Daniel Gliko Web: johnnymulhair.com
Minneapolis, MN 55417 Format: digital STUDIO DMI
612-375-0533 Basic Rate: please call for info 7320 Smoke Ranch Rd. C, SANTA FE CENTER RECORDING STUDIOS
Email: andre@babble-on-recording.com Las Vegas, NV 89128 933 San Pedro S.E.

70 July 2017 musicconnection.com


Download at musicconnection.com/industry-contacts

Albuquerque, NM 87108 THE BREWERY RECORDING STUDIO Format: digital and analog THE ICE PLANT
505-265-2511 Fax 505-265-4714 910 Grand St. Basic Rates: please call Long Island City, NY
Email: jdgeist@santafecenterstudios.com Brooklyn, NY Email: bookings@theiceplant.com
Web: santafecenterstudios.com 844-717-2739 ENGINE ROOM AUDIO Web: theiceplant.com
Email: booking@breweryrecording.com 42 Broadway, 22nd Fl. Contact: Wayne Silver
SON SET BEACH PRODUCTIONS Web: breweryrecording.com New York, NY 10004 Basic Rate: email for rates
Albuquerque, NM 87111 Contact: Nick D’Alessandro 212-625-3467 Fax 212-625-3496 Services: API Console, lots of analog outboard,
505-228-8131 Basic Rate: $95/hr Email: info@engineroomaudio.com Studer, Pro Tools HDX, live room, iso room, lounge
Email: sonsetbeach@comcast.net Website: engineroomaudio.com with full kitchen and daylight, and a lot of musical
Web: sonsetbeach.com THE BUNKER STUDIO Format: Tracking, Mixing, Mastering and instruments.
Contact: Bob Reynolds Brooklyn, NY Manufacturing
Format: analog and digital 929-234-8534 booking Basic Rate: Contact us for details JUNGLE CITY STUDIOS
Basic Rate: Call for rates Email: booking@thebunkerstudio.com 520 W. 27th St., Ste. 1002
Web: thebunkerstudio.com EUSONIA STUDIOS New York, NY 10001
STEPBRIDGE STUDIOS 333 Park Ave., S., Ste. 2A/R 646-476-2684
528 Jose St. THE CHORD CLUB New York, NY 10010 Email: phil@junglecitystudios.com
Santa Fe, NM 87501 207 E. 94th St., 5th Fl. 212-260-7295 Web: junglecitystudios.com
505-988-7051 New York, NY 10128 Web: eusoniastudios.com Contact: James
Email: info@stepbridge.com 212-246-7369 Contact: Scott Jacoby Format: SSL Duality, Euphonix S5Fusion,
Web: stepbridge.com Email: info@thechordclub.com Format: see website for equipment list Digidesign’s Icon D-Command
Contact: Edgard Rivera Web: thechordclub.com Basic Rate: call for info Basic Rate: please call for info
Format: Pro Tools HD, Music production, audio
services for film and authors. CUTTING ROOM RECORDING FLUX STUDIOS LOUNGE STUDIOS
Basic Rate: please call for info STUDIOS, THE 154 E. 2nd St., Ste. #4A 315 W 39th St.
14 E. 4th St., Ste. 602 New York, NY 10009 New York, NY
TONE PALACE RECORDING STUDIO New York, NY 10012 917-512-3489 212-268-8522
Taos, NM 212-260-0905 Fax 212-358-0041 Email: info@fluxstudios.net Contact: Walter Randall
Email: info.loungestudiosnyc@gmail.com
575-779-1087 Email: anthony@thecuttingroom.com Web: fluxstudios.net
Web: loungestudiosnyc.com
Email: omar@taosrecording.com Web: thecuttingroom.com Format: Vintage Heart, Modern Mind
Web: tonepalace.com Contact: Anthony Spinnato Rates: Call for rates MARS MAGIC SHOP, THE
Basic Rate: Please call for rates Format: Pro Tools HD3 Accel, SSL9000J 68 Jay St.
Basic Rate: negotiable GERMANO STUDIOS Brooklyn, NY 11201
676 Broadway, 3rd Fl.
NEW YORK DOWNTOWN MUSIC STUDIOS New York, NY 10012
212-226-7035
Email: mars@magicshopny.com
825 RECORDS, INC. (STUDIO & PRODUCTIONS) Soho neighborhood 212-260-6001 Ext. 1 Web: magicshopny.com
825 48th St. 212-461-1889 Email: tgermano@germanostudios.com Format: Analog and Digital
Brooklyn, NY 11220 Email: contact@downtownmusicstudios.com Web: germanostudios.com Basic Rates: Call for information
347-240-5417 Web: downtownmusicstudios.com Contact: Troy Germano
Email: info@825records.com Format: SSL Duality SE 48 input analog with MANHATTAN CENTER PRODUCTIONS
Web: 825records.com DUBWAY STUDIOS Total Recall 311 W. 34th St.
Contact: Funmibi 42 Broadway, 22nd Fl. Basic Rate: please call for info New York, NY 10001
Format: Large Format (Custom Hybrid Console) New York, NY 10004 212-695-6600
SSL 212-352-3070 HYPERSTUDIO RECORDING  Email: obie@mcpstudios.com
Basic Rates: Studio available per project only. Email: info@dubway.com 419 Maple St. Web: mcpstudios.com/thelogcabin
Tracks via FTP available. Call for rates and more Web: dubway.com West Hempstead, NY 11552 Format: see website for equipment list
information. Contact: Al Houghton 516-486-5198 Basic Rate: call or email for info
Format: Pro Tools, full-service, Film, TV, post Email: hyperstudiorecording@gmail.com
AVATAR STUDIOS production Contact: Eitan Kantor MAVERICKS STUDIOS
441 W. 53rd St. Basic Rate: please call for info Format: Pro Tools New York, NY
New York, NY 10019 Basic Rate: $75-125/hr. Email: blurry55@gmail.com
212-765-7500 Fax 212-765-7450 ELECTRIC LADY Services: Comfortable large rooms with cathedral Web: mavericksrecording.com
Email: tino@avatarstudios.net 52 W. 8th St. ceilings, creative atmosphere with windows Format: see website for equipment list
Web: avatarstudios.net New York, NY 10011 overlooking grass & trees, musical & efficient Basic Rate: email for info
Contact: Tino Passante, Manager 212-677-4700 engineers, C7 grand piano, Yamaha recording
Format: digital, analog, all formats accommodated Email: lee.foster@electricladystudios.com drum set and more. METROSONIC RECORDING
Basic Rate: please call for info Web: electricladystudios.com 143 Roebling St., 3rd Fl.
Brooklyn, NY 11211

July 2017 musicconnection.com 71


Directory of U.S. Recording Studios

718-782-1872 Basic Rate: call for info Web: firefly419.com NORTHSTAR RECORDING STUDIOS
Email: manager@metrosonic.net NEW WARSAW STUDIO Rates: $40/45hr 13716 S.E. Ramona St.
Web: metrosonic.net Brooklyn, NY Portland, OR 97236-4444
Contact: Peter Mignola 718-662-8928 COMMERCIAL SOUND + IMAGE 503-760-7777
Format: all analog and digital formats Email: riley@rileymcmahon.com 6001 W. Creek Rd. Email: skyradio@frontier.com
Basic Rate: Call for information Web: newwarsawstudio.com Independence, OH 44131 Web: northstarsamples.com
216-642-1000 Contact: Scott Hybl
MISSION SOUND WATCHMEN STUDIOS Web: commercialrecording.com Format: digital and analog
16 Powers St. 5996 Snyder Dr. Contact: George Gates Basic Rate: please call for info
Brooklyn, NY 11211 Lockport, NY 14094 Format: digital
917-566-9701 716-439-6146 Basic Rate: please call for info OPAL STUDIO
Email: missionsound@mac.com Email: watchmens@aol.com 6219 S.E. Powell Blvd.
Web: missionsoundrecording.com/ Web: watchmenstudios.com. facebook.com/ REFRAZE RECORDING STUDIOS Portland, OR 97206
watchmenstudios 2727 Gaylord Ave. 503-774-4310
MONO LISA STUDIOS Format: Pro Tools L.E. Dayton, OH 45419 Email: info@opal-studio.com
43-01 21st St., Ste. 212B Rate: $35/hr, $280/8hr 937-298-2727 Web: opal-studio.com
Long Island City, NY 11101 Email: ron@refraze.com Contact: Kevin Hahn
212-920-0192 NORTH CAROLINA Web: refraze.com Format: digital and analog
Contact: Denise Barbarita DAXWOOD PRODUCTION COMPANY Contact: Ron Pease Basic Rate: $50/hr.
Email: Shytune@earthlink.com, MONOLisaNYC@ Fayetteville, NC Format: Digidesign Pro Tools|HD 2 Accel
gmail.com 910-323-2550 Basic Rate: $600/day incl. engineer SPROUT CITY STUDIOS
Web: monolisanyc.com Email: daxwood@aol.com Eugene, OR
Format: ProTools HD10 Web: daxwood.com SOUNDCUBED STUDIOS - EAST 541-687-0947
Basic Rate: Available upon request Format: Pro Tools 101 S. Main St. Email: giddy@sproutcity.com
Basic Rate: call for rates Basement Floor Web: sproutcity.com
SKILLMAN MUSIC Poland, OH 44514 Format: digital
65 Skillman Ave DEEP RIVER SOUND STUDIO 330-207-2470 Basic Rate: please call for info
Email: info@sound3studios.com
Wiliamsburg, NYC 11211 6173 Deep River Rd.
Web: sound3studios.com
718-869-1993 Sanford, NC 27330
Email: booking@skillmanmusic.com 919-718-0075 PENNSYLVANIA
ULTRASUEDE STUDIO, INC.
Web: skillmanmusic.com Web: deepriverstudios.com 2834 Spring Grove Ave. APOCALYPSE THE APOCALYPSE
Basic Rate: please call for info Email: deepriverstudios@gmail.com Cincinnati, OH 45225 303 W. Market St.
513-394-6427 Clearfield, PA 16830
SONIC-DEBRIS SOUND EARTHTONE RECORDING Email: ultrasuedestudio@gmail.com 225-266-1973
Long Island, New York 620 S. Elm St. Web: ultrastudio.com Email: fred@fredweaver.com
631-371-2699 Greensboro, NC 27406 Contact: John Curley Web: apocalypsetheapocalypse.com
Contact: Dan Korneff 336-273-0001, 336-210-7107 Format: digital (Logic, Pro Tools, Digital Performer) Contact: Fred Weaver
Email: dankorneff@gmail.com Email: earthtonesrecording@gmail.com Basic Rate: $75/hr. engineer included Rates: $40 hr/$400 Day
Web: sonic-debris.com Web: earthtonesrecording.com
Contact: Benjy Johnson FORGE RECORDING
SPACEMAN SOUND Basic Rate: $35/50hr, two hour minimum OKLAHOMA 100 Mill Rd.
Greenpoint, Brooklyn BENSON SOUND, INC. Oreland, PA 19075
Contact: Alex Mead-Fox, Tom Tierney ECHO MOUNTAIN RECORDING 5717 S.E. 74th St., Ste. F 215-885-7000 Fax 215-887-3501
Email: info@spaceman-sound.com, 175 Patton Ave. Oklahoma City, OK 73135 Email: info@forgerecording.com
Web: spaceman-sound.com, facebook.com/ Ashville, NC 405-610-7455 Web: forgerecording.com
SpacemanSound/ 828-232-4314 Email: info@bensonsound.com Format: ProTools HD3 Accell, MacPro 2.8
Email: info@echomountain.net Web: bensonsound.com quadcore, API 1608
SWITCHBITCH RECORDS Web: echomountain.net Format: digital Basic Rates: $95/hr, $400/1/2 day, $800/day
234 6th St. Ste. #5 Brooklyn, NY 11215 Format: Digital/Analog Basic Rate: please call for info
631-553-4168 Basic Rate: please call for more info GREEN VALLEY RECORDING
Contact: Michael Abiuso  CASTLE ROW STUDIOS 590 S. Frymire
Email: mike@switchbitchrecords.com GAT3 PRODUCTIONS 2908 Epperly Dr. Hughesville, PA 17737
Web: switchbitchrecords.com 655 Pressley Rd., Ste. E Del City, OK 73115 570-584-2653
Basic Rate: Call or email for rates Charlotte, NC 28217 405-429-4055 Email: greenvalleyrecording@windstream.net
704-525-5552 Email: info@castlerowstudios.com Web: greenvalleyrecording.com
PYRAMID RECORDING Email: susan@gat3.com Web: castlerowstudios.com Contact: Richard or Alison Rupert
12 E. 32nd St., 3rd Fl Web: gat3.com Rate: Call or email for rates Format: Analog, Digital
New York, NY 10016 Contact: Susan Tabor Basic Rate: call for rat24
212-686-8687 Studio A: ProTools 10HDX, SSL 9000J 72 Input CORNERSTONE RECORDING CO.
Contact: Todd Hemleb, Founder Console. 1315 Locust Ln. LIFELINE STUDIOS & MUSIC SERVICES
Email: pyramindapi@aol.com Studio B: Recording and Mastering Suite: Edmond, OK 73013 Coatesville, PA 19320
Web: pyramidrecording.tv ProTools 10HDX. Equipment list available on our 405-848-8400 610-380-9729
website. Email: info@cornerstonerecording.com Email: davekurtz@comcast.net
QUAD STUDIOS Studio Rates: Studio A $105.00 per hour, Block Web: cornerstonerecording.com Web: lifeline-studios.com
723 7th Ave., 10th Fl. Rate (8 hours or more) $95.00 per hour Studio Contact: Ken Sarkey Contact: Dave Kurtz
New York, NY10019 B $95.00 per hour, Block Rate (8 hours or more) Format: Digital and Analog Format: 16 track analog
212-730-1035 $85.00 per hour Basic Rate: please call for info Basic Rate: call or email for rates
Email: bookings@quadnyc.com
Web: Quadnyc.com CATALYST RECORDING NATURA DIGITAL STUDIOS PHILLY SOUND STUDIOS
Format: Analog /digital Charlotte, NC 14540 Happy Camp Rd. 2829 S. 18th St.
Basic Rates: Call for info 704-526-8400 Beggs, OK 74421 Philadelphia, PA 19145
Email: rob@catalystrecording.com 918-695-8992 215-551-1800
ROUND HILL MUSIC Web: catalystrecording.com Web: facebook.com/naturadigitalstudios/ Contact: Drew Raison
400 Madison Ave., 18th Fl Contact: Rob Tavaglione Contact: David Teegarden Email: info@phillysoundstudios.net
New York, NY 10017 Format: digital and 16 track analog Format: Pro Tools HD Core 3 Web: phillysoundstudios.net
212-380-0080 Rate: Tracking, Mac’ing & mixing at $40/hr, Basic Rate: please call for rates Basic Rate: call for rates
Email: info@roundhillmusic.com mastering at $25/song (6 or more)
Web: roundhillmusic.com/ STUDIO SEVEN / LUNACY RECORDS REPERCUSSION STUDIOS
Format: Digital and analog RUBBER ROOM STUDIO 417 N. Virginia Ave. 2424 Coral St.
Basic Rates: please call 508 Estes Dr Ext Oklahoma City, OK 73106 Philadelphia, PA 19125
Chapel Hill, NC 27516 405-236-0643 257-307-6648
SEAR SOUND 919-929-7209 Email: cope@okla.net Contact: Andrew Ha, Founder
Web: lunacyrecords.com
353 W. 48th St., 6th Fl. Email: jerrybrownchapelhill@gmail.com Web: repercussionstudios.com/
Contact: Dave Copenhaver
New York, NY 10036 Web: rubberroomstudio.com Basic Rate: $40/Hr (2 Hr min)
Format: 2-inch 24-Track, Pro Tools & other digital
212-582-5380 formats, large playing room, tracking, mixing &
Email: waltersear@aol.com TEQUILA SUNRISE MUSIC mastering RIGHT COAST RECORDING
Web: searsound.com 112 Ann St. Basic Rate: call for rates Columbia, PA
Contact: Roberta Findlay, Studio Manager Gaston, NC 27832 717-681-9801
Format: Analog and Digital, Studio ‘A’, Recording/ 800-537-1417 Email: studio@rightcoastrecording.com
mix Neve 8038, Studio ‘C’, Large Recording/mix, Email: tequilasunrisemusic@yahoo.com OREGON Web: rightcoastrecording.com
Studio ‘D’, pre/post room/vacuum tube console Web: tequilasunrisemusic.com BIG RED STUDIO Format: 2-inch 16 + 24 track analog, 48 track 192k
& Moog Contact: Kenny Barker P.O.Box 66 digital performer, automated Neotek elite console
Basic Rate: call for rates Format: digital Corbett, OR 97019 Basic Rate: call for rates
Basic Rate: $40/hr. 2 hr. min. 503-695-3420
THRESHOLD RECORDING STUDIOS Email: billyo@bigredstudio.com SIGNAL SOUND
440 W. 41st St. 163 E. Cherry Rd.
New York, NY 10036 NORTH DAKOTA Web: bigredstudio.com
Contact: Billy Oskay Quakertown, PA 18951
212-244-1871 RAPTOR STUDIOS Format: 2-inch analog, vintage Trident Console, 215-536-4660
Email: thresholdstudiosnyc@gmail.com P.O. Box 1455 Pro Tools HD2 Email: pete@signalsound.com
Web: thresholdstudios.com Fargo, ND 58105 Basic Rate: Please call for rates Web: signalsound.com
Contact: James Walsh Email: coates@barkingdogrecords.com Contact: Pete Davis
Format: Analog/Digital Web: barkingdogrecords.com FALCON RECORDING STUDIOS Format: 2-inch analog, 32 track ADAT, 32 track
Services: Music Producers, Artist Development, Contact: Mike Coates 15A S.E. 15th Ave. Pro Tools, 3 camera HD, Steadycam, Crane, 12x26
Recording Studios Basic Rate: email for rates Portland, OR 97214 green screen
Basic Rates: call for rates 503-236-3856 Basic Rate: from $48/hr.
WHISKYSAM RECORDING STUDIO Email: falconstudios@comcast.net
THUMP RECORDING 3314 Royal Cir. Web: falconrecordingstudios.com SILENT WING AUDIO RECORDING &
295 Eckford St. Grand Forks, ND Contact: Dennis Carter MASTERING
Brooklyn, NY 11222 701-741-4667 Format: digital Pro Tools P.O. Box 536
Email: booking@thumprecording.com Email: whiskysam@hotmail.com Basic Rate: please call for info Bobtown, PA 15315-0536
Web: thumprecording.com Web: whiskysam.com 724-839-7292
Format: see website for equipment list Format: Pro Tools HD 10 JACKPOT! RECORDING STUDIO Email: silentwing@juno.com
Basic Rate: call or email for info Basic Rate: call for rates 2420 S.E. 50th Web: silentwingaudio.tk
Portland, OR 97206 Contact: Dan Festog, owner
STRANGE WEATHER 503-239-5389 Format: 8-track digital
New York, NY OHIO Email: info@jackpotrecording.com Basic Rate: $25/hr.
347-422-6419 FIREFLY STUDIOS Web: jackpotrecording.com
Email: booking@strangeweatherbrooklyn.com Toledo, OH Contact: Larry Crane SINE STUDIOS
Web: strangeweatherbrooklyn.com 419-350-6454 Format: see website for equipment list 127 S. 22nd St., 2nd Floor
Format: see website for equipment list Email: fireflystudios@firefly419.com Basic Rate: $50/hr Philadelphia, PA 19102

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484-883-4343 STUDIO BLUE Web: thecavestudios.net


Email: matt@sinestudios.com 109 Summer St. TENNESSEE Contact: Andrew Hooker
Web: sinestudios.com Providence, RI ADDICTION SOUND STUDIOS Format: Pro Tools HD3
Basic Rate: $100 min. (2 hr blocks 401-663-7871 506 E. Iris Drive Basic Rate: call for rates
Email: thestudioblue@gmail.com Nashville, TN 37204
SURREAL SOUND STUDIOS Web: thestudioblue.com 615-953-6243 EASTSIDE MANOR
2046 Caster Ave., 2nd Fl. Format: see website for equipment list Email: addictionstudios@me.com 615-878-2137
Philadelphia, PA 19134 Basic Rate: call for rates Contact: Jonathan Cain or David Kalmusky Los Angeles, CA
215-288-8863 Format: Pro Tools HDX2 System Contact: Jay Tooke, Studio Mgr.
Email: jay@esmstudios.com
Web: surrealsoundstudios.com
Format: Digital and Analog
SOUTH CAROLINA Web: addictionsound.com/
Basic Rate: please call for info Web: eastsidemanor.com/
CHARLESTON SOUND Format: Neve VR48 Legend
THIRD STORY 2612 Larch Land, Ste. 108 ARDENT STUDIOS
5120 Walnut St. Mt. Pleasant, SC 29466 2000 Madison Ave. HOUSE OF DAVID STUDIO
843-216-5556 Memphis, TN 38104 1205 16th Ave. S
Philadelphia, PA 19139 Web: charlestonsound.com Nashville, TN
215-747-1200 901-725-0855
Email: info@ardentstudios.com 615-320-7323
Email: tsr2@verizon.net THE JAM ROOM Email: houseofdavidstudio@gmail.com
Web: thirdstoryrecording.com Web: ardentstudios.com
201 S. Prospect St. Format: Pro Tools 9.0.1 and analog 24, 16, 8 and Web: houseofdavidstudio.com
Format: Pro Tools, Digital/Analog Columbia, SC 29205
Basic Rate: please call for rate 803-787-6908 2 trk 1/2-inch and 1/4-inch THE RECORDING SPA
Email: jamroomstudio@gmail.com Basic Rate: please call for info 3405 Belmont Blvd.
THE VAULT RECORDING Web: jamroomstudio.com Nashville, TN 37215
6500 Grand Ave. Contact: Jay Matheson BOB BULLOCK 615-321-2212
Pittsburg, PA 15225 Format: Pro Tools HDX Cool Springs Mix Email: studio@zmgllc.com
Contact: Bob McCutcheon, Owner Basic Rate: please call for rates Franklin, TN Contact: Nathan Meckel
Email: bob@thevaultrecording.com 615-972-8280 Basic Rate: call or email for info
Format: SSL AWS 948, ProTools II HD Native Email: bob@bobbullock.net
STRAWBERRY SKYS RECORDING STUDIOS Web: bobbullock.net
1706 Platt Springs Rd. EMERALD CITY PRODUCTIONS
Format: Mixing services, Specializing in Country, Nashville, TN
RHODE ISLAND West Columbia, SC 29169
803-794-9300
Pop and Rock. Nuendo and Pro Tools. See website Email: danny@emeraldcitypro.com
HIPPO for details. Web: emeraldcitypro.com
Email: info@strawberryskys.com Basic Rate: “Contact for Rates”
Heavyweight Audio Production Web: strawberryskys.com Contact: Danny Ozment
27 Bank St. Contact: Gary Bolton Format: see website for equipment list
Warwick, RI 02888 BLACKBIRD STUDIO Basic Rate: $60/hr
Format: Radar24 and Pro Tools 2806 Azalea Pl.
401-521-5676 Basic Rate: call for pricing
Email: martingleitsman@mac.com Nashville, TN 37204 HOUSE OF BLUES NASHVILLE
Web: hippostudios.com 615-467-4487 518 E. Iris Dr.
Email: rolff@blackbirdstudio.com
Contact: Martin Gleitsman SOUTH DAKOTA Web: blackbirdstudio.com
Nashville, TN 37204
Format: Pro Tools, sound for advertising and 615-777-9080
audio/visual CATHOUSE STUDIOS Contact: John McBride, Studio Owner; Email: info@houseofbluesstudios.com
Basic Rate: call for rates 1108 W. 12th St. Rolff Zwiep, Studio Mgr. Web: houseofbluesstudios.com
Sioux Falls, SD 57104 Format: Digital/analog Format: Digital and analog
MACHINES WITH MAGNETS 605-728-2145 Basic Rate: please call Basic Rates: Please call
400 Main St. Email: cathousemike@gmail.com
Pawtucket, RI 02860 Web: cathousestudios.com CASTLE RECORDING STUDIO JAMES LUGO’S VOCAL ASYLUM
401-475-2655 Format: Pro Tools 10 1393 Old Hillsboro Rd. Nashville, TN
Email: mail@machineswithmagnets.com Basic Rate: email us for rates Franklin, TN 37069 615-540-9108
Web: machineswithmagnets.com 615-791-0810 Email: james@jameslugo.com
Format: see website for equipment list FIRE STATION SEVEN RECORDING STUDIO Email: booking@castlerecordingstudios.com Web: vocalasylum.com
Basic Rate: call for rates 505 Kansas City St. Web: castlerecordingstudios.com Contact: James Lugo
Rapid City, SD 57701 Format: digital and analog Format: digital and analog
STATIC PRODUCTIONS 605-863-2401 Basic Rate: please call Basic Rate: call for rates
North Kingstown, RI Email: scott@firestationseven.com
401-267-8236 Web: facebook.com/FireStationSeven/ CAVE STUDIOS, THE NASHVILLE TRAX RECORDING STUDIOS
Email: record@staticproductions.com Contact: Scott, Miller, Jr. 5853 Davis Hollow Rd. 2817 W. End Ave., Ste’s 126-259
Web: staticproductions.com Format: ProTools 10 24 track Franklin, TN 37064 Nashville, TN 37203
Contact: Peter LaGrasse Basic Rate: $50/$60/hr., $75/hr on location 615-790-7578 615-319-8616
Rate: see website Email: thecaverecordingstudios@gmail.com

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Directory of U.S. Recording Studios

Email: nashvilletrax@bellsouth.net 615-259-5400 Email: info@luminoussound.com TRINITY RECORDING STUDIO


Web: nashvilletraxrecordingstudio.com/ Web: starstruckstudios.com Web: luminoussound.com P.O. Box 1417
Rate: call for rates Contact: Janet Leese Basic Rate: please call for info Corpus Christi, TX 78403
Format: digital/analog 361-854-SING (7464)
OCEAN WAY NASHVILLE Basic Rate: call MAGIK STUDIOS Email: webinfo@trinitystudio.com
1200 17th Ave., S. 16745 North Freeway, Ste. D Web: trinitystudio.com
Nashville, TN 37212 STONEBRIDGE MASTERING STUDIO Houston, TX 77090 Contact: Jim Wilken
615-320-3900 140 Jefferson Ave. 281-880-8992, 832-305-6429 Format: digital, unlimited tracks
Email: pmcmakin@oceanwaynashville.com Memphis, TN 38103 Contact: Karim Khorsheed, Owner-Operator/Eng. Basic Rate: $30/hr.
Web: oceanwaynashville.com 901-654-6491 Email: karim@magikrecordingstudio.com
Format: digital and analog Web: stonebridgemastering.com Web: magikrecordingstudio.com/ 226 RECORDINGS
Basic Rate: please call Contact: Gebre Waddell Basic Rate: $50/hr/2hr min. 226 W 19th St.
Format: see website for equipment list Houston, TX 77008
OMNISOUND STUDIOS Basic Rate: $75/single, $50/song for 2 or more NEXUS RECORDING STUDIOS 832-224-5943
1806 Division St. songs 8535 Fair Haven Web: 226recordings.com/
Nashville, TN 37203 San Antonio, TX 78229
615-482-1511 SUN STUDIO 210-639-5266 WINDY HILL STUDIO
Web: omnisoundstudios.com 706 Union Ave. Email: Jason@nexusrecordingstudios.com Austin, TX
Format: Pro Tools HD/24 TK analog Memphis, TN Web: nexusrecordingstudios.com 512-534-9299
Basic Rate: call for rates 800-441-6249 Contact: Jason Hatch Email: buck@windyhillstudioaustin.com
Email: ples@sunstudio.com Web: windyhillstudioaustin.com
PALETTE MUSIC Web: sunstudio.com ORB RECORDING STUDIOS Format: see website for equipment info
2491 N. Mt. Juliet Rd., #1934 9306 Ledgestone Terrace Basic Rate: call or email for info
Mount Juliet, TN 37121 TOP HAT RECORDING Austin, TX 78737
615-681-4061 2302 Rebel Rd. 512-433-6301 WIRE ROAD STUDIOS
Contact: Jeff Silverman Austin, TX 78704 Email: bookingorb@gmail.com 901 W. 20th St.
Web: palettemusic.net/ 512-779-8188 Web: orbrecordingstudios.com Houston TX 77008
Basic Rate: Call for info
Knoxville, TN Rates: call or email for rates 713-636-9772
PARAGON STUDIOS Email: mary@tophatrecording.com Email: inquiries@wireroadstudios.com
320 Billingsly Ct. Web: tophatrecording.com PLANET DALLAS Web: wireroadstudios.com
Nashville, TN 37067 P.O. Box 110995 Contact: Bill Wade
615-778-9083 THE TRACKING ROOM Carrollton, TX 75011 Format: Digital / Pro Tools
Email: info@paragon-studios.com 2 Music Circle E. 214-893-1130 Basic Rates: Studio A $125/Hour; Studio B $90/
Web: paragon-studios.com Nashville, TN 37203 Email: planetd@ix.netcom.com Hour; Studio D $60/Hour
Format: digital and analog 615-242-8181 Web: planetdallas.com
Basic Rates: please call Email: booking@thetrackingroomstudio.com Contact: Rick Rooney ZIG PRODUCTIONS
Web: thetrackingroomstudio.com Format: please see website P.O. Box 120931
PRIME CUT STUDIO Rates: email or call Basic Rate: call for pricing Arlington, TX 76012
Nashville, TN 615-889-7105, 214-444-9442
615-582-7307 WILDWOOD RECORDING RAMBLECREEK STUDIO Email: billyherzig@hotmail.com
Web: primecutstudio.com 2201 N. Berry’s Chapel Rd. Austin, TX Web: zigproductions.com
Contact: Daniel Dennis Franklin, TN 37069 512-797-7131 Contact: Billy HerZIG
Rate: call for rates 615-708-6944 Contact: Britton Beisenherz Format: Pro Tools
Email: brendan@wildwoodrecording.com Email: info@ramblecreek.com Basic Rate: Please call for rates
ROUND HILL MUSIC Web: wildwoodrecording.com Web: ramblecreek.com/
1802 Grand Ave. Contact: Brendan Harkan Basic Rate: Call for info
Nashville, TN 37212 Format: Digidesign Pro Tools HD3 wit Pro Control, UTAH
615-292-5100 Otari 2-inch 24 Track RECORD WITH BARRON ANNEX RECORDING STUDIO
Web: quadstudiosnashville.com Basic Rate: Call for Information 1701 Detering St. 12298 S. 1840 E.
Contact: Mark Greenwood Houston, TX Draper, UT 84020
Format: Digital and analog 713-225-1846 801-597-4007
Basic Rates: please call TEXAS Email: barron@recordwithbarron.com Email: info@annexrecording.com
ARLYN STUDIOS Web: recordwithbarron.com/#musicians Web: annexrecording.com
THE RECORD SHOP RECORDING STUDIO 200 Academy Dr., Ste. 140 Rates: 1 hr/$75, 4 hr/$260 Format: Pro Tools 9.0 HD3
2480 Moore Way Austin, TX 78704 Basic Rate: $90/hr, $800/day
La Vergne, TN 37086 Email: booking@arlynstudios.com RED SKY STUDIO
248-207-4975 Web: arlynstudios.com 1401 N. Dowell Rd. FIRST TAKE RECORDING STUDIO
Email: therecordshop1@gmail.com Rates: call or email Amarillo, TX 79124 305 W. Daniel Dr.
Web: therecordshopnashville.com 806-335-0485 Orem, UT 84057
Contact: Sean Giovanni BLUE ROCK ARTIST RANCH AND STUDIO Email: redskyrecording@sbcglobal.net 801-477-7763
P.O. Box 619 Web: redskyrecording.com Email: info@firsttakestudio.com
ROYAL STUDIOS Wimberley, TX 78676 Web: firsttakestudio.com
1320 Willie Mitchell Blvd.  512-847-7440 SONIC RANCH Contact: Daniel Thompson
Memphis, TN 38106 Email: info@bluerocktexas.com, 20200 Alameda Basic Rate: please call for rates
901-775-3790 billy@bluerocktexas.com Tomillo, TX 79853
Web: royalstudios.com Web: bluerocktexas.com 915-449-3717 NOISEBOX STUDIOS
Format: see website for equipment list Contact: Billy Crockett Contact: Tony Rancich 2544 W. 500 S.
Basic Rate: call for info Format: Pro Tools HD3 Email: tony@sonicranch.com Provo, UT 84601
Basic Rate: call for rates Web: sonicranch.com/ 801-805-8217
THE RUKKUS ROOM RECORDING Email: dave@noiseboxstudios.com
2741 Larmon Dr. CEDAR CREEK RECORDING SOUND ARTS RECORDING Web: noiseboxstudios.com
Nashville, TN 37204 5012 Brighton Rd. 8377 Westview Drive Contact: Dave Zimmerman
615-385-4007, 518-524-0832 Austin, TX 78745 Houston, TX 77055 Basic Rate: $75/hr
Email: booking@rukkusroom.com 512-829-1176 713-464-4653
Web: rukkusroom.com Web: cedarcreekrecording.com Email: brianbaker@soundartsrecording.com WOODSHAR STUDIO
Rate: Call or email for rates Format: Pro Tools 10 HD Native, Yamaha NS- 6033 1300 W.
10,1973 Custom 32 Input Neve STONE WALL STUDIO Taylorsville, UT 84123
SAM PHILLIPS RECORDING P.O. Box 855 801-685-0874
639 Madison Ave. CRYSTAL CLEAR SOUND Groveton, TX 75845 Email: inquiries@woodshar.com
Memphis, TN 38103 4902 Don Dr. 936-642-2142 Web: woodshar.com
901-523-2251 Dallas, TX 75247 Email: stonewall@valornet.com Contact: Shar or Doug Wood
Email: samphillipsrecording@gmail.com
Web: samphillipsrecording.com/ 214-630-2957, 888-237-2679 Web: stonewallstudio.com Basic Rate: Please call for rates
Email: michael@crystalclearsound.com Format: 48 tracks of Pro Tools LE7 (16 live inputs)
Web: crystalclearsound.net Basic Rate: $60/hr.
SKYWAY STUDIO
3201 Dickerson Pike Contact: Michael Walter, studio mgr/Owner VERMONT
Nashville, TN 37207 Format: analog, digital, mastering STUDIO 601 GUILFORD SOUND
615-650-6124 Basic Rate: $80/hr South Austin, TX 561 Fitch Rd.
Web: skywaystudiosnashville.com 512-693-9465 Guilford, VT 05301
iMIX RECORDING STUDIOS Email: info@studio601recording.com 802-254-4511
SOUND EMPORIUM STUDIOS 6347 Ashcroft Drive, Ste. 6b Web: studio601recording.com/ Email: info@guilfordsound.com
3100 Belmont Blvd. Houston, TX 77081 Web: guilfordsound.com
Nashville, TN 37212 888-316-1077 STUDIO713 Contact: Cynthia Larsen
615-383-1982 Email: imixhouston@gmail.com 848 Richey St. Format: Pro Tools + Analog
Email: info@soundemporiumstudios.com Web: imixhouston.com/ Houston, TX 77002 Rates: Please call Cindy for rates.
Web: soundemporiumstudios.com 713-640-5428
Rate: call or email for rates FIREFLY SOUND STUDIO Email: info@713music.com NORTHERN TRACK RECORDING STUDIO
3711 Farm to Market Rd., 484 Web: 713music.com/ P.O. Box 1059
SOUND KITCHEN STUDIOS Fischer, TX 78133 Wilmington, VT 05363
112 Seaboard Ln. 830-935-2069 SUGARHILL STUDIOS 802-464-2234
Franklin, TN 37067 Web: sffirefly.com 5626 Brock St. Email: info@northerntrackstudio.com,
615-370-5773 Contact: Steve Hennig Houston, TX gary@northernstrackstudio.com
Email: iblonder@soundkitchen.com Format: see website for equipment list 713-926-4431 Web: northerntrackstudio.com
Web: soundkitchen.com Basic Rate: call or email for info Contact: Casey Waldner Basic Rate: $60/hr
Format: Pro Tools HD & Vintage Analog - Neve, Email: producerboy@gmail.com
SSL, & API Legacy JOMUSIK Web: sugarhillstudios.com SOUNDESIGN RECORDING STUDIO
Basic Rates: Please call Ira Blonder, Managing Sunnyvale, TX 75182 67 E. Town Farm Rd.
Partner 972-226-1265 SUNRISE SOUND Putney, VT 05346
Email: info@jomusik.com 3330 Walnut Bend 802-257-1555
SOUTH BY SEA Web: jomusik.com Houston,TX 77042 Email: sdesign@svcable.net
1313 Jewel St. Contact: Joe Milton 713-977-9165 Web: soundesign-usa.com
Nashville, TN 37207 Format: digital and analog, lots of tracks Email: info@sunrisesound.com Contact: Billy Shaw
Email: Amanda@southbysea.com Basic Rate: $60/hr Web: sunrisesound.com/ Format: Pro Tools 001, 2” 24 & 16 Track Sony,
Web: southxseastudios.com ADAT
THE KITCHEN STUDIOS 360 RECORDING STUDIO Basic Rate: call for rates & special
STATION WEST 9024 Garland Rd. 11430 Bissonnet St.
616 W Iris Drive Dallas, TX 75218 Houston, TX 77099
Nashville, TN 37204 214-321-6401 832-598-7348 VIRGINIA
615-463-9118 Email: thekitchenstudios@sbcglobal.net Web: 360recordingstudio.com/ CRYSTALPHONIC RECORDING STUDIO
Contact: Luke Wooten, Owner/Producer/Eng Web: thekitchenstudios.net 946 Grady Ave., Ste. 26
Email: stationwest@gmail.com Rates: $60/80hr TIERRA STUDIOS Charlottesville, VA 22903
Web: stationwest.com 7502 ShadyVilla Ln. 434-971-2997
LUMINOUS SOUND Houston, TX 77055 Email: studio@crystalphonic.com
STARSTRUCK STUDIOS 17120 Dallas Pkwy., Ste. 100 832-730-0040 Web: crystalphonic.com
40 Music Square W. Dallas, TX 75248 Email: info@tierrastudios.com Format: digital and analog
Nashville, TN 37203 972-331-7040 Web: tierrastudios.com/ Basic Rate: please call for info

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CUE RECORDING STUDIOS BEAR CREEK STUDIO AND MUSIC Format: 24 track digital-analog BLAST HOUSE STUDIOS
109 Park Ave., Ste. E PRODUCTION Basic Rate: Please call for rates 1117 Jonathon Dr.
Falls Church, VA 22046 6313 Maltby Rd. Madison, WI
703-532-9033 Woodinville, WA 98072 ORBIT AUDIO 608-276-4446
Email: info@cuerecording.com, studiomanager@ 425-481-4100 Seattle, WA Email: mike@madisonmusicfoundry.com
cuerecording.com Email: bearcreek@seanet.com 206-381-1244 Web: blasthousestudios.com
Web: cuerecording.com Web: bearcreekstudio.com Email: orbitaudio@gmail.com Format: see website for equipment list
Basic Rate: please call for info Contact: Manny Hadlock Web: orbitaudiorocks.com Basic Rate: call for rates
Format: 2” 24 trk, 2” 16 trk, 1/2” 2 trk, Pro Tools Format: Digital/Analog
MAGGARD RECORDING STUDIO HD 32 in/48 out Basic Rates: $95/Hr, $750/day TAYLOR STUDIOS, LTD.
219 Railroad Ave. Basic Rate: Please call for rates 818 N. 109th St.
Big Stone Gap, VA 24219 STUDIO LITHO Milwaukee, WI 53226
276-523-1373, 276-275-9680 CLOUD STUDIOS 348 N.W. 54th St. 414-771-9999
Email: maggardsound@gmail.com 1101 E. Pike St. Seattle, WA 98107 Email: admin@taylorstudios.us
Basement 206-632-8157 Web: taylorstudios.us
Web: maggardsound.com Email: infostudiolitho@gmail.com
Basic Rate: $60/hr, $500/day Seattle, WA  98122 Contact: Jeffery Taylor
206-209-0977 Web: studiolitho.com Format: all digital recording and post production
Email: info@cloudstudiosseattle.com Basic Rate: please call for info Basic Rate: $95/hr.
MASTER SOUND
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– LOREN ISRAEL

10 TIPS: What It Takes to Write a Hit Song


A
n industry veteran––a songwriting mentor who has had years of ex- Exceptions are rare, and require strong melodic emphasis to counteract
perience grooming and handling multiplatinum-selling talent––gives the weaker positioning.
you specific instructions about the art & craft of hit songwriting. For a verse/chorus structure, the power positions are at the beginning
or end of the chorus. Pick one for your title. Keep in mind that repetition
1. Be up front with your story. of the title can work here. Think, “Yellow Submarine,” by the Beatles.
Look at the first two lines of your lyric. Imagine someone came up to Burying the title in the middle of your song confuses your listener, leading
you and read just those two lines. How much has the, “who, what, to fewer requests on the radio and fewer purchases at the store.
where, why, and how” of the
story been communicated? If 7. Establish consistent rhyme
you’re still lost after hearing schemes but change up your
those first two lines (i.e., you rhyme sounds.
don’t know what’s happen- Look at your rhyme scheme.
ing to the protagonist or If you have an a, b, a, b, c, c
have any idea what the song rhyme scheme in verse one, you
is about), then a record ex- should do the same for verses
ecutive, producer or casual 2 and 3. Now, what about the
listener will likely be uninter- sounds of your rhymes? Is your
ested in hearing more. song just a repetition of the “ee”
or “o” sound? The ear gets tired
2. Make every line count. relatively quickly from repetitive
Go to any of your lines. sounds like this.
Read just that one out loud.
Does it make sense? Could 8. Make sure your pronouns
it stand on its own without agree with their antecedent.
the support of the preced- When you’re listening to a song,
ing and subsequent lines? and you recognize that “you”
It should. Every line should has become a “she,” you’ve now
present a complete and entered Pronoun Hell. You, as
independent picture for your a songwriter, shouldn’t write “I”
listeners. Every line should three times and have it refer to
also ultimately speak to the three different people. This sort
title of your song. Your title is of thing needlessly confuses
your theme, and good writing your listener and can totally take
never strays from its theme. away from your song’s story. Pro
tip: when you’re using a quote
3. Vary the length of in your song, make sure there’s
your lines. an audible “he/she/they said,” so
Type your lyric flush left on a the listener understands what’s
sheet of paper (by the way, going on.
if your lyric doesn’t fit on one
sheet, you’re in trouble). Can 9. Sing your melody a cap-
your draw a neat box around pella.
your lyric? How about your Keep an ear out for where the
chorus or bridge? Do most of title goes. If that happens to be
the lines hit the right side of the best part of your melody,
the box? If this is true, then then congrats, you’ve placed the
your song will likely sound title correctly. If not, fix it. Also,
monotonous. You need vari- look for emotional dynamics in
ety in the lengths of lines and your song. Do you feel emotion
patterns of lyrics. Look for a really ragged right edge as a sign that your when singing it? Or does it sound repetitive like a nursery rhyme. Make
lyrics are conversational and rhythmically interesting. sure you vary the lengths of notes and the intervals between the notes to
create a sense of connection to the listener.
4. Vary the number of lines between chorus and verse.
Count the number of lines in each of your verses. Now, count the lines 10. Color your melody with chords.
in your chorus. If they’re exactly the same (e.g., 4-line verse and a 4-line Each chord has an emotional tone that gives shading to your melody.
chorus), then you’re probably not contrasting enough between the two sec- Minor chords tend to express doubt or sorrow. Major chords have a
tions. That contrast helps the song feel fresh and exciting when played. happy, positive feeling. Adding 6ths, 7ths, 9ths, suspensions and inver-
sions give the basic chord more feeling. Appropriate use of chords will
5. Match the beat between verses. give you the sound you’re looking for. Being too rapid or complex with
Count the number of beats in the lyric of verse 1, line 1. Now, count the chords might be distracting. Not changing enough or having a repetitive
number of beats in verse 2, line 2. Do they match? What we often see strum can be boring.
is something like 8 beats in verse 1, line 2, and 13 beats in verse 2, line
2. No way those extra 5 beats are going to fit comfortably on the melody
you worked so hard to establish in the first verse. LOREN ISRAEL is a songwriting teacher, record producer and A&R consultant specializing
in finding and developing new talent. For over 15 years, Israel was an executive in the Artist
& Repertoire department at Capitol Records. He worked with bands such as Coldplay, Less
6. Give yourself a title of power. Than Jake, and was the A&R rep for Jimmy Eat World’s multiplatinum Dreamworks album,
Bleed American. Lately, Israel has been developing artists through his six-month Songwrit-
The position of your title tells the listener what your main point is. There ing Course, while also recently becoming an A&R Consultant for Sony Music. Bands he’s
are certain power positions in a song, all dependent on the structure you mentored through his course include: Plain White T’s, Neon Trees and the Unlikely Candi-
set up. Is it a verse/bridge structure (A,A,B,A)? Then your title will be dates. His songwriting mentoring has helped his bands earn over $60 million in contracts,
promotions and merchandise.
in the first or last line of the verse. Think of “Yesterday” by the Beatles.

78 July 2017 musicconnection.com


– ROGER
– CHRIS
BURNLEY
LINES

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