MCOct14

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CONTENTS 

Informing Music People Since 1977 

No. 10 

36 

Weezer 

MC speaks with the band’s Scott Shriner 

about all things Weezer, including Everything 

Will Be Alright In The End, the poprock 

mainstays’ new album produced by 

Ric Ocasek. 

By Brett Bush 

Photo courtesy of Republic Nashville 

44 

DJ Cassidy 

This vibrant new dance music 

artist explains his four-year 

mission to rock the party. 

By Carl Anthony 

40 

Mastering Experts 

The information you will get from this roundtable 

of experienced professionals could make 

a crucial difference to your next record. 

By Rob Putnam 

56 

Directory of U.S. 

Mastering Studios 

72 

Directory of U.S. 

College/Indie Radio 

Compiled By Denise Coso 

Departments 

08. Close Up 

09. Assignments 

10. New Toys 

14. Book Store 

16. Up Close 

18. Studio Mix 

23. Business Affairs 

26. Signing Stories 

28. Song Biz 

32. FilmTVTheater 

34. Mixed Notes 

Reviews 

48. Album Reviews 

50. New Music Critiques 

52. Live Reviews 

Be sure to follow Music 

Connection on Facebook 

and Twitter. 

20. Producer Crosstalk: Mike Del Rio . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 

22. Exec Profile: David Dufresne, Bandzoogle . . . . . . . . . . . . By Andy Kaufmann 

30. Songwriter Profile: Mary Lambert . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 

46. Industry Profile: Rdio . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Mesecher 

78. Tip Jar: Execute a Successful Radio Campaign . . . . . . . . . . . . . . . By Loren Weisman 

The opinions expressed in 

Music Connection, as well as all 

Directory listings and contact information, 

are provided by various sources in the 

music industry. Music Connection 

is not responsible for any business 

transactions or misadventures that may 

result from your use of this information. 

4 

October 2014 

musicconnection.com

http://daisyrock.com 

http://soundcheckstudios.net 

E. Eric Bettelli PUBLISHER 

The Serving World’s Fellow Only Musicians: “Girl Guitar” A hard Company: rock drummer Driven and by its former branding drum motto department 

manager Weight. at Slimmer SIR, E. David Eric Neck. Bettelli Lee Totally launched Inspiring,” Mark Soundcheck Nardone the Van Studios Nuys, CA-based 

a 24- 

“Lighter 

Daisy hour lockout Rock Girl rehearsal Guitars facility 

GENERAL —launched in 2005. 

MANAGER by Converting 

/ heavy ASSOCIATE metal PUBLISHER 

an rock empty bassist / 

warehouse Tish Ciravolo 

a dynamic in 2000—is 28 room 

to 

ADVERTISING 

the facility original —ranging 

DIRECTOR 

“girl guitar” in size 

SENIOR company from small 

EDITOR dedicated drum to rooms supplying of 10-ft 

and x 10-ft marketing to full size professional-quality band rooms 20-ft guitars x 25-ft for to females a full showcase of all ages. room, Early each on, 

ericb@musicconnection.com markn@musicconnection.com 

when with a Ciravolo 17-ft ceiling said, —he “The developed boys club a is comfortable, over,” she meant safe environment for everyone—from with a 

eight creative to 12 vibe. year In old addition girls Denise drawn to minimal Coso to Daisy “noisebleed” John Rock’s Curry yellow, between purple, rooms pink (thanks and to 

blue six inches models of to airspace 

OPERATIONS 

adult women between 

MANAGER 

drawn two walls to 

/ 

the ART with lighter-weight DIRECTOR sound board and insulation slimmer neck and 

profiles (single cutaways, double cutaways). 

DIRECTORIES EDITOR artdirector@musicconnection.com 

“In 2000, when we started, 

approximately four percent of the guitar playing population was female, and 

now that’s up denisec@musicconnection.com 

to 25-30 percent,” she says. Andy “It’s Mesecher great to see how our guitars 

have inspired women Steve of all ages Sattler to play.” ASSOCIATE EDITOR 

BUSINESS 

DEVELOPMENT MANAGER 

steve@creativesalesresource.com 

Ray Holt 

DIRECTOR OF 

DIGITAL MARKETING 

rayh@musicconnection.com 

Siri Svay 

SOCIAL MEDIA MANAGER 

sirimusicconnection@gmail.com 

Jessica Pace 

 

j.marie.pace@gmail.com 

andym@musicconnection.com 

Barry Rudolph 

NEW TOYS 

barry@barryrudolph.com 

Bernard Baur 

CONTRIBUTING EDITOR 

bbatmc@aol.com 

Dan Kimpel 

SONG BIZ 

dan@dankimpel.com 

Daisy Rock Girl Guitars recently signed FEATURE the WRITERS Sledge Grits Band to the company’s firstever 

Andy exclusive Kaufmann artist andy.kaufmann@verizon.net endorsement agreement Rob at their Putnam Van Nuys, toe2toe6@hotmail.com 

CA headquarters. 

l-r: bo-Pah Sledge, Keiko Sledge, Tish Ciravolo, Ella Sledge, drywall), and Mimi the Sledge North 

Editorial Interns Hollywood facility has 

Liza Cano intern@musicconnection.com central A/C and heat 

in all rooms, secure 

gated parking, closed 

circuit TV monitoring 

CONTRIBUTING WRITERS 

and easy load in/out. 

Carl Anthony, Allegra Azzopardi, Bernard Baur, Danica Bellini, It was Brett also Bush, one Jeannie of the 

Deva, Gary Graff, Eric A. Harabadian, Corey Irwin, Ted Jamison, first studios Andy Kaufmann, in L.A. 

Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, to Daniel offer free Siwek, wireless Vincent 

Stevens, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Internet Widran, access. Ellen Woloshin 

PHOTOGRAPHERS The Revamped 

Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Showcase Jim Donnelly, Room: Kevin 

Estrada, Corey Irwin, Apple Kaufmann, David Klein, Tony Landa, The Dave crown Long, jewel Thomas of 

Long, Jessica Pace, Victoria Patneaude, Scott Perham, Rob Soundcheck Putnam, Alexander Studios G. 

has 

Seyum, 

long 

Danny 

been 

Seyum, 

Room 

Mark 

#3, 

Shiwolich, 

a 30-ft x 

Daniel 

40-ft space 

Siwek, Vincent 

with a 

Stevens, 

20-ft x18-ft 

Brian 

stage 

Stewart, 

and drum 

E. H. 

riser. 

Tiernan, 

It has 

Paula 

been 

Tripodi, 

used 

Brooke 

by everyone 

Trout, Albert 

from 

Vega, 

Idina 

Ellen 

Menzel 

Woloshin 

to 

Filter as well as members of Rage Against the Machine. With a recent 

extensive remodeling, it has evolved into a live rehearsal and showcase 

room, completed MANUFACTURED with AND a full PRINTED concert IN style, THE UNITED 4-way STATES PA system. OF AMERICA The room 

is now fit for optimal audio and video quality, with black velvet curtains 

wrapping Music Connection around the (ISSN# walls 1091-9791) is published monthly by Music Connection, 

to Inc., give 3441 the Ocean sound View engineer Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada 

complete A Wide Range 

$4.95. Subscription 

control. of Fans It 

rates: 

has and Endorsees: The company, which launched 

as a subsidiary of Schecter $35/one Guitars year, and $59/two is now years. co-owned Outside and the U.S., distributed add $25 

LED lights and an available 

Alfred (U.S. 

by 

Pro Music, currency) 

Tools has rig. 

per over The 

year. 600 We endorsees are not responsible from across for unsolicited the musical material, spectrum— which 

dynamically including must be many accompanied outfitted up-and-comers by room return postage. from ages All rights 14-16 reserved. as well Reproduction as established in whole 

includes names or part like a without new Vicky private written Peterson permission full from the of the Bangles publishers (who is prohibited. has a Bangles The opin Signature ions of 

bathroom Model), contributing Lisa with Loeb, writers shower Avril to this stall Lavigne, publication Suzi do not Quatro, necessarily Miley reflect Cyrus the and views 76-yearold 

Rock is and Roll Hall of Famer Wanda Jackson. Legendary fans include 

of Music 

and Connection, ideal for industry Inc. Copyright © 2014 by E. Eric Bettelli. All rights reserved. 

showcases. 

Jimmy Page, Robert Smith (the Cure) and Nancy Wilson (Heart). 

Founded by: J. Michael Dolan / michael@jmichaeldolan.com 

The Red Grand Hot Love Re-Opening: and Rock Candy: Ciravolo and Daisy Rock are a popular 

Though annual fixture Soundcheck at the NAMM show, where their exhibit sports pink fur walls, 

Studios spotlights has and been chandeliers. open Their 2014 rollouts include the Pixie Cupid in 

Red Hot Love, featuring NEW a CORPORATE heart-shaped HEADQUARTERS 

during remodeling, it will soon be celebrating sound its hole Grand and Re-Opening. an angel flying Lee 

says, at the “The 12th 3441 building, fret; Ocean the Sophomore View now Blvd., Glendale, than Butterfly ever, CA Guitar, 91208 has a Office: musical which 818-995-0101 

has artistic a butterfly vibe. We in 

had flight a inlay graffiti Fax: and 818-638-8015 artist butterflies do mural Email that artworks fly Address: up the on contactmc@musicconnection.com 

neck; the doors and two of each Rock room Candy and graphic in our 

new guitars lounge (the red, area. white We Website: moved and blue the http://musicconnection.com 

Super vending Guitar machines Girl and into Skulls the walls and Roses) themselves, 

whose combination added Legal lounge Counsel: 

of chairs colors 

Christopher and a vines 

J. charging Olsen 

with 

/ chris@chrisolsenlaw.com 

skulls station. make We ultimately it the choice want of 

Soundcheck every goth girl. to become a hotspot for many up-and-coming artists, and a 

springboard for their success.” 

Contact Daisy Rock 1-877-MY DAISY (877-693-2479) 

Contact Soundcheck Studios, 818-823-8774 

Subscribe to MC NOW! 

musicconnection.com/store/subscribe 

– JONATHAN WIDRAN 

DAISY SOUNDCHECK ROCK GIRL GUITARS STUDIOS 

8 September August 2014 2014 musicconnection.com 

6 October 2014 musicconnection.com

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QSC AUDIO PRODUCTS, LLC 

http://qsc.com 

Global Leader In Pro Audio Solutions: Founded 46 years ago in 

Costa Mesa, CA, QSC is a globally recognized leader in the design and 

manufacture of professional audio system solutions. Its wide ranging 

catalog of products includes digital mixers, power amplifiers, loudspeakers 

and DSP systems for musicians, bands, DJs, houses of worship, production 

professionals, sound contractors and installers. QSC leverages 

these technologies to deliver products and systems that far outperform 

the sum of their parts to provide compelling solutions for professionally 

installed, portable, production and cinema sound customers worldwide. 

Thinking Locally While Expanding Globally: A privately held Thinking 

Locally While Expanding Globally: A privately held company, QSC is 

unique in that it has continuously manufactured many of its products in 

its longtime Southern California-based facility. Located on 51,000 square 

feet of office space on the same campus as the manufacturing facility 

are the QSC Corporate Offices, Engineering, Sales, Marketing, Technical 

Support and Service. Additionally, QSC has offices in Boulder, CO 

and Hong Kong, with sales and support staff located throughout North 

and South America, Europe, Asia and the Middle East. QSC maintains a 

warehouse and distribution facility in Costa Mesa, with other facilities in 

Tennessee, Belgium and China. 

TouchMix Compact 

Digital Mixer: QSC 

has long been the No. 

1 seller of live sound 

reinforcement products 

in the U.S. retail market 

due to its success with 

its K Series loudspeakers, 

which have created 

a new paradigm and 

raised expectations 

for what lightweight 

powered loudspeaker 

systems should achieve. 

The company recently introduced its innovative QSC TouchMix compact 

digital mixers, which are 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. TouchMix-8 and TouchMix-16 mixers have the functionality 

to satisfy live sound pros, and a range of features/functions that help 

the less experienced user achieve remarkable results. Resetting the bar 

for performance and value, TouchMix gives users the ability to do a live 

mix in a way they never could before. 

Contact QSC, 800-854-4079 


Eddie Combs 

Sr. Vice President, Marketing 

Guitar Center 

Guitar Center has announced the 

appointment of Eddie Combs to the 

position of Senior Vice President, 

Marketing. Combs’ extensive expertise 

in eCommerce, digital marketing, mobile 

experiences, customer loyalty and 

demographic targeting will allow him to 

drive Guitar Center’s innovative branding 

efforts and marketing initiatives. In his role, Combs will work closely with 

Christopher Ian Bennett, VP, Communications and Corporate Affairs; 

Dustin Hinz, VP, Brand Experience and Entertainment Marketing; and 

Jeff Hiller, VP, Brand Manager, to strengthen GC’s retail marketing 

strategy to help elevate sales and store traffic. Contact media@ 

guitarcenter.com for further details. 

Tiffany Starr Kumar 

Senior Vice President of Creative 

2101 Songs 

2101 Songs, a global music publishing 

company owned by multi-GRAMMY 

winning producer RedOne, has appointed 

Tiffany Starr Kumar to Senior Vice 

President of Creative, a new position 

at the emerging independently owned 

publishing company. Based in Los 

Angeles, Starr Kumar will utilize her 

unique background as a songwriter and publisher to build the careers 

of RedOne’s publishing roster, which features multi-Platinum and charttopping 

writers and producers. In this new position, Starr Kumar will 

be responsible for developing, promoting, marketing and working with 

the songwriters signed to 2101 Songs. For more information, email 

SSchmader@rogersandcowan.com. 

Chris Taillie 

Director of Publicity 

Shore Fire Media 

Shore Fire Media has announced the 

promotion of Chris Taillie to Director of 

Publicity. Taillie joined Shore Fire in 2007 

and was most recently a Senior Account 

Executive. Previously, Taillie was a label 

representative and artist management 

assistant at Velour Music Group and 

graduated with a B.A. in History from the 

University of Buffalo. Originally from Rochester, NY, he currently resides 

in Kensington, Brooklyn where he “enjoys exploring weird restaurants 

in N.Y.C., drinking beer, buying records and biking.” With offices in 

Brooklyn and Nashville, Shore Fire’s roster includes top musicians in 

all genres, non-profits, books, trade organizations, venues, technology 

services and more. Contact ghayes@shorefire.com. 

Jonathan Newkirk 

Dean of Entertainment Industry Studies 

Musicians Institute 

Musicians Institute, the College of 

Contemporary Music in Hollywood, CA, 

has appointed music industry veteran 

Jonathan Newkirk as the Dean of 

Entertainment Industry Studies for the 

Fall Quarter of 2014. In his new position, 

Newkirk will oversee the school’s four 

industry disciplines: Audio Engineering, 

Music Business, Independent Artist and Guitar Craft. While continuing in 

his role as the Audio Engineering Program Chair, Newkirk will also help 

to develop a variety of curricular materials for MI’s recently announced 

blended learning initiatives, which pair hands-on classroom instruction 

with digital delivery of multimedia content. For further information on this 

appointment, contact chandra@glowmarketing.com. 

Maria Egan 

President 

Pulse Music Publishing 

Maria Egan has been appointed 

President of Pulse Music Publishing. 

Formerly Executive V.P. at Pulse and 

prior to that, V.P. of A&R at Columbia 

Records, Egan will now oversee A&R/ 

Creative for the music publishing company 

in addition to her existing role in the 

continuing expansion of its producer and 

artist management divisions. Egan remarked, “Under Scott Cutler and 

Josh Abraham’s leadership, Pulse has proved to be one of the most 

progressive and artist friendly new companies in the music business. 

My first year has been one of the highlights of my career and it’s thrilling 

to see a boutique owned and operated by creatives go from strength to 

strength.” Contact gina@pressherepublicity.com for more information. 

Steve Nalbert 

Director, Creative and Licensing 

Round Hill Music 

Round Hill Music has announced the 

promotion of Steve Nalbert to the position 

of Director, Creative and Licensing. Over 

the last year, Nalbert has worked diligently 

to solidify the foundation for Round Hill 

Music’s licensing process and department. 

In this new role, he will not only continue 

to oversee the licensing process, but 

will now take a more active role in procuring creative opportunities for 

the company’s catalog. Nalbert first joined the company in 2013 as Sr. 

Manager/Creative & Licensing, after spending the last five years of his 

career at Cherry Lane Music Publishing and BMG Rights Management. 

Steve’s most recent role at BMG was Senior Manager of Marketing, Film & 

TV. Contact anna@golightlymedia.com. 

Christy Garbinski 

Promotion Representative 

Sony Music Nashville 

R.G. Jones, Director, Promotion/Strategy 

& Analysis, Sony Music Nashville 

has announced the hiring of Christy 

Garbinski as Promotion Representative 

for the label group. Based in Nashville 

and reporting to Jones, Garbinski 

is responsible for promoting airplay 

for Sony Music Nashville artists at 

secondary market radio stations. A 2013 

graduate of the University of Florida, Garbinski has experience with 

Country Radio Broadcasters and WRUF The Gator in Gainesville, FL, 

along with internships at CMT, Clear Channel Tampa and Entercom 

Communications. Garbinski’s hire is effective immediately and can be 

reached at Christy.Garbinski@sonymusic.com. 

Robert Taylor 

Regional Manager, Southeast N. America 

Biamp Systems 

Biamp Systems, a leading provider of 

innovative, networked media systems, 

has announced the appointment of 

Robert Taylor to Regional Manager, 

Southeast Region of North America. In 

his new role, Taylor will be responsible 

for strategic sales and support 

encompassing the entire Biamp product 

line for customers in the Southeastern 

United States. Taylor comes to Biamp with over 15 years of experience 

in pro AV design, sales and installation services, most recently as 

a Sales Representative for Secom, an independent manufacturers’ 

representative firm serving the professional and commercial audio 

industries. Contact amanda.roe@biamp.com. 

October 2014 

musicconnection.com 

9

– BARRY RUDOLPH barry@barryrudolph.com 

ZIVIX PUC WIRELESS MIDI 

MACKIE CR3 AND CR4 MONITORS 

THE CR3 AND CR4 are Mackie's new Creative Reference Multimedia Monitors 

that feature studio-quality design, sound and performance in small, desktop-sized 

all-wood cabinets. The two models have 3- and 4-inch woofers respectively and 

both use the same 3/4-inch silk-dome tweeter. CR monitor models have a curved 

high-frequency waveguide for a wide and even stereo sound that’s well supported 

with good bass due in part to the rear bass port. The CRs have a front panel on/off/ 

volume control knob that also controls the volume of headphones if plugged directly 

into the front of the monitors. 

I received a set of both the CR3 and CR4s—they are sold in pairs with one 

speaker containing the stereo Class-AB amplifier, master volume control, and frontmounted 

aux input mini-jack (for iPhones etc.) and headphone jacks. The companion 

passive speaker connects to the powered speaker by way of an included cable. 

The back panel has a master power switch and both balanced TRS and unbalanced 

RCA input jacks for the left and right channels. 

I used the CRs placed on either side of my flat panel monitor. They make a great 

“second opinion” comparing what my mixes sound like on smaller, more consumer-level speakers. 

A pair of CR3s sells for $129 MSRP and the CR4s are $199.99. 

http://cr.mackie.com 

ZIVIX’S WIRELESS LINK SYSTEM (named PUC) connects MIDI musical instruments with iOS devices. 

An iPad, iPhone or iPod Touch running iOS 7 loaded with music creation applications, synths or virtual 

instruments become “plug n’ play” wirelessly using Core MIDI over Wi-Fi with your MIDI controller or 

sequencer. 

Not only is PUC a portable wireless MIDI data transmitter system, it is an interface with a legacy 

5-pin DIN connector that’ll adapt any MIDI gear to trigger iOS Core MIDI devices. 

The PUC system will work with Garageband, Moog’s Animoog, Waldorf’s Nave and Propellerhead’s 

ReBirth. I can now integrate these applications from across my control room and record them into Pro 

Tools using the iPad’s analog (headphone) output jack. 

PUC connects to your legacy MIDI controller or interface with a short MIDI cable and runs on two 

AA-batteries. Once I programmed the proper MIDI channel out, I then set up a Wi-Fi connection from the 

PUC to my iPad where IK Multimedia's SampleTank started playing immediately. 

I like the battery-powered portability allowing me to plug the PUC directly into the studio’s MIDI interface to 

play my iPad. Other uses are: conveying wirelessly MIDI controller data from drum pads, DJ controller, floor pedals or 

sustain pedals or basic switch closures. The PUC sells for $129.99 MSRP. 

http://mipuc.com 

WD MY CLOUD EX4 

WESTERN DIGITAL’S MY CLOUD EX4 is a personal cloud storage system that 

connects directly to your wireless router, giving you direct access to its content 

using any computer, tablet or smartphone with Internet access. As a high-performance 

Network Attached Storage device (NAS) with four drive bays, you’ll have 

shared storage on your home network and be able to remotely access content using 

the WD My Cloud EX4 app or any Web browser. My Cloud makes a “peer-topeer” 

connection so communication between mobile device and drive is direct. 

Enclosed in an all-metal cabinet, the EX4 I received for review has four, hot 

swappable drive bays each fitted with a 2TB WD Red hard drive setup in a 

RAID 5. You can buy it with just two drives and add later and you can choose 

RAID 0, 1, 5, 10 or select spanning and JBOD modes using the Dashboard and 

any Web browser. Capable of holding 16 TB of storage space, you’re not likely to 

run out of space, but if you do you can add more by connecting a USB 3.0 drive to 

one of the unit’s two rear USB ports. 

I found the ability to upload and download Pro Tools files quickly as archival and/or as backup at the end 

of a session very useful. The WD My Cloud EX4 is as periodic studio backup and for streaming music and 

video files locally to my clients. Once they download the free smartphone app and I set them up, I can push 

.mp3 or .wav mixes to their phones or laptops almost instantly. 

As tested, the My Cloud EX4 with four 2TB drives (8TB total) sells for $749 MSRP. My Cloud EX4 also 

comes 16TB, 12TB and 0TB (diskless) models. The 0TB diskless model allows for expansion as you need 

more storage starting with just one drive. 

http://wdc.com/en/products/products.aspxid=1170 

YAMAHA ACOUSTIC CONDITIONING PANELS 

YAMAHA’S NEW ACOUSTIC CONDITIONING PANELS (ACP) are super-thin, low-cost acoustic treatment 

panels for project studios, school classrooms, houses of worship, home theaters or professional 

recording studios and listening rooms. 

These attractive, almost Zen-looking panels offer a built-in balance between the absorption and diffusion 

(scattering) of sound in any space. Rooms with excessive absorption sound dead and lifeless and 

conversely, rooms that are overly reflective blur and lessen intelligibility the sound. 

Measuring 3 cm deep, the Acoustic Conditioning Panels are “diffsorbers,” a combination of an absorption 

and diffuser panel in one. Yamaha Acoustic Conditioning Panels are easy to install anywhere using 

the included fittings, and greatly enhance sound clearness and balance in the range of 80 Hz to 4 kHz. 

http://4wrd.it/SWE360655 


THE TRUCK 

STOPS HERE. 

Imagine rolling up with a rig this size and knowing righteous tone 

has been delivered. A complete, professional rig that fits in your 

guitar case, leaving the hand truck free for other important things 

like CDs and swag. 

The slim, sleek, all-metal Fly Rig 5 features a genuine SansAmp 

with 3-band EQ, a shimmering reverb, a delay with tap-tempo, a 

thumping 21dB boost, and our soaring Plexi distortion. For fly gigs 

across the globe, jamming at the local hang, and last minute sessions, 

you’ll be the first one ready to go. 

Take a load off when you load-in with the fully loaded Fly Rig 5. 

 

DESIGNED AND MANUFACTURED IN THE U.S.A. 

TECH21NYC.COM

– BARRY RUDOLPH barry@barryrudolph.com 

RETRO INSTRUMENTS OP-6 PORTABLE AMPLIFIER 

RETRO INSTRUMENTS’ OP-6 Portable Microphone Amplifier is a proper rendition of the 

classic portable RCA OP-6 tube microphone pre-amp that came out in the 1930s and was 

used mostly for remote on-location, live radio broadcasts—some of the greatest recordings of 

the past century. 

Retro’s OP-6 sports five, 6J7 pentode tubes in a kind of “redundant” all Class-A circuit design. 

It has the same size, look and 20-lb heft of the original yet is fully modernized with XLR 

connectors, a 1/4-inch (DI) instrument input, 48-volt phantom powering, polarity flip, 25dB 

pad, output level control and a VU meter ranging switch that doubles as a “tube checker” for 

the three amplifier stages. 

The Retro offers three choices of input impedance to match any microphone from vintage 

low impedance ribbons to modern condensers and dynamics. Purposely mismatching impedances 

also offers a range of tonality changes for any dynamic or velocity (ribbon) mics. 

I first tried my Fender Strat plugged into the DI making it sound very fat. My AKG D12 VR 

dynamic on a voice and kick drum with the Retro OP-6’s three different impedance choices 

was like having several different mic choices. 

Next I tried recording vocals using both ribbon and condenser mics. There is plenty of gain here if you are recording quiet singers with a low 

output microphone—compared to my transistorized pre-amp, the sound is thick and warm but not 

“dark”—more of a glow! 

The Retro Instruments OP-6 Portable Amplifier sells for $3,500 MSRP. 

http://retroinstruments.com 

LH LABS GEEK OUT DAC 

LIGHT HARMONIC LABS HAS GEEK OUT, a portable digital-to-analog converter (DAC) with 

headphone amp. Geek Out solves two annoying audio problems with music playback using laptop or 

home computers: poor quality of the computer’s built-in DAC and wimpy-sounding headphone amp. 

Geek Out utilizes a version of the Da Vinci three-layer buffer 32-bit/384kHz and DSD 2 decoding 

engine and a Class-A (1-watt) high current output stage with two headphone jacks. Geek Out will 

decode either PCM or any DSD audio streams and also sufficiently drive any set(s) of headphones or 

in-ear monitors to maximum volume and fidelity and sufficient bass. 

USB 2.0 class compliant, Geek Out plugs right into your computer’s USB jack and shows up in the Mac’s Sound Preference window ready to 

be selected. PC users will need to download a driver. 

There are two 3.5mm headphone output jacks: one for driving most small headphones and ear buds and another for larger and lower impedance 

pro-level headphones. My Audio-Technica ATM-M50X’s sounded fine plugged into either. Suffice to say, having two jacks is an awesome 

feature in itself—especially when traveling with a friend. 

Features I also like are: the LED indicators that show the sample rate, rate multiplier (2X, 4X or 8X) and if the 3D Awesomifier is engaged. 

The 3D Awesomifier is useful to increase the level of center-panned lead vocals. It sells for $299. 

http://geek.lhlabs.com/geekout 

SONY CREATIVE SOUND FORGE 2 

SONY CREATIVE SOFTWARE has Sound Forge 2; it uses the same core technology as Sound 

Forge Pro Mac 2. It uses 64-bit AU and VST plug-in processing and plays/records up to 32 simultaneous 

channels of audio using up to 24-bit/192 kHz resolution. The audio editor contains Wave Hammer, 

a flexible audio compressor/limiter with presets I found to work well for getting music mixes as 

loud as possible. 

I am generally concerned with editing/trimming waveforms on different audio files before I apply 

processing. You can jump between either interleaved or a single mono files—each file is represented 

as tabs that line up in queue horizontally across the top of the main Edit window. 

You can use Sony Creative Software’s native processes such as fade, flip, mute, volume, normalize 

and reverse and there is an extensive undo capability. You can save in formats: 3G2, 3GP, AAC, AIF, CAF, FLAC, M4A, MP3, 

MP4, OGG, SND, W64, and WAV. 

Sound Forge 2 is available for download from the Mac App Store for $99.99 with an introductory price of $79.99. 

http://sonycreativesoftware.com/soundforge2 

MIX BUSS LITE 2.0 PLUG-IN 

MUSIC PRODUCER/MIXER Rob Chiarelli has the first in his Signature Series of DAW plug-ins called Mix 

Buss Lite. Designed to process the stereo output bus of your DAW mixer to increase the average loudness of 

your music mix, Mix Buss Lite 2.0 comes in AAX (Pro Tools), AU Macs and VST for Windows. 

Mix Buss Lite has simplified controls that allow you to use your ears and not fancy metering. The Input 

Drive fader sets the amount of loudness boost as indicated by the “Sweet Spot” meter—the orange and yellow 

lights will flash/glow with occasional red Sat (saturation) blinks. 

Mix Buss Lite offers a range of “coloration” effects. Select Fat for accentuating the upper and lower frequencies, 

Warm thickens mixes in the bass, Clear is full range but 

with less saturation than Fat, and Full is like Fat except louder. 

I found great functionality with Mix Buss Lite beyond the 

stereo mix bus. It works great for bass guitar and stereo sub 

groups in Pro Tools 11—stacks of backing vocals and guitar 

layers all sounded tighter and “fit” better into a big mix. 

It sells for $19 as a download. 

http://finalmix.biz 

BARRY RUDOLPH is a recording engineer/mixer who 

has worked on over 30 gold and platinum records. He has 

recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat 

Benatar, Rod Stewart, the Corrs, and more. Barry has his 

own futuristic music mixing facility and loves teaching audio 

engineering at Musician’s Institute, Hollywood, CA. He is a 

lifetime Grammy-voting member of NARAS and a contributing 

editor for Mix Magazine. http://barryrudolph.com 


MIX 

 

PR0S 

(There’s no such thing as TMI) 

 

 

 

 

Visit alfred.com/mixing 

BOOK STORE 

Chris Stein/Negative: Me, 

Blondie, and the Advent of Punk 

By Chris Stein 

(hardcover) $55 

Before he co-founded Blondie with Debbie Harry, 

Stein was an art school student who in the late 

‘60s began photographing the early downtown 

N.Y.C. rock scene, capturing a diverse array of 

scenesters and music-makers, including hip-hop 

personality Fab Five 

Freddy Braithwaite, 

saxophonist James 

Chance and, of 

course, Andy Warhol. 

In both black & white 

and color, he photographed 

scenes at the 

Mudd Club, CBGB, 

and Warhol’s Factory, 

and in the process 

caught images of 

David Bowie, the Sex 

Pistols, the Voidoids, 

the New York Dolls 

and the Avengers. Stein also captured many of 

the very early girl bands: the Stillettos, Siouxsie 

and the Banshees, the Slits, Cherie Curie and 

Tom Tom Club, as well as fascinating early ‘80s 

downtown characters like Richard Hell, Stephen 

Sprouse, Jean Michel Basquiat and more. 

Stein’s “pictorial autobiography” of 250 photos is 

a graphic look back at a special place and time. 

In the Box Music Production 

By Mike Collins 

(paperback) $59.95 

Written for those who already have a modicum 

of experience with Pro Tools, In the Box Music 

Production: Advanced Tools and Techniques 

for Pro Tools shows how to use Pro Tools to its 

full potential, giving 

advice on studio 

techniques and a 

deep exploration of 

its internal capabilities. 

Fully grounded in 

real-world applications 

and process, 

this 686 page book 

aims to teach you 

how to leverage Pro 

Tools and make it 

work for you. 

The Free 

By Willy Vlautin 


Singer/songwriter and Richmond Fontaine frontman 

Willy Vlautin has established a considerable 

career as novelist, 

and in his fourth book 

he once again explores 

the hardscrabble lives 

that are a mainstay of 

the fabric of America. 

As in his previous novel, 

the award-winning 

Lean On Pete, Vlautin’s 

stark, realist eye in The 

Free proves to be both 

warm and devastating. 

The Pensado Papers 

By Dave Pensado & Herb Trawick 


In this warm, conversational book, Grammywinning 

mix engineer Dave Pensado (Beyoncé, 

Christina Aguilera, Kelly Clarkson, Mariah 

Carey, Elton John, 

Michael Jackson and 

more) and his manager 

Herb Trawick 

write about work ethic, 

passion, commitment 

and, above all, 

creativity. The authors 

convey the strong 

conviction that going 

beyond expectations 

will guarantee success 

on all levels. “To this 

day, if someone hires 

me to do something 

it is rare that I don’t do way more than what I’m 

paid to do,” writes Pensado. Both professional 

and aspiring sound engineers alike will have 

much to gain from Pensado’s philosophy. 

Through the Eye of the Tiger 

By Jim Peterik 


Subtitled “The Rock ‘N’ Roll Life Of Survivor’s 

Founding Member,” this sex & drugs & rock & 

roll memoir traces 

Peterik’s work with 

bands the Ides of 

March and Survivor, 

recounting the various 

hits (“Vehicle,” 

“Eye of the Tiger”) 

and misses of his 

life and career. 

Encounters with 

rock greats Led 

Zeppelin, Janis Joplin, 

Jerry Garcia and 

Brian Wilson spice 

up the tale. 

Clothes, Clothes, Clothes. 

Music, Music, Music. Boys, 

Boys, Boys. 

By Viv Albertine 

(hardcover) $27.99 

Former lead guitarist of the Slits, girlfriend of 

the Clash’s Mick Jones and close friend of Sid 

Vicious, Albertine writes candidly––and from a 

rare refreshingly female 

perspective— 

about her years 

as a member of 

British punk’s inner 

circle, and gives an 

in-depth account of 

what has happened 

in her life beyond 

the breakup of her 

influential band. A 

cancer survivor, 

Albertine released a 

solo debut album in 

2012. 

14 

October 2014 

musicconnection.com

October 2014 

musicconnection.com 15

AUDIO RENTS 

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audio equipment rental house in Hollywood, CA, specializing in recording 

and post-production equipment. Its office is located on Wilcox and Sunset 

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and Who Framed Roger Rabbit. 

A Vast Array of Clients and Gear: Originally launched as an extension 

of Sunset Sound Studios, Audio Rents’ clients have ranged from record 

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and (at a substantial discount) 

students attending local recording and 

film schools. Audio Rents is a major 

supplier of both vintage and modern 

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compressors to cutting-edge noise reduction 

machines by Cedar, a full line 

of DOLBY surround encoder/decoders 

and Pro Tools HD systems. They 

also carry a wide range of preamps, 

EQs, FX boxes and compressors by 

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Mics-R-Us: Though Audio Rents still 

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17

DAVID GOGGIN 

Blake Mills Records Heigh Ho at Ocean Way 

Renowned guitarist, songwriter and producer Blake Mills recorded his second 

album, Heigh Ho, at the legendary Ocean Way studios in Hollywood. The 

self-produced album was released via Verve Records / Record Collection and 

is available on iTunes. Pictured in Ocean Way’s Studio B (l-r): Don Was, bass; 

Jim Keltner, drums; Blake Mills, vocals, guitar; Greg Koller, engineer; and Mike 

Elizondo, bass. 

Al Schmitt Awarded Berklee Honorary Doctorate at 

Capitol Records 

Legendary producer and engineer Al Schmitt (Paul McCartney, Quincy Jones, Neil 

Young) was presented with a Berklee honorary doctor of music degree by the 

college’s president Roger H. Brown at a ceremony within Capitol Records’ famed 

Studio A in Los Angeles. The event also commemorated the 25th anniversary of 

Berklee Today —the college’s alumni magazine. The degree was awarded in recognition 

of Schmitt’s inspiring musical achievements, which include 22 Grammy 

and Latin Grammy Awards and a Grammy Trustees Lifetime Achievement. He has 

worked on 160 gold and platinum selling albums. 

RON BATZDORFF 

Nico & Vinz Master Black Star Elephant 

The “Am I Wrong” duo Nico & Vinz finished mastering their full-length album 

Black Star Elephant at Oasis Mastering in Burbank, CA. Along with producer 

Will IDAP, the group went through every detail with engineer Gene Grimaldi 

to perfect their first full-length release. Pictured (l-r): Nico Sereba, Will IDAP, 

Gene Grimaldi and Vinz Dery. 

More Studio News 

South Africa’s Civil Twilight are 

currently in the studio wrapping up 

their 3rd album. The group teamed 

with producer Ben Allen (Kaiser 

Chiefs, Animal Collective, Gnarls 

Barkley) in Atlanta. For additional 

details, visit http://instagram.com/ 

civiltwilight. 

Dan Korneff (A Day To Remember, 

Paramore) has been chosen to 

produce Pierce the Veil’s upcoming 

album. A follow-up to their 2012 

release Collide With The Sky, the 

band is currently at Korneff’s Sonic 

Deris Recording Studio in New 

York writing and tracking to hit 

their January 2015 release mark 

on Fearless Records. Vocalist 

Vic Fuentes began working on 

ideas as early as late last year 

and began writing new material 

in earnest this Spring. He and the 

band started preproduction in May 

in their newly renovated San Diego 

home studio. In June, with 11 

songs written, the band headed to 

New York to begin recording; nine 

of those songs are earmarked for 

the new album, and the band has 

written two more since. Visit http:// 

piercetheveil.net for updates. 

Producer Playback 

“Being a producer is like being a captain of a ship. You’re the one in 

charge. If there are problems, you have to find a way around them.” 

– Stuart Epps, producer (Led Zeppelin, Oasis). Interviewed August 2014 

18 

October 2014 

musicconnection.com

– ANDY MESECHER andym@musicconnection.com 

Composer Mixes Barefoot 

Award-winning composer/producer Anthony Marinelli (Young Guns, Time 

Code) has upgraded his Los Angeles studio sound by adding Barefoot MM27 

monitors. Marinelli’s LS studio houses an array of choice instruments: two 

ARP 2600s, a Linn Drum machine, Jupiter-8, Prophet-5, Minimoog, Korg MS- 

20, ARP Omni, Roland Space Echo, Roland Vocoder, Echoplex, Clavinet Pianet 

Duo and a Fender Rhodes. “My most prized instrument is a 9-foot Concert 

Grand handmade piano given to me by David Abell. It was the piano that was 

used for all the Disklavier recordings.” Visit http://barefootsound.com to read 

the full interview. 

We Were Astronauts Fly into L.A. for Artificial Light 

Seen here is We Were Astronauts at Spitfire Studio in Los Angeles with producer 

Warren Huart (the Fray) and engineer Phil Allen (Adele), working on the 

band’s upcoming EP Artificial Light available now. Pictured (l-r): Chris Rando, 

bass; Antonio Casasanta, vocals; Steven Paddock, drums; Warren Huart, 

producer; Tim Corrigan, guitar; and Phil Allen, engineer. 

Prism Sound Releases SadiE 6.1 

Prism Sound has announced the release of SADiE Version 6.1, an update to its 

highly acclaimed SADiE Version 6.0.0 recording and editing software. With no 

dedicated proprietary hardware requirements the SADiE v 6.1 software packs 

are application based and focus on the core SADiE expertise of Mastering, Radio 

Production, TV/Film Post, Archiving and Restoration, and high level Sound 

Design. Prism Sound has also announced a new pricing structure for its SADiE 

software packs, with the entry level SADiE PRO now starting at U.K. £445.00 

(plus VAT). Updates include the new WAV Master (pictured), allowing users to 

create WAV files for an entire album, using PQ marks to define the start and 

end of the WAV file for each album track. Try the software at http://sadie.com/ 

support/download_v6.php. 

Gelman Returns to Ojai at Midnight 

Natalie Gelman is back in the studio recording a full-length album at Brotheryn 

Studios in Ojai, CA. Producing the record is Charlie Midnight. The bulk of 

the record was recorded live over four days and they are planning for an early 

2015 release. Pictured (l-r): Curt Schneider, Dave Palmer, Blair Sinta, Natalie 

Gelman, Jason Marriani, Tim Young and Charlie Midnight. 

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See the coolest studios in the world, visit: dreamstudioblog.com 

October 2014 musicconnection.com 19

PRODUCER CROSSTALK 

MIKE DEL RIO 

New York Producer Transitions To Los Angeles 

By Rob Putnam 

M 

ike Del Rio has written and produced for and with artists including 

Christina Aguilera, CeeLo Green and Kylie Minogue. Some of 

the chart-cracking singles he’s had a hand in include Aguilera’s 

“Shut Up” and “Make the World Move” (featuring CeeLo Green) as 

well as Cheryl Cole’s “Under The Sun.” Originally from New York City, 

Del Rio’s relocated to Los Angeles in the fall of ‘11 after releasing a 

number of EPs and securing a publishing deal with Alex Da Kid’s label, 

KidinaKorner (they share the same management). In the first week of 

his deal, he wrote several songs, one of which went on to be used by 

Eminem and Skylar Grey. 

The ways he approaches a new project are as varied as the songs that 

he helps to create. “Sometimes I start 

with a beat to get inspired, sometimes 

I’ll wake up in the middle of the night 

and sing into my iPhone if I have a 

melody in my head,” the producer 

explains. “Depending on who’s in the 

room, usually I’ll put a synthesizer on. I 

use [Spectrasonics’] Omnisphere a lot. 

That’s probably my favorite soft synth. 

“I believe some songs are given to 

you,” he continues. “Some people can 

tap into a higher place; summon the 

spirits. The process depends on who 

I’m writing for. The music that I love 

most —and [much of] my stuff that’s 

gotten placed—is usually created 

between 10 at night and four in the 

morning. There’s something about 

working in the middle of the night: 

there’s no phone ringing, there’s no 

Facebook or Twitter updates. It’s just 

the music and the moon.” 

Like any producer, his career has 

been replete with challenges. Amongst 

the biggest he’s faced was when, after 

establishing himself in New York City, 

The three most important 

things he’s learned as a 

producer are: 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

he decided to relocate to Los Angeles. It wasn’t the easiest of transitions. 

“I came not knowing a soul and that was humbling,” Del Rio recalls. “I had 

to remind myself of my reasons for doing music. Paying attention to that 

13-year-old kid who picked up the guitar and fell in love with writing songs 

was difficult for the initial 18 months. But in the first year we made close to 

500 pieces of music—song ideas or beats. I was determined to take over 

LA. You have to have that mindset, although I may have burned myself 

out a bit. But being humble and self-aware—that’s the key.” 

With respect to changes Del Rio foresees for the industry, it comes 

down to equity for music creators. “It’s ridiculous that we still have the 

same royalty rates as we did in the ‘70s,” he observes. “The people in the 

creative community are the ones that are getting shortchanged. Film and 

television have both changed their business to fit the times. The music 

industry is the last to make adjustments to the way it works.” 

Together with bandmate Crista Ru, Del Rio is half of the pop duo 

POWERS. The duo is considering a number of major labels. But why in 

the age of DIY do they even need one “Crista and I both work in the 

business and we see how labels operate,” he explains. “What a major still 

offers is major-label radio-power. It’s also about having a home to work 

from for the next 10 years or so.” 

Contact Ian@rebel-one.net; http://mikedelrio.com 


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sales@prismsound.com | www.prismsound.com| USA +1 973 983 9577 | UK +44 (0)1353 648888 


– ANDY KAUFMANN 

David Dufresne 

Chief Executive Officer 

Bandzoogle 

Years with Company: 4 

Web: http://bandzoogle.com 

Email: david@bandzoogle.com, 

info@bandzoogle.com 

Clients: Della Mae, Dengue Fever, Sonic 

Boom Six, Sierra Leone’s Refugee All 

Stars, Enter the Haggis, Mark Dawson 

BACKGROUND: With over 22,000 

individual clients, Bandzoogle has become 

the go-to service for musicians needing a 

presence on the Web. For a monthly fee, 

artists can design snazzy sites with little or 

no coding knowledge and even integrate 

with other services like Bandcamp. As 

CEO, David Dufresne is always seeking 

new ways to add functionality. 

A Site is Born 

My partner, Chris Vinson, is our CTO. He 

used to play bass in a grunge band in 

Montreal. They got signed by Aquarius 

Records here in Canada. They did an 

album, they toured. After a couple years, 

the band broke up and Aquarius hired 

Chris as a webmaster for their roster and 

a bunch of sub-labels. He was handling 

websites for dozens of artists, so he built 

a console that managers could use to 

update their artists’ websites. People started 

asking if they could use the console for other 

projects and that’s how he got the idea to 

launch Bandzoogle. 

A Meeting of Minds 

I’ve always been a music geek. I’m one of 

the only members of our team who’s not a 

musician, but I had a radio show in college 

and, when I moved to Montreal, I deejayed 

in a few bars and clubs. Then, I went into 

venture capital. I had a good seat to see how 

the Internet was disrupting the industry. I was 

getting ready to launch my own technology 

start-up in the music space when I met Chris. 

Virtual Office 

We’re about 20 employees. We’re one of 

those companies that doesn’t have an office. 

Officially, we’re based in Montreal. Four of us 

are based here, but everyone works from home. 

We have staff in Nova Scotia, Ontario, British 

Columbia. We have two people in California, 

one in Massachusetts, one in Vermont, we have 

one in Spain and one in the U.K. We’re one 

company, but we’re all over. About 80% of our 

customers are based in the U.S., with about 

10% in Canada and 10% in U.K. and Australia. 

We have some customers in Indonesia, Poland 

and France. 

Just For You 

There are tons of website building platforms, 

but very few are focused on musicians. We’ve 

worked with thousands of artists, so all the 

features a musician needs we have built-in. 

You don’t need to fool around with plug-ins and 

widgets. We have music players, a blogging 

platform, photo galleries, band calendars and 

tons of other stuff specifically for musicians. 

The Choice Is Yours 

We have a mailing list management tool. You 

“There are tons of website building 

platforms, but very few are 

focused on musicians.” 

can send either newsletters or geo-targeted 

email blasts. We also have a lot of commerce 

options specifically for musicians. If you want 

to sell digital music, you can do that directly 

from your website. You can set the price of 

your tracks or your album. You can give them 

away for free with an email sign-up or you can 

let [your fans] set their own price. You can also 

sell CDs, vinyl, merch and combine digital with 

physical. You can do all of that directly. And 

we don’t take a cut of your sales, so all of that 

money is going directly to you. Our plans are 

$10, $15 and $20 a month; there are no extra 

costs whatsoever. 

Keeping the Artist In Control 

The most important thing is that the artist has 

control. There are too many artists who allowed 

some developer or programmer to build their 

website years ago and now can’t change it, 

because they can’t reach that person or it costs 

money or they’ve given their label control. You 

own all of your content and your address. The 

underlying themes are proprietary, so you can’t 

copy and paste your website anywhere, but all 

your content belongs to you. 

User Feedback and Adaptability 

Our development roadmap is 100% based 

on customer requests. Each time we have a 

request, we log it. We have some requests 

that don’t really make sense, but when we see 

something that maybe a dozen members have 

requested in the last couple months we add it 

to our roadmap. Recently, we added things like 

Instagram integration. You can always paste in 

any widget. If you want to paste in a calendar 

from an external provider or a Soundcloud 

player, that’s easy to do. 

It’s Automatic 

A lot of our users also use Bandcamp, so 

instead of re-uploading their tracks they can 

just connect to their Bandcamp account and 

set up a player on the band’s 

website. 

A Solid Proposition 

If you compare us to other music-focused 

website building platforms, we’re just 

better. We have more themes, our 

technology is more modern, we have 

more features. In many cases, we’re 

more affordable. We have online support 

seven days a week. And we’ve been 

around for 10 years. We’re very stable 

as a company, but at the same time 

we’re independent. We’re not backed by 

big venture capitalists. We’re only two 

shareholders, so our business model isn’t 

going to change. We’re a platform you 

can trust won’t go away any time soon. 

Going Mobile 

A lot of traffic on artists’ websites comes 

from either tablets or smartphones, so 

we’ve made sure if someone visits your 

website from their iPhone or Android that 

it adapts perfectly. The design responds 

to the screen size, the menus adapt and 

everything works. 

The Fan Relationship 

When you sell through iTunes, you have 

no idea who bought your album, T-shirt 

or CD. When they buy directly from your 

website, you give them the opportunity to 

sign up for your mailing list. That artistto-fan 

connection is extremely important. That’s 

how you’re able to remain relevant, by sending 

them remixes or acoustic videos. You can’t do 

that through iTunes or Spotify. You can only do 

that through your website and mailing list. 

User Data 

You have access to all your traffic. You can’t 

see who came to your website, but [you can] 

see which city they’re from. You can also see 

which websites send you traffic. You can see 

which tracks got played and which got played 

in full. For your mailing lists, you can see how 

many people opened your email, which links 

they clicked. It’s very important to understand 

your audience and traffic. It’s a mix of our own 

technology and Google analytics, so you can 

dig deep and see what pages they visit, what 

user flow happens. If you know what you’re 

doing, it’s a powerful tool. 

A Great Website 

Have amazing content, but also update often. 

You have to give reasons for people to come 

back. In terms of design, keep it simple. I like a 

website that has clear navigation, that fits with 

the band’s brand in terms of images, fonts and 

colors. Each page should have one role to play. 

Too many musicians don’t even have music 

on their website. That’s extremely important. 

Bandzoogle is very affordable, so reinvest that 

money into getting a professional photographer 

and maybe a professional copywriter. That’s 

going to make or break your website. 

Helping Artist Independence 

Our job is to build cool shit for musicians. 

We got an email last week from a guy who 

composes music for modern dance and yoga, 

saying he was going to leave his day job 

because now he makes enough as a composer 

to completely focus on it. That’s amazing to see 

these stories. It’s very fulfilling. 

22 

October 2014 

musicconnection.com

– BERNARD BAUR 

OPPS 

The Driven Music Conference 

in Atlanta, GA offers a direct 

connection to music industry 

professionals. Held Nov. 20 - 

23 at the Sheraton Hotel, the 

conference presents discussions, 

Q&A, meet & greets and feedback 

from music professionals. You can 

even submit music for a chance 

to be a showcase performer. 

Anyone interested in music, 

including artists seeking a chance 

at career advancement, are 

encouraged to attend. For details 

and submission information, visit 

http://drivenatlanta.com. 

Steve Wozniak is scheduled 

to chat about innovation and 

creativity at the 2015 NAMM 

Show. Held Jan. 22 - 25 in 

Anaheim, CA, this year’s NAMM 

show will resonate with insights 

from entrepreneurs within and 

beyond the music industry 

including Apple co-founder, Steve 

“Woz” Wozniak. The engineering 

icon will open Saturday morning’s 

breakfast session, talking music 

and technology with NAMM’s 

president and CEO Joe Lamond. 

Wozniak and Lamond will 

explore innovations in business, 

entrepreneurship and Woz’s 

passion for music. “Music has 

always been an enormous part 

of my life. It plays an integral role 

in creating the whole person, 

creative innovators that will 

shape the future,” says Wozniak. 

For information, schedules and 

registration, go to http://namm.org. 

The 9th Annual Fall Joshua 

Tree Music Festival (JTMF) is 

happening Oct. 9 - 12 in Joshua 

Tree, CA. Merging its funky 

desert style with an internationally 

acclaimed lineup of musical 

artists, the three-day familyfriendly 

festival is a global dance 

SLASH & KENNEDY 

ARE ON FIRE 

Before heading on tour with 

Aerosmith, Slash (with Myles 

Kennedy and The Conspirators) 

finished a headlining tour in 

support of World On Fire, the 

third studio album by Slash and 

the second featuring Kennedy. 

A two-hour set at Pechanga 

Resort & Casino in Temecula, CA 

included several Guns N’ Roses’ 

hits, including “Sweet Child O’ 

Mine,” “Night Train,” “Rocket 

Queen” (with a 10-minute solo 

during the bridge), and “Paradise 

City,” as well as new material 

from their latest record. The 

album, produced by Michael 

“Elvis” Baskette, was released 

in September. For further details 

and a tour itinerary you can visit 

http://slashonline.com. 

experience. This fall’s lineup will 

feature the Colombian electro 

tropical band Bomba Estereo, the 

gritty funk and soul of Black Joe 

Lewis, the trip-hop folk sisters of 

Rising Appalachia, Morocco’s 

Ribab Fusion, dance master 

mash-up DJ Pumpkin, Junior 

Marvin’s Force Once (Junior was 

Bob Marley’s bandmate from ‘77 

to ‘81), high energy Zep-esque 

rock and roll by the West Water 

Outlaws, the Italian sextet Ou, 

dancehall funk group Nappy 

Riddem, and many more. Visit 

http://joshuatreemusicfestival.com. 

Adult Entertainment site 

Pornhub has launched a record 

label. With Pornhub Records, 

the online adult entertainment 

leader is on the hunt for new talent 

around the U.S. and the rest of 

the globe. The site will actually 

be launching its website and 

first global music initiative in the 

coming weeks. The label’s initial 

release is Coolio’s new video, 

“Take It to The Hub.” Contact 

mike@phubcommunications.com. 

Music Gorilla looks to connect 

you with industry professionals. 

From record deals to placements, 

industry professionals use the 

site to discover artists and music 

for their labels, projects and 

soundtracks. Basic membership 

is free, and you can earn or 

buy credits to upgrade to a Pro 

Membership that allows unlimited 

submissions. If interested, check 

out http://musicgorilla.com. 

Spotify and BandPage have 

partnered to help artists sell 

directly to their fans. In addition 

to traditional offers such as 

merchandise, musicians can now 

tap into completely new revenue 

streams such as secret shows and 

other exclusive artist-to-fan offers. 

See spotify.bandpage.com. 

JIMMY “GUITAR” SMITH: R.I.P. 

A memorial was held Sept. 13 in Los Angeles for musician/artist Jimmy 

“Guitar” Smith who passed away on Aug. 4. In a long career as a musicmaker, 

Smith wrote hundreds of songs, some of which were recorded 

by artists such as Donovan, Jennifer Warren and Chad & Jeremy. For 

complete info on his life and career, see Smith’s legacy page at http:// 

memorialwebsites.legacy.com/jimmyguitarsmith/homepage.aspx. 

LABELRELEASES 

SIGNINGS 

Butch Walker has announced 

a fall tour. Walker will join friend 

and fellow rocker Ryan Adams for 

the October leg of Adams’ national 

tour, hitting Seattle, Chicago and 

St. Louis, among other cities. 

Walker’s recent EP Peachtree 

Battle achieves a perfect balance 

between heartfelt imagery and 

pop hooks. Written while coming 

to terms with his father’s failing 

health and full of emotional 

intensity, the record encapsulates 

coming to terms with adulthood. 

See http://butchwalker.com. 

Rock icon Billy Idol will 

release Kings & Queens of 

the Underground, his first new 

album in almost a decade, on Oct. 

21. The album will be released 

on Idol’s own BFI Records, via 

Kobalt Label Services. Trevor 

Horn and Greg Kurstin produced 

the album whic will drop close to 

the release of Idol’s self-written 

autobiography, Dancing with 

Myself Oct. 7. Then, Idol and 

his band including longtime 

collaborator and guitarist Steve 

Stevens will launch a European 

Tour in November, the first of 

several legs of a World Tour that 

will continue into 2015. For further 

details, go to http://billyidol.net. 

Noted music supervisor and 

KCRW DJ, Gary Calamar, will 

release his debut EP, You 

Are What You Listen To, on 

Oct. 14 via Atlantic Records. 

Calamar’s debut as a musician 

and songwriter presents catchy, 

sparkly, rock & roll songs filled 

with abundant wit and melody. The 

recording was produced by John 

Would (Fiona Apple). Known 

primarily as a five-time Grammy 

nominated music supervisor on 

shows like True Blood, Dexter 

and Six Feet Under as well as 

a DJ on KCRW, Calamar has 

always been a songwriter. In 

fact, none other than Iggy Pop 

recorded his tune “Let’s Boot and 

Rally.” To learn more visit http:// 

atlanticrecords.com. 

Ex-Anthrax vocalist Neil 

Turbin has signed with EAM 

Entertainment for worldwide 

management and booking. 

Turbin is fresh off his successful 

European “Fistful Of Metal 

Alive” 30th Anniversary Tour, 

which included performances 

at Dynamo in Netherlands and 

Headbangers Open Air in 

Germany, among others. Turbin 

was the first permanent and 

original vocalist of Anthrax and 

helped pioneer thrash metal on 

their groundbreaking debut album. 

EAM Entertainment is based 

in Germany, with a worldwide 

reach. Artists on their roster 

include Tygers Of Pan Tang, 

Steve Grimmett’s Grim Reaper, 

Whitecross and Rex Carroll 

Band. You can visit http://agentuream.de 

for more information. 

Under the moniker Los Angeles 

Police Department, Ryan Pollie 

makes the kind of homespun 

bedroom pop that excels in 

quiet intimacy. On his 11-track 

self-titled debut album, Pollie 

wrote and recorded each song 

in a day. Indeed, Pollie explains, 

October 2014 


23

– BERNARD BAUR 

“This project really changed 

an important misconception 

I had. It was that music that 

wasn’t recorded in a studio with 

a band was illegitimate or not 

real for some reason.” Pollie 

discovered that was not the 

case with these 11 tracks (pared 

down from 30). Recorded in a 

house in Hollywood, CA, the 

record became a chronicle of 

personal anecdotes related to a 

specific time and place. To check 

out what the fuss is about, see 

https://facebook.com/LAPDmusic. 

PROPS 

Country Music Hall of Famer 

Kris Kristofferson performed 

an intimate solo acoustic show 

at Nashville’s historic Ryman 

Auditorium on Sept. 13, with all 

proceeds going to the Country 

Music Hall of Fame and Museum. 

Kristofferson ranks among the 

most versatile of American talents. 

He’s been a Golden Gloves boxer, 

a Rhodes scholar, a college 

football player, an acclaimed actor, 

a military officer, a helicopter pilot, 

a Grammy winner and an icon. He 

threw away a promising military 

career for a life he refers to as, “A 

songwriting bum.” Kristofferson 

penned classics including “Me 

and Bobby McGee,” “Help Me 

Make It Through the Night,” 

and “Sunday Morning Coming 

Down,” as well as a slew of other 

empathetic, incisive gems. Visit 

http://kriskristofferson.com. 

Buckcherry and the Doors’ 

Robby Krieger will play the 

31st Annual Love Ride Charity 

Festival on Oct. 25, 2014. The 

Budweiser event will include 

Grand Marshall Jay Leno and 

an assortment of Hollywood 

celebrities, including Robert 

Patrick, Lorenzo Lamas, Willie 

G. Davidson and Peter Fonda. 

Krieger, and his band Jam 

Kitchen will rock the daylong 

festivities, along with Buckcherry, 

who will also play a set spanning 

their career including songs from 

their brand new EP, F#CK. 

Net proceeds from this year’s 

event will support children served 

by the Muscular Dystrophy 

Association (MDA) to help them 

attend a weeklong, barrier-free 

summer camp. MDA summer 

camp offers a wide range of 

activities specially designed for 

youngsters who have limited 

mobility or use wheelchairs. To 

learn more about the Love Ride, 

visit http://LoveRide.org. 

Rock and Roll Hall of Fame 

inductee and former KISS 

guitarist Ace Frehley has made 

history with his new album 

Space Invader. The record 

debuted at No. 9 on Billboard’s 

Top 200 Chart. The LP scored the 

highest charting position of ANY 

Kiss solo album ever, and marks 

Frehley’s first return to the Top 

10 since KISS’ 1998 Pyscho 

Circus reunion album. Frehley’s 

first studio album in five years 

also received praise from critics. 

Rolling Stone wrote, “Gene 

Simmons claims Ace Frehley 

doesn’t deserve to wear Kiss’ 

Kabuki clown paint, but the former 

SLIPKNOT GO SHADES OF GRAY 

Rock juggernaut Slipknot have announced the next phase of their 

uncompromising history—the release of .5: The Gray Chapter. The fifth studio 

album from the Grammy-winning group arrives Oct. 21. Meanwhile their 

headlining “Prepare For Hell” tour, a major North American tour with special 

guests Korn and openers King 810, is set to kick off immediately following 

Knotfest (Oct. 24-26). “We’ve been waiting a long time for this,” stated Slipknot’s 

Corey Taylor. “Not only do we get to tour with friends, we’ve also chosen a band 

that represents the fury of the future. Slipknot is coming to your town…and hell’s 

coming with us.” For warning dates, check http://slipknot1.com. 

DIYSpotlight 

Jayne Ava 

Touring is no easy feat for any 

artist, even if they’ve been 

performing from a very young 

age. So when Canadian electropop 

artist Jayne Ava wanted to 

take her touring to the next level, 

she thought of out-of-the-box 

(DIY) ways to achieve her goals. 

She didn’t want to send out 

another CD and promo package 

to venues and bookers only to get 

what she always got––another 

gig. Instead, she had an idea for a 

very special kind of show. 

Ava sought to sell the 

experience of a fully produced 

show to venues and talent buyers. 

Her first step was to set up cross 

promotions with up-and-coming 

boy band Finale. That would 

ensure that, together, they could 

sell a full night to talent buyers who wanted to attract the acts’ target 

demographics. 

Using crowdfunding and multi-tiered marketing techniques as 

a means of both raising awareness and capital, Ava managed to 

arrange for an entire production team to shoot and edit a professional 

performance. That performance video brought the show to life so 

talent buyers could see exactly what they would be getting, including 

lighting, sound and dancers. 

With the ability to sell a full package and a professional 

performance to back it up, Jayne Ava has already garnered attention 

from talent buyers both in North America and overseas, including 

Japan and Dubai. 

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

Have a successful DIY strategy to share Email bbatmc@aol.com 

Spaceman’s first solo LP in five 

years says otherwise.” Visit http:// 

acefrehley.com. 

THE BIZ 

Independent label Victory 

Records’ publishing company, 

Another Victory Publishing Inc., 

has officially partnered up for 

an exclusive sub-publishing 

agreement with BMG Chrysalis, 

covering the following territories: 

Canada, U.K., Germany, France 

and more. A lucrative deal for both 

parties, BMG has a presence in 

eight core music markets and with 

its unique philosophy and steadfast 

commitment to the interests of 

artists, creating a truly 21st century 

partnership. 

Another Victory Publishing Inc. 

is becoming a worldwide operation, 

also partnering up with Mushroom 

Music Publishing (Australia, New 

Zealand), Fujipacifc Music (S.E. 

Asia) Ltd., Edicione Musicales 

Clipper’s S.L. (Spain, Portugal), 

Musou Ltd Music Publishing 

(Greece, Cyprus) and more. Visit 

http://anothervictory.com. 

The American Federation of 

Musicians (AFM) has blasted the 

National Football League (NFL) 

for its Super Bowl kickback plan. 

In what could be deemed the most 

colossal “pay to play” push ever, 

the NFL has asked potential Super 

Bowl halftime performers if they 

would pay the league to play at its 

big game. “It’s not like the NFL and 

Super Bowl organizers don’t have 

any money and can’t afford to pay 

for halftime show performances, 

it’s about the insatiable thirst for 

profits at the expense of musical 

entertainment and those who 

create it. You can find schemes 

like this coming from unscrupulous 

bar and nightclub owners, but for 

the NFL to descend to such depths 

would be unconscionable,” said 

AFM president Ray Hair. 

Concord Music Group has 

entered into a multi-year, 

worldwide strategic partnership 

with Tom Whalley and his Loma 

Vista Recordings label. Under 

the terms of the agreement, 

Concord will provide funding 

for new talent relationships and 

artist development, as well as 

comprehensive label services for 

Loma Vista’s current and future 

artist roster. 

BERNARD BAUR was voted one of the “Top 

Music Business Journalists” in the country. 

Bernard is the connection between the streets 

and the suites. Credited with over 1,200 

features in a variety of publications, he’s a 

Contributing Editor at Music Connection. 


June 2014 


CAROLINE ROSE 

Date Signed: April 2014 

Label: Little Hi! Records/Thirty Tigers 

Type of Music: Singer/Songwriter 

Management: Mike Crowley 

Booking: Frank Riley - High Road Touring 

Legal: Jeff Colvin - Marcus & Colvin, LLP, Nashville, TN 

Publicity: Carla Parisi, kidlogicmedia@gmail.com 

Web: http://carolinerosemusic.com 

A&R: Kim Buie 

aroline Rose is the epitome of a free spirit, taking a grassroots 

approach to her music while traveling the U.S. to perform house 

Cconcerts and crashing on people’s couches. However, Rose didn’t 

always plan to follow a career in music. In fact, she tried several different 

jobs—from architect, to working at a cider distillery, and even a job on a 

farm—before finally deciding on her current path. “I guess what I was just 

thinking was that I didn’t want to play music because I didn’t want to stop 

loving it, so I tried to do a bunch of different stuff,” Rose says. 

It is abundantly clear from speaking with the singer/songwriter that 

Rose puts a lot of stock in being able to exercise as much creative 

freedom as possible, not only in writing and recording the whole thing 

alongside fellow musician Jer Coons, but also playing every instrument 

heard on the album. “I think it’s the death of creativity when you don’t 

have final cut over your work,” she says. “I know exactly how I want my 

“When you work with a smaller 

company, obviously there’s going to 

be less money.” 

songs to sound, they pop into my head in full form, so all the parts are 

there.” 

Rose, who earned a slot in Music Connection’s Top 25 New Music 

Critiques of 2013 last December, found herself signing to an imprint of 

Thirty Tigers, Little Hi Records, which is the brainchild of Kim Buie, ex- 

A&R for Lost Highway. The imprint currently only has one artist on the 

roster, which is Rose herself. “It’s really great! I have so much freedom!” 

Rose laughs. “It’s a wonderful company; they give the artist a good 

percentage and it’s very hands-on.” 

The artist acknowledges the downside of being on a smaller label. 

“When you work with a smaller company,” she says, “obviously there’s 

going to be less money than a major label. And that can get frustrating 

because the budget can limit what you can do with your art. But it’s a 

growing process and I’m in it for the long haul.” 

Rose’s label debut, I Will Not Be Afraid, is now in stores and online via 

iTunes. – Victoria Patneaude 

Date Signed: April 2014 

Label: Hopeless Records 

Type of Music: Punk/Hardcore 

Band Members: Chris Linkovich, vocals;; Brian Wilcox, guitar;; Seger 

Daily, bass;; Ryan Goff, drums. 

Management: Shawn Carrano - Royal Division Entertainment 

Booking: Andy Rice - Outliers Talent Agency 

Legal: NA 

Publicity: natalie@bigpicturemediaonline.com 

Web: http://cruelhand.com 

A&R: Eric Tobin 

H 

CRUEL HAND 

aving released its last two full-lengths, 2008’s Prying Eyes and 

2010’s Lock & Key, under Bridge 9 Records, Cruel Hand felt it 

was time to move forward with another label. The Portland, ME 

hardcore foursome had self-funded and recorded a new album, and 

began seeking an alternative company to sign with last year. 

“We were ready to take the band to the next level,” says frontman, 

Chris Linkovich. “I want the band to be in a place where we don’t 

struggle, or set it up to be in a better place in the years to come.” 

Admittedly, Linkovich adds, there weren’t many options. With three 

years having passed since its last album, Linkovich says the band “hadn’t 

really gotten out there” and there weren’t many labels soliciting hardcore 

acts. But one brand name entity, Hopeless Records, showed interest. 

“Our booking agent, Andy Rice, had a relationship with [Eric] Tobin 

at Hopeless. I don’t remember who brought it up first, but Tobin said, 

“We weren’t afraid to 

step out of our comfort zone 

and grow as a band.” 

‘Really You think I should give [Cruel Hand] a call’ [Tobin] thought we 

were a too-cool-for-school hardcore band and wouldn’t give him the time 

of day. But Andy told him we weren’t afraid to step out of our comfort 

zone and grow as a band.” 

The four-piece’s initial talks with Hopeless began in the fall of last year, 

which led to much discussion between the two parties. Having not been 

used to so much attention from its label, the outfit took time finding a 

comfortable middle ground with Hopeless. 

“[Hopeless] is ambitious and comes to the table with a lot of creative 

ideas, which I truly appreciate. It’s new for us having a relationship with 

a label where they’re so enthusiastic and want the best for us. You don’t 

necessarily get that with a smaller label. We took our time to settle on a 

deal that worked for both of us and it’s been for the best.” 

Cruel Hand’s fourth album, The Negatives, was released by Hopeless 

in September. The video for its first single, “Monument Square People,” is 

available now. – Albert Vega 


Date Signed: February 2014 

Label: Sony Music 

Type of Music: Metal/Alternative Rock 

Band Members: Malcolm Brickhouse, guitar, vocals; Jarad Dawkins, 

drums, vocals; Alec Atkins, bass, vocals. 

Management: Alan Sacks & Kevin Jonas 

Booking: Agency Group 

Legal: Gary Adelman 

Publicity: Amy Sciarretto/ Atom Splitter PR 

Web: http://unlockingthetruthband.com 

A&R: Debby Dill; Jolene Cherry/The Cherry Party 

B 

UNLOCKING 

THE TRUTH 

arely teenagers, the band Unlocking the Truth have already played 

the main stage at Coachella, performed at the AFROPUNK festival, 

played dates with Metallica, Queens of the Stone Age and Guns N’ 

Roses and performed on the Vans Warped Tour 2014. Guitarist Malcolm 

Brickhouse (13), drummer Jarad Dawkins (12) and bassist Alec Atkins 

(13) are a metal trio from Brooklyn, NY that has been steadily building a 

brand since 2007. 

Brickhouse and Dawkins kicked up their public persona a notch 

in March 2012 when they were finalists in an amateur talent show at 

Harlem’s Apollo Theater. From there they partnered with friend Alec 

“We’re gonna play metal 

because we like it!” 

Atkins and gained exposure when a video of the boys busking in Times 

Square got over a million hits on Youtube. Their career got in gear when 

manager Alan Sacks came aboard. Sacks’ resume includes co-creating 

‘70s sitcom Welcome Back Kotter and producing films and television 

for Disney and the Jonas Brothers. Sacks saw a piece online about 

three African American kids playing heavy metal music and immediately 

thought it would make a great television series. He contacted Malcolm’s 

parents and flew to New York for a meeting with the band. 

“About two months into my relationship with the boys we got another 

email to our website from Debby Dill who wanted to set up a showcase,” 

says Sacks. “When I saw she was working with Jolene Cherry—who 

just set up a label at Sony—I got actively involved in pushing this.” In 

short order the band was whisked off to Los Angeles for a showcase at 

the club Zanzibar in Santa Monica. Cherry was enamored with the band 

and offered them a multi-album deal that afternoon. What has followed 

includes production of a documentary on the group as well as a book 

deal with Penguin Books. Their debut album will be helmed by Grammywinning 

producer Johnny K (Sevendust, Disturbed, Megadeth). 

“I think the press really took to these kids because of their message,” 

says Sacks. “And their message is ‘we’re gonna do what we wanna do. 

If you want us to play hip-hop, we’re not gonna play hip-hop. We’ve been 

listening to metal in wrestling matches and Japanese anime since we 

were three years old. We’re gonna play metal because we like it!’” 

– Eric A. Harabadian 

FRANCESCO YATES 

Date Signed: March 5, 2012 

Label: Atlantic Records/21ENT 

Type of Music: Pop/Soul/R&B 

Management: Chris Smith Management 

Booking: Jeff Frasco - CAA 

Legal: Seth Lichtenstein - Hertz Lichtenstein & Young LLP 

Publicity: Sheila.Richman@atlanticrecords.com 

Web: http://francescoyates.com 

A&R: Aaron Bay/Schuck 

P 

harrell Williams and Timbaland agree that Francesco Yates is a 

“huge pop star” ready to “shock the world.” Not too bad for a guy 

who signed with a manager at 14 and inked a deal with Atlantic 

Records just two years later. 

Now, 18-year-old Yates hopes to soak-up every bit of “insider” wisdom 

the industry can afford—while still maintaining his unique artistic integrity. 

“There’s a certain amount of studio etiquette that is needed,” Yates 

explains. “You learn to work with writers and different people, and you do 

that through the experience they give you. To have these people around 

who let me work in the highest place that I can creatively, it’s great.” 

Yates’ fresh, youthful vibe allows his sound to grow in a very natural, 

go-with-the-flow fashion. Thankfully, Atlantic has strongly encouraged 

such creative freedom, since Yates proved himself a strong and 

“If you come in with a 

strong sense of identity, people 

will support you.” 

dedicated musician from the get-go. “It’s about identity,” he says. “If you 

come in with a strong sense of identity, people will support you with it. 

Atlantic helped build [my name] organically, from the ground up.” 

The Toronto native finds this artist development process most 

rewarding, especially since it is an authentic, never-ending practice. 

Yates explains, “I was fortunate enough that they were supportive of 

the direction I chose, given the many directions I tackled.” He says there’s 

now ample space to pursue the music he’s always wanted to create, in a 

team environment that supports and eventually enhances individuality. 

“In most cases,” says Yates, “the label expects you to be ready 

with your sound once they sign you. [Atlantic] takes the time, and I 

appreciated that during development.” 

So it took a few years, but after some intense self-discovery and 

harmonic enlightenment, the young music-maker is finally prepared to 

release his debut album, which includes the soul-infused single, “Call.” 

Yates, who played guitar on Pharrell Williams’ hit song “Gust of Wind” 

featuring Daft Punk, quotes his musical mentor as saying, “‘The world 

wants to feel good again.’ 

“And I want to help with that,” Yates enthuses. “There’s a movement 

going on, and I want to be a part of it.” – Danica Bellini 

October 2014 


27

ASCAP Centennial Honors 

ASCAP will confer its once-in-a-century ASCAP Centennial Awards to 

members Joan Baez, Garth Brooks, Billy Joel, Stephen Sondheim and Stevie 

Wonder (pictured). The unique presentations will take place on Monday 

evening, Nov. 17, at the Waldorf Astoria Hotel, in New York, at a gala party 

celebrating ASCAP’s historic 100th anniversary. The event will be hosted by 

Paul Williams and feature the Centennial Award recipients as well as the 

special guest artists who will perform in tribute. The event marks the first 

fundraiser benefiting The ASCAP Foundation and its music education, talent 

development and humanitarian activities. See http://ascap.com. 

Sanz to Be 

Honored in Miami 

Alejandro Sanz, a 17-time Latin 

Grammy winner and three Grammy 

awards who has sold over 24 

million albums worldwide, will 

receive the LA MUSA 2014 ICON 

AWARD” (PREMIO ICONO) at the LA 

MUSA AWARDS on Oct. 18 at the 

annual induction gala of the Latin 

Songwriters Hall of Fame. LA MUSA 

AWARDS will be held at The Ritz- 

Carlton South Beach in the city of 

Miami Beach. Tickets for the event 

are available via LSHOF's webpage, 

http://latinsonghall.com. 

Singer/Songwriter 

Competition Opens 

Guitar Center’s Singer-Songwriter 

4 competition is officially open 

for submissions. Aspiring singer/ 

songwriters nationwide can enter 

for the opportunity to record an 

EP with Grammy Award-winning 

producer Don Was, perform 

on Jimmy Kimmel Live!, take home 

new gear, $25,000 cash and much 

more. New to the program this year 

is Grammy Award-winning singer/ 

songwriter Colbie Caillat who will 

lend her talents as a mentor, 

guiding the winner through the 

writing and recording process. 

Entrants can submit an original 

music video at http://guitarcenter. 

com/songwriter. Submissions will 

be ranked on their social media 

engagement and fan growth. The 

top artists will be reviewed by 

Don Was who will then handpick 

five finalists to perform live in Los 

Angeles where one winner will be 

named. Deadline for submissions 

is Nov. 2. Go to http://guitarcenter. 

com/songwriter. 

Durango 

Songwriters Expo 

Limited to 200 attendees, The 

Durango Songwriters Expo is one 

of the songwriting community’s 

preeminent events. This year the 

Expo will be held from Oct. 2-4 

at the Omni Interlocken Resort, 

Broomfield, CO, convenient to 

Denver and Boulder. 

Classes, panels, pitch 

sessions, listening sessions and 

live performances comprise this 

welcoming and relaxed event. 

Guests range from reps and writers 

from BMG Chrysalis, Razor & 

Tie Music Publishing and RCA 

Records to Nashville, Round Hill 

Music and peermusic. 

Registration info is at http:// 

durango-songwriters-expo.com. 

Wixen Publishing Signings 

Wixen Publishing Inc. has just 

signed a worldwide administration 

deal with The Estate of Stevie Ray 

Vaughan, it was announced by 

the company’s president Randall 

Wixen. In addition to the Stevie 

Ray Vaughan songs, Wixen Music 

Publishing Inc. will handle the 

repertoire of Vaughan’s brother, 

Jimmie Vaughan (including the 

works written for his former band, 

the Fabulous Thunderbirds). 

Recent Wixen administration 

signings include the Byrds’ iconic 

pioneer Roger McGuinn, Chicago 

founding member Robert Lamm, 

Jefferson Airplane legend Grace 

Slick and acclaimed ukulele 

virtuoso Jake Shimabukuro. 

With an office in Los Angeles 

and a sister company, Wixen 

Music U.K. Ltd. in London, the 

companies administer the song 

catalogs of many top artists 

ranging from George Harrison, 

the Doors, Neil Young and Tom 

Petty, to the Black Keys, Andrew 

Bird and Fitz & the Tantrums. 

This past April, as reported in MC, 

Randall Wixen issued the third 

edition of The Plain and Simple 

Guide to Music Publishing. With a 

foreword by Tom Petty, it contains 

an array of new topics pegged to 

the ever-changing music industry 

landscape including the value of 

music (how and why streaming 

yields so little income to content 

creators), monetizing YouTube, 

and the difficulty of calculating and 

verifying new statutory streaming 

rates. The book is available at all 

ole Inks Stover 

ole has signed hit songwriter/producer Jeremy Stover and acquired his song 

catalog, including several No. 1 hits on the Billboard Hot Country Songs 

chart. Pictured at the signing, back row (l-r): Shellien Kinsey, ole Creative 

Coordinator; Emily Mueller, ole Creative Manager; Gilles Godard, ole VP 

Business Development; Austen Adams, Dickinson Wright, PLLC; and Ben 

Strain, ole Creative Director. Front row (l-r): John Ozier, ole GM Creative 

Nashville and Stover. 

Riptide Reps Helen Austin 

Riptide Music Group, a “sync-flavored” global publishing administration 

company with services that include the worldwide synchronization of music 

for advertising, movie trailers, television, film and videogames, has announced 

that its artist Helen Austin is the co-winner of the 2014 John Lennon 

Songwriting Contest’s “Song of the Year.” Austin won the contest along with 

her colleague Paul Otten for the song “Colour It.” For more information, see 

http://riptidemusic.com. 


– DAN KIMPEL dan@dankimpel.com 

major chains, including Amazon. 

Visit http://wixenmusic.com 

Egan Feels Pulse 

Maria Egan has been appointed 

President of Pulse Music Publishing. 

Formerly she was EVP at 

Pulse and, prior to that, VP A&R 

at Columbia Records where she 

signed the award winning Avett 

Brothers, performed A&R duties 

for Brandi Carlile’s acclaimed 

album The Story and on the pop 

side was also responsible for the 

development and A&R of the hit 

shows and multi-million selling 

soundtracks for Big Time Rush 

and Victorious within the Sony/ 

Nickelodeon partnership. 

Egan will now oversee A&R/ 

Creative for the music publishing 

company in addition to her existing 

role in the continuing expansion 

of its producer and artist management 

divisions. See http:// 

pulserecordings.com. 

Songwriters in the 

Round on Television 

Public television stations across 

the country will start airing Front 

and Center, two, hour-long concert 

specials leading up to Country 

Music’s Biggest Night, The 48th 

Annual CMA Awards. 

The first of the two shows will 

be available to public television 

stations beginning Tuesday, Oct. 

14 and will feature a special 10th 

Anniversary CMA Songwriters 

Series celebration with CMA 

Award winner Dierks Bentley. 

Capturing the authentic in-theround 

experience, Bentley is joined 

by Jim Beavers, Ross Copperman, 

Brett James and Jon Randall. 

The second show, available to 

public television stations beginning 

Tuesday, Oct. 28, features the 

Zac Brown: 

SESAC Signee 

Brown, songwriter 

and frontman of 

the three-time 

Grammy-winning 

and multi- 

Platinum Zac 

Brown Band, has 

signed with SESAC 

for songwriter 

representation. 

Brown’s 

most notable 

songwriting 

credits include 

“Toes,” “Chicken 

Fried,” “Colder 

Weather,” “Goodbye 

In Her Eyes” 

and “Sweet 

Annie,” all charttopping 

hits for the 

band. See http:// 

sesac.com. 

music of CMA Award winners 

Lady Antebellum performed in 

an intimate setting. The trio will 

showcase their signature hits and 

offer a first taste of new music from 

their upcoming fifth studio album, 

747. The group shares personal 

stories from the road, the writing 

room, and the events that inspired 

their music, and are joined by 

songwriters Rodney Clawson, Tom 

Douglas Josh Kear, Luke Laird 

and Abe Stoklasa for some special 

collaborations. 

Everly Brothers 

Honored at Rock Hall 

Don and Phil, the Everly Brothers, 

were known for their airtight 

harmonies over the course of 

their storied career. Some of the 

best harmonizers in the business 

will celebrate the duo as the 

2014 Music Masters honorees at 

the Rock & Roll Hall of Fame in 

Cleveland, OH. 

Rodney Crowell will serve as 

music director for the Saturday, 

Oct. 25, concert that culminates a 

week of activities honoring Don and 

Phil, who died last January. Joining 

Crowell onstage will be Vince Gill, 

Emmylou Harris, Shelby Lynne, 

Peter Asher, Graham Nash, the 

Secret Sisters and others. 

As part of the weeklong series, 

the Rock Hall will hold a free 

session called “Songwriters 

to Soundmen” with Crowell 

and special guests at the Rock 

Hall’s Foster Theatre at 8 p.m. 

Wednesday, Oct. 22. 

For complete details, visit 

http://rockhall.com. 

DAN KIMPEL, author of six music industry 

books, is an instructor at Musicians 

Institute in Hollywood, CA. He lectures at 

colleges and conferences worldwide. 

Larkin Poe: Sizzling Sibling Synergy 

“Roots-rock & soul” is the chosen musical hyphenate of Atlanta-based duo 

Larkin Poe. As musicians, sisters Rebecca Lovell (guitar, mandolin and violin), 

and Megan Lovell (lap steel, dobro and vocals) have backed Elvis Costello, 

Conor Oberst and Kristian Bush. Their new CD, Kin, couples the pair’s sterling 

musicianship with powerful songwriting and stellar vocal harmonies. Listen at 

http://larkinpoe.com. Look for our Signing Story on them next month. 

BMI Gets Ludacris in Hollywood 

Chris “Ludacris” Bridges was honored with the President’s Award at the 2014 

BMI R&B/Hip-Hop Awards at the Pantages Theatre in Hollywood, CA. Pictured 

(l-r): Michael O’Neill, BMI President and CEO; Catherine Brewton, BMI Vice 

President of Writer/Publisher Relations; and honoree Chris “Ludacris” Bridges. 

Alperin: UMPG 

Appointment 

Universal Music 

Publishing Group (UMPG) 

has announced the 

appointment of Rebekah 

Alperin to Senior Vice 

President Marketing 

and Communications. 

Responsible for managing 

the company’s worldwide 

corporate marketing, 

internal and external 

communications, social 

media and digital 

marketing initiatives, 

she will work UMPG’s 

management team and 

Universal Music Group 

global communications 

in shaping and executing 

strategy for the publishing 

company and its 

subsidiaries worldwide. 

See http://umpg.com. 

October 2014 


29

Mary Lambert 

Revelations, Rhymes and Rainbows 

By Dan Kimpel 

S 

he is not a shrinking violet, this Mary Lambert. “I love performing. 

I love the sound of my own voice. I love being the star,” she says. 

The lyrics of her lead single, “Secrets,” reflect her remarkable 

candor as she sings, “I don’t care if the world knows what my secrets 

are.” Polished pop, vivid ballads, spoken word interludes and anthems of 

self-empowerment: With her first full-length release, Heart On My Sleeve, 

Lambert reveals a strikingly expressive tableaux. 

From Everett, WA, Lambert was raised Pentecostal. “We left the church 

and I joined the Evangelical church in high school, which I loved,” she 

recalls. “They had the hippest bands and the funniest pastors telling jokes, 

but it was still, ‘You’re gay, so you’re sinning.’ It was such a mind fuck.” 

Lambert, who endured horrendous sexual abuse as a child, was diagnosed 

as bipolar. She channeled her creative instincts into learning guitar 

and studying classical composition. She commanded 

slam poetry stages and released a 

book, 500 Tips for Fat Girls, that predicted 

her future as a fearless communicator. 

A massive audience met Lambert when 

she wrote and performed the hook on 

“Same Love” by Macklemore & Ryan Lewis 

after a friend recommended her to the duo. 

Within three short hours of receiving the 

track she had penned the chorus to the 

song that was nominated for two Grammy 

Awards: Song of the Year and Record of the 

Year. “I had three hours to come up with the 

most brilliant shit ever,” says Lambert. “I had 

a shot of tequila and got down to business.” 

Lambert joined Macklemore & Ryan Lewis 

at the Grammy Awards for the onstage 

marriage of 33 couples, officiated by Queen 

Latifah, and joined by Madonna. “She was 

incredibly kind to me,” says Lambert of Madonna. 

“Working with a legend, there were 

some things I was scared to say, and things 

I was eager to ask. I really wanted to learn from her.” 

While Lambert has two previous EP’s to her credit, creating a 

full-length release was a completely different process. The project’s 

producers are Eric Rosse and Benny Cassette, with songs credited to 

Lambert with her producers and Mozella, best known for “Wrecking Ball” 

by Miley Cyrus. “I had some songs previously that I had worked out with 

Eric Rosse, but we then realized that we were writing the record while 

we were making it. So all of these songs were written in the last nine 

months,” says Lambert. 

Co-writing was a new experience. “Previously, I’d written all my stuff 

crying on the kitchen floor, drunk out of my mind thinking the only way I 

could create was in shitty chaos. Now I was sober and alert and having 

people in the room and writing about fun things.” 

Lambert says that Mozella was helpful in the editing process. “When 

I write I have a hundred different ideas, and sometimes that one melody 

idea I’ve tucked away is the right answer. It was so helpful to have her 

say, ‘There––that one, that’s your chorus.’” One of the song’s most affecting 

ballads, “Monochromatic,” owes its title to Lambert’s co-writer. “That 

was Mozella’s word,” confirms Lambert. 

The sole cover on Heart on My Sleeve is a ballad version of the Rick 

Springfield hit “Jessie’s Girl.” Lambert says that it was originally recorded 

to pitch to Grey’s Anatomy. “I was asked to do a cover of an ‘80s tune. I 

thought of ‘Jessie’s Girl,’ and the gender neutrality of the name ‘Jessie,’ 

and how many times in the gay community can you be attracted to someone 

who is straight It happens to everybody.” 

On her website (http://marylambertsings.com) fans leave Lambert 

impassioned messages. Many of them are from teenage girls working to 

overcome negative body images, homophobia and fear. “We are more 

than our scars,” sings Lambert on “Sum of Our Parts.” For Lambert and 

her fans, it is a connective creed. “I know everyone says this, but I have 

the best fans ever—communicative and kind and they defend me,” she 

concludes. “I am so glad that my music resonates with them.” 

Contact Gihan Salem, Capitol Records, 

Gihan.Salem@umusic.com, 323-871-5745 



DROPS 

Chasing Notes, the first-ever film composer 

documentary, debuted last month at the United 

Film Festival, following the career of emerging 

composer Jaymee Carpenter. Carpenter scored 

the film, and in it he interviews top contemporary 

film and television composers including Nathan 

Barr (True Blood), Marco Beltrami (Snowpiercer), 

John Ottman (X-Men: Days of Future 

Past), Christopher Young (The Rum Diary), 

Christophe Beck (Frozen), Theodore Shapiro 

(The Secret Life of Walter Mitty), Deborah 

Lurie (Footloose), George S. Clinton (Austin 

Powers), Greg Edmonson (Firefly) and Peter 

Golub, the director of the Sundance Film 

Music Program. Contact Beth Krakower with 

CineMedia Promotions at Beth@CineMediaPromotions.com 

for further information. 

A$AP ROCKY 

Noisey.com, VICE’s music channel, has 

dropped the fifth and final installment of SVD- 

DXNLY, the feature-length documentary on the 

rapper A$AP Rocky. In the final installment, 

the artist reflects on his success and spends 

time with Chanel Iman, Wiz Khalifa, Schoolboy 

Q, Riff Raff and Big Sean. Produced and 

directed by VICE’s David Laven, and narrated 

by Rocky, SVDDXNLY follows the artist and the 

A$AP Mob out of Harlem as he gains recognition. 

The documentary features appearances 

and interviews with Rihanna, Snoop Dogg, 

Macklemore, Danny Brown and more, and 

showcase’s Rocky’s hits and unreleased music 

from his upcoming instrumental album––Beauty 

& The Beast: Slowed Down. 

The last segment can be viewed at http:// 

noisey.vice.com/noisey-specials/asap-rocky- 

svddxnly-part-5-documentary-chris-brown-riff- 

raff-schoolboy-q-big-sean-wiz-khalifa. The film 

first premiered as an official selection at the 

2014 South by Southwest Film Festival. It 

is Noisey’s first feature-length. Contact Laura 

Rothkopf at Laura.RothkopfW@Vice.com for 

more details. 

Grammy Lifetime Achievement Award winner 

and Country Music Hall of Fame member Glen 

Campbell wrote and 

recorded his last song, 

“I’m Not Gonna Miss 

You,” with producer and 

friend Julian Raymond 

for a documentary on 

himself entitled Glen 

Campbell…I’ll Be Me. 

Released Sept. 30, the 

song was produced by 

Raymond and recorded 

in Los Angeles’ Sunset 

Sound Factory and 

EastWest Recording 

Studios. James Keach, 

who produced Walk 

the Line, produced and 

directed the film, which 

covers Campbell’s battle 

with Alzheimer’s. Trevor 

Albert (Groundhog 

Day) also produced the film, which opens in 

theaters in New York, Oct. 24, followed by a 

countrywide release in 50 cities. The soundtrack 

will be released on Big Machine Records and 

will feature the Band Perry, who previously 

paid tribute to Campbell at the 2012 Grammy 

Awards when Campbell received his award. 

Julia Pacetti of JMP Verdant can be reached for 

more information at Julia@JMPVerdant.com. 

The much-anticipated documentary Mr. Dynamite: 

The Rise of James Brown, will debut 

Oct. 27 at 9 p.m. ET/PT. HBO acquired the U.S. 

and Canadian TV rights to the film, directed 

by Oscar winner Alex Gibney and produced 

by Mick Jagger. The Brown Estate opened its 

archives for the first time for the documentary, 

which features rare and never-before-seen 

footage, interviews and photographs of Brown’s 

career. Victoria Pearman of Jagged Films, 

Peter Afterman of Inaudible Films and Blair 

Foster of Jigsaw Productions also contributed 

to producing Mr. Dynamite. Contact Nancy 

Lesser at 310-382-3274. 

OPPS 

The Sunday Show is hosting any guests to talk 

on a variety of subjects—including film, music, 

theater and television––and guests will have 

time to plug their project. The Internet radio 

show and recorded 

podcast claims about 

500,000 listeners and 

can be found at http:// 

stuntradiocom.wix. 

com/the-sunday-show. 

Contact Jason Geary 

for booking inquiries 

at StuntRadio.com@ 

Gmail.com. 

For those industry 

types who use Pinterest 

as a marketing 

tool, the Pictures 

to Profits Podcast 

is looking for guests 

to talk for about 20 

minutes via Skype 

about how the site is 

used to grow business. 

The podcast receives 300-500 downloads 

per episode over a two month period, 

and is exposed to 2,500 Twitter followers. The 

website, http://mcngmarketing.com/category/ 

podcasts, receives 7,000 unique monthly visits. 

Host Vincent Ng can be reached at Vince@ 

MCNGMarketing.com. 

Talk to the Author with Dr. Mamie Smith may 

be a helpful outlet for exposure for artists and 

filmmakers and others who have penned a book 

on their job experiences. The radio show has a 

global reach and appears on Kat Radio at http:// 

KatsEntertainment.com, which has reached 

over 4.2 million people worldwide. The show 

is also featured on the Duane Parham Show 

every Sunday 5:15-6 p.m. EST. For booking 

inquiries, email TheParham@Gmail.com or 

SmithMamie@Ymail.com. Visit http://unfoldingofarose.ning.com/page/talk-to-the-author-radio 

for more information. 


Talk Radio Meltdown seeks interviews with 

television and film actors of any kind to guest 

on the free podcast and talk radio show. Based 

in Boston, host Jack Gill and guests talk pop 

culture and news uncensored, 

reaching about 

5,000 weekly 4-6 p.m. 

EST. Find the website 

at http://TalkRadioMeltdown.com. 

Email host 

Jimmy Park at Jimmy@ 

TalkRadioMeltdown.com 

for booking inquiries. 

PROPS 

Hear My Train A 

Comin’, a documentary 

on legendary guitarist 

Jimi Hendrix, scored an 

Emmy Award for Outstanding 

Sound Mixing 

for NonFiction Programming. 

Eddie Kramer, 

who engineered the four 

albums Hendrix released 

during his lifetime as well as some posthumous 

recordings, did the mixing, and Steve Crook 

was the re-recording mixer. The documentary, 

ASK DINO SHOW 

released by Legacy and Experience Hendrix, 

LLC on DVD and Blu-ray, also received 

a nomination for Outstanding Picture Editing 

for Nonfiction Programming. Directed by Bob 

Smeaton, the film takes an up-close look at the 

artist’s life as he rose to fame. 

Contact Bob Merlis at BobMerlis@BobMerlis. 

com for more information. 

TourGigs, a technology company that provides 

services to produce, film, market and distribute 

concert films, recently announced that acclaimed 

filmmaker, photographer and writer 

Danny Clinch joined 

the company as creative 

director. Clinch’s debut 

project with TourGigs 

was directing The Head 

and the Heart’s live 

show at the Greek Theatre 

in Berkeley, CA, on 

Sept. 5. The show was 

streamed worldwide. 

As a director, Clinch 

has been nominated 

three times for Grammy 

Awards, and has worked 

on documentaries, 

concert films and music 

videos for artists such 

as Bruce Springsteen, 

Pearl Jam, Tom Waits 

and Willie Nelson. 

Most recently, on Sept. 

23 Clinch dropped Still 

Moving, a book of photos capturing his career. 

For more information, contact Jim Walsh with 

Big Hassle at Walsh@BigHassle.com. 

Veteran music producer Dino Maddalone has 

been developing his unique mentoring show, 

Ask Dino Show, which now has a Tonight 

Show format, including a live house band. 

This self-described Mentoring/Entertainment 

show has joined forces with The Handshake 

Foundation, a mentoring foundation for the 

arts. A recent episode presented Larry Dunn 

from Earth Wind & Fire. Maddalone says, 

“The show aims to inform and entertain the 

new artist (and general public),” he says, “with 

veteran performers and even iconic guests. 

We are working on Aretha Franklin as we 

speak. Our guests ‘talking and showing’ is 

exactly what the knowledge hungry artist needs 

in today market.” See http://youtube.com/ 

watchv=4AVLJnrVSfY. For complete details 

contact DinoM4@aol.com. 

JESSICA PACE lives in the Nashville area and writes about 

music, local government and education. Contact her at j.marie. 

pace@gmail.com. 

– JESSICA PACE j.marie.pace@gmail.com 

Out Take 

Lynn Hoffman 

Show host 

Email: Info@LynnHoffmanEntertainment.com 

Web: https://Facebook.com/PrivateSes 

sions, http://indiMusic.TV 

Most Recent: Private Sessions 

This fall, the Emmy winning A&E music 

show Private Sessions is coming back 

in partnership with IndieMusicTV, a 24/7 

social media broadcast network. Viewers 

will now be able to live stream Private 

Sessions, which launched in 2007 and 

features interviews and performances with 

popular bands and artists, in over 250 

countries. Returning host Lynn Hoffman 

launched the new series Sept. 25 at 9 p.m. 

EST with an episode featuring Maroon 5’s 

Adam Levine and James Valentine, who 

perform hit Maroon 5 songs including “This 

Love” and “She Will Be Loved.” 

“He talked about how when he was 

young, his music teacher told him to give 

up on playing the guitar, because it would 

never amount to anything,” Hoffman says 

about Levine, “and he promptly put up his 

middle finger to the camera while saying, 

‘Look at me now.’” 

Hoffman and Levine talked about M5's 

initial monstrous success, from starting 

their career back in high school to opening 

for legends like the Rolling Stones and the 

Police. “At the time we taped this show,” 

she says, “Maroon 5 was struggling to 

make a comeback, right before Adam 

started his stint as a judge on NBC’s hit 

show, The Voice, which catapulted Maroon 

5 and Adam straight back to the top––but 

you would never know it.” 

Hoffman says her interviewing rule of 

thumb is to treat everyone the same, “like 

regular, normal people.” 

These seemingly larger-than-life artists, 

she says, “whose job is to create 

fantastic works of art that draw emotion, 

make people think, are just people like 

you and me. I’ve found that just about all 

of the artists and entertainers I’ve met and 

worked with over the years have been very 

down-to-earth.” 

Private Sessions can be streamed 

through IndiMusic TV channels on Roku 

and Opera TV, and soon through Google 

Chrome, Apple TV, Amazon Prime, Netflix 

and more. 

October 2014 


33

Khalifa Under the Influence in Irvine 

Music Connection coverboy Wiz Khalifa recently wrapped his 2014 “Under the Influence” tour. 

MC was in attendance for his Irvine, CA stop at the Verizon Amphitheatre. Wiz’s supporting cast 

included Young Jeezy, Ty Dolla $ign, Rich Homie Quan, Sage the Gemini, Mack Wilds, Iamsu! 

and Mr. Gangsta Grillz himself, DJ Drama. Upcoming dates at http://wizkhalifa.com. 

Haim Return Home For Two Nights at L.A.’s Wiltern 

Sister act Haim––Este, Alana and Danielle––have been touring heavily since 

we last spoke to them for our March issue’s cover story. In September the 

band touched down on their home turf of Los Angeles for two special sold-out 

shows at the historic Wiltern Theatre. See and read more about it at http:// 

musicconnection.com/haim-it-girls-rock. 

ASCAP Hosts Source In Nashville 

SOURCE—an organization of women executives in Nashville’s Music Industry—held 

its monthly Members Luncheon at ASCAP. John Barker, President 

and CEO of Clearbox Rights LLC addressed the group of industry professionals 

on the subject of IP (Intellectual Property) and Copyright Laws. Pictured (l-r): 

Denise Nichols, The Primacy Firm; Stacy Schlitz, Schlitz Law; John Barker, 

Clearbox Rights LLC; and Joy Fletcher, J. Fletcher Consulting. 

DENISE FUSSELL 

DANIEL SEYUM 

PAULA TRIPODI 

It’s a Simpsons 

Bowl-ooza! 

The Hollywood Bowl 

mirrored the town of 

Springfield recently as 

fans of The Simpsons 

came to enjoy live 

renditions of the show’s 

greatest musical moments. 

Conan O’Brien, 

Hans Zimmer, ‘Weird Al’ 

Yankovic and the Hollywood 

Bowl Orchestra 

accompanied Homer and 

the gang through skits 

and musical performances. 

The Simpsons 

began its 26th season on 

FOX on Sept. 28. 

MATHEW IMAGING 

Smooth (And Funky!) Summer Jazz At The Bowl 

Contemporary urban jazz stars (l-r) Rick Braun, Norman Brown and Kirk 

Whalum (collectively known as BWB) chill backstage at the Hollywood Bowl’s 

Annual Smooth Summer Jazz festival, which included soulful, high-octane and 

just smooth enough performances by the trio (with special guest vocalist Elliot 

Yamin), keyboardist Keiko Matsui with saxophonist Jackiem Joyner, the Ohio 

Players (on “Fire”) and headliner Boney James featuring vocalist Eric Benet. 

JONATHAN WIDRAN 


– ANDY MESECHER andym@musicconnection.com 

CHRISTOPHER POLK/GETTY IMAGES FOR ANHEUSER-BUSCH 

Dragons Got It 

Made In America 

Dan Reynolds of rock 

band Imagine Dragons 

performs on the Marilyn 

Stage during day 1 of the 

2014 Budweiser Made 

in America Festival at 

downtown Los Angeles’ 

Grand Park. The two-day 

festival also featured 

John Mayer, Kanye 

West, YG, Weezer, City 

& Colour and many 

more. Full details at 

http://musicconnection. 

com/made-in-america- 

2014-wrap. 

Tidbits From Our 

Tattered Past 

Coheed Shut Down 

The Wiltern 

New York’s Coheed & Cambria 

are currently on the road honoring 

their 2004 release In Keeping 

Secrets Of Silent Earth:3 by 

performing it from beginning 

to end. To commemorate the 

record’s 10-year anniversary, 

the band released a re-master 

of the album for vinyl in both 

“collector tour” format and 

“180-gram black” format for 

their audiophile fans. Pictured 

is frontman Claudio Sanchez 

(somewhere behind the hair). 

Read the full wrap at http:// 

musicconnection.com/coheedcambrias-iksse3-10-year-tour. 

ANNALISE FREYTAG 

PATRICK COOLEY 

Music Connection’s 

Networking 

Panel Is A Hit! 

Music attorney Glenn 

Litwak moderated a discussion 

with prominent A&R 

reps, music supervisors and 

managers for a recent “Networking” 

panel at the SAE 

Tech Expo in Hollywood. 

Sponsored by Music Connection, 

the panel featured 

a spectrum of industry pros 

including (l-r) manager 

Silas White and Notting Hill 

Music’s Livio Harris. 

1985–Class of '85–#18 

In this issue Music Connection 

focused on a group 

of "baby bands" who had 

just been signed by major 

labels, to get an idea of how 

they got their acts together. 

Featured were the bands 

Cock Robin, Malice, What 

Is This, Chain Reaction, 

Precious Metal and A Drop 

In The Gray. We also spoke 

to prominent managers. 

Concert reviews of Suzanne 

Vega, Tom Petty and 

Los Lobos and club reviews 

of Megadeth and Adore 

O'Hara round out the issue. 

A Legend Emerges 

At The Greek 

John Legend serenaded a relaxed, 

yet highly enthused Los 

Angeles crowd with a band who 

played beautifully throughout 

the evening. Legend had the 

confidence of a young Marvin 

Gaye with the grace of Ray 

Charles. Truly an unforgettable 

evening, Legend left imprints on 

the hearts of attendees––and 

likely contributed to the birth 

of a few children nine months 

from now. See the Greek’s fall 

schedule at http://greektheatrela.com. 

JUAN O’CAMPO 

2001–Linkin Park–#7 

Rap-rockers Linkin Park 

were promoting their rapidly 

rising Warner Bros. debut 

album Hybrid Theory when 

MC spoke to them for this 

cover. Said the band's Mike 

Shinoda of LP's wise career 

strategy, "We decided to 

hold off on signing a manager 

until we absolutely had 

to, because that stuff is so 

important to us." Profiles of 

DJ John Digweed and Lee 

Ann Womack are also here. 

October 2014 


35

A 

band that has seemed 

like an effortless pop hit 

machine since the early 

1990s, with early successes 

including “Buddy 

Holly,” “Undone— 

The Sweater Song,” 

and later, “Hash Pipe,” 

Beverly Hills” and “Pork and Beans,” Weezer 

has meant even more than that to critics, fans 

and alternative radio. The band successfully 

rode out all of the transformations in the music 

industry since signing to then-powerhouse 

Geffen in 1992, followed by Interscope, Epitaph 

and, currently, Republic Records. For an outfit 

that initially gained popularity via pop-culture 

references and heavy rotation MTV videos, 

Weezer’s longevity has proved that the group’s 

reputation as a brainy bunch goes beyond the 

glasses, cardigan sweaters and frontman Rivers 

Cuomo’s Harvard studies. 

The tight foursome, featuring Cuomo (vocals/guitar), 

Brian Bell (guitar/vocals), Patrick 

Wilson (drums) and Scott Shriner (bass) are 

back with their ninth studio album, Everything 

Will Be Alright In The End, and back as well with 

producer Ric Ocasek (the Cars) who produced 

their debut LP (Weezer aka “The Blue Album”) 

and the third Weezer record, (Weezer, aka “The 

Green Album”). Having completed several 

summer festivals, the band will play a limited 

number of fall dates and perform the new album 

(coming Oct. 7) in its entirety. 

What’s clear from recent crowd reactions 

(for example, at the Made In America fest in Los 

Angeles) is that Weezer remains well-regarded 

and vital. Always a favorite of alternative radio, 

the band’s pure pop-rock songcraft has never 

left the consciousness of the smart-rock listening 

base. Consistently touring and staying in 

touch with fans has kept these players in the 

present, and still thriving in the studio environment—which 

we discuss at length with band 

bassist Scott Shriner in the following Music 

Connection interview. 

Music Connection: Scott, you’re originally from 

Toledo, Ohio. How long have you been based in Los 

Angeles 

WEE 

Scott Shriner: I moved out here in 1989 and I feel 

more like a Los Angeleno than a Toledo, Ohioan. 

MC: You were initially hired as a temporary bass 

player for Weezer. Can you talk a little about how 

that came about 

Shriner: I met Barry Squire, a recruiter at Musicians 

Institute in Hollywood, and we hit it off. He 

sent me out on a lot of auditions, and I was in his 

book. When Weezer was in a pinch and needed 

somebody to fill in, they called Barry and he gave 

them a short list of names and numbers and 

described each person a little bit. At the time, they 

were looking for a player whose sound was a little 

heavier. Barry warned them, “Hey this guy is cov- 


“WE ALWAYS COULD BELIEVE [producer Ric Ocasek] when he said 

something sounded good, because he absolutely would tell us when it didn’t.” 

ZER 

By Brett Bush 


Weezer Cruise in February 2014 from 

Florida to the Bahamas, with other artists 

including Cat Power and the Cribs. 

 

the second Weezer album, Pinkerton, a 

legal challenge against using the name 

was initiated by the Pinkerton Securities 

company, however a judge ruled in favor 

of the band. 

 

financed by the Hurley clothing company, 

Weezer’s 2010 Epitaph Records release, 

Hurley, was named for the character 

played by actor Jorge Garcia on the TV 

series Lost. Garcia’s photo appears on the 

cover and he commented that the placement 

was “one of the biggest honors” of his 

career. 

 

appeared in dozens of films, soundtracks, 

TV shows and video games, including 

Cars 2, Hung, Shrek Forever After, American 

Pie 2, Boyhood and various Guitar 

Hero and Rock Band installments. 

 

as Goat Punishment to play cover songs 

in unannounced club shows. 

QUICK FACTS 

ered in tattoos, has a gold tooth and has long 

hair,” and Rivers said, “Perfect! That sounds 

exactly like what I’m looking for, send him!” 

MC: Was the transition a little awkward at first 

How were you able to fit in 

Shriner: I went for my sort of filling-in period not 

exactly looking like I was playing for Weezer, 

but I couldn’t exactly change my look at that 

time. I was in a band that was kind of like AC/ 

DC with a girl singer. I had to be myself. 

MC: Let’s talk about the recording sessions for 

the new album. Your producer Ric Ocasek is a 

rock legend who first came to prominence in the 

‘70s as a musician/frontman for the Cars. He’s 

credited with helping to hone the original sound 

that brought Weezer’s initial success. What was 

your experience working with him in the studio 

for this new record 

Shriner: I’ve been in the band since 2001––in 

the middle of the tour of the Green Album––so 

this is my first time working with Ric. I had a 

blast. I was a little nervous at first. Having heard 

a lot of stories I imagined he would be stern––a 

real taskmaster. I wasn’t prepared for how 

sweet and supportive he was. 

MC: But he’s also got that sly sense of humor. 

Shriner: He’s sort of dry, snarky, funny and sarcastic, 

but at the same time super honest. We 

always could believe him when he said something 

sounded good, because he absolutely 

would tell us when it didn’t. 

MC: Since Ocasek had a hand in crafting the 

original Weezer sound, did he help narrow 

down the reported 200 songs written to what 

went on the new album 

Shriner: He definitely was in the loop in terms 

of what songs we were choosing for the album, 

but it was always up to the band. He was 

played pretty much all of the songs that were in 

consideration for the record. 

MC: When the band was recording, did he jump 

in from behind the knobs and play at all 

Shriner: How could we not have him come in 

and sing and play a little bit When he did it 

was really special. It wasn’t something he would 

do that often, but if he had a strong idea then he 

would grab a guitar or play a little keyboard or 

sing a little bit. So he did get out sometimes. 


MC: That’s got to be a great moment. 

Shriner: For me, the Cars were one of those 

bands that changed my life. There were about 

10 or 15 bands that were so influential for me, 

that I felt changed my direction, the way I listened 

to music, the way I thought about life, and 

the Cars were one of those bands. Not to sound 

corny, but I was kind of pinching myself when 

we were in the studio with him. 

MC: Let’s talk some more about Weezer’s 

material. What is the usual songwriting process 

with band How are you involved 

Shriner: We’ve had times when we all wrote 

a little bit together. Rivers is obviously the 

principal songwriter. There have been a couple 

of times that I have gotten to contribute; that 

did not happen on this record. There are times 

where I’ll make a suggestion, or write my own 

bass lines, but sometimes they sound perfect 

the way he recorded them on the demo. 

MC: Coming from what you described as an 

AC/DC influenced band, what are your other 

influences that make your participation work so 

successfully with Weezer 

Shriner: I grew up listening to Black Sabbath, 

which is one of the bands that changed my 

life, but I also listened to Elton John and the 

Beatles. Those bands and Hendrix I would 

listen to, and all that kind of got mixed up in 

me and made me who I am. I also got into new 

wave, and I think I first heard the Cars in eighth 

grade, like ‘79, ‘80, and I went more towards the 

new wave songs. I never really got into punk 

Shriner: As a band, we are active on YouTube 

and Facebook and Instagram. We use it pretty 

frequently. We have a Web guy who follows 

us around, posts photos from backstage and 

onstage, and there’s a Weezer Facebook fan 

page. It’s definitely integrated into our daily 

lives. We’re involved, we try to stay in tune with 

it and see how we can participate. Weezer has 

had a really strong fan base for a long time. So 

it is a great way to keep in touch with the new 

record. We have webisodes on YouTube for the 

songs on the new record. 

MC: With the band’s initial history with a major 

label, Geffen, and then semi-independent, 

how did Weezer choose to sign with Republic 

Records 

Shriner: We talked to a bunch of different labels 

and found a great A&R person that wanted 

us to work at Universal Republic, and we just 

felt that was the best choice. 

MC: Why not just do a self release as so many 

artists are choosing to do in the current music 

industry climate 

Shriner: We thought about doing that, we’ve 

done that, and we just felt that going with a 

major label and using all of their powers was 

the thing to do. Our last release was kind of 

done as an independent, and we wanted to do 

something different for this one. 

So far it’s working great for us. We’ve gotten 

a lot of exposure, a lot of spins, we’re doing a 

lot of radio interviews, we’ve hired a great publicist, 

Jen Appel, and I’m enjoying it so far. 

Contact Jen Appel via 

http://pressherenow.com 

“AT THE TIME, [Weezer] 

were looking for a player whose 

sound was a little heavier. 

Barry warned them, ‘Hey this 

guy is covered in tattoos, has 

a gold tooth and has long hair,’ 

and Rivers said, ‘Perfect! That 

sounds exactly like what I’m 

looking for, send him!’” 

rock. I liked metal and I liked new wave. The 

Cars had that great down-stroke feel, they had 

attitude, and some weird arrangements that just 

took it to another place for me. 

MC: Nowadays, every band needs to be active 

on social media. That has become such a big 

part of promoting bands and artists over the 

past few years. How do you personally engage 

with social media 

Shriner: Personally, I have an Instagram 

page, and I’m on Facebook and Twitter. For 

my involvement, it’s with a combination of 

people who are really into music equipment 

and basses, and I have a lot of pictures of my 

son up, some Weezer stuff. So I’m somewhat 

active. I’m not dedicated, but I’m there. 

MC: How does the band like to utilize social 

media Do you have someone who’s hired to 

handle that 

www.grammymuseum.org 


MASTERING 

EXPERTS ON 

How Artists Can 

 

By Rob Putnam 


James Kelley 

Company: Wire Road Studios 

Clientele: Ludacris, Busta Rhymes, Slim Thug 

Contact: http://wireroadstudios.com 

James Kelley developed a taste for music as a teenager when he 

made his first recording on a four-track TASCAM. Today he’s the 

owner and president of Wire Road Studios in Houston, TX, which he 

established six years ago. Kelley graduated from Auburn University 

in Alabama, where he admits that he devoted more time to audio 

than to his formal studies. Much of his mastering is concentrated in 

hip-hop with the bulk of his work coming from local acts including 

country and jazz bands. Wire Road is a full-service facility. Virtually 

all of the masters completed there are mixed in-house. 

What are the top three ways to trim costs when beginning the project 

 

 

 

What are three ways a mastering engineer can enhance his relationship 

with the mixer 

 

- 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

What are the top three most valuable 

pieces of mastering advice 

 

 

 

 

 

JAMES KELLEY 

 

 

 

 

 

 

 

What are your top three favorite 

mastered records and why 

Armistice 

 

Kid A 

Around the Fur- 

 

Antiphon 

 

Mixers and masterers sometimes 

have a difficult relationship. What 

are the best/worst aspects of 

that Has it improved 

- 

 

- 

 

 

 

What are the top three things that 

are possible in mastering that 

weren’t possible a decade ago 

 

 

 

 

 

 

Name the top three aspects that are hardest or easiest in mastering. 

 

 

- 

 

 

 

 

 

 

 

 

 

 

 

 

 

- 

 

 

 

 

Bernie Becker, Dale Becker 

Company: Bernie Becker Mastering 

Clientele: Neil Diamond, Donna Summer, Katy Perry 

Contact: http://berniebecker.com 

Father and son mastering team, Bernie and Dale Becker, have a 

combined 40-plus years of experience. Bernie got into the business 

in 1977 as a live sound recording engineer. In 1985 his family relocated 

to Los Angeles, where he segued into mixing and ultimately 

mastering. Dale grew up in and around the business and ran his 

dad’s studio for four years in Burbank until they moved to their 

current location in Pasadena. Many of their clients are independent 

artists and lately Beckers broken into gospel, notably a project for 

Ricky Dillard and J.J. Hairston. 


What are the top three ways to trim costs when 

beginning the project 

What are three ways a mastering engineer can 

enhance his relationship with the mixer 

 

 

 

 

 

 

 

 

 

 

What are the top three most valuable pieces of 

mastering advice 

 

 

 

 

 

 

 

 

 

 

 

 

What are the top three things that are possible in 

mastering that weren’t possible a decade ago 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

What are the top three most valuable pieces of 

mastering advice 

 

- 

 

- 

 

 

 

 

 

What are the top three things that are possible in 

mastering that weren’t possible a decade ago 

 

- 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

What are the best/worst aspects about the 

relationship with mixers Has it improved 

 

 

 

 

 

 

Mike Wells 

Company: Mike Wells Mastering 

Clientele: Green Day, Prince, Nicki Bluhm 

and the Gramblers 

Contact: http://mikewellsmastering.com 

As a musician, Mike Wells was signed 

once or twice. But after attending mastering 

sessions, he realized that he’d found 

his ideal career fit. He moved to his North 

Hollywood, CA, studio from San Francisco 

four years ago and has now been in the 

business for nearly 20 years. Wells has 

worked in a range of genres including 

electronic, rap and classic rock. Interestingly, 

he used to do shows with Green Day 

in the early ‘90s. 

 

 

 

 

 

 

 

 

 

 

What are the top three ways to trim costs when 

beginning to master 


- 

 

 

 

 

 

What are three ways a mastering engineer can 

enhance his relationship with the mixer 

THE MIX ENGINEER’S PERSPECTIVE 

 

 

- 

 

- 

 

 

 

 

What are your top three favorite mastered 

records and why 

DAVE PENSADO 

Company: Pensado’s Place 

Clientele: Mary J. Blige, Keith Urban, Michael Jackson 

Contact: http://pensadosplace.tv 

Last Rights Too Dark Park 

 

Highway to Hell 

- 

 

 

- 

 

What are the best/worst things about the relationship 

with mixers Has it improved 

 

- 

- 

 

 

MIKE WELLS 

Grammy-winning mix engineer Dave 

Pensado has been in the biz since the 

‘70s. Two years ago, aided by friend and 

collaborator Herb Trawick, he created 

Pensado’s Place, a professionally produced 

Internet mixing show. To date, their 

YouTube channel has grabbed more than 

five million views with nearly 200 videos. 

Guests have included Chris Lord-Alge, 

Bob Clearmountain and Young Guru. 

Pensado brings the mixer’s perspective to 

this year’s mastering roundtable. 

What are the top three ways to trim costs 

before sending a mix to be mastered 

 

 

 

 

 

 

 

 

 

 

 

 

How often do you speak with a project’s 

mastering engineer and at what point does 

that happen 

 

 

 

 

 

 

 

 

 

 

 

Do you caution clients about the need to 

mix a certain way so that mastering is later 

optimized 

 

 

 

 

 

 

 

Do you do anything in playback to approximate 

or simulate for the client what a tune 

will sound like when mastered 

 

 

 

 

 

 

 

 

 

 

What are the top three ways to enhance your 

relationship with your mastering engineer 

 

 

 

 

 

 

 

 

 

- 

 

What are your thoughts about the value 

that mastering engineers add to a project 

Sometimes higher-level mix engineers make 

light of their contributions. 

 

- 

- 

 

 

 

 

 

 

 

 

 


– CARL ANTHONY 

S 

ome kids pretend to be Superman while others hurl a ball and 

picture the playground a packed stadium. These eager dreams 

shape young lives and DJ Cassidy had them too. In his case, 

comic books were replaced by snapshots of Kool Herc’s speakers 

towering above his convertible. And there were posters, but not 

of famous athletes; rather, it was the 1984 film Breakin’. 

“I had about 20 different Breakin’ posters on my wall; 

some were from different countries,” says Cassidy. 

“When I was a kid, I fell asleep at my grandmother’s 

house and when I woke up it was playing on HBO.” 

Cassidy tried dancing like the film’s lead 

characters, Turbo and Ozone, and watched 

the movie so much even his family members 

had the soundtrack memorized. It was his 

introduction to hip-hop culture and would 

cement the foundation for what was to 

come. The fascination was further amplified 

with a birthday gift: a set of turntables. 

“That largely disrupted my social life, 

because I often locked myself in my room 

while my friends were out doing fun 

things,” he recalls. “However, I had this 

feeling that in order to be like my heroes, 

I needed to play like my heroes.” 

By 18, it was no longer his bedroom 

but the globe. Instead of missing time 

with friends, Cassidy was making 

new ones and his art was attracting 

influential people beyond the club 

circuit. He later did parties for Jay Z, 

Jennifer Lopez, Oprah Winfrey and 

President Obama. 

And that’s when it hit him. 

“No matter if I was playing for 

leaders of the free world or an 

average Joe, I grew to view 

the soul music of the late 

‘70s and early ‘80s as the 

greatest dance music of 

all time,” he states. “The 

classic records of that era 

put a spirit and energy in 

the air like no other kind 

of music.” 

Then his next revelation 

arrived. “I wished my 

generation had their own 

anthems of celebration 

that sounded like that, from 

their own artists to define 

their lives,” says Cassidy. “I 

set out on a mission to bring 

back the greatest and most 

universal dance music of all 

time.” 

Cassidy recounts the 

development of his debut 

album, Paradise Royale, 

as a “four year journey.” He 

united major figures of late 

1970s and early 1980s to 

channel what he calls their 

“definitive sound.” Larry Dunn, 

DJ Cassidy 

“I set out on a mission 

to bring back the greatest 

and most universal dance 

music of all time.” 

Robert “Kool” Bell and Nile Rogers are only three of the 22 names 

on Paradise Royale. Once they provided music, the voices of John 

Legend, Usher and R. Kelly, among others, followed. “These are 

musicians representing all generations and they have come together 

under one sound,” he says. 

Close friend Siedah Garrett would help immensely in the 

early stages. She drove Cassidy to meet Ray Parker Jr., 

where the two sat down in Parker’s home studio. 

“He must have 150 guitars on the wall,” recalls 

Cassidy. 

When Parker heard the vision he agreed to take 

part in Paradise Royale and suggested longtime 

friends Freddie Washington and Ollie Brown 

perform too. The mention of Brown struck 

Cassidy profoundly. 

“It took me a second but I realized he was 

talking about Ollie from Ollie and Jerry,” 

Cassidy specifies. “I then shared my history 

with Breakin’.” 

From there, Cassidy landed at Schnee 

Studio with Parker, Washington and Brown. 

Everything was just beginning, but the 

vindication came when Parker hit the 

talkback button. 

“Ray told me, 'You’re the producer, 

tell us what you want us to do,'” says 

Cassidy. “With that, he instilled all the 

confidence in me I could ever want.” 

The journey would later include 

Columbia Records’ Steve Ferrera, 

who also believed in Cassidy’s 

dream and took him to label 

Chairman Rob Stringer. Ferrera 

passed away recently and 

Cassidy remembers him 

warmly. According to the 

artist, “When I hit play on my 

very first song, his face lit up 

with the biggest grin I have 

ever seen. He is singlehandedly 

responsible for my 

relationship with Columbia 

and I know he is looking 

down and smiling every time I 

play one of my songs.” 

“I have always envisioned 

a place where people of all 

races, all shapes and sizes 

could gather under one sun 

to celebrate,” says Cassidy. 

“This place is all inclusive 

where everyone is invited and 

all you need to do is close your 

eyes. That’s Paradise Royale.” 

The artist’s denbut release is 

slated for Oct. 23. 

Contact Carleen Donovan, 

Carleen@presshere 

publicity.com 



– ANDY MESECHER 

Rdio 

Streaming Service Answers the Question, 

“How do you make something that is better than stealing” 

t wasn’t long ago that we were all fighting 

over the last copy of A Christmas Story in 

Iaisle 3 at Blockbuster. But with the birth of 

Netflix, it seems like such a concept was eons 

ago. And while Netflix has created a positive 

brand for the idea of “streaming movies and 

TV,” it seems the music industry’s streaming 

services haven't been so fortunate. Rdio is 

looking to change that. 

Created by Skype founders Niklas 

Zennström and Janus Friis in 2010, the 

company joined already founded services 

Deezer, Spotify, MOG and Rhapsody. By 

2011 Spotify would gain a stranglehold on the 

U.S. market, while Deezer’s concentration 

remained outside the United States. 

Rdio C.E.O. Anthony Bay joined the picture 

in early 2014. With a background at Microsoft 

and Amazon, he didn’t shy away from telling 

us his goals on expanding the company. 

“If touring revenue is 

where [most your income 

comes from], recorded 

music is important but it 

becomes a way to touch 

more people to make them 

care about you and come 

to your show.” 

our advertisements. We’re looking to be that 

bridge for advertisers, artists and listeners to 

link the best of both [worlds].” 

But what about artists With such little 

return on streams, why should artists sign up 

for any of the streaming services, let alone 

Rdio “That would be like saying, ‘Do I want 

my record in stores’” says Bay. “I’m from the 

philosophy that distribution is generally good. 

opportunity to create a profile, allow others 

to follow you, create unique playlists, share 

on Facebook/Twitter and more, making it a 

one-stop shop to spread the word on your 

music. As he puts it, artists should look at the 

company as an opportunity for distribution. 

Last year the company shut down their 

sister company Vdio, a movie service similar 

to Netflix. And while it didn’t succeed, it 

“There’s [still] a huge opportunity to bring music 

to people,” Bay explains. “If the [streaming 

music] audience is 1.5 billion now and 2 billion 

in a matter of six months, how many of those 

people are listening to Spotify/Deezer/Rdio 

It’s less than a rounding error. Most people 

still listen to over the air radio or pirated music. 

… So the question is, how do you make 

something that is better than stealing” 

Rather than fight the odds against terrestrial 

radio, Rdio has teamed with the United States’ 

second largest terrestrial radio company, 

Cumulus (second to Clear Channel), a 

concept the company has already been doing 

in Mexico for quite some time. “We believe 

there’s value and longevity and importance in 

terrestrial radio,” explains Bay. “Studies keep 

coming out that radio is still the number one 

place to discover new music. People have 

favorite stations, and listen for DJs, etc. Radio 

has proven the value of programming.” 

But where radio lacks, Rdio is looking to 

fill the void. “Radio is a great way in which 

people can discover music but you can’t go 

deep,” Bay continues. “So the marriage of 

listening to a song, then hearing ‘listen more 

on Rdio’ is a very important thing when said 

by the talent [bands], the jocks [DJs] and 

… If you look at the business, if you think 

about it holistically, what’s your total revenue 

as an artist What do you get from publishing 

It tends to grow over time. Higher demand, the 

more people listen to you, the more people 

like you, the more people who cover you, 

the more money you make. Then you have 

recorded music, which [on average, is around 

7% of artists profits today]. 

“The majority is touring, merch, etc. So if 

touring revenue is where [most your income 

comes from], recorded music is important but it 

becomes a way to touch more people to make 

them care about you and come to your show.” 

According to Bay, Rdio gives you the 

showed the company’s constant willingness 

to adapt to current markets. Being in the Bay 

Area, Rdio is able to ring the doorbells to 

partner with several other phone applications. 

The recent deal with Shazam is an example of 

just that. “If you use Shazam, you can link your 

account to Rdio so that everything you Shazam 

will be tagged into an Rdio playlist,” touts Bay. 

Rdio is currently $9.99 a month for unlimited 

streaming + mobile, but offers an online only; a 

student discounted unlimited; and a free “radio” 

version as well. 

Contact Page Jeter, Rogers & Cowan, 

PJeter@rogersandcowan.com 


Start Here 

MA-300 

Multi-pattern large diaphragm, vacuum 

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pad and switchable bass roll-off 

MA-301fet 

Multi-pattern large diaphragm, solid-state 

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www.mojaveaudio.com 

Follow us on 


Flyleaf 

Between the Stars 

Loud & Proud Records 

Producer: Don Gilmore 

Devotees of multiPlatinum nu metal rockers 

Flyleaf may be saddened by the departure 

of lead singer Lacey Sturm, but it would be 

shameful if past memories prevented them 

from devouring the group’s present incarnation. 

New vocalist Kristen May’s pitch-perfect 

emoting is a constant draw, swinging effortlessly 

between sexy cooing and ultrasonic rage. The consistently hooky, 

pop-centered melodies don’t hurt either, making this album a welcome 

excursion, even though the band’s faux rebellious posture signals yet another 

nail driven directly into hard rock’s bleeding heart. – Andy Kaufmann 

Karen Haglof 

Western Holiday 

True Morgan Music 

Producer: Steve Almaas 

Karen Haglof comes up with a likeable set of 

catchy and well-played songs in the country/ 

roots-rock vein. Her voice is endearing, 

strong, matter-of-fact and honest, and her 

powerful slide guitar work propels the music 

down the rockin’ railroad tracks of her unique 

western vision. The lyrics are inventive and 

sometimes wryly sarcastic, such as on “Musician’s Girlfriend Blues” (“I know 

the wounded loner stance makes fans sigh and swoon”), where producer 

Mitch Easter also makes a surprise guitar visit. This is the best female 

Americana release since Car Wheels on a Gravel Road. – David Arnson 

Chick Corea Trio 

Trilogy 

Stretch Records/Concord Jazz 

Producer: Chick Corea 

Legendary 20-time Grammy winning jazz 

pianist/composer Chick Corea’s spectacular 

new trio of veteran upright bassist 

Christian McBride and drummer Brian 

Blade (the rhythm section of Corea’s recent 

Five Peace Band) is so versatile, soulful, 

energetic and inventive live that they need 

three discs (culling performances from across the globe) to capture 

their expansive spirit. They tackle classic Corea tunes, jazz standards, 

unreleased originals and, most amazingly, introduce his kaleidoscopic 

half-hour long “Piano Sonata: Moon.” – Jonathan Widran 

Amp Live 

Headphone Concerto 

Plug Research Music 

Producer: Amp Live 

Amp Live, one-half of Zion I, has a knack for 

creativity—see his fantastic hip-hop remix 

of Radiohead’s In Rainbows feat. Too $hort 

and Del the Funky Homosapien. On this, his 

newest solo work, Amp Live writes a concerto 

the way he knows best: programming, 

producing and digital arranging. Headphone 

Concerto may not need wine and cheese, but listeners will definitely want a 

quality set of headphones to truly enjoy this juxtaposition of sounds. Standouts 

include “Last Wall” (feat. the Grouch & Eligh) and “Ihearthiphop” (feat. 

Planet Asia, Opio, Mike G, Gift of Gab, Codany Holiday). – Andy Mesecher 

8 

9 

9 

8 

Slash (feat. Myles Kennedy & 

the Conspirators) 

World on Fire 

Dik Hayd International/Caroline 

Producer: Michael “Elvis” Baskette 

Whoever thinks rock & roll is in serious 

need of a remake should get a load of this. 

Here is modern rock in its purest form, 

with all its bite and melodic integrity still 

intact. Myles Kennedy is one of the “go to” 

guys when it comes to soaring, passionate vocals and joining Slash for 

another round is just a marriage made in heavy metal heaven. And in 

these times of multiple downloads and over-produced singles comes a 

complete album that boasts 17 songs, each with its own distinct character 

and chock full of riff-laden goodness. – Eric A. Harabadian 

Interpol 

El Pintor 

Matador Records 

Producer: Interpol 

Making complex, integrated rhythms and 

guitar lines sound simple is what these guys 

have mastered. Like their influences, Joy 

Division and the Smiths, the band makes the 

most use of spare components. Only Interpol’s 

fifth album since their 2002 debut, and 

their first in two years, it displays the serious 

work Interpol puts into their songwriting and recordings. The guitar shines on 

“Anywhere,” the monotone vocals work for the semi-heavy lyrics on “All The 

Rage Back Home,” and it’s all tied together with a rhythm section that creates 

a groove for thoughtful people, not necessarily a dance crowd. – Brett Bush 

Odesza 

In Return 

Counter Records 

Producers: Harrison Mills and Clayton Knight 

This electronic duo’s sophomore CD is a 

rare case of an album that is good, but 

sadly just isn’t good enough. While the 

release is certainly a nice 13-track journey 

through a chillwave landscape, it isn’t 

groundbreaking and the songs just end 

up sounding monotonous. Worthy tracks 

include “Say My Name” (the clear standout and possible party anthem) 

and “It’s Only,” both featuring Zyra, “All We Need” featuring Shy Girls, 

and “White Lies” featuring Jenni Potts. Unfortunately, the rest of the 

album is not worth repeated listens. – Victoria Patneaude 

Set It Off 

Duality 

Equal Vision Records 

Producers: Brandon Paddock, Tommy English, 

Matt Appleton 

Set It Off’s sound has spanned a few genres, 

starting out as pop-rock before maturing into 

what they refer to as “orchestral pop rock.” 

However, none of the band’s previous releases 

have truly shown off their potential. That is 

all in the past with Duality, which is not only 

a shining moment in their career, but a shiny piece of pop perfection. Utilizing 

strings, brass instrumentation and letting singer Cody Carson’s vocals 

soar to another level, the group’s sophomore full-length release will be a 

favorite among fans and pop listeners. – Victoria Patneaude 

8 

8 

6 

9 

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. 


Analog Paradise. 

Green Day, Prince, Nicki Bluhm, 

Tony Sly, Warner, Capitol, Fat Wreck... 

323.363.2339 

www.mikewellsmastering.com 

June 2014 


Jim Vierra & Friends 

Contact: james@thekingdomgroup.co 

Web: jvmusic.co 

Seeking: Label, Booking, Film/TV, Distrib. 

Style: Gospel, Country, Jazz 

FEiN 

Contact: FEiN@FEiNtimes.com 

Web: FEiNtimes.com 

Seeking: Label, Film/TV 

Style: Alternative 

Production 

9 

Lyrics 

8 

Music 

8 

Vocals 

8 

Musicianship 9 

A credible country songwriter needs to be a 

good storyteller, and Vierra has that gift in 

spades. He just gets it; and when combined 

with the skills of a group of expert Nashville 

sessioneers, his material shines. Case 

in point is Vierra’s “Daddy,” in which the 

singer assumes the identity of a son asking 

for his pop’s attention and participation–– 

from childhood to adolescence to young 

adulthood and beyond. The song’s heartfelt 

sincerity and expert execution will put a 

lump in your throat. While the R&B/soultinged 

“You Love Me” is less successful, 

Vierra’s best,“Worth Waitin’ For,” is a 

radio-ready love song whose catchy chorus 

treated us to unexpected changes and a 

fine guitar solo. 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 


What strikes us about this energetic outfit 

is how their tunes, despite dazzling electro 

production touches, could easily be played 

and enjoyed in a stripped-down acoustic 

guitar and a voice format. Another plus 

is how these alt-rockers like to veer into 

lighter pop zones, keeping their tracks interesting 

and invigorating with an ADD-like 

energy. “#Grownups” has a nice change of 

pace in the middle of the intro and deploys 

numerous musical interludes (not to mention 

a catchy melodic hook) to keep the 

listener engaged. “Monay Grabba” is more 

rockin’ and shows a multitude of influences 

while still remaining fresh and truly alternative. 

We really like the prospects for these 

FEiN young men. 

In Search of Sun 

Contact: tori.lucion@gmail.com 

Web: http://insearchofsun.co.uk 

Seeking: Label 

Style: Rock, Metal 

Not In The Face 

Contact: rachel@bigpicturemediaonline.com 

Web: soundcloud.com/notinthefacerocks 

Seeking: Label 

Style: Rock 

Production 

7 

Lyrics 

7 

Music 

8 

Vocals 

8 


Ambition runs high in this band, who seem 

to be working to deliver a unique, proginfused 

metal hybrid (possibly the offspring 

of Godsmack and a middle-aged Protest 

the Hero...with Bullet For My Valentine for 

a stepdad). Hailing from London, spacey 

licks poke their heads between epic axe 

leads as frontman Adam Leader’s dynamic 

scream-to-sing vocal approach is tightly 

shaped to encompass the countless guitar 

melodies and rhythm support. In Search of 

Sun have an alluring formula: they exude 

just enough mainstream to hit the airwaves 

while delivering a calibre of creativity that 

will impress the underground. We would 

not be surprised to see these boys on a 

Century Media-type label before year’s end. 

Production 

7 

Lyrics 

8 

Music 

8 

Vocals 

8 


With its stomping drumbeat, crash-bangboom 

profile and fx’d vocal, the band’s 

“Brass Tacks” is a sludgy chunk of gutter 

rock that would grace the next Robert 

Rodriguez guts-&-girls flick or a hot stripper’s 

strut down the runway. “Always 

Tonight” eases up on the sleeze factor, 

and shows more pop influence in the lead 

guitar as the vocal emits an almost Kings of 

Leon melodicism. The well-recorded “Life 

Behind The Pine Curtain” shows the band’s 

laidback mode in a tune about always being 

able to come home again. We especially 

dig the spaghetti western whistle effect. 

Each tune from this act presents a slightly 

different dimension, and it’s something that 

could either work for or against them. 

Dalal 

Contact: maria.harmony.gratia@gmail.com 

Web: dalalmusic.com 

Seeking: Label, Film/TV 

Style: Pop, Dance, Electronica, World 

Matt Turk 

Contact: matt@turktunes.com 

Web: turktunes.com 

Seeking: Booking, Film/TV, Label 

Style: Singer/Songwriter 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

9 


While artist Dalal shifts in style from 

track to track, she emits a consistent sex 

appeal. “Suddenly” hits the dance floor 

with whispery vocals that blend into an 

overall shimmering cloud of reverb, quite 

Euro in nature. Next, her voice pops front 

and center on “Paradise” where the singer 

intones images of gleaming, heavenly bliss. 

(Its catchy beat, sans vocal track, could appeal 

to film/TV peeps.) The artist surprises 

us with an all-out ballad, “I Will Be Here,” 

in which both she and her pianist truly 

shine. Judging by that track alone, it’s clear 

Dalal has a rangy voice with rich tone and 

vibrato. The talent is here; the breadth of 

the material shows versatility. Her task now 

is to forge a more coherent identity. 

Production 

8 

Lyrics 

8 

Music 

7 

Vocals 

8 


Some artists not only know how to tell a 

tale, but to craft a track that colors and 

shades the story. Matt Turk is just such an 

artist. What’s more, the vocal intimacy he 

achieves in his mixes is a textbook example 

of how it should be done. “Cracked Egg” 

alludes to the Humpty Dumpty fable in 

a song about repairing a broken heart. 

Though we’d want to hear more bass on 

it, we like Turk’s mandolin and the spirited 

drumming (so unexpected in a song like 

this). “Cold Revival,” with its melancholy 

viola solo, limns the busted relationship 

theme. The reggae-paced “When A Boy” is 

his catchiest tune, a warm organ-infused 

recording we feel is film/TV ready. Solid 

material, superior presentation. 

Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. 

A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page. 


Production 

7 

Lyrics 

7 

Music 

8 

Vocals 

8 


Yung Citizen 

Contact: dlwilliams@choose2succeed.org 

Web: yungcitizen.com 

Seeking: Label, Distribution, Film/TV, 

Advertising, Booking 

Style: hip-hop 

This North Carolina artist delivers an unusually 

forthright, optimistic message. And 

while he tends to be too obvious in his lyrics, 

we like his phasered synth beats on the 

tunes “Dreams” and “Success,” and how 

he craftily adds subtle synth lines (even a 

floating flute sound) and backing vocals 

to keep us entertained. On “Hope” he adds 

neo-classical strings and a female lead 

vocalist and the results are what you could 

call “cinematic hip-hop meets gospel.” But 

this song, like his others, fails to lift us to 

the promised land, so to speak. And it is 

this aspect––a lack of climax/arrival––that, 

if corrected, could really add impact to this 

artist’s work. 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

8 


Bordertown Saints 

Contact: Deaner13@gmail.com 

Web: bordertownsaints.com 

Seeking: Label, Booking, Film/TV, Distrib. 

Style: Alt. Country/Americana 

Ruben Rivera’s whiskey-worn vocal rasp 

and yodel-yelp is what paces this seasoned 

honky tonk outfit whose music will play 

well to maturing festival crowds along 

the Americana circuit. Material such as 

“Lock n Load,” the laid-back “Every Song 

Reminds Me of You” and the vivid “Down 

In The Delta” exhibit nice touch and twang, 

but we can’t overlook the anemic rhythm 

section, particularly the drumming. While 

the guitarist’s husky, low-neck fretwork and 

the fiddle player’s dexterity are a pleasure, 

the skinsman keeps a timid, way too low 

profile. (Sack up, fella!) Though we can assume 

that energy is not a problem at their 

live gigs, these undercooked recordings 

won’t help the band to lure new fans. 

218 

Contact: dkellyukatu@yahoo.com 

Web: soundcloud.com/r3ptr-3 

Seeking: Label, Booking 

Style: Hip-Hop, Rap 

VYD 

Contact: info@vydmusic.com 

Web: vydmusic.com 

Seeking: Mgmt, Label 

Style: NuDisco/Rock 

Production 

7 

Lyrics 

7 

Music 

8 

Vocals 

8 


Hip-hop act 218 have no intention of hitting 

the mainstream; you won’t find commercial 

hooks here. What you will find is some 

satanic, relentlessly dark beats whose 

giant-sized bass tones are meant to rattle 

your chassis. “Never” is a case in point: 

an insane, menacing bass beat over which 

218 lay their flow. We especially like how 

each of this act’s vocalists possesses a 

distinctive tone at the mic. We only wish 

the song’s beat had more clarity––without 

so much muddiness. “Please” continues 

the bass tone bonanza while “Nonsense” 

breaks the format a bit, varying the vibe 

back and forth. This is a talented bunch 

who would do well to get a handle on their 

wildly fluctuating mix levels. 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

6 


What couldn’t be more obvious about these 

promising songs is that the lead vocals 

do not measure up. Overall the tracks are 

consistently solid—mostly synth-driven 

with the occasional analog instrument, 

such as the ‘80/Slash-like guitar solo on 

“Heaven Hold Me Still.” We only wish the 

arrangement, including its hand claps, 

delivered a gust of energy for the grand 

finale. On “Telepathic Lover” we dig the 

snapping bass licks, bluesy/jazzy piano fills 

and overall funky flavor whose playfulness 

reminds us of Chromeo and even Capital 

Cities. Dance party tune “Mysterious Ways” 

shows that these guys want to get the 

crowd on its feet. But, right now, it is quite 

clear that it’s time to hire a singer. 

Black Valentine 

Contact: frankyanno@social.rr.com 

Web: soundcloud 

Seeking: Label, Distrib., Booking 

Style: Hard Rock / Metal 

Mixologist Mikk 

Contact: mikko@mixologistmusic.com 

Web: MixologistMusic.com 

Seeking: Reviews, Booking, Collabs 

Style: Futuristic Urban-Pop 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

7 


From the first notes of “Fallen Angel,” Black 

Valentine state their chosen purpose—to 

deliver raw, sturdy, sludgy hard rock a la 

Velvet Revolver. Problem with this track, 

though, is that the frontman is presented 

entirely without an ounce of reverb, and it 

kills the overall effect. Vocals fare better on 

the fire & brimstone themed and Alice in 

Chains influenced “Salvation Game,” but 

are especially strong on “Enemy,” which is 

far and away the band’s best outing. Propelled 

by a slithering bass line, bolstered 

by good backup singing and a guitarist 

who shows his chops on a wailing solo, we 

came away feeling this well-named band is 

probably a strong live act whose recordings 

do not yet do them justice. 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

6 


The quality of this artist’s tracks underscsores 

the inadequacy of his vocals. The 

melodies are fine––it’s the singer that 

limits their appeal. “Black Hole” has a good 

concept, and the addition of a female vocalist, 

Andrea, is a good one, even if she tends 

to flat out at times. “Miss Universe” has 

an accessible beat and the lead vocal has 

swagger and confidence but simply doesn’t 

bring enough energy. It’s a sterile sounding 

product. A bright spot here is the guest vocal 

on the pop-centric “Starstruck”; though 

it again is hampered by a lack of energy, 

there is an innate singing ability from guest 

Rex D Moral that might be developed into 

something effective and urgent. We urge 

Mikk to find a singer who can kill. 

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. 

To be considered please go to http://musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. 

October 2014 


Maui Sugar Mill Saloon Tarzana, CA 

Contact: GalvanizedSouls@gmail.com 

Web: http://galvanizedsouls.com 

The Players: Zakk Silveira, vocals, guitar; 

Chris Traylor, lead guitar, vocals; Matt 

DeMartini, bass; Kevin Cogen, drums. 

Material: The songs of Galvanized Souls shift 

between moody verse, rock heavy harmonizing 

choruses and killer instrumentals. The pop 

punk “Behind Green Eyes” has drawn the group 

comparisons to Blink-182 but is not indicative 

of the Souls’ overall sound which is primarily 

alternative rock. While the song does represent 

the group’s ability to craft distinct melodies 

this band is not all sweetness and light. The 

dark and sexy “Shut You Down” is structurally 

reminiscent of Soundgarden’s “Outshined.” 

Lyrics possess some heavy themes 

including school bullying in “Carry On.” The 

catchy “Kingdom of No One” is another major 

standout with strong lyrics: “Standing all alone/ 

Can you see me/sitting on your throne/You're 

beneath me now/You can't bring me down/ 

Burning all your ties/Can you see that no one’s 

at your side...nowhere to run/in your kingdom 

of no one." 

Musicianship: The band have an excellent live 

setup; perfect vocal settings, no instrument 

feedback and the drums do not overpower the 

small space of the venue. The guitar tone from 

Traylor for “Fall Of Icarus” is a direct whiff of 

Nirvana’s “Teen Spirit.” Traylor also introduces 

great lead guitar instrumentals on “Carry On” 

and “Behind Green Eyes.” The compositions 

are thoughtful with breaks for a cappella 

vocals throughout. 

GALVANIZED SOULS 

Cogen and DeMartini throw down some 

awesome transitions on “Carry On” and doubletimed 

rhythms for “Kingdom of No One” where 

Silveira knocks out barre chords in perfect sync. 

Performance: The band begin and end the 

show with high energy. Silveira is a very 

expressive frontman with a powerful sustaining 

vocal and can hit the high notes. He also 

knows how to add novelty to the show by 

breaking out his vocal effect box and a tom 

drum. He beats upon this drum more for visual 

effect than contribution to the overall sound, 

eventually standing upon it to rally up the 

audience for a sing along. 

Summary: Galvanized Souls excels at tight 

staccato rhythm patterns. This mostly-original 

material falls comparatively somewhere 

between Soundgarden and Queens of the 

Stone Age, though their set includes covers of 

Nirvana and Alice In Chains. This leaves you 

thirsting for more original material from a band 

that has a lot of potential and genuinely rocks. 

If nothing else, this band exhibits sophistication 

beyond their years. – Brooke Trout 

JARED SAGAL 

The High Watt Nashville, TN 

Contact: band@bearhandsband.com 

Web: http://bearhandsband.com 

The Players: Dylan Rau, vocals, guitar; Ted 

Feldman, guitar, vocals; Val Loper, bass, 

vocals; TJ Orscher, drums, vocals. 

Material: Bear Hands came to a crowded High 

Watt by way of Brooklyn, touting a synthesized 

and electrically charged off-brand of indie 

rock built for late nights turned early mornings. 

The quartet borrows heavily from both post 

punk and new wave, splicing smart lyrics— 

particularly on their newest album released this 

year, Distraction—with pedals and effects that 

underscore and sculpt, rather than overpower 

the band’s sound. 

Musicianship: Distinctive key and guitardriven 

melodies and ‘80s electronic influences 

articulate Bear Hands’ sound while their vocal 

delivery is slack and accessible. Onstage, 

frontman and keyboardist Dylan Rau and 

guitarist Ted Feldman playing side by side 

creates a pronounced contrast and synergy, 

striking a balance between Feldman’s dude 

on the street stage presence and Rau’s quirky 

onstage vibes with a Thom Yorke type mashup 

of energy and reservation. 

Performance: A lot of Nashville shows feel 

more like auditions in terms of energy and 

crowd reaction; in a city filled with musicians, 

often few audience members are impressed. 

Those vibes were nonexistent at Bear Hands’ 

BEAR HANDS 

show. Not only did the band draw the crowd 

to the stage—which often keeps a cool 

distance—but they got everyone to dance to a 

set with all the production and sound quality of 

a solid venue, but all the intimacy, raucousness 

and informality of a college house show. They 

pulled from their whole catalog including 

several great cuts from their latest, like “Agora” 

and “Bone Digger,” which bend and shimmer 

with a whimsy and bizarreness reminiscent of 

Talking Heads, but also some from their first LP 

that really hit home, like “Can’t Stick ’Em” and 

its infecting bass riff. 

Summary: There’s a great cadence to Bear 

Hands’ live show that’s hyper-inclusive of 

the audience, animated and resonant. The 

records—2007’s Golden EP, 2010’s full-length 

debut Burning Bush Supper Club and 2014’s 

Distraction—are definitely worth hearing for 

a critical listen to the songwriting; see the live 

show for the group experience. – Jessica Pace 


with bravado. He often strains to hit the higher 

notes, but compensates with his gentle, refined 

falsetto. Cohen harmonizes beautifully with 

Demorest and has impeccable bass tone. 

Cohen could up his volume, though, to gel 

better with Reed’s heavy handed grooves. 

Reed, while offering great right hand ostinatos, 

could hit more assertively on his fills. Although 

Schnair confidently strums his axe, his solos 

are sometimes sloppy and notes get muddled 

in his distortion heavy tone. 

LA Zoo Los Angeles, CAKIVEN 

Contact: erika@bigpicturemediaonline.com 

Web: http://kivenmusic.com 

The Players: Tyler Demorest, vocals, guitar, 

keyboards; Matt Cohen, bass; Danny Schnair, 

guitar; and Jake Reed, drums. 

Material: Harnessing a refreshing sound is 

no easy task, but KIVEN has done just that. 

The band grooves through upbeat, effectfilled 

verses and crushes strong, ball-breaking 

choruses that make you want to rage. Tight 

breakdowns, which seem influenced by 

progressive rock, add complexity to the already 

well-structured songs. While the backdrop is 

painted with crunchy guitar tones and hardhitting 

beats, Demorest’s clean vocals starkly 

contrast and complement the music. 

The powerful build-ups and dynamic 

changes can be attributed to the band’s 

songwriting ability. Although the band has 

a well-rehearsed songbook, the recorded 

material could be beefier, as is the tracks 

possess too much empty space. 

Musicianship: Demorest holds down his 

rhythm guitar and keyboard parts while singing 

VINCENT STEVENS 

Performance: KIVEN began the show 

with a crunchy groove, establishing a raw, 

intrusive attitude that carried throughout 

the set. Members interacted on stage and 

engaged the head-nodding audience. Cohen 

tastefully laid down the opening lick of “In the 

Fire” and fellow bandmembers joined in to 

steamroll through big choruses and up-tempo 

verses. After a few songs, though, Schnair’s 

overwhelming distortion became obtrusive 

and created an imbalance in the mix. 

Live versions of “Living for the Alarm” and 

“Stasis” packed a visceral element that the 

recorded material lacks, and the band should 

aspire to incorporate more of that cathartic 

energy. Demorest had the audience firm in 

his grasp by the sensual, calm “Come and 

Go” and didn’t release until the roaring climax 

of “Canyon Bridge.” The final songs left the 

audience wanting more. 

Summary: KIVEN possesses the attitude 

and musicianship to contend with the bigger 

names in rock. Some vocal polishing, simpler 

effects, and adding a primal element to the 

music will enhance the already well-composed 

material. – Vincent Stevens 

Tangine New York, NY 

Contact: kenny.fame@yahoo.com 

Web: http://kennyfamemusic.reverbnation.com 

The Players: Kenny Fame vocals; Jack Mullin, 

guitar; Jay Regan, guest percussion. 

Material: Performing a combination of original 

songs and covers, poet-turned-songwriter 

Kenny Fame bravely jumps into a new 

arena sharing indelible impressions and 

experiences. Artistically, Fame is a gentle 

soul who cherishes humanitarian issues and 

mutual respect between people which serve to 

fuel some of his underlying themes. His poetry 

is a good departure point for songwriting as 

he already possesses a knack for imagery, 

metaphor and description. Fame is testing the 

waters with this group of originals which swing 

toward an R&B feel and are a nod to artists 

of the ‘90s, although he does not lock himself 

exclusively into one style. “Another Man’s 

Women,” is one of Fame’s more commercially 

viable songs—less like poetry set to music 

with more structure and the cohesion that 

songwriting requires. 

Musicianship: Fame’s voice is somewhere 

between a tenor and a baritone, but 

sometimes his chosen keys are a bit lower 

than he can control, especially when they 

hamper his ability to project. Raising the key 

in some of the songs would enable him to 

get more out of his voice while still retaining 

that lovely reserved vibe he has. 

Fame is accompanied by Jack Mullin on 

KENNY FAME 

guitar who has put together some musically 

appealing arrangements. 

Performance: Fame has an endearing 

demeanor, soft spoken and understated. In 

addition to some boosts in the key choices 

there were other technical issues.The sound 

system at this venue was marginal and it’s 

important for an artist to master less than 

optimal conditions. More experience tackling 

different rooms and putting himself in front 

of more audiences will serve him well in 

overcoming these technical challenges. 

Halfway through the set the duo was 

joined by songwriter Jack Regan (slated to 

play the following set) who weighed in with 

some percussion. This lent a nice note of 

spontaneity to the performance which suited 

the casual environment of this venue. 

Summary: Somewhat new to the singer/ 

songwriter world, Kenny Fame exhibits 

an enthusiasm and determination, that is 

necessary for this journey. His sensibilities 

as a poet are an asset in launching a 

songwriting career; however, he needs 

to keep honing his skills as a performer. 

Once he develops better mic technique 

and gauges the best key for each song, 

his voice and persona can shine and build 

the confidence needed to get his message 

across completely. Look out for his new 

single “Beautiful Face” on iTunes available on 

Oct. 14. – Ellen Woloshin 

MARK SHIWOLICH 

October 2014 


53

The Mint Los Angeles, CA 

Contact: antijobmusic@gmail.com 

Web: http://www.theanti-job.com 

The Players: Amanda Jones, guitar and 

vocals, Martin Lopez-Iu, lead guitar and 

keyboard, Lee Harcourt, drums. 

Material: The Anti-Job pushes the envelope 

with its experimental tunes that blur the lines 

between psychedelic, noise rock, alternative 

and punk. While the band describes its 

music as “surrealist rock,” the ever-changing 

rhythms, big dynamics, esoteric guitar 

effects, and seductive vocals harmoniously 

coexist and give the material somewhat of a 

pop sensibility. “Mushroom,” for example, is 

structurally unconventional, but the distortion 

heavy minor chord riff combined with Jones’ 

strong belting establishes an edgy, punk rock 

attitude. Her sexy vocals string the material 

together, caress the listener’s ear, and 

complement spacey, alternative backdrops. 

Most songs, however, like “9-5” or 

“Quixotic Pleasure,” are choppy due to the 

sporadic songwriting. Refining the transitions 

between the song sections would create a 

smoother flow. 

Musicianship: Jones attacks her vocal 

melodies with a punk flair and violently, 

sometimes gently during the mellow 

breakdowns, strums her rhythm parts. She 

could familiarize herself more with her guitar 

in order to sing more confidently and better 

engage with audiences. Lopez-Iu’s subtle lead 

THE ANTI-JOB 

guitar parts and ambient keyboard riffs are 

played with ease. He could up his volume, 

though, to balance Jones’ guitar. Harcourt, 

while a technically sound drummer, could be 

more assertive with his hits, play simpler beats 

and loosen up to avoid hiccupping the rhythms. 

Performance: The Anti-Job took the audience 

on a journey through an experimental 

setlist replete with ominous effects and big 

dynamics. Jones’ high-pitched vocals and 

commanding attitude set the punk rock mood, 

while Harcourt and Lopez-Iu quietly locked 

in with the choppy grooves. Both Harcourt 

and Lopez-Iu could have played with more 

authority to fill the empty spaces in a lot of 

the songs. “Immature” and “Rain Dance” were 

missing that bottom end that is evident in the 

recorded versions. More keyboards or a bass 

player would give the band more umph. 

The set climaxed during the well-written 

“Joni Mitchell in Love.” Jones’ vocals echoed 

over a strong acoustic riff and it stood out 

from the other material. The penultimate 

song, “9-5,” boasted a catchy chorus and 

unique chord progression, but veered off 

course during out-of-place breakdowns. The 

band fired on all cylinders for the final song 

“Rain Dance” and escalated to a chaotic, 

noise filled finish. 

Summary: The Anti-Job has a clear vision 

of how it wants to sound, but the surrealist 

musical explorations could limit its following. 

With less adventurous arrangements and 

more refined songs like “Joni Mitchell in Love,” 

the band could reach a bigger audience. 

– Vincent Stevens 


The Hotel Cafe Hollywood, CA 

Contact: rachel@bigpicturemediaonline.com 

Web: http://thegallerymusic.com 

The Players: Brendan Cooney, vocals, guitar; 

Ben Lozano, lead guitar; Dave Mozdzanowski, 

bass; Ryan Cooney, drums; Mike Barone, 

acoustic guitar, keyboard. 

Material: The Gallery excels at crafting easyto-follow 

story songs with catchy phrasing 

and titles. What does this mean for their live 

show It ensures that the audience sings 

along, and they do indeed, especially on 

“Restless Soul” and “Catalyst,” the latter 

utilizing repetition of visual poetry: “You once 

lit me up like a cigarette/And you burned me 

down and now there's nothing left/You were 

the one who put a spark to this/You were the 

gasoline/You were the catalyst.” In particular 

the verse, “It was last call/It wasn't you it was 

the alcohol,” is met with a round of applause. 

Musicianship: The band knocks out tight 

trifectas of stops, tempo drops and fun 

fadeouts with Ryan Cooney at the rhythm 

helm. Dave Mozdzanowski introduces 

interesting bass descents on bridge sections. 

Both he and Cooney are especially tight on 

“Ballroom of Broken Hearts.” Ben Lozano 

has a nice clean guitar tone that is a defining 

element of the band’s sound. He occasionally 

brings out a slide and uses it to good effect, 

adding catchy and solid melodic riffs to the 

compositions. 

Mike Barone offers up some Wurlitzer 

sounds on a few songs including “Fast 

Friends,” switching between keyboard and 

acoustic guitar throughout the set. 

THE GALLERY 

Performance: Unfortunately Barone’s backing 

vocal and acoustic guitar were mostly lost in 

the mix. This was unfortunate as the band 

harmonized throughout the set. Frontman 

Brendan Cooney frequently flipped his head 

away from the microphone which offered 

an interesting syncopation to the sound but 

sometimes resulted in an unintentional hot and 

low mix. The levels only seemed to improve 

when the drum tempos came down, primarily in 

the song finales. Despite this, Lozano was given 

enough space in the overall compositions, and 

this allowed his solos to shine through. 

Summary: This show was part of a college 

tour sponsored by The Alzheimer’s Foundation. 

Although the stage seemed a bit too small 

to accommodate all the instrumentation and 

switchover that was necessary, the band was 

called back for an encore, performing “The 

Fever,” a song that also includes another catchy 

and well enunciated chorus. 

Overall the Gallery have a consistent style 

throughout their set, which is primarily rock that 

borders on pop-rock. If the band continues to 

perform harmonies, it will be crucial to master 

their live sound. – Brooke Trout 

KELLY LYNN 


The Echoplex Los Angeles, CA 

Contact: amanda@lafamos.com 

Web: http://smokeseason.com 

The Players: Gabrielle Wortman, lead vocals 

and keyboards, Jason Rosen, guitar and 

backing vocals, Christopher Roberts, drums, 

Gabe Davis, bass. 

Material: Ethereal, transient electronic 

influences collide with delayed riffs of folky 

Americana in Smoke Season’s well-composed 

tracks. Although a four-piece, the band is 

reminiscent of the powerhouse duo the Kills. 

The relaxed, adagio grooves bleed into roaring 

choruses, over which Wortman’s high-pitched, 

sensual screams echo. These nonsensical 

chants, however, become repetitive and 

unnecessary, and the catchy, well-written 

choruses pack a healthier punch without them. 

The band’s orchestrated verses, tight 

stops and bridges stand out on “Cold Wind.” 

Seductive harmonies, especially on “Bees” 

and “Simmer Down,” enrich the vocal melodies 

and enhance the lyrics. A number of songs 

blend together, however, with beats that are 

often the same. 

Musicianship: Wortman has an impressive 

vocal range and is in constant control of 

her levels. Her keyboard riffs, which can be 

spooky or funky with great tone, are tasteful 

and well-executed. Rosen’s vocals are equally 

as controlled as Wortman’s, and his guitar 

playing is unique and confident. His solos 

fall short, though, as notes get lost in his 


SMOKE SEASON 

overwhelming delay. 

Davis and Roberts lock in and set the tone 

for each track. While Roberts plays simple 

grooves, they are assertive and appropriate for 

the genre, and allow Davis and Rosen to freely 

roam their fretboards. 

Performance: Smoke Season quickly grasped 

the audience and didn’t let go until its final 

punch. The romantic vocal melody on “Opaque” 

echoed over the strong, open chorus and an 

onstage chemistry ignited between Rosen and 

Wortman. The solid, hollow drumming was a 

focal point in the material and anchored tracks 

like “Badlands” and “Cold Wind,” on which 

Rosen strummed a descending slide riff that 

coalesced with Wortman’s acoustic, folk guitar. 

The songwriting compensated for Rosen’s 

muddled solos and the drowned-out, haunting 

keys. Tempos remained slow, but the set 

escalated like an orchestrated crescendo from 

“Song Wol” to the finale. Throughout the set 

Wortman tackled the vocal melodies with a 

fierce tenacity and soulful growl, which she 

should utilize more frequently. 

Summary: Smoke Season has a polished 

sound that could be more distinguished with 

tempo variation, but the band is well on its way 

to a bright future. – Vincent Stevens 

Thousands of artists have been reviewed by Music Connection. To read the reviews and get your music reviewed, go to http://musicconnection.com/get-reviewed. 

Music Connection does not charge a fee for reviews. 

October 2014 


55

Annual Directory of U.S. MASTERING STUDIOS 

Use this exclusive MC directory to connect with a mastering studio that suits your project’s needs and your budget’s limits. 

All info has been updated for 2014 with info supplied by the listees. 

ALABAMA 

BATES BROTHERS RECORDING 

3427 Davey Allison Blvd., Ste. 101 

Hueytown, AL 35023 

205-491-4066 

E-mail: bbrbates@yahoo.com 

Web: www.batesbrothersrecording.com 

Contact: Eric Bates 

Basic Rate: please see web for info 

SOUND OF BIRMINGHAM 

3625 5th Ave. S. 

Birmingham, AL 35222 

205-595-8497 

E-mail: marketing@ 

soundofbirmingham.com 

Web: www.soundofbirmingham.com 

*Note: 35 years exp., please call 

for info 

ALASKA 

DOME STUDIOS 

Fairbanks, AK 

907-457-1993, 907-456-6734 

E-mail: domestudios@alaskajam.com 

Web: www.Alaskajam.com 

Contact: Jerry or Rif 

Basic Rate: please call for info 

FM RECORDING STUDIOS LLC 

5700 Old Seward Highway, Ste. 202 

Anchorage, AK 99518 

907-563-0003 

E-mail: info@fmrecordingstudio.com 

Web: fmrecordingstudio.com 

WILDERHOOD RECORDING 

STUDIOS, THE 

PO Box 1076 

Kasilof, AK 99610 

907-262-1098 

E-mail: info@thewilderhood.com 

Web: www.thewilderhood.com/ 

contact.htm 

ARIZONA 

ALLUSION STUDIOS 

248 W. Elm St. 

Tucson, AZ 85705 

520-622-3895 

Web: www.allusionstudios.com 


PRO DIGITAL AUDIO MASTERING 

6501 E. Greenway Pkwy., Ste. 103-435 

Scottsdale, AZ 85254 

602-292-3306 

E-mail: pdamastering@yahoo.com 


SAE MASTERING 

6832 N. 24th Dr., Ste. 1 

Phoenix, AZ 85015 

602-242-0022 Fax 602-242-0608 

E-mail: mary@saemastering.com 

Web: www.saemastering.com 

Contact: Mary Seibel 


THE SALTMINE STUDIO OASIS 

48 S. Macdonald St. 

Mesa AZ 85210 

480-545-7850, 480-220-4007 cell/text 

Contact: Don Salter 

E-mail: don@thesaltmine.com 

Web: www.thesaltmine.com 

Basic Rate: call for Info 

Gear: Manley Backbone Console, 

Dangerous ST Monitor, Mytek AD/ 

DAC, Millennea NSEQ-2 Tube 

EQ, GML 8200 Equalizer, Lydkraft 

Tube Tech Mastering multi-band 

limiter, Neve Portico II Master Buss 

compressor, Prism, Waves L2, ATR 

1-inch Master Recorder etc. 

Clients: DMX, Prong, Jay-Tee, 

Pandemic, Trapp Boyz, DJ Class, 

Mzery, Skylark and tons of local AZ 

artists. 

ARKANSAS 

RANEY RECORDING STUDIO 

P.O. Box 17, 110 S. Front St. 

Drasco, AR 72530-9282 

870-668-3222, 870-668-3177 

E-mail: kathy@raneyrecordingstudio. 

com 

Web: www.raneyrecordingstudio.com 

Contact: Kathy Johnson 


CALIFORNIA 

1ST CHOICE MASTERING 

1259 Bruce Ave. 

Glendale, CA 91202 

818-246-6858 

E-mail: info@billkeis.com 

Web: http://www.billkeis.com/producer 

Services: http://www.billkeis.com/aquick-summary-of-mastering 

21ST CENTURY STUDIO 

Silver Lake, CA 

323-661-3130 

E-mail: 21stcenturystudio@earthlink.net 

Web: www.21stcenturystudio.com 

Basic Rate: call for rates 

AAA CAZADOR RECORDING OF 

HOLLYWOOD 

W. Hollywood, CA area 

323-655-0615 

E-mail: jimmy@jimmyhunter.com 

Web: www.jimmyhunter.com 

Basic Rate: negotiable/call and we 

can discuss 

ABACAB MULTIMEDIA, INC. 

245 Fischer Ave., Ste. A-9 

Costa Mesa, CA 92626 

714-432-1745 

E-mail: sales@abacab.net 

Web: www.abacab.net 

Basic Rate: please call, or see web 

AB AUDIO VISUAL 

4212 Hackett Ave. 

Lakewood, CA 90713-3208 

877-ABAUDIO (222-8346), 562-429- 

1042 

Fax 562-429-2401 

E-mail: info@abaudio.com 

Web: www.abaudio.com 

Contact: President, Arlan Boll 

Basic Rate: work with all budgets 

ABET DISC 

411 E. Huntington Dr., Ste. 107-372 

Arcadia, CA 91006 

866-574-0275 

E-mail: sales@abetdisc.com, 

info@abetdisc.com 

Web: www.abetdisc.com 

Contact: Aeron K. Nersoya 

ALIEN PRODUCTIONS 

4100 Wayside Ln., Ste. 120 

Carmichael, CA 95608 

916-483-9988 

E-mail: alienproductions@att.net 

Web: www.alien1111.com 

Contact: JK Northrup 

Basic Rate: please call for rates 

ARDENWOOD SOUND & DVD 

34766 Monaco Common 

Fremont, CA 94555-2837 

510-793-7511 

E-mail: ardenwood@earthlink.net 

Web: www.ardenwoodsnd-dvd.com 


ARMADILLO DIGITAL AUDIO 

6855 Vineland Ave. 

N. Hollywood, CA 91605 

818-980-6700 

E-mail: steve@armadillodigital.com 

Web: www.armadillodigital.com 

A SMOOTH SOUND MULTIMEDIA 

6828 Valjean Ave. 

Van Nuys, CA 91406 

818-779-1259. 818-723-4203 

E-mail: smoothsound@sbcglobal.net 

Web: www.smoothsoundmultimedia.com 


AUDIO-CD-MASTERING.COM 

P.O. Box 3027 

Burbank, CA 91508 

818-445-6961 (text messages 

only please) 

E-mail: help@audio-cd-mastering.com 

Web: www.audio-cd-mastering.com 

Contact: Ryan Clement 

Basic Rate: $175 full album, please 

see web for more info 

AUDIO MECHANICS 

1200 W. Magnolia Blvd. 


818-846-5525 

E-mail: info@audiomechanics.com 

Web: www.audiomechanics.com 


ARDENT AUDIO PRODUCTIONS 

22122 S. Vermont Ave. Unit “E” 

Torrance, CA 90502 

310-782-0125 

E-mail: irwenzelaap@gmail.com 

Web: www.ardentaudioproductions.com 

BEAGLE STUDIOS 

815 Romero Canyon Rd. 

Santa Barbara, CA 

805-966-9882 

Contact: Emmett 


BERNIE BECKER MASTERING 

30 W. Green St. 

Pasadena, CA 91105 

626-304-1682 

E-mail: dale@berniebecker.com 

Web: www.berniebecker.com 


BERNIE GRUNDMAN MASTERING 

1640 N. Gower St. 

Hollywood, CA 90028 

323-465-6264 Fax 323-465-8367 

E-mail: james@bgmastering.com 

Web: www.berniegrundman 

mastering.com 

Contact: Bernie Grundman, “Big 

Bass” Brian Gardner, Chris Bellman, 

Patricia Sullivan 


BIG CITY RECORDING STUDIOS 

17021 Chatsworth St. 

Granada Hills, CA 91344 

818-366-0995 

E-mail: paul@bigcityrecording.com 

Web: www.bigcityrecording.com 

Contact: Paul Tavenner 

Basic Rate: please call or see 

web for info 

BIG FISH MEDIA 

12650 Riverside Dr. 

Valley Village, CA 91607 

818-762-0191 

E-mail: info@bfmdigital.com 

Web: www.bfmdigital.com 

Contact: Gary Black 

Basic Rate: Call for more info 

BIG SURPRISE MUSIC 

Encino, CA 91436 

818-613-3984 

E-mail: info@carmengrillo.com 

Web: www.bigsurprisemusic.com 

Contact: Carmen Grillo 


BOSS STUDIOS 

San Francisco, CA 94103 

415-626-1234 


CAPITOL MASTERING 

1750 N. Vine St. 

Los Angeles, CA 90028 

323-871-5003 

E-mail: mark.moreno@umusic.com 

Web: www.capitolmastering.com 


CAPRICORN MASTERING 

927 “E” St. 

San Diego, CA 92101 

619-228-6941 

E-mail: info@capricornmastering.com 

Web: www.capricornmastering.com 

Contact: Joe Goodwin 

CHARLES LAURENCE 

PRODUCTIONS 

Northridge, CA 

818-368-4962 

Web: clpstudios.com 

Contact: Charles Laurence 


CLEAR LAKE AUDIO 

10520 Burbank Blvd. 


818-762-0707 

E-mail: contact@clearlakerecording.com 

Web: www.clearlakeaudio.com 


CLOVERLAND STUDIOS 

Sullystone Music 

N. Hollywood, CA 

818-503-1157 

Web: www.sullystone.com 

DAVEN THE MAD HATTER STUDIOS 

Los Angeles, CA 

323-876-1212 

E-mail: faye@ 

daventhemadhatterstudios.com 

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

56 

October 2014 

musicconnection.com

Download at www.musicconnection.com/industry-contacts 

Web: www.daventhemadhatter.com 

Contact: studio manager 


DENOISE.COM 

1501 Powell St., Ste. A 

Emeryville, CA 94608 

866-DENOISE, 510-653-3838 

Fax 510-653-3229 

E-mail: info@denoise.com 

Web: www.denoise.com 

Contact: Albert Benichou 


DIAMOND DREAMS MUSIC 

PRODUCTIONS 

North OC, Carbon Canyon 

909-393-3120 Fax 909-606-5779 

E-mail: info@diamonddreamsmusic.com 

Web: www.diamonddreamsmusic.com 

Contact: Raphael De Giorgeo 

Basic Rate: please call for info, varies 

from project to project 

DINO M 4 RECORDING/ 

MASTERING STUDIO 

Torrance, CA (10 minutes south of LAX) 

310-782-1440 

E-mail: dinom4@aol.com 

Contact: Dino Maddalone 

DISC MAKERS 

4425 W. Riverside Dr., Ste. 204 


800-468-9353 

E-mail: info@discmakers.com 

Web: www.discmakers.com 


DISKFAKTORY 

A division of Innovative 

Diversified Technologies 

18062 Irvine Blvd., Ste. 303 

Tustin, CA 92780 

855-273-4263 

E-mail: customercare@diskfaktory.com 

Web: www.diskfaktory.com 

Basic Rate: please see web or call 

DNA MASTERING 

19528 Ventura Blvd., Ste. 315 

Tarzana, CA 91356 

818-992-4034 

E-mail: info@DNAmastering.com 

Web: www.dnamastering.com 

Contact: David Donnelly, Perry 

Cunningham 

Basic Rate: special rate for indie and 

unsigned artists 

EZEE STUDIOS 

21550 Oxnard St., Ste. 990 

Woodland Hills, CA 91367 

818-444-4744 

E-mail: brian@ezeestudios.com 

Web: www.ezeestudios.com 

Contact: Brian Zamorano 


Additional location: 

75 Rockefeller Plaza 

New York, NY 10019 

212-275-2160 

E-mail: James@ezeestudios.com 

Contact: James Winner 

FDS LABS 

2550 W. Ave. N. 

Palmdale, CA 93551 

661-267-1155, 213-383-2155 

E-mail: info@fdslabs.com 

Web: www.fdslabs.com 


GO BIG AUDIO 

1258 Highland Ave. 

Hollywood, CA 

818-205-3043 

E-mail: benny@gobigaudio.com 

Web: gobigaudio.com 

Contact: Gary Gladstone 


GOLDEN MASTERING 

1721 E. Main St. 

Ventura, CA 93001 

805-648-4646 Fax 805-648-4656 

E-mail: april@goldenmastering.com 

Web: www.goldenmastering.com 

Contact: April Golden 

Format: digital and analog 


GOLD STREET 

Burbank, CA 

818-567-1911 

E-mail: avpost@goldstreet.net 

Web: www.goldstreet.net 

Contact: Eric Michael Cap 

Basic Rate: start at $50/hr. 

GRANDMASTER RECORDERS LTD. 

1520 N. Cahuenga Blvd. 


323-462-6136 

E-mail: gmrltd@earthlink.net 

Web: www.grandmasterrecorders.com 

Contact: Alan Dickson 


GROOVEWORKS 

1446 W. 178th St. 

Gardena, CA 90248 

310-403-510 

E-mail: info@grooveworksstudios.com 

Web: http://www.grooveworks 

studios.com 



HIT SINGLE RECORDING SERVICES 

1935C Friendship Dr. 

El Cajon, CA 92020 

619-258-1080 

E-mail: hitsingle@earthlink.net 

Web: www.hitsinglerecording.com 

Basic Rate: please call or see web 

for info 

HOLLYWOOD MASTERING 

888-MASTERS 

E-mail: info@hollywoodmastering.com 

Web: http://hollywoodmastering.com 

HOWIE WEINBERG 

MASTERING STUDIO 

8331 Lookout Mountain Ave. 


323-524-8776, 917-455-1570 

E-mail: info@howieweinberg 

mastering.com 

Web: www.howeweinberg 

mastering.com 

Basic Rate: Rates Upon Request 

HYDE ST. STUDIOS 

245 Hyde St. 


415-441-8934 Fax 415-441-8943 

E-mail: info@hydestreet.com 

Web: www.hydestreet.com 


IMPERIAL MEDIA SERVICES 

3202 Pennsylvania Ave. 

Santa Monica, CA 90404 

310-396-2008 

E-mail: info@imperialmedia.com 

Web: www.imperialmedia.com 

Services: Retail ready CD, DVD & Bluray 

packages ship within 24-48 Hour 

J.E. SOUND PRODUCTIONS 

Hollywood, CA 

323-850-0765 

E-mail: jesound@jps.net 

Web: www.jesound.com 

Contact: John Goodenough 


JOE GASTWIRT MASTERING 

4750 Rhapsody Dr. 

Oak Park, CA 91377 

310-444-9904 

E-mail: joe@gastwirtmastering.com 

Web: www.gastwirtmastering.com 

Contact: Joe Gastwirt 


JUNGLE ROOM RECORDING 

STUDIOS 

604 1/2 Sonora Ave. 

Glendale, CA 91201 

818-247-1991 

E-mail: info@jungleroom.net 

Web: www.jungleroom.net 


KEN LEE MASTERING 

748 Oakland Ave. 

Oakland, CA 94611 

510-428-9276 

E-mail: kenleemastering@mac.com 

Web: https://www.facebook.com/ 

kenleemastering.studio 

Basic Rate: please e-mail 

KINGSIZE SOUNDLABS 


323-533-0022, 218-349-3019 

E-mail: kingsizesoundlabsla@gmail.com 

Web: www.kingsizesoundlabs.com 


LITTLE HIPSTER MUSIC STUDIOS 

14557 Leadwell St. 

Van Nuys, CA 91405 

818-570-3499 

E-mail: contact@littlehipstermusic.com 

Web: www.littlehipstermusic.com 

Contact: David Snow 


MAMBO SOUND & RECORDING 

2200 W. Esther 

Long Beach, CA 90813 

562-432-9676 

Web: www.mambosoundand 

recording.com 

Contact: Steve McNeil 


MAOR APPELBAUM MASTERING – 

“Sounds With Impact” 

Woodland Hills,CA 

818-564-9276, 818-745-6412 

E-mail: mappelbaum@gmail.com 

Web: www.maorappelbaum.com 

Contact: Maor Appelbaum 

Clients: Yes, Ill Nino, Starset, 

Sepultura, Rob Halford, Yngwie 

Malmsteen, Lita Ford, Fates Warning, 

Walter Trout, William Shatner, Dokken, 

Cynic, Adrenaline Mob 

MARCUSSEN MASTERING 

5632 Hollywood Blvd. 


323-463-5300 Fax 323-463-5600 

E-mail: info5223@ 

marcussenmastering.com 

Web: www.marcussenmastering.com 

Contact: Caryl McGowan 

Basic Rates: please call for info 

MARSH MASTERING 


310-598-6038 Fax 310-598-5685 

E-mail: marsh@marshmastering.com 

Contact: Stephen or Fernando 

Web: www.marshmastering.com 

Basic Rate: Flat rates for unattended 

sessions, Hourly rates for 

attended sessions 

MASTER GROOVE STUDIOS 

Northridge, CA and Nashville, TN 

818-830-3822 

E-mail: leafcake@att.net 

Web: www.mastergroovestudios.com 

Contact: Dave Morse 

Basic Rate: please call for info, 

reasonable rates. 

MASTERING LAB INC., THE 

911 Bryant Pl. 

Ojai, CA 93023 

805-640-2900 

E-mail: contact@themasteringlab.com 

Web: www.themasteringlab.com 

Contact: Doug Sax 

Basic Rate: call for information 

Services: digital and analog, 2 tracks. 

Also master surround sound and vinyl 

MAURICE GAINEN PRODUCTIONS 

4470 Sunset Blvd., Ste. 177 


323-662-3642 

E-mail: mauricegainen@gmail.com 

Web: www.mauricegainen.com 


Credits: Alex Skolnick (Testament, 

Trans-Siberian), Andy McKee, The 

Hues Corporation (“Rock The Boat”) 

MELROSE MASTERING 

5254 Melrose Ave. 

Hollywood, CA 

818-216-5409 

E-mail: melrosemusic@mac.com 


melrosemusicstudios 


METRO STUDIOS 

San Fernando Valley, CA 

818-366-5588 

E-mail: info@metrostudios.com 

Web: www.metrostudios.com 


MICHAEL ROMANOWSKI 

MASTERING 

1340 Mission St. 


415-500-2539 

E-mail: studio@michael 

romanowski.com 

Web: www.michaelromanowski.com 


MIKE WELLS MASTERING 

4470 W. Sunset Blvd, #147 


323-363-2339 

E-mail: info@mikewellsmastering.com 

Web: www.mikewellsmastering.com 

Social: www.facebook.com/ 

MikeWellsMastering 

Skype ID: mikewellsmastering 

Contact: Mike Wells 

Basic Rate: Please call for rates 

M L E STUDIOS 

PO Box 93008 

Los Angeles, CA 90093-0008 

866-246-8846 

E-mail: mail@majorlabelmusic.com 

Contact: Col. Darryl Harrelson 

Web: majorlabelmusic.com, facebook. 

com/mlestudios 

Basic Rate: $45.00/hr or flat rate per 

song/album small independent multiroom 

studio specializing in country, 

Americana and alt country genres. 

MR. TOAD’S MASTERING 

444 Townsend St. 


888-Mr.Toads (888-678-6237) 

E-mail: info@mrtoads.com 

Web: www.mrtoads.com 


NEW MILLENNIUM STUDIOS 

P.O. Box 1070 


323-962-5960 

October 2014 


57

Annual Directory of U.S. Mastering Studios 

Contact: Timothy A. Simms 


THE OC RECORDING COMPANY 

3100 W. Warner Ave., Ste. 7 

Santa Ana, CA, 92704 

323-244-9794 

Contact: Asaf Fulks 

E-mail: info@ocrecording.com 

Web: www.ocrecording.com 

Credits: Universal Pictures, Disney, 

ESPN, LA Clippers, Casio, Kendrick 

Lamar, Platinum & Grammy Artists 

Gear: Pro Tools HD 11, Neve 1073, 

Sony C-800G, Neumann, Aurora, 

Avalon, Lynx, Dangerous, 

Focal, SSL 

OASIS MASTERING 

4109 W. Burbank Blvd. 


818-567-0500 Fax 818-567-0599 

E-mail: jamie@oasismastering.com 

Web: www.oasismastering.com 


PEARL MUSIC 


323-851-2279 

E-mail: pearlmusic@sbcglobal.net 

Web: www.pearlmusic.net 

Contact: Richard Zeier 

Basic Rate: $50/hr. 

PETTING ZOO STUDIOS 

Rockridge District of Oakland 

415-531-4671 

E-mail: pettingzoostudio@gmail.com 

Contact: Bernhard Penzias 

Web: http://benbernsteinmusic.com 

Basic Rate: Indie packages avail. 

PLANT RECORDING STUDIOS, THE 

1001 Bridgeway, Ste. 144 

Sausalito, CA 94965 

415-332-6100 Fax 415-332-5738 

E-mail: info@plantstudios.com 

Web: www.plantstudios.com 

Contact: John Cuniberti 


P.M. III PRODUCTIONS 

Studio City, CA 

818-763-3053 

E-mail: p.m.iii@sbcglobal.net 

Web: www.pm3prod.com 

Contact: Paul Moser 

PRAIRIE SUN 

Box 7084 

Cotati, CA 94931 

707-795-7011 Fax 707-795-1259 

E-mail: info@prairiesun.com 

Web: www.prairiesun.com 



PRECISION MASTERING 

1008 N. Cole Ave. 


323-464-1008 

E-mail: claudia@precision 

mastering.com 

Web: www.precisionmastering.com 

Contact: Claudia Lagan 


PRIVATE ISLAND TRAX 

1882 S. Cochran Ave. 


323-856-8729 Fax 323-965-8732 

E-mail: info@privateislandtrax.com 

Web: www.privateislandtrax.com 

Basic Rate: $65/hour 

PRODUCTION COMPANY 

MASTERING & RECORDING 

STUDIO, THE 

673 Valley Dr. 

Hermosa Beach, CA 90254 

310-379-6477 

E-mail: rockzionrecords@rockzion.com 

Web: http://rockzion.com/ 

productionco.html 

Contact: Dennis 

Basic Rate: analog and digital, 

please call for info 

PROFESSIONAL MUSICIAN’S 

LOCAL 47 

817 N. Vine St. 


323-462-2161 

Web: www.promusic47.org 

Contact: Amie Moore 


PYRAM-AXIS DIGITAL 

Redondo Beach, CA 

E-mail: music@pyramaxis.com 

Web: www.pyramaxis.com 

Contact: Jim D. 

Basic Rate: please email for 

information 

QUALITY CLONES MASTERING, 

CD MASTERING & DVD 

AUTHORING 

3940 Laurel Canyon Blvd., Ste. 405 

Studio City, CA 91604 

323-464-5853 

E-mail: info@qualityclones.com 

Web: www.qualityclones.com 


RACE HORSE STUDIOS 

3780 Selby Ave. 

Los Angeles, CA. 90034 

310-280-0175 Fax 310-280-0176 

E-mail: duncan@racehorse 

studios.com 

Web: www.racehorsestudios.com 

Contact: Duncan Macfarlane 


RAINBO RECORDS MFG. CORP. 

8960 Eton Ave. 

Canoga Park, CA 91304 

818-280-1100 Fax 818-280-1101 

E-mail: info@rainborecords.com 

Web: www.rainborecords.com 


REDRUM STUDIOS 

E-mail: info@redrumproductions.net 

Web: www.redrumproductions.net 

Contact: Simon or Boi 

Basic Rate: email for info 

ROBERT LIAM MASTERING 

1646 N. Curson Ave. 

W. Hollywood, CA 90046 

323-687-8547 

E-mail: RLMastering@gmail.com 

Web: www.robertliam.com 

Basic Rate: see website 

RODEO PUNK MUSIC 

Woodland Hills, CA 

818-570-1727 

E-mail: contact@rodeo 

punkmusic.om 

Web: rodeopunkmusic.com 

Basic Rate: Please see web or call 

RPD STUDIOS 

1842 Burleson Ave. 

Thousand Oaks, CA 91360 

805-496-2585 

E-mail: rpdstudios@roadrunner.com 

Web: www.rpdstudios.com 

Contact: Randy 


SONIC VISION MASTERING 

& AUDIO PRODUCTION SERVICES 

818-269-7087 

Web: www.sonicvisionmastering.com 

Contact: Mike Milchner 

Basic Rate: please call or check 

website for info 

SONORA RECORDERS 

3222 Los Feliz Blvd. 


323-663-2500 

E-mail: ducktape@aol.com 

Web: sonorarecorders.com 

Contact: Richard or Chad 


SOTTOVOCE STUDIO AND 

MASTERING 

N. Hollywood, CA 

818-694-3052 

E-mail: info@sottovocestudio.com 

Web: www.sottovocestudio.com 

SOUND AFFAIR 

2727 S. Croddy Way, Unit G 

Santa Ana, CA 92704 

800-570-6656 

Web: www.SoundAffairMastering.com 

Contact: Ron or Andree 


SOUND BITES DOG 


310-621-1896 

E-mail: hdekline@gmail.com 

Web: www.soundbitesdog.com 

Contact: Hans DeKline 

Basic Rate: call or check our website 

SOUNDCASTLE INTERACTIVE 

STUDIOS 

1334 3rd St. Promenade, Ste. 208 


310-394-6014 

E-mail: soundcastle@earthlink.net 

Web: www.soundcastle.com 


SOUND MATRIX STUDIOS 

18060 New Hope St. 

Fountain Valley, CA 92708 

714-437-9585 

E-mail: info@soundmatrix.com 

Web: www.soundmatrix.com 

Contact: Brandon Forrest 


for info 

SOUNDMOVES STUDIOS 

Burbank, CA 

818-848-3393 

E-mail: michael@ 

woodrumproductions.com 

Web: www.soundmovesaudio.com 

Contact: Michael Woodrum 


STUDIO 5109 

1110 N. Western, Ste. 206 


213-369-7094 

E-mail: info@studio5109.com 

Web: www.studio5109.com 

Contact: Mike Wolf 


STUDIO CITY SOUND 

4412 Whitsett Ave. 


818-505-9368 

E-mail: eharrison@studiocity 

sound.com 

Web: www.studiocitysound.com 



STUDIOWEST 

11021 Via Frontera, Ste. A 

San Diego, CA 92127 

58 

October 2014 

musicconnection.com




858-592-9497, 858-592-9580 

E-mail: hunter@studiowest.com 

Web: www.studiowest.com 

Basic Rate: call for more info 

SULLYSTONE MUSIC 

Cloverland Studios 


818-503-1157 

Web: www.sullystone.com 

Contact: Billy Sullivan 


SUN 7 MUSIC 

5303 Inadale Ave. 

Los Angeles, CA 90043-1543 

323-292-1052 

E-mail: sun7@sun7production.com 

Web: www.sun7production.com 


TECHNOVOICE MASTERING 

11739 Ventura Blvd. 


818-506-7893 

E-mail: info@technovoice.com 

Web: www.technovoice.com 

Contact: Bob Lanzner 

Basic Rate: please call or e-mail for 

quote 

THETA SOUND STUDIO 

2219 W. Olive Ave., Ste. 226 


818-955-5888 

E-mail: randy@thetasound.com 

Web: www.thetasound.com 

Contact: Randy or Cyndie Tobin 


THRESHOLD MASTERING 

2114 Pico Blvd. 


310-566-6677 

E-mail: micheleb@thresholdsound.com 

Web: www.thresholdsound.com 

Contact: Michelle Blankenship or 

Peter Barker 

Basic Rate: custom rates for indies 

TIME ART STUDIO 

Studio City, CA 

818-980-2840 Fax 818-760-4385 

Web: www.timeart.us 

Contact: Darlene 


TOMCAT ON THE PROWL 

PRODUCTIONS 


818-533-8669 

E-mail: studio@tomcatontheprowl.com 

Web: www.tomcatontheprowl.com 

Contact: Thomas Hornig 

Basic Rate: visit website for more info 

TRU-ONE STUDIOS 

2100 E. Howell Ave., Ste. 208 

Anaheim, CA 92806 

714-634-4678 

Web: www.truonerecords.com 

Basic Rate: Rooms $16 & $20 per hr. 

UNITED AVG, INC. 

6855 Vineland Ave. 


800-247-8606, 818-980-6700 

Web: www.unitedavg.com 

Contact: Steve Katz 

Basic Rate: call or check website for 

more information 

UNIVERSAL MASTERING STUDIOS 

3400 Cahuenga Blvd. Building C 


818-286-6233 

E-mail: nick.d@umusic.com 

Web: www.universalmastering.com 

Contact: Nick Dofflemyer 

Basic Rate: call for info 

UROCK MUSIC STUDIOS 

University of Recording 

Arts and Music 

18101 Von Karman, ste. 140-144 

Irvine, CA 92612 

Office: 888-UROCK09 (888 876-2509) 

Direct: 949 225-4795 

Contact: John Lowson 

E-mail: jlowson@urameducation.com 

Web: http://universityofrecordingarts 

andmusic.com, www.uram 

education.com 

Credits: Grammy winning recordings/ 

countless Gold and Platinum. Great 

rates—Satisfaction Guaranteed! 

*Notes: Music production, recording, 

mixing, mastering (web based file 

sharing from anywhere). 20+ years 

professional experience 

VESTMAN MASTERING 

Orange Count, Ca. 

714-894-4000 

E-mail: info@vestmanmastering.com 

Web: www.johnvestman.com 

Contact: John Vestman or office mgr. 

Basic Rate: Contact us for hourly 

rates and package rates for sessions 

longer than 4 hours. 

WATERBURY PRODUCTIONS 

Laurel Canyon and Magnolia 

Valley Village, CA 

818-505-8080 

E-mail: davewaterbury91607@ 

yahoo.com 

Web: davewaterbury.net 

Contact: Dave Waterbury 


WESTBOUND STUDIOS 


310-985-5509 

E-mail: gelowmusic@gmail.com 

Web: www.westboundstudios.com 

Contact: Angelo 


WESTLAKE RECORDING 

7265 Santa Monica Blvd. 


323-851-9800 

E-mail: bookings@thelakestudios.com 

Web: www.thelakestudios.com 

Contact: Sara Clark 


XTREAM AUDIO MASTERING 

888-878-3292 

E-mail: info@xtreamaudio.com 

Web: www.xtreamaudio.com 


ZENMASTERING 

P.O. Box 231087 

Encinitas, CA 92023 

858-231-1541 

Contact: Paul Abbott 

Web: http://www.zenmastering.com 

COLORADO 

AIRSHOW BOULDER STUDIO 

3063 Sterling Cir., Ste. 3 

Boulder, CO 80301 

888-545-9035, 303-247-9035 

Web: www.airshowmastering.com 



7014-C Westmoreland Ave. 

P.O. Box 5692 

Tacoma Park, MD 20913 

301-891-9035 

ASPEN LEAF RECORDING STUDIO 

P.O. Box 60351 

Grand Junction, CO 

970-201-6166 

E-mail: aspenleafrecording@ 

gmail.com 

Web: www.aspenleafrecording.com 

Contact: Ken Dravis 


AUDIO PARK RECORDING 

5603 Yukon St., Unit A 

Arvada, CO 80002 

303-456-6122 

E-mail: nate@audiopark.biz 

Web: www.audiopark.biz 


A/V SERVICES 

2432 S. Downing St. 

Denver, CO 80210 

303-777-5950 

E-mail: info@av-services.com 

Web: www.av-services.com 


CHERRY SOUND STUDIOS, LLC 

1600 Downing, Ste. 120 

Denver, CO 80218 

303-910-5359 

E-mail: guillot3000@yahoo.com 

Web: www.cherrysoundstudios.com 


COLORADO SOUND STUDIOS 

3100 W. 71st Ave. 

Westminster, CO 80030 

303-430-8811 

E-mail: colosnd@coloradosound.com 

Web: www.coloradosound.com 

Basic Rate: please call or see 

website 

GLOBALSOUND REC. STUDIO 

555 Alter St., Unit 19-F 

Broomfield, CO 80020 

303-439-7956 

E-mail: lydia@globalsoundstudio.com 

Web: www.globalsoundstudio.com 


QUAM AUDIO PRODUCTIONS 

Lafayette, CO 

720-890-0230 

E-mail: info@quamaudio.com 

Web: www.quamaudio.com 

Contact: Michael Quam 


SUMMERTOWN STUDIOS 

S.W. Corner of College & Harmony 

4606 S. Mason St. 

Fort Collins, CO 

970-225-0771 

E-mail: producer@ 

summertownstudios.com 

Web: www.summertownstudios.com 

Contact: Bob Buford 


CONNECTICUT 

BEANSTUDIO MASTERING 

Bridgeport, CT 

E-mail: jim@beanstudio.com 

Web: www.beanstudio.com 

Contact: Jim DeSalvo 


ONYX SOUND LAB LLC 

56 Cooper St. 

Manchester, CT 06040 

860-436-4581 

E-mail: contact@onyxsoundlab.com 

Web: www.onyxsoundlab.com 

Contact: Adam Gootkin or Peter 

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Kowalczyk 


RVP STUDIOS 

221 Bull Hill Ln. 

West Haven, CT 

203-934-7579 

E-mail: gtroks@ao.com 

Web: www.rvpstudios.com 

Contact: Marc 


SUITE AUDIO 

Clinton, CT 06413 

860-664-9499 

E-mail: info@suiteaudio.com 

Web: www.suiteaudio.com 


TARQUIN STUDIOS 

Bridgeport, CT 06604 

203-338-0895 

E-mail: tarquinstudios@hotmail.com 

Web: www.tarquinrecords.com 


DELEWARE 

AUDIOVISIONS 

7 Rockford Rd., Ste. 29B 

Wilmington, DE 19806 

302-651-7955 

E-mail: info@audiovisionsonline.com 

Web: www.audiovisionsonline.com 


JAMLAND STUDIO 

2326 Empire Dr. 

Wilmington, DE 19810 

302-475-0204 

E-mail: music@jamlandstudio.com 

Web: www.jamlandstudio.com 

DISTRICT OF COLUMBIA (DC) 

LISTEN VISION LLC 

2622 Georgia Ave. NW 

Washington, D.C. 20001 

202-332-8494 Fax 202-332-8495 

E-mail: info@listenvision.com 

Web: www.listenvision.com 


FLORIDA 

BIG SHOT MUSIC STUDIOS 

658 Douglas Ave., Ste. 1116-1120 

Altamonte Springs, FL 32714 

407-788-6431 

E-mail: info@bigshotmusic 

studios.com 

Web: www.bigshotmusicstudios.com 

BLACK DOG MASTERING STUDIO 

3837 Northdale Blvd., Ste. 271 

Tampa, FL 33624 

818-434-1483 

E-mail: info@blackdogmastering.com 

Web: www.blackdogmastering.com 


EMERALD CITY RECORDING, INC. 

105 Dunbar Ave., Ste. A 

Oldsmar, FL 34677 

813-814-1062 

E-mail: info@emeraldcity 

recording.com 

Web: www.emeraldcityrecording.com 


FULLERSOUND INC. 

3551 S.W. 116th Ave. 

FT. Lauderdale, FL 33330 

305-556-5537 Fax 954-423-8441 

E-mail: info@fullersound.com 

Web: www.fullersound.com 


UPCOMING STUDIO, INC. 

601 W. Oakland Park Blvd., Ste. 13 

Wilton Manors, FL 33311-0913 

954-530-4710 

E-mail: mastering@upcoming 

studios.com 

Web: upcomingstudio.com 

NOISEMATCH STUDIOS 

169 N.W. 23rd St. 

Miami, FL 33127 

786-334-5382 

E-mail: info@noisematch.com 

Web: noisematch.com 

Basic Rate: Call for info 

PROGRESSIVE MEDIA & MUSIC 

2116 Southview Ave. 

Tampa, FL 33606 

813-251-8093 Fax 813-251-6050 

E-mail: info@progressivecds.com 

Web: www.progressivecds.com 

Basic Rate: project rates available - 

call for a quote 

GEORGIA 

DAN SCOTT PRODUCTION 

STUDIOS 

Atlanta, GA 

770-616-0433 


danscottproductions 


GLENN SCHICK MASTERING 

750 Ralph McGill Blvd., N.E. 

Atlanta, GA 30312 

404-351-4655 Fax 404-474-1795 

E-mail: info@gsmastering.com 

Web: www.gsmastering.com 


ODYSSEY STUDIO, THE 

198 N. First Street 

Colbert, GA 30628 

706-540-1076 

E-mail: p_rives@theodysseystudio.com 

Web: www.theodysseystudio.com 

Contact: NA 

Basic Rate: $50/hr. see web for 

details 

SING MASTERING 

781 Wheeler St. N.W. 

Studio 8 

Atlanta, GA 30318 

404-827-8503 

E-mail: info@singmastering.com 

Web: www.singmastering.com 


HAWAII 

ISLAND SOUND STUDIOS 

377 Keahole St., Ste. D-03 

Honolulu, HI 96825 

808-393-2021 Fax 808-393-2021 

E-mail: info@avexhonolulu 

studios.com 

Web: www.islandsoundstudios.com 

Contact: Gaylord Holomalia 


LAVA TRACKS RECORDING 

Kamuela, Big Island, HI 

P.O. Box 6564 

808-885-6558 

Web: www.lavatracks.com 

Contact: Charles Michael Brotman, 

Grammy Award winner 

Basic Rate: call or check our website 

for contact info. 

SEASIDE RECORDING 

Wailuku, Maui, HI 

808-242-2732 

Web: http://seasiderecording.com 

Contact: Joel Katz 

Basic Rate: reasonable rates by the 

hour, week or job 

IDAHO 

AUDIO MASTERING STUDIO 

2365 River Oaks Dr. 

Nampa, ID 83686 

208-965-0621 

E-mail: master@ 

audiomasteringstudio.com 

Web: www.audiomasteringstudio.com 

Basic Rate: $75 per song (minimum 

two songs) [or] project discount 7-10 

songs, $500 

JAMPROSOUND 

Boise, ID 

208-340-7058 

E-mail: info@jamprosound.com 

Web: www.jamprosound.com 

Contact: Justin A. Mai, owner 

Basic Rate: please call or 

e-mail for info 

TONIC ROOM, THE 

1509 S. Robert St., Ste. 103 

Boise, ID 83705 

208-338-8433 

E-mail: info@tonicroomstudios.com, 

mastering@tonicroomstudios.com 

Web: www.tonicroomstudios.com 

Basic Rate: see web for info 

ILLINOIS 

ARS STUDIOS 

Homewood, IL 

708-960-0499 Fax 708-371-3958 

E-mail: info@arsstudios.com 

Web: www.arsrecording.com 

Basic Rate: please call and ask 

about our mastering and duplication 

specials 

BOILER ROOM, THE 

3139 N. Lincoln Ave., Ste. 214 

Chicago, IL 60657 

773-525-8551 

E-mail: info@brmastering.com 

Web: www.brmastering.com 


CHICAGO MASTERING SERVICE 

Chicago, IL 

773-265-1733 

E-mail: info@chicagomastering 

service.com 

Web: www.chicagomastering 

service.com 


DISC MAKERS 

560 W. Washington Blvd. #410 


800-468-9353, 312-661-3450 




GRAVITY STUDIOS 

2250 West North Ave. 


773-862-1880 

E-mail: info@gravitystudios.com 

Web: www.gravitystudios.com 


MAMINIDI RECORDS, INC. 

Chicago, IL 

630-834-0766 

E-mail: dirksonic@mamindi.com 


MASSIVE MASTERING 

P.O. Box 68143 

Schaumburg, IL 60168 

630-237-4393 

E-mail: master@massive 

mastering.com 

Web: www.massivemastering.com 

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Contact: John Scrip 

Basic Rate: hourly/project 

rates on web 

PLAYGROUND RECORDING AND 

MASTERING STUDIO, THE 

Chicago, IL 

312-455-8265 

E-mail: admin@playgroundstudio.com 

Web: www.playgroundstudio.com 

Basic Rate: $500/day recording $65/ 

hr. mastering 

STUDIO VMR 

VITAL MUSIC RECORDING 

9039 Monroe 

Brookfield, IL 60513 

780-267-2198 

E-mail: don@studioVMR.com 

Web: www.StudioVMR.com 

Contact: Don Griffin 

Basic Rate: Call for info 

INDIANA 

APPLEGATE AUDIO VISUAL 

5609 Ensenada Ave. 

Indianapolis, IN 46237 

317-782-9948 

E-mail: mastering@ 

applegateaudiovisual.com 

Web: www.applegateaudiovisual.com 

Basic Rate: 1-10 songs $200.00 

LIGHTNING STRUCK STUDIOS 

2384 E. Co Rd., 800 S 

Clayton, IN 46118 

317-539-7476 

E-mail: mperry@lightningstruck.com 

Web: http://www.lightningstruck.com/ 


IOWA 

CATAMOUNT RECORDING, INC. 

5737 Westminster Dr. 

Cedar Falls, IA 50613 

319-235-6517 

E-mail: catamount@cfu.net 

Web: www.catamountrecording.com 

Contact: Kitty Tatman 


INNER LIGHT RECORDS 

Iowa City, IA 

319-936-1235 

E-mail: innerlightrecords@gmail.com 

Web: www.innerlightrecords.net 

Contact: Ari 


SKYLINE AUDIO PRODUCTIONS, 

LLC 

6781 Hickman Rd. 

Urbandale, IA 50322 

515-252-6209 

E-mail: info@skylineaudio.com 

Web: www.skylineaudio.com 


TRIAD PRODUCTIONS INC. 

1910 Ingersoll Ave. 

Des Moines, IA 50309 

515-243-2125 Fax 515-243-2055 

E-mail: staff-info@triadav.com 

Web: www.triadav.com 


KANSAS 

CORNERSTONE STUDIOS 

Wichita, KS 

E-mail: cornerstone@ 

cornerstonestudios.com 

Web: www.cornerstonestudios.com 

Contact: Steve 

Basic Rate: please e-mail for info 

KENTUCKY 

HEAD FIRST MEDIA 

729 E. St. Catherine St. 

Louisville, KY 40217 

502-637-1663 

E-mail: info@headfirstmedia.com 

Web: www.headfirstmedia.com 


LOUISIANA 

MASTERDIGITAL CORP. 

2614 W. 15th Ave. 

Covington, LA 70433 

504-236-6368 

Web: www.masterdigital.com 


MUSIC SHED, THE 

929 Euterpe St. 

New Orleans, LA 70130 

504-412-9995 

E-mail: info@musicshedstudios.com 

Web: www.musicshedstudios.com 


MAINE 

GATEWAY MASTERING STUDIOS 

428 Cumberland Ave. 

Portland, ME 04101 

207-828-9400 

E-mail: staff@gatewaymastering.com 

Web: www.gatewaymastering.com 


STUDIO, THE 

45 Casco St., Ste. 200 

Portland, ME 04101 

207-772-1222 Fax 207-775-0448 

E-mail: info@thestudioportland.com 

Web: www.thestudioportland.com 

Contact: Tim Tierney 


MARYLAND 

AIRSHOW TAKOMA PARK STUDIO 

7014-C Westmoreland Ave. 

Takoma Park, MD 20912 

301-891-9035 

Web: www.airshowmastering.com 


BACKBEAT RECORDS 

16810 Federal Hill Ct. 

Bowie, MD 20716 

301-430-0997 

E-mail: info@backbeatrecords.com 

Web: www.backbeatrecords.com 


DISTROPHONIX LLC 

517 Cathedral St 

Baltimore, MD 21201 

443-763-3939 

E-mail: info@distrophonix.com 

Web: www.distrophonix.com 

Contact: Bryan (Head Mastering 

Engineer) 

Basic Rate: $20 a song 

HIT AND RUN RECORDING 

18704 Muncaster Rd. 

Rockville, MD 20855 

301-948-6715 

E-mail: info@hitandrunrecording.com 

Web: www.hitandrunrecording.com 

Contact: Steve Carr 


JAM HUT RECORDS 

East Maryland 

410-430-2707 

E-mail: petebott69@jamhutrecords. 

com 

Web: www.jamhutrecords.com 

Contact: Pete 


LION AND FOX RECORDING 

STUDIOS 

9517 Baltimore Ave. 

College Park, MD 20740 

301-982-4431 

E-mail: mail@lionfox.com 

Web: www.lionfox.com/mastering.htm 


OMEGA RECORDING STUDIOS 

5609 Fishers Ln. 

Rockville, MD 20852 

301-230-9100 

E-mail: shannon@omegastudios.com 

Web: www.omegastudios.com 

Contact: Shannon Follin 

Basic Rate: 125/hr. (does not include 

tax or materials) 

PURE SOUND RECORDING 

STUDIO 

Odenton, MD 

443-597-8584 

E-mail: info@puresoundstudio.com 

Web: www.puresoundstudio.com 


STUDIO 302 

554 N. Frederick Ave. #218 

Gaithersburg, MD 20877 

Web: www.studio302.com 

Contact: Jeremy Rwakaara 

Basic Rate: see website for rates 

MASSACHUSETTS 

BOSTON RECORDING STUDIO 

131 W. Concord St., Ste. 1 

Boston, MA 02118 

857-207-2247 

E-mail: record@ 

bostonrecordingstudio.com 

Web: www.bostonrecordingstudio.com 


M WORKS MASTERING 

1035 Cambridge St., Ste. 17B 

Cambridge, MA 02141 

617-577-0089 

E-mail: studio@m-works.com 

Web: www.m-works.com 

Basic Rate: reasonable rates! 

OAK GROVE RECORDING 

65 Clinton St. 

Malden, MA 02148 

781-321-3069 

E-mail: joe@oakgroverecording.com 

Web: www.oakgroverecording.com 


PEERLESS MASTERING 

161 North St. 

Newtonville, MA 

617-527-2200 

E-mail: info@peerlessmastering.com 

Web: www.peerlessmastering.com 

Contact: Jeff 


PILOT RECORDING STUDIOS 

1073 Main St. 

Housatonic, MA 

413-274-1073 

E-mail: info@pilotrecording.com 

Web: www.pilotrecording.com 

Contact: Will Schillinger 


REAR WINDOW RECORDING 

SERVICE 

25 Dwight St. 

Brookline, MA 02446 

617-901-2441 Fax 617-730-5611 

E-mail: milt4ps@aol.com 

Web: www.rearwindowstudio.com 


SOUNDMIRROR, INC. 

76 Green St. 



Boston, MA 02130-2271 

617-522-1412 Fax 617-524-8377 

Web: www.soundmirror.com 


SPECIALIZED MASTERING 

47 Mellen St. 

Framingham, MA 01702 

508-872-9478 

E-mail: dana@specialized 

mastering.com 

Web: www.specialized 

mastering.com 



15438 S.W. 81st. Ave. 

Portland, OR 97224 

503-866-8383 

MICHIGAN 

BROADSIDE PRODUCTIONS 

901 S. Westnedge 

Kalamazoo, MI 49008 

269-226-0948 

E-mail: studio@broadside 

productions.com 

Web: www.broadsideproductions.com 


WATERFALL STUDIOS 

11389 S. Forrest Sideroad 

Dafter, MI 49724 

313-674-2740 

Web: www.waterfallrecordings.com 


MINNESOTA 

ADVANCED RECORDING STUDIOS 

710 E. 11 Mile Rd. 

Royal Oak, MN 48067 

248-291-4029 

E-mail: bill@ 

advancedrecordingstudios.com 

Web: www.advancedrecording 

studios.com 

CRAZY BEAST 

N.E. Minneapolis, MN 

E-mail: crazybeaststudio@gmail.com 

Web: www.crazybeast.com 

Contact: Ben Durrant 


GERRY STINSON AUDIO 

3720 Cooper Ave. S. 

St. Cloud, MN 56301 

320-240-9292 

E-mail: gsclockwork@aol.com 

Web: www.gerrystinsonaudio.com 


RARE FORM MASTERING 

712 Ontario Ave. W. 

Minneapolis, MN 55403 

612-327-8750 

E-mail: info@rareformmastering.com 

Web: www.rareformmastering.com 

Contact: Greg Reierson 

Basic Rate: please contact for info 

MISSISSIPPI 

MALACO MUSIC GROUP 

3023 W. Northside Dr. 

Jackson, MS 39213 

601-982-4522 

E-mail: malaco@malaco.com 

Web: www.malaco.com 


TAPROOT AUDIO DESIGN 

355 C.R. 102 

Oxford, MS 38655 

662-236-2167 

E-mail: info@taprootaudiodesign.com 

Web: www.taprootaudiodesign.com 


MISSOURI 

AFTERBURN RECORDING 

STUDIOS 

11947 Avila Dr. 

Kansas City, MO 64145 

816-522-7718 

E-mail: info@afterburnrecording.com 

Web: www.afterburnrecording.com 


CD MASTERING SERVICES 

PO Box 672 

Nixa, MO 65714 

417-880-2617 

E-mail: info@cdmastering 

services.com 

Web: www.cdmasteringservices.com 

Contact: Bob Speer 


FIELD FORCE MEDIA SERVICES 

13621 Wyandotte St. 

Kansas City, MO 64145 

913-599-1888, 888-599-1888 

E-mail: contact@fieldforceusa.com 

Web: www.fieldforceusa.com 


MONTANA 

BOONE PRODUCTIONS 

579 Belt Creek Rd. 

Belt, MT 59412 

406-277-3255 

E-mail: aviator@3rivers.net 

Web: www.booneproductions.com 

Contact: Dan Boone 


RECORDING EDGE 

615 E. Cameron Bridge Rd. 

Bozeman, MT 59718 

406-388-5042 

E-mail: information@recording 

edge.com 

Web: www.recordingedge.com 

Contact: Edd Gryder 


NEBRASKA 

FOCUS MASTERING 

14910 Grover St., Ste. 100 

Omaha, NE 68144-5445 

402-504-9624 

E-mail: doug@focusmastering.com 

Web: www.focusmastering.com 

Contact: Doug Van Sloun 

Basic Rate: call or visit web for info 

STUDIO 24 

8601 N. 30th St. 

Omaha, NE 68112 

402-342-9090 

E-mail: chuck@studio24omaha.com 

Web: www.studio24omaha.com 

Contact: Chuck Beckler 


WAREHOUSE PRODUCTIONS 

206 S. 44th St. 

Omaha, NE 68131 

402-553-8523 

E-mail: whp@qwestoffice.net 

Web: www.warehouseproductions.net 

NEVADA 

HGRS AUDIO 

Las Vegas, NV 

702-236-1485, 708-305-3975 

E-mail: jeff@hgrsaudio.com, 

gregory@hgrsaudio.com 

Web: www.hgrsaudio.com 

Contact: Jeff or Greg 


ODDS ON DISC 

14 Sunset Way 

Henderson, NV 89014 

702-318-6001 

E-mail: danap@oddsonrecording.com 

Web: www.oddsonrecording.com 


NEW HAMPSHIRE 

ANALOG MASTERING 

20 Vine St. 

Peterborough, NH 03458 

603-924-2277 

E-mail: davidt@drtmastering.com 

Web: www.analogmastering.com 


DRT MASTERING 

20 Vine St. 

St. Peterborough, NH 03458 

603-924-2277 

E-mail: davidt@drtmastering.com 

Web: www.drtmastering.com 

Contact: David 


NEW JERSEY 

BEANSTUDIO CD & DVD 

MASTERING 

Wayne, NJ 

E-mail: jim@beanstudio.com 

Web: www.beanstudio.com 

Contact: Jim DeSalvo 

Basic Rate: please email for info 

DISC MAKERS 

7905 N. Route 130 

Pennsauken, NJ 08110 

800-468-9353 




ED LITTMAN MASTERING 

35 Harring Ct. 

North Haledon, NJ 07508 

201-824-7860 

Web: www.edlittmanmastering.com 

Contact: Ed Littman 

Basic Rate: Available on Website 

SILK CITY RECORDS 

P.O. Box 1541 

Parsippany, NJ 07454 

973-599-0237 

E-mail: silkcitycd@aol.com 

Web: www.silkcitycd.com 

Contact: Andy Allu 


STORY BOOK SOUND 

Maplewood, NJ 

E-mail: info@storybooksound.com 

Web: www.storybooksound.com 

Contact: Scott Anthony, Rebecca 

Turner 

SUPREME SOUND STUDIO, INC. 

86 Lackawanna Ave., Bldg. 2, Ste. 227 

Woodland Park, NJ 07424-2642 

973-890-1672 

E-mail: info@supreme 

soundstudio.com 

Web: www.supremesoundstudio.com 

Contact: Brian Csencsits 


NEW MEXICO 

HIGH FIDELITY MASTERING 

13170 Central Ave. S.E., Ste. B251 

Albuquerque, NM 87123 

505-459-6242 

E-mail: andy@highfidelity 

mastering.com 

Web: www.highfidelitymastering.com 

Contact: Andy Rogulich 


THUNDER DIGITAL 

Albuquerque, NM 

505-822-8273 

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E-mail: phil@thunderdigital.com 

Web: www.thunderdigital.com 


NEW YORK 

BANG ZOOM MASTERING 

P.O. Box 145 

Orangeburg, NY 10962 

845-398-0723 

E-mail: vavastrat@aol.com 

Web: masteringzone.net 

Contact: Steve Vavagiakis 

Services: Analog & Digital Audio 

Mastering 

COTTON HILL STUDIOS, INC. 

13 Walker Way 

Albany, NY 12205 

518-869-1968 

Web: www.cottonhill.com 

Contact: Margherita Petti Krug 

DALE PRO AUDIO 

22 W. 19th St. 


888-462-7828 

Web: www.daleproaudio.com 


DISC MAKERS 

150 W. 25th St., Ste. #402 


800-468-9353 




ENGINE ROOM AUDIO 

42 Broadway 22nd Fl. 


212-625-3467 

E-mail: mark@engineroomaudio.com 

Web: www.engineroomaudio.com 


KEVORKIAN MASTERING 

c/o Avatar Studios 

441 W. 53 St. 


917-406-9147, 212-765-7500 

E-mail: fkfk@aol.com 

Web: www.kevorkianmastering.com 

Contact: Fred Kevorkian 

LODGE, THE 

740 Broadway, Ste. 605 


212-353-3895 Fax 212-353-2575 

E-mail: info@thelodge.com 

Web: www.thelodge.com 


MASTERDISK CORP. 

260 W. 36 Street 


E-mail: info@masterdisk.com 

Web: www.masterdisk.com 


MUSIC HOUSE MASTERING 

23 Maureen Dr., 


800-692-1210 

E-mail: info@musichousemastering. 

com 

Web: www.musichousemastering.com 

Contact: Michael Dominici, owner 

Basic Rate: cal for rates 

OASIS DISC MANUFACTURING 

7905 N. Rt 130 

Delair, NJ 08110 

888-296-2747 

E-mail: info@oasiscd.com 

Web: www.oasiscd.com 


RIGHT TOUCH MASTERING 

New York, NY 

888-707-6070 ext. 1 

Contact: Gordon Bahary 

E-mail: info@righttouchmastering. 

com 

Web: www.righttouchmastering.com 

Basic Rate: Call for Info 

SKYELAB MUSIC PRODUCTIONS 

247 W 38th St. Ste. 601 


212-789-8942 

E-mail: info@skyelab.com 

Web: www.skyelab.com 


STERLING SOUND 

88 Tenth Ave. 6th Fl. 


212-604-9433 

E-mail: inquiries@sterling-sound.com 

Web: www.sterling-sound.com 

Basic Rate: please see web 

THRESHOLD MUSIC 

212-244-1871 

E-mail: thresholdstudiosnyc@gmail. 

com 

Web: www.thresholdmusic.com 


TRUTONE MASTERING LABS INC. 

119 Rockland Ctr., Ste. 306 

Nanuet, NY 10954 

845-680-6490 

E-mail: sales@trutonemastering.com 

Web: www.trutonemastering.com 


VAULT MASTERING STUDIOS, THE 

545 W. 45th St., Studio MD4 


212-965-0100 

E-mail: info@vaultmastering.com 

Web: www.vaultmastering.com 

Basic Rate: contact for a quote 

tailored to your project. 

XTREAM AUDIO 

888-878-3292 

E-mail: sales@xtreamaudio.com 

Web: www.xtreamaudio.com 

Contact: Anthony Casuccio 

Basic Rate: call for customized quote 

NORTH CAROLINA 

BLUEFIELD MASTERING 

Raleigh, NC 27606 

919-859-0102 

E-mail: info@bluefieldmastering.com 

Web: www.bluefieldmastering.com 

Contact: Jeff Carroll 

Basic Rate: please call or e-mail 

JP MASTERS 

Charlotte, NC 

704-779-1043 

E-mail: dave@jpmasters.com 

Web: www.jpmasters.com 

Contact: Dave Locke 

Basic Rate: please refer to web 

KITCHEN MASTERING 

109 Brewer Ln. Ste. A 

Carrboro, NC 27510 

919-929-4494 

E-mail: info@kitchenmastering.com 

Web: www.kitchenmastering.com 

Contact: Brent 

Basic Rate: hourly and track rates 

available 

STUDIO B MASTERING 

821 Louise Ave. 

Charlotte, NC 28204 

704-372-9661 

E-mail: dave@studiobmastering.com 

Web: www.studiobmastering.com 

Contact: Dave Harris 


NORTH DAKOTA 

BARKING DOG RECORDS 

P.O. Box 1455 

Fargo, ND 58105 

E-mail: coates@barkingdogrecords.com 

Web: www.barkingdogrecords.com 

Contact: Mike and Linda Coates 


MAKOCHE RECORDING COMPANY 

208 N. 4th St. 

Bismarck, ND 58502 

701-223-7316 

E-mail: info@makoche.com 

Web: www.makoche.com 


OHIO 

ACOUSTIK MUSIC, LTD. 

511 West College St. 

Oberlin, OH 44074-1446 

440-775-3681 

E-mail: tbethe@oberlin.net 

Web: www.acoustikmusik.com 

Contact: Jimmy Pearson 


COMMERCIAL RECORDING 

STUDIOS INC. 

6001 W. Creek Rd. 

Independence, OH 44131 

216-642-1000 

E-mail: info@commercial 

recording.com 

Web: www.commercialrecording.com 


OKLAHOMA 

HEARTLAND MASTERING STUDIO 

3912 Hatterly Ln. 

Norman, OK 73072 

405-919-7000, 405-360-8136 

E-mail: hank@heartland 

mastering.com 

Web: www.heartlandmastering.com 


STUDIO SEVEN/LUNACY 

RECORDS 

417 N. Virginia 

Oklahoma City, OK 73106 

405-236-0643 

E-mail: cope@okla.net 

Web: www.lunacyrecords.com 


OREGON 

CRAZY DAISY PRODUCTIONS 

8540 SW Monticello St. 

Beaverton, OR 97008 

541-517-1458 

E-mail: info@crazymastering.com 

Web: www.crazymastering.com 

DEAD AUNT THELMA’S STUDIO 

7923 S. E. 13th Ave. 


503-235-9693 

E-mail: mikem@thelmas.com 

Web: www.thelmas.com 


FOSTER MASTERING 

4711 S.E. 26th Ave. 


503-222-9444 

E-mail: ryanfoster@freq 

mastering.com 

Web: www.fostermastering.com 


FUTURE DISC LLC. 

15851 N.W. Willis Rd. 

McMinnville, OR 97128 

213-361-0603 Fax 503-472-1951 

E-mail: steve@futurediscsystems.com 



Web: www.futurediscsystems.com 

Contact: Steve Hall or Laura Hall 


or more info 

MICHAEL COOPER RECORDING 

Black Butte Ranch, OR 

541-549-1619 

E-mail: coopermb@ 

bendbroadband.com 

Web: http://www.myspace.com/ 

michaelcooperrecording 

Contact: Michael Cooper 

Basic Rate: $70/hr. or $90/song 

SEPTEMBER AUDIO 

NW Irving & 14th Ave. 


260-456-5717 

E-mail: craig@septaudio.com 

Web: www.septaudio.com 


PENNSYLVANIA 

CREATIVE SOUND 

STUDIOS, LLC 

5759 Kernsville Rd. 

Orefield, PA 18069 

610-398-9590 

E-mail: sfxpost@ 

creativesoundstudios.com 

Web: www.creativesoundstudios.com 


JEREE RECORDING 

1469 3rd Ave. 

New Brighton, PA 15066 

724-847-0111 

Web: www.jereerecording.com 


MASTERING HOUSE 

INC., THE 

1002 Ridge Rd. 

Pottstown, PA 19465 

888-876-HOUS, 610-469-1050 

Web: www.masteringhouse.com 


SHIMAMOTO SOUND 

Philadelphia, PA 

Web: www.shimamotosound.com 


SI STUDIOS 

945 S. Main St. 

Old Forge, PA 18518 

570-457-0147 

E-mail: tom@sistudios.com 

Web: www.sistudios.com 


SPEARHEAD AUDIO 

Pittsburgh, PA 15228 

E-mail: mail@spearheadaudio.com 

Web: www.spearheadaudio.com 

Contact: Barak Shpiez 

Basic Rate: per project basis 

TREELADY STUDIOS 

628 Brown Ave. 

Turtle Creek, PA 15145 

412-816-0300 

E-mail: info@treelady.com 

Web: www.treelady.com 


RHODE ISLAND 

STATIC PRODUCTIONS 

N. Kingstown, RI 02852 

401-267-8236 

E-mail: record@staticproductions.com 

Web: www.staticproductions.com 


SOUTH CAROLINA 

SIT N SPIN STUDIOS 

730 S. Pleasantburg Dr., Ste. 107 

Greenville, SC 29607 

864-414-4855 

E-mail: info@sitnspinstudios.com 

Web: www.sitnspinstudios.com 

Contact: Matt Morgan 

STRAWBERRY SKYS 

RECORDING STUDIOS 

1706 Platt Springs Rd. 

W. Columbia, SC 29169 

803-794-9300 

E-mail: info@strawberryskys.com 

Web: www.strawberryskys.com 


SOUTH DAKOTA 

PRAIRIE DOG STUDIOS 

P.O. Box 91016 

Sioux Falls, SD 57109 

605-361-0939 

E-mail: topdog@prairiedog 

studios.com 

Web: www.prairiedogstudios.com 


SYMBIOTIC DESIGN 

2108 S. Duluth Ave. 

Sioux Falls, SD 57105 

605-610-9001 

Web: www.symbioticdesign.com 


TENNESSEE 

DAVE TOUGH PRODUCTIONS 

Nashville, TN 

615-554-6693 

E-mail: dave@davetough.com 

Web: www.davetough.com 

Contact: Dave 

Basic Rate: $65/hr - specializing in 

internet mastering 

DIAMONDISC AUDIO 

204 Still Water Cir. 

Nashville, TN 37221 

615-662-6870 

E-mail: info@diamondiscaudio.com 

Web: www.diamondiscaudio.com 

Contact: Doug Diamond 

Basic Rate: Mastering Package ‘D’ - 

$30/song 

DISC MAKERS 

1200 Division St., Ste. #102 


800-468-9353 Fax 856-661-3450 




EUPHONIC MASTERS 

Arlington, TN 

901-266-6075 

E-mail: info@euphonicmasters.com 

Web: www.euphonicmasters.com 


FOXWOOD MASTERING 

108 Foxwood Ln. 

Franklin, TN 37069 

615-297-3929 

Web: www.foxwoodmastering.com 


GEORGETOWN MASTERS 

AUDIO, LLC 

33 Music Sq. W., Ste. 108b 

Nashville, TN 37203 USA 

615-254-3233 Fax 615-254-3237 

E-mail: info@georgetown 

masters.com 

Web: www.georgetownmasters.com 

Contact: Shelley Anderson 


HILLTOP RECORDING STUDIOS 

902 Due West Ave. 


615-865-5272 

Web: www.hilltopstudio.com 

Contact: John Nicholson 

INDEPENDENT MASTERING 

1312 16th Ave. S. 

Nashville,TN 37212 

615-425-0739 

E-mail: eric@independent 

mastering.com 

Web: www.independentmastering.com 

JAMSYNC 

P.O. Box 120969 


615-320-5050 Fax 615-340-9559 

Web: www.jamsync.com 


MASTERFONICS 

28 Music Sq. W. 


615-515-8705 

E-mail: tommy@masterfonics.com 

Web: www.masterfonics.com 

Contact: Tommy Dorsey 


MASTERING STUDIO, THE 

P.O. Box 775 

Nolensville, TN 37135 

615-828-1877 

Web: www.themastering 

studio.com 

Contact: Luke 


MASTERMIX 

1921 Division St. 


615-321-5970 Fax 615-321-0764 

E-mail: slee@mastermix.com 

Web: www.mastermix.com 

Contact: Ken or Hank 


MAYFIELD MASTERING 

2825 Erica Pl. 


615-383-3708 

E-mail: info@mayfield 

mastering.com 

Web: www.mayfieldmastering.com 


NASHVILLE RECORDING 

STUDIO 19 

821 19th Ave. S. 


615-327-4927 

E-mail: rtl7@aol.com 

Web: www.studio19nashville.com 


PARLOR STUDIO, THE 

1317 16th Ave. S. 


615-385-4466 

E-mail: larry@parlor 

productions.com 

Web: www.parlorproductions.com 

Contact: Larry Sheridan 

THE PLACE...FOR MASTERING 

2508 Winford Ave., 2nd fl. 


615-686-1725 

E-mail: alex@theplacefor 

mastering.com 

66 

October 2014 

musicconnection.com


The Indie Artist 

“Music Connection provides a rolodex of information to help your career go to the 

next level. New artists reviewed in the magazine can see how they rank against 

others, as well as see the breakdown of your personal scores and what you need to 

work on. There are many reasons why Music Connection is the best. Just Read It!” 

– Darrion “Skitso” Scoggins 

The Rock Legend 

“Music Connection has been the go-to place to find musicians, sell or buy 

instruments, locate affordable rehearsal and recording studios for me since 

1980. An indispensable source of trade for all things music.” – Slash 

The Jazz Star 

“Music Connection has been my go-to resource for industry news from the time 

I moved to Los Angeles until now. It’s helped me build my career in many ways, 

from the endless resources to the very cool features and reviews. Thanks for an 

inspiring and always informative magazine!” – 

Los Angeles Chapter President of NARAS 

The Mixer/Producer 

“I’ve been advertising my business there for 30 years. That speaks for itself how I 

feel about Music Connection.” – Skip Saylor, Skip Saylor Recording (Snoop Dogg, 

Booker T. Jones, Glasses Malone with Kendrick Lamar, Bootstraps) 

The Educator 

“Music Connection magazine is my barometer for staying on top of industry 

trends. My students receive invaluable feedback through the New Music Critiques 

and Reviews. Also, the national Directories are a great resource. The latest issue 

of Music Connection magazine has a permanent home in my teaching studio!” 

 

USC Thornton School of Music 

The Grammy Giver 

“From the time I arrived in L.A., and as a young music industry executive, Music 

Connection was always a source of valuable information and news. Thirty-five 

years later, it’s still on my regular reading list.” 

 



Web: www.theplaceformastering.com 

Contact: Alex Rockafellar, 

Studio Mgr. 

Basic Rate: E-mail your project info 

to Alex for a free quote. 

Clients: Eric Clapton, John Mayer, 

Edwin McCain, Jeff Buckley, James 

Brown. Indie artists worldwide 

are welcome. 

*Note: Joe Palmaccio has 20+ 

years major label experience with 

Polygram, Sterling Sound, and Sony 

NYC. 3x Grammy winner. 

WOLF MASTERING 

1024 16th Ave. S. 


615-251-9653 

E-mail: erik@wolfmastering.com 

Web: www.wolfmastering.com 

Contact: Erik Wolf 

Basic Rate: $85/hr. plus masters 

TEXAS 

AMBIENT DIGITAL 

Houston, TX 

888-808-DISC 

E-mail: mastering@ambient 

digital.com 

Web: www.ambientdigital.com 

Contact: Bob Boyd 

Basic Rate: please call for 

an estimate 

ARCUBE MULTIMEDIA INC. 

959 E. Collins Blvd., Ste. 123 

Richardson, TX 75081 

877-677-9582, 972-267-1800 

E-mail: sales@arcube.com 

Web: www.arcube.com 


Additional locations: 

Austin 

877-677-9582 

Houston 

832-573-9444 

AUDIO ARTS 

817-946-7539 

E-mail: audioarts@me.com 


CROWN RECORDS 

402 Peoples St., Ste. 3C 

Corpus Christi, TX 78401 

361-882-8881 

Web: www.crownrecords.com 


DES MASTERING 

1409 S. Lamar St., Ste. 100 

Dallas, TX 75215 

214-428-8777 

E-mail: george@desmastering.com 

Web: www.desmastering.com 


EAGLE AUDIO RECORDING 

911 South Main St. 

Fort Worth, TX 76104 

817- 877- 4338 Fax 817-259-1674 

E-mail: info@eagleaudior 

ecording.com 

Web: www.eagleaudio 

recording.com 


FORT WORTH SOUND 

306 S. Main St. 

Ft. Worth, TX 76104 

817-922-5444 

E-mail: bart@fortworthsound.com 

Web: www.fortworthsound.com 

Contact: Bart Rose 


JO MUSIK 

Dallas, TX 

972-226-1265 

Web: www.jo-musik.com 


MASTERPIECE MASTERING 

P.O. Box 2909 

South Padre Island, TX 78597-2909 

956-233-5326Austin: 512-289-3428 

E-mail: billy@legendaryaudio.com 

Web: www.masterpiecemastering. 

com, www.legendaryaudio.com 

Contact: Billy Stull 


M MEDIA AUDIO 

P. O. Box 201475 

Austin, TX 78720 

512-341-2500 

E-mail: info@mmediaaudio.com 

Web: www.mmediaaudio.com 


NEXUS RECORDING STUDIOS 

San Antonio, TX 

210-639-5266 

E-mail: jason@ 

nexusrecordingstudios.com 

Web: www.nexusrecording 

studios.com 

Contact: Jason Hatch 


OTR MASTERING 

650-595-8475 

E-mail: info@otrstudios.com 

Web: http://otrstudios.com/mastering 

Basic Rate: Please call for info 

SUGARHILL STUDIOS 

5626 Brock St. 

Houston, TX 77023 

713-926-4431 

E-mail: Chris.longwood@gmail.com 

Web: www.sugarhillstudios.com 

Contact: Chris Longwood 


TERRA NOVA DIGITAL 

AUDIO, INC. 

5446 Hwy 290 W., Ste. 270 

Austin, TX 78735 

512-891-8010 Fax 512-891-8014 

E-mail: info@terranova 

mastering.com 

Web: www.terranovamastering.com 

Contact: Diane Tubb, VP 


TOP HAT RECORDING 

Austin, TX 

512-779-8188 

E-mail: mary@tophart 

recording.com 

Web: www.tophatrecording.com 


VAULT RECORDING 

STUDIOS, THE 

9135 Katy Fwy., Ste. 1 


713-722-8900 

E-mail: info@vaultrecording.com 

Web: www.vaultrecording.com 

Contact: David Williams 


WEXTRAX MASTERING LABS 

McKinney, TX 

214-544-1554, 214-585-1692 

E-mail: rob@wextrax.com 

Web: www.wextrax.com 

Contact: Rob Wechsler 


WIRE ROAD STUDIOS 

901 W. 20th St. 


713-636-9772 

E-mail: inquiries@wireroad 

studios.com 

Web: http://wireroadstudios.com 

Contact: Bill Wade 

Basic Rate: By request per project 

UTAH 

DAVID EVANOFF 

SOUND DESIGNS 

2335 S. W. Temple 

Salt Lake City, UT 

801-815-3202 

E-mail: dave@counterpoint 

studios.com 

Web: www.davidevanoff.com 


68 

October 2014 

musicconnection.com


Get Serious about your room… 

Carl Tatz Signature Series 

by Auralex Acoustics 

Fly By West 

Auralex ProPanels , LENRD ® Bass Traps 

& Custom Auralex Mix Cloud 

Shane Wilson’s St. Izzy’s 

Auralex ProPanels , Q’Fusor-II , Hovermat 

& Great GRAMMA 

12 Media Music 

Auralex products and personalized service will make your space look and sound GREAT. 

Call or click today! 

1-800-959-3343 



70 

October 2014 


September 2014 


17


VEGAS DISC MASTERING 

128 W 400 N 

Cedar City, UT 84721 

800-246-5667, 702-735-4283 

E-mail: info@vegasdisc.com 

Web: www.vegasdisc.com 

Contact: Tom Parham 


VICK ENTERTAINMENT 

10 W. Broadway, Ste. 701 

Salt Lake City, UT 84101 

801-755-9966 Fax 866-285-5008 

E-mail: info@vickentertainment.com 

Web: www.vickentertainment.com 


VERMONT 

LITTLE CASTLE STUDIO 

802-349-1280 

E-mail: littlecastlestudio@yahoo.com 

Web: www.littlecastle.com 

Contact: Horace Williams, Jr. 


VIRGINIA 

CUE RECORDING STUDIOS 

109 Park Ave., Ste. E 

Falls Church, VA 22046 

703-532-9033 

E-mail: info@cuerecording.com 

Web: www.cuerecording.com, 

www.myspace.com/cuerecordingstudio 


WASHBURN MASTERING 

325 E. Bay View Blvd., Ste. 205 

Norfolk, VA 23503 

757-480-5008 

Web: www.washburnmastering.com 


WASHINGTON 

BIG CITY RECORDS 

Seattle, WA 

206-774-8884 

E-mail: webmaster@bigcityrecord.com 

Web: www.bigcityrecord.com 


COUGAR MOUNTAIN STUDIOS 

Issaquah, WA 

425-391-0570 

E-mail: cms@cougarmountainstudios.com 

Web: www.cougarmountainstudios.com 


PERFECHTER PRODUCTIONS 

509-242-8907 

E-mail: info@perfechterproductions.com 

Web: www.perfechterproductions.com 


SEATTLE DISC MASTERING 

Shoreline, WA 

206-368-9220 

Web: www.seattlediscmastering.com 

SYNERGY PRODUCTIONS 

958 N 127th St., Ste. B 

Seattle, WA 98133 

206-364-1070 

E-mail: jason@synergynw.com 

Web: www.synergynw.com 

WEST VIRGINIA 

HILLTOP RECORDING 

R.R. 1 Box 334-A 

LeSage, WV 25537 

304-840-2675 

Web: www.hilltoprecording.com 

Contact: Dave Winters 


ZONE 8 RECORDING 

527 Main St. 

Granville, WV 26534 

304-599-7332 

E-mail: zone8recording@yahoo.com 

Web: zone8recording.com 

Contact: Mark Poole 


WISCONSIN 

TAYLOR STUDIOS 

818 N. 109th St. 

Milwaukee, WI 53226 

414-778-0362 

Web: www.taylorstudios.us 


ULTIMATE AUDIO MASTERING 

35 W. Liberty 

Evansville, WI 53536 

608-882-6798 

E-mail: uamaster@sbcglobal.net 

Web: www.ultimateaudiomastering.com 

Contact: Tom Blain 

Basic Rate: call for price quote 

WYOMING 

BALL ADVERTISING GROUP, INC. 

355 N. Lincoln St. 

Casper, WY 82601 

307-234-3472 

E-mail: info@balladv.com 

Web: www.balladv.com 

Services: digital editing 

INTEGRATED IMAGING 

1743 E. 2nd St. 

Casper, WY 82601 

800-780-3805, 307-266-3805 

E-mail: info@iilabs.com 

Web: www.iilabs.com 

Services: video & audio duplication 

INTERNATIONAL 

XARC MASTERING 

The Online CD & Vinyl 

(Pre) Mastering Studio 

Gompitzer St. 108 

Dresden, Saxony 01557 Germany 

+49 (0) 170 750 22 92 

E-mail: info@xarcmastering.com 

Web: www.xarcmastering.com 

Contact: Lorenz Vauck 

Format: digital and analog, 2 tracks 

NEXT ISSUE 

2 Great Directories! 

• Music Publishers 

• Film/TV Music, Music 

Supervisors/Post Production 

Ad Deadline 

OCT. 20 

818-995-0101 

Debuting 

at 

M60 

Small Diaphragm 

FET Condenser 

www.t-funk.com 


Annual Directory of COLLEGE/INDIE RADIO 

If you’re looking to get your music played by college and indie radio stations, this one-of-a-kind MC directory is the ideal 

resource. And for expert advice about executing a successful radio campaign, check out our Tip Jar on p. 78. 

ALABAMA 

WVUA 90.7 FM 

University of Alabama 

Box 87 

Tuscaloosa, AL 35487-0370 

904-504-3306 

E-mail: music@wvuafm.ua.edu 

Web: www.wvuafm.ua.edu 

Format: alt-rock 

ARIZONA 

KAMP 1570 AM 

University of Arizona 

Attn: KAMP Music Director 

615 N. Park Ave., #101 


520-626-4460 

E-mail: headmusic@kamp.arizona. 

edu 

Web: http://kamp.arizona.edu 

Format: free form 

KXCI 91.3 FM 

220 S. 4th Ave. 


520-623-1000, ext 16 

Web: www.kxci.org 

Contact: Duncan Hudson 

Format: eclectic 

CALIFORNIA 

KALX 90.7 FM 

University of California 

26 Barrows Hall, Ste. 5650 

Berkeley, CA 94720-5650 

510-642-1111 

E-mail: music@kalx.berkeley.edu 

Web: http://kalx.berkeley.edu 


KCRH 89.9 FM 

Chabot College 

25555 Hesperian Blvd. 

Hayward, CA 94545 

510-723-6954 

E-mail: programdirectory@ 

KCRHradio.com 

Web: www.kcrhradio.com 

KCPR 91.3 FM 

Cal Poly State University 

1 Grand Ave. 

San Luis Obispo, CA 93407 

805-756-5277 

E-mail: music.kcpr@gmail.com 

Web: www.kcpr.org 


KCRW 89.9 FM 

Santa Monica College 

1900 Pico Blvd. 


310-450-5183 

Web: www.kcrw.com 

Contact: Jason Bentley 


Note: Submissions are all done 

through the website http://malcolm. 

kcrw.com 

KCSC Internet Radio 

California State University, Chico 

530-898-6229 

E-mail: gm@kcscradio.com 

Web: www.kcscradio.com 


KCSB 91.9 FM 


P.O. Box 13401 

Santa Barbara, CA 93107-3401 

805-893-3757 

E-mail: general.manager@kcsb.org 

Web: www.kcsb.org 


KCSN 88.5 FM 

California State University, Northridge 

18111 Nordhoff St. 

Northridge, CA 91330-8312 

818-677-3090 

E-mail: Mark@kcsn.org 

Web: www.kcsn.org 

Contact: Mark Shovel 

Format: Smart rock 

Note: Weekend show “Connections” 

with Nic Harcourt hosts an eclectic 

mix of progressive and innovative pop, 

connecting the musical dots between 

Jack White and Led Zeppelin, Serge 

Gainsbourg and Beck, Kraftwerk 

and Air and plenty in between. Nic 

showcases new and independent 

talent from across the musical 

spectrum and features live sessions 

and interviews with both established 

and emerging artists. 

(nic@kcsn.org) 

KDVS 90.3 FM 


14 Lower Freeborn Hall 

Davis, CA 95616 

530-235-6014 

E-mail: musicdept@kdvs.org 

Contact: Miriam De Haven, 

Kris Nguyen 

Web: www.kdvs.org 

Format: eclectic/freeform 

KFJC 89.7 FM 

Foothill College 

12345 El Monte Rd. 

Los Altos Hills, CA 94022 

650-949-7260 Fax 650-948-1085 

E-mail: gm@kfjc.org 

Web: www.kfjc.org 


KJAZZ 88.1 FM 

California State University, 

Long Beach 

1288 N. Bellflower Blvd. 


562-985-2999 

Contact: Bubba Jackson, 

Program Dir. 

E-mail: breakfastwith 

bubba@kkjz.org 

Web: www.jazzandblues.org 

Format: jazz & blues 

KLBC.ORG 

Long Beach City College 

4901 E. Carson St. 


562-938-4800 

E-mail: patgraham@klbc.org 

Web: www.klbc.org 


KOHL 89.3 FM 

Ohlone Community College 

43600 Mission Blvd. 

Fremont, CA 94539 

510-659-6221 Fax 510-659-6001 

E-mail: pd@kohlradio.com 

Web: www.kohlradio.com 

KSCU 103.3 FM 

Santa Clara University 

500 El Camino Real, Ste. 3207 

Santa Clara, CA 95053 

408-554-4907 

E-mail: music@kscu.org 

Web: www.kscu.org 


KSBR 88.5 FM 

Saddleback Community College 

28000 Marguerite Pkwy. 

Mission Viejo, CA 92692 

949-582-5727 Fax 949-347-9693 

E-mail: twedel@saddleback.cc.ca.us 

Web: www.ksbr.net 

Format: Jazz, Chill, Electronica 

KSJS 90.5 FM 

San Jose State University 

Hugh Gillis Hall, Rm. 132 

San Jose, CA 95192-0094 

408-924-5757 

E-mail: ksjs@ksjs.org 

Web: www.ksjs.org 


KSPC 88.7 FM 

Pomona College 

Thatcher Music Building 

340 N. College Ave. 

Claremont, CA 91711 

909-621-8157 

Web: www.kspc.org 

Format: eclectic/underground 

music 

KUCI 88.9 FM 

University of California, Irvine 

P.O. Box 4362 

Irvine, CA 92616 

949-824-4582 

E-mail: musicdir@kuci.org 

Web: www.kuci.org 


KXLU 88.9 FM 

Loyola Marymount University 

One LMU Dr., Malone 402 


310-338-5958, 310-338-2866 

E-mail: annakxlu@gmail.com 

Contact: Anna Soffer 

Web: www.kxlu.com 


KXSC 1560 

USC 

3607 Trousdale Parkway 

213-740-1486 

E-mail: info@kxsc.org 

Web: www.kxsc.org 

Format: independent eclectic 

KZSC 88.1 FM 

University of California, Santa Cruz 

1156 High St. 

Santa Cruz, CA 95064 

831-459-4036 

E-mail: program@kzsc.org 

Web: www.kzsc.org 


KZSU 90.1 FM 

Stanford University 

P.O. Box 20510 

Stanford, CA 94309 

650-725-4868 

E-mail: music@kzsu.stanford.edu 

Web: http://kzsu.stanford.edu 


UCLAradio.com 

University of California, Los Angeles 

118 Kerckhoff Hall 

308 Westwood Plaza 


310-825-9105, business line: 310- 

825-6955 

E-mail: radio.music@uclaradio.com 

Web: www.uclaradio.com 

Format: college/eclectic 

COLORADO 

KCSU 90.5 FM 

Colorado State University 

706 S. College Ave., Ste. 207 

Fort Collins, CO 80524 

970-491-1695 

E-mail: music@kcsufm.com 

Web: www.kcsufm.com 


KGNU 88.5 FM & 1390 AM 

4700 Walnut St. 


303-449-4885 

Web: www.kgnu.org 


KRCC 91.5 FM 

Colorado College 

912 N. Weber St. 

Colorado Springs, CO 80903 

E-mail: vicky@krcc.org 

Web: www.krcc.org 


KVCU 1190 AM 

University of Colorado 

Campus Box 207 


303-492-7405 

E-mail: dj@radio1190.org 

Web: www.radio1190.org 


CONNECTICUT 

WESU 88.1 FM 

Wesleyan University 

45 Wyllys Ave. 

Middletown, CT 06459 

860-685-7703 

E-mail: program@wesufm.org 

Web: www.wesufm.org 


WHUS 91.7 FM 

University of Connecticut 

Student Union Building, Rm. 412 

2110 Hillside Rd., Unit 3008R 

Storrs, CT 06269-3008 

860-486-4007 

E-mail: info@whus.org 

Web: www.whus.org 


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WNHU-88.7 FM 

University of New Haven 

300 Boston Post Rd. 

West Haven, CT 06516 

203-479-8805 

E-mail: Blane@nehaven.ed 

Web: www.wnhu.net 


WRTC 89.3 FM 

Trinity College 

300 Summit St. 

Hartford, CT 06106 

860-297-2439 

Web: www.wrtcfm.com 


WWUH 91.3 FM 

University of Hartford 

200 Bloomfield Ave. 

West Hartford, CT 06117 

860-768-4703 

E-mail: wwuh@hartford.edu 

Web: http://wwuh.org 

Format: world, women’s, folk, polka, 

jazz, alt, classical, bluegrass, news, 

film, opera 

FLORIDA 

WVFS 89.7 FM 

Florida State University 

420 Diffenbaugh Building 

Tallahassee, FL 32306-1550 

850-644-1879 

E-mail: music@wvfs.fsu.edu 

Web: www.wvfs.fsu.edu 


WVUM 90.5 FM 

University of Miami 

P.O. Box 2481919 

Coral Gables, FL 33124 

786-309-8861 

E-mail: pd@wvum.org 

Web: www.wvum.org 

Format: indie 

GEORGIA 

WRAS 88.5 FM 

Georgia State University 

P.O. Box 3972 

Atlanta, GA 30302-4048 

404-413-9797 

E-mail: wrasmd@gmail.com 

Web: www.wras.org 


WREK 91.1 FM 

Georgia Tech Student Radio 

350 Ferst Dr. N.W., Ste. 2224 

Atlanta, GA 30332-0630 

404-894-2468 

E-mail: music.director@wrek.org 

Web: www.wrek.org 

Contact: Music Director 


WUOG 90.5 FM 

The University of Georgia 

Box 2065 Tate Student Center 

Athens, GA 30602-3401 

706-542-8466 Fax 706-542-0070 

E-mail: md@wuog.org 

Web: www.wuog.org 


HAWAII 

KTUH 90.3 FM 

University of Hawai’i 

2445 Campus Rd. 

Hemenway Hall, Ste. 203 

Honolulu, HI 96822 

808-956-5288 

E-mail: music@ktuh.org 

Web: http://ktuh.org 

Format: all genres 

IDAHO 

KUOI 89.3 FM 

University of Idaho 

Student Union Building, 3rd Fl. 


Moscow, ID 83844-4272 

208-885-6433 

E-mail: eric@kuoi.org 

Web: http://kuoi.com/index.html 

Contact: Peter Ritter, Music Dir. 


ILLINOIS 

RADIO DEPAUL 

DePaul University 

2250 N. Sheffield Ave., Ste. 317 


773-325-7308 

E-mail: radiodepaulmanagment@ 

gmail.com 

Web: www.radio.depaul.edu 


WESN 88.1 FM 

Wesleyan University 

1207 N. Main St. 

Bloomington, IL 61701 

309-556-2634 

E-mail: wesn@iwu.edu 

Web: www.wesn.org 

Format: free-form 

WCRX 88.1 FM 

Columbia College Chicago 

33 E. Congress Pkwy. 


312-663-3512 

E-mail: WCRXDJ@colum.edu 

Web: colum.edu/academics/ 

radio/wcrx 


WHPK 88.5 FM 

Reynolds Club 

5706 S. University Ave. 


773-702-8424 

E-mail: contact@whpk.org 

Web: www.whpk.org 


WZND 106.1 FM 

University of Illinois 

007 Fell Hall 

Normal, IL 61790-4481 

309-438-5491 

E-mail: md@wznd.com 

Web: www.wznd.com 

Format: R&B and alt. rock 

INDIANA 

WFHB 91.3 & 98.1 FM 

108 W. Fourth St. 

Bloomington, IN 47404 

812-202-6397 

E-mail: wfhb@wfhb.org 

Web: www.wfhb.org 


WGRE 91.5 FM 

DePauw University 

313 S. Locust St. 

Greencastle, IN 46135 

765-658-4643 

E-mail: christinewebster_2014@ 

depauw.edu 

Web: www.wgre.org 


WSND 88.9 FM 

Notre Dame 

315 LaFortune 

Student Center 

Notre Dame, IN 46556 

574-631-7342, 574-631-4069 

E-mail: wsnd@nd.edu 

Web: www.nd.edu/~wsnd 

Contact: Michael Byrnes, 

Station Mgr. 


IOWA 

KRUI-89.7 FM 

University of Iowa 

379 Iowa Memorial Union 

Iowa City, IA 52242 

319-335-8970 

E-mail: krui.dj@gmail.com 

Web: www.krui.fm 

Contact: Music Director 

Format: various rock/electronic/hiphop, 

CMJ reporting 

KANSAS 

KJHK-90.7 FM 

University of Kansas 

1301 Jayhawk Blvd. 

Lawrence, KS 66045 

785-864-4747 

E-mail: music@kjhk.org 

Web: www.kjhk.org 


KSDB 91.9 FM 

Kansas State University 

105 Kedzie Hall 

Manhattan, KS 66506-4701 

785-532-0919 

E-mail: jswoyer@k-state.edu 

Web: www.wildcat919.com 

Format: alternative/hip-hop 

MARYLAND 

WGTS 91.9 FM 

Columbia Union College 

7600 Flower Ave. 

Takoma Park, MD 20912 

301-891-4200 800-700-1094 

E-mail: wgts@wgts919.com 

Web: www.wgts919.com 

Format: Christian 

WMBC 560 AM 

University of Maryland 

University Center 101 

1000 Hilltop Cir. 

Baltimore, MD 21250 

410-455-2656 

E-mail: wmbcradio+rotimi@ 

gmail.com 

Web: http://wmbc.umbc.edu 


MASSACHUSETTS 

BIRN - Internet Radio 

MS-150, Berklee College of Music 

1140 Boylston St. 


617-747-8538 

E-mail: info@thebirn.com 

Web: www.thebirn.com 


WCFM 91.9 FM 

Williams College 

Baxter Hall 

Williamstown, MA 01267 

413-597-2197 

Web: http://wcfm.williams.edu 


WERS 88.9 FM 

Emerson College 

120 Boylston St., 4th Fl. 


617-824-8084 

E-mail: info@wers.org 

Web: www.wers.org 


WHRB 95.3 FM 

Harvard College 

389 Harvard St. 

Cambridge, MA 02138-3900 

617-495-4818 

E-mail: mail@whrb.org 

Web: www.whrb.org 


WMBR 88.1 FM 

Mass. Institute of Technology 

3 Ames St. 

Cambridge, MA 02142 

617-253-4000 

E-mail: music@wmbr.org 

Web: www.wmbr.org 


WMFO 91.5 FM 

Tufts University 

PO Box 53065 

Medford, MA 02155 

617-627-3800 

Web: www.wmfo.org 


WMUA 91 FM 

University of Massachusetts 

105 Campus Center 

Amherst, MA 01003 

413-545-2876 

E-mail: music@wmua.org 

Web: www.wmua.org 

Format: eclectic, college, public, noncommercial, 

etc. 

WTBU 640 AM/89.3 FM 

Boston University 

640 Commonwealth Ave. 


617-353-6400 

E-mail: info@wtburadio.com 


wtburadio 


MICHIGAN 

WCBN 88.3 FM 

University of Michigan 

515 Thompson St. 

Student Activities Bldg. 

Ann Arbor, MI 48109-1316 

734-763-3500 

E-mail: music@wcbn.org 

Web: www.wcbn.org 


WDBM 89 FM 

Michigan State University 

G-4 Holden Hall 

234 Wilson Rd. 

East Lansing, MI 48825 

517-884-8989 

E-mail: manager@ 

impact89fm.org 

Web: www.impact89fm.org 


WDET 101.9 FM 

Wayne State University 

4600 Cass Ave. 

Detroit, MI 48201 

313-577-4146 Fax 313-577-1300 

E-mail: wdetfm@wdetfm.org 

Web: www.wdetfm.org 


WKAR 90.5 FM 

Michigan State University 

Communication Arts & 

Sciences Bldg. 

404 Wilson Rd., Rm. 212 

East Lansing, MI 48824 

517-884-6990 

E-mail: CAROLopedia@wkar.org 

Web: www.wkar.org 

Format: new age, world, 

folk, classical 

October 2014 


73

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MISSOURI 

KCOU 88.1 FM 

2500 MU Student Center 

Columbia, MO 65201 

573-882-7820 

E-mail: md@kcou.fm 

Web: http://kcou.fm 

Format: alt. rock 

KMNR 89.7 FM 

University of Missouri 

218 Havener Center 

Rolla, MO 65409 

573-341-4272 

E-mail: stationmanager@ 

kmnr.org 

Web: www.kmnr.org 


KWUR 90.3 FM 

Washington University 


One Brookings Dr. 

St. Louis, MO 63105 

314-935-5952 

E-mail: music1@kwur.com 

Web: www.kwur.com 


NEW JERSEY 

WBZC 88.9 FM 

Burlington County College 

601 Pemberton Brown Mills Rd. 

Pemberton, NJ 08068 

609-894-9311 ext. 1784 

Contact: Jason Varga, 

Program Director 

E-mail: jvarga@bcc.edu 

Web: www.z889.org 

Format: indie rock 

WFMU 91.1 FM 

P.O. Box 2011 

Jersey City, NJ 07303-2011 

201-200-9368 

Contact: Brian Turner, 

Station Director 

Web: www.wfmu.org 


WPRB 103.3 FM 

30 Bloomberg Hall 

Princeton University 

Princeton, NJ 08544 

609-258-3655 Fax 609-258-1806 

E-mail: music@wprb.com 

Web: www.wprb.com 

Format: rock, folk, jazz, blues, 

classical 

WRSU 88.7 FM 

Rutgers University 

126 College Ave. 

New Brunswick, NJ 08901 

732-932-7802 ext. 923 

E-mail: music@wrsu.rutgers.edu 

Web: www.wrsu.org 


WTSR 91.3 FM 

The College of New Jersey 

P.O. Box 7718 

Ewing, NJ 08628 

609-771-2420 

E-mail: music@wtsr.org 

Web: www.wtsr.org 

Format: college, metal, folk, blues 

NEW MEXICO 

KUNM 89.9 FM 

University of New Mexico 

MSCO6 3520, Onate Hall 

1 University of New Mexico 

Albuquerque, NM 87131-0001 

505-277-8369, 877-277-4806 

E-mail: mfinch@kunm.org 

Web: www.kunm.org 


NEW YORK 

WBAR 87.9 FM 

Barnard College 

3009 Broadway 

New York, NY 10027-6598 

212-854-4773 

E-mail: wbar@barnard.edu 

Web: www.wbar.org 

Contact: various depending 

on genre 

Format: free-form, 

non-commercial 

WCOT 89.1 FM 

SUNY Institute of Technology, 

Utica/Rome 

100 Seymour Rd. 

Utica, NY 13502 

315-792-7500 

WDWN 89.1 FM 

Cayuga Community College 

197 Franklin St. 

Auburn, NY 13021 

315-255-1743 ext. 2282 

E-mail: keeler@cayuga-cc.edu 

Web: www.wdwn.fm 

Format: college alternative 

WFUV 90.7 FM 

Fordham University 

Bronx, NY 10458-9993 

718-817-4550 

Web: www.wfuv.org 


WICB 91.7 FM 

Ithaca College 

92 WICB 

118 Park Hall 

Ithaca, NY 14850 

607-274-3217 

E-mail: music@wicb.org 

Web: www.wicb.org 


WNYU 89.1 FM 

5-11 University Pl. 


212-998-1660 

E-mail: music@wnyu.org 

Web: http://wnyu.nyu.edu 

Contact: Marla Sherman 


WRHU-88.7 FM 

Hofstra University 

111 Hofstra University 

127 Dempster Hall 

Hempstead, NY 11549 

516-463-3674 

E-mail: wrhumusic@wrhu.org 

Web: www.wrhu.org 

Contact: Samantha Sedlack 


WRPI 91.5 FM 

Rensselaer Polytechnic Institute 

1 WRPI Plaza 

Troy, NY 12180-3590 

518-276-2648 

Web: www.wrpi.org 


WRUR 88.5 FM 

University of Rochester 

P.O.Box 30021 

Rochester, NY 14614 

585-275-9787 

E-mail: gm@wrur.org 

Web: www.wrur.org 

Format: AAA, eclectic 

WVKR 91.3 FM 

Vassar College 

Box 726 

124 Raymond Ave. 

Poughkeepsie, NY 12604-0726 

845-437-5476 

Contact: Thea Ballard, Jay 

Lancaster 

E-mail: wvkrmd@vassar.edu 

Web: www.wvkr.org 


NORTH CAROLINA 

WKNC-88.1 FM 

N. Carolina State University 

Witherspoon Student Center 

Campus Box 8607, Ste. 343 

Raleigh, NC 27695-8607 

919-515-2401 

Web: http://wknc.org 


WRVS 89.9FM 

Elizabeth State University 

1704 Weeksville Rd. 

Elizabeth City, NC 27909 

252-335-3517 ext 6 

Contact: Clayton Mercer, 

Production Dir. 

E-mail: cmercer@ecsu.edu 

Web: www.ecsu.edu/wrvs 

Format: jazz, R&B, gospel 

WXDU 88.7 FM 

Duke University 

POB 90689 

Durham, NC 27708 

919-684-2957 

E-mail: music@wxdu.org 

Web: www.wxdu.duke.edu 


WXYC 89.3 FM 

University of N. Carolina 

CB 5210 Carolina Union 

Chapel Hill, NC 27599 

919-962-8989 

E-mail: info@wxyc.org 

Web: www.wxyc.org 

Contact: Jonathan Woollen 


OHIO 

WBWC 88.3 FM 

275 Eastland Rd. 

Berea, OH 44017 

440-826-2145 

E-mail: comments@wbwc.com 

Web: www.wbwc.com 


WCSB 89.3 FM 

3100 Chester Ave. 

CE 4th Fl. 

Cleveland, OH 44115 

216-687-3721 

E-mail: musicdirector@wcsb.org 

Contact: Chris Connelly 

Web: www.wcsb.org 


WYSO 91.3 FM 

Antioch University Midwest 

150 East S. College St. 

Yellow Springs, OH 45387 

937-767-6420 

E-mail: wyso@wyso.org 

Web: www.wyso.org 


OREGON 

KLC RADIO 

Lewis & Clark 

0615 S.W. Palatine Hill Road MSC 

105 Portland, OR 97219 

E-mail: klc@lclark.edu 

Web: http://college.lclark.edu/ 

student_life/klc_radio 

KPSU 98.1 FM 

Portland State University 

PO BOX 751 


503-725-5669 

E-mail: music@kpsu.org 

Web: www.kpsu.org 


KWVA 88.1 FM 

University of Oregon 

P.O. Box 3157 

Eugene, OR 97403 

541-346-4091 

E-mail: music@kwvaradio.org 

Web: www.kwvaradio.org 


PENNSYLVANIA 

WCLH 90.7 FM 

Wilkes University 

84 W. South St. 

Wilkes Barre, PA 18766 

570-408-2908 

E-mail: wclhpd@gmail.com 

Web: www.wclh.org 


WERG 90.5 FM 

Gannon University 

109 University Sq. 

Erie, PA 16541 

814-459-9374 

Contact: Ted Hallowel, 

Music Director 

E-mail: hallowel003@ganon.edu 

Web: www.wergfm.com 


WFSE 88.9 FM 

Edinboro University of Pennsylvania 

Earley Hall 

814-732-2889 

E-mail: admin@wfseradio.com 

Web: www.wfseradio.com 


WKDU 91.7 FM 

Drexel University 

3210 Chestnut St. 

Philadelphia, PA 19104 

215-895-2082 

Web: www.wkdu.org 


WPTS 92.1 FM 

University of Pittsburgh 

411 William Pitt Union 

4200 Park Ave. 


412-648-7990 

E-mail: stationmanager@ 

wptsradio.org 

Web: www.wpts.pitt.edu 


WRCT 88.3 FM 

1 WRCT Plaza 

5000 Forbes Ave. 


412-621-0728 

E-mail: info@wrct.org 

Web: www.wrct.org 

Contact: Matt Mastricova, 

Music Dir. 


WQHS 

University of Pennsylvania 

Hollenback Center 504 

3000 South St. 

Philadelphia PA 19104 

215-898-3500 

74 

October 2014 

musicconnection.com


E-mail: programdirector@wqhs.org 

Web: www.wqhs.org 


TENNESSEE 

WMTS 88.3 FM 

Middle Tennessee State University 

1301 E. Main St., Box 58 

Murfreesboro, TN 37132 

615-898-5051 

E-mail: music@wmts.org 

Contact: David Lannom 

Web: www.wmts.org 


WRVU 91.1 FM 

Vanderbilt University 

P.O. Box 9100, Station B 


615-322-3691 

E-mail: wrvumd@ 

vanderbilt.edu 

Web: www.wrvu.org 


TEXAS 

KSAU 90.1 FM 

Stephen F. Austin State 

P.O. Box 13048 

Nacogdoches, TX 75962 

936-468-4000 

E-mail: ksaumusic@gmail.com 

Web: www2.sfasu.edu/ksau 


KTCU 88.7 FM 

Box 298020 

Fort Worth TX 76129 

817-257-7631 

E-mail: ktcu@tcu.edu 

Web: www.ktcu.tcu.edu 

Format: classical, modern rock, 

Americana 

KTRU 91.7 FM 

MS506 

Rice University, MS 506 

Houston, TX 77251-1892 

Web: www.ktru.org 


KVRX 91.7 FM 

Student Radio c/o UT 

P.O. Box D 

Austin, TX 78713-7209 

512-495-5879 

E-mail: kvrxmusic@gmail.com 

Web: www.kvrx.org 


WASHINGTON 

KAOS 89.3 FM 

The Evergreen State College 

2700 Evergreen Parkway, CAB 301 

Olympia, WA 98505 

360-867-6888 

Web: www.kaosradio.org 

Contact: Nicki Thompson, 

Music Director 

KCWU 88.1 FM 

Central Washington University 

400 E University Way STOP 7594 

509-963-2283 

Web: www.881theburg.com 


SATELLITE RADIO 

SIRIUS SATELLITE RADIO 

Attn: Music Programming Department 

1221 Avenue of the Americas 


866-528-7474 

Web: www.sirius.com 

INDIE RADIO 

COMMON NONSENSE 

on Live 365 

New Orleans, LA 

E-mail: music@ 

commonnonsenseradio.com 

Web: www.commonnonsense.net 

FEARLESS RADIO 

Chicago, IL 

Web: www.fearlessradio.com 

INDIE 103.1 FM 

5700 Wilshire Blvd., Ste. 250 


323-900-6100 

E-mail: pwakeman@entravision.com 

Contact: Penelope Wakeman, 

Station Mgr. 

Web: www.indie1031.com 

iRADIO LA – INDIE 104 

P.O. Box 1403 

Covina, CA 91722 

E-mail: info@iradiola.com 

Web: www.iradiola.com 

RADIO ELECTRIC 

Web: www.radioelectric.com 

RADIOINDY.COM 

P.O. Box 93492 

Phoenix, AZ 85070 

E-mail: support@radioindy.com 

Web: www.radioindy.com 

SONGPLANET.COM 

E-mail: info@songplanet.com 

Web: www.songplanet.com 

INDIE PROMOTERS 

AIRPLAYONLY 

See AIRPLAY ACCESS 

ALL ACCESS MUSIC GROUP 

28955 Pacific Coast Hwy., Ste. 210 

Malibu, CA 90265 

310-457-6616 Fax310-457-8058 

E-mail: jdenver@allaccess.com 

Web: www.allaccess.com 

Contact: Joel Denver 

Styles/Specialties: Top 40 / 

mainstream, top 40 / rhythm 

crossover, alternative, rock, country, 

Hot AC, rock, contemporary Christian, 

urban, urban AC 

ALL ACCESS MUSIC GROUP 

1222 16th Ave., S., Ste. 25 


615-252-6400 

Web: allaccess.com 

AMERICAN AMP 

323-638-9267 

E-mail: info@americanamp.com 

Web: www.americanamp.com 

Styles/Specialties: All. Past Clients: 

(MUSIC) SONY, Warner Bros. BMG, 

Capitol. (FILM) The Passion of 

the Christ, Narnia, Oldboy, Rocky 

Balboa,The Puffy 

BACKSTAGE 

ENTERTAINMENT 

E-mail: staff@ 

backstageentertainment.net 

Web: www.backstageent 

ertainment.net 

Contact: Paul Loggins 

Styles/Specialties: specializing in 

Top 40, adult contemporary, country, 

rap/R&B, rock and college national 

radio campaigns 

BILL WENCE PROMOTIONS 

P.O. Box 39 

Nolensville, TN 37135 

615-776-2060 

Web: www.billwencepromotions.com 

Contact: Bill Wence 

Styles/Specialties: Americana/AAA/ 

college/acoustic/roots. Specializing in 

independent artists, radio 

interviews, tours. 

*Unsolicited material accepted 

BRYAN FARRISH RADIO 

PROMOTION 

1828 Broadway, 2nd Fl. 


310-998-8305 

E-mail: airplay@radio-media.com 

Web: www.radio-media.com 

Styles/Specialties: All except 

classical 

EVOLUTION PROMOTION 

7 Arlene Ave. 

Wilmington, MA 01887 

978-658-3357 

E-mail: info@evolution 

promotion.com 

Web: www.evolutionpromotion.com 

FLANAGAN’S RADIO & RETAIL 

PROMOTIONS 

323-876-7027 

E-mail: submissions@ 

flanaganpromotions.com 

Web: www.radioandretail.com 

Styles/Specialties: college radio, 

commercial radio, retail promotion, 

other 

INDIE POWER.com 

11054 Ventura Blvd., Ste. 333 


818-505-1836 

E-mail: info@indiepower.com 

Web: www.indiepower.com 

Styles/Specialties: Full service, 

promo, worldwide, Movies/TV, 

distribution 

INTEGRATED MARKETING 

See Indie Power 

LOGGINS PROMOTION 

2530 Atlantic Ave., Ste. C 


310-325-2800 

E-mail: promo@loggins 

promotion.com 

Web: www.logginspromotion.com 

Contact: Paul Loggins, Paola 

Franco, John Stevens, Laurent 

Stoeckli 

Styles/Specialties: all styles 

and genres 

RUFFSOUNDS 

625 S Griffith Park Dr. 


310-418-2818 

E-mail: xmruff@comcast.net 

Web: www.ruffsounds.com 

Contact: Marko Babineau, Austin 

Keyes 

Styles/Specialties: rock, active rock, 

modern rock, see website for new 

phone numbers 

*No unsolicited material 

NATIONAL RECORD PROMOTION 

137 N. Larchmont Blvd., Ste. 500 


323-658-7449 

E-mail: lweir@larryweir.com 

Web: heartlandent.com, larryweir.com 

Contact: Larry Weir 

PINCH HIT ENTERTAINMENT 

2400 West Carson, Ste. 223 

Torrance, California 90501 

310-791-7617 

E-mail: mike@pinchhit.com 

Web: www.pinchhit.com 

Contact: Mike Naylor 

Styles/Specialties: guitar-oriented 

rock, pop, specializing in national 

radio promotion, distribution and 

press campaigns 

PIRATE! 

145 Columbia St. 

Cambridge MA 02139 

617-256-8709 

E-mail: steve@piratepirate.com 

Web: www.piratepirate.com 

Contact: Steve Theo 


San Francisco 

Contact Douglas Blake 

617-571-8043 

PLANETARY GROUP, THE 

6325 Santa Monica Blvd., Ste. 100 


323-952-5050, 1-800-254-2543 

E-mail: info@planetarygroup.com 

Web: www.planetarygroup.com 


P.O. box 52116 


FLANAGAN PROMOTIONS 

323-876-7027 

E-mail: submissions@ 

flanaganpromotions.com 

Web: www.flanaganpromotions.com 

Contact: Jon Flanagan 

Styles/Specialties: AAA, modern 

rock, commercial & college radio and 

retail promotions 

HOWARD ROSEN 

PROMOTION 

1129 Maricopa Highway #238 

Ojai, CA, 93023 

805-382-2200 

E-mail: info@howiewood.com 

Web: www.howiewood.com 

Contact: Howard Rosen 

Styles/Specialties: CHR/Top 

40, AC, Hot AC, AAA, Alternative 

Specialty, Mainstream Rock, Modern 

AC, College for artists of all label 

sizes including Independent. We also 

do Social Media, Videos, Production 

and Song Placement. 

PINNACLE MANAGEMENT, 

MARKETING AND 

PROMOTION LLC 

1129 Maricopa Highway #238 

Ojai, CA, 93023 

E-mail: pinnaclemanagement212@ 

gmail.com 

Specialties: Management, 

Marketing and Promotion 

TIM SWEENEY & 

ASSOCIATES 

31805 Hwy. 79 S., Ste. 551 

Temecula, CA 92592 

951-303-9506 sweeney@ 

timsweeney.com 

Web: www.tsamusic.com 

Contact: Tim Sweeney 

Styles/Specialties: all styles 


For Advertising Info Call 818-995-0101 MARKETPLACE 

76 October 2014 

musicconnection.com

For Advertising Info Call 818-995-0101 MARKETPLACE 

October 2014 


will draw more attention to you and your music 

over all the bands that are looking for one-way 

promotion By sharing information and posting 

content to promote a station, you stand out and 

make them want to reciprocate. Also use social 

media to connect with various school pages 

and online groups at those schools. 

4. Track the results. 

Are you seeing an influx of likes, friends, adds 

or even booking requests from a certain re- 

– LOREN WEISMAN 

6 TIPS: Planning, Creating, Marketing and Executing a 

Successful College Radio Campaign 

n planning a successful college or indie 

radio promotional campaign for your band, it 

Icomes down to much more than hiring someone 

or buying air time. Certainly not if you are 

looking for a successful run and making back 

the money you spent. Not to mention, being 

able to convert that time and money into new 

fans, more sales and networking opportunities. 

The fact is, according to author Loren Weisman 

in the following six tips, it takes a well considered 

plan, one that should be in place prior 

to your campaign. If executed properly, your 

plan will not only work throughout the entire 

campaign, but well beyond it. 

1. It is crucial to research 

the options. 

If you are looking to a PR firm, radio 

publicity group or agency that claims 

they can get you plays or even 

charting…ask for their references. 

Talk to former clients who have 

been with them in the last 12 

months. Find out about recent 

success stories and ask those 

bands how it worked for them. 

Find out the exact costs. 

Find out if they saw a return 

on investment. Nothing is 

guaranteed, but did these 

former clients get gigs, sell 

music, merchandise and build 

their fan base or did they just 

get played a few times This 

is the most crucial step of a 

successful radio campaign. And 

having someone, or a team, that 

can help you will take a great deal 

of the burden off of you. However, 

understand that you will still need to 

do a great deal of work. 

2. Understand that a chart position and 

plays don’t equate to listens. 

Anyone can show you a chart position on a 

radio chart. Anyone can show you play counts, 

but if those numbers aren’t growing your fan 

base or converting, they are worthless. Make 

sure you are setting up a campaign to reach 

real people and not create meaningless 

numbers. Focus on the conversion and not 

the position or play numbers. When you keep 

your mind set on building the real fan numbers 

over the play numbers, you are dramatically 

increasing your chances that those real numbers 

can convert to profit. 

3. Follow up on the people, stations and 

placing where your music is being played. 

Are you marketing more than just “I’m being 

played on this station” Find out who the DJs 

are and add them to your social media. Find out 

the popular school sites or radio stations and 

add them to your “playlist” of cross promotion 

online. Tag them, and add content about them, 

not just that you are being played on their station, 

but information about their station. Cross 

promotion will result in more promotion of your 

music. How can you promote these schools, 

these stations and these people in a way that 

“When you keep your mind 

set on building the real fan 

numbers over the play 

numbers, you are dramatically 

increasing your chances that 

those real numbers can convert 

to profit.” 

gion Should you focus more online promotion 

or work to get a show in that area Conversely, 

are you getting plays in a market or school 

that is not bringing anything back By keeping 

a simple tracking sheet on a weekly basis to 

understand what is working and what isn’t, you 

will know where to focus your time, your efforts 

and your promotion. This basic tracking sheet 

can include the colleges or stations where you 

are being played and will keep an eye on those 

that add you and even asking flat out, “how did 

you find out about us” Your time spent understanding 

how your base is building will help you 

exponentially. 

5. Engagement with ads, prizes and giveaways. 

Again, get in touch with those DJs and those 

schools after a campaign has started and offer 

up some free physical and digital merchandise. 

Engage those fans with something 

beyond just asking for them to listen to you 

or request you. The engagement of prizes 

and giveaways gives people a sense of 

what they can get over the idea of most 

bands that are inundating fans with 

“like me, request me, tell them to 

play me…me, me, me.” 

6. Ask yourself if you are 

ready for a college radio 

campaign. 

Is your branding in place for 

your band Are your social 

media pages updated, active 

and easy to find Is 

your merchandise easy to 

purchase and are the links 

clear on where to buy it Is 

the information about booking 

you for a show in place Are 

you involved with the promotion 

and marketing of your 

group and your music beyond 

just “we have a show here” or “we 

are playing here Friday” The last 

step before pulling the trigger is to 

ask yourself if you truly have all the 

elements in place to either execute (or 

have someone effectively execute) the best 

radio campaign possible. If these elements are 

not in place, it will be that much harder for you 

to create a fan base and get conversions. Make 

sure the branding, marketing and promotion 

of your band and your music is in place before 

you start a radio promotional campaign. 

Setting an example by being active and 

organized––while others are working with you 

and for you––will 

make the chances 

of a successful radio 

promotion campaign 

much more likely. 

On the same note, if 

you aren’t ready for 

a radio campaign, 

be smart––save your 

money and start 

getting your plan 

together. 

LOREN WEISMAN is a music industry consultant and selfdescribed 

branding fool who helps, assists and consults 

independent artists, businesses (inside and outside of 

music), labels and managers to achieve sustainable success. 

He is the author of The Artist’s Guide to Success in 

the Music Business. For more about Weisman visit http:// 

lorenweisman.com 

78 

October 2014 

musicconnection.com

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