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NEXUS RECORDING STUDIOS
8535 Fair Haven
San Antonio, TX 78229
210-639-5266
Web: nexusrecordingstudios.com
Contact: Jason Hatch
ORB RECORDING STUDIOS
9306 Ledgestone Terrace
Austin, TX 78737
512-433-6301
Web: orbrecordingstudios.com
Basic Rate: call or email for rates
PLANET DALLAS
P.O. Box 110995
Carrollton, TX 75011
214-893-1130
Web: planetdallas.com
Contact: Rick Rooney
Format: please see website
Basic Rate: call for pricing
RAMBLECREEK STUDIO
Austin, TX
512-797-7131
Contact: Britton Beisenherz
Web: ramblecreek.com
Basic Rate: Call for info
RECORD WITH BARRON
1701 Detering St.
Houston, TX. 77007
713-225-1846
Web: recordwithbarron.com
Basic Rate: 1 hr/$80, 4 hr/$280
SONIC RANCH
20200 Alameda
Tomillo, TX 79853
915-449-3717
Contact: Tony Rancich
Web: sonicranch.com
SOUND ARTS RECORDING
8377 Westview Drive
Houston, TX 77055
713-464-4653
Web: soundartsrecording.com
SPACE REHEARSAL & RECORDING
7915 Manchaca Rd.
Austin, TX 78745
512-448-9518
Web: spaceatx.com
Basic Rates: $10/$14/$30 hr
STUDIO HILL
Austin, TX
737-202-4557
Web: studiohillaustin.com
STUDIO 601
South Austin, TX
512-693-9465
Web: studio601recording.com
STUDIO713
848 Richey St.
Houston, TX 77002
713-640-5428
Email: info@713mediagroup.com
Web: 713mediagroup.com
SUGARHILL STUDIOS
5626 Brock St.
Houston, TX 77023
713-926-4431
Contact: Casey Waldner
Web: facebook.com/SugarHillStudios
Download at musicconnection.com/industry-contacts
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Web: guilfordsound.com
Contact: Cynthia Larsen
Format: Pro Tools + Analog
Basic Rate: Please call Cindy.
NORTHERN TRACK RECORDING STUDIO
P.O. Box 1059
Wilmington, VT 05363
802-464-2234
Web: northerntrackstudio.com
Basic Rate: $60/hr
OLD MILL ROAD RECORDING
316 Old Mill Road
East Arlington,VT 05252
802-430-7398
Web: oldmillroadrecording.com
SOUNDESIGN RECORDING STUDIO
67 E. Town Farm Rd.
Putney, VT 05346
802-257-1555
Web: facebook
Contact: Billy Shaw
Format: Pro Tools 001, 2” 24 & 16 Track Sony, ADAT
Basic Rate: call for rates & special
TANK RECORDING STUDIO
322 N. Winooski Ave.
Burlington, VT 05401
802-448-2655
Web: tankrecording.com
Format: Pro Tools Ultimate 2013/2015 Mac Pro,
Apogee 32 Channels
VIRGINIA
CUE RECORDING STUDIOS
109 Park Ave., Ste. E
Falls Church, VA 22046
703-532-9033
cuerecording.com
Web: cuerecording.com
Basic Rate: please call for info
DA SPOT RECORDING STUDIO
213 W Brookland Park Blvd.
Richmond, VA 23223
804-649-2888
Web: daspotrecordingstudio.com
INNER EAR STUDIO
2701 South Oakland Street
Arlington, VA 22206
703-820-8923, 703-521-7781
Web: innerearstudio.com
Rate: $425 per day, hourly rates available
MASTER SOUND
Virginia Beach, VA 23452
757-373-1180
Web: mastersoundva.com
Contact: Rob Ulsh
Format: digital and vintage analog
Basic Rate: call for rates
WASHINGTON
BAD ANIMALS
2247 15th Ave. W
Seattle, WA 98119
206-443-1500
Web: badanimals.com
Contact: Wendy Wills
Format: digital and analog
Basic Rate: please call for info
BEAR CREEK STUDIO AND MUSIC PRODUCTION
6313 Maltby Rd.
Woodinville, WA 98072
425-481-4100
Web: bearcreekstudio.com
Contact: Manny Hadlock
Format: 2” 24 trk, 2” 16 trk, 1/2” 2 trk, Pro Tools HD
32 in/48 out
Basic Rate: Please call for rates
CLOUD STUDIOS
1101 E. Pike St.
Basement
Seattle, WA 98122
206-209-0977
Web: cloudstudiosseattle.com
Contact: Doug Wilkerson
Basic Rate: call for rates
ECLECTIC LADY LAND
RECORDING RANCH, LLC
341 Mt. Dallas Rd.
Friday Harbor, WA 98250
360-298-4249
Format: Pro Tools & Ultra Hi-end Digital Mics - no
converters!
Web: EclecticLadyLandRecording.com
Basic Rate: We are a retreat studio with housing
on an awe-inspiring property with special project
rates
ELECTROKITTY
4415 Densmore Ave., N.
Seattle, WA 98103
425-358-1441
Web: electrokitty.com
Contact: Garrett
Format: Digital and Analog
Basic Rate: call for more info
LONDON BRIDGE STUDIOS
20021 Ballinger Way, N.E., #A
Shoreline, WA 98155
206-364-1525
Web: londonbridgestudio.com
Format: Vintage Neve 8048 / Studer A-800 MKIII
24-track 2” Analog tape deck, Protools HD3
Basic Rate: please call for rates
MIRROR SOUND STUDIO
301 N.E. 191st St.
Seattle, WA 98155
206-440-5889
Web: mirrorsound.com
Contact: Ken Fordyce
Format: 24 track digital-analog
Basic Rate: Please call for rates
ORBIT AUDIO
Seattle, WA
206-381-1244
Web: orbitaudiorocks.com
Format: Digital/Analog
Basic Rate: $95/Hr, $750/day
WEST VIRGINIA
JAMIE PECK PRODUCTIONS
216 Longvue Acres Rd.
Wheeling, WV 26003
304-277-2771
Web: jamiepeckproductions.com
Contact: Jamie Peck
Format: digital Pro Tools HD
Basic Rate: please call for info
RHL AUDIO
703-628-3015
Web: rhlaudio.com
Contact: Chris Murphy
Basic Rate: please call for info
WISCONSIN
BLAST HOUSE STUDIOS
1117 Jonathon Dr.
Madison, WI 53713
608-276-4446
Web: blasthousestudios.com
Format: see website for equipment list
Basic Rate: call for rates
WYOMING
BRIDGER PRODUCTIONS
P.O. Box 8131
4150 Glory View Ln.
Jackson, WY 83002
307-733-7871
Web: bridgerproductions.com
Contact: Michael J. Emmer, President
Basic Rate: please call for info
For hundreds more contacts from Music Con-
nection’s directories (A&R, music attorneys,
producers, engineers, video production, video
gear rental, vocal coaches, music schools,
recording studios, everything indie, promotion,
publicity, rehearsal studios, audio gear rental,
film/TV, mastering studios, music publishers,
college radio and more), visit: musicconnection.
com/industry-contacts.
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May 2022
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– ANDREA BEENHAM
Ava Della Pietra
Going For It
W
ith her debut EP release (truth or truth) this month, and a full album
to follow in the Fall, Ava Della Pietra is on her way to carving her
spot on the pop music scene. Starting in music at age four (she
plays piano, bass, guitar, violin and ukulele), the 16 year-old—best known for
her role as Katie in the Broadway production of School of Rock—began tour
-
ing nationally with Les Misérables and White Christmas while still in grade
school.
Pietra’s mother sings, plays the guitar and violin, voice and acting coaches
helped along the way, and a supportive Broadway agent assisted in securing
some auditions, but Pietra feels that the majority of her momentum came
from starting early. “Getting into it so young was definitely one of the most
educational experiences. When you're really little, you take in a lot of infor
-
mation very quickly,” she shares. “I think that's part of the reason I was able
to pick up the business so rapidly.”
Writing a total of 32 songs during lockdown—most while quarantining with
her family on Long Island—Pietra has been songwriting since she was six,
but has never released anything until
now. “I did my first community theater
production when I was three and was
always improvising melodies and
lyrics about my day,” she says. Ideas
coming spontaneously at first—a
specific sentence sometimes getting
stuck in her mind and turning into a
melody that she would build a song
around—she now plays a few chords
on the piano, while looking through
her diary of song titles for inspiration.
Feeling liberated by songwriting,
Pietra explains that the process feels
much less constrained and more
personal than the scripted roles
she is used to playing. Last month’s
single, “My Boyfriend” talks about
becoming interested in boys. “It’s one
of my favorites so far,” reveals Pietra,
adding that songwriting has helped
clarify her thoughts around what
she thinks and feels. “Before I start
writing the song, I won't completely
know my stance on something” she
says. Having always considered her
-
self a pretty independent person, she
began to recognize during lockdown
that many of her decisions were based on the thoughts and beliefs of others.
“Songwriting has definitely been like therapy to figure out what I like to do,”
she adds. Her single, “Power of You,” is about finding her own voice.
There have been unexpected moments of encouragement along the way.
First performing originals in a coee shop at the Sundance Film Festival at
age 12, an audience member close to the stage cheered enthusiastically
throughout the performance. “It was the first time I thought people liked my
music and that I should continue,” says Pietra. Never having felt nervous on
Broadway (since she couldn’t see the audience), she has found the smaller
shows more intimidating. “There's something very personal about perform
-
ing your own music, having to make eye contact with the audience and be-
ing able to see each one,” she says. “You're in a much more vulnerable state
than when you're just playing a character.” Another fan recently reached out
via social media with an emotional voice memo about “Optimist,” describing
how the song helped him through a hard time. Pietra began to recognize the
true impact her music could have.
Her best advice to artists is to keep trying, to power through, and that
perseverance can pay o. During one round of School of Rock auditions,
she was asked if she knew how to play the bass guitar (which she didn’t).
Pietra’s agent relayed she would learn. In four days, she learned “Teacher’s
Pet,” auditioned, and got the role.
With performances at the Sundance Film Festival, Great South Bay Music
Festival and Madison Square Garden, Pietra won the 2021 NY State School
Music Association Calls for Creation Competition “Songwriters Showcase”
for songs “Optimist” and “Moon,” was awarded second prize in the New York
Young Performer’s Prize competition for her performance of “Popular” from
Wicked, and received the 2021 Suolk Region PTA “Reflections” award, the
largest possible for a student in the arts.
Experience Ava Della Pietra, avadellapietra.com
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MARKETPLACE
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– ANDREA BEEHAM
SONGWRITER PROFILE
Stephanie Leavell
Healing Sounds
R
epetitive. Grating. Empty. Children’s music descriptors don’t apply
when it comes to singer-songwriter and music therapist, Stephanie
Leavell. As she puts it, “As a parent myself, it’s got to be pleasing.”
With early memories of coloring books at her rock band parents’
gigs, Leavell was surrounded by all aspects of music at a very young
age, although her chosen pursuit was unique. After seeing a picture of a
harp in a newspaper at age five, she voiced her desire to play and, still
committed to the endeavor two years later, her parents bought her a
harp and she began lessons with a local philharmonic player.
Writing started with instrumental songs on the harp, with Leavell
learning to play the guitar, singing and songwriting more regularly in her
teens. Her parents’ DIY recording studio in the basement inspired her
first album in junior high. Says Leavell, “I sometimes wonder if my singing
tone was impacted by hours and hours behind the harp before I was even
singing… my whole childhood is me behind a harp to some extent.”
As an introvert, she found it diicult to share her own music with others,
and it wasn’t until music therapy entered her life in a class at Berklee (after
initially pursuing harp studies and
music business) that things clicked
and she realized that being a music
therapist was a way to create music
without the focus being on her. “It was
easier to think of the things I would tell
kids, that I tell my own daughter, and
the things that I want kids to be able
to tell themselves,” admits Leavell. Her
mentorship at Massachusetts General
Hospital—and seeing a reduction in
children’s pain and anxiety—led to
work in hospitals, clinics, and schools.
Working as a music teacher at her
daughter’s preschool brought the
challenge of trying to simultaneously
keep the attention of 24 little ones, and
after moving home to Idaho during
the lockdown, she started a music
therapy program at her local hospital.
Often seeing children starting chemotherapy at just two or three years
old, with no ability to process complex feelings (and no ability to express
language), she connected at a heart level, allowing the experience to
be somewhat less traumatic as kids got time to be creative and find an
avenue for self-expression. “They used to get anticipatory nausea, anxiety
and pain before coming in,” reveals Leavell. “There’s singing, dancing,
playing, and joking around. It’s a break from medical intervention. The
brain is more focused on music than it is on pain.” Creating a safe space
for youngsters navigating the unimaginable, they ask for her by name.
Therapy sessions—in addition to being soothing and emotive—
leverage multiple communication points to help kids to process and
interpret the song’s message. Vocals match the lyrics, cadence, melody,
rhythm and movement to engage each child’s brain at their own level of
development (including various stages of trauma and neurodiversity).
“Some kids process the rhythms, some are more focused on the
melody,” she says. “The more I stack those, [the more] a song is crystal
clear, the more successful the kid is going to be.”
Leavell founded online educational platform Music For Kiddos in
2017, sending out a “song of the month” to newsletter subscribers and
providing a library of about 500 educational resources used by schools,
parents, music therapists, and early music educators. Her latest recording
project, Made to Bloom, includes her vocals, guitar and harp—with the
addition of a guest mandolinist and percussionist—and is comprised of
top “song of the month” selections from the past five years.
Nominated for 2019’s Children’s Album of the Year for debut Move
It, Move It!, 2020’s Children’s Song of the Year and a finalist in 2021’s
International Songwriting Competition, Leavell won 2020’s American
Music Therapy Association’s Songwriting Competition for “School’s A
Little Dierent This Year.”
Experience stephanieleavellmusic.com
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Download at musicconnect ion.com/industry-contacts
Web: woodrumproductions.com,
facebook.com/michael.woodrum
Notable Projects: Prince, Eric Clapton, Joss
Stone, Snoop Dogg, Wayne Kramer, the
Neptunes
WOODY
Allied Post Audio
310-392-8280
Web: alliedpost.com
Styles: rock, jazz, remixes, hip through trip-hop,
sample friendly
*No unsolicited material
INDEPENDENT ENGINEERS
ROBERT SCOTT ADAMS
Director of Job Placement & Student Services
Omega Studios’ School of Applied
Recording Arts & Sciences
12712 Rock Creek Mill Road, Ste. 14A
Rockville, MD 20852
301-230-9100
Web:Omegastudios.com
Notable Engineers:Jim Curtis, Scotty
OToole,Phillip DiMercurio,Malcolm Jackson,
Bill Mueller, Neal Keller,John Melvin,Isaac
Breslau, Andrew Mastroni,
ARIES OF NOHO PROMOTIONS
P.O. Box 16741
North Hollywood, CA 91615
747-256-8911, 818-220-3423
Web: ariesofnoho.com/home
Contact: Shelby (producer, engineer)
Format: Analog & Digital, Pro Tools, Tascam,
Fostex
Styles: R&B, Soul, Funk, Old School, Gospel,
Jazz, World Beat.
Services: Studio & Video Productions, Voice
Overs, Sound Design, Foley, Audio Transfers,
Tape Repair.
Notable Projects: Bill Sheield (Texas
Tornados), Tarsha Rodgers (Rev. James
Cleveland), Karen Meeks (Marshal Tucker
Band), Patty Lacey (Luther Vandross), Dot
Shelby (The Sounds of Blackness)
ARDENT STUDIOS
Keith Sykes
2000 Madison Ave.
Memphis, TN 38104
901-725-0855
Web:ardentstudios.com
Contact:Jody Stephens
KIM ARMSTRONG
KC’s Independent Sound
5318 E. 2
nd
Street #747
Long Beach, CA 90803
562-438-9699
ES AUDIO
Donny Baker – Chief Engineer/Owner
1746 Victory Blvd.
Glendale, CA 91201
818-505-1007, 800-880-9112
Web:esaudio.com
Notable Projects:Crazy Town, Taylor
Dayne (My Heart Can’t Change - Dance and
Club Remixes), Shifty, Tino Coury, Sky Felix
(producer), Alex Cantrall (producer), Rhona
Bennett, Brandy, 40Gloc, Dina Rae.
*We accept all types of music submissions
**Please call for a studio tour and to meet with
the producers
LENISE BENT
(producer, engineer)
Los Angeles, CA
Web:linkedin.com/in/lenisebent
Styles:Americana, Blues, World, Rock, Pop, Jazz
Notable Projects:Blondie, the Knack, Suzi
Quatro, Robert Fleischman,PrimalKings, Rich
DelGrosso, Gary Allegretto, Lance Baker Fent,
Steely Dan, Supertramp, Janiva Magness
CLIFF BRADLEY
(Producer/Programmer)
Bradley Entertainment, LLC
Web:clibrodsky-entertainment.com
Styles: Rock
ANDREW BUSH
Grandma’s Warehouse
355 Glendale Blvd.
Los Angeles, CA 90026
213-484-8844
Web: grandmaswarehouse.com
Styles: all
CAZADOR RECORDING
(Top L.A. Producer, Audio Engineer, Studio
LIVE Drummer/Programmer, Studio Vocalist,
In-Studio Vocal Coach, Composer, Songwriter)
Owner of Cazador Recording (ProTools10 HD6)
Hollywood, CA
323-655-0615
Web: jimmyhunter.com, jimbojamz. com
Styles: rock, pop, R&B, most styles, live
drumming or programming,
Hunter has produced 5000+ songs since 1986
Notable Projects: JIMBOJAMZ
(my solo projects), Todd Stanford (4 Country
CDs), Ivy Lite Rocway (85 songs), Savannah
Phillips (many songs), Tim Fleming’s Selective
Amnesia, Mark R. Kent (3 CDs), Dr. Alias, the
West Hollywood Cheerleaders, Dre Charles,
Lisa Gold (1 CD), Thorn/Aerial School, Tom
Powers, Carl Summers (Cix Bits), the Della
Reese (UP church UFBL weekly Ministry)
ROB CHIARELLI
(mix engineer, producer, musician)
Final Mix Inc.
2219 W. Olive Ave., #102
Burbank, CA 91506
Web:finalmix.com
Notable Projects:Kirk Franklin,Will Smith,
P!nk, Sting, Stevie Wonder, Christina Aguilera,
Angelique Kidjo, Tamela Mann, Stokley, Andra
Day, Mary Mary, Charlie Wilson, Jonathan
McReynolds, Lalah Hathaway, Charles Jenkins,
Musiq Soulchild, Madonna, The Jacksons,
LeAnn Rimes, Janet Jackson, Ray Charles, Ice
Cube, Luther Vandross, Keiko Matsui, Dave
Hollister, Luther Vandross, Johnny Gill
STEVEN BARRY COHEN
c/o Lake Transfer Artist & Tour Management
12400 Ventura Blvd. Suite 346
Studio City, CA 91605
(818)-508-7158
Web: laketransfer.com
Recent Projects: Sheree Brown (Expansion
Records UK), James Holvay (Conqueroo / Mob
Town Records), King SK (Big Money Records,
L.A.), Candyboy f/ Mari Y. (Lake Transfer Music
ASCAP)), Trina McGee-Davis (Boy Meets World
ABC/Disney), Jacky Cheung (Hong Kong /Univ
Music Grp), Sylvia St. James (House of Blues),
UNIV/NBC (“Let It Grow” film), “13” (The Band
- Rock), Taylor Dayne (Arista/BMG), Friends
of Distinction (RCA Legacy/ BMG), El Chicano
Project (The Brown Sound / SOLA Label), “Fair
Game” (Film score Michael Whaley), Shanice
Wilson (Motown/UMG), Patrice Rushen (w/
Sheree Brown), Evelyn Champagne King (RCA
Legacy /Sony), Sam Salter (LaFace/Sony)
Evelyn Champagne King (RCA/BMG), Tattoo
Ink (Notorious Enemy Records)
ERIC CROSBY
Chao Pack Entertainment
Atlanta, GA
404-465-4413
Web: chaopack.com
Styles: Rap, Hip-Hop, R&B, Soundtrack, TV/
Film/video game composer, Mixing
JIM D.
Pyram-Axis Digital
Redondo Beach, CA 90278
310-869-8650
Web:pyramaxis.com
Styles:All styles - Mix+Mastering Specialist,
Remote, Distribution
Notable Projects:Indie, Sony, Universal,
Grammy
JULIAN DAVID
(engineer, mixer, producer)
Germany/Europe
Web: juliandavid.org
Notable Projects: aVid*, Andy Gillmann, Any
of Both, Biohazard, Bud Shank, Fraunhofer IIS,
Larry Goldings Trio, Pacific Symphony, Patrick
K, the Spyderz, Trenchtown, UCLA Bruins Band,
Walter Trout
CHRISTIAN DAVIS
Sly Doggie Productions
Nashville, TN
Web: slydoggie.com
Contact: Christian Davis Stalnecker
Styles: All
HANS DEKLINE
Culver City, CA
310-621-1896
Web: hansdekline.com
Styles: Mastering for all genres
Notable Projects: U2, Burna Boy, Pixies,
mewithoutYou, Veruca Salt, Lisa Loeb, etc.
MARC DESISTO
MIX LA STUDIO D
TARZANNA, CA.
Web:marcdesistoaudio.com
Notable Projects:U2, Don Henley, Ivan
Neville,Melissa Etheridge,Stevie Nicks,Dwight
Yoakam, Tommy Emmanuel
Professional Recording, Mixing/Producing and
Mastering all genres of music
JAMES DUNKLEY
169-B Belle Forest Circle
Nashville, TN 37221
615-662-1616
Web: clynemedia.com
Notable Projects: Anthrax, Fun Lovin’
Criminals, Amon Amarth
LUCAS FACKLER
Web:lucasfackler.com
Styles:pop,rock, indie, electronic
JOHN FALZARANO
Los Angeles, Nashville, Atlanta
818-419-0323
Web: recordingtruck.com
Styles: All
Notable Projects: call for details
NICOLAS FOURNIER
(Engineer, Mixer, Producer)
Web: nicolasfournier.com
Styles: rock, alternative, indie, pop, R&B,
hip-hop
Notable Projects: Death Cab for Cutie, The
Vaccines, Of Monsters and Men, At The Drive-
in, Biy Clyro
MAURICE GAINEN PRODUCTIONS
4470 Sunset Blvd., Ste. 177
Hollywood, CA 90027
323-662-3642
Web:mauricegainen.com
Styles:Any/all musical styles, film, TV, etc.
Notable Projects:Starbucks (Mastered 185
CDs), Spoon, Rita Coolidge, Rafael Moreira,
Alex Skolnick, Andy McKee, Darek Oles w/ Brad
Mehldau, Jim Hershman w/ Lee Konitz, Patty
Austin (Sound Design), the Hues Corporation,
Angela Carole Brown, Little Wilie G, Joe Bataan,
Orchestre Surreal, Mighty Mo Rodgers, Paul
Fried, Disney, KCRW, Ron Powell, Mark San
Filippo, Tim Fenton, Ari Giancaterino, Dale
Fielder, Nori Tani, Doug MacDonald, Mike
Cliord
ARNIE GEHER
(producer, mixer, engineer)
Port Hueneme, CA
818-763-7225
Web: reverbnation.com/arniegeher
20 21
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January 2023
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– ROB PUTNAM
O
ne night when he was five, Jim VanCleve was with his parents at a
local steakhouse. He was tapped to play a train whistle alongside
old-school Tennessee fiddler Ralph Blizard and a life devoted to
music thereby drew its first breath. He now plays fiddle with Nashville-
based outfit Appalachian Road Show and produced the band’s 2022
record Jubilation.
A
s a protégé of country producer Mark Bright, the lessons he learned
about the emotions a band is trying to convey and the best ways to
deliver them have never left him. Artists with which he’s recorded
include Carrie Underwood and the Louvin Brothers, among many others.
He was also a member of bluegrass/country/blues audio collective
Mountain Heart, which was signed to Ricky Skaggs’ label Family Records.
VanCleve’s biggest obstacle during the production of Jubilation was
facing the ever-present danger of exhaustion. “I was trying to make this
record a work of art rather than just a few songs on tape,” he recalls.
“Burnout from the wear and tear of the road and never having a day
off was a challenge. As far as capturing the performance, there were
some logistical issues. But I had access to several pieces of the world’s
finest gear and our tracking engineer
[Grammy winner] Shani Gandhi is
one of the best in Nashville.”
Much of Jubilation was crafted at
VanCleve’s home studio, which he
built with his father. “We lucked into
a nice property that was perfect for
mixes,” he says of the founding of
his space. “We spent a good amount
of time, effort and energy holding
mirrors against walls to make sure we
got all our points of reflection taken
care of. A lot of math was done to kill
all of the junk. Shani let me borrow
some gear and I brought home a
[Neumann] U 47, a 67 and a few other
pieces. I had all of the tools and toys
and was pleased with the results. It
does our genre and band justice and
that was a goal.”
The track “Tonight I’ll See you in
My Dreams” was penned following
a 10-hour marathon rehearsal.
Conventional wisdom among artists
is that when a person approaches exhaustion, self-doubt is blunted and
ideas can spring forth unopposed. “I often get creative when I drive late
at night,” VanCleve explains. “You get into your flow state of thinking
and the inner critic shuts up. That’s what happened that night. We were
relaxing and I said ‘I wish we had something like a 1953 [Lester] Flatt
and [Earl] Scruggs song. Let’s write one.’ In 45 minutes we had a finished
piece. Typically, that’s not how I’d do it. But it was supposed to happen
that night and it almost wrote itself.”
The musician and producer has spent much of his career in and
around studios, not the least of which is his own. He’s stockpiled
countless anecdotes over the years but among his favorites is of the time
when a guitarist wandered a little too far afield from a song’s intended
direction. “We were cutting a record with Mark Bright,” VanCleve
recollects. “I brought in an instrumental and it was a handful. I hadn’t
written it for guitar and our guitarist was doing his best. I’d stepped out
of the studio, he tore into it and played off the cuff. It was nowhere near
the melody and a bandmate said ‘Hey, that’s real good. What is it?’ He’d
departed so far from [the original idea] that he hadn’t played the song,
although what he did was great.”
Contact – theappalachianroadshow.com,
Instagram @appalachianroadshow, @jimvancleve
JIM VANCLEVE
. . . lessons he’s learned as a
musician and producer are:
• As you mature, you see that the best
thing you can do is put great talents
together and get out of the way. Don’t
stifle the situation with your ideas,
personal wants and desires. Learn
how to listen.
• The magic happens when people are
free to express themselves. Set the
table for that.
• Trust your instincts but learn to defer.
It’s an exercise in removing self.
16 17
October 2022
musicconnection.com
October 2022
musicconnection.com
16 17
March 2022
musicconnection.com
March 2022
musicconnection.com
68 69
February 2022
musicconnection.com February 2022
musicconnection.com
14 15
January 2022
musicconnection.com
January 2022
musicconnection.com
BOOK STORE
14
15
November 2021
musicconnection.com
November 2021
musicconnection.com
Introduction to Music
Publishing for Musicians
By Bobby Borg & Michael Eames
(paperback) $34.00
Worth every penny, thisis a down-to-earth new
book written by two musicians and industry
pros (and Music Connection contributors) with
decades of experience. They’ve organized it
into seven clearly-written sections that will help
musicians, students, songwriters, beat makers
and others save time and avoid getting screwed.
Topics include
the basics of
copyrights,
types of pub-
lishing income,
publishing
companies and
types of deals,
creative mat-
ters of music
publishing,
and things you
need to know
about music
publishing’s
future.
Made in Hollywood: All Access
with The Go-Go’s
By Gina Schock
(hardcover) $40.00
Go-Go’s drummer Gina Schock takes fans
behind the scenes for a look at her personal
photos documenting her band's wild journey
to the heights of fame and stardom. Featuring
posters, photographs, Polaroids, and other
memorabilia from her archives,Made In Hol-
lywoodalso
includes stories
from each
member of the
band, along
with other cul-
tural luminar-
ies like Kate
Pierson, Jodie
Foster, Dave
Stewart, Mar-
tha Quinn and
Paul Reubens.
Three Pianos: A Memoir
By Andrew McMahon
(hardcover) $27.95
The Something Corporate and Jack’s Manne-
quin frontman delivers an engrossing memoir
about the challenges and triumphs of his child-
hood and career,
as seen through the
lens of his personal
connection to three
pianos. McMahon
not only recounts his
grueling efforts to
make it as an indie
artist, but also how
he dealt with––and
prerailed over––a
bout with leukemia
at age 23.
The Storyteller—Tales of Life
and Music
By Dave Grohl
(hardcover) $29.99
Foo Fighters frontman Dave Grohl has penned a
vivid memoir that conveys both the ordinary and
the extraordinary moments and events of his life.
Standouts include
some harrowing
incidents with
Nirvana bandmate
Kurt Cobain as
well as heartfelt
moments with
Grohl’s wife and
kids. Experiences
with Pantera, John
Fogerty, Tom
Petty, Iggy Pop,
John Paul Jones,
Paul McCartney
and others make
this autobiography
a satisfying read.
Rock Concert
By Marc Myers
(hardcover) $30.00
There’s plenty of fascinating information to glean
from Myer’s oral history examination of the
evolution of the rock concert business, from the
wild west ‘50s to the corporatized ‘80s. Myers
does it with insightful statements from prominent
insiders (Seymour
Stein, George
Wein, Henry Diltz,
Marshall Chess,
Michael Lang),
performers (Ian
Anderson, Todd
Rundgren, Alice
Cooper) and the
fans in the stands,
with special atten-
tion to milestone
events such
as Woodstock,
Altamont and Live
Aid.
Carpenters: The Musical Legacy
By Mike Cidoni Lennox & Chris May
(hardcover) $35.00
The story of one of the most enduring and
endeared recording artists in history—the
Carpenters—is told for the rst time from the
perspective of Richard Carpenter, through
more than 100 hours of exclusive interviews
and some 200 photographs from the artist’s
personal archive.
This nicely illus-
trated book takes
you through the
multimillion-selling,
Grammy-winning
duo’s formative
years right up
through their
1970s stardom
and Karen’s
unfortunate end.
41
October 2021
musicconnection.com
October 2021
musicconnection.com
Quick Facts
Barrett’s maiden single, “I Hope,”
was the first Top 10 Hot Country
Songs debut by a solo female artist
since October 2017.
Barrett sang “God Bless America”
and tossed out the first pitch at a
Pittsburgh Pirates game in May 2018.
She sang the National Anthem at a
Pittsburgh Steelers game later that
year and at the Daytona 500 as well.
Reality-TV actor Jeremy Vuolo of
Counting On officiated at Barrett and
Foehner’s wedding in October 2019.
Forbes listed Barrett as one of its 30
Under 30 in Music in 2020.
Barrett made the cut on Variety’s
2020 Young Hollywood Impact
Report.
In April 2021, Barrett earned the New
Female Artist of the Year honor at the
ACM Awards.
In May 2021, Barrett scooped up three
wins at the Billboard Music Awards,
for Top Country Female Artist, Top
Country Song (“I Hope”) and Top
Collaboration (“I Hope”) with Charlie
Puth.
Later that month, Barrett nabbed Best
Country New Artist at the iHeartRadio
Music Awards.
At the same ceremony, Barrett’s
ensemble—a one-shoulder
Balmain dress, Saint Laurent heels,
Established jewelry and Tyler Ellis
clutch—impressed Elle enough to
land on its Best Looks From the 2021
iHeartRadio Music Awards rundown,
while People called her and husband
Foehner one of the “Cutest Couples
on the Red Carpet.”
to do that someday. My dad would talk about it
and stand at the table next to me and said when
they said my name it was going to be like a full-
circle moment. And the Billboard Awards were
special because they [represent] all genres. To
be able to win three awards that night, and I
was the most-nominated female, was special.
MC: I assume another unforgettable moment
must have been when you had the chance to
link up with Dolly Parton. I think it was online
only [for Amazon]. Have you met her in person
yet? And why did you choose one of her songs
[“I Will Always Love You”] to cover?
Barrett: I did not get to meet her, and yes, I
really want to. But getting to talk to her was
an honor. She’s one of the many people who I
looked up to my entire life in the country music
format. I love so many things about her—one,
specifically, is how she always writes songs that
are very genuine. I try to do that with my life,
and she’s inspired me in that way.
“Jolene” was just a really fun song that I sang
for a while when I was like 11 or 12. I think I
naturally gravitated toward the melody. That’s
classic Dolly.
MC: How do you manage to maintain a private
life in the social media era, and what’s the value
you put on privacy?
Barrett: There’s a cost that comes with living
in the spotlight when you sign up for it. People
are naturally going to look into your life and
be a part of it, and there’s nothing wrong with
that. But it just depends on the person and how
much they’re willing to share and how much
they want to share. Being an open book is fine,
but so is drawing boundaries. Not everything
needs to be out in the spotlight.
There’s value in humans being made in the
image of God. We have a right to not having
to share our faith with the world. You have to
work it out within your own family and on your
own terms.
MC: Do you feel like female artists tend to get
asked more about their children versus male
artists?
Barrett: I really haven’t noticed that because
my husband does interviews and gets asked
about our daughter.
MC: You once mentioned that one of the fun
parts of being a parent at this stage in your
child’s life is seeing them discover which new
foods they like or don’t like. Have you noticed
anything this past week or two that Baylah May
likes or doesn’t like?
Barrett: She doesn’t really like blueberries,
which is funny. She’s just such a funny,
interesting child. Yeah. And she’s really starting
to talk a lot. She wants to crawl.
MC: Do you think you’re going to have many
more children?
Barrett: You know, I’ll be grateful for that.
MC: Last question: In just about every interview
I’ve read, you get asked what advice veteran
artists have given you. And I’m wondering, given
that you’ve already accomplished so much, what
advice do you give young artists yourself?
Barrett: Use any negativity thrown at them and
turn it into positivity. Don’t let it eat you up. Look
at it as like fuel to the fire. Just keep one foot
in front of the other. You’re going to get a lot of
closed doors. But keep knocking. Eventually
one of them is going to open.
Contact Jensen Sussman,
September 2021 musicconnection.com
45
opportunities or deals with you, you have to
show that you’re competent in the following
areas:
• Song copyrights
• Sound recording copyrights
• Synch negotiations (context, timing, territory,
media, duration, and price)
• Recording contracts
• Publishing contracts, and…
• Standard music industry policies and practices
It is crucial that you understand what is fair and
ordinary while also understanding what your
own worth is too. This comes with experience,
but it also comes with checking out additional
resources like Music, Money, and Success by
Jeff and Todd Brabec, and it sometimes comes
from entering into several deals early on where
you get no upfront pay at all (particularly in
music licensing situations like small lms and
TV placements).
On the latter note, be sure to check out the
boxed text below before moving on to our nal
tip on attorneys.
14: Have an Attorney Available
Who Can Help
And nally, for our 14th and last tip on pitching
like a pro, it is important that you nd an
experienced entertainment attorney who
understands music publishing. As they say, a
man who is his own attorney just may have a
fool for a client.
The best way to nd an attorney is
through referrals from people you trust. But
just remember that attorneys are not cheap
(reviewing a simple synch deal could cost $300
per hour).
Sometimes a music business consultant who
truly understands the business could be a more
affordable substitute for an attorney—especially
in cases when there is not a lot of money being
offered for your songs and/or when the risk
of loss is extremely low (like when the deal is
a non-exclusive deal, there is no ownership
transfer involved, or the deal is for a short term).
Free services may also be available to you.
For instance, The University of California Los
Angeles has the Music Industry Clinic where
they provide free help to rising musicians and
bands. There is also the Indie Artist Resource,
which provides free templates.
But whomever you get to assist you, just
be sure you get someone who is highly
recommended. And don’t be a cheap-ass
either. If you are making $2,500 on a synch
deal, you can afford to hire someone. You get
what you pay for.
Okay! So now that you know how to pitch
like a pro, you should really be ready to start
sending out your music to all of those wonderful
places discussed in previous chapters. Are you
excited?! We hope so. On that note, happy
pitching! You can now start hitting the send
button. •
What If No Fee Is
Offered Upfront to
Use My Song?
If a licensing opportunity involves no up
front fee, here are two things to explore:
• Credit or Promotion: Explore the
possibility of getting credit in the end
titles of the project, having them put
a link to your song on their website,
and/or giving you permission to use
portions of the lm (if it’s an indie lm
project, for instance) in your upcoming
music video.
• Step Deals: Explore the possibility
of getting paid in “steps” (particularly
when working on a low-budget indie
lm). Step one might involve giving the
rights to your music for free while the
director is showing the lm at festivals.
Step two might involve getting a
fee when the director is signing a
distribution deal. And step three might
involve getting additional payments as
the director is experiencing sales at
theater box offices.
So as you can see, even when licensing
your music for free, you still have to
know the business and know your place
in it too. After all, you are a pro and not
just a hobbyist.
Bobby Borg, MCM is a former
recording/touring artist, the founder
of Bobby Borg Consulting, and the
author of Music Marketing For The
DIY Musician and Business Basics
For Musicians. He is also an adjunct
professor of Music Industry studies at
USC’s Thornton School of Music.
Michael Eames is a trained
composer, songwriter and pianist
with experience in lm scoring, the
President and co-Founder of PEN
Music Group, Inc., and an advisor to
the Independent Publisher Advisory
Council (IPAC) of the National Music
Publisher’s Association (NMPA).
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December 2021
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December 2021
musicconnection.com
– JONATHAN WIDRAN
Musicians Performance Studios, Inc.
musiciansps.com
Creating a True Music Community: Perhaps the most important line on
the landing page of Rancho Cucamonga, CA-based Musicians Perfor-
mance Studios, Inc. is: “MPS was created for musicians by musicians, we
know how difficult it is to nd a quality facility.”
Launched in 2008 as a multi-rehearsal room facility by veteran drum-
mer Keith Jones, it has by his design grown over the years to become the
Inland Empire’s top state-of-the art fully equipped pro shop, equipment
rental, rehearsal and recording studio, in addition to providing lessons
for all ages and levels and instruments (woodwinds, brass, string, guitar,
bass, drums and vocals). Aside from providing state-of-the-art services,
Jones’ vision has always been to create an environment that encourage
musicians to help each other and form a thriving creative community.
“I have been so blessed in this business,” he says, “and launching and
growing MPS has been my way of giving back. People may know me as
a great drummer, but I would rather be known as a good humanitarian.
There was a need for these services in this area and being a giver has
always been my nature, and those things were always the driving forces
in my business plan.” Serving everyone from weekend warriors to pop
superstars, MPS’ well-known clientele has included The Romantics, Ice-T
& Body Count, Great White, Cameo and Los Lobos.
Rehearsal and Lock Outs: MPS’ spacious, sound-proof studios are de-
signed to enable artists and musicians to maximize their practice sessions
and allow them to create in a relaxed, stress-free environment with no distrac-
tions. Based on size and amenities, the seven rooms range from $17 to $26/
hr with a two-hour minimum. The rooms with full backline include P.A. & mics/
stands, guitar/bass/keyboards, amps and drums. Cymbals are available to
rent for $7. Lockouts range from $250 to $500 depending on the size. There
is also a 1,000 sq. ft. showcase room available for $26/hr. It’s designed for re-
hearsal, but clients can inquire if they are seeking to use it for other purposes.
Recording Studio: Madman Sound is a full-service recording studio
located at MPS. Offering a comfortable, relaxed vibe, the facility has a
three-room layout consisting of a control room, tracking room and a vocal
booth, ideal for artists looking to capture the vibe and feel of a rhythm
section while still maintaining acoustic isolation. It is equipped with an as-
sortment of mics, outboard gear and instruments. Led by Orlando Torres,
MPS’ engineering staff consists of veteran pros with years of experience
in all facets of audio production.
Other Services: MPS has a pro shop carrying instruments and gear from
all major brands at the lowest prices anywhere, guaranteed. They also
now offer graphic design by Sam Mountain, a SoCal based artist/graphic
designer from Claremont who has experience in branding and many
types of design (logo, promo material, merchandise, web) as well as
photography and video editing. MPS also offers full-service, reasonably
priced daily equipment rentals, video and photo shoots and live sound
and lighting systems that can be rented out for events of any size.
Contact Musicians Performance Studios, Inc., 909-944-0100
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07-25_Oct2022.indd 1707-25_Oct2022.indd 17 9/19/22 2:35 PM9/19/22 2:35 PM
07-25_Jan2023.indd 2007-25_Jan2023.indd 20 12/19/22 4:02 PM12/19/22 4:02 PM
– JONATHAN WIDRAN
16 17
October 2022
musicconnection.com
October 2022
musicconnection.com
Solcor Cables
solcorcables.com
facebook.com/solcorinternational
From Extension Cords to Musical Instrument Cables: A pioneering
family-owned international manufacturer of cables for musical instru-
ments, microphones, patches, etc., Mexico City-based Solcor Cables
launched in the ’70s as a manufacturer of extension cords that came in
many colors. By 1986, entrepreneur Soledad Corona and her small staff
had become a major supplier of extension cords to the biggest retail
stores in Latin America—the largest of these being Walmart.
Entering the music consumer market in 1995, Solcor Cables created
a popular and innovative line of microphone cables, snakes and speaker
cables—and by 2000, the music aspect of the business had taken prece-
dence over extension cords. They also make ethernet cables for digital
audio. Solcor Cables currently has nearly 400 brick and mortar dealers
in Mexico and is quickly building a base in the U.S., selling its products in
over 30 outlets. With solid manufacturing and supply experience, the com-
pany under Tirado’s leadership is also expanding into Canada and Europe.
“Yes, it Makes a Difference”: Tirado and his Corpus Christi-based U.S.
marketing consultant Jerry Colmenero have used this phrase so many
times in their dealings with potential brick and mortar suppliers that they
have trademarked it as part of Solcor’s branding. “We walk into instru-
ment stores and I say to the skeptical manager, who thinks all cables
are alike, ‘Give me your worst sounding guitar.’ Usually they’ll offer up a
Fender Telecaster or some single coil pickup guitar. I hand them one of
our cables, plug it in and they say, ‘Wow, cable really makes that much of
a difference?’ and eventually, ‘That sounds great.’ They look at our cable
and see how meticulously it’s built and realize nobody else is making
cables of this quality.”
Tirado adds, “The assembly of our instrument cables includes a
double shrink tube and a silicon bead to keep the conductors separate.
These protective layers prevent breaks at the most common failure
point. Each cable is created by hand. People are very attracted to the
vivid two- or three-color braids, as well. Unlike most manufacturers, we
also pride ourselves on developing personal, hands-on relationships
with our customers.”
Variety of Cables: Solcor’s website currently lists seven categories of
cables: 100% Rock, Standard, Style Line, Classic Pro, Heavy Line, Snakes
and Bulk Cable—and they will soon introduced the Duro Style. In addi-
tion, Solcor has a Custom Shop, offering a competitive price and quick
turnaround for cables designed for special projects. The website lists key
qualities that set Solcor Cables apart from their competitors: noise free;
Handmade with precision instruments; anticorrosive soldering; oxygen-
free conductors; 8mm flexible PVC jacket insulation; a conductive PVC
inner layer and high-density copper braid shield that offers 95% interfer-
ence protection and full metal connectors with gold plated conductors.
Another key to Solcor’s success is its prime core values: Teamwork,
Honesty, Communication, Innovation, Responsibility and Discipline.
March 2022
musicconnection.com
March 2022
musicconnection.com
68 69
February 2022
musicconnection.com February 2022
musicconnection.com
14 15
January 2022
musicconnection.com
January 2022
musicconnection.com
BOOK STORE
14
15
November 2021
musicconnection.com
November 2021
musicconnection.com
Introduction to Music
Publishing for Musicians
By Bobby Borg & Michael Eames
(paperback) $34.00
Worth every penny, thisis a down-to-earth new
book written by two musicians and industry
pros (and Music Connection contributors) with
decades of experience. They’ve organized it
into seven clearly-written sections that will help
musicians, students, songwriters, beat makers
and others save time and avoid getting screwed.
Topics include
the basics of
copyrights,
types of pub-
lishing income,
publishing
companies and
types of deals,
creative mat-
ters of music
publishing,
and things you
need to know
about music
publishing’s
future.
Made in Hollywood: All Access
with The Go-Go’s
By Gina Schock
(hardcover) $40.00
Go-Go’s drummer Gina Schock takes fans
behind the scenes for a look at her personal
photos documenting her band's wild journey
to the heights of fame and stardom. Featuring
posters, photographs, Polaroids, and other
memorabilia from her archives,Made In Hol-
lywoodalso
includes stories
from each
member of the
band, along
with other cul-
tural luminar-
ies like Kate
Pierson, Jodie
Foster, Dave
Stewart, Mar-
tha Quinn and
Paul Reubens.
Three Pianos: A Memoir
By Andrew McMahon
(hardcover) $27.95
The Something Corporate and Jack’s Manne-
quin frontman delivers an engrossing memoir
about the challenges and triumphs of his child-
hood and career,
as seen through the
lens of his personal
connection to three
pianos. McMahon
not only recounts his
grueling efforts to
make it as an indie
artist, but also how
he dealt with––and
prerailed over––a
bout with leukemia
at age 23.
The Storyteller—Tales of Life
and Music
By Dave Grohl
(hardcover) $29.99
Foo Fighters frontman Dave Grohl has penned a
vivid memoir that conveys both the ordinary and
the extraordinary moments and events of his life.
Standouts include
some harrowing
incidents with
Nirvana bandmate
Kurt Cobain as
well as heartfelt
moments with
Grohl’s wife and
kids. Experiences
with Pantera, John
Fogerty, Tom
Petty, Iggy Pop,
John Paul Jones,
Paul McCartney
and others make
this autobiography
a satisfying read.
Rock Concert
By Marc Myers
(hardcover) $30.00
There’s plenty of fascinating information to glean
from Myer’s oral history examination of the
evolution of the rock concert business, from the
wild west ‘50s to the corporatized ‘80s. Myers
does it with insightful statements from prominent
insiders (Seymour
Stein, George
Wein, Henry Diltz,
Marshall Chess,
Michael Lang),
performers (Ian
Anderson, Todd
Rundgren, Alice
Cooper) and the
fans in the stands,
with special atten-
tion to milestone
events such
as Woodstock,
Altamont and Live
Aid.
Carpenters: The Musical Legacy
By Mike Cidoni Lennox & Chris May
(hardcover) $35.00
The story of one of the most enduring and
endeared recording artists in history—the
Carpenters—is told for the rst time from the
perspective of Richard Carpenter, through
more than 100 hours of exclusive interviews
and some 200 photographs from the artist’s
personal archive.
This nicely illus-
trated book takes
you through the
multimillion-selling,
Grammy-winning
duo’s formative
years right up
through their
1970s stardom
and Karen’s
unfortunate end.
41
October 2021
musicconnection.com
October 2021
musicconnection.com
Quick Facts
Barrett’s maiden single, “I Hope,”
was the first Top 10 Hot Country
Songs debut by a solo female artist
since October 2017.
Barrett sang “God Bless America”
and tossed out the first pitch at a
Pittsburgh Pirates game in May 2018.
She sang the National Anthem at a
Pittsburgh Steelers game later that
year and at the Daytona 500 as well.
Reality-TV actor Jeremy Vuolo of
Counting On officiated at Barrett and
Foehner’s wedding in October 2019.
Forbes listed Barrett as one of its 30
Under 30 in Music in 2020.
Barrett made the cut on Variety’s
2020 Young Hollywood Impact
Report.
In April 2021, Barrett earned the New
Female Artist of the Year honor at the
ACM Awards.
In May 2021, Barrett scooped up three
wins at the Billboard Music Awards,
for Top Country Female Artist, Top
Country Song (“I Hope”) and Top
Collaboration (“I Hope”) with Charlie
Puth.
Later that month, Barrett nabbed Best
Country New Artist at the iHeartRadio
Music Awards.
At the same ceremony, Barrett’s
ensemble—a one-shoulder
Balmain dress, Saint Laurent heels,
Established jewelry and Tyler Ellis
clutch—impressed Elle enough to
land on its Best Looks From the 2021
iHeartRadio Music Awards rundown,
while People called her and husband
Foehner one of the “Cutest Couples
on the Red Carpet.”
to do that someday. My dad would talk about it
and stand at the table next to me and said when
they said my name it was going to be like a full-
circle moment. And the Billboard Awards were
special because they [represent] all genres. To
be able to win three awards that night, and I
was the most-nominated female, was special.
MC: I assume another unforgettable moment
must have been when you had the chance to
link up with Dolly Parton. I think it was online
only [for Amazon]. Have you met her in person
yet? And why did you choose one of her songs
[“I Will Always Love You”] to cover?
Barrett: I did not get to meet her, and yes, I
really want to. But getting to talk to her was
an honor. She’s one of the many people who I
looked up to my entire life in the country music
format. I love so many things about her—one,
specifically, is how she always writes songs that
are very genuine. I try to do that with my life,
and she’s inspired me in that way.
“Jolene” was just a really fun song that I sang
for a while when I was like 11 or 12. I think I
naturally gravitated toward the melody. That’s
classic Dolly.
MC: How do you manage to maintain a private
life in the social media era, and what’s the value
you put on privacy?
Barrett: There’s a cost that comes with living
in the spotlight when you sign up for it. People
are naturally going to look into your life and
be a part of it, and there’s nothing wrong with
that. But it just depends on the person and how
much they’re willing to share and how much
they want to share. Being an open book is fine,
but so is drawing boundaries. Not everything
needs to be out in the spotlight.
There’s value in humans being made in the
image of God. We have a right to not having
to share our faith with the world. You have to
work it out within your own family and on your
own terms.
MC: Do you feel like female artists tend to get
asked more about their children versus male
artists?
Barrett: I really haven’t noticed that because
my husband does interviews and gets asked
about our daughter.
MC: You once mentioned that one of the fun
parts of being a parent at this stage in your
child’s life is seeing them discover which new
foods they like or don’t like. Have you noticed
anything this past week or two that Baylah May
likes or doesn’t like?
Barrett: She doesn’t really like blueberries,
which is funny. She’s just such a funny,
interesting child. Yeah. And she’s really starting
to talk a lot. She wants to crawl.
MC: Do you think you’re going to have many
more children?
Barrett: You know, I’ll be grateful for that.
MC: Last question: In just about every interview
I’ve read, you get asked what advice veteran
artists have given you. And I’m wondering, given
that you’ve already accomplished so much, what
advice do you give young artists yourself?
Barrett: Use any negativity thrown at them and
turn it into positivity. Don’t let it eat you up. Look
at it as like fuel to the fire. Just keep one foot
in front of the other. You’re going to get a lot of
closed doors. But keep knocking. Eventually
one of them is going to open.
Contact Jensen Sussman,
September 2021 musicconnection.com
45
opportunities or deals with you, you have to
show that you’re competent in the following
areas:
• Song copyrights
• Sound recording copyrights
• Synch negotiations (context, timing, territory,
media, duration, and price)
• Recording contracts
• Publishing contracts, and…
• Standard music industry policies and practices
It is crucial that you understand what is fair and
ordinary while also understanding what your
own worth is too. This comes with experience,
but it also comes with checking out additional
resources like Music, Money, and Success by
Jeff and Todd Brabec, and it sometimes comes
from entering into several deals early on where
you get no upfront pay at all (particularly in
music licensing situations like small lms and
TV placements).
On the latter note, be sure to check out the
boxed text below before moving on to our nal
tip on attorneys.
14: Have an Attorney Available
Who Can Help
And nally, for our 14th and last tip on pitching
like a pro, it is important that you nd an
experienced entertainment attorney who
understands music publishing. As they say, a
man who is his own attorney just may have a
fool for a client.
The best way to nd an attorney is
through referrals from people you trust. But
just remember that attorneys are not cheap
(reviewing a simple synch deal could cost $300
per hour).
Sometimes a music business consultant who
truly understands the business could be a more
affordable substitute for an attorney—especially
in cases when there is not a lot of money being
offered for your songs and/or when the risk
of loss is extremely low (like when the deal is
a non-exclusive deal, there is no ownership
transfer involved, or the deal is for a short term).
Free services may also be available to you.
For instance, The University of California Los
Angeles has the Music Industry Clinic where
they provide free help to rising musicians and
bands. There is also the Indie Artist Resource,
which provides free templates.
But whomever you get to assist you, just
be sure you get someone who is highly
recommended. And don’t be a cheap-ass
either. If you are making $2,500 on a synch
deal, you can afford to hire someone. You get
what you pay for.
Okay! So now that you know how to pitch
like a pro, you should really be ready to start
sending out your music to all of those wonderful
places discussed in previous chapters. Are you
excited?! We hope so. On that note, happy
pitching! You can now start hitting the send
button. •
What If No Fee Is
Offered Upfront to
Use My Song?
If a licensing opportunity involves no up
front fee, here are two things to explore:
• Credit or Promotion: Explore the
possibility of getting credit in the end
titles of the project, having them put
a link to your song on their website,
and/or giving you permission to use
portions of the lm (if it’s an indie lm
project, for instance) in your upcoming
music video.
• Step Deals: Explore the possibility
of getting paid in “steps” (particularly
when working on a low-budget indie
lm). Step one might involve giving the
rights to your music for free while the
director is showing the lm at festivals.
Step two might involve getting a
fee when the director is signing a
distribution deal. And step three might
involve getting additional payments as
the director is experiencing sales at
theater box offices.
So as you can see, even when licensing
your music for free, you still have to
know the business and know your place
in it too. After all, you are a pro and not
just a hobbyist.
Bobby Borg, MCM is a former
recording/touring artist, the founder
of Bobby Borg Consulting, and the
author of Music Marketing For The
DIY Musician and Business Basics
For Musicians. He is also an adjunct
professor of Music Industry studies at
USC’s Thornton School of Music.
Michael Eames is a trained
composer, songwriter and pianist
with experience in lm scoring, the
President and co-Founder of PEN
Music Group, Inc., and an advisor to
the Independent Publisher Advisory
Council (IPAC) of the National Music
Publisher’s Association (NMPA).
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– JONATHAN WIDRAN
Musicians Performance Studios, Inc.
musiciansps.com
Creating a True Music Community: Perhaps the most important line on
the landing page of Rancho Cucamonga, CA-based Musicians Perfor-
mance Studios, Inc. is: “MPS was created for musicians by musicians, we
know how difficult it is to nd a quality facility.”
Launched in 2008 as a multi-rehearsal room facility by veteran drum-
mer Keith Jones, it has by his design grown over the years to become the
Inland Empire’s top state-of-the art fully equipped pro shop, equipment
rental, rehearsal and recording studio, in addition to providing lessons
for all ages and levels and instruments (woodwinds, brass, string, guitar,
bass, drums and vocals). Aside from providing state-of-the-art services,
Jones’ vision has always been to create an environment that encourage
musicians to help each other and form a thriving creative community.
“I have been so blessed in this business,” he says, “and launching and
growing MPS has been my way of giving back. People may know me as
a great drummer, but I would rather be known as a good humanitarian.
There was a need for these services in this area and being a giver has
always been my nature, and those things were always the driving forces
in my business plan.” Serving everyone from weekend warriors to pop
superstars, MPS’ well-known clientele has included The Romantics, Ice-T
& Body Count, Great White, Cameo and Los Lobos.
Rehearsal and Lock Outs: MPS’ spacious, sound-proof studios are de-
signed to enable artists and musicians to maximize their practice sessions
and allow them to create in a relaxed, stress-free environment with no distrac-
tions. Based on size and amenities, the seven rooms range from $17 to $26/
hr with a two-hour minimum. The rooms with full backline include P.A. & mics/
stands, guitar/bass/keyboards, amps and drums. Cymbals are available to
rent for $7. Lockouts range from $250 to $500 depending on the size. There
is also a 1,000 sq. ft. showcase room available for $26/hr. It’s designed for re-
hearsal, but clients can inquire if they are seeking to use it for other purposes.
Recording Studio: Madman Sound is a full-service recording studio
located at MPS. Offering a comfortable, relaxed vibe, the facility has a
three-room layout consisting of a control room, tracking room and a vocal
booth, ideal for artists looking to capture the vibe and feel of a rhythm
section while still maintaining acoustic isolation. It is equipped with an as-
sortment of mics, outboard gear and instruments. Led by Orlando Torres,
MPS’ engineering staff consists of veteran pros with years of experience
in all facets of audio production.
Other Services: MPS has a pro shop carrying instruments and gear from
all major brands at the lowest prices anywhere, guaranteed. They also
now offer graphic design by Sam Mountain, a SoCal based artist/graphic
designer from Claremont who has experience in branding and many
types of design (logo, promo material, merchandise, web) as well as
photography and video editing. MPS also offers full-service, reasonably
priced daily equipment rentals, video and photo shoots and live sound
and lighting systems that can be rented out for events of any size.
Contact Musicians Performance Studios, Inc., 909-944-0100
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– JONATHAN WIDRAN
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CAD Audio
cadaudio.com
A 90 Year Tradition of Audio Innovation: CAD (Conneaut Audio Devices)
Audio originally took shape as the Astatic Corporation, a company founded
in 1931 by two ham radio operators known for developing a line of in-
novative mics, phonograph pickups and recording heads. The company
contributed to the Allied victory in World War II with an underwater sound
detection hydrophone and static discharger for Army and Navy Aircraft.
CAD Professional Microphones was originally formed as the Pro
Division of the company and has designed and manufactured mics
for the recording and live sound markets for the last 34 years. Starting
with a revolutionary servo circuit console and breakthrough processing
products, they developed a series of innovative and cost-effective high
performance studio microphone.
Since taking over CAD Audio in 2006, President Brig Carr––work-
ing with his team of product developers, engineers and manufacturing
partners––has been dedicated to creating state of the art products with
overwhelming value. The company is now more prolific in development
than ever, introducing 22 products just this year.
Quote from Brig Carr: “Everything we do is based around creating
high-quality, high-value products at an affordable price that exceed our
customers’ expectations,” Carr says. “Everything starts with high-level en-
gineering. Our products have comparable or significantly better features
than those of our competitors at substantially lower prices.”
Four Areas of Focus: CAD has four essential categories of microphones.
The first is for live sound and performances––mics for vocals, drums,
guitars or any other instrument used onstage. CAD’s Stage7 drum mic
pack is a hugely successful product that sells in very high volumes. The
company also has condenser and dynamic mics for instrument or vocal
performance, as well as wireless mics and in-ear monitors. Second, CAD
has a broad line of studio mics designed for the nuances and demanding
conditions of studio recording. The third category is the broad spectrum
of Astatic products for the commercial sound world––the mics used in
boardrooms, restaurants, house of worship, schools, courtrooms, and
airports. Finally, there are mics for the growing arena of content creators,
including podcasters, vloggers, and wireless mics for phones.
Must Experience New Products: CAD recently released the E100SX,
the fourth generation of their E100 series mics in three decades, which
is a large-diaphragm studio condenser mic. CAD goes back to its roots
of high-level design and cutting edge performance with the retooled
version of the A77 (with a new dynamic capsule) which was originally
introduced in 1957. Carr describes it as a “product that sums up a lot of
what CAD is about, as vintage and authentic as you can get.” These two
products perfectly epitomize the company’s dedication to updating and
finessing venerable products, in this case with a fresh fit and finish, new
electronics and capsules. Also of note is the CX2 USB Audio Interface box
featuring 2 XLR combo inputs which can accommodate either a mic or
instrument-level audio signal, making it perfect for singer-songwriters
and content creators.
Contact CAD Audio, 440-349-4900
Creative Sound Corporation
www.csoundcorp.com
(805) 906-2054
PROFESSIONAL EPSON DUPLICATORS
Make Your Own Audio/Video CD/DVD/Blu-Ray Discs -
with beautiful color label printing on discs-50 to 100 at a time
For Advertising Info Call 818-995-0101
MARKE TPLACE
77
June 2022
musicconnection.com
For Advertising Info Call 818-995-0101
MARKE TPLACE
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– ROB PUTNAM
P
roducer and music industry impresario Michael Knox has worked
in various capacities over the course of his career. He launched his
Nashville song-plugging company HIT PLUGGERS in 1992 and then
went on to work with Warner Chappell Music for a decade, which intro-
duced him to the studio. He’s produced with and for a number of artists
including Jason Aldean, Trace Adkins and Carrie Underwood. He contin-
ues his longtime association with peermusic and hosts KNOX Country
360, his weekly syndicated radio show. Interesting aside: his father was
Buddy Knox, the tunesmith behind the 1957 hit “Party Doll.”
His first real client was multi-platinum country music star Jason
Aldean. But despite his potential, it took Knox five years of shopping him
around to various labels before a home was found. He then transitioned
seamlessly into the role of producer with the 2005 inaugural release of
Jason Aldean. “It was a tough first five years,” he recalls. “We had record
deals but got dropped.
“For a long time in the nineties, [Nashville] was a real belt-buckle, hat-
act town,” he continues. “I was looking for the next generation country
guy; the Bon Jovi of the genre. I went
to Macon, GA to see some acts and
Jason was the last to go on. Once I
saw his performance, I knew he was
what I was looking for. I brought him
to Nashville and six months later
signed him to Warner Chappell. He
dressed real traditional, so I told him
to come back as if he were going
on a date. He walked in the next day
wearing baggy jeans, non-cowboy
boots and a lot of jewelry. No belt
buckle or starched shirt. I knew that
was the look for him because that
was the way country was going..”
Knox’s approach to working with
an artist is to find their strength or
core and then assemble a support-
ing framework around it. “When I go
into the studio, I build a team that
is uniquely for a specific artist,” he
explains. “With Jason, I put a rock
band together around him because
he wanted to be country rock. It took
a few years to build. I found guys who lived in Nashville but had a touring
rock background. They lived a country lifestyle, so it was believable but
they grew up on rock & roll. I do that with other artists too. It’s all about
the music and the songs; what they can pull off.”
When Music Connection spoke with Knox he was closing out Aldean’s
15-track album Macon, which dropped in mid-November. The compan-
ion album Georgia is planned for release in April, 2022. Through his label
Music Knox Records, he’s working on new material with Tim Montana,
whose album Long Shots came out in 2021. Lastly, he’s producing with
American Idol’s 17th season winner Laine Hardy. With his enviable
output, he’s likely among the most prolific producers in Nashville and his
future shines with equal promise.
Contact musicknox.com, Twitter and Instagram @MusicKnox
MICHAEL KNOX
Download at musicconnection.com/industry-contacts
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Barrelhouse Kings, Rich DelGrosso, Gary
Allegretto, Lance Baker Fent, Steely Dan,
Supertramp, Janiva Magness
CLIFF BRADLEY
(Producer/Programmer)
Bradley Entertainment, LLC
Web:clibrodsky-entertainment.com
Styles: Rock
ANDREW BUSH
Grandma’s Warehouse
355 Glendale Blvd.
Los Angeles, CA 90026
213-484-8844
Email: andrew@grandmaswarehouse.com
Web: grandmaswarehouse.com
Styles: all
ROB CHIARELLI
(mix engineer, producer, musician)
Final Mix Inc.
2219 W. Olive Ave., #102
Burbank, CA 91506
Email:rob@finalmix.com
Web:finalmix.com
Notable Projects:Kirk Franklin,Will
Smith, P!nk, Sting, Stevie Wonder, Christina
Aguilera, Angelique Kidjo, Tamela Mann,
Stokley, Andra Day, Mary Mary, Charlie
Wilson, Jonathan McReynolds, Lalah Ha-
thaway, Charles Jenkins, Musiq Soulchild,
Madonna, The Jacksons, LeAnn Rimes,
Janet Jackson, Ray Charles, Ice Cube, Lu-
ther Vandross, Keiko Matsui, Dave Hollister,
Luther Vandross, Johnny Gill
STEVEN BARRY COHEN
c/o Lake Transfer Artist & Tour Management
12400 Ventura Blvd. Suite 346
Studio City, CA 91605
(818)-508-7158
Email: info@laketransfer.com
Web: laketransfer.com
Recent Projects: Sheree Brown
(Expansion Records UK), James Holvay
(Conqueroo / Mob Town Records), King
SK (Big Money Records, L.A.), Candyboy
f/ Mari Y. (Lake Transfer Music ASCAP)),
Trina McGee-Davis (Boy Meets World
ABC/Disney), Jacky Cheung (Hong Kong /
Univ Music Grp), Sylvia St. James (House
of Blues), UNIV/NBC (“Let It Grow” film),
“13” (The Band - Rock), Taylor Dayne
(Arista/BMG), Friends of Distinction (RCA
Legacy/ BMG), El Chicano Project (The
Brown Sound / SOLA Label), “Fair Game”
(Film score Michael Whaley), Shanice
Wilson (Motown/UMG), Patrice Rushen
(w/Sheree Brown), Evelyn Champagne
King (RCA Legacy /Sony), Sam Salter
(LaFace/Sony) Evelyn Champagne King
(RCA/BMG), Tattoo Ink (Notorious Enemy
Records)
ERIC CROSBY
Chao Pack Entertainment
Atlanta, GA
404-465-4413
Web: chaopack.com
Styles: Rap, Hip-Hop, R&B, Soundtrack,
TV/Film/video game composer, Mixing
JIM D.
Pyram-Axis Music
Redondo Beach, CA 90278
310-869-8650
Email: music@pyramaxis.com
Web: pyramaxis.com
Styles: pop, rock, hip-hop, electronic,
contemporary Christian, Films
Notable Projects: Platinum Production,
Mix and Mastering - Indie, Universal,
Grammy
*Call before submitting
JULIAN DAVID
(engineer, mixer, producer)
Germany/Europe
Email: jd@juliandavid.org
Web: juliandavid.org
Notable Projects: aVid*, Andy Gillmann,
Any of Both, Biohazard, Bud Shank,
Fraunhofer IIS, Larry Goldings Trio, Pacific
Symphony, Patrick K, the Spyderz, Trench-
town, UCLA Bruins Band, Walter Trout
CHRISTIAN DAVIS
Sly Doggie Productions
Nashville, TN
Web: slydoggie.com
Contact: Christian Davis Stalnecker
Styles: All
HANS DEKLINE
Culver City, CA
310-621-1896
Web: hansdekline.com
Styles: Mastering for all genres
Notable Projects: U2, Burna Boy, Pixies,
mewithoutYou, Veruca Salt, Lisa Loeb, etc.
MARC DESISTO
Los Angeles, CA
818-259-4235
Web: marcdesistoaudio.com
Notable Projects:U2, Stevie
Nicks,Dwight Yoakam, Tommy Emmanuel,
Melissa Etheridge
*Solid years of professional recording mix-
ing/producing and mastering music.
Website has info.
JAMES DUNKLEY
169-B Belle Forest Circle
Nashville, TN 37221
615-662-1616
clynemedia.com
Web: clynemedia.com
Notable Projects: Anthrax, Fun Lovin’
Criminals, Amon Amarth
LUCAS FACKLER
Web: linkedin.com/in/lucasfackler
Styles: rock, indie, folk, jazz, hip-hop
JOHN FALZARANO
Los Angeles, Nashville, Atlanta
818-419-0323
Web: recordingtruck.com
Styles: All
Notable Projects: call for details
NICOLAS FOURNIER
(Engineer, Mixer, Producer)
Web: nicolasfournier.com
Styles: rock, alternative. Indie, pop, R&B,
hip-hop
Notable Projects: Death Cab for Cutie,
The Vaccines, Of Monsters and Men, At
The Drive-in, Biy Clyro
MAURICE GAINEN PRODUCTIONS
4470 Sunset Blvd., Ste. 177
Hollywood, CA 90027
323-662-3642
Web:mauricegainen.com
Styles:Any/all musical styles, film, TV, etc.
Notable Projects:Starbucks (Mas-
tered 185 CDs), Spoon, Rita Coolidge,
Rafael Moreira, Alex Skolnick, Andy
McKee, Darek Oles w/ Brad Mehldau, Jim
Hershman w/ Lee Konitz, Patty Austin
(Sound Design), the Hues Corporation,
Angela Carole Brown, Little Wilie G, Joe
Bataan, Orchestre Surreal, Mighty Mo
Rodgers, Paul Fried, Disney, KCRW, Ron
Powell, Mark San Filippo, Tim Fenton, Ari
Giancaterino, Dale Fielder, Nori Tani, Doug
MacDonald, Mike Cliord
ARNIE GEHER
(producer, mixer, engineer)
Port Hueneme, CA
818-763-7225
Web: reverbnation.com/arniegeher
DAVID GIELAN
Recording Academy Member
Web: gielan.com/producerengineer
Styles: all, pop, rock, alt, hip-hop, electro,
Film/TV/video game composer, singer-
songwriter, audio post-production, studio
owner.
Notable Projects/Clients: Joey Lawrence,
Universal Music, EMI, Animal Planet, Poor
Yorick, Wayne Stylez, Arturo G. Alvarez,
Lorelei Carlson, Caviar Content, iQimedia,
Vox Pop Films *Email for more information
BILLY GRAZIADEI
(producer, engineer)
Fire Water Studios
Co-Founder of Biohazard.com
310-354-5901
Web: firewaterstudios.com
Notable Projects: 9 Biohazard Records,
Cypress Hill, Onyx, Hate Breed, Life of
Agony, Pantera, Sick of it All, SlipKnot, Sid
# 9, Type O Negative, Agnostic Front
ROSS HOGARTH
Hoax Productions
Web:hoaxproductions.com
Contact:Ross Hogarth
Styles:all
Notable Projects:Van Halen, Keb’ Mo’,
Ziggy Marley , The Doobie Brothers,Gov’t
Mule, Roger Waters, John Mellencamp,
R.E.M., Jewel
CAZADOR RECORDING
(Top L.A. Producer, Audio Engineer, Studio
LIVE Drummer/Programmer, Studio Vocal-
ist, In-Studio Vocal Coach, Composer,
Songwriter) Owner of Cazador Recording
(ProTools10 HD6)
Hollywood, CA
323-655-0615
Web: jimmyhunter.com, jimbojamz. com
Styles: rock, pop, R&B, most styles, live
drumming or programming,
Hunter has produced over 5000 songs
since 1986
Notable Projects: JIMBOJAMZ
(my solo projects), Todd Stanford (4
Country CDs), Ivy Lite Rocway (85 songs),
Savannah Phillips (many songs), Tim
Fleming’s Selective Amnesia, Mark R. Kent
(3 CDs), Dr. Alias, the West Hollywood
Cheerleaders, Dre Charles, Lisa Gold (1
CD), Thorn/Aerial School, Tom Powers,
Carl Summers (Cix Bits), the Della Reese
(UP church UFBL weekly Ministry)
THOMAS HORNIG
(freelance mixer, producer)
Tomcat On The Prowl Productions
Canaoga Park, CA
818-533-8669
Web: tomcatontheprowl.com
Styles: singer-songwriter, pop, americana,
country/folk, rock
Notable Projects: Jamila Ford – The Deep
End (Engineer/Mixer), Matt Doherty – Dig-
nity (Mastering), Red Bull Media – Blood
Road (Post)
Web: tomcatontheprowl.com
Styles: singer-songwriter, pop, americana,
country/folk, rock
Notable Projects:
Jamila Ford–The Deep
End (Engineer/Mixer, Matt Doherty–Dig-
nity (Mastering), Red Bull Media–Blood
Road (Post)
CHRIS JULIAN
145 Corte Madera Town Center
Corte Madera, CA 94925 Ste 311
310-924-7849
Web: chrisjulian.com, ImaginePost.com
Styles: rock,pop , AAA, alt., R&B.
Artist development, allbudgets.
*unsolicited material accepted
KEVIN KILLEN
Joe D’Ambrosio Management, Inc.
PRODUCER CROSSTALK
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April 2021 musicconnection.com April 2021 musicconnection.com
– ROB PUTNAM
B
orn and educated in Rome, the composer, producer and engineer
Max Di Carlo picked up the guitar as a kid and has kept it close
at hand ever since. In his late teens, he enrolled in Italy’s famed
National Academy of St. Cecilia, earned his degree in orchestration and
composition and went on to work for a decade in classical music. In the
‘80s, Di Carlo surrendered to the persuasion of pop and the first hit song
he penned in that genre—Gary Low’s 1983 “I Want You”—charted in
several countries. Now he composes and produces largely for film and
lives in Calabasas, CA. Artists he’s worked with include Brazilian singer,
Xuxa, and a pair of Johns: Elton and Olivia Newton. He spent many years
composing and producing in the pop world, but returned to classical roots
in 2004.
In recent weeks and months, Di Carlo collaborated remotely with the
Budapest Symphony and Prague Philharmonic Orchestras. As in nearly
all things, remote recording comes with its joys and frustrations. “One
of the advantages,” he says, “is that if you work with an orchestra [in
Los Angeles], it will cost you something like $24,000 for a thirty-minute
session. In Budapest, the same only costs around $1,200. But the big
challenge is mixing. The rooms [in European studios] aren’t like the
ones in L.A. The sound is a little muffled and not as bright as it is here.
Hollywood studios have that famous
sound that we’re used to. The good
news is that the European musicians
are great. Also, if I’m doing, say, an
Italian or English movie, a $300,000
soundtrack won’t be in the budget.”
As a seasoned producer, often his
biggest challenge is when he works
with others in the same field who don’t
always share or grasp his vision fully.
“My sensitivity never married well with
these people,” he admits. “Even with
pop music, sometimes I’d go into the
studio and the engineer was taking
[a song] in a completely different way
[than he’d intended]. That was a huge
frustration for me. Transmitting my
emotion to them was always hard.
I have found engineers who get my
taste, but even we still fight.”
Unlike composing for pop or rock
where there are usually just a handful
of instruments involved—guitar, bass
and drums, primarily—classical and
film scores will often employ upward
of 80. “Sometimes you need full brass
and woodwinds,” Di Carlo asserts. “It’s not because I like to make big
music, but sometimes scenes require the push or power at the end.”
Di Carlo spent ten years studying composition formally, but feels that
he gained at least as much if not more insight and experience simply
by working alongside legendary Italian composer Ennio Morricone.
“He didn’t know that I was grabbing a lot of secrets just by being in the
studio,” the producer observes. “In other words, I was listening very care-
fully. Those kinds of lessons are so important in the life of a would-be
composer, maybe even more than 10 years of conservatory. If I ever
teach, I’ll seat students in a studio with a composer for a year and tell
them to observe and absorb without talking.”
Contact Ed Cohen - Rock Garden Conspiracy, edcohen@pcisys.net;
soundcloud.com/max-di-carlo-1
MAX DI CARLO
. . . lessons he’s learned as
a producer, composer and
engineer are:
• When you work with artists,
you’ll be a therapist. Each has
their own background.
• Respect one hundred percent
the will and mentality of
where an artist comes from.
If they want to do rock music,
don’t tell them to do pop;
don’t impose your own views.
• I keep my hand in my
pocket, which is an Italian
expression. It means that I
take the rudimentary things
that an artist expresses and
I make them the best that I
can. Ultimately, I let the artist
influence me.
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BRENT FISCHER
Download at www.musicconnection.com/industry-contacts
February 2021
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JEFF ANDERSON
Lafayette, IN
765-588-7212
Email: janderson@jeffandersonmuse.
com
Web: http://www.jeffandersonmuse.
com/contact
Styles: emo, rock, pop
Notable Projects: Amanda Overmyer,
Anna-Marie Sanderson, Anthony
Glise, Jared Yates, Waltz for Venus,
Kayla Newton, Joe Peters
MATT ANTHONY
Parklane Production
Studio City, CA
(323) 540 9830
Website: parklaneproduction.com
Genre: Pop, Rock & R’n’B
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January 2021
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January 2021
musicconnection.com
17
November 2020
musicconnection.com
November 2020
musicconnection.com
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– JONATHAN WIDRAN
16 17
February 2022
musicconnection.com
February 2022
musicconnection.com
Fix Audio Designs
fixaudiodesigns.com
A History of Audio Innovation and Reinvention: With so many custom
designs and several major companies in his expansive history, veteran
electronics engineer, sonic designer and entrepreneur Paul Wolff breaks
the subjects down this way: “The focus should be three seconds on own-
ing API, three on owning Tonelux, then the rest on Fix Audio Designs,”
the company he founded in 2016 after fulfilling a request from Gregor
Schweiger in Germany to create a 64 input surround console with over
140) 500 series module slots.
After launching his career as the front-of-house sound engineer for the
Washington, D.C. nightclub The Bayou, he moved into the console busi-
ness at Datatronix in 1978, just after the company had acquired API. He
subsequently purchased API, where over the years he introduced innova-
tive products including the 5502 rack mount EQ, the 550B, the 3124 and
the 512b mic pre, as well as the Legacy Console and, with Jeff Bork, the
Legacy Plus and the Vision (after API was sold to the ATI Group). In 2004,
Wolff formed Tonelux, whose product line was geared towards the new
studio model, with much of the production work being done in the DAW.
After selling Tonelux, he launched Fix Audio Designs after several years
consulting for audio companies like A-Designs, Analog Alien, Steven Slate
Companies and Sunset Sound. The nickname Fix goes back to the ‘70s.
Immersive Console: In 2020, Valhalla Studios in New York debuted its
64 input Fix 360 console, built by Wolff and designed by Wolff and the
studio’s engineering wizard Ronald Prent. The console supports any
format from stereo through various surround sound configurations to
immersive Dolby Atmos, Sony 360RA, Auro-3D and DTS. It has seven
pan pods which serve both the upper and lower horizontal planes, with
7.1 panning on the floor and 4 channels on the ceiling, in addition to
allowing movement between those planes, plus a dedicated LFE send. It
is capable of mixing and monitoring up to 24 channels, Stereo, LCRS, 5.1,
7.1, 9.1, 11.1, etc.
Andy Hong and Reid Shippen have purchased a 24 input FIX console for
Nashville, and Wolff has sold others to Pete Weiss of Verdant Studios (cus-
tom 16 channel), and Ken and Olive Paul of The Home for Unloved Toys in
LaGrange, IL (configured as a 32 input channel immersive console). Wolff’s
clients include Jimmy Jam and Terry Lewis, who will use the 802 console
for tracking and summing/mixing along with the dual Slate Raven system.
Jam had a classic comment about the console when he first heard its
capabilities: “This sounds like truffles. Everybody loves truffles.”
Quote from Paul Wolff: “I like the old saying ‘Think outside the box,’
but find that all too often, when someone succeeds with an outside
the box idea or concept, they build a box around it and can’t adapt
well to changes in their industry. When I create something new, I try to
completely erase the blackboard and start over—continually breaking
the walls of the box and making sure the box doesn’t engulf me. Another
expression I’m fond of is ‘groovebuster,’ which I heard during a session
where everything was going well until the vocalist’s mic pre failed and
everything started popping and sputtering. I vow with my designs and
products to make sure I’m never a groovebuster! You never want to inter-
rupt an artist’s path or flow.”
Contact Fix Audio Designs, 703-730-8800
12 13
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September 2021 musicconnection.com September 2021 musicconnection.com
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August 2021
musicconnection.com
August 2021
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June 2021
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June 2021
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May 2021 musicconnection.com
May 2021 musicconnection.com
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September 2021
musicconnection.com
September 2021
musicconnection.com
– JONATHAN WIDRAN
TRUBIFY
trubify.com
The Age of the “Digital Troubadour:” With a catchy name that re-
ects the digital age’s equivalent of artists traveling around and sharing
their talents from town to town, Trubify is a groundbreaking live music
streaming and social media app offering musicians a platform that—un-
like other mainstream apps with streaming capabilities—can generate
signicant revenue while allowing fans to discover, share and support
their favorite artists. Currently in the beta testing stage, the app––free
to both fans and musicians––will officially launch in 2022. For founder
Stephen Tyszka, it’s the culmination of a successful dual career in the
music and technology realms.
Trubify Founder’s Eclectic Background: After years of working as a
songwriter, vocalist, Motown session guitarist and owner of several music
production studios, Tyszka shifted into app development, collaborating
with ntech founder and Chairman of Acorns (a micro-investing company)
Walter Cruttenden and veteran gaming developer Paul Sams. At one point,
Tyszka was brought on board to help launch Pharrell Williams’ music.com,
a repository of “stories behind the songs,” but Tyszka was frustrated that
there were still no apps dedicated to helping artists fully monetize their
talents––which became a key selling point for Trubify.
Quote from Stephen Tyszka:
“The Trubify concept was some-
thing I had been thinking about for
years––how to digitally mobilize
the artist community and enable
them to monetize their music,” he
says. “Two years ago, I was on the
beach in Costa Rica, jotting down
problems of the music industry
which could be solved by tech. I
felt that some of the biggest chal-
lenges that music artists face had
viable solutions, and with my previ-
ous experience in both industries,
I could develop a meaningful prod-
uct. The Trubify app is free and
provides artists with the opportunity
to monetize their music, rather than
just pocketing a few dollars.”
Tipping and Cover Songs:
In addition to the opportunity for
artists to earn two cents per live
viewer and one cent per viewer
of the archived content, Trubify
is the rst music app to integrate
in-app purchase technology,
which is common in gaming.
Thus far in the beta testing stage,
users have embraced the tipping
feature in much greater numbers
than anticipated, embracing the immediacy of connection to their favorite
artists and in some cases starting “tipping wars” as viewers from across
the country share the experience. Another unprecedented feature is
that content creators can earn revenue with cover songs owned by the
current publishers. Trubify works with the performing rights organizations
and music publishers to secure and pay all licensing fees so the artist
doesn’t have to. When a Trubify artist performs a cover, it will not be
pulled down or demonetized as it is on other platforms. Trubify will also
serve as a “digital concierge/digital manager”; the app makes it easy to
schedule performances, “go live” for impromptu performances, or upload
prerecorded content. The app even generates promotional assets that the
artists can share to their social media.
Corporate Branding: In addition to connecting artists with fans,
Trubify also facilitates engagements between artists and top brands, with
an AI-driven match-making capability that can establish partnerships
between brands and musical inuencers. The app is currently working
with instrument and music technology companies like Moog, Taylor, Kala
and Sweetwater, but Tyszka anticipates there will be larger corporate
sponsors over time. For artists and users, Trubify generates 800 data
attributes that helps identify core brands that want to work with artists to
create innovative revenue streams.
Contact Trubify, 949-599-8828
C O L D P L A Y • L I N K I N P A R K • T H E L U M I N E E R S
T O M W A I T S • B E B E R E X H A • M E T R O B O O M I N
B L A C K B E A R • A R T U R O S A N D O V A L • C A M I L A
H O Z I E R • N A N C Y W I L S O N • N E E D T O B R E A T H E
T R E V O R D A N I E L • L A U R A P A U S I N I • D A V E K O Z
G E O R G E T H O R O G O O D • P A R M A L E E • A N D M O R E
W W W . S O N G W R I T I N G C O M P E T I T I O N . C O M
" T H E S O N G W R I T I N G C O M P E T I T I O N T O
T A K E N O T E O F . . . " N E W Y O R K T I M E S
$ 1 5 0 , 0 0 0
C A S H A N D P R I Z E S
16
February 2021
musicconnection.com
February 2021
musicconnection.com
– JONATHAN WIDRAN
ROYER LABS
royerlabs.com
The Art of the Ribbon Microphone: David Royer, founder of Royer Labs,
is one of an elite group of microphone designers who know that music
and sound are inseparable from electronic design. He founded his first
company, Mojave Audio in his Fullerton garage, where he modified amps
and made his own condenser mics, mic pre’s and compressors. Building
gear under the Mojave and DVA labels, he created a number of popular
condenser mics. During this “garage period,” Royer came across his first
ribbon mic, a Reslo that needed repair, and his fascination for ribbon mics
was born. The design of his first product, the R-121, led to the opening of
Royer Labs in 1998. Shortly after the R-121, the Burbank based company
released the SF-12 stereo ribbon mic, followed by the R-122 (the world’s
first phantom powered ribbon mic) and the TEC Award winning R-122V
tube ribbon mic and the live series ribbon mics for live use.
VP John Jennings: “Royer is made up entirely of musicians who really
care about music and quality. Our commitment is to make the highest
quality, best sounding hand-built mics possible. We don’t cut corners, we
respect our clientele, and we give them the very best we can. Others may
claim that, but those are the values we live by.”
The Flagship R-121: The award-winning R-121 is Royer’s flagship mi-
crophone; the world’s first radically reengineeredribbon microphoneand
the model that reintroduced ribbon mics to engineers around the world.
The R-121 gives all of the warmth and natural sound thatexperienced
engineershave long turned to ribbon mics for, but in a compact, light-
weight, high output and tough-as-nails package that was unheard of in a
ribbon mic before the R-121. Its users have included Al Schmitt, Arturo
Sandoval, Wayne Bergeron, Jerry Hey, Zakk Wylde, Jeff Beck and the
late Eddie Van Halen.
The dBooster: The latest Royer product is a departure from the com-
pany’s long evolution of ribbon mics. True to its name, the dBooster is an
inline signal booster with two gain settings, 12 dB and 20 dB, which allow
the user to dial in just the right amount of inline gain for different singers
and instruments. The 20 dB setting gives great amounts of clean boost
for recording soft instruments and vocalists. The dBooster’s Class A input
stage delivers crystal clean gain with virtually no noise or self-distortion.
Its low impedance output keeps the sound clean in the studio and in live
settings, driving long cable lengths and difficult loads like mic splitters and
vintage style preamps with no loss of gain, no increased distortion and
excellent headroom.
“Many preamps don’t have enough gain to get a clean signal from
a ribbon mic or dynamic mics,” says Jennings. “There are other signal
lifters on the market, but we felt they should have better performance
so we designed our own, modeling it after the front stage of a high-end
mic preamplifier. The dBooster is a sophisticated device that truly helps
you get more from your existing mic collection, so it’s an excellent and
inexpensive addition to a mic closet.”
Contact Royer Labs, 818-847-012
– JONATHAN WIDRAN
16 17
January 2022
musicconnection.com
January 2022
musicconnection.com
Kevorkian Mastering, Inc.
kevorkianmastering.com
A Passion for Mastering: Fred Kevorkian’s background in electronics and
passion for music originally led him into the world of audio consulting and
studio design. After launching his career in Paris working for the sound
company Sonofrance, he moved to New York to become chief recording
engineer at Sear Sound, where he collaborated with owner Walter Sear
in building and customizing unique vintage gear. He improved his skills
by engineering countless jazz and rock sessions. His evolving interest in
mastering led Sear to create Studio B, where Kevorkian spent five years
mastering albums for indie and major label artists.
After a subsequent five-year stint at Absolute Audio, in he launched
Kevorkian Mastering, which operated for years at Avatar/Power Station
and recently relocated to the Greenpoint area of Brooklyn. While mastering
indie artists and bands are his longtime “bread and butter,” over the years
he has worked on projects for numerous rock superstars and jazz icons,
including The White Stripes, Maroon , Dave Matthews Band, Willie Nelson,
Ryan Adams, Phish, Iggy Pop, Sonny Rollins and Billy Cobham. It’s a two-
man operation with veteran manager/engineer Larry Lachmann, who
started working with Kevorkian years ago.
Analog Mastering: Kevorkian’s introduction to and work with analog in
the s still informs the unique sonic aesthetic he brings to his mastering
projects today. One of his most popular vintage tools is the s Ampex
tape machine (converted to ½” ips) the electronics of which he
completely custom rebuilt by hand to his own specs. “The modified ma-
chine sounds more accurate for modern mastering needs, and having a half
inch rather than quarter inch keeps the noise floor down,” he says. Another
key playback source is the Ampex ATR (” and ½”). Analog equipment
includes the Sontec MES-C/ Parametric Equalizer, the Pultec EQM-
Mastering Equalizers and the Manley “Variable-MU” Lim/Comp (Mastering
Version). Besides their classic analog gear, high end digital processing and
a perfectly balanced acoustical environment, Kevorkian and Lachmann say
they mostly rely on their well-trained sets of ears.
Remastering and Restoration: Kevorkian is also involved in restoring/
remastering older projects for several artists. They include the Gentle Giant
catalog, Jon Spencer Blues Explosion catalog, and an ongoing project of
Jerry Garcia live recordings including the beautiful box set Jerry Garcia—
Before the Dead. He has the experience, knowledge and proper tools to
handle and safely play back a variety of formats, and the processing power
to correct most recording issues and aging degradation.
Quote from Fred Kevorkian: “With every project, I see my job as
simply making things sound better. Critical listening is essential, but at
Kevorkian Mastering, we also make it a priority to listen to the client first.
Knowledge and experience are obviously important in this business, but
the key to being successful, in addition to knowing your tools, is under-
standing what our clients want. Once you get that, everything else falls
into place. We’re the last stop before a project is released, so everything
has to be just right.”
PRODUCER CROSSTALK
20
21
November 2021
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November 2021
musicconnection.com
O
riginally from Buffalo, NY, musician and producer Dave Schulz
started on the piano when he was 11. He went on to play locally
and win various awards. Toward the late ‘90s he got a call from
Robby Takac, bassist with the Goo Goo Dolls, and was invited to play
keys for them at A Day in the Garden (aka Woodstock ’98). Schulz was
then tapped to join the band’s Dizzy Up the Girl tour, spending two years
on the road. After his move to L.A., he organized an all-star jam night
at Ian Copeland’s The Backstage Cafe. He’s since collaborated with a
range of artists including Wang Chung, Berlin and Cherie Currie, founding
member of The Runaways.
His recent undertaking was a charity cover of New Radicals’ “You Get
What You Give.” Artists involved include Currie, Takac and Bumblefoot,
formerly of Guns N’ Roses. “That song holds a special place for me
because it sounds like a modern Todd Rundgren record and I’m a huge
fan,” Schulz explains. “It also felt extremely timely. The message alone
speaks to a lot of things today, such as venues being shut down, poten-
tially, by the pandemic and the general turmoil that COVID has caused. It
will benet The David Z Foundation, which helps kids with music educa-
tion. It’s also aligned with Robby’s [Takac] Music is Art in Buffalo.”
Schulz has always produced his own records and in the past few years
began to do the same for other artists. “I’d always wanted to produce
and I thought I’d be good at it,” he says of his evolution. “Cherie [Currie]
believed in me and let me produce a
track––a cover of Burt Bacharach’s
‘What the World Needs Now.’ The
cool thing was that her singing Burt
Bacharach is completely shocking
to most people. It turned out great.
Burt heard it himself and liked it. That
led to me producing her entire solo
record, which we’ll start next month.
It’ll be either an EP or full record and
I’ll bring in A-list musicians. The goal
is to make a record of all the songs
you wouldn’t think she’d sing; songs
that will be conducive to having a lot
of fun in the studio.”
One of his favorite studio memories
is when he was working on his song
“Back to Me.” Robi Banerji, an engineer friend, had called in a favor and
got producer and musician Daniel Lanois to come in and play pedal steel
on it. “I’m a big fan and Robi told me that [Lanois] was tough on lyrics and
might tell me to rewrite them on the spot,” Schulz recalls. “I’ve heard sto-
ries of him making Bono rewrite on the y. But he liked mine and said that
they sounded like a man trapped at midnight. He made me re-sing the
lead vocal into an old SM-57 mic just sitting on the couch. I was nervous
as hell but ended up getting a really great vocal.”
Schulz does much of his work at “The Dave Cave,” his home studio.
“I’ve got both a Logic-based system as well as Pro Tools and Ableton; it’s
set up so that different engineers can come in and work [easily],” he ex-
plains. “I’m not an engineer, personally, and I like to have one [come in]. I
respect other people’s talent in that eld and don’t want to do everything
myself. I like to put the best minds together and make things happen.
That’s where I shine as a producer and that’s the key to a great record.”
Schulz plans to begin work soon with Currie and aims to produce a
record for sax artist Katja Rieckermann, who’s worked with Rod Stewart.
Contact daveschulzmusic.com; @daveschulzmusic
on YouTube, Twitter and Instagram
DAVE SCHULZ
– ROB PUTNAM
...lessons he’s learned as a
musician and producer are:
• Trust your instincts and don’t
be shy to voice your opinion.
• Always try to connect,
whether live or in the studio.
Connection is key.
• It’s the musician, not the
instrument or the gear.
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PRODUCER
CROSSTALK
20 21
January 2022
musicconnection.com
January 2022
musicconnection.com
– ROB PUTNAM
E
bonie Smith has always loved music, although as she was starting
out she had her sights set on a career in the WNBA. But when she
was about 15, she stepped into Memphis’ Strings & Things where
she witnessed a Roland sequencer wielding its might. Her love for it was
deep and immediate and it shaped the way she hears songs: piece-by-
piece rather than as a whole.
Smith studied music in college, interned everywhere she could and
earned her master’s degree at NYU. Smith is now the senior producer &
engineer with Atlantic Records in N.Y.C. She’s worked on soundtracks
such as Hamilton, Mean Girls and Dear Evan Hansen and alongside art-
ists including The Roots and Alanis Morissette. In 2007 Smith founded
Gender Amplified at Barnard College, a non-profit dedicated to helping
women in music, production and engineering.
A key part of a producer’s job is to make artists feel comfortable and
to establish a vibe that fosters creativity. The main strategies that Smith
employs are largely sensory ones. “You need to make sure that there’s
soft lighting, the studio smells great and that the temperature is right,” she
asserts. “Artists’ olfactory experiences are often overlooked. If the studio
smells bad or the temperature isn’t right, that can create a bit of anxiety.
Sometimes I’ll favor lamps over ceiling lights, especially if the overheads
are abrasive. Dimmers or warmer-colored bulbs help too. Beyond that,
your disposition matters a lot. I make sure that I know something about the
artist so that we can converse and I can
learn what their expectations are.
“As soon as an artist goes into the
live room and starts screwing around on
instruments, I’m rolling, so I’ve caught
whatever they’ve done,” she continues.
“That’s one of my favorite parts of being
an engineer: the ability to capture every-
thing. I don’t want to ever relay the bad
news that I didn’t get something or ask
an artist if they’re ready to record. When
you can tell them that you’ve caught
something and they didn’t even know
you were rolling, that ups the respect
lev-
el
and they know that they can trust you.
Good engineers arrive early and leave
late. They’re always ready.”
Being in New York, Smith is often
tapped to work on Broadway recordings. Not surprisingly, the challenges
associated with them differ significantly from records with individual
artists. “There’s usually tons of sheet music brought in and you have
to make sure everything is orderly,” she explains. “You’re dealing with
musicians that are doing eight shows a week and they have to fit in a
session between rehearsals and shows. An individual artist may spend
days in the studio and not record anything or record things that they
end up scrapping. In my experience with cast albums, they don’t even
get green-lit until you pretty much know all of the material and basically
you’re recording every song from the show. Decisions have already been
made and there isn’t a lot of creative input at that point. There are also a
lot of union rules that don’t allow performers to record past a certain time
and there may be sessions with a hundred tracks dedicated solely to the
orchestra.”
See eboniesmith.com, instagram.com/eboniesmithmusic
EBONIE SMITH
. . . lessons she’s learned as a
producer and engineer are:
• Preparation. I do a recording plan
for every session, sometimes weeks
in advance.
• A great producer is a vibe master.
That starts before the studio. You
have to plan who’ll be in the room
and also have a vision for a track.
• Have a sense of adventure. You need
one to make good art. You also must be
willing to make mistakes and to stand
behind a sound that you’ve created.
PRODUCER CROSSTALK
20
21
November 2021
musicconnection.com
November 2021
musicconnection.com
O
riginally from Buffalo, NY, musician and producer Dave Schulz
started on the piano when he was 11. He went on to play locally
and win various awards. Toward the late ‘90s he got a call from
Robby Takac, bassist with the Goo Goo Dolls, and was invited to play
keys for them at A Day in the Garden (aka Woodstock ’98). Schulz was
then tapped to join the band’s Dizzy Up the Girl tour, spending two years
on the road. After his move to L.A., he organized an all-star jam night
at Ian Copeland’s The Backstage Cafe. He’s since collaborated with a
range of artists including Wang Chung, Berlin and Cherie Currie, founding
member of The Runaways.
His recent undertaking was a charity cover of New Radicals’ “You Get
What You Give.” Artists involved include Currie, Takac and Bumblefoot,
formerly of Guns N’ Roses. “That song holds a special place for me
because it sounds like a modern Todd Rundgren record and I’m a huge
fan,” Schulz explains. “It also felt extremely timely. The message alone
speaks to a lot of things today, such as venues being shut down, poten-
tially, by the pandemic and the general turmoil that COVID has caused. It
will benet The David Z Foundation, which helps kids with music educa-
tion. It’s also aligned with Robby’s [Takac] Music is Art in Buffalo.”
Schulz has always produced his own records and in the past few years
began to do the same for other artists. “I’d always wanted to produce
and I thought I’d be good at it,” he says of his evolution. “Cherie [Currie]
believed in me and let me produce a
track––a cover of Burt Bacharach’s
‘What the World Needs Now.’ The
cool thing was that her singing Burt
Bacharach is completely shocking
to most people. It turned out great.
Burt heard it himself and liked it. That
led to me producing her entire solo
record, which we’ll start next month.
It’ll be either an EP or full record and
I’ll bring in A-list musicians. The goal
is to make a record of all the songs
you wouldn’t think she’d sing; songs
that will be conducive to having a lot
of fun in the studio.”
One of his favorite studio memories
is when he was working on his song
“Back to Me.” Robi Banerji, an engineer friend, had called in a favor and
got producer and musician Daniel Lanois to come in and play pedal steel
on it. “I’m a big fan and Robi told me that [Lanois] was tough on lyrics and
might tell me to rewrite them on the spot,” Schulz recalls. “I’ve heard sto-
ries of him making Bono rewrite on the y. But he liked mine and said that
they sounded like a man trapped at midnight. He made me re-sing the
lead vocal into an old SM-57 mic just sitting on the couch. I was nervous
as hell but ended up getting a really great vocal.”
Schulz does much of his work at “The Dave Cave,” his home studio.
“I’ve got both a Logic-based system as well as Pro Tools and Ableton; it’s
set up so that different engineers can come in and work [easily],” he ex-
plains. “I’m not an engineer, personally, and I like to have one [come in]. I
respect other people’s talent in that eld and don’t want to do everything
myself. I like to put the best minds together and make things happen.
That’s where I shine as a producer and that’s the key to a great record.”
Schulz plans to begin work soon with Currie and aims to produce a
record for sax artist Katja Rieckermann, who’s worked with Rod Stewart.
Contact daveschulzmusic.com; @daveschulzmusic
on YouTube, Twitter and Instagram
DAVE SCHULZ
– ROB PUTNAM
...lessons he’s learned as a
musician and producer are:
• Trust your instincts and don’t
be shy to voice your opinion.
• Always try to connect,
whether live or in the studio.
Connection is key.
• It’s the musician, not the
instrument or the gear.
FIX_USE07-25_November2021.indd 20FIX_USE07-25_November2021.indd 20 10/18/21 8:02 PM10/18/21 8:02 PM
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• Creatively, less is more. If you find that you’re adding things to
help the energy, maybe you should think about cutting some
things out.
• It’s not an insult to take care of your business; to make sure that
you’re paid on something. Sometimes people walk into these
things as friends and they’re not once it’s finished.
• The last thing my father said to me before he died was ‘Don’t talk
someone into singing something they don’t love because they
might have to sing it for years.’
The three most important lessons
he’s learned as a producer are:
• Creatively, less is more. If you find
that you’re adding things to help the
energy, maybe you should think about
cutting some things out.
• It’s not an insult to take care of your
business; to make sure that you’re paid
on something. Sometimes people walk
into these things as friends and they’re
not once it’s finished.
• The last thing my father said to
me before he died was ‘Don’t talk
someone into singing something they
don’t love because they might have to
sing it for years.’
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PRODUCER CROSSTALK
– ROB PUTNAM
20 21
August 2022
musicconnection.com
August 2022
musicconnection.com
O
riginally from Guatemala, mix engineer and 11-time Grammy-winner
Manny Marroquin fell in love with music when he discovered the
drums as a child. Later he attended L.A.’s Alexander Hamilton High
School where he logged countless hours in the school’s studio. Rather
than attend college, Marroquin spent a few months in an engineering
program and landed a runner gig at Enterprise Studios. His break came
when a producer asked him to do a rough mix of some tracks, was suit-
ably impressed and invited Marroquin to mix the entire record. Since that
pivotal day, he’s worked with artists such as Kanye West, Phoenix, Alicia
Keys and a swath of others.
Like any good mixer, Marroquin knows when and how to massage
a track. But over the years he’s learned something of equal importance
and perhaps more nuanced: when to do little or nothing. “That’s the
million-dollar question,” he asserts, “and it’s what makes [mixers] unique:
knowing when to do something and knowing when to leave [a track]
alone. Some people express themselves through frequencies. That’s
mostly instinctual and I don’t think it can be taught. It’s almost like teach-
ing someone good taste. You can show that to people, but it’s got to
come from within. That’s a combination of thousands of key points you’ve
learned since the moment you were born.”
It’s common for records to have
multiple producers and just as many
mixers. Marroquin views that as a
choice that depends in large part on
the genre and artist. “We just finished
the record for Paramore,” he explains.
“That band needs one consistent sound
because it’s an album with one pro
-
ducer. But then you get another band
or genre and they may have several. If
there’s only one producer, nine times
out of ten it’ll be the same mixer. So, it
depends a lot on who the producer is.
In today’s world, we don’t necessarily
listen to albums as much as we used
to, so it becomes less important to
have [only] one mixer.”
Plugin-maker Waves approached
Marroquin to create the Manny
Marroquin Signature Series bundle.
“When I signed on to do it, they
wanted something that was slightly different and easy to use,” he recalls.
“My EQ is a four-band and I believe there are 14 different frequencies
overall. Each one is based on a piece of gear in my room and is modeled
to mirror it. For example, my 25k could be an Avalon EQ, 125 hertz could
be my Neve and 800 could be my API. So, it’s a super EQ with all of the
gear but also the frequencies I tend to go to.”
Recently Marroquin completed work with Paramore, the 1975, Phoenix
and Kendrick Lamar. In fact, the day Music Connection spoke with him,
he’d just begun the mix on DJ Khaled’s latest record. He remains in
close contact with David Sears, his high school mentor, who’s now Vice
President, Education for GRAMMY in the Schools. Indeed, they often sit
on panels together. Marroquin works almost exclusively at North Holly-
wood’s Larrabee Studios, his seven-room workspace, which he acquired
in 2008.
See mannymarroquin.com,
Instagram @mannymarroquin,
Twitter @MMMixes
MANNY MARROQUIN
. . . lessons he’s learned as a
mix engineer are:
• Be a good people person and com-
municator. Be observant of how
someone moves their body when
they listen to your mix.
• You’re only as good as your client.
Hopefully you can connect with the
right people.
• Be more emotional and less literal.
Think more with your right brain – the
creative side – than with your left,
which is the technical side..
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BOOK STORE
14
15
November 2021
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November 2021
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Introduction to Music
Publishing for Musicians
By Bobby Borg & Michael Eames
(paperback) $34.00
Worth every penny, thisis a down-to-earth new
book written by two musicians and industry
pros (and Music Connection contributors) with
decades of experience. They’ve organized it
into seven clearly-written sections that will help
musicians, students, songwriters, beat makers
and others save time and avoid getting screwed.
Topics include
the basics of
copyrights,
types of pub-
lishing income,
publishing
companies and
types of deals,
creative mat-
ters of music
publishing,
and things you
need to know
about music
publishing’s
future.
Made in Hollywood: All Access
with The Go-Go’s
By Gina Schock
(hardcover) $40.00
Go-Go’s drummer Gina Schock takes fans
behind the scenes for a look at her personal
photos documenting her band's wild journey
to the heights of fame and stardom. Featuring
posters, photographs, Polaroids, and other
memorabilia from her archives,Made In Hol-
lywoodalso
includes stories
from each
member of the
band, along
with other cul-
tural luminar-
ies like Kate
Pierson, Jodie
Foster, Dave
Stewart, Mar-
tha Quinn and
Paul Reubens.
Three Pianos: A Memoir
By Andrew McMahon
(hardcover) $27.95
The Something Corporate and Jack’s Manne-
quin frontman delivers an engrossing memoir
about the challenges and triumphs of his child-
hood and career,
as seen through the
lens of his personal
connection to three
pianos. McMahon
not only recounts his
grueling efforts to
make it as an indie
artist, but also how
he dealt with––and
prerailed over––a
bout with leukemia
at age 23.
The Storyteller—Tales of Life
and Music
By Dave Grohl
(hardcover) $29.99
Foo Fighters frontman Dave Grohl has penned a
vivid memoir that conveys both the ordinary and
the extraordinary moments and events of his life.
Standouts include
some harrowing
incidents with
Nirvana bandmate
Kurt Cobain as
well as heartfelt
moments with
Grohl’s wife and
kids. Experiences
with Pantera, John
Fogerty, Tom
Petty, Iggy Pop,
John Paul Jones,
Paul McCartney
and others make
this autobiography
a satisfying read.
Rock Concert
By Marc Myers
(hardcover) $30.00
There’s plenty of fascinating information to glean
from Myer’s oral history examination of the
evolution of the rock concert business, from the
wild west ‘50s to the corporatized ‘80s. Myers
does it with insightful statements from prominent
insiders (Seymour
Stein, George
Wein, Henry Diltz,
Marshall Chess,
Michael Lang),
performers (Ian
Anderson, Todd
Rundgren, Alice
Cooper) and the
fans in the stands,
with special atten-
tion to milestone
events such
as Woodstock,
Altamont and Live
Aid.
Carpenters: The Musical Legacy
By Mike Cidoni Lennox & Chris May
(hardcover) $35.00
The story of one of the most enduring and
endeared recording artists in history—the
Carpenters—is told for the rst time from the
perspective of Richard Carpenter, through
more than 100 hours of exclusive interviews
and some 200 photographs from the artist’s
personal archive.
This nicely illus-
trated book takes
you through the
multimillion-selling,
Grammy-winning
duo’s formative
years right up
through their
1970s stardom
and Karen’s
unfortunate end.
41
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Quick Facts
Barrett’s maiden single, “I Hope,”
was the first Top 10 Hot Country
Songs debut by a solo female artist
since October 2017.
Barrett sang “God Bless America”
and tossed out the first pitch at a
Pittsburgh Pirates game in May 2018.
She sang the National Anthem at a
Pittsburgh Steelers game later that
year and at the Daytona 500 as well.
Reality-TV actor Jeremy Vuolo of
Counting On officiated at Barrett and
Foehner’s wedding in October 2019.
Forbes listed Barrett as one of its 30
Under 30 in Music in 2020.
Barrett made the cut on Variety’s
2020 Young Hollywood Impact
Report.
In April 2021, Barrett earned the New
Female Artist of the Year honor at the
ACM Awards.
In May 2021, Barrett scooped up three
wins at the Billboard Music Awards,
for Top Country Female Artist, Top
Country Song (“I Hope”) and Top
Collaboration (“I Hope”) with Charlie
Puth.
Later that month, Barrett nabbed Best
Country New Artist at the iHeartRadio
Music Awards.
At the same ceremony, Barrett’s
ensemble—a one-shoulder
Balmain dress, Saint Laurent heels,
Established jewelry and Tyler Ellis
clutch—impressed Elle enough to
land on its Best Looks From the 2021
iHeartRadio Music Awards rundown,
while People called her and husband
Foehner one of the “Cutest Couples
on the Red Carpet.”
to do that someday. My dad would talk about it
and stand at the table next to me and said when
they said my name it was going to be like a full-
circle moment. And the Billboard Awards were
special because they [represent] all genres. To
be able to win three awards that night, and I
was the most-nominated female, was special.
MC: I assume another unforgettable moment
must have been when you had the chance to
link up with Dolly Parton. I think it was online
only [for Amazon]. Have you met her in person
yet? And why did you choose one of her songs
[“I Will Always Love You”] to cover?
Barrett: I did not get to meet her, and yes, I
really want to. But getting to talk to her was
an honor. She’s one of the many people who I
looked up to my entire life in the country music
format. I love so many things about her—one,
specifically, is how she always writes songs that
are very genuine. I try to do that with my life,
and she’s inspired me in that way.
“Jolene” was just a really fun song that I sang
for a while when I was like 11 or 12. I think I
naturally gravitated toward the melody. That’s
classic Dolly.
MC: How do you manage to maintain a private
life in the social media era, and what’s the value
you put on privacy?
Barrett: There’s a cost that comes with living
in the spotlight when you sign up for it. People
are naturally going to look into your life and
be a part of it, and there’s nothing wrong with
that. But it just depends on the person and how
much they’re willing to share and how much
they want to share. Being an open book is fine,
but so is drawing boundaries. Not everything
needs to be out in the spotlight.
There’s value in humans being made in the
image of God. We have a right to not having
to share our faith with the world. You have to
work it out within your own family and on your
own terms.
MC: Do you feel like female artists tend to get
asked more about their children versus male
artists?
Barrett: I really haven’t noticed that because
my husband does interviews and gets asked
about our daughter.
MC: You once mentioned that one of the fun
parts of being a parent at this stage in your
child’s life is seeing them discover which new
foods they like or don’t like. Have you noticed
anything this past week or two that Baylah May
likes or doesn’t like?
Barrett: She doesn’t really like blueberries,
which is funny. She’s just such a funny,
interesting child. Yeah. And she’s really starting
to talk a lot. She wants to crawl.
MC: Do you think you’re going to have many
more children?
Barrett: You know, I’ll be grateful for that.
MC: Last question: In just about every interview
I’ve read, you get asked what advice veteran
artists have given you. And I’m wondering, given
that you’ve already accomplished so much, what
advice do you give young artists yourself?
Barrett: Use any negativity thrown at them and
turn it into positivity. Don’t let it eat you up. Look
at it as like fuel to the fire. Just keep one foot
in front of the other. You’re going to get a lot of
closed doors. But keep knocking. Eventually
one of them is going to open.
Contact Jensen Sussman,
September 2021 musicconnection.com
45
opportunities or deals with you, you have to
show that you’re competent in the following
areas:
• Song copyrights
• Sound recording copyrights
• Synch negotiations (context, timing, territory,
media, duration, and price)
• Recording contracts
• Publishing contracts, and…
• Standard music industry policies and practices
It is crucial that you understand what is fair and
ordinary while also understanding what your
own worth is too. This comes with experience,
but it also comes with checking out additional
resources like Music, Money, and Success by
Jeff and Todd Brabec, and it sometimes comes
from entering into several deals early on where
you get no upfront pay at all (particularly in
music licensing situations like small lms and
TV placements).
On the latter note, be sure to check out the
boxed text below before moving on to our nal
tip on attorneys.
14: Have an Attorney Available
Who Can Help
And nally, for our 14th and last tip on pitching
like a pro, it is important that you nd an
experienced entertainment attorney who
understands music publishing. As they say, a
man who is his own attorney just may have a
fool for a client.
The best way to nd an attorney is
through referrals from people you trust. But
just remember that attorneys are not cheap
(reviewing a simple synch deal could cost $300
per hour).
Sometimes a music business consultant who
truly understands the business could be a more
affordable substitute for an attorney—especially
in cases when there is not a lot of money being
offered for your songs and/or when the risk
of loss is extremely low (like when the deal is
a non-exclusive deal, there is no ownership
transfer involved, or the deal is for a short term).
Free services may also be available to you.
For instance, The University of California Los
Angeles has the Music Industry Clinic where
they provide free help to rising musicians and
bands. There is also the Indie Artist Resource,
which provides free templates.
But whomever you get to assist you, just
be sure you get someone who is highly
recommended. And don’t be a cheap-ass
either. If you are making $2,500 on a synch
deal, you can afford to hire someone. You get
what you pay for.
Okay! So now that you know how to pitch
like a pro, you should really be ready to start
sending out your music to all of those wonderful
places discussed in previous chapters. Are you
excited?! We hope so. On that note, happy
pitching! You can now start hitting the send
button. •
What If No Fee Is
Offered Upfront to
Use My Song?
If a licensing opportunity involves no up
front fee, here are two things to explore:
• Credit or Promotion: Explore the
possibility of getting credit in the end
titles of the project, having them put
a link to your song on their website,
and/or giving you permission to use
portions of the lm (if it’s an indie lm
project, for instance) in your upcoming
music video.
• Step Deals: Explore the possibility
of getting paid in “steps” (particularly
when working on a low-budget indie
lm). Step one might involve giving the
rights to your music for free while the
director is showing the lm at festivals.
Step two might involve getting a
fee when the director is signing a
distribution deal. And step three might
involve getting additional payments as
the director is experiencing sales at
theater box offices.
So as you can see, even when licensing
your music for free, you still have to
know the business and know your place
in it too. After all, you are a pro and not
just a hobbyist.
Bobby Borg, MCM is a former
recording/touring artist, the founder
of Bobby Borg Consulting, and the
author of Music Marketing For The
DIY Musician and Business Basics
For Musicians. He is also an adjunct
professor of Music Industry studies at
USC’s Thornton School of Music.
Michael Eames is a trained
composer, songwriter and pianist
with experience in lm scoring, the
President and co-Founder of PEN
Music Group, Inc., and an advisor to
the Independent Publisher Advisory
Council (IPAC) of the National Music
Publisher’s Association (NMPA).
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– JONATHAN WIDRAN
Musicians Performance Studios, Inc.
musiciansps.com
Creating a True Music Community: Perhaps the most important line on
the landing page of Rancho Cucamonga, CA-based Musicians Perfor-
mance Studios, Inc. is: “MPS was created for musicians by musicians, we
know how difficult it is to nd a quality facility.”
Launched in 2008 as a multi-rehearsal room facility by veteran drum-
mer Keith Jones, it has by his design grown over the years to become the
Inland Empire’s top state-of-the art fully equipped pro shop, equipment
rental, rehearsal and recording studio, in addition to providing lessons
for all ages and levels and instruments (woodwinds, brass, string, guitar,
bass, drums and vocals). Aside from providing state-of-the-art services,
Jones’ vision has always been to create an environment that encourage
musicians to help each other and form a thriving creative community.
“I have been so blessed in this business,” he says, “and launching and
growing MPS has been my way of giving back. People may know me as
a great drummer, but I would rather be known as a good humanitarian.
There was a need for these services in this area and being a giver has
always been my nature, and those things were always the driving forces
in my business plan.” Serving everyone from weekend warriors to pop
superstars, MPS’ well-known clientele has included The Romantics, Ice-T
& Body Count, Great White, Cameo and Los Lobos.
Rehearsal and Lock Outs: MPS’ spacious, sound-proof studios are de-
signed to enable artists and musicians to maximize their practice sessions
and allow them to create in a relaxed, stress-free environment with no distrac-
tions. Based on size and amenities, the seven rooms range from $17 to $26/
hr with a two-hour minimum. The rooms with full backline include P.A. & mics/
stands, guitar/bass/keyboards, amps and drums. Cymbals are available to
rent for $7. Lockouts range from $250 to $500 depending on the size. There
is also a 1,000 sq. ft. showcase room available for $26/hr. It’s designed for re-
hearsal, but clients can inquire if they are seeking to use it for other purposes.
Recording Studio: Madman Sound is a full-service recording studio
located at MPS. Offering a comfortable, relaxed vibe, the facility has a
three-room layout consisting of a control room, tracking room and a vocal
booth, ideal for artists looking to capture the vibe and feel of a rhythm
section while still maintaining acoustic isolation. It is equipped with an as-
sortment of mics, outboard gear and instruments. Led by Orlando Torres,
MPS’ engineering staff consists of veteran pros with years of experience
in all facets of audio production.
Other Services: MPS has a pro shop carrying instruments and gear from
all major brands at the lowest prices anywhere, guaranteed. They also
now offer graphic design by Sam Mountain, a SoCal based artist/graphic
designer from Claremont who has experience in branding and many
types of design (logo, promo material, merchandise, web) as well as
photography and video editing. MPS also offers full-service, reasonably
priced daily equipment rentals, video and photo shoots and live sound
and lighting systems that can be rented out for events of any size.
Contact Musicians Performance Studios, Inc., 909-944-0100
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THE INDIE ARTIST
“Music Connection is a great resource for all rising artists looking to gain
industry insight and development tips.”
– LAW
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!”
– Chris Sampson, Vice Dean for Contemporary Music, USC Thornton School of Music
THE AUDIO PRO
"Music Connection is the most enjoyable magazine I read. It has the best advice,
news, inside scoops, etc. As a designer and manufacturer, they keep me up to date
as to where things are heading. The people there are awesome, and you can always
find the 'magazine of choice' by looking in a studio’s bathroom. There is ALWAYS a
Music Connection magazine in there!"
– Paul Wol, Designer, Inventor, Owner, FIX Audio Designs
THE STUDIO OWNER
“I find valuable information in every issue. I constantly refer engineers seeking
employment to the annual Recording Studio issue, which has the most complete
and comprehensive list of U.S. studios that you will find anywhere. And when I am
asked for advice by a kid just starting out, I always tell them 'Well the first thing you
should do is check out Music Connection.'”
– Kathleen Wirt, Owner, 4th Street Recording
THE INDIE ARTIST
“Music Connection consistently serves up some of the most helpful music articles
online, and has helped me find several songwriting opportunities that I wouldn’t
have known about otherwise. Regardless the stage of your career,
Music Connection is an amazing resource.”
– Aprilann
THE GRAMMY WINNER
“Music Connection is consistently the best source for how to make records and
sustain a career in music.”
– Greg Wells, producer, songwriter-musician (Katy Perry, Panic!, Adele)
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SUNRISE SOUND
3330 Walnut Bend
Houston,TX 77042
713-977-9165
Web: sunrisesound.com
Basic Rates: $139/2hr session, $259/4hr session,
$479/8hr session
360 RECORDING STUDIO
11430 Bissonnet St.
Houston, TX 77099
832-598-7348
Web: 360recordingstudio.com
TIERRA STUDIOS
7502 Shadyvilla Ln.
Houston, TX 77055
832-730-0040
Web: tierrastudios.com
TOP HAT RECORDING
2302 Rebel Rd.
Austin, TX 78704
512-779-8188
Knoxville, TN
Web: tophatrecording.com
TRINITY RECORDING STUDIO
3406 Brawner Parkway
Corpus Christi, TX 78411
361-854-SING (7464)
Web: trinitystudio.com
Contact: Jim Wilken
Format: digital, unlimited tracks
Basic Rate: $30/hr.
WIRE ROAD STUDIOS
901 W. 20th St.
Houston TX 77008
713-636-9772
Web: wireroadstudios.com
Contact: Bill Wade
Format: Digital / Pro Tools
Basic Rate: Studio A $130/Hour; Studio B $100/Hour;
Studio D $75/Hour
UTAH
FUNK STUDIOS
445 N. 700 W, Suite `0`
North Salt Lake, UT 84054
385-424-0778
Web: funkstudiosutah.com
NOISEBOX STUDIOS
2544 W. 500 S.
Provo, UT 84601
801-805-8217
Web: noiseboxstudios.com
Contact: Dave Zimmerman
Basic Rate: $85/hr
OUTLAW MUSIC STUDIO
55 Castle Valley Dr.
Moab, UT 84532
435-259-0900
Web: OutlawMusic.Studio
Contact: Fred Stone
Format: Pro Tools HD/HDX, analog 1/2” and 2”-24 track
Basic Rate: Please contact us
VERMONT
GUILFORD SOUND
561 Fitch Rd.
Guilford, VT 05301
802-254-4511
Web: guilfordsound.com
Contact: Cynthia Larsen
Format: Pro Tools + Analog
Basic Rate: Please call Cindy.
NORTHERN TRACK RECORDING STUDIO
P.O. Box 1059
Wilmington, VT 05363
802-464-2234
Web: northerntrackstudio.com
Basic Rate: $60/hr
OLD MILL ROAD RECORDING
316 Old Mill Road
East Arlington,VT 05252
802-430-7398
Web: oldmillroadrecording.com
TANK RECORDING STUDIO
322 N. Winooski Ave.
Burlington, VT 05401
802-448-2655
Web: tankrecording.com
Format: Pro Tools Ultimate 2013/2015 Mac Pro,
Apogee 32 Channels
VERMONT RECORDING STUDIOS
1057 Quarry Road
Chester, VT 05153
802-631-0707
Email:Studio@VermontRecordingStudios.com
Web:VermontRecordingStudios.com
Social:@VTRecording
Contact: John Sawyer
Format: Studio One, Pro Tools, Solid State Logic
SuperAnalogue Mixing Console & DAW Controllers.
BasicRate: Please call for more information
VIRGINIA
CUE RECORDING STUDIOS
109 Park Ave., Ste. E
Falls Church, VA 22046
703-532-9033
Web: cuerecording.com
Basic Rate: please call for info
DA SPOT RECORDING STUDIO
213 W Brookland Park Blvd.
Richmond, VA 23223
804-649-2888
Web: daspotrecordingstudio.com
INNER EAR STUDIO
2701 South Oakland Street
Arlington, VA 22206
703-820-8923, 703-521-7781
Web: innerearstudio.com
Rate: $425 per day, hourly rates available
MASTER SOUND
Virginia Beach, VA 23452
757-373-1180
Web: mastersoundva.com
Contact: Rob Ulsh
Format: digital and vintage analog
Basic Rate: call for rates
WASHINGTON
BAD ANIMALS
2247 15th Ave. W
Seattle, WA 98119
206-443-1500
Web: badanimals.com
Contact: Wendy Wills
Format: digital and analog
Basic Rate: please call for info
BEAR CREEK STUDIO AND MUSIC PRODUCTION
6313 Maltby Rd.
Woodinville, WA 98072
425-481-4100
Web: bearcreekstudio.com
Contact: Manny Hadlock
Format: 2” 24 trk, 2” 16 trk, 1/2” 2 trk, Pro Tools HD
32 in/48 out
Basic Rate: Please call for rates
CLOUD STUDIOS
1101 E. Pike St.
Basement
Seattle, WA 98122
206-209-0977
Web: cloudstudiosseattle.com
Contact: Doug Wilkerson
Basic Rate: call for rates
ELECTROKITTY
4415 Densmore Ave., N.
Seattle, WA 98103
425-358-1441
Web: electrokitty.com
Contact: Garrett
Format: Digital and Analog
Basic Rate: call for more info
LONDON BRIDGE STUDIOS
20021 Ballinger Way, N.E., #A
Shoreline, WA 98155
206-364-1525
Web: londonbridgestudio.com
Format: Vintage Neve 8048 / Studer A-800 MKIII
24-track 2” Analog tape deck, Protools HD3
Basic Rate: please call for rates
MIRROR SOUND STUDIO
301 N.E. 191st St.
Seattle, WA 98155
206-440-5889
Web: mirrorsound.com
Contact: Ken Fordyce
Format: 24 track digital-analog
Basic Rate: Please call for rates
ORBIT AUDIO
Seattle, WA
206-381-1244
Web: orbitaudiorocks.com
Format: Digital/Analog
Basic Rate: $95/Hr, $750/day
WEST VIRGINIA
JAMIE PECK PRODUCTIONS
216 Longvue Acres Rd.
Wheeling, WV 26003
304-277-2771
Web: jamiepeckproductions.com
Contact: Jamie Peck
Format: digital Pro Tools HD
Basic Rate: please call for info
RHL AUDIO
703-628-3015
Web: rhlaudio.com
Contact: Chris Murphy
Basic Rate: please call for info
WISCONSIN
BLAST HOUSE STUDIOS
1117 Jonathon Dr.
Madison, WI 53713
608-276-4446
Web: blasthousestudios.com
Format: see website for equipment list
Basic Rate: call for rates
WYOMING
BRIDGER PRODUCTIONS
P.O. Box 8131
4150 Glory View Ln.
Jackson, WY 83002
307-733-7871
Web: bridgerproductions.com
Contact: Michael J. Emmer, President
Basic Rate: please call for info