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Informing Music People Since 1977
August 2022 • Vol. 46 • No. 8
36
Tedeschi Trucks
Talk about ambitious; multiple Grammywinning husband and wife team Susan Tedeschi and Derek Trucks returns with I Am the Moon, a four-album collection that features 24 songs centered on the complex love story of Layla and Majnun written by 12th century Persian poet Nizami Ganjavi. In our exclusive interview with Derek, he tells us all about it—and then some.
By Eric Harabadian Photos by: David McClister
39
How to Make Your Live Performance Really POP! By Frank Demilt
50 Directory of Rehearsal Studios 55 Directory of Gear Rentals
42
ASI 3DME Gen2 Bluetooth Active Ambient In-Ear Monitoring System By Steve Sattler
Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 24. The Legal Beat 26. Signing Stories 28. Song Biz 32. Film•TV•Theater 34. Mixed Notes
Reviews
44. Album Reviews 45. Live Reviews 48. New Music Critiques
Compiled By Denise Coso Be sure to follow Music Connection on Facebook and Twitter.
20. Producer Crosstalk: Manny Marroquin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Lucas Sacks, Brooklyn Bowl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Kristopher Pooley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andrea Beenham 43. Artist Profile: Richie Furay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann 62. Tip Jar: How to Eat Right on Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Emmaline Rassmussen
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The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.
Artist: Chris Buck
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E. Eric Bettelli PUBLISHER E. Eric Bettelli
GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com
Denise Coso
OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com
Steve Sattler
BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com
Hillorie McLarty
ADVERTISING / MARKETING hillorier@musicconnection.com
Ray Holt
DIRECTOR OF DIGITAL MARKETING rayh@musicconnection.com
Jessica Pace
FILM / TV / THEATER j.marie.pace@gmail.com
Mark Nardone
SENIOR EDITOR / ASSOCIATE PUBLISHER markn@musicconnection.com
John Curry
ART DIRECTOR artdirector@musicconnection.com
Joseph Maltese
ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER josephm@musicconnection.com
Barry Rudolph
NEW TOYS barry@barryrudolph.com
Andrea Beenham SONG BIZ drea@dreajo.com
Glenn Litwak THE LEGAL BEAT gtllaw59@gmail.com
Brett Callwood
BUSINESS AFFAIRS brettcallwood@gmail.com
FEATURE WRITERS Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com Daniel Siwek danielsiwek@roadrunner.com Dan Kimpel dan@dankimpel.com CONTRIBUTING WRITERS Heather Allen, David Arnson, Andrea Beenham, Bobby Borg, Pierce Brochetti, Alexx Calise, Brett Callwood, Miguel Costa, Heather Cunningham, Elena Ender, Gary Graff, Eric Harabadian, Andy Kaufmann, Glenn Litwak, Andy Mesecher, Kurt Orzeck, Jessica Pace, Rob Putnam, Steve Sattler, Adam Seyum, Daniel Siwek, Brian Stewart, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Heather Allen, David Arnson, JB Brookman, Brett Callwood, Alexx Calise, Daren Cornell, Miguel Costa, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Alex Kluft, Heather Koepp, Tony Landa, Dave Long, Thomas Long, Charlie Meister, Scott Perham, Garrett Poulos, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Joshua Weesner, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA
Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright © 2021 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com
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– JONATHAN WIDRAN
Hazelrigg Industries hazelriggindustries.com
Association with Legendary Designer Doug Fearn: With extensive backgrounds in live performance and production, brothers Geoff and George Hazelrigg—founder of Pennsylvania-based Hazelrigg Industries— design and manufacture professional recording equipment built fopr modern production techniques. Previously, during Geoff’s tenure as lead assembler for D.W Fearn (founded by Doug Fearn in 1993) the Hazelriggs began combining different aspects of Fearn’s offerings to create the VLC. This “Swiss Army knife” production tool was launched under the Hazelrigg Industries banner, in a licensing agreement with D.W. Fearn. Hazelrigg Industries eventually took over the manufacturing and distribution for both brands, with Fearn staying on as lead designer. The Products: Hazelrigg Industries currently offers three products: the VDI—an all-tube Direct Injection (DI) box and both the popular VLC, an all-tube Mic pre/DI/Inductor EQ and the VNE all-tube single channel compressor. Combined as a channel strip, Geoff describes these as “the best front-end anyone’s ever heard.” Hazelrigg Industries and Dolby Atmos: Hazelrigg Industry products are also uniquely suited for work in Dolby Atmos, a revolutionary spatial audio technology, as each sound source in these immersive mixes must be of the absolute highest fidelity At the core of the VLC, the VNE and the VDI (all tube direct box) is an amplifier circuit designed by Doug Fearn. Which reinforces even order harmonics of any signal passing through it. The result is that any signal going through any of their products comes out an improved version of itself, with a powerful enhancement of the fundamental tone. Many of today’s top Atmos mix engineers, including Mike Miller, now consider Hazelrigg Industries gear to be essential to their workfow. Prior to any mix session, stems received from clients are passed through their
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banks of VLC/VNE “Atmos channels” to make sure that they sound as good possible—or simply tracked through the VLC/VNE to begin with. This latter approach was used to great effect during a groundbreaking session at Sweetwater Studios where the Hazelriggs and Mike Miller teamed up with Sweetwater Studios’ Shawn Dealey and Jason Peets to record an album while making mix decisions in Atmos in real time. Quote from the Hazelriggs: “The reason that our approach is so different from other preamp and compressor manufacturers is that the vast majority of them rehash designs from decades ago that were designed for a tape-based ecosystem. We, on the other hand, are designing with a telescope rather than a rear-view mirror, creating products for the workflows of today and tomorrow.” Contact Hazelrigg Industries, 567-393-3276
Scott Williams
Sue Lucarelli
Downtown Music Holdings
Epitaph Records
President, CD Baby
President
Downtown Music Holdings has announced the appointment of Scott Williams to the position of President of CD Baby and Soundrop. Williams previously served as Chief Technology Officer of CD Baby. Williams joined CD Baby in 2013 as Vice President of Technology and was promoted to CTO in 2019. He was central to the launch of Soundrop, a low-cost music distribution service with transparent pricing and collaborator splits. For more information, contact jv@spinlab.net.
Starting in the fall of 2004 as an intern and having spent 17 successful years at Epitaph Records, Sue Lucarelli has been promoted to President of the label where she will report directly to Founder and CEO Brett Gurewitz. Lucarelli previously worked as Executive Assistant to the CEO and then Vice President of A&R. “The diversity of the label and its artist friendly mentality has always been appealing to me. I’m ready to continue to work with the knowledgeable and passionate team at Epitaph and our extremely talented artists to build a catalog of timeless music.” Contact kelly@epitaph.com for more.
Taran Smith
Sebastian Rivas
Milestone Publicity
Renkus-Heinz
Account Manager
Engineer
Milestone Publicity—the Nashville-based full-service public relations firm—has promoted Belmont University graduate Taran Smith to Account Manager. Since graduating from Belmont University with a BBA in Music Business, Taran Smith has been establishing her roots in Nashville, TN and building a career in the music industry—finding that her heart lies in Public Relations. Since joining Milestone in April of 2022 as an Associate Publicist, Smith quickly progressed to an Account Manager role. For more information on the promotion, contact jbonner@milestonepublicity.com.
Renkus-Heinz, industry leading loudspeaker manufacturer, has announced industry expert Sebastian Rivas as Software Development and Research Engineer. With close to 15 years in the audio/visual industry Rivas joins the Renkus-Heinz team and advance the company’s audio engineering efforts. Prior to joining Renkus-Heinz, Rivas worked as a professor at St. Thomas University, Software Developer at Sensey Electronics in Mexico, and at Danley Sound Labs developing the Direct Sound System modeling software. Contact katherine@brand-definition.com.
Brigitte Green
Dionee Harper
Interscope Geffen A&M Records
Warner Records
SVP, Film & TV Licensing
EVP, Marketing & Artist Development
Interscope Geffen A&M Records has promoted Brigitte Green to the position of Senior Vice President Film & TV Licensing at the label. In her expanded role Green will continue to oversee the placement of music from the label’s artists in film, television, trailers and promos. Green joined Interscope in 2018 as VP, Creative Licensing. She and her team have been responsible for hundreds of needle-moving synch placements in top movies and television shows. Prior to joining Interscope, Green was Vice President of licensing at Beggars Group, and began her career at WH Entertainment. Contact jv@spinlab.net.
Dionnee Harper is joining Warner Records as Executive Vice President of Marketing & Artist Development. The widely admired industry leader is currently Senior Vice President, Head of Marketing at Warner Music Group sister label Atlantic Records. In her new post, Harper will oversee Warner’s marketing strategy across all genres, while working closely with the company’s various departments. She will relocate from New York to the label’s Downtown Los Angeles headquarters and report to Warner Records Co-Chairman and COO Tom Corson. Contact laura.swanson@warnerrecords.com.
Pharrell Williams
Robby Hoffman
Doodles
Primary Wave
Chief Brand Officer
Doodles, leading web3 NFT media & entertainment brand, announces the appointment of musician, producer, and 13-time Grammy Award winner, Pharrell Williams as a Member of the Board and Chief Brand Officer. Pharrell is a big believer in harnessing the power of web3 to revolutionize the music industry. His move to Doodles signals an exciting era in blockchain technology and entertainment where Pharrell will work closely with Doodles to take a web3 powered approach to music, art, animation, consumer goods and live events. For more information on strategic partnerships or the appointment, contact shirley@the5thcolumnpr.com.
Manager
Veteran music manager Robby Hoffman has joined Primary Wave in its talent management division. Hoffman brings over 30 years of music industry and management experience and will focus on expanding the company’s management roster that includes Melissa Etheridge, Cypress Hill, Salt-N-Pepa, Aly & AJ, and others. Robby and his clients will now have access to Primary Wave’s talent management infrastructure which includes an in-house press division, A&R/writer-producer relations team, branding division, digital strategy group, as well as our in-house film, television, video game, commercial advertising, and TV development team. Contact cmonck@primarywave.com.
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– BARRY RUDOLPH barry@barryrudolph.com
DONNER PIANO DDP80 DIGITAL PIANO Donner's DDP80 is a compact, 88-key digital piano with a full-sized weighted keyboard that plays the latest Donner-Designed Dream Sound Source—a multi-sampled French grand piano. The DDP80 came ready to play after I attached the included four round metal legs that distribute its 47-pound weight to provide stability and also a matching padded bench I quickly assembled. The DDP80 measures 50-inches wide, 14-inches deep, making the keyboard at 29-inches high from the floor. It also comes with a detachable music rack and a three-pedal floor module with soft, sostenuto and sustain or damper pedals. This pedal module plugs into a DIN socket underneath the keyboard or you may plug in a single standard, on/off sustain pedal. Three pedals is unusual for an electric piano and, along with its weighted action and built-in sound system, the DDP80 is the perfect starting piano for students. The DDP80 has a warm, reddish wood-like cabinet with a clean, uncluttered look; It comes with a 2 X 20-watts stereo amp that is loud enough to improvise and play along with other musicians or for a loud, raucous party! The rear panel has an on/off switch, volume control, headphone jack for silent playing, stereo line out jack for recording, and a USB interface connector for using the DDP80 as a MIDI controller. Its compact size made the Donner DDP80 a perfect fit in my small recording studio. I have it located adjacent to my Pro Tools rig—right-angled to my controller and video screens and it works so well! I especially like the built-in speakers when working on guitar parts and vocals—so handy to quickly check a singer's note or check guitar tuning. It is like having a grand piano next to me! A big winner for my studio and visiting piano players, the DDP80 sells for $599 MSRP. donnermusic.info/3L5LB12
FENDER JV MODIFIED SERIES The new Fender JV Modified Series combines the classic look and design of '50s and '60s electric guitars, with the playability, solid modern construction/materials and more precise intonation. The JV Modified Series is fashioned after the highly sought-after "Japanese Vintage" reissues from the early 1980s. What a great idea! There are four models priced from $1,299 to $1,349 MSRP. They are: '50s Stratocaster HSS, '60s Stratocaster, '60s Custom Telecaster, and the '50s Telecaster. I tried out the JV Modified '50s Telecaster ($1,299 MSRP) with a thick, soft "V"-shaped maple neck with a 9.5-inch radius and maple fingerboard with medium jumbo frets. You get a solid basswood body and two single-coil pickups that offer the classic Tele tone. I liked the guitar's color a lot! Called White Blonde—it casts a translucent pink under certain lighting. I also like the anodized gold-colored aluminum pick guard—it matches the three brass barrel saddle bridge pieces. This guitar has a solid feel in my hands and responds well to every move! The back of the neck is not too smooth (slick) so it provides a little "purchase" for my hand to stay put while playing. I especially thought the 4-way pickup switch wiring and design was well thought out. Both the Volume and Tone controls are smooth working and pulling up on the Tone knob flips phase of the pickups but only in pickup switch positions 2 and 4. In position 2 (pickups wired in parallel), flipping phase produces a super thinned-out sound but in position 4 (pickups wired in series) the sound is still thinner but with a warmer and louder mid-range. Great choices here and, depending on your guitar amp, is unlimited. I enjoyed playing rhythm guitar parts on the JV Mod; its sound always fit in the track while retaining a unique character. fender.com/en-US/electric-guitars/telecaster/jv-modified-50s-telecaster/0251962301.html
STL TONES CONTROLHUB STL Tones now has ControlHub, a pro audio mixing plug-in with models of completely configured signal chains as developed and used by well-known industry engineer/producers. The chain includes up to five modules each with separate bypass buttons to produce very specifically dialed-in processing for complete stereo mixes, individual parts of a modern drum kit, electric and acoustic guitars, bass guitar, and both lead and backing vocals. They are: Pre EQ—a three band semi-parametric and a hi/lo filter, Color can be the actual analog console's channel strip used or maybe a transformer. There is a Compression module with a choice of either a FET or VCA gain control element, Auto release, Sidechain and Wet/Dry mixing. The Master EQ section is similar to the Pre EQ and then the Effects processor is a complete reverb and delay system with pre-delay and different reverb types. You may sync to session tempo, parallel process with a Wet/Dry mixer, use modulation controls and set a Hi/lo pass filter. I liked that whatever processor was used—it is named up in the top row over the modules in the GUI. This is an inside look to see if a particular artist/mixer used a Neve 1084 module in the Color section and/or an SSL Bus Comp was emulated in the Compression module. With this new launch, the Artist Packs include: Mark Lewis, Machine (the Producer), Castle Recording Studios, and my friend Neal Avron. ControlHub emulates the original hardware or software signal chains and some of the artist/mixers offer to breakdown the settings of individual modules from the SSL G+ five Series, RND consoles, and Neal Avron's Melbourne. The ControlHub plug-in, including one free Artist Expansion Pack, and will be available at the special introductory price of $199. stltones.com
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– BARRY RUDOLPH barry@barryrudolph.com
BLACK ROOSTER AUDIO VLA-2A MARK II PLUG-IN Black Rooster Audio has added some modern touches to their popular VLA-2A vintage opto compressor emulation. Modern updates include a Wet/Dry control, Make up gain, and a big Gain control knob for pushing more level into saturation. There is a switchable external side-chain input, and the ability to switch between three different T4A opto-electric cells. Each of the three cells has different attack and release time characteristics plus they differ in compression ratios and knees—just like real T4A opto cells. I found the Cell A position good to compress bass with its soft knee and low ratio with Cell B the same except with a higher ratio if you need it. Cell B also sounded good for taking care of a weaksounding lead vocal track. Cell C is more like a limiter with a harder knee and higher ratio. I liked the Emphasis control that works like a Tilt EQ in the side-chain. Turning the Emphasis knob CW push more treble and less bass into the side-chain and somewhat reminds me of the screwdriver adjustment Pre-Emphasis control on the back of the old Teletronix LA-2A leveling amp. Also new is the Gain control that, when cranked up starts to add colorful saturation. I used Cell C, Emphasis at 55, and also turned up Gain to 55 for a big improvement in sound of a bass guitar that played mostly up the octave. Compared to the original VLA, the Black Rooster VLA-2A Mark II greatly broadens out the ways this emulation of a vintage opto-based compressor/limiter can be utilized. I did not have to use another compressor in series to get where I wanted to go! Always a good thing! Black Rooster VLA-2A Mark II sells $129 as a download with a 14-day demo available. blackroosteraudio.com/en
NEAT MICROPHONES WORKER BEE II CONDENSER MICROPHONE Neat Microphones' Worker Bee II is just that: an all-around utility, hard-working condenser mic that is great for recording nearly any source, from the loudest guitar amp cabinet to the most delicate vocals. Worker Bee II is a cardioid condenser mic with a 25-mm diaphragm that is internally shock-mounted; it requires standard 48-volt phantom powering. The big plus is that you may position the Worker Bee, as close to the source as you like—be it a vocalist, acoustic guitar, percussion instrument or a loud guitar amp. In fact, my first test was recording a small, 5-watt guitar amp driving a Celestion 12-inch speaker. I put Worker Bee right on the center and in front of the speaker's dust cover and got a clear sound—it might be a little bright depending on the guitar, amp tone controls and player but that is easily solved by moving off-center by a couple of inches. In all cases, the Worker Bee II was almost touching the grill cloth and I used about 30dB of mic gain from a Sunset Sound S1P Tutti mic pre-amp. About 45dB of gain from the same pre-amp setup was required for a medium loud singer right up on the mic. I used a windscreen and the sound was warm and articulated correctly—not overly bright or overly thick and dull. The mic has a swivel mount you can use to tilt the mic upwards to get more head tone and less nasal sound or tilt it downward to soften the high frequencies. Mic technique is everything. Neat Microphones Worker Bee II sells for $99.99 MSRP and a couple of them would make fine starter mics for any studio. neatmic.com/bee/worker-bee-ii-microphone
WALDORF IRIDIUM SYNTHESIZER Waldorf has its Iridium Keyboard, a desktop synthesizer with a new 49-key FATAR TP/8SK semi-weighted pressure keyboard with polyphonic after touch. Polyphonic after touch is transmitted individually for each note played so you could play and hold down any number of keys and simultaneously move each finger individually. The 851-mm (W) x 355-mm (D) x 110-mm (H) Iridium Keyboard has an expanded front panel with one-knob-per-function control along with six freely assignable macro buttons next to the Pitch and Mod wheels for additional performance control. There is a Mod Matrix with 40 independent modulation assignments each with its own individual Source, Amount, and Destination. Iridium Keyboard is also capable of processing MPE (MIDI Polyphonic Expression) data making multiple parameters of different notes separately controllable to emulate more exactly like an acoustic instrument. The Waldorf Iridium Synthesizer ships with new specifically created sounds and samples in addition to all those included in the Iridium desktop from the likes of Kurt Ader, BT (Brian Transeau), Richard Devine, Thorsten Quaeschning, and Howard Scarr. Iridium Keyboard sells for €2,989.00 EUR and available through Waldorf Music’s global network of distributors. waldorfmusic.com/en/iridium-keyboard
BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility in North Hollywood called Tones 4 $ Studios. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com
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(paperback) $21.89
Looking for the Magic: New York City, The ‘70s, and the Rise of (paperback) $19.95 Arista Records Through The Prism–Untold Veteran rock journalist Furek deliversStories a unique exploration of rock in the ‘60s and ‘70s, from the Hipgnosis Archive (paperback) $20.00 particularly the Northeastern Pennsylvania By Aubrey Powell scene. It was a time and place that spawned FromBoys its inception a new entity built on the The NextasDoor The Buoys, whose controversial “Timothy” was (hardcover) $39.95 By Maxim W. Furek
banned by major radio stations across the U.S. Part of the team behind the legendary graphics The Buoys’ career, firm Hipgnosis, Powell presents honest, entertaindespite major label ing, and revealing insider stories from the world deals and tours of rock, featuring an eclectic cast of pop stars, with huge acts comedians, actors, managers, gangsters, and such as Queen, inspirational world gurus was ill-fated. What from 1966 onward. His happened to this narrative is packed with antalented group ecdotes―from the founding and its song, of Hipgnosis to surviving Furek observes, drugs busts―and is richly “is symbolic of the illustrated with amazing censorship that Hipgnosis artwork (Yes, still remains in our Genesis, Pink Floyd, Led nation.” Zeppelin, many more) and Powell’s own photographs.
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pop and soul foundation of Bell Records, to By Dan Greenberger groundbreaking artists like Gil Scott-Heron (paperback) $9.99
and Patti Smith, to revitalized legends like the This terrific work ofFranklin, imagination a convincKinks and Aretha up to is launching its ing account what transpires infor 1960, biggest star,ofWhitney Houston, when, Looking the a priggish rock & roll hating American graduate Magic covers student—abroad in Hamburg, Germany for entire a sethe label’s mester of higher learning— roster: giant rents a dumpy popapartment successes that happens to beManilow), right (Barry next door tocutting-edge a bunch of rough and rowdy English jazz (Anthony lads whose band—calling Braxton) and themselves rock The Beatles, royalty of all things—who gaining (Louare Reed, the popularity inGrateful the local club Dead). scene.
Download at musicconnection.com/industry-contacts
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– JONATHAN WIDRAN
T.H.E. Company tomhilbe.com
Decades Dealing and Brokering Gear: Fueled by his early passion as a blues guitar player, Tom Hilbe has worked in numerous capacities in the audio equipment industry since the late ’60s. Among other endeavors, he’s brokered high end audio and film gear, became the largest broker of API consoles of the ’70s and owned a remote recording truck company that worked with Metallica, Pee Wee Herman and Frank Zappa. Hilbe’s two decades plus in manufacturing began in 2000, when he was involved with video broadcast companies and couldn’t find enough used shotgun mics. After creating his own improved affordable shotgun mics as part of his upstart Acoustic Solutions line, he began developing studio mics and mic pres, ultimately incorporating under the name Tom Hilbe Equipment (T.H.E.) Company. The Mission: “From buying and selling for so many years, I own a lot of vintage equipment, and with my products am always trying to achieve the classic sounds of the ‘50s, ‘60s and ‘70s,” he says. “While many companies simply mimic products from the past, what I’m doing is 180 degrees in the opposite direction – taking inspiration from older products but putting those classic sounds and classic ‘headroom’ into newly built modern equipment.” One of Hilbe’s trademark lines is his series of Tom-Com™ products, which are manufactured to be used with professional intercom systems, wired and wireless, for the broadcast and touring industries. Hilbe Mo5 Mic Pre: Hilbe’s Limited Edition Mo5 Mic Pre (made in Los Angeles) employs the classic Metropolitan Desk design built in house by Motown circa 1965, – ANDREA BEENHAM brokered and restored by Hilbe in 2008. In the desk restoration process for Uptone Recorders in Tacoma, WA, the mic pre design was reconfigured for 500 rack production lack,series female, and born visually impaired to competitive Nigerian imutilizing sourced N.O.S. Beyer singer-songwriter-producer Lachi (like migrant parents, pop-EDM input Versace) transformers (N.O.S. 709one to let anything get in her way. Raised has never been op amps and new stock Jensen as the sixth of seven children comprised of doctors, anesthesiologists and JT-123 outputshe transformers). optometrists, recognized quickly that hers would be a different path. TheAfter Mo5the is agreat no frills, get down response of a talent-show crowd in high school to the to basics mic pre whose plug in her music, Lachi felt seen and heard, raw, real experiences described gaining in her artistry. in gives confidence users the saturated While studying economics at Chapel Hill, Lachi sound of appeasing the originalexpectations, mic-pre drew aused crowd weekly piano in her dorm. After graduation, she circuit onplaying countless moved Motown to New York to study Itmusic, taking a job in the U.S. Army Corps to classic recordings. keep afloat financially while releasing And This Is My Life and Ugly Beautioffers a vintage vibe and sound ful, signing recordrack dealup, in 2010. After being portrayed by the label in a without theacostly way she didn’t agree with, and struggling with ableism at the office, both repair and service issues. were short-lived. Realizing songwriting came fast and easy to her, Lachi spent a few Hilbe Mo67: Having licensed years on the SoundBetter platform writing for independent producers, the designs the vinlaterclassic signing to GaryofSaltzman-led tage audio company Melcor, Hilbe’s Mo67 pre-amp has a unique modern Big Management. Collaborations designed employing the modern with Styles P and deejay Markus classic Melcor Op Amp, originally released in 1967. When compared to other modern model Op Amp style Schulz followed. micLachi pres,started the Hilbe Mo67 reflects a warmer and more musical sound, experiencing vision with a socket Op Amp for easy servicing. The Mo 67 is an challenges in type the studio. Sheallowing was all-discrete, (in/out) mic preamp that's tripping oversolid-state things andtransformer-balanced often lied been as “smooth, with a pleasing crunch when pushed.” It's aboutdescribed what she saw on the screen ideal for recreating the classicHer big-iron sound of the 60s and 70s - aka, (she couldn’t see it properly). competitiveness getting Hilbe in the golden age ofwas recording. affectionately describes this piece as way of speaking up, but to it was athe contemporary throwback “the age of innocence, the summer of love” compounded beingobligation.” a woman. AThe Mo67 Melcor mic pres are curand the user’sby “moral disabled, black, woman—in music. rently in use at the new Warner Music in-house studios in Downtown L.A. “There is an aspect of machismo— specifically in the Contact music industry— T.H.E. Company, 213-926-7000 that you want to get in the room. You don't want to keep yourself from getting there.” Saltzman’s passing (in 2020)
Lachi: Inspiring Possibilities
B
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QUEENSRYCHE ENGINEER ON TOUR
Front-of-house engineer Andrew Peters (Porno for Pyros, DragonForce, Drowning Pool, Iced Earth, Atreyu, Trivium) has chosen the eMotion LV1 Live Mixer for the North American tour of heavy metal legends Queensrÿche. “When Queensrÿche were asked to join Judas Priest’s 50 Heavy Metal Years tour,” Peters says, “I was looking to finally get my own rig for FOH. The Waves eMotion LV1 mixer seemed like the smartest fit.”
LIVING LEGEND TRAVIS BARKER RECOVERS
DAVID GOGGIN
1/3 of Blink-182, Barker is a drummer and collaborator extraordinaire, seemingly working with every young rock group, leading the Emo Pop Punk rebirth by Machine Gun Kelly, Yungblud, Willow Smith, Kennyhoopla and Oliver Tree. Barker is recovering from a recent pancreatitis hospitalization.
TELEFUNKEN FOR ZOUX
Recording artist and engineer Zoux has been putting TELEFUNKEN's C12 large diaphragm mic through it's paces for his new band. As a producer he has used the C12 with such dynamic artists as Macy Gray, and as a touring artist, he has performed with Bono, Elvis Costello, and the late Lou Reed and Ronnie Spector, among many others.
ANDREW BIRD AT UNITED RECORDING
Musician, songwriter and composer Andrew Bird tracked his new album Inside Problems at United Recording in Hollywood with producer Mike Viola (left) and recording engineer David Boucher (right). Photo by David Goggins.
“I learned much more by watching other sound guys work, asking questions and being passionate about it.” “They exposed me to certain things and I appreciate that part of the education. For someone that’s coming up, you can get by without it, especially if you’re interested in live sound. That’s an easier path and it’ll pay much quicker.” – DAVID KIMMEL (Aretha Franklin, Elton John and Rick Springfield)
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josephm@musicconnection.com JOSEPH MALTESE MALTESE josephm@musicconnection.com –– JOSEPH
BUSBOYS AT UNITED RECORDING Los Angeles-based roll & soul band The BusBoys returned to United Recording in Hollywood for their new album, In My Heart. It's their first recorded at the studio since their TELETUBBIESrock,MIXER JAMES WICHALL
controversial 1982 "American Worker" Pictured (L-R) United Recording are JonfellGraves, recording engineer; Woods, Brian O'Neal, founder andRagRe-recording mixer and dialogue editorrecord. for various TV and filmatprojects, James Wichall into thechief business by chance whileClaude working in thevocalist; legal department at U.K.-based Busboys lead vocalist; Scott Moore, United staff engineer; Jon Knox, drummer; and Jeremie Inhaber, recording engineer. doll production company, the team behind the popular Teletubbies children’s television program. Wichall also mixes and edits from his home-based studio. Over the course of his career, he has worked on independent and short films, Fantastic Beasts and Trainspotting2, as well as a new children’s television series, Bot and the Beasties, which is currently available in the U.K. To help support his busy lineup of mixing projects, Wichall relies on NUGEN Audio’s Loudness Toolkit and Halo Up mix and Down mix software.
ROUND MIDNIGHT RECONSIDERED
Thelonious Monk’s most revered ballads were interpreted by Bay Area guitarist and VANESSA SILBERMAN INgroup THE ofBUNKER composer John Schott and an all-star improvisers in a continuous eightDIY QUEEN and friend of MC, Vanessa hasofbeen recording new tracks inof the hour exegesis, streamed online as theSilberman centerpiece DAWN, a bold reimagining Brooklyn, NY’s Bunker Studios with Ryan Carnes, including "Love Held My Body." Jewish holiday of Shavuot by the national arts and culture non-profit Reboot.
NATALY DAWN OF POMPLAMOOSE
Berkeley-based roots singer-songwriter Nataly Dawn (known as one-half of crowdfunded YouTube sensation Pomplamoose) received a cancer diagnosis in the middle AT BLACK MATTER MASTERING of theBENJAMIN pandemic andTOD realized she needed to give herself the space to breathe and Dan Emery Benjamin Todmost putting the finishing touches Benjamin’s, recorded newest reflect. Theand result is Dawn’s introspective work to date,onGardenview album SongsatI Swore I’d Never at Black Matter Mastering, in Nashville TN. in one week 64 Sound in LosSing Angeles.
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BOOK S T ORE
PRODUCER CROSSTALK
Introduction to Music Publishing for Musicians By Bobby Borg & Michael Eames (paperback) $34.00
– ROB PUTNAM
The Storyteller—Tales of Life and Music By Dave Grohl (hardcover) $29.99
Foo Fighters frontman Dave Grohl has penned a Worth every penny, this is a down-to-earth new vivid memoir that conveys both the ordinary and book written by two musicians and industry the extraordinary moments and events of his life. pros (and Music Connection contributors) with Standouts include decades of experience. They’ve organized it some harrowing into seven clearly-written sections that will help incidents with musicians, students, songwriters, beat makers Nirvana bandmate and others save time and avoid getting screwed. Kurt Cobain as Topics include well as heartfelt the basics of moments with copyrights, Grohl’s wife and types of pubkids. Experiences lishing income, riginally from Guatemala, mix engineer and 11-time Grammy-winner with John publishing Manny Marroquin fell in love with music when hePantera, discovered the Fogerty, Tom companies and drums as a child. Later he attended L.A.’s Alexander Hamilton High Petty, Iggy Pop, typeswhere of deals, School he logged countless hours in the school’s studio. Rather John Paul Jones, creative than attendmatcollege, Marroquin spent a few months in an engineering Paul McCartney ters of music program and landed a runner gig at Enterprise Studios. His break came and others make publishing, when a producer asked him to do a rough mix of some tracks, was suitthis autobiography and things you ably impressed and invited Marroquin to mix the entire record. Since that a satisfying read. need to know pivotal day, he’s worked with artists such as Kanye West, Phoenix, Alicia about music Keys and a swath of others. publishing’s Like any good mixer, Marroquin knows when and how to massage future. By Marc a track. But over the years he’sMyers learned something of equal importance and perhaps more nuanced: when to do little or nothing. “That’s the (hardcover) $30.00 million-dollar question,” he asserts, “and it’s what makes [mixers] unique: plenty fascinating information to track] glean knowing when to do There’s something andofknowing when to leave [a from Myer’s oral history examination of the alone. Some people express themselves through frequencies. That’s evolution of the rock concert business, from the By Gina Schock mostly instinctual and I don’t think it can be taught. It’s almost like teachwild west ‘50s to the corporatized ‘80s. Myers (hardcover) $40.00 ing someone good taste. You can show that to people, but it’s got to does it with insightful statements from prominent come from within. That’s a combination of thousands of key points you’ve Go-Go’s drummer Gina Schock takes fans insiders (Seymour learned since the moment you were born.” behind the scenes for a look at her personal Stein, George photos documenting her band's It’s wildcommon journeyfor records to have Wein, Henry Diltz, multipleFeaturing producers and just as many to the heights of fame and stardom. Marshall Chess, mixers. views that as a posters, photographs, Polaroids, andMarroquin other Michael Lang), choice that in large part on . . . lessons he’s learned memorabilia from her archives, Made In depends Holperformers (Ianas a thelywood genre and mix engineer are: alsoartist. “We just finished Anderson, Todd theincludes record for Paramore,” he explains. stories Rundgren, Alice • Be a good people person and com“That band needs one consistent sound from each Cooper) and the municator.fans Be observant of how because it’s of anthe album with one promember in the stands, ducer. Butalong then you get another band someone moves their bodyattenwhen band, with special or with genreother and they cul- may have several. If they listention to your to mix. milestone there’s one producer, nine times tural only luminarevents such • You’re onlyas as Woodstock, good as your client. outies of like ten it’ll be the same mixer. So, it Kate Hopefully you can connect the Pierson, Jodie depends a lot on who the producer is. Altamont andwith Live Dave we don’t necessarily In Foster, today’s world, right people. Aid. Stewart, Mar-as much as we used listen to albums • Be more emotional and less literal. andless important to to,tha so itQuinn becomes Think more with your right brain – the Paul Reubens. have [only] one mixer.” creative side – than with your left, Plugin-maker Waves Byapproached Mike Cidoni Lennox & Chris May which is the technical side.. Marroquin to create the Manny (hardcover) $35.00 Marroquin Signature Series bundle. By Andrew McMahon “When I signed on to The do it,story they of one of the most enduring and (hardcover) $27.95 endeared recording artists history—the wanted something that was slightly different andineasy to use,” he recalls. told are for the first timefrequencies from the EQ isMannea four-bandCarpenters—is and I believe there 14 different The Something Corporate and“My Jack’s perspective of Richard overall. Each one is based on a piece of gear Carpenter, in my roomthrough and is modeled quin frontman delivers an engrossing memoir more hours of Avalon exclusive to mirror it. For example, mythan 25k100 could be an EQ,interviews 125 hertz could about the challenges and triumphs of his childsome 200 photographs fromEQ the artist’s be and my Neve and 800 and could be my API. So, it’s a super with all of the hood career, personal archive. also the as gear seenbut through thefrequencies I tend to go to.” This the nicely illusRecently Marroquin completed work with Paramore, 1975, Phoenix lens of his personal tratedspoke bookwith takes and Kendrick Lamar. In fact, the day Music Connection him, connection to three you he’d just begun the mix on DJ Khaled’s latest record. Hethrough remainsthe in pianos. McMahon multimillion-selling, notclose only contact recountswith his David Sears, his high school mentor, who’s now Vice Grammy-winning President, Education for GRAMMY in the Schools. Indeed, they often sit grueling efforts to duo’s formative on panels make it as antogether. indie Marroquin works almost exclusively at North Hollyyears right wood’s Larrabee which heupacquired artist, but also how Studios, his seven-room workspace, through their 2008. he in dealt with––and See mannymarroquin.com, 1970s stardom prerailed over––a Instagram @mannymarroquin,and Karen’s bout with leukemia unfortunate end. Twitter @MMMixes at age 23.
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MANNY MARROQUIN O Rock Concert
Made in Hollywood: All Access with The Go-Go’s
Carpenters: The Musical Legacy
Three Pianos: A Memoir
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– ANDY KAUFMANN
Lucas Sacks
A Sound Business We do a lot of noise dampening. It’s significantly quieter than a traditional bowling alley. Most of the time, the bands play loud enough. We’re not really doing acoustic, solo and jazz things as much as possible, just because of that.
Director of Booking Brooklyn Bowl Williamsburg & Brooklyn Bowl Philadelphia Years with Company: 10 Address: 61 Wythe Ave., Brooklyn, NY; 1009 Canal St., Philadelphia, PA
Phone: 718-963-3369 Web: brooklynbowl.com Email: lucas@brooklynbowl.com BACKGROUND
Bowling and music might not seem like a natural pairing, but Brooklyn Bowl cracked a winning formula for uniting them 13 years ago. Lucas Sacks joined the organization three years into the chain’s existence, and he’s been booking artists to play their stages ever since. Striking Out I play guitar and bass. I was in a cover band at the Jersey Shore, where I grew up, when I was in high school. I did our booking and marketing, made sure we got paid, and helped figure out what gigs we were going to do. That led me to going to Syracuse [University] for a music business degree. I was in the Bandier Program. It was pretty new when I got there in 2008. I did some college booking as well, interned for Soulive’s manager one summer, and stayed in touch with him. When I was graduating, I wasn’t sure if I wanted to do management or be a promoter or talent buyer. And the connection was there between Soulive and Booklyn Bowl; they’ve played here more than any other band. So their manager connected me to Brooklyn Bowl. I started as an intern in the booking department. They hired me a few months later as an assistant. That was the summer of 2012. My boss left in 2014, so I was promoted to being the main talent buyer and eventually became the director of booking. We opened Brooklyn Bowl in Philadelphia this past November. I’m the director of booking for both those rooms.
“We just want to break artists, push boundaries and do things that have never been done before. A big part of why I’m hopping on the team is to continue that process.”
Bowlive and 13th Anniversary Brooklyn Bowl opened in 2009. Our owner had always been close with Soulive. And he worked with them to create Bowlive, which was originally a 10-night run of shows where Soulive was the headliner. They’d have different openers every night. They’ve had Derek [Trucks] and Susan [Tedeschi] from Tedeschi Trucks Band. They’ve had Talib Kweli and Questlove and George Porter Jr. from The Meters, John Scofield, everybody across all genres. People would come all 10 nights. We did custom merch. There were concert films created out of it. Then we started doing livestreams. But we’ve had them play on our [company’s] anniversary before. We’ve also had them play on New Year’s multiple times. These are their only shows this calendar year, so we figured this was a good way to ring in the new year of Brooklyn Bowl. We were supposed to do New Year’s and, because of Omicron, a lot of shows got moved. We moved [Bowlive] to our
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anniversary, because why wouldn’t we make it on our other special weekend? Booking the Bowl Because we’re an 850-capacity venue in New York and a 900-capacity venue in Philadelphia, we prioritize national touring bands. We typically talk to booking agents for most of our outreach. A lot of the time, they come to us. But we also work closely with local bands. We look at all the social numbers. We watch live videos more than listen to recorded audio; we like to make sure it’s a good live show. Sometimes, we’ll get suggestions from bands we have an established history with. But we like to make sure bands are selling about 100 tickets in New York at reputable venues as a starting point. Pitching Yourself as a Performer Be clear but concise. We like details. Where have you played? When were the shows? How much were the tickets? Who were the other bands on the bill? And have links for your socials, website, bio, and photos. Again, the live video footage is important. Some of Everything We work across many genres. We might have a bluegrass band on Thursday, an old school, hiphop show on Friday, emo night/karaoke late Friday night, and a gospel group on Saturday. That keeps it fun and different. Bowling Green I think we’re the first bowling alley in the world to be LEED certified [for environmental sustainability]. We’re partially wind-powered and use less energy. Part of the goal is to be more efficient, so we have bowling pins on strings. They’re much more efficient, but it also makes them quieter.
Crisis Management There are a lot of things that can go wrong and require real-time adaptability. Shows get cancelled the day of. Gear doesn’t arrive. Something gets broken. And because we do hundreds of shows a year, we’re dealing with that pretty regularly. It’s now much more common where a show will be selling poorly and the band will push out the whole tour by a few months and reschedule. Or somebody gets COVID. It’s definitely been a challenge. On a personal level, I was on furlough for 10 months and picked up a part-time gig doing charity concerts that were COVID-friendly down in Georgia. But Brooklyn Bowl was closed for 18 months. Most of the staff came back once we reopened.
Exclusive Appeal We started working with The Hold Steady to do a four-night residency the week after Thanksgiving. They have a really dedicated fan base; people fly all over the world to see them. Before we were working with them, they would rent a bus to go on tour. Once we convinced them to do this residency, they realized people would come to them if they made it exclusive. Because of that, they sell a lot of custom merch. People who went to all the shows were able to get a custom-embroidered bowling shirt. We work closely with bands to create a VIP sound check party or bowling with the band [event] or eating a fried chicken dinner with the band. We create custom posters. I get to wear my producer hat and come up with these concepts. Everyone Feels the Pinch The margins are small for bands right now because of inflation, and promoters whose venues weren’t open are trying to be a little more careful about how much money they’re guaranteeing artists. And artists need more money because they haven’t been making it for two years either. It’s a bit of a chicken and the egg scenario. From Sound Check to Mental Health Check One thing that doesn’t come up enough in the music business is mental health. I work with a [nonprofit] called Backline. One of my coworkers is a founding board member. Some of the other board members work in the industry. It’s super important to know there are resources for anyone in need. MusiCares, as well, has been really stepping up. There’s a lot of discussion about sobriety. For a lot of artists who might not have been working for a large chunk of time, knowing there are outlets, being comfortable talking about it and asking for help, that’s something that should be addressed.
– BRETT CALLWOOD
Warner Music Group is looking for a Manager, Finance. At Warner Music Group they’re all about their people. Their global company is made up of knowledgeable, passionate, and creative individuals. Their commitment to Diversity, Equity and Inclusion fosters a culture where you can truly belong, contribute, and grow. They believe in each individual’s value and encourage applications from people of any age, gender identity, sexual orientation, race, religion, ethnicity, disability, veteran status, and any other characteristic or identity. Apply at LinkedIn. Meta needs a Music Analytics Manager, Media Analytics. Meta is seeking a Music Analytics Manager to join the Content Strategy & Acquisitions (CS&A) team. The
CS&A team partners closely with our Product and Partnerships teams to help build and invest in content businesses across the Meta Family of Apps. The Media Analytics team within CS&A serves as a trusted thought partner in building their content businesses. Apply via ZipRecruiter. Format Entertainment wants a Music Coordinator. Format is looking for a new Music Coordinator. They require a highly organized, energetic and motivated candidate who is interested in furthering their career in the fast-paced environment of film and TV music supervision. You will be working closely with the format supervision team to help provide exceptional service for their clients. Apply at Salary.com. For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.
LABELS•RELEASES SIGNINGS Chicago multi-instrumentalist NNAMDÏ has signed to Secretly Canadian. The artist’s first album for the label, Please Have a Seat, will be available in October, and it’s preceded by the single “I Don’t Wanna Be Famous.” “I realized I never take time to just sit and take in where I’m at,” said NNAMDÏ. “It’s just nice to not be on ‘Go, Go, Go!’ mode, and reevaluate where I wanted to go musically. I wanted to be present.” Contact ryanc@biz3. net for more info.
THE VIGNATIS Gypsybilly duo the Vignatis (Fabrice Vignati and Tracy Vignati) formed in L.A. in 2009 with a mission, to “stay true to our respective roots/backgrounds and create music that elevates people’s states of life with positive messages.” The term “Gypsybilly” comes from their roots: “Being a French native, gypsy jazz/manouche music is a part of the European musical mosaic,” said Fabrice. “My father introduced me to 1950s rockabilly and my brother to rock and blues. When Tracy and I met we came up with Gypsybilly. Our mix of the four genres that comprise Gypsybilly works very well for guitar. We do incorporate a few tricks here and there, for example, the acoustic rhythm guitar implements a technique we call ‘la pompe renversee’.” Meanwhile, Tracy comes from
a jazz background thanks to her singer mom. “I also grew up half of my childhood in Georgia around country music so it gets into your DNA,” she said. “I sang any country song I could get my hands on. I also played clarinet in marching band and symphonic band in both middle school and high school, which later served to create the Gypsybilly sound, especially when I use guitar effects. Gypsybilly is a melding of the four styles of French gypsy jazz, rockabilly, jazz, and country. It is a pot-o-fun!” The Vignatis are a true DIY band though not necessarily by choice. “[DIY] ranges anywhere from creative vision, recording, artwork, distribution, booking gigs, promotion, etc,” they say. “It is certainly not our preference. It seems as
RAYE MAKES TRIUMPHANT RETURN Multi-platinum-selling pop star Raye has released new single “Hard Out Here” via Human Re Sources. “I was very angry and in a lot of pain when the bones of ‘Hard Out Here’ were solidified,” Raye said of the single. “I wrote this song because I needed this song. ‘Hard Out Here’ is about the bounce back, a rant reflecting on the last eight years of my career, and me preparing to take control of my narrative, my art and my life truly for the first time.” Contact mtomczak@theorchard.com for more info. Pianist, DJ and producer LP Giobbi has signed to independent label Ninja Tune’s Counter Records imprint. LP Giobbi has celebrated with the release of the “All in a Dream” single featuring DJ Tennis and Joseph Ashworth. “‘All in a Dream’ came together in such a fun and fluid way,” she said. “I started working on the idea of the track with one of my favorite producers, Le Chev (Michael Cheever) and I was in Miami with Sofi Tukker and they walked into the studio and heard the record
and Tucker immediately said ‘I have this vocal sample that would be perfect.’’ Contact trevor@biz3. net for more info. Rocker babychaos has signed to Cleopatra Records. Babychaos is the musical pseudonym of model Lyzzie Larosa, and she pulls influences from industrial, metal, rock, pop and club music. Her first video for the label is “Babylon.” “’Babylon’ is about the inevitable vilification of people living their authentic truth,” she said. “I’ve found that no matter what, people will project their inner wounds and fears into
though now labels, managers, etc. want things established before they take on anything. It is an enormous undertaking for the default independent artist. However, you do maintain the ever-important, creative control. Sometimes managing everything is too high of a price to pay. Help is welcomed. We need to meet the right label, manager, etc. who can understand what we are doing and establish a solid team. We are far too creative and hard-working to not be on the ‘right’ roster.” With that work ethic in mind, the group's recently released fifth album, naturally titled Gypsybilly Vol. 5, sees them take on cover songs. “Covers can help others connect with your music by sharing something they already know while paying tribute to the inspirational greats that came before us. We worked very hard to do justice to these songs in our unique way and hope we have accomplished just that.” For more, visit thevignatis.com.
PETERT FIGER
OPPS
Fender Musical Instruments Corporation wants an Executive Director. Fender Musical Instruments Corporation ( FMIC ) is located in Hollywood, CA. Fender’s brand mission is to accompany each player at every stage with products and brand experiences that fuel the pursuit of musical expression. Within the Fender Music Foundation, they strive to provide their city’s young students with the gear and knowledge they need to begin their musical journey. An American icon, Fender was born in Southern California and has built a worldwide influence extending beyond the studio and stage. A Fender is more than an instrument, it’s a cultural symbol that resonates globally. Apply at Job/Searcher.
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– BRETT CALLWOOD others no matter how morally good you may think you are.” Contact maria@adrenalinepr.com for more.
Tim Hortons doughnuts, sprinkled with cheese curds... But we’re excited nonetheless!” Contact keith@ startegixmedia.com.
PROPS
THE BIZ
Music writers are honored in L.A. Congratulations to all of the music journalists who scooped awards from the LA Press Club at the 64th Annual SoCal Journalism Awards. Variety’s Owen Gleiberman won first place in the “Criticism of Music” category, with Jem Aswad and Steven Gaydos of the same publication placing second and third. August Brown of the LA Times took first place in the “Entertainment Feature—over 50,000 circulation” category, and yours truly took home two first place awards, including “Online Columnist” for idobi Radio’s “Basslines and Protest Signs” column. Visit lapressclub.org for more info.
Ricky Martin sued by former manager. Martin is being sued for more than $3 million by former manager Rebecca Drucker. Drucker has known Martin for 20 years and most recently managed him from May 2020 to April 2022. In a statement, Drucker’s attorney Joshua Rosenberg with Venable LLP said, “This complaint only scratches the surface. Rebecca looks forward to having her day in court and prosecuting her claims in front of a jury.” Contact freeman@ freemanpromotions.com for more. BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks, the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com
Death metal band Archspire nominated for Western Canadian Music Award. Congratulations to them, plus fellow nominees Before & Apace, Flash Back, Osyron, and Trench. “We’ve been nominated for a Breakout West award,” Archspire said in a statement. “Being Canadian means all the awards we’re eligible for, are really just little maple syrup containers sitting atop
NAOMI ALLIGATOR SNAPS TO ACTION Los Angeles multimedia artist Corrinne James records music under the alias Naomi Alligator, and she has released new album Double Knot via Carpark Records. According to a press release, James moved to L.A. from Virginia in 2021 as a means to outrun her OCD. “She wants her music to feel both personal and vast, like you are sitting with your best friend while looking up at a bunch of trees. Her music consists of warm guitar strums, raw harmonies, and airy bells in effort to take you to that place.” Contact eloyl@grandstandhq.com for more info.
ORLEANS SUES WARNER MUSIC GROUP
BY GLENN LITWAK
In June of 2022 rock group Orleans filed a class action lawsuit with the court in Nashville against Warner Music Group and Warner Records over foreign streaming royalties. Orleans achieved its biggest success in the mid 1970’s with the hits “Dance with Me” and “Still the One.” The dispute involves the contention that Warner has been deducting royalties through international “intercompany charges.” This is where Warner’s foreign affiliated companies take a percentage of what the label pays the recording artist. Two members of Orleans (John
Hall and Lance Hoppen) allege that they were not advised and did not know about these deductions and believed they had a 50/50 royalty split with Warner. Plaintiff’s claim that Warner “sought to minimize the revenues paid to plaintiffs and Class Members for digital streams by engaging in improper accounting practices for earnings generated outside of the United States.” This type of claim reminds me of the history in the film industry of “creative accounting” litigation. Nowadays, we have digital distribution, which obviously does not involve shipping and selling physical product, so there are fewer expenses. Plaintiffs assert that Warner failed to disclose this foreign royalty deduction and the fee is “a relic of the days when the collection of revenues from foreign record sales entailed significant labor as opposed to the relatively frictionless methodology by which digital service providers can compensate rightsholders for the use of their services across multiple territories. In such instances, the cost
of foreign collection are negligible, and the grossly deficient payment of foreign royalties by defendants simply reflects their ability to manipulate their foreign affiliate practices with no commercial justification beyond self-enrichment.” Plaintiffs contend they should have (and thought they were) being paid streaming income based on “at-source income,” meaning what the label was paid by a streaming service, and not what was received by Warner in the U.S. after foreign subsidiaries had taken a percentage of the income. Of course, when Orleans entered into their recording contract, streaming did not exist. Major label recording contracts are quite long and complex. And they invariably have a number of options that the label can exercise to extend the contract for many years. Artists must make sure they have an experienced and independent music attorney to represent their best interests. The artist should make sure they understand all the provisions of the contract. If an artist is under
This article is a very brief overview of the subject matter and does not constitute legal advice.
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an old recording contract, it may be advisable to contact the label and try to revise the agreement to provide for things like streaming income. This is something that should be discussed with an artist’s representatives. This case has not been certified yet as a class action. If it is, my guess is it will settle as very substantial amounts of money could be at issue and Warner will not want to risk the court establishing a bad precedent. GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail.com or visit glennlitwak.com.
BRETT CALLWOOD CALLWOOD –– BRETT
I Quit My Day Job Because I Make More Money From My Music. Matthew Vander Boegh, TAXI Member
That’s every musician’s dream, isn’t it —quitting your day gig because you make more money with your music. Well, that’s my life now, and here’s how I did it…
I joined TAXI. Looking back, I wish I’d joined years earlier. TAXI taught me how to create music that people in the industry actually need. Then they gave me 1,200 opportunities a year to pitch my music!
My income keeps growing exponentially, and my music keeps getting better because it’s my full time gig now! Here’s the ironic part… I live in Boise, Idaho, not Hollywood, yet my music is on TV nearly every day. My studio is in a glorified tool shed in my backyard, and my gear setup is so quaint other musicians ask, “Really? That’s it?!” I’ve got a computer, monitors, a few mics, and a cheap little interface. No fancy outboard gear, no rack-mounted anything!
My Two Secret Weapons Targets and deadlines are my secret weapons. Knowing who needs music and when they need it motivates me to get things done. It’s changed my life! Actually, TAXI changed my life.
I’m getting paid for my music now instead of sitting on my couch dreaming about it. I’m my own boss, and some day my music will probably pay for my retirement, a vacation home on an exotic beach, and some umbrella drinks!
Don’t wait until you’ve built a catalog… Join TAXI now and let them help you build the right catalog! Be patient, be persistent, and you’ll hit critical mass like I have. My income keeps growing every year! I’m all the proof you need that a regular guy can make enough money with his music to quit his day job! Do what thousands of other musicians have done to become successful—join TAXI. You might never have to work another day gig in your life!
It Didn’t Take That Long I promised myself I’d quit my job as a college professor when my music income became larger than my teaching income. I reached that goal in less than five years because of TAXI. The World’s Leading Independent A&R Company
1-800-458-2111 • TAXI.com
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DAVION FARRIS COMMANDO
Date Signed: August 2021 Label: Kill Rock Stars Band Members: Andy Meyerson, Principal Dammit, Van Jackson-Weaver, Juba Kalamka, Lynnee Breedlove, Krylon Superstar, Drew ArriolaSands, Honey Mahogany Type of Music: Metal Legal: Austin Legal Group Publicity: Sarah Avrin & Delanee Wilson - Girlie Action Media Web: commandothebando.bandcamp.com A&R: Slim Moon
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fter four years of writing, self-proclaimed gay nü metal band, Commando, have released their self-titled, politically charged album via Kill Rock Stars as a combination of metal, punk, hardcore, hip-hop and pop, that founder Andy Meyerson calls “gay/queer rap metal.” Each of the band’s members feels the project is special and offers potential for real impact in the LGBTQ+ community in providing representation and an authentic voice. Meyerson (who began drumming at 11), formed Commando in 2015 with guitarist Travis Andrews and bassist Van Jackson-Weaver, seeking to answer “how would the world be different if the nü metal of the late ‘90s had been used to dismantle homophobia, misogyny, racism/white supremacy and heteropatriarchy?” Meyerson shares that Commando is proud to help other LGBTQ+ community members “to know they have a space in this artistic conversation and cultural moment.” Rotating vocalists (including Juba Kalamka, Lynnee Breedlove, Krylon Superstar, Honey Mahogany and Drew Arriola Sands) add to the straight, trans, black and white members, each bringing decades of music experience to the table.
"The continuing education I’m receiving from my bandmates is a wonderful thing.” Kalamka was “reticent to be involved in another band because—as successful as I’ve been—I wasn’t interested in engaging in a primary organizing, management and production capacity.” He adds, “I’ve looked inward and challenged myself as a conceptual artist, producer and songwriter. The continuing education I’m receiving from my bandmates is an amazing and wonderful thing.” With their self-release mixed and mastered (funded by their nonprofit), Meyerson reached out to Kill Rock Stars’ A&R Slim Moon, after recognizing Moon had “put out the music that changed our lives and aligns with our values.” Says Moon, “Large bands are frequently hard to work with, but [Commando] are a delight to work with—very organized, tenacious and devoted. Kill Rock Stars used to be a punk label with some queer bands, but is now a queer label with some punk bands. The audience and doors we are trying to open for queer artists to reach the mainstream is a perfect fit for Commando, what they are doing, and who they are.” – Andrea Beenham
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Date Signed: Oct.13, 2021 Label: Hillman Gran Records Management: Gregory Johnson – Range Media Partners Booking: WME Publicity: Amanda Pena – DKC Legal: Marquis “Quest” Malloy – Shihadeh Law Web: davionfarrismusic.com A&R: Tebs Maqubela – Hillman Gran Records
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ena Waithe has become one of the most prominent voices in urban television and film production. So, when an R&B crooner by the name of Davion Farris landed on her radar, back in 2021, with a falsetto laced tune called “Make Love,” she promptly responded to his submission with an opportunity to become a foundational piece in her joint music venture with Def Jam Recordings, called Hillman Grand Records. Long before he met Waithe, Farris was an accomplished songwriter, having already cowritten a litany of music with his famous brothers, SiR and D Smoke. But this was a unique opportunity for Farris to step out into the limelight, alone. “I decided to bet on myself and submit my own personal art for film and tv projects,” recalled Farris. “I’d gotten Lena’s attention personally, and she was actually the first person to contact me. She told me that she loved the music, and wanted to know what my plans were for releasing, and how she could help support these releases…We talked briefly about her having recently started a joint venture with Def Jam, and how she wanted to continue her legacy of curating dope, black art, and how she felt like I could be a big part of that for her and the label.”
“...The extra step is talking with the team about the stories I’m telling in the music.” The famous co-founder of Hillman Gran Record displayed an unyielding belief in Farris, which resulted in him signing with her upstart label, but it also garnered a song placement for “Make Love” on her hit television series, The Chi. Farris believes that his visionary employer has provided him with the ideal platform, largely because of her propensity for storytelling. This is fitting because in less than one year since signing with Hillman Gran Records, the story of Farris has been highlighted by three single releases (“Sometimes,” “Bad Guy,” “Tunnel Vision”) and greatly enhanced by the business savvy that he’s picked up from upper management. “I still get in the [recording studio] a few times a week, but the extra step is talking with the team about the stories that I’m telling in the music, and us having a round table discussion about the story we want to tell, and which songs help tell that story most effectively,” states the Inglewood, CA native. “As a businessman, I’m learning how to take my time and properly set up the rollout…It’s really a beautiful thing to experience.” The marketing scheme that Hillman Gran Records created with Farris was greatly influenced by the company’s head of A&R, Tebs Maqubela, who helped design the rollout for his latest EP Moved, a collection of sultry tracks featuring all three of his lead singles. – Miguel Costa
FULLER
Date Signed: January 2022 Type of Music: Indie Pop, Alternative Rock Management: Kyle Esbin, kesbin@sprqtalent.com Booking: N/A Legal: N/A Publicity: N/A Web: listentofuller.com A&R: N/A
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uller (aka JP Welsh) was on a career track toward a future in law when a housing snafu prompted an about face and a move to the music mecca of Austin. The former Texas native hung out for a few years there, embracing the scene and playing in several bands. A singersongwriter-guitarist, he moved to Los Angeles in 2018/2019 and the Fuller aesthetic was set in motion. “I met up with producer Eric Palmquist (Bad Suns, Tate McRae) and did my first EP (Crush Me) with him,” explains Fuller. “The first song from it came out on March 20, 2020 and a week later the pandemic hit and everything shut down.” As with many musicians, Fuller had to be resourceful and began to pivot appropriately. “I worked at interacting with people online and reaching out to as many as possible,” he says. “I was doing as much as anyone could do over the past two years or so.”
DAWN OF OUROBOROS
Date Signed: Oct. 5, 2021 Label: Prosthetic Records Type of Music: Progressive Black Metal Management: N/A Booking: N/A Legal: N/A Web: facebook.com/dawnofouroboros, twitter.com/ouroborosof, instagram.com/dawnofouroboros Publicity: Becky Laverty & Wil Collins - Prosthetic Records A&R: Steve Joh - Prosthetic Records
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s an aspiring musician, you’ll likely either “make it” or settle down to “make ends meet.” Tony Thomas, co-founding member of Oakland, CA metal band Dawn of Ouroboros may have found a way to do both. The band released their debut album March 30, 2020 via Naturmacht Productions. With plans to tour and develop hype around the record, the global pandemic had other ideas. Explains Thomas, “We were just trying to stay as active as we could, promoting ourselves as a band. So, the first time we played live as a band wasn’t really until [2021].” The band released a live track on BandCamp to show their live sound ability to keep fans hungry. By that time, an A&R rep from Prosthetic Records purchased the band’s 2020 debut and reached out, floating the idea of working together. The band didn’t initially engage.
“Right now we’re focusing on building a community you can build a career off of...”
“I was very clear. I play in other bands and I also have a full-time career."
His tenacity and drive have paid off considerable dividends. The evidence can be found in 100,000 monthly listeners on Spotify, 32,000 followers on TikTok, 4,000 on Instagram and 4.3K on YouTube. It was time to seek management and that came in the form of Kyle Esbin. “I met him through Eric Palmquist,” says Fuller. “Kyle was managing another artist with Eric. We knew of each other for a little bit. We chatted for a couple months and then I had a show this past December. He said he would come and bring 15 people. He showed up with 15 people and it was like, damn, he delivers! He started offering to help me and kept showing up. He’s a real smart, hungry and cool dude with a lot of good ideas.” While the partnership of Fuller and Esbin is in its infancy, a mature musical path is clearly in place. “Right now we’re focusing on building a community you can actually build a career off of,” says Fuller. “Obviously we’re still doing TikTok and Instagram stuff to get some pops here and there. But we’re focusing more on how we can make this feel like something to people, and work with people who share a similar vision. Kyle has been helpful with strategizing and putting on shows with people who have similar goals.” – Eric Harabadian
“We were on tour last September, and I got [another] email,” says Thomas. This time, they were prepared to talk specifics. Thomas and company requested they be allowed to play in other bands—which was crucial for co-founder/singer Chelsea Murphy, as well. Second, touring would have to be short bursts, due to their full-time jobs. The label happily obliged and Dawn of Ouroboros was welcomed onto the Prosthetic Records roster. Now, several months later, the band and label are building hype for a 2023 sophomore release, which Dawn of Orobouros have already recorded. Thomas found value in identifying personal goals before meeting with Prosthetic. He recommends that approach, along with self-promotion, to keep your dream alive. “There's a lot of record labels that wanna support new bands and are open to you just sending them your demo,” he says. “Just have open communication. [Send e-mails]. I was very clear. I play in other bands and I also have a full-time career. I'm probably not gonna be touring three months of the year. It would be amazing, but it's unrealistic, especially playing metal music.” Dawn of Ouroboros will be on tour throughout 2022. – Andy Mesecher August 2022
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SESAC Latina Honors
PRIMARY’S CASABLANCAS
Julian Casablancas, lead singer of The Strokes, has sold a stake of his publishing catalog to Primary Wave in a deal set to be worth multiple millions and which includes a share of publishing for all Strokes music as well as Casablancas’ share of master copyrights and royalties.
MARL TO RESERVOIR MEDIA
A portion of hip-hop producer Marley Marl’s catalog, including his work with LL Cool J, TLC, Busta Rhymes and Nas, has been acquired by Reservoir Media. It includes LL Cool J’s Mama Said Knock You Out (which Marl coproduced); the Grammy-winning title track has over 80 million streams.
The Society of European Stage Authors and Composers (SESAC) Latina congratulates winners of the 2022 Latina Music Awards. Recipients of this year’s awards include Composers of the Year Eden Muñoz (Regional Mexican) for songs written for Pepe Aguilar, El Fantasma, La Arrolladora Banda El Limón de René Camacho, Calibre 50 and Banda MS, while Nicky Jam (Pop/Latin Rhythm) was recognized for his pieces written for J Balvin, Karol G, Natan y Shander, Julián Turizo, Myke Towers and Saga WhiteBlack, and others. Song of the Year for “La Casita” (Regional Mexican, written by Eden Muñoz) and “Yonaguni” (Pop/ Latin Rhythm, written by Orlando Cepeda), Publisher of the year to Dulce Maria Music LLC (Regional Mexican) and Sony Sounds (Pop/ Latin Rhythm), and Producer of the Year to Trooko. Full list of winners here: sesac. com/SESACLatinaAwards2022
Universal Scoops Zappa
Universal Music Group has acquired Frank Zappa’s recordings, complete song catalog, and contents of “The Vault,” a storage facility home to a 1,000-hour collection of film and video. Zappa recorded nearly every session, rehearsal, live performance, and jam, alternating between audio and video formats, for most of his life. The deal also includes Zappa’s name and likeness. Releasing over 60 albums throughout his career as a solo
artist and with his bands (The Mothers of Invention and The Mothers), Zappa is a posthumous Rock and Roll Hall of Fame Inductee (1995) and was also awarded the Lifetime Achievement Grammy Award (1997). The purchase price has yet to be disclosed.
AIMP Nashville Podcast
Celebrating its fifth season, The Nashville Chapter of the Association of Independent Music Publishers (AIMP) is launching 20 new episodes of its podcast, AIMP Nashville Pubcast, with last month’s episodes featuring guests David Garcia, Nate Lowery and Al Porter. Host Tim Hunze, AIMP Nashville Board Member and Senior Director, Creative at Anthem Entertainment, navigates the bi-weekly series and speaks to prominent writers and publishing professionals in Nashville to share insights and advice to help up-and-comers in the songwriting and music publishing business. New episodes include discussions with experts from Relative Music Group, APG, Big Machine Music and SoundExchange. More at: aimp.org.
Songsalive! Spotlight & Open Mic
Take part in the largest non-profit membership organization and social community for songwriters and composers in the world and share your music on Wednesdays in Long Beach at Wrigley Coffee House (437 W. Willow Street). Hosted by Laura Suarez, the weekly event takes place from 6-9pm, with signups starting at 5:15pm. See videos of past shows at youtube.com/c/Songsalive and get more information about Songaslive! showcases at songsalive.org/ showcase.html.
Music Supervisor Union Push
BMG’S LOGIC
NETTWERK SIGNS COOK
Emmy-winning, Julliard-trained, singer-songwriter-multi-instrumentalist Braxton Cook has been signed to Nettwerk Records following tours with Christian Scott, Christian McBride Big Band, Jon Batiste (work in Soul), and more, as well as work with Rihanna, Solange Knowles Tom Misch, and others. 28
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Logic’s 2014 platinum-certified Under Pressure debut, 2015’s The Incredible True Story and Everybody in 2017, were followed by a 2019 NYT paperback fiction bestseller and soundtrack. Maintaining control of his sound recordings, the hip-hop star has signed a multi-album BMG deal.
Professionals in the world of film and television sync licensing are pushing for unionization to help create more equality for behind-the-scenes workers. The complaints include challenging a lack of adequate healthcare support and pension options, extreme workloads, and unjust compensation—highlighting that they are one of only a few department heads that remain involved in shows from the script through shooting processes and sometimes right up until the full airing of the program. Following a refusal by the Alliance of Motion Picture and Television Producers (AMPTP) to provide them with equal rights, hashtags began to pop up on
– ANDREA BEENHAM social media and have been building momentum (including #MusicSupervisorEquity, #SilentWithoutUs, and #unionize). The International Alliance of Theatrical Stage Employees (IATSE) has acknowledged the move towards union formation by 75% representation of the music supervisor community having signed union cards (including approximately 500 active music supervisors).
Grammy Songwriter Spotlight
The Recording Academy is introducing new rule changes for the 65th Grammy Awards, which come into immediate effect. In addition to an increase in entry fees, the minimum content for eligible records is shifting from 50% to 75% new material (i.e. within the past five years), and there are also new award categories including those for the Best Soundtrack for Video Games and Other Interactive Media, Best Alternative Music Performance, Best Americana Performance, Best Spoken Word Poetry Album, a Special Merit Award for Best Song for Social Change, and an award for the Songwriter of the Year (non-classical). Songwriter of the Year will be restricted to non-performing and non-producing songwriters whose credits consist solely as a writer or co-writer and recognizes excellence for their body of work.
ASCAP Experience On Demand After 16 years, the ASCAP Experience continues to offer support and advice around everything music, which now includes regular on-demand programming on YouTube. Topics include timelines for
RANGE/VIRGIN GET HARPER
musical releases, speaking to various genre experts about their experiences, overall health and wellness support, and a plethora of new programming designed to help maximize your creativity and improve your music-making. More at: youtube.com/c/ascap.
BMI Joins Twitch
Broadcast Music Inc. (BMI) has partnered with Twitch on its new music creator incubator, The Collective, which launched in November 2021. The platform gives selected songwriters and artists from various genres an opportunity to share their music and receive support, while simultaneously joining collaborative teams to learn about maximizing their live streaming, growing their fanbase, and earning more directly from their fans. BMI will work with Twitch’s music team to build co-operative groups of creators in similar stages of their careers, backgrounds and genres and participants will learn from the Twitch Music team as well as successful Twitch artists and their peers. Upon completion, creators will continue to receive support from Twitch along with consideration for promotions from partners at Rolling Stone and Amazon Music. More at: twitch.tv/p/artists/thecollective. ANDREA BEENHAM (aka Drea Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadianraised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com
Following opening spots with Justin Bieber, Niall Horan, Julia Michaels, and Noah Kahan, and releasing music that garnered over 60 million streams, Corey Harper has signed with Range Music / Virgin and released his latest single “Pink Razor” with producer Alexa Salabian (Harry Styles, etc.).
CHIEF KEEF LAUNCHES 43B
Chicago rapper Chief Keef has launched a label in partnership with RBC Records and BMG (who acquired RBC four years ago). Keef’s new label-–43B (“Forget Everybody”)—will offer distribution and marketing for their artists and producers and has inked its first artist, Atlanta rapper Lil Gnar.
MOURNING KEN WILLIAMS
The songwriting world mourns the loss of Grammy winner Ken Williams. Best known for 1972’s “Everybody Plays the Fool,” he has written for The Main Ingredient, Donny Hathaway, The Impalas, The Four Tops, and others, and has been sampled by Alicia Keys, Lil’ Wayne, and more.
ACRAZE TO THRIVE WITH CAPITOL
Following the TikTok and musical festival smash, “Do It To It,” which has garnered over 8.4 billion global streams, Florida artist and DJ/Producer ACRAZE has officially signed to Capitol Records, in partnership with Thrive Music. ACRAZE is touring Europe and North America through September. August 2022
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– ANDREA BEENHAM
Kristopher Pooley: Kindness Matters
G
rowing up with full-time musician parents, composer-producermusic director Kristopher Pooley’s course was charted early. With an international career spanning over 20 years, he has performed on nearly every major award and television show in the world. Studying guitar, drums (joining the American Drum Corps in 1996), and piano, Pooley was a band director and taught competitive high school Musical Pilgrimage to the percussion for eight years, taking time off following performance studies Crossroads at Wayne State University to travel Alaska, before moving to Los Angeles to study composition. “I realized this (jazz piano) really wasn't my lane because there are so many great players,” he says. “I was good but didn't really have the drive they did—to be a jazz player for the rest of their lives. I had a knack for arranging, so I started to focus on that.” Stumbling upon a music career salary guide, Pooley admits that the reality check shifted his focus. “[Being a] film composer takes 30 years to make a living. In the meantime, you're interning and ghostwriting for other composers on a barely livable wage.” Touring as a sideman, Pooley played keyboards for Gwen Stefani, becoming her programmer and music director after the original hire quit right before rehearsals. “I knew the software and raised my hand,” reveals Pooley. “That's how the music directing thing started for me.” He has since directed for Kesha, Demi Lovato, Adam Lambert, Rita Ora, and others. As Katy Perry’s musical director for 11 years, he worked on Perry’s Super Bowl XLIX halftime show and has been music director for American Idol since 2018. Working from his Manhattan Beach studio, Pooley worked for four months to arrange the music for Perry’s current Vegas Play residency (with added October dates). Thankful for the flexibility, Pooley adds, “We had our daughter, and my wife was playing bass for the Smashing Pumpkins at the time. After those tours, we decided to stay home. I realized I could do multiple tours at the same time (remotely) and it ended up working out.” Singing the melody and re-working a song, Pooley starts on piano and then looks to the genre and style to make it unique and to properly represent the performer vocally. Outside of Idol, Pooley is “making music for TV or tours, reworking the artist’s existing material.” Pooley divulges, “everything hinges and moves around the melody and chords—I don't listen to words. I need my wife—she hears words only at first.” Pooley admits, “there's some wiring for producers where you can only be 100% of one thing at a time. People with an ear for production have spent their entire life honing in on that. They have to shut out other information to focus.” Be reliable, dependable, know your craft, and “be realistic about who you are as an artist,” he advises. Know the history and musical focus of each genre. “Each genre has a culture” and, on Idol, Pooley says he tries to respect the culture of every style of music, recognizing there are lots of eyes on the outcome and sharing that, “[People want] to feel seen, heard and to know that this person respects what this music is.” Meeting people is important but, says Pooley, “the irony is that if you're the type of person who aggressively goes after relationships just to get ahead, that's disingenuous.” He quietly lets go of those who pester. Ultimately, Pooley concludes, “the most successful people—the people who work the most—aren't necessarily the most talented. A lot of times they're the most fun and easiest to work with. Your personal ethos goes way farther than any skill set ever will.” Credits to date include American Idol, American Horror Story, Glee, The New Normal, and tours with Pink!, Marshmello, Gwen Stefani, Morrissey, Miguel, DNCE, Siouxsie and the Banshees, Melissa Ethridge, The Smashing Pumpkins, Janes Addiction and Liz Phair, Tegan and Sara, Adam Lambert, Megan Trainor, Lionel Richie, Kesha, Rita Ora, and Katy Perry, and others. Contact Chantal Reed, chantalreedpr@gmail.com, Visit pooleymusic.com
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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 Wolff, 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)
July 2022
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DROPS
MJ the Musical–Original Broadway Cast Recording dropped in last month, following the show’s February opening that was met with rave reviews. The musical celebrates the music of the late singer, songwriter and dancer Michael Jackson, and the accompanying album was recorded at Power Station at BerkleeNYC, produced by David Holcenberg and Jason Michael Webb, co-produced by Derik Lee, and executive produced by Lia Vollack, John Branca and John McClain. The album includes such hits as “Thriller,” “Beat It,” “Billie Jean,” “Smooth Criminal,” “Human Nature” and more. For more information, contact maria.malta@sonymusic.com.
MEGAN THEE STALLION
Cadabra Records has released an original soundtrack, The Eyes Of The Cat. Recorded and mixed at the Octopus Music Factory studio in Rome with sound engineer Giuseppe Meddi, the original new soundtrack is entirely performed by Fabio Frizzi (Kill Bill, The Beyond, The City Of The Living Dead). Frizzi performs a wide array of keyboards from his personal vintage collection on this musical accompaniment to the comic book published nearly 45 years ago by Alejandro Jodorowsky and Jean “Moebius” Giraud. The LP is now available on limited edition vinyl, which includes liner notes by Aaron Lupton and Frizzi. For more information, contact dave@ earsplitcompound.com.
Beavis and Butt-head, the animated teens that brought the world hilarious and often insightful music commentary starting in 1993 when the television series debuted, are back in Beavis and Butt-head Do the Universe. The film—in which the beloved antiheroes are serving a court-ordered sentence at space camp and find their way from the 1990s into present day via a black hole— is now available for streaming on Paramount+. It’s the duo’s first onscreen appearance in more than a decade, reuniting composer John Frizzell (Beavis and Butt-head Do America) with the franchise. Frizzell composed the score with a 69-piece orchestra in Vienna, and the soundtrack is forthcoming via Paramount Music. For more, contact rcosta@costacomm.com. The Day the Music Died: The Story of Don McLean’s “American Pie,” premiered exclusively on Paramount+ in July along with some special theater screenings, and is now available via the streaming service. In honor of one of the most universally renowned songs and the artist who wrote it, the documentary film showcases significant cultural moments in American history and features McLean discussing the making of “American Pie.” The song first released in 1971 on McLean’s album of the same name, and became an instantaneous, chart-topping hit. Contact brian. bahr@viacomcbs.com. Hustle (Soundtrack from the Netflix Film) is now available on vinyl with music by composer
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Dan Deacon. The album comes pressed on blue vinyl with an exclusive red version live on Netflix Shop. Hustle, an inspirational sports drama starring Adam Sandler as a basketballloving Philadelphia 76ers scout with dreams of being a coach, debuted on Netflix’s English Films list at No. 1, co-starring Queen Latifah. For more details, contact Kyrie Hood at kyrie@ whitebearpr.com. Rapper Megan Thee Stallion is guest starring as Tina Snow on season two of STARZ’s hit drama series P-Valley. Her voice also appeared on the new season’s second episode, and she wrote and recorded an original song for the new season after her song “Hot Girl” appeared in season one. The acclaimed STARZ drama is based on the play by Pulitzer Prize winner Katori Hall, and has been praised for its authentic trap music and giving a platform to southern female rappers. The series set a new record at the network for having the largest season-over-season growth in STARZ history. Contact Rose Propp at rosep@ferencomm.com for details. Under the Banner of Heaven (Music from and Inspired by the FX Original Limited Series) Original Score Soundtrack, composed by Jeff Ament of Pearl Jam and Josh Klinghoffer together with John Wicks and Josh Evans, is now available on all streaming platforms. Produced by Evans and Ament, the soundtrack marks Ament’s first time composing for a major
– JESSICA PACE j.marie.pace@gmail.com film project and was a dream realized for the musician, who is best known as the bassist for Pearl Jam. For further details, contact heather. davis@disney.com.
OPPS
Submissions open Aug. 23 for the 2023 SXSW Film Festival and will close Oct. 18. Feature film screening sections include “24 Beats Per Second,” which showcases the sounds, culture and influence of music and musicians, with an emphasis on documentary; and short film screening sections include music videos. For submission guidelines, visit sxsw.com/ apply-to-participate/ film-submissions.
26 arena shows across the U.S. as well as a record-breaking 14 dates at the Coliseo de Puerto Rico—which is more than any artist in history. The documentary will be executive produced by Wisin & Yandel as well as Walter Kolm and Chris Duque of WK Entertainment and Andy Martinez of Jak Entertainment. This tour will be the last time fans can catch the duo onstage together. For more information, contact Elisa Kupelian at elisa@nakdent.com.
DistroKid recently announced that it has launched DistroVid, a new music video distribution service that enables artists to upload an unlimited number of music videos to leading digital It’s not too late to subservice providers. mit work for the 2023 DistroVid’s launch Sundance Film Festipartners include val; late deadlines are Apple Music, in September. Music Amazon Music, videos are accepted TIDAL and Vevo, within the “short film” with more digital category. Deadlines, service providentry fees, rules and ers expected to submission guidecome online in the lines can be found at coming months. ELIZAVETA “LIZA” ZHARIKOVA sundance.org/festiThe new service vals/sundance-filmgives independent festival/submit. artists an easy and affordable way to The deadline is Sept. 12 for all entries to the get their music videos exposed. Film Music Contest, an international music Founded in 2013, DistroKid distributes 30competition that includes categories in film 40% of all new music in the world, and its serscoring; video game scoring; music for film, vices include music distribution, monetization, ads, TV and video games; and instrumental metadata customization, storage and promomusic. For submission information for each tion. More information about the new service category, visit fmcontest.com. can be found at distrovid.com or by contacting henry.oliver@ldcommspr.uk. The Hawaii Songwriters Festival returns from Oct. 20-22 in Waimea, HI. Founded as a way to The Society of Composers & Lyricists and nurture songwriters from all walks of life and at the Film Scoring Academy of Europe has all levels of writing, the conference navigates awarded the second annual SCL/FSAE scholarthe ins and outs of the craft and business ship for the 2022-23 academic year to Elizaveta of songwriting and includes guidance from “Liza” Zharikova, a 26-year-old award-winning professional songwriters and music industry concert violinist from St. Petersburg, Russia, executives. committed to scoring for film. Zharikova is a Participants are given an opportunity to graduate of the St. Petersburg State Conservaconnect with songwriters from around the tory and will participate in the Master of Fine world and get inspired in a beautiful setting by Arts program in Music for Motion Pictures & like-minded, passionate music professionals. Contemporary Media offered at FSAE’s campus Registration includes lunch and a ticket to in Sofia, Bulgaria. The SCL/FSAE scholarship the closing concert. Full details and registration award provides an aspiring composer with at: hawaiisongwritingfestival.com financial aid equal to 50% of tuition cost for the one-year program. The scholarship is awarded based on artistic promise and financial need, and the program will again be offered next year. WK Entertainment and Andy Martinez have Email Ray Costa at rcosta@costacomm.com for teamed up to produce a forthcoming documore information. mentary on Latin musical duo Wisin & Yandel in partnership with Sony Music Latin. Due out JESSICA PACE is a music journalist-turnedin 2023, the new film follow’s the duo’s career news-reporter based in Durango, CO. She is from from its beginnings in 1998 in Cayey, Puerto Nashville, where she started a writing career by Rico, to their final album and tour La Ultima freelancing for publications including American Misión, which kicks off this September and Songwriter and Music Connection. Contact her at runs through December. This tour includes j.marie.pace@gmail.com.
PROPS
OUT TAKE
Julia Betley
SVP of Creative Sync Licensing, Warner Records Web: warnerrecords.com Contact: communications@wmg.com The world of music licensing for Julia Betley, who recently joined Warner Records as SVP of Creative Sync Licensing, opened for her in 1996 with the release of Baz Luhrmann’s Romeo + Juliet. A teenage Betley didn’t know precisely what the job was called, but she found the soundtrack so powerful, she knew she wanted to somehow work in music and film. “I went to the USC Thornton School of Music, interned at a variety of companies, worked for three female music supervisors who were wonderful to me, and got to explore other aspects of the music industry,” she says. “It all reinforced how much I loved sync.” Now, at Warner, Betley works daily to pitch artists’ music for placement in film, television, gaming and sports. “We’re here to amplify the release of our artists’ music and create memorable moments that really help connect people with visual media,” Betley says. Challenges of the job include making a connection with music supervisors to land placements in a crowded market—and dealing with long lead times. “If you’re working on a film or show that’s in post-production, but not coming out for six months, there’s a challenge in finding current music. Sometimes you have to align sync opportunities with the release of a song, or work around the release schedule.” Betley says those aspiring to work in sync licensing should be familiar with the program DISCO, which is used for pitching music, and that it’s also key to have a wide historical knowledge of all types of music to help meet music supervisors’ needs. “In sync, people come to us for alternative ideas, often because they couldn’t clear a song, or they want something that sounds like music from an earlier decade but is more current. So having a wide knowledge of music helps,” Betley says. “Knowing what your client needs and not trying to sell supervisors on something they don’t want is also appreciated in this business. You can’t make a song work where it doesn’t, so being honest about what you have to work with is important.” •
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CORDAE MAKES TED TALK DEBUT
GRAMMY Award-nominated rapper Cordae made his TED Talk debut with “The Hi Level Mindset.” Cordae made the case for doing everything that you put your hands on at the highest level possible, having an extreme work ethic and seriousness in everything you do, no matter how insignificant it may seem. For more information, visit ted.com/speakers/cordae.
HARRIS-DUPART AND DA BRAT
Founder and CEO of Kaleidoscope Hair Products, Jesseca Harris-Dupart, accomplished an industry first by setting the Guinness World Record title for the largest donation of haircare products in 24 hours. Jesseca and leaders from Harlem Pride spoke to the impact this donation will have in the community, followed by a surprise performance from Jesseca’s new wife, Atlanta hip-hop legend Da Brat.
HARRY STYLES TOUR AIDS GUN SAFETY FUND
Harry Styles has sold out all 42 dates of his massive Love On Tour 2022 in support of Harry’s House. Styles announced he will be donating proceeds from the tour, with Live Nation matching, equaling over $1 Million to Everytown for Gun Safety Support Fund. “Along with all of you, I have been absolutely devastated by the recent string of mass shootings in America.”
MISS PAT EARNS PRESIDENTIAL MEDAL
York College presented its first Presidential Medal to VP Records co-founder, Patricia ‘Miss Pat’ Chin O.D at the UBS Stadium on Long Island. President Dr. Berenecea J. Eanes recognized Miss Pat as a pillar and staple of the community in bringing the reggae culture of music to a diverse community. 34
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– JOSEPH MALTESE josephm@musicconnection.com
Tidbits From Our Tattered Past
2002–India Arie–#20
FOREIGNER PLAYS EASTERN EUROPE
Foreigner became the first band to perform USO events for U.S. troops in Eastern Europe since the Russian invasion of Ukraine. The band was treated to opportunities to visit with the fine men and women of the U.S. military, and even experience first hand some of the armored vehicles deployed at the bases.
KUBERNIK WITH BRIAN AUGER
Indie Arie was starting to rise in recognition when she met one of her idols, Bonnie Raitt. “Meeting her helped me realize I don’t have to put on an act or have a different persona to be successful—I can just be India. That was a turning point.” Also in the issue are interviews with legendary singer-songwriter Delbert McClinton and with studio wiz Ed Cherney.
Legendary U.K. keyboardist and bandleader, Brian Auger, author Kenneth Kubernik, composer and flautist James Newton, who has taught a Jimi Hendrix course at UCLA, and Prof. Thomas Harrison of the Language Department at UCLA, recently celebated the publication of the Harvey and Kenneth Kubernik book Jimi Hendrix: Voodoo Child at Sam Milgrom's Mr. Musichead photo gallery and book shop on the Sunset Strip in Hollywood.
2006–Tool–#12
DAVID KLEIN
RINGO STARR
Ringo Starr hosted his annual birthday celebration at Beverly Gardens Park, Beverly Hills, CA on July 7. Starr was joined by fans, friends and family, including his wife, actress Barbara Bach, to fulfill his birthday wish of spreading Peace and Love across the globe.
In our cover story Q&A interview with Maynard James Keenan, the Tool frontman stated, “People are just afraid to take risks, which I think is kind of silly. That’s the only way you get anywhere.” The issue also features interviews with producer Roy Hamilton (Michael Jackson, Britney Spears) and with Michael Gira, owner-operator of Young God Records.
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by Eric Harabadian Photos by David McClister
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M
ultiple Grammy-winning husband and wife team singerguitarist Susan Tedeschi and guitarist Derek Trucks returns with one of their most ambitious and spiritually enriching recording projects to date. The Tedeschi Trucks Band’s I Am the Moon is a four-album collection that features 24 songs centered on the complex love story of Layla and Majnun written by 12th century Persian poet Nizami Ganjavi. Operatic in scope, Tedeschi Trucks Band explores romantic relationships, collective struggle, faith and the human condition all through the lens of their communal mix of rock, soul, blues, jazz and world beat. The album is a true concept in every sense of the word, from the subject matter to the way the music is packaged and presented. I Am the Moon is divided into four parts: I. “Crescent”; II. “Ascension”; III. “The Fall”and IV. “Farewell.” Each “episode” of this project will be released in 2022, from late May to late August, each month as, first an individual online film that will coincide with a companion CD/digital release days later. On Sept. 9, a vinyl release will emerge. All four episodes will be available individually in 1-LP standard edition along with a 4-LP deluxe box set.
Music Connection: Congratulations on the release of I Am the Moon. It is quite an accomplishment. Derek Trucks: Thank you, man. It was nice to have some work to do because we were all locked down at home. MC: Yes, and we’ll get into that. Could we initially talk about your beginnings, when you were a young kid, adjusting to different situations and playing among so many accomplished musicians early on? Trucks: I think ignorance is bliss, at some point (laughs). You don’t know you’re supposed to be intimidated? Especially, at a very young age, your eyes and ears are so wide open and you’re just taking it in. I was so fortunate to be around so many musicians who were very giving. Occasionally there would be some people who were competitive and weird, but usually it was pretty wide open. They would want you to succeed. And there is a lot to learn from musicians who have been at it their whole lives, no matter what skill level they were at. There’s a lot to learn from grizzled veterans (laughs). MC: That’s a great point. You can always learn from someone, no matter their skill level. Trucks: There is stuff I got from people I only saw once or twice. They maybe only had one or two things, but they were incredible, and they believed it and they were in it! I was really lucky early on in Jacksonville here. There was a band called Ace Moreland and West Side Story. It was made up of guys from Oklahoma and in the Jacksonville area. They were a great blues band around here. And they were in it! That’s where I learned about Howlin’ Wolf, Albert King, Hubert Sumlin and all this music I might not have come across as soon as I did. That’s good stuff to have floating around in your head when you start playing.
MC: So, you connected with the blues almost immediately? Trucks: Yeah, at 9 or 10 years old, right when I started; the sound of Duane Allman’s guitar and Elmore James, that’s the stuff I heard around the house that I really gravitated toward. For me, the late ’80s/early ‘90s wasn’t an incredible time for music (laughs). I’m glad my parents had a good record collection that I didn’t push away from. MC: So, beyond the blues you’ve pursued a lot of other kinds of music as well, correct? Trucks: I was probably 12 or 13 years old when I started hanging with Col. Bruce Hampton and his band. I became open to a whole new world where I stopped listening to guitar players and started listening to horn players, singers and the whole Blue Note and Impulse Records era of the ‘50s/’60s. There was also Indian classical music and world music. And, you know, you stop listening to the things you were listening to. But if you go far enough down the road you realize they all lead back to the same place. You start finding connections between some of the Delta blues players and some of the Indian classical players. You figure out where things are coming from and leading to. Those are great moments that can really influence your playing and your sound starts becoming your own a little bit. MC: How was this new project initially conceived and what is the main thrust of it? Trucks:The pandemic downtime had a lot to do with it. We had been a hard touring act for, really, 30 years. As long as I’ve been on the road it’s been non-stop. We’ve never had enough time off as we’ve currently had. And that led to, one—having enough time to get away from playing, and two—really enjoying getting back in a room together and making music in a different way. Mike Mattison, who is the lead singer in my solo band and is in this group, is a great songwriter and a thoughtful character. He had this idea early in the lockdown when we couldn’t all get together that maybe the band could dig into a book, work of art or some kind of source material and spend some time thinking about it. The thought was, when we would get back together there would be some ideas that would come out of it. So, Mike had this idea to dig into the 12th century poem by Nazimi about Layla and Majnun. Some people think it inspired, and was the Persian Romeo & Juliet. And part of that inspired the Layla record by Derek and the Dominos. A lot of it is about Majnun being in love with Layla and not being able to have her. But Mike’s whole thing was to turn the story on its head and ask, “What was Layla’s take on all of this?” There is no mention of that on the original record, but the poem is thick with what she thought about it. So, we all read it and Mike came up with this great synopsis filled with
his dark humor. And when we all got together, everybody had a lot of ideas and there were a lot of songs kicking around. MC: Was it immediately apparent that Tedeschi Trucks Band was into recording their next album? Trucks: We had no notion of making a record at that point. Once we got people tested and their families would turn them loose, they came down and stayed at our house and studio, played music, wrote tunes and, before we knew it, the album kind of took on a life of its own. We had more material than we knew what to do with. We started thinking about what it meant and what did we wanna do with it. We had the idea of breaking it up and making it episodic. At this point, we were a year into the pandemic, with no gigs in sight. And we thought, let’s make a film with each record. Let’s do it differently. There is something nice about people tuning in and hearing the record, seeing the visuals; and this is happening the first time for everybody. A communal listening session was kind of the thrust of that idea. So, when it came to fruition on the first record, it was really nice. We had a little party at the house. My parents and siblings came over and we were watching it all for the first time with fans around the world. It was a cool thing to see the reaction in real time. MC: So, this was a fresh way of marketing the new album? Trucks: Yes. At least the last five or six records we put out, there’s a few singles that came out, a few digital tracks for free. By the time the album drops everyone knows it. You put on the record and there is no real unveiling. It’s not that exciting or fresh. I don’t know, but there’s something really exciting about going to a record store, getting the album, looking at the packaging, popping the record on and hearing all the material for the first time. So, that was the concept on the way we were gonna release this album. We were lucky that our label Fantasy was into it, because this is not the typical way they did business when releasing a new record. There were no advance singles to play on the radio or anything like that. I was really pumped that they were behind what we were doing. Even getting the film made was not something we typically would have the time or budget for. So, it was really nice to be able to do it all.
“When we’re in the studio we’re recording constantly because if we don’t, we might miss something really special.”
MC: Talk about your relationship with filmmaker Alix Lambert. How did you connect with her? Trucks: Mike Mattison was a Harvard English major. When he graduated, he went to Hungary as an expat for a few years, singing with jazz groups. He met a fellow expat, Alix, over there and they struck up a friendship. Since then, they’ve worked on a few artistic projects together. So, when we were thinking about putAugust 2022
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ting visuals with the songs, we thought of her. And she was perfect for this because she sees and hears things differently. And we didn’t want this to feel conventional at all. We didn’t want the films to track too close to the story. We wanted to leave the films open to interpretation. And she did an amazing job in riding that line. The visuals don’t take way from the music. They add to it. There are a number of people in this band and Alix captured the character and personalities of everyone. MC: What are the challenges of working with a large ensemble? Trucks: Over the years of working with a large band we’ve come to realize when and how much gas to use at any given time. When you have that much sound and power, you wanna use it. But it’s important not to overuse it. And it’s important that all the ideas are musical and you’re not throwing things on it just to include everyone. You realize a 12-piece band can be an eight-piece band. It can also be a 4 piece or a duo. And I think this incarnation of the band is such where everyone just wants to contribute when appropriate, and that’s a good place to be. MC: So, this was probably the right time to take on an extensive project like this because you were familiar with and could utilize everyone’s talents effectively. Trucks: Totally! And we had done enough records where we didn’t have to do stuff we’ve already done. I didn’t think there was anything we had to prove as a band. So, we could just follow a song wherever it went. There doesn’t have to be this big heroic guitar solo here or Sue has to do this big vocal thing there. We were always mentally there, but I don’t think we embraced fully—if a song feels good, the concept’s good and the intention’s right, that’s enough! Now, however people take it, you can’t help that too much. But I think Sue and I are embracing what the band is, more and more. MC: What is your writing process? How do you and Susan initiate songs with the band? Trucks: It comes from a lot of different places. Some of the songs on the record—Gabe Dixon (keyboards-vocals) would bring a song almost completed and the band would play it. And if it felt good, the band would tweak it here
and there. There would be songs where Sue and I are having breakfast and you pick up a guitar and stumble across some melody or pattern. And then you walk out into the studio and start fumbling with it. And then two or three band members fall in and you spend 2-3 hours working on a song. And then there are times when a song comes to you almost fully formed. Also, we might discover a groove during soundcheck. There are a lot of ways we go at it. When we’re in the studio we’re recording constantly because if we don’t, we might miss something really special. MC: You’ve done so many different types of venues and shows. Can you recall one or two that really stand out for you, and why? Trucks: There have been so many. We did that tour with B.B. King early on with this band. And there were some nights just getting to hang with B.B. before or after his set or listening to the band. Those are magical memories! The show we did with Leon Russell and Mad Dogs and Englishmen in 2015 at Lockn’ Festival was over-the-top good! We rehearsed long and hard for one show and it exceeded all our expectations. That isn’t always the case. That actually turned into a film called Learning to Live Together, which is still screened in some theaters. We’ve been pretty fortunate to have gotten to play with a lot of our heroes. And even some of the nights when you’re mid-tour with the band. Certain shows are just magical and you can never plan for it. The good nights just come when they do and you have to be thankful for them (laughs). MC: You guys played the White House. That must’ve been a real turning point! Trucks: Yeah, that was pretty incredible. We played with B.B. King, Buddy Guy and Booker T that night! MC: What is a typical day on tour for Tedeschi Trucks Band? Trucks: Well, it really all depends on the type of tour. This summer tour is three bands. And we try to get there early to see everybody. We soundcheck early. We’re at the venue all day for these gigs. And it’s a long hot summer. This tour is all about hydration (laughs)! We have a rehearsal room set up in the dressing rooms each
night, so I think we will be doing a lot of shedding and playing on this run. We’ve never done a tour like this behind so much new material. MC: Have tours in the past integrated a lot of cover and traditional songs along with newer original material? Trucks: That’s what we’ve always done. We kinda grew up in that tradition of what we’ve all been a part of. We play tunes from my solo band and Susan’s solo band. We have quite a few records with this group to dig in to. We just always play songs that shaped the band and inspired us; some of that Leon Russell and Mad Dogs and Englishmen, Derek and the Dominos stuff. MC: What’s your most memorable experience interacting with fans? Trucks: That’s interesting! We’ve been at this for so long that we’ve had people at shows who end up becoming life-long friends or family, almost! There’s not much division for us (laughs). We’re kind of in it and of it. MC: How do audiences react to you around the world? Trucks: We’ve been pretty lucky. It’s pretty uniform, but there are different personalities in different countries. Germany seems a little more reserved, but they’re listening hard. We’ve had some incredible crowds over there. It’s just a different energy. And then we’ll play Italy or Spain and it’s like we’re in the South. They’re a little rowdier (laughs). It’s just a different spirit. But it’s like that in the States too. We’re going to Europe for a month in the fall and planning on going to Japan next year. We’re really lucky we can go to these places and play similar size venues like we do in the States. MC: Finally, what’s the secret to a good relationship, balancing family, career and all of it? Trucks: It’s really communication. We try to keep the lines of communication with our band and our relationship just wide open. It’s tough at times. Susan and I have been married 20 years now. There are highs and lows that feel insurmountable. But when you know you know and you just work at it. Just like a band or anything, it takes compromise. But a lot of times that leads you to places where you’re better off. Contact Ailie Orzak, aorzak@shorefire.com
• Derek Trucks and Susan Tedeschi first toured together in 2007 as Soul Stew Revival. • Tedeschi Trucks Band began in 2010. They played their first concert April 1, 2010 at Savannah Music Festival. • Tedeschi Trucks Band has won a Grammy Award, 7 Blues Music Awards and was nominated twice for Americana Music Honors and Awards. • Allman Brothers Band founding member drummer, the late Butch Trucks, was Derek Trucks’ uncle. • The Susan Tedeschi Band was started in 1993, with noted eventual Grammy-winning producer-musician Tom Hambridge. • Like her husband Derek, Tedeschi also was a child prodigy of sorts. She made her debut at six years old as an understudy in a Broadway show. • In bands since she was 13 years old, Tedeschi formed her first alloriginal group, The Smokin’ Section, at 18. 38
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“If your live show is boring, you lack energy, or you are missing cues with your hype man and not performing all your lyrics, the crowd will be less engaged and become uninterested in you as an artist, most likely forgetting your name after the next performer.”
REHEARSAL IS CRUCIAL HOW TO MAKE YOUR
LIVE PERFORMANCE REALLY POP BY FRANK DEMILT
Before you consider doing a
live performance, rehearsal is crucial. I can’t express enough how critical it is to be prepared to go on stage in front of an audience. Just because you can record in a studio and perform in front of a camera for a video (remember these are edited for the best takes) doesn’t mean it will translate to a live show. The following article, taken from my recent book release, The Blueprint: The Bible For Becoming a Successful Performing Artist In The Digital Age.
Winning Over A&R, New Fans A good live show that showcases your energy and can get the crowd involved can be that driving factor in winning over an A&R or industry representative, even if they have never heard your songs before. If you can captivate a crowd that may or may not know who you are, you have just created a fan base that will now stream your music purely from the fact they loved your live show. The opposite holds true as well, if your live show is boring, you lack energy, you are missing cues with your hype man and not performing all your lyrics, the crowd will be less engaged and become uninterested
in you as an artist, most likely forgetting your name after the next performer. What are some of the ways you can rehearse? You may think this is a simple question to answer, but I have seen a laundry list of artists who not only rehearse wrong, but that don’t know where to start when it comes to rehearsing. Of course, rehearsal is different for a one man show than it would be for a full band. For a one man show, you will most likely have a DJ to accompany you, playing your songs, with different cues of when to play the next record and different drops to keep the audience engaged. Most artists also have a hype man to keep the energy up during the performance. However, it is also possible that for your first few appearances you are performing alone, in which case it is best to practice stage presence, so you are not standing in one place, but rather working the entire stage, and engaging with the whole crowd. Make sure that the echo is added on just the right word. Make sure that the lights are soft or colored or spotted or bright, so the music is accented at the right place in a song. Make sure that your show, in addition to your music is the best that it can be. Here are a few of the things to work on after you have the song performance perfect: • The transition from one song to another in the set • Audio effects of volume rides
• Lighting cues for mood and dramatic effect • Guitar or costume changes • Staging cues and scenery/gear changes • Where you’ll be speaking with the audience Even if you don’t have a sound or lighting person, at least if those items are thought out your show will be better. Plus, you can always give notes to the venue sound and lighting people where you gig, who will probably appreciate the challenge and respect your professionalism. Just keep everything simple so it doesn’t get confusing. If you’re inserting new production into your show, it is best to do a dress rehearsal before you take it to the stage. Play your set just like you would at the gig, complete with full lights and sound production, speaking to the audience, and any costume and guitar changes. Play the songs as if you were performing. Don’t stop and don’t try to fix anything. It is what it is, and you’ll learn a lot more from doing it this way than just normal rehearsing. After the set, talk over any areas of concern and generally debrief so you can make a list of problems and start right in on fixing them. It really doesn’t take much to change a gig experience to a show experience. Which one do you think the audience will find more entertaining?
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Rehearsal with Your DJ First, let’s begin with the DJ. You as the artists
are dictating when you want the next song to play, when you want (if at all) there to be drops in the records by the DJ, if you want the DJ to be part of the performance (acting as your hype man and engaging with the crowd) or just in the background playing the records. These are all different roles the DJ must understand, as a missed cue or fumble in record change can hinder the entire performance. Rehearsal with your DJ to make these transitions flawless is tantamount in creating a great performance. Even if you as the artist is completely on point during your performance, if your DJ is not on the same page as you, how well you performed won’t matter. The audience, in most cases, won’t see the DJ as the problem, they will only see a bad performance an attribute that to you as the artist and the performance (of course unless the DJ is working with all artists performing that night, and is messing up every performance, in which case then the audience might understand the DJ was bad and not the artists).
The Hype Man Adding in the hype man creates another layer
of synergy to your performance. The job of the hype man is to keep the energy up throughout the performance and emphasize what you are doing and saying as an artist. You and your hype man should be almost performing in tandem and have a pseudo routine in place for every step and song you plan on performing that night. They should know every word, line, and adlib to every song, and be prepared to emphasize what you are saying when you would like them too. The hype man is essentially a live stack track, but also serves the purpose of keeping the crowd engaged while the artist is performing. A great hype man can take over a performance for an artist who maybe struggling on any given night. Flavor Flav for Public Enemy and Spliff Star for Busta Rhymes are recognized as some of the best hype men in hip-hop for how they were able to accompany their leading acts. For live bands the rehearsal is exponentially more important, because now there are anywhere between three to sometimes 10 or more people playing instruments that all have different cues and aspects of what they are doing for each song. The lead singer usually creates the set list prior to the show, but I have seen singers take up until the last minute to hand out the set list to the band on what songs they will be performing that night. This is stressful for the band (yes, they should know all the cues for any songs that the artist wants to perform) but if the band doesn’t know what songs and in what order they will be playing that night, it could affect the performance.
The Band As a band, you should be rehearsing weeks
and sometimes months leading up to the show, especially if you are doing multiple shows. It should be second nature for the singer and the band for each song that they could perform. A few ideas to keep in mind while rehearsing: 1. Practice Makes Perfect Some songs may need to be played repeat-
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edly until you can lock in the pitch, muscle memory and timing of your performance. The more you play a song, the more natural it becomes. And, sounding natural is very important in playing live instruments and singing. After all, if you are uncomfortable, most likely your audience will pick up on it. That’s usually when people start walking away and looking at those cell phones. Audiences want to watch something or someone that transports them and not remind them of their own insecurities. By learning how to do something with your eyes closed, without looking, without thinking about it, you are creating a performance that truly is astonishing, because you are witnessing someone do something creative and powerful, with seemingly little effort. Practice those problem songs repeatedly until those songs sound unanimously better. If they never do, put in a song that makes the set better than the one replaced. Just be nice about it. 2. Practice Your Transitions A lot of new performers do not factor in the power and preparation time available in between songs in a set. There are often little things like guitar exchanges, patch settings and even patch cables that need to be rerouted between songs. If this applies to you, start planning and practicing these changes just like you are going to do them on stage. By practicing these kinds of button presses, placing patch cables in easy to find places, and finding nice stable methods of placing your extra guitars on stage, you’ll ensure smooth song transitions and safe gear! 3. Video Record Your Practices What we hear and see in our heads and what is being played and performed can often be in opposition. The camera is always willing to tell the truth. Knowing what you really look and really sound like is terrifying for many. But if you can get past the fear of facing your own physical manifestation in this world, you’ll be on the road to not only a great show but becoming more comfortable with your own physicality–an attribute often regarded as extremely attractive. By recording video performances of yourself, you can begin to learn what works and what doesn’t work with what you are doing live. You can start altering those quirks and ticks that are throwing off the show. I will highly recommend watching the performances with band mates, as well, if this applies to you. Everyone needs to know and hear what they look like. It’s not meant to push someone’s nose down in it. It’s meant to help someone grow, by facing what they are putting out into the world with posture, facial expression, conviction, and performance. Larry Butler, (Ry Cooder, Randy Newman, Isaac Hayes, U2, Van Halen, ZZ Top) is a former Warner Bros. Records in-house tour manager and Artist Development Director and VP of Artist Relations. He is also the author of The Singer-Songwriter Rule Book and has this to say regarding rehearsal and touring: “Practice is learning the material and running through each song, step by step. Rehearsal is preparing for a live show. You should do both enough times so you can play and perform without thinking about it. Rehearsal is putting it all together and making a show of it. In fact, Paul Simon said, “The show is too important not to rehearse.”
You need to be organized and have a plan. Remember, a live show is visual so you must incorporate those elements. Know what you want to do and run through it to make it as entertaining as possible. If you’re not paying attention to the visual aspects of your performance, it’s not a rehearsal—it’s practice. Sometimes artists forget that people are watching them. It’s not about simply playing live—it’s about putting on an entertaining show. Everything you do on stage should be scripted. That’s what the pros do. Walking around aimlessly does not engage an audience. If you don’t want to choreograph your movements—well, then welcome to the world of amateurs. If you want total strangers to appreciate your music, play it live to see what works before you spend the time and money to record it. Sometimes magic happens. Most often that occurs because of rehearsal and experience. Everything clicks and works together. But that only happens after you’ve rehearsed enough and are aware enough to recognize it.” Cindy Mizelle, (Bruce Springsteen, Whitney Houston, Dave Matthews, Alicia Keys, Rolling Stones) who has worked with many legendary artists, contributed her vocal talents to over 120 albums. She has also written songs for other singers, such as Aretha Franklin. She’s toured with “The Boss” as part of the “Seeger Sessions Band” and on the “Wrecking Ball Tour,” and she has this to say regarding rehearsal and touring: “In recording sessions, it’s rare to get material beforehand. You might even be asked about arrangements when you show up. So, I try to research everything about the artist I’m going to work with. I try to find every version of their songs to see how they’re different. That way I’m prepared for whatever comes. Tour rehearsals typically last eight hours or more. You read through the lyrics and get a feel for the music and the show. Then, you’ll run through the songs, usually 12 or more with alternative arrangements. You might also script moves for different songs. It takes a lot of concentration and energy. I find it helpful to take notes, so I know what I need to do. There are a lot of things that may not be written down, especially with live shows. Knowing things like the vibe of a song, its personality, and how it’s going to be presented are important considerations. That’s where live rehearsals can get intense. “I’ve worked with a lot of artists who choreograph their shows. You work it out in rehearsal so that the performance is tight, exciting, and entertaining. Luther Vandross and Whitney Houston planned every move on stage. That’s what professionals do. “When you rehearse properly, you become aware of the dynamics each person brings to the mix. You need to be sensitive to the artist you’re supporting and know what they need from you. You need to be a team player. That’s where rehearsals pay off. There are so many things to deal with on the road, the itinerary, your hotel information, the sound check, the production…all the little details that are part of a tour. You shouldn’t have to think about your performance on stage too. It should be automatic, you know it, you live it, you do it. If you’ve rehearsed enough, you can enjoy the show along with the audience. If you’re on top of it, you can see what’s out there and, often, that will elevate your performance.”
Briana Lee, (Katy Perry, Elvis Costello, John Legend, Nick Jonas, Thirty Seconds to Mars) has been featured in Disney’s The Little Mermaid Live and La La Land Live in concert at the Hollywood Bowl. Currently, she’s expanding into more roles as a vocal arranger, producer, and vocal contractor for television and other media, has this to say regarding rehearsal and touring: “The biggest difference between recording sessions and live rehearsals is what’s expected of you. I often go in blind to recording sessions. You don’t always get material until you’re there. But, for live work, you can do research online and see what they’ve done before. If you don’t practice, you won’t learn the material. If I’m doing sessions or prepping for a tour, my world revolves around practice—everything else shuts down. I’ll lay out the lyrics on the floor and learn the emotional content of each song as well as the music. “Most of the time rehearsing for a live show can take anywhere from two days to a few weeks. It depends on the project and how complex the production is. There is also practice involved, working out arrangements and harmonies, which takes up additional time. You would think that a rock act would be less formal and looser. But Jared Leto is very focused. He knows exactly what he wants. He pays attention to every little detail. He knows how he wants the songs to sound, how he wants to present them on stage, and how the overall production should look. “A lot of artists choreograph their show in rehearsals. Not so much for dance moves, but just movement in general and where you need to be on stage. Movement is always a big part of a live performance. “If there’s no plan or organization, it wastes a lot of time. You need to know what you want to do. If people bring problems or disputes into rehearsal, it can affect everyone.”
Your Live Show Now you’re at the point where you have re-
hearsed with your DJ, band and hype man and are ready to start doing the live shows. So, let’s speak a little on the difference in the local live shows I briefly mentioned above that are good starting points for new up and coming acts. As a new artist it is maybe a little difficult at first to get paid to do performances, so there are a few options for different types of shows, gigs, and events that are going to be beneficial for you as a new artist. Paying to perform, selling tickets to perform, talent shows, local festivals, showcases and possibly putting on your own shows/events are all good places to start. First, is paying to perform. As a new act it is unlikely that hosts will ask you to perform on their bills, and most times you will have to pay for your performance slot. The price range on this will vary depending on the show type, the venue, the popularity of the show, and who the headliner is (if there is a headliner). Local shows generally range anywhere from $10$100, and this will get you on as an opening act (usually with a handful of other opening acts who also paid to be there) where you will have a specific amount of time to perform (somewhere between 3-7 minutes is the average). Sometimes these shows serve the specific purpose of showcasing local talent to patrons of the venue hosting the showcase (usually a
bar or night club) which can sometimes include (and if they do the flyer usually promotes this) industry representatives and A&Rs. These are a good place to start (even though you have to pay to perform) as you will be able to get your name out there not only to a new audience, but to the event hosts (who based on your performance and crowd reaction could invite you to perform at some of their upcoming events) and some of the other performing artists, with whom you can make connections, create relationships and do collaborations in the future. Second, are the ticket shows. This entails the artist paying for several tickets they then must sell to perform. If you don’t sell the tickets, you can’t perform and you lose the money you paid for the tickets and your slot on the show. There is a benefit to these types of shows, as normally the artist gets to keep a certain percentage of the profits from the tickets they sell, (usually somewhere between 10%-20%) and this usually guarantees at least a certain number of your fans to attend your performance, which can increase crowd participation, stacking the odds in your favor for a better reaction to your performance. This can also enhance your opportunities with the promoter for future performances if you are able to sell all your tickets. If you show that you can bring out a crowd to these types of events, the promoter is more likely to invite you back to future events because they know you will bring and/or draw a crowd. Third, is the talent shows. These are usually specific to high schools and colleges but are sometimes offered by different promoters and local studios as well. If it is through a school, being a student can usually get you a slot and there is nothing else to it (however, sometimes these school events will allow outside acts to perform, for a price, which can be beneficial as well). If it is not a school function, you most likely must pay a fee to perform, as you will be performing (in most cases) in front of industry personnel as well as a crowd. These types of opportunities can lead to further showcases and meetings with the industry people in attendance. These talent shows generally allow for the artist to showcase their best song and a brief introduction to who you are as an artist and where they can find you and your music online. Have your best song ready. Fourth, is the showcases. These are put on by various promoters to find emerging talent. You will always have to pay to perform at these types of events; however, at the same time there will always be at least one or two label reps in attendance scouting the talent. These showcases are strictly for the purpose of finding emerging talent for the industry representative to either keep an eye on or create a relationship with for future work. Most of the time you will not get signed based off your performance at these showcases, but you will get your music heard by label representatives, who can put you in meetings and connect you with the right people to further your career, all for the final goal of making you apart of their label in some capacity. Fifth, is the local festivals. Most towns have a park or designated area where each season they will host a certain type of festival (generally in the spring, summer and fall). These festivals almost always have live performances on a center stage, either throughout the entire day (or weekend) or at specific times during the festival activities. As a local act you may be able
to get on as a performer in a variety of ways. Knowing the festival host, knowing a promoter through the festival, paying for a performance slot, or simply being a local act can afford you an opportunity to perform. However, be mindful of the type of festival it is, as this could affect the crowd reaction you get. It may not always be in your best interested to perform at a certain type of festival if the audience you are going for will not be in attendance. However, on the flip side of the coin, performing for a different crowd can be beneficial as well, as it will open your music up to an audience that otherwise may not listen to your music. Lastly, you can put together your own event. This can be a bit costly and little tricky. Not every venue is open to all audiences and all music genres and age groups. Once you do find the right venue, you will have to pay for the time you would like your event to happen, (the longer the event, the more money it will cost) and in most cases you will have to pay at least half of the deposit up front (this will be nonrefundable, so if anything happens that forces your event to be canceled, other than possible a natural disaster, you will not get your money back). However, if you are throwing the event, this affords you the opportunity to generate money to both cover the overall cost to throw the event and to make a profit. By doing some of the various show options mentioned you can make money. You may also be able to work out a deal with the venue owner: since you are throwing an event in their space, and bringing in a certain number of people who otherwise may not come to this venue, perhaps you and the venue owner could split the door and/or bar profits for the night. Be careful, though, as you will be responsible for all parties attending your event, and anything that happens to the venue will be your financial responsibility. I recommend you do research on the events in your area and some of the hosts and promoters, because not all will be beneficial to you as an artist, and some promoters look to take advantage of new naive artists. If you do start performing live, be sure to have all your rehearsing on point and put on the best show you possibly can. •
FRANK DEMILT (@frankademilt) has since 2013 worked in some of the top music studios in New York City, New Jersey, Miami, and Atlanta alongside the industry’s top Grammy- and Emmy-winning and -nominated artists. Beginning as an engineer at Soul Asylum Studios in Atlanta, he has since worked in various sectors of the music business. Recently, Demilt was named head of Artist Development, Sync Manager, and lead A&R at Water Music Publishing. He’s also helped launch the creative agency Sloppy Vinyl, a premier artist development and entertainment company in New Jersey. His book can be purchased at The Blueprint: The Bible For Becoming a Successful Performing Artist in the Digital Age (Amazon).
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PRODUCT PROFILE
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The ASI 3DME Gen2 Bluetooth Active Ambient In-Ear Monitoring System
irst released in October 2020 during the height of the pandemic, ASI Audio x Sensaphonics’ 3DME Active Ambient inear monitoring system is based on technology created by audiologist, lifelong musician and Sensaphonics founder, Dr. Michael Santucci, who designed his first IEM in 1982 and whose companies have been leading innovators of advanced in ear monitor technology ever since. According to Dr. Santucci, the ASI Audio 3DME project came to life as an extension of the active ambient technology he had developed to help working musicians keep their hearing safe. With traditional IEM technology, the goal is to isolate the user from the environment. However, one of the unintended consequences is the tendency for the user to remove one IEM removing one ear of an IEM to “hear what’s going on in the room” which can lead to a variety of hearing problems for the user. To solve this problem, the Active Ambient technology introduced the ability for the musician to blend local stage sound with their IEM monitor signal. This primary design goal of the ASI 3DME Gen2 is to incorporate ambient room sound into the monitor feed of the IEM to give the user a reduced feel of isolation. To accomplish this, ASI Audio x Sensaphonics came up with a unique design incorporating a sub-miniature, full bandwidth MEMS microphone built into each earpiece which feed preamps in the belt pack. The ASI Audio App is used to set a usercontrolled blend of the ambient sound of the stage (including dialog between musicians) with the monitor mix. The ASI Audio 3DME Gen2 builds on the already impressive feature set of the original 3DME and features a high-resolution signal path running dual-driver in-ear monitors (IEMs). The ASI 3DME Gen2 Monitoring system consists of the IEM Monitors, belt pack preamp/mixer/processor and the free ASI
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Audio App, which is available for download for Android or iOS devices. The microphones are capable of handling up to 130 dB SPL of sound pressure level without clipping, making the 3DME Gen2 useable in the loudest acoustical environments. Dr. Santucci’s technology is patented, and the patent extends to include a belt pack and the recently upgraded app. The ASI 3DME Gen2 Bluetooth Active Ambient In-Ear monitoring system costs about onethird of the price of the Sensaphonics touring IEMs, though the system can now be upgraded to include tour grade custom earpieces. With the 3DME Gen2 App, users can EQ their mix via the seven band EQ and then save their presets for future recall. The App EQ settings can be controlled by step (manual) mode or present mode. Once the App is connected to the belt pack via Bluetooth, all your saved EQ presets automatically port over to the belt pack. The second page of the App shows your equalizer settings from which you can create, save, and recall multiple EQ settings for whatever rooms or spaces you may be currently working in. There is also a built-in brick wall limiter built into the App on which you can separate the level on one or both ears. With the App, you can turn up one ear and adjust the EQ and control the volume of each earpiece and compensate for any hearing loss the user may be expiring in one of both ears. The App allows you to always compare with a flat response via a compare function, a Seal Test to make sure your 3DME Gen2 earpieces are properly fitted into your ears as well as a battery level readout. The belt pack has volume plus and minus controls to set the overall level of the ambient mix and can be optionally used to toggle two different saved ambient microphone settings. Also on the belt pack is a Mini USB port for charging the device’s internal battery (which
has an extended life in the 3DME Gen2). The 3DME Gen2 system brings some significant advancements over the original 3D-ME technology. For pro users, the internal EQ and limiter can be bypassed to return control to the monitor engineer. Microphone Levels on the IEMs can be set individually for your left ear or right ear or together. The Input sensitivity can also be adjusted, and you can set the App’s brick wall limiter not to exceed a given threshold for each ear. With newly enhanced limiter performance. If you have any kind of hearing disorder that affects your ability hear yourself on stage, the 3DME Gen2 will in most cases allow you to compensate for your hearing loss. For users with significant hearing loss in one ear there is a CROS feature that allows you to hear a stereo mix in one ear. The 3DME can also be used as high-end ear plugs with the added advantage of being able to EQ and control the overall listening level. The 3DME Gen2 ships with universal fit earpieces in several sizes that should accommodate most users Custom molded ear tips are also available, along with the new pro earpiece option and an app selection to optimize the belt pack performance for the type of earpieces in use. The 3DME Gen2 from ASI Audio x Sensaphonics is fundamentally different from any other in-ear monitor technology currently on the market. The 3DME Gen2 is not cheap, but for what you’re getting and the problems the 3DME Gen2 solves over traditional IEM technology, for any professional, touring or church musicians, any working musician dealing with hearing loss or a musician who just wants to be more in touch with what’s happening on stage, it’s more than worth the cost. The ASI 3DME Gen2 Bluetooth Active Ambient In-Ear monitoring System is available now for $699.00 Learn more at asiaudio.com
– ANDY KAUFMANN
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Richie Furay: A Good Feelin’ For Classic Country day. In fact, nine of the tracks on the album, Furay sang vocals live with no overdubs. He insists there’s usually little that can be improved when the emotions fall just right. “You can wear a song out if you go into the studio and play it too many times,” he declares. Leading up to the platter’s release, Furay delighted fans with a performance at Nash-
ARRON RAPPAPORT
s a founding member of groundbreaking act Buffalo Springfield, not to mention Poco and the Souther-Hillman-Furay Band, Richie Furay holds a pivotal spot in rock & roll’s archives. Having been a primary contributor to these seminal groups, he’s partially responsible for the merging of country, blues, folk, and psychedelia that birthed our modern musical landscape. Songs like “Good Feelin’ To Know,” “Kind Woman,” and “Pickin’ Up the Pieces” are classics that have influenced a generation of artists. Although his sound is said to have helped shape music’s future, it’s the recording industry’s past—namely country music—that spurred the man to pick up a guitar. In particular, he mentions Ricky Nelson as one of his primary inspirations for pursuing his craft. He couldn’t wait for the end of each episode of The Adventures of Ozzie and Harriet, when the teen idol would play a number. Other influencers include Gene Vincent, Carl Perkins, Eddie Cochran and Buddy Holly. On his most recent album, In the Country, Furay returns to these roots, serving up country music covers with all the love and respect he insists they deserve. His friend, producer and recording engineer Val Garay, presented him with the concept when they bumped into each other at an Autism awareness event in Los Angeles. To see if their visions meshed, they independently listed songs they felt were worthy candidates and then compared them. To their surprise, they each named “Your Love Amazes Me” by John Berry as No. 1 on both their lists. Furay saw this as a sign the recording was meant to be. The album proudly features the Berry tune. Over time, the pair hashed out the rest of their selections. Some are much older than others, but all are considered classics. Furay speaks enthusiastically about each. Take what he says about Sammy Kershaw’s “She Don’t Know She’s Beautiful.” “The thing that gets me about that song is the simplicity,” he chatters. “I think of my wife. She’s so beautiful, inside and outside.” Every time he performs the number, he imagines he’s singing directly to her. Other songs that made the cut include John Denver’s “Take Me Home, Country Roads,” Keith Urban’s “Somebody Like You,” Alabama’s “I’m In a Hurry (And Don’t Know Why)” and Marc Cohn’s “Walking In Memphis.” In the Country’s 14 tracks were recorded in just four days. Garay insisted they lay them down at Blackbird Studio in Nashville. Although Furay had assembled albums in Music City many times before, this was his first experience entering the storied space. Furay appreciated the way the studio accommodated live vocals. The final track, a fresh version of “Picking Up the Pieces” by his own band Poco, was eked out in a single take during the session’s final
celebration. Furay drew laughter by revealing he met his future wife when her boyfriend at the time dragged her to an early Buffalo Springfield concert. The musician’s daughter was also at the gig contributed background vocals on stage. The day after, the Rock & Roll Hall of Fame inductee enjoyed another milestone: performing at The Grand Ole Opry. Although Poco graced the Opry many moons ago, Furay was no longer a member of the band at that time. Upon learning that Furay had never strummed on that hallowed stage, John Berry’s manager, Brian Smith, got the ball rolling on making it happen. Furay had dreamed about this day since childhood. “It was absolutely a thrill.” Later, the album enjoyed the official Record Store Day treatment at Nashville’s Vinyl Tap, with Furay signing exclusive vinyl pressings for adoring fans. Many who were present, though, were simply seeking libations at the cafe. “There were a lot of people who didn’t know who I was,” laughs the star. “After a while, I started interacting [with them] and we sold quite a few albums.” A documentary on Furay is currently in the works. His longtime manager, David Stone, initiated the project. Cameron Crowe provides the narration for this definitive portrait. “I was his first interview,” reveals the artist of the renowned music journalist and director. Crowe’s involvement was secured after the two reconnected through social media and then reunited in person after a show at Los Angeles’ Saban Theater. Although they hadn’t seen one another in decades, Furay insists it was “like we had been friends forever.” Part of the reason Stone felt Furay’s life was worthy of memorializing on the big screen as a cornerstone of the country-rock genre as well as his journey into religious life. Many are unaware he spent the years between 1983 and 2017 as senior pastor at a nonsectarian Christian church in Boulder. During that time, he could not have imagined his current glorious return to the stage. Likewise, he never could have anticipated a Buffalo Springfield reunion in 2011. Furay tells of a moment during that tour when he was trying out some guitar licks. “New song, huh?” That was Neil Young’s take when he heard the notes. Although it wasn’t at the time, Furay soon rushed home to make it into one. Although he talked about retirement from touring, Furay qualifies that he’s learned to never say never. Indeed, at the time he spoke with Music Connection, he still had gigs on the books. “I love to see people who appreciate my music,” he spurts. “As long as it’s something that’s reasonable, I’m going to get out and play.”
“You can wear a song out if you go into the studio and play it too many times.” ville’s City Winery. During the show, he played old favorites alongside select cuts from the new recording. Among them was the John Berry tune, which was delightfully bolstered by an appearance from the original artist himself. The song’s co-writer, Chuck Jones, was in attendance that night, as was Manuel Cuevas, the fashion designer famous for his flashy garments donned by rock and country artists. Furay proudly sported one of the icon’s jackets that explosive evening. The 78-yearold’s spouse was also present to soak up the
For more information, visit richiefuray.com August 2022
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Alexisonfire
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Otherness
Dine Alone Records Producers: Alexisonfire
Chris Standring Simple Things
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Ultimate Vibe Recordings Producer: Chris Standring
A more accurate title for this release would have been Dallas Green and Others. It’s safe to say the strongest tracks, “Sans Soleil” and “World Stops Turning,” carry a weight more familiar to Green’s solo work. But don’t confuse this as a complaint: the songs are so strong they will likely burn up the Canadian charts. For fans of the rest of Alexisonfire, check out “Dark Night of the Soul,” as well as “Reverse The Curse,” where Green & MacNeil unleash post-hardcore licks beneath classic rock solos. - Andy Mesecher
The Sweet Things Brown Leather
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Spaghetty Records Producer: Matt Chiaravalle
A consistent, surefire hitmaker, guitarist Chris Standring created his latest album from the other side of a life changing/affirming health scare. Inventive and adventurous as always, he delivers aset chockfull of soulful, funky and trippy potential smashes. Simple Things has one #1 already (the buoyant, freewheeling, synthy and snappy “Change the World”) and a batch of inventive, rhythmically intoxicating Prince-Bootsy Collins inspired jams that are great candidates to achieve similar heights and influence. – Jonathan Widran
Josh Rouse Going Places
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Yep Roc Records Producer: Josh Rouse
With a penchant for early ‘70s Stones coupled with nods to The Black Crowes and Georgia Satellites, this N.Y.C. ensemble has learned its lessons well. Recorded, primarily, at FAME studios in Muscle Shoals, AL, the band goes back to the source for a rowdy and raucous mix of Southern influenced country-rock and blues. Rockers like “Ride it Home” and “Keep On Movin’” seal the deal and ably deliver the boogie. “Ain’t Got Enough Room (In My Heart)” and “Ya Know I Don’t Mind” offer their softer side. – Eric Harabadian
Jessy J
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Blue
Changi Records Producer: Jessy J
Any connoisseur of flawless songwriting will want to bathe in this breezy assemblage of frothy humdingers. Every tune is marked by soul-stirring beats and sharp lyrics that hint at powerful truths. Recorded in Spain during the moratorium on live performing, Rouse transports listeners on a laidback journey both cryptic and comforting. Even if we reach the final note without any definitive revelations, attempts to unravel the greater meanings present are inherently rewarding. – Andy Kaufmann
Burna Boy Love, Damini
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Bad Habit/Atlantic Records Producers: Various
Displaying some of her most passionate and robust playing ever, Billboard No. 1 charting saxophonist Jessy J’s vision for Blue was driven by a dual sense of melancholy and restlessness she felt during the pandemic lockdown. Tapping into her love of the soul and blues of the ‘60s and ‘70s, she creates a freewheeling set full of James Brownesque drums and bluesy Ray Charles organ licks in addition to a bit of contemporary disco energy, some trad jazz swing and her always vibrant Latin influences. – Jonathan Widran
Marcus King
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Young Blood
If you are unfamiliar, Burna Boy is a multiaward-winning (2020’s Twice As Tall earned Best Global Music Album Grammy) Afrobeat pioneer and a living legend. Love, Damini provides a global party, dancing through hardships and heartbreak. The album does not show too much variation—at 19 tracks, the songs repeat a familiar formula. Most impressive, alongside Burna Boy’s storytelling ability, is the range of artists who mesh so well as features, including: J Balvin, Kehlani, Ed Sheerhan and two songs with pioneers Ladysmith Black Mambazo. – Joseph Maltese
Derek Sherinian Vortex
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InsideOutMusic Producers: Derek Sherinian & Simon Phillips
American Records/Republic Producer: Dan Auerbach In case there was any doubt, revved-up blues is Marcus King’s passion. That fact is clearer than ever on the eagerly anticipated follow-up to his Grammy-nominated debut. Returning to the studio with Dan Auerbach of The Black Keys as producer, the tenderaged guitar phenom follows strongly in the footsteps of Jimi Hendrix. Any aficionado of the voodoo child should automatically connect. King’s vocals are dripping with soul, too, but a ballad or instrumental excursion would do much to add visionary breadth. – Andy Kaufmann
Sherinian has been a go to keyboardist to the stars for several years now. But this is not an artist resting on his bloated laurels. Jazz, fusion, hard rock, blues and all points in between find their way onto Sherinian’s diverse musical palette. He’s joined by frequent core collaborators bassist Tony Franklin and drummer Simon Phillips, along with several celebrity guests. The leader brings out the best in everyone that spans the gamut from acoustic trio jazz, with “Scorpion” to the sci-fi-infused title track. – Eric Harabadian
To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.
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Poisson Rouge New York, NY
Material: You know him as Dexter, the blood spatter expert for the Miami Police Dept., a serial killer who hunts serial killers. But Hall is also a talented singer who fronts his own band, Princess Goes to The Butterfly Museum. Alternative rock meets electronica best describes Hall’s music; angsty, energized and at times hypnotic. In some cases, the lyrics are more cryptic, and one is left to their own interpretation; however, the vibe and sentiment is relatable. The band hits the stage with “Nevertheless,” an edgy full-throttle number with driving beats, aptly setting the tone for the set. “Cruel World,” with its Beatlesque instrumental intro, addresses a relationship that needs to end: I used to see beauty in people/ But now I see muscle and bones/ You know I never wanted to hurt you/ but I’m sorry my friend/ This is the end/ So I’m saying my goodbyes. Altering the mood, “Daddy-Escape Route,” provides a vehicle for Hall to express regrets about missed opportunities to connect with his father, a cathartic moment in the set: In the broad light of day, you break your brand-new toy/ It’s better fear than nothing coming from your daddy’s eyes.
PRINCESS GOES TO THE BUTTERFLY MUSEUM
Musicianship: Hall’s voice has shades of Bowie, especially in the mid-range, and enough vocal agility to let loose in the upper registers. He’s assembled an all-star backing band with the likes of Peter Yanowitz (the Wallflowers) and Matt Katz-Bohen (Blondie, Cindi Lauper). Along with live instruments, there are various programmed synth sounds that pull in the electronica element. Performance: Loyal fans packed the room, standing shoulder to shoulder, cheering, and singing along with many of the songs. From the moment the band walked on stage they could do wrong. They kept the crowd riveted for almost two hours—a bit
long since there was so much to digest. Hall has a mesmerizing presence that drew you into his vortex, making it hard at times to evaluate individual elements, as they were overshadowed by his appeal. A newcomer to the band’s music might long for some backstories here and there, but the night was mostly about wall-to-wall music. Summary: Compelling and fully engaging, Hall puts the same intensity into his music as he does his acting. To unravel some of the song’s mysteries is enticing, but Hall performs without addressing most of them. As for fans of Princess Goes To The Butterfly Museum, they will leave more than satisfied. - Ellen Woloshin
when accompanying her vocals and engaging in ear-popping solo improvisations on par with the ivory magic of great vocalist/pianists like Diana Krall and Harry Connick, Jr. Making her first appearance ever in Los Angeles, she surrounded herself with top-notch local veteran jazz talent. Most of the arrangements left room for their sparkling individual work, but the most fun was “I Fell In Love With You,” a bustling swing jam that featured fiery romps by McKenzie, Scesney, Storie and Hamar.
SARAH MCKENZIE
Vibrato Grill Jazz Los Angeles, CA
Contact: Burkhard Hopper hopper@ hoppermanagement.com Web: sarahmckenzie.info Players: Sarah McKenzie, vocals, piano; John Hamar, bass; John Storie, guitar; Jacob Scesney, saxophone; Donald Edwards, drums Material: Multi-talented and charismatic, Sarah McKenzie hails from Australia, yet her expansive sensibilities, residencies in Paris and London and international tour resume reveals her as a true musical citizen of the world. Her
winsome, deeply sensual yet often powerfully swinging set included two originals that perfectly embody her global jazz aesthetic—the poetic, sultry and hipster “Paris in the Rain” and bustling “De Nada,” the latter representing her lifelong passion for Brazilian music which she also brilliantly expressed via vibrant, sensual spins on Antonio Carlos Jobim classics “Corcovado,” “Chega de Saudade” (sung partially in Portuguese) and “Once I Loved.” Musicianship: In addition to being a deeply sultry and emotional vocalist, McKenzie is also a brilliant, intuitive and inventive pianist, both
Performance: McKenzie’s goal was clearly to allow us to experience various aspects of her artistry and share her many passions. By so artfully sharing both the Jobim songs and her ownie’s Brazilian flavored gem “De Nada,” and then freewheeling through “Blue Rondo a la Turk,” she truly conveyed a sense that bossa nova and '60s jazz is the foundation of everything she is and does. She’s an exciting performer who also took a moment to showcase her intimate, vulnerable side on an exquisite vocal-guitar duet on “Once I Loved.” Summary: McKenzie’s explosive, one-two punch as a vocalist and pianist ensured that her L.A. debut was a lively, high spirited and swinging affair in every sense, allowing the local audience to understand why she’s been such a popular performer everywhere else for so long. One caveat: it felt like she gave her own transcendent songwriting short shrift, playing only a handful of (admittedly spot-on!) originals amidst the classics. – Jonathan Widran August 2022
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MARK SHIWOLICH
Contact: katie@pressherepublicity.com Web: princessgoestothebutterflymuseum.com Players: Michael C. Hall, vocals; Matt KatzBohen, keyboards; Peter Yanowitz, drums
El Rey Theatre Los Angeles, CA Contact: J44Official@gmail.com Web: facebook.com/juneof44 Players: Sean Meadows, guitar, vocals; Jeff Mueller, guitar, vocals Fred Erskine, bass, Doug Scharin, drums
Musicianship: June of 44 is made up of regular, everyday musicians. Nothing flashy going on here. They ran through the set list without hesitation and/or problems. Everyone had his parts down to a tee and every song went down without a hitch. Performance: A bit lackluster. Everyone in the band was looking to guitarist Jeff Meuller as if to say, “How are we doing…Is this okay?” They just stood around bobbing their heads in unison to the beat. It was a bit comical. The El Rey Theater is a beautiful, very state-of-the-art music venue. Complete with chandeliers and artwork, the sound was crystal clear and the
JUNE OF 44
bass drum thumped to the blinking of the lights that seemed to help out this vain situation. Summary: If you like progressive music, you might like June of 44. They have been around for a very long time and have built
PIERCE BROCHETTI
Material: June of 44 is an eclectic band whose sound can be categorized as progressive pop meets punk meets psychedelia. Weird, eerie at times, with no real direction. The songs leave you hanging, but have profound messages that can be unlocked by reading the lyrics. One of the songs stood out as something akin to Rage Against the Machine, only a lot less ballsy.
a cult following through the years. Out on tour this year in support of their latest effort, Revisionist: Adaptations & Future Histories in the Time of Love and Survival, which was released in 2020, most of the dates are abroad. – Pierce Brochetti
slathered all over it and in all the right places. The music is extremely uplifting and lively with colorful lyrics that guide you through a story as the song progresses. Beautifully written tunes with catchy hooks captivate and encourage as even the ballads have a sort of happy vibe to them, as if saying, “Everything will be alright.” Musicianship: Excellent players all around. Rich in stage presence, Balis and his crew played confidently and effortlessly as they gained popularity with each song. A great, sultry voice emanating from Balis had all the girls chit-chatting behind the scene. So solid was the rhythm section, composed of DiSilva and Gaines, that Fody and Balis glided through each song with grace as they put finishing touches on each tune.
JOSHUA DYLAN BALIS
Harvard and Stone Hollywood, CA
Web: JoshuaBalis.com Contact: Michelle@PitchCandyPR.com Players: Joshua Dylan Balis, rhythm guitar,
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PIERCE BROCHETTI
Performance: Small and mighty was the stage, but so was Joshua Dylan Balis’ performance. Not much room to move about but these guys were so into the music, they just drew the crowd in as everyone tapped their toes to the tunes.
vocals; Isaac DiSilva, drums; Reed Gaines, bass; Heaven Fody, lead guitar Material: Joshua Dylan Balis’ genre is country music with tinges of Americana and rock & roll
Summary: Wow! These guys are representing from all over the country: Balis from Dallas, TX, DiSilva from Miami, FL, Gaines from Nashville, TN and Fody from Topeka, KS. They all came together beautifully as they rose up for us in Los Angeles, CA. Songs like “Stories” and “I See Myself” will have you dancing in the aisles, while “Grandmother” and “Silver Linings” will make you grateful for your family and hopeful of good things to come. Check out Joshua Dylan Balis at all your local music outlets. – Pierce Brochetti
Gold-Diggers Hollywood, CA
Contact: Shane Greenberg - The Syndicate, shane@thesyn.com Web: arroyolow.com Players: Cory Yamashiro, keys, vocals; Michael Brenner, guitar; Dane Sandborg, bass, keys; Randal Fisher, horns; Dylan Grombacher, drums Material: With all heads bopping and the crowd swaying to the beat, Dane Sandborg’s healing electro-acoustic project, Arroyo Low, delivered an intense 45-minute set covering singles from his new self-titled debut release. Performing for a blended East and West Los Angeles crowd of relaxed, low-key hipsters, the band of five created a vibey soothing
NICK HERNANDEZ
ARROYO LOW
decorative voicings to the perfect meld of sound. Followup track “Pathways” brought a fuller drum kit sound, with guitar and flute building on the intensity and inserting sprinkles of chaos, and “Mt. Cedar” added intriguing, dissonant opening notes on keys and a percussive groove over synth samples and cozy bass lines, with a rotation of flute, drumkit, bass and tenor sax solos.
sound house, fronting a video backdrop of morphing shapes (provided by Michael Rollins). Musicianship: The dedicated combination of musical artists made the seamless performance appear easy, between their impeccable timing and communication, use of dynamic time signatures, and overall dedication to the atmospheric soundscape. “Moments” kicked things off in an ambient electrico jam that included dreamy flute notes, with synth sounds and live tenor sax following on “Windsor.” Randal Fisher’s superb tone and intermittent growls delivered a great horn sound, with guest guitarist Alex Siegel adding beautiful
Performance: With a combination of acoustic instrumentation, synth loops, and live mixing—along with an occasional vocal passage—Arroyo Low’s music is refreshing and gently invitational, while also delivering solid musicality. Their latest release, Limousine, brought a heavier-sounding, old-school beat that featured Randal Fisher on soprano sax and Corey Yamashiro on vocals, with backing loops and effects that combined in a ball of joyful, frenetic sound with drumkit swells, horn wails, and a gumbo of synth mixes. Summary: Following their recent debut at SXSW, Arroyo Low is proving that they are up to the challenge of performing their artistic blend of lo-fi electronica-hip-hopjazz creations live alongside intricate visual displays that add to the creative flow. With their cool combination of sound, sight, and feel, Arroyo Low provides the perfect loungey backdrop for a night chilling out with your favorite people. – Andrea Beenham
The Hotel Café Hollywood, CA
Material: Following the screening of the introspective mini-documentary of her personal and musical evolution, Kaya Stewart led a hipster Hollywood crowd through a strong set of pop-rock that showcased her confident stage presence and great vocal chops ahead of her sophomore album release (If Things Go South). In addition to a solid band and fabulous backing vocalist, Stewart’s residency debut delivered a great mix of flavors that included dance, rock, and blues, with lyrics exploring love and loss, and navigating the adversities of life. Musicianship: Tight, upbeat show opener, “Getting Closer” was followed up by dance jam “If Things Go South,” proving an instant crowd favorite with a great transitional drop. Fun and empowering anthemic track, “Young In New York,” provided a heavier feel and vocal growls from Stewart, intensifying the room’s vibe. Stewart’s vocal control was on full display in ballad “Til I Fixed It,” also highlighting her writing in the lingering words, “can we have a cup of coffee without bringing up our sins.” A great breakdown with cymbal flourishes and vocal decoration followed from “Jealous,” with the pulsing bass and drum drive giving a Black Crowes-esque feel.
JEFF RIVERA
Contact: Mike Gowen - Milestone Publicity, mgowen@milestonepublicity.com Web: instagram.com/kayastewart Players: Kaya Stewart, vocals; Chaynler Joie, backing vocals; Benjamin Fortin, guitar; Miles Davis, bass; Karl-Johan Wigander drums
KAYA STEWART
Performance: The positive venue atmosphere had Stewart opening to a buzzing crowd and her show unfolded with an easygoing presentation. She appeared comfortably grounded and very appreciative of her audience—who remained captive and engaged throughout her show, bopping along with her music. Singable melody lines (like “I have a feeling that it’s over…” from “This Tattoo”) and Stewart’s musical chemistry and interaction with Joie add to the show’s quality—especially on “Hope You’re Happy.” “Independence” brought a delicious blues vibe and pretty harmonized duet sections,
and “3 Is Company” brought an easy, fun rock vibe to end the night. Summary: From her stage presence and camaraderie with her bandmates, to her beautiful vocal qualities, performance delivery, and lyricism, Kaya Stewart presents the full package. Upbeat and danceable, her music is fun and engaging, while still exploring challenging life moments. Her talent is undeniable—with her punchy octave leaps, flavorful vocal timbre and lovely vibrato, unique songwriting ability, and her great overall use of space. Definitely one to watch out for. – Andrea Beenham August 2022
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The Mystical Hot Chocolate Endeavors
Sam Robbins
Contact: samrobbinsmusic@gmail.com Web: samrobbinsmusic.com Seeking: Label, Mgmt, Booking, Film/TV Style: Singer-Songwriter, Folk-Pop
Contact: mysticalhotchocolateendeavors@gmail.com Web: themysticalhotchocolateendeavors.com Seeking: Booking, Distribution Style: Alternative Prog
Production Lyrics Music Vocals Musicianship
7 8 8 8 7
Unlike traditional progressive rock bands, this one, led by Craig Harley Schmuhl, is not about dazzling virtuosity, flurries of notes. It’s all about the mood, the impact of power chords. Their original song “MU-TH-UR” is a case in point; Its brooding groove builds ominously, adding elements and energy, and Schmul’s strong voice makes effective dynamic switches right to the climax. The band covers Depeche Mode’s “The Landscape is Changing” and it is the most prog-sounding song, full of atmosphere and tubular bells. This band is on an interesting path, but we advise them to work harder to improve their sound mixes. Multi-level recordings need a deft, skilled mixer.
Production Lyrics Music Vocals Musicianship
9 7 7 8 8
Remy de Laroque
Simply Ant
This Brooklyn-based French-American artist’s sixth album yields engaging,confident, amplified acoustic songs with a rich, European flavor. Not a great voice, but it’s likeable and it fits the overall vibe of the material, and when it blends with a female duet partner all is well. For example, we love the sound and spirit of “Bee Dreaming,” especially the haunting, ethereal vocals. The darker, acoustic “One Way to Saigon” has a skillful infusion of French accordion and interesting percussion textures that contribute to the mood. The standout tune, though, is undoubtedly “Always Shine.” With its bright, upbeat, almost-reggae spirit (“Your light in the night always shines”) and handclaps and yayas adorning a catchy chorus, this one is a true pleasure.
Simply Ant, part of a Honolulu artist collective by way of Texas, samples old R&B and soul songs, invoking the Old Kanye vibe. “Teakwood Mahogony” boasts the classic “thugs need love too” spirit, each line flowing after another. “Visions” is more of the same, positive storytelling, staying on the straight and narrow. “Does not sell bricks” but “Does not knock the hustle.” “6PM on Lydia Dr” is an attempt at a more modern trap sound, though after the 1 minute mark, abruptly ditches the trap beat, and the song restarts with a new soul sample. Overall, the music and lyrics are simple and the sound may be outdated for 2020s.
Contact: remydelaroque@gmail.com Web: remydelaroque.com Seeking: Film, TV, Label, Publishing Style: Indie Folk Rock
Production Lyrics Music Vocals Musicianship
7 8 8 7 7
Contact: antharris15@gmail.com Web: YouTube Seeking: Booking, Film/TV Style: Hip-Hop
Production Lyrics Music Vocals Musicianship
7 7 8 7 7
Jerry Gerber
Zarenae
At first, you’re impressed by composer Jerry Gerber’s sure grasp of classical styles, as on the sweet “Home & Love.” Graced by the beautiful voice of Abbie Parker, this chamber piece, evocative of another era, transports you to upbeat and sunny realms. And then it gets real interesting as Gerber veers into uncharted modern-edged areas, blending the classical style (even operetta voices) with modern-day synthesizers and electronics in a manner that is masterful. That describes “Symphony #11—4th Movement,” whose frequent transitions are flawless. “Raga” has a surging energy and combines neo-classical sounds (harpsichord) with electronics. Gerber’s ability to blend eras is impresssive. Film/TV folks should take notice.
Southern Cal-based Zarenae and her production team have put together a trio of tunes that define the sound of TikTok pop: slickly produced and processed, with a sexy, seductive voice and a message that, while not deep and profound, is completely relatable and right on target for the genre’s audience. The breakup song “You” is a case in point. It is as slick (and expensive-sounding) as it is shallow. “Talk” will remind some listeners of Ariana Grande and is an ideal vehicle for a dance-crew performance. “Dreamy” might be Zarenae’s best overall piece of work. Catchy and loaded with an arsenal of audio tricks, this song also has a fun chorus (“Hell no!”) that’s guaranteed to inspire its audience to join in.
Contact: jerry@jerrygerber.com Web: jerrygerber.com Seeking: Film/TV, Promotion Style: Classical-Electronic
Production Lyrics Music Vocals Musicianship
8 8 9 9 8
A winner at the Kerrville Folk Fest, Robbins has a likeable, easy-sounding voice that imbues his first-person observations with a personal touch. In “Reverence” he declares how he handles himself day-to-day: “I try to have some reverence for what’s in front of me.” Robbins’ voice is doubled with a female singer on the soft, acoustic “Bigger Than In Between,” which is deep and insightful without being grave and ponderous. On “Hard to Hate” he relates how while performing he met a threatening biker, but ended up bonding with him over shared musical favorites. Nashville-based Robbins has undeniable appeal, but we suggest he craft his lyrics to be less wordy and conversational, and more adherent to rhyme schemes.
Contact: musiczarenae@gmail.com Web: zarenae.com Seeking: Mgmt, Label, Booking Style: R&B/Pop
Production Lyrics Music Vocals Musicianship
9 8 8 9 8
Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.
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Kzotic
Possible Oceans
North Carolina rapper Kzotic shines on his new LP Thank Me Later. The title track features a standard trap instrumental--melancholoy piano and flute—Kzotic’s deep commanding voice dances on, off and around the beat, which comes out as bonafide storytelling, talking about chasing his dreams, determined to give his mom and grandma good lives. More excellent stream-ofconsciousness flows on “January 8th,” addressing friends, family and foes, all over classical flamenco guitar and trap beats. Mumbled vocals on “Survival” demonstrate Kzotic’s versatility as an emcee. We liked his sample selection, but could be blown away by bigger risks in production and song structure.
Trevor O’Neill spearheads Possible Oceans, a synthsaturated project topped off by O’Neill’s voice, which has the ideal tone for it. In fact, on “Nothing’s Shocking” he brings a powerful force to the mic that is layered and dramatic, with a chorus that makes an impact in this darkly dancey post-punk song. The grim, downbeat lyrics (sung in a voice that reminds us of Father John Misty)continue amid the upbeat energy and 12/8 time signature of “Throw The Knife (Again),” where O’Neill deploys a rich fabric of sounds right up to the song’s forceful finale. Best tune of the bunch is “Dotted Lines” whose lyrics of self-loathing (“We’re heading for distaster”) are set to a high-energy synth fabric, with plenty of stabs and jabs.
Contact: kzoticc@yahoo.com Web: soundcloud.com Seeking: Label, Booking Style: Urban Hip-Hop
Production Lyrics Music Vocals Musicianship
7 8 8 8 7
Contact: tsmith@milestonepublicity.com Web: possibleoceans.com Seeking: Booking, Label, Film/TV, Mgmt Style: Indie Rock
Production Lyrics Music Vocals Musicianship
9 8 9 9 8
Katie Barbato
Never Heavy
Philly-area artist Katie Barbato is blessed with a powerful voice, high and pretty, and the vocal harmonies (with her male backup singer) on these synth-infused recordings are excellent. The overall quality of “Blue On The Inside” and her other recordings explains why she’s had placements on Netflix. Next, we love the alternating soft and husky vocal tones on the slow, pensive, piano and xylophone infused “Embers,” with its interesting chords and melodies. Barbato then goes for the gusto, achieving a big, graceful, cathedral pomp on the orchestral “Time Is An Illusion,” our favorite, which is also a showcase for her fine work as a lyricist. Barbato is a thinker with an ability to go deep with her musical musings.
Tampa-based Steve Alex’s project Never Heavy is aptly named. His original songs such as “Sensation” and “She Doesn’t Know” are upbeat, optimistic pop-rock with one foot enthusiastically planted in the realm of classic bubblegum and its subsequent heirs such as The Plimsouls. Both tunes are punchy, guitar-driven and well-recorded, and Alex has the right voice to match. Best of all are the keytar sounds that infuse these recordings, consistently injecting a tasty icing on the proverbial cake in all the right places. “Goodbye Position” is more of a standard acoustic-guitar singer-songwriter outing, but with a keytar injection (as well as percussion and steel drums) that adds an element of color and fun.
Contact: katiebsongs@gmail.com Web: katiebarbato.bandcamp.com Seeking: Label, Film/TV Style: Singer-Songwriter
Production Lyrics Music Vocals Musicianship
9 8 9 8 8
Contact: itsneverheavy@gmail.com Web: itsneverheavy.com Seeking: Film/TV Style: Indie Rock
Production Lyrics Music Vocals Musicianship
8 8 8 8 7
Freedom Heartsong
Molly Mahoney
One-man band Freedom Heartsong’s recordings are lo-fi, rough-hewn, positive-minded and quirky, like the bluesrockin’ “Warrior of the Light.” It’s the artist’s signature song wherein with his megaphoned voice he proclaims his intrepid, optimistic outlook and how “music makes things better.” Then, on “Los Angeles,” the artist switches his persona entirely as he delivers a rapid-fire dissertation about the City of Angels that unfortunately devolves into crazy melodies and scatting. On “Dark Ocean of Human Emotion” he shifts to a more dramatic tone of voice to rattle off stream-of-consciousness lists and phrases. Overall, though lacking a pretty voice, Freedom Heartsong has moments of quirky character that work well.
Experienced in opera, theatre and big band music, S.F. Bay Area vocalist Molly Mahoney has developed a ridiculously impressive vocal range. Her choice of material, by Great American Songbook scribes like Henry Mancini and Cole Porter, allows her to show off her prodigeous pipes. Mahoney has Love on her mind as all three songs she submitted to us dwell upon that topic. “All of You” is a gushing, jazzy love tribute where her voice is mostly pure light, though she sometimes over-sings. The uberromantic “Moment to Moment” tempers the loveliness of love with an underlying bit of sadness, thanks to some beautiful solo piano work. Those keyboard flourishes continue on “Two For The Road” with a great solo passage.
Contact: rachel@trendpr.com Web: freedomheartsong.com Seeking: Booking, Film/TV Style: Blues Rock
Production Lyrics Music Vocals Musicianship
7 7 8 8 7
Contact: mollymarymahoney@gmail.com Web: mollymarymahoney.com Seeking: Booking, Production Style: Vocal Jazz, Crossover
Production Lyrics Music Vocals Musicianship
8 x x 9 8
SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. August 2022
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Directory of Rehearsal Studios Now expanded for 2022, this is an exclusive list of professional rehearsal studios. All information below is verified by the listees. To receive thousands of free industry contacts, visit musicconnection.com/industry-contacts. ALABAMA
GUEST HOUSE STUDIOS, LLC 641 Mockingbird Ln. Eclectic, AL 36024 334-580-0155 Email: ghs@guesthousestudios.com Web: guesthousestudios.com Basic Rate: Email or call for rates ALMEC, LLC 1460 Ann St. Montgomery, AL 36107 334-649-2677 Email: todd@souvignier.com Web: facebook.com/almecllc Basic Rate: please call/email for info Rooms: wide range, from single-user to multi-room suites. Monthly booking only.
ARIZONA
SCOTTSDALE STUDIOS Scottsdale, AZ 85258 480-767-3777 Email: samw1222@aol.com Web: facebook.com/scottsdalestudios SER SOUNDWORKS RECORDING AND REHEARSAL 190 E. Corporate Pl., Ste. 2 Chandler, AZ 480-649-8074 Email: rockstar@sersoundworks.com Web: sersoundworks.com Basic Rate: please call for info S.I.R. PHOENIX 3541 East Broadway Road Phoenix, AZ 85040 480-966-7800 Email: azinfo@sir-usa.com Web: sir-usa.com Basic Rate: please call for info
CALIFORNIA/NORTHERN
ANNEX REHEARSAL STUDIOS 2554 Grant Ave. San Lorenzo, CA 94580 510-908-5126 Email: info@annexrehearsalstudios.com Web: facebook.com/AnnexRSLive Basic Rate: please call for info JACK LONDON REHEARSAL STUDIOS 632 2nd St. Oakland, CA 94607 510-759-8557 Web: jacklondonrehearsal.com LENNON REHEARSAL STUDIOS & MUSIC SERVICES 271 Dore Street San Francisco, CA 94103 415-575-3636 Email: info@lennonstudios.com Web: lennonstudios.com Contact: studio manager Basic Rate: please call for rates Services: Rooms for rent by the month RDM2 STUDIOS 6651 Brisa St. Livermore, CA 94550 925-443-7362 Email: info@rdm2studios.com Web: rdm2studios.com REHEARSE AMERICA 8923 San Leandro St. Oakland, CA 94621 510-569-7075 Email: oak@rehearse.com Web: rehearse.com Additional locations: 2751 Academy Way Sacramento, CA 95628 916-923-2525 Email: hoh@rehearse.com 5749 88th St. Sacramento, CA 95628 916-381-4500 Email: srs@rehearse.com SHARK BITE STUDIOS 634 2nd St. Oakland, CA 94607 510-663-8346
Email: mail@sharkbitestudios.com Web: sharkbitestudios.com Basic Rate: please call for info STUDIO INSTRUMENT RENTALS (S.I.R.) 1215 Fairfax Ave. San Francisco, CA 94124 415-957-9400 Email: sfinfo@sir-usa.com Web: sir-usa.com Contact: Fred Rose or Joey Yarmoluk Rooms: All rooms come complete with 8 mixes of EAW monitor systems and stereo sidefills, Soundcraft SM-12 consoles, new consoles all Midas, Crest Amplification and Shure mics. Lighting available upon request. Room sizes vary from 27’x36’ to an 80’x50’ show stage. All rooms come with stage and air conditioning. Services: Showcases for major labels, event services, etc. Equipment: Backline, audio, lighting / drum rentals. Additional locations: Los Angeles, Chicago, Las Vegas, Miami, Nashville, New York, Palm Springs, Phoenix, Portland, San Diego, San Francisco, Seattle
CALIFORNIA/SOUTHERN
ABC REHEARSAL STUDIOS 2575 San Fernando Rd. Los Angeles, CA 90065 323-874-2408 Email: abcrehearsals@gmail.com Web: abcrehearsals.com Basic Rate: please call for information and specials Rooms: Over 50 studios, onsite parking, monthly rentals only. High-quality durable walls. Services: onsite manager Clients: signed and unsigned bands Additional location: 7413-7415 Varna Ave. North Hollywood, CA 91605 323-874-2408 Email: abcrehearsals@gmail.com Web: abcrehearsals.com
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BEDROCKLA (Rehearse, Rent, Record, Relax) 1623 Allesandro St. Los Angeles, CA 90026 213-673-1473, 877-6BEDROCK Web: bedrockla.com Basic Rate: call for rates Services: Fully backlined/air conditioned hourly rehearsal studios, monthly lock out rehearsal studios, retail store, backline/event rentals/cartage, full recording studios, 5.1 surround mix studio, guitar, bass and drum repair, amp/electronics repair, event/film location BLACK DIAMOND STUDIOS (24 hour lockout only, no hourly) Address: Lincoln Heights near the 5 and 110 freeway interchange Phone: 424-835-1087 Email: info@blackdstudios.com Web: blackdstudios.com Basic Rate: Varies by size. Phone or email for current availability Services: 24/7 lockout studios for professional musicians. Secured CCTV building and parking. 50 private air-conditioned rooms with free WiFi ranging from small solo/DJ/Drum to large full band sizes. CENTERSTAGING 3406 Winona Ave. Burbank, CA 91504 818-559-4333 Fax 818-848-4016 Web: centerstaging.com Basic Rate: call for rates
Additional locations:
BOMB SHELTER RHEARSAL AND RECORDING STUDIO Rates: For rates, please see our website Email: britt@bombshelterrehearsal.com Web: bombshelterrehearsal.com Contact: Britt-Marie Trace Rooms: We have a total of 6 studios. This includes a large Showcase Room with black curtains, stage, drum riser, lighting and couch. All of our rooms offer a PA system and a backline of drums, bass amp and guitar amp if needed. Our Showcase Room is also our large tracking room with 18” ceilings, that is tied into our recording studio with a SSL AWS900+ mixing console, Pro Tools Ultimate and high end pro gear. Video Production 4 + Cameras is also done in our Large Showcase Room. Equipment: We offer popular gear by industry standard manufacturers. SSL, Pro Tools, Apogee, UA, Neumann, AEA, Shure, Rode, QSC, Soundcraft, DW, Orange, Ampeg, Marshall, Audix, PDP, Aquarian, Soultone, Blackmagic. See website for detailed list.
B Y
EASTSIDE REHEARSAL 2619 E. Cesar Chavez Ave. Los Angeles, CA 323-688-6476 Email: eastsiderehearsal@gmail.com Web: eastsiderehearsal.com Basic Rate: $14/20 hr ELECTRIC JUNGLE PRODUCTIONS Fullerton, CA 714-738-6271 Basic Rate: $195 to $1000 30-day lockout Rooms: Call for more information EXPOSITION REHEARSAL & RECORDING STUDIOS 9214 Exposition Blvd. Los Angeles, CA 90034 310-287-1236 Email: contact@expositionstudios.com Web: expositionstudios.com Studio Specs: 6 rooms from 14x16 to 28x15 Rates: Ranging from $22/hr to $25/hr.
Phoenix, AZ (4 locations) 602-229-1250 Contact: Beck
Newport Exec Center 23 Corporate Plaza Newport Beach, CA 92660
125 E Pennington St. Tucson, AZ 85701 520-300-1116 Contact: Frank
La Jolla Exec Center 4225 Executive Square La Jolla CA 92037 Temecula Exec Suites 41593 Winchester Rd Temecula, CA 92590 CIDE SHOW REHEARSAL STUDIOS 18205 S. Broadway Gardena, CA 90248 310-324-4056 Web: cideshowstudios.com Contact: Sherman Basic Rate: $12/hr Services: Lockout Bldg and Rehearsal, Inhouse Tech & Wifi. Clients: Michael Schenker, Doro, The Miracles, Coolio, Insecticide, New Years Day, 9th Circle, Heretic, Signs of The Swarm CREATIVE MUSIC ROOMS Los Angeles, CA Email: info@creativemusicrooms.com Web: creativemusicrooms.com Basic Rate: See website for rates Services: Long Term Tenants only D.O’B. SOUND 8531 Wellsford Pl., Ste. I Santa Fe Springs, CA 90670 562-464-9456 Email: dobsound20@yahoo.com Web: dobsoundstudios.com, facebook.com/DOB.SoundStudios Contact: Larry Ramirez, Derek O’Brien Basic Rate: call for rates Services: Full recording, mixing and mastering
D E N I S E
DOWNTOWN REHEARSAL 2155 E. 7th St. Los Angeles, CA 90021 323-263-7381 Contact: Mike Basic Rate: please call for info Rooms: Sizes ranging from 12’x19’ to 22’x24’. 12’ ceiling. All studios have ceiling fans, carpeting and phone jacks. Studios are secure, private and clean. Clients: Numerous label and unsigned bands. Services: We have 205 Studios at 7th Street location
Additional locations:
9144 Owensouth Ave. Chatsworth, CA 91311
ANNEX STUDIOS / THIRD ENCORE 7 Valley Locations, 1 Anaheim 818-753-0148, 310-924-4516 Email: john@3rdencore.com, colin@3rdencore.com Web: 3rdencore.com Services: Third Encore’s Annex Studios are 205 Premium 24-hr Monthly Lockout studios located in eight buildings in North Hollywood, Sherman Oaks, Van Nuys and Anaheim. All studios are fully air conditioned (with private a/c control) and include complimentary Wi-Fi. All buildings are one story for easy access and studios are constructed specifically for music production and rehearsal with multiple layers of drywall and soundboard. Band, drum and production rooms available.
studio, video production, 5 fully equipped rehearsal rooms and guitar repair shop.
FRANCISCO STUDIOS 4440 District Blvd. Vernon, CA 90058 323-589-7028 Email: franciscostudios.la@gmail.com Web: franciscostudios.com Contact: Zach Basic Rate: call for monthly or hourly rates Rooms: Over 100 Monthly Lockouts, private parking, Wi-Fi, Freight elevator, 24-hour Video Surveillance, 5 miles from downtown L.A., A/C Services: monthly lockout hourly, recording, guitar and drum lessons; free wifi.
CHAMPION SITE + SOUND 3229 Casitas Ave Los Angeles, CA 90039 323-254-4300, 323-850-4990 Email: booking@champion.biz Web: champion.biz
AMP REHEARSAL 5259 Lankershim Blvd. North Hollywood, CA 91601 818-761-2670 Email: reservations@amprehearsal.com Web: amprehearsal.com Services: First all-inclusive rehearsal and recording studio Basic Rate: call for rates
C O M P I L E D
Services: Rehearsal. Recording. Video Production. Practice your Music and play LOUD in our rooms! Solo rehearsal, vocal rehearsal, full band rehearsal, pre-tour rehearsal. Full audio/recording production. Tracking, Overdubs, Editing, Mixing, Mastering. Voice Over. Location Recording. Live Sound. Avid Pro Tools Certified Operator. 4 plus camera Video Production. Live Streaming Events. Band Promo Content.
C O S O
6100 E. 39th Ave. Denver, CO 80207 303-320-8440 Email: franciscostudiosdenver@gmail.com Contact: Johny 8420 Westglen Dr Houston, TX 77063 713-460-4537 Email: rzapatamts95@gmail.com Contact: Ricardo GEMINI STUDIOS Irvine, CA & Santa Ana, CA 714-545-2289 Web: geministudios.com Basic Rate: $625 for 200 sq. ft.; $555 for 150 sq. ft.; $475 for 100 sq. ft. Services: Gemini Studios has been serving Orange County musicians, performers and bands since 2001. We offer clean and affordable 24-lockout rehearsal studios located in central OC. We have two locations all close together and we are dedicated to providing the best private monthly music studios available. Check out our website, which allows you to reserve your studio online or get on the waiting list. Whether you’re a solo musician looking for a spot to jam or a band needing a practice/rehearsal studio of your own or to share, Gemini has the studio solution to fit your needs. Practice Well. GROOVE WORKS STUDIOS 5536 Atlantic Ave Long Beach, CA 90805
Download at musicconnection.com/industry-contacts 310-403-5104 Email: info@grooveworksstudios.com Web: grooveworksstudios.com Basic Rate: $17 - $24 per hour Services: small, medium and large specially designed for live sound HOLLOWAY PRODUCTIONS, INC 9541 Santa Fe Springs Rd. Santa Fe Springs, CA 90670 562-941-5949 Email: payhpinc@gmail.com Web: hollowayproductionsinc.com Contact: Edward Holloway Basic Rate: $23/ $25 an hour Services: Eight rehearsal studios with full backline and Recording/HP Film studio. Drums, 2 half-stack guitar amps, Bass amps, PA system and 4 mics in every room. INTERNATIONAL CITY STUDIOS 3260 Industry Dr. Signal Hill, CA 90755 562-494-6100 Email: booking@internationalcitystudios.com Web: internationalcitystudios.com Basic Rate: call for rates LA REHEARSAL MUSIC STUDIOS 5327 Santa Monica Blvd. Los Angeles, CA 90026 323-871-1676 Email: larehearsal@gmail.com Web: larehearsal.net Contact: Brent Becker Basic Rate: $20/40/hr LOCKOUT MUSIC STUDIOS 1300 S. Beacon St., Ste. 101 San Pedro, CA 90731 714-997-1380 Email: info@lockoutmusicstudios.com Web: lockoutmusicstudios.com Basic Rate: $50 - $75 per day Additional locations: 320 French St. Santa Ana, CA 3540 12th Street Riverside, CA MATES REHEARSAL & CARTAGE 5412 Cleon Ave. North Hollywood, CA 91601 818-762-4613 Email: robertbrunner@matesinc.com Web: matesinc.com Contact: Bob Brunner Basic Rate: please call for info Rooms: Studio A & B 28x25 (stages 28x16) soundstage 50x60 (stage 50x24) monitor specs. Available upon request. Private bathrooms, lounge, easy load-in, plenty of parking. Also new soundstage, 41x23 private lounge, production office, bathroom. Very private, isolated location. Services: cartage, worldwide freight, rentals Equipment: List available upon request. MDM MUSIC REHEARSAL STUDIOS 4524 Brazil St., Ste. B Los Angeles, CA 818-241-5015 Email: info@mdmmusicstudios.com Web: mdmmusicstudios.com Contact: Arbin or Robert Basic Rate: call for rates Services: Upscale rehearsal studios with a full backline. Great acoustics, no feedback MUSICIANS CHOICE REHEARSAL STUDIOS - HOURLY 3820 Hoke Ave. Culver City, CA 90232 310-836-8998 Email: musicianschoicela@gmail.com Web: musicianschoicestudios.com Basic Rate: Please call for more information MUSICIANS CHOICE LOCKOUT STUDIOS MONTHLY Lemona Ave. Van Nuys, CA 310-836-8139 Email: shovelhead66@hotmail.com Web: musicianschoicestudios.com Basic Rate: Please call or email for more info. Additional locations: West L.A., Hollywood, LAX/Westchester MUSICIANS PERFORMANCE STUDIOS, INC. 9650 9th St., Ste. C Rancho Cucamonga, CA 91730 909-944-0100 Email: kjmusic1995@gmail.com Web: musiciansps.com Contact: Keith Jones Basic Rate: $14-$26/hr. Services: Rehearsal, Recording, Pro Shop,
Lessons, Repairs, Rentals, Live Stream w/Cat7, Lock Outs, and Live Events We offer cutting edge rehearsal services designed to advance your musical career in a friendly, professional and creative atmosphere. NIGHTINGALE STUDIOS 156 W. Providencia Ave. Burbank, CA 91502 818-562-6660 Email: nightingalestudiosbooking@gmail.com Web: nightingalestudios.com Contact: Mike or Jay Basic Rate: $24/$67/hr. Rooms: 33 studio rooms. Video screening studio with 12’ x 7’ HD projector and screen. Most studios linked into central recording control room allowing convenient rehearsal and recording capabilities from your studio. Acoustically designed fully equipped studios from 100 sq. ft. up to 800 sq. ft. We have monthly lockouts, drum rooms, affordable showcase stage, weekly, and daily arrangements. We provide top security, and a clean “vibey” atmosphere. You will get your money’s worth! Hourly and Monthly Lockouts. Services: Full Pro Tools rig with very qualified engineer for live and session recordings, Community Showcases, we rent guitar and bass rigs, P.A. systems, and storage. Just tell us what you need! Equipment: PA systems have all been recently updated with new state of the art QSC, Spectr Audio, Yamaha, and Electrovoice equipment. What sounded great before, is now off the charts Clients: too many to list PM STUDIOS 3311 Winona Ave. Burbank, CA 91504 310-213-8584 Web: pmrehearsalstudios.com Contact: Patrick Basic Rate: please call for info. We rent out for a month not an hourly studio PIRATE STUDIOS Basement Level 2807 Sunset Blvd., Suite 100 Los Angeles, CA 90026 844-274-7283 Web: pirate.com Additional Locations: 4713 W. Jefferson Blvd. Los Angeles, CA 90016 156, 6th Street Brooklyn, NY 11215 110 Scott Avenue Brooklyn, NY 11237 Box Factory 1519 Decatur St. Ridgewood, Queens, NY 11385 Other Locations: United Kingdom, Germany, Ireland ROCKSTAR STUDIOS 1460 Naud St. Los Angeles, CA 90012 310-274-1366, 310-766-2384 Email: wannarockrss@yahoo.com Web: rockstarstudiosla.com ROCK AND ROLL FANTASY CAMP North Hollywood, CA 888-762-2263, ext 5, 323-370-7033 Email: keith@rockcamp.com Web: rockcamp.com
Additional locations: 4620 Santa Fe Street San Diego CA 92109 858-274-1384 Email: sdinfo@sir-usa.com SNAGGLETOOTH STUDIOS 5716 Cahuenga Blvd. North Hollywood, CA 91601 Web: snaggletoothstudios.com Phone: 818-655-0194 Email: support@snaggletoothstudios.com Rates: $20-$125/hr Studios: High-end hourly rehearsal, video production, and 24/7 lockout studios. All hourly studios have a PA system, digital console, and inear-monitor amps with Ipad control. Full backline studios have Orange, Marshall, and Aguilar amps with DW kits. The showcase studio houses pro stage lighting, an ethernet connection, video distribution, photography screens and more. Services: Turnkey livestream & video shoots. SOUNDBITES STUDIOS 3333 Hill St. Los Angeles, CA 90007 213-205-8585 Email: service@soundbitela.com Web: soundbitela.com Basic Rate: call for rates SOUNDCHECK STUDIOS 11736 Vose St. North Hollywood, CA 91605 818-765-6600 Email: davidlee@soundcheckstudiosnoho.com Web: soundcheckstudiosnoho.com Instagram: @soundcheckstudiosnoho Contact: David Lee Basic Rate: call for rates STAGE ONE 23092 Terra Dr. Laguna Hills, CA 92653 949-367-9693 Email: questions@stageonestudios.com Web: stageonestudios.com Contact: studio mgr. Basic Rate: please call for rates SUMMIT REHEARSAL STUDIOS 2016 N. Lincoln Ave. Pasadena, CA 91103 626-486-2685 Email: summitrehearsalbooking@gmail.com Web: summitrehearsal.com Basic Rate: $20/$27 per hr TEAM SOUND STUDIOS 7065 Hayvenhurst Ave. Suite 6 Van Nuys, CA 91406 323-377-3346 Email: info@teamsoundstudios.com Web: Teamsoundstudios.com, Facebook.com/teamsoundstudios Contact: Michael Brasic Basic Rate: $25/hour (3 hr min.) 30 min. free set up time. Single private hourly rehearsal room. THIRD ENCORE 10917 Vanowen St. North Hollywood, CA 91605 818-753-0148, 818-613-7518 Email: john@3rdencore.com Web: 3rdencore.com Rooms: 6 air conditioned studios from 9002,400sq. ft., each including a private production office and full monitoring P.A. Full-service, professional facility. Quiet, safe, clean and very private. Great parking. Daily, weekly or monthly lockout rates available. Services: Full instrument and backline rental,
featuring large selection of all major brands including Mesa Boogie, Yamaha, DW, Roland, Tama, Orange, Vox, Sabian, Zildjian, Ampeg, Korg and Marshall gear. Private storage lockers, cartage services. Equipment: All rooms come with Adamson/Lab Gruppen monitoring system. Digico, Avid, Yamaha, Midas consoles available. TK REHEARSAL / West L.A. 310-876-9666 Email: tkprod1@aol.com Web: TKrehearsal.com Contact: Charles Basic Rate: $325-$1500/month TK REHEARSAL / N. Hollywood 818-856-5301 Email: tkprod1@aol.com Web: TKrehearsal.com Contact: Charles Basic Rate: $290-$950/month TOTAL ACCESS REHEARSAL 612 Meyer Lane, Suite 12101 Redondo Beach, CA 90278 424-271-5070 Email: totalaccessrehearsal@gmail.com Web: tarehearsal.com UNCLE REHEARSAL STUDIOS 6028 Kester Ave. Van Nuys, CA 91411 818-989-5614 Email: uncleesca@gmail.com Web: unclestudios.com Contact: Scott Walton Basic Rate: please call for info UNFRIENDLY STUDIOS 2312 Ventura Blvd. Camarillo, CA 93010 818-633-4555 Email: unfriendlystudios@gmail.com Web: facebook.com/UnFriendlyStudios Basic Rate: call for rates URBAN AUDIO STUDIOS Duarte, CA 626-301-0221 Email: urbanaudio@earthlink.net Web: urbanaudio.bz Services: concert backline, event production, concerts, fashion shows, awards, sporting events, sound, stage, lighting WOODSOUND STUDIOS 120 Front St. Covina, CA 91723 626-956-7455 Email: tom@woodsoundstudios.com Web: woodsoundstudios.com Services: live recordings, track recording, on line advertising, video spots, radio spots, voice-overs, corporate phone menus, green screen shoots, band rehearsals Equipment: rentals available in house; microphones; stands-microphone and sheet music; cords-XLR, 1/4, stereo; Roland keyboard in Studio-A; guitar amp combo; guitar amp 1/2 stack; electric guitar & bass guitar ($5 each)
COLORADO
DOG HOUSE MUSIC 525 Courtney Way Lafayette, CO 80026 720-864-0650 Email: info@doghousemusic.com Web: doghousemusic.com Basic Rate: From $60/2 hour min/ for equipped studios; $200-350/month for empty studio lease
ROYAL REHEARSAL 2609 S. Hill St. Los Angeles, CA 90007 213-441-6888 Email: contactus@royalrehearsal.com Web: royalrehearsal.com Basic Rate: please call for rates Additional locations: 1946 E. 1st St. Los Angeles, CA 90033 3200 N. San Fernando Rd. Burbank, CA 971 Goodrich Blvd, East Los Angeles, CA 90022 715 South Alvarado Street Los Angeles, CA 90057 S.I.R. LOS ANGELES 6465 Sunset Blvd. Los Angeles, CA 90028 323-957-5460 Email: lainfo@sir-usa.com Web: sir-usa.com Basic Rate: please call for info
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Directory of Rehearsal Studios SOUNDSTRUCTURE STUDIOS 3131 Walnut St. Denver, CO 80205 303-291-0602 Email: space@soundstructure.com Web: soundstructure.com Basic Rate: please call for further information
MARKEE MUSIC 1700 S. Powerline Rd. Deerfield Beach, FL 3442 954-794-0033 Email: mark@markeemusic.com Web: markeemusic.com Basic Rate: $26/38/hr, $260/$360/day
Additional location:
STARKE LAKE STUDIOS 275 N. Lakeshore Dr. Ocoee, FL 407-565-9778 Email: info@starkelakestudios.com Web: starkelakestudios.com Basic Rate: please call for info
4321 E. Truman Road Kansas City, MO 64127
CONNECTICUT
CARRIAGE HOUSE STUDIOS 119 W. Hill Rd. Stamford, CT 06902 203-358-0065 Email: johnny@carriagehousemusic.com Web: carriagehousemusic.com Basic Rate: please call for info PARKVILLE SOUNDS 30 Arbor St. Unit B14 Hartford, CT. 06106 860-461-0795 Email: contact@parkvillesounds.com Web: parkvillesounds.com SAGE SOUND STUDIOS 549 Howe Avenue Shelton, CT 06484 203-922-0491 Email: info@sagesoundstudios.com Web: sagesoundstudios.com
DELAWARE
KING CREATIVE 727 North Market Street Wilmington, Delaware 19801 302-393-7619 Email: info@kingcreative.com Web: kingcreative.com
FLORIDA
7TH CIRCUIT PRODUCTIONS P.O. Box 370924 Miami, FL 33137 305-757-7277 Email: info@7thcircuit.tv Web: 7thcircuit.tv Basic Rate: please call for info
STAY TUNED STUDIOS 5570 Florida Mining Blvd. S., Unit 105 Jacksonville, FL 32257 904-292-9997 Email: staytunedstudios@comcast.net Web: staytunedstudios.com Basic Rate: call for info STUDIO 26 3078 S.W. 38th Ct. Miami, FL 33134 305-505-7956, 786-766-1604 Email: PJ@Studio26miami.com Web: studio26miami.com Basic Rate: please call for info
GEORGIA
ATLANTA ROCKSTAR REHEARSALS 1170 Sylvan Road, SW Atlanta, GA 30310 770-296-5530 Web: atlrockstar.com Basic Rate: please call for info CROSSOVER ENTERTAINMENT GROUP 1310 Ellsworth Industrial Dr. Atlanta, GA 30318 404-352-3716 Web: crossover-entertainment.com Basic Rate: please call for info VISION STUDIOS 3875 Green Industrial Way Chamblee, GA 30341 404-435-6725 Email: mason.lutz@visionstudiosatlanta.com Web: visionstudiosatlanta.com Basic Rate: please call for info
HAWAII
HED 929 Euterpe St. New Orleans, LA 504-975-1294 Email: info@musicshedstudios.com Web: musicshedstudios.com Basic Rate: hourly rates
WEST ONE HAWAII 419 South St. Honolulu, HI. 96813 808-286-6710 Email: westonehawaii@gmail.com Web: westonehawaii.com
SOCKIT STUDIO 10379 Mammoth Ave. Baton Rouge, LA 70814 225-216-0167 Email: info@sockitstudio.com Web: sockitstudio.com Basic Rate: call for rates
ILLINOIS
MUSIC GARAGE 345 N Loomis St. Chicago, IL 60607 312-997-1972 Email: info@musicgarage.com Web: musicgarage.com S.I.R. CHICAGO 2835 North Kedzie Avenue Chicago, IL 60618 773-478-8500 Email: chinfo@sir-usa.com Web: sir-usa.com SUPERIOR ST. 2744 W. Superior St. Chicago, IL 60612 773-227-5550 Email: info@superiorst.com Web: superiorst.com Basic Rate: please call for info
INDIANA
MAXWELL’S HOUSE OF MUSIC 1710 E. 10th St. Jeffersonville, IN 812-283-3304 Email: mike@maxwellhoseofmusic.com Web: maxwellshouseofmusic.com PLAYGROUND PRODUCTIONS STUDIO 5529 Bonna Avenue Indianapolis, IN. 46219 317-678-7529 Email: info@playgroundindy.com Web: playgroundindy.com SOUNDSPACE 1125 E. Brookside Ave Suite B3 Indianapolis, IN. 46202 317-763-0010 Email: team@sndspc.com Web: sndspc.com
KENTUCKY
EQUIPPED STUDIOS 3439 Buckhorn Dr. Suite #140 Lexington, KY 40515 973-841-0729 Email: robertschulz336@gmail.com Web: equippedstudios.com THUNDERSOUND 1720 Kummer Road Franklin, KY. 42134 270-776-6930 Email: info@thundersound.com Web: Thundersound.com Services: Rehearsal Space and Gear Rental
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LOUISIANA
BLUE PLANET SOUND 420 Waiakamilo Rd. Honolulu, HI 96817 808-843-3688 Contact: Jules Washington Email: info@blueplanetsound.com Web: blueplanetsound.com
STUDIO 101 NOLA 3928 Euphrosine St. New Orleans, LA 70125 504-237-5404 Web: studio101nola.com Basic Rate: hourly rates
MAINE
MY THRILL STUDIO 46 Blueberry Hill Rd. Winterport, ME 04496 207-223-5082 Email: mfrancis@mythrillstudio.com Web: mythrillstudio.com S.I.R. PORTLAND 1432 SE 34th Ave. Portland, OR 97214 503-282-6583 Email: orinfo@sir-usa.com Web: sir-usa.com Basic Rate: please call for info
MARYLAND
BAND REHEARSAL 239 North Franklintown Rd Baltimore, MD 21223 443-831-2263 Email: bandsrme@yahoo.com Web: bandrehearsal.net Services: Full recording services available Additional location: 1310 Franklin Ave Essex, MD 21221 ORION SOUND STUDIOS 2903 Whittington Ave., Ste. C Baltimore, MD 21230 410-646-7334 Email: chris@orionsound.com Web: orionsound.com
MASSACHUSETTS
CHARLESTOWN REHEARSAL STUDIOS 50 Terminal St., Bldg. 1 Charlestown, MA 02129 617-241-0016 Email: info@charlestownmusicstudios.com Web: charlestownmusicstudios.com Basic Rate: please call for info MUSIC STUDIOS OF ARLINGTON CENTER 399 Massachusetts Ave. Arlington, MA 02474 781-646-0243 Email: info@arlingtonstudios.com Web: arlingtonstudios.com Basic Rate: please call for info THE RECORD CO 960 Massachusetts Ave Boston, MA 02118
Download at musicconnection.com/industry-contacts 617-765-0155 Email: booking@therecordco.org Web: therecordco.org/rehearse
MICHIGAN
DETROIT SCH. OF ROCK & POP MUSIC 1109 S. Washington St. Royal Oak, MI 48067 888-988-ROCK (7625) Email: info@detroitschoolofrockandpop.com Web: detroitschoolofrockandpop.com Basic Rate: please call for info GROVE STUDIOS 884 Railroad St. Ypsilanti, MI 48197 734-985-0838 Email: info@grovestudios.space Web: grovestudios.space Contact: website for booking Basic Rate: starting at $15 an hour or resident options starting at $149/month Special Services: Free live recording for your rehearsal sessions via OpenLIVE MUSIC FACTORY 24536 Gibson Warren, MI 48089 586-619-5100, 586-246-3742 Web: detroitrehearsalspace.com Basic Rate: Room rates start at $125 per month NCM STUDIO GROUP 23207 Lahser Rd. Southfield, MI 48033 313-332-8286 Email: ncmstudiogroup@gmail.com Web: ncmstudiogroup.com Contact: Larry Ramirez, Derek O’Brien Basic Rate: call for rates Services: Full recording, mixing and mastering studio, 2 fully equipped “plug-n-play” production rooms, fully equipped rehearsal room studio with multi-tracking capabilities.
MINNESOTA
HUMANS WIN 10 S. 5th Street Minneapolis, MN 55402 612-968-9484 Email: lance@humanswin.com Web: facebook.com/HumansWin Contact: Lance Conrad Basic Rate: please call for info TAYLOR SOUND 8000 Powell Rd., Ste. 100 Saint Louis Park, MN 55343 612-315-9143 Email: info@taylor-sound.com Web: taylor-sound.com
MISSISSIPPI
STUDIO SEVEN Flowood, MS Email: booking@studioseven.org Web: studioseven.org
MISSOURI
SKY RECORDING 9 W 19 St Kansas City, MO 64108 816-283-8795 Fax 816-471-1030 Email: shawn@19below.tv Web: skykc.com SOUNDSTRUCTURE STUDIOS Kansas City, MO 818-988-3928 Email: space@soundstructure.com Web: soundstructure.com Basic Rate: please call for further information
UTOPIA STUDIOS 3957 Park Ave. St. Louis, MO 63110 314-773-3660 Email: info@utopiastl.com Web: utopiastl.com Basic rate: $30/hr
NEVADA
MDV ENTERTAINMENT 4131 W. Oquendo Rd., Ste. 2 Las Vegas, NV 89118 702-736-4635 Email: mdventertainment@gmail.com Web: mdventertainment.com Basic Rate: please call for info RED ROCK PRODUCTIONS LV Las Vegas, NV 89135 702-227-1777 Email: redrockproductionslv@gmail.com Web: facebook.com/RedRockProductionsLV Basic Rate: please call for info S.I.R. LAS VEGAS 4545 Cameron Street, Building A Las Vegas, NV 89103 702-382-9147 Email: lvinfo@sir-usa.com Web: sir-usa.com Basic Rate: please call for info STEVE BEYER PRODUCTIONS 133 N. Gibson Rd. Henderson, NV 9014 702-568-9000 Email: booking@sbeyer.com Web: sbeyer.com Basic Rate: please call for info TK REHEARSAL / Las Vegas 702-303-4094 Email: tkprod1@aol.com Web: TKrehearsal.com Contact: Kenny Basic Rate: $250-$750/month
NEW HAMPSHIRE
MUSIC MILL REHEARSAL Jct I-495 and US Route 3 Chelmsford, MA 978-251-7900 Web: musicmillrehearsal.com Services: Supplying rehearsal studios space and practice rooms serving Massachusetts and New Hampshire. Call for nearest location
353 Ten Eyck St. (at Morgan) Brooklyn, NY 917-686-9747 261 Douglas St. Brooklyn, NY 347-628-9613 71 Schenectady Brooklyn, NY 412-532-6283 CARROLL MUSICAL INSTRUMENT RENTALS, LLC 625 W. 55th St., 6th Fl. New York, NY 10019 212-868-4120 Email: irent@carrollmusic.com Web: boulevardcarroll.com Basic Rate: please call for info Additional location: 1275 Valley Brook Ave. Lyndhurst, NJ 07071 201-262-7740
THE MUSIC BUILDING 584 8th Ave. New York, NY 10018 646-205-3299 Web: musicbuilding.com Basic Rate: Monthly Services: Monthly music rehearsal studios in New York City’s most historic music facility. Alumni include the likes of Madonna, Billy Idol and The Strokes. MUSIC MAKERS NY 260 W 36th Street Basement New York, NY 10011 212-967-6124 Email: musicmakersnewyork@gmail.com Web: musicmakersny.com Basic Rate: please call for info PIRATE STUDOS 156 6th Street Brooklyn, NY 11215 844-274-7283 Web: Pirate.com
EMPIRE REHEARSAL STUDIOS 47-32 32nd Place Long Island City, New York 11101 718-706-6669 Email: admin@empire-rehearsal-studios.com Web: empire-rehearsal-studios.com
110 Scott Avenue Brooklyn, NY 11237
Additional location:
Other Locations:
2 Prince St. Brooklyn, New York 11201
United Kingdom, Germany, Ireland
FUNKADELIC STUDIOS INC. 209 W. 40th St., 5th Fl. New York, NY 10018 212-696-2513 Email: FunkadelicStudios@gmail.com Web: funkadelicstudios.com Basic Rate: call or see website
RIVINGTON MUSIC REHEARSAL STUDIOS 188 Stanton St. New York, NY 10002 212-353-0585 Email: book@rivingtonmusic.com Web: rivingtonmusic.com Basic Rate: please call for info
MICHIKO REHEARSAL STUDIOS Roberto’s Winds 149 W. 46th St., 3rd Fl. New York, NY 10036 212-302-4011 Email: info@michikostudios.com Web: michikostudios.com Basic Rate: please call for info
Box Factory 1519 Decatur St. Ridgewood, Queens, NY 11385
SMASH STUDIOS 307 W. 36th St., 18th Fl. New York, NY 10018 212-244-9066 Email: studiomanager@smashny.com Web: smashstudios.com Basic Rate: please call for info
NEW JERSEY
REDBANK REHEARSAL (call) 60 English Plaza Red Bank, NJ 07701 732-530-8794 Email: rbrbooking@gmail.com Web: redbankrehearsal.com Basic Rate: please call for info Additional location: 59 Newman Springs Rd. Shrewsbury, NJ 07702 Email: rbrbooking@gmail.com
NEW YORK
BAND SPACES NYC 342 Maujer St. Brooklyn, NY 917-686-9747 Email: spaces@bandspacesnyc.com Web: bandspacesnyc.com Basic Rate: please call for info Additional location:
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Directory of Rehearsal Studios NORTH CAROLINA
BANDTASTIC STUDIOS Southend District Charlotte, NC 704-491-1213 Email: studios@bandtastic.com Web: bandtasticstudios.com Basic Rate: please call for info SOUNDSPACE @ RABBHIT’S MUSIC 109 McDowell Street Asheville, NC 28801 828-552-3534 Email: info@soundspaceavl.com Web: soundspaceavl.com
OHIO
REHEARSAL CLEVELAND 5500 Walworth Ave Cleveland, OH 216-600-0188 Web: rehearsecleveland.com ROCK & ROLL CITY STUDIOS 5500 Walworth Ave. Cleveland, OH 44102 216-600-0188 Email: thestudio@rockcitystudios.com Web: rockcitystudios.com Contact: Studio mgr. Basic Rate: please call for info
OKLAHOMA
79TH STREET SOUND STAGE 1001 N.W. 79th St. Oklahoma City, OK 73114 405-767-9799 Email: 79thstreetsound@gmail.com Web: okcsoundstage.com Basic Rate: monthly rates THE DOWNTOWN MUSIC BOX 535 N. Ann Arbor Oklahoma City, OK 73127 405-232-2099, 877-446-3330 Email: info@downtownmusicbox.com Web: downtownmusicbox.com Contact: Tony Curzio
OREGON
BLUE BUTLER STUDIOS 2400 SE Holgate Blvd Portland, OR 971-322-9071 Email: bluebutlerstudios@gmail.com Web: bluebutlerstudios.com BONGO FURY 14181 SW Millikan Way Beaverton, OR. 97005 503-970-0799 Email: bongofurystudios@gmail.com Web: bongofurystudios.com PUDDLETOWN STUDIOS Portland, OR 971-533-0119 Email: puddletownstudios@gmail.com Web: puddletownstudios.com Services: 8 Locations, see website SUBURBIA STUDIOS 632 S.E. Market St. Portland, OR 97214 503-736-9329 Basic Rate: call for hourly and monthly
PENNSYLVANIA
NESHAMINY STREET STUDIO 707 Neshaminy Street Langhorne, PA 19047 215-378-8964 Email: seedrewdrum@gmail.com Web: neshaminystreetstudio.com RED PLANET RECORDING 300 E. Madison Ave. Clifton Heights, PA 19018 484-461-3240 Email: info@redplanetrecording.com Web: redplanetrecording.com Services: Recording studio, rehearsal space and live sound company SURREAL SOUND STUDIOS 2046 Castor Ave., 2nd Fl. Philadelphia, PA 19134 215-288-8863 Web: surrealsoundstudios.com Contact: Joseph Lekkas Basic Rate: please call for info
RHODE ISLAND
JAM STAGE 25 Esten Ave. Pawtucket, RI 401-305-3776 Web: jamstage.net Services: $25.hr, fully equipped
SOUTH CAROLINA
THE SPACE CHARLESTON 2123 Montford Ave. Charleston, SC Email: practicespacechs@gmail.com Web: thespacecharleston.com
TENNESSEE
DIAMOND SOUND STUDIOS 241 Venture Circle Nashville, TN 615-244-BAND (2263) Web: diamondsoundstudios.com Contact: Josh Diamond Basic Rate: please call for info S.I.R. NASHVILLE 1101 Cherry Ave. Nashville, TN 37203 615-255-4500 Fax 615-255-4511 Email: tninfo@sir-usa.com Web: sir-usa.com Basic Rate: please call for info SOUNDCHECK NASHVILLE 750 Cowan St. Nashville, TN 37207 615-726-1165 Email: information@sounndchecknashville.com Web: soundchecknashville.com Basic Rate: please call for info Additional Locations: 3714 Bluestein Drive, Ste 600 Austin, TX 78721 512-444-0023 Email: info@soundcheckaustion.com 2108 Lou Ellen Lane Houston, TX 77018 713-290-0335 Email: gus@soundcheckhouston.com TOY BOX STUDIO, THE 2407 Brasher Ave. Nashville, TN 37206 615-697-9545 Email: lij@thetoyboxstudio.com Web: thetoyboxstudio.com Basic Rate: please call for info
TEXAS
FRANCISCO’S STUDIOS 8420 Westglen Dr Houston, TX 713-460-4537 Email: rzapatamts95@gmail.com Web: franciscostudios.com/houston Basic Rate: please call for info PRO REHEARSAL & RECORDING 3150 Iron Ridge St. Dallas, TX 75247 214-634-3433 Email: rooms@prorehearsal.com Web: prorehearsal.com Basic Rate: please call for info RHYTHM ROOM REHEARSAL STUDIOS 1410 Brittmoore Rd., Ste. A Houston, TX 77043 713-465-6122, 218-220-7248 Email: Rhythmroom@att.net Web: rrrehearsalstudio.com Basic Rate: please call for info S.I.R. DALLAS 890 Regal Row Dallas, TX 75247 214-716-0611 Email: txinfo@sir-usa.com Web: sir-usa.com Basic Rate: please call for info SOUNDCHECK 1901 E. 51st St. Austin, TX 78723 512-444-0023 Email: info@soundcheckAustin.com Web: soundcheckAustin.com Basic Rate: please call for info Additional locations: 2108 Lou Ellen Ln. Houston, TX 77018 719-290-0335
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Email: info@soundcheckaustin.com Web: SoundcheckHouston.com Additional location: 750 Cowan St. Nashville, TN 37207 615-726-1165 Email: information@soundchecknashville.com Web: SoundCheckNashville.com
UTAH
POSITIVELY 4TH STREET 375 W. 400 S. Salt Lake City, UT 801-359-6108 Email: positive4thst@gmail.com Web: practicespaceslc.com Basic Rate: call for rates
VERMONT
BURLINGTON MUSIC DOJO 416 Pine Street Burlington, VT. 05401 802-540--0321 Email: info@burlingtonmusicdojo.com Web: burlingtonmusicdojo.com
WASHINGTON
CLOUD STUDIOS 1101 E. Pike St. Basement Seattle, WA 98122 206-209-0977 Email: info@cloudstudiosseattle.com Web: cloudstudiosseattle.com Contact: Doug Wilkerson Rates: Please call for rates EVOLUTION STUDIOS 1647 133rd PI. N.E. Bellevue, WA 98005 425-641-3626 Email: eden@bandrehearsal.com Web: bandrehearsal.com Contact: Eden Basic Rate: please call for info ROY’S PLACE REHEARSAL STUDIOS & RECITAL HALL 4926 196th St. S.W. Lynnwood, WA 98036 425-771-7020 Email: info@roysplacestudios.com Web: roysplacestudios.com Basic Rate: please call for info SEATTLE DRUM SCHOOL 12729 Lake City Way NE Seattle, WA 98125 206-364-8815 Email: admin@seattledrumschool.com Web: seattledrumschool.com Basic Rate: $35 per half hour and $65 per one hour lesson Additional location: 1010 S. Bailey St. Seattle, WA 98108 Email: seattledrumgeorgetown@gmail.com 206-763-9700 SEATTLE REHEARSAL 2424 1st Ave. S. Seattle, WA 98134 206-287-1615 Email: jodiopitz@yahoo.com Web: seattlerehearsal.com Contact: Jodi Basic Rate: please call for info S.I.R. Seattle 410 South 96th Street Unit 5 Seattle, WA 98108 206-782-6800 Email: wainfo@sir-usa.com Web: sir-usa.com Basic Rate: please call for info
WISCONSIN
MADISON MUSIC FOUNDRY 2818 Index Rd. Fitchburg, WI 53713 608-270-2660 Email: info@madisonmusicfoundry.com Web: madisonmusicfoundry.com Basic Rate: call for rates TBC STUDIOS 10201 W. Appleton Ave. Milwaukee, WI 53225 414-536-7337 Email: info@TBCStudios.com Web: tbcstudios.com
Directory of Gear Rentals Now expanded for 2022, this is an exclusive list of Gear Rental companies. All information below is verified by the listees. To receive thousands of free industry contacts, visit musicconnection.com/industry-contacts. ALABAMA
ADVANCED AUDIO & VIDEO Box 2466 Huntsville, AL 35804 256-319-3030 Email: tucker@advancedaudio.tv Web: advancedaudio.tv HOLT AV 401 28th St. S. Birmingham, AL 35233 800-322-4658, 205-328-5231 Email: info@holtav.com Web: holtav.com
ALASKA
ACTION VIDEO PRODUCTIONS 1231 W Northern Lights Blvd, Suite 2 Anchorage, AK 99502 907-360-4276 Email: actvidstaff@gmail.com Web: actvid1.com
ARIZONA
FAV Ford Audio Video 920 East Madison Street Phoenix, AZ 85034 800-654-6744, 602-643-4200 Web: fordav.com MEE Music Equipment Rentals 5221 W Surrey Ave. Glendale, AZ 602-955-3750 Email: meerental@gmail.com Web: meerentals.com Contact: Sam DeMarco MP&E 16585 N. 92nd St., Ste. B104 Scottsdale, AZ 85260 480-596-6699 Fax 480-596-0004 Email: phoenix@hdgear.tv Web: mayovideo.com
PRO AUDIO REPAIRS 3150 18th St. 101 San Francisco, CA 94110 415-401-7828 Email: office@proavresource.com Web: proaudiorepairs.com STUDIO INSTRUMENT RENTALS 1215 Fairfax Ave. San Francisco, CA 94124 415-957-9400 Fax 415-957-9470 Email: sfinfo@sir-usa.com Web: sir-usa.com
CALIFORNIA/NORTHERN
BLACK CAT SOUND SERVICE Grass Valley, CA 95949 530-268-1620, 530-277-3020 Fax 530-268-3267 Email: chrisc@nccn.net Web: blackcatsoundservice.com Contact: Chris Christensen EXPRESS VIDEO 2225 Palou Ave. San Francisco, CA 94124 415-255-9883 Web: rentvideo.com McCUNE AUDIO/VIDEO/LIGHTING 101 Utah Ave. S. San Francisco, CA 94080 650-873-1111 Email: info@mccune.com Web: mccune.com Studio Equip: yes Musical Equip: yes Lighting: yes Stages: no Additional locations: 222 Ramona Ave., Ste. 1 Monterey, CA 93940 Email: Monterey@mccune.com 831-372-6038 168 E. Liberty Ave. Anaheim, CA 92801 Email: Anaheim@mccune.com 714-578-1900 PRG GEAR Video Equipment Rentals 410 E. Grand Ave. San Francisco, CA 94080 650-837-9480 Web: verrents.com
23851 Via Fabricante 202 Mission Viejo, CA 92691 949-455-4163
2618 W. Burbank Blvd. Burbank, CA 848-9665 1217 N. Hacienda Blvd. La Puente, CA 91744 626-917-9300 1570 Cherokee St. San Marcos, CA 92078 760-744-3669 BRETT ALLEN STUDIO RENTAL North Hollywood, CA 818-506-5568, 323-253-2277 Fax 818-506-5581 Email: brettallen@earthlink.net Web: brettallenstudiorental.com Studio Equip: no Musical Equip: yes Lighting: No FX: no Stages: no Cartage: yes Special Services: The most extensive collection of guitars, amps, effects and tuners in L.A. Finest in studio guitar tech service, intonation and setup specialist.
AMETRON PRO-AUDIO/VIDEO SALES & RENTALS 10919 Vanowen St North Hollywood, CA 91605 323-462-1200 Email: info@ametron.com Web: ametron.com
BROADCAST STORE, INC. 21822 Lassen Street Unit H Chatsworth, CA 91311 818-998-9100 Email: sales@broadcaststore.com Web: broadcaststore.com Note: pickups by appt. only
AUDIO PERCEPTION INC. Los Angeles, CA 818-693-0134 Email: Info@audioperception.com Web: audioperception.com Technical Services: Yes Studio Equip: Yes Musical Equip: No Lighting Equip: No FX Equip: No Stages Equip: No Cartage Equip: No Special Services: Studio design, install, acoustics and wiring. Custom cables patch bays and panels. Audio and DAW tech support, upgrades, and instruction. AUDIO RENTS INC. 824 N. Hollywood Way Burbank, CA 91505 323-874-1000 Email: info@audiorents.com Web: audiorents.com/home.html Studio Equip: yes Musical Equip: no Lighting: no FX: yes Stages: no Cartage: no
Rancho Cucamonga, CA 91730 909-481-1515 GROOVEWORKS 5536 Atlantic Ave. Long Beach, CA 90805 (310) 403-5104 Email: info@grooveworksstudios.com Web: grooveworks.com Contact: Rodney GPS ELECTRONICS 13045 Tom White Way, Ste. I Norwalk, CA 90650 562-802-0840 Fax 562-802-0846 Email: gpselectro@yahoo.com Web: gps-electronics.net/services.html
CENTER STAGING 3400 Winona Ave Burbank, CA 91504 818-559-4333 Email: adam@centerstaging.com Web: centerstaging.com Contact: Adam Hasper Basic Rate: call for rates
GUITAR CONNECTION, THE 633 Rose Ave. Venice, CA 90291 310-396-3009 Email: theguitarconnection633@gmail.com Web: theguitarconnection.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
CHAMPION SITE + SOUND 4225 Executive Square La Jolla, CA. 92037 323-850-4990, 323-254-4300 Email: booking@champion.biz Web: champion.biz Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: yes
Los Angeles, Chatsworth, Temecula, Newport Beach DIGITRON ELECTRONICS, INC. 7801 Telegraph Rd., Ste. D Montebello, CA 90640 323-887-0777 Email: repairs@digitronelectronics.com Web: digitronelectronics.com DRUM DOCTORS 520 Commercial St. Glendale, CA 91203 818-244-8123 Email: thedrumdoctors@gmail.com Web: drumdoctors.com
BERTRAND’S MUSIC 9906 Carmel Mountain Rd. Rancho Penasquitos, CA 92129
B Y
D E N I S E
GARDS MUSIC 848 S. Grand Ave. Glendora, CA 91740 626-963-0263 Email: info@gardsmusic.com Web: stores.musicarts.com/ca/glendora/musicstore-2608.html Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
350 S. Mountain Ave. Upland, CA 91786 909-946-4789 11837 E. Foothill Blvd
Additional locations:
AUDIO REPAIR SPECIALISTS 22520 Ventura Blvd. Woodland Hills, Ca 91364 818-346-3762 Web: arsrepair.com
FUTARA ELECTRONICS COMPANY 665 S. Manchester Anaheim, CA 92802 714-535-6201 Email: service@futara.com Web: futara.com
Additional locations:
CAPITAL AUDIO RENTAL Burbank, CA 818-953-9099 Email: info@capitalaudiorental.com Web: capitalaudiorental.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
AUDIO DESIGN AND SERVICE, INC. 2625 N. Ontario St. Burbank, CA 91504 818-754-0467 Email: info@audiodesign-service.com Web: audiodesign-service.com
C O M P I L E D
FRET HOUSE, THE 309 N. Citrus Ave. Covina, CA 91723 626-339-7020, 800-BET-FRET Email: email@frethouse.com Web: frethouse.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
145 Vista Ave. Pasadena, CA 91107 626-793-4730
ADVANCED MUSICAL ELECTRONICS 8665 Venice Blvd. Los Angeles, CA 90034 310-559-3157 Email: mail@advancedmusical.com Web: advancedmusical.com
ASTRO AUDIO VIDEO LIGHTING 6615 San Fernando Rd. Glendale, CA 91201 818-549-9915 Web: astroavl.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: no
LITTLE ROCK ENTERTAINMENT 4701 Marlborough St. Little Rock, AR 72204 501-396-9435 Email: info@littlerockentertainment.com Web: littlerockentertainment.com
910 E. Highland Ave. San Bernardino, CA 92404 1-800-696-5338
ABSOLUTE RENTALS 2633 N. San Fernando Blvd. Burbank, CA 91504 818-842-2828, 310-560-2373 Email: info@absolute.live Web: absoluterentals.com Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes
A/V ARKANSAS 819 W. 8th St. Little Rock, AR 72201 501-661-1164 Web: avarkansas.com
DRUM PARADISE 11803 Vose St. North Hollywood, CA 91605 818-762-7878 Email: info@drumparadise-la.com Web: drumparadise-la.com/contact Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes
12222 Poway Rd., Ste. C Poway, CA 92064 858-668-3244
4WALL ENTERTAINAMENT 5435 W. San Fernando Rd. Los Angeles, CA 90039 818-252-7481 Web: 4wall.com
AMP SHOP/BASSEXCHANGE 4870 Lankershim Blvd. North Hollywood, CA 91601 818-386-5500 Email: sales@bassexchange.com Web: facebook.com/bassexchange
Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes
Additional locations:
CALIFORNIA/SOUTHERN
SMARTSOURCE RENTALS 1430 W 12th Place Tempe, AZ 85281 480-829-6336, 844-428-6475 Web: smartsourcerentals.com
ARKANSAS
888-780-1812 Web: bertrandmusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
GUITAR MERCHANT, THE 22807 Saticoy Street West Hills, CA 91304 818-884-5905 Email: theguitarmerchant@yahoo.com Web: guitarmerchant.com HOLLYWOOD SOUND SYSTEMS 6908 Tujunga Ave North Hollywood, CA 91605 323-466-2416 Web: hollywoodsound.com Studio Equip: yes Musical Equip: no Lighting: yes FX: no Stages: no Cartage: yes
C O S O
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Directory of Gear Rentals HOOK - THE STUDIO MICROPHONE RENTALS Los Angeles, CA 818-759-4665 Email: mfrenchik@fastmail.net Web: thehookstudios.com Contact: Mike Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no Tech Services: no INSTRUMENTAL MUSIC INC. 1501 E. Thousand Oaks Blvd. Thousand Oaks, CA 91360 805- 419-5055 Email: TO@instmusic.com Web: instrumentalmusic.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no JAN-AL CASE RENTALS 3339 Union Pacific Ave. Los Angeles, CA 90023 (800) 735-2625 323-260-7212 Email: arlene@janalcase.com Web: janalcase.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes KEYBOARD CONCEPTS 5539 Van Nuys Blvd. Sherman Oaks, CA 91401 818-787-0201, 800-22-PIANO Fax 818-787-1219 Web: keyboardconcepts.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional locations: 3704 E. Colorado Blvd. Pasadena, Ca 91107 626-583-9126 3232 Santa Monica Blvd. Santa Monica, CA 90404 310-586-5588 18285 Euclid Ave. Fountain Valley, CA 92708 Tustin, CA 92782 714-544-0088 LA FX RECORDING SERVICES 5634 Cleon Ave. North Hollywood, CA 91601 818-769-5239 Email: lafx1@aol.com Web: lafx.com Contact: Dan Vicari Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no L.A. SOUND COMPANY INC. 9001 Canoga Ave. Canoga Park, CA 91304 818-772-9200 Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no LON COHEN STUDIO RENTALS North Hollywood, CA 818-762-1195 Fax 818-762-1196 Email: office@loncohen.com Web: loncohen.com Basic Rate: call for rates Services: We rent top of the line backline (guitars, basses, amps, keyboards and drums) which can be heard on records from Aerosmith to ZZ Top and can be seen on television from Conan to Lopez. We also offer cartage, temp. controlled storage, and world class guitar, bass and amp repair.
Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no *Note: Rentals are limited to instruments $500 or less. No day rentals
Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
McCUNE AUDIO/VIDEO/LIGHTING 168 E. Liberty Ave. Anaheim, CA 92801 714-578-1900, 800-486-7686 Fax 714-525-6002 Email: anaheim@mccune.com Web: mccune.com Studio Equip: yes Musical Equip: no Lighting: yes FX: no Stages: no Cartage: no
29800 Bradley Rd., #107 Manifee, CA 951-301-8088
Additional locations: San Francisco HQ 101 Utah Ave. San Francisco, CA 94080 800-899-7686, 650-873-1111 Email: info@mccune.com Monterey McCune Office 222 Ramona Ave., #1 Monterey, CA 93940 800-372-3611, 831-372-6038 Email: monterey@mccune.com MICWORKS 17150 Newhope St., Ste. 701 Fountain Valley, CA 92708 714-435-0342 Email: sales@micworks.com Web: micworks.com Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no MORNINGSTAR PRODUCTIONS, LLC 41213 Sandalwood Cir. Murrieta, CA 92562 888-409-4810, 951-677-4443 Web: msmp.com Studio Equip: no Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: no MUSICIANS CHOICE STUDIOS 3820 Hoke Ave Culver City, CA 90232 310-836-8998 Web: musicianschoicestudios.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: yes MUSIC MAKER RETAIL STORE 5701 E. Santa Ana Canyon Rd., Ste. J Anaheim, CA 92807 714-974-0830 Email: mminfo@musicmakerinc.com Web: musicmakerinc.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no NIGHTINGALE STUDIOS 156 W. Providencia Ave. Burbank, CA 91502 818-562-6660 Email: nightingalestudiobooking@gmail.com Web: nightingalestudios.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no NORTHSTAR MOVING 19401 Business Center Dr. Northridge, CA 91324 800-275-7767 Email: info@Northstarmoving.com Web: northstarmoving.com Cartage: yes
MATES REHEARSAL & CARTAGE 5412 Cleon Ave. North Hollywood, CA 91601 818-779-0009 Email: jamesgiglio@matesinc.com Web: matesinc.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes
PACIFIC COAST ENTERTAINMENT 7601 Woodwind Drive Huntington Beach, CA 92647 714-841-6455, 619-331-3560, 866-335-4723 Email: info@gopce.com Web: gopce.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes
McCABE’S GUITAR SHOP 3101 Pico Blvd. Santa Monica, CA 90405 310-828-4497 Email: mccabes@mccabes.com Web: mccabes.com Studio Equip: no
PETE’S MUSIC AND GUITAR SHOP 28780 Old Town Front St. #A-4 Temecula, CA 951-308-1688 Email: petesmusic@yahoo.com Web: petesmusic.com Studio Equip: yes
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Additional locations:
PRO PIANO Los Angeles, CA warehouse only (not open to the public) 917-715-2860, 800-367-7777 Email: ricard@propiano.com Web: propiano.com Studio Equip: no Musical Equip: yes Lighting: no Cartage: yes SAN DIEGO SOUND AND MUSIC REPAIR 6555 El Cajon Blvd. San Diego, CA 92115-2705 619-582-8511 Email: audiodoctor.sd@gmail.com Web: sdsmr.com SANTA MONICA MUSIC CENTER 1901 Santa Monica Blvd. Santa Monica, CA 90404 310-453-1928 Email: studio@santamonicamusic.com Web: santamonicamusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional location: Culver City Music Center 10862 Washington Blvd. Culver City, CA 90232 310-202-6874 SINGER MUSIC 1217 N. Hacienda Blvd. La Puente, CA 91744 626-917-9300 Web: singermusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no SMARTSOURCE RENTALS 4928 W. Rosecrans Ave. Hawthorne, CA 90250 310-417-3544, 844-333-6440 Email: info@smartsourcerentals.com Web: smartsourcerentals.com Additional location: Los Alamitos, Beverly Hills, San Diego, Culver City, Las Vegas, Tempe, South San Francisco SOCAL PRODUCTIONS 9330 Laurel Canyon Blvd. Arleta, CA 91331 818-565-3333 Email: rentals@socalps.com Web: socalps.com Studio Equip: Yes Musical Equipment: No Lighting: No FX: No Stages: No Video: Yes Cartage: No SOUND CHECK AUDIO Los Angeles, CA 90036 323-939-7777 Email: info@soundcheckaudio.com Web: soundcheckaudio.com Studio Equip: no Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: yes *By appointment only SOUND-TECH STUDIO 24300 Country Rd. Moreno Valley, CA 92557 951-243-6666 Email: soundtechstudio@yahoo.com Web: soundtechmusic.square.site Contact: Allan Johnson Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: no SST 17328 Ventura Blvd. #1 Encino, CA 91316 818-907-7780 Email: SST.shop@yahoo.com Web: sstsynths.com Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: yes
STUDIO 116 CORP. 13136 Saticoy St., Unit G North Hollywood, CA 91605 323-274-0220, 323-922-2100 Email: rental@studio116corp.com Web: studio116corp.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no Services: We are an Event production company. We rent sound, lighting & projection for all kinds of events. STUDIO INSTRUMENT RENTALS 6465 Sunset Blvd. Los Angeles, CA 90028 323-957-5460 Email: lainfo@sir-usa.com Web: sir-usa.com Contact: Fred Rose Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes Additional locations: 4620 Santa Fe St. San Diego, CA 92109 858-274-1384 Fax 858-274-1906 Email: sdinfo@sir-usa.com Web: sir-usa.com 1215 Fairfax Ave. San Francisco, CA 94124 415-957-9400 Email: sfinfo@sir-usa.com Web: sir-usa.com STUDIO WEST OF SAN DIEGO 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497 Web: studiowest.com Studio Equip: yes Musical Equip: no Lighting: no FX: yes Stages: no Cartage: yes Tech services: yes THIRD ENCORE 10917 Vanowen St. North Hollywood, CA 91605 818-753-0148, 818-613-7518 Email: john@3rdencore.com Web: 3rdencore.com Contact: John Hoik Rooms: six air-conditioned studios from 900-2,400sq. ft., each including a private production office and full monitoring P.A. Full-service, professional facility. Quiet, safe, clean and very private. Great parking. Daily, weekly or monthly lockout rates available. Services: Full instrument and backline rental, featuring large selection of all major brands including Mesa Boogie, Yamaha, DW, Roland, Tama, Orange, Vox, Sabian, Zildjian, Ampeg, Korg and Marshall gear. Private storage lockers, cartage services. Equipment: All rooms come with Adamson / Lab Gruppen monitoring system. Digico, Avid, Yamaha, Midas consoles available. TONY PINNICK AUDIO P.O. Box 18382 Encino, CA 91416 818-815-1264 Email: tonypinnickaudio@gmail.com Web: tonypinnickaudio.com Technical Services: Yes Studio Equip: Yes FX Equip: Yes Special Services: Studio Recording Equipment Rentals. Over 20 years professional audio experience. Reputation for exacting attention to detail with a specially handpicked assortment of classic vintage and modern Tube Microphones, Condenser and Ribbon Microphones, Mic Pre-Amps, Compressors, Limiters, EQ’s and much more! TREW AUDIO 2243 N. Hollywood Way Burbank, CA 91505 323-876-7525 Email: info@trewaudio.com Web: trewaudio.com VALLEY SOUND MUSIC TECHNOLOGIES 5527 Cahuenga Blvd. North Hollywood, CA 91601 818-755-2801 Email: stretch@valleysoundla.com, zita@valleysoundla.com Web: valleysoundla.com VCI EVENT TECHNOLOGY 1261 S. Simpson Cir. Anaheim, CA 92806 888-772-8226, 714-772-2002 Email: info@vcievents.com Web: vcievents.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: yes Cartage: no VIDEO RESOURCES 1809 E. Dyer Rd., Ste. 307 Santa Ana, CA 92705 800-261-7266, 949-261-7266 Email: dane@videoresources.com Web: videoresources.com
Download at musicconnection.com/industry-contacts Studio Equip: yes Musical Equip: no Lighting: yes FX: no Stages: yes Cartage: no VINTAGE STUDIO RENTALS North Hollywood, CA 818-994-4849 Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes VIRTUAL SOUNDS TECHNOLOGY 11901 Goldring Road, Unit C Arcadia, CA 91006 626-239-0044 Email: sales@vstservice.com Web: vstservice.com WALL OF SOUND STUDIOS 1745 S. Claudina Way Anaheim, CA 92805 714-533-7625 Email: booking@wallofsoundstudios.com Web: wallofsoundstudios.com Additional location: Las Vegas 702-371-0811 WEST L.A. STUDIO SERVICES 2033 Pontius Ave. Los Angeles, CA 90025 310-478-7917 Email: westlastudios@me.com Web: westlastudios.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
COLORADO
CEAVCO AUDIO VISUAL 4860 Ward Rd Wheat Ridge, CO 80033 303-539-3500 Email: solutions@ceavco.com Web: ceavco.com FAV Ford Audio-Video 4230 Carson St. Denver, CO 80239 800-654-6744, 720-374-2345 Email: bootg@fordav.com Web: fordav.com IMAGE AUDIOVISUALS 2130 S. Dahlia St. Denver, CO 80222 800-818-1857, 303-758-1818 Email: rentalsales@imageav.com Web: imageav.com MP&E 2931 S.Tejon St.,Suite B Englewood, CO 80110 303-789-1010 Email: denver@hdgear.tv Web: hdgear.tv SHAPED MUSIC, INC. 1760 LaPorte Ave., Ste. 3 Fort Collins, CO 805241 970-221-2315 Email: randyc@shapedmusic.com Web: shapedmusic.com Services: Shaped Music, Inc. is your sound, lighting, and backline production company serving all of Colorado including Denver, Boulder, Colorado Springs, Fort Collins, Grand Junction, Telluride, Aspen, Vail, Steamboat Springs, Keystone, Copper Mountain, and beyond. We also serve all of Wyoming, Nebraska, Utah, and New Mexico. *Note: National touring & festivals also available. Pro Audio sales. SPECTRUM AUDIO VISUAL 351 W. 45th Ave. 800-909-9792, 303-223-1828 Email: info@spectrumav.com Web: spectrumav.com S.S.S. PRODUCTIONS 11165 Clarkson St. Northglenn, CO 80233 303-875-5678 Email: events@sssproductions.net Web: sssproductions.net
CONNECTICUT
M COMMUNICATIONS 48 Union St. Stamford, CT 06906 203-348-2100 Email: sales@mcommunications.com Web: mcommunications.com
DELAWARE
MIDDLETOWN MUSIC 4380 Summit Bridge Rd. Middletown, DE 19709 302-376-7600 Email: sales@middletownmusic.com Web: stores.musicarts.com/middletown-de
DISTRICT OF COLUMBIA
CONNECTING POINT MULTIMEDIA, INC. Washington, DC
888-866-5685, 703-527-8220 Email: info@cpmmonline.com Web: cpmmonline.com
FLORIDA
BUDGET VIDEO RENTALS 1825 N.E. 149th St. Miami, FL 33181 800-772-1111, 305-945-8888 Email: rentals@budgetvideo.com Web: budgetvideo.com CP COMMUNICATIONS 9965 18th Street N, Suite 2&3 St. Petersburg, FL 33716 800-762-4254 Web: cpcomms.com GREAT SOUTHERN STUDIOS, THE 15221 N.E. 21st Ave. Miami Beach, FL 33162 305-944-2464 Email: info@gssmiami.com Web: greatsouthernstudios.com MIDTOWN VIDEO 4824 S.W. 74th Ct. Miami, FL 33155 305-669-1117 Email: info@midtownvideo.com Web: midtownvideo.com, facebook.com/midtownvideo PURE ENERGY ENTERTAINMENT 4650 Coral Ridge Drive Coral Springs, FL 33076 954-782-6989 Email: info@PureEnergy.net Web: PureEnergy.net SMARTSOURCE RENTALS 9401 Southridge Park Ct., Ste. 600 Orlando, FL 32819 844-333-6440, 407-582-9807 Email: info@smartsourcerentals.com Web: thesmartsource.com/locations/orlando STUDIO INSTRUMENT RENTALS 12200 N.E. 14th Ave. Miami, FL 33161 305-891-3350 Fax 305-891-3550 Email: miinfo@sir-usa.com Web: sir-usa.com TAI AUDIO 5828 Old Winter Garden Rd. Orlando, FL 32835 407-296-9959 Email: info@taiaudio.com Web: taiaudio.com PR GEAR Video Equipment Rentals 8063 Beacon Lake Dr. Orlando, FL 32809 800-794-1407, 407-582-0350 Email: info@verrents.com Web: verrents.com Additional location: 3300 Davie Rd, Suite 101 Davie, FL. 33314 954-723-2828
GEORGIA
Email: info@verrents.com Web: prggear.com/location/atlanta
HAWAII
AUDIO VISUAL HAWAII 74-5489 Loloku St., #8 Kailua-Kona, HI 96740 808-331-8403 Email: Hawaiisales@AVServs.com Web: audiovisualhawaii.com *Services all Islands HAWAII SOUND & VISION P.O. Box 2267 Kailua-Kona, HI 96745 808-982-8330 Email: aloha@hawaiisav.com Web: hawaiisav.com MYSTICAL SOUNDS PRODUCTIONS P.O. Box 22996 Honolulu, HI 96823 808-222-8833 Email: mspdjs@gmail.com Web: mysticalsoundsproduction.com
ILLINOIS
AV CHICAGO 619 W. Taylor St. Chicago, IL 60607 312-229-4100, 888-709-9599 Web: avchicago.com
MARQUEE EVENT RENTALS 9480 W 55th Street Carol Stream, IL 60188 630-871-9999 Web: marqueerents.com MCS Midwest Conference Service 332 Commerce Dr. Roselle, IL 60172 630-351-3976 Email: info@mcsexpo.com Web: mcsexpo.com NOVATOO AUDIO VISUAL 120 Easy St., Unit 3 Carol Stream, IL 60188 630-871-2222 Email: novatooinfo@sbcglobal.net Web: novatoo.com Contact: Tim Novak, rental sales Mgr.
LIGHTNIN’S 2555 University Pkwy. Lawrenceville, GA 30043 770-963-1234 Web: lightnin.net
STUDIO INSTRUMENT RENTAL 2835 N. Kedzie Ave. Chicago, IL 60618 773-478-8500, 773-478-8555 Email: chinfo@sir-usa.com Web: sir-usa.com
SMARTSOURCE 1850 MacArthur Blvd., N.W., Ste. A Atlanta, GA 30318 404-352-0900, 844-333-6440 Email: info@smartsourcerentals.com Web: thesmartsource.com/locations/atlanta PRG GEAR Video Equipment Rentals 1389 Chattahoochee Ave. Atlanta, GA 30318 800-794-1407, 770-300-0401
RIEMAN MUSIC 6501 Douglas Ave. Urbandale, IA 50322 515-278-4685 800-372-6051 Email: websales@riemans.com Web: riemanmusic.com Contact: J.C. Wilson Additional locations: Des Moines - East 800-372-6051, 515-262-0365
Fort Dodge 800-362-1627, 515-576-2189
SOUND CORE MUSIC & VIDEO 122 S. Illinois Ave. Carbondale, IL 62901 618-457-0280 Web: soundcoremusic.com
PC&E ATLANTA Production Consultants & Equipment 2235 DeFoor Hills Rd. Atlanta, GA 30318 404-609-9001 Email: marketing@pce-atlanta.com Web: pce-atlanta.com
333 SW 9th St., Suite N Des Moines, IA 50309 515-280-9800
DANCE ALL NIGHT! INC. 1340 Woodland Ln. Riverwoods, IL 60015 877-940-9788, 847-940-9788 Email: bruce@danceallnight.com Web: danceallnight.com Studio Equip: no Musical Equip: no Lighting: yes and Video Projection FX: yes Stages: no Cartage: yes Tech services: yes
CONCERT AUDIO Atlanta, GA 770-434-2437 Email: andrew@concertaudio.com Web: concertaudio.com
ONE EVENT SERVICES 6779 Crescent Dr. Norcross, GA 30071 800-967-2419, 770-457-0966 Email: info@onservices.com Web: onservices.com
Additional location:
Ames, IA 50010 800-234-4203, 515-233-4203
SMARTSOURCE RENTALS 2025 Glen Ellyn Rd. Glendale Heights, IL 60139 630-588-0200, 844-333-6440 Email: info@smartsourcerentals.com Web: smartsourcerentals.com
26-01 Ulmer Street College Point, NY 11354
IOWA
CONFERENCE TECHNOLOGIES, INC. 820 N. 15th Avenue, Suite 102 Hiawatha, IA 52233 319-363-8144, 877-486-1867 Email: info@conferencetech.com Web: conferencetech.com
CHICAGO HD CORP. 6710 N. Kostner Ave. Lincolnwood, IL 60712 312-951-9610 Web: chicagohd.com
ATLANTA SOUND AND LIGHTING 1400 Vijay Dr. Atlanta, GA 770-455-7695 Email: sales@atlantasoundandlight.com Web: atlantasoundandlight.com
Additional location:
South Bend, IN 46619 800-888-9700, 574-232-9084 Fax 574-232-2220 Email: sales@studioonesb.com Web: studioonesb.com
SWING CITY MUSIC 1811 Vandalla Collinsville, IL 62234 618-345-6700 Email: swingcitymusic@ameritech.net Web: swingcitymusic.com Additional location: 244 S. Buchanan Edwardsville, IL 62025-2109 618-656-5656
Mason City, IA 50401 800-397-4606, 641-423-6563
Creston 800-947-9139, 641-782-5121
KANSAS
LIGHTS ON KANSAS CITY 1720 Merriam Ln. Kansas City, KS 66106 800-229-5876, 913-362-6940 Fax 913-362-6958 Email: kansascity@lightson.com Web: lightson.com
LOUISIANA
THE PINNACLE GROUP Lafayette, LA 800-524-7462, 337-593-1149 Web: pingroup.com Additional locations: Baton Rouge, LA 225-767-1148 Lake Charles 337-477-7469 Lafayette 337-767-1149
MAINE
AV TECHNIK LLC. 176 Innovation Way Scarborough, ME 04074 207-699-0115 Email: info@avtechnik.com Web: avtechnik.com STARBIRD MUSIC 500 Forest Ave. Portland, ME 04101 207-775-2733, 207-828-0888 Email: pianos@starbirdmusic.com Web: starbirdmusic.com
MARYLAND
4WALL ENTERTAINAMENT 9525 Berger Rd, Ste. G Columbia, MD 21046 410-242-3322 Web: 4wall.com CPR MULTIMEDIA SOLUTIONS 7812 Cessna Ave. Gaithersburg, MD 20879 301-590-9400 Email: sales@cprmms.com Web: cprmms.com DSL SOUND, INC. 67 W. Baltimore St., Ste. 101 Hagerstown, MD 21740 301-797-1070 Email: info@dslsound.net Web: dslsound.net
VER Video Equipment Rentals 8401 W 47th St., Suite D McCook, IL 60525 800-794-1407, 847-671-4966 Email: info@verrents.com Web: verrents.com
Additional locations:
ZACUTO 401 W. Ontario, Ste. 100 Chicago, IL 60610 888-294-FILM (3456), 312-863-FILM (3456) Email: sales@zacuto.com Web: zacuto.com
Harrisburg, PA 717-526-4416
i
INDIANA
STUDIO ONE INC. 25833 SR. 2
Baltimore, MD 410-522-2061 Delware, MD Eastern Shore, and Philadelphia 302-697-7515
PROGEAR Video Equipment Rentals 9590 Lynn Buff Court Suite 16 Laurel, MD 20723 800-794-1407, 301-731-9560 Web: progear.com
August 2022
musicconnection.com 57
Directory of Gear Rentals MASSACHUSETTS
ALL TECH SOUND & PRODUCTION SERVICES, INC. 13 Robbie Rd. Avon, MA 02322 508-583-4000 Fax 508-583-1378 Email: info@alltechsound.com Web: alltechsound.com Services: Provides sound, backline, lighting and stages for concert and corporate events KLONDIKE SOUND COMPANY 37 Silvio Conte Dr. Greenfield, MA 01301 413-772-2900 Fax 413-772-2199 Email: info@klondikesound.com Web: klondikesound.com RULE BOSTON CAMERA 320 Nevada Street, 1st Floor Newton, MA 02460 800-785-3266, 617-277-2200 Fax 617-277-6800 Email: answers@rule.com Web: rule.com TALAMAS BROADCAST EQUIPMENT 280 Bear Hill Road Waltham, MA 02451 800-941-2446 617-928-0788 Email: info@talamas.com Web: talamas.com ZASCO PRODUCTIONS, LLC 340 McKinstry Ave., Ste. 400 Chicopee, MA 01013 800-827-6616, 413-534-6677 Email: info@zasco.com Web: zasco.com
MICHIGAN
IN TUNE RENTALS, LLC 8919 Middlebelt Road Livonia, MI 48150 248-735-0000 Email: info@intunerentals.com Web: intunerentals.com RUSSELL VIDEO 4528 Concourse Dr. Ann Arbor, MI 48108 734-213-0500 Email: inbox@russellvideo.com Web: russellvideo.com
MINNESOTA
ALPHA AUDIO & VIDEO 7690 Golden Trianagle Dr. Eden Prairie, MN 55344 952-896-9898, 800-388-0008 Email: info@alphavideo.com Web: alphavideo.com EMI RENTALS 4719 42nd Ave., N. Robbinsdale, MN 55422 800-832-5174, 612-789-2496 Email: info@EMIaudio.com Web: emiaudio.com TOTAL MUSIC SERVICES 777 Harding Street, NE Suite 100 Minneapolis, MN 55413 651-644-7102 Fax: 651-644-8240 Email: info@totalmusic.com Web: totalmusic.com Contact: Billie Kahle Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes Tech services: yes
MISSOURI
AMEREVENT St. Louis, MO 314-255-2882 Email: info@theeventline.com Web: amerevent.com Additional locations:
212-696-2513 Email: funkadelicstudios@gmail.com Web: funkadelicstudios.com
4WALL ENTERTAINAMENT 3165 W. Sunset Rd., Ste. 100 Las Vegas, NV 89118 702-263-3858 Web: 4wall.com
HELLO WORLD 118 W. 22nd St., 2nd Fl. New York, NY 10011 212-243-8800 Email: rentals@hwc.tv Web: hwc.tv
NEVADA
AV VEGAS PRODUCTIONS 4780 Arville St. Las Vegas, NV 89103 702-878-5050 Email: sales@avvegas.com Web: avvegas.com FAV Ford Audio Video 6255 South Sandhill Rd., Ste. 100 Las Vegas, NV 89120 800-654-6744, 702-369-9965 Web: fordav.com LEVY PRODUCTION GROUP 5905 S. Decatur Blvd., Ste. 1 Las Vegas, NV 89118 702-623-7932 Email: mike@levyproductiongroup.com Web: levyproductiongroup.com PROGEAR Video Equipment Rentals 4155 West Russell Rd, Suite E-H Las Vegas, NV 89118 800-794-1407 702-895-9777 Web: prggear.com SMARTSOURCE RENTALS 6425 South Jones Blvd, Suite 103 Las Vegas, NV 89118 702-791-2500, 844-333-6440 Email: info@smartsourcerentals.com Web: smartsourcerentals.com STUDIO INSTRUMENT RENTALS, INC. 4545 Cameron St., Bldg. A Las Vegas, NV 89103 702-382-9147 Email: ivinfo@sir-usa.com Web: sir-usa.com
NEW JERSEY
CARROLL MUSICAL INSTRUMENT RENTALS, LLC 1275 Valley Brook Avenue Lyndhurst, NJ 07071 201-262-7740 Web: boulevardcarroll.com Additional locations: 625 W. 55th St., 6th Fl. New York, NY 10019 212-868-4120 Email: irent@carrollmusic.com WESTFIELD AUDIO VISUAL 2470 Plainfield Ave. Unit F Scotch Plains, NJ 07076 908-838-9090, 212-776-3300 Email: info@westfieldav.com Web: westfieldav.com SMARTSOURCE RENTALS 490 S. Dean St. Englewood, NJ 07631 201-568-6555, 844-333-6440 Email: info@smartsourcerentals.com Web: smartsourcerentals.com
NEW MEXICO
AV SYSTEMS, INC. 1000 Cordova Rd., Ste. 303 Santa Fe, NM 87505 505-982-6300 Email: avrental@avsystems.com Web: avsystems.com ELLIOTT LOCATION EQUIPMENT Mailing Addres: 3120 Blake Rd. Albuquerque, NM 87105 505-328-0909 Web: elliottlocationequipment.com FIELD & FRAME 107 Tulane S.E. Albuquerque, NM 87106 505-265-5678 Email: fieldandframe@yahoo.com Web: fieldandframe.com
Kansas City 816-760-2121 Metro-East 618-307-0030 FAZIOS 15440 Manchester Rd. Ellisville, MO 63011 636-227-3573 Email: HelloSTL@erniewilliamson.com Web: faziosmusic.com SMARTSOURCE RENTALS 15400 South Outer Forty Suite 203 Chesterfield, MO 63017 800-285-7794, 844-428-6475 Email: info@smartsourcerentals.com Web: smartsourcerentals.com
NEBRASKA
MIDWEST SOUND & LIGHTING, INC. 4318 S. 50th St. Omaha, NE 68117 800-981-9521, 402-731-6268 Email: info@mwsound.com Web: mwsound.com Additional location:
58 August 2022
2322 ‘O’ St. Lincoln, NE 68510 800-617-4298, 402-474-4918
musicconnection.com
NEW YORK
CARROLL MUSICAL INSTRUMENT RENTALS, LLC 625 W. 55th St., 6th Fl. New York, NY 10019 212-868-4120 Email: irent@boulevardcarroll.com Web: boulevardcarroll.com Additional location: 1275 Valley Brook Avenue Lyndhurst, NJ 07071 201-262-7740 E C PROFESSIONAL VIDEO 253 W. 51st St. New York, NY 10019 212-333-5570 Email: info@ecprovideo.com Web: ecprostore.com FUNKADELIC STUDIOS, INC. 209 W. 40th St., 5th Fl. New York, NY 10018
NORTH CAROLINA
4700 Emperor Blvd. Durham, NC 27703 919-941-8112 Fax 919-941-9109 Email: sales@americanav.com Web: aavevents.com Contact: Erik Hauge Additional locations:
INTERACTIVE VISION SOLUTIONS Audio Visual Equipment Rental in NY.C. 248 W. 35th St. New York, NY 10001 212-729-4305 Email: info@audiovideonyc.com Web: audiovideonyc.com
151 Kitty Hawk Dr. Morrisville, NC 27560 919-361-1151 Fax 919-405-2380
KEYBOARD INSTRUMENT RENTALS 276 Meserole St. Brooklyn, NY 11206 212-245-0820, 800-884-0653 Email: keyboardrentals@aol.com Web: keyboardrentalsnyc.com Contact: Danny Brill
BACKLINEPRO Charlotte, NC 704-400-6875 Fax 704-366-7011 Email: backlinepro@bellsouth.net Web: backlinepro.com Contact: Brent Moore
LIMAN VIDEO RENTAL 330 W. 38th St. New York, NY 10018 212-594-0086 Email: info@lvrusa.com Web: lvrusa.com Contact: Ralph, Ian, Michael LLOYD SOUND, INC. 173 Cortland Rd Dryden, NY 13053 607-753-1586, 607-423-1251 Email: lloyllo5@outlook.com Web: lloydsound.com Contact: John Lloyd LONG ISLAND VIDEO ENTERPRISES 110 Pratt Oval Glen Cove, NY 11542 516-759-5483 Email: info@longislandvideo.com Web: longislandvideo.com MINERVA AUDIO VISUAL, INC. 200 S. Servie Rd. LL06 Roslyn Heights, NY 11577 718-366-0600 Email: info@minervaav.com Web: minervaav.com Contact: Chris Roach Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes Tech services: yes PRIMALUX VIDEO PRODUCTION, INC. 555 8th Ave., Ste. 1002 New York, NY 10018 212-206-1402 Web: primalux.com PRODUCTION CENTRAL 873 Broadway, Ste. 205 New York, NY 10003 212-631-0435 Email: info@prodcentral.com Web: prodcentral.com Contact: David RSA AUDIO SERVICES 18 Fairlea Ct Sag Harbor, NY 11963 631-242-8008 Fax 631-242-8056 Email: rsaaudio@aol.com Web: rsaaudio.net Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: no SMARTSOURCE RENTALS 265 Oser Ave. Hauppauge, NY 11788 631-273-8888, 844-333-6440 Email: info@smartsourcerentals.com Web: smartsourcerentals.com STUDIO INSTRUMENT RENTALS (SIR) 475 10th Ave., 2nd Fl. New York NY 10018 212-627-4900 Fax 212-627-7079 Email: nyinfo@sir-usa.com Web: sirny.com TIMES SQUARE 5 Holt Drive Stony Point, NY 10980 201-373-2700 Web: tsstage.com ULTRA SOUND REHEARSAL STUDIO 251 W. 30th St., 4th and 5th Fl. New York, NY 10001 646-706-1367 Email: booking@ultrasoundrehearsal.com Web: ultrasoundrehearsal.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no
8005 Haute Ct. Springfield, VA 22150 703-573-6910
CAROLINA BACKLINE 6012 Old Pineville Rd, Suite C Charlotte, NC 28217 844-422-2554 Email: rental@carolinabackline.com Web: carolinabackline.com NORMAN SOUND & PRODUCTION 912 Central Ave. Charlotte, NC 28204 704-334-1601 Email: nsp@normansound.com Web: normansound.com
NORTH DAKOTA
HB SOUND & LIGHTS 3331 S. University Dr. Fargo, ND 58104 701-235-3695 Web: hbsound.com Additional location: 101 N. 8th St. Grand Forks, ND 58203 701-775-1150 RENTALL 3201 32nd St. S. Fargo, ND 58104 701-893-1900 Email: FARGO32@rentallusa.net Web: rentallusa.net Additional locations: 1356 Airport Road Bismarck, ND 58504 701-250-1123 Email: Bismarck@rentallusa.net 1002 25th St., S Fargo, ND 58103 701-234-1900 Email: Fargo25@rentallusa.net
OHIO
COLORTONE 5401 Naiman Pkwy. Cleveland, OH 44139 440-914-9500 Web: csrav.com COMMUNICATIONS CONCEPTS, INC. 508 Millstone Drive Beavercreek, OH 45434 937-426-8600 Email: info@ccistudio instrument.com Web: communication-concepts.com MARK STUCKER PRODUCTIONS Cincinnati, OH 513-325-4943 Email: mark@markstucker.com Web: markstucker.com WOODSY’S 135 S. Water St. Kent, OH 44240 330-673-1525 Email: woodsys@woodsys.com Web: woodsys.com
OKLAHOMA
FAV Ford Audio-Video 4800 W. Interstate 40 Oklahoma City, OK 73128 800-654-6744, 405-946-9966 Email: logah@fordav.com Web: fordav.com Additional location: 8349 E. 51st St. Tulsa, OK 74145 918-664-2420
OREGON
CINEMAGIC STUDIOS 20726NE Interlachen Lane Fairview, OR 97024 503-233-2141 Email: joe@cinemagicstudios.com Web: cinemagicstudios.com Contact: Joe Welsh GRASSVALLEY 1600 NE Compton Drive, Suite 100 Hillsboro, OR 97124
Download at musicconnection.com/industry-contacts 503-526-8100 Web: grassvalley.com PICTURE THIS 2223 N.E. Oregon St. Portland, OR 97232 503-235-3456 Fax 503-236-2302 Email: info@pixthis.com Web: pixthis.com STUDIO INSTRUMENT 1432 SE 34th Ave. Portland, OR 97214 503-282-5583, Fax 503-282-5584 Email: orinfo@sir-usa.com Web: sir-usa.com TIDEPOOL AUDIO Portland, OR 503-963-9019 Email: sales@tidepoolaudio.com Web: tidepoolaudio.com
PENNSYLVANIA
ALL SOUND PRO 1031 Kunkle Dr. Chambersburg, PA 17202 Bob: 717-496-1645 Jacob: 717-357-8625 Email: allsoundpro@gmail.com, Web: allsoundpro.com Contact: Bob Ranalli Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes-locally AMP AUDIO VISUAL 5201 Bella Vista Road Drexel Hill, PA 19026 855-292-2100 Email: hello@amp-events.com Web: amp-events.com AUDIO VISUAL RENTAL SERVICES 2024 E. Westmoreland St. Philadelphia, PA 800-695-5943 Web: audiovisualrenting.com GOURMET P A SYSTEMS Cranberry Industrial Park 3016 Unionville Rd. Cranberry Township, PA 16066 724-776-2766 Web: gourmetpa.com KEYSTONE PICTURES, INC. 1314 Alter St. Philadelphia, PA 19147 800-659-5821 Email: scheduling@keystonepictures.tv Web: keystonepictures.tv VIDEOSMITH INC. 1516 North 5th Street, Suite 119 Philadelphia, PA 19123 215-238-5070, 215-327-3941 Email: info@videosmith.com Web: videosmith.com
RHODE ISLAND
AMBIENT, INC. 75 New England Way Warwick, RI 02886 401-941-8500 Fax 401-732-5368 Email: info@ambientsound.com Web: ambientsound.com RHODE ISLAND RENTALS 111 Plan Way Warwick, RI 02886 401-738-9731 Email: partysales@rirental.com Web: rirental.com
SOUTH CAROLINA
NEW PRO VIDEO 3546 Admiral Dr. North Charleston, SC 29405 800-462-8895, 843-554-7811 Web: newprovideo.com SHOW SERVICES INC. 365 Red Cedar St., Ste. 201 Bluffton, SC 29910 843-815-3731 Email: alex@showservicesinc.com Web: showservicesinc.com
SOUTH DAKOTA
OUTSOUND PRODUCTIONS 408 S Cliff Avenue Sioux Falls, SD 57103 605-212-4603 Email: info@outsoundproductions.com Web: outsoundproductions.com
TENNESSEE
4WALL ENTERTAINAMENT 820 Cowan St. Nashville, TN 37207 615-453-2332 Web: 4wall.com ALLPRO ELECTRONICS 606 Fessiers LN #103 Nashville, TN 37210 615-310-2379 Email: sales@allproelectronics.com Web: allproelectronics.com ALLSTAR AUDIO SYSTEMS, INC. 750 Cowan Street Nashville, TN
615-804-7800 Email: mike@allstaraudio.com Web: allstaraudio.com, facebook.com/AllstarAudio
Austin, TX 78744 800-654-6744, 512-447-1103 Web: fordav.com
703-573-6910 Fax 703-573-3539 Email: sales@americanav.com Web: aavevents.com
BLACKBIRD AUDIO RENTALS 2805 Bransford Ave. Nashville, TN 37204 615-573-5118 Email: blackbirdaudiorentals@gmail.com Web: blackbirdaudiorentals.com
Additional locations:
Additional locations:
4380 Blalock Rd. Houston, TX 77041 713-690-0555
4700 Emperor Blvd. Durham, NC 27703 919-941-8112 Fax 919-941-9109 Web: aavevents.com
BLEVINS AUDIO P.O. Box 100903 Nashville, TN 37224 615-202-8669 Email: themciguy@aol.com Web: blevinsaudio.net Contact: Steve Sadler BRANTLEY SOUND ASSOCIATES INC. 115 Duluth Ave. Nashville, TN 37209 615-256-6260 Email: bbrantley@brantleysound.com Web: brantleysound.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: yes Cartage: no DR&A, INC. 45 Willow St. Nashville, TN 37210 615-256-6200 Email: drice@griptruck.com Web: griptruck.com Contact: Doug Rice, Founder/CEO GAULT & ASSOCIATES, INC. 3545 Probasco Pl. Chattanooga, TN 37411 800-424-2858, 423-756-6128 Knoxville: 865-690-5101 Nashville: 615-771-9096 Email: avfred@aol.com Web: gaultav.com PROGEAR Video Equipment Rentals 533 New Paul Rd., Suite 100 La Vergne, TN 37086 800-794-1407, 615-280-2255 Web: prggear.com RENT A CAMERA 2605 Westwood Drive Nashville, TN 37204 855-588-2882 Email: info@rentacamera.com Web: rentacamera.com SOUNDCHECK 750 Cowan St. Nashville, TN 37207 615-726-1165 Fax 615-256-6045 Email: information@sounndchecknashville.com Web: soundchecknashville.com Basic Rate: please call for info STUDIO INSTRUMENT RENTALS OF TN, INC. 1101 Cherry Ave. Nashville, TN 37203 615-255-4500 Fax 615-255-4511 Email: tninfo@sir-usa.com Web: sir-usa.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes TAKE ONE FILM & VIDEO 125 Commerce Dr. Henderson, TN 37025 877-81-TAKE1, 877-818-2531 Email: mail@takeone.tv Web: takeone.tv Contact: studio mgr. Studio Equip: yes Musical Equip: no Lighting: yes FX: no Stages: no Cartage: no Tech Services: yes THOMPSON MUSIC RENTAL Nashville, TN 615-210-2120 Email: backlinenashville@gmail.com Web: thompsonmusicrental.com TREW AUDIO 220 Great Cir. Rd., Ste. 116 Nashville, TN 37228 800-241-8994, 615-256-3542 Email: info@trewaudio.com Web: trewaudio.com
TEXAS
ACAV Action Computer & Audio Visual Corporate HD 8524 Hwy. 6 N., #131 Houston, TX 77095 281-550-7955 Email: sales@actioncomputerandaudiovisual.net Web: actioncomputerandaudiovisual.net FAV 4120 Freidrich Lane, Suite 400
4901 Statesman Drive Irving, TX 75063 972-241-9966 MOPAC MEDIA 6400 Arnold Drive Austin, TX 78723 512-462-2000 Email: rentals@mopacmedia.com Web: mopacmedia.com MP&E 3328 Wayponit Dr. Carrollton, TX 75006 972-931-3880 Fax 972-931-3882 Email: dallas@hdgear.tv Web: hdgear.tv Additional location: 4822 E. Cesar Chavez Austin, TX 78702 514-485-3131 Email: austin@hdgear.tv OMEGA BROADCAST GROUP 817 W. Howard Ln. Austin, TX 78753 512-251-7778 Email: sales@omegabroadcast.com Web: omegabroadcast.com OMEGA PRODUCTIONS 456 Commerce St. Palacios, TX 77465 214-891-9585 Email: getinfo@omegalive.com Web: omegalive.com ONSTAGE SYSTEMS 8721 Forney Rd Dallas, TX 75227 972-686-4488 Email: info@onstagesystems.com Web: onstagesystems.com PINNACLE GROUP, THE Houston, TX 800-524-7462, 337-802-1916 Web: pingroup.com PROGEAR Video Equipment Rentals 3110 Roy Orr Blvd, Suite 200 Gran Prairie, TX 75050 214-260-1295 Web: prggear.com SMARTSOURCE RENTALS 3322 Longmire Dr., Ste. 200 979-694-7490, 844-333-6440 College Station, TX 77845 Email: info@smartsourcerentals.com Web: smartsourcerentals.com Additional locations: 2110 Hutton Drive, Suite 120 Carrollton, TX 75006 214-827-2430 SOUNDCHECK 3714 Bluestein Drive, Ste 600 Austin, TX 78721 512-444-0023 Email: info@sounndcheckAustin.com Web: soundcheckAustin.com Basic Rate: please call for info Additional location:
151 Kitty Hawk Dr. Morrisville, NC 27560 919-361-1151 Fax 919-405-2380 AVIVA RENTALS 1609 Rhoadmiller St. Richmond, VA 23220 877-564-9143, 804-353-9212 Email: lee@avivarentals.com Web: audiovisualrentalsvirginia.com CONNECTING POINT MULTIMEDIA, INC. P.O. Box 986 Arlington, VA 22216-0986 703-527-8220, Fax 888-866-5685 Email: info@cpmmonline.com Web: cpmmonline.com SMARTSOURCE RENTALS 7664 Fullerton Rd., Ste. K Springfield, VA 22153 703-978-2321, 844-333-6440 Email: info@smartsourcerentals.com Web: smartsourcerentals.com
WASHINGTON
AV RENT Seattle, WA 206-575-7771 Email: sales@avrent.com Web: avrent.com Additional location: 12922 SE 299th Street Auburn,WA 253-474-9979 PROGEAR Video Equipment Rentals 12610 Interurban Ave. S., Ste. 110 Tukwila, WA 98168 206-242-3860 800-794-1407 Email: info@verrents.com Web: verrents.com SMARTSOURCE RENTALS 8655 154th Ave. N.E., Suite 140 Redmond, WA 98052 525-881-5353, 844-333-6440 Email: info@smartsourcerentals.com Web: smartsourcerentals.com STUDIO INSTRUMENT RENTALS 3631 Interlake Ave. N. Seattle, WA 98103 206-782-6800 Email: wainfo@sir-usa.com Web: sir-usa.com
WISCONSIN
FULL COMPASS SYSTEMS, LTD. 9770 Silicon Prairie Pkwy. Madison, WI 53593 800-356-5844, 608-831-7330 Email: rentals@fullcompass.com Web: fullcompass.com INTELLASOUND PRODUCTIONS 416 Venture Ct., Ste. 2 Verona, WI 53593-1821 608-845-5683 Fax 608-845-3299 Email: mail@intellasound.com Web: intellasound.com
WYOMING
2108 Lou Ellen Ln. Houston, TX 77018 713-290-0335 Email: gus@soundcheckaustin.com Web: SoundcheckHouston.com
DGW VIDEO PRODUCTIONS LLC 3537 Agate Rd. Cheyenne, WY 82009 307-529-1498 Email: sales@dgwvideo.com Web: dgwvideo.com
TV SPECIALISTS, INC. 180 E. 2100 S. Salt Lake City, UT 84115 801-486-5757 Web: tvspecialists.com
WILD BUNCH VIDEO PRODUCTIONS 244 N. Beverly Casper, WY 82601 307-267-6377 Email: wildbunchvp@bresnan.net, akastorme@gmail.com Web: wildbunchvp.com Contact: Scott Sterrett, Jared Walker
UTAH
WEB AUDIO VISUAL COMMUNICATIONS 1420 S. 4800 W. Suite D Salt Lake City, UT 84104 801-484-8567 Email: sales@webbav.com Web: webbav.com
VERMONT
SOUNDVISION 310 Hurricane Ln., Ste. 1 Williston, VT 05495 800-547-4343, 802-871-5130 Web: svav.com Additional location:
For hundreds more contacts from Music Connection’s directories (A&R, music attorneys, producers, engineers, video production, video gear rental, vocal coaches, music schools, recording studios, everything indie, social media, promotion, publicity, rehearsal studios, audio gear rental, film/ TV, mastering studios, music publishers, college radio and more), visit: musicconnection.com/ industry-contacts.
7 Lincoln St., Ste. 200-A Wakefield, MA 01880 781-245-9655
VIRGINIA
AAV EVENTS 8005 Haute Ct. Springfield, VA 22150
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For Advertising Info Call 818-995-0101
MARKETPLACE
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For Advertising Info Call 818-995-0101
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– EMMALINE RASMUSSEN
How to Eat Right on Tour N
utrition and hydration are paramount to staying well, energized, and maintaining mental health on tour. While touring is a great way to connect with fans, promote an album, and showcase your body of work, life on the road certainly has its challenges. Limited access to healthy food and irregular meal times are common pitfalls that can have a lasting impact on a person’s sleep, energy, mood, and performance. Musicians need high-efficiency nutrition, similar to athletes. Additionally, crew members complete grueling physical labor daily that also requires proper fueling to support energy levels and mood. Touring artists and crew can improve their nutrition starting with load-in. Before reaching for coffee, aim for at least 16 fl. oz. of filtered water, ideally at room temperature. Dry tour bus or hotel room air can be dehydrating, as we lose moisture each time we exhale to humidify our breath. This compounds fluid losses a person may already experience after performing. If alcohol was consumed the night before or if re-hydration wasn’t a priority after the show, that will also contribute to morning dehydration, lack of energy, and grogginess. After water, organic coffee or tea can be great ways to start the day, while it’s generally best to refrain from energy drinks and soda, the acidity of which can irritate the throat, and are often laden with sugar, and artificial flavors, colors, and additives. If coffee is harsh on your throat (which is particularly important to be aware of for singers), opt for a latte, a cold brew, or a dark roast coffee (which is less acidic), all of which may be easier on the stomach and vocal cords. Organic high quality matcha tea or yerba mate are also energizing alternatives to coffee that provide a boost without jitters. Food options in the morning and throughout the day will invariably depend on whether tour catering is available, restaurant food or local catering is brought in, or per diems are offered for band and crew to purchase their own food. A Mediterranean Diet is a healthy choice for most people, is nutritionally complete, and helps sustain energy levels and boost mood and cognition. The hallmark of a well-executed Mediterranean Diet is produce. Fresh fruits and vegetables contain vitamins, minerals, and antioxidants that support energy, mood, and digestion, as well as protect against oxidative stressors of tour including indoor and outdoor pollution, alcohol, processed foods, and refined inflammatory fats and sugars. While fresh produce can be tough to come by, access has gotten better over the years. If catering or a reasonable restaurant option is available, aim
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to start the day with produce by having eggs with vegetables and avocado or a vegan tofu or bean and veggie scramble with olives or avocado on the side. Greens, in particular, assist our body with properly utilizing the protein and nutrients in our food. A green smoothie is an easy on-thego option, or even mushroom and kale egg bites alongside a piece of fruit from Starbucks if in a pinch and needing to fuel roadside. If budgets are tight, get the most nutritional bang for your buck with a packet or two of steel-cut instant oats (just add hot water from the venue, or even from a rest stop or convenience store along the road) with a handful of nuts and dried fruit mixed in. If available, fresh fruit, flaxseeds, and cinnamon are great
add-ins as well (these can be included on the rider or stocked on the bus or van). Lunch and dinner follow a similar pattern, with produce being the cornerstone, alongside high- quality protein, complex carbohydrates (think whole grains and sweet potatoes), and healthy fats like extra virgin olive oil. While salads and bowls (using brown rice or quinoa as a base) are available at many chain restaurants, the dressings they come with are often processed and inflammatory. Forgoing these in favor of high-quality extra virgin olive oil (I keep a bottle on the bus) and vinegar or fresh-squeezed lemon will make for a healthier option. If a full meal makes you feel heavy or slows you down before performing, try something light such as broth-based soup with whole grain crackers, an apple (it has soluble fiber which is great for those who suffer from acid reflux) with raw almond butter, or a veggie and quinoa salad with avocado. While triggers and sensitivities are different for everyone, it’s wise to avoid any foods that typically cause digestive problems such as onions or garlic, cruciferous vegetables (e.g. cauliflower, brussels sprouts), beans, and dairy.
Protein and carbohydrates post-show will help muscles recover, maintain stable mood levels, and prepare the body for sleep. Instead of fried chicken, consider a grilled chicken sandwich on whole grain bread with mustard and veggies. Instead of stuffed-crust pepperoni pizza, choose thin crust pizza that’s light on cheese and heavy on vegetables, forgoing the processed and cured meats. Pair a salad with the post-show meal to assist digestion. Replenish fluids and energy by re-fueling immediately after getting off stage and aiming for at least two hours between the last meal and bedtime, or more if acid reflux is a concern. Having adequate time to digest before bed allows for proper breakdown and absorption of nutrients, minimizes gastrointestinal issues, and supports restorative sleep. While it’s tempting to reach for alcohol after a performance, whether to celebrate a great show, or in an attempt to dampen the emotions or adrenaline rush following a live performance, alcohol both dehydrates as well as interferes with sleep duration and quality. Coconut water or filtered water are great options to replenish fluids after performing (consider adding a packet of electrolytes to water, such as Nuun, Liquid IV, Drip Drop, or similar). Coldpressed juice, herbal tea, and alcoholfree spirits are also great beverages to have around when water isn’t an enticing post-show option. Musicians—who are already at an increased risk of mental health struggles in comparison with the general population—report even greater incidence of depression, anxiety, and panic attacks on the road. Investing in healthy food, and a dietitian to source that food and curate a tour bus and green room atmosphere of wellness, can enhance performance, reduce burnout and support mental health. This allows musicians to enjoy performing more shows over a longer career.
EMMALINE RASMUSSEN, MS, RD, E-RYT, is a Registered Dietitian specializing in neurology and integrative medicine. A wellconnected music enthusiast, she wholeheartedly believes musicians are performers who should be on high performance diets, much like athletes. Without placing as much importance on their health as athletes do, these artists’ careers will be stunted. Her organization, Sound Nutrition, was thoughtfully developed with the input of musicians and music industry professionals at every step of the process to create comprehensive services that promote optimal nutrition and wellness throughout an artist’s career. For further information, see soundnutrition.co
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“Finally, a headphone I can mix records on” - Manny Marroquin, 11-time Grammy Winner
MM-500 SERIES
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