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FROM SOUND CHECKTO ROYALTY CHECK.WE PAY ROYALTIES FOR LIVE PERFORMANCES.SESAC ensures you get paid for live performances of your music, no matter who plays it - you, ora band covering your song onstage 2,000 miles away. Get the royalty treatment you deserve withpayments for live performances, truly personalized service and monthly payment for radio play.Visit SESAC.com to learn more.

The electric guitar. Remixed.TriplePlay ® , the wireless guitar controller that lets you turn your electric guitar into any instrument thatyou want – and compose, perform and record like never before. Includes a comprehensive softwaresuite from PreSonus, Native Instruments, Notion Music, and IK Multimedia.ComposeThe revolutionary songwriting and compositionsoftware makes it easy to create your own guitartabs, lead sheets, and standard sheet musiccomplete with an audio track of your work.PerformExperience limitless guitar tones and effects,and a split fret capability that lets you play upto 4 instruments at once! This revolutionarynew guitar synth provides fast, accuratetracking with virtually no lag.RecordUse the included DAW software on yourPC or Mac to build entire multi-instrumentarrangements or mind-blowing patches.Explore an entire library of tonal choices tohelp your music stand apart.fishman.com/tripleplay

CONTENTSInforming Music People Since 1977 Photos: Colin Lane36Cage The ElephantAs the band enjoys its third successfulalbum, and looks forward to a full scheduleof festivals and summer dates, lead singerand lyricist Matt Shultz reflects on how awillingness to shake things up has enabledCage’s creative process to evolve in unexpectedways.By Jessica Pace45SXSW PIX!MC was once again at theSXSW Music Fest, and our JodyDomingue and Victoria Patneaudegrabbed a bunch of amazing,memorable images.DepartmentsGuitar Jam 2014This year’s candid interviews withstellar guitarists and bassists are guaranteedto deliver unique career insights andadvice about being a musician.By Eric A. Harabadian4008. Close Up09. Assignments10. New Toys14. Book Store16. Up Close18. Studio Mix23. Business Affairs26. Signing Stories28. Song Biz32. FilmTVTheater34. Mixed NotesDirectory ofGuitar/BassServices &InstructorsCompiled By Denise CosoReviews46. Album Reviews48. New Music Critiques50. Live Reviews53Be sure to follow MusicConnection on Facebookand Twitter.20. Producer Crosstalk: Cruzmatik . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam22. Exec Profile: Rena Wasserman, The Greek Theatre . . . . . . . . . By Andy Kaufmann30. Songwriter Profile: Keith LuBrant . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel44. Expert Advice: Monster Guitar Tone! . . . . . . . . . . . . . . . . . . . . . . By Brian Tarquin62. Tip Jar: Hey DJs–Here’s Where To Source Your Music . . . . . . . . . By Scott BinderThe opinions expressed inMusic Connection, as well as allDirectory listings and contact information,are provided by various sources in themusic industry. Music Connectionis not responsible for any businesstransactions or misadventures that mayresult from your use of this information.4April 2014musicconnection.com

TheFocusrite Soundon FireWire& Thunderbolt*The Focusrite Saffire range offers a selection of high quality,FireWire/ThunderBolt compatible* audio interfaces, which allfeature Focusrite’s legendary, award-winning mic preamps andpremium A-D/D-A convertors. Whatever your audio recordingneeds, there’s a Focusrite Saffire for you.Check out the Saffire Range today at your favoriteauthorized Focusrite dealer.

E. Eric Bettelli PUBLISHERE. Eric BettelliGENERAL MANAGER /ADVERTISING DIRECTORericb@musicconnection.comDenise CosoOPERATIONS MANAGER /DIRECTORIES EDITORdenisec@musicconnection.comSteve SattlerBUSINESSDEVELOPMENT MANAGERsteve@creativesalesresource.comMukul ChauhanDIRECTOR OFONLINE OPERATIONSmukulchauhan16@gmail.comSiri SvaySOCIAL MEDIA MANAGERsirimusicconnection@gmail.comJessica Pace j.marie.pace@gmail.comMark NardoneASSOCIATE PUBLISHER /SENIOR EDITORmarkn@musicconnection.comJohn CurryART DIRECTORartdirector@musicconnection.comAndy MesecherASSOCIATE EDITORandym@musicconnection.comBarry RudolphNEW TOYSbarry@barryrudolph.comBernard BaurCONTRIBUTING EDITORbbatmc@aol.comDan KimpelSONG BIZdan@dankimpel.comFEATURE WRITERSAndy Kaufmann andy.kaufmann@comcast.net Rob Putnam toe2toe6@hotmail.comEditorial Intern Jake Hansen intern@musicconnection.comCONTRIBUTING WRITERSCarl Anthony, Allegra Azzopardi, Bernard Baur, Brett Bush, Gary Graff, Eric A. Harabadian,Corey Irwin, Ted Jamison, Andy Kaufmann, Jessica Pace, Victoria Patneaude,Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Brian Stewart, LaurierTiernan, Brooke Trout, Albert Vega, Jonathan Widran, Ellen WoloshinPHOTOGRAPHERSAllegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, KevinEstrada, Corey Irwin, David Klein, Tony Landa, Dave Long, Thomas Long, Jessica Pace,Victoria Patneaude, Scott Perham, Rob Putnam, Alexander G. Seyum, Danny Seyum,Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, E. H. Tiernan, PaulaTripodi, Brooke Trout, Albert Vega, Ellen WoloshinMANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICAMusic 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(US currency) per year. We are not responsible for unsolicited material, which mustbe accompanied by return postage. All rights reserved. Reproduction in whole or partwithout written permission of the publishers is prohibited. The opin ions of contributingwriters to this publication do not necessarily reflect the views of Music Connection,Inc. Copyright © 2014 by E. Eric Bettelli. All rights reserved.Founded by: J. Michael Dolan / michael@jmichaeldolan.comNEW CORPORATE HEADQUARTERS3441 Ocean View Blvd., Glendale, CA 91208 Office: 818-995-0101Fax: 818-995-9235 Email Address: contactmc@musicconnection.comWebsite: http://musicconnection.comLegal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.comSubscribe to MC NOW!musicconnection.com/store/subscribe6April 2014musicconnection.com

– JONATHAN WIDRANROCKN STOMPNhttp://rocknstompn.comWhat’s In A Name: With the launch of Rockn Stompn and itsflagship product the Model RS-4, Duluth, GA-based Kimball Mageecombines his passion for music––he’s been playing guitar since age14––and his 20 years experience as a manufacturer’s rep for WaberElectronics. Working for Waber, he sold “the granddaddy of all powerstrips.” Five years ago, he got tired of trying to turn on the rocker switchon the floor power strip and came up with the concept for the ultimatepower strip for musicians, that has taken him and his team of engineersseveral years to develop —a foot-activated power sequencer/powerconditioner/power strip now known as the RS-4. He began joking thatthe RS-4 was “a Rockn Stompn no poppin’ power strip,” and ultimatelyrealized the name’s great branding potential.Powering Up And Down: The golden rule is to “Always turnyour main amp on last, and turn it off first” to avoid the potentiallydestructive loud “POP.” The Rockn Stompn simplydoes this automatically, powering all yourequipment up or down in the proper sequence,every time, all with a tap of the footswitch.The eight power outlets made up of fourduplex receptacles provide foursteps of power sequencing andenables the musician to changethe time delay sequence with theincluded screwdriver. The time delaycan be quickly adjusted from one to15 seconds to suit the user’s specificneeds. The RS-4, is a state-of-the-art, ULlisted surge protector with 1935 joules of protection. ItsU.S. made electronic components provide the user’s valuable electronicequipment with clean, noise-free AC power––perfect for both studio andlive performances. MAP $299.Currently in Development: Rockn Stompn will soon beunveiling their latest product, a modified RS-4 with PowerConconnectors replacing the power cord. Designed for the productionindustry, particularly for sound companies for “live show,” it is already“road tested, tour grade and professional.”Contact Rockn Stompn, 770-476-23878 April 2014 musicconnection.com

Natalie KilgoreVP of PublicityBBR Music GroupDashboard Media Founder NatalieKilgore has been named Vice Presidentof Publicity for the BBR Music Group.In her new role, Kilgore will continue tostrategize and lead publicity endeavorsfor the music group that serves as theumbrella for Broken Bow, Stoney Creekand Red Bow Records as well as BBRManagement and Magic Mustang Music. Additionally, Kilgore willmaintain direct publicity representation for Multiplatinum selling two-timeACM & 2012 CMA “Vocal Duo of the Year” Thompson Square; PlatinumsellingDustin Lynch; No. 1 chart-toppers Joe Nichols and Parmalee;American Idol’s Kristy Lee Cook; James Wesley; and more of BBRMusic Group’s roster. Contact Natalie@bbrmusicgroup.com.Jonnie DavisSr. VP, A&R / Head of Label ServicesRound Hill MusicRound Hill Music has announced a newmember of its team, Jonnie “Most” Davis tothe role of Sr. VP, A&R and Head of LabelServices. Davis will oversee Round Hill’sA&R efforts. A storied producer, engineerand songwriter, Davis has written, produced,and/or mixed for such artists as P!nk, MarcAnthony, Biggie Smalls, P. Diddy, Outkastand Santigold. He has accrued 20+ Gold and Platinum records and hasbeen credited on albums with sales topping 100 million worldwide. “Davisadds another dimension to the Round Hill team with his A&R abilities,” saysJosh Gruss, CEO of Round Hill. “His connectivity to songwriters and bands,intense energy and his own experiences as a producer and songwriter willbe of great benefit to Round Hill.” Contact lily@golightlymedia.com.Sam WattersVP, A&R Island RecordsIsland Def Jam Music GroupIsland Def Jam Music Group hasexpanded its A&R focus with theappointment of Sam Watters as VicePresident of A&R, Island Records.Watters will take a senior role in theA&R Department, actively seeking out,discovering and signing new talent.Based at Island Records in Santa Monica,Watters will report directly to Island Records President David Massey inNew York. Since his successful stint in ‘90s boy band sensation, ColorMe Badd, Watters has achieved a notable track record as a songwriterand producer. He was responsible for launching the careers of JessicaSimpson, Anastacia and Fantasia. For further information on thisappointment, contact Universal Music’s Renata Muniz, renata.muniz@umusic.com.Mike MucciloDir. of Direct Response Advertising SalesMusic ChoiceMusic Choice has announced the hiringof Mike Muccilo as Director of DirectResponse Advertising Sales. In this newlycreated position, Muccilo will work withagencies and clients nationwide to expandMusic Choice’s direct response advertisingrevenue across all its networks includingMusic Choice Play, Video On Demand andMusic Channels. Muccilo most recentlyserved as a National Account Executive at Rovi where he grew directresponse revenue by 200% over three years. Prior to that, Muccilo workedat various broadcast/cable networks selling both Direct Response and LocalAdvertising including, Comcast Spotlight, National Cable Communicationsand Eagle Television. Contact jpaganuzzi@musicchoice.com.Jeff BarnesStudio ManagerThe Record PlantThe Record Plant Recording Studioshas announced the appointment of JeffBarnes to the position of Studio Manager.In his new role, Barnes will work closelywith Record Plant Recording StudiosPresident Rose Mann-Cherney andVice President/General Manager JasonCarson, and manage the day-to-day studiooperations including studio bookings, scheduling of engineers, overseeingof technical operations/equipment, and project budgets, while interfacingwith producers, recording artists and artist managers. A classically trainedmulti-instrumentalist, Barnes started at the Record Plant Recording Studiosin May of 2008 as a “runner,” rising rapidly over the years within theorganization. Contact info@recordplant.com.Mike GowenAssociate PublicistMSO PRMSO PR has announced, via thecompany’s President Mitch Schneider, theimmediate promotion of Mike Gowen toAssociate Publicist at the Mitch SchneiderOrganization (MSO). Gowen began at MSOin 2012 as a part-time assistant to AngelaVillanueva before advancing to the positionof executive assistant to President MitchSchneider, who he will continue to work closely with in his new role. Overthe past two years Gowen has been involved in the media campaignsfor various artists in multiple genres including the Black Crowes, BlackSabbath, Dave Stewart, Dream Theater, Dwight Yoakam, John Fogerty,Slash, the Smashing Pumpkins, Ted Nugent, Wynonna Judd and others.Contact toddb@msopr.com.AJ BurtonDirector of Publishing, NashvilleNettwerk Music GroupNettwerk Music Group (NMG) hasannounced the appointment of AJ Burtonto Director Of Publishing, NMG Nashville,to expand the presence of NMG’spublishing division, Nettwerk One (NW1).Nettwerk’s relationship with Burton beganin 2011 with the initiation of a partnershipbetween NW1 and Revelry Music Group,an independent Nashville publishingcompany co-founded by Burton. Through the joint venture, NW1 andRevelry signed several successful Nashville writers, like Neil Masonand Jessie Jo Dillon. In his new roll with Nettwerk, Burton will seeknew writing talent, as well as opportunities for current NW1 clients inNashville. Contact Danielle Romeo, Nettwerk Music Group, romeo@nettwerk.com for additional information.Mike van der LogtSales ManagerAshly AudioSpurred by growing demand in foreignmarkets, Ashly Audio has appointedindustry veteran Mike van der Logt of4M4You, to serve as its sales managerfor Europe, the Middle East and Africa(EMEA). Van der Logt has over 25 yearsexperience in the industry providingproduct and relationship advice to proaudio manufacturers. Based in theNetherlands, he is well-suited to serve EMEA customers. On behalfof Ashly, van der Logt will travel the region to strengthen and expandbusiness with existing distributors, and develop new relationships tosustain and build sales momentum. Contact davis@aadvert.com forfurther information.April 2014musicconnection.com9

– BARRY RUDOLPH barry@barryrudolph.comFISHMAN FLUENCE ELECTRIC GUITAR PICKUPThe Fishman Fluence pickups are said to avoid the typical problems of passive pickups made with traditionalwire-wound coils and eliminate the tonal inconsistencies due to the inherent limitations of outdatedpickup technology such as spurious noise, hum, cable capacitance problems and loss in tonal response. TheMulti-Voice feature in every Fluence pickup allows players to transform their individual pickups from vintage, tohot, “line-in” clean or super hot with the right level and gain for each voice. Fluence will be introduced in bothsingle-coil (single width) as well as classic and modern humbucker designs in a variety of finishes.Fluence is also the first pickup system with active electronics to eliminate both battery cost and tricky installations.When coupled with the Fluence rechargeable Lithium-ion battery pack, time between charges is weeksinstead of hours. When the battery is low, just plug in a standard USB charger for another 200+ hours of playingtime. In a pinch, a standard 9V battery will also power Fluence pickups.http://fishman.comGOPRO HERO3+ BLACK EDITION/MUSICUNIVERSAL AUDIO APOLLO TWINApollo Twin is a desktop Thunderbolt audio interface for Macsthat uses the same 24/192 kHz A/D/D/A conversion as theUniversal Audio Apollo rack units. Inside, the Apollo Twinincludes either a UAD Solo or Duo UAD processing card.You can have up to 6 X 2 channels of simultaneousinput/output channels. Up to 8 channels of additionaldigital audio input is possible using the ADAT optical. Thetwo digitally-controlled analog microphone pre-amps featurehigh-pass input filters, 48-volt phantom powering, a -20dB attenuator andpolarity flip.Apollo Twin is built in a rugged aluminum case with accessible front panel headphone and instrument connections.The interface allows Mac users to record in real time (latency of less than 2ms) through the UAD PoweredRealtime Analog Classics Plug-In bundle.With Apollo Twin, UA also introduces the new Unison Technology. By integrating Apollo’s mic preamps and its onboardUAD plug-in processing, Unison recreates the sound of the most sought after tube and solid-state mic preamps.Available in both SOLO and DUO models, Apollo Twin is priced at $699 (SOLO) and $899 (DUO).http://uaudio.com/twinThe Hero3+® Black Edition/Music is GoPro’s® latest camera bundle that includes a special collection ofaccessories designed for use by musicians, DJs, music promoters, journalists or any one interested in makinguser-generated videos. This latest bundle includes mounting adapters to attach the camera to instruments,turntables, mic stands, guitars and amps —even your own body tomake videos that capture the “in-the-moment” feeling and energy ofyour live performances.GoPro cameras use an internal rechargeable battery and recordvideo and audio on an inserted micro-SD memory card for up to twohours at 1080p / 30 fps. The HERO3+ Black Edition/Music (MSRP$399.99) comes with The Frame, GoPro’s lightest weight, non-waterproofcamera mount.Other accessories included are: a set of two removable InstrumentMounts, the Mic Stand Mount and “Jaws”, a fully articulatedflex clamp with a spring-loaded clamp for mounting the camera to acymbal stand, drum hardware or the rim of a drum, turntables or the edge of a table.I downloaded the free GoPro App for my iPhone and iPad to control via WiFi and view what the camera is capturing even if I have itmounted out of reach at some distance. The app allows remote control and configuration of the camera’s video frame rate up to 60FPS,still photo resolution and time-lapse photography.http://gopro.comD’ADDARIO GUITAR DOCKAlthough leaning your guitar up against the nearest wall, table, amp orequipment rack makes it handy, at best it’s a temporary and precarious restingplace —which is why D’Addario has released its Guitar Dock. Not a guitarhanger as I first thought, the Guitar Dock is a neck cradle you can carry inyour gig bag. Your guitar’s weight rests on the floor and then any solid flatsurface such as a table’s edge, desktop or a bookshelf can be utilized to acceptthe fully adjustable U-shaped clamp of the Guitar Dock.By utilizing a 360-degree rotatable neck cradle, it allows for universalmounting at any angle such as a vertical rack rail or angled furniture. Thedurable rubberized molding protects both the instrument and the mountingsurface’s finish.A great idea when floor space is limited, the Guitar Dock also folds up intoa 4 x 4-inch square for travel and sells for $42.99. MSRP.http://planetwaves.com10 April 2014 musicconnection.com

November December 2013April 20142013 musicconnection.commusicconnection.commusicconnection.com 21

– BARRY RUDOLPH barry@barryrudolph.comAURALEX HOVERDECKThe Auralex HoverDeck isolates a drum kit from the floor or a hollow stage andreduces unwanted coloration from floor resonances. In a project studio, it will providesound isolatioan modular risers. This system minimizes structure-borne soundtransmission and sympathetic vibrations between drums and hardware.The HoverDeck is available in two models. For four- and five-piece drumkits, there is the HD-64Gig made up of six, HD-22 platforms each measuring 23 3/4x 23 3/4 x 1-inches plus one HD-tc platform measuring 23 3/4 x 31 3/4 x 1-inches.For larger drum kits and touring applications, there is the HD-88Concert that uses 12 HD-tcplatforms. Either model is offered with an optional rugged road case and you can buy additionalpairs of HD-22 platforms and the smaller HD-s Satellites measuring 13 1/2 x 17 1/2 x 1-inches for customizingyour HoverDeck. I like the way the two HoverDecks can be quickly assembled and disassembled; it usesa set of low-profile isolating boards with optimally placed hook and loop fasteners.http://auralex.comFOCUSRITE ITRACK DOCKFocusrite’s iTrack Dock studio interface makes excellent use of Apple’sLightning equipped iPad and iPad Mini devices. iTrack Solo has two built-inFocusrite Scarlett microphone preamps, plus two line inputs (stereo) andinstrument DI. There are balanced main monitor outputs, an independentstereo headphone output jack, plus a USB port for connecting class-compliantMIDI instruments/controllers.You get Focusrite A-D/D-A conversion with over 105dB dynamic rangeand up to 24bit/96kHz sample rates. There is 48-volt phantom powering forstudio microphones and also Scarlett’s cool-looking Gain Halos—those mesmerizing“rings of light” around the input gain controls for setting recording levels.With its built-in Core Audio driver, the iTrack Dock works with any Core Audio applike GarageBand, Cubasis, Auria or the included Tape app by Focusrite. iTrack Dock’sdirect monitoring sends your input signal straight to the headphone and main monitor outputsfor latency-free monitoring.For iPad users in need of a portable DAW, the Focusrite iTrack Dock seems like a no-brainer. Itsells for $249 MSRP.http://focusrite.com/itrackdockSCHECTER HELLRAISER HYBRIDThe Hellraiser Hybrid collection is a combination of the Hellraiser and SLS models. The Hellraiser’ssignature, highly-figured quilted maple top is now redesigned with a more sculptured arch and is set into themahogany body with an increased upper accesscutaway. All HH models will be finished ina high gloss and transparent Black Burst color.The HH’s come with EMG’s 57/66 activehumbuckers with brushed back metal-workscovers. The HH C-7 and C-8 versions alsouse USA-made Hipshot Non-Trem bridgesto accommodate progressive playing styles.The SLS shares its popular thin C-shape,fast neck profile and satin finish. The compoundradius ebony fiberboard is adornedwith an inverted dot pattern and Metal Crossinlay at the 12th fret.Prices range from $1,499 MSRP for the C-8to $1,299 for the C-1 or Tempest guitars.http://schecterguitars.comAPI 505 DI MODULEThe API 505 DI Direct Injection module is a new 500-series that fits the company’s consoles, API Lunchbox® aswell as the API 1608 small-format analog console. The 505 DI includes gain control, adjustable tone control, a brightswitch, a -20dB pad, switchable 100/400k-ohm input load impedance toggle, and a thru connection to your instrument/guitar/bass guitar amp.With 55dB of total gain available, the API 505 DI amplifies your instrument’s signal output up to +4dB line leveldirectly (pardon the pun)—without the need of a microphone pre-amp. I also like the 10-segment front panel LED VUmeter that ranges from -18dB to +9dB with peak overload indicator.Like the console-based API 205L, the 505 DI is specifically designed toaccept a guitar, bass or keyboard direct input while minimizing any of theloading effects that change the tone of your instrument’s high impedancepickups.As a very handy addition to any 500 Series rack, the API 505 DI modulesells for $595.http://apiaudio.comBARRY RUDOLPH is a recording engineer/mixer who has workedon over 30 gold and platinum records. He has recorded and/ormixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, theCorrs, and more. Barry has his own futuristic music mixing facilityand loves teaching audio engineering at Musician’s Institute, Hollywood,CA. He is a lifetime Grammy-voting member of NARAS anda contributing editor for Mix Magazine. http://barryrudolph.com12 April 2014 musicconnection.com

Guitar Envy?Feed Your Obsession Here.Make Full Compass Your Source For Low Prices On The Best Gear.Top Brands Including:Follow UsApril 2014musicconnection.com13

MasterAudio fromthe AudioMasterThrough his eyes and ears,learn the ins and outs ofrecording from masterengineer Roger Nichols.Beginners and pros willinstructiveand insightful.Features: Planning a recording session Choosing the right microphone Roger’s personal tips for mixingand automation A DVD-ROM with Pro Tools And much moreVisit alfred.com/roger-nicholsBOOK STORERolling Stones GearBy Andy Babiuk and Greg Prevost(hardcover) $60Following up Beatles Gear, Andy Babiuk, andco-author and co-bandmate (Chesterfield Kings)Prevost deliver an awesome 672-page compendiumof Stonesgear from 1962to the present.Painstakingly researched,keenlyobserved andlavishly illustratedwith exclusiveimages, this heftyhardcover tomewill engross longtime,hardcorefans.Turn Up The Radio!Rock, Pop And RollIn Los Angeles 1956–1972By Harvey Kubernik, foreword by Tom Petty(hardcover) $45Once again, music historian Kubernik putsan intense focus on his hometown’s contributionto rock history, resulting in an attractivecloth-bound bookTURN UPthat spotlightsthe city’s radioTHE RADIO!DJs, producers,ROCK, POP, AND ROLLengineers andIN LOS ANGELESmusicians, both1956–1972famous and obscure.The bookis a revelatory,Harvey kubernikanecdote-filledForeword by TOM PETTYride.Afterword by Roger SteffensFeaturing Exclusive Interviews with the Classic Bands, Musicians, Vocalists,Songwriters, Producers, Engineers, and DJs of the 1950s, ’60s, and ’70sDiY Rock GuitarBy Nathaniel Gunod, L. C. Harnsbergerand Ron Manus(paperback) $9.99Offering a new way to learn, DiY Rock Guitar(part of a series along with DiY Ukulele, DiYGuitar, DiY Keyboard, and DiY Drum Set) offersinteractive streaming content to complementeach guitar lessonin the book.No teacher isnecessary withthis book, sincelessons are simpleto follow—withvideo lessons andaccompanimentsavailable to streamor download.Rock AngelBy Jeanne Bogino(paperback) $16.99In a show business novel filled with egoclashes, sexual tension, drug addiction, dreamsof success and nightmaresof stardom,the rarefied world ofambitious musiciansis rendered with arelentlessly keen eyeand ear. Rock Angelshould appeal to anyonewho’s been in aband, or who wishesthey were. This bookis available beginningJuly 1 from PrashantiPress.A Man Called Destruction:The Life and Music of Alex ChiltonBy Holly George-Warren(hardcover) $27.95A walk through the downward spiral that was thelife of teenage celebrity/musician, cult figure AlexChilton, this bio explores Chilton’s rollercoaster tostardom (the BoxTops, Big Star)and the downfallthat ended hislife in 2010. Thisbiography is abirth-to-deathaccount of his lifeand career, fromMemphis to NewYork City to NewOrleans, usingover 100 interviewswith bandmates, friendsand family.Make Some NoiseBy Scott Binder(paperback) $29.99An acclaimed spinner, Scott Binder (BangerBros.) blendspractical adviceand tools for learningthe DJ craft.Binder teachesthe basics, butgoes beyond thehow-to, discussingsubjects suchas DJing whileplaying with a liveinstrument as wellas goal setting,marketing andchoosing yourmusic genre.14April 2014musicconnection.com

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– JONATHAN WIDRANPETERSON STROBE TUNERShttp://petersontuners.comIt All Began With An Organ: In 1948, Richard Peterson, Founderof The Northern Illinois-based Peterson Company, completed developmentof the earliest Peterson analog tuner, the Model 150, which wasmarketed after being developed for Peterson’s own use for tuning organs.The company went on to develop the world’s first transistor organin 1957, which would be marketed by Gulbransen and help secure thatcompany’s position as technical leader in the organ field.Six Decades Devoted toAccuracy: The first tone generatorswere created to audibly tuneusing the tuner as the referencepitch. While some of those earlyPeterson tuners are still in usetoday, over the last 60 years theline has developed side by sidewith the organ controls division.Trusted by professionals for oversix decades, Peterson (branded as“The Sound of Precision”) offersa wide variety of strobe tuningequipment for various needs today.Chris Labriola from the company’stuner product developmentdepartment says, “We provideaccuracy anywhere from10-30 times that of ourcompetitors.”Affordable to theEnd User: Whilemost strobe tunerspreviously cost severalhundred dollars, the$140 consumer-friendlyPeterson StroboPlusHD is an ultra-high resolution strobe tuner with the company’s largestilluminated display ever featured in a traditional strobe format. Users canchromatically tune any instrument confidently to even the most exactingstandards or use any of the over 90 exclusive Sweetened Tuningsthat are developed andoptimized for specificinstruments. All instrumentscan be adjustedslightly different toaccount for issues likestring deflection andstring gauge.Adaptability:Consumers can usethe built-in mic, plugin or clip-on pickupto tune their instrumentsquickly withthe StroboPlus HD’ssmooth, real time display—or they can program their custom tuningsusing the PetersonConnect online utility. Other products that Petersonhas been well known for over the past decade are the StroboClip clipontuner, the StroboStomp Classic pedal tuner and the StroboRackrackmount tuner. Peterson also offers mobile tuning apps for iOS andAndroid for $9.99.Contact Peterson Strobe Tuners, 708-388-331116 April 2014 musicconnection.com

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Yes Tracks In A Desert OasisGeoff Downes, Alan White and Chris Squire of Yes are seen recording at TheSaltmine in Mesa, AZ. The band tracked four songs last November utilizingthe studio’s Neve 1073, Urei compressor, Hammond C-3 with Leslie 122,Nord Stage, DW house kit, 76 Rickenbacker Bass thru 1979 Marshall guitaramps. The studio also recently hosted Juicy J, Cold Cash and Chris Solomon.Get more Saltmine updates at http://thesaltmine.com.Allegaeon Flatline In DenverWhile tracking in Denver’s Flatline Audio, members of Allegaeon decided totake this “metal selfie.” The band is currently recording its June 2014 releasewith producer/engineer, and Flatline Audio owner, Dave Otero. Additionalinformation can be found at https://facebook.com/allegaeon.TAYLER AUBINEvery Time I Die Step Into Massachusetts’ GodCityEvery Time I Die are currently tracking their upcoming release at GodCity Studioin Massachusetts. The record is being engineered by GodCity owner andConverge guitarist Kurt Ballou (Skeletonwitch, Torche, Converge). The yet-tobe-titledrecord is slated for a Summer 2014 release and will play followup tothe band’s 2012 release, Ex Lives. Get more details at http://everytimeidie.net.Peter Gabriel Tour Upgrades To SSL LivePeter Gabriel’s Back to Front tour made full use of the new SSL Live consolessupplied by Britannia Row Productions for the first part of the tour in late2013, and will continue to utilize the gear when the tour resumes in April2014. Pictured (l-r): Peter Gabriel’s live show coordinator and personalmonitoring and studio engineer Richard Chappell; monitor engineer DeeMiller; and front-of-house engineer Ben Findlay.More Studio NewsERNIE BALL LAUNCHES‘REAL TO REEL WITH SLASH’:Ernie Ball, manufacturer of guitarstrings and musical instrumentaccessories, has launched a newdigital series with the Grammywinning,guitarist and Rock andRoll Hall of Fame artist Slash andhis band Myles Kennedy and theConspirators. The online series,titled Real to Reel with Slash,documents the entire in-studiorecording process of the iconicartist’s forthcoming third soloalbum, along with world-renownedmusic collaborators Myles Kennedy,Todd Kerns and Brent Fitz,returning to the studio for a thirdtime. From the first day of recordingto the last, the multi-segment flyon-thewall series will follow Slashand the Conspirators from preproductionat NRG Studios in LosAngeles to Studio Barbarossa inFlorida, as they write, play, createand record the new album fromstart to finish. A new episode clipwill be featured on the site for fanseach week and will showcase abehind-the-scenes sneak peekinside the recording sessions. Visithttp://slashonline.com.Producer Playback“Check your ego at the door. It’s not about you. It’s about theartist and the consumer.” – Sergio George(Marc Anthony, Christina Aguilera, Tito Nieves)18April 2014musicconnection.com

– ANDY MESECHER andym@musicconnection.comMuse Track In Santa MonicaEnglish powerhouse Muse spent a week at Santa Monica’s 4th Street Recording.Pictured (l-r): Dominic Howard, drums; Kathleen Wirt, owner of 4th StreetRecording/Republic; Sejo Navajas, engineer and partner at 4th Street Republic;Matthew Bellamy, guitar/vocals; and Chase McElhaney, assistant. For themusical history behind 4th Street, visit http://4thstreetrecording.com.Carter Invites Friends & Family To OceanCountry music legend Carlene Carter has recorded her forthcoming album,Carter Girl, at Ocean Way in Hollywood, with additional sessions in Nashville.The album was produced by Don Was and mixed by Bob Clearmountain, forrelease on Rounder Records, Carter’s first for the label. Pictured foreground(l-r): Carter and producer/bassist Was. Pictured rear (l-r): Greg Leisz, steelguitar; Wesley Seidman, assistant engineer; Rami Jaffee, accordion; TiffanyAnastasia Lowe (Carlene’s daughter); Jim Keltner, drums; Howard Willing,engineer; and Blake Mills, guitar.DAVID GOGGINTesseracT Shoot Four Videos In Four StudiosU.K.’s progressive rock band TesseracT are presenting the first part of theirlatest album, Altered State, in a high-quality, live studio session. The video islikely the first of four, which will cover the entire new album in four sections,in four different studios. See the first installment filmed in Sphere Studios athttp://youtu.be/O-hnSlicxV4.Studio City Sound Tracks British TalentBritish recording artist Ed Barker paid a visit to Studio City Sound duringa recent promotional tour in support of his debut album Simple Truth.Pictured (l-r): Tom Weir, SCS owner; Barker; and Larry Weir, National RecordPromotion. The Weir brothers are both assisting in the project.April 2014 musicconnection.com 19

PRODUCER CROSSTALKBy Rob PutnamSCRUZMATIKanta Cruz hip-hop and production duo Cruzmatik—J-Willz (JasonWilliams) and Famouz (Reggie Stephens)—became friends in highschool. Their careers diverged down different paths soon after:Famouz attended Rutgers out east and played pro football for a time. Laterhe landed a record deal and segued into production. Meanwhile, J-Willz wassinging with hometown rock outfit Ribsy’s Nickel and toured with them for 12years. The pair reunited around 2009 and last year released their EP StyleTrippin on their own label SpinRich. Their singles “Party Don’t Stop” and “UpAll Night” have been well received online, paired with high-quality videos.Although Famouz has a productionbackground, Cruzmatik works almostsolely with Santa Clara-based producerJustin Dublin Beats. “We workwith five beat makers but only oneproducer,” he explains. “We’ll comeinto his studio with an outline and he’llturn it into a masterpiece. He’ll addor subtract from the beat to make itstronger. There’s an energy and a vibeand everything works.”The way Cruzmatik begins a newproject usually starts with a beatsourced from a small pool. “We get abeat and we might not think of somethingfor two or three months,” Famouznotes. “Then Jason [Dublin Beats]might come to me with an idea. That’susually how we start to build a song.Once we get into the studio, Jason willalso make suggestions, like makingbeats fuller with live instruments andthings of that nature.”The three most importantthings they’ve learned asproducers are: - - Moving from the largely reggae/rock sound of Ribsy’s Nickel to hip-hopwas a stretch for J-Willz. But he found that when he rose to the challenge,things soon fell into place. “A lot of those songs were out of my comfortzone,” he explains. “The ones that I learned the most on were the ones onwhich I pushed myself the hardest. ‘Party Don’t Stop’ was like nothing I’dever done before. Now it feels like I can do anything.”Indeed, he finds that the skills that he and Famouz both bring to theprocess complement each other nicely. “It’s like the yin and the yang,” thesinger asserts. “There are things that I can do that he can’t and vice versa.We help each other. Without him, I don’t think I’d learn as much.”Cruzmatik’s approach to finding success in cyberspace was to link upwith online distributor Empire Distribution, a relationship that came aboutthrough a friend. “Being on [online music site] Vevo, we’re right next to themajors,” Famouz observes. “The digital process of music now allows you tonot necessarily be on a major [label] but it grants you access to everythingthat they have. Having quality music and a nice digital deal was key to ourprocess. Empire got us onto Pandora, Vevo, Google Play and Amazon.”Both of the duo favor Empirical Labs’ Distressor compressor withample reverb. “It makes things pop out,” Famouz says. J-Willz prefers theSoundelux ELUX 251 microphone, which he runs through a Neve 1073 micpreamp and equalizer.Projects on the horizon for Cruzmatik include a full-length album, whichthey expect will drop in the spring or summer, and the launch of their clothingline. The video for their single “Clouds” just dropped online. Cruzmatikis noted for the quality of their music video production, commonly employinghelicam mini helicopter cameras to dramatic effect.Contact Elan Vance - The Image Cartel, 310-540-5120; http://cruzmatik.com20April 2014 musicconnection.com

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– ANDY KAUFMANNRena WassermanGeneral ManagerThe Greek TheatreYears with Company: 9Address: 2700 N. Vermont Ave.,Los Angeles, CA 90027Phone: 323-644-5018Web: http://greektheatrela.comE-mail: rwasserman@nederlander.comBACKGROUND: The historic GreekTheatre in Los Angeles has beenentertaining audiences since 1929. A familyowned,outdoor venue, the Pollstar darlinghosts 50 to 60 concerts a year. The venue’sgeneral manager, Rena Wasserman, firstlearned the ropes in the S.F. area underfabled promoter Bill Graham.Getting to The GreekI started in this business in 1971 as astudent at Berkeley High School. Luckily forus, Bill Graham, who brought concerts to theEast Bay, booked the community theatre,which was part of the high school. So therewas a group of us kids who were hired. Wedid a bit of everything, from pit security tolighting to being stagehands. I ended upworking for Bill directly when I graduatedfrom high school and worked at Winterlandfor a number of years. I found my way toUCLA for technical theatre, graduated andmoved to New Hampshire, where I workedat Dartmouth College at their performingarts center for seven years. I found myway back to Los Angeles, working underBill Graham opening The Wiltern Theatre andspent five years as a production manager, thenbecame the general manager and stayed therefor 20 years until I was wooed by Nederlander tomanage The Greek. I’ve been here ever since.To Every SeasonEvery day is different, primarily becausewe’re a seasonal venue. However, I work withNederlander Concerts as the VP of Operationsfor all the third party buildings and many of thebuildings that are ours. For example, we bookThe San Jose Civic, The Santa Barbara Bowland The Grove in Anaheim. Some of thosevenues have shows year ‘round, while SantaBarbara and The Greek are seasonal. The dayto-dayis very different in the off-season when thestaff is minimal. We ramp up in March lookingtoward the mid-April/May opening.Good Neighbor PolicyDealing with the politics of a city-owned venue,as well as neighbors, is probably the mostchallenging aspect of my work. We’re veryactive in the community. We sit down with ourneighbors regularly. I hold monthly coffee hoursthat are open to the public and give the forumin a relaxed setting for people to air their viewson what it’s like to live nearby. I have found thatthe best relationships are those where you aresimply truthful and transparent. As far as I cantell, the neighborhood really likes that.There are certain things that happen in avenue of this size that’s outdoors and close toa neighborhood with one road in and limitedparking that can never be perfect, which isreally difficult for me as somebody who is aperfectionist. But the neighborhood is happy toknow that we work with them in a cooperativespirit to try and make things better. We have aperson whose sole job it is to be at their beckand call, so complaints are handled with animmediate response.“I think the staff around me issurprised to see me jump in when there’sa problem. It’s not hiding out in an ivorytower; it’s being in the trenches with thepeople that make it happen.”Keeping Calm and Carrying OnHow I handle myself in those situations has todo with my upbringing and all of my experiencesbeing alive, not necessarily specific training.People don’t like to be surprised. I think peoplewould rather hear something they may not likethe answer to than not having an answer. Theydon’t like thinking you’re hiding something. Sowhile we can only do so much or go so far, thefact that we are working on it and communicatingwith them is helpful to the relationship andsupport we have in the neighborhood.The Jewel of L.A.The Greek is a jewel in a major urban city. It’sa natural setting that’s unparalleled. You get uphere literally a mile from a major street, Los FelizBoulevard, and it’s like you’re in another world.The intimacy is also amazing. You’d not knowthat this is a 6,000-seat venue. Every seat isrelatively close to the stage and the sight linesare fantastic. Over the years, we’ve worked atperfecting the quality of the sound here and it issuperb.Remaining IndependentThe biggest change [in the concert business]would be the SFX rollup in the late ‘90s. Thatwas the company founded by Robert Sillermanthat bought out all the independent promoters,or as many as he could. That changed the soulof the music industry, as far as promoters wereconcerned. It became large corporations runningthe concert business. One of the reasons I cameto work for Nederlander Concerts was becauseit’s a mom-and-pop operation. And it’s still smallenough to be nimble and not have to go througha bunch of red tape to affect change, be it thefan experience or something the artist maydesire. That’s much more difficult with the biggercorporations that are now in our industry.Ready, Willing and Able:You have to be willing to do anything with asmile on your face. Some people are cutout for that and others aren’t. Being inthis industry isn’t – ANDY something KAUFMANN you learnin school. There may be some whoargue that; there are a handful of musicbusiness programs and colleges. But atthe end of the day, most of it is commonsense. I remember following Bill Grahamaround in the mid-‘70s and he was neverwithout a pad of paper and pen to takenotes. He was never afraid to pick up apiece of garbage. However successfulhe became, he did that. That was a hugelesson. To this day, I do that. I think thestaff around me is surprised to see mejump in when there’s a problem. It’s nothiding out in an ivory tower; it’s being inthe trenches with the people that make ithappen.Creating ExperiencesWe all talk about the fan experience,but Bill was into that long before it evenwas called that. He went out of his wayto make sure the patron had a greatexperience. And he did the same thingback stage. To this day, other thanAnother Planet who worked with Bill aswell, there’s no ambience backstage inour industry like when Bill was alive.Tough ActWe take applications beginning in April.The main job opportunities are usheringfloor staff and parking. Beyond that, ifyou’re going to work on our stage you’vegot to be a member of Local 33. If youwork in our box office, you’ve got tobe a member of the box office union. So theopportunities are not huge. But having saidthat, there’s roughly a hundred people thatget hired every year. Many of them are longterm,loyal, returning staff members. Quitehonestly, these jobs are hard to come by. I wasgeneral manager at The Wiltern for 20 years.Unless I left, there was nowhere for somebodyunderneath me to move up.Top of the WorldThere’s nothing like looking at an audience andseeing the joy on people’s faces. And knowingI had some part in creating that environmentis very rewarding. I feel incredibly lucky. Iremember when I was about 17 and wantedto be a lighting designer and stage manager.I’d just begun working for Bill and my mothersaid, “How can you make a living doing that?”I was already being paid to be a stagehand. Itwasn’t much money, but being paid was kindof over the top. You’re doing what you loveand somebody’s actually paying you to do it. Itdoesn’t get any better. At 21, I’m driving acrossthe country to pick up dancers at a dancecompany I stage managed and thought, oh myGod, I’m being paid to drive across the countryin a van with no spare tire. How great is this?I’m on top of the world.It’s In the DetailsA couple years ago, we presented NeilDiamond. That guy cared about every singleperson coming to the show. He asked me totake him up to the last seat in the terraces andhe created a show for every single person.After the run, he wrote me a short note. Myimmediate reaction was, wow, I’ve neverreceived such a nice note. I don’t meet everyartist. It’s actually unusual when I do. I don’tthink I’d ever actually gotten a written note froman artist. That he would recognize [the work wedo] says so much about his attention to detail.22April 2014musicconnection.com

– BERNARD BAURMUSIC CONNECTION’s BusinessAffairs delivers up-to-date informationabout the signings of newartists, significant developmentsat major and indie labels, as wellas news of managers and attorneyswho are active in the A&Raspect of the music business. Sothat MC can provide the most currentinformation possible, pleasesend any industry news, buzz orrumors that need to be verified toBBatMC@aol.com.OPPSUrban Network Digital (UND) isoffering artists the chance to befeatured in its “Artist Spotlight.”Artists featured in UND’s spotlightwill receive two email blasts to over150,000 people, which includes:150 radio stations, 2,000 DJs,major label executives, executivesat BET, the Grammys, radioconsultants, 2,500 industry VIPs,50 entertainment magazines, 100publicists and all major digitalretailers. UND can also provideadditional services for artist andlabels that are serious about takingit to the next level.Urban Network Digital isalso hosting an Urban Music-Entertainment Summit. Thisyear’s summit-theme is “Back toBasics” and will be held in SanDiego, CA from May 1 to 4, 2014at the Four Points SheratonHotel. You can visit http://urbannetworkdigital.com for moreinformation about both specialoffers.SuperXtar is a weekly worldwidesinging contest with a grandfinale at the end of each year.The winner receives free promotionin all social media networkchannels. SuperXtar was launchedto fill the void left by TV talentshows and because of an absencein the entertainment industryof online interactive singingcontests. All genres of music areaccepted and registration is free.To learn more and to submit yourperformance, go to http://superxtar.com for details.Airtime PR is a new boutiquemarketing and public relationsfirm that specializes in onlinepromotion for musicians,innovative businesses andcelebrities. With offices inOrange, CA and Austin, TX, thecompany has relationships withwebsites, blogs and zines thatreach critical target markets viastrategic campaigns. Founded bylongtime entrepreneurial partnersBob Bradley and Scott Austin(of Authentik Artists, as wellas Maverick, Fearless, WarnerBros. and Capitol Records),Airtime can help set up artistreleases and also promoteyour music along with a videoby securing exclusive featuresand news posts. Go to http://AirtimePR.com for additionalinformation.SIGNINGSGrammy-winning recordingartist P!nk has inked a brandnew worldwide multi-albumrecord deal with her current labelRCA Records. 2013 was a big yearfor P!nk. Her 2012 album, The TruthAbout Love debuted at No. 1 on theBillboard 200 albums shart as wellas in six other countries. The albummarked P!nk’s first No. 1 debut inthe U.S. and a personal first weeksales best. In fact, in December2013, P!nk received the honor ofJOHN MAYALL'SSPECIAL LIFEForty Below Records hasannounced the signing of thelegendary “Godfather of BritishBlues,” John Mayall, and aMay 13 release date for hisfirst studio album in five years,A Special Life, distributed bySony/RED. The new album wasrecorded at Entourage Studiosin North Hollywood, CA andwas produced by Mayall, withco-production, engineeringand mixing by Eric Corne. Thenew record boasts originalcover art and design created byMayall himself. Over the last 10years, Mayall has released liverecordings on his own onlinelabel, Private Stash Records(some are still available on hiswebsite). For additional details,visit http://johnmayall.com.BAD KENZIE HAS NO RAP SHEETMusician/actor Mackenzie Sol Williamson (aka Bad Kenzie) wants to bea superstar. At 13, he’s got plenty of time to achieve that goal. But, he’spursuing it at breakneck speed. He’s already worked in theater and TV, andappeared on X Factor UK and Open Mic UK where he reached the finals. He’scurrently working on a pop-hip-hop EP with Marcus Brown (Madonna, Seal)and Brian Julianel (Camp Clovenhoof) in their Laurel Canyon studio. AlthoughBad Kenzie is sometimes compared to a cooler, younger Justin Bieber, he hasno rap sheet. Go to http://mackenziesol.com to find out more. Pictured (l-r):Brown, Kenzie and Julianel.being named “Billboard’s Woman ofthe Year.” For more dish on P!nk, goto http://pinkspage.com.Dave Mason, a Rock & RollHall of Fame inductee andco-founding member of Traffic,has announced a release dateof May 13 for his new album,Future’s Past, via SomethingMusic/MRI. The record featuresnew versions of his classic songsplus new material that he haswritten and performed on tourover the last few years. Renownedfor such Traffic hits as “Feelin’Alright” (covered by Joe Cocker)and “Hole In My Shoe” plus hissolo signature tracks “We JustDisagree” and “Only You Knowand I Know,” Mason’s solo careercontinues to flourish as he toursthe U.S. with his new project billedas Dave Mason’s Traffic Jam. Thecover art for the album was doneby none other than Graham Nash(Crosby, Stills, Nash & Young)from a photo he made of Davewhile at Nash’s home in Hawaii.Visit http://davemasonmusic.comfor additional information.The Los Angeles-based rockgroup Brain Dead have releasedtheir debut LP, Indoctrinator. Ahigh-octane adrenaline rush, thealbum is a ruthless blend of thrashmetal and hardcore punk musicwith heavy doses of intelligenceand talent. “Our artistic influencesspan a wide and diverse arrayof genres,” writes Brain Dead.“Some of our favorites that wealways look to for inspiration areAnthrax, Iron Maiden, Megadeth,Slayer, Pantera, Gwar, the Misfits,Overkill, Judas Priest, Dio, Lambof God, Testament... the list goeson and on.”The record was producedby Bill Metoyer (Slayer, DRI,Morbid Angel, Sacred Reich) andsuccessfully crowd-funded in only12 days, a sign that the rock sceneis definitely waking up. Go to http://braindeadthrash.com for the latestnews.Multiplatinum selling metal bandMegadeth is set to embark ona world tour in over 25 countriesacross four continents startingin April. The tour follows a firsteverperformance at CopleySymphony Hall on April 12, whereDave Mustaine will collaboratewith the San Diego Symphony,demonstrating his classicallyinfluenced technique as a featuredsoloist in Symphony Interrupted.When asked about his appearancewith a classical orchestra, Mustainesaid, “I love the challenge. Ireally admire this genre of musicbecause of the level of skillrequired and there are great darkundertones in these incrediblepieces.” For additional news, visithttp://megadeth.com.PROPSLegendary Doors guitaristRobby Krieger performed atthe 2nd Annual “Rock AgainstMS” benefit concert at theWhisky A Go-Go in Hollywood.Krieger, the original guitar gurufor the Doors, wrote or co-wrotemany of the band’s songs,including “Light My Fire,” “LoveMe Two Times,” “Touch Me,”and “Love Her Madly.” TheRock Against MS Foundationprovides services from a threegrant resource system, providingdaily care, quality of life needsand emergency funding, whileApril 2014musicconnection.com23

– BERNARD BAURassisting people with multiplesclerosis (MS) to live independentand full lives. Additionally, a brickand mortar facility tentativelycalled “The Rock House” isin the planning stages and willprovide, free of charge, multipleprograms and opportunitiesdesigned to heal the mind, bodyand spirit of all those whoselives have been affected byMS. See http://facebook.com/RockAgainstMSFoundation.The 10th MusiCares MAP Fundbenefit concert will honorBlack Sabbath’s Grammywinningsinger-songwriter OzzyOsbourne and owner/CEO ofThe Village recording studios JeffGreenberg. Taking place at ClubNokia in Los Angeles, CA on May12, Osbourne will be honoredwith the “Stevie Ray VaughanAward” for his dedication andsupport of the MusiCares MAPFund. He is being recognized forhis commitment to helping otheraddicts with the addiction recoveryprocess. Greenberg will be therecipient of MusiCares ’ “From theHeart Award” for his unconditionalfriendship and dedication tothe mission and goals of theorganization.All proceeds will benefit theMusiCares MAP Fund, whichprovides members of the musiccommunity access to addictionrecovery treatment regardlessof their financial situation. Visithttp://musicares.org for moreinformation.Jac Holzman, the founderof both Elektra Records andNonesuch Records, received theNYU Steinhardt Music BusinessProgram’s “Visionary Award” at aceremony on March 12. The honorwas presented by Music Businessstudents during an invitation-onlyevent in the University’s FrederickLoewe Theatre. Holzmaninteracted with students anddiscussed his six-decade careerwith Phil Galdston, NYU FacultySongwriter-in-Residence andMaster Teacher in Songwriting.Launched in 2007, its previousrecipients are Irwin Z. Robinson,the dean of American musicpublishers, and Tim Westergren,the founder of Pandora, thegroundbreaking music service. Visithttp://nyu.edu.General Mills has announcedthe launch of its third annualOutnumber Hunger campaign,which has provided more than25 million meals to Americansin need as part of a partnershipwith Feeding America and BigMachine Label Group. Eachyear artists join the initiative toraise awareness for the hungerissue. This year the campaignkicked off with Country sensationFlorida Georgia Line as the faceof the 2014 campaign. See http://feedingamerica.org.THE BIZINgrooves Music Group hasannounced that the companyhas deepened its relationshipwith UK-based Republic of Music(ROM). ROM will partner withINgrooves for its physical distributionneeds in territories outside ofNorth America, including the U.K.,Europe, Asia and Australia.Parton To Release Blue SmokeDolly Parton has signed with APA for North American touring and personalappearances. Parton will kick off her “Blue Smoke World Tour” with datesacross the U.S., New Zealand, Australia and Europe. Her eponymous BlueSmoke CD is slated for release this May. Parton established Velvet AppleMusic (BMI) early in her career so she could own the copyrights andpublishing for her vast songwriting empire. She also formed her own label,Blue Eye Records. During the course of her career, Parton has garnered 7Grammys, 10 CMA Awards, 5 ACM Awards, 3 AMA Awards, and is one ofonly (of five) female artists to win the CMA’s “Entertainer of the Year Award.”Pictured (l-r): Danny Nozell, CTK Management; Parton; and Steve Martin, APA.DIYSpotlightDynasty ElectricTHE BEST DIY ACTS learnto evolve and adapt. DynastyElectric, an indie, electronicduo from Brooklyn, NY, isa perfect example of thatpremise. Fronted by JennyElectrik, their retro-futuristicsound is crafted by SethMisterka (Anthony Braxton,Shy Child, Hot Chip),featuring layered productionsand live instrumentation.The duo formed their own label, Newsonic in the late ‘90s, whichtransformed into an event space and recording studio that morphedinto a musical community. That community allowed bands and DJsto play together at monthly parties and events.Their activity caught the attention of hip-hop mogul DamonDash and led them to work with legendary producer Ski Beatz(Jay Z, Camp Lo, Curre$y), who infused their electro-popmelodies with signature beats, creating a sound that infiltrated theNew York nightlife scene.Recently, Newsonic was re-launched as a media and label group,along with Newsonic TV to showcase other talented musicians.Dynasty Electric’s approach to recording their latest albumEuphoria was unique, to say the least. Recording only skeletalversions of the songs, they reached out to producers and musiciansacross the globe —via social networks and crowd-funding sites—tohelp produce and remix the songs. That led to 15 collaborativetracks.Dynasty Electric have been named an iHeartRadio “Artist toWatch” and have been featured on NME, Nylon Magazine, MTV,Time Out NY and more. Their songs have also been licensed toVictoria’s Secret for ad campaigns.This dynamic duo has played venues and festivals such asBurning Man, SXSW, Tinderbox Fest, Brooklyn Museum, WebsterHall, Gramercy Theater, The Bowery Ballroom and more.See http://DynastyElectric.net.Have a successful DIY strategy to share? Email bbatmc@aol.com.Under the new deal, INgrooveswill integrate a number of itsemployees with ROM and willhave direct relationships witha network of local distributorsaround the world. In addition,INgrooves is adding personnelin its London office to overseephysical pro-duction. The firstrelease under the new deal isa brand new album by longtimeINgrooves client, ThieveryCorporation.AMP (Artists, Managers,Performers), the recently formedalliance between the Musicians’Union, the Music Managers’Forum and the Featured ArtistsCoalition, is calling for streamingroyalties to be split equally betweenthe artist and the label. AMP arguesthat streaming is not a sale in thetraditional sense and does notinvolve any of the associated costsfor the label. The alliance believesthat the current standard practiceof paying streaming royalties on asales basis makes no sense andis unfair to artists. Visit http://bit.ly/1m33Emq for more details.HeadCount, a non-partisan,non-profit organization with amission to promote participationin democracy through musiciansand their music, and iCitizen,a civic engagement platformthat makes citizens involvementin democracy easier throughthe use of sophisticated mobiletechnology, have announced apartnership. In connection withtheir common goal to increasecivic engagement, iCitizen andHeadCount will join forces througha combined and co-brandedpresence at major music festivals,concerts, and other events inwhich HeadCount is involved.Such festival programs will bedesigned to facilitate non-biasedissue education, express tofestival goers the importance ofvoting and much more. You canget full details at http://headcount.org and http://icitizen.com.BERNARD BAUR was voted one of the “TopMusic Business Journalists” in the country.Bernard is the connection between the streetsand the suites. Credited with over 1,200features in a variety of publications, he’s aContributing Editor at Music Connection.24 April 2014 musicconnection.com

– BERNARD BAUR“I’ve Stopped Snickering at These Ads…Want to Know Why?”Keith LuBrant – TAXI Memberwww.KeithLuBrant.comI used to think TAXI was justfeeding on poor artists andsongwriters like me who wanted tocatch their big break. Years went by,and I never thought twice aboutjoining. Those people at TAXIweren’t going to “fool” me!I don’t live in Nashville, L.A. orNew York, so my chances of gettingmy music out there seemed prettyslim. I saw the TAXI ad again lastyear and noticed they offered amoney-back guarantee. I probablynever read that far in theadvertisement because I was toobusy feeling sorry for all those“poor” artists and songwriters“wasting” their money!The Shocking Truth!I figured I’d be asking for mymoney back at some point, but thensomething happened. I submittedsome music that was just hangingout on my hard drive, doingabsolutely nothing. TAXI sent it to acompany and it was placed in a TVshow. I was shocked!Next, I wrote some musicspecifically targeted at a few ofTAXI’s Industry Listings, and oneof those songs ended up being usedon the TBS show, Saving Grace.The sync fee for that song alonewould pay for my TAXImembership for many years tocome. And that doesn’t eveninclude the royalties I’m making onthe back end!Need Relationships?TAXI has helped me buildrelationships with companies thatkeep asking for more of my music –a lot more! My songs startedshowing up on MTV and VH1almost immediately.The World’s Leading Independent A&R Company1-800-458-2111Soon afterwards, a Mattel Hot Wheelscommercial, then in sports trainingsoftware, and most recently, mysongs have been added to AmericanIdol’s database for upcomingseasons.I’ve also signed deals with severalFilm and TV music publishingcompanies. The possibilities for mymusic have now grown beyond mywildest imagination. Does TAXIperform miracles? No, but if yourmusic is right for what the industryneeds, TAXI can get it to the rightpeople.My Only Regret…My one regret is that I didn’t joinTAXI years ago! I try not to thinkabout how much money I couldhave earned during the years I wasstill snickering at these ads. I neverdreamed I could be placing so muchmusic on so many television shows.And my wife is happy that we don’thave to move to a big city!Stop snickering and call TAXInow. It’s real.April 2014musicconnection.com25

AMERICAN AUTH0RSDate Signed: January 31, 2013Label: Mercury, Island RecordsBand Members: Zac Barnett, lead vocals, guitar; James Adam Shelley,guitar, banjo, mandolin; Matt Sanchez, drums/percussion; Dave Rublin,bass guitar.Type of Music: Alternative Pop/RockManagement: Shep Goodman / Alex BrahlBooking: Larry Webman, Matt Galle - Paradigm AgencyLegal: Neil Shulman - Roberts, Leibowitz & HafitzPublicity Lauren Schneider, lauren.schneider@umusic.comWeb: http://weareamericanauthors.comA&R: Steve Yegelwelhe overwhelming success of their second single, “Best Day of MyLife,” catapulted American Authors right into the plush studio seatsTof Island Def Jam. Now, these four Berklee College of Music dropoutsare determined to keep the good times rolling.It all started with some Alt Nation airplay on SiriusXM satellite radioand a song that friends pitched to Lowe’s advertising team “just for fun.”The signing offers quickly came pouring in. But lead vocalist Zac Barnettclaims there’s no big competition against prestigious rock label, IslandRecords. “We’d all been big fans of Island Def Jam for a really long time,”Barnett explains. “The minute we went into the office it just felt right––such good vibes going on there. It felt like family and a good home forus,” “We ended up signing with them a week or so after our first meeting.”Things naturally fell into place after that. The guys now work with ateam that understands their artistic visions and goals.“Don’t think that because youget signed to a label, all yourproblems go away.”“It was a very easy, organic process to make it work,” says Barnett.“When we signed with them we were just doing our thing, making musicin the studio. And they respected that, they trusted us. I think trust is abig thing. We all come up with the ideas and we’re all there, seeing itthrough. We definitely have a lot of creative control.”A loyal management team, supportive since the beginning, alreadyprovided such freedoms––joining the Island Def Jam “family” simplyadded that extra boost of professionalism and widespread promotion.“It always just flows together so nicely. It’s great having all thesepeople, but it’s also nice because a lot of the time it all works so welltogether, you forget that they’re all there,” says Barnett. “Everyone kind ofdoes their part, and it’s definitely not as overwhelming as one may thinkthat it could get.” But first things first––work hard, then work harder.“Don’t think that because you get signed to a label, all your problemsgo away,” he says. “These people are so amazing and definitely helppropel your career to the next step, but it’s important to always continueworking and writing. You need to make that hit song yourself.” AmericanAuthors is signed to Mercury Records (owned by Universal Music Groupand operated through Island Def Jam Music Group). The debut albumOh, What a Life was released March 4. – Danica BelliALLEN STONEDate Signed: July 2013Label: Capitol Music GroupType of Music: SoulManagement: William Olin - Red Light Management, 310-273-2266Booking: Jaime Kelsall - APA, 310-888-4200Legal: Jeff Worob - Serling Rooks Ferrara McKoy & Worob LLP,212-245-7300Publicity: Kristen Kanopka - Capitol Music Group, 323-871-5328,Kristen.Kanopka@umusic.comWeb: http://allenstone.comA&R: Michael Howeoul artist Allen Stone laid substantial career groundwork beforesigning with Capitol. In 2011 he self-released Allen Stone, whichSbroke into the Top 10 of Billboard’s Heatseekers Album chart aswell as the Top 5 on iTunes’ R&B/Soul chart. He also landed spots onThe Late Show with David Letterman, Conan and Jimmy Kimmel Live!Over the past three years Stone has averaged 200 shows annually. Thisis precisely the kind of self-starting action that labels find irresistible.Following his independent success, there was a surge of label interest.“Back in 2011, Allen Stone was making moves and selling relatively well,”Stone recalls. “A few different labels started coming after me: Atlantic,Capitol, ATO and Verve. I showcased for Michael Howe and [label head]Dan McCarroll at Capitol but I think they were in limbo then because they“You have to prove you can sellrecords on your own.”were coming under Universal ownership. I ended up signing a licensedeal with ATO.”Later, Stone found that he yearned for a label with greater reach andUniversal’s ownership of Capitol had settled. “Capitol seemed like a goodplace for me,” he says. “ATO was great, but I wanted to try my hand at abigger machine. There were no hard feelings.“Thirty or 40 years ago,” he continues, “[labels] could base their signingdecisions on what they believed would sell. Now there’s not much leewayfor that. You have to prove you can sell records on your own.”Like many contemporary success stories, having a popular videoonline had much to do with Stone’s rising fortunes. “I recorded the videofor ‘Unaware’ and it started to get some viral looks.” he says. “Thatsnowballed into TV appearances, the deal with ATO and my manager,who I met when I was 19.”Stone’s forthcoming album––as yet untitled––is slated for releasesometime this year with a view toward summer. Meanwhile, he’s hittingdates throughout the country and across the world. “Unaware” has hadnearly three million views on YouTube. It seems that the self-starter isn’tstopping anytime soon. – Rob Putnam26 April 2014 musicconnection.com

LOWELLDate Signed: August 2013Label: Arts & CraftsType of Music: Pop/AlternativeManagement: Adam ShirleyBooking: The Agency Group / Steve Kaul, Joe FucignaLegal: M Law - Matthew Higdon and Sanderson Entertainment Law -Paul SandersonPublicity: Sarah Avrin - Girlie Action MediaWeb: http://oncloud69.comA&R: Kieran RoyCanadian pop singer/songwriter Lowell joked with her manager thatshe refused to be signed to a record label, unless it was TorontobasedArts & Crafts. Late in 2013, the 22-year-old artist got herwish.“I was living in the U.K. for a while and was working on my ownmaterial when they contacted me,” says Lowell. “I got really excitedbecause it’s been my dream label, I suppose.”It was only after A&C’s call that Lowell decided to do some additionalresearch and see what her options were. Her top priority was findinga team that allowed her complete artistic control––a point she wassteadfast about.“It’s difficult to find people to invest time and money into you, but willlet you do whatever you want. That’s a huge risk, so it’s not common. I“It’s difficult to find people to investtime and money into you.”talked to a few of the majors and indies, but Arts & Crafts is such a greatlabel. They let you do what you want, they help you build and are supersupportive and smart. It was a no-brainer.”And while Lowell wasn’t soliciting record companies prior to A&C’sinterest, she was focused on getting her name into songwriting circles.One of her demos (recorded at age 14) made the rounds in Canada,before reaching Grammy winner Martin Terefe (Jason Mraz, KT Tunstall).Impressed by Lowell’s work, Terefe got in touch with her and the twobegan writing material together.“[Terefe] really appreciated my writing,” she says, “so we got joined upand it really clicked. He took me under his wing and has taught me a lotabout producing and writing. I guess I could call him a mentor, in a way.”The collaboration led to Lowell working with Terefe’s group, Apparatjik,which resulted in 2012’s EP, If You Can, Solve This Jumble. And Terefehas also helped on Lowell’s upcoming full-length debut for A&C, WeLoved Her Dearly, whose release date is tentative.In the meantime, listeners can pick up Lowell’s debut EP, I Killed SaraV. on Feb. 25. – Albert VegaAQUILEDate Signed: November 2013Label: FieldhouseType of Music: Pop/SoulManagement: Garth SmithBooking: AMGP Inc.Legal: James ReedPublicity: MVA Entertainment Group / Joe FisherWeb: http://aquilemusic.comA&R: Maite Bursicuilding upon the wider recognition he received from his performanceson Season 3 of the television singing competition, TheBVoice, Aquile decided to create his own publishing company in2013. The 25-year-old singer, songwriter and producer, establishedAquile Music Global Publishing Inc. with the help of his business partners,Garth Smith and Danny Staggs; it was a move that culminated in thesinger signing a co-publishing deal with music production company,Fieldhouse.“The Voice has helped me tremendously, so it’s not difficult to showa company like Fieldhouse who I am based on that,” says Aquile.“[Fieldhouse] do a lot of soundtracks for TV shows, movies andcommercials. It’s exciting for me, since I’ve always wanted my music infilms and we’re looking to get some placements as soon as possible.”Having moved to Oceanside, CA, from Wyoming at age 20, Aquile metand quickly began working with his current manager, G. Smith. It wasSmith who introduced the young singer to music producer D. Staggs.With years of experience in the industry, Staggs mentored Aquile andSmith into forming their own publishing company.“We’re looking to get someplacements as soon as possible.”“[Staggs] took us under his wing a little bit,” he says, “and Fieldhousewas a relationship he already had. So bringing him on as a partner iswhat really introduced us to [Fieldhouse], which led to the signing. Andstarting our own publishing has allowed us to partner with Fieldhouse, asopposed to me belonging to the company.”And while Aquile looks forward to working with Fieldhouse to advancehis own career, he is also keen to begin working with new artists forhis own publishing company, stating he has “an amazing network ofunsigned people who could really use some help getting their musicheard” and he wants to help them.Currently, however, Aquile is recording his debut album, which he plansto independently release in early 2014. Having only promoted singles up tothis point, Aquile calls himself a “picky artist” and says it’s taken him sometime to feel comfortable with an album’s worth of material. But he adds he’slooking forward to offering his “own variety of soulful pop.”Aquile’s single, “Control,” is available now on iTunes. – Albert VegaApril 2014musicconnection.com27

Tess Henley, Top Guitar Center Singer/SongwriterGuitar Center announces that Kent, WA native Tess Henley is the winnerof the third annual Guitar Center Singer/Songwriter artist discoveryprogram. Developed by the music retailer to provide emerging independentmusicians a platform to expose their music to the world, Guitar Center’sSinger/Songwriter has quickly become the premier platform for aspiringsongwriters to achieve the opportunities and exposure necessary to attain asuccessful career.BMG In L.A. withThomas SchererBMG is shifting its worldwideWriter Services hub fromBerlin to Los Angelesunder newly promotedexecutive Thomas Scherer,who rises to executive VPWriter Services. BMG WriterServices embraces BMG’sinternational songpluggingoperation which workswith the company’s rosterof songwriters includingSteve Mac, will.i.am, Juicy J,Sterling Fox, Sacha Skarbek,Al Shux and busbee. Moredetails at http://bmg.com.Pub Deal ContestThree music brands have combinedforces to give songwritersand artists of all genres a shot ata $20,000, one-year publishingcontract.For the second annual Pub Dealcontest, music licensing, publishingand management company SecretRoad has partnered with musictechnology startup Songspace andinstrument maker Martin Guitar.The contest will be powered bySongspace, a Nashville-basedstartup and partner companyof American Songwriter Media.Songspace provides a songcatalog for music businessesfed by a collaborative app forsongwriters.In addition to receiving a nonrecoupable$20,000 advance, thewinner will work with Los AngelesbasedSecret Road throughout theyear to build their repertoire andmarket their songs for licensingin film and TV. Secret Road is amusic licensing, publishing andmanagement company basedin Los Angeles that has placedsongs in TV’s Grey’s Anatomy,Parenthood and Pretty LittleLiars, and in such films as What toExpect When You’re Expecting,Something Borrowed and NoStrings Attached. Additionally,Secret Road artists have providedmusic for Coca-Cola, Chevrolet,Target and Google.Entries are open to songwritersnot currently under contract withany other publishers, and theparticipants must submit entriesby April 25. To submit, visit http://thepubdeal.com.Songwriter Equity ActA member of Congress, Rep. DougCollins (R-GA), has introducedlegislation aimed at ensuring thatthe Copyright Royalty Board alsoconsiders fair market value whensetting songwriter mechanicalroyalty rates for digital services.The purpose of the SongwriterEquity Act is to update provisionsin the Copyright Act to level theplaying field for songwriters, composersand publishers to receivefair compensation for the use oftheir intellectual property.According to the National MusicPublishers’ Assn., roughly twothirdsof songwriter incomes areheavily regulated by law or throughconsent decrees, which has oftenresulted in songwriters beingsaddled with well-below marketrates instead of receiving fair value.The legislation is aimed at reconfiguringelements of Section114 that would have an impact onSection 115 of the Copyright Act,which was written back in 1909 toregulate piano rolls and imposea complex compulsory licensesystem.What Does the Fox Say atThe Reservoir?Arent Fox LLP advised independentmusic publisher ReservoirMusic Management in purchasingFirst State Media Holding Co.’scatalog of approximately 26,000copyrights spanning sevendecades. The catalog involvesiconic works from many genres:“Take the A Train,” made famousby Duke Ellington; dance anthem“The Twist,” popularized byChubby Checker; the venerableparty tune “Louie Louie,” recordedby the Kingsmen; and the discoclassic ”Disco Inferno,” memorablyperformed by the Trammps. Thereare also works by Sheryl Crow,John Denver, Bob Marley, theASCAP has fun.The American Society of Composers, Authors and Publishers (ASCAP) willhonor Grammy-winning band fun. with the ASCAP Vanguard Award duringits 31st annual Pop Music Awards. The invitation-only gala will take place onApril 23 at the Loews Hollywood Hotel in Los Angeles. The ceremony will alsocelebrate the songwriters and publishers of ASCAP’s most performed popsongs of 2013.SESAC in the SpiritSESAC named Christian songwriter/producer Jason Ingram as its ChristianSongwriter of the Year at ceremonies held at the elegant Hillwood CountryClub in Nashville. Sony/ATV Timber Publishing was named SESAC’s ChristianMusic Publisher of the Year. Pictured (l-r): Trevor Gale and John Mullins,SESAC; Ingram; and Tim Fink, SESAC.28 April 2014 musicconnection.com

– DAN KIMPEL dan@dankimpel.comCarpenters, Kelly Clarkson, bandssuch as Creed and Evanescenceand many others.Reservoir is a global-mindedindependent music publisher,based in New York and with officesin Toronto and London, boastinga multi-genre, hit-driven catalogof 75,000 music copyrights. Visithttp://reservoir-media.com.Spence Upped atpeermusicThe promotion of Jerome Spenceto the newly created position ofSenior Creative Director, Film andTelevision has been announcedby peermusic. Spence is basedin peer’s main headquarters inBurbank, CA, and prior to thisworked as their Creative Directorfor Film and Television. In his newposition, he will be responsible forthe day-to-day oversight of synclicensing and promotion for film,TV, trailers, videogames, apps andmerchandise.Spence joined peer’s creativeteam in 2011 and during thattime has helped to land newagreements with such talent asEpic recording artist Dead Sara(a co-signing with Neophonic’s PJBloom), Hidden Beach Recordings(Jill Scott, etc.) and Ziggy Marley.Spence can be reached at 818-480-7025.Riptide and PigfactoryJoin ForcesRiptide Music and Pigfactory, twoleading, Los Angeles-based musicsync licensing and publishingcompanies, have merged toform a new, combined entity:Riptide Music Group, LLC. Thecompany’s services include theworldwide synchronization of musicfor advertising, movie trailers,television, film and videogames.In addition, the company will alsoprovide services for the internationalcollection of publishing royalties.Recent licensing credits fromRiptide Music and/or Pigfactory(prior to the formation of RiptideMusic Group,) include musicplacements within episodes ofBreaking Bad, the movie trailerfor The Wolf of Wall Street, commercialsfor BMW, and the trailerpromoting the videogame Call OfDuty: Black Ops.See http://riptidemusic.com.Sony/ATV Under BMIBlanketSony/ATV Music Publishinghas announced it will remain apart of the BMI (Broadcast MusicInc.) blanket license, which meansits entire catalog as well as theEMI Music Publishing catalogsongs can be played as part of thehundreds of thousands of licensesgranted by BMI. Sony/ATV and itsadministered EMI Music Publishingcatalog was the first to withdrawdigital rights from the two largestU.S. performance rights societies,BMI and ASCAP.In two court rulings involvingPandora and the PROs, BMI andASCAP rate-court judges decidedthat partial withdrawal––such asonly taking out digital rights––violated the consent decree. Bothrulings said that publishers have tobe all-in or all-out with rights to alltheir songs.In re-upping with BMI, Sony/ATV gets to keep the efficienciesthat the PRO provides while stillmaneuvering for the ability toachieve market rates from digitalservices. See http://sonyatv.comdetails.ASCAP vs. PandoraFollowing the most recent courtdecison on royalties, a judge ruledto leave unchanged the royalty ratethat Pandora must pay ASCAP touse its music, at 1.85 percent ofPandora’s revenue. For completeinformation, see http://ascap.com.DAN KIMPEL, author of six music industrybooks, is an instructor at MusiciansInstitute in Hollywood, CA. He lectures atcolleges and conferences worldwide.Rossdale and RoundHill Dive Into BushRound Hill Music, a fullservicecreative rightsmanagement companywith a core focus on musicpublishing, is excited toofficially announce thatthey have partnered withmulti-platinum artistGavin Rossdale to acquireselected master recordingsand related recordingagreements of the bandBush from Kirtland Records,LP. Rossdale and Bush havesold close to 20 millionrecords in the U.S. andCanada alone. See http://roundhillmusic.com.Breaking Through Songwriter’s BlockGary Ewer, the author of Beating Songwriter’s Block , has seen top-levelmusicians suffer from writer’s block which led him to explore the subjectfurther. He has identified several possible causes and levels of severity andoffers his winning strategy as outlined in Beating Songwriter’s Block, newfrom Backbeat Books. Check his blog at http://garyewer.wordpress.com.Randall Wixen:Publishing UpdateThe third edition ofveteran music publisherand industry expertRandall Wixen’s widelypraised book The Plainand Simple Guide toMusic Publishing (HalLeonard) arrives thismonth with an array ofnew topics pegged tothe ever-changing musicindustry landscape. Thebook will be availableat all major chainsincluding Amazon.Hal David Catalog to BMGMusic rights management company BMG has announced the acquisitionof the publishing catalog by songwriting legend Hal David from his sons.The Grammy- and Oscar-winning lyricist, who passed away in 2012, wrotea long list of timeless American standards with songwriting partner BurtBacharach. The catalog features all of David’s publishing interests in iconicsongs such as “Raindrops Keep Falling On My Head,” “I’ll Never Fall In LoveAgain,” “Walk On By,” “What The World Needs Now Is Love” and more. Moredetails at http://bmg.com.April 2014musicconnection.com29

Keith LuBrantTelevision Music Hints from the HinterlandsBy Dan KimpelAs his extensive television credits verify, Keith LuBrant has placedhis music in over 300 television shows on networks including NBC,CBS, FOX, MTV, VH-1, MTV, HBO, A&E, Bravo, Discovery, TLCand E! The recent Lifetime Movie, Lizzie Borden Took an Axe, featuredLuBrant’s song, “Dangerous Mind.”LuBrant’s hometown, Turnersville, NJ, is not a media center, buthis connections to the decision makers in Los Angeles are strong. Hisaptitude for creating on a tight schedule is one considerable factor. “If thedeadline is in two days and you can’t get the music to them in that timeframe, what are the odds of themhitting you back?” says LuBrant.The songwriter/composer, whosemain instrument is guitar, has performedin a variety of bands. “Atsome point you get older. When theclub owner asks, ‘Can you bring100 people on Wednesday night ata quarter to 12?’ maybe it’s time torethink. And that’s what got me intomusic licensing.”The learning curve, LuBrant says,was vital to formulating televisionready tracks and to making theconnections to place them. “I reallyhad to educate myself. I went on theInternet, and did some stuff on my ownand I reached out to some contacts,”he recalls.When he saw ads for TAXI, theindependent A&R company, he wasinitially skeptical. “It’s engrained in music people that if someone asks youfor money, it’s a scam,” he recalls. He soon found out differently. “TAXIhelped me focus on my production, and how to get my music together.After I joined TAXI I knew that I could do it.”He advises songwriters interested in this process to spend timewatching television and observing how the music fits in to the overallscenario. “You have to get out of the songwriting mode and into TV.”In expanding into the television medium, LuBrant says he also hadto disregard the formulas of song structures. “I was more into the songaspect––not what would work in a scene on TV,” he admits. “When I firststarted I would compose two- to two-and-a-half-minute mini-songs withverses and choruses. These were not great for TV because they had noedit points.”He says that the endings should be emphatic. “They never use afadeout. They want a button ending, a one-note sustained chord, or aquick staccato thing, but a definitive ending. These are called ‘stingers.’”Recording alternate versions of the same cue is also prudent, he says.“For a rock thing, I might first have a mix with lead guitar, rhythm, bassand drums. Then I do a second mix with the lead guitar taken out. This iscalled the ‘bed mix.’ Then a drum and bass version that they might usewith dialog because there is no busy-ness. I also gave them stingersendingswith the full band. That gives the music editor the flexibility tomix. I’ve had music on shows where they have taken pieces of each mix.”At this career juncture, LuBrant says that the production companiesand the shows generally call on him directly. “Now my cues go right intothe edit bays for selection, so there is a much greater chance of themgetting placed.” And he observes that sheer repetition has assisted him inknowing what will work and what won’t. “My bread and butter is pop-rockand metal. I’m a guitarist and I have a gazillion amps and guitars, but 99percent of my stuff is through amp simulators and plug-ins.”While LuBrant might receive some upfront sync fees for customwriting, the bulk of his income is on the back end from performingrights payments. “For example, I had a song on Keeping Up with theKardashians. I got paid every time it played, then that show startedplaying on another channel, so there was income from that. Then it wentinternational, and was picked up by XM satellite––and that’s just onetrack. Seeing the tracks expand is amazing. You don’t think about it whenyou’re writing music, but when you see the BMI checks, it’s cool.”Visit http://kblmedia.com30 April 2014 musicconnection.com

www.izotope.comDON’TMISS THISVALUABLEEVENT!LEARN.CONNECT.SUCCEED.TAKE YOUR MUSICTO THE NEXT LEVELThe ASCAP “I Create Music” EXPO puts youface-to-face with the most successful songwriters,composers and producers who generously sharetheir knowledge and expertise.THE ONLY U.S. MUSIC CONFERENCE 100% DEDICATED TO SONGWRITERS AND COMPOSERSKEYNOTE INTERVIEWFEATURED PANELISTSLUKASZ “DR. LUKE”GOTTWALDGLEN BALLARDDESMOND CHILD AMY GRANT RICK NOWELS SHANE McANALLYBEAR McCREARYAPRIL 24-262014LOEWSHOLLYWOOD HOTELLOS ANGELESRICHIE SAMBORA GUSTAVO SANTAOLALLA ADAM SCHLESINGER TYE TRIBBETTCONFERENCE HIGHLIGHTS:•Celebrity Q&As•Master Classes•Songwriting & Composing Workshops•Publisher & Business Panels•DIY Career Building Workshops•Showcases and Performances•Attendee Song Feedback Panels•Networking Opportunities•State-of-the-Art Technology Demos•Leading Music Industry ExhibitorsREGISTER REGISTER NOW NOW AT AT WWW.ASCAP.COM/EXPOSPONSORS & MEDIA PARTNERS:open to all music creators regardless of affiliation@ascapexpo/ascapexpo #ASCAPEXPO®SECTIONApril 2014 musicconnection.com 31

DROPSIFC Films dropped The Punk Singer on DVDlate last month. Through 20 years’ worth ofarchival footage and interviews with those activeand present on the scene during the 1990s riotgrrrl movement, The Punk Singer tells the storyof iconic feminist punk singer Kathleen Hanna ofBikini Kill and Le Tigre, who dropped out of thescene in 2005. Featured interviews include thoseFOR NO GOOD REASONwith Hanna’s husband Adam Horowitz of theBeastie Boys, Joan Jett, Kim Gordon of SonicYouth and actress/writer Carrie Brownstein.For further details, contact Michelle Wanat atMichelle.Wanat@SapkarPR.com.Republic Records, a division of UniversalMusic Group, just dropped The WalkingDead AMC Original Soundtrack Vol. 2 EPon iTunes and all digital retailers. The EP isthe third installment of tracks from the popularPUNK IN AFRICAzombie television series. It features five new andunreleased songs inspired by and featured in theshow: Portugal. The Man’s “Heavy Games,”Sharon Van Etten’s “Serpents (Basement),” LeeDeWyze’s “Blackbird Song,” A.C. Newman’s“Be Not So Fearful,” and Ben Nichols’ “This OldDeath.” Contact Kimberly.Harris@UMusic.com.Punk In Africa, which dropped on DVD March11, deserves a shout-out for relating a storyrarely told of the multi-racial punk movementin the southern African countries of SouthAfrica, Mozambique and Zimbabwe. Musicand interviews from area artists includingSuck, Wild Youth, Safari Suits, PowerAge, National Wake, KOOS, KalahariSurfers, the Genuines, Hog Hoggidy Hog,Fuzigish, Sibling Rivalry, 340ml, Panzer,the Rudimentals, Evicted, Sticky Antlers,Freak, LYT, Jagwa Music, Fruits andVeggies and Swivel Foot contribute to thefilm’s illustration of punk subculture against abackdrop of political and economic upheaval.Directors Keith Jones and Deon Maas followeda timeline from the early 1970s to presentday. Find out more about the film at http://PunkInAfrica.com or by contacting Clint Weilerat Clint@MVB2B.com.On May 2, For No Good Reason starringJohnny Depp opens in L.A. to offer a lookat life and art from the viewpoint RalphSteadman, iconic 1970s British cartoonistbest known for illustrating several of HunterS. Thompson’s articles and books includingFear and Loathing in Las Vegas. Steadmancaptured the times through his art the wayThompson captured it through writing. DirectorCharlie Paul collected footage and createdanimations over a 15-year period for the film,which features contributions from Terry Gilliam,Richard E. Grant and music from Slash, AllAmerican Rejects, Jason Mraz, James Blake,Ed Harcourt and Crystal Castles. For moreinformation on the film, contact AlexandraGlazer Meltzer at AGlazer@BK-PR.com.The Doors R-Evolution DVD, which droppedearly this year through Eagle RockEntertainment, is a critically acclaimedfilm that breaks outside the bounds of mostdocumentaries on the Doors and combinesthe band’s early television appearances withthe band's own music films to illustrate theirjourney to a place of creative control. Forfurther details, contact Carol Kaye at Carol@KayosProductions.com.OPPSManchester, NH’s Geek Dynasty seeksexpert geeks including “fanboys, trivia goons,techies, nerds and those that make this worldwork” to discuss television, movies, comics,32 April 2014 musicconnection.com

video games, collecting and more. The startupradio show encourages pop culture, TV and filmbloggers and critics looking to make a name forthemselves to email CMPNH@Outlook.com formore information.Both emerging and established talentin film, music, fashion, TV, theatre andfashion are welcome to email Harry Johal atHarryJohal@CarryOnHarry.com to be featuredon CarryOnHarry Talk Show. The show istelephone and Skype recorded and featuresproducers, singers, actors, writers, directors andothers in the entertainment industry.Internet radio show and recorded podcast ISTAEntertainment Spotlight is looking for upcomingand established talent in the entertainmentindustry to feature on the show, which reaches1,000 to 2,000 listeners per episode. ISTA hostsdiscuss current events, celebrity news, musicand television among other topics. ContactISTAESpotlight@Gmail.com.PROPSWith his most recent film Ride Along, awardwinningcomposer Christopher Lennertz reachedbillion-dollar status in U.S. box office gross of allthe films he’s scored. Lennertz is the composerbehind Think Like a Man, Horrible Bosses andAlvin and the Chipmunks, among others. Healso built Sonic Fuel Studios with TimothyMichael Wynn (The Simpsons videogame) inEl Segundo, CA to mix feature films and scoretelevision shows. In addition, he has won BMI FilmAwards and received an Emmy nomination forOutstanding Music for a Series for Supernatural.Contact Ray Costa at RCosta@CostaComm.comfor more information on Lennertz.Michele McGonigle, a 2010 graduate of theAudio Technology Program of SAE Institute’sNew York campus, took home a 2014 Grammyfor Best Spoken Word Album for co-producingand sound designing Stephen Colbert’sAmerica Again: Re-becoming The GreatnessWe Never Weren’t (Hachette Audio). McGoniglehas received two other Grammys includingone for Best Spoken Word in 2011 forproducing Earth on Jon Stewart’s The DailyShow and one for Best Spoken Word Albumfor Children for producing and directing JulieAndrews’ Collection of Poems, Songs andLullabies. McGonigle has received five otherGrammy nominations. Now she’s the directorof Audio Production and executive producer atHachette Audio, a division of Hachette BookGroup. She is also working on the memoir ofsinger/songwriter Steve Earle, which will bereleased February 2015.Richard Frias, president of talent managementand production company Mighty Fresh,is directing a documentary chronicling thelife and career of Terry Reid. Frias and crewbegan work last November and intend to havethe film ready for the festival circuit in 2015.Reid got his start at 16 in 1966 when he wenton tour with the Rolling Stones, then againon the Stones’ first major U.S. tour in 1969.Reid was Jimmy Page’s first choice for leadsinger in Led Zeppelin, but Reid introducedPage to his friends Robert Plant and JohnBonham in the Band of Joy. The filmmakersare financing the project themselves, but arelaunching an Indiegogo campaign to raisestartup funding. Contact Frias at Richard@Mighty-Fresh.com or check http://Mighty-Fresh.com for more information.Man Made Music, specializing in sonicbranding, is no stranger to The WeatherChannel’s mission to distinguish itself as thedestination for weather programming focusedon connecting with its audience. Recently,the Man Made Music team played a crucialrole in the sonic development of The WeatherChannel’s Passionate Explorer Platform thatdebuted in 2013. Continuing into the new year,Man Made Music created the theme for AMHQ(America’s Morning Headquarters) withSam Champion which premiered on Monday,March 17.JESSICA PACE lives in the Nashville area and writes aboutmusic, local government and education. Contact her atj.marie.pace@gmail.com.– JESSICA PACE j.marie.pace@gmail.comOut TakeRobyn MillerComposer/Director/ActorEmail: Ryan Davis, Ryan@IndependentArtsPR.comWeb: http://TheImmortalAugustusGladstone.comMost Recent: The Immortal AugustusGladstoneRobyn Miller may be best known as thecreator of the popular 1990s videogameMyst, for which he also wrote the music.Following his most recent project––directing, composing and starring inthe fictional documentary The ImmortalAugustus Gladstone––Miller says hefollows a similar minimalist process inscoring both videogames and film.“This film is more musical than atypical documentary, and there was avery detailed outline that we started with.We had things like musical segmentsthat we needed to collect footage for; itwas important to have these breathingplaces in the film. That’s not typical for adocumentary, but I wanted the film to havethose. It’s almost more cerebral and a wayfor me to kind of paint how Augustus seesthe world.”The film, in which Miller stars as theprotagonist, is a fictional documentaryabout a man who claims he is immortaland is followed by a documentary crewthat becomes more and more drawn in.“For a film, scoring becomes very linear,and the music can tell a story, and it canrise and fall and it can come to some sortof climactic ending. It almost sounds likeyou can imagine something happening. Myprocess for both games and the film is thatthe music is all centered around the storyand the experience that the audience has,or will have. I just felt music should haveminimal impact in the film. It should enterthen leave. I don’t want the music to betelling the audience too much about whatthey should feel. It seems false.”The VOD release for the film beginsApril 1. Hear parts of the soundtrack athttp://AugustusBlog.com/2014/01/09/Listen-To-The-Augustus-Gladstone-Soundtrack.April 2014musicconnection.com33

Numan Brings The Mayan ApocalypseLooking like he was on a Nosferatu-like prowl, new wave/electro-punk and dark wave pioneerGary Numan brought a whole lot of German Expressionism and his latest NIN-influenced musicmayhem to the magnificent Mayan Theatre in Downtown Los Angeles recently. The highlights ofthe artist’s set were the dark-wave gems from his classic releases like Replicas, and its followupThe Pleasure Principal (featuring the genre-defining anthem, “Cars”). Numan is on tour nowin support of his new album, Splinter (Songs From A Broken Mind).All-Star Cast Congratulate Pharrell On Recent SuccessCharlize Theron, Sean Penn, Ellen Pompeo, Johnny Knoxville and othersjoined Pharrell Williams with G-Star, Bionic Yarn and Hennessy Privilege incelebration of his Oscar nominated single, “Happy.” The Grammy Awardwinningartist also released his second solo record, G I R L, on March 3.Pictured (l-r): Penn, Theron, Williams.Ex-Rave-UpsPodrasky Returns toPerformingJimmer Podrasky recentlyappeared at Lucy’s 51 inToluca Lake, CA, the firstin a series of Wednesdaynights at the venue. Podraskywas joined by musiciansfeatured on his newCD, The Would-Be Plans,now available from ChiefInjustice Records. Afterthe show, Podrasky wascongratulated by longtimefan George Wendt (Cheers),Rave-Ups drummer TimJimenez; and drummer/producer Mitch Marine.DANIEL SIWEKThe Society Of Singers’ 21st Annual Ella AwardsAFM & SAG-AFTRA Fund’s Dennis Dreith and Shari Hoffman posed with honorees,the Waters Family, at the Society of Singers’ 21st Annual Ella Awards.Pictured at the Beverly Hilton (l-r): Julia Waters-Tilman, Oren Waters, Hoffman,Dreith, Maxine Waters Willard and Luther Waters.Hall & Oates Honored For Sandy SupportCurrent 2014 Rock and Roll of Fame inductees––and No. 1 selling duo inmusic––Hall & Oates were recently acknowledged by the Red Cross forpersonally donating $100,000 to aid the victims in the aftermath of HurricaneSandy, which devastated parts of Atlantic City, NJ in October 2012. Picturedbackstage at the Fantasy Springs Casino near Palm Springs, CA (l-r): Oates,Hall with manager Jonathan Wolfson of Wolfson Entertainment.34 April 2014 musicconnection.com

– ANDY MESECHER andym@musicconnection.comNichols PerformsFor Friends At BeverlyHills’ Gibson ShowroomJared James Nichols’recent showcase at GibsonBeverly Hills was attendedby Joe Hottinger and LzzyHale of Halestorm, PeterLeinheiser of Gibson, RileyBray from the Golden Ghosts,photographer/director PiperFerguson and drummerJonathan Mover among otherfriends. They all gathered tosend off Nichols who wasabout to embark on a fourmonthtour. Pictured (l-r):Hottinger, Nichols and Hale.Tidbits From OurTattered PastEmblem3 BackstageOf #BandLife TourEmblem3 made their CityNational Civic of San Josedebut on March 12. The triowere greeted by Nederlander’sVanessa Kromer and thevenue’s Tony Whiteford andJohn Ciulla prior to hitting thestage as part of the #BandLifeTour. Pictured with the bandare: Kromer; Whiteford; andJohn Ciulla, City NationalCivic General Manager. Visithttp://san josetheaters.org/theaters/city-national-civic.SAE Hosts Alumni MixerSAE Hollywood recently celebratedits alumni with an eventat Universal Mastering in Hollywood,CA. Many industry vets,SAE grads and friends of SAE’sbirthday girl, Bridge Gardiner.Pictured (l-r) keeping the partyvibe alive: B. Charlie Stewart,Dusty Wakeman, Bridge Gardinerand Tony Valenziano. For moreinformation about the audioschool and what it provides, visithttp://losangeles.sae.edu.1983-Quiet Riot-#15MC explored the heavymetal renaissance in this issue,featuring club bookerswho were busy schedulingmetal at their venues.Quiet Riot, which was justbreaking through afternumerous labels deals andmisfires, was also profiled.QR's leader Kevin DuBrowmused on what makes agood guitarist: "Sometimesit's not what you play, butwhat you have to leaveout to make those notescount." Club Reviews ofWitch, Hellion and LoneJustice round out the issue.Music ConnectionDigs Into SXSWFirst and foremost, ourthoughts and prayers go out tothose affected by the South BySouthwest tragedy. This year,Music Connection sent a threepersoncrew to photograph,record and interview severalmusicians during one ofthe country’s largest musicconference/festival. Ourcoverage included ChinoMoreno of †††/Deftones, CraigOwens of Chiodos, Run RiverNorth, Slash, A Lot Like Birds,Cherub, Eagulls and muchmore. For full photographiccoverage, see page 45. Forcomplete video coverage, visithttp://musicconnection.com.JODY DOMINGUE1992-Bobby Brown-#23In our cover story on themercurial Bobby Brown,the artist talked about overcomingtough times. "Ofcourse, I was disappointedby the lack of success [ofthe first album], but it mademe get more serious aboutthe next one, and I neverlooked back." The issuealso profiled producer MattWallace (Replacements,Faith No More) and musicpublisher Dale Tedesco.April 2014musicconnection.com35

Ever since they made––and left behind—ablockbuster of a debut,Cage the Elephant havebeen moving rapidly toward asense of identity much differentfrom what the band establishedwith their first record. In 2008,the Bowling Green, KY groupreleased an eponymous,blues-and-funk-and-classicrock-hybrid album, whosebreakthrough single “Ain’t NoRest For the Wicked” was playedand replayed on the radio, adnauseum. The band came backin 2011 with Thank You, HappyBirthday, a record that avoideda sophomore slump but alsoforewent further funk-infusedhits for a deeper, introspectivebrand of songwriting. Leadsinger and lyricist Matt Shultzsays he’s been moving awayfrom “fear-based” songwriting—hence the title of album numberthree, Melophobia—and placingless emphasis on emulationand more on communicationthrough songwriting.Music Connection: How has your songwritingprocess evolved from album toalbum?Matt Shultz: On the first record, we justwanted to get out of town and be in a rockband, and so we really looked up to peoplewho we could hear on the radio in ourhometown, people who seemed to be makingmusic from a genuine place, because therewere only two stations in Bowling Green tolisten to. We would listen to classic rock andwere really inspired by Jimi Hendrix and Dylanand all that stuff. We wrote and recorded thatrecord in, I think, 10 days.L-RJared ChampionMatt ShultzDaniel TichenorLincoln ParishBrad ShultzMC: Can you explain why you guys sodrastically changed things up on the secondrecord, after you’d moved to London?Shultz: We wanted to be free from image andreally started kind of combating fear-basedwriting and premeditated images of self, but atthat point we hadn’t figured out what we weredoing, but we were doing it. On our secondrecord, we’d gotten to a place where we’d spenttwo years in London and were exposed to,obviously a lot more than we had in Kentucky,and we didn’t want to be so tethered to ourformer selves. At least I didn’t, where our musickind of projected our former selves.MC: When writing songs, how much thoughtdo you put into your creative process?Shultz: On our latest record, it was an outrightattempt to break away from any calculatedstrategic mindset when we were writing. We justdidn’t want to write to be perceived as artisticor poetic or commercial or anything, probablyeven more so trying to fight against elitist titles,which kills the creativity process. Music is ameans of communication; it’s a communal thingwhere you bring people together and hopefullycommunicate thoughts and feelings andstories that are hard to verbalize in everydayconversation. So for this record, we did a lot ofexperimenting with the creative process.MC: Do you ever listen to other artists’ musicwhen you’re writing and recording your own?Shultz: I actually almost stopped listeningto audio recordings the entire time we werewriting and recording this record. I just didn’twant to be so directly, externally influenced andcross-referencing to things we liked. The wholeband is involved with writing, but when it cameto the lyrics, the thing that resonated with mewas something a friend of mind had told me;he said one of his mentors, Isaac Brock fromModest Mouse, had said “If you’re not slightly36 April 2014 musicconnection.com

there’s all this change betweenrecords, but I think there was justso much fear, and it binds people.embarrassed, or if you don’t feel vulnerableabout the lyrics you’re singing, you’re probablynot writing good lyrics.”MC: It sounds like you decided to become abetter, more sensitive listener, more aware ofpeople, places and things around you?Shultz: I started having my friends come over,and I was really into hot sake that winter, andwe’d crack open some hot sake, and they’djust sit on my couch and start talking to me. Itwas weird, because anytime you let someonejust start talking to you about their life like that,at least in my experience, you immediatelybecome a psychiatrist, people weeping on yourcouch [laughs]. But it was amazing; the thingsthey were saying were incredible. I was takingwhat they were saying, and creating lines. It wasa really cool experiment that led to a whole newapproach of creating lyrics.BY JESSICA PACEPHOTOS BY COLIN LANEMC: Do you feel like you’ve finally hit yourcreative stride with Melophobia and “ComeA Little Closer,” the album’s single?Shultz: I think we’ve written this record notto cater to cool, just to communicate a lot.It wasn’t about creating a sound that wasnecessarily a nod to your predecessors orripping them off. It was about sitting down anddrawing something and continuing to drawthis image to provoke a feeling. Do I want thischaracter to make me panic whenever I seeit? Just making sure that everything I put into itmakes you uncomfortable.Whatever I was trying to communicate, wewould work on it until it did that for us. It wasprobably the hardest record we ever made,because it was like the pains of childbirth, butto a certain extent, it felt like the first recordwe ever made. It felt like freedom. People ininterviews have said it’s so crazy and thatMC: It’s been exciting to see andhear Cage develop in interestingdirections.Shultz: A lot of different elementshave played into that. When wewere younger, we just wanted toget out of town and be a genuinerock band, so we made a recordlike that. And you get bumps andbruises along the way, either selfinflictedor inflicted by other people,and you look at your creativeprocess and say, “What can I do togrow as a writer?”It’s funny, because as humanbeings we grow, and it’s not alinear thing where you start hereand move forward. We growlike trees in all these differentdirections, and who’s to say what’sa good direction or bad direction? Sometimeswhen it seems you’re moving backward, you’reactually moving forward, and when it seemsyou’re moving forward, you’re actually movingbackward. It was that kind of thing for me.Growing up, I’ve always been told in ourmusic career that the more people you emulate,the better your band is going to be. After a while,it just got old and hard to chase that. It wasn’tsomething we wanted to do anymore. I’d ratherjust create sounds that come from ourselves,and if people don’t like it, that’s fine.MC: Can you talk about some of the songsand the singles on the record, the process ofwriting them and how they came together?Shultz: “Telescope” was one of my favorites.We’d spent a year off the road, and it was thefirst time I’d ever had my own place, ever. Ididn’t know what to do with myself, becauseApril 2014 musicconnection.com 37

we’d constantly been doing things for the pastfive years, and suddenly there was nothing, soI went out, bought furniture, did all the normalstuff you’re supposed to do, and becameobsessed with decorating the house.It was ridiculous. I finished that, and wouldbe sitting in my living room, and I felt I neededto give each room value, and would move fromroom to room, because I had to justify all themeaningless toil I’d poured into decoratingthe house, and I’d find myself staring at thewall or just looking at the blank TV, and thisoverwhelming cloud of imminent doom justseemed to be following me everywhere.I felt it was a sad picture, this guy walking fromroom to room in his house, and he’s supposedto have everything, right? Staring at blank TVscreens, and all you can do with your time isbecome obsessed with decorating your house,you know? I thought it’d be really funny to be ableto watch that from a bird’s eye view. And I thoughtwhat if you wrote the song about yourself, but asif you were watching yourself from some otherplace? That’s kind of how that song came to be.MC: What about “Cigarette Dreams”?Shultz: “Cigarette Daydreams” happened sofast. I became obsessed with this theory: Iwanted to see what seemed like ‘70s cheeseand make it cool, like a ‘70s TV show theme likefor Mash. That was kind of the idea in the backof my mind idea for a beginning and direction,started working on that and the melody startingcoming through, and I called up our producer,and he said, “Matt, sit down and finish that song.Do not leave the house until you finish it.” So Idid, and we recorded it, and it just happened sofast and felt so special.MC: Since the band’s early days, how hasyour set list evolved?Shultz: The songs people liked, we’d keep; thesongs people weren’t reacting to, we’d get ridof. We were learning how to communicate topeople and speak their language, you know?For us, it became the learning process, havingour friends around, writing songs and lookingfor their reactions. For me, communication isthe only way to get outside all the strangleholdsof things that plague us in the creative process.One thing I know for sure is a pure thing inmusic is the communicative aspect. If you startthere, then everything else I just like an extra. Ithink it’s important if you want to find a place inpeople’s hearts is to write songs that are honestand pure.MC: What’s your take on the current state ofsongwriting?Shultz: I feel like with all the constant bombardmentof image today, it’s become very difficultto get away from creating music from a placeof fear. It’s like pop music has become a hollowshell of aesthetic with no story. There are guyslike Dylan who write something one hundredpercent authentic, poetic, and it’s a true story,like the song about Hattie Carroll. It rhymed andit was gorgeous––not cheesy rhyming; it wasperfectly intentional. That was a place I wantedto get to; not to sound like Dylan, but to get to aplace of creation like that.MC: Are there any artists you’ve toured withso far who’ve made a particularly strongimpression on you?Shultz: Foo Fighters are incredible. Queensof the Stone Age were so great to us. Thereare all these bands that just treated us likelittle brothers. Silversun Pickups, ManchesterOrchestra, Muse, the Black Keys. It’s reallybeen crazy to tour with such amazing artists./petersontunersTrusted by professionals since 1948.The Sound of Precisionwww.PetersonTuners.com | USA | 708.388.3311©2014 Peterson Tuners. The terms Sweetened Tuning and StroboPlus HD are trademarks of Peterson Electro-‐Musical Products, Inc.Buzz Feiten Tuning System is a registered trademark of Buzz Feiten Design Co., Inc.MC: How has replacing lead guitaristLincoln Parish impacted the band?Shultz: We didn’t replace him. Lincoln joinedthe band when he was 15 years old. Whenwe moved to England, his parents had to signlegal guardianship to the band, and we werelike parents, but the world’s worst parents everthat took you to parties and stuff [laughs]. Youknow, just not good. We didn’t know that atthat point, because he was so mature, and wejust saw him as one of us. I think being 15 andbeing exposed to stuff so young and touringfor five years solid, he missed out on a lot, andwhen we got back home to make this mostrecent record and spent a year off the road, itwas like a breath of fresh air for Lincoln, andI think he didn’t want to go back out. He lovedbeing at home. So we’ve got a great guitaristtouring in his place; his name is Nick Bockrath.But Lincoln hasn’t been replaced. It wasLincoln’s choice, we didn’t tell him to go home.There was no animosity.MC: Could he potentially come back? Is thenew guitarist just temporary?Shultz: Everything’s temporary.MC: Looking back on your life, whatinspired you to envision music as a career?Shultz: I think the greatest inspiration on meis my father. He always wrote songs as wewere growing up, and he always encouragedoriginality. We would be writing, and he would38 April 2014 musicconnection.com

say, “That sounds like a song I wrote.” Hewas always driving that into us [laughs].When we were younger, me and Brad, wedug a drum kit out of a dumpster in theneighborhood and brought it home. Mymom was disgusted, my dad was like, “Thisis great!” It didn’t have any hardware, sowe pushed the bass drum against the wall,propped up the tom with pillows and playedwith coat hangers. I was the world’s worstdrummer, with no technique, and my dadloved it. He said, “Get really good at that,because no one plays like that.”Contact sarah.weinstein@rcarecords.com-Quick FactsThank You,Happy Birthday--Thousands of artists have been reviewed by Music Connection. To read the reviews and get your music reviewed, go to http://musicconnection.com/get-reviewed.Music Connection does not charge a fee for reviews.April 2014 musicconnection.com 39

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It’s that time of the year again and Music Connection is proud to present exclusive interviews witha diverse array of guitarists and bassists who offer valuable insights for you players out there. Thisyear’s group of acclaimed musicians: The Fabulous Miss Wendy, Bobby Balderrama (Question Mark& the Mysterians, Joe “King” Carrasco, Robert Lee Revue, the Semi-Colons), Kern Brantley (LadyGaga, Beyonce, Mary J. Blige, R. Kelly, etc.), Jorma Kaukonen (Jefferson Airplane, Hot Tuna). Each istruly an individual in terms of style, discipline and a general approach to their craft.What have you done in the past year to become a better musician?A lot of people practice stuff just because they think they need to learnit, like a particular scale or blues lick that’s cheesy as hell. The big thing Ibelieve in is that I don’t play/practice anything that I don’t want to listen to.Do you enjoy jamming with other players?At NAMM this year I did a shred with Judy King, Lady Gaga’s violinist,over at Mark Wood Violin (of Trans Siberian Orchestra). It started outtrading solos and then we just played together and it worked. If you’rejamming with somebody for the first time, it’s all about listening.How much do you plan ahead?Definitely plan ahead, especially when you’re trying to get everythingright on the first take, since you are paying for the studio time. I’m alwaysready to go. I write all the parts and all the harmonies in my head, then Itest it out on a four-track, so that by the time I get into the studio I knowexactly what I’m playing. It works every single time.How can a player develop a distinctive sound?I got kicked out of Hebrew school for smoking pot on a retreat, so mydad grounded me. But my mom took pity on me and found a guitarteacher who would come to the house. He said “I can teach you howto play other people’s songs, but I’m going to teach you how the guitarworks so you can write your own music.” I’d be like, “I wanna be likeso-and-so” and he’d say, “No, you wanna be like Wendy!” And I’m gladbecause I think it helped me be more of an original artist.Tell us about your guitarsI have to thank Parker Fly guitars. They’ve been so supportive to me. Ilove that guitar because I had back surgery and since it’s carbon fiberit’s like the lightest guitar on earth. Now I play a custom-made GMP“Cheetah” guitar. I need a lot of depth of sound. I’m looking for clarityand I’m looking for loudness. And I’m looking for a lot of responsivenesstoo. It sounds elementary, but when you play a note you want it tocome out of the amp at the exact same time. If there’s a microsecondof any latency, I just can’t deal.MILA REYNAUDThe Fabulous Miss WendyContact: Lee Runchey, info@ChromePR.com“If you’re jammingwith somebody forthe first time, it’s allabout listening.”Whether it’s headlining the Viper Room or on tour opening for legendslike Slash and UFO, the Fabulous Miss Wendy always performs like she’son stage at The Fabulous Forum. She’s a double-edged sword––a songstressand a shredder. Wendy is also the protégé of the Lord of Garbage,the King of the Night Time World, the producer/svengali/mad genius KimFowley, who has discovered and nurtured many a great guitarist––JoanJett, Lita Ford and Jackie Fox (on bass) of the Runaways come to mind.He’s also co produced (with Mike Wolf) and co-wrote several songs onher latest full-length, No One Can Stop Me, which is out on iTunes butwill be released nationally by Not Dead Yet Records on April 29.What’s your preferred amp?My amp is a custom made Roccaforte that’s pink and sparkly––peopledon’t think it’s gonna rock, but it’s heavy. Doug Roccaforte is an incredibleamp maker, and I came in and said, “I’m looking for something likea Peavey 50, but warmer,” and he said, “Shh, shh, I know what youwant.” He’s the amp guru. He would call me up and say, “This amp is sohardcore, the pregnant chicks in the audience are going to go into labor!”Repair/RefurbWhen I come off tour and rip off my guitars to get fixed up, the guys haveto dislodge the volume knob from the wood (because I’m so rough on it),and they have to take it outside and use an industrial strength blower toget all the sweat and glitter off of it. It’s just filthy gross.What’s it like being a female guitarist?People would always pre-judge me as a girl and think I couldn’t play theguitar. So I did lot of experiments to test people’s prejudgment. If I puton a skirt people would think I was a better guitar player than if I justwore pants. When I opened up shows for Slash I put on this big trenchcoat and put my hair up in a cowboy hat. I kept my back to the audienceand I just shredded. The audience would think, oh, some guy’s up thereshredding, but then I’d turn around and pull off the hat and you’d hearthousands of people, like, “Wow, it’s a girl!” I forced them to hear mebefore they even saw me. And that’s why my show is guitar solo afterguitar solo. I hardly even talk, because when I start speaking my “Valley”speak, people think I’m dumb and can’t play guitar. – Daniel SiwekApril 2014 musicconnection.com 41

“Nowadays, with thesebig pop gigs, you mustplay bass synthesizerand bass guitar.”FRIEDA VUURplay synthesizer, I make it feel like a bassguitar, with the right moves, the right slidesand the right spaces. I create patches andprogram sounds that are similar to thebass.What was your worst onstage mishap?As a kid I was playing a gig in downtownDetroit. My amp wasn’t grounded to thepower source and I actually got electrocutedon stage! I went to touch my guitar andI had a mic in my hand at the same time.Someone had to knock the mic stand outof my hand. Another time I was performingat Ford Auditorium, with Earl Klugh andthe Detroit Symphony Orchestra. At theend of the show I got to play this big basssolo. I walked up to do my solo and thecord pops out…..EHHHH [laughs]! I camein too, boy, for about three seconds! Andorchestra people are so sensitive to anyloud noises. I was so nervous!Tell us about your gear endorsements.I play Warwick basses and use T.C.Electronics. I also endorse Moog Musickeyboard bass synthesizers—The Tribute37 and Voyager keyboards. My brotherand I program for Roland keyboards. I usethe Roland Jupiter 80 as my controller.Kern BrantleyLady GagaContact: kernbrantley@ymail.comKern Brantley has played bass and/or served as musical director for aWho’s Who of jazz, pop and R&B acts. Currently with Lady Gaga, theDetroit born and bred Brantley initially studied with Motown Funk BrotherEarl Van Dyke. Brantley has gone on to support Grover Washington Jr.,Earl Klugh, the Winans, Bobby Brown, New Kids on the Block and abreathtaking laundry list of contemporary music icons.What have you done in the past year to become a better musician?Normally, if I have a gig coming up I spend a lot of hours practicingand analyzing the music of the artist I’m working with. I study all typesof jazz and listen to a lot of hip-hop. I do a lot of programming where Ispend a lot of time preparing and getting the right sounds, getting thebass to sound a certain way for specific kinds of music.What do you notice when you hear a recording of yourself fromfive or 10 years ago?I played the bass line on “Gettin’ Jiggy Wit’ It” by Will Smith. On thatparticular record I used a Fender Jazz Bass, with no effects and just a drytone. These days I’m using more effects. It’s a little more processed; morecompression, delays and stuff. Back then my tone was more natural.Do you have a regular guitar/gear roadie/tech?My most recent was a guy named Reagan Wexler. He was working withSevendust and is a drummer, but is a bass tech as well.Do you have a mentor?Definitely! One mentor coming out of Detroit is Nate Watts. He’s themusical director for Stevie Wonder and he’s one of the first bass playersI saw who was also a musical director. He inspired me to wanna do that.Greg Phillinganes is a keyboard player from Detroit who was the musicaldirector for Michael Jackson. As a bassist, James Jamerson was abig influence. Later influences were Marcus Miller, Nathan East, LarryGraham, Lamont Johnson and Ralphe Armstrong.What is your most underappreciated quality?I wanna be recognized more for my synthesizer bass playing. Nowadays,with these big pop gigs, you must play bass synthesizer and bassguitar. A lot of bass players are good, but when they get on synth theycan’t program or they don’t make it feel right. As a bass player, when IAMY LYNN BALDERRAMABobby BalderramaQuestion Mark & the MysteriansContact: Amy, associatedmichiganrecordings@gmail.com“My philosophy is toalways be learning andnever quit playing.”Guitarist Bobby Balderrama is one of the founding fathers of the protopunk/garage rock movement. From his origins as a mere teen in the mid-‘60s with Question Mark & The Mysterians, to his more contemporary foraysinto smooth jazz and blues, he has grown exponentially as a player.Currently he has reformed, with the original Mysterians, an instrumentalrock act called the Semi-Colons. The group originally recorded a single,produced by Neil Bogart, in the mid-‘60s entitled “Beachcomber.”42 April 2014 musicconnection.com

What have you done in the past year to become a better musician?In 1969 I quit Question Mark & the Mysterians. I wanted to keep playingbut wanted to learn different styles like jazz and blues. I put a lot of timeinto practicing and listening to George Benson, Tal Farlow, Chet Atkinsand Wes Montgomery. My philosophy is to always be learning and neverquit playing.What do you notice when you hear a recording of yourself from fiveor 10 years ago?I did a blues album a few years ago. We did a song by Alvin Lee called“Bluest Blues.” I played a singing guitar style that I really liked. In the ‘80sI would hear these melodic metal guitarists like Steve Vai and Joe Satrianiand that’s what I tried to do with that tune.Have you added any gear that has changed your sound or style?When I play rock & roll I use my Strat. But when I play smooth jazz I’vegot an Ibanez George Benson-type model. I tried using a full-bodiednatural wood guitar. But I had lots of feedback problems because it washollow. I went and bought a miniature full-size one now and it works great.Have you had a mentor?Les Paul and Chet Atkins. I bought Chet Atkins albums to learn how heblended the bass and melody line. Eric Johnson and Joe Bonamassaare some favorites of mine too. You can always learn from everyonebecause everybody’s different.What is your most underappreciated quality?I’ve been playing smooth jazz now for about four years and am still kindof new at it. As a musician there’s always that little doubt in your mind thatyou’re gonna be looked upon as a rock player who plays jazz, but may notbe up to par.What’s your worst onstage mishap?I was playing with this band in the ‘70s and the drummer would light hissticks on fire. He kept telling me to try that with the guitar. I played slide,so he attached a wire to the end of my slide and, when he lit the wire,it would burn as I played. I agreed without even trying it. The wire waswrapped in cotton and he soaked it in lighter fluid. He lit it up and therewas this big-ass flame! As I played the slide started getting hot. I’m goingreally fast across the fret board and it flew off my hand into this red velourcurtain. The curtain caught on fire and I ran up to the bar and grabbed apitcher of beer to douse the thing. It was embarrassing!What was it like having a mega-hit like “96 Tears”?It was Number One on October 22nd, 1966. We were neck and neck withthe Monkees’ “Last Train to Clarksville.” I was just a 16-year-old kid fromSaginaw, Michigan. Once I heard it on the radio it was a great feeling!We went on the road and met all these great bands like the McCoys, theOutsiders and Shadows of Knight. We opened for Sonny & Cher and metthe Mamas & the Papas. We were just lucky to have a hit. I was more of afan than an artist.The funny thing is, I don’t really listen to myself. But occasionally you hearsomething from five, 10 or 40 years ago, and my first thought is wow! Iwasn’t bad! When I listen to recordings I did with Janis Joplin in ‘62 and‘63, I thought it wasn’t too bad. Compared to what a lot of people do todayin terms of flash and technique, it’s not in that realm. But it does what itneeds to do.Have you added new gear that has changed your sound or style?Most of the gear I use these days, especially with the acoustic guitar, is totry and make it sound as much like itself. For a number of years I’ve beenusing Fishman’s Matrix pick-ups. I use their 60-watt loud box on stage asa monitor for myself. For electric, back in the day, volume made a lot ofstuff happen that we don’t need today. I’ve been using Alfonso HermidaZendrive pedals and they’re controllable and sound as much like overdrivinga real amp as anything I’ve ever used. You can get nice soundswithout annihilating the front row of the audience or your band mates.Louie Rosano, of Louis Electric out of New Jersey, can build great ampsand modifications for me in the blink of an eye.How would you say (or with what techniques) you best expressed apsychedelic electric guitar style in the ‘60s and ‘70s?The Airplane started out as a folk-rock group. Paul (Kantner) was playinga 12-string and I had a Rickenbacker on the first album. As thingsevolved we became more of a rock & roll band. I was playing a Gibson345 Stereo, with each pick-up having its own channel. My lead tone wasdesigned to be heard over the rest of the guys in the band.How has running a guitar school improved or affected you?I never really learned how to practice constructively. I need to either beplaying or teaching, where I do stuff slowly and articulately. And so whenI’m teaching people stuff, I’m actually realizing what it is they’re doing—almost like a tai chi thing—and I’m practicing all the moves really slowlyand meticulously.“Every day thereis something thatrequires that Ilisten to myselfvery carefully.”Jorma KaukonenJefferson Airplane, Hot TunaContact: Cash Edwards, cashedwards@austin.rr.comFrom his embryonic beginnings as a folk-blues guitar purist to his electricand psychedelic innovations with the Jefferson Airplane, Kaukonen hasremained an ardent student and devotee of the six-string. With longtimecollaborator and bassist Jack Casady, he has fronted the Airplaneoffshoot Hot Tuna for over 40 years. Since 1989, Kaukonen and his wifeVanessa have been owners and proprietors of The Fur Peace Ranchguitar camp in Southeast Ohio. The staff includes world-class instructorsfrom all genres such as G.E. Smith, Tommy Emmanuel, Jesse ColinYoung and Kaukonen himself.What have you done in the past to become a better musician?Every day there is something that requires that I listen to myself verycarefully. I have standards that I aspire to and it’s a work in progress. Moreimportantly, I listen to a lot of other people. My mind is open to differentmusical genres and instruments. Obviously the guitar is my first love, but Ilisten to all kinds of stuff.What’s the first thing you notice when you hear a recording of yourselffrom five or 10 years ago?SCOTTY HALLGuitar Jam Extra!For a Music Connection interview with jazz bassist Amanda Ruzza (LeniStern, Global Noise) go to http://musicconnection.com/guitarjamextra.April 2014 musicconnection.com 43

– BRIAN TARQUINMonster Guitar Tone!Achieving great guitar tone is like chasing out of the ‘80s hair band days. Choose subtleafter the “Holy Grail”—the search is pedals—they will not alter your inherent guitarendless. We are constantly trying to tone, but enhance it. Nevertheless, there is alsofind the right balance between our human a time when an effect is called for. Somethinghands, strings, wood, amps and pedals to get like the classic Electro-Harmonix Memory Man,that “Archangel of tone.” You know it when for instance. I’ve used it for many extremeyou hear it. Whether it is thesweet, clean sound of GeorgeBenson’s L-5 from The OtherSide of Abbey Road, JohnnyMarr’s melodic voicings underMorrissey’s vocals in theSmiths, or the shear earthshatteringtone from VanHalen’s “Eruption.” It movesyou, inspires you and evenpisses you off! That’s guitartone!I’ve been very fortunate tohave produced and recordedsome of the greatest guitarists.On the Guitar Master Series(BHP MUSIC), I startedreleasing rarity tracks like “54-46 Was My Number” by Tootsand the Maytals that featuresJeff Beck, and “B Fingers”by John Paul Jones fromLed Zeppelin. I then startedcomposing songs for top-notchshredders to add to the guitarcompilations. I would produce/engineer the songs, play theguitar melodies and then haveeach guest play the harmoniesand we would both trade solos.The one thing about guitarthat I love is: you just can’t fakeit. You’ve got to be able to play. Ifound that the tone really comesfrom the fingers; of course, allof the other parts matter, buta great guitarist can make acrappy guitar sound good.Eddie Van Halen, on hisfirst tour back in the late ‘70s,let guitarists from bands hewas touring with play his guitarthrough his whole rig and henoticed that none of thoseplayers sounded like him. Sothere’s a lot to be said about thehuman touch.The BasicsGuitar tone can be dependenton your amp and the effectsyou place in the chain betweenyou and the amp. A vintageFender Super Reverb; played at lower levelshas a nice clarity, but as you raise the volumeyou get a sweet bite as the 4 x 10-inchspeakers start to break up.Keep in mind, it will also depend on the axeyou choose. For example, a Strat will havean entirely different tone from a Les PaulCustom, but this is a good, clean palette tostart with. Now to get some overdrive, you canchoose a plethora of pedals, but let’s take anoriginal Ibanez Tube Screamer 808 or a MXRDistortion Plus. Well hell, there you have it—atone set-up for a king.Pedals can play an important part of theguitar tone, but I think one has to be carefulnot to get overly enthusiastic about pedals,resulting in the over-effected sounds that came44 April 2014 musicconnection.com“Subtle pedals are the best choice,because they will not alter your inherentguitar tone, but actually enhance it.”sound effects in particular songs; in fact,even non-guitar bands have used it for color.The Chemical Brothers used it all over theirbreakthrough record, Dig Your Own Hole.Hammer Of The GodsThrough my guitar tone journey sincechildhood, I’ve always been intrigued withwhat makes players choose their weapons ofchoice. So I’ve asked some of these inspiringplayers to share their set-ups:Steve Morse: “I start with my normalMusicman electric, and then used a Buscarinoacoustic/electric nylon string guitar, anOvation steel string, a Steinberger 12-string, aMusicman baritone guitar (tuned down to B)and a Line 6. For amps, I'm enjoying the newsignature amp that ENGL made for me, and astock ENGL classic tube amp.”Eric Johnson: “My typical set-up is a BKButler Tube Driver or an AC Booster througha Marshall JMP Super Lead and aDunlop Dallas Arbiter Fuzz Faceor an old Ibanez Tube Screamerthrough a Marshall JTM 45. Then Ihave some that are more super leadJMP that have a lot of gain withinthe amp. I also have a twin reverbthat has eminence speakers in itand when you crank it up it has aninteresting type of lead tone.”Joe Satriani: “I plug my JS1000guitar into various pedals, and/or, gointo a variety of amps heads, thenon to a Palmer speaker simulator.Sometimes a plug-in would dothe trick, or just all the pedals wefound on the floor plugged in andturned up! We had much successwith the Mooger Fooger pedals, theFulltone Ultimate Octave, a DigitechWhammy pedal, and a preampcalled a Hafler Triple Giant. Thelatter had the most robotic distortion,totally devoid of warmth and feeling.But, in the context of a song like'Borg Sex,' it was perfect!”Steve Vai: “EQ plays a vital role.I always keep a pair of C14s anda pair of 414s (Mics) spread apartin the corners of the room. This ismixed into the sound at variouslevels depending on the desiredeffect. It’s important to me totry and create a space for eachguitar; the song should tell youwhat to do. I usually use Wave andRenaissance plug-ins for EQ, thencompress analog before it hitsthe drive. I’m not a fan of digitalcompressors or reverbs.”Billy Sheehan: “I have an AmpegSVT (turned way down!), as wellas an Avalon pre-amp for directsound. I use my regular bass that Iplay on stage, the Yamaha Attitudewith RotoSound strings. We mikedup the SVT cab, as well as splitsignals for a direct through a RadialEngineering direct box.”As the saying goes, “It’s not justthe destination but the journey—and whatyou’ve experienced through the journey.” Thiscan easily be applied to your journey to greatguitar tone. Sometimes, I find myself goingback to the basics, with no pedals or effects; Iplug my Les Paul in a well-made Marshall halfstackand just go for it. As Zappa said, “ShutUp 'n Play Yer Guitar!”BRIAN TARQUIN is a multi-Emmy-winning guitarist whohas established himself as a top-rated TV composer/guitarist. He has sold over 140,000 records in his career.In 2014 Tarquin produced Guitars For Wounded Warriors.It features Steve Morse, Billy Sheehan, Gary Hoey,Bumblefoot (Guns N’ Roses), Reb Beach (Whitesnake),Hal Lindes (Dire Straits), Chris Poland (Megadeth)and Chuck Loeb. For further information, visit http://bohemianproductions.net/bhp/index.html.

ACDBEFSouth By Southwest Gettin’ Bigger,Austin Stayin’ The SameSouth By Southwest 2014 come to a close with over 2,200 bands performing, leaving attendeesand online viewers to share the same thought: Is SXSW growing too large for itsAustin shell? Our thoughts and prayers go out to the victims of the tragic accident whichtook place during the festivities and hope all those involved have a speedy recovery.This year we sent a photo/video team to shoot up-and-comers as well as establishedartists. Pictured are some of the highlights: A) UMe B) Sax busker with street dancerC) Damon Albarn D) Moving Units E) Chuck English F) Phantogram G) Chiodos. Getvideo coverage at http://musicconnection.com. All photos were taken by JodyDomingue unless otherwise marked.GVICTORIA PATNEAUDEApril 2014musicconnection.com45

David NailI’m A FireMCA NashvilleProducers: Chuck Ainlay, Frank Liddell, Glenn WorfBlessed with a voice of durable assurance,David Nail packs his third studio releasewith serviceable songs from reliable MusicRow hitmakers. Nail is a co-writer on fourof the tracks, including the lyrical standout,“The Secret,” an absorbing drama of denialand death. Already a country hit, “WhateverShe’s Got” interjects a plucky banjo to celebrate a small-town goddesswith “blue jeans painted on tight.” A faithful version of Jimmy Webb’s“Galveston” features Lee Ann Womack’s understated, authentic voice incompelling counterpart to Nail’s robust tenor. – Dan KimpelJonatha BrookeMy Mother Has 4 NosesBad Dog RecordsProducer: Jonatha BrookeThis release is written as a tribute to Brooke’smother, whose battle with dementia eventuallyclaimed her life. Always the poet with avoice that can pierce the soul, she injects thatinto some riveting and haunting melodies.“Are You Getting This Down” plays setup,highlighting her mother’s wish to chronicleher life experiences. Without the back story some lyrics can elude the listener,but the emotions are there in spades. At times you miss the lush harmoniesfrom her earlier recordings as part of the duo, the Story, but Brookeis still a prolific storyteller and consummate musician. – Ellen WoloshinFat White FamilyChampagne HolocaustTrashmouth RecordsProducer: Liam Malik and Saul AdamczewskiThere is really only one word to describethis British sextet’s album: filthy. Rife withshocking themes —see “Is It Raining In YourMouth?” and “Cream Of The Young”—FatWhite Family certainly have proven that theyare up to the task of making listeners squirmin their seats, and that they enjoy doing it.However, it all becomes a bit heavy and stifling about halfway through,causing the audience to question if the band really does understand theweight of the music they’re creating, or if they’re just throwing it all around inhopes that they will shock listeners into being fans. – Victoria PatneaudeOffiong BasseyOffiong BasseyMoonlit Media GroupProducer: Blethy Emmanuel TiegnonThis soulful, deep-voiced Nigerian Americanis a thoughtful, socially-conscious contemporarypoet who lives up to her luminous name(which means “God’s moon”) by makingdeeply spiritual tracks that can come acrosslike prayers of hope. Lyrics come to life ina dynamic fusion of global styles includingjazz, gospel, funk and hip-hop as well as exotic elements (Afro-Peruvian,Nigerian Ekombi) that are native to her cultural makeup. She sings and rapsin English, her native Efik and even “Pidgin” English to convey the essenceof her uplifting messages in a variety of colorful ways. – Jonathan Widran8848ChiodosDevilRazor & TieProducer: David BottrillGet your Kleenex, kiddos, Devil may causean eargasm for Equal Vision fans circa 2006.Craig Owens has returned and Fall of Troy’smath-core heavyweight Erak Thomas waspicked up in the off-season. Illuamaudi-who?Devil picks up where Bone Palace Ballet leftoff: Strings, melodic keys, chuggy guitars andoh-so-hooky choruses. It was an interesting choice to team with a Grammywinningproducer, though. Chiodos faithful seemed to enjoy the indie approach—withthe addition of Thomas, one can only wonder what the recordwould be with more up-close, face-shredding axe work. – Andy MesecherWayne KramerLexingtonIndustrial AmusementProducer: Wayne KramerYou might think you know Wayne Kramerfrom his days as a proto-punk anarchist inthe band MC5. But this ain’t your ‘60s momor pop’s guitar hero! After an eight-year focusas a composer, Kramer returns with his mostpersonal and heartfelt release to date. Teamingwith noted Detroit trumpeter Dr. CharlesMoore, the guitarist has crafted a jazz album that seems to intersect whererock, fusion, avant garde and straightahead bebop meet. There is a rough orunfinished texture to the production that may be disconcerting to some, butany fan of organic and inventive music will understand. – Eric A. Harabadian311StereolithicINgroovesProducer: Scotch RalstonOmaha’s genre-defying amalgam of hip-hop,reggae, funk and hard rock have releasedtheir 11th studio album. Stuffed with delectablerhythms and groovy hooks, Stereolithic strikesalmost all the right notes. In its weakest moments,it leaves the impression they’re stuckin the ‘90s, as if they’re aping their glory daysto rapidly aging Gen-X’ers. And their amiable lyrics, which prove a megatonof fun to warble along with, occasionally smack of cornball inspirationalmantras rather than the spiritual insights meant to convey. Still, you’re unlikelyto experience a more joyous recorded romp this year.– Andy KaufmannBand of SkullsHimalayanShangri-La MusicProducer: Nick LaunayIf you’re following the current blues rock resurgence,you’re aware of this trio. To the rest ofyou living under the anti-Black Keys rock, listenup. Himalayan marks Band of Skulls’ thirdfull-length release and, like the glory days ofrock & roll, these English imports are evolvingto find their place atop their respected genre.This record continues the band’s notorious bluesy licks, breakdown-like chorusesand duality of female/male vocals. This time around, however, theseSkulls expand musically with the open-aired “I Guess I Know You Fairly Well”and the rockabilly influenced “Ten Men...” – Andy Mesecher98910To be considered for review in the Album Reviews section, you must have a record deal with a major labelor an independent label with an established distributor. If you do not, please see our New Music Critiques section.46 April 2014 musicconnection.com

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daleContact: reesfinley@gmail.comWeb: http://daleofficial.bandcamp.comSeeking: Mgmt, Touring, LabelStyle: Pop, RockSean ArmstrongContact: djfacemusic@gmail.comWeb: djfacemusic.comSeeking: Label, Booking, DistributionStyle: Hip-HopProduction8Lyrics8Music8Vocals8Musicianship 9Right off, the 5/4 timing of "Tame"indicates this talented band's superiorskill set, and the way they drive homethe chorus shows how, when it comesto the pop-rock equation, they justget it. Meanwhile, the lilting beatof the tender, traditional-soundingballad "Good Night Victoria" showsfrontman/keyboardist Rees Finley notonly has a voice that can wail, but hecan also croon effectively. Neithertune prepared us, however, for theaccutely obscene novelty number,"Fuck You." From its Weezer-y introto its retro-classic riffs to its F-wordfrenzy, the song delights the smartass13-year-old in us all.Production9Lyrics8Music8Vocals8Musicianship 8Armstrong brings a whole busload ofproducers and guests to his project,taking a Murs/mixtape approach to"Take Control," and it pays off with atune whose layered, complex tracknever gets too dense for him tomaintain control at the mic. He bringsclever wordplay to "Mr. Bullyfoot,"once again with a complex track thatis never allowed to overwhelm hisvoice. Much more stark and simpleis "Like Rain" whose prominent beatfeatures some '90s vinyl-spinning fxfor a Bay Area, skateboard, hip-hopvibe. All in all, this is an advancedartist who successfully recruits talentto serve his vision.Paddy Usher BandContact: paddyusherband.comWeb: paddyusherband.comSeeking: LabelStyle: Country RockAri HerstandContact: ari@ariherstand.comWeb: ariherstand.comSeeking: Film/TVStyle: RockProduction8Lyrics8Music8Vocals8Musicianship 9Dublin, IR-based Usher and cohortsare a tight, tenacious outfit whosedown-and-dirty southern rock willinspire even the most blasé stripperto shake her moneymaker. "BeatMe Like The Devil" is a rootsy,pump-me-up party tune with astandup bass, mandolin and abooty-call message—great songfor a movie bar fight. "So MuchBetter Off" generates a hellraisingswagger and an explosive chorusthat Kid Rock would admire. "RunAnd Hide"'s hellacious guitar introleads to a Pearl Jam-like poignancyin the verses. This is a band that'schugging on all cylinders.Production8Lyrics8Music8Vocals8Musicianship 8Herstand's work shows a strongmelodic gift and an adept handleon a sound that is rich, organicand inclusive. He gets to the hooksright away, as in "Say What YouWill" whose horns and tremologuitar lend a warm intimacy. Theobservant "San Vicente Blvd."with its "January's never felt likethis before" will ring true for anyweather-beaten L.A. transplant."Keep Fighting" is especially winningwith its funky guitar groove andhigh-energy wordflow. The artist'svoice, his breathy tone is a cinch tolasso the ladies' attention, while themusicianship keeps the guys glued.JoeCatContact: iDreamMusicLabel@Gmail.comWeb: SoundCloud.com/JoeCatttSeeking: Distribution/Label/MgmtStyle: Hip-Hop, R&B, Club, PopKorby LenkerContact: Lellie@lps-media.comWeb: korbylenker.comSeeking: Label, BookingStyle: Folk-PopProduction7Lyrics8Music9Vocals8Musicianship 8Joseph Anthony Reyna is a hip-hopartist who understands a hook, ashis catchy, radio-ready "Candles"proves. And he's careful to changeup the beat with effects to keep usengaged. "Epistemic Virtues" ridesa piano-driven beat and allowshis voices to deliver a higherconsciousnessmessage. "Sellin'Out" is an interesting outing—dropdeadgangsta with its tolling bellsand epic air of violence, it is in facta subtle sendup of the genre. All inall, you sense that every one of this'Cat's tracks are finely tuned, theproduct of a sharp, commercial ear.A bit of audio leveling might help.Production8Lyrics8Music8Vocals8Musicianship 7Almost painfully intimate, Lenker's "IfI Prove False To You" is convincingwith its hurt, hypersensitive vocaldelivery that still manages to carryan air of optimism. Call it Elliott Smithwith a side order of hope. The artistshifts gears to a bold, funky falsettofor "Forbidden Fruit" and includesa sudden break where he affectsa British accent. Perhaps his mostwinning tune, though, especially forthe alt-ukulele contingent out there,is "My Little Life." This portrait ofslacker bliss, with its wry, ironical,happy-face vibe, would be theperfect addition to a Wes Andersonmovie or a hipster TV commercial.Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score.A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page.48 April 2014 musicconnection.com

The 88sContact: ipheelsogood@gmail.comWeb: the88sband.comSeeking: Mgmt, Booking, LabelStyle: Rock / Alt & Punk / MetalBeth ThornleyContact: wendy@hellowendy.comWeb: beththornley.comSeeking: Film/TV, Booking, DistributionStyle: Indie, Singer/Songwriter, PopProduction8Lyrics6Music7Vocals8Musicianship 9Terrific drumming and guitarmanshiphighlight this international powertrio whose "You Gotta Give aDamn" delivers an avalancheof straightforward rockisms at arelentless pace. Though singer PheelDuarte's English is slightly accented,he takes command mid-song anddrives it home. The instrumental"Pride" showcases dexterity andbeautiful tone, and it promisesmajesty—even some harpsichord—but ultimately stranded us. The bandtruly shines on the ambitious "GetMe Through," prog-rock at its finest.However, first order of business forthis outfit: upgrade your lyrics.Production8Lyrics7Music7Vocals8Musicianship 8Thornley's voice emits a spiritthat is instantly likable, and hermaterial, while familar pop-rock,gets a spacious, luxurient productionglow. "Say What You Will"'s catchymelody has elements that wouldenliven any cell phone TV spot.Spacey sonic elements rise to thesurface in the laidback, synth-driven"It Could Be," conjuring a wistfulweightlessness. "All These Things"is expertly produced with an arenasizedbreadth a la Imagine Dragons.Thornley's recordings put a modernedge to what is solid pop-rockmaterial and she should continue togarner film and TV placements.NeloContact: matt@nelomusic.comWeb: nelomusic.comSeeking: Label, Film/TVStyle: RockRyan WaylandContact: ryanwaylandmusic@gmail.comWeb: ryanwayland.comSeeking: Label, Booking, MgmtStyle: RockProduction8Lyrics7Music7Vocals8Musicianship 8A heartland rock quintet from Texas,Nelo comes off as a real band, asopposed to a singer and his support.Still, there's work to be done. While"Hometown" has a bold acousticelectricguitar intro that heraldsexcitement to come, the songnosedives—the verses, in fact, aremore compelling than the chorus."Until We Die" has a southern rocksnarl to it and Reid Umstattd's voicedelivers real commitment; but againthe verses upstage the chorus. Theband's Kings of Leon influence ismost prominent on "Blow." Nelo is aband whose flashes of brilliance holdlots of promise.Production7Lyrics8Music7Vocals8Musicianship 7A street-poet with a dark, jaundicedmessage, Wayland has a raspy,pack-a-day vocal tone that works wellwith material such as "20th Floor,"something of bluesy/boozey urbanfolk outing. Wayland's born-to-losetheme persists in "Temptation" whichechoes Devil Makes 3 in style—butwe'd just love to hear a real drum seton this track. Scratch this pessimistand you'll get...more pessimismwith "Let It Ride," Wayland's bleakrecounting of being born under abad sign. Ultimately, there's a strongpersona at work here that couldstand further developement from asavvy, sympathetic producer.Melanie DevaneyContact: michelle@michelleroche.comWeb: melaniedevaney.comSeeking: Booking, Mgmt, Film/TV, Distr.Style: Americana, FolkAutumn Sky WolfeContact: management.NTD@gmail.comWeb: cdbaby.com/Artist/AutumnSkyWolfeSeeking: Booking, Film/TV, DistributionStyle: Pop BalladsProduction8Lyrics7Music7Vocals7Musicianship 8Singer/songwriter Melanie Devaneyencounters an issue that's notuncommon to performers whotake their personal, coffeehousefriendlymusic into the studio—she'soutmuscled by her support players.That's the case with the twang-poptune "Carry My Guitar" and "OhAdam!" on which you want Devaneyto really cut through and belt thesong out, but it doesn't happen.She fares well, not surprisingly, onthe bittersweet ballad, "Greenville,"where her gentle sensibility warmsthe room. We especially like how thearrangement quickens mid-song andhelps her generate power at the mic.Production7Lyrics7Music7Vocals7Musicianship 7While young Autumn Sky Wolfe hasmore work to do to reach the loftylevel of her heroes, Adele and CelineDion, her earnest and heartfelt voicealready puts her in a good positionto succeed. "Fire & Ice," with its epic,panoramic scope, allows Wolfe todisplay her musical-theater potential."Complicated Eyes," a duet with aSeal soundalike, presents somechallenging chord progressionsthat she handles quite well. Still, itis apparent that this young singerwould benefit from professional vocalcoaching to give her the skill andtechnique she'll need to realize herambitions.SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor.To be considered please go to http://musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.April 2014musicconnection.com 49

House Of Blues West Hollywood, CAContact: londonroselive@gmail.comWeb: http://londonrosemusic.comThe Players: London Rose, vocals; EddieHaddad, guitar.Material: Delicately weaving together pop,soul and blues influences, London Rosebrings a fresh new voice to the singer/songwriter scene. Hers is a modern soundwith an old soul. Indeed, fans of classicMotown songs could become enamoredwith Rose as easily as those who lovecontemporary artists like Colbie Caillat.Movie and television licensing would seemlike a natural next step, with pop and adultcontemporary radio not far behind.Musicianship: Rose shines behind themicrophone. Her impressive vocal rangeallows for powerful crescendos, as well asquieter, subdued moments. From a lyricalstandpoint, most of her songs deal directlywith matters of the heart. Though these topicsare far from new, Rose does a commendablejob of keeping the feeling fresh. That said,it would be excellent to find her delving intomore obscure subject matter further down theline. Haddad provides serviceable backingon acoustic guitar, albeit without any shiningmoments. This was the first time the twomusicians shared the stage together, so astheir chemistry evolves, it is natural to assumehe’ll become a more pronounced contributorto the performance.Performance: Displaying a natural comforton stage, Rose began her set by launchingKelly’s Olympian Portland, ORContact: justlionsmusic@gmail.comWeb: http://justlions.comThe Players: Chandler Strutz, vocals,guitar; Brady Strutz, bass, backup vocals;Andrew Shepherd, drums, backup vocals.Material: Just Lions pepper the set withmaterial from their past three releases. Theylaunch with “Othello,” featuring a bluesy guitarrefrain ringing with runaway-train jangle. “I ama Ghost” comes next, an upbeat pop-centrictune layering a frenetic guitar solo over adisco beat breakdown with the bass pumpingout octaves. “Great. Ok.” offers a quirky,whistled chorus melody, which is catchy whenthe band does not overpower it. “Nightmare”ends in a massive breakdown with impressive,hyper-attentive drumming.Musicianship: Telecasters: Chandler hastwo of them and plays them both damn well.Bassist Brady Strutz works with a good oldFender Precision that punches, clean andtrue. Just Lions respect the guitar solo.Most of their songs have one. This can beexhausting on a listener, but Chandler’sstyle is what keeps your interest. He oftenplays solos in what sounds like southernslide-style vibrato…but without the use of aslide. Guitar chops are evident in technicalstunts without becoming obnoxious (except forthe shredding session in “On the Road,” whichsacrifices tone quality and clarity for the sakeof virtuosity). Andrew Shepard is an expertLONDON ROSEtitle track from her new EP, Kick Drum servedas a powerful closer. As Rose’s most radioreadytrack, it left fans singing the catchychorus well after she produced her final note.into “Get On Up.” Buoyed by refreshinglypositive lyrics that encouraged the crowd to“shake the stress away,” the uplifting trackproved to be the perfect starting point for herstirring performance. Rose’s dynamic vocalswere front and center during “Never Been TheSame,” a soulful, emotive ballad co-writtenby Grammy Award-winner Jeff Franzel. Laterthe singer showed yet another side, callingattention to vapid materialism during her song“Fake.” A cover of the Etta James classic“At Last” would follow, and though it’s beenperformed by every wedding band on theplanet, Rose managed to give the song newlife via her passionate, heartfelt vocals. TheSummary: Given the limitations ofperforming with just an acoustic guitarand vocals, Rose was able to put on amemorable performance. The singer’s talentis obvious, but if she hopes to take hercareer to the next level, a full backing bandwill be imperative. Once she can maintainher power and presence with a completelineup of musicians supporting her, the skywill be the limit. – Corey IrwinJUST LIONSin punctuation, supplementing songs with and “On the Road” a catchy scalar ascendingpercussive hits on drum frames or those nice, riff. Chandler did most of the talking, offeringimmediately muted, crashes.quick and witty banter after three songs.Performance: Communication was limitedprimarily between the drummer and bassist,but it seemed like they didn't need much—thetunes were plenty tight. Chandler’s energyand movement was high, holding the guitar inthat practiced, nonchalant kind of way. BassistBrady held the low end admirably, chiming in forfeatured riffs. For instance, “Everything GoesAway” featured a pleasant walking bass lineSummary: Just Lions provide a thoroughlyenjoyable set, right down to the group’s quirky,clean-cut vibe (Chandler was even bow-tieclad). Sonically, the band is particularly greatat emphasizing a tune’s negative space inmoments of skeletal sparseness. Both theirimage and sound are plenty marketable, thoughyou get the idea that Just Lions is in it for themusic and not for the fame. – Ted JamisonTODD WALBERG COREY IRWIN50 April 2014 musicconnection.com

Faye laces her lyrics with unique vocalsthat accentuate every emotion. Her acousticguitar skills are simple, yet sweet, and aftershe admits it was her first gig playing electricguitar, she still manages to rock it. Jolenecommands attention with her sultry stagepresence and powerful vocals. Together,the girl’s harmonies melt like butter. Munozis an animal on the guitar, throwing everylast drop of energy into his instrument. Lee’sfancy fingers bring the right amount of funk,while Hinojosa’s bass lines provide thatheart-pumping groove. And last but not least,Rector’s drumming never skips a beat, fillingin songs that get people out of their seats.ELAINE FAYEAND THE BIG BANGHotel Cafe Hollywood, CAContact: coastnaca@yahoo.comWeb: http://thebigbangmusic.comThe Players: Elaine Faye, vocals, guitar;Chey Jolene, vocals, tambourine; LuisMunoz, guitar; Oliver Lee, keys; EnriqueHinojosa, bass; Kyle Rector, drums.Material: Los Angeles based Elaine Faye andthe Big Bang is an electrifying sextet with neosoulroots. The name might imply all eyes areon songstress Elaine Faye, but the band findsa great balance of musicianship, allowingeach member to shine. They utilize a set listof impressive originals and timeless covers,with an intoxicating vibe of genuine heart andsoul to further strengthen the tunes.Musicianship: Five years in the making, thisgroup of Musicians Institute graduates hassolidified a bond that illuminates the stage.ALLEGRA AZZOPARDIPerformance: Elaine Fay and the Big Banghit the stage with fire and had no troublesigniting the crowd with the handclap —inducing “What You Wanted.” They threwin a few covers like “Eye of the Tiger” andthe Outfield’s “Your Love,” but their sexy,soulful rendition of MGMT’s “Electric Feel”was the most impressive—maybe evenbetter than the original. What really madethe performance stand out was the band’scollective energy, which never fizzled.Summary: It makes sense that shorteningtheir name to just “The Big Bang” is nowunder consideration, because this is notjust Elaine Faye and her backup band. Thisis a unified, talented group of musicianseducated in their craft and passionate abouttheir work. With that equation, successshouldn’t be too far ahead; no matter whatmoniker they choose. – Allegra AzzopardiThe Mint Los Angeles, CAContact: travis@substanceco.comWeb: http://mkultramusic.netThe Players: Travis Szendrei, lead vocals,guitar; Aaron Bagley, bass, backup vocals;Daniel Kramer, drums; Jody Bagley, piano,synths, backup vocals.Material: MK Ultra churns out transient,slowed-down grooves with melodic chorusesthat hook the listener. The band pulls off itsemo/alternative-rock with thumping Bonhamesquegrooves, assertive bass licks, melodicguitar and piano riffs, and trippy, upbeatsynthesizer sequences that complementthe mellow rhythms. “Sharp Shooter” has agraceful piano riff over a relaxed drum beat, buttransitions into a rocking chorus where singerTravis Szendrei yells to showcase his grizzlyrasp. Though the music is cohesive and therhythm section gels, songs like “Kissing theEnemy” or “Friendly Fire” could do with somevocal reworking.Musicianship: Szendrei has a raw yetcomposed rasp that he lets out of the cageduring the choruses. The whiney vocals, whileappropriate for the emo genre, often depressthe music and could be strengthened with morevocal training. His guitar playing is solid, butgets drowned out. While the Bagley brothershold down the bass and keys, drummer Kramerlags behind the tempo occasionally and slowsdown the already adagio beat.Performance: Although the first half of theperformance was slow, melodic and hypnotic,MK ULTRAMK Ultra picked up the pace with varied,upbeat rocking songs to close out the set.Szendrei asserted himself as the frontman,moving about the stage to engage theaudience. He gave his all, especially in thefinale of “Killing Angels,” on which Kramerhammered out a sick, descending tom-tombeat over a haunting keyboard riff. Bagley alsoadded sustenance with his backup vocals to“Taking Over,” but was sorely out of tune on“Friendly Fire.” Szendrei’s voice also seemed togo off pitch by the fourth song. Rhythm drivesthe band’s material, so Kramer could even outhis playing and keep up with the tempos.While they received positive responsesfrom the intimate crowd, the band showed alack of chemistry. It was the Travis Szendreishow and he was not shy about claiming hisaccomplishments, which came off as arrogant.The band finished on a high note, however,rocking the house with two catchy songs.Summary: MK Ultra has the ability to writesongs that catch on quickly. A bit of vocalpolishing and upkeep on rhythm chops woulddo wonders for the band’s live performances.Szendrei, while a talented singer/songwriter,could be less boastful and play rhythm guitarmore often because it melodically enhanceshis rhythm-heavy songs. – Vincent StevensVINCENT STEVENSApril 2014musicconnection.com51

Tasty Burger Cambridge, MAContact: ziptiehandcuffs@gmail.comWeb: http://ziptiehandcuffs.bandcamp.comThe Players: Matt Ford, guitar, vocals; IanGrinold, bass, vocals; Max Levy, drums, vocals.Material: Punk-inspired, spaced out, roughhousenoise is what’s on tap with this snottyBoston trio. Although they sprinkle their monsterriffs with the occasional oohs and ahhs, theirmelodic inclinations never overpower the highoctanecompositions or degrade the whole intodisposable pop-punk. While their Facebookpage details the group’s song topics, whichcover everything from monsters to whales, onewould be challenged to distill particular subjectmatter from the band’s raw live presentation.Musicianship: While their music is best characterizedas haywire madness, Zip-Tie’s sound isdeceptively complex. Their core competenciesbecome exposed when guitar and drum bridgesemerge, but they’re quickly submerged by thegroup’s pungent, rock & roll exuberance. SingerMatt Ford’s lyrics can only be described as unintelligible,but no matter—feeling trumps clarityamid their amped-up pandemonium.Performance: Zip-Tie Handcuffs let their musicalfury carry the burden of converting new fans.While they mentioned their name once, alongwith the merch table, they maintain no brandingto distinguish themselves. Still, their evidentzeal for aural domination goes far in pulling inlisteners. Regretfully, their set was cut short,this being the first (and likely only) night to featuremusic at Harvard Square’s Tasty Burger.When the band was abruptly informed they hadRockwood Hall New York, NYContact: monica@thinkpress.netWeb: http://emersonhart.comThe Players: Emerson Hart, vocals, guitar.Material: Best known as frontman and songwriterof the Multiplatinum band Tonic, EmersonHart was in town to promote his new solorelease Beauty in Disrepair. Hart describesthis venture as a “turning point” in his career, achance to explore feelings that he alone wantsto impart. Dealing with past hurts and newbeginnings is thematically the centerpiece of themajority of songs in the set.“The Best That I Can Give” has hit written allover it and is the true mark of an experiencedand skilled songwriter. Though drawn from personalexperience, the song is sheer craft withverse, pre-chorus, chorus and bridge so wellconstructed it adds up to a completely universalsong. Generally speaking, the material leanstoward introspection with an acoustic bent butcould easily fit into a country/Americana or pop/rock setting depending on how it is produced.Hart plays the entire set on acoustic guitar,showcasing the songs close to the bone.Musicianship: Hart’s still got that rock angstin his voice which lends a great effect to hissubject matter, and he performs with abandonfocusing more on the song’s content than gettinghung up on vocal technicalities. He supportshimself well enough on guitar, but againthe focus is Emerson Hart, the songwriter, andthis is his vehicle of choice.ZIP-TIE HANDCUFFSto stop, guitarist Ford’s proper response was,“Come see us at a real venue.”Summary: Following appropriate rebel rockprotocol, Zip-Tie Handcuffs seem to care aboutlittle more than having fun. Like a giant middlefinger to society, they’re unadorned, unpretentiousand unapologetic. Despite their derivativenature, they bring a youthful energy that can’tbe taught. They could, nonetheless, learn to gildthe lily by tossing in some memorable visualelements and/or punching up their presentation.But in an interesting catch-22, what makes thisgroup so appealing is their no-care attitude,which might unfortunately cause audiences tofeel the same. – Andy KaufmannEMERSON HARTPerformance: Coming across as the veteranperformer he is, Hart took plenty of liberties duringthe show, mostly in his banter with the audience.The “f word” was noticeably present whichseemed incongruous with the tender nature ofthe material. Maybe it’s being terribly at homewith his audience or maybe it serves to maskmore vulnerability underneath. At any rate, theaudience, a mix of diehard Tonic fans and thoseon board at this juncture in his career, seemedsupportive of whatever he dished out.Toward the end of the set Hart pulled out thebig guns with his two mega Tonic hits: “LemonParade” and “If You Could Only See,” two wonderfulalt-rock songs stripped down to just Hartand his guitar.Summary: Emerson Hart demonstrates howa good song is not limited to one treatmentand can stand on its own if it is well written.His material is that of a sensitive and reflectiveartist, and showing that more often in his rapportwith the audience would go far. Hart stillactively performs with Tonic, but he is currentlytouring solo in support of his new release.– Ellen WoloshinMARK SHIWOLICH APPLE KAUFMANN52 April 2014 musicconnection.com

Annual Directory ofGuitar/Bass Instructors & ServicesUpdated for 2014, Music Connection’s exclusive, national list of guitar/bass instructors and service/repair personnel will help connect youwith experienced professionals nationwide. For more exclusive lists of industry pros, visit http://musicconnection.com/industry-contacts.GUITAR INSTRUCTORS &SERVICESNATIONWIDEGUITAR CENTERWeb: www.guitarcenter.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all styles*Check web for the nearest locationPLAY JAZZ GUITARWeb: www.playjazzguitar.comBasic Rate: see website for infoARIZONAARIZONA MUSIC ACADEMY1700 E. Elliot Rd. Ste. 11Tempe, AZ 85284480-705-0875Web: www.arizonamusicacademy.comTONAL CENTER GUITAR INSTRUCTION1051 W. University Dr.Tempe, AZ 85281480-894-3346E-mail: kurt@tonalcenter.comWeb: www.tonalcenter.comCALIFORNIAAARON WOLFSONLos Angeles, CA323-650-9400E-mail: aaronwolfson@aol.comWeb: www.aaronwolfson.comContact: AaronBasic Rate: call for ratesStyles/Specialties: All styles. Learn what youwant to know. Guitar, bass,piano, songwriting, music theory for allinstruments; including vocals.ADAM’S MUSIC10612 W. Pico Blvd.Los Angeles, CA 90064310-839-3575E-mail: info@adamsmusic.comWeb: www.adamsmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesAGOURA MUSIC5160 Kanan Rd.Agoura Hills, CA 91301866-754-2671E-mail: AgouraMusicRocks@yahoo.comWeb: www.agouramusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesALHAMBRA SCHOOL OF MUSIC226 E. Main St.Alhambra, CA 91801626-282-1400E-mail: alhschoolmusic@yahoo.comWeb: www Alhambraschoolofmusic.comBasic Rate: call for infoClients: all levelsALMIGHTY GUITAR PLANET1822 E. Main St.Ventura, CA 93001805-648-4633Web: www.guitarplanet.usBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesALTA LOMA MUSIC8615 Baseline Rd.Rancho Cucamonga, CA 91730909-989-5757Web: https://www.facebook.com/altalomamusic.ranchoBasic Rate: call for infoAMUSE43-C Peninsula CenterPalos Verdes, CA 90274310-377-7838E-mail: chris@amusemusic.comWeb: www.amusemusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesANAHEIM HILLS GUITAR ANDBASS LESSONS300 S. Blackberry Ln.Anaheim, CA 92808714-457-4342E-mail: foelsch@sbcglobal.netContact: Keith FoelschBasic Rate: $20/half-hr., $30/hr.Clients: From beginners to top prosStyles/Specialties: I regularly perform inarenas and concert clubs with top nationalacts. I teach all styles. Learn how to playchords and solos in any key, or how to makeup bass parts easily, so you can record andperform with all types of bands.ANDY BRAUER SERVICE COMPANYNorth Hollywood & Santa Clarita, CA818-631-3777Contact: Andy BrauerE-mail: andybrauerguitar@gmail.comWeb: www.facebook.com/andybrauerServices: RepairARCADIA MUSIC CENTER1270 S. Baldwin Ave.Arcadia, CA 91007626-821-0482 Fax 626-447-8650E-mail: info@arcadia-music.comWeb: www.arcadia-music.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesARROW MUSIC CENTER4317 Tweedy Blvd.South Gate, CA 90280323-569-5700E-mail: rosa@arrowmusic.comWeb: www.arrowmusic.comClients: all levelsStyles/Specialties: all stylesBasic Rate: call for infoBANANAS AT LARGE1504 4th St.San Rafael, CA 94901888-900-1959, 415-457-7600Web: www.bananasmusic.comBasic Rate: call or check website for infoAdditional Location:515 Ross St.Santa Rosa, CA707-542-5588BARKER’S MUSIC3125 McHenry Ave. , Ste. FModesto, CA 95350209-526-0347, 209-996-9773E-mail: kyle@barkersmusic.com, kyle@barkermusic.comWeb: www.barkersmusic.comBasic Rate: call for infoBASS EXCHANGE/GUITAR BASS PRO/AMP-SHOP13701 Ventura Blvd.Sherman Oaks, CA 91423818-386-5500E-mail: info@bassexchange.comWeb: www.bassexchange.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesBAXTER/NORTHUP MUSIC14534 Ventura Blvd.Sherman Oaks, CA 91403818-788-7510E-mail: baxternorthupmusic@gmail.comWeb: http://baxternorthup.tumblr.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesB. HEFNER COMPANY11701 3/4 Washington Blvd.Whittier, CA 90606562-945-9490E-mail: bhefnerco@clear.comWeb: http://www.bhefner.comServices: Along with building Fender licensedreplacement parts necks and bodies, B.Hefner Company also manufactures customguitars, guitar parts and guitar bridges formore than a dozen of America’s finest guitarcompanies, wholesalers and countless custombuilders. Fender, Kramer, Gibson, Epiphone,Dean, Steinburger, Travis Bean are but a fewof the companies we are making parts for, thelist goes on.BILLY BURKE123 E. Montecito Ave. “C”Sierra Madre, CA 91024626-622-6123E-mail: billy@lovelessmotel.comWeb: www.lovelessmotel.comBasic Rate: call for infoBOULEVARD MUSIC4316 Sepulveda Blvd.Culver City, CA 90230310-398-2583Web: www.boulevardmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesBRUCE MONICALMusic Instruction for all agesNorth Hollywood, CA(818)994-9990Email: brucemoni@yahoo.comPrivate lessons on guitar, bass, drums,percussion, & keyboards**Call for ratesBURBANK GUITAR STUDIO425 Dartmouth Rd.Burbank, CA818-848-4866, 818-842-9437E-mail: burbankguitar@sbcglobal.netWeb: www.burbankguitarstudio.comBasic Rate: call for infoCALIFORNIA VINTAGE GUITARAND AMP5244 Van Nuys Blvd.Sherman Oaks, CA 91401818-789-8884 Fax 818-789-8827Web: www.californiavintageguitarandamp.comE-mail: sales@californiavintageguitarandamp.comSpecialties: We sell top of the line new andvintage guitars and amps including Fender,Gibson, Gretsch, Martin, Guild, NationalResophonic and Eastman dealers. Wehave been actively dealing in vintage andprofessional quality guitars, amplifiers andother stringed instruments in the SouthernCalifornia area since 1968, and prideourselves on being a guitar show and not abig store.CANOGA SCHOOL OF MUSIC7361 Canoga Ave.Canoga Park, CA 91303818-340-4021Contact: Ted KrautE-mail: ted@canogaschoolofmusic.comWeb: www.canogaschoolofmusic.comBasic Rate: call for infoCASSELL’S MUSIC901 N. Maclay Ave.San Fernando, CA 91340818-365-9247, 661-297-5544E-mail: cassells@cassellsmusic.comWeb: www.cassellsmusic.comBasic Rate: call for infoCHARLES MUSIC CENTER421 N. Glendale Ave.Glendale, CA 91206818-242-6597, 323-245-3096Fax 818-242-1214E-mail: george@charlesmusicstore.comWeb: www.charlesmusicstore.comBasic Rate: call for infoCOAST MUSIC24002 Via Fabricante, Ste. 308Mission Viejo, CA 92691949-768-8783Web: www.coastbandmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all styles, additionallocation in San ClementeAdditional locations:4970 Irvine Blvd. #109Irvine, CA 92630714-731-3415C O M P I L E D B Y D E N I S E C O S OCRAIG BECKSanta Clarita, CA661-296-8685Web: www.getlessonsnow.com/craigbeckBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesNotes: lessons customized to your needs andrecorded on CDCULVER CITY MUSIC CENTER10862 Washington Blvd.Culver City, CA 90230310-202-6874Web: www.santamonicamusic.comBasic Rate: call for infoHouse Calls: yesDANA GONZALES1412 E. Maple St. #AGlendale, CA 91205323-841-8055E-mail: ledgemusic@yahoo.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesDAWN BLASCO3452 Elm Ave., Ste. 104Long Beach, CA 90807562-426-6695E-mail: dawn@segoviaplayers.comWeb: www.segoviaplayers.comBasic Rate: call for infoClients: all levelsStyles/Specialties: classical, flamenco, jazz,theoryDIETZ BROS. MUSIC240 S. Sepulveda Blvd.Manhattan Beach, CA 90266310-379-6799E-mail: john@dietzbrothersmusic.comWeb: www.dietzbrothersmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesERIC’S GUITAR SHOP8101 Orion Ave. #21Van Nuys, CA 91406818-780-7191E-mail: Ericsguitarshop@att.netWeb: www.ericsguitarshop.comContact: EricBasic Rate: call for ratesClients: Foo Fighters, Joe Walsh, John Mayer,Red Hot Chili Peppers, Hutch Hutchinson,Dave Matthews, Beck and many others.Services: Top quality electric and acousticguitar and bass repair, modification andcustom guitar building. Fender authorizedrepair service. Over 20 years of service in thesame location.FAUNT SCHOOL OFCREATIVE MUSICLos Angeles, CA818-506-6873E-mail: inq092009@druminstruction.orgWeb: www.musicalskills.comBasic Rate: see webClients: All levels. Forty percent ofstudents already professional, many quiteaccomplished. Serious beginner andintermediate students also welcome.Styles/Specialties: method taught oneon-one,specializing in piano, guitar andbass, and applying to any style, for greatlyincreasing the “musician skills” and knowledgetypically not or poorly addressed in musiclessons or classes.FRET HOUSE, THE309 N. Citrus Ave.Covina, CA 91723626-339-7020 800-BET-FRETWeb: www.frethouse.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesFULLERTON MUSIC CENTER121 N. Harbor Blvd.Fullerton, CA 92832714-871-1805E-mail: info@mosfullertonmusic.comApril 2014musicconnection.com53

Annual Directory of Guitar/Bass Instructors & ServicesWeb: www.mosfullertonmusic.comBasic Rate: call for infoLevel: allStyles/Specialties: all stylesNotes: full line music storeGEOFFREY MCCABE6104 Glen OakHollywood, CA 90068323-464-1895, 323-819-0100E-mail: merkaba22@sbcglobal.netWeb: www.myspace.com/geoffreymccabeBasic Rate: call for infoClients: all levelsStyles/Specialties: high-energy, modern rock,blues, alt., jazz, fusion, progressive,acoustic, electricNotes: Recorded, wrote and produced twoaward-winning instrumental albums, touredEurope including Montreux Jazz Festivalfeatured on www.attentionspanradio.net,second release, Fractal Architecture, availableon iTunes.GEORGE FOSTERHollywood, N. Hollywood, Sherman Oaks, CA818-505-0840E-mail: georgefosterband@hotmail.comWeb: http://www.georgefostermusic.comBasic Rate: call for ratesClients: all levels, kids and beginnersStyles/Specialties: blues, rock & jazzNotes: Performance degree from BerkleeCollege of music.House calls.GERARD’S GUITARS19641 Ventura Blvd.Tarzana, CA 91356818-344-8482E-mail: sulc@wgn.netWeb: www.gerardsguitars.comClients: All Ages Styles and LevelsBasic Rate: call for infoGILMORE MUSIC1935 E. 7th St.Long Beach, CA 90813562-599-1369E-mail: lbgilmoremusic@yahoo.comWeb: www.gilmoremusicstore.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesGO FAR GUITAR SCHOOL22028 Ventura Blvd., Ste. 101Woodland Hills, CA 91364818-704-5777, SKYPEE-mail: gofarguitar@aol.comWeb: www.gofarguitar.netBasic Rate: call for infoStyles/Specialties: Combined Contemporary& Classical*Note: 30 years experience, taught over1,700 students, including Michael Einzigerof IncubusGRAYSON’S TUNE TOWN2415 Honolulu Ave.Montrose, CA 91020818-249-0993E-mail: graysonstunetown@sbcglobal.netWeb: www.graysonstunetown.comBasic Rate: Check website for rates andTeachers BiosClients: all levelsStyles/Specialties: all stylesGUITAR ALLEY11701 3/4 Washington Blvd.Whittier, CA 90606562-945-9490E-mail: repair@guitarrepairalley.comWeb: guitarrepairalley.comServices: Guitar Alley is the premier HotRod Shop just for your guitar. We carry a fullinventory of bodies, necks, miscellaneousguitar parts and accessories. Our repair shopis second to none. Being a manufacturerwe have the highest rating among all guitarcompanies when it comes to warranty work.Call for any of your guitar repair needs. Over28 years experience, 100% satisfaction.GUITAR GALLERY18416 Ventura Blvd.Tarzana, CA 91356818-578-3262E-mail: boghratguitar@gmail.comWeb: www.laguitarlesson.comBasic Rate: call for infoClients: all levelsStyles/Specialties: classical, flamenco, popGUITAR MERCHANT, THE7503 Topanga Canyon Blvd.Canoga Park, CA 91303818-884-5905E-mail: theguitarmerchant@yahoo.comWeb: www.guitarmerchant.comBasic Rate: call for infoClients: beginners to advancedStyles/Specialties: All stylesGUITAR SCHOOL1712 Pacific Coast Hwy.Redondo Beach, CA 90277310-540-6767E-mail: mrfrets@aol.comWeb: www.theguitarschool.comBasic Rate: call for ratesClients: all levels, all agesStyles/Specialties: all stylesAdditional location:3840 Woodruff Ave., Ste. 109Long Beach, CA 90808562-627-0464HAL OPPENHEIMSherman Oaks, CA818-784-2307Web: www.imdb.com/name/nm2373968,www.reverbnation.com/thepurplegroupBasic Rate: Call for ratesStyles/Specialties: all styles includingfingerpickingHAMROCK MUSIC INSTRUCTIONAliso Viejo, CA949-230-7136E-mail: mark@hamrockmusic.comWeb: www.hamrockmusic.comContact: Mark HamrockINSTRUMENTAL MUSIC1501 Thousand Oaks Blvd.Thousand Oaks, CA 91360805-496-3774Web: www.instrumentalmusic.comBasic Rate: start at $30/hr.Styles/Specialties: all stylesAdditional locations:3171 E. Main St.Ventura, CA 93001805-654-9388Basic Rate: call for info3328 State St.Santa Barbara, CA 93105805-569-5055JES SELANESherman Oaks, CA323-251-6078E-mail: terry@abstracttalentagency.comWeb: www.selane.comContact: Terry MandelStyles/Specialties: Rock, blues, metal,pop, jazz. Top celebrity references, 18 yearsteaching exp.Basic Rates: call for more info or see lessonsection on websiteJIM’S MUSIC CENTER14061 Newport Ave.Tustin, CA 92780714-669-3600, 800-644-6874Fax 714-669-3030E-mail: jimsmusic@usa.netWeb: www.jimsmusic.comHouse Calls: noClients: beginner to expertStyles/Specialties: all stylesJOHN MAURICE DOYLEGreen Monster Music4543 Carpenter Ave.Studio City, CA 91607818-358-3810E-mail: customer_service@greenmonstermusic.comWeb: www.greenmonstermusic.comBasic Rate: call for ratesClients: all levelsStyles/Specialties: all stylesJOHNNY THOMPSON MUSIC222 E. Garvey Ave.Monterey Park, CA 91755626-280-8783E-mail: jtmusic@hotmail.comWeb: www.johnnythompsonmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesJOHN TAPELLALos Angeles, CA818-270-0768E-mail: John@guitarempire.comWeb: www.guitarempire.comBasic Rate: please call or email for infoClients: Beginning to advancedStyles/Specialties: All stylesNotes: Guitar Transcriber for Hal Leonard, 20years experience.**Online Skype, one on one, lessonsavailable contact John@guitarempire.comJOIN THE BANDMUSIC LESSONS STUDIOMusic Lessons For All AgesVan Nuys, CA818-345-8950E-mail: info@jointheband.comWeb: www.jointheband.comBasic Rate: call for info or see our websiteClients: all levelsStyles/Specialties: Private lessons on guitar,bass, drums, keyboards and voice. We havea great staff of the best music teachers andmusic professionals in Los Angeles.*Notes: “Where Everyone Plays.” Join theBand is in its 14th year! Our program alsoputs students (kids and adults) in bands andprepares them for a gig. All ages, levels andstyles. Professional band coaching is alsoavailable.KASHA AMPLIFIERS, INC.1464 Madera Rd., Ste. 332Simi Valley, CA 93065866-224-6316, 805-426-6803E-mail: sales@kashaamplifiers.comWeb: www.kashaamplifiers.comProducts: Amplifiers, effect pedals,modification systemsKAYE’S MUSIC SCENE19369 Victory Blvd.Reseda, CA 91335818-881-5566E-mail: gkayesmusicscene@aol.comWeb: www.kayesmusicscene.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesKRUSE KONTROL AMPLIFICATIONSun Valley, CA 91352818-333-6781E-mail: info@krusekontrol.comWeb: www.krusekontrol.comBasic Rate: rates determined byservice typeStyles/Specialties: repair/serviceof tube+solid state amps incl.modifications+overhaulLA HABRA MUSIC1885 W La Habra Blvd.La Habra, CA 90631562-694-4891E-mail: info@lahabramusic.comWeb: www.lahabramusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesAdditional location:1191 Magnolia Ave. Ste. BCorona, CA 92882951-898-2630LA MIRADA MUSIC14928 Leffingwell Rd.La Mirada, CA 90638562-941-4495E-mail: lamiradamusic@gmail.comWeb: https://www.facebook.com/LaMiradaMusicBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesLAGUNA HILLS MUSIC23011 Moulton Pkwy., Ste. E9Laguna Hills, CA 92653949-830-4310E-mail: lagunahillsmusic@yahoo.comWeb: www.lagunahillsmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesL.A. MUSIC ACADEMY370 Fair Oaks Ave.Pasadena, CA 91105626-568-8850, 800-960-4715 (US only)E-mail: info@lamusicacademy.eduWeb: http://lacm.eduLARRY LARSON MUSIC STORE1607 W. Glenoaks Blvd.Glendale, CA 91201818-244-7608, 818-240-1343E-mail: leigh@larrylarsonmusicstore.comWeb: www.larrylarsonmusicstore.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesLESSONSTHATROCK MUSIC LESSONSLos Angeles and Orange County, CA562-773-0422Web: www.lessonsthatrock.comContact: Micah J. Mata, ownerLON COHEN STUDIO RENTALSN. Hollywood, CA818-762-1195 Fax 818-762-1196E-mail: office@loncohen.comWeb: www.loncohen.comBasic Rate: call for ratesServices: We rent top of the line backline(guitars, basses, amps, keyboards anddrums) which can be heard on records fromAerosmith to ZZ Top and have been seen ontelevision from Conan to Lopez. We also offercartage, temp. controlled storage, and worldclass guitar, bass and amp repair.LONG BEACH SCHOOL OF MUSIC3840 Woodruff Ave., Ste.109Long Beach, CA 90808562-627-0464Web: www.longbeachschoolofmusic.comBasic Rate: call for ratesClients: all levels, all agesStyles/Specialties: all stylesAdditional locations:1710 S. Pacific Coast Hwy.Redondo Beach, CA 90277Web: southbayschoolofmusic.com310-540-6767Peninsula School of Music31244 Palos Verdes Dr. W. #205Rancho Palos Verdes, CAWeb: pvpeninsulamusic.com/index.html310-918-0439MARINI’S MUSIC222 W. MainAlhambra, CA 91801626-289-0241E-mail: marinimusic@gmail.comWeb: www.marinimusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesMAR VISTA RECORDINGGuitar and Bass lessons with HeartMar Vista Ca 90066Contact: Jerry Manfredi 310 467-0889E-mail: remmusicverizon.netBasic rate: $50.00Notes: I have been teaching for over 25 yearsall styles beginners and ProsMcCABE’S GUITAR SHOP3101 Pico Blvd.Santa Monica, CA 90405310-828-4497 Fax 310-453-4962E-mail: mccabessm@aol.com,matt@mccabes.comWeb: www.mccabes.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all styles*Also banjo, uke, mandolin, fiddle,Appalachian (fretted) dulcimerMOREY’S MUSIC STORE INC.4834 Woodruff Ave.Lakewood, CA 90713562-420-9532E-mail: info@moreysmusic.comWeb: www.moreysmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesMO’S MUSIC MALLLos Angeles, CA818-309-0781, SKYPEContact: Monique CaravelloE-mail: MomoMusicMall@gmail.comBasic rate: call for information andappointmentsSpecialties: Guitar/bass & amp servicing,repair, aging & restoration. Music lessonsavailable via Skype or in person within theSan Fernando ValleyMOUNTAIN DOG MUSIC WORKS485 N. Ventura Ave., Ste. E3Oak View, CA 93022805-649-8500E-mail: mdmrecording@aol.comWeb: www.mountaindogmusic.comContact: Tim FrantzServices: guitar, bass, keyboards, recording,song production -- lessons are tailored to theindividualMUSICIAN’S DEPOT30839 Thousand Oaks Blvd.Westlake Village, CA 91362818-706-3795E-mail: musiciansdepot@sdk3.com54April 2014musicconnection.com

Download at www.musicconnection.com/digitalWeb: www.musiciansdepot.bizBasic Rate: call for infoStyles/Specialties: all stylesAdditional location:22915 Ventura Blvd.Woodland Hills, CA 91364MUSICIANS INSTITUTE6752 Hollywood Blvd.Hollywood, CA 90028800-255-7529, 323-462-1384E-mail: admissions@mi.eduWeb: www.mi.eduBasic Rate: call for infoLevel: beginner to expertStyles/Specialties: all stylesClients: all levelsStyles/Specialties: all styles, with anemphasis on live performance; classroomand/or one-on-one instruction, guest concertsand seminarsMUSIC MAKER RETAIL STORE5701 E. Santa Ana Canyon Rd.Anaheim, CA 92807714-974-0830E-mail: info@musicmakerinc.comWeb: www.musicmakerinc.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesMUSIC STORE, THE785 Pinefalls Ave.Diamond Bar, CA 91789909-598-1921Web: www.atthemusicstore.comBasic Rate: call for infoStyles/Specialties: all stylesMUSIC WORKS4711 Artesia Blvd.Lawndale, CA 90260310-379-5194Basic Rate: call for infoClients: beginner to intermediateStyles/Specialties: all stylesNEAL’S MUSIC6908 Warner Ave. Huntington Beach,CA 92647 714-842-9965 E-mail:guitardealsinfo@aol.comWeb: www.nealsmusic.com/shopBasic Rate: call for info Clients: alllevels Styles/Specialties: all stylesNORMAN’S RARE GUITARS18969 Ventura Blvd.Tarzana, CA 91356Store 818-344-8300E-mail: normsgtrs@aol.comWeb: www.normansrareguitars.comBasic Rate: $25 per 1/2 hour or $50 per hourClients: all levelsStyles/Specialties: all stylesPAUL MURPHY2535 Beverley Ave.Santa Monica, CA 90405310-804-3581E-mail: drmurph@hotmail.comBasic Rate: please call for infoClients: all levelsStyles/Specialties: all stylesNotes: B.M. degree from Berklee College ofMusic, USC M.M.in studio guitar, D.M.A. Jazz Studies. Seriousbeginners welcome.PETE’S MUSIC ANDGUITAR SHOP2060 S. EuclidAnaheim, CA 92802714-534-7383E-mail: guitarfish@petesmusic.comWeb: www.petesmusic.comBasic Rate: lessons start at 4 classes for$59.95 (beginners)Clients: all levelsStyles/Specialties: group lessons, andlessons for all styles and all levelsAdditional locations:Sun City, CA951-301-8088Temecula, CA951-308-1688PJ LABINSKIBurbank, CA323-807-1834E-mail: pj@underthegroove.comWeb: www.underthegroove.com/home.htmBasic Rate: call for infoStyles/Specialties: all styles, levelsROARK’S GUITAR INSTRUCTION618 N Madison Ave.Pasadena, CA 91101626-796-3026E-mail: roark_h1@yahoo.comBasic Rate: $35 per hr.Clients: all LevelsStyles/Specialties: all, electric, acousticrock, folk, finger style, classical, improvisationROCKENBACK MUSIC GROUPP.O. Box 20093Piedmont, CA 94620510-531-5625E-mail: jock@rockenbachmusic.comWeb: www.rockenbachmusic.comContact: Jock RockenbachSANTA MONICA MUSIC CENTER1901 Santa Monica Blvd.Santa Monica, CA 90404310-453-1928E-mail: sales@santamonicamusic.comWeb: www.santamonicamusic.comBasic Rate: call/e-mail for infoClients: all levelsStyles/Specialties: all stylesSINGER MUSIC1217 N. Hacienda Blvd.La Puente, CA 91744626-917-9300E-mail: singermuzik@aol.comWeb: www.singermusic.comBasic Rate: call/e-mail for infoSOUTHERN CALIFORNIACONSERVATORY OF MUSIC22726 Roscoe Blvd.West Hills, CA818-704-3819E-mail: info@sccm.usWeb: http://sccmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: jazz, classicalNotes: special programs for thevisually impairedSOUTH PASADENA MUSICCENTER & CONSERVATORY1509 Mission St.S. Pasadena, CA 91030626-403-2300E-mail: spmc@att.netWeb: www.southpasadenamusic.comSQUID MUSIC10742 Beach Blvd.Stanton, CA 90680714-826-4000Web: www.myspace.com/squidmusic1Basic Rate: call for infoClients: all levelsStyles/Specialties: all stylesSTEIGER323-854-1873E-mail: steiger@rockguitar.netWeb: www.projectsteiger.com,www.myspace.com/projectsteigerContact: Ken SteigerBasic Rate: call for infoClients: all levels and all agesStyles/Specialties: blues, rock, metal andshredNotes: Home & office lessons available.Exercise handouts and jam traxSTEPHEN DICKMojacar FlamencoSouth Pasadena, CA 91030626-403-7489E-mail: stephen@mojacarflamenco.comWeb: www.mojacarflamenco.com,www.studioflamenco.comSTYLES MUSIC777 E. Foothill Blvd.Pomona, CA 91767909-621-0549E-mail: gregg@stylesmusic.comWeb: www.stylesmusic.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesTHE TEC SHOP3940 Studio Laurel CanyonStudio City, CA 91604818-508-1070E-mail: info@the-tec-shop.comWeb: http://www.proaudio-repair.comServices: We repair all tube and solid stateamps including Fender, Gk, Marshall, Rolandetc.TIMEWARP MUSIC12257 Venice Blvd.Los Angeles, CA 90066323-600-5050E-mail: timewarpmusic1@yahoo.comWeb: www.timewarpmusic.comBasic Rate: call for infoNotes: also specializes in repairs and lessonsTRUETONE714 Santa Monica Blvd.Santa Monica, CA 90401310-393-8232 Fax 310-260-1415E-mail: sales@truetonemusic.comWeb: www.truetonemusic.comContact: Shawn FlemingBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesVALDEZ GUITAR SHOP7420 W. Sunset Blvd.Hollywood, CA 90046323-874-9998Clients: all levelsStyles/Specialties: all stylesBasic Rate: call for infoVENTURA MUSIC111268 Ventura Blvd.Studio City, CA 91604818-761-9669Specialty: We buy, sell, trade, repair andservice top-quality used guitars, basses andamps including Fender, Gibson, Gretsch,Marshall, Silvertone and more.VPR STUDIOSLos Alamitos, CA562-310-2753E-mail: vprstudios1@aol.comBasic Rate: call for infoClients: beginners to intermediateguitarist and bassistStyles/Specialties: all styles*Notes: focuses on reading and writing musicnotation, rhythm notation, cheat sheet andcharts. Also teaches piano, songwriting,guerilla marketing and general musicbusiness. Graduate of Fullerton College, CalState Fullerton. Member of ASCAP, BMI andAMPAS. Former students are now workingmusicians.WOODLOWE MUSIC CENTER21410 Ventura Blvd.Woodland Hills, CA 91364818-883-0050Web: www.woodlowe.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesCOLORADOBROADWAY MUSIC SCHOOL1940 S. BroadwayDenver, CO303-777-0833E-mail: info@broadwaymusicschool.comWeb: www.broadwaymusicschool.comBasic Rate: call for infoDENVER MUSIC INSTITUTE4195 S. BroadwayEnglewood, CO 80113303-788-0303E-mail: denvermusicinstitute@msn.comWeb: www.denvermusicinstitute.comBasic Rate: call for infoDICK MEIS SCHOOL OFSTEEL GUITAR8932 Bruce St.Denver, CO 80260-4909877-380-1010, 303-428-4397Web: www.pedalsteelguitar.netBasic Rate: call for infoFLESHER-HINTON MUSIC COMPANY3936 Tennyson St.Denver, CO 80212303-433-8891, 800-225-8742E-mail: geoff@flesherhinton.comWeb: www.flesherhinton.comBasic Rate: call for infoOLDE TOWN PICKIN’ PARLOR7515 Grandview Ave.Arvada, CO 80002303-421-2304, 888-421-2304E-mail: unclekit@picknparlor.comWeb: www.picknparlor.comBasic Rate: call for infoFLORIDAGUITAR INSTITUTE OF FLORIDAAND F.A.M.E.6507 N.W. 26th TerraceGainesville, FL 32653352-870-4794E-mail: guitarflorida@msn.comWeb: www.guitarflorida.wix.com/jeffContact: Jeff Lightnin LadenheimMIAMI MUSIC WORKS, INC.11771 S. Dixie Hwy.Miami, FL 33156305-256-1655E-mail: miamimusicworks@aol.comWeb: www.miamimusicworks.comBasic Rate: call for infoRON KAYE’S MUSIC INSTRUCTIONPensacola, FL850-453-9966Web: www.rkmusicinstruction.comSAM ASH MUSIC CORPORATIONPaul J. Ash, President7726 Cheri Ct.Tampa, FL 336341-800-472-6274E-mail: help@samash.comWeb: www.samash.comNotes: Serving Musicians since 1924GEORGIAHOWIE BENTLEYCumming & Alpharetta, GA770-889-8520E-mail: mail@howiebentley.comWeb: www.howiebentley.comSANDY SPRINGS MUSIC5920 Roswell Rd., Ste. D-201Atlanta, GA 30329404-250-0406E-mail: info@sandyspringsmusic.comWeb: www.sandyspringsmusic.comBasic Rate: call for infoHAWAIICHUCK JAMES MUSIC STUDIOWestgate Plaza94-360 Pupupani St.Waipahu, HI808-678-3763Web: http://chuckjamesmusicstudio.comAdditional locations:Stadium Mall Location4510 Salt Lake Blvd.Honolulu, HI808-488-1101Central Oahu and North Oahu Location10 N. Kamehameha High, #1Wahiawa, HI808-678-3763KAILUA MUSIC SCHOOL131 Hekili St., #209Kailua, HI 96734808-261-6142E-mail: info@kailuamusicschool.comWeb: www.kailuamusicschool.com/guitar.htmBasic Rate: see websiteILLINOISCENTER SCHOOL OF MUSIC900 N. Franklin St.Chicago, IL 60610312-416-0622E-mail: info@chicagoschoolofmusic.comWeb: www.centerschoolofmusic.comBasic Rate: call for infoCHICAGO GUITAR LESSONS3021 N. TroyChicago, IL 60618773-583-2529E-mail: guitar@chicagoguitarlessons.comWeb: www.chicagoguitarlessons.comContact: Michael PowellBasic Rate: $35/hrClients: 16 to 40 years of ageStyles/Specialties: electric, acoustic, rock,fingerstyleGUITAR CHICAGOChicago, IL312-863-8588E-mail: info@guitarchicago.comWeb: www.guitarchicago.comBasic Rate: call for infoMUSICAL EXPRESSIONSOF ILLINOIS LLC190 E. 5th Ave.Naperville, IL 60563630-355-1110Web: www.musicalexpressions.netBasic Rate: call for infoLOUISIANAANDY HYMEL SCHOOL OF MUSIC1800 Stumpf Blvd., Unit 2Terrytown, LA 70056504-362-1212E-mail: andyhymelschool@bellsouth.netWeb: www.AndyHymelSchoolofMusic.comBasic Rate: call for infoApril 2014 musicconnection.com 55

Annual Directory of Guitar/Bass Instructors & ServicesCOVINGTON SCHOOL OF MUSIC857 N. Collins Blvd. Ste. ACovington, LA 70433985-590-4545Web: www.laapa.comBasic Rate: call for infoMANDEVILLE SCHOOL OF MUSIC316 Girod St.Mandeville, LA 70448985-674-2992 Fax 985-674-2553Web: www.laapa.comBasic Rate: call for infoMETAIRIE SCHOOL OF MUSIC901 Veterans Memorial Blvd.Metairie, LA 70005504-837-7731E-mail: vicki@metairiemusic.comWeb: http://www.metairieschoolofmusic.comBasic Rate: $75/monthServices: guitar, bass, vocals, piano, drumsRIVER RIDGE SCHOOL OF MUSIC2020 Dickory Ave. Ste. 200Harahan, LA 70123504-738-3050Web: www.laapa.comBasic Rate: call for infoMAINETHE GUITAR STUDIOPortland, ME207-773-3444Web: www.myguitarstudio.comStyles: Jazz, Blues, Country, Rock, Music TheoryServices: beginner to professionalNotes: 25 years of teaching experienceMARYLANDDAVE DEMARCO410-299-4744E-mail: dave@davedemarco.comWeb: www.marylandbasslessons.comCOLUMBIA GUITAR SCHOOL410-868-7131E-mail: scott@columbiaguitarschool.comWeb: columbiaguitarschool.comMIKE ELZEYS GUITAR STUDIO410-228-7199E-mail: mikeelzeysguitarstudio@yahoo.comWeb: mikeelzeysguitarstudio.comMASSACHUSETTSLEEDS GUITARMAKERS’ SCHOOL12 North Main St.P.O. Box 434Williamsburg, MA 01096413-548-0034E-mail: ivon@leedsguitar.comWeb: www.leedsguitar.comCost: please call or seeweb for infoMICHIGANAXIS MUSIC ACADEMYMetro Detroit Area248-799-8100E-mail: mmoy@axismusic.comWeb: www.axismusic.comBasic Rate: call for infoAdditional locations:29555 Northwestern Hwy. 2nd Fl.Southfield, MI 48034248-799-8100E-mail: southfield@axismusic.com42114 Ford Rd.Canton, MI 48187734-742-1400E-mail: canton@axismusic.com283 Hamilton RowBirmingham, MI 48009248-258-9100E-mail: birmingham@axismusic.comGROSSE POINTE MUSIC ACADEMY19443 Mack Ave.Grosse Pointe Park, MI 48230313-458-7723E-mail: info@grossepointemusicacademy.comWeb: grossepointemusicacademy.comBasic Rate: call for infoAdditional location:5880 N. Canton Center Rd., Ste. 425Canton, MIE-mail: canton@grossepointemusicacademy.com734-418-0640MINNESOTAGIRLS ROCK AND ROLL RETREAT5115 Excelsior Blvd, #316Minneapolis, MN 55416E-mail: jenny@girlsrocknrollretreat.comWeb: www.girlsrocknrollretreat.comContact: Jenny Case, Program DirectorMACPHAIL CENTER FOR MUSIC501 S. 2nd St.Minneapolis, MN 55401612-321-0100 Fax 612-321-9740E-mail: santucci.marian@macphail.orgWeb: www.macphail.orgAdditional locations:Apple Valley14750 Cedar Ave., S.Apple Valley, MN 55124Chanhassen470 West 78th St.Chanhassen, MNBirch Lake Elementary School1616 Birch Lake Ave.White Bear Lake, Mn 55110THE PODIUM4151 Minnehaha Ave.Minneapolis, MN 55406877-487-6336, 612-767-2800E-mail: sales@thepodium.comWeb: www.thepodium.comBasic Rate: call for infoNEVADAROBERT ANTHONYIron Mountain Ranch, NV702-236-3212E-mail: guitar1789@aol.comWeb: www.robertanthonymusic.comBasic Rate: $30/half-hour, $50/hourNEW JERSEYACADEMY OF DRUMS & GUITAR589 Fischer Blvd.Toms River, NJ 08753732-270-8680E-mail: contact@academyofdrums.comWeb: www.academyofdrums.comContact: Neil GarthlyBasic Rate: lessons start at $25/half-hr.Clients: all agesStyles/Specialties: all styles & all levelsIAN MACAULAYHaddon Township, NJ856-357-7046E-mail: info@ian-macaulay.com,Web: www.ian-macaulay.com,www.myspace.com/ianmacaulaymusicTOP TIER GUITAR STUDIO177 S. Centre St. Ste. A, 2nd Fl.Merchantville, NJ 08109609-346-8015E-mail: nick@toptierguitarstudio.comWeb: http://toptierguitarstudio.com/NEW MEXICOGRANDMA’S MUSIC & SOUND9310 Coors NWAlbuquerque, NM 87114505-292-0341, 800-444-5252E-mail: info@grandmas.comWeb: grandmas.comNEW YORKGUITAR LESSONS NYC-UDI LEVY251 W. 30th St., 3rd Fl.New York, NY 10001718-684-5150E-mail: udilevyguitar@gmail.comWeb: www.guitarlessonsnyc.comContact: Udi LevyBasic Rate: Call for ratesGUITAR LESSONS BROOKLYN-UDI LEVY170 Parkside Ave.Brooklyn, NY 11226718-684-5150E-mail: udilevyguitar@gmail.comWeb: www.guitarlessonsnyc.comContact: Udi LevyBasic Rate: Call for ratesTHE COLLECTIVE SCHOOL OF MUSIC541 Avenue of the AmericasNew York, NY 10011212-741-0091E-mail: info@thecollective.eduWeb: www.thecollective.eduBasic Rate: call for infoMATT SCHLATTERBrooklyn, NY609-923-1048E-mail: matt@mattschlatter.comWeb: www.mattschlatter.comBasic Rate: $30/half an hour, $50/hourNEW YORK CITY GUITAR SCHOOLRecording and Rehearsal Arts Building251 W. 30th St., 11th Fl.New York, NY 10001646-485-7244E-mail: info@nycguitarschool.comWeb: www.nycguitarschool.comBasic Rate: call for infoYMCA CENTER FOR THE CREATIVE ARTS301 W. Bloomfield St.Rome, NY 13440315-336-3500Web: http://www.ymcatrivalley.org/about-us/contact-usBasic Rate: call for infoClients: beginner to expertAdditional location:701 Seneca St.Oneida, NY 13421315-363-7788NORTH CAROLINAJIM HICKEY MUSIC377 Rubin Center Dr. #118For t Mill, SC 29708704-620-5418E-mail: jim@jimhickeymusic.comWeb: www.jimhickeymusic.comMUSIC LOFT929 N. Church St.Greensboro, NC336-378-1068Web: www.themusicloft.netGuitar Instructors: Jeff Swanson, 336-337-3331; Jack King, 336-299-0445; Brad Newell,919-403-5647, Jon Hallman, 336-681-8685Bass Instructor: Virginia Masius,336-288-7245WILL RAYAsheville, NC828-296-0107E-mail: will@willray.bizWeb: www.willray.bizBasic Rate: $75/hr., $100/1&1/2 hrs.Clients: intermediate to professionalStyles/Specialties: country, blues, roots*Notes: Currently play with the Hellecasters,have instructional DVDs, and have monthlycolumn in Guitar Player magazine, can dolessons online.OHIOBRECKSVILLE SCHOOL OF MUSIC8865 Brecksville Rd.Brecksville, OH 44141440-526-9350Web: www.brecksvillemusicstudio.comBasic Rate: call for infoJAMES FLOOD GUITAR LESSONS1508 Belle Ave.Lakewood, OH 44107216-224-8578E-mail: jflood@thesacredarts.orgWeb: www.jamesfloodguitar.comStyles/Specialties: basic & classical guitarBasic Rate: call for infoAdditional location:Pepper Pike30500 Fairmount Blvd.Pepper Pike, OH 441241519 S. Green Rd.South Euclid, OH 44121MOTTER’S MUSIC HOUSE, INC.5228 Mayfield Rd.Lyndhurst, OH 44124440-442-7470 Fax 440-461-3631E-mail: mottersmusic@hotmail.comWeb: www.mottersmusic.comBasic Rate: $16/half-hr.Additional location:4242 Boardman Canfield Rd.Canfield, OH 44406330-533-3600SKYLINE MUSIC27010 Center Ridge Rd.Westlake, OH 44145440-871-4140E-mail: skyline@skylinemusic.comWeb: www.skylinemusic.comBasic Rate: call for infoOREGONMANSELLES MUSIC SHOP4808 S.E. Ina Ave.Milwaukie, OR 97267503-659-9817E-mail: sales@mansellesmusic.comWeb: www.mansellesmusic.comBasic Rate: call for infoNEWBERG MUSIC CENTER514 E. 1st. St.Newberg, OR503-537-2196E-mail: newbergmusic@newbergmusiccenter.comWeb: www.newbergmusiccenter.comBasic Rate: call for infoSTARFISH STUDIOS2240 SE Hawthorne Blvd.Portland, OR 97214503-847-9605Web: www.starfishstudios.comContact: Yascha NoonbergBasic Rate: please call for infoStyles/Specialties: we teach guitar, bass,piano, drums, voice, violin, viola, cello, sax,clarinet, flute, mandolin, trombone, trumpetPENNSYLVANIACLASSICAL GUITAR STORE, THE2038 Sansom St.Philadelphia, PA 19103 USA215-567-2972E-mail: info@classicalguitarstore.comWeb: www.classicalguitarstore.comBasic Rate: call for infoClients: all levelsStyles/Specialties: classical, folk, blues, rockand jazz playing stylesTENNESSEECOTTON MUSIC434 Houston St., Ste. 131Nashville, TN 37203615-383-8947 Fax 615-383-9932E-mail: guitars@cottenmusic.comWeb: www.cottenmusic.comBasic Rate: call for infoGARY TALLEY620 West End Cir.Franklin, TN 37064615-370-4760 Fax 615-370-4760E-mail: gary@garytalley.comWeb: www.garytalley.comBasic Rate: call for infoGENE FORD MUSIC330 Franklin Rd.Brentwood, TN 37027615-371-1661E-mail: geneford@genefordmusic.comWeb: www.genefordmusic.comBasic Rate: call for infoGUITAR SCHOOL OF NASHVILLENashville, TNE-mail: janet.mclaughlin3@gmail.comWeb: www.guitarschoolofnashville.comBasic Rate: call for infoJAN WILLIAMS SCHOOL OFMUSIC AND THEATRE500 Wilson Pike Cir., Ste. 104Brentwood, TN 37027615-371-8086 Fax 615-371-8637E-mail: jwsm88@bellsouth.netWeb: www.janwilliamsmusic.comBasic Rate: call for infoServices: piano, voice, guitar, percussion,Rising Stars, Kindermusik, and MusicalTheatreJONATHAN FLETCHER MUSIC144 N. Lowry St.Smyrna, TN 37167615-459-3133E-mail: support@jonathanfletchermusic.comWeb: www.jonathanfletchermusic.comBasic Rate: call for infoKASPER HOME MUSIC STUDIOS927 Battlefield Dr.Nashville, TN 37204615-383-8516Web: www.kaspermusic.comBasic Rate: call for infoMARK JOHNSONNashville, TN618-288-1993E-mail: marksmuzic7@hotmail.comWeb: facebook.com/marksmusicContact: MarkRates: 60-80/hrClients: All Ages, All Levels (Skype available)Styles/Specialties: All Styles, Ear Training,Songwriting, MusicTheory, Music Business/Marketing, Voice/Vocals, Bass, PianoMARK’S MUSIC GROUP805 14th Ave. S.Nashville, TN 37203618-288-199356April 2014musicconnection.com

Download at www.musicconnection.com/digitalWeb: www.facebook/marksmusicBasic Rate: call for infoClients: all levels / SKYPE lessonsStyles/Specialties: all stylesMIKE HUTCHENS6421 Lansing Dr.Nashville, TN 37209615-356-7467, 615-969-2244E-mail: mike.hutchens@comcast.netWeb: www.guitarlessonswithmikehutchens.comBasic Rate: call for infoMOBILE MUSIC ACADEMY LLCP.O. Box 140817Nashville, TN 37214615-301-8589, Texas: 512-301-8589E-mail: info@mobilemusicacademy.comWeb: www.mobilemusicacademy.comContact: Jonathan GaertnerBasic Rate: depends on area.Clients: all agesStyles/Specialties: most styles andspecialtiesNASHVILLE JAZZ WORKSHOP1319 Adams St.Nashville, TN 37208615-242-JAZZ (5299)E-mail: info@nashvillejazz.orgWeb: www.nashvillejazz.orgBasic Rate: call for infoNASHVILLE SCHOOL OF THE ARTS1250 Foster Ave.Nashville, TN 37210615-291-6600E-mail: bob.wilson@mnps.orgWeb: http://www.nsahs.mnps.org/site215.aspxBasic Rate: call for infoSHUFF’S MUSIC118 3rd Ave. N.Franklin, TN 37064615-790-6139E-mail: zach@shuffsmusic.comWeb: www.shuffsmusic.comBasic Rate: call for infoTEXASABC SCHOOL OF MUSIC9183 Katy Fwy, Ste. 100Houston, TX 77024713-365-9154E-mail: info@abcschoolofmusic.comWeb: www.abcschoolofmusic.comBasic Rate: call for infoAUSTIN GUITAR SCHOOL5501 N. Lamar, Ste. A111Austin, TX 78751512-442-2880E-mail: ags@austinguitarschool.comWeb: www.austinguitarschool.comBasic Rate: call for infoDALLAS/MUSIC3415 MiltonDallas, TX 75205214-363-4980E-mail: notes@dallas-music.netWeb: www.dallas-music.netBasic Rate: call for infoDALLAS SCHOOL OF MUSIC, INC., THE2650 Midway Rd., Ste. 204Carrollton, TX 75006-2378972-380-8050E-mail: help@dsminfo.comWeb: www.dsminfo.comBasic Rate: call for infoFRISCO SCHOOL OF MUSIC9255 Preston Rd.Frisco, TX 75034214-436-4058E-mail: music@friscoschoolofmusic.comWeb: www.friscoschoolofmusic.comBasic Rate: call for infoGIRL GUITAR AUSTINAustin, TX512-709-4558E-mail: Mandy@girlguitaraustin.comWeb: www.GirlGuitarAustin.comBasic Rate: $150 for 6-week classClients: women 21 and upStyles/Specialities: performance-basedwomen’s guitar and songwriting classes witha glass of wine!JOE THE GUITARMANXena Studios Dallas2506 Montalba Ave.Dallas, TX 75228-2622E-mail: joe@joetheguitarman.comWeb: www.joetheguitarman.comBasic Rate: $60/hr.Clients: all levelsStyles/Specialties: all stylesLONESTAR SCHOOL OF MUSIC4301 W. William Cannon Dr.Austin, TX 78749512-712-5187E-mail: arbortrails@lonestarschoolofmusic.comWeb: www.lonestarschoolofmusic.comBasic Rate: call for infoMIKE ELLIS MUSIC INSTRUCTIONS9450 Skillman St., Ste. 101Dallas, TX 75238469-855-6865E-mail: comments@ellismusiclessons.comWeb: www.ellismusiclessons.comBasic Rate: $20/half-hr., paid monthlyStyles/Specialties: all stylesSOUTH AUSTIN MUSIC1402 S. Lamar Blvd.Austin, TX 78704512-448-4992E-mail: southaustinmusic@gmail.comWeb: www.southaustinmusic.comBasic Rate: call for infoTEMPO SCHOOL OF MUSIC, LLC13505 Westheimer Rd.Houston, TX 77077281-293-8880Web: www.temposchoolofmusic.comBasic Rate: call for infoTRADITION GUITARS109 Blackjack Ln.Burleson, TX 76028888-361-5838, 817-923-6300E-mail: sales@traditionguitars.comWeb: www.traditionguitars.comVIRGINIAMURPHY METHOD, THEP.O. Box 2498Winchester, VA 22604800-227-2357E-mail: info@murphymethod.comWeb: www.murphymethod.comBasic Rate: call for infoWASHINGTONBELLEVUE SCHOOL OF MUSIC2237 140th Ave. N.E.Bellevue, WA 98005425-401-8486Web: www.bellevueschoolofmusic.comBasic Rate: call for infoBOWLING MUSIC STUDIOS7217 Chico Way N.W.Bremerton, WA 98312360-692-7419Web: www.bowlingmusicstudios.comBasic Rate: call for infoMETER MUSIC SCHOOL2110 E. Union St.Seattle, WA 98122206-792-9039E-mail: frontdesk@metermusicschool.comWeb: www.metermusicschool.comBasic Rate: $35/half-hr., group lessons are$20/hr.MUSIC WORKS NORTHWEST14360 S.E. Eastgate Way, Ste. 102Bellevue, WA 98007425-644-0988 Fax 425-644-0989E-mail: registration@musicworksnw.orgWeb: www.musicworksnw.orgBasic Rate: call for infoROB HAMPTONHeartwood Guitar206-799-6415E-mail: rob@heartwoodguitar.comWeb: www.heartwoodguitar.comBasic Rate: call for infoSEATTLE DRUM SCHOOL12510 15th Ave. N.E.Seattle, WA 98125206-364-8815E-mail: info@seattledrumschool.comWeb: www.seattledrumschool.comBasic Rate: call for infoAdditional location:1010 S. BaileySeattle, WA 98108206-763-9700WEST VIRGINIAGORBY’S MUSIC, INC.214 Seventh Ave.S. Charleston, WV 25303304-744-9452, 800-642-3070E-mail: info@gorbysmusic.comWeb: www.gorbysmusic.comBasic Rate: call for infoWISCONSINMICHAEL BARTONMilwaukee, WI920-915-TUNE (8863)E-mail: infol@ambadextro.comWeb: www.ambadextro.comBasic Rate: call for infoSONG CYCLES MUSIC STUDIO1425 W. Mason St.Green Bay, WI 54303920-490-8793E-mail: bsmeall@berklee.netWeb: www.songcycles-music-studio.netContact: Benjamin Smeall, DirectorBASS INSTRUCTORS& SERVICESNATIONWIDEGUITAR CENTER*See guitar listing for infoARIZONAARIZONA MUSIC ACADEMY1700 E. Elliot Rd. Ste. 11Tempe, AZ 85284480-705-0875Web: www.arizonamusicacademy.comBASS IN THE HOUSE MUSICINSTRUCTIONTempe, AZ480-457-9522E-mail: bassinthehouse@gmail.comWeb: www.bassinthehouse.comContact: Mario DeSantisBasic Rate: $30/40 min. lesson wk.,billed monthly*Notes: In-home instruction. DiscountsavailableTONAL CENTER GUITAR INSTRUCTION1051 W. University Dr.Tempe, AZ 85281480-894-3346E-mail: kurt@tonalcenter.comWeb: www.tonalcenter.comBasic Rate: $20-25 per half hourCALIFORNIAAARON WOLFSON*See guitar listing for infoADAM’S MUSIC*See guitar listing for infoAGOURA MUSIC*See guitar listing for infoALHAMBRA SCHOOL OF MUSIC*See guitar listing for infoALTA LOMA MUSIC*See guitar listing for infoAMUSE*See guitar listing for infoANAHEIM HILLS GUITAR AND BASSLESSONS*See guitar listing for infoARCADIA MUSIC CENTER*See guitar listing for infoBARKER’S MUSIC*See guitar listing for infoBAXTER/NORTHUP MUSIC*See guitar listing for infoBOULEVARD MUSIC*See guitar listing for infoBUNNY BRUNEL24310 Moulton Parkway #0-178Laguna Woods, CA 92637800-300-0950Carvin-Hollywood, CACarvin-San Diego, CAE-mail: info@bunnybrunel.comWeb: www.bunnybrunel.comBasic Rate: $85/hr.Clients: all levelsStyles/Specialties: all styles*Notes: fingering, modes, harmony, improv.,bass lines, slap. Also if you have a computerand a broadband Internet service and acamera, lessons are available online. Seewebsite for details and check out Bunny’sbass at carvin.comCALIFORNIA VINTAGE GUITARAND AMP*See guitar listing for infoCANOGA SCHOOL OF MUSIC*See guitar listing for infoCASSELL’S MUSIC*See guitar listing for infoCHARLES MUSIC CENTER*See guitar listing for infoCOAST MUSIC*See guitar listing for infoCORONA MUSIC CENTER1191-B Magnolia Ave.Corona, CA 92879951-898-2630E-mail: info@lahabramusic.comWeb: www.lahabramusic.comBasic Rate: call for infoClients: all levelsCRAIG BECK*See guitar listing for infoCULVER CITY MUSIC CENTER*See guitar listing for infoDANA GONZALES*See guitar listing for infoDIETZ BROS. MUSIC*See guitar listing for infoFAUNT SCHOOL OF CREATIVE MUSIC*See guitar listing for infoFRANCESCO DICOSMOGrammy Winning Bassist-Singer-Composer-ProducerAudioVision DigitalMedia & Music Production310-908-9006, SKYPE: DiCosmoFoneE-mail: dicosmobass@yahoo.comWeb: www.FrancescoDicosmo.comBasic Rate: Call for infoClients: All levelsStyles/Specialties: Ultra experienced leadsinger & bassist in countless professionalbands the styles of rock, funk, blues &R&B, bass & vocal technique, breathing& placement of voice ranges, intervalic& rhythmic concepts, chart reading,music theory, ear training, interpretation,improvisation, etc.Qualifications: Musicians Institute VocationalHonors Graduate & MI Human RelationsAward 1994-’95. Grammy-Winning Bassistfor Evanescence’s Multiplatinum FallenAlbum. Have played with Robert Plant, ChrisPoland of Megadeth, Ronnie Montrose, AlexLeigertwood of Santana, Randy Meisnerof the Eagles, Jimmy Crespo of Aerosmith,Dweezil Zappa, etc.FULLERTON MUSIC CENTER*See guitar listing for infoGEOFFREY MCCABE*See guitar listing for infoGILMORE SCHOOL OF MUSIC*See guitar listing for infoGO FAR GUITAR SCHOOL*See guitar listing for infoGRAYSON’S TUNE TOWN*See guitar listing for infoGUITAR, BASS & AMPLIFIER REPAIR ANDTECHNICAL SERVICES*See guitar listing for infoHERB MICKMANVan Nuys, CA818-990-2328Basic Rate: call for infoClients: all levelsStyles/Specialties: all stylesNotes: Electric and string bass only. Teachingsince 1960 and former head of the bassdepartment at the Grove School. Formerstudents hired by over 40 prominentrecording artists.INSTRUMENTAL MUSIC*See guitar listing for infoJIM’S MUSIC CENTER*See guitar listing for infoApril 2014 musicconnection.com 57

Annual Directory of Guitar/Bass Instructors & ServicesJOHN FLITCRAFTW. Los Angeles, CA310-985-4571E-mail: jflitcraft@earthlink.netWeb: www.johnflitcraft.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all stylesJOHN MENZANO25809 Parada Dr.Valencia, CA 91355818-489-0464E-mail: menzatwork@sbcglobal.netWeb: http://johnmenzano.comBasic Rate: call for infoClients: all levelsStyles/Specialties: all styles*Notes: Has toured/recorded with SheenaEaston, Dave Koz, Three Dog Night, BrendaRussell, presently with Donny Osmond,Frankie Valli.JOHNNY THOMPSON MUSIC*See guitar listing for infoJOIN THE BAND MUSICLESSONS STUDIO*See guitar listing for infoKASHA AMPLIFIERS, INC.*See guitar listing for infoKAYE’S MUSIC SCENE*See guitar listing for infoLAGUNA HILLS MUSIC*See guitar listing for infoLA HABRA MUSIC*See guitar listing for infoLA MIRADA MUSIC*See guitar listing for infoLARRY LARSON MUSIC STORE*See guitar listing for infoLON COHEN STUDIO RENTALS*See guitar listing for infoLONG BEACH SCHOOL OF MUSIC*See guitar listing for infoMARINI MUSIC*See guitar listing for infoMcCABE’S GUITAR SHOP*See guitar listing for infoMOREY’S MUSIC STORE, INC.*See guitar listing for infoMO’S MUSIC MALL*See guitar listing for info.MUSICIAN’S DEPOT*See guitar listing for infoMUSICIANS INSTITUTE*See guitar listing for infoMUSIC MAKER SCHOOL OF MUSIC*See guitar listing for infoMUSIC STORE, THE*See guitar listing for infoMUSIC WORKS*See guitar listing for infoNORMAN’S RARE GUITARS*See guitar listing for infoPEACELAND GUITAR LESSONS*See guitar listing for infoPETE’S MUSIC AND GUITAR SHOP*See guitar listing for infoROCKENBACK MUSIC GROUP*See guitar listing for infoSANTA MONICA MUSIC CENTER*See guitar listing for infoSINGER MUSIC*See guitar listing for infoSOLUTIONS*See guitar listing for infoSOUTHERN CALIFORNIACONSERVATORY OF MUSIC*See guitar listing for infoSTYLES MUSIC*See guitar listing for infoTHE TEC SHOP*See guitar listing for infoTONE BOX, INC.*See guitar listing for infoTRUETONE*See guitar listing for infoVALDEZ GUITAR SHOP*See guitar listing for infoVENTURA MUSIC*See guitar listing for infoVPR STUDIOS*See guitar listing for infoWOODLOWE MUSIC CENTER*See guitar listing for infoWORLD MUSIC*See guitar listing for infoCOLORADOBROADWAY MUSIC SCHOOL*See guitar listing for infoDENVER MUSIC INSTITUTE*See guitar listing for infoFLESHER-HINTON MUSIC COMPANY*See guitar listing for infoOLDE TOWN PICKIN’ PARLOR*See guitar listing for infoFLORIDAMIAMI MUSIC WORKS, INC.*See guitar listing for infoRON KAYE’S MUSIC INSTRUCTION*See guitar listing for infoSAM ASH MUSIC CORPORATION*See guitar listing for infoGEORGIAHOWIE BENTLEY*See guitar listing for infoPRO-MAESTRO MUSIC*See guitar listing for infoRUSS RODGERSGeorgia404-386-0983E-mail: russrodgers@gmail.comWeb: www.russrodgersbassguitar.comVISION MUSIC LIVEAtlanta, GA404-229-1282E-mail: info@visionmusiclive.comWeb: www.visionmusiclive.comBasic Rate: call for infoHAWAIICHUCK JAMES MUSIC STUDIO*See guitar listing for infoILLINOISCENTER SCHOOL OF MUSIC*See guitar listing for infoCHICAGO GUITAR LESSONS*See guitar listing for infoMUSICAL EXPRESSIONS OF ILLINOIS, LLC*See guitar listing for infoLOUISIANAANDY HYMEL SCHOOL OF MUSIC*See guitar listing for infoCOVINGTON SCHOOL OF MUSIC*See guitar listing for infoMANDEVILLE SCHOOL OF MUSIC*See guitar listing for infoMETAIRIE SCHOOL OF MUSIC*See guitar listing for infoRIVER RIDGE SCHOOL OF MUSIC*See guitar listing for infoMAINETHE GUITAR STUDIO*See guitar listing for infoMARYLANDMARYLAND BASS LESSONS410-299-4744E-mail: dave@davedemarco.comWeb: www.davedemarco.comContact: Dave DeMarcoMASSACHUSETTSOSCAR STAGNAROBoston, MAE-mail: ostagnaro@gmail.comWeb: http://www.oscarstagnaromusic.comMICHIGANAXIS MUSIC ACADEMY*See guitar listing for infoMINNESOTAGIRLS ROCK AND ROLL RETREAT*See guitar listing for infoMACPHAIL CENTER FOR MUSIC*See guitar listing for infoNEVADAROBERT ANTHONY*See guitar listing for infoNEW JERSEYACADEMY OF DRUMS & GUITAR*See guitar listing for infoNEW MEXICOGRANDMA’S MUSIC & SOUND*See guitar listing for infoNEW YORKCOLLECTIVE SCHOOL OF MUSIC, THE*See guitar listing for infoKEVIN DELANEY1 Penn Plaza, Ste. 6103New York, NY 10119212-340-1184E-mail: lessons@shredlikeametalgod.comWeb: www.shredlikeametalgod.com,www.kevindelaneymusic.comBasic Rate: Call for infoStyles: heavy metal, hard rock, shredRITT HENNNew York, NYE-mail: ritt@ritthenn.comWeb: www.ritthenn.com, myspace.com/ritthenn, youtube.com/manbassboxtvBasic Rate: $50/hr.Clients: all levels, acoustic andelectric bassStyles/Specialties: all stylesNotes: played with Tom Jones, Chuck Berryand Buddy Rich, though unfortunately not atthe same time.NORTH CAROLINAJIM HICKEY MUSIC*See guitar listing for infoMUSIC LOFT*See guitar listing for infoSTREETWISE MUSIC*See guitar listing for infoOHIOBRECKSVILLE SCHOOL OF MUSIC*See guitar listing for infoOREGONMANSELLES MUSIC SHOP*See guitar listing for infoNEWBERG MUSIC CENTER514 E. 1st. St.Newberg, OR503-537-2196E-mail: newbergmusic@newbergmusiccenter.comWeb: www.newbergmusiccenter.comBasic Rate: call for infoSTARFISH STUDIOS*See guitar listing for infoTENNESSEEGENE FORD MUSIC*See guitar listing for infoGUITAR SCHOOL OF NASHVILLE*See guitar listing for infoJONATHAN FLETCHER MUSIC*See guitar listing for infoMOBILE MUSIC ACADEMY LLC*See guitar listing for infoNASHVILLE SCHOOL OF THE ARTS*See guitar listing for infoSHUFF’S MUSIC*See guitar listing for infoTEXASAUSTIN GUITAR SCHOOL*See guitar listing for infoDALLAS SCHOOL OF MUSIC, INC., THE*See guitar listing for infoLARISSA MULLIGAN MUSIC STUDIO9605 Lacey Ln.Keller, TX 76248817-741-6057E-mail: piano@lmmusicstudio.comWeb: www.lmmusicstudio.comBasic Rate: call for infoLONESTAR SCHOOL OF MUSIC*See guitar listing for infoMIKE ELLIS MUSIC INSTRUCTIONS*See guitar listing for infoMUSIC CONSERVATORY OF TEXAS*See guitar listing for infoTEMPO SCHOOL OF MUSIC, LLC13505 Westheimer Rd.Houston, TX 77077281-293-8880Web: www.temposchoolofmusic.comBasic Rate: call for infoTRADITION GUITARS*See guitar listing for infoVIRGINIAMURPHY METHOD, THE*See guitar listing for infoWASHINGTONBELLEVUE SCHOOL OF MUSIC*See guitar listing for infoBRADY MILLARD-KISHHeartwood GuitarSeattle, W206-799-6415E-mail: rob@heartwoodguitar.comWeb: www.heartwoodguitar.comBasic Rate: on websiteClients: beginning tointermediate, all agesComments: Web instructions onlyMUSIC WORKS NORTHWEST*See guitar listing for infoSEATTLE DRUM SCHOOL*See guitar listing for infoWEST VIRGINIAGORBY’S MUSIC, INC.*See guitar listing for infoWISCONSINSONG CYCLES MUSIC STUDIO*See guitar listing for infoNEXT ISSUE2Great Directories!• Music Education• Vocal CoachesAd DeadlineAPRIL 14TH888-995-010158April 2014musicconnection.com

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– SCOTT BINDERWanna Be a Real DJ?Here’s Where To Source Your Music!hen I first gotinto listening toWelectronic music,I was overwhelmed bythe amount of genresthere were to keep upwith. Something I tendto take for granted nowis that it’s easy for me topick out genres. I used toreach out to my friends inthe industry to ask themabout a particular genre,but now they come to mebecause I have dedicatedmyself to learning asmuch as I possibly could.I still have a lot to learn,but because I took it uponmyself to be educatedabout electronic music,I have a good grasp onwhat separates the musicsoundscapes.Explore Your Options:I recommend that yousearch for your music onas many sites as possible.This will give you a goodidea of what kind of musicyou can expect to find oneach respective site, as they are not all created equal. Plus, it will be agreat way for you to explore as much music as you can. As you learnexactly what you are looking for, you can narrow down the sites youvisit. Here are the stores I like:Beatport I always start there, and if Beatport doesn’t have it, then I’llcheck the others. The way I see it, Beatport is basically like the iTunesfor DJs. Most consumers purchase their music on iTunes, whereasmost DJs buy music from Beatport. This online store definitely has astrong reputation in the DJ world and is known for being one of thebest––if not the best––DJ download store out there. Its interface is thebest, and it has many of the tracks you are looking for.DJ Tunes This store has had some nice buzz going on about it lately.And people are saying that it has the biggest and best music collectionout there.Stompy Started in San Francisco, Stompy features all things undergroundhouse. Check it out if you want that Chicago-style house.Traxsource If you like deep house, and house, this is the place.Sign Up With A Record Pool: Another way to get your music is to signup with a record pool. Many record labels send their music to recordpools to help promote their releases, because a good record pool willhave a great network of DJs who they send new music to. Many recordpools cost money for a membership, but some of them are free. Andif you get yourself in position to be a tastemaker DJ, record pools willapproach you. Why? Because labels want you spinning their tracks dueto your influence on the music industry.Know Who The Tastemakers Are: A tastemaker DJ is one who is consideredto have an influence on what other DJs play. When other DJsfind out a tastemaker is spinning a tune, they will want to play it as well.Many tastemaker DJshave radio shows, whichgives them access to awide audience. Being in arecord pool can give youaccess to releases beforemost of the general public.Do some research andfind some free DJ poolsto sign up for. Below are afew great record pools tocheck into.Starfleet Promo (UnitedStates)http://starfleetmusicpool.comKings of Spin (Europe)http://kingsofspins.comMasspoolhttp://masspoolmp3.comZipDJhttp://zipdj.comGet Promos DirectlyFrom Record Labels:The best way to get yourmusic is by receivingpromos from your favoriterecord labels or artists, directly. It’s similar to a record pool in that labelssend out their upcoming releases to DJs who they think will have apositive influence on their releases. If labels and DJs see you as someonewho has influence, they will reach out. That’s not to say you can’treach out to them as well. In my opinion this is the best way to buildyour library because you are often getting unreleased “secret” weaponsthat won’t be available to most DJs until the official release date.Get The “Secret” Promos: The best way is for you to sign your musicto the labels you want to receive promos by. Another way is to createmusic that is getting a lot of attention. As your profile builds, labels willwant to send you their promos. There are a couple of other ways youcould potentially get on their exclusive lists: If you can convince thelabel that you are trustworthy and that you can help promote them,they might be willing to send you their exclusive promos. Sometimesall it takes is getting in touch directly with the source and asking themif they can include you on their promo list. If you visit the label’s site,you should come across contact information that’ll point you to the appropriateperson.Start Your Own Label: Yet another great way to get music is if youown a record label. For example, I launched my label Golden NeedleRecords in 2010.Create A Podcast: Or how about starting a podcast that features DJsyou love? For examples of this, check out my label podcast on iTunes.SCOTT BINDER is the author of the new book Make Some Noise, published by HalLeonard Books (http://halleonardbooks.com). Binder is the co-producer of the popularelectro house duo the Banger Bros. and is a producer for Warner Music (NL). His song“Beep, Beep, Boom” was featured on MTV’s The Real World, and his other releasesconsistently reach the music charts. Binder launched his solo career in 2012 and hasalready worked with house legends Roland Clark and Todd Terry. He is the owner ofGolden Needle Records, a label launched in 2010. http://scottbindermusic.com6270 April 2014musicconnection.com

March 2014musicconnection.com

ERIS IMAGING WAS GREAT,THE MIDRANGE CLEAR AND WELL-FOCUSED, AND THE©2014, PreSonus Audio Electronics, Inc, All Rights Reserved. Eris is a trademark of PreSonus Audio Electronics, Inc.HIGHS WERE DETAILED.I FEEL LIKE THE ERISONE-UPSTHE KRK. EVEN WITH THE ACOUSTICSPACE CONTROL FLAT, THE E5 HASTIGHTERBASS RESPONSE.Tape Op, Aug. 2013HIGHS WEREEXTENDED ANDSMOOTHWITHOUT ANY EDGYSPIKINESS OR RESONANCESRecording, May 2013E8’s FROM PRESONUS SOUND SIMPLY AMAZING…AREALLY PHENOMENALREFERENCE MONITOR, NOT ONLY FOR THE PRICE, BUT JUST IN REGARD TO REFERENCE MONITORS, IN GENERAL.AskAudio Magazine, December 2013Baton Rouge, USASound on Sound, Nov. 2013.Eris E8 • 8" Kevlar LF Transducer • 1.25" silk domeHF transducer • 150 honest watts • Eris E5 • 5.25 "Kevlar LF transducer • 1.0" silk dome HF transducer • 80honest watts • Big Boy Controls our competitors don’thave: continuously variable Mid and High frequencycontrols • 3-position Acoustic Space switch • Input Gain• Low Cut-Off for use with our cool new Temblor T10 subPRESONUS’S “SPECIALSAUCE” IS THE SET OFCONTROLS,BUT LISTEN CAREFULLY TO THE E8:THE SOUND IS EVEN,PROJECTS WELL, AND LETS YOU REFERENCEACCURATEMIXESAT A REASONABLE PRICE.Electronic Musician, Apr. 2013NOTABLE LOW-END RESPONSESANS SUB—FULL AND DETAILED, YETPUNCHY.Pro Audio Review, Sept. 2013www.presonus.com

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