TALIB KWELI

musicconnection.com

May 2013 - Music Connection

Working with SoundExchange

has made all the difference in

the current economy. Art is

taken for granted, and many

companies profit from artists

without giving a second thought

to HOW THESE ARTISTS AND

THEIR FAMILIES SURVIVE.

TALIB KWELI

SoundExchange goes out of

their way to MAKE SURE THE

ARTIST IS TAKEN CARE OF

and that business is handled

all around. I AM HAPPY TO

BE WORKING WITH THEM.

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Photos by: Pamela Littky

CONTENTS

36

Fall Out Boy

After a four-year layoff, multiplatinum group

Fall Out Boy has returned in a big way, and

in MC’s exclusive interview with the band’s

Pete Wentz we find out all about the new

album and tour and how he scouts new

artists for his record label.

By Andy Kaufmann


Artist Profile

46

Dawes

In this exclusive interview, the

indie quartet discuss how they’re

thriving on their own label.

By Rob Putnam

56

5 Instructors Sound Off

MC presents a discussion with five teachers (voice, sound

engineering, guitar, music business and more). Each

gives insights and candid advice that will help students

and those who might be considering a teaching gig.

Annual Directory

of Vocal Coaches

Fully updated and expanded for 2013,

this list of voice experts enables

anyone to connect with an instructor

that suits his needs and budget.

Compiled By Denise Coso

By Jessica Pace

40

Annual Directory of

Music Schools

From major universities to small academies,

this MC directory provides up-to-date info on

institutions and individuals who give instruction

related to music or the music industry.

Compiled By Denise Coso

68

Departments

Close Up

Assignments

New Toys

Book Store

Up Close

Studio Mix

Business Affairs

Signing Stories

Song Biz

Film/TV/Theater

Mixed Notes

Reviews

48. CD Reviews

50. New Music Critiques

52. Live Reviews

Be sure to follow Music

Connection on Facebook and

Twitter. Check out our

Social Space to connect with

fellow music-makers.

Producer Crosstalk: F. Reid Shippen . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam

Exec Profile: Robb McDaniels, INgrooves Fontana . . . . . . . . . . . . By Andy Kaufmann

Songwriter Profile: Eric Bellinger . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel

Industry Profile: MVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Brett Bush

Tip Jar: 6 Steps to Better Backup Singing . . . . . . . . . . . . . . . . . . . By Lisa Popeil

The opinions expressed in

Music Connection, as well as all

Directory listings and contact information,

are provided by various sources in

the music industry. Music Connection

is not responsible for any business

transactions or misadventures that may

result from your use of this information.

4 May 2013 www.musicconnection.com


E. Eric Bettelli PUBLISHER








!

E. Eric Bettelli

GENERAL MANAGER/

ADVERTISING DIRECTOR

ericb@musicconnection.com

Denise Coso

OPERATIONS MANAGER

denisec@musicconnection.com

Hillorie Rudolph

MARKETING/

ADVERTISING MANAGER

hillorier@musicconnection.com

Mira Abas

ACCOUNT EXEC/ARTIST RELATIONS

mira@musicconnection.com

Gary J. Stephens

ADVERTISING ART DIRECTOR

garys@musicconnection.com

Barry Rudolph

NEW TOYS

barry@barryrudolph.com

Denise Coso

DIRECTORY EDITOR

denisec@musicconnection.com

Mark Nardone

ASSOCIATE PUBLISHER/

SENIOR EDITOR

markn@musicconnection.com

John Curry

ART DIRECTOR

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DIRECTOR OF

ONLINE OPERATIONS

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Andy Mesecher

ASSOCIATE EDITOR

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CONTRIBUTING EDITOR

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Dan Kimpel

SONG BIZ

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Tom Kidd

FILM, TV, THEATER

prespak1@verizon.net

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@comcast.net Rob Putnam toe2toe6@hotmail.com

Editorial Intern Hana Song intern@musicconnection.com

Web Intern Emmanuel Reid

CONTRIBUTING WRITERS

Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley,

Karen Emmert, Gary Graff, Eric A. Harabadian, Corey Irwin, Oscar Jordan, Andy

Kaufmann, Dawna Kaufmann, David Kershenbaum, Kim Mack, José Martinez,

Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Adam Seyum,

Daniel Siwek, Matt Schild, Brian Stewart, Laurier Tiernan, Brooke Trout, Albert

Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin

PHOTOGRAPHERS

Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson,

Karen Emmert, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Dave Long,

Thomas Long, Kim Mack, Cindy Miley, Paula Muñoz, Jessica Pace, Scott Perham,

Rob Putnam, Tim Reid Jr., Danny Seyum, Daniel Siwek, Brian Stewart, Dave Stone,

E. H. Tiernan, Brooke Trout, Albert Vega, Ellen Woloshin




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6 May 2013 www.musicconnection.com


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MasterWriter

By Jonathan Widran

In the 10 years since Music Connection profiled MasterWriter upon

its launch in 2003, it has become the No. 1 bestselling software for

songwriters. MasterWriter has earned an international following and an

expansive clientele, including numerous artists and songwriting legends

who offer praise-filled testimony on its homepage (http://masterwriter.

com). These include Gwen Stefani, Kenneth “Babyface” Edmonds, Rob

Thomas, Kenny Loggins, Trent Reznor, Jeffrey Steele, Jimmy Webb,

Carole Bayer Sager and David Foster.

A powerful suite of songwriting tools, MasterWriter is the brainchild of

Grammy and six-time Emmy winning composer Barry DeVorzon.

The program’s groundbreaking lyric writing tools include a rhyming

dictionary with over 100,000 entries, 36,000

rhymed phrases, and the most comprehensive

list of Close Rhymes ever assembled;

a Pop Culture dictionary with over 11,000

icons of American and World Culture, with

instant Wikipedia links to every entry; a

searchable Bible; a phrases dictionary

which contains over 33,000 idioms, clichés,

sayings and word combinations; the only

Alliterations dictionary in existence; and the

only electronic version of Synonym Finder,

the best Thesaurus on the market today.

The upgraded 2.0 version of MasterWriter

includes two unique reference dictionaries;

Word Families and Parts Of Speech.

These two “one-of-a–kind” dictionaries open

up a new world of possibilities for descriptive

words and ideas. You can see what these

two new reference dictionaries have to offer

by taking the online MasterWriter Tour.

The program also features a state-ofthe-art

database that allows the writer to

keep track of all of the lyrics, melodies and

Barry DeVorzon

information related to songs in progress as well as those that are finished.

It organizes the songwriter painlessly and allows the writer to come back

to an unfinished song months later and find all the lyrics, melodies and

ideas intact under the song title.

Using a computer microphone, MasterWriter’s Audio page allows users

to record melodic ideas as they write and to import finished recordings

of the song, once it is completed and recorded. There is also a library of

over 250 tempo adjustable MIDI drum loops. Users can file and identify

songs by category, using “song flags.” One of the most exciting noncreative

features of MasterWriter is Songuard, an online date of creation

Song Registration service that allows songwriters to protect their songs

until they are formally registered with the Library of Congress.

“Essentially, MasterWriter is a giant interactive book of reference, that

gives songwriters all the possibilities for any word they search on,” says

DeVorzon, who offers an informative nine-minute MasterWriter video tour.

“I’ve always felt the creative process is a delicate process at best, and

its worst enemy is distraction of any kind. MasterWriter was designed

to provide everything the songwriter needs to write better songs in one

instinctive and easy-to-use program with as little distraction as possible.”

Three years ago MasterWriter received immediate acclaim for its new

Creative Writer version for novelists, screenwriters, journalists and writers

of every kind. In the next few months both versions of MasterWriter will

be available for the iPad, Android pad, and Apple and Android mobile

phones. This upgrade will only be offered to MasterWriter users.

Fueled by DeVorzon’s concern (based on recent studies) that a consequence

of the technical and visual society we’ve become is an alarming

loss of vocabulary among young people, MasterWriter is developing an

educational software program for Elementary and Middle schools that will

address this problem in a unique and interesting way. The program will

allow teachers to easily assign and monitor exercises that are designed

to increase the student’s vocabulary without interfering with their normal

teaching schedule. The new program will serve high school and college

students as well. One of the benefits of increasing the vocabulary is that it

will result in improved writing, speaking and reading skills.

“It’s exciting that a program that was originally designed to help songwriters

and creative writers has evolved into a program that could make a

real difference in education,” says DeVorzon. “Creating and selling a program

that truly benefits people and helps them to be the best they can be,

is a wonderful way to make a living —almost as good as songwriting.”

Contact MasterWriter, 805-892-2666

8 May 2013 www.musicconnection.com


Julian David

Marketing Manager

Audio Engineering Associates

Julian David is stepping into the role of

Marketing Manager for Audio Engineering

Associates. David has been with AEA for

over three years and has previously worked

as product design engineer for products

like the KU4 microphone and the RPQ500

preamp. Being a musician and a recording

and design engineer, he is intimately

familiar with AEA’s products and their application. David is a graduate of

Dusseldorf University in Germany, where he earned his degree in Audio

and Video Engineering. He worked for SPL electronics and various TV

and radio stations in Germany, before joining the team at AEA. Contact

Julian David directly at aeaengineer@aol.com to discuss any marketing,

advertising, or promotion opportunities.

Quint Goeke

Legal Counsel

Chandler Limited

Chandler Limited, recognized globally for

signal processing and related music and

audio products that deliver the

classic analog warmth recording and

performing professional musicians seek,

has announced the hiring of Quint Goeke.

With a background that encompasses both

the practice of law and finance/accounting,

Goeke is well positioned to help guide the family business as it transitions

to a new generation of leadership. In his new role, Goeke serves as the

company’s legal counsel, where he is responsible for matters involving

legal and tax issues, contract negotiations, trademarks and other legal

decisions affecting the corporation. For further information, contact

rmaycock@mountaincrest.net.

Derek Snyder

Director, Western Region

Guitar Center Professional

Guitar Center Professional (GC Pro), the

outside sales division of Guitar Center that

focuses on the needs of professional users,

has announced the appointment of Derek

Snyder to the position of Director, Western

Region. The announcement was made

by GC Pro Vice President Rick Plushner.

Snyder stated, “I have been blessed to

work for GC Pro over the last several years, and I am proud to see my

role in the organization grow. I have a strong passion for this industry,

and getting to serve the market working with major industry figures is a

treat. I look forward to continuing my journey with GC Pro.” For further

information on this GC Pro appointment, contact Robert Clyne at robert@

clynemedia.com.

Jeri Cooper

National Director, Promotion Strategy

Arista Nashville

Arista Nashville has announced the

addition of promotion veteran Jeri Cooper

as National Director, Promotion Strategy.

Cooper rejoins the Arista Nashville team

with more than two decades of experience

in country record promotion. In her new

position, she will play a key strategic

role on the promotion team alongside

Arista Nashville National Director of Promotion John Sigler. Cooper

had spent the past year and a half at Sony Music Nashville subbing in

for various promotion roles across the RCA Nashville and Columbia

Nashville Promotion teams after rejoining the company from Red Light

Management, where she served as a day-to-day manager for Arista

artists. Contact jennifer.vessio@sonymusic.com for further details.

Jason Carson

Vice President / General Manager

The Record Plant Recording Studios

The Record Plant Recording Studios

has named Jason Carson Vice President/

General Manager. The announcement was

made by Rose Mann-Cherney, Record

Plant Recording Studios President.

In his new position, Carson will work closely

with Rose Mann-Cherney and C.E.O.

Rick Stevens. Additionally, Carson will

continue tending to his responsibilities for all aspects of the Record Plant’s

operations, engineering, staff and finance. Carson started at Record Plant

in 2001 as a “runner,” and then assistant engineer. He rose rapidly over

the years and was named Chief Engineer in 2005. Carson is a 2001

graduate of Berklee College of Music where he earned a BA in Music

Production and Engineering. Contact info@clynemedia.com.

Jim Bailey

General Manager

Aphex

Aphex, a leader in professional audio

technology for more than 35 years, has

announced the appointment of Jim Bailey

to the position of General Manager. After

many years as a successful engineer,

producer and studio operator in Los

Angeles, riding the transition from analog

to digital, Bailey ultimately came into pro

audio manufacturing to put that experience into new products. His motto

of “get the sound that’s in the artist’s head” has resulted in numerous

award-winning products. Prior to joining Aphex as Director of Product

Development, Bailey held product management positions at TASCAM and

Avid, where he acted as the glue among the customer, the sales force,

the marketing team and engineering. Contact robert@clynemedia.com.

Kurt Howell

Sales

Vintage King Audio

Vintage King Audio has announced the

hiring of industry veteran Kurt Howell to

represent its all-new Nashville sales office.

Howell has worked on every side of the

music business, bringing more than 30

years of diverse experience and a lifetime of

creative passion to Vintage King. His career

began in A&R at CBS Records in Nashville,

after studying voice, composition and arranging at Nashville’s Belmont

University. He has made forays into other arenas as well, spending time

in the studio as an artist, engineer, producer, arranger, session player and

manager. He has toured or recorded with the likes of Emmylou Harris,

Johnny Cash, James Brown, Hank Williams Jr., Waylon Jennings. Contact

Kurt Howell directly at http://vintageking.com/kurt-howell.

Chad Evans

Sales Consultant

Vintage King Audio

Industry veteran Chad Evans joins

Vintage King Audio’s Nashville team

as a key sales consultant. Before

becoming a part of the Vintage King

family, Evans enjoyed a 10-year tenure

with a large retailer in Nashville, where

he forged relationships with thousands of

clients and oversaw the generation and

development of countless new studios. His clients have continually

noted Evans’ willingness to go the extra mile, earning their confidence

with his boundless energy and commitment to exceeding expectations.

For further information on Evans new role with Vintage King Audio’s

Nashville location, you may contact him directly by visiting http://

vintageking.com/chad-evans.

May 2013 www.musicconnection.com 9


THREE NEW YAMAHA GUITAR AMPS

– BARRY RUDOLPH barry@barryrudolph.com

Yamaha got something started with the THR10 and THR5 guitar amplifiers/computer

recording interfaces and they now offer three new variants

more specialized to playing styles and music genres.

Like other members of the THR family, the new models are geared

toward home practice and recording. They combine the power of Yamaha’s

proprietary Virtual Circuitry Modeling (VCM) technology with outstanding

playback capabilities in a low profile, retro style design. Each model comes

with Cubase AI6 Digital Audio Workstation software for recording plus the

THR Editor. They also offer hi-fi stereo playback that blends music audio

with your guitar sounds.

The THR10X Extreme offers high gain distortion and pick response even

at low volumes making it useful for hard rock, metal, alternative, punk and

other heavier music styles. It has emulations of eight amp types and goes

‘commando’ with an olive green case ($460 MSRP pictured here). At the same price, the

THR10C Classic with the response and tone of a boutique tube combo and eight different amp types

to enhance any player’s picking dynamics and playing style. Its dark metallic navy cabinet exudes a vintage vibe.

For acoustic guitarists, the THR5A ($330 MSRP) provides a new way to experience acoustic/electric guitar sounds by

providing simulations of classic tube condenser and dynamic mics, combined with studio effects. Its recording studio direct

sound will appeal to the independent artist—singer/songwriter who plays folk,

country or acoustic blues. I like its gold case—it looks classy and successful.

All the battery powered THR amps include an input for an mp3 player, USB

direct input and near-zero latency computer recording. For more information,

check: http://4wrd.it/THRSITE.

TECH 21 SANSAMP

The SansAmp Blonde Deluxe is the analog Blonde pedal with digital control for

storing and recalling your settings. You can tweak away—dial in your sound and then

double-tap the footswitch to store up to six sounds from clean to mean.

The fully adjustable Character control is like the Back To The Future knob in the

DeLorean for getting sounds ranging from ‘50s tweed, blonde to blackface and then

the silver face family of amp styles. Dual inputs allow you to have two instruments on-line at one time and with six program locations,

you can create three custom tones for each input or use all six for a single instrument.

The SansAmp Blonde Deluxe can be used as a pre-amp or stomp box for any amp/combo, power amp and speaker cabinet, or

for direct recording. There’s a 1/4-inch input and both 1/4-inch and XLR outputs with selectable operating levels plus an effects loop.

The SansAmp Blonde Deluxe is phantom powered or uses an optional 9V DC power supply (Tech 21 Model #DC2), or 9V battery.

Tech 21 SansAmp Blonde Deluxe sells for $309 and is only available directly from Tech 21’s Private Stock Division. See http://

tech21nyc.com.

DPA D:FACTO II VOCAL MIC

DPA Microphones d:facto II is a new line of studio microphones repurposed as live

sound microphones. The first model is the d:facto II Vocal Microphone. Using studio

microphones for live sound is not new. But expecting them to universally connect to

live mixers, work well with “iffy” phantom powering and interface wireless systems

easily on-site is quite another thing. Furthermore, getting them to survive the environs

of harsh live stages and still sound good is not easy either.

The d:facto II Vocal Mic uses an electret (pre-polarized) condenser capsule with

a super cardioid polar pattern. Its natural sound comes from its on/off-axis linear

frequency and phase response, and its extreme sound level handling capability—up

to 160 dB SPL.

There is a three-stage wind/pop protection grid protecting the mic’s capsule. Handling noise is limited by a clever, system built

within the mic’s body.

The d:facto II Vocal Mic’s head easily switches between either the wired DPA mic body and DPA’s adapter assembly. The adapter

kit assembly makes it possible to use DPA’s capsule with many other manufacturer’s wireless transmitter bodies. Currently DPA

makes adapters for Shure, Sony, Lectrosonics, Wisycom, and Sennheiser wireless systems.

For more information on DPA’s (Danish Professional Audio) d:facto II Vocal Mic, visit http://dpamicrophones.com.

VIELKLANG INSTANT HARMONY 2 FROM ZPLANE

Vielklang Instant Harmony 2 is zplane’s updated version of their automatic harmony instrument. It runs in VST, AU or RTAS DAW hosts and

produces up to four harmony notes from a single vocal or lead instrument (monophonic) track input. Like the earlier version 1, version 2 uses

a kind of “fuzzy logic” to automatically synthesize the most fitting and natural harmonies predicated upon a scan of an audio file of the melody.

The melody’s implied scale, pitch and phrasing are all detected and considered in harmony synthesis.

You do not have to know music theory to use VK2—things like the root note or scale, voice leading and

harmony progression. VK2 works even better than version 1.5 which I previously ran as an RTAS Instrument

in Pro Tools. It has a completely redesigned intuitive interface plus VK2 LE does most everything the

advanced VK2 does with the exception of multi-track output and advanced pitch, tremolo and vibrato editing.

I like the hybrid score-viewing feature in VK2 and the easy way I can experiment with alternate scales,

harmonies and also the responsiveness of its MIDI control.

Some of the coolest features you’ll find within VK2 are: 2/3/4-voiced harmonization styles, audio and MIDI

harmonization, detailed editing of pitch and timing, new vibrato/tremolo generator, and view note arrangements

in either piano roll, arranger and pseudo-score mode.

Vielklang Instant Harmony 2 from zplane sells for $149 and VK2 LE is $99 and both are available Native

as a RTAS, AU or VST instrument plug-in. For more information about it and upgrade paths and demos,

check out http://zplane.de/products/plugins/vielklang.

10 May 2013 www.musicconnection.com


– BARRY RUDOLPH barry@barryrudolph.com

CASIO XW-P1 PERFORMANCE SYNTH

Called the XW-P1CO, the Chrome Orange limited edition of Casio’s XW-

P1 Performance Synth, is a brand new variant and part of the Casio

Legends Collection. But this 61-key synth has Casio’s (HPSS) Hybrid

Processing Sound Source for virtual analog monophonic leads and

basses, drawbar organs, complex layers, stereo pianos, drums

and more. Musicians will love the four, real-time controller knobs,

pitch bend and modulation wheels of this performance-oriented

musical instrument.

Some of the sound engines in the XW-P1 are: six oscillator

monophonic solo synths, two virtual analog style oscillators, two PCM based

oscillators, a noise oscillator and an external oscillator via mic and line inputs making up

a single solo synth tone. Each oscillator has an independent filter, envelopes, independent key

tracking, portamento, two LFO’s and access to a master resonant filter.

But besides using the XW-P1 as a solo synth, there are stereo

pianos, vintage electric pianos, string sections, brass, guitars,

basses, drums and all sounds can be played in the step sequencer.

The XW-P1CO sells for $699.99 and for more information check

out http://casiomusicgear.com.

DIABLO FX SOUND CONTROL 6 WIRELESS GUITAR FX CONTROL PEDAL

Sound Control 6 is a high fidelity, versatile pedal management system allowing guitar players

to turn on and off multiple analog or digital effects from a wireless multi-switch footswitch.

Sound Control 6 is unique because of its wireless design—there are no cords or power strips.

Multiple footswitches can be located at different parts of the stage and control up to six pedals

that are all located back safe and sound with your guitar amp.

Since your pedals all reside and are all wired together in the same case, setup/tear down time

is fast and easier at each gig. You can control and switch multiple pedals at the same time for

more elaborate effect chains and know that any pedal not in the chain is hardwire bypassed. As a sonic plus, the number and length of

interconnecting leads is reduced and you’re not always connecting and reconnecting cords and pedals to get a certain sound.

Investigate Sound Control 6 if you’re looking for a modern approach to a pedal board. It comes with a carrying case and the fourstomp

button Diablo FX remote control unit and sells for $599 MSRP. Much more is available at http://diablofx.com.

IZOTOPE’S INSIGHT

Insight is an enhanced component plug-in version of iZotope’s Ozone 5 Advanced Mastering

plug-in’s Meter Bridge. Owners of Ozone 5 Advanced are invited to download the

plug-in and receive a full, free authorization for it.

I use Insight as I have used Ozone 5 Advanced’s Meter Bridge for audio analysis, metering,

and investigating worrisome audio problems I encounter during my mixing process.

Insight provides deeper information using a more visual-rich display that includes: peak

meters, loudness meters, a loudness history graph, stereo phase vector scope, surround

scope, 2D/3D spectrograms and a spectrum analyzer.

Insight will do immediate loudness calculation and true peak detection, loudness

calculation over time, and a faster than real-time offline loudness calculation, if required,

for checking compliance to broadcast standards. For TV/film/music mixing, there are

advanced visualization and spatialization displays for detecting problems using the innovative

new Surround Scope and the 3D Spectrogram.

I like the built-in presets that provide instant calibration to whatever standard(s) I might be asked to conform to in the

future. I don’t mix masters for commercial release, broadcast use, iTunes Mastering or for surround sound without Insight.

Insight sells for $499 or it’s free to existing Ozone 5 Advanced customers. To learn more about Insight, visit http://

izotope.com/insight.

SHURE GLX-D WIRELESS SYSTEMS

Shure’s new GLX-D Wireless system uses Shure’s LINKFREQ

Automatic Frequency Management system to scan the 2.4GHz RF

spectrum for all the best possible channels free of interference and

then automatically sends that information to both the transmitter

and the receiver. While you’re using your GLX-D system, if a new

source of RF interference pops up, the receiver and transmitter will

seamlessly move together to a clear frequency with no audio signal

drop out—like it never happened.

The frequency-agile GLX-D Digital Wireless Systems come in traditional body pack and handheld transmitters, including

vocal, headset and presenter systems, as well as the new Guitar Pedal Receiver.

A great idea for guitar pedal boards, the Guitar Pedal Receiver features an integrated tuner, and is about the size of a

stomp pedal. It runs on standard pedal power and is programmable to mute its audio output signal (to the rest of your pedal

board and/or guitar amp) for silent tuning.

Each GLX-D transmitter runs on a rechargeable lithium-ion battery for up to 16 hours of continuous

use over a 10,000-hour lifetime—the equivalent of up to 2,500 AA batteries. In a pinch, if you

forget to charge it, you’ll only spend about 15 minutes charging it for up to 1.5 hours of continuous

use. Additionally, the standard GLXD4 receiver has a built-in, front panel battery charging port and

a LCD showing (remotely) the battery life status of the transmitter in hours and minutes.

Shure GLX-D Wireless Systems prices begin at $561 MSRP/$449 MAP. Check out http://shure.

com for more.

BARRY RUDOLPH is a recording engineer/mixer with

over 30 gold and platinum RIAA awards to his credit.

He has recorded and/or mixed: Lynyrd Skynyrd, Hall &

Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie

Nevil. Barry has his own futuristic music mixing facility

and also teaches recording engineering at Musician’s

Institute, Hollywood, CA. http://www.barryrudolph.com

12 May 2013 www.musicconnection.com


BOOK STORE

Stone Free

By Andrew Loog Oldham

(paperback) $19.99

Former manager of the Rolling Stones

(at age 19!), the legendary ALO has now

written the third part of his “triography.”

Oral-history in style, it delivers an

insightful and sometimes jaundiced look

at the “pimpresarios” and hustlers that

inspired him as a youth (Serge Diaghilev)

and those he would work alongside in

the ‘60s (Don Arden, Albert Grossman,

Phil Spector). The book also provides

Oldham’s fascinating first-hand takes

on managers Brian Epstein (Beatles),

Kit Lambert & Chris Stamp (Who) and

Malcolm McLaren (Sex Pistols), and

artists Keith Richards, Mick Jagger, Pete

Townshend and many more. Best of all

is the author’s unique, insider’s angle on

the infamous, enigmatic Allen Klein with

whom he was connected for decades.

In Stone Free, Oldham, who’s remained

active in the industry (most recently as a Sirius XM Radio DJ), offers

unique insights about the peculiar relationship between artists and their chosen

representatives. As entertaining as it is informative, the book offers essential

advice for any current or wannabe artist rep.

HOLLYWOOD The Band: A Tale of

Sex, Drugs and Rock and Roll

By Steven Jordan Brooks

(hardcover) $27.95 (paperback) $19.95

HOLLYWOOD is a fictional rock band in the

‘70s attempting to procure a record deal amid

cultural, political, social and historical changes

while dealing with

their own issues,

beliefs and pasts.

A former musician

and manager,

Brooks infuses

his story with

touches of realism

as he chronicles

the hardships

they endure, the

obstacles they

overcome and the

lessons they learn.

Project Management for

Musicians: Recordings, Concerts,

Tours, Studios & More

By Jonathan Feist

(paperback) $27.00

Setting up a process for achieving your goals,

this book will help you clarify your vision and

understand the work required to complete it

on time, within budget, and to your highest

possible quality standard. Feist shows

how to: develop

work strategies;

delegate tasks;

build and manage

teams; organize

your project office;

develop production

schedules;

understand and

organize contracts;

analyze risk; and

much more.

The Merciless Book of Metal Lists

By Howie Abrams and Sacha Jenkins

(softcover) $18.95

Clever, opinionated to the max and laugh

out loud funny, this book will get your motor

running as it

takes on the best,

the worst, the

embarrassing, the

obscure and much

more. Every strain

of metal music is

given some love

or hate, including

punk/trash,

death metal and

every other metal

subgenre.

Vinyl Lives II

By James P. Goss (paperback) $15.50

The further adventures of the author, whose

passion for hunting down remarkable record

stores yields Goss

interviews with 16 store

owners—and nine record

collectors—allowing

them to wax poetic

on the ins and outs of

being an independent

record-store proprietor

these days and in the

olden times. See http://

aventinepress.com for

more details.

14 May 2013 www.musicconnection.com


e are a four year college that takes

sound seriously! Learn Audio Recording

for Studio, Live Performances, Movies & TV

Five Towns College

Open House Saturday, May 11 at 1 PM

631.656.2110 305 N. Service Road Dix Hills, NY 11746 www.ftc.edu




Sound Bites Dog

By Jonathan Widran

The name of Hans DeKline’s mastering studio, Sound Bites Dog

(http://soundbitesdog.com), comes from a line in a lyric he wrote

when he was the frontman of Maypole—which signed to Sony in

the mid ‘90s and toured with the Wallflowers, the Jayhawks and Our

Lady Peace. It’s also an ode to his love of canines. But it could apply

equally to the crazy-sharp sense of hearing he has brought to thousands

of indie and major label projects in all genres—from Tim Finn

(Crowded House) and Lisa Loeb to hip-hop

projects featuring Snoop Dogg—since

launching his facility in late 2005.

Using a combination of high-end digital

and analog technology, DeKline has

meticulously researched and designed a

mastering studio that balances function and

fidelity, offering high quality and affordable

mastering via the Internet. Though he has

plenty of name brand boutique gear in his

sonic arsenal (Manley, Crane Song, NTI),

his focus is less on the bells and whistles

and more on flexible scheduling and highly

personalized customer service. DeKline’s

extensive background as a musician and

artist helps him connect with his clients in

a way that strictly tech-oriented mastering

engineers can’t.

But prospective clients need not simply

take DeKline’s word for it. True to the Sound

Bites Dog aesthetic, and his desire to build

long lasting relationships with clients who

are good matches, DeKline encourages

clients to let him have a crack at a sample

Hans DeKline

track before officially doing business. “I want the artists and producers

I work with to feel 100 percent about my work before any money’s

changed hands,” he says. “I do this for both old and new clients

because every album is different. It’s an opportunity to hear my voodoo

in the comfort of your own home or wherever you do the most music

listening. The proof is always in the pudding.

“Besides working on over 2,000 recordings over the past seven years,

I really bring a passion for music into every project I work on,” DeKline

adds. “Being a fan is first and foremost for me, and I appreciate the opportunity

to work on so many different projects. I love thinking about how

much better a record can be and then doing what it takes to get it there.

Every recording is different. Something can be technically correct, and

still be the wrong approach musically speaking. Mastering is sorting out

the forest for the trees, striking a balance between what’s not working

frequency-wise and what’s ultimately best for the song.”

On the Sound Bites Dog website, DeKline breaks down the importance

of mastering in creating a superior recording, promising that “we

don’t let the lack of a big budget and a lame A&R guy stand in the way

of making your music sound great.” He adds, “The difference between

a mastered and unmastered song can be quite profound, dramatically

improving the overall sound quality, clarity, consistency, stereo image,

spatial depth, portability and volume of your mixes. It is both a technical

process and an art form that relies on an individual’s skill, experience

and good taste.

“Most of the heavy lifting I do in terms of processing is analog,” he

continues. “Digital is great for anticipating peaks and instant recall but

analog still has a superior dimensionality and richness unequaled on

the plug-in side of things. It’s why every plug-in is still an emulation of

analog and not the other way around.”

Establishing his business during the digital, social media age has

helped DeKline build Sound Bites Dog via guerilla and viral marketing,

including Myspace (in the early days) and even Craigslist, in addition to

connections he had from his days as an artist. He feels that the key to

establishing long-term relationships with clients is in cultivating strong

people skills.

“Expertise is a factor, but if nobody wants to deal with you, or you

can’t deal with others, you won’t have clients for long,” he explains. “I

answer emails, texts and phone calls 24 hours a day. I make the rules

for the 98 percent of people out there who are cool, and believe that

when you give people a little bit of credit they will rise to the occasion.

When most people, engineers and studio owners included, say things

like ‘That’s stupid, I won’t do that,’ I tend to do the opposite.”

Contact Sound Bites Dog, 310-621-1896

16 May 2013 www.musicconnection.com


Master and Synch licensing available

through Old Pants Publishing, Inc.

Contact Robert Case for details:

719-632-0227 E-mail: rac@crlr.net

To purchase Freedom Stride go to:

http://cdbaby.com/cd/rockyshaw2

September 2012 www.musicconnection.com 31


DAVID GOGGIN

Edward Sharpe Heads To Ocean Way

Acclaimed band Edward Sharpe and the Magnetic Zeroes are finishing up their third

studio album at Ocean Way Recording in Hollywood, CA. On hand for mixing and

overdubbing were the group’s founder and imaginative conceptualist Alex Ebert and

recording engineer Matt “Linny” Linesch. Pictured at the Neve 8068 console in Ocean

Way’s Studio B (l-r): Ebert, Linesch, studio manager Robin Goodchild and second

engineer Scott Moore.

Beckett Leaves Academy For Solo Work

William Beckett (formerly of The Academy Is...) has signed to Equal Vision Records

as a solo artist. Beckett just recorded his debut full-length album in Chicago with

Marc McClusky (Weezer, Ludo). Beckett will soon hit the road with Relient K and

Hellogoodbye this Spring, before joining Vans Warped Tour 2013 for every date. A

music video for the song “Warrior,” off of one of his recently self-released EPs, can

be seen at http://youtu.be/ME3IrzQPrTM.

JACK EDINGER

El Chicano Track At VIP

VIP Recording is a new state-of-the-art recording facility located in the upscale

enclave of Calabasas, CA. With a vintage Trident A board (formerly owned by

Randy Bachman of Bachman Turner Overdrive) and equipped with today’s most

modern technology, the studio offers an all-in-one location to produce, record

and edit. The new owner of VIP Recording is longtime music executive and

producer, Gerry Gallagher. Pictured (l-r): El Chicano’s Jerry Salas, Fred Sanchez

and Mickey Lespron, with Gallagher.

L.A.-based music mixer, Joe Zook,

is in the midst of mixing the next

Plain White T’s album for Hollywood

Records. Previously, he comixed

Home by Philip Phillips. Zook

mixed Canadian singer-songwriter

Serena Ryder’s single, “Stompa,”

which has been a multi-format radio

hit in Canada and is about to be

released in the US as part of her

latest album Harmony. The music

mixer is best known, however, for

mixing OneRepublic, Katy Perry,

the Hives, P!NK, Kelly Clarkson,

Colbie Caillat and Modest Mouse,

to name a few. To keep up to date

on Zook’s upcoming projects, visit

http://jdmanagement.com/joezook.

Legendary engineers Shelly Yakus

(John Lennon, Tom Petty, U2) and

Niko Bolas (Neil Young, Fiona

Apple, Keith Richards) are teaming

up to record emerging rock act the

Vim Dicta. The band are recording

their new single “Point Blank,”

along with team engineer-producer

Shane Smith (Los Lobos, Big Sir,

Feist) at renown Sunset Sound Studios

in Hollywood, CA. Mars Volta /

Big Sir bassist Juan Alderete also

recently joined them in the studio

to record a new version of “Your

Man,” scheduled for release in May.

See http://thevimdicta.com.

New York City’s Avatar Recording

Studios has hosted Bruno Mars,

Paul McCartney, Tony Bennett, etc.

Along with major artists, Avatar also

looks to support emerging talent,

which is why the studio partnered

with The Deli Magazine to offer

three new N.Y.C.-based bands 10

hours of free recording time. The

winning artists included Foxygen,

Spirit Family Reunion and Ambassadors.

Visit http://bit.ly/ZhD7VK.

Producer Playback

“Know when to shut up. There’s a tendency to inflict

yourself at all times to justify your position. Sometimes

a day will go by when I hardly say a word.”

– The Legendary Andy Johns (1952-2013)

Led Zeppelin, the Rolling Stones, Van Halen

18 May 2013 www.musicconnection.com


Dance Theatre Of Harlem Returns From 8-year Hiatus

Grammy-nominated cellist and composer Joan Jeanrenaud has recorded new

music for The Dance Theatre of Harlem, which is returning in April to N.Y.C. The

new music to be premiered was requested by renowned dancer Thaddeus Davis

and recorded with keyboardist/percussionist PC Munoz and engineer Justin Lieberman

at San Francisco’s Studio Trilogy. Pictured in session at Studio Trilogy’s

SSL 9000K console are (l-r): Lieberman and Jeanrenaud with her dog Jack.

London Campus Adds SSL Console

Alchemea College has installed a Solid State Logic Duality SE for its Studio

Sound Engineering program. The aim of the audio program is to give students a

wide variety of skills to go out into the real engineering world. The console lives

in the SSL Duality Control Room, Alchemea’s flagship studio, and is used for

mixing and tracking.

Bad Suns Track At 4th Street

Music Los Angeles-based Connection Bad Ad Suns, Proof currently enjoying the top of the local playlist

Ad

on KROQ,

Rep:

have been at 4th Street Recording laying down new tracks with

HR

producer-engineer-mixer Chris Mullings. Pictured (l-r): Chase McElhaney,

Code:

engineer; Miles

hunter

Kottak,

4th-horiz

drums;

#2-2013

Ray Libby, guitar; Mullings; Kathleen Wirt, 4th

Street; Chris Bowman, vocals; Gavin Bennett, bass.

IADT Las Vegas Opens New Studio

The International Academy of Design & Technology Las Vegas (IADT) has announced

the completion and opening of Vegas View Recording, a 2,500-sq ft. recording and

mixing studio within its campus. Designed by studio architect Carl Yanchar and

IADT’s Robert “Bobby” Ferrari, the studio is a teaching studio for students. Vegas

View Recording at IADT is also available for hourly and daily lease by professionals

and others seeking use of a high-quality studio operated by seasoned professionals.

See http://iadt.edu/Las-Vegas.

RECORD HERE! AT A TOP L.A PRODUCER’S PRIVATE STUDIO

Jimmy Hunter!s

A STATE-OF-THE-ART ProTools 10 HD6 STUDIO




May 2013 www.musicconnection.com 19


PRODUCER CROSSTALK

F. REID SHIPPEN


By Rob Putnam

Nashville-based producer, mixer and recording engineer F. Reid

Shippen started his career as an intern while still a full-time college

student. Realizing that attending class was losing him money, he

completed his education quickly and settled into work as an assistant

engineer. Shippen administered his career a jolt when he offered to complete

a mix for a producer in order to save a hip-hop outfit some cash. If

the producer didn’t like it, there would be no charge. Things worked out,

he completed the record and has since had a hand in nine Grammy-winning

songs or albums. This year’s Grammy wins include his mix of Little

Big Town’s “Pontoon” and TobyMac’s album Eye On It.

Shippen finds that continual growth is one of the keys to his success.

“Once you stop learning, you might as well quit,” he asserts. “I love working

with other people because there’s

always something new to learn. That’s

one of the exciting things about this job.

One of the nice things about Nashville

is that there’s a culture of collaboration

here that I don’t find in New York and

Los Angeles. I was working on a record

the other day and sent the drums to

my buddy [Jack White engineer] Vance

Powell. He ran the stems through one of

his processors and sent it back to me.”

Shippen sympathizes with artists and

the struggles that they face in a world

that doesn’t always embrace them.

“Their biggest overall challenge is near

constant rejection, having to look that in

the face and get up the next day and do

their job,” he observes. “As a mix engineer,

I make tens of thousands of subjective

decisions based on other subjective

decisions and then I get judged on

them by friends and strangers.”

The three most important

things he’s learned as a

producer are:


-







-




He used to find that after marathon sessions, an entire night would

have passed unnoticed. That happens less now since he opened his own

mix room, called Robot Lemon, four years ago. Unlike other rooms he’s

working in, Shippen’s has windows. “I was in a killer [room] for nearly six

years but I couldn’t see outside,” he recalls. “Finally when I built my own

mix room I decided to put windows in it.”

Shippen works across genres both by choice and by necessity. “You

don’t always pick your projects unless you have a trust fund,” he explains.

“You don’t turn things down. If you only work on music that you love, you’ll

go hungry a lot. I’ve had the good fortune to have a bunch of different

stuff come my way and I like to keep things new, fresh and challenging.”

He’s a fan of the Dangerous 2-Bus summing amp, which he uses in

conjunction with his SSL. “The guy who designed all of that stuff worked

at Sterling [Sound],” he says. “I use the summing amp for the stuff

that needs it. For example, something I’m working on now was mainly

programmed drums. A lot of the kick is already effected so me slamming

it through a console––it doesn’t really need that much. So I’ll skip the console

because I don’t want to change the character to that extent.”

He also favors the Dangerous Monitor ST system. “All of my monitors

go through that,” he says. “I don’t use the console at all. It sounds way

better than the SSL monitoring system.”

Currently Shippen is working on records for Jonny Lang, Allstar

Weekend and country artists Dierks Bentley and Keith Urban. He was

nominated for Audio Engineer of the Year for the recent Academy of

Country Music Awards. He jokes that all the Grammy-winning projects he

has worked on, “It gets it through to my parents that music isn’t a hobby.

But winning is always exciting.”

Contact Paul de Benedictis / dB Music, 650-303-2565,

pdbmusic@pacbell.net, http://robotlemon.com

20 May 2013 www.musicconnection.com


– —Andy ANDY KAUFMANN Kaufmann

Robb McDaniels

Founder/CEO, INgrooves Fontana

Years with Company: 11

Address: 444 Spear St., Ste. 213, San

Francisco, CA 94105

Phone: 415-489-7035

FAX: 415-489-7049

Web: http://ingroovesfontana.com

Email: robb@ingrooves.com

Clients: BMG, Cherry Lane, Delicious Vinyl,

EMG, Fat Possum Records, Ipecac Recordings,

Metal Blade Records, Nat Geo Music,

Nettwerk Music Group, Ministry of Sound,

ReverbNation, [PIAS], Ruff Ryders Records,

Razor & Tie, Skaggs Family Records, Suicidal

Records, UMG, Watertower Music, VP Records,

Varese Sarabande, the Lumineers, Coheed

and Cambria, Sly & Robbie, Mac Miller.

BACKGROUND: Unfulfilled as an investment

banker selling credit derivatives to companies

like Enron, Robb McDaniels left a hefty salary

behind to pursue a career in the music industry.

Taking a look at the sea change occurring with

digital distribution, he decided to create the

ultimate delivery service. Besides offering advertising

and promotion, INgrooves plays a critical

role in operating the technological backbone that

brings today’s streaming landscape into reality.

That Light Bulb Moment:

I formed the idea of INgrooves after seeing the

impact Napster had and the fact that suddenly

the fan had all this music at their fingertips, the

empowerment that caused fans to feel and the

sense of engagement they had with their friends

in finding old hits and so forth. I began building

the idea for a new type of digital record company

that had, at its core, a technology platform that

would automate all of the aspects of distribution

and administration and allow the rest of the

company to focus their energy on the creative

side of the business.

All Forms of Media, Delivered All Ways:

From day one, [INgrooves] was always going

to be a digital media distribution company. We

started in music. We’ve since expanded into

books and short-form film content. Eventually,

we’ll add other media asset classes, as well. But

the concept is you’ve got many different content

creators and owners trying to reach many different

touch points in the digital world. So you

have this many-to-many relationship. Our whole

business model is predicated on facilitating that

relationship and making it efficient and easy.

Providing Backbone:

We are partners with ReverbNation; we’re the

back office for their distribution, effectively. They

offer distribution to emerging, unsigned indie

artists, have that relationship with that artist, and

then we do all the delivery to the music services

for their product. ReverbNation offers the opportunity

for these artists to get their album to 30

of the biggest digital retailers for a fixed fee. That

comes through our system. Our platform, ONE

Digital, is really the backbone for a large percentage

of the industry. We not only do that for

ReverbNation and all of our management companies

and independent label clients, but also

Universal Music Group in North America, so all

of Interscope and Republic comes through our

system to iTunes, Amazon, Spotify, YouTube

and so forth. We’re the distribution architecture

for a large portion of the industry.

“If it’s great music and you’ve got

some buzz, we’ll take a shot.”

efficient, flexible, reliable and scalable platform

that allows the user to control distribution of their

releases. The digital supply chain is incredibly

customizable and efficient. I had this idea for

what I wanted INgrooves to be, but I didn’t have

any experience in software development or

digital media. David Kent, who’s still our CTO,

was at least partly responsible for helping turn

Napster into such an incredibly scalable and efficient

peer-to-peer network, so David’s expertise

was in building large, enterprise systems at a

much lower cost than other people could. David

has been the primary architect of our software

platform. And we’ve always been committed to

software development and engineering. A significant

portion of the money we’ve raised has gone

to investing in that platform. Our commitment to

that side of the equation and our willingness to

bet on that being the future of the industry is what

sets us apart. There are others who do a few bits

and pieces of the distribution supply chain, but

they can’t do everything we do.

Two Units:

We have two distinct units within INgrooves.

Our distribution services provide distribution and

sales services generally to independent labels.

Typically, independent labels have their own

marketing staffs, sometimes their own sales

staffs and so forth. They have larger catalogs

and that’s typically a lower distribution fee.

Then we have our new artist services unit. That

provides distribution and sales services, but

also marketing services. We have a team of 10

people that are dedicated to working with those

artists and their managers directly. It’s usually a

two- or three-year deal that lays out specifically

what we’re going to do in which countries.

Getting IN:

You’ve got to have great music. At the end of

the day, that’s what’s going to make you sink

or swim. We take risks, as well, on new acts. If

Scalable Magic:

There’s lots of magic that goes on behind the

scenes. [ONE digital] is an incredibly costit’s

great music and you’ve got

some buzz, we’ll take a shot.

It (also) helps to have a great

team around you. There’s a lot

of work that goes into a release

and that work needs to be

shared. And you need to show

you are willing to work hard and

be engaged with your fans.

Acquiring Fontana:

I never thought I would have a

separate line item for physical

distribution. Physical distribution

is still an important part of the

business. We were at risk of

losing some of our big clients,

because they needed physical

distribution and we didn’t have

a centralized, cohesive solution

for them. We had a very good

relationship with Universal;

they’re a minority shareholder

of our company. We already

had all of the Fontana assets in

our system, because we handle

all digital for Universal. We had

a relationship with a lot of these

labels, so it was an easy decision

for us. We still see physical

distribution as an important

service. If we’re going to work

the biggest records, we want to

be able to do both physical and

digital distribution, have all of it

centralized and make it easier

on our artist and label clients.

The Revenue Pie:

We’ve seen an increase of 300 percent in streaming

services over just the last two years. So you’re

going to continue to see the shift away from

physical to digital. The mix of digital downloads to

streaming is shifting at the same time. Probably

by 2014, your typical artist or label will see a third

of their recorded music revenue from physical, a

third of their revenue from digital downloads and

a third from streaming.

It’s Tougher Than You Think:

There are many ways to distribute a product and

everybody’s got their own way they want to sell it.

People think you just hit the EASY button and all

your stuff gets distributed and the money comes

in. When you want to change a price on an

album or switch genre, we’re sending updates to

hundreds of different retailers around the world.

And all of that needs to change at the same time.

There are many permutations of how an album

gets managed and released. That’s one of the

reasons we’re one of only two or three companies

that do this on a global basis for as many

products as we handle. There are not many

people who are willing to invest the kind of money

we’ve invested to be able to handle all of that.

What’s To Come:

We are going to continue expanding our services.

It’s important, especially for the independent

label community, to be careful managing costs,

so we’re going to continue investing in our

centralized suite of marketing services. We’re

excited about expanding internationally —Germany,

Australia and Latin America. Right now,

20-25 percent of our income comes from those

international markets, so it’s a great revenue

source, especially for US-based labels and

artists. And we’re excited about consolidation

opportunities. There are a lot of great career artists

that aren’t that exciting to the major labels.

We think we’re building a company that can

fairly represent them.

22 May 2013 www.musicconnection.com


– BERNARD BAUR

Music Connection’s

Business Affairs

delivers up-to-date

information about the signings

of new artists, significant

developments at major and

indie labels, as well as news

of managers and attorneys who

are active in the A&R aspect

of the music business. So

that MC can provide the most

current information possible,

please send any industry news,

buzz or rumors that need to be

verified to BBatMC@aol.com.

OPPS

Driven Music Conference arrives

in Fort Lauderdale, FL, May

16-19, 2013. It will take place at

the Hyatt Regency Pier Sixty-

Six and Revolution Live. This

premier music event is designed

to connect artists with accomplished

professionals in the music

business world. Acts of all genres

will be in the position to advance

their careers at panel discussions

and feedback sessions led

by Van’s Warped Tour founder

Kevin Lyman, Republic Records

A&R Kristina Grossmann,

Atlantic Records Radio Promotion

Manager Johnny Coscia,

Fueled By Ramen VP of Digital

Marketing Adam Similjan,

Mayday Parade Manager Josh

Terry, Warner / Chappell Music

A&R Marc Wilson, Reverbnation

Co-Founder Lou Plaia as well as

top producers, agents and more.

For registration information go to

http://drivenflorida.com.

Hip-hop finally has its own parade.

The non-profit International

Hip-Hop Parade Organization

has confirmed July 14 as the day

the first annual Hip-Hop Parade

will be held in the birthplace of

hip-hop, the Bronx, New York.

The organization’s president Al

Pizarro announced, “This is an

event that will celebrate a culture

that is a multi-billion dollar industry.

IHHP is also holding monthly

symposiums at various venues

in the Bronx where a panel of

experts will discuss why hip-hop

is no longer a “dirty word.” An MC

competition is also planned. For

additional details, visit http://ihh

parade.org.

MUBUTV (Music Business Television)

has put out the call to all

bands and artists. They are currently

seeking artists and bands

for their “MUBUTV Featured Artist

Series” which will showcase

and spotlight videos from new

and up-and-coming acts in every

genre from around the world.

“We want MUBUTV to be the

trusted source to help break the

next generation of artists,” says

Ritch Esra one of the co-founders

of MUBUTV. Artists and bands

looking to submit their videos for

consideration can visit the official

website, http://mubutv.com. Hover

over the “Contact” category and

click the “Submit Your Video” link

for submission guidelines.

UK Rock band Never A Hero are

offering a cash prize of $750

(US) in a totally FREE TO EN-

TER competition. All you need to

do is head to http://bleed betweenthelies.com

and follow the link

on the homepage. The five-piece

band recently described by Rock

THE STICK PEOPLE WILL DROP THEIR DEBUT IN JUNE

The Stick People was recently interviewed by Moheak Radio at the world

famous Pig ’N Whistle in Hollywood, CA. Engaged in a whirlwind of PR, the

band is promoting its debut release Madness, which is due to drop via EFM

Records/Bungalo/UMG in June. Founded in 2008, TSP recently released the

album and two singles, “Think About That” and “My Everything” digitally,

along with accompanying videos. Fusing influences from mainstream rock,

punk and pop, this act has created an exciting sound for the 21st century.

Pictured are the band members (l-r): Stephen Duffy, lead vocalist; Frankie

Anthony, drummer; Bernie Godwin, guitarist; and M.’. d’Ziur, bassist. To find

out the latest about this emerging act, go to http://thestickpeople.com.

BERNARD BAUR

PSY HITS 22-MILLION VIEWS OVERNIGHT WITH NEW VIDEO

Multiplatinum-selling global superstar PSY premiered his new music video

for “Gentleman” [School Boy Records/Republic Records] on Saturday,

April 13, and set a new YouTube record for “most views in a day.” A

follow-up to “Gangnam Style” amassed a staggering 22-plus million views

in less than a day (currently at 202 million as of April 21), immediately

becoming an online hit in its own right. The song, first heard during his

momentous performance at the recent HAPPENING concert to a sold out

crowd of 50,000 fans at the Seoul World Cup Stadium in Seoul, Korea was

also broadcast live on YouTube to an audience of millions worldwide. See

http://www.youtube.com/officialpsy.

United Magazine as “The best

contemporary British metal act

around” are inviting people from all

four corners of the world to “Hide

in plain sight.” There are no age

or location restrictions... Everyone

is welcome to enter.

In Tune Partners has published

Cool Jobs In he Music Business,

a guide for anyone interested in

a career in the today’s rapidly

changing music business. The

book will show you how various

sectors of the business operate

so that you may best determine

where your skills are suited.

Jermaine Dupri who wrote the

foreword for the book, says, “You

need to know the world you’re

bringing your music into. You need

to know your industry. This book is

monumentally important because

it helps you do just that.” To check

it out go to http://halleonardbooks.

com and http://onstageandback

stage.wordpress.com.

LABELSRELEASES

SIGNINGS

Phil Spector’s wife Rachelle recently

debuted her single, “PS I

Love You.” She is also putting the

finishing touches on an EP based

on love letters between the couple

sent while Spector has been incarcerated.

If the song, co-written

and produced by Chris Seefried

(Fitz and the Tantrums), sounds

reminiscent of Spector’s hit song,

“To Know Him Is To Love Him,”

it should. Rachelle wanted to do

a spin off of that song for her husband

as a way to pay homage to

him. The single will be included on

her upcoming EP later this spring,

along with five new songs, each

of which was mono recorded in

Spector’s signature style. Rachelle

hopes that this new project will

alter people’s perceptions of her

husband. To check out the song,

log on to http://youtube.com and

enter “Rachelle Spector - PS I

Love You.” You can also go to

http//philspector.com and http//

facebook.com/rachellespector

music.

Rock and Roll Hall of Fame

singer Eric Burdon has announced

a joint book deal with

Alfred Music and ABKCO Music

and Records. Burdon is best

known as the frontman of the

legendary British Invasion-era

rock band, the Animals and the

groundbreaking, multi-ethnic

rhythm and blues band, War. Burdon

is enjoying one of the biggest

years yet in his influential 50-year

career. On the heels of a break-out

performance at SXSW, the release

of two new records, including the

critically acclaimed new album, ‘Til

Your River Runs Dry, Burdon’s

book, titled Breathless, is slated

for publication later this year. To

get the latest news, you can visit

http://ericburdon.ning.com.

Mark Lindsay, former lead singer-songwriter-producer

and cofounder

of the seminal ‘60s rock

band Paul Revere & the Raiders

has released “Like Nothing That

You’ve Seen,” the first single from

his upcoming album via Bongo

Boy Records. The song was

co-written and produced by Gar

Francis, the songwriter and guitarist

of New Jersey garage rock veterans,

the Doughboys. The single

features backing vocals by Myke

Scavone (Doughboys), Kurt Reil

(Gripweeds), and special guest,

Little Steven Van Zandt. See

http://bongoboyrecords.com.

Invictus Music & Media has

announced that it has joined

forces with The Orchard in

a long-term distribution and

retail marketing deal. Under the

May 2013 www.musicconnection.com 23


– BERNARD BAUR

new arrangement, The Orchard

will provide worldwide digital and

physical distribution services for

all of the company’s affiliated

labels, including the newly formed

imprint, Destroy Everything.

Running alongside Invictus’ existing

labels, the new imprint will

be a launching pad for a diverse

range of rock, alternative and

metal artists that will maximize

revenue for its acts through licensing

and branded entertainment.

The lifestyle arm of the label will

be launched this summer, with

a range of clothing, accessories

and collectable items, plus limited

edition art prints and posters. Visit

http://dstryevrythng.com.

Heart to Heart have announced

their signing with Pure Noise

Records. A punk rock band

from Pismo Beach, CA, Heart to

Heart are currently on The Road

to Mixtape Tour with Forever

Came Calling in support of Heart

to Heart’s self-titled full-length

record released earlier this year

on Anchor Eighty Four Records.

See http://facebook.com/hearttoheartca

for more info.

PROPS

The fans have spoken and, as a

result, Sevendust have scored

their first-ever No. 1 on Billboard’s

Top Hard Music Albums

charts. The latest album, Black

Out The Sun, which was released

March 26 on the band’s own

7Bros. Records, in conjunction

with ADA Label Services, is the

Atlanta band’s best-selling record

since 2007’s Alpha. The band are

currently on their co-headlining

tour with Coal Chamber (along

with Lacuna Coil and Candlelight

Red). For more information, head

over to http://sevendust.com.

Grand Ole Opry star Charlie

Daniels is recovering after having

a pacemaker implanted at

a Nashville area hospital. His

family asks for your thoughts and

prayers for Charlie as he recovers.

He will spend the next several

weeks at his home. Daniels

recently celebrated five years as

a member of the Grand Ole Opry,

where he is a regular performer.

To get the latest news, visit http://

charliedaniels.com.

The Sunset Strip Business Association

(SSBA) has continued

its goal of building and supporting

community efforts with the

announcement that the organization

has raised more than

$145,000 to support local charities.

Beneficiaries include local

organizations that support music

education in schools; provide

services and programs for homeless

youth in Los Angeles; and

organizations that provide drug

and alcohol treatment services.

SSBA is a private, nonprofit corporation

operated by approximately

175 Sunset Strip business owners

in West Hollywood, CA. For more

information about Sunset Strip

events, visit http://thesun setstrip.

com, http://ssmf.com and http://

sunsetstripmarket.com.

THE BIZ

Universal Music Group has

reached a new agreement with

YouTube. UMG will now allow its

Anglo-American repertoire to be

played on the social media website

in 127 countries in Europe, the

Middle East, Africa and Asia. The

deal encompasses all types of

YouTube videos that feature music,

including user-generated content.

The deal came about through

UMPG’s European licensing agree-

DIY Spotlight:

It’s challenging to be a DIY act,

but Strangely Attractive met that

challenge in a most unusual

way. In fact, they are involved in

something called the “52 Week

Challenge.” The goal is to make

one music video a week for

an entire year, using only what

they have at their disposal...an

iPhone.

That may seem outrageous,

but it’s not the most difficult thing

they have encountered. Getting

their act together presented the

biggest obstacle of all.

It started when vocalist Jupiter

Amaya moved from Bogota,

Colombia to Los Angeles, CA

to form a band. Her powerful

vocals and exotic look opened

doors to many projects. But,

after countless auditions with

flaky musicians and erratic acts,

she almost gave up. Then she

answered a Craigslist ad that

changed her destiny.

Bassist and songwriter Chris

Gongora listed that ad. He had

Strangely Attractive

been searching for a singer for

almost a year. He didn’t think

he was looking for much, just

someone who had dynamic

vocals, great stage presence,

could sing in English and

Spanish, and liked the style of

pop-rock songs he was writing.

As soon as Amaya sang,

Gongora knew he'd found his

frontlady. Unfortunately, the

rest of the members didn’t fall

into place so easily. Numerous

configurations evolved until the

right dynamic was found, and

Strangely Attractive was born.

They released their own

English and Spanish album

called Soul Control, and

began a series of exciting new

ventures, including the mixtape,

Strangely Attractive 2.0. That

created the buzz they needed,

and complemented their latest

endeavor.

To learn more, go to http://

strangelya.com.

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

OTIS REDDING GETS REISSUED

Son of the late soul legend Otis Redding, Otis Redding III (on the left), attended

a listening party at Atlanta music retailer Wax n’ Facts for a newly released

Redding LP titled Lonely and Blue (via Stax Records). Store owner Sean Bourne

is at right. Stax wanted to create an Otis Redding album that never existed.

Reissue producer David Gorman chose 12 Redding ballads that shared a unity

of sound and message, and created the art for Lonely and Blue based on the

look and feel of a Stax/Volt LP record in 1967. He even wrote liner notes by

a fictitious radio DJ along the lines of what you might have found on a 1967

album. For additional information, visit http://concordmusicgroup.com/labels/

stax and http://otisredding.com.

ment with the Society of Authors,

Composers and Publishers of

Music (SACEM). The new agreement

facilitates greater transparency,

coordination and data sharing

between the organizations while

ensuring equitable compensation

for rights holders. UMG’s CEO Zach

Horowitz said the deal would ensure

that rights holders would receive

proper renumeration. “The digital

market can only flourish if creators

receive fair remuneration through

efficient and innovative licensing

solutions,” he added.

Warner Music Group (WMG) has

expanded its global A&R team.

WMG announced the appointments

of Aton Ben-Horin (@Aton)

as Director of Worldwide Rhythm

& Pop A&R and Latoya Lee (@

MissLatoyaLee) as Manager of

Worldwide Urban A&R. In these

newly created positions, Ben-Horin

and Lee will report to Mike Caren

(@MikeCaren), President, Worldwide

A&R. The two executives will

provide additional A&R resource

and creative support across Warner

Music’s recorded music labels. The

pair will assist in the development of

new talent and existing signings by

helping to identify songs, songwriters

and producers and collaborating

with WMG’s A&R executives around

the world.

Universal Music UK chairman

& CEO David Joseph has announced

the launch of Virgin EMI

Records —bringing together Virgin

Records and its Universal Music

sister company Mercury Records.

Virgin EMI Records will be an

immediate contender for the UK’s

number one label, launching with

a roster that extends from Emeli

Sandé to Jake Bugg, alongside

international superstars Sir Elton

John, Rihanna, Kanye West, Taylor

Swift and Justin Bieber.

BERNARD BAUR was voted one of the “Top

Music Business Journalists” in the country.

Bernard is the connection between the streets

and the suites. Credited with over 1,200

features in a variety of publications, he’s a

Contributing Editor at Music Connection.

24 May 2013 www.musicconnection.com


“How I Got My Music Licensed 1,205 Times”

Barry French – TAXI Member – BigBlueBarry.com

I took some time off from music,

then my grandfather passed away and

I re-evaluated what I was doing with

my life. I felt the “call” of music, so I

started writing again, decided to get

serious about my music career, and

joined TAXI in 2008.

Honestly, I Was

Skeptical at First…

I did some research. I lurked on

TAXI’s Forums, and found that

TAXI’s successful members were

real people just like me. Though I’d

co-written with an Indie artist, and

charted at #15 on the Radio &

Records Christian Rock charts, I was

clueless how to even get a film or

TV placement— a complete newbie!

But TAXI’s Industry Listings

gave me goals to shoot for and

helped me stay on task. I became

more productive and motivated to

get things done because I didn't want

to feel like I "missed out" on an

opportunity.

How to Build

The Right Catalog

If you want to create music for

art’s sake, then by all means, go

ahead and do that. But, if you want

to have a music career, why not use

TAXI to learn how build the right

catalog full of music the industry

actually needs?

Expand Your Possibilities…

TAXI can help you learn to write

for genres you never thought you

could do. I used to do mostly Hard

Rock and Metal. Because of TAXI,

I branched out into other genres—

first Pop/Punk, and then Tension

and "Dramedy" cues. I used the

feedback from TAXI’s A&R staff

to improve my work. In many

cases, my tracks improved to the

point that they got signed and

ultimately placed in TV shows!

350 Placements in

the Last Year!

The first placement I ever had

resulted from meeting a Music

Library owner at the Road Rally—

TAXI’s free convention. In a little

more than 3 years, my music has

been licensed more than 1000 times,

with nearly 350 placements in the

past year alone!

A “Lucky Duck?”

My 1,000th placement was a

Southern Rock track on A&E's hit

show, Duck Dynasty. A TAXI

connection resulted in me becoming

a "go to" composer for a company

that provides music directly to that

series. How cool is that?!

TAXI’s Listings, community,

convention, and networking

opportunities have helped my career

immensely. The ONLY regret I have

about joining TAXI is that I didn't

sign up sooner! If you’re willing to

invest in yourself, call TAXI and let

them help you too.

The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com


SURFER BLOOD

Date Signed: Late 2010

Label: Warner Bros. Records

Type of Music: Indie Rock

Band Members: John Paul Pitts, Thomas Fekete, Kevin Williams,

Tyler Schwarz.

Management: info@zeitgeistmanagement.com

Booking: Mike Mori, mike@windishagency.com

Legal: Emio Zizza

Publicity: kate.cafaro@wbr.com

Web: http://surferblood.com

A&R: Jeff Sosnow

With a debut album (recorded in singer-guitarist JP Pitts’ bedroom

in Florida) out on New York indie label Kanine Records and a

year’s worth of touring that included high-profile festival dates,

Surfer Blood were doing pretty well on their own. In fact, better than they

ever expected, as Pitts puts it. But when a fan named Ryan Whalley, who

frequented Surfer Blood shows, turned out to be an A&R rep with Warner

Bros., the Pixies-meets-Ramones indie rock band found themselves signing

a three-album deal with an option for a fourth.

Such a big leap with a big label took some adjusting to on Surfer

Blood’s part. “You have to be friendly. Don’t be antagonistic,” Pitts says.

“We’ve been that way in the past, usually out of fear and insecurity. If

they sign you, it’s for a reason. They’re on your side.”

Surfer Blood’s upcoming LP Pythons, a follow-up to their 2011 Tarot

“Don’t be antagonistic. … If they

sign you, it’s for a reason.”

Classics EP, is the first album the band have done with a label’s input.

“It’s a lot of people to work with. It’s interesting,” he says. “Sometimes it

feels like a big company, but so far our relationship has been positive,

they’ve been supportive of our ideas and haven’t been stifling creatively

in any way.” The only difference is having to wait for a record to come

out, and that’s something we’ve never had to do before.”

According to Pitts, fans can expect from Pythons' more concise songwriting

and a denser, sonically bigger record with drums that “have more

attack and bite” and “wider” guitars. “And I learned how to sing, so vocals

sound better,” he adds.

Pitts attributes the outcome of Pythons in large part to moving up

from bedroom recording to studio recording, as well as the precision of

producer Gil Norton (Pixies, Foo Fighters, Jimmy Eat World), who maintained

a long-term interest in the band. Norton had talked with them about

producing a Surfer Blood album since 2010, which finally came to fruition

with Pythons.

“Norton is a really positive, enthusiastic man,” says Pitts. “He’s opinionated

and pushy, and I like all that. The pressure from time spent in the

studio brings out a lot of ideas that wouldn’t come to you if you had all the

time in the world to make a record.” Pythons drops June 2013.

– Jessica Pace

PARMALEE

Date Signed: April 1, 2011

Label: Stoney Creek Records

Type of Music: Country/Rock

Band Members: Matt Thomas, lead vocals, guitar;

Scott Thomas, drums; Barry Knox, bass; Josh McSwain, guitar.

Management: Stephen Linn / Broken Bow Music Group, 615-306-9407

Booking: Kevin Neal / Buddy Lee Attractions, 615-244-4336

Legal: Noah McPike / Almon Law, PLLC, 615-750-2207

Publicity: brittany.perlin@dashboardmedia.biz

Web: http://parmalee.com

A&R: NA

Recently the members of Parmalee, for the first time, set foot on

hallowed ground. They debuted on stage at The Grand Ole Opry.

According to lead vocalist and guitarist Matt Thomas, it was the

culmination of many years of sacrifice and gritty roadwork. “We started

this band in 2001 and took every show we could,” he explains. “We were

out there for 10 years before we got signed.”

Thomas, along with his brother Scott, cousin Barry and best friend

Josh, grew up in and around eastern North Carolina, where they built a

large and loyal fan base. Their live performances expanded to major hubs

like New York, Los Angeles and Atlanta to further establish a presence.

“If nobody had reached out we

probably would’ve hung it up.”

Because they were songwriters many music industry peers urged them to

move to Nashville. “In 2010 a country artist we knew recorded our song

‘Carolina’ but his label folded before the song was released,” says Matt.

“He was gonna take our song to radio so we thought that was the place

to be.”

So, on a wing and a prayer, the band relocated to Nashville, camping

in an RV for a month, with the sole purpose of networking. The quartet

developed a writing and recording relationship with New Voice Entertainment’s

David Fanning. In fact, the band recorded their hit, “Musta Had a

Good Time” and “Carolina,” with him in the back of that RV. Fanning introduced

the band to Broken Bow Music Group’s Benny Brown who was

impressed with the demos and wanted to schedule a showcase when

Parmalee returned from a short North Carolina tour.

One night after a September 2010 show Matt and Scott were robbed

at gunpoint. Shots were fired. Scott, who had a concealed weapons

permit, fired back. He sustained three wounds that left him in a coma.

Miraculously, he made a full recovery and played the showcase, which

led to their label deal in February 2011. “Our fans did benefits and charity

events to help with Scott’s medical bills when we were off the road for two

months,” says Matt. “If nobody had reached out we probably would’ve

hung it up. Thank God we had the fans behind us!”

– Eric A. Harabadian

JODY DOMINGUE

26 May 2013 www.musicconnection.com


BABY E

Date Signed: December 2012

Label: Island Def Jam

Type of Music: Rap/Rock/Pop

Band Members: Baby E

Management: Mark Sudack

Booking: Matt Galle / Paradigm Agency,

music-newyork@paradigmagency.com

Legal: Scott Felcher

Publicity: Lauren Schneider / Island Def Jam,

lauren.schneider@umusic.com

A&R: Chris Anokute

After being courted repeatedly by labels that never came through,

Baby E had gotten comfortable with the idea of being an independent

artist, self-promoting his genre-blending original songs

through YouTube and Soundcloud.

“A lot of A&R showed interest,” he says, “but it seemed like they were

just pulling my chain. No one actually gave me a deal. They just said to

keep working, keep putting stuff on YouTube, and I just got sick of it. I

was kind of anti-A&R at that point. Then I met a girl named M’Jestie.”

That’s Alisha “M’Jestie” Brooks, who penned Rihanna’s hit, “Pon de

Replay,” and told Baby E she could put him in touch with a friend who

could help––Chris Anokute of Island Def Jam. Baby E flew from Virginia

to Los Angele to meet with the A&R rep who asked the artist, “If you

“A lot of A&R showed interest,

but it seemed like they were just

pulling my chain.”

could work with any producer, big or small, who would it be?”

“The first person that came to mind was Dr. Luke (Nicki Minaj, Rihanna),”

Baby E says. “Chris calls me back that day at my hotel room and

says I got a meeting with Luke the next day. So I bring him my demo and

play some stuff.”

Baby E’s week-long stay culminated in a showcase arranged by

Anokute after which the artist went home with both a publishing deal

with Dr. Luke and an Island Def Jam recording deal. “I went into IDJ kind

of nervous, but Chris said, 'Even if they don’t sign you, make sure they

remember you.’ I got the deal no one else offered and moved to L.A. a

week or two after signing.”

Baby E is wrapping up his first album, Girlfriend Material, noting that

monetary support from Island Def Jam has played a huge part in making

the record he wanted to make. “The label can do all the obvious things,

like promotion, radio and possible television spots, but people forget

about the money aspect. It costs a lot to shoot videos, pay rent, work with

these producers. It’s good to have financial support.”

– Jessica Pace

BLEACH BLONDE

Date Signed: October 2012

Label: Rise Records

Type of Music: Rock

Band Members: Danny Stillman, vocals; Danny Cooper,

drums; Michael Payne, guitar; David Barella,

guitars, vocals; Coty Eikenberg, bass.

Management: Mike Bachta and David Lovett / Working Group

Management

Booking: NA

Legal: Scott Bradford

Publicity: Mike Cubillos / Earshot Media,mike@earshotmedia.com

Web: http://thebleachblonde.com

A&R: Sean Heydom

Danny Stillman’s first band, Drop Dead Gorgeous, was signed to

Portland, OR label Rise Records by virtue of a badgering campaign

executed through Myspace. “We had our fans email Rise

Records and a couple other labels,” divulges the vocalist. The band got

a response from Rise’s Craig Ericson. Victory Records, on the other

hand, had to tell the act's fans to stop emailing them. After two albums,

DDG were upstreamed to a major, but the experience was less than

they’d hoped. “Majors tend to spend money in the wrong places,” Stillman

contends, noting the band never surpassed their recording costs. “We like

Rise because they’re strict with their budget and don’t overspend.”

So when Stillman formed Bleach Blonde with half of his previous

band’s members five years after leaving Rise, he immediately texted

“We like Rise Records because

they’re strict with their budget and

don’t overspend.”

Ericson, asking if he wanted to hear some demos. They began discussing

contracts the next day. Stillman believes the immediate interest was

a direct result of the buzz they generated through the self-release of their

debut EP.

Although they scoped out other labels, Rise became the obvious

choice. Besides previously having a positive relationship with the label,

they also liked the current musical direction of the company’s more recent

signings. While negotiating their four-record deal, they managed to work

a proposed six exclusive T-shirt designs down to four. But even though

they attempted to sign as an LLC in order to protect their business, they

ultimately were unable to do so. Stillman insists the deal is both fair and

similar to their previous contract.

Stillman’s advice for unsigned artists is to network like crazy. “It’s

like six degrees of separation,” he declares, noting the Internet’s critical

role in building their career, even helping them record material via long

distance. “Don’t underestimate the power of social networking,” he warns.

“That’s really your biggest tool.”

Bleach Blonde’s debut LP is expected this summer.

– Andy Kaufmann

May 2013 www.musicconnection.com 27


Dallas Davidson Top Country Songwriter

Dallas Davidson was named Songwriter of the Year at the recent Academy

of Country Music Awards (ACM) in Las Vegas, NV. Among his hits is Trace

Adkin’s “Honky Tonk Badonkadonk” and Blake Shelton’s “All About Tonight”

plus Randy Houser’s current hit, “Runnin’ Outta Moonlight.” Visit http://dallas

davidson.com and give a listen.

Eagle Frey Flies

with UMPG

The Eagles’ Glenn Frey

is Universal Music

Publishing Group’s

new signee. The deal

is for worldwide––excluding

the United

States––exclusive

publishing rights to

Frey’s catalog. Frey,

a member of both the

Rock and Songwriter

Halls of Fame and a

six-time Grammy winner,

was the principal

songwriter of some of

the Eagles’ most wellknown

songs, including

“Hotel California,”

“Desperado” and

“Best of My Love.” See

http://umpg.com.

Joe’s Pub Hosts

Songwriters

The CMA Songwriters Series

showcases the best of country’s

mega-hit songwriters. Each night

of the series features successful

songwriters telling the stories behind

their hit songs and performing

them in the raw as originally written.

The CMA Songwriters Series

returns to Joe’s Pub in New York

City for a two-night event on May

7 and 8 with Phil Vassar, Brandy

Clark, Shane McAnally and

host Bob DiPiero. For ticket info,

visit http://joespub.com. The CMA

Songwriters series is also planning

shows in Boston, Chicago, Austin

and Nashville. For more info, go to

http://cmaworld.com.

Write with

Carly Rae Jepsen

American Idol has held songwriting

competitions before—the season

six and seven coronation singles

were penned by contest winners,

and two years ago, the show

launched the Coca-Cola Perfect

Harmony program, which enlists

fans to help pen a new, original tune

to be performed by a pop star on

each Idol finale.

This season’s Perfect Harmony

participant is Carly Rae Jepsen.

The interactive program, which runs

through May 14, will allow Idol fans

ages 13 and older to help her write

lyrics to complete her new tune.

For details, visit http://american

idol.com/perfectharmony.

Durango Fandango For

a Qualified Few

The Durango Film/TV Artist

Showcase will take place May

17-19, 2012 for the second year in

Ventura, CA, at The Crowne Plaza

Resort on the beach.

The showcase is limited to 25

artist-writers who will be perform-

ing and participating in listening/

pitch sessions with 20 top music

supervisors over three days. Each

attendee will have six listening/

pitching sessions with four music

supervisors and five artists/writers

in each session. This event is very

one-on-one and presents a great

opportunity for artists, writers and

producers to be seen, heard and

develop a relationship with active

TV and film music supervisors.

The event will also present live

showcases, with each artist-writer

performing three songs in a live

performance slot.

Organizers state, “The bar is

set very high for this showcase, in

quality of writing, production and

cost to attend. This is intended to

be an exclusive high-level DSE

opportunity).”

If you meet the critera, visit

http://durango-songwriters-expo.

com/DSE-FILM-TV-Ventura.html.

Braheny Online Fundraiser

Set for Kulak’s

Woodshed

He was an author (The Craft &

Business of Songwriting), an educator,

a journalist and a benevolent

mainstay of the songwriting community.

John Braheny, who died in

Los Angeles, CA on Jan. 19, 2013,

was known as “The Songwriters

Best Friend.” To celebrate his spirit,

three acclaimed songwriters will

perform on May 5, 2013 from 6-9

p.m. PST for a fundraising webcast

live from Kulak’s Woodshed in N.

Hollywood, CA. Viewers can watch

online at http://kulakswoodshed.

com/webcast-high.

Performers are two-time

Grammy and Oscar-nominated

singer-songwriter Stephen

Bishop; multiple Academy Award,

Golden Globe and Grammy nominations,

songwriter Allan Rich and

songwriter, performer and producer

Wendy Waldman.

The John Braheny Legacy

John and Taupin Honored in New York

Elton John and Bernie Taupin will be presented with the Johnny Mercer

Award from the Songwriters Hall of Famein New York on June 13th. Also to be

honored that evening: Berry Gordy with a Lifetime Achievement Award, and

inductees including Steven Tyler and Joe Perry of Aerosmith, and Mick Jones

and Lou Gramm of Foreigner, as well as songwriters JD Souther and Holly

Knight. Pictured (l-r): Taupin and John.

SESAC To

Give Love at

Bootcamp

Mark Friday, July

26 for SESAC’s 6th

Annual Songwriters

Bootcamp in Los

Angeles, CA. Held at

Skirball Cultural Center,

Bootcamp is an

all-day educational

forum for artists and

songwriters to receive

feedback on their

work and interact

with award-winning

writers, producers

and music supervisors.

Acclaimed

songwriter Rico Love

will be the featured

speaker at the event.

See http://sesac.com.

28 May 2013 www.musicconnection.com


Projects is committed to supporting

and connecting songwriters

through outreach and education.

Visit the Facebook page “Friends

of John Braheny.”

ASCAP Spreads

the Wealth

The American Society of Composers,

Authors and Publishers

(ASCAP) has announced that it

distributed over $827 million in royalties

to its songwriter, composer

and publisher members in the

calendar year ended 2012, a slight

increase over 2011. 2012 became

the fifth year in a row that ASCAP

distributed in excess of $800 million

to its members—the only performing

rights organization to do

so––making it the global leader in

performance royalty distributions to

songwriters, composers and music

publishers. For further details, see

http://ascap.com.

Bogard Fumes at Belmont

Digital access to music is undoubtedly

the way of the future and

current pay structures must change

for the viability of songwriters, says

Steve Bogard, veteran songwriter

and former president of the

Nashville Songwriters Association

International. Bogard, who

now directs Belmont University's

Copyright Forum, was behind

efforts in 2012 to change copyright

models through the proposed Stop

Online Piracy Act and Protect

IP Act and wants to help protect

songwriters’ interests on digital music

platforms such as Spotify and

Pandora, which seek to reduce

royalty rates as songwriters push

for increases. As it stands, Bogard

says payments for songwriters are

“minuscule,” even “laughable.” Bogard

expects “major” copyright and

music licensing reform to begin

in Congress this session. Further

details are at http://belmont.edu.

WCS Song Contest

The West Coast Songwriters

Association is launching its 2013

version of their International Song

Contest, open to songwriters

worldwide.

The Grand Prize Winner will

receive a Voyager-Air Package

with a Songwriter Series Acoustic

Guitar and hard case plus a Conference

Pass for the 33rd Annual

WCS Music Conference to be

held in Los Altos, CA on Sept. 7

and 8th.

Multiple categories are open.

There is not a “Lyric Only” category.

All songs must be original.

This contest is open to amateur

and professional songwriters. Signature

of parent/guardian required

for each entrant under 18 years

of age.

June 15 is the deadline. Enter at

http://westcoastsongwriters.org.

CMS in Buffalo

CMS @ The Chapel, part of the

Christian Musician Summit

series, is a popular event of workshops

and performances featuring

some of the best musicians in the

CCM and country music industries.

Musicians presenting and

performing will include Mandisa,

Paul Baloche, Ashley Cleveland,

Blues Counsel, Newworldson,

One Sonic Society, All Sons and

Daughters, Meredith Andrews,

Al Perkins, Ian Eskelin, Don

Poythress, Amanda Noelle and

many others.

A set of one-day bootcamps for

songwriters, guitarists, vocalists

and indie artists also is scheduled

for May 2nd. For more information,

visit http://christianmusician

summit.com.

DAN KIMPEL's newest book, It All Begins

with the Music, is penned with legendary

A&R exec Don Grierson. Hear Dan’s audio

interviews worldwide on Delta Airlines.

BMI Spins Latin Grooves in Vegas

Broadcast Music, Inc. (BMI) announced songwriters and publishers honored of

Latin music’s most-performed songs on US radio and television at the 20th annual

BMI Latin Music Awards at the Bellagio Hotel Las Vegas, NV. Renowned

Regional Mexican group Banda el Recodo de Cruz Lizárraga (pictured with

BMI’s Del Bryant and Delia Orjeula) received the BMI Icon Award in recognition

of the influential group’s role as genre leaders. See http://bmi.com.

Katie Armiger

Heads Downtown

Cold River recording artist

Katie Armiger has signed

an exclusive worldwide

administration deal with

leading New York-based

rights management

firm, Downtown Music

Publishing. Under the

agreement, Downtown

will administer Armiger’s

copyrights globally as well

as promote her music to

film and television studios,

advertising agencies, and

brand partners. Armiger

kicked off 2013 with the

release of Fall Into Me

that includes her current

single, “Playing With Fire.”

Find more details at http://

downtownmusic.com.

– DAN KIMPEL dan@dankimpel.com

Tuning up

in Texas

The annual Texas

Heritage Songwriters’

Hall of Fame

Awards Show pays

tribute to the Lonestar

state’s many musical

masters. The 2013

inductees were Ronnie

Dunn (pictured) solo

performing artist and

formerly part of the

multiplatinum and

Grammy-winning duo

Brooks and Dunn;

“King of the Road”

writer, the late Roger

Miller and Buddy Holly

cohort, Sonny Curtis

(“I Fought the Law”).

Visit http://texasher

itagesongwriters.com.

Nelly Signs with Songs

Songs Music Publishing has signed Nelly to a worldwide co-publishing deal.

The agreement encompasses Nelly’s most recent album 5.0 as well as his

future albums including upcoming new LP M.O., slated for release later this

year. Also covered by the deal is the five million plus selling single “Just A

Dream” and his Florida Georgia Line collaboration remix “Cruise.” Songs currently

represents over 350 contemporary and catalog songwriters in all genres

of music. Get more details at http://songspub.com.

May 2013 www.musicconnection.com 29


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DROPS

New Line Theatre in St. Louis, MO, will

conclude its 22nd season with the regional

premiere of Bukowsical, a 21st century reboot

of the American musical comedy that explores

the intersection between sex, drugs and art

through the life story of American novelist and

poet Charles Bukowski. Featuring a book and

lyrics by Spencer Green and Gary Stockdale,

and music by Stockdale, the musical will feature

Zachary Allen Farmer (New Line's High Fidelity)

in the title role. Bukowsical started life as a

50-minute one-act in Los Angeles, was revised

and expanded, and then went on to the New

York Fringe Festival, where it won the award

for Outstanding Musical. Performances will

begin May 30 and continue through June 22nd.

For more information and tickets, visit http://

newlinetheatre.com/bukowsicalpage.

ALICE IN CHAINS

JEFF GOLDBLUM

Jeff Goldblum and the Mildred Snitzer

Orchestra are taking over Rockwell: Table &

Stage in Los Angeles every Wednesday night

through the month of May for an evening filled

with live jazz music. The actor and musician

leads a multi-piece jazz band and a rotating

roster of guest singers, including other celebrity

friends. For ticket info visit http://rockwell-la.com

or call 323- 669-1550. Contact Edward Allen

at Urban + Allen, 323-657-7700 or edward@

urbanallen.com.

Los Angeles-based musician Solomon King

has released The Phil Spector Incident (JLM

Media), in which he plays the role of convicted

music producer Spector, while actress Monica

Lee reprises Lana Clarkson’s character. The

movie also has a companion 11-song soundtrack

CD on which King sings and performs all instruments.

For complete information, contact Doug

Deutsch, dougdeutschpr@gmail.com.

AIC 23 is the story of Alan Poole McLard, a

Film Studies Professor at a community college,

who is trying to make a documentary film about

Alice in Chains to coincide with the release

of their new album, The Devil Put Dinosaurs

Here. Without the cooperation of the members

of Alice in Chains, McLard does his best to

interview other musicians that may, or may not,

have influenced AIC throughout the years. The

film includes cameos from Lars and Robert from

Metallica, Unta Gleeben Glabben Globben

from Necrobotica, Ann and Nancy Wilson from

Heart, Donnie “Skeeter” Dollarhide Jr. from

the Singing Dollarhides, Mike McCready from

Pearl Jam, Nesta Cleveland, Kim Thayil from

Soundgarden, Duff McKagan from Guns N’

Roses/Walking Papers and blogger, Stanley

Eisen. View the parody at: http://funnyordie.com/

videos/f56c3e82fc/alice-in-chains-twenty-three.

Contact Michael Moses at BWR Public Relations,

310-248-6171or mmoses@bwr-la.com.

OPPS

E Hula Mau (The Hula Lives), the host to

Southern California’s only Hula and Chant

Competition, returns to California’s Long Beach

Terrace Theater this Labor Day Weekend (Aug.

PHIL SPECTOR INCIDENT

30-Sept. 2) to celebrate and honor Hawaiian

traditions and values. The 19th annual competition

is sponsored by Nà Mamo (The Cherished

Offspring), a nonprofit organization committed

to preserving key Hawaiian values through social

interaction and education. Various cultural

workshops will be held throughout the weekend

in the Hawaiian Cultural Village in front of

the Terrace Theater and at The Westin Hotel

in Long Beach. This year’s workshops feature

the art of lei making, Hawaiian educational

lectures, a slack key workshop, hula workshops

and many more. All are open on a first-come,

first-served basis. Some fees may apply. (For

a full list of workshops: http://ehulamau.org/

events.php). For more information, visit http://

ehulamau.org.

The fifth annual International Music Festival

Conference (IMFCON) happening December

8-10 in Austin, TX has unveiled its first round

of entertainment industry leaders including

Kevin Lyman (Vans Warped Tour) and John

Warren (Lady Gaga) confirmed to participate

in the 2013 event as part of the conference’s

daily agenda. Hosted together with its sister

conference, the International Film Festival

Summit (IFFS) each year IMFCON and IFFS

bring together entertainment executives and

music and film festival professionals to network,

brainstorm, establish partnerships and better

understand today’s latest trends. Registration

for IMFCON 2013 is going on now. Visit http://

imfcon.com for more information. For more

about IFFS, visit http://filmfestivalsummit.com.

Rescheduled for “Audio Week” in Nashville, TN,

the Nashville Recording Workshop + Expo

will take place May 14-15 at the Rocketown

Event Center. Presented by the AES Nashville

Section in conjunction with the AES and designed

to share the expertise of audio pros with

home studio owners, musicians, songwriters,

composers, producers and engineers. NRW+E

2013 will feature presentations by top industry

pros; exhibits by leading audio gear manufacturers

and, an opening night reception. Program

details, registration information and exhibition/

sponsorship details for NRW+E are posted at

http://nashvillerecordingworkshop.com.

Emo At Heart (http://emoatheart.com), an

entertainment Webzine reporting on the entertainment

industry, is updating and looking for

new artists to feature. All styles of music are

welcomed to send a message to press@emoat

32 May 2013 www.musicconnection.com


heart.com for review or interview consideration.

A new promotional tool has launched called

Famous Authors, World Class Musicians, and

Business Minded Individuals. A one-time $30

fee purchases room for a photo, any live links

and information about any business, book, CDs

or DVDs. To find out more, visit http://lawrencej-king.weebly.com.

A new show in Branson, MO, has an immediate

opening for an experienced piano/keyboard

player. Call 417-699-1008.

Eagle Ranch Resort in Missouri is looking for

country bands for this year's big events. Call

Jerry at 417-275-1105.

Sean De Simone Casting is looking for singing

seniors for an upcoming talent-based reality

series around senior citizen vocalists. Seniors

with serious talent who have dreamed of a big

break their entire lives should send a brief letter

of interest, photo, any performance links if available

and a contact number to seniortalentcast

ing@gmail.com.

MTV is casting for a new and fun music competition

show. They are looking for nonprofessional

singers who sound just like a famous and

current musician. Contestants should appear

to be between the ages of 18-25. Please send

an email to soundalikecasting@gmail.com with

your name, age, location, contact info and which

current contemporary artist you sound like.

Don’t forget to send links to vocal samplings of

you singing their current hit song(s).

The Voice is looking to find talented 7-14 year

old singers for NBC’s new The Voice Kids

show. Streamlined invite-only auditions will

be held in Los Angeles on May 12th. Winner

receives a cash prize and a deal with Universal

Music Group. Email chris@koffeehouse.com.

PROPS

Blowsight have released a “making of” minidocumentary

for their music video to the single

“This Pain.” Directed by Tim Abmann at Visionary

Moments in Burscheild, Germany, the song

is taken from the band’s full length CD, Life &

Death, newly released in North America on

Eclipse Records. For more details visit http://

blowsight.com or http://eclipserecords.com/blowsight

or contact press@eclipserecords.com.

TWENTY FEET FROM STARDOM

In his compelling new film Twenty Feet From

Stardom, award-winning director Morgan Neville

shines a spotlight on the untold true story of

the backup singers behind some of the greatest

musical legends of the 21st century. Triumphant

and heartbreaking in equal measure, the film is

both a tribute to the unsung voices who brought

shape and style to popular music and a reflection

on the conflicts, sacrifices and rewards of a

career spent harmonizing with others. The film

boasts intimate interviews with Bruce Springsteen,

Stevie Wonder, Mick Jagger and Sting

to name just a few. However, these worldfamous

figures take a backseat to the diverse

array of backup singers whose lives and stories

take center stage in the film. For additional information,

contact Guido Götz at MPRM Communications,

323-933-3399 or ggotz@mprm.com.

Milan Records has just released the Filly

Brown – Original Score Album digitally. The

recording features original music by Reza

Safinia (Snap) and includes original hip-hop

songs co-written and produced by Safinia

performed in the film by leading actress Gina

Rodriguez and other artists. Filly Brown is

an inspiring and gritty portrait of a young artist

striving to find her voice and seize her dreams

without compromise. The cast features Lou

Diamond Phillips, Edward James Olmos

and the legendary Jenni Rivera in her final

on-screen performance. For more information,

contact Chandler Poling at White Bear PR, 818-

605-2237 or chandler@whitebearpr.com.

MARK ISHAM

Grammy-winning composer Mark Isham gives

musical voice to Jackie Robinson in the biopic

42, currently in theaters. 42 is written and directed

by Oscar winner Brian Helgeland (Academy

Award for Best Screenplay, L.A.

Confidential) and stars Chadwick

Boseman, Harrison Ford and

Christopher Meloni. The 42 Score

Album is now available digitally. For

more information, contact Alex May

at Costa Communications, 323-650-

3588 or alex@costacomm.com

Recorded prior to his debut as a

composer on NBC’s Smash, Drew

Gasparini headed into the studio

for the first time to record 17 songs.

This new music theatre CD, I Could

Use a Drink, out now on Broadway

Records, features stage talents Jeremy

Jordan (Newsies), Jennifer

Damiano (Spiderman: Turn Off

The Dark, Next To Normal), Justin

Guarini (American Idol) and Caissie Levy

(Ghost). For more information contact Beth

Krakower at CineMedia Promotions, 212-533-

6864 or beth@cinemediapromotions.com.

TOM KIDD's 20-year career includes extensive experience

as an artist, producer and performer. Tom has promoted,

marketed and developed Emmy- and Oscar-winning

composers. He is President of Pres Pak Public Relations.

– TOM KIDD prespak1@verizon.net

Out Take

CHRISTINE WU

Composer/Multi-Instrumentalist

Email: c/o livia@squirespr.com

Web: http://wutunes.com

Most Recent: The Voice

CHRISTINE WU IS a classically trained

violinist, formerly tenured with the Houston

Symphony Orchestra, who reinvented

herself to work in the recording, TV and

film industries. She is seen regularly on

shows such as The Voice, American Idol,

America’s Got Talent, Spike TV’s Video

Game Awards, the GRAMMY Awards

Telecast, The Tonight Show and Jimmy

Kimmel Live. Her talents allow Wu to find

work easily in the classical, pop, film and

TV worlds.

That’s a good thing because as the

woman who is single-handedly redefining

the term “Multi-Talent” points out, “It’s all

part and parcel of the same thing.”

The parts of the whole seem far flung to

most artists but it’s her versatility across

genres that sets Wu’s work apart. “It’s

helpful to offer a few things in a package,”

she points out. “Film and TV are always

changing and the artist has to reinvent him

or herself for each project. I look for the

opportunities that may not be obvious.”

Wu notes that musicians are specialists

making it hard for them to see the other

side of the business. This blindness leads

careers down blind alleys.

The way is wide open for Christine

Wu. To further her career, she’s learned

production and the construction behind

jingles. She’s become versed in digital

audio and, most importantly, learned the

business side of the entertainment business.

This is one artist who isn’t done learning

yet. “There’s always a lot of opportunity

when things are changing,” she says.

Some change is being spearheaded by

Wu herself. She is creating a multimedia

project which incorporates original music

with dance.

“Make plans while you have other things

going,” she tells others. “That’s how I got

closer and closer to what I wanted to do.”

May 2013 www.musicconnection.com 33


DEFTONES PASS THROUGH FLORIDA

Currently touring on the band’s late 2012 release, Koi No Yokan, Deftones took the Jannus

Live St. stage in Petersburg, FL recently. They performed 17 songs and returned to the

stage for a four-song encore. Pictured is the band’s original guitarist Stephen Carpenter.

For Deftones’ upcoming tour schedule, visit http://deftones.com.

AOKI EXPLODES AT ULTRA MUSIC FESTIVAL

They said it would never happen again, but Ultra Music Festival hosted the

return of deadmau5 on the event’s main stage in 2013. On hand to celebrate

the festival’s 15-year anniversary at Bayfront Park in Miami, FL, were Steve

Aoki (pictured), Afrojack, Avicii, Bassnectar, David Guetta, Fatboy Slim,

Swedish House Mafia, Tiesto and many more.

DAUGHTRY AT NAB

At the Television Luncheon—hosted by Nancy O’Dell—Emmy Award-winning

co-anchor of Entertainment Tonight, American Idol showrunner Nigel Lithgow,

judge Randy Jackson and Trish Kinane, executive producer and president of

entertainment programming for Fremantle Media North America, were on hand

to accept the induction of the top-rated television talent-search phenomenon

into the NAB Broadcasting Hall of Fame. Following the ceremony, Chris Daughtry

treated attendees to a special performance. Pictured (l-r): New Pants / Old

Pants Publishing owner Rob Case with Daughtry.

KNIGHT BILHAM PHOTOGRAPHY

DANIELLE MARTIN

TONY LANDA

JOHN MAYER GOES DEF

Seven-time Grammy winner John Mayer was spotted rocking out at Def Leppard’s

resident show VIVA Hysteria! at The Joint at Hard Rock Hotel & Casino

in Las Vegas, NV. The popular singer-songwriter hung out backstage with

the band and posed for photos. Produced exclusively by AEG Live, the band

performed their iconic album HYSTERIA in full as well as a selection of their

greatest hits, highlighting classic material from throughout the band’s career.

See http://thejointlasvegas.com.

34 May 2013 www.musicconnection.com


– ANDY MESECHER andym@musicconnection.com

RICK RODNEY

RENTINO WINS THRE3STYLE

The top six party rockin’ DJs from around

the nation battled to be named the “best

on the decks in the US” as more than

1,900 music fans packed the dance floor

of Hollywood’s LURE nightclub. After

a night of intense battles, the Red Bull

Thre3Style judges DJ Jazzy Jeff, Z-Trip

and A-Trak crowned Trentino as the Red

Bull Thre3Style National Champion. The

Chicago-based spinner will go on to represent

the US at the Red Bull Thre3Style

World Finals in Toronto, Canada.

Celebrating

36 Years

1977–2013

Tidbits From Our

Tattered Past

2013 COUNTRY RADIO

SEMINAR HITS NASHVILLE

Meeting of the minds conquered

Country Radio Seminar in Nashville,

TN recently. Heavyweights from all

corners of the music industry came

to “Music City U.S.A.” to network

with artists. Pictured (l-r): Publicist

Kirt Webster, Webster PR; WPPL programmer

Jim Quinton; and veteran

radio promoter Paul Loggins, CEO,

Loggins Promotion.

JAMES DONNELLY

IDOL, MORRISON

SUPPORT LEGENDARY

GUITARIST STEVE

STEVENS

Steve Stevens took to the Viper

Room stage in Hollywood,

CA, and brought a slew of

surprise guests along for the

ride. Joining Stevens on stage

throughout the show were

Billy Morrison, Matt Sorum

and Billy Idol. Pictured (l-r):

Idol and Morrison.

1986–Electronic Music–(#10)

Music Connection explored the

burgeoning world of computergenerated

music, interviewing

and profiling several artists

and composers who were

immersed in it, including, Jean-

Michel Jarre, Rod Firestone,

Philip Glass and Wendy Carlos.

Said Carlos, famous for her

Moog-fueled classic Switchedon

Bach, who had some sobering

advice for all music-makers:

"People are still looking, with

no work and no energy, to get

something magical. They're

looking for the shortcut, and of

course the shortcut is the way

you're going to get crap."

CLARKSON COMES HOME

FOR CHARITY

Kelly Clarkson returned to her

hometown Dallas to headline a

special benefit concert in support

of TD Ameritrade founder Joe

Ricketts’ Opportunity Education

Foundation, which provides hundreds

of thousands of underprivileged

children in Africa and Asia

with access to quality education.

Pictured is Clarkson with happy

fans at the Verizon Theatre at

Grand Prairie, Dallas, TX.

DANIEL SIWEK

SPARKS FOREVER

After their equally dazzling and daring

set at Coachella, Sparks (aka the

Brothers Mael) returned home like

Hollywood royalty where they played

two consecutive shows at The Masonic

Lodge at Hollywood Forever Cemetery.

Their latest tour, Two Hands, One

Mouth, features the brothers’ stripped

down to a captivating combination of

only voice and piano. It was cabaret in

a Masonic Lodge and you didn't even

need to learn the secret handshake.

STEVE SHIPLEY

2003–Beth Hart–(#20)

Blues belter Beth Hart graced

this cover of MC. In the

feature-length cover story,

Hart spoke about the ups and

downs of her career to that

point, and her pure passion

for singing that had led her

to enter sing-offs around Los

Angeles. "We'd hit three or four

of those clubs a night. I won a

lot of those contests because I

love the blues and R&B. It's the

kind of music you feel in your

gut." Elsewhere in the issue,

mastering engineer Eric Labson

advised, "Get a good mix

and your mastering time will be

minimized."

May 2013 www.musicconnection.com 35


Fall Fall

Out Out

Boy Boy

On Nov. 20, 2009, multiplatinum, Grammy-nominated

rockers Fall Out Boy announced

they were taking an indefinite

hiatus. Bassist and chief songwriter

Pete Wentz had become ubiquitous.

His marriage to and subsequent divorce

from singer Ashlee Simpson had turned

into a celebrity gossip talking point

and begun to overshadow their music. Wentz even publicly suggested

the world could use a little less of him. Singer Patrick Stump went on to

record a solo album. Guitarist Joe Trohman and drummer Andy Hurley

united forces to become part of heavy metal act, the Damned Things.

Wentz, meanwhile, created Black Cards, a ska/electropop duo with

vocalist Bebe Rexha. The future of the pop punk band from Wilmette, IL

remained in doubt.

Then came February of this year, when they played the first single off

their fifth studio album, Save Rock and Roll (Island), on Jimmy Kimmel

Live. For the first time since 2008’s Folie A Deux, there would be new

music from Fall Out Boy. They had returned.

But their resurrection raised as many questions as it answered. What

was it that convinced them to reform? What does this resurgence mean

for Decaydance, the imprint Wentz formed under the band’s first label,

Fueled By Ramen? How had FOB’s sound changed in the intervening

years? And could fans expect to see new material released in the coming

years?

Wentz, who keeps himself active with all manner of endeavors including

a film production company (Bartskull Films), acting (he’s appeared

on One Tree Hill and Californication), writing (his book, The Boy With

the Thorn in His Side, is based on his childhood nightmares) and a club

(Angels & Kings, which first opened in New York and later expanded

to Chicago), took time out of his whirlwind schedule to address these

concerns and more in this revealing interview.

36 May 2013 www.musicconnection.com


By Andy

Kaufmann

PAMELA LITTKY

Music Connection: You guys are back after

an indefinite hiatus that went for three or four

years. How did you know this was the right time

to reform and record a new album?

Pete Wentz: I don’t know. It still could be the

wrong time. When we took a break, we always

thought it had to be about new music. None of

us had any interest in being a heritage act or

doing state fairs, that kind of thing. We really

wanted it to be about the songs. We did try to

write a couple times and it didn’t seem right.

Then Patrick [Stump] and I wrote a couple

songs and, when I heard the stuff he’d done,

I was all in. There’s so much about our band

that’s serendipity to me. So much about it

seems to be being in the right place at the right

time. Hopefully, that’s what it is again.

MC: Around the time you guys decided to take

a break, you were the subject of a lot of tabloid

fodder. Do you believe that sort of exposure

helped or hurt your career? Do you suggest

other artists seek out that type of coverage?

Wentz: I don’t think it really helped our career.

It’s kind of a double-edged sword. We got a

certain amount of press regardless of what was

going on with the band. But at the same time,

lots of the mainstream press only covered us

from one perspective, you know? No one gave

me a manual, like this is what you’re supposed

to do, this is how you’re supposed to act. You

kind of just figure it out on your own.

Tabloid culture is really just interested in famous

people and not about people being known

for their talent. So it was a weird space to be

in and it was frustrating. It was a rollercoaster.

There were a lot of ups, there were a lot of

downs. More than anything, you’ve got to just

do things for the right reasons. If you’re playing

in your band and it’s fun, keep doing it. The rest

of your life will fall into place around that.

MC: Is the sound of the new album different as a

result of taking a hiatus? What are you doing this

time around to make sure you don’t burn out?

Wentz: I feel like the sound hasn’t changed. To

me, it sounds similar in that Patrick is singing

over music with certain melodic structures. A

lot of my friends who I’ve played it for were like,

this is really different.

As far as burn-out goes, that’s the $64,000

question––how do we not get burnt out? You

want it to succeed, do well, be big and be fun.

But when it does well and succeeds and is fun,

that’s when somebody’s quarterly stock profits

depend on whether your band plays certain

songs or you do certain things. That’s when it

can stop being fun. I think, for all of us, it was

just about having something that humanizes us.

For me, it’s having my son. I think about him

before anything we do.

We’ve never really done Fall Out Boy as real

adults before. This is the first time where we’re

doing it understanding each other’s schedules,

what each other’s needs are and what each

member wants out of the band.

MC: You have so many projects going on, including

clothing, bars, writing and acting. How do

you balance these things along with your musical

career and does that personality trait account for

the diverse nature of your songwriting?

Wentz: We’ve always been a band where we

take all interests of the band members and mix

them together. On top of that, I probably have

some strange adult case of ADHD a bit and

have a hard time focusing. The way it works for

me is, if all the things I do are authentic to me

and my brand, then they make sense and they

can kind of intersperse with each other. You

can do this tattoo show and this book and you

can cross promote with the album, because

they all make sense together. I’d only be in hot

water if I did something that didn’t make sense

with the rest of my brand or personality.

MC: You obviously make more money off these

side projects because of your association with

Fall Out Boy. Do you include your band mates

in the sharing of that income, considering you’re

taking time away from music to feed these

projects?

Wentz: We’re a pretty inclusive band. We split

four ways equally, which a lot of bands our size

don’t. At the same time, like our endeavor with

the bar, we let everybody be in on things like

that. When I do stuff with Decaydance, Patrick’s

the first producer I go to. And none of these

other things are ever going to supersede Fall

Out Boy.

There’s never going to be a time where I’m

like, guys, we need to take a break because I’m

doing this commercial or I’m doing this thing.

That isn’t an option, and everybody I’m involved

with knows that when it comes down to it, Fall

Out Boy always takes precedence.

At the same time, Fall Out Boy makes those

brands bigger. And some of those brands make

Fall Out Boy bigger in certain places. To be

honest, some of them are complete passion

projects and don’t make money. It just depends

on what it is and, if you make the Forbes list,

they make it sound like certain things are more

lucrative than they are. Try owning a bar in New

York City for a year and let me know how much

money it makes.

MC: Speaking of making money, do you have

any product endorsement deals?

Wentz: Not a ton. I have a signature bass deal

with Fender and I use Fender amps as well. But

other than that, no. I did an endorsement deal

with K-Swiss a couple years ago. They let me

design a shoe and have a lot of fun with that.

But for the most part, it’s just been people that

I’m friends with and want to do stuff with. I like

Neff headwear a lot. I would love to do something

with them. There are a couple of those

opportunities, but I don’t have endorsement

deals with any of them currently.

MC: For your new album, you’re signed to

Island as opposed to Fueled By Ramen, your

former label. Why are you on Island now?

You’ve outgrown the confines of an indie?

Wentz: We’ve been on Island/Def Jam since

From Under the Cork Tree came out. At the

time, Fueled By Ramen had a relationship

with Island/Def Jam and had a lot of input and

helped us out. John Janick helped us a lot

with From Under the Cork Tree and even with

Infinity on High, whether it was marketing or

different ideas. John moved Fueled By Ramen

to Atlantic and now he’s at Interscope. At some

point, it just became a label that was stuck

on the album. It wasn’t actually a meaningful

business relationship. But I’m still tight with

everybody from Fueled By Ramen. They’re still

a family and a good network for us. There was

never a falling out or a real change of label. It’s

basically the same team we’ve been with since

From Under the Cork Tree.

MC: Did you undergo a contract renegotiation

for being upstreamed? Were there particular

points or things that you asked for? And how

did you come to a decision with your band

mates as to what to do?

Wentz: There was definitely a contract renegotiation.

I think the stipulation was that we

had a right of first refusal of our next album.

Between albums, I’m sure there were contract

May 2013 www.musicconnection.com 37


enegotiations. Obviously, a major record label

wants to keep you and your investors for as

long as possible and, depending on what kind

of artist you are, your goal is to renegotiate so

you get more money or become independent.

We’ve had a good relationship with people at

our label, so there’s never been a strong desire

to be independent. At the same time, I know we

could function on our own if we needed to. But

it’s like, why would we when we have a good

relationship?

MC: Your label, Decaydance, started as a

Fueled By Ramen imprint. How did the label

come about and why did your label become

independent?

Wentz: The label came about because I was

bugging my buddy, John Janick, who was at

Fueled By Ramen. A zillion times, I was like, listen

to my friend’s band, The Academy Is… And

he was like, why don’t we just do an imprint? It

quickly became more than a vanity label when

Panic! at the Disco sold some albums and then

Gym Class Heroes as well.

At that time, there was a partnership with

Atlantic Records, who we partnered with for Cobra

Starship and Panic! at the Disco and Gym

Class Heroes and Travie McCoy. We wanted to

try things that were slightly more independent,

so that included being able to work with labels

outside of Atlantic. That’s kind of where the

relationship changed. It wasn’t negative. We

still work together on those three bands. But

we got a chance to work with Cassadee Pope

when she was in Hey Monday on Sony. We got

to work with Tyga when we collaborated with

Young Money. And then we did the Ready Set

with Warner Brothers.

Being able to work with so many labels and

seeing how they each worked has been really

interesting, because they’re all cool and they

all work. It’s just they’re all different. They have

different priorities.

the first deal that’s thrown in front of you. You

don’t necessarily need a manager or a merch

company. There is something to DIY and there

is something to doing it on your own, because

when you’re making great music good things

should come to you.

MC: You’ve had an incredible track record with

your Decaydance imprint. What accounts for that?

Wentz: I think it’s surrounding yourself with a

good team. I like to be surrounded by people

who believe in music and aren’t just hunting

after money. I definitely don’t believe in chasing

songs. I would chase a songwriter over a song.

It’s more important to develop than anything.

Just about anybody can take an artist from

80,000 to a million records. It’s a lot harder to

take somebody from 5,000 to 80,000 records.

And that’s what our label’s always specialized

in––artist development. It’s very important to

take your time and create quality products.

MC: The industry has changed a lot since Fall Out

Boy disbanded. Now you have stuff like streaming

services, etc. How are you going to adapt your

monetization strategy in light of all this?

Wentz: We’ve thought about it a bit on the

publishing side. And we’ve thought about it a

bit with online auditing and monetizing You-

Tube. But to be honest, a good friend of mine,

Jonathan Daniel, who works at our management

company, Crush, has shown me that you

create the momentum and all the other stuff

comes. If you can’t get the momentum going,

then there’s no point in having a strategy to

monetize anything.

It’s like when you watch the movie The Social

Network. You can’t put up ads and try to make

money before you make the thing cool, because

it makes it stop being cool. And kids can sniff a

fake. So to me it’s always been about doing cool

new things. We just created a media department

that’s really going to help out. We try to

stay at the forefront of all of that stuff.

MC: How long is it going to be before we get

another Fall Out Boy album? Another three or

four years?

Wentz: You’ll get this one on April 16th. We’ve

already started working on the next one, but

we’ll see how this one does.

Contact Karen Wiessen,

karen@thedooronline.com, 646-340-1761

“If you see me, hand me a demo. I listen

to all that stuff. That’s how Fall Out

Boy tried to get found. And that’s how

we found Panic! at the Disco.”

–Pete Wentz

l-r: Patrick Stump, Andy Hurley, Pete Wentz, Joe Trohman

MC: Are you currently looking to sign artists?

How should artists get in touch with you and

what are you looking for from them?

Wentz: I’m always looking. It’s harder now,

because there are a lot of artists signed into

management deals or bad label deals. Sometimes,

you find these great artists and then

you’re like, I can’t even help you because you’re

so legally tied up. I guess the best way to reach

me is on Twitter or social media like Facebook.

But if you see me, hand me a demo. I listen to

all that stuff. That’s how Fall Out Boy tried to get

found. And that’s how we found Panic! at the

Disco. That’s how we found the Cab. I believe

in word of mouth. It’s just different now. I would

say to young bands, you don’t need to sign

QUICK FACTS


group’s name, a reference to an obscure

character from The Simpsons, when they

openly solicited titles during one of their

early performances.


been taking medication since he was 18.

ture

bass through Squire.


way of venting his frustration after being

sent to boot camp as punishment for

skipping school.


Dark (Light Em Up),” the first single off of

Fall Out Boy’s new album, sold 161,000

units in the US within the first week of

being released.


Chainz, has been viewed over five million

times.

Save Rock

and Roll took place at Chicago’s Comiskey

Park, where the famous Disco Demolition



series, Fall Out Toy Works, based loosely



Skate and Surf Festival in Freehold, NJ

this May, then play the Summer Sonic


Reading and Leeds Festival in August.




Invisible Children, an organization that

aids Ugandan refugees.

38 May 2013 www.musicconnection.com


Molding

Musical

Minds

Instructors

Sound Off

BY JESSICA PACE

TEACHING MUSIC or a music industry

skill allows the instructor to

apply his or her own music industry

know-how, while still working

a much less volatile gig than, say,

making it big as a rock star. What’s

more, private instructors can make

serious bank through their practice

over time and with the right clients.

Music Connection gathered five

instructors, from colleges and private

businesses, and asked about

the art of getting through to students,

shaping an array of future

success stories in the classroom

and how to get into the profession.

40 May 2013 www.musicconnection.com


Tim Guille

All Play Music

tim@allplaymusic.com

TIM GUILLE TEACHES MULTIPLE instruments

through his private business and has offered

his tips on succeeding as a private instructor to

Music Connection readers. He started out as a

musician himself, then founded All Play Music in

2005. He also composes and produces music for

film and television.

How did you become a teacher

I did a lot of studying on how people learn and how

kids learn. When I was a kid my mom set me up

with piano lessons, and I didn’t learn any songs I

liked. When a neighbor gave me a guitar, I started

learning songs right away that I loved. As I started

teaching, that was my approach. Teach music the

same way someone learns a new language. First,

teach them what’s usable to them. Teach them

songs they really enjoy, and later teach them the

phonics of music, the reading and writing.

Is there a learning curve to teaching an

instrument

I train a lot of teachers, and it’s all about personality—you

have to have one that is high-energy,

enthusiastic, positive and patient. The actual musical

concept comes secondary to the experience

a student gets. That’s proven from a teacher’s

personality and energy. Even with adult students,

they feed off the energy from a teacher.

Jeannie Deva

The Deva Method

jeannie@jeanniedeva.com

JEANNIE DEVA IS A PUBLISHED author,

performing artist and vocal instructor who has

coached top artists and bands since 1978 and was

one of the first instructors to teach using Skype.

She helped launch the vocal department at her

alma mater, Berklee College, and is best known for

developing The Deva Method for vocal instruction.

How did you begin teaching

I spent several years researching how the body

works to make sound. I wanted to clear my own

confusions that developed through years of singing

and interacting with other singers and studying

with a number of teachers. The act of singing had

become less joyous, more confusing and took

more effort than before I started studying singing.

I decided something was wrong, and I needed to

understand the needs of the voice and of the body.

The results I came up with were so freeing and

exciting. Before I began teaching, I figured out how

to put my research into a step-by-step approach to

pass on to others, and I wrote my very first book

on the voice. That was 1976.

What advice do you have for vocal instructors

If you’re going to teach, you’re putting yourself in

a position of being an educator, and that means

completely understanding your field so you

can take responsibility for the instructions

you’re giving your students.

Too often I hear of people

teaching because they sing

and are looking for a way

How do you make a living from private

instruction

Everything I’ve done has been based around a

single concept: do what’s best for your student and

what’s best for you. That trickles down into every

aspect of your teaching. Teach popular instruments.

By that I mean guitar, piano, drums and

voice. Include bass, even though that’s not one of

the most popular.

Teach kids. That doesn’t mean adults aren’t

looking for lessons, they’re just terrible clients.

Adults have very sporadic schedules, and you’ll

get canceled on every week.

Then, focus on the market that can afford to

pay you what you deserve. Focus on more affluent

families with kids. That’s a bit controversial––“Oh,

you only teach rich people?” But from a musician

and business standpoint, I’m doing what’s best for

my students. If I get paid adequately, I’m able to

deliver what’s best for my student. Here in Los Angeles,

it’s very easy to get paid $80 or $90 an hour

for a high-end service. I’m living proof of that.

What advice do you give private music

instructors

If you don’t overbook yourself, you deliver a

high-end product. The hardest thing I run into with

musicians—and this was me 10 years ago—is

that we don’t value our time properly. We’re so

used to having to hustle or justify why we get paid

or not get paid at all, and we’re used to giving

away our time.

I believe what we have to offer through music

education is every bit as valuable as any other

profession. We have the ability to change a child’s

life for the better through our education. So don’t

overbook yourself, so you have enough energy.

That might mean you have to charge a little higher

rate. Let’s say you teach 20 lessons a week at $90

an hour. I believe you can make a living off that.

What are the pros and cons of teaching independently

versus with a school

The pro of teaching independently is you get

to charge more. The con is getting clients. You

have a hard time when first starting out. Also, the

school might provide curriculums that would make

it easier for you to teach. On your own, you do all

that for yourself.

of supplementing their income, and many of their

instructions are physiologically incorrect.

How do students benefit the most from vocal

instruction

Assuming the vocal instruction is correct, they

What is the biggest challenge

The most challenging stuff is dealing with the

parents who mistreat their kids. What’s my role?

How do I step in here? We’ve had instances where

the company has literally had to intervene, because

they’re just bad parents.

“Teach kids. That doesn’t mean

adults aren’t looking for lessons,

they’re just terrible clients. Adults

have very sporadic schedules, and

you’ll get canceled on every week.”

What is the most difficult type of student.

Teaching a student with learning disabilities has

been one of my most rewarding experiences, but

the actual teaching was just brutal, very difficult.

Do you prefer one-on-one or group teaching

I have done after-school group programs, and it’s a

nightmare. Learning when there’s noise is hard for

them. That said, it’s important for students to play

together. Once they’ve already learned how to play

something, they can come together as a group.

If you Skype, do it with adults, and keep those

sessions relatively short. I don’t think Skype sessions

are as effective. If you’re going to do a Skype

lesson, just go to YouTube and do it on your own.

What’s the most rewarding aspect of teaching

Seeing a student grow, having a positive reaction

from the student and making a difference in their life.

There’s nothing better. One 8-year-old student had

motor skill issues and a learning disability, but pretty

soon he got it. And it made such a huge difference

for him. He had one thing he was good at, and it was

a confidence-builder. When stuff like that happens,

it’s a life-changing experience for them and for me.

should raise their knowledge and understanding of

their voice as an instrument so they can arrive at

a place of ownership of their voice and aren’t tied

to the apron strings of the person they study with.

The singer owns their voice, and they can use it

freely for singing any style they want.

How do you handle difficult students

Usually students are difficult when trying to defend

themselves. They feel challenged. Usually a more

gentle approach with that person is appropriate.

The key is understanding that the definition of

“help” and how it applies to each individual isn’t the

same thing as helping someone else.

What’s the biggest misconception in vocal

instruction

The biggest misconception is how to breathe.

There’s a lot of false information about that, and

there has been for a really long time. It really

messes up anybody who tries to employ those

false directions.

How do Skype lessons compare with a live

session

Skype is one-way audio. You can’t play the piano

as an instructor and hear the student on the other

end singing. The student has to sing a cappella,

which is not favorable when doing vocal exercises,

especially if a person singing can’t stay in key.

If the audio isn’t really good, the teacher has

to be an audio specialist and be able to hear the

difference between distortion occurring through

transmission of sound and what the person is

doing muscularly.

That’s a skill I developed early on, partly

because I am a vocal audio specialist in

recording studios and can tell what a

person is doing internally and muscularly

when they’re singing.

May 2013 www.musicconnection.com 41


Ulf Oesterle

Assistant Professor, Bandier Program

Syracuse University

uoesterl@syr.edu

ULF OESTERLE IS BOTH A TEACHER and a doer. He founded Aux Records

in 2003, which he still operates, and fell into teaching while pursuing

his PhD at Syracuse University in New York. He teaches within the Bandier

program at Syracuse, which is designed to balance classroom learning

and real life experience in the music business. The program often sends

students to London, L.A. and New York for hands-on experience and brings

industry executives to campus to speak. Oesterle applies his own experiences

as an artist manager and label owner to his teaching.

How did you become a professor

It was never part of my master plan to enter higher education. I came

to Syracuse as a master student in 2000 and ended up staying to finish

my PhD. Throughout the process, my focus was in PhD Mass Communications

with a focus on Music Industry and Marketing. I was teaching

throughout my time there. It kind of grabbed me.

Teaching media classes, I heard of the music program, and timing

worked out well. There are few areas where I could take the PhD I’d

been working on and my business experience and put it together in the

program.

Ivo Ivanov

Campus Director

SAE Institute - San Francisco

i.ivanov@sae.edu

IVO IVANOV’S 30 YEARS AS A MUSICIAN and audio engineer prepped him

for a later career in teaching at SAE Institute in San Francisco, CA. When he

arrived at the school, he had little teaching experience, but with his audio expertise

he singlehandedly put together the electronic music production curriculum

for the first couple years, going on to teach every class in the audio program.

How did you become a teacher

It was a fluke. I went back to audio engineering school roughly 15 years after

doing all kinds of music production and audio projects. My wife encouraged

me to go back and get a Bachelor’s Degree in my field after I got out of

Ex’pression College for Digital Arts in the Bay Area. I realized a lot of opportunities

I was looking for were out of my reach. I was getting entry-level opportunities

that I had already worked past. I wound up at SAE in San Francisco

while they were still building the facility. I taught exclusively and got offered

opportunities to teach classes more advanced, like the audio tech program. I

excelled at that very quickly and started to educate myself more on the act of

teaching and the technicality of that.

Is there a learning curve to teaching audio engineering

I interview every person interested in becoming an instructor. What I see is a

certain level of proficiency in the field of audio engineering but a lack of experience

in teaching itself. There’s a big difference there. A lot of engineers who

simply aren’t good teachers had to look online for resources to point them in

the direction of what it means to teach and understanding the dynamic of a

lot of people in a room who learn information differently and have multiple attention

spans and skill levels. A good instructor can speak to all those people

equally and have a lot of different teaching styles. I think the challenge is in

bridging the gap between the technical aspect of the craft and the execution

of teaching people never exposed to it.

Is a formal education in audio engineering necessary for success

It’s always good to have formal training, but I don’t think its 100 percent necessary

to go to school to accomplish that. I come across people all the time

who were self-taught and work professionally in the industry. On the other

hand, there are students who need the structure of education to learn the intricacies

of the field and craft that they would otherwise have missed, because

they’re not the type of person who can learn in that sense. What we offer at

SAE is developing the foundation of knowledge people can build off of. We

don’t offer a one-stop shop from not knowing anything to getting a job.

What is the most rewarding aspect of teaching

The most satisfying is when I can tell the class is really engaged and interested

in what I have to say. You’re sharing information, and they’re there for

that information. You really feel like everyone is on the same page, when it’s

Is there a learning curve for teaching music business

There is a learning curve to getting in front of a classroom and managing

course content and students in the class. I was fortunate to cut my teeth in

media classes before coming to this program. Some of those classes had

70 people, others had 10 for highly intensive media research. You learn

how to approach different class sizes and topics. You learn to cater to your

class as a professor. Fortunately, now many classes are similar year to

year, but the content is consistently a moving target.

Do you ever want to stop teaching and return to the business full-time

The itch sometimes arises when you want to get back into the industry

almost like the students are part of the whole experience, and I’m not just

delivering information.

What is the most challenging aspect

When the students don’t understand the value of the material being taught,

even though it’s a building block in understanding the elaborate aspect of the

craft. Since they don’t understand that aspect, they don’t see how the information

will tie into it later down the road, and they become resistant to it. It’s really

difficult for the instructor. You’re trying to lead them to the light at end of the

tunnel, and some people know that in the back of their mind, but when they

experience it they’re more focused on the tactile, practical, creative side. But

there’s a different side that’s challenging, and the instructor has to work against

that. I find a way to make it fun for people, and not everybody can be on that

train, but for the most part, I’m successful in finding a balance.

What is the most difficult type of student

Some students just won’t show up to class. If you pay a lot of money or your

parents pay a lot of money, or if you made a decision to do this as a career,

why wouldn’t you attend classes to learn critical information that will make it

possible? There are people who get through the course and their grades turn

out okay, but they’re out there looking for work in a competitive market against

people who have paid attention, who have come to all the special events, who

have developed skills outside the program, and it’s possible for them to compete.

Another way they squander opportunities is that they don’t understand the

importance of networking. People get hired on skills, but those are a prerequisite.

It’s about how you present yourself, who you know, what kind of connections

you make and how well people like you––unless you’re just really lucky.

Does SAE stay up to date on technology

Software and hardware is up to date. We try to have the latest. We’re always

doing updates on a national level so facilities can teach the latest versions.

The hardware in studios is on par with current technology. Nothing is outdated

or not happening in the real world.

Can you teach someone to have pitch

Some people who are able to learn it already have the skill; they were just

never taught to harness it. It’s definitely possible to teach people to have a

better ear for sound in that you can really explain to people how sound works

in the frequency spectrum. Our students have to complete an ear-training

course to understand where sound frequency is in the spectrum of human

hearing. It’s how they understand how the equipment works, the equalizers

and compressors. In that regard, it is possible to teach people to have pitch.

42 May 2013 www.musicconnection.com


in a much more meaningful way. When teaching, it’s tough to maintain a full-time

business position and academic position. I still have a small record label and management

company I work with. Most of the bands are at the local or regional level.

It was a bit bigger before teaching. I worked with Honor Bright, a pop punk group

from Syracuse. They had a good run, did a few Warped Tour dates and MTV’s TRL.

Eventually, they moved to Triple Crown Records and management with the Artery

Foundation.

Once I started teaching, everything else went to the backburner. But, this past year, I

picked back up with few bands. I’m not a full-time manager, but I consult with them.

How is your business experience a teaching asset

I don’t have major-label experience, but I have released 13 or 14 records and

handled everything for those records. Having that business experience, even on the

indie side, does inform your teaching. If you don’t have any business background, it

makes it harder. It’s such an evolving experience.

How can students benefit the most from music business classes

I think the students benefit the most by being open and experiencing. There’s a

number of different ways to make a career in this industry. We provide multiple angles

and paths to look at these careers. Some students may never go into publishing, but

an internship in that field may be the exact path they need to walk to understand what’s

in the walls of a publisher and how that’s going to impact them in their career path. Be

ready to spend a little time on social media. Know what’s new and how it can impact

the business.

What types of students tend to struggle

The students who have more of a challenge are those who aren’t as outgoing or not

as willing to take a risk––which isn’t to say they won’t be successful. College gives

you the opportunity to try and fail and recognize why you fail, so when you’re in business,

you remember those mistakes and don’t walk that path again.

What advice do you give your industry-hopeful students

In today’s industry where we see some consolidation and things shrinking a little bit,

the relationships you build help you get your foot in the door and get that first job or

promotion. We offer those networking opportunities. Consume music often. Not only

music you like, but all music.

Let down your guard when it comes to introducing yourself, and have fun. This is

the music business. It’s supposed to be an entertainment field, and if you don’t love

what you do and you’re not having fun, maybe it’s time to move on.

Loren Mulraine

Associate Professor of Law

Belmont University, College of Law

loren.mulraine@belmont.edu

LOREN MULRAINE TEACHES entertainment

law, copyright law, intellectual property and other

related courses at Belmont University in Nashville,

TN. Prior to Belmont, he taught for 14 years

at Middle Tennessee State University. Mulraine

has found success as a songwriter and worked on

the Grammy-winning project Tribute: The Songs

of Andrae’ Crouch.

Is there a learning curve for teaching

entertainment law

It has something to do with the basic ability to

engage an audience and really communicate.

Over the years, we interviewed a lot of people at

MTSU who looked really good on paper, but we

had them do a teaching session, and it was clear

they couldn’t connect with students. To a certain

degree, you can improve that, but as with many

things in life, there are people better cut out for it

from the start.

What is the most rewarding aspect of teaching

The most satisfying experience is when students

are successful not just in the classroom, but professionally.

Some students who are lawyers now came

to school not even knowing they were interested in

law. There are students now working for music or

publishing companies. There are students in Hollywood

with film companies. When you see those

types of stories, it doesn’t get any better than that.

What is the most challenging aspect

You have to recognize that you’re not going to

reach everybody at the same level at the same

time. If you’re a new teacher, you get frustrated

when you do what you thought you had to do, but

you didn’t connect. If you’re doing it the right way,

the challenges should become fewer and farther

between as you progress.

How have entertainment law programs

evolved

When I started in 1988, most schools had two or

three courses related to entertainment or copyright

law. More and more now have specific music business

and entertainment law certificates. We offer

a whole plethora of courses including trademark,

patent, copyright, mass media. All are interrelated,

and the more background you can have in your

specific area of interest, the better off you will be.

Most law firms really want to make sure you’re

helping them make money. The more time they

don’t have to use training you, the better. In choosing

a law school, look at the curriculum and see if

there’s a course that relates to entertainment law.

What advice would you give to entertainment

law professors

Try teaching part-time or adjunct just to get your

feet wet and see if you really enjoy it. After one

semester, you’ll know if you want to keep doing

it. Understand what your subject is, really well,

and try to translate that into the teaching world. In

addition, it’s okay to admit you don’t know everything.

Students respond favorably when you say,

“I haven’t contemplated or experienced that. Say

“Let me look that up” as opposed to pretending

you know something when you don’t.

What is the most successful type of

entertainment law student

They participate. Learn by doing, whether it’s

songwriting or copyright law or music publishing.

You learn by listening to what I say, but you’ll

learn more if you turn it into a doing thing. Speak,

raise your hand, ask questions, try to answer

them and put into practice what you learned in

the classroom.

May 2013 www.musicconnection.com 43


MVD Entertainment Group

Building a Physical Brand for New and Classic Artists

he music industry is scrambling these

days to adapt to new technology, new

Tbusiness models and new music. While

many companies have been created and thrive

in this environment, MVD Entertainment, a

distributor of music DVDs, CDs and collectible

merchandise, has sustained profits after being

in business for 25 years. The Pottstown, PAbased

entertainment distribution

and development company has

found a way not only to stay in

business, but to expand. Rebranding

its video business

as MVD Visual has increased

awareness of its extensive video

content, which includes rare

footage of artists including David

Bowie and the Rolling Stones, in

addition to newer acts.

“We focus largely on targeting the

collectability of artists,” says COO Ed Seaman.

“With the big shift in fans downloading music,

there is also a trend of fans desiring tangible

items. And young people are collecting vinyl in

increasing numbers.”

The company is owned by Tom and Ed

Seaman. Tom spent many years working with

the old-school record retailers including Sam

Goody and Musicland;

hence he knows

the business of

selling music.

“We invest

in artists who aren’t flash-in-the-pan,” says

Ed Seaman. “And we work with the artists’

websites and other online presences, as well

as indie retailers, to offer unique items. We

license exclusive items, repackage CDs and

DVDs with excellent liner notes and bonus

materials, and create a new experience for

the fans.”

“With the big shift in fans downloading

music, there is also a trend of fans desiring

tangible items. And young people are

collecting vinyl in increasing numbers.”

MVD Entertainment Group also produces

and markets low-budget thriller movies. The

company often sources music from the artists

involved with MVD to contribute music or

acting to the films. “We would love to include

more of our artists in the films, and we are

working towards that,” says Ed. “We want to

expand on that opportunity.”

Ed feels that in the current market-place,

there are niches still to serve. “The fans are

starved. We want to provide as much product

as possible to satisfy that need.”

The company also has to satisfy the artists,

– BRETT BUSH

of course. When taping and manufacturing a

live show, Ed says, “We always respect the

needs and input of the band.”

MVD offers artists an opportunity to sell

music DVDs, CDs, and exclusive items to their

fans, and meets the needs of the artist in terms

of what they want to provide for their fans. “We

try to discover unexploited areas that the fans

will enjoy,” says Ed, “including rare,

previously unreleased audio and

video, in addition to the collectible

items.”

The company has been

successful enough in recent years

to purchase its own production and

office building in Pennsylvania.

The new facility also houses

the wholesale division of MVD

Distribution. Recording labels which

the company works with include Manifesto

Records, Metal Mind Productions, Amherst

Records, Uproar and V-12 and others.

MVD Distribution serves major chains

and distributors, providing distribution and

fulfillment on the wholesale level in addition to

the retail and professional services it offers.

Contact clint@musicvideodistributors.com

44 May 2013 www.musicconnection.com


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May 2013 www.musicconnection.com 45


– ROB PUTNAM

L

os Angeles-based folk-rock band Dawes

made a bold move when it chose to leave

ATO Records, the band’s home for its

two previous releases, and strike out on its

own. Stories Don’t End, which dropped on

April 9, marks the third release for the band

but the first on its newly launched, artist-run

label Hub Records/Red General Catalog. It

follows the 2011 success of Nothing Is Wrong,

which earned respectable chart positions and

critics’ praise.

“We did a tour several years

ago with [Orange County, CA

band] Delta Spirit and that’s

how we got signed to ATO,”

says Dawes keyboardist Tay

Strathairn of the band’s first label

deal. “But with Stories Don’t End,

we were fortunate enough to be

able to put it out independently.

We didn't need outside help.”

The album was recorded in

Asheville, NC, at Echo Mountain Recording.

“We wanted to get out of Los Angeles

because of all the potential distractions,”

Strathairn continues. “The record was

produced by Jacquire King. He usually works

in Nashville but he had access to Echo

Mountain so we relocated there for several

weeks. We liked what he said about his

process and he had the right kind of ideas. If

you listen to records that he’s produced, he

doesn’t have a particular style. He caters to

the artist and brings out their strengths.”

46 May 2013 www.musicconnection.com

Dawes

The bulk of writing duties are seen to

by guitarist and vocalist Taylor Goldsmith.

As Strathairn explains, “He comes in with

melodies and chord progressions and we as

a band arrange them. Sometimes a song will

be written with a different feel. It turns out that

there’s a way to make it a rock song.”

“From A Window Seat” was selected as

the first single from Stories Don’t End and

released on Feb. 8th. How this choice was

made was as much about the band as it was

“Being in a successful band

doesn’t mean that things are any easier.

We still have to bust our ass and do

a lot of things ourselves.”

about the song. “We thought that it was more

up-tempo but it also showcased all of the

band members,” Strathairn says. “It’s a little

bit different than our other stuff but not too

different. Dawes fans will hear it and go ‘Cool,

this is Dawes and they’re doing something

new.’”

Being in a successful band doesn’t mean

that things are any easier. “We still have to

bust our ass and do a lot of things ourselves,”

Strathairn observes. “That's the way we like

it. I didn't have any expectations about what

being in a successful band meant. For me,

being able to pay my rent by playing music

is success. There are a lot of bands who are

talented but never get the opportunity we

had; they have to have a day job. We’ve been

fortunate. This is all we do. Success means

that music becomes your job.”

If Strathairn could reach back in time and

talk to his younger self, he’d offer this advice:

“Play less. You need a calm mind during

shows. The great players don’t try to show

off all the time. The song is

paramount. Sit back and let it

carry part of the show. Try to

get in the headspace where

you don’t feel that you have

to pull out all the stops all the

time. This is a band, it’s not a

solo act.”

Dawes stepped out on tour

in the opening slot for Bob

Dylan on April 5th. The band

will appear May 16 on Jimmy Kimmel Live

and then embark on its headlining tour. They

will also appear on the May 28 John Fogerty

album release, Wrote A Song For Everyone,

joining the Creedence Clearwater Revival

legend on his classic tune, “Someday Never

Comes.” The band will play the UK once

Stories Don't End drops there in August.

Contact Ken Weinstein or Tito Belis / Big

Hassle, weinstein@bighassle.com,

tito@bighassle.com; dawestheband.com


Beth Hart

Bang Bang Boom Boom

Provogue Records/Mascot Label Group

Producer: Kevin Shirley


Following her jaw-dropping performance

(with Jeff Beck) where she paid tribute to

Buddy Guy, Hart spreads her wings with

her eighth full-length album. Hart and

producer Kevin Shirley have instilled this

recording with a nostalgic, retro vibe that

recalls smoke-filled cabarets. Often reminiscent

of Etta James and Janis Joplin,

Hart’s vocals mine emotions at levels so

deep they would scare most singers. But

the eclectic nature of the material, as well

as the myriad stylings that range from the

sultry chanteuse of “Baddest Blues” to

the roadhouse rowdy in “Better Man,” indicate

a transition period. Hart is obviously

exploring new horizons beyond the blues,

and her musical journey will fascinate

fans who want to savor her evolution as

an artist and person. – Bernard Baur

Reagan Browne

Reagan Browne

Neilaproductions

Producer: Nicolas Farmakalidis


Browne is an L.A.-based singer-songwriter,

with a multi-octave range that

draws from the Cornell/Coverdale/Rodgers

school of soul and emotion. A lot of

ground is covered on his E.P. starting

with the high energy ‘80s/‘90s rock of

“Gotta Get Loose.” The auto-biographical

“Still That Boy from Texas” is a sonically

dynamic power ballad for dreamers.

“Killing Me is Your Thing” is about as

raw and heartfelt as it gets. “Followed by

Ravens” features epic melody and vivid

storytelling while “Loud but Unheard”

is a rock & roll tour de force, with guest

Marty Friedman on lead guitar. There

is a pervasive sense of urgency in

Browne’s voice that permeates each

track. The result is a very “live” in the studio

performance. – Eric A. Harabadian

Frank Vignola & Vinny Raniolo

Melody Magic

Azica Records

Producer: Frank Vignola


Vignola and Raniolo are a jazz-based

guitar team that are steeped in the classics

but know no bounds when it comes

to mixing and matching genres. As an

arranger Vignola is brilliant in his unique

takes on everything from “Beethoven’s

Fifth” to Rimsky Korsakov’s “Scheherazade.”

But their versions of indelible

pop material like “Dust in the Wind” and

“Eye of the Tiger” are also amazing and

unexpected. As a lead acoustic guitarist

Vignola embodies the soul of Django

Reinhart as filtered through Les Paul or

Wes Montgomery. Raniolo accompanies

with tasty chord substitutions and spry

rhythms. The result is an album liberally

invested with charm, hairpin turns and

highbrow musicianship that is delightful

and entertaining. – Eric A. Harabadian

Clint Mansell

Stoker

Milan Records

Conductor/Orchestrator: Matt Dunkley


Clint Mansell has evolved his stylings

from his electronic beginnings in Pi to

the infamous string quartet heard in Requiem

For A Dream to the epic orchestra

pieces for The Fountain to the most

bare guitar strums in The Wrestler—he

even adapted Swan Lake for Black

Swan. Now teaming with Korean director

Chan-wook Park (OldBoy, Thirst), Mansell

brings listeners down thriller avenue

utilizing all the techniques he learned

along the way. Stoker consists of 18

tracks (a few of which are not Mansell’s,

like Lee Hazlewood’s “Summer Wine”).

The piano exudes sadness, the strings

build perfect suspense while the percussion

creates a sense of insanity reflected

perfectly by scenes in the film. Decent

film, fantastic score. – Andy Mesecher

Shuggie Otis

Inspiration Information/Wings of Love

Epic

Producer: Shuggie Otis


A child prodigy who cut his teeth playing

for his pops, R&B impresario Johnnie

Otis, Shuggie soon moved on to a Super

Session with Al Kooper, laid down some

sticky bass on Zappa’s “Peaches en

Regalia,” and was tapped by Billy Preston

to be a candidate for a pre-Ronnie Wood

Rolling Stones. But Shuggie Otis insisted

on being his own artist––and the result

is some of the most creative psychedelic

soul ever recorded. The first disc features

his out of print (except for a short Luaka

Bop run in 2001) third album, the last

he recorded for Epic. Ironically, 40 years

later they’re the ones reissuing it. The

second disc is like his version of the

Who’s Odds and Sods, consisting of

unreleased songs he has collected from

1975 to 2001. – Daniel Siwek

Aceyalone

Leaning On Slick

Decon

Producer: BIONIK


Rapper Aceyalone is on his 9th album for

Decon, and he’s come along way while

going back. He comes from a Thursday

night open-mic night (Project Blowed),

the continuation of the MECCA of Los

Angeles underground hip-hop, The Good

Life. This scene gave us Jurassic 5, Busdriver,

and Aceyalone’s own supergroup,

Freestyle Fellowship. Acey remembers

those days as with “I’m gonna take y’all

back to how we used to do it at Leimert

Park, at the Project Blowed.” In a hip-hop

landscape where plastic, synthetic soul,

gets all the airplay, Acey, his producer

Bionic, and his special guest Cee Lo are

bringing it back to James Brown’s funk,

Ray Charles’s R&B, Curtis Mayfield’s

‘70s soul, and Kool Moe Dee’s ‘80s confidence.

– Daniel Siwek

Izzy Chait

Winds of Change

Hitchcock Media

Producer: Don Peake


Izzy Chait entered the music scene in

his 50s after a successful career in the

antique business. Making up for lost

time these past 10 years, the 65-yearold

blues, jazz and pop singer brings

a weathered wisdom and a lifetime of

earnest emotions to his latest set of

colorful standards, performed with members

of Ray Charles’ last touring band

and other guests. He acknowledges the

Charles influence with a soulful reading

of “America The Beautiful” and draws

inspiration on interpretations of songs

from across the last century, including

a depression era classic, a Bob Dylan

medley (which has too much of a Joe

Cocker like strain) and well rendered

tunes from Leon Russell, Elton John and

Hank Williams. – Jonathan Widran

Willy Moon

Here’s Willy Moon

Cherry Tree/Island Records

Producer: Willy Moon & Steve Mackey


His songs are short and to the point,

with the brevity of punk and the panache

of classic rock and pop. You might

recognize “Yeah Yeah” as the theme to a

recent iPod commercial. But the young

New Zealander’s songs are stylistically

all over the map. “Shakin’” is about as

spare as can be, with Moon’s solo guitar

and big voice summoning the spirit of

Buddy Holly and Eddie Cochran. And

then there’s also the Bo Diddley-esque

rhythms and “Hand Jive” alliteration of “I

Wanna Be Your Man.” Moon even further

flaunts his compositional versatility on

the slight industrial pop of “My Girl.” He’s

an artist who has done his homework

and injects something new into some

timeless modern music forms.

– Eric A. Harabadian

To be considered for review in the CD Reviews section, you must have a record deal with a major label

or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

52 48 May 2013 www.musicconnection.com


May 2013 www.musicconnection.com 73


Lizzy Lehman

Contact: lizzylehman.music@gmail.com

Web: reverbnation.com/lizzylehman

Seeking: Label, Pubiicist, Reviews

Style: Folk

Username: lizzylehman

The Gallery

Contact: thegallerymusic@gmail.com

Web: thegallerymusic.bandcamp.com

Seeking: Label, Booking, Film/TV

Style: Alt./Americana Folk

Username: thegallerymusic

Production

8

Lyrics

8

Music

7

Vocals

9

Musicianship 9

Lehman's voice has a wonderfully

husky resonance custom-built to sell

the emotion in her material, which

is often somber and searching.

And the backup support she gets is

stellar. Put together, everything gels

on "Pass You By" as Lehman blends

subtle, simple words to a spare

arrangement whose brush-work sets

the pace and gorgeously sustained

organ tones add texture. "Arctic"

asks for an answer to the Global

Warming question, and "Stranger,"

with its fiddle and banjo, makes it

clear this is an organic, hi-touch

talent at work.

Production

8

Lyrics

8

Music

8

Vocals

8

Musicianship 8

A foursome fronted by Brendan

Cooney specialize in anthems with

catchy choruses voiced by the entire

group, and it gives each tune a gust

of commercial appeal. The crafty

"Young and Restless" epitomizes

the Gallery's strengths while the

similar "White Noise Town" limns

a formula that's as effective as it is

familiar. "The Fever" ventures into

the ballad realm for a Tom Petty

feel, right down to the warm, supple

organ blanket. Cooney & co. have

done their songwriting homework

and know how to render their

material for maximum accessibility.

Japonize Elephants

Contact: flypr@flypr.net

Web: thejaponizeelephants.com

Seeking: Label, Booking, Film/TV

Style: Old-time Eastern Honk Orchestra

Username: japonizeelephants

Casey Turner

Contact: admin@workingbrilliantly.com

Web: caseyturnermusic.com

Seeking: Booking, Label, Film/TV

Style: Acoustic Island/Beach Rock

Username: caseyturner

Production

7

Lyrics

7

Music

9

Vocals

7

Musicianship 9

With a folky-goofy anything-goes

attitude and agile musicianship,

Japonize Elephants dispose of their

main handicap—no vocal ability—

with "Whiskey Willie II," employing

said handicap in a satirical way

before showing what they do best:

quirky, engaging instrumentals.

Themes "Mlodie Fastastique" and

"End Time..." make it clear this is a

folk outfit hatched in a Tim Burton

fever dream. In fact, that artist's

animations come to mind when

hearing these Elephants' artful

stampede. Perhaps a great fit for

cartoons and videogames.

Production

8

Lyrics

8

Music

7

Vocals

8

Musicianship 7

Armed with a guitar, ukulele and

flip-flops, this former rocket scientist

conveys the laid-back benefits of

beach life and all it can offer. "Never

Want to Go Home" exudes Turner's

easygoing nature with a song about

a couple who find paradise. "This

I Already Know" skips along to a

whistling, reggae beat. "More than

Gold" is a fanciful, uke-infused song

with standout Hawaiian steel guitar

work. Turner has a sweet voice

(though we'd have loved some falsetto)

and is dexterous both as a picker

and producer, crafting his tracks for a

casual, carefree appeal.

Hit Dog Hollar

Contact: hdhpublicity@gmail.com

Web: hitdoghollar.com

Seeking: Label, Distribution

Style: Rock

Username: hitdoghollar

Decker

Contact: info@gritpr.com

Web: deckermusic.org

Seeking: Booking, Film/TV, Mgmt

Style: Psychedelic Desert-Folk

Username: decker

Production

7

Lyrics

7

Music

8

Vocals

8

Musicianship 8

Disarmingly gritty blues-rock comes

from this San Diego, CA quartet

whose jones for all things western

is exhibited in "The Battle of San

Pasqual" and "Westward Expansion."

Both songs tell a story while guitars

with impressively dirty-ass tone carry

the solos. Singer Austin Prince goes

grit for grit with his mates, achieving

a credible, deep blues roar. Group

vocals contribute a nice chant in the

latter song's breakdown section.

The band's reverence for history and

deep, chugging blues is clear. Dig

Gary Clark, Jr.? Check these guys

out.

Production

7

Lyrics

8

Music

8

Vocals

8

Musicianship 7

The album-oriented Decker channels

its Arizona roots for a psychdesert

trip that, while alternative to

the core (i.e, the lengthy "Speak in

Tongues"), offers trippy instrumentals

("Interlude") too. An out-of-tune

ukulele is the basis for "Weight in

Gold, pt. 1," a group effort that builds

in complexity. What ultimately makes

the difference is singer Leah Baggao,

whose accompaniment to Brandon

Decker's blues-inflected slur adds

a welcomed dimension. Steadfastly

alternative, Decker is tailor-made

for an indie rock confab like the

Coachella Festival.

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.

50 May 2013 www.musicconnection.com


Spends Quality

Contact: spendsquality@gmail.com

Web: cforecordings.com

Seeking: NA

Style: Hip-Hop, Jazz-Hop

Username: bloomer1

Elcaset

Contact: info@elcasetmusic.com

Web: elcasetmusic.com

Seeking: Press, PR, Publicity, Radio Play

Style: Rock, Pop-Rock

Username: elcaset

Production

7

Lyrics

7

Music

8

Vocals

7

Musicianship 8

Spends Quality is a realist who

keeps the boasting to a minimum,

but he has maximum mic issues.

"Midnight" sets an eerie, spacey

scene and a smooth, speedy vocal

flow, but is hampered by the overused

"on the phone" mic effect.

Fingersnaps lend a subtlely jazzy air

to "Don't Rush Me," a resonant lowend

track where he pledges loyalty

to his girl. Overall, SQ has some

compelling beats and nice drops that

his fellow headz will dig, but if he

wants to make a stronger impact on

record he'll need to develop a better,

less muffled mic technique.

Production

7

Lyrics

7

Music

7

Vocals

7

Musicianship 8

Lots of strengths—and some key

weaknesses—characterize these

tunes from Aussie trio Elcaset.

"Can't Say We're Too Late" signals

the band's early 2000's pop-punk

influences, especially on bass and

vocals. The hook could use more

beef, and the kick-drum is overmixed.

"Losing Ground," though

much catchier, could be improved

by adding a vocal to the chorus and

more imagination to the drumming.

All in all, we're most impressed by

frontman Rory who handles the

mic and lone guitar with skill. Keep

working, guys.

Karpay DM

Contact: info@gavdenmusic.com

Web: gavdenmusic.com/karpay-dm

Seeking: Label, Distrib, Booking

Style: Hip-Hop/Pop/R&B

Username: karpaydm

K-Tek

Contact: teksworld@gmail.com

Web: teksworld.com

Seeking: Label, Booking

Style: Hip-Hop

Username: k-tek

Production

6

Lyrics

7

Music

7

Vocals

7

Musicianship 7

The versatile Yoggi & Boo are looking

for mainstream rap fame as Karpay

DM. Their strip club number "Go Low,

Get Low" is a solid Lil Wayne-meets-

Rihanna track that could work for film/

TV folks on a budget. The pop-rock

leaning "Steal Away," however, is

hampered by poor production that

allows Boo's voice to flat out, and the

rap flow, though strong, enters way

too late. Despite nice elements (violin)

the song never gets off the ground.

The edm-friendly "Holding On"

rebounds with better production and

good vocal energy, mainly from Yoggi.

More work could help this act to gel.

Production

6

Lyrics

7

Music

7

Vocals

7

Musicianship 7

Rapper K-tek's "Henny & Coke" is

a down n' dirty club ditty, a song

that oozes sex as the artist voices

his case to a comely dancer. He

continues the sex prowl with "Opa,"

before shifting gears for the R&Bflavored

ballad "Reminisce," pledging

his love to a girl who has reason to

doubt him. Tek certainly has an ear

for interesting touches in his tracks.

But he's got key areas that he needs

to develop, particularly his sometimes

clever but mostly standard lyrics, and

audio production, which tends to be

extremely shrill in quality.

Edgar Allan Poets

Contact: chrismariotti@rocketmail.com

Web: edgarallanpoets.com

Seeking: Label, Booking, Film/TV

Style: Noir Rock

Username: chrismariotti

By the Stone

Contact: outpost@ bythestone.net

Web: bythestone.net/index.jsp

Seeking: Reviews

Style: Prog Metal

Username: bythestone

Production

8

Lyrics

6

Music

6

Vocals

6

Musicianship 7

What does a Burbank via Italy duo

who are influenced by Poe and

Alfred Hitchcock sound like? Well,

they deliver music that's moody and

hypnotic, with an occasional twist,

not to mention a singer whose deep,

throaty English is liberally accented.

The familiar-riffed, rock-operatic

"Wrong Direction" could be termed

"mellow Rammstein" while the act's

Euro influence is most prominent

musically in the keyboard sounds

of the introspective "Cryptic Code."

Is America ready for EAP? It's a

longshot, but this niche duo are

recorded well enough to be distributed.

Production

5

Lyrics

7

Music

6

Vocals

5

Musicianship 6

Inspired by Pink Floyd and sounding

akin to Tool, APC, et al., By

the Stone have more work to do to

create tracks that succeed on all

levels. Gravely serious, consistently

dramatic, at times operatic, the

altogether lengthy songs "Without

The Sun," "Jericho" and "Hubris"

suffer from the same malady: poor

recording and mixing. And for a

prog-metal band, musicianship here

is merely fair at best. We advise

this Boston area outfit to find their

sound first, and only then get in the

studio with a skilled engineer to

realize their vision.

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/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee.

May 2013 www.musicconnection.com 51


THE VIPER ROOM West Hollywood, CA

Contact: rpadgett@shorefire.com

Web: http://bakermusic.com

The Players: Chris Baker, lead vocals;

Rob Humphreys, drums; Nick Klingenberg,

bass; Dan Kalisher, guitar, vocals;

Will Herrington, keyboard.

Username: Baker

Material: Baker delivers mostly heavy hitting,

pop-perfect gems. Songs like the opener “Overload”

are very reminiscent of high energy pop

songs one might hear in a major soccer arena.

The pre-chorus is a big indicator of a catchy

tune, and as a lyricist Baker knows his stuff with

his fun call-to-action, “When the music hits like

adrenaline, and it makes me feel I can do anything.

Turn it up to 12, better lose yourself.”

Musicianship: The singer’s rock band adds

polish and is an advantage over some of the

nearly karaoke pop music performances heard

in the club scene. Kalisher provides original flair

for “Not Gonna Wait” with funk guitar rhythms

and strong backup vocals. The band enjoy the

chance to perform a cover of Nirvana’s “Heart

Shaped Box” and are willing and able to take

Baker to an edgier musical realm. “If U Love Me”

exemplifies this potential and for good reason!

This is the track that Baker produced with Eric

Sanicola who was an engineer on Lady Gaga’s

The Fame Monster.

Performance: The band were the opening act

on a rainy night in the middle of the week, but

the full house was still ready to show some love.

Baker worked the catwalk without being too

over the top for “Convince Me,” leaning in to the

neon lighting during key moments of the song

to great theatrical effect. His passionate vocals

LITTLEFIELD Brooklyn, NY

Contact: dave@251managment.com

Web: http://jillettejohnson.com

The Players: Jillette Johnson, vocals,

keyboard; Alison Seidner, cello.

Username: jillettejohnson

Material: Jillette Johnson belongs to the most

recent crop of current indie singer-songwriters

who, along with their talents, have explored

new avenues of expression. Musically stripped

down to the bare essentials with a slight twist

of an appealing classical foundation, Johnson

sculpts her material around proficient piano

work and powerful vocals. The material is

personal in nature, dealing with themes

of broken relationships and the trials and

tribulations of living as a young person in

New York City. Veering away from those

themes is the striking “Cameron,” her ode to

a transgender boy: “Cameron runs in drag,

makes his father mad, since he was a little boy

he always felt more comfortable in lipstick.”

She was recently signed to Wind-Up Records

on the strength of that track.

Musicianship: Johnson’s big voice is spoton

pitch-wise and considering its flip side

of delicate tonality, makes for an interesting

dichotomy. It is, however, a very stylized sound

that often feels affected, making the lyrics

difficult to understand. When addressing the

audience, her speaking voice is the direct

opposite; down to earth and the words easy

to grasp. This performer has an excellent

command of the piano and creates lovely motifs

BAKER

were sufficient to convince his audience without

the need for conventional dance choreography,

although the removal of his blazer did ensure

many cat calls.

Possibly due to some feedback issues and

the minor range of the Nirvana cover, Baker’s

vocal fell a little flat for a short time, but this was

not typical of the overall vocal performance.

JILLETTE JOHNSON

joining sections of a song together. A cello was

her choice of accompanying instrument, and if

you can only choose one instrument to support

the piano, this is it. The combination is quite

gorgeous and Alison Seidner most definitely

brings something to the table.

Performance: There was a tendency to pull

out all the stops with over-the-top expression

and that didn’t always enhance the underlying

messages. Whether it’s following current trends

or simply an artistic choice, the performance

tended to undercut inherent meanings. That

said, Johnson’s performance was nonetheless

professional, showcasing excellent vocal and

piano chops and she should be admired for a

Summary: The band have released their first

EP, Not Gonna Wait. With a great production

team and proven songwriting formulas Baker

have a strong chance of making a hit of high

caliber with songs like the EP’s title track,

which has already achieved over five million

YouTube hits.

– Brooke Trout

determination to honor her artistic convictions.

The audience seemed attentive and intrigued

by the presentation. Sonically, Johnson hit

the nail right on the head with her choice of

instrumentation.

Summary: Jillette Johnson is an extremely

accomplished artist for her age. She has

amassed a good amount of confidence and

seems to be poised for success. Unfortunately,

these days “less is more” has somewhat gone

out the window and it is still a very valid way to

impart sincere emotion. Johnson is currently

touring the country in support of her current EP

“Whiskey & Frosting.”

– Ellen Woloshin

MARK SHIWOLICH JESSE DEYOUNG

52 May 2013 www.musicconnection.com


and keyboards to enhance every song with

subtle nuances.

GRAVITY HILL

WHISKY A GO GO West Hollywood, CA

Contact: talentgps@yahoo.com

Web: http://reverbnation.com/gravityhillofficial

The Players: Lauren Dair Owens, vocals,

bass, keys; Chandler Jackson, guitar, keys;

Jordan Keigher, guitar; Adam Lusk, drums.

Username: talentgps@yahoo.com

Material: A female fronted band with

a penchant for high-flying pop-punk

songs, Gravity Hill fits perfectly alongside

contemporaries Paramore and the Donnas.

Songs such as “Bulletproof” reflect the group’s

ability to craft an instantly catchy chorus, while

the hard-hitting “Moving Along” seems tailor

made for Warped Tour mosh pits.

Musicianship: A talented quartet of

teenagers, Gravity Hill bring a lot to the

table. Lead singer Lauren Dair Owens has a

powerful voice, capable of projecting clear to

the back of the room. While this is a strength,

she’ll need to learn to hone her control. At

times she tends to over-sing, resulting in pitch

issues. Lead guitarist Jordan Keigher shines

through on many of the songs, rattling off

excellent riffs with blistering precision. Adam

Lusk maintains a sturdy rhythm from behind

the kit, while Chandler Jackson utilizes guitar

COREY IRWIN

Performance: The show began before Gravity

Hill even took the stage, as the band showed up

in a school bus filled with screaming teens. The

excitement was palpable as the group quickly

took the stage and launched into “Bulletproof,”

with many fans singing along. “Alive” was

another set highlight, showcasing a maturity

absent in other songs. It began slowly, then

exploded into a biting chorus, "I never felt so

alive, with all the nights that you cried."

Six songs in, the room was electric, but then

a series of covers caused the momentum to

wane. It began with their version of “Steady

As She Goes,” a hit made popular by the

Raconteurs. The song felt awkward in their

hands, a fact only amplified by Owens’ struggles

with the lyrics. Though a first-rate performance

of the Beatles’ “Come Together” helped right

the ship momentarily, the band then struggled

through an uncomfortable cover of the Black

Keys’ “Gold On The Ceiling.” Original songs

“Tables Have Turned” and “Stereotype” rounded

out the show; their energy helping the set end

on a high note.

Summary: Though some mistakes tempered

their performance, the talent within Gravity Hill

is undeniable. As the band members get older,

their music will mature. Growing pains will fade

and what’s left will most likely be a successful

touring outfit. For now, their best bet would

be to focus on writing more original material

so their sets aren’t bogged down with covers.

Such progression will allow the group’s true

musicianship to shine through.

– Corey Irwin

MOLLY MALONE'S Los Angeles, CA

Contact: nikkiforova@gmail.com

Web: http://nikkiforova.com

The Players: Nikki Forova, vocals, keyboard;

Emily Eumatsu, violin; Steven Lorentzen,

drums; Kassie White, bass, ukulele; John Elias

Kaynor, cello; Sean Pawling, trombone

Username: nikkiforova

Material: Those who lament the lost art of

lyricism, fear not. You have an ally in singersongwriter

Nikki Forova. Her poignant words

resonate amid intricate, piano-based melodies

to create high-quality indie-pop similar to Regina

Spektor and Yael Naim. Each of Forova’s songs

tell a different tale, such as “Skywriter,” inspired

by an instance when the singer stood on a

rooftop and saw a plane painting two hearts in

the sky. While her style seems destined for the

airwaves of NPR, there’s also crossover potential

to pop and AAA radio formats.

Musicianship: Forova’s voice is sweet and

distinctive, with just the slightest hint of an accent

as a result of her Russian upbringing. The

singer's backing band is a collection of talented

musicians, each knowing his/her part and playing

it well. The strings and brass add luscious layers

to the well-crafted songs, separating them from

similar acts in the genre. However, one can’t help

but wish there was a backup singer providing

harmonies. Such an addition would bring extra

depth to the vocals, helping Forova’s deeply personal

lyrics register even more with her fans.

NIKKI FOROVA

Performance: Wearing a white, ruffled dress

that made her look equal parts angel and pixy,

Forova stepped up to the mic and immediately

launched into “Snapshots Of Sky,” an upbeat,

romantic tune written for her husband. “Supernova”

followed, its lyrics pondering the importance

of love when placed in the grand scheme of

the universe. Other highlights included “White

Dandelions,” the title track from her new album,

and the dark, haunting “Raising The Blood,”

inspired by a friend who was formerly a cutter.

As mentioned earlier, part of Forova’s appeal

lies in the story-like quality of her music. Unfortunately,

this also slowed the momentum of the

set as each song seemed to require a prologue

to inform the audience of its background. This is,

however, only a minor critique. For the majority

of the evening, Nikki Forova kept the audience

entranced with a whirlwind of songs, both highflying

and touching.

Summary: With music that conveys a wide

range of emotion, many listeners will find Nikki

Forova instantly relatable. Her soaring tunes have

a cinematic feel and would seem custom made

for movie soundtracks.

This performance was her last US date for a

while, but with a new album out, and a rapidly

growing fanbase, odds are we’ll see her back on

our shores sooner than later.

– Corey Irwin

COREY IRWIN

May 2013 www.musicconnection.com 53


THE MINT Los Angeles, CA

Contact: Caseykmusicinfo@gmail.com

Web: http://caseykmusic.com

The Players: Casey K., vocals, keyboard;

Ben McCrary, backing vocals; Jacob Pillot,

guitar; Desmond Taylor, drums; David

Dudley, bass; Ilan Goldstein, horns.

Username: CaseyK

Material: With an assortment of well-crafted

songs at her disposal, singer-songwriter

Casey K. strikes a balance between oldschool

jazz and modern pop. Equal parts

sweet and seductive, her powerful voice

shines through on songs such as “Darkest

Hour.” On “Forgotten In The Moonlight,”

the singer invokes her inner Fiona Apple,

bouncing along a jazzy beat while crooning,

“Don’t show me your scars until the sun rises,

pretend our troubles are forgotten in the

moonlight.” Her sound fits perfectly with such

vaunted acts as Norah Jones and Erykah

Badu.

CASEY K.

AQNDY KAUFMANN

Musicianship: A true vocal talent, Casey

K.’s voice is remarkably dynamic. She has an

enviable ability to belt out emotive lyrics, then

quickly drop down to quiet, hushed tones for

a somber moment in a song. Aspiring singers

should take note; this is the sound of a vocalist

who has clearly worked to hone her craft.

She’s backed by a full band, with drums,

bass, guitar, horns and backing vocals. While

each of these musicians handles his role very

well, they are relegated to the shadows for a

reason. Casey K. is the star here, and with each

song that fact becomes abundantly clearer.

Performance: Opening tune “Stay ‘Till

Sunday” filled the room with its smooth, sultry

sound. The audience seemed immediately

enthralled with the smoky-voiced siren as she

moved around the stage. “Flood” revealed the

singer’s darker side, as she delved deeper

within herself for an intimate, more reflective

sound. Later, the backing band exited the

stage, leaving Casey K. to sing her final three

songs without any live support. Especially of

note was her performance of “Maureen,” a

passionate song about falling in love.

At the end of the set, the audience rose in

unison for a standing ovation. If she can keep

performing at this level, Casey K. should get

used to them.

Summary: With a debut EP that just hit stores,

things are coming together quickly for Casey K.

A music video for “Maureen” was shot in Paris

and should be released soon. As more people

discover her music, the singer’s popularity will

undoubtedly rise. 2013 could prove to be the

breakthrough year for this artist. A talent like

this doesn’t stay hidden for very long.

– Corey Irwin

54 May 2013 www.musicconnection.com


his new mixtape Crew Cuts. The predominant

catalyst for Allen’s music is hip-hop, but he also

ventures into elements of alternative and pop in

songs that deal with college life and suburban

America. At times his material references pop

songs from the ‘80s in style and feel; specifically

David Bowie comes to mind. Allen deftly builds

a bridge from past to present, especially in “Let

Me Be Me,” an uptempo ode to being independent,

informed and self-directed. “Fame is for

Assholes” is instrumentally driven by keyboards,

cymbals and hi-hats that lead to its terrific chorus:

“Talk to me, tell me your name, you want

my life, I want the same, you say that it’s meant

to be, meant to be, you ain’t no celebrity, stop,

because fame is for assholes.”

Musicianship: Elastic in tone, Allen’s voice

commands attention. This is a performer who

works diligently to deliver tonal changes that

vibrate with retro charisma. He reaches back

to some 20th century funk and soul influences

and modernizes them. What ultimately comes

through, though, is a passion for thoughtprovoking

lyricism fueled by a no-holds barred

attitude.

HOODIE ALLEN

EL REY THEATRE Los Angeles, CA

Contact: marni@chaosfirm.com, 201-463-4061

Web: http://hoodieallen.com

The Players: Hoodie Allen, singer, emcee

Username: Pending

Material: Singer-songwriter Hoodie Allen

(Steven Markowitz) took the stage to promote

ADAM SEYUM

Performance: Live onstage Hoodie Allen gave

us a glimpse of the great performer he could

one day become. This artist possessed a bold

and distinctive energy that, if combined with

more musical skill and savvy, could result in an

undeniable live experience.

Although, at times, it seemed like Allen’s

interaction with the crowd was vaguely routine,

the synergy he ultimately manifested with the

fans proved to be exceptional. In fact, it was

entertaining to watch the harmonization of

audience members who rapped his lyrics while

waving their arms.

Summary: Hoodie Allen creates good music for

those who enjoy a blissful life and the splendor

of a song with melody. He is the future of New

York hip-hop, and with his brand-new success

overseas it is only a matter of time before Allen

becomes a household name.

– Adam Seyum

SAINT ROCKE Hermosa Beach, CA

Contact: Stephanie Cupo, stephanie@

missingpiecegroup.com

Web: http://delhi2dublin.com

The Players: Tarun Nayar, tabla, electronics;

Sara Fitzpatrck, fiddle; Sanjay Seran, vocals;

Andrew Kim, electric sitar, guitar;

Ravi Binning, dhol.

Username: delhi2dublin

Material: Delhi 2 Dublin present material that is

truly imaginative, and due to the quality of the

act, forces the listener to wonder “why have I not

heard this before?”

The music is an impressive blend of vast

cultural influence—primarily India and Ireland.

These musicians possess a mastery of technology

and a keen taste for rock, pop, hip-hop, folk

and the list could go on. What is most impressive

is that it all makes such sense together. The

overall goal of the music seems to be that of

celebration, and despite a language barrier with

the beautiful Hindi verses, the message is clear.

The way in which Delhi 2 Dublin bring the world

together by demonstrating how closely connected

are two ancient traditions of Irish folk and Hindi is

simply beautiful.

Musicianship: While the group allow each member

to show a distinctive specialty, the result is a

cohesive and well-organized product. Frontman

Sanjay Seran is magnetic and charismatic, with a

voice that does justice to one of the most beautiful

vocal traditions of the world.

Sara Fitzpatrick’s fiddle is flawless. Ravi Binning

is equally impressive with an ability to allow

his beautiful and rare instrument (the dhol) to

DELHI TO DUBLIN

serve its purpose in a most inventive and appropriate

context. Andrew Kim has the opportunity

to look and sound super-ethnic with his kilt and

sitar, but can also rock the guitar like any classic

rock enthusiast. An interesting role is played by

Tarun Navar who handles multiple tasks throughout

the set, bringing the act into the 21st century

and, again, making it all seem logical.

Performance: The performance of Delhi 2 Dublin

can be summed up in a word: celebration. The

set started in the dark, with a lone whistle-blower

on stage summoning his fellow journeymen to

come have some fun with rhythm and melody.

It was clear within seconds that the excited and

loyal audience at St. Rocke was in very good

hands and would be treated to a communal party

of culture and creativity.

Summary: Delhi 2 Dublin create ethnic and world

music that is modern and fresh. Distinctive instruments

and traditions are combined seamlessly

and masterfully. The band’s performance seems

to take nothing for granted and is one of gratitude

for the music we, as the human race, are able to

share. In both a literal and figurative sense, the

experience is electric.

– Tim Reid, Jr.

Danny Seyum

May 2013 www.musicconnection.com 55


Download This Directory From Our Website

www.musicconnection.com/amp

23 rd Annual Directory of

Music Schools

Download This Directory From Our Website: www.musicconnection.com/amp

Compiled By Denise Coso

Whether you’re looking for a full-fledged university program or a technical school, Music Connection’s

national list of music educators, updated for 2013, will make your search much easier.

Alabama

ARS NOVA, INC.

7908A Charlotte Dr.

Huntsville, AL 35802

Mailing: P.O. Box 14248

Huntsville, AL 35815

256-883-1105 Fax 256-883-1302

E-mail: arsnovaschool81@bellsouth.net

Web: www.arsnovahsv.com

Cost: please call or see web for info

UNIVERSITY OF ALABAMA

810 Second Ave.

Tuscaloosa, AL 35487

205-348-6054, 205-348-7110

Contact: Marvin Latimer

E-mail: miatimer@music.ua.edu

Web: www.music.ua.edu

Cost: please call or see web for info

Alaska

ALASKA FINE ARTS ACADEMY

12340 Old Glenn Hwy., Ste. 200

Eagle River, AK 99577

907-694-8909

E-mail: frontdesk@akfinearts.org

Web: www.akfinearts.org

Basic Rate: please call for info

UNIVERSITY OF ALASKA

312 Tanana Loop, Ste. 201

Fairbanks, AK 99775

907-474-7555, Fax 907-474-6420

E-mail: laharriger@alaska.edu

Web: http://www.uaf.edu/music/

Cost: please call or see web for info

Arizona

ROBERTO-VENN SCHOOL OF

LUTHIERY

1012 NW Grand Ave.

Phoenix, AZ 85007

800-507-3738, 602-243-1179

E-mail: info@roberto-venn.com

Web: www.roberto-venn.com

Cost: please call or see web for info

CONSERVATORY OF RECORDING

ARTS & SCIENCES

Main Facility: 2300 E. Broadway Rd.

Tempe, AZ 85282-1707

480-858-0764, 866-343-0749

Satellite Facility: 1205 N. Fiesta Blvd.

Gilbert, AZ 85233

480-858-9400

E-mail: info@cras.org

Web: www.audiorecordingschool.com

Degrees/Certificates Offered: Master

Recording Program II.

Program and Facilities Description:

MRP-II is a 42-week program with

classes limited to 12 students. It is the

only program that secures and requires

an internship for graduation. Every

student receives an Apple Laptop,

M-Audio Audio Interface, Pro Tools

M-Powered, Sennheiser microphone

and headphones, Apple Logic Pro

and Waves plug-ins. Students have

access to our exclusive CRAS Connect,

computer-based learning system. Our

40,000-sq. ft. facility includes (8) control

rooms, (5) studios, (2) Pro Tools labs,

(2) digital audio labs, (2) mix labs and

a 6000-sq. ft. live sound classroom.

Gear includes SSL, Neve, Studer,

Otari, Korg, Alesis, Yamaha, Manley

and Neumann, among others. Students

are offered a 7-tier certification on Pro

Tools and manufacturer certifications on

the TC System 6000, Waves plug-ins,

EAW Smaart, L-Acoustics Kudo and

SoundVision plus Auto-Tune 5. Financial

aid available to those who qualify.

MESA COMMUNITY COLLEGE

1833 West Southern Ave.

Mesa, AZ 85202

480-461-7000

Web: http://www.mesacc.edu/programs/

audio-production-technologies

Program: Audio Production Technologies

SCOTTSDALE COMMUNITY COLLEGE

Music Department Office - MB139

9000 E. Chaparral Rd.

Scottsdale, AZ 85256-2626

408-423-6466

Contact: Ron Marshall, Program Dir.

E-mail: ron.marshall@

sccmail.maricopa.edu

Web: http://showcase.scottsdalecc.edu/

audio-production/

UNIVERSITY OF ARIZONA

School of Music/Recording Studio

College of Fine Arts

P.O. Box 210004

1017 N Olive Rd.

Music Bldg. Rm. 11

Tucson, AZ 85721

520-621-1778

E-mail: finearts@cfa.arizona.edu

Web: http://www.cfa.arizona.edu

Program: Offers a professional recording

facility offering 23+ track analog and

digital recordings. Our mission is to

provide services and educational

experiences to students, faculty and staff.

California

ADAM’S MUSIC

10612 Pico Blvd.

Los Angeles, CA 90064

310-839-3575

E-mail: info@adamsmusic.com

Web: www.adamsmusic.com

Contact: Adam

Program: one-on-one instruction in all

instruments and voice

Degree: NA

Duration: varies

Cost: please call or see web for info

Notes: flexible scheduling, music

programs available for children sound

system rentals & expert instrument

repairs

ADG PRODUCTIONS

15517 Cordary Ave.

Lawndale, CA 90260

310-379-1568, 800-748-5934

E-mail: adgordon@adgproductions.com

Web: www.adgproductions.com,

www.digitalsheetmusicdownloads.com

Contact: Andrew D.Gordon

Program: Contemporary piano/

keyboard instruction, has authored over

30 internationally acclaimed books &

DVD’s. Titles include: 100 Ultimate Blues

Riffs; 60 Of The Funkiest Keyboard

Riffs Known To Mankind; Funky Organ

Grooves, Rhythm Keyboard Workout.

Degree: NA

Duration: varies

Cost: please call or see web for info

Notes: specialize in blues, jazz,

rock, pop, country, funk styles, MIDI

programming, songwriting/arranging.

ARROWBEAR MUSIC CAMP

P.O. Box 180

Running Springs, CA 92382

909-867-2782 Fax 909-867-2794

E-mail: info@arrowbear.com

Web: www.arrowbear.com

Program: Since 1942 offering summer

camp programs in band, orchestra,

instrumental and choral music.

Cost: please call or see web for info

ART OF SINGING

Studio City, CA

818-980-2840

E-mail: info@darlenekoldenhoven.com,

timeart@roadrunner.com

Web: www.darlenekoldenhoven.com,

www.artofsinging.com

Contact: Darlene Koldenhoven

Program: Darlene’s dynamic all day

intensive workshop, “Sing Right for Your

Type,” includes experiences in breath

management for range and power

singing, vocal styles & techniques,

finding your unique sound, expanding

your musical mind, eliminating stage

fright and more. She offers voice lessons,

vocal coaching, ear training, (new book

with 7 CDs, Tune Your Voice available on

website and retail stores) sight-singing,

harmony singing, singer’s marketing,

vocal demo production. See website for

description of classes, private lessons,

recommendations, vocal health articles,

workshops on “The Affects & Effects

of the Power of Music & the Voice” and

more...

Degree: NA

Duration: private classes for all ages

and styles are half hour or hour, group

classes for kids, teens, adults, also a

course for non-singers.

THE ART INSTITUTE OF CALIFORNIA

– LOS ANGELES, A CAMPUS OF

ARGOSY UNIVERSITY

2900 31 st St.

Santa Monica, CA 90405

310-752-4700

E-mail: ailaadm@aii.edu

Web: www.artinstitutes.edu

Programs: Audio Production (Bachelor

of Science, Associate of Science)

Cost: Please visit the website for details

Additional locations:

Hollywood, CA

5250 Lankershim Blvd.

N. Hollywood, CA 91601

818-299-5100

E-mail: aicahadm@aii.edu

Web: www.artinstitutes.edu

Programs: Audio Production (Bachelor

of Science, Associate of Science)

Cost: Please visit the website for details

Inland Empire

674 E. Brier Dr.

San Bernardino, CA 92408-2800

909-915-2100

E-mail: aicaieadm@aii.edu

Web: www.artinstitutes.edu

Programs: Audio Production (Bachelor

of Science, Associate of Science)

Cost: Please visit the website for details

San Diego, CA

7650 Mission Valley Rd.

San Diego, CA 92108

858-598-1200

E-mail: aicasdadm@aii.edu

Web: www.artinstitutes.edu

Programs: Audio Production (Bachelor

of Science, Associate of Science)

Cost: Please visit the website for details

San Francisco, CA

1170 Market St.

San Francisco, CA 94102

415-865-0198

E-mail: aicasfadm@aii.edu

Web: www.artinstitutes.edu

Programs: Audio Production (Bachelor

of Science)

Cost: Please visit the website for details

AUDIO INSTITUTE OF AMERICA

814 46th Ave.

San Francisco, CA 94115

415-752-0701

E-mail: audioinst@earthlink.net

Web: www.audioinstitute.com

Note: Recording Engineer and Music

Producer School

BARKER’S MUSIC

519 McHenry Ave.

Modesto, CA 95354

209-526-0347

E-mail: kyle@barkersmusic.com

Web: www.barkersmusic.com

Basic Rate: please call for info

BELLFLOWER MUSIC CENTER

17125 Bellflower Blvd.

Bellflower, CA 90706

562-867-6715 Fax 562-867-6666

E-mail: info@bellflowermusic.com

Web: www.bellflowermusic.com

Contact: any customer service rep.

Program: private one-on-one lessons

in drums, piano, violin, flute, clarinet,

various saxophones, trumpet, trombone

and guitar, as well as rentals and sales

on various instruments

Degree: NA

Duration: depending on individual

student progress

Cost: please call or see web for info

BLUE BEAR SCHOOL OF MUSIC

Fort Mason Center, Bldg. D

Corner of Marina and Buchanan Streets

San Francisco, CA 94123

415-673-3600

E-mail: contact@bluebearmusic.org

Web: www.bluebearmusic.org

Cost: please call or see web for info

BOULEVARD MUSIC

4316 Sepulveda Blvd.

Culver City, CA 90230

310-398-2583

Web: www.boulevardmusic.com

Contact: Gary Mandell

Program: varied one-on-one

56 May 2013 www.musicconnection.com


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instrumental instruction.

Cost: please call or see web for info

Notes: group instruction available

BRUBECK INSTITUTE

University of the Pacific

3601 Pacific Ave.

Stockton, CA 95211

209-946-2285

E-mail: mriley1@pacific.edu

Web: www.brubeckinstitute.org

Cost: please call or see web for info

BRUBECK SUMMER JAZZ COLONY

Stephen C. Anderson

University of the Pacific

3601 Pacific Ave.

Stockton, CA 95211

209-936-3196

E-mail: mriley1@pacific.edu

Web: brubeckinstitute.org

Program: The Summer Jazz Colony is

a one-week full scholarship educational

program in jazz performance for 17

extraordinarily talented students who are

in their freshman through senior years in

high school.

BURBANK MUSIC ACADEMY

4107 W. Burbank Blvd.

Burbank, CA 91505

818-845-ROCK (7625)

E-mail: info@burbankmusicacademy.com

Web: www.burbankmusicacademy.com

Contact: Laura Wynne

Cost: As low as $32.00 per 1/2 private

lesson, call or see our website for details.

Program: private lessons, band

coaching for youth and adults, rock and

Roll Camp, rehearsal space and more.

CALIFORNIA BAND AND MUSIC

ACADEMY

(CABAMA)

408 Sereno Pl.

Camarillo, CA 93010

805-529-2348

Contact: F. Scott Moyer

E-mail: fscottmoyer@earthlink.net

Web: www.musicianscamp.org

Services: Private (one on one) and

class/group and band instruction are

available for drums, guitar (acoustic

& electric), bass, keyboards, brass,

applied beg-adv music theory, beg-adv.

songwriting, voice, percussion and Band/

Ensemble. Additional “Special” course

studies are available upon request: i.e.

Classic Rock; the Beatles; “Latin rhythm”

studies; and more.

Program: I offer lessons in all styles of

music and in all popular genres of music.

I teach and coach guitar, bass, drums,

keyboards, vocals, theory, reading,

harmony, arranging, rhythm section,

band and song production, recording

concepts and more.

Notes: CABAMA, features a program

called “The Creative Arts Music Project”

which is a “year-round” after-school music

program and summer camp serving both

the Los Angeles and Ventura counties

and offering 50 creative music courses

(see: musicianscamp.org)

CALIFORNIA POLYTECHNIC STATE

UNIVERSITY

Music Department

1 Grand Ave

San Luis Obispo, CA 93407-0326

805-756-2406

E-mail: music@calpoly.edu

Web: http://www.calpoly.edu/~mu/

Program: Bachelor of Arts in Music

CAMP JAM, LLC

Power Chord Academy

6375 Spalding Dr., Ste. F

Norcoss, GA 30092

800-513-0930

E-mail: info@campjam.com

Web: www.campjam.com

Program: At Camp Jam, dedicated

musicians ages 7-17 are put through

the most inspirational, educational and

intensive week of their young careers.

Day Camp, Ages 11-17, Kidz Camp, Ages

7-10

Cost: please call or see web for info

CANOGA SCHOOL OF MUSIC

7361 Canoga Ave.

Canoga Park, CA 91303

818-340-4021

E-mail: ted@canogaschoolofmusic.com

Web: www.canogaschoolofmusic.com

Basic Rate: please call for info

Clients: all levels

CALIFORNIA COLLEGE OF MUSIC

42 S. Catalina Ave.

Pasadena, CA 91106

626-577-1751, 626-577-1753

E-mail: info@ccmcollege.com

Web: www.ccmcollege.com

Contact: Ani Arzmanian

Program: Music (Theory), Artist

Development and Audio Engineering and

Music Production

Degree: Apprentice and Professional

Certificate

Duration: 6 months apprentice, 1 year

professional

Cost: please call or see web for info

Notes: CCM mentors artists and

engineers for the professional music

industry. Its small intimate environment

allows for personal and customized

attention from Grammy award winning

and seasoned faculty.

CALIFORNIA INSTITUTE OF THE

ARTS, SCHOOL OF MUSIC

24700 McBean Pkwy.

Valencia, CA 91355

661-222-2778

E-mail: musicinfo@calarts.edu

Web: www.calarts.edu

Program: Music composition,

performance of all musical instruments,

jazz, world music performance, music

technology: Interaction, Intelligence and

Design. Vocal performance, experimental

sound practices, musical arts program.

Degree: B.F.A, M.F.A.

Duration: 4 years for B.F.A., 2 years for

graduate M.F.A. degree, 3 year program,

D.M.A. (Doctorate of Musical Arts) in

Performer/Composer.

Cost: please call or see web for info

Notes: Fully accredited WASC and

NASM college curriculum

CALIFORNIA STATE POLYTECHNIC

UNIVERSITY, POMONA

3801 W. Temple Ave.

Pomona, CA 91768

909-869-3210

E-mail: ilevine@csupomona.edu

Web: www.csupomona.edu

Contact: Dr. Iris S. Levine,

Department Chair

Degree: B.A.

Cost: please call or see web for info

CALIFORNIA STATE UNIVERSITY,

CHICO

400 W. First St.

Chico, CA 95929

530-898-5152

E-mail: musc@csuchico.edu

Web: http://www.csuchico.edu/mus

Program: B.A.’s in General Music, Music

Education, Music Industry with options of

General Industry and in Recording Arts.

Cost: please call or see web for info

CALIFORNIA STATE UNIVERSITY,

DOMINGUEZ HILLS

1000 Victoria Ave.

Carson, CA 90747

310-243-3543

Web: http://cah.csudh.edu/music/

Contact: Richard Kravchak, Phd, Chair

Program: Audio Recording and Music

Synthesis (ARMS)

Degree: B.A. & Certificates

Duration: 4 years

Cost: please call or see web for info

Notes: accredited undergraduate college

curriculum; extension courses available

CALIFORNIA STATE UNIVERSITY,

FULLERTON

P.O. Box 6850

Fullerton, CA 92834

657-278-3511

E-mail: mdickey@fullerton.edu

Web: http://www.fullerton.edu/arts/music

Contact: Dr. Marc Dickey

Program: A full complement of

undergraduate and graduate degrees

in performance, composition, music

education, theory, history, and piano

pedagogy.

Degree: B.A., B.M., M.A., M.M.

Duration: 4-5 years for B.A./B.M.;

approx. 2 additional years for M.A./ M.M.

Notes: See website for more info. Many

live student performance opportunities.

CALIFORNIA STATE UNIVERSITY,

LONG BEACH

1250 N. Bellflower Blvd.

Long Beach, CA 90840-7101

562-985-4781

E-mail: music@csulb.edu

Web: www.csulb.edu/~music

Contact: Music Dept. Admissions

Program: Varied, with an emphasis on

orchestral instruments and music studies

such as history, education, new music

and commercial music business.

Degree: B.A., B.M. in music,

performance, composition or education,

M.A. music program, teaching

credentials

Duration: 4 years for B.M.; additional 2

years for M.M.

Cost: please call or see web for info

Notes: requires audition and music

theory test to determine placement

CALIFORNIA STATE UNIVERSITY,

LONG BEACH EXTENSION

6300 State University Dr., Ste. 104

Long Beach, CA 90815

800-963-2250

Web: www.uces.csulb.edu/extension

Program: Extension courses in music

studies and any music class. Classes are

for students not enrolled in the regular

CSULB program.

Duration: varies

Cost: please call or see web for info

Notes: University enrollment not

required; day and evening classes

CALIFORNIA STATE UNIVERSITY,

LOS ANGELES

5151 State University Dr.

Los Angeles, CA 90032

323-343-3000

Web: www.calstatela.edu

Program: varied undergraduate music

studies/performance program

Degree: B.A.

Duration: 4 years

Cost: please call or see web for info

Notes: university enrollment required

CALIFORNIA STATE UNIVERSITY,

NORTHRIDGE

18111 Nordhoff St.

Northridge, CA 91330

818-677-3184

E-mail: music@csun.edu

Web: www.csun.edu

Contact: Elizabeth Sellers, Chair

Program: A diverse music program.

Majors include music business, jazz

performance, classical performance,

music therapy, education

Degree: B.A./B.M., M.A./M.M.

Duration: 4 years for B.A./B.M., 2

additional years for M.A./M.M.

Cost: please call or see web for info

Notes: University enrollment required;

Contact music department for

audition dates.

CAZADERO PERFORMING ARTS

CAMP

P.O. Box 7908

Berkeley, CA 94707

510-527-7500 Fax 510-527-2790

E-mail: david@cazadero.org

Web: www.cazadero.org

Program: Since 1957, our camp has

been providing the best in musical

education and performances.

Cost: please call or see web for info

CHAPMAN UNIVERSITY

CONSERVATORY OF MUSIC

One University Dr.

Orange, CA 92866

714-997-6871

E-mail: music@chapman.edu

Web: www.chapman.edu/copa

Contact: Rick Christophersen, Director

Program: Conservatory level musical

training within the context of a 4-year

liberal arts university.

Degree: B.A. music, B.M. performance,

B.M. music education, B.M. conducting,

B.M. composition

Duration: 4-year undergraduate degree

programs

Cost: please call admissions and records

CLEAR LAKE AUDIO

10520 Burbank Blvd.

N. Hollywood, CA 91601

818-762-0707

E-mail: contact@clearlakerecording.com

Web: www.clearlakeaudio.com

Programs: All aspects of audio

engineering (see website)

COAST MUSIC

24002 Via Fabricante, Ste. 308

Mission Viejo, CA 92691

949-768-8783

Web: www.coastbandmusic.com

Basic Rate: please call for info

Clients: all levels

Additional location:

4970 Irvine Bl. #109

Irvine, CA

714-731-3415

COLBURN SCHOOL, THE

200 S. Grand Ave.

Los Angeles, CA 90012

213-621-2200

E-mail: info@colburnschool.edu

Web: www.colburnschool.edu

Programs: Conservatory of Music

(college programs), The Academy

(pre-college studies), and School of

Performing Arts (open enrollment,

all ages)

Cost: please call or see web for info

CORNERSTONE MUSIC

CONSERVATORY

12121 W. Pico Blvd., Ste. 205

Los Angeles, CA 90064

310-820-1620 Fax 310-820-1708

E-mail: music@

cornerstonemusicconservatory.org

Web: http://cornerstone

musicconservatory.org

Contact: Ann Pittel

Program: Private and group music

instruction for ages 7 months to adult.

Duration: 15 weeks to year-round

Cost: Varies-call for brochures and rates

Notes: specializing in expert music

instruction, composition, theory, teen/

college-prep students, special toddler

programs, Harmony Road Piano course

for children (beginners grouped by age).

CRESCENTA VALLEY MUSIC STUDIO

3131 Foothill Blvd., Ste. I

La Crescenta, CA 91214

818-248-2789

E-mail: cbkuhne@cvmusicstudio.com

Web: http://cvmusicstudio.com

Program: instruction in a variety of

instruments, lessons for children as well

Degree: NA

Duration: varies

Cost: please call for info

May 2013

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CULVER CITY MUSIC CENTER

10862 Washington Blvd.

Culver City, CA 90230

310-202-6874

Web: www.culvercitymusic.com

Basic Rate: please call for info

Clients: all levels

Additional location:

1901 Santa Monica Blvd.

Santa Monica, CA 90404

310-453-1928

DEBORAH GIBSON’S CAMP

ELECTRIC YOUTH

8491 Sunset Blvd., Ste. 772

W. Hollywood, CA 90069

E-mail: electricyouth08@aol.com

Web: www.deborahgibsons

electricyouth.com

Program: Perf. Arts Summer Day Camp

Duration: one - two week summer camp

plus other projects throughout the year

Cost: please call or see web for info

Notes: Mission is to provide a nurturing,

creative, disciplined and fun atmosphere

for young people who are serious about

embarking in a career in entertainment.

ES AUDIO SERVICES

Los Angeles, CA

818-505-1007

E-mail: info@learnprorecording.com

Web: www.learnprorecording.com

Contact: Donny Baker

Program: Recording Engineer / Music

Producer Program

Degree: No Degree, Certificate,

State Accredited

Duration: 22 weeks depending

upon internship

Notes: Learn in a working studio rather

than a classroom. Learn with certified

Digidesign instructors - Pro Gear - Tons

of hands on training in a real world

situation with real clients

EL CAMINO COLLEGE

16007 Crenshaw Blvd.

Torrance, CA 90506

866-352-2646, 310-532-3670

Web: www.elcamino.edu/academics/

finearts/music

Contact: CFitzsimons@elcamino.edu

Program: a structured program of

training in a variety of solo performance

media, large and small ensembles, music

theory and musicianship, basic vocal and

keyboard skills, and the study of music

history

Degree: A.A.

Duration: Two years

Cost: please call or see web for info

EUBANKS CONSERVATORY

4928 S. Crenshaw Blvd.

Los Angeles, CA 90043

310-462-5364

E-mail: Eubanksschool@yahoo.com

Web: http://eubanksconservatoryof

musicandarts.webs.com

Program: music degree program with a

focus on performance

Degree: certificate

Duration: varies

Cost: please call for info

EVERGREEN MUSIC CONSERVATORY

4832 Tujunga Ave.

N. Hollywood, CA 91601

818-761-4970

Web: http://evergreenmusic

conservatory.com

Contact: Jerry Acosta

Program: one-on-one and group

instruction in guitar, cello, piano, violin/

viola and music composition

Duration: varies

Cost: please call for info

Notes: all university-trained faculty

EX’PRESSION COLLEGE FOR

DIGITAL ARTS

6601 Shellmound St.

Emeryville, CA 94608

877-833-8800, Direct & Int’l: 510-654-

2934

Fax 510-658-3414

E-mail: admissions@expression.edu

Web: www.expression.edu

Program: Ex’pression College for

Digital Arts grants Bachelor’s degrees

in four accelerated programs: Sound

Arts, Motion Graphic Design, Animation

and Visual Effects, and Game Art and

Design. Class size is limited within each

program, and the 100,000 square foot

campus features professional grade

equipment. The approximately 2.75 year

program allows students to graduate with

a Bachelor’s degree but enter the work

force sooner than graduates of traditional

4-year programs.

Degree: Bachelor of Applied

Science (BAS)

Duration: 32 months

Cost: please call or e-mail for details.

Additional location:

1751 Fox Dr.

San Jose, CA 95131

855-217-7300, 408-620-3299

E-mail: admission-sjc@expression.edu

FAUNT SCHOOL OF

CREATIVE MUSIC

Los Angeles, CA

818-506-MUSE (6873)

E-mail: inq092009@druminstruction.org

Web: www.musicalskills.com

Program: one-on-one programs for realworld

musician skills and knowledge that

are not effectively addressed in music

lessons or classes. Rhythm, ear-training,

complete harmonic knowledge and

instrumental technique for playing and

composing. What you hear is the focus.

Cost: please call or see web for info

Notes: all levels. Many students are

accomplished pros but serious beginners

are welcome also.

FIVE STAR SCHOOL OF MUSIC

112 W. California Ave.

Glendale, CA 91203

818-502-1739

Web: www.fivestarmusicanddance.com

Program: One-on-one and group

musical instrument instruction.

Degree: NA

Duration: Varies with individual

programs

Cost: please call or see web for info

Notes: Classes taught in English,

Spanish, Armenian and Tagalog

(Filipino).

FRED CARLSON, BEYOND THE

TREES

2026 Back Ranch Rd.

Santa Cruz, CA 95060

831-466-9356

E-mail: wildsols@beyondthetrees.com

Web: www.beyondthetrees.com

Cost: please call or see web for info

GARNISH MUSIC PRODUCTION

SCHOOL

7600 Melrose Ave.

Hollywood, CA 90046

310-598-2981

Web: us.garnishmusicproduction.com

Notes: Learn to produce finished tracks

fast from Grammy-winning instructors

GILMORE MUSIC STORE

1935 E. 7th St.

Long Beach, CA 90813

562-599-1369

E-mail: lbgilmoremusic@yahoo.com

Web: www.gilmoremusicstore.com

Program: Instruction in drums, classicaljazz-and

rock guitar, bass guitar,

woodwinds, flute, trumpet, trombone,

piano, violin, cello and voice.

Degree: NA

Duration: 30 min. to 60 min.

Cost: please call or see web for info

Notes: 24 track digital recording studio

on site, beginner packages available.

GLENDALE COMMUNITY COLLEGE

Music Department

1500 N. Verdugo Rd.

Glendale, CA 91208

818-240-1000

E-mail: pgreen@glendale.edu

Web: www.glendale.edu/music

Contact: Dr. Peter Green ext. 5622

Program: Comprehensive program

focusing on preparing musicians for

university admissions with focus on

choral or instr. performance and music

history/theory.

Degree: certificate, A.A, A.S.

Duration: 2 years for A.A/A.S.

Cost: please call or see web for info

Notes: most classes do not require an

audition, but may require a prerequisite

GLOBE AUDIO RECORDING AND

PRODUCTION

739 Bryant St.

San Francisco, CA 94107

415-777-2486, 800-9000-MIX

E-mail: info@globerecording.com

Web: http://www.californiarecording.com/

overview.html

GOLDEN WEST COLLEGE

15744 Golden West St.

Huntington Beach, CA 92647

714-892-7711

E-mail: http://goldenwest

college.edu/music

Contact: chausey@gwc.cccd.edu

Web: www.gwc.info

Program: Music Education Preparation

or Music Performance,

Degree: certificate

GRAMMY CAMP

Grammy Foundation

3030 Olympic Blvd.

Santa Monica, CA 90404

310-581-8668

Contact: grammycamp@grammy.com

Web: http://www.grammyintheschools.

com/programs/grammy-camp

Program: This program offers students

a 17-day interactive residential summer

music experience that focuses on all

aspects of commercial music, with

instruction by industry professionals in

an immersive creative environment with

cutting-edge technology in a state-of-theart

facility.

Cost: please call or see web for info

GUITAR MERCHANT, THE

7503 Topanga Canyon Blvd.

Canoga Park, CA 91303

818-884-5905

E-mail: theguitarmerchant@yahoo.com

Web: www.guitarmerchant.com

Services: music lessons all instruments,

all ages, band jam programs, live venue -

shows nightly guitar sales and service

GUITAR SHOWCASE/S.M.I.

3090 S. Bascom Ave.

San Jose, CA 95124

408-377-5864

E-mail: info@guitarshowcase.com

Web: www.guitarshowcase.com

Instruments: guitar, bass, keyboards,

drums, percussion, saxophone, flute,

mandolin, banjo group classes, private

instruction, monthly workshops

Basic Rate: Call for info

HARRISON SCHOOL OF MUSIC

P.O. Box 5068

West Hills, CA 91308

800-799-4637, 818-887-8870

E-mail: sales@harrisonmusic.com

Web: www.harrisonmusic.com

Contact: Mark Harrison

Program: keyboard, theory, ear training

and composing/arranging, with an

emphasis on jazz and pop styles.

Degree: NA

Duration: flexible scheduling.

Cost: please call or see web for info

Notes: The Harrison music education

methods are used by thousands of

students in over 20 countries worldwide.

HOLLYWOOD ACADEMY OF MUSIC

7469 Melrose Ave., Ste. 34

Hollywood, CA 90046

323-651-2395

Web: www.hollywoodacademyofmusic.com

Program: Hollywood Academy of

Music offers private lessons for piano,

keyboard, guitar, voice, drums, violin,

bass guitar, flute, clarinet, saxophone

and trumpet (other band instruments

also available). We also teach a group

workshop called “School of Rock-Band

101” and Pre-school Music Classes.

Cost: please call or see web for info

Notes: Hollywood Academy of Music

provides Hollywood, W. Hollywood,

Beverly Hills, and surrounding areas

of Los Angeles with personable and

highly qualified teachers for students

of all ages. Our positive, encouraging

atmosphere and professional studio

environment aid in the development of

musical abilities - and our convenient

location makes it feasible for students

from all different areas of the Los

Angeles metro area to attend.

Additional locations:

11367 Riverside Dr.

N. Hollywood, CA 91602

818-760-7740

12111 Santa Monica Blvd,

West LA, CA 90025

310-207-1200

ICON COLLECTIVE, LLC

1750 Flower St.

Glendale, CA 91201

818-334-3671

E-mail: info@learn2produce.com

Web: www.learn2produce.com

Program: The 9-month Digital Music

Production Course teaches artists/DJ’s &

beatmakers how to record, mix, master,

market and sell their music in today’s

new digital era. Blending creativity with

technology, Icon Collective has created

a 21st century approach for artists/

producers seeking a creative, artistic,

successful lifestyle.

INTERNATIONAL MUSIC SCHOOL

2588-H NewPort Blvd.

Costa Mesa, CA 92627

949-650-7788

E-mail: info@internationalmusicschool.com

Web: www.internationalmusicschool.com

Program: voice, piano, keyboard, guitar,

violin, cello, bass, drum, percussion, sax,

flute, clarinet, trumpet, Persian & Indian

instruments, English bagpipe, harmonica

Duration: varies

Cost: please call or see web for info

INTERNATIONAL SCHOOL OF MUSIC

116 S. Louise St.

Glendale, CA 91205

818-548-7959

E-mail: info@ISMGlendale.com

Web: www.ismglendale.com

Program: classical; one-on-one

instruction in piano, guitar (classical,

jazz, flamingo), violin, flute, viola, voice,

percussion

Degree: certificate

Duration: varies

Cost: please call or see web for info

JEANNIE DEVA VOICE STUDIOS

P.O. Box 4636

Sunland, CA 91041

Phone: 818-446-0932, 800-920-8220

E-mail: sing@jeanneDeva.com

Web: www.jeanniedeva.com

Services: Your Unique Voice - Our

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Unique Method. The Deva Method®

of Voice Training has proven effective

over 35 years with thousands of singers

worldwide. Study in-person or via

internet webcam with Jeannie Deva or

one of her certified instructors. You get

discounts from single lesson rates when

registering for four or more lessons.

Additional Services: Many of our

teachers have degrees from Berklee

College of Music or other music

universities and offer Piano, Guitar, Bass

and Music Theory lessons. All of our

instructors are performing professionals.

Some have experience in music

business or acting and offer consulting

in these fields. Visit our website to find

the teacher whose skills best match

your needs and to arrange an initial

consultation.

Notes: Available in Los Angeles, The

Valley and Brentwood, CA, Boston and

Australia. Web cam Internet lessons

available worldwide.

JOHN NOVELLO’S CONTEMPORARY

KEYBOARDIST COURSE

P.O. Box 9648

N. Hollywood, CA 91609

818-506-0236 Fax 818-506-5559

E-mail: john@keysnovello.com

Web: www.keysnovello.com

Contact: John Novello

Program: complete one-on-one

program for training the contemporary

keyboardist, composer and singersongwriter

Degree: NA

Duration: varies

Cost: please call or see web for info

Notes: all musical styles; piano,

Hammond B3, improvisation, music

sequencing and music theory

LEARNING ANNEX, THE

Web: www.learningannex.com

Program: A varied selection of classes

and seminars on music songwriting,

recording, marketing and the industry.

Degree: certificates (optional)

Cost: varies

Notes: The Learning Annex remains the

primary destination for online classes.

Bringing the incredible experience of a

live class straight into people’s homes

since 1998, LearningAnnex.com has

attracted millions of visitors looking

for the best in adult education from

the convenience of their own homes.

In 2008, LearningAnnex.com was relaunched

with hundreds of video and

audio classes in 25 popular channels,

available on demand to anyone with

a computer around the world. As the

industry leader for three decades,

The Learning Annex is committed to

impacting and improving the quality of

people’s lives through powerful, practical,

and insightful live and online classes,

workshops, seminars, and expos.

LMU EXTENSION (LOYOLA

MARYMOUNT UNIVERSITY)

1 LMU Dr., Ste. 1840

Los Angeles, CA 90045

310-338-2700

Web: http://www.lmu.edu/academics/

extension/programs.htm

Program: choir, world music ensemble

Cost: please call or see web for info

Notes: university enrollment not required

LONG BEACH CITY COLLEGE

1305 E. Pacific Coast Hwy.

Long Beach, CA 90806

562-938-4111

E-mail: See http://www.lbcc.edu/MRTV/

Contact.cfm

Web: www.lbcc.edu

Program: Commercial Music Program,

Radio & TV Program

Degree: A.A. and/or certificate

Duration: 2 years

Cost: please call or see web for info

LONG BEACH SCHOOL OF MUSIC

3840 Woodruff Ave., Ste. 109

Long Beach, CA 90808

562-627-0464

Web: www.longbeachschoolofmusic.com

Contact: Mark Fitchett

Program: All styles instruction in guitar,

bass, woodwinds, drums, voice and

keyboards

Degree: NA

Duration: varies

Cost: please call or see web for info

LOS ANGELES CITY COLLEGE

855 N. Vermont Ave.

Los Angeles, CA 90029

Music Department

323-953-4000

Web: www.lacitycollege.edu

Contact: Dan Wanner, Depart. Chair

Program: Commercial and traditional

music program to prepare students who

wish to transfer to a 4-year university

music program, or get their A.A. degree

or commercial music certificate in

vocal music, instrumental music, piano,

orchestration/arranging and electronic

music/MIDI. The certificate program

is intended for those wishing to enter

the recording or film industry. The A.A.

degree is intended for students who

wish to continue their education and

seek a higher degree. Please visit www.

lacitycollege.edu for more complete

information.

Degree: A.A. (Associate in Arts)

or certificate in commercial vocal,

instrumental, piano, orchestration/

arranging, electronic music/MIDI

Duration: approx. 2 years

Cost: visit www.lacitycollege.edu

LOS ANGELES HARBOR COLLEGE

1111 Figueroa Pl.

Wilmington, CA 90744

310-233-4000

Web: http://www.lahc.edu/classes/music/

index.html

Contact: music department

Program: traditional and commercial

music courses offered including theory/

musicianship, MIDI/electronic music,

songwriting, and instruments such as

voice, guitar and keyboards

Degree: A.A., commercial music

certificates

Duration: 16-week semesters

Cost: please call or see web for info

Notes: courses taught by instructors

in the field who bring practical,

contemporary information to the

classroom; evening classes available.

LOS ANGELES MUSIC ACADEMY

COLLEGE OF MUSIC

370 S. Fair Oaks Ave.

Pasadena, CA 91105

626-568-8850, 800-960-4715

E-mail: info@lama.edu

Web: www.lama.edu

Program: intense 1.5 and 1 year

programs individualized for drums,

guitar, bass, vocal and music production

disciplines, professional level

Duration: 1.5 and 1 year programs

Degree: Associate of Arts Degree in

Music Performance or Music Production

after 1.5 years or Diploma after 1 year

Cost: please call or see web for info

Notes: fully accredited, financial aid

available, emphasis on contemporary

music production and performance with

daily ensemble workshops, students

accompanied by hired professional

musicians in an intimate environment

LOS ANGELES MUSIC & ART

SCHOOL

3630 E. Third St.

Los Angeles, CA 90063

323-262-7734

E-mail: stayintune@lamusart.org

Web: www.lamusart.org

Contact: Admissions

Program: Individual instruction offered in

piano, guitar, violin, woodwinds, drums

and voice.

Degree: NA

Duration: varies

Cost: please call or see web for info

Notes: a private, non-profit school; voice

lessons taught in English and Spanish;

financial aid available

LOS ANGELES RECORDING SCHOOL

6690 W. Sunset Blvd.

Hollywood, CA 90028

888-688-5277, 323-464-5200

E-mail: info@larecordingschool.com

Web: www.recordingcareer.com

Program: Covers all phases of

recording, music and post-production.

From cutting edge digital systems to

large format mixing consoles like SSL

and Neve, their 19 hands-on computer

and console labs feature Digidesign’s

Pro Tools systems, allowing students

to mix and record in the program’s first

months. In addition to featuring state-ofthe-art

Pro Tools systems in their labs,

The Los Angeles Recording School has

established a program that allows their

students to take training even further

with their Pro Tools certification program.

Its faculty of professional recording

engineers teaches a full range of audio

engineering and music production skills

such as: recording, mixing and optimizing

audio for music, movies, television,

computer games and the internet.

Degree: Certificate in Recording

Engineering

Duration: call for info

Cost: please call or see web

Notes: Financial aid is available to those

who qualify.

LOS ANGELES VALLEY COLLEGE

5800 Fulton Ave.

Van Nuys, CA 91401

818-947-2346, 818-947-2600

E-mail: music@lavc.edu

Web: http://www.lavc.edu/music

Contact: Music department

Program: curriculum is geared toward

instrument instruction and performance,

with school performance opportunities

and a varied course selection available

Degree: A.A.

Duration: approx. 2 years

Cost: please call for tuition and fee

information

Notes: weekend/evening music classes

offered through Community Services

program

LOS MEDANOS COLLEGE

Recording Arts

2700 E. Leland Rd.

Pittsburg, CA 94565

925-439-2181

Web: http://www.losmedanos.edu/

recarts/default.asp

Programs: Degrees/Certificate(s)

offered: AA, College Skills Certificate,

Certificate of Achievement

LOYOLA MARYMOUNT UNIVERSITY

1 LMU Dr., MS-8347

Los Angeles, CA 90045-2659

800-568-4636, 310-338-2700

Web: www.lmu.edu

Contact: Department of Music

Program: classical guitar, piano,

voice, strings, percussion, world

music ensemble, opera, chorus,

music history, theory and composition,

ethnomusicology, and instrumental and

choral conducting.

Degree: B.A.

Duration: approx. 4 years

Cost: please call for tuition information

Notes: The purpose of the Department

of Music is to provide quality music

instruction for students who wish to

enrich their lives through non-career

oriented study and/or performance and

for those who wish to pursue music as

a career. The department is committed

to conduction and promoting scholarly

research and creative musical inquiry

and activity. Through the presentation

of diverse musical programs, the

department contributes to the educational

and cultural vitality of the University and

community.

MEDIATECH INSTITUTE

302 Oceanside Blvd.

Oceanside, CA 92054

760-231-5368, 866-498-1122

E-mail: matthew@mediatech.edu

Web: www.mediatech.edu

Program: Recording Arts, Digital Film &

Video Arts. Locations in Dallas, Austin,

Houston, Texas

MIRACOSTA COLLEGE

1 Barnard Dr. (Building 2200)

Oceanside, CA 92056

760-757-2121 ext. 6679, 888-201-8480

Contact: Matt Falker, Department Chair

E-mail: music@miracosta.edu

Web: www.miracosta.edu

Cost: please call or see web for info

MOREY’S MUSIC STORE INC.

4834 Woodruff Ave.

Lakewood, CA 90713

562-420-9532

E-mail: info@moreysmusic.com

Web: www.moreysmusic.com

Program: instruction in guitar,

saxophone, flute, violin, clarinet,

cello, piano

Degree: NA

Duration: varies

Cost: please call or see web for info

MUSIC 4 LIFE

N. Hollywood, CA 91606

818-487-0608

E-mail: feef@littlefriendmpg.com

Web: www.littlefriendmpg.com

Contact: Feef Mooney

Program: Beginning piano, beginning

bass, guitar (electric, beginning classical,

rock, folk, blues), voice (“Freeing the

Natural Voice”) special programs:

Climbing out of a Musical Guitar Rut;

Intensive One-on-One Guitar Boot Camp;

Bootcamp for Frustrated Songwriters;

Musical Career Coaching.

Degree: non-degree, prep for entry music

exams to Musician’s Institute, Berklee,

etc. avail.

Duration: sessions range from 1/2 hour

to 2 hours, depending on client’s needs

Cost: please call or see web for info

MUSIC EDUCATION CENTER, THE

9555 Pico Blvd.

Los Angeles, CA 90035

310-284-6633

Basic Rate: please call for info

Clients: beginner to intermediate

MUSICIANS INSTITUTE (MI)

6752 Hollywood Blvd,

Hollywood, CA 90028

800-255-7529, 323-462-1384

Web: www.mi.edu

Program: fully-accredited degree and

certificate programs in guitar, bass,

drums, keyboards, vocals, audio

engineering, music business, music

video/film & television, and guitar craft

Degree: instrument certificate,

specialized certificate, Associate of Arts,

B.M. & encore

Duration: instrument certificate

Program: 12- and 18-month options,

specialized certificate Program:

six- to nine-month courses in career

specialties including: audio engineering,

independent artist development, music

business, guitar craft, music video/film

& television, Bachelor of Music degrees

(bass, guitar, drums, keyboards and

vocals): 4 years; Associate of Arts degree

(bass, guitar, drums, keyboards and

vocals: 2 years; Encore Programs (bass,

guitar, drum set, keyboards and vocals):

10 weeks; Encore Express 5-week, fulltime

(15 units) or 10-week, part-time (7

May 2013

www.musicconnection.com

59


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units); Extension – individual 10-week

courses; Summer Shot – one-week

courses

Cost: please call or see web for info

Notes: MI offers a wide range of

educational options for contemporary

musicians, all designed and taught by

professionals who show you first-hand

what a music career is all about. At MI,

students learn how the contemporary

music industry works from the inside, on

the performing stage, in the recording

studio and behind the scenes.

OCCIDENTAL COLLEGE

1600 Campus Rd.

Los Angeles, CA 90041

323-259-2500

Web: http://www.oxy.edu

Program: A program offering classes in

music studies and instrument instruction.

Emphasis in instrument and vocal

composition, conducting, history and

theory. Majors and minors offered.

Degree: B.A.

Duration: approx. 4 years

Cost: please call or see web for info

PASADENA CITY COLLEGE

1570 E. Colorado Blvd.

Pasadena, CA 91106

626-585-7198

Web: www.pasadena.edu

Program: a program with classes in

music studies, vocal, and instrument

instruction.

Degree: A.A.

Duration: Approx. 2 years

Cost: please call or see web for info

Notes: evening classes available

PENINSULA SCHOOL OF MUSIC

1712 Pacific Coast Highway

South Redondo, CA

310-918-0439

Web: www.pvpeninsulamusic.com

Contact: Mark Fitchett

Program: All styles instruction in guitar,

bass, drums, voice, woodwinds, brass

and keyboards.

Degree: NA

Duration: varies

Cost: please call or see web for info

Additional locations:

3840 Woodruff Ave., Ste. 109

Long Beach, CA 90808

565-627-0464

PEPPERDINE UNIVERSITY

Fine Arts Division - Music

24255 Pacific Coast Hwy.

Malibu, CA 90263

310-506-4000

E-mail: admission-seaver@pepperdine.edu

Web: www.seaver.pepperdine.edu/music

Contact: Tony Cason, Director,

University Orchestra & Wind Ensemble

Program: undergraduate music

curriculum with emphases in: Applied

(instrumental/vocal performance), music

education and composition. Special

programs incl. the Flora L. Thornton

Opera Program and the Heidelberg

Summer Music Program. Performing

ensembles: orchestra, wind ensemble,

jazz band, chamber ensembles, choir,

opera & musical prod., and pep band.

Degree: B.A.

Duration: approx. 4 years

Notes: Please see website for deadline

dates to apply

PINNACLE COLLEGE

1000 S. Fremont Ave.

Bldg. A-11, Ste. 11010

Alhambra, CA 91803

877-206-6206

Web: www.pinnaclecollege.edu

Program: recording eng. cert. program

Degree: certificate

Duration: approx. 9 months

Cost: please call or see web for info

Notes: fully accredited school, offering

training in recording engineering,

MIDI, technical maintenance, audio/

video post production, mastering and

synchronization. Just added Audio

Gaming course that is an 18-month

degree program.

Additional location:

11050 White Rock Rd., #105

Rancho Cordova, CA

916-366-3431

PYRAMIND

880-832 Folsom St.

San Francisco, CA 94107

415-896-9800, 888-378-MIND

E-mail: production@pyramind.com

Web: www.pyramind.com

RECORDING ARTS CENTER, THE

11021 Via Frontera, Ste. A

San Diego, CA 92127

858-592-0556 Fax 858-592-9580

Contact: Amy Ziegelman

Web: www.tracsd.com

Cost: varies by class

Programs: Pro Tools Operator

Certification, Pro Tools Expert

Certification, Music Creation, Audio

Production, ICON Mixer Certification,

Avid Media Composer.

Degree: Associate Degree in

Recording Arts

Duration: varies by program

RECORDING CONNECTION AUDIO

INSTITUTE

1201 W. 5th St., Ste. M130

Los Angeles, CA 90017

323-329-9610, 800-755-7597

E-mail: recording@rrfedu.com

Web: www.recordingconnection.com

Notes: check website for locations

REDONDO BEACH GUITAR SCHOOL

1712 S. Pacific Coast Hwy.

Redondo Beach, CA 90277

310-540-6767

E-mail: mrfrets@aol.com

Web: www.theguitarschool.com

Contact: Mark Fitchett

Program: All styles instruction in

guitar, bass, and keyboards

Degree: NA

Duration: varies

ROCK NATION

30125 Agoura Rd., Ste. E-G

Agoura Hills, CA 91301

818-706-2326, 1-888-RCK-NATN

E-mail: info@rocknationschool.com

Web: www.rocknationschool.com

Programs: Project Rock Star, Lesson

Only Program, Adult Shredder Program,

Grass Root Fan-building Program, Artist

Development Program, Recording Arts,

Summer Tour Program, Summer Jam

Camp, Annual Concert Full

Access Pass.

Additional locations:

177 Reino Road

Newbury Park, CA 91320

10946 Ventura Blvd.

Studio City, CA

818-980-0018

SAE INSTITUTE OF TECHNOLOGY

6565 W. Sunset Blvd., Ste. 100

Los Angeles, CA 90028

323-466-6323

E-mail: losangeles@sae.edu

Web: http://www.sae-la.com

Program: Audio Technology Program

(Diploma); Electronic Music Producer

(Certificate)

Degree: NA

Duration: 9 months full-time, 18 months

part-time (Audio), 6 months part-time

(Electronic Music)

Cost: Call for more info

Notes: SAE Institute was founded

internationally in 1976 and has since

grown to almost 50 locations worldwide.

Courses focus on hands-on training to

prepare graduates for a career in the

audio industry.

Additional locations:

SAE INSTITUTE OF TECHNOLOGY

ATLANTA

215 Peachtree St. Ste. 300

Atlanta, GA 30303

404-526-9366 Fax 404-526-9367

E-mail: atlanta@sae.edu

Web: www.atlanta.sae.edu

SAE INSTITUTE OF TECHNOLOGY

MIAMI

16051 W. Dixie Hwy. Ste. 200

N, Miami Beach, FL 33160

305-944 7494 Fax 305-944 6659

E-mail: miami@sae.edu

Web: www.miami.sae.edu

SAE INSTITUTE OF TECHNOLOGY

NASHVILLE

7 Music Circle N.

Nashville, TN 37203

615-244-5848 615-244-3192

E-mail: nashville@sae.edu

Web: www.nashville.sae.edu

SAE INSTITUTE OF TECHNOLOGY

NEW YORK

1293 Broadway 9th Fl.

New York, NY 10001

212-944-9121 Fax 212-944-9123

E-mail: newyork@sae.edu

Web: www.newyork.sae.edu

SAE INSTITUTE OF TECHNOLOGY

SAN FRANCISCO

450 Bryant St

San Francisco, CA 94107

415-344-0886 Fax 415-344-0237

E-mail: sanfrancisco@sae.edu

Web: www.sanfrancisco.sae.edu

SAN FRANCISCO CONSERVATORY

OF MUSIC

50 Oak St.

San Francisco, CA 94102-6011

415-864-7326 Fax 415-503-6299

Contact: Melissa Cocco-Mitten, Dir. of

Admission

E-mail: mcocco@sfcm.edu

Web: www.sfcm.edu

Cost: please call or see web for info

SANTA MONICA COLLEGE

1900 Pico Blvd.

Santa Monica, CA 90405

310-434-4323

E-mail: martin_James@smc.edu

Web: www.smc.edu

Contact: Dr. James Martin, Dept. Chair

Program: courses taught in songwriting,

theory, voice, and ear-training, as well as

instrument instruction classes.

Degree: A.A.

Duration: approx. 2 years

Cost: please call or see web for info

Notes: extension/evening classes

available

SANTA MONICA MUSIC CENTER

1901 Santa Monica Blvd.

Santa Monica, CA 90404

310-453-1928

Web: www.santamonicamusic.com

Contact: School Coordinator

Basic Rate: please call for info

Clients: all levels

SCHOOL OF ROCK MUSIC

12020 Wilshire Blvd.

W. Los Angeles, CA 90025

424-256-0611

Web: http://westla.schoolofrock.com

Program: School of Rock Music is the

original performance-based, interactive

music school founded in 1998 in

Philadelphia. Our goals at the Paul

Green School Of Rock Music are: to

help our students realize their potential

as artists, to put them on stage in front

of as many people as possible, and to

help foster a new generation of incredible

musicians.

Cost: please call for info

Notes: Schools all across the country,

check website for additional locations

SHEPHERD UNIVERSITY

SCHOOL OF MUSIC

3200 N. San Fernando Rd.

Los Angeles, CA 90065

323-550-888 Fax 323-550-1313

E-mail: info@cornelsu.com

Web: wwwsepherduniversity.edu

Contact: Atsuki Inoue

Program: Contemporary Performance,

Contemporary Composition, Film

Scoring, Music Production

Degree: Bachelor of Music (B.M.),

Master of Music (M.M.)

Duration: 4 years for B.M., 2 years for

graduate M.M. degree

Cost: please call or see web for info

SILVERLAKE CONSERVATORY

OF MUSIC

3920 Sunset Blvd.

Los Angeles, CA 90029

323-665-3363

E-mail: keithbarry@

silverlakeconservatory.com

Web: www.silverlakeconservatory.com

Contact: Keith Barry, Dean &

Co-Founder

Cost: please call or see web for info

SOUTHERN CALIFORNIA

CONSERVATORY OF MUSIC

22276 Roscoe Blvd.

West Hills, CA 91304

818-704-3819

E-mail: info@sccmusic.com

Web: www.sccm.us

Contacts: Grant Horrocks, Academic Dir.

Programs: Introductory, Preparatory;

Conservatory, Adult Studies,

Braille Music

Cost: please call or see web for info

Notes: SCCM Braille Music Division is

the headquarters for Music Education

Network for The Visually Impaired

(MENVI) - an international coalition of

parents, students, and educators.

UCLA EXTENSION ENTERTAINMENT

STUDIES AND PERFORMING ARTS

10995 Le Conte Ave.

Los Angeles, CA 90024

310-825-9971 or 818-784-7006

Web: http://uclaextension.edu/

entertainmentstudies

Program: UCLA Extension’s Department

of Entertainment Studies and Performing

Arts is an internationally acclaimed

program, providing practical training

and instruction in all aspects of the

entertainment industry. Students

can enroll in individual courses or a

comprehensive certificate program in

the film scoring, the music business,

songwriting, recording engineering, and

music technology and production. Our

course of study directly addresses the

competitive demands of today’s industry

and prepares professionals with a

broad, in-depth background to meet the

challenges of the entertainment industry.

Degree: Certificates in Film Scoring and

Music Business

Duration: Approximately 1-3 years

Cost: varies depending on courses, call

for more info

Notes: This program is open to

everyone and does not require university

enrollment. It offers fundamental to

advanced training, current music

industry information, and prominent

industry professionals as instructors and

speakers.

UNIVERSITY OF CALIFORNIA,

BERKELEY

104 Morrison Hall #1200

Berkeley, CA 94720-1200

60 May 2013 www.musicconnection.com


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510-642-2678 Fax 510-642-8480

E-mail: music@berkeley.edu

Web: http://music.berkeley.edu

Contact: Benjamin Brinner

Degree: B.A., M.A./Ph.D, and Ph.D

Cost: please call or see web for info

UNIVERSITY OF CALIFORNIA, LOS

ANGELES (UCLA)

2539 Schoenberg Hall

Box 951616

Los Angeles, CA 90095-1616

310-825-4761

E-mail: m.dean@arts.ucla.edu

Web: www.music.ucla.edu

Program: A performance-based

university music program at the

undergraduate level. Graduate level

includes performance and composition.

Related departments: Ethnomusicology

(B.A., M.A., Ph.D.) and Music History/

Musicology (B.A., M.A., Ph.D.).

Degree: B.A., M.A., Ph.D, M.M., D.M.A.

Duration: varies

Cost: call for info, see www.registrar.

ucla.edu

Notes: The UCLA Department of

Music admits new students in the Fall

Quarter only. The UC application filing

period is Nov. 1st – 30th for enrollment

in September of the following year.

Applicants must first apply for admission

at the freshman level from high school

or transfer from another college or

university, and must meet all minimum

academic eligibility requirements for

admission to the University of California

either as a freshman or transfer student.

Please note that only applicants who

have indicated Music as their first

choice major to UCLA on the general

UC application, will be considered for

admission to the program. Students

interested in Jazz Studies or World Music

should apply to the UCLA Department of

Ethnomusicology

USC THORNTON SCHOOL OF MUSIC

Los Angeles, CA 90089

213-740-6935

E-mail: musicdean@thornton.usc.edu

Web: www.usc.edu/music

Contact: music admissions

Program: A large department with

a wide variety of undergraduate and

graduate programs in performance,

composition, education, and music

industry.

Degree: B.M., B.A., B.S, M.M., D.M.A.,

Ph.D., M.A., Graduate Certificate.

Duration: varies

Cost: please call or see web for info

Notes: Virtually all programs require

a performance audition in order to be

considered for admission.

VALDEZ GUITAR SHOP

7420 W. Sunset Blvd.

Los Angeles, CA

323-874-9998

Program: all styles of guitar,

one-on-one instruction

Duration: varies

Cost: please call for info

VIDEO SYMPHONY

TV & Film Post-Production Institute

266 E. Magnolia Blvd.

Burbank, CA 91502

818-557-7200, 800-871-2843

Web: www.videosymphony.com

Program: Avid TV film editing, new

media production, graphics & animation,

Pro Tools audio engineering

Notes: Pro Tools Career Program

students also gain valuable real-life

experience by working on selected

projects such as independent features,

documentaries and concert videos.

WALDEN SCHOOL, THE

31-A 29th St.

San Francisco, CA 94110

415-648-4710

E-mail: info@waldenschool.org

Web: www.waldenschool.org

Cost: please call or see web for info

Additional location:

Summer Address

P.O. Box 432

Dublin, NH 03444

603-563-8212

WEST L.A. COLLEGE

9000 Overland Ave.

Culver City, CA 90230-3519

310-287-4200

Web: www.wlac.edu

Contact: music dept. administration

Program: courses in instrument

instruction and music studies. piano,

voice, music appreciation and

fundamentals and jazz band

Degree: A.A.

Duration: approx. 2 years

Cost: please call or see web for info

Notes: evening classes are available

WEST VALLEY COLLEGE

14000 Fruitvale Ave.

Saratoga, CA 95070

408-867-2200

Web: http://www.westvalley.edu/

academics/fine_arts/music

WHITE HALL ARTS ACADEMY

2812 W. 54th St.

Los Angeles, CA 90043

424-235-0665 Fax 323-372-3731

E-mail: mail@whitehallacademy.org

Web: www.whitehallacademy.org,

facebook.com/whitehallartsacademy

Contact: any customer service rep.

Program: private one-on-one lessons in

voice, piano, strings, guitar, woodwind,

as well as group classes in guitar, acting

and dance.

Duration: Private 30/45/60 minute;

Group 60 minute

Cost: Private ($120/160/200 monthly);

Group ($40 monthly)

WOMEN’S AUDIO MISSION

1890 Bryant St., Ste. 312

San Francisco, CA 94110

415-558-9200

Web: www.womensaudiomission.org

Program: Women’s Audio Mission

(WAM) is a San Francisco-based

nonprofit organization that is dedicated

to the advancement of women in music

production and the recording arts, a

field in which women are critically underrepresented

(less than 5%). Classes in

Audio & Recording Technology.

WOODWIND INSTITUTE

1855 Sunset Plaza Dr.

Los Angeles, CA 90069

310-360-0010

E-mail: seldenmusic@mac.com

Contact: Fred Selden

Program: individual lesson with

professional woodwind musicians

Duration: varies

Degree: Masters & DMA in Music

Cost: please call or email for information

ZION MUSIC ACADEMY OF MUSIC

7475 Murray Dr., Ste. 11

Stockton, CA 95219

209-774-0819

E-mail: info@thezionacademyofmusic.org

Web: www.thezionacademyofmusic.org

Program: Instruction for children and

adults in piano, organ, flute, clarinet,

voice, harp

Degree: certificate

Duration: varies

Cost: please call for info

Notes: special program available for

persons with developmental disabilities.

Colorado

ASPEN MUSIC FESTIVAL AND

SCHOOL

225 Music School Rd.

Aspen, CO 81611

970-925-3254

Web: www.aspenmusicfestival.com

Cost: please call or see web for info

BROADWAY MUSIC SCHOOL

1940 S. Broadway

Denver, CO

303-777-0833

E-mail: info@broadwaymusicschool.com

Web: www.broadwaymusicschool.com

Cost: please call or see web for info

Services: quality private music

instruction in all instruments and voice,

rock, jazz and classical ensembles for

youths and adults, music theory classes

and more.

COLORADO CHRISTIAN UNIVERSITY

School of Music

8787 W. Alameda Ave.

Lakewood, CO 80226

800-44-FAITH, 303-963-3000

E-mail: music@ccu.edu

Web: www.ccu.edu/music

Program: The School of Music at

Colorado Christian University currently

offers four emphases in Music –

performance, education, worship arts,

and sound recording technology; as well

as 18 hours of coursework available

in Theatre, including three main stage

productions annually.

DENVER MUSIC INSTITUTE

4195 S. Broadway

Englewood, CO 80113

303-788-0303

E-mail: denvermusicinstitute@msn.com

Web: www.denvermusicinstitute.com

Cost: please call or see web for info

LAMONT SCHOOL OF MUSIC

2344 E. Iliff Ave.

Denver, CO 80208

303-871-6400 Fax 303-871-3118

Web: www.du.edu/lamont

Cost: please call or see web for info

SWALLOW HILL MUSIC ASSOCIATION

71 East Yale Ave.

Denver, CO 80210

303-777-1003

E-mail: kbailey@swallowhillmusic.org

Web: www.swallowhillmusic.org

Cost: please call or see web for info

UNIVERSITY OF COLORADO DENVER

College of Arts & Media

Campus Box 162

P.O. Box 173364

Denver, CO 80217

303-556-2279

E-mail: start@ucdenver.edu

Web: http://www.camarts.org/#explore/

by-departments

THE CONNECTICUT SCHOOL

OF MUSIC

1242 Post Rd. E.

Westport, CT 06880-5427

203-226-0805

E-mail: info@ctschoolofmusic.com

Web: www.ctschoolofmusic.com

Program: The Connecticut School of

Music offers half hour, 45 minute, or hourlong

lessons as well as every-other-week

lessons, and 5 or 10 lesson packages for

adults. We also provide group lessons

and ensemble lessons.

Cost: please call or see web for info

Additional locations:

299 Greenwich Ave. 3rd Fl.

Greenwich, CT 06830

203-302-9968

144 Riverside Blvd. at Trump Place

New York, NY 10069

THE HARTFORD SCHOOL OF MUSIC

200 Bloomfield Ave.

West Hartford, CT 06117-1599

860-768-4454

Web: http://harttweb.hartford.edu

Program: Bachelor of Music, Bachelor of

Arts, Bachelor of Fine Arts

UNIVERSITY OF NEW HAVEN

Department of Music

300 Boston Post Rd.

West Haven, CT 06516

1-800-342-5864, 203-932-7101 x 7101

Web: http://newhaven.edu

YALE UNIVERSITY

Department of Music

P.O. BOX 208310

New Haven, CT 06520-8310

203-432-4155

Contact: Lily Sutton, Dir. of Admissions

E-mail: lily.sutton@yale.edu

Web: http://music.yale.edu

District of Columbia (D.C.)

LEVINE SCHOOL OF MUSIC

Main Campus

Sallie Mae Hall

2801 Upton St., N.W.

Washington, DC 2008

202-686-8000

Contact: Sarah Andrew Wilson, Assist.

Dir. of Music Education

E-mail: swilson@levineschool.org

Web: www.levineschool.org

Cost: please call or see web for info

Notes: Levine School of Music, the

Washington DC region’s preeminent

center for music education, is a

welcoming community where children

and adults find lifelong inspiration and joy

through learning, performing, listening to,

and participating with others in music.

Additional locations:

Westover Baptist Church

1125 N. Patrick Henry Dr.

Arlington, VA 22205

703-237-5644

E-mail: LevineVirginia@levineschool.org

The Music Center at Strathmore

5301 Tuckerman Ln.

North Bethesda, MD 20852

301-897-5100

E-mail: levinemaryland@levineschool.org

Florida

CENTER FOR PRO TOOLS

658 Douglas Ave. Ste. 1118

Altamonte Springs, FL 32714

407-960-2855

E-mail: info@centerprotools.com

Web: www.centerforprotools.com

Program: ProTools Certification

FROST SCHOOL OF MUSIC

University of Miami

P.O. Box 248165

Coral Gables, FL 33124

305-284-2241

E-mail: admission.music@miami.edu

Web: www.music.miami.edu

Program: Performance, Studio

Music and Jazz, Music Education,

Music Therapy, Music Business and

Entertainment Industry, Music Theory,

Music Engineering Technology, Media

Writing and Production

Degree: B.M., B.A., B.S., M.M., D.M.A,

Ph.D, A.D., Specialist

Duration: 4 years

FSU COLLEGE OF MUSIC

Florida State University

122 N Copeland St.

Tallahassee, FL 32306-1180

850-644-6102, 407-679-6333

E-mail: musicadmissions@fsu.edu

Web: www.music.fsu.edu

Cost: please call or see web for info

FULL SAIL

3300 University Blvd.

Winter Park, FL 32792

800-226-7625 407-679-6333

Web: www.fullsail.com

Program: Full Sail offers degrees

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in Recording Arts, Show Production

& Touring, Music Business, and

Entertainment Business. Students learn

music production, mixing, recording,

live sound and event production. Online

Education.

Duration: 12 - 21 months depending on

degree program

Cost: please call or see web for info

Notes: Full Sail’s other degree programs

include Computer Animation, Digital Arts

& Design, Film, Game Development and

Graphic Design.

PLAYERS SCHOOL OF MUSIC, THE

923 McMullen Booth Rd.

Clearwater, FL 33759

Phone: 800-724-4242

Web: www.playerschool.com

Contact: Jeff Berlin

Program: guitar, drums, bass, keyboards

Degree: None

Duration: 1 Week, 4 Week, 10 Week, 1

Year, 2 Year

Cost: Call for more info

UNITY GAIN RECORDING SCHOOL

1953 Ricardo Ave.

Fort Myers, FL 33901

239-332-4246

Web: www.unitygain.com

Program: Unity Gain Recording

Institute offers two, one year programs

to teach the art of professional multi

track recording: The Audio Recording

Comprehensive Program and Advanced

Techniques In Audio Recording.

Georgia

THE ART INSTITUTE OF ATLANTA

6600 Peachtree Dunwoody Rd. N.E.

100 Embassy Row

Atlanta, GA 30328

770-394-8300, 800-275-4242

Web: http://www.artinstitutes.edu/atlanta

GEORGIA ACADEMY OF MUSIC

1424 W. Paces Ferry Rd. N.W.

Atlanta, GA 30327

404-355-3451

E-mail: info@gaom.us

Web: www.gaom.us

Cost: please call or see web for info

GEORGIA STATE UNIVERSITY

School of Music

P.O. Box 4097

Atlanta, GA 30302

404-413-5900

E-mail: music@gsu.edu

Web: http://www.music.gsu.edu

MUSIC CLASS, THE

1875 Old Alabama Rd., Ste. 815

Roswell, GA 30076

770-645-5578

E-mail: admin@themusicclass.com

Web: www.themusicclass.com

Cost: please call or see web for info

Notes: Centers throughout the United

States and Canada

SANDY SPRINGS MUSIC

5920 Roswell Rd., Ste. D-201

Atlanta, GA 30328

404-250-0406

E-mail: info@sandyspringsmusic.com

Web: www.sandyspringsmusic.com

Basic Rate: please call for info

STUDIO DIONNE, SCHOOL OF DANCE

AND MUSIC

524 Plasters Ave.

Atlanta, GA 30324

404-877-0005

E-mail: info@studiodionne.com

Web: www.studiodionne.com

Cost: please call or see web for info

Hawaii

UNIVERSITY OF HAWAII AT MANOA

Music Department

2411 Dole St.

Honolulu, HI 96822

808-956-7756

E-mail: uhmmusic@hawaii.edu

Web: www.hawaii.edu/uhmmusic/index.htm

Cost: please call for info

KAILUA MUSIC SCHOOL

131 Hekilil St., #209

Kailua, HI 96734

808-261-6141

E-mail: info@kailuamusicschool.com

Web: www.kailuamusicschool.com

Cost: please call for info

Notes: At Kailua Music School we

believe the enjoyment of music,

the knowledge of music, and the

development of skills in creating and

performing music enhances the quality

of life and nourishes the human spirit.

We provide the highest quality music

education for all ages and levels.

KE KULA MELE HAWAI’I

Alan Akaka School of Hawaiian Music

1296 Auwaiku St.

Kailua, HI 86734

808-375-9379

E-mail: info@KeKulaMele.com

Web: www.kekulamele.com

Cost: please call for info

Notes: “Ke Kula Mele” provides a special

environment where anyone (children

through adults) who want to learn to play

‘ukulele, steel guitar, upright Hawaiian

bass, and guitar are most welcome

to pursue their dreams of playing an

instrument and learning to sing Hawaiian

songs. Music so enriches the lives of our

students, young and old alike, regardless

of their initial skill level. Everyone

experiences a fun and positive learning

environment.

Illinois

AMERICAN MUSIC INSTITUTE

60 55th St.

Clarendon Hills, IL 60514

630-850-8505

E-mail: AMI@amimusic.org

Web: www.amimusic.org

Cost: please see web for info

Additional location:

307 Cedar Ave.

St. Charles, IL 60174

CENTER SCHOOL OF MUSIC

900 N. Franklin St.

Chicago, IL 60610

312-416-0622

Web: www.centerschoolofmusic.com

Basic Rate: please call for info

COLUMBIA COLLEGE CHICAGO

600 S. Michigan Ave.

Chicago, IL 60605

312-369-1000

E-mail: admissions@colum.edu

Web: www.colum.edu

Contact: music@colum.edu

Program: B.A. degrees in Composition;

Instrumental Performance; Vocal

Performance: Jazz Studies:

Instrumental; Jazz Studies: Vocal. BMus

degrees in Composition; Contemporary,

Urban and Popular Music. M.F.A. degree

in Music Composition for the Screen.

Degree: Undergraduate and Graduate

degrees

DEPAUL UNIVERSITY

School of Music

804 West Belden Ave.

Chicago, IL 60614-3296

773-325-7444

E-mail: musicadmissions@depaul.edu

Web: http://music.depaul.edu

ELMHURST COLLEGE

Department of Music

Irion Hall

190 Prospect Ave.

Elmhurst, IL 60126

630-617-3647

Contact: Dr. Peter Griffin, Department

Chair

E-mail: griffinp@elmhurst.edu

Web: http://public.elmhurst.edu/music

MERIT SCHOOL OF MUSIC

Joy Faith Knapp Music Center

38 South Peoria St.

Chicago, IL 60607

312-786-9428

E-mail: bomalley@meritmusic.org

Web: www.meritmusic.org

Cost: please call or see web for info

MILLIKIN UNIVERSITY

School of Music

1184 W. Main St.

Decautur, IL 62522

217-424-3934, 800-373-7733

E-mail: nfreeman@millikin.edu

Web: www.millikin.edu/music

MUSICAL EXPRESSIONS OF

ILLINOIS, LLC

190 E. 5th Ave.

Naperville, IL 60563

630-355-1110

Web: www.musicalexpressions.net

Basic Rate: please call for info

MUSIC INSTITUTE OF CHICAGO

517 Green Bay Road

Wilmette, IL 60091

847-905-1500 ext. 180

Web: www.musicinstituteofchicago.org

Basic Rate: please call for info

Notes: locations in Evanston, Lake

Forest, Downers Grove, Highland Park,

Lincolnshire, Northbrook

NORTHWESTERN UNIVERSITY

SCHOOL OF MUSIC

Henry and Leigh Bienen School of Music

711 Elgin Rd.

Evanston, IL 60208-1200

847-491-7575

E-mail: misiclife@northwestern.edu

Web: www.music.northwestern.edu

Cost: please call or see web for info

SOUTHERN ILLINOIS UNIVERSITY

CARBONDALE

Department of Radio-Television

Communications Bldg. Room 1048

Mail code 6609

1100 Lincoln Dr.

Carbondale, IL 62901

618-536-7555

E-mail: jeank@siu.edu

Web: http://rtv.siu.edu

TRIBECA FLASHPOINT ACADEMY

28 North Clark St. Ste. 500

Chicago, IL 60602

312-332-0707

E-mail: info@TFA.edu

Web: www.tfa.edu

Program: Founded in 2007 and

accredited by ACICS in 2011, Tribeca

Flashpoint Media Arts Academy in the

heart of downtown Chicago provides a

two-year, career-focused alternative to

traditional four-year media arts colleges.

Indiana

BALL STATE UNIVERSITY

School of Music

2000 W. University Ave.

Hargreaves Music Building (MU) 203

Muncie, IN 47306

800-382-8540, 765-289-1241

Contact: John Scheib, Director

E-mail: jwscheib@bsu.edu

Web: www.bsu.edu/music

BUTLER UNIVERSITY

School of Music

Lily Hall, Room 229

4600 Sunset Ave.

Indianapolis, IN 46208

800-368-6852, 317-940-9246

Contact: Joy L. Rogers

E-mail: jlroger1@butler.edu

Web: butler.edu/music/

INDIANA UNIVERSITY JACOBS

SCHOOL OF MUSIC

1201 E. Third St. Merrill Hall 101

Bloomington, IN 47405-2200

812-855-7998

E-mail: musicadm@indiana.edu

Web: www.music.indiana.edu

Cost: please call or see web for info

INDIANA STATE UNIVERSITY

SCHOOL OF MUSIC

300 N. 7th St.

Terre Haute, IN 47809

812-237-2771

E-mail: isu-music@mall.indstate.edu

Web: www.indstate.edu/music

Cost: please call or see web for info

Kansas

THE INSTITUTE OF AUDIO

ENGINEERING ARTS

1933 N. 10th St.

Kansas City, KS 66104

913-621-2300

Web: www.recordingeducation.com

Cost: please call or see web for info

Louisiana

ANDY HYMEL SCHOOL OF MUSIC

1800 Stumpf Blvd., Unit 2

Terrytown, LA 70056

504-362-1212

E-mail: AndyHymelSchool@bellsouth.net

Web: www.andyhymelschoolofmusic.com

Basic Rate: please call for info

COVINGTON SCHOOL OF MUSIC

857 N. Collins Blvd. Ste. A

Covington, LA 70433

985-590-4545

Web: www.laapa.com

Cost: please call or see web for info

Additional locations:

MANDEVILLE SCHOOL OF MUSIC

316 Girod St.

Mandeville, LA 70448

985-674-2992

RIVER RIDEGE SCHOOL OF MUSIC

& DANCE

2020 Dickory Ave., Ste 200

Harahan, LA 70123

504-738-3050

METAIRIE SCHOOL OF MUSIC

901 Veterans Memorial Blvd.

Metairie, LA 70005

504-837-7731

Contact: Vicki Genova, Owner

E-mail: vicki@metairiemusic.com

Web: http://www.metairieschool

ofmusic.com

Basic Rate: $70/month

Services: guitar, bass, vocals, piano,

drums

Maine

THE MUSIC CENTER

149 Maine St.

Tontine Mall

Brunswick, ME 04011

207-725-6161

E-mail: sales@themusiccenter.net

Web: www.themusiccenter.net

Cost: please call or see web for info

NEW ENGLAND SCHOOL OF

COMMUNICATIONS

1 College Cir.

Bangor, ME 04401

888-877-1876

Web: www.nescom.edu

Program: Bachelor of Science Degree

in Communications Technology, Media

Studies, Entertainment Production

PORTLAND CONSERVATORY OF

MUSIC

202 Woodford St.

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Portland, ME 04103

207-775-3356

Contact: Stephen Shiman, Exec. Dir.

E-mail: stephenshiman@gmail.com

Web: www.portlandconservatory.net

Cost: please call or see web for info

RIVER TREE ARTS

35 Western Ave.

Kennebunk, ME 04043

207-967-9120

E-mail: info@rivertreearts.org

Web: www.rivertreearts.org

Cost: please call or see web for info

UNIVERSITY OF SOUTHERN MAINE

P.O. BOX 9300

Portland, ME 04104

800-800-4USM

Web: www.usm.maine.edu/music

Cost: please call or see web for info

Maryland

MUSIC & ARTS CENTERS

Westview Village Shopping Center

5010 Buckeystown Pike, Ste. 128

Frederick, MD 21704-8340

888-731-5396, 301-694-0007

E-mail: info@musicarts.com

Web: www.musicarts.com

Note: Music & Arts has served students,

teachers, and families through retail

stores and school representatives

since 1952. Based in Frederick, MD,

the company specializes in instrument

rentals, music lessons and band and

orchestra instrument sales. Music & Arts

was acquired by Guitar Center, Inc. in

April 2005 to expand its offerings to the

beginning and student musician. Music

& Arts now has over 100 retail locations

in 19 states.

OMEGA STUDIOS

5609 Fishers Ln.

Rockville, MD 20852

301-230-9100,

800-93-OMEGA

E-mail: info@omegastudios.com

Web: www.omegastudios.com

Contact: Shannon Follin

Certification Program

Duration: Day Students: 10 Months Night

Students: 12 Months

Programs: The Comprehensive

Recording Industry Program, The Audio

Engineering for the Music Industry

Program, The Audio Engineering for

Film and Television Program, The

Recording Engineering and Studio

Techniques Program, The Electronic

Music Synthesizers and MIDI Program,

The Sound Reinforcement for Live

Performance Program, The Audio

Production Techniques Program and The

Essentials of Music Business and Artist

Management Program.

PEABODY INSTITUTE

Johns Hopkins University

1 E. Mount Vernon Pl.

Baltimore, MD 21202

410-234-4500

E-mail: peabodycommunications@jhu.

edu

Web: www.peabody.jhu.edu

Program: Music Education

Degrees: Bachelor of Music in Music

Education, Master of Music in Music

Education

Duration: The B.M. program is four-year

undergraduate program. Orchestral

instrument music education students

also qualify for the Performer’s

Certificate in their performance major

area. Coursework for the Performer’s

Certificate requires additional study

beyond the four-year degree for voice

majors.

Cost: NA

Notes: The proficiency level in the major

instrument or voice for Music Education

undergraduates is the same as for

performance majors. The application

process includes a performance

audition for the applied faculty and an

interview with the Music Education

faculty. Graduates of the program will be

certified to teach music K-12 in the state

of Maryland and in all other states with

which Maryland shares reciprocity.

THE SHEFFIELD INSTITUTE

FOR THE RECORDING ARTS

13816 Sunnybrook Rd.

Phoenix, MD 21131

800-355-6613

E-mail: info@sheffieldav.com

Web: sheffieldav.com

Program: Audioworks, Videoworks,

Techworks, Broadcasting

UNIVERSITY OF MARYLAND

SCHOOL OF MUSIC

2110 Clarice Smith

Performing Arts Center

College Park, MD 20742

301-405.5549

E-mail: musicadmissions@umd.edu

Web: www.music.umd.edu

Cost: please call or see web for info

Massachusetts

BERKLEE COLLEGE OF MUSIC

Office of Admissions

1140 Boylston St.

Boston, MA 02215

800-BERKLEE (U.S. and Canada)

617-747-2221 (direct and internat’l)

E-mail: admissions@berklee.edu

Web: www.berklee.edu

Contact: Director of Admissions

Program: all forms of

contemporary music

Degree: BM or Professional Diploma

Duration: 4 years

Cost: please call or see web for info

BOSTON CONSERVATORY, THE

8 The Fenway

Boston, MA 02215

617-536-6340 Fax 617-912-9101

E-mail: admissions@

bostonconservatory.edu

Web: www.bostonconservatory.edu

Cost: please call or see web for info

BRISTOL RECORDING STUDIOS

169 Massachusetts Ave.

Boston, MA 02115-3009

617-247-8689

E-mail: info@bristolstudios.com

Web: www.bristolstudios.com

Contact: Kevin Patey

Services: Audio Recording and

Production Courses, Professional

Internships

NEW ENGLAND CONSERVATORY

290 Huntington Ave.

Boston, MA 02115

617-585-1100

E-mail: admission@necmusic.edu

Web: www.necmusic.edu

Cost: please call or see web for info

THE NEW ENGLAND

INSTITUTE OF ART

10 Brookline Place West

Brookline, MA 02445-7295

617-739-1700, 800-903-4425

Web: http://www.artinstitutes.edu/boston

Cost: please call or see web for info

Program: The school is one of more

than 40 Art Institutes schools located

in major cities throughout North

America. Art Institutes schools have

provided career-oriented education

programs in design, media arts, fashion

and culinary for over 35 years, and has

more than 150,000 alumni as a system.

NORTHWESTERN UNIVERSITY

Bienen School of Music

711 Elgin Road

Evanston, IL 60208

847-491-7575

Web: http://www.music.northwestern.edu

POWERS MUSIC SCHOOL

P.O. Box 398

Belmont, MA 02478-0003

617-484-4696 Fax 617-489-7353

E-mail: admin@powersmusic.org

Web: www.powersmusic.org

Cost: please call or see web for info

TUFTS UNIVERSITY

Department of Music

617-627-5657

Contact: Prof. Paul Lehrman

E-mail: paul.lehrman@tufts.edu

Web: http://www.tuftl.tufts.edu/

musicengineering

UNIVERSITY OF MASSACHUSETTS

LOWELL

Department of Music

35 Wilder St., Ste. 3

Lowell, MA 01854

978-934-3850

E-mail: amy_dinsmore@uml.edu

Web: http://www.uml.edu/FAHSS/Music

Michigan

AXIS MUSIC ACADEMY

29555 Northwestern Hw. - 2nd Fl

Southfield, MI 48034

248-799-8100

E-mail: southfield@axismusic.com

Web: www.axismusic.com

Basic Rate: please call for info

Additional locations:

42114 Ford Rd.

Canton, MI 48187

734-844-0100

E-mail: canton@axismusic.com

283 Hamilton Row

Birmingham, MI 48009

248-258-9100

E-mail: birmingham@axismusic.com

INTERLOCHEN CENTER

FOR THE ARTS

P.O. Box 199

9900 Diamond Park Rd.

Interlochen, MI 49643-0199

231-276-7200

E-mail: admission@interlochen.org

Web: www.interlochen.org

Cost: please call or see web for info

UNIVERSITY OF MICHIGAN

School of Music, Theatre & Dance

E.V. Moore Building

1100 Baits Dr.

Ann Arbor, MI 48109

734-764-0583

Contact: Christopher Kendall, Dean

E-mail: ckndll@umich.edu

Web: http://www.music.umich.edu/index.

php

WAYNE STATE UNIVERSITY

College of Fine, Peforming &

Communication Arts

Department of Music

1321 Old Main

Detroit, MI 48202

313-577-1795

E-mail: music@wayne.edu

Web: www.music.wayne.edu

Programs: Bachelor of Arts in Music,

Bachelor of Music

WESTERN MICHIGAN UNIVERSITY

1903 W. Michigan Ave.

The School of Music

Kalamazoo, MI 49008

269-387-4667

Web: http://www.wmich.edu/music

Minnesota

CHILDREN’S YAMAHA MUSIC

SCHOOL

Hamline Center

2819 N Hamline Ave.

Roseville, MN 55113

612-339-2255

E-mail: yamahamusic@cyms.ws

Web: www.cyms.ws

Cost: please call or see web for info

Additional location:

CYMS EDINA

Edina Community Center

5701 Normandale Rd.

Edina, MN 55424

THE INSTITUTE OF PRODUCTION

AND RECORDING

300 N. 1st Ave., Ste. 500

Minneapolis, MN 55401

1-866-477-4840, 612-244-2800

Web: www.ipr.edu

MACPHAIL CENTER FOR MUSIC

501 2nd St. S.

Minneapolis, MN 55401

612-321-0100

E-mail: Proctor.Kristin@macphail.org

Web: www.macphail.org

Cost: please call or see web for info

Additional locations:

14750 Cedar Ave. S.

Apple Valley, MN 55124

Birch Lake Elementary School

1616 Birch Lake Ave.

White Bear Lake, MN 55110

McNALLY SMITH COLLEGE OF

MUSIC

19 Exchange St. E.

St. Paul, MN 55101

800-594-9500 or 651-291-0177

Fax 651-291-0366

E-mail: info@mcnallysmith.edu

Web: www.mcnallysmith.edu

Degree: Diplomas, Associated of Applied

Science, Associate of Fine Arts, Bachelor

of Music, Bachelor of Science, Bachelor

of Arts, Master of Music

Cost: please call or see web for info

MINNESOTA STATE UNIVERSITY

MOORHEAD

Music Department

Center for the Arts 102

1104 7th Ave., S.

Moorhead, MN 56563

218-477-2101

Contact: Tom Strait, Chairperson

E-mail: straitth@mnstate.edu

Web: www.mnstate.edu/music

SAINT MARY’S UNIVERSITY OF

MINNESOTA

Music Department

160 St. Yon’s Hall

Winona, MN 55987

507-457-1675

Contact: Dr. Janet Heukeshoven, Chair

E-mail: jheukesh@smumn.edu

Web: http://www2.smumn.edu/music

WEST BANK SCHOOL OF MUSIC

1813 S. 6th St.

Minneapolis, MN 55454

612-333-6651

E-mail: info@westbankmusic.org

Web: www.westbankmusic.org

Cost: please call or see web for info

Mississippi

DELTA STATE UNIVERSITY

Department of Music

DSU Box 3256

Cleveland, MS 38733

662-846-4615, 800-GO TO DSU

E-mail: music@deltastate.edu

Web: http://www.deltastate.edu/

pages/579.asp

Missouri

UNIVERSITY OF MISSOURI

Department of Music

135 Fine Arts Building

Columbia, MO 65211

573-882-2604

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Contact: John Slish, Admissions

Coordinator

E-mail: SlishJ@missouri.edu

Web: www.music.missouri.edu

New England

NORTHEAST COMMUNITY COLLEGE

Audio/Recording Technology Department

801 E. Benjamin Ave.

Norfolk, NE 68701

402-844-7365

Web: www.northeastaudio.org

Nevada

COLLEGE OF SOUTHERN NEVADA

Cheyenne Campus

3200 E. Cheyenne Ave.

North Las Vegas, NV 89030

702-651-4000

Web: www.csn.edu/recording

Additional locations:

6375 W. Charleston Blvd.

Las Vegas, NV 89106

702-651-5000

700 College Dr.

Henderson, NV 89002

702-651-3000

New Hampshire

ALAN CARRUTH LUTHIER

51 Camel Hump Rd.

Newport, NH 03773

603-863-7064

E-mail: alcarruth@aol.com

Web: www.alcarruthluthier.com

Cost: please call or see web for info

MUSIC & ARTS CENTERS

934 Elm St.

Manchester, NH 03101-2006

603-623-0153

Contact: Ted Herberts

E-mail: customerservice@musicarts.com

Web: www.musicarts.com

Notes: Serving students, teachers and

families through retail stores and school

representatives since 1952. Based in

Frederick, MD, the company specializes

in instrument rentals, music lessons and

band and orchestra instrument sales.

Music & Arts was acquired by Guitar

Center, Inc. in April 2005 to expand its

offerings to the beginning and student

musician. Music & Arts now has over 100

retail locations in 19 states.

New Jersey

BLOOMFIELD COLLEGE

Division of Creative Arts & Technology

467 Franklin St.

Bloomfield, NJ 07003

973-748-9000 x 1707

Contact: Nancy Bacci, Division Chair

E-mail: nancy_bacci@bloomfield.edu

Web: http://www.bloomfield.edu/

academics/degrees-programs/creativearts-technology

COUNTY COLLEGE OF MORRIS

214 Center Grove Rd.

Randolph, NJ 07869

973-328-5000

Web: www.ccm.edu

FIREDOG STUDIOS

57 Vliet St.

Spotswood, NJ 08884

732-251-7775

E-mail: contact@firedogstudios.com

Web: www.firedogstudios.com

Program: Intro to Music Tech., Pro Tools,

Intro to Audio Editing, Creating the Music,

Anatomy of Pop Song

HOW TO SOUND WORKSHOPS

P.O. Box 1422

Eatontown, NJ 07724

732-741-1275

E-mail: howto@fitsandstarts.com

Web: www.howtosound.com

Program: Hands-on Training for your

Church sound teams

SUPREME SOUND STUDIO

86 Lackawanna Ave. Bld. #2, Ste. 227

Woodland Park, NJ 07424

973-890-1672

Web: www.supremesoundstudio.com

Program: Private Music Lessons

WILLIAM PATERSON UNIVERSITY

Department of Music

300 Pompton Rd.

Wayne, NJ 07470

973-720-3466

Contact: Dr. Tim Newman, Graduate

Admissions

E-mail: musicadmissions@wpunj.edu

Web: http://www.wpunj.edu

New York

AARON COPLAND SCHOOL OF

MUSIC - QUEENS COLLEGE

65-30 Kissena Blvd., Rm. 203

Queens, NY 11367

718-997-3800

E-mail: Edward.Smaldone@qc.cuny.edu

Web: qcpages.qc.edu/music

Contact: Edward Smaldone, Director

Degree: B.A., B.M., MS/Education,

M.A. Composition, Theory, History;

M.A. Classical Performance; M.A. Jazz

Performance

Cost: please call or see web for info

AUDIO ENGINEERING SOCIETY, INC.

60 E. 42nd St., Rm. 2520

New York, NY 10655-2520

212-661-8528

Web: www.aes.org

THE CITY COLLEGE OF NEW YORK

Music Department

Shepard Hall, Rm. 72

160 Convent Ave.

New York, NY 10031

212-650-5411

E-mail: music@ccny.cuny.edu

Web: http://www1.ccny.cuny.edu/

prospective/humanities/music

THE COLLECTIVE SCHOOL

OF MUSIC

541 Avenue of the Americas

New York, NY 10011

212-741-0091 Fax 212-604-0760

E-mail: info@thecollective.edu

Web: http://www.thecollective.edu

Basic rate: Various

Services/Specialties: long- and

short-term intensive courses on

drums, bass, guitar, piano, and vocals,

private lessons, world class faculty of

professional working musicians, practice

and rehearsal facilities, regular master

classes, musicians monthly membership

club, located in the music capital of

the world, NYC. Classes are limited to

5 students in order to make sure all

students get personal attention.

DMX DIGITAL MEDIA ARTS AT TOURO

COLLEGE

27-33 W. 23rd St.

New York, NY 10010

212-463-0400

Web: http://www.touro.edu/nyscas/dmx.html

Program: Certificate in Digital

Media Arts

EASTMAN SCHOOL OF MUSIC

University of Rochester

26 Gibbs St.

Rochester, NY 14604-2599

800-388-9695, 585-274-1060

E-mail: admissions@esm.rochester.edu

Web: www.esm.rochester.edu

Cost: please call or see web for info

FINGER LAKE COMMUNITY

COLLEGE

State University of New York

3325 Marvin Sands Dr.

Canadalgua, NY 14424

585-785-1279

E-mail: admissions@flcc.edu

Web: http://www.flcc.edu/academics/

music

FIVE TOWNS COLLEGE

305 N. Service Rd.

Dix Hills, Long Island, NY 11746

631-656-2110

E-mail: admissions@ftc.edu

Web: www.ftc.edu

Contact: Admissions Office

Program: Jazz/Commercial Music

degree programs

Cost: Contact Admissions

Degree: A.A.S Mus.B; M.M.; D.M.A

Duration: 2 years, 4 years, 1 to 4 years

for Masters/Doctoral

GRAMERCY PARK SCHOOL OF

MUSIC

9 E. 36th St.

New York, NY 10016

212-683-8937

E-mail: gramercyparkmusic@yahoo.com

Web: www.gramercyparkschool

ofmusic.com

Cost: please call or see web for info

GREENWICH HOUSE, INC.

46 Barrow St.

New York, NY 10014

212-242-4770

Contact: Elissa Kramer, Chair

Web: www.greenwichhouse.org

Cost: please call or see web for info

HOUGHTON COLLEGE

Greatbatch School of Music

One Williard Ave.

Houghton, NY 14744

585-567-9400, 800-777-2556

E-mail: music@houghton.edu

Web: http://www.houghton.edu/music

INSTITUTE OF AUDIO RESEARCH

64 University Pl.

New York, NY 10003-4595

800-544-2501, 212-777-8550

E-mail: contact@audioschoo.com

Web: http://www.audioschool.com

JUILLIARD SCHOOL, THE

60 Lincoln Center Plaza

New York, NY 10023-6588

212-799-5000

E-mail: admissions@juilliard.edu

Web: www.juilliard.edu

Cost: please call or see web for info

MANHATTAN SCHOOL OF MUSIC

120 Claremont Ave.

New York, NY 10027

212-749-2802

E-mail: administration@msmnyc.edu

Web: www.msmnyc.edu

Program: We offer degree and diploma

programs at the undergraduate, graduate

and doctoral levels, with majors in all

orchestral instruments, voice, piano,

accompanying, composition, saxophone,

guitar, organ, conducting and jazz.

Cost: please call or see web for info

MANNES COLLEGE THE NEW

SCHOOL FOR MUSIC

55 West 12th St.

New York, NY 10011

800-292-3040, 212-229-5150

E-mail: admissions@newschool.edu

Web: www.newschool.edu/mannes

Cost: please call or see web for info

NEW YORK UNIVERSITY

The Steinhardt School/Music

35 W. 4th St., Ste. 1077

New York, NY 10012

212-998-5424

Web: www.steinhardt.nyu.edu/music

Degree: B.S, B.A., B.M., M.A, M.M.,

Ph.D., D.A., Ed.D., Music Performance,

Composition, Technology, Business,

Education, Therapy

Cost: please call or see web for info

PERLMAN MUSIC PROGRAM, THE

19 W. 69th St., Ste. 304

New York, NY 10023

212-721-8769 Fax 212-501-7099

Contact: Anna Kaplan, Program

Manager

E-mail: akaplan@perlmanmusic

program.org

Web: www.perlmanmusicprogram.org

Cost: please call or see web for info

SELECT SOUND STUDIOS

2315 Elmwood Ave.

Kenmore, New York 14217

716-873-2717

Web: www.selectsound.com

Program: Recording Technologies Audio

Engineering Program

THE COLLEGE OF SAINT ROSE

Music Department

432 Western Ave

Albany, NY 12203

800-637-8556

Web: www.strose.edu

THIRD STREET MUSIC SCHOOL

SETTLEMENT

235 E. 11th St.

New York, NY 10003

212-777-3240

E-mail: info@thirdstreetmusicschool.org

Web: www.thirdstreetmusicschool.org

TURTLE BAY MUSIC SCHOOL

244 E. 52nd St.

New York, NY 10022

212-753-8811 Fax 212-752-6228

E-mail: info@tbms.org

Web: www.tbms.org

Cost: please call or see web for info

UNIVERSITY OF ALBANY

College of Arts and Sciences

1400 Washington Ave.

Albany, NY 12222

518-442-3300

Web: http://www.albany.edu/music

WILLIE MAE ROCK CAMP FOR GIRLS

87 Irving Place

Brooklyn, NY 11238

347-599-0716

E-mail: info@williemaerockcamp.org

Web: www.williemaerockcamp.org, www.

facebook.com/williemaerockcamp

Program: Willie Mae Rock Camp for

Girls is a non-profit music and mentoring

program for girls and women. The

organization offers a summer day camp,

after school programs, youth and adult

lessons, and community events in New

York City. Instruments include drums,

bass, guitar, keyboards, vocals and DJ/

turntables. All programs offered with

sliding scale tuition.

Cost: please call or see web for info

YMCA CENTER FOR THE CREATIVE

ARTS

301 W. Bloomfield St.

Rome, NY 13440

315-336-3500 Fax 315-339-4076

Web: http://www.ymcatrivalley.org

Program: drums, guitar, trumpet,

saxophone, tuba, percussion,

ensembles, recording and performances,

trombone, voice

Cost: please call or see web for info

Notes: beginner to expert

North Carolina

APPALACHIAN STATE

UNIVERSITY

Hayes School of Music

Broyhill Music Center

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813 Rivers St.

Boone, NC

828-262-3020

Contact: Ms. Kim Wangler

E-mail: music@appstate.edu

Web: music.appstate.edu

CATAWBA COLLEGE

2300 W. Innes St.

Salisbury, NC 28144

704-637-4380

E-mail: dlfish@catawba.edu

Web: www.catawba.edu/academic/music

Degree: B.A. Sacred Music, Music

Education, Music Performance, Music

Business/Popular Music

Duration: 4 years

Cost: please call or see web for info

DUKE UNIVERSITY STRING

SCHOOL, THE

Mary Duke Biddle Music Bldg.

Duke University

Box 90667

Durham, NC 27708-0667

919-660-3313

Contact: Dorothy Kitchen, Director

and Founder

E-mail: djknjk@earthlink.net

Web: www.duke.edu/web/DUSS

Cost: please call or see web for info

EAST CAROLINA UNIVERSITY

SCHOOL OF MUSIC

102 A. J. Fletcher Music Center

Greenville, NC 27858-4353

252-328-6851 Fax 252-328-6258

Contact: Christopher Ulffers,

Undergraduate Admissions

E-mail: ulffersj@ecu.edu

Web: www.ecu.edu/cs-cfac/music

Cost: please call or see web for info

ELON UNIVERSITY

Department of Music

400 N. O’Kelly Ave

Elon, NC 27244

336-278-2000

Web: http://www.elon.edu/e-web/

academics/elon_college/music

UNIVERSITY OF NORTH CAROLINA

Department of Music

Hill Hall - CB # 3320

UNC-CH

Chapel Hill, NC 27599

919-962-2211

Web: www.music.unc.edu

Ohio

BALDWIN-WALLACE COLLEGE

275 Eastland Rd.

Berea, OH 44017-2088

440-826-2900

E-mail: info@bw.edu

Web: www.bw.edu

Cost: please call or see web for info

BRECKSVILLE SCHOOL OF MUSIC

8945 Brecksville Rd.

Brecksville, OH 44141

440-526-1020

Web: www.brecksvilleschoolofmusic.com

Basic Rate: please call for info

CLEVELAND INSTITUTE

OF MUSIC, THE

11021 East Blvd.

Cleveland, OH 44106-1705

216-791-5000

Contact: William Fay, Dir. of Admissions

E-mail: william.fay@cim.edu

Web: www.cim.edu

Cost: Call or view online

CLEVELAND MUSIC SCHOOL

SETTLEMENT, THE

11125 Magnolia Dr.

Cleveland, OH 44106

216-421-5806 Fax 216-231-5005

E-mail: info@themusicsettlement.org

Web: www.thecmss.org

Cost: please call or see web for info

COLLEGE-CONSERVATORY

OF MUSIC

University of Cincinnati

Mary Emery Hall

P.O. Box 210003

Cincinnati, OH 45221-0003

513-556-6638

Web: www.ccm.uc.edu

Cost: please call or see web for info

INTERNATIONAL COLLEGE OF

BROADCASTING

6 S. Smithville Rd.

Dayton, OH 45431

800-517-7284, 937-258-8251

E-mail: admissions@icbcollege.com

Web: www.icbcollege.com

Program: Degrees in Radio/TV,

Recording/Voice, Broadcasting I

MOTTER’S MUSIC HOUSE, INC.

5228 Mayfield Rd.

Lyndhurst, OH 44124

440-442-7470

Web: www.mottersmusic.com

Basic Rate: $18/half-hr.

OBERLIN COLLEGE

CONSERVATORY OF MUSIC

39 W. College St.

Oberlin, OH 44074-1588

440-775-8413

Contact: Mike Manderen, Dir. of

Conservatory Admissions

E-mail: michael.manderen@oberlin.edu

Web: www.oberlin.edu/con

Cost: please call or see web for info

OHIO NORTHERN UNIVERSITY

The Music Department

525 S. Main St.

Ada, OH 45810

419-772-2000

E-mail: music@onu.edu

Web: www.onu.edu

OHIO UNIVERSITY

School of Music

440 Glidden Hall

Athens, OH 45701

740-593-4244

Web: http://www.ohio.edu/finearts/music

OWENS COMMUNITY COLLEGE

Fine and Performing Arts

30335 Oregon Road

Perrysburg, OH 43551

1-800-GO-OWENS, 567-661-7000

Web: www.owens.edu

Programs: Associate of Applied Science

Music Education/Performance, Music

Business Technology Certificate, Popular

Music Certificate and the Associate Art in

Music Education/Performance

RECORDING WORKSHOP, THE

455 Massieville Rd.

Chillicothe, OH 45601

800-848-9900, 740-663-1000

E-mail: info@recordingworkshop.com

Web: www.recordingworkshop.com

Program: learn the art of recording; 8

studio facilities, small classes, affordable

tuition, job placement assistance, oncampus

housing, financial aid

Degree: certificate

Duration: 5-8 weeks training

Cost: please call or see web for info

Notes: established 1971

Oklahoma

ACADEMY OF CONTEMPORARY

MUSIC

University of Central Oklahoma

25 S. Oklahoma City, Ste. 400

Oklahoma City, OK 73104

405-974-4700

E-mail: get.info@acm.uco.edu

Web: http://acm.uco.edu

OKLAHOMA STATE UNIVERSITY

Department of Music Room: 132

Seretean Center for the Performing Arts

Stillwater, OK 74078

405-744-8985

E-mail: gerald.frank@okstate.edu

Web: http://music.okstate.edu

OU SCHOOL OF MUSIC

University of Oklahoma

660 Parrington Oval

Norman, OK 73019-2071

405-325-0311

E-mail: oumusic@ou.edu

Web: www.music.ou.edu/index.php

Cost: please call or see web for info

TULSA TECHNOLOGY

P.O. Box 477200

6111 East Skelly Dr.

Tulsa OK 74147

918-828-5000

Web: www.tulsatech.edu

Oregon

AMERICAN SCHOOL OF LUTHERIE

Portland, OR 97225

503-292-2385

E-mail: info@americanschool

oflutherie.com

Web: www.americanschooloflutherie.com

Cost: please call or see web for info

MUSIC TOGETHER OF PORTLAND

c/o Julie Chiles

Portland, OR

503-236-4304

E-mail: julie@musictogether-pdx.com

Web: www.musictogether-pdx.com

Basic Rate: please call for info

OREGON MUSIC ACADEMY

Tigard Oregon Music Academy

11555 S.W. Durham Rd. Ste. A4

Tigard, OR 97224

503-616-7161

Web: www.oregonmusicacademy.com

Cost: please call or see web for info

ROCK ‘N’ ROLL CAMP FOR GIRLS

P.O. Box 11324

Portland, OR 97211

503-445-4991

E-mail: gri@girlsrockcamp.org, camp@

girlsrockcamp.org

Web: www.girlsrockcamp.org

Contact: Marisa Anderson

Program: The Rock ’n’ Roll Camp for

Girls, a 501(c)3 non-profit, builds girls

self-esteem through music creation and

performance. Providing workshops and

technical training, we create leadership

opportunities, cultivate a supportive

community of peers and mentors,

and encourage social change and the

development of life skills.

Cost: please call or see web for info

ROCK ‘N’ ROLL FANTASY CAMP

888-ROC-BAND, 888-762-2263 ext. 1

E-mail: beth@rockcamp.com

Web: http://www.rockcamp.com

Program: Rock n’ Roll Fantasy Camp

is the ultimate music experience. For

the novice and the expert, the amateur

and the aficionado, we make rock n’

roll dreams come true. Simply stated,

our mission is to bring people’s musical

fantasies to life!

Cost: please call or see web for info

SCHOOL OF MUSIC & DANCE

1225 University of Oregon

Eugene, OR 97403-1225

541-346-5268

E-mail: SOMAdmit@uoregon.edu

Web: music.uoregon.edu

Contact: Undergraduate information:

audition@uoregon.edu, Graduate

Information: gradmus@uoregon.edu,

Admissions: gmusadm@uoregon.edu

Program: Composition, Music

Education, Performance Studies, Piano

Pedagogy, Jazz Studies, Theory, Music

Technology, and more including Dance

Degree: B. Mus, B.A., B.S., M.Mus,

M.A., M.F.A., D.M.A., Ph.D.

Duration: 4 year bachelor’s, 2-3

master’s, 4-5 doctoral

STARFISH STUDIOS

2240 SE Hawthorne Blvd.

Portland, OR 97214

503-847-9605

Web: www.starfishstudios.com

Basic Rate: please call for info

Services: We teach guitar, bass, piano,

drums, voice, violin, viola, cello, sax,

clarinet, flute, mandolin, trombone,

trumpet.

WESTERN OREGON UNIVERSITY

Department of Music

Smith Hall

345 N. Monmouth Ave.

Monmouth, OR 97361

503-838-8275, 877-877-1593

E-mail: lcaligu@wou.edu

Web: http://www.wou.edu/las/

creativearts/music

Pennsylvania

ACADEMY OF MUSIC, THE

Broad and Locust Sts.

Philadelphia, PA 19102

215-893-1999

Web: www.academyofmusic.org

Cost: please call or see web for info

CARNEGIE MELLON SCHOOL

OF MUSIC

College of Fine Arts

5000 Forbes Ave.

Pittsburgh, PA 15213-3815

412-268-2384

Contact: Denis Colwell, Head

E-mail: dc38@andrew.cmu.edu

Web: music.cmu.edu

Cost: please call or see web for info

CURTIS INSTITUTE OF MUSIC, THE

1726 Locust St.

Philadelphia, PA 19103

215-717-3117

E-mail: admissions@curtis.edu

Web: www.curtis.edu

Cost: please call or see web for info

DREXEL UNIVERSITY

Antoinette Westphal College of Media

Arts & Design

Nesbitt Hall

3501 Market St.

Philadelphia, PA 19104

215-571-4440

Contact: Helene Engel, Music Dept.,

Bridget Lynch, Music Industry

E-mail: hbe25@drexel.edu

Web: http://www.drexel.edu/westphal

KUTZTOWN UNIVERSITY

P.O. Box 730

Kutztown, PA 19530

610-683-4492

Contact: Melanie Kerber

E-mail: kerber@kutztown.edu

Web: http://www.kutztown.edu/acad/

electronicmedia

MARLBORO MUSIC

1528 Walnut St., Ste. 301

Philadelphia, PA 19102

215-569-4690 Fax 215-569-9497

E-mail: info@marlboromusic.org

Web: www.marlboromusic.org

Cost: please call or see web for info

MARY PAPPERT SCHOOL OF MUSIC

Duquesne University

600 Forbes Ave.

Pittsburgh, PA 15282

412-396-6000

E-mail: musicadmissions@duq.edu

Web: www.duq.edu/music

Contact: Troy Centofanto, Director of

Music Admissions

Program: Music Performance, Music

Education, Music Therapy, Music

Technology

Degree: Bachelor of Music, Bachelor of

Science

May 2013

www.musicconnection.com

65


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Duration: 4 years

Notes: Mary Pappert School of Music

is a national leader in performance,

music education, music therapy,

music technology and sacred music.

Also Graduate Degrees offered in

performance, composition, theory,

music education, music technology and

sacred music, plus an artist diploma in

performance.

SETTLEMENT MUSIC SCHOOL

P.O. Box 63966

Philadelphia, PA 19147-3966

215-320-2600

Web: www.smsmusic.org

Cost: please call or see web for info

TEMPLE UNIVERSITY

School of Communications and Theater

Annenberg Hall, Rm. 205

2020 North 13th St.

Philadelphia, PA 19122

215-204-5401

Contact: Jan Fernback, Ph.D., Chair

E-mail: fernback@temple.edu

Web: http://www.temple.edu/sct/btmm

YORK COLLEGE OF PENNSYLVANIA

Division of Music

Wolf Hall, Room 206D

441 Country Club Rd.

York, PA 17403

715-815-6450

Contact: Grace Muzzo, D.M.A.

E-mail: gmuzzo@ycp.edu

Web: www.ycp.edu

South Carolina

MIDLANDS AUDIO INSTITUTE

201 South Prospect St.

Columbia, SC 29205

803-782-6910

E-mail: info@midlandsaudioinstitute.com

Web: www.midlandsaudioinstitute.com

UNIVERSITY OF SOUTH CAROLINA

School of Music

813 Assembly St.

Columbia, SC 29208

803-777-4280, 803-777-4281

E-mail: ugmusic@mozart.sc.edu

Web: http://www.music.sc.edu

Tennessee

THE ART INSTITUTE OF TENNESSEE

(branch of the Art Institute of Atlanta, GA)

100 Centerview Dr., Ste. 250

Nashville, TN 37214

615-874-1067, 866-747-5770

Web: http://www.artinstitute.edu/nashville

BELMONT UNIVERSITY

MIKE CURB COLLEGE OF

ENTERTAINMENT AND MUSIC

BUSINESS

1900 Belmont Blvd.

Nashville, TN 37212

615-460-6000

Web: http://www.belmont.edu/cemb

Program: Music Business, (BBA),

Masters in Business Admin, (MBA),

Entertainment Industry Studies, (BS, BA),

Songwriting, (BS, BA), Audio Engineering

Technology, (BS, BA)

BLAIR SCHOOL OF MUSIC

Vanderbilt University

2400 Blakemore Ave.

Nashville, TN 37212

615-322-7651

Web: www.vanderbilt.edu/blair

Cost: please call or see web for info

GENE FORD MUSIC

330 Franklin Rd.

Brentwood, TN 37027

615-371-1661

E-mail: admin@genefordmusic.com

Web: www.genefordmusic.com

Basic Rate: please call for info

GOSPEL MUSIC ASSOCIATION (GMA)

P.O. Box 22697

Nashville, TN 37202

615-242-0303 Fax 615-254-9755

E-mail: info@gospelmusic.org

Web: www.gospelmusic.org

Cost: please call or see web for info

Program: IMMERSE, 1 - 4 day Christian

music training event

JAN WILLIAMS SCHOOL OF MUSIC

AND THEATRE

500 Wilson Pike Cir., Ste. 104

Brentwood, TN 37027

615-371-8086 Fax 615-371-8637

E-mail: jwsm88@bellsouth.net,

Web: www.janwilliamsmusic.com

Basic Rate: please call for info

Services: piano, voice, guitar,

Kindermusik, and Musical Theatre

KASPER HOME

MUSIC STUDIOS, THE

927 Battlefield Dr.

Nashville, TN 37204

615-383-8516

Web: www.kaspermusic.com

Basic Rate: please call for info

Services: Small group and private group

lessons for children and adults

MIDDLE TENNESSEE STATE

UNIVERSITY SCHOOL OF MUSIC

1439 Faulkinberry Dr.

Murfreesboro, TN 37132

615-898-2469

E-mail: admmail@mtsu.edu

Web: www.mtsu.edu/music

Degree: B.M., M.A.

Cost: please call or see web for info

NASHVILLE JAZZ WORKSHOP

1319 Adams St.

Nashville, TN 37208

615-242-JAZZ (5299)

E-mail: info@nashvillejazz.org

Web: www.nashvillejazz.org

Basic Rate: please call for info

NASHVILLE SCHOOL OF ARTS

1250 Foster Ave.

Nashville, TN 37210

615-291-6600

Contact: Dr. Gregory Stewart, Exec.

Principal

Web: www.nsahs.mnps.org

Basic Rate: please call for info

PELLISSIPPI STATE COMMUNITY

COLLEGE

10915 Hardin Valley Rd.

P.O.Box 22990

Knoxville, TN 37933

865-694-6701

Contact: L. William Brewer, Music

Program Coordinator

E-mail: lwbrewer@pstcc.edu

Web: http://www.pstcc.edu

SHUFF’S MUSIC

118 3rd Ave. N.

Franklin, TN 37064

615-790-6139

E-mail: zach@shuffsmusic.com

Web: www.shuffsmusic.com

Basic Rate: please call for info

THE UNIVERSITY OF MEMPHIS

Rudi E. Scheidt School of Music

Music Building, Rm. 123

3775 Central Ave.

Memphis, TN 38152

901-678-2541

E-mail: music@memphis.edu

Web: http://www.memphis.edu/music

Texas

AUDIO ENGINEERING INSTITUTE

Community Bible Church

2477 North Loop 1604 E.

San Antonio, TX

210-477-9055

E-mail: info@audio-eng.com

Web: Audio-eng.com

DALLAS BAPTIST UNIVERSITY

3000 Mountain Creek Pkwy.

Dallas, TX 75211

214-333-5360, 800-460-1DBU

E-mail: admiss@dbu.edu

Web: www.dbu.edu

DALLAS SCHOOL OF

MUSIC, INC., THE

2650 Midway Rd., Ste. 204

Carrollton, TX 75006-2378

972-380-8050

Web: www.dsminfo.com

Kore Series Curriculum -Teacher and

District rates available

DEL MAR COLLEGE

Department of Music

Fine Arts Center

361-698-1211

Contact: Dr. Cynthia Bridges,

Chairperson

E-mail: cbridges@delmar.edu

Web: http://dmc122011.delmar.edu/music

FRISCO SCHOOL OF MUSIC

9255 Preston Rd.

Frisco, TX 75034

214-436-4058

E-mail: music@friscoschoolofmusic.com

Web: www.friscoschoolofmusic.com

Basic Rate: please call for info

INSTITUTE FOR MUSIC RESEARCH

UTSA Department of Music

One UTSA Cir.

San Antonio, TX 78249

210-458-4354

Web: imusic.utsa.edu

Cost: please call or see web for info

LONESTAR SCHOOL OF MUSIC

4301 W. William Cannon

Austin, TX 78749

512-712-5187

E-mail: arbortrails@

lonestarschoolofmusic.com

Web: www.lonestarschoolofmusic.com

Cost: please call or see web for info

MEDIATECH INSTITUTE

13370 Branch View Ln., Ste. 135

Dallas, Texas 75234

972-869-1135

E-mail: abe@mediatech.edu

Web: Mediatech.edu

Additional location:

302 Oceanside Blvd,

Oceanside, CA 92054

760-231-1578

E-mail: matthew@mediatech.edu

3324 Walnut Bend Ln.

Houston, TX 77042

E-mail: josh@mediatech.edu

4719 S. Congress Ave.

Austin, Texas 78745

E-mail: Roland@mediatech.edu

MOORES SCHOOL OF MUSIC (MSM)

University of Houston

120 School of Music Bldg.

Houston, TX 77204-4017

713-743-3009

E-mail: MSM_undergrad.adm@uh.edu

Web: www.music.uh.edu

Cost: please call or see web for info

NATURAL EAR MUSIC INC.

1306 W. Oltorf St. Austin, TX 78704

512-961-3354

E-mail: naturalearmusic@austin.rr.com

Web: www.naturalearmusic.com

Cost: please call or see web for info

SHEPHERD SCHOOL OF MUSIC, THE

Rice University

2235 Alice Pratt Brown Hall

Houston, TX 77005

713-348-3032

Contact: Geoffrey Scott, Dir. of Music

Admin.

E-mail: geoffrey.scott@rice.edu

Web: www.music.rice.edu

STEPHEN F. AUSTIN STATE

UNIVERSITY

School of Music

Box 13043, SFA Station

Nacogdoches, TX 75962

936-468-4602

E-mail: robertsjn1@sfasu.edu

Contact: Dr. John N. Roberts, Director

Web: http://www.music.sfasu.edu

TEXAS STATE UNIVERSITY SAN

MARCOS

School of Music

601 University Dr.

San Marcos, TX 78666

512-245-2651

E-mail: music@txstate3.edu

Web: www.music.txstate.edu

UNIVERSITY OF TEXAS AT AUSTIN

Sarah and Ernest Butler School of Music

2406 Robert Dedman Dr.

Stop E3100

Austin, TX 78712

512-471-7764

Web: http://www.music.utexas.edu

UNIVERSITY OF TEXAS AT

ARLINGTON

700 W. Greek Row, Room 101

Arlington, TX 76010

817-272-3471

E-mail: music@uta.edu

Web: http://www.uta.edu/music

UNIVERSITY OF TEXAS AT SAN

ANTONIO

Department of Music

One UTSA Circle

San Antonio, TX 78249

210-458-4354

Web: http://music.utsa.edu

Utah

BRIGHAM YOUNG UNIVERSITY

C-550 Harris Fine Arts Center

P.O. Box 26410

Provo, UT 84602

801-422-8903

E-mail: music@byu.edu

Web: http://cfacweb.byu.edu/

departments/music

THE UNIVERSITY OF UTAH

School of Music

1375 E. Presidents Cir.

204 David Gardner Hall

Salt Lake City, UT 84112

801-581-6762

Web: http://www.music.utah.edu

Virginia

JAMES MADISON UNIVERSITY

School of Music

880 S. Main St., MSC 7301

Harrisonburg, VA 22807

540-568-6714, 540-568-3851

Web: www.jmu.edu/music

ACADEMY OF MUSIC

1709 Colley Ave. Ste. 302

Norfolk, VA 23517

757-627-0967

Contact: John S. Dixon, Exec. Dir.

E-mail: jdixon@aomva.org

Web: www.aomva.org

Cost: please call or see web for info

Notes: 3 locations in the Norfolk area

CONTEMPORARY MUSIC CENTER

14155 Sullyfield Cir.

Chantilly, VA 20151

703-817-1000

Contact: Menzie Pittman, Founder, Dir.

of Education

E-mail: menzie@

contemporarymusiccenter.com

Web: www.contemporarymusiccenter.com

Cost: please call or see web for info

Notes: Our facilities have 27 private

instruction studios. Our teaching staff,

who are the finest in the area, are

motivated and dedicated professionals.

All are active within the music community

and bring energy and enthusiasm to

the educational process. Along with

innovative teaching techniques, our staff

prides itself on the ability to draw upon a

wealth of practical knowledge and exp.

RADFORD UNIVERSITY

Center for Music Technology

Department of Music

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P.O. Box 6968

Radford, VA 24142

540-831-5177

Contact: Dr. Bruce Mahin, Director

Web: http://grad-music.asp.radford.edu

SHENANDOAH UNIVERSITY

SHENANDOAH CONSERVATORY

1460 University Dr.

Winchester, VA 22601

800-432-2266

Web: www.su.edu/conservatory

Program: Music, Recording,

Composition, Sound Reinforcement,

MIDI and Music Production

VIRGINIA TECH DEPARTMENT

OF MUSIC

241 Squires Student Center

Blacksburg, VA 24061

540-231-5685 Fax 540-231-5034

E-mail: music@vt.edu

Web: www.music.vt.edu

Cost: please call or see web for info

Washington

THE ART INSTITUTE OF SEATTLE

2323 Elliott Ave.

Seattle, WA 98121

206-448-6600, 800-275-2471

Web: http://www.artinstitutes.edu/seattle

BELLEVUE SCHOOL OF MUSIC

2237 140th Ave. N.E.

Bellevue, WA 98005

425-401-8486

Web: www.bellevueschoolofmusic.com

Basic Rate: please call for info

JACK STRAW PRODUCTIONS

4261 Roosevelt Way N.E.

Seattle, WA 98105

206-634-0919

Contact: Joan Rabinowitz, Exec. Dir.

E-mail: joan@jackstraw.org

Web: www.jackstraw.org

MIRROR SOUND STUDIOS

301 N.E. 191st St.

Seattle, WA 98155

206-440-5889

E-mail: info@mirrorsound.com

Web: www.mirrorsound.com

Programs: Audio Recording Course, 8

week program.

MUSIC CENTER

OF THE NORTHWEST

901 N. 96th St.

Seattle, WA 98103

206-526-8443

E-mail: office@mcnw.org

Web: www.mcnw.org

Cost: please call or see web for info

MUSIC WORKS NORTHWEST

14360 S.E. Eastgate Way, Ste. 102

Bellevue, WA 98007

425-644-0988 Fax 425-644-0989

E-mail: registration@musicworksnw.org

Web: www.musicworksnw.org

Basic Rate: please call for info

SEATTLE DRUM SCHOOL

12510 15th Ave. N.E.

Seattle, WA 98125

206-364-8815

E-mail: info@seattledrumschool.com

Web: www.seattledrumschool.com

Basic Rate: please call for info

Additional location:

1010 S. Bailey

Seattle, WA 98108

206-763-9700

SEATTLE SCHOOL OF MUSIC

Fremont Abbey Arts Center

4272 Fremont Ave.

N. Seattle, WA 98103

206-36MUSIC 206-366-8742

E-mail: info@fremontmusicschool.com

Web: www.seattleschoolofmusic.org

Cost: please call or see web for info

Additional location:

The Discovery House

4401 2nd Ave, N.E.

Seattle, WA 98105

SHORELINE COMMUNITY COLLEGE

Music Department - 800 Building

16101 Greenwood Ave. N.

Shoreline, WA 98133

206-546-4687

Web: http://new.shoreline.edu/music/

default.aspx

SPOTLIGHT STUDIOS

17802 134th Ave. N.E., Ste. 19

Woodinville, WA 98072

425-402-3700

E-mail: Schedule@JamAcademy.com

Web: www.spotlightstudiosnw.com

West Virginia

AUGUSTA HERITAGE CENTER OF

DAVIS & ELKINS COLLEGE

Hermanson Campus Center

100 Campus Dr.

Elkins, WV 26241

304-637-1209, 800-624-3157 ext. 1209

Fax 304-637-1317

E-mail: augusta@augustaheritage.com

Web: https://augustaheritagecenter.org

Cost: please call or see web for info

Wisconsin

LAWRENCE UNIVERSITY SCHOOL

OF MUSIC

711 E. Boldt Way

Appleton, WI 54912

920-832-7000

Web: www.lawrence.edu

Cost: please call or see web for info

UNIVERSITY OF WISCONSIN-

MADISON, SCHOOL OF MUSIC

3561 Moose Humanities Bldg.

455 N. Park St.

Madison, WI 53706

608-263-5986

E-mail: music@music.wisc.edu

Web: www.music.wisc.edu

Cost: please call or see web for info

WISCONSIN CONSERVATORY OF

MUSIC

1584 N. Prospect Ave.

Milwaukee, WI 53202

414-276-5760

Web: www.wcmusic.org

Cost: please call or see web for info

Wyoming

CASPER COLLEGE

School of Music

125 College Dr.

Casper, WY 82601

800-442-2963, 307-268-2100

Contact: Doug Bill, Music Depart., Chair

E-mail: dbull@caspercollege.edu

Web: http://www.caspercollege.edu/

music/index.html

UNIVERSITY OF WYOMING

Department 3037

Fine Arts Center, Rm. 258

1000 E University Ave.

Laramie, WY 82071

307-766-5242

E-mail: musicdpt@uwyo.edu

Web: www.uwyo.edu/music

International

THE BANFF CENTRE

107 Tunnel Mountain Dr.

Banff, Alberta, Canada T1L 1H5

403-762-6100

E-mail: arts_info@banffcentre.ca

Web: http://www.banffcentre.ca/filmmedia/audio

HARRIS INSTITUTE

118 Sherbourne St.

Toronto, Ontario, Canada, M5A 2R2

416-367-0178, 800-291-4477

Fax 416-367-5534

E-mail: info@harrisinstitute.com

Web: www.harrisinstitute.com

Degree offered: Diploma

Cost: please call or see web for info

Program: The program names have

changed. Producing/Engineering

Program is now ‘Audio Production

Program (APP)’ and Recording Arts

Management is now ‘Arts Management

Program (AMP)’.

Notes: The Faculty of 67 leading

industry professionals is complemented

by a wide range of music industry guest

lecturers. Full-time programs are followed

by Internship Placements at companies

throughout the music industry and start

in March, July and Nov.

THE INSTITUTE OF CONTEMPORARY

MUSIC PERFORMANCE

Foundation House

1A Dyne Rd.

London NW6 7XG

+44 (0) 207 328 0222

E-mail: enquiries@icmp.co.uk

Web: www.icmp.co.uk

Cost: please call or see web for info

Program: With over 25 years of

experience in the sector, the Institute

is considered by many to be one of

the pioneers of contemporary music

education in the country, leading

the way with innovative courses and

services. Home of the legendary Guitar

Institute, we are respected throughout

both the music education sector, as

well as by the music industry! We also

provide a wide range of clinics, master

classes, showcases and gigs to provide

students with that ‘real world’ experience

and opportunity. And our extensive

range of industry contacts, partnerships

and connections ensures that Institute

students always get a head start in the

music industry!

MCGILL UNIVERSITY

Schulich School of Music

Strathcona Music Building

555 Sherbrooke St., W

Montreal, Quebec, Canada H3A 1E3

514-398-4535

Web: http://www.mcgill.ca/music

MOSMA

Mid-Ocean School of Media Arts

1588 Erin St.

Winnipeg, Manitoba R3E 2T1, Canada

204-775-3308

E-mail: info@midoceanschool.ca

Web: http://www.midoceanschool.ca

NIMBUS RECORDING

300-238 2nd Ave. E.

Vancouver, Canada V5T 1B7

604-875-8998

E-mail: info@nimbusrecording.com

Web: http://www.nimbusrecording.com/

Program: 1 year Diploma Programs

OIART

Ontario Institute of

Audio Recording Tech.

500 Newbold St.

London, Ontario N6E 1K6

519-686-5010, 866-686-5010

E-mail: inquiry@olart.org

Web: http://www.oiart.org

RECORDING ARTS CANADA

390, Notre-Dame W., Ste. 320

Montreal, Quebec, H2Y 1T9

514-286-4336, 877-224-8366

E-mail: montreal@recordingarats.com

Web: recordingarts.com

Additional location:

111 Peter St., Ste. 708

Toronto, Ontario, M5V 2H1

416-977-5074, 888-662-2664

E-mail: toronto@recordingarts.com

TREBAS INSTITUTE

2340 Dundee St. W., 2nd Fl.

Toronto, Ontario, M6P 4A9, Canada

416-966-3066

Web: Trebas.com

Programs: Audio Engineering,

Entertainment Management, Event

Venue Management, Film TV production

Additional location:

Montreal English, Montreal Francais

550 Sherbrooke St. W., Ste. 600

Montreal, Quebec, H3A 1B9

514-845-4141

Programs: DJ Arts Tech., Film TV Prod.,

Music Business Admin., Sound Design,

Studio Recording Live Sound

SAE INSTITUTE OF TECHNOLOGY

Melbourne, Austraila

235 Normanby Rd.

South Melbourne, VIC 3205

+61 (0)3 8632 3400

Fax. +61 (0)3 8632 3401

E-mail: melbourne@sae.edu

Web: http://melbourne.sae.edu/en-gb/

home/

Additional locations:

London

SAE House

297 Kingsland Rd.

E8 4DD London

+44-(0)20-792 39 159

Fax. +44-(0)20-769 17 653

E-mail: london@sae.edu

Web: http://london.sae.edu/en-gb/home/

Paris

BP 40331 Aubervilliers

45 ave. Victor Hugo

Batiment 229

93534 La Plaine

St Denis Cedex

+33 (0)148 119696

Fax +33 (0)148 119684

E-mail: paris@sae.edu

Web: http://paris.sae.edu/fr/home

Frankfurt

Homburger Landstr. 182

60435 Frankfurt/Main

Tel. 069 54 32 62 Fax 069 5 48 44 43

E-mail: frankfurt@sae.edu

Web: http://frankfurt.sae.edu/de/home/

UNIVERSITE BLAISE PASCAL

34, Ave. Carnot BP 185

63006 Clermont-Ferrand CEDEX France

+33 (0)4 73 40 63 63 (standard)

Fax +33 (0)4 73 40 64 31

E-mail: ri@univ-bpclermont.fr

Web: www.univ-bpclermont.fr/rubrique10.

html

Degree offered: AA protools certification

Cost: Less than $10,000 per year

including accommodations

program and facilities: two & three

year university program taught in a

2500 ft. professional studio. The best

engineers and producers on the planet

will be teaching you their craft while

acousticians, micro-electronic and

physics teachers will take you deeper

into how things work.

Online

FULL SAIL UNIVERSITY

See Florida listing for details

MUSICIAN2YOU.COM

888-272-7598

E-mail: bizadmin@musician2you.com

Web: www.musician2you.com

Basic Rate: $42/CD, $80/hour,

workshops vary

Services: You Can Sing CD

SONGWRITER101.COM

E-mail: contact@songwriter101.com

Web: www.songwriter101.com

Cost: please see web for info

UNIVERSITY OF RECORDING ARTS

AND MUSIC INC.

18101 Von Karman 3rd Fl.

Irvine, CA 92612

Corporate: 888-UROCK09 Office: 949-

225-4795 Direct: 949-429-9653

E-mail: UROCK@urameducation.com

Web: www.urameducation.com

May 2013

www.musicconnection.com

67


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23 rd Annual Directory of

Vocal Coaches

Download This Directory From Our Website: www.musicconnection.com/amp

Compiled By Denise Coso

Whether you want to study with someone locally or via Skype, Music Connection’s national list of vocal

coaches is your best resource for engaging a professional who can take your voice to the next level.

ALEX VARDEN

Los Angeles, CA

323-876-ALEX (2539), SKYPE

E-mail: alex@vardenmusic.com

Web: www.vardenmusic.com

Contact: Alex Varden

Basic Rate: $50/hr. Monthly

programs: $50/hr.

Clients: Star Search, Miss Universe,

Jazz, R&B, Broadway, Pop, Opera,

Country stars. 20 years experience

(Europe-USA).

Services: All styles, levels, technique,

performance, confidence.

Notes: Hi-tech studio, arrangements,

vocal demos

ANGEL DIVA MUSIC

Jan Linder Koda

Los Angeles, CA

818-888-5885, SKYPE

E-mail: jan@angeldivamusic.com

Web: www.angeldivamusic.com

Basic Rate: please call for info

Clients: Tim Fagan, David Hasselhoff,

Lou Rawls, Kathy Griffin, Holly

Robinson-Peete, Tiffany Alvord and 20

Grammy Winners. I will help you find

the artist in you. When we are done,

you will have a radio ready product.

I am a voice teacher, performance

expert and mentor for recording artists.

You may start at any level. I combine

30 years of experience and my work

as a singer/actor in film/tv to help

you tell the best story. My popular

guide to achieving a professional

performance, “Once More With

Feeling”, written by Jan Linder-Koda,

Bernard Baur and Anne Rich-House

is available at angeldivamusic.com or

oncemorewithfeeling.me.

APPELL VOICE STUDIO

#1 Pegasus Dr.

Trabuco Canyon, CA 92679

949-382-5911, SKYPE

Contact: Thomas Appell

E-mail: thomas@appellvoicestudio.com

Web: www.appellvoicestudio.com

Rates: Call for rates

Services: Vocal Coaching/Record

Production/Songwriting/Video

Production/Photography Author of Can

You Sing a HIGH C Without Straining?

ARTIST VOCAL DEVELOPMENT

West Hills, CA

818-430-3254

E-mail: sbensusen@socal.rr.com

Web: www.steviebensusen.com (click

on Artist Vocal Development)

Basic Rate: Please call for rates

Clients: Jordan Knight (New Kids

On The Block), Nichole Cordova

(Girlicious), Candice Craig (Nikki

Minaj), Velvet Angels, O Town, No

Mercy, Shola Ama, A1

Services: Stevie Bensusen is a

multi-platinum Vocal Producer and

Live Performance Vocal Coach who

has produced the above artists and

others. With a unique approach, Stevie

develops singers in the recording

studio and in live performance

rehearsals whose goals are to record,

play live and have no fear when

performing in front of an audience. The

definition of a great singer is what you

do on stage not in the recording studio

where you can take as long as you

need and use technology to get your

vocal right. Call for a free consultation.

BECKY CUTLER

Vox Fox Vocal Studio

Provo, UT

801-874-5112

E-mail: voxfox2@gmail.com

Web: www.voxfoxvocalstudio.com

Basic Rate: Please see website

Services: beginning to advanced;

specializing in contemporary singing,

songwriting and artist development

BEVERLY BREMERS’ VOICERCISE

Mission Viejo, CA 92691

949-874-0616, SKYPE

E-mail: bev@beverlybremers.com

Web: www.voicercise.net

Basic Rate: $50/hr. for private

instruction, classes also available

Clients: all levels - adults and children

BOB AND CLAIRE CORFF

VOICE STUDIOS

323-851-9042

Web: www.corffvoice.com

Basic Rate: please call for info

Clients: all levels, the Cult and Beth

Hart.

BOB GARRETT

Studio City, CA

818-506-5526, SKYPE

E-mail: bahbeeg@aol.com

Web: www.bobgarrett.net

Basic Rate: $90/hr.

Clients: Vanessa Hudgens, Channing

Tatum, Cybill Shepard, Janet Jackson,

Season 10 - American Idol, John

Travolta, Drew Barrymore, Pussycat

Dolls, Gerard Butler (Film’s Phantom

Of The Opera), Heart, Wilson-Philips,

Cameron Diaz, Brian Stokes Mitchell,

Jessica Lange, Judy Davis, et al.

BRAD CHAPMAN VOICE COACH

1952 N Kingston Rd

Farmington, Utah 84025

801-682-5769 Skype: singfromfeel1

E-mail: singfromfeel@comcast.net

Web: www.bradchapmanvoicecoach.com

Contact: Brad Chapman

Basic Rate: $25 per half hour or $50

per hour

Services: Professional vocal

technique, feel enhancement

and recording pre-production

services for singers from beginners to

internationally known artists.

Clients: Anita Baker, REO

Speedwagon, Def Leppard, Expose’,

The Bangles, Quincy Jones, previous

partner of Seth Riggs and one of the

top three speech level singing coaches,

etc. Winner of 12 Platinum records,

featured article in Music Connection

and a voting member of the Grammy’s.

BRECK ALAN

New York, NY

917-414-5449

Contact: Breck Alan

E-mail: breck@breckalan.com

Web: www.bodysinging.com

Basic Rate: call or e-mail for rate

Clients: String Cheese Incident, OAR,

Sally Taylor

BRENTWOOD VOCAL STUDIO

6213 Belle Dr.

Oklahoma City, OK 73112

405-840-1242

Contact: Joan Colee

Basic Rate: please call for info

Clients: beginners to professional,

all ages

BRISTOL RECORDING STUDIOS

169 Massachusetts Ave.

Boston, MA 02115

617-247-8689

E-mail: info@bristolstudios.com

Web: www.bristolstudios.com

Contact: Jason Blaske

Basic Rate: $2195/course

Services: Audio recording and

production courses, professional

internships

CARI COLE VOICE & MUSIC CO.

Celebrity Voice Coach & Artist

Development Expert

401 E. 34th St., Ste. #N19K

New York, NY 10016

800-330-5250

E-mail: info@caricole.com

Web: www.caricole.com

Basic Rate: please visit website and

download application for info

Services: Private vocal technique &

coaching in Pro Tools production studio,

all contemporary commercial styles;

The Ultimate Performer Program,

Emerge Showcase NYC, Step Up to

the Spotlight Artist Development Online

Program, The Singers Gift Vocal Series

(digital downloads)

CAROL TINGLE

Santa Monica, CA

310-828-3100

E-mail: info@caroltingle.com

Web: www.caroltingle.com

Basic Rate: please call for info

Clients: available on request

CLIFF BRODSKY

Voice Coach

213-248-1688

E-mail: cliffbrodsky@me.com

Web: www.brodskyentertainment.com

Basic Rate: $60 first lesson

Clients: all levels, artists on Sony,

RCA, Interscope, MCA, etc.

COVINGTON SCHOOL OF MUSIC

857 N. Collins Blvd.

Covington, LA 70433

985-590-4545 Fax 985-674-2553

Web: www.laapa.com

Basic Rate: please call for info

Additional locations:

Mandeville, LA

985-674-2992

Harahan, LA

504-738-3050

DANIEL FORMICA VOCAL LESSONS

217 North Dale Ave.

Anaheim, CA 92801

310-213-0700, SKYPE

E-mail: daniel@

danielformicavocalstudio.com

Web: www.danielformicavocalstudio.com

Contact: Daniel Formica

Services: specialize in vocal

technique, rehab, no short cuts: rock,

pop, etc.

DANIEL KNOWLES VOCAL STUDIO

971 N. La Cienega Blvd., Ste. 209

W. Hollywood, CA 90069

310-772-9984 SKYPE

E-mail: daniel@danielknowles.com

Web: www.danielknowles.com

Contact: Daniel Knowles, M.A.

Basic Rate: $110 an hr., $500 block of

5 lessons, $950 block of 10 lessons

Services: Professional vocal technique

for singers from beginners

to professionals.

Clients: Local and nationally

recognized (album charts) working

recording and performing singers. Artist

privacy respected.

DARCI MONET VOCAL STYLE

STUDIO

Van Nuys, CA

818-209-6432, SKYPE

E-mail: minxmusic@aol.com

Web: www.singlikeyoumeanit.com

Rates: see website

Services: Private voice and

performance coaching in all

contemporary styles using Darci

Monet’s own “Tech and Truth Method.”

Ages 5 & up. Audition required for

beginners and pros. Vocal group

coaching and songwriting consultations

also available.

*Beautiful new location

DARLENE KOLDENHOVEN’S

ART OF SINGING

Studio City, CA

818-980-2840 Fax 818-760-4385,

SKYPE

E-mail: darlene@darlenekoldenhoven.

com, darlene@ArtofSinging.com

Web: www.artofsinging.com, www.

darlenekoldenhoven.com

Basic Rate: call for reasonable rates

for privates and classes

Clients: all levels, adults & kids, all

styles, Sister Act 1 & 2, Robin Thicke,

Anna Pacquin, Interscope Records

68 May 2013 www.musicconnection.com


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Artists, UCLA, CSUN, CSLA, Citrus College,

American Idol contestants/finalists; has a Grammy

Award and has performed with Celine Dion, Pink

Floyd, Paul McCartney, Andrea Bocelli, Kelly

Clarkson, Fantasia, Yanni, Kenny Loggins, American

Idol, etc.; book with 7 CDs “Tune Your Voice: Singing

and the Mind’s Musical Ear” available at website

& retail stores; also teaches pitch training, sightsinging,

and has quarterly group classes.

DAVID COURY

E-mail: david.coury@davidcoury.com

Web: www.davidcoury.com

Basic Rate: please call for info

DEBORAH ELLEN VOCAL STUDIOS

Simi Valley, CA and Los Angeles, CA

310-422-9166, SKYPE

E-mail: info@deborahellen.com

Web: www.deborahellen.com

Basic Rate: please call for info

Notes: Artist Development Opportunities. Many

successful placements of students vocals in film/TV

DEEDEE O’MALLEY

N. Hollywood, CA

818-279-4414

E-mail: deedee@deedeemusic.com

Web: www.deedeemusic.com

Basic Rate: please call for info

Clients: all levels, vocal/songwriting workshops

DENNIS JOHN STUDIO

Los Angeles, CA

818-563-2263, SKYPE

E-mail: djnapol@aol.com

Basic Rate: please call for info

Clients: all ages and levels, Bel Canto, all styles

DIAMANTE VOCAL STUDIO

605 N. Beachwood Dr.

Los Angeles, CA 90004

323-466-7881

E-mail: diamantesings@yahoo.com

Basic Rate: please call for info

Clients: all levels

Style: Seth Riggs/S.L.S

DIVAS IN TRAINING

Academy of Diva Arts

10700 Ventura Blvd., Ste. H

Universal City, CA 91604

818-231-1491, 888-340-7444

E-mail: premierwest@earthlink.net

Web: www.divasintraining.com

Basic Rate: Varies. Industry package discounts.

Clients: Beginners and pros (we don’t name drop

publicly, but ask us in private).

DRAGON II ENTERTAINMENT

909-599-6005

E-mail: dougdeee@earthlink.net

Web: www.dragonIIentertainment.com

Basic Rate: please call for info

Clients: all levels, now including voiceover clients

Services: visit the website for all the details and

more information.

ELISABETH HOWARD’S VOCAL POWER

ACADEMY (est. 1980)

Vocal Power Trainers in Santa Monica, Topanga,

Woodland Hills, Camarillo, CA, and Las Vegas, NV.

800-829-SONG (7664), SKYPE

E-mail: lizhoward@vocalpowerinc.com

Web: www.vocalpowerinc.com

Basic Rate: please call or see

web for info

Clients: Vocal coach to Sting, the Police, Paige

O’Hara (voice of Belle in the film Beauty and the

Beast), contestants on American Idol, others on

request.

Services: Specialize in the Vocal Power Method

for singing rock, pop, blues, jazz. How to not

blow your voice out. Sweet, hot and everything in

between. From Jagger to Jarreau. Regular shows

at Catalina Jazz Club. Elisabeth Howard, (Topanga)

singer-songwriting contract with MCA - B.S., M.S. in

voice - Juilliard. Author “SING!” and “ABC’s of Vocal

Harmony” distributed by Alfred.

ELLEN JOHNSON/ VOCAL VISIONS

East Bay/Berkeley/San Francisco, CA

310-487-0048, SKYPE yes

E-mail: info@vocalvisions.net

Web: www.ellenjohnson.net and

www.vocalvisions.net

Basic Rate: call or go to website for information

Clients: Private lessons, recording studio coaching,

audition preparation and classes for all styles and levels

at home studio and at the Jazzschool in Berkeley.

Note: Author of “The Vocal Warm Up CD/Download,”

“Vocal Builders,” and “You Sing Jazz.”

ERIC VETRO

Toluca Lake, CA

E-mail: imakeyourvoicewk@aol.com

Web: www.ericvetro.com

Basic Rate: please call for info

Clients: list on request

EVELYN HALUS

843 S. Detroit St.

Los Angeles, CA 90036

323-931-8391, SKYPE

E-mail: evelynhalus@aol.com

Web: www.enchantedmusic.com

Basic Rate: call for info

Clients: Jennifer Lopez, Matthew Morrison, Jessica

Biel, Megan McGinnis, Neil Patrick Harris, Cher,

Nathan Lane, Paula Abdul, Olivia Newton-John,

many Broadway vocalists, etc. Accepting new

students of all levels.

FAHREN PRODUCTIONS

The L.A. Valley Area, CA

818-378-1100

Contact: Valerie Fahren

E-mail: valeriefahren@aol.com

Web: www.valeriefahren.com

Basic Rate: please call for info

Clients: Sabrina Bryan (Cheetah Girls), Juliette

Lewis, Lynsey Bartilson, Erika Christensen, Dominic

Domingo, Bosko, Broadway leads

FAIRBANKS SUMMER ARTS FESTIVAL,

INC., THE

P.O. Box 82510

Fairbanks, AK 99708

907-474-8869

E-mail: festival@alaska.net

Web: www.fsaf.org

Basic Rate: please call for info

Note: Vocal Coach Camp July 15-July 29, 2012 only

FEEF MOONEY

Los Angeles, CA

818-487-0608

E-mail: feef@littlefriendmpg.com

Web: www.littlefriendmpg.com

Basic Rate: Email for information

Clients: all levels and styles, specialize in Freeing

The Natural Voice technique: expanding range,

lessening tension, vocal styling, repertoire building,

digital recording, preparing for auditions. This

approach is for anybody who gets scared and needs

some enthusiastic support, lots of pampering and

coaching!

FRANCESCO DICOSMO

Grammy-winning Bassist, Singer, Composer &

Producer

AudioVision Digital

Media & Music Production

310-908-9006, SKYPE: DiCosmoFone

E-mail: dicosmobass@yahoo.com

Web: www.FrancescoDicosmo.com

Basic Rate: Please Call for Info

Clients: All Ages & Styles

Styles/Specialties: Ultra experienced lead singer/

bassist in countless professional bands the styles

of classic, modern & progressive rock, R&B, funk,

& blues. I teach Vocal Technique, Breathing &

Placement of Vocal Ranges, Intervalic & Rhythmic

Concepts, Music Theory, Chart Reading, Music

Theory, Ear Training, Interpretation, Improvisation,

etc. My Qualifications include: Musicians Institute

Vocational Honors Graduate & MI Human Relations

Award 1994-’95. Grammy-Winning Bassist for

Evanescence’s Multi-Platinum “Fallen” Album. Have

played with Thin Lizzy, John Sykes, Bobby Kimball

of Toto, Tommy Aldridge, Robert Plant, Chris Poland

!"#$%%#&"$'"&#()')*

































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of Megadeth, Ronnie Montrose, Alex

Leigertwood of Santana, Randy

Meisner of the Eagles, Jimmy Crespo

of Aerosmith, etc.

GFIRE STUDIOS

P.O. Box 4293

Austin, TX 78765

512-350-6181, SKYPE

E-mail: gfire@earthlink.net

Web: www.gfiremusic.com

Contact: gfire

Basic Rate: $70/hr., $35/half-hr.

Services: Full vocal training and

coaching, 16 years professional singing

and piano teaching, currently teaching

“Yoga For the Voice,” a unique and fun

system of applying the science of voice

with ancient yoga breathing techniques

to truly realize one’s full vocal

capabilities. Lessons in person or over

the phone or the Internet via Skype, a

free video conferencing service

(http://skype.com)

Clients: My students have performed

in internationally touring bands, on the

stage of the Grand Ole Opry, made

records in R&B, rock, country, singersongwriter,

pop and other styles,

performed excellently in American Idol

and other auditions, including musical

theater auditions, learned to go from

zero to karaoke in as little as 3 weeks,

gone from being “tone deaf” to having

full sets of repertoire in which they sing

easily and in tune.

GILMORE MUSIC STORE

1935 E. 7th St.

Long Beach, CA 90813

562-599-1369

E-mail: lb.gilmoremusic@verizon.net

Web: www.gilmoremusicstore.com

Basic Rate: please call for info

GOODRICH VOCAL STUDIO

12034 Riverside Dr. #101

Studio City, CA

818-766-3030, SKYPE

E-mail: Andrea@goodrichvocal.com

Web: www.goodrichvocal.com

Basic Rate: please call for info

GUITAR MERCHANT, THE

7503 Topanga Canyon Blvd.

Canoga Park, CA 91303

818-884-5905

Contact: Phil St. Germaine

E-mail: theguitarmerchant@yahoo.

com

Web: www.guitarmerchant.com

Services: vocal lesson all ages, all

styles

GUITAR SHOWCASE/S.M.I.

3090 S. Bascom Ave.

San Jose, CA 95124

408-377-5864

Contact: Norri Caplan

E-mail: info@guitarshowcase.com

Web: www.guitarshowcase.com

Styles: all vocal styles

Basic Rate: call for info

HERNAN PELAYO

13046 Ebell St.

N. Hollywood, CA 91605

818-988-2387

Web: www.hernanpelayo.com

Basic Rate: please call for info

Clients: many singers from Spanish

mariachi groups to L.A. opera chorus

members, i.e. Tatiana Bolanos, singers

from Mariachi’s Sol de Mexico, Los

Camperos

HOWARD AUSTIN’S VOCAL

POWER SCHOOL

9826 Columbus Ave.

North Hills, CA 91343

818-895-SING or 800-929-7464

E-mail: vocalcoach@music-world.com

Web: www.borntosing.com

Contact: Howard Austin

Basic Rate: please call for info

Clients: include artists on RCA,

Geffen, MCA, Capitol, Columbia,

Grammy Awards, People’s Choice

Awards, winners on Star Search and

American Idol.

Services: vocal technique, personal

style, performance, keyboard basics for

songwriting and self-accompaniment -

all levels, ages, styles. Howard Austin

is the author of the “Born To Sing”

Master Course.

INGRID PRANIUK

Vocal Instructor/Coach/Piano Instructor

Citrus College

1000 W. Foothill Blvd.

Glendora, CA 91741

626-914-8580 Fax 626-914-8582

Hacienda Heights Studio: 626-968-4071

SKYPE: ingrid.praniuk

Twitter/Facebook:ingridpraniuk

E-mail: bonavoxmusic@yahoo.com

Web: www.citrusarts.org/music/vm/

vmbios.html#ipraniuk

Basic Rate: please call for info

Clients: The privacy of the client is

respected; no name is ever listed nor

mentioned. Major label artists/Major

movie industry actors.

Services: Private voice instructor at

Citrus College, member of the Voice

Foundation. Certified private vocal

instructor/vocal coach in all genres

(rock, pop, electronica, hardcore

metal/industrial/screaming, classical,

musical theatre). Specialized in training

professional musicians to survive

touring/recording, training actors in

music (singing, playing piano and

other instruments) and treating vocal

problems in singing and speech.

Specialized and Certified in Vocal

Health and in Holistic Health.

INTERNATIONAL SCHOOL OF

MUSIC

116 S. Louise St.

Glendale, CA 91205

818-548-7959

E-mail: info@ismglendale.com

Web: www.ismglendale.com

Basic Rate: please call for info

JAMES LUGO’S VOCAL ASYLUM

5651 Lankershim Blvd.

North Hollywood, CA 91601

818 259 0190, SKYPE

E-mail: james@jameslugo.com

Web: www.vocalasylum.com

Contact: James Lugo

Basic Rate: please call for info

Services: Specializing in rock and pop

vocals. Pro Tools studio on premises.

Clients: A Fine Frenzy, the Veronica’s,

311, the Smashing Pumpkins, MTV,

VH1

Additional location:

Raleigh/Durham

919-800-8049

JAIME BABBITT

Nashville, TN and Los Angeles, CA

917-697-0800, SKYPE: jaime.babbitt

E-mail: jaime@workingwithyourvoice.com

Web: www.workingwithyourvoice.com

Contact: Jaime Babbitt

Basic Rate: $100/hr. Monthly programs

available

Clients: Disney, private clients

Services: proper pop/rock/country/

R&B/jazz vocal technique, vocal

coaching, live performance and

recording studio coaching and in-studio

vocal production for CD projects. 25+

years professional singing experience

in NYC, LA, Nashville and on USA/

international tours, 10+ years coaching

experience. Instructs students of

all ages to become better singers,

performers and recording artists using

“real world” applications.

JEANNIE DEVA

Brentwood, Los Angeles and

Worldwide

818-446-0932, 800-920-8220

E-mail: Sing@JeannieDeva.com

Web: www.JeannieDeva.com

Rates: Consultation - $60. Call for

lesson rates.

Clients: Grammy winners, Idol

Finalists, celebrity singers/actors and

TV show La Voz Kids.

Services: Vocal technique, voice and

performance coaching with Jeannie

Deva, originator of The Deva Method®,

who has helped thousands of singers

worldwide for over 35 years.

Additional Services: Jeannie Deva is

also a recording studio vocal coach

and vocal producer who has been

endorsed by engineers and producers

of Aerosmith, the Rolling Stones,

the Cars, Amy Winehouse, Ludacris,

Donnie Walberg, DJ Jazzy Jeff.

JEFFREY ALLEN VOCAL STUDIO

P.O. Box 4056 Valley Village, CA 91617

800-644-4707, Ext. 22

E-mail: sing@vocalsuccess.com

Web: www.vocalsuccess.com

Basic Rate: please call for info.

VISA/MC/AMEX accepted

Clients: Private lessons, audition

coaching, Pro Tools, demos

Services: Workshops, recording

consultant, all levels and styles. Author

of eight products for Warner Bros.

Publishing Inc., including Secrets of

Singing.

JERRY BRAGIN

250 W. 57 St., Ste. 331

New York, NY 10107

212-765-6950, 516-538-8383

Web: www.jerrybraginvocalcoach.com

Basic Rate: please call for info

Additional location:

188 Mayfair Ave.

W. Hempstead, NY 11552

516-538-8383

JO ALICE BRASWELL

Van Nuys, CA

818-636 8279

E-mail: joabraswell@hotmail.com.

SKYPE

Basic Rate: please call for info

Clients: Linkin Park, Michael Bolton,

Steve Winwood, L.A. Hip Kids,

Millennium Dance Complex

Notes: Focus is on the anatomy of

singing. Correct breathing control

and technique with yoga and basic

breathing exercises to expand vocal

range. Develop style and strength and

your own repertoire, with an overview

of music theory and its applications to

voice. Also teaches piano and guitar.

JOHN DEAVER

N. Hollywood, CA

818-985-3511

E-mail: vocalcoach1@gmail.com

Web: www.johndeaver.com

Basic Rate: please call for info

Clients: All levels. Sara Bareilles,

Daniel Powder, Cher, Brendan Fraser,

Heather Graham, Kimiko Kasai,

Michelle Pfeiffer, Michael Sembello,

Vonda Shepard, Pop Stars and many

working singers and musicians.

Elisabeth Howard - Vocal Coach

Specializing in Rock, Heavy

Metal, Alternative, Jazz, Blues

Recommended by STING, Andy

Summers, Stewart Copeland,

Albert Lee, Pete Anthony,

David Frank, Sussan Deyhim,

Priscilla Presley, Peter Manning

Robinson, Dave Blumberg, David

“Cat” Cohen, Sam Brown III

310 - 702 - 9411 | www.vocalpoweracademy.com

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JOHN DELUISE

Van Nuys, CA

818-908-0104

E-mail: jdeluise@earthlink.net

Basic Rate: please call for info

Clients: all levels

Notes: Yale Music & Theater, 30 years

experience

JOHN FLUKER VOCAL STUDIOS

P.O. Box 922616

Sylmar, CA 91392-2616

Fax 818-367-5794, SKYPE

E-mail: johnfluker@mac.com

Basic Rate: please call for info

Clients: Jennifer Lopez, Roselyn

Sanchez, Devon Aoki, Kim Fields,

Darren Romeo, served as MD for

Gladys Knight, all levels.

KAREN JENNINGS

2019 Hyperion Ave.

Los Angeles, CA 90027

319-621-4302, SKYPE

E-mail: Karen.Jennings@csun.edu

Basic Rate: please call for info

Services: Expert instruction in vocal

technique for non-classical singing

styles (pop, rock, R&B, jazz, country,

etc.), including breath control, chest

mix techniques, range extension,

techniques to increase strength/

stamina and improving vocal technique

without changing the singer’s style.

Certified instructor of the Dante

Pavone Vocal Method. Also, voice

therapy, rehabilitative and corrective

vocal techniques for damaged/

problematic voices (licensed voice/

speech therapist). All levels of singers

welcome.

Clients: artists w/ Warner Bros., Sony,

RCA, Interscope, Black Top Records,

Hollywood Records, Restless Records,

Universal, Quincy Jones Music, and

more.

LEANNE SUMMERS VOCAL STUDIO

Sherman Oaks, CA

818-780-1070, SKYPE

E-mail: info@leannesummers.com

Web: www.leannesummers.com

Basic Rate: hourly rates, project/

lesson discount packages + initial

consult special

Clients: all ages, levels and styles;

beginners to Grammy winners; major

labels; Broadway performers; TV

series; movies; indie artists.

Services: 30+ years as a pro singer/

vocal coach/producer. Private training

includes: Vocal technique w/ custom

exercises; Live performance, touring

and audition prep; Artist development

and vocal demos; Recording,

microphone & studio techniques.

Everything for today’s singer in a

cutting-edge environment.

LEE LONTOC

5478 Wilshire Blvd., Ste. 215

Los Angeles, CA 90036

310-717-6578

E-mail: info@hollywoodvocalcoach.com

Web: www.hollywoodvocalcoach.com

Basic Rate: please call for info

Services: vocal coach and trainer

specializing in rock, R&B, pop and

musical theater.

LINDA MERRELL

A Singer With Style

Reno/Lake Tahoe, NV

775-770-4466

E-mail: lindamerrell@asinger

withstyle.com

Web: www.asingerwithstyle.com

LISA POPEIL’S VOICEWORKS

Sherman Oaks, CA 91423

818-906-7229, cell 818-634-3778,

SKYPE

E-mail: lisapopeil@mac.com

Web: www.popeil.com, www.facebook.

com/Voiceworks

Basic Rate: please call for info

Clients: all levels, technique expert

and performance coach, songwriting/

recording.

Notes: MFA in Voice, creator of “The

Total Singer” instructional program.

LIS LEWIS

4804 Laurel Canyon Blvd. #123 Valley

Village, CA 91607

818-623-6668, SKYPE

E-mail: lis@thesingersworkshop.com

Web: www.thesingersworkshop.com,

www.lislewis.com

Basic Rate: please call for info

Clients: Rihanna, Miguel, Demi

Lovato, Gwen Stefani, Courtney Love,

The Pussycat Dolls, All-American

Rejects, Britney Spears, Linkin Park,

Jack Black, Jimmy Eat World, Colbie

Caillat, Gloriana & stars of the Disney

TV show Shake It Up. Vocal technique -

all pop styles; performance coaching.

Notes: author of the books The

Singer’s First Aid Kit, and The Pop

Singer’s Warm-Up Kit, which both

include warm-up CDs available on

website.

LONESTAR SCHOOL OF MUSIC

4301 W. William Canon Dr.

Austin, TX 78749

512-712-5187

E-mail: arbortrails@

lonestarschoolofmusic.com

Web: www.lonestarschoolofmusic.com

Basic Rate: please call for info

LOS ANGELES MUSIC & ART

SCHOOL

3630 E. Third St.

Los Angeles, CA 90063

323-262-7734, 323-261-3289

Fax 323-262-2805

E-mail: stayintune@lamusart.org

Web: www.lamusart.org

Basic Rate: 30 minute private music

lesson for a child (17 and under): $18

30-minute private music lesson for an

adult (18 and over): $20

Services: Hours: M-F 2pm - 8pm and

Saturday 8am to 4pm

LOYOLA MARYMOUNT UNIVERSITY

1 LMU Dr., MS-8347

Los Angeles, CA 90045-2659

310-338-2700

E-mail: lmumusic@lmu.edu

Web: www.lmu.edu

Basic Rate: please call for info

LYNWOOD SLIM

Southern CA

E-mail: lynslim@pacbell.net

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

lynwoodslimband

Basic Rate: please e-mail for info

Services/Specialties: jazz & blues

vocals, also chromatic & blues

harmonica

MANDEVILLE SCHOOL OF MUSIC

316 Girod St.

Mandeville, LA 70448

985-674-2992 Fax 985-674-2553

Web: www.laapa.com

Basic Rate: please call for info

MARILYN CHILD

310-394-7171

Basic Rate: please call for info

Clients: Primarily professionals. Clients

include Lynn Redgrave, Lee Remick,

Angela Lansbury, Marian Mercer,

Penny Fuller, Rick Podell and cast

members of Evita and Sunset Blvd.

MARK BAXTER VOCAL STUDIOS

145 Lynway

Point of Pines, MA 02151

800-659-6002

E-mail: mbaxter@voicelesson.com

Web: www.voicelesson.com

Basic Rate: please call for info

Clients: all levels. Aerosmith,

Buckcherry, Velvet Revolver, Army

of Anyone, the Click Five, Goo Goo

Dolls, Journey, Van Halen, Jonny Lang,

Tonic, Vertical Horizon, members of

the RENT cast and Trans-Siberian

Orchestra, Aimee Mann, the Dresden

Dolls. Author of The Rock-N-Roll

Singer’s Survival Manual, instructional

video: The Singer’s Toolbox, and

instructional CD, Sing Like an Idol.

MARK FOREST

310-712-1621

Basic Rate: please call for info

Clients: Jackson Browne, Verdine

White (Earth, Wind & Fire), Sissy

Spacek and Roseanne Cash

MARK RENK

Valley Village, CA

818-599-0113

E-mail: Mark@MarkRenk.com

Web: http://www.markrenk.com/WP/

Contact: Mark Renk

Clients: Augustana, Bullet for My

Valentine, Eve, Helmet, P.O.D, Gavin

Rossdale, Seether, Three Days Grace,

Mandy Moore, OneRepublic, etc.

MARTA WOODHULL

Singing For a Living

808 N. Spring St #707

Los Angeles, CA 90012

818-752-0833, SKYPE

E-mail: marta@singingforaliving.com,

SKYPE

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Web: www.singingforaliving.com

Basic Rate: Private lessons, $150/ hr,

package rates available. Specializing

in double and triple threats, actors,

dancers, singer-songwriters. Vocal

technique, vocals for film, stage

choreography, studio production

and recording. Grammy-nominated

arranger, educated in New York, Ms.

Woodhull is one of Hollywood’s most

respected coaches. Her clients have

won Tonys, Emmys, Grammys, Oscars.

Clients: Lea Salonga, Paula Abdul,

Katharine McPhee, Anna Nalick, and

more.

MARY GROVER

Lake Balboa, Encino, Beverly Hills, CA

818-787-SONG (7664)

E-mail: Grover.MaryGrover@gmail.com

Web: http://marygrover.com

Basic Rate: please call for info

Clients: all levels: Platinum record,

Grammy Award and triple Academy

Award-winning clients.

Notes: a California licensed singing

voice therapist and singing teacher.

Master Degree in Singing Voice

Therapy, U.S. Patent Award for voice

technique.

MAUREEN O’CONNOR

Long Beach, CA

562-433-5486

E-mail: pinkstrat@aol.com

Basic Rate: please call for info

Clients: all levels

MELISSA ELLEN

Nashville, TN

404-217-4192, Skype

E-mail: me@MelissaEllen.com

Web: www.MelissaEllen.com

Contact: Melissa Ellen

Styles: rock, (mainstream, heavy),

songwriter, pop, R&B, country, blues

Clients: Joe Nichols, Melinda Doolittle

of American Idol, Rob Thomas, Toni

Braxton, India Arie

MICHAEL LAVINE

165 W. 66th St., Ste. 3U

New York, NY 10023

212-362-5101, 917-826-2116 (cell),

SKYPE

E-mail: broadwaymhl@aol.com

Web: www.MichaelLavine.net

Basic Rate: e-mail for info

Notes: Coaches on both coasts

MICAH’S PROFESSIONAL VOCAL

COACHING

2042 Lakeshore Ave.

Los Angeles, Ca,90039

323-273-3532

E-mail: micah@micahplissner.com

Web: www.MicahProVocals.com

Skype: Micah_Plissner

Services: 25 years of professional

music industry experience

Also specializes in Television, Film. All

ages, all levels, all styles.

Online, national and international vocal

lessons.

Clients: Please visit website for client

list, rates and info

MIKE CAMPBELL

818-763-4916

E-mail: mcampbell62@sbcglobal.net

Web: www.mikecampbellvocalartist.com

Basic Rate: please call for info

Clients: all levels

Note: Faculty-Vocal Program at

Musicians Institute

MONICA MARGOLIS

Vocal Coach/Singing Instructor San

Fernando Valley, CA

818-599-5297, SKYPE

Web: www.monicamargolis.com

E-mail: monica@monicamargolis.com

Notes: Monica has been teaching

vocal mechanics to singers, actors,

dancers and speakers for over 20

years. She has worked in theater and

film, appeared in variety shows, worked

as a voiceover artist and was chosen

as Musical Director for the West Coast

Dance Theater. Monica specializes in

teaching her vocal method to artists

at every level of their career, from the

young beginner to major label artist.

The Monica Margolis Vocal Arts Studio

offers lessons in voice, songwriting,

acting, guitar, piano, bass and drums.

Private and group lessons are available

at our place or yours. Be sure to

YouTube Monica Margolis’s interview

with American Idol’s “Idol Chat”

MUSICIANS INSTITUTE

Vocals Program

6752 Hollywood Blvd.

Hollywood, CA 90028

323-462-1384 or 800-255-7529

Web: www.mi.edu

E-mail: admissions@mi.edu

Basic Rate: please call for info

Clients: Certificate and degree

One of the Top 5

Vocal Lessons in Los Angeles

-- CBS-TV

programs designed for intermediate to

pro level.

Services: Entrance audition required.

Private lessons included for Bachelor,

AA, Certificate & Encore programs.

NANCY BADGER

Southern CA

818-275-1449

E-mail: mysingersecrets@yahoo.com

Web: www.mysingersecrets.com

Basic Rate: please call for info

Services: voice instruction, vocal

coaching, vocal production

Clients: everyone

NOVELLO-RUSCH SCHOOL OF THE

NATURAL VOICE

11726 La Maida St

Valley Village, Ca 91607

818-506-0236 Fax 818-506-5559

E-mail: john@keysnovello.com

Web: www.keysnovello.com

Basic Rate: please call for info

Clients: all levels, clients include Kevin

Edmonds, After 7, Traci Spencer, Billy

Sheehan, Eric Martin from Mr. Big, Mint

Condition and more.

OLDE TOWN PICKIN’ PARLOR

7515 Grandview Ave.

Arvada, CO 80002

303-421-2304 888-421-2304

E-mail: unclekit@picknparlor.com

Web: www.picknparlor.com

Basic Rate: please call for info

PATRICIA SHANKS VOICE STUDIO

220 Newport Center Dr., Ste. 16

Newport Beach, CA 92660

949-723-4473, SKYPE

Contact: Patricia Shanks

E-mail: pshanks@studioshanks.com

Web: www.studioshanks.com

PEISHA MCPHEE

Los Angeles, CA

818-788-3056

Twitter: PeishaMcPhee

E-mail: peisha@peishamcphee.com

Web: www.peishamcphee.com,

Findyouruniquevoice.com

Basic Rate: please call for info

Clients: from amateurs to professional

actors and singers

Services: the art of vocal technique,

styling, patter, subtext and stage

presence. Specializing in pop, belt and

legitimate placement. Currently vocal

coaching on season 11th of American

Idol. Owner of McPhee International

vocal studios in Studio city. Mother of

NBC Smash & American Idol Alum

Katharine McPhee and A.I. vocal

coach, Adriana McPhee

PER BRISTOW

287 S. Robertson Blvd., Ste. 208

www.musicconnection.com/amp

Beverly Hills, CA 90211

310-876 2070, SKYPE

E-mail: perbristow@

bristowvoicemethod.com

Web: www.bristowvoicemethod.com,

www.thesingingzone.com

Basic Rate: please call for info

Clients: Singers, actors and speakers

Services: to rapidly improve overall

vocal capacity, heal voice problems

and ignite the truly confident, unique

and captivating performer within you.

See web.

POSTELL PRODUCTIONS

Diane Postell

P.O. Box 604

Culver City, CA 90232

310-348-9757 (studio)

443-803-0545 (cell)

E-mail: dmpostell@gmail.com

Web: www.dianepostell.com

Rate: $60 - $75/hour

Services: Vocal coaching, instruction,

pre-production vocals, auditioning,

vocal arrangements, solid vocal

technique, lyric writing/songwriting,

vocal repair pro and semi-pro, teens,

young artists, vocal producers, special

needs teens

RACHEL LYNN VOCAL STUDIO

San Fernando & Brand, Glendale, CA

310-928-1764, SKYPE

E-mail: rachel@rachellynn

vocalstudio.com

Web: www.rachellynnvocalstudio.com

Rates: $75-$110/hour

Clients: “Jumpin Junior High” vocal

troupe, Lexi Ainsworth (Emmy

Nominated Star), Hannah Hooper of

“Group Love” (Canvasback / Atlantic),

Katy Goodman of “Vivian Girls” (In the

Red Records), Sherryce (Roomtrip

Music) and Ace Marrero “Aladdin”

(Disney) among others. Technique,

style and performance coaching

Additional location:

Venice, CA

Venice & Lincoln

310-928-1764

RAK VOCAL & HEALING CLINIC

6056 W. Irving Park Rd.

Chicago, IL 60634

773-283-8349

E-mail: rakvocal@aol.com

Contact: Sheryl Rak

Web: www.rakvocal.com,

www.facebook.com/RakVocalpage

Basic Rate: $60/hr

Services: vocal therapy, voice lessons,

vocal performance coaching

Clients: adult singers and songwriters

RENEE GRANT-WILLIAMS

123 Second Ave. N.

SINGERS

SONGWRITERS

Empower Your Vocals

Vocal Therapy

Voice Lessons

vocal instructional cds available

online at www.rakvocal.com

Rak Vocal & Healing Clinic 773-283-8349

72 May 2013 www.musicconnection.com


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Nashville, TN 37201

615-244-3280, 800-467-0490, SKYPE

E-mail: MyVoiceCoach@comcast.net

Web: www.myvoicecoach.com

Basic Rate: please call for info

Services: all styles, aspiring performers and

celebrities, “Tricks of the Trade” that can help anyone

improve.

ROBERT LUNTE & THE

VOCALIST STUDIO

2222 2nd Ave.

Seattle, WA 98121

800-269-9040, 425-444-5053, SKYPE

E-mail: robert@thevocaliststudio.com

Web: www.thevocaliststudio.com,

www.thevocaliststudiomasterclass.com

www.tvscertifiedinstructor.com

Contact: Robert J. Lunte

Basic Rate: $100/hr in studio; $60/hr internet

lesson, $1200 - $2500 weekend intensives

Clients: Protege of the late Maestro David Kyle who

trained Ann Wilson (Heart), Layne Staley (Alice in

Chains), Geoff Tate (Queensryche), Chris Cornell

(Soundgarden), Ronnie Monroe (Metal Church)

including; Classical training Dr. David Alt, Estill

Training with Peter Egan, Phonetics and Formants

with Steve Fraser. Publications: Author and Producer

of The Four Pillars of Singing.

Notes: Train on a live stage with PA. Founder and

CEO of themodernvocalist.com

ROGER BURNLEY

Los Angeles, CA 90038

323-848-4058, SKYPE

E-mail: Kasey@rogerburnley.com

Web: www.rogerburnley.com

Basic Rate: call for rates

Clients: all levels, especially good with beginners.

Client list available

on request.

Notes: also specializes in vocal repair and

rehabilitation

ROSEMARY BUTLER

310-572-6338

E-mail: vocalstarr@aol.com

Web: www.rosemarybutler.com

Basic Rate: please call for info

Clients: all levels, kids welcome. Celebrity clients

include Linda Ronstadt, Jackson Browne, CSNY,

Bruce Willis, Oasis, Hillary Duff, Celine Dion, Bonnie

Raitt, James Taylor, Bruce Springsteen, Bob Seger,

Sara Brightman, Julio Iglesias, Vanessa Williams,

Joni Mitchell, Tina Turner, Andrea Bocelli and Eagles.

Notes: Free lessons with package deal

SANTA MONICA COLLEGE

1900 Pico Blvd.

Santa Monica, CA 90405

310-434-4323

E-mail: admissions@smc.edu

Web: www.smc.edu

Contact: James Martin

Basic Rate: please call for info

SHERMAN OAKS COMMUNITY CHILDREN’S

CHORUS, THE

Los Angeles, CA

818-981-5154

E-mail: carol@thecarollombardkids.com

Web: www.thecarollombardkids.com

Contact: Carol Lombard, Director

Basic Rate: please e-mail for rates

Clients: Students under 16 years only.

SINGCLEAR

British Vocal Coach, Producer & Consultant

(est. London, England 1978)

Locations in Sherman Oaks &

Ventura, CA

818-433-8803 or 805-669-8614, SKYPE

E-mail: JS@singclear.com

Web: www.singclear.com

Contact: Jon Sinclair

Basic Rate: One on one in professional recording

studio. All ages. Workshop’s, bi-weekly group classes

in Sherman Oaks and Ventura, artist development,

direction & production. Online classes via SKYPE.

Call for rates.

Clients: Discover what Bon Jovi, Annie Lennox,

Gladys Knight have in common other than success.

Worked with band members and producers for

such acts as: Pat Benatar, Melissa Ethridge,

Deep Purple, Kiss, Howard Jones, Black Crowes,

L7, Night Ranger, Steve Vai and many more.

Specializing in alt, pop and rock. Reasonable rates.

LAUSD Schools - Kester Magnet Elementary,

Riverside Elementary, Hesby Elementary, Serrenia

Elementary, Los Feliz Arts Charter School. American

Idol finalist Melinda Doolittle.

SINGER’S PERFORMANCE WORKSHOP AND

CABARET PERFORMANCE CLASS

Los Angeles Community College

855 N. Vermont Ave.

Los Angeles, CA 90029

323-953-4000 X 2880

E-mail: wannerda@lacitycollege.edu

Web: http://lacitycollege.edu/academic/departments/

music/faculty.html

Basic Rate: please call for info

SING LIKE YOU SPEAK

(Sally Morgan)

New York, NY

646-450-SING

E-mail: info@vocalpowertools.com

Web: www.singlikeyouspeak.com, www.

vocalpowertools.com

Basic Rate: please call for info

Services: Private/Online Lessons, Workbook/Cds.

Don’t imitate your favorite singer - BE your favorite

singer!

SING WITH POWER VOCAL STUDIOS

Houston, TX

281-222-1092, 866-910-7464

E-mail: info@singwithpower.com

Web: www.singwithpower.com

Basic Rate: please call for info

STEPHANIE SPRUILL

Spruill House Music, School of Voice and Artist

Development

P.O. Box 92832

Pasadena, CA 91109

626-797-2429, SKYPE

E-mail: spruilhous@aol.com

Twitter: Stephaniespruil

Facebook: Stephanie.Spruill

Web: www.spruillhousemusic.com

Basic Rate: please call for rates

Clients: Julio Iglesias, Michael Jackson, Whitney

Houston, Placido Domingo, Elton John, Aretha

Franklin, Mariah Carey, Enrique Iglesias

Notes: My book & Ebook is “17 Points To Longevity

In Show Business”

STEVEN MEMEL

Los Angeles, CA

818-789-0474, SKYPE

E-mail: steven@stevenmemel.com

Web: www.stevenmemel.com

Basic Rate: please call for info

Clients: Maroon 5, Melee, Big City Rock, Britney

Christian. Clients have recorded albums on Jive,

BMG, Sony, Dreamworks, Warner, Universal and

more.

STEVE REAL

Los Angeles, CA

626-617-1063

E-mail: stevereal@aol.com, SKYPE

Basic Rate: please call for info

Clients: Stevie Nicks, Olivia Newton-John

SUE FINK

West L.A., CA

310-397-3193, SKYPE

E-mail: SueFink9@gmail.com

Web: www.angelcitychorale.org

Basic Rate: please call for info

Clients: all levels, singing lessons, workshops,

showcasing, group classes at McCabes; also call for

auditions for the Angel City Chorale.

SUSAN ANDERS

P.O. Box 58155 Nashville, TN 37205

800-787-2647

E-mail: susan@susananders.com

Web: www.susananders.com

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Basic Rate: $60/hr.

Clients: Contact Susan for client list.

25+ years exp. teaching beginners to

pros. Creator of The No Scales, Just

Songs Vocal Workout Volumes 1 and

2 (singersworkout.com), and Harmony

Singing By Ear (harmonysinging.com).

SUSAN HYATT VOCAL COACHING

Studio City, CA

310-774-6254

E-mail: susan@susanhyatt.net

Web: www.susanhyatt.net

Basic rate: $75 an hour

Clients: Dev & the Cataracs,

Youngblood Hawke, Pussycat Dolls

Burlesque, Universal Records Republic

Styles: Rock & Pop

SUSAN RUMOR

Los Angeles, CA

310-874-3691

E-mail: susan@artistoneproductions.com

Web: www.artistoneproductions.com,

www.susanrumor.com

Basic Rate: please call for info

Clients: all levels, teaches Grammywinning

recording artists, over 21 years

coaching, Masters Degree in voice

therapy.

SUSU-MAGO VOCAL STUDIO

6399 Wilshire Blvd., Ste. 1021

Los Angeles, CA 90048

323-655-8484

Basic Rate: please call for info

Clients: all levels

SUZANNE KIECHLE

Studio City, CA

818-762-5731

E-mail: skiechle@aol.com, SKYPE

Web: www.suzannekiechle.com

Basic Rate: please call for info

Clients: all levels, recording artists

and Broadway, film performers for

vocal coaching and repair. Film and

Television. Teaching online for The

Academy of Art University.

TAMARA ANDERSON

1025 Baberry Lane

Round Lake Beach, IL

847-546-5548, SKYPE

E-mail: voxdoc@comcast.net

Web: www.tamaraanderson.com

Basic Rate: Please check website

or call

Services: pop, rock, country, blues,

jazz and musical theater

Additional Locations:

Chicago School of Music

900 N. Franklin Ave.

Chicago, IL 60610

Elmhurst Music Academy

611 N. York Road

Elmhurst, IL 60128

TANISHA HALL

White Hall Arts Academy

2812 W. 54th St.

Los Angeles, CA 90043

424-235-0665, SKYPE

E-mail: mail@whitehallacademy.org

Web: www.whitehallacademy.org

Basic Rate: $35 and up

Clients: Instruction in voice, piano,

music recording, songwriting, self

accompaniment and speaking. All

genres including opera. Specialize

in stage performance and studio

recording. Dynamic performance

workshops teach how to “work the

stage” in mirrored room with mic! 15+

years in the music industry working

with artists Chaka Khan, Black Eyed

Peas, Babyface, Shanice & more.

B.M. in Voice & Music Business

Management - Berklee College of

Music.

TERI DANZ

YouWorld Music/Bleach Records

W. Los Angeles

310-283-9688, SKYPE

E-mail: vocalcoach@teridanz.com

Web: www.teridanz.com

Basic Rate: Rates on Website,

packages and SKYPE available

Clients: artists, bands, singersongwriters,

actors – performance

coaching, pop vocal technique

Credits: recording artist, national

press (Women Who Rock), industry

and student testimonials, nominated

Best Female Vocalist All Access Music

Awards. Author of music/vocal articles,

New Vocal Exercise CD, book - Vocal

Essentials for the Pop Singer: Take

Your Singing from Good to Great (Hal

Leonard Corp).

UAF SUMMER SESSIONS &

LIFELONG LEARNING

University of Alaska - Fairbanks

403 Salcha St.

216 Eielson Building

PO Box 757540

Fairbanks, AK 99775

907-474-7021, 866-404-7021

E-mail: summer@uaf.edu

Web: www.uaf.edu/summer

Basic Rate: please call for info

VENABLE STUDIO

2480 Draper Ave.

Ypsilanti, MI 48197

734-544-8703

E-mail: linda@lindavenable.com

Web: www.lindavenable.com

Basic Rate: please call for info

VOCAL INTEGRATION CONCEPTS

578 Washington Blvd., Ste. 235

Marina del Rey, CA 90292

310-281-1845

E-mail: info@vocalintegration.com

Web: www.vocalintegration.com

Contact: William Hanrahan

Basic Rate: please call for info

Clients: all levels, all styles

VOCAL STYLINGS

Culver City, CA

310-737-9387

E-mail: lisa@vocalstylngs.com

Web: www.vocalstylings.com

Contact: Lisa Cushing

Basic Rate: please call for info

Clients: Private lessons, group

sessions, in studio vocal coaching for

R&B, rock, pop, blues, etc.

VOICE LESSONS HOUSTON

13505 Westheimer Rd.

Houston, TX 77077

713-291-6373

E-mail: winnie@voicelessons

houston.com

Web: www.voicelessonshouston.com

Basic Rate: please call for info

VOICE MECHANIC, THE

7222 1/2 Melrose Ave.

Los Angeles, CA 90046

323-937-2565

E-mail: thevoicemechanic@hotmail.

com

Web: www.voicemechanic.com

Web: www.melrosestudios.us

Contact: Sean Lee

Basic Rate: please call for info

Clients: Chris Slade (AC/DC), Chris

“Mississippi Burning” Gerolmo, Gary

Ballen - (NWA, Bonethugs, Eazy E),

Bruce Buffer (UFC Ring Announcer),

Fat Lip of the Pharcyde etc. etc. Actors

and singers: ‘Voice Projection’ and

‘repair’. All styles (rock, pop, R&B,

heavy metal etc.). Featured on Asahi

TV (Japan) and Oprah’s Oxygen

Network (Worldwide). Also full (Sony

endorsed) Recording Studio, Music

Videos/Green Screen Studio and guitar

lessons.

WES ABBOTT

846 N. Ave. 63

Los Angeles, CA 90042

323-259-0327

Basic Rate: please call for info

Clients: all levels

WEST L.A. COLLEGE

9000 Overland Ave.

Culver City, CA 90230-3519

310-287-4262

Web: www.wlac.edu

Contact: Music Dept. Administration

Basic Rate: please call for info

Post a free ad seeking musicians

Find jobs with working bands

Thousands have used

us since 1969!

WILLIAM AND IRENE CHAPMAN

Van Nuys, CA

818-787-7192

E-mail: icychapman@gmail.com

Basic Rate: please call for info

Clients: all levels and styles

Notes: The Chapmans are held in high

esteem starting with Mr. Chapmans

credits of leading baritone for 25 years

with the New York City Opera and 5

Broadway shows. Irene has starred

in many musicals and plays and

together they offer a wealth of vocal

knowledge and expertise to anyone

who is serious about developing their

singing or speaking voice. They have

been on staff with several performing

art University programs as well as

maintaining their own vocal studio.

YMCA CENTER FOR THE

CREATIVE ARTS

301 W. Bloomfield St.

Rome, NY 13440

315-336-3500

Web: http://www.reverbnation.com/

yccamusic

Clients: beginner to expert

Basic Rate: please call for info

ZION MUSIC SCHOOL

7002 Moody St., Ste. 107

La Palma, CA 90623

562-924-1232

Basic Rate: please call for info

MusiciansContact.com

818-888-7879

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6 Steps to Better Backup Singing

M

uch is written about the solo singer or lead singer experience, but

what about the special requirements of those singers not in the

limelight—the lowly but oh-so-important backup singer? Whether

you’re a hired hand or a band musician doing double-duty as a singer,

get ready to learn how to be an

integral and welcome part of the

overall vocal sound.

1. LEARN TO HARMONIZE

You don’t have to be a great

singer to be a good backup

singer, but you do need to be

able to create harmony parts

and hold firm no matter which

other vocal parts surround you.

Make sure you know the

melody well before you attempt

to find harmony parts. Practice

singing along to recordings with

complex harmonies like Queen,

Dan Fogelberg or the Beatles.

Listen carefully to the existing

harmonies, then sing along.

Do research online for CDs or

videos specifically created to

improve your skills in “vocal

harmony.”

If you have trouble maintaining

your pitch amid of various

harmony parts, plug your ear

that is near the singer who is

closest to you. Or practice singing

with other vocal parts from

a distance, gradually moving

closer to the other singers. Or

don’t stand in the middle of a

threesome; position yourself

on the outside. You must be

able to maintain your pitch in

sometimes challenging sonic

situations, which leads us to...

2. LISTEN CLOSELY

Monitors are key. Whether you

use floor monitors or in-ears,

this may be the most important

ingredient in your backup

singing ability. If even one of

the singers can’t hear himself,

the result is a sonic blood bath.

Top Los Angeles session singer

Scottie Haskell suggests that

you should “Control the reverb

in the monitor mix—too much

and you’ll be swimming and not

able to hear anything clearly.”

Don’t be afraid to ask the sound guy to adjust your monitor level and of

course make sure you can hear every singer so you all can nicely stack

the vocal parts.

4. NEVER STICK OUT

Backup singers basically help create a fuller overall vocal sound, so

never let your voice stick out. There are several ways to accomplish

this. First: begin and end each phrase exactly along with the other

backup singers. Don’t come

in early or leave late!

Second: minimize the clarity

of your consonants. Soften

your final T’s or P’s or leave

them off altogether. S’s are

the most dangerous and

can be almost eliminated.

Final S’s can easily sound

like a bunch of snakes

hissing. Practice singing

“Sally sells seashells by the

seashore” as “...ally...ellz..

ea..ellz...by...the...ea..ore”.

Extreme example, yes, but

it’ll give you an idea of how

to sing on your vowels while

minimizing your S sounds.

Watch your breathing

sounds. Audible gasping

can mar a good group

sound, particularly during

a quiet ballad. If a phrase

is really long, stagger your

breathing among the group

to give the illusion of one

long phrase.

5. ACHIEVE ENDURANCE

Grammy-winning pro singer

Angie Jarée says, “Anyone

embarking on a tour should

already have taken enough

voice lessons to know the

mechanics of singing and,

more importantly, their own

instrument; if not, they need

to do so pronto.” She likens

singing to running: “The

[tour] thing is more like long

distance running and the

studio thing is more like

sprinting. The key points

to achieving ‘endurance’

are adequate prep such as

physical stretching, vocal

warmups and cool-downs;

7-8 hours of sleep; eating

healthy; strong discipline

(minimal drinking and partying);

and the right attitude.”

When preparing for the road, find harmony parts you can sing comfortably

when exhausted, sick, or when just not in the mood to sing that

night. Live shows while traveling will test your vocal technique even if

you’re not in the spotlight.

“Watch your breathing sounds. Audible

gasping can mar a good group sound,

particularly during a quiet ballad.”

– LISA POPEIL

3. FIND THE PROPER MODULATION

Now that you can hear what the other singers are doing, try to match

their vowel sounds. That means if they sing the “oo” vowel with fishy lips,

do the same. Or if the lead singer is pronouncing the vowel in the word

“love” like “ah” instead of “uh,” match their vowel.

Add or reduce nasality to match and support the group sound.

Control your loudness when singing backup. Try to balance your volume

so you’re neither too loud OR too soft when singing in harmony.

Watch that your vibrato isn’t too wobbly (slow and big) or jittery (fast and

shallow). Neither type of vibrato blends well with others. If you can’t control

your vibrato speed, I recommend that you aim to sing with straight tone.

6. GET YOUR HEAD STRAIGHT

Put your ego aside when singing backup vocals. Or as Scottie Haskell

advises, “Remember, backup singing is not a contest—it’s a team effort.

Think of the old adage, ‘There is no I in team.’”

Backup singing is not easy—it

takes real chops. Not everyone

can do it well. Come ready with

your “A” game, a positive attitude

and a willingness to take personal

growth steps to be in a good head

space as part of that team.

LISA POPEIL is a Los Angeles voice coach

with over 35 professional teaching experience.

Creator of the Voiceworks® Method,

the Total Singer DVD, and co-author of the

book Sing Anything-Mastering Vocal Styles,

Popeil trains singers in vocal technique,

stage performance and vocal health for touring

professionals. Visit http://popeil.com.

78 May 2013 www.musicconnection.com


10:00 PM 2:05 AM 2:47 AM 3:50 AM

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