August 2023

How to Book a Successful House Concert Tour

By Ari Herstand

Bailey Zimmerman

The story behind Zimmerman’s rise to fame is the stuff of dreams. Within a few short months, he went from toiling on gas pipelines and wondering whether he could sing, to being at the center of a major-label bidding war. MC goes one on one with him in this exclusive interview.

By Andy Kaufmann

Crosstalk: Rachel White

By Rob Putnam

Compiled By Denise Coso

By Andrea Beenham

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.

Photos by Spidey Smith

IRIZE INTERNATIONAL irizeinternational.com

Skip Saylor skipsaylor.com

Because Failure Is Not an Option: With credits that range from Michael Jackson to up-and-coming U.S. and international artists in country, R&B, dance and other genres, Jay Will brings years of insight and multi-faceted experience to his role as Founder and President of iRize International. Driven by its founding philosophy, “Failure is not an option,” iRize is a full-service artist development and management company that uses digital platforms to help singers all over the world reach their goal of musical stardom.

Mixing Outside the Box: Credited on eight of Billboard’s Top 300 selling records of all time, veteran producer, mixer and engineer Skip Saylor launched his career working on classic projects with the likes of Tom Petty and Blood, Sweat & Tears (under Jimmy Iovine and Roy Halee) and later engineered for everything from famed R&B artists The Whispers to TV and radio commercials. His first studio on Larchmont hosted many classic sessions, including Grammy winning k.d. lang’s Ingenue, Guns N’ Roses’ Use Your Illusion I & II, Ice Cube’s The Predator, Santana’s Supernatural, Boyz II Men’s II and Foo Fighters’ The Colour and the Shape.

Having helped hundreds of singers turn their musical dreams into viable careers, iRize bills itself as the alternative for artists who are tired of passively waiting around to be discovered.

“iRize will help create an artist’s style and image,” Will says. “We provide artists with original commercial songs, and if they are songwriters, we work with them to develop their craft. With connections to music business, film industry and studio personnel all over the world, we can help our clients record music, shoot high-end music videos and promote their recordings. Depending on where artists are on their journey, we can have their first single released in as little as 30 days.”

Since 2006, Saylor has worked his magic in a studio he built out of a two-story barn with natural acoustics on his ranch property near the Van Nuys, CA airport. Developing a pitch perfect old school meets new school approach, he loves when young indie artists come in and are blown away by the sound achieved by his analog gear, often saying they can’t go back to “in the box.” Working frequently with his young, contemporary “wrecking crew” of fellow producer-mixers Courtney Travis and Alan Pohl, and still using his 100 input SSL from the ‘90s, Saylor likes to say he “promotes the marriage of analog and digital.” He also sets himself apart from some of today’s mixers by “never mixing completely in the box” and using real equipment along with plug-ins

Artist Development Program: iRize’s artist development program is designed to maximize an artist’s education in the areas geared towards launching a career immediately. The company concentrates on perfecting each artist in the areas of songwriting, vocal technique, vocal styling, image styling, performance, interviewing and music business. Will says, “We don't focus on the history of the music industry, but the future of the music industry with you in it! We also don’t stretch out what you can learn in two weeks to a 6-12 month course.”

Key Elements: iRize creates tailored, high-quality songs for their clients while also focusing on helping them develop their ability to write quality songs—adding an important tool to their musical arsenal. They help art-

Multi-Genre Clientele: In recent years, Saylor and his team have mixed tracks for Billy Ray Cyrus, DDG, French Montana, Flo Rida featuring Intl Nephew and Oya Baby, actor-singer Cody Christian, Glasses Malone, Kendrick Lamar, Dave East, Fridayy, Mack 10 and singer-actress Dizzy Harris. Whether marquee names or upstart independent artists or bands, they sometimes begin the recording process at home, then come to Saylor’s place (which he sometimes dubs “The Compound”) for finishing and mixing, taking the tracks to the next level. “One of the best

compliments I ever got,” Saylor says, “was from an artist who said I completely changed the mix in less than three minutes, making it jump out of the speakers at him. That’s what I’m always aiming for.”

Quote from Skip: “My studio was built around the idea of being an engineer-producer with my own space, but I have a lot of friends who book the studio to do their projects. My job is mostly helping artists and producers realize their vision. Everyone has a dream of what their record will sound like before they start it. The challenge is, can we meet that vision or maybe exceed it? I like to say that the job of a producer, co-producer or mixer is to guard the castle (meaning the artist), and are we helping make that artist all that he, she or they can be. Is the castle we’ve created Buckingham Palace or are we turning the artist into a rental house in Winnetka? We would like to think that we are better than most at what we do.”

ists develop their ability to hit, hold, texture and color notes, and show them how to maintain vocal longevity during lengthy shows. Another important factor is helping artists develop a unique vocal style that separates them from others and makes them commercially viable on Top 40 radio. In addition to working on image styling and performance skills, iRize’s roster of contracted professionals will teach artists how to “do interviews without sticking your foot in your mouth.” Artists will also learn how to manage an interview so that the questions and subject matter are under their control. Overall music business skills are also vitally important, and iRize teaches artists how to create and execute strategies that can help them win in the music game. “You’ll learn how to become a master at career promotion,” Will says. “We’ll show you how to get the radio play you need. Also show you how to get songs in major movies and TV shows. This education and know-how will make you a strong competitor, even to the major artists you hear on the radio every day.”

Contact Skip Saylor, 818-300-0400

To audition for iRize International, go to irizeinternational.com

ASSIGNMENTS

Dr. Dylan Caligiuri

Guitar Department Head

Los Angeles College of Music

The Los Angeles College of Music (LACM) has named Dr. Dylan Caligiuri (D.M.A.) as the college’s new Guitar Department Head. Dr. Caligiuri's credits include work for artists ranging from the Rat Pack's Don Rickles to popular music sensations Sia and Bebe Rexha. In 2016, Dr. Caligiuri began his role as pre-launch Curriculum Consultant and On-Screen Instructor in the pre-launch of Fender Musical Instrument Corporation's digital learning app Fender Play, where he continues to develop technical course content for self-paced learning, advise internal stakeholders and planned/monitored implantation of technology-based learning assessment tools. For more, contact laurajohnsonpr@yahoo.com.

Cesar Gueikian

President and CEO of Gibson Brands

Gibson Brands, Inc.

Gibson Brands, Inc. has appointed Cesar Gueikian to the role of President and CEO of Gibson Brands. Gueikian joined Gibson in 2018, merging his business background with his passion for music and guitars. He has been instrumental in the resurgence of Gibson, setting a successful new strategy centered around instruments and sound, relaunching the portfolio of brands, shaping a new portfolio architecture, creating Gibson Media, launching Gibson TV, and securing partnerships with Gibson artists. Gueikian has performed with and recorded alongside artists, such as Mana, Kirk Hammett and Rob Trujillo (Metallica), Rex Brown (Pantera), Dave Mustaine (Megadeth). For more, contact primeprgroup.com.

Kurt Van Scoy

VP and Officer, Products, Business Alliances and Marketing Audio-Technica

Kurt Van Scoy has been promoted to Audio-Technica U.S. Vice President and Officer, Products, Business Alliances and Marketing. The announcement was made by Manabu Aoki, Audio-Technica U.S. CEO and President, to whom Van Scoy will report directly in his new role.

Van Scoy joined Audio-Technica U.S. in 1987, transferred to a subsidiary, then came back in 1995. He has worked in roles spanning several of ATUS’s departments including Engineering, Production. Van Scoy will continue to oversee Product Development as well as assume leadership of the Marketing team. For more info, contact pr@clynemedia.com.

Luke Vogel Market Development Manager

Fulcrum Immersive

Fulcrum Immersive announced the appointment of Luke Vogel to the newly created position of Market Development Manager. Vogel, who worked with Venueflex prior to Fulcrum Acoustic’s recent acquisition of the company, started with Fulcrum Immersive in May 2023

Vogel will serve as a primary resource for Fulcrum Immersive’s system integrators, acoustic designers, and end users. Vogel will provide both technical consultation and support to ensure they understand this emerging technology and can use it effectively in their real-world scenarios. For more, contact rogerm@ mountaincrest.net.

Tomoo Kato Chairman & CEO Casio America Inc.

Casio America, Inc. announced that Tomoo Kato has assumed the role of Chairman and CEO. As Chairman and CEO, Kato will shape Casio's U.S. strategy and operations with an emphasis on enhancing customer satisfaction, accelerating market share growth, and driving technological innovation. Kato will also be instrumental in aligning U.S. operations with Casio's worldwide initiatives. Since starting his career in 1991 at Casio Computer Co. LTD in Tokyo, Japan, Kato has made significant strides within the company, particularly in the business development of the European and North American markets. For more, contact khelander@coynepr.com.

Fred Croshal Board of Directors

The Guitar Center Music Foundation

The Guitar Center Music Foundation (GCMF), has announced further expansion of its Board of Directors and appointed Fred Croshal to the organization’s leadership body. Croshal began his career as a retail sales representative at a local record store in the Bay Area before securing his first position at CBS Records. Soon after, he obtained executive positions at Sony Music Distribution and Columbia Records, working with artists such as Michael Jackson, Pearl Jam, Bruce Springsteen, Mariah Carey, Stevie Ray Vaughan and more. In 2003, he founded Croshal Entertainment Group. For more, contact pr@clynemedia.com.

Max Moroldo Managing Director Wise Music Italy

Wise Music Group has appointed Massimiliano “Max” Moroldo as Managing Director of the recently established company Wise Music Italy, based in Bergamo. Max joined Wise Music Italy in 2022 as Head of A&R and Music Publishing Consultant upon the acquisition of his company, Baby Angel Music, by Wise Music Group. Through the ownership of Baby Angel Music and Atlas, Wise Music Italy owns shares in international hits such as “Freed from Desire” (Gala), “I Know You Want Me” (Pitbull) and “Seek Bromance” (Avicii), as well as Italian hits including Occidentali's “Karma” and “Amen,” among others. For more, contact bobbi@bobbimarcuspr.com.

David Loiterton President, Indo-Pacific Primary Wave

David Loiterton joins Primary Wave Music as President, Indo-Pacific. As head of this new division, Loiterton will be responsible for driving investment in legendary and iconic music IP across the region, in particular India, Japan, Korea, China, and Australia, as well as the emerging Southeast Asian markets. Loiterton will manage the company’s extraordinary catalog of songwriters and composers in these fast-growing markets. David comes to Primary Wave with more than 35 years’ experience in music publishing, recording, artist management, and music streaming. For more, contact cmonck@primarywave.com.

SYNIDO MIDI TEMPOPAD

The Synido TempoPAD's small size and simple operation makes is easy to carry and use. So it's perfect for using with a laptop or even a smart phone— anywhere, even when out camping.

There are four encoder knobs; six full-size transport buttons and four banks of 16 drum pads made of indestructible silicone. I found that these pads provide a more expressive and dynamic playing experience using a total of 48 virtual pads. I did like the four velocity-sensitive curves that are very responsive to your musical "hits" all in real-time when I wanted to add dynamic cymbal crashes in a mix I was working on.

The Synido TempoPAD editor software is for the music producer of any skill level to edit MIDI messages and, once you've programmed a groove, the beat pads provide useful visual cues and a rhythmical light show.

Synido Midi TempoPad can be used with any MIDI-enabled device, including PCs, Macs, and mobile devices. It includes a USB-C to USB-A cable for computer connection and a 1/8-inch TS to 5-pin MIDI adapter cable. When using Synido with portable devices like an iPad or iPhone, there is a DC-5V jack for connecting an additional power supply for more reliable operation. The Synido MIDI TempoPad makes possible the spontaneously production of music anywhere with any device from a full-on PC or Mac computer system to just a phone! Just install the Control Panel software so you can specifically program the pads and you're ready to go!

Synido MIDI TempoPad sells for $89 95 MSRP, but look for discounts on Amazon at:

amzn.to/3zUjH3y

YAMAHA FG9 ACOUSTIC GUITAR

One of the highlights at the 2023 NAMM Show was Yamaha's FG9 steel-string acoustic guitar. This is an excellently made instrument specifically designed for singer-songwriters pursuing the highest level of expression from a dreadnought-style, Japanese-made handcrafted guitar. This clarity of sound and impressive projection is due to Adirondack spruce tops and your choice of either Indian rosewood (FG9 R) or African mahogany (FG9 M) for the backs and sides. Either guitar uses both an ebony fingerboard and bridge with a bone nut and saddle.

It is worthwhile to play and experience the deep lows and sparkling highs from the Indian rosewood along with the warmth and accentuated midrange coming from the mahogany. This all complements and inspires vocal performances as does the traditional and beautiful Japanese aesthetic details I loved the rope rosettes.

Yamaha scores again with a combination of its scientific measurement and analysis, combined with innovative craftsmanship for an instrument of exceptional clarity, detailed articulation, and sonic reach.

The Yamaha FG9 R NT (rosewood) sells for $6,780 MSRP while the FG9 M NT costs $6,620 MSRP.

usa.yamaha.com/products/musical_instruments/guitars_basses/ac_guitars/fg_series/fg_9/ index.html

WARM AUDIO WARMDRIVE

Warm Audio's Warmdrive is an overdrive pedal that pays homage to the original "Dumble amp in a box" overdrive pedal called Hermida Audio Zendrive. This stomp box overdrive pedal depends on a very careful circuit design and component choices when you would use it to dial in a transparent overdrive tone. Or push a tube amp into saturation, or get a solo guitar sound with heroic authority. Warm Audio's Warmdrive uses premium components like 2N7000 MOSFETs and 1N34A Germanium and Schottky BAT41 diodes.

The four front panel controls are positioned and named exactly like the ZenDrive pedal. Warmdrive is a small sized unit with an interactive voice/tone stack. The Voice control boosts or cuts treble before the clipper (distortion) section and the Tone control adjust the brightness after that stage.

We thought this pedal offered a tight sound when connected to my small 5-watt tube guitar amp. My guitar player, producer Mikal Reid, used a stock '60s Fender Telecaster and got a hot sounding boost at a comfortable sound level with my guitar amp set totally clean. We liked all the dynamic sounds up to saturated cascading gain tones for standouts and solos. This is a good pedal!

The new Warm Audio Warmdrive sells for $149 MSRP and it is used a lot in my studio these days! warmaudio.com/warmdrive

BEYERDYNAMIC FREE BYRD EAR BUDS

The Free BYRD Ear Buds from Beyerdynamic are Bluetooth-enabled and sound better than my expensive wired models. With their closed-backed dynamic transducers, I've been using them every day with my iPhone on my hour-long walks and I'm impressed. When they are properly fitted into my ears, they sound great! They come with a compact charging case in which the ear buds drop into and there is an USB-C and cable to plug it into any socket or charger. You can also use Qi® wireless pads for them—a 10-minute charge will run them for over 60 minutes. A full charge will run them 8 to 11 hours with ANC or Active Noise Cancellation also activated.

I received a pair of gray Free BYRDs and charger, but they also come in black and I was immediately struck how intuitive they operate. Functions or commands are initiated by taping on ether the left or right ear buds' black touch strips. Things like: play/stop/previous/next song or accepting/rejecting incoming phone calls and calling up voice assistant are all various number of "taps" on either the left or right ear bud. This all works great, although I do have to get use to them! I'm having a great time with the comfortable and completely adjustable Free BYRD ear buds.

I've started using Apple Siri on my walks and a tap and hold on the right ear bud wakes her up. Amazon Alexa and Google Fast Pair are supported. Free BYRD has two (one in each bud), built-in MEMS omnidirectional microphones with Qualcomm® cVc™ speech enhancement technology all running under Bluetooth version 5 2 with aptX Adaptive, AAC, and SBC.

Beyerdynamic Free BYRDs include five pairs of silicone ear tips and three pairs of foam tips in sizes XS, S, M, L, XL, an USB charging cable, and instructions. Free BYRDs cost $249 MSRP. north-america.beyerdynamic.com/free-byrd.html

NUGEN AUDIO JOTTER

Jotter is a note-taking and collaboration software system. Jotter is a time code-linked annotation tool that allows engineers, mixers and producers to collaborate between each other and directly with clients using a free, standalone player that works in any computer. In addition to being able to "sync" comments and notes exactly to the timeline (time code), Jotter creates a .csv file that is sharable between the Jotter plug-in running in your DAW and the free standalone version for clients and other collaborators.

A producer or anyone can load/import the latest mix into the standalone Jotter app, add their notes anywhere in the file and then export just the notes to the mixing engineer who already has the mix file. This .csv file can then be imported into the engineer’s instance of Jotter both the standalone app or the plug-in version where the client's detailed feedback and commentaries are locked to their exact same positions in an audio file.

Comments are accessible either in Waveform or List view. Waveform view allows the user to zoom in/out on the audio track to add, find, delete or move notes. In List view, any listed time code is clickable to read the particular note and then also toggle a “checklist” to check off a completed change.

Jotter introduces screen reader support and many keyboard shortcuts, Nugen Audio's first accessibility features for users with visual impairments. Screen reader reads aloud anything the user is interacting with and announces possible options for action. With the keyboard shortcuts, users can bypass the interface completely as it links most functionality to buttons on the screen. These accessibility functions will provide blind or visually impaired users with the ability to navigate the Jotter plug-in more easily.

The Nugen Audio Jotter plug-in, plus the standalone player your client can download freely, sells for $49 MSRP. nugenaudio.com/jotter

TRX LETS DRUMMERS CUSTOM-DESIGN CYMBALS

The new Custom Cymbal builder on the TRX Cymbals website allows drummers the ability to design their own cymbals and have them made by TRX's master cymbal makers.

This is a step-by-step process to dial in a one-of-a-kind cymbal with all the desired personality and character possible using combinations of the ten factors that make up a cymbal's sound, look, and performance within your drum kit's overall sound.

The ten factors used are: type, size (diameter), weight, bell size and finish, hammering (or not), lathing (coarse or fine), actual overall finish, venting (holes), and rivets.

TRX completes your custom design with each drummer able to choose to have their cymbals "personalized" with their name and/ or logo laser-engraved right on it. Check it all out at: trxcymbals.com

BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility in North Hollywood called Tones 4 $ Studios. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com

Too Hot

By George Brown

(hardcover) $28.99

Brown’s memoir describes his life in and out of the band, including a raucous life on the road as Kool & The Gang’s popularity grew. He weathered the ups and downs of his musical career and navigated many challenges, including prescription drug addiction, depression, and health issues. This ultimately inspiring book comes out the same week as Kool & The Gang’s 34th studio album, People Just Wanna Have Fun celebrating the band’s 60th anniversary next year a little early.

Record Plant, Sausalito Studios

By Katiana Giacona

(paperback) $23.99

This handsome, fully illustrated, softcover book, with a foreward by producer Ken Caillat (Rumours), documents the rich colorful history of a storied San Francisco area recording facility, where artists including Fleetwood Mac, Sly & the Family Stone, Jefferson Airplane, Rick James, Prince, Bob Marley, The Grateful Dead, Dave Matthews, Metallica and many others recorded some of their finest, classic work.

Where Are Your Boys Tonight? The Oral History of Emo’s Mainstream Explosion 1999-2008

By

Chris Payne

(hardcover) $32.00

Emo’s third explosion took place from 19992008 thanks to the existence of Warped Tour, Myspace, Napster, and a lot of angsty teens. Music journalist Chris Payne offers a wellorganized oral history of the scene’s explosion with interviews from the musicians (My Chem, Fall Out Boy, Paramore, Jimmy Eat World, Thursday, Panic!, etc.) labels, publicists, tastemakers, journalists and so much more. Because of its prose, we get the chance to hear authentic perspectives about the resurgent genre no band wanted to be defined as at the time.

This Book Shreds

By Rob Spampinato

(paperback) $16.99

If you or someone you know has ever tried to learn an instrument, but felt it was too hard, you aren’t alone. But this author/teacher’s unique method aims to give all the mental, emotional, and physical tools needed to make music more than a wish or a hobby: You’ll be able to make music a lifestyle. And the difference is, you need an overall approach that can be customized to you. More details at thisbookshreds.com.

Harder to Breathe

By Ryan Dusick

(hardcover) $26.95

Two decades after Songs About Jane, Maroon 5’s original drummer presents an unflinching examination of fame, anxiety, mental health, and recovery in the ‘90s, Ryan Dusick and his friends Adam Levine and Jesse Carmichael dreamed about making it big... and against all odds, they did. This inside story recounts Maroon 5’s founding and their road to becoming Grammywinning megastars, told through the eyes of former drummer Dusick.

Don’t Ever Punch a Rock Star― A Collection of Hate Mail and Other Crazy Rumors

By Danny Marianino (paperback)

$19.99

When the clip of the author’s first-round KO of Glen Danzig hit YouTube, his fate was sealed. The hate mail came pouring in. Emails, message boards, comment sections, and, eventually, social media. People were livid and they did not hesitate to voice their displeasure with Marianino. Daily barrages of badly spelled, grammatically challenged emails began to flood his inbox. Message boards melted down with virulently worded threats of violence and death. The gatekeepers of punk rocked gasped, shuddered, and clutched their pearls in outraged indignation. In this 10th anniversary edition, the author says, “I added a lot of funny stuff: more messages and hate mail and I expanded on some of the funny experiences I should have really told better."

Jan-Al Cases

janalcase.com

Celebrating a Milestone: Having survived the deep economic downturn associated with the pandemic as well as a heart attack and quadruple bypass surgery these past years, Jan Alejandro is grateful that he and his wife and business partner Muffie Alejandro are celebrating the 40th anniversary of their groundbreaking company Jan-Al Cases this year with great optimism about the future. In addition to providing durable, state of the art products for the music, aerospace, sports and medical industries, among many others, the owners of the one stop custom touring case, racks and design company have been recognized for their expertise and commitment to reducing the environmental footprint and their community involvement through charity work. They are also industry leaders in ATA 300 Cat I case design. The Alejandros met in Northern California where they ran a highprofile rehearsal studio. Jan, a veteran roadie for Jackson Browne, David Bowie, Iggy Pop, Blondie and others, had worked in the instrument rental business with Muffie, who also worked for a prominent music manager and various record companies. Jan-Al Cases started humbly in their Silverlake garage before taking off after a move to the City of Commerce. Their manufacturing is currently based in a 10,000 square foot facility in East L.A.

EServing Superstars, Indie Artists, Symphonies and More: In great demand over the years with superstar artists touring the globe and working musicians getting to their next club gig, the company has received numerous accolades for its stellar customer service and the manufacturing of durable, protective and long-lasting ATA touring cases for wardrobe, back-

line, racks, production, video screens, lighting and rigging, pro audio and tour supplies. In addition to classic artists like the Rolling Stones, Madonna, Fleetwood Mac, Santana and Paul McCartney, their post-COVID clientele includes Adele, Coldplay, Foo Fighters, Beyonce, Kendrick Lamar and Justin Bieber. Their cases are also used by the Metropolitan Opera, Boston Symphony, New York Philharmonic, LA Philharmonic and the Chicago, Houston, Dallas and San Diego Symphonies. Jan-Al has also developed sound isolation cases and special insulated radiant barrier cases that many symphonies are using to protect expensive instruments from extreme heat and cold conditions. Muffie’s current pet project is developing a more affordable line of cases for touring independent musicians on a budget.

A Family Business and Legacy: Despite Jan-Al’s enduring impact in various industries, Jan often refers to the company as an “independent mom and pop” independent contractor service. Most importantly, it is a family owned and run business that includes Alejandros’ adult son, Erich and daughter, Arlene. Jan and Muffie also consider their 30 loyal employees like a second family and are proud of the way their years with Jan-Al have helped them achieve the American dream. “Muffie and I are children of immigrant parents from Germany and the Philippines,” he says. “We’ve been able to make a good living, creating products with the help of many employees who have come from other countries, become U.S. citizens, bought houses and raised families with kids who have gone to good colleges and now have great jobs themselves. That’s as much a part of our legacy as being appreciated by people who use our products in the music world and other industries.”

Contact Jan-Al Cases 323-260-7212

PARAMORE AT UNITED

Paramore are currently on the road, promoting latest This Is Why release, before supporting Taylor Swift on her European tour. The group is pictured during sessions in Studio B at the now closed United Recording, (l-r): Taylor York, Alf, Hayley Williams and Zac Farro.

DEMARCO SIGNS JOHNS

Mac DeMarco introduces multi-instrumentalist Daryl Johns, “a young master with a new sound,” and the newest signee to Mac’s Record Label, by presenting his debut single, “Gabriel.”

DREAMER GARCIA ADOPTS ATMOS

Tracking and mixing engineer Jonathan “Dreamer” Garcia recently decided to focus primarily on immersive audio, with a new residency at the ATMOS Studios. This provided him the opportunity of producing immersive masters for talented artists like Rema, Poo Bear, Cammy J, Donna Summer, Bazzi and Late Night Jiggy, among others.

PRODUCER PLAYBACK

GAME COMPOSER SOYO OKA JOINS SCARLET MOON

Composer Soyo Oka has joined Scarlet Moon’s roster of musical talent. Oka best known for her work as a former member of the Nintendo sound team alongside famed creator Shigeru Miyamoto, with credits including Super Mario Kart and Pilotwings is looking forward to partnering with game developers to bring her iconic sound to audiences around the world.

“What I’m interested in are these undeniable physical reactions. If I feel chills, that’s what I’m trying to get to. It tells you you’re alive. It’s emotional in a way that you can’t define as happy or sad. It’s just being moved.” – ANDREW W.K.

DAVID GOGGIN

RAYMOND SCOTT REIMAGINED AT SKYWALKER SOUND

Grammy-nominated Classical Crossover specialists Quartet San Francisco paired with Emmy/Grammy winner Gordon Goodwin’s Big Phat Band at Skywalker Sound (Lucasfilm) for their Raymond Scott Reimagined tribute that releases next month.

FLIGHT ATTENDANT

Anders' ear, due out this

(l-r)

MODEST MOUSE LONESOME CROWDED WEST TOUR

RAMAZANOGLU, RAE TO SUPPORT PROJECT7

JAM BAND STUDIO

Jam Band Studio (JBS) has recently opened its doors in Gainesville, FL, after being acoustically designed by Carl Tatz Design. Owner Ryan Frankel states his mission plainly on the JBS website: “At Jam Band Studio we can be as creative and weird as we want.”

Modest Mouse has evolved from a post-grunge trio of high schoolers to a five-toseven-piece band of violins, horns and percussionists. To celebrate the album’s 25th anniversary, Modest Mouse embarked on the Lonesome Crowded West Tour in late 2022. Performing as a four-piece for the first time in over a decade, the band played the 1997 album in its entirety and in order. Front-of-House Engineer Peter Thompson enlisted a Soundcraft Vi7000 digital mixing console with a Vi Stagebox and Realtime Rack Core.

NOYZR'S ELECTRIC SUN

Under the umbrella of music production company NOYZR, Electric Sun Studios is a fully equipped recording and music production studio featuring a mix of classic and contemporary gear like a Neve 5088 mixing console. Even though it has only recently opened its doors, Electric Sun has already accommodated several influential Los Angeles-based artists, like Joshua Radin, Kaleido produced by Morgan Rose, and many more.

Prism Sound is lending its support to Project7, the U.K.’s leading residential songwriting retreat that takes place this year at the world-famous Rockfield Studios in Wales, the facility where Queen wrote and recorded "Bohemian Rhapsody." Headline producers for this year’s residential retreats include Emre Ramazanoglu, whose credits include Noel Gallagher, Carly Rae Jepsen, Richard Ashcroft, U2, Lily Allen, Paloma Faith and Michael Jackson; and Kaity Rae (pictured), whose credits include The Shires, Lisa

Pac, Betsi Gold, Tragic Sasha and Lleoworld.

Anders Fleming (left) is a Swedish citizen who moved to Nashvlle to further delve into the world of music. Flight Attendant will be producing their entire EP with the aid of

Fall. Pictured

at Fleming’s home studio: Anders Fleming, Karalyne Winegarner, Derek Sprague, Vincent Maniscalco, Nikki Christie .

RACHEL WHITE

Los Angeles native, guitarist, producer and engineer Rachel White waded into the waveform waters by way of GarageBand, dove deeper with Logic and surfaced, ultimately, to record her own music. When a co-worker at a smoothie shop offered her $100 to engineer five songs, she realized that the profession held potential as a cash-creating career. She’s since worked with bands including Weezer, 5 Seconds of Summer and Panic! at the Disco. Indeed, on Panic!’s 2022 Viva Las Vengeance she contributed backing vocals to a number of tracks and was a member of the touring band. “It’s a lot of word-of-mouth,” White says of landing gigs. “I’ll do production for a friend and they’ll then recommend me to others.”

It’s evident to anyone who takes even a cursory glance at the proportion of men versus women in audio that there’s a profound imbalance. Fortunately for White, she’s been spared many of the barriers and inequalities that often accompany such disparities. “I’ve been lucky to work with women who’ve helped to funnel me into the industry,” she observes. “Sometimes there are dudes who are like ‘Oh, that’s cute. She thinks she engineers,’ but for the most part, everyone’s been super respectful. I’m grateful that I’ve made it to where I am because a lot of these opportunities for women didn’t exist back in the day.”

M NThere are any number of challenges faced by producers and engineers and usually they’re as varied as the individuals themselves. But for White, the biggest she’s faced has been self-doubt. “One of the hardest things to do while you’re working is to trust yourself,” she asserts. “Sometimes you ask yourself, ‘Does what I’m doing sound good?’

. . . lessons she’s learned in the audio world are:

• Learn to be quick. Speed is key, especially if people are waiting for you.

• It’s vital to be calm in stressful situations. People appreciate it when the person steering the ship has an air of calm.

• Experimentation is key. So many things are happy accidents and even if something doesn’t work for a song, you can save it for another time.

Learning how to be less critical in the creation stage is important. You have to accept that the things that have brought you into the room will continue to propel you.”

The selection of a software tool or piece of gear is nearly an art in itself. White’s go-to plugin is Avid's Tel-Ray Variable Delay. “It’s based on the Oil Can Delay [invented by Ray Lubow in the '60s],” she says. “That’s a fun effect for delay and chorus-like stuff. My favorite mic is the workhorse [Neumann U] 87. You can put that on anything and it’ll sound incredible.”

Currently, White is engineering for a number of pop and rock artists. Throughout her career she’s recorded at several studios, but among her favorites is Highland Park’s 64 Sound, where she interned as she was coming up. In recent years she’s labored alongside producer Jake Sinclair (Pink, Avril Lavigne, Gavin DeGraw), but a few months ago she struck out on her own. She now logs countless hours at her own studio, which she refers to lightheartedly as her “playground.” It was completed towards the end of 2022

Contact: Instagram@rachwhiiite

“Thank you, Music Connection, for all that you do for us artists, and other music industry professionals! You continue to provide us with trusted quality resources and information that helps us advance our career. Music Connection for life!”

– Jacqriot

“Music Connection is the best magazine for every musician to subscribe to. The information the magazine provides for an artist is invaluable.”

– David Fishof, Producer, CEO of Rock and Roll Fantasy Camp

THE EDUCATOR

“Music Connection magazine is my barometer for staying on top of industry trends. My students receive invaluable feedback through the New Music Critiques and Reviews. Also, the national Directories are a great resource. The latest issue of Music Connection magazine has a permanent home in my teaching studio!”

THE EDUCATOR

– Chris Sampson, Vice Dean for Contemporary Music, USC Thornton School of Music

THE STUDIO OWNER

“Advertising with Music Connection has been a great experience that not only gave us great exposure, but allowed us the opportunity to get involved in contests and other fun events. Highly recommended.”

–David Avery, Powderfinger Promotions

“I find valuable information in every issue. I constantly refer engineers seeking employment to the annual Recording Studio issue, which has the most complete and comprehensive list of U.S. studios that you will find anywhere. And when I am asked for advice by a kid just starting out, I always tell them 'Well the first thing you should do is check out Music Connection.'”

– Kathleen Wirt, Owner, 4th Street Recording

"Music Connection is the most enjoyable magazine I read. It has the best advice, news, inside scoops, etc. As a designer and manufacturer, they keep me up to date as to where things are heading. The people there are awesome, and you can always find the 'magazine of choice' by looking in a studio’s bathroom. There is ALWAYS a Music Connection magazine in there!"

– Paul Wol , Designer, Inventor, Owner, FIX Audio Designs

THE INDIE ARTIST

THE AUDIO PRO

THE PROMOTER

J.W. Roth

Founder and Chairman

Notes Live

Years with Company: 8

Address: 1755 Telstar Dr., Suite 501, Colorado Springs, CO 80920

Phone: 719-895-5483

Web: noteslive.vip

Email: info@noteslive.vip

BACKGROUND

One of the creators of an extremely successful food business, J.W. Roth has earned more than enough money to retire. Instead of calling it quits, he decided to chase a dream. As the brainchild behind Notes Live, he’s taking over the country with a new breed of concert venue.

Shifting Focus and Changing Hands

I’m a founder at Roth Premium Foods. We’re the third largest prepared foods company in the United States. While I still am the controlling shareholder, I no longer work there. My son took over and I started Notes Live.

I’ve been a music nut since I was a kid. Music has always been my passion.

Tasty Beginnings

I started with a small campus here in Colorado Springs consisting of Bourbon Brothers Smokehouse & Tavern. I’ve been a bourbon connoisseur my whole life. I enjoy collecting not only music memorabilia but also bourbon, so I built a boutique bourbon room.

Next to it, I built an indoor, 1,400 cap room that caters to a demographic I thought would enjoy experiencing music with extra ambience —cocktail service, high-end menus, bathrooms that you’ll never stand in line for, parking that is super convenient.

Coming Soon Everywhere

We’re opening in Gainesville, Georgia in about four weeks. I built it around the idea of an old distillery. It’s a campus that sits on an entire city block. It encompasses both a Boot Barn Hall and a Bourbon Brothers Smokehouse & Tavern. The Boot Barn Hall is all brick, it has beautiful outdoor areas and bandstands and bourbon rooms. It’s got an indoor, 18,000 square foot floor and a big horseshoe balcony that overlooks the stage.

We’re getting ready to build in Murfreesboro, Tennessee on the Stones River. It’ll be the exact building that I’m building in Gainesville, Georgia. And then [there’ll be] a 4,500-foot outdoor amphitheater with 60 fire pit suites. I want people to feel like they’re sitting in their living rooms or on their back patios while watching our shows.

The one I’m building in Colorado Springs, Colorado opens in May of ’24. It consists of 90 firepit suites that sit eight people each. It’s got a capacity of 8,000. We’re in the process of developing a 24,000-seater in Fort Worth, Texas that will consist of 168 fire pit suites, not to mention 18 luxury suites. My vision is to

build 10 of these over the next 60 months. I’m not doing it to be competitive with anybody. I’m doing it because I love it.

Choosing Spots

Every site has to be in a location that is home to a demographic we believe will pay a small premium to enjoy music in an ambience they wouldn’t find anywhere else.

The second thing is I want to find locations where there are not a lot of options. Now, there are options in almost every market where we’re building, but they’re not options that would necessarily compete with us. For example, in Colorado Springs there isn’t an outdoor amphitheater. [Regarding] Gainesville, anywhere within an hour north of Atlanta there just isn’t anything that would be competitive.

And the third piece we look at is route-ability. We’re very close to signing a partnership, so [we need places that are] route-able with that partner.

The Experience Is What Matters

I never start with what financially makes sense. I always start with what is attractive to the consumer. I didn’t start this to be the most profitable guy in the world; I started this to be the best in the world. So while each of these [venues] will generate significant revenue, I don’t start off thinking that way.

Spacing Out

Space per square foot is important. When you come into one of my amphitheaters, you’ll find that the seats in the lower bowls are all 21”. Over 8% of my amphitheaters are luxury suites. The lawns are larger and more comfortable. The one thing my wife hates more than anything is standing in a long line for the bathroom. So if the

regulation says it’s one stall to X people, we would be 1.25 to X.

Being a Good Neighbor

With the entitlement process, you’re not just dealing with the government and the building departments. You’re also dealing with the folks that live near your venue. It’s important that I spend time with those neighbors and help people understand what we’re building, why we’re building there, and how we’re going to be good neighbors.

Safety First

We have a former FBI agent that oversees all the safety. We look at safety in three different ways. The first is preplanning what happens in the event there is an issue.

Number two is how we keep that issue from happening. How do we keep guns out of our venues? There are no backpacks or trench coats. You’re going to get wanded. We’re going to go through your purse. We are proactive.

And then the third piece is—how can somebody hurt us from the outside? Balconies, windows where people can see into our stadium… We have gone overboard in making sure that not only do you have a great experience, but also that you are safe.

Giving Young Artists a Chance

We have small rooms like Notes Bar that are 400 people. Then we have halls that run 1,400 to 2,000 cap rooms. And then we have our amphitheaters, which are from 4,500 to 24,000. In each of those venues, we have set aside 15% to 20% for artists that are up-and-coming. It’s harder in our bigger venues, because our partner controls so much of that talent. But in the smaller rooms we own, it’s easier and we’re committed to that.

The Second-Hand Ticketing Problem

When you have the venue, promoter, customer and artist all in sync, things work. But as soon as you introduce some outside party, all of a sudden you are taking money out of the artist’s pocket and driving up costs for your customer. I am [in favor of] the customer not being gouged. And I’m a proponent of venues and promoters being able to make a living. I am hell-bent that those who have skin in the game should be making the rules.

An Ownership Opportunity

We’re in the process of becoming a public company. I decided to do that because I want our fans to feel like they own [our venues]. I was that guy who always wanted to own something and didn’t have the money to do it. If I’d had the ability to own a piece of [something], I would’ve done it in two seconds.

Let Passion Be Your Guiding Force

I have always found you will make more money if you let passion drive you than if you let money drive you. It’s that simple. I don’t care if you’re making food or selling tickets or building an entertainment company. If you let passion drive you, you’ll win. •

“I never start with what financially makes sense. I always start with what is attractive to the consumer.”

OPPS

Warner Chappell Music wants an Administrator, Royalties. Under general supervision, with latitude for independent judgment and decision, you are responsible for performing research and analysis relating to client royalty accounts, as part of the Royalties Payable team at Warner Chappell. Your job is the final rung on the administrative ladder what we do on this team a ects the distribution of client payments and statements, and establishes the terms of our client relations. Our team’s services include paying and distributing royalties, obtaining tax forms, setting up vendor maintenance, and general administrative maintenance. As a Royalty Administrator, you will report to the Royalties Payable Director as part of the larger Royalty Department at WCM. Apply at LinkedIn.

Warner Music Group is looking for an Assistant, Marketing. As a marketing assistant, you will work closely with two Product Managers (an SVP of Marketing & a Sr. Director of Marketing) to help support the set up, execution, and delivery of innovative marketing campaigns! You will have the opportunity to help build interdepartmental marketing decks (with the ability to provide creative input) while also handling more administrative/supporting tasks such as: asset management, release scheduling, curating marketing materials, event planning logistics, etc. The team is filled with hardworking individuals who are dedicated to building and

supporting the artists they work on. Apply at Glassdoor.

Sony Music Entertainment needs an Administrative Assistant, Sync Licensing. Enter all relevant details for a very high volume of TV/Film, Sports and Podcast music clearances into a database, and track the evolving details of each deal from beginning to end as quickly and e iciently as possible. Provide assets and information (like audio files, label copy, credits, and ownership details) both to external clients and internal colleagues, in a proactive and anticipatory manor. Assist in pitching e orts by assembling playlists, identifying label priorities, tracking pitches/ projects and air dates, pulling TV/Film clips, attend label/artist meetings and take notes as needed. Apply at LinkedIn.

Universal Music Group wants a Coordinator, Production. The Production Coordinator contributes to the production process by assisting with the placement, execution and followup of manufacturing orders and by ensuring the timely delivery of quality, profitable goods. Enter and maintain updates for each style in Navision system or shared drives; perform daily tracking of goods on order, in progress (WIP) and in-transit to ensure timely delivery. Follow-up with vendors, factories and Design/ Merchandising as needed and in support of the Production Manager. Apply at ShowbizJobs.

BECK BLACK

L.A.-based rocker Beck Black began her illustrious musical journey by writing a waltz inspired by a sailor character when she was acting in a short film.

“The song I penned, ‘I’m Just a Sailor,’ became the theme,” Black says. “I didn’t know I was a songwriter until that moment, rather a poet. After the film, as an actor with a Bachelor’s degree in cinematic production concentrated in screenwriting, inspiration flowed through me to create other character-oriented songs: ‘Billy the Kid,’ ‘Feathers of a Phoenix,’ and the ‘Mermaid Song’ (sequel to ‘I’m Just a Sailor’).” The melody and lyrics emerged from the depths of my imagination via

the magical piano keys as a story telling device.”

Black’s latest release is the “Puppet Show” single, featured on her Hollywood Blvd album.

Having directed her video, written her songs, and played multiple instruments throughout her career, Black has a strong understanding of what it means to be a DIY musician.

“DIY personally draws upon the painstaking process to create art with a minimal budget,” she says. “Time is of the essence to remain current and time is something that slips away quickly as a DIY artist that does almost everything on their own. It really takes a team to accomplish visceral

KIT MAJOR WISHES YOU DIDN’T HATE HER

Los Angeles garage rock singer and songwriter Kit Major has released a video for the track “I Wish U Didn’t Hate Me So Much,” which kicks o an era of her career that she’s calling Love. Sick. Major. She’s exploring ‘60s Brit-pop and ‘90s rock with this chapter, as this song proves. “‘IWUDHMSM’ is funny to me because it’s such a long title,” Major said in a statement. “I tried every option, but nothing fit as well as just saying the full sentence! Saying, ‘I wish you didn’t hate me’ is so intense. You can hate me…I just wish you didn’t hate me SO much.” Contact wells@ tellallyourfriendspr.com for more info.

For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.

LABELS•RELEASES SIGNINGS

ZAYN signs to Mercury Records. Multiplatinum-selling recording artist, songwriter, producer, and philanthropist ZAYN has signed to Mercury Records. “As soon as ZAYN and I met, I knew we had to work together,” said Mercury

President Tyler Arnold. “I was blown away by the new music, but just as impressed by his vision, drive and spirit. We’re honored he and his team have joined us at Mercury Records.” Contact teamzayn@alignpr.com for more.

Rapper Blakeiana has signed to 300 Entertainment.

23-year-old St. Louis rapper Blakeiana broke the news of her new deal on Instagram with the line, “anybody with a small fantasy. go for it!” She’s had a big year; last year, she scored

imagery and sonic recordings. Orson Welles once stated ‘The enemy of art is the absence of limitations.’ ‘Do it yourself’ is synonymous with thinking outside of the proverbial box and relying on creativity for the answers.

“It is a daunting task to be an independent artist but the love/ passion/ is there and that’s what keeps pushing me forward along this arduous adventure called being a DIY artist/musician.”

Black will next release the single “Airplane Mode,” with a video to follow. Despite the challenges that face DIY musicians, she’s here for the long haul.

For more information, visit beckblack.com.

ROBERT HAYMAN FLORES

BUSINESS AFFAIRS

an online hit with the track “Bing Bong,” and that was followed with a video for the same song. Millions of TikTok hits later, and 300 Entertainment felt compelled to act. Contact janelle. gibbs@300elektra.com for more.

Marc Hudson signs to Napalm Records.

The DragonForce frontman has joined the Napalm roster in time to release his debut solo album, Starbound Stories. “It is with great pride that I can finally announce my signing to Napalm Records,” Hudson said in a statement. “I’m very grateful for the label’s belief in me as a solo artist and can’t wait to have Napalm on my side to show Starbound Stories to the world!” Contact natalie.camillo@ napalmrecords.com for more info.

PROPS

Congratulations to the winners at the SoCal Journalism Awards. The Los Angeles Press Club revealed the winners at a swanky event at the Millennium Biltmore Hotel in L.A. on Sunday, June 25. Holly Gleason of HITS took home the first place award for

BY GLENN LITWAK

In 2018, rapper Travis Scott founded the AstroWorld Music festival outside NRG Park in Houston, TX. Scott was also the headliner. On November 5, 2021 the festival had 50,000 people attending.

When Scott began his performance some in the crowd appeared to surge forward toward the stage and ten people were killed (and thousands injured) by being trampled or asphyxiated.

Scott has a somewhat checkered history as he had gotten into trouble in the past for allegedly inciting violence, as well as praising fans for participating in it.

On June 29, 2023 the authorities

Criticism of Music, while Yahoo writer Lindsey Parker got a first for her profile of Moon Zappa. Visit lapressclub.org for the winners.

THE BIZ

Aquarius Records doc on Prime. A new documentary movie about Aquarius Records is streaming on Amazon Prime It Came From Aquarius Records is directed by Kenneth Thomas, and it’s “about the SF-based independent record store, Aquarius Records. Having closed in 2016 after 47 years, this small apartment-sized store championed local, underground, independent, and challenging music to the masses.” Contact dave@usthemgroup.com for more.

BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks, the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

LIBIANCA RELEASES VIDEO FOR JAH

Rising star Libianca has followed up her victory at this year’s BET Awards (where she won Viewer’s Choice: Best New International Act) with a video for new single “Jah.” Directed by Meeks & Frost (FLO, Pa Salieu, Odeal), the video was shot on Birchfield Farm and details a young woman on a journey of discovery. “In my life, I’ve met and gotten close to a lot of people who are not here with me today (figuratively),” Libianca said. “Unfortunately, sometimes things don’t work out how you would have imagined, and sometimes you need to walk away from someone for the betterment of yourself.” Contact christina@chromaticpr.com for more info.”

Criminal Charges Will Not be Filed Against Rapper Travis Scott For Astroworld Tragedy

announced that a Texas grand jury had concluded that Scott and other organizers would not be criminally prosecuted for the crowd surge. The District Attorney for Harris County announced that the grand jury considered the evidence and decided not to criminally charge Scott and five other people.

District Attorney Kim Ogg stated in a news conference:

“It is tragic that 10 innocent people were killed while trying to enjoy an evening of music and entertainment, something many of us do routinely and without a second thought to our safety. But a tragedy isn’t always a crime, and not every death is a homicide,” Ogg said. He asserts that this finding does not preclude liability:

“This grand jury’s determination has no impact on the many civil lawsuits pending.” I would not completely agree that it has no impact whatsoever, because if anyone was convicted of a crime it would make the civil action that much easier to prevail on. Scott, promoters Live Nation and Scoremore must still defend hundreds of civil lawsuits for the tragedy alleging wrongful death, personal injury and negligence.

Insurance would usually cover some or all of the damages in such cases and there is a good chance many of these cases will settle before trial.

Scott and the other civil defendants have denied any liability. Scott’s attorney, Ken Schaffer, issued a statement:

“Today’s decision by the Harris County District Attorney confirms what we have known all along that Travis Scott is not responsible for the AstroWorld tragedy. This is consistent with investigative reporting by numerous media outlets and federal and state government reports that have squarely placed the onus of recent safety crises on organizers, operators and contractors not performers.”

Schaffer also mentioned in his statement that Scott stopped his performance three times and was unaware of the events as they were unfolding (then why did he stop his performance?) I suppose he was aware of certain aspects of the dire situation but not that people were being injured and killed.

Houston Police Department Detective Mike Barrow stated that the grand jury held that no crime

occurred and no single individual was criminally responsible. He concluded:

“Just to be clear, this was not a crowd stampede. This was not a stage rush. This was not a crowd surge” Barrow indicated. “This was a slow compaction or a constriction into this quadrant resulting in collapses within the crowd that covered a very small area in this overall large footprint.”

The important point to learn from this tragedy is how to avoid similar disasters in the future.

GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail. com or visit glennlitwak.com.

AFM & SAG-AFTRA Fund Celebrating 25 Years of Paying Musicians & Vocalists

Session musicians and background vocalists have largely been the (ahem) unsung heroes of recorded music since the dawn of the industry. A scant few make their mark and score some measure of recognition and celebrity. Merry Clayton, for example, and her sublime gospel-gilded vocal on the Rolling Stones’ “Gimme Shelter” will always burn bright and her name is familiar to many. The majority, however, remain in the shadows and are scarcely known. But if fame is the candy coating of a Tootsie Pop, then an uncollected royalty is the undercover ubersweet Tootsie Roll center, one that many gourmandizers may not even realize sleeps inside.

The Digital Millennium Copyright Act was passed in 1998: 25 years ago. The AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund (AKA the Fund) was then created as a result by performers unions AFM and SAGAFTRA. It was conceived and executed as a non-profit independent entity to collect and distribute performance royalties to both union and non-union backing musicians and vocalists and their beneficiaries. In short, the Fund enables such artists to discover if they’re owed royalties for past work and if so, to collect on them. If their contribution(s) to a record were never credited or acknowledged, they can also file a claim, which the Fund will then investigate.

Generally speaking, virtually any artist in a non-featured role on a recording that’s covered by the Fund—irrespective of genre, union membership or skill level (professional or amateur)—can collect on a heretofore unclaimed royalty. Reciprocal agreements with many foreign countries such as Japan, Spain and Germany empower the operation with even greater reach.

But how likely are artists to find that they’re owed money from work that may have been done as long ago as 50 years? It’s free to register, there are no membership fees and it takes less than a minute to get an answer. The minimal investment of time required to find out, then, seems worthwhile. Twenty-five years ago when the Fund was established, that process probably would have taken days or even weeks. Now, of course, it takes about as much time for an artist to learn if they are owed uncollected royalties as it takes to read this paragraph.

How do artists determine if they’re owed royalties? They check the AFM & SAG-AFTRA Fund site under the “Covered Recordings” and “Unclaimed Royalties” tabs. Cash for music that an artist worked on years ago and may have even forgotten about can feel like free money. Perhaps Dire Straits foresaw non-featured

performer royalties when it sang “Money for Nothing” back in ‘85. Except that this is money for something. Something vital, in fact.

Many royalty claims are initiated by artists querying the organization’s site. But the Fund isn’t simply reactive. It also works to find those that are owed money. A list of all the songs and the associated artists to which the Fund distributes royalties is maintained on the site. Musicians and vocalists can check tracks on which they performed to discover if they’re

likely claimants are to be successful.

“Any sort of documentation is always helpful,” Fund CEO Stefanie Taub said in a 2019 Music Connection Exec Profile. “Obviously, we use union contracts to determine who’s on a recording. Or liner notes, which are sometimes good, sometimes bad, sometimes somewhere in between. Artists should think about keeping a record of all the sessions they do. In the past, that wasn’t as important—you got paid, cashed your check and you were on to your next session. Now, it’s so important, not only for this fund but for who knows what’s going to come in the future.”

This is where the numbers come in. Average performer payments of which there have been tens of thousands run around $1500. That’s not bad. But they can climb into the five-figure stratosphere. When the Fund started in 1998, it brought in only about $100,000 a year in unclaimed royalties. Such meager beginnings are typical of startups. But that number has since skyrocketed to around $50 million annually. Indeed, in early 2023, the Fund reported a record $91 million in payouts for 2022, which was a 28% increase from the $71 million reported for the previous year. Clearly, royalties are on an upward trajectory and there’s every reason to believe that the trend will continue. To date, the Fund has mined more than $650 million for nonfeatured performers, featured symphonic musicians and the beneficiaries of both, many of whom may not even realize that money awaits them.

Any worthwhile Performance

included in the distribution. If they’re not listed and believe that they should be, a claim can be filed directly from the song’s listing.

The Fund researches sources such as union contracts, liner notes and websites for credits to identify eligible performers. Beyond that, non-featured performers that weren’t recognized as contributors to a recording can submit various forms of proof that they’re entitled to credit and, consequently, royalties. Information such as session dates, contracts, studio location and pay stubs are all helpful. Support from studio folk such as producers and engineers who were involved in making the record may also carry substantial weight. Just as in the judicial system, the more evidence introduced to prove a case, the more

Right’s Organization strives to secure royalty payments for artists. But to do this they need accurate performer information i.e. metadata to find and cash-out those who are eligible. For example, many artists work under several names or may use alternate spellings or aliases, which can make it difficult for PRO’s such as AFM & SAG-AFTRA Fund to locate them. Fortunately, the Fund has a team of seasoned researchers that helps with these and other crucial tasks. It’s a common misconception that labels have all of the information needed for royalty payments. Often, they don’t, mainly because ample consideration wasn’t given to nonfeatured performers when some recordings were made. Not surprisingly, missing metadata has been the cause of royalties failing to be paid in the past .

Even if you’re not receiving royalties from this Fund, chances are if you’re reading this article, you know someone who is being paid or could be owed. Spread the word.

Contact: afmsagaftrafund.org

THE FUND CEO STEFANIE TAUB

LAUREN WATKINS

Date Signed: April 2023

Label: Big Loud Records / Songs & Daughters

Type of Music: Country

Management: Big Loud Management (Seth England), Songs & Daughters (Nicolle Galyon, Melanie Mulrain)

Booking: The Neal Agency (Austin Neal, Haley Teske)

Legal: Milom Horsnell Crow Rose Kelley PLC (Page Kelley)

Publicity: Big Loud Records (Jess Anderson)

Web: laurenwatkinsmusic.com

A&R: Seth England, Nicolle Galyon, Camille Kenny

As a talented young musician growing up in Nashville, Lauren Watkins was in the right place to launch a music career. But, as the younger sister to Caroline Watkins, another musician who was taking it far more seriously, the country-music musician simply didn’t see herself performing professionally. “For me, it was fun. For her, it was a career,” Watkins says of playing with her sister when she was 12 or 13 years old.

Thus, Watkins left Nashville to attend college and never turned her back. Well, almost. “About halfway through school, I realized that music was in my life since I was born,” she says. “So I moved back to Nashville to become a full-time artist.”

Around the same time, Watkins was developing a strong online presence by posting seemingly throwaway Instagram videos of her performing new material. Some of them caught the attention of married

COLBY ACUFF

Date Signed: September 2023

Label: Sony Music Nashville

Type of Music: Country

Management: Chris Kappy and Jarrod Holley / Make Wake Artists

Booking: WME

Legal: Kent Marcus - Marcus & Colvin, LLP

Publicity: Courtney Beebe - Sony Music Nashville; Asha GoodmanSacks & Co.

Web: colbyacuff.com

A&R: Jason McColl - Sony Music Nashville

Emerging country music star Colby Acuff was comfortable building a career in his home state of Idaho. But with three standout independent albums and millions of streams to his credit, he began gaining prairie-sized attention. Perhaps it was inevitable that labels would come calling.

Sony noticed the rising singer and reached out during the first half of 2022. True to his direct nature, Acuff bluntly queried how much more he needed to grow before serious talks could begin. The label’s representatives provided an answer before putting the discussion on pause.

Meanwhile, Acuff was hoping to connect with Make Wake Artists, the management team behind superstar Luke Combs. Says Acuff, “I’ve always enjoyed what [Chris] Kappy has done over there with Luke, but also Flatland Calvary, Brent Cobb, and all these other artists.”

Nashville songwriters Rodney Clawson and Nicolle Galyon. Oh, and Galyon, by the way, also heads up the female-centric Songs and Daughters label in tandem with Big Loud Records. Talk about kismet.

“They were apparently like, ‘Who is this girl?’” Watkins recalls. “Nicolle reached out to me while I was still in school to see what I was doing. It was perfect timing, because I had just decided what I wanted to do.”

Galyon and Watkins met for lunch, after which the former started setting up meetings between the latter and A&R reps at Big Loud. They struck a publishing deal in September 2021. “It was pretty quick. I had written my ass off that summer, trying to prove myself—and learn that I knew how to write, because I had always written alone.”

Around the same time as the publishing deal, Watkins was simultaneously building up her career as a performer. There too she found encouragement to pursue her talents. “That’s how the record deal came to be, the next summer,” she says.

Maintaining humility as both a songwriter and a musician could be the key to Watkins’ success: She never demands that luck go her way— instead, she puts herself in the best places for it to happen.

“I didn’t expect any of this,” she says.

A friend recommended the artist to Jarrod Holley, one of the managers at Make Wake. The day after Holley chatted with Acuff, another major label hit him up. That triggered Holley and Kappy to formalize their relationship with the singer posthaste.

Acuff subsequently returned to Sony. Bringing on the Make Wake team was doubtless instrumental in spurring an artist-friendly offer. Plus, Combs being on Sony was like the planets aligning. Acuff will be opening for him on select summer dates.

“I didn’t want a label that was going to try to make the music they wanted,” Acuff insists. “I wanted to make music for me and, most importantly, my fans.” He got exactly that, along with ownership of his back catalog.

Acuff assured the label they’d be getting a unique artist. “The first thing I told Randy Goodman, the CEO [of Sony Music Nashville], was that I’ll be like nothing you have on your roster.” A relentless songwriter, Acuff enticed them with new material during preproduction. “I don’t do demos,” he notes. “I think it’s a waste of money. I just record on my phone, because if a song’s good enough you don’t need a lot of production.”

Acuff’s major label debut, Western White Pines, arrived on June 9th. – Andy Kaufmann

– Kurt Orzeck

“I had written my ass off that summer, trying to prove myself.”

“I didn’t want a label that was going to try to make the music they wanted.”

LOKI'S FOLLY

Date Signed: May 2022

Label: Kitten Robot Records

Band Members: Annie Kuchenmeister, guitar, vocals; Oskar Kuchenmeister, bass, vocals; Nissa Kuchenmeister, drums, vocals

Type of Music: Punk/Grunge

Management: Self-managed

Booking: Ryan Smith - smirya@hotmail.com

Publicity: Chris Treacy - Reybee, chris@reybee.com

Web: lokisfolly.com

A&R: Bruce Duff

Minneapolis sibling punk trio Loki’s Folly forged its path to a deal with Los Angeles label Kitten Robot Records by playing live and, crucially, appearing on Performance Anxiety, a popular podcast. The members were also connected with Soul Asylum frontman Ryan Smith, who produced Sisu, the band’s debut. After opening for Steve Albini’s Shellac, Loki’s Folly was invited to tour with Smith’s Grammywinning collective.

Podcasts can often have a long and enduring reach, which is likely why Smith pitched Loki’s Folly to Marc Shea’s Performance Anxiety. A short time later, the band was invited to appear on the show. “Our friend, music teacher and mentor Ryan Smith had been on it with one of his bands about a year ago and he told us how great it was,” guitarist Annie Kuchenmeister recalls. “He sent our then-unreleased record to see if they’d want to have us on.

ROWAN DRAKE

Date Signed: 2022

Label: Arthouse/Atlantic Records

Type of Music: Singer-songwriter

Management: Expand Entertainment

Booking: N/A

Legal: Todd Rubenstein, trubenstein@trlentlaw.com

Publicity: Christina Kotsamanidis, Christina.kotsamanidis@ atlanticrecords.com

Web: rowandrake.com

A&R: Kara Dioguardi, Arthouse Records / Kelly Sayer, Atlantic Records

Nineteen-year-old singer-songwriter Rowan Drake’s signing story is one built on ingenuity, adaptability and perseverance. The Ithaca, NY native first came to prominence as a competitive snowboarder. But when a severe injury ended that dream at 15, he shifted gears. “I was living in Colorado and moved back home after my injury,” says Drake. “I was a little lost in life, not having something to pour myself into anymore. I reconnected with a high school friend and started making music with him just for fun.”

Drake and his equally music-inclined buddy soon realized their musical aspirations ran deeper, so they schemed for over a year how to make the transition to a music hub like Los Angeles. “We just wanted to get out of our hometown and prove to everyone we could do it,” says Drake. “So our process was collecting emails of people at record labels and management companies. I was cold calling labels a year and a half before I signed with anyone. And the more we got in touch with people the more we realized everyone was located in L.A.”

“When we did the podcast last year, Marc [Shea] was super supportive of us and said that ‘Any way that I can push your band, I will,’” Kuchenmeister continues. “A few months later he emailed us and said that he’d had Bruce Duff, part owner of Kitten Robot, on and told him about us. Not long after that, Bruce reached out to set up a meeting.”

"I appeared on Performance Anxiety and after we finished recording, Marc asked me about Kitten Robot and told me that he’d interviewed Loki’s Folly,” Duff adds. “He gave me a bit of their backstory, I looked them up and thought that the band was a great fit for the label.”

True to the punk ethos, Sisu was released in multiple formats including lemon-yellow vinyl. “We’re all fans of vinyl and love to go record shopping,” Kuchenmeister explains. “Getting to listen to something physical is special. It’s also underestimated how you can find community by going record shopping.”

Sisu dropped in February with a guest performance by Soul Asylum guitarist Dave Pirner. The band aims to tour later this year. Given the youth of two of the members Oskar is only 12 band’s parents will accompany the three. – Rob

Putnam

Many contacts would come and go, but BMI executive Samantha Cox arose as a trusted ally and confidant. She introduced the prodigious young songsmith to a publisher that aligned him with several creative collaborators. One of those writers, Ben Levy, ended up writing a song with Drake that caught the attention of A&R scout Kara Dioguardi. She ultimately signed him to her custom label Arthouse.

Drake’s musical style has a touch of emo wrapped in ambience, heartfelt lyrics and lush haunting vocals. His deeply personal and observational songs are obviously connecting with fans as 20 million global streams, 5 million TikTok likes and 1 3 million official YouTube views will attest.

Drake’s EP Dear Ella was released on Arthouse/Atlantic Records June 9th. “We’re in an age where you put yourself in front of the people,” says Drake. “There’s so little between you and the consumer nowadays. People can see right through anything that’s not authentic.

“Dear Ella is a project very specific to one person. It’s very hard to market something for one person and capture what it’s trying to say to a wider audience. There’s the music and then there’s the personality of an artist. Marketing the personality side is challenging for me and something I’m trying to work on.” – Eric Harabadian

“It’s underestimated how you can find community by going record shopping.”

“People can see right through anything that’s not authentic.”

FELLOWSHIP AWARD TO RICCIO

NPR “Favorite New Artists of 2023 (So Far)” singer-songwriter Jobi Riccio won 2023’s John Prine Songwriter Fellowship (JPSF) Award. Whiplash comes out alongside her Newport Folk Festival debut next month. The JPSF partners Prine’s family with the Newport Festivals Foundation.

BMI ICON LIL WAYNE

Grammy award-wining rapper Lil Wayne will be presented with 2023’s BMI Icon Award at this year’s R&B/Hip-Hop Awards. With over 20 years in music, 5 Grammys, selling over 100 million records, he has also had 183 entries into Billboard’s Top 100.

SESAC LATIN CELEBRATION

2023’s SESAC Latina Music Awards top honors go to Eden Muñoz, Lenny Tavárez, and Yahritza Martinez (2023’s Breakthrough Songwriter). Frederico Vindver was awarded producer of the year. Pictured (l-r): Sam Kling, Celeste Zendejas, Frederico Vindver, Ana Rocha, Scott Jungmichael

Pets To Create

Create Music Group has purchased Music For Pets, with another $10 million earmarked for investment over the next three years. As the leader in pet entertainment since 2017, Music For Pets has over 12 million hours of music and games created for cats and dogs.

Supporting over 20 million pets internationally with over 12 million hours of music each month with the “Relax My Dog” and “Relax My Cat” series, the company has tapped into a whole new audience that listens through DSPs (including YouTube and Spotify) around the world (dubbed with nickname ‘Petflix’).

Influence’s Logic

Hip-Hop superstar Logic has sold his IP to Influence Media (backed by Warner Music Group and BlackRock) in a rumored eight-figure deal. The deal is said to cover 185 tracks, including “1800-273-8255” (featuring Alessia Cara and Khalid / 1.25b Spotify streams), “Homicide” (featuring Eminem / almost 500m Spotify streams), “Everyday” (featuring Marshmello / 517m Spotify streams), which Logic also wrote and/or produced. Signed to a multiple-album deal with BMG in 2022, his first release came out earlier this year.

With substantial financial backing, and, following the acquisitions of catalogs from Future, Blake Shelton, Skyler Stonestreet, there are rumors that Influence Media may be in the running to purchase the works of Michael Jackson and/or Queen.

UnitedMasters To Nigeria

Music distribution/artist services company UnitedMasters has partnered with producer Sarz from Nigeria to expand reach and opportunity in Africa. Sarz has already written hits for Wizkid, Drake, Tiwa Savagae, CKay, LoJay, and Chris Brown and the partnership aims to expand UnitedMasters’ roster in Africa.

The latest development follows UnitedMasters’ partnership with independent Nigerian label Mavin Records to release “How Many times” for DJ Big N ft. Ayra Starr & Oxlade, and future plans include expansion into Nigeria, Kenya, Ghana, Tanzania, South Africa, and elsewhere on the continent.

UnitedMasters launched purchase and sale beats platform Beat Exchange in 2022, and partnered with the Coinbase cryptocurrency platform in 2021 as an alternative payroll option for artists. They also launched beatBread as a new artist finance tool that enables qualifying artists to take out loans against their work, and partnered with Paperchain to predict artist royalty earnings based on streaming data through the platform’s algorithms.

Simon to BMG

Just over two months after selling his publishing catalog to Sony Music Publishing, and a recent announcement that almost all of his hearing has been lost in his left ear, Paul Simon (81) has sold his royalty income, Simon & Garfunkel recordings and neighboring rights to BMG.

The latest development for BMG

ICONIC JOE COCKER

Irving Azoff’s Iconic Artist Group (2020) buys Joe Cocker Estate catalog assets. With 22 albums, hit covers “With a Little Help from My Friends” (The Beatles), “You Are So Beautiful”(Billy Preston) and “Up Where We Belong,” Cocker is celebrated as one of the greatest singers of all time.

follows over 45 IP investments in 2022, including the works of artists Harry Nilsson, John Lee Hooker, John Legend, Mick Fleetwood, Tina Turner, Mötley Crüe, and others.

Downtown’s Miles And Meatloaf

U.K.-based Downtown Music’s neighboring rights division (DNR) has signed an agreement with the Estate of Miles Davis covering his entire five-decade career and including releases Venus de Milo and Générique.

DNR has also signed Meat Loaf to represent his entire catalog, spanning his 40-year career and including hit single “I’d Do Anything For Love (But I won’t do that)” through the Michael Lee Aday Intellectual Property Trust.

Universal Growth

Universal Music Group’s North American market (Canada/U.S.) revenue share was only 39% of global revenue in 2014, but now sits at over 50%. The European division took the biggest dip overall, with Asia’s revenue share remaining steady and accounted for almost 23% of the overall global music market. The latest IFPI Global Music Report just showed Asia (including Japan, China and India) with recorded music revenue growth at about 15% year over year (with North American remaining at just 5.0% year of year).

With UMG recorded music revenue in Asia topping EUR €1 billion for in 2022, they have just committed USD $45.5 million to acquire a majority stake (70% interest) in RS Group and their recorded music catalog, based in Thailand.

Pulse Records Launch

Concord and Pulse Music Group join forces, launching Pulse Records and signing on executives from TikTok, Atlantic and Alamo Records to develop imprint labels and acquire more catalogs, with Universal Music Group handling Pulse Records’ distribution.

Pulse has signed Ashley Calhoun (formerly of Rondor Music/UMG) to lead alongside Pulse Co-founders Scott Cutler and Josh Abraham. Lauryn Caldwell (formerly of TikTok and mtheory) joins the team as Senior Vice President and Tizita Makuria (who joined Pulse in November) will serve as Vice President of Creative, Publishing. Bel Mesbahi (from Alamo Records) has been named Creative Director, A&R for the publishing division. Twenty-year

Growing Legislation Demands

Joining the conversation on legislative change, the musicFIRST Coalition is calling for legislation to compel recording royalties for terrestrial radio play with a hearing in Nashville (“Five Years Later The Music Modernization Act”). Mechanical Licensing Collective (MLC) CEO Kris Ahrend, DiMA CEO Garrett Levin, and Big Machine GM Michael Molinar attended, presenting the progress and improvements needed since the Music Modernization Act (“MMA”) was made into law in 2018. As it stands, AM/FM radio stations in the U.S. only pay for the use of underlying compositions and not recordings. musicFIRST also reintroduced the American Music Fairness Act, which would see traditional radio stations pay for recordings. musicFIRST includes the RIAA, the Recording Academy, SoundExchange and SAG-AFTRA as members. More at: bit.ly/ 3pzBtaS

ANDREA BEENHAM (aka Drea Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadianraised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com

RIGHTEOUS BABE NOLAN

Nashville-based singer-songwriter—and member of Jenny Lewis’ all-female touring band—Jess Nolan releases single “Emergency Landing” after joining Ani DiFranco’s label, Righteous Babe Records. Nolan has leant her talents to projects with Joy Oladokun, Katie Pruitt, Lydia Luce, etc.

ZEROBASEONE 1M+ PRE-ORDERS

With over 10,000 online followers (on MelOn streaming service) before even making their official debut, pre-orders for K-Pop group ZEROBASEONE’s upcoming mini-album has surpassed 1m copies (setting a new record on Ktown4u store), and they have over 1.3m Instagram followers.

SPIELBERG MULTIMEDIA

Multimedia Music acquires 50% stake in catalog of Steven Spielberg’s Amblin Partners (Amblin Entertainment and Amblin Television). Includes The BFG, Bridge of Spies, Thank You For Your Service, etc., as well as works by John Williams, Thomas Newman, Danny Elfman, and many more.

ASCAP EXPERIENCE

The 18th annual ASCAP Experience covered panels on the dynamics of collaboration, hitmaking songwriting advice, social listening, navigating A.I., 50 years of Hip-Hop, etc. Pictured (l-r): Paul Williams, Hitmaka, Anna Waronker, Steph Jones, Sarah Hudson, James Fauntleroy, Kristin Robinson.

Concord executive Bob Valentine started as CEO last month.

in all songs because they’re familiar, they’re universal.”

Introduction to Music Publishing for Musicians

Motorbooks

By Bobby Borg & Michael Eames

Delacey Finding Flow

is a down-to-earth new book written by two musicians and industry Music Connection contributors) with decades of experience. They’ve organized it into seven clearly-written sections that will help musicians, students, songwriters, beat makers and others save time and avoid getting screwed. Topics include the basics of copyrights, types of publishing income, publishing companies and types of deals, creative matters of music publishing, and things you need to know about music publishing’s future.

The Storyteller—Tales of Life and Music

quarto.com/motorbooks

By Dave Grohl

By Gina Schock (hardcover) $40.00

Often asked to work with legacy artists, Israel says that—while riskier— he finds it much more fulfilling to work with new artists, and confesses that he learned far more from the failures of those who did not succeed (or who quit) than from those who did. He says lyric-writing presents the biggest creative challenge for artists, and he recommends immersing yourself in the lyrics of hit songs, taking note of what is done right. Israel believes the words of a song need to be honest, sincere, conversational, and disciplined. “To have a song that does well on Spotify, DSPs, radio, or in a live setting, it has to connect,” he counsels.

“Have hobbies. Have other interests. Do other things that fulfill and inspire you, and you'll write better music,” says rising singer-songwriterproducer Delacey (born Brittany Marie Amaradio). “I have written some of my biggest songs when I've taken time away, lived my life for inspiration, and come back in that frequency.”

(hardcover) $29.99

Leader in Illustrated Publishing: Launched in 1976, U.K.-based Quarto is a longtime leader in the world of illustrated non-fiction publishing. While diversifying and adding numerous imprints over the decades, its ongoing mission has remained the same—to make and sell books that entertain, educate and enrich the lives of readers around the world. One of the most exciting current manifestations of this comes from their Minneapolis-based Motorbooks imprint, which Quarto acquired in 2007. Since 1965, Motorbooks has been among the world’s leading transportation publishers, creating volumes about cars, motorcycles, aviation, racing, etc.

Israel emphasizes keeping things simple to avoid losing the listener, and says that lyrics should include poetic devices to be e ective. “A song is never a solo e ort,” he adds. “In order for me to share my emotions, I literally have to have you understand… What is a song if you're the only one who understands it?”

Recognizing AI as a helpful new tool for writing powerful lyrics, Israel penned guidebook, Want to Write the Best Lyrics of Your Life? OpenAI is the Secret Weapon You Need!. Admitting that AI-written lyrics are unlikely to be hits, he says that prompting ChatGPT for a story about what you are trying to express provides a new lens through which to write.

Having co-written “New York City” (The Chainsmokers), Platinumcertified “Boyfriend” (Dove Cameron), Gold-certified “Ruin The Friendship” (Demi Lovato), and Diamond-certified/No. 1 Billboard Hot 100-placing “Without Me’ (Halsey), Delacey’s journey started with a passion for musical theater. Beginning on piano at age 5, teacher Darrolyn Fennelly allowed her to play original compositions during lessons and perform them in recitals. Says Delacey, “I'm really grateful because it really did cultivate something inside me that lasted. She gave permission to play and actually enjoy [music].” Cindy Smith was also a pivotal influence. At 10 or 11, Smith insisted that Delacey sing and perform in every musical. “That really stuck with me,” admits Delacey. “It changed the course of my whole life. I don't know if I would have ever sung.”

JIM VANCLEVE

Israel also stresses the importance of finding and connecting with a mentor, but only if you are fiercely committed to working on your craft at the highest level. Still getting regular advice from his mentor, Doug Messenger (producer and Van Morrison guitarist), Israel reveals that he learned most of what he knows about music from him (as well as recording many projects at his studio).

Foo Fighters frontman Dave Grohl has penned a vivid memoir that conveys both the ordinary and the extraordinary moments and events of his life. Standouts include some harrowing incidents with Nirvana bandmate Kurt Cobain as well as heartfelt moments with Grohl’s wife and kids. Experiences with Pantera, John Fogerty, Tom Petty, Iggy Pop, John Paul Jones, Paul McCartney and others make this autobiography a satisfying read.

Looking to expand beyond the transportation topic, publisher Zack Miller and executive editor Dennis Pernu launched a dedicated music program in 2021, drawing on Pernu’s prior experience in music book publishing under Quarto’s Voyageur Press imprint. Under their creative, visionary leadership, they have built on the success of their first book the authoritatively written (by Dave Hunter) and lavishly illustrated Fender 75 Years, the officially licensed celebration of the legendary instrument company to publish a series of dynamic works celebrating some of rock’s greatest artists and albums.

Made in Hollywood: All Access

Go-Go’s drummer Gina Schock takes fans behind the scenes for a look at her personal photos documenting her band's wild journey to the heights of fame and stardom. Featuring posters, photographs, Polaroids, and other memorabilia from her archives, Made In Hollywood also includes stories from each member of the band, along with other cultural luminaries like Kate Pierson, Jodie Foster, Dave Stewart, Martha Quinn and Paul Reubens.

Rock Concert

By Marc Myers

The Anniversary Aesthetic: According to Pernu, Motorbooks’ goal with the line of heavily illustrated upscale coffee-table music books is to merge unique text with archival artist and memorabilia images from agencies, individual photographers, and collections. He works closely with the company’s talented art department to bring the books to life.

“All of our favorite artists wrote a song that resonates, makes us run faster, makes us sad, makes us hug our loved one, makes us fly, makes us drive really fast or really slow. It changes our state because it’s not the artist’s song.” Continues Israel, ”Your audience has to feel understood. It's my story. When I listen, when I sing along, when I see my favorite band, they're singing my song. That's it that kind of sharing is the root of it.”

(hardcover) $30.00

Moving to Manhattan after graduation, she wrote songs on her guitar nonstop. When an o er came through for a photography job, she knew she couldn’t stay in New York. Back in California, she o icially adopted her childhood nickname as her moniker (Delacey), with friend Eddie Park becoming her manager and helping to secure her first publishing deal. Paying just $10,000 00 up front, it landed her first co-writing opportunity, and opened her eyes to songwriting as a profession. “I came home with some of the songs I'd written in New York,” she says. “I had no idea if they were good, but I cried when I wrote them and they were really real to me.”

After placing “New York City” for the Chainsmokers (which she wrote on the trip to Manhattan), her lyricism began to build momentum. A new manager took over from Park and got Delacey into bigger rooms, where she worked hard for five years. “I was getting so many album releases with artists and it was really great, but I was so broke that it felt like I was not legit,” she confesses. “it was hard to believe that I was actually in the industry, even though I definitely was.”

There’s plenty of fascinating information to glean from Myer’s oral history examination of the evolution of the rock concert business, from the wild west ‘50s to the corporatized ‘80s. Myers does it with insightful statements from prominent insiders (Seymour Stein, George Wein, Henry Diltz, Marshall Chess, Michael Lang), performers (Ian Anderson, Todd Rundgren, Alice Cooper) and the fans in the stands, with special attention to milestone events such as Woodstock, Altamont and Live Aid.

Three Pianos: A Memoir

The Something Corporate and Jack’s Mannequin frontman delivers an engrossing memoir about the challenges and triumphs of his childhood and career, as seen through the lens of his personal connection to three pianos. McMahon not only recounts his grueling efforts to make it as an indie artist, but also how he dealt with––and prerailed over––a bout with leukemia at age 23.

Carpenters: The Musical Legacy

Delacey says she just needs chords and something to say in order to begin her process, and sees herself as a vessel. “I feel like when I write music that it's not me writing it I become possessed,” she reveals. “If that thing doesn't happen to me, I don't pursue writing it.” She is ba led at the idea of songwriting with A.I. saying, “there’s no heart in that. You're asking your computer to tell you your feelings. I just think that's so sad generating other people's feelings, collecting them together in such a programmed way. It's so weird. It's so creepy.”

By Mike Cidoni Lennox & Chris May

(hardcover) $35.00

“We want to approach these artists and historic recordings from different angles than those published previously,” he says. “The @50 and @75 concepts offer a fresh way of telling the stories and allow our authors some leeway in curating the high and low points of a career. We created a list of artists, bands and albums that have anniversaries and birthdays approaching. Our criteria included which are still touring, their popularity overseas, cross-generational appeal and album sales over the course of their careers. We’re also starting to branch away from the anniversary concept, but that’s been a strong starting point for this program.”

Proud of standing up for herself and getting credit, Delacey feels she brings something unique to songwriting and hopes that she can continue being brave, emphasizing that it remains di icult for women to carve out a space as producers in the music industry.

Her latest project took three years and involved a lot personal and professional challenges. “I cry when I hear most of it still (even though I've heard it a million times) because of what I was going through when I made it,” admits Delacey. “So much of what we do isn't making music. When I was growing up, it was all about making music—but no one heard it. I was just playing it in my bathtub for acoustics, and it was so di erent than what I make it for now. It's hard to remember that person, but I feel like this album was a lot of me trying to get in touch with her again. I feel like I did that [and] I am really excited for it to be out there and for it to belong to other people.”

Celebrating Iconic Artists: In September 2022, Motorbooks kicked off their current slate of titles with Elton John @ 75 (by Gillian G. Gaar) and Bowie @ 75 (by Martin Popoff). Their early 2023 titles include Alice Cooper @ 75 (by Gary Graff), Pink Floyd and The Dark Side of the Moon (by Martin Popoff), and AC/DC @ 50 (by Martin Popoff). Coming this fall are Ozzy @ 75 (by Daniel Bukszpan), KISS @ 50 (by Martin Popoff) and The Who and Quadrophenia (by Martin Popoff). Also in 2023, Motorbooks will be marking the 75th anniversary of the LP with a broad, illustrated history.

2020’s Black Co ee accrued over 32 million Spotify streams for “Cruel Intentions” and 24 million for “The Subway Song.” Delacey’s sophomore solo project, The Girl Has A Dream, is out now.

Contact Motorbooks, 612-344-8186

The story of one of the most enduring and endeared recording artists in history—the Carpenters—is told for the rst time from the perspective of Richard Carpenter, through more than 100 hours of exclusive interviews and some 200 photographs from the artist’s personal archive. This nicely illustrated book takes you through the multimillion-selling, Grammy-winning duo’s formative years right up through their 1970s stardom and Karen’s unfortunate end.

DROPS

The Elephant 6 Recording Co a documentary that explores the story of the indie musicians behind such groups as Neutral Milk Hotel, The Olivia Tremor Control, The Apples in Stereo, Elf Power, Of Montreal and more is out Aug. 25. The film was directed by C.B. Stockfleth and produced by Lance Bangs whose credits include videos for Nirvana, Odd Future and Neutral Milk Hotel, plus films and documentaries for Jackass, Pavement and more. It features never-before-seen footage of the bands shot by Bangs, as well as interviews with Elephant 6 members Robert Schneider, Bill Doss, Will Cullen Hart and more, as well as with fans like Elijah Wood, David Cross, Danger Mouse, and James Mercer. Contact Matt Hanks at mhanks@shorefire.com.

Aug. 29 is the release date for The Sandman soundtrack on vinyl by David Buckley. Based on the award-winning dark fantasy DC comics series written by author Neil Gaiman, The Sandman is a tale about the dream world that takes place over 10 chapters. The vinyl release includes 2xLP 180 gram black and gold swirled vinyl, an insert and heavyweight gatefold jackets with matte satin coating. For more information, contact kyrie@whitebearpr.com.

Grandfathers of college rock R.E.M. partnered with FX’s The Bear to release a video for “Strange Currencies (Remix),” which can be found on YouTube. The band’s music is featured heavily in Season 2 of the award-winning hit television series, which premiered in June on Hulu. The EP, Strange Currencies, is available for streaming, including a previously unreleased live version of the song. Craft Recordings will release vinyl reissues of the long out-of-print R.E.M. albums Reveal and Accelerate, both out Aug. 25. Email jacob.mask@craftrecordings.com for more information.

Kino Lorber has announced the release of Soundies: The Ultimate Collection, a four-disc set featuring 200 short musical subjects that entertained Americans during the World War II era. Newly restored from archives preserved by the Library of Congress, these were originally made to be viewed on movie jukeboxes in neighborhood bars and showcases a wide range of musical artists and genres, including Count Basie, Cab Calloway, Nat King Cole,

Hoagy Carmichael, Duke Ellington, Doris Day, Dorothy Dandridge, Merle Travis, Fats Waller, Spike Jones and more. Soundies dropped digitally and on Blu-ray on July 25. Contact mbarry@kinolorber.com for more.

In July, Movie Score Media released Green Space Dark Skies (Original Motion Picture Soundtrack) with music by Nainita Desai. The six-track album, which soundtracks the film showcasing some of the U.K.’s most beautiful landscapes, is available now digitally and on Movie Score Media’s website. Emmy and RTS award-winning composer Desai was World Soundtrack Awards 2021 winner for Discovery of the Year and has recently received MPSE Golden Reel, ASCAP, SCL, GANG and Develop nominations for her score for acclaimed video game Immortality. Learn more by contacting Kyrie Hood at kyrie@whitebearpr. com.

A new video is now available in Queen guitarist Brian May’s Star Fleet Sessions YouTube miniseries about his solo endeavor Star Fleet Project. In addition, the Star Fleet Project Special 40th Anniversary Edition Gold Series box set was released July 14. This newly assembled and expanded box set includes 2 CDs, a vinyl

single and LP with 23 previously unheard takes from two legendary days of sessions at Los Angeles’ The Record Plant in April 1983. In the new YouTube episode, May discusses working with Edward Van Halen. Get more information by contacting everyone@reybee.com.

Rocky III’s hit double Grammy-winning theme song, “Eye of the Tiger,” which spent six weeks at No. 1 back in 1982, has done it again. 18 months after signing over a majority stake of Jim Peterik’s publishing catalog to Primary Wave, the song has passed one billion streams on Spotify. Writing/co-writing all tracks on their first seven albums as a founding member of Survivor, Peterik also co-wrote for 38 Special, Sammy Hagar and The Beach Boys.

Following the Peterik deal, Primary Wave has purchased a portion of the publishing catalog, writer’s share and writer’s performance share for

songwriterdrummer-producer George Brown

As a founding member of Kool & The Gang, Brown was one of their main songwriters, with two Grammy awards and seven American Music Awards. With a star on the Hollywood Walk of Fame, induction into the Songwriters Hall of Fame, and having sold over 70 million

KOOL AND THE GANG

OUT TAKE

albums, they were also honored by the Living Legends Foundation in 2008. The acquisition with Primary wave includes hits, “Hollywood Swinging,” “Jungle Boogie,” “Cherish,” “Ladies Night,” and “Celebration,” and their music has been featured in numerous films and sampled by Mase, De La Soul, A Tribe Called Quest, Nas, and more.

OPPS

The Los Angeles Women in Film Festival will be held this year Nov. 29-Dec. 3 with the final deadline of Sept. 29 to submit your work for consideration.

All films must be produced by female identifying filmmakers and feature female-driven storytelling. Categories include feature, short, documentary, web series, TV pilot, animation and music video. Learn more at lafilmfestivals.com/la-womenin-film-fest.

Aug. 29 is the early entry deadline and Oct. 3 is the final deadline for submissions to the SXSW Film and TV Festival 2024. See a full list of application criteria and deadlines at sxsw.com/deadlines/.

Registration is open for GameSoundCon

2023, which will take place Oct. 17 and 18 in Burbank, CA. Details about this year’s game music and sound design conference and how to register can be found at gamesoundcon. com/registration.

Submit your work by Aug. 26 to the annual San Francisco Short Film Festival, set for Oct. 12-22 this year. Best Music Video and Best Dance Film are included among the categories. Learn more and submit your work at filmfreeway.com/ SFIndieShorts.

PROPS

A study by Slot Tracker revealed that the music from Hamilton, the 2015 hit production by Lin-Manuel Miranda that took Broadway by storm in 2015, is the most streamed musical album with more than 5.6 billion streams. That’s three times the amount of Mamma Mia!, which came in second place at 1.5 billion streams. Not only does Hamilton have the most streamed album, but the hit “Alexander Hamilton” is also the most streamed song, with more than 260 million streams on Spotify almost twice the streams of Mamma Mia!’s most streamed song, “Lay All Your Love on Me.”

See more at slottracker.com.

According to theJasmineBrand, a biopic on Queen of Hip-Hop Soul Mary J. Blige is reportedly in the works, with the renowned, multiple Grammy-winning artist collaborating with BET+ on the project and a release date to be determined. This comes on the heels of Blige’s release of an inspirational children’s book, Mary Can!, last year, about a young girl who pursues her dreams and inspired by Blige’s own experiences. Blige also produced two Lifetime Original Movies that premiered this year, including Mary J. Blige’s Real Love and its sequel, Mary J. Blige’s Strength of a Woman. Learn more at thejasminebrand. com/2023/06/26/exclusive-mary-j-bligebiopic-reportedly-inthe-works.

Dirty Heads’ viral single “Vacation” was recently certified platinum by the RIAA and the band were presented plaques from their label Better Noise Music. The band also performed live on the TODAY Show July 17 and were presented a plaque from hosts Hoda & Jenna. The RIAA platinum certification of "Vacation," acknowledging sales of more than 1 million digital downloads since its release, marks a career first for Dirty Heads. “Vacation” exploded when the #VacationTransition challenge went viral on TikTok, amassing over 378 MILLION streams and over 6 BILLION consumption plays across all social media platforms.

Hip-Hop Til Infinity, an immersive trip across 50 years of hip-hop, opened at Manhattan’s Hall des Lumières on July 26. The digital installation shows viewers the history of hip-hop music and culture, and its di erent eras and regions, from skate parks to stages, using state-of-theart audio-visual technology. The exhibition also includes interactive programming, including virtual concerts, live panels and conversations, listening parties, artist meet and greets, and more. Hip Hop Til Infinity is the latest announcement from Mass Appeal’s Hip-Hop 50 initiative, which is a massive cross-platform effort to celebrate hip-hop as both a music genre and cultural movement. For more information, contact maria.malta@sonymusic.com.

JESSICA PACE is a music journalist-turnednews-reporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

Joy Ngiaw

Composer

Website: joyngiaw.com

Contact: kate.twilley@impact24pr.com

Most Recent: Glamorous

Award-winning composer Joy Ngiaw’s music can be heard in Blush, Short Circuit: Jing Hua, Rescued by Ruby, and now, Netflix’s Glamorous, starring Kim Cattrall and non-binary performer Miss Benny. For the latter, Ngiaw forewent her usual orchestral style for more contemporary, pop influences and experimenting with plug-ins.

Drawn to projects that prompt nostalgia and connection with characters, the classically trained Ngiaw said Glamorous is a “very special show” that focuses on a wide range of LGBTQ+ experiences and pushed her out of her musical comfort zone. “I’m deeply fascinated by the complexity of human emotions and the range of experiences we can have. It’s beautiful to remember something, whether it’s good or bad, because that shapes who we are. I want my scores to represent a very diverse range of human experiences,” Ngiaw says.

“In Glamorous there’s lots of light-hearted and comedic moments, but also emotional and tender moments. What drew me to the show was each character has their own storyline, and so often LGBTQ+ characters are side characters or fit a certain mold. This show is really unashamed of showcasing their wide range of experiences: finding their identity, exploring work relationships, family dynamics, love interests. I got excited to write music that humanizes those experiences.”

Glamorous was also Ngiaw’s first foray into composing for television, which introduced her to a more fast-paced environment. “I think a piece of music is done when I watch the scene, and I’m not noticing my music only the storyline or characters. When I can just watch it and am completely engrossed.”

Ngiaw says it’s important for aspiring composers to find films, shows and other projects that speak to them. “Remember, it’s something you’ll work on for a while, so find the project you’re passionate about,” she says. “At that point, let your passion and inspiration take over. And make sure you have a good team I’ve realized the importance of having a music editor, assistant and additional writers you can count on. They’ll be there when the deadlines are coming close.” •

NEALS NOMINATED FOR INDEPENDENT BLUES AWARDS

Rising modern powerhouse blues vocalist/keyboardist Eliza Neals is nominated in three categories for the Independent Blues Awards 2023, which are "Best Female Artist," "Best Blues Rock Song" ("Queen of the Nile"), and "Best Blues Rock Album" (Badder To The Bone). Detroit- born, blues-rock star on the rise honors the gut-wrenching, soul splitting intent the American roots/contemporary blues represents, with inspired songwriting and critically-lauded live performances.

THE SPINNERS MAKE DONATION TO MOTOWN MUSEUM

2023 Class of the Rock & Roll Hall of Fame Inductees The Spinners’ Henry Fambrough returned to his Detroit roots to make a donation on behalf of the group to the city’s Motown Museum. Fambrough one of the founding members of the iconic R&B group participated in a ceremony that included the gifting of 375 outfits and 200 pairs of shoes that the 6x Grammy-nominated group wore throughout their career.

KARDINAL OFFISHALL RECEIVES SOCIAL JUSTICE AWARD

Canadian Music Week was proud to present Kardinal Offishall with the Social Justice Award at the CMW Music Summit recently at the Westin Harbour Castle. Canadian media personality Master T hosted a keynote interview with Kardinal Offishall, followed by the presentation of this second annual award.

LOCASH PERFORM/HONORED AT U.S. SPACE FORCE

LOCASH Preston Brust and Chris Lucas became the first Country act named Honorary Guardians of the United States Space Force during an induction ceremony at Patrick Space Force Base recently.

CLAPTON AND FRIENDS HONOR JEFF BECK

Eric Clapton hosted a sold–out, star–studded, two–night tribute concert honoring the memory and artistry of the late Jeff Beck at London’s prestigious Royal Albert Hall. Clapton brought together an unforgettable group of music legends to honor his longtime friend. Performers include: Derek Trucks, Johnny Depp, Kirk Hammett, Joss Stone, Gary Clark Jr. and more. Pictured (l-r): John McLaughlin, Clapton, Billy Gibbons

PEACE FROM THE STARRS

Ringo Starr and wife Barbara Starkey were joined in Los Angeles July 7 , his 83 rd birthday, by family and friends to deliver his “Peace and Love” exclamation at noon local time. Notable contributors include Joe and Marjorie Walsh, Edgar Winter, Gregg Bissonette, Sheila E., Richard Marx, Jim Keltner, Benmont Tench, Mike Campbell, Ed Begley Jr., Diane Warren, Roy Orbison Jr., and others. The Beverly Hills event also featured performances by the Silversun Pickups, Blake Mills, King Tuff, and more.

Tidbits From Our Tattered Past

In an issue chock-full of content, including in-depth interviews with artists Jermaine Dupri, Sheila E, SheDAISEY’s Kristyn Osborn, Saliva, and Caribbean Pulse, Music Connection’s cover-story artist Lenny Kravitz clued us all in on his Grammy-winning music-making process: “I never do any pre-production,” he revealed. “I write in the studio by laying down tracks and building them.”

TY HERNDON AND GLAAD HOST CONCET FOR LOVE & ACCEPTANCE

Grammy-nominated and Dove award-winning country artist Ty Herndon and the world's largest LGBTQ+ media advocacy organization, GLAAD, joined forces once again to present The Concert for Love & Acceptance. Held at the esteemed Wildhorse Saloon in Nashville, the star-studded event featured an exceptional lineup of talent, including Ty Herndon, Chrissy Metz, Maddie & Tae, Terri Clark, Pam Tillis, Sam Williams, Brooke Eden, Chapel Hart, Desmond Child, Billy Gilman, Jamie Floyd, Brandon Stansell, Bryan Ruby, Wendy Moten, Shelly Fairchild and more.

Songwriter/producer trio The Matrix was our focus in this cover story, discussing everything related to their creative process and their day-to-day life in music. “I still go out and hear bands in coffee shops,” said the trio’s Graham Edwards.” It’s amazing the talent out there that hasn’t had the break.” The issue also contains an interview with KROQ radio deejay Rodney Bingenheimer and producer Bjorn Thorsrud (Smashing Pumpkins, Marianne Faithful, Toad The Wet Sprocket).

2004–The Matrix–#6

2001 –Lenny Kravitz–# 23

DAVID KLEIN

BAILE Y

PHOTO BY SPIDEY SMITH

THE STORY BEHIND country

artist Bailey Zimmerman’s rise to fame is the stuff of dreams. Within a few short months, he went from toiling on gas pipelines and wondering whether he could sing, to being at the center of a major-label bidding war. It’s a scenario that seems pulled from the fevered imagination of a third-rate screenwriter.

And yet it’s true. The unassumingly handsome Illinois native’s barrel-aged vocals struck an instant chord with listeners when he shared a single verse through social media. Listeners practically demanded he give them more. Overnight, Zimmerman went from making car-tuning videos to pursuing music as an occupation.

Perhaps as important as his voice and artistic presence is Zimmerman’s pure heart. In an industry where calculated artifice thrives, the budding superstar possesses an innocence that’s beyond rare. Audiences clearly sense his realness and no-bull nature, critical character qualities in the country genre. Despite his rapidly building fame, it appears Zimmerman isn’t about to forget who he is or where he came from.

That said, he’s also standing on the precipice of mega-stardom. Religiously. The Album., Zimmerman’s full-length debut, was released on May 12th. He has performed at CMA Fest and opened for Morgan Wallen. Next year, he’ll be doing an international tour with stops in England, Scotland and Ireland, in addition to major North American cities. Things are about to change in a big way for this diamond in the rough. MC spoke with Zimmerman about discovering his artistry, industry advice (both giving and receiving), plus his musical influences.

Music Connection: You’ve blown up fast. You’re 23, right?

Bailey Zimmerman: Yes, sir.

MC: How have you had to adjust?

BZ: I’ve gotten used to everything as I’m going. Getting blown up is kind of like living in the biggest small town. When I lived in my small town, my truck was known to everybody. Everybody would swarm up and want to talk. It’s kind of like that if you timesed it by the world.

could sing. You just sing it like they do. I put it on Snapchat, because I thought maybe I would get some girls. [Songwriter] Gavin Lucas, his dad drove my bus when I was a kid, so I’ve known him. He said, “I didn’t know you sang.” I said, “Me, neither. I just tried yesterday.” He’s like, “Everybody’s been sending around that video. You want to listen to the songs I’ve written?” We got together, and two or three weeks after that we sat down in my uncle’s body shop. He goes, “You think you can write a song?” And I was like, “Yeah, dude. I think I could.” So, we wrote the first verse of my first song, “Never Coming Home,” and videoed it. I listened to it over and over, because I was so pumped. I wrote a dang song! I got home and called Gavin. It was one or two in the morning. “Hey, man. Do you care if I post this on TikTok?” The next day, my phone was going crazy. This is about five hours since it had been posted and it had almost two million views.

MC: How did you wind up at Warner Music? BZ: That’s a crazy story. I almost signed this real bad deal in Miami that would’ve ruined my career before it even started. But before that, I was singing for maybe a month and “Never Coming Home” had millions of streams. This dude Rohan [Kohli], that is an A&R at Warner Nashville, DMed me. I didn’t know what the hell Warner was. He goes, “We’d love to have you down here for a meeting.” I hung up the phone and was like, “I wonder what they want to have a meeting about.”

Drew Baldridge is a country artist who had some hits back in the day. He’d been mentoring me for the last couple weeks. I called him and said, “I’m going to Nashville.” He said, “What for?” I said, “I’m meeting with some company. Warner or some shit.” And he’s like, “Warner Nashville?” “Yeah, I think that’s what it is. They want to have burgers.” He said, “You’re meeting with one of the biggest labels in the world.” I’m like, “Badass. What does that mean?” I met with Cris Lacy and Rohan. Best burger I ever had.

I paid my mom back. She gave me $1,500, because I didn’t have no money. I said, “Mom, I quit my job. I’m going to be a singer.” I put my phone in her face. “Look, this song is going big.” It was the day it came out. I quit my job the day the song was put on TikTok. I

treated me. I get on the call day of decision. “Bailey, where do you want to be, label-wise?” My manager, Chief [Zaruk], had done this before with Nickelback and Florida Georgia Line. I was scared to go against what he was wanting. But I grew some nuts and said, “I want to go with Warner, because Cris has treated me with nothing but respect. It feels like Warner is more of a family and they’re going to take care of me.” And Chief goes, “We’re glad you said that, because last night we flew in for a meeting with UMG and all they wanted to talk about was fishing stories.” He said, “Cris Lacy called at midnight. She said, I know you’re in town and want to talk to you about Bailey.” So, Chief goes, “Meet us at Miranda’s.” Cris Lacy showed up with a binder full of BZ motives. This is what I want to do. This is what I think he is. I think he can do this. I think he can do that. I think we can change the world.

I’m getting chills right now. I give it to God. I love my family here. They treat me so damn good.

MC: You’re in the best place in the world for country songwriters. Did Warner hook you up with cowrites?

BZ: I’ve cowritten, but not with a lot of random people. I usually write with my producer, Austin [Shawn]. I met him when I moved to Nash, because I needed a producer. I kept writing with Gavin Lucas and Austin Shawn for a long time. And then Heath Warren came into the mix for “Rock and a Hard Place” and Jacob Hackworth and Jet Harvey. Chandler Walters is one of my really good writing buddies. Chandler plays steel for ERNEST. He’s 20 years old and the most talented dude. Then Tucker Beathard came and now he’s a part of my writing scene. There’s an artist from TikTok named Matt Schuster I write with. I can’t do, “Hey, at 11:00 AM you’re going to go into this room and write a hit with these people.” I cannot do that.

MC: What’s your writing process? How do songs come out of you?

BZ: It’s usually in the morning. Me and my dog Marley, we’ll do our stretches outside and then I’ll take a shower. And when I’m showering, I’ll throw on lo-fi beats just to get a tempo in my

ZIMMERMAN

MC: Why was TikTok the social media platform that worked for you?

BZ:I started watching TikTok just because everybody was [saying], “You need to get TikTok.” So, I started watching. I followed people like Zach Bryan and TooTurntTony. At the time, my buddies were all doing TikTok [videos.] And I was like, all right, I’ll try to do TikTok. So, I built my own lifted truck. I always wanted to build one, but never had the money. Somehow, I got some money, so I built one with my brother. I started filming it and putting it on TikTok. I was in my brother’s shop listening to “Stay” by Black Stone Cherry and tried to sing it. I’d sing in the truck and shit. I thought everybody

was like, “If you give me $1,500, I think I can be a country artist. I just need $1,500 so I can record this song for $3,000.”

MC: You hadn’t performed.

BZ: No, I’d never performed. I didn’t even know if I was going to be an artist. [Laci and Kohli] said, “What are you going to do? Write more songs?” I said, “I guess. I don’t know if I can.” And it’s worked out since.

MC: What made Warner Music win the bidding war?

BZ: Everybody wanted to go with UMG, and I wanted to go with Warner. I loved the way Cris

BY ANDY KAUFMAN N

head. Usually, I just think about shit I’m dealing with. That’s kind of where my ideas come from. I’ll get out of the shower and have a melody.

Then I’ll go to the couch and grab my guitar. If I don’t play a cool riff within the first five minutes, I’ll set it down and won’t write all day. But I’ll know if it’s good, because I’ll play something and go, “All right, there it is.” I’ll get the feel of that chord progression and then start putting the words, melody and thought that I had in the shower into that.

I’ll write a first verse and maybe a chorus melody, and then I don’t mess with it. I’ll try

to get a hook, a first verse with a fire first line, and a vibe for the chorus. And then I take it to the writers I trust. I don’t trust myself to write by myself and not mess it up. I’ve got all these boys that really know how to write songs. Why would I mess around for four hours trying to write a song when they can do it in 20 minutes?

MC: All your songs are based in real stuff? Nothing is fictional?

BZ: It’s feelings and thoughts. “Fix’n To Break” is like a feeling. It says—are we fixin’ to break up? Are we fixin’ to lose what we’ve built? That one is a real feeling, because it’s so hard to ask that question in a relationship. You’re both thinking it and usually it’s like, “Are we good? Do you not love me anymore?” And then it’s the beginning of the end.

Every song I sing, I relate to or I wouldn’t sing it. I don’t think they could come off as sincere if I didn’t believe it. I couldn’t have that punch.

MC: You’re playing Fenway.

BZ: We’re going to play Fenway. We played MGM [Music Hall at Fenway] with Parker McCollum, which was badass. But then we go back with Morgan [Wallen].

MC: What’s it like playing venues of that size?

BZ: Just like playing anywhere else. My stomach hurts like a mother trucker before I go on. And then about two lines into “Religiously,” I feel really good. I’m ready to jump around. It’s fun as hell. It’s something I’ll never take for granted. Waking up every day and getting to play shows like that is the reason you do music. It’s the craziest feeling.

MC: Your album has two songs that are on your EP.

BZ: Three songs from the EP are on the album. “Fall In Love,” “Where It Ends,” and “Rock and a Hard Place.”

MC: Why are they on there?

BZ: Just because they’ve been such a big part of me. “Rock and a Hard Place” is what I am. This is the reason I’m doing what I’m doing. “Fall In Love” is the reason I’m doing what I’m doing. “Where It Ends.” Man, that song came so easy to me. I just felt like there’s no way it can’t be on the record. And it’s such a bop. They’re all cool songs that fit into the album very well.

MC: You’ve got a bunch of videos. On “Never Leave” you do a bit of acting. Did you take lessons?

BZ: No.

MC: Do you want to act?

BZ: Yeah. I’ve never acted before. I just took what I saw in movies and tried to do it myself. I do want to act, though. To be on Yellowstone or some shit would be really cool, to be a cowboy or something. I think I could crush it, baby.

MC: What did it mean to you to play the Grand Ole Opry?

BZ: Honestly, I didn’t even know what the Opry was. When I came to Nash, I learned quickly. I made sure I knew what I was talking about, but I didn’t know before 2021.

MC: Do you have musical influences?

BZ: A lot of old rock is kind of my thing. Obviously, country. Like Craig Campbell,

“Outskirts of Heaven.” Craig Morgan, “Wake Up Lovin’ You.” Great song. FGL [Florida Georgia Line], “Cruise.” I listened to a lot of that stuff. But when I was younger, my mom was a rocker, so we didn’t listen to country music. We listened to Linkin Park, Tesla, Hinder, Nickelback, Three Days Grace, Three Doors Down… There are so many. Puddle of Mudd, Velvet Revolver…

MC: You could’ve been a rock guy.

BZ: I wanted to, at first. Now that I’ve learned who I am as an artist, I don’t want to do that anymore. But I wouldn’t mind doing it a little bit. Like, if me and HARDY came up with some crazy rock thing, that would be a lot of fun.

MC: You could pull a Garth Brooks and switch it up.

BZ: I would. I’d do it, too. I had a song called “Change” that was basically Nickelback. I could do rock stuff. It’s just tough on your voice.

MC: Do you have advice for artists?

BZ: If it seems too be too good to be true, it’s probably too good to be true. A lot of people out there are going to blow smoke up your ass.

They’re going to tell you one thing and mean something else. And they’re going to give you the runaround.

You have to be your own best cheerleader. You have to be the one saying, “You can do it. Your songs are good enough. You’re good enough.” Because nobody is going to champion you until you champion yourself. If I wouldn’t have believed in myself, I wouldn’t have gone nowhere.

I got to hang out with Colin Stough from American Idol today. I was trying to give him insight. I’m a straight shooter and see shit for what it is. There’s a lot of sketchy-ass stuff in this business. A lot of people will make you believe something and it’s not really that. They give you the runaround. You sign and then you’re fucked for however many years. One of my buddies, he just got out of his deal. It’s been four years where he couldn’t release any music, because they had him so tied down.

Don’t be too quick to give everything away. I had to, because of what was going on. I had to have a label. But if you ain’t got a couple singles popping through TikTok, don’t be signing record deals, because you won’t make money for a long time.

MC:It sounds like you dodged a bullet with that deal in Florida.

BZ: They were going to give me $20,000 for 87% of my masters. And they were like, “We’re going to give you an apartment. We’ll get you a brand-new Range Rover.” And it’s like, hold the fuck on. I called Chief from my front porch. He’s like a dad to me now. I said, “What’s a 360?” My thought was a 360 deal means they take care of all my stuff. That’s not what a 360 deal is. I said, “You’re telling me I can sign with you AND a label?” And he’s like, “Yes, dude, you HAVE to sign with me, because I’m not going to let a label take advantage of you. And first order of business is you’re not signing that damn deal.”

MC: You could fight and win, but then you’d be indebted to lawyers.

BZ: There are some shady people out there, man. Being self-aware is one of the biggest things. Who are you around? What are they talking about? This guy that’s trying to sign you? Watch how he treats that guy who opens the door for him.

QUICK FACTS

• “Fall In Love” and “Rock and a Hard Place” have both gone platinum.

• “Fall In Love” is also the fastest debut album single to reach number one on country radio since 2015.

• In June, Billboard presented Zimmerman with the inaugural edition of the trade publication’s Rookie of the Year award.

• The rising star’s debut LP is the most streamed country album from a new artist ever.

• At the 2023 CMT Music Awards, Zimmerman was nominated for Male Video of the Year, in addition to Breakthrough Male Video of the Year.

MC: Have you met artists who’ve given you advice?

BZ: Morgan [Wallen] gives me advice all the time. I was talking to him about how I don’t want to take an advance for my tour, because they’re going to make more money in the backend. “Should I tell them I don’t want any money up front and just bet on myself?” He said, “Absolutely.”

ERN[EST] had one of my favorite mottos ever. I was having a hard day. He said, “Take your shoes off.” “What the fuck is that going to do?” And he’s like, “Take your shoes off and stand in the grass. Just chill out.” I’ll go outside and sit in the grass for 30 minutes praying, talking to God. That’s one of my favorite things I’ve ever heard—“Take your shoes off.” It grounds you and puts you back on earth. Contact

“Every song I sing, I relate to or I wouldn’t sing it. I don’t think they could come off as sincere if I didn’t believe it. I couldn’t have that punch.”

How To Set Up a Successful House Concert Tour

BY ARI HERSTAND

HOUSE CONCERTS ARE NOT A NEW THING. There is a long tradition in the folk world that dates back to the ’60s. However, they seem to have had a massive resurgence over the past decade of singer-songwriters trading in club touring for house shows. Personally, I’ve played about 30 house concerts and these shows have been some of my favorite (and most profitable) shows of my career. Nothing beats the connection of a room full of supporters sitting merely feet from you, soaking up every note, every word, and every beat. A living room concert is one of the most memorable concert experiences a fan (and artist) will ever have. And house concerts aren’t just for tiny singer-songwriters. Artists like Vance Joy, David Bazan (of Pedro the Lion), Jeremy Messersmith, Julia Nunes, Califone, Mirah, Laura Gibson, Tim Kasher of Cursive, S. Carey, Richard Buckner, Alec Ounsworth of Clap Your Hands Say Yeah, and John Vanderslice have set up house concert tours over the past few years.

This is an excerpt from the best-seller How To Make It in the New Music Business - Third Edition by Ari Herstand.

With house shows you don’t have to deal with bad sound guys, drunk a**holes, empty clubs, or the headache of promotion. Shannon Curtis has a great book on how to book a house concert tour, called No Booker, No Bouncer, No Bartender: How I Made $25K on a 2-Month House Concert Tour (And How You Can Too), which I highly recommend if you’re thinking of getting into the house concert game. You can also check out ConcertsInYourHome, which is a community of house concert hosts around the world. If you are accepted as an artist into the network, you can set up full tours to cities you’ve never visited in great homes of acoustic fans. Or, Side Door, a newer startup that similarly connects hosts and touring artists. More on Side Door in a moment.

And when Covid shut down the entire live music industry, many DIYers got creative, putting on drive-in, driveway and backyard concerts. We at Ari’s Take put on a drive-in concert in the summer of 2020. This was one of the first concerts to take place since lockdown in Los Angeles County. The artist Annabel Lee headlined the event and celebrated the release of her song “Los Angeles.” We promoted it on Instagram and required fans to text her (SMS service) for more info (which auto- returned a link to buy tickets). We sold tickets (price per car—people packed their household into their cars) through Splash and hosted the concert at a friend of a friend of a friend’s big open lot (because the owner of the parking lot we had originally booked got Covid five days before the show!). Fortunately, we didn’t release the location, via text, until the day before the show.

We handed out an instruction sheet to every car (via a grabber stick), which had instructions on how to tune in (via the car radio), how to buy merch, social, stream and download links (via QR code, of course). We had a dedicated merch person managing the Venmo account, running around to cars with their merch items.

The show went off without a hitch. Live music had been officially shut down for four months at this point, and this concert was desperately needed by Annabel, her band, her fans and everyone else involved.

After having his summer 2020 tour canceled, Toronto-based singer-songwriter John Muirhead reached out to his local community offering driveway concerts and booked 10 driveway concerts in the Toronto area. And then in early 2021, once he had started to build up his TikTok presence, he compiled some footage from the previous summer into a little advertisement-style video. It spread on TikTok extremely quickly (racking up nearly 30,000 views) and returned more requests for driveway concerts in Ontario than he could handle (hashtags worked wonders). John filled up his entire calendar with these throughout 2021. He charged hosts a guaranteed minimum around $200–300 CAD, and averaged around $7 CAD per head in merch sales. Win!

The Nova Scotia–based company Side Door, co-founded by singer-songwriter

Dan Mangan and music industry professional Laura Simpson, connects artists with hosts and helps them facilitate private concerts—both in person and online. All payments are taken digitally, and the money is kept in escrow until the show happens. The host and artist negotiate a payment split on the platform. They have name-your-price ticketing, global transactions, and geotargeting. Artists can even facilitate tours by automatically selecting the locations they are looking to tour to, and the registered hosts in those areas get notifications and can decide whether to host the artist.

Side Door currently has 3,000 venues and hosts registered in North America (mostly in Canada), and more popping up in Europe and around the world. They’ve facilitated shows with Vance Joy, Broken Social Scene, Feist, Barenaked Ladies, Tom Odell, Said the Whale and thousands of others.

The quirk-rock band More Fatter set out on a 43-date backyard concert tour in the summer of 2021. Half the shows were ticketed ($30 through Eventbrite), and the other half were $30 suggested donation. Some shows had 50+ people packed into the backyard. And other shows where they didn’t have much of a base and the host didn’t promote it super well had 5–10. They sold T- shirts for $40 and burned CDs of new demos for $20. They completely sold out of all their merch after multiple reorders. They toured in a 2005 Toyota Sienna and crashed on couches to keep expenses down. In two months, they made $25,000. That’s the thing with house concerts. It’s such a magical experience that you can get away with selling your merch much higher than you would at a club. It’s much more personal. People aren’t simply buying your merch for the item, they’re buying it as a souvenir from the night. And to have a special connection with you when they make the transaction.

THE BOOKING

The beauty of house concerts is that you only need one superpassionate fan per city to set up a house concert. Put out feelers to your email list and on social sites. Set a guarantee plus a percentage of tickets, or you can play for tips.

You’ll have to designate Fridays and Saturdays (or Sunday afternoons) for house concerts, since most hosts have 9-to-5 jobs and won’t want to organize it for a weekday. But some may.

Plan your house concerts about two to three months in advance. Give your hosts plenty of time to invite guests and get excited.

You’ll want to tour with an amp or PA (and all mics/stands/cords) to plug in your guitar, keyboard and vocal mic. The host will most likely know nothing about sound and have zero sound equipment. You should be able to set up anywhere and play. Don’t forget your extension cords and power strips.

Ari Herstand Living Room Concert!

What the . . .?

I’d like to set up shows in people’s living rooms/backyards/dorm lounges/etc. and have a very intimate experience—something that isn’t necessarily possible in many clubs I play. I’m going to play many new, unreleased songs for these performances—many songs that translate very well to the living room, but maybe not so well to the club.

Interested?

If you’d like to host a living room concert, all you need to do is reply and fill in the information below and I’ll get back to you with possible dates for your area. I need you to bring at least 20 people to the concert—hey you have home turf advantage!

What I charge.

The concert costs $450 + 80% of admission after $450 is met. This means, if you charge $25 a head (what I recommend) and 30 people show up, that equals a total of $750. I end up with $690 (you end up with $60) at the end of the night. If 12 people show up, that equals a total of $300. I end up with $450 at the end of the night (you have to cover the remaining $150). If you’re confident you can bring 18 people at $25 a head, everyone who lives in the house basically gets a free concert because I don’t charge the hosts and hostesses. Just so you know, this is much lower than my normal “private concert” rate, but because I want people who really dig my music—dare I call them fans—to be able to afford this and not have to pay an exorbitant amount out of pocket, I’ve reduced my rate for these house concerts. I used to take 100% after $450, but I’ve added the 20% to the host idea to give you an incentive to provide simple snacks/drinks for your guests and so you don’t lose money.

What to provide.

All you need to provide is a big enough space to hold everyone. Also, make sure my performance space (corner) is well lit with upright bright lamps or something and then the rest of the room can be dim with candles or other lamps. People are most comfortable sitting on chairs, couches, benches, husbands, boyfriends, girlfriends, etc., so it would be great if you had enough seating for everyone. Maybe encourage people to bring a pillow, blanket, or lawn chair to sit on if you don’t have enough chairs. Make sure you have a key person who will collect money from everyone at some point.

Timing

The concert will last about 2 hours. The first 45 minutes I’ll play an acoustic, mostly unplugged (chill) set. Then take a 15-minute intermission and the next hour will be a full looping show— plugged in. Make sure your neighbors are OK with this. Won’t get too loud, though. I’m looking to start at 7:30 for most places.

The email I send out to potential hosts usually looks something like this. (Feel free to copy whatever you want)

Notes for this experience:

Please let your guests know that this is an intimate, private concert by a touring musician.

This is not a party. Promote my music to all guests and get them excited about the music if they don’t already know my stuff. This is not a drinking party with your best bud providing the entertainment. While alcohol is absolutely okay (and encouraged if somehow a Guinness ends up in my hand), this is not a time to get wasted. Also, please inform your guests, maybe at the start (because I don’t want to look like the bad guy), that talking is very uncool during the performance.

Anything else?

I’ll most likely need a place to crash that night, so if you have a couch, that would be fantastic. If you provide dinner for me, as well, I’ll love you forever.

Please fill in this info and I’ll get back to you with open dates:

City, State:

Are you in high school or college (please list where):

If in high school list parent’s name: and email:

How many live with you (are they okay with this): Do you live in a house, dorm, apartment, etc. (elaborate):

Expected number of attendees: Where will this be held (living room, backyard, dorm lounge, etc. please elaborate):

Exact Address:

Contact Phone Number:

Hopefully I’ll see you soon! ~Ari

And once you confirm a date, make sure you send them a confirmation email. Here’s what I use.

Details:

Saturday, March 17

Contact: Mickey Mouse

Phone Number: 612-555-5555

Exact Address:

1234 Beautiful Lane

St. Paul, MN 55104

7:30–9:30 (you can change this if need be)

$25 a person (hosts excluded)

$450 guarantee + 80% of cover after $450 Make public (upon request) or keep private?

Load in: 6:00

Sound check: 6:30

Provided equipment: lamps to light my performance area (corner), mood lighting for the rest of the room

Sleeping accommodations? yes

**CANCELLATION POLICY

Because I am routing a tour around this show, once this is confirmed, we cannot cancel it. Please do not confirm this unless you are certain you can afford the concert and/or can get enough people to attend. If you have to cancel the show less than 3 weeks before the date, I will still need to receive 70% of payment. Please confirm these details and we’re set!

Thanks! ~Ari

CUSTOMIZE THIS FOR YOU

People have organized pot lucks, birthday, graduation and anniversary parties around these. You will have a lot of fun with house concerts, and even if you’re a full band, as long as you tour with a full PA system, you can set up backyard and basement concerts. You will build lifelong fans this way. Attendees get a very personal experience, get to hang out with you before and after the show, and typically buy tons of merch.

Make sure you pass around the mailing list clipboard or iPad and get every single person’s email who comes. If 30 people show up, the next time through you can book a club and you can estimate that each of them will bring at least 1 more person and now you have a solid 60 for your club show.

Shannon Curtis typically works solely on tips and merch sales for her living room concerts, and it has worked out very well for her. If you’re just starting out, you can go this route, as well. But make sure the host discusses the importance of the tip jar (she advises not to include a suggested donation because if you say the show is worth $10, no one will drop a twenty in). The tip jar (and merch) should be placed right near the front door so it absolutely cannot be missed.

Companies like Sofar Sounds, Side Door and ConcertsInYourHome organize (or help artists and fans organize) house concerts. Sofar Sounds has set up intimate, living shows with oftentimes famous artists like Hozier and Karen O of Yeah Yeah Yeahs.

House concerts are a beautiful, unforgettable experience for everyone involved. •

ARI HERSTAND is the CEO and founder of the music business education company Ari’s Take and its online school Ari’s Take Academy as well as the host of the Webby Award winning New Music Business podcast. He is the author of the book How To Make It in the New Music Business which is a No. 1 best seller in 3 categories on Amazon and is being taught in over 300 universities in the U.S. and has been translated into multiple languages. As a musician he has played over 1,000 shows all over the world and has released 4 albums. As a speaker he has spoken at SXSW, Music Biz, BBC One Introducing, NAMM, SF MusicTech, Berklee College of Music and UCLA. He fronts the 1970s original funk/soul immersive concert theatrical experience, Brassroots District.

Sennheiser’s MK 4 is a professional-grade cardioid true condenser microphone aimed at project studio owners and home studios, but also live audio, where it is a great choice for both vocals and instruments.

The large-diaphragm MK 4 is built at the company’s German factory in the same facility as Sennheiser’s other high-end microphones.

Weighing in at about one pound, the MK 4 is designed around an internally shock-mounted capsule with a 24-karat gold-plated diaphragm. The Sennheiser MK 4 looks and feels like a quality product and is designed to be a step up from the large number of entry and budgetlevel microphones currently available in the marketplace. The obvious attention to detail in both design and construction is clearly evident as soon as you pick it up.

The Sennheiser MK 4 features a fixed cardioid pattern and needs to be addressed from the front of the microphone which is indicated by the MK 4’s Sennheiser logo. The MK 4 is an all-analog microphone and requires +48 volts to operate. In testing the MK 4, I found the sound coming from the microphone to be neutral and relatively uncolored.

The Sennheiser MK 4 can handle a maximum sound pressure level of 130 dB, meaning it can be used for recording everything from guitar amplifiers, acoustic guitars, vocals, even drums. The MK 4’s inherent versatility makes it a great investment for any professional application. Frequency response on the MK 4 is 20 Hz to 20 kHz, making it a perfect choice for capturing studio and stage vocal performances,

Sennheiser MK4 Cardioid Condenser Microphone

podcasting, dialog or voiceovers or any other vocal intensive use.

While the MK 4 does not come with a shock mount, it does come with a customized mic clip and pouch to store the MK 4 when it’s not in use. Sennheiser does offer an optional shock mount for the MK 4, called the MKS 4, which would be a good investment if you are

rehearsing, recording, or performing musicians. Its simple, no-frills design offers professionalgrade sound at a competitive price point. While the MK 4 may not have some of the features of other microphones in this price category, such as roll off or switchable patterns, that is in my opinion more than made up for with the MK 4’s premium build, high-quality components and overall versatility.

The Sennheiser MK 4 cardioid condenser microphone delivers great results on a wide range of instruments and applications. In my opinion, the Sennheiser MK 4 compares favorably to microphones costing considerably more money and sounds as good or better than any competing microphone in its price category.

Bottom line, if you are looking to invest in a professional quality microphone without breaking the bank, the Sennheiser MK 4 is worth a serious look.

planning to use your MK 4 primarily for the studio. The MK 4 is not water- or moistureproof, so you will want to take some care to properly store the microphone when not in use. The shipping box is sturdy and can also be used as a storage case.

Equally at home in the studio or on stage, the MK 4 is a perfect go-to microphone for

The Sennheiser MK 4 is available for MAP $349. The MKS 4 shock mount is available for MAP $99. Sweetwater is currently offering an MK 4 Set with both the MK 4 and MKS 4 for MAP $399. If you’re looking to step up to the next level, Sennheiser also offers the MK 8, a premium-grade microphone based upon the same design as the MK 4 but offers three-step input attenuation, multiple patterns, a threeposition switchable low-cut roll-off filter, and a three-position input pad switch for MAP $749. For more information, check out: en-us. sennheiser.com/condenser-microphone-studiorecordings-professional-mk-4

“A perfect go-to microphone for rehearsing, recording, or performing musicians. Its simple, no-frills design offers professional-grade sound at a competitive price point.”

Waves StudioVerse

Earlier in the year Waves released Creative Access, a subscription-based business model designed to give Waves users tiered access to their plug-ins on a monthly or annual basis. At the same time, Waves released StudioVerse, an AI enabled content delivery system that allows you to import pre-configured signal chains into your sessions.

The StudioVerse business model is like those currently offered by other manufacturers in that they are utilizing an AI enabled content delivery system. IK Multimedia, Native Instruments, Arturia and others all use a similar AI driven predictive algorithm to filter and select results that the end user wants, or the system suggests. There are currently thousands of signal chains—or, as Waves calls them, “chains”—on the StudioVerse website to choose from.

currently own one of the plug-ins in the chain, then you will either buy that plug-in or subscribe to Waves Creative Access to get access to said missing plug to complete the signal chain.

So yes, you can continue to use your waves plug-ins within Studio Rack in the ways you always have; however, once you start to access StudioVerse it quickly becomes clear that Studio Verse is optimized to work best with one of the Creative Access tiered subscription plans (the first two StudioVerse signal chains I selected at random had a missing plug-in that I don’t own in the signal chain I was checking out). Granted, you can remove the plug-in that you don’t own and replace it with one that you do own in the selected StudioVerse signal chain. Either that, or you will need to purchase one of the Creative Access tiered subscription

keting approach or not, the concept of AI enabled products is likely here to stay. From a manufacturing standpoint, one of the big advantages of an AI enabled product delivery system is that it opens the possibility of multiple manufacturers to participate in each vendor’s business model (Waves in this case has opened their architecture to VST 3 enabled plug-ins) while keeping control of the front and back-end delivery. I predict more interaction between manufacturers in the future, resulting in more and more integration of software and development of innovative hardware products, and that’s, I believe, in the long run a good thing. Social Media is obviously playing a big part in the StudioVerse business model and Waves is using their long history of relationships with famous and iconic mix engineers

Waves Studio Rack gives you a sophisticated way to manage your mixing and mastering chains in addition to giving you the ability to load signal chains from iconic engineers, producers, and chains provided from Waves’ vast end user database. Waves Studio Rack is available as a free download via Waves Central or as a download as part of one of the tiered Creative Access subscription-based business models. The ability to import plug-in chains into Studio Rack has been available in Studio Rack for quite a while; the big difference is Studio Rack has now been re-engineered to be the front end of StudioVerse.

Browsing through the StudioVerse website, clicking on any of the available signal chains will show what plug-ins are required to complete the selected signal chain, and what subscription tier in which said plug-in is included. If you don’t

models to complete the signal chain. There is also the option to demo the plug-ins you don’t have. You can install the entire Waves catalog and all the plug-ins you don’t own will work in demo more with periodic mutes, enabling you to try out all the chains in StudioVerse.

There was and is a good deal of controversy surrounding Waves’ decision to stop offering perpetual software licenses for its products, a decision that Waves reversed shortly thereafter when they reinstated being able to purchase individual plug-ins. Currently, you can still buy perpetual licenses to individual plug-ins, which Waves may or may not update same in the future. Yes, Waves will continue to provide updates to plug-ins purchased outside of the StudioVerse ecosystem.

Whether you agree with the Waves mar-

and producers to promote the platform.

Many Waves users will likely find the collaborative aspect of StudioVerse a great way to manage their favorite mixing and mastering plug-in chains and learn how to craft signal chains from more experienced Waves users. Other users may not agree with the StudioVerse business model and will vote with their wallets by signing up for one of the other plug-in platforms available in the marketplace.

Check out the Waves website for more information on StudioVerse and pricing for the different subscription tiers. Waves offers a free seven-day trial to StudioVerse, after which you will be billed monthly or annually.

For more information on Waves StudioVerse, check out waves.com/studioverse

“Many Waves users will likely find the collaborative aspect of StudioVerse a great way to manage their favorite mixing and mastering plug-in chains.”

Hot Bodies in Motion

Contact: taylor@trendpr.com

Web: spotify.com

Seeking: Booking, Label

Style: Indie Rock

Easy to see why Seattle duo Scott Johnson and Ben Carson have nailed song placements already. They put together attractive, commercial-sounding songs with savvy arrangements and, best of all, each tune is delivered by a voice that is ideal for the band’s sound. “All Night” is a good example, with its sultry, sexy mood and lead voice that emits an undercurrent of urgency. “Dine In” has interesting, relatable lyrics (including an LSD trip) and a catchy chorus about commiting to a budding love relationship. (Its chorus could have been a bit bigger?)

”Hotel Room” shows that this duo excels at songs about liaisons and relationship issues. Each recording is tight, contained, never overproduced. Just right.

Rashaann

Contact: rashaann10.karma@gmail.com

Web: linktr.ee/rashaann_karma

Seeking: Review

Style: Hip-Hop

N.Y.C. emcee Rashaann channels the old school on his latest release Far From Home. The title track clocks in at over 8 minutes, and, right out of the gate, Rashaann raps quickly reflecting on his past and present, encouraging through the lessons he’s learned. Given the length, you can imagine there is movement, though we feel there is not enough variance in his delivery or the smooth jazz instrumental. “Unfinished Business” features an exciting crunch rock guitar on a loop. The song sounds like a cypher by De La Soul or Bone Thugs-N-Harmony, with multiple guests and fluid verses. “Times Like This” is emotional and observational, with enticing soul samples spiced up with Rashaann’s jokes and wordplay.

Christy Fisher

Contact: christyfisher@earthlink.net

Web: christyfishermusic.com

Seeking: Booking, Film/TV

Style: Singer-Songwriter

There’s a sincerity and honesty that fills the voice of Christy Fisher in these simply arranged recordings, along with its rich vibrato tone, that gives her plainspoken lyrics the ability to connect and engage with the listener. She is best at conjuring images from her past, as in “The River” where Fisher recounts how at 13 she discovered her daddy’s rusty guitar and began her musical journey. She again sings about her own life and development in the piano-driven song “Lucky” (“I’m the best friend I’ve ever had”). Amid chiming bells, “Mystery” dispenses well-considered advice to a close friend. It’s a song whose heartfelt statements would make it a powerful, showstopping, wedding-pledge song.

Noah Riley Teal

Contact: tsmith@milestonepublicity.com

Web: spotify.com

Seeking: Booking, Mgmt, Label

Style: Southern Rock

Ordinarily, these recordings would be impressive. But when you consider they’re from an artist still in his teens, it gives it a whole ‘nother boost. “Shoulda Seen The Other Guy” is powered by a bold beat, blues-rockin’ riffs, and a gutsy voice that’s perfect for the material. Lighter and upbeat, “I’m Coming Around” has a great chorus along with finger-picked electric guitar, tasty organ parts, female backup singers, and harmonies that build-and-drop effectively. With piano, organ and, of course, guitar (not to mention a small church choir), Teal nails the classic Allman Brothers ballad sound with “Georgia Eyes” his paen to the Peach State. Somebody quick! Get this kid an opening slot with Tedeschi-Trucks!

Cody Lawless

Contact: shane@thesyn.com

Web: codylawless.bandcamp.com

Seeking: Review

Style: Pop, Indie, R&B

Vancouver-based singer-songwriter Cody Lawless defies all the gloomy Guses out there and generates music that is fun and blissful. Armed with his indefatigable falsetto, Lawless delivers his best tune, the flirtatious, sexy-lite “Grace,” one of those songs that strikes you instantly and won’t let go, right down to the cool bridge and the bass solo that wraps it all up. Not as catchy or effective is “Get There, Stay There,” which has a similar energy, just not the same magic, despite the dreamy backup vocals. Lawless gets back on track with “Friday Night With the Neighbors,” which has a slower, studied pace, and is downright easygoing, not to mention catchy. This artist offers ideal sounds for the summer.

The Vignatis

Contact: contact@thevignatis.com

Web: thevignatis.com

Seeking: Label, Film/TV, Booking

Style: Rockabilly/Gypsy Jazz/Country

Here’s a unique, unusual amalgam: vintage rock & roll with an Eastern European kick. They call it “gypsybilly” and “electrobilly” and it’s a volatile mixture. On the upside, this culture clash can be cute, clever and entertaining. But it can also fall a bit flat, demonstrating how uneasy a combination this can be. The performers’ accents are continuously present, and though it sounds fresh and endearing sometimes, it often doesn’t. “Bop, Hop & Roll” namechecks Jerry Lee Lewis, Eminen, and Tupac. “New Direction” rides a daring techno pulse. “Red, White & Blue” is a tribute to the U.S.A. The duo’s winning, patriotic spirit and superior musicianship could find its home as a popular theatrical presentation in Branson, MO.

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 7 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.

GXD DAMN ACE

Contact: solomusicpublishing777@solomusic publishing.com

Web: Soundcloud

Seeking: Label, Booking, Film/TV

Style: Hip-Hop, Rap, R&B

We felt relieved when hearing “The Way” by GXD DAMN ACE did not open with dreary trap cliches, rather stark, dark lounge piano and synth loops leave room for ACE to take charge of the track. The sing-songy refrain is ACE’s mission: We lost a few. They lost a lot. “Disloyal” builds to become a list of people who have wronged the emcee first verse is friends and rivals, then moves on to romances, though shouting “You disloyal bitch” is gratuitous. “Real Shooters” gets the old-timey phonograph treatment in its production, with dramatic bounce drum beats. Points are deducted for lazy songwriting. The phrase “Bitches on my dick,” is meaningless and redundant. Expand your vocabulary.

Raphael Fimm

Contact: info@raphael-fimm.com

Web: raphael-fimm.com

Seeking: Fim/TV, Label, Distribution

Style: Soundtrack, Film Music

Soundtrack composer Raphael Fimm knows his stuff, crafting pieces that are pristine, professional, transporting. That describes “Magic Kingdom,” which with its gentle, idyllic flute, its strings and horns that swell and rise, emit a full Disney sheen. This concise piece paints a picture of wonder. And if you want music that conjures Drama, Love, Fantasy, Horror, Documentary, Fimm has an array of themes, such as “Grenzerfhrugen,” with its calming piano, its soothing strains. Short but intriguing, “Prolog” features a repeating piano figure that shifts things to an expectant, overcast mood to prepare the listener for something perhaps more serious and dramatic to occur. Quality stuff.

Big Girl

Contact: shane@thesyn.com

Web: s.disco.ac/bghzakonmo

Seeking: Review Style: Indie

Big Girl are an ambitious band, working to break the mold, fusing an array of elements into their songs, defying the tried and the true. All of their work, plus or minus, is supported by sharp, superior musicianship. “Instructions 2 Say Sorry” has an extended instrumental intro before moving into alt-rock mode. Singer Kaitlin has a theatrical, show-tune quality that seems stilted, out of place. Stronger is “Forever” a dark, atmospheric ballad where the lead vocal attains a higher register and suggests a Billie Eilish energy. The hypnotic “Black-Eyed Susan” has horns, a cool cadence, a big high in the lead vocal, a drum explosion, and absolutely angelic backup singers. Big Girl is a tight, rockin’ band that needs more time and effort to fully gel.

Greg Adams & East Bay Soul

Contact: info@eastbaysoul.com

Web: eastbaysoul.com

Seeking: Label, Mgmt, Booking, Film/TV

Style: Soul

Adams attains a remarkably authentic vintage-soul sound on his album The Real, showcasing a soul/funk power that’s on full display in the title cut, which is powered by a heavy, super-funky bass line, a horn section, and smooth, classy strings. And all of it is topped off by Adams’ lead voice, crooning “Baby, I’m the real deal!,” which is altogether well-suited to this material. The classic Motown-sounding “Baby, Please Stay” rides a 12/8 time sig and a strong string section that adds a gleam of grown-up sophistication to the singer’s heart-felt plea: “I wanna be loved by you!” Finally, adding substance to it all is the jazzy, trumpet-fueled instrumental “Dreams Come True.” Very nice work all around.

Malachy Tuohy

Contact: rachel@trendpr.com

Web: malachytuohymusic.com

Seeking: Booking, Film/TV

Style: Indie Folk

Tuohy hails from Ireland, and his accent is readily available on these unusual songs, in which his lead vocals are disarmingly plain-spoken yet somehow affecting. The song has a simple accompaniment, including brushes to keep the beat and a pedal steel guitar that lends a celestial touch. Tuohy’s simple, straightforward statements and observations are ultimately spot-on. “Lemonade” shows Tuohy as a born optimist, both real and human: “You made me feel better. That’s what your lemonade does.” Finally, the artist delivers perhaps his most engrossing song, “I Cross This Universe,” where, with his voice fx’d with celestial reverb and a piano accompaniment, he sings “I believe in us.” And you believe him.

Emilia Vaughn

Contact: danithompson@dntagency.com

Web: emiliavaughn.com

Seeking: Label, Booking, Film/TV, Radio Style: Alternative, Pop

San Diego-based singer-songwriter has such a gentle soul that is captured on these very well-produced tracks, such as “Watch The Moon” where with her soft sweet voice Vaughn thrives amid a deceptively simple arrangement, enhanced with electro mood enhancers, that builld the energy as they go. “Sunflower” is in a similar vein, achieving an artful intimacy (mostly just her voice and a guitar) that allows the artist to communicate her deepest feelings. “French Film” is another relationship song, but the mood and energy is quite different—the song is about a troubled relationship (“I’m detailing all your lies.”)—right up to the climactic, unexpectedly aggressive rock-riff outro. Nice.

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.

Aja Monet

When The Poems Do What They Do

Secretly Canadian

Producers: Aja Monet and Chief Adjuah

9

Peso Pluma Génesys

Prajin Records/Double D Records

Producer: Peso Pluma

9

Aja Monet speaks on love, angst and the ongoing cultural experience of living as part of the African American diaspora. Between earthy drumming, intense bass lines and percussion that build towards freeform vocal embellishment, Monet’s words land powerfully and poignantly. With syncopated underpinnings of jazz, Latin and African sound with contributions from Christian Scott, Weedle Braimah, Marcus Gilmore, and Elena and Samora Pinderhughes, Monet’s album creates a delicious and soulful rhythmic journey. – Andrea Beenham

Greta Van Fleet

Starcatcher

Lava/Republic

Producer: Dave Cobb

Grammy-winners GVF return spotlighting

10 slices of modern rock, with a classic feel. This album shows remarkable growth from their previous releases. Their lyrics are more narrative and pair seamlessly, with a knack for raw production and extensive arrangements. Nashville wizard Cobb really brings out the best in the band, eliciting strong riffs from guitarist Jake Kiszka and superlative harmonies from all involved. Noteworthy are the keyboard and sonic textures of “Fate of the Faithful.” – Eric Harabadian

Quartet San Francisco Raymond Scott Reimagined

Violinjazz Recordings

Producers: Jeremy Cohen & Gordon Goodwin

8

Grammy nominated violinist Jeremy Cohen, of Quartet San Francisco, teams up with Grammy winning Gordon Goodwin for an epic, heartfelt and ambitious celebration of a 20th Century jazz musical giant whose contributions to jazz and swing are often overlooked in comparison to his dozens of compositions that were appropriated for classic Looney Tunes and Merry Melodies cartoons. The producers also bring in another Grammy-winning element, gospel/R&B a capella greats Take 6, to bring a deeper, soul-jazz flavored humanity to the project. – Jonathan Widran

YoungBoy Never Broke Again

Green Flag Activity, Vol. 2

Never Boke Again/Motown

Producers: Various

With a “rap sheet,” pun intended, as sizable as his discography, YoungBoy has had numerous criminal run-ins and civil lawsuits. Because of these “green flag activities,” YoungBoy has enough material to keep his musical career going. But Vol. 2, though energetic, is redundant, watered down, and irresponsible in the way that most of his music has been able to cater and cultivate young rap listeners to be passive aggressive, emotional, and poorly misguided. – Adam Seyum

One of the most streamed recording artists in Latin America, the 23-yer-old Peso Pluma brought several collaborators into the fold for this LP, but one of the most dynamic vocal performances comes during his “PRC” duet with Natanael Cano. Overall, Génesys is a regional Mexican/trap corridos album that showcases Peso Pluma’s cultural roots, vocal versatility, raspy tone and multi-faceted songwriting skills—all of which are evident in the album’s final track, “Bye.” – Miguel Costa

Johnathan Blake

Passage

Blue Note

Producer: Johnathan Blake

Drummer Johnathan Blake celebrates his father and mentor John Blake, Jr. by reconvening his powerhouse quintet Pentad. Stirring up an expansive array of colorful moods—from bustling/burning bop to more lyrical, exotic rhythmic and impressionistic abstractions—Blake, Immanuel Wilkins (alto sax), Joel Ross (vibraphone), David Virelles (piano) and Dezron Douglas (bass) prove their mastery in the fine art of keenly intuitive melodic, harmonic and improvisational conversation. – Jonathan Widran

Songs For Healing

Rosie

Arista Records

Producers: Benzi, Afterhrs, Johnny Simpson, Johnny Shorr

Rosie’s latest shares beautiful vocals and catchy, singalong hooks in a collection about love, loss, and learning to walk away. Opening with her song of regret, “Next Life,” uplifting pop jam “Someone You Once Had” follows with clean delivery and a great use of tension to build layers of sound. Angst follows in “Startover,” and “I Should Just Go To Bed” presents beautiful melodies and soft storytelling. Admitting to a deluded lens on love, syrupy anthemic track “Potential” closes the EP. – Andrea Beenham

Skindred Smile

Earache Records

Producer: Julian Emory

Smile represents somewhat of a return to form for Skindred. After the comparatively digestible bent of 2018’s Big Tings , the Welsh rastacore darlings have reverted back to the heavier vibe for which they’re better known, and thank Jah for that. Opener “Our Religion” is a jaw-dropper. Other gems include “L.O.V.E. (Smile Please),” “Black Stars” and “Mama,” but every track feels just right. Go high volume with this one and scrape the enamel off your brain. – Andy Kaufmann

To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

LIVE REVIEWS

The Moroccan Lounge Los Angeles, CA

Web: annabelleemusic.com

Contact: ari@aristake.com

Players: Annabel Lee, vocals, keyboard, guitar; Zac Pannell, guitar; Dylan Haden, drums; Sherome Petty, bass

Material: Annabel Lee is a mix of punk, rock and pop all rolled into one. It is a Wendy O meets Adele who had babies and named them Katy Perry and Pink. The music is high-energy, with twists and turns everywhere you listen. A rollercoaster ride of sorts as Annabel Lee’s vocals resonated throughout the Moroccan Lounge. Her vocals are very reminiscent of Adele, with that powerful delivery that only comes from the gut, and with a Wendy O delivery that keeps everyone on their toes.

Musicianship: The musicianship was very good, as all the players were on queue. The rhythm section stayed on point and that kept the show flowing smoothly. Haden and Petty are a great duo and the dynamics between them is undeniable. Petty is a very strong player as he made his bass sing with soulful voicings and was complemented nicely by Haden’s timely thumping. Pannell is a great rhythm guitar player who kept mostly to playing rhythm as Lee turned in a nice vocal performance.

ANNABEL LEE

Performance: Annabel is a strong front woman. She has charisma and good stage presence and is extremely likable. It helps that she has a powerful voice that stays in tune, even on the roughest, toughest songs. She kept the audience in the loop all night as she presented a little background at the start of each song. It kept things interesting, light and airy. The rest of the crew did what they were supposed to as they played their hearts out.

Summary: A very good outing for Annabel Lee and her crew. Tunes like “Up,” with its Tom Morello-ish guitar lead, “Alas, I’m A Lady,” with its classic '60s vibe, and “Sarah, Sarah,” with great bass and drum play, kept things upbeat and cheerful. While “Los Angeles” and “All of My Ghosts” kept things real and close to the heart with real life situations in the lyrics, “Patti Smith” stole the show with its bluesy hard-rock presentation that ended with a great crescendo that blew everyone away. –

Pierce Brochetti

anger/No fears slow me down/It’s gone in the blink of an eye.

“In Need of A Friend,” Greenberg follows parallel lives on a lonely track who connect: I’m left alone at the end of a night/I feel so low when I’m cold inside/And I know I’m in need of a friend/I held the flame but it burned too fast/ The plans we made weren’t made to last/ And so I am looking for a friend/And your light will soon shine in my window/..And one day the stars align/She greets me with a smile…And just like that we know the seed begins to grow.

Musicianship: Greenberg’s got great piano chops and really brings life to the songs, as a result. He also plays a more than respectable guitar. Vocally, he is never overpowered by his own playing, creating a nice balance between the two. Matsuura on percussion and Kuras on bass add color and nuance to the performance.

CRAIG GREENBERG

Rockwood Hall New York, NY

Contact: craiggreenbergmusic@gmail.com

Web: craiggreenbergmusic.com

Players: Craig Greenberg, piano guitar, vocals; Hiroyuki Matsuura, drums; Jim Kuras, bass; Wayne Silver, guitar

Material: There is always a danger of pigeonholing an artist by trying to fit them neatly into a genre. Though more on the pop-rock spectrum, with comparisons to Billy Joel and Ben Folds, Greenberg is still his

own creation who chronicles relationships and how he sees the world through his own unique prism. His songs are mostly pianocentric with a backing band, but the piano is commonly the driving force. Relationships and self-examination are the subject matter at the heart of his song content, occasionally veering off into other directions. ”Going Back To The Start,” Greenberg revisits less complicated times with the hopes of returning to them: I’m going back to the start when the future was bright/I’m breaking the chains of my heart/ Gonna make it alright/No sense of

Performance: Despite a slight cold, Greenberg soldiered through the set, showcasing a good mix of material. Switching to guitar while also featuring Wayne Silver for a guest artist spot, added diversity to the musical and visual landscape. Greenberg’s songs are packed with stories and his songs would be even better served with some anecdotes or revelations as to what these songs mean to him, further endearing him to his audience.

Summary: Though you can clearly hear the influences behind his music, Greenberg doesn’t chase musical trends. He sticks to his guns with his own brand of piano-centric material. Letting more of the personal genie out of the bottle with dialogue and backstories will further cement him to his audience.

– Ellen Woloshin

MARK SHILOWICH

PIERCE BROCHETTI

LIVE REVIEWS

Venice West Venice, CA

Contact: Bradshaw Lambert, bradshaw. lambert@gmail.com

Web: undertherugmusic.com

Players: Casey Dayan, lead vocals, mandolin; Brendan McQueeny, drums, piano; Sean Campbell, guitar; Dominic Turchiarelli, keyboards, drums; Alec Woodruff, bass

Material: Playing to a packed room on a Tuesday night, Austin rock band Under The Rug shared music from their 2023 album, Homesick for Another World, and 2022’s Dear Adeline, as well as singles “I Don’t Want To Cry,” “Three-Legged Dog,” and “I Want To Go Home.” With a low-key, unassuming, forthright demeanor and great energy, the group shared a fabulous blend of vocals and instrumental musicality. Frontman Casey Dayan also got vulnerable, sharing about the challenging journey to their latest recording project in Los Angeles with direction from engineer Dave Peters.

Musicianship: Masterful in their delicious use of space and tension, opening song “Raindrops” brought gorgeous bass lines and gentle mandolin strumming. “Bolo Tie” offered a great mandolin bridge and breakdown that included some heavy guitar decoration. A tongue-in-cheek ode to bad advice, “Happiness Is Easy” delivered a great rock jam, while “I Needed Love” revealed a fabulous drumkit sound. “I Should Be Sleeping” revealed a gentle falsetto lullaby that transitioned into a rock ballad, while “As Long As You’re Here” added great vocal leaps and turnarounds, beautiful harmonies, and an elasticized time signature.

Performance: The show continued with colorful chords and dissonant sprinklings

UNDER THE RUG

to exaggerate the breakup angst in “Stuffed Monkey Farewell.” Demonstrating a great use of cutoffs and shifts in dynamics to create intrigue, they added organ sounds on the keys and chaotic band inserts to increase the effect.

“Devil Smiles” unveiled a funky time signature and split vocal/drum inserts with a cool slide outro and belting rock jam, “Mary,” was ode to the melodramatic. With 12 years together as a band, the sound was tight and cohesive, with a Kings of Leon-meets-chill vibe.

GRENT PEREZ

The Echo Los Angeles, CA

Web: instagram.com/grentperez

Contact: hgriffin@shorefire.com

Players: Grent Perez, vocals, guitar; Timi Temple, bass, background vocals; Josh Ehlke, drums

Material: Grent Perez delivers a mix of genres put together, so it’s difficult to pin them down to just one. The opening tune,

“Confusing Girl,” gives off a rave vibe, but then it quickly escalates to hard rock and then to soft rock on the following three tunes. It’s a rollercoaster ride, but a smooth one; with few surprises. They didn’t need any surprises, though, as the music was exceptionally well written, played and performed.

Musicianship: Outstanding musicianship graced the Echo’s stage this night as Grent

Summary: “Three-Legged Dog” (their first-ever release) included more fabulous drumming and lyrics “right where I’m supposed to be,” while show closer, “I Want To Go Home,” shared delicious crying guitars in a perfect rock singalong and scat outro. Under the Rug combines rich musicality and juxtaposing dynamics with fabulous threeway vocal harmonies and a solid, balanced sound, wrapped in a fun, easy-to-digest atmosphere. – Andrea Beenham

Perez and company did their thing. Perez is a consummate guitar player and an even better people person. Charismatic and magnetic, he captivated the audience by making his guitar skills and singing look easy. The songs are well written and it really helps immensely when the audience knows every word to every song. Temple and Ehlke worked great together and had the rhythm section rolling along smoothly for Perez.

Performance: Great show by all of Grent Perez’s camp. They joked and laughed and talked with the audience as if they were longtime friends who saw each other every other week. Not only was the band's rapport with the audience terrific, so was their musicianship—and the people loved it.

Summary: Great outing for Grent Perez. The sold-out show was a hit from beginning to end, with superb tunes gracing The Echo all night. From rave, to rock & roll, to soft rock, to ballads, and even a couple of acoustic tunes that had the audience singing along and lighting up the club with their flashlights. It was a night of fun, excitement and good music.

– Pierce Brochetti

NICHOLAS HERNANDEZ

LEWIS BEENHAM

DOUG LEGACY & DR. SOUNDGOOD

The Mint Los Angeles, CA

Contact: Mike Gormley, LA Personal Development, lapdev4@gmail.com

Web: drsoundgood.net

Players: Doug Legacy, lead vocals, keys, accordion; Randy Mitchell, guitar; John Aguilar, bass, vocals; Jimmy Z, tenor saxophone, harmonica; Gary Ferguson, drums

Material: On the heels of their Lagniappe release, Doug Legacy & Dr. Soundgood delivered fun, upbeat energy with a tight band that combined blues, rock and funk

The Moroccan Lounge Los Angeles, CA

Web: listentomoonwalker.com

Contact: romy@bighassle.com

Players: Harry Springer, vocals, guitar; Alicia Vigil, bass; Joan Daewin, drums

Material: Moonwalker is Guns N' Roses meets Led Zeppelin—who have dinner with Deep Purple. The music is loud, hard and in your face. They are reminiscent of the older jam bands of the ‘70s and ‘80s and have that spark to make it happen. Although they didn’t “jam it up” too much, the potential for it was there. The songs have a hard rock foundation, in the style of Zeppelin; A progressive rock layer on top of that, as with Deep Purple; and a raspy, colorful vocal frosting to finish things off.

Musicianship: The musicianship was excellent. Vigil was on point all night and she knew it. She stroked the audience in every which way while she grooved to every beat. Together with Daewin, they had the audience eating out of their hands as they laid down some incredible backdrops for Springer to paint on. One of the best rhythm sections of late.

Performance: It started out flat, but slowly built its way up and ended in great fashion. Springer is a prodigious frontman and really knows how to handle a crowd. He made the “show” happen and he had the right crew to help him achieve it. Great drumming, great bass play and a great frontman make for an entertaining show.

for a blend of southern sound. Performing four tracks from the new record, as well as a couple from Legacy’s 2017 release, The Gumbo Brotherhood (Doug Legacy & Zydeco Party Band), and 1995’s New Hat (from Doug & The Mystics), the group brought great energy and a big sound to their 40-minute set.

Musicianship: With brilliant musicality and a comfortable flow between the talented musicians on stage, it is easy to love what they are up to. Swamp blues-feeling “Meet The Boys On The Battlefront” opened the show with a tasty tenor sax solo from Jimmy Z and

guitar solo from Ray Mitchell. “Saturday’s Child” brought a more traditional rock feel, with feistier instrumentals and a great vocal breakdown. “Workin’ Man” (from New Hat) had fabulous slapping and walking lines from guest bassist John Aguilar, alongside syncopated drum riffs, high hat drive, and a rhythmic rimshot outro.

Performance: “Right Now Man” brought a gooier blues feel, adding Legacy on harmonica, with great sax growls from Z, and establishing a great mood for the room with the crowd nodding, stomping and clapping along, swaying to the group’s sound. Legacy kicked off “Everybody Lies A Little” with an accordion solo alongside rimshots on the drumkit, adding harmonica (Z), sax and guitar, and building into a delicious grungy shuffle. Cover song “Hey Pocky-A-Way” (originally by The Meters) featured Aguilar delivering stylistic badassery, a keyboard solo from Legacy and tenor sax solo from Z.

Summary: The accordion and solid walking bass lines continued on “King Cake” and “Crime Don’t Pay” (both from Zydeco Party Band recordings), the latter bringing an unexpectedly funky accordion intro, and adding tasty tenor sax runs and a great guitar solo from Randy Mitchell. With a stellar band of A-list musicians and a superb overall groove, Doug Legacy & Dr. Soundgood bring a combination of Cajun and zydeco sound and rounded gravelly vocals for an easy-toenjoy vibe. – Andrea Beenham

MOONWALKER

Summary: Moonwalker is edgy and fun and they’re ready to Rock out at any time. They are extremely fun to watch and the music is strong and tasteful (just not for everyone). Tunes like the bass/drum-driven “Doombox” and the Guns N' Roses-sounding “Disturbed Suburbia” will have you grooving in your seat and stomping the ground you’re standing on.

“Tear Down the Wall” will take you back to the Led Zep days of yesteryear, and Springer will keep you there. “Turn Off This Song” will funk you out and the breakdown will make you sigh and say, “This is very cool!” Moonwalker brought the jams all the way from New York City and didn’t disappoint. Check them out now! – Pierce Brochetti

JAYMZ EBERL

Directory of Rehearsal Studios

Now expanded for 2023, this is an exclusive list of professional rehearsal studios. All information below is verified by the listees. To receive thousands of free industry contacts, visit musicconnection.com/industry-contacts.

ALABAMA

GUEST HOUSE STUDIOS, LLC

641 Mockingbird Ln. Eclectic, AL 36024

334-580-0155

Email: ghs@guesthousestudios.com

Web: guesthousestudios.com

Basic Rate: Email or call for rates

Additional location:

5029 Edmondson Pike Nashville, TN

629-267-1317

ALMEC, LLC

1460 Ann St. Montgomery, AL 36107

334-649-2677

Email: todd@souvignier.com

Web: facebook.com/almecllc

Basic Rate: please call/email for info

Rooms: wide range, from single-user to multi-room suites. Monthly booking only.

ARIZONA

SCOTTSDALE STUDIOS

Scottsdale, AZ 85258

480-767-3777

Email: samw1222@aol.com

Web: facebook.com/scottsdalestudios

SER SOUNDWORKS RECORDING AND REHEARSAL

190 E. Corporate Pl., Ste. 2 Chandler, AZ

480-649-8074

Email: rockstar@sersoundworks.com

Web: sersoundworks.com

Basic Rate: please call for info

S.I.R. PHOENIX

3541 East Broadway Road Phoenix, AZ 85040

480-966-7800

Email: azinfo@sir-usa.com

Web: sir-usa.com

Basic Rate: please call for info

CALIFORNIA / NORTHERN

ANNEX REHEARSAL STUDIOS

2554 Grant Ave. San Lorenzo, CA 94580

510-908-5126

Email: info@annexrehearsalstudios.com

Web: facebook.com/AnnexRSLive

Basic Rate: please call for info

JACK LONDON REHEARSAL STUDIOS

632 2nd St. Oakland, CA 94607

510-759-8557

Web: jacklondonrehearsal.com

LENNON REHEARSAL STUDIOS & MUSIC SERVICES

271 Dore Street San Francisco, CA 94103

415-575-3636

Email: info@lennonstudios.com

Web: lennonstudios.com

Contact: studio manager

Basic Rate: please call for rates

Services: Rooms for rent by the month

RDM2 STUDIOS

6651 Brisa St.

Livermore, CA 94550

925-443-7362

Email: info@rdm2studios.com

Web: rdm2studios.com

REHEARSE AMERICA

21st Street W Oakland, CA

510-406-9697, 510-569-7075

Email: OMC@rehearse.com, oak@rehearse

Web: rehearse.com

Additional locations:

2751 Academy Way Sacramento, CA 95628 916-923-2525

Email: hoh@rehearse.com

5749 88th St. Sacramento, CA 95628 916-381-4500

Email: srs@rehearse.com

SHARK BITE STUDIOS

634 2nd St. Oakland, CA 94607 510-663-8346

Email: mail@sharkbitestudios.com

Web: sharkbitestudios.com

Basic Rate: please call for info

STUDIO INSTRUMENT RENTALS (S.I.R.)

1215 Fairfax Ave. San Francisco, CA 94124 415-957-9400

Email: sfinfo@sir-usa.com

Web: sir-usa.com

Contact: Fred Rose or Joey Yarmoluk

Rooms: All rooms come complete with 8 mixes of EAW monitor systems and stereo sidefills, Soundcraft SM-12 consoles, new consoles all Midas, Crest Amplification and Shure mics. Lighting available upon request. Room sizes vary from 27’x36’ to an 80’x50’ show stage. All rooms come with stage and air conditioning.

Services: Showcases for major labels, event services, etc.

Equipment: Backline, audio, lighting / drum rentals.

Additional locations:

Los Angeles, Chicago, Las Vegas, Miami, Nashville, New York, Palm Springs, Phoenix, Portland, San Diego, San Francisco, Seattle

CALIFORNIA / SOUTHERN

ABC REHEARSAL STUDIOS

2575 San Fernando Rd. Los Angeles, CA 90065 323-874-2408

Email: abcrehearsals@gmail.com

Web: abcrehearsals.com

Basic Rate: please call for information and specials

Rooms: Over 50 studios, onsite parking, monthly rentals only. High-quality durable walls.

Services: onsite manager

Clients: signed and unsigned bands

Additional location:

7413-7415 Varna Ave. North Hollywood, CA 91605 323-874-2408

Email: abcrehearsals@gmail.com

Web: abcrehearsals.com

AMP REHEARSAL 5259 Lankershim Blvd. North Hollywood, CA 91601 818-761-2670

Email: reservations@amprehearsal.com

Web: amprehearsal.com

Services: First all-inclusive rehearsal and recording studio

Basic Rate: call for rates

ANNEX STUDIOS / THIRD ENCORE

7 Valley Locations, 1 Anaheim

818-753-0148, 310-924-4516

Email: john@3rdencore.com, colin@3rdencore.com

Web: 3rdencore.com

Services: Third Encore’s Annex Studios are 205

Premium 24-hr Monthly Lockout studios located in eight buildings in North Hollywood, Sherman Oaks, Van Nuys and Anaheim. All studios are fully air conditioned (with private a/c control) and include complimentary Wi-Fi. All buildings are one story for easy access and studios are constructed specifically for music production and rehearsal with multiple layers of drywall and soundboard. Band, drum and production rooms available.

BEAT GARAGE 6860 Farmdale Ave North Hollywood, CA 91605

818-358-0099

Email: info@beatgarage.com

Web: beatgarage.com

BLUEPRINT STUDIOS

31143 Via Colinas Ave #506 Thousand Oaks, CA 91362

Phone: 818-874-3090

Website: blueprintmusicstudios.com

Contact: Jasan Radford, Ted Wenri

BLACK DIAMOND STUDIOS (24 hour lockout only, no hourly)

Address: Lincoln Heights near the 5 and 110 freeway interchange

Phone: 424-835-1087

Email: info@blackdstudios.com

Web: blackdstudios.com

Basic Rate: Varies by size. Phone or email for current availability

Services: 24/7 lockout studios for professional musicians. Secured CCTV building and parking. 50 private air-conditioned rooms with free WiFi ranging from small solo/DJ/Drum to large full band sizes.

BOMB SHELTER REHEARSAL AND RECORDING STUDIO

714-240-7345

Rates: For rates, please see our website

Email: britt@bombshelterrehearsal.com

Web: bombshelterrehearsal.com

Contact: Britt-Marie Trace

Rooms: We have a total of 6 studios. This includes a large Showcase Room with black curtains, stage, drum riser, lighting and couch. All of our rooms o er a PA system and a backline of drums, bass amp and guitar amp if needed. Our Showcase Room is also our large tracking room with 18” ceilings, that is tied into our recording studio with a SSL AWS900+ mixing console, Pro Tools Ultimate and high end pro gear. Video Production 4 + Cameras is also done in our Large Showcase Room.

Equipment: We o er popular gear by industry standard manufacturers. SSL, Pro Tools, Apogee, UA, Neumann, AEA, Shure, Rode, QSC, Soundcraft, DW, Orange, Ampeg, Marshall, Audix, PDP, Aquarian, Soultone, Blackmagic. See website for detailed list.

Services: Rehearsal. Recording. Video Production. Practice your Music and play LOUD in our rooms! Solo rehearsal, vocal rehearsal, full band rehearsal, pre-tour rehearsal. Full audio/recording production.

Tracking, Overdubs, Editing, Mixing, Mastering.

Voice Over. Location Recording. Live Sound. Avid Pro Tools Certified Operator. 4 plus camera Video Production. Live Streaming Events. Band Promo Content.

CENTERSTAGING

3406 Winona Ave. Burbank, CA 91504

818-559-4333 Fax 818-848-4016

Web: centerstaging.com

Basic Rate: call for rates

CIDE SHOW REHEARSAL STUDIOS

18205 S. Broadway Gardena, CA 90248

310-324-4056

Web: cideshowstudios.com

Contact: Sherman

Basic Rate: $12/hr

Services: Lockout Bldg and Rehearsal, Inhouse Tech & Wifi.

Clients: Michael Schenker, Doro, The Miracles, Coolio, Insecticide, New Years Day, 9th Circle, Heretic, Signs of The Swarm

CREATIVE MUSIC ROOMS

Los Angeles, CA

Email: info@creativemusicrooms.com

Web: creativemusicrooms.com

Basic Rate: See website for rates

Services: Long Term Tenants only

D.O’B. SOUND

8531 Wellsford Pl., Ste. I Santa Fe Springs, CA 90670

562-464-9456

Email: dobsound20@yahoo.com

Web: dobsoundstudios.com, facebook.com/DOB.SoundStudios

Contact: Larry Ramirez, Derek O’Brien

Basic Rate: call for rates

Services: Full recording, mixing and mastering studio, video production, 5 fully equipped rehearsal rooms and guitar repair shop.

DOWNTOWN REHEARSAL

2155 E. 7th St. Los Angeles, CA 90021

323-263-7381, 213-447-4806 (cell)

Contact: Mike

Basic Rate: $350 - $1600 Monthly

Rooms: 12x19 to 20x40. All Monthly Lockout

Studios have ceiling fans, carpeted floor and 2 walls with acoustic carpet, and 12’ ceilings.

Clients: Numerous label and unsigned bands.

Services: Fully equipped Hourly studio, Full PA with subs, DW Drums, Fender, Ampeg, Marshall, Line 6, Yamaha, and Carvin backline, $25/hr, available in 3 hour blocks. 24 hour security and ample parking onsite.

EASTSIDE REHEARSAL

2619 E. Cesar Chavez Ave. Los Angeles, CA 323-688-6476

Email: eastsiderehearsal@gmail.com

Web: eastsiderehearsal.com

Basic Rate: $14/20 hr

ELECTRIC JUNGLE PRODUCTIONS

Fullerton, CA 714-738-6271

Basic Rate: $195 to $1000 30-day lockout

Rooms: Call for more information

EXPOSITION REHEARSAL & RECORDING STUDIOS

9214 Exposition Blvd. Los Angeles, CA 90034

310-287-1236

Email: contact@expositionstudios.com

Web: expositionstudios.com

Studio Specs: 6 rooms from 14x16 to 28x15

Rates: Ranging from $18-22/hr, $25/hr.

FRANCISCO STUDIOS

4440 District Blvd. Vernon, CA 90058 323-589-7028

Email: franciscostudios.la@gmail.com

Web: franciscostudios.com

Contact: Zach

Basic Rate: call for monthly or hourly rates

Rooms: Over 100 Monthly Lockouts, private parking, Wi-Fi, Freight elevator, 24-hour Video Surveillance, 5 miles from downtown L.A., A/C

Services: monthly lockout hourly, recording, guitar and drum lessons; free wifi.

Additional locations:

Phoenix, AZ (4 locations)

602-229-1250

Contact: Beck

125 E Pennington St. Tucson, AZ 85701

520-300-1116

Contact: Frank

6100 E. 39th Ave. Denver, CO 80207

303-320-8440

Email: franciscostudiosdenver@gmail.com

Contact: Johny

8420 Westglen Dr Houston, TX 77063 713-460-4537

Email: rzapatamts95@gmail.com

Contact: Ricardo

GEMINI STUDIOS

Irvine, CA & Santa Ana, CA 714-545-2289

Web: geministudios.com

Basic Rate: $625 for 200 sq. ft.; $555 for 150 sq. ft.; $475 for 100 sq. ft.

Services: Gemini Studios has been serving Orange County musicians, performers and bands since 2001. We o er clean and a ordable 24-lockout rehearsal studios located in central OC. We have two locations all close together and we are dedicated to providing the best private monthly music studios available. Check out our website, which allows you to reserve your studio online or get on the waiting list. Whether you’re a solo musician looking for a spot to jam or a band needing a practice/rehearsal studio of your own or to share, Gemini has the studio solution to fit your needs. Practice Well.

GROOVE WORKS STUDIOS

5536 Atlantic Ave

Long Beach, CA 90805

310-403-5104

Email: info@grooveworksstudios.com

Web: grooveworksstudios.com

Basic Rate: $17 - $24 per hour

Services: small, medium and large specially designed for live sound

HOLLOWAY PRODUCTIONS, INC

9541 Santa Fe Springs Rd. Santa Fe Springs, CA 90670

562-941-5949

Email: payhpinc@gmail.com

Web: hollowayproductionsinc.com

Contact: Edward Holloway

Basic Rate: $23/ $25 an hour

Services: Eight rehearsal studios with full backline and Recording/HP Film studio. Drums, 2 half-stack guitar amps, Bass amps, PA system and 4 mics in every room.

INTERNATIONAL CITY STUDIOS

3260 Industry Dr.

Signal Hill, CA 90755

562-494-6100

Email: booking@internationalcitystudios.com

Web: internationalcitystudios.com

Basic Rate: call for rates

LA REHEARSAL MUSIC STUDIOS

5327 Santa Monica Blvd. Los Angeles, CA 90026

323-871-1676

Email: larehearsal@gmail.com

Web: larehearsal.net

Contact: Brent Becker

Basic Rate: $20/40/hr

LOCKOUT MUSIC STUDIOS

1300 S. Beacon St., Ste. 101 San Pedro, CA 90731

714-997-1380

Email: info@lockoutmusicstudios.com

Web: lockoutmusicstudios.com

Basic Rate: $50 - $75 per day

Additional locations:

320 French St. Santa Ana, CA

3540 12th Street

Riverside, CA

MATES REHEARSAL & CARTAGE

5412 Cleon Ave. North Hollywood, CA 91601

818-762-4613

Email: robertbrunner@matesinc.com

Web: matesinc.com

Contact: Bob Brunner

Basic Rate: please call for info

Rooms: Studio A & B 28x25 (stages 28x16) soundstage 50x60 (stage 50x24) monitor specs. Available upon request. Private bathrooms, lounge, easy load-in, plenty of parking. Also new soundstage, 41x23 private lounge, production o ice, bathroom. Very private, isolated location.

Services: cartage, worldwide freight, rentals

Equipment: List available upon request.

MDM MUSIC REHEARSAL STUDIOS

4524 Brazil St., Ste. B Los Angeles, CA 818-241-5015

Email: info@mdmmusicstudios.com

Web: mdmmusicstudios.com

Contact: Arbin or Robert

Basic Rate: call for rates

Services: Upscale rehearsal studios with a full backline. Great acoustics, no feedback

MUSICIANS CHOICE LOCKOUT STUDIOSMONTHLY

Lemona Ave. Van Nuys, CA 310-836-8139

Email: shovelhead66@hotmail.com

Web: musicianschoicestudios.com

Basic Rate: Please call or email for more info.

Additional locations: West L.A., Hollywood, LAX/Westchester

MUSICIANS CHOICE REHEARSAL STUDIOS - HOURLY 3820 Hoke Ave. Culver City, CA 90232 310-836-8998

Email: musicianschoicela@gmail.com

Web: musicianschoicestudios.com

Basic Rate: Please call for more information

MUSICIANS PERFORMANCE STUDIOS, INC. 9650 9th St., Ste. C Rancho Cucamonga, CA 91730 909-944-0100

Email: kjmusic1995@gmail.com

Web: musiciansps.com

Contact: Keith Jones

Basic Rate: $14-$26/hr.

Services: Rehearsal, Recording, Pro Shop, Lessons, Repairs, Rentals, Live Stream w/Cat7, Lock Outs, and Live Events

O ers cutting edge rehearsal services designed to advance your musical career in a friendly, professional and creative atmosphere.

NIGHTINGALE STUDIOS

156 W. Providencia Ave. Burbank, CA 91502 818-562-6660

Email: nightingalestudiosbooking@gmail.com

Web: nightingalestudios.com

Contact: Mike or Jay

Basic Rate: $24/$67/hr.

Rooms: 33 studio rooms. Video screening studio with 12’ x 7’ HD projector and screen. Most studios linked into central recording control room allowing convenient rehearsal and recording capabilities from your studio. Acoustically designed fully equipped studios from 100 sq. ft. up to 800 sq. ft. We have monthly lockouts, drum rooms, a ordable showcase stage, weekly, and daily arrangements. We provide top security, and a clean “vibey” atmosphere. You will get your money’s worth! Hourly and Monthly Lockouts.

Services: Full Pro Tools rig with very qualified engineer for live and session recordings, Community Showcases, we rent guitar and bass rigs, P.A. systems, and storage. Just tell us what you need!

Equipment: PA systems have all been recently updated with new state of the art QSC, Spectr Audio, Yamaha, and Electrovoice equipment. What sounded great before, is now o the charts

Clients: too many to list

PM STUDIOS

3311 Winona Ave. Burbank, CA 91504 310-213-8584

Web: pmrehearsalstudios.com

Contact: Patrick

Basic Rate: please call for info. We rent out for a month not an hourly studio

PIRATE STUDIOS Basement Level

2807 Sunset Blvd., Suite 100 Los Angeles, CA 90026

844-274-7283

Web: pirate.com

Additional Locations:

4713 W. Je erson Blvd. Los Angeles, CA 90016

156, 6th Street Brooklyn, NY 11215

110 Scott Avenue Brooklyn, NY 11237

Box Factory 1519 Decatur St. Ridgewood, Queens, NY 11385

Other Locations: United Kingdom, Germany, Ireland

ROCK AND ROLL FANTASY CAMP North Hollywood, CA 888-762-2263, ext 5, 323-370-7033

Email: keith@rockcamp.com

Web: rockcamp.com

ROCKSTAR STUDIOS

1460 Naud St. Los Angeles, CA 90012 310-274-1366, 310-766-2384

Email: wannarockrss@yahoo.com

Web: rockstarstudiosla.com

ROYAL REHEARSAL 2609 S. Hill St. Los Angeles, CA 90007 213-441-6888

Email: contactus@royalrehearsal.com

Web: royalrehearsal.com

Basic Rate: please call for rates

Additional locations:

1946 E. 1st St. Los Angeles, CA 9003

Email: maxr@royalrehearsal.com

414-204-3138

3200 N. San Fernando Rd. Burbank, CA

Email: eddie@royalrehearsal.com

747-245-9555

971 Goodrich Blvd, East Los Angeles, CA 90022

Email: george@royalrehearsal.com

323-803-3475

715 South Alvarado Street Los Angeles, CA 90057

Email: michael@royalrehearsal.com

720-384-4187

S.I.R. LOS ANGELES 6465 Sunset Blvd. Los Angeles, CA 90028

323-957-5460

Email: lainfo@sir-usa.com

Web: sir-usa.com

Basic Rate: please call for info

Additional location:

4620 Santa Fe Street San Diego CA 92109

858-274-1384

Email: sdinfo@sir-usa.com

SNAGGLETOOTH STUDIOS

5716 Cahuenga Blvd. North Hollywood, CA 91601

Web: snaggletoothstudios.com

Phone: 818-655-0194

Email: support@snaggletoothstudios.com

Rates: $28-$125/hr

Studios: High-end hourly rehearsal, video production, and 24/7 lockout studios. All hourly studios have a PA system, digital console, and in-earmonitor amps with Ipad control. Full backline studios have Orange, Marshall, and Aguilar amps with DW kits. The showcase studio houses pro stage lighting, an ethernet connection, video distribution, photography screens and more.

Services: Turnkey livestream & video shoots.

Directory of Rehearsal Studios

SOUNDBITES STUDIOS

3333 Hill St. Los Angeles, CA 90007

213-205-8585

Email: service@soundbitela.com

Web: soundbitela.com

Basic Rate: call for rates

SOUNDCHECK STUDIOS

11736 Vose St. North Hollywood, CA 91605 818-823-8774

Email: davidlee@soundcheckstudiosnoho.com

Web: soundcheckstudiosnoho.com

Instagram: @soundcheckstudiosnoho

Contact: David Lee

Basic Rate: call for rates

STAGE ONE

23092 Terra Dr. Laguna Hills, CA 92653 949-367-9693

Email: questions@stageonestudios.com

Web: stageonestudios.com

Contact: studio mgr.

Basic Rate: please call for rates

SUMMIT REHEARSAL STUDIOS

2016 N. Lincoln Ave. Pasadena, CA 91103 626-486-2685

Email: summitrehearsalbooking@gmail.com

Web: summitrehearsal.com

Basic Rate: $20/$27 per hr

TEAM SOUND STUDIOS

7065 Hayvenhurst Ave. Suite 6 Van Nuys, CA 91406 323-377-3346

Email: info@teamsoundstudios.com

Web: Teamsoundstudios.com, Facebook.com/teamsoundstudios

Contact: Michael Brasic

Basic Rate: $25/hour (3 hr min.) 30 min. free set up time. Single private hourly rehearsal room.

THIRD ENCORE

10917 Vanowen St. North Hollywood, CA 91605

818-753-0148, 818-613-7518

Email: john@3rdencore.com

Web: 3rdencore.com

Rooms: 6 air conditioned studios from 900-2,400sq. ft., each including a private production o ice and full monitoring P.A. Full-service, professional facility.

Quiet, safe, clean and very private. Great parking.

Daily, weekly or monthly lockout rates available.

Services: Full instrument and backline rental, featuring large selection of all major brands including Mesa Boogie, Yamaha, DW, Roland, Tama, Orange, Vox, Sabian, Zildjian, Ampeg, Korg and Marshall gear. Private storage lockers, cartage services.

Equipment: All rooms come with Adamson/Lab Gruppen monitoring system. Digico, Avid, Yamaha, Midas consoles available.

TK REHEARSAL / West L.A.

310-876-9666

Email: tkprod1@aol.com

Web: TKrehearsal.com

Contact: Charles

Basic Rate: $325-$1500/month

TK REHEARSAL / N. Hollywood

818-856-5301

Email: tkprod1@aol.com

Web: TKrehearsal.com

Contact: Charles

Basic Rate: $290-$950/month

TOTAL ACCESS REHEARSAL

612 Meyer Lane, Suite 12101 Redondo Beach, CA 90278 424-271-5070

Email: totalaccessrehearsal@gmail.com

Web: tarehearsal.com

UNCLE REHEARSAL STUDIOS

6028 Kester Ave. Van Nuys, CA 91411

818-989-5614

Email: uncleesca@gmail.com

Web: unclestudios.com

Contact: Scott Walton

Basic Rate: please call for info

UNFRIENDLY STUDIOS

2312 Ventura Blvd. Camarillo, CA 93010

818-633-4555

Email: unfriendlystudios@gmail.com

Web: facebook.com/UnFriendlyStudios

Basic Rate: call for rates

URBAN AUDIO STUDIOS Duarte, CA 626-301-0221

Email: urbanaudio@earthlink.net

Web: urbanaudio.bz

Services: concert backline, event production, concerts, fashion shows, awards, sporting events, sound, stage, lighting

WOODSOUND STUDIOS

120 Front St. Covina, CA 91723 626-956-7455

Email: tom@woodsoundstudios.com

Web: woodsoundstudios.com

Services: live recordings, track recording, on line advertising, video spots, radio spots, voice-overs, corporate phone menus, green screen shoots, band rehearsals

Equipment: rentals available in house; microphones; stands-microphone and sheet music; cords-XLR, 1/4, stereo; Roland keyboard in StudioA; guitar amp combo; guitar amp 1/2 stack; electric guitar & bass guitar ($5 each)

COLORADO

DOG HOUSE MUSIC

525 Courtney Way Lafayette, CO 80026 720-864-0650

Email: studiohost@doghousemusic.com

Web: doghousemusic.com

Basic Rate: From $60/2 hour min/ for equipped studios; $200-350/month for empty studio lease

SOUNDSTRUCTURE STUDIOS

3131 Walnut St. Denver, CO 80205

303-291-0602

Email: den@soundstructure.com

Web: soundstructure.com

Basic Rate: please call for further information

Additional location: 4321 E. Truman Road Kansas City, MO 64127 816-988-3928

CONNECTICUT

CARRIAGE HOUSE STUDIOS

119 W. Hill Rd.

Stamford, CT 06902

203-358-0065

Email: johnny@carriagehousemusic.com

Web: carriagehousemusic.com

Basic Rate: please call for info

PARKVILLE SOUNDS

30 Arbor St. Unit B14

Hartford, CT. 06106

860-461-0795

Email: contact@parkvillesounds.com

Web: parkvillesounds.com

SAGE SOUND STUDIOS

549 Howe Avenue Shelton, CT 06484

203-922-0491

Email: info@sagesoundstudios.com

Web: sagesoundstudios.com

DELAWARE

KING CREATIVE

727 North Market Street

Wilmington, DE 19801

302-393-7619

Email: info@kingcreative.com

Web: kingcreative.com

FLORIDA

7TH CIRCUIT PRODUCTIONS

P.O. Box 370924 Miami, FL 33137

305-757-7277

Email: info@7thcircuit.tv

Web: 7thcircuit.tv

Basic Rate: please call for info

MARKEE MUSIC 1700 S. Powerline Rd. Deerfield Beach, FL 3442 954-794-0033

Email: mark@markeemusic.com

Web: markeemusic.com

Basic Rate: $30/45/hr, $350/600/day

STARKE LAKE STUDIOS

275 N. Lakeshore Dr. Ocoee, FL 407-565-9778

Email: info@starkelakestudios.com

Web: starkelakestudios.com

Basic Rate: please call for info

STAY TUNED STUDIOS

5570 Florida Mining Blvd. S., Unit 105 Jacksonville, FL 32257 904-292-9997

Email: staytunedstudios@comcast.net

Web: staytunedstudios.com

Basic Rate: call for info

STUDIO 26 3078 S.W. 38th Ct. Miami, FL 33134

305-505-7956, 786-766-1604

Email: PJ@Studio26miami.com

Web: studio26miami.com

Basic Rate: please call for info

GEORGIA

ATLANTA ROCKSTAR REHEARSALS

1170 Sylvan Road, SW Atlanta, GA 30310

770-296-5530

Web: atlrockstar.com

Basic Rate: please call for info

CROSSOVER ENTERTAINMENT GROUP

1310 Ellsworth Industrial Dr. Atlanta, GA 30318

404-352-3716

Web: crossover-entertainment.com

Basic Rate: please call for info

VISION STUDIOS

3875 Green Industrial Way

Chamblee, GA 30341

404-435-6725

Email: mason.lutz@visionstudiosatlanta.com

Web: visionstudiosatlanta.com

Basic Rate: please call for info

HAWAII

BLUE PLANET SOUND 420 Waiakamilo Rd.

Honolulu, HI 96817

808-843-3688

Contact: Jules Washington

Email: info@blueplanetsound.com

Web: blueplanetsound.com

THUNDER STUDIOS 916 Kaaahi Place

Honolulu, HI 96817

808 232-4028

Email: thunderstudioshawaii@yahoo.com

Web: thunderstudiohawaii.com

WEST ONE HAWAII 419 South St. Honolulu, HI. 96813 808-286-6710

Email: westonehawaii@gmail.com

Web: westonehawaii.com

ILLINOIS

MUSIC GARAGE 345 N Loomis St. Chicago, IL 60607 312-997-1972

Email: info@musicgarage.com

Web: musicgarage.com

S.I.R. CHICAGO 2835 North Kedzie Avenue Chicago, IL 60618 773-478-8500

Email: chinfo@sir-usa.com Web: sir-usa.com

SUPERIOR ST. 2744 W. Superior St. Chicago, IL 60612 773-227-5550

Email: info@superiorst.com

Web: superiorst.com

Basic Rate: please call for info

INDIANA

MAXWELL’S HOUSE OF MUSIC 1710 E. 10th St. Je ersonville, IN 812-283-3304

Email: mike@maxwellhoseofmusic.com

Web: maxwellshouseofmusic.com

PLAYGROUND PRODUCTIONS STUDIO

5529 Bonna Avenue Indianapolis, IN. 46219

317-678-7529

Email: info@playgroundindy.com

Web: playgroundindy.com

SOUNDSPACE

1125 E. Brookside Ave Suite B3 Indianapolis, IN. 46202

317-763-0010

Email: team@sndspc.com

Web: sndspc.com

KENTUCKY

EQUIPPED STUDIOS

3439 Buckhorn Dr. Suite #140 Lexington, KY 40515

973-841-0729

Email: robertschulz336@gmail.com

Web: equippedstudios.com

THUNDERSOUND

1720 Kummer Road Franklin, KY. 42134

270-776-6930

Email: info@thundersound.com

Web: Thundersound.com

Services: Rehearsal Space and Gear Rental

LOUISIANA

MUSIC SHED STUDIOS

929 Euterpe St.

New Orleans, LA

504-975-1294

Email: info@musicshedstudios.com

Web: musicshedstudios.com

Basic Rate: hourly rates

SOCKIT STUDIO

10379 Mammoth Ave. Baton Rouge, LA 70814

225-216-0167

Email: info@sockitstudio.com

Web: sockitstudio.com

Basic Rate: call for rates

STUDIO 101 NOLA

3928 Euphrosine St. New Orleans, LA 70125

504-237-5404

Web: studio101nola.com

Basic Rate: hourly rates

MAINE

MY THRILL STUDIO

46 Blueberry Hill Rd. Winterport, ME 04496

207-223-5082

Email: mfrancis@mythrillstudio.com

Web: mythrillstudio.com

MARYLAND

BAND REHEARSAL

239 North Franklintown Rd Baltimore, MD 21223

443-831-2263

Email: bandsrme@yahoo.com

Web: bandrehearsal.net

Services: Full recording services available

Additional location:

1310 Franklin Ave Essex, MD 21221

ORION SOUND STUDIOS

2903 Whittington Ave., Ste. C Baltimore, MD 21230 410-646-7334

Email: chris@orionsound.com

Web: orionsound.com

MASSACHUSETTS

MUSIC MILL REHEARSAL

Jct I-495 and US Route 3 Chelmsford, MA 978-251-7900

Web: musicmillrehearsal.com

Services: Supplying rehearsal studios space and practice rooms serving Massachusetts and New Hampshire.

Call for nearest location

MUSIC STUDIOS OF ARLINGTON CENTER

399 Massachusetts Ave. Arlington, MA 02474 781-646-0243

Email: info@arlingtonstudios.com

Web: arlingtonstudios.com

Basic Rate: please call for info

THE RECORD CO 960 Massachusetts Ave Boston, MA 02118 617-765-0155

Email: booking@therecordco.org

Web: therecordco.org/rehearse

MICHIGAN

DETROIT SCH. OF ROCK & POP MUSIC

1109 S. Washington St. Royal Oak, MI 48067 888-988-ROCK (7625)

Email: info@detroitschoolofrockandpop.com

Web: detroitschoolofrockandpop.com

Basic Rate: please call for info

GROVE STUDIOS

884 Railroad St. Ypsilanti, MI 48197 734-985-0838

Email: info@grovestudios.space

Web: grovestudios.space

Contact: website for booking

Basic Rate: starting at $15 an hour or resident options starting at $149/month

Special Services: Free live recording for your rehearsal sessions via OpenLIVE

MUSIC FACTORY

24536 Gibson Warren, MI 48089

586-619-5100, 586-246-3742

Web: detroitrehearsalspace.com

Basic Rate: Room rates start at $125 per month

NCM STUDIO GROUP 23207 Lahser Rd. Southfield, MI 48033 313-444-8583

Email: ncmstudiogroup@gmail.com

Web: ncmstudiogroup.com

Contact: Larry Ramirez, Derek O’Brien

Basic Rate: call for rates

Services: Full recording, mixing and mastering studio, 2 fully equipped “plug-n-play” production rooms, fully equipped rehearsal room studio with multi-tracking capabilities.

MINNESOTA

TAYLOR SOUND

8000 Powell Rd., Ste. 100 Saint Louis Park, MN 55343 612-208-2864

Email: info@taylor-sound.com

Web: taylor-sound.com

MISSISSIPPI

STUDIO SEVEN Flowood, MS 79-216-2536

Email: booking@studioseven.org

Web: studioseven.org

MISSOURI

SOUNDSTRUCTURE STUDIOS

Kansas City, MO 818-988-3928

Email: space@soundstructure.com

Web: soundstructure.com

Basic Rate: please call for further information

UTOPIA STUDIOS 3957 Park Ave. St. Louis, MO 63110

314-773-3660

Email: info@utopiastl.com

Web: utopiastl.com

Basic rate: $30/hr

NEVADA

MDV ENTERTAINMENT

4131 W. Oquendo Rd., Ste. 2 Las Vegas, NV 89118

702-736-4635

Email: mdventertainment@gmail.com

Web: mdventertainment.com

Basic Rate: please call for info

RED ROCK PRODUCTIONS LV Las Vegas, NV 89135

702-227-1777

Email: redrockproductionslv@gmail.com

Web: facebook.com/RedRockProductionsLV

Basic Rate: please call for info

S.I.R. LAS VEGAS 4545 Cameron Street, Building A Las Vegas, NV 89103

702-382-9147

Email: lvinfo@sir-usa.com

Web: sir-usa.com

Basic Rate: please call for info

STEVE BEYER PRODUCTIONS

133 N. Gibson Rd. Henderson, NV 9014

702-568-9000

Email: booking@sbeyer.com

Web: sbeyer.com

Basic Rate: please call for info

TK REHEARSAL / Las Vegas

702-303-4094

Email: tkprod1@aol.com

Web: TKrehearsal.com

Contact: Kenny Basic Rate: $250-$750/month

NEW JERSEY

REDBANK REHEARSAL (call) 60 English Plaza Red Bank, NJ 07701

732-530-8794

Email: rbrbooking@gmail.com

Web: redbankrehearsal.com

Basic Rate: please call for info

Additional location: 59 Newman Springs Rd. Shrewsbury, NJ 07702

Email: rbrbooking@gmail.com

NEW YORK

BAND SPACES NYC 342 Maujer St. Brooklyn, NY 917-686-9747

Email: spaces@bandspacesnyc.com

Web: bandspacesnyc.com

Basic Rate: please call for info

Additional locations: 353 Ten Eyck St. (at Morgan) Brooklyn, NY 917-686-9747

261 Douglas St. Brooklyn, NY 347-628-9613

71 Schenectady Brooklyn, NY 646-820-6179

CARROLL MUSICAL INSTRUMENT RENTALS, LLC 625 W. 55th St., 6th Fl. New York, NY 10019 212-868-4120

Email: irent@carrollmusic.com

Web: boulevardcarroll.com

Basic Rate: please call for info

Additional location: 1275 Valley Brook Ave. Lyndhurst, NJ 07071 201-262-7740

EMPIRE REHEARSAL STUDIOS 47-32 32nd Place Long Island City, New York 11101 718-706-6669

Email: admin@empire-rehearsal-studios.com

Web: empire-rehearsal-studios.com

Additional location: 2 Prince St. Brooklyn, New York 11201

FUNKADELIC STUDIOS INC. 209 W. 40th St., 5th Fl. New York, NY 10018 212-696-2513

Email: FunkadelicStudios@gmail.com

Web: funkadelicstudios.com

Basic Rate: call or see website

Directory of Rehearsal Studios

MICHIKO REHEARSAL

STUDIOS

Roberto’s Winds

149 W. 46th St., 3rd Fl. New York, NY 10036

212-302-4011

Email: info@michikostudios.com

Web: michikostudios.com

Basic Rate: please call for info

THE MUSIC BUILDING

584 8th Ave. New York, NY 10018

646-205-3299

Web: musicbuilding.com

Basic Rate: Monthly

Services: Monthly music rehearsal studios in New York City’s most historic music facility. Alumni include the likes of Madonna, Billy Idol and The Strokes.

MUSIC MAKERS NY

260 W 36th Street

Basement New York, NY 10011

212-967-6124

Email: musicmakersnewyork@gmail.com

Web: musicmakersny.com

Basic Rate: please call for info

PIRATE STUDOS

156 6th Street

Brooklyn, NY 11215

844-274-7283

Web: Pirate.com

110 Scott Avenue Brooklyn, NY 11237

Box Factory

1519 Decatur St. Ridgewood, Queens, NY 11385

Other Locations:

United Kingdom, Germany, Ireland

RIVINGTON MUSIC REHEARSAL

STUDIOS

188 Stanton St. New York, NY 10002

212-353-0585

Email: book@rivingtonmusic.com

Web: rivingtonmusic.com

Basic Rate: please call for info

SMASH STUDIOS

307 W. 36th St., 18th Fl. New York, NY 10018

212-244-9066

Email: studiomanager@smashny.com

Web: smashstudios.com

Basic Rate: please call for info

NORTH CAROLINA

BANDTASTIC STUDIOS

Southend District

Charlotte, NC

704-491-1213

Email: studios@bandtastic.com

Web: bandtasticstudios.com

Basic Rate: please call for info

SOUNDSPACE @ RABBHIT’S MUSIC

109 McDowell Street Asheville, NC 28801

828-552-3534

Email: info@soundspaceavl.com

Web: soundspaceavl.com

OHIO

REHEARSAL CLEVELAND

5500 Walworth Ave Cleveland, OH

216-600-0188

Web: rehearsecleveland.com

ROCK & ROLL CITY STUDIOS

5500 Walworth Ave. Cleveland, OH 44102

216-600-0188

Email: thestudio@rockcitystudios.com

Web: rockcitystudios.com

Contact: Studio mgr.

Basic Rate: please call for info

OKLAHOMA

79TH STREET SOUND STAGE

1001 N.W. 79th St. Oklahoma City, OK 73114

405-767-9799

Email: 79thstreetsound@gmail.com

Web: okcsoundstage.com

Basic Rate: monthly rates

THE DOWNTOWN MUSIC BOX 535 N. Ann Arbor Oklahoma City, OK 73127 405-232-2099, 877-446-3330

Email: info@downtownmusicbox.com

Web: downtownmusicbox.com

Contact: Tony Curzio

OREGON

BLUE BUTLER STUDIOS

2400 SE Holgate Blvd Portland, OR 971-322-9071

Email: bluebutlerstudios@gmail.com

Web: bluebutlerstudios.com

BONGO FURY 14181 SW Millikan Way Beaverton, OR. 97005 503-970-0799

Email: bongofurystudios@gmail.com

Web: bongofurystudios.com

PUDDLETOWN STUDIOS Portland, OR 971-533-0119

Email: puddletownstudios@gmail.com

Web: puddletownstudios.com

Services: 8 Locations, see website

S.I.R. PORTLAND 1432 SE 34th Ave. Portland, OR 97214 503-282-6583

Email: orinfo@sir-usa.com

Web: sir-usa.com

Basic Rate: please call for info

SUBURBIA STUDIOS 632 S.E. Market St. Portland, OR 97214 503-736-9329

Basic Rate: call for hourly and monthly

PENNSYLVANIA

NESHAMINY STREET STUDIO

707 Neshaminy Street Langhorne, PA 19047 215-378-8964

Email: seedrewdrum@gmail.com

Web: neshaminystreetstudio.com

RED PLANET RECORDING

300 E. Madison Ave. Clifton Heights, PA 19018 484-461-3240

Email: info@redplanetrecording.com

Web: redplanetrecording.com

Services: Recording studio, rehearsal space and live sound company

SURREAL SOUND STUDIOS

2046 Castor Ave., 2nd Fl. Philadelphia, PA 19134 215-288-8863

Web: surrealsoundstudios.com

Contact: Joseph Lekkas

Basic Rate: please call for info

RHODE ISLAND

JAM STAGE 25 Esten Ave. Pawtucket, RI

401-305-3776

Web: jamstage.net

Services: $25.hr, fully equipped

SOUTH CAROLINA

THE SPACE CHARLESTON

2123 Montford Ave. Charleston, SC

Email: practicespacechs@gmail.com

Web: thespacecharleston.com

TENNESSEE

DIAMOND SOUND STUDIOS

241 Venture Circle Nashville, TN 615-244-BAND (2263)

Web: diamondsoundstudios.com

Contact: Josh Diamond

Basic Rate: please call for info

S.I.R. NASHVILLE

1101 Cherry Ave.

Nashville, TN 37203

615-255-4500 Fax 615-255-4511

Email: tninfo@sir-usa.com

Web: sir-usa.com

Basic Rate: please call for info

SOUNDCHECK NASHVILLE

750 Cowan St. Nashville, TN 37207

615-726-1165

Email: information@sounndchecknashville.com

Web: soundchecknashville.com

Basic Rate: please call for info

Additional Locations:

3714 Bluestein Drive, Ste 600 Austin, TX 78721

512-444-0023

Email: info@soundcheckaustion.com

2108 Lou Ellen Lane

Houston, TX 77018

713-290-0335

Email: gus@soundcheckhouston.com

TOY BOX STUDIO, THE 2407 Brasher Ave. Nashville, TN 37206

615-697-9545

Email: lij@thetoyboxstudio.com

Web: thetoyboxstudio.com

Basic Rate: please call for info

TEXAS

FRANCISCO’S STUDIOS

8420 Westglen Dr Houston, TX

713-460-4537

Email: rzapatamts95@gmail.com

Web: franciscostudios.com/houston

Basic Rate: please call for info

PRO REHEARSAL & RECORDING 3150 Iron Ridge St. Dallas, TX 75247

214-634-3433

Email: rooms@prorehearsal.com

Web: prorehearsal.com

Basic Rate: please call for info

RHYTHM ROOM REHEARSAL STUDIOS

1410 Brittmoore Rd., Ste. A Houston, TX 77043

713-465-6122, 218-220-7248

Email: Rhythmroom@att.net

Web: rrrehearsalstudio.com

Basic Rate: please call for info

S.I.R. DALLAS

890 Regal Row Dallas, TX 75247

214-716-0611

Email: txinfo@sir-usa.com

Web: sir-usa.com

Basic Rate: please call for info

SOUNDCHECK

1901 E. 51st St. Austin, TX 78723

512-444-0023

Email: info@soundcheckAustin.com

Web: soundcheckAustin.com

Basic Rate: please call for info

Additional locations:

2108 Lou Ellen Ln. Houston, TX 77018 719-290-0335

Email: info@soundcheckaustin.com

Web: SoundcheckHouston.com

750 Cowan St. Nashville, TN 37207

615-726-1165

Email: information@soundchecknashville.com

Web: SoundCheckNashville.com

UTAH

POSITIVELY 4TH STREET

375 W. 400 S. Salt Lake City, UT 801-359-6108

Email: positive4thst@gmail.com

Web: practicespaceslc.com

Basic Rate: call for rates

ROCKET SKATES RECORDING & REHEARSAL 380 E 1700 S. Salt Lake City, UT 94115

385-275-5495

Email: info@rocketskatesrecording.com

Web: rocketskatesrecording.com

VERMONT

BURLINGTON MUSIC DOJO

416 Pine Street Burlington, VT. 05401

802-540--0321

Email: info@burlingtonmusicdojo.com

Web: burlingtonmusicdojo.com

WASHINGTON

CLOUD STUDIOS 1101 E. Pike St. Basement Seattle, WA 98122 206-209-0977

Email: info@cloudstudiosseattle.com

Web: cloudstudiosseattle.com

Contact: Doug Wilkerson

Rates: Please call for rates

EVOLUTION STUDIOS 1647 133rd PI. N.E. Bellevue, WA 98005 425-641-3626

Email: eden@bandrehearsal.com

Web: bandrehearsal.com

Contact: Eden

Basic Rate: please call for info

ROY’S PLACE REHEARSAL STUDIOS & RECITAL HALL 4926 196th St. S.W. Lynnwood, WA 98036 425-771-7020

Email: info@roysplacestudios.com

Web: roysplacestudios.com

Basic Rate: please call for info

SEATTLE DRUM SCHOOL 12729 Lake City Way NE Seattle, WA 98125 206-364-8815

Email: admin@seattledrumschool.com

Web: seattledrumschool.com

Basic Rate: $35 per half hour and $65 per one hour lesson

Additional location: 1010 S. Bailey St. Seattle, WA 98108

Email: seattledrumgeorgetown@gmail.com 206-763-9700

SEATTLE REHEARSAL 2424 1st Ave. S. Seattle, WA 98134 206-287-1615

Email: jodiopitz@yahoo.com

Web: seattlerehearsal.com

Contact: Jodi

Basic Rate: please call for info

S.I.R. SEATTLE 410 South 96th Street Unit 5 Seattle, WA 98108 206-782-6800

Email: wainfo@sir-usa.com

Web: sir-usa.com

Basic Rate: please call for info

WISCONSIN

MADISON MUSIC FOUNDRY 2818 Index Rd. Fitchburg, WI 53713 608-270-2660

Email: info@madisonmusicfoundry.com

Web: madisonmusicfoundry.com

Basic Rate: call for rates

TBC STUDIOS 10201 W. Appleton Ave. Milwaukee, WI 53225 414-536-7337

Email: info@TBCStudios.com

Web: tbcstudios.com

For hundreds more contacts from Music Connection’s directories (A&R, music attorneys, producers, engineers, video production, video gear rental, vocal coaches, music schools, recording studios, everything indie, social media, promotion, publicity, rehearsal studios, audio gear rental, film/TV, mastering studios, music publishers, college radio and more), visit: musicconnection. com/industry-contacts.

Directory of Gear Rentals

Now expanded for 2023, this is an exclusive list of professional Gear Rental companies. All information below is verified by the listees. To receive thousands of free industry contacts, visit musicconnection.com/industry-contacts.

ALABAMA

ADVANCED AUDIO & VIDEO

Box 2466

Huntsville, AL 35804

256-319-3030

Email: tucker@advancedaudio.tv

Web: advancedaudio.tv

HOLT AV 401 28th St. S. Birmingham, AL 35233

800-322-4658, 205-328-5231

Email: info@holtav.com

Web: holtav.com

ALASKA

ACTION VIDEO PRODUCTIONS

1231 W Northern Lights Blvd, Suite 2 Anchorage, AK 99502 907-360-4276

Email: actvidsta @gmail.com

Web: actvid1.com A

ARIZONA

RIZONA

FAV

Ford Audio Video 920 East Madison Street

Phoenix, AZ 85034

800-654-6744, 602-643-4200

Web: fordav.com

MEE

Music Equipment Rentals

5221 W Surrey Ave. Glendale, AZ

602-955-3750

Email: meerental@gmail.com

Web: meerentals.com

Contact: Sam DeMarco

MP&E

16585 N. 92nd St., Ste. B104

Scottsdale, AZ 85260

480-596-6699 Fax 480-596-0004

Email: phoenix@hdgear.tv

Web: mayovideo.com

SMARTSOURCE RENTALS

1430 W 12th Place

Tempe, AZ 85281

480-829-6336, 844-428-6475

Web: smartsourcerentals.com

ARKANSAS

A/V ARKANSASARKANSAS

819 W. 8th St. Little Rock, AR 72201

501-661-1164

Web: avarkansas.com

LITTLE ROCK ENTERTAINMENT

4701 Marlborough St. Little Rock, AR 72204

501-396-9435

Email: info@littlerockentertainment.com

Web: littlerockentertainment.com

CALIFORNIA/NORTHERN

BLACK CAT SOUND SERVICECALIFORNIA/northern

Grass Valley, CA 95949

530-268-1620, 530-277-3020

Fax 530-268-3267

Email: chrisc@nccn.net

Web: blackcatsoundservice.com

Contact: Chris Christensen

EXPRESS VIDEO

2225 Palou Ave. San Francisco, CA 94124

415-255-9883

Web: rentvideo.com

McCUNE AUDIO/VIDEO/LIGHTING

101 Utah Ave.

S. San Francisco, CA 94080

650-873-1111

Email: info@mccune.com

Web: mccune.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

Stages: no

Additional locations:

222 Ramona Ave., Ste. 1 Monterey, CA 93940

Email: Monterey@mccune.com

831-372-6038

168 E. Liberty Ave. Anaheim, CA 92801

Email: Anaheim@mccune.com

714-578-1900

PRG GEAR Video Equipment Rentals 410 E. Grand Ave. San Francisco, CA 94080

650-837-9480

Web: verrents.com

PRO AUDIO REPAIRS 3150 18th St. 101 San Francisco, CA 94110 415-401-7828

Email: o ice@proavresource.com

Web: proaudiorepairs.com

STUDIO INSTRUMENT RENTALS

1215 Fairfax Ave. San Francisco, CA 94124 415-957-9400 Fax 415-957-9470

Email: sfinfo@sir-usa.com

Web: sir-usa.com

CALIFORNIA/SOUTHERN

nia/southern

4WALL ENTERTAINAMENT 5435 W. San Fernando Rd. Los Angeles, CA 90039

818-252-7481

Web: 4wall.com

ABSOLUTE RENTALS 2633 N. San Fernando Blvd. Burbank, CA 91504

818-842-2828, 310-560-2373

Email: info@absolute.live

Web: absoluterentals.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

Stages: yes

Cartage: yes

ADVANCED MUSICAL ELECTRONICS

8665 Venice Blvd. Los Angeles, CA 90034

310-559-3157

Email: mail@advancedmusical.com

Web: advancedmusical.com

AMETRON PRO-AUDIO/VIDEO

SALES & RENTALS 10919 Vanowen St North Hollywood, CA 91605

323-462-1200

Email: info@ametron.com

Web: ametron.com

AMP SHOP/BASSEXCHANGE

4870 Lankershim Blvd. North Hollywood, CA 91601 818-386-5500

Email: sales@bassexchange.com

Web: facebook.com/bassexchange

ASTRO AUDIO VIDEO LIGHTING

6615 San Fernando Rd. Glendale, CA 91201

818-549-9915

Web: astroavl.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: yes

Stages: yes

Cartage: no

AUDIO DESIGN AND SERVICE, INC.

2625 N. Ontario St. Burbank, CA 91504 818-754-0467

Email: info@audiodesign-service.com

Web: audiodesign-service.com

AUDIO PERCEPTION INC. Los Angeles, CA

818-693-0134

Email: Info@audioperception.com

Web: audioperception.com

Technical Services: Yes

Studio Equip: Yes

Musical Equip: No

Lighting Equip: No

FX Equip: No

Stages Equip: No

Cartage Equip: No

Special Services: Studio design, install, acoustics and wiring. Custom cables patch bays and panels. Audio and DAW tech support, upgrades, and instruction.

AUDIO RENTS INC.

824 N. Hollywood Way Burbank, CA 91505

323-874-1000

Email: info@audiorents.com

Web: audiorents.com

Studio Equip: yes

Musical Equip: no

Lighting: no

FX: yes

Stages: no

Cartage: no

AUDIO REPAIR SPECIALISTS

22520 Ventura Blvd. Woodland Hills, Ca 91364

818-346-3762

Web: arsrepair.com

BERTRAND’S MUSIC

1570 Cherokee Street San Marcos, CA 92078

858-780-1812

Web: bertrandmusic.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

Additional locations:

12222 Poway Rd., Ste. C Poway, CA 92064

858-668-3244

910 E. Highland Ave. San Bernardino, CA 92404

1-800-696-5338

23851 Via Fabricante 202 Mission Viejo, CA 92691

949-455-4163

145 Vista Ave. Pasadena, CA 91107

626-793-4730

2618 W. Burbank Blvd. Burbank, CA 848-9665

1217 N. Hacienda Blvd. La Puente, CA 91744

626-917-9300

1570 Cherokee St. San Marcos, CA 92078

760-744-3669

BRETT ALLEN STUDIO RENTAL

North Hollywood, CA

323-318-0430 323-253-2277

Email: brettallen@earthlink.net

Web: brettallenstudiorental.com

Studio Equip: no

Musical Equip: yes

Lighting: No

FX: no

Stages: no

Cartage: yes

Special Services: The most extensive collection of guitars, amps, e ects and tuners in L.A. Finest in studio guitar tech service, intonation and setup specialist.

BROADCAST STORE, INC.

21822 Lassen Street Unit H Chatsworth, CA 91311

818-998-9100

Email: sales@broadcaststore.com

Web: broadcaststore.com

Note: pickups by appt. only

CAPITAL AUDIO RENTAL Burbank, CA

818-953-9099

Email: info@capitalaudiorental.com

Web: capitalaudiorental.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

CENTER STAGING 3400 Winona Ave Burbank, CA 91504

818-559-4333

Email: adam@centerstaging.com

Web: centerstaging.com

Contact: Adam Hasper

Basic Rate: call for rates

DIGITRON ELECTRONICS, INC.

7801 Telegraph Rd., Ste. D Montebello, CA 90640

323-887-0777

Email: repairs@digitronelectronics.com

Web: digitronelectronics.com

DRUM DOCTORS

520 Commercial St. Glendale, CA 91203

818-244-8123

Email: thedrumdoctors@gmail.com

Web: drumdoctors.com

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: yes

DRUM PARADISE 11803 Vose St. North Hollywood, CA 91605

818-762-7878

Email: info@drumparadise-la.com

Web: drumparadise-la.com/contact

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: yes

FRET HOUSE, THE 309 N. Citrus Ave. Covina, CA 91723 626-339-7020, 800-BET-FRET

Email: email@frethouse.com

Web: frethouse.com

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

FUTARA ELECTRONICS COMPANY 665 S. Manchester Anaheim, CA 92802 714-535-6201

Email: service@futara.com

Web: futara.com

GARDS MUSIC

848 S. Grand Ave. Glendora, CA 91740

626-963-0263

Email: info@gardsmusic.com

Web: stores.musicarts.com/ca/glendora/music-store-2608.

html

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

Additional locations: 350 S. Mountain Ave. Upland, CA 91786 909-946-4789

11837 E. Foothill Blvd Rancho Cucamonga, CA 91730 909-481-1515

GPS ELECTRONICS 13045 Tom White Way, Ste. I Norwalk, CA 90650 562-802-0840 Fax 562-802-0846

Email: gpselectro@yahoo.com

Web: gps-electronics.net/services.html

GROOVEWORKS 5536 Atlantic Ave. Long Beach, CA 90805

(310) 403-5104

Email: info@grooveworksstudios.com

Web: grooveworksstudios.com

Contact: Rodney

GUITAR CONNECTION, THE 633 Rose Ave. Venice, CA 90291

310-396-3009

Email: theguitarconnection633@gmail.com

Web: theguitarconnection.com

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

GUITAR MERCHANT, THE 22807 Saticoy Street West Hills, CA 91304

818-884-5905

Email: theguitarmerchant@yahoo.com

Web: guitarmerchant.com

HOLLYWOOD SOUND SYSTEMS 6908 Tujunga Ave North Hollywood, CA 91605 323-466-2416

Web: hollywoodsound.com

Studio Equip: yes

Musical Equip: no

Lighting: yes

FX: no

Stages: no

Cartage: yes

Directory of Gear Rentals

HOOK THE STUDIO MICROPHONE RENTALS

Los Angeles, CA

818-759-4665

Email: mfrenchik@fastmail.net

Web: thehookstudios.com

Contact: Mike

Studio Equip: yes

Musical Equip: no

Lighting: no

FX: no

Stages: no

Cartage: no

Tech Services: no

INSTRUMENTAL MUSIC INC.

1501 E. Thousand Oaks Blvd.

Thousand Oaks, CA 91360

805- 419-5055

Email: TO@instmusic.com

Web: instrumentalmusic.com

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

JAN-AL CASE RENTALS

3339 Union Pacific Ave. Los Angeles, CA 90023

(800) 735-2625 323-260-7212

Email: arlene@janalcase.com

Web: janalcase.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: yes

Stages: yes

Cartage: yes

KEYBOARD CONCEPTS

5539 Van Nuys Blvd. Sherman Oaks, CA 91401

818-787-0201, 800-22-PIANO

Fax 818-787-1219

Web: keyboardconcepts.com

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

Additional locations:

3704 E. Colorado Blvd. Pasadena, Ca 91107

626-583-9126

3232 Santa Monica Blvd.

Santa Monica, CA 90404

310-586-5588

18285 Euclid Ave.

Fountain Valley, CA 92708

Tustin, CA 92782

714-544-0088

LA FX RECORDING SERVICES

5634 Cleon Ave. North Hollywood, CA 91601

818-769-5239

Email: info@lafx.com

Web: lafx.com

Contact: Dan Vicari

Studio Equip: yes

Musical Equip: no

Lighting: no

FX: no

Stages: no

Cartage: no

L.A. SOUND COMPANY INC.

9001 Canoga Ave. Canoga Park, CA 91304

818-772-9200

Studio Equip: yes

Musical Equip: no

Lighting: no

FX: no

Stages: no

Cartage: no

LON COHEN STUDIO RENTALS

North Hollywood, CA

818-762-1195 Fax 818-762-1196

Email: sales@loncohen.com

Web: loncohen.com

Basic Rate: call for rates

Services: We rent top of the line backline (guitars, basses, amps, keyboards and drums) which can be heard on records from Aerosmith to ZZ Top and can be seen on television from Conan to Lopez. We also o er cartage, temp. controlled storage, and world class guitar, bass and amp repair.

MATES REHEARSAL & CARTAGE

5412 Cleon Ave. North Hollywood, CA 91601

818-779-0009

Email: jamesgiglio@matesinc.com

Web: matesinc.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: yes

McCABE’S GUITAR SHOP

3101 Pico Blvd.

Santa Monica, CA 90405

310-828-4497

Email: mccabes@mccabes.com

Web: mccabes.com

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

*Note: Rentals are limited to instruments

$500 or less. No day rentals

McCUNE AUDIO/VIDEO/LIGHTING

2315 East Locust Court Ontario, CA 91761

909-212-7240

Email: losangeles@shepardes.com

Web: mccune.com

Studio Equip: yes

Musical Equip: no

Lighting: yes

Stages: no

Cartage: no

Additional locations: San Francisco HQ 101 Utah Ave. San Francisco, CA 94080 800-899-7686, 650-873-1111

Email: info@mccune.com

Monterey McCune O ice

222 Ramona Ave., #1 Monterey, CA 93940 800-372-3611, 831-372-6038

Email: monterey@mccune.com

MORNINGSTAR PRODUCTIONS, LLC

41213 Sandalwood Cir. Murrieta, CA 92562 888-409-4810, 951-677-4443

Web: msmp.com

Studio Equip: no

Musical Equip: yes

Lighting: yes

FX: yes

Stages: yes

Cartage: no

MUSICIANS CHOICE STUDIOS

3820 Hoke Ave Culver City, CA 90232

310-836-8998

Web: musicianschoicestudios.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: no

Stages: no

Cartage: yes

MUSIC MAKER RETAIL STORE

5701 E. Santa Ana Canyon Rd., Ste. J Anaheim, CA 92807

714-974-0830

Email: mminfo@musicmakerinc.com

Web: musicmakerinc.com

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

NIGHTINGALE STUDIOS

156 W. Providencia Ave. Burbank, CA 91502

818-562-6660

Email: nightingalestudiobooking@gmail.com

Web: nightingalestudios.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

NORTHSTAR MOVING

19401 Business Center Dr. Northridge, CA 91324 800-275-7767

Email: info@Northstarmoving.com

Web: northstarmoving.com

Cartage: yes

PACIFIC COAST ENTERTAINMENT

7601 Woodwind Drive Huntington Beach, CA 92647

714-841-6455, 619-331-3560, 866-335-4723

Email: info@gopce.com

Web: gopce.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: yes

Stages: yes

Cartage: yes

PETE’S MUSIC AND GUITAR SHOP

28780 Old Town Front St. #A-4

Temecula, CA 951-308-1688

Email: petesmusic@yahoo.com

Web: petesmusic.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

Additional locations:

29800 Bradley Rd., #107 Manifee, CA 951-301-8088

PRO PIANO Los Angeles, CA

warehouse only (not open to the public)

917-715-2860, 800-367-7777

Email: ricard@propiano.com

Web: propiano.com

Studio Equip: no

Musical Equip: yes

Lighting: no

Cartage: yes

SAN DIEGO SOUND AND MUSIC REPAIR

6555 El Cajon Blvd. San Diego, CA 92115-2705

619-582-8511

Email: audiodoctor.sd@gmail.com

Web: sdsmr.com

SANTA MONICA MUSIC CENTER

1901 Santa Monica Blvd. Santa Monica, CA 90404

310-453-1928

Email: studio@santamonicamusic.com

Web: santamonicamusic.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

Additional location:

Culver City Music Center

10862 Washington Blvd. Culver City, CA 90232

310-202-6874

SINGER MUSIC

1217 N. Hacienda Blvd. La Puente, CA 91744

626-917-9300

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no

SMARTSOURCE RENTALS

4928 W. Rosecrans Ave. Hawthorne, CA 90250

310-417-3544, 844-333-6440

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

Additional location:

Los Alamitos, Beverly Hills, San Diego, Culver City, Las Vegas, Tempe, South San Francisco

SOCAL PRODUCTIONS 9330 Laurel Canyon Blvd. Arleta, CA 91331

818-565-3333

Email: rentals@socalps.com

Web: socalps.com

Studio Equip: Yes

Musical Equipment: No

Lighting: No

FX: No

Stages: No

Video: Yes

Cartage: No

SOUND CHECK AUDIO Los Angeles, CA 90036

323-939-7777

Email: info@soundcheckaudio.com

Web: soundcheckaudio.com

Studio Equip: no

Musical Equip: yes

Lighting: yes

FX: yes

Stages: no

Cartage: yes

*By appointment only

SOUND-TECH STUDIO 24300 Country Rd. Moreno Valley, CA 92557 951-243-6666

Email: soundtechstudio@yahoo.com

Web: soundtechmusic.square.site

Contact: Allan Johnson

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: yes

Stages: no

Cartage: no

SST 17328 Ventura Blvd. #1 Encino, CA 91316

818-907-7780

Email: SST.shop@yahoo.com

Web: sstsynths.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: yes

Stages: no

Cartage: yes

STUDIO 116 CORP.

13136 Saticoy St., Unit G North Hollywood, CA 91605

323-274-0220

Web: wstudio116event.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: no

Stages: no

Cartage: no

Services: We are an Event production company. We rent sound, lighting & projection for all kinds of events.

STUDIO INSTRUMENT RENTALS

6465 Sunset Blvd. Los Angeles, CA 90028

323-957-5460

Email: lainfo@sir-usa.com

Web: sir-usa.com

Contact: Fred Rose

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: yes

Stages: yes

Cartage: yes

Additional locations: 4620 Santa Fe St. San Diego, CA 92109

858-274-1384 Fax 858-274-1906

Email: sdinfo@sir-usa.com

Web: sir-usa.com

1215 Fairfax Ave. San Francisco, CA 94124 415-957-9400

Email: sfinfo@sir-usa.com

Web: sir-usa.com

STUDIO WEST OF SAN DIEGO 11021 Via Frontera, Ste. A San Diego, CA 92127

858-592-9497

Web: studiowest.com

Studio Equip: yes

Musical Equip: no

Lighting: no

FX: yes

Stages: no

Cartage: yes

Tech services: yes

THIRD ENCORE 10917 Vanowen St. North Hollywood, CA 91605 818-753-0148, 818-613-7518

Email: john@3rdencore.com

Web: 3rdencore.com

Contact: John Hoik

Rooms: six air-conditioned studios from 900-2,400sq. ft., each including a private production o ice and full monitoring P.A. Full-service, professional facility. Quiet, safe, clean and very private. Great parking. Daily, weekly or monthly lockout rates available.

Services: Full instrument and backline rental, featuring large selection of all major brands including Mesa Boogie, Yamaha, DW, Roland, Tama, Orange, Vox, Sabian, Zildjian, Ampeg, Korg and Marshall gear. Private storage lockers, cartage services.

Equipment: All rooms come with Adamson / Lab Gruppen monitoring system. Digico, Avid, Yamaha, Midas consoles available.

TONY PINNICK AUDIO

P.O. Box 18382 Encino, CA 91416 818-815-1264

Email: tonypinnickaudio@gmail.com

Web: tonypinnickaudio.com

Technical Services: Yes

Studio Equip: Yes

FX Equip: Yes

Special Services: Studio Recording Equipment Rentals. Over 20 years professional audio experience. Reputation for exacting attention to detail with a specially handpicked assortment of classic vintage and modern Tube Microphones, Condenser and Ribbon Microphones, Mic Pre-Amps, Compressors, Limiters, EQ’s and much more!

TREW AUDIO 2243 N. Hollywood Way Burbank, CA 91505 323-876-7525

Email: info@trewaudio.com

Web: trewaudio.com

VALLEY SOUND MUSIC TECHNOLOGIES 5527 Cahuenga Blvd. North Hollywood, CA 91601 818-755-2801

Email: stretch@valleysoundla.com, zita@valleysoundla.com Web: valleysoundla.com

VCI EVENT TECHNOLOGY 25172 Arctic Ocean Dr. #102 Lake Forest, CA 92630 714-772-2002

Email: info@vcievents.com

Web: vcievents.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: no

Stages: yes

Cartage: no

VIDEO RESOURCES 1809 E. Dyer Rd., Ste. 307 Santa Ana, CA 92705 949-261-7266

Email: dane@videoresources.com

Web: videoresources.com

Studio Equip: yes

Musical Equip: no

Lighting: yes

FX: no

Stages: yes

Cartage: no

VIRTUAL SOUNDS TECHNOLOGY 11901 Goldring Road, Unit C Arcadia, CA 91006 626-239-0044

Email: sales@vstservice.com

Web: vstservice.com

WEST L.A. STUDIO SERVICES

2033 Pontius Ave. Los Angeles, CA 90025

310-478-7917

Email: westlastudios@me.com

Web: westlastudios.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: no COLORADO

CEAVCO AUDIO VISUAL

4860 Ward Rd Wheat Ridge, CO 80033

303-539-3500

Email: solutions@ceavco.com

Web: ceavco.com

FAV Ford Audio-Video

4230 Carson St. Denver, CO 80239

800-654-6744, 720-374-2345

Email: sales@fordav.com

Web: fordav.com

IMAGE AUDIOVISUALS

2130 S. Dahlia St. Denver, CO 80222

303-758-1818

Email: sales@imageav.com

Web: imageav.com

MP&E

2931 S.Tejon St.,Suite B Englewood, CO 80110

303-789-1010

Email: denver@hdgear.tv

Web: hdgear.tv

SHAPED MUSIC, INC.

1760 LaPorte Ave., Ste. 3 Fort Collins, CO 805241

970-221-2315

Email: randyc@shapedmusic.com

Web: shapedmusic.com

Services: Shaped Music, Inc. is your sound, lighting, and backline production company serving all of Colorado including Denver, Boulder, Colorado Springs, Fort Collins, Grand Junction, Telluride, Aspen, Vail, Steamboat Springs, Keystone, Copper Mountain, and beyond. We also serve all of Wyoming, Nebraska, Utah, and New Mexico.

*Note: National touring & festivals also available. Pro

Audio sales.

SPECTRUM AUDIO VISUAL

351 W. 45th Ave.

800-909-9792, 303-223-1828

Email: info@spectrumav.com

Web: spectrumav.com

S.S.S. PRODUCTIONS

11165 Clarkson St. Northglenn, CO 80233

303-875-5678

Email: events@sssproductions.net

Web: sssproductions.netNNECTICUT

CONNECTICUT

M COMMUNICATIONS

48 Union St. Stamford, CT 06906

203-348-2100

Email: sales@mcommunications.com

Web: mcommunications.com

DELAWARE

MIDDLETOWN MUSIC

4380 Summit Bridge Rd.

Middletown, DE 19709

302-376-7600

Email: sales@middletownmusic.com

Web: stores.musicarts.com/middletown-de

FLORIDA

BUDGET VIDEO RENTALS

1825 N.E. 149th St.

Miami, FL 33181

800-772-1111, 305-945-8888

Email: rentals@budgetvideo.com

Web: budgetvideo.com

CP COMMUNICATIONS

9965 18th Street N, Suite 2&3 St. Petersburg, FL 33716

800-762-4254

Web: cpcomms.com

GREAT SOUTHERN STUDIOS, THE

15221 N.E. 21st Ave.

Miami Beach, FL 33162

305-944-2464

Email: info@gssmiami.com

Web: greatsouthernstudios.com

MIDTOWN VIDEO

4824 S.W. 74th Ct. Miami, FL 33155

305-669-1117

Email: info@midtownvideo.com

Web: midtownvideo.com, facebook.com/midtownvideo

PR GEAR Video Equipment Rentals

8063 Beacon Lake Dr. Orlando, FL 32809

800-794-1407, 407-582-0350

Email: info@verrents.com

Web: verrents.com

Additional location:

3300 Davie Rd, Suite 101 Davie, FL. 33314

954-723-2828

PURE ENERGY ENTERTAINMENT

4650 Coral Ridge Drive Coral Springs, FL 33076

954-782-6989

Email: info@PureEnergy.net

Web: PureEnergy.net

SMARTSOURCE RENTALS

9401 Southridge Park Ct., Ste. 600 Orlando, FL 32819

844-333-6440, 407-582-9807

Email: info@smartsourcerentals.com

Web: thesmartsource.com/locations/orlando

STUDIO INSTRUMENT RENTALS

12200 N.E. 14th Ave. Miami, FL 33161 305-891-3350 Fax 305-891-3550

Email: miinfo@sir-usa.com

Web: sir-usa.com

TAI AUDIO 5828 Old Winter Garden Rd. Orlando, FL 32835 407-296-9959

Email: info@taiaudio.com

Web: taiaudio.com

WALL OF SOUND STUDIOS

225 Carswell Ave. Daytona Beach, FL 949-285-1774

Email: booking@wallofsoundstudios.com

Web: wallofsoundstudios.com

Additional location: Las Vegas 702-371-0811

GEORGIA

ATLANTA SOUND AND LIGHTINGGEORGIA

1400 Vijay Dr. Atlanta, GA 770-455-7695

Email: sales@atlantasoundandlight.com

Web: atlantasoundandlight.com

CONCERT AUDIO Atlanta, GA 770-434-2437

Email: andrew@concertaudio.com

Web: concertaudio.com

LIGHTNIN’S

2555 University Pkwy. Lawrenceville, GA 30043 770-963-1234

Web: lightnin.net

Additional location:

26-01 Ulmer Street College Point, NY 11354

ONE EVENT SERVICES 6779 Crescent Dr. Norcross, GA 30071 800-967-2419, 770-457-0966

Email: info@onservices.com

Web: onservices.com

PC&E ATLANTA Production Consultants & Equipment 2235 DeFoor Hills Rd. Atlanta, GA 30318 404-609-9001

Email: marketing@pce-atlanta.com

Web: pce-atlanta.com

PRG GEAR

Video Equipment Rentals

1389 Chattahoochee Ave. Atlanta, GA 30318 800-794-1407, 770-300-0401

Email: info@verrents.com

Web: prggear.com/location/atlanta

SMARTSOURCE 1850 MacArthur Blvd., N.W., Ste. A Atlanta, GA 30318 404-352-0900, 844-333-6440

Email: info@smartsourcerentals.com

Web: thesmartsource.com/locations/atlanta

HAWAII

AUDIO VISUAL HAWAIIHAWAII

74-5489 Loloku St., #8

Kailua-Kona, HI 96740 808-331-8403

Email: Hawaiisales@AVServs.com

Web: audiovisualhawaii.com

*Services all Islands

HAWAII SOUND & VISION

P.O. Box 2267

Kailua-Kona, HI 96745 808-982-8330

Email: aloha@hawaiisav.com

Web: hawaiisav.com

MYSTICAL SOUNDS PRODUCTIONS

P.O. Box 22996

Honolulu, HI 96823 808-222-8833

Email: mspdjs@gmail.com

Web: mysticalsoundsproduction.com

ILLINOIS

AV CHICAGOILLINOIS

619 W. Taylor St. Chicago, IL 60607

312-229-4100, 888-709-9599

Web: avchicago.com

CHICAGO HD CORP. 6710 N. Kostner Ave. Lincolnwood, IL 60712

312-951-9610

Web: chicagohd.com

DANCE ALL NIGHT! INC.

1340 Woodland Ln. Riverwoods, IL 60015

877-940-9788, 847-940-9788

Email: bruce@danceallnight.com

Web: danceallnight.com

Studio Equip: no

Musical Equip: no

Lighting: yes and Video Projection

FX: yes

Stages: no

Cartage: yes

Tech services: yes

MARQUEE EVENT RENTALS

9480 W 55th Street

Carol Stream, IL 60188

630-871-9999

Web: marqueerents.com

MCS Midwest Conference Service

332 Commerce Dr. Roselle, IL 60172

630-351-3976

Email: info@mcsexpo.com

Web: mcsexpo.com

NOVATOO AUDIO VISUAL

120 Easy St., Unit 3 Carol Stream, IL 60188

630-871-2222

Email: novatooinfo@sbcglobal.net

Web: novatoo.com

Contact: Tim Novak, rental sales Mgr.

SMARTSOURCE RENTALS

2025 Glen Ellyn Rd. Glendale Heights, IL 60139

630-588-0200, 844-333-6440

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

STUDIO INSTRUMENT RENTAL

2835 N. Kedzie Ave. Chicago, IL 60618

773-478-8500, 773-478-8555

Email: chinfo@sir-usa.com

Web: sir-usa.com

SWING CITY MUSIC

1811 Vandalla Collinsville, IL 62234

618-345-6700

Email: swingcitymusic@ameritech.net

Web: swingcitymusic.com

Additional location:

244 S. Buchanan Edwardsville, IL 62025-2109

618-656-5656

VER

Video Equipment Rentals

8401 W 47th St., Suite D McCook, IL 60525 800-794-1407, 847-671-4966

Email: info@verrents.com Web: verrents.com

ZACUTO 401 W. Ontario, Ste. 100 Chicago, IL 60610 888-294-FILM (3456), 312-863-FILM (3456)

Email: sales@zacuto.com Web: zacuto.com

INDIANA

STUDIO ONE INC

25833 SR. 2 South Bend, IN 46619 800-888-9700, 574-232-9084 Fax 574-232-2220

Email: sales@studioonesb.com

Web: studioonesb.com

IOWA

CONFERENCE TECHNOLOGIES, INC.IOWA 820 N. 15th Avenue, Suite 102 Hiawatha, IA 52233

319-363-8144, 877-486-1867

Email: info@conferencetech.com

Web: conferencetech.com

Additional location:

333 SW 9th St., Suite N Des Moines, IA 50309 515-280-9800

RIEMAN MUSIC 6501 Douglas Ave. Urbandale, IA 50322 515-278-4685 800-372-6051

Email: websales@riemans.com

Web: riemanmusic.com

Contact: J.C. Wilson

Additional locations:

Des Moines - East

800-372-6051, 515-262-0365

Ames, IA 50010

800-234-4203, 515-233-4203

Mason City, IA 50401

800-397-4606, 641-423-6563

Fort Dodge

800-362-1627, 515-576-2189

Creston

800-947-9139, 641-782-5121

KANSAS

LIGHTS ON KANSAS CITY KANSAS

1720 Merriam Ln. Kansas City, KS 66106

800-229-5876, 913-362-6940

Fax 913-362-6958

Email: kansascity@lightson.com

Web: lightson.com

LOUISIANA

louisiana THE PINNACLE GROUP

Lafayette, LA

800-524-7462, 337-593-1149

Web: pingroup.com

Additional locations:

Baton Rouge, LA

225-767-1148

Lake Charles

337-477-7469

Lafayette 337-767-1149

MAINE

AV TECHNIK LLC.MAINE 176 Innovation Way

Scarborough, ME 04074

207-699-0115

Email: info@avtechnik.com

Web: avtechnik.com

STARBIRD MUSIC 500 Forest Ave.

Portland, ME 04101

207-775-2733, 207-828-0888

Email: pianos@starbirdmusic.com

Web: starbirdmusic.com

MARYLAND

4WALL ENTERTAINAMENTMARYLAND

9525 Berger Rd, Ste. G Columbia, MD 21046

410-242-3322

Web: 4wall.com

CPR MULTIMEDIA SOLUTIONS 7812 Cessna Ave. Gaithersburg, MD 20879

301-590-9400

Email: sales@cprmms.com

Web: cprmms.com

DSL SOUND, INC. 67 W. Baltimore St., Ste. 101 Hagerstown, MD 21740

301-797-1070

Email: info@dslsound.net

Web: dslsound.net

Additional locations:

Baltimore, MD 410-522-2061

Delware, MD Eastern Shore, and Philadelphia 302-697-7515

Harrisburg, PA 717-526-4416

PROGEAR

Video Equipment Rentals

9590 Lynn Bu Court Suite 16 Laurel, MD 20723

800-794-1407, 301-731-9560

Web: progear.com

MASSACHUSETTS

ALL TECH SOUND & PRODUCTION SERVICES, INCASS

13 Robbie Rd. Avon, MA 02322

508-583-4000 Fax 508-583-1378

Email: info@alltechsound.com

Web: alltechsound.com

Services: Provides sound, backline, lighting and stages for concert and corporate events

KLONDIKE SOUND COMPANY

37 Silvio Conte Dr. Greenfield, MA 01301

413-772-2900 Fax 413-772-2199

Email: info@klondikesound.com

Web: klondikesound.com

Directory of Gear Rentals

RULE BOSTON CAMERA

320 Nevada Street, 1st Floor

Newton, MA 02460

800-785-3266, 617-277-2200

Fax 617-277-6800

Email: answers@rule.com

Web: rule.com

TALAMAS BROADCAST EQUIPMENT

280 Bear Hill Road

Waltham, MA 02451

800-941-2446 617-928-0788

Email: info@talamas.com

Web: talamas.com

ZASCO PRODUCTIONS, LLC

340 McKinstry Ave., Ste. 400 Chicopee, MA 01013

800-827-6616, 413-534-6677

Email: info@zasco.com

Web: zasco.com

MICHIGAN

IN TUNE RENTALS, LLC MICHIGAN

8919 Middlebelt Road Livonia, MI 48150

248-735-0000

Email: info@intunerentals.com

Web: intunerentals.com

RUSSELL VIDEO

4528 Concourse Dr. Ann Arbor, MI 48108

734-213-0500

Email: inbox@russellvideo.com

Web: russellvideo.com

MINNESOTA

ALPHA AUDIO & VIDEOMINNESOTA

7690 Golden Trianagle Dr.

Eden Prairie, MN 55344

952-896-9898, 800-388-0008

Email: info@alphavideo.com

Web: alphavideo.com

EMI RENTALS

4719 42nd Ave., N. Robbinsdale, MN 55422

800-832-5174, 612-789-2496

Email: info@EMIaudio.com

Web: emiaudio.com

TOTAL MUSIC SERVICES 777 Harding Street, NE Suite 100 Minneapolis, MN 55413

651-644-7102

Fax: 651-644-8240

Email: info@totalmusic.com

Web: totalmusic.com

Contact: Billie Kahle

Studio Equip: no

Musical Equip: yes

Lighting: no

FX: no

Stages: no

Cartage: yes

Tech services: yes

MISSOURI

AMEREVENT St. Louis, MO

314-255-2882

Email: info@theeventline.com

Web: amerevent.com

Additional locations:

Metro-East

618-307-0030

FAZIOS 15440 Manchester Rd. Ellisville, MO 63011

636-227-3573

Email: HelloSTL@erniewilliamson.com

Web: faziosmusic.com

SMARTSOURCE RENTALS

15400 South Outer Forty

Suite 203

Chesterfield, MO 63017

800-285-7794, 844-428-6475

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

NEBRASKA

MIDWEST SOUND & LIGHTING, INC. NEBRASKA

4318 S. 50th St.

Omaha, NE 68117

800-981-9521, 402-731-6268

Email: info@mwsound.com

Web: mwsound.com

Additional location:

2322 ‘O’ St.

Lincoln, NE 68510

800-617-4298, 402-474-4918

NEVADA

4WALL ENTERTAINAMENTNEVADA

3165 W. Sunset Rd., Ste. 100

Las Vegas, NV 89118

702-263-3858

Web: 4wall.com

AV VEGAS PRODUCTIONS

4780 Arville St.

Las Vegas, NV 89103

702-878-5050

Email: sales@avvegas.com

Web: avvegas.com

FAV Ford Audio Video

6255 South Sandhill Rd., Ste. 100

Las Vegas, NV 89120

800-654-6744, 702-369-9965

Web: fordav.com

LEVY PRODUCTION GROUP

5905 S. Decatur Blvd., Ste. 1 Las Vegas, NV 89118

702-623-7932

Email: mike@levyproductiongroup.com

Web: levyproductiongroup.com

PROGEAR

Video Equipment Rentals

4155 West Russell Rd, Suite E-H

Las Vegas, NV 89118

800-794-1407 702-895-9777

Web: prggear.com

SMARTSOURCE RENTALS

6425 South Jones Blvd, Suite 103 Las Vegas, NV 89118

702-791-2500, 844-333-6440

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

STUDIO INSTRUMENT RENTALS, INC.

4545 Cameron St., Bldg. A Las Vegas, NV 89103 702-382-9147

Email: ivinfo@sir-usa.com

Web: sir-usa.com

NEW JERSEY

CARROLL MUSICAL INSTRUMENT RENTALS, LLC NSEY

1275 Valley Brook Avenue Lyndhurst, NJ 07071 201-262-7740

Web: boulevardcarroll.com

Additional locations:

625 W. 55th St., 6th Fl. New York, NY 10019

212-868-4120

Email: irent@carrollmusic.com

SMARTSOURCE RENTALS

490 S. Dean St. Englewood, NJ 07631

201-568-6555, 844-333-6440

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

WESTFIELD AUDIO VISUAL

2470 Plainfield Ave. Unit F Scotch Plains, NJ 07076

908-838-9090, 212-776-3300

Email: info@westfieldav.com

Web: westfieldav.com

NEW MEXICO

AV SYSTEMS, INC. NEW MEXICO

1000 Cordova Rd., Ste. 303 Santa Fe, NM 87505

505-982-6300

Email: avrental@avsystems.com

Web: avsystems.com

ELLIOTT LOCATION EQUIPMENT

Mailing Addres: 3120 Blake Rd.

Albuquerque, NM 87105

505-328-0909

Web: elliottlocationequipment.com

FIELD & FRAME

107 Tulane S.E. Albuquerque, NM 87106 505-265-5678

Email: fieldandframe@yahoo.com

Web: fieldandframe.com

NEW YORK

CARROLL MUSICAL INSTRUMENT RENTALS, LLC N 625 W. 55th St., 6th Fl. New York, NY 10019

212-868-4120

Email: irent@boulevardcarroll.com

Web: boulevardcarroll.com

Additional location: 1275 Valley Brook Avenue Lyndhurst, NJ 07071 201-262-7740

E C PROFESSIONAL VIDEO 253 W. 51st St. New York, NY 10019

212-333-5570

Email: info@ecprovideo.com

Web: ecprostore.com

FUNKADELIC STUDIOS, INC.

209 W. 40th St., 5th Fl. New York, NY 10018

212-696-2513

Email: funkadelicstudios@gmail.com

Web: funkadelicstudios.com

HELLO WORLD 118 W. 22nd St., 2nd Fl. New York, NY 10011

212-243-8800

Email: rentals@hwc.tv Web: hwc.tv

INTERACTIVE VISION SOLUTIONS

Audio Visual Equipment Rental in NY.C.

248 W. 35th St. New York, NY 10001

212-729-4305

Email: info@audiovideonyc.com

Web: audiovideonyc.com

KEYBOARD INSTRUMENT RENTALS

276 Meserole St. Brooklyn, NY 11206

212-245-0820

Email: keyboardrentals@aol.com

Web: keyboardrentalsnyc.com

Contact: Danny Brill

LIMAN VIDEO RENTAL

330 W. 38th St. New York, NY 10018

212-594-0086

Email: info@lvrusa.com

Web: lvrusa.com

Contact: Ralph, Ian, Michael

LLOYD SOUND, INC.

173 Cortland Rd Dryden, NY 13053

607-753-1586, 607-423-1251

Email: lloyllo5@outlook.com

Web: lloydsound.com

Contact: John Lloyd

LONG ISLAND VIDEO ENTERPRISES

110 Pratt Oval Glen Cove, NY 11542

516-759-5483

Email: info@longislandvideo.com

Web: longislandvideo.com

MINERVA AUDIO VISUAL, INC.

200 S. Servie Rd. LL06 Roslyn Heights, NY 11577 718-366-0600

Email: info@minervaav.com

Web: minervaav.com

Contact: Chris Roach

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: yes

Stages: yes

Cartage: yes

Tech services: yes

PRIMALUX VIDEO PRODUCTION, INC. 555 8th Ave., Ste. 1002 New York, NY 10018

212-206-1402

Web: primalux.com

PRODUCTION CENTRAL 873 Broadway, Ste. 205 New York, NY 10003

212-631-0435

Email: info@prodcentral.com

Web: prodcentral.com

Contact: David

RSA AUDIO SERVICES 18 Fairlea Ct Sag Harbor, NY 11963

631-242-8008 Fax 631-242-8056

Email: rsaaudio@aol.com

Web: rsaaudio.net

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: yes

Stages: no

Cartage: no

SMARTSOURCE RENTALS

50 Engineers Road Hauppauge, NY 11788

631-273-8888, 844-333-6440

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

STUDIO INSTRUMENT RENTALS (SIR)

475 10th Ave., 2nd Fl. New York NY 10018

212-627-4900 Fax 212-627-7079

Email: nyinfo@sir-usa.com

Web: sirny.com

TIMES SQUARE 5 Holt Drive Stony Point, NY 10980

201-373-2700

Web: tsstage.com

NORTH CAROLINA

AMERICAN AV 4700 Emperor Blvd.

Durham, NC 27703

919-941-8112 Fax 919-941-9109

Email: sales@americanav.com

Web: aavevents.com

Contact: Erik Hauge

Additional locations:

151 Kitty Hawk Dr. Morrisville, NC 27560 919-361-1151 Fax 919-405-2380

8005 Haute Ct. Springfield, VA 22150 703-573-6910

BACKLINEPRO

Charlotte, NC

704-400-6875 Fax 704-366-7011

Email: backlinepro@bellsouth.net

Web: backlinepro.com

Contact: Brent Moore

CAROLINA BACKLINE 6012 Old Pineville Rd, Suite C Charlotte, NC 28217 844-422-2554

Email: rental@carolinabackline.com

Web: facebook.com/carolinabackline

NORMAN SOUND & PRODUCTION

912 Central Ave. Charlotte, NC 28204

704-334-1601

Email: nsp@normansound.com

Web: normansound.com

NORTH DAKOTA north dakota

HB SOUND & LIGHTS

101 N. 8th St. Grand Forks, ND 58203

701-775-1150

Web: hbsound.com

RENTALL 3201 32nd St. S. Fargo, ND 58104

701-893-1900

Email: FARGO32@rentallusa.net

Web: rentallusa.net

Additional locations: 1356 Airport Road Bismarck, ND 58504

701-250-1123

Email: Bismarck@rentallusa.net

1002 25th St., S Fargo, ND 58103

701-234-1900

Email: Fargo25@rentallusa.net

OHIO

COLORTONE 5401 Naiman Pkwy. Cleveland, OH 44139 440-914-9500

Web: csrav.com

COMMUNICATIONS CONCEPTS, INC. 508 Millstone Drive Beavercreek, OH 45434

937-426-8600

Email: info@ccistudioinstrument.com

Web: communication-concepts.com

MARK STUCKER PRODUCTIONS

Cincinnati, OH

513-325-4943

Email: mark@markstucker.com

Web: markstucker.com

WOODSY’S 135 S. Water St.

Kent, OH 44240

330-673-1525

Email: woodsys@woodsys.com

Web: woodsys.com

OKLAHOMA

FAV Ford Audio-Video

4800 W. Interstate 40 Oklahoma City, OK 73128

800-654-6744, 405-946-9966

Email: sales@fordav.com

Web: fordav.com

Additional location:

8349 E. 51st St.

Tulsa, OK 74145

918-664-2420

OREGON

CINEMAGIC STUDIOS

20726NE Interlachen Lane Fairview, OR 97024

503-233-2141

Email: joe@cinemagicstudios.com

Web: cinemagicstudios.com

Contact: Joe Welsh

PICTURE THIS

2223 N.E. Oregon St. Portland, OR 97232

503-235-3456

Fax 503-236-2302

Email: info@pixthis.com

Web: pixthis.com

STUDIO INSTRUMENT

1432 SE 34th Ave. Portland, OR 97214

503-282-5583, Fax 503-282-5584

Email: orinfo@sir-usa.com

Web: sir-usa.com

TIDEPOOL AUDIO

Portland, OR

503-963-9019

Email: sales@tidepoolaudio.com

Web: tidepoolaudio.com

PENNSYLVANIA

ALL SOUND PRO

1031 Kunkle Dr. Chambersburg, PA 17202

Bob: 717-496-1645

Jacob: 717-357-8625

Email: allsoundpro@gmail.com,

Web: allsoundpro.com

Contact: Bob Ranalli

Studio Equip: yes

Musical Equip: yes

Lighting: yes

Stages: yes

Cartage: yes-locally

AMP AUDIO VISUAL

5201 Bella Vista Road

Drexel Hill, PA 19026

855-292-2100

Email: hello@amp-events.com

Web: amp-events.com

AUDIO VISUAL RENTAL SERVICES

4410 Belgrade Street Philadelphia, PA

800-695-5943

Web: audiovisualrenting.com

GOURMET P A SYSTEMS

Cranberry Industrial Park

3016 Unionville Rd.

Cranberry Township, PA 16066

724-776-2766

Web: gourmetpa.com

KEYSTONE PICTURES, INC.

1094 New Dehaven St Suite 101

Conshohocken, PA 19428

800-659-5821

Email: scheduling@keystonepictures.tv

Web: keystonepictures.tv

VIDEOSMITH INC.

1516 North 5th Street, Suite 119 Philadelphia, PA 19123

215-238-5070, 215-327-3941

Email: info@videosmith.com

Web: videosmith.comDE I

RHODE ISLAND

SLAND

AMBIENT, INC.

75 New England Way

Warwick, RI 02886

401-941-8500 Fax 401-732-5368

Email: info@ambientsound.com

Web: ambientsound.com

SOUTH CAROLINA

arolina

NEW PRO VIDEO

3546 Admiral Dr. North Charleston, SC 29405

800-462-8895, 843-554-7811

Web: newprovideo.com

SHOW SERVICES INC.

365 Red Cedar St., Ste. 201

Blu ton, SC 29910

843-815-3731

Email: alex@showservicesinc.com

Web: showservicesinc.com

SOUTH DAKOTA

OUTSOUND PRODUCTIONS

408 S Cli Avenue Sioux Falls, SD 57103

605-212-4603

Email: info@outsoundproductions.com

Web: outsoundproductions.com

TENNESSEE

4WALL ENTERTAINAMENT

820 Cowan St. Nashville, TN 37207

615-453-2332

Web: 4wall.com

ALLPRO ELECTRONICS

606 Fessiers LN #103

Nashville, TN 37210

615-310-2379

Email: sales@allproelectronics.com

Web: allproelectronics.com

ALLSTAR AUDIO SYSTEMS, INC.

750 Cowan Street Nashville, TN 615-804-7800

Email: mike@allstaraudio.com

Web: allstaraudio.com, facebook.com/AllstarAudio

BLACKBIRD AUDIO RENTALS

2805 Bransford Ave. Nashville, TN 37204

615-279-7368

Email: blackbirdaudiorentals@gmail.com

Web: blackbirdaudiorentals.com

BLEVINS AUDIO

P.O. Box 100903 Nashville, TN 37224 615-202-8669

Email: themciguy@aol.com

Web: blevinsaudio.net

Contact: Steve Sadler

BRANTLEY SOUND ASSOCIATES INC.

115 Duluth Ave. Nashville, TN 37209

615-256-6260

Email: bbrantley@brantleysound.com

Web: brantleysound.com

Studio Equip: yes

Musical Equip: yes

Lighting: no

FX: no

Stages: yes

Cartage: no

DR&A, INC.

3019 Ambrose Avenue Nashville, TN 372107

615-256-6200

Email: drice@griptruck.com

Web: griptruck.com

Contact: Doug Rice, Founder/CEO

GAULT & ASSOCIATES, INC.

3545 Probasco Pl. Chattanooga, TN 37411 800-424-2858, 423-756-6128 Knoxville: 800-424-2858

Email: avfred@aol.com

Web: gaultav.com

PROGEAR

Video Equipment Rentals

533 New Paul Rd., Suite 100 La Vergne, TN 37086

800-794-1407, 615-280-2255

Web: prggear.com

RENT A CAMERA

2605 Westwood Drive Nashville, TN 37204

855-588-2882

Email: info@rentacamera.com

Web: rentacamera.com

SOUNDCHECK 750 Cowan St. Nashville, TN 37207

615-726-1165 Fax 615-256-6045

Email: information@sounndchecknashville.com

Web: soundchecknashville.com

Basic Rate: please call for info

STUDIO INSTRUMENT RENTALS OF TN, INC.

1101 Cherry Ave. Nashville, TN 37203

615-255-4500 Fax 615-255-4511

Email: tninfo@sir-usa.com

Web: sir-usa.com

Studio Equip: yes

Musical Equip: yes

Lighting: yes

FX: yes

Stages: yes

Cartage: yes

TAKE ONE FILM & VIDEO 125 Commerce Dr. Henderson, TN 37025

877-81-TAKE1, 877-818-2531

Email: mail@takeone.tv

Web: takeone.tv

Contact: studio mgr.

Studio Equip: yes

Musical Equip: no

Lighting: yes

FX: no

Stages: no

Cartage: no

Tech Services: yes

THOMPSON MUSIC RENTAL Nashville, TN

615-210-2120

Email: markthompson@comcast.net

Web: thompsonmusicrental.com

TREW AUDIO 220 Great Cir.

800-241-8994, 615-256-3542

Email: info@trewaudio.com

Web: trewaudio.comXAS

TEXAS

ACAV

Action Computer & Audio Visual Corporate HD

8524 Hwy. 6 N., #131

Houston, TX 77095

281-550-7955

Email: sales@actioncomputerandaudiovisual.net

Web: actioncomputerandaudiovisual.net

FAV

4120 Freidrich Lane, Suite 400 Austin, TX 78744

800-654-6744, 512-447-1103

Web: fordav.com

Additional locations:

4380 Blalock Rd. Houston, TX 77041

713-690-0555

4901 Statesman Drive

Irving, TX 75063

972-241-9966

MOPAC MEDIA 6400 Arnold Drive Austin, TX 78723

512-244-3668

Email: kt@kevintriplett.com

Web: mopacmedia.com

MP&E

3328 Wayponit Dr. Carrollton, TX 75006

972-931-3880 Fax 972-931-3882

Email: dallas@hdgear.tv

Web: hdgear.tv

Additional location:

4822 E. Cesar Chavez Austin, TX 78702

514-485-3131

Email: austin@hdgear.tv

OMEGA BROADCAST GROUP

817 W. Howard Ln. Austin, TX 78753

512-251-7778

Email: sales@omegabroadcast.com

Web: omegabroadcast.com

OMEGA PRODUCTIONS 456 Commerce St. Palacios, TX 77465

214-891-9585

Email: getinfo@omegalive.com

Web: omegalive.com

ONSTAGE SYSTEMS

8721 Forney Rd Dallas, TX 75227

972-686-4488

Email: info@onstagesystems.com

Web: onstagesystems.com

PINNACLE GROUP, THE Houston, TX 800-524-7462, 337-802-1916

Web: pingroup.com

PROGEAR

Video Equipment Rentals 3110 Roy Orr Blvd, Suite 200 Gran Prairie, TX 75050 214-260-1295

Web: prggear.com

SMARTSOURCE RENTALS 3322 Longmire Dr., Ste. 200 979-694-7490, 844-333-6440 College Station, TX 77845

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

Additional locations:

2110 Hutton Drive, Suite 120 Carrollton, TX 75006 214-827-2430

SOUNDCHECK 3714 Bluestein Drive, Ste 600 Austin, TX 78721

512-444-0023

Email: info@sounndcheckAustin.com

Web: soundcheckAustin.com

Basic Rate: please call for info

Additional location: 2108 Lou Ellen Ln. Houston, TX 77018 713-290-0335

Email: gus@soundcheckaustin.com

Web: SoundcheckHouston.com

UTAH

TV SPECIALISTS, INC.

180 E. 2100 S. Salt Lake City, UT 84115

801-486-5757

Web: tvspecialists.com

WEB AUDIO VISUAL COMMUNICATIONS

1420 S. 4800 W. Suite D Salt Lake City, UT 84104 801-484-8567

Email: sales@webbav.com

Web: webbav.com

VIRGINIA

AAV EVENTS 8005 Haute Ct. Springfield, VA 22150 703-573-6910 Fax 703-573-3539

Email: sales@americanav.com

Web: aavevents.com

Additional locations: 4700 Emperor Blvd. Durham, NC 27703 919-941-8112 Fax 919-941-9109

Web: aavevents.com

151 Kitty Hawk Dr. Morrisville, NC 27560 919-361-1151 Fax 919-405-2380

AVIVA RENTALS 1609 Rhoadmiller St. Richmond, VA 23220 877-564-9143, 804-353-9212

Email: lee@avivarentals.com

Web: audiovisualrentalsvirginia.com

SMARTSOURCE RENTALS 7664 Fullerton Rd., Ste. K Springfield, VA 22153 703-978-2321, 844-333-6440

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

WASHINGTON

AV RENT Seattle, WA 206-575-7771

Email: sales@avrent.com

Web: avrent.com

Additional location: 12922 SE 299th Street Auburn,WA 253-474-9979

SMARTSOURCE RENTALS 8655 154th Ave. N.E., Suite 140 Redmond, WA 98052 525-881-5353, 844-333-6440

Email: info@smartsourcerentals.com

Web: smartsourcerentals.com

STUDIO INSTRUMENT RENTALS 410 South 96th Street Unit 5 Seattle, WA 98108 206-782-6800

Email: wainfo@sir-usa.com

Web: sir-usa.com wisconsin

WISCONSIN

FULL COMPASS SYSTEMS, LTD. 9770 Silicon Prairie Pkwy. Madison, WI 53593 800-356-5844, 608-831-7330

Email: rentals@fullcompass.com

Web: fullcompass.com

INTELLASOUND PRODUCTIONS 416 Venture Ct., Ste. 2 Verona, WI 53593-1821 608-845-5683 Fax 608-845-3299

Email: mail@intellasound.com

Web: intellasound.com

WYOMING

DGW VIDEO PRODUCTIONS LLC 3537 Agate Rd. Cheyenne, WY 82009

307-529-1498

Email: sales@dgwvideo.com

Web: dgwvideo.com

WILD BUNCH VIDEO PRODUCTIONS 244 N. Beverly Casper, WY 82601

307-267-6377

Email: wildbunchvp@bresnan.net, akastorme@gmail.com

Web: wildbunchvp.com

Contact: Scott Sterrett, Jared Walker MC

– ROB SPAMPINATO

Choose Inspiration

One of the only things you can control in life is whether or not you quit. You get to choose inspiration over intimidation so that you don’t convince yourself to quit before you’ve given learning an instrument a chance.

Many young musicians get tripped up with social media musicians, especially guitar players. They look at what they see on the screen. They listen to what they hear come through the speakers on their computer. Then, dramatically, they want to hurl their guitar into the dumpster outside their house.

When I was growing up, we had guitar magazines. That was it. There weren’t any videos of kid prodigies or doctored reels of people playing at twice the speed they can play. We read articles. We didn’t have hundreds, thousands, or millions of ways to compare ourselves to other players. The only person we could regularly compare ourselves to was our past selves, and there is something powerful about realizing that. It can be overwhelming to see some kid playing guitar and think, “I’ll never, ever be able to do that.” At that moment, you have a vital choice to make.

Intimidation vs. Inspiration

When you see something that makes you feel like you have a long way to go in your playing proficiency, you can either be intimidated or inspired. But I’ll tell you right now—intimidation is pointless. You will never be that person, and that’s a good thing. Listen, I know that I can never be Eddie Van Halen, because I’m Rob. And that’s okay. You are you, and they are them. That’s good. Otherwise, life would be super boring.

For example, when you choose inspiration over intimidation, you look at musicians’ videos differently. Instead of thinking, “I’ll never be that good,” your thought becomes, “They’ve found their thing, and that’s awesome, and I can also find mine.”

You need to understand, and what will give you hope, is that instruments can be specialized. What do I mean? The guitar, more so than other instruments, is specialized. Not everyone can play multiple styles, and that’s fine. If everyone played the same things or played in the same ways, music would be super boring.

The same principles apply to how we learn.

Everyone has a different learning style, including you. Each person also possesses their own specific areas of talent. That is why at my school, Rob’s School of Music, we specialize in creating custom lesson programs for each student. As an educator, it’s my job to get information to each person in a way they can understand.

Don’t let your present ability which was hard-earned, I’m sure intimidate you out of

genesis. This is your time to allow yourself to learn, to make mistakes, and to become the version of yourself—and nobody else’s—that you want to be.

Managing Expectations and Determining Your Progress

A lot of the time, we aren’t good at measuring the progress we’ve made. It’s also challenging to manage expectations when you’re first starting out. This is why having a teacher/ mentor is super helpful. You have someone who knows what you’re trying to learn and can help you set realistic goals. Plus, you have someone in your corner who will help you exit your comfort zone when you’ve gotten better and can level up your playing.

progressing on your journey. Think about what it would be like to watch John Mayer learn to play the guitar. Do you think he was amazing right away? No, he had to practice and unfold his talents and develop his style just like any other musician. The great thing about music is that with practice, anyone can learn to create it, even if they don’t have a ton of natural talent. Sometimes I sit and think about what it would be like if we did have a social-media vault full of videos where John was learning to play the guitar. Wouldn’t that be awesome? When I was young, (I started playing guitar in the mid 90s) we didn’t have access to the same technology available now. So I don’t have much evidence of how I’ve progressed as a musician over the years. But you can keep track of it all!

Your journey is your story, and stories cause powerful points of connection to happen. Stories are dynamic. With a story, you can do just about anything. And right now, you are building your musical story, one note at a time. Don’t let anyone diminish that journey for you, including that intimidating voice in your head that says you can’t.

Allow yourself the space and time to build your own story. We all have a starting point—a

One time I was teaching a guitar student, and she started humming as she was strumming on her guitar. When she sang, it was clear she had a fantastic voice that I had never heard before that moment. She explained that, as a child, her father told her she wasn’t a good singer. It was heartbreaking. I worked with her to write a song about what she had been through.

That song changed her life. At that moment she overcame the past with such power and force, because she found the courage to move forward through her voice: the one thing that people she loved had tried to silence.

Just because someone tells you something doesn’t mean it’s true. If you get feedback and aren’t satisfied with where you are, you can always do the work to level up. Find your power. Find your voice. Once you do that, you can do anything. Choose inspiration.

ROB SPAMPINATO is a professional musician, educator and the Amazon bestselling author of This Book Shreds who has worked in the music industry for the better part of 25 years. He owns Rob’s School of Music in Suffern, NY, offering in-person and virtual lessons. You can learn more at robsschoolofmusic.com and get his book for FREE at thisbookshreds.com . His new beginner guitar course: icanplayguitar.com

“Instead of thinking, ‘I’ll never be that good,’ your thought becomes, ‘They’ve found their thing, and that’s awesome, and I can also find mine.’”