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36 Neil Young
In this candid Q&A the prolific two-time Rock
and Roll Hall of Famer shows us he’s busier
ALYSSE GAFKJEN
than ever, recording new music, releasing old
music, touring with his backup band Promise
of the Real and even making films with his lady
friend Daryl Hannah.
Nothing More
45 MC explores how the
band went from Kickstarter
By Gary Graff to headliner
Cover Photo: Danny Clinch By Joshua Weesner
40 Departments
20. Producer Crosstalk: Doug McKean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam The opinions expressed in
Music Connection, as well as all
22. Exec Profile: Chris Hansen, No Sleep Records . . . . . . . . . . . . . . . By Andy Kaufmann Directory listings and contact information,
are provided by various sources in the
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6 September 2018 musicconnection.com
September 2018 musicconnection.com 7
– JONATHAN WIDRAN
MIKTEK AUDIO
modern voicing which makes them quite unique.
Unlike most mics, they are extremely linear in the
midrange. What that means is that when you use
miktekaudio.com them on different types of voices and instruments,
they produce a sound that’s faithful to what they are
Inspired by the Iconic Mics of the Past: When recording. Our microphones are extremely honest,
audio industry veteran Mike Ketchell launched and that makes them quite useful for recording a
Miktek Audio in 2010, his goal was to buck the variety of instruments and different vocals styles.”
“race to zero” trend and create “step-up” products
based on the pursuit of superior sound. Inspired The #1 Seller and the First Imported Mic:
by the iconic mics of the past, his engineering Popular among hip-hop and bluegrass artists
team has developed capsules and unique circuits is the C7e Large Diaphragm Multi-Pattern FET
that capture that elusive, classic sound. With a Condenser, which employs a high-pass filter and
hyper-focus on quality control, final assembly is -10dB pad for recording loud sound sources. Its
done at the company’s headquarters in Nashville frequency response is warm on the bottom, silky
using boutique AMI transformers. Each condenser on the top and has a midrange that’s natural and
is then tested on a TEFF system which measures open. Miktek’s #1 seller (used by Bruno Mars,
frequency response. Each microphone comes Keith Urban, among others) is the CV4 Large
with a serialized frequency response plot. Miktek’s Diaphragm Multi-Pattern Tube Condenser, which
use of these transformers and their meticulous offers nine pick-up patterns. It’s ideal for recording
hand-selection of transistors and other components single vocalists and perfect for acoustic instru-
guarantee that their custom capsules are perfectly ments, groups of vocals, piano, string ensembles,
matched with head-amplifiers and impeccable elec- winds, overheads on a drum kit or as ambient
tronic performance. Ketchell’s decades in the audio room mics. Miktek’s first ever imported mic is the
world include pioneering Megamix, the first automa- MK300 3 Pattern FET Large diaphragm condens-
tion system that used a mouse to move the fader er, which follows the Miktek design philosophy:
on a screen and play back a level change, and also class leading sound quality and incomparable
working for CAD, Mackie and Samson. value, in addition to what Ketchell says is “the
MK300 sounds remarkable and exhibits incred-
Choosing Miktek over Vintage Mics: Top artists ible pattern control.” It features a great capsule,
and engineer-producers from genres as diverse superior electronics, and as with the company’s
as Americana and hip-hop commonly choose other condensers, it employs a transformer output
Miktek products over vintage C12’s, U67’s and stage. It has three switchable polar patterns, in-
U47’s––including Chris Stapleton, Bruno Mars, Del cluding cardioid, bidirectional and omnidirectional;
McCoury Band, Sam Bush, David Grissom, Keith it also features a high-pass filter at 100Hz and
Urban, Alan Parsons and Bill Vorn Dick. Ketchell -10dB pad for recording loud sound sources.
says, “Our mics possess all the qualities people
love about vintage mics. However they have a Contact Miktek Audio, 615-250-2434
Hard Rock International has appointed Alex Flores has been named Senior Vice
Ken Blaustein as Director of Music and President, Creative of BMI. Flores will
Artist Relations. In this newly reated be based out of BMI’s Los Angeles office.
position, Blaustein will be responsible for Flores will oversee the Creative teams
evolving the brand’s global music persona in BMI’s six offices in New York, Los
through new initiatives that resonate with Angeles, Nashville, Atlanta, London and
the next generation of music fans. As part San Juan, helping support the company’s
of these initiatives, Blaustein will oversee songwriting community and cultivating key
music programming, artist and lifestyle partnerships, industry relations, industry relationships. She will also oversee the continued development
experiential activations, data integrations and the development of original and execution of acquisition and retention strategies that are in line with
content offerings. Prior to joining Hard Rock International, Blaustein BMI’s overall mission. Before joining BMI, Flores held various positions
served as the Senior Director of Artists & Repertoire and Artist Relations at BMG including her most recent post as Senior Vice President of
for Capitol Records and Virgin Records. Contact bpatrizio@coynepr.com. Marketing, North America. Contact jthomas@bmi.com.
Downtown has promoted Lisa Hauptman Full Compass has appointed Susan
to the newly created role of Global Head Butera as Vice President of Marketing.
of People. In this new role, Hauptman In her role, she will lead the marketing
will spearhead talent development team and help drive continued growth
and recruitment for Downtown’s teams of the business. Her focus at the
across its Downtown Music Publishing company will be on acquiring new
and Songtrust businesses. Reporting to customers, retaining existing customers,
Andrew Bergman, Chief Operating Officer communicating the brand value proposition
at Downtown, Hauptman will continue to oversee human resource and creating good experiences for all customers. Butera most recently
operations and lead the company’s innovative internship program which served as Chief Marketing Officer for AccuQuilt in Omaha, NE. Prior to
aims to provide students from around the world the opportunity to gain AccuQuilt, she was the Vice President of Brand Marketing for Edible
first-hand knowledge about the intricacies of the global songwriting and Arrangements and Vice President of Marketing and Ecommerce for Olly
music rights management industry. Contact raypadgett@shorefire.com. Shoes. For more, contact blaine@fullcompass.com.
Nick LaPointe has been appointed as The Orchard has named Chris Manning,
Director of Rights Management of General Manager of the company’s
AdRev. LaPointe comes to AdRev from business in the United Kingdom and
Warner/Chappell and joins the company’s Europe. In this position, Manning will
Los Angeles-based team. LaPointe has manage all day-to-day operations of The
an extensive history of advocating for Orchard’s European efforts, working with
artists, labels, and publishers through 20 the Managing Directors of each territory
years of experience in the music industry. to ensure that sales, marketing operations
A graduate of Berklee in music business and management, LaPointe and communications are in sync across the continent. Manning has
held a number of copyright and mechanical licensing roles at Warner/ led efforts on releases from artists such as Carl Cox, Riva Starr, John
Chappell. His knowledge will prove invaluable in expanding income and Dalhback and Steve Aoki. Manning also managed local and international
rights protection opportunities for AdRev’s clients. For more information operations and playing a major role in the merger of Red Essential into
on this appointment, contact christine@rockpaperscissors.biz. The Orchard UK. Contact ccalabrese@theorchard.com.
SYNC SONGWRITER
syncsongwriter.com
Teaching Songwriters How To License Their Music: Launched by
award-winning veteran producer Chris SD, Sync Songwriter is a multi-
faceted platform designed to teach songwriters how to license their music
and connect them to the right people in the TV and film industries. Many
of the clients the Canadian native works with are songwriters who aspire
to place their songs. So he and his partner, licensing agent Danielle
Emmrich, started a service that selectively licenses music.
Since they were unable to shop everyone’s music, Chris––upon relo-
cating from Toronto to Los Angeles––decided to teach songwriters how
to do it themselves. He turned to some of his top contacts in the licensing
realm to help him develop the ultimate music licensing course, “The Art of
the Song Pitch.” That course is the flagship offering of Sync Songwriter;
the others are its website, which includes tons of free info and Chris’
weekly vlogs; and an exclusive library of hundreds of licensing-available
songs penned by members who sign up for the intensive course.
The Art of the Song Pitch: Chris went live with the first seven-module,
year-long course in February 2017. Chris does the instructing, follow-
ing up each completed course segment with individual coaching calls.
The modules include exclusive interviews with over 20 experts in music
licensing, including lawyers, music supervisors, licensing agents and
songwriters who have been successful in placing their music. At the end
of the course, students are automatically included in a pitch session with
a panel of top music supervisors, and given the opportunity to pitch music
to them live online. “The icing on the cake is starting a relationship with
these supervisors,” Chris says. “It’s otherwise almost impossible to get
your music to them.” His students’ successes include scoring major films,
many of placements on most of the major TV networks and the most
recent trailer for Annihilation.
SONY MUISIC
KP’s Alter Ego Debut Third Time’s the Charm for St. Lucia
Black Belt Eagle Scout aka Katherine Paul (KP) will debut Mother of My Brooklyn indie-pop group St. Lucia will release their forthcoming third album
Children on Sept. 14 through Saddle Creek. The album was recorded at Ana- Hyperion on Sept. 21 via Columbia Records. Produced by Rob Kirwan (U2,
cortes Unknown Recording Studio in Anacortes, WA, produced by Paul and Depeche Mode) and mixed by Dave Sardy (LCD Soundsystem, Oasis), Hyper-
engineered by Nich Wilbur. For more, visit saddle-creek.com/blogs.news/ ion will feature 11-tracks including “A Brighter Love” and “Walking Away.”
black-belt-eagle-scout. Visit stlucianewyork.com. Pictured: Frontman Jean-Philip Grobler.
Producer Playback
“Learn how to be a leader. You have to hone your leader-
ship skills because artists depend on your direction.”
– Bruce Waynne (50 Cent, Frank Ocean, Common)
18
18 September 2018 musicconnection.com
–JACQUELINE
–JACQUELINENARANJO
–JACQUELINE
–JACQUELINE NARANJO
NARANJO jackien@musicconnection.com
jackien@musicconnection.com
jackien@musicconnection.com
–JACQUELINENARANJO
NARANJO jackien@musicconnection.com
jackien@musicconnection.com
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recorded in Patrick Stump’s Burbank, CA studio. Pictured (l-r): Patrick Stump, Joe Trohman and Pete Wentz. For more, visit falloutboy.com.
DAVID GOGGIN
PHIL SMITHIES
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Thieves guitarist Martin Earley. and recorded mostly in her N.Y. apartment. For more, visit kimbramusic.com.
February
March
June
September 2018
2018
2018
July 2018
August 2018 musicconnection.com 19
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January 2018 musicconnection.com 19 19
PRODUCER CROSSTALK – ROB PUTNAM
DOUG MCKEAN
P
roducer, engineer and two-time Grammy winner Doug McKean’s ca-
reer took root when he befriended a recording engineer during high
school in Connecticut. He later enrolled at NYU where he connected
with Jerry Harrison, then keyboardist with Talking Heads, who went on to
produce for bands including Live and Crash Test Dummies.
McKean has since worked with some of the biggest names in the
industry, including as the engineer on Green Day’s multi-platinum jugger-
naut American Idiot. Iconic producer and industry exec Rob Cavallo has
tapped him to engineer many records, including those by My Chemical
Romance and Dave Matthews Band. He was also an early adopter of Pro
Tools, then known as Sound Tools.
Recently McKean worked alongside Eric Bass, bassist with multi-plati-
num act Shinedown. Bass produced Attention Attention, the band’s latest
release. There’s a subtle yet seductive temptation to question whether
roadblocks would arise by engineering for a producer that was also a
member of the band. Fortunately, that wasn’t McKean’s experience.
“Sometimes when someone [else] is producing, there’s still someone in
the band who takes charge in the pro-
duction,” he explains. “This is the third
The three most important
record I’ve engineered for them and
on the first, the singer Brent [Smith] lessons he’s learned as a
was sort of co-producing with Rob producer and engineer are:
Cavallo. Often you’ll collaborate on
production with someone in the band • Be honest with the music and
so it wasn’t that unusual.” yourself. Give both the chance
“Jesus of Suburbia” claims 9:08 of to fail. Try different things
American Idiot’s 57:12. What were without worrying about how
the challenges of capturing such an people will judge it.
ambitious rock opus? “With Pro Tools,
• Pace yourself when you work
it wasn’t as hard as you’d think,” on a big record. It’s a mara-
McKean observes. “We split up the thon, not a sprint.
song into sections. Rob and I like to
use a lot of tempo mapping with click • Keep yourself as open as
tracks. We were used to going from possible to other people’s
one section to another with tempo opinions.
changes. On a song like that, we
might take one section that’s a minute
and a half, work on that and when we got to the end of the section we
were supposed to transfer, he would start playing the new tempo and
we’d just need the click. Once we had that section, we’d set up the click
for the new section and punch in at the beginning of it. The only challenge
was keeping track of which version of which take and measures were the
ones that we liked.”
One of the biggest revelations McKean experienced was when he
produced a solo project for Gerard Way, co-founder of My Chemical Ro-
mance. “There was a lot more psychology involved,” he recalls. “I had to
get the artists in the right place, mentally, to be able to perform up to the
level they needed to be. I’ve worked on a lot of projects where I saw Rob
chatting with bands in other rooms trying to work through problems that
weren’t always music related. You’re like the band’s family therapist.”
Surprisingly––or perhaps not––firmly established artists can still suffer
from occasional dips in confidence, as McKean has witnessed. “Even
big artists have said to me that every time they work on something new,
they risk being exposed as a fraudulent songwriter,” he observes. “It
tears them up to think ‘Maybe that’s it; I can’t do it again. I’m all done with
ideas.’ That’s a normal thing.”
McKean’s upcoming projects include records with Beth Hart and Sub-
lime with Rome.
Contact Kelle Musgrave, Kelle@linearmanagement.com
Doug McKean, mckeanwest@yahoo.com
This article is a very brief overview of the subject matter and does not constitute legal advice.
T hat’s every musician’s dream, isn’t My income keeps growing exponentially, I’m getting paid for my music now
it —quitting your day gig because you and my music keeps getting better because instead of sitting on my couch dreaming
make more money with your music. it’s my full time gig now! Here’s the ironic about it. I’m my own boss, and some
Well, that’s my life now, and here’s part… day my music will probably pay for my
how I did it… retirement, a vacation home on an exotic
beach, and some umbrella drinks!
I live in Boise, Idaho, not Hollywood,
I joined TAXI. yet my music is on TV nearly every day.
My studio is in a glorified tool shed in
Looking back, I wish I’d joined years my backyard, and my gear setup is so
earlier. TAXI taught me how to create
quaint other musicians ask, “Really?
music that people in the industry
That’s it?!” I’ve got a computer, monitors,
actually need. Then they gave me 1,200
a few mics, and a cheap little interface.
opportunities a year to pitch my music!
No fancy outboard gear, no rack-mounted
anything!
B
Management: Jerry Nettles - Bronson Management rooklyn rapper Casanova saw his debut EP Commissary drop at
Booking: N/A the end of June via Roc Nation/Def Jam. The iconic hip-hop label
Legal: N/A realized that a deal with the blossoming, romantically named hip-
Publicity: Denise Kovalevich, denise@dmkpublicity.com hop artist was a no-brainer, and his “Set Trippin’” single managed to pull
Web: towhomitmay.net in over 15 million Youtube views. The guy clearly has a gift for attracting
A&R: Kevin Martin attention and, in this era when the power of the labels has in fact been
diminished, an effective online presence is all-important.
W
est Coast entrepreneur Markus Muller-Stach and Candlebox’s Casanova only started rapping about two years ago, influenced by the
Kevin Martin recently launched a new label called G4L Records. likes of Jay-Z, 50 Cent, Meek Mill and some local New York artists. It all
Their first signee is the Galveston, TX rock trio To Whom It May started to happen fast, and he realized that he could make a career out of
(THIM). The band’s virgin release for the new imprint is called The Great music just a couple of months later when he started to get paid.
Filter and, according to vocalist-guitarist Jonathan Jourdan, the title is “Once I started getting money for shows and stuff,” he says. “That’s
personally significant. “We had been performing with a lead singer under when I said, ‘Hold on, this might be a career for me’.”
a different name for nine years,” explains the frontman. “When that setup The rapper describes his style as a mix of DMX, M.O.P. and 50 Cent,
ran through its cycles we decided to keep going with me as the singer, and says that he has a New York gutter sound. That said, while his
even though I never sang before. For the next four years, we wrote our influences are fairly clear, Casanova says that it’s vital to be different,
record while I also was learning how to sing. It was a very humbling
experience.”
They had been pursuing music for so long the band believed this
album would literally be their last hurrah. “The Great Filter refers to
the theory by Italian physicist Enrico Fermi that there is a step in the “I’ve got the best of both worlds.”
evolutionary process of life that is almost impossible to get past,” says
Jourdan. “And to us that was kind of how we felt about making this
to be doing something new, if you’re going to pull in those big online
numbers. “That helps a lot,” he says, with typical brevity. “You’ve just got
M
Publicity: Hannah Schwartz - Shore Fire Media, 718-522-7171, ove over, banal YouTube sensations: a young talent with actual
hschwartz@shorefire.com depth has finally arrived.
Web: fionnband.com In May, 23-year-old Brynn Elliott graduated from Harvard
A&R: Jonathan Simkin University, where she studied philosophy and wrote a 60-page thesis on
British female philosophers from the 1600s. Now, the scholar is already
I
dentical twins Alanna and Brianne Finn-Morris––doing business as gearing up for her first EP of music through Atlantic Records.
the folk-pop duo FIONN––landed a deal with Vancouver-based label As the first member of her family to graduate from college, Elliott’s
604 Records after they were spotted busking on the streets of White story could not be more inspiring. With Time of Our Lives, she is paying it
Rock, British Columbia. Someone with a connection liked the young pair forward by inspiring young women with five songs based around feminist
and sent word to label head Jonathan Simkin. Soon after, he reached philosophy.
out to the sisters.
But a deal wasn’t offered immediately. That was partly because
Simkin didn’t feel that the pair was ready, and partly because in Canada
people must be 19 to enter into contracts. At the time, the girls were “I’m interested in making an
legally not yet adults.
“It was really random,” Alanna recalls of their 604 hookup. “We were
busking down by the beach in White Rock, a little town just outside
accessible thing.”
of Vancouver. Someone with a distant connection to [604 label head]
Elliott and Grammy Award-winning producer Nathan Chapman “wrote
eral’s Residence, Fort Mason in then voted for their favorite song
San Francisco. Registration info for further consideration by ole.
is at westcoastsongwriters.org/ Each April NSAI will present the
conference. “ole Chapter Challenge” across its
100 plus chapters. The winning
Booker T. Jones: “Green Onions” Heads Downtown Americana Fest, Sept. 11- song is then forwarded for further
Downtown Music Publishing has acquired legendary Stax artist-musician- consideration by ole for a possible
producer-songwriter Booker T. Jones’ interest in his catalog, including 16 in Nashville contract. In addition, each local
“Born Under a Bad Sign” (Albert King) and “I Love You More Than I Can The 19th annual Americana Music NSAI Regional Chapter Coordi-
Say,” (Otis Redding) plus the iconic Booker T. and the M.G.’s instrumental Festival & Conference will take nator gets to submit a song for
“Green Onions,” which was added into the National Recording Registry of place Sept. 11 - 16, gathering consideration as a reward for their
the Library of Congress. thousands of artists, fans and service to the organization.
industry professionals from all The NSAI has more than 100
over the world in Nashville, TN. chapters in the United States and
2018 promises to once again be five other countries. They meet
Become a Crazybrave the must-attend event for anyone monthly and host educational
Songwriter who loves the melting pot of Ameri- activities, open mics, offer song
Lisa M. Arreguin’s new music cana’s influences including roots, feedback and other services. More
book, The Crazybrave Songwriter: folk, country, blues and soul-based information, including chapter loca-
A Spiritual Guide to Creative music. Each year, Americanafest tions, is available at nashvillesong
Songwriting, published by brings together legendary artists, writers.com.
Balboa Press, offers the author’s the next generation of rising stars,
perspective on songwriting, fans and industry professionals for
encouraging musicians to “find six days of music and education. International Songwriting
their song,” discover what’s inside The conference portion features Contest Deadlines
them and love their “crazybrave” numerous panels, seminars, ex- Accepting entries until Sept.19, the
journey. The book is available for clusive daytime performances, and International Songwriting Contest
purchase at Amazon. much more. This special event (ISC) is judged by high-profile
covers the interests and needs of songwriters and artists including
artists, managers, labels, radio sta- Tom Waits, Marc Anthony, Adam
Lambert, Portugal. The Man, Nan- pros. The entry fee is $25 and the
cy Wilson of Heart, Ne-Yo, Rodney deadline is Sept 30. Visit dsasong-
Crowell and many other luminaries. contest.blogspot.com for submis-
71 winners will share in the cash sion info and rules.
and prizes. ISC is a prime opportu-
nity for songwriters, musicians, and
performers to further their music
Hip-Hop Rules in Hit Songs
careers, and gain recognition and Deconstructed Report
exposure in the music industry. The Mid-Year Trend Report from
Additionally, winners benefit from a Hit Songs Deconstructed provides
multilateral promotional campaign an in-depth look at the composi-
designed to give international ex- tional trends for the Billboard Hot
posure and attention to their song- 100 Top 10 during the first half of
writing achievements. 2018. During the first half of 2018,
Categories include: AAA (Adult 44 songs, 45 credited performing
Album Alternative), AC (Adult artists, 154 credited songwriters,
Contemporary), Americana, Blues, 66 credited producers, and 12 re-
Children’s Music, Christian, Com- cord labels landed in the Billboard
edy/Novelty, Country, EDM (Elec- Hot 100 Top 10.
tronic Dance Music), Folk/Singer- Seven songs charted at #1.
Songwriter, Instrumental, Jazz, They include five Hip Hop songs:
Latin Music, Lyrics Only, Music “God’s Plan” (Drake), “Nice For
Video, Performance, Pop/Top What” (Drake), “Psycho” (Post
40, R&B/Hip-Hop, Rock, Teen, Malone featuring Ty Dolla $ign),
Unpublished, Unsigned Only, and “Sad” (XXXTentacion) an “This is
World Music. Entrants may submit America” (Childish Gambino), and
as many songs as they wish––in two Pop songs, “Havana” (Camila
the same category or in multiple Cabello featuring Young Thug)
categories. and “Perfect”(Ed Sheeran featuring Universal Inks Natalie Hemby
Depending on the category, sub- Beyoncé). Universal Music Publishing Group (UMPG) has signed singer-songwriter
missions are judged on the follow- Drake was the top artist with the Natalie Hemby to a global publishing deal. Hemby’s catalog includes Lady
ing criteria: Creativity, Originality, most #1 hits, spent the most time Antebellum’s “Downtown,” Little Big Town’s “Pontoon,” Miranda Lambert’s
Lyrics (excludes songs that do not at #1, and was tied with Cardi B for “Automatic,” among other hits.
have lyrics), Melody, Arrangement, most Top 10 hits. He also had the
and Overall likeability most credits as a songwriter
Hip-hop’s prominence continues
to reach new heights both as a
Dallas Songwriters Asso- primary genre and as an influence
ciation Song Contest across genres. As a primary genre
Celebrating 31 years, the Dallas it accounted for 55% of the Top
Songwriters Association announc- 10 during the first half of the year,
es the 2018 edition of The Dallas which was up from 37% during the
Songwriters Association Song Con- same time period in 2017. In Q2
test, offering over $5,000 in prizes 2018 hip-hop accounted for 62%
with winners in each of the eight of the Top 10, while pop accounted
categories: Christian/Inspirational, for only 24%.
Country, Americana/Folk/Blue-
grass/Pop/Rock/Alternative, Love
Songs/Easy Listening, Children’s/ DAN KIMPEL, author of six music industry
Novelty, Singer/Songwriter and In- books, is an instructor at Musicians
Institute in Hollywood, CA. He lectures at
strumental, plus three Grand Prize colleges and conferences worldwide.
winners. The judges are industry
Joelle James
Conjuring Classic Soul with “Boo’d Up”
T
he soundtrack for the summer of 2018 will undoubtedly include the
Billboard #5 single, “Boo’d Up” as performed by U.K. soul artist
Ella Mai. Joelle James can hear it in the air. “I was walking street
in Times Square and there was a BMW blasting it out. I thought, ‘Oh my
God I wrote that song!’ How cool to experience it in the city, in life, in
motion.”
She never set out to be a songwriter, James explains. Signed to Inter-
scope Records soon after her graduation from Boston’s Berklee College
of Music via an affiliation with Chris Brown’s CBE label, James was on
the artist’s path. “No one could deal with me as an artist or figure out what
to do with me. When I first got signed I wasn’t a writer, so I was put in
with all of these different writers and producers. I’m grateful––they gave
me an opportunity not just to write, but also to learn how to write; to see
their processes and methods. Now I have my own way of doing it.”
James claims assuming the
role of the songwriter was dif-
ficult. “When I got better at it
and people wanted to take my
songs, I was like, ‘No! That’s
my song.’ But if you write a
hit you can write another one.
I have to give them up for
adoption, and they will have
wonderful lives.”
Built on a smoldering retro
groove courtesy of DJ Mustard
and Larrance Dopson, “Boo’d
Up” is reminiscent of great
R&B tracks from decades past.
James considered releasing it
herself. “I wrote it years before
it came out and it had a whole
journey. I love that song and I
SIG could have used it, but would it
NU have been as successful for me
38TH ANNUAL PN as an artist––this soulful white
OW girl? In the R&B lane there’s the
BOHEMIAN RHAPSODY
The Michael Jackson Estate and Columbia
Live Stage have announced an upcoming
stage musical inspired by the life of Michael Gregson-Williams’ catalog spans high-profile original documentary series features music by
Jackson set to come out on Broadway in projects from action to drama to animation– composing duo (Roahn) Hylton & (Jacob)
2020. The new, still-untitled musical will –“each infused with the emotional punch and Yoffee, who have collectively racked up No. 1
include a book by Pulitzer Prize winner Lynn atmospheric intensity that mark his distinctive Billboard hits with Nicki Minaj, Arianna Grande
Nottage and a score of some of the King of musical style.” Contact Beth Krakower at Beth@ and Keyshia Cole, and composed music for the
Pop’s most loved and chart-topping songs. KrakowerGroup.com. likes of Star Wars The Last Jedi and The Jungle
Tony winner Christopher Wheeldon will direct Book. Released on War-
and choreograph. Contact Rick Miramontez at Abramorama and ner Bros’ WaterTower
Rick@omdkc.com for more information. Cinereach recently label, the soundtrack
released a trailer for consists of 20 tracks
The soundtrack to the science fiction action the Steve Loveridge- from the show, including
thriller The Meg, directed by Jon Turtel- directed documentary 10 original songs, result-
taub, was recently released via WaterTower film MATANGI / MAYA ing in a hybrid score of
Music, featuring music composed by Harry / M.I.A. which hits U.K. hip hop and film music.
Gregson-Williams (The Town, the Shrek theaters on Sept. 21 For more information,
franchise). Golden Globe and Grammy winner and the U.S. on Sept. contact Andre Watson
28. The film chronicles at Andre@ThePurple
British musician, mother DAVID MAJZLIN Agency.com.
and human rights
advocate M.I.A.’s rise
to fame and has received the World Cinema
Documentary Special Jury Award. The film is OPPS
scored by Paul Hicks and George Harrison’s Michelle Danner, acting coach and founding
son, Dhani Harrison. Contact Lisa Gottheil at director of the L.A.-based Edgemar Center for
lisag@grandstandhq.com for more information. the Arts, is casting for the musical The Night of
the Black Cat, which was named Best Musi-
Emmy-nominated film and television composer cal of the Year at the 2005 Los Angeles Music
David Majzlin––who scored the orchestra por- Awards. Danner, who will direct, is looking for
tion of Amazon Prime’s Mozart in the Jungle–– singers, dancers and actors to audition for the
recently completed a new score for Bel Canto, fall production at Edgemar. Email a headshot
directed by Paul Weitz. The film is about a and resume as well as a description of your
famous American soprano, played by Julianne specific talents in the body of the email to cast-
Moore, who finds herself in a hostage situation ing4caberet@gmail.com. For details about the
when she performs for a wealthy South Ameri- audition, visit MichelleDanner.com/Casting-Call-
can industrialist. Award-winning opera singer For-New-Musical-Directed-By-Michelle-Danner/.
Renée Fleming voices Moore’s performances.
The film premieres Sept. 14. Contact Cas Spen- Big League Productions is holding open cast-
cer at Cas@WhiteBearPR.com. ing calls in Manhattan for male and female
singers and actors for Dr. Seuss’ How the
The soundtrack is out now to LeBron James’ Grinch Stole Christmas! Lead roles are paid
HYLTON & YOFFEE new series, Best Shot, which premiered in July $600 per week. Visit bit.ly/2AUHiW9 for infor-
coinciding with the ESPY Awards. The YouTube mation on how to apply.
New Zealand Son Films, a company that Music Works and Eidos®-Montréal are excited Out Take
produces television series and feature films for to announce that a second vinyl pressing of the
Amazon, needs entry-level interns looking for critically acclaimed Deus Ex: Human Revolu-
hands-on production experience and flexible tion soundtrack became available for sale Aug.
hours. Responsibilities include maintaining 17 and can be ordered here. Deus Ex: Human
social media accounts, reviewing actors, book- Revolution’s music was created by award-
ing locations and winning composer
actors, creating call Michael McCann.
sheets, coordinating The soundtrack album
auditions, and gen- combines many of
eral assistance with the almost 200 tracks
the overall process. created for the game
Experience is not into a 70-minute
required. Email a re- journey through the
sume and cover letter heavily atmospheric,
to Sean@NewZea- and oppressive world
landSonFilms.com of Deus Ex. Contact
and Taylor@New-
ZealandSonFilms.
Greg O’Connor-Read,
greg@topdollarpr. Alison Plante
com. Visit newzea- com. Chair, Film Scoring Department
land sonfilms.com for
further information. The Velvet Under- Berklee College of Music
ground Experi-
Web: Berklee.edu/People/Alison-Plante
PROPS ence, an intriguing
new multi-media art Contact: Allen Bush, ABush@Berklee.edu
First conceived and music exhibi-
nearly 10 years ago, tion spotlighting the Boston probably isn’t the first city that
it’s worth noting that iconic band's early comes to mind when you think of the film
long-awaited rock biopic Bohemian Rhapsody, NYC roots, will be opening in New York City on and music business, but Berklee College
a portrait and celebration of Queen and the late, Oct. 10. It is the first global exhibition dedicated of Music is the premier institution––and
beloved superstar frontman Freddie Mercury, to the Velvet Underground and its influence on until recently, the only institution––for an
will finally hit theaters Nov. 2. As if condensing modern music, fashion, art & popular culture, set undergrad film scoring degree. Not to
the legendary English rock band’s story into a against the backdrop of the band's early days mention, even though 3,000 miles apart,
film wasn’t challenging enough, the production collaborating with Andy Warhol in NYC in the the school still has plenty of Hollywood
faced cast and crew hurdles along the way, in- 1960s. Co-presented by Bandsintown and Citi, connections, says Alison Plante, chair of
cluding an extensive search for “Freddie,” (who the three-month exhibition will be located at 718 the film scoring department. “We have a
will be played by Rami Malek), and director Broadway in Greenwich Village, paying homage long track record of doing this very well,
Bryan Singer left the project just before filming as well to the neighborhood's deep artistic base. the evidence being our graduates,” says
ended. While Malek nails Mercury’s persona on The multi-media experience will contain six Plante, who first discovered her own love
and offstage, most vocals in the film pull from films produced exclusively for the exhibition and of film music at eight years old, standing
Queen master tapes or Mercury’s vocal twin, be accompanied by a diverse curated event in line at Universal Studios and listening
Canadian singer Marc Martel. Watch the trailer series which will include concerts, screenings, to an entertainer play John Williams movie
at bit.ly/2NibqMs. talks, pop up installa- themes on a synthesizer.
tions, fashion collabo- Berklee’s film scoring program, which
As is tradition, a rations and more. The dates back to 1980, is unique and nuanced,
selection of the World exhibition will be open tailored to accommodate almost any path-
Soundtrack Award daily. Tickets cost $30 way an aspiring composer can dream up.
main guest’s music for general admission There are also options to earn online de-
was recorded for the and $25 for Seniors/ grees. Since Plante came to the school 10
awards’ annual Music students on weekdays. years ago, she’s seen the program expand
for Film album. This Five dollar increase on to include game scoring as well as new
year’s guest is com- weekends. Tickets can studios that include a scoring stage that fits
poser Carter Burwell, be purchased through a 45-piece orchestra. There are also new
whose music was velvetundergroundex facilities for production students, and the
recorded in August at perience.com. school hires student players to serve as
Flagey’s legendary session musicians for scoring students.
Studio 4 by Brus- CIM Group, owner In addition, Berklee sources nonprofit
sels Philharmonic and operator of the professional films for students to score. “We
and conducted by Dolby Theatre, and the have a silent film program where students
Dirk Brossé. The live Hollywood Pantages score a feature-length silent film and
recording will include Theatre have an- perform it live,” Plante says. “The students
exclusive and unpub- nounced an agreement scored The Man Who Laughs, an important
lished tracks from The for The Hollywood Pan- film from 1928. The students performed that
Spanish Prisoner at the San Francisco Silent Film Festival.”
and Olive Kitteridge, CARTER BURWELL tages Theatre to bring
Encouragingly, the student body has
Broadway produc-
marking the first- tions to Dolby Theatre started to look distinctly more female in
ever compilation of beginning in 2020. Both the past years. Plante said the program
Burwell’s film scores. Album presales will run theatres hold famed locations on Hollywood Bou- is about one-third women, compared to
through Sept. 15 on Film Fest Gent and World levard and provide distinct entertainment options. about 25 percent a decade ago. “There is
Soundtrack Awards websites. After Sept. 15, Contact baguayo@nederlander.com. Karen Diehl a lower percentage of women film compos-
the album can be purchased only through Film at karen@diehlcommunications.com for more. ers than in any other field in film, including
Fest Gent’s site. Burwell will appear at the directors, so it’s encouraging to see those
awards on Oct. 17 to join Brossé in conducting numbers growing,” she says. “And I’m
JESSICA PACE is a music journalist-turned-news-reporter
Brussels Philharmonic as they perform original based in Durango, CO. She is from Nashville, where she
pleased to see their success as they enter
scores accompanied by film clips. Contact started a writing career by freelancing for publications including the field and get good jobs. One was just
Riema Reybrouck at Riema@FilmFestival.be. American Songwriter and Music Connection. Contact her at hired to score Captain Marvel. She’s the
j.marie.pace@gmail.com. first woman to score a Marvel movie.”
Due to overwhelming demand, Sumthing Else
Charlie
Meister
CHARLIE MEISTER
owner Nate Barr, concertmaster Mark Robertson and BMI’s Chris Dampier.
Daniel Caesar, David Byrne and Japanese Breakfast were some of the many acts that played this year’s Panorama Festival at Randall’s Island in NYC; severe
weather forced an immediate evacuation for the island on day one, but that didn’t stop the festival from making it the hottest weekend ever for good vibes and
stellar tunes. Photos by Whitney Levine
1993–Bad Religion–#20
Having conquered the indie
world, punkers Bad Reli-
ANNIE LESSER
gion were embarking on
life as a major label band
when MC caught up with
them. "We're as big as any
independent band in the
San Francisco Summer Sounds at Outside Lands country," said singer Greg
Amongst the trees of Golden Gate Park, Outside Lands celebrated its 10th year anniversary with an array of rising acts Graffin. "Now let's see if
like Lizzo and Billie Eilish to heavy hitters like Janet Jackson, Portugal. The Man (pictured) and Janelle Monáe. Full we can become as big as
recap at musicconnection.com. any band in the world."
The issue also features live
reviews of Duran Duran
and Soul Asylum.
Here’s to 30 Successful Years!
The 30th annual month-long ASCAP Film Scoring
Workshop (co-sponsored by FMSMF) concluded
recently with the 12 film composers selected from
all over the globe screening their final film composi-
tions and receiving constructive feedback from
Emmy-award winning composers Richard Bellis and
Charles Bernstein. Pictured (l-r): Shawn LeMone,
SVP, ASCAP Film and TV/Visual Media; Michael Todd,
AVP, ASCAP Film and TV/Visual Media; Jennifer
Harmon, Senior Director, ASCAP Film and TV/Visual
Media; Elizabeth Matthews, CEO, ASCAP Film and
TV/Visual Media; Paul Williams, President, ASCAP
Film and TV/Visual Media; Kim Roberts Hedgpeth,
Executive Director, FMSMF; Barbara DeLucia, Deputy
Executive Director, FMSMF; John Titta, EVP, ASCAP
Film and TV/Visual Media.
– –JONATHAN
JONATHANWIDRAN
WIDRAN
DIME GROUP
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artandscienceofsound.com
8 8 38
8May 2018
September
June
July 2018 musicconnection.com
20182018 musicconnection.com
musicconnection.com
musicconnection.com
Live records are always a little edgier, but that
Tonight’s The Night original record is very edgy,
so we weren’t missing an edge. I play better live
than I do in the studio. That’s just the way it is. QUICK FACTS Young has been inducted into the
Young was born in Toronto and was Rock and Roll Hall of Fame twice––as a
MC: Those Tonight’s The Night shows were raised primarily in Winnipeg. solo artist in 1995 and with the Buffalo
edgier, too, because it was all about that album, Springfield in 1997.
which was brand new at the time. His father, Scott Young was a noted jour-
Young: We weren’t giving them anything they nalist, sportswriter and fiction author. Young has directed several films under
wanted, but it didn’t matter. That’s not why the moniker Bernard Shakey.
Young was in a group called the Mynah
we’re here. We didn’t do it for that reason. I Birds that was fronted by a pre-fame Young, a model train enthusiast, once
don’t really give a shit about that. I was doing Rick James and future Buffalo Spring- owned a share of Lionel LLC, for which
that for me because I wanted to do it. field bassist Bruce Palmer. The group he developed systems such as Liontech
briefly had a recording deal with Motown and Trainmaster Command Control.
MC: Isn’t it risky to keep putting your fans until James was arrested for being
through that, though? Young has won two Grammy Awards
AWOL from the U.S. Navy. and seven Canadian Juno Awards.
Young: I’ve trained my audience. They know.
I won’t go out unless I have something to do Young’s first success as a songwriter Young received the Order of Canada,
that I believe in doing and that I want to play came when the Guess Who recorded his homeland’s second highest civilian
and new songs I want to play that I think are his song “Flying on the Ground is honor, in 2009.
relevant. That’s why I go out. If I don’t have any Wrong” in 1967.
new song to play in front of people, they don’t
see me very often.
Young: I don’t know. I’d rather see Wil- destroying the environment. He has absolutely
MC: Is there any factor in particular that leads lie (Nelson), Bob (Dylan) and Neil, myself. no knowledge of what’s real. He’s decided be-
you to work with Crazy Horse or Promise of That’s what I would want. I think that would be cause he doesn’t believe in science he can lead
the Real? fantastic––but it’s just a dream of something I the country with no regard for science. All the
Young: They’re both great. It’s really the mate- wouldn’t mind doing, there’s nothing going on. I environmental policies he’s changing and taking
rial; the band I’m playing with will affect the just look at things I would like to do and things away, all the protections he’s taking away...
material I write when I’m with that band. I’m only I don’t want to do, so I try to find the things I do Regardless of the tasteless shit he does, it’s
writing because of what’s in my head, so I don’t want to do. I don’t like to go into a big barn with not important compared to those things. I don’t
know who I’m going to play with. But they’re my name on it anymore. I don’t want to do that. know how America is sleeping through this.
both great bands. Each one has its advantage It seems like I’ve done that to a point where
over the other. It’s a very good situation to be there’s something that just stops me. But I do MC: The last time you got pissed off like that we
in, and it’s a temporary situation ‘cause noth- like playing music, and I like playing with people got the Living With War album. Think another
ing’s gonna last forever. But I don’t want to that I love. one like that is coming?
wear it out, either. Young: I don’t know. I’ll let you know as soon
MC: You’ve never been shy about politics. as I find out.
MC: Speaking of bands, CSNY seems over and What’s your view of what’s going on here now?
done with––or is it? Young: It’s a fuckin’ mess. This guy is bent on Contact Rick Gershon, rick.gershon@wbr.com
Download at musicconnection.com/industry-contacts
Contact: Scotty Manzo 818-780-5394 Styles: rock, funk, pop, R&B, soul, ADAM MOSELEY
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Web: skullseven.com, billmetoyer.com Notable Projects: Please call for Music and Film
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Grammy Winner Warning, Armored Saint, D.R.I., C.O.C. (cell) 323-316-4932
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914-777-7677 Warrior Girl Music Web: adammoseley.net
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mariojmcnulty mike@sonicvisionmastering.com Notable Projects: International “The Son.”
Styles: rock, pop, alternative, indie, Web: sonicvisionmastering.com recording artists - Gilli Moon, Paulina Notable Projects: Braves, Eriel
singer-songwriter, R&B Styles: all Logan, Holly Light, Dina Gathe, Rhonda Indigo, John Cale, Inc., Lisbeth Scott,
Notable Projects: David Bowie, Stisi, Ari Inkilainen, Jessica Christ, Wolfmother, Nikka Costa, Abandoned
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Anderson, Anti Flag, Semi-Precious Global Positioning Services Walker, Songsalive! and Females On KISS, Rush, Roxette, Maxi Priest
Weapons 1540 6th St., #100 Fire CD compilations
Santa Monica, CA 90401 JASON MOSS
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(writer, producer) net (producer, songwriter, mixer) 914-777-7677
Email: howiemoscovitch@yahoo.ca Web: globalpositioningservices.net/ Joe D’Ambrosio Management, Inc. New York, NY
Web: howiemoscovitch.com client/thom-monahan 875 Mamaroneck Ave., Ste. 403 Email: info@jdmanagement.com
Notable Projects: K Rush,Shaniah Styles: rock, pop, folk, electronic, Mamaroneck, NY 10543 Web: jdmanagement.com/jasonmoss
Jones 914-777-7677, (cell) 914-522-1174 Styles: pop, hip-hop, EDM, indie-pop,
produce/engineer/mix rock, folk, singer-songwriter
Notable Projects: Vetiver, Devendra Email: info@jdmanagement.com
MELROSE MUSIC STUDIOS Web: jdmanagement.com/bill-lefler Notable Projects: Riff Raff, Kellee
Banhart, the Donkeys, Peter Bjorn and Maize, Lenny White, Justin Husley,
5254 Melrose Blvd., Ste. 108 John, Nina Persson, Mary Epworth, Notable Projects: Cary Brothers’,
Hollywood, CA 90038 Sweet Talk Radio, Sidney Bowen Dylan Owen, Del Water Gap
Horse Thief, EDJ, Beachwood Sparks
On the Raleigh Pictures Lot
818-216-5409 MASTER GROOVE STUDIOS MATT MOSS
BRIAN MONCARZ (producer, songwriter)
Email: melrosemusic@mac.com Joe D’Ambrosio Management, Inc. Northridge, CA
Web: facebook.com/ Nashville, TN Joe D’Ambrosio Management, Inc.
914-777-7677 875 Mamaroneck Ave., Ste. 403
melrosemusicstudios Toronto, Canada 818-830-3822, 615-799-9366
Styles: All styles Email: davejavumorse@msn.com Mamaroneck, NY 10543
Notable Projects: George Clinton, Email: joe@jdmanagement.com 914-777-7677, (cell) 914-522-1174
Web: brianmoncarz.com Web: mastergroovestudios.com Email: info@jdmanagement.com
Taylor Dane, MTV and American Idol Styles: rock, pop, country and R&B Web: jdmanagement.com/mattmoss
Artists, Pointer Sisters, Vivian Campbell Styles: rock, alternative, country, pop Notable Projects: R.E.M.,
Notable Projects: Bleeker Ridge, Notable Projects: The Voice,
(Def Leppard), Barry Goldberg, Brian Commodores, Warrant, Incubus, LA America’s Got Talen, NASCAR 2015,
Holland, Carmine Appice, Carla Olson, Moneen, Yukon Blonde, Circa Survive, Guns, Bowie, Rose Royce, Earth, Wind
Hot Hot Heat, Neverending White Catfish, Duck Dynasty, NHL Hockey
Howard Leese (Heart) & Fire, Quiet Riot, Motley Crue, YES, Seasons 2014-2015, Critics Choice
Lights. Badfinger, Alice In Chains, Gene Loves Awards
BILL METOYER Jezebel
(producer,2017_AF_2018_MC_ADS_press.pdf
engineer) BRUCE MONICAL *32-year veteran of mixing and
Email:
1 brucemoni@yahoo.com
12/10/17 3:28 PM ROB MOUNSEY
16209 Victory Blvd., Ste. 132 mastering Joe D’Ambrosio Management, Inc.
Lake Balboa, CA 91406 Web: facebook.com/bruce.monical
914-777-7677
December
September2018
2018 musicconnection.com 49
musicconnection.com 39
“Putting it on paper doesn’t make you a bad guy, it’s
protection for you and protection for them.”
Coker
Titles: Ori & The Blind Forest, Minecraft
but the ones at the beginning of my career I’m
just like, “They could [have] literally put anything
Mythology Series they wanted.” You’ve just got to assume the
gareth-coker.net worst, and at the end of the day just putting it on
paper it doesn’t make you a bad guy, it’s protec-
MC: How will the music for Ori & The Will and tion for you and protection for them. •
The Wisps differ from its 2015 predecessor?
Gareth Coker: It’s pretty clear from both of our
trailers that we have a key second character,
which is an opportunity for a new theme. We
actually end [the trailer] with the Owl’s theme
Nima
this time around. So, it’s an opportunity to de-
velop a new melody and then really make sure
Fakhrara
Titles: Detroit: Become Human, 1979 Revolu-
the music is reflecting what the player is doing, tion, Resident Evil Revelations 2
but not feeling gimmicky. nimafilmmusic.com
When I say gimmicky––I never, ever, ever
want a player to be reminded that they are MC: How did you get your start as a game
playing a video game. Jingly sound effects composer?
when you have an [item] pick up, like “ding-a- Nima Fakhrara: Gaming has always been a
da-ding,” we never have that in Ori. It works in part of my life. I give all props to one of my
games like Zelda, which is an art style with a amazing close friends and also my previous
completely different aesthetic. But in a game agent, Koyo Sonae, who introduced me to
like Ori, which so heavily relies on emotion and Capcom [as a composer]. They approached me
atmosphere, I never want to do anything that with the idea of being involved with Resident
breaks [that style]. But also change the music Evil to build some instruments, and more or less
enough from moment to moment to make the produce their soundtrack. Being a fan of the
flow a little bit more interesting for the player. franchise, I literally said yes right away. And it
became a really fun project to do, and then one
MC: Speaking of sound design, what is the rela- thing led to another, and I did 1979 Revolution
tionship you share with sound designer Andrew and then did a bunch of VR and AR games for
Lackey like on both Ori projects? the same company at Ink Stories, and then here “You have to
Coker: I have an amazing relationship with Andy
[Lackey] (Matrix, Dead Space). … He respects
we are with Detroit: Become Human. be able to just
what music can do, and I respect what sound MC: Detroit: Become Human had three com- create some-
can do. So, we’re quite good at staying out of posers, right? How did everyone communicate
each other’s way. In the first Ori, there’s a sec- during the project? thing that’s
tion that relies on using the glide mechanic and
you’re just using the wind basically to get through
Fakhrara: We weren’t actually allowed to listen
to each other’s music.
fresh and try
the level. to achieve an
For a sound designer, there’s only so much MC: Did you know that was part of the deal?!
you can do with wind to make it interesting Fakhrara: When I was approached for the original idea.”
(laughs). So Andy was like, “Gareth, can you game, I had no idea there was going to be
do something here with the music, because I’m multiple characters. Once we looked at the
kind of fed up with this wind.” And most of the contract, that’s when I found out. It was like,
gameplay music—excluding the big set pieces— “Oh, there are two other composers.” And then
is quite withdrawn. Andy said, “Ori’s just got the it became “Are we actually collaborating? What
last ability at the wind level, you can you can go is the situation?” Because I knew how that beings? So it all just came down to... he does
big on the music.” And so I did. … And it’s those works, but then they said, “No, you’re dealing calculations versus actually having, I guess,
kinds of little exchanges that we’re constantly with [the game’s character] Connor. The other theoretic thoughts of composition.
having a back-and-forth that enable us to have a two [composers], John and Philip, will deal with
really smooth and well-balanced audio experi- the other two characters. You’re not allowed to MC: What’s your relationship with a sound
ence. I don’t think there’s a game out there that listen to each other’s music until the very end designer?
sounds like Ori and I’m not just talking about the when there is a character clash. If/when it hap- Fakhrara: I try to be very close with the sound
music I’m talking about the balance between all pens.” But we were discouraged from listening designers. In the world of film/TV/games—in
of the elements. to each other, in order for us to create a unique any sort of platform where you’re working
sonic world. together— either one of us could completely
MC: Ori’s first soundtrack is all over the Inter- fuck each other up (laughs). So, working close
net, including Pandora. How do modern com- MC: Was that beneficial in the long run? with sound designers is very important. And I
posers negotiate these publishing royalties? Fakhrara: Yeah, absolutely. More power to learned that on Exist, a project with [Director]
Coker: If there’s nothing upfront, you need to the creators and more power to David Cage Eduardo Sánchez (Blair Witch Project). It’s a
make sure that you have something on the back and everyone at the audio team to even have found-footage film. When I approached him,
end. Let’s say you’re doing a game soundtrack the courage to do that. This could have been knowing it was found-footage, the [question
for an indie company that doesn’t have any just a nightmare (laughs), but it became a very was raised]... “Do we actually need to have
Moss So at least we have some continuity. MC: You take unique approaches to composing
jasongraves.com I suggested, “Take the budget that you would (Far Cry: Primal, Tomb Raider). Is there ever
have spent [on 60 minutes of live orchestra], that fear of remaining unique when beginning a
MC: How has technology changed the way you and put it toward more minutes of music in the new project?
compose game music? game. I’m going to record all the percussion [at Graves: Yeah pretty much every time (laughs).
Jason Graves: Technology has come a long home]; I’m working on my own orchestra sam- … It’s always embracing the fear and I feel like
way. The biggest thing I would say is how ples; I’ll do everything from MIDI. Let me send if I’m not 75 percent scared and 25 percent
much music you can have in a game. Even you some examples of what it would sound like excited, then I’m not trying something differ-
10 years ago we were breaking barriers back and if we do this we can have a really interac- ent enough. I love having the game inspire the
then with the amount of music that we could tive score and the cinematics will sound like the music, both in the instruments and the music
stream. I think for the first Dead Space we had rest of the score.” that I write and its sound palette, and I always
four stereo tracks of music that were playing all So that’s what we ended up doing and it [wonder], “Is this going to work? I think it’s work-
points in time and they were actually four differ- meant we had three and a half hours of music ing now?” … I would prefer to have it that way,
ent pieces of the same music track. And that’s instead of just 60 minutes. honestly. I think experimenting and keeping
NOTHING MORE
JOSHUA WEESNER
From Kickstarter to Multi-Grammy Nominations and Beyond
W
ho was nominated for every rock Grammy this year? The reach beyond their genre.
San Antonio rockers, Nothing More. Modern-day masters at Jonny Hawkins collaborates with charitable organizations to raise
blending elements of alternative rock and progressive metal, awareness for mental health issues, such as the Jed Foundation, in
the quartet scored three nominations—a feat no other rock band has response to his own family’s struggles regarding his sister’s bipolar
ever accomplished. Insane, considering a few years ago Nothing More. disorder. “We need to end the stigma of mental illness and start treating
formed in 2003, had to do an album by a Kickstarter campaign. individuals with mental illness and their families with the same kind-
Their Grammy-nominated album, The Stories We Tell Ourselves, has ness that we show people and families with physical illness,” Hawkins
been an enormous success. Released in September 2017 via Eleven bravely shares.
Seven Music, the direction-changing LP peaked #15 on the Billboard The group spent April touring with Papa Roach and Escape The Fate.
charts. The single “Go to War” (which scored the band its first # 1 on June was spent in the U.K. and Europe, performing headliner shows and
Billboard’s Mainstream Rock Songs chart) was nominated for Best numerous dates supporting the Des Moines, IA rock band, Stone Sour,
Rock Performance and Best Rock Song. along with sharing stages with heavy hitters like Avenged Sevenfold,
The group’s innovative music, built on guitar, bass, drums and vocals, Ozzy Osbourne, Rise Against and, the legendary Guns N’ Roses at the
are celebrated for their engaging and dynamic live performances, with Download Festival in both England and France.
frontman Jonny Hawkins leading the foursome with his powerful, ag- Nothing More started July off with an exceptional performance with
gressive vocals, and boundless energy. (A must-see! Hawkins riding his Guns N’ Roses and Volbeat in Barcelona, Spain. The quartet will hit
14-feet-tall, 400-pound animated structure coined the “Scorpion Tail.”) the road again with Five Finger Death Punch and Breaking Benjamin
In fact, you need to experience them in a live arena to appreciate on their North American summer tour running from the middle of July
their honest, passionate art. Nothing More’s musical narrative—based through early September.
on Hawkins’ real-life experiences—resonates personally with the lis- By releasing groundbreaking music, tirelessly touring and nurturing re-
tener because it evaluates challenging life experiences and turns them lationships with their fans, Nothing More will continue to transcend trends
into something positive. Always looking for ways to do better and to and genres during their quest for domination in the hard rock realm.
reach more people, the group feels songs like “Just Say When” (Music
Choice’s #1 Rock Video of the Week), “Still In Love” and “Fade in Fade Contact Heidi Ellen Robinson-Fitzgerald,
Out” are more human than rock, enabling the soul-bearing band to herfitz@mac.com
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.
Blessed with a confident, compelling flow Jaynee Thorne has a voice full of pure,
(reminding one of us of Camp Lo), NY artist unabashed optimism, and a message that
Shakes Lo is a promising young rapper. It is earnest and humanistic, overflowing with
also doesn’t hurt that Shakes has an eye- lessons learned and hope undaunted. Pris-
catching hair style. His “Untold Story,” with tinely recorded, her every word (and acous-
its desolate, eerie beat, is about neighbor- tic guitar) is crisp and clear on songs such
hood life, day-to-day scrapes, challenges, as the Latin-flavored serenade-like “This
Production 7
dreams and nightmares. Similar (but more Production 8
Time Around” where Thorne details the les-
dark and mournful) is “No Sympathy” sons that life has taught her. She’s equally
Lyrics 8 where the rapper shows a tricky ability to Lyrics 7 reflective on the wistful ballad “The Truth
Music 8 alter his cadence and keep his flow fresh Music 7 Is” where she delivers her life’s ultimate
Vocals 8 and interesting. “Boss Talk” has a strong Vocals 8 lesson: “love is all around.” On “Everybody
feature by Macc Noir and allows Shakes Hates L.A.” the artist mounts her amusing
Musicianship 7 to alternate verses with “a soldier of the Musicianship 7 tune with a bold, brassy arrangement that
block.” Above all, we gotta commend this finishes up with plenty of enthusiastic hand-
young artist for not copying Migos and clapping. The song’s theme makes it ripe
Future like too many others are doing. for film/TV situations.
Spearheaded by Travis Weatherred, This Americana outfit are solid players with
Empty Suns’ atmospheric songs will reward an appealing sound, right down to the lead
patient listeners who are attuned to the vocals, whose tone is a consistently natural
pleasures of eerie psych-rock excursions. fit. The group’s vocal blend is also a strong
“A Lonely Place” luxuriates in billowing thing to behold. The material is another
synths that blossom in ultra slow-motion matter, however. While the band conveys
to create the perfect realm for the artist’s its themes––whether the nostalgia-fueled
Production 8
artfully autotuned utterings. We’re taken Production 8
“I Miss America” and “Peace, Love” or the
with the wheezy, accordion-like synths that rocked-up relationship song “Nobody Like
Lyrics 8 levitate “Daydreams.” “Empty Sun,” with Lyrics 7 Me” with an assured, experienced hand––
Music 8 its catchy beats and powerful near-epic Music 7 there is something underwhelming about
Vocals 8 energy, is nevertheless his darkest, most Vocals 8 the chorus hooks. Despite the obvious
profoundly downcast song as the artist craft in the songwriting, they prove to be
Musicianship 8 decries the emptiness and desperation that Musicianship 8 overly familiar and obvious. Most effective
envelopes him. This unusual song’s rousing is “Nobody Like Me” which has a noisier,
chorus makes it an unexpected winner for hard-charging rock vibe. Honey River is a
the Houston-based artist. solid band that could take more risks.
Jazzy pop crooner Adam Robert Thomas Affable and consistently entertaining,
dishes up some tasty slices of sound that McMains is “a California cowboy on a
seem to glow with the breezy, carefree vibe rocketship to Mars” who brings a good-
of summer. “Feel Alright” is an ideal opener; natured vibe to everything he does. “Time
disarmingly simple and direct, the song ra- Well Wasted” epitomizes his work. It’s a
diates a light, entertaining atmosphere that craftily written song with a Mellencamp feel
characterizes this performer. Just as fun, whose only drawback is the thin drum tone,
Production 8
but more funky and uptempo, is “Freight Production 7
which makes the recording sound more like
Train” whose whoosh of energy (and brisk a demo than a rich, full-bodied production.
Lyrics 7 piano and jazz guitar work) perfectly mir- Lyrics 7 “Don’t Say Goodnight Tonight” is another
Music 7 rors the song’s title. Thomas impresses us Music 8 catchy tune with a tasty lead guitar tone.
Vocals 8 most, however, on the soulfully seductive, Vocals 8 McMains goes for a throwback vibe on
sweet ‘n easy “Got to Get You.” Here is “Devil Don’t Care” which conjures sounds
Musicianship 8 where the artist really shows his worth as Musicianship 8 and visions of the Old West, complete with
a singer, demonstrating impressive range, a whining harmonica and brushes that
expert control and a romantic sensuality keep a supple beat on a snare. We imagine
that is altogether convincing. McMains can be an engaging live act.
Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score.
A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.
NY-based synth-driven Prosspekt wear their With a voice that emits a forthright, classic-
Euro origins boldly on these tracks, which folk resonance, Karen Tobin lures you into
follow a dual lead-vocal format. And it’s in her world, one which is full of wistful, re-
the voice department that the act excels. flective moments filtered through a mature
The propulsive “Gonna Dance” shows woman’s sensibility. The mellow, melodic
Olya’s ability to soar, from zero to 60, on a “Homeless Heart” might be her best outing,
whim––Quite impressive. “My Home Is a a song propelled by a Spanish acoustic
Production 7
Planet” is a showcase for Niko’s theatrical, Production 8
guitar motif and Tobin’s articulate, heartfelt
bass-bending voice. “Sigh Not So” begins musings on her longing for true love and
Lyrics 7 with a stately cello and acoustic guitar Lyrics 8 connection. The artist imparts wisdom
Music 7 intro then deploys a high-energy beat that, Music 7 again on the jangly “Before It’s Too Late,”
Vocals 8 again, has a theatrical flair. All in all, their Vocals 8 musing about the many sides of love. On
Euro-accented vocals (and overall flavor) “Those Blue Eyes, she conveys the tingle
Musicianship 7 are a commercial hurdle in the U.S. Also, Musicianship 8 felt when the first spark of love is ignited. A
Prosspekt overload their tracks to dazzle former major-label artist, Tobin’s skills are
the listener. We feel that a more effective formidable; she would be especially pleas-
approach would be to simplify. Strip it back. ing on the winery circuit.
Pittsburgh rapper K. Link impresses us Punk-rock trio Good Luck, Ugly! is incred-
with his raspy, higher-consciousness flow, ibly tight, handling both the intensity and
full of harsh words (“Mark 8:36”) for an the dynamics of these brisk, solidly crafted
array of society’s ills (materialism, celebrity tunes. The lo-fi style is appropriate for the
worship, money & fame, the MAGA trend, band’s sweaty, shout-out style, reminiscent
sellouts), finally stating “There’s no price of Suicidal Tendencies, Dickies, Ramones,
on me!” His most unusual beat features the Blink. Are the songs short? “Good-bye”
Production 7
churning choir and yelps that propel “The Production 7
clocks in at 2 minutes flat. Equally brief
Wolves” where he slams street-corner role is “All Right” where the guys once again
Lyrics 8 models and the twisted values they en- Lyrics 7 adroitly handle abrupt downshifts and
Music 8 gender: “Father forgive us, we were raised Music 7 equally sudden bursts of energy. The stron-
Vocals 8 by wolves.” K. Link shows his sensual Vocals 7 gest outing for GL,U! is “Much Brighter”;
R&B side in “Pain,” a kinky outing set to a less punk in style, its appealing pop-rock
Musicianship 7 lurching beat that delves into the pleasure/ Musicianship 8 hook makes it their most accessible song.
pain (“Nails are in my back tonight”) that Overall, some tweaks are needed to make
ensues when he is with his special woman. this outfit a bit more commercially viable––
A confident, creative artist. if that’s what they’re after.
San Francisco artist Clara Bellino has a soft, Guitar-driven six-piece Band of Liars per-
whispery voice that she wisely backs up form like a well-oiled machine and singer
with a confident, well-seasoned group of Rae Rae (though a bit screechy at times)
musicians, including singers who contrib- certainly brings a strong, confident attitude
ute blends that are sweet and satisfying. to the mic. “Shoulda Known Better,” a slice
The artist shows her romantic side with of modern country rock, is typical of the
an altogether Spanish-infused song, “El band’s catchy, relatable material. Like all the
Production 8
Crepusculo,” that shows Bellino to be sweet Production 8
tunes here, it carves out ample space for
and feminine. Most interesting is “Leave It some tasty lead guitar. “Drunk Drunk” is a
Lyrics 6 To Me” where the artist expresses a situ- Lyrics 8 down-and-dirty party anthem with a twangy,
Music 7 ation of unrequited love that is profoundly Music 8 southern-rock sneer. Most memorable,
Vocals 7 sad. On “I Came Here” the artist states how Vocals 8 however, is “Sleeping Like a Queen” whose
she ended a bad relationship and started folkish, stripped-down arrangement allows
Musicianship 8 fresh in a new town. A consistent drawback Musicianship 8 Rae Rae to gloat “I’m sleeping like a queen
in these recordings figure a way to prevent in a king-size bed,” about feeling great after
her voice from being overshadowed by her ending a bad relationship. These Liars show
backup players. true potential.
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.
Contact: contact@skyedelamey.com
Web: skyedelamey.com
Players: Skye Delamey, vocals; Nikolay, lead/
rhythm guitars; Ben Richardson, drums; Razz,
bass guitar
SKYE DELAMEY
from the crowd and some of the fans were even
dancing along. The band made a solid display of
BRIAN BIERY
musical interludes that graced certain sections
throughout the set.
Contact: traci@tcopr.com
Web: kotawade.com
Players: Kota Wade, vocals; Tommy Oleksyn,
guitar; Lachlan Franckx, drums
KOTA WADE
body, betrayed by my mind and I am looking for
an answer I may never find, while I go crazy…”
MIGUEL COSTA
BRETT CALLWOOD
SWAMI LUSHBEARD
as they emotionally pull riffs, melodies, beats
and bass lines out of their instruments, or
really feel the lyrics that their mouths are
emitting. It gets a little earnest, but they can
be forgiven for that. The guys are decked out
Saint Rocke Hermosa Beach, CA bands performing are tributes to the Ramones in jeans and t-shirts, pretty much what you’d
and Pearl Jam, which makes for an interesting imagine they wear when they’re not on stage
Contact: contact@swamilushbeard.com package of entertainment. It presents challenges (or at the day job).
Web: swamilushbeard.com though; a lot of the people in attendance just
Players: Don Sprouls, guitar, vocals; Ian want to rock out to songs that they know and Summary: Swami Lushbeard is a decent,
Michaels, drums; M@ Sachs, keyboards; Greg love, rather than making an effort with a band unspectacular rock band. The songs are
Safel, harmony vocals; Darren Scholtz, bass they might not have heard of before. To be fair, enjoyable, but ultimately not memorable.
the band has pulled in a respectable number of There are flashes of fun, but they stop short
Material: Opening up a three band bill on a people who are happy to see them, and shake of excitement, and they’re certainly not
Saturday night at Hermosa Beach’s prime rock & their heads to radio-friendly, prog-lite, alt-rock dangerous in any way. The closing cover
roll venue, L.A. rockers Swami Lushbeard have tunes like the so-serious “End of the World,” of the Foo Fighters’ “Times Like These” is
the advantage of presenting the only original power ballad “Haunted,” and the mildly Dream telling––safe, bouncy rock & roll played by
material on offer all evening. The other two Theater-esque “Enemy.” very smiley people. – Brett Callwood
Contact: chiefwhitelightning@gmail.com
Web: chiefwhitelightning.com
Players: Joshua “Chief White Lightning” Logan,
vocals, guitar; Jonas Wilson, guitar, keys; Dustin
Hannah, bass; Glenn Fryatt, drums
CHIEF
go somewhere special. Joshua Logan, also
known as Chief White Lightning, is an Austin,
TX, dude recently relocated to Long Beach,
CA. He’s also a member of Austin band The
BRETT CALLWOOD
WHITE LIGHTNING
Blind Pets, but he recently put out the debut
self-titled Chief White Lightning “solo” album,
and it’s frankly spectacular. Raw, primal blues
meets fun, garage-R&B––there’s a slight
Detroit-esque, White Stripes/Electric Six vibe
to it all. There’s also a rockabilly edge in a fun, through his art. Meanwhile, he’s assembled a beauty, and Logan’s trademark lightning-strike
Rocket From the Crypt sort of way. “Bleach group (he calls it the “Good Time Band”) that symbol is also on the back of Wilson’s black
Blonde Heritage” is a catchy, danceable tune; frames the whole thing beautifully––individuals jacket. It’s a level of detail that’s reflected in
elsewhere, Logan wails out humanity’s aches who are in sync with Logan’s very personal the music. Essentially, when you have a band
and pains. Put it all together, and the Chief music. That’s priceless. this good playing with this authentic a level of
White Lightning sound is spectacular. passion, it’s impossible to look away.
Performance: The Chief is a mesmerizing
Musicianship: Logan himself is a wonderful frontman and performer, though it’s not Summary: Chief White Lightning sees Logan
guitarist. He’s all about the feel; while he’s immediately clear why. He doesn’t move a finding his feet as a solo artist but, damn, he’s
clearly technically proficient, the joy is in the whole lot, and neither does his band. Rather, made an incredible start. As he settles into life
way he’s able to wrench sheer emotion out it’s all about the effort that he’s putting into in California, playing every dive in L.A. and
of his instrument. Matched with his vocals, the songs. And it all starts with the white suit Orange County, he’s only going to get better.
which are equally heartfelt, we have a frontman he’s sporting (also recently seen on the video And frankly, that’s frightening.
capable of effortlessly articulating his feelings for “Bleach Blonde Heritage.” It’s a thing of – Brett Callwood
Contact: howie@howiewood.com
Web: thebandwolves.com/
Players: Marc Avery, lead vocals; Sean
Carney, guitar, backing vocals, keyboards;
Rockwell Sands, drums, guitars keyboard,
backing vocals
PATRICK O'HEFFERNAN
WOLVES
rock tempo lane with occasional forays into
melodic love tunes and rap. Their set included
“Animal” and the sing-along perfect “Shoulder
to Shoulder.” Lyrics are centered on love––
found, lost, and current––plus lots of sex;
nothing deep or revelatory, but all great fun.
Musicianship: This show did not utilize Performance: Wolves knows how to energize Summary: Formed in 2017, Wolves is young,
keyboards, limiting the range of musicianship, an audience, radiate love and joy from the talented, attractive, energetic, and has the
and it resulted in a slight, two-dimensional stage, and engage fans. From Avery’s set- foundation to grow. Each of the players is
garage rock feel. Carney’s guitar was precise starting “how you’all doin?” to his final drawn- musically proficient and ready to add a new
but not flashy, except when needed. He out note in “Hold On For the Night” with his level of sophistication without losing any of
provided rhythm riffs, note-bending melodies shirt off (at the audience’s request) and arms their enthusiasm. As they add depth to their
and hot licks, all with journeyman skill. spread, he was performance personified. He is instrumentation and fill out their sound, broaden
Sands’ uncomplicated beats and fills never a master at improvising music and conversation their lyrics to include more radio-ready songs and
overpowered the vocals. He was on the money, on the run, giving the band a strong personal more lyrics with their own backstories, they will
except for a false start for “Animal,” which gave authenticity. The rawness of the lyrics and their easily go to the next level and take adoring fans
Avery an opportunity to flash his million-watt sing-along design––which worked well––added with them…especially if Avery takes his shirt off
grin as they started again. up to a rousing performance. at every performance. – Patrick O’Heffernan
SKOUT
techniques would increase the fullness of their
overall presentation.
APPLE KAUFMANN
Contact: maggie@pressherepublicity.com
Web: lettucefunk.com
Players: Nigel Hall, keyboards, vocals; Ryan
Zoidus, saxophone; Adam “Shmeeans”
Smirnoff, guitar; Erick “Jesus” Coomes, bass;
Eric “Benny” Bloom, trumpet; Adam Deitch,
drums
LETTUCE
ears, has a broad and benevolent appeal.
MARK SHIWOLICH
Formed in the early ‘90s when band
members attended Berklee College of Music,
Lettuce subsequently launched their career in
Boston. At the band’s inception over 20 years
ago, they frequented the clubs, volunteering
to play for free to get a foothold. Simply, “let
Musicianship: Each player has an opportunity their highly professional, but relaxed demeanor.
us play” was their request, ultimately naming
to stand out, depending on the arrangement While the bulk of their repertoire was original
themselves Lettuce, and eventually building
and the instrument the song is built around. and easy to digest, the set could have been
a large fan base in cities like New York, San
Regardless of individual spotlight moments, boosted by throwing in a big cover song,
Francisco and Tokyo.
the band seamlessly come together at putting their own unique spin on it, which would
With a multitude of rhythms and polyrhythms,
crucial points, with spot-on timing and have rocked given the band’s collective skills.
the complexity of their music will satisfy the
dynamics. Vocals are not a mainstay of the
most discerning listener, while those looking
show; however, keyboardist Hall, a more Summary: With their level of musicianship,
for a feel good experience, will be gratified by
than competent singer, delivers an effective their easygoing manner and interesting
the ability of this ensemble to communicate
performance when vocals are called for. arrangements, this group can endure,
on many levels. “Relax,” a shuffle feel number
especially on the live scene. Their years
with a bass driven foundation, is an apt
Performance: At first note, playing to a packed together have produced great results,
example of how this band can interweave the
house of devoted fans, Lettuce had the full demonstrated by their obvious teamwork and
elements. The melodic motif is established by
and committed attention of the audience. It camaraderie. A sprinkling of some well-known
the keyboards, repeating throughout, while the
is evident that the band has logged endless heavy-hitting numbers will further round out
trumpet and sax grab the accented parts as
hours of live performance, demonstrated by the set. – Ellen Woloshin
various rhythms overlap.
LOVE GHOST
This issue was notably obvious during slower
songs. Learning to maintain high energy on
MING LO
SyncSongwriter.com SONGWRITER
Email: contact@basementlicensing.com Credits: Wonder, Dynasty, A Futile & Stupid Heaven, Failure to Launch, Watchmen, Video
MUSIC SUPERVISORS Web: basementlicensing.com Gesture, Runaways, Riverdale, Shades of Games Live
1 SOUNDTRACK CENTRAL Contact: Chuck Blue How to Submit: no unsolicited material
5062 Lankershim Blvd. #174 Clients: Lakeshore Entertainment, MTV, How to Submit: no unsolicited material
N.Hollywood CA 91601 Vans, ESPN, Paramount, Xbox, Fox, DESERT C.A.M. STUDIOS / WINMILL
818-505-0669 Weinstein Co., Comedy Central, etc. CINECALL SOUNDTRACKS PRODUCTIONS
Email: info@SoundtrackCentral.net 55 E. Front St. 77095 Desi Dr.
Web: SoundtrackCentral.net BATES MEYER INC. Keyport, NJ 07755 Indian Wells, CA 92210-9013
Contact: Jay Warsinske & Madeleine Smith P.O. Box 2821 732-450-8882 760-972-4559
How to Submit: Mail Cd to address or email Big Bear Lake, CA 92315 Web: cinecall.com Email: info@DesertCAM.com
Soundcloud links 909-547-0504 Fax 909-547-0901 Contact: George McMorrow Web: DesertCam.com,
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5 ALARM Web: batesmeyer.com Contacts: Chip Miller (Director/Producer/
3500 W. Olive Ave,, Ste. 810 Contact: Rick Bates and Nancy Meyer CLEARSONGS Writer/Editor), Daniel Pomeroy (Music
Burbank, CA 91505 244 Fifth Ave., Suite 2262 Supervisor/Film & TV Licensing), Travis Miller
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Web: 5alarmmusic.com Los Angeles, CA 90048 Email: jim@clearsongs.com Coordinator/Account Rep), J.T. McBride
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35 SOUND Email: info@bigsoundsintl.com Contact: Jim Black (Production Manager/Camera Operator),
P.O. Box 217 Web: bigsoundsintl.com/contact.htm Credits: HBO, Artisan, Lion’s Gate, October Kit Gleason (Writer/Press/Public Relations),
Pacific Palisades, CA 90272 Music Supervisor: Jonathan Hafter Films, USA Films, Oxygen Music Works, Daniel Lyons (Producer/Writer), Josh
310-454-1280 Fax 310-454-3443 How to Submit: no unsolicited material Miramax, Columbia, Searchlight Reynolds (Director/Producer/Writer)
Email: gmarq@35sound.com accepted How to Submit: no unsolicited material How to Submit: For unsolicited materials
Web: 35sound.com only, we accept CD and/or DVD physical
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Email: infowest@bmemusic.com Rogers, Kelly Bennett submitting material, see website
Additional location: Web: bmemusic.com Credits: Real Women Have Curves, Price of
Contact: Alan Brewer Glory, Tortilla Heaven, For Love or Country, EMOTO MUSIC
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8851 A1A S. TechTV, Time’s Square Millennium Web: dancingmice.net FIRSTCOM MUSIC
St. Augustine, FL 32080 Celebration, award-winning soundtrack Contact: Scottpatrick Sellitto 1325 Capital Pkwy., Ste. 109
producer; extensive music and IP rights Credits: Miami Vice, Ultraviolet, Eight Below, Carrollton, TX 75006
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Web: barefootmusic.tv Laborites, Technicolor etc. 17153 Rayen St. SKYPE: FordMusicServices
Credits: Top Chef, Project Runway, Project How to Submit: see online “FAQ” Northridge, CA 91325 Artfordmusic@yahoo.com
Greenlight, The Real Housewives of Orange 818-886-5262
County CHOP SHOP MUSIC SUPERVISION Email: ross@derochemusic.com FUSION MUSIC SUPERVISION
So. Pasadena, CA Web: derochemusic.com Email: submissions@
BASEMENT RECORDS & LICENSING Email: contact@chopshoprecords.com Contact: Ross De Roche fusionmusicsupervision.com
P.O. Box 511 Web: chopshopmusic.com Credits: My Super Ex Girlfriend, Mr. & Mrs. Web: fusionmusicsupervision.com
La Habra, CA 90633-0511 Contact: Alexandra Patsavas Smith, Ghosts of Girlfriends Past, Just Like Contact: Christopher T. Mollere
C O M P I L E D B Y D E N I S E C O S O
GERRY GERSHMAN MUSIC MIKE FLICKER MUSIC SERVICES 512-532-6157 TV shows including NetFlix, film, and sport
SUPERVISION Burbank, CA Email: realcures@yahoo.com networks and events.
322 S. Topanga Canyon Blvd. Web: mikeflicker.com Web: realcures.net How to Submit: send link with up to three
Topanga, CA 90290 Contact: Mike Flicker Contact: David Lear of your strongest stongs to glorytvfilm@
Email: invisiblefilms@earthlink.net Music Supervisors: Mike Flicker, CEO Styles: Americana, indie rock, alt. country, gmail.com
Contact: Gerry Gershman Credits: Viacom, 20th Century Fox, rockabilly, acoustic, folk
How to Submit: accepts CDs and internet Showtime, Granada Entertainment, WB, How to Submit: unsolicited materials SONGFINDER
links for downloads, ABC accepted via U.S. mail Atlanta, GA
email or mail How to Submit: no unsolicited material 404-437-7978
REEL ENTERTAINMENT Email: info@songfinderlicensing.com
GOODNIGHT KISS MUSIC MORRIS & YOUNG 11684 Ventura Blvd., Ste. 134 Web: songfinderlicensing.com
10153 1/2 Riverside Dr., Ste. 239 310-699-7026 Studio City, CA 91604 Contact: Melissa Love, Sr. Director
Toluca Lake, CA 91602 Email: music@morris-young.com 310-428-5924
808-331-0707 Web: morris-young.com Email: info@reelent.com SOUNDTRACK MUSIC ASSOCIATES
Email: janet@goodnightkiss.com Contact: Wenty Morris Web: reelent.com 4133 Redwood Ave., Ste. 3030
Web: goodnightkiss.com Credits: The Tonight Show with Jay Leno Contact: Mark Wolfson Los Angeles, CA 90066
Contact: Janet Fisher (NBC), Project Runway (Liftetime), CBS Credits: The Playtone Company, Mi Vida 310-260-1023
Credits: HBO, Showtime, NBC Sports Spectacular (CBS) Loca, Philadelphia, Stop Making Sense, Email: info@soundtrk.com
How to Submit: please see web Silence of the Lambs, Colors Web: acebook.com/
MUSIC BRIDGE LLC, THE How to Submit: Email submission request SoundtrackMusicAssociates
IHD MUSIC NOW P.O. Box 661918 Contact: John Tempereau, Roxanne Lippel,
678-849-7444 Los Angeles, CA 90066 REEL SOUND, INC. Koyo Sonae
Email: music@hdmusicnow.com 310-398-9650 818-618-REEL (7335) Music Supervisors: George Acogny,
Web: hdmusicnow.com Email: david@themusicbridge.com Email: reelsoundinc@aol.com Anastasia Brown, Kathy Dayak, Jason
Contact: A&R Web: themusicbridge.com Web: reelsoundinc.com Eldredge, Matt Kierscht, Frankie Pine,
How to Submit: email streaming links only Contact: David G. Powell, President Contact: Michael Becker Michelle Silverman, Koyo Sonae
How to Submit: no unsolicited material How to Submit: Email before submitting How to Submit: no unsolicited material
IDM MUSIC
36 Lispenard St., 2nd Fl. MUSIC ORANGE RIGHTS WORKSHOP, THE STEELMAN STUDIOS
New York, NY 10013 1 Icehouse Alley 1800 Bryant St., Ste. 104 818-465-3357
212-695-3911 San Francisco, CA 94111 San Francisco, CA 94110 Email: steelmanstudios@live.com
Email: info@idmmusic.com 415-398-6264 415-561-3333 Web: steelmanstudios.net
Web: idmmusic.com Email: michael@musicorange.com Email: submissions@rightsworkshop.com Contact: Devon Steelman
Comments: Music licensing and music Web: musicorange.com Web: rightsworkshop.com Credits: TV Networks, Film Studios, Ad
clearance, music representation; master and Contact: Maryam Soleiman, Brooke Wentz Agencies
publishing, music supervision, catalogue and MUSIC SALES WEST Credits: La Mission, Everyday Sunshine: How to Submit: no unsolicited material
copyright admin. 1247 6th St. The Story of Fishbone, The Devil & Daniel Basic rate: call for info
Credits: ABC, BBDO, CBS, Disney, Fox, Santa Monica, CA 90401 Johnston, American Hardcore
HBO, MTV, Showtime, Grey Worldwide, NBC 310-393-9900 How to Submit: Direct any content to the SUPERVISION
- check site for full list. Email: info@musicsales.com email address 165 Hudson St., Rear Entrance
How to Submit: no unsolicited material Web: musicsales.com New York, NY 10013
How to Submit: no unsolicited material Additional location: 212-219-9170
IMC ENTERTAINMENT GROUP Email: sue@supervzn.com, jackie@
19360 Rinaldi St., Ste. 217 Additional locations: 1438 N. Gower St., Box 83 supervzn.com
Porter Ranch, CA 91326 Los Angeles, CA 90028 Contact: Susan Jacobs, Jackie Mulhearn
818-700-9655 180 Madison Ave., 24th Fl. 310-439-1290 How to Submit: no unsolicited material
Email: sr@imcentertainment.com New York, NY 10016
Web: SylvesterRivers.com 212-254-2100 RIPTIDE MUSIC GROUP SWEET & DOGGETT
Contact: Sylvester Rivers 9469 Jefferson Blvd., Ste. 114 Boston, MA
Music Supervisors: Sylvester Rivers, Paul 14-15 Berners St. Culver City, CA 90232 617-872-0455
Riser London W1T 3LJ, UK 310-437-4380 Fax 310-437-4384 Email: info@sweetdoggett.com
+44 20 7612 7400 Email: submissions@riptidemusic.com Web: sweetdoggett.com
INAUDIBLE Email: music@musicsales.co.uk Web: riptidemusic.com Contact: Jay Sweet or Scott Doggett
Los Angeles, CA How to Submit: no music submission Credits: AOL, Merrill Lynch, Kodak, Fisher-
818-385-3400 Fax 818-385-3456 Denmark, Spain, France, Germany, Price, Dunkin Donuts
Email: info@inaudibleprod.com Australia, Japan, Southeast Asia, China SCREENMUSIC INTERNATIONAL — How to Submit: no unsolicited material
Web: inaudibleprod.com PRODUCTION MUSIC LIBRARY
Music Supervisors: Peter Afterman, MUSIC WITHOUT BORDERS (MWB) 18034 Ventura Blvd., Ste. 450 TLS MUSIC SERVICES
Margaret Yen 159 Fishing Trail Encino, CA 91316 818-848-2330 Fax 818-848-4006
How to Submit: no unsolicited material Stamford, CT 06903 818-789-2954 Email: tracy@tlsms.com
203-428-6720 Email: screenmusic@aol.com Web: tlsms.com
JONATHAN LAZAR Email: info@musicconsultant.net Web: screenmusic.com Music Supervisor: Tracy Lynch-Sanchez
Urband & Lazar Web: musicconsultant.net Credits: All major Film & TV companies Credits: Napoleon Dynamite, 20th Century
Los Angeles and London Contact: Steve Lurie, Founder and including Warner Bros., Dreamworks, Lion’s Fox, Universal Studios Home Entertainment,
323-230-6592 President Gate Films, MGM, Paramount MGM
Email: help@urbandlazar.com How to Submit: please contact first before How to Submit: no unsolicited material
Web: Urbandlazar.com NAXOS OF AMERICA sending CDs
How to Submit: No unsolicited material 1810 Columbia Ave., Ste. 28 TRF PRODUCTION MUSIC LIBRARIES
Franklin, TN 37064 SL FELDMAN & ASSOCIATES 106 Apple St., Ste. 302
MACHINE HEAD 615-771-9393 200-1505 W. 2nd Ave. Tinton Falls, NJ 07724
310-392-8393 Email: naxos@naxosusa.com Vancouver, BC V6H 3Y4 201-335-0005, 800-899-MUSIC
Email: patty@machinehead.com Web: naxos.com 604-734-5945 Email: info@trfmusic.com
Web: machinehead.com How to Submit: no unsolicited material Email: info@feldman-agency.com Web: trfmusic.com
Contact: Patty Chow Dewey Web: feldman-agency.com Contact: Anne Marie Russo
Credits: New Line Films, Lions Gate Films, NEOPHONIC, INC. Styles: all Credits: TV Networks, Film Studios, Ad
Ogilvy & Mather, TBWA Chiat Day, THQ, The 1433 6th St. Credits: Defining Gravity, Imaginarium of Agencies
Matrix Video Game Santa Monica, CA 90401 Doctor Parnassus, Frankie & Alice. From How to Submit: submit acoustic and
How to Submit: no unsolicited material 310-550-0124 country to folk, hip hop to rock, pop to opera instrumental material only
Email: soundtracks@neophonic.com and everything in between, TFA represents
MARTUNE MUSIC Web: neophonic.com acts that will meet your entertainment needs. TRUE TALENT MANAGEMENT
P.O. Box 416 Contact: Evyen Klean, music supervisor; PJ How to Submit: no unsolicited material 9663 Santa Monica Blvd., #320
Pasadena, CA 91102 Bloom, music supervisor accepted Dept. WEB
626-441-0400 How to Submit: We do not accept Beverly Hills, CA 90210
Email: martune@sbcglobal.net unsolicited music submissions. Additional location: 310-560-1290
Web: martunemusic.com Email: webinfo@truetalentmgmt.com
PEACE BISQUIT 8 Elm St. Web: truetalentmgmt.com
MEDIA CREATURE MUSIC Brooklyn, NY Toronto, ON M5G 1G7 How to Submit: accepts unsolicited material
6121 Santa Monica Blvd., #A 718-789-1689 416-598-0067
Los Angeles, CA 90038 Email: staff@peacebisquit.com UMG NASHVILLE
323-468-8888 Web: peacebisquit.com SMC ARTISTS 401 Commerce St., #1100
Contact: Sharal Churchill How to Submit: no unsolicited material 1525 Aviation Blvd., Ste. 1000 Nashville, TN 37219
How to Submit: accepts unsolicited material Redondo Beach, CA 90278 615-244-8944
PUSH.audio 818-505-9600 Web: umgnashville.com
MICHAEL WELSH PRODUCTIONS 1327 Grandin Rd SW Web: smcartists.com Styles: Country, rock, singer-songwriter
2215 Lambert Dr. Roanoke, VA 24015 Contact: Otto Vavrin II Clients: Shania Twain, Toby Keith, Willie
Pasadena, CA 91107 Email: submissions@push.audio How to Contact: call before submitting Nelson, Ryan Adams, George Strait, Reba
626-796-7821 Fax 626-796-0847 Web: push.audio material McEntire, more
Email: info@michaelwelshprods.com Music Supervisors: Scott Dudley, Corey Credits: Lost Highway, Mercury, MCA,
Web: michaelwelshprods.com/about.php English, Kirk Dudley SONG & FILM, LLC Dreamworks
Contact: Michael Welsh Credits: BRITAwards, FOXSports, ESPN, 4079 Governor Dr. Ste. 185 How to Submit: no unsolicited material
Comments: Music searches and clearances. NBA/TNT, Redbull, MTV, VH1, WSOF/NBC, San Diego, CA 92122
Credits: Macy’s, Gap, American Eagle FOX, SBNation 802-279-3233 VELVET EARS
Outfitters, DKNY, FedEx, How to Submit: submissions@push.audio Email: Glorytvfilm@gmail.com 4570 Van Nuys Blvd., #256
Old Navy, Mitsubishi, Ford, Banana Republic, Web: song&film.com Sherman Oaks, CA 91403
Yahoo, Nokia, REAL CURES MUSIC Contact: Glory Reinstein 818-510-0295 Fax 310-496-2624
Chivas Regal, Payless Shoes 11900 Metric Blvd., #J-195 Comments: One-Stop song licensing for Web: velvet-Ears.com
How to Submit: no unsolicited material Austin, TX 78758 independent artist; S&F has placed songs in Contact: Liz Gallacher, Kathleen Hasay
Credits: Live Forever, Virgin Records, Glendale, CA 91203 ENDLESS NOISE STEELMAN STUDIOS
Bend It Like Beckham, Cube Soundtracks, 818-396-4474 Fax 818-396-4979 1825 Stanford St. 818-465-3357
Resident Evil Email: vicki@thebridgerecording.com Santa Monica, CA 90404 Email: steelmanstudios@live.com
Web: thebridgerecording.com 310-694-8251 Web: steelmanstudios.net
VERSUSMEDIA Basic rate: call for info Email: marycatherine@endlessnoise.com Contact: Devon Steelman
Web: versusmedia.com Web: endlessnoise.com Credits: TV Networks, Film Studios, Ad
Styles: All genres CAPITOL STUDIOS Basic Rate: call for info Agencies
Credits: Over 900 independent films 1750 N. Vine St. How to Submit: no unsolicited material
worldwide Los Angeles, CA 90028 FRIDAY ENTERTAINMENT Basic rate: call for info
How to Submit: online registration 323-871-5001 Sherman Oaks, CA
necessary to receive listings Email: paula.salvatore@umusic.com 818-995-4642 STOKES AUDIO RECORDING & POST
Web: capitolstudios.com Email: info@fridayentertainment.com 19626 Ventura Blvd., Ste. 201
VISUAL MUSIC SERVICE Contact: Paula Salvatore Web: fridayentertainment.com Tarzana, CA 91356
9507 N. Santa Monica Blvd., # 213 Basic Rate: call for info Contact: Sam Dress 818-855-9759
Beverly Hills, CA 90210 Basic Rate: very competitive Email: info@stokesaudio.com
818-343-7073, 818-693-1790 CHARLES LAURENCE PRODUCTIONS Web: stokesaudio.com
Email: albinafle@gmail.com 19002 Los Alimos St. GRIND MUSIC & SOUND Basic Rate: call for info
Contact: Rick Fleishman Northridge, CA 818-565-5565
How to Submit: no unsolicited material 818-368-4962 Email: info@grindinc.com STUDIO CITY SOUND
Email: clpmanagement@aol.com Web: grindinc.com 4412 Whitsett Ave.
WARD HAKE Web: clpstudios.com Basic Rate: call for info Studio City, CA 91604
VP Music, 20th Century Fox TV Contact: Charles Laurence 818-505-9368 Fax 818-761-4744
10201 W. Pico Blvd., Bldg. 88, Ste. 30 Basic Rate: call for info HUM MUSIC + SOUND DESIGN Email: eharrison@studiocitysound.com
Los Angeles, CA 90064 1547 9th St. Web: studiocitysound.com
310-369-1000 CINEWORKS DIGITAL STUDIOS Santa Monica, CA 90401 Basic Rate: call for info
Credits: 24, Prison Break, The Simpsons, 3330 Cahuenga Blvd. W., Ste. 200 310-260-4949 Fax 310-260-4944
Family Guy, My Name Is Earl, How I Met Los Angeles, CA 90068 Email: dl@humit.com SUMMERFIELD MUSIC, INC.
Your Mother, The Unit, The Shield, Shark 818-766-5000 Fax 818-623-7457 Web: hummusic.com 818-905-0400
and Bones Email: info@cineworks.com Basic Rate: call for info Web: summerfieldmusic.com
How to Submit: no unsolicited material Web: cineworks.com Basic Rate: call for info
Basic Rate: call for info MIND OVER EYE
WARNER/CHAPPELL 2221 Rosecrans Ave., Ste. 195 THRESHOLD SOUND + VISION
PRODUCTION MUSIC El Segundo, CA 90245 2114 Pico Blvd.
10585 Santa Monica Blvd. Additional locations: 310-396-4663 Santa Monica, CA 90405
Los Angeles, CA 90025 Email: alexg@studiotenprod.com 310-566-6677 Fax 310-314-3826
310-441-8722 1831 Centinela Ave. Web: mindovereye.com Email: micheleb@thresholdsound.com
Email: info@warnerchappellpm.com Santa Monica, CA 90404 Basic Rate: call for info Web: thresholdsound.com
Web: warnerchappellpm.com 818-766-5000 Contact: Michele Blankenship
How to Submit: We do not accept MUSIC COLLECTIVE, THE Basic Rate: call for info
composer demos and library discs for 935 Gravier St., Ste. 1054 12711 Ventura Blvd., Ste. 110
consideration. We only accept emails with a New Orleans, LA 70112 Studio City, CA 91604 THUNDER SOUND
link to your music. NO music files attached 818-508-3303 Fax 818-508-3314 3123 S. La Cienega Blvd.
to the email 12054 Miramar Pkwy. Email: scott@themusiccollective.com Los Angeles, CA 90016
Miramar, FL 33025 Web: themusiccollective.com 310-829-4765 Fax 310-202-7475
Additional locations: 305-754-7501 Basic Rate: call for info Email: artwright@thunder-sound.com
Web: thunder-sound.com
1030 16th Ave, South 1431 Woodmont Lane, N.W. PACIFIQUE STUDIOS Contact: Art Wright
Nashville, TN 37212 Atlanta, GA 30318 10616 Magnolia Blvd. Basic Rate: call for info
888-615-8729 404-567-5160 North Hollywood, CA 91601
818-761-8042 TOMCAT ON THE PROWL PRODUCTIONS
1633 Broadway, 9th Fl. 12054 Miramar Parkway Email: tony@Pacifiquestudios.com Studio City, CA
New York, NY 10019 Miramar, FL 33025 Web: pacifiquestudios.com 818-533-8669
212-275-1729 305-754-7501 Basic Rate: call for info Email: studio@tomcatontheprowl.com
Contact: Thomas Hornig
915 West 100 South CLOUD 19 PRIMALSCREAM MUSIC Web: tomcatontheprowl.com
Salt Lake City, UT 84104 3975 Landmark St. #1200 3005 S. Lamar Blvd.
800-554-6462 Culver City, CA 90232 Austin, TX 78704 V GROUP, THE
310-839-5400 323-366-0012 359 21st St.
Email: info@cloud19.com Email: info@primalscream.audio Santa Monica, CA 90402
WJOY MUSIC SEARCH & LICENSING Web: cloud19.com Web: primalscream.audio 310-395-0252
2675 W. Grand Ave., Ste. 505 Basic Rate: call for info Basic Rate: call for info Email: v@thevgroup.net
Chicago, IL 60612 Web: thevgroup.net
773-276-9340 CONWAY RECORDING STUDIOS RACE HORSE STUDIOS Basic Rate: call for info
Web: wjoymusic.com 5100 Melrose Ave. 3780 Selby Ave.
Contact: Joy Wellington Tillis Los Angeles, CA 90038 Los Angeles, CA 90034 VILLAGE, THE
Comments: WJOY provides a service to 323-463-2175 Fax 323-463-2479 310-280-0175 Fax 310 280-0176 1616 Butler Ave.
advertising and corporate clients by aiding Email: reception@conwayrecording.com Email: duncan@racehorsestudios.com Los Angeles, CA 90025
them in obtaining rights to use pre-recorded Web: conwayrecording.com Web: racehorsestudios.com 310-478-8227
and stock music. Basic Rate: call for info Contact: Duncan Web: villagestudios.com
Clients: Universal Interactive, D3Publishers Basic Rate: call for info
DAY 6 ENTERTAINMENT GROUP, INC. of America, Trailer Park of Terror
POST-PRODUCTION 716 Oak Circle Drive East, #20 Basic Rate: call for info WALT DISNEY STUDIOS
Mobile, AL 36609 500 S. Buena Vista St.
CALIFORNIA (251) 662-3257 RIPTIDE MUSIC, INC. Burbank, CA 91521
740 SOUND Email: info@day6entertainment.com 9469 Jefferson Blvd., Ste. 114 818-560-2731
12509 Beatrice St. Web: day6entertainment.com Los Angeles, CA 90232 Web: buenavistapost.com
Los Angeles, CA 90066 Film/TV/Audio Post-Production: Nathaniel 310-437-4380 Fax 310-437-4384 Basic Rate: call for info
310-574-0740 Nuon, Terry Parsons, Sodric Dira, Charles Email: contact@riptidemusic.com
Email: info@740sounddesign.com Phanthapannha, Chris Meztista Web: riptidemusic.com WARNER BROS. STUDIO FACILITIES
Web: 740sounddesign.com Credits: Residue, Hayride2, Night Claws, Basic Rate: call for info POST PRODUCTION SERVICES
Basic Rate: call for info Songs of Liberty, Convergence, Tokarev 4000 Warner Blvd., Bldg. 4
SCREENMUSIC INTERNATIONAL Burbank, CA 91522
ABSOLUTE RENTALS DEEPMIX 18034 Ventura Blvd., Ste. 450 818-954-2515
2633 N. San Fernando 1510 Oxley St., Ste. H Encino, CA 91316 Web: wbsound.com
Burbank, CA 91504 South Pasadena, CA 91030 818-789-2954 Basic Rate: call for info
818-842-2828, 310-560-2373, 702-435- 323-769-3500 Email: screenmusic@aol.com
0277 Email: brad@deepmix.com Web: screenmusic.com WARRIOR RECORDS
Email: dave@absoluterentals.com Web: deepmix.com Basic Rate: call for info 7095 Hollywood Blvd., Ste. 826
Web: absoluteliveproductions.com Basic Rate: call for info Hollywood, CA 90028
Basic Rate: call for info SENSORY OVERLOAD MUSIC Email: info@warriorrecords.com
EASTWEST RECORDING STUDIOS 818-985-3300 Web: warriorrecords.com
BELL SOUND STUDIOS 6000 W. Sunset Blvd. Email: info@sensory-overload.com Contact: Jim Ervin
916 N. Citrus Ave. Hollywood, CA 90028 Web: sensory-overload.com Basic Rate: email for information
Hollywood, CA 90038 323-957-6969 Basic Rate: call for info
323-461-3036 Email: candace@eastweststudio.com WESTLAKE RECORDING STUDIOS &
Email: info@bellsound.com Web: eastweststudio.com SOTTOVOCE STUDIOS TECHNICAL SERVICES
Web: bellsound.com North Hollywood, CA 7265 Santa Monica Blvd.
Basic Rate: call for info Basic Rate: call for info 818-694-3052 Los Angeles, CA 90046
Email: info@sottovocestudio.com 323-851-9800
BRIAN BANKS MUSIC ES AUDIO SERVICES Web: sottovocestudio.com Email: bookings@thelakestudios.com
310-691-2347, U.K. +44-20-7096-1652 1746 Victory Blvd. Basic Rate: call for info Web: thelakestudios.com
Email: brian@brianbanksmusic.com Glendale/Burbank, CA 91201 Contact: Sara Clark
Web: brianbanksmusic.com 818-505-1007 SOUNDBATH MUSIC & SOUND Basic Rate: call or Email for info
Basic Rate: call for info Email: studio@esaudio.com 310-392-0369
Web: esaudio.com Web: soundbath.com WOJAHN BROS. MUSIC
BRIDGE RECORDING, THE Contact: Donny Baker Basic Rate: call for info 1524 Cloverfield Blvd.
736 Salem St. Basic Rate: Call for more info Santa Monica, CA 90404
60 September 2018
musicconnection.com
September 2018
musicconnection.com 61
For Advertising Info Call 818-995-0101 MARKETPLACE
– DOUG DIAMOND
“Without cue sheets, it would be work, which is to produce, don’t give them an additional task of track-
ing your information down.
virtually impossible for composers 3. Checking in with networks/production companies to make sure that
and publishers to be compensated the cue sheets have been prepared and filed is good insurance for
receiving accurate compensation for your compositions.
Music Opps places and pitches music internationally. We want to
for their work.” ensure that you are educated, prepared and fully versed on how the
industry works from the inside out. Since music royalty infrastructure
and language are standardized from the U.S. to overseas, if done
correctly, royalties earned from licensing can pay your bills and the
(See a sample industry standard cue sheet here: bills of future generations to come. Music is an asset, treat it as such
wk-securesite.com/musicopps/MusicOppsCueSheetExample01.pdf) and let it work for you. Although completing cue sheets is not the task
of artists, publishers or admins, having your information organized,
Who fills out a cue sheet? Completing a cue falls on the shoulders registered and accurate will greatly affect proper payment on your
of the network staff, typically handled by a junior exec, junior admin next royalty statement.
or even interns. Beware: if they can’t readily find your information via
metadata embedded in your master recordings or even online via Submit your music for international licensing consideration
P.R.O. databases or the ISWC database, they may just skip it or move at musicopps.com.
along to another project with the intention to return to the daunting
task of research. Things slip through the cracks and human error also
factors into the equation no matter how righteous the intentions may
be to accurately complete the cue sheet. However, never let anyone’s
time crunch, lack of attention to detail or malaise for dreaded paper-
work infringe upon your right to be accurately compensated. DOUG DIAMOND has over 25+ years in the music industry as an Engineer, Producer
With the rise of independent producers and cable operations, the and Music Supervisor. Founder of Diamondisc Audio / Diamondigital Media in
Nashville (diamondiscaudio), a trail-blazer in the independent music audio mastering
filing of accurate cue sheets has become even more crucial to tracking business, as well as the digital media industry for the last 22 years, Doug has worked
the use of music in film and television productions. These newcomers to with everyone from Billboard artists to beginning songwriters. He is a co-owner in a
the industry are sometimes unfamiliar with, or unaware of, the legal and NYC-based boutique music supervision company, The SongHunters (thesonghunters.
professional responsibilities involved in using the music of composers and com), and is also Senior VP and Director of Music Acquisition/Licensing for Music
Opps (musicopps.com). More info at diamondiscaudio.com/about.
publishers whose rights are represented by performing rights societies.
+
*Terms and conditions apply. See the Apogee website for details.
Thunderbolt is a trademark of Intel Corporation or its subsidiaries in the U.S. and/or other countries. The Eventide logo is a registered trademark of Eventide Inc.