June26_Full_Issue

SINGERS SOUND OFF 2026

EPIPHONE GUITARS

LILY ALLEN

EXCLUSIVE DIRECTORIES OF MUSIC EDUCATION + VOCAL COACHES

Singers Sound Off

36 The Human League

YOUR MUSIC IS OUR MISSION.

We’re focused on your future — your success, your opportunities, and your ability to thrive in a changing industry.

E. Eric Bettelli PUBLISHER

E. Eric Bettelli

GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com

Robin Rose

OPERATIONS MANAGER / DIRECTORIES EDITOR robinr@musicconnection.com

Jon K

ADVERTISING / MARKETING jonk@musicconnection.com

Ray Holt

DIGITAL MARKETING DIRECTOR rayh@musicconnection.com

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Michael Stern NEW TOYS newtoys@musicconnection.com

Andrea Beenham SONG BIZ drea@dreajo.com

Producer Crosstalk: Mario Caldato By Rob Putnam

Industry Profile: Herb Trawick By Andy Kaufmann

Jessica Pace FILM / TV / THEATER / GAMES j.marie.pace@gmail.com

FEATURE WRITERS

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

Jonathan Widran few522@aol.com

EDITORIAL INTERNS

Anna Jordan, Cade Pinkerson intern@musicconnection.com

CONTRIBUTING WRITERS

David Arnson, Shana Nys Dambrot, Kyle Eustice, Gary Graff, Eric Harabadian, Lina Lecaro, Glenn T. Litwak, Joseph Maltese, Emily Mills, Lily Moayeri, Libby Molyneaux, Megan Perry Moore, Jacqueline Naranjo, Liz Ohanesian, Tamara Palmer, Lyndsey Parker, Paul Rogers, Adam Seyum, Eric Sommer, Ellen Woloshin

PHOTOGRAPHERS

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Music Connection (ISSN# 1091-9791) is published monthly by Music Connection , Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opin ions of contributing writers to this publication do not necessarily reflect the views of Music Connection , Inc. Copyright © 2026 by E. Eric Bettelli. All rights reserved.

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The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.

The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.

FAME Recording Studios

famestudios.com

Living Legacy, Daily Fight: As the son of Rick Hall, founder of FAME Recording Studios and a central architect of the Muscle Shoals sound, Rodney Hall carries one of American music’s most storied legacies—but he’s quick to emphasize that FAME isn’t a museum. It’s a working, breathing studio that honors history without being confined by it. Built on the foundation of soul music, the studio continues to host sessions across blues, rock, country, gospel, and beyond, unified by an unmistakable thread of soul. That spirit is driven as much by people as place, with generations of musicians, songwriters, and engineers collaborating in real time, often blending legendary players with younger talent. It’s about capturing the human element: musicians in a room together, feeding off each other in ways that technology alone can’t replicate. That philosophy, along with FAME’s fiercely independent ethos, has sustained the studio for more than six decades in an industry where even iconic rooms regularly disappear.

Studio A & B, Then and Now: At the heart of FAME’s enduring appeal are its two primary rooms, each offering a distinct bridge between the past and present. Studio A, the original space built in 1961, remains the crown jewel where countless classic recordings helped define modern soul music. Today, it pairs its historic acoustics with a Neve 8232 console and a meticulously restored echo chamber that played a crucial role in shaping the sound of iconic hits from the ’60s and ’70s. Studio B, added in 1967 and recently reimagined along with FAME partner/producer Glenn Rosenstein, reflects FAME’s forward momentum: an SSL 6000E console anchors a fully modernized control room, complemented

by a rebuilt vintage Universal Audio desk used as a sidecar. Both rooms are revered for their exceptional drum sounds and versatility, allowing artists to track in one space and mix in another. With the addition of a Dolby Atmos room and an extensive collection of vintage instruments and microphones—many used on historic sessions—FAME seamlessly merges analog heritage with cutting-edge production capabilities.

Incentives and the Future: While legacy draws artists to Muscle Shoals, innovation—and opportunity—keeps them coming back. One of the studio’s most compelling modern advantages is a state-supported incentive program developed with the Shoals Economic Development Authority and the state of Alabama. Artists can receive up to 60 percent of their expenses back as a rebate for recording at FAME, with coverage extending to studio time, musicians, travel, lodging, and meals. Launched in late 2025, the initiative has already attracted a diverse range of projects, from independent artists to major-label sessions. Combined with FAME’s expanded ecosystem—including publishing, songwriting, and a growing tourism presence that attracts thousands of annual visitors—the program reinforces the studio’s ongoing relevance. More than a historic landmark, FAME remains a dynamic creative hub, committed to evolving with the industry while staying true to the spirit that built it.

Contact FAME Studios, 256-381-0801

David Ryan Harris

VP, A&R Spirit Music

Spirit Music has welcomed renowned singer, songwriter, and musician  David Ryan Harris to its global family, joining as VP, A&R and as a songwriter and a JV partner with his company Peace Pourage, Inc. Harris will amplify his work in the coming years with a focus on mentoring other artists in his new role at Spirit Music to further the mission of the boutique music publisher. “I look forward to using my years of experience writing, touring, playing, and making authentic connections in the business and the world at large to bring value and new perspectives to the amazing team at Spirit,” said Harris. For more, contact cindy.hunt@monarchpublicity.com.

Alex Bellissimo

Vice President, Marketing LyricFind

Chase Armstrong

Director of Sales and Marketing

The Listening Room

LyricFind, a lyric licensing and data solutions company, has hired  Alex Bellissimo as  Vice President of Marketing. Reporting to LyricFind’s Founder and CEO, Darryl Ballantyne, Bellissimo joins the team with nearly 15 years of experience at Warner Music Group. Based in Toronto, she will lead LyricFind’s global marketing strategies across both lyric licensing and creative products, driving growth in B2B and B2C markets. “Alex will be a valuable leader as LyricFind continues to grow globally,” said Ballantyne. For more, contact laurie@jaybirdcom.com.

Geoff Smith

Chief Financial Officer

Taylor Guitars

Taylor Guitars has announced the appointment of Geoff Smith as Chief Financial Officer. Smith previously served as the company’s Controller. As Chief Financial Officer, Smith oversees the global financial strategy and operations of Taylor Guitars, supporting the company’s long-term vision while helping preserve the values, craftsmanship and culture that define the brand. He works closely with CEO, President and Chief Guitar Designer Andy Powers and Taylor’s executive leadership team. For more, contact taylorguitars@ jessuppr.com.

Michelle Garramone

Head of Strategic Partnerships Symphonic

Symphonic has hired  Michelle Garramone as Head of Strategic Partnerships. In this role, she will lead the company’s expansion into catalog acquisitions and drive strategic partnerships that unlock new growth opportunities for its artists and partners. As Head of Strategic Partnerships, Garramone will oversee relationships with catalog owners, investment funds, brand partners, and other strategic collaborators worldwide, further expanding Symphonic’s ability to support independent music businesses in a rapidly evolving market. For more, contact laurie@ jaybirdcom.com.

The Listening Room recently announced the appointment of Chase Armstrong as  Director of Sales & Marketing. As part of the leadership team, he will oversee sales and marketing efforts to protect and elevate one of Nashville’s most respected live music brands. “I’m excited to return to The Listening Room and step into this new role,” said Armstrong. “This iconic venue has always been special to me, not only for the music, but for the invaluable connections it creates between songwriters and audiences from around the world. For more, contact chase@listeningroomcafe.com.

Jennifer Hatton

President of Music and Arts

Guitar Center

Guitar Center has named Jennifer Hatton President of Music & Arts, the company's school music division. Hatton brings nearly three decades of education sector leadership, most recently as Chief Growth Officer at Aramark Collegiate Hospitality. Her appointment positions Music and Arts to accelerate growth across its school music, rental, and lessons businesses. “Jennifer has spent her career serving the education sector while building scalable operations, and that’s exactly what Music & Arts needs to keep growing,” said Gabe Dalporto, CEO of Guitar Center. For more, contact media@guitarcenter. com.

Roslyn Pineda

President, Asia

Sony Music Publishing

Sony Music Publishing (SMP) announced the appointment of Roslyn Pineda to President, Asia, effective immediately. As President, Pineda will be responsible for overseeing creative and business operations across multiple territories in Asia. Pineda will be based out of Hong Kong and will report directly to Sony Music Publishing President, International, Guy Henderson. “I am thrilled to take on this leadership role at Sony Music Publishing Asia during such an exciting time for our industry and our region,” said Pineda. For more, contact katie.mcclenny@sonymusicpub.com.

Chase

B Creative Director Lids

Global sports retailer Lids announced that DJ, producer, and cultural tastemaker  Chase B has been named the brand’s new Creative Director. As a leading voice across music, fashion and streetwear, Chase B will help guide the next chapter of Lids’ creative direction, bringing his distinctive creative perspective to the brand’s product design, collaborations and storytelling. “Stepping into the Creative Director role means we can take those ideas even further and bring together products and experiences that really connect with the culture,” said Chase B. For more, contact bconcannon@fyibrandgroup.com.

QSC CB 10 BATTERY-POWERED PORTABLE PA SPEAKER

QSC is a well-known manufacturer of PA and monitor speakers for mid and small-sized venues, with experience dating back to the 1960s. QSC WideLine line arrays are commonly used in smaller arenas, amphitheaters, and regional concert series. QSC is a leader in portable, active loudspeakers often used by support acts, in clubs, or as fill speakers. Taking that experience to an individualized PA solution, the CB10 Compact Battery-Powered Loudspeaker is a portable system that integrates loudspeaker, amplification, and power management into a single enclosure. The CB10 is designed for use by AV Rental/Event Productions and as a Portable PA System for DJs, mobile entertainers, musicians, bands, and any application where a small footprint powerful sound reinforcement system is needed.

The CB10 features a 10-inch LF driver, and a 1-inch compression driver housed in a 29.6 lb. enclosure that measures 18.3 x 12.3 x 11.3 inches and can be carried by one person. Power is handled by a Class D amplifier that pushes a clean 440 Watts peak for 127 dB at 1 m (peak SPL). An integrated 3-channel mixer on the rear panel allows for easy connections of microphones and instruments, as well as the option to stream Bluetooth music. Channels A and B have combo connectors with an XLR-F and 1/4” input capability. Channel A is tailored for vocals and channel B differs in that it has a preset voiced for acoustic guitar. But either channel is versatile enough that they can be used for either purpose. Channel C has a 1/8 stereo mini plug input for direct music playback, as well as a Bluetooth button that enables both streaming and remote control via the QSC Loudspeaker Control app. The QSC app runs on iOS and Android platforms.

Channel A has a 6-position preset dial with Custom (App), Default, Dance, Speech, Speech (Ducker) and Vocal presets voiced for those functions. The handy Speech (Ducker) preset will automatically turn down music playing via channel 3 C when a voice activates channel A, a very handy function for addressing audiences at functions. Channel B also has a 6-position preset dial with Custom (App), Default, Dance, Acoustic Guitar, Speech and Vocal voicings. Setting any channel to control via the app unlocks EQ and Reverb features not found on the back panel. On plugging an acoustic guitar in to channel B and setting it to Default and on the Acoustic Guitar presets, the sound was clean but had too much bottom and was dry. This tone was quickly enhanced by accessing the app’s 3 band EQ, trimming the LF band and raising the treble. Reverb also gave life to the tone and is available in three size settings and a blend control. Control via the app is essential to get the full capability of the CB10.

The CB10 can be powered by AC or an internally mounted user swappable supplied battery. The battery slides easily into the bottom of the CB10 and is secured by two captive thumbscrews. Weighing under 3 lbs., the 22.2V 98Wh Li-Ion battery is available separately if extra batteries are needed for $119.99. The CB10 can be mounted on a loudspeaker stand or deployed on the floor via its tilt-back 30-degree angle.

The CB10 is a versatile, reliable, and powerful portable PA for small and medium size venues for both fixed installations and temporary events or busking. Multiple CB10 units can be controlled via Bluetooth for stereo installations, and programmable room delay makes the CB10 useful as a system extension for distributed PA deployments. CB10 is backed by a six-year warranty with product registration within 30 days of purchase (one-year warranty on battery). $799

qscaudio.com

FREQPORT FREQTUBE FT1 EMU TUBE PREAMP EMULATION PLUGIN

Following the 2022 release of the highly innovative and unique Freqport Freqtube FT1 USB Hardware Tube Preamp, Freqport has unveiled an emulation plugin of their FT1 analog hardware. The original Freqport Freqtube FT1 features four analog tubes, (2) E83CC and (2) 12AT7, that operate as 4 mono or 2 stereo tube preamp channels. The FT1 connects to your DAW via USB and is controllable with full recall from their plugin software. Two of these units per DAW can be used to provide a maximum of eight real tube channels.

The new Freqtube FT1 EMU Tube Preamp Emulation Plugin provides the closest possible emulation of the real tube hardware experience and is controllable via the exact same software that controls the original FT1. If you own both the FT1 USB device, a toggle in the software allows you to switch between the analog and digital version for true hybrid operation.

Controls on the FT1 EMU include Drive (saturation), Harmonics (odd/ even mix), Wet/Dry Mix, and Output Gain. It includes dual-path multimode filters (Primary and Parallel) with frequency, Q, and gain settings, alongside phase inversion for complex tone shaping. Drive controls the analog tube drive level, offering up to +18dB of overdrive for saturation. Harmonics adjusts the mix between odd and even harmonics to change the distortion character. The even harmonics emphasize the root of your chord and create warmth and richness and odd harmonics are harsher for a more in your face distortion. Mix blends between the processed wet tube signal and the unprocessed dry original signal. Primary/ Parallel Filters are dual digital filter sets to process the wet and dry paths separately (HPF, LPF, Peaking, Bandpass with switchable 12/24dB slope). Tube Assignment allows selecting which of the four tubes (E83CC or 12AT7) are used in that specific plugin instance. Gain/Phase allow for output gain trim and phase inversion for parallel path alignment.

The FT1 EMU was designed to be as close as possible to the original FT1 using SPICE modeling. SPICE (Simulation Program with Integrated Circuit Emphasis) modeling is the process of creating mathematical, text-based representations of electrical components, such as transistors, diodes, and resistors to simulate circuit behavior before physical prototyping. These models enable software to predict voltage, current, and power dissipation. According to Freqport, this SPICE modeling approach provides the following benefits: True Tube Character: It captures genuine tube saturation, rich harmonics, and natural dynamic behavior, rather than just approximating the sound. One distinct feature of the EMU digital only version is that your only limitation on the number of FT1 EMU plugins you can use on your session is how much CPU processing your computer has—which with the power of computers these days means that you can most likely use as many as you want, as the FT1 EMU is highly efficient. Another plus is the function of portability. With the original FT1, if you open your session in a location where your FT1 hardware is not present, your channel will be muted until you either de-instantiate the plugin or remove it. With the new FT1 EMU, you simply toggle from analog to digital, and you can continue working with the digital version. While the analog version does have somewhat more size, depth, and a bigger bottom than the FT1 EMU, in most cases you will find them close enough to work successfully and to mix a final master should your hardware remain unavailable. Hence a truly hybrid workflow where the plugin works as a standalone tool, but seamlessly integrates with the physical FreqTube FT1 hardware, allowing users to switch to real analog processing in one click while retaining the same settings.

There are dozens of plugins that emulate tube processing effects for saturation and distortion. Freqtube products are in a league of their own, enabling real tube processing in a recallable transparent environment, and now with the addition of the FT1 EMU, have become even more powerful and versatile creating a hybrid system. $99

freqport.com

EPIPHONE LES PAUL MODERN PRO

In the 1930s, Epiphone and Gibson were fierce rivals with both companies making archtop guitars. Financial difficulties for Epiphone enabled Gibson to purchase the company in 1957, and Gibson moved Epiphone manufacturing from New York to Kalamazoo, Michigan. Gibson continued the brand using the same equipment and craftsmen as Gibson Guitars. Initially used for competing in the bass market and broadening distribution, in 1970 Epiphone transitioned into Gibson’s primary import, budgetfriendly brand, producing Asian made accessible alternatives to classic Gibson designs.

At first glance, the Epiphone Les Paul Modern Pro contains all the elements that you would expect of the classic Les Paul Standard design. Featuring all the same tonewoods as a premium Gibson Les Paul, the Les Paul Modern Pro has a mahogany body with an arched maple cap. The neck is also mahogany and features a 12” radius 1960s style C-profile slim taper neck with a rosewood fretboard. The headstock has the larger Kalamazoo style Epiphone design that is reminiscent of the Gibson scroll. Tuning machines are Grover kidney bean, which is a huge plus on an entry level guitar, as these are among the best tuning machines made.

Playability is good, with our sample having consistently low action all the length of the neck. The guitar does not have quite the same ring and sustain as a premium Gibson, but this guitar is priced considerably lower. Our sample weighed in at 8.8. lbs., which is about as light as a Les Paul gets. The weight felt a little unbalanced, with the weight relieved body claiming most of the heft. String bends of a whole step and greater would choke a bit, most likely due to the flat fretboard. That said, this type of thing will vary from guitar to guitar, and considering the price point of the guitar, it is fun to play and a lot of bang for the buck.

Pickups are a handsome looking pair of zebra striped uncovered ProBucker 2 (neck) and ProBucker 3 (bridge) humbucker pickups. This is where the modern comes in. The pickups are designed to emulate classic PAF tones while providing modern clarity but also feature push/pull coil-splitting and phase switching via the knobs. This is a feature that players have come to expect on modern Les Pauls and massively increases versatility and tonal option by incorporating single coil tones.

A Gibson licensed workhorse entry level guitar, the instrument is excellently suited for beginners or working musicians seeking the classic Les Paul sound and feel in an affordable package. Epiphones use different, more costeffective wood, electronics, and hardware compared to Gibson’s premium components but deliver a very effective and useful instrument for the money. Available in Ebony, Metallic Gold, Pacific Blue, and Wine Red. Made in Indonesia. $599

guitarcenter.com gibson.com

BEYERDYNAMIC M 88

Celebrating over 100 years of superior and historic audio achievement in 2024, Beyerdynamic was founded in Berlin in 1924 by Eugen Beyer. Beyerdynamic pioneered cinema loudspeakers before launching the world’s first dynamic headphones, the DT 48, in 1937. Relocating to Heilbronn after World War II, the company became a global leader in professional studio headphones and microphones, with a century-long dedication to handmade German-engineered audio innovation. Beyerdynamic released its first studio-grade dynamic microphone, the M 19 in 1939. The M 19 was lauded by the audio industry the best of the first studio-ready dynamic microphones. Featuring an omnidirectional moving coil with an aluminum diaphragm it gained immense popularity for radio reporting, with a robust metal-cased version built to withstand tough field conditions, including being tested by being dropped from the second floor of the Berlin broadcasting center.

Cut to the M 88. Introduced in 1962, M 88 Dynamic Microphone has been in continuous production ever since. A hand-made hyper cardioid dynamic microphone renowned for its wide frequency response of 30Hz20kHz, high sound pressure level (SPL) handling exceeding 150dB, and pronounced proximity effect, it was initially designed for speech but quickly became a studio standard for high SPL applications like brass and bass drums. The M 88 gained notoriety when it received a Royal Endorsement in 1963. Chosen exclusively for Queen Elizabeth II’s visit to Australia, its reputation for voice clarity was solidified on the world stage.

The M 88 has a detailed, smooth treble up to 20 kHz, capturing high-frequency harmonics without harshness. It’s generally flat in the low midrange, with a slight, broad boost starting around 1 kHz and extending through the high frequencies. The M 88 has a greater frequency response when compared to most dynamic microphones and can handle any task for which a dynamic mic is the right choice. The M 88 is one of the few microphones equally suited for both the rigors of touring as well as the studio. The M 88 TG was introduced in the late 1980s as part of the “Tour Group” series. This version updated the mic for live sound with a reinforced, coarse-meshed black basket and foam pop filter to protect the capsule. 2000 saw a limited-edition reissue of the original silver, high-end design, technically similar to the TG model called the M 88 Classic.

The M88 was upgraded from a ceramic alnico magnet to a much more powerful rare earth neodymium magnet in 2003. This engineering change allowed for an output increase of over +5dB, while still retaining the character of the sound and frequency response that the M 88 is known for. This increased output reduces the need for extreme preamp gain, thus keeping system-level noise low and the microphone itself has virtually no self-noise. The M 88 contains an integrated “hum-buck” coil, which reduces magnetic hum interference by as much as -20dB.

Often called “The Phil Collins mic,” the M 88 was famously used by Collins for both vocals and drums, as well as by David Bowie and The Beatles. The M 88 of today is the continuation and culmination of 64 years of continuous hand-made manufacture, and the perfection of the M 19 from 1939. Since the microphone was great from its inception, the refinements over the years have been minimal, but significant. The M 88 is considered one of the very finest dynamic microphones ever made. A top-notch microphone for stage and studio. $549.99

beyerdynamic.com

Michael Stern, C.A.S., is a Music Engineer based in Los Angeles. He has recorded and mixed 260 film scores including Iron Man 2, Sex And The City 1 and 2, The Notebook , and Borat Subsequent Moviefilm . He has also worked with the artists Strawberry Alarm Clock, Richard Marx, Kenny Loggins, Jackson Browne, Micky Dolenz, The Cowsills, Bon Jovi, Tom Jones, Chick Corea, Lisa Loeb, and Rob Morrow. He can be reached at newtoys@musicconnection.com.

Ontology of the Musical Work: Scored Music, Jazz, Pop, and Rock

By Laurent Cugny (paperback) $35

Musician, musicology, and jazz specialist Laurent Cugny has penned an exhaustive study of the definition of a “musical work,” which has been published in English for the first time (translated from French by Bérengère Mauduit). That must have been quite the undertaking for Mauduit; this is a deeply academic read. That said, Cugny does a great job of keeping the reader focused and fascinated. “This book introduces a new theory of music production—one distinct from the conventional paradigms of writing and orality,” the sleeve notes read. That about nails it.

Bust a Move: Matt Dike, Delicious Vinyl, and the Hip-Hop Hits That First Conquered Pop

By Peter Relic (hardcover) $29

Author Peter Relic has been writing about hip-hop for publications such as Vibe, XXL and Rap Pages for about a quarter of a century, so he’s perfectly placed to dig into the story of Delicious Vinyl, and the rap tunes that propelled the label, and indeed the genre, into the mainstream public’s eye. Relic looks at Tone Loc’s “Wild Thing” and “Funky Cold Medina,” and Young MC’s “Bust a Move”—songs that placed hip-hop music firmly on the charts, gaining mass radio airplay in the process. It’s about time these guys, and Delicious Vinyl, got their props.

Gary Stewart: I Am from the Honky-Tonks

By Jimmy McDonough (hardcover) $40

Jimmy McDonough has written well-reviewed books about Neil Young, Tammy Wynette, and Al Green, all in his trademark “two-fisted” style. He has a reputation for writing biographies with the punch, panache, and flash of a pulp fiction novelist, and he puts that to work here as tells the story of late, great honky-tonk legend Gary Stewart. While his name might not be household, Stewart is considered one of music’s great unsung heroes, and McDonough takes us through his hits and his eventual disappearance from the scene.

Making Music: Conversations With Record Producers

By Larry Crane and John Baccigaluppi (paperback) $18.95

Larry Crane was a member of the gloriously named band Vomit Launch, before moving to Portland and founding Tape Op magazine, as well as opening a studio. So, he’s perfectly placed to put this book together, with the help of colleague Baccigaluppi, which compiles “interviews with people who have made records with some of the biggest names in music.” Those included have worked with artists as prestigious as U2, the Beatles, Bob Dylan, Johnny Cash, Amy Winehouse, and Doja Cat. The info and advice they impart is fascinating, informative, and valuable.

Almost Grown: A New York Memoir

By

Jesse Malin and Debra Devi (hardcover) $28.95

As the frontman and guitarist with hardcore band Heart Attack, and rash-punks D-Generation, as well as an accomplished solo artist, New Yorker Jesse Malin has lived a life. “Gritty” is a word that’s often used in association with Malin, partly due to his “musical troubadour” vibe. He’s worked with Springsteen, Ryan Adams, and Billie Joe Armstrong in the past, highlighting the respect with which he’s held. But there’s a lot more to him too. “Almost Grown is a raw, honest, and often funny account of how a hyperactive kid from Queens made his dreams come true—and the hustlers, sweethearts, misfits, and lifelong friends he met along the way,” they say. Accurate!

Stranded in the Future

By Robyn Hitchcock (hardcover)

$24.95

Former Soft Boys man Robyn Hitchcock remains a force. Catch him live anywhere around the globe and you’ll see a show that seamlessly blends paisley hippiness with new wave quirk. The man can pen a tune and, as it turns out, he’s quite the author too. This is his second memoir, and this writer admits to not having read the first, though it doesn’t matter. “Spanning from 1968 to 1978, it takes in the mythology surrounding Pink Floyd’s Syd Barrett (though it doesn’t name him) and hinges on Robyn Hitchcock’s teenage girlfriend (she isn’t named either),” they say.

Royer Labs royerlabs.com

New Vision, Same Sonic DNA: A respected boutique brand long revered for its handcrafted ribbon microphones, Burbank, CA-based Royer Labs is entering a dynamic new chapter following its recent acquisition by Sounds Great Holdings, an investment group focused on acquiring pro audio brands with great intellectual property. Dave Hetrick, a recording engineer, drummer, and serial entrepreneur with a track record of scaling pro audio companies into global forces, Hetrick brings both technical credibility and strategic vision to the role of President and Chief Revenue Officer. Having previously led transformative growth at Event Electronics, KRK Systems, and ADAM Audio, he now turns his focus to Royer—an innovative, technical GRAMMY-winning brand where he had consulted with for over two years. His mission is clear: preserve Royer’s uncompromising sonic identity while expanding its reach. “I’ve always believed Royer’s growth potential was limitless,” he says, emphasizing that the company’s originality, along with its refusal to chase trends or clones, makes it uniquely positioned to grow. Under the new umbrella, which also includes Undertone Audio, Royer gains access to broader marketing, global distribution, and operational infrastructure, allowing it to scale without sacrificing its core ethos.

Expanding the Conversation: While Royer’s flagship R-121 mic helped redefine ribbon microphones and remains a go-to for electric guitar cabinets, Hetrick is focused on widening the narrative around the brand’s full product line. Central to that effort is the newly introduced R-12 active ribbon microphone, which he describes as “the single best mic I’ve ever heard on acoustic guitar.” He notes its ability to combine the classic warmth of ribbon design with enhanced top-end articulation. That balance comes from its active circuitry, which increases output and preserves detail, making it equally effective capturing delicate acoustic instruments as well as high-SPL sources like drums. Built around the same 2.5-micron ribbon element as the R-121, the R-12 delivers exceptional headroom, sonic accuracy and versatility, positioning it as a new cornerstone product. Hetrick sees the model as a symbol of Royer’s broader potential. Supporting that expanded vision is a multi-year product roadmap, including future designs that aim to further redefine expectations of ribbon microphones in modern recording environments.

Legacy Meets Innovation: Royer’s foundation remains rooted in the pioneering work of founder David Royer, whose original R-121 helped reintroduce ribbon technology to a new generation of engineers. That spirit of innovation continues in products like the SF-12 stereo ribbon microphone, a studio staple known for its exceptional stereo imaging and natural, “you-are-there” realism. Utilizing a classic Blumlein configuration, the SF-12 captures both source and space with remarkable clarity, making it a favorite for drum overheads, orchestral recording and ambient capture. Hetrick’s broader strategy is to ensure that tools like these are not only preserved, but more widely understood and utilized. With new investment, expanded resources, and a renewed commitment to storytelling, Royer Labs is poised to evolve into a globally recognized leader. Continuing to build every microphone by hand in Burbank, the company maintains the craftsmanship and musical integrity that has defined it for nearly three decades.

Contact Royer Labs, 818-847-0121

CHRISTOPHER ARDRA ANNOUNCES SAW IT IN A DREAM WITH REFLECTIVE NEW SINGLE “REASONS”

New York songwriter Christopher Ardra previews his sophomore album Saw It in a Dream (out June 5) with the introspective single “Reasons.” Written after the end of his band Station, the track marks a personal turning point, setting the tone for a self-produced, multi-instrumental project that explores identity, catharsis, and the search for clarity.

EASY HONEY SETS THE MOOD WITH “BASEMENT KISSING” AHEAD OF PLAID EP

Charleston indie-rockers Easy Honey return with “Basement Kissing,” a hazy, late-night single previewing their EP Plaid. Written during a rapid cabin session in Colorado, the project finds the band expanding their sound while staying rooted in nostalgic hooks, as they gear up for a 25+ date North American headline tour.

ANGÉLIQUE KIDJO AND AYRA STARR CELEBRATE CONNECTION ON “AYE KAN”

Angélique Kidjo and Ayra Starr unite for “Aye Kan (Are You Coming Back?),” a warm, intimate collaboration brought to life in a candlelit video filmed at New York’s Power Station studio. The track, a love-as-wealth anthem, previews Kidjo’s upcoming album HOPE!!, blending personal history, cross-generational inspiration, and a message of connection and resilience.

TAJ MAHAL PREVIEWS TIME WITH BREEZY NEW SINGLE “WILD ABOUT MY LOVIN”

Taj Mahal returns with “Wild About My Lovin,” a swinging new single from his album Time (out now). Featuring longtime collaborators, the project blends blues, reggae, and soul, and includes a rare Bill Withers composition. The release arrives alongside a special GRAMMY Museum event, highlighting Mahal’s enduring, genre-spanning legacy.

PRODUCER PLAYBACK

“One of the most important aspects of recording is the psychology of it… Some people perform better when you’re their bud and there’s camaraderie, others work better when you challenge them. You have to feel out the artist at the beginning of the session.” – JOHNNY K

TELEGRAPHER

BROOKSPEARE

SPLICE LAUNCHES PARTNERSHIP WITH ALISSIA

MUSIC UPGRADES STUDIO WITH SSL ORIGIN CONSOLE

AND

DEADMAU5 LAUNCH LIMITED-EDITION SPEAKERS

NEIL YOUNG COASTAL: THE SOUNDTRACK OUT NOW VIA REPRISE RECORDS WITH DEBUT OF COASTAL SOLO TOUR DOCUMENTARY FILM DIRECTED BY DARYL

MICHAEL REPPER, THE NATIONAL PHILHARMONIC, AND CURTIS STEWART CELEBRATE 150TH ANNIVERSARY OF SAMUEL COLERIDGE-TAYLOR

ROBERT RANDOLPH, G. LOVE JOIN TWILIGHT MUSE FOR EXPLOSIVE “LIVING FOR THE CITY” LIVE COLLAB

HANNAH

GRAMMY® Award-winning conductor Michael Repper, GRAMMY®-nominated violinist Curtis Stewart, and the Washington D.C.-based Natio nal Philharmonic celebrated the

MIXING THE LINDA LINDAS LIVE WITH APOLLO X16D

PEN STATION STUDIOS REOPEN STUDIO F, UNVEILS A NEW CONSOLE AND ENHANCED MONITORING

DOVER QUARTET AND CURTIS STUDIO PRESENT WOODLAND SONGS

Splice has announced an exclusive partnership with GRAMMY®-nominated producer Alissia. The partnership will include a series of six curated sample collections presented as “Alissia Selects." An exclusive contest for new creators on the Splice Discord, along with a demo of Splice in Studio One Pro 7.

Telegrapher has announced an exclusive partnership with iconic electronic artist deadmau5. This collaboration has resulted in a limited-edition line of deadmau5-branded speakers. The deadmau5 Edition speakers reflect the innovative spirit of both deadmau5 and Telegrapher, blending cutting-edge analog sound technology with striking visual design.

U.K.-based Brookspeare Music has enhanced its remote recording studio with a Solid State Logic ORIGIN analogue console and UF8 DAW controller. Specializing in string sessions for film, TV, and games, the studio benefits from the setup’s flexibility and hybrid workflow, allowing seamless integration between analogue warmth and digital precision while supporting a wide range of recording projects.

The two-time GRAMMY-nominated Dover Quartet released Woodland Songs: Music of Jerod Impichchaachaaha' Tate, Pura Fé, and Dvořák on August 15 via Curtis Studio—the recording label of the Curtis Institute of Music, where the quartet was formed in 2008 and serves as Penelope P. Watkins Ensemble in Residence.

��� th anniversary of the birth of Samuel Coleridge-Taylor with an album featuring world-premiere studio recordings of the compo ser’s tone poem Toussaint L’Ouverture and Ballade Op. 4 for Violin and Orchestra

Genre-blending rock and funk group Twilight Muse has released their new live album, Collabs: Live at Garcia’s at The Cap, capturing a series of thrilling, high-profile guest sit-ins that redefined the band’s sound. To celebrate the announcement, the band has released the single “Living for the City,” a fiery reimagination of the Stevie Wonder classic featuring the mind-blowing synergy of Robert Randolph’s pedal steel mastery and G. Love’s raw blues harp energy.

For Neil Young, music and film have always had a very long and close relationship. Coastal: The Soundtrack is a live solo recording and companion piece to the film which was shot and directed by acclaimed filmmaker, and Young’s wife, Daryl Hannah and will be distributed worldwide by Trafalgar Releasing. This personal, behind-the-scenes documentary sees Neil Young as he cruises the coast on his 2023 solo U.S. tour, giving an up-close and intimate view into the life of one of history's most iconic artists.

Studio F now features a 32-channel Neve-powered Custom Series 75 console, upgraded monitoring with 18" subs, nearly 10,000 watts of power, and ergonomic enhancements. Overseen by Peter A. Barker, the retrofit includes a new vocal chain and switchable THD Labs meters for flexible metering.

Before hitting the road with breakout pop/punk band The Linda Lindas, FOH engineer Adam Labov took the plunge into Dante® networked audio, powered by Apollo x16D and UAD plug-ins. With a 32-input setup that includes the band, talkbacks, audience mics, and more, flexibility was key. “What I love about this rig is that I don’t have to commit to complicated dLive scenes or snapshots,” Labov explains.

SPARK OF LIFE ANNOUNCE SOPHOMORE ALBUM PLAGUED BY THE HUMAN CONDITION; THE BAND JOINED FORCES WITH FRED ARMISEN FOR A COVER OF THAT DOG’S “NEVER

PJ

SAY NEVER”

KRK MONITORS PROVIDE THE PERFECT COMPOSITION FOR GRAMMY-WINNING NICOLAS RAMIREZ

RIAN LEWIS TRACKING SUCCESS WITH TELEFUNKEN

THE STEVE BARDWIL BAND RELEASE THEIR DEBUT ALBUM PRODUCED BY 11-TIME

ALT BLK ERA ROCKS OUT WITH KRK CLASSIC 5 MONITORS

NEW CARDBOARD SESSIONS FEATURING THE DANDY WARHOLS

CLOE WILDER RELEASES IN-STUDIO PERFORMANCE VIDEO FOR “TALLAHASSEE” OFF NEW EP LIFE’S

MORTON LAUNCHES PRODUCTION SERIES, A PJ MORTON PRODUCTION, FEATURING NEW PROJECTS FROM LA REEZY, DARREL WALLS,

OSCAR SCHELLER SCORES GLOBAL HIT WITH “STATESIDE” REMIX

AND MORE

A BITCH

PEAVEY CELEBRATES 60TH ANNIVERSARY

WEIR

CHANCE THE RAPPER DROPS NEW ALBUM STAR LINE

BROTHERS LAUNCH NEW STUDIO CITY SOUND ERA WITH MICHAEL DAMIAN PROJECT

DIJON ANNOUNCES HEADLINE TOUR, NEW ALBUM BABY OUT NOW

GRAMMY AWARD-WINNER JOE CHICCARELLI

NEW CARDBOARD SESSIONS FEATURING RETURN TO DUST

Sibling alt-duo Nyrobi and Chaya Beckett-Messam, also known as ALT BLK ERA, recently wrapped their debut album Rave Immortal, which they recorded using their new KRK Classic 5 Powered Studio Monitors. The album features a captivating collection of songs with a fusion of genres, combining the raw energy of rock, the rhythmic pulse of electronica, and the haunting allure of dark pop.

GREENE DREAM MACHINE

For GRAMMY- and Latin GRAMMY-winning producer, composer, and mixer Nicolas “Nico” Ramirez, music and sound effects have always crisscrossed as a single entity in his creative workflow. To aid in his mastery, Ramirez relies on his KRKV4 and V6 V-Series 4 Powered Studio Monitors, which he says, “are very dynamic and rich in sound, so I can always get the right vibe of the track.”

PJ Morton’s A PJ Morton Production is a new production series of cross-genre collaborations, introducing and championing a fresh class of rising stars in hip-hop, R&B, and gospel. On the heels of releasing "Pardon Me," Morton has unveiled "Amazing" by Darrel Walls.

Rising folk/Americana/pop artist Cloe Wilder has released a new in-studio performance video for her single “Tallahassee,” the opening track of her newest EP, Life’s A Bitch. The beautiful, stripped-down version was filmed at Sound Emporium in Nashville during Cloe’s recent cross-country tour supporting Spencer Sutherland.

U.K.-born producer Oscar Scheller lands a global breakthrough with his remix of PinkPantheress’ “Stateside” featuring Zara Larsson, which topped the Billboard Global 200. Reimagined from vocal stems into bouncy electropop, the track gained further momentum after its spotlight at the 2026 Olympics, underscoring Scheller’s growing influence behind some of pop’s biggest names.

Southern California post-hardcore outliers Spark of Life are set to release their long-awaited sophomore album, Plagued by The Human Condition, on May 30 via New Age Records. As part of the album’s rollout, Spark of Life have unveiled their latest single, a cover of "Never Say Never" by ‘90s cult favorites That Dog. The track features a special collaboration with longtime friend and comedian/musician Fred Armisen (SNL, Portlandia), who played drums on the cover.

The Steve Bardwil Band, an L.A.-based power pop group led by singer, songwriter, and guitarist Steve Bardwil, offers an escape without comparison on their 2025 full-length debut LP, Nothing But Time. With their unique talents combined, the band builds undeniable and unshakable anthems to create a soundtrack to enjoying the moment.

Fresh off a run of L.A. gigs, The Dandy Warhols rolled into Paramount Recording Studios and plugged into a bunch of cardboard instruments. Performing timeless hits “Be Alright” and “Plan A,” this episode of Cardboard Sessions is a front-row seat to the mastery; a raw, swirling ride through neo-psychedelic swagger and distortiondrenched elegance. The Dandy Warhols will be on tour this fall with Kula Shaker.

GRAMMY Award-winning producer and top mix engineer Rian Lewis has engineered/ mixed for artists such as Doja Cat, Post Malone, and Thundercat. Now, Lewis has chosen the TF�� Copperhead Deluxe from TELEFUNKEN's popular Alchemy Series for his own studio. The TF�� features three-pattern selections of Cardioid, Omnidirectional, and Figure-�, giving the mic much flexibility and options in the studio.

WAVES EMOTION LV 1 CLASSIC CONSOLE AND EMO IEM IMMERSIVE IN - EAR SOLUTION CHOSEN FOR AUSTRALIAN ACT LIME CORDIALE’S 2025 WORLD TOUR

HIDEOUT INSTALLS AUGSPURGER MONITORS

MIX ENGINEER RICHARD FURCH AND MIXROOM DESIGNER CARL TATZ LAUNCH DOLBY ATMOS MIXMANOR

The Hideout Studios in Las Vegas recently installed new custom Augspurger main monitors in their Studios A and B. Pictured are Hideout owner Kevin Churko and George Augspurger.

Australian indie pop-rock band Lime Cordiale has gained international recognition with albums like Permanent Vacation and 14 Steps to a Better You , and has earned multiple accolades.

Studio City Sound has a new home, and the brothers Weir are putting the finishing touches on a new Michael Damian album there. Seen left to right: Producer Larry Weir who also runs National Record Promotion, recording artist, actor, and film director Michael Damian (Weir), producer, engineer, and Studio City Sound CEO Tom Weir. The new Michael Damian album is slated to drop this summer.

Pictured L-R, studio owner and multiple award-winning mix engineer Richard Furch and NAMM TEC Award MixRoom designer Carl Tatz at Furch’s recently completed 9.1.4 Dolby Atmos MixRoom named mixManor in Los Angeles.

Following the release of his sophomore album, Baby, Dijon has announced his international headlining tour. The tour, promoted by Live Nation, will begin in America this October, hitting '� cities across the U.S. and Canada, with dates in the U.K. and Europe coming in '�'�. Baby was made at home, mostly in isolation, along with musical kindred spirits Andrew Sarlo, Henry Kwapis, and Michael Gordon.

Excitement is building around an upcoming and soon to be released project at The Greene Room (greeneroom.com) with producer Rex Rideout, GRAMMY-winning vocalist Ledisi Young, engineer Marc Greene, and guitarist Paul Jackson Jr. Stay tuned for more news on that soon.

Peavey Electronics is celebrating its 60th anniversary. Hartley Peavey’s distinctive vision was the key that started it all in Meridian, Mississippi, and he’s the catalyst that keeps Peavey cruising ahead in the fast lane towards the future. Peavey’s unique approach helped dealers and distributors around the world build businesses and thrive with fair pricing and innovative product solutions.

GRAMMY-winner and global independent innovator Chance the Rapper has officially released Star Line, his most ambitious and personal project to date. The album reflects Chance’s global journey, artistically, spiritually, and physically, over the past six years. Created with longtime producer DexLvL and shaped by travels to Ghana, Jamaica, and art fairs around the world, Star Line blends hip-hop, soul, and experimental sounds with lyrical meditations on identity, resilience, and legacy.

Cardboard Sessions, a collaboration between Signal Snowboards and Ernest Packaging, is a free-form video series that brings musicians together to play instruments built and designed by the creators of Cardboard Chaos. The raw, charged episode of Cardboard Sessions featuring Return to Dust is out now.

UNION STUDIO & REHEARSAL ROOMS – BURBANK

Rehearse. Record. Create — at the home of LA’s top working musicians.

Our state-of-the-art union facilities are trusted by musicians who work with Bruno Mars, Lady Gaga, Rage Against the Machine, David Foster, Beyoncé, and Taylor Swift — and countless major tours, films, and recordings.

REHEARSAL ROOMS

• $35/hour (2.5-hour block)

• Acoustically treated, pro backline available

• Ideal for bands, ensembles, and touring prep

RECORDING STUDIO

• Podcasts

• $65/hour (4-hour block)

• Professional-grade recording, mixing & production

• Perfect for demos, singles, and soundtrack work Affordable. Professional. Union-powered.

Email: booking@afm47.org

Phone: (323) 993-3172

Website: www.afm47.org

Where LA’s working musicians create.

Like many behind-the-glass gladiators, Atlanta, GA-based mastering engineer Colin Leonard got his start as a musician. Beginning with piano, he moved on to drums and as a high school freshman graduated to guitar. He studied classical guitar at California’s University of the Pacific before earning an audio engineering degree from Full Sail in 1998. A three-time GRAMMY winner, Leonard has become the goto engineer for major artists including Bad Bunny, Beyoncé, and Paul McCartney.

lessons he’s learned as an engineer are:

• Listening is the most essential thing.

• Having your monitoring on point is often overlooked.

In 2012, he launched his commercial mastering service SING Mastering. “I’d started mastering my band right after I graduated from Full Sail,” Leonard recalls. “We’d recorded a demo on two-inch tape and mixed it on an SSL 9000. I should’ve realized then that mastering was my thing, but I had such a lack of equipment—I was using Sony’s Sound Forge—that I didn’t. Then I started to produce music for underground rappers and began to write theme music for TV shows. We’re still in our original location.”

• Enjoy music. I often draw inspiration from older records because they remind me of a feeling.

Leonard often confers with mix engineers before they send him their files. The network he’s built has proven indispensable. “Part of what’s important about what I do is the relationships I have with the mix engineers,” he explains. “That’s a big part of my success. Having experience through the whole production process allows me to have conversations on the same level with everyone."

Among the biggest challenges he encounters is when a recording is crowded with plugins. “Certain types of distortion, such as clipping from too many plugins, are frustrating,” he observes. “It’s not there for an artistic reason. It’s there because they put three clippers on it to make it loud and now, they’ve listened to it a thousand times and don’t want to change it. Distortion can be cool when it’s done in a way that enhances the recording. But often it degrades it, which is rarely the mixer’s fault. Don’t listen to the rough too much because you’ll expect to hear it that way every time."

“Another challenge is always trying to make sure that the feel of the music isn’t compromised,” he continues. “That’s the biggest thing I hear that goes wrong. People don’t focus on the feel of the project as much as they should. It’s important for the dynamic impact of elements like drums to stay intact.”

Gear is crucial to any engineer. But to Leonard, he prizes his in-built equipment highest. “My ears and my EQ are the most important tools I have,” he asserts. “It’s amazing how the right decisions at half a dB in the right places make all the difference. There are producers I work with often and they’ll see me adjust half a dB and they don’t hear it. But then they listen to the before and after and [they hear] that all those things added up to a big difference in the final product.”

Recently Leonard has been busy with projects including Jack Harlow’s Monica as well as records with reggaeton artist J Balvin and rapper Meek Mill. Work on his two-year project to migrate his studio onto his home property is also underway. Lastly, he urges aspiring engineers to trust their ears above any gear or visual tools such as meters.

Contact singmastering.com, Instagram @colin_m_leonard

Directory of Recording Studios

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1

505-954-2400

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STEPBRIDGE STUDIOS

528 Jose St. Santa Fe, NM 87501

505-988-7051

Email: Web:

Contact:

Format:

825 RECORDS, INC.

(STUDIO & PRODUCTION COMPANY) 8225

347-240-5417

Email:

APPLEHEAD RECORDING STUDIOS

Blackmagic pro cameras and recording equipment set up to record a fully mixed podcast in one take. The main stage room is divided into a primary 25x45 space attached to a mixing room that’s approximately 2/3 size of the main room. The main stage has an Allen & Heath SQ7 digital console with 48 channels. The mixing room has a Trident 88 Series custom analog mixing board with PMC Mastering Speakers and Antelope Near Fields, new Mac computers with m4 chips, and an iso booth. The studio also has a Tama drum kit, Yamaha C7X grand piano, and a total of 12 cameras.

Email: Web:

Quote from Greg Spero: that a balanced lifestyle is essential to surviving the life of a musician or industry creative. It’s not healthy to just engage in the roller coaster of recording and touring without giving any attention to overall emotional and physical wellness. Today, artists are realizing that it is possible to have a healthy, happy, well-balanced lifestyle even in the context of this chosen perpetual struggle, by integrating the three pillars of Productivity, Wellness, and Community consistently on a daily basis.”

UP CLOSE

UP CLOSE

Dani Pampuri

Sound Pressure Labs soundpressurelabs.com

NRG Recording Studios nrgrecording.com

Like Hearing Music for the First Time: commercial installations for superstars like Coldplay, Ariana Grande, and ultimate goals in audio technology. Fully understanding the drawbacks to system designs and technical compatibility issues, he founded Sound Pressure Labs (SPL) as a solution. In the musician, sound engineer, and live audio systems designer launched his revolutionarily immersive TrueSPL™ technology, he has distilled its sonic impact to four simple branding phrases—“Like hearing music for the first time,” “Most incredible sound control ever heard,” “Makes live production sound like studio-produced music,” and “We make cinema-quality music for every environment.” From in Humboldt County, CA to test and apply the theories that would create the programming foundation for TrueSPL™.

The Road to Beyoncé and aflutter over Beyoncé at last winning the coveted Grammy for Album of The Year for her genre-busting total to an all-time record —an entire village of songwriters, producers, and engineers celebrated as well. One of these was Dani Pampuri, a multi-talented Brazilian born engineer credited with recording ten tracks and providing engineering assistance on another. Since connecting with Beyoncé he has served as sound engineer on her album King: The Gift remake) and played an essential role in the live album recorded during the singer’s historic Coachella Performance. In a large clientele of bands and working for years in various studios in Sao Paulo (including his own C Filipe) moved to L.A. to continue working with an artist who had caught the attention of producer Jay Baumgardner, owner of NRG Studios in North Hollywood, one of the most prestigious in L.A. After working and touring with different bands, Pampuri—also a talented drummer—set up camp and began engineering for both NRG’s clients and many others he brought in via word of mouth.

40 Wolff riffs on the famed Emmy-nominated TV show at the top of his Wolff Audio website. For over four decades, the legendary audio innovator has been a powerful force in the industry via his revolutionary console designs “distilled to perfection” and leadership behind many influential brands, including API, Tonelux and Fix Audio Designs. While his dynamic designs have earned him a unique reputation as the mad genius in residence for the world’s top audio professionals, it’s interesting to note that Wolff began his career doing Front of House sound at The Bayou in D.C. for everyone from The Ramones, Pat Benatar and The Runaways to Stephen Grapelli and Gallagher.

L.A. Mainstay For Over Three Decades: the late ‘ has worked with rock greats Papa Roach, Hoobastank, Bush, Ugly Kid Joe, and countless others—but one of his most indelible memories was making coffee for Ray Charles in his kitchen when the legendary artist was recording at Baumgardner’s popular home studio in the days before NRG Studios moved to its current location in North Hollywood. Revered as one of L.A.’s premiere recording studios since grown over the past three decades from one state-of-the-art studio to three, with Baumgardner eventually buying the building. Yet the warm, homey aesthetic that evolved from the original environment has been a core part of Baumgardner’s vision from the beginning.

IO (digitally controlled analog) to create his latest legend in pro audio. In line with the aesthetic and commitment that has been the driving force of his earlier endeavors, the Santa Barbara, CA-based Wolff Audio’s mis sion is to deliver audio tools with uncompromising perfor mance and unprecedented control to inspire audio pros at every level. Wolff says, “Jared and I have the same dream and it’s awesome to have a partner who shares my spirit of love and compassion. Everyone at this company is an audio industry veteran who is insanely into making great sound for everyone. At

A Diverse Roster of Artists As chief engineer of NRG Recording Studios, Pampuri has worked on many independent projects in addition to high profile sessions spanning jazz to

Hub of Entertainment and Sonic Innovation: shows and festivals purposed for R&D, proof of concept, and scalable systems applications, “Real Time Spherical Sound” was born from a hybrid digital-analogue modification, integrated with an existing Dolby Surround Sound System that was installed in the ‘ and his team of partners and engineers currently have three patents, with nine more to follow. One of these was Transmigration, a modern sound bath filled with hypnotic and healing sounds—vocal flute, trumpet, mantras, chants, spherical guitar, and saxophone

Legendary Clientele: in pop/rock history by hosting the sessions for Hootie & The Blowfish’s 20 its success due to good parking, NRG has long been a hub for indie greats and superstar artists alike—including Linkin Park, Evanescence, Korn, Limp Bizkit, and Beyonce, including sessions for her multiple GRAMMY-winning Cowboy Carter point in the early Baumgardner heard 10 songs in a row on KROQ that were recorded at his studio. Two decades on,

Adrian Weidmann CEO Immersive Design Labs

Years with Company: 2

Address: 19000 Maple Lane, Excelsior, MN

Web: immersivedesignlabs.com

Email: listen@immersivedesignlabs.com

Notable Users: Willy Porter, Justin Gray

BACKGROUND

Adrian Weidmann believes immersive audio is the future. Despite his faith in the format, he noticed nobody was capturing audio at its source to create immersive recordings. Thus, he invented the 7.0.4 Immersive Array, now on sale through his startup, Immersive Design Labs. Accessories and product improvements are in the works.

Testing, Testing

We designed the array by looking at what’s out there. [Others are] using aluminum and they get heavy. We made our array out of carbon fiber, so it’s very light. The microphones are made out of titanium so they’re light, as opposed to a [microphone with a] metal or brass housing.

Showcases

“The killer application for immersive listening is the car. That is where this experience will take off, because it’s a controlled environment.”

When I started in this field, I was in charge of remote recording at Wisconsin Public Radio. This would’ve been the late ‘70s, early ‘80s. We did a remote weekly radio show at one of the clubs, and another out of a liberal arts museum. Subsequently, I was studying mechanical engineering and was interested in the technical side. The audio guru in the engineering program at University of Wisconsin-Madison at the time was Professor Greiner. In his graduate program, I got exposed to Brüel & Kjær test and measurement equipment. They were and still are the gold standard in sound and vibration testing, and measurement equipment.

At the [radio] studio, we got all the trade journals. There was one magazine published out of London called Studio Sound. I answered a classified ad in the back for Brüel & Kjær to be the chief cook and bottle washer for a line of recording microphones that emerged out of the test and measurement field. Off I went to Copenhagen and spent almost 10 years with the company. I was able to travel the world and be the ambassador/advocate of these new omnidirectional microphones. Shortly after I left, the company spun that off into a new company known as DPA Microphones.

Like a Rolling Stone

I got to meet amazing people—artists, producers, and such. One of these gentlemen was on a Prince tour when they came through Copenhagen. He subsequently was the stage manager when The Rolling Stones went out on their Steel Wheels tour. I was back in the States sitting in our office in Massachusetts when I got a call. To this day, I only know him by his stage name, Cowboy. He said, “I’m with The Stones. We’re at Foxborough [Stadium]. The band wants to do a video shoot, but we cannot get the sound of Charlie Watts’ drum kit. Could you come down?”

I miked up Charlie Watts’ drum kit with these Brüel & Kjær microphones. I said to the sound guy, “Be careful. These are not what you’re used to.” And the reaction was, “Are you kidding? Those are omnis...” The drum tech comes out and cracks down on the snare. It was like a stick

Fully Immersed

I moved back to the states and went to Neve. I was at AMS Neve for six or seven years. Then I moved back to Minneapolis and got into a completely different business up until about two to two-and-a-half years ago. There’s another test and measurement company that followed what DPA had done. They approached me and said, “Let’s see if we can launch something.”

The challenges I had back in the day came flooding back. I remembered taking advantage of that transition from analog to digital, and [thought]—"what’s that transition today?" It immediately took me to the immersive world. Nat King Cole, Frank Sinatra, Patsy Cline… Those records hold up. They were made when the technology was simple. It was all about mike placement, and musicians that could play a song. I said, “Let’s revisit that.” I started learning about immersive and found that the lion’s share of what’s being done in immersive is mixing. They go back to those old recordings and turn that into an immersive mix. And I thought, nobody seems to be doing immersive capture. There’s an opportunity there.

Preparation

When you do immersive capture, you first have to think of the song. The song has to exist. It needs to be rehearsed. The preproduction is critical. Nowadays, you have limitless tracks. You have plug-ins. The music is built track by trackby-track. In many cases, the song doesn’t even exist when you start recording. “This is the drum track I’d love to build on.” Or, “Here’s the rhythm track.” If you want to do immersive capture, that song and the story you want to tell need to be thought through beforehand. That’s a huge difference.

Designing the Array

When I got into this, the apparent leader in the field was Dolby Atmos. I was familiar, because it’s a cinematic format and that’s a market we addressed at Neve. I said, “How can we combine the sensibilities of the physics of sound and accurately capturing a sound field with Dolby Atmos?” So I educated myself on the format. I said, “Instead of virtual objects, let’s position the microphones into that array and capture that three-dimensional sound field.”

When we did our first showcase at AES in October of ’24, I had a handful of prototypes. I booked Power Station in New York. Nobody wanted to see another microphone manufacturer, but I figured if we’re doing it at Power Station maybe that’ll be a nice draw. As we’re planning the event, Willy [Porter] calls and says, “I’d like to introduce you to a friend of mine.” This friend happened to be Neil Dorfsman of Dire Straits’ Brothers in Arms fame. That event turned into Willy playing and Neil engineering in that studio. The folks at loudspeaker design firm Ex Machina Soundworks came in and set up their Atmos playback system in the control room. That set the tone.

We then replicated that as part of NAMM ’25. We booked EastWest Studios, another iconic room. And we had Matt Wallace and Will Kennedy engineer that session. The folks at Kali Audio were kind enough to bring in their system. We recorded through the day, and in the evening had guests come in to listen and so forth. That spurred us to replicate [the idea] in Nashville.

Car Talk

The killer application for immersive listening is the car. That is where this experience will take off, because it’s a controlled environment. And we’re quickly moving towards autonomous driving vehicles, so the car will essentially become a rolling entertainment center. I was at a recent NAMM show and ran into a gentleman from Dolby. I told him what I was doing and said, “I’m working with this artist, Willy Porter. We’ve got this record, Humans In A Room.” He goes, “I know that record. Come with me right now.” He takes me to the Pioneer [Electronics] booth. “This is Adrian. Could you squeeze him in on a demo?” We get in a Toyota SUV, and the gentleman from Dolby says, “Pull up Willy Porter.” It sounded amazing.

The product that Pioneer was showing is the first after-market box that slides into the radio slot on the dash that plays back Dolby Atmos in a car with a four-speaker conventional array. That’s going to change the perception of immersive capture for consumers but also record labels.

Just Breathe

When you’re recording, let your instrument breathe. For so many years, we have been trying to isolate. The more you isolate, the more you’re squeezing the emotion out of the performance. It needs air. It needs to breathe. That acoustic instrument needs air around it. Move that microphone off by two feet. That’s a simple thing to do. And try using two microphones, because that’s how we hear. Put two microphones out there the width of your ears. The results are stunning.

Amadour’s Orchestral Maneuvers in the Light

Across a sweeping multidisciplinary practice, Amadour uses visual art and architectural history as a structural blueprint for an intimate, world-building sound—a transified, technicolor, high desert latter-day Jean Cocteau, whose expansive vision is both born from and continually returning to the specific surrealism of the American West.

It is this intersection which Amadour triangulates in their new single, "Angel Eyes (You Are Watching Me)." Releasing in June, the track is the first element in a cinematic, literally orchestral pop epic that functions as a bridge between Amadour’s personal ancestry and a vast, multidisciplinary mythology. Recorded at the Noise Floor studio in Canada—the same environment that birthed Orville Peck’s mythic Pony—the single features a 60-piece orchestral arrangement performed by the Pannonia Film Orchestra in Budapest, a fantastical scenario which Amadour describes as “a dream come true.”

Amadour’s visual components are equally dreamlike, both intimate and ambitious, and increasingly exist in fusion. On the one hand, "Angel Eyes (You Are Watching Me)"’s self-designed cover art translates the song’s gravity through Caravaggio-inspired chiaroscuro, yet balances the weight of grief with “Nevada-coded” humor and casino camp. This fusion of high art and regional kitsch is the hallmark of Amadour’s vibe; from the impossibly poetic hardedge paintings filled with delicate patterns, flossy atmospherics, gold leaf, and architectural precision, to photography-forward impressions and sculptural installation systems. “I don’t work in any single medium necessarily,” says Amadour, “but I think my medium would be perception—building this world through perception, regardless of if it ends up visual or sonic.”

Rooted in a hardcore academic background studying under Mary Kelly and Barbara Kruger at UCLA, that education oriented and expanded their sense of what art could be—what it could contain. Now looking toward a major solo exhibition at the Nevada State Museum in 2027, Amadour is scaling this vision into The Mapes Suite, an installation recreating Marilyn Monroe’s suite from the demolished Mapes Hotel as a stage for a new orchestral suite. “Everything is my home,” says Amadour. “I will forever only make work that relates to Nevada. It doesn’t have many voices that understand it—it’s vast and beautiful and delicate…and I feel that’s my calling as a steward of culture for my state.”

amadour.com

QUILL

From the opening bars of her song “Tightrope,” it’s clear that there’s a magic about altrocker Quill. Not in a cheesy, sword-and-sorcery sort of way, but rather a magic steeped in gothic majesty. With a tip of the hat to Poe, as well as the likes of Nick Cave, Quill works in the darkness to create poetic, crunchy songs that then burst into the light. Evanescence is an obvious reference, though Quill is very much her own artist.

Quill can’t remember a time when she wasn’t singing. “My mom used to call me Ethel Merman, because I would sing opera in our living room (or try to),” she says. “It was one of those things I always gravitated toward when I started playing piano at five. I always wanted to sing my favorite songs. Writing came from a more private place. I think I started writing because there were things I felt too deeply to say plainly, and songs gave me somewhere to put all of that.”

Initially her focus was on poetry, using it “as a way to put words to feelings I couldn’t understand.” When she graduated high school, she picked up a keyboard at 21 and was drawn back into music. “That’s when it shifted from ‘I want to do music’ to ‘this is what I’m building my life around,’” she says.

Quill describes her sound as “prunge metal”—sometimes grunge, sometimes nu-metal, always poetic. “I’m really drawn to music that feels dramatic, repressed, and a little dangerous,” Quill says. “Artists like Evanescence, Deftones, SleepToken, etc. They inspire me. There’s darkness in my music, but I wouldn’t describe it as dark just for the sake of being dark. It’s more romantic, emotional, and theatrical. I like tension: repressed rage, hidden imperfections, vulnerability. I like flaws. The uglier, the better.”

All of that can be heard on her recent EP Diary of a Wannabe, which Quill describes as “probably the most personal thing I’ve made so far.” It’s an impressive piece of work, only possible because of her admirable work ethic.

“DIY means doing the work,” Quill says. “It means believing in yourself enough to create the vision, even when no one else sees it yet. You make the song, you plan the shoot, you build the visuals, you post the content, you figure out the rollout, you answer the emails, you fund what you can, and you keep going even when it feels like you’re building something huge with very limited resources.”

2026 will see Quill “expanding the world of Diary of a Wannabe,” and we’re looking forward to seeing where that takes her.

Visit quillmusic.org

Photo by Anna Haas

THE LEGAL BEAT

BY GLENN T. LITWAK

A Federal court jury in New York recently held that Live Nation and its subsidiary, Ticketmaster, had an illegal monopoly on concert ticket sales. Live Nation/ Ticketmaster used its dominant position in the market to make things more difficult for its competitors.

The witnesses in the trial included Live Nation head Michael Rapone and Ben Lovett from the group Mumford & Sons. Over 30 states sued Ticketmaster, claiming that it dominated major concert venue sales and maintained high prices with their anticompetitive practices in large entertainment venues.

COURT HOLDS LIVE NATION MONOPOLIZED THE MARKET FOR CONCERT TICKETS

Concert goers have long complained about exorbitant ticket prices. This recent verdict in the antitrust trial against Live Nation could mean lower ticket prices in the future but it does not appear it will happen immediately.

One week after the trial began on March 2, the federal government entered into a $280 million settlement. Some states agreed to participate in the settlement which must still be approved by the judge. However, over 30 states decided to continue with their lawsuit in court.

The jury concluded that Ticketmaster overcharged $1.72 per concert ticket in 21 states and Washington D.C. due to Live Nation’s anticompetitive actions.

The acting assistant attorney general for the Justice Department’s antitrust division, Omeed Assefi, stated the verdict was “a fantastic outcome for the American people... DOJ and some states settled their cases and got instant relief. The remaining states received a liability finding and will now move on to the next phase of a remedies trial. Everyone but Live Nation wins with this scenario.”

The judge in the case, Arun

Subramanian, will be the person who decides what the remedies are. It could be divestments by Live Nation of some of its companies or ordering Live Nation and Ticketmaster (they merged in 2010) to separate. Live Nation will also be required to pay back millions of dollars in overcharges.

During the trial, Live Nation argued that it was not a monopoly and stated that the jury’s verdict “is not the last word on this matter” as there are motions pending which may decide whether the rulings on liability and damages will stand. Live Nation also stated that it should not have to pay over $450 million in damages.

Ticketmaster is the largest ticketer of live events in the world. During the trial, Jeffrey Kessler, an attorney for the states, testified that Ticketmaster has an 86 percent share of the ticket sales market at “major concert venues” which he said are the 250 U.S. amphitheaters and arenas that can accommodate 8,000 people and have more than 10 concerts a year. Live Nation contends that their market share is only

44 percent if smaller venues are considered.

Ticket prices have skyrocketed in the last few decades. According to Bloomberg, as Streaming income became a less profitable source of income for musicians, artists have turned to touring and are charging a higher base cost. In addition, live events boomed after the pandemic.

GLENN T. LITWAK is a veteran music and entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, music producers and hit songwriters, as well as management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as SXSW and the Billboard Music in Film and TV Conference. Glenn has been selected as a “Super Lawyer” by Super Lawyer Magazine for 20222026. Email Glenn at gtllaw59@ gmail.com or check out his website at glennlitwak.com

SIGNING STORIES

COLE BERLINER

Date Signed: October 2025

Label: Drag City

Type of Music: Folk, Jazz, Classical Management: Self-managed Booking: Black Rice Booking (Europe)

Publicity: Drag City Publishing Web: coleberliner.com

After making his name as a member of the bands Kamikaze Palm Tree and Sharpie Smile, Cole Berliner has gone solo and The Black Door is his debut solo full-lengther. It also marks his debut for the Drag City Label, though it’s been a long time coming.

“I have been performing since I was a kid, through after school music programs and also through school,” Berliner says. “My first ever band performance that I can remember was in 2nd grade at my school talent show. We were called The Out of Control Fireball Psychics. Fast-forward, I began writing and playing in bands with friends as a high school teenager, and it was around this time that I started experimenting and recording songs and guitar pieces of my own. Around this time/post high school I actually had self-released a couple albums on Bandcamp under the moniker Tongue Splitter.”

The artist says that his sound is based on taking lots of different things and bringing them together. “My sound is kind of a result of this, an amalgamation of everything I’ve been a part of musically or listened to over the course of my life, trying to give each one it’s place in the music while

“I think it’s safe to say that I have always liked things with a bit of edge.”

still following the inner light of self-identity,” Berliner says.

“I think it’s also safe to say that I have always liked things with a bit of edge,” he continues. “Even if it’s meant to be soft and beautiful, there has to be some sort of hardness, imperfectness, or sadness.”

While The Black Door is Berliner’s solo debut for Drag City, he’s been working with the label since his band Sharpie Smile signed with them back in 2020.

“My bandmate Dylan and I had met Dan Koretzky in L.A. because we happened to be playing some west coast shows when he was in town,” he says. “Dylan and I both played in White Fence for a while, and I think Tim Presley was the one who connected the dots with us and Dan—Dan ended up coming to a pretty random but awesome show at a strip mall in Santa Ana, and we started talking after that.”

Berliner has had the songs from The Black Door kicking around for a while, but they came to life when he re-started playing them acoustically.

“Somehow, the steel string guitar shifted my perspective back to its original feeling from when I first started writing,” he says. “It was ‘winter’ in L.A., it was foggy and mysterious, lush-green and beautiful.” – Brett Callwood

JAI’LEN JOSEY

Date Signed: March 2026

Label: Def Jam Recordings

Type of Music: R&B, Soul-Pop

Management: Taryn Anchrum - Top Ten Management; Al Branch - The Blueprint Group; Anastasia Wright - Imperial Marketing Group

Booking: Michelle Martinez, Josh Sanchez - WME

Legal: Dorna Taylor

Publicity: Bryan Pierce, Humbert Luna, Becky McElrath - 1964 Agency

A&R: Drew Corria - Def Jam; Laurne Munroe - Sony Music Publishing; Taryn Anchrum - Top Ten Management LLC

Web: jailenjosey.com

Jai’Len Josey is a force to be reckoned with. Being a triple threat — songwriter, singer, and actress—made her a desirable asset. Cynthia Erivo became aware of the Broadway star while producing a stage show in which Josey was performing. Erivo subsequently became a mentor. Josey knew about Erivo getting into music, so she voiced her desire to make similar waves.

As luck would have it, Erivo was friends with screenwriter Lena Waithe. The creator of Showtime’s The Chi had a label with Def Jam, Hillman Grad Records, a perfect fit for the diva in the making. Josey signed with them in June 2021.

Two years later, the label dissolved. “Long story short, they took me straight under Def Jam,” says the R&B powerhouse hailing from Atlanta.

“I was proving myself, to where they had no other choice but to believe what others were saying.”

While signed to Hillman Grad, she went on tour with recent MC cover artist Ari Lennox. That stint allowed Josey to prove her mettle, thus instilling faith in Def Jam that she has what it takes. “I was proving myself,” Josey proclaims, “to where they had no other choice but to believe what others were saying.” A songwriting deal with Sony Music Publishing, plus a management deal with WME, also came to fruition.

Before all this, a producer she felt close to did her dirty. Josey was therefore cautious when it came to signing anything. Fortunately, her mother has a music industry background, so she always had someone with insider experience to help guide her through the process.

Josey remains content that things took longer than expected to fall into place. She’d rather shine bright for years than merely come and go like a shooting star. “I don’t want to be microwavable,” she cheekily suggests. “I want to be a pot roast. And I want to be a pot roast that tastes really good.”

Serial Romantic, Josey’s major label debut executive produced by Tricky Stewart, made its initial splash in April. - Andy Kaufmann

ISAIA HURON

Date Signed: December 2025

Label: RCA Records/Slang Type of Music: R&B

Management: Jaha Johnson, November Yellow Booking: The Team (formerly Wasserman) Publicity: Amanda Zimmerman – RCA Records Web: isaiahuron.com

The ink is barely dry on the contract, but Isaia Huron is already onto the next thing. In an industry that loves a long-winded origin story, the Greenville, SC native is refreshingly, almost surgically, brief. When asked when his musical journey actually got serious, he doesn’t cite a childhood dream or a viral moment. “It got serious around yesterday or so,” he quips.

That “yesterday” has actually been years in the making. From a childhood steeped in gospel—raised by a pastor and a choir leader—to teaching himself Ableton on a cruise ship in 2018, Huron has been quietly building a sonic architecture that defies easy categorization. It’s a blend of R&B, alternative soul, and indie textures that feels both intimate and expansive.

Now, Huron has officially leveled up, announcing his signing to RCA Records in conjunction with Slang. The partnership arrives alongside his latest single, “W.T.A.” (Way Too Attached), a self-produced, slow-burn track that serves as the first transmission from his upcoming era: Mr. Lovebomb.

While his debut album, CONCUBANIA, was a three-act play exploring the wreckage of heartbreak, Mr. Lovebomb promises to dive into the “messiness” of life. Despite the high-stakes backing of a major label, Huron’s process remains decidedly lo-fi and intensely personal. While most artists head to high-end studios in L.A. or London the moment they

“Where do thoughts come from? We don’t really know, so it’s hard to say exactly how I am inspired.”

get a budget, Huron stayed close to home. “I recorded and produced those songs and the entire album right after we shot the visuals for CONCUBANIA, right outside on my parent’s back deck by myself. And yes, it’s conceptual, the album,” he says.

Following a breakout COLORS performance that continues to rack up views, he has found that the most rewarding part of the grind isn’t the contract, but the reception. “Watching people like it. Very strange, but wholesome feeling,” he says.

As for what the rest of 2026 holds under the RCA/Slang banner? His goals are as minimalist as his production: “Doing music” and “Tour.” For the aspiring musicians looking for a roadmap to follow in his footsteps, Huron offers no clichés or “10 steps to success” manifestos. “Not really, no,” he says when asked if he has any advice. - Ruby Risch

FAMILY STEREO

Date signed: April 2026

Label: Bella Union

Type of Music: Singer-songwriter

Management: Northern Lights Management

Booking: Free Trade Agency

Publicity: Charm School Media

A&R: Simon Raymonde

Web: familystereo.net

The end of July will see Family Stereo, AKA singer-songwriter Blake Watt, release his debut album The Thread, a fact that was announced recently by the label which is his new home, Bella Union. “An album of folk-tinged and brush-stroked reflections on distance and connection, The Thread is both dynamic and subtly cinematic, its artfully crafted precision the work of a fast-maturing talent,” a statement by the label reads.

There is, therefore, a lot to celebrate for Family Stereo in 2026. But this is no overnight success story. Watt has worked hard to get to this point."

“I’ve been writing and releasing music as Family Stereo since I was about 17 years old,” he says. “I went off to university and studied drama, and then when I got back decided that I wanted to pursue music properly. I wouldn’t say it got ‘serious’ until we signed with Bella and started working on the first LP.”

The Family Stereo sound was initially centered around fast-paced indie

“I was just trying to replicate the energy of Joy Division, and the poetic writing and singing style of Morrissey.”

pop. “I grew up listening to Joy Division and The Smiths, so I was just trying to replicate the energy of Joy Division, and the poetic writing and singing style of Morrissey,” Watt says. “I basically learnt to sing by listening to him. But then I got much more into American indie-folk singer-songwriters at university, people like Elliott Smith and Adrianne Lenker, and they turned my head completely, and I haven’t really looked back since.”

Watt’s deal with Bella Union came when Simon Raymonde (label founder and member of the Cocteau Twins) heard the Family Stereo song “Matter” from the first EP.

“We started emailing back and forth,” he says. “He liked the track but was a bit tied up at the time with other stuff. I kept pestering him though, and after about a year we met up and he offered me a deal for the first LP.”

According to a statement, “The Thread arrives in the aftermath of a string of singles from the 25-year-old Blake, son of Everything But The Girl’s Tracey Thorn and Ben Watt.”

“I recorded it with my bandmate and producer Sam Hodder-Williams at his studio in North London,” Watt adds. “We started recording in September 2024 and finished in July 2025.”

As Family Stereo gets prepared for the release of The Thread, Watt is also steadying himself for a busy 2026.

“We’re working on the follow up currently, and I’m just trying to keep writing as much as I can,” he says. “I’ve written about five songs I really like. I’m also going off on tour with someone for a few dates next week, so it’ll be nice to play some of the songs off the upcoming record. We’re going back into the studio over summer so that’ll be a good incentive to write some more stuff.” – Brett Callwood

ROSALÍA’S IVOR AWARD

Singer-songwriter ROSALÍA is The Ivors’ International Songwriter of the Year. El Mal Querer (2018) reimagined flamenco, she wrote/performed/recorded/produced 2022’s MOTOMAMI (global No. 1 debut), and 2025’s LUX (in 13 languages) included hits “La Perla,” “Berghain,” “Reliquia,” “Sexo, Violencia y Llantas.”

PERRY’S INTERNATIONAL AWARD

The Ivors Academy honors Linda Perry with The Ivors w/ Amazon Music 2026 Special International Award for significant influence on U.K. music, with songs including “Beautiful” (Christina Aguilera), “What’s Up?” (4 Non Blondes), and “Get The Party Started” (P!nk). Her first solo album in 25 years, Let It Die Here , is out now.

SEEKER MUSIC’S NU SHOOZ

Oregon Music Hall of Fame inductee, synthpop group Nu Shooz (John Smith, Valerie Day), has sold their master and publishing rights to Seeker Music, in a catalog deal that includes hit “I Can’t Wait” (made famous by the DJ Peter Slaghuis remix, now celebrating its 40th anniversary and still a popular dance track).

[L-R: Steven Melrose (Chief Creative Officer, Seeker Music), John Smith (Nu Shooz), Valerie Day (Nu Shooz), and Evan Bogart (CEO Seeker Music)]

French Regulatory Leadership

SNEP, SACEM, and 79 other French organizations in film, music, and other sectors, are working hard to institute a bill to penalize gen A.I. for infringement and compel A.I. developers to scale back or cease operating in France completely. Achieving unanimous passage in France’s senate in April, and including a petition with over 25,000 signatures, the National Assembly has yet to get on board.

The latest development comes just before the enforcement deadline for the EU’s A.I. Act, which includes mandatory labelling to identify A.I. outputs ‘artificially generated or manipulated.’

MLC Catalog Webinars

Need help navigating your royalty statements? Have catalog administration questions? The MLC has regular webinars to help with all of your royalty, administration, and general MLC inquiry questions. More information and registration at bit.ly/42rOrr3.

Durango Early Bird

The Durango Songwriter Conference returns to Colorado October 8-10, with special early bird pricing available now. For over 30 years, the expo has provided an opportunity for songwriters of all levels to connect with resources to help propel their songwriting

LAUFEY’S ASCAP HONOR

2x GRAMMY-winning singersongwriter-composer Laufey’s unique fusion of pop/jazz/classical, seven billion streams, 25+ million social media audience, biggest historical Spotify jazz debut, Forbes 30 Under 30 and TIME ’s 2025 Women of the Year designee, Laufey Foundation work earned her 2026’s ASCAP Creative Voice Award.

journey, with listening sessions, expert panels, performer showcases, and plenty of time to network and collaborate. With industry professionals to help provide insight into navigating the business of music, the event is limited to 200 attendees to provide the best possible experience. Full details and registration at durangosong.com

Jessie Jo’s Triple

Congratulations to SESAC’s Jessie Jo Dillon, who has set a new bar and made history with her third consecutive Academy of Country Music Songwriter of the Year win, and one of only three women to ever claim the honor. The latest accolade follows her CMA Triple Play Award for three No. 1 songs in a single year. Morgan Wallen’s “Lies, Lies, Lies,” Russell Dickerson’s “Happen to Me” (which earned an American Music Award nomination for Best Country Song), and her Megan Moroney co-write on “Am I Okay?” (which earned an ACM Song of the Year Nomination). Dillon’s Gatsy Records (MCA imprint) recently earned its first ACM nomination for Carter Faith’s debut album, Cherry Valley, and Dillon’s “Lighter” cowrite for Carin León and Jelly Roll was selected as the official song of the FIFA world cup. Credits include “Beautiful Things,” “Medicine,” and nine tracks from Cloud 9 (all Megan Moroney), “Wish You Well” (Vincent Mason), “Baggage” (Kelse Ballerini), “Friday Night Heartbreaker” (Jon Pardi).

Angry/AM2 Songwriters

Independent music publisher Angry Mob Music has signed artist-songwriter AIKO to handle her catalog administration, as well as a co-publishing deal. The Admin+Co-Pub agreement is a new hybrid format, allowing Angry Mob to represent the writer’s past works under their administration deal terms, with any future works stemming from collaborations brokered by Angry Mob falling under a co-publishing agreement. Angry Mob’s sync arm—AM2—has signed Ava Della Pietra, Jordan Seigel, and Siv Jakobsen to handle future catalog sync deals and custom sync work.

Giddens’ Biscuits & Banjos

Rhiannon Giddens has announced a new nonprofit to celebrate the music, literature, food, and community of the African diaspora in America. Picturing a world where the full story of American music, literature, food, and culture is told, with respective foundational communities being

resourced, visible, and thriving, the Foundation follows on the one-year anniversary of North Carolina’s three-day-long Biscuits & Banjos festival (founded to commemorate the 20th anniversary of the Black Banjo Gathering). The organization will serve as a long-term home for the cultural work that has defined Giddens’ career, by investing in Black-led traditions and art, cultural leaders, educators, and the communities supporting them. Giddens is on tour through November. More at biscuitsandbanjos.com

SMP Signs Saghi

Sony Music Publishing Nashville has partnered with Ace High Music to sign Jake Saghi to global publishing. The multi-instrumental songwriterproducer has worked with Kidd G, Redferrin, Dom Ellis, Cassadee Pope, Abby Anderson, Rodney Atkins, Lakeview, Sacha, etc. and is quickly becoming a sought-after collaborator. Credits to date include Redferrin’s “Jack and Diet Coke” and Sacha’s “Hey Mom I Made It” (Top 10 on Canadian Country Radio and nominated for Songwriter(s) of the Year at the 2024 Canadian Country Music Awards), Saghi also produced Redferrin’s “Just Like Johnny” (Top 30 on Billboard’s Hot Country Songs chart). Recent cuts include “If I Was California” (Redferrin), and “Probably Shouldn’t Drive” (Kidd G).

2026 WCS Conference

The Los Angeles College of Music (LACM) presents this year’s West Coast Songwriters Conference, this coming October (early bird tickets available now). Now in its 46th year, the event includes workshops, industry panels, priceless networking, and pitch opportunities. Details and registration at bit. ly/4npfrRJ.

AIMP Annual Summit

The Association of Independent Music Publishers (AIMP) hosts their annual Global Music Publishing Summit this month with songwriterproducer Glen Ballard as the headliner, joining Tom DeSavia (Concord Music) to discuss stories behind his decades-long career works, songwriting craft, and the evolution of music publishing. This year’s Summit will also include a full day of panel discussions and additional guest speakers and will be preceded by the AIMP New York Chapter’s Young Professionals Committee. Details at aimp. org/event/aimp-global-musicpublishing-summit-2026.

Enescu International Applications

Applications are now open for the 20th biennial George Enescu International Composition being held in Bucharest, Romania, August 23 through September 19, 2026. While the cello, violin, and piano divisions have already closed, the composition division and masterclasses remain open through June 30. Open to all nationalities born after August 1, 1991, with cash prizes and future performance opportunities available to winners. To enter, musicians need to fill out an entry form, with online pre-section being based on performance videos submitted. Selected participants will proceed to perform in Bucharest, with winners receiving prizes totaling $150,000 across four divisions, as well as promotion and artistic launch.

Info at festivalenescu.ro/en.

ANDREA BEENHAM (aka Drea

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

DAVID PORTER’S SOUL MAN

After 60+ years (with 1,700+ credits), GRAMMY-winning David Porter has written and produced the best of Memphis sound. Releasing memoir

The Soul Man: Life of Songwriter David Porter , he reveals his life, career, and insights behind Stax Records, and more. Paperback and audio read by author at bit.ly/3R4sThJ.

PAUL ANKA: ICON

BMI Congratulates Paul Anka on receiving 2026’s BMI Icon Award honoring his legendary career, with 70 years of Billboard charting music, and a 900+ song catalog, including “Diana” (at just 15), “My Way,” “Times of Your Life,” and more. For a full list of BMI’s Pop Awards for 2026, visit bmi.com/events/entry/595884.

FOGERTY’S NEW RECORDS

As the only artist inducted Into the Baseball Hall of Fame, John Fogerty’s remastered Centerfield (Hall of Fame Edition) is out soon, with live recordings of “Centerfield,” “Rock and Roll Girls,” “Old Man Down the Road.” Fogerty is receiving the SHOF Johnny Mercer Award this month and is on tour through October.

KOBALT SIGNS THE WAVYS

The Wavys (Jack Brady/Jordan Roman) sign to Kobalt. With 4+ million global streams (Ambar Lucid, Gus Dapperton, G-Eazy, etc.), JISOO’s “Earthquake” (Amortage) debuted No.1 on Billboard ’s World Digital Song Sales, No. 47 on Billboard ’s Global 200, and Top 10 in Malaysia, Hong Kong, Singapore, Taiwan, Vietnam.

MIIST

15 Second Impact

Having never written a song before 2022 to writing 70 pieces over two years, multilingual singer-songwriter Miist’s journey has been anything but conventional. Abandoned at age five by her father, and surviving a terminal diagnosis at age 28, her professional journey began at age 34 after inadvertently discovering her gift for songwriting. Her mission ever since has been to inspire and uplift others, encouraging them to believe in themselves.

PRODUCER CROSSTALK

Born and raised in China, Miist taught herself the ukulele while navigating her cancer journey. During COVID, she began watching YouTube videos to learn simple chords on the piano. Her husband became frustrated, feeling she had a natural talent that might be altered by following others. To prove him wrong, she sat down to play. The result was her first three songs. “All the emotions I used to keep inside feel safe enough to express finally,” says Miist. “The emotions turned into melodies and I started writing like crazy. Everything that’s creative has always been in me, but the first 34 years of my life I somehow convinced myself I’m not creative. Both of my parents studied math, so I thought I’m just a left-brained person [and] became an accountant.” Adds Miist, “It felt threatening to challenge everything I’ve known.”

MARIO CALDATO JR.

Producer and engineer Mario Caldato Jr. (AKA Mario C) was born in Brazil and came to L.A. as a child. He learned piano early and was a member of various bands in his teens, which is when he discovered his love of recording and taught himself to make records. That knowledge helped him land a sound gig at legendary L.A. nightclub Power Tools, where he met DJ Matt Dike, co-founder of hip-hop label Delicious Vinyl. Dike introduced him to the Beastie Boys and he went on to engineer the trio’s acclaimed Paul's Boutique and later to co-produce Check Your Head, Ill Communication, and Hello Nasty. He’s also worked with Jack Johnson, Beck, and Björk, among others.

Miist admits there was a little magic involved. At a house showing, the realtor was a musician who, after exchanging music, forwarded Miist’s work to a friend—who just happened to work for songwriter-producer Narada Michael Walden (Whitney Houston, Aretha Franklin, Mariah Carey). Walden went on to produce Miist’s first album, The Songs From The Living Room, hitting No. 21 (with “It’s Too Late To Love You,” a duet with Walden) and No. 26 on Billboard’s Pop/Adult Contemporary Chart, earning No. 1 Indie Adult Contemporary song for 2024 (“Move Your Body Slowly”), and reaching No. 11 on the Indie Top 40. Miist is the first Chinese artist to land a Top 25 Billboard Pop/Adult Contemporary hit in America. Her fan base has grown to 181 countries. “I didn’t have the experience to understand,” admits Miist, ”but every once in a while I realize I’m still learning from Narada. We still talk very regularly.”

Hearing of a young Tokyo man dying alone in his apartment, Miist wanted to encourage people to smile at strangers, releasing “Could You Lend Me a Smile” in 2025. The Smile Project followed, including GRAMMY winners and nominees, 15 music videos, 14 artists, award-winning producers, and spanning five continents in 15 languages. Launching her podcast (Make Me Smile With Miist) in the spring of 2025, Miist encourages 15-second steps towards healing. It hit No. 13 in the Mental Health category.

When he begins a collaboration with a new artist, Caldato is more interested in where they are creatively than where they’ve been. “Before I start a project, I like to hear a demo, even if it’s just basic elements,” he explains. “I don’t even listen to their past records for various reasons such as I don’t want to be biased by them. I want to be open to what’s going forward especially since artists change their sound often.”

For 2025’s GRAMMY Awards, Miist invited fans to share stories of what music means to them for a chance to join her. 2026 brought “The Love Project,” with Miist including her fans again. “Being able to share this experience with them and give back a little and help other people’s dream is amazing. It touched me so much. To me, that’s a better experience than going to the GRAMMY Awards itself.”

Something that struck him while working with a pro player once was that it’s not always easy to infer their process. “One time I tried to help in a situation where it sounded like a bassist was struggling to understand a song,” Caldato recalls of the experience. “He kept playing the wrong notes and when I’d point it out, he’d say ‘I got it.’ But he continued to play incorrectly, and I couldn’t understand why. When he was finally ready, he actually played all of the right notes. His technique was to play every note that wasn’t right, so he’d know not to play them.”

Self-conscious about her writing (usually starting alone in her closet or bathroom with a phone to record), her songs begin around her own journey. “I write down the stories I have to tell of my own,” says Miist. “When I’ve processed most of my heavy and dark emotions, the lighter stuff starts to come out. I explore new things.” Sometimes it’s a story, sometimes a musical element, but she needs complete isolation before sharing ideas with her ‘accidental manager’ husband (who usually adds the lyrics).

“I use my own experiences along with science,” says Miist. “I’m not an expert in any way. I’m just a person who struggles as much as everyone else, and it’s okay. It’s just the way humans are, and life is. If we can learn something from it, then we can better live with it, and still have a peaceful life and be happy.” Miist’s first book, Make Me Smile is out now, as is “Love Will Show Us Our Way” (co-written/produced by Mauro Malavasi, Andrea Bocelli’s Romanza).

Caldato helped build the Beastie Boys’ G-Son Studios, where the trio made several multi-platinum records. It comes as little surprise, then, that his past projects that shine brightest for him are Hello Nasty and Check Your Head. “I’m proud of Check Your Head because we built G-Son from the ground up for it,” he says.

lessons Caldato has learned as an engineer and producer are:

• Listen.

• Be open to ideas, suggestions and sounds. Don’t shoot anything down. Try to understand it. You can make anything sound like music.

Contact Jon Bleicher, Prospect PR - jon@prospectpr.com Visit miistthesinger.com

• Be able to communicate and work as a group. Find a common goal.

Caldato has been involved in music for practically his entire life. Indeed, his vinyl collection could just as easily be measured in metric tons as it could

Reverend Guitars Continues to Inspire Religious Devotion Among Players

Built right, guitars are like extensions of a musician’s soul. The performer and instrument become one, both working in synchronicity to express an artistic vision. Few understand this better than Joe Naylor. His fiercely independent company, Reverend Guitars, remains humble, yet its origins are even humbler. A graduate of the Roberto-Venn School of Luthiery, he built his first guitars inside a garage behind a bicycle shop in East Detroit. He also fixed amps in those days, but it was his eye-catching, retro axe designs that began stirring notice.

One early endorser was Ken Haas. “His product was unlike anything I’d played to that point,” praises the former punk rocker. He was such a fan that he started hanging out with the rising craftsman. One day in the summer of ‘99, Naylor asked whether Haas would come with him to NAMM. “I didn’t even know what that was,” Haas confesses regarding the annual trade association for merchants of all things music. But he said yes. Being there was like being struck by lightning; Haas suddenly realized he’d been pursuing the wrong career. This was where he wanted to be.

As chance would have it, Haas struck up a conversation with Will Ray of The Hellecasters. His enthusiasm for Reverends resulted in selling multiple guitars to Ray. Impressed, Naylor began taking Haas with him to events to assist with moving product. Wife Penny came along too, so she could help in an unofficial capacity.

Naylor eventually hired Haas as sales director. By 2009, Reverend Guitars had grown to the point that the founder was spending all his time in the office dealing with the minutiae of running a startup, which made him increasingly unhappy. Haas saw an opportunity. He offered to buy the company from Naylor and immediately hire him back. That way, the designer could focus fulltime on what he does best—making guitars (and basses, too). Haas became Reverend’s CEO and Penny the COO.

As design director, Naylor continues to create elegant instruments that blend a throwback aesthetic with forward-thinking ingenuity. A number of factors set Reverend guitars apart. One is the Bass Contour Control knob featured on every instrument. Twisting it alters the tone with extra precision. Another differentiator is that, while most guitars today are constructed with maple, spruce, alder, rosewood, or mahogany, Reverend Guitars uses korina, a West African hardwood. “It’s lightweight, but also resonant with a strong midrange,” explains Haas. “It’s a very renewable resource that, because of its association with 1950s guitars, a lot of manufacturers demand a premium for.”

Reverend guitars have wormed their way into the hearts of many, from legacy musicians such as Fleetwood Mac’s Rick Vito and Ron Asheton of The Stooges to greener players like Frank Blation of indie trio Leisure Hour. “Reverend seems to be hitting something with Gen Z at

the moment,” attests Haas. “You can’t buy that. We’re lucky to have cultivated this younger crowd.” Other notable aficionados include Living Colour’s Vernon Reid, The Cure’s Reeves Gabrels, and Robin Finck of Nine Inch Nails. Arguably most famous is Billy Corgan, front man for The Smashing Pumpkins.

Reverend partners with many of their most recognizable customers to craft signature instruments. On some occasions, Reverend simply accommodates a few simple requests and then makes the exact same item available to the public. Other times, musicians have extensive conversations with Naylor to determine what they want. “Billy [Corgan] used a lot of references to other guitar players and things he liked about their tones,” recalls Haas. “[Joe Naylor] was able to listen to Billy describe this midrange presence he was looking for and design a set of pickups that worked.” The signature models are identical to the ones the artists themselves play. Nothing gets downgraded for the sake of saving a buck. The fact that anyone can pick up the same instrument as one made for a major star at a reasonable price reflects Reverend’s DIY history and punk rock attitude.

Haas recommends the Charger 290 or the Charger H90 for novices, suggesting someone starting out might not want to mess around with a floating tremolo. “But maybe they do,” he counters, rethinking his position. “I did, when I was beginning.”

Coming soon is a model built in conjunction with Machine Gun Kelly’s touring guitarist, Justin Lyons. “He has a really cool idea for a guitar, so we’re putting that together,” says the CEO. Recent changes include adding the names of their guitars onto headstocks, as well as taking a cue from the car industry and offering a rainbow’s worth of shiny colors. Anyone desiring a Reverend guitar should consult the dealer list on their website or be prepared to buy online. Despite thriving, Reverend Guitars remains relatively unknown. Haas points out how frustrating it can be when someone at an expo has no idea who they are. “And then the other part of me is—kickass! We’re nowhere near the saturation point. If people are asking that question, that means we still have work to do, and we’re making a difference.”

Visit reverendguitars.com

DROPS

The Alarm recently released “Live Today,” the final music video featuring the late Mike Peters, who passed away in April 2025 following a 31-year battle with cancer. Filmed on a beach in northern England just days before Peters underwent CAR-T therapy in a last effort to fight an aggressive form of lymphoma, the video captures him performing with energy and optimism. The single was taken from the band’s new album Transformation, which dropped in May via Twenty First Century Recordings/Virgin Music Group. The record was completed the night before Peters began his final treatment. For more information, contact Nikki Esposito at nikki@reybee.com.

WaterTower Music has released the Mortal Kombat II Original Motion Picture Soundtrack on all major digital streaming platforms. The album features an original score by Benjamin Wallfisch, including a reimagined version of the franchise’s “Techno Syndrome” with vocals from Mortal Kombat co-creator Ed Boon, and it’s accompanied by a music video. Deluxe, double LP releases are also out for both Mortal Kombat (2021) and Mortal Kombat II soundtracks on themed colored vinyl. Additional releases included “Mortal Kumbia,” a cumbia-inspired take on “Techno Syndrome”

by composer David Fleming is available now via Milan Records. The album showcases Fleming’s original orchestral score for the Apple TV+ horror comedy series starring Matthew Rhys, blending atmospheric tension with the show’s mixture of scares and dark humor. Created by Katie Dippold and directed by Hiro Murai, Widow’s Bay follows a small New England island mayor navigating superstitious locals, a possible ancient curse and his reputation as the town’s unpopular leader. The series made its global debut this spring with new episodes releasing weekly on Apple TV+. Contact Sarah Roche at sarah@whitebearpr.com for more information.

by Amantes del Futuro, and an interactive playlist generator that lets fans select a fighter and compete in a “Test Your Might” mini game. For more information, contact Christian Endicio at christian@whitebearpr.com.

Widow’s Bay (Apple Original Series Soundtrack)

Saxophonist, activist, singer/songwriter, and poet-philosopher Alabaster DePlume’s track “Honeycomb” was recently featured in Portraits of Palestine, a 16mm film by director Skyler Carrico. The film drew on footage Carrico shot in the occupied West Bank in spring 2024, during the same period DePlume was completing an artist residency there that inspired the track. Though the two never crossed paths in Palestine, their work converged in the film, which Carrico described as a project that found its musical direction organically through DePlume’s recordings made nearby at the time. DePlume also recently released Dear Children of Our Children, I Knew: Epilogue, the final installment in a four-part series rooted in the artist’s experiences in Palestine. For further details, contact Sam Ford at sam@twntythree. com.

The Devil Wears

Prada 2 Original Score Soundtrack, featuring music by two-time Emmy-winning composer Theodore Shapiro, is out now alongside the highly anticipated film’s release. Returning nearly two decades after scoring the beloved 2006 original, Shapiro offers up a score that updates the film’s original electronic-tinged sound. The sequel reunited Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci alongside director David Frankel and writer Aline Brosh McKenna, and added

to the all-star cast Kenneth Branagh, Lucy Liu, Pauline Chalamet, B.J. Novak, and more. Contact Sarah Roche at sarah@whitebearpr. com for more information.

OPPS

July 30 is the deadline to submit your work (the registration deadline is July 24) to the Indie Film Music Contest, a competition that focuses on musical storytelling without giving consideration to sound quality, so beginners have a fair chance. The winner will be announced September 18. This international competition is open to amateur composers of all ages who will have the chance to get feedback on their work from professionals in the field. Learn more at indiefilmmusiccontest. com.

Though applications for professionals are closed, pre-professional dancers can still video audition until June 15 for the Laguna Dance Summer Stage Festival, August 7-9. Video submissions will be fully reviewed by the Laguna Dance Artistic Team and stand an equal chance as live auditions. Laguna Dance is a nonprofit arts organization that offers world-class dance performances across theaters, film, and public spaces. Apply at lagunadance.org/about.

The Small Plates Choreography Festival, open to both emerging and seasoned choreographers, will accept applications until August 1. The November 13 and 14 event in New York entails a series of two curated dance performances with facilitated dialogue between the artists and audience. Learn more about this unique festival and how to apply by visiting smallplatesdance.com/performances/ nyc.

PROPS

A live audience recording of Experiencing the

Dream: MLK the Musical recently took place this spring at Greater Emmanuel Temple in Lynwood, California. Written by Kesha L. Ealy and co-written and composed by Marcus S. Mason, the 26-song production featured a 27-piece orchestra and explored the less-public side of the lives of Dr. Martin Luther King Jr. and Coretta Scott King from their courtship through the civil rights movement. Rather than focusing solely on King’s legacy, the musical takes a look at the fear, love, and personal sacrifice in his private life, inviting audiences to see his story as an unfinished, living call to purpose. For more information, contact Tim Choy at t.choy@dcpublicity.com

Mega Ran, the GRAMMY-nominated rapper and educator known for pioneering nerdcore hip-hop and bringing the worlds of videogames and music closer together, returned to Morocco for a second national tour this spring. He was joined by rapper and gaming culture innovator Richie Branson, for a cross-country tour that brought the duo’s unique blend of hip-hop and video game culture to 12 cities. Through a partnership with the American Cultural Association and the American Language Centers, the tour was able to engage students and adults through live shows, workshops, and creative sessions focused on hip-hop fundamentals and game design for beginners. Together, the artists are using music and gaming as vehicles for storytelling, creative expression, and cross-cultural connection. Contact Jeff Moses at management@megaran. com for more information.

Five-time Emmy-winning composer Jeff Beal brought a newly imagined score for Fritz Lang’s landmark 1927 silent film Metropolis to the stage at the Karlín Musical Theatre in Prague this past April. Conducting the Czech National Symphony Orchestra in a live-topicture performance, Beal wove electronic sound design into the orchestral presentation to create a fully immersive experience for the audience. The event served as a highlight of the 5th Edition of Composers Summit Prague, an international gathering of leading film, television, and video game music composers. Beal drew on the film’s themes of wealth inequality, artificial intelligence, and humanity’s relationship with technology to connect Lang’s vision to the modern age. For further details, contact Rebekah Alperin at ralperin@ costacomm.com.

Orchestral Soundtracks, a San Diego-based community orchestra devoted to video game and anime music, teamed up with Scarlet Moon recently to present their free 2026 Spring Concert at Canyon Crest Academy. Founded in 2023 by volunteer musicians from across San Diego County, the group offered free admission on a first-come, first-served basis. The program featured arrangements drawn from popular titles and series including Xenoblade Chronicles, Genshin Impact, Frieren, Arcane and Beastars, among others. San Diego game music labels Scarlet Moon Records and Streaming Arrow Records also participated in the event. The orchestra was created by musicians with a shared passion for soundtrack music and a desire to keep performing together after college. Contact Jayson Napolitano at jayson@ scarletmoonpromotions.com for further details.

Högni Egilsson

Composer

Website: hogni.net

Most recent: Apex

Högni Egilsson’s career is vast. It has included playing in bands (like indie rock act Hjaltalín and electronic group GusGus), composing concerts (his Symphony No. 1 was premiered by the Icelandic Symphony Orchestra), songwriting solo (including the Nordic Music Prize-nominated album Two Trains), and scoring a growing body of television and films. To write the music for the recent Netflix thriller Apex, Egilsson spent two months on location in Australia’s Blue Mountains. As soon as his family landed in Sydney, he said he was immediately inspired by the sounds of the country. “The moment I stepped out, I heard the sounds of birds and insects in the trees. The fauna is totally different from Europe and America. You start to imagine what the film’s characters hear,” he says. “These sounds of the forest and wild haunt you, and I wanted to orchestrate it and bring it into the symphonic language."

The resulting score balances two contrasting musical worlds; one of melodic themes for the human characters and animalistic chaos for the wilderness, which created an interplay that inspired Egilsson. “I always thought going into the woods was a magical endeavor, and I used sounds and tones to bring out the gothic magic for the lead character when she first enters the forest. Then, when things start to unravel and the suspense starts building, the music takes on the character of the wilderness. I wanted to emphasize this dream-like quality, almost like Alice chasing the rabbit down a hole.”

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

Egilsson’s advice to aspiring composers is: “You can never underestimate the power of study and curiosity and the real result that gives you. If you love music and are fascinated by it and you hear something and try to understand what it is, it will always remain a mystery and result in creative output.” And he adds that the quality of writing is any artist’s biggest asset. “I don’t think the answer is getting to know anybody specific, or going to a panel of composers—not to talk badly about that,” he says. “But I really think the music you make is your passport in your career.”

LEENA PUNKS TEAMS UP FOR RETRO-TINGED SINGLE “HOLD ON ME”

Leena Punks joins forces with REYUS and Lauren L’Aimant on “Hold On Me,” a cinematic progressive house track infused with ‘80s-inspired synthwave textures. Released via Interstellar Recordings, the collaboration blends euphoric production with a striking vocal performance, as the rising London-based artist continues to build momentum with support from major electronic tastemakers.

LA ZORRA ZAPATA REIMAGINES A CLASSIC WITH “PALOMA”

Peruvian artist La Zorra Zapata unveils “Paloma,” a haunting reinterpretation of the classic “Cucurrucucú Paloma,” marking the first release from her upcoming covers album. Now based in Mexico City, she reshapes the beloved song into an atmospheric, introspective piece, reflecting her personal journey across cultures and her evolving connection to Latin American musical traditions.

ZHU RETURNS TO HIS ROOTS WITH CINEMATIC NEW ALBUM BLACK MIDAS

ZHU unveils BLACK MIDAS, a 14-track return to his clubfocused origins, shaped by a year spent rebuilding and creating on the road after the Southern California wildfires. Blending deep house and melodic techno, the album features collaborations with Joyia, HNTR, and others, alongside his evolving BLACKLIZT concept and immersive global live performances.

GLOBAL POP ARTIST PARIS WYA DEBUTS NEW EP MANNEQUIN

Globally raised pop artist Paris WYA has released her new EP MANNEQUIN, a trilingual, emotionally charged project exploring identity, pressure, and self-reclamation. Created with Adrian Cota and Morgan Taylor Reid, the EP reflects her upbringing across Shanghai, Paris, and New York, blending ethereal pop production with diaristic songwriting as she steps into a new creative chapter.

THUNDERCAT RETURNS WITH DISTRACTED

Six years after his last LP, Thundercat has released Distracted via Brainfeeder. Blending humor with introspection, the album explores modern distraction and connection, with contributions from A$AP Rocky, WILLOW, and Tame Impala, alongside a previously unreleased collaboration with Mac Miller.

KOKO LOVE RECLAIMS HIS NARRATIVE WITH THE COST OF FREEDOM

Montreal-born artist Koko Love reemerges with The Cost of Freedom, a debut album shaped by reinvention and intention. After shedding his former moniker and keeping the project off streaming for a year, he built momentum through live shows and word of mouth. Now arriving widely, the album reflects his commitment to authenticity, connection, and redefining the path to alternative success.

SOMBR BUILDS MOMENTUM WITH NEW SINGLE AND ARENA TOUR

Fresh off a breakout Coachella debut, SOMBR shares his new single “Potential” alongside a cinematic video and announces a 39-date North American arena tour. The self-written track follows a string of chart successes, as the rising artist continues to blend indie rock and pop while expanding his global reach after a landmark year of performances and accolades.

Tidbits From Our Tattered Past

saw L.A.’s

had plenty to say. Part

the

were proud ‘60s revivalists who refused to be put in a box. Drummer Danny Benair said it best: “Sixties songwriting has been dead for a while, and we’re trying to bring it back, simply because that’s what we like. Simplicity is great.” Guitarist Louis Gutierrez was even more fired up, delivering what may be the most quotable exit line in MC history: “We’re going to the top and nobody’s gonna stop us—we have so much confidence it’s pathetic!”

2000 – Limp Bizkit – #16

In 2000, rap-rock juggernauts Limp Bizkit graced the cover of MC—and the interview did not disappoint. Fresh off Significant Other selling six million copies, the Jacksonville five-piece were unapologetic about who they were and where they were headed. Drummer John Otto captured the band’s ethos perfectly: “I think [our style] is defining a music generation.” Frontman Fred Durst, meanwhile, was unbothered by the Napster controversy swirling around the industry—while Metallica sued, he shrugged: “We don’t find a problem in Napster anyway. They’re causing a lot of awareness for our band.”

STILL FEELING FASCINATED

By Brett Callwood

Since their formation in 1977, British synth-pop/new-wave outfit The Human League has been one of the more forward-facing, ingenuitive, and imaginative bands of its type. More than just a nostalgia-based pop act, The Human League has always offered listeners a glimpse into the future—both thematically and artistically.

Simultaneously, the group has, during its lifespan, been a hit machine, and they’ve never shied away from that. Rather than do that awkward thing of not playing the singles and only performing songs from whatever the latest release happens to be, The Human League happily embrace their previous successes while focusing on putting on a killer show. Combine those things, an effective balance of the past, present, and future, and The Human League of 2026 is a potent beast.

Again, it’s always been that way. For the ‘79 album Reproduction and then Travelogue the following year, the lineup consisted of Philip Oakey, Martyn Ware, and Ian Craig Marsh, plus visuals man Philip Adrian Wright. By ‘81’s classic Dare, the lineup had changed almost entirely. Oakey and Wright remained, while Jo Callis (The Rezillos), among others, came in to help Oakey fill the synth-shaped holes. Key to the new Human League was the addition of singers Susan Ann Sulley and Joanne Catherall, both of whom Oakey discovered dancing in a Sheffield, U.K. nightclub. Oakey, Sulley, and Catherall are, to this day, the voices and faces of The Human League.

On June 4, The Human League will play at the Hollywood Bowl as part of their Generations tour. Also performing are Soft Cell and Alison Moyet, making for a monstrously stacked bill.

“We’ll be doing what we do, really,” says Oakey. “I think for quite a long time now, we have been ambassadors from a glamorous past. And that’s what we do. We march out, we don’t have any tricks. We don’t have any cars or glass spiders or anything. We go out and we do our best to sing the songs in tune and not collapse while we’re on stage at our great age.”

“We just got to put on a show,” agrees Sulley. “That’s what we do, and I’m sure it’s going to be great. We’ve played at the Hollywood Bowl a few times before, and it’s such an iconic venue and a great venue. When you’re on the stage, if you turn around, you see the sign, and it’s like, wow, you know, I still can’t believe that. The 17-year-old girl from Sheffield is still playing in places like this, so that’s always a bit of a surprise. But, yeah, we’re just putting on a good show.”

Oakey and Sulley are big fans of Marc Almond’s Soft Cell, and Alison Moyet. Both, in fact, appear as excited about the lineup as the fans are.

“We have hit so lucky this time,” Oakey says. “I mean, I like a lot of the bands from our era. We play all the time and we see them, but both of those have got a really special place in our heart, and we are very, very lucky to be traveling around, working on the same stage with them. I love them both.”

“You know what? In all these years, I have never, ever met Alison, or if I have, I don’t really remember,” adds Sulley. “But her voice is fantastic. We’re all slightly nervous when it was put to us, because we thought, ‘Oh God, we can’t sing like Alison can sing. We’re going to be awful.’ But I know Marc really well. I’ve known Marc for a very, very long time. A fabulous bloke. So yeah, it’s gonna be great.”

The Generations tour starts in San Diego on June 2 and ends a month later in Ohio. Naturally, the historic Hollywood Bowl show will be a highlight.

“We have we played it a couple of times before,” says Oakey. “It’s big news to us. I’m afraid

I’m a bit of a fan of Los Angeles. I’ve just come back from Los Angeles actually— my girlfriend’s sister lives there. I mean, it sounds a bit daft as a dour, miserable northerner from England, but Los Angeles suits me. If anyone would let me, I’d go and live there. The ties that bind—I’m like Gulliver in Lilliput, with a load of guys tying me down with little cotton strings.”

Sulley and Oakey agree that it’s important to put a setlist together that pleases their fans, especially on the sort of ‘80s package tour that Generations is. The Human League being the band that it is though, they’ll always find ways to keep things fresh. But making their fans happy is a priority.

“I think we’re only on for about an hour and 10 minutes or something, so it’s predominantly just going to be all the songs that everyone’s expecting and that everyone knows,” Sulley says. “We don’t have time to put a lot of the not-so-wellknown songs, and we’d be daft doing that, especially on a bill with Alison and Soft Cell. We don’t want to go out there and be one of those groups that plays weird stuff that no one wants to hear. You will be getting what you expect. There’ll be ‘Fascination’ and ‘Love Action’ and ‘Don’t You Want Me,’ obviously. So yeah, I don’t think we’ll let you down from a song point of view.”

“Things get swapped in and out,” adds Oakey. “To be honest, we sort of lean towards the hits.

We try to give the people what they want, and then we slot the other ones in, the ones we like.”

That means you’re less likely to hear songs from 2011’s Credo (still the most recent album) or even 2001’s Secrets, despite that both of those are very strong collections of songs. It just happens to be the case that neither boasts a monster single.

“I think that the great debate with us was whether we were an innovative band or whether we were a synth band, because when we started, we were both,” Oakey says. “We still tend a lot towards the synths I still buy. I’m afraid I still spend way too

much money on synths. So we do go in that direction.”

“You have to come to see a show of just ours,” adds Sulley. “When you play festivals, or a bill like this, you have to remember what the audience is coming to see. There might be people that are literally just coming to see Alison, or just coming to see Marc, and so we’re like an afterthought, and it’s like when you do a festival, you never know who’s going to come and see you. You don’t know, they might have come to see you, but they’ve come really to see somebody else. So you have to play your best bits, or you’d be a bit gassed if you didn’t.”

Philip Oakey is a wonderful human being to have a conversation with, even when it’s simply a phone convo (as necessity dictated for this interview). Sharp, warm, intelligent, and open, Oakey proved to be good company. Exactly the same can be said for Sulley, who regularly describes herself as “a girl from Sheffield.” No overblown ego, no air or graces, talking to Sulley felt very natural. Lest we forget, an entire generation of female pop singers were influenced by Sulley as well as Catherall. Importantly, the trio still love performing together.

“Really, it’s our way of life,” Oakey says. “We’ve been adapted into that way of life. Of course, none of us were musicians at all. We were all very amateurish right from the start, and it was quite a challenge. You know, I’m quite a shy guy myself, and we desperately wanted to be part of pop music, which I think maybe looks pretty naive now, but I think we used to look at the TV and we’d go, ‘Oh, if only I could be a little bit like Bryan Ferry, or a little bit like, Brian Connolly (I

love The Sweet).’ Marc Bolan has got a very big place in my heart, and that’s what we wanted to do. And by sort of persisting and rehearsing a lot and really trying we get, we got a little bit near it.”

“I don’t like staying up late when I’m at home,” adds Sulley. “I’m tucked up in bed by 9 p.m. most nights, but I get up at six to go to the gym. But we just love playing live. We spend maybe half the year not working out of choice, which we can do. And then this summer is absolutely mad, full-on. We’ve got shows in England and Ireland, and we’re going to South Africa in a couple of weeks, and then five and a half weeks in the States. Then we come home, and we’ve got about one day off at home, and then we start work again. We just love playing live. It’s the immediacy, isn’t it? When you put out albums or music for people to stream, you don’t get the immediacy of actually seeing someone looking at you and

going, ‘Oh God.’ You can tell how much they love it. When we the tour just after COVID, which was possibly the hardest tour we’ve ever had to do just because of the protocols, etc. that everyone had to go through, but the I cried every single night on that tour because the joy on people’s faces, and it wasn’t just about seeing us, it was getting out of the house and doing something social and being able to sing and dance around and stuff.”

The current touring lineup of The Human League is rounded out with David Beevers, Rob Barton, Ben Smith, and Nick Banks.

“Robert, our drummer, has been with us for ages and ages,” Oakey says. “He’s just a very dedicated, terrific drummer, and one of the few drummers who can play against a click track as a sort of sequence beat and be as good. He’s the perfect drummer for us. Ben, our keyboard player, is an incredibly talented guy from Manchester. He’s got, like, two music degrees. He lives music. Our guitarist [Banks] now lives in Portugal, which makes life interesting trying to get him anywhere. But again, a young guy who’s just got music flooding through him. It’s the way that he presents himself somehow. It’s all he thinks about. He plays loads and loads of instruments. He started as a trumpet player, I think, but now covers keyboards and guitars with us, and he’s brilliant. Musicians are better than they were. The new generation of musicians, all they want to do is a good job, and they work so hard at it. They’re all nice guys, by the way. Getting on the bus with them, they’re easy to be with.”

As mentioned, 2011’s Credo remains the most

recent Human League album, and that’s now 15 years old. It made sense, therefore, to ask the pair about the possibility of new music.

“I never stop,” says Oakey. “I’ve got a computer full of half-baked ideas. The biggest problem is production. I have never been a producer. I just cannot. I can’t even balance tracks out, you know? And it gets harder and harder to find producers, because the system is different, because the money doesn’t flow in the same way from recordings. Producers now want to be writers as well. We worry a little bit about our ideas getting radically changed. Many producers now want to take away your top lines, and come back with something totally different. And we would like to hear a finished version of what we tried to do. It’s all up in the air. There will be a 10th album, somehow. We’ll get A.I. to produce it.”

“We have a big studio in Sheffield, and Philip’s got a home studio,” adds Sulley. “And I know he writes, he does stuff all the time, but I think he’s sort of doing it for himself and no one else to listen to at the moment. I think that’s fair enough. I know he still loves going on stage, and I think when Philip feels like it’s time to put something out there, he’ll indicate to Joanne and I that that’s what he’s thinking. And we’ll be happy, but we love what we do. We can keep doing what we do now. And if Philip doesn’t want to write, then that’s up for him.”

Whether he wants to write or not, Oakey does concede that the model for releasing albums and, God forbid, making some money from new music, has completely changed, certainly since their heyday.

“I think you have to take on a completely different model the music industry turned on its head sometime between about the end of the ‘90s and the middle of the 2000s,” he says. “Our income came from people buying solid things in shops, and now your income comes from playing live. It’s got to be said though, that if, when we do a new album, we get a chance to play more places, it broadens your reach. Really, you’re doing it because you want to do it nowadays.”

The Human League certainly wants to do it. Their drive to keep performing is tangible when

speaking with Oakey and Sulley. But you just get the sense that Oakey needs to keep the creative furies burning.

“We’ve been going through a few things with the guys in the group lately,” he says. “Just seeing where they go. I enjoy the initial bits a lot, but then it comes to the time when you’ve got to write the top line and the lyrics, that gets a little bit tougher. I come up with an idea, and I think I’ve got two rhymes, but I need four rhymes. I get out the rhyming dictionary, and I go, ‘Oh no, I’ve looked at this this bit before,’ so that’s difficult. You don’t want to be doing the same things again. I think it would be a bit sickly for a 70-year-old to be writing love songs, so that cuts out a wedge of the sort of things that you do. But it goes on.”

When it comes to gear, Sulley says that she’s happy to use whichever microphone she’s given. For Oakey meanwhile, “reliable” is the buzzword.

“It’s not happened for quite a long time, but at one stage we had a very complicated setup between computers and MIDI,” Oakey says. “We used to sometimes go out in front of 5,000 people, and things didn’t work, and that was no good. So we have the most reliable workstation, with maybe a few quirky little keytars and things like that. I mean, at home, I’m still buying a lot of Eurorack stuff. I’m amazed, as digital has crept into Eurorack. The idea at first was sort of an analog revival. But now, you can tell it what chords and keys you want. It’s exactly the reason that I got synths in the first place, which was sequences and to have the stuff whizzing round and some crazy stuff happening, but then suddenly something comes and stamps on it and makes it in tune, and that’s where I am now. So just just loads and loads of Eurorack stuff, I suppose. I got the Melbourne, not the NINA—the synth with recordable knobs. NINA was the first one that Melbourne did, and I got the second one that didn’t have a keyboard. I always thought that was a place that synths should go. If you get a patch, you want the knobs and sliders to be exactly where they were, so you can do a little bit of tweaking.”

For now, we’ll have to content ourselves with enjoying that tweaking on a stage, rather than in a studio while recording new songs. Despite the fact that, as he mentioned, Oakey is now 70, he and the band still enjoy the process of touring. “I think we largely sit there with our mouths open, watching the landscape go by,” Oakey

says. “Joanne and Susan aren’t very fond of films, and I don’t think we ever really play records. So the guys tend to go upstairs, and I tend to sit downstairs with Joanne and Susan reading, doing more reading than I used to. Obviously, I’m a little bit science fiction-y. I’ve been catching up on stuff. I’d never read The Man Who Fell to Earth, and I just did it. Also, Roadside Picnic [by Arkady and Boris Strugatsky]. I always wanted to read that, and I read recently. I’m just kind of trying to cram it in some lyrics at the moment.”

Sulley, meanwhile, just keeps pinching herself, unable to believe the life that she’s been afforded. She might be a “girl from Sheffield,” as she keeps telling us and herself, but she’s being humble. The style, charisma and, yes, the voices that Sulley and Catherall gave to The Human League, in sync with Oakey’s, created magic. Sulley remains remarkably humble.

“I always feel like that, because it was never on my agenda to be in music as I grew up,” she says. “It was never what I expected to do. The first time I came to New York, we had a late-night flight. I remember I was asleep, laid in a big, fancy limousine, and our manager woke me up, and I saw the skyline, the one that you see every New York film. The Twin Towers were obviously there then, and I cried my eyes out. I cry a lot, but I cried because it was like, ‘I can’t believe that I’m that girl from Sheffield that is actually even here, let alone being able to do the job that I’m doing.’ Whatever you do in life, if you get complacent about it, then it doesn’t bring you joy. And I think that I work in an industry where it can be very joyless. Sometimes it doesn’t. But then driving and seeing Sydney Harbor Bridge, and getting to Los Angeles and getting off a plane and thinking, ‘I’m in L.A.’—all those things, they still excite me after all these years.”

Eventually, The Human League will come to an end. We hope that doesn’t happen for a long time, but eventually it will. We asked Oakey and Sulley how they want their band to be remembered.

“I think the continuity of it more than anything,” Oakey says. “Really, it shouldn’t have lasted, and we’ve been through such hard times. I’m really proud that the three of us have managed to continue the whole the whole thing.”

“The songs are what have kept us here after all this time,” adds Sulley. “If it wasn’t for the songs, then we’d be nowhere. But what am I proud of the most? I think the fact that we’ve managed to stay together for all these years, which I think in the world of pop music, is highly unusual. We’ve not killed each other, or anything like that. We’re all pretty normal, levelheaded people that just sort of coast along with our lives and stuff, and I hope that along the way, we’ve brought smiles to people’s faces. That’s all I really ever wanted to do from joining this group, was to make people happy.”

Job done!

thehumanleague.co.uk

SINGERS SOUND OFF 2026

By Eric Harabadian

Welcome to Music Connection’s annual artist roundtable where we shine the spotlight on five diverse vocalists from a host of musical genres. We always try to bring the best of emerging talent as well as name performers. And this year is no exception, with Gulf Coast Records blues-rock singer-songwriter Kelli Baker, Oklahoma-based indie country star Krislyn Arthurs, modern roots-based soul stirrer Lamont Landers, Femme Fatale and former Vixen frontwoman Lorraine Lewis, and Rock and Roll Hall of Famer and singer-songwriter/ keyboardist for perennial hit makers The Rascals, Felix Cavaliere.

Kelli Baker

James Dyble - Gulf Coast Records jamesdyble@gulfcoastrecords.co.uk kellibaker.com

Kelli Baker is a Phoenix-born blues-rocker that has recently signed with award-winning artist Mike Zito’s Gulf Coast Records. The now New York-based Baker has toiled in the trenches for many years. But she is steadily earning much deserved attention and respect from modern blues royalty such as Christone “Kingfish” Ingram and Samantha Fish, having recently toured with both. Baker’s accolades also include winning first place in Nashville’s “Blues Revival 615,” winning the Long Island/ Brooklyn/Queens division of the international Blues Challenge and headlining major festivals such as Women of the Blues Fest in McIntosh, MN and Paxico Blues Fest in Paxico, KS. Baker’s debut EP for Gulf Coast Records is called Granite

Early Influences and Career Beginnings

“I went to a Christian high school, and we had a big choir and choral group. That was a big influence on me that you’ll find in my writing too. A lot of those references can be so deep and interpreted in different ways. And then the grunge scene came in, and by the time I was out of high school I was with a hard rock band. After that I did like a singer-songwriter thing and then I had a really bad experience at an open mic and bombed. I was playing guitar for the first time. I was teaching myself guitar and it went so awfully that I swore I’d never play in public again. And I didn’t for 10 years.”

Taking Care of Your Voice

“I was fortunate enough to find this great vocal coach whose name is Greg Drew. He has been instrumental in the protection of my voice. And he specifically deals with artists that have these big voices. He has been phenomenal. There is a lot of daily work that I have to do, and then there’s some warm-ups that I have to do, and then I have to cool down every time after a show too. That’s how I’m able to do show after show after show. I try drinking enough water too.”

Specific Vocal Tips

“I work through a bunch of different intervals. It’s not dissimilar from, like if you’re listening to jazz music and how they go into these weird spaces. I move my voice around in those weird spaces that are not traditional movements, but there’s a physical aspect to it. I focus on really opening my throat up, being cautious of how

I’m enunciating and how I’m saying certain vowel sounds and consonants. All that matters into the strain you’re putting on your vocal cords.”

Being a Modern Blues Artist

“You know, what’s so interesting is that blues is such a universal language. Like when I go to some of these jams, everyone is playing blues there. It’s a language that a lot of musicians speak. There’s just something about it. I’m moved by all different genres of music. But I have to say a live blues show just really does something to you. It’s very impactful.”

Being True to Your Career Path

“I spent a lot of time trying to figure out who I was. I took that open mic experience where I bombed, and there was a whole lot of things I wanted to do with my life before I got back into music. I was running restaurants and clubs, and I was good at it. But I never felt purposeful. And it wasn’t until I did what I think I was supposed to that everything clicked. And I think it’s never too late to be who you are. I was 25 years old, and I thought that I had aged out. I was a young mother, and I thought I missed my shot. But I took baby steps. Nobody has to jump off a cliff immediately. But it’s interesting that my daughter saw that transition in me to get back to playing music. She saw me do that a little later in the game but, even against the odds, it’s always possible.”

Krislyn Arthurs

Brandy Reed/RPR Media brandy@rpr-media.com krislynarthursmusic.com

Krislyn Arthurs is a proud independent country singer-songwriter from Medford, OK. In over a decade of performing she’s played just about every honky tonk, watering hole and music festival throughout the Great Plains Region of the United States. Her latest album is called Honky Tonk PhD and features songs about

crooked politicians, dirty preachers, cheating beauty queens and psycho girlfriends. As her press material states: “Combined it all sounds like a Quentin Tarantino film. But if you ask Krislyn, she will tell you it’s 90 percent autobiographical. The other 10 percent? Well, some of those are the ‘what could have beens’ had a wiser head not prevailed.”

First Public Performance

“I used to do a bit of singing at school. I had severe stage fright, so I never actually did a lot of solo things until after I had graduated. I taught myself to play guitar when I was 19. I was a senior in high school. I actually didn’t start writing my own music until I was probably 20 or 21. Then I played my first gig not too long after that. My first actual paid professional gig was when I was 21 years old about 10 years ago. It was at a place called The Bump in Pond Creek, OK.”

The Songwriting Process

“I don’t have any kind of formula. Everybody does it a little bit different. But I feel like if I’m having a moment in my life where I feel like I might need to say something, but I don’t have the courage to say it, I sit down and I kind of piddle around with my guitar. I like to find maybe a chorus I like or the melody first. A lot of times I start to build my chorus and then build my verses around my chorus. The last few songs I’ve written I’ve started from the very first verse and then work my way down. So, my process is kind of chaotic, it’s never really the same. Sometimes I have to move things around if I start to feel like they might fit better at the first verse, bridge or things like that. So, I don’t have a lot of structure when I write. It kind of works like my brain; it’s a little chaotic in there.”

Taking Care of Your Voice

“My number one thing is to try and get a seasonal steroid shot. I have really, really bad allergies and, being in Oklahoma, it’s always allergy season. In 2020 I got vocal nodules so that taught me how important my vocal health

was. I was on 12-week vocal rest and thought my career was over. So, I really like to do hot tea with peppermint. I do a little bit of Throat Coat, but I really prefer the peppermint or eucalyptus. I feel like it just soothes the vocal cords a little bit more. And then I also have a little saline nebulizer that I use. I probably don’t do vocal warm-ups as often as I should, but I just try to really focus on keeping my voice healthy before shows and am aware of recovery after a show too.”

Memorable Stage Experience

“There have been many, but I remember a time when we were ten hours from home doing a show. I looked out in the crowd and there were people singing our songs. And there were a lot of people that hadn’t had the opportunity to see us live before. But they had learned the music before the show and knew every word. And it just brought tears to my eyes to see how my music had resonated with people. And these were young people too. I felt like I was becoming a role model for these younger people.”

Best advice You’ve Gotten

“You can’t control what happens in the music industry. You’ve gotta stop stressing about it and you’ve gotta learn to roll with the punches. And once I stopped trying to control all my environment and the situations that are happening around me the easier, I felt like each show would go. Also, don’t ever get too big for your britches. Always remember where you came from and stay humble.”

Lamont Landers

Meg O’Keefe/Universal Music meg.okeefe@umusic.com lamontlanders.com

Lamont Landers is a southern gentleman from Decatur, AL who is young but possesses the spirit of classic and vintage funk and soul every time he opens his mouth. He was raised on Southern rock staples like the Allman

Brothers Band, Lynyrd Skynyrd, and Stevie Ray Vaughan, with a heavy helping of Al Green, Bill Withers, Marvin Gaye, and Ray Charles served on his plate as well. Landers gained nearly instant notoriety with appearances on America’s Got Talent and Showtime at the Apollo. But a pivotal moment happened when Ahmir “Questlove” Thompson of The Roots reposted Landers’ online version of The Spinners’ “Rubber Band Man.” It caught the ear of GRAMMY award-winning producer Dave Cobb who, appreciating Landers’ undeniable vocal phrasing and talent, offered him the opportunity to record for his Republic Records imprint, Lucille. Several more viral videos and public appearances led to his current fulllength debut for Lucille entitled Introducing… Lamont Landers which is out now.

First Public Performance

“I was probably 19 years old, and I was playing guitar at my buddy Christian’s house. And this guy named Tyler Smith was one of my friend’s older brothers. He was six years older than me and liked the way I sounded. He asked me if I wanted to come with him and play at this Irish bar called O’Dailiey’s Pub in Mobile, AL. I was underage and played for 50 bucks and some beer. Being underage I thought that was the coolest thing in the world.”

Taking Care of Your Voice

“Well, I’m not very kind to it. I’m sitting here

and I’ve got this vape and I’m vaping. I know I need to quit this shit. I was a cigarette smoker for a long time and I quit that. You get on these vapes and I’m just trying to satiate those cravings without damaging my voice. But I have this thing when I’m on the road called a vocal mist. It’s like a little humidifier that you fill with saline water for your vocal folds. It helps. I’m trying to figure it out, man. There are some months where it’s super strong and some months where I’m like, I don’t have it anymore. It’s a crap shoot trying to figure out what works and what doesn’t. You know, it’s weird. So many people consider me a singer, and I suppose I am, and that’s how I make my living. But I’ve always just considered myself a musician. So, I kind of roll my eyes a bit when I see singers doing the warm-ups and eccentric things that a lot of singers tend to do. But maybe I should do it. I don’t know. But, yeah, I’m figuring it out. Sleep is key. I try to get as much sleep as I can. I have a four-yearold daughter so sometimes that works and sometimes it doesn’t. But I am drinking more water than I’ve ever drunk in my life so that helps.”

Constructing a Song

“A lot of people write different ways. Sometimes I’ll have lyrics and I’ll try to put melody and chorus to the lyrics and the songs that I end up liking the best are always the ones where I have the melodies first and it’s

just a bunch of nonsense. I’m just singing syllables, and the chords are there and then I come up with the lyrics after the fact. That’s always easiest for me, finding a feeling first and then filling in the gaps with words versus having the lyrics and trying to formulate something around it.”

Best Advice You’ve Given

“I tell everybody just don’t quit. If you really believe you’ve got it and this is what you want to do for the rest of your life, don’t quit. Otherwise, it’s like feast or famine a lot of times with this stuff. You gotta be comfortable being uncomfortable. And there might be times when you have nothing to your name, and there might be times where you have everything going on in the world. But the point is, regardless of what is going on, you have to just keep on plugging away. Because the only way you lose is if you quit. If you don’t quit, you never lose. So, trust yourself and just keep going.”

Lorraine Lewis

Andrea Faulk/SRO PR afaulk@sropr.com lorrainelewisrocks.co

Lorraine Lewis is a force of nature. She exudes positive energy and tries to infuse that into everything she does. She originally cut

her teeth fronting Sunset Strip rockers like Femme Fatale and, later, Vixen. But she has also reinvented herself in so many other ways as, not only a lead singer, but a podcaster, television producer, and a TV and film casting director. It’s that sense of adventure, diversity and commitment to excellence that keeps her fresh and in demand for all aspects of audio and visual entertainment. Her latest single on Cleopatra Records is called “Living Like There’s No Tomorrow.”

Early Career Beginnings

“I’m originally from Albuquerque, NM, and before I moved to L.A. to get the ever-elusive record deal, I was in a Top 40 band. My first band was called West Wind, and I was 17 years old singing Linda Ronstadt covers. Then I was in a band called Babe Ruthless and we did all the Top 40 hits from Toni Basil to Missing Persons. We started doing Van Halen and then Van Halen came to town. I saw David Lee Roth on stage with Van Halen and I wanted to be David Lee Roth.”

On Stage

Highs

and Lows with Femme Fatale and Vixen

“One of the highlights with Femme Fatale was getting a record deal with MCA Records and doing a big showcase gig for the fans at the Roxy Theatre. And then we went out on tour with Cheap Trick. When I was with Vixen, we played the Wacken Festival in Germany for 65,000 people and I crowd surfed in 2023 making the front page of the German newspaper. I was fearless and not afraid to be belly to belly with people. Now I’ve definitely had some wardrobe malfunctions in the past. When we were on the Monsters of Rock Cruise my top kind of flipped off and I was exposed. But luckily I was wearing pasties over my boobs just in case. But, yeah, that definitely happened!”

Personal Mantra and Credo

“I’m here to entertain. I’m here to lighten people up and to lighten people’s loads and to just have people feel good about looking at me. You can say whatever you want about me and you can have an opinion about me, but at the end of the day, you know I’m a lover of life and I don’t talk bad about people. I have my feet on the ground, and I know who I am. I’m the same, but different than I was on stage in 1988. You’re still gonna see me rocking and rolling and never stopping.”

Felix Cavaliere

Melissa Kucirek/Moxie PR meliskucirek@gmail.com therascalstour.com

“Groovin,’” “Good Lovin’,” “How Can I Be Sure,” “People Got To Be Free,” and “A Beautiful Morning” are just some of the hits by Felix Cavaliere and The Rascals that defined the ‘60s. Cavaliere, along with Eddie Brigati, Gene Cornish, and Dino Danelli collectively created a cadre of songs that met the moment and have resonated for generations. As a member of The Rascals, Cavaliere has received well

led to forming The Rascals where we played venues.”

Some Career Highlights

“One of the first things we did was play The Ed Sullivan Show. That’s where people first saw The Beatles, The Stones, and Elvis Presley. So that was like, wow we’re here, you know! We actually played for Uncle Ed six times total on his show. So, after that we put out our second record “Good Lovin’” which was number one. There’s no way you can plan that. So, when that happened, I remember going to the West Coast on the Sunset Strip to play the Whiskey a Go Go. We actually broke attendance records out there. Another highlight was when we went to Hawaii. We were kind of like The Beatles in Hawaii. We were very successful there. And when Martin Luther King passed, we did a phenomenal concert at Madison Square Garden in his remembrance. All the Atlantic Records stars were there like Sam and Dave and Aretha Franklin. Jimi Hendrix was in attendance and that’s one of the last times I saw him.”

Taking Care of Your Voice and Health

Taking Care of Your Voice

“I work every day with vocal tapes by the late great vocal coach Ron Anderson. I sing every day to stay in shape. When I’m on tour I do my best to not speak during the day. That’s something I learned from Robin Zander when we toured with Cheap Trick. I figured if he could keep his mouth shut during the day then so can I. But as lead singers we’re expected to do PR and press interviews. And that can really, really wear you out vocally. When I’m in the studio I drink Throat Coat tea with honey, and I do my vocal warm-ups. I also try to stay happy because stress can really F with your voice as well. I also stay away from alcohol before shows and coffee too. And proper sleep can be hard on the road, but that’s important.”

deserved accolades from just about every prestigious pillar of society you can imagine, including The Rock & Roll Hall of Fame, Musicians Hall of Fame, GRAMMY Hall of Fame, Songwriters Hall of Fame, Vocal Group Hall of Fame, Hit Parader Hall of Fame, and Hammond Hall of Fame. Presently, Cavaliere is still performing and going strong singlehandedly keeping The Rascals name alive in the wake of guitarist Gene Cornish’s recent retirement.

First Performances and Career Beginnings

“I started when I was five years old on the piano. My mom wanted me to be a classical pianist so I would play these recitals. I started off really young, playing in front of people, and I kind of got used to it. In junior high I got into rock, and we’d play proms and parties. When I got to college, I started playing bars which

“I started studying yoga when it was popular in the ‘60s. It was very popular with George Harrison and all those guys, and they turned me on to it. It keeps your body, mind and soul healthy and that makes it easier to sing. Polluting your body with drugs, alcohol and bad food just makes it more difficult to use your instrument.”

The Rascals on Broadway “In 2013 The Rascals did a Broadway show that was produced by Steven Van Zandt. This was a whole different thing where I had to sing 28 songs a night. I knew that many of the Broadway stars can do this and I needed help from a vocal coach. I wanted to know how I could do that every night without getting hoarse. My coach listened to me and told me I did a lot of things right, but I didn’t know why. I learned when a lot of people sing in a studio they take a big breath first. But she told me I didn’t need all that air. She told me just to take a sip of air and count to 10. It’s all about smaller breaths when you sing. That was fascinating to me.”

Transitioning From Piano to Organ

“I was about 15 years old, and I got invited to this club in a black neighborhood. And I saw this organ trio, and it blew my mind. This guy was playing bass with his feet, he’s playing rhythm with his left hand, he’s playing lead with his right and he’s singing. I said, man, I gotta learn that thing! It was magic, you know, and it just captured me.”

SingFit Merges Music with Technology to Improve the Lives of People Facing Cognitive Challenges

Music is powerful. It brings us together and offers hope when all seems lost. Many credit a song with saving their lives. Though much of the mind’s inner workings remain a mystery, the link between music and cognitive health is undeniable. Siblings Andy Tubman and Rachel Francine have long been aware of this mystical bond.

Their unconventional father, Lou Tubman, adored opera. Serving in the armed forces during the ‘60s, he would sneak off base for operatic singing lessons. He also spent time as a live prompter, assisting performers with cues and lyrics mid-show while hidden away onstage. He similarly possessed a love for technology. Francine refers to him as a “crazy inventor” before casually mentioning that he once owned a beanbag factory. Instead of going to the beach every year, he would drag the family to CES, the prominent tech convention. “He was never 100 percent wrong about something,” his daughter insists, “no matter how absurd the idea.”

Their dad’s influence manifested in numerous ways. As teenagers, the brother and sister earned money running Philadelphia’s first karaoke sessions. That set the stage for Francine to enter the high-tech industry, where she helped roll out numerous Web 1.0 companies. Andy, on the other hand, inherited his father’s passion for music and played in high school bands. While in college, one of his bandmates was in a car wreck and fell into a coma. He dutifully played Elvis songs by the friend’s bedside night after night, hoping it would help. The patient awoke months later mouthing the words to the King of Rock and Roll’s “I Miss You.” While visiting his buddy in physical rehab, someone suggested that Andy become a music therapist, an occupation he decided to pursue.

years ago, SingFit guides sufferers and their caregivers through a rotating collection of songs, prompting them lineby-line for a stressfree experience. Trivia, movement, and more assist in stimulating the body and soul.

There are three versions of SingFit tailored to different needs. SingFit PRIME is designed for activity directors working within group settings like long-term care facilities. SingFit STUDIO Pro has been built to meet the requirements of speech language pathologists and occupational therapists. SingFit STUDIO Caregiver, their newest, is for one-on-one scenarios, a prime example being childcaring for an ailing parent.

points out that simply listening to music can have a positive impact. Yet because singing is active, its benefits are greater. “No matter what you sing, you’re getting a full brain workout,” she says. “You’re getting a respiratory workout, and a neurochemical alignment.”

SingFit uses songs people 65 and up would most likely want to hear. Etta James and Frank Sinatra are two representative artists on tap. One imagines that future iterations could be filled with hip-hop and metal instead of “At Last” and “New York, New York.” Francine personally plays a role in dreaming up the themes for the playlist bundles they release quarterly. “We’ve done two or three VH1 and MTV playlists that kind of hurt my heart,” she says with a sigh.

One day, Andy called Rachel with a revelation. Did she remember their father’s concept of using technology to assist singers? He’d learned there was hard evidence behind music therapy helping to restore speech after a traumatic brain injury. These interrelated notions made their mission obvious, and they joined forces to create Music Health Technologies.

The venture’s flagship product became SingFit, an app that brings the joy and benefits of singing to individuals facing various forms of cognitive decline such as dementia and Alzheimer’s. First introduced to the public 12

The latter situation is something with which SingFit’s creators have first-hand experience. Their mother, Sandy, struggled with dementia beginning around the time SingFit came into development. As such, she became one of the app’s first product testers. Caring for her helped the duo realize the critical need for assistance in the dementia space. “I think there’s been four dementia drugs approved by the FDA over the last 30 years,” says Francine. “And there have been hundreds for cancer.”

Still, research continues to support the notion that music is medicine. SingFit has been proven to significantly elevate people’s moods, and their website references a gaggle of peer-reviewed research papers to rebuff naysayers. Francine

It bears mentioning that SingFit is not music therapy, even though music therapists helped to build it. SingFit offers group activities directors one hour-and-a-half training session on how to implement their software. Music therapists must undergo rigorous instruction from an AMTA-approved program, complete a supervised internship, and earn board certification. Regardless, the shared objective between SingFit and licensed music therapists means Francine wants to forge more relationships with professionals in the field.

Expect future versions to make greater use of A.I. and expand the number of conditions it treats. The CEO also aims to work closer with musicians and singers, believing they would derive immense satisfaction from knowing they’re having a positive impact. “Think about a musician or songwriter using their music to increase health, reduce depression, all these things,” says Francine, marveling at the unique relationship between music creators and their listeners. “That’s a special connection.” singfit.com

Marc Almond, Soft Cell, and Danceteria

At the start of June, just before summer officially kicks in, Marc Almond’s Soft Cell will be performing at the Hollywood Bowl with this month’s cover stars The Human League, plus Alison Moyet. The last time this writer caught Soft Cell, they were playing the Kia Forum with Simple Minds. In the months since, the world lost David Ball (the other half of Soft Cell) when he died in his sleep in October at the far-too-young age of 66.

Naturally, Almond and the Soft Cell family are still grieving. The Hollywood Bowl show, the current tour overall, and forthcoming album Danceteria (Ball’s last recorded output), do at least offer the group and its fans the chance to pay tribute, and to revel in the music that Ball part-created.

“I love playing in L.A., and California audiences have always been supportive to Soft Cell and to me,” Almond says. “To play the Hollywood Bowl is a dream come true! I’ve always wished I could play there. It’s a legendary venue.”

The tour also offers Almond the chance to catch up with old friends. “The Human League were an inspiration to Soft Cell in the very early days,” he says. “We were both part of a Northern Britain flourishing electronic music scene. Soft Cell was inspired by their minimal electronic sound and Philip Oakey’s singing style. Both David Ball and I (being art students) loved their use of visuals in their shows, screens and projections. No one else was doing that then. It’s wonderful to be touring with them all these years later, and it will be such an amazing unmissable evening. Alison Moyet is a fantastic singer and was also part of the U.K. electronic music scene. It’s a great line up to be touring with.”

It is an extraordinary bill discussed in greater depth in the cover feature. From Soft Cell’s perspective, three bands means a shorter set time, but Almond intends to use that time wisely.

“We keep it to the most popular songs that will be familiar to a U.S. audience and will be immediate to those who aren’t so familiar with us,” he says. “We’ll also nod towards our new album Danceteria which is out in September. A cover of Was Not Was’ ‘Out Come The Freaks’ from the album is already available.”

Almond and Ball met at Leeds Polytechnic in 1977 and formed Soft Cell the following year. That’s 48 years of incredible music, starting with 1981’s dark masterpiece Non-Stop Erotic Cabaret—the album that gave us Soft Cell’s cover of Gloria Jones’ “Tainted Love,” as well as subversive gems like “Sex Dwarf” and “Seedy Films.” As launchpads go, the album was sublime. Nearly five decades later, Almond still gets a kick out of getting up on stage.

“Each time performing live is a new experience whether it’s a familiar or a new audience,” he says. “It’s direct contact with your

fans. On this tour, we get to perform to a lot of new people and that’s a challenge too.”

That said, this year has been undeniably difficult. “We’re still coming to terms with the loss of David Ball,” Almond says. “His role has been more of a studio role in the past few years. He performed only on occasions and usually just in the U.K. as he was not able to travel much. It’s his music people hear on stage, as well as co-writing all the songs he prepared and programmed all the shows. Philip Larsen has been a part of Soft Cell for a while now onstage and in the studio, working as Dave’s co-producer, mixer and keyboard player. He adds live parts to David’s music. There will be no more future Soft Cell studio recordings after Danceteria. I wouldn›t record as Soft Cell without David, but the music we've done, I will keep alive with shows and tour.”

Ball is clearly irreplicable. However, Philip Larsen has been a member of the Soft Cell family for a few years now, working alongside Ball. Larsen will be up on stage with Almond on this tour.

“He’s been a big part of our previous album Happiness Not Included and the new album Danceteria,” Almond says. “He’s great to work with and adds great textures to the Soft Cell sound.”

As Almond said, Danceteria will be Soft Cell’s final album. Thankfully, he's delighted with the way it turned out.

“Dave worked on the initial back tracks and ideas at home in his studio then worked with Philip Larsen to develop the song and production and mixes,” he says. “I wrote the lyrics, and then did my vocals separately with my vocals engineer and then worked with the backing singers on the arrangement. Dave only

heard the finished playback of Danceteria for the first time two days before he died. We had talked about how excited we were about this record and it gave him a boost. We had planned a big U.K. tour this year, but he was only able to perform in the U.K. due to his health restrictions. We knew this may be the last record due to his health but we’d said this before and we were able to make another. It made his death all the more hard to take in.”

Thematically, the frontman says that the albums revisit the New York of 1982, where Soft Cell recorded Non-Stop Erotic Cabaret

“The album Danceteria is a love letter to New York, to the America of those times, and the creativity we experienced and how it shaped us, bringing it all full circle,” Almond says. “When we started back then, we played live on the West Coast and they welcomed us more than the East Coast. In those times, we felt both a spiritually American band as well as a British band. The album Danceteria is of course named after the early ‘80s night club, which was a hedonistic hub of music styles and performance like nowhere else. We launched our first album there.”

Regarding gear, Almond admits that it’s more Ball and Larsen’s area. “We always preferred analogue sounds to digital,” he adds. “We always liked to nod back to the lo-fi days of the early ‘80s when we went on stage with a Korg synthesiser and a revox tape machine and tried to keep some of that spirit.”

Almond will spend the remainder of 2026 focusing on the release of Danceteria, and the forthcoming Generations tour. There might be some U.S. headline shows later in the year. “But most of all, I am so excited about the Hollywood Bowl,” he says, “It will be quite something.”

Pacific Electric Setting A New Standard

Breathing new life into Los Angeles’ historic Naud Warehouse, at the intersection of Mission Junction and Chinatown between the Los Angeles river and east-side train tracks (at 1729 Naud Street), the team at TVG Hospitality are raising the bar, with an unmatched experience for both artists and guests. The hope for Pacific Electric is to foster a hub for creatives and fans to connect and celebrate food, beverage, and culture.

Senior General Manager Stacey Levine (who has run operations at landmark Los Angeles venues over the years, including the Wiltern and Hollywood Palladium) shares, “We are learning and changing little things every day to fine-tune the experience, but we’re getting great feedback from fans, from bands, from tour managers. I couldn’t be happier.”

As a 750-person venue designed and built for unforgettable moments, the newly opened space will serve as a meeting spot for artists and fans, partnering with independent promoters for genre-spanning headline acts, underplays, club nights, and special events. “When people walk in, they have the option of going out to the garden, getting a snack, having a drink out there. It’s really great,” adds Levine. “We’ve had a show with six bands and, between each act, people were outside really enjoying the space.”

With a name that pays homage to the company that operated Los Angeles’ iconic ‘red cars*’ that shuttled people between communities from the 1920s-60s, Pacific Electric is about creating an ethos of community and bringing everyone together for a great experience. As the smallest club in TVG’s portfolio (and the first in Los Angeles), Pacific Electric still has the most moving parts. Shares Levine, “I watched it getting built for a year and a half, theorizing and planning, seeing how it really goes, and then fine-tuning. I had a lot of excitement and expectation about what it was going to be like

and what we wanted it to be. My expectations were high, and we are hitting them all. Being in the space and seeing what it really is now is even more rewarding because it’s everything we thought it would be.”

From stunning sound (from L-Acoustics) and full LED lighting design, an inviting courtyard gathering space, a merch room area, collaborations with Indian street food specialist BADMAASH (with items like Chicken Tikka Poutine or BADMAASH Street Tacos) and retro cocktails (revisiting ‘90s themes with piles of fresh ingredients), to top-notch artist greenrooms (serving as mini-apartments should headliners wish to stay overnight), the team has left nothing out. “Our very first show was with Dawes. They were so happy, they love the space,” says Levine. “I’m hoping to get them back.” The courtyard garden entryway has been a big hit, and a show with Yonder that had patrons locking phones up, included a designated area for everything to be set up and simplified. “We’ve done merch in different areas that were right in front so people can see everything when they come in,” continues Levine. “The way that we wanted the venue to flow, it’s happening that way. People are enjoying a drink, they’re going into the show, and when the act is on, almost everybody is in there watching the show—but we still have the bar on the outside serving drinks too. It’s really nice to have so many options in one space, with many different experiences in one night.”

The Magnetic Zeros) and guests can gather at MITSI for cocktails on the second floor before or after shows (open until 2 a.m. on Friday and Saturday). Adds Levine, “There’s so much to do here. There’s Apotheke on the corner and Majordomo, and we’re really close to the train line. People are really enjoying the space. It’s easy to get to.”

Having wrapped the Netflix Is A Joke comedy series (with two shows a night for five nights straight), and headline shows including Dawes, Norah Jones, Voxtrot, and Alexander Stewart, this month’s events include Pomplamoose and Kim

Gordon. (Full calendar updates at pacificelectric. la/whats-on.)

Founded by GRAMMY-winner and entrepreneur Ben Lovett (of Mumford & Sons) in 2016, TVG is all about community and elevating the live music experience and creating the best possible experience at the intersection of live performance and hospitality. Developing, designing, and operating superior iconic venues, they see music as a catalyst for socioeconomic change and a way to build a sense of community. With previous projects in London, England (Omeara, The Social, Lafayette), and Huntsville and Birmingham, Alabama (The Orion, Saturn, The Lumberyard), TVG has further high-profile projects underway across the United States.

*The Los Angeles ‘red cards’ were electric streetcars that connected Los Angeles to Orange, San Bernadino and Riverside counties and helped with regional growth in the 1920s. Covering over 1,100 miles of track in their heyday, the network covered long-distance suburban routes and were especially popular during WWII. The system was dismantled in favor of personal vehicles in the 1950s and ‘60s.

There is also rotating artwork showcased throughout the building, currently showcasing work from Christian Letts (of Edward Sharpe &

Visit pacificelectric.la

Contact Mike Jones, Shore Fire Media - mjones@ shorefire.com

Slayyyter

Worst Girl in America

RECORDS/Columbia Records

Producers: Slayyyter, Valley Girl, Austin Corona, Wyatt Bernard, Hamish, Yakob, Owen Jackson

Slayyyter’s been kicking around since 2018, dropping killer tracks like “BFF” and “Hello Kitty,” and eventually the 2021 album Troubled Paradise and the 2023 follow-up Starfucker. And yet it feels very much like this is her time. Right fucking now!

Her third album, Worst Girl in America, is a start-to-finish riotous, debauched, genre-defying beast of a record. Not one second is wasted. Every opportunity to rub quality alt-pop in the face of the collective is grabbed with eager mitts.

Slayyyter’s recent Coachella performances saw a lot of these songs “slayyy” in front of a rabid, afternoon festival crowd, and one can only imagine a huge year from here. Any one of these tunes could be a single, from the industrial-tinged, guttural glory of “HEY GODDD” to the sultry, kitten-esque joy of “Unknown Loverz.”

“I’m Actually Kinda Famous” is the sort of satirical, upbeat-cynical look at the celebrity party life that one can easily imagine dropping hard at the clubs. If Slayyyter is indeed the worst girl in America, we want to be down there with her. - Brett Callwood

Kacey Musgraves

Middle of Nowhere

Lost Highway Records

Producers: Kacey Musgraves, Daniel Tashian, Ian Fitchuk

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Kacey Musgraves pays homage to her Texan roots with her seventh studio album Middle of Nowhere. The album does a good job at showcasing Musgraves’ magnetic personality through her witty humor and tongue-in-cheek songwriting, especially on tracks like “Dry Spell” and “Mexico Honey.” The album also has its somber moments as it follows Musgraves’ experiences of solitude and the complexities of maturing as seen in “Loneliest Girl.” The album features Texan artists like Willie Nelson and Miranda Lambert with references to western swing, bluegrass, and traditional Mexican influences. Who knew country could be so fun! - Jacqueline Naranjo

Thundercat

Distracted

Brainfeeder Records

Producers: Greg Kurstin, Flying Lotus, Kenneth Blume

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Any album that leans into intergalactic detours and Star Wars nods is bound to be both nerdy and cool as hell. Distracted, Thundercat’s fifth album, fully commits, unfolding as a dreamy expanse of futuro-jazz-funk threaded with a constant undercurrent of soul—and it might be the most geek-chic record to land in recent years. The features land with real weight and personality: a Tame Impala collaboration that feels effortlessly innate, a playful and irresistible Lil Yachty moment, and a poignant posthumous appearance from Mac Miller all play their part gloriously. At its core, Distracted captures a season of loneliness, balancing humor, heartbreak, and sonic exploration in a way only he can. – Ruby Risch

MUNA

Dancing on The Wall

Saddest Factory Records

Producer: Naomi McPherson

MUNA has a lot to say and are not afraid to spill it out on their fourth studio album Dancing on The Wall. The track opener “It Gets So Hot,” sets the scene for the album’s cohesive ’80s synthpop production. The Los Angeles-based trio tackles sensitive topics head-on with their fiery songwriting. “Big Stick” is an unfiltered call-out track of the government corruption and genocide in Gaza. “Wannabeher” is an earworm anthem of unhinged thoughts of wanting to become someone else. Meanwhile “Mary Jane” alludes to a relationship going up in flames due to substance abuse. It’s an album that keeps you on your toes. - Jacqueline Naranjo

Mitch Ryder

Songs From the Road

Ruf Records

Producer: Thomas Ruf

Having seen Mitch Ryder a few times over the years, this is, by far, one of the best bands he’s ever had. And this CD/DVD package captures two very similar, yet different experiences in a live setting. Recorded in Germany in 2025 you’ve got the audio CD portion from March, which is somewhat edited and straight forward. And then you have the visual DVD from February, which is more detailed, with Ryder engaged with the crowd and band. Both contain new songs, deep cuts, and Ryder singing and testifying in his signature style. - Eric Harabadian 8

Big D and the Kids Table

The Good Ole American Saturday Night SideOneDummy Records

Producers: Joe Gittleman, Matt Appleton

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Here’s proof a recording can still deliver unsaturated smiles. There’s everything an urban rudeboy could want. Irresistible ska rhythms for the unwashed masses? Check. Punchy horns and full-flavored guitars that deliver goose bumps? Check. Sturdy lyrics with punk rock attitude to inspire reckless stage diving? Double check. This album’s got a message, too—those mosh pit bruises are going to heal, but the memory of a peak evening out clubbing will last a lifetime. - Andy Kaufmann

Tori Amos In Times of Dragons

Universal/Fontana

Producer: Tori Amos

Tori Amos’ 18th album sees the alt-pop veteran in full myth-maker mode, spinning political dread into fire-breathing allegory, where tyrants lurk like serpentine villains and hope flickers stubbornly underneath. It’s a sprawling 76-minute velvet coup that demands total surrender to its intricate, moss-covered melodies and, despite the record’s sheer density and occasional self-indulgence, it impressively navigates that tension between ancient folklore and modern chaos. In essence, it’s shadowy and just unhinged enough to remind us why she remains a high priestess of the avant-garde. Few artists could craft a campfire story for the end of the world that feels quite this essential. - Ruby Risch

NEW MUSIC CRITIQUES

Adrienne Leska

Contact: leskaadrienne@gmail.com

Web: adrienneleska.com

Seeking: Film/TV, Playlist

Style: Folk, Pop, Indie

In her online bio, singer-songwriter, artist, and teacher Adrienne Leska describes her folk-pop as having a “deep and whimsical twist.” That’s a wonderful and welcome quirk which is apparent on the song “Someone Like You” (with the line “how could someone like me end up with someone like you,” which could be super-modest or brimming with self-belief, depending on the angle you come at it from). “Never Gets Old,” a song dedicated to Leska’s grandfather, is an upbeat little gem, while “Mirrors” tackle self-reflection (pun intended?). Ultimately, there’s a lot to admire here.

Liz Nash

Contact: liznash667@gmail.com

Web: liznash.org

Seeking: Film/TV, Booking Style: Indie Folk, Progressive Folk

Florida-based Liz Nash builds a whimsical world populated by gators, frogs, and flying ducks, turning the Sunshine State into a storybook. Tracks like “Nana and the Gator” and “Ducks Fly to Florida” lean heavily into that narrative charm, but the musical side struggles to keep pace. Her vocals often sit in a narrow, repetitive range that makes even the most imaginative lyrics feel flattened over time. There’s a clear storyteller at work here, but the songs rarely develop beyond sing-song simplicity. To evolve past the nursery-rhyme aesthetic, she needs to find her vocal range and commit to the grit that lies beneath the Florida swamp water.

Meteor Street

Contact: meteorstreetmusic@gmail.com

Web: meteorstreetband.com

Seeking: Love, Success

Style: Rock

“Meteor Street are here to bring the world the dulcet, chaotic sounds of literary rock,” reads the duo’s bio, and it sure is indulgent. There’s a scrappy intelligence to their sound, especially on “Likewise,” where slightly unpolished vocals add character rather than distraction. “I Need A Vacation” kicks off with an operatic flourish before diving into a relatable, high-energy romp. It’s witty, charming music that catches you by surprise—and even though it’s still early, they’ve managed to carve out a sonic identity that feels entirely their own. With a few more miles on the odometer, this duo could easily become a staple for fans of smart, melodic indie.

The New Music Sculptors

Contact: crj@newmusicsculptors.com

Web: newmusicsculptors.bandcamp.com

Seeking: Review Style: Freak Rock, Punk

Who are the New Music Sculptors? “A group of sonic sculptors with over a century of combined musical wherewithal,” is what they say. A song like “Doom” would suggest that this is a band of skilled, experimental musicians, happy to dispel the notion that a group needs to be tied down by genres and labels. It’s jazz-like in its desire to deconstruct traditional song structure. Fans of Zappa and Captain Beefheart will love the freedom and whiff of chaos with which these guys play. But the songs are there. Like Zappa, or perhaps Primus, you just have to dig a little.

Angie Hartley

Contact: angie.hartley89@gmail.com

Web: samply.app

Seeking: Label, Booking, Film/TV, Distribution Style: Power-Pop, Pop-Rock

Straight away, when listening to the songs “How Do You” and “Are You Lonely,” it’s clear that Detroit artist Angie Hartley has the potential to bring in a mainstream audience. The tunes are there, the songwriting is on point, and the musicianship is exemplary. In addition, and as is the norm for Motor City artists, there’s an edge that makes the music all the more attractive. In this case, that edge takes the form of a hint of spit ‘n’ thunder rockabilly. Just enough to introduce a necessary element of danger. There’s a touch of Gwen Stefani about Hartley’s vocals too. Check it out!

Levi Petree

Contact: levistpetree@gmail.com

Web: levipetree.com

Seeking: Label, Booking, Film/TV, Publishing Style: Singer-Songwriter

There’s a warm authenticity about Levi Petree’s Americana-roots songwriting and delivery, that is actually quite refreshing. On a song like “I Told the River,” Petree tells his simple but effective love story with emotive honesty and a touch of wit. The listener is immediately enthralled, and ready for more musical life-lessons. “Country at Heart” is another little gem, with Petree explaining that he’s not into the cowboy boots or trucks, but he’s ultimately a country guy. We can relate to an appreciation for the music but not the trappings. It’s the sort of self-reflection that makes Petree a lot of fun.

David Perry

Contact: dmperrymusic@gmail.com

Web: dmperrymusic.com

Seeking: Booking, Sync Opportunities

Style: Americana, Folk, Blues

West Virginia native David Perry leans into earnest, folksy songwriting, flirting with charm that occasionally stumbles into cringy. On “Don’t Fall In Love At All,” Perry delivers the punny line, “Don’t fall in love with a bakery chef ‘cause you might get desserted,” which lands with more grin than gut punch. Still, there’s a sincerity in his delivery that keeps things grounded, especially when paired with a female counterpart whose soulful vocals often elevate the material. The issue isn’t effort, but distinction; it’s heartfelt, if not groundbreaking, missing that final sonic “click” to separate him from the rest of the Americana herd.

Betty Moon

Contact: bob@bradleypublicity.com

Web: bettymoon.com

Seeking: Film/TV

Style: Indie, Pop

Betty Moon is apparently keen for her music to be licensed for film and TV, though she has already had songs featured on shows as successful as Californication, Dexter and, umm, Teen Mom. It does make sense though; a song like the hair-raising “Last Night” and the sultry “Taxi Ride” feel like perfect plot-drivers. When you learn that Moon also works as a film producer, it starts to add up. She also operates Evolver Music out of Los Angeles. So Moon has a lot going on, and thankfully she has the chops to back it all up.

Ketsyha

Contact: info@ketsyha.com

Web: ketsyha.com

Seeking: Label, Booking

Style: Latin, R&B, Soul

Puerto Rico-born Ketsyha is at her best when she trusts simplicity. On “Capicú” the a cappella opening hits the mark, highlighting both her control and charisma before the track blooms into something genuinely engaging. “Bueno Pa’ Bailar” also lands well, leaning into bright, danceable electronic textures. But elsewhere, things feel less assured—“I Am Ready” in particular leans on a generic beat that dulls her vocal presence rather than enhancing it. There’s clear DIY spirit here, but it occasionally translates into safer sonic choices. The question isn’t talent—it’s differentiation. Right now, she may blend into the crowd more than she stands apart.

Andrea Magee

Contact: lauren@beachwood.la

Web: andreamageemusic.com

Seeking: Label, Booking, Film/TV Placement,

Distribution

Style: Indie-Folk, Singer-Songwriter

The fact that she was raised in Belfast and has been based in Austin, TX since 2014 makes a lot of sense when listening to Andrea Magee’s new album Wild Woman. That blend of traditionally Irish (in this case Northern Irish) Celtic singersongwriter fare and dusty Americana makes for a heady brew. Songs such as “Do it For Love” and “Keep Falling” are blessed with a joy for life, healthily tempered by a road weariness. As such, it all feels very real. On top of it all, Magee has a stunning voice—genuinely beautiful, and well capable of carrying a life story or two.

Kem ’Yah

Contact: kemyahmusic@gmail.com

Web: kemyah.bandcamp.com

Seeking: Review

Style: Afro-Furutistic, Hip-Hop, R&B

Kongolese-Toronto native Kem ‘Yah offers a textured, often hypnotic sonic palette. “Seven Powers” stands out as the most immersive, while other tracks follow a more predictable structure that slightly blunts the impact. Lyrically, Kem ’Yah takes a bold, if divisive, stance in a way that feels unnecessarily abrasive—“We ain’t got no time for you to make excuses for your weak ancestors, in fact, we ain’t even got time to make excuses for being a weak ancestor,” he chants on “The One,” and it's a turn off. There is a clear talent for rhythm and atmosphere here, but a lighter touch—both in vocal effects and in lyrical gatekeeping— might help his message resonate more clearly.

Halo Kitsch

Contact: byron@urbzlyfe.com

Web: halokitsch.com

Seeking: Label, Booking Style: Alt-Rock

Claiming you’re “underrated” in your bio is a high-stakes gamble, but Halo Kitsch has the receipts. Tracks like “american medicine” strike a modern alt-pop chord, finding a perfect balance between melodic hooks and a glorious, essential fuzz. She shifts gears effortlessly on “losttime,” revealing a pensive, engulfing side that proves she isn't just a one-trick pony. There is an inner growl to her work— especially on “arsenic”—that makes her feel like a genuine discovery. It seems there is already a cohesive artistic vision in place, one that feels immersive without being overproduced. If there’s any justice, Halo Kitsch won’t be able to use that “underrated” tag for much longer.

LIVE REVIEWS

The Orpheum Theatre Los Angeles, CA Web: lilyallenmusic.com

THE NOISE SURROUNDING LILY ALLEN’S incredible 2025 comeback album West End Girl has been close to deafening. Justifiably so, because this is so much more than a regular album. West End Girl recalls, in excruciating detail, a chapter of Allen’s life that could diplomatically be referred to as difficult. Moreover, it’s a vitally important opus because it lends a voice to other women in an abusive situation.

We knew, going into the first of Allen’s two nights at the Orpheum, that the album is essentially about her marriage to actor David Harbour which lasted from 2020 to 2025. We knew that there was a definite “ick” element about the whole concept of essentially being pushed into an open marriage. From the day of the record’s release, that felt like a very specific form of hell: wanting a loving, committed, monogamous marriage but being faced with the choice of “open or nothing” and choosing the former in order to keep the family together.

It’s also true that, while with Harbour, Allen didn’t release an album. Her last one prior to West End Girl was 2018’s No Shame. The fact that Harbour sent Allen a sinister note with “bad luck flowers” when she appears in the play 2:22 A Ghost Story in 2021 naturally makes one wonder just how controlling he was over her career.

Regardless, Allen is back now, the album is pure brilliance, and her one woman show at the Orpheum was a celebration of those things. Still, it remains a fact that we weren’t ready for the emotions that this album, performed start-to-finish on this tour, would stir in the live environment. Seeing Allen, alone on stage and utterly vulnerable, singing these beautiful, strong, devastating songs was an undeniably powerful experience.

It’s worth mentioning that, as an opening act, the Dallas Minor Trio is a group of cellists who

LILY ALLEN

play songs from Allen’s prior albums, while a screen beams out the lyrics so that the crowd can sing along. Tons of fun to be had there, and it highlights the fact that Allen is the focus here. Again, the album was performed in its entirety and in order, so Allen’s set list offered no surprises. The title track kicked off the West End Girl show, a song that immediately introduced the toxicity that plagued Allen’s marriage: “You were pushing it forward, Made me feel a bit awkward.” The songs also dip into the aforementioned play (gifting the album and song

its title): “That’s when your demeanor started to change, You said that I’d have to audition, I said, ‘You’re deranged.’”

With the stage set, Allen moved straight into “Ruminating,” a song that any human can relate to. Her husband is out and about, sleeping with other people, and Allen is lying awake at night unable to exorcise the mental image. Pure, vicious agony!

“Sleepwalking” is nothing short of a musical plea. “Tennis” and then “Madeline” awkwardly introduce the begrudged rules of their “open marriage.” Jesus fucking Christ, it’s all so unpleasant. “Pussy Palace” follows, and then “4chan Stan,” with the refrain “What a sad, sad man, It’s giving 4chan stan.”

“Nonmonogamummy” is the best song on the album, and of the night. Structurally, it’s an upbeat pop song with a ‘60s go-go vibe, plus additional vocals by reggae man Specialist Moss. But, unsurprisingly given this album, the lyrics touch all the feels: “I’ve been trying to be open, I just want to meet your needs, and for some reason, I revert to people pleasing, I’ll be your Nonmonogamummy.” Just ouch!

“Dallas Major” gets its name from the moniker Allen used on the dating apps that she didn’t want to be using. Through it all, she poured her heart out for Los Angeles, and the crowd reacted in kind. This wasn’t just a concert, or even a regular one-woman theatrical performance. This was and is a giant therapy session. It’s also a display of strength, of resilience, and yes, of love.

Musically, the songs are dazzling; 14 pop gems ending with the ultimately affirming “Fruityloop.” Allen’s voice is on point throughout and, when she took her flowers at the show’s conclusion, it would be tough to imagine that any artist has earned them more. – Brett Callwood

Belasco Los Angeles, CA

Web: gwar.net

Contact: freeman@freemanpromotions.com

Players: Blöthar the Berserker, vocals; Sawborg Destructo, vocals; Balsac the Jaws of Death, guitar; Bonesnapper, backing vocals; Beefcake the Mighty, bass; Grodius Maximus, guitar; Jizmak Da Gusha, drums

REVIEWING A GWAR PERFORMANCE as if it’s just a regular gig is practically impossible. GWAR is many things: theater, satire, slapstick, puppetry, and, yes, a great metal band too. The band’s musical prowess, their collective chops, often gets lost in an avalanche of prosthetic limbs and a sea of bodily fluids. But make no mistake, these costumed beasts can play.

The show at the Belasco in L.A. was opened by Australian grind band King Parrot (great music, silly name) and Soulfly (featuring Sepultura, Nailbomb man Max Cavalera). Both were solid; Soulfly has bangers like “Eye for an Eye” to pull out of the ammo sack, genuine crowd-pleasers that got the Belasco bouncing early.

But nobody steals GWAR’s thunder, not even a metal icon like Cavalera. From the second that GWAR walked on stage and smashed into “Fuck This Place” from 2017’s The Blood of Gods (their first album without deceased frontman Dave “Oderus Urungus” Brockie), the Belasco was awash with chaos. “Crack in the Egg” from the ’92 semi-classic America Must Be Destroyed was next, a song

LA Opera at the Dorothy Chandler Pavilion Los Angeles, CA

Web: laopera.org

Contact: customerservice@laopera.org

Players: James Conlon, conductor; Shawna Lucey, director; Craig Colclough (bass-baritone) as Sir John Falstaff; Nicole Heaston (soprano) as Alice Ford; Ernesto Petti (baritone) as Ford; Hyona Kim (mezzo-soprano) as Mistress Quickly; Deanna Breiwick (soprano) as Nannetta; Sarah Saturnino (mezzo-soprano) as Meg Page; Anthony León (tenor) as Fenton; Nathan Bowles (tenor) as Dr. Caius

IN RECENT MONTHS, Music Connection has been to the LA Opera three times. All have been very different productions, and all have been spectacular experiences. At the end of 2025, we enjoyed Puccini’s La Bohème. That was followed, a couple of months later, by Philip Glass’ modern masterpiece Akhnaten. And again, in terms of the music and the spectacle, Verdi’s Falstaff is an entirely different beast. After the Sunday afternoon performance that we attended, English comedian, actor, and writer (among other things) Stephen Fry sat with conductor James Conlon to talk about the history of the character of Sir John Falstaff (Shakespearean, for those new to the opera), and the historical context through which he was created. That proved to be a treat, a real cherry on the cake that had come before it, though it really was just a bonus. The performance was more than enough.

Falstaff tells the story of the bumbling

GWAR

that results in the birth of GWAR’s dinosaur buddy Gor-Gor.

A giant red dinosaur is just the start of the shenanigans. During “Have You Seen Me?,” an ICE agent was revealed to be a massive, walking penis and then chopped in half with a chainsaw. “I’m in Love (With a Dead Dog)” saw the blood of Kristi Noem’s shot dog sprayed over the crowd, before Noem herself was dispatched. During “El Presidente,” Trump (renamed “Fatass Orange President” here) got his torso ripped off. And “Mother Fucking Liar” saw Bill Clinton decapitated while reading from the Epstein files. Nobody is safe. But again, the music shouldn’t be forgotten.

“Hate Love Songs” from 1997’s underrated Carnival of Chaos showcased GWAR’s punkier side. The aforementioned “I’m in Love (With a Dead Dog)” is from the ’88 debut Hell-O, and it remains a set highlight, as does “Sick of You” from 1990’s brilliant Scumdogs of the Universe.

While a GWAR show is a gore-soaked affair (literally—getting covered in fake blood makes for a good night for GWAR fans), this really is all about silly fun. It’s like going to see Evil Dead: The Musical (although GWAR predates that production by many years).

You just have to enjoy the carnage, and laugh. Or don’t—GWAR doesn’t give a shit. – Brett Callwood

FALSTAFF

knight that gives the opera its name. Falstaff, as the rest of the characters often tell us, is an overweight, slovenly, narcissistic buffoon of a man. Somehow, he believes that he’s God’s gift to women—a charmer and a playful rogue. In fact, those around him take great joy in pranking Falstaff. It would be bullying, if Falstaff wasn’t such an odious creature.

The Alice Ford and Meg Page characters manage to convince Falstaff that they’re both in love with him at the same time, with the help of a third female character called Mistress Quickly. This news doesn’t seem to surprise Falstaff at all; rather, he takes it with a “but of course” demeanor. The comedy continues from there.

The orchestra, conducted by the beloved Conlon, puts in an exemplary performance,

and the cast was extraordinary. In the title role, Colclough was perfect. Playing Falstaff requires effect timing, while appearing ridiculous. For both an actor and a singer it must be so much fun.

In the respective roles of Alice Ford, Mistress Quickly and Meg Page, Nicole Heaston, Hyona Kim and Sarah Saturnino are simply incredible. Their voices soar, though the real magic happens when they’re in sync.

Special mention must go to soprano Deanna Breiwick in the role of Nannetta, as she too is mesmerizing. By the time the opera reaches its famous concluding line—“All the world’s a joke, man is born a joker, and he who laughs last laughs best,” we were utterly spellbound. – Brett Callwood

Oxnard Performing Arts Center Oxnard, CA

Web: gipsykings.com

Contact: heather@reybee.com

Players: Tonino Baliardo, leader; Benji Baliardo (Cosso), guitar; Mikael Baliardo, guitar, percussion, vocals; Jean-Claude Villa (Mounin), lead vocals, guitar; Jean Samuel Rey, lead vocals; Jean Michel Kerwich (Miguel), vocals, guitar; Cyril Serguy, keyboard; Thomas Potrel, bass; Sebastian Contreras, drums, percussion

FIERY RUMBA FLAMENCA GROUP the Gipsy Kings brought their charismatic, passionate energy to the stage for an engaged, packed house. With effortless communication between musicians, and a combination of rich vocals and fabulous percussive sound, even reserved audience members were compelled to move their bodies.

Founded in 1979 in France, the band is of Catalan heritage, performing a blend of Catalan rumba, flamenco, salsa, and pop. Singing mostly in Spanish, they often mix in Catalan, French, and Occitan. Opening with the title track from their latest (19th) album, “Historia” brought instant crowd participation, with trademark flamenco sound inspiring dancing and singing throughout the evening. “La Dona” followed, before conga stylings and high-register vocals kicked off on “Djoba Djoba.” Clapping and growing enthusiasm

The Cutting Room New York, NY

Web: michaelgilasmusic.com

Contact: sotthuggermusic@gmail.com

Players: Michael Gilas, lead vocals; Allan Phillips, musical director, keyboards, guitars; Natalya Phillips, guitars, background vocals; Daneen Wilburn, background vocals; Draeh Jirnae, background vocals; Shirly Ace, drums; Angelica Yamada, bass; Brian Kennedy, keyboards

IT'S HARD TO PUT A period on Michael Gilas’ music. His influences run the gamut from legendary artists like The Eagles, Fleetwood Mac, Carole King, and Steely Dan to as current as Billie Ellish. Those influences run through the set which was comprised of songs from his current release, 231 Kensington Road.

Pouring all that musical diversity into the show, Gilas delivers a blend of mostly uptempo, groove-laden songs staying in an adult contemporary lane, with his seven-piece band (including three backup singers) rounding out the sound.

He kicks off the set with “Convenience Store,” a clever comparison between his open heart and a store that never closes: “There’s something ‘bout that neon glow/I can see so through ya/I can’t say no to ya/You go and get what you need/anytime you need it/my heart’s open 24/7.”

In “Sigmund Freud Girlfriends,” we hear tongue-in-cheek quips about past girlfriends dissecting their relationships and why they failed: “Tell all your Sigmund Freud girlfriends the damage, the savage/there’s always another chapter about the baggage we never

GIPSY KINGS

ensued on “La Quiero.”

Second new, “Seniorita” added a delicious guitar intro and softer ballad feel, highlighting the strong lead vocals and beautiful group harmonies. Phenomenal vocal control and tremendous band cutoffs added intensity to the show. Engaging the audience with their humble invitational exchange between songs, “Un Amor” had the crowd singing along the round, full guitar stylings and vocal flourishes dancing over a percussive backdrop. “Pasajero” followed with more chanting, then “Sin Ella,” “Chiribi,” and more. Rounding out the evening with “Bem, Bem, Maria,” “My Way” (originally recorded and performed by Claude François in 1967—with French lyrics by Gilles

Thibault, made famous by Frank Sinatra in 1969), “Baila Me,” and “Todos Olé” (with the crowd chanting “Olé!”), and “Bamboleo,” the room was on its feet singing and dancing along.

The closing encore of “Volaré” can only be described as a beautiful dance fest and sing-along. Following a bow and “thank yous” from the stage, the audience was led in a few beautiful rounds of call-and-response chorus refrain. Between unison guitar sections, heartwrenching quejíos, enticing dance moves on the stage, and intoxicating conga, cajon rhythm and syncopated rock, the show delivered musical intrigue and spellbinding joyful sound. Historia is out now. – Andrea Beenham

MICHAEL GILAS

unpacked…cheaper than a couch confession/ I’ll even pick up the tab for the session.”

Gilas surrounds himself with a coterie of excellent musicians and background singers. Though they offer strong support, an interlude or two of an instrumental breakdown, putting Gilas further out front would have given us the chance to hear more of his voice unfettered by the size of the band.

At the start of the show, a woman stepped up to the mic with a brief but cryptic comment alluding to the bravery of the performer we were about to witness. We never find out what that comment meant but what it most likely amounted to was a missed opportunity for Gilas to connect more profoundly with the audience. After a life-altering horseback

riding accident that left him with a broken neck, unable to walk and limited use of his hands he took stock of his life. “Music became my therapy, my escape, and my way forward. I wrote song after song from my bed, never knowing they’d turn into my first album.” So, the question is how did this near-tragic event fuel the songs on the album? Audiences love to know these backstories.

Still, the show was entertaining with all its bells and whistles, though Gilas unfortunately omitted sharing these songs shaped by his life experiences, most notably, the riding accident. While many of us have been in a dark place at some point in our lives, we welcome hearing how others have overcome insurmountable obstacles. - Ellen Woloshin

The Loft at City Winery New York, NY

Web: nazzy.hiphop

Contact: press@nazzy.hiphop

Players: Nazzy the Mic, vocals

ON A RAINY MARCH NIGHT at The Loft at City Winery, actor Orlando Jones ended his stand up set in an unexpected way. Instead of simply taking a bow, he invited up-and-coming Philadelphia rapper Nazzy the Mic onstage to close the show. At only 21, Nazzy has been tenaciously pursuing her rap career for six years. She released her debut track, “Last Scar,” at age 15, and has followed up with at least one EP or album every year. After signing Nazzy to his label, GangStir Rock Music (GSR), Jones helped usher in her 2025 album, I am Nazzy.

For her New York City debut, Nazzy delivered her signature style—raw, vulnerable flows over stripped-back production. Honesty has always been central to her lyricism, laying her heart and soul out bare for the audience. That openness and relatability draw listeners in, inviting them to process their own experiences alongside Nazzy.

The beat dropped as Nazzy took to the stage, immediately capturing the crowd’s attention. Nazzy opened the show with one of her more laidback tracks, “Come Over.” She kept her voice soft but clear, unfiltered emotions pouring from her words. Gentle guitar paired with unyielding beats played

Ro Cham Beau Detroit, MI

Web: sheilalandis.com

Contact: shelandis@gmail.com

Players: Sheila Landis, vocals, percussion, kazoo; Rick Matle, 7-string guitar; John Hill, drums

ONE OF DETROIT'S NEWEST live jazz music rooms is the sleek and acoustically perfect Ro Cham Beau. The veteran duo of Sheila Landis and Rick Matle recently made their maiden voyage there, one for the books. They were joined by trusty sideman John Hill who embraced their swinging groove like a hand in glove.

The evening’s theme was a journey through the decades, taking pages from the Great American Songbook through standard blues and pop. But you quickly realize that nothing by this ensemble is by rote. Each song is meticulously crafted where the ensemble stays faithful to the music’s essence while taking liberties at the same time.

First popularized by Eddie Cantor during the heyday of vaudeville, Landis immediately captivates the crowd with the perennial “Makin’ Whoopee.” From the outset, she engaged the audience in joining her on the chorus as she dramatically “talk-sang” the lightly provocative and coquettish lyrics. Matle’s seamless blend of melody and walking bass establishes a comfortable rapport with Hill’s delicate drumming. “It Don’t Mean a Thing (If It Ain’t Got That Swing)” was a popular quote and classic from Duke Ellington. It came to life here via Landis’ outrageous kazoo soloing, bongo playing and Hill’s cue to step out. Landis kept a friendly

NAZZY THE MIC

through the speakers, giving Nazzy space to showcase her melodies. Even though the audience had come to the venue for a stand up show, they remained seated, fully locked into the performance onstage.  Nazzy kept the show stripped back, performing solo on stage for her set. She moved fluidly around the stage, commanding as much space as she could. Throughout the show, Nazzy highlighted different facets of her vocal range. At times her voice was almost strained with emotion, before easing back into a chill, melodic flow. Supported by syncopated,

pounding bass and twinkling piano, the lyrics washed over the crowd.

Before bringing her onstage, Jones took a minute to tell the crowd a bit about Nazzy’s accomplishments and explain why he was so eager to work with her. She’s relentless, putting out albums in December 2025 and February 2026, and recently secured her own Pandora channel. Although she hasn’t announced any official tours or shows, fans can get their fill through her prolific catalog and music videos. She’s only just getting started. – Emily Mills

SHEILA LANDIS & RICK MATLE

rapport going with the crowd and dedicated the standard “Fly Me to the Moon” to the Artemis II astronauts. With a breathy Billie Holiday quality to her voice the lead chanteuse soared wistfully over a silky Latin rhythm. “The Lady is a Tramp” was appropriately swinging and edgy which transitioned to the sweet and seductive “Besame Mucho.” Hill and Landis provided dense percussion as Matle subtly blended looping chords and deftly placed lead lines. The first set concluded with the perennial upbeat “When You’re Smiling.” Landis’ spirited kazoo honks and Hill’s call and response drumming were a highlight.

Set two began with the Bacharach/David classic “I’ll Never Fall in Love Again.” It featured Landis on shakers as she supported a smooth samba-like vibe. Matle took some nice solos here as well. Another instrumental piece was the moody and noir-ish “Harlem Nocturne.”

A devotee of the late great jazz vocalist

Betty Carter, Landis evokes that same spirit and charm into everything she does. And you could even include elements of Sarah Vaughan and Nina Simone into her vocal oeuvre as well. Her style blends the sublime with the slightly dramatic and absurd for a performance that is inviting, yet one of a kind. She fuses humor and reflection at the drop of a hat, with all the skill of a Broadway diva. Matle stands alone as one of the best 7-string guitarists on the scene. His ability to blend melody, chords and bass lines simultaneously is a joy to be had. And his encyclopedic trick bag of Wes Montgomery, Jim Hall, Barney Kessel, and Jimi Hendrix-type styles just adds to the versatile nature of their music. John Hill is equally comfortable laying down a solid pocket or adding subtle brush work. Whether they are doing classic cover material or a bevy of their well-crafted original songs, Landis and Matle always deliver and leave you wanting more. - Eric Harabadian

Music Education Guide

This national list from Music Connection will enable you to connect with the schools that suit your needs and budget.

Whether you’re looking for a university, a technical school, a music camp or online course, this updated 2026 list will make your search easier.

ALABAMA

ARS NOVA, INC.

2828 Drake Ave., S.W. Huntsville, AL 35802

Mailing: P.O. Box 14248 Huntsville, AL 35815 256-883-1105

Email: info@arsnovahsv.com

Web: artshuntsville.org/listing/ars-nova

Cost: please call or see web for info

UNIVERSITY OF ALABAMA 810 Second Ave. Tuscaloosa, AL 35487

205-348-7110

Email: ssnead@ua.edu

Web: music.ua.edu

Contact: Charles “Skip” Snead, School of Music

Director

Cost: please call or see web for info

UNIVERSITY OF ALABAMA AT BIRMINGHAM DEPARTMENT OF MUSIC/COLLEGE OF ARTS & SCIENCES

950  13TH Street South Birmingham, AL 35294

Web: uab.edu/cas/music

Email: uabmusic@uab.edu

Contact: Craig Brandwein, Assistant Professor of Music Technoloty

UNIVERSITY OF NORTH ALABAMA

Department of Entertainment Industry

1 Harrison Plaza Florence, AL 35632-0001

Contact: Dr. Robert Garfrerick, Chair 256-765-4342 or 1-800-TALK-UNA, Ext. 4342

Email: ragarfrerick@una.edu

Web: una.edu/entertainment

Program: Bachelor of Arts or Bachelor of Science in Entertainment Industry

ALASKA

UNIVERSITY OF ALASKA

1708 Tanana Loop Ste. #201  Fairbanks, AK 99775

907-474-7555, 907-474-6420

Web: uaf.edu/music

Cost: please call or see web for info

ARIZONA

ARIZONA MUSIC PROJECT

260 E. Comstock Dr., #1 Chandler, AZ 85225

602-819-6400

Email: sing@azmusicproject.com Web: azmusicproject.com

ARIZONA STATE UNIVERSITY

Herberger Institute for Design and the Arts

The Sidney Poitier New American Film School 1001 S. Forest Mall Tempe, AZ  85281 855-278-5080  Web: film.asu.edu

BILL KEIS MUSIC, INC. 650 N. 157th Drive Goodyear, AZ 85338 (623) 234-1787

Email: info@billkeis.com Web: billkeis.com

Notes: Subjects covered include: Repertoire (learning songs), Improvisation, Theory, Technique, Composition, Arranging, Harmony, Chord Substitution, Sight Reading, Rhythm, Keyboards, Recording, Performance, How to Play in a Band, How to Find Work as a Musician and more.

CONSERVATORY OF RECORDING ARTS & SCIENCES Main Facility: 2300 E. Broadway Rd Tempe, AZ 85282-1707

480-858-0764, 888-930-1991

Satellite Facility: 1205 N. Fiesta Blvd. Gilbert, AZ 85233

480-858-9400, 888-930-1991

Web: cras.edu

Degrees/Certificates O ered: Master Recording Program II. Program and Facilities Description: MRP-II is a 42-week program with classes limited to 12 students. It is the only program that secures

and requires an internship for graduation. Every student receives an Apple Laptop, M-Audio Audio Interface, Pro Tools M-Powered, Sennheiser microphone and headphones, Apple Logic Pro and Waves plug-ins. Students have access to our exclusive CRAS Connect, computer-based learning system. Our 40,000-sq. ft. facility includes: (8) control rooms, (5) studios, (2) Pro Tools labs, (2) digital audio labs, (2) mix labs and a 6000-sq. ft.  live sound classroom. Gear includes SSL, Neve, Studer, Otari, Korg, Alesis, Yamaha, Manley and Neumann, among others. Students are o ered a 7-tier certification on Pro Tools and manufacturer certifications on the TC System 6000, Waves plug- ins, EAW Smaart, L-Acoustics Kudo and SoundVision plus Auto-Tune 5. Financial aid available to those who qualify.

MESA COMMUNITY COLLEGE

1833 W. Southern Ave. Mesa, AZ 85202

480-461-7000

Web: mesacc.edu/departments/music Program: Audio Production Technologies

Additional locations:

7110 E. McKellips Rd. Mesa, AZ 85207 480-6547200 Downtown Center: (Fire Science/EMT)

145 N. Centennial Way Mesa, AZ 85201 480-4616220

PHOENIX COLLEGE

COMMERCIAL MUSIC 1202 W. Thomas Road Phoenix, AZ 85013

602-285-7777

Email: jamison.weddle@phoenixcollege.edu

Contact: Jamison Weddle, Coordinator of Commercial Music Studies Web: phoenixcollege.edu

ROBERTO-VENN SCHOOL OF LUTHIERY 1012 N.W. Grand Ave. Phoenix, AZ 85007

800-507-3738, 602-243-1179

Email: info@roberto-venn.com Web: roberto-venn.com

Cost: please call or see web for info

SCOTTSDALE COMMUNITY COLLEGE

9000 E. Chaparral Rd. Scottsdale, AZ  85256 Music Building MUS-139

480-423-6333, 480-423-6723

Email: music@scottsdalecc.edu Web: scottsdalecc.edu/

Contact: Eric Rasmussen, Dept. Chair

UNIVERSITY OF ARIZONA School of Music/Recording Studio College of Fine Arts P.O. Box 210004 1017 N. Olive Rd., Music Bldg. Rm. 11 Tucson, AZ 85721

520-621-1302

Email: finearts@cfa.arizona.edu

Web: cfa.arizona.edu

Program: O ers a professional recording facility o ering 23+ track analog and digital recordings. Our mission is to provide services and educational experiences to students, faculty and sta .

ARKANSAS

UNIVERSITY OF ARKANSAS Department of Music, MB 201 377 N. McIlroy Avenue Billingsley Music Bldg. 201 Fayetteville, AR 72701

479-575-4701

Email: music@uark.edu Web: music.uark.edu

UNIVERSITY OF ARKANSAS AT LITTLE ROCK 2801 S. University Little Rock, AR 72204-1099

501-569-3294

Email: vrlind@uair.edu Web: ualr.edu/music

Contact: Vicki Lind, Admin Assistant

CALIFORNIA

1500 SOUND ACADEMY 8729 Aviation Blvd, Ste 1 Inglewood, CA 90301 (310) 981-7007

Web: facebook.com/1500soundacademy

Email: team@1500soundacademy.com

ABBEY ROAD INSTITUTE - LOS ANGELES

Web: abbeyroadinstitute.com/losangeles Email: losangeles@abbeyroadinstitute.com

Phone: 747-444-4814

Course O ered: Diploma in Music Production and Sound Engineering

ACADEMY OF ART UNIVERSITY, CALIFORNIA 79 New Montgomery St. San Francisco, CA 94105 800-544-2787, 415-274-2222

Web: academyart.edu

Program: Music Production & Sound Design for Visual Media

ADAM’S MUSIC 11742 West Pico Blvd. Los Angeles, CA 90064 310-839-3575, 424-273-4225

Email: amusicla@gmail.com

Web: adamsmusic.com

Contact: Adam Program: one-on-one instruction in all instruments and voice

Cost: please call or see web for info

Notes: flexible scheduling, music programs available for children sound system rentals and expert instrument repairs.

ARIS TAKE ACADEMY

Los Angeles, CA / Online

Web: aristakeacademy.com

Email: awesome@aristakeacademy.com

Basic Rate: $697 - $1,997 per course

Clients: Musicians, artist managers, digital marketers Services: Online education taught by working experts in the field covering sync licensing, social media, streaming growth, digital marketing, booking and touring, live streaming, release strategy, royalty collection, business management. Industry representation obtained for students.

ARROWBEAR MUSIC CAMP P.O. Box 180 Running Springs, CA 92382 909-867-2782, 562-225-7766

Email: info@arrowbear.com

Web: arrowbear.com

Program: Since 1942 o ering summer camp programs in band, orchestra, instrumental and choral music.

Cost: please call or see web for info

ART OF SINGING

Studio City, CA 818-980-2840

Email: darlene@artofsinging.com

Web: darlenekoldenhoven.com, artofsinging.com

Contact: Darlene Koldenhoven Individualized programs include comprehensive training in voice technique, vocal coaching, ear-training, stage/audition/studio performance, sight-singing, and specialized sonic therapy to enhance the potential of the ear and voice. Private lessons in Los Angeles or anywhere by Skype/Zoom. Author of “Tune Your Voice: Singing and Your Mind’s Musical Ear,” a 94 page book with 7 instructional CDs or downloads ($49.95) endorsed by faculty from Berklee, Juilliard, NYU and more, available at TuneYourVoice.net or in retail music stores. For more info on Darlene, see her website.

Duration: 30/45/60 min. lessons.

ARTISTMAX

Westlake Village, CACAWestlake Village, CA

Email: info@artistmax.org

Web: artistmax.org

Contact: Kan Caillat, Bridge Gardiner

Program: ArtistMax is a three-day intensive artist development weekend workshop series.

We feature celebrity mentors such as Ken Caillat (Founder), Colbie Caillat, Christina Perri and John Rzeznik from the Goo Goo Dolls. ArtistMax delves into everything music from Recording with Grammy Winning Producers, Music Business Mentors, Vocal Coaching, Branding, Image Consulting, Stage Performance and Movement Coaching.

Duration: 3 days

Cost: Please visit our websites for details. Scholarships available.

Notes: We bring in the best in the entertainment business from Beyonce’s image/movement coach

Aisha Francis to Peisha and Adriana McPhee who are the vocal coaches on American Idol.

ASU in CALIFORNIA

111 South Broadway Suite 100 Mail Code 3531 Los Angeles, CA 90015 (213) 510-6900

Web: california.asu.edu

AUDIO INSTITUTE OF AMERICA

P.O. Box 15427 San Francisco, CA 94115 415-752-0701

Email: audioinst@earthlink.net Web: audioinstitute.com

Note: Recording Engineer, Music Producer School

AZUSA PACIFIC COLLEGE OF THE ARTS Warren Music Center, Room 100 901 E Alosta Ave, Azusa, CA 91702 626-815-3848

Contact: Kristie Hawkins, Director of Prospective Student Engagement Email: schoolofmusic@apu.edu Web: apu.edu

BARKER’S MUSIC 3125 McHenry Ave., Ste. F Modesto, CA 95350 209-526-0347

Email: info@barkersmusic.com

Web: barkersmusic.com

Basic Rate: please call for info

BELLFLOWER MUSIC CENTER 17125 Bellflower Blvd. Bellflower, CA 90706 562-867-6715

Email: info@bellflowermusic.com Web: bellflowermusic.com

Contact: any customer service rep. Program: private one-on-one lessons in drums, piano, violin, flute, clarinet, various saxophones, trumpet, trombone and guitar, as well as rentals and sales on various instruments

Duration: depending on individual student progress

Cost: please call or see web for info

BIOLA UNIVERSITY/ SNYDER SCHOOL OF CINEMA & MEDIA ARTS 13800 Biola Ave. La Mirada CA 90639 562-903-6000, 562-777-4052 Web: biola.edu Email: cma@biola.edu

BLUE BEAR SCHOOL OF MUSIC Fort Mason Center, Bldg. D 2 Marina Blvd. San Francisco, CA 94123 415-673-3600

Email: contact@bluebearmusic.org

Web: bluebearmusic.org

Cost: please call or see web for info

BOULEVARD MUSIC 4316 Sepulveda Blvd. Culver City, CA 90230 310-398-2583 Web: boulevardmusic.com

Contact: Gary Mandell Program: varied one-on-one instrumental instruction.

Cost: please call or see web for info

Notes: group instruction available

BRUBECK INSTITUTE FELLOWSHIP PROGRAM University of the Pacific 3601 Pacific Ave. Stockton, CA 95211

209-946-3196

Email: mriley1@pacific.edu

Web: brubeckinstitute.org

Cost: please call or see web for info

Program: The Brubeck Institute’s Fellowship Program is an education program in jazz performance for up to five musicians who have just graduated from high school

BRUBECK SUMMER JAZZ COLONY

Brubeck Institute Fellowship

Program University of the Pacific 3601 Pacific Ave. Stockton, CA 95211

209-946-3196

Email: mriley1@pacific.edu

Web: brubeckinstitute.org

Cost: please call or see web for info

Program: The Brubeck Institute’s Fellowship Program is an education program in jazz performance for up to five musicians who have just graduated from high school

BURBANK MUSIC ACADEMY

4107 W. Burbank Blvd. Burbank, CA 91505

818-845-ROCK (7625)

Email: info@burbankmusicacademy.com

Web: burbankmusicacademy.com

Cost: As low as $32.00 per 1/2 private lesson, call or see our website for details.

Program: private lessons, band coaching for youth and adults, Rock and Roll Camp, rehearsal space and more.

CADENZA MUSIC ACADEMY

161 Fashion Ln # 101 Tustin, CA 92780

Email: info@cadenzamusicacademy.com

Phone: (949) 416-2355

Website: cadenzamusicacademy.com

Programs: We teach piano, violin, viola and voice. We o er a wide range of music lesson times that are convenient for everyone. Our music studio is open Monday through Friday from 11 AM to 7 PM and Saturday from 8 AM to 1 PM. We understand that your schedule may be hectic, which is why we o er flexible lesson times that fit your busy lifestyle.

CALAVERAS ARTS COUNCIL

22 Main St. San Andreas, CA 209-754-1774

Email: goldrusharts18@gmail.com Web: calaverasarts.org

CALIFORNIA BAND AND MUSIC ACADEMY (CABAMA)

Lessons and Classes O ered on Zoom Los Angeles and Ventura County, anywhere from Woodland Hills to Santa Barbara including Malibu 805-529-2348

Email: fscottmoyer.1@gmail.com Web: musicianscamp.org, facebook.com/cabamascott, facebook.com/fscottmoyer

Contact: F. Scott Moyer

Services: Private (one-on-one) and class/group and band instruction are available for drums, guitar (acoustic and electric), bass, keyboards, brass, applied beginning-advanced music theory, beginning-advanced songwriting, voice, percussion and Band/Ensemble. Additional “Special” course studies are available upon request: i.e. Classic Rock; the Beatles; “Latin rhythm” studies. Program:   Zoom classes:  I o er lessons in all styles of music and in all popular genres of music. I teach and coach guitar, bass, drums, keyboards, vocals, theory, reading, harmony, arranging, rhythm section, band and song production, recording concepts and more.

Notes: CABAMA, features a program called “The Creative Arts Music Project,” which is a “yearround” after- school music program and summer camp serving both the Los Angeles and Ventura counties and o ering 50 creative music courses

CALIFORNIA COLLEGE OF MUSIC

42 S. Catalina Ave. Pasadena, CA 91106

626-577-1751

Email: info@ccmcollege.com

Web: ccmcollege.com

Program: Music (Theory), Artist Development and Audio Engineering and Music Production

Degree: Apprentice and Professional Certificate

Duration: 6 months apprentice, 1 year professional

Cost: please call or see web for info

Notes: CCM mentors artists and engineers for the professional music industry. Its small intimate environment allows for personal and customized attention from Grammy award-winning and seasoned faculty.

CALIFORNIA INSTITUTE OF THE ARTS,  THE HERB ALPERT SCHOOL OF MUSIC 24700 McBean Pkwy. Valencia, CA 91355

661-253-7816, 800-545-2787

Email: musicinfo@calarts.edu

Web: music.calarts.edu

Program: Music composition, performance of all musical instruments, jazz, world music performance, music technology: Interaction, Intelligence and Design. Vocal performance, experimental sound practices, musical arts program.

Degree: B.F.A, M.F.A.

Duration: 4 years for B.F.A., 2 years for graduate M.F.A. degree, 3 year program, D.M.A. (Doctorate

of Musical Arts) in Performer/Composer.

Cost: please call or see web for info

Notes: Fully accredited WASC and NASM college curriculum

CALIFORNIA POLYTECHNIC STATE UNIVERSITY

Music Department 1 Grand Ave. San Luis Obispo, CA 93407-0326

805-756-2406

Email: music@calpoly.edu

Web: music.calpoly.edu

Program: Bachelor of Arts in Music

CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA

3801 W. Temple Ave., Bldg. 24-141 Pomona, CA 91768

909-869-3548

Email: dfkopplin@cpp.edu

Web: cpp.edu

Contact: David Kopplin, Interim Department

Chair

Degree: B.A.

CALIFORNIA STATE UNIVERSITY, CHICO MUTA

Performing Arts Center Room 106 Chico, CA 530-898-5351

Email: muta@csuchico.edu

Web: csuchico.edu/

Program: B.A.’s in General Music, Music Education, Music Industry with options of General Industry and in Recording Arts.

CALIFORNIA STATE UNIVERSITY, DOMINGUEZ HILLS

Department of Music La Corte Hall, E-303 1000 E. Victoria Ave. Carson, CA 90747

310-243-3543

Contact: Scott Morris

Email: ssmorris@csudh.edu Web: csudh.edu/music

Program: Audio Recording and Music Synthesis (ARMS)

Degree: B.A. and Certificates

Duration: 4 years

Notes: accredited undergraduate college curriculum; extension courses available

CALIFORNIA STATE UNIVERSITY, FULLERTON P.O. Box 6850

Fullerton, CA 92834

657-278-3511

Email: ragoldberg@fullerton.edu

Web: fullerton.edu/arts/music

Contact: Randall Goldberg, Interim Dir. of School of Music

Program: A full complement of undergraduate and graduate degrees in performance, composition, music education, theory, history and piano pedagogy.

Degree: B.A., B.M., M.A., M.M.

Duration: 4-5 years for B.A./B.M.; approx. 2  additional years for M.A./ M.M.

Notes: See website for more info. Many live student performance opportunities.

CALIFORNIA STATE UNIVERSITY, LONG BEACH 1250 N. Bellflower Blvd. Long Beach, CA 90840-7101

562-985-4781

Email: music@csulb.edu

Web: csulb.edu/colleges/cota/music

Contact: Music Dept. Admissions

Program: Varied, with an emphasis on orchestral instruments and music studies such as history, education, new music and commercial music business.

Degree: B.A., B.M. in music, performance, composition or education, M.A. music program, teaching

credentials

Duration: 4 years for B.M.; additional 2 years for M.M.

Cost: please call or see web for info

Notes: requires audition and music theory test to determine placement

CALIFORNIA STATE UNIVERSITY,  LONG BEACH EXTENSION

6300 E. State University Dr., Ste. 104 Long Beach, CA 90815

800-963-2250

Web: cpace.csulb.edu/about-cpace

Program: Extension courses in music studies and any music class. Classes are for students not enrolled in the regular CSULB program.

Duration: varies

Cost: please call or see web for info

Notes: University enrollment not required; day and evening classes

CALIFORNIA STATE UNIVERSITY, LOS ANGELES

5151 State University Dr. Los Angeles, CA 90032

323-343-3000

Web: calstatela.edu/music

Program: varied undergraduate music studies/ performance program

Degree: B.A.

Duration: 4 years

Cost: please call or see web for info

Notes: university enrollment required

CALIFORNIA STATE UNIVERSITY,  MONTEREY BAY

5108 Fourth Avenue Marina, CA 93933

Web: csumb.edu

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE 18111 Nordho St. Northridge, CA 91330

818-677-3181

Contact: Dr. John Roscigno, Dept. Chair

Email: john.roscigno@csun.edu Web: csun.edu/mike-curb-arts-media-communication/music, csun.edu

Program: A diverse music program. Majors include music business, jazz performance, classical performance, music therapy, education

Degree: B.A./B.M., M.A./M.M.

Duration: 4 years for B.A./B.M., 2 additional years for M.A./M.M.

Cost: please call or see web for info

Notes: University enrollment required; Contact music department for audition dates.

CAZADERO PERFORMING ARTS CAMP

P.O. Box 7908 Berkeley, CA 94707

510-527-7500

Email: info@cazfamilycamp.org Web: cazfamilycamp.org/

Program: Since 1957, our camp has been providing the best in musical education and performances.

Cost: please call or see web for info

CHAPMAN UNIVERSITY  CONSERVATORY OF MUSIC  One University Dr. Orange, CA 92866

714-997-6871

Email: music@chapman.edu Web: chapman.edu/copa Program: Conservatory level musical training within the context of a 4-year liberal arts university.

Degree: B.A. music, B.M. performance, B.M. music education, B.M. conducting, B.M. composition Duration: 4-year undergraduate degree programs

Cost: please call admissions and records

COAST MUSIC

2417 N. Sepulveda Blvd, Manhattan Beach, CA 90266 310-372-4753

Email: coastmusicsta @gmail.com Web: coastmusicrocks.com Basic Rate: please call for info Clients: all levels

COAST TO COAST MUSIC/MUSICBIZ MENTORS

Contact: Chris Fletcher, Manager, Coach & Mentor Artist Development, Music Biz Education & Touring Encino, CA 818-376-1380 (please email us first) Email: musicbizmentors@gmail.com Web: musicbizmentors.com, coast2coastlive.com

Clients: Harold Payne, Gravity 180, Anna Beatriz, Darious Lux

Styles: All

Services: Management, Promotions and Booking expert

*Email for permission to send your materials

MUSIC CONSERVATORY

CORNERSTONE

3030 Nebraska Ave #207 Santa Monica, CA 90404

310-775-0459

Email: cornerstonemusician@gmail.com

Web: cornerstonemusicconservatory.org

Contact: Ann Pittel

Program: Private and group music instruction for ages 7 months to adult.

Duration: 15 weeks to year-round

Cost: Varies-call for brochures and rates

Notes: specializing in expert music instruction, composition, theory, teen/ college-prep students, special toddler programs, Harmony Road Piano course for children (beginners grouped by age).

DREAM MUSIC STUDIOS

Simi Valley, CA

805-558-1760

Email: dmsmusicrecruiter@gmail.com

Web: dreammusicstudios.com

Basic Rate: TBD depending on length of time and location

Services: Performance opportunities every four to six months! Student centered learning and

quality programs. Lessons in piano, voice, guitar, bass, drums, violin, viola, cello and more! Every lesson focuses on: Chords, Rhythm, Melody, Scales, Theory, Music Notation, Playing by ear, Playing by heart, Listening skills, Microphone technique, Playing in various styles: classical, jazz, popular, and more, Self confidence skills, Self awareness, Competition opportunities for advanced students, Music history, Performance practice

EL CAMINO COLLEGE

16007 Crenshaw Blvd. Torrance, CA 90506

310-532-3670

Web: elcamino.edu

Contact: Polli Chambers-Salazar, Professor Music

Program: a structured program of training in a variety of solo performance media, large and small ensembles, music theory and musicianship, basic vocal and keyboard skills and the study of music history

Degree: A.A.

Duration: Two years

Cost: please call or see web for info

EUBANKS CONSERVATORY

4543 Artesia Blvd, Suite B Lawndale CA 90260

424-350-7027

Web: thearts-ecma.org

Program: music degree program with a focus on performance

Degree: certificate

Duration: varies

Cost: please call for info

EVOLUTION MUSIC CONSERVATORY

3547 Ocean View Boulevard, Glendale, CA 91208

818-275-3773

Web: evolutionmusicconservatory.com

Notes: Group lessons, rock band, private lessons, mommy and me

FIVE STAR SCHOOL OF MUSIC

314 E. Glenoaks Blvd. Glendale, CA 91207

818-502-1739

Email: elleniegalestian@gmail.com

Web: fsmusicanddance.com

Program: One-on-one and group musical  instrument instruction.

Duration: Varies with individual programs

Cost: please call or see web for info

Notes: Classes taught in English, Spanish,  Armenian and Tagalog (Filipino).

FOOTHILL COLLEGE

12345 El Monte Rd. Los Altos Hills, CA 94022

650-949-7016

Email: hartwellrobert@foothill.edu

Web: foothill.edu/music

Contact: Ron Herman, Division Dean

GARNISH MUSIC PRODUCTION SCHOOL 12435 Oxnard St. North Hollywood, CA 91606 323-348-1289

Web: la.garnishmusicproduction.com

Notes: Learn to produce finished tracks fast from Grammy-winning instructors

Studio locations: Brooklyn, NY, Miami, FL, Brentwood, TN,  London, Hong Kong, Berlin

GILMORE MUSIC STORE 1935 E. 7th St. Long Beach, CA 90813

562-542-0524

Email: gilmoremusicstore@gmail.com

Web: facebook.com/gilmoremusicstore

Program: Instruction in drums, classical-jazz-and rock guitar, bass guitar, woodwinds, flute, trumpet, trombone, piano, violin, cello and voice.

Degree: N/A

Duration: 30 min. to 60 min.

Cost: call for rates

Notes: 24-track digital recording studio on site, beginner packages available.

GLENDALE COMMUNITY COLLEGE Music Department 1500 N. Verdugo Rd. Glendale, CA 91208

818-240-1000

Email: pflueger@glendale.edu, music@glendale. edu Web: glendale.edu/music

Contact: Beth Pflueger, Music Department Chair

Program: Comprehensive program focusing on preparing musicians for university admissions with focus on choral or instr. performance and music history/theory.

Degree: certificate, A.A, A.S.

Duration: 2 years for A.A/A.S.

Cost: please call or see web for info

Notes: most classes do not require an audition, but may require a prerequisite

GLOBE AUDIO RECORDING AND PRODUCTION

110 Caledonia St., Ste A Sausalito, CA 94965

415-777-2486

Email: info@globerecording.com

Web: globerecording.com, soundhealingcenter. com/globe-institute

GOLDEN WEST COLLEGE

15744 Golden W. St. Huntington Beach, CA 92647

714-895-8772

Contact: Dr. Kay Nguyen, Dean

Email: goldenwestcollege.edu/music/index.html

Web: goldenwestcollege.edu/music

Program: Music Education Preparation or Music Performance Degree: A.A.

GRAMMY CAMP

Grammy Foundation

800 W Olympic Blvd. Los Angeles, CA 90015

310-581-8668

Email: grammycamp@grammymuseum.org

Also: Recording Academy: communications@ recordingacademy.com

Web: grammyintheschools.com

Program: This program o ers students a 17-day interactive residential summer music experience that focuses on all aspects of commercial music, with instruction by industry professionals in an immersive creative environment with cuttingedge technology in a state-of-the-art facility. Cost: please call or see web for info

GUITAR MERCHANT, THE 22807 Saticoy St. West Hills, CA 91304

818-884-5905

Email: theguitarmerchant@yahoo.com

Web: guitarmerchant.com

Services: music lessons all instruments, all ages, band jam programs, live venueshows nightly guitar sales and service

GUITAR SHOWCASE/S.M.I.

3058 S. Bascom Ave. San Jose, CA 95124

408-377-5864

Email: smi.admin@guitarshowcase.com, contact@guitarshowcase.com

Web: guitarshowcase.com

Instruments: guitar, bass, keyboards, drums, percussion, saxophone, flute, mandolin, banjo group classes, private instruction, monthly workshops

Basic Rate: Call or see web for info

HARRISON SCHOOL OF MUSIC P.O. Box 5068 West Hills, CA 91308

818-618-1453

Email: sales@harrisonmusic.com

Web: harrisonmusic.com

Contact: Mark Harrison

Program: keyboard, theory, ear training and composing/arranging, with an emphasis on jazz and pop styles.

Degree: N/A

Duration: flexible scheduling

Cost: please call or see web for info

Notes: The Harrison music education methods are used by thousands of students in over 20 countries worldwide.

HOLLYWOOD ACADEMY OF MUSIC & ARTS

7469 Melrose Ave., Ste. 34 Hollywood, CA 90046

323-651-2395

Email: hollywoodacademyofmusicandarts@ gmail.com

Web: hollywoodacademyofmusicandarts.com

Program: Hollywood Academy of Music o ers private lessons for piano, keyboard, guitar, voice, drums, violin, bass guitar, flute, clarinet, saxophone and trumpet (other band instruments also available).

We also teach a group workshop called “School of Rock-Band 101” and Pre-school Music Classes. Cost: please call or see web for info

Notes: Hollywood Academy of Music provides Hollywood, West Hollywood, Beverly Hills and surrounding areas  of Los Angeles with personable and highly qualified teachers for students of all ages. Our positive, encouraging atmosphere and professional studio environment aid in the development of musical abilities - and our convenient location makes it feasible for students from all di erent areas of the Los Angeles metro area to attend.

ICON COLLECTIVE, LLC

100 E. Tujunga Ave. #100

Burbank, CA 91502

818-299-8013

Web: facebook.com/iconcollective

Program: The nine-month Digital Music Production Course teaches artists/DJ’s and beatmakers how to record, mix, master, market and sell their music in today’s new digital era. Blending

creativity with technology, Icon Collective has created a 21st century approach for artists/producers seeking a creative, artistic, successful lifestyle.

INTERNATIONAL SCHOOL OF MUSIC

662 West Broadway Unit A Glendale, CA 91205

818-548-7959

Email: contact@ismglendale.com, contact@ ismglendale.com, interschoolofmusic@gmail. com

Web: facebook.com/ismglendale, crescendo.la facebook.com/ismglendale

Program: classical; one-on-one instruction in piano, guitar (classical, jazz, flamingo), violin, flute, viola, voice, percussion

Degree: certificate

Cost: please call or see web for info

LEARN PRO RECORDING

Los Angeles, CA 747-207-2100

Email: Info@learnprorecording.com

Web: learnprorecording.com

Program: Learn basic recording / Audio Engineering / Music Production / Studio Business

Duration: Online lessons - At your own pace

Notes: Learn from working professional audio engineers / Producers / Studio Owner - Live oneon-one remote coaching available.

LONG BEACH CITY COLLEGE

1305 E. Pacific Coast Hwy. Long Beach, CA 90806

562-938-4946

Contact: Anthony Carreiro, Dept. Head & Professor, Theater Arts

Email: acarreiro@lbcc.edu

Web: lbcc.edu/music

Program: Commercial Music Program, Radio and TV Program

Degree: A.A. and/or certificate

Duration: 2 years

Cost: please call or see web for info

LONG BEACH SCHOOL OF MUSIC

3840 Woodru Ave., Ste. 109 Long Beach, CA 90808 (562) 627-0464

Web: longbeachschoolofmusic.org

Contact: Mark Fitchett

Program: All styles instruction in guitar, bass, woodwinds, drums, voice and keyboards

Duration: varies

Cost: please call or see web for info

LOS ANGELES CITY COLLEGE

Department of Music

Herb Alpert Music Center

855 N. Vermont Ave. Los Angeles, CA 90029

Music Department

323-953-4000 Ext. 2880

Contact: Christine Park, Dept. Chair

Email: parkcj@lacitycollege.edu

Web: lacitycollege.edu/departments/music/ department-home

Program: Commercial and traditional music program to prepare students who wish to transfer to a 4-year university music program, or get their A.A. degree or commercial music certificate in vocal music, Instrumental music, piano, orchestration/ arranging and electronic music/MIDI. The certificate program is intended for those wishing to enter the recording or film industry.

The A.A. degree is intended for students who wish to continue their education and seek a higher degree.

Degree: A.A. (Associate in Arts) or certificate in commercial vocal, instrumental, piano, orchestration/ arranging, electronic music/MIDI

Duration: approx. 2 years

Cost: visit the site for info

LOS ANGELES COLLEGE OF MUSIC - LACM

300 S. Fair Oaks Ave. Pasadena, CA 91105

626-568-8850

Email: admissions@lacm.edu

Web: lacm.edu

Program: intense programs individualized for drums, guitar, bass, vocal and music production disciplines, professional level

Duration: 3.5, 1.5 and 1 year programs

Degree: Bachelor of Music in Music Performance, Music Production, or Composition, Bachelor of Arts in Music Business after 3.5 years, Associate of Arts Degree in Music Performance or Music

Production after 1.5 years or Diploma after 1 year

Cost: please call or see web for info

Notes: fully accredited, financial aid available, emphasis on contemporary music production and performance with daily ensemble workshops, students accompanied by hired professional musicians in an intimate environment

LOS ANGELES HARBOR COLLEGE

1111 Figueroa Pl. Wilmington, CA 90744

310-233-4429

Email: rainesjw@lahc.edu

Web: lahc.edu

Contact: music department

Program: traditional and commercial music courses o ered including theory/musicianship, MIDI/electronic music, songwriting and instruments such as voice, guitar and keyboards

Degree: A.A., Commercial music certificates

Duration: 16-week semesters

Cost: please call or see web for info

Notes: courses taught by instructors in the field who bring practical, contemporary information to the classroom; evening classes available.

LOS ANGELES MUSIC & ART SCHOOL

3630 E. 3rd St. Los Angeles, CA 90063

323-262-7734

Email: stayintune@lamusart.org

Web: lamusart.org

Contact: Admissions

Program: Individual instruction o ered in piano, guitar, violin, woodwinds, drums and voice.

Duration: varies

Cost: please call or see web for info

Notes: a private, non-profit school; voice lessons taught in English and Spanish; financial aid available

THE LOS ANGELES RECORDING SCHOOL (A DIVISION OF THE LOS ANGELES FILM SCHOOL)

6690 Sunset Blvd. Los Angeles, CA 90028

323-860-0789 (local), 888-688-5277

Email: info@lafilm.edu

Web: larecordingschool.com

Contact: Admissions Department

Degree: Associate of Science in Recording ArtsProgram Length – 18 months (on campus); Associate of Science in Music Production - Program Length – 18 months (on campus); Associate of Science in Music Production – Online – Program Length – 18 months (online)

Duration: 18-month programs

Notes: The Los Angeles Recording School (LARS) has over 33,000 square feet of facilities and classrooms, including over 20 recording labs and studios. Our Associate of Science in Recording Arts provides students with the opportunity to learn about a multitude of aspects of the audio industry, including interactive audio, acoustic principles and sound e ect design. Our Associate of Science in Music Production prepares students with courses in music composition, mixing and mastering and music copyright. The Los Angeles Recording School is located in the heart of Hollywood on Sunset Boulevard, and is a division of The Los Angeles Film School, an institution accredited by the Accrediting Commission of Career Schools and Colleges (ACCSC).

LOS ANGELES VALLEY COLLEGE

5800 Fulton Ave. Van Nuys, CA 91401

818-947-2346

Contact: James Grude, Instructional Assistant

Email: grudejw@lavc.edu

Web: lavc.edu

Contact: Music department Program: curriculum is geared toward instrument instruction and performance, with school performance opportunities and a varied course selection available

Degree: A.A.

Duration: approx. 2 years

Cost: please call for tuition and fee information

Notes: weekend/evening music classes o ered through Community Services program

LOS MEDANOS COLLEGE Recording Arts 2700 E. Leland Rd. Pittsburg, CA 94565

925-439-2181

Email: anakaji@losmedanos.edu

Web: losmedanos.edu/recarts/default.asp

Programs: Degrees/Certificate(s) o ered: AA, College Skills Certificate, Certificate of Achievement

Additional Location: 1351 Pioneer Square Brentwood, CA 94513 925-513-1625

LOYOLA MARYMOUNT UNIVERSITY

1 LMU Dr. Burns Fine Arts Center Los Angeles, CA 90045-2659 310-338-5154

Email: caeli.koizumi@lmu.edu (admissions)

Contact: Mark Saya, Ph.D., Interim Chair, Professor Web: cfa.lmu.edu/programs/music Program: classical guitar, piano, voice, strings, percussion, world music ensemble, opera, chorus, music history, theory and composition, ethnomu-

sicology and instrumental and choral conducting.

Degree: B.A.

Duration: approx. 4 years

Cost: please call for tuition information

Notes: All music courses are faculty- taught and are limited in size to provide the most personal attention to each student. The program o ers a balanced curriculum in musicianship, historical perspectives and music performance. The Bachelor of Arts Degree in Music, often called “the degree of the future” o ers the maximum career opportunities following graduation. The B.A. degree also provides an appropriate background for prospective candidates pursuing advanced degrees in preparation for work as musicologists, composers, arts administrators, music educators as well as professional performers.

MLT INDUSTRIES

7041 Owensmouth Ave. Canoga Park, Ca  91303 310-871-3604

Email: info@mltind.com

Web: mltind.com

Program: AVID Learning Partner o ering all levels of Pro Tools certification: Specialist (PT101–110), Professional (200-level Music & Post), Expert (300-level Music), and Game Audio. Courses also in Logic, mixing, production, and Dolby Atmos mixing. One-on-one and group classes, with accelerated options for professionals.

Duration: varies

Cost: please call or see web for info

Notes: All levels, beginning to expert. AVID Certified Expert Instructors.

MARK FITCHETT’S GUITAR SCHOOL

3993 E. Pacific Coast Hwy. Torrance, CA  90505 310-918-0439  Email: mrfrets@aol.com

Web: theguitarschool.com

Contact: Mark Fitchett

Program: All styles instruction in guitar, bass and keyboards

MENDOCINO COLLEGE

Gary Gottlieb 1000 Hensley Creek Rd. Ukiah, CA 95482 707-468-3000 Email: gg@aes.org Web: mendocino.edu

MIRACOSTA COLLEGE 1 Barnard Dr., Bldg. OC 2200 Oceanside, CA 92056 760-795-6816

Email: storok@miracosta.edu Web: miracosta.edu

Contact: Steve Torok, Department Chair

Cost: please call or see web for info

MOREY’S MUSIC STORE INC 4834 Woodru Ave. Lakewood, CA 90713 562-420-9532

Email: info@moreysmusic.com Web: moreysmusic.com

Program: instruction in guitar, saxophone, flute, violin, clarinet, cello, piano

Duration: varies

Cost: please call or see web for info

MOUNT SAINT MARY’S UNIVERSITY FILM & MEDIA SCHOOL 12002 Chalon Road LA, CA  90049 213-477-2799

Web: msmu.edu/departments/film-media-andcommunication Email: laflores@msmu.edu

Contact: Luis Flores

MUSICIANS INSTITUTE (MI) 6752 Hollywood Blvd. Hollywood, CA 90028 866-405-8748, 323-462-1384

Email: admissions@mi.edu

Web: mi.edu

Program: fully accredited degree and certificate programs in guitar, bass, drums, keyboards, vocals, audio engineering, music business, music video/film and television and guitar craft

Degree: instrument certificate, specialized certificate, Associate of Arts, B.M. and encore

Duration: instrument certificate

Program: 12- and 18-month options, specialized certificate

Six-to-nine-month courses in career specialties including: audio engineering, independent artist development, music business, guitar craft, music video/film and television, Bachelor of Music degrees (bass, guitar, drums, keyboards and vocals): 4 years; Associate of Arts degree (bass, guitar, drums, keyboards and vocals): 2 years; Encore Programs (bass, guitar, drum set, keyboards and vocals): 10 weeks; Encore Express 5-week, fulltime (15 units) or 10-week, part-time (7 units); Extension – individual 10-week courses; Summer Shot – one-week courses

Cost: please call or see web for info

Notes: MI o ers a wide range of educational options for contemporary musicians, all designed and taught by professionals who show you firsthand what a music career is all about. At MI, students learn how the contemporary music industry works from the inside, on the performing stage, in the recording studio and behind the scenes.

JOHN NOVELLO’S CONTEMPORARY  KEYBOARDIST COURSE

310-909-4007

Email: john@keysnovello.com

Web: keysnovello.com

Contact: Andy Goldmark, agoldmark@icloud. com

Program: complete one-on-one program for  training the contemporary keyboardist, composer and singer-songwriter

Duration: varies

Cost: please call or see web for info

Notes: all musical styles; piano, Hammond B3, improvisation, music sequencing and music theory

OC RECORDING SCHOOL, THE 3100 W. Warner Ave., Ste. 7 Santa Ana, CA 92704

323-244-9794

Email: info@ocrecording.com

Web: ocrecording.com

Contact: Asaf Fulks (Engineer, Producer, Artist, Instructor)

Program: Audio Engineering and Music Production Certificate Course. Lessons include Recording, Mixing, Mastering, Advanced Audio Production, Post Production, etc.

Duration: 10, 20, 30, and 40 Week Options. Available In The Studio or Remote via Skype, Source Connect and Zoom. Flexible Scheduling.

Notes: Avid Pro Tools Training, Waves Audio Certification, NI Maschine Lessons, Asaf’s Exclusive Textbook, One-On-One Instruction, Shadow Professional Studio Sessions.

Cost: Available at ocrecording.com

OCCIDENTAL COLLEGE

1600 Campus Rd. Los Angeles, CA 90041

323-259-2785

Email: kasunic@oxy.edu

Web: oxy.edu/academics/areas-study/music

Contact: David Kasunic, Dept. Chair

Program: Students majoring in music develop an integrated understanding of music in performance, creative work, and as cultural and historical expression. Through its curriculum, concerts and recitals, master classes, guest lectures, residencies and other public events, the music department leads the discourse that enriches College and community life. Students study, practice, and perform in Booth Hall, Herrick Chapel, and Thorne Hall, with access to practice rooms, large and small performance venues, a well- equipped electronic music studio, and an outstanding music library.

Degree: B.A.

Duration: approx. 4 years

PASADENA CITY COLLEGE

1570 E. Colorado Blvd. Pasadena, CA 91106

626-585-7216

Web: pasadena.edu

Program: a program with classes in music studies, vocal and instrument instruction.

Degree: A.A.

Duration: Approx. 2 years

Notes: evening classes available

PEPPERDINE UNIVERSITY

Seaver College

24255 Pacific Coast Hwy. Malibu, CA 90263

310-506-4861

Email: fineartsrecruit@pepperdine.edu

Web: seaver.pepperdine.edu

Program: undergraduate music curriculum with emphases in: Applied (instrumental/vocal performance), music education and composition. Special programs incl. the Flora L. Thornton Opera Program and the Heidelberg Summer Music Program. Performing ensembles: orchestra, wind ensemble, jazz band, chamber ensembles, choir, opera & musical prod., and pep band.

Degree: B.A.

Duration: approx. 4 years

Notes: See website for deadline dates to apply

POINT BLANK MUSIC SCHOOL

1035 S. La Brea Ave Los Angeles, CA 90019

323-594-8740

Web: pointblankmusicschool.com/courses/la

Cost: Visit website for individual program costs

Programs: Long and short-term music production, sound design and DJ classes

Duration: varies between program, flexible Notes: Voted the world’s “Best Electronic Music School” by DJ Mag readers. Flexible schedules and all studios complete with the latest equipment. In partnership with Abelton, Native Instruments, Pioneer.

PYRAMIND

1355 Bush St. San Francisco, CA  94103

415-417-7543

Email: info@pyramind.com

Web: pyramindsound.com

RECORDING BOOT CAMP

Pine Mountain Club, CA 310-200-9010

Contact: Ronan Chris Murphy

Web: recordingbootcamp.com

RECORDING CONNECTION AUDIO INSTITUTE

6300 Wilshire Blvd, Suite 640 Los Angeles, CA 90048

323-329-9610, 800-755-7597

Email: recording@rrfedu.com

Web: recordingconnection.com

Notes: check website for other U.S. locations

SAN FRANCISCO CONSERVATORY OF MUSIC

50 Oak St. San Francisco, CA 94102-6011

415-503-6271, 415-864-7326

Email: apply@sfcm.edu

Web: sfcm.edu

Cost: please call or see web for info

SANTA MONICA COLLEGE

1900 Pico Blvd. Santa Monica, CA 90405  310-434-4323

Email: driscoll_brian@smc.edu Web: smc.edu

Contact: Dr. Brian S. Driscoll, Dept.Chair

Program: courses taught in songwriting, theory, voice, and ear-training, as well as instrument instruction classes.

Degree: A.A.

Duration: approx. 2 years

Cost: please call or see web for info Notes: extension/evening classes available

SANTA MONICA MUSIC CENTER

1901 Santa Monica Blvd. Santa Monica, CA 90404

310-453-1928

Email: lessons@santamonicamusic.com

Web: santamonicamusic.com

Contact: School Coordinator

Basic Rate: please call for info

Clients: all levels

SCHOOL OF ROCK MUSIC

12020 Wilshire Blvd. Los Angeles, CA 90025

310-442-7625

Web: westla.schoolofrock.com

Program: School of Rock Music is the original performance-based, interactive music school founded in 1998 in Philadelphia. Our goals at the Paul Green School Of Rock Music are: to help our students realize their potential as artists, to put them on stage in front of as many people as possible, and to help foster a new generation of incredible musicians.

Cost: please call for info

Notes: Schools all across the country, check website for additional locations

SILVERLAKE CONSERVATORY OF MUSIC

4652 Hollywood Blvd. Los Angeles, CA 90027

323-665-3363

Email: reception.scm@outlook.com

Web: silverlakeconservatory.org

Cost: please call or see web for info

THE SONGWRITING SCHOOL

4632 W. Magnolia Blvd. Burbank, CA 91505

818-848-7664

Email: info@thesongwritingschool.com

Web: thesongwritingschool.com

SOUTH BAY SCHOOL OF MUSIC

1710 S. Pacific Coast Hwy Redondo Beach CA 90277

310-540-6767

Web: facebook.com/southbayschoolofmusic

Program: All styles instruction in guitar, bass, drums, voice, woodwinds, brass and keyboards.

Duration: varies

Cost: please call or see web for info

Additional location:

Long Beach School of Music

3840 Woodru Ave., Ste. 109 Long Beach, CA 90808 565-627-0464

STUDIO WEST

11021 Via Frontera, Ste. A San Diego, CA 92127

858-592-9497

Email: info@studiowest.com

Web: studiowest.com

Cost: varies by class

Programs: Pro Tools Operator Certification, Pro Tools Expert Certification, Music Creation, Audio Production, ICON Mixer Certification, Avid Media

Composer.

Degree: Associate Degree, Recording Arts

Duration: varies by program

UCLA EXTENSION

EXTENSION ENTERTAINMENT STUDIES AND PERFORMING ARTS

10995 Le Conte Ave. Los Angeles, CA 90024

310-825-9064

Email: entertainmentstudies@uclaextension.edu

Web: entertainment.uclaextension.edu

Program: UCLA Extension’s Department of Entertainment Studies and Performing Arts is an internationally acclaimed program, providing practical training and instruction in all aspects of the entertainment industry. Students can enroll in individual courses or a comprehensive certificate program in film scoring, the music business, songwriting, recording engineering, and music technology and production. Our course of study directly addresses the competitive demands of today’s industry and prepares professionals with a broad, in-depth background to meet the challenges of the entertainment industry.

Degree: Certificates in Film Scoring and Music

Business

Duration: Approx. 1 - 3 years

Cost: varies depending on courses, call for more info

Notes: This program is open to everyone and does not require university enrollment. It o ers fundamental to advanced training, current music industry information, and prominent industry professionals as instructors and speakers.

UNIVERSITY OF CALIFORNIA, BERKELEY Dept. of Music

104 Morrison Hall, #1200 Berkeley, CA 94720-1200 510-642-2678 Fax 510-642-8480

Email: music@berkeley.edu

Web: music.berkeley.edu

Contact: David Milnes, Professor & Department Chair

Degree: B.A., M.A./Ph.D, and Ph.D

Cost: please call or see web for info

UNIVERSITY OF CALIFORNIA, LOS ANGELES (UCLA) HERB ALPERT SCHOOL OF MUSIC 2520 Schoenberg Music Bldg. Box 951657 Los Angeles, CA 90095-1657

310-825-4761

Email: uclaalpert@schoolofmusic.ucla.edu

Web: schoolofmusic.ucla.edu

Contact: Travis Cross, Chair

Program: A performance-based university music program at the undergraduate level. Graduate level includes performance and composition. Related departments: Ethnomusicology (B.A., M.A., Ph.D.) and Music History/Musicology (B.A., M.A., Ph.D.). New degree: Bachelor of Arts-Music Industry.la school

Degree: B.A., M.A., Ph.D, M.M., D.M.A.

Duration: varies

Cost: call for info-see registrar.ucla.edu

Notes: The UCLA Department of Music admits new students in the Fall Quarter only. The UC application filing period is Nov. 1 - 30 for enrollment in September of the following year. Applicants must first apply for admission at the freshman level from high school or transfer from another college or university, and must meet all minimum academic eligibility requirements for admission to the University of California either as a freshman or transfer student.

Please note that only applicants who have indicated Music as their first choice major to UCLA on the general UC application, will be considered for admission to the program. Students interested in Jazz Studies or World Music should apply to the UCLA Department of Ethnomusicology.

UNIVERSITY OF THE PACIFIC Conservatory of Music 3601 Pacific Ave. Stockton, CA 95211 209-946-2211

Email: rbrittin@pacific.edu, admissions@pacific. edu  Web: pacific.edu/conservatory

Contact: Ruth Brittin, Program Dir. of Music Education Program: A diverse conservatory with a variety of undergraduate programs in Music Composition, Performance, Education, History, Management, Music Industry Studies, Music Therapy, and Jazz Studies as well as Graduate programs in Music Education and Music Therapy. Minors are also o ered in Music and Music Management for all students, as well as Minors in Music History and Music Theory for Music Majors.

Degree: B.M., B.A., B.S, M.M, M.A.

Cost: Please call or see website

Note: All majors require an audition or interview, or both. See website.

Additional locations:  3200 Fifth Ave  Sacramento, CA 95817

155 Fifth St. San Francisco, CA 94103

3200 Fifth Ave. Sacramento, CA 95817 916-739-7105

UNIVERSITY OF SILICON VALLEY (Cogswell College)

191 Baypointe Parkway San Jose, CA 95134

800-264-7955

Email: admissions@cogswell.edu Web: usv.edu

Program: Audio & Music Production

USC JIMMY IOVINE AND  ANDRE YOUNG ACADEMY 3780 Watt Way Los Angeles, CA 90089 213-821-6140

Email: iovine-young@usc.edu

Web: iovine-young.usc.edu

Contact: Jessica Vernon, Admission & Student Services

Degree: The degree requires a total of 128 units, including 56 units in the Core and 32 units in Emphases. Through the Academy’s Core, students learn applied skills and gain understanding of the theories, concepts and vocabulary of each field.

Duration: 4 Year

USC THORNTON SCHOOL OF MUSIC Los Angeles, CA 90089 213-740-6935

Contact: Jason King, Dean Email: uscmusic@usc.edu Web: music.usc.edu

Contact: music admissions

Program: A large department with a wide variety of undergraduate and graduate programs in performance, composition, education, and music industry.

Degree: B.M., B.A., B.S., M.M., D.M.A., Ph.D., M.A.,Graduate Certificate.

Duration: varies

Cost: please call or see web for info

Notes: Virtually all programs require a performance audition in order to be considered for admission.

VISIBLE MUSIC COLLEGE

Atascadero Teaching Site 6225 Atascadero Ave Atascadero, CA 93422 901-381-3939

Email: seeyourself@visible.edu Web: visible.edu

Program: Modern Music Performance, Music Production, Music Business, Creative Leadership (content creation or ministry focus)

Degree: 1 year accredited Certificate, Bachelor of Applied Arts, Master of Arts.

Duration: 1 year certificate, 3 or 4 year bachelors degree, 1 or 2 year masters degree

Cost: please call or see website

Notes: Christian music college with hands-on training from industry professionals. The college is small and intimate with great opportunities to outwork your training in any of our programs. Music is important and we invest in creatives as leaders in their field.

Additional locations:  200 Madison Ave Memphis, TN 38103 901-381-3939

3404 Lake Street Lansing, IL 60438 708-455-1414

2801 Orchid Dr. McKinney, TX 75070 901-381-3939

WALDEN SCHOOL, THE  7 Joost Avenue, Suite 204 San Francisco, CA 94131 415-587-8157

Email: info@waldenschool.org

Web: waldenschool.org

Cost: please call or see web for info

Additional location:  Summer Address  P.O. Box 432 Dublin, NH 03444 603-563-8212

THE WATTS CONSERVATORY OF MUSIC 11100 S Central Avenue LA,CA 90059

707-845-1611

Web: wattsconservatory.org

Programs: We o er free music lessons to anyone in the community that wants to learn. Our professional teachers o er guitar, bass, piano and drums.   We also work on developing small ensembles focusing on teamwork, timing and working with others to make one sound.

WEST L.A. COLLEGE

Humanities & Fine Arts Division

9000 Overland Ave. Culver City, CA 90230-3519

310-287-4565

Email: forierem@wlac.edu

Web: wlac.edu

Contact: Elise Forier Edie, Chairperson

Program: courses in instrument instruction and music studies. piano, voice, music appreciation and fundamentals and jazz band

Degree: A.A.

Duration: approx. 2 years

Cost: please call or see web for info

Notes: evening classes are available

WEST VALLEY COLLEGE

14000 Fruitvale Ave. Saratoga, CA 95070

408-471-4663

Email: lou.delarosa@westvalley.edu

Web: westvalley.edu/academics/music

Contact: Lou De La Rosa, Dept. Chair

WHITE HALL ARTS ACADEMY

2812 W. 54th St. Los Angeles, CA 90043

424-235-0665, SKYPE (Tanisha_ whaa)

Email: mail@whitehallacademy.org

Web: whitehallacademy.org facebook.com/whitehallartsacademy

Contact: any customer service rep.

Program: private one-on-one lessons in voice, piano, strings, guitar, woodwind

Duration: Private min. 30/45/60

WOMEN’S AUDIO MISSION

542-544 Natoma St., #C-1 San Francisco, CA 94103

800-926-1338

Email: education@womensaudiomission.org

Web: womensaudiomission.org

Program: Women’s Audio Mission (WAM) is a San Francisco-based nonprofit organization that is dedicated to the advancement of women in music production and the recording arts, a field in which women are critically under-represented (less than 5%). Classes in Audio & Recording Technology.

COLORADO

ASPEN MUSIC FESTIVAL AND SCHOOL

225 Music School Rd. Aspen, CO 81611

970-925-3254

Email: info@aspenmusic.org

Web: aspenmusicfestival.com

Cost: please call or see web for info

BROADWAY MUSIC SCHOOL

2555 S. Santa Fe Drive Denver, CO

303-725-8058

Email: info@broadwaymusicschool.com

Web: broadwaymusicschool.com

Cost: please call or see web for info

Services: quality private music instruction in all instruments and voice, rock, jazz and classical ensembles for youths and adults, music theory classes and more.

COLORADO CHRISTIAN

UNIVERSITY

School of Music

8787 W. Alameda Ave. Lakewood, CO 80226

303-963-3000

Email: music@ccu.edu

Web: ccu.edu/music

Program: The School of Music at Colorado Christian University currently o ers four emphases in music– performance, education, worship arts and sound recording technology; as well as 18 hours of coursework available in Theatre, including three main stage productions annually.

COLORADO STATE UNIVERSITY GLOBAL

555  17th St. Ste. #1000 Denver, CO  90202

800-920-6723

Web: csuglobal.edu

Email: admissions@csuglobal.edu

DENVER MUSIC INSTITUTE

4195 S. Broadway Englewood, CO 80113

303-788-0303

Email: randy@denvermusicinstitute.com

Web: denvermusicinstitute.com

Cost: please call or see web for info

LAMONT SCHOOL OF MUSIC

2344 E. Ili Ave. Denver, CO 80208

303-871-6973

Email: lamontmusic@du.edu

Web: liberalarts.du.edu/lamont/faculty-sta

Cost: please call or see web for info

SWALLOW HILL MUSIC ASSOCIATION

71 E. Yale Ave. Denver, CO 80210

303-777-1003 Ext. 2

Contact: Tyler Breuer

Email: info@swallowhillmusic.org

Web: swallowhillmusic.org

Cost: please call or see web for info

UNIVERSITY OF COLORADO 1250 14th Street Denver, CO 80204

303-315-5969

Email: uca@ucdenver.edu, meis.dept@ucdenver. edu, cam@ucdenver.edu

Web: ucdenver.edu

CONNECTICUT

THE CONNECTICUT SCHOOL OF MUSIC

155 Post Rd. E., #15 Westport, CT 06880

203-226-0805

Email: info@ctschoolofmusic.com Web: ctschoolofmusic.com

Program: The Connecticut School of Music o ers half hour, 45 minute or hour-long lessons as well as every- other-week lessons and 5 or 10 lesson packages for adults. We also provide group lessons and ensemble lessons. Cost: please call or see web for info JKL;’

Additional locations:

299 Greenwich Ave., 3rd Fl. Greenwich, CT 06830 203-302-9968

UNIVERSITY OF HARTFORD  The Hartt School 200 Bloomfield Ave. West Hartford, CT 06117-1599

860-768-4465

Email: harttadm@hartford.edu

Web: hartford.edu/hartt

Program: Bachelor of Music, Bachelor of Arts, Bachelor of Fine Arts

UNIVERSITY OF NEW HAVEN

Department of Music

300 Boston Post Rd. West Haven, CT 06516

203-932-7000, 800-342-5864

Email: cdaddabbo@newhaven.edu

Web: newhaven.edu

YALE UNIVERSITY

Department of Music P.O. Box 208310 469 College St. New Haven, CT 06520-8310

203-432-2985

Email: ian.quinn@yale.edu

Web: yalemusic.yale.edu

Contact: Ian Quinn, Chair

DELAWARE

THE MUSIC SCHOOL OF DELAWARE 4101 Washington St. Wilmington, DE 19802

302-762-1132

Email: frontdesk@musicschoolofdelaware.org

Web: musicschoolofdelaware.org

Satellite locations: Pike Creek, Dover, Felton, Lewes, Georgetown

Additional location:  23 S. Walnut St. Milford, DE 19963

302-422-2043

Email: mbfrontdesk@musicschoolofdelaware.org

UNIVERSITY OF DELAWARE College of Arts and Sciences 4 Kent Way Newark, DE 19716

302-831-2793

Email: deanso ice@art-sci.udel.edu Web: cas.udel.edu

D.C. (DISTRICT OF COLUMBIA)

AMERICAN UNIVERSITY

Katzen Arts Center, Room 137 4400 Massachusetts Ave. N.W. Washington, D.C. 20016

202-885-3420

Contact: Richard Paul, Admin. Coordinator

Email: dpa@american.edu

Web: american.edu/cas/performing-arts/music

LEVINE SCHOOL OF MUSIC

Main Campus

Sallie Mae Hall 2801 Upton St., N.W. Washington, D.C. 20008

202-686-8000

Email: levinenwdc@levinemusic.org

Web: levineschool.org

Cost: please call or see web for info

Notes: Levine School of Music, the Washington DC region’s preeminent center for music education, is a welcoming community where children and adults find lifelong inspiration and joy through learning, performing, listening to and participating with others in music.

Additional locations:  Westover Baptist Church 1125 N. Patrick Henry Dr. Arlington, VA 22205

703-237-5655

Email: levinevirginia@levineschool.com

Town Hall Education Arts Recreation 1901 Mississippi Ave. SE, Suite 201 Washington, DC 20020

202-4123

Email: levinesedc@levinemmusic.org

Silver Spring Library 900 Wayne Ave., 2nd Floor Silver Spring, MD 20910 301-328-5335

Email: levinesilverspring@evinemmusic.org

The Music Center at Strathmore 5301 Tuckerman Lane North Bethesda, MD 20852

301-897-5100

Email: levinemaryland@levinemmusic.org

Adjacent to Oak Street Elem. School 601 S. Oak Street Falls Church, VA 22046

703-237-5655

Email: levinevirginia@levinemusic.org

Virtual Campus

Email: sservices@levinemusic.org

FLORIDA

CENTER FOR PRO TOOLS

P.O. Box 1393 Goldenrod, FL. 32733

407-674-7926

Email: info@centerforprotools.com Web: centerforprotools.com Program: ProTools Certification  FLAGER COLLEGE 74 King St. St. Augustine, FL  32084 904-829-6481

Web: flagler.edu, flagler.edu/academics/degreesprograms/performing-arts/music-minor

Email: admissions@flagler.edu

FROST SCHOOL OF MUSIC University of Miami 5501 San Amaro Drive Coral Gables, FL 33146 305-284-2241

Email: admission.music@miami.edu

Web: music.miami.edu

Program: Performance, Studio Music and Jazz, Music Education, Music Therapy, Music Business and Entertainment Industry, Music Theory, Music Engineering Technology, Media Writing and Production

Degree: B.M., B.A., B.S., M.M., D.M.A, Ph.D, A.D., Specialist

Duration: 4 years

FSU COLLEGE OF MUSIC

Florida State University 122 N. Copeland St. Tallahassee, FL 32306-1180 850-644-3424

Email: musicadmissions@fsu.edu

Web: music.fsu.edu

Cost: please call or see web for info

FULL SAIL

3300 University Blvd. Winter Park, FL 32792 800-226-7625, 407-679-6333

Web: fullsail.com

Program: Full Sail o ers degrees in Recording Arts, Show Production and Touring, Music Business, and Entertainment Business. Students learn music production, mixing, recording, live sound and event production. Online Education. Duration: 12-21 months depending on degree program

Cost: please call or see web for info

Notes: Full Sail’s other degree programs include Computer Animation, Digital Arts and Design, Film, Game Development and Graphic Design.

PLAYERS SCHOOL OF MUSIC, THE P.O. BOX 793 Safety Harbor, FL 34695 727-725-1445, Text: 727-687-5172

Email: vfbertin@playerschool.edu, admissions@

playerschool.edu

Web: playerschool.net

Program: guitar, drums, bass, keyboards

Duration: 1-Week, 4-Week, 10-Week, 1-Year, 2-Year

ST PETERSBURG COLLEGE

Music Industry Recording Arts (MIRA) P.O. Box 13489

St. Petersburg, FL 33733

727-341-4772

Web: go.spcollege.edu/music

UNITY GAIN RECORDING SCHOOL

1953 Ricardo Ave. Fort Myers, FL 33901

239-332-4246

Web: unitygain.com

Program: Unity Gain Recording Institute o ers two, one year programs to teach the art of professional multi track recording: The Audio Recording Comprehensive Program and Advanced Techniques In Audio Recording.

UNIVERSITY OF TAMPA

Department of Music 401 W. Kennedy Blvd. Tampa, FL 33606 813-253-3333

Web: ut.edu/music

Degrees: B.M. in performance, B.M. in Music Education, B.A. in Music, B.A. in Musical Theatre, Minor in Music

GEORGIA

THE ART INSTITUTE OF MUSIC 2875 Breckinridge Blvd., Ste. 700 Duluth, GA 30096 770-242-7717

Email: admissions@aimm.edu Web: aimm.edu

GEORGIA ACADEMY OF MUSIC 4200 Northside Parkway Bldg. 4 Suite 100 Atlanta, GA 30327 404-355-3451

Email: musicgam@bellsouth.net

Web: gaom.us

Cost: please call or see web for info

GEORGIA SOUTHERN UNIVERSITY

Fred & Dinah Gretsch School of Music P.O. Box 8052 Statesboro, GA 30460 912-478-5396

Email: music@georgiasouthern.edu Web: cah.georgiasouthern.edu/music

GEORGIA STATE UNIVERSITY School of Music P.O. Box 3993 Atlanta, GA 30302 404-413-5900

Email: music@gsu.edu Web: music.gsu.edu

KENNESAW STATE UNIVERSITY School of Music Building 31, Room 111, MD 3201 471 Bartow Ave. Kennesaw, GA 30144 470-578-5064

Email: pfieldin@kennesaw.edu Web: arts.kennesaw.edu/music

MUSIC CLASS, THE Corporate O ice 1875 Old Alabama Rd. Suite 815 Roswell, GA 30076 770-645-5578

Email: info@themusicclass.com

Web: themusicclass.com

Cost: please call or see web for info

Notes: Childhood Music Education Centers throughout the United States and Canada

SANDY SPRINGS MUSIC 5920 Roswell Rd., Ste. D-201 Sandy Springs, GA 30328 404-250-0406

Web: sandyspringsmusic.com

Basic Rate: please call for info

HAWAII

BANDWAGON INSTITUTE OF THE ARTS 3-2600 Kamuali’i Hwy Lihue, HI 96766 808-634-2962

Web: bandwagonstudios.com/ Email: bwmc808@gmail.com

JUNIOR MUSIC ACADEMY 74-5605 Alapa St., Ste. #105 Kailua-Kona, HI 96740 808-331-2000

Email: juniormusicacademy@rocketmail.com Web: juniormusicacademy.com

Notes: Classes meet once a week in a small

group where parents actively participate allowing for fun, exciting, and engaging activities for children and parents alike. Ages between birth and 5th grade.

KAILUA MUSIC SCHOOL

131 Hekilil St., #209 Kailua, HI 96734

808-261-6142

Email: info@kailuamusicschool.com

Web: kailuamusicschool.com

Cost: please call for info

Notes: At Kailua Music School we believe the enjoyment of music, the knowledge of music and the development of skills in creating and performing music enhances the quality of life and nourishes the human spirit. We provide the highest quality music education for all ages and levels.

KE KULA MELE HAWAI’I

Alan Akaka School of Hawaiian Music

1296 Auwaiku St. Kailua, HI 86734

808-375-9379

Email: info@kekulamele.com

Web: kekulamele.com

Cost: please call for info

Notes: “Ke Kula Mele” provides a special environment where anyone (children through adults) who want to learn to play ukulele, steel guitar, upright Hawaiian bass and guitar are most welcome to pursue their dreams of playing an instrument and learning to sing Hawaiian songs. Music so enriches the lives of our students, young and old alike, regardless of their initial skill level. Everyone experiences a fun and positive learning environment.

UNIVERSITY OF HAWAII AT MANOA Music Department 2411 Dole St. Honolulu, HI 96822

808-956-7756

Web: manoa.hawaii.edu/music

Cost: please call for info

UNIVERSITY OF HAWAII MAUI COLLEGE

Institute of Hawaiian Music 310 Ka’ahumanu Ave. Kahului, HI 96732

808-984-3570

Web: maui.hawaii.edu/music

Contact: Dr. Keola Donaghy

IDAHO

IDAHO STATE UNIVERSITY

Music/School of Performing Arts

921 S. 8th Ave., Stop 8099 Pocatello, ID 83209

208-282-3636

Email: music@isu.edu Web: isu.edu/music

UNIVERSITY OF IDAHO

The Lionel Hampton School of Music 1012 S. Deakin St. Moscow, ID 83843

208-885-7254

Email: music@uidaho.edu Web: uidaho.edu/class/music

ILLINOIS

AMERICAN MUSIC INSTITUTE

60 55th St. Clarendon Hills, IL 60514

630-850-8505

Email: ami@amimusic.org

Web: amimusic.org

Cost: please see web for info

Additional locations:  1032 Maple Ave. Downers Grove, IL 60515  307 Cedar Ave. St. Charles, IL 60174

CHICAGO SCHOOL OF MUSIC

900 N. Franklin St. Chicago, IL 60610

312-416-0622

Email: info@chicagoschoolofmusic.com

Web: chicagoschoolofmusic.com

Cost: please call for info

COLUMBIA COLLEGE CHICAGO

1014 S. Michigan, Room 300 Chicago, IL

312-369-7130

Email: admissions@colum.edu, music@colum. edu Web: colum.edu

Program: B.A. degrees in Composition; Instrumental Performance; Vocal Performance: Jazz Studies: Instrumental; Jazz Studies: Vocal. Music degrees in Composition; Contemporary, Urban and Popular Music. M.F.A. degree in Music Composition for the Screen. Degree: Undergraduate and Graduate degrees

DEPAUL UNIVERSITY

School of Music 804 W. Belden Ave. Chicago, IL 60614-3296

773-325-7260

Email: musicadmissions@depaul.edu Web: depaul.edu

ELMHURST COLLEGE

Department of Music Irion Hall, 114 190 Prospect Ave. Elmhurst, IL 60126

630-617-3524

Email: admit@elmhurst.edu Web: elmhurst.edu/music

MERIT SCHOOL OF MUSIC

Joy Faith Knapp Music Center 38 S. Peoria St. Chicago, IL 60607

312-786-9428

Contact: Charles Grode, President & Exec. Director

Email: cgrode@meritmusic.org Web: meritmusic.org

Cost: please call or see web for info

MILLIKIN UNIVERSITY

School of Music Perkinson Music Center Room 103  1184 W. Main St. Decatur, IL 62522

217-424-6300, 800-373-7733

Director: Brian Justison

Email: bjustison@millikin.edu

Web: millikin.edu/music

MUSIC INSTITUTE OF CHICAGO St James Cathedral 65 East Huron Street Chicago, IL 60211

847-847-448-8319

Web: musicinstituteofchicago.org

Basic Rate: please call for info

Additional location:

Gratz Center Fourth Presbyterian Church 126 East Chestnut Street Chicago, IL 60611

MUSICAL EXPRESSIONS OF ILLINOIS, LLC 602 W 5th Ave. Suite F &E Naperville, IL 60563

630-355-1110

Email: info@musicalexpressions.net Web: musicalexpressions.net

Basic Rate: please call for info

NORTHWESTERN UNIVERSITY

SCHOOL OF MUSIC

70 Arts Circle Dr. Evanston, IL 60208-1200

847-491-7575

Email: musiclife@northwestern.edu

Web: music.northwestern.edu

Cost: please call or see web for info

SOUTHERN ILLINOIS UNIVERSITY CARBONDALE

Altgeld, Mail Code 4302 1000 S. Normal Ave. Carbondale, IL 62901 618-536-8742

Email: music@siu.edu Web: cola.siu.edu/music

VANDERCOOK COLLEGE OF MUSIC 3140 S. Federal St. Chicago, IL 60616-3731

312-225-6288

Email: admissions@vandercook.edu Web: vandercook.edu

INDIANA

BALL STATE UNIVERSITY

School of Music

Hargreaves Music Building (MU)  1810 W Riverside Ave Muncie, IN 47306

765-285-5400

Email: music@bsu.edu

Web: bsu.edu/music

BUTLER UNIVERSITY

School of Music, Lily Hall, Room 229 4600 Sunset Ave. Indianapolis, IN 46208 317-940-9246

Contact: David Murray, Director of the School of Music

Email: dmurray@butler.edu, music@butler.edu

Web: butler.edu/music

INDIANA STATE UNIVERSITY SCHOOL OF MUSIC

300 N. 7th St.

Terre Haute, IN 47809 812-237-2771

Email: isu-music@mall.indstate.edu

Web: indstate.edu

INDIANA UNIVERSITY JACOBS  SCHOOL OF MUSIC 1201 E. 3rd St., Merrill Hall 101 Bloomington, IN 47405-2200 812-855-7998

Email: musicadm@indiana.edu

Web: music.indiana.edu

Cost: please call or see web for info

IOWA

THE UNIVERSITY OF IOWA SCHOOL OF MUSIC 93 E. Burlington St. Iowa City, IA 52242 319-335-1603

Email: music@uiowa.edu

Web: music.uiowa.edu

UNIVERSITY OF NORTHERN IOWA SCHOOL OF MUSIC 115 Russell Hall Cedar Falls, IA 50614

319-273-2024

Email: music@uni.edu

Web: uni.edu/music

KENTUCKY

UNIVERSITY OF LOUISVILLE SCHOOL OF MUSIC Louisville, KY 40292

502-852-6907

Email: music@louisville.edu

Web: louisville.edu/music

LOUISIANA

ANDY HYMEL SCHOOL OF MUSIC

505 Kepler St. Gretna, LA 70053

504-362-1212

Email: andyhymel@andyhymelschoolofmusic. com

Web: andyhymelschoolofmusic.com

Basic Rate: please call for info

COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 70433

985-590-4545

Web: laapa.com

Cost: please call or see web for info

Additional locations:  Mandeville School Of Music  105 Campbell Ave., #3 Mandeville, LA 70448 985-674-2992

River Ridge School Of Music & Dance 2020 Dickory Ave., Ste. 200 Harahan, LA 70123 504-738-3050

LOYOLA UNIVERSITY

Music and Media 6363 St. Charles Avenue Box 8 New Orleans, LA 70118 504-865-3037

Email: cmfa@loyno.edu

Web: cmm.loyno.edu

METAIRIE SCHOOL OF MUSIC 4438 Chalfant Dr. Metairie, LA 70005

504-421-8811

Email: metairiemusicacademy@gmail.com

Web: metairiemusicacademy.com

Contact: Vicki Genova, Owner

Services: guitar, bass, vocals, piano, drums

SOUTHERN UNIVERSITY MUSIC SCHOOL 801 Harding Blvd. Baton Rouge, LA  70807 225-771-4500

Web: subr.edu

Contact: Harry Anderson

TULANE UNIVERSITY

Newcomb Department of Music 102 Dixon Hall New Orleans, LA  70118-5683 504-865-5267

Email: music@tulane.edu Web: liberalarts.tulane.edu

MAINE

THE MUSIC CENTER

49 Topsham Fair MallRoad, 2 Topsham, Maine 04086

207-725-6161

Email: sales@themusiccenter.net

Web: themusiccenter.net

Cost: please call or see web for info

NEW ENGLAND SCHOOL OF COMMUNICATIONS Husson University 1 College Cir. Bangor, ME 04401 207-941-7000

Email: admit@husson.edu

Web: husson.edu/nescom

Program: Bachelor of Science Degree in Communications Technology, Media Studies, Entertainment Production

PORTLAND CONSERVATORY OF MUSIC

28 Neal St. Portland, ME 04102

207-775-3356

Email: info@portlandconservatoryofmusic.org

Web: portlandconservatoryofmusic.org

Cost: please call or see web for info

RIVER TREE ARTS

35 Western Ave. Kennebunk, ME 04043

207-967-9120

Email: info@rivertreearts.org

Web: rivertreearts.org

Cost: please call or see web for info

UNIVERSITY OF SOUTHERN

MAINE USM

Osher School of Music

Main O ice, 103 Corthell Hall 13 University Way Gorham, ME 04038

207-780-5265

Email: usm.music@maine.edu

Web: usm.maine.edu/music

Cost: please call or see web for info

MARYLAND

MUSIC & ARTS CENTERS

7820 Wormans Mill Rd  Suite K Frederick, MD 21701

301-620-2015, 888-731-5396

Email: info@musicarts.com

Web: stores.musicarts.com/md/frederick

Note: Music & Arts has served students, teachers and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its o erings to beginning and student musicians. Music & Arts now has over 100 retail locations in 19 states.

THE MUSIC CENTER AT STRATHMORE 5301 Tuckerman Ln. North Bethesda, MD 20852

301-897-5100

Email: strathmore@strathmore.org Web: strathmore.org

THE OMEGA STUDIOS SCHOOL OF APPLIED RECORDING ARTS & SCIENCES (**No degree; certificates. ) 12712 Rock Creek Mill Rd., Ste. 14A Rockville, MD 20852 301-230-9100

Email: info@omegastudios.com, admissions@ omegastudios.com Web: omegastudios.com

Degrees: Certification Program

Duration: Day Students: 10 Months,

Night Students: 12 Months

Programs: The Comprehensive Recording Industry Program, The Audio Engineering for the Music Industry Program, The Audio Engineering for Film and Television Program, The Recording Engineering and Studio Techniques Program, The Electronic Music Synthesizers and MIDI Program, The Sound Reinforcement for Live Performance Program, The Audio Production Techniques Program and The Essentials of Music Business and Artist Management Program.

PEABODY INSTITUTE

Johns Hopkins University 1 E. Mt. Vernon Pl. Baltimore, MD  21202

Web: peabody.jhu.edu

CONSERVATORY ADMISSIONS

Phone: 667-208-6600

Email: admissions@peabody.jhu.edu

PREPARATORY ENROLLMENT

Phone: 667-208-6640

Email: peabodyprep@jhu.edu

Cost: please call or see web for info

THE SHEFFIELD INSTITUTE FOR THE RECORDING ARTS

13816 Sunnybrook Rd.

Phoenix, MD 21131

800-355-6613, 410-628-7260

Email: info@she ieldav.com

Web: she ieldav.com

Program: Audioworks, Videoworks, Techworks, Broadcasting

UNIVERSITY OF MARYLAND SCHOOL OF MUSIC

2110 Clarice Smith

Performing Arts Center

College Park, MD 20742

301-405-5549

Email: musicadmissions@umd.edu

Web: music.umd.edu

Cost: please call or see web for info

MASSACHUSETTS

BERKLEE COLLEGE OF MUSIC

O ice of Admissions

1140 Boylston St. Boston, MA 02215

800-BERKLEE (U.S. and Canada), 617-266-1400 (direct and internat’l)

Email: admissions@berklee.edu

Web: berklee.edu

Contact: Director of Admissions

Program: all forms of contemporary music

Degree: BM or Professional Diploma

Duration: 4 years

Cost: please call or see web for info

BOSTON CONSERVATORY AT BERKLEE

8 The Fenway Boston, MA 02215

617-536-6340

Email: conservatoryadmissions@berklee.edu

Web: bostonconservatory.berklee.edu

Cost: please call or see web for info

BRISTOL RECORDING STUDIOS

238 Huntington Ave. Boston, MA 02115-3009

617-247-8689

Email: info@bristolstudios.com

Web: bristolstudios.com

Contact: Kelsey Mack

Services: Audio Recording and Production Courses, Professional Internships

CELEBRATION SOUND

70 Lauren Dr. Seekonk, MA 02771

508-336-0275

Email: celebrationsound@comcast.net

Web: celebrationsound.com

Programs: Recording engineer classes

EMERSON COLLEGE

Department of Performing Arts 120 Boylston St. Boston, MA 02116

617-824-8500

Web: emerson.edu/performing-arts

Contact: Melia Bensussen, Chair

Degrees: B.A., B.F.A., M.F.A.

NEW ENGLAND CONSERVATORY

290 Huntington Ave. Boston, MA 02115

617-585-1100

Email: admissions@necmusic.edu

Cost: please call or see web for info

NORTHEASTERN UNIVERSITY

Department of Music

102 Ryder Hall

360 Huntington Ave. Boston, MA 02115

617-373-3682

Contact: Chair of the Department of Music, Hilary Poriss

Email: h.poriss@northeastern.edu

Web: camd.northeastern.edu, music@northeastern.edu

Degrees: B.S. in Music Technology, B.S. in Music Industry, B.A. in Music History and Analysis

POWERS MUSIC SCHOOL

160 Lexington Street P.O. Box 398 Belmont, MA 02478-0003

617-484-4696

Email: o ice@powersmusic.org

Web: powersmusic.org

Cost: please call or see web for info

TUFTS UNIVERSITY

Department of Music

Grano Music Center 20 Talbot Ave. Medford, MA 02155

617-627-3564

Email: musicadmin@tufts.edu

Web: as.tufts.edu/music

Contact: John McDonald, Depart. Chair

UNIVERSITY OF MASSACHUSETTS LOWELL Department of Music

35 Wilder St., Ste. 3 Lowell, MA 01854 978-934-3850

Email: music_dept@uml.edu

Web: uml.edu/fahss/music

MICHIGAN

CENTRAL MICHIGAN UNIVERSITY

School of Music 162 Music Building 1400 E. Campus Dr. Mount Pleasant, MI 48859  989-774-3281

Email: musicadmit@cmich.edu

Web: cmich.edu/program/music

Degrees: B.A.A., B.S., B.A. or B.F.A., M.A.

CORNERSTONE UNIVERSITY 1001 E. Beltline Ave. Grand Rapids, MI 49525  616-949-5300

Email: info@cornerstone.edu Web: cornerstone.edu/music

INTERLOCHEN CENTER FOR THE ARTS 4000 J Maddy Pkwy Interlochen, MI 49643-0199 231-276-7200

Email: education@interlochen.org, admission@ interlochen.org Web: interlochen.org

Cost: please call or see web for info

MICHIGAN RECORDING ARTS INSTITUTE & TECHNOLOGIES 28533 Greenfield Southfield, MI 48076

248-557-8276

Contact: Kenneth Glaza

RECORDING INSTITUTE OF DETROIT 14611 E. 9 Mile Rd. Eastpointe, MI 48021

800-683-1743, 586-779-1388

Email: rido ice@aol.com

Web: recording.institute **No degree, but a certificate.

UNIVERSITY OF MICHIGAN

School of Music, Theatre and Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109

734-764-0583. 734-763-5112

Email: smtd.admissions@umich.edu Web: music.umich.edu/index.php

Contact: Laura Ho man, Associate Dean

WAYNE STATE UNIVERSITY

Old Main, Department of Music 4841 Cass, Old Main, Ste. 1321 Detroit, MI 48201 313-577-1795

Email: music@wayne.edu Web: music.wayne.edu

Programs: Bachelor of Arts in Music,  Bachelor of Music

WESTERN MICHIGAN UNIVERSITY

Irving S. Gilmore School of Music 1903 W Michigan Ave. Kalamazoo, MI 49008 269-387-4667 Web: wmich.edu/music

MINNESOTA

CHILDREN’S YAMAHA MUSIC SCHOOL

Advent Luther 3000 Hamline Avenue Roseville, MN 55113

612-339-2255

Email: yamahamusic@cyms.ws Web: msp.kidsoutandabout.com/content/childrens-yamaha-music-studio-roseville

Cost: please call or see web for info

Additional locations: Edina Community Center 5701 Normandale Rd. Edina, MN 55424 612-351-0631

MACPHAIL CENTER FOR MUSIC 501 2nd St. S. Minneapolis, MN 55401

612-321-0100

Web: macphail.org

Cost: please call or see web for info

Additional locations: 14200 Cedar Ave., Suite 102 Apple Valley, MN 55124

470 W. 78th St. Chanhassen, MN

Birch Lake Elementary School 1616 Birch Lake Ave.

White Bear Lake MN 55110

MINNESOTA STATE UNIVERSITY MOORHEAD Music Department Center for the Arts 102 1104 7th Ave. S. Moorhead, MN 56563

218-477-2101

Email: spa@mnstate.edu Web: mnstate.edu

SAINT MARY’S UNIVERSITY OF MINNESOTA Music Department 700 Terrace Heights #1447 Winona, MN 55987

507-457-1598

Email: jheukesh@smumn.edu Web: smumn.edu

Contact: Ned Kirk, D.M.A., Chair Music Department

UNIVERSITY OF NORTHWESTERN 3003 Snelling Ave. N. St. Paul, MN 55113

800-692-4020, 651-631-5100 Web: unwsp.edu/program/music

Degrees/Certifications: B.S. in Electronic Media Communication with a Recording Arts focus, Minor in Music, Minor in Music Business, Minor in Media Arts

MISSISSIPPI

DELTA STATE UNIVERSITY  Department of Music  DSU Box 3256  Cleveland, MS 38733  662-846-4615

Email: music@deltastate.edu

Web: deltastate.edu/artsandsciences/music

MISSOURI

UNIVERSITY OF CENTRAL MISSOURI P.O. Box 800 Utt202E Warrensburg, MO 64093  660-543-4909

Contact: David Aaberg, Chair of Music Email: musico ice@ucmo.edu admit@ucmo.edu Web: ucmo.edu

UNIVERSITY OF MISSOURI School of Music 20 Sinquefield Music Center Columbia, MO 65211  573-882-2604

Email: music@missouri.edu Web: music.missouri.edu

WEBSTER UNIVERSITY School of Communications 470 E. Lockwood Ave. St. Louis, MO 63119 314-246-7800, 800-981-9801 Email: je reycarter67@webster.edu Web: webster.edu/music

MONTANA

THE COLLEGE MUSIC SOCIETY 312 East Pine Street Missoula, MT 59802 406-721-9616

Email: cms@music.org Web: music.org

NORTH VALLEY MUSIC SCHOOL  1998 River Lakes Parkway Whitefish, MT 59937  406-862-8074

Email: info@northvalleymusicschool.org  Web: northvalleymusicschool.org  Services: Music lessons, group classes, ensembles, summer camps, public concerts.  Serving all ages and abilities. Scholarships available.

UNIVERSITY OF MONTANA SCHOOL OF MUSIC 32 Campus Dr. Music Building, Room 101 Missoula, MT 59812 406-243-6881

Email: griz.music@umontana.edu

Web: umt.edu/music

NEBRASKA

NORTHEAST COMMUNITY COLLEGE Audio/Recording Technology Dept. 801 E. Benjamin Ave. Norfolk, NE 68701 402-371-2020, 800-348-9033

Email: help@northeast.edu Web: northeast.edu

NEVADA

COLLEGE OF SOUTHERN NEVADA

Cheyenne Campus

3200 E. Cheyenne Ave.

North Las Vegas, NV 89030 702-651-4075

Web: csn.edu/programs/music

Contact: Robert Bonora, Chair Fine Arts

Additional locations:  6375 W. Charleston Blvd. Las Vegas, NV 89106 702-651-5000

700 College Dr. Henderson, NV 89002 702-651-3000

NEW HAMPSHIRE

ALAN CARRUTH LUTHIER

51 Camel Hump Rd. Newport, NH 03773

603-863-7064

Email: alcarruth@aol.com

Web: newenglandluthiers.org/contents/members/alancarruth.html

Cost: please call or see web for info

MUSIC & ARTS CENTERS 18 March Ave. Manchester, NH 03101-2006  603-851-2026, 888-731-5396

Email: customerservice@musicarts.com Web: stores.musicarts.com

Notes: Serving students, teachers and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its o erings to beginning and student musicians. Music & Arts now has over 100 retail locations in 19 states.

NEW JERSEY

BLOOMFIELD COLLEGE

Division of Creative Arts & Technology 467 Franklin St. Bloomfield, NJ 07003 973-748-9000 Email: admission@bloomfield.edu Web: bloomfield.edu

COUNTY COLLEGE OF MORRIS 214 Center Grove Rd. Randolph, NJ 07869 973-328-5000 Web: ccm.edu

MONTCLAIR STATE UNIVERSITY

School of Communication and Media  1 Normal Ave. Montclair, NJ 07043 973-655-4000 Web: montclair.edu/school-of-communicationand-media

RIDER UNIVERSITY 2083 Lawrenceville Road Lawrenceville, NJ  08648 609-896-5000 Web: rider.edu

STEVENS INSTITUTE OF TECHNOLOGY College of Arts and Letters 1 Castle Point On Hudson Hoboken, NJ 07030 201-216-5000 Web: stevens.edu

Degree/Certification: Bachelor of Arts in Music and Technology

STUDIO TO STAGE PRODUCTIONS 170 U.S. 9 Englishtown, NJ 07226 732-617-6530

Email: info@stosp.net Web: studiotostageproductions.com Program: Private Lessons

WILLIAM PATERSON UNIVERSITY

Department of Music

300 Pompton Rd. Wayne, NJ 07470

973-720-2000

Email: musicadmissions@wpunj.edu

Web: wpunj.edu/coac/music

Contact: Dr. Diane Falk-Romaine – Music Chair

NEW MEXICO

NEW MEXICO SCHOOL OF MUSIC

136-J Washington St., S.E. Albuquerque, NM 87108

505-266-3474

Web: nmschoolofmusic.com

Additional location:  10701 Montgomery Blvd., N.E. Albuquerque, NM 87111

505-294-4604

TAOS SCHOOL OF MUSIC

PO Box 2630 Taos, NM 87571

575-776-2388

Email: info@taosschoolofmusic.com

Web: taosschoolofmusic.com

The School is located at the French owned, family style Hotel St. Bernard in Taos Ski Valley, New Mexico. It is 19 miles north of Taos, high in the scenic Sangre de Cristo Mountains of northern New Mexico.

NEW YORK

AARON COPLAND SCHOOL OF MUSICQUEENS COLLEGE

65-30 Kissena Blvd., Room 203 Queens, NY 11367

718-997-3800

Email: acsm@qc.cuny.edu

Web: qc.cuny.edu/academics/music

Contact: Michael Lipsey, Director

Degree: B.A., B.M., MS/Education, M.A. Composition, Theory, History; M.A. Classical Performance; M.A. Jazz Performance

Cost: please call or see web for info

AUDIO ENGINEERING SOCIETY, INC.

697 3rd Avenue Suite 405 New York, NY 10017

212-661-8528

Web: aes2.org

BLOOMINGTON SCHOOL OF MUSIC

323 West 108th Street New York, NY 10025

212-663-6021

Web: bsmny.org

Email: info@bsmny.org

THE CITY COLLEGE OF NEW YORK Music Department, Shepard Hall, Room 72

160 Convent Ave. New York, NY 10031

212-650-5411

Email: music@ccny.cuny.edu

Web: ccny.cuny.edu/music

CLIVE DAVIS INSTITUTE OF RECORDED MUSIC

370 Jay Street Brooklyn, NY

212-992-8400

Email: tisch.recorded.music@nyu.edu

Web: tisch.nyu.edu/clive-davis-institute

Program: Through courses in business, musicianship and performance, production and writing, history and emergent media, our undergraduate curriculum focuses on developing the creative entrepreneur. Degree: BFA in Recorded Music Duration: 4 years

THE COLLECTIVE SCHOOL OF MUSIC

28 Broadway New York, NY 10004

212-741-0091

Email: info@thecollective.edu

Web: thecollective.edu

Basic rate: Various

Services/Specialties: long- and short-term intensive courses on drums, bass, guitar, piano and vocals, private lessons, world class faculty of professional working musicians, practice and rehearsal facilities, regular master classes, musicians monthly membership club, located in the music capital of the world, NYC. Classes are limited to five students in order to make sure all students get personal attention.

COLUMBIA UNIVERSITY

NEW YORK

The Department of Music

621 Dodge Hall

2960 Broadway New York, NY 10027

212-854-3825, 212-854-9862

Contact: Professor Chris Washburne, Dept. Chair

Email: c.washburne@columbia.edu

Web: music.columbia.edu

EASTMAN SCHOOL OF MUSIC

University of Rochester

26 Gibbs St. Rochester, NY 14604-2599

585-274-1000

Email: admissions@esm.rochester.edu

Web: esm.rochester.edu

Cost: please call or see web for info

FINGER LAKE COMMUNITY

COLLEGE

State University of New York

3325 Marvin Sands Dr. Canandaigua, NY 14424

585-394-FLCC

Email: admissions@flcc.edu

Web: flcc.edu/academics/music

FIVE TOWNS COLLEGE

305 N. Service Rd. Dix Hills, Long Island, NY 11746  631-206-5537

Email: admissions@ftc.edu

Web: ftc.edu

Contact: Admissions O ice

Programs: Undergraduate: Performance Program (A.A.S., Mus.B.); Bachelor of Music (Mus.B.) concentrations in Audio Recording Technology, Composition, Music Entertainment Industry Studies, Performance, Songwriting; (Mus.B.) Music

Teacher Education concentrations in Instrumental and Vocal/Piano/Guitar. Graduate: Masters of Music (M.M.) in Music Technology, Composition, Performance, Music History, Music Education; Doctor of Musical Arts (D.M.A.) in Composition & Arranging, Music History & Literature, Music Performance, Music Education; Doctoral and Fellowship Performance. NEW Grad program in Sound Recording Technology (M.P.S.).

Cost: Contact Admissions

Degree: A.A.S.; Mus.B.; M.M.; D.M.A.

Duration: 2 years, 4 years, 1 to 4 years for Masters/Doctoral

GREENWICH HOUSE, INC.

46 Barrow St. New York, NY 10014

212-242-4770

Email: music@greenwichhouse.org  Web: greenwichhouse.org

Contact: Samir Hussein, Chair

HOFSTRA UNIVERSITY

101 Joseph G. Shapiro Family Hall 1000 Hempstead Tpke. Hempstead, NY 11549-1000 516-463-5490

Contact: Philip Stoecker, Dept. Chair

Email: philip.s.stoecker@hofstra.edu Web: hofstra.edu/music

HOUGHTON COLLEGE

Greatbatch School of Music

One Willard Ave. Houghton, NY 14744

585-567-9200, 800-777-2556 Ext. 4000

Email: admission@houghton.edu Web: houghton.edu/music

ITHACA COLLEGE SCHOOL OF MUSIC

953 Danby Road Whalen Center for Music Ithaca, NY 14850 607-274-3343

Email: musicassocdean@ithaca.edu, socialmedia@ithaca.edu Web: ithaca.edu/music

Contact: Ivy Walz, Associate Prof.

JUILLIARD SCHOOL, THE 60 Lincoln Center Plaza New York, NY 10023-6588 212-799-5000

Email: admissions@juilliard.edu Web: juilliard.edu

Cost: please call or see web for info

MANHATTAN SCHOOL OF MUSIC

130 Claremont Ave. New York, NY 10027

212-749-2802

Email: admission@msmnyc.edu

Web: msmnyc.edu

Program: We o er degree and diploma programs at the undergraduate, graduate and doctoral levels, with majors in all orchestral instruments, voice, piano, accompanying, composition, saxophone, guitar, organ, conducting and jazz.

Cost: please call or see web for info

MANNES COLLEGE THE NEW SCHOOL FOR MUSIC

66 W. 12th St. New York, NY 10011

212-580-5150, 800-292-3040

Email: admissions@newschool.edu

Web: newschool.edu/mannes

Cost: please call or see web for info

MERCY COLLEGE

Music & Fine Arts Department 555 Broadway Dobbs Ferry, NY 10522

914-674-7600

Web: mercy.edu/campus-locations/dobbs-ferrycampus

Degrees: B.S. in Music Industry and Technology

NEW YORK UNIVERSITY

The Steinhardt School/Music 35 W 4th Street, 2nd Floor

New York, NY 10012

212-998-5424

Web: steinhardt.nyu.edu/music

Degree: B.S., B.A., B.M., M.A., M.M., Ph.D., D.A., Ed.D., Music Performance, Composition, Technology, Business, Education, Therapy

Cost: please call or see web for info

PERLMAN MUSIC PROGRAM, THE 19 W. 69th St., Ste. 1101 New York, NY 10023

212-877-5045

Email: info@perlmanmusicprogram.org

Web: perlmanmusicprogram.org

Contact: Anna Kaplan, Director of Programs

Cost: please call or see web for info

THE COLLEGE OF SAINT ROSE Music Department 432 Western Ave. Albany, NY 12203

800-637-8556

Web: facebook.com/saintroseprecollege

SELECT SOUND STUDIOS 2315 Elmwood Ave. Kenmore, NY 14217 716-873-2717

Web: selectsound.com

Program: Recording Technologies Audio  Engineering Program

STATE UNIVERSITY OF NEW YORK College at Oneonta Music Department 115 Fine Arts Center Oneonta, NY 13820

607-436-3415

Email: moira.rouggly@oneonta.edu Web: suny.oneonta.edu/music-department

SYRACUSE UNIVERSITY  SETNOR SCHOOL OF MUSIC 208 Crouse College Syracuse, NY 13244

315-443-2769

Email: admissu@syr.edu Web: vpa.syr.edu/academics/music

THIRD STREET MUSIC SCHOOL SETTLEMENT 235 E. 11th St. New York, NY 10003

212-777-3240

Email: info@thirdstreetmusicschool.org Web: thirdstreetmusicschool.org

UNIVERSITY OF ALBANY College of Arts and Sciences 1400 Washington Ave. Albany, NY 12222 518-442-4187

Email: musinfo@albany.edu Web: albany.edu/music

WILLIE MAE ROCK CAMP FOR GIRLS 540 President Street Suite 2H Brooklyn, NY 11215 646-726-0247

Email: info@williemaerockcamp.org Web: williemaerockcamp.org,  facebook.com/williemaerockcamp Program: Willie Mae Rock Camp for Girls is a non-profit music and mentoring program for girls and women. The organization o ers a summer day camp, after school programs, youth and adult lessons, and community events in New York City. Instruments include drums, bass, guitar, keyboards, vocals and DJ/ turntables. All programs o ered with sliding scale tuition. Cost: please call or see web for info.

NORTH CAROLINA

APPALACHIAN STATE UNIVERSITY Hayes School of Music Broyhill Music Center 813 Rivers St. Boone, NC

828-262-3020

Email: music@appstate.edu Web: music.appstate.edu

BARTON COLLEGE

P.O. Box 5000 Wilson, NC 27893

800-345-4973, 252-399-6317

Email: enroll@barton.edu

Web: barton.edu/cultural-arts

Degrees: B.S. in Communication with a concentration in Audio Recording Technology

BREVARD MUSIC CENTER

349 Andate Ln. Brevard, NC 28712

828-862-2100

Web: brevardmusic.org

Contact: Dorothy Knowles, Dir. Of Admissions

Notes: A summer institute and festival

CATAWBA COLLEGE

2300 W. Innes St. Salisbury, NC 28144

704-637-4476, 1-800-CATAWBA

Email: jtlittle@catawba.edu

Web: catawba.edu/music

Degree: Degrees: BA – Music Business, Popular Music, Music Education, and Worship Music/ Production.

BS – Entertainment Industries

Duration: 4 years

Cost: please call or see web for info

DUKE UNIVERSITY STRING SCHOOL, THE Mary Duke Biddle Music Bldg. Duke University 9 Brodie Gym Dr. Durham, NC 27708-0667 919-684-8111

Email: nonoko.okada@duke.edu

Web: stringschool.duke.edu

Cost: please call or see web for info

EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC 102 A. J. Fletcher Music Center Greenville, NC 27858-4353 252-328-6851

Email: music@ecu.edu

Web: music.ecu.edu

Cost: please call or see web for info

ELON UNIVERSITY Department of Music

100 Campus Dr. Elon, NC 27244 336-278-2000 Web: elon.edu/u/academics/arts-and-sciences/ music

KAREN KANE MUSIC PRODUCTIONS

Wilmington, NC 910-599-6921

Email: karenkane@mixmama.com

Courses: Audio Classes (Intro to Audio Engineering, Intro to Pro Tools)

UNIVERSITY OF NORTH CAROLINA UNC Department of Music CB# 3320, 105 Hill Hall 145 E Cameron Ave. Chapel Hill, NC 27599 919-962-1039 Email: music.dept@unc.edu Web: music.unc.edu

UNIVERSITY OF NORTH CAROLINA  SCHOOL OF ARTS 1533 S Main Street Winston Salem, NC 27127 Email: admissions@uncsa.edu Web: uncsa.edu

NORTH DAKOTA

UNIVERSITY OF NORTH DAKOTA MUSIC ARTS & SCIENCES Hughes Fine Arts Center, Room 110 3350 Campus Rd., Stop 7125 Grand Forks, ND 58202 701-777-2644

Email: und.music@und.edu Web: arts-sciences.und.edu/academics/music

OHIO

BALDWIN-WALLACE COLLEGE 275 Eastland Rd. Berea, OH 44017-2088 440-826-2900

Email: info@bw.edu

Web: bw.edu/schools/conservatory-music

Contact: Susan VanVorst, Dean Conservatory of Music

Cost: please call or see web for info

BRECKSVILLE SCHOOL OF MUSIC 10633 Fitzwater Rd. Brecksville, OH 44141 440-526-1004

Email: info@brecksvillemusicstudio.com Web: brecksvillemusic.com

Basic Rate: please call for info

CAPITAL UNIVERSITY 1 College and Main Columbus, OH 43209 614-236-6011

Email: admission@capital.edu

Web: capital.edu/conservatory

Degrees: B.M. in Music Technology, B.A. in  Music Technology  CASE WESTERN RESERVE UNIVERSITY Department of Music 11118 Bellflower Rd. Cleveland, OH 44106 216-368-2400 Email: music@case.edu Web: music.case.edu

CLEVELAND INSTITUTE OF MUSIC

11021 E. Blvd. Cleveland, OH 44106-1705

216-791-5000

Email: admissions@cim.edu

Web: cim.edu

Cost: Call or view online

CLEVELAND MUSIC SCHOOL SETTLEMENT, THE 11125 Magnolia Dr. Cleveland, OH 44106 216-421-5806

Email: info@themusicsettlement.org

Web: themusicsettlement.org

Cost: please call or see web for info

COLLEGE-CONSERVATORY OF MUSIC

University of Cincinnati Mary Emery Hall P.O. Box 210003 Cincinnati, OH 45221-0003 513-556-6638

Web: ccm.uc.edu/music.html

Cost: please call or see web for info

FIREFLY STUDIOS Toledo, OH 419-350-6454

Email: fireflystudios@firefly419.com Web: firefly419.com

Notes: We o er guitar, piano, bass and drum lessons

HOCKING COLLEGE

Music Production Business & Performance 3301 Hocking Pkwy. Nelsonville, OH 45764

740-753-7050

Email: admissions@hocking.edu Web: hocking.edu/music-management

MALONE UNIVERSITY

2600 Cleveland Ave. Canton, OH 44709

800-521-1146, 330-471-8381

Email: ihamilton@malone.edu Web: malone.edu

Contact: Linda Hamilton, Admin. Assistant Degree: B.A. in Music Production

MEDUSA RECORDING INSTITUTE

2403 South Ave. Youngstown, OH 44502

480-213-3327

Email: mandrakerocks@yahoo.com

Web: medusa-school.weebly.com

OBERLIN COLLEGE

CONSERVATORY OF MUSIC

39 W. College St. Oberlin, OH 44074-1588

440-775-8413, 800-622-6243

Web: oberlin.edu/conservatory

Cost: please call or see web for info

OHIO NORTHERN UNIVERSITY

The Music Department

525 S. Main St. Ada, OH 45810 419-772-2000

Web: onu.edu/arts_sciences/music

OHIO UNIVERSITY School of Music 497 Glidden Hall Athens, OH 45701

740-593-4244

Email: music@ohio.edu

Web: ohio.edu/finearts/music

OWENS COMMUNITY COLLEGE Fine and Performing Arts 30335 Oregon Rd. Perrysburg, OH 43551

567-661-6000

Web: owens.edu/fpa/music

Contact: Jeremy Meier, Dept. Chair

Programs: Associate of Applied Science Music Education/ Performance, Music Business Technology Certificate, Popular Music Certificate and the Associate Art in Music Education/ Performance

OKLAHOMA

HOLLAND HALL SCHOOL

5666 E. 81st St. Tulsa, OK 74137

918-481-1111

Web: hollandhall.org

OKLAHOMA STATE UNIVERSITY

Michael and Anne Greenwood School of Music 102 Greenwood School of Music Stillwater, OK 74078

405-744-6133

Email: osumusic@okstate.edu Web: music.okstate.edu

ORAL ROBERTS UNIVERSITY

7777 S. Lewis Ave. Tulsa, OK 74171

918-495-6161, 800-678-8876

Email: music@oru.edu

Web: oru.edu

OU SCHOOL OF MUSIC

University of Oklahoma 500 W. Boyd Norman, OK 73019 405-325-2081 Web: music.ou.edu

UNIVERSITY OF CENTRAL OKLAHOMA School of Music

100 N. University Dr. Edmond, OK 73034

405-974-5686

Contact: Brian Lamb, Director Email: blamb@uco.edu

Web: uco.edu/cfad/academics/music

OREGON

AMERICAN SCHOOL OF LUTHERIE

Portland, OR 97225

503-292-2385

Email: info@americanschooloflutherie.com

Web: americanschooloflutherie.com

Cost: please call or see web for info

MUSIC TOGETHER OF PORTLAND c/o Julie Chiles Portland, OR 503-236-4304

Email: julie@musictogether-pdx.com

Web: musictogether-pdx.com

Basic Rate: please call for info

OREGON MUSIC ACADEMY Tigard Oregon Music Academy 11555 S.W. Durham Rd., Ste. A4 Tigard, OR 97224

503-616-7161

Web: oregonmusicacademy.com

Cost: please call or see web for info

OREGON STATE UNIVERSITY

College of Liberal Arts 214 Bexell Hall Corvallis, OR 97331 541-737-0561

Web: liberalarts.oregonstate.edu

Degrees: B.A., B.F.A., M.F.A.

ROCK ‘N’ ROLL CAMP FOR GIRLS P.O. Box 11324 Portland, OR 97211

503-833-2953

Email: info@girlsrockcamp.org

Web: facebook.com/girlsrockpdx

Contact: Marisa Anderson

Program: The Rock ’n’ Roll Camp for Girls, a 501(c)3 non-profit, builds girls self-esteem through music creation and performance. Providing workshops and technical training, we create leadership opportunities, cultivate a supportive community of peers and mentors, and encourage social change and the development of life skills.

Cost: please call or see web for info

ROCK ‘N’ ROLL FANTASY CAMP

888-ROC-BAND, 888-762-2263, 323-370-7033, 888-762-2263 ext. 4

Email: taylor@rockcamp.com

Web: rockcamp.com

Program: Rock n’ Roll Fantasy Camp is the  ultimate music experience.

For the novice and the expert, the amateur and the aficionado, we make rock n’ roll dreams come true. Simply stated, our mission is to bring people’s musical fantasies to life!

Cost: please call or see web for info

UNIVERSITY OF OREGON SCHOOL OF MUSIC & DANCE

1225 University of Oregon Eugene, OR 97403-1225

541-346-5268

Email: SOMAFrontDesk@uoregon.edu

Web: music.uoregon.edu

Contact: Undergraduate information:  audition@ uoregon.edu; Graduate Information: gradmus@uoregon.edu; Admissions: gmusadm@uoregon.edu

Program: Composition, Music Education, Performance Studies, Piano Pedagogy, Jazz Studies, Theory, Music Technology, and more including Dance

Degree: B. Mus, B.A., B.S., M.Mus, M.A., M.F.A., D.M.A., Ph.D.

Duration: 4 year bachelor’s, 2-3 master’s, 4-5 doctoral

WESTERN OREGON UNIVERSITY Department of Music Smith Hall 345 N. Monmouth Ave. Monmouth, OR 97361

Contact: Laura Killip, Program & Facilities Coordinator 503-838-8461 503-838-8340

Email: killipl@wou.edu

Web: wou.edu/music

PENNSYLVANIA

ACADEMY OF MUSIC, THE 240 S. Broad St. Philadelphia, PA 19102 215-893-1999

Email: info@academyofmusic.org Web: ensembleartsphilly.org/plan-your-visit/venues/academy-of-music

Cost: please call or see web for info

CARNEGIE MELLON SCHOOL OF MUSIC College of Fine Arts 5000 Forbes Ave. Pittsburgh, PA 15213-3815 412-268-2372

Email: music-o ice@andrew.cmu.edu Web: music.cmu.edu

Contact: Katherine Heston, Asst. Dir. of Music

Admission

CURTIS INSTITUTE OF MUSIC, THE 1726 Locust St. Philadelphia, PA 19103 215-893-5252

Email: admissions@curtis.edu Web: curtis.edu

DREXEL UNIVERSITY

Antoinette Westphal College of Media Arts & Design 3141 Chestnut St. Philadelphia, PA 19104 215-895-1380, 215-895-2000

Email: westphaladm@drexel.edu Web: drexel.edu/westphal

GROVE CITY COLLEGE Department of Music 100 Campus Dr. Grove City, PA 16127-2104 724-458-2000

Email: info@gcc.edu Web: gcc.edu/music

KUTZTOWN UNIVERSITY 114 Old Main Kutztown, PA 19530 610-683-4550

Email: music@kutztown.edu Web: kutztown.edu

LEBANON VALLEY COLLEGE 101 N. College Ave.  Blair 110  Annville, PA 17003 717-867-6373

Email: gramm@lvc.edu Web: lvc.edu/music

Contact: Je rey S. Snyder, Professor & Department Chair of Music Degrees: B.M. in Recording Technology, B.A. in Music Business

MARLBORO MUSIC 1528 Walnut St., Ste. 301 Philadelphia, PA 19102 215-569-4690

Email: info@marlboromusic.org Web: marlboromusic.org

MARY PAPPERT SCHOOL OF MUSIC Duquesne University 600 Forbes Ave. Pittsburgh, PA 15282 412-396-6000

Email: admissions@duq.edu Web: duq.edu/academics/colleges-and-schools/ music/index.php Program: Music Performance, Music Education, Music Therapy, Music Technology Degree: Bachelor of Music, Bachelor of Science Duration: 4 years

Notes: Mary Pappert School of Music is a national leader in performance, music education, music therapy, music technology and sacred music. Also Graduate Degrees o ered in performance, composition, theory, music education, music technology and sacred music, plus an artist diploma in performance.

SETTLEMENT MUSIC SCHOOL P.O. Box 63966 Philadelphia, PA 19147-3966 215-320-2601

Web: smsmusic.org

Cost: please call or see web for info

TEMPLE UNIVERSITY School of Media and Communications  Annenberg Hall 2020 N. 13th St. Philadelphia, PA 19122 215-204-8422

Email: kleingraduate@temple.edu

Web: klein.temple.edu

YORK COLLEGE OF PENNSYLVANIA

Division of Music, Wolf Hall, Room 206C 441 Country Club Rd. York, PA 17403 715-846-7788

Email: gmuzzo@ycp.edu

Web: ycp.edu

Contact: Grace Muzzo, D.M.A.

RHODE ISLAND

THE UNIVERSITY OF RHODE ISLAND College of Arts and Sciences Department of Music Fine Arts Center, Ste. E 105 Upper College Rd. Kingston, RI 02881 401-874-2431

Email: music@uri.edu Web: uri.edu/music

SOUTH CAROLINA

THE HALSEY INSTITUTE

Jim Halsey Company 161 Calhoun Street Charleston, SC 29401 918-628-0400

Email: halsey@cofc.edu

Web: halsey.cofc.edu/visit

Notes: The Halsey Institute is dedicated to providing the best possible specialized education in the Music and Entertainment Business.

SOUTH CAROLINA MIDLANDS AUDIO INSTITUTE 209 S. Prospect St. Columbia, SC 29205 803-782-6910

Email: info@midlandsaudioinstitute.com Web: midlandsaudioinstitute.com

UNIVERSITY OF SOUTH CAROLINA School of Music 813 Assembly St. Columbia, SC 29208 803-777-4281

Email: ugmusic@mozart.sc.edu Web: music.sc.edu

SOUTH DAKOTA

UNIVERSITY OF SOUTH DAKOTA Department of Music Warren M. Lee Center for Fine Arts 414 E. Clark St. Vermillion, SD 57069 605-658-3466

Email: music@usd.edu Web: usd.edu/music

TENNESSEE

BELMONT UNIVERSITY: MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS 1900 Belmont Blvd. Nashville, TN 37212

615-460-6453

Email: cembadmission@belmont.edu Web: belmont.edu/cemb

Contact: Natalie Peterson, Admission Coordinator

Program: Music Business, (BBA), Masters in Business Admin, (MBA), Entertainment Industry Studies, (BS, BA), Songwriting, (BS, BA), Audio Engineering Technology, (BS, BA)

THE BLACKBIRD ACADEMY 2806 Azalea Pl. Nashville, TN 37204 855-385-3251, 615-385-2423

Email: info@theblackbirdacademy.com Web: theblackbirdacademy.com

BLAIR SCHOOL OF MUSIC Vanderbilt University 2400 Blakemore Ave. Nashville, TN 37212

615-322-7311

Contact: Molly Jewell, Dir. of Admissions Web: blair.vanderbilt.edu

DARK HORSE INSTITUTE

Music School

230 Franklin Road, Bldg. #14A Franklin, TN  37064

615-791-7020

Web: darkhorseinstitute.com

GOSPEL MUSIC ASSOCIATION (GMA) 4012 Granny White Pike Nashville, TN 37204 615-242-0303

Email: info@gospelmusic.org

Web: gospelmusic.org

Cost: please call or see web for info

Program: IMMERSE, 1-4 day Christian music training event

GRO55 SCHOOL OF MUSIC

5436 Oak Chase Drive

Can Ridge, TN 37013

412-200-0520

Email: gro55schoolofmusic@gmail.com jaynagrossmusic@gmail.com

Web: jaynagross.com

KASPER HOME MUSIC STUDIOS, THE 927 Battlefield Dr. Nashville, TN 37204

615-383-8516

Web: kaspermusic.com

Basic Rate: please call for info Services: Small group and private group lessons for children and adults

MARK JOHNSON Nashville, TN

615-587-2516

Email: markLaneband@gmail.com

Web: theboardfoundation.com

Contact: Mark

Rates: call for rates

Clients: All Ages, All Levels (Zoom available)

Styles/Specialties: All Styles, Ear Training, Songwriting, Music Theory, Music Business/Marketing, Voice/ Vocals, Bass, Piano, Guitar

MIDDLE TENNESSEE STATE UNIVERSITY SCHOOL OF MUSIC

Box 47 MTSU Murfreesboro, TN 37132

615-898-2469

Email: askmusic@mtsu.edu

Contact: Angela Satterfield, Music Admissions Web: mtsu.edu/music/sta .php Degree: B.M., M.A.

MUSIC LAB NASHVILLE

500 Wilson Pike Cir., Ste. 104 Brentwood, TN 37027

615-371-8086

Email: nashville@musiclab.co

Web: nashville.musiclab.co

Basic Rate: please call for info Services: piano, voice, guitar, Kindermusik and Musical Theatre

NASHVILLE JAZZ WORKSHOP

1012 Buchanan Street Nashville, TN 37208

615-242-JAZZ (5299)

Email: info@nashvillejazz.org

Web: nashvillejazz.org

Basic Rate: please call for info

NASHVILLE SCHOOL OF ARTS

Magnet School 1250 Foster Ave. Nashville, TN 37210

615-291-6600

Email: nsa@mnps.org

Web: nsa.mnps.org

Contact: Dr. Gregory Stewart Principal Basic Rate: please call for info

PELLISSIPPI STATE COMMUNITY COLLEGE

10915 Hardin Valley Rd. P.O. Box 22990 Knoxville, TN 37933

865-694-6400

Email: startstrong@pstcc.edu

Web: pstcc.edu

RHODES COLLEGE

Mike Curb Institute 2000 North Parkway Memphis, TN 38112

800-844-5969, 901-843-3786

Email: bassj@rhodes.edu

Contact: John Bass, Dir. of the Mike Curb Institute

Web: Rhodes.edu/academics/majors-minors/ music

SAE INSTITUTE OF TECHNOLOGY

7 Music Circle N. Nashville, TN 37203

800-872-1504, 615-244-5848

Email: nashville@sae.edu

Web: nashville.sae.edu

Program: Audio Technology Program (Diploma); Electronic Music Producer (Certificate)

Duration: Nine months full-time, 18 months parttime (Audio), six months part-time (Electronic Music)

Notes: SAE Institute was founded internationally in 1976 and has since grown to almost 50 locations worldwide. Courses focus on hands-on training to prepare graduates for a career in the audio industry.

Additional locations:

215 Peachtree St., Ste. 300 Atlanta, GA 30303 404-526-936

6 Fax 404-526-9367

Email: atlanta@sae.edu

Web: atlanta.sae.edu

16051 W. Dixie Highway, Suite 200 North Miami Beach, FL 33160

305-944-7494

Email: miami@sae.edu

Web: miami.sae.edu

218 W. 18th St., Fl. 4 New York, NY 10011

212-944-9121 Fax 212-944-9123

Email: newyork@sae.edu Web: newyork.sae.edu

820 N. Orleans, #125 Chicago, IL 60610 312-300-5685

Email: chicago@sae.edu Web: usa.sae.edu/campuses/chicago

SHUFF’S MUSIC

118 3rd Ave. N. Franklin, TN 37064

615-790-6139

Web: shu smusic.com

Basic Rate: please call for info

SKY STUDIOS

330 Franklin Road, Suite 276B Brentwood, TN 37027 615-371-1661

Email: info@skystudiostn.com Web: skystudiostn.com

Basic Rate: please call for info

THE UNIVERSITY OF MEMPHIS Rudi E. Scheidt School of Music Music Building, 3800 Central Ave. Memphis, TN 38152 901-678-3766

Email: musicadmissions@memphis.edu Web: memphis.edu/music

UNIVERSITY OF TENNESSEE Knoxville, Tennessee 37996

865-974-1000

Web: utk.edu/academics/art-performanceprograms W.O. SMITH MUSIC SCHOOL 1125 8th Ave. S. Nashville, TN 37203

615-255-8355

Web: wosmith.org Email: info@wosmith.org

WAVES, INC.

2800 Merchants Dr. Knoxville, TN 37912

865-909-9200 Web: waves.com

TEXAS

AUDIO ENGINEERING INSTITUTE

555 Abe Lincoln Rd. San Antonio, TX  78240 San Antonio, TX 78213

210-627-4780

Email: email@audio-eng.com Web: audio-eng.com

THE BLACK ACADEMY Dallas Convention Center Theater Complex 1309 Canton St. Dallas, TX 75201 214-743-2440

Email: info@tbaal.org Web: tbaal.org

Program: The Black Academy of Arts and Letters, Inc., is a multi-discipline arts institution whose mission is to create and enhance an awareness and understanding of artistic, cultural and aesthetic di erences utilizing the framework of African, African American and Caribbean Arts and Letters. Additionally, its purpose is to promote, cultivate, foster, preserve and perpetuate the African, African American and Caribbean Arts and letters in the Fine, Literary, Visual, Performing and Cinematic Arts.

DALLAS BAPTIST UNIVERSITY 3000 Mountain Creek Pkwy. Dallas, TX 75211

214-333-5316, 214-333-5311 Web: dbu.edu

DALLAS SCHOOL OF MUSIC, INC. 14376 Proton Road Dallas, TX 75244 972-380-8050

Email: lessons@dsminfo.com Web: dsminfo.com

DEL MAR COLLEGE

Department of Music Fine Arts Center 101 Baldwin Blvd. Corpus Christi, TX 78404

361-698-1211

Email: music@delmar.edu Web: delmar.edu/music

FRISCO SCHOOL OF MUSIC

9255 Preston Rd. Frisco, TX 75033

214-436-4058

Email: music@fsmfspa.com

Web: fsmfspa.com

Basic Rate: please call for info

INSTITUTE FOR MUSIC RESEARCH

UTSA Department of Music One UTSA Circle San Antonio, TX 78249

210-458-4354

Email: applymusic@utsa.edu Web: music.utsa.edu

LONESTAR SCHOOL OF MUSIC 4301 W. William Cannon Austin, TX 78749

512-598-4171

Web: lonestarschoolofmusic.com

Cost: please call or see web for info

Additional locations:  915 Ranch Road, 620 South Lakeway, TX 78734 512-808-9371

12010 Hwy 290 West #230 Austin, TX 78737 512-515-1214

MEDIATECH INSTITUTE

13300 Branch View Ln., Ste. 135 Dallas, TX 75234 972-869-1122

Email: dallas@mediatech.edu Web: mediatech.edu

Additional locations:  3324 Walnut Bend Ln. Houston, TX 77042 832-242-3426

Email: houston@mediatech.edu

MOORES SCHOOL OF MUSIC (MSM) University of Houston 3700 Cullen Blvd, Room 120 Houston, TX 77204-4039

713-743-5934

Email: musicadmissions@uh.edu Web: uh.edu/kgmca

SHEPHERD SCHOOL OF MUSIC, THE Rice University 6100 Main MS-532 Houston, TX 77005 713-348-3578

Contact: Phyllis Smith, Music Admissions Email: pws2@rice.edu Web: music.rice.edu

STEPHEN F. AUSTIN STATE UNIVERSITY School of Music Box 13043, SFA Station Nacogdoches, TX 75962 936-468-4602

Web: sfasu.edu/music

Contact: Gary T. Wurtz, Director  TEXAS STATE UNIVERSITY SAN MARCOS School of Music 601 University Dr. San Marcos, TX 78666 512-245-2651

Email: music@txstate3.edu Web: music.txstate.edu

UNIVERSITY OF TEXAS AT ARLINGTON 700 W. Greek Row, Room 101 Arlington, TX 76010 817-272-3471

Email: music@uta.edu Web: uta.edu/music

UNIVERSITY OF TEXAS AT AUSTIN

Sarah and Ernest Butler School of Music 2406 Robert Dedman Dr., Stop E3100 Austin, TX 78712 512-471-7764

Web: music.utexas.edu

UNIVERSITY OF NORTH TEXAS 1155 Union Circle #311637 Denton, TX 76203

940-565-2791

Email: music.information@unt.edu Web: music.unt.edu

UTAH

BRIGHAM YOUNG

P.O. Box 26410 Provo, UT 84602

801-422-8903

Email: music@byu.edu

Web: music.byu.edu

THE UNIVERSITY OF UTAH School of Music 1375 E. President’s Cir. Room 204 Salt Lake City, UT 84112

801-581-6762

Email: m.chuaqui@utah.edu

Web: music.utah.edu

Contact: Miguel Chuaqui, Dir. School of Music

VERMONT

VERMONT COLLEGE OF FINE ARTS 36 College St. Montpelier, VT 05602 866-934-VCFA

Contact: Carol Beatty, Program Director

Email: carol.beatty@vcfa.edu Web: vcfa.edu/music-comp

VIRGINIA

ACADEMY OF MUSIC 1709 Colley Ave, Ste 392 Norfolk, VA 23517

757-627-0967, 757-215-8633

Web: aomva.org/wp

Cost: please call or see web for info

Notes: 3 locations in the Norfolk area

CONTEMPORARY MUSIC CENTER 14155 Sullyfield Cir. Chantilly, VA 20151

703-817-1000

Email: info@contemporarymusiccenter.com

Web: contemporarymusiccenter.com

Notes: Our facilities have 27 private instruction studios. Our teaching sta , who are the finest in the area, are motivated and dedicated professionals. All are active within the music community and bring energy and enthusiasm to the educational process. Along with innovative teaching techniques, our sta prides itself on the ability to draw upon a wealth of practical knowledge and exp.

Additional location:

4410 Costello Way Haymarket, VA 571-261-5000

CUE STUDIOS CENTER FOR AUDIO ENGINEERING 109 Park Ave. Falls Church, VA 22046 703-532-9033

Email: school@cuerecording.com Web: centerforaudioengineering.com

JAMES MADISON UNIVERSITY School of Music 880 S. Main St., MSC 7301 Harrisonburg, VA 22807 540-568-6714

Contact: Dr. John Allemeier

Email: schoolofmusic@jmu.edu Web: jmu.edu/music

LIBERTY UNIVERSITY 1971 University Blvd. Lynchburg, VA 24515 434-592-6568

Email: som@liberty.edu Web: liberty.edu/academics/music

NATIONAL ASSOCIATION OF MUSIC EDUCATION 585 Grove Street Ste 145 #711 Herndon, VA 20170 800-336-3768, 703-860-4000

Web: nafme.org

NORTHERN VIRGINIA COMMUNITY COLLEGE

1000 Harry Flood Byrd Hwy. Sterling, VA 20164

703-845-6026

Email: jkolm@nvcc.edu Web: nvcc.edu

Contact: Dr. Jonathan Kolm

OLD DOMINION UNIVERSITY

2123 Diehn Center for the Performing Arts 1339 West 49 St. Norfolk, VA 23529

757-683-4061

Email: music@odu.edu

Web: odu.edu/music

Degrees: Music Production, Music Business, and Music Business/ Production.

RADFORD UNIVERSITY

801 E. Main St.

Radford, VA 24142

Contact: Dr. Timothy L. Channell, Chair

540-831-5177

Email: tchannell@radford.edu Web: radford.edu

UNIVERSITY SHENANDOAH CONSERVATORY

1460 University Dr. Winchester, VA 22601

540-665-4581

Email: admit@su.edu

Web: su.edu/conservatory

Program: Music, Recording, Composition, Sound Reinforcement, MIDI and Music Production

VIRGINIA TECH DEPARTMENT OF MUSIC

School of The Performing Arts 251B Henderson Hall Blacksburg, VA 24061

Contact: Jason Crafton 540-231-6713

Email: jcrafton@vt.edu

Web: vt.edu/academics/majors/music.html

WASHINGTON

BELLEVUE SCHOOL OF MUSIC

2237 140th Ave., N.E. Bellevue, WA 98005

425-401-8486

Web: bellevueschoolofmusic.com

Contact: Robert H. Wilson, Director Basic Rate: please call for info

EVERGREEN STATE COLLEGE

2700 Evergreen Pkwy. N.W. Olympia, WA 98505

360-867-6000

Email: admissions@evergreen.edu Web: evergreen.edu

JACK STRAW PRODUCTIONS

4261 Roosevelt Way N.E. Seattle, WA 98105

206-634-0919

Email: jsp@jackstraw.org

Web: jackstraw.org

Contact: Joan Rabinowitz, Exec. Dir.

JAM ACADEMY MUSIC SCHOOL

17802 134th Ave. N.E., Ste. 19 Woodinville, WA 98072

425-906-4766

Email: info@JamAcademy.com Web: jamacademy.com

MIRROR SOUND STUDIOS

301 N.E. 191st St. Seattle, WA 98155

206-440-5889

Email: info@mirrorsound.com

Web: mirrorsound.com

Programs: Audio Recording Course, 8-week program

MUSIC CENTER OF THE NORTHWEST 901 N. 96th St. Seattle, WA 98103

206-526-8443

Email: o ice@musiccenternw.org Web: musiccenternw.org

MUSIC WORKS NORTHWEST 1331 118th Ave. S.E., Ste. 400 Bellevue, WA 98005

425-644-0988

Email: registration@musicworksnw.org Web: musicworksnw.org

SEATTLE DRUM SCHOOL

12729 Lake City Way N.E. Seattle, WA 98125

206-364-8815

Email: georgetown@seattledrumschool.com Web: seattledrumschool.com

Additional location: 1010 S. Bailey Seattle, WA 98108

206-763-9700

SHORELINE COMMUNITY COLLEGE

Music Department, Bldg. 800 16101 Greenwood Ave. N. Shoreline, WA 98133

206-546-7632

Email: teggers@shoreline.edu Web: shoreline.edu

WEST VIRGINIA

MOUNTAIN MUSIC FESTIVAL

Ace Adventure Resort Concho Road Oak Hill, WV 25901

877-382-5893

Email: info@mountainmusicfestwv.com Web: mountainmusicfestwv.com

WEST VIRGINIA UNIVERSITY  School of Music 1436 Evansdale Dr. PO Box 6111 Morgantown, WV 26506

304-293-5511

Email: music@mail.wvu.edu Web: music.wvu.edu

WISCONSIN

LAWRENCE UNIVERSITY SCHOOL OF MUSIC 711 E. Boldt Way Appleton, WI 54911 920-832-7000

Web: lawrence.edu/conservatory

UNIVERSITY OF WISCONSIN - MADISON SCHOOL OF MUSIC 3561 Moose Humanities Bldg. 455 N. Park St. Madison, WI 53706

608-263-1900

Email: music@music.wisc.edu

Web: music.wisc.edu

Cost: please call or see web for info

UNIVERSITY OF WISCONSIN OSHKOSH  MUSIC DEPARTMENT  800 Algoma Blvd. Oshkosh, WI 54901

920-424-4224

Email: music@uwosh.com

Web: uwosh.edu/music

Degree: B.M. in Recording Technology

WISCONSIN CONSERVATORY OF MUSIC

1584 N. Prospect Ave. Milwaukee, WI 53202

414-276-5760

Email: info@wcmusic.org

Web: wcmusic.org

Cost: please call or see web for info

WYOMING

CASPER COLLEGE  School of Music

125 College Dr. Casper, WY 82601

307-268-2537

Contact: Eric Unruh, Dean

Email: unruh@caspercollege.edu

Web: caspercollege.edu/music

Contact: Eric Unruh, Dean, School of Fine Arts & Humanities

UNIVERSITY OF WYOMING Department 3037 Fine Arts Center, Rm 258 1000 E. University Ave. Laramie, WY 82071 307-766-5242

Email: musicdpt@uwyo.edu

Web: uwyo.edu/music

INTERNATIONAL

BANFF CENTRE, THE 107 Tunnel Mountain Dr., Box 1020 Ban , Alberta, Canada T1L 1H5 403-762-6100

Web: ban centre.ca

BERKLEE COLLEGE OF MUSIC CAMPUS AND SUMMER PROGRAMS

Palau de les Arts Reina Sofia – Anexo Sur Avenida Profesor Lopez Pinero, 1 46013 Valencia (Spain)  +34 963-332-802

Email: admissionsvalencia@berklee.edu

Web: valencia.berklee.edu/contact-us

Degree: B. M. or M. A.

CONSERVATOIRE DE PARIS

209 Ave. Jean Jaurès 75019 Paris, France +33 1 40 40 45 45 Web: conservatoiredeparis.fr

GUILDHALL SCHOOL OF MUSIC & DRAMA

Silk Street, Barbican

London EC2Y 8DT, United Kingdom

+44 20 7628 2571

Web: gsmd.ac.uk

HARRIS INSTITUTE

118 Sherbourne St. Toronto, Ontario, Canada, M5A 2R2

416-367-0178, 800-291-4477

Fax 416-367-5534

Email: info@harrisinstitute.com

Web: harrisinstitute.com

Degree o ered: Diploma

Cost: please call or see web for info

Program: The program names have changed. Producing/Engineering Program is now “Audio Production Program (APP)” and Recording Arts Management is now “Arts Management Program (AMP)”

Notes: The Faculty of 67 leading industry professionals is complemented by a wide range of music industry guest lecturers. Full-time programs are followed by Internship Placements at companies throughout the music industry and start in March, July and Nov.

INSTITUTE OF CONTEMPORARY

MUSIC PERFORMANCE, THE Foundation House 1A Dyne Rd. London NW6 7XG

+44 (0) 207 328 0222

Email: enquiries@icmp.ac.uk Web: icmp.ac.uk

Cost: please call or see web for info

Program: With over 25 years of experience in the sector, the Institute is considered by many to be one of the pioneers of contemporary music education in the country, leading the way with innovative courses and services. Home of the legendary Guitar Institute, we are respected throughout both the music education sector, as well as by the music industry!

MCGILL UNIVERSITY

Schulich School of Music

Strathcona Music Building 555 Sherbrooke St., W. Montreal, Quebec, Canada H3A 1E3 514-398-4535

Web: mcgill.ca/music

MOSMA

Mid-Ocean School of Media Arts 1588 Erin St. Winnipeg, Manitoba R3E 2T1, Canada 204-775-3308

Email: info@midoceanschool.ca Web: midoceanschool.ca

OIART

Ontario Institute of Audio Recording Tech. 500 Newbold St. London, Ontario N6E 1K6

519-686-5010

Email: inquiry@olart.org Web: oiart.org

RECORDING ARTS CANADA 1207 Rue Saint-Andre Montreal. Quebec 514-286-4336

Email: montreal@recordingarats.com Web: recordingarts.com

Additional location:  111 Peter St., Ste. 706 Toronto, Quebec 416-977-5074

Email: toronto@recordingarts.com

ROYAL COLLEGE OF MUSIC (LONDON) Prince Consort Rd. London SW7 2BS, United Kingdom +44 20 7591 4300

Email: info@rcm.ac.uk Web: rcm.ac.uk

Degree: Bachelor’s degree

SAE INSTITUTE OF TECHNOLOGY Melbourne, Australia 235 Normanby Rd. South Melbourne, VIC 3205 +61 (0)3 8632 3400

Fax: +61 (0)3 8632 3401

Email: melbourne@sae.edu Web: sae.edu.au/campuses/melbourne

Additional locations:  Australia Sydney, Brisbane, Byron Bay, Adelaide, Perth

United Kingdom

SAE House

297 Kingsland Rd. E8 4DD London +44-(0)3330-112-315

Email: enquiries@sae.edu

Web: sae.edu/gbr Oxford, Liverpool, Glasgow

France

Honey Street Building 229 9330 Aubervilliers +33 (0)148 11 96 96

Email: paris@sae.edu

Web: sae.edu/fra/fr

Germany

Homburger Landstr. 182 60435 Frankfurt/Main 49-069 57 70 16 40

Email: frankfurt@sae.edu Web: sae.edu/deu/de Hannover, Stuttgart, Munchen, Leipzig, Hamburg, Bochum, Berlin

TREBAS INSTITUTE

543 Yonge Street Suite 300 Toronto, Ontario, M4Y 15Y, Canada

416-966-3066

Web: trebas.com

Programs: Audio Engineering, Entertainment Management, Event Venue Management,  Film TV production

Additional location:

Montreal English, Montreal Francais 550 Sherbrooke St. W., Ste. 600 Montreal, Quebec, H3A 1B9 514-845-9610

Programs: DJ Arts Tech., Film TV Prod., Music Business Admin.,  Sound Design, Studio Recording Live Sound

UNIVERSITÉ BLAISE PASCAL 34, Ave. Carnot BP 185 63006 Clermont-Ferrand CEDEX France +33 (0)4 73 40 63 63 (standard) Fax +33 (0)4 73 40 64 31

Email: ri@univ-bpclermont.fr

Web: uca.fr

Degree: AA protools certification

Cost: Less than $10,000 per year including accommodations program and facilities: two & three year university program taught in a 2500 ft. professional studio.

UNIVERSITE DE MONTREAL’S FACULTY OF MUSIC

200 av. Vincent-d’Indy, Bureau B-301 Montreal (Quebec) H2V 2T2 514-343-6427

Email: musique@umontreal.ca

Web: musique.umontreal.ca

Degrees: Major in Digital Music, Minor in Digital Music, Bachelor in Electroacoustic Music,  Bachelor in Mixed Electroacoustic Music

UNIVERSITY OF TORONTO Faculty of Music Admission O ice - Room 145 Edward Johnson Building 80 Queen’s Park Toronto, Ontario, Canada M5S2C5 416-978-3750

Web: music.utoronto.ca

Degree: Two-year Master’s in Music Technology and Digital Media

ONLINE

BERKLEE ONLINE 1-617-747-2146

Email: advisors@online.berklee.edu Web: online.berklee.edu

EDDIE HADDAD

Lead Guitar Instructor Guitar Mastery Method 832-360-6851

Email: eddie@guitarmasterymethod.com Web: guitarmasterymethod.com

FULL SAIL UNIVERSITY

844-706-0683

Web: fullsail.edu/campus-and-online/onlinedegrees See Florida listing for details

SAVVY MUSICIANS ACADEMY  Web: savvymusicianacademy.com  Leah McHenry

SCHOOL OF SONG

Web: schoolofsong.org Email: jaclynu@grandstandhq.com

YOUSICIAN

Music singing and instrument lesson app with celebrity collaborators. Web: yousician.com Email: partnerships@yousician.com

Services: Unleash your inner musician with Yousician. The first step of learning to play an instrument? Wanting to play. Explore your love of music with us, whether you’re a complete beginner or a seasoned pro. Let’s play!

Directory of Vocal Coaches

Whether you’re a novice or a pro singer, this one-of-a-kind MC list enables you to connect with experts who can address your special needs as either a live singer or recording artist. The following information has been verified by the listees.

AMAZING SINGING AND VOICE COACHING

818-445-3969

Los Angeles, Ca 91342

Web: marquitawaters.com

Email: marquita@marquitawaters.com

Duration of Sessions: Sessions can be as short at 30 minutes to an hour or longer for recording artists. Rates: call for info

Notes: I specialize in correcting and eliminating straining. You will know how to keep your voice healthy and strong and perform with excellence from what I share with you. It’s time to bring out your talent and abilities, your dynamics on stage and in the studio, to break through any fears you may have.  With decades of experience on stage and recording I know what you go through with your voice and talent. I’ve experienced the problems you may run into like getting hoarse or losing your voice. We will do the work that eliminates that as I’ve done with many singers.

You deserve to continue the joy of singing throughout your life. To flourish as a singer. I’d love to help you so contact me. Author of I Will Not Grow Weary: Survival and Success - A Singer’s Guide to Singing

ANGEL DIVA MUSIC

Jan Linder Koda Los Angeles, CA 818-888-5885, SKYPE

Email: jan@angeldivamusic.com, angeldivamusic@gmail.com

Web: facebook.com/p/jan-linder-koda-angel-divamusic-100063496905042

Basic Rate: please call for info

Clients: Holly Robinson-Pete, Tim Fagan, David Hasselho Lou Rawls, Kathy Gri in, Ti any Alvord, Pia Zadora, Robert Guillaume, and 22 Grammy Winners.

Notes: Author of the book “Once More With Feeling”. Grammy-nominated singer- songwriter. Consultation will include pin-pointing what may be missing and what can be added to deliver riveting performances. Will also include how to tap into the truth of the storyteller, create characters from a deeper understanding and use this knowledge in the artist’s writing process. Jan will help to develop and brand the act, from songs to business. Award-winning singer-songwriter-actor- performance coach Jan Linder-Koda’s understanding of emotional truth and ability to convey this to her artist clients leads to profound breakthroughs.

APPELL VOICE STUDIO

#1 Pegasus Dr. Coto De Caza, CA 92679

949-382-5911, SKYPE

Email: thomas@appellvoicestudio.com

Web: appellvoicestudio.com

Contact: Thomas Appell

Services: vocal coaching, record production, music production songwriting, video production

Notes: Author of Can You Sing a HIGH C Without Straining?

ART OF SINGING

Studio City, CA

818-378-7841

Email: darlene@artofsinging.com, info@timeart.us

Web: darlenekoldenhoven.com, artofsinging.com

Contact: Darlene Koldenhoven Individualized programs include comprehensive training in voice technique, vocal coaching, ear-training, stage/ audition/studio performance, sight-singing, and specialized sonic therapy to enhance the potential of the ear and voice. Private lessons in Los Angeles or anywhere by Skype/Zoom/Facetime. Author of “Tune Your Voice: Singing and Your Mind’s Musical Ear,” a 94 page book with 7 instructional CDs &/ or downloads ($49.95) endorsed by faculty from Berklee, Juilliard, NYU and more, available at TuneYourVoice.net or in retail music stores. For more info on Darlene, see her website.

Duration: 30/45/60 min. lessons.

ARTIST VOCAL DEVELOPMENT

West Hills, CA

818-430-3254

Email: sbensusen@socal.rr.com

Web: steviebensusen.com (click on Artist Vocal Development)

Basic Rate: Please call for rates

Clients: Jordan Knight (New Kids On The Block), Nichole Cordova (Girlicious), Candice Craig (Nicki Minaj), Velvet Angels, O Town, No Mercy, Shola Ama, A1, Skyler Stecker, Indiana Massara

Services: Stevie Bensusen is a Multiplatinum Vocal Producer and Live Performance Vocal Coach who has vocal produced the above artists and others. With a unique approach, Stevie develops singers in the recording studio and in live performance rehearsals whose goals are to make records, play live and have no fear when performing in front of an audience. The definition of a great singer is what you do on stage not in the recording studio where you can take as long as you need and use technology to get your vocal right. Call for a free consultation.

AUDREY BABCOCK

Los Angeles, CA

917-572-4494

Singer-Songwriter, Jazz, Classical, World, Musical

Theatre

Email: audrey@audreybabcock.com

Web: audreybabcock.com

Notes: As a teacher and coach, Ms. Babcock has worked extensively with Emerging Artists all over the globe for the last 10 years. From Opera to Broadway, World Music to Singer-Songwriter and Jazz. She has also worked with actors and public speakers to bring out the full range of what they can convey through the voice. She uses a technique firmly rooted in the classic teachings of Bel Canto, but gives singers the tools to use their instrument in a satisfying, powerful, and healthy manner, across the board in any style they choose.

BEVERLY BREMERS’ VOICERCISE

5159 Shotwell Street Woodstock, GA 30188

Additional Location: Lake Forest, CA 949-874-0616

Email: bev@voicercise.net

Web: voicercise.com

Basic Rate: $75/hr. for private instruction online only via Zoom, classes also available

Clients: all levels - adults and children

BOB AND CLAIRE CORFF VOICE STUDIOS

323-387-9267 (Bob), 323-387-9276 (Claire)

Email: cor voice@gmail.com, clairecor @aol.com

Web: cor voice.com

Basic Rate: please call for info

Clients: Film TV & Stage Personalities, Sports Broadcasters (We are now working Coast to coast and internationally using Zoom It works great.)

BOB GARRETT

Studio City, CA

818-642-1691, Insta: Itsbobgarrett Facetime & Zoom, Facebook Email: bobgarrett5@gmail.com

Web: bobgarrett.net

Basic Rate: call

Clients: Vanessa Hudgens, Channing Tatum, Katy Perry, Garrett Clayton, Elle Fanning, American Idol, The Voice, Drew Barrymore, Jessica Lange, Gerard Butler, Janet Jackson, Brian Stokes Mitchell, Evan Peters, Sarah Paulson, Kathy Bates, Judy Davis, et al.

BRAD CHAPMAN

Las Vegas, NV

Vocal Coach

310-405-9162

Email: bradchapmanvocals@gmail.com, brad@ bradchapmanradicalvocalcoach.com

Web: bradchapmanradicalvocalcoach.com/home

Contact: Brad Chapman

Basic Rate: Please ask

Services:  I do vocal coaching, vocal preproduction and vocal production for over 45 years and developed my signature technique for producing FEEL while working with producers and artists such as Quincy Jones, David Kahne and 100+ Grammy winners. Producers, managers and artists know that the FEEL and emotional expression of a singer’s performance is the number one priority to the listener. Everything else pales in significance. I always produce and demonstrate the FEEL in the style of the artist.

Clients: Stevie Wonder, Michael Jackson, Prince, Madonna, Annie Lennox, Natalie Cole, James Ingram, Al Jarreau, Nina Simone, Frankie Valli, Paul Stanley of KISS, Vince Neil of Motley Crue, Annie Lennox, Peter Cetera, Anita Baker, Tia Carrere, REO Speedwagon, Expose.’  Grammy voting member and P&E Wing member

BRECK ALAN

Nashville, TN

SKYPE or Face Time

Email: breck@breckalan.com

Web: bodysinging.com

FB: facebook.com/bodysinging

Contact: Breck Alan

Basic Rate: call or email for rate, SKYPE

Clients: Rachel Platten, Andy Grammer, Baby Ariel, Drake White, Ryan Hurd, OAR, String Cheese Incident, Sally Taylor, Steve Aguirre, Brazilian Girls and many more.....

BRISTOL RECORDING STUDIOS

238 Huntington Ave. Boston, MA 02115

617-247-8689, 800-603-0357

Email: info@bristolstudios.com

Web: bristolstudios.com

Contact: Jason Blaske

Basic Rate: call for info

Services: Audio recording and production courses, professional internships

CCVM/CARI COLE VOICE & MUSIC CO.

Celebrity Voice Coach, A&R, and Label Services

401 E. 34th St., Ste. #N19K New York, NY 10016

212-532-0828

Email: info@caricole.com

Web: caricole.com

Basic Rate: please visit website and download application for info Services: Online programs, Private Consulting: Vocal Technique & Ar- ranging. Songwriting, A&R, Branding, Management, Marketing, Artist & Music Career Development. White Glove Label Services: Branding, Styling Team, CCVM Songwriting Team (with hit songwriters), A&R, Record & Productions Services.

COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 70433

985-590-4545

Web: laapa.com

Basic Rate: please call for info

Additional locations:  105 Campbell Ave. #3 Mandeville, LA 985-674-2992

2020 Dickory Ave., Ste. 200 Harahan, LA 504-738-3050

CYDNEY WAYNE DAVIS VOCAL ARTS STUDIO/ HAPPNIN’ HOOKS MUSIC PRODUCTIONS Inglewood, CA 90301 424-261-2393

Email: cydneywaynedavis@gmail.com

Web: cydneywaynedavis.weebly.com

Basic Rate: Private Vocal Lessons – in person: $85 an hour; Virtual-Zoon: &75 per hour for singers and actors, Performance coaching for recording artists and stage performers, Small Group Classes: Vocal Basics, Songwriting Basics, Pro Singers Workshop, One Day Workshop Master Classes: Music Business/ Music Theatre/ Stage Performance.  Available for Live Vocal Performance Coaching for stage and Vocal Producer for studio recordings. Call for rates.

DANIEL FORMICA VOCAL LESSONS

Morro Bay and Arroyo Grande Area 310-213-0700, SKYPE Email: yourvocalteacher@gmail.com Web: yourvocalteacher.com

Contact: Daniel Formica Services: specialize in vocal technique, rehab, no short cuts: rock, pop, etc.

DANIEL KNOWLES VOICE STUDIO

West Hollywood Speech-Language Pathology/ Voice Center 971 N. La Cienega Blvd., Ste. 209 West Hollywood, CA 90069 310-927-1079, SKYPE

Email: daniel@danielknowles.com Web: danielknowles.com

Contact: Daniel Knowles, MAMuEd., MA CCC-SLP

Basic Rate: $125 an hr., $575 block of 5 lessons, $1100 block of 10 lessons Services: Licensed Speech-Language Pathologist/ Voice Therapy/Singing Voice Specialist/Singing Teacher. Voice rehabilitation for speech and singers. Professional vocal technique for singers from beginners to professionals.

Clients: Local and nationally recognized (album charts) working recording and performing singers. Artist privacy is respected.

DARCI MONET VOCAL STYLE STUDIO Valley Glen, CA 818-209-6432, IN-PERSON/ZOOM/SKYPE Email: minxmusic@aol.com Web: singlikeyoumeanit.com

Rates: see website

Services: Elite Level intuitive private voice, performance, songwriting and career coaching using Darci Monet’s own “Tech and Truth Method” for voice with integration of mindset and self-development techniques. All contemporary styles, ages five and up. Vocal group coaching, recording session coaching/vocal production, audition and tour prep are also available. Casual, fun, safe and positive environment!

#SingLikeYouMeanIt

**Mention this listing for a special discount

DAVID COURY

323-965-1488

Email: info@howardfine.com

Web: howardfine.com/voice-coach

Basic Rate: please call for info

Notes: Singing and Speech for Actors

DEANNA COLON

Deanna’s Vocal Studio

International Vocal Coach - in Person (Las Vegas) & online 323-591-9829

Email: lessons@iamdeanna.com

Web: iamdeanna.com

Notes: Quarter semi-finalist on season 8 of America’s Got Talent, Session Background for Nick Jonas, Justin Bieber, Celine Dion, et al.

Extensive TV & Radio Commercial singing work

DEBORAH ELLEN VOCAL STUDIO

Simi Valley, CA and via video conferencing 310-422-9166, SKYPE

Web: deborahellen.com

Basic Rate: please call for info

Notes: Extraordinary vocal technique. Artist Development Opportunities. Many successful placements of student vocals in film/TV.

DIAMANTE VOCAL STUDIO

605 N. Beachwood Dr. Los Angeles, CA 90004

323-466-7881

Email: diamantesings@yahoo.com

Web: facebook.com/eduardo.diamante.31, backstage.com

Basic Rate: please call for info

Clients: all levels

Style: Seth Riggs/S.L.S

DIANE POSTELL

854 South Green Circle Venice, FL  34285 443-803-0545

Email: dmpostell@gmail.com

Web: postellproductions.com, dianepostell.com

Services: Vocal coaching, pre-production vocals, auditioning, vocal arrangements, solid vocal technique, lyric writing/songwriting, vocal repair for pro and semi-pro, teens, young artists, vocal producers, special needs teens. Also teach piano and guitar lessons. Teach online anywhere. Online Voice Classes.

DIVAS IN TRAINING

Hollywood--Las Vegas 888-340-7444, 01-702-900-5621

Email: premierwest@earthlink.net

Web: divasintraining.com

Basic Rate: Varies. Industry package discounts.

Clients: Jin Jin Reeves (Hitzville), ZDoggMD, Michael Ross Nugent, May J,  Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo Alejandro

DRAGON II ENTERTAINMENT

Doug Dee Anthony La Verne, CA 909-599-1540

Web: dragoniientertainment.com

Email: doug@douganthony.com

Basic Rate: please call for info

Clients: all levels, now including voiceover clients Services: visit the website for all the details and more information.

ELISABETH HOWARD

Director, Vocal Coach

800-829-SONG, (7664)

Email: elisahoward@gmail.com

Web: vocalpoweracademy.com, vocalpoweracademy.com/pages/elisabeth Clients: Vocal coach for America’s Got Talent, STING, the Police, Lionel Richie, Priscilla Presley, Vocal Power Instructors throughout LA; Author: Vocal Power Singing Method Toolkit for Singers at vocalpower.com

Rates: Call for rates

Notes: BS, MS - Juilliard School of Music

Locations: Los Angeles, Santa Clarita, Las Vegas, Houston, Dallas, throughout Italy.

ELLEN JOHNSON/ VOCAL VISIONS

Near Grass Valley/Nevada City and Yuba, Placer & Sacramento County Area, CA

Online Lessons Available

Email: ellen@ellenjohnson.net

Web: vocalvisions.net

Basic Rate: Go to website for info

Clients: Private lessons for all styles, recording studio coaching, audition preparation, improvisation, master classes, and jazz workshops.

Note: Author of The Vocal Warm Up CD/Download, Vocal Builders, You Sing Jazz and Jazz Child: A Portrait of Sheila Jordan

EVELYN HALUS

Los Angeles, CA 90036

323-935-4420, SKYPE, Zoom

Email: evelynhalus@aol.com

Web: evelynhalus.com

Basic Rate: call for info

Clients: Jennifer Lopez, Matthew Morrison, Jessica Biel, Megan McGinnis, Neil Patrick Harris, Cher, Nathan Lane, Paula Abdul, Olivia Newton-John, Depeche Mode, Lindsay Mendez, Sutton Foster and many Broadway vocalists, etc.

Accepting new students of all levels.

THE FAIRBANKS SUMMER ARTS FESTIVAL, INC., 600 University Avenue

Fairbanks, AK 99708

PEISHA MCPHEE

907-474-8869

ROGER BURNLEY

INTERNATIONAL SCHOOL OF MUSIC

Los Angeles, CA 90038

THE ARMENIAN FOLK CULTURAL CENTER

Clients: Jin Jin Reeves (Hitzville), ZDoggMD, Michael

LEE LONTOC

Venice, CA

VALERIE FAHREN

Studio City, CA

323-848-4058, 323-461-2206

Ross Nugent, May J, Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo

323-965-7664

Email: info@fsaf.org

Web: fsaf.org

Email: peishamcphee@gmail.com

Basic Rate: please call for info

Web: peishamcphee.com, twitter.com/peishamcphee, instagram.com/peisha.mcphee

Basic Rate: please email for information

FAITH RUMER-THE ARTIST FIRST Burbank, CA

310-948-4335

Email: transform@theartistfirst.com

Web: theartistfirst.com

Basic Rate: please call for info

Clients: all levels, teaches Grammy- winning recording artists, over 30 years coaching, Masters Degree in voice therapy.

GEZA X RECORDS

310-601-8707

Clients: from amateurs to professional actors and singers Services: the art of vocal technique, styling, patter, subtext and stage presence. Specializing in pop, belt and legitimate placement. Peisha McPhee is a celebrity coach who’s worked for American Idol, and on Disney’s Moana Owner of McPhee International vocal studios in Studio City. Mother of NBC Smash and Broadway’s Waitress, Katharine McPhee, and American Idol vocal coach, Adriana McPhee, coached for Disney movie ENCANTO.

Web: gezaxrecords.com

PHILIP PELKINGTON VOCAL STUDIO

Email: gezaxrecords@gmail.com

212-879-0229

New York/LA Studios

Services: Vocal Coach, Mixing, Mastering, Vinyl Pressing, Video Production

Contact: Geza X, Larva X Basic Rate: See Website

Email: info@philippelkington.com philippelkington.com

Contact: Philip Pelkington

GFIRE STUDIOS

Basic Rate: contact by email for rates

Austin, TX 78723

512-350-6181, Zoom, FaceTime, SKYPE (djgfire)

Email: gfiremusic@gmail.com

Web: gfiremusic.com

Contact: gfire

Basic Rate: $90/hour, $45/half hour

Services: Professional vocal technique for singers from beginners to profes- sionals. Specialty, working with and mentoring children and teens. Will do Skype lessons. Pop, R&B, cabaret, Broadway, live performance, recording studio coaching and in-studio vocal production for CD projects, etc.

Clients: Lilla Crawford, Bea Miller, Abigail Dylan Harrison, Brianna Mazzola and Dana Gaier. Children performing on Broadway and National Tours, as well as film, tv and recording.

PRO MUSIC LESSONS BY FAWN

Los Angeles, CA 90068

Services: Full vocal training and coaching, 26 years professional singing and piano teaching, currently teaching “Yoga For the Voice,” a unique and fun system of applying the science of voice with ancient yoga breathing techniques to truly realize one’s full vocal capabilities. Lessons in person or over the phone or the internet via Zoom, FaceTime, SKYPE

323-496-8704

Email: pianovoicesongwriting@yahoo.com

Web: fawn.rocks, facebook.com/promusiclessons, fawnmusic.com

Basic Rate: Please visit the website. Lessons: (30 min, 45 min, 60 min, 90 min sessions)

Clients: My students have performed in  internationally touring bands, on the stage of the Grand Ole Opry, made records in R&B, rock, country, singer-songwriter, pop and other styles, performed excellently in American Idol and other auditions, including musical theater auditions, learned to go from zero to karaoke in as little as three months, gone from being “tone deaf” to having full sets of repertoire in which they sing easily and in tune.

GOODRICH VOCAL STUDIO

4001 W. Magnolia Blvd. Burbank, CA 91505

818-216-3944, Zoom

Email: mike@mikegoodrich.com

Web: mikegoodrich.com

Basic Rate: please call for info

GUITAR SHOWCASE/S.M.I.

3090 S. Bascom Ave. San Jose, CA 95124

Services: International private vocal, piano, songwriting, vocal rehabilitation and speech coach. All ages accepted and styles range from Pop, Opera, Classical, Broadway, Jazz, Rock, R&B, Hip-Hop, Rap, Ragtime, Folk, Big Band and Movie Scoring. Vocal Production and Editing in Logic; Body Programming/ Seth Riggs/Fawn’s Original techniques. Singing, Speaking Voice, Speech, Vocal Rehabilitation, Rap, Sales Presentation, Motivational Speaking, Performance, Proper Vocal Placement, Music Theory, Ear Training, Lyric Writing, Composing, Melody Writing, Classical, Pop and Jazz Piano. Over 20 yrs experience. The Voice, America’s Got Talent, American Idol, X Factor, Grammy, Oscars, more. (ASCAP. BMI and NARAS Grammy member)

408-377-5864

ROBERT LUNTE & THE VOCALIST STUDIO

Email: smi.admin@guitarshowcase.com, contact@ guitarshowcase.com

Web: guitarshowcase.com

Belting & Head Voice Training Specialist 425-444-5053

Contact: Jim Brunom Amanda Dieck

Email: robert@thevocaliststudio.com

Styles: all vocal styles

Web: thevocaliststudio.com

Basic Rate: call for info

Contact: Robert J. Lunte

Basic Rate: see website for rates

INGRID PRANIUK

626-968-4071

Web: ingridpraniuk.wixsite.com/vocal-studios

Basic Rate: please call for info

Clients: The privacy of the client is respected; no name is ever listed nor mentioned. Major label artists/major movie industry actors.

Services: Certified private vocal instructor/vocal coach in all genres (rock, pop, electronica, hardcore metal/ industrial/screaming, classical, musical theatre). Specialized in training professional musicians to survive touring/recording, training actors in music (singing, playing piano and other instruments) and treating vocal problems in singing and speech. Specialized and Certified in Vocal Health and in Holistic Health.

Clients: The TVS Method specifically focuses on training techniques designed to build the strength and motor skills for register bridging and belting in the head voice. TVS is an Internationally recognized voice training school for singing vocal techniques, public speaking, teacher training and vocal related events. Robert is also the author and producer of the critically acclaimed vocal instruction training online course and book, “The Four Pillars of Singing” and nine online courses for singers. The TVS Method is practiced in 175 countries worldwide and 100,00+ students. Protege of the late Maestro David Kyle who trained Ann Wilson (Heart), Layne Staley (Alice in Chains), Geoff Tate (Queensryche), Chris Cornell (Soundgarden), Ronny Munroe (Metal Church), including: Classical training Dr. David Alt, Estill Training with Peter Egan, Phonetics and Formats with Steve Fraser.

Email: info@rogerburnley.com

Web: rogerburnley.com

662 W. Broadway  Unit A Glendale, CA 91205

Basic Rate: call or see website for rates

818-548-7959

Clients: all levels, especially good with beginners.

Client list available on request.

Email: contact@ismglendale.com, interschoolofmusic@gmail.com

Notes: also specializes in vocal repair and rehabilitation

Web: facebook.com/ismglendale, crescendo.la

Basic Rate: please call for info

ROSEMARY BUTLER

JAMES LUGO’S VOCAL ASYLUM

818-916-1857

615-540-9108, SKYPE

Email: vocalstarr@aol.com

Email: james@jameslugo.com

Web: rosemarybutler.com

Web: jameslugomusic.com

Basic Rate: please call for info

Contact: James Lugo

Basic Rate: please call for info

Services: Specializing in rock and pop vocals. Pro Tools studio on premises.

Clients: A Fine Frenzy, the Veronica’s, 311, the Smashing Pumpkins, MTV, VH1

Clients: all levels, kids welcome. Celebrity clients include Linda Ronstadt, Jackson Browne, CSNY, Bruce Willis, Oasis, Hilary Duff, Celine Dion, Bonnie Raitt, James Taylor, Bruce Springsteen, Bob Seger, Sara Brightman, Julio Iglesias, Vanessa Williams, Joni Mitchell, Tina Turner, Andrea Bocelli and Eagles.

Notes: Free lessons with package deal.

JEFFREY ALLEN VOCAL STUDIO

Web: je reyallenvocalstudio.com

SALLY MORGAN

Email: j.allen.studio@gmail.com

St Petersburg, FL

Email: singlikeyouspeak@gmail.com

Web: singlikeyouspeak.com

Basic Rate: see website

Services: Private Lessons, Online Singer Training and Products. Sing Like You Speak® to sound amazing!

Contact: Je rey Allen, Associate Professor of Practice at USC Thornton School of Music, is an internationally-known voice teacher, experienced stage performer, lecturer and author. Private Instruction - In-studio or Online

JOHN DEAVER

SETH & MARGARETA RIGGS

North Hollywood, CA

135 Grammys - unique approach 323-938-4780

818-469-6281

Web: riggsvocalstudio.com

Email: vocalcoach1@gmail.com

Web: johndeaver.com

STEPHANIE SPRUILL

Basic Rate: please call for info

Clients: All levels. Sara Bareilles, Daniel Powter, Cher, Brendan Fraser, Heather Graham, Kimiko Kasai, Michelle Pfei er, Michael Sembello, Vonda Shepard, Pop Stars and many working singers and musicians.

JOHN FLUKER VOCAL STUDIOS

747-500-9770

Spruill House Music, School of Voice and Artist Development Pasadena, CA 91109 626-797-2429, SKYPE, Zoom classes are available Email: spruilhous@aol.com Web: spruillhousemusic.com, facebook.com/ stephanie.spruill, twitter.com/stephaniespruil, Instagram: @spruilhous

Basic Rate: please call for rates

Email: johnfluker@mac.com

Web: johnfluker.com/contact

Basic Rate: please call for info

Clients: Julio Iglesias, Michael Jackson, Whitney Houston, Placido Domingo, Elton John, Aretha Franklin, Mariah Carey, Enrique Iglesias

Notes: My book and Ebook is 17 Points To Longevity In Show Business

Clients: Jennifer Lopez, Roselyn Sanchez, Kim Fields, Nolan Sotillo, Darren Romeo, served as MD for Gladys Knight, all levels.

KAREN JENNINGS 2019 Hyperion Ave. Los Angeles, CA 90027

319-621-4302, Zoom, FaceTime, Skype

SUE FINK 11209 National Blvd. Unit 118 Los Angeles, CA 90064

Email: karen.jennings@csun.edu

310-943-9231, SKYPE

Email: winifredneisser@angelcitychorale.org, contact@angelcitychorale.org Web: angelcitychorale.org

Basic Rate: please call for info

Clients: all levels, singing lessons, workshops, showcasing, group classes at McCabes; also call for auditions for the Angel City Chorale.

LEANNE SUMMERS

Vocal Coach

Basic Rate: please call for info; sliding scale available Services: Expert instruction in vocal technique for contemporary/ non-classical singing styles (pop, rock, R&B, jazz, country, etc.), including breath control, chest mix techniques, range extension, techniques to increase strength/ stamina and improving vocal technique without changing the singer’s style. Certified instructor of the Dante Pavone Vocal Method. Also, voice therapy and singing voice rehabilitation, rehabilitative and corrective vocal techniques for damaged/problematic voices (licensed voice/speech therapist). All levels of singers are welcome.

P.O. BOX 57965 Los Angeles, CA Web: facebook.com/leannesummersmusic, facebook. com/allthingsvoice Email: hello@leannesummers.com

Notes: ALL THINGS VOICE

SINGER - VOCAL COACH - PRODUCER - SPEAKER

Clients: Artists with Warner Bros., Sony, RCA, Interscope, Black Top Records, Hollywood Records, Restless Records, Universal, Mercury, Quincy Jones Music and more.

LB MUSIC SCHOOL

SUSAN DIANE HOWELL MBA, Vocal Director and Coach Instructor MBA, Vocal Director and Coach Instructor

243 Central Avenue Medford, MA 02155

781-874-1813

Web: lbmusicschool.com

ACADEMY OF DIVAS ARTS (Divas In Training) Las Vegas Studio (888) 340-7444, (702)900-5621 (Las Vegas), 818 231 1491(Intl) Email: premierwest@earthlink.net Web: divasintraining.com/about-our-director

Additional location: 577B Walnut St. Lynn, MA 01905

Basic Rate: Varies. Industry packages.

Email: info@hollywoodvocalstudios.com

Alejandro

Web: hollywoodvocalstudios.com

SUZANNE KIECHLE

Basic Rate: please call for info

Studio City, CA

818-769-5880

Services: vocal coach and trainer specializing in rock, R&B, pop and musical theater.

Email: skiechle@aol.com, SKYPE

Web: suzannekiechle.com

LIS LEWIS

The Singers Workshop Valley Village, CA 91607

Basic Rate: please call or see website for info

213-880-5123

Clients: all levels, recording artists and Broadway, film performers for vocal coaching and repair. Film and Television.

Email: lis@thesingersworkshop.com

Web: thesingersworkshop.com

TAMARA ANDERSON

Progressive Vocals

Basic Rate: please call for info; In-person and FaceTime lessons available.

Kenosha, WI

847-533-5548, SKYPE, Zoom, Facetime

Email: voxdoc@comcast.net, hello@ progressivevocals.com Web: progressivevocals.com

Basic Rate: Check website or call

Clients: Rihanna, Miguel, Demi Lovato, Gwen Stefani, Britney Spears, Courtney Love, the Pussycat Dolls, All American Rejects, Linkin Park, Jack Black, Jimmy Eat World, Colbie Caillat, Bryson Tiller, Katseye, PinkPantheress and Kali Uchis Vocal technique - all pop styles; performance coaching.

Services: pop, rock, country, blues, jazz and musical theater

LISA POPEIL’S VOICEWORKS Fillmore, CA 93015

TANISHA HALL

818-634-3778, SKYPE/ZOOM

Email: lisa@popeil.com

White Hall Arts Academy

Web: facebook.com/voiceworks, popeil.com

Basic Rate: please call for info

2812 W. 54th St. Los Angeles, CA 90043 424-235-0665

Email: mail@whitehallacademy.org

Clients: all levels, technique expert and performance coach, songwriting/ recording.

Web: whitehallacademy.org, facebook.com/ whitehallartsacademy

Notes: MFA in Voice, creator of “The Total Singer” instructional prof.

Basic Rate: $35 and up

LOS ANGELES MUSIC & ART SCHOOL

3630 E. 3rd St. Los Angeles, CA 90063

323-262-7734

Email: stayintune@lamusart.org

Web: lamusart.org

Basic Rate: 30-minute private music lesson for a child (17 and under): $18 30-minute private music lesson for an adult (18 and over): $20

Services: Monday - Friday 2 p.m. - 8 p.m. and Saturday 8 a.m. - 4 p.m.

LOYOLA MARYMOUNT UNIVERSITY

Clients: Tanisha Hall founded the White Hall Arts Academy - a contemporary performing arts academy located in South Los Angeles. Through the White Hall Arts Academy, Tanisha has reached thousands through individual music lessons, group classes and community programs. Tanisha’s clients are Billboard chart-topping recording artists, Grammy winners and have been featured on The Voice, American Idol, America’s Got Talent, on Broadway tours, major network and Netflix series as well as many other movies, series and commercials. Prior to launching WHAA, Tanisha enjoyed a career working in many aspects of the music industry.

*B.M. in Voice and Music Business ManagementBerklee College of Music.

College of Communication and Fine Arts 1 LMU Dr. Los Angeles, CA 90045-2659

310-338-5853

TERI DANZ

Web: cfa.lmu.edu

Email: pamela.wimberly-willis@lmu.edu

Basic Rate: please call for info

YouWorld Music/Bleach Records West Los Angeles 310-283-9688

Email: vocalcoach@teridanz.com

Web: teridanz.com

Instagram & Facebook – teri.danz

MANDEVILLE SCHOOL OF MUSIC 105 Campbell Ave. #3 Mandeville, LA 70448

Basic Rate: call or email for info, packages available

985-674-2992

Web: laapa.com

Basic Rate: please call for info

Clients: artists, singer-song-writers, vocalists, bands, actors - for pop vocal technique, performance coaching, artist development, studio vocal recording/ producing. 3 students in the Billboard Top 20 in 2019.

Credits: Winner – Global Excellence Awards 2020 - Vocal Coach of the Year (West Coast USA).

MARK BAXTER VOCAL STUDIOS 617-251-6002

Email: mbaxter@voicelesson.com

Web: voicelesson.com

Basic Rate: please call for info

Named a Top Vocal Coach by Backstage Magazine, and a 2018 Best Singing Teacher by Lessons.com. 2022 student signing to a UK label and 3 students in the Billboard Top 20 in 2019, club hit recording artist, national press (Women Who Rock), industry and student testimonials, nominated Best Female Vocalist All Access Music Awards. Author of music/ vocal articles, book: Vocal Essentials for the Pop Singer: Take Your Singing from Good to Great (Hal Leonard Corp.).

Clients: all levels. Aerosmith, Journey, Van Halen, Buckcherry, Jake Owen, Velvet Revolver, Machine Head, Goo Goo Dolls, Vampire Weekend, Still Woozy, Cuco, Jonny Lang, Tonic, Lewis Del Mar, members of the RENT cast and Trans-Siberian Orchestra, Aimee Mann, the Dresden Dolls. Author of The Rock- NRoll Singer’s Survival Manual, instructional video: The Singer’s Toolbox, and instructional CD, Sing Like an Idol.

UAF SUMMER SESSIONS & LIFE-LONG LEARNING

University of Alaska - Fairbanks 216 Eielson Bldg. P.O. Box 757540 Fairbanks, AK 99775

907-474-7021, 866-404-7021

Email: summer@alaska.edu

Additional locations: Online (Zoom, Skype, FaceTime) 10852 Burbank Blvd. North Hollywood, CA 131 W. 72nd St. New York, NY

Web: uaf.edu/summer

Basic Rate: please call for info

MARK JOHNSON Nashville, TN 615-587-2516

The L.A. Valley Area, CA

818-815-8584

Email: marklaneband@gmail.com

Email: valeriefahren@aol.com

Web: valeriefahren.com

Web: theboardfoundation.com

Contact: Valerie Fahren

Contact: Mark

Rates: call for rates

Basic rate: different packages available, please call for info

Clients: All Ages, All Levels (Skype & Zoom)

Styles/Specialties: Guitar lessons, All Styles, Ear Training, Songwriting, Music Theory, Music Business/Marketing, Voice/Vocals, Bass, Piano

Clients: Sabrina Bryan (Cheetah Girls), Juliette Lewis, Alison Sudol, Erika Christensen

ERIC VETRO

MARTA WOODHULL

Celebrity Vocal Coach

Los Angeles, CA

Web: ericvetro.com, instagram.com/ ericvetrovocalcoach

Singing For a Living Downtown, Los Angeles

818-752-0833

Email: marta@singingforaliving.com

Web: singingforaliving.com

Clients include: Ariana Grande, Sabrina Carpenter, John Legend, Shawn Mendes, Camila Cabello, Rosalía VOCAL STYLINGS

Culver City, CA 310-737-9387

Email: vocalstylings@gmail.com

Web: vocalstylings.com

Contact: Lisa Cushing

Basic Rate: please call for info

Basic Rate: Private lessons, $350/session on location. Call for project pricing. ZOOM available.  Specializing in double and triple threats, actors, dancers, singer-songwriters. Vocal technique, vocals for film roles, soundtracks, studio production and recording. Grammy-nominated arranger, educated in New York, Ms. Woodhull is one of Hollywood’s most respected coaches. Clients have won Tonys, Emmys, Grammys, Oscars.

Clients: Private lessons, group sessions, in studio vocal coaching for R&B, rock, pop, blues, etc.

Clients: Lea Salonga, Paula Abdul, Katharine McPhee, Benicio Del Toro and more.

MICAH’S PROFESSIONAL

VOCAL COACHING

VOICE LESSONS HOUSTON 13505 Westheimer Rd. Houston, TX 77077 713-291-6373

Email: winnie@voicelessonshouston.com

849 S. Broadway Los Angeles, CA 90014

Web: voicelessonshouston.com

Basic Rate: please call for info

Email: scheduling@micahprovocals.com, micah@ micahprovocals.com

Web: micahprovocals.com

THE VOICE MASTERY

Address: Newbury Park, CA Phone: 818-964-0995 or 516-754-1909

Services: Online lessons via Zoom, Skype, and Face Time. National and International vocal lessons. Clients: Please visit website for client list, rates and info

Email: office.thevoicemastery@gmail.com

Web: www.thevoicemastery.com

MICHAEL LAVINE

Services: Sing and speak with confidence!

165 W. 66th St., Ste. 3U New York, NY 10023

917-826-2116, SKYPE. Zoom

Email: broadwaymhl@aol.com

Web: michaellavine.net

Basic Rate: $50 per hour

Notes: Coaches on both coasts

MONICA MARGOLIS

Vocal and music producer, professional singer, artist, and music mentor Lyn can help you elevate your singing with power through her expert techniques that amplify confidence, refine pitch, improve tone and flexibility, and help you unlock the power of your true voice. Tap into your creative unique sound and learn to communicate effectively with the language of music! Offerings include vocal training, performance, songwriting coaching, music mentoring, ear training and more! All ages, genres, welcome! In person or online, Zoom or FaceTime lessons.

Vocal Coach/Singing Instructor San Fernando Valley, CA 818-599-5297, SKYPE

Web: facebook.com/people/monicamargolis-singing-instructor-vocalcoach/100076243083201/?locale=hi_in

Email: info@monicamargolis.com

Notes: Lyn has a background in jazz, blues, R & B, country, classical and she teaches a proper and safe belting technique that has helped professional singers on Broadway, recording artists, professional speakers, presenters and adults and children of ages.

VOICE MECHANIC, THE 6330 Hollywood Blvd. Los Angeles, CA 90028

323-937-2565

Email: thevoicemechanic@hotmail.com

Web: voicemechanic.com, melrosestudios.us

Contact: Sean Lee

Basic Rate: please call for info

Notes: Monica has been teaching vocal mechanics to singers, actors, dancers and speakers for over 20 years. She has worked in theater and film, appeared in variety shows, worked as a voiceover artist and was chosen as Musical Director for the West Coast Dance Theater. Monica specializes in teaching her vocal method to artists at every level of their career, from the young beginner to major label artist. The Monica Margolis Vocal Arts Studio o ers lessons in voice, songwriting, acting, guitar, piano, bass and drums. Private and group lessons are available at our place or yours.

MUSICIANS INSTITUTE

Vocals Program

6752 Hollywood Blvd. Hollywood, CA 90028

Clients: Chris Slade (AC/DC), Chris “Mississippi Burning” Gerolmo, Gary Ballen - (NWA, Bonethugs, Eazy E), Bruce Buffer (UFC Ring Announcer), Fat Lip of the Pharcyde etc. etc. Actors and singers: “Voice Projection” and “repair.” All styles (rock, pop, R&B, heavy metal etc.). Featured on Asahi TV (Japan) and Oprah’s Oxygen Network (Worldwide). Also full (Sony endorsed) Recording Studio, Music Videos/Green Screen Studio and guitar lessons.

323-462-1384, 866-383-0468, 800-255-7529

Email: admissions@mi.edu Web: mi.edu

Basic Rate: please call for info

Clients: Certificate and degree programs designed for intermediate to pro level.

Services: Entrance audition required. Private lessons included for Bachelor, AA, Certificate and Encore programs.

PATRICIA SHANKS VOICE STUDIO

Huntington Beach, CA

949-723-4473, ZOOM

Email: pshanks@studioshanks.com

Web: studioshanks.com

Contact: Patricia Shanks

PEISHA MCPHEE

Studio City, CA

Email: peishamcphee@gmail.com

Web: peishamcphee.com, twitter.com/peishamcphee, instagram.com/peisha.mcphee

Basic Rate: please email for information

Clients: from amateurs to professional actors and singers

Services: the art of vocal technique, styling, patter, subtext and stage presence. Specializing in pop, belt and legitimate placement. Peisha McPhee is a celebrity coach who’s worked for American Idol, and on Disney’s Moana. Owner of McPhee International vocal studios in Studio City. Mother of NBC Smash and Broadway’s Waitress, Katharine McPhee, and American Idol vocal coach, Adriana McPhee, coached for Disney movie ENCANTO.

PHILIP PELKINGTON VOCAL STUDIO

212-879-0229

New York/LA Studios

Email: info@philippelkington.com

Web: philippelkington.com

Contact: Philip Pelkington

Basic Rate: contact by email for rates

Services: Professional vocal technique for singers from beginners to profes- sionals. Specialty, working with and mentoring children and teens. Will do Skype lessons. Pop, R&B, cabaret, Broadway, live performance, recording studio coaching and instudio vocal production for CD projects, etc.

Clients: Lilla Crawford, Bea Miller, Abigail Dylan Harrison, Brianna Mazzola and Dana Gaier. Children performing on Broadway and National Tours, as well as film, tv and recording.

PRO MUSIC LESSONS BY FAWN

Los Angeles, CA 90068

323-496-8704

Email: pianovoicesongwriting@yahoo.com

Web: fawn.rocks, facebook.com/promusiclessons, fawnmusic.com

Basic Rate: Please visit the website. Lessons: (30 min, 45 min, 60 min, 90 min sessions)

Services: International private vocal, piano, songwriting, vocal rehabilitation and speech coach. All ages accepted and styles range from Pop, Opera, Classical, Broadway, Jazz, Rock, R&B, Hip-Hop, Rap, Ragtime, Folk, Big Band and Movie Scoring. Vocal Production and Editing in Logic; Body Programming/Seth Riggs/Fawn’s Original techniques. Singing, Speaking Voice, Speech, Vocal Rehabilitation, Rap, Sales Presentation, Motivational Speaking, Performance, Proper Vocal Placement, Music Theory, Ear Training, Lyric Writing, Composing, Melody Writing, Classical, Pop and Jazz Piano. Over 20 yrs experience.  The Voice, America’s Got Talent, American Idol, X Factor, Grammy, Oscars, more. (ASCAP. BMI and NARAS Grammy member)

ROBERT LUNTE & THE VOCALIST STUDIO

Belting & Head Voice Training Specialist

425-444-5053

Email: robert@thevocaliststudio.com

Web: thevocaliststudio.com

Contact: Robert J. Lunte

Basic Rate: see website for rates

Clients: The TVS Method specifically focuses on training techniques designed to build the strength and motor skills for register bridging and belting in the head voice. TVS is an Internationally recognized voice training school for singing vocal techniques, public speaking, teacher training and vocal related events. Robert is also the author and producer of the critically acclaimed vocal instruction training online course and book, “The Four Pillars of Singing” and nine online courses for singers. The TVS Method is practiced in 175 countries worldwide and 100,00+ students. Protege of the late Maestro David Kyle

who trained Ann Wilson (Heart), Layne Staley (Alice in Chains), Geo Tate (Queensryche), Chris Cornell (Soundgarden), Ronny Munroe (Metal Church), including: Classical training Dr. David Alt, Estill Training with Peter Egan, Phonetics and Formats with Steve Fraser.

ROGER BURNLEY

Los Angeles, CA 90038

323-848-4058, 323-461-2206

Email: info@rogerburnley.com

Web: rogerburnley.com

Basic Rate: call or see website for rates

Clients: all levels, especially good with beginners. Client list available on request. Notes: also specializes in vocal repair and rehabilitation

ROSEMARY BUTLER

818-916-1857

Email: vocalstarr@aol.com

Web: .facebook.com/rosemarybutlermusic

Basic Rate: please call for info

Clients: all levels, kids welcome. Celebrity clients include Linda Ronstadt, Jackson Browne, CSNY, Bruce Willis, Oasis, Hilary Du , Celine Dion, Bonnie Raitt, James Taylor, Bruce Springsteen, Bob Seger, Sara Brightman, Julio Iglesias, Vanessa Williams, Joni Mitchell, Tina Turner, Andrea Bocelli and Eagles.

Notes: Free lessons with package deal.

SALLY MORGAN

St Petersburg, FL

Email: singlikeyouspeak@gmail.com

Web: singlikeyouspeak.com

Basic Rate: see website

Services: Private Lessons, Online Singer Training and Products. Sing Like You Speak® to sound amazing!

SETH & MARGARETA RIGGS

135 Grammys - unique approach

323-938-4780

Web: riggsvocalstudio.com

STEPHANIE SPRUILL

Spruill House Music, School of Voice and Artist Development Pasadena, CA 91109

626-797-2429, SKYPE, Zoom classes are available

Email: spruilhous@aol.com Web: spruillhousemusic.com, facebook.com/stephanie.spruill, twitter.com/stephaniespruil, Instagram: @spruilhous

Basic Rate: please call for rates

Clients: Julio Iglesias, Michael Jackson, Whitney Houston, Placido Domingo, Elton John, Aretha Franklin, Mariah Carey, Enrique Iglesias

Notes: My book and Ebook is 17 Points To Longevity In Show Business

SUE FINK 11209 National Blvd. Unit 118 Los Angeles, CA  90064

310-943-9231, SKYPE

Email: winifredneisser@angelcitychorale.org, contact@angelcitychorale.org Web: angelcitychorale.org

Basic Rate: please call for info Clients: all levels, singing lessons, workshops, showcasing, group classes at McCabes; also call for auditions for the Angel City Chorale.

LEANNE SUMMERS

Vocal Coach P.O. BOX 57965 Los Angeles, CA Web: facebook.com/allthingsvoice Email: hello@leannesummers.com

Notes: ALL THINGS VOICE SINGER - VOCAL COACH - PRODUCER - SPEAKER

SUSAN DIANE HOWELL MBA, Vocal Director and Coach Instructor MBA, Vocal Director and Coach Instructor ACADEMY OF DIVAS ARTS (Divas In Training)

Las Vegas Studio (888) 340-7444, (702)900-5621 (Las Vegas), 818 231 1491(Intl)

Email: premierwest@earthlink.net

Web:  divasintraining.com

Basic Rate:  Varies.  Industry packages. Clients:  Jin Jin Reeves (Hitzville), ZDoggMD, Michael Ross Nugent, May J, Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo Alejandro

SUZANNE KIECHLE

Studio City, CA 818-769-5880

Email: skiechle@aol.com, SKYPE

Web: facebook.com/suzanne.kiechle

Basic Rate: please call or see website for info

Clients: all levels, recording artists and Broadway, film performers for vocal coaching and repair. Film and Television.

TAMARA ANDERSON Progressive Vocals Kenosha, WI 847-533-5548, SKYPE, Zoom, Facetime Email: voxdoc@comcast.net, hello@progressivevocals.com

Web: progressivevocals.com

Basic Rate: Check website or call

Services: pop, rock, country, blues, jazz and musical theater

TANISHA HALL

White Hall Arts Academy 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665

Email: mail@whitehallacademy.org

Web: whitehallacademy.org, facebook.com/whitehallartsacademy

Basic Rate: $35 and up

Clients: Tanisha Hall founded the White Hall Arts Academy - a contemporary performing arts academy located in South Los Angeles. Through the White Hall Arts Academy, Tanisha has reached thousands through individual music lessons, group classes and community programs. Tanisha’s clients are Billboard chart-topping recording artists, Grammy winners and have been featured on The Voice, American Idol, America’s Got Talent, on Broadway tours, major network and Netflix series as well as many other movies, series and commercials. Prior to launching WHAA, Tanisha enjoyed a career working in many aspects of the music industry.

*B.M. in Voice and Music Business ManagementBerklee College of Music.

TERI DANZ

YouWorld Music/Bleach Records West Los Angeles 310-283-9688

Email: vocalcoach@teridanz.com Web: teridanz.com Instagram & Facebook – teri.danz Basic Rate: call or email for info, packages available Clients: artists, singer-song-writers, vocalists, bands, actors - for pop vocal technique, performance coaching, artist development, studio vocal recording/ producing. 3 students in the Billboard Top 20 in 2019.

Credits: Winner – Global Excellence Awards 2020Vocal Coach of the Year (West Coast USA). Named a Top Vocal Coach by Backstage Magazine, and a 2018 Best Singing Teacher by Lessons.com. 2022 student signing to a UK label and 3 students in the Billboard Top 20 in 2019, club hit recording artist, national press (Women Who Rock), industry and student testimonials, nominated Best Female Vocalist All Access Music Awards. Author of music/ vocal articles, book: Vocal Essentials for the Pop Singer: Take Your Singing from Good to Great (Hal Leonard Corp.).

UAF SUMMER SESSIONS &  LIFE-LONG LEARNING University of Alaska - Fairbanks 216 Eielson Bldg. P.O. Box 757540

Fairbanks, AK 99775

907-474-7021, 866-404-7021

Email: summer@alaska.edu

Web: uaf.edu/summer

Basic Rate: please call for info

VALERIE FAHREN

The L.A. Valley Area, CA 818-815-8584

Email: valeriefahren@aol.com

Web: valeriefahren.com

Contact: Valerie Fahren

Basic rate: di erent packages available, please call for info

Clients: Sabrina Bryan (Cheetah Girls), Juliette Lewis, Alison Sudol, Erika Christensen

ERIC VETRO  Celebrity Vocal Coach Los Angeles, CA Web: ericvetro.com, instagram.com/ericvetrovocalcoach

Clients include: Ariana Grande, Sabrina Carpenter, John Legend, Shawn Mendes, Camila Cabello, Rosalía

VOCAL STYLINGS Culver City, CA 310-737-9387

Email: vocalstylings@gmail.com

Web: vocalstylings.com

Contact: Lisa Cushing

Basic Rate: please call for info

Clients: Private lessons, group sessions, in studio vocal coaching for R&B, rock, pop, blues, etc.

VOICE LESSONS HOUSTON 13505 Westheimer Rd. Houston, TX 77077 713-291-6373

Email: winnie@voicelessonshouston.com

Web: voicelessonshouston.com

Basic Rate: please call for info  THE VOICE MASTERY

Address:  Newbury Park, CA Phone:   818-964-0995 or 516-754-1909

Email: o ice.thevoicemastery@gmail.com  Web: thevoicemastery.com

Services: Sing and speak with confidence! Vocal and music producer, professional singer, artist, and music mentor Lyn can help you elevate your singing with power through her expert techniques that amplify confidence, refine pitch, improve tone and flexibility, and help you unlock the power of your true voice.  Tap into your creative unique sound and learn to communicate e ectively with the language of music!    O erings include vocal training, performance, songwriting coaching, music mentoring, ear training and more!  All ages, genres, welcome! In person or online, Zoom or FaceTime lessons.

Notes: Lyn has a background in jazz, blues, R & B, country, classical and she teaches a proper and safe belting technique that has helped professional singers on Broadway, recording artists, professional speakers, presenters and adults and children of ages.

VOICE MECHANIC, THE 6330 Hollywood Blvd. Los Angeles, CA 90028

323-937-2565

Email: thevoicemechanic@hotmail.com

Web: voicemechanic.com, melrosestudios.us

Contact: Sean Lee

Basic Rate: please call for info

Clients: Chris Slade (AC/DC), Chris “Mississippi Burning” Gerolmo, Gary Ballen - (NWA, Bonethugs, Eazy E), Bruce Bu er (UFC Ring Announcer), Fat Lip of the Pharcyde etc. etc. Actors and singers: “Voice Projection” and “repair.” All styles (rock, pop, R&B, heavy metal etc.). Featured on Asahi TV (Japan) and Oprah’s Oxygen Network (Worldwide). Also full (Sony endorsed) Recording Studio, Music Videos/ Green Screen Studio and guitar lessons.

Email: info@truthstudios.com

Web: truthstudios.com

ULTRIUM STUDIOS

12028 Vose St, North Hollywood, CA 91605 (909) 327-1084

Email: ultrium@ultriumstudios.com

Web: ultriumstudios.com

UNCLE STUDIOS

6028 Kester Ave. Van Nuys, CA 818-989-5614

Email: uncleesca27@gmail.com

Web: unclestudios.com

Format: digital, 24 at a time 126 playback Basic Rate: $50/hr

UNION RECORDING STUDIO

7051 Santa Monica Blvd, Los Angeles, CA 90038 323-615-3575

Email: info@unionrecstudios.com

Web: unionrecstudios.com

Rates: $23/hr/$87/$199

VALENTINE RECORDING STUDIO

5330 Laurel Canyon Blvd, North Hollywood, CA 91607 818-308-6609

Email: valentinerecording@gmail.com

Web: valentinerecordingstudios.com

THE VILLAGE 1616 Butler Ave. Los Angeles, CA 90048 310-478-8227

Email: info@villagestudios.com

Web: villagestudios.com

Format: Digital and Analog

Basic Rate: Call or email for information.

WOMB RECORDING STUDIO, THE

Lake Balboa, CA 91406

818-414-6369

Email: haddaddrum@yahoo.com

Web: davehaddad.com

Contact: Dave

Format: digital and Analog, more than 64 tracks

Email: info@stealthtraxx.online

Web: stealthtraxx.online

Contact: Ralph Pitt

Rates: Please Call for Quote

Email: info@sagesoundstudios.com

Web: sagesoundstudios.com

Basic

Basic Rate: Call for info

WOODSHED RECORDING

Email: welcometowoodshed@gmail.com

Web: woodshedrecording.com

Contact: Richard Gibbs

Clients: U2, Barbra Streisand, Coldplay, Chance the Rapper, Lady Gaga, Shawn Mendes

Format: Hybrid ocean view resort/residential

recording

Basic Rate: Contact us by email

WOODSOUND STUDIOS

120 Front St. Covina, CA 91723

626-956-7455

Email: tom@woodsoundstudios.com

Web: woodsoundstudios.com

COLORADO

1116 STUDIOS LLC Colorado Springs, CO 80905

323-989-1176

Gear: Pro Tools HDX in all rooms. Studio AVintage Neve 8048 Console, Studio B and D - Neve

88R Consoles, Studio F - Avid S6 Control Surface and ATMOS speaker array and Studio Z - Neve Genesys Black Console. Compressors include 1176’s, LA-2A’s, Neve and SSL Stereo Compressors as well as Fairchild 670. Vintage mics including ELAM 251, C-800, U47s, U67s, C12 and C24 as well as a large selection of standard mics as well.

Clients: Fleetwood Mac, Rolling Stones, Heart, Coldplay, U2, Kesha, Snoop Dogg, Pink Floyd, Usher, Lady Gaga, Cage The Elephant, The 1975, John Mayer, Taylor Swift, Harry Styles, Elton John, Miguel, P!nk, Sara Bareilles, Shawn Mendes, Lil’ Wayne, Steve Lacy. Media: NPR, KCRW, KCSN, On Second Thought with Trevor Noah, Getting Curious with Jonathan Van Ness. Films: A Star is Born, Crazy Heart, Toy Story, Cars, Oh Brother Where Art Thou?, The Bodyguard, Mulan (live action), Encanto. Services: Recording, Mixing (Stereo & 5.1), ATMOS, Analog Archival/Tape Transfers, Technical Repair Services, ISDN/Source Connect Remote Sessions, Live to Air/Web Sessions, Live Showcases/Performances.

Comments: The Village has produced landmark songs and soundtracks of every generation for the last five decades.

VIRLOUISE 1631 N Placentia Ave Ste K Anaheim, CA 714-322-3600

WESTLAKE RECORDING STUDIOS Studios A & B 8447 Beverly Blvd. Los Angeles, CA 90048

Email: misterg@1116studios.com

Web: 1116studios.com

Contact: John “Mister G”, Office Manager

Format: Digital, Pro Tools Hd (24 in/32out), Video sync

Basic Rate: $45/hr. for tracking; $200/track for mixing; $60/track for mastering

THE BLASTING ROOM

1760 Laporte Ave. Ste. 2 Fort Collins, CO 80521 (970) 416-9292

Email: info@blastingroomstudios.com

Web: blastingroomstudios.com

Contact: Bill Stevenson, Jason Livermore, Andrew Berlin, Chris Beeble, Jonathan Luginbill

Format: Analog/Digital Pro Tools 2021 HDX

Basic Rates: Starting at $40/hr, $450/day, Mastering $150/track

CCM RECORDING STUDIOS

4214 E. Colfax Ave. Denver, CO 80220

720-941-6088

Email: info@ccmstudios.com

Web: ccmstudios.com

Contact: Darren Skanson

Format: digital

Basic Rate: Call for info

COLORADO SOUND STUDIOS

3100 W. 71st Ave Westminster, CO 80030

303-430-8811

Email: colosnd@coloradosound.com

Web: coloradosound.com

Contact: Jess Lambert, Studio Office Managersuntone Format: Pro Tools 12 HDX Also Remote Recording, Mastering Services, Media Labs Education, and Music Video Production

COOL BRICK STUDIOS

In the Aspen Valley Colorado 86 S 3rd St. Carbondale, CO 81623 970-948-7766

Web: coolbrickstudios.com

Email: dave@coolbrickstudios.com

Rates & Equipment: see email address and view website Services: Recording, Mixing and Mastering, Post Sound for Film

DERRYBERRY RECORDING STUDIO 7380 Devinney Ct. Arvada, CO 80005 303-456-8216

Services: Remote Recording, Absentee Mixing (send in your raw tracks), Remote Audio for Video, Studio Availability

CONNECTICUT

CARRIAGE HOUSE STUDIOS 119 Westhill Rd. Stamford, CT 06902

203-358-0065

Email: johnny@carriagehousemusic.com

Web: carriagehousemusic.com

Contact: John Montagnese

Format: digital and analog

Basic Rate: Call for info

FIREHOUSE 12 45 Crown St. New Haven, CT 06510

Email: paul@studiounicorn.net

Web: studiounicorn.net

Contact: Paul Avgerinos, Multi-Grammy winning

TARQUIN STUDIOS Bridgeport, CT

Contact: Sandy Roberton Email: studio@tarquinrecords.com

TROD NOSSEL 10 George St. Wallingford, CT 06492

203-269-4465

Web: trodnossel.com

JAMLAND STUDIO 2326 Empire Dr. Wilmington, DE 19810

Download at musicconnection.com/industry-contacts

Clients: Jin Jin Reeves (Hitzville), ZDoggMD, Michael Ross Nugent, May J, Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo Alejandro

SUZANNE KIECHLE

Studio City, CA

818-769-5880

Email: skiechle@aol.com, SKYPE

Web: suzannekiechle.com

Basic Rate: please call or see website for info

Clients: all levels, recording artists and Broadway, film performers for vocal coaching and repair. Film and Television.

TAMARA ANDERSON

Progressive Vocals

Kenosha, WI

847-533-5548, SKYPE, Zoom, Facetime

Email: voxdoc@comcast.net, hello@ progressivevocals.com

Web: progressivevocals.com

Basic Rate: Check website or call Services: pop, rock, country, blues, jazz and musical theater

TANISHA HALL

White Hall Arts Academy

2812 W. 54th St. Los Angeles, CA 90043

424-235-0665

Email: mail@whitehallacademy.org

Web: whitehallacademy.org, facebook.com/ whitehallartsacademy

Basic Rate: $35 and up

Clients: Tanisha Hall founded the White Hall Arts Academy - a contemporary performing arts academy located in South Los Angeles. Through the White Hall Arts Academy, Tanisha has reached thousands through individual music lessons, group classes and community programs. Tanisha’s clients are Billboard chart-topping recording artists, Grammy winners and have been featured on The Voice, American Idol, America’s Got Talent, on Broadway tours, major network and Netflix series as well as many other movies, series and commercials. Prior to launching WHAA, Tanisha enjoyed a career working in many aspects of the music industry.

*B.M. in Voice and Music Business ManagementBerklee College of Music.

TERI DANZ

YouWorld Music/Bleach Records West Los Angeles

310-283-9688

Email: vocalcoach@teridanz.com

Web: teridanz.com

Instagram & Facebook – teri.danz

Basic Rate: call or email for info, packages available

Clients: artists, singer-song-writers, vocalists, bands,

VALERIE FAHREN

The L.A. Valley Area, CA

818-815-8584

Email: valeriefahren@aol.com

Web: valeriefahren.com

Contact: Valerie Fahren

Basic rate: different packages available, please call for info

Clients: Sabrina Bryan (Cheetah Girls), Juliette Lewis, Alison Sudol, Erika Christensen

ERIC VETRO

Celebrity Vocal Coach Los Angeles, CA

Web: ericvetro.com, instagram.com/ ericvetrovocalcoach

Clients include: Ariana Grande, Sabrina Carpenter, John Legend, Shawn Mendes, Camila Cabello, Rosalía

VOCAL STYLINGS Culver City, CA

310-737-9387

Email: vocalstylings@gmail.com

Web: vocalstylings.com

Contact: Lisa Cushing Basic Rate: please call for info

Clients: Private lessons, group sessions, in studio vocal coaching for R&B, rock, pop, blues, etc.

VOICE LESSONS HOUSTON 13505 Westheimer Rd. Houston, TX 77077

713-291-6373

Email: winnie@voicelessonshouston.com

Web: voicelessonshouston.com

Basic Rate: please call for info

THE VOICE MASTERY

Address: Newbury Park, CA

Phone: 818-964-0995 or 516-754-1909

Email: office.thevoicemastery@gmail.com

Web: www.thevoicemastery.com

Services: Sing and speak with confidence!

Vocal and music producer, professional singer, artist, and music mentor Lyn can help you elevate your singing with power through her expert techniques that amplify confidence, refine pitch, improve tone and flexibility, and help you unlock the power of your true voice. Tap into your creative unique sound and learn to communicate effectively with the language of music! Offerings include vocal training, performance, songwriting coaching, music mentoring, ear training and more! All ages, genres, welcome! In person or online, Zoom or FaceTime lessons.

Notes: Lyn has a background in jazz, blues, R & B, country, classical and she teaches a proper and safe belting technique that has helped professional singers on Broadway, recording artists, professional speakers, presenters and adults and children of ages.

PRODUCER CROSSTALK

TIFF RANDOL

Musician, producer, and composer Tiff Randol embarked on her formal career path at NYU where she studied classical voice performance. But she soon found that she had a talent for tinkering with audio, changed her major, and began to expand her repertoire. She interned with Philip Glass at his Looking Glass Studios and went on to compose for film and TV, notably Showtime’s Work in Progress and for both The CW’s Arrow and The Flash. In 2019, following the birth of her child, she established Mamas in Music, a community for—as the name suggests—mothers in music. It now has more than 500 members worldwide.

What Randol loves most about music and composing is that it helps her to communicate her feelings and otherwise express herself. “Music and art is where I’ve always felt safest,” she explains. “When I’m in this flow space and environment, it wraps me with webs and layers of sound and colors that enables me to express myself and feel fulfilled and emotionally connected in ways that only music can do.”

Following the birth of her child in 2018, Randol sensed isolation from the music scene and went in

Radio Memphis Keeps Memphis’ Heritage Upfront… and Personal

If ever there were a musical “bunker,” it’s the place Radio Memphis calls home. You find it tucked deep in the basement of an unassuming strip mall somewhere around 4745 Poplar Avenue in Memphis, TN. It’s easy to miss from the outside—but once you’re inside, you realize this little station has been sending out waves of good vibes since day one.

Before long, you understand why it’s become the go-to groove joint for musicians passing through Memphis.

What happens here—what you’re stepping into—is an outlet for the music, the culture, and the history of Memphis. And the blues, of course. Keeping that flame alive isn’t always easy, but every day something happens in the station that reminds you why it matters. You leave feeling proud to be even a small part of the musical fabric of Memphis, TN.

You’re plugged directly into the city’s musical bloodstream—from Beale Street to the Delta, from the P&H Café to Little Rock. There’s a pulse here that hits harder and grooves deeper than almost anywhere else.

But access to The Bunker isn’t automatic. You might even face a little pop quiz at the door.

Four Things You Must Do Before Entering the Radio Memphis Bunker

1. Know something about the Memphis Blues scene.

2. Order a cheeseburger from Matt at the P&H Café (bring the receipt).

3. Grab a cup of coffee at Java Cabana in Cooper-Young.

4. Know what the “B.B.” stands for in B.B. King.

Get those right—do a little homework—and you’re in good shape. And if you love Blues or rock-and-roll in any of its many forms, you’ll have a mighty fine time down in the Bunker.

Meet the Crew

At the center of it all is Rick Chetter, the calm eye of the storm and the waterspout from which the Radio Memphis groove flows out into the known universe.

Rick’s on the mic in the Bunker more often than not—day or night. If you stop by, chances are you’ll find him there, rocking the airwaves amid the flotsam and jetsam of what can only be called The Radio Life.

There’s always something happening: new recordings arriving, new guests dropping by, or the occasional surprise visit from an A-list blues artist who happens to be in town. Interviews happen. Impromptu showcases happen. Sometimes people just walk through the door and plug in.

Legends like Paul Butterfield, Howlin’ Wolf, and Stevie Ray Vaughan are part of the station’s

musical DNA, and the playlist also welcomes rising artists from around the world.

Send in your music, and chances are they’ll play it.

Then there’s “Dirty D”—Dianna Fryer—who’s been with Radio Memphis since the very beginning. She hosts several shows and also serves as the station’s General Manager. Good radio attracts good people, and when it comes to Dirty D (Detroit street shorthand), you’ve hit the jackpot.

allowed it—but until that technology arrives, you can meet him in person at the station.

And while you’re exploring the region, don’t forget the nearby musical landmarks— Muscle Shoals, FAME Studios, and Muscle Shoals Sound Studio.

She’s the driving force that keeps the station alive—keeping the lights on, the doors open, and the signal strong. So be polite, be respectful… and don’t challenge her musical knowledge unless you’re ready to lose.

Running a radio station is a labor of love. It can be challenging, infuriating, and occasionally overwhelming. But when the day ends and the microphones go quiet, you realize there’s nowhere else you’d rather be than right here at Radio Memphis, working with remarkable people and helping keep Memphis music alive.

Dianna also happens to be a terrific onair personality and a skilled interviewer. Like Rick, she has a way of putting you at ease immediately. Talking with her feels natural— easy, relaxed, and genuinely fun.

And they’re not alone. The station has a fantastic team of hosts, including Phil Berger and Jeff Janovetz, along with a lineup of other dedicated radio lifers who bring their own shows and personalities to the airwaves.

Connected Locally… to the Universe

If you’re serious about the blues in Memphis, sooner or later you’ll cross paths with the Memphis Blues Society. The organization plays an important role in keeping the scene thriving—and it’s closely tied to the Radio Memphis family.

If you’re heading to Memphis or just passing through, make a point of connecting with Mark Caldwell from the Memphis Blues Society. He’s the kind of guy you’d clone if science

That whole corridor is soaked in music history. Back at Radio Memphis, you never quite know who you’ll meet. Artists wander in, friendships form, and bands you hear in the Bunker today might be touring nationally tomorrow.

Take Slim and the Percolators from Philadelphia. Memphis noticed Slim tearing it up at The Twisted Tail in Philly. A few years later he landed in Memphis for the International Blues Challenge—and he’s been rocking stages ever since.

That’s the magic of the place.

Everyone you meet at the station feels real— natural, grounded, and completely committed to the mission. Before long, you find yourself caught up in the excitement and riding the same wave.

The Blues World Converges Here

Every year Memphis hosts the International Blues Challenge, one of the biggest gatherings of blues talent anywhere on the planet. Artists come from around the world— and if Jupiter or Mars had blues clubs, they’d probably send competitors too.

If you’ve never been, you’re missing out. Because one day—far, far down the road— you may find yourself sliding up to the Pearly Gates. And St. Peter might look over his glasses and say:

“Hey… weren’t you the one I saw in Memphis last year at the P&H Café?”

Think about it.

Note: Sadly, we lost Diana a few months back and she’ll be forever missed...